This book is also called the “Song of Songs,” because this is the title attributed to it in the Hebrew (Šɩ̂r haš-šɩ̄rɩ̂m). The Latin version titles it the “Canticles” (canticum). English translations render it as “Song of Songs” or “Song of Solomon.”
Authorship
The book attributes authorship to Solomon—the king of Israel (1:1, 5; 3:7, 9, 11; 8:11-12), and we have several reasons for believing this claim:
First, Ecclesiastes uses very similar language to Song of Solomon. If Solomon wrote Ecclesiastes, which seems most likely (see “Introduction to Ecclesiastes”), then this would somewhat support Solomonic authorship. Moreover, Chaim Rabin (of Hebrew University) notes that much of the language in the book fits within a tenth century context (e.g. “orchard” 4:13, “carriage” 3:9).[1]
Second, Solomon had a deep love and understanding of botany—a persistent theme in the Song of Songs. Solomon was well-versed in botany (1 Kings 4:33), and the author of this book spends a lot of time explaining the plant life (1:14; 2:1). Mark Rooker writes, “No other book is as replete with images of flora, fauna, perfumes, and spices.”[2] In fact, Song of Solomon mentions 21 types of plants and 15 species of animals throughout the book.[3]
Third, Solomon’s massive wealth fits with the author of the book. The author of this book mentions many expensive luxuries of the crown (1:12-13; 3:6, 9).
Fourth, the kingdom of Israel was still united in Song of Solomon. Of course, Solomon led the nation of Israel under a united monarchy, and the nation didn’t experience division until after Solomon’s reign (930 BC). Archer writes, “The author mentions quite indiscriminately localities to be found in both the Northern and Southern Kingdoms: Engedi, Hermon, Carmel, Lebanon, Heshbon, and Jerusalem. These are spoken of as if they all belonged to the same political realm. Note that Tirzah is mentioned as a city of particular glory and beauty, and that too in the same breath with Jerusalem itself (6:4). If this had been written after the time when Tirzah was chosen as the earliest capital of the breakaway Northern Kingdom in rejection of the authority of the dynasty of David, it is scarcely conceivable that it would have been referred to in such favorable terms. On the other hand, it is highly significant that Samaria, the city founded by Omri sometime between 885 and 874, is never mentioned in the Song of Solomon.”[4]
Canonicity
Historically, some rabbis questioned the canonicity of this book. This wasn’t due to the authorship of the book (which they affirmed), but rather they found it to be too sensual, erotic, and lacking of “religious” value. The book was viewed as so erotic that “in the first century apparently some Jewish readers understood the Song of Songs literally. Some were even singing portions of it in their drinking houses. This evoked the wrath of Rabbi Aqiba who pronounced an anathema on such. For Aqiba this was blasphemous.”[5] Philo never cites it, and neither does the New Testament. Does this book belong in the Bible?
Despite some hesitations by interpreters, the canonicity of the Song of Songs is well-attested. Geisler and Nix note that this book “is included in the canon of Aquila, and ranked as Scripture by Melito and Tertullian. It is also quoted, with standard formulas for citing Scripture, in the Mishnah (Taanith 4.8; Abodah Zarah 2.5).”[6] Archer notes, “The tradition of divine inspiration was successfully upheld by Rabbi Akiba, who used allegorical interpretation to justify its spiritual value.”[7] Akiba stated, “God forbid!—No man in Israel ever disputed about the Song of Songs… for all the ages are not worthy the day on which the Song of Songs was given to Israel; for all the writings are holy, but the Song of Songs is the Holiest of Holies.”[8]
Roger Beckwith writes that the book has “no direct [Christian] attestation to its canonicity until the second century AD.”[9] Yet it was included in the canon of Aquila, Melito, and Tertullian.[10] Beckwith adds, “It is also quoted, with standard formulas for citing Scripture, in the Mishnah (Taanith 4.8; Abodah Zarah 2.5) and the other tannaitic literature. In this instance (though in this instance alone), we are wholly dependent on indirect attestation for the period up to the first century AD.”[11]
Furthermore, Josephus included Song of Songs in his 22 book canon and 2 Esdras (4 Ezra) also included it in its 24 book canon.[12] Of course, the numbering of books was different, but the books themselves were the same. For instance, while we number 39 books in the OT, this is the same list as Josephus’ 22 book canon. Beckwith writes, “If, as we have argued, the standard numbers 24 and 22 for the canonical books go back to the second century BC, the canonicity of the book in question must go back equally far, for standard numbers would only have been adopted after the identity of the books was settled, thus allowing them to be counted in an agreed way.”[13]
Does the Song of Solomon refer to Christ’s love for the Church?
Because of the explicit nature of this book, both Jewish and Christian interpreters have offered an allegorical interpretation. Some Jewish interpreters held that the allegory consists of God’s love for Israel (citing Isa. 54:408; Jer. 2:1-2; Ezekiel 16, 23; Hosea 1-3), and some Christian interpreters have held that the allegory refers to Christ’s love for the Church—his bride.[14]
But we strongly resist such an allegorical interpretation. For one, this book describes a historical couple. Solomon mentions his 80 concubines. Allegorical interpreters refer to this as the 80 heresies in the church… We find that this view only stretches our credulity beyond the limit!
Archer takes the couple to be a type of Christ’s love for the church. Remember, in typology, not everything in the type should be attributed to the fulfillment. So, this would explain away the sexual excitement and also the concubines. However, we find nothing in the text itself to tell us that this is a picture of Christ. While Solomon is a type of Christ, not everything that he does should be taken as a type.
