The Hebrew word tappuakh is most often rendered “apple (tree),” though some have suggested other fruits, arguing that the apple was not introduced into biblical lands until after the period of the OT.

In Song of Songs, the man is said to be an apple tree among the trees of the forest (Song 2:3). He provides shade for the woman, who partakes of the tree’s fruit. Later in the same book, the apple tree is also the location of lovemaking; the woman says that the man arouses her under the apple tree (Song 8:5). The apple tree stands out among all the other trees by its fruit and its scent. In love poetry it provides an ideal setting for intimacy because of its shade and the intimations of fruitfulness (fertility). In Song 2:5, apples are mentioned along with raisin cakes as food that will sustain the woman in her lovemaking, thus serving as a kind of aphrodisiac. In an equally sensuous passage (Song 7:8), the woman’s breath is said to smell like apples, thus implying that she is pleasant to be near as the man kisses her.

Excluding references to the “apple of the eye,” the apple tree occurs outside of Song of Songs only in Joel 1:12 and Prov. 25:11. In Joel 1:12, the apple tree is listed among trees that will be destroyed in the context of God’s judgment. In other words, the fertility of the orchards and forests will disappear. Proverbs 25:11 compares words spoken at the right time to golden apples set in a silver basket, a highly desirable combination. See also Apple of the Eye.

The Hebrew word tappuakh is most often rendered “apple (tree),” though some have suggested other fruits, arguing that the apple was not introduced into biblical lands until after the period of the OT.

In Song of Songs, the man is said to be an apple tree among the trees of the forest (Song 2:3). He provides shade for the woman, who partakes of the tree’s fruit. Later in the same book, the apple tree is also the location of lovemaking; the woman says that the man arouses her under the apple tree (Song 8:5). The apple tree stands out among all the other trees by its fruit and its scent. In love poetry it provides an ideal setting for intimacy because of its shade and the intimations of fruitfulness (fertility). In Song 2:5, apples are mentioned along with raisin cakes as food that will sustain the woman in her lovemaking, thus serving as a kind of aphrodisiac. In an equally sensuous passage (Song 7:8), the woman’s breath is said to smell like apples, thus implying that she is pleasant to be near as the man kisses her.

Excluding references to the “apple of the eye,” the apple tree occurs outside of Song of Songs only in Joel 1:12 and Prov. 25:11. In Joel 1:12, the apple tree is listed among trees that will be destroyed in the context of God’s judgment. In other words, the fertility of the orchards and forests will disappear. Proverbs 25:11 compares words spoken at the right time to golden apples set in a silver basket, a highly desirable combination. See also Apple of the Eye.

The location of a vineyard belonging to Solomon (Song 8:11). It might be identical to Hammon of Asher (Josh. 19:28).

In the OT, a translation synonymous with “boards” used for construction (Exod. 27:8; 38:7; 1 Kings 6:9, 15; Song 8:9; Ezek. 27:5, 6; 41:25–26), and in the NT, an alternative translation to “log” or wooden “beam” used by Jesus in comparison with a speck of dust (Matt. 7:3–5; Luke 6:41–42). The debris from Paul’s shipwreck on which he and his shipmates floated to safety in Malta included planks (Acts 27:44).

In the biblical world, documents were sealed with clay or wax (1 Kings 21:8; Job 38:14; Neh. 9:38; Jer. 32:10; Rev. 5:1). The integrity of the seal was assured by impressing an image into the soft substance, which would then harden and retain the unique image of the sender’s seal. The archaeological record attests this practice in the form of bullae (the impressions themselves, which survive long after the documents have disintegrated) as well as a large number of seals, which often were carved (Exod. 28:11; 39:6; Sir. 38:27; 45:11) into semiprecious stones or stone cylinders.

A person’s unique seal was closely identified with the owner and could be worn as a ring or pendant (see Gen. 38:18; Esther 8:8; Song 8:6). Besides documents, we have records of the sealing of caves (Matt. 27:66; cf. Dan. 6:17; 2 Macc. 2:5) and bags (Job 14:17; Tob. 9:5). In apocalyptic literature, seals are used to conceal prophecies of the future (Dan. 12:4) and to mark humans as belonging to God (Rev. 7:3–8).

In the OT, an underworld place to which all were destined after death. The Hebrew word she’ol is generally translated as “the grave” in modern versions of the Bible, including the NIV. Sheol appears in the OT most frequently in songs and prayers (David’s song [2 Sam. 22:6]; Hannah’s prayer [1 Sam. 2:6]; many references in Psalms), as well as in the wisdom books of Job and Proverbs. The ancient Israelites visualized the cosmos as comprised of three distinct realms: heaven, the realm of the divine; earth, the realm of humanity and God’s creation; and Sheol, a place underneath the earth and the seas, the realm of the dead (Job 11:8; 26:5–7).

The Realm of the Dead

In the OT, Sheol is not a place of judgment or of God’s wrath, but rather a realm that harbored those who had died. Sheol was the great equalizer in the OT, as it was thought to be inhabited not only by the masses, but also by the rich and powerful (Job 3:19; Isa. 5:14; 14:9, 11), the bravest of warriors (Ezek. 32:21), the righteous (Gen. 37:35; Isa. 38:10; Ps. 30:3, 9), the wicked (Num. 16:30, 33), indeed everyone (Ps. 89:48; Eccles. 9:10). Although Sheol itself is not a place of judgment, it is connected to God’s wrath in the OT. The consequence of God’s wrathful judgment is frequently an early descent into Sheol (Num. 16:30; 1 Kings 2:6; Job 24:19; Ps. 31:17; Isa. 38:10; Ezek. 31:17). Premature death is the result of God’s wrath and judgment in the OT, not the descent into Sheol, which itself is inevitable.

Descriptions of Sheol do not occur in third-person narratives or in legal material, but are found only in first-person speeches throughout the OT. Moreover, Sheol is never described in full detail but is referred to only occasionally. Similar to depictions in other ancient Near Eastern cultures, descriptions of Sheol in biblical texts locate it in the farthest depths beneath the earth (Job 11:8; 26:6–13; Ps. 139:8) and the seas (Ezek. 31:15; Jon. 2:4), as contrasted with the heavens above. Sheol is portrayed as a watery underworld (Ps. 69:1–2, 13–15; Jon. 2:6), a place of darkness (Job 17:13; Ps. 88:3, 6, 12), of silence (Pss. 6:5; 31:17; Isa. 38:18), with gates at its entrance (Isa. 38:10; Jon. 2:7). By contrast, Sheol is also portrayed as a place of peace (1 Kings 2:6; Job 21:13), a place where greetings and conversations might take place (Isa. 14:9), where one would be reunited with a loved one who had already died (Gen. 37:35).

