THE SONG OF SONGS G O D I N S P I R E D G O S P E L S H A P E D S E X U A L I T Y FOR A MODERN WORLD A COMMENTARY-PARAPHRASE-RENDITION BY DEREK BLACK

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1 A COMMENTARY-PARAPHRASE-RENDITION BY DEREK BLACK THE SONG OF SONGS Commentary/Paraphrase Adopted Using: ESV Study Bible ESV Interlinear Hebrew-English Old Testament Lexham Greek-English Interlinear Septuagint The Message Bible New American Commentary, Song of Songs New International Commentary on the Old Testament, Song of Songs G O D I N S P I R E D G O S P E L S H A P E D S E X U A L I T Y FOR A MODERN WORLD

2 I NT ROD UC TO RY T H O U G H T S Authorship The Song of Solomon is also considered the Song of Songs, or the song of all songs that King Solomon penned. While the authorship is traditionally considered to be Solomon, some scholars think that the opening verse and context of the conversation throughout the book, that the Song was just dedicated to Solomon or written about him. It is securely established that the collection of love poems was written firmly in Solomon s kingly reign (between 960 B.C. & 931 B.C.), but it could also be a collection written under Solomon s reign in his honor of his name. Therefore, many scholars regard the book as anonymous. (New International Commentary of the Old Testament, Song of Songs). Also, regarding the characters in the book, some believe it is not clearly established that the man (husband) in the poems is Solomon. The 3 likely options are: (1) the relationship of King Solomon with his Shulammite bride, (2) the relationship of a simple shepherd and the Shulammite shepherdess, or (3) simply a collection of sensuous love poems on a common theme, rather than the unfolding of a single poetic love story. (Adapted from introduction notes from the ESV Study Bible) For this particular writing, I adopt the literal King Solomon as the beloved man in the text. Interpretation While there are those who place the Song of Solomon in an allegorical category, the book clearly seems to be literally focused on the consummating intimacy of a marriage relationship. After-all, with all the rampant sexual vices in our culture, is it any wonder that God provided an in-depth look at His intentional design for this God-given aspect of our marriages! Those that do argue for an allegorical view, typically associate the conversation in the song to either Israel toward God in the Exodus (as even Jewish tradition back in Biblical days apparently did to some extent) or to the church toward Christ. It is also interesting to note that the romantic initiator in the Song of Songs is primarily the woman. The conversation throughout the book goes between 3 different people or groups...the woman (wife), her tribe of female virgin friends, and the man (husband). The Jew back in the day...biblical day that is... apparently allegorized the book as in reference to Israel (the bride) and God (the husband) rescuing them from Egypt and taking then to the delights of the promised land (delights of marriage imagery in the book). While I know that there are many other people way smarter people than me, I just can't wrap my mind around such an interpretation. I mean..."my beloved put his hand to the latch (on my door sexually) and my in most inner part (ESV renders heart) raced and was thrilled within me..." (from SOS 5). Come on, how does that refer to Israel and God or the church and Christ! Furthermore, in the book, there are repeated instances of the bride warning her fellow daughters of Jerusalem (available young virgins) to not awaken love's powerful force before it's time. Again, it's just too far of a stretch to allegorize this. 2

3 INTRODUCTORY THOUGHTS CONTINUED... Interpretation Continued... Now, I can see how we may take revelation from the New Testament, like in Ephesians 5 about marriage, and see visible comparisons in the Song of Songs of how a love between and man and woman displays the glory of God and pictures Christ's love. I mean, we as husbands are commanded to love our wives like Christ loved the church...to live with them in an understanding way as the weaker vessel. In the Song of Songs then we see what we may term today as a Gospelshaped marital love. Each spouse out of love for each other sacrifices his or her own needs for the needs of the other, typically sexual in the course of the book. This type of picture I could see. So while I take the main theme of the book as literal application for marital love, because of our New Testament revelation, we can see visible traces of how our love in redeemed sense pictures our Creator's love for us. However, the common interpretation in the Biblical Jewish days and even throughout the early church period leading up to a more recent period when Spurgeon lived, has taken the strict allegorical approach. My guess is that the Jewish and church mindset over holiness amidst a world obsessed with sexual depravity caused leaders and writers to assume that God's Holy Word wouldn't really be addressing this? Or, that the publicly acceptable interpretation is allegorical and that the literal sexual interpretation is more of a private interpretation to be enjoyed within marriage but not spoken of publicly? It is interesting to note that this more literal approach has not been widely known or deemed as acceptable until the last 100 years or so. Scriptural Reference Elsewhere And regarding Scriptural reference, the Song of Songs is not quoted or even referenced anywhere in the rest of the Bible. Some phrases or words do appear elsewhere like the fragrance nard of SOS 1 & 4 in John 12:9 and Mark 14:3 or a few other double entendre figure of speech forms of words poetically referring to sexual aspects that also appear in the major prophets comparing Israel going a whoring with pagan nations. Other than those type of references, it doesn't appear to be directly referenced in the rest of Scriptures. Summary So amidst an Old Testament world of rampant idolatrous pagan religion mixed with ritualistic sex and our own world with our confusion over sex and living God s way amidst our own sexsaturated world, God gives us His inspired message about His intentional sexual design for the bearers of His image. 3

