In this fifth class on Wisdom literature of the Old Testament, we look to the third book of Solomon - Song of Songs. This book is a series of hymns commemorating the love of a king and his bride, the days before, during, and after the wedding. From ancient times, this book is recognized as a mystical expression of the love of Christ and his Church.
Handout below.
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Wisdom Literature
Session 5, Song of Songs and Prophetic Foreshadowing
The Fear of the Lord is the Beginning of Wisdom (Proverbs 9:10)
I. Course Outline
August 11th - Introduction, and the Life of King Solomon
August 18th - Books of Wisdom Literature, and the Deuterocanon, and Job
August 25th - Proverbs
September 1st - Ecclesiastes and Solomon’s final conversion
September 8th - Song of Songs, and prophetic foreshadowing
September 15th - NO CLASS
September 22nd - Book of Wisdom, and facing persecution
September 29th - Sirach, part 1
October 6th - Sirach, part 2
October 13th - Sirach, part 3 and Conclusions
[This book is commonly abbreviated as Sgs or Sg, or Cant]
I. Name of this book and its author
“Canticle of Canticles" or “Song of Songs” – According to the general interpretation the name signifies "most excellent, best song"
“Canticle of Solomon” or “Song of Solomon” - Indicating that Solomon is the author, according to the tradition. It is called “The Song of Songs, which is by/for/to Solomon”, and this has traditionally be understood to mean that it is written by Solomon.
Haydock: “This book is called the Canticle of Canticles, that is to say, the most excellent of all canticles: because it is full of high mysteries, relating to the happy union of Christ and his spouse; which is here begun by love; and is to be eternal in heaven. The spouse of Christ is the Church: more especially as to the happiest part of it, viz., perfect souls, every one of which is his beloved; but above all others, the immaculate and ever blessed Virgin mother [Mary]. --- The bridegroom is Christ, as God and man. His praises and those of his spouse are recorded by various speakers.”
From the early Church (even from Jewish times) up to relatively recently, the common opinion maintained largely in favor of the view that Solomon is the author of this book.
Modern scholars often doubt this and suggest it was written perhaps sometime shortly after Solomon, or even much later (in the 400s BC, five hundred years after Solomon who died in 931 BC). These modern scholars point to the use of certain “loan words” from Persian and Greek which would not have come into the Hebrew vocabulary until after the return from the Babylonian Captivity, and would not have been known at the time of Solomon. Those defending the traditional view of Solomon as author point out that these words could have existed in early forms even in Solomon’s day, or they could have been added by the scribes of Hezekaiah (remember that they were involved in compiling Proverbs). Furthermore, there is reference to Tirzah (a city in the Northern Kingdom of Israel) which would only make sense prior to the division of Israel (which happened after Solomon) and especially prior to the Assyrian invasion of the Northern Kingdom in 734 BC.
II. The caution with which the early Christians approached this book
Because Song of Songs uses nuptial language and very earthy/sensual symbolism, the early Christians followed the Jews in being cautious about who should read this book. For example, Jerome recommends that this book be the last read of the Bible, especially for young girls - lest they be carried away by worldly and sensual desires (running off to marry before discerning a religious vocation). Likewise, boys will admit to feeling embarrassed when reading some of the descriptive and sensual verses of this book.
It is interesting to note a tradition that St Thomas Aquinas dictated a commentary on this book only at the very end of his life, even on his death bed (though some doubt this story and consider the commentary to be the work of one of his students).
On face value, this book seems to be simply a love song (or series of love songs) between a groom and his bride leading up to their wedding and marital union. We know that Solomon had many wives, and this book could refer to any one of them (or more?).
Physical Admiration and Anatomy
- Song of Songs 4:1 – "Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes within thy locks: thy hair is as a flock of goats, that appear from mount Gilead."
- Song of Songs 4:5 – "Thy two breasts are like two young roes that are twins, which feed among the lilies."
- Song of Songs 5:10 – "My beloved is white and ruddy, the chiefest among ten thousand."
- Song of Songs 7:1 – "How beautiful are thy feet with shoes, O prince's daughter! the joints of thy thighs are like jewels, the work of the hands of a cunning workman."
- Song of Songs 7:6 – "How fair and how pleasant art thou, O love, for delights!"
