I came across the NIV Compact Bible Commentary and was delighted to find that John Sailhamer was its author. I’ve so enjoyed his The Meaning of the Pentateuch, that I picked up his commentary on the Pentateuch. I’m going to have to pick up this compact Bible commentary of his as well.

I was able to read the section on the Song of Solomon and was fascinated by Sailhamer’s insights, which I plan to share here. The following quotes are from his treatment of the book on pages 359-361 in the NIV Compact Bible Commentary (Zondervan, 1994), emphasis added.

Sailhamer begins by briefly recounting the traditional figurative interpretations of the book and the quite literal modern interpretations.

Although it is, on the face of it, just that–an ode to human love–one must ask whether it was originally intended to be read as such by its first audience. There are some indications within the book itself that suggest it was not…. There is no question that the book is a poetic drama of a lover’s longing for his beloved and of her willing complicity. To suggest, however, that this drama of two lovers is, in fact, the intent of the book is to confuse the poetic imagery with the purpose of the poem.

He is careful to say that this does not “justify the wholesale allegorizations of the poem that have characterized much of its history.” He admits the picture of the relationship of God/Christ with Israel/the Church, is a wonderful picture, but avers “there are no clues within the book itself to support such a reading. In the last analysis, one’s interpretation should come from within the book itself, and preferably from the clues given by the author himself.”

Sailhamer goes on to uncover several clues which do confirm that there is more to the Song than may meet the natural eye, however. He first points out from the overall structure of the book, that “the ‘reflections of love’ of the lover and the beloved do not progress and build in intensity in the course of the poem itself.” This is no average love story. He also argues that “though the poetic imagery comes close at times to suggesting the lover and his beloved have in fact come together and joined themselves in that union that they so longingly describe, the structure of the book itself suggests that has not yet happened.” Rather, the “lovers’ quest is an ideal, a longed-for desire that lies beyond their own grasp.”

Setting aside these preliminary observations for the moment, we come to Sailhamer’s focus on the “larger structural movement given to the poem by the author.” The repeated refrain throughout the book reads, “Do not arouse or awaken love until she [NIV, it] so desires” (2:7b; 3:5b; 8:4b). The meaning of this refrain comes from its connection to 8:5b where the author links it with the last statements made by the beloved (the woman): “Under the apple tree I roused you; there your mother conceived you, there she who was in labor gave you birth.” In this connection, Sailhamer sees an allusion to two other key biblical texts: the prologue of Proverbs (chapters 1-9), and the account of the Fall in Genesis 3.

If an illusion [sic] is intended to these passages, it suggests that “the beloved” in the Song of Solomon is intended to be understood as a personification of “wisdom” and Solomon, or “the lover,” is intended as a picture of the “promised seed” of Ge 3:15, i.e., the Messiah.

He goes on:

What appears to have happened in the composition of the Song of Songs is that the author has seen in this love-song the possibility of a portrait of Israel’s long-awaited messianic king. Solomon, the son of David (cf. 2Sa 7:16), whose quest for wisdom characterizes the central core of the book of Proverbs, speaks in the prologue of that book of binding wisdom to himself and on his heart (Pr 3:3; 7:1-3) in the same way that in this book [Song of Solomon] the beloved says, “Place me like a seal over your heart, like a seal on your arm” (8:6). Moreover, in Proverbs Solomon says, “Say to wisdom, ‘You are my sister'” (Pr 7:4), just as here the beloved says, “If only you were to me like a brother” (8:1). An extended comparison of these two books suggests that these are not mere coincidental similarities of words and phrases, but rather a deliberate “inter-textuality,” or allusion of one text to another. Such verbal links and allusions between the personified Dame Wisdom in the book of Proverbs and the young beloved in the Song of Songs invite our attempts to see a larger purpose behind this love song. I have suggested that such a purpose is to be found in the growing messianic hope found in these sections [i.e. the Wisdom Literature] of the OT.

Thus far then, Sailhamer has shown “the Song of Songs is intended as a portrait of the promised Messiah’s love for divine wisdom.” He goes on:

The Messiah is here pictured by Solomon, and “wisdom” is personified by the young and beautiful beloved. Throughout the poem the notion of love is idealized by the fact that its obtainment lies in the future. The quest for wisdom was aroused “under the apple tree” (8:4a), probably an allusion to the time of the Garden of Eden when the first woman “saw that the fruit of the tree was…desirable for gaining wisdom [and] she took some and ate it” (Ge 3:6). The obtainment of wisdom, however, will come only when one like Solomon comes to claim his beloved.

Sailhamer also sees the reference to “there your mother conceived you, there she who was in labor gave you birth” (8:5b) as suggesting that the author of the Song of Solomon “also understood both the promised ‘seed’ in Ge 3:15 and the reference to Eve as ‘the mother of all living’ (Ge 3:20) messianically.”

The result of these inter-textual links, “if… intended by the author of this book” then,

…would place this song on a quite different level than that of an ode to human love. It would, in fact, give credence to the traditional attempts to see more in this poem than meets the eye. It would also provide some guidelines along which the symbolism of the book is to be read.

One final argument supports Sailhamer’s conclusions:

Finally, such a reading of the book would also provide needed insight into the underlying justification for the book’s inclusion into the OT. There is general recognition today that the time of the formation of the OT canon coincided with a significant surge in the hope of the imminent return of the messianic king. This book was included in the canon, one might say, because it was intended as a picture of the Messiah.

I am not one to discount seeing the Divine Author’s hand behind the human book as intentionally foreshadowing future covenant realities. I would see no problem in taking Sailhamer’s lead and affirming that this authorial intent was expanded in the wisdom of God, to allow the book as we have it in our Bible to suggest analogies between Christ and the Church. Think of the many songs that have been written culling from the poetic imagery of this Song of Songs.

Still, I had never seen Sailhamer’s reasoning for seeing a human authorial intent behind the Song of Solomon including an explicit Messianic connection. I’d be interested to know, if any of my readers knows whether Sailhamer has written more explicitly of this connection. The section on the Song is only a few pages long in the NIV Compact Bible Commentary. Along these lines, I’d also love to know what you think of this. Does this ring true to you? Or do you think Sailhamer is off base?

You can pick up a copy of this little book at Amazon.com or direct from Zondervan.