4 (parenthesis added for explanatory words and phrases throughout the text) 1 The Song of Songs, which is Solomon's. SHE (their love introduced) 2 Let him passionately kiss me with the kisses of his mouth! For your love is better than smooth, intoxicating wine; 3 your anointing oils are sweet smelling; your reputation is like revered oil poured out; therefore young virgin women adore you. 4 Draw me after you; let us run in haste together. For the king (my man) has invited and brought me into his private, intimate bedroom chambers. OTHERS (the respect and rejoicing of her unmarried peers over her relationship with this revered man) We, your friends and peers, will exult and rejoice with you; we will value your love and romance with Solomon as more valued than the choicest wines; rightly to your young virgin peers lovingly rejoice over your relationship with Solomon. SHE (her awareness of her physical attractiveness & social standing in her lover's sight) 5 O young virgin daughters of Jerusalem (my friends and peers), listen to me: (Amidst our cultural expectation for pale complexion & the lower labor force social standing associated with tanned skin color) my skin complexion is very dark, but I am lovely in form, dark in skin complexion like the dark goat haired tents of Kedar; but lovely in form like the smooth, silky curtains of Solomon. 6 Do not gaze at me (my love) because I am darkly tanned, because the sun has drastically affected my appearance. For, my mother's sons were angry with me; and they made me work outside under the hot sun as keeper of the vineyards, but metaphorically, my own physical vineyard I have not kept! (her flirtatious pursuit and rendezvous) 7 Tell me, you whom my soul loves, where do you shepherd your sheep herd (where are you working), where do you make them lie down at noon and take a lunch break; otherwise, do you want me to be like one who mysteriously veils herself on a search looking for you from tent to tent throughout your shepherding companions? (her playful, flirtatious request) 4

5 HE (his flirtatious response) 8 If you do not know my whereabouts, O most beautiful among women, follow in the tracks left behind by my flock, bring your own goats (for she was a shepherdess) and pasture your young goats beside the my companion shepherds' tents as a coverup to our romantic rendezvous. 9 I compare you, my love, to a captivating female horse used to distract a fleet of stallions in Pharaoh's army. 10 Your cheeks are lovely arrayed with jewelry, your neck adorned with strings of jewels. OTHERS (the man's imploring others in helping accentuate his lover's beauty and dignity) 11 Your jewelry only further accentuates your beauty. We (at your lover's command) will seek to increase your dignity and beauty by making for you more beautiful jewelry of gold and silver. SHE (her comparison of both lovers' captivating presence and invigorating scent toward each other) 12 While the king (my lover) was reclining and relaxing on his couch with me, my perfume gave forth its captivating fragrance. 13 My beloved is to me a pouch of captivating myrrh aroma that hangs from my neck, lying between my breasts. 14 My beloved man is to me a cluster of sweet smelling hair dye (henna blossoms) from the choicest vineyards of the Engedi oasis land. HE (his further compliments of her gorgeous beauty; particularly her eyes) 15 Behold, you are beautiful, my love; behold, you are completely beautiful to me my love; your eyes are captivating, affectionate, and faithful like that of doves. SHE (transitioning to an outdoor scene) 16 Behold, you are beautiful, my beloved, truly delightful. Our place of reclining and relaxing (couch from vs. 12) is green (the grassy expanse of the outdoors); 17 the beams of our house are cedar trees; our rafters are pine trees (both forming the picture of an outdoor scene of romancing in a private grassy expanse protected by a surrounding forest of cedar and pine trees). 5

6 CHAPTER 2 (the couple's exchange of comparisons of each other's beauty) 1 I am a common floral bulb of the coastal plains of Sharon, a mere lily among the thousands of the valleys. HE 2 As a lily among thorny bushes, so is my love among all the available young virgin women. SHE 3 As a resilient apple tree among the common trees of the expansive forest, so is my beloved among all the available young men. With great delight I sat in his presence, and his fruit (symbolic) was sweet to my taste. 4 He romanced me and brought me to the wine house of love (place of drinking and symbolic even of intoxication), and he publicly displayed his love for me (a military emblem/banner imagery implored as a public display). 5 (My love for him is so great! It must go on!) Lay me down on a bed of raisins; lay me down on a bed of apples; sustain me and refresh me, for I am desperately sick with love for my lover. 6 His left hand is under my head, and his right hand lovingly embraces me! (her warning to not rush into love's powerful emotions) 7 Oh, I adjure you young virgin daughters of Jerusalem (my peers), you are like the vigorous, graceful gazelles or does of the field build for sexual love, please I adjure you not to stir up or awaken love's powerful force until it pleases (God's timing). (her adoration of her beloved man, as he beckons her romance at springtime) 8 I hear the voice of my beloved! Behold! He comes, powerfully leaping over the mountains, bounding over the hills. 9 My beloved is like an agile, strong gazelle 6

