Song of Solomon | Knowable Word

Song of Songs: The Intoxication of True Love in its Time

January 14, 2022 By Peter Krol

When the Lord God made the heavens and the earth, there was only one thing that he declared was not good: the man’s being alone. So God promptly invented romantic love, and his word is very clear about how such love works. It begins with the problem of loneliness, which is not a result of sin but simply a result of being a created being. It proceeds when boy meets girl, and things start to feel really awkward. And the only way to make progress is with poetry, song, and celebration. The World’s Greatest Song (aka The Song of Songs) is here to help.

Literary Markers

The poetry in the Song of Songs flits about from character to character, as the woman, the man, and the daughters of Jerusalem all lift their voices in an intricate back-and-forth befitting the subject matter. As a result, the poetry can appear quite mysterious and dense. Thankfully, the poet makes use of two refrains that serve, with minor variations, as paint blazes on the trail to help us follow his train of thought.

Each refrain occurs three times in the book. The first refrain is “I adjure you, O daughters of Jerusalem, that you not stir up or awaken love until it pleases” (Song 2:7, 3:5, 8:4). The second refrain is “My beloved is mine, and I am his” (Song 2:16, 6:3, 7:10). These two refrains provide the chief applications to the unmarried (do not awaken) and the married (join in mutual possession). And in addition, they help us to mark many of the book’s divisions.

In addition, the flow of most of the poems moves from separation to union (or reunion). The arcs of each section follow this general pattern where the lovers begin apart from one another and move toward one another to be together.

Walkthrough

The chief audience for the Song of Songs is the virgin daughters of Jerusalem, who are addressed all throughout the book. In this way, this book is something of a complement to the book of Proverbs, whose chief audience is the young men of Israel. This doesn’t mean that men have nothing to gain from the Song, but it helps us to understand why the woman is in the spotlight for much of the book.

After the book’s title (Song 1:1), we’re immersed right into the intoxicating nature of love, which is better than wine (Song 1:2-4). Then in the first main poem, the couple delights in the playful back-and-forth of getting to know one another and finding ways to spend time together as their attraction develops (Song 1:5-2:3). As they draw close, however, and move into a place of profound intimacy (Song 2:4-6), the woman emerges from the chamber to warn the virgins of Jerusalem not to awaken such love in themselves until the time is right (Song 2:7).

The second poem (Song 2:8-3:5) focuses on the wooing and courtship, but completely from the woman’s perspective. She describes the man coming to see her (Song 2:8-9), before quoting what he says—or what she hopes he’ll say?—to win her heart for life (Song 2:10-15). She longs for them to achieve mutual possession of one another (Song 2:16) but must still say goodbye at the end of the evening and send him back to his home (Song 2:17). This leads her to dream of what life would be like without him—a reality she cannot bear to accept (Song 3:1-4). Upon consummation of their love for one another, she emerges once more to adjure the maidens of Jerusalem not to awaken such love until the time is right (Song 3:5).

The third poem (Song 3:6-5:1) opens with a question: Who is this coming up from the wilderness, perfumed with myrrh and frankincense? (Commentaries will point out that this question is identical in wording to Song 8:5, and is most likely asking who and not what.) We will get the answer momentarily, when the naked woman is covered in myrrh and frankincense (Song 4:6). But first, the poet wishes to take a gander at the lavish and luscious bed of Solomon, “inlaid with love by the daughters of Jerusalem.” Yeah, that bed has every appearance of a seedy honeymoon suite in Las Vegas, where the “love” comes and goes with each new addition to the harem. But in contrast to the polygamous, cheap lust of Solomon, the undefiled sexuality of the Song’s couple is a glorious paradise. No shame. No fear. No violation. Sheer beauty and delight (Song 4:1-5:1). It was worth it to wait for this.

The fourth poem (Song 5:2-6:3) describes the sanctifying effect of conflict. The opening scene shows that the honeymoon has definitely come to an end, as the couple’s miscues lead to sexual tension and disappointment. But conflict is part of God’s plan to make relationships stronger than they were before. That sanctifying strengthening occurs when the daughters of Jerusalem compel the woman to answer two questions: What makes your man so great (Song 5:9-16)? And where is this relationship heading (Song 6:1-3)? In other words, now that you’ve had this fight, should we expect divorce papers? Is it all over?

The fifth poem (Song 6:4-10) provides a brief intermission highlighting the woman’s uniqueness.

