Song of Solomon

This book gives us instruction on three relationships: God & Israel; Christ & the Church; Husband & Wife. Although the first t o relationships can be seen !through t"pes and shado s#$ it is clearl" a book of instruction on %arriage. This book is a series of &' reflections of a %arried o%an$ as she looks back at the events leading up to her %arriage$ edding night$ and their earl" "ears together. (peeches and events do not follo in chronological order. )ather$ the (ong of (olo%on is like a %ovie ith a series of *flashbacks+. The %ain stor" re%ains te%poraril" suspended$ hile the audience vie s a scene fro% the past. THE STORY: ,ing (olo%on is living in the &-th Centur" ..C. He is Israel/s richest king$ and o ns vine"ards all over the nation. 0ne of the% as located close to .aal1ha%on in the 2orthern%ost part of Galilee$ near the foothills of the 3ebanon %ountains. While visiting this vine"ard$ (olo%on %eets a countr" girl !tradition tells us her na%e as (hula%ith#. 4or so%e ti%e after ards$ he pursues her$ and %akes periodic visits to see her at her countr" ho%e. 4inall"$ he proposes. (he gives serious consideration to this %atter$ and finall" accepts. (olo%on sends a edding procession to escort her to 5erusale%. As the book opens$ she is getting read" for the edding ban6uet$ and edding night. The second half of the .ook deals ith the 7o"s and proble%s of %arried life. CHAPTER ONE: Verses 1-8 - The Wedding D ! The "ride#s An$i%i& $ion '( ) 1 3ove 1 *8ode%+ 1 !%ost often refers to se9ual love# 1 This ord is used onl" in the plural$ and includes the idea of tokens of love: caresses$ kissing$ etc. !Co%es fro% an unused Hebre *root ord+$ %eaning *to boil+.# '( * 1 *4ragrant is the scent of "our perfu%e+ !2:.#. It as custo%ar" to rub the bod" ith oil after a bath$ in preparation for a festive occasion. (hula%ith is reflecting on the erotic sensation of (olo%on/s perfu%ed oils. '( + 1 *8ra %e after "ou$ let us hasten; The king has brought %e into his cha%bers+ !Heb: cheder 1 bed;bridal cha%ber#. Anticipation of being ith her love in his inner roo%. *,iss %e again and again$ for "our love is s eeter than ine. Ho fragrant "our cologne$ and ho great "our na%e. 2o onder all the "oung girls love "ou. Take %e ith "ou$ Co%e$ let/s run !T3.#.+ '( +, 1 Chorus 1 This *chorus+ of co%panions ill inter7ect throughout the book. (o%eti%es ith re7oicing$ so%eti%es ith a arning. !The *chorus+ is i%aginar". Here$ it serves to bring out the bride/s reflections on her edding da".# '( --. 1 *.lack+ 1 8arkl" tanned$ fro% orking in the sun. While the other girls o n *vine"ards+ !their o n looks#$ (hula%ith as orking in the field. ere looking after their

'( / 1 .ride 1 *Tell %e$ 0 love$ here are "ou leading "our flocks toda"< Where ill "ou be at noon !T3.#. 4or h" should I be as a veiled o%an !prostitute#$ andering a%ong the flocks of "our co%panions<+ !.er# *If I have to co%e looking for "ou$ I/ll be andering around other %en/s flocks and the" %ight %ake advances at %e.+ The ver" thought of appearing i%%odest or of encouraging the affections of other %en is repulsive to (hula%ith. (he loves onl" one %an$ and doesn/t even ant to suggest interest in another. (he/s avoiding the ver" appearance of evil. APP01CAT1ON: In the first fe husband$ and God approves !':&#. verses$ e see (hula%ith eagerl" anticipating %aking love to her

