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Song Of Solomon
Chapter 1

Song of Solomon 1

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¹The song of songs, which is Solomon's.

²Oh that he might kiss me with the kisses of his mouth; for thy caresses are more pleasant than wine.

³To the smell are thy fragrant oils pleasant, [like] precious oil poured forth is thy name [famous afar]: therefore do maidens love thee.

⁴Oh draw me, after thee will we run: the king hath brought me into his chambers; we will be glad and rejoice in thee; we will recall thy caresses, more [pleasant] than wine; without deceit [all] love thee.—

⁵Black am I, yet comely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon.

⁶Look not so at me, because I am somewhat black, because the sun hath looked fiercely at me: my mother's children were angry with me; they appointed me to be keeper of the vineyards; but my vineyard, which is my own, have I not kept.—

⁷Tell me, O thou whom my soul loveth, where thou feedest? where lettest thou thy flock rest at noon? for why should I appear like a veiled mourner by the flocks of thy companions?—

⁸If thou knowest this not, O thou fairest of women, go but forth in the footsteps of the flock, and feed thy kids around the shepherds' dwellings.—

⁹Unto the horse in Pharaoh's chariot do I compare thee, my beloved.

¹⁰Comely are thy cheeks between strings [of pearls], thy neck with rows [of jewels].

¹¹Chains of gold will we make for thee with studs of silver.—

¹²While the king sitteth at his table, my spikenard sendeth forth its [pleasant] smell.

¹³A bundle of myrrh is my friend unto me, that resteth on my bosom.

¹⁴A copher-cluster is my friend unto me in the vineyards of 'En-gedi.—

¹⁵Lo, thou art beautiful, my beloved: lo, thou art beautiful: thy eyes are those of a dove.—

¹⁶Lo, thou art beautiful, my friend, also pleasant: also our couch is [made in the] green [wood].

¹⁷The beams of our houses are cedars and our wainscoting of cypress-trees.

Adam Clarke
Jamieson-Fausset-Brown
John Gill
Tyndale

Introduction

The bride's love to her spouse, Sol 1:1-5. She conffieuses her unworthiness; desires to be directed to the flock, Sol 1:6, Sol 1:7; and she is directed to the shepherds' tents, Sol 1:8. The bridegroom describes his bride, and shows how he will provide for her, and how comfortably they are accommodated, Sol 1:9-17.

Verse 1

1:1 This verse is the source of the English title of the book. Formally, it is a superscription that functions as the title page of the book, providing the genre (song) and a connection with the probable author of some or all of the book (see Song of Songs Book Introduction, “Authorship”). The NLT rightly understands song of songs as a Hebrew superlative, so this song is the highest, best, or most sublime, which probably means that it is more wonderful than any other of Solomon’s 1,005 songs (see 1 Kgs 4:32).

Verse 2

1:2-14 The Song begins with the woman’s expression of desire for intimate union with the man she loves. In the Song, the woman is frequently the one who initiates relationship. The members of the chorus (identified in the NLT as “Young Women of Jerusalem”) affirm her choice of this man. • According to the three-character dramatic interpretation, the Song opens by explaining the woman’s predicament. The king is about to take her into his palace, but her true passions lie with her shepherd lover. The woman hopes that her lover will rescue her from the king’s presence (1:4).

1:2 Kiss me and kiss me again: The woman longs for the touch and taste of kisses from her true love. From the very start we find that the young woman and the man share a strong attraction. Their relationship is one of mutual respect and loving concern. • Love is a sensual experience in the Song. The taste of love is sweeter than wine, a rich and sensuous liquid; love, like wine, also leaves its partaker slightly light-headed.

Verse 3

1:3 The fragrance of the man’s cologne suggests sweet smells of love, indicating that the woman wants to get physically closer to him. • all the young women love you: The young man’s allure is not only physical. He has an excellent reputation—the chorus of women expresses their respect and adoration for him in 1:4. By highlighting the attention he receives from other women, the woman makes it clear that her love is not blind, and that she feels fortunate to be the one whose love the man returns.

Verse 4

1:4 Take me with you: The two lovers are very active throughout the Song, traveling through the hills, to the city, and out to the country. This time the woman invites the man to take her away with him, and urgently expresses her desire (let’s run!). According to the three-character dramatic view, they may be running to escape the king, who has brought the young woman into his palace. • The king has brought me into his bedroom (literally into his rooms): A common interpretation of this clause is that the woman is anticipating an intimate relationship with King Solomon. However, though a literal Hebrew translation indicates that she has been brought into Solomon’s rooms, it does not specify which rooms she was taken into. Nor does the Hebrew imply that it was her personal desire. • The text changes here from the second person (“you”) to the third person (“his”), which might indicate that two different men are involved—one being spoken to, the other being spoken about. In that case, it is possible that the woman desires to run because she does not want to be the king’s concubine. • If the Song is a collection of love songs without a narrative thread, it is not problematic for the lover to be identified here as the king and later as a shepherd (e.g., 1:7): (1) The language may or may not be intended literally; (2) these titles, consistent with other ancient Middle Eastern love poetry, may reflect the woman’s view of her lover at a particular time (e.g., by indicating that he is a king in her eyes); or (3) different poems may refer to different couples. • The woman frequently addresses the young women of Jerusalem (e.g., 2:7; 3:5). They are portrayed as close, trusted friends who are fond of the woman and responsive to her requests. She often confides in them about her lover, and they commend the couple from their outside perspective (e.g., 5:1, 9). • O king is not in the Hebrew; its addition reflects the view that the young man is the king rather than a shepherd.

