The Song of Songs, which is Solomon's.
This is a superlative form in Hebrew (BDB 1010). It could be translated the best of the Songs (cf. Exod. 29:37; Deut. 10:17; and Dan. 2:37 for other examples). It often referred to love songs (cf. Isa. 5:1; Ezek. 33:32).
This Hebrew form (BDB 81) can mean to, for, or concerning. Hebrew linguists note that the form of Sol 1:1 is different from this same Hebrew PARTICLE in the rest of the book. This has led many to believe that Sol 1:1 is a later addition by a general editor.
The inclusion of the name of Solomon several times in the text (i.e., Sol 1:1, 5; 3:7, 9, 11; 8:11, 12) leads to the conclusion that this song is written about Solomon, to Solomon, or by Solomon. It is uncertain exactly which is the case. See Introduction, Authorship.
May he kiss me with the kisses of his mouth!
Your oils have a pleasing fragrance,
purified oil;
!
The king has brought me into his chambers.
A common feature of the Hebrew language which surprises and confuses modern readers is the constant switch between SECOND PERSON and THIRD PERSON. This verse illustrates this common feature well:
1. line 1 is THIRD PERSON (may he kiss me)
2. line 2 is SECOND PERSON (your love is better than wine)
As moderns we (even Jewish scholars) do not know the inferences and common textual features (sometimes unconsciously learned) of ancient Hebrew (i.e., before vowels, before Aramaic).
In ancient Near Eastern cultures kissing was done in private (cf. Sol 1:4). See Contextual Insights, A. Notice the term's repetition for emphasis.
There are several different words for love in Hebrew. They are all used in this book. This particular word (BDB 187) comes from the same root as the proper name David (BDB 187). This term alludes positively to a human lover and love making. It is recurrent in the book (cf. Sol 1:2, 4; 4:10; 5:1; 7:13).
This could refer to (1) daily use of wine or (2) festival use of wine. The same phrase is repeated in Sol 1:4 and 10. For the concept of social consumption of alcoholic beverages see Special Topic: Biblical Attitudes Toward Alcohol and Alcohol Abuse.
The basic meaning of this term (BDB 1032) is fat or rich (i.e., land, e.g., 5:1). It refers to olive oil, which was a daily food item and when put on the face, a sign of prosperity and festival (e.g., Isa. 25:6). Here it is used of perfumed oil (cf. Sol 4:10; Ps. 27:9; Eccl. 7:1; 10:1; Amos 6:6).
This (BDB 1027) refers to the person. Just the thought of this person brought the scent of perfume. A name used as sweet scent is also found in Eccl. 7:1.
There is an obvious word play between oils (BDB 1032) and name (BDB 1027). This is common in Hebrew prose and especially in Hebrew poetry.
purified oil
NKJV ointment poured forth
NRSV perfume poured out
NJB oil poured out
This VERB'S (BDB 937, KB 1227, Hophal IMPERFECT) basic meaning is to empty something. The NASB, in the margin, defines it as which is emptied (from one vessel to another). The question remains, what does this VERB imply:
1. a purifying procedure
2. a wide-spread reputation (i.e., among the harem)
In context #2 fits best.
This is the Hebrew word almah (BDB 761, cf. Isa. 7:14). This Hebrew word refers to a young woman of reproductive years, married or unmarried. The exact identity of these young women is uncertain (see note at Sol 1:5). There seem to be two major possibilities: (1) Solomon's harem or (2) the ladies of Jerusalem or Solomon's court (cf. Sol 1:5; 2:7; 3:5, 10; 5:8, 16; 8:4).
This is the general term for love (BDB 12) in the Hebrew language. The uniqueness of this word usage in Song of Songs is that it is predominately used for the maiden's affection for her lover. The OT was written in a male-centered society. A woman's feelings or concerns are usually not recorded. This book is not only an affirmation of the beauty and wholesomeness of physical love, but of reciprocal love!
This verse has several commands. See Contextual Insights, A.