Sheol is a place where the fullness of joy in life no longer abides, for one cannot praise God in Sheol (Ps. 6:5; Isa. 38:18–19). Indeed, the book of Ecclesiastes encourages readers, “Eat your food with gladness. . . . Enjoy life with your wife, whom you love. . . . For in the realm of the dead [Sheol] . . . there is neither working nor planning nor knowledge nor wisdom” (9:7–10). In a similar manner, the book of Sirach in the Apocrypha states that one must fully enjoy one’s earthly life, for no pleasures are to be found in Sheol (14:16). Job, however, views Sheol as a positive alternative to his tragedies, and he imagines Sheol to be a peaceful place where earthly struggles give way to rest, even for the wicked (Job 3:1–19).

Sheol often is personified along with the figure of Death, particularly in the prophetic literature and Proverbs. Portrayals of Sheol generally are synonymous with those of Death and match iconographic representations of the god Death (Motu) in the ancient Near East. Sheol is portrayed as a monster with formidably large jaws (Isa. 5:14) and clutching hands (Ps. 89:48; Hos. 13:14), employing plagues and scourges to slay its victims (Hos. 13:14), as well as snares and traps (2 Sam. 22:6; Ps. 116:3) to feed its insatiable appetite (Prov. 1:12; 27:20; 30:16; Song 8:6; Hab. 2:5).

Sheol is not, however, a place outside the authority and power of Yahweh. Indeed, it is a place that is open to God’s vision (Job 26:6) and within the reach of God’s hand (Amos 9:2). The realm of Sheol is under the purview of God’s authority, and those who dwell there are not separated from God’s presence: “If I go up to the heavens, you are there; if I make my bed in the depths [Sheol], you are there” (Ps. 139:8). Yet the OT maintains that one’s life of faith in God is altered in Sheol. According to Ps. 6:5, “Among the dead no one proclaims your name. Who praises you from the grave [Sheol]?” And, indeed, “those who go down to the pit cannot hope for your faithfulness” (Isa. 38:18). These texts imply that although Yahweh’s presence remains with those who dwell in Sheol, the dead are unable to respond to God in praise and trust as they did in life.

The Afterlife and Resurrection

Belief in the afterlife was common in the ancient Near East. Thus, it is remarkable that the OT is so restrained in the hope that it offers for life after death. Most OT texts affirm that no one returns from Sheol (Job 7:9; Isa. 38:10, 18; cf. Sir. 48:5). Yet the question remains open. God’s limitless sovereignty is acknowledged in the prayer of Hannah: “The Lord brings death and makes alive; he brings down to the grave [Sheol] and raises up” (1 Sam. 2:6). Thus, Yahweh has the power to raise people up from Sheol, but whether he will choose to do so is a question unanswered in the OT.

Hints of resurrection from the grave can be found in the metaphoric use of Sheol in the psalms and the prophetic literature to represent dire struggle and sin from which the psalmist or Israel receives healing and deliverance: “I will deliver this people from the power of the grave [Sheol]; I will redeem them from death. Where, O death, are your plagues? Where, O grave [Sheol], is your destruction?” (Hos. 13:14 [see also Job 14:13; Pss. 16:10–11; 30:2–3; 49:13–15; 86:13; Jon. 2:3]). However, it is unclear whether these texts portray salvation after descent into Sheol has already taken place or, rather, Yahweh’s deliverance experienced as a protection from descending into Sheol in the first place. Stronger hints at a bodily resurrection come from the narratives in which the prayers of Elijah and Elisha result in a resurrection from the dead (1 Kings 17:17–24; 2 Kings 4:17–37).

When the OT was translated into Greek for Hellenized Jewish readers, “Sheol” was translated as “Hades,” importing a similar Greek concept of the underworld into the biblical text. The NT uses the words “Hades” and “hell” interchangeably; however, the distinction between the grave and hell is maintained. The grave is simply a place to which all are destined, as was Sheol. Thus, it is not until the NT that firm conceptualizations of a place for eternal punishment, as well as a place of eternal reward, emerge. Jewish literature written between the OT and the NT demonstrates a stronger hope in the resurrection, yet these texts largely parallel the OT usage of Sheol as simply an underworld abode of the dead. It is not until the coming of Christ that the resurrection from the dead transforms from a glimmer of hope to a resplendent promise in the Bible.

In the Bible, words for “spice” include the Hebrew bosem (NIV: “spice, perfume, fragrance”) and sam (NIV: “fragrant incense, fragrant spice”) and the Greek arōma and amōmon (NIV: “spice”). Aromatic vegetable products were used either to season food or as perfuming agents, and sometimes as both. The Greek term amōmon occurs only in Rev. 18:13, in this context probably referring to a spice from India. The term arōma occurs only in Mark 16:1; Luke 23:56; 24:1; John 19:40, where it is not technically part of an embalming process, since it does not stop decomposition, but rather is intended to offset the odor of death. If a funeral pyre is not intended in 2 Chron. 16:14, the spices there serve this same function. The Hebrew term sam occurs most frequently in Exodus in connection with the incense to be burned before God (Exod. 25:6; 30:7, 34; 31:11; 35:8, 15, 28; 37:29; 39:38; 40:27; cf. Lev. 4:7; 16:12; Num. 4:16; 2 Chron. 13:11). The term bosem occurs more widely throughout the OT with reference to both fragrances (e.g., Isa. 3:24) and spices (e.g., 1 Kings 10:10) and can modify the name of specific spices, as in Exod. 30:23: “cinnamon spice” (NIV: “fragrant cinnamon”) and “cane spice” (NIV: “fragrant calamus”).

Spices were in high demand, making food and living more enjoyable, especially for the wealthy. They were used in food (implicit in Ezek. 24:10) and drink (Song 8:2). The spice trade forged the earliest routes from northern India to Sumer, Akkad, and Egypt (cf. Gen. 37:25). Trade led to cultural exchange and, in the time of Solomon, to national wealth from tolls collected on such shipments. Ezekiel 27:22 and Rev. 18:13 show the value associated with this trade, and 2 Kings 20:13 places spices among King Hezekiah’s “treasures.” The sensual luxury of spices could be erotic (e.g., Esther 2:12; Song 5:1; 6:2; 8:14); indeed, Song of Songs, though short, uses the word bosem more than any other book in the OT. Some spices, such as frankincense, were important to worship rituals in ancient Israel, being used in offerings (Lev. 24:7) and in the anointing oil and incense (Exod. 25:6; 30:22–38). Producing the right mixtures required skilled individuals (Exod. 30:25; 1 Chron. 9:29–30).