One of the major problems with the allegorical method is its lack of hermeneutical restraint (i.e. interpretive restraint). For instance, regarding Song of Songs 1:13, Rooker writes, “Both Rashi and Ibn Ezra said this phrase refers to the tabernacling of God over the ark of the cherubim, while Cyril of Alexandria proposed that the verse referred to the two Testaments. Bernard of Clairvaux believed the verse referred to the crucifixion of Christ, which strengthens the believer in sorrow and joy.”[15] When we lack hermeneutical restraint, the details of the book become lost in wild speculations like these. Kinlaw rightly notes that “the result is that the meanings in the text, if it is taken as allegory, are left to the imagination of every interpreter.”[16] We refute the allegorical method in fuller detail in our earlier article “Faulty Hermeneutical Systems.”
How could this be written by Solomon, who had 700 wives and 300 concubines? (1 Kings 11:3)
The Shulamite woman was the one true love of Solomon’s life (and perhaps the first). At the wedding ceremony (Song 3:11), Solomon’s mother puts a crown on his head. Obviously, Solomon did not receive his kingly crown from his mother, but from the high priest (1 Kings 1:32ff; 11:11-20). This could imply that Solomon was very young when he was married—perhaps before he was corrupted by many wives and concubines.[17]
Moreover, Solomon was a sinner like the rest of us, but we still read his Proverbs and the book of Ecclesiastes. Rooker writes, “The fact that Solomon himself may not have paid particular heed to his own advice in no way undermines this message.”[18] In fact, in Ecclesiastes, Solomon writes of his regret for not following his own advice. Even though Solomon was surrounded by women, wealth, and worldliness in his later years, he regrets not loving his family, his work, and the simple aspects of life (Eccl. 2:24-25; 8:15-17; 9:7-9).
Interpreting the Song of Solomon
There are three characters in the book: the man, the woman, and the friends. This becomes difficult to discern who is speaking throughout this book.[19] The different translations will give different speakers, so the interpreter should carefully discern this as she reads through the book. We have offered our view of who is speaking to whom throughout the commentary below.
Themes of the Song of Solomon
(1) The pleasure of marriage itself. The book really emphasizes the enjoyment and ecstasy that God offers in the context of marriage. Even though the Israelites rightly placed a high view on having children, “the Song of Solomon makes no reference to procreation… The Song is a song in praise of love for love’s sake and for love’s sake alone. This relationship needs no justification beyond itself.”[20]
(2) The ways to foster a good marriage. Throughout the book, notice the ways that the husband and wife initiate with each other, focus on one another’s positive qualities, and warm up their love for one another. Modern married readers can learn so much from this couple’s intimacy and forethought for one another.
(3) Sexual intimacy. The metaphors give a beautiful and poetic description of the couple’s sexual life. When properly interpreted, modern readers will often blush at the erotic sections of the book. At the very least, this shows that the Bible is not as prudish as modern Christian culture.
We are surprised at how much translators “bleep out” or censor the erotic language of this book! This erotic language didn’t embarrass Solomon to write or for God to inspire, but it embarrasses modern Christians. One theologian indicted both liberal and conservative commentators. We paraphrase his comments here: “You can tell a liberal theologian by how they take the Song of Songs literally, but they take Jonah allegorically. You can tell a conservative theologian by how they take Song of Songs allegorically, but they take Jonah literally.”
Song of Solomon 1
(1:1) The very first verse ascribes authorship to King Solomon. The phrase “Song of Songs” means “the greatest of all songs.”[21] Comparable superlative expressions would be “the Holy of Holies” or “the King of Kings” or the “Lord of Lords.”
The wife speaks
(1:2) It’s interesting that the woman gets the first word in the book. She isn’t ashamed to express public love for Solomon. In fact, in the Song of Solomon, the woman’s voice is dominant. In the ancient Near East, men usually objectified the beauty of women (much like our culture!), but in this text, the woman romantically objectifies the man’s appearance.[22] Kinlaw notes, “There is a sense in which she is the major character in this poem. This is one of the aspects of this work that makes it unique in its day. Much more of the text comes from her mouth and mind than from his.”[23]
The NET states that this refers to “lovemaking.” The NET note explains, “On the other, the plural form דּוֹדִים (dodim, ‘loves’) is used in the Song to refer to multiple expressions of love or multiple acts of lovemaking (e.g., 1:4; 4:10; 5:1; 7:13 [ET 12]). Although it may be understood in the general sense meaning ‘love’ (Song 1:4), the term דּוֹד (dod) normally means ‘lovemaking’ (Prov 7:18; Song 4:10; 7:12[13]; Ezek 16:8; 23:17).”
(1:3) She loves him because he has a good reputation among the people. He has a harem of women that love him. This woman doesn’t seem jealous, but sees why her husband is attractive.
(1:4) Why does the subject switch from “me” to “we” in this verse? It could be that the other maidens (“we”) are “rejoicing” and “glad” for their friend’s love for Solomon. Under this view, this would be similar to the people at the wedding rejoicing over the couple committing to each other.
The final line (“Rightly they are to adore you”) seems to be the woman agreeing with the other maidens.
(1:5-6) “Kedar” is southeast of Damascus. She is dark in complexion. In this culture, a tan woman was considered low class, because it showed that she had to be at work outside. High class women could sit in the shade. She comes from a family where the women had to work outside.
Even though she knows that this physical feature is typically viewed as a sign of being low class, she is still confident that Solomon will love her (“[I am] lovely”).