This is literally bed chamber (BDB 293, cf. Sol 3:4; Eccl. 10:20; Joel 2:16). This refers to Solomon's harem (cf. Sol 6:9). Some commentators (and I am one of them) who see Song of Songs related to the Syrian love songs (i.e., wasfs), note that in these love poems the bride and groom are called king and queen.
b
We will rejoice in you and be glad;
We will extol your love more than wine. Rightly do they love you.
It is very difficult to identify this group(s). It may be a chorus (NJB) or possibly the maidens of Sol 1:3, who might be identified with the daughters of Jerusalem (NKJV).
This term (BDB 162, KB 189, Qal COHORTATIVE) is very common in Psalms, but used only here in Song of Songs. It often denotes Israel's rejoicing over God and His covenant faithfulness. So it is a powerful affirmation! Here it refers to sexual love (cf. Ps. 45:13-15). Robert Gordis, The Song of Songs and Lamentations, thinks Sol 3:6-11 is a wedding song similar to Psalm 45.
This term (BDB 269, KB 269, Hiphil COHORTATIVE) basically denotes remembering, but in certain texts it takes on the concept of mentioning a word of praise. Here it takes on the connotation of praise (cf. Ps. 45:17). It almost seems as if the author of Song of Songs knew Psalm 45, which refers to the king of Israel's marriage.
lie down at noon? For why should I be like one who veils herself Beside the flocks of your companions?
It is difficult to follow who is speaking and to whom they are speaking. The transitions are not clearly (textually) marked. In Sol 1:5-6 the northern woman is addressing apparent concerns of the Jerusalem harem or the women of the court.
Sol 1:6 describes this as a deep tan ( blackish, BDB 1007), which she received from the sun while tending the family vineyards and flocks. Usually harem women strived to be as white as possible.
The identity of this group is crucial, but difficult. Here are some of the interpretive theories:
1. Solomon's harem
2. city girls (versus country girls)
3. the woman's friends
4. a mental image
5. a literary way of moving the scene along
6. a type of narrator (chorus)
7. women of the royal court (i.e. wives of leaders or royal servants)
They are a literary foil to help the maiden examine and express her thoughts and feelings. See notes at Jer. 46:11 for the Hebrew idiom daughters of _____.
The Kedarites (BDB 871, literally swarthy or black-tinted ) are related to the Ishmaelites, which means they were Arabs (cf. Gen. 25:12-18; 1 Chr. 1:29; Isa. 42:1, 60:7; Jer. 49:29-32). These desert nomads are known for their black tents which were woven from goat's hair. The tents (BDB 13) were made from goat skin, while the curtains (BDB 438) were woven from goat hair.
This is obviously parallel to tents of Kedar. The question is, what curtain does it refer to:
1. Solomon's palace (TEV)
2. Solomon's travelling tent (NJB)
3. the temple in Jerusalem
There is just not enough information in the text to make a determination.
Also, it is possible that the color is not the parallel, but dark. . .beautiful, whereby the curtains of Solomon are not dark, but beautiful (cf. TEV).
Notice that the NJB has Salmah, NAB has Salma, and REB has Shalmah. This comes from a supposed tribe in the area of Edom, possibly close to Kedar. However, there is no textual support or ancient version support for this textual change.
NASB, NAB
JPSOA, NIV do not stare at me
NKJV do not look upon me
NRSV do not gaze at me
TEV, REB do not look down on me
NJB take no notice
This can be understood in one of two ways:
1. Her dark tan was seen by the daughters of Jerusalem as reflecting her poor, rural background, and lack of light skin (TEV, NIDOTTE, vol. 3, p. 1009).
2. Her dark tan and beauty caused them to stare at her in awe and envy.
The VERB can be from one of two roots that mean to burn ( with anger ):
1. חרר, BDB 354, Niphal PERFECT, cf. Isa. 41:11; 45:24
2. חרה, BDB 359, Niphal PERFECT, cf. Ps. 69:4; Ezek. 15:4, 5
Number 1 is more probably the correct root. It is interesting that the root נחר (BDB 637) literally means to snort and developed metaphorically to denote anger.