Intimacy, Touch, and Taste
- Song of Songs 1:2 – "Let him kiss me with the kisses of his mouth: for thy love is better than wine."
- Song of Songs 2:6 – "His left hand is under my head, and his right hand doth embrace me."
- Song of Songs 4:11 – "Thy lips, O my spouse, drop as the honeycomb: honey and milk are under thy tongue; and the smell of thy garments is like the smell of Lebanon."
- Song of Songs 7:7-8 – "This thy stature is like to a palm tree, and thy breasts to clusters of grapes. I said, I will go up to the palm tree, I will take hold of the boughs thereof..."
The Metaphor of the Enclosed Garden
In ancient Near Eastern poetry, a "garden" was a common euphemism for the female body (especially the reproductive organs) and sexual intimacy.
- Song of Songs 4:12 – "A garden inclosed is my sister, my spouse; a spring shut up, a fountain sealed."
- Song of Songs 4:16 – "Awake, O north wind; and come, thou south; blow upon my garden, that the spices thereof may flow out. Let my beloved come into his garden, and eat his pleasant fruits."
- Song of Songs 5:1 – "I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk..."
Emotional and Physical Longing
- Song of Songs 2:5 – "Stay me with flagons, comfort me with apples: for I am sick of love."
- Song of Songs 5:4 – "My beloved put in his hand by the hole of the door, and my bowels were moved for him." (bowels indicates the seat of emotion and passion).
- Song of Songs 8:6 – "Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame."
From Haydock’s Commentary: “Solomon has given us three works; for beginners, the more advanced, and the perfect... With what humility ought we not, therefore, to read this most perfect and mystical canticle, as the sentiments of spiritual love are expressed in the same words as that of worldlings, and we are more inclined to follow our own judgment and carnal notions! --- None, therefore, should dare to peruse this work, who has not mastered his passions, having his conversation in heaven. --- The Jews would not allow any to read it before the age of thirty. (Origen and St. Jerome)”
Again, Haydock: “Some of the fathers and commentators have even asserted that the mystical sense is the only one which pertains to this book, and it is certainly the true and principal one, though allusion may be made to the marriage of Solomon with Pharaoh's daughter, or with a Tyrian princess, or with Abisag.”
A note about Abishag: She was the young woman from Shunem who kept David warm in his old age, sleeping in is bed (the Bible explicitly states that they did not have sexual relations). Many biblical scholars and traditions suggest that Abishag is the "Shulammite" woman (Song of Songs 6:13) who serves as the bride and primary love interest in the Song of Songs. "Shulammite" and "Shunammite" are linguistic variations of the same regional identifier. If this theory is true, she would have eventually become one of Solomon's primary wives, as he would have inherited her as his “property” from his father David.
Haydock, again: “The name of God never, indeed, occurs; as he is represented under the idea of the bridegroom, &c., and the piece is allegorical.”
III. Outline of this book
The turning point of the book is Cant 3:6-5:1, which describes the wedding day.
1. Introduction: The Desire for God (1:1–1:8)
- Main Theme: The Church or individual soul yearns for closer union with Christ.
- Key Visual: The Bride asking for the "kiss of his mouth" to begin her journey.
2. Springtime of Love: Mutual Discovery (1:9–2:7)
- Main Theme: The awakening of faith and the sweetness of resting in God's grace.
- Key Visual: Sitting under the shadow of the Groom at his royal banquet table.
3. The Call to Awaken and the First Search (2:8–3:5)
- Main Theme: God calls the soul out of winter comfort, leading to a spiritual test when He briefly hides His presence.
- Key Visual: The Bride searching the dark city streets to find the one she loves.
4. The Royal Wedding and the Pure Bride (3:6–5:1)
- Main Theme: Christ's union with the Church and a celebration of Mary's absolute purity.
- Key Visual: The Bride described as an "enclosed garden"—a classic Catholic symbol for the Blessed Virgin.
5. Spiritual Trial, Contrition, and Reunion (5:2–6:3)
- Main Theme: The soul grows sluggish, misses God's call, and must go through repentance to restore the relationship.
- Key Visual: The Bride calling out for her beloved until they are joyfully reunited.