The list below includes a number of spices named in the Bible.

Aloe (Heb. ’ahalim, ’ahalot; Gk. aloē). In the OT this probably refers to Aquilaria agallocha, a spice derived from the eaglewood tree and used to perfume cloth (Ps. 45:8; Prov. 7:17; Song 4:14). In the NT, it refers to the juice from Aloe vera leaves (John 19:39).

Balm (Heb. tsori). Apparently native to Gilead, the plant is now unknown. The earliest association is with stacte (Commiphora gilea-densis), which does not currently grow in Gilead. Noted for its healing benefit to wounds (Jer. 8:22; 46:11; 51:8), balm was exported (Gen. 37:25; 43:11; Ezek. 27:17).

Calamus (Heb. qaneh). Also known as sweet flag (Acorus calamus), calamus was used for its aroma and as a tonic and stimulant (Song 4:14; Isa. 43:24; Jer. 6:20; Ezek. 27:19).

Caraway (Heb. qetsakh). The seeds of this plant (Nigella sativa) were used as a condiment and to ease intestinal gas. A light beating freed the seeds without crushing them (Isa. 28:25, 27).

Cassia (Heb. qiddah, qetsi’ah). These Hebrew terms probably refer to an aromatic similar to cinnamon, like the bark of the Cinnamomum aromaticum, or more likely the Cinnamomum iners of Arabia and Ethiopia (Exod. 30:24; Ps. 45:8; Ezek. 27:19).

Cinnamon (Heb. qinnamon; Gk. kinna-mōmon). A local variety of cinnamon, or “true cinnamon” (Cinnamomum zeylanicum) imported from Sri Lanka (Exod. 30:23; Prov. 7:17; Song 4:14; Rev. 18:13). Loosely related may be the “spice” (Gk. amōmon) of Rev. 18:13; the word often appears alongside “cardamom” in extrabiblical writings; it perhaps indicates black cardamom.

Coriander (Heb. gad). Also known as cilantro, this has long been used as a food seasoning; it also served as a medicine to aid digestion and sleep (Exod. 16:31; Num. 11:7).

Cumin (Heb. kammon; Gk. kyminon). Cuminum cyminum, which is similar to caraway in taste and appearance, has long been cultivated in Palestine as a seasoning. Like caraway, it is threshed to keep the seeds intact (Isa. 28:25, 27; Matt. 23:23).

Dill (Gk. anēthon). Used for seasoning, this herb (Anethum graveolens) was among those tithed by the Pharisees (Matt. 23:23).

Frankincense (Heb. lebonah; Gk. libanos). This fragrant resin from trees of the genus Bos-wellia was used in worship (Exod. 30:34; Lev. 24:7) and was among the gifts brought to Jesus at his birth (Matt. 2:11).

Gum resin (Heb. natap). Also known as stacte, this ingredient of the holy incense (Exod. 30:34) was derived from either Commiphora gileadensis (balm of Gilead) or Styrax officinale.

Mint (Gk. hēdyosmon). Most likely Mentha longifolia, it was tithed by the Pharisees (Matt. 23:23; Luke 11:42).

Myrrh (Heb. mor, lot; Gk. smyrna, cf. myron). A resin exuded from incisions in the branches of trees such as Commiphora myrrha and Commiphora kataf and useful for its fragrance and antiseptic properties (Exod. 30:23; Ps. 45:8; Prov. 7:17; Song 1:13; 3:6; Esther 2:12). Hebrew lot (Gen. 37:25; 43:11) probably refers to labdanum.

Nard (Heb. nerd; Gr. nardos). In the OT (Song 1:12; 4:13–14), camel grass (Cymbopogon schoenanthus) from northern Africa and Arabia probably is in view, but in the NT (Mark 14:3; John 12:3), Nardostachys jatamansi from Nepal is suggested. Nard was used as an ointment or perfume.

Rue (Gk. pēganon). Mentioned only in Luke 11:42, Ruta chalepensis was cultivated to flavor food and was thought to have medicinal value.

Saffron (Heb. karkom). Produced from the flowers of the Crocus sativus, native to Greece and Asia Minor, this expensive spice was used not only for culinary purposes but also as an antispasmodic and emmenagogue (Song 4:14).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

In the list of clean animals in Deut. 14:5, “antelope” (Heb. te’o) may refer to the Arabian or desert oryx (NET: “wild oryx”). The oryx was eaten as food and offered in sacrifice; bones have been found at both domestic and religious sites. Although only the size of a donkey, it has long, straight horns that it uses ferociously in self-defense, and this gave it a reputation for strength and bravery. Another possibility is the equally fierce water buffalo. When Isaiah describes Israel as an antelope lying in a net (Isa. 51:20), this image probably portrays the mighty fallen rather than the weak oppressed.

Three other biblical animals belong to the modern category “antelope”: (1) the dishon (Deut. 14:5), sometimes translated “ibex” (NIV, NRSV) or “pygarg” (KJV [from the Greek for “white-rumped”]), but probably an antelope (NJB), either the “addax” (NAB) or one of the two white-rumped Kobus antelope species known in Israel; (2) the tsebi, a gazelle (Deut. 12:15, 22; 14:5; 15:22; 2 Sam. 2:18; 1 Kings 4:23; 1 Chron. 12:8; Prov. 6:5; Song 2:7, 9, 17; 3:5; 4:5; 7:3; 8:14; Isa. 13:14); (3) the yakhmur (NIV: “roe deer,” “roebuck”; NRSV: “roebuck”), possibly the Bubal hartebeest (Deut. 14:5; 1 Kings 4:23).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

By its title, Song of Songs claims to be the most sublime song of all. The history of its interpretation also reveals that it may be the most misunderstood song as well. The reader of this book is dazzled by its intensity and honest expression of desire for intimate relationship. No wonder that early theologians who thought that the body was only a temporary casing for the all-important spirit felt that this book could not be talking about what it appeared to be talking about. Thus, for example, when the woman describes the man as a sachet of myrrh lodged between her breasts (1:13), this had to be a reference to Christ spanning the OT and the NT (so Cyril of Alexandria). But over time this book could not be suppressed by such interpretive strategies. Today most readily acknowledge that Song of Songs is love poetry that articulates human desires as well as our joys and worries.

Genre, Structure, and Outline

As implied by the preceding paragraph, Song of Songs is not an allegory. It is love poetry, in which a man and a woman express their deepest longings and desires to each other. They want to be in each other’s passionate embrace. This book celebrates love between a man and a woman.

