dove / pigeon

The Hebrew, Latin and Greek that is translated as “dove” or “pigeon” in English is translated in Pijin with the onomatopoeia kurrukurru. (Source: Bob Carter)

In Matumbi is is translated as ngunda, a kind of dove that has the reputation to be monogamous. (Source: Pioneer Bible Translators, project-specific notes in Paratext)

 

In the fifteenth century the English word “pigeon” meant a young dove, the word “dove” being reserved for the adult birds. In modern English the words are used almost interchangeably. As a general rule, “pigeon” is used for domesticated forms of these birds, and for the larger variety of wild forms, while “dove” is used mainly for wild varieties. However, there are many exceptions to this general rule.

Pigeons and doves are both included in a bird family known scientifically as the Colombidae, consisting of well over two hundred species. In Israel and the Middle East are found the true Colombidae, which are easily distinguished from the genus Stretopelia, that is, the turtle doves.

The most common of the true Colombidae in the Middle East is most certainly the Asiatic Rock Dove Columba livia. This bird was first domesticated around 4500 B.C. in Mesopotamia. By 2500 B.C. it was kept as a domestic bird in Egypt, and by 1200 B.C. there is evidence that its homing abilities were already well known. It is this bird that is the ancestor of the domestic homing pigeons that people keep, some of which have escaped, returned to the wild, and now populate city streets all over the world. The ledges of modern buildings are a good substitute for the rock ledges that were its original nesting sites. It is likely that the Canaanites and the Israelites also kept these birds for both food and sacrifice. It is this bird that is called yonah in the Hebrew Bible and peristera in the Greek New Testament.

There are also three types of turtledove found in the land of Israel, two of which are resident species; the third is a migrant that arrives in spring and spends the summer in Israel. This migrant, the true Turtle Dove Streptopelia turtur, and one of the species now resident, the Collared Dove Streptopelia decaocto, are what the Bible writers called tor in Hebrew and trugōn in Greek. (Both the Hebrew and Greek names are based on the sound the turtledove makes.)

In biblical Hebrew the word gozal generally refers to a nestling of any bird species. In Genesis 15:9 it obviously refers specifically to a young pigeon. Nestling rock pigeons were collected from the rock ledges. Pigeons and doves were kept in cages and dovecotes, and wild ones were trapped in nets. This enabled the Jews to have a handy stock of birds for sacrificial purposes.

The rock pigeon is a blue-gray color with a pinkish sheen to the neck feathers. It has a black tip on its tail. Its call is a repeated moaning oom (the Hebrew name yonah is related to a verb meaning “to moan”) or a rapid cooing coo-ROO-coo-coo, usually repeated two or three times. The call is uttered with the beak closed, into the chest. The male’s sexual display starts with flying wing claps, and then when it lands next to the female, it begins bowing and turning with chest puffed and tail spread.

This type of pigeon lives in large colonies, and when a group is in flight, they maneuver as a single unit, often gliding short distances together with their wings held in a V shape.
The turtledove is a smaller blue-gray bird with a pinkish chest. It arrives in Israel in April, and its rhythmic call yoo-ROO-coo, yoo-ROO-coo, yoo-ROO-coo, repeated for two or three minutes at a time on sunny days, can be heard all over.

Doves are seed eaters, and this fact may be significant in the Flood narrative. The raven, a carrion eater, does not return to the ark, since food is available. The dove returns at first, and when it finally stays away, this is an indication that seeds of some sort are once again available to it, and the earth is again dry.

As seed-eaters, doves and pigeons are ritually clean birds for Jews. Their swift flight means that they are symbolic of speed in some biblical contexts, especially in Psalms. The fact that these birds court, mate, and nest repeatedly throughout the year resulted in their being a symbol of affection, sexuality, and fertility in the ancient Egyptian, Canaanite, and Hebrew cultures. This symbolism is important in the Song of Solomon.

A very ancient belief that the dove has no bile and is therefore devoid of anger led to its becoming a symbol of peace and gentleness. (In actual fact doves and pigeons are aggressive, often attacking other birds, especially at food sources.)

The name yonah for the pigeon and dove is associated with moaning and groaning in pain or sorrow. This is often the symbolism in prophetic poetry.

