Douglas Sean O’Donnell
Introduction to Song of Solomon
Overview
The Song of Solomon (or Song of Songs) is a group of God-inspired lyrical poems that celebrate human love. Through beautiful sensory scenes and modest sensual imagery, it exhibits God’s wisdom regarding sexual intimacy between a man and woman in marriage. For those who are unmarried, the exhortation of the main refrain is to wait until marriage to express and enjoy such intimacy (“I adjure you . . . that you not stir up or awaken love until it pleases”; Song 2:7; 3:5; 8:4). However, for those married, the book’s subtle refrain (“My beloved is mine, and I am his”; 2:16; cf. 6:3; 7:10) is a challenge for couples to strengthen their covenant vows.
Because the Song is found in the Bible, we must read it alongside the other OT Wisdom Literature (Job, Proverbs, and Ecclesiastes) and in light of the ultimate revelation of wisdom and love: the Lord Jesus Christ. Read in light of the One, who is called both “the bridegroom” (John 3:29) and our “one husband” (2 Cor. 11:2) and whose kingdom and consummation is like a “wedding feast” (Matt. 22:2; Rev. 19:7), the Song makes us “wise for salvation through faith in Christ Jesus” (2 Tim. 3:15). It reveals to us something of how the “mystery” of marriage (Eph. 5:32) relates to “the mystery of the gospel” (Eph. 6:19).
Title
The first verse provides the book’s title, “The Song of Songs, which is Solomon’s” (Song 1:1). Two details are significant. First is the name “Solomon” (cf. Author for our view of authorship). Second is the repetition of the word “song/songs.” In fact, the book begins with a poetic device called consonance, in which the repeated s sound in the initial consonants is apparent in English (Song . . . Songs . . . Solomon’s) and the sh sound is in Hebrew (shir hashirim asher lishlomoh). This sh sound followed by the r sound emphasizes the Hebrew word for “song” (shir). The Song is a song! Is the bride the soprano, the groom the tenor, and the bridesmaids the chorus? We do not know. What is certain is that this biblical book contains lyrical poetry. It was perhaps set to music and may have been meant to be sung as a love song (cf. Isa. 5:1; Ezek. 33:32), perhaps at a wedding (cf. Jer. 33:11).
Author
In the Christian canon Proverbs, Ecclesiastes, and the Song of Songs follow one another in sequential order. Proverbs begins, “The proverbs of Solomon, son of David, king of Israel” (Prov. 1:1). Ecclesiastes begins, “The words of the Preacher, the son of David, king in Jerusalem” (Eccles. 1:1)—perhaps a reference to Solomon. Finally, the Song of Songs begins, “The Song of Songs, which is Solomon’s” (Song 1:1). The phrase “which is Solomon’s” could signify that the book is (1) dedicated to Solomon, (2) about Solomon, (3) in Solomon’s style, or (4) by Solomon. The traditional view, which has its merits, is that Solomon was the author and that this song was one of his 1,005 songs (cf. 1 Kings 4:32) written during his reign (c. 971–931 BC). As the superlative superscription states, this is the very best of all his prolific songwriting labors.
Date and Occasion
The medieval Jewish scholar Rashi believed that Solomon wrote this Song in his old age (936–931 BC) as an act of contrition for his idolatrous, polygamous relationships that led his heart away from the Lord (1 Kings 1–11). It is certainly possible that Solomon heeded his own advice to Israel (“If they sin against you . . . yet . . . if they repent . . .”; 1 Kings 8:46–48) and chose to depict himself and his actions in a distant, self-deprecating way (as he is the foil in Song 3:6–11; 8:11–12) for the purpose of advocating simple, monogamous, faithful, passionate love, as displayed in his imaginary bride and groom.1
While we cannot know for certain the author (did Solomon write it?)2 or the precise occasion of the book (if he wrote it, did he write it to demonstrate a repentant heart?), we do know something of its canonical context and thus its purpose. The Song is part of the wisdom corpus. We know this based on its association with Solomon, but also because of its wisdom admonition (“I adjure you, O daughters of Jerusalem . . . [do] not stir up or awaken love until it pleases”; Song 2:7; 3:5; 8:4) and wisdom admission (“My beloved is mine, and I am his”; 2:16; cf. 6:3; 7:10). These two refrains direct us to the wisdom that “Solomon” seeks to give to two different groups: the married and the unmarried. The target audience is “the daughters of Jerusalem,” who are the “virgins” (1:3) and the “young women” (2:2). These girls (along with their suitors) are admonished to wait until marriage to enjoy sexual intimacy. That is wisdom! Another type of wisdom is offered to married couples. This song is an invitation to intimacy, designed to sustain loving marriages and to renew loveless ones. This is God’s wise witness to the ripeness and rightness of erotic marital love.
