Song of Songs 5 Study Notes

5:1 Solomon celebrated the consummation (see note at 4:12-5:1). The songwriter’s words began this section and now conclude it (see outline in the Introduction). Since friends in the singular was Solomon’s customary name for Shulamith (rendered “darling” in 1:9,15; 2:2,10,13; 4:1,7; 6:4) and caresses translates a word that, in the singular, was Shulamith’s customary name for Solomon (rendered “my love” in 1:16; 2:3,8-9,16-17; 4:16; 5:2,4-6,8-10,16; 6:1-3; 7:9,11; 8:14), an alternative translation is “Eat, O darling companions (Hb reyim); drink and drink deeply, O beloveds (Hb dodim).” In other words, it appears the songwriter addresses the couple by the names they most commonly called each other.

This blessing is at the center of the song’s lyrics and is the conclusion of its central section (see outline in the Introduction). As if Shakespeare stepped onto the stage of Romeo and Juliet, the songwriter dramatically appears. After encouraging the wedding guests at the end of the wedding day (3:11), he blesses the wedding couple at the end of the wedding night (5:1). His authorial perspective is all-knowing and all-present, hinting that he speaks for God. Readers have often thought it curious that the mothers appear five times (3:4,11; 6:9; 8:2,5) but fathers not at all, even where expected (8:8-9). Perhaps it is because the voice of the songwriter speaks for the ultimate Father who orchestrates the romance. As the wedding’s preeminent guest, the Great Songwriter gives blessing to love and the lovers.

5:2-7:9 This is the lengthiest section of the Song. This night of relative apathy (5:2a) following the wedding night is structurally opposite the night of anxiety preceding the wedding day (see outline in the Introduction). As such this later section provides some obvious contrasts, but it also more broadly captures common romantic sequences within marriage that compare and contrast with the wedding night and all that precedes it. This section is also distinguished by the most developed internal chiasm in the Song. Despite its length, its beginning with Shulamith sleeping alone (5:2a) and conclusion with her sleeping romantically with Solomon (7:9) artistically maintains its chiastic balance with the corresponding section, 3:1-5. The outline of events is evident in the outline of the book (see Introduction). In addition, the two questions posed by the women of Jerusalem (5:9; 6:1) are poetic guides to the movement of the lyrics. After the problem created by Shulamith’s reluctance (5:2), the first question (5:9) introduces her tenfold praise of Solomon (5:10-16); the second question (6:1) introduces the reconciliation (6:1-13) that leads to Solomon’s tenfold praise of her (7:1-5).

5:2-8 The contrast with the night before the wedding is apparent. On that earlier night (see note at 3:1-4), Shulamith could not sleep because of her anxiety over Solomon’s absence; here, sleep comes easily, and she wants continued slumber out of apathy from his presence, as evidenced by Solomon’s pleading to open to me. In 3:1-4 the watchmen of the walls assisted Shulamith to find him; here, they hinder her, mistaking her for a criminal. In 3:1-4 Shulamith’s night ended united with Solomon; here, lengthy anxiety and reconciliation precede the night of reunion.

5:2 Solomon’s fourfold terms of endearment, the most of any place in the Song, underscore the contrast of his fervor with her apathetic response.

5:4-5 Many of the terms in these verses have euphemistic possibilities, suggesting a double entendre. She may have been dreaming. My feelings were stirred is literally “my insides were agitated.”

5:8 Shulamith is no longer apathetic but lovesick (lit “faint from love am I”), just as she was in the peak of courtship (2:5).

5:9 This is the first of two questions (v. 9; 6:1; see note at 5:2-7:9) that guide the movement of this section.

5:10-16 This section contains tenfold praise that moves downward from head to feet, enclosed by comprehensive summary praise in v. 10 and v. 16b. The praise of Solomon’s mouth in v. 16 is not likely an interruption of the movement since it is apparently a praise of his speech and not his literal lips that are praised in v. 13 (see note at 2:2-3). This section is in chiastic balance with the tenfold praise of Shulamith that moves upward from feet to head (7:1-5, see outline in the Introduction).

5:10 Fit and strong is literally “radiant and red”; the opposite of a sallow complexion is a ruddy, glowing one, implying fitness and strength. Among ten thousand is clearly a ratio emphasizing uniqueness.

5:11 Gold is consistent with the lustrous radiance, and its color and value are paramount in the metaphor. The Hebrew word translated wavy may be associated with “palm leaves,” a precursor to the palm tree simile of Shulamith in 7:7.

5:12 Eyes . . . like doves is the only identical praise of each by the other (1:15; 4:1). Each had eyes expressing love. Whereas the other aspects of Shulamith’s praise are expanded at most by one phrase, this simile is expanded by three: beside flowing streams, washed in milk and set like jewels (lit “perched over a pool”). The phrases contribute to imagery of happy, loving eyes. They also possibly allude to the power of love that triumphs over waters of chaos (8:6-7). Doves looking at rushing streams become doves perched over still water, with reflections of doves looking back to their source (Craig Glickman, Solomon’s Song of Love).

5:13 The visual metaphors of vv. 11-12 give way to more sensual, aromatic ones in this verse: fragrant spices and perfume describe Solomon’s cheeks; liquid myrrh drips from his lips. Lilies are literally life-giving “lotus flowers” (see note at 2:1). Shulamith praised Solomon’s fragrant, intoxicating kisses.

5:14 His arms are literally “his hands,” and the rods of gold are likely his fingers, a metaphor in praise of Solomon’s valued touch. His body (lit “his abdomen”) is hard and polished like ivory, but rippled, as if covered with lapis lazuli.

5:15 Alabaster was a valuable mineral normally used for small objects, so its use to create massive pillars emphasizes value, just like gold, ivory, or sapphires. Pillars imply legs of grandeur and strength. The pedestals of pure gold of Solomon’s feet show gold from head to toe, a visual metaphor for his complete desirability (v. 16).

5:16 Mouth is likely a reference to speech (see note at 2:2-3). The affirmation of love and friendship intertwined continues the theme begun in 1:9 (see note there).