7 or young stag (male deer) in eager pursuit of me. Behold, there he stands behind our wall, gazing through the windows, looking through the lattice. 10 My beloved speaks and says to me: "Arise, my love, my beautiful one, and come away (with me), 11 for behold, the cold winter months are past; the post-winter rainy season is over and gone. 12 The flowers now appear all over the earth, the time of singing and rejoicing in this warm fertile time has come, and the voice of the turtledove is heard in our land (a bird known to return to Palestine in the spring). 13 The fig tree ripens its figs (springtime is now & summer is at hand, cf: Mark 13:28), and the vines are in blossom; they give forth a sweet fragrance. Arise, my love, my beautiful one, and come away. (the man's desire and longing to see her, apparently in an inaccessible position) 14 O my dove, inaccessibly tucked in the clefts of the rock, in the crannies of the cliff, let me see your appearance, your form, let me hear your voice, for your voice is sweet, and your appearance and form is lovely. (the man's request for her to rid troublesome aspects potentially hindering their romance) 15 Catch the foxes for us (the woman still quoting her beloved's words here, so this is his request for her), the little foxes that spoil the vineyards (apparent unspecified obstacles that apparently were problematic to their love), for our vineyards are in blossom (their springlike, fertile, romantic love). (the commitment, belonging, and passionate pleasures of their intimate romance) 16 My beloved (she writes) is mine, and I am his (showing their mutual commitment and belonging to one another); he grazes (shepherding term) among the lilies (lilies symbolic of her love and their romantic intimacy, he relishes in the romantic pleasures she offers him). 17 Until the day breathes (the dawn of day) and the shadows flee (night breaks), turn toward me, my beloved, be like a strong, agile gazelle 7

8 or a young stag (male deer) on cleft mountains (literally split mountains, speaking of her invitation for him to enjoy the pleasures of her body, specifically her breasts). CHAPTER 3 (her pre-wedding dream of their wedding day and sexual consummation) 1 On my bed at night I sought him, but found him not (in her dream she apparently learns that her lover is not to be found). 2 I will rise now and go throughout the city, in the streets and in the public squares; I will seek him whom my soul loves (deep love of his whole being). I sought him, but did not find him. 3 The watchmen (night guardians of the city) found me as they went about in the city. "Have you seen him whom my soul loves?" (she asks) 4 Just as I had asked and passed away from the watchmen I then found him whom my soul deeply loves. I embraced him, and would not let him go until I had brought him privately into my mother's house, and into the bedroom of her who conceived me (so that she and he too could consummate their love). (her warning again to not rush into love's powerful emotions) 5 Oh, I adjure you, O young virgin daughters of Jerusalem (my peers), you are like the vigorous, graceful gazelles or does of the field built for sexual love, please I adjure you not to stir up or awaken love's powerful force until it pleases (God's timing). (still in her dream, she envisions her lover's arrival for the wedding day) 6 What is this that my eyes see resiliently coming up from the wilderness like columns of smoke, decked and perfumed with myrrh and frankincense, with all the fragrant powers that a merchant would carry? 7 Behold, it is the royal couch carrying Solomon (to the wedding)! Around it are sixty mighty men, some of the mighty men of Israel, 8 all of them wearing swords and experts in war, each with his sword at his thigh, fully prepared against all terror by night. 9 King Solomon made himself a chair for his royal couch procession from the choicest woods of Lebanon (best wood, even was used for the temple, cf: 1 Kings 5:6). 8

9 10 He made its posts of silver, its back of gold, its seat of royal purple; its interior was inlaid out of affectionate respect and love by the daughters of Jerusalem (made by skilled women out of their respect and affection for him, or literally they made the seat adorned with love scenes). 11 Go out, O young virgin daughters of Jerusalem (my peers), and look upon this King Solomon, with the crown with which his mother crowned him (the crowns not culturally customary for a wedding, but as a part of her dream and the poetic theme, the crown adds to the spender and complete joy that surrounds the man, the king, on this his wedding day) on the day of his wedding, on the day of the gladness of his heart. CHAPTER 4 (her dream of her lover's admiration of her beauty) 1 Behold (he writes), you are beautiful, my love, behold, you are beautiful! Your eyes are like that of doves (affectionate, gentile, and faithful) behind your veil (culturally adorned, but particularly here on their wedding day and it adds to her enticing mystery and beauty) Your hair is like a flock of goats leaping down the slopes of Gilead (this apparent visual scene appeared like a flowing stream of hair) 2 Your teeth are like a flock of freshly cut white sheep that have come up from the washing, all of which bear twins, and not one among them has lost its young (dental hygiene was not like it is today, she has all her teeth intact and they are white). 3 Your lips are like a scarlet thread (her lips deep scarlet or crimson red thread, enticing his desire to kiss her) and your mouth is lovely. Your cheeks (or also translated temples, but contextually from lips referring to cheeks) are enticing like halves of a rosy pomegranate behind your veil. 4 Your character and value (neck) is like the tower of David (poetically describing her sense of power and dignity) further complimented by rows of stoned jewelry; on it hang as it were like a thousand shields, all of them shields of warriors (further complimenting her beauty is neck-adorned jewelry that also increased her sense of beautiful dignity, she stood in unassailable dignified beauty and her love truly was a gift). 5 Your two breasts are like two young female deer (fawn imagery implored for youthfulness here), twins of a gazelle (the fawn & gazelle were known for speed, sleekness, and sensuality, also 9

