Introduction: “Song of Solomon – Chapter-8” by King Solomon
“Song of Solomon – Chapter 8” by King Solomon, first appeared in the Hebrew Bible, traditionally dated around the 10th century BCE, though scholars often debate its exact origins and compilation. It is part of the collection known as the Song of Songs or Canticles, a poetic book that celebrates love, often interpreted allegorically as the love between God and His people or between Christ and the Church in Christian traditions. Chapter 8 is particularly renowned for its portrayal of steadfast love, loyalty, and the strength of desire. Its main qualities are vivid imagery, rich symbolism, and emotive language, depicting love as an unquenchable flame that cannot be extinguished, even by the greatest challenges. The chapter’s central idea is the profound and enduring nature of love, portrayed as invincible and eternal.
Text: “Song of Solomon – Chapter-8” by King Solomon
If only you were to me like a brother,
who was nursed at my mother’s breasts!
Then, if I found you outside,
I would kiss you, and no one would despise me.
I would lead you and bring you to my mother’s house—
she who has taught me.
I would give you spiced wine to drink,
the nectar of my pomegranates.
His left arm is under my head and his right arm embraces me.
Daughters of Jerusalem, I charge you:
Do not arouse or awaken love until it so desires.
Who is this coming up from the desert leaning on her lover?
Under the apple tree I roused you;
there your mother conceived you,
there she who was in labor gave you birth.
Place me like a seal over your heart,
like a seal on your arm;
for love is as strong as death, its jealousy
unyielding as the grave.
It burns like blazing fire, like a mighty flame.
Many waters cannot quench love;
rivers cannot wash it away.
If one were to give all the wealth of his house for love,
it would be utterly scorned.
We have a young sister,
and her breasts are not yet grown.
What shall we do for our sister for the day she is spoken for?
If she is a wall,
we will build towers of silver on her.
If she is a door,
we will enclose her with panels of cedar.
I am a wall,
and my breasts are like towers.
Thus I have become in his eyes like one bringing contentment.
Solomon had a vineyard in Baal Hamon;
he let out his vineyard to tenants.
Each was to bring for its fruit a thousand shekels of silver.
But my own vineyard is mine to give;
the thousand shekels are for you,
O Solomon, and two hundred
are for those who tend its fruit.
You who dwell in the gardens with friends in attendance,
let me hear your voice!
Come away, my lover,
and be like a gazelle or like a young stag
on the spice-laden mountains.
Annotations: “Song of Solomon – Chapter-8” by King Solomon
| Line | Annotation | Literary/Structural Device(s) |
| “If only you were to me like a brother, who was nursed at my mother’s breasts!” | The speaker expresses a longing for intimacy that is socially acceptable, using familial relationships as a metaphor for closeness. This reflects the cultural norms of the time, where public affection was often frowned upon unless between family members. | Metaphor, Simile, Cultural allusion |
| “Then, if I found you outside, I would kiss you, and no one would despise me.” | The speaker suggests that if their beloved were like a brother, public displays of affection would be acceptable. The theme of love constrained by social boundaries is evident. | Conditional clause, Theme of social propriety |
| “I would lead you and bring you to my mother’s house—she who has taught me.” | The speaker desires to bring the beloved into her personal and familial space, signifying a deeper emotional and physical connection. The mother symbolizes wisdom and instruction in love. | Symbolism (mother as wisdom), Imagery |
| “I would give you spiced wine to drink, the nectar of my pomegranates.” | Spiced wine and pomegranates are symbols of sensuality, pleasure, and fertility. The offering of these suggests deep intimacy and desire. | Sensual imagery, Symbolism (wine and pomegranates) |
| “His left arm is under my head and his right arm embraces me.” | A vivid image of intimate physical closeness, suggesting comfort, protection, and tenderness. | Imagery, Symbolism (embrace as protection) |
| “Daughters of Jerusalem, I charge you: Do not arouse or awaken love until it so desires.” | A refrain seen earlier in the Song of Solomon, this line serves as a cautionary reminder about the timing and maturity of love. It emphasizes the uncontrollable and powerful nature of true love. | Apostrophe (addressing “Daughters of Jerusalem”), Repetition, Theme of love’s timing |
| “Who is this coming up from the desert leaning on her lover?” | A rhetorical question that highlights the transformation and journey of the lover from a place of barrenness (desert) to fulfillment and unity with her lover. | Rhetorical question, Symbolism (desert as hardship), Imagery |