(1:7) She doesn’t want to look like a “loose woman” following around the men.[24]
Solomon speaks
(1:8) Kinlaw believes that this is the maidens speaking,[25] but the context seems to indicate that verses 8-11 are Solomon reassuring the woman. He tells her that she is beautiful. While she doesn’t want to look physically unattractive (v.5) or like a loose woman (v.7), Solomon reassures both insecurities by telling her that she is (1) “beautiful” and (2) hard working (not promiscuous).
(1:9-11) We might think that comparing her to a horse (“mare”) would be a bad illustration, but in the ancient world, kings would compare the beauty of their horses with one another.[26] Solomon states that he is going to dress her up—even though she comes from a working class family. He doesn’t care about her social status. He wants to provide for her.
The wife speaks
(1:12) The scene switches from the fields to the royal table. The woman pictures herself as the exquisite and expensive perfume.
(1:13-14) The woman is describing him as a sweet smell right under her nose that would follow her around all day.
Both speak to each other
(1:15) Solomon doesn’t begin focusing on the beauty of her body, but with the beauty of her eyes.
(1:16) The woman responds by focusing on the man’s physical appearance (“handsome”), but also his character and tenderness toward her (“pleasant”).
(1:17) The NLT renders this as laying on the grass, and they are looking up at the tree limbs above them. Kinlaw believes that the “site of their love-making is among the cedars and firs, in all of their greenery.”[27]
Song of Solomon 2
(2:1-2) This was a fertile area of Israel, where wild flowers grew. The woman was saying that she was commonplace (v.1), but Solomon says that she’s the flower among the thorns. In other words, he loves her more than any other woman.
The wife speaks
(2:3) Apple trees weren’t common, and needed to be imported in Palestine (see NET notes). Thus the man was unique to her.
“His fruit was sweet to my taste…” It’s possible that this is an erotic statement. Carr writes, “Some commentators have suggested that fruit is to be taken as equivalent to lovemaking. While the apple is frequently an erotic symbol, such an interpretation is unnecessary here.”[28]
(2:4) Even though she is in a banquet hall, she feels that the real covering over her is his love for her.
(2:5) Carr understands the reference to food to be those of aphrodisiacs (i.e. “apples”) and food for “restor[ing] her strength for more lovemaking.”[29]
(2:6) The Hebrew term for “embrace me” (khavaq) is rendered “stimulate me” by NET (v.6). HALOT defines this as “embrace or hug” or “to fondle or sexually stimulate a lover.” It is also rendered this way in Proverbs 5:20 of the adulteress. This latter meaning seems to fit better here as well as in 8:3. This is some form of “sexual embrace.”[30]
Solomon speaks
(2:7) Solomon doesn’t want to rush his sexual advances. To “awaken my love” is sexual love (cf. Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7). The Hebrew (ha’ahavah) is used in a sexual context throughout the OT (Gen. 29:20; 2 Sam. 1:26; 13:4, 15; Prov. 5:19-20; 7:18; Jer. 2:33; Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7). Solomon isn’t moving too fast.
The wife speaks
(2:8-9) Solomon is virile like a young stag. He is excited to come see her, and he is pursuing and initiating with her.
Solomon calls to her
(2:10-13) Solomon doesn’t begin by initiating sexually. He begins by expressing his love of her beauty (v.10), telling her to come take a trip with him (v.10), and talking about the place he would like to take her.
(2:14) A dove in the cleft of a rock would be far away. Solomon wants to be close to her.
The wife speaks
(2:15) In Song of Songs 1:6, the woman speaks about working out in the “vineyards.” Like “little foxes” that ruin a vineyard, there are things that can ruin a good night with your spouse. She asks him to look out for these things and take care of them. This implies that he is proactively thinking about their time together. He isn’t just plopping down to make love to her. He’s thinking about how to provide and make it a good night.
The wife speaks
(2:16) The woman calls herself a “lily” (2:1), and later, the woman calls Solomon’s lips “lilies” (5:13). Therefore, this could either to refer to the couple kissing one another,[31] or it could refer to “more intimate behavior.”[32]
(2:17) The woman wants Solomon to herself all night long.
Application
Solomon respects the woman’s boundaries. He might respect her, because she sets boundaries for herself (2:7).
The woman respects him because of his reputation. His reputation is like a pleasant smell in a room that everyone responds to.
Solomon is selective in whom he picks—like a lily among the thorns.
She has dark skin and unattractive in this culture. She brings this up to him, but he never brings this up to her. He only comments on her beauty. This implies that he is constantly affirming her appearance to her, removing personal insecurity.
Song of Solomon 3
The wife speaks
(3:1-3) Some commentators think that the woman is dreaming in this section.[33] However, the language of “arising now” indicates that she is leaving her bed and exploring the city to find Solomon. At the very least, this shows that she thinks about him when he isn’t there.
(3:4) Why does she take Solomon to her mother’s room? It’s possible that this marital custom is “now unknown to us.”[34] Although, we notice that Isaac consummated his marriage with Rebekah in his (deceased) mother’s tent (Gen. 24:67).
Solomon speaks
(3:5) Solomon doesn’t want the urging of the maidens to expedite the wedding day.
(3:6-10) Kinlaw believes that the woman is riding in the marriage chariot.[35] Solomon decked out the chariot—almost like a deluxe limousine. This also shows that Solomon not only provided for her, but also protected her (v.7).
(3:11) Solomon did not receive his kingly crown from his mother, but from the high priest (1 Kings 1:32ff; 11:11-20). This could imply that Solomon was very young when he was married—perhaps before he was corrupted by many wives and concubines.[36]
Solomon’s heart filled with “gladness” on his wedding day.
