{"notes_id":"eng_tyndale","book":"sng","verses":{"1":{"1":"This verse is the source of the English title of the book. Formally, it is a superscription that functions as the title page of the book, providing the genre (song) and a connection with the probable author of some or all of the book (see Song of Songs Book Introduction, “Authorship”). The NLT rightly understands song of songs as a Hebrew superlative, so this song is the highest, best, or most sublime, which probably means that it is more wonderful than any other of Solomon’s 1,005 songs (see 1 Kgs 4:32).","2":"Kiss me and kiss me again: The woman longs for the touch and taste of kisses from her true love. From the very start we find that the young woman and the man share a strong attraction. Their relationship is one of mutual respect and loving concern. • Love is a sensual experience in the Song. The taste of love is sweeter than wine, a rich and sensuous liquid; love, like wine, also leaves its partaker slightly light-headed.","3":"The fragrance of the man’s cologne suggests sweet smells of love, indicating that the woman wants to get physically closer to him. • all the young women love you: The young man’s allure is not only physical. He has an excellent reputation—the chorus of women expresses their respect and adoration for him in 1:4. By highlighting the attention he receives from other women, the woman makes it clear that her love is not blind, and that she feels fortunate to be the one whose love the man returns.","4":"Take me with you: The two lovers are very active throughout the Song, traveling through the hills, to the city, and out to the country. This time the woman invites the man to take her away with him, and urgently expresses her desire (let’s run!). According to the three-character dramatic view, they may be running to escape the king, who has brought the young woman into his palace. • The king has brought me into his bedroom (literally into his rooms): A common interpretation of this clause is that the woman is anticipating an intimate relationship with King Solomon. However, though a literal Hebrew translation indicates that she has been brought into Solomon’s rooms, it does not specify which rooms she was taken into. Nor does the Hebrew imply that it was her personal desire. • The text changes here from the second person (“you”) to the third person (“his”), which might indicate that two different men are involved—one being spoken to, the other being spoken about. In that case, it is possible that the woman desires to run because she does not want to be the king’s concubine. • If the Song is a collection of love songs without a narrative thread, it is not problematic for the lover to be identified here as the king and later as a shepherd (e.g., 1:7): (1) The language may or may not be intended literally; (2) these titles, consistent with other ancient Middle Eastern love poetry, may reflect the woman’s view of her lover at a particular time (e.g., by indicating that he is a king in her eyes); or (3) different poems may refer to different couples. • The woman frequently addresses the young women of Jerusalem (e.g., 2:7; 3:5). They are portrayed as close, trusted friends who are fond of the woman and responsive to her requests. She often confides in them about her lover, and they commend the couple from their outside perspective (e.g., 5:1, 9). • O king is not in the Hebrew; its addition reflects the view that the young man is the king rather than a shepherd.","6":"my own vineyard: The NLT interprets vineyard as a metaphor for the woman’s own body (cp. 2:15; 7:12). In ancient Near Eastern societies, brothers protected sisters from premature intimate relationships with men. The woman’s protest reflects her belief that she is ready for love (see also 8:8-12, the only other mention of the brothers). • The dramatic view takes vineyard literally: The brothers’ abuse had resulted in the woman’s inability to take care of the vineyards for which she was personally responsible. She found herself in Solomon’s harem because she had not been able to pay Solomon the money she owed him (8:11-12).","8":"The man’s first words in this poem lovingly pacify the woman’s anxiety by giving directions to where she should meet him. • The man desires to be with her and tells her to come under the guise of a goatherd, following the trail of his flock.","9":"The shepherd frequently calls the woman darling (literally companion) to show his respect for her as a partner and friend as well as a lover (1:15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4). • In the ancient Near East, a charge of horsemen on stallions was sometimes diverted by letting loose a mare in heat. This so distracted the attacking horses that they broke the charge. Similarly, the woman’s beauty drives other men to distraction.","12":"The meaning of the word translated couch is uncertain, and the word lying is not found in