Based on her description of herself as “dark” like the tents of Kedar and “tanned” by the sun, it is possible that the bride in the Song of Solomon was a dark-skinned woman, perhaps of the tribe of Kedar, a nomadic tribe of Ishmaelites that controlled caravan routes between Palestine and Egypt and was said to live in black tents (see “The Peace Haters” at Ps. 120:5–7). Whatever her background, it is important to take note of the description of her appearance because it indicates that God supports and celebrates healthy marriage regardless of either partner’s ethnicity. His concern is not on outward appearances but on our hearts.
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The allusion to horses and chariots from Pharaoh is an interesting comment on Solomon’s reign. Chariots had not been used extensively by the Israelites prior to Solomon. This was in part because chariots were ineffective in much of the hilly terrain of Canaan. The Law also prohibited kings getting horses and chariots for themselves, specifically by importing them from Egypt (Deut. 17:16). Solomon apparently ignored this injunction, assembling a force of forty thousand stalls of horses for his chariots and twelve thousand horsemen (1 Kin. 4:26). These he imported from Egypt and also traded to other armies (1 Kin. 10:28, 29). The Song of Solomon does not remark on the disregard of the Law behind the acquisition of these chariots and horses. Instead, it refers to a highly prized horse in praise of the king’s beloved, who is beautiful, stately, powerful, and regal.
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It has been said that smell is the most emotionally evocative of the senses, and so it is not surprising that the Song of Solomon, like many romantic poems throughout the centuries, includes frequent allusions to sweet-smelling aromas:
• Spikenard (Song 1:12; 4:13, 14), a fragrant, costly oil derived from dried roots and stems of nard, an herb that grows in the Himalayas of Nepal, China, and India. It was used as an ointment or an expensive perfume.
• Myrrh (1:13; 3:6; 4:14; 5:5, 13), an aromatic, resinous extract of a stiff-branched tree with white flowers and plum-like fruit. Myrrh was an ingredient in anointing oil (Ex. 30:23) and perfume (Ps. 45:8; Prov. 7:17), and was used in purification rites for women (Esth. 2:12).
• Henna (Song 1:14; 4:13), a large plant with fragrant flowers often exchanged as a token of friendship. Solomon was known to have henna vineyards at En Gedi. The plants were used to make an orange-red dye used as a cosmetic.
• Cedar (1:17), the aromatic wood of the massive evergreen trees which in Solomon’s time covered the hills and mountains of Lebanon (the “fragrance of Lebanon,” 4:11). Solomon imported enormous quantities of cedar to build the temple and other projects, including his palace complex, the House of the Forest of Lebanon (1 Kin. 5:1–10; 7:1–8), perhaps the location of the scene described in Song 1:17.
• Frankincense (Song 3:6; 4:6, 14), an aromatic gum resin obtained from the Boswellia tree in tropical regions of Africa and Asia. The highly fragrant substance was used in Israel’s religious rites (Ex. 30:7, 34; Lev. 2:1; 24:7) and was considered a symbol of religious fervor. Frankincense was a valuable trade item in the ancient world.
• Saffron (Song 4:14), a product of crocus blooms dried and pressed into cakes. The product was used as a coloring for curries and stews or as a perfume for floors and especially for weddings.
• Calamus (4:14), or sweet flag (as well as many other names), a fragrant, reed-like grass that grows along streams and river banks. The leaves are ginger-flavored when crushed. Calamus is listed as an ingredient of the anointing oil used in Israel’s worship (Ex. 30:23).
• Cinnamon (Song 4:14), a product of the cinnamon tree native to Ceylon. The tree’s oil was used as a perfume both for secular (Prov. 7:17) and religious (Ex. 30:32) purposes.
• Aloes (Song 4:14), the highly valued wood of the large eaglewood tree native to India. It was made into perfume and incense.
• Apples (2:5; 7:8), or possibly apricots, which may have been imported from groves in the Caucasus region to the north of Canaan.
• Mandrakes (7:13), perennial herbs with dark green leaves and small bluish-purple flowers in winter. The plant’s springtime fruit is yellow, fragrant, and sweet. Said to have narcotic qualities, mandrakes were called “love apples” and were possibly used as a love potion (compare Gen. 30:14–16).
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The “rose of Sharon” has not been definitively identified. In Solomon’s day, the coastal plain of Sharon was covered by dense vegetation, but none of the flowering species that grew there were what we today call the rose of Sharon, a plant native to China. Nor was it from the species of roses so familiar in Europe and North America. It may have been a low-growing bulbous plant producing two to four fragrant yellow flowers on each stalk. Other suggestions include the mountain tulip, anemone, saffron, crocus, buttercup, or poppy.