You are beautiful and awesome (Song 6:4-7)
- Many queens, concubines, and virgins (Song 6:8)
  - My dove is unique and pure (Song 6:9a)
- Many queens, concubines, and virgins (Song 6:9b)
You are beautiful and awesome (Song 6:10)*

The sixth poem (Song 6:11-8:3) highlights the exclusivity of this relationship, despite the many things and people that might pull them in different directions. She goes down to check him out (Song 6:11-12), but the daughters of Jerusalem want her to return to their friend group, putting her in a tug-of-war between her friends and her lover (Song 6:13). He wins her with his praise and passion (Song 7:1-9), achieving mutual possession of one another (Song 7:10). Then the two of them celebrate their continued passion in both field (Song 7:11-13) and village (Song 8:1-3). Such fiery passion requires careful guarding, so as not to awaken it before the time is right (Song 8:4).

The final poem (Song 8:5-14) states the conclusion of the matter, reflecting on the principles that undergird the rest of the book. It is here that we learn what true love is, as defined by God, in contrast to the cheap lust of the world (as exemplified by Solomon himself). True love recognizes its own power—which is strong as death—and isn’t naive about the control it can have over a human heart (Song 8:5-7). True love esteems the virtue of virginity, as the unmarried wait for the right time and hold out for a godly partner (Song 8:8-10). True love repudiates cheap lust. Solomon is welcome to have his thousand-piece harem, but this woman’s vineyard is her own, to be given to one and only one (Song 8:11-12). True love anticipates something even better, as the book concludes with a final bit of flirting, suggestion, and innuendo for what is yet to come in the relationship (Song 8:13-14).

Conclusion

Church history is filled with the debates over whether to read this book as an allegory of God’s love for his people or as a literal picture of human marriage. Frankly, I’m not convinced we have to choose only one of those options. If it’s not about human marriage, then the metaphors of God’s relationship with his people would make no sense at all. And if it’s not also about God’s relationship with his people, then Paul, Hosea, and Ezekiel (among others) wouldn’t have gone there. This book gives us much wisdom for dating, marriage, sex, and conflict. And in so doing, it shows us the paradise of knowing Christ and being known intimately by him.

Interpretive Outline

Title – Song 1:1
Intoxicating attraction – Song 1:2-2:7
- Climax: Do not awaken love – Song 2:7
Springtime courtship – Song 2:8-3:5
1. Her perspective on his wooing of her – Song 2:8-17
  - Climax: Mutual possession – Song 2:16
2. Her dream (nightmare?) of life without him – Song 3:1-5
  - Climax: Do not awaken love – Song 3:5
Undefiled sexuality – Song 3:6-5:1
1. Not worth admiration: Solomon’s bed – Song 3:6-11
2. Worth admiration: Naked, unashamed intimacy – Song 4:1-5:1
  - Climax: Command to eat, drink, and be drunk with love – Song 5:1
Sanctifying conflict – Song 5:2-6:3
- The honeymoon is over – Song 5:2-8
- What makes this person so great? – Song 5:9-16
- Where is this relationship heading? – Song 6:1-3
  - Climax: Mutual possession – Song 6:3
Dazzling uniqueness – Song 6:4-10
Committed exclusivity – Song 6:11-8:4
- Her insecurity overcome by his desire for her – Song 6:11-7:10
  - Climax: Mutual possession – Song 7:10
- He wins the tug-of-war with her friends – Song 7:11-8:4
  - Climax: Do not awaken love – Song 8:4
True love – Song 8:5-14
- Recognizes its own power – Song 8:5-7
- Esteems the virtue of virginity – Song 8:8-10
- Repudiates cheap lust – Song 8:11-12
- Anticipates something even better – song 8:13-14

*I am grateful to my colleague Ryan Shreckengast for showing me the structure of this poem.

This post is part of a series of interpretive overviews of the books of the Bible.

Arise My Love — Part 3: Application

December 17, 2021 By Peter Krol

I’ve already shown you some of my observation and interpretation of Song of Songs 2:8-3:5, which led me to the following as the poet’s main point: A couple’s purpose in pursuing a romantic relationship ought to be the movement from separated togetherness to the mutual possession of marriage. Now it’s time to connect this main point to the gospel of Jesus Christ so I can apply it to today.

Gospel Connection

I try to avoid following my imagination from any old detail in the text to the message about Jesus. Instead, an important discipline to develop is to reflect on how the main point of the passage directs us to the gospel. In the case of the Song of Songs, I do not want to ignore or bypass a literal reference of the text to human relationships. But I also can’t avoid the fact that the Bible clearly describes how human relationships are meant to be pictures of God’s relationship with his people (e.g. Hos 1-3, Eph 5:22-33).