| “Under the apple tree I roused you; there your mother conceived you, there she who was in labor gave you birth.” | The apple tree serves as a symbol of fertility, love, and life. The reference to birth and motherhood reinforces the themes of creation, continuity, and nurturing. | Symbolism (apple tree), Allusion to fertility and life |
| “Place me like a seal over your heart, like a seal on your arm;” | The speaker desires to be a permanent and exclusive mark on the beloved, symbolizing eternal love and commitment. The seal represents ownership and identity. | Symbolism (seal as permanence), Simile |
| “For love is as strong as death, its jealousy unyielding as the grave.” | This comparison between love and death emphasizes the powerful, inevitable, and all-consuming nature of love, paralleling its intensity to that of death. | Simile, Parallelism, Personification (love and jealousy) |
| “It burns like blazing fire, like a mighty flame.” | Love is described as a fire that is uncontrollable and consuming, further emphasizing its intensity and passion. The metaphor of fire evokes both warmth and destruction. | Metaphor, Simile, Imagery |
| “Many waters cannot quench love; rivers cannot wash it away.” | Water, often a symbol of life and destruction, is here powerless against the force of love, suggesting love’s resilience and strength. | Hyperbole, Imagery, Symbolism (water) |
| “If one were to give all the wealth of his house for love, it would be utterly scorned.” | The speaker contrasts love with material wealth, asserting that love cannot be bought and is beyond material valuation. | Contrast, Theme of love’s value over wealth |
| “We have a young sister, and her breasts are not yet grown.” | The mention of the young sister symbolizes innocence and the potential for future love and maturity. The image emphasizes the need for time and growth before love can be fulfilled. | Symbolism (sister as innocence), Metaphor |
| “What shall we do for our sister for the day she is spoken for?” | A rhetorical question about how to prepare the sister for her eventual marriage, continuing the theme of readiness for love. | Rhetorical question, Theme of preparation for love |
| “If she is a wall, we will build towers of silver on her. If she is a door, we will enclose her with panels of cedar.” | The speaker uses metaphors of a wall and a door to describe the sister’s potential for chastity (wall) or openness (door), with the promise of adornment or protection depending on her choice. | Metaphor, Symbolism (wall and door as chastity and openness) |
| “I am a wall, and my breasts are like towers.” | The speaker asserts her own maturity and strength, declaring herself as fortified and complete, ready for love. | Metaphor, Imagery (fortification as strength) |
| “Thus I have become in his eyes like one bringing contentment.” | The speaker expresses satisfaction in being seen as someone who brings peace and fulfillment to her beloved. | Theme of fulfillment and contentment |
| “Solomon had a vineyard in Baal Hamon; he let out his vineyard to tenants.” | The vineyard symbolizes wealth and productivity. Solomon’s ownership and leasing of the vineyard reflect his dominion and the value of the land. | Symbolism (vineyard as wealth and love), Historical reference (Solomon) |
| “Each was to bring for its fruit a thousand shekels of silver.” | This line speaks to the value of the vineyard, reinforcing the material and economic aspects of Solomon’s wealth. | Symbolism (fruit as wealth), Theme of material exchange |
| “But my own vineyard is mine to give;” | The speaker claims autonomy over her own body and love, declaring that she alone has control over her affections. | Metaphor, Theme of autonomy |
| “The thousand shekels are for you, O Solomon, and two hundred are for those who tend its fruit.” | The speaker recognizes Solomon’s wealth but differentiates between what is owed to him and what is given to those who care for the vineyard, indicating a sense of fairness. | Symbolism, Theme of reward and labor |
| “You who dwell in the gardens with friends in attendance, let me hear your voice!” | The speaker calls to her beloved, desiring to hear his voice amidst the gardens, which symbolize beauty, fertility, and peace. | Apostrophe, Imagery (gardens as love and beauty) |
| “Come away, my lover, and be like a gazelle or like a young stag on the spice-laden mountains.” | The final lines evoke the imagery of nature and movement, as the lover is called to come swiftly and gracefully, like a gazelle or stag. The spice-laden mountains symbolize richness and desire. | Simile, Imagery, Symbolism (gazelle and mountains as passion) |
Literary And Poetic Devices: “Song of Solomon – Chapter-8” by King Solomon
