Tuesdays Are for the Old Testament
5/21/24
Lessing, R. Reed, & Steinmann, Andrew E. (2014). "Chapter Twenty: Song of Songs." In Prepare the Way of the Lord: An Introduction to the Old Testament. St. Louis: Concordia Publishing House. (339-354).
Lessing and Steinmann note the frank discussion of attraction of man and woman found in the Song of Songs, which reflects the importance of the sexuality of humans, particularly within marriage (Lessing & Steinmann 2014, p. 339). The superscription of the text indicates it was composed by Solomon, though many scholars have seen it as a dedicatory statement. This would allow for composition after the time of Solomon, even several centuries afterward. Interpretation of the text and of Solomon's role in it is a difficult matter. He is mentioned in 3:7-11 and 8:11-12, first positively and second negatively (Lessing & Steinmann 2014, p. 340). The book has been compared to other love poetry from antiquity. However, connections are not conclusive and do little to identify date or authorship. While there are loan words which are sometimes seen in later Hebrew works, Lessing and Steinmann observe those words were also used earlier than the Persian period (Lessing & Steinmann 2014, p. 341). They find no reason to think this is not consistent with possible usage by a king who was known for wisdom and interactions with a wide spectrum of people over a large geographic area, such as Solomon. In general, critical scholars date the work later, while more conservative scholars consider it to come from the time of Solomon.
The intent of the author is a matter of considerable debate. Many early interpreters considered Song of Songs as an allegory (Lessing & Steinmann 2014, p. 342). This effectively avoided admitting of it as a sensual love song. Allegorical interpretations regularly view the work as an interpretation of the love and union between God and humans. Christians have specifically considered it as reflective of the love of Christ and the Church. Luther took the text as a depiction of "the relationship between God and Solomon, forming a kind of political allegory from which Christian rulers can learn to govern rightly" (Lessing & Steinmann 2014, p. 342). The allegorical approaches have largely fallen out of favor in recent generations. In the place of an allegorical interpretation, more modern interpreters tend to view Song of Songs as "an extended poem about the love between a man and a woman" (Lessing & Steinmann 2014, p. 343). The imagery of physical intimacy is plain on the surface of the work. Another approach to the Song of Songs is that it is based on a dramatic form, akin to something that could be present in a theatrical production (Lessing & Steinmann 2014, p. 344). They note the three main characters as the Shulamite, a country shepherd, and Solomon, with an added chorus that comments on the events. However, Lessing and Steinmann consider the dramatic lines not to be clear. Song of Songs could also be "an anthology of love poems appropriate for a wedding celebration" (Lessing & Steinmann 2014, p. 344). However, there is no known practice of using such a collection within ancient Israel. Others have suggested the work is influenced by pagan fertility cults. Again, this theory falls short as the pagan cults always have gods and goddesses as major characters, a feature which is lacking in Song of Songs (Lessing & Steinmann 2014, p. 345). Some recent interpreters have posited an understanding of it as a love poem about the marital bliss which is a gift of God and which reflects God's love for humans (Lessing & Steinmann 2014, p. 345). In the end, this kind of an analogical approach regularly becomes much like the allegory used in the past. Lessing and Steinmann suggest rather "it ought to be understood that the language in the Song is poetic and cumulatively paints a picture of this magnificent divine love" (Lessing & Steinmann 2014, p. 346). This avoids attempts at over-interpretation.
Song of Songs uses a great deal of imagery from nature, with specific mention of a dozen or more specific types of plants and at least ten animal species (Lessing & Steinmann 2014, p. 346). The pastoral settings are common, with only two different passages set in an urban scene.
Lessing and Steinmann find references to seven or more places in Israel, covering areas throughout Solomon's territory (Lessing & Steinmann 2014, p. 347). Five locations not within Israel are also referred to. The references to settings within Solomon's realm suggest to Lessing and Steinmann that it is rightly set during his reign (Lessing & Steinmann 2014, p. 347).
The structure of Song of Songs is "notoriously difficult to discern" (Lessing & Steinmann 2014, p. 348). They provide an outline, but admit that other structural analyses are possible.
Song of Songs has not always been readily accepted as canonical, primarily due to its sexual content. However, Lessing and Steinmann conclude that early evidence does place it within canonical tradition, and that attempts to exclude it are based on misunderstandings of rabbinic statements about which books "defile the hands" (Lessing & Steinmann 2014, p. 349).
Though Song of Songs does not have a large amount of substantially theological content, Lessing and Steinmann note that the text is generally understood to argue for sexuality only within marriage. This faithfulness is a significant theological concept (Lessing & Steinmann 2014, p. 350). Physical intimacy is to be between the Shulamite and her Beloved. The chorus is not to interfere in any way. There is also a signal in 8:6-7 that God claims and marks his people for himself. Appropriate relationships can be recognized (Lessing & Steinmann 2014, p. 351).
Christ may be seen in Song of Songs through the analogy of marriage and the relationship of Christ and His Church (Lessing & Steinmann 2014, p. 352). Sin and grace can be seen in the contrast of the times of abandonment and the exclusion of the chorus from the love relationship of the Shulamite and the Beloved, as well as acceptance and inclusion involved in the relationship of the man and woman (Lessing & Steinmann 2014, p. 352).
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