John 12:3 (verbal): A woman anoints Jesus with a pound of pure nard and the fragrance fills the house—same substance (nard) and the image of perfume giving forth its scent in the presence of a distinguished person.
Song of Songs 1:3 (verbal): Immediate internal parallel in the same book: the lover praises the savor of the beloved’s ointments, using the same vocabulary of scent and ointment.
Song of Songs 4:10 (thematic): Affirms the superiority and conspicuousness of the beloved’s ointments—'the smell of thine ointments than all spices'—continuing the theme of perfume as praise and attraction.
Psalm 45:8 (thematic): A royal/nuptial image where garments and the palace are filled with myrrh and aromatic spices—parallels the setting of a king and the pervasive fragrance associated with royalty.

13 A bundle of myrrh—my beloved is to me; he abides between my breasts.

צרור המר ׀ דודי לי בין שדי ילין׃

Song of Solomon 5:1 (verbal): Direct use of myrrh/spice imagery ('I have gathered my myrrh with my spice'), linking love to aromatic ointments as in 1:13's 'bundle of myrrh'.
Song of Solomon 4:10 (thematic): Celebrates the beloved's fragrance and the superiority of love ('how much better is thy love than wine… the smell of thy good ointments'), thematically echoing 1:13's perfume imagery.
Song of Solomon 8:3–4, 8:10 (thematic): Breast imagery and intimate bodily motifs (e.g., longing to suck the breasts, 'my breasts like towers') parallel the intimate 'between my breasts' language of 1:13.
Psalm 45:8 (verbal): Royal/romantic imagery of fragrance ('all thy garments smell of myrrh, aloes, and cassia') parallels 1:13's depiction of the beloved as a fragrant bundle of myrrh.
Exodus 30:23 (allusion): Earliest cultic prescription naming myrrh in a precious anointing compound; provides cultural/semantic background for understanding myrrh in 1:13 as costly, fragrant substance associated with honor and sanctity.

14 A cluster of henna—my beloved is to me—in the vineyards of Ein Gedi.

אשכל הכפר ׀ דודי לי בכרמי עין גדי׃

Song of Songs 1:13 (Heb.) (verbal): Both verses employ aromatic-plant imagery (myrrh/henna) to describe the beloved and place him in a cultivated, vineyard/garden setting (En Gedi).
Song of Songs 4:13-14 (structural): A longer garden/ardur catalogue (pomegranates, henna, nard, myrrh, aloes, spices, fountains) that develops the same horticultural/ perfumed imagery used to celebrate the beloved’s attractiveness and erotic plentitude.
Song of Songs 2:3 (thematic): Compares the beloved to a desirable tree among the trees of the wood, paralleling the motif of the lover as superior plant/fruit amid a cultivated landscape (vineyard/orchard) and expressing exclusive affection.
Psalm 45:8 (verbal): Uses the language of fragrance (myrrh, aloes, cassia) associated with a royal/ideal beloved, echoing the Song’s use of aromatic substances to signify beauty, wealth and intimacy.
Song of Songs 7:13 (thematic): Speaks of mandrakes and pleasant fruits laid up for the beloved at the lover’s gate—another instance of erotic love framed in garden/fruit/perfume imagery, like the En Gedi vineyard motif in 1:14.

While the king sits at his table, my spikenard gives forth its fragrance.

A bundle of myrrh—my beloved is to me; he abides between my breasts.

A cluster of henna—my beloved is to me—in the vineyards of Ein Gedi.