Some interpreters believe that Song of Songs is a drama or at least tells a story of a particular love relationship. Although there are almost as many different suggestions of a story as there are advocates of the so-called dramatic approach, two main types emerge. One approach believes that there are two characters, a lover and his beloved, and the plot entails their growing relationship, sometimes following the pattern of courtship, engagement, marriage, honeymoon, and so forth. Occasionally this plot is given a historical background, usually with Solomon as the man (thanks to the superscription in 1:1) and a woman who goes by the name of the “Shulammite” (6:13 [curiously, apparently a feminine form of the name “Solomon”]). On the other hand, other interpretations introduce yet a third character, an unnamed shepherd boy, who is the woman’s true love. Thus, the story is that of a love triangle. Solomon is trying or has succeeded in adding the woman to his harem, but she retains her true love toward the shepherd boy. Thus, Song of Songs is the story of true love’s triumph over power and wealth.

Other interpreters point out that if it is difficult to determine how many characters are in this supposed plot or the exact contour of the story, then interpreters must be reading too much into the book to make it work. After all, there is no narrator in the book providing narrative guidelines to the reader. Indeed, there are not even indications of who is speaking when (thus modern translations insert italicized text headings such as “Beloved,” “Lover,” and “Friends” to identify speakers).

Such interpreters argue that Song of Songs does not tell a story but rather is a kind of “love Psalter” containing a number of different love poems. In other words, it is an anthology, a collection, of love poems united by a consistency of character and imagery as well as the occasional recurrent refrain. The book is truly a “Song [composed] of [many] Songs.” The exact number of poems in this anthology can be debated and is unimportant for their interpretation. The important point is that readers do not force connections between poems that are not there. However, the following division, after the superscription (1:1) into twenty-three poems may not be far off the mark.

I. Superscription (1:1)

II. Poem 1 (1:2–4)

III. Poem 2 (1:5–6)

IV. Poem 3 (1:7–8)

V. Poem 4 (1:9–11)

VI. Poem 5 (1:12–14)

VII. Poem 6 (1:15–17)

VIII. Poem 7 (2:1–7)

IX. Poem 8 (2:8–17)

X. Poem 9 (3:1–5)

XI. Poem 10 (3:6–11)

XII. Poem 11 (4:1–7)

XIII. Poem 12 (4:8–9)

XIV. Poem 13 (4:10–5:1)

XV. Poem 14 (5:2–6:3)

XVI. Poem 15 (6:4–10)

XVII. Poem 16 (6:11–12)

XVIII. Poem 17 (6:13–7:10)

XIX. Poem 18 (7:11–13)

XX. Poem 19 (8:1–4)

XXI. Poem 20 (8:5–7)

XXII. Poem 21 (8:8–10)

XXIII. Poem 22 (8:11–12)

XXIV. Poem 23 (8:13–14)

Date and Authorship

The conclusion that Song of Songs is a collection of love poems has implications for the date and authorship of the book. It is true that the superscription (1:1) associates the book with Solomon, and this connection must be taken seriously because there is no indication that the superscription is not a part of the canonical final form of the book. In light of a similar superscription in the book of Proverbs, however, this does not mean that Solomon wrote the entire book or that it is about him. Indeed, Solomon’s track record in love is dubious both in the book (Song 8:11–12) and outside it (1 Kings 11:1–13). Perhaps as in Proverbs, he is considered the fountainhead of the composition of the book, and like Psalms and Proverbs, the book came into existence over a lengthy period of time and as a result of several composers. If so, the final form bears the mark of a single editor who brought it all together at an unknown date within the period of the formation of the OT.

Theological Message

Song of Songs celebrates love between a man and a woman. It reminds the people of God that intimate relationship is a divine gift that should be enjoyed. Although joy is indeed the dominant note of the book, the reader is warned that love is a powerful emotion that has its disappointments (so begins the poem in 5:2–6:3). Accordingly, the woman makes sure that the young girls who are watching and looking at her understand that it is important not to hurry love (2:7; 3:5; 8:4).

But we must not read Song of Songs in isolation from the rest of the canon. This book describes the man and the woman in the garden as naked and enjoying each other. How can the reader not think of the garden of Eden? God created a man and a woman and established marriage as a source of mutual joy (Gen. 2:23–25). The next chapter, however, narrates the fall, where the rebellion against God results in alienation not only between God and Adam and Eve, but also between Adam and Eve. Their estrangement results in their efforts to cover themselves from the gaze of the other and their ejection from the garden. The poems of Song of Songs, then, may be seen as the story of the “already but not yet” redemption of sexuality.

Last, the broader canon frequently uses marriage as a metaphor of the relationship between God and his creatures (e.g., Ezek. 16; 23; Hos. 1–3). In other words, the more we learn about intimate marital relationships, the more we learn about our intimate relationship with God. Thus, Song of Songs may be read in a way that deepens our understanding of God and his love toward his people (cf. Eph. 5:21–33).

Continuing Significance

The opening chapters of Genesis describe human beings as creatures who were created for relationship, relationship with God to be sure, but also relationship with other people. Genesis 2:18–25 narrates the origin of the institution that formalizes the most intimate of human relationships, that between a man and a woman in marriage. The story continues in Gen. 3 on a tragic note when, because of sin, a barrier is erected between the man and the woman. Song of Songs poetically celebrates the redemption of the marriage relationship and encourages couples to grow closer to each other. The poems are not a how-to manual for courtship or intimate behavior, but they invite couples to cultivate their own love language and intimacies.

By its title, Song of Songs claims to be the most sublime song of all. The history of its interpretation also reveals that it may be the most misunderstood song as well. The reader of this book is dazzled by its intensity and honest expression of desire for intimate relationship. No wonder that early theologians who thought that the body was only a temporary casing for the all-important spirit felt that this book could not be talking about what it appeared to be talking about. Thus, for example, when the woman describes the man as a sachet of myrrh lodged between her breasts (1:13), this had to be a reference to Christ spanning the OT and the NT (so Cyril of Alexandria). But over time this book could not be suppressed by such interpretive strategies. Today most readily acknowledge that Song of Songs is love poetry that articulates human desires as well as our joys and worries.

Genre, Structure, and Outline

As implied by the preceding paragraph, Song of Songs is not an allegory. It is love poetry, in which a man and a woman express their deepest longings and desires to each other. They want to be in each other’s passionate embrace. This book celebrates love between a man and a woman.