Song of Solomon 4
Solomon speaks
(4:1) Solomon marvels at the woman’s beauty. Notice which features of her body he mentions, and which he doesn’t. Also, notice which features he mentions first, and which he mentions last.
He begins by describing the beauty of her “eyes.” The fact that she is wearing a veil leads some commentators to believe that this is their wedding.[37] Normally, women wore headdresses—not veils. Women wore veils for engagements and weddings (Gen. 24:65; 29:23-25).
Why does Solomon compare her hair to a flock of goats? Carr writes, “Most Palestinian goats have long wavy black hair. The movement of a large flock on a distant hill makes it appear as if the whole hillside is alive.”[38]
(4:2) The comparison of her teeth with sheep most likely refers to her teeth being white. The mention of the sheep bearing “twins” could refer to “the symmetry and perfection of her teeth.”[39] In other words, she has straight teeth. The fact that the sheep have not “lost” any of their young may refer to the fact that the woman has all of her teeth[40] (At least she has all of her teeth… The standards were different back then!)
(4:3) Carr understands the “temples” (raqqâ) of the woman to refer to her cheeks.[41] Elsewhere, the Hebrew word is translated “temples” or “forehead” (Judg. 4:21). But such a translation doesn’t fit with the context here.
The red skin of a pomegranate refers to the “cheeks… like rosy pomegranates” (NLT).
(4:4) The metaphor speaks of a long, beautiful neck.[42] The “shields” refer to layer upon layer of jewelry—like shields stacked on top of one another.[43]
(4:5) Unlike hyper-sexualized and “pornified” men today, Solomon admires her breasts after he admires all of these other parts of her body. Longman writes, “He next focuses on her breasts, objects of male erotic interest that need no explanation. Let it suffice to point out the obvious, that such personal reference indicates intimate relationship. Also, the inclusion of a description of her breasts shows that the book is anything but prudish.”[44]
(4:6) Solomon repeats the words of love that the woman spoke to him earlier (Song 2:17).
The “mountain of myrrh” and “frankincense” refer to her body in the context.[45]
(4:7) Solomon doesn’t mention a single flaw in the woman. Is it that she is physically flawless, or that he doesn’t mention or focus on the flaws? It seems to be more of the latter, rather than the former. This gives us a key into romance and sexual enjoyment: focus on the parts of your spouse’s body that are attractive, rather than areas of imperfection. Focusing on flaws in your spouse only leads to insecurity on their behalf, and a judging spirit on yours.
(4:8) Clearly, the couple is married at this point, because he calls her his “bride.”
(4:9) Just looking at her causes his heart to speed up.
(4:9) Does this passage support incest? (cf. 4:10, 5:1)
(4:10) Solomon values her love more than expensive oils or spices.
(4:11) Adulteresses are described with the same quality (“the lips of an adulteress drip honey,” Prov. 5:3). The sensuality of an adulteress can be found in God’s design of marriage—not outside of it.
The “garments” likely refer to his bed sheets that cover them (Ex. 22:26-27; Deut. 22:17).[46]
(4:12) The metaphor of the “garden” is “used as a euphemism for the female sexual organs.”[47] The fact that her “garden” is sealed and locked implies virginity. The “spring” also has sexual implications (Prov. 5:16).
(4:13) The “shoots” (šĕlaḥ) refer to “canals” or “grooves.” Carr understands this to refer to the woman’s vagina (cf. Song 5:4).[48]
“Orchard” (pardēs) is a Persian loan-word that means “paradise.”[49]
(4:14) Regarding all of these perfumes and spices, Carr writes, “All these exotic spices have erotic connotations in the love poetry generally, and are not out of place here. Even if the lovers did not actually possess quantities of these expensive items, they serve well as symbols of the rarity and beauty of the beloved.”[50]
(4:15) The “well” of fresh water has erotic imagery of the woman’s body (cf. Prov. 5:15; 23:27). Longman writes, “The well, a deep watery pit, suggests an association with the woman’s vagina.”[51]
The wife speaks
(4:16) Earlier, the woman spoke of her “garden” as locked (Song 4:12). She also told the maidens not to “awaken” love before its time. Now, however, she speaks of “awakening” her garden, and it being as open to the winds. The word “come” (bō’) is “used frequently to mean penetrate sexually (e.g. Gen. 38:8, 16: Ezek. 23:44).”[52]
It is unclear as to how to understand the metaphor of the man “eating the fruits in her garden,” but there “is no doubt about the fact that she invites him to sexual union of the most intimate type.”[53]
Song of Solomon 5
Solomon speaks
(5:1) Solomon is responding to the woman’s request for sex in the previous verse (Song 4:16).
“The garden” was a euphemism for the woman’s sexual organs (see comments on 4:12). While the garden was “locked” (4:12), now it is open.
“I have gathered my myrrh…” In rabbinical Hebrew, the term “gathered” or “plucked” was used to refer to figs, and “in the ancient Near East had definite erotic and sexual links.”[54]
“I have eaten my honeycomb and my honey…” The word “honeycomb” (ya‘ar) is usually translated as “forest” or “thicket.” Jonathan dipped his staff into the “honeycomb” to eat honey (1 Sam. 14:26). Thus, Carr comments, “It may be the complex cell-structure of the comb is what is in mind here, but it is equally likely that ‘thicket’ is still the most appropriate translation, as Jonathan’s staff penetrated the thicket where the hive and comb were hidden. The ancient Near Eastern love poetry frequently uses both the image of honey and of the ‘thicket’ as euphemisms for the female genitalia.”[55]
The verse ends with Solomon telling the other couples to enjoy their own lovemaking (“Eat, friends; drink and imbibe deeply, O lovers”).