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Solomon and his bride show all of the affection that people generally associate with being in love. Theirs is one of a number of romantic stories told in the Bible.
Isaac and Rebekah (Gen. 24:1–67) | A father seeks and finds a wife for his son, and the young couple love each other deeply. |
Jacob and Rachel (Gen. 29:1–30) | Jacob labors for 14 years for his father-in-law in order to gain Rachel as his wife. |
Boaz and Ruth (Ruth 3–4) | Legal technicalities bring together a Moabite widow and a wealthy landowner of Bethlehem, and through them a king is descended. |
Elkanah and Hannah (1 Sam. 1–2) | A woman is loved by her husband despite being childless, and God eventually blesses her with the birth of a son who later becomes a powerful judge over Israel. |
David and Michal (1 Sam. 18:20–30) | A man’s life is threatened by a jealous king, but instead of ridding himself of his nemesis, the ruler gains a son-in-law. |
Solomon and the Shulamite (Song of Solomon) | Two lovers delight in their love through a lavish romantic poem. |
God calls the prophet Hosea to seek out his adulterous spouse and restore their relationship. | |
Christ and the Church (Eph. 5:25–33) | Having won His bride’s salvation from sin, Christ loves and serves her as His own body, setting an example for all husbands ever after. |
More: The Bible exalts genuine love like that described in the Song of Solomon. See “True Love Waits” at Song 3:5. Yet we also know that Solomon erred by marrying many women, mostly for political reasons (see “Political Marriages” at 2 Sam. 3:13, 14).
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The Song of Solomon provides a crucial foundational principle for healthy human sexuality, three times giving the exhortation: “Do not stir up nor awaken love until it pleases” (Song 2:7; 3:5; 8:4).
True love demands commitment. Sex is a jewel that must await the right setting—marriage, a lifelong bond between two people who grow together emotionally and spiritually as well as physically. It is perilous to awaken passion outside of that bond. Like all good things, sex can be incredibly destructive in the wrong situation, and the only proper situation for something as powerful as sex is the one human relationship that is strong enough not to be shattered by it—and instead is enriched by it. Scripture encourages all who are unmarried to let sex wait until marriage.
The Bible’s instruction for Christians is clear—to remain abstinent until marriage. However, it is also important to remember that Christ offers compassion and healing for those who make mistakes but repent and seek His help (1 John 1:9, 10). Furthermore, believers have been charged to help one another overcome sexual misconduct through accountability, forgiveness, and support. Read Matthew 18:15–35, Galatians 6:1–5, and 1 Thessalonians 4:3–8.
More: To learn more about Scripture’s perspective on the nature of love, see “Guard Your Passion” at Gen. 34:2; “Love Is as Strong as Death” at Song 8:6; and “A Lifestyle of Love” at 1 Cor. 13:1–13.
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Solomon’s royal parade reflects the splendor and pageantry that marked his reign. He was famed for his wealth (1 Kin. 3:13; 10:23), and Scripture records the elaborate ceremony he orchestrated to dedicate the temple (ch. 8; 2 Chr. 6). The poem’s depiction of Solomon’s retinue “coming out of the wilderness” on its way to the royal wedding recalls the comment of the queen of Sheba, who, having seen the magnificence of Solomon’s court, admitted that “the half was not told me” (1 Kin. 10:7). Some of the noteworthy features of the royal procession include …
• Its size (Song 3:6). It creates a great cloud of dust along the road, “like pillars of smoke.”
• Its attractiveness (3:6). The dust of the procession is mingled with fragrant wafts of myrrh, frankincense, and other aromatic powders. A delightful scent draws observers toward the spectacle.
• The royal guard (3:7, 8). Sixty hand-picked men surround Solomon as an escort.
• The elaborate litter (3:9, 10). Solomon’s “couch” (3:7) or “palanquin” (3:9), like so many other furnishings of his court, is made of cedar from Lebanon. The wood is plated with precious metal, decorated, or used in conjunction with supports of silver and gold. The cushions and perhaps also the curtains are made from purple, a costly cloth as valuable as gold in the ancient world (see “The Trade in Purple” at Acts 16:14). Perhaps on this special occasion the chair is adorned with flowers, “paved with love by the daughters of Jerusalem” (3:10).
• A chorus of cheering women (3:11). The “daughters of Zion” greet the procession, perhaps singing and dancing as on other festive occasions (Ex. 15:20; 1 Sam. 18:6, 7).
More: Psalm 45 is another poem in Scripture that may have been written for the occasion of Solomon’s wedding.