The interpretation of this verse is crucial to the understanding of the book (cf. Sol 6:9). As in all other passages there are several theories:
1. the brothers are jealous of the king's favour
2. this reflects a family feud over the young girl's chastity (line 5)
3. the young girl did not take enough time for herself (TEV)
4. she has given her heart to another (i.e., a northern local lover)
To whom does this refer? It depends on one's understanding of how many characters are involved in this poetic/musical drama. The two theories are: (1) the girl's hometown shepherd boyfriend from the North or (2) Solomon himself from Jerusalem (i.e., shepherd of Israel).
For soul (nephesh), see note atGen. 35:18.
This may refer to:
1. Solomon's travelling pavilion, thereby:
a. tents of Sol 1:6
b. companions of Sol 1:7, line 5 and 8:13
2. to a local shepherd whom she loves
There is the added sexual imagery of lying down, implying, I want to come lie down with you. Poetry carries connotations and implications with its choice of words and their various connotations.
Veils (BDB 741, wrap oneself ) is found in the MT, Septuagint, and NRSV. Other ancient versions read wanders (BDB 380 or 1073, cf. the Peshitta, Vulgate, and RSV). This refers to either (1) her modesty (i.e., veil); (2) her premarital desires; or (3) her asking her lover not to associate with travelling prostitutes (cf. Gen. 38:14-19).
If you yourself do not know,
Most beautiful among women, Go forth on the trail of the flock And pasture your young goats By the tents of the shepherds.
This seems to be playful sarcasm. It refers to the chorus (NJB) or the bridegroom (NKJV) addressing the bride. This passage is one of many where the shepherd motif is used. This either refers to this Northern hometown boyfriend or it is a reference to King Solomon. This response answers her question of Sol 1:7.
This verse has three IMPERATIVES. See Contextual Insights, A.
This affirmation of love is repeated in Sol 5:9; 6:1. Beauty is in the eye of the beholder. She calls him O you whom my soul loves in Sol 1:7 and he responds!
This is interpreted in radically different ways depending on who is referred to in Sol 1:8.
This (BDB 1015) is a different Hebrew word than the tents (BDB 438), which could denote curtains or tapestries in Sol 1:5. This one denotes a temporary dwelling place (i.e., the tabernacle in the wilderness, i.e., Exod. 25:9).
Verse 5 could refer to Solomon's travelling tents (large and elaborate) and this to a local shepherd's tent. It all depends on how many lovers are depicted in the book (one, the king, or two, the king and a local shepherd boyfriend).
To me, my darling, you are like
Your cheeks are lovely with ornaments,
Your neck with strings of beads.
This comes from the Hebrew phrase to pasture (BDB 944, cf. Sol 1:15) and means friend or companion (BDB 946).
This Aramaic VERB (BDB 197, KB 225), in the Piel stem, denotes a comparison. It is used several times in this sense in Song of Songs (cf. Sol 1:9; 2:9, 17; 7:7; 8:14).
Solomon was the first to import Arabian horses from Egypt (cf. 1 Kgs. 10:28; 2 Chr. 1:16, 17; 9:28) for military purposes. This metaphor refers either to the ornamental beauty of the royal horses (possibly embroidered on the royal tent) or to the graceful movement and beauty of the animals themselves. These horses were prized animals!
This term (BDB 1064) can refer to:
1. a type of hairdo or braid (TEV)
2. a necklace of precious metal (cf. Sol 1:11)
The basic Akkadian root seems to mean to encircle or go around again (KB 1708). The reference could be to the horses' ornaments of Sol 1:9 or the woman's necklace of Sol 1:10, line 2. If the second line of Sol 1:10 is synonymous parallelism, ornaments refers to a string of beads (BDB 354, this term appears only here in the OT and a similar root means string of beads or string of shells, or string of pearls ) or NKJV, chains of gold (to parallel Sol 1:11, line 1).