the Hebrew, so the king and the woman could be lying together on a couch or bed, or simply sitting at a table in one of the palace rooms. • The interpretation that sees the Song as a collection of love songs is not concerned with whether the man is literally a king.","13":"Myrrh is extracted from the branches of a fragrant shrub that did not grow in Israel, but was imported from Arabia and India at extravagant cost. The sachet is a little packet of sweet-smelling myrrh. The woman’s desire for intimacy is expressed by comparing her lover to the sachet lying between her breasts. • According to the three-character dramatic view, the woman is with the king in one of his palace rooms, but the fragrance of myrrh between her breasts fondly reminds her of her shepherd lover who is truly there, closer to her heart than the king.","14":"The woman thirsts for the sincere love of her man the way a traveler would thirst for the water of En-gedi, an oasis in the wilderness west of the Dead Sea. • Henna is an aromatic shrub from the region around En-gedi; its blossoms were used for red hair dye.","15":"The comparison of the woman’s eyes with doves (see also 4:1; 5:12) is not clear. The metaphor may be commenting on their color or on a softness of expression."},"2":{"3":"As she is the finest of small, beautiful flowers, he is like a larger and stronger apple tree. An apple tree is a sensuous image in the ancient Near East because of its delicious fruit and pleasant fragrance. In the intense heat of the Middle Eastern climate, a tree’s shade is more than refreshing; it can be life-saving (cp. Jon 4:6; Matt 13:32).","4":"He escorts me to the banquet hall: Dropping the image of the apple tree, the woman now speaks of the man as her provider at a feast. • it’s obvious how much he loves me: Literally His banner over me is Love. He likes to tell others how much he loves her.","7":"Promise me . . . by the gazelles and wild deer: This plea is obviously important to the Song; it is repeated in 3:5 and 8:4, and a promise is requested. When a promise was made, witnesses were needed, and the wild animals were the only witnesses present. These graceful animals suggest a romantic pastoral setting. • not to awaken love until the time is right: As in 8:8-9, virginity is praised. The woman warns the women of Jerusalem to be cautious and not to hurry love.","14":"In the dramatic view, the couple is playing a game of hide-and-seek in which she is teasing him; he resorts to simply pleading for her to appear, for even playful separation from her is too frustrating for him. • The rocks are a metaphor for separation that the man wants to overcome to be with her.","15":"The foxes may represent threats to the relationship. These threats are not identified; they could be the normal ups and downs of love, rival suitors, or anything else that might keep the couple from enjoying one another. • In the dramatic view, the woman’s responsibilities as a vinedresser are still in mind. She is probably instructing the vinedressers who cared for her vineyard and received two hundred pieces of silver from her in 8:12. The alarm about catching the foxes may be understood in terms of the woman’s personal interest in maintaining the value of her vineyards; eventually, she needs to pay Solomon the lease. If the foxes’ hole-digging ruins the grapevines, she will be further in debt."},"3":{"2":"The poem is partly about a lover’s being willing and able to overcome all obstacles in order to be with the beloved. • Since the women of Jerusalem are mentioned frequently (3:5), the city is probably Jerusalem. Searching in all its streets and squares was an ambitious effort. • The king of Israel would probably not be outside in the city at night, and if he had his sixty-man entourage with him (3:7-8), she would find him easily. Rather, the woman appears to be looking for a common man in common places.","3":"The watchmen of ancient towns or cities were roughly equivalent to police. Guardians of social custom and law, they were posted on the city walls to look out for attack and to assure that any traffic in or out of the city was not threatening. • The woman may have been stopped because she was not a resident of the city and was not recognized. It was not considered appropriate for a woman to be out alone at night. The scene accentuates the strong desire that the woman must have felt toward the man as she ignored social conventions and safety considerations.","11":"This is the only explicit mention of a wedding in the Song. The woman is called a “bride” in 4:8-12; 5:1."