Page 143 - The Poetic Books - Student Text

the romantic metaphors begin and end? Should we take “apples” and “raisins” (2:5) as aphrodisiacs and
the couple engaging in intercourse frequently in such statements like, “His left arm is under my head and
his right arm embraces me” (2:6) or “I will go to the mountain of myrrh and to the hill of incense” (4:6)?
Is there a limit to proper sexual expression outside or even within the bond of marriage commitment?

One method is to trust our instincts as to what is an appropriate
expression of love. We are separated from the original setting of
the Song by both time and culture. The world of Solomon no
longer exists. Yet we are humans, men and women, just like the
writer and the people for whom he originally wrote. If we find
expressions uncomfortable to us, these expressions were
probably intended to be uncomfortable to the original readers. Is
there a man who would say to the love of his life, “Your neck is
like the tower of David, built with courses of stone (4:4)”? Is
there a woman who would feel treasured if her beloved said,
“May your breasts be like clusters of grapes on the vine (7:8)”?

Solomon has given us ways to compare his metaphors. Some are consistently used throughout the Song.
We might call them “Standard Metaphors.” They mean the same
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throughout the Song. The word “garden” is used 8x (4:12, Figure 67: clusters of grapes
15,16; 5:1; 6:2 [2x]; 8:13). In the first reference, the man is
describing his bride. “You are a garden locked up, my sister, my bride (4:12, 15).” This is metaphor.
However, we might like to further interpret the imagery, the woman is figuratively a garden. “Locked up”
might refer to her chastity or her spirituality or some other characteristic. The image is positive. The
woman seems to respond with affection, addressing the north wind, “Blow on my garden, that its
fragrance may spread everywhere (4:16).” The man replies with appreciation as well, “I have come into
my garden, my sister, my bride (5:1).” We do not need to make a complete evaluation of the metaphor to
sense the warmth of the man and woman for each other.

Later the woman speaks of the location of her beloved. He is not with her but “has gone down to his
garden to the beds of spices, to browse in the gardens and to gather lilies (6:2).” Both man and woman
are described as a garden. If we take the first use of the image (chastity or spirituality or something
similar), the image fits here. While apart from his wife, the man remains chaste or spiritually vital. The
same can be said of the last reference. It appears to be spoken by the man, calling to readers who are
like him. “You who dwell in the gardens with friends in attendance, let me hear your voice (8:13)!” He
calls others to make the same commitment to a life that is like a lush garden. Commitment in marriage is
not restrictive but part of a thoroughly productive and attractive life.

234 Richard Lauger, The Major Metaphors in the Song of Solomon (Master’s Thesis, Bethel Seminary, 1990, 40-51.
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