10 twins apparently referring to their graceful symmetry), that grace among the lilies (more imagery of his delight in her). 6 Until the day breathes and the shadows flee (all night long), I will go away to the mountain of myrrh and the hill of frankincense (poetic imagery for romantic passion and pleasure around her breasts). 7 You are altogether beautiful, my love; there is no flaw in you (she was his standard of beauty and was perfect in his sight, the Hebrew word refers to physical imperfection implored usually with animal defects). 8 Come with me from the distant wilderness lands of Lebanon, my bride (imploring poetic imagery, his longing to embrace his wife under his protective united and loving care) come with me from this distant land of Lebanon. Depart from the distant peak of Amana, from the distant peak of Senir and the far off snow-capped mountain of Hermon, from the danger-threatening and unprotected dens of lions, and the mountain-land of leopards (again, imploring poetic imagery, his longing to embrace his wife under his protective united and loving care). 9 You have completely captivated my heart, my sister (common ancient Near East term of endearment), my bride (young wife); you have ravished my heart with one glance of your eyes, with one jewel of your necklace (the Hebrew noun for "heart" occurs in a form that causes a particular action, in this case the contextual force carries a completely captivating and ravishing force from just one glance at her eyes or a mere jewel of her necklace). 10 How beautiful is your love, my dear sister (common term of endearment in the Ancient Near East), my bride (young wife)! How much better and captivating is your love than wine itself, and the fragrance of your perfume better and more captivating than any spice! 11 The taste of your lips drip nectar, my bride (young wife); the sensuous luxury of honey and milk are under your tongue (phrase utilized with Israel going to land "flowing with milk and honey" indicating luxury, both terms also known as thick, sensual liquids leaving a sweet aftertaste); the fragrance of your garments is like the fragrance of Lebanon (likely referring to the common Cedar trees of Lebanon, enticing the man to partake in her sensuous pleasures). (her continued dream and her husband's rejoicing over her sexual dignity and virginity, as well as his longing to sexually consummate their marriage relationship) 12 A garden locked (sexually closed) is my sister (common ancient Near East term of endearment), my bride (young wife), a spring locked, a fountain sealed (more imagery for her being closed sexually and a chaste virgin for his delight). 13 Your shoots (the actual act of sex involving her most intimate region) are an orchard of pomegranates (indicating pleasure) with all choicest fruits (intense delights and pleasures), 10

11 henna with nard (henna a plant used for dying hair and nard a fragrant oil with a sweet odor), 14 nard and saffron, calamus and cinnamon (repetition of nard for poetic emphasis, saffron a purple flower plant with sweet smelling oil, calamus sweet cane oil, cinnamon captivating smell from aromatic bark), with all trees of frankincense (sweet smelling trees), myrrh and aloes (myrrh an sweet smelling part of bark, aloe a fragrant type of wood), with all choice spices (in context a further reference to sweet smells)-- 15 a garden fountain (common terminology for the woman's most intimate region), a well of living (the best) water (further sexual connotations), and flowing streams from Lebanon (Lebanon repeatedly used as a place of beautiful, sweet smelling fertility, here it implores the regions high mountains and run-off streams, again a further sexual reference). (still in her dream, she dreams of the sexual consummation after their wedding day, her beloved calls poetically on the winds to invite her to intimacy) 16 Awake, O north wind, and come, O south wind! (Come to my aid!) Blow upon my garden (invite and draw my beloved bride to sexual consummation), let the alluring spices of her (my) garden flow, drawing her sexually to me. HER (as her dream nears the end, she now sexually responds in open invitation to sexual consummation with her husband) Let my beloved come to his garden and eat its choicest fruits (my sexuality I give him to delight and enjoy). CHAPTER 5 (her dream, but his talking as they sexually consummate their relationship) (Note: imploring poetic language, throughout the book there are repeated occurrences of the double entendre figure of speech, making the language carry two meanings the surface meaning and in most cases in the Song of Songs a sexual meaning) HE 1 (He writes) I sexually came to you my garden, my sister (ancient Near East term of endearment), my bride (young wife), our sexual pleasure and intoxicating love I describe in this way--i gathered my myrrh with my spice, I ate my honeycomb with my honey, I drank my wine with my milk. 11

12 (The New American Commentary on Song of Songs is particularly helpful here regarding verse 1, "The man responds. The poetry is discreet and restrained; it conveys the joy of sexual love without vulgarity; at the same time, the meaning is quite clear. The catalog of luxuries here [garden, myrrh, honey, wine, etc.] imply that he has partaken of her pleasures to the full.") OTHERS (not a literal observation of their sexual love, but a poetic chorus encouraging the couple to continue enjoying their intoxicating love) Eat, friends, drink, and be drunk with love! SHE (Here we have a much debated poetic section involving another sexual advance from her husband, which she initially declines, only to then turn towards him sexually and find him gone. This then leads to an apparent sleepy-muddy-detailed and probable dreamy description of her deep longing and search for intimate union with him.) 2 I slept, but my heart was awake (whether this is still a part of her dream, we're not entirely sure, but as the verses unfold, the main point comes across clear either way), A sound! My beloved is knocking (double entendres appear throughout these verses, he invitingly knocks at the door of their bedroom maybe from being home late, but their are obvious sexual connotations as well later 8:9 we read door language in terms of the woman opening herself sexually) He Speaks "Open to me, my sister (again, term of endearment), my love, my affectionate dove, my perfect one, for my head is wet with dew, my locks with the drops of the night." (ways he uses to poetically describe his "locked out" position and eagerness to enter and be intimate with her his bride) 3 I had put off my garment; how could I put it on? I had bathed my feet; how could I get them dirty? (Some of these verses I left just as the ESV text reads because of the variance of interpretations of the poetic language related to what she is saying. Basically she again in the context of poetry and her half-sleepy state says that she is already prepared for bed she is undressed and freshly bathed. Some believe that the garment and especially the "feet" carry a double entendre referring to her intimate region, as the term is implored in Ex. 4:25, Judg. 3:24, 1 Sam. 24:4, Ruth 3:4,7, Deut. 28:57, Ez. 16:25. 4 But, my beloved put his hand to the latch on the door, (again, sexual connotations with the double entendre language, also Hebrew word for "hand" sometimes used in terms of the male intimate region) and my heart was thrilled within me. (speaking of her intoxicating emotional and physical response to his sexual advance, Hebrew word refers to interior or exterior abdominal area NICOT, also this idea is spiritually implored in Jeremiah 51:39 in reference to God and Israel "expressing an intense emotional desire or longing." -- NICOT) 12