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1. Lebanon (Song 4:8, 11, 15), from which cedar was imported for Solomon’s House of the Forest of Lebanon (1 Kin. 5:1–9; 7:1–5; compare Song. 1:17). The peaks of Amana, Senir, and Hermon (Song 4:8), the highest in the Anti-Lebanon range and a major source of the Jordan River.
2. Mount Carmel (Song 7:5), which features a dramatic vista of the Mediterranean.
3. Shunem, a town in the territory of Issachar near Jezreel, from which Solomon’s bride, called “the Shulamite” (Song 6:13), may have come.
4. Tirzah (Song 6:4), a city whose name means “Delight,” located in a valley in the northern part of Mount Ephraim.
5. The coastal plain of Sharon, densely covered by vegetation, including the “rose of Sharon” (Song 2:1), perhaps a reference to four kinds of red flowers found in the area.
6. En Gedi (Song 1:14), an oasis on the barren west shore of the Dead Sea, watered by hot springs that support rich, semitropical vegetation.
7. The mountains of Bether (Song 2:17). The name, meaning “Separation,” could imply a cleft appearance.
8. Heshbon (and Bath Rabbim; Song 7:4), a royal city of the Moabites known for its extensive pools and conduits.
9. Jerusalem, Solomon’s capital, which he had made “lovely” (Song 6:4) with monuments, and the probable location of the “tower of David” (probably Zion; 4:4; see also Zion’s profile at 2 Sam. 5:7).
10. Kedar (Song 1:5), the wide-ranging territory of a nomadic tribe of Ishmaelites whose name may mean “Dark” and who were said to live in black tents.
11. Mount Gilead (Song 4:1), located in a wooded, mountainous region used as a grazing area for livestock.
12. Damascus (Song 7:4), the capital city of Syria, which is overlooked by Mount Hermon (“the tower of Lebanon”). It was under Israel’s control at the time of Solomon.
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Song of Solomon 4:16 describes a beautiful and intimate scene of physical union between the king and his bride. The north wind was the coldest of the region, while the south wind was the gentlest (see “The Four Winds” at Ps. 48:7). The bride urges these two winds to blow upon her as upon a fragrant “garden” (compare Song 4:12), revealing her charms in a way that will invite her husband to enter the garden and revel in its “pleasant fruits.”
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The marriage celebrated in the Song of Solomon appears to have been a match between two members of different ethnic groups. The groom, presumably Solomon, is described as “white and ruddy” (Song 5:10), while the bride is “dark” like the black tents of Kedar (Song 1:5; see also “A Dark and Lovely Bride” at Song 1:5, 6).
Marriages across ethnic and racial lines were not uncommon in the ancient world (for example, Num. 12:1; Ruth 1:4; 1 Kin. 11:1), and the Bible never condemns or prohibits interracial unions. The ancient Israelites were forbidden to marry Canaanites, Ammonites, or Moabites (Deut. 7:1–4; 23:3), but these prohibitions were not based on ethnicity but on religious, moral, and political considerations.
God created all the diverse peoples of the earth. Differences in background and appearance that can be hard for some people to accept are a creation of God Himself. And His love extends to all (see “To Every Nation” at Matt. 28:19), so it is unsurprising that His Word includes a celebration of marriage between two people of different ethnicities.
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Only once does the Song of Solomon identify the bride in the poem as “the Shulamite,” and no other references directly reveal her identity. So who was this young woman who became the object of Solomon’s passion? Several suggestions have been made.
• She may have been a woman from Shunem, a town in the territory of Issachar near Jezreel (Josh. 19:18; see the map at “Mapping the Life of Elisha” at 2 Kin. 8:4), making her a Shunammite. By interchanging the Hebrew letters Lamed (translated as the English letter L) and Nun (translated as the English letter N), which was commonly done, she could have also been known as a Shulamite.
• She may have been Abishag, the Shunammite maiden who was at David’s side in his old age (1 Kin. 1:1–4, 15). After David’s death, his son Adonijah requested that he be given Abishag. But Solomon, David’s successor, was entitled to her as well as David’s other wives and concubines (2:17–22).
• “Shulamite” could also be rendered “Shelomith,” making the name a feminine title related to the name Solomon; in other words, “the Solomoness.”
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King Solomon was captivated by his bride’s beautiful hair. The simile between his beloved’s head and the peak of Mount Carmel does not indicate that her hair was white like snow but rather that her head “crowned” her body just as Mount Carmel crowned northern Canaan. Likewise, the allusion to purple was not a comment on the bride’s hair color but a statement of its value. Purple was an expensive dye that signified wealth and royalty. Purple cloth ranked in value with gold and was even used to pay tribute. No one knows the color of Shulamite’s hair, but it was likely dark (see “A Dark and Lovely Bride” at Song 1:5, 6).
