OT - Survey 25 - Song of Songs

All content is derived from A Survey of the Old Testament by Andrew E. Hill and John H. Walton, with additional insights from R.C. Sproul's Dust to Glory. Further sources referenced are listed in the reference section below.

Key Ideas

The goodness of humanity created male and female in God’s image

The dignity of human affections

The sanctity of human sexual expression in the context of marriage

The virtue of chastity before marriage and the virtue of faithfulness once married

Section Overview — This chapter from Hill and Walton provides a thorough exploration of the Song of Songs, treating it as a unique component of Israel’s Old Testament. It surveys the book’s title and placement, debates over Solomon’s authorship and the work’s dating, the diverse interpretive models that have arisen, its distinctive poetic features, its theological and moral emphases on love and marriage, and the broader historical and cultural matrix in which it was composed.

Title and Canonical Placement — Title Origin and Meaning The superscription “The Song of Songs, which is Solomon’s” (Song of Songs 1:1) has been variously rendered in Hebrew and the Latin Vulgate (Canticles). The phrase literally means “the greatest song,” suggesting either supreme poetic quality or an anthology of songs associated with Solomon. — Placement in the Canon In the Septuagint and most English Bibles, the Song of Songs is grouped with wisdom and poetry. In the Hebrew Bible it stands among the Five Scrolls (Megilloth) and is traditionally read during Passover, symbolizing God’s passionate love for Israel.

Authorship and Date — Traditional Attribution to Solomon Early Jewish tradition credited King Solomon with authorship, largely on the basis of the title verse and his renown for wisdom and poetry (1 Kings 4:29–34). Solomon’s name appears six times within the text (Song 1:5; 3:7, 9, 11; 8:11–12), though these references highlight his prominence in the narrative rather than definitively establishing him as the author. — Scholarly Debates on Authorship Modern scholars note ambiguity in the title’s preposition (“of,” “for,” “to,” or “about” Solomon), the lack of explicit historical markers beyond general allusions to Solomon’s reign (c. 970–930 BC), and the book’s distinctive vocabulary. Some propose a setting in the northern kingdom before the exile, while others suggest later Persian-period composition based on linguistic influences (Aramaic, Persian, Greek). — Weighing the Evidence Given the inconclusive nature of title phrasing, stylistic anomalies, and absence of clear historical parallels, many scholars treat the Song of Songs as essentially anonymous, with a probable provenance in the northern kingdom and a pre-exilic date.

Solomon was dominated by sensuality, a trait he shared with his father David. This character flaw was evidenced in the extravagance of his kingship and the size of his royal harem, and eventually proved to be his undoing (cf. 1 Kings 4:20-28; 10:14-29; 11:1-3). Ironically, the sage who counseled young men against the wiles of “foreign” women was trapped in her snares (Prov 5:1-23; 7:1-7; cf. 1 Kings 11:4-13).

Interpretive Approaches 1. Dramatic (Scriptural Drama) This model treats the book as an ancient Hebrew play, possibly structured in six acts with two scenes each, featuring principal characters (the Shulamite, the shepherd, and, in some readings, Solomon), augmented by a chorus of the Daughters of Jerusalem. Its use in church tradition dates to the third century AD. 2. Typological (Covenant/Christological Patterns) Typologists read the literal love story as secondary to its role as a foreshadowing pattern—God and Israel or Christ and the Church. This “type–antitype” approach draws parallels with New Testament covenant fulfillment, akin to allegory but retaining a historical setting. 3. Cultic/Fertility-Cult Literature Proponents of this view trace parallels to Mesopotamian fertility rites (e.g., Tammuz–Ishtar myths), arguing that motifs of death and restoration through sexual union reflect older cultic narratives later adapted into Israelite worship, with any original fertility cult associations being reinterpreted or sanitized. 4. Wedding-Cycle Model Here the Song is seen as a collection of nuptial poems, comparable to West Semitic wedding songs that honor bride and groom. Over time these individual songs may have coalesced into a formal cycle used in marriage ceremonies. 5. Didactic (Instructional Love Poetry) The didactic approach emphasizes moral and instructional value, viewing the book as promoting fidelity, chastity, and simplicity in sexual relationships, much like wisdom literature’s ethical teaching (cf. Proverbs 5:1–23). 6. Allegorical (Extended Metaphor) Long the dominant approach in Jewish and Christian tradition, allegory reads every element as symbolizing deeper spiritual truths, regardless of any explicit authorial intent. It overlaps significantly with typology but need not presuppose a historical basis. 7. Literal/Natural (Celebration of Human Love) The literal view takes the dialogue at face value—as genuine expressions of sensual and emotional love between two (or three) characters, emphasizing the goodness of marital affection in itself. Variations of this view either incorporate historical context or regard the poems as an anthology without a cohesive plot.