CHAPTER ONE: Verses 2-1+ - The " n34e$ T ,le 1 '( 2 1 =" 3ove 1 )a"ah 1 fe%ale co%panion$ bride. The ord has the t ofold idea of *to guard$ or to care for+$ and *to delight in b" having se9ual intercourse ith+. (olo%on indicates his desire to love and care for his ife. >erse && indicates that little gifts and e9pressions of his love ill continue after the" are %arried. !)o%ance shouldn/t stop?# '( 1)-1+ 1 .ride 1 .undle of %"rrh refers to an oriental custo% in hich a o%an ould ear a s%all sack of %"rrh !perfu%e# around her neck at night. All the ne9t da"$ a lovel" fragrance ould linger there. '( 1+ 1 :ngedi as the location of the vine gardens hich (olo%on planted on the hill terraces$ West of the 8ead (ea. It as an oasis in the %idst of a desert. APP01CAT1ON: (olo%on links his desire for (hula%ith ith his protective love and care. The %ore secure a o%an is$ the freer she is to love unreservedl". 3ittle gifts of ro%ance should not stop after %arriage. CHAPTERS ONE 5 TWO: Ch( 1:1--):/ - 1n $he "rid l Ch m,er 1 1:1- 1 (olo%on begins his love%aking ith praise. (he responds ith even greater praise !v. &@1A:&#. The" %utuall" e9tol each others/ char%s ith increasingl" po erful descriptions of each other/s beaut". 18ove: !.ride# 1 a s"%bol of purit". 1.ed: *0ur bed is lu9uriant. The bea%s of our house are cedar. 0ur rafters are fir.+ !(olo%on created an at%osphere in the bedroo% hich as conducive to love#. ):* 1 ("%bolis% is used here to e9press an increased te%po of love pla". The apple tree is used throughout the song as a s"%bol for se9ual love. :astern songs often used this t"pe of s"%bolis%. !(ecular song: *Her breasts are like %andrake apples+.# (hula%ith is telling (olo%on hat a skillful lover he is. (he sat under his shado $ and delightfull" tasted his fruit !In secular literature of the da": =ale genitals.# '( + 1 .an6ueting House 1 literall" *bridal cha%ber+. =argin: *House of Wine+. '( - 1 )aisin Cakes: used in fertilit" rites. These$ along ith the apples$ ere s"%bols of erotic love. (ick of 3ove: We/d sa" *love sick+. Here: Co%pletel" overco%e ith se9ual desire. Her re6uest is for her husband to satisf" her ithout dela". '( . 1 :%brace: Chaba6 1 used in Brov. ':A- of *fondling+. *Wh" ilt thou e%brace the boso% !fondle the breasts 1 5erusale% .ible# of a o%an ho is a stranger<+ In the Hebre $ this is phrased as a re6uest. *3et his left hand be under %" head$ and his right hand fondle %e.+ The bride tells her husband e9actl" hat she ants hi% to do$ in order to alleviate her *love sickness+. >erse @ can be co%pared to other love songs of the da". A parallel phrase occurs in %an" of the%. *Cour right hand "ou have placed on %" vulva$ "our left hand stroked %" head.+ !Their love %aking continues in D:&'1':&#. '( / 1 0n this$ her edding da"$ hen her desire is finall" fulfilled$ (hula%ith directs a arning to the chorus 1 the %aidens of 5erusale%: 8o not stir up passionate love$ until God has given "ou a husband. !*="+ is in italics. The arning is against se9ual involve%ent before %arriage. (he/s sa"ing: *It as orth the ait+? Their love%aking is uninhibited.

