The book often goes under the title “The Song of Solomon”, but is also called “The Song of Songs” or “Canticles”. It is the first of the five Megilloth, the fivescrolls read by the Jews at various feasts: Canticles (Passover), Ruth (Pentecost), Ecclesiastes (Tabernacles), Esther (Purim), and Lamentations (anniversary of the destruction of Jerusalem). The title in Hebrew as well as in the LXX is “The Song of Songs”. The Vulgate entitled it Canticum Canticorum, hence the alternative English title Canticles.[1]
THE DATE
The greatest objections to the dating of the book to the Solomonic era are concerned first with the use of Greek, Persian, and even Sanskrit loan words; and then with the reference to Tirzah (6:4) which indicates that the book was completed in the Persian Period or at a period prior to the time of Omri (885/84-874/73 BC) who built Samaria as his capital city to replace Tirzah, which was the chief city of the northern kingdom in the early night century BC.[2]
AUTHORSHIP
Traditionally, it was attributed to Solomon, due in part to the title, the six other explicit references to Solomon (1:5; 3:7,9,11; 8:11,12), and the three references to an unnamed king (1:4,12;7:5 [6 Masoretic Text])…. The case for Solomon’s authorship is not definitive, but the case against it is equally far from being sure… Even some liberal scholarship is now insisting that the book could have originated in the Solomonic era.[3]
The Song of Songs is unique in its genre in the Old Testament. It is one of the most beautiful books of the Bible. The Song is the amalgam of love-poems; an album of love. To limit its meaning to just allegorical, typological, or spiritual is not what the book was really intended for; to do that would be injustice to the meaning the author intended. If the spiritual or allegorical was the meaning intended, the author wouldn’t have had a need to use such an expanded work of literary genre to do that. He could have simply and directly stated that. It should be noted that the book was read at the Passover. This practice may have developed later when the allegorical way of interpretation arose showing God’s love for His beloved Israel in delivering her from Egypt. It is sometimes also said, though I am not that sure of that, that the book was specially read at marriage ceremonies, and that those under the age of thirty were not permitted to read it; that would be perhaps because of the erotic nature of the Song; yet, in its purest sense, the Song is a song of pure love of two lovers [Rabi Aqiba called it “the Holy of Holies”], and not of lust and licentiousness. It is a picture of unselfish and deep love between the two lovers; the longing, the admiration, the dreams, and the imaginations of them.
Owing to the nature of the Song compilation, or composition; the anomalistic arrangement; and the seeming variety of personal backgrounds, it seems appropriate for the Song to be likened unto an album of love songs by various artists; so that the authorship would not be accredited to only one person, though the work of compilation may be, but to various artists.[4] The meaning must be literal, though an allegorical may be made in the application.
SONG 2:1-6: AN EXEGESIS
NASV
(1) “I am the rose of Sharon,
The lily of the valleys.”
(2) “Like a lily among the thorns,
So is my darling among the maidens.”
(3) “Like an apple tree among the trees of the forest,
So is my beloved among the young men.
In his shade I took great delight and sat down,
And his fruit was sweet to my taste.
(4) “He has brought me to his banquet hall,
And his banner over me is love.
(5) “Sustain me with raisin cakes,
Refresh me with apples,
Because I am lovesick.
(6) “Let his left hand be under my head
And his right hand embrace me.”
Note: The word “beloved” will denote the girl; “lover”, the boy by adaptation from the NIV.
Verse 1. “I am the rose of Sharon, the lily of the valley.”
Suggestions as to who the addresser here is differ. Some accredit it to the lover, but most to the beloved—the nature of the metaphors, “rose”, “lily” is much more apt for the beloved.
“rose of Sharon”. The Amplified’s version is “a little rose or autumn crocus of the plain of Sharon.” The Zondervan Pictorial Bible Dictionary by Merrill C. Tenney describes it as Tulipa Sharonensis Dinros (Heb. Havatstseleth). A literal translation of the Hebrew word havatstseleth indicates a bulbous plant instead of a woody vine or shrub belonging to the genus Rosa. Botanists have concluded that the Sharon tulip found on sandy soil on the Sharon coastal plain is the “Rose of Sharon” of our Song of Solomon.[5]
“the lily of the valleys”. “Lilium Chalcedonicum L.(Heb. Shoshan), a true lily, its flowers a glowing red.”[6] “a tall flower, with one or two clusters of six-petalled trumpet-like flowers at the top of a single thin stem. These flowers would be commonplace in the countryside.”[7]
In a quick imagination, the reader or listener would be taken to the Plain of Sharon which lies “between the extensive marshes of the lower Crocodile river (Nahr es Zerka) and the valley of Aijalon and Joppa in the south”.[8] The beloved metaphorically calls herself a rose of Sharon and a lily of the valleys – common flowers of that place. The meaning can be inferred as: “Hey, what is so attractive in me, a girl of the marshes! What is so beautiful in me, a common flower among the common flowers?” In other words, “What does Romeo find in Juliet, a girl at whom no one would cast a second look, when there are other beautiful and even more beautiful girls in his own home town!” The Romeo of Song 2 answers:
Verse 2. “Like a lily among the thorns, so is my darling among the maidens.” The lover points his beloved to the briars and brambles around and says that her beauty surpasses the beauty of all the other maidens as the beauty of lily surpasses that of the thorns. “All others are as briars and brambles compared to her beauty.” “There may also be the additional element of the unlikelihood of such a beautiful flower growing in such hostile surroundings. This is a common theme in the folk literature of love.”[9] (The Fairytale Cinderella will best illustrate the theme).