Verse 5

1:5-11 If the Song is a three-character drama and the shepherd is her lover, the couple was apart while she was in the king’s palace, and in this passage she wants to be sure of where to find him when she leaves there. On two occasions, she is frantic about losing him again (3:1-4; 5:2-8). At other times, her concern is more subtle (2:14).

1:5-6 The woman’s dark skin color has nothing to do with her race; her complexion has been darkened by the sun. Even so, she retains her self-respect and asserts her beauty. She is wholesome-looking from tending vineyards and goats (see also 1:8). • Solomon had caretakers of his fields, vineyards, herds, and flocks; the herders lived in dark goats’-hair tents.

Verse 6

1:6 my own vineyard: The NLT interprets vineyard as a metaphor for the woman’s own body (cp. 2:15; 7:12). In ancient Near Eastern societies, brothers protected sisters from premature intimate relationships with men. The woman’s protest reflects her belief that she is ready for love (see also 8:8-12, the only other mention of the brothers). • The dramatic view takes vineyard literally: The brothers’ abuse had resulted in the woman’s inability to take care of the vineyards for which she was personally responsible. She found herself in Solomon’s harem because she had not been able to pay Solomon the money she owed him (8:11-12).

Verse 7

1:7-8 leading your flock: In the dramatic view, the woman’s lover and his friends are literal shepherds, not a line of work or the company that one would associate with King Solomon at any time in his life. • like a prostitute (literally like a veiled woman): Prostitutes wore veils to hide their identities (Gen 38:14-16). Since the woman has been claimed by Solomon as a concubine, she has reason to shroud herself and avoid being obvious. She wants to avoid having to ask everyone around her for the location of someone she loves (cp. Song 3:3; 5:6-7). She wants to find him privately during the resting period at noon so they can enjoy the time together.

Verse 8

1:8 The man’s first words in this poem lovingly pacify the woman’s anxiety by giving directions to where she should meet him. • The man desires to be with her and tells her to come under the guise of a goatherd, following the trail of his flock.

Verse 9

1:9 The shepherd frequently calls the woman darling (literally companion) to show his respect for her as a partner and friend as well as a lover (1:15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4). • In the ancient Near East, a charge of horsemen on stallions was sometimes diverted by letting loose a mare in heat. This so distracted the attacking horses that they broke the charge. Similarly, the woman’s beauty drives other men to distraction.

Verse 10

1:10-11 The woman’s beauty is enhanced by her jewelry. This beauty deserves to be even further ornamented, so the man says that even more jewelry will be provided for her (cp. Matt 13:12).

Verse 12

1:12-14 In the dramatic view, it appears that although the woman is physically in the king’s palace (1:4, 12), her heart is with her shepherd lover (1:13-14). • In the anthology view, this is a short poem on intimate fragrances.

1:12 The meaning of the word translated couch is uncertain, and the word lying is not found in the Hebrew, so the king and the woman could be lying together on a couch or bed, or simply sitting at a table in one of the palace rooms. • The interpretation that sees the Song as a collection of love songs is not concerned with whether the man is literally a king.

Verse 13

1:13 Myrrh is extracted from the branches of a fragrant shrub that did not grow in Israel, but was imported from Arabia and India at extravagant cost. The sachet is a little packet of sweet-smelling myrrh. The woman’s desire for intimacy is expressed by comparing her lover to the sachet lying between her breasts. • According to the three-character dramatic view, the woman is with the king in one of his palace rooms, but the fragrance of myrrh between her breasts fondly reminds her of her shepherd lover who is truly there, closer to her heart than the king.

Verse 14

1:14 The woman thirsts for the sincere love of her man the way a traveler would thirst for the water of En-gedi, an oasis in the wilderness west of the Dead Sea. • Henna is an aromatic shrub from the region around En-gedi; its blossoms were used for red hair dye.

Verse 15

1:15–2:7 The couple exchange adoring descriptions of each other that honor her incomparable beauty and praise his stalwart protection and provision for her.

1:15 The comparison of the woman’s eyes with doves (see also 4:1; 5:12) is not clear. The metaphor may be commenting on their color or on a softness of expression.

Verse 16

1:16-17 grass is our bed . . . branches are the beams . . . firs are the rafters: The lovers imagine that their luxurious surroundings of grass and overhanging trees are their house. She does not need the royal, palatial surroundings of a king since these God-created natural surroundings are more than enough for her and her true lover. • In a number of the poems the countryside is the place of happy intimacy. The man and the woman make their bed in the great outdoors and enjoy each other’s company.

01 God's Beloved: Transformed by Seeing Who You Are to God

03 the Beauty of God: Transformed by Seeing Who God Is

Presence of God

Song of Solomon - the Journey of Love

09 Dark in Heart, but Lovely to God (Song 1:5)

04 Delighting in God's Beauty (Song 1:16)

A Believer's Identity in God's Beauty

The Bride's Life Vision (Song 1:2-4)

05 the Beauty of the Bride (Song 1:15; 4:7)

An Overview of the Storyline in the Song of Solomon

The Paradox of Grace: Dark but Lovely

Song of Solomon Part 3 (With Korean Translation)

Song of Solomon Part 2 (With Korean Translation)

Leaning Upon Her Beloved

A Bundle of Myrrh Is My Well-Beloved Unto Me

Sitting at the Table With King Jesus

Let Him Kiss Me With the Kisses of His Mouth

Kisses

Spiritual Energy

Marked by Christly Fragrance

Introduction

Introduction

Introduction

Verse 1

Verse 2

Verse 3

Verse 4

Verse 5

Verse 6

Verse 7

Verse 8

Verse 9

Verse 10

Verse 12

Verse 13

Verse 14

Verse 15

Verse 16