Many people are shock to find an explicit love song in the Holy Bible – complete with erotic and sensual lyrics. But the Song of Songs is exactly that. The Song of Songs shows no embarrassment with lovers enjoying each other’s bodies intimately and emotionally. These lovers love to look at each other and express their erotic feelings of passion. Both the woman and the man take the initiative in praising each other. For this reason, many people have argued for centuries that the Song of Songs should be removed from the Bible or be made “Adults Only.”
When newcomers first read the Song of Songs, they are confronted with a jumble of images that run together and then shift with no rhyme or reason. In fact, the book is sometimes confusing and puzzling. The Song of Songs is not a story with a plot, but a collection of love songs that tells of the wholesome and romantic story of a young man and young woman. These inspired words of God disclose the beautiful charm and splendor of romantic love as one of God’s choicest gifts. This wisdom literature celebrates the sexual union and pleasure between a man and a woman as a joyful part of God’s creation. This kind of love is worth waiting. Also, these eight chapters of the Song of Songs reveals God’s love and passion for His people and of Jesus Christ’s self-sacrificing love for His church.
The title “The Song of Songs,” means the greatest song. Verse 1 appears to ascribe the book’s authorship to Solomon. The Old Testament states that King Solomon composed 1,005 songs (1 Kings 4:32), so one might expect him to be the author. Traditionally by the church, King Solomon has been recognized as the author. Solomon is referred to seven times (Song of Songs 1:1, 5; 3:7, 9, 11; 8:11-12) and several verses speak of the “king” (Song of Songs 1:4, 14; 7:5). However, some biblical scholars questions King Solomon’s authorship. But whether King Solomon was the author remains an open question.
Many interpretations of the Song of Songs have been advanced throughout the years. Many biblical scholars view this book as an allegory. King Solomon is identified as God and the Shulammite maiden represents Israel. Thus, in this view the Song is an allegory of the love relationship between God and Israel. Other scholars view the book as an anthology of love songs. This view claims that no unified argument or flow of thought can be traced through the book; it is therefore nothing more than a collection of love songs that are not necessarily related to each other. Other scholars simply view the book as a love story and God’s teaching on marriage and sexual relationships. This view sees the book as a highly poetic description of an actual love relationship between a man and woman. In favor of this view is that it takes the book at face value and places it with parallel Egyptian love songs of the era.
Biblical scholars argue that the Song of Songs is an allegory showing Christ's love for His church. The Apostle Paul shows how marriage represents Christ's love and relationship to His church (Ephesians 5:22-33), and the Apostle John pictures the second coming as a great marriage feast for Christ and His bride – His faithful followers (Revelation 19:7-8; Revelation 21:1-2).
Psalm 45 is also a love song and has many similarities with the Song of Songs. The King of Psalm 45 is explicitly identified with Jesus Christ in Hebrews 1:8. Ultimately, the Song of Songs points to the love of Christ for His church (Psalm 45; Hebrews 1:8-9). The God-Love that death cannot extinguish stands behind all love and for this Love all Christians hope and married people foretaste. For this reason, human loves are not ultimately satisfying, and always leave a residue of longing for eternal love. Thus, the Song of Songs puts on display a God-Love found in Jesus Christ that truly satisfies.
God’s Love is beyond human love and stronger than death and fully satisfying. Human love does not outlast death except in Jesus Christ. In Christ, love transcends death because of His resurrection from complete death. Death did not and cannot stop Jesus’ love and He will not fail. So, Song of Songs points to the ultimate and satisfying love of Jesus Christ for His people.
This wisdom book reveals that love is the most gluttonous, dangerous, and powerful force in human life (Song of Songs 2:7; 3:5; 8:4). The Song of Songs portrays love like death, the grave, and no ransom can free a person of it (Song of Songs 8:7). The Song of Songs reveals that love is not entirely positive and could be comparable to death. Love, in the Song of Songs, includes a dark side and is associated with negative qualities. The longing of unfulfilled desire highlights the lack of satisfaction that characterizes the Song of Songs. The aching for true God-Love is always present. Anyone who seeks to derive ultimate satisfaction from love will be driven to extravagant lengths to one’s own hurt. A wise person respects love and recognizes love’s capacity to consume lovers. A recurring theme refrain of the Song, “Do not stir up love,” is found throughout the book. Thus, the Song of Songs appeals to its readers not to stir up love and passion.
