Love More Delightful than Wine!

Song of Songs 1:1-6

Introduction:

I. Title.

The Song of Songs so called because it is the most beautiful of songs has been variously titled :

'Song of Solomon' for he is its author (1v1,5;3v7,9,11;8v11,12 c/f 1 Ki 4v3,32,33;Ps 72;127)

Canticles meaning series of songs, because 13 songs make up the one song of the book.  The latin is 'canticorum'.  The LXX called it or literal translations of the Hebrew.

II. Date.

Olyott suggests a date for its writing would be around 965 BC, before his apostasy recorded in 1 Kings  11v3,4 and yet after years of familiarity with foreign visitors, their words and their customs. He feels that the fact that the  Song has an unusually large number of foreign words shows that a later date is called for.

 III. The setting of the story.

Centres on a single pair : Solomon and the Shulamite(6v13), so called because she was probably a native of Shunem, a village near the plain of Megiddo, north of Jezreel.

There is a supporting cast comprising 'the daughters of Jerusalem' (1v5;2v7;3v10;5v8-16) and 'watchmen'(3v3;5v7).  I personally can see no 'Shepherd lover' so cannot endorse Ewald's 'Shepherd Hypothesis'(c/f W. Still's interpretation in 'Song of Solomon).

IV. The interpretation of the story.

It has been variously interpreted:

Literalists - See the Song as no more than a collection of love poems, expressing human love.  They suggest that the song was written to be sung during the week-long wedding feast.  Its value is in presenting advice to the prospective man and wife.  This is not adequate for Christ states that all the Old Testament Scriptures referred in some way to Him.  This is a major objection to a purely literalist interpretation (c/f Lk24v27,44-48).

Allegorists - In their most extreme variety tend to suggest that the Song was written solely to give a picture of the love of Christ for His Church(see A.V. Hengstenburg;Burrowes), having no historic significance. This is also inadequate for while Christ and his Church are undoubtedly anti-types of this book, historical, pastoral, geographical  and agricultural references suggest otherwise.

Typical - Perhaps the true way to interpret the book is to marry the two extremes : "Not only does it speak of the purity of human love, but by its very inclusion in the Canon, it reminds us of a love that is purer than our own"(E.J. Young). To view the book as typical is the right approach!  There is not an exact spiritual equivalent to every reference in this book but neither is there an absence of Christ and His Church.

V. The Song in Israel's life:

In Israel, the Song was read at Jewish feasts(one of five poetical books used at Passover).  Rabbi Akiba said of it that "the whole world is not worth the day on which the Song of songs was given to Israel; all the writings are holy, and the Song of songs is the holy of holies".

It was not however, easily accepted in the Canon of Scripture.  Some Rabbi's questioned its overt eroticism.  They counselled that "a man must attain the age of thirty before he was allowed to read it"(Rodgers). 

It was finally accepted on the grounds that it was intended as an allegory of the gracious, loving dealings of God with Israel throughout her history(c/f Targum see Is 50v1;54v5;62v4;Jer 2v2;3v1-13;Ezek 16v23).

Though there are certainly erotic elements in the Song, arising from the strong physical attraction between Solomon and the Shulamite, there is nothing remotely immoral: "It provides a balance between the extremes of sexual excess or perversion, and an ascetic denial of the essential goodness of physical love"(Hubbard). "The book is a censure on lust, polygamy, infidelity.  It encourages a love which is exclusive and absorbing(4v12).  It highlights a love which is unquenchable and unpurchaseable (8v6f). It endorses the place of physical love within a legitimate relationship"(Balchin)

Hence even on the human level the Song is an important part of the Canon - "So long as there is impurity in this world we need, and badly need the Song"(E.J. Young).

