Song of Solomon Commentaries

Song of Solomon 1

1:1 See Introduction: Title; Author and Date.

1:2—3:5 In this first of 3 major sections to the Song, 32 out of 39 verses are spoken by the Shulamite, with brief interludes by her beloved and the daughters of Jerusalem. This portion most likely represents her remembrances of past events combined with the desires of her heart to marry the king, as she anticipates his arrival to take her to Jerusalem for the wedding in 3:6 ff.

1:2, 3 Four features of Solomon attracted the beloved: 1) his lips, 2) his love, 3) his lotion, and 4) his pure lifestyle. Later Solomon noticed these same features in her (4:9–11).

1:3 the virgins. The daughters of Jerusalem (v. 5).

1:4 We will run. This is better understood as spoken by the Shulamite, rather than the daughters of Jerusalem, in the sense of “let us hurry/run.” The king has brought me. This is better understood as the desire of her heart—”Let the king bring me into his chambers”—rather than a statement of fact. We will remember your love. The daughters of Jerusalem affirmed the Shulamite’s praise in v. 2.

1:5, 6 I am dark. The Shulamite was concerned that the sun (from working outdoors) had marred her complexion (cf. vineyard, 7:12; 8:11).

1:6 my own vineyard. Speaks of herself (cf. 8:12).

1:7 veils herself. Valuing purity, she disclaimed the veil of the prostitute, unlike Tamar (Gen. 38:14–16). Rather, she would go as a shepherdess to a shepherd.

1:8 This could have been spoken by the daughters of Jerusalem. O fairest among women. The Shulamite received accolades as the best (cf. 5:9; 6:1). This is reminiscent of the Prov. 31 woman (v. 29).

1:9 my love. The first of 9 uses (1:15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4) my filly. Coming from an accomplished horseman (1 Kin. 10:26–29), this speech figure makes perfect sense as a striking compliment of her dazzling beauty.

1:13 my beloved. The first of 24 appearances.

1:15 you are fair. Verbal affirmation fueled this romance. He used “fair” at least 10 times (1:15; 2:10, 13; 4:1, 7; 6:4, 10; 7:6). dove’s eyes. She returned the compliment in 5:12, which is best understood as beautiful eyes representing a beautiful personality.

1:16, 17 Actually an outdoor setting in the forest.

Song of Solomon 2

2:3–6 This scene pictures the loving desire of the Shulamite rather than her actual experience.

2:4 banqueting house. The scene continues in the outdoors. This “house of wine” symbolizes the vineyard, just as the beams and rafters of 1:17 refer to the forest. his banner. As a military flag indicates location or possession, so Solomon’s love flew over his beloved one (cf. Num. 1:52; Ps. 20:5).

2:7 I charge you. This refrain, which is repeated before the wedding (3:5) and also afterward (8:4), explicitly expresses her commitment to a chaste life before and during marriage. She invites accountability to the daughters of Jerusalem.

2:11–13 Winter past, rains over, flowers appearing, and vines blooming use springtime as a picture of their robust, growing love for one another.

2:14 This is best taken as a continuation of what Solomon said as quoted by the Shulamite (vv. 10–15).

2:15 Catch us the foxes. Perhaps, as she literally did in the vineyards, Solomon wanted her to do by analogy in their relationship, i.e., to remove those things in their relationship that would spoil their blossoming love. It could also be thought of as “Let us.…”

2:16 My beloved is mine, and I am his. This clearly expresses the sanctity of a monogamous relationship that is built on mutual love (cf. 6:3; 7:10).

Song of Solomon 3

3:1–4 As the wedding time approaches, the Shulamite’s expectations grew more intense. It’s best to understand this as her dream, rather than a historical remembrance.

3:1 the one I love. She repeated this phrase once in each of the first 4 verses, expressing her exclusive love for Solomon.

3:3 watchmen. This imagined encounter resembles a later real experience (cf. 5:6–8).

3:4 The Shulamite finds Solomon in her dreams and brings him to where she actually resides—her mother’s house.

3:5 As in 2:7, the beloved knows that the intensity of her love for Solomon cannot yet be experienced until the wedding, so she invites the daughters of Jerusalem to keep her accountable regarding sexual purity. Up to this point, the escalating desire of the Shulamite for Solomon has been expressed in veiled and delicate ways as compared to the explicit and open expressions which follow, as would be totally appropriate for a married couple (cf. 4:1 ff.).