APP01CAT1ON: (olo%on and his "oung bride ere ver" vocal in describing each other/s char%s !&:&'1 &@#$ in describing the se9ual pleasure the other as giving !A:E1'#$ and in describing hat the" ant each other to do to sti%ulate the%. CHAPTERS TWO 5 THREE: Ch &$er ):8-*:- - A 6l sh, %7 $o $he Co4r$shi& 1 Courtship serves E %a7or purposes$ as is seen in the ne9t section. 4irst$ it is an opportunit" to get to kno the other person !A:F1&D#. (econdl"$ it is a ti%e to co%e to grips ith potential proble% areas and to establish proble% solving procedures !A:&'1&G#. Third$ it is a ti%e to seriousl" count the cost of being %arried to this particular person !E:&1'#. The setting for the first t o lessons is a alk in the countr". The third is taught through a drea% (hula%ith had during their engage%ent. '( 8-1+ 1 In these verses$ e see the e9cite%ent of getting to kno one another. There is an en7o"%ent in each other/s presence. :ver"thing around "ou see%s ne and fresh. There/s even en7o"%ent in seeing each others/ face$ and in hearing each others/ voice. It/s a ti%e to learn about each other in a non1se9ual a". '( 1- 1 is referring to the fact that their love is 7ust developing !ie 1 *tender grapes#. The little fo9es that spoil the vines are the little proble%s that threaten to hinder their love. A "oung couple needs to learn to ork through proble%s in the courtship stage. '( 1. 1 Is a proble% (hula%ith foresees. A conflict bet een their love$ and (olo%on/s co%%it%ent to the affairs of state. !*He pastures his flock a%ong the hills+.# This beco%es a %a7or crisis later on in the %arriage !':A1@:&-#. The ne9t scene indicates she had recurrent drea%s about this proble%. *:1-- 1 A 8rea% !of counting the cost#. ." night$ !literall" 1 *night after night+#$ she had this drea%. This is a recurring drea% of hat life ould be like$ after she %arried (olo%on. I found hi% not 1 Would she be happ" ith a king hose ti%e ould be occupied ith the affairs of state< '( )-+ 1 After leaving the atch%en$ she finds (olo%on$ and refuses to let hi% go until she takes hi% to her %other/s countr" ho%e. The drea% reveals t o insecurities: Will (olo%on be too bus" to spend ti%e ith %e< Will I feel out of place in the cit"< !(he/s eighing it out$ and counting the cost.# '( - 1 This ti%e$ the i%plication is: (e9ual involve%ent ill hinder "ou in all three purposes of the courtship process. Cou ill be *blinded+ in: Getting to kno the person behind the bod"$ seeing potential proble% areas$ and counting the cost of %arriage to this person. CHAPTER THREE - *:.-11 - The Wedding Pro%ession This flashback is a re%e%brance of hen (olo%on sent the the da" of their %arriage. edding procession to get her at her ho%e on

Chronologicall"$ this occurs before Chapter &:&. (olo%on has sent a bridal procession to bring his bride fro% the foothills of the 3ebanon %ountains in the 2orth$ to the palace in 5erusale%. As the scene opens$ the edding part" is nearing 5erusale%. The speakers are evidentl" the chorus. !The inhabitants of 5erusale% ho %arvel at the gorgeous procession.# '( . 1 As the edding procession %oved along$ a censer of frankincense as s ung at the front and back of the procession. Colu%ns of s%oke fro% the burning incense %arked the beginning and end of the procession line. '( / 1 .ed 1 traveling couch: A bo9 shoulders of D1@ %en. ith poles pro7ecting fro% the front and back$ carried on the

'( 8 1 *Guarding against the terrors of the night.+ (olo%on again %akes sure she is protected.

'( 2 1 Chariot 1 literall" *palan6uin+. This too$ as a traveling couch. A couch long enough for the rider to recline$ covered ith a canop"$ and resting on pillars at four corners. It is surrounded ith curtains to keep out the sun$ has a door$ and so%eti%es$ lattice ork on each side. As the bride approached (olo%on/s palan6uin$ she the palace. ould enter it ith hi%$ and both ould be carried to as .athsheba.

'( 11 1 The cro n here is not a s"%bol of ro"alt"$ but of happiness. (olo%on/s %other CHAPTER 6O8R 5 61VE - +:1--:1 - The Wedding Nigh$

