Song of Songs, 7 [on spousal love]

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Chapter 1, v 13-14

The maiden is still speaking. These two verses go with verse 12.

As an aside, I would like to note that ancient cultures made extensive use of tangible, concrete things from the natural world as symbols and metaphors for higher things (with some exception for Greek culture, whose abstract philosophical language was remarkable for its being outside the norm). The Song of Songs uses metaphorical language abundantly. (Our language does this as well, but to a lesser extent. We make more use of abstract, theoretical, philosophical terms.)

In verse 13 she speaks of myrrh--an ancient and valuable ingredient in perfumes and incense. In ancient cultures, myrrh was both very valuable in itself, and, valued for its scent (cf. Gen 43:11, Ps 45:8).

And so the maiden uses metaphorical language to speak of her bridegroom as myrrh--myrrh lying between her breasts. [Please note: this is Sacred Scripture, so any temptations a contemporary reader might have to perceive this kind of language in an objectifying, reductionistic, shallow, pornographic sense, ought not allow himself to go down such a path. Any erotic language in the Song of Songs must be seen as fully in harmony with the dignity of the human person and the nobility and beauty of romantic love--a love in kinship with all that upbuilds and supports a mutually reverent and respectful relationship between man and woman--a love that would never abuse another in any way.]

So, notice that she is using something to symbolize her bridegroom that provides a pleasing physical reaction (from the scent) and is highly prized. Its location provides an obvious connotation of sexual attraction. However, notice also that there is no hint of the sort of physical attraction that might be dominating. The myrrh lays in place. She is aware of it and may be reminded of her bridegroom at any time; however, while its effects may be strong it will not overpower her. A further symbolic consequence, no less important, of the myrrh's location is that it is near her heart. Her bridegroom is always near her heart. The heart is the figurative center of the person; it is where the deepest wellsprings of the self are found.

The next verse, 14, nicely confirms this chaste, pure yet passionate vision of love. Here a metaphor for her bridegroom is used that doesn't seem to have such a direct sexual connotation--henna blossoms among the vines (vineyards) of En-Gedi. Henna flowers (photo here) are clustered like lilacs and are very fragrant. They grow in dryer climates. And according to this source, henna plants were used as a protective hedge around ancient vineyards. So, there is a suggestion of protection and safety (enabling grapes to grow and later be turned into wine), as well as the powerfully pleasing factor of its strong scent. Also, there is an idea suggested by the term En-Gedi of something fruitful and rich amidst a surrounding area of barrenness, for the En-Gedi is an ancient oasis on the western shore of the Dead Sea. Here there is a spring of fresh water making possible the growth of palms and other plants amidst surroundings otherwise too dry for such greenery. This, too, suggests protection as well as providing something vital for the full flourishing of life. This kind of protection does not constrict her in the least; rather, it enables her to blossom.

And so the bridegroom is pleasing to the maiden, like a strong perfume in her nostrils. He arouses desire in her and she values him greatly. She keeps him near her heart. She sees him as a protector whose protection will help her to bring forth the rich wine she is meant to produce in her life. To her he is like the most powerfully noticeable and "fragrant" thing in the center of a great oasis. As one emerges from the dessert and approaches this oasis, when the henna is in blossom, perhaps the first thing to catch one's notice is the scent its flowers.

Such is merely a partial portrayal of the character of the maiden's love for her bridegroom.

[Photo of EinGedi garden by Ester Inbar, available from http://commons.wikimedia.org/wiki/User:ST]

Song of Songs, 6 [on spousal love]

[To see all of the earlier posts and this one gathered together in this my sporadic running commentary on the Song of Songs, look to the sidebar on the right under, "Labels," and click on Song of Songs.]

It's about time I continued commenting on the Song of Songs. So here goes.

Chapter 1, v 12

Here begins a section spanning verses 1:12--2:7 of short alternating statements of praise given first by one and then the other, the maiden and the bridegroom, for each other. It's a kind of alternating duet. This, after they have just finished uttering separate proclamations, the maiden first and then the bridegroom. This is perhaps slightly similar to the form of a contemporary love song duet that begins with one verse sung by one lover followed by the second verse by the other, and then a chorus where they come together and go back-and-forth singing single phrases in alternation with each other.

In verses 12-14 the maiden is speaking of her bridegroom. Verse 12 is perhaps suggestive that the bridegroom, though he has a homestead, lacks something. He may rest in his own room yet he does not have a wife with whom he might share his home. The contrast between the first and second half of verse 12 seems to resonate with this subtle tension. It is a tension meant to be resolved.

The man is content to a certain degree, but restless, for he senses the allure of the maiden--her "nard" calls to him. He cannot help but be aware of his desire for her. It is interesting that it is the maiden speaking here. This reveals that she is quite aware of her powers of attraction and their effects upon her bridegroom. The maiden's "nard" (which seems to symbolize the combined totality of all her womanly allure) is used with an active verb--it yields/gives forth its perfume. Thus, her beauty in all its various shades actively calls out to her lover. The maiden's beauty is like perfume that radiates out from its source--on an active mission--it seeks out and interrupts the awareness of the otherwise contented bridegroom; content, that is, until the perfume of her beauty reaches his heart and gains a firm place in his mind.