},"4":{"1":"my darling (literally companion): The man is about to consummate his love with the one who is his friend as well as lover (see also 4:7). • like a flock of goats winding down the slopes of Gilead: Middle Eastern goats are very dark, if not black. The woman’s hair flows over and down her lighter veil.","2":"Your smile is flawless, each tooth matched with its twin: Her teeth are matched on both sides, with none missing. In an age when dental care was not what it is today, a woman with all her teeth was quite a prize!","3":"Pomegranates have a rosy appearance and are one of the lushest Middle Eastern fruits.","4":"A slender neck held high is a sign of confidence and dignity as well as beauty. The tower of David is not mentioned elsewhere in Scripture.","5":"Your breasts are like two fawns . . . grazing among the lilies: The comparison can be seen in terms of physical softness, firmness, beauty, and roundness.","6":"After mention of the breasts in the previous verse, the man’s exclamation that he wants to hurry to the mountain of myrrh and hill of frankincense is easily understood as his desire to be intimately close to this beautiful woman.","8":"Mount Amana, Senir, and Hermon are the three northernmost peaks in Israel and the highest point on the border with Lebanon. They represent the height of the couple’s ecstasy, from which they must at times descend.","9":"my treasure (literally my sister): The man calls the woman his sister to emphasize their relationship as loving companions and his role as her protector. This sounds strange to modern ears, but it does not suggest an incestuous relationship. Ancient Near Eastern love poetry often uses the language of brother and sister to refer to two people in love.","12":"private garden . . . secluded spring . . . hidden fountain (literally locked garden . . . locked spring . . . sealed fountain): This affirmation of her purity and virginity accentuates his exclusive and privileged position (see Prov 5:15 for similar imagery). The images of spring and fountain evoke thoughts of the most intimate parts of a woman’s body.","16":"Come into your garden, my love; taste its finest fruits: Finally, the woman invites the man to enter her and experience her now-unlocked body in all its sensual perfection. • The man had poetically affirmed the woman’s chastity (4:12). However, she is totally and exclusively committed to him, so she reveals her treasures and invites him into the garden."},"5":{"1":"I have entered my garden . . . myrrh with my spices . . . honeycomb with my honey . . . wine with my milk: In penetrating the garden, the man finds that there is no limit to what he can enjoy. They are ecstatic over finally unlocking the vast enjoyment of intercourse. • drink deeply of your love! The young women of Jerusalem encourage the couple to enjoy their sexual union to the fullest; there can be no guilt or shame in the deepest pleasure between husband and wife.","2":"I slept, but my heart was awake: This is an apt definition of a dream; she was physically asleep, but emotionally and psychologically awake. • my lover knocking . . . “Open to me”: Opening doors is a metaphor for sexual activity in the ancient Near East (see also 8:9). By describing the man as knocking at the door and requesting entry, the poem suggests that the man is requesting sexual union. He awaits permission; he does not presume.","7":"The night watchmen . . . beat and bruised me: The watchmen who were protectors in 3:3 now become demonized characters in her dream (5:2). What they do describes how she feels—pummeled and wounded. • stripped off my veil: She feels that she has lost her dignity.","8":"I am weak with love: The woman’s trauma is an image for her lovesickness (cp. 2:5).","10":"dark and dazzling: He is radiantly healthy and deeply tanned. This description is not meant as an allusion to race; it likely reflects radiant health and exposure to the sun.","13":"His cheeks are like gardens of spices because they were covered by the full beard that was worn by all men of that culture. This beard would have been perfumed.","14":"The man’s body is portrayed as beautiful and precious. • Beryl is an olive-green gem. • Lapis lazuli is a blue gem.","15":"Lebanon was to the north of Israel and contained legendary cedar trees that were large, stately, and pleasantly fragrant.","16":"The woman ends her description with an indication of her desire to kiss him."},"6":{"4":"Tirzah was a city-state as early as Joshua’s time; it eventually became great enough to be the capital of the northern kingdom (Josh 12:24; 1 Kgs 15:33). The town’s name means “pleasant.” • Jerusalem was the capital of David’s and Solomon’s united kingdom and after that, the most important city of Judah.","9":"sing her praises: Literally called her blessed. If the Song is a drama, the woman has left Solomon’s harem, and the singing took place in the past, when the woman was still there.","10":"The poem ends as it began in 6:4: The woman’s majesty, like an army with billowing banners in full display, makes the knees knock and the heart flutter.","11":"I went down: There is ambiguity over who is speaking here. The NLT presents it as the beginning of the young woman’s speech, though it could just as plausibly be a continuation