In this chapter$ e have an e9tended description of their love %aking on the edding night. !The edding itself occurred bet een chapters E & D.# The ti%e of the scene appears to be late afternoon or earl" evening. '( 1 1 3ove 1 this is the sa%e ord used in &:&'. I%plies protection and the desire to %ake love. (olo%on praises (hula%ith for her beaut". To us$ his co%parisons see% so%e hat less than ro%antic$ but e can see hat he as sa"ing. Hair 1 *like goats+ 1 These ere black goats hose hair glistened in the t ilight sun. As the" ound their a" ho%e ard$ co%ing do n the restful slopes of =t. Gilead$ the" created a sense of restfulness and beaut" in the e"e of the beholder. Teeth 1 *like !freshl" shorn# sheep+ 1 White and s%ooth. 3ips 1 *scarlet thread+ 1 :videntl"$ she used %akeup of so%e kind. As (olo%on is %entioning each of her char%s$ no doubt he is kissing and caressing the parts of the bod" he is describing. 2e9t$ he kisses and caresses her te%ples and cheeks. 2eck 1 *like the to er of 8avid+ 1 This refers to her erect and 6ueenl" carriage. *Cou carr" "ourself ell+. .reasts 1 *t in pair of "oung gaHelles+ 1 In respect to their e6ualit" and "outhful freshness. (olo%on/s choice of ani%als here also adds to the %etaphor. The 5e s considered GaHelles a delicac". !This suggests (olo%on/s desire to caress the% ith his lips and tongue.# GaHelles are fa n in color$ and hen ta%ed$ are ver" affectionate. The notion of frolicso%eness i%plies se9ual pla"fulness. '( ., 1 *="rrh and frankincense+ 1 The fe%ale genitals are referred to in ':& as a *garden+$ and in D:&E as *shoots+. In both passages %"rrh and frankincense are described as characteristic scents of her *garden+. '( 8 1 *Co%e to 3ebanon+ 1 Here (olo%on is pro%ising a vacation in the countr" that his ife loves. !Hone"%oon#. (olo%on is being ver" sensitive here. :arlier she as concerned about here appearance in co%parison to the lovel" court ladies !&:'1@; A:&1A#$ and she as %issing her ho%e. (olo%on cared for his ife as a person$ even in the bedroo%. +:2 1 Their love %aking resu%es at a faster pace. *Cou have %ade %" heart beat faster$ %" sister$ %" bride !2A(#.+ '( 19 1 *Ho beautiful is "our love+ !sa%e as &:A 1 caresses$ se9ual love#. Here he is co%pli%enting her skill !A:E#. *And the fragrance of "our oils$ than all kinds of spices !2A(#.+ Her *oils+ refer to those she naturall" produces as a o%an. '( 11 1 Gar%ents 1 :videntl"$ hatever she as earing as sheer; he can see her bod" through it$ and it provided (olo%on ith a%ple access to her fe%inine char%s. (hula%ith kne ho to dress for bed?

'( 1) 1 Throughout the song$ her *garden+ refers to her vagina. When (olo%on sa"s it is *locked+$ he is sa"ing it has never been entered. Gardens and vine"ards in Balestine ere surrounded b" rock alls to prevent intrusion of strangers. 0nl" the rightful o ner could enter it. To the eastern %ind$ a garden as a place of shade and refresh%ent. A garden is also a place of fertilit" 1 ! here the *seed+ is planted#. '( 1* 1 Blants 1 *shoots+. This is still referring to her *garden+. (pikenard is an aro%a1giving plant. '( 1- 1 !2A(# 1 *Cou are a garden spring$ a ell of fresh ater$ and strea%s flo ing fro% 3ebanon+. To hi%$ she is not a sealed garden Her garden is an open ell !Brov. ':&@#$ fro% hich he can be refreshed. *3iving aters+ 1 The 2I> sa"s$ *a ell of 430WI2G ater+. In Brov. '$ (olo%on used the *fountain+ to describe the husband/s se%en. 4lo ing aters here$ refer to fe%ale lubrication. ord