3:6—5:1 This second major section portrays the king actually coming for his bride and their return to Jerusalem (3:6–11), the wedding (4:1–7), and the couple’s consummation of their union (4:8–5:1). Unlike the previous section, Solomon does a majority of the speaking (15 of 23 verses).

3:6–11 This narrative would be better understood as spoken by the daughters of Jerusalem who are also called “the daughters of Zion” (v. 11).

Song of Solomon 4

4:1—5:1 Until 3:11, there has been no hint of a wedding or marriage; thus the scenario of events support the idea that 1:2–3:5 refers to premarital days, while 4:1ff. rehearses the wedding and their love life that followed. Several reasons support this explanation: 1) “wedding” is not mentioned before 3:11; 2) “bride” does not appear until 4:8, and then it is mentioned 6 times from 4:8 to 5:1; and 3) prior to 4:1 the beloved has a holy preoccupation with sexual restraint (cf. 2:7; 3:5), but not afterwards in the holy bonds of matrimony.

4:1–15 Possibly Solomon speaks vv. 1–7 in public and the far more intimate words of vv. 8–15 in private as they prepare to consummate their marriage in v. 16 and 5:1.

4:1–7 For other specific descriptions of the Shulamite’s beauty, see 6:4–9 and 7:1–7. He begins v. 1 and closes v. 7 with the same refrain, “you are fair my love.”

4:1, 3 veil. Not the veil of a prostitute (1:7), but rather the bride.

4:8 from Lebanon. This figuratively describes the distance that the couple had kept sexually, which is further described in v. 12 as an enclosed garden, a shut up spring, and a sealed fountain.

4:9 My sister. A common ancient Near Eastern term of endearment by a husband for his wife, which expresses closeness and permanence of relationship (cf. 4:10, 12; 5:1, 2).

4:15 a well of living waters. Solomon testified that whereas she was closed to his physical love before marriage (vv. 8, 12), now she is appropriately open to it (cf. Prov. 5:15–20).

4:16 The Shulamite then portrays herself as an open garden, whereas before she was closed (4:12). She describes herself as “his garden” signifying voluntary sexual surrender (cf. 1 Cor. 7:3–5).

Song of Solomon 5

5:1 I have. While the guests feasted, the couple consummated their marriage (cf. Gen. 29:23; Deut. 22:13–21) and Solomon announced the blessing (cf. Gen. 2:25). Eat, O friends! Given the intimate and private nature of sexual union, it seems difficult to understand anyone but God speaking these words (cf. Prov. 5:21). This is the divine affirmation of sexual love between husband and wife as holy and beautiful.

5:2—8:14 This third major section features the couple’s first argument (5:2–6:3) and their reconciliation (6:4–8:14).

5:2—6:3 Inevitable discord comes to even the most idyllic marriage. The “little foxes” of 2:15 have visited the home in this segment.

5:2 I sleep, but my heart is awake. Some have suggested the beloved dreams here, as in 3:1–4. However, she acknowledges “my heart is awake,” indicating that she was not sound asleep. To make this a dream would make the rest of the book a dream, which is highly unlikely. Open for me. It appears that Solomon returned home earlier than expected and wanted to give his bride a romantic surprise.

5:3 How can I…? Her groggy response to Solomon.

5:4–6 By the time she awakens fully and opens the door, Solomon has departed.

5:7 Unlike what happened in her dream (3:3), the watchmen treat her badly. Between the darkness and the unfamiliar features of the new bride, this could easily have happened.

5:9 The wise daughters of Jerusalem twice ask a question that prompts this bride to recall the superlative features of her new husband in vv. 10–16.

5:10–16 She responds that he is chief among ten thousand which is another way to say “He is the best of the best.”

Song of Solomon 6

6:1 Having established why they should look (5:9), the daughters ask a second question of “where to look?”

6:2, 3 She believed Solomon had gone back to the garden and reaffirmed her exclusive love (cf. 2:16; 7:10).

6:4—8:4 The couple works through their difficulties and rekindles their love.

