The Message of the Song of Songs

Tom Gledhill

• Éditeur: IVP Academic
• Année: 2017
• ISBN:
  9780830883165
• Sujet: Teologia e religione
• Sous-sujet: Commento della Bibbia

At first reading the Song of Songs appears to be an unabashed celebration of the deeply rooted urges of physical attraction, mutual love and sexual consummation between a man and a woman. Tom Gledhill maintains that the Song of Songs is in fact just that--a literary, poetic exploration of human love that strongly affirms loyalty, beauty and sexuality in all their variety. With tender metaphor and extravagant imagery, the Song writer spins a tale of human love into the cadence of verse, innocent of our quest for historical persons behind the text. But in God's story, human beauty, intimacy and sexuality are not ends in themselves. They are transencedental longings, whispers of immortality. Like all of creation they point beyond themselves to their divine author, who in this Song is nowhere mentioned but everywhere assumed. Gledhill's commentary is a refreshing reminder of the Song of Song's ancient and vibrant affirmation of human sexuality that forms an interlude in the Old Testament story and echoes between the lines of Christian revelation.

Part One: The Song as a whole

An overview of the text of the Song of Songs

Title and attribution (1:1)

The Song of Songs is attributed to Solomon.

The first cycle: Passionate longings (1:1–2:7)

The deep yearnings of love (1:2–4)

The girl longs to receive her lover’s kisses. His love-making is better than wine, his perfumes are fragrant. His name (his repute) is like scent wafted abroad. No wonder the maidens are attracted to him. She appeals to her lover to take her into the intimate secluded chamber where they can be alone together. The end of verse 4 is possibly an interjection by the daughters of Jerusalem, rejoicing in and extolling the lover.

Black and beautiful (1:5–6)

The girl, dark and sun-tanned after working in her brothers’ vineyard, defends her natural beauty and complexion before the critical stares of the daughters of Jerusalem. She has not kept up her own appearance, in contrast to the city ladies.

A hesitant enquiry, an ambiguous response (1:7–8)

The girl makes a tentative, guarded enquiry as to where she might find her lover in the daytime. She is concerned lest her meandering search should be misinterpreted as being the solicitations of a harlot. The response is somewhat ambiguous; if it is her lover replying, then it could be a gentle reassurance; if it is the response of the city girls, there could possibly be an element of harshness or brusqueness here.

A filly in fine fettle (1:9–11)

Her lover likens the girl to a splendidly decorated horse, decked out with ribbons and bangles. He wants to beautify her even more.

The fragrance of love (1:12–14)

The girl describes the attractiveness of her lover in terms of the fragrances of nard, myrrh and henna blossoms. There are indications here of warm physical contact.

A duet of mutual admiration (1:15–2:3)

He acclaims her beauty (1:15).

She acclaims his beauty (1:16).

In unison, they describe their rustic rendezvous (1:17).

Her modest self-deprecation (2:1).

His affirmation of praise (2:2).

He is a shady apple tree to her (2:3).

Moving towards a climax (2:4–7)

The banqueting house. ‘His banner over me is love’ (2:4).

Sick with love (2:5).

Close encounters (2:6).

The adjuration of the daughters of Jerusalem (2:7).

The second cycle: Springtime and showers (2:8–3:5)

Lo...