13 5 I arose to open myself to my beloved (sexually speaking), and my hands dripped with myrrh, my fingers with liquid myrrh, on the handles of the bolt (poetic language expressing her delights at the prospects of love with her beloved). 6 I sexually opened to my beloved's advance, but my beloved had turned and gone. My soul failed within me when he spoke. I sought him, but found him not; I called him, but he gave no answer. (again, this all appears to be part of her sleepy-fuzzy dream state as she laments at her beloved's absence now as she is now warmed up to love) (Verse 7 has many scholars debating over the proper meaning. Some, who argue for a more literal non-dream approach, say that the woman here is struggling with just losing her virginity state as a "daughter of Jerusalem." The New American Commentary, which takes this viewpoint, explains that the sexual consummating act, a big deal for the woman, was not empathetically felt by the man. In this view the now non-virgin, married woman felt beat and bruised. More likely however, the half-sleepy dream interpretation is preferred. In this approach, she dreams rather oddly like most dreams about the apparent obstacles she faced in her search for her lover.) 7 The watchmen found me as they went about guarding the city; they beat me, they bruised me, they took away my veil, those watchmen of the walls! 8 I adjure you, O young virgin daughters of Jerusalem (my peers), if you find my beloved, that you tell him I am sick with love and long to intimately embrace and unite with him! (same exact phrase from 2:5 sick with love, although there she was intoxicated with love and craved more in the moment of love, here she craves love with her beloved in a time of separation) OTHERS (the chorus of assumably the daughters of Jerusalem respond questioning what makes him so special) 9 What makes your beloved stand out more than any other beloved (that we may search and find him among the masses), O most beautiful women? (our fellow peer, although now married, and our friend) What makes your beloved stand out more than any other beloved, that you therefore beckon us to help you search? 13

14 SHE (in response to the chorus questioning her love's description, she now describes her beloved and how he stands above all others) 10 My beloved is radiant in good looks and carries a well-tanned complexion, distinguished among ten thousand others. (Apparently as opposed to women, the current cultural preference for a man's skin complexion was a radiant, brownish or reddish tan color. She describes him as radiantly good looking with this preferred skin complexion that further radiated his beauty. As a sidenote, a similar Hebrew word for "radiant" is used in Lamentations 4:7 in reference to healthy looking skin and the Hebrew word for "ruddy" was used with Esau and with David in 1 Samuel 16:12 and 17:42) 11 His head is like the finest gold; (imagery of pure gold, possibly either in beauty description, his value to her, or even god-like attributes as common idol statues like the gold statue of Daniel 2) his hair locks are wavy, (hair or curls a beautiful wave like appearance) and black as a raven. (thick, black hair texture and pure color show his youthfulness) 12 His eyes are like affectionate doves (kind, affectionate, faithful) beside streams of water, bathing in the full pool of the white milk of his eyes. (idea of the pupils being like affectionate doves bathing in streams of water, in this case bathing in white milky pools of the greater white eye area) 13 The aroma from the beards of his cheeks are captivating like beds of spices, mounds of sweet-smelling herbs. The kisses of his lips are enticing like that of lilies, dripping intoxicating liquid myrrh. (like an intoxicating aphrodisiac) 14 His arms are strong and beautiful like rods of gold, set with jewels. (either further reflecting his beauty in god-like idol stature imagery or that they were simply strong looking arms adorned with some sort of gold jewelry) His belly is also strong and beautiful like polished ivory, decked with sapphires. 15 His legs are strong and beautiful like marble (alabaster) columns, set on bases of gold. His appearance is like the wild, raw, and beautiful land of Lebanon, like the choicest trees of the region, the cedars. (his grandeur and supreme comparability above all) 16 His whole mouth (literally the inner part) is most sweet, (she longs for his deep kiss) and he is altogether desirable. This (she concludes) is my beloved and this is my friend, O daughters of Jerusalem, my friends. 14