Verse 3. “Like an apple tree among the trees of the forest, so is my beloved among the young men.”
“an apple tree”. There are disagreements as to what this apple tree refers to. Most believe that owing to the hot and dry climate of Palestine, an apple tree was a complete impossibility in the land; it may refer to a sweet citrus tree such as the apricot,[10] or the citron, or the quince.[11] These suggestions are equally refuted by the objection to the establishment of the tree at that time and the taste of the fruit—which is either sour or bitter. “The apple is a favorite fruit with the natives of the land, and although they do not now possess any very fine varieties, they are particularly fond of the smell of an apple (Cant 7:8)… The allusions to the size of the apple tree in 2:8, 8:5, are borne out by the facts of the case. There is no occasion, then, to seek for any other tree, as some have done, to meet the Scripture requirements.”[12] It is not difficult to understand that apple trees, which can grow in mild and colder climates, were grown in Palestine, the land of varying climates from Mt. Hermon’s “snowy 9,100 feet to the Dead Sea’s tropical 1,290 feet below sea level.”[13]
“the forest”. (Heb. ha ya’ar)[14] “outspread place”. According to W.F. Albright,[15] much of the hill country of Canaan was during the Middle Bronze Age (2000-1500 BC) covered with forests.”[16] Whether in the present text “forest” refers to the “fruitful land” and “densely vegetated and little-inhabited region”[17] of the Carmel hill range cannot be said for certain. It should be noted that the Carmel hill range is just to the North of the Sharon plain, and the allusion to spring in verses 11,12 makes it possible that it being the favorable time for the apple fruition, the apple trees were found in the forest of Carmel where the lovers had been and had enjoyed or were enjoying the smell and taste of the fruit and the shade of the trees. Yet, it must be said that this is a purely imaginative construction. Whatsoever, the beloved likens her lover to an apple tree, the most beautiful and attractive, [“Poets and story tellers throughout the world have praised the beauty of apple blossoms and the goodness of the fruit. Apples delight the eye with colors ranging from green and gold to pink and dark red. They tempt the taste with delicate flavors from tart to sweet,”[18] “the most valuable of all the fruits that grow on trees”], the most handsome and precious among the young men. This dialogue then is one of the most beautiful and exquisite expressions of a lover’s admiration for his beloved, and the beloved’s admiration of the lover.
“The most distinct, and highly beautiful, attractive, among the maidens: the most handsome, attractive and valuable among the young men.”
“In his shade I took great delight and sat down,
And his fruit was sweet to my taste.”
“I delight” (Heb. chamad “to desire strongly”)[19] may denote an intense longing and desire and mean (as in the text) that the appearance and the beauty of the tree, its furit, its shade, and its attractiveness stimulated in her a desire (intense desire) to sit under its shade and taste its fruit.
The strikingly handsome figure of her lover (unique among the world of young men), the appeal of his beauty, his words song (a desire to watch him close, listen to him, enjoy his cooling presence) drew her to him. And so, when she looks to herself she counts herself as a simple common rose or crocus of Sharon, a lily of the valleys and wonders how she could have been so loving to her lover. He replies that she is unique and beautiful, her beauty surpassing excellently beyond that of the other maidens, her gentleness, obvious and incomparable to the thorny maidens around, she is distinctly beautiful and tender. The beloved then looks to her lover and says what she sees him as; the most attractive and precious among the forest trees, the most valuable and handsome among the young men.