Yet one would miss the point entirely if we stopped at the literal and lateral level of understanding this book.  There is behind the Song a typical meaning of higher and spiritual dimensions which stress the major themes of love and devotion between Christ and His Church, an approach which is constantly employed within Scripture(c/f Mtt 12v40;Jn 3v14;Hos ch. 1-3;Jer 2v2;3v1f;Ezek 16v16f;ch. 23;Eph 5v22).

In summary, four points should be kept in mind when interpreting the Song:

The Song is superlative as an expression of human love.  It is the 'Song of songs', the most beautiful of all!   "The power of the poetry lies in the intensity of love and devotion expressed, and especially in the rich imagery which permeates the descriptions of the lovers and their love"(Burrowes).

The book is a complete unit made clear by the repeated refrain in 2v7;3v5;8v4.

The poem celebrates real, pure, unquenchable love between two human lovers: a bridegroom and his bride.  This must be our starting point when interpreting.

This love between bridegroom and bride is symbolic of God's love for Israel(Is 50v1;54v5;62v4;Jer 2v2;3v1-13;Ezek 16v23), indeed, Christ's love for the Church, the 'Israel of God'(c/f Eph 5v31-32;Rev 19v7;21v9) : "It is never interpreted fully until it is viewed in the light of New Testament revelation"(Hendriksen).

Here then is a book to instruct us in love.  A book that will help us to define love, to discover love and to improve love.

The Song of Songs is the stuff of which Fairy Tales are made.

It is a Cinderella Story. It centres on a single pair : Solomon and the Shulamite(6v13), so called because she was probably a native of Shunem, a village near the plain of Megiddo, north of Jezreel.

Solomon probably met her when he visited his vineyard which he had let out to tenants, in the hill country of Ephraim, 50 miles north of Jerusalem(8v11).

The tenants were a mother, two sons and a younger daughter, the Shulamite, who was made to work very hard in the fields(1v5,6).

Though her outward appearence was marred as a result of hard work, she still caught Solomon's eye! He had been used to the pampered girls of the Harem(1 Ki 11v1). But here was a 'Cinderella', naturally beautiful but rustic. More at home in pruning vines, gathering fruit, setting traps for foxes, and keeping flocks of sheep(2v15;1v8,15).

This girl may not have appreciated who this visitor was at first. Perhaps she mistook him for a shepherd(1v7). In the event Solomon was deliberately evasive so as not to arouse any other motive for loving him other than true love!

But true love gives! Solomon imagined this rustic decked in finery and jewels. He vowed his love to her and promised to return.

In the absence she often dreams of him and sometimes imagines him to be near(3v1).

Eventually he does return and makes her his bride(3v6-7).

The course of their life together is full of emotional ups and downs. There is a period of enforced separation before finally they are reunited to declare that "love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame. Many waters cannot quench love, rivers cannot wash it away"(8v6,7).

Interesting sidelights :

The book mentions 21 varieties of flora. It also contains fifteen species of fauna.

It provides extensive examples of royal luxury.

I. The Shulamite in the Harem - 'dark..yet lovely'(vs 1-6).

(i). The stirrings of love: The opening scene shows the Shulamite awaiting her beloved, giving voice to strong emotions - 'Let him kiss me with kisses of his mouth..' There are few acts which express such tender intimacy as a kiss. In the Scriptures a 'kiss' is an expression of affection, a pledge of peace, a token of reconciliation(Lk 15v20) and a sign of acceptance. As such, the LORD uses the imagery of the 'kiss' to emphasize the importance of an intimate relationship with His Son : "Kiss the Son, lest He be angry and you be destroyed in your way"(Ps 2v12). To 'kiss the Son' is on our part, and much more on His an expression of affection, a pledge of peace, a token of reconciliation and a sign of acceptance.

