Lesson 1 of 6
In Progress

Summary of Song of Songs

Revised by Monica Melanchthon (10/23)

SUMMARY

The title of this book, translated as “The Song of Songs,” is the way in which the Hebrew language expresses the superlative. The Song is the best of, the height of, all songs. The book is ascribed to Solomon – based on the Hebrew preposition in 1:1, suggesting some kind of possession. Hence the title is further translated variously as “Song of Solomon,” “to Solomon,” or “for Solomon.” The book is also called the “Canticles of Solomon.” The Song is a unique and unified collection of high-quality erotic poetry on the theme of heterosexual and sensual love, following the relationship of a man and a woman and their courtship. It is understood to be the best of all songs or the “most sublime of songs.” The Song does not mention God and yet it has been identified as the “Holy of Holies” by the Rabbis. It contains monologues, dialogues, and choruses, and is rich in sensual imagery. The book has frequently been read as an allegory of God’s covenantal love for Israel (in Jewish communities) or of Christ’s love for the church, his bride, and for individual believers (in Christian communities). Such approaches to the book are motivated by ideologies and theologies of the proponents of these approaches.  

SO WHAT?

The Song of Songs is the first of the five scrolls or Megillot (Hebrew for ‘scrolls’)comprising the books of  Ruth, Lamentations, Ecclesiastes, Song of Songs, and Esther, which are read on major Jewish holidays. The Song of Songs scroll is read during the Festival of the Passover celebrating God’s deliverance of the Israelites from slavery in Egypt, thereby providing a theological key to understand the festival of the Passover. The key is the ardent and passionate covenantal love of God for the Israelites (inclusive of separation on account of the Pharaoh, and rescue by God). Even so, many readers are uncomfortable with the erotic language expressing sensuality and intimacy and tend to shy away from the sensuality and eroticism that characterize the book. 

One of the most common approaches to the Song of Songs is to view it as allegory which has in fact, contributed to the maintenance of its sanctity. An  allegorical reading of the Song has given it meaning for countless generations of Jews and Christians. This reminds us that the biblical texts function as living word in a variety of times, cultures, and unexpected ways. Still, arguably the best reading today is the literal one, assuming that the book is what it appears to be: poetry celebrating human love and sexuality, and the human capacity for sexual pleasure, all of which biblical faith regards as good gifts of God in creation. It gives us a glimpse into the most private of human relationships in the ancient world, the world of women and their relationships with their lovers, specifically the relationship of one woman with her lover. The Song takes unbridled delight in the bonds of love, even while recognizing the pains and turmoil they can bring along the way toward their fulfillment. 

WHERE DO I FIND IT?

The Song of Songs is the 23rd book of the Christian Old Testament. It is the last of the books characterized as the “Writings” placed after Ecclesiastes, and preceding  the biblical prophets, beginning with Isaiah.

WHO WROTE IT?

The Song is traditionally ascribed to Solomon the king, but there is much speculation as to whether it was written by him, or whether it was written by another for Solomon or on behalf of Solomon. In the Christian Bible it is grouped with Proverbs and Ecclesiastes suggesting that all three were composed by Solomon. Solomon’s name is mentioned six times in the Song of Songs. It is plausible that the connection with Solomon was most likely made by the author/compiler of the book to add authenticity and credibility to the book and to give it authority. But it is most likely that Solomon was not the author. Recent discussions on this question have also entertained the idea that this book may have been written by a woman because of the interest in female experience and because the dominant voice in the book is that of a woman. It is her voice that opens and closes the book. There have also been strong arguments in defense of male authorship. But as with Psalms and Proverbs, there is no way of verifying its authorship. It is important therefore, to gender the voices rather than the whole book.

WHEN WAS IT WRITTEN?

The time of the composition of the book is difficult to ascertain. The songs were perhaps written to counter prevailing attempts to regulate and codify women’s bodies and sexuality and male-female relationships, a process that excluded some men and most women. The book provides an understanding of womanhood that counterbalances the portrayal of women and women’s sexuality in the rest of the Hebrew Bible. The language suggests to some that the final form of the Song of Songs was attained in the fourth or third century BCE. Other interpreters have argued, however, that the Song may, indeed, have originated during the Solomonic era. Its similarity to Egyptian love poetry has led some to suggest that Solomon was the author since he was influenced by Egyptian culture and his marriage to an Egyptian princess.

WHAT’S IT ABOUT?

The Song belongs to the literature of love containing some of the finest poetry in Hebrew praising the glories and delights of love between a man and a woman, an element of God’s good creation. Composed in Hebrew parallel line poetry, it bears affinity with Egyptian love poetry. It is rhythmic and makes use of imaginative and metaphorical language (Song of Songs 2:8-9; 4:4-5; 5:14-15). It is a love poem or collection of poems rich with love, desire, longing, a celebration of the joy of physical attraction and adoration. The book lacks a narrator and an easily identifiable plot. If there is a plot, it is revealed through the poetic discourse.   

HOW DO I READ IT?

This book is often overlooked or ignored. It needs to be noted that only one passage (Song of Songs 2:8-13), from this book appears in the Revised Common Lectionary, once every three years, as Proper 17 in Year B.  Its strong sexual imagery and erotic language is for many readers a cause for embarrassment. Yet, the text is part of our Scripture. It was included for a reason and should therefore be considered normative or prescriptive. This provides the underpinning and justification for its exploration and use and the encouragement for men and women to appropriate the truths contained in the book. The book is particularly significant for all whose bodies are shamed, who belong to communities where any discussion of sex is considered taboo, and communities where women are denied agency and control over their own sexuality.  

The delights of love have always and everywhere found their highest expression in poetry, which is how the Song of Songs must be read. It uses language that is vivid, imaginative, unguarded, and ecstatic in its depiction of the most personal and intimate of human relationships. The book is best read as a euphoric expression of human experience, of incomparable love between two individuals, which reflects the generous gifts of the Creator, the beauty and the delight of God’s creation.