Song of Solomon chapter 1
The Hebrew is clear that the woman is speaking, but not until 6:13 is she identified as the Shulamite maiden, a
country girl.
The virgins refers to other maidens attached to the royal palace. The switch to the first person plural here
indicates that a group is now speaking. From the maiden’s response in 1:5 we conclude that the group is to be
identified as the “daughters of Jerusalem,” a number of maidens who served the royal court. They appear
throughout the book as a chorus who reiterate the power and drama of love, in response to the speeches of the
main characters.
I am black refers to her swarthy, deeply tanned appearance, which in verse 5 is attributed to her long hours of
work in the vineyard. The tents of Kedar were Arab tents made of black goat’s hair. She is comely as the curtains
of Solomon which were known for their lavish beauty and exquisiteness.
The maiden now addresses her shepherd lover to determine his location. The three-character interpretation
seems to make an unnecessary separation of the shepherd and the king who answers in the next verse (cf. 1:12)
into two separate individuals.
Solomon begins speaking to the maiden at this point, although some interpreters delay his speech until verse 9
and ascribe verse 8 to the daughters of Jerusalem. Since there is a distinction in the Hebrew verb forms between
feminine and masculine, in most cases it is easy to determine the identity of the speaker. However, not all
ambiguity is removed as verse 8 attests. Comparing the maiden to a company of horses, like many figures of
speech in the book, seems quite unflattering to the modern reader. However, in the ancient world it would have
been considered a compliment since the horses of the king were known for their beauty, gracefulness, and costly
ornamentation.
My beloved (Hebrew dod) is used 32 times in the book, always to refer to Solomon. Camphire refers to henna
blossoms which come from the henna shrub of northern India.
Solomon speaks again, and the conversation becomes more intimate. He compares the maiden’s eyes to those of
doves because of their beautiful and gentle appearance.
The book is a love son sung by the two lovers: the shepherd-king and the Shulamite maiden. Solomon appears
first as a young shepherd who falls in love with the outcast Shulamite girl. He promises to come again one day to
marry her. In his absence, she dreams about their reunion.
When he returns, to her surprise he appears as King Solomon himself. Accompanied by his entire entourage, he
takes her back to Jerusalem in his royal coach to become his bride. The story serves as a beautiful picture of
Christ’s love for His outcast Gentile bride, the church, for whom He promises on day to return.
Song of Solomon Chapter 2
2:1. The maiden modestly compares herself to the Rose of Sharon and the lily of the valleys, meaning that, in her
view, she is only a common field flower.
2:2. Solomon replies that the maiden, compared to other women, is like a lily among thorns.
2:3. The maiden returns the compliment by comparing Solomon to the cultivated apple tree which stands out
among all other trees.
2:5. Flagons: Better, "cakes of raisins." Sick of love: Better, "lovesick."
2:7. Till he please may be translated "until it pleases," or "until it is proper." This refrain is restated throughout the
poem (3:5; 8:4) and serves as a warning not to arouse love (sexual desire) until it is proper.
2:9. The comparison of the beloved to a roe or young hart is symbolic of strength, masculinity, and grace.
2:10-13. Though the maiden speaks here, she is quoting Solomon who invites her to come out of her home and
enjoy a beautiful day with him. Turtle refers to the turtledove.
2:15. The little foxes wrought havoc in the ancient vineyards. They here represent the little things in human
relationships that weaken bonds. The verse is a plea for a careful relationship that does not allow little things to
ruin it.
2:16. This verse marks the deepening of their relationship, the first indication that they possess each other. There
is a definite progression in the maturity of her love. Here she is thrilled that she has captured his love: My beloved
is mine; secondarily she realizes that I am his. In 6:3, she reverses her statement acknowledging first that "I am my
beloved's" and secondly noting my beloved is mine. Finally in 7:10 she simply states: "I am my beloved's, and his
desire is toward me." At this final stage she is totally consumed with his love.
2:17. Bether comes from a verb meaning "to cut in two" and therefore implies separation. The maiden pleads that
their "mountains of separation" may be dissolved. It expresses her desire that the marriage should be
consummated, a desire not fulfilled until 4:16.