Genre and Literary Features
The primary literary genre of the Song of Songs is, as the title indicates, song, or, more precisely (since we have no inspired musical score to go with it), lyrical poetry. Within this one poem (“the Song”)3 are smaller poetic units (e.g., Song 2:8–17), waṣfs (bodily descriptions), dream sequences, climactic definitions (8:5–7), and enough of a storyline to constitute a minidrama. While we cannot identity fully the characters (who are the bride and groom?) or their complete story (how did they meet, when did they marry, and what towns are they from?), we can clearly decipher the drama of two young newlyweds who are celebrating many aspects of human love: anticipation, patience, arousal, consummation, misunderstandings, difficulties, forgiveness, and commitment.
Throughout these newlyweds’ story, this most poetical of biblical books moves us from imagery to ideas. For example, we will see how the beloved’s description of his bride’s body in 4:12–5:1 is like the garden of Eden and the temple. The intimacy of their lovemaking symbolizes God’s intimate presence with his people—in the garden, in the temple, and ultimately in Jesus, who tabernacled “among us” (John 1:14) and will be with us always (Matt. 28:20). The imagery throughout is awesome; we will explore but never exhaust it. In substance and style the Song is one of the most beautiful works of literary art in the world.
Theology of the Song of Solomon
In our study of the Song we will touch on theological themes, ranging from a (patience, purity, and the value of delayed gratification) to z (eschatological yearning). For now, we highlight two unique theological contributions.
First is the Edenic expressions of eroticism. Can erotic thoughts, desires, and actions be orthodox? Absolutely, if we follow the wisdom of God’s Word. Although we are fallen, and thus our sexual emotions and expressions can easily be distorted and debased, there is still something “very good” (Gen. 1:31) about the desire for physical intimacy. Within the marriage “chambers” (Song 1:4), such passion is to be expressed (v. 2) and such love exalted and rejoiced in (v. 4). The Song echoes the one-flesh theology of Genesis 2:24, and in Song 4:6–5:1 it illustrates the pure “flesh of my flesh” (Gen. 2:23) joining. It provides a picture of the “undefiled” (Heb. 13:4) yet aflame honeymoon.
Second is the high value of the human body. For too long, Christian commentators misread the Song because they adopted and promoted a Neoplatonic view of the body. For example, Theodoret of Cyrus wrote that those who give this book a “corporeal interpretation” have committed an “awful blasphemy,” and Matthew Henry claimed, “When we apply ourselves to the study of this book we must . . . forget that we have bodies.”4 Such views go against not only the natural reading of the text but also the Bible’s theology of the body, including the vital doctrines of the incarnation (John 1:1, 14) and the bodily resurrection (1 Cor. 6:12–20; 15). If the “truly man” part of the “truly God and truly man” was not truly human flesh (cf. 1 John 4:2–3; cf. also 1 John 1:1), the Christian credo is undermined. How could satisfaction for sins be made if Jesus is not both God and man (cf. Anselm, Why God Became Man)? How could we hope for whole bodies after death in that future entirely holy world if Jesus did not rise and does not now reign bodily? The Song reminds us that we have bodies and that there is no separation between godly purity and physical passion. Christian spouses can celebrate seeing and touching the human body as they rejoice that for us and our salvation “the Word became flesh, and dwelt among us” (John 1:14).
Relationship to the Rest of the Bible and to Christ
As Jesus himself claims (cf. John 5:39–40), the revelation of God in the person and work of Christ enlightens our understanding of the OT. For this reason, it is right and reasonable, as Luther put it, to “read the Bible forwards, but . . . understand it backwards.” That is, when we read the Song of Solomon, which was the first of the five books called the Hamesh Megillot and part of the eleven books called the ketuvim (or “writings,” of which the Psalms was the first book; cf. Luke 24:44), we are to look for Christological connections.