(5:1) Does this passage support incest? (cf. 4:9-10)
The wife speaks
It seems reasonable that this section is the woman dreaming (“I was asleep”).[56] Kinlaw interprets this as referring to a literal door and literal knocking.[57] We hold a different interpretation below.
(5:2) In the dream, Solomon initiates sexual intimacy with his wife (v.2).
(5:3) Initially, the woman doesn’t respond. After all, she is in a different state of mind: being ready for bed, rather than ready for sexual intimacy. The concepts of washing your feet and lying with your spouse was used for Uriah and Bathsheba (2 Sam. 11:8).
(5:4) Solomon engages in foreplay—or perhaps sex itself. Consequently, his wife is aroused: “My beloved extended his hand through the opening, and my feelings (mē’eh) were aroused for him.” Tremper Longman writes, “The noun hand, said to be thrust through the hole itself, is used occasionally in Hebrew for the male penis (Isa. 57:8-10)… This viewpoint is supported by the woman’s reaction. The term innards (meʾah) has the broad connotation of the interior or exterior abdominal area, but most commentators recognize that the woman’s lower erogenous zone is the referent here. In response to the man’s thrust of his hand, these innards roil or, as Pope translates ‘seeth,’ toward him.”[58] Carr concurs, “It is now established beyond serious question that yād [‘hand’] is occasionally used as a euphemism for the male copulative organ, both in the Ugaritic literature and at Qumran.”[59]
(5:5) If our understanding of verse 4 is correct, then the “myrrh” and “bolt” are metaphors as well. The “thick-dripping liquid certainly adds to the erotic atmosphere of this section.”[60]
(5:6) After the couple had sex, Solomon quickly left. Perhaps his wife was shocked at how abruptly he left after a time of sexual intimacy. We aren’t told where he went or why, but his wife wanted him to stay with her.
(5:7-8) If this is a dream sequence, then this treatment from the city guards didn’t actually happen. It could be that the woman is having a nightmare. The woman longs for her husband to protect her from these men. Perhaps, this metaphorically shows what happens when a husband quickly leaves after sex: the woman is left feeling lonely, insecure, and vulnerable—though this isn’t certain.
The wife’s friends speak
(5:9) The friends ask the woman what makes her husband so special. This gives the woman “a chance to recount the attractions and charms of the groom.”[61]
The wife speaks
The fact that the woman speaks about her husband’s physical attractiveness is quite remarkable for this period of history: “This is one of the few poems that has come down to us from the ancient world in which the female gives an inventory of the male’s features.”[62]
(5:10) Solomon’s wife loves him because he is “ruddy” or “manly” (’ādām).[63] She says that he is outstanding among 10,000. Today, we use the expression, “He is one in a million!”
(5:11) Like Solomon’s description of his wife, the woman begins with his face and then moves downward. The reference to Solomon being “like gold” likely means that his “features are exquisitely sculpted and his complexion a golden tan.”[64]
(5:12) Next, she focuses on the beauty of his eyes.
(5:13) She then focuses on his cheeks and lips. It’s clear that she had studied his face and could supply a running commentary on how much she adored looking at him.
(5:14) “His hands are rods of gold set with beryl…” The plural “hands” precludes this referring to the man’s genitals (as was argued in verse 4).[65] This likely refers to his hands or arms.
“…his abdomen (mē’eh) is carved ivory inlaid with sapphires.” According to the NET note, the Hebrew term “abdomen” (me’eh) can be translated as (1) womb,[66] (2) inward parts,[67] (3) the external stomach, or (4) a male genitalia.[68]
(1) Womb? Obviously this cannot be the correct translation for a man.
(2) Inward parts? This cannot be correct either, because why would she describe his inward parts as being covered with ivory?
(3) External stomach? If this translation is correct (which virtually all translators adopt), then this is the only time this word is translated this way in the entire Hebrew Bible.
(4) Male genitalia? This translation makes the most sense of the context and the semantic range of the word. Remember, the same word is used to refer to the woman’s genitalia earlier (5:4). Dan Allender and Tremper Longman write, “Most translators cannot bring themselves to bring out the obvious meaning.”[69] Tremper Longman writes, “The woman’s description of the man’s physical beauty continues with her praise of his arms and, then, his sexual organ… When one thinks of ivory, one thinks of a tusk of ivory, an object that could easily have erotic connotations. The decoration with lapis, a precious stone blue in color, simply would highlight the object’s preciousness. In such an erotic poem, the line at the least is suggestive of, if not explicitly referring to, the man’s member, and thus it is to be compared to the well-garden imagery in 4:12–13. The word that we are here translating as member (meʾeh) also had an erotic sense in regard to the woman in 5:4.”[70]
Readers might feel uncomfortable with this translation because it is so erotic… but this is Scripture! We shouldn’t edit out what Scripture is teaching simply because of a Christian cultural prudishness.
(5:15) Moving downward, the woman describes the strength and power of his legs.
(5:16) Solomon’s wife just described him from head to toe. But she ends by commenting on his mouth as the thing she loves the most. Kinlaw wisely comments, “A normal person finds the erotic ultimately meaningful only if there is trust and commitment, delight in the other’s person as well as in the body. The writer of the Song understands this. Our hero is her lover, but he is more: he is her friend.”[71]
Song of Solomon 6
The friends speak
(6:1) The friends want to help her see Solomon.
The wife speaks
(6:2-3) The woman tells her friends that her worries were unfounded. Solomon is with her.