6. The Perfect Beauty of the Church (6:4–8:4)
- Main Theme: The Groom praises the mature faith, spiritual fruitfulness, and beauty of His collective Church.
- Key Visual: A joyful dance celebrating love in the vineyards.
7. Conclusion: Love Stronger than Death (8:5–14)
- Main Theme: The ultimate triumph of Christ's sacrificial love on the Cross and a final prayer for His return.
- Key Visual: Love bound as an unbreakable seal upon the heart.
From the Catholic Encyclopedia: “The book describes the love for each other of Solomon and the Sulamitess in lyrico-dramatic scenes and reciprocal songs. One part of the composition (iii, 6 to v, 1) is clearly a description of the wedding-day. Here the two chief personages approach each other in stately procession, and the day is expressly called the wedding-day. Moreover the bridal wreath and the bridal bed are referred to, and six times in this section of the song, although never before or after, the word spouse is used. All that has preceded is now seen to be preparatory to the marriage, while in what follows the Sulamitess is the queen and her garden is the garden of the king (v, 1-vi, 7 sq.), although such expressions as "friend", "beloved", and "dove", are common. Along with the assurances of love for each other, there is a continually progressive action that represents the development of the warm friendship and affection of the pair, then the bridal union and the married life of the royal couple. The bride, however, is exhibited as a simple shepherdess, consequently, when the king takes her, she has to undergo a training for the position of queen; in the course of this training occur various trials and sorrows.”
From Cornelius a Lapide: “Bede divides the Song into forty sections or chapters; St. Thomas divides it into three states of the Synagogue, that is, of Israel or the Jews: first, believing in Christ through the apostles and the first Christians, who were Jews, from chapter I to chapter III, 10; then it begins to treat of the Jews blinded and persecuting Christians, up to chapter VI, verse 10; from there to the end of the book it treats of the Jews who will believe in Christ at the end of the world.”
From Haydock: “It might be divided into seven scenes, or nights, as the marriage feast lasted so long. Gen. xxix. 22. During this time the bridegroom saw his spouse seldom, and with great reserve.”
An allegorical interpretation as pointing to the six stages of the history of the Church, from Haydock: “We might also refer all to six nights, or to the six ages of the Church.”
I. Cant 1:2 marks the ascension of Christ, and the propagation of Christianity; 1:4,5 persecutions; 1:6,7 vocation of the Gentiles; 1:12 protection granted by Christ.
II. Cant 2:3 peace under Constantine; 2:11,17 troubles excited by Arius.
III. Cant 3:1 irruption of barbarians; 3:4 does not overturn the Church; 3:6 they are converted; 3:11 and Christ is more glorified.
IV. Cant 4:5 the Latin and Greek Churches; 4:8 the Chaldees, lions, and Greeks, leopards are converted; the Turks obtain dominion; 4:12 the Greek schismatics cut off: 4:16 the Church is persecuted, but protected.
V. Cant 5:2. Dew marks the cooling of charity, (S. Aug.) when Luther appeared; 6:3 yet the Church triumphs, particularly after the Council of Trent.
VI. Cant 6:9 after the sounding of the sixth trumpet, the Jews are converted, and adorn the Church, in spite of antichrist’s power; 6:11. she addresses the synagogue, 6:12. 8:2 obtains leave to go into the house of her mother, as the apostles were of Jewish extraction; 8:7 the constancy of the martyrs appears; 8:8-14. the Church pants for her speedy union with her beloved.
From Cornelius a Lapide: “There is a great analogy and resemblance between the Song and the Apocalypse [the book of Revelation]: first, in subject matter, because in both the origin, progress, perfection, decline, renewal, and glorification of the Church is described; second, in language and style, which in both is symbolic; third, in manner; fourth, in the conclusion: for just as the Apocalypse closes with the description of the heavenly Jerusalem, as the most blessed bride of Christ, so too does the Song.”
IV. Prophecy about Mary
1. The Garden Enclosed (Song of Songs 4:12)
"You are an enclosed garden, my sister, my bride, an enclosed garden, a fountain sealed."
- This is the single most famous Marian text in the book. Church Fathers (like St. Jerome) used it to explain the Perpetual Virginity of Mary.
