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Song of Songs (Song of Solomon) · 3 min read
The Song of Songs is the most anomalous text in the Hebrew Bible. It contains no name of God. It contains no law, no history, no prophecy. What it contains is love poetry of extraordinary sensory richness and a sustained erotic desire that is sometimes rapturous and sometimes harrowing.
Chapter 3 opens in the night. The beloved cannot sleep. On my bed in the night I sought him whom my soul loves. I sought him but found him not. She decides to go out into the city — streets and squares — and search for him. The night city is both real and symbolic, a geography of longing mapped onto the geography of Jerusalem.
She asks the watchmen she encounters: have you seen him whom my soul loves? The Hebrew there is she-ahavah nafshi — whom my soul loves — and the repetition in this passage is relentless: she seeks him, she loves him, she will hold him, she will not let him go. The seeking is as intense as the finding.
Barely has she passed the watchmen when she finds him. She holds him and will not let him go. She brings him to her mother's house, to the room where she was conceived.
Then the refrain: I adjure you, O daughters of Jerusalem, by the gazelles and the hinds of the field, do not stir up love until it pleases. Three times in the Song of Songs this adjuration appears — do not wake love too early. Love has its own timing. It cannot be forced.
Rabbi Akiva, in the second century CE, said that while all scripture is holy, the Song of Songs is the Holy of Holies. He read it entirely as an allegory of God's love for Israel — the lover is God, the beloved is the people, the night search is the exile, the reunion is the redemption. Christian commentators, beginning with Origen in the third century, read the same allegory with the Church as the beloved and Christ as the lover.
The poem survives both readings and neither — a text about the experience of longing so precisely rendered that every tradition that has encountered it has recognized something true.
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