Having explored the sexuality, liturgy, and authority of the Song, we now turn to the canonicity of the Song. This is the arena in which interpretation plays a heavy role. Bekkenkamp purports rather succinctly that “canonicity is a hermeneutical issue.” For much of Jewish and Christian scholarship regarding the Song, it has been approached as an allegory. This indeed is the oldest documented interpretation; this approach has a “long and illustrious history in both Judaism and Christianity.” The allegory, that is, extended metaphor, reveals to the Jews “a depiction of the relationship of Yahweh to his chosen people, Israel,” and to Christians “a statement of the love of Christ and his church." While this remains an inspiring read of the text, it is not without its problems. Kinlaw identifies two issues with the intent of the author and the literary style. There are no indications that the author intends to allegorize. The people, places, and experiences presented in the Song are realistic. Additionally, the Song lacks the narrative character typical of allegories. After centuries of an almost exclusively allegorical reading, objections were raised. “Often those who dared to reject the allegorical approach questioned the spiritual value of the book.” Those opposing this reading were not only challenging its interpretation, but also its canonicity.
With our without an allegorical reading of the Song, it is meant to be read as wisdom and as poetry. It was admitted to the canon around the same time as the poetry of Psalms, Job, and Lamentations. It is meant to be read along with Proverbs, Job, and Ecclesiastes. It no doubt stands in good company among these giants of Judeo-Christian literature. In conclusion, then, it is not the traditional and conservative allegorical reading of the Song that permits it entrance into the canon, and thus into our spiritual lives. Rather, it is the sexuality, liturgy, and authority of the Song that gives it that most profound and sacramental role of being the Word of God, mediating timeless truth, being useful and effective, guiding and shaping believers. Readers are indeed coming face to face with Yahweh, the God of Israel, and his son, Jesus Christ as, through the Song, we see more, hear more, and feel more. The Song is not in the canon despite its sensuality and liturgy, but precisely because of its sex and poetry.
'Song of Solomon' by Jeffrey W. Hamilton
Sources used in this post:
Jonneke Bekkenkamp, “Into Another Scene of Choices: The Theological Value of the Song of Songs,” in The Feminist Companion to the Bible, eds. Athalya Brenner and Carole R. Fontaine (Sheffield, UK: Sheffield Academic Press, 2000)
Dennis F. Kinlaw, “Song of Songs,” in Expositor’s Bible Commentary with the New International Version: Psalms, Proverbs, Ecclesiastes, Song of Songs, Vol. 5, ed. Frank E. Gaebelein (Grand Rapids: Zondervan, 1991)
Tremper Longman III & Peter Enns, eds., Dictionary of the Old Testament: Wisdom, Poetry & Writings (Downers Grove, IL: InterVarsity Press, 2008),
Herbert Edward Ryle, The Canon of the Old Testament: An Essay on the Gradual Growth and Formation of the Hebrew Canon of Scripture (New York: MacMillan and Col, 1892)
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