Song of Songs 2:7 is the first of four verses that urges the reader to respect the power of love. Arguable, this verse is the moral of the Song of Songs. This verse cries out, “Do not miss the point! It is dangerous to awaken or arouse love!” This plea is obviously important to the Song as this plea is repeated at Song of Songs 2:7; 3:5 and 8:4; see also Song of Songs 5:8. While the lovers are at the peak of passion, they repeatedly warn others not to stir up love prematurely and hastily.
There is a “waiting” motif that runs throughout the Song of Songs. The very last statement of the Song depicts the lovers still waiting. This curious anticlimactic ending to the Song may in fact be part of wisdom’s evaluative final word. Timing is important in wisdom literature. The key to love, according to the Song of Songs, is that it is a matter of timing. Wait—and find peace and enjoyment with ripe love.
The Song of Songs demands its readers not to prematurely stir up love and erotic passions until the covenant commitment of marriage. Love has a mixed blessing and one should be cautious when approaching love. In fact, virginity and sexual abstinence until marriage is praised by the Song. The Song urges girls to be a strong wall and stand against sexual impurity and temptation (see Song of Songs 8:8-10). This girl warns the other girls of Jerusalem to be cautious and not to hurry love (Song of Songs 8:6-7). To behave like a door open to sexual temptations leads to destruction, depression, and death.
The “the Gazelle” and “Doe” of Song of Songs 2:7 serve as periphrases for God Almighty, Lord of Hosts. But they also are used as symbols throughout the Song for sexual endowment, appeal, comeliness, and fervor. The words “Gazelle” and “Doe” thus exist with three referents: animals in a symbolic forest, the Divine Warrior God Almighty with his Hosts, and passionate affection. The literal animals, perhaps, are themselves symbols for “sexual potency.” Thus the terms combine the concept of God with the concept of love and its power. The girl desires the daughters of Jerusalem to swear by sexuality and God Almighty — and these two concepts are fused into a single image. Thus, the Song should then be read as if love were conceived as a Divine attribute of God or as a deity in its own right. Thus, love is not simply a matter of feelings, social contracts, or rendezvous in the wood.
Song of Songs 8:6-7 reveals the power of love (see also 1 Corinthians 13). Feelings of love can create intimacy that overpowers all logic and reason. The power of love is comparable to death, for love is dangerous and has the potential to debilitate and make a person weak, crazed, and senseless (e.g., see Song of Songs 5:2-8, the darkest section of the Song). Love is as strong as death, and love cannot be killed by time or disaster. Even more, love cannot be bought for any price as love is priceless. Not even the richest king can buy love. Love is a gift from God. In fact, human love can drive a person to their own hurt.
People, especially young people are too often in a hurry to develop a sexual relationship based on their strong feelings for another. However, these feelings and emotions can be every dangerous and destructive. Song of Songs 2:7 encourages everyone not to force a sexual relationship too fast. Instead, one should patiently wait for feelings of love to develop until the covenant relationship of marriage.
The “waiting” motif that runs throughout the Song is the concluding note. The Song ends in a minor key. The anticlimax to the Song is illustrative of its wisdom message. The key to love, according to the Song of Songs, is that it is a matter of gauging the moment. To curb oneself until the appropriate season is to find peace and enjoyment. The reader is left in the end with a feeling of ambivalence and uncertainty concerning the Song and love.