The dialogue is a strikingly exquisite description of what goes on in the mind of each lover when they both look at each other. This is the true character of pure love (no pride, only appreciation, love, and delight). His beauty striked her and she says that she “took great delight and sat down” in his shade. It would be well to note that the shade of the apple tree with the tree’s branches almost near the ground, so close to each other, with the appealing beauty of the fruit and the sweetness of its taste is a well-suited simile for describing the delight she has in his nearness, being close to him, his arms, his shade—his cooling influence, and the enjoyment that he gives. That is above all to a beloved in whose sight her lover is the best. She would not, could not delight (wouldn’t even think to) in any other shadow. Only her lover is beautiful and delightful to her. Only he appeals to her, only he is where and with whom she is happy and delighted. In his presence, by his side she is confident, happy, and delighted.
Note: The word for taste is chek which means the palate; the organ of taste.[20]
Verse 4. “He has taken me to the banquet hall, and his banner over me is love” (NIV)
“the banquet hall” “banqueting house (KJV)”. Literally, Beth ha yayin means “house of wine”.[21] A first approach to ascertaining the meaning or purpose of Beth-hayayin would be by relating it to a marriage ceremony, where there is a lot of feasting and wine-drinking. To think in this way and assume it as a lover’s marriage and that what follows is the first night of their marriage may seem appropriate. The RSV puts the latter part of verse 3 and verse 4 in the past tense “his banner over me was love.” Then that would be a reference to their marriage; “his banner (Heb. degel, flag, banner, standard[22]; this was carried by army and was large enough to be seen from distance) over me was love,” would mean that “he declares and makes it visible that he has won my hand with love” [A proper understanding of the marriage customs (if available or known) may help in understanding the true meaning. What used to take place after marriage, etc].
To suggest that “the house of wine” referred to a “tavern”[23] is almost inappropriate due to the sequence of the events.
Another approach would be by linking the passages 4,5, and 6 to the preceding verse 3, where the desire of the beloved is stimulated by the attractiveness of her lover (it must be noted and assumed, if we were to interpret it in this manner, that the two have already been married to each other by now) and she delights to sit near him and enjoy his presence and giving (fruit), love. The banquet hall and the banner also then would be figurative, kind of metaphors, or phrases; the banquet hall meaning the height of intoxicated love and the “banner of love” would mean that the girl understands that her lover delights and earnestly desires her,[24] is ardently and vehemently in tenderness and full of affection, inclined towards her. Realizing that, she proceeds on to say:
Verse 5. “Strengthen me with raisins, refresh me with apples, for I am faint with love.” (NIV)
The girl is aroused, and she is weak, sick, and faint with love and desire… She is swooning with desire. She has that ache in the pit of her stomach, she has that loss of appetite which can only be cured by her being ‘spread out’ with her lover, and by eating and drinking of the delights of love-making.[25]
“raisins” “flagons (KJV)”. (Heb. Ashiyshah “the LXX have translated the word pemmata, according to Jerome, plancentae, a cake or hardened syrup made of grapes”[26]). It can mean a cake made of dry grapes or grapes; cakes of raisins.
The meaning of text is almost depended on what “sick or faint with love” would mean. To some it meant that the both lovers had engaged in love-making and were now exhausted and needed to be strengthened again with raisins and apples [In the south part of India, on the first night after marriage, a glass of milk, sweets, apples or fruits etc are kept by the bed side of the newly married couple]. This could be construed either with reference to the first approach, namely, the first night after marriage, or with reference to the after event of lovemaking. The cakes of raisins and apples would be literal then.
But if “faint with love” were to mean “swooning and fainting with love and desire,” the meaning of “strengthen or sustain me with raisins, refresh me with apples” would be a figurative way of asking her lover to fulfill her desire and longing. It should be noted that the language is poetical and the nature of poetic language is to include hyperboles, synecdoches, similes, metaphors, irony, etc. The meaning would be to say that the beloved is now at the apex of her desire; she is enthralled by the beauty of her lover; she sees in him a desire to delight in her; this captivates her; her emotions are triggered high, and she, looking at him, asks him to take his full of love, give her his love, and thus fulfill her desire.
Verse 6. “His left arm is under my head, and his right arm embraces me” (NIV). This seems to be, then, the response of her lover to her plea. It is worth to be noted that the lover is not self-imposing but respecting the will of his bride; waits till she gives her consent. The scene purely of that on the couch where the bride is to the left of the bridegroom, his left arm serves as a pillow to her head, and with his right arm he embraces her. This can be taken literally or figuratively and still would man one thing. They have begun. Love between a lover and his beloved, between a husband and his wife, finds its height and reaches its pinnacle in sex.
CONCLUSION
Song of songs 2:1-6 is an excellent description of the lovers’ hearts and desires. The beloved is enthralled by the striking handsomeness of her lover; the lover is enthralled by the distinct beauty and tenderness of his beloved. The beloved desires and delights in her lover, the lover desires and delights in his beloved. Their mutual admiration and love find fulfillment in love, love-making; sex must be the height of pure love.