of the young man’s. The trip to the walnut grove is a poetic way of expressing desire for a romantic meeting.","12":"to the chariot of a noble man: Desire leads to the union of the man and the woman. There may be support here for Solomon being the husband, though this description could be a metaphor for the joys of romance (cp. 1:16-17).","13":"Return: Or turn around. • Shulam: The place is not known, though some have identified it with Shunem (1 Kgs 1:3; 2 Kgs 4:11-12). Maid of Shulam (Hebrew shulammith) might be a wordplay on the name Solomon (Hebrew shelomoh). It would then be equivalent to saying “Solomon’s maiden.” • as she moves so gracefully between two lines of dancers? The man praises the woman’s grace and beauty to everyone."},"7":{"2":"Between your thighs lies a mound of wheat (literally Your belly is like a mound of wheat): The man is either describing the woman’s smoothly rounded abdomen or her pubic mound.","4":"sparkling pools in Heshbon by the gate of Bath-rabbim: The pools of Heshbon, formed by a brook, can still be seen today near the ruins of Heshbon on the east coast of the Dead Sea. • The tower of Lebanon is probably a metaphor for Mount Hermon, a high mountain that overlooks the valley of Damascus, the capital of Syria. The majestic beauty of the woman’s nose rises above her other facial features.","9":"The man compares the woman’s love and her kisses to wine in that they are delightful and make one light-headed (see 1:2).","13":"Mandrakes (Hebrew duda’im) were a Middle Eastern aphrodisiac (see Gen 30:14-16); the roots of the plant resemble a human torso. The word is a play on my lover (Hebrew dodi). • at our door: All sexual pleasures are available to them now, and she will share with him the delights she has saved for him alone. • new . . . old: She has in mind the sexual expressions they have already experienced, and new ones as well."},"8":{"1":"If he were her brother she could kiss him publicly; romantic kisses were not appropriate in public, but kisses between blood relatives were acceptable.","4":"Promise me: For the third time, the woman encourages the young women of Jerusalem to retain their virginity (see 2:7; 3:5). The virtue of virginity is confirmed in 8:8-9.","5":"I aroused you under the apple tree: The apple tree is a symbol of fertility because it is fruit-bearing (see 2:3, 5; 7:8). • where your mother gave you birth: Mentioning his mother may be a subtle way of suggesting procreation as a fruit of sexual love (cp. 8:2).","6":"seal over your heart . . . on your arm: In ancient Israel a seal was used for identification or to show ownership by pressing the face of a ring into soft wax. The wife wants her husband to mark her with his identity, privately upon her heart, and publicly upon her arm as well. • love is as strong as death: Though death is inevitable, the bond of love is resolute, unshakable, and broken only in death. • The energy of jealousy moves to protect an exclusive relationship such as that of husband and wife or between God and his people (Nah 1:2; Zech 1:14-17). • as the grave: Hebrew as Sheol. In the Old Testament, Sheol is the abode of the dead. It is not necessarily associated with punishment.","8":"We have a little sister: The wife’s brothers express concern for their sister’s chastity. According to ancient Near Eastern custom, they are the protectors of their sister’s sexuality until her marriage.","9":"wall: There appear to be two metaphorical meanings for this term: (1) The prepubescent girl’s chest is like a wall (see 8:10); and (2) until she is married, she should be abstinent, impenetrable like a wall. • protect her with a silver tower: Towers were used as lookouts for protecting the city; a silver one would be more prominent and impregnable. If the woman is already a wall, having kept her virginity, they will honor and reinforce her resolve. • On the other hand, a swinging door indicates promiscuity. The brothers will force her to restrain herself.","10":"I was a virgin, like a wall: The woman affirms that she was chaste in preparation for marriage. • now . . . like towers: The woman describes herself in the language of desirability (cp. 4:4; 7:4, 8) and challenges her brothers’ perception of her as immature.","11":"Baal-hamon is not otherwise mentioned in the Bible. However “Balamon” occurs in later literature as a place in northern Israel; it may be the same place. • a thousand pieces of silver (Hebrew 1,000 [shekels] of silver): There are different denominations of shekels in the Old Testament, so the exact price cannot be determined, but the vineyard was a large one.","13":"The scene has changed from that of the lease payment to the more familiar and pleasant gardens. • your companions: It appears that the wife may be talking with her friends. Her man is gently jealous and wants her to himself.","14":"Come away, my love! She invites him to follow her, and he chases her with all the robust and exhilarating speed of a gazelle (see 2:8-10). • mountains of spices: Cp. 4:6."