Song of Solomon Chapter 3
3:1-5. This passage seems clearly to be a dream since it is unlikely that a modest maiden would have gone out in
this way at night. It expresses the maiden's fear that she could lose her beloved during his absence.
3:6-11. The passage describes the marriage procession, with Solomon arrayed in all his glory and splendor.
Pillars of smoke means columns of incense; the 60 valiant men were Solomon' s bodyguard; the bed was the
carriage or litter on which Solomon was carried; and the crown was not a royal crown but a wedding crown, given
to him by Bathsheba, his mother.
Song of Solomon Chapter 4
4:1-7. Solomon beautifully describes seven parts of the maiden''s body, seven being the number of perfection.
Thus, from the head to toe, Solomon found his beloved incomparably beautiful.
4:9. My sister expresses endearment and affection; the term was used often in Egyptian love poetry for one's
lover.
4:12-15. Solomon describes the maiden's virginity with the imagery of a locked garden where there are all kinds of
choice fruits and pleasures. The mention of waters (v. 15) alludes to sexual powers which must, as here, be
reserved for the marriage bond (cf. Prov. 5:15-18).
4:16. This is an invitation from the maiden for Solomon to consummate the marriage.
Song of Solomon Chapter 5
5:1. The marriage is consummated.
5:2-8. These verses introduce concern in the courtship and engagement. There is a separation (v. 6) and a
searching (vv. 7, 8). Bowels (v. 4) refers to the seat of the emotions. The conflict is not resolved until Solomon
returns (6:4-13).
5:10-16. This passage is the maiden's answer to Solomon' s description of her in 4:1-7. In his absence she
reflects on her appreciation of his appearance. Among other comparisons she states that his eyes are like the
eyes of doves, the only comparison that the two share (see 4:1), a reference to purity and gentleness.
Song of Solomon Chapter 6
6:2, 3. To the question of verse 1, the maiden replies that her husband has gone down into his garden. She
reaffirms her security in their marriage with the same comparison used at 2:16, though with more confidence here.
6:4-12. Solomon speaks again and reiterates his love and appreciation for his wife. The description is much the
same as in 4:1-7. Her uniqueness among all of Solomon' s women is especially stressed in verses 8 and 9. Like
the chariots of Amminadib (v. 12) can be translated "among the chariots of my noble people." The phrase
suggests that the maiden is now in Solomon' s presence and is completely reconciled to him.
6:13. Shumalite: This is the first indication in the book as to where the maiden is from. It may be taken from
Shulam, which is unknown, or taken as a variant of Shunem, which is known to have existed near Jezereel (Josh.
19:18). The company of two armies may be taken as the name of a well-known dance. Solomon asks why the
daughters of Jerusalem should gaze on the maiden as though watching a joyous dance.
Song of Solomon Chapters 7 and 8
7:1-8:4. The two speeches in this section, one by each partner, speak of the growing maturity and depth of their
marriage. To Solomon, the maiden satisfies like food and drink (7:2). She has sparkling eyes and a prominent
nose (7:4), the latter being considered in that culture as quite attractive. Carmel (7:5) was a noted comparison for
beauty and nobility. To the maiden the marriage is so satisfying that she feels complete freedom to initiate love (7:
11-13). Mandrakes (7:13), mentioned only here and in Genesis 30:14-16, were a common plant in ancient
Palestine and widely regarded as an aphrodisiac.
8:6, 7. These verses are clearly the climax to the story. The maiden describes in the most vivid terms the
unquenchable nature of true love: it cannot be destroyed by death or the grave; it burns like a blazing fire that
cannot be extinguished; and it cannot be bought.
8:8-12. These verses are difficult, but they seem to go back historically to explain how the love described in
verses 5-7 came into being. It seems that the brothers of the maiden are the speakers in verses 8, 9. (They are
mentioned in 1:6.) They recall when she was their little sister and lived under their protective eye. They
determined that if she were a wall (chaste and pure), they would honor here; if she were a door (loose and
immoral), they would curtail her liberty. The maiden proclaims her purity (I am wall, v. 10), her physical maturity,
and her emotional maturity (vv. 11, 12).
8:13, 14. The final verses echo the themes of mutual desire and longing which are satisfied only in the joy of
married love.