Annotations for Song of Songs

1:2 The Hebrew idiom “love is more delightful than wine” compares every joy and pleasure to wine. Banquets for pleasure were often described as simply “wine” (see Est 7:2) because wine was a metaphor for pleasure, intoxication, sweetness and exhilaration (SS 4:10). Thus, this expression suggests that the Shulammite’s love (Heb. dodim) of her beloved brought her indescribable and incomparable joy and delight. The plural form could suggest the expression of love in multiple caresses and kisses.

1:3 Your name is like perfume (lit. “your very self is oil wafted about”) is a reference to the purification oil used by women. Such an interpretation would identify the Hebrew verb as feminine, and the reference would be to the Shulammite. However, most scholars seem to view the verb as masculine and thus a reference to the lover’s name as a perfume (see Ecc 7:1). Names were far more important in the ancient Near Eastern culture than they are today (see Isa 45, Naming of Children). The mere mention of the lover’s name was a symbol of worth and wealth and awakened pleasurable thoughts and great affection.

1:5 The Shulammite’s dark but lovely complexion was the result of her exposure to the sun and was in contrast to the fair skinned, privileged ladies of the court. She compared herself to the “tents of Kedar,” a reference to the tents of black or dark brown goat’s hair used by the nomadic Ishmaelite tribe from a territory southeast of Damascus (see Ps 120:5). The Shulammite acknowledged her darkness but was not unaware of her beauty. She compared herself to the “curtains of Solomon.” The palace curtains would be richly ornamented and noted for their great beauty.

1:6 My own vineyard is a picture of the Shulammite’s body as she toiled in the fields, often neglecting her grooming. Since vineyards were sometimes a metaphor for sexual intimacy, this expression could have referred to the delaying of her marriage.

1:7 At midday (“at noon”), the Shulammite’s lover, as a herdsman, would be in a shady spot. There the Shulammite wished to be as well. The Shulammite distanced herself from a harlot or a leper, both of whom would be heavily veiled.

1:9 For “mare,” see chart, Animal Life.

1:14 En Gedi, a fresh water spring, lay on the western shore of the Dead Sea in the territory of Judah. Archaeologists have uncovered evidence that a perfume industry was located there.

2:4 “His banner” identified and led a military encampment or a large procession of people. The banner was a public display showing the army or people where they belonged or where they were to go. The Shulammite was brought to Solomon’s banquet table by virtue of his love (SS 6:4,10). She was made at ease by her lover’s protective banner of love.

2:7 A recurring refrain throughout the Song is “Do not arouse or awaken love until it so desires.” The phrase often closes one section and opens another. Several interpretations concerning its significance have been suggested: a warning against forcing the development of love; an admonition to the women of the court not to interrupt the lovers; or a caution against premature arousal of sexual passions. The latter interpretation is more natural and affirms the premarital chastity that is encouraged throughout the Song and all of Scripture (SS 4:12; 8:8–12; see 1Co 7, Sexual Purity).

2:15 Foxes that spoil the vines is a reference to small marauders that were a common pestilence for vineyard keepers (see chart, Animal Life). These “foxes” would represent the problems and differences found in any intimate relationship. In marriage, a commitment to work through such difficulties and to protect the relationship must be in place (see Romance; SS 5, Conflict).

2:17 The idea of “rugged hills” is probably one of “cutting” or “dividing.” The phrase may simply read “hills of separation,” a metaphor describing the separation of the lovers. In this love poem, some see the “hills” as a reference to the Shulammite’s breasts and to her deep longing for her lover.

3:4 “My mother’s house” presents evidence of legitimate espousal in that the Shulammite’s lover was approved by her family.

3:5 Daughters of Jerusalem has been variously understood to identify friends of the bride or women of the royal court of Israel. The epithets used by the Shulammite (vv. 10–11) are apparently parallel phrases used to address Hebrew women who showed allegiance to the king. Perhaps Jesus had this reference in mind when he addressed the weeping women on his way to Golgotha (Lk 23:28).

3:7 Solomon’s carriage (Heb. mittah) was a sedan or litter that allowed the occupant to recline. The king was attended by bodyguards to protect him from raiders. The Greek hapax legomenon (a word used only once in the text) and Hebrew ’appiryon seem to be references to the same piece of furniture (v. 9). The description is clear that this was an enclosed, portable chair/sofa constructed of wood from Lebanon and probably carried by members of the king’s elite guard.

3:10 The wedding carriage was luxurious. No expense was spared in preparing for the king’s wedding. Even the interior was beautifully prepared with expressions of love.

3:11 Solomon could have worn a crown of jewels, but this was probably the customary garland made by the ancients for festive occasions, especially weddings, and appropriately placed on the king’s head by the queen mother.

4:1 Women sometimes wore a small veil over the lower face, but this word also denotes a hairnet (see chart, Head Coverings for Women). The hills of Gilead, a chain of mountains east of the Jordan River, intersected with numerous valleys where shiny black goats were habitually seen descending in the sunlight (SS 6:5; see chart, Animal Life).

