The Song of Songs
An Introduction
Origin
The first verse of our book gives us both the title and the traditional author (1:1). The title “Song of Songs” employs the same mechanism of superlative as “King of Kings” and “Lord of Lords” to indicate that the song it contains is the best of the best. The phrase “which is Solomon’s” has been traditionally been taken to mean that Solomon is the author, but the original phrase might have meant “from Solomon” or “by Solomon” or “for Solomon” or any of a number of similar interpretations. We will see that Solomon could not have been the single author, but he is known to be a prodigious author of proverb and song (1 Kings 4:29-34) and it is intriguing that tradition should ascribe to the same voice the didactic of Proverbs, the rhetoric of Ecclesiastes, and the lyricism of the Song of Songs.
If we accept the connection to Solomon, then we know the time and setting of the book, but the remaining questions with which we are accustomed to introduce ourselves to a book are harder to answer. To whom was the book addressed and to what purpose? Ostensibly, of course, the Song was written from a lover, or perhaps various lovers, to the object of their love in order to confess and impart their desire. But this answer does not address the inclusion of the Song as canon. As the Song contains no law, no prophecy, nor any theology at all, as it has no mention of God, good, or evil, then the meaning of the book, perhaps in its original authorship, but certainly in its canonization, must be something other than its overt message.
Overt Story
The overt story is told, though not in any sense narrated, by three voices. There is a masculine voice, which has traditionally been attributed to Solomon (2:2). There is a feminine voice, which comprises the greater portion of the Song (2:2-7). If the masculine voice is that of Solomon, then the feminine voice is that of a lover or the lovers of Solomon (3:6-11). But whether either of these is necessarily originally a single voice, or whether the voices have attained their unity as collected in the Song, we do not know – nor does our interpretation prefer either possibility over the other. Finally, there is a third voice that is taken to be a collective, called in modern times “the friends”. The utterances of this voice are brief and often puzzling (8:8-9).
Though there are passages which are not highly erotic and have the feel of scripture, if with they contain some mild and enigmatic sensuality (2:10-13) the tone, generally, is of explicit eroticism and heavy sensuality. The feminine voice speaks of her love with intense and insistent desire (1:2-4, 3:1-4). The masculine voice speaks of his beloved with the aesthetic of passion (4:1-7). The overt message of the Song is a celebration of shameless erotic love.
Allegory
Though such a celebration may have its place, the place of the Song within the cannon requires us to seek another meaning behind, or perhaps above, the overt. If we are to understand the Song as scripture, we must find some way to relate the erotic love of humanity to the agape love of God.
If we find disturbing the thought of any such comparison, we should not. The inclusion of the Song as scripture has in itself anointed the idea, and there are other uses of the metaphor in other books of the canon. In Jeremiah, for example, the Lord uses erotic love positively to liken Israel to the a young wife, cloven faithfully to her husband (Jeremiah 2:1-2) and negatively to describe the wantonness of Israel, prostituting with every suitor at every opportunity (Jeremiah 3:1-2).
The Song, then, is an allegory for God and Israel, embraced in perpetual desire. As the story of Israel is itself an allegory that prefigures the church, then the Song also speaks of the mutual desire of Christ and his church, a relationship clearly established by scripture (Mark 2:18-20, Ephesians 5:31-32).
We find the language of the book itself unlike any other scripture, and indeed we may find shocking the very idea that erotic love may be instructive for agape love, but no other book is so instructive of the passion with which we should seek our God. Even the Psalmist, whose soul panted for the living God, was seeking the security and deliverance that can only be afforded by that God (Psalm 42:1-2). The lovers of the Song each desire their beloved for their person alone. The only reward the seek is the one they love.
We seek relationship with God to sustain us. We seek the embrace of God to comfort us. We seek the voice of God to guide us. The Song teaches us to seek the relationship for the sake of the relationship, to desire the embrace because it is desirous, to yearn for the voice of God because it is the voice of God.