Thus, the message of the Song of Songs is found to be twofold. On the one hand, love is commended, celebrated, and enjoyed. The Song does not shy from physical descriptions of the male and female body. The Song of Songs celebrates human love. This is abundantly clear. Yet, within its frolic and carousal, its delightful exploration of love and lovers, is a serious warning to beware of the thing being celebrated. Love is also dangerous. Love and sexuality are unashamedly tendered. On the other hand, love is also shown to be a dangerous and risky endeavor that may drive lovers into frantic and self- destructive behaviors. Song of Songs 2:7, 3:5, and 8:4 warns against the premature rousing of passion. The girl warns her friends to avoid love “until it please,” rather than “until you so desire.” The Song conceives of Love as a power, which can take control of those under its influence. The Song’s recurrences of these appeals cue the reader to a component of its message—respect the power of love. Love is framed in language that echoes Divine titles, again highlighting the Song’s view of Love as a Power.
Love is described as a fire that cannot be doused with many waters and rivers (Song of Songs 8:6–7). Love’s inferno will not surrender to any jurisdiction. To restrain love is beyond the capability of humans. As the eternal flame cannot be stifled, so jealous passion is unyielding. Thus, there is no question of refusing to stir up love absolutely—that is impossible. Nothing can satisfy love, and when under love’s power, a man is liable to willingly forego any loss and shame. Song of Songs 8:6–7 then echoes the thought of Song of Songs 2:7, where love is drafted as a God-like power that is best avoided until the covenant commitment!
References:
Life Application Study Bible. Carol Streams, IL: Tyndale House Pub., 2005.
NLT Study Bible. Carol Streams, IL: Tyndale House Pub., 2008.
New Student Bible. Grand Rapids, MI: Zondervan, 1986, 1992.
The Amplified Bible. Grand Rapids, MI: Zondervan, 1987.
Schwab, George. The Song of Songs’ Cautionary Message Concerning Human Love. (NY: Lang, 2002).
Schwab, George. Expositor's Bible Commentary: Song of Songs Commentary. Grand Rapids, MI: Zondervan, 2008.
When newcomers first read the Song of Songs, they are confronted with a jumble of images that run together and then shift with no rhyme or reason. In fact, the book is sometimes confusing and puzzling. The Song of Songs is not a story with a plot, but a collection of love songs that tells of the wholesome and romantic story of a young man and young woman. These inspired words of God disclose the beautiful charm and splendor of romantic love as one of God’s choicest gifts. This wisdom literature celebrates the sexual union and pleasure between a man and a woman as a joyful part of God’s creation. This kind of love is worth waiting. Also, these eight chapters of the Song of Songs reveals God’s love and passion for His people and of Jesus Christ’s self-sacrificing love for His church.
The title “The Song of Songs,” means the greatest song. Verse 1 appears to ascribe the book’s authorship to Solomon. The Old Testament states that King Solomon composed 1,005 songs (1 Kings 4:32), so one might expect him to be the author. Traditionally by the church, King Solomon has been recognized as the author. Solomon is referred to seven times (Song of Songs 1:1, 5; 3:7, 9, 11; 8:11-12) and several verses speak of the “king” (Song of Songs 1:4, 14; 7:5). However, some biblical scholars questions King Solomon’s authorship. But whether King Solomon was the author remains an open question.
Many interpretations of the Song of Songs have been advanced throughout the years. Many biblical scholars view this book as an allegory. King Solomon is identified as God and the Shulammite maiden represents Israel. Thus, in this view the Song is an allegory of the love relationship between God and Israel. Other scholars view the book as an anthology of love songs. This view claims that no unified argument or flow of thought can be traced through the book; it is therefore nothing more than a collection of love songs that are not necessarily related to each other. Other scholars simply view the book as a love story and God’s teaching on marriage and sexual relationships. This view sees the book as a highly poetic description of an actual love relationship between a man and woman. In favor of this view is that it takes the book at face value and places it with parallel Egyptian love songs of the era.
Biblical scholars argue that the Song of Songs is an allegory showing Christ's love for His church. The Apostle Paul shows how marriage represents Christ's love and relationship to His church (Ephesians 5:22-33), and the Apostle John pictures the second coming as a great marriage feast for Christ and His bride – His faithful followers (Revelation 19:7-8; Revelation 21:1-2).