- The "enclosed garden" and "sealed fountain" represent a space perfectly preserved for God alone. Because the garden is never breached, it symbolizes Mary's womb, which remained undefiled before, during, and after the birth of Christ.
2. The Woman Terrifying as an Army (Song of Songs 6:10)
"Who is this that comes forth like the dawn, as beautiful as the moon, bright as the sun, resplendent as an army in battle array?"
- This passage is heavily used in Catholic liturgy, specifically for the Feast of the Assumption (August 15) and within the Legion of Mary.
- Mary is seen rising into heaven ("like the dawn") clothed in cosmic glory. The phrase "resplendent as an army" highlights her role in spiritual warfare. Catholics pair this verse directly with Revelation 12:1 ("a woman clothed with the sun, with the moon under her feet").
3. Totally Beautiful and Without Flaw (Song of Songs 4:7)
"You are altogether beautiful, my love, and there is no flaw in you."
- This verse is a cornerstone for the dogma of the Immaculate Conception (Mary being conceived without original sin).
- The Latin translation of "no flaw in you" (macula non est in te) is the root of the word Immaculate (meaning "without stain"). The Church uses this text in the Divine Office (Liturgy of the Hours) for Marian feasts to proclaim that Mary was preserved from the stain of sin from the first moment of her existence.
4. The Winter is Past (Song of Songs 2:10–11)
"Arise, my love, my beautiful one, and come away. For see, the winter is past, the rain is over and gone."
- This text is traditionally read as the voice of Christ calling Mary home at the end of her earthly life, making it a foundational text for the Assumption.
- "Winter" represents the reign of death and original sin over the earth. Christ calls His mother to "come away" into the eternal springtime of heaven, body and soul, because her earthly mission is complete.
5. "Come from Lebanon, my bride, come from Lebanon, come!" (Song 4:8)
The Antiphon: "Veni de Libano" (Come from Lebanon, my spouse, thou shalt be crowned.)
Liturgical Use: Sung during Lauds (Morning Prayer) and Vespers, allegorically representing Christ inviting Mary to sit at His right hand in the heavenly Jerusalem.
V. Influence on St John of the Cross
The influence of the Song of Songs on the Spanish mystic and Doctor of the Church, St. John of the Cross (1542–1591), is foundational, particularly in the Spiritual Canticle (Cántico Espiritual).
Here are the primary examples of how the Song of Songs directly shaped his poetry, imagery, and mystical theology:
1. The Direct Blueprint: The Spiritual Canticle
The Spiritual Canticle is essentially a 16th-century poetic reimagining of the Song of Songs.
- The Structure: Just like the biblical book, John’s poem is structured as a passionate dialogue between two lovers: the Esposa (the Bride, representing the human soul) and the Esposo (the Bridegroom, representing Christ).
- The Plot Arc: The poem mirrors the dramatic arc of the Song of Songs: a painful separation and frantic search, a joyful reunion in a garden, and a deep, quiet communion of love.
2. The Imagery of the Night Search
In Song of Songs 3:1–4, the Bride searches the city streets at night for her missing lover. John of the Cross famously adapted this into his core mystical concept: the Dark Night of the Soul.
- The Biblical Text: "On my bed at night I sought him whom my heart loves; I sought him but I did not find him." (Song 3:1)
- John’s Poetry: In his poem The Dark Night, the soul slips out of the house unnoticed in the dark: "On a dark night, Kindled in love with yearnings... I went out unseen..."
- The Connection: For John, the "night" is the painful but necessary spiritual purgation where God hides His presence so that the soul’s desire for Him will intensify and purify.
3. Wounding by Love (The Spiritual Wound)
The Song of Songs introduces the intense, visceral concept of being lovesick or wounded by the beauty of the beloved.
- The Biblical Text: "I am sick with love." (Song 2:5) and "You have ravished my heart..." (Song 4:9).
- John’s Poetry: St. John begins the Spiritual Canticle with the Bride crying out to the vanished Groom: "Where have you hidden yourself, And left me to my sighing, Beloved? You fled like the stag, Having wounded me; I went out after you, crying, and you were gone."
- The Connection: John uses this to describe the spiritual phenomenon where a brief glimpse of divine grace leaves the soul with a permanent, painful longing that only total union with God can cure.
