נַ֥פְתִּי מִשְׁכָּבִ֑י מֹ֥ר אֲ֝הָלִ֗ים וְקִנָּמֹֽון׃
(Proverbs 7:17)
Verse Structure and Thematic Role
This verse belongs to the seductive monologue of the אִשָּׁה זָרָה (“foreign woman”) in Proverbs 7. Through sensuous imagery and poetic rhythm, it captures the allure of temptation. The verse divides naturally into two syntactic parts:
– Clause A: נַ֥פְתִּי מִשְׁכָּבִ֑י – “I have perfumed my bed”
– Clause B: מֹ֥ר אֲ֝הָלִ֗ים וְקִנָּמֹֽון – “with myrrh, aloes, and cinnamon”
Clause B may function as the means or material of the action in Clause A (despite no preposition), or it may act appositionally, explaining how the bed was perfumed. This poetic openness enhances the verse’s layered imagery.
Clause A: Verbal Focus
נַ֥פְתִּי מִשְׁכָּבִ֑י
– נַפְתִּי – Qal perfect 1cs of נָפַת (“to sprinkle, to perfume”). A rare verb found almost exclusively in poetic contexts, suggesting deliberate stylization.
– מִשְׁכָּבִי – “my bed,” with the 1cs pronominal suffix. Functions as the direct object.
This verbal clause follows the typical Biblical Hebrew VSO (Verb–Subject–Object) pattern, though the subject “I” is encoded in the verb. Its tight, intimate structure immediately draws the listener into a private setting.
Clause B: Poetic Series and Ellipsis
מֹ֥ר אֲ֝הָלִ֗ים וְקִנָּמֹֽון
This tricolon of aromatic nouns functions as a poetic expansion:
– מֹר – “myrrh”
– אֲהָלִים – “aloes”
– וְקִנָּמֹן – “and cinnamon”
The asyndeton between the first two items (מֹר אֲהָלִים) followed by a conjunction before the third (וְקִנָּמֹון) gives the list a rhythmic and rhetorical climax. The omission of a preposition (like בְּ) invites the reader to supply it mentally, enhancing the sensuality through poetic ellipsis.
Tricolon Rhythm and Poetic Climax
Although compact, the verse uses three discrete poetic cola:
1. נַפְתִּי מִשְׁכָּבִי – 2 words
2. מֹר – 1 word
3. אֲהָלִים וְקִנָּמֹון – 2 words
This yields a 2 + 1 + 2 pattern, forming a tightly constructed tricolon. The rhythm builds sensory intensity: an action, followed by an aroma, then a blossoming into richness. The shift from a verbal clause to a verbless noun cluster evokes a trailing fragrance, leaving the listener lingering on the scene.
Discourse Implications: Syntax as Strategy
This verse exemplifies how Hebrew syntax can reinforce thematic intent:
– The perfect verb (נַפְתִּי) conveys completed action—preparation is done.
– The possessive object (מִשְׁכָּבִי) reinforces intimacy and ownership.
– The noun piling in Clause B slows the pace and invites sensory imagination.
– The lack of explicit connectors (e.g., prepositions) intensifies poetic directness and openness.
The syntax thus operates as a persuasive device: economical, evocative, and psychologically engaging.
When Syntax Smells Like Cinnamon
Proverbs 7:17 deploys compressed yet evocative Hebrew syntax to portray seduction. The transition from a complete verb-object unit to a poetic string of exotic nouns replicates the experience it depicts: structured intent dissolving into aromatic diffusion. The seductive speech is not only in content but in form—a lush tricolon wrapped in fragrant brevity.