Solomon speaks
(6:4) “Tirzah” was “an ancient Canaanite center that served as the capital of the northern kingdom.”[72] The city was “one of great natural beauty with extensive gardens and groves encouraged by its abundant water supply (one of the best in Israel).”[73]
This suggests a very early date for the book, because Omri (879 BC) later made Samaria the capital. Carr comments, “It seems unlikely that a southern (Judean) king would use this site as a simile for beauty, especially since the first fifty years after the division of the Solomonic kingdom were marked by mutual hostility between the fragments of the united monarchy. A Solomonic date for this part of the Song is most likely.”[74]
“As lovely as Jerusalem…” Jeremiah refers to Jerusalem as “the perfection of beauty” and “a joy to all the earth” (Lam. 2:15).
“Awesome” could be translated as “awe-inspiring” or “splendid.”[75]
(6:5) Her eyes have “confused” (rāhab) him. This has been translated in a number of different ways, including “overwhelm” (ESV, NIV, NET) and “overpower” (NLT). Carr understands that “her glance ‘turns him on’ and makes him bold in his intentions.”[76]
(6:6-7) His description of her is similar to his earlier statements (Song 4:1-3). See comments above.
(6:8) Some commentators believe that this dates the book early in Solomon’s reign before 1 Kings 11:3, where the text states that he had an enlarged harem (300) and many wives (700). However, Carr notes that this verse does not say that he has a harem or other wives at all.[77] Solomon doesn’t say, “I have,” but rather, “there are.”
(6:9) Everyone could see how unique and wonderful Solomon’s wife was.
(6:10) Solomon compares her beauty to nature in various forms.
(6:11) Solomon went out to search for her.
(6:12) This verse is “the most difficult in the Song and one of the most difficult in the Old Testament to make sense of.”[78] This may be “some idiomatic meaning we cannot recover.”[79]
(6:13) Solomon wants his wife to come to him, so that people can see the beauty in her that he sees (“that we may gaze on you”).
Song of Solomon 7
Solomon speaks
(7:1) Solomon begins by describing her feet, thighs, and hands. Modern romantic writing would focus on other body parts, but not Solomon. He loves her in totality.
(7:2) The “navel” (šārr) literally refers to the center of the body. Carr states that “it is more likely, then, that the word should be translated ‘vulva.’”[80] Delitzsch considers this translation “inconsiderate” and too “immodest.”[81]
“Belly” (beten) refers to “the lower abdomen, below the navel, and is used specifically of the womb and the fetus carried there (cf. Job 3:3–11; 31:18; Ps. 139:13, etc.).”[82] However, the mention of wheat seems to refer to external skin around her stomach.
(7:3) See comments on 4:5.
(7:4) “Your nose is like the tower of Lebanon…” The Hebrew word lābēn (“to be white”) is the root for Lebanon. Carr writes, “The imagery here is associated with the colour of her nose rather than its shape or size. Her face is pale, like the ivory tone of her neck, not sunburnt.”[83] This is in contrast to her sunburnt skin that was mentioned earlier (1:6).
(7:5) The image of “Carmel” is most likely Mount Carmel.
“The flowing locks… like purple threads.” Earlier, her hair was described as black (4:4; 6:5). The purple accent refers to hair that is so dark black that it appears purple at times when she moves.[84]
“Tresses” have a root meaning that refers to “running or flowing.” So, the “the picture here is of her hair having the appearance of running, rippling water.”[85]
(7:6) Solomon admires her beauty and how much he takes delight in her. Most translations render “love” in the vocative (“My love”), but “the meaning ‘love-making’ or ‘love’ in the abstract is preferable and more in keeping with the Hebrew text.”[86] In other words, Solomon is telling her how much he enjoyed sexual intimacy with her afterwards.
“Charms” can also be rendered “delights” (ESV, NIV, NLT, NET).
(7:7-8) The “stature” would refer to the height of the palm tree. This isn’t necessarily saying that she is tall. It could mean that a person is willing to make the arduous climb to the top in order to get the fruit. Similarly, Solomon is willing to invest and work on his marriage in order to enjoy the satisfaction of sex.[87]
“Breath like apples.” The word “breath” (’ap) normally means nose, face, or nostrils in Hebrew. In Ugaritic, the word ap refers to “the nipple of the breast and of the ‘opening’ of the city gate.”[88] In Akkadian, the word apu means “an opening.” Carr concludes, “These parallels suggest ‘nipple’ as a possibility here, or even more intimately, the ‘opening’ or ‘entrance’ i.e. the vulva.”[89] However, the subsequent verse refers to her “mouth” (v.9), so this understanding is uncertain.
(7:9) Solomon concludes by speaking about kissing his wife. Longman states, “The simile makes public his desire to kiss her. This wine is a wine he wants to taste, and so we have a tactful expression of a deep kiss.”[90]
The wife speaks
(7:10) The word “desire” (tešûqāh) is the same term used in Genesis 3:16 (“Your desire will be for your husband, but he will rule over you”). In Genesis, this is part of the curse, but here, God intervenes to restore their relationship from its natural fallen state. It is “as if we are observing the Fall momentarily reversed.”[91] The Hebrew term is only used three times (Gen. 3:16; 4:7; Song 7:10).
Solomon only looks to her for the object of his desire—not other women, lust, pornography, flirting, etc. What if every wife had this sort of security in marriage?
(7:11-13) There is sexual imagery throughout this section. But this also seems to be setting up a place for the couple to be intimate. The woman is showing initiative to set up an environment where the couple can be close.