4. The Garden and the Wine Cellar
John of the Cross borrows the physical geography of Solomon's poetry to map out the highest stages of prayer (the Illuminative and Unitive ways).
- The Biblical Text: "The king has brought me into his wine cellars..." (Song 1:4) and "Let my beloved come into his garden..." (Song 4:16).
- John’s Poetry: In the Spiritual Canticle, the soul rejoices: "The Bride has entered into the pleasant garden of her desire..." and "In the inner wine cellar I drank of my Beloved..."
- The Connection: In his prose commentaries, John explains that the "inner wine cellar" represents the deepest interior of the soul where God communicates His love directly, intoxicating the mind with divine wisdom and stripping away earthly desires.
5. Foxes, Winds, and Spiritual Obstacles
Even the small allegorical details in John’s poetry are lifted straight from the landscape of Israel's ancient love song.
- The Biblical Text: "Catch us the foxes, the little foxes that spoil the vineyards..." (Song 2:15) and "Awake, O north wind, and come, O south wind! Blow upon my garden..." (Song 4:16).
- John’s Poetry: St. John writes: "Catch us the foxes, for our vineyard is now in flower..." and "Cease, deadening north wind; come, south wind, that awaken love, blow through my garden..."
- The Connection: In John's theology, the "foxes" are the stray, distracting thoughts and worldly attachments that destroy early progress in prayer. The cold "north wind" is the dry spiritual state, while the warm "south wind" is the Holy Spirit breathing life into the soul.
The Dark Night of the Soul, by St John of the Cross
I.
In a dark night,
With anxious love inflamed,
O, happy lot!
Forth unobserved I went,
My house being now at rest.
II.
In darkness and in safety,
By the secret ladder, disguised,
O, happy lot!
In darkness and concealment,
My house being now at rest.
III.
In that happy night,
In secret, seen of none,
Seeing nought myself,
Without other light or guide
Save that which in my heart was burning.
IV.
That light guided me
More surely than the noonday sun
To the place where He was waiting for me,
Whom I knew well,
And where none appeared.
V.
O, guiding night;
O, night more lovely than the dawn;
O, night that hast united
The lover with His beloved,
And changed her into her love.
VI.
On my flowery bosom,
Kept whole for Him alone,
There He reposed and slept;
And I cherished Him, and the waving
Of the cedars fanned Him.
VII.
As His hair floated in the breeze
That from the turret blew,
He struck me on the neck
With His gentle hand,
And all sensation left me.
VIII.
I continued in oblivion lost,
My head was resting on my love;
Lost to all things and myself,
And, amid the lilies forgotten,
Threw all my cares away.
Furthermore, St Teresa of Avila wrote a commentary on Song of Songs - in a quasi miraculous way, commenting on verses even without understanding the Latin text.
There is also the Christmas hymn, “Jesus Christ the Apple Tree” - the 18th Century protestant carol based on Cant 2:3, “As an apple tree among the trees of the wood, so is my beloved among young men. With great delight I sat in his shadow, and his fruit was sweet to my taste.”
The tree of life my soul hath seen,
Laden with fruit and always green;
The trees of nature fruitless be,
Compared with Christ the Apple Tree.
His beauty doth all things excel,
By faith I know but ne'er can tell
The glory which I now can see,
In Jesus Christ the Appletree.
For happiness I long have sought,
And pleasure dearly I have bought;
I missed of all but now I see
'Tis found in Christ the Appletree.
I'm weary with my former toil -
Here I will sit and rest awhile,
Under the shadow I will be,
Of Jesus Christ the Appletree.
With great delight I’ll make my stay,
There’s none shall fright my soul away;
Among the sons of men I see
There’s none like Christ the Appletree.
I’ll sit and eat this fruit divine,
It cheers my heart like spirit’al wine;
And now this fruit is sweet to me,
That grows on Christ the Appletree.
This fruit doth make my soul to thrive,
It keeps my dying faith alive;
Which makes my soul in haste to be
With Jesus Christ the Appletree.
https://m.youtube.com/watch?v=Cm3fZDZxiko&pp=ygUbamVzdXMgY2hyaXN0IHRoZSBhcHBsZSB0cmVl&ra=m