Week 38: The Song of Solomon

THE SONG OF SOLOMON

The original Hebrew title is Sir has-sirim = Song of Songs or “the best of songs.”

AUTHORSHIP. Attributed to Solomon (1:1), thus 971-931 B.C., but this reference could mean it was by, for, or to Solomon. Solomon is also mentioned in the book (1:5; 3:7,9,11; 8:11,12). Notice the reference to queens and concubines (6:8). The author shows acquaintance with natural sciences, which would fit Solomon (mentions 21 difference species of plant life and 15 different species of animal life). The book exhibits a good knowledge of the royal household. Solomon is said to have composed 1005 songs (1 Kings 4:32). Some through the years have objected to Solomon as author, but there is no good reason to reject his authorship.

Allegorical interpretations of the book. Both the Jews after the time of Christ and some Christians have followed the “allegorical method” of interpreting this book. An allegory is a “figurative treatment of one subject under the guise of another.” Thus when the Song of Solomon is looked at as an allegory the obvious meaning is put aside and fancy and imagination take over. The book then becomes whatever one desires it to mean. “The allegorical interpretation could make the book mean anything that the fertile image of the expositor was able to devise” (Meek, Interpreter’s Bible, V, 93). The Jews came to see this book as an allegorical song of God’s love for His chosen people, with the lovers being Jahweh and Israel. They read parts of it during the Passover feast. Following Origen (3rd century) many in the history of Christianity have tried to make the book an allegory picturing Christ’s love for the church or a believer’s relationship to Jesus. A look through the commentaries will illustrate the strange interpretations that have resulted from the allegorical method: Viewed from the allegorical view, men have seen “black” or “swarthy” (1:5,6) to mean “black with sin;” “between my breasts” (1:13) as “between the covenants;” 5:1 is seen to refer to the Lord’s Supper; and 5:12 refers to our washing by the milk of the divine word! There is simply no evidence to show that Song of Solomon is an allegory. There is no reason within the song itself to think it refers to Christ and the church.

Viewed literally, the book is the glorification of pure married love. This is indicated by 8:6-7, which seems a clear statement of its goal. The purpose of the book, then: To teach the sanctity of the sexual relationship between husband and wife that is established by God. “The fact that married love, in all of its holiness, should be so clearly and intimately described, should be neither shocking nor frightening…Perhaps most persons need to enlarge their conception of the Bible as a repository of all things that minister to the welfare of men” (Lewis). How could such a book become part of the Bible? God made man with sexual desire. It is an important feature of human life. That such a book is found in the Bible should really surprise no one (Genesis 2:18,21-24; Prov. 5:15-23; 18:22; 19:14; Matt. 19:4-6; Eph. 5:22-33; 1 Cor. 7;  Hebrews 13:4).

THEME OF THE BOOK: The love of a man for a woman (8:6,7). Marriage is ordained of God, and this book is in praise of the beauty and joy of human love. The family and the home depend upon such love.

THE SONG OF SOLOMON IS THE ONLY BOOK IN THE BIBLE THAT IS MADE UP ENTIRELY OF WORDS FROM MOUTHS OF SPEAKERS. This presents a problem, for we are not told who is speaking! A change in speakers must be determined by the change of person and number and the change of gender in personal pronouns in the Hebrew. Neither are we told when the scene changes from one place to another. “… J.W. McGarvey once said that he had never seen an attempt to analyze the book which did not depend more on the imagination of the interpreter than on the thought of the original writer” (Roberts). It is something like listening to the words of a play without being able to see the characters or see the scenes change.  

THE CLEARLY DISTINGUISHABLE CHARACTERS IN THE BOOK ARE:

The bride–the “Shulammite” (6:13). Shulammite is “evidently derived from Shunam, a town near Mount Gilboa” in the Plain of Esdraelon (New Smith’s, 358). She is a country girl from the north of Palestine, and obviously the favourite bride of the king.

The king— Solomon (3:11).