Some interpreters believe that Song of Songs is a drama or at least tells a story of a particular love relationship. Although there are almost as many different suggestions of a story as there are advocates of the so-called dramatic approach, two main types emerge. One approach believes that there are two characters, a lover and his beloved, and the plot entails their growing relationship, sometimes following the pattern of courtship, engagement, marriage, honeymoon, and so forth. Occasionally this plot is given a historical background, usually with Solomon as the man (thanks to the superscription in 1:1) and a woman who goes by the name of the “Shulammite” (6:13 [curiously, apparently a feminine form of the name “Solomon”]). On the other hand, other interpretations introduce yet a third character, an unnamed shepherd boy, who is the woman’s true love. Thus, the story is that of a love triangle. Solomon is trying or has succeeded in adding the woman to his harem, but she retains her true love toward the shepherd boy. Thus, Song of Songs is the story of true love’s triumph over power and wealth.

Other interpreters point out that if it is difficult to determine how many characters are in this supposed plot or the exact contour of the story, then interpreters must be reading too much into the book to make it work. After all, there is no narrator in the book providing narrative guidelines to the reader. Indeed, there are not even indications of who is speaking when (thus modern translations insert italicized text headings such as “Beloved,” “Lover,” and “Friends” to identify speakers).

Such interpreters argue that Song of Songs does not tell a story but rather is a kind of “love Psalter” containing a number of different love poems. In other words, it is an anthology, a collection, of love poems united by a consistency of character and imagery as well as the occasional recurrent refrain. The book is truly a “Song [composed] of [many] Songs.” The exact number of poems in this anthology can be debated and is unimportant for their interpretation. The important point is that readers do not force connections between poems that are not there. However, the following division, after the superscription (1:1) into twenty-three poems may not be far off the mark.

I. Superscription (1:1)

II. Poem 1 (1:2–4)

III. Poem 2 (1:5–6)

IV. Poem 3 (1:7–8)

V. Poem 4 (1:9–11)

VI. Poem 5 (1:12–14)

VII. Poem 6 (1:15–17)

VIII. Poem 7 (2:1–7)

IX. Poem 8 (2:8–17)

X. Poem 9 (3:1–5)

XI. Poem 10 (3:6–11)

XII. Poem 11 (4:1–7)

XIII. Poem 12 (4:8–9)

XIV. Poem 13 (4:10–5:1)

XV. Poem 14 (5:2–6:3)

XVI. Poem 15 (6:4–10)

XVII. Poem 16 (6:11–12)

XVIII. Poem 17 (6:13–7:10)

XIX. Poem 18 (7:11–13)

XX. Poem 19 (8:1–4)

XXI. Poem 20 (8:5–7)

XXII. Poem 21 (8:8–10)

XXIII. Poem 22 (8:11–12)

XXIV. Poem 23 (8:13–14)

Date and Authorship

The conclusion that Song of Songs is a collection of love poems has implications for the date and authorship of the book. It is true that the superscription (1:1) associates the book with Solomon, and this connection must be taken seriously because there is no indication that the superscription is not a part of the canonical final form of the book. In light of a similar superscription in the book of Proverbs, however, this does not mean that Solomon wrote the entire book or that it is about him. Indeed, Solomon’s track record in love is dubious both in the book (Song 8:11–12) and outside it (1 Kings 11:1–13). Perhaps as in Proverbs, he is considered the fountainhead of the composition of the book, and like Psalms and Proverbs, the book came into existence over a lengthy period of time and as a result of several composers. If so, the final form bears the mark of a single editor who brought it all together at an unknown date within the period of the formation of the OT.

Theological Message

Song of Songs celebrates love between a man and a woman. It reminds the people of God that intimate relationship is a divine gift that should be enjoyed. Although joy is indeed the dominant note of the book, the reader is warned that love is a powerful emotion that has its disappointments (so begins the poem in 5:2–6:3). Accordingly, the woman makes sure that the young girls who are watching and looking at her understand that it is important not to hurry love (2:7; 3:5; 8:4).

But we must not read Song of Songs in isolation from the rest of the canon. This book describes the man and the woman in the garden as naked and enjoying each other. How can the reader not think of the garden of Eden? God created a man and a woman and established marriage as a source of mutual joy (Gen. 2:23–25). The next chapter, however, narrates the fall, where the rebellion against God results in alienation not only between God and Adam and Eve, but also between Adam and Eve. Their estrangement results in their efforts to cover themselves from the gaze of the other and their ejection from the garden. The poems of Song of Songs, then, may be seen as the story of the “already but not yet” redemption of sexuality.

Last, the broader canon frequently uses marriage as a metaphor of the relationship between God and his creatures (e.g., Ezek. 16; 23; Hos. 1–3). In other words, the more we learn about intimate marital relationships, the more we learn about our intimate relationship with God. Thus, Song of Songs may be read in a way that deepens our understanding of God and his love toward his people (cf. Eph. 5:21–33).

Continuing Significance

The opening chapters of Genesis describe human beings as creatures who were created for relationship, relationship with God to be sure, but also relationship with other people. Genesis 2:18–25 narrates the origin of the institution that formalizes the most intimate of human relationships, that between a man and a woman in marriage. The story continues in Gen. 3 on a tragic note when, because of sin, a barrier is erected between the man and the woman. Song of Songs poetically celebrates the redemption of the marriage relationship and encourages couples to grow closer to each other. The poems are not a how-to manual for courtship or intimate behavior, but they invite couples to cultivate their own love language and intimacies.

The blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

The blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

The blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

When God creates humans, he pronounces them “very good/beautiful” (Gen. 1:31). They are designed to be magnificent visual displays of God’s character (1:26–27). Human sexuality originally is set in a context of overwhelming beauty. God’s first command is to reproduce and extend this paradise throughout the earth (1:28). Human sexuality is not simply a mechanism for reproduction. From the outset it has been about completion, without which there is loneliness (2:18).

Although the Bible does not define the distinctives of masculinity and femininity in any detail, it does defend that there are distinctions between the genders. Behaviors that confuse the genders are explicitly condemned (Deut. 22:5; 1 Cor. 6:9; 11:4–16).

Homosexual intercourse (Lev. 18:22; 20:13; Rom. 1:24–27; 1 Cor. 6:9; 1 Tim. 1:10) and intercourse with an animal (Exod. 22:19; Lev. 18:23; 20:15–16; Deut. 27:21) are violations of God’s created order.

