song of solomon

Background

Authorship.   Solomonic authorship is rejected by many. La Sor cites the presence of “alleged Persian and Greek loanwords,” and “words and phrases reflecting Aramaic influence.”[1] Others contend that a polygamist could not have conceived of such monogamous fidelity.

Solomon’s international contacts are well documented, and could well explain the existence of foreign influence linguistically. In response to the polygamy argument, it is also true that Solomon was once a virgin, and then the husband of one wife. It seems likely that his early years were more upright than later. Perhaps the book reflects that purer time.

In favor of Solomonic authorship, the book claims the same (1:1; cf. 1:5; 3:7, 9, 11; 8:11, 12). Elsewhere the Bible tells that Solomon was a noted song writer (1 Kings 4:32); and that he was expert in the biological sciences (1 Kings 4:33), accounting for the numerous references to plants and animals in the book. The groom in the book was obviously quite wealthy (3:7-10; 6:12); Solomon’s wealth is legendary. The geographical references to both north and south Palestine suggest a time previous to the schism (931). While the book exalts monogamy, it also makes reference to 60 queens, 80 concubines, and innumerable virgins (6:8-9), a circumstance possible for Solomon and very few others.

Date of composition.   Assuming Solomonic authorship and his ‘possession’ of the 60 wives and 80 concubines, a date relatively early in his reign (971–931) is most likely: perhaps around 960.

Genre and Interpretation.   This “Song” is notoriously difficult to interpret for a number of reasons. First, it was long considered inappropriate that the Bible should have a book devoted to the subject of sex. Therefore allegories were proposed that likened the couple’s love relationship to God’s love for Israel or Christ’s love for the church. These seem quite unlikely in the absence of literary evidence for such an intended meaning. It seems best to take the book simply as a paean in praise of marital love.

Beyond that, the thrice iterated refrain exhorting the daughters of Jerusalem not to awaken love until it pleases (2:7; 3:5; 8:4) must be a crucial indicator of the book’s intended message. It appears that this peek into the love life of a happy married couple is designed not only to recommend the same, but also to provide this important caution against carelessly, prematurely grasping for its joys, as this would only spoil the future (cf. 2:15).

It has also proven quite unyielding to attempts to outline it to everyone’s satisfaction. As well, the question of whether there are one or two male lovers has been discussed, although the argument proposed here demands one man only. The flow of the story line, and even the question of whether one exists, have also proven difficult to settle. The literary genre seems either to be drama or lyric poetry, with the latter proposed here.

Argument

This love story traces first the courtship (1:2—3:5), opening with an expression of loving passion on the lips of the woman (1:2-4). She is then introduced as a most attractive and desirable girl (1:5-8), who is entranced with her lover (1:9-11).

The story of their love relationship begins with their mutual secret attraction to one another (1:12-15), which soars into fantasies about marriage (1:16-17). Both were ecstatic with admiration and love for the other (2:1-6). With passion rising so quickly, the author interjects his theme message about patience in love (2:7).

The girl’s infatuation is artistically developed, including her report of their intimate premarital moments (2:8-14) when passions had to be checked (2:15-17). Thoughts of him consumed her when away from him (3:1-4), and again the poet interjects his theme, discouraging the premature consummation of love (3:5).

In the wedding procession the groom is viewed as most majestic (3:6-11). Finally, the couple is able to give full expression to their love. His description of her body is most amorous (4:1-7). As a result he is intensely aroused with sexual passion (4:8-11), and savors the unique privilege of unlocking for the first time the garden of her virginity (4:12-15) at her invitation (4:16). Such a scene is most satisfying (5:1a) and treasured (5:1b).

Apparently jumping some time into a future marriage situation, the reader is shown a ‘spat’ in progress, and the process of reconciliation. When she responds late to his advances (5:2-6), she finds pain in her efforts to win back his attention (5:7). In his absence she pines over him, with her own amorous description of him (5:8-16). Soon the couple is reunited, enjoying the pleasures of the ‘garden’ (6:1-13).