More: For more on Mount Carmel, see the site’s profile at 1 Kin. 18:19, and for more on purple, see “The Trade in Purple” at Acts 16:14.
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Unquenchable Love
Elizabeth Barrett Browning (1806–1861) was the most celebrated female poet of the Victorian era. Her work was and still is widely admired for both its literary merit and its fervent moral sensibility. Browning espoused a number of social causes alongside her passion for romantic poetry, using her pen as a tool for reform as well as an outlet for her heart.
Though Browning’s family owed much of its wealth to centuries of slave ownership in Jamaica, Browning herself became an outspoken abolitionist. Her poem “The Runaway Slave at Pilgrim’s Point” issued a scathing rebuke against the institution of slavery, and Browning was overjoyed with the passing of the Emancipation Act in 1833, which her father feared would ruin the family business.
Browning also wrote an indictment of the appalling use of child labor in “The Cry of the Children,” and composed a number of other poems dealing with other controversial issues of her day, including political oppression in Italy, a not-yet-unified nation-state whose struggle for freedom and identity resonated with Browning’s own. The impact of Browning’s novel-poem Aurora Leigh has played an important role in women’s efforts to achieve artistic and economic independence in modern society.
Browning had begun to write poetry at an early age, and received an excellent education from her brother’s tutor, which was unusual for women at the time. Browning’s first volume of poetry was published when she was thirteen. By age fifteen, however, Browning had begun to suffer from an undiagnosed illness that continued throughout her life, causing head and spinal pain, loss of mobility, and fatigue. Browning also suffered from dependence on the opiates prescribed to her to relieve her pain, as well as lung disease, which later added to her frailty.
Resigned to her semi-invalid state, Browning remained sequestered in her family’s London home, presided over by her tyrannically protective father, who had forbidden any of his eleven children to marry. When the obscure poet Robert Browning struck up a correspondence with the talented Elizabeth Barrett (as she was then named), one of the most famous love stories in literature began. Robert soon visited the young poet, and wrote to her, “I love your verses with all my heart—and I love you too.” The poets’ courtship culminated in 1846 with their secret marriage and elopement to Italy, where they had a son, affectionately nicknamed Pen.
Browning’s Sonnets from the Portuguese, written for her husband, famously express her unbounded love:
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach …
……………………………
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints,—I love with the breath,
Smiles, tears, of all my life!—and, if God choose,
I shall but love thee better after death.
On June 29, 1861, Elizabeth Barrett Browning died in her husband’s arms. Her experience of human love had been deepened and expanded by her experience of spiritual love. As a child she attended services with her family at a Nonconformist chapel, and Browning recalled that from the start she had “not the deep persuasion of the mild Christian but the wild visions of an enthusiast.” Browning believed that “Christ’s religion is essentially poetry—poetry glorified.” She endeavored to experience this poetry wherever she went. As she wrote, “Earth’s crammed with heaven, / And every common bush afire with God: / But only he who sees takes off his shoes” (Aurora Leigh).
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Human history and literature are filled with stories, both tragedies and comedies, about the achievements and failures of people in love. The Bible speaks extensively about the unfathomable power of true, selfless love:
• It can be “better than wine” (Song 1:2).
• It is “as strong as death” (8:6).
• It is greater even than faith or hope (1 Cor. 13:13).
• It is the root of evil when its object is money (1 Tim. 6:10).
• It “covers all sins” (Prov. 10:12).
• Perfect love “casts out fear” (1 John 4:18).
• The love of Christ “passes knowledge” (Eph. 3:19).
• It is the only debt we should owe each other (Rom. 13:8).
• It “does not envy” (1 Cor. 13:4).
• It makes believers capable of blessing those who curse them and doing good to those who hate or hurt them (Matt. 5:44).
• It is the essence of the commandments of God (Rom. 13:9; Gal. 5:14; James 2:8).
• Its absence is evidence that one does not know God (1 John 4:8, 12, 20).
• It empowers people to give their lives for someone else, just as Christ did (John 15:13–17; Eph. 5:25–28).
God is the source of love. Sinful human beings twist and abuse it and even confuse it with passion and lust. But God wants to help us rediscover love so that we restore and heal ourselves and everyone around us. This is one of the most basic tenets of the message of Christ.
More: To read about a demonstration of sacrificial love, see the story of Hosea’s pursuit of his wayward spouse in Hos. 1–3.
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