Nakedness

“Nakedness” is confined to the genitals and buttocks (Exod. 20:26; Isa. 20:2–4; Ezek. 23:18, 29; Nah. 3:5) and, after the fall, is synonymous with shame (Gen. 3:7–10; 1 Sam. 20:30; Isa. 47:3; Jer. 13:26; Mic. 1:11; Nah. 3:5; Rev. 3:18; cf. Rom. 1:23–24; 1 Cor. 12:23–24). A woman’s breasts are recognized as erotic (Prov. 5:19; Ezek. 23:3, 21) but not shameful. God slaughters an animal in order to cover nakedness (Gen. 3:21). Ultimately, when sin and death are removed and the body raised, the redeemed will have no shame and will be clothed only in their righteousness (Rev. 19:5–9).

Exposing nakedness is an action used to humiliate enemies (2 Sam. 10:4–5; 1 Chron. 10:9; Isa. 47:3). Jesus is stripped naked (Matt. 27:28, 35–36). Violating another’s nakedness includes touching or seeing (Deut. 25:11) and produces extreme personal disgrace (Lev. 18:6–19 NASB; Hab. 2:15–16). It is an act of grace to cover another’s nakedness (Isa. 58:7; Ezek. 18:7, 16). To even talk or laugh about inappropriate exposure brings dishonor (Gen. 9:21–23). The overarching principle is purity (Lev. 18:24).

Marriage and Adultery

Although damaged by sin, marriage continues to be the ultimate human relationship involving intimacy, privacy, and liberty. Marriage is defined by a covenant—a contract witnessed and enforceable, not just a promise made in private. The couple separate from their parents to become “one flesh” (Gen. 2:24).

Once the marriage contract is agreed upon, the couple are married. They cannot consummate the marriage until the economic commitments of the contract have been delivered (Matt. 1:18; 25:1–13). This is celebrated with a feast. Jesus uses this custom as an analogy for his departure and return (John 14:1–3).

Paul commands husbands to love their wives (Eph. 5:25–33; cf. Gen. 24:67; 29:20; 1 Sam. 1:5; Eccles. 9:9; Song 8:6–7). Nowhere in the Bible is a wife commanded to love her husband, though older women should teach younger women to do so (Titus 2:3–4). Love is the husband’s responsibility. Love is a command that can be obeyed, not just a pleasurable feeling over which one has no control. The model of husbandly love is Jesus laying down his life for his people.

The ecstasy of making love is celebrated in the erotic Song of Songs, which holds out the hope of such marital delight even now. The axiom of marriage is a righteous jealousy (cf. Exod. 20:5; 34:14; Num. 5:14, 30; Prov. 6:34).

The first year of marriage is especially important and is protected by exemption from military service (Deut. 20:7; 24:5).

When a man dies without a male heir, his widow’s possession of that part of the family estate can result in her marrying a man from another family and so alienating that land. This can be resolved either by the injustice of eviction or by the device of levirate marriage. The nearest male relative of the deceased husband marries the widow, and their son then inherits the deceased husband’s name and title to the land (Deut. 25:5–10; cf. Gen. 38; Ruth).

Concubines are wives from poor families, slaves, or captives, and their marriages are protected (Exod. 21:7–9; Deut. 21:11–14).

Rape of a married woman constitutes adultery by the rapist, not the victim. Consensual sex with a married woman is adultery by both parties. Rape of a single woman is treated as fornication, with no blame attached to the woman. Her father has the option of letting her marry the man or receiving significant financial compensation (Exod. 22:16–17; Deut. 22:23–27). Her father has the right to take the money and refuse the marriage. To falsely accuse a woman of adultery is a crime (Deut. 22:13–21).

Prostitution is an extreme form of adultery or fornication and totally forbidden (Lev. 19:29; Deut. 23:17). Under the new covenant, this warning is heightened by the reality of the gift of the Holy Spirit transforming each believer into the temple of the Lord (1 Cor. 6:15–20).

Originally, marriage between siblings is implied (Gen. 4:17, 26; 5:4). Abram married his half sister, Sarai (Gen. 20:12; cf. Gen. 11:29; Num. 26:59). The Mosaic covenant at Sinai bans marriage to blood relationships closer than first cousins and to in-laws (Lev. 18:6–30; cf. 2 Sam. 13; 1 Cor. 5:1).

Polygamy occurs soon after the fall (Gen. 4:19–24). It is never explicitly forbidden in the Bible, but it is managed by OT law so as to restrain further injustice and damage. It is always seen as less than satisfactory (cf. Gen. 29–30; 1 Sam. 1:6; 2 Sam. 13; 1 Kings 1–2; 11). In the NT, monogamy is mandatory for those who would lead the church (1 Tim. 3:2, 12; Titus 1:6). (See also Premarital and Extramarital Sex.)

Self-Control and Purity

The violation of sexual purity is a decision of the heart (Ezek. 23:11; Matt. 5:28). The biblical concept of lust entails more than just physical arousal. It involves a strong desire for/coveting of (cf. James 1:14–15) something that one has no right to acquire. This establishes both the need for self-control (Titus 2:5–6) and the availability of appropriate options (1 Cor. 7:2, 5, 9). Masturbation is nowhere mentioned in the Bible (Gen. 38:9 is about failure to fulfill the levirate). The critical issue is lust.

Sexual misconduct is never the responsibility of the victim (Deut. 22:25). Nevertheless, for reasons of personal safety as well as out of concern for one another, the family of Christ must practice modesty in dress (1 Tim. 2:9) and consider how to build one another up rather than put stumbling blocks in each other’s way.

God always provides the believer with what is necessary to resist temptation and make the right choices (1 Cor. 10:13). Consequently, a significant aspect of every parent’s role is to teach godly sexual wisdom to children before they face such challenges (cf. Prov. 1–9).

The gospel requires us to view sexuality from a wider perspective. Reproduction also occurs through the preaching of the gospel, calling forth new birth and a new people (Matt. 28:18–20). This gospel call will divide families (Luke 12:53). Singleness is no barrier to one’s ability to fulfill the command to multiply and fill the earth (Isa. 56:3–8). In times of distress it may be better to remain single (1 Cor. 7, esp. v. 26). This is also a gift of God (1 Cor. 7:7), given to equip one for the fulfillment of the gospel commission.

When God creates humans, he pronounces them “very good/beautiful” (Gen. 1:31). They are designed to be magnificent visual displays of God’s character (1:26–27). Human sexuality originally is set in a context of overwhelming beauty. God’s first command is to reproduce and extend this paradise throughout the earth (1:28). Human sexuality is not simply a mechanism for reproduction. From the outset it has been about completion, without which there is loneliness (2:18).