4:4 The Shulammite’s erect posture and shapely neck adorned with jewelry evoked a military vision, which would be natural for Solomon, possibly conveying the idea of strength and the suggestion of a model for others to follow (see chart, Gems and Minerals).

4:5 The reference to her two breasts is clearly an expression of erotic desire on the part of the lover who envisioned stroking or touching, as he would be drawn to pet a soft, young deer (see chart, Animal Life).

4:8 Amana is a hill in the Anti-Lebanon Mountains facing the plain of Damascus. All the places mentioned are in northern Israel. Senir and Hermon were the two highest peaks in this range of mountains.

4:12 The Shulammite’s garden (Heb. gan, lit. “a covered place”) was probably an enclosed and protected place of beauty and shade. Since water was scarce, private land owners sealed their fountains with clay, which would harden in the sun and serve as a protection for the water supply. Both metaphors suggest limited access, and the image is that the bride is a virgin. The Shulammite had indeed kept herself for her beloved, testifying to her own commitment to the faithfulness of marriage partners and to their exclusive monogamous physical intimacy. Though Solomon later violated this commitment, the purposes of God for marriage have not changed (see chart, God’s Plan for Marriage).

4:16 The bridegroom would not enter the bridal chamber until invited. Here the Shulammite modestly invited him.

5:1–2 The Shulammite was no longer a sealed garden because her beloved gained his rightful entrance. The relationship between the Shulammite and her lover was obviously personal and private. An interval occurred, during which the marriage was consummated (v. 1). Then the Shulammite spoke, perhaps as in a fitful dream, revealing her feelings. Every relationship experiences periods of apathy or indifference. However, the Shulammite did not remain in that state but repented (vv. 6–8), had a reawakening of her affections for her lover (vv. 10–16) and changed her heart, leading to reconciliation (SS 6:1–13).

5:4 The latch was a small hole in the door, enabling a woman to look out while remaining inside unexposed to view.

5:7 Night patrols were charged with clearing the streets of wanton women. A large silk mantle or “cloak” was often thrown over other garments for warmth (see chart, Head Coverings of Women).

5:15 This hyperbole pictures Solomon as rising far above common men, like the tall cedars on the awe-inspiring Mount Lebanon.

6:3 Mutual commitment is firmly stated, despite fluctuating feelings and misunderstandings (see Ge 2, God’s Plan for Marriage).

6:4 Tirzah, an old Canaanite city, was famed for its beauty and royal residences.

6:8 Solomon’s royal position gave him access to as many women as he wanted, but he had chosen the Shulammite.

6:12 The king’s love had transformed the Shulammite, in her mind, from a simple maiden into a queen.

7:1 The king extolled the Shulammite’s beauty from her feet upward to her head. His passions were awakened. The Shulammite might be dancing before her husband.

7:4 The Amorite king Sihon established his ancient capital at Heshbon about 50 miles east of Jerusalem near modern Madaba (Nu 21:25–30). Beautiful reservoirs and fertile land made the city famous. Bath Rabbim was one of the gates of the ancient city. The king found rest in the Shulammite’s eyes as a busy traveler who entered the city by the gate would find rest in the refreshing pools.

7:8 I will climb is a poetic expression of Solomon’s intention to fulfill his sexual longing for the Shulammite. She was confident of his love as well (v. 10).

7:13 The Shulammite had planned sensual pleasures carefully for her beloved. She would give her love to him in ways new and old.

8:1 The ancient Near Eastern culture made improper all public expressions of love except to family members. The Shulammite wished her beloved was like her brother so that she could kiss him in public without shame and disgrace.

8:6 The Shulammite desired permanence and security from her lover. The seal was a mark of ownership and official commitment. The Shulammite wanted to be a “seal” on her lover’s heart because the nearness to the seat of his affection gave her security. She wanted to be a “seal” on his arm to remind her of his protection and strength. The phrase “as strong as death” suggested that finality and immutability of his love. The reference to “jealousy” was a reminder of the exclusive intensity of his love (v. 6).

8:8 These words of the concerned brothers of the Shulammite indicate that the future of every Israelite girl depended on her virginity.

8:9 The wall is a picture of a barrier, indicating virtue. The “door” represents promiscuity or the indiscriminate yielding of the body. The brothers are held responsible since a sister’s lifestyle would reflect on her family. If the Shulammite were a “door,” the brothers would protect her; if she were a “wall,” they would trust and praise her.

8:10 The Shulammite testified that she was a virgin. Thus, she had found favor with Solomon.

8:11 The location of Baal Hamon (lit. “owner of a multitude”) is undetermined. The reference is to Solomon’s wealth and royal status.

8:12 Metaphorical language suggests the abundant profit the Shulammite would be to Solomon. Though her first loyalty was to Solomon, she did not forget the family who reared and nurtured her. The Shulammite’s brothers had leased Solomon’s vineyard. However, the Shulammite asked Solomon to reward her brothers for protecting her through the years by paying her brothers 20 percent or 200 of 1,000 silver coins, which would represent the traditional percentage of profit due a vineyard’s caretakers. This would be Solomon’s payment to her brothers for preserving and caring for the Shulammite and for keeping her pure for him (v. 12). Marriage eluded her no longer (see SS 1:6, note).