Song of Solomon 8
NASB (UPDATED) TEXT: Son 8:1-3 1”Oh that you were like a brother to me
Who nursed at my mother's breasts.
If I found you outdoors, I would kiss you;
No one would despise me, either.
2I would lead you and bring you
Into the house of my mother, who used to instruct me;
I would give you spiced wine to drink from the juice of my pomegranates.
3Let his left hand be under my head
And his right hand embrace me.”
Son 8:1 The fifth poem extends from Son 6:4 to Son 8:4 . In Son 8:5 a sixth poem begins; some call it an epilogue (NJB). It occurs in the north and is characterized by several changes in speakers (notice NKJV's characters):
1. the Beloved to the daughters of Jerusalem, Son 8:3-4 2. a relative speaks, Son 8:5 a, Son 8:5 b
3. the maiden to her beloved, Son 8:6-7 4. the maiden to her brothers, Son 8:8-9 5. the maiden, Son 8:10-11 6. the maiden to Solomon, Son 8:12 7. the Beloved, Son 8:13 8. the maiden, Son 8:14 But this is just one of many theories. The poem itself never designates a change of speaker, except by:
1. gender change
2. subject change
3. groups specifically named
4. a context change (i.e., geographical or imagined)
Son 8:1 “Oh that you were like a brother to me” Apparently some people were ridiculing her for her public expression of affection and she was wishing that her lover was a member of her own family where no one would question their fondness and expressions of family love to each other.
Just a further comment about this public display of affection. The maiden does not want to violate the taboos of her culture (i.e., public display of affection), but she wants so badly to be with her lover. It seems that the hapax legomenon, “clinging” or “leaning” (BDB 95:2 , KB 127:9 , Hithpael PARTICIPLE) of Son 8:5 is exactly this. It is uncertain who the feminine “who is this” refers to:
1. the daughters of Jerusalem
2. the maiden
If the maiden, then she is returning from a secret rendevous with her lover in a very public way (almost flaunting it). This may have elicited her brothers' comments of Son 8:8-9 (esp. Son 8:9 , lines 3-4).
▣ “Who nursed at my mother's breast” This has been interpreted in several ways:
1. just another way of identifying her natural brothers
2. he should suckle her breasts like a child (i.e., “drink from the juice of pomegranates,” Son 8:2 )
3. she learned to nurse by watching her mother (“my mother, who used to instruct me,” Son 8:2 )
I think option #1 is best in this context.
▣ “despise” This term (BDB 10:0 I, KB 11:4 , Qal IMPERFECT) is used several times in this chapter (Son 8:1 ; Son 8:7 [twice]) and is common in Proverbs, but not in Job or Psalms (which used BDB 10:0 II, “contempt,” several times).
The maiden wants to show affection for her lover, but this can only be done in private, so she wishes they were brother and sister because children within the family were allowed to express affection for each other whenever and wherever they met.
Son 8:2-3 It is obvious that the family fondness of Son 8:1 (kiss you) has widened to the erotic allusions of Son 8:2-3 :
1. give you spiced wine to drink
a. strong wine (cf. Son 1:2 ; Son 1:4 ; Son 4:10 ; Son 5:1 )
b. from pomegranates, which were seen as a fertility symbol (cf. Son 4:3 ; Son 6:7 ; Son 7:12 )
c. Son 8:3 is a position for love (cf. Son 2:6 ; Pro 5:20 )
Song of Songs has much in common with other ancient Near Eastern love poetry. In Egyptian love poems the mother of the bride is mentioned often, as is the term “brother,” as a reference to the new husband. Family was very important in the ancient world. Marriage truly did combine two families.
Son 8:2 “my mother, who used to instruct me” This is how the MT (and most English translations) reads. Some change “teach” (BDB 54:0 , KB 53:1 , Piel IMPERFECT) to “conceive” (RSV), mentioned in Son 3:4 ; Son 6:9 ; and Son 8:5 (footnote of JPSOA, p. 1576). This is because the VERB (THIRD PERSON FEMININE SINGULAR) does not fit well (cf. UBS Handbook For Translators, p. 218).
It is surely contextually possible that the reference to the one who will teach is the male lover! He will teach her the ways of love in her own home. In poetry the formal distinctions of gender and grammar are loosened for effect and imagery.
NASB (UPDATED) TEXT: Son 8:4 4”I want you to swear, O daughters of Jerusalem,
Do not arouse or awaken my love
Until she pleases.”
Son 8:4 This statement is repeated in Son 2:7 ; Son 3:5 , and here. It seems to be a reference to the harem, but it refers to patience in lovemaking until the right moment comes for both lovers.
It functions as a literary marker to end a section.
NASB (UPDATED) TEXT: Son 8:5 a
5”Who is this coming up from the wilderness
Leaning on her beloved?”
Son 8:5 The speaker is uncertain. The verse is either divided into two separate sayings (NKJV, JPSOA) or the 3rd and 4th lines begin a section continuing through Son 8:7 (NASB, NIV).
The first two lines of poetry may refer to Solomon's travelling palanquin from Son 3:6-11 and may be the source of the strange allusion of Son 6:10 (line 4).
However, it may also refer to the northern young lover from whom the maiden was estranged by an arranged marriage (cf. Song of Solomon 5 :b-7, 9, 12).
▣ “Leaning” This is a hapax legomenon (BDB 95:2 , KB 127:9 ). From cognate usage, the root implies “a leaning back” or “to lie against a table,” or “recline.”