Pigeons and doves are found worldwide, except in some snow-bound regions and on some remote islands. Almost everywhere they live there is more than one species, and in almost all locations the domestic pigeon is one of these species. As a general rule, the word for the smaller wild dove should be used wherever possible, but in those contexts where both pigeons and doves are mentioned in connection with sacrifices, the word for the domestic pigeon can be used as well as the one for the wild dove.

In 2 Kings 6:25 there is a Hebrew expression that literally means “dove’s dung”. This seems to be a reference to some kind of food that is eaten only in emergencies. Suggestions about what this may refer to have varied from “chickpeas” (which do look somewhat like a dove’s droppings) to “locust-beans”, “wild onions”, and the roots of certain wild flowers. In view of the lack of certainty, it is probably best to translate it literally as “dove’s dung” and include the footnote, “This is probably some kind of wild food eaten only in emergencies.”

Source: All Creatures Great and Small: Living things in the Bible (UBS Helps for Translators)

complete verse (Song of Solomon 4:1)

Following are a number of back-translations as well as a sample translation for translators of Song of Solomon 4:1:

  • Kupsabiny: “You are so very beautiful, my beloved!
    Oh yes! You are just so beautiful!
    Your eyes behind the cloth are beautiful like those of a dove.
    Your hair flows down (the head) like a flock of goats
    that run quickly down (a/the) mountain of Gilead.” (Source: Kupsabiny Back Translation)
  • Newari: “My darling, how beautiful you are!
    You are so very charming,
    your eyes covered by the veil are like doves.
    Your hair is like a flock of goats coming jumping down from the slopes of Gilead.” (Source: Newari Back Translation)
  • Hiligaynon: “How beautiful you (sing.) (are), my beloved. Your (sing.) eyes which are-covered by your (sing.) veil (are) just like the eye(s) of a dove. Your (sing.) head-hair (is) just like a herd/[lit. animal-group] of goats descending from the Mountain of Gilead.” (Source: Hiligaynon Back Translation)
  • English: “My darling, you are beautiful,
    you are very beautiful!
    Underneath your veil, your eyes are as gentle as doves.
    Your long black hair moves from side to side like a flock of black goats
    moving down the slopes of Gilead Mountain.” (Source: Translation for Translators)

Translation commentary on Song of Songs 4:1

The speaker in verse 1 is now the young man, so we may add a marginal note to identify him. Reading the opening words of this description of his beloved’s physical features, we recall that in 1.15 the young man has once before addressed her in this same way. He repeats what he said there. Repetition is one of the many literary features of the Song. Translators can refer back to notes on 1.15 for interpretation and translation suggestions. We can say “You are beautiful, my love, so beautiful!” or “Look at you, my darling, you are beautiful, so beautiful.”

Your eyes are doves behind your veil: as was noted in 1.15, the woman’s eyes are not actually doves; they are similar to a dove in that they have its qualities of softness and gentleness. In many languages this metaphor will have to be turned into a simile, with words of comparison: “Your eyes are like doves.” In some instances it will also be necessary to add the basis for the comparison: “Your eyes, gentle as doves….”

Behind your veil: in 2.14 the dove represents a bird generally preferring to hide away in rocky places where it cannot be reached. In comparing his lover’s eyes to the dove, the young man is speaking of her soft, gentle eyes and the way they look out from behind the veil she wears. Some commentators and translators consider the phrase to mean that he is looking at her eyes “through her veil”; alternatively she is the one looking out from behind the veil. We prefer the view that the young woman is peeking out from behind the veil, which covers part of her face. We can say “Your eyes, gentle like doves, look out from behind your veil.”

Good News Translation ignores the metaphor and translates “How your eyes shine with love behind your veil.” But it is not clear that this is the true meaning. Since the figure of the “dove” occurs throughout the Song, it is preferable to preserve it if possible.

A veil is a covering generally made of fine cloth, worn on the head. It covers the hair and at least the lower part of the face. In some Middle Eastern cultures the veil covers the entire face, but this does not seem to have been the practice in Israel. In many cases the cloth is so fine that what is behind it is still partly visible. If the veil is not known, we can give its meaning as “the fine cloth with which you cover [part of] your face.” A general word such as “covering” or “head covering” can also be used, though it may be necessary to include a footnote explaining this practice. This is a place where an illustration would be especially appropriate.

