Song of Songs 3 Study Notes

3:1-4 Shulamith and Solomon began the night apart but ended it together, aided by the watchmen of the walls. This is set in chiastic balance with section C´ where again they began the night apart but fell asleep together (5:2-7:9; see Introduction), though hindered by the watchmen—one of many contrasts in the chiasm (see note at 5:2-8). The shorter length of this section as compared to the one corresponding to it is not uncommon in Hebrew chiasm.

3:5 Young women of Jerusalem begins a repetition of the refrain of 2:7 (see note at 2:7) and is a transition to the central section of the wedding day and night (3:6-5:1; see outline in the Introduction).

3:6-5:1 These verses feature the songwriter’s own words at beginning and end, first celebrating the pageant of the wedding day and then the beauty of the wedding night. Solomon is more central in the wedding day, his name appearing three times and the pageantry proclaiming his lavish wedding (3:6-11). Shulamith is more central in the wedding night, in praise of her beauty and character (4:1-5:1).

3:6 The word this is feminine in Hebrew, perhaps indicating Shulamith was in the procession coming to Solomon. Coming up from the wilderness (see 8:5) suggests two complementary allusions: (1) Israel’s emergence from the wilderness they had entered after deliverance from Egypt and (2) Adam and Eve’s emergence from the wilderness they had entered after disobedience. The imagery of Shulamith as a garden paradise on the wedding night is evidence of the latter. The implicit comparisons of Shulamith to Israel are evidence of the former (see Introduction). Both allusions underscore the ideals of romantic love. Like Israel’s new land, their love was the foundation of a new life together; like a new paradise, their love recovered what romantic love was meant to be.

3:7-11 This section describes the powerful and magnificent retinue of King Solomon.