}},"ranges":[{"start_chapter":1,"start_verse":2,"end_chapter":1,"end_verse":14,"contents":"The Song begins with the woman’s expression of desire for intimate union with the man she loves. In the Song, the woman is frequently the one who initiates relationship. The members of the chorus (identified in the NLT as “Young Women of Jerusalem”) affirm her choice of this man. • According to the three-character dramatic interpretation, the Song opens by explaining the woman’s predicament. The king is about to take her into his palace, but her true passions lie with her shepherd lover. The woman hopes that her lover will rescue her from the king’s presence (1:4)."},{"start_chapter":1,"start_verse":5,"end_chapter":1,"end_verse":11,"contents":"If the Song is a three-character drama and the shepherd is her lover, the couple was apart while she was in the king’s palace, and in this passage she wants to be sure of where to find him when she leaves there. On two occasions, she is frantic about losing him again (3:1-4; 5:2-8). At other times, her concern is more subtle (2:14)."},{"start_chapter":1,"start_verse":5,"end_chapter":1,"end_verse":6,"contents":"The woman’s dark skin color has nothing to do with her race; her complexion has been darkened by the sun. Even so, she retains her self-respect and asserts her beauty. She is wholesome-looking from tending vineyards and goats (see also 1:8). • Solomon had caretakers of his fields, vineyards, herds, and flocks; the herders lived in dark goats’-hair tents."},{"start_chapter":1,"start_verse":7,"end_chapter":1,"end_verse":8,"contents":"leading your flock: In the dramatic view, the woman’s lover and his friends are literal shepherds, not a line of work or the company that one would associate with King Solomon at any time in his life. • like a prostitute (literally like a veiled woman): Prostitutes wore veils to hide their identities (Gen 38:14-16). Since the woman has been claimed by Solomon as a concubine, she has reason to shroud herself and avoid being obvious. She wants to avoid having to ask everyone around her for the location of someone she loves (cp. Song 3:3; 5:6-7). She wants to find him privately during the resting period at noon so they can enjoy the time together."},{"start_chapter":1,"start_verse":10,"end_chapter":1,"end_verse":11,"contents":"The woman’s beauty is enhanced by her jewelry. This beauty deserves to be even further ornamented, so the man says that even more jewelry will be provided for her (cp. Matt 13:12)."},{"start_chapter":1,"start_verse":12,"end_chapter":1,"end_verse":14,"contents":"In the dramatic view, it appears that although the woman is physically in the king’s palace (1:4, 12), her heart is with her shepherd lover (1:13-14). • In the anthology view, this is a short poem on intimate fragrances."},{"start_chapter":1,"start_verse":15,"end_chapter":2,"end_verse":7,"contents":"The couple exchange adoring descriptions of each other that honor her incomparable beauty and praise his stalwart protection and provision for her."},{"start_chapter":1,"start_verse":16,"end_chapter":1,"end_verse":17,"contents":"grass is our bed . . . branches are the beams . . . firs are the rafters: The lovers imagine that their luxurious surroundings of grass and overhanging trees are their house. She does not need the royal, palatial surroundings of a king since these God-created natural surroundings are more than enough for her and her true lover. • In a number of the poems the countryside is the place of happy intimacy. The man and the woman make their bed in the great outdoors and enjoy each other’s company."},{"start_chapter":2,"start_verse":1,"end_chapter":2,"end_verse":7,"contents":"In this short poem, the man and the woman exchange compliments. Using metaphors of flowers and trees, they describe the nature of their loving relationship, emphasizing his role as protector and provider. • The poem ends (2:6) with the man and the woman in an intimate embrace."},{"start_chapter":2,"start_verse":1,"end_chapter":2,"end_verse":2,"contents":"the lily of the valley:the lily of the valleys: The Hebrew shows the woman’s modesty and humility, as she claims to be but one flower among many in Sharon and in the expansive valleys of Israel. • The man affirms her comparison to a lily, but says that her beauty is far from common; she is a lily among thistles. • my darling (literally my companion): They are in love, and they are also friends."},{"start_chapter":2,"start_verse":5,"end_chapter":2,"end_verse":6,"contents":"The woman’s love is intense, his love overwhelming. • If the Song is an anthology, the couple can be seen as married, and lovemaking is seen as so physically exhausting that she grows faint and calls for the sustenance of raisin cakes and apples. These foods were considered aphrodisiacs in the ancient Near East. • Strengthen me: She now depends on him to revive her with the fruit of the earlier image—he is the apple tree, so he can provide apples for her renewed strength. • His left arm is under my head: He tenderly supports her with his embrace as they lie together (see also 8:3)."