15 CHAPTER 6 (If her dream is still going through to this point, it ceases at verse 3. Some take the viewpoint that either her dream only goes from 3:1-5 or that she never had a dream at all instead the poetic language used mimics a dream-like experience.) OTHERS (the chorus of available women, her peers, respond desiring to help her find him so they may too get a glimpse of this man she described) 1 Where has your beloved gone, O most beautiful among women? Where has your beloved turned, that we may seek him with you? SHE (She responds by basically saying that this man she just described is taken and they are sexually united. Again, we must remember that this is poetry and not a narrative unfolding of chronological events. She appears to dream of the wedding day in chapter 3 and the first half of chapter 4. She then appears to dream of their sexual consummation sometime after their wedding day in the later part of chapter 4 and the first verse of chapter 5. The rest of chapter 5 then apparently contains a sleepy-fuzzy and dreamy experience recounting the couple's desire for sexual intimacy amidst her initial denial of him and then his apparent turning away from her. She then goes on a search for her lover, revealing her desire to sexually be with her lover. The chorus of her female peers, who are still available virgins, beckons her to describe this man. In the beginning of chapter 6, after describing him and her friends respond with interested curiosity, she proclaims her binding union with this man, her beloved. Despite the intimate longing for each other the sexual miscommunication and union described earlier in the dreamy portion of chapter 5, they still lovingly belong to each other in marital union and they delight together in this sexual union. In other words, this apparent sexual conflict of chapter 5, whether literal or not, reveals that any problems in the bedroom should and can be fixed and couples should be restored in their sexual union as we read in 6:2-3. This chapter 5 section dovetails with Paul's brief discussion of Gospel-shaped, your-spouses-needs-above-your-own perspective on sexual intimacy that we read in 1 Corinthians 7:1-5.) 2 My beloved (her man) has gone down to his garden to the beds of spices, to pasture his flock in the gardens and to gather lilies (all poetic language referencing their blissful sexual intimacy together) 3 I am my beloved's and my beloved is mine; he grazes among the lilies. (the beautiful commitment and belonging displayed in sexual intimacy) 15

16 HE 4 You are beautiful as the revered and beautiful city of Tirzah, my love, lovely as are revered and beautiful city of Jerusalem, (Tirzah and Jerusalem were two of the greatest cities of that day, his comparison evokes great splendor) awesome as a splendorous army with banners waving. (not only is she splendorous like that of a great army, but maybe some similar imagery from earlier in 4:4 about her being strong and chaste like David's tower truly her love is a gift given to him) 5 Turn away your eyes from me, for they truly overwhelm me-- (even just a glance from her beautiful eyes unnerves him) Your hair is captivatingly wavy like a flock of beautiful goats that leap down the slopes and hills of Gilead. (for emphasis purposes he reiterates some of the same comparisons in describing her beauty of that in 4:1-5) 6 Your teeth are beautifully white like a flock of sheep that have come up from a fresh washing (they are beautifully white) all of them bear twins; not one of them has lost its young. (amidst a world where teeth were not always all still intact and beautiful in appearance, he extols this aspect of her beauty) 7 Your cheeks are enticing like halves of a pomegranate mysteriously captivating behind your veil. (description of part of her face, enticing and sweet like that of a pomegranate, she is captivating) 8 There are sixty queens and eighty concubines, (queens were known for their revered beauty and concubines were chosen for their beauty) and virgins without number. (available virgin young women beyond number, poetic wisdom literature technique for great contrast and comparison, going from a smaller number [60] to a greater number [80] to an even larger number [beyond number]) 9 My dove, my perfect one, is the only one, the best one, above all others she is the only one of her mother, (she is the favorite or literally the only child of her mother) pure to her who bore her. (completely endearing and faithful to her mother) The young women saw her and called her blessed; the queens and concubines also, and they praised her. (The point was that his beloved was more beautiful and desired than anyone else imaginable.) 10 "Who is this woman who looks down like the dawn, (Hebrew word used in Psalm 14:2 of God looking down from heaven and also in Proverbs 7:6 of someone looking down from a window) beautiful as the moon, bright as the sun, (beauty comparisons to the radiant moon or sun) awesome as an army with banners?" (Hebrew word translated as "army" in the ESV literally means something or someone supplied with standards, to carry, to set up, or to cover. He could be imploring the same imagery from 6:4 regarding a military comparison. Or, he could be further referencing heavenly splendors, like that of the moon, the sun, or even the stars all declaring like banners her splendor and all-encompassing beauty.) 16

17 SHE (Verses have brought some controversy as to the intended meaning. Due to the poetic imagery and possible sexual meaning of the language implored in these verses, I have chosen to leave them as the ESV text reads. The main point of these verses further reveal the sexual longing of the woman for her husband.) 11 I went down to the nut orchard to look at the blossoms of the valley, to see whether the vines had budded, whether the pomegranates were in bloom. (While some believe this is poetic imagery for sexual exploration, it more likely literally refers to the woman's literally wandering through the orchard and valley at springtime which in turn fosters a desire for her husband.) 12 Before I was aware, my desire set me among the chariots of my kinsman, a prince. (her time in the blossoming outdoors fosters her desire for her husband as one would long to stand in the presence of royalty) OTHERS (The other party here with this choral request is not clearly evident. Assumably, it may be the daughters of Jerusalem like the other chorus sections. However, given the context and the husband's response in the next verse, it may be a chorus of his friends desiring to see this woman who has so smitten him.) 13 Return, return, O Shulammite girl, (a call to return from the intimacies with her lover to a public appearance) return, return, that we may look upon you. (so we may gaze on this one who is spoken of so highly and captivating) HE (his response to the request of verse 13) Why should you look upon the Shulammite, (which is his bride in marriage) as upon a dance between two army camps known as the dance of Mahanaim? (In Genesis 32:7 Jacob divided the people into two camps at the return of Esau. It was also the place where God's angel met with him about the restoration with Esau. Jacob termed this place of restoration and the dividing of two camps as Mahanaim. Sometime after this occurrence, the "dance of Mahanaim" was used in reference of a captivating or entertaining dance between two army camps. Any additional details of this type of dance mentioned mentioned here have been lost. However, the point remains clear He delights in his wife and protects her from others who might gaze at her inappropriately. They belong to each other now in marital bliss.) 17