The reader is then made privy to one more scene from the couple’s mature relationship, this time a scene of total harmony. It begins again with his sensuous evaluation of her body (7:1-7), which naturally arouses sexual desire (7:8-9a). What is romantic to her is the thought that she is his exclusively (7:9b-10). Gladly she invites him to return to her garden (7:11-13). Only one thing could she possibly wish, and that would be even greater intimacy (8:1-3). With this exceedingly desirable portrayal of love, the author returns one final time to the refrain urging continence until the proper maturity of love (8:4).

In the final scene the couple is overheard reviewing the history of their love. They testify that love is a terribly powerful thing (8:5-7). It must therefore be treated with the greatest care: perfect youthful chastity was their experience, which they recommend (8:8-10). In conclusion their eyes are toward one another, each desiring the other exclusively (8:11-14).

Outline

I. Introduction: Title and author  1:1

II. Courtship  1:2—3:5

A. Introduction  1:2-11

1. Theme of longing  1:2-4

2. Theme of unpresumptuousness  1:5-8

3. Theme of praise  1:9-11

B. The growth of love  1:12—3:5

1. Mutual secret praise of bride and groom  1:12—2:6

a) The bride’s secret admiration for the king  1:12-14

b) The groom’s secret appreciation of her beauty  1:15

c) The bride’s fantasies about marriage with the king  1:16-17

d) The bride’s expression of joy  2:1

e) The groom’s high regard for her  2:2

f) The bride’s love for him  2:3-6

2. Refrain: Love must not be aroused prematurely.  2:7

3. The bride’s soliloquy  2:8—3:5

a) The time for love, in imagery from nature  2:8-17

(1) The bride’s ‘discovery’ of the groom  2:8-9

(2) The groom’s courting of her  2:10-14

(3) The bride’s response  2:15-17

b) The bride’s yearning for her groom  3:1-4

c) Refrain: Love must not be aroused prematurely.  3:5

III. Wedding procession: Solomon in regal splendor  3:6-11

IV. Marital consummation  4:1—5:1

A. The groom’s amorous description of his bride  4:1-7

B. The groom’s expression of sexual desire and arousal  4:8-11

1. His desire for her  4:8

2. His confession of sexual arousal  4:9-11

a) His pounding heart  4:9

b) His enjoyment of her loving kisses  4:10-11

C. The groom’s parable: her virginity is like a locked garden  4:12-15

D. The bride’s invitation into her ‘garden’  4:16

E. The groom’s expression of satisfaction at partaking of her ‘garden’  5:1a

F. The poet’s encouragement of the couple in their lovemaking  5:1b

V. Conflict and resolution  5:2—6:13

A. The conflict  5:2-7

1. The wife’s indifference to her husband’s advances  5:2-3

2. Her tardy response  5:4-6

3. Her pain in efforts to win him back  5:7

B. The resolution  5:8—6:13

1. The wife’s expression of appreciation for her husband’s charms  5:8-16

a) Her desire for reconciliation  5:8

b) Her description of him through the eyes of love  5:9-16

2. The couple’s enjoyment of reunion  6:1-13

a) The husband in his garden  6:1-3

b) The husband again infatuated with her charms  6:4-10

c) The couple’s retreat together  6:11-13

VI. Expressions of mutual affection  7:1—8:4

A. The groom’s passionate view of his wife  7:1-9a

1. His toe to head description of her  7:1-7

2. He sexual desire for her  7:8-9a

B. The bride’s reveling in her husband’s love for her  7:9b—8:3

1. Her expression of enjoyment of his exclusive love for her  7:9b-10

2. Her romantic invitation to him  7:11-13

3. Her desire for even greater intimacy  8:1-3

C. Refrain: Love must not be aroused prematurely.  8:4

VII. How love began  8:5-14

A. The bride’s present fidelity and past chastity  8:5-10

1. The imagery of love’s beginning  8:5

2. The couple’s powerful, faithful love  8:6-7

3. The bride’s youthful chastity  8:8-10

B. The couple’s commitment to and desire for one another  8:11-14

1. The bride’s expression of her loving availability to her husband alone  8:11-12

2. The couple’s expression of mutual desire for one another  8:13-14