While we will not find any promise/fulfillment connections (e.g., the Messiah born in Bethlehem) or redemptive-historical progression (e.g., Jesus the Passover Lamb sacrificed for our sins), we will find touches of typology (e.g., Jesus, our perfect bridegroom) and plenty of analogy (e.g., Jesus’ teaching on marriage as an exclusive, lifelong commitment). The analogy connection, especially via teaching, is crucial, for it reminds us that the Song of Solomon is OT wisdom literature. As such, it is written to people in covenant with Yahweh. It provides practical ethics for the elect (e.g., have a warm marriage bed; wait until marriage to go to bed). For those who rejoice in God’s mighty works in history (the exodus, covenants, conquest, etc.) and long for the ultimate fulfillment of God’s promises to Abraham and David, this book is God’s eternal spiritual wisdom for everyday earthly life.
Preaching from the Song of Solomon
Due to its complexities (what are these lines of poetry saying?) and content (what are these lines of poetry saying!), the Song is often neglected today. However, once we can make sense of the book’s symbolism and gain the courage to preach its obvious but provocative themes, the task of teaching the text should be less intimidating.
In the Song, while the various poems’ structures are important, unraveling the imagery is essential. If we do not know what is meant by “Be like a gazelle” (Song 2:17) or “Your nose is like a tower of Lebanon” (7:4), we cannot apply the text rightly. Throughout this commentary we will attempt to make sense of the symbolism as we feel with our senses the smell of the myrrh, the taste of the apples, the sound of the flowing streams, the sight of the gazelles leaping over the mountains, and the touch of the very flame of the Lord.5 And as we do so, we will also provide some hermeneutical help on transferring Hebrew poetry into an English prose sermon,6 as well as moving erotic pronouncements in the bedroom into modest proclamations in the pulpit.
Interpretive Challenges
When it comes to the Song, intelligibility angst abounds! Comments such as “The Song is the most obscure book of the Old Testament” (Franz Delitzsch), “[It is the] most difficult book of sacred Scripture” (Christopher W. Mitchell), and “No composition of comparable size in world literature has provoked and inspired such a volume and variety of comment and interpretation as the biblical Song of Songs” (Marvin Pope) are commonplace. Disagreements over the translation of abstruse words, the unraveling of odd images, the flow of the drama, the person speaking, and the interpretation of the imagery meet us at every turn. While we will hopefully see the shape of the puzzle and connect a number of its pieces, we will likely be left with some strange shapes scattered across the floor. For this introduction, we will concern ourselves with two key pieces, which are central to gaining a proper understanding and making appropriate applications.
Eros or Allegory?
The first major challenge is to determine whether the Song is an allegory about God’s love for his people or an erotic poem about human love set in the context of marriage. Our view strongly favors the second.
We know that this is a wedding song from the cultural context (i.e., in Israel only sex within marriage was celebrated), as well as from the language of the Song itself. After the word “wedding” is used in Song 3:11 (as the wedding day of Solomon is used as a foil), the word “bride” is used of the young woman six times in the next section (4:1–5:1), a poem which undoubtedly describes sexual relations. Further support for this marriage-song thesis is found in the language of a permanent pledge, such as “Set me as a seal upon your heart” (8:6) and “My beloved is mine, and I am his” (2:16; cf. 6:3; 7:10).
If readers were not influenced by the history of the interpretation of the Song but simply read the text as is, they would likely surmise—with phrases such as “Kiss me,” “His right hand embraces me,” “Your two breasts are like two fawns,” and so on—that this is erotic poetry (“Your rounded thighs are . . . the work of a master hand”) set within the ethical limits of the marriage bed (“my bride”). However, the near consensus of both Jewish and Christian interpretation for at least sixteen hundred years was that the Song is about not human but divine love. That is, it sings of God’s love for Israel and/or Christ’s love for the church or for the individual Christian soul. From Origen of Alexandria to Charles Spurgeon of London, Christians allegorized each thigh and breast and kiss and consummation. While their allegories were usually orthodox, edifying, and Christ-exalting, they were often exegetically absurd (e.g., the phrase in 1:12—“while the king was on his couch”—refers to “the gestation period of Christ in the womb of Mary”).