Although the Bible does not define the distinctives of masculinity and femininity in any detail, it does defend that there are distinctions between the genders. Behaviors that confuse the genders are explicitly condemned (Deut. 22:5; 1 Cor. 6:9; 11:4–16).

Homosexual intercourse (Lev. 18:22; 20:13; Rom. 1:24–27; 1 Cor. 6:9; 1 Tim. 1:10) and intercourse with an animal (Exod. 22:19; Lev. 18:23; 20:15–16; Deut. 27:21) are violations of God’s created order.

Nakedness

“Nakedness” is confined to the genitals and buttocks (Exod. 20:26; Isa. 20:2–4; Ezek. 23:18, 29; Nah. 3:5) and, after the fall, is synonymous with shame (Gen. 3:7–10; 1 Sam. 20:30; Isa. 47:3; Jer. 13:26; Mic. 1:11; Nah. 3:5; Rev. 3:18; cf. Rom. 1:23–24; 1 Cor. 12:23–24). A woman’s breasts are recognized as erotic (Prov. 5:19; Ezek. 23:3, 21) but not shameful. God slaughters an animal in order to cover nakedness (Gen. 3:21). Ultimately, when sin and death are removed and the body raised, the redeemed will have no shame and will be clothed only in their righteousness (Rev. 19:5–9).

Exposing nakedness is an action used to humiliate enemies (2 Sam. 10:4–5; 1 Chron. 10:9; Isa. 47:3). Jesus is stripped naked (Matt. 27:28, 35–36). Violating another’s nakedness includes touching or seeing (Deut. 25:11) and produces extreme personal disgrace (Lev. 18:6–19 NASB; Hab. 2:15–16). It is an act of grace to cover another’s nakedness (Isa. 58:7; Ezek. 18:7, 16). To even talk or laugh about inappropriate exposure brings dishonor (Gen. 9:21–23). The overarching principle is purity (Lev. 18:24).

Marriage and Adultery

Although damaged by sin, marriage continues to be the ultimate human relationship involving intimacy, privacy, and liberty. Marriage is defined by a covenant—a contract witnessed and enforceable, not just a promise made in private. The couple separate from their parents to become “one flesh” (Gen. 2:24).

Once the marriage contract is agreed upon, the couple are married. They cannot consummate the marriage until the economic commitments of the contract have been delivered (Matt. 1:18; 25:1–13). This is celebrated with a feast. Jesus uses this custom as an analogy for his departure and return (John 14:1–3).

Paul commands husbands to love their wives (Eph. 5:25–33; cf. Gen. 24:67; 29:20; 1 Sam. 1:5; Eccles. 9:9; Song 8:6–7). Nowhere in the Bible is a wife commanded to love her husband, though older women should teach younger women to do so (Titus 2:3–4). Love is the husband’s responsibility. Love is a command that can be obeyed, not just a pleasurable feeling over which one has no control. The model of husbandly love is Jesus laying down his life for his people.

The ecstasy of making love is celebrated in the erotic Song of Songs, which holds out the hope of such marital delight even now. The axiom of marriage is a righteous jealousy (cf. Exod. 20:5; 34:14; Num. 5:14, 30; Prov. 6:34).

The first year of marriage is especially important and is protected by exemption from military service (Deut. 20:7; 24:5).

When a man dies without a male heir, his widow’s possession of that part of the family estate can result in her marrying a man from another family and so alienating that land. This can be resolved either by the injustice of eviction or by the device of levirate marriage. The nearest male relative of the deceased husband marries the widow, and their son then inherits the deceased husband’s name and title to the land (Deut. 25:5–10; cf. Gen. 38; Ruth).

Concubines are wives from poor families, slaves, or captives, and their marriages are protected (Exod. 21:7–9; Deut. 21:11–14).

Rape of a married woman constitutes adultery by the rapist, not the victim. Consensual sex with a married woman is adultery by both parties. Rape of a single woman is treated as fornication, with no blame attached to the woman. Her father has the option of letting her marry the man or receiving significant financial compensation (Exod. 22:16–17; Deut. 22:23–27). Her father has the right to take the money and refuse the marriage. To falsely accuse a woman of adultery is a crime (Deut. 22:13–21).

Prostitution is an extreme form of adultery or fornication and totally forbidden (Lev. 19:29; Deut. 23:17). Under the new covenant, this warning is heightened by the reality of the gift of the Holy Spirit transforming each believer into the temple of the Lord (1 Cor. 6:15–20).

Originally, marriage between siblings is implied (Gen. 4:17, 26; 5:4). Abram married his half sister, Sarai (Gen. 20:12; cf. Gen. 11:29; Num. 26:59). The Mosaic covenant at Sinai bans marriage to blood relationships closer than first cousins and to in-laws (Lev. 18:6–30; cf. 2 Sam. 13; 1 Cor. 5:1).

Polygamy occurs soon after the fall (Gen. 4:19–24). It is never explicitly forbidden in the Bible, but it is managed by OT law so as to restrain further injustice and damage. It is always seen as less than satisfactory (cf. Gen. 29–30; 1 Sam. 1:6; 2 Sam. 13; 1 Kings 1–2; 11). In the NT, monogamy is mandatory for those who would lead the church (1 Tim. 3:2, 12; Titus 1:6). (See also Premarital and Extramarital Sex.)

Self-Control and Purity

The violation of sexual purity is a decision of the heart (Ezek. 23:11; Matt. 5:28). The biblical concept of lust entails more than just physical arousal. It involves a strong desire for/coveting of (cf. James 1:14–15) something that one has no right to acquire. This establishes both the need for self-control (Titus 2:5–6) and the availability of appropriate options (1 Cor. 7:2, 5, 9). Masturbation is nowhere mentioned in the Bible (Gen. 38:9 is about failure to fulfill the levirate). The critical issue is lust.

Sexual misconduct is never the responsibility of the victim (Deut. 22:25). Nevertheless, for reasons of personal safety as well as out of concern for one another, the family of Christ must practice modesty in dress (1 Tim. 2:9) and consider how to build one another up rather than put stumbling blocks in each other’s way.

God always provides the believer with what is necessary to resist temptation and make the right choices (1 Cor. 10:13). Consequently, a significant aspect of every parent’s role is to teach godly sexual wisdom to children before they face such challenges (cf. Prov. 1–9).

The gospel requires us to view sexuality from a wider perspective. Reproduction also occurs through the preaching of the gospel, calling forth new birth and a new people (Matt. 28:18–20). This gospel call will divide families (Luke 12:53). Singleness is no barrier to one’s ability to fulfill the command to multiply and fill the earth (Isa. 56:3–8). In times of distress it may be better to remain single (1 Cor. 7, esp. v. 26). This is also a gift of God (1 Cor. 7:7), given to equip one for the fulfillment of the gospel commission.