Literary Characteristics — Poetic Form and Language As lyrical love poetry, the Song is densely packed and concentrated, lacking the smooth transitions of prose. It employs parallelism, refrains (e.g., “I adjure you, O daughters of Jerusalem…”), and abrupt shifts of speaker, typical of second-millennium BC Near Eastern lyrics. — Vivid Imagery and Similes The text abounds in striking comparisons drawn from shepherd life, flora, and fauna—“Your teeth are like a flock of shorn sheep” (Song 4:2) or “Your nose is like the tower of Lebanon” (7:4)—which may seem humorous or jarring to modern readers but reflect contemporary poetic conventions. — Structural Ambiguity The absence of explicit speaker tags and the brevity of lyrical units make division into scenes and assignment of speeches to characters highly subjective. Whether one sees two or three main interlocutors (the Shulamite, the shepherd, Solomon) profoundly affects narrative reconstruction.

Theological and Ethical Themes — Celebration of Marital Love Central to the book is the affirmation of sexual love within marriage as both natural and delightful, echoing Edenic ideals (Genesis 1:27; 2:24). Physical intimacy is portrayed as a gift for mutual enjoyment and emotional enrichment (Song 6:2–3; 7:10–13). — Chastity and Fidelity Implicit contrasts between pure, exclusive love and Solomon’s polygamous extravagance underscore the virtues of faithfulness (Proverbs 5:15–20; 7:1–7). The text’s celebration of one-to-one marital bonds supports broader biblical teachings against sexual immorality (Exodus 20:14; Leviticus 18:22; Matthew 5:27–28). — Unity of Male and Female The poetry extols the dignity and equality of male–female union as God’s design (Genesis 2:24; Malachi 2:14–16), presenting marriage as both procreative and relationally fulfilling. — Christ-Church Typology In Christian readings, the affectionate language—“set me as a seal upon your heart” (Song 8:6)—becomes emblematic of Christ’s covenant love for the Church, a theme elaborated in Ephesians 5:21–33 and Hebrews 13:4. — Moral Instruction Beyond mere celebration, the Song functions pedagogically, illustrating how proper sexual expression models broader virtues of commitment, loyalty, and reverent joy in God’s creation.

Historical and Cultural Context — Wisdom Literature and Festal Use Positioned among Israel’s wisdom corpus, the Song shares affinities with Proverbs and Ecclesiastes in its moral underpinnings. Its use during Passover celebrations reinforces its symbolism of covenantal love and divine rescue. — Northern Kingdom Origins Linguistic features and thematic focus on natural landscapes have led many to posit a pre-exilic, northern Israelite provenance, though precise dating remains elusive. — Near Eastern Parallels Similarities with Egyptian New Kingdom love songs and Mesopotamian fertility hymns reveal a shared poetic heritage. The Song’s pastoral metaphors and references to perfumes, vineyards, and royal processions resonate with wider ancient Near Eastern cultural motifs.

Summary — The Song of Songs stands as a multifaceted masterpiece of biblical poetry. Its exaltation of human love and marriage, woven through lush imagery and rich metaphor, has inspired centuries of interpretive creativity—from dramas and allegories to didactic readings and literal celebrations of marital intimacy. Though its authorship and precise dating remain debated, the book’s enduring message affirms the goodness of sexuality within God-ordained bonds and points toward the ultimate covenant love between the divine and humanity.

References

Hill, A. E., & Walton, J. H. (2009), A survey of the Old Testament (3rd ed.). Zondervan Academic.

MacArthur, J. (Ed.). (2021). The MacArthur study Bible (2nd ed.). Thomas Nelson. (New American Standard Bible).