Your hair is like a flock of goats: as goats were usually black in color, the phrase refers to the woman’s black hair (compare 5.11). We may have to make this fact clear, because in many parts of the world goats are not black but white or spotted, so the point of the comparison would not be clear. This comparison can present other problems as well. In some parts of the world, comparing a woman to a goat is certainly not a compliment. In some cultures a “goat” can even refer to an immoral male! When such a clash in associated meanings occurs, it is better not to use the original image but to translate the meaning. We can say, for example, “your beautiful black hair,” or make another natural comparison, “Your hair, dark as night” or “Your hair, dark as the storm clouds….”

This same description reappears in 6.5.

Moving down the slopes of Gilead refers to the way her hair moves as she walks or moves her head. Her hair is presumably long and flows down her back. As she moves her head, the movement of her hair reminds her lover of a flock of black goats as they move together down the side of a mountain. The slopes of Gilead is literally “from the mountain of Gilead.” The region of Gilead is in northern Jordan and is extremely fertile pasture land. The imagery can be conveyed by “mountain slopes” if translators feel the literal rendering of the phrase slopes of Gilead will not have much meaning.

Moving down translates a Hebrew verb that is normally associated with bubbling water, or with washing. The verb occurs only twice in Scripture, here and in 6.5, so we must discover its meaning from context. The verb modifies goats not hair, so we can use words describing the movement of these animals: “bounding down” (Good News Translation), “frisking down” (Jerusalem Bible). However, since the point of the comparison is to describe the young woman’s hair, we may prefer an adjective that is more applicable to hair than goats: “streaming down” (Revised English Bible, New American Bible, New Jerusalem Bible) or “flowing down.” Revised Standard Version “moving down” is acceptable but not very poetic.

We can translate as:

• Your hair is like a flock of black goats flowing down Mount Gilead.

Alternatively we can use a verb like “flow” to qualify “hair”:

• Your black hair flows down like goats coming down the mountain slopes [of Gilead].

For a translation that makes clear the basis of the simile, we may say:

• Your hair, dark and full, flows down, like a flock of goats descending Mount Gilead.

If reference to goats is unsuitable:

• Your hair is black and rich, like the deepest night.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

SIL Translator’s Notes on Song of Songs 4:1

Poem 4:1–7 The man told his bride how beautiful she is

In 4:1–7 the man used figures of speech to tell his bride how beautiful and majestic she was. He first praised her eyes and hair, then he praised her mouth, lips, and teeth. He described her temples and neck and then her breasts. Poem 4:1–7 begins and ends with similar statements that summarize her beauty:

:1 How beautiful you are, my darling—

how very beautiful!

:7 You are altogether beautiful, my darling;

there is no flaw in you.

Cultures have different ideas about what is beautiful. In some cultures the figures of speech that the man used to describe the woman may seem strange or insulting, but in his culture, they were powerful ways to praise her. Sometimes they described the man’s feelings about her instead of describing her appearance. For example, in 4:4 the man compared the woman’s neck (or her necklaces) to the tower of King David. Her neck did not look like the tower, but to him she seemed as majestic as that tower where warriors’ shields hung to represent their power.

Standards for respectful speech and actions in the Song

In 4:1–7 the man often referred to the woman’s body. In most cultures certain parts of the body are “private” or “sexual,” and those parts should not be uncovered in public. In some cultures, women must be covered from the waist to the ankles. Other cultures have different standards. Scholars are not sure about the specific standards in Israel when the Song was written, but the Song does not violate the standards of modesty in the OT. Two facts about the Song may help to indicate the standards of modesty in Israel’s culture in OT times:

(a) The Song refers to parts of the female body more than 40 times, but only three of these mention areas below the waist. This may imply that the area below the waist was the “private” area, which must be covered in public.

(b) In 8:8–10 both the woman and her brothers spoke casually about her breasts. This probably indicates that in that culture a woman did not always cover her breasts. For example, it was common to breast-feed babies openly (as in 8:1 and other OT verses).

These two facts imply that the author described the woman’s body in a more modest way than some scholars assume. When the man described the woman’s beauty (as in 4:1–7 and 7:1–9), he did it in a proper way. He did not describe “private sexual” parts. In some languages it may be helpful to include a footnote to explain that cultures have different standards of what is proper, decent, and respectful. Translate in a way that does not violate your culture’s standards.