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

By its title, Song of Songs claims to be the most sublime song of all. The history of its interpretation also reveals that it may be the most misunderstood song as well. The reader of this book is dazzled by its intensity and honest expression of desire for intimate relationship. No wonder that early theologians who thought that the body was only a temporary casing for the all-important spirit felt that this book could not be talking about what it appeared to be talking about. Thus, for example, when the woman describes the man as a sachet of myrrh lodged between her breasts (1:13), this had to be a reference to Christ spanning the OT and the NT (so Cyril of Alexandria). But over time this book could not be suppressed by such interpretive strategies. Today most readily acknowledge that Song of Songs is love poetry that articulates human desires as well as our joys and worries.

Genre, Structure, and Outline

As implied by the preceding paragraph, Song of Songs is not an allegory. It is love poetry, in which a man and a woman express their deepest longings and desires to each other. They want to be in each other’s passionate embrace. This book celebrates love between a man and a woman.

Some interpreters believe that Song of Songs is a drama or at least tells a story of a particular love relationship. Although there are almost as many different suggestions of a story as there are advocates of the so-called dramatic approach, two main types emerge. One approach believes that there are two characters, a lover and his beloved, and the plot entails their growing relationship, sometimes following the pattern of courtship, engagement, marriage, honeymoon, and so forth. Occasionally this plot is given a historical background, usually with Solomon as the man (thanks to the superscription in 1:1) and a woman who goes by the name of the “Shulammite” (6:13 [curiously, apparently a feminine form of the name “Solomon”]). On the other hand, other interpretations introduce yet a third character, an unnamed shepherd boy, who is the woman’s true love. Thus, the story is that of a love triangle. Solomon is trying or has succeeded in adding the woman to his harem, but she retains her true love toward the shepherd boy. Thus, Song of Songs is the story of true love’s triumph over power and wealth.

Other interpreters point out that if it is difficult to determine how many characters are in this supposed plot or the exact contour of the story, then interpreters must be reading too much into the book to make it work. After all, there is no narrator in the book providing narrative guidelines to the reader. Indeed, there are not even indications of who is speaking when (thus modern translations insert italicized text headings such as “Beloved,” “Lover,” and “Friends” to identify speakers).

Such interpreters argue that Song of Songs does not tell a story but rather is a kind of “love Psalter” containing a number of different love poems. In other words, it is an anthology, a collection, of love poems united by a consistency of character and imagery as well as the occasional recurrent refrain. The book is truly a “Song [composed] of [many] Songs.” The exact number of poems in this anthology can be debated and is unimportant for their interpretation. The important point is that readers do not force connections between poems that are not there. However, the following division, after the superscription (1:1) into twenty-three poems may not be far off the mark.

I. Superscription (1:1)

II. Poem 1 (1:2–4)

III. Poem 2 (1:5–6)

IV. Poem 3 (1:7–8)

V. Poem 4 (1:9–11)

VI. Poem 5 (1:12–14)

VII. Poem 6 (1:15–17)

VIII. Poem 7 (2:1–7)

IX. Poem 8 (2:8–17)

X. Poem 9 (3:1–5)

XI. Poem 10 (3:6–11)

XII. Poem 11 (4:1–7)

XIII. Poem 12 (4:8–9)

XIV. Poem 13 (4:10–5:1)

XV. Poem 14 (5:2–6:3)

XVI. Poem 15 (6:4–10)

XVII. Poem 16 (6:11–12)

XVIII. Poem 17 (6:13–7:10)

XIX. Poem 18 (7:11–13)

XX. Poem 19 (8:1–4)

XXI. Poem 20 (8:5–7)

XXII. Poem 21 (8:8–10)

XXIII. Poem 22 (8:11–12)

XXIV. Poem 23 (8:13–14)

Date and Authorship

The conclusion that Song of Songs is a collection of love poems has implications for the date and authorship of the book. It is true that the superscription (1:1) associates the book with Solomon, and this connection must be taken seriously because there is no indication that the superscription is not a part of the canonical final form of the book. In light of a similar superscription in the book of Proverbs, however, this does not mean that Solomon wrote the entire book or that it is about him. Indeed, Solomon’s track record in love is dubious both in the book (Song 8:11–12) and outside it (1 Kings 11:1–13). Perhaps as in Proverbs, he is considered the fountainhead of the composition of the book, and like Psalms and Proverbs, the book came into existence over a lengthy period of time and as a result of several composers. If so, the final form bears the mark of a single editor who brought it all together at an unknown date within the period of the formation of the OT.

Theological Message

Song of Songs celebrates love between a man and a woman. It reminds the people of God that intimate relationship is a divine gift that should be enjoyed. Although joy is indeed the dominant note of the book, the reader is warned that love is a powerful emotion that has its disappointments (so begins the poem in 5:2–6:3). Accordingly, the woman makes sure that the young girls who are watching and looking at her understand that it is important not to hurry love (2:7; 3:5; 8:4).

But we must not read Song of Songs in isolation from the rest of the canon. This book describes the man and the woman in the garden as naked and enjoying each other. How can the reader not think of the garden of Eden? God created a man and a woman and established marriage as a source of mutual joy (Gen. 2:23–25). The next chapter, however, narrates the fall, where the rebellion against God results in alienation not only between God and Adam and Eve, but also between Adam and Eve. Their estrangement results in their efforts to cover themselves from the gaze of the other and their ejection from the garden. The poems of Song of Songs, then, may be seen as the story of the “already but not yet” redemption of sexuality.

Last, the broader canon frequently uses marriage as a metaphor of the relationship between God and his creatures (e.g., Ezek. 16; 23; Hos. 1–3). In other words, the more we learn about intimate marital relationships, the more we learn about our intimate relationship with God. Thus, Song of Songs may be read in a way that deepens our understanding of God and his love toward his people (cf. Eph. 5:21–33).

Continuing Significance

The opening chapters of Genesis describe human beings as creatures who were created for relationship, relationship with God to be sure, but also relationship with other people. Genesis 2:18–25 narrates the origin of the institution that formalizes the most intimate of human relationships, that between a man and a woman in marriage. The story continues in Gen. 3 on a tragic note when, because of sin, a barrier is erected between the man and the woman. Song of Songs poetically celebrates the redemption of the marriage relationship and encourages couples to grow closer to each other. The poems are not a how-to manual for courtship or intimate behavior, but they invite couples to cultivate their own love language and intimacies.