Therefore, the clear and selfless direction of a godly romance (toward the mutual possession of marriage) ought to be a signpost pointing the way to Jesus’ clear and selfless pursuit of his bride, the church. When Jesus invites people into a relationship with him, he’s not messing with them from selfish motives, but he’s wooing them into a covenant of mutual possession. He became a man and died to overcome our separation from him, so we can now be his forever. Because of his pursuit, through death and resurrection, the chief promise of God’s covenant is now fulfilled; the Song’s “my beloved is mine and I am his” becomes our “he is our God and we are his people.”

Application

Now that we’ve considered the main point through the lens of the gospel, how will I apply it today? Application is always tricky because it depends so much on context. And my context — situation, circumstances — differs from yours.

But here’s what has struck me as I’ve studied this text: I’m mostly impacted by it personally in the outward heart and outward hands boxes on the application matrix. In particular, I have an opportunity show my children the problems with the world’s way of mating, and to show them the delightful glory of God’s plans for his people. I want to dig into this passage with my children to show them how delightful God’s plan for mating is. I want to expose the failure of the world to find true delight in exchange for cheap counterfeits (hooking up, one-night stands, etc.). I want to draw the connection between how we mate as Christians, and what that tells the world about Christ’s love for his people.

In particular, we don’t date people just to feel close to them or to have fun being together. We date in order to purse a clear and selfless direction toward marriage. That is, the purpose of dating (or whatever we want to call it) is to discover whether marriage is a good idea.

And we can navigate the ups and downs and awkwardness of human romance because we stand fast in the reality that Christ is ours and we are his. He will never let us down, reject us, or break up with those who trust him.

Arise, My Love — Part 2: Interpretation

December 10, 2021 By Peter Krol

In a previous post, I pulled back the curtain on my observation of Song of Solomon 2:7-3:5, yielding the following structure:

Song 2:8-9 – her (daydreaming?) delight in the voice of her beloved
- Song 2:10-15 – the contents of her beloved’s voice
  - Song 2:10-13 – Arise and come away
  - Song 2:14-15 – Come out and catch up
- Song 2:16-17 – her declaration of mutual possession with her beloved
Song 3:1-4 – her dream of seeking and finding the one her soul loves
- Song 3:5 – her oath for the other young women not to stir up love yet

Now I’d like to show you how I move further into interpretation and application.

Her Daydream

The chief goal of interpretation is to arrive at the poet’s main point. And to grasp the main point of the entire poem, it helps to first grasp the main points of each of the stanzas. So I investigate each stanza with the chief goal in mind: What is the main idea here?

Song 2:8-9: Why is her leading statement regarding “the voice” — and not the character, presence, or intimacy — “of my beloved”? Apparently, she is very much looking forward to what he will say to her in Song 2:10-15. What she daydreams about is those things he will say to her. But in these introductory verses, the emphasis is on the distance between them. He comes … He stands behind … gazing through … looking through … A barrier of miles separates them at first. And even when he arrives at her home, a barrier of brick and mortar continues to separate them. So she wants him close, but he can’t get too close yet.

Photo by **Maksim Kolykhanov** from **Pexels**

Song 2:10-13: The bookends on his first stanza appear to be the main idea: “Arise, my love, my beautiful one, and come away” (Song 2:10, 13). Everything in between is in support, providing the reasons he believes will persuade her to come away with him. For him, it is no longer time to avoid awakening love (Song 2:7); the season for love is in full bloom. It’s as though he says [translated into modern jargon]: “I like you. Do you like me? Check one: YES or NO.”

Song 2:14-15: The second stanza of his speech continues his persuasion. First, he proves to be a patient and gentle suitor, cherishing her like a precious dove hiding within the cliffside. Second, he asks for help with finding the things that will spoil their vineyards. Commentaries inform me that the verbs in v.15 are plural, so he is no longer talking to her alone, but to a group of others — most likely the daughters of Jerusalem. And it doesn’t matter whether verse 15 is spoken by the man (as suggested by the ESV headings) or the woman (as suggested by CSB headings): either way, the point is that this couple invites others to hold them accountable and help them protect one another’s bodies (as “vineyards” have been metaphors of bodies thus far in the Song – Song 1:6, 2:14).

Song 2:16-17: She describes their relationship as one of mutual possession of one another (v.16), which sounds a lot like the arrival and consummation of marriage. However, in v.17, she wants him to “turn” and do his gazelle-thing on cleft mountains — at least until the morning comes. Some think the “cleft mountains” are a metaphor for her breasts. This makes sense, as his gazelle-ness on mountains is clearly a picture of marital bliss in Song 8:14. However, in Song 2:17, the main verb is the imperative to “turn.” And the reference to “mountains” connects back to where he came from (Song 2:8). So it’s more likely that, in contrast to chapter 8, in this poem she recognizes that marriage has not yet come. They are not yet married, and they must say goodbye at the end of their time together.