'your love is more delightful than wine' - The Bible says 'wine gladdens the heart of man'(Ps 104v15). It is often used to raise the emotions, even to forget the problems of life and dull the pain : "Give..wine to those who are in anguish; let them drink and forget their poverty and remember their misery no more" (Prov 31v6,7). Love, says the Shulamite is equally reviving and exhilirating. To her mind it is better than the effects of wine. It raises the emotions and gives delight to the heart. Love is the deepest and most powerful emotion known to man. It is as ‘strong as death'(8v6). It is also the very essence of God : 'God is love'(1 Jn 4v16). Being the 'essence' of God, anyone who claims to know God will live a life of love : "Whoever lives in love lives in God, and God in Him". Have we discovered the value of God's love? Do we find that His love is 'more delightful than wine'? Samuel Rutherford said "I am so in love with His love, that if His love were not in Heaven I would not be willing to go thither".

'pleasing is the fragrance of your perfumes..' - Rich and costly ointments are of frequent use in the near east. They were used for health and beauty to combat the effects of the heat and provide a pleasant odour.

(ii). The song of the friends:

There is dialogue between the Shulamite and her attendants. The 'maidens' admired the beauty of the Shulamite and adored the handsome, winsome Solomon.

The Shulamite recognises the rightness of their affection : "How right they are to adore you"(v4), as if to say 'who could not love him?'.

David's son, Solomon is a type of Christ. The Shulamite, a type of the Church. The Church, like the Shulamite, rejoices when Christ is adored by men. 'How right they are to adore you": “Worthy is the Lamb, who was slain to receive power and wealth and wisdom and strength and honour and glory and praise"(Rev 4 :11).

(iii). The shame of the Shulamite - the reflections of a working girl:

'Dark am I yet lovely' - Hard work in the outdoors had marred her beauty. She likens the colour of her skin to the black goat-skinned tents(Gn 25:13) of 'Kedar', a Northern Arabian tribe, descendants of Ishmael. Yet the tan hid her true beauty and she was confident that when it faded her true beauty would be known to all.

Her shame was exacerbated when she contrasted her tanned appearance with the freshness of her attendants complexion. These fresh-faced ladies were pampered ladies of leisure. She a 'commoner', they 'ladies in waiting'. She feels inferior and undeserving of the king's love. She has none of the etiquette or training of the high-born and highly-privileged maidens.

She explains why her beauty is thus marred: “my brothers made me take care of the vineyards' A laborious and menial task, usually the employ of servants who constantly preserve the grapes from birds by scaring them with shouts or sling shot. Her brothers, without concern for her natural beauty sent her day after day into the vineyard where she was exposed to the harmful rays of the sun. All of this was to the neglect of her own 'vineyard' or complexion.

Yet in spite of the rustic nature of her appearance. In spite of her 'marred' complexion, she is the object of Solomon's love!

She can hardly bear people looking, she sees her imperfections but Solomon sees her beauty. Is that not something we can relate to. Do we not wonder that even when our imperfections are known to Christ, He still loves us? We know we are 'marred' and full of sinful blemishes. We feel ashamed and hope that He will not notice them, yet it is futile. He knows them. He sees them and yet still He loves us. Why? Because He hasn't finished with us yet! We may say with confidence "He who began a good work in you will complete it"(Phil 1v6).

God is at work and soon those imperfections will vanish : "Christ loved the Church and gave Himself up for her to make her holy, cleansing her, by the washing of water with the word, and to present her to Himself as a radiant Church, without stain or wrinkle or any other blemish, but holy and blameless"(Eph 5v25-27).

That is why the believer to can say 'dark I am yet lovely'. There is beneath this mortal flesh a transforming going on 'from one degree of glory to another' : 'Though outwardly we are wasting away, yet inwardly we are being renewed day by day"(2 Cor 4v16). Until one day we shall be with Him forever, reigning with Him in glory : "before His glorious presence without fault and with great joy"(Jude 24).

"When I stand before the Throne,

dressed in beauty not my own,

When I see Thee as Thou art,

love Thee with unsinning heart,

Then Lord shall I fully know,

not till then, how much I owe"

(Robert Murray McCheyne).