Before reading this article, I encourage you to open to the Song of Songs and read verses 5-11 of chapter one.
This article covers the second, third, and fourth poems of the book (23 total). The woman begins by speaking of her color. She is black, or (a better translation) dark. This is not a reference to race. The next verse explains that she has dark skin because of her work under the sun. It is interesting to see how opinions of the shade of one’s skin have changed through the centuries. Depending on time and location, to be tan may be exotic (as it is today). But in 1:5 the woman is obviously upset about it. In her society to have a tan meant to work under the sun. The higher classes enjoyed the shade; the lower classes endured the heat of daily labor. The references to the “tents of Kedar” and “the curtains of Solomon” are a bit problematic. The “tents of Kedar” could be a reference to the Bedouin tribes whose tents had to endure the harsh desert elements. But like the curtains of Solomon, she was still beautiful.
She blames her condition on the sun and her brothers as they made her work in the vineyard. She references them as “her mother’s sons.” This could be a designation for stepbrothers or a simple way of distancing herself from them. Throughout Biblical poetry, vines and vineyards are often references of sexuality. Notice that her brothers kept her from working in her own vineyard – possibly keeping her from fulfilling her desires for her love.
In verse seven, she directly addresses her man (this is why verse seven is seen as starting a separate poem). In these two verses, some scholars see some teasing – a poetic game of hide-n-seek. She wants to know where he will have his flock so she can find him. If she has to go looking for him, she will have to put on a veil so others do not know who she is – she will look like a prostitute. His advice to her is to follow his trail. She should act as if she is shepherding her flock and as their flocks graze, they can spend time together. Some scholars want to push the imagery further here – some argue that it is the woman who is going to be laid down in their midday rendezvous.
Verse nine starts the fourth poem as he begins to praise her beauty. His metaphor would not get a man very far in today’s culture – try telling a woman she has a horse face! But notice that he does not just call her a mare, but a mare among chariots. This imagery is interesting because chariots were pulled by stallions. M. H. Pope refers to a battle in which a mare (in heat) was released into a chariot charge – it drove the stallions crazy. The overall strategy did not work because one of the charioteers killed the mare. But what this man is saying is that she drives the men crazy.
In verses 10-11 he talks about her jewelry. Jewelry is sometimes condemned in the Old Testament but only when it is a symptom of a larger problem; when the women are more concerned with their gold than their gifts and devotion. It is this idea that carries over in the New Testament’s warnings about jewelry. But in this context, the man is saying how her jewelry only enhances her beauty and he is going to aid in getting her more.
It is neat to see these three poems in succession: she is concerned with her “darkness” – he does not care and we see this flirtatious exchange: where will you be – come and find me. As husbands and wives, a playful attitude can keep the youthfulness in the relationship. And even in the 21st century, women are afraid their dresses make their hips look big while their husbands say, “You look great!”