T o things are orth noting: (hula%ith doesn/t re6uest se9ual intercourse until she is ell lubricated. And$ the %ere fact that she is lubricated doesn/t %ean that she/s read" for intercourse. (hula%ith told (olo%on hen she as read". '( 1. 1 (he asks (olo%on to sti%ulate her *garden+ ith caresses to pro%ote the gro th of her se9ual passion. *...that the spices thereof %a" flo out+ 1 (hula%ith/s se9ual passion gro s and gro s until all the fragrance of the garden rises in aves to beco%e a *sea of incense+. (hula%ith ants her garden to beco%e %ore and %ore *enticing+ to (olo%on as a result of his caresses. '( 1., 1 When she is full" aroused$ she re6uests that (olo%on enter her. *=a" %" beloved co%e into his garden$ and eat its choice fruits+. !2otice: Her *garden+ is referred to as *his+.# This occurs in ':&a 1 *I a% co%e into %" garden$ ! hich is# %" sister$ %" spouse...+ -:1 1 At the end of v. &$ a ne speaker is introduced$ hich is God Hi%self. The 3ord pronounces His full approval on ever"thing that has taken place. God encourages the% to *drink deepl"+ of His gift of se9ual love. !2:. 1 *:at$ friends$ and drink until "ou are drunk ith love+. Co%pare Brov. ':&I#. CHAPTERS - 5 . - -:)-.:2 - A Dre m of 0o'e Ref4sed This section reveals a proble% (olo%on and his ife had to ork through. Apparentl"$ (olo%on/s 7ob kept hi% a a" fro% (hula%ith %ore than she liked$ and he ould often approach her se9uall"$ late at night$ after she as alread" in bed. (he displa"ed a lack of interest in se9 and often re7ected his advances. -:) 1 *heart a oke+ 1 To sleep hile the heart is a ake is to *drea%+. 3iterall" 1 *I sleep and %" heart keeps on aking+. (hula%ith had been tossing throughout the night in a restless sleep$ stirring often$ in a troubleso%e drea%. Their se9ual proble%s are the focus of the drea%. (he drea%ed that she had refused (olo%on$ and after he left$ she couldn/t find hi%. 8e 1 We kno it as late hen (olo%on approached her$ because the de had alread" begun to fall. (he offers t o e9cuses: If I get up to let "ou in to %ake love$ I/ll have to put %" bathrobe on$ and I/ll get %" feet dirt". '( + 1 It as the ancient custo% to secure the door of a house b" a cross bar !or a bolt#$ hich at night as fastened ith a little button or pin. In the upper part of the door$ there as a round hole$ through hich$ an" person could !fro% the outside#$ thrust his ar%$ and re%ove the bar$ unless the hole as sealed up. As (hula%ith sa (olo%on/s hand$ she felt guilt"$ decided he didn/t have such a bad idea$ after all$ and her *feelings ere aroused for hi%+ !2A(#. '( --. 1 (he got up to let hi% in$ and he as gone. In her drea%$ she is grieved. (olo%on ca%e to %ake love !at an obviousl" inappropriate ti%e 1 hich as his fault#$ she refused hi% !her fault#$ and he has left ith ounded pride.

This co%pounds her guilt$ and in her drea%$ she searches for hi%. As she searches$ the atch%en punish her !guilt#. .eginning in v. F$ (hula%ith and the chorus have a conversations$ pinpointing the i%plications of the drea%$ and so%e ke"s to solving their proble%s. (hula%ith asks the chorus to help her find her beloved. (he ants hi% because she is no highl" aroused se9uall" !v. F#. (he feels guilt" about re7ecting hi% again$ and ants to %ake a%ends. This address to the chorus provides a transition to the ne9t scene$ as opportunit" to ask t o 6uestions: ell as giving the chorus the

-:2 1 Juestion K& 1 *What kind of beloved is "our beloved<+ 1 The ans er to this first 6uestion calls (hula%ith back to the nobilit" of her %an$ as ell as to his ph"sical attractiveness and tenderness. Thus$ she focuses on his positive traits and se9ual appeal. '( 19-1. 1 Ans er 1 (he begins ith (olo%on/s head$ and %oves do n ard$ describing his ph"sical characteristics. *His %outh is full of s eetness and he is holl" desirable. This is %" beloved$ and this is %" friend !2A(#.+ (olo%on as characteriHed b" strength and tenderness. Here$ his ife begins to focus on the positive. .:1 1 Juestion KA 1 *Where has "our beloved gone<+ 1 The purpose of this 6uestion is to focus (hula%ith/s attention on the fact that (olo%on is a a" on state business$ and that/s h" he can/t be ith her as %uch as she %ight like. (he is$ therefore$ to re%e%ber the understanding she had before %arriage$ and to re7ect self1pit". !(he did count the cost$ and %ade her o n decision in light of the facts?# '( ) 1 *(eed in the gardens+ 1 (a%e as &:G; A:&@ 1 A %etaphor for his ork. '( * 1 *I a% %" beloved/s and %" beloved is %ine. He ho pastures his flock a%ong the lilies !2A(#.+ (he realiHes her position as a king/s ife$ and re%e%bers his love for her. 2ot onl" is he Israel/s shepherd$ he is her shepherd$ and she is loved and protected b" hi%. APP01CAT1ON: Instead of d elling on ho thoughtless (olo%on as to continuall" approach her late at night$ (hula%ith began to ork on her o n inner attitudes. (he concentrated on his strengths and left his shortco%ings in the 3ord/s hands. !2ot a bad idea?# Also$ notice: It/s perfectl" hol" to think erotic se9ual thoughts about "our %ate?# As for (olo%on$ he didn/t focus on ho selfish (hula%ith loving her unconditionall"$ and on giving blessing for insult. as in re7ecting hi%. He concentrated on