Main Point of Song 2:8-17: This relationship is not yet a marriage relationship, but it is clearly heading in that direction. She daydreams about his invitation to join her in the season of awakening love. But though it is spring time, it is not yet morning. They are beginning to “possess” one another (to treat one another differently from how they treat others), but they are not yet fully there. Separate togetherness is the unfortunate reality of their relationship (Song 2:8-9). He makes a risk request (Song 2:10-15). She has clarity on the desired, though not yet present, result (Song 2:16-17).

Her Dream

Song 3:1-4: We now move into a full-fledged dream, as she “seeks” him on her bed by night. She can’t find him in her bed (Song 3:1). She can’t find him in the streets (Song 3:2). She can’t find him among the night watchmen (Song 3:3). But when she finally finds him, she clings to him and refuses to let go (Song 3:4). Until she brings him into her mother’s chamber (apparently quite romantic and not awkward at all in that culture) — so her dream’s end goal is the full consummation of marriage. She doesn’t want to have to say goodbye at the end of the evening any longer!

Main point of Song 3:1-4: She aligns her dreams for the relationship with the direction in which it ought to head: toward marriage and the intimacy of the marriage bed.

Her Charge

Song 3:5: She puts the young women of Jerusalem under oath not to enter this season of love until the right time. She understands how difficult and stressful that can be, but she understands how much it is worth it.

Main point of Song 3:5: Forsake all counterfeits to such love (which is heading in the direction of God-honoring marriage).

Conclusion

I’ve written this post according to the stream of my consciousness as I worked to figure out the main point of each stanza. But I’ve arrived at the following interpretive outline:

Godly relationships pursue a clear and selfless direction – Song 2:8-17
1. The unfortunate reality of separate togetherness – Song 2:8-9
2. The risky request to join the season of awakening love – Song 2:10-15
3. The desired result of marital possession, which is almost but not yet here – Song 2:16-17
Align your dreams of romance with that direction – Song 3:1-4
Forsake all counterfeits – Song 3:5

How does all of this add up into a main point for the entire poem? Main point: A couple’s purpose in pursuing a romantic relationship ought to be the movement from separated togetherness to the mutual possession of marriage.

In a future post, I’ll walk through my thinking on connecting this main point to the gospel of Jesus Christ, and then applying it to today.

Arise, My love, My Beautiful One, and Come Away

November 26, 2021 By Peter Krol

I am very grateful to the Lord for the rich diversity of literature contained within the Bible. Not only do we have the narratives of Israel’s history and Jesus’ ministry, or the discourses of the law and letters, but we also have the wildly foreign yet lovely verse of the prophets and poets. Let me pull back the curtain for you on my own process for Bible study.

Right now, I’m studying Song of Songs 2:8-3:5 and trying to find my way. What clues can I find to show me how this text is organized, so I can follow its train of thought?

First, I notice the repetition of the label “my beloved,” from the woman regarding her man (Song 2:8, 9, 10, 16, 17). They are somewhat spaced out and appear likely to trigger a new thought or idea.

Second, I observe that the man never speaks in this passage as an independent character (as he does before and after this in the book). Instead, what we have is the woman’s report of what he says (Song 2:10: “My beloved speaks and says to me…”). Or is this more about what she wants him to say? She appears to be dreaming in Song 3:1-4 (especially see Song 3:1); could Song 2:8-17 be something like a daydream?

Third, though Song 2:10-15 is all one speech by the man (at least according to the ESV editors; the CSB suggests that the man’s speech ends with verse 14), I observe the verbatim repetition of “Arise, my love, my beautiful one, and come away” (Song 2:10, 13). That repeated phrase wraps verses 10-13 like bookends, suggesting that Song 2:14-15 contain a second stanza within his speech.

Fourth, the poem reaches a clear climax in Song 3:5, when she puts the daughters of Jerusalem under oath not to stir up love.

All of this yields the following group of stanzas:

Song 2:8-9 – her (daydreaming?) delight in the voice of her beloved
- Song 2:10-15 – the contents of her beloved’s voice
  - Song 2:10-13 – Arise and come away
  - Song 2:14-15 – Come out and catch up
- Song 2:16-17 – her declaration of mutual possession with her beloved
Song 3:1-4 – her dream of seeking and finding the one her soul loves
- Song 3:5 – her oath for the other young women not to stir up love yet

So much for an observational outline of the poem. What about an interpretive outline? What is the point of each stanza, and how does the train of thought move from one stanza to the next?

That will require more work, so I’m back at it. At least I have some handles on the text to guide my questions and answers.