6:4–9 Apparently a reunion has occurred, and Solomon once again assured her of his love.

6:4 lovely as Jerusalem. The nation’s capital city was known as “the perfection of beauty, the joy of the whole earth” (cf. Ps. 48:1, 2; Lam. 2:15).

6:8, 9 Solomon reaches new heights in telling his bride she remains the best of the best (cf. 2:2; 4:7; 5:2).

6:8 queens…concubines…virgins. Are these Solomon’s other women? There is no language of ownership or relationship. The numerical progression from 60 to 80 to “without number” points to the use of various categories for effect only. Solomon tells his beloved that she stands above all women.

6:10 This is better understood as being said by the daughters of Jerusalem as the third question in a series of 3 (cf. 5:9; 6:1). This time they exalt the Shulamite as one who ranks with the great beauties of God’s creation.

6:11–13 This represents the most difficult portion to interpret in the entire song.

6:11, 12 This is best understood as being spoken by the beloved. Solomon acknowledges that when he left home hastily (cf. 5:2–6), he returned to agricultural (v. 11) and military (v. 12) matters.

6:13 Return, return. This is best understood as being spoken by the daughters of Jerusalem. In effect, they beckon the bride back to the royal palace. Shulamite. A variant spelling of Shunammite, i.e., a resident of Shunem, a part of the Land allotted to Issachar (cf. Josh. 19:18). What would you see. This is best understood as being spoken by the beloved. This probably refers to some form of marital dance associated with the city of Mahanaim which would be inappropriate for anyone other than Solomon to witness.

Song of Solomon 7

7:1–5 It is better to understand this as the friends answering Solomon. Verses 1 and 5 fit far better this way.

7:1 O prince’s daughter. She appeared by beauty and dress to be of royal lineage, although she really came from a humble background.

7:6–9a Solomon and his bride start all over again. He picked up where he left off at 5:2.

7:9b–8:4 Unlike the response in 5:3, this time Solomon’s beloved one responded with reciprocal love.

7:10 I am my beloved’s. She expressed her loyal love for the third time (cf. 2:16; 6:3).

Song of Solomon 8

8:1 like my brother. This way she could have publicly bestowed her affection without embarrassment.

8:3, 4 It will be just like it was when they courted (cf. 2:6, 7). This time the restraint involves waiting for lovemaking until they are in private circumstances rather than public.

8:5–14 This final scene portrays the original “marriage encounter” where they reaffirm their love for one another.

8:5b I awakened you. This is better understood as being spoken by Solomon. The Shulamite’s dream of 3:4 has actually been realized now in their marriage. mother. This is the sixth reference to the Shulamite’s mother (cf. 1:6; 3:4; 6:9; 8:1; 8:2). In contrast, Solomon’s mother Bathsheba is mentioned only once (cf. 3:11).

8:6 seal. The Shulamite is the seal and Solomon would do the sealing. This represents their publicly declared mutual love for one another.

8:6, 7 For love. This represents the 1 Cor. 13:1–8 of the OT. Four qualities of love appear: 1) love is unyielding in marriage, as death is to life; 2) love is intense like the brightest flame, perhaps as bright as the glory of the Lord; 3) love is invincible or unquenchable, even when flooded by difficulty; and 4) love is so priceless that it cannot be bought, only given away.

8:8, 9 The bride’s brothers reminded everyone that they did their brotherly duty of keeping their sister pure before marriage (cf. the brothers of Rebekah in Gen. 24:50–60; Dinah in Gen. 34:13–27; and Tamar in 2 Sam. 13:1–22). The same standard of purity is taught in the NT (cf. 1 Thess. 4:1–8).

8:9 wall…door. Wall represents sexual purity; door portrays an openness to immorality.

8:10 wall. She reaffirmed that she lived a premarital life of a wall, successfully rebuffing all attempts on her honor. Thus her husband took great delight and contentment in her moral purity.

8:11, 12 While Solomon might have leased out his real vineyard for profit, she gave the vineyard of her love to Solomon.

8:13 The companions. These could be 1) Solomon’s shepherd companions (cf. 1:7), 2) the daughters of Jerusalem (cf. 6:13), or 3) those who escorted the bride to Jerusalem (cf. 3:7).