“... A key difference between the Strange Woman and the woman of 4Q184 regards eroticism, as Jones has observed. 23 Prov 7 is sexually charged. The Strange Woman embraces and kisses a man (7:13). She boldly suggests to him: "I have decked my couch with coverings, colored spreads of Egyptian linen; I have perfumed my bed with myrrh, aloes, and cinnamon. Come, let us take our fill of love until morning, let us delight ourselves with love" (7:16-18; cf. 5:19). The description of her chambers prepared for erotic pleasures echoes the Song of Songs. 24 Song 4:14 associates a woman with myrrh and aloes (cf. 4:6; 5:5), and the poem begins famously with a woman's call to have sex with her male lover, akin to Prov 7:18 (Song 1:2, 4). The woman in 4Q184 1 never asks a man to sleep with her. There is no account in the text of a woman kissing or embracing a man. 25 4Q184 never describes the difficulty of resisting the advances of a beautiful female. In this sense 4QWiles of the Wicked Woman is not the best title for this text. The woman is not particularly wily. [...] 4QWiles of the Wicked Woman is unique among Qumran wisdom texts in its interest in the Strange Woman of Prov 7. 4Q184 appropriates details about this woman and provides a new portrait of her. Her marital status is no longer an issue and there is less emphasis on her sexual overtures. Both the Strange Woman and the woman of 4Q184 lead victims to their death. But the latter figure is more colorfully associated with death than the former. The figure of 4Q184 is situated in Sheol in a more explicit manner than the Strange Woman. 4Q184 offers a more vivid portrait of Sheol than Proverbs, describing it as a realm of darkness and flames. The text exhibits a dualism of light and darkness, with the former associated with a blessed afterlife for the righteous and the latter with eternal punishment for the wicked. Like the Strange Woman, the woman of 4Q184 represents a way of life that results in death. But the conception of death in 4Q184 is different from that of Proverbs, influenced by late Second Temple concepts of eschatology and punishment after death. 4Q184 transforms the Strange Woman from an alluring but dangerous married woman into a mythological figure of evil. ...”