Following Marvin Pope’s analogy, we liken the history of interpretation to Hans Christian Andersen’s children’s tale The Emperor’s New Clothes. Just as the emperor’s ministers and subjects affirm that he is indeed wearing clothes (when he is not), so interpreters kept telling their readers that the Song was solely about spiritual love (when it is not). But just as a child sees the reality of the situation—the emperor is naked!—so do we see that the characters in the Song are naked. They are also unashamed. And we today should share their lack of shame. For the Song is a song Adam could have sung in the garden when Eve was created from his side; and it remains a song we can and should sing in the bedroom, the church, and the marketplace of ideas. The Song guides us to see with scriptural sensibilities that the earth is “crammed with heaven” (Elizabeth Browning, “Aurora Leigh,” line 61), the way of a man with a woman is “too wonderful” (Prov. 30:18–19), and marriage is not simply a concession to the necessity of procreation but an affirmation of the beauty, chastity, and sacredness of human love. As the ancient commentaries duly noted, however, it does, of course, reveal to us something of the meaning of the mystery of marriage (i.e., “Christ and the church”; Eph. 5:32) and that, “beginning with [even!] this Scripture,” we can discover eye-opening nuances regarding the “good news about Jesus” (Acts 8:35).
The Shape of the Story
If the Song of Songs sings of human marital love, the second major challenge is in determining the shape of the particular love story. Is the couple in the Song married from the beginning (1:2), or does the wedding, followed by lovemaking, occur in the middle (thus following a courtship/wedding/marriage pattern)? Due to the physical frankness of the opening poem (1:2–4), we favor the former position. Note that the woman’s provocative plea in 1:2 (“Let him kiss me with the kisses of his mouth!”; cf. Prov. 5:19) is followed by the choral approval in Song of Solomon 1:4 (trans. Richard Hess):
We will indeed rejoice and be happy for you.
We will indeed recall your lovemaking more than wine.7
Such passionate expression never subsides (e.g., the next scene ends with his right hand embracing her body; 2:6) and is lined with the language of covenantal intimacy (“My beloved is mine, and I am his”) that begins as early as 2:16. Such evidence suggests that this is a wedding poem, wherein the couple is already wed.
Outline
I. Better Than Wine (1:1–4)
A. Title (1:1)
B. Hot and Holy Desires (1:2–4a)
C. Announcement of Approval (1:4b)
II. The Metaphors and Metamorphosis of Loving Words (1:5–2:7)
A. Her Self-Perception and Quest (1:5–7)
B. His Positive Assessment and the Others’ Assistance (1:8–11)
C. An Intimate Exchange on the Green Couch (1:12–17)
D. Another Exchange and a Most Intimate Ending (2:1–6)
E. Her First Adjuration: Wait! (2:7)
III. The Voices of Spring (2:8–17)
A. He Approaches Her (2:8–9)
B. He Invites Her to Intimacy (2:10–15)
C. She Accepts (2:16–17)
IV. Greater Than Solomon (3:1–11)
A. She Sought, Found, and Brought (3:1–4)
B. Refrain (3:5)
C. Behold King Solomon in All His Glory (3:6–11)
V. A Love Feast in the Beautiful Garden (4:1–5:1)
A. His First Admiration and Invitation (4:1–8)
B. His Second Admiration and Invitation (4:9–15)
C. Her Acceptance and Their Intimacy (4:16–5:1)
VI. A Reprieve and Return to Eden (5:2–6:3)
A. Denied and Distraught (5:2–7)
B. What Is He Like? (5:8–16)
C. Where Has He Gone? (6:1–3)
VII. How Beautiful! (6:4–8:4)
A. His Wooing with Words, Take One (6:4–10)
B. Her Hesitancy (6:11–13a)
C. His Wooing with Words, Take Two (6:13b–7:9a)
D. Her Unhesitant Acceptance (7:9b–8:4)
VIII. The Chorus in the Coda (8:5–14)
A. Returning Home (8:5)
B. The Greatness of Love (8:6–7)
C. Virginity and Eschatology (8:8–14)
Song of Solomon 1:1–4