Song of Songs 2 Study Notes

2:8 Bounding (Hb qaphats, v. 8) plays on the word “pleases” (Hb chaphets) in “until the appropriate time” (see note at v. 7). Solomon approached in response to the leading of love.

2:10-14 Solomon’s address to Shulamith comprises two lyrical sets: the first (vv. 10-13) describes the beauty of spring with the singing voice of the turtledove as its centerpiece; the second (v. 14) describes the hidden Shulamith as the real dove whose appearance and voice he wished to hear.

2:12 The word for singing may also mean “pruning,” but the parallelism with the turtledove’s cooing confirms the translation here.

2:15-17 These verses conclude section B with refrains resumed in part at the transition (7:7-8,10) beginning the corresponding section B´ (7:10-8:4; see Introduction).

2:15 The term vineyards refers to Shulamith (1:6; 8:12). In bloom anticipates the vineyard’s beauty before the harvest, and thus describes the beauty of the two lovers anticipating marriage; foxes extends the metaphor to anything harmful to the romance. Perhaps the primary warning is against a “premature harvest” of the fruit Shulamith offered Solomon on the wedding night (4:16). The speaker of Catch . . . for us could be Solomon, Shulamith, or both; the ambiguity is likely intentional, suggesting mutual resolve.

2:16 My love is mine and I am his later transforms to “I am my love’s and my love is mine” (6:3) and finally to “I am my love’s, and his desire is for me” (7:10)—all similar but differing in ways that show a progression in Shulamith’s security. First her possession of him was primary, then secondary, then finally omitted completely, as she found security not in her possession of him, but in his devoted love of her (see note at 7:10). On lilies, see note at v. 1. The flower becomes increasingly erotic and evidently associated with tenderness—her breasts, his lips, her abdomen.

2:17 The request in this verse is answered in similar language on the wedding night (4:6). Gazelle or a young stag is identical to the phrase in v. 9 that describes Solomon’s behavior in courtship. Shulamith longed for the same delight on the wedding night. Divided mountains (lit “mountains of separation”) is a poetic reference to her breasts (see note at 4:1-7). In Solomon’s answer to this request, he embellished the metaphor as the “mountain of myrrh and hill of frankincense” (4:6; cp. 8:14), adding fragrance to the image. The enjoyment of Shulamith’s breasts is again poetically expressed in a later night of lovemaking (7:7-8). So Solomon displayed in the Song what he encouraged in Proverbs, “Let your fountain be blessed, and take pleasure in the wife of your youth. A loving deer, a graceful doe—let her breasts always satisfy you; be lost in her love forever” (Pr 5:18-19). Until Solomon answered Shulamith’s request, the night remained and with it the anxiety of anticipation (3:1-4).