As the scene opens in v. D$ (olo%on has returned. He praises her beaut" and gives her assurance of his love for her. '( . 1 (olo%on/s praises are al%ost identical to those he besto ed on her$ on the edding night. In effect$ he see%s to sa"$ *2othing has changed. regardless of ho "ou respond to ard %e$ it doesn/t affect the love I have for "ou+. This doesn/t %ean that (hula%ith shouldn/t i%prove her perfor%ance$ if it needs i%proving. .ut$ (olo%on/s love asn/t based on her perfor%ance. !2ote: & Beter E:G 1 *8 ell ith "our ives according to understanding.+ The Greek phrase *d ell ith+ as consistentl" translated *to have se9ual intercourse ith+ in the (eptuagint. (o$ that ould be a legiti%ate application of the verse. & Beter E:I 1 *2ot returning evil for evil$ or insult for insult$ but giving a blessing instead.+ That/s hat (olo%on did$ and God got involved?# '( 8-2 1 There are lots of other o%en$ but *%" dove$ %" perfect one$ is uni6ue !2A(#+. CHAPTER . - .:19-1* - Sh4l mi$h in $he : rden

In this section$ (hula%ith leaves (olo%on and goes to a garden on the palace grounds to think. (hula%ith is still e9periencing ho%esick feelings and a desire to return to the countr" she left. The scene involves another dialogue ith the chorus. '( 11 1 *fruits+ 1 literall" *blosso%s+. This is in the spring. *.efore I as a are$ %" soul set %e over !in# the chariots of %" noble people+. (hula%ith is in the garden$ %editating on the beaut" around her$ and thinking of ho%e. Graduall"$ her thoughts begin to drift back to life in the palace. (he thinks of the loneso%e hours she spends aiting for (olo%on/s attention and often feels alone and forsaken$ a countr" girl in a king/s palace. As she is absorbed in her thoughts$ the sound of a chariot bounding along a distant road breaks the hush of the %orning. (uddenl" the desire co%es upon her to get in one of the chariots and to flee fro% the palace. The te9t %akes it 6uite clear that she does not do so$ but her *soul set her in one+. Her heart longed to be in one of the chariots$ fleeing fro% the palace$ back to her ho%eland. .ut$ the chorus calls her back$ *Co%e back$ co%e back$ 0 (hula%ite+. As she co%es to her senses$ the realiHation brings her thoughts back to her lover$ and her desire to %ake love to hi%. '( 1* serves as a transition into the ne9t scene. The point of transition is the ord *gaHe+. The idea of gaHing is picked up in the ne9t scene$ as (olo%on gaHes on his ife/s beaut"$ as she dances nude before hi%.