4:1–7 The man spoke

4:1a–c

4:1a–b and the first part of 4:1c are identical to 1:15a–b. The Notes for the two verses are not exactly the same because the context is different. In 4:1 the context is the couple’s wedding day. However, you should translate the similarities in the two verses in the same way (or a very similar way).

4:1a–b

How beautiful you are, my darling—how very beautiful!: These phrases also occurred in 1:15. You may translate them as you did there. Notice that the phrases here in 4:1a–b are repeated in 4:7 to form an inclusio, which indicates the end of Poem 4:1–7.

my darling: See the Notes on 1:9a–b for a discussion of the phrase my darling. You should translate it as you did there and in 1:15. In some languages a direct address like this comes first in the sentence. For example:

My darling, how beautiful you are…

4:1c

Your eyes are like doves: The phrase Your eyes are like doves is a simile. The man compares the woman’s eyes to a small bird called a “dove.” The man did not mean that her eyes looked like doves. He meant that her eyes had a characteristic that reminded him of doves.

Scholars are uncertain about the exact meaning of this simile. Doves are gentle birds, so the simile probably implies that the woman’s eyes revealed that she was gentle like a dove. In the context of 4:1a–b it also implies that her eyes were beautiful. doves probably symbolize love here.

See 1:15c (which has the identical simile) for a more detailed discussion. You should translate this simile in the same way in both verses. In some languages it may be necessary to make the meaning explicit. For example:

Your ⌊lovely⌋ eyes ⌊show that you are as gentle⌋ as a dove

doves: For more information about doves, see the note on 1:15c.

behind your veil: Here in 4:1c the author adds the phrase behind your veil, which was not part of the comparison in 1:15. A veil was a piece of fabric that covered part of the head. In this verse, the author implied that the veil covered the woman’s face.

Probably the veil was partly transparent so that the man could see her eyes through the fabric. Other scholars say that the veil may have covered only the lower part of her face so that her eyes were visible above the veil.

Some other ways to translate behind your veil are:

as you look through your veil (Contemporary English Version)
-or-
inside the cloth that covers your face

4:1d–e

Your hair is like a flock of goats streaming down Mount Gilead: In 4:1d–e the author describes the way the woman’s hair looks as it moves. It moves in a fascinating way that is constantly changing. He compares it to the way a big group of goats move down mountain slopes in Gilead. Their movements are delightful to watch as they come down the mountain together. A similar simile is found in 6:5.

In many cultures people do not compare a woman’s hair to the movement of goats. If this is true in your language, you may need to make the similarity more explicit. For example:

Your hair dances like a flock of goats bounding down the hills of Gilead. (Good News Translation)
-or-
Your hair is like a flock of goats streaming down Mount Gilead. (New Century Version)
-or-
Your ⌊dark/black⌋ hair moves like a flock of ⌊dark/black⌋ goats as they leap down the slopes of Gilead.

For more information, see the note on streaming down Mount Gilead in this part of the verse.

4:1d

flock of goats: The phrase flock of goats refers here to a group of goats that are seen from a distance. The individual goats are not in focus. The author compared the woman’s hair to a flock of goats moving down a mountain to imply that her hair was beautiful as it moved.

In some cultures, people do not think of goats as beautiful or graceful. They may think of them as ugly or even associated with evil customs. If that is true in your culture, you may use a more general term. For example:

like flocks/groups of animals dancing down the slopes of Gilead

4:1e

streaming down: Here the Hebrew word that the Berean Standard Bible translates as streaming describes the way the goats move, or how they look as they go down the mountain slopes and hillsides in Gilead. Some other ways to describe this movement are:

flowing/streaming down
-or-
bounding/dancing down

Use a poetic way in your language to describe their movement.

Mount Gilead: The name Gilead probably refers here to a plateau region on the east side of the Jordan River. That region has many cliffs and mountain slopes. It probably does not refer to a single mountain. However, scholars and English versions differ on this issue. In this context, you may translate the word Mount as either singular or plural, whichever is most natural in your language. For example:

the slopes of Gilead (Revised Standard Version)

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