Song of Solomon 8
The wife speaks
(8:1) Does this passage support incest? (cf. 4:10, 5:1)
(8:2) Why does the wife want to return to her mother’s home? And what does it mean that her mother instructed her? This could refer to how her mother taught her “the facts of life”[92] as a young girl. Thus Carr says, “The art of preparing for love is best learned at home.”[93]
“Spiced wine to drink from the juice of my pomegranates.” Carr writes, “One of the Egyptian love poems identifies the beloved’s breasts with the fruit of the pomegranate. The context here suggests a distinctly erotic connotation.”[94]
(8:3) This is erotic language. See comments on 2:6 which is parallel.
Solomon speaks
(8:4) The wife doesn’t want to be pressured by her friends until the time is right. Could this be flashing back to before they were married? (Song 2:7; 3:5)
The wife speaks
(8:5) Why do they return to the place that she was born? This could show the full cycle of love to life to love again. This is could also show that she is connecting the passion of love and the passion of giving birth.
(8:6) The “seal” was an engraved stone that marked ownership. Thus Carr writes, “Possession of another’s seal was tantamount to having free access to all his or her possessions. The context here suggests that the girl wants to imprint her claim to her lover deeply and openly on him.”[95]
“Jealousy” is used in parallelism with “love.” Thus, this is a positive quality within the marriage context.[96] Of course, this should be understood in terms of sacrificial love and what is best for the spouse—not controlling or restricting one’s spouse for selfish reasons.
(8:7) “Many waters cannot quench love, nor will rivers overflow it.” This relates back to verse 6: Love is fueled by the “fire” of God.
“If a man were to give all the riches of his house for love, it would be utterly despised.” This describes the husband who works for his wife, but doesn’t love her. Love cannot be replaced by money. Love cannot be bought with money.
Who is speaking here? The girl’s brothers?
(8:8) Is this referring to the older brothers of the woman before she was married?
(8:9) The words “wall” and “door” in reference to the girl are both descriptions of her strength of character.[97]
The girl speaks
(8:10) The girl affirms that she has integrity, character, and physical maturity.[98]
(8:11-12) The “vineyard” was earlier used of her body (Song 1:6; 2:15; 4:12; 5:1).
(8:13) Kinlaw writes, “The figures of the deer and the mountain of spices symbolize for us for the last time the lover and his beloved. Restraints are gone. He is hers and she is his. They are free to pursue those delights of love that image a love to come for every believer.”[99]
[1] Rabin, Chaim. “The Song of Songs and Tamil Poetry.” Studies in Religion 3 (1973), 205-219. Cited in Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1209). Grand Rapids, MI: Zondervan Publishing House.
[2] Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 550.
[3] Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 547.
[4] Archer, Gleason. A survey of Old Testament introduction (3rd. ed.). Chicago: Moody Press. 1994. 539-540.
[5] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1204). Grand Rapids, MI: Zondervan Publishing House.
[6] Geisler, Norman & Nix, William. A General Introduction to the Bible: Revised and Expanded. Chicago, IL. Moody Press. 1986. 258.
[7] Archer, Gleason. A survey of Old Testament introduction (3rd. ed.). Chicago: Moody Press. 1994. 540-541.
[8] Rabbi Akiba, M Yadaim 3.5.
[9] Roger T. Beckwith, The Old Testament Canon of the New Testament Church and Its Background in Early Judaism (Grand Rapids, MI: Wipf & Stock Publishers, 1986), 321.
[10] Roger T. Beckwith, The Old Testament Canon of the New Testament Church and Its Background in Early Judaism (Grand Rapids, MI: Wipf & Stock Publishers, 1986), 322.
[11] Roger T. Beckwith, The Old Testament Canon of the New Testament Church and Its Background in Early Judaism (Grand Rapids, MI: Wipf & Stock Publishers, 1986), 322.
[12] Roger T. Beckwith, The Old Testament Canon of the New Testament Church and Its Background in Early Judaism (Grand Rapids, MI: Wipf & Stock Publishers, 1986), 322.
[13] Roger T. Beckwith, The Old Testament Canon of the New Testament Church and Its Background in Early Judaism (Grand Rapids, MI: Wipf & Stock Publishers, 1986), 322.
[14] Rooker notes that Origen, Jerome, Athanasius, Augustine, Luther, and Calvin argued that the Song of Songs conveyed the love between Christ and His church. Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 548.
[15] Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 548.
[16] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1203). Grand Rapids, MI: Zondervan Publishing House.
[17] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1227). Grand Rapids, MI: Zondervan Publishing House.
Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 548.
[18] Merrill, Eugene H.; Rooker, Mark; Grisanti, Michael A. The World and the Word: An Introduction to the Old Testament. Nashville, TN: B&H Publishing. 2011. 552.
[19] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1211). Grand Rapids, MI: Zondervan Publishing House.
[20] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1207). Grand Rapids, MI: Zondervan Publishing House.
[21] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1215). Grand Rapids, MI: Zondervan Publishing House.
[22] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 152). Downers Grove, IL: InterVarsity Press.
[23] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1216). Grand Rapids, MI: Zondervan Publishing House.
[24] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1218). Grand Rapids, MI: Zondervan Publishing House.
[25] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1219). Grand Rapids, MI: Zondervan Publishing House.
[26] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1219). Grand Rapids, MI: Zondervan Publishing House.
[27] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1221). Grand Rapids, MI: Zondervan Publishing House.
[28] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 97). Downers Grove, IL: InterVarsity Press.
[29] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 100). Downers Grove, IL: InterVarsity Press.
[30] Longman, T. (2001). Song of Songs (p. 115). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[31] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1224). Grand Rapids, MI: Zondervan Publishing House.