Better Than Wine: Logos 7 Now Available

August 22, 2016 By Peter Krol

A few months ago, I made the acquaintance of Logos Bible Software (version 6). And like a mare among Pharoah’s chariots, this software captivated my heart with a single glance of the eyes (Song 1:9, 4:9). Logos 6 had hair like a flock of goats leaping down the slopes of Gilead (Song 4:1) – and, thanks to the software, I finally understand both how mountainous Gilead truly is and why said goats would want to leap down its slopes. So a new love was born. Because Logos has been so helpful to my Bible reading and Bible study, I’ve barely touched a physical Bible since I began using the software.

If you want to learn the basics of what Logos does and how, I refer you to my previous two-part review:

And this short video explains the essence of Logos: a theological library and a feature set.

But in this review, I want to focus on the new features available in Logos 7 that you couldn’t get in Logos 6. As you can imagine, Logos 7 has many more new features than those on my list. But these are the features I believe ordinary people would most appreciate as they learn to study the Bible.

1. Repeated Words

Logos 7 has a “Concordance Tool” that will supercharge your observation of repeated words like never before. With Logos 7, you can:

Generate a list of the most repeated words within any defined chunk of text.
- Whole Bible? (Top 5: Lord, not, all, God, said.)
- Books of Moses? (Lord, not, all, people, said.)
- Exodus? (Lord, Moses, people, all, said.)
- Exodus 1-19? (Lord, people, Moses, said, all.)
- Exodus 1? (people, all, Egypt, midwives, Israel.)
See exactly how many times each keyword occurs, and in exactly which verses. (“People” = Ex 1:7, 9, 9, 12, 13, 20, 22)
Export this list to a spreadsheet to save or print.

Logos 7 also has a helpful feature when a Bible translation is open, called Corresponding Words. Once I’ve discovered that “people” is the most repeated word, I can hover my mouse over the word “people” in Exodus 1:7. Logos then automatically highlights every instance of the word “people” in the entire chapter. This sort of analysis used to take me 30 minutes or more, and now I can do it with Logos in about 10 seconds.

The Concordance Tool is incredibly robust. It can show me every instance of not only the word “Pharaoh” but also the person Pharaoh. The former occurs only 4 times in Exodus 1, but the latter occurs 17 times (including “a new king” in Ex 1:8 and “he” in Ex 1:9). No physical concordance can provide such information so quickly. Take a peek yourself, through this short video.

2. Logical Outlines

Logos 6 had logical outlines for every New Testament book, and Logos 7 now adds this feature to every Old Testament book. These outlines break out every sentence and phrase into its parts, showing how the parts are related to one another and flow from one to the next. These outlines give quick access to observation of the passage’s basic grammar and train of thought. And this careful observation paves the way for more vigorous interpretation and application.

3. Text Comparison

Logos 7 lets you quickly examine different translations of the same passage side by side. The software automatically highlights the differences so you can explore how the translators’ choices may affect the way you’d read the verse. You can do this yourself with 5 or 6 open Bibles and excessive jumping from tome to tome. Or you can do it in seconds with this lovely software.

Conclusion

I was delighted to receive a pre-release copy of Logos 7 in exchange for an honest review. And I’m happy to say I heartily recommend it. If you take my warnings to heart, and don’t allow Logos to distract you too much from the text, this software will help you get more out of your Bible study, faster. And for a limited time, readers of this blog can get 10% off a base package (new Logos users only), along with a free commentary on James. Once you try Logos, I bet you, too, will end up among the choirs of Jerusalem, crooning “rightly do they love you” (Song 1:4).

Use this link or the coupon code KNOWABLE7 to get 10% off a Logos base package (new users only). Disclaimer: If you buy Logos with the code or links above, this blog will receive a commission. Thanks for supporting this work so we don’t have to neglect our own vineyards (Song 1:6).

The Best Wedding Sermon Ever

October 8, 2013 By Peter Krol

Yesterday, I quoted at length from the sermon Paul Browne preached at my wedding. It was the best wedding sermon I’ve ever heard, and not just because it was my own wedding. Being in college ministry, I get invited to a lot of weddings (we consider it an occupational hazard).

If you’d like to hear a great sermon about having great sex because we have a great savior, this is it.

I wish the quality were better, but it was originally recorded on audio cassette. Here’s a link to download the file.

Happy Anniversary, Erin! (We just celebrated 9 years.)

Thanks for visiting Knowable Word! If you like this article, you might be interested in receiving regular updates from us. You can sign up for our email list (enter your address in the box on the upper right of this page), follow us on Facebook or Twitter, or subscribe to our RSS feed.