Psalm 45 is also a love song and has many similarities with the Song of Songs. The King of Psalm 45 is explicitly identified with Jesus Christ in Hebrews 1:8. Ultimately, the Song of Songs points to the love of Christ for His church (Psalm 45; Hebrews 1:8-9). The God-Love that death cannot extinguish stands behind all love and for this Love all Christians hope and married people foretaste. For this reason, human loves are not ultimately satisfying, and always leave a residue of longing for eternal love. Thus, the Song of Songs puts on display a God-Love found in Jesus Christ that truly satisfies.
God’s Love is beyond human love and stronger than death and fully satisfying. Human love does not outlast death except in Jesus Christ. In Christ, love transcends death because of His resurrection from complete death. Death did not and cannot stop Jesus’ love and He will not fail. So, Song of Songs points to the ultimate and satisfying love of Jesus Christ for His people.
This wisdom book reveals that love is the most gluttonous, dangerous, and powerful force in human life (Song of Songs 2:7; 3:5; 8:4). The Song of Songs portrays love like death, the grave, and no ransom can free a person of it (Song of Songs 8:7). The Song of Songs reveals that love is not entirely positive and could be comparable to death. Love, in the Song of Songs, includes a dark side and is associated with negative qualities. The longing of unfulfilled desire highlights the lack of satisfaction that characterizes the Song of Songs. The aching for true God-Love is always present. Anyone who seeks to derive ultimate satisfaction from love will be driven to extravagant lengths to one’s own hurt. A wise person respects love and recognizes love’s capacity to consume lovers. A recurring theme refrain of the Song, “Do not stir up love,” is found throughout the book. Thus, the Song of Songs appeals to its readers not to stir up love and passion.
Daughters of Jerusalem, I charge you by the gazelles and by the does of the field: Do not arouse or awaken love until it so desires. Song of Songs 2:7 (NIV)
I want you to swear (promise), daughters of Jerusalem by the Gazelle or the Doe of the Countryside do not cause love to be awakened or aroused until it pleases. Song of Songs 2:7 (Professor George Schwab, Ph.D.)
Song of Songs 2:7 is the first of four verses that urges the reader to respect the power of love. Arguable, this verse is the moral of the Song of Songs. This verse cries out, “Do not miss the point! It is dangerous to awaken or arouse love!” This plea is obviously important to the Song as this plea is repeated at Song of Songs 2:7; 3:5 and 8:4; see also Song of Songs 5:8. While the lovers are at the peak of passion, they repeatedly warn others not to stir up love prematurely and hastily.
There is a “waiting” motif that runs throughout the Song of Songs. The very last statement of the Song depicts the lovers still waiting. This curious anticlimactic ending to the Song may in fact be part of wisdom’s evaluative final word. Timing is important in wisdom literature. The key to love, according to the Song of Songs, is that it is a matter of timing. Wait—and find peace and enjoyment with ripe love.
The Song of Songs demands its readers not to prematurely stir up love and erotic passions until the covenant commitment of marriage. Love has a mixed blessing and one should be cautious when approaching love. In fact, virginity and sexual abstinence until marriage is praised by the Song. The Song urges girls to be a strong wall and stand against sexual impurity and temptation (see Song of Songs 8:8-10). This girl warns the other girls of Jerusalem to be cautious and not to hurry love (Song of Songs 8:6-7). To behave like a door open to sexual temptations leads to destruction, depression, and death.
The “the Gazelle” and “Doe” of Song of Songs 2:7 serve as periphrases for God Almighty, Lord of Hosts. But they also are used as symbols throughout the Song for sexual endowment, appeal, comeliness, and fervor. The words “Gazelle” and “Doe” thus exist with three referents: animals in a symbolic forest, the Divine Warrior God Almighty with his Hosts, and passionate affection. The literal animals, perhaps, are themselves symbols for “sexual potency.” Thus the terms combine the concept of God with the concept of love and its power. The girl desires the daughters of Jerusalem to swear by sexuality and God Almighty — and these two concepts are fused into a single image. Thus, the Song should then be read as if love were conceived as a Divine attribute of God or as a deity in its own right. Thus, love is not simply a matter of feelings, social contracts, or rendezvous in the wood.