NASB (UPDATED) TEXT: Son 8:8-9 8”We have a little sister,
And she has no breasts;
What shall we do for our sister
On the day when she is spoken for?
9If she is a wall,
We will build on her a battlement of silver;
But if she is a door,
We will barricade her with planks of cedar.”
Son 8:8-9 “We have a little sister” This seems to refer to her brothers in the north (cf. Son 1:6 ) and their protective attitude toward her. This attitude had two objects:
1. to protect her virginity until marriage (Son 8:8-9 , line 2)
2. if she was promiscuous (cf. Son 1:6 and the secret meetings in the country mentioned throughout the book), they would restrict her freedoms and movements (Son 8:9 , lines 3-4)
Son 8:9 “barricade” This word (BDB 84:8 II) means “confine,” “bind,” or “besiege.” It is never used of “decorate.” The commentators who interpret this verse as “adornment” (NIDOTTE, vol. 1, p. 963) get this from the CONSTRUCT (BDB 53:1 and 7:2 ) “boards of cedar.” I see the poetic line as one of restriction and lack of freedom. The maiden has been violating standards of public decency.
NASB (UPDATED) TEXT: Son 8:10-12 10”I was a wall, and my breasts were like towers;
Then I became in his eyes as one who finds peace.
11Solomon had a vineyard at Baal-hamon;
He entrusted the vineyard to caretakers.
Each one was to bring a thousand shekels of silver for its fruit.
12My very own vineyard is at my disposal;
The thousand shekels are for you, Solomon,
And two hundred are for those who take care of its fruit.”
Son 8:10-14 She has eyes only for him (if it is Solomon, even in the midst of his harem she will patiently wait for him because she knew she was his favorite). The monogamous implications of Son 2:16 ; Son 6:3 ; and Son 7:10 make it hard for me to think it is Solomon. I still favour the northern first love theory of Song of Songs! Even Solomon cannot buy his love (i.e., vineyard).
Son 8:10 NASB “as one who finds peace”
NKJV “as one who found peace”
NRSV, TEV “as one who brings peace”
NJB “I have found true peace”
The phrase is another euphemism for sexual activity. The focus seems to be on her bringing fulfilment to the longing lover.
Son 8:8-9 may refer to her earlier life, while Son 8:10 describes her current life.
The Hebrew term “peace” (shalom, BDB 102:2 ) has a wide semantical field. It can be metaphorical for maturity (“my breasts were like towers”) or favour or contentment. The ambiguity of poetry and the fluidity of terminology makes for great multi-level imagery! See Special Topic: Peace (shalom) <http://www.freebiblecommentary.org/special_topics/peace_shalom.html>.
Son 8:11 “Baal-hamon” If this is a geographical location, it is unknown. It may have symbolic meaning (i.e., master/lord/owner of wealth, BDB 12:8 ). If so, it is connected to Son 8:7 , lines 3-4.
When Son 8:11-12 are taken together they are similar to Son 8:7 , in that:
1. Solomon's vineyard had many who came in and out and worked it
2. She wants to be the only worker (exclusivity, cf. Son 2:16 ; Son 6:3 ; Son 7:10 )
Son 8:12 If this is the woman's reaction to the attempt to be married for money or status, then it relates directly to Son 8:7 ; Son 8:11 ! She controls her own sexuality! She cannot be bought!
NASB (UPDATED) TEXT: Son 8:13 13”O you who sit in the gardens,
My companions are listening for your voice—
Let me hear it!”
Son 8:13 This seems to be a final word from the man (the owner of the garden). The “companions” (BDB 28:8 ) are (1) wedding guests of the groom (Son 3:11 ) or (2) other shepherds (Son 1:7 ).
▣ “Let me hear it” This is a Hiphil IMPERATIVE (BDB 103:3 , KB 157:0 ), which refers to the maiden's call to come to her (cf. Son 8:14 ; Son 2:14 ).
NASB (UPDATED) TEXT: Son 8:14 14”Hurry, my beloved,
And be like a gazelle or a young stag
On the mountains of spices.”
Son 8:14 This is the final word from the maiden to the owner of the vineyard. “Hurry” (BDB 13:7 , KB 15:6 , Qal IMPERATIVE) is the word he longed to hear in Son 8:13 . It could imply:
1. come quickly to me
2. let us flee away to a secluded garden of love
▣ “be like a gazelle or a young stag” This is another Qal IMPERATIVE (BDB 19:7 , KB 22:5 ) that links to Son 2:7 ; Son 2:9 ; Son 2:17 (as a description of her lover's physical prowess).
▣ “the mountains of spices” This is another euphemism of lovemaking (cf. Son 2:17 ; Son 4:6 ). Mixing spices is common in Song of Songs (cf. Son 4:10 ; Son 4:14 ; Son 4:16 ; Son 8:14 ). It was a way to prepare for lovemaking!
This poetry is powerful, beautiful, and ambiguous. The central plot line is difficult to follow because it is a series of six love poems with similar vocabulary and poetic illusions. There may be no unifying theme. It is primarily an affirmation of the glory and joy of human sexuality (cf. Pro 5:15-19 ; Pro 30:18-19 ; see Introduction).
DISCUSSION QUESTIONS
This is a study guide commentary which means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.
These discussion questions are provided to help you think through the major issues of this section of the book. They are meant to be thought provoking, not definitive.
1. Why is this book in the canon of sacred scripture?
2. What is this book saying to us today?
3. Why have there been so many theories postulated for the different ways to interpret this book?
4. Is this book in chronological sequence?