18 CHAPTER 7 (He now transitions back to describing his lovely bride, leading to more sexual intimacy.) 1 How beautiful are your feet in sandals, (His attention is now drawn to depict more of her beauty, starting with her feet probably still in the context of an alluring dance mentioned in 6:13. We are likely reading his depiction of an alluring dance she does in the context of their marital intimacy. He mentions her sandals which evidently accentuate her beauty.) O noble daughter! Your rounded thighs are like jewels, (speaking of her thigh above her knees and even her curves and hips being desirable as jewels) the work of a master hand. (fashioned by a master Creator, Sculptor) 2 Your navel is a rounded bowl that never lacks mixed wine. (We read of intoxicating language referring to the region above her hips, but apparently not the belly region from the next verse. Since this is literally translated as navel, the intended meaning could be the belly button area. However, since it also literally carried the idea of the inner most part and he mentions her belly next, others believe that the "navel" is actually her sexual region below the belly.) Your belly is a heap of wheat, encircled with lilies. 3 Your two breasts are like two fawns, twins of a gazelle. (identical to 4:5, again for re-emphasis, emphasizing her graceful symmetry, youthfulness, and sensual attractiveness) 4 Your neck is elegant and beautifully dignified like an ivory tower. Your eyes are beautifully attractive as the pools in Heshbon, by the gate of Bathrabbim. Your nose carries forth your prominent and dignified beauty like a tower of Lebanon, which prominently and securely looks toward Damascus on guard. (The NAC also states that from a distance, such a tower would add symmetry to the horizon and landscape. In other words, "Her nose complements and sets off her facial beauty.") 5 Your head crowns you like Carmel, you stand tall and dignified, and your flowing hair locks are like royal purple; a king is held captive in the entrapments of your beautiful hair. 6 How beautiful and pleasant you are, O loved one, with all your delights! 7 Your stature is like a palm tree, and your breasts are like its clusters of fruit. (possibly a date palm) 8 I say I will ascend the palm tree and lay hold of its fruit. (that being her breasts) Oh may your breasts be well-endowed like clusters of the grape vine, and the scent of your breath like the aphrodisiac scent of apples, 9 and the deep kisses of your mouth are like the best intoxicating wine. 18

19 SHE (she interjects in response to his descriptive advances) It speaking of her kisses goes down smoothly for my beloved, gliding over lips and teeth. 10 I am my beloved's, and his desire is for me. (the bride gives her love) 11 Come, my beloved, let us go out into the fields, for it is springtime, and lodge in the countryside villages; 12 let us go out early to the vineyards and see whether the vines have budded, whether the grape blossoms have opened and the pomegranates are in bloom. There (in this romantic place) I will give you my love. 13 (In this place) The mandrakes give forth sweet fragrance, and beside our presence are all the choicest fruits, new as well as old, which I have laid up for you, O my beloved. (she is likely saying that all the choicest fruits in the world [her everything] she gives now to him, her husband) CHAPTER 8 (longing for her beloved) 1 Oh that you were like a brother to me who nursed at my mother's breasts! If I then found you outside, I would be able to kiss you, (because of the culture, kissing in public was deemed shameful except for within one's familial circle and in ways not precieved as sexual) and none would despise me for it. 2 I would then lead you and bring you into the house of my mother (to consummate our relationship, the language seems to infer we are reading from a pre-marriage perspective) -- she who used to teach me. I would then sexually give you pleasures like spiced wine to drink, the pleasuring juice of my pomegranate. 3 His left hand is under my head, and his right hand embraces me! 19

20 (her last warning to her fellow peers regarding love's power and her caution to not rush into love) 4 I adjure you, O daughters of Jerusalem, that you not stir up or awaken love until it pleases. BEGINNING CONCLUDING THOUGHTS (Much of the love poems have taken place in the springtime wilderness setting. As we near the end of the Song, we think back about a couple given the gift of God's love for each other. This couple initiated a relationship that led to engagement [betrothal], marriage, and then sexual delights. Keeping in mind that the Song does not take on a strict chronological form, we have read love poems and songs regarding each aspect of their relationship, with particular emphasis on the post-marital sexual delights. In 8:5 and following the couple returns from their proverbial springtime sexual frolic in the wilderness back to the city. It is clear that they are now happily married and joyfully delighting in each other sexually.) 5 Who is that (set in springtime) coming up from the secluded and intimate wilderness back to the city, who is this leaning on her beloved? In this wilderness springtime setting under the apple tree I awakened you. There, in this place of sexual awakening, your mother was in labor with you; and there, in the place of our sexual consummation, she who bore you was in labor. (NAC is particularly helpful here, noting that the language is not literally saying that they made love under the tree where his mother gave birth. Rather, using poetic language, she is saying that the same region that his mother gave birth to him is the same region to which they have now sexually consummated their relationship and she has "awakened" him.) 6 Set me as a devoted seal upon your heart, (the woman's invitation and delight to belong to him in love) as a devoted seal upon your arm, for my love is strong and inevitable as death, (binding and it is meant to last forever) my jealous passion for you (out of my love for you) is fierce and inevitable as the grave itself. Its (love's) intense flashes are flashes of fire, the very flame of the Lord. (this love between a man and a woman is God's design and gift) 7 Many waters cannot quench love's flames, neither can floods drown it. If a man offered for love all the wealth of his house, he would be utterly despised, for love cannot be bought and sold. 20