},{"start_chapter":2,"start_verse":8,"end_chapter":2,"end_verse":17,"contents":"In this poem, the woman anticipates the arrival of her lover. She describes the passing of winter and the coming of spring, a time of floral fragrance and new beginnings. She and her lover are in their country garden, a place of intimacy, though even here there is a hint of threat (2:15)."},{"start_chapter":2,"start_verse":8,"end_chapter":2,"end_verse":10,"contents":"The man ardently desires to be in the woman’s presence. He finally arrives at his lover’s home and takes her into the romantic countryside during the new, budding spring. • The woman compares the man to a gazelle, a fast, sleek animal that easily overcomes obstacles to reach its destination."},{"start_chapter":2,"start_verse":10,"end_chapter":2,"end_verse":13,"contents":"In the Middle East, winter is the rainy season of clouds, gloom, and cold. When winter is past, and the rains are over and gone, the stimulating and invigorating sights, sounds, and smells of spring energize romantic feelings."},{"start_chapter":2,"start_verse":16,"end_chapter":3,"end_verse":5,"contents":"In the dramatic view, the woman has already been separated from her lover and is horrified by the notion that she will not see him soon. One night, her worries drive her from bed to search frantically for him; she finds him and takes him to see her mother."},{"start_chapter":2,"start_verse":16,"end_chapter":2,"end_verse":17,"contents":"He browses . . . like a gazelle: The woman has so identified her lover with the strength and speed of a gazelle that she portrays his delay as grazing in the country. • Alternatively, the lover, in the guise of a gazelle, grazes among the lilies that possibly represent the woman, suggesting the intimate association of the couple. The woman is often likened to a garden (see also 4:12, 15-16; 5:1; 6:2). • return to me: Her longing to see him in the evening is intensifying by the hour."},{"start_chapter":3,"start_verse":6,"end_chapter":3,"end_verse":11,"contents":"According to the three-character dramatic interpretation, Solomon’s humility and generosity show in his attending this wedding of a woman who preferred a common shepherd’s love over his. With Solomon in attendance, this ordinary wedding becomes a magnificent ceremony. • If the Song is an anthology, this poem describes what appears to be Solomon’s wedding procession. People are amazed by the opulence of his carriage and the power represented by his entourage. All of this reflects on the significance of marriage in the same way that expensive and beautiful wedding dresses and tuxedos do in modern marriages."},{"start_chapter":3,"start_verse":9,"end_chapter":3,"end_verse":10,"contents":"The materials out of which King Solomon’s carriage was made befit his wealth and power, including the same expensive Lebanese wood that was used in building the Temple (1 Kgs 5:5-6). • decorated with love by the young women of Jerusalem: Beyond all his splendor, Solomon was admired and served with love, even by his servants."},{"start_chapter":4,"start_verse":1,"end_chapter":5,"end_verse":1,"contents":"The consummation of the marriage is now expressed. • This poem is the first “descriptive poem” in the book (see also 5:10-16; 6:4-6; 7:2-8). Scholars commonly refer to these poems by the Arabic term wasf (“description”); these poems are similar in form to songs sung at modern Arabic weddings. These sensuous poems are preludes to sexual intimacy. In their descriptions of physical beauty, they often move—as this one does—from the head downward."},{"start_chapter":4,"start_verse":10,"end_chapter":4,"end_verse":11,"contents":"wine . . . nectar . . . honey . . . milk: The woman is compared with much that is smooth, sweet, and sensuous. Her love and their kissing within the lavish fragrance around them is nearing the ultimate delight for this bridegroom."},{"start_chapter":4,"start_verse":13,"end_chapter":4,"end_verse":14,"contents":"The man’s description of his lover now focuses on the most exquisite place of delight between her thighs."},{"start_chapter":5,"start_verse":2,"end_chapter":6,"end_verse":3,"contents":"One verse earlier, the couple are fully enjoying their intimate union. Now the woman feels the torment of separation. In the dramatic interpretation, the woman has been separated from the man twice before and has searched for him (1:4-7; 3:1-4). This last time, the separation takes place in her dreams—it is only a nightmare. Her dream seems to extend to 6:3, given the natural flow of questions and answers between the woman and the young women of Jerusalem. • If the Song is an anthology, these poems explore love rather than giving accounts of actual events. This poem reminds us that an intimate relationship is not always easy or perfectly satisfying."