I would also suggest that the maiden does not have to try for this to happen. Her beauty calls out to him without her doing anything in particular. Her nard is active on its own and needs little extra help from her. Perfume, when the top is off the bottle, needs no help finding nostrils. It does so by its own powers.

Somehow, the maiden is aware that the entire bouquet of her particular womanly charms is meant for a particular man--her bridegroom. It is to him that the scent of her nard calls. It is this man and not any other, as he rests in his house, whose heart and mind are stirred inexorably in a special way by desire for her. Other women are attractive, but this woman's beauty speaks to him in a unique way, unlike any other. In the quiet of his abode he is aware of her presence, even when she is not physically near.

Song of Songs, 5 [on spousal love]

[To see all of the earlier posts and this one gathered together in this my sporadic running commentary on the Song of Songs, look to the sidebar on the right under, "Labels," and click on Song of Songs.]

Chapter 1, vv 10-11

These two verses are couplets and are parallel to each other (they correspond in a parallel fashion; the first part of 10 to the first part of 11 and the second part of 10 to the second part of 11). The bridegroom is speaking. He notices the earrings and necklace on his beloved. But, he does not comment on their appearance; rather, he comments on the appearance of his bride's face and neck. The ornaments are subservient to what matters here--the physical appearance of his bride. It seems somewhat like the role of a proper frame around a great work of art. A well-chosen frame helps to present and enhance the artwork, but the beauty of the art does not come from the frame but from the painting itself. The frame merely assists in drawing the onlooker to the splendor of the artwork itself.

The bridegroom recognizing the beauty of his bride seems to be a public thing. In verse 11, the fact that he will have golden earrings and silver beads (for a necklace) made for her adds an exclamation point that he not only sees her as beautiful but sees her possessing a beauty that should be recognized by others. He not only wants to see her beauty but wants others to notice her beauty as well. Having his own party make ornaments for her acknowledges this; it is like framing a beautiful work of art for more proper recognition.

Song of Songs, 4 [on spousal love]

[To see all of the earlier posts and this one gathered together in this my sporadic running commentary on the Song of Songs, look to the sidebar on the right under, "Labels," and click on Song of Songs.]

Chapter 1, v 8

The maiden may gain an understanding of her bridegroom's ways by being alert for the "tracks" of those whom he looks after. Or, another way, she may look for traces of the effects of his work in the world. These need not be great in the world's eyes. Simply, how do her groom's activities impact (whether in ways large or small) the lives of those on behalf of whom he works? Further, if she wants to get a variety of perspectives as to what sort of person he is, she might be wise to spend some time alongside those companions in his life who are closest to him.

v 9

I grew up with horses. They are excellent creatures! Mares (female horses) are not all of the same temperament. A mare who was destined to the honor of pulling the Pharaoh's chariot would surely have been hand picked as the very best among those suited by disposition for this special role. Such a horse could not be timid, "flighty" (easily scared), or overly delicate and prone to injury. A chariot horse (in a horse-like way) would have to be strong; sturdy; fearless (to forge ahead in spite of the din of war all around her); totally trusting of her driver's signals yet also possessed of tremendous and quick instincts of her own about where dangers lay on the field of battle and how to avoid them without flipping the chariot over; she would need to be fast; of extraordinary stamina and determination (to hold to a line through the battlefield and keep charging through it no matter what). In other words, superb chariot horses were very special, extraordinary creatures--and greatly prized. Certainly they were highly trained to work as a single unit in harmony with their particular drivers. And, in keeping with ancient cultures for which the horse was an integral part, it would always be best if the mare were all the above and also beautiful and glorious to behold! There truly is something very special about a beautiful horse. Horses seem to have a nobility and grace--a combination of natural majesty together with refined power--that exceeds any other creature (beyond the world of persons) on earth.

And so when the bridegroom compares his beloved to a mare of Pharaoh's chariots, this is something quite extraordinary. For the Pharaoh's mares, for sure, would have been the most superlative in power, instinct, toughness, speed, docility to the driver's touch, and fearlessness, as well as the most breathtakingly beautiful of all their noble equine sisters! Such literary comparisons perhaps pass through our minds as quaint or of little consequence. But this would not have been so for a reader belonging to an ancient Eastern culture that depended on horses in battle. Good horses were vital to the survival of their society.

Indeed, I suggest that perhaps it would have been true that in the ancient east, in a horse culture, the most flattering animal that could be used out of all the creatures of the earth as an analogy for an extraordinary and beautiful woman would be the horse. Ancient horse cultures were serious about their horses!

Song of Songs 3

I would like to return to my sporadic commentary on the Song of Songs. For my earlier posts see the first here and the second here.