The chorus of palace ladies–called “the daughters of Jerusalem” or “friends” (as the NIV inserts) (1:5). Modern writers sometimes add “her shepherd lover” who competes with Solomon and wins her back. 2:8-17 is usually seen as describing a visit by him. This version has the girl taken by Solomon for his harem. He woos her for her love but does not win her affections. She declares her love for her country sweetheart, and finally is released by Solomon and allowed to return home to her true lover. Those who take the “shepherd view” state that “Solomon is hardly the best example of true, loyal, single-minded love in the light of his 700 wives and 300 concubines…” Those who reject the shepherd view argue that “it does not explain how the book could have been written by or even attributed to Solomon and have found a place in the (Scriptures)” (Roberts). If you use the New International Version you will see that it takes the traditional approach and so marks the speeches as by “lover,” “beloved,” or “friends.” You will find it helpful that other versions (the NRSV or the ESV, for example) identify the speakers in similar ways.

SOME LESSONS AND OBSERVATIONS FROM THE BOOK. (Selected from John A. Balchin, “Song of Songs,” in New Bible Commentary: 21st Century Ed., 619).
A. “It is important to note that there is no sexual intercourse before the marriage, a significant fact in the light of modern behaviour.”
B. “It describes love in poetic rather than prosaic terms. This stands in contrast to the emphasis today on the mechanics and techniques of love-making which so easily debases the relationship.”
C. “God is concerned about the physical. After all, he made us, and he made us to make love. As this is such an important part of peoples’ lives he provided a whole book about it. But, to keep it in balance, this is only one book out of the sixty-six in the Bible.”
D. “We must know God’s timing in love-making. Love must not be aroused until it is ready (2:7;3:5;8:4). The world says, any time, any place. God says, my time, my place.” 
E. “Family training is all important (8:8-10). The girl’s brothers, especially, trained her to be a ‘wall’ to keep out unwanted intruders rather than a ‘door’ that would let anyone in and so do damage to her life. The training proved successful.”
F. “Married love is exclusive (4:12). In terms of physical love each partner must remain as a locked garden and a sealed fountain. Each life is a private vineyard for the other (8:12). Neither is an open market.”

THE SONG OF SOLOMON

This outline is of the more traditional form, not including the “shepherd lover.” It is from J. W. Roberts, The Old Testament Books and Their Messages in the Christian Age, 278-283. We should see it as an illustration, as most outlines of the book have at least some differences. Compare, for example, the NIV speaker notes.

1. 
   Scene I (1:2 – 2:7). The country home of the king, near the home of the
   Shulammite.
   A. 1:2-8 – Chorus and Shulammite.
   B. 1:9-2:7 – The maiden and Solomon.

II. Scene II (2:8-3:5 ). A scene in the bedroom of the house of the Shulammite’s mother (3:4) and in the street of the city.
A. 2:8 – 17 – The lover comes to the home of the maiden.
B. 3:1-5 – Usually understood to be a dream.
C. Scene III (3:6-5:1). Jerusalem: the wedding procession.
A. 3:6-11 – Approach of the king and his bride.
B. 4:1-5:1 – Songs of mutual endearment.
D. Scene IV (5:2-8:4). Palace: the wedding festival.
A. 5:2-8 – Another dream.
B. 5:9 – Question of the chorus.
C. 5:10-16 – The bride describes her husband.
D. 6:1 – The chorus inquires as to the whereabouts of her lover.
E. 6:2,3 – He has gone to the garden.
F. 6:4-9 – Solomon speaks.
G. 6:10-13 – Talk between the bride and the chorus.
H. 7:1-5 – The chorus sings of the bride’s charms.
I. 7:6-9 – Solomon speaks again.
J. 7:10-8:4 – An invitation by the bride to Solomon to visit her childhood home.
E. Scene V (8:5-14). The Shulammite’s home.
A. 8:5 – Inhabitants ask “Who comes?” First moments of meeting under a tree.
B. 8:6,7 – The bride speaks.
C. 8:8,9 – The bride’s brothers speak.
D. 8:10-12 – The brides speaks of herself, Solomon, and her brothers (as keepers of the vineyard).
E. 8:13 – Solomon asks her to sing.
F. 8:14 – She sings.