21 OTHERS (her brothers' concern for the younger sister as she progresses toward marriage in the future) 8 We (say the brothers) have a little sister (another one from the one who just was married), she is still little and has no breasts (she has not sexually matured yet). What shall we do for our sister (in the future when she does sexually mature and she is eligible for marriage) on the day when she is spoken for (for marriage)? 9 If she is a wall sexually, (secure, chaste, virgin, dignified) we will build on her a battlement of silver, (they will further protect her with dignity) but if she is a door sexually, (open sexually and promiscuous) we will enclose her with boards of cedar. (they will forcefully stop her from being sexually open by closing her up) SHE (her closing response) 10 I was a wall sexually, I was chaste and pure, and my breasts were appealing like towers; then I was in his eyes (because of my sexual purity) as one who gives peace. (her chastity and act of sexually saving herself for him brought him great satisfaction, contentment, and peace) 11 (In contrast to her forced vineyard work in 1:6) Solomon had a vineyard at Baalhamon; he let out the vineyard to keepers; each one was to reap for its fruit (from their vineyard work) a thousand pieces of silver. 12 My vineyard (in contrast to 1:6, her own body and specifically their love) now (she writes), my very own, is before me; you, O Solomon, may have the thousand, and the keepers of the fruit two hundred. (Her point seems to be that she is through slaving in the vineyards. She now has been given the gift of love that frees her to tend to her own physical vineyard. She now gives her husband her full love. As for the work in the vineyards, Solomon and the workers can have all that!) HE (his closing longing for her presence) 13 O you (he writes to her longingly) who dwell in the gardens, with my companions looking for you and listening for your voice; oh, let me hear it. (He expresses his longing for her, who finds herself separated from him. He beckons helpers to find her and bring her to him. He longs to be with her.) 21

22 SHE (her final word and answer to her beloved's search for her) 14 Make haste, my beloved, and be like a sensuous gazelle or a young strong stag on the mountains of spices. (Although it may refer to him making haste over obstacles separating them from each other, it more than likely carries sexual overtones, inviting him to delight with her in their passionate love for each other.) 22

23 CONCLUDING APPLICATION THOUGHTS Wrapping It All Up Reflecting on God s creation of all things and His creation of mankind in His image, sets the framework from which we view life. Included in God s intentional design is gender, relationships, marriage, and sex. In a post-fallen world sin continues wreaking havoc on God s original creation of man, being His image bearers. It doesn t take long for one to make the astute observation that sex is one of the largest areas of breakdown from God s original design. Mankind throughout history struggled (and continues to struggle) with the sexual nature that God has given us. Amidst a world saturated with all things sexual, is it any wonder God provides us with a book of the Bible exclusively centered on the sexual aspect of humanity? After reading the Song of all Songs of Solomon, I trust you can clearly see that sex is a beautiful gift from God to be enjoyed between a man and a woman united in the commitment of marriage. Furthermore, a reading of the Song of Songs reveals a couple passionately in love. A love that propelled each spouse to delight in each other. As we look at the New Testament in Ephesians 5, we clearly read how the Gospel of Jesus Christ is to frame our attitude toward each other within the marriage relationship. Because of the radical grace we have been given, we should be joyfully willing to share that same grace to others, including our spouse. Regarding the sexual relationship of marriage, we also read in 1 Corinthians 7 about each spouse s responsibility to meet each other s sexual needs. Combining the focus of each of these New Testament passages with the Song of Songs, we begin to see the God-given and God-glorifying importance of serving one another sexually. In fact, all of marriage is to be lived with the other person s needs in primary focus, and this would include the sexual needs. At the same time, sex is not to be viewed as a mere loveless duty. Rather, it must stem from a heart of adoration and love for the other person that really has it s overall motivation in one s adoration of Creator God. When this proper balance of all these Scriptural aspects is maintained, a marriage relationship can thrive in the kind of love, passion, and pleasure that we read of in the Song of Songs. It is also interesting to note how the image of God creation affects our sexuality. God s intentional design involves the man and the woman, each reflecting various aspects of God s likeness, to fully complement each other in a unified and full representation of His overall likeness and glory. The sexual aspect of mankind is God s culminating picture of this image of God unity. Since sex is the culminating aspect of our image of God design, all of life outside the bedroom must first reflect this unity and God-centered perspective. Our problem obviously is the fact that we live in sin-cursed bodies in a sin-cursed world. Problems therefore, abound between a man and a woman throughout the marriage relationship. Men do not naturally treat their wives as Christ treated the church. Likewise, women do not naturally treat their husbands as the church treats Christ. Further complicating matters is the fact that God s creation of His image reflectiveness in man and woman are different. We must therefore seek to be good students of each other, seeking to live together in grace-centered, understanding ways. We must seek to learn how each other ticks and then how we can lovingly serve our spouse throughout the course of our lives. 23