
Defending Constantine: The Twilight of an Empire and the Dawn of Christendom

From Behind the Veil: The Epistles of John

Deep Exegesis:The Mystery of Reading Scripture

1 & 2 Kings
Brazos Theological Commentary

The Promise Of His Appearing: An Exposition Of Second Peter

A Great Mystery: Fourteen Wedding Sermons

Deep Comedy: Trinity, Tragedy, And Hope In Western Literature

Miniatures & Morals: The Christian Novels of Jane Austen

The Priesthood of the Plebs: A Theology of Baptism

A Son To Me: An Exposition of 1 & 2 Samuel

From Silence to Song: The Davidic Liturgical Revolution

Ascent to Love: A Guide to Dante's Divine Comedy

Blessed Are the Hungry: Meditations on the Lord's Supper

A House For My Name: A Survey of the Old Testament

Heroes of the City of Man: A Christian Guide to Select Ancient Literature

Brightest Heaven of Invention: A Christian Guide To Six Shakespeare Plays

Wise Words: Family Stories That Bring the Proverbs to Life

The Kingdom and the Power: Rediscovering the Centrality of the Church
Song of Songs 3:11 speaks of the crowning of Solomon on the day of his wedding. Most commentators refer to the Orthodox practice of crowning grooms and brides as new Adams and Eves. I’ve got no problem with that, but I suspect there’s something else.
First, as Ernst Wendland says in an article (forthcoming in Lovely, Lively Lyrics: Selected Studies in Biblical Hebrew Verse [Dallas: SIL Academic], generously supplied by the author) there are many verbal links between the appearance of Solomon’s palanquin (3:6-11) and the description of the bride in 4:1-7. That the palanquin and the bride are the same is also suggested by the parallel of 3:6 and 8:5. Wendland notes that these two questions are in structurally similar locations in the poem – each at the climax of its respective half of the Song. 8:5 is explicitly a question about the bride, perhaps so too 3:6.
Second, beyond the verbal links that Wendland notices, there are structural indications that the two sections form sub-portions of a larger unit. At least there seems to be an inclusio around the two sections:
A. Myrrh and frankincense, 3:6
B. Mighty men with swords, 3:7-8
B’. Necklace like shields of mighty men, 4:4
A’. Myrrh and frankincense, 4:6
(There is also an inclusio at 4:1, 7 with “beautiful, my darling.”)
If we take this inclusio as a frame for a single unit, then the move from 3:11 to 4:1 doesn’t seem abrupt. There were, of course, no chapter divisions in the original text, and so the text would move from “gaze on Solomon with the crown” to “how beautiful you are, my darling.” There is clearly a change of speaker, but the scene has not, perhaps, shifted as thoroughly as is often thought. What are the daughters of Zion supposed to look at? Solomon with his crown, and then Solomon goes on to describe his “crown,” his beautiful bride.
In short, Solomon’s bride is his crown – just as we’d expect from the king who wrote Proverbs 12:4: “a virtuous woman is a crown to her husband.”
posted by Peter J. Leithart on Monday, March 8, 2010 at 3:10 pm
Permission is given to use material on this site, provided the source is cited, blog entries are republished in full, and the author is notified in advance.