Title
The Hebrew title (Shir Hashirim, lit “song of songs”) is an expression of the superlative, meaning “the best song.” The Latin name is Canticles (lit. “songs”). The Hebrew Bible places the Song in the megilloth (Heb., lit. “scrolls”), a collection of books read on festival days of the Jews. Ruth, Esther, Ecclesiastes, and Lamentations are also included in this group.
Author
King Solomon (Heb., lit. “peace”), the son of David and Bathsheba, claims authorship of the book (SS 1:1). The wisest man of his day, he authored 1,005 songs (see 1Ki 4:32). The Song is consonant with his great wisdom and skill. Solomon’s name appears repeatedly in the book (SS 1:1,5; 3:7,9,11; 8:11–12), and the events occur in a royal setting. Also the book’s geographic references seem to assume a united kingdom.
Date
The Song was written during Solomon’s 40-year reign (971–931 BC), probably during the early years of his reign.
Background
Setting
Solomon presided over the royal court in Jerusalem. However, many geographical locations throughout the kingdom are mentioned. Solomon’s authorship has been questioned, though not until the nineteenth century, and arguments suggested against Solomonic authorship have been inconclusive. Most evangelical scholars remain in support of Solomonic authorship.
Purpose
The Song is an epithalamiumor nuptial song, an expression of love between a bride and her bridegroom. Biblical scholars have debated whether the Song should be read figuratively or literally. Many Jewish and Christian scholars have interpreted this poetic expression of human physical love as a historical relationship that could also be interpreted as a divine parable.
Ancient Jewish scholars often regarded the story as a picture of Yahweh and his love for Israel. According to early church fathers such as Augustine, Origen, Jerome and Bernard of Clairvaux, the Song revealed the love between Christ and his church.
As dissatisfaction with allegorical interpretations grew, evangelical scholars adopted the more literal reading as primary. Thus, the Song of Songs was viewed as extolling human sexuality within the bounds of marriage, with a secondary application to Christ and his bride, the church.
Literary Characteristics
Ancient Near Eastern lyrical poetry served as both entertainment and a catalyst for philosophical discussion. The metaphorical language delights and enhances the senses, while it illuminates the understanding. The poet’s intent was to underscore the most profound emotions in the human experience. The intensity of longing and loving, the rehearsal of searching and finding, vows of constancy and lavish praise for the one loved are literary conventions that evoke universal response. No other Old Testament book is so full of technical terms for spices, plants and shrubs (see charts, Animal Life, Flowers and Plants, Gems and Minerals). The Song of Songs, part of the Old Testament wisdom literature (including Job, Psalms, Proverbs and Ecclesiastes), is not mentioned in the New Testament, and the book contains no definite reference to God. The Song contains no explicit doctrinal theology, but it does reflect monotheism in its celebration of God’s creation. In its praise of the joys of human love, the Song echoes Psalm 45 with its pastoral touch.
Themes
The Song stresses the themes of love and devotion between a man and a woman committed to one another, while also echoing the loving relationship between Yahweh and his people Israel and between Christ and his church. With aesthetic imagery, Solomon skillfully highlighted the splendor and majesty of God. No traces of the polytheism that appears in other poetry of this time period is found in the Song.
For women, the Song pictures a bride who is healthy, balanced and truly loved. In contrast to many contemporary writers who depict female weakness or victimization as inevitable and absolute, God presents a portrait of wholeness and hope. A reflection of the intimate relationship between the man and woman in the Garden of Eden can be traced as mutual devotion and respect between a husband and wife develop and as they are related harmoniously with the natural world around them.
The dialogue forms five poetic units, each a renewal of feeling and growing intimacy. Refrains are interspersed with interjections by friends and supporters who celebrate with the couple. This maturation of married love may be outlined as follows.
Outline
Introduction: Title (1:1)
I. A Song of Longing and Invitation (1:2–3:5)
A. The yearning of the Shulammite (1:2–6)
B. A teasing interchange between the lovers (1:7–11)
C. An expression of admiration (1:12–2:7)
D. The invitation of the Shulammite (2:8–3:5)
II. A Song of Fulfillment in the Marriage Procession (3:6–5:1)
A. A description of the bride (3:6–11)
B. The groom’s adoration of the bride (4:1–15)
C. The couple’s toast to one another (4:16–5:1)
III. Songs of Frustration and Delight (5:2–6:3)
A. A dream sequence (5:2–8)
B. The bride’s description of her husband’s assets (5:9–6:3)
IV. An Antiphonal Song of Celebration (6:4–8:4)
A. The beloved’s praise of his bride and her response (6:4–7:9)
B. The bride’s invitation to her beloved (7:10–8:4)
V. A Song of Commitment (8:5–14)
A. The bride’s reflections (8:5–11)
B. An exchange of admiration (8:12–14)