Song of Solomon

 

Sex, created by God and pronounced good in Eden, has been twisted, exploited, and demoralized.  Love has turned into lust; faithful commitment into “no strings attached.”  God’s intention for us to have a holy means of celebrating love, procreating, and experiencing pleasure, protected by the commitment of marriage, has been perverted.  Our society has distorted God’s good gift of sexual intercourse.  The Song of Solomon, however, describes sexual intimacy, within the proper God-given perspective, by means of desire, courtship, wedlock, marital conflict and resolution, marital commitment, and the power of true love.

 

The author identifies himself as Solomon (1:1, 5; 3:7, 9, 11; 8:11, 12) and refers to himself as the “king” (1:4, 12; 3:9, 11; 7:5).  Among his 1,005 songs (1 Kings 4:32), Song of Solomon is his most impressive work.  We know this by the superscription made in the opening verse, “Song of Songs” (1:1), which is the Hebrew way of expressing the superlative work of King Solomon (Davis 238).  Though scholars are uncertain of the exact date this writing was composed, Solomon probably wrote this while he was still young, before being drawn away from Yahweh by his 700 wives and 300 concubines (1 Kings 11:3-4).  According to Irving L. Jenson, “A suggested date is 965 B.C.” (Jenson 63). 

 

The Song of Solomon is a love poem, consisting of stanzas, or songs, of varied lengths and utilizes several different literary devices.  Such devices support all the characteristics of Hebrew poetry: terseness, parallelism, and imagery.  Terseness simply describes the fact that Hebrew poetry is distinguished from prose by the shortness of its clauses (e.g. “Place me like a seal over your heart, like a seal on your arm,” 8:6a).  Parallelism involves the repetition of meaning (“My head is drenched with dew; my hair with the dampness of the night,” 5:2).  Imagery is a figurative device used to evoke a mental picture.  Such pictures are often the result of comparison, the two most common types being metaphor and simile.  A metaphor compares two unlikely objects by identification (e.g. “Your eyes behind your veil are doves,” 4:1a).  A simile compares two unlikely things by the use of “like” or “as” (e.g. Your hair is like a flock of goats,” 4:1b) (Longman 9-14).

 

The main characters in the Song of Solomon are Solomon (lover), a Shulamite woman (beloved), and the daughters of Jerusalem (friends).  Solomon was Israel’s third king (1 Ki. 1:32-37) and ruled from 971 to 931 B.C.  He was the son of David and Bathsheba (2 Sam. 12:24).  The Shulamite woman is only identified in 6:13.  Her name is probably derived from the place Shunem, located a short distance north of Jezreel near the plain of Megiddo (Jos. 19:18; 1 Sam. 28:4; 1 Ki. 1:3; 2 Ki. 4:8).  The daughters of Jerusalem (1:5; 3:10; 5:8, 16), also referred to as “daughters of Zion” (3:11), include either companions of the bride, workers in the king’s palace, or the beloved’s half brothers (8:8).

 

The setting of the Song of Solomon is in Solomon’s vineyard, located in Ball Hamon, about fifty miles north of Jerusalem (8:11).  He rented it out to two sons and their young (8:8), half sister (1:6)—the Shulamite woman (6:13).  The two sons made their sister work very hard to take care of the vineyard.  She tended to the flocks (1:8) and caught foxes (2:15).  For this reason, she had little time to care for her personal appearance: “I am dark because I am darkened by the sun” (1:6).  One day, King Solomon disguised himself as a handsome stranger and went to the vineyard.  Upon noticing the Shulamite woman, he expressed interest in her.  From this, follows the rest of his Song (Jenson 64-65).

