Song of Songs 8 Study Notes

8:1-2 In these verses the couple moves inside. On the earlier spring day Solomon’s description prepared for his request to see and hear Shulamith. Similarly, now she first wished for a kiss outside with all the innocence of a kiss from a brother, and that prepares for her wish for more intimate kissing in innocence—without scorn—as well. I would . . . kiss you (Hb ’eshaqka, v. 1) is a play on I would give you . . . to drink (Hb ’ashqeka). They would have been identical in the original Hebrew, which did not write the vowels. “I would give you . . . to drink from” could be taken as “I would let you kiss.”

Spiced wine . . . from the juice of my pomegranate is a smooth translation, but the literal is more dramatic: “from the wine—the spiced wine—from the sweet wine of my pomegranate.” The repetition of from reinforces the image of drinking from a container and probably resumes these images: (1) the image of the navel as the chalice of wine (see note at 7:2), (2) the image of drinking her kisses like wine (7:9), and (3) the image of drinking from a mother’s breast (8:1). The spiced wine (Hb reqach) is likely a play on “mouth” or “opened lips” (as opposed to “brow,” Hb raqqah, see note at 4:3). The moisture of Shulamith’s mouth was like the sliced opening of a pomegranate on the wedding night; now the moisture of “my pomegranate” is like “spiced wine.”

8:3-14 This section concludes the themes introduced in 1:1-2:7 (see outline in the Introduction). Refrains similar to the ones that concluded the first section now begin the last one in chiastic balance. And once again the Song appropriately reintroduces Shulamith’s brothers and explains the circumstances introduced in the first section and how the lovers first met.

8:3 This refrain again functions to close the prior section and to introduce the next. It appropriately requests consummation from Solomon (see note at 2:6) and leads to a variation on the refrain that previously urged patience.

8:4 Caution in love is important, but when the time is appropriate, do not let its joy pass you by. See note at 2:7.

8:5-7 All earlier praise, though differing at times in purpose (see note at 6:4-10) was in praise of the lovers. The lyrics of this section, however, praise love itself. The love that pleased to awaken Solomon and Shulamith has a fiery origin in the love of God.

8:5 Who is this coming up from the wilderness begins a new section introduced with words identical to those that begin the wedding procession and with the same complimentary allusions (see note at 3:6). Solomon and Shulamith have left the wilderness created by Adam and Eve to experience a paradise, and their love is like God’s for his people, particularly when after the hardships of the wilderness they emerged trusting and leaning on him.

8:6-7 The seal is the valuable possession by which all of a person’s possessions are identified. Strong as death is a stark metaphor, showing that just as death conquers, so does love. But perhaps it implies love has the last word. If death conquers mortality, then love may as well. Unrelenting as Sheol extends this image, showing that as the grave pursues all mortals, so love pursues the beloved. Jealousy is often attributed to God, who expresses it in fiery concern for those whom he loves (Dt 4:24; 32:21-22). Since its fiery flames are the “blaze of the Lord” (see textual footnote), it cannot be extinguished. Any improper attempts to attain love are scorned.

8:8-12 This section explains how Shulamith found love properly—by preparing herself for it and by a fortuitous meeting with Solomon in the vineyard. These sections are in chiastic balance with the introductory sections of the Song (see outline in the Introduction) and are a flashback to the life with her brothers assumed in 1:6.

8:8-9 Shulamith’s brothers took responsibility for her care when she was young and had no breasts, promising restrictions if she was promiscuous (if she is a door) but rewards if she was responsible (if she is a wall) as they prepared for the day she was spoken for.

8:10 Shulamith affirmed the development of her character (I am a wall) and her body (my breasts like towers) continuing the imagery of vv. 8-9. There may be an allusion to Ruth, who found favor in the eyes of Boaz (Ru 2:2,10,13) under circumstances similar to Shulamith’s. The poet artfully changes the traditional expression that dates back to the story of Noah, who “found favor with the Lord” (Gn 6:8): Shulamith found peace in the eyes of Solomon. It is an appropriate change and wordplay, since Shulamith and Shelomoh (Hb for “Solomon”) are feminine and masculine forms of names derived from shalom (“peace”). Shulamith found shalom with Shelomoh. Boaz saw Ruth working in the field after the death of her husband left her destitute, but then Boaz’s marriage to her raised her to a position of prominence. Solomon’s observation of Shulamith working in the vineyard after the mistreatment by her brothers led to the same.

8:11-12 These verses describe what happened after Shulamith’s brothers leased vineyards from Solomon and placed Shulamith there to work (1:6). Their agreement required them to pay one thousand pieces of silver to the owner, Solomon, and allowed them, the caretakers, to keep two hundred for themselves. Just as Solomon could do what he wanted with his own literal vineyard, Shulamith was free to do what she pleased with the figurative vineyard of herself (my . . . vineyard). Love cannot be purchased, but it can be given. Those who take care of its fruits are the brothers who temporarily cared for the figurative vineyard that was Shulamith (vv. 8-9), just as they cared for Solomon’s literal vineyard. In light of the hardships placed upon her at times by her brothers (1:6), Shulamith in effect forgave them, perhaps in recognition that their harshness resulted in her meeting Solomon.

8:13-14 These verses echo the themes of the days in spring (see note at 7:12-13). In the tarnished mirror of the world after Eden, the romantic love God designed to reflect his own love seldom does so adequately. An almost universal distortion of this love is the stereotype that in companionship women seek only communication and security while men seek only sexual gratification. The recovery of ideal love displayed in the Song restores right balance. Both enjoyed loving communication and both enjoyed sexual expression. However, quite remarkably, the themes of spring echoed at the end of the Song show it was Solomon who initiated and longed for communication while it was Shulamith who responded in desire to make love. Not only does this shatter the stereotype and recover the ideal of romantic love, it also reflects the love of God toward us: “We love because he first loved us” (1Jn 4:19).