Chapter 1, v 7

The maiden wants to know where her bridegroom is active about his work--where is the place where he is engaged in the world. Where is the place where he is responsible to watch over others--where is it that he has a vocation to guard, protect, and provide for others? For this, this is the place she wants to be also. The maiden senses that she is somehow fated to be joined with the destiny of the work of her groom--she is to be one with not only him, but with his vocation and his place of active engagement in the world. Until she is finally together with him and his field of action in the world, she feels a little bit lost, wandering, with no definite place to belong. Wherever he leads his 'flock' is where she wants to be; this is where she is no longer a vagabond.

[Please note these are simply my reflections based upon Sacred Scripture, following where it seems to lead; I make no claim to anything like a definitive exposition. A highly poetic and literary book of the Bible such as this especially lends itself to multiple interpretations.]

Song of Songs 2

Here is a second installment of reflections as I continue little-by-little through the Song of Songs.

[Please note: as the Song of Songs is part of Sacred Scripture it is inspired by God and thus authored by the Holy Spirit along with the human authors. This means I assume that any of the language of the Song which is an authentic part of the canonical book cannot be otherwise than to have a meaning that is entirely coherent with God's plan for human life and the Holy Spirit-guided teaching of the Church about chastity and marriage. I will always comment from within this assumption.]

Chapter 1, v 4

Again, the maiden wants to be lead by the bridegroom ("Draw me in". . .). But, this results in their becoming joined together in shared action: "let us run."

The union of the lovers is itself a cause for joy of other people. Spousal-oriented love is both private and public. An aspect of every potential marriage is public--others have a stake in this relationship, for the good of their society. It is right for other members of the lovers' local community to take joy in the lovers' relationship.

Song of Songs 1; meditation on love

For some time I have been thinking about putting down a few notes on the awesome book of scripture, the Song of Songs (also called the Song of Solomon). I suppose there's no time like the present to begin. Each new entry will be successively numbered as I go, "Song of Songs 1, 2, 3, . . ."

It is very remarkable to me that in a previous age (prior to the rift known as the Reformation) this book was the subject of a great deal of commenting by Catholic spiritual writers. But in the modern/post modern era, there seems to be hardly a mention of it. Why has there been such a big shift from great interest and excitement, to silence? I don't know. But, I would speculate that it has something to do with the fact that as we walk further away from our Christian roots, the contemporary Western world has become increasingly unable to set the erotic or passionate aspects of human sexuality into a deeply meaningful and wholesome context--the context which almighty God gave human love from the beginning.

One possible option for devout Christians to face the potential dangers of sexual passion is to identify this passion with sin and so fearfully run from it, stuffing sexuality into a small dark box only to be opened reluctantly. Another avenue (which is closer to the heart of Catholicism) is to regard eros (the especially incendiary and passionate aspect of sexual desire) with respect and even some fear and trembling--but also with a sober confidence that the grace of God can strip away what is sinful, leaving behind an eros which is pure even as it is passionate.

It is in this light that I wish to embark upon making a few comments about the Song of Songs, in the confident awareness that with God's help even our most fiery passions--rather than being needful of eradication--can be transformed and elevated and thus made more akin to the fire of love that burns in the eternal kingdom. Love can be both aflame and undefiled.

I will not attempt a verse-by-verse commentary. I will proceed by sections as they seem manageable. Here is the first. I will refer to the female beloved as "maiden" and the male lover as "bridegroom." I may sometimes quote the Scriptures but I will not attempt to give all the verses in their entirety (in other words if you want to follow along please have your own Bible handy and open to the Song of Songs.) I will be referring primarily to the New Jerusalem Bible (NJB) and secondarily to the Revised Standard Version (RSV). The number headings refer to verse numbers.

1: 1-3

O that you would kiss me with the kisses of your mouth! (RSV)

Who desires to be approached here? The maiden. Whose kisses seem to be given an initiating quality? The bridegroom's. Is the maiden thinking only in a kind of symbolic, figurative language? Not here at least. She desires real, physical kisses--the kisses "of your mouth."

for your love-making is sweeter than wine;
delicate is the fragrance of your perfume, your name is an oil poured out. (NJB)

There is a physical, tangible aspect to the love of the bridegroom. It is both sensible (e.g. "sweeter than wine") and tender. The love of the bridegroom is something that envelopes the maiden in a multitude of ways: it is present in the touch of lips (a kiss), in sweetness upon the tongue, in the alluring smell of a perfume, in the sound of the bridegroom's name as it enters the maiden's ears. It is like a valuable oil upon the skin. All the senses are taken up into love: touch, taste, smell, hearing (though sight is not yet mentioned).

The love of the maiden is specific to the unique person that is the bridegroom. It is his love, his alone, something he possesses in his individuality. The maiden says to him, it is "your" love, "your" perfume, "your" name.

The very name of the bridegroom, because it is that of her lover, is special to the maiden among all names.

The bridegroom's love is--as fine wine, delicate perfume, healthful anointing oil--something both tangible and refined.