CHAPTERS .-8 - .:1*-8:+ - The D n%e of $he ; h n im (hula%ith has assu%ed responsibilit" for her o n behavior. In ':&-1@:E$ she changed her attitudes. 2o $ in this passage$ e see a change of action. .:1* 1 (hula%ith sa"s to the chorus: *Wh" should "ou gaHe at the (hula%ite$ as at the dance of the t o co%panies+. The phrase *t o co%panies+ is a translation of the Hebre ord *=ahanai%+. The ord =ahanai% %eans *tents+. As (hula%ith initiates love%aking$ she dances before hi%$ as part of their love pla". /:1 1 This begins (olo%on/s reaction. '( 1, 1 *The curves of "our hips are like 7e els$ the ork of the hands of an artist.+ '( ) 1 *2avel+ should literall" be translated *vulva+. (olo%on is vie ing his ife/s *garden+$ as she dances before hi%$ and he sa"s it looks to hi% as a round goblet !bo l in the shape of a half1%oon#. The allusion to the fe%ale genitals is obvious. *3acks not li6uor+ 1 ine is used throughout the book as a s"%bol of se9ual pleasure !&:A; A:D; ':&#. '( -, 1 *The king is captivated b" "our tresses.+ '( /:/ 1 *I ill cli%b the pal% tree+ 1 In the Ancient 2ear :ast$ the artificial fertiliHation of the fe%ale pal% tree flo ers b" the %ale pal% tree flo ers has been practiced fro% earliest ti%es. The %ale and fe%ale flo ers are born on separate trees in clusters a%ong the leaves. In order to fertiliHe the fe%ale tree$ one %ust cli%b the %ale tree and get so%e of its flo ers. 0ne then ascends the fe%ale tree and ties the pollen1bearing %ale flo ers a%ong its flo ers. Thus$ to *cli%b the pal% tree+ is to fertiliHe it. (olo%on is anting to enter his *garden+ !':&#. *I ill take hold of the boughs+ 1 2A( 1 *fruit stalks+. A reference to her *clusters of grapes+ !breasts#. '( 2 1 (olo%on 1 *"our %outh... like the best ine+ 1 (hula%ith 1 *it goes do n s%oothl" for %" beloved+ !)eferring to the * ine+ of se9ual pleasure.# Her love is satisf"ing to hi%. And$ as ine causes the bod" to rela9$ and drift into sleep$ so their live has left the% s eetl" e9hausted$ and the" fall asleep in each other/s ar%s. !*It goes do n s%oothl" for %" beloved$ flo ing gentl" through the lips of those ho fall asleep.+#

/:11 1 As the" lie in each other/s ar%s$ (hula%ith brings up (olo%on/s pro%ise of a vacation for t o$ that he %ade on their edding night !D:F#. (he desires to go ho%e to the 3ebanon %ountains$ here the" ill %ake love outdoors !v. &Ab#. This appears to be one "ear after their %arriage. The" ere %arried in the spring !A:&-1&D#$ and no it is spring again !G:&A#. '( 1* 1 *4ruit ne and old+ 1 This refers to se9ual pleasure. (he has things in %ind that the" are accusto%ed to$ as ell as so%e fresh$ creative$ ne pleasures in store for her husband. 8:1-) 1 =o%entaril"$ she ishes that he as her brother$ so she could kiss hi% in public$ ithout being despised. .ut$ 6uickl" that da"drea% is broken b" a longing to %ake love to hi% in the countr". '( * 1 (he i%agines his left hand under her head$ as she lies on her back in so%e countr" %eado right hand fondling her. '( 1 his

+ 1 4or the third ti%e in the book$ (hula%ith arns against a aking desire before %arriage. In A:G$ the arning ould provide freedo% se9uall" ith "our %ate$ initiall" !right after %arriage#. In E:'$ she sa"s purit" ill allo "ou to ob7ectivel" evaluate the cost of %arriage to this particular person. Here$ the arning is given in vie of the se9ual ad7ust%ents to be %ade after %arriage.

APP01CAT1ON: 2otice$ (hula%ith approaches (olo%on in a a" that ill appeal to hi% 1 a nude dance. 0n the other hand$ (olo%on al a"s approaches his ife se9uall" ith ro%ance$ at%osphere and tenderness !D:&1F#. .oth are interested in %eeting their %ate/s needs$ and not insisting on se9 on their o n ter%s. After the" consu%%ate their love !G:&&#$ the" engage in loving conversation$ and fall asleep in each other/s ar%s. (hula%ith is a creative lover. Instead of resenting (olo%on/s *late night approach+$ she finds creative solutions !a nude dance$ a planned trip to the %ountains here the" ill %ake love outdoors$ etc.#