This has great significance for Christians.
Be subject to one another out of reverence for Christ…. As the church is subject to Christ, so let wives also be subject in everything to their husbands. Husbands, love your wives, as Christ loved the church and gave himself up for her….” (Eph.5:21,24,25, RSV)
The husband should give to his wife her conjugal rights, and likewise the wife to her husband. For the wife does not rule over her own body, but the husband does; likewise the husband does not rule over his own body, but the wife does. Do not refuse one another except perhaps by agreement for a season, that you may devote yourselves to prayer; but then come together again, lest Satan tempt you through lack of self-control. (1Cor. 7:3-5)
Marriage is instituted and ordained by God. The text we have exegeted shows how love grows and is intensified by mutual admiration and respect, how it is fulfilled in mutual subjection. Each is made for each other. “It is not good for man to be alone.” “Your desire shall be for your husband” (Gen. 2:18; 3:16). Marriage is the territory; there can be no real and true delight beyond it. The beloved delights in her husband’s shade and enjoys his love and fondle. The lover delights in and loves his bride.
The love between a husband and wife is the best reflection of Christ’s love for the Church and the Church’s love for Christ. A Christian who cannot love his wife cannot know the love of Christ for His Church. A Christian who cannot love her husband cannot know the love of the true and flawless Church for Christ.
© Domenic Marbaniang, October 1998
[1] R. K. Harrison, Introduction to the Old Testament (WBEP, 1983), p.1049
[2] Ibid, pp.1050-51
[3] Frank E. Gaebelein, Expositor’s Bible Commentary, V.5 (Zondervan, 1991), p. 1210
[4] It can also be accepted that one author had composed it all with variety of description.
[5] Zondervan Pictorial Bible Dictionary, ed. By Merrill C. Tenney (Zondervan, 1963), p.667
[6] Ibid, p.664
[7] Tom Gledhill, The Message of the Song of Songs (Inter-Varsity Press, 1994), p.122
[8] The New Bible Dictionary, Douglas. P.1170
[9] Gledhill, The Message…, p.122.
[10] Ibid, p.122
[11] The New Bible Dictionary, p.50
[12] Merrill Unger, Unger’s Bible Dictionary (Vegetable Kingdom, Apple)
[13] Ibid (Palestine, Climate).
[14] John Joseph Owens, Analytical Key to the Old Testament, Vol.3
[15] Archaeology of Palestine and the Bible, 1960, pp.130-133
[16] The New Bible Dictionary, p.435
[17] Ibid, p.200
[18] The World Book Encyclopedia, A.
[19] William Wilson, New Wilson’s Old Testament Word Studies (Kregel Publications, 1987), p.114
[20] Ibid, p.439
[21] Wilson, Word Studies, p.28
[22] Ibid, p.417
[23] Gledhill, Songs, p.125
[24] Wilson, Word Studies, Love, p.260
[25] Gledhill, Songs, p.126
[26] Wilson, Word Studies, p.167
[2] Ibid, pp.1050-51
[3] Frank E. Gaebelein, Expositor’s Bible Commentary, V.5 (Zondervan, 1991), p. 1210
[4] It can also be accepted that one author had composed it all with variety of description.
[5] Zondervan Pictorial Bible Dictionary, ed. By Merrill C. Tenney (Zondervan, 1963), p.667
[6] Ibid, p.664
[7] Tom Gledhill, The Message of the Song of Songs (Inter-Varsity Press, 1994), p.122
[8] The New Bible Dictionary, Douglas. P.1170
[9] Gledhill, The Message…, p.122.
[10] Ibid, p.122
[11] The New Bible Dictionary, p.50
[12] Merrill Unger, Unger’s Bible Dictionary (Vegetable Kingdom, Apple)
[13] Ibid (Palestine, Climate).
[14] John Joseph Owens, Analytical Key to the Old Testament, Vol.3
[15] Archaeology of Palestine and the Bible, 1960, pp.130-133
[16] The New Bible Dictionary, p.435
[17] Ibid, p.200
[18] The World Book Encyclopedia, A.
[19] William Wilson, New Wilson’s Old Testament Word Studies (Kregel Publications, 1987), p.114
[20] Ibid, p.439
[21] Wilson, Word Studies, p.28
[22] Ibid, p.417
[23] Gledhill, Songs, p.125
[24] Wilson, Word Studies, Love, p.260
[25] Gledhill, Songs, p.126
[26] Wilson, Word Studies, p.167
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