},{"start_chapter":5,"start_verse":4,"end_chapter":5,"end_verse":6,"contents":"My lover tried to unlatch the door, and my heart thrilled: The man persists in his attempts to arouse the woman, and she eventually responds positively to his overtures. However, by the time she responds, he has given up or become otherwise occupied. This is a powerful poetic picture of the struggles of two lovers to be sexually intimate with each other."},{"start_chapter":5,"start_verse":8,"end_chapter":5,"end_verse":9,"contents":"The woman enlists the young women of Jerusalem to help her find her lover. They ask her to describe him, and this leads into the second descriptive poem (wasf) of the Song (see study note on 4:1–5:1)."},{"start_chapter":5,"start_verse":10,"end_chapter":5,"end_verse":16,"contents":"This extended portrayal of the lover in the Song emphasizes his worth to the woman."},{"start_chapter":5,"start_verse":11,"end_chapter":5,"end_verse":15,"contents":"The woman describes the man as a statue made of gold, ivory, lapis lazuli, and marble pillars, suggesting that he is god-like in appearance, since statues of deities were composed of such precious metals in antiquity (Exod 32:1-4; 1 Kgs 12:28; Dan 2:32-33; 3:1)."},{"start_chapter":6,"start_verse":1,"end_chapter":6,"end_verse":3,"contents":"The conversation that ends this poem indicates that it is not an actual event. The dream ends as the young women of Jerusalem ask the woman where her man has gone. The woman tells them not to concern themselves with finding him—he is back in bed with her, enjoying his garden with its spice beds and lilies, a description of sexual intimacy."},{"start_chapter":6,"start_verse":4,"end_chapter":6,"end_verse":10,"contents":"The man again describes the physical beauty of the woman. He repeats parts of the description from ch 4 almost verbatim, showing the same high regard for his wife."},{"start_chapter":6,"start_verse":8,"end_chapter":6,"end_verse":9,"contents":"If the Song were an allegory of the Lord’s love for his people, it would provide a very weak parallel, since Solomon’s excesses in marrying do a poor job of picturing God’s love and faithfulness (see 1 Kgs 11:1-13). • sixty queens: Many of Solomon’s wives were obtained by marrying into international treaties (see 1 Kgs 11:1-3, 8). • Concubines were wives who had secondary status, lower than a wife but higher than a slave. Concubines were acquired by war, debt repayment, or purchase. • In the anthology view, the reference to queens and concubines simply means that the woman herself is more desirable than all other women."},{"start_chapter":6,"start_verse":13,"end_chapter":7,"end_verse":9,"contents":"An interaction between the young women of Jerusalem and the man introduces his last major description of the woman’s beauty and his desire to hold her (see study note on 4:1–5:1)."},{"start_chapter":7,"start_verse":1,"end_chapter":7,"end_verse":5,"contents":"The man now praises the woman’s dancing feet and then ascends her sensuous body to her flowing hair (7:1-5). • This queenly maiden (literally prince’s daughter) might or might not be from a royal family, but the man considers her as fine as royalty."},{"start_chapter":7,"start_verse":5,"end_chapter":7,"end_verse":6,"contents":"Mount Carmel is a high mountain range on the Mediterranean coast. • your hair radiates royalty (literally your hair is as purple threads): Purple was an expensive color to produce, so it was the exclusive property of royalty."},{"start_chapter":7,"start_verse":7,"end_chapter":7,"end_verse":8,"contents":"The husband describes their lovemaking. He ascends her body and caresses her breasts."},{"start_chapter":7,"start_verse":11,"end_chapter":7,"end_verse":12,"contents":"The woman suggests that they go together to check on the status of the vineyards and make love while there."},{"start_chapter":8,"start_verse":1,"end_chapter":8,"end_verse":4,"contents":"The woman expresses her desire to be with the man and in his embrace."},{"start_chapter":8,"start_verse":2,"end_chapter":8,"end_verse":3,"contents":"bring you to my childhood home (literally to my mother’s house): Cp. 3:4."},{"start_chapter":8,"start_verse":8,"end_chapter":8,"end_verse":10,"contents":"In the midst of a passionate exchange of romantic compliments and commitments, here again is strong praise for sexual abstinence until marriage."},{"start_chapter":8,"start_verse":11,"end_chapter":8,"end_verse":14,"contents":"In the dramatic view, the wife’s dilemma concerning the vineyard of 1:6 is finally resolved: She has managed to bring in the lease money from her vineyard in Baal-hamon, so she can pay Solomon and her hired harvesters. • If the passage is purely poetic, its main message is that love may not be bought, even by a powerful king like Solomon."}]}