 

First, the Song of Solomon describes sexual intimacy, within the proper God-given perspective, by means of desire (1:2-1:8).  Though this desire abounds with expressions of great sexual craving, the lovers exercise immense sexual restraint.  The Song begins with a passionate exclamation on the part of the Shulamite woman, who desires union with King Solomon.  Her opening line, “Let him kiss me with the kisses of his mouth” (1:2a), though it sounds awkward and even ponderous to us, expresses her enthusiasm and excitement.  According to Tremper Longman III, “The specification of kisses on the mouth may suggest that there were other intimate gestures, perhaps, for instance, nose kisses” (91).  The woman praises Solomon’s affection: “Let him kiss me with the kisses of his mouth” (1:2a); his taste: “For your love is more delightful than wine” (1:2a); his smell: “Pleasing is the fragrance of your perfumes” (1:2b); his character: ”Your name is like perfume poured out” (1:3a); and his reputation “No wonder the maidens love you” (1:3b).  Considering this, the daughters of Jerusalem praise the woman for desiring Solomon: “We rejoice and delight in you; we will praise your love more than wine” (1:4).

 

Second, the Song of Solomon describes sexual intimacy, within the proper God-given perspective, by means of courtship (1:9-3:5).  The lovers echo praise towards one another and engage in a dialogue of mutual admiration.  “How beautiful you are, my darling” . . . (1:15).  “How handsome you are, my lover” . . . (1:16).  To further express this admiration, Solomon tells the woman, “Your eyes are doves” (1:15).  There is a mythical dimension here, in that the ancient Hebrews used doves to symbolize tranquility and love.  Doves were the messenger birds of the love goddess Ishtar (the Eastern counterpart to the Greek Aphrodite).  Though Solomon was a Jew (present day Christian), he relates to the pagan imagery of his day.  In addition, during this echoing dialogue, the woman imagines the house the lovers will share: “The beams of our house are cedars; our rafters are furs” (1:17).  It is interesting that cedar also appears in the description of Solomon’s temple (1 Ki. 6:15-18; 7:2-3,7), which was lined floor-to-ceiling with the fine wood.  According to Ellen F. Davis, “On the one hand, it is “the house” par excellence in biblical tradition, the place where God’s name dwells (1 Ki. 8:48).  On the other hand, the symbolism of the Temple strongly suggests that it was conceived as a place of great natural beauty, a forest or garden.  The lover’s evergreen house evokes that dual aspect of the Temple” (248).  Perhaps, the reference to cedar alludes to the greatness of Solomon’s Temple, which was dedicated to the Lord.  So too, the lovers dedicated their courtship to the Lord. 

 

Third, the Song of Solomon describes within the proper God-given perspective, sexual intimacy, by means of wedlock (3:6-5:1).  A central figure of a Hebrew wedding ceremony was a procession to the bride’s home led by the groom, who then escorted his wife to their new residence.  On their wedding night, Solomon praises his wife for her beauty: “How beautiful you are, my darling!  Oh, how beautiful . . . All beautiful you are my darling; there is no flaw in you” (4:1-7).  Solomon praises seven aspects of his wife’s appearance, moving gradually downward from eyes to breasts.  The number seven symbolizes completeness or perfection.  In return, the woman turns all her attention to Solomon: “You have stolen my heart . . . The fragrance of your garment is like that of Lebanon” (4:9-11).  The woman gave herself freely to Solomon and was not passive with her lovemaking.  Her kisses were as desirable as milk and as sweet as honey (4:11).  Milk and honey are symbolic terms of the land of Canaan (Ex. 3:8).  Just as Canaan, rich in agricultural prosperity, was a source of blessing and joy for the Israelites, so too the woman’s kisses are a source of joy for Solomon.  The conclusion to be drawn from this passage is that sex, when enjoyed properly within wedlock, draws attention from oneself to one’s mate, to his or her needs and pleasures (Walvoord 1019).