CHAPTER 8 - 8:--1+ - A V % $ion in The Co4n$r! In the preceding reflection$ (hula%ith had spoken of a vacation in the countr". This ne9t scene opens ith the couple alking do n a countr" road. (hula%ith has 7ust arned in v. D$ against the pre%ature a akening of love/s passions. As the poet allo s us to eavesdrop on their conversation$ the the%e of the ti%ing of her se9ual a akening is discussed. '( - 1 Chorus 1 *Who is this co%ing up fro% the ilderness$ leaning on her beloved<+ Apparentl"$ the"/ve 7ust e%erged fro% the forest$ here the"/ve shared their love%aking. The" are no at peace$ and their love has been reconfir%ed. The chorus provides a transition into the ne9t scene. (olo%on: *.eneath the apple tree$ I a akened "ou. There "our %other as in labor ith "ou. There she as in labor and gave "ou birth+. The te9t associates the apple tree here ith (hula%ith/s ho%e and birthplace. Her ho%e %a" have been shaded b" the apple tree to hich (olo%on referred. Thus$ the apple tree does double dut" here as a s"%bol for the a akening of ph"sical life at birth$ and the a akening of se9ual life on the edding night$ !to hich she had referred in her arning to the daughters in the preceding verse 1 F:D.# ." calling the reader/s attention to her se9ual a akening once again$ the poet introduces us to the the%e of the last reflection 1 the develop%ent of the love of hich the book speaks. !We/re going to see hat %ade this kind of love possible. .ut$ before e see that$ v. @1G describes the nature of their love.#

'( . 1 (hula%ith 1 *(et %e as a seal+ 1 The king/s seal as a sign of his o nership. It signified so%ething of great value. (hula%ith desires to be set as a seal on her husband/s heart 1 the place of his affection. Ar%: The place of his strength and protection. As long as she resides near his heart$ the love of the king ill keep her and give her securit". '( .,-/ 1 Their love is intense. '( /, 1 3ove is invaluable. Cou can/t bu" it ith things or %one". The intense$ precious love (olo%on and his ife have is God/s ideal. It as attained b" (hula%ith in t o a"s: (he as raised b" a caring fa%il"$ and she %ade godl"$ responsible choices.

'( 8 1 .egins a flashback to (hula%ith/s ho%e environ%ent. these verses are a conversation that took place a%ong her brothers$ as she approached pubert". Their goal as to keep her pure for the da" hen God brought the right %an into her life !v. F#. Their strateg" as si%ple and ise. And$ ho it is carried out depends on her character. *If she is a all+ 1 se9uall" inaccessible b" her o n choice 1 * e ill build on her a battle%ent of silver !praise for her virtuous stand#.+ *If she is a door+ 1 easil" open to bo"s/ advances 1 * e shall barricade her ith planks of cedar !strict approach#.+ T o approaches ere evident 1 praise and discipline. The poet singles out this environ%ent as a contributing factor in (hula%ith/s abilit" to develop in se9ual love. '( 19 1 Here e see (hula%ith/s o n choice. *I as a all$ and %" breasts like to ers+. (he kept her virtue. *Then as I in his !(olo%on/s# e"es$ as one that found favor.+ Her character as such that she as able to attract the king/s love. '( 11 1 This sa%e the%e is continued in a parable in verse &&. (olo%on had a vine"ard at .aal1ha%on. He entrusted the vine"ard to caretakers. !The vine"ard is (hula%ith 1 the caretakers ere her brothers 1 &:@#. When a literal vine"ard is leased out$ the o ner received a profit. (hula%ith is sa"ing that (olo%on received a tre%endous profit b" the effort of her brothers. This should be re%e%bered and appreciated? '( 1* 1 3ove en7o"ed 1 As the lovers prepare to leave the countr"$ (olo%on turns and hispers$ *Cour co%panions !those ho% she gre up ith# are aiting for a fare ell. 3et %e hear "our voice.+ (he pla"full" hispers an invitation to %ake love.

APP01CAT1ON: &:'1@ 1 While all the other girls ere caring for their o n *vine"ards+ and ere out %eeting bo"s$ (hula%ith had been forced to ork all da" in the sun$ in relative seclusion. Ho unlikel" such a girl ould end up %arried to the king. .ut$ God kne here she as? (he as faithful to God$ and God as faithful to her? *Adapted from Solomon on Sex by Joseph C. Dillow - Copyri ht !"##. $homas %elson &ublishers. 'S(% )-*+)#-,*!--*