[32] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 111). Downers Grove, IL: InterVarsity Press.
[33] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1225). Grand Rapids, MI: Zondervan Publishing House.
[34] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1225). Grand Rapids, MI: Zondervan Publishing House.
[35] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1226). Grand Rapids, MI: Zondervan Publishing House.
[36] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1227). Grand Rapids, MI: Zondervan Publishing House.
[37] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 125). Downers Grove, IL: InterVarsity Press.
[38] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 125). Downers Grove, IL: InterVarsity Press.
[39] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 126). Downers Grove, IL: InterVarsity Press.
[40] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 126). Downers Grove, IL: InterVarsity Press.
[41] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 127). Downers Grove, IL: InterVarsity Press.
[42] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1229). Grand Rapids, MI: Zondervan Publishing House.
[43] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 128). Downers Grove, IL: InterVarsity Press.
[44] Longman, T. (2001). Song of Songs (p. 146). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[45] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1229). Grand Rapids, MI: Zondervan Publishing House.
[46] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 135). Downers Grove, IL: InterVarsity Press.
[47] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 135). Downers Grove, IL: InterVarsity Press.
[48] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 136). Downers Grove, IL: InterVarsity Press.
[49] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 136). Downers Grove, IL: InterVarsity Press.
[50] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 138). Downers Grove, IL: InterVarsity Press.
[51] Longman, T. (2001). Song of Songs (pp. 157–158). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[52] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 139). Downers Grove, IL: InterVarsity Press.
[53] Longman, T. (2001). Song of Songs (p. 158). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[54] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 140). Downers Grove, IL: InterVarsity Press.
[55] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, pp. 140–141). Downers Grove, IL: InterVarsity Press.
[56] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1232). Grand Rapids, MI: Zondervan Publishing House.
[57] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1232). Grand Rapids, MI: Zondervan Publishing House.
[58] Longman, T. (2001). Song of Songs (p. 167). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[59] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 147). Downers Grove, IL: InterVarsity Press.
[60] Longman, T. (2001). Song of Songs (p. 168). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[61] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1233). Grand Rapids, MI: Zondervan Publishing House.
[62] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1233). Grand Rapids, MI: Zondervan Publishing House.
[63] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 153). Downers Grove, IL: InterVarsity Press.
[64] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 154). Downers Grove, IL: InterVarsity Press.
[65] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 156). Downers Grove, IL: InterVarsity Press.
[66] See Genesis 25:23; Isaiah 49:1; Psalm 71:6; Ruth 1:11.
[67] Numbers 5:22; Job 20:14; Ezekiel 3:3; Jonah 2:1-2.
[68] See Genesis 15:4; 2 Samuel 7:12; Isaiah 48:19; 2 Chronicles 32:21.
[69] Dan Allender and Tremper Longman, Intimate Allies: Rediscovering God’s Design for Marriage and Becoming Soul-mates for Life (Wheaton, IL: Tyndale, 1999), 254.
[70] Longman, T. (2001). Song of Songs (p. 173). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[71] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1234). Grand Rapids, MI: Zondervan Publishing House.
[72] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1235). Grand Rapids, MI: Zondervan Publishing House.
[73] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 160). Downers Grove, IL: InterVarsity Press.
[74] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 160). Downers Grove, IL: InterVarsity Press.
[75] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 161). Downers Grove, IL: InterVarsity Press.
[76] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 162). Downers Grove, IL: InterVarsity Press.
[77] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 162). Downers Grove, IL: InterVarsity Press.
[78] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, pp. 165–166). Downers Grove, IL: InterVarsity Press.
[79] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 167). Downers Grove, IL: InterVarsity Press.
[80] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 171). Downers Grove, IL: InterVarsity Press.
[81] Delitzsch, F., Commentary on the Song of Songs and Ecclesiastes (T. & T. Clark, 1885), p.123. Cited in Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19). Downers Grove, IL: InterVarsity Press.
[82] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 172). Downers Grove, IL: InterVarsity Press.
[83] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 173). Downers Grove, IL: InterVarsity Press.
[84] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 174). Downers Grove, IL: InterVarsity Press.
[85] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 175). Downers Grove, IL: InterVarsity Press.
[86] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 175). Downers Grove, IL: InterVarsity Press.
[87] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 176). Downers Grove, IL: InterVarsity Press.
[88] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 177). Downers Grove, IL: InterVarsity Press.
[89] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 177). Downers Grove, IL: InterVarsity Press.
[90] Longman, T. (2001). Song of Songs (p. 198). Grand Rapids, MI: Wm. B. Eerdmans Publishing Co.
[91] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1239). Grand Rapids, MI: Zondervan Publishing House.
[92] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 182). Downers Grove, IL: InterVarsity Press.
[93] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 182). Downers Grove, IL: InterVarsity Press.
[94] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 183). Downers Grove, IL: InterVarsity Press.
[95] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 186). Downers Grove, IL: InterVarsity Press.
[96] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 186). Downers Grove, IL: InterVarsity Press.
[97] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 188). Downers Grove, IL: InterVarsity Press.
[98] Carr, G. L. (1984). Song of Solomon: an introduction and commentary (Vol. 19, p. 189). Downers Grove, IL: InterVarsity Press.
[99] Kinlaw, D. F. (1991). Song of Songs. In F. E. Gaebelein (Ed.), The Expositor’s Bible Commentary: Psalms, Proverbs, Ecclesiastes, Song of Songs (Vol. 5, p. 1243). Grand Rapids, MI: Zondervan Publishing House.