 

Fourth, the Song of Solomon describes sexual intimacy, within the proper God-given perspective, by means of marital conflict and resolution (5:2-6:13).  The conflict described is introduced to the woman in a dream (5:2-7).  Solomon wants to make love, but the woman has already gotten ready for bed.  Her trivial excuse for not wanting sexual intimacy reveals the woman’s apathy and lack of concern for her lover’s need.  As a result, Solomon leaves his house, which in return, startles the woman.  Upon their separation, the woman is beaten and bruised (raped) by other men.  This dream symbolizes the pain of separation brought about by selfishness and reiterates the need of the lover for comfort and protection.  The resolution is described when Solomon speaks words of devotion to his wife (6:4-9).  He assures his wife his love and appreciation for her has not diminished, but has grown as a result of their separation (6:9).  The joy, intimacy, and physical desire the lover’s share does not subside, as is often the case in many marriages today.  Though the couple experiences trying conflict, they are able to resolve their reservations because their relationship is dedicated to the Lord (Walvoord 1021).

 

Fifth, the Song of Solomon describes sexual intimacy, within the proper God-given perspective, by means of marital commitment (7:1-8:14).  This section portrays the maturing of the couple’s sexual freedom in marriage.  Solomon praises the woman for her beauty: “How beautiful are your sandaled feet . . . Your graceful legs are like jewels . . . Your navel is a rounded goblet . . . Your waist is a mound of wheat . . . Your breasts are like two fawns . . . Your neck is like an ivory tower . . . Your nose is like the tower of Lebanon . . . Your head crowns you like Mount Carmel . . . Your stature is like that of the palm, and your breasts like clusters of fruit . . .” (7:1-9a).  Undoubtedly, Solomon is infatuated with his wife’s beauty.  So too, the woman speaks of the security she feels as a result of Solomon’s love for her: “I belong to my lover, and his desire is for me” (7:10).  Undoubtedly, the lovers have moved to deeper levels, as a result of their marital commitment to one another.

 

Sixth, the Song of Solomon describes sexual intimacy, within the proper God-given perspective, by means of the power of true love (8:5-14).  As a seal (8:6a) was used to indicate ownership of a valued possession in Old Testament times; so too, the woman wants to be Solomon’s most valued possession, an indication of true love.  The beloved wants to be a possession that would influence her lover’s thoughts as well as his actions (8:6a).  “For love is as strong as death, its jealousy unyielding as the grave.  It burns like blazing fire, like a mighty flame.  Many waters cannot quench love; rivers cannot wash it away.  If one were to give all the wealth of his house for love, it would be utterly scorned” (8:6b-7).  As Jack S. Deere put it, “Marriage is to be a monogamous, permanent, self-giving unit, in which the spouses are intensely devoted and committed to each other, and take delight in each other” (qtd. Walvoord 1025).  So too, Scripture tells us, “For this reason a man will leave his father and mother and be united to his wife, and they will become one flesh” (Gen. 2:24).  Clearly, the quotes above depict for us a mental picture of the power of true love.

 

The love shared by Solomon and the woman is worthy of admiration.  They dedicated their relationship to God, and in return, He blessed their love for one another.  They were sexually intimate, but not perverted.  They enjoyed God’s good gift for what it is and did not defile it.  They had a proper God-given perspective of intimacy, which was expressed through desire, courtship, wedlock, marital conflict and resolution, marital commitment, and the power of true love. 

 

Works Cited

 

Davis Ellen F. Proverbs, Ecclesiastes, and the Song of Songs. Louisville, Kentucky: Westminister John Knox Press, 2000.

 

Jenson Irving L. Ecclesiastes and Song of Solomon: A Self-Study Guide. Chicago: The       Moody Bible Institute, 1974.

 

Life Application Study Bible: NIV. Illinois: Tyndale House Publishers, 1997.

 

Longman, III Tremper. Song of Songs. Grand Rapids, Michigan: William B. Eerdmans          Publishing Company, 2001.

 

Walvoord John F., and Zuck Roy B., eds. The Bible Knowledge Commentary: Old Testament. Colorado Springs, Colorado:        Cook Communications Ministries, 1983.