Both of these words are rare and disputed. This ambiguity is characteristic of poetry!
We will make for you ornaments of gold
With beads of silver.
Again the problem is the identity of the speaker. Note the use of the PLURAL we. The NKJV identifies the speaker as the Daughters of Jerusalem. The NASB makes Sol 1:11 a separate paragraph, denoting a possible change of speaker. However, its outline makes Sol 1:8-17 come from Solomon. TEV and NJB see it as a continuation of the male speaker.
While the king was at his table,
My beloved is to me a pouch of myrrh
My beloved is to me a cluster of henna blossoms
In the vineyards of Engedi.
Again, the interpretation depends on, who is the king?
The term (BDB 687) translated by NASB and NKJV as table, can also mean couch (cf. NRSV, JPSOA, TEV, REB) or room (NJB). Its basic meaning is that which surrounds.
It could surely be the elaborate sleeping tent and couch of Solomon or a simple bed mat of a shepherd expressed in hyperbole.
perfume
NKJV spikenard
NRSV, NJB nard
This (BDB 669) was an oily extract from a sweet smelling plant from the Himalayas region of India (Sanskrit root). It was used as an aromatic aphrodisiac in the ancient Near East.
This refers to the ancient method of perfuming. In symbolism it refers to one of the lovers dreaming/thinking of the other all night!
This (BDB 600) was a plant resin from Arabia and the northeast coast of Africa. It was bitter to the taste, but sweet smelling and long lasting. In Ps. 45:8 it is also connected to a wedding (i.e., physical love). It has connotations of erotic love (cf. Sol 1:13; 3:6; 4:6, 14; 5:5, 13; Pro. 7:17).
This term (BDB 994) is used several times in the book ( Sol 1:13; 4:5; 7:3, 7-8; 8:8, 10). This same phrase, between breasts, is used by Hosea to denote pagan fertility worship (cf. Hosea 2:2).
These are small fragrant white flowers (BDB 499) that comes from a bush that grow abundantly in the Middle East. They are still used by Arab women today who use these flowers to dye parts of their bodies either orange or yellow.
This (BDB 745) is a famous oasis midway down the western shore of the Dead Sea known for its beauty and fertility. It is mentioned several times in the OT.
How beautiful you are, my darling,
doves.
This phrase is repeated for emphasis. This term (BDB 421) is used often:
1. in the phrase, most beautiful of women, Sol 1:8; 5:9; 6:1
2. in the phrase, How beautiful you are, Sol 1:15(twice); 4:1(twice), 7; 6:4
3. in the phrase, beautiful one, Sol 2:10, 13
4. in the term, handsome, Sol 1:16 (used only here in the OT to describe the man)
5. in Sol 6:10 it describes the moon
The allusion here is possibly to (1) mate loyalty; (2) gentleness; (3) a sweet melodious song; (4) a symbol of peace, love or innocence; or (5) color. This phrase is used again in Sol 4:1 and 5:12. It is repeated by the woman in Sol 1:16. Dove (BDB 401 I) is used several times in comparisons (cf. Sol 1:15; 2:14; 4:1; 5:2, 12; 6:9).
How handsome you are, my beloved,
so pleasant!
The beams of our houses are cedars,
Our rafters, cypresses.
This refers to either (1) the grandeur of the royal travelling pavilion or (2) the secret meeting place in the woods of the two hometown lovers.
This is a different term (BDB 793) from table or couch in Sol 1:12 (BDB 687).
The UBS' Helps for Translators, Fauna and Flora of the Bible, says, there is great confusion in all versions, ancient and modern, over the identity of evergreens in the Bible (p. 116).
DISCUSSION QUESTIONS
This is a study guide commentary which means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.
These discussion questions are provided to help you think through the major issues of this section of the book. They are meant to be thought provoking, not definitive.
1. Why are there so many interpretations of this book of the Bible?
2. How many persons or groups are referred to in these music/poetic passages?
3. Give possible theories of verse 6 and why this verse is so important.