Set me as a seal upon your heart, as a seal upon your arm. For strong as death is love, jealousy as stubborn as the grave. Its blazes are flashes of fire, the Great Flame. Many waters cannot quench love, and rivers cannot overflow it. If a man were to give all the wealth of his house for love, would he be entirely despised? Song of Songs 8:6-7 (Professor George Schwab, Ph.D.)
Place me like a seal over your heart, like a seal on your arm; for love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a Mighty Flame. Many waters cannot quench love; rivers cannot wash it away. If one were to give all the wealth of his house for love, it would be utterly scorned. Song of Songs 8:6-7 (NIV)
Song of Songs 8:6-7 reveals the power of love (see also 1 Corinthians 13). Feelings of love can create intimacy that overpowers all logic and reason. The power of love is comparable to death, for love is dangerous and has the potential to debilitate and make a person weak, crazed, and senseless (e.g., see Song of Songs 5:2-8, the darkest section of the Song). Love is as strong as death, and love cannot be killed by time or disaster. Even more, love cannot be bought for any price as love is priceless. Not even the richest king can buy love. Love is a gift from God. In fact, human love can drive a person to their own hurt.
People, especially young people are too often in a hurry to develop a sexual relationship based on their strong feelings for another. However, these feelings and emotions can be every dangerous and destructive. Song of Songs 2:7 encourages everyone not to force a sexual relationship too fast. Instead, one should patiently wait for feelings of love to develop until the covenant relationship of marriage.
The “waiting” motif that runs throughout the Song is the concluding note. The Song ends in a minor key. The anticlimax to the Song is illustrative of its wisdom message. The key to love, according to the Song of Songs, is that it is a matter of gauging the moment. To curb oneself until the appropriate season is to find peace and enjoyment. The reader is left in the end with a feeling of ambivalence and uncertainty concerning the Song and love.
Thus, the message of the Song of Songs is found to be twofold. On the one hand, love is commended, celebrated, and enjoyed. The Song does not shy from physical descriptions of the male and female body. The Song of Songs celebrates human love. This is abundantly clear. Yet, within its frolic and carousal, its delightful exploration of love and lovers, is a serious warning to beware of the thing being celebrated. Love is also dangerous. Love and sexuality are unashamedly tendered. On the other hand, love is also shown to be a dangerous and risky endeavor that may drive lovers into frantic and self- destructive behaviors. Song of Songs 2:7, 3:5, and 8:4 warns against the premature rousing of passion. The girl warns her friends to avoid love “until it please,” rather than “until you so desire.” The Song conceives of Love as a power, which can take control of those under its influence. The Song’s recurrences of these appeals cue the reader to a component of its message—respect the power of love. Love is framed in language that echoes Divine titles, again highlighting the Song’s view of Love as a Power.
Love is described as a fire that cannot be doused with many waters and rivers (Song of Songs 8:6–7). Love’s inferno will not surrender to any jurisdiction. To restrain love is beyond the capability of humans. As the eternal flame cannot be stifled, so jealous passion is unyielding. Thus, there is no question of refusing to stir up love absolutely—that is impossible. Nothing can satisfy love, and when under love’s power, a man is liable to willingly forego any loss and shame. Song of Songs 8:6–7 then echoes the thought of Song of Songs 2:7, where love is drafted as a God-like power that is best avoided until the covenant commitment!
References:
Life Application Study Bible. Carol Streams, IL: Tyndale House Pub., 2005.
NLT Study Bible. Carol Streams, IL: Tyndale House Pub., 2008.
New Student Bible. Grand Rapids, MI: Zondervan, 1986, 1992.
The Amplified Bible. Grand Rapids, MI: Zondervan, 1987.
Schwab, George. The Song of Songs’ Cautionary Message Concerning Human Love. (NY: Lang, 2002).
Schwab, George. Expositor's Bible Commentary: Song of Songs Commentary. Grand Rapids, MI: Zondervan, 2008.
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