| Literary/Poetic Device | Example | Details |
| Allusion | “Solomon had a vineyard in Baal Hamon…” | The reference to Solomon’s vineyard alludes to his wealth and the biblical symbolism of the vineyard as a place of productivity and value, tying love to economic and personal ownership. |
| Apostrophe | “Daughters of Jerusalem, I charge you…” | The speaker addresses an absent or imaginary group (the “Daughters of Jerusalem”), as if they were present, which creates a sense of direct involvement in the love narrative. |
| Assonance | “Place me like a seal over your heart, like a seal on your arm.” | The repetition of the “e” sound in “seal” and “me” creates a musical quality that emphasizes the emotional depth of the request for eternal love. |
| Chiasmus | “His left arm is under my head and his right arm embraces me.” | The structure of this line reverses the order of the speaker’s body and the beloved’s arms, creating a mirrored or balanced arrangement of the embrace. |
| Conditional Clause | “If she is a wall… If she is a door…” | Conditional statements are used to present hypothetical situations and their outcomes, reflecting the potential futures of the sister’s maturity in love. |
| Contrast | “If she is a wall… If she is a door…” | The two metaphors (wall vs. door) contrast two different states of being—chastity versus openness—and offer different consequences for each. |
| Enjambment | “If I found you outside, I would kiss you, and no one would despise me.” | The sentence runs over multiple lines without a pause, creating a sense of continuation and flowing thought, mimicking the longing and desire expressed by the speaker. |
| Epizeuxis | “Many waters cannot quench love; rivers cannot wash it away.” | The immediate repetition of “cannot” emphasizes the absolute and indomitable nature of love, which cannot be diminished or destroyed. |
| Hyperbole | “Many waters cannot quench love; rivers cannot wash it away.” | Exaggeration is used to emphasize the strength and resilience of love, which is portrayed as indestructible, even by vast bodies of water. |
| Imagery | “His left arm is under my head and his right arm embraces me.” | Vivid, descriptive language appeals to the senses, especially touch and sight, to convey the intimacy and physical closeness of the lovers. |
| Irony | “If one were to give all the wealth of his house for love, it would be utterly scorned.” | There is an ironic tension between the material value of wealth and the priceless nature of love, underscoring the futility of trying to buy something as invaluable as love. |
| Metaphor | “Place me like a seal over your heart, like a seal on your arm.” | The “seal” metaphor signifies permanence and ownership in love, implying the desire for an unbreakable, eternal bond between the lovers. |
| Parallelism | “For love is as strong as death, its jealousy unyielding as the grave.” | The parallel structure of this sentence compares love’s intensity to that of death and jealousy to the grave, stressing their equivalence in strength and persistence. |
| Personification | “Love… its jealousy unyielding as the grave.” | Love and jealousy are personified, with jealousy described as having the qualities of the grave, relentless and consuming, as if they were living beings. |
| Repetition | “Do not arouse or awaken love until it so desires.” | This refrain is repeated throughout the Song of Solomon, serving as a thematic warning about the timing and readiness for love. |
| Rhetorical Question | “Who is this coming up from the desert leaning on her lover?” | This rhetorical question is used to emphasize the transformation of the lovers as they emerge from the wilderness, signaling a shift in their relationship. |
| Simile | “It burns like blazing fire, like a mighty flame.” | The simile compares love’s intensity to fire, using “like” to create a vivid image of passion and unquenchable desire. |
| Symbolism | “Apple tree” | The apple tree is a recurring symbol of fertility, love, and life, often associated with birth and the generative aspects of love. |
| Theme | Love and Commitment | Throughout Chapter 8, the theme of love’s power, intensity, and eternal nature is explored, highlighting its importance and resilience against external forces. |
Themes: “Song of Solomon – Chapter-8” by King Solomon
- The Power of Love: One of the central themes in Chapter 8 is the overwhelming and transformative power of love. The speaker describes love as an unstoppable force, comparing it to fire and death: “Love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame. Many waters cannot quench love; rivers cannot wash it away” (Song of Solomon 8:6-7). This imagery portrays love as something eternal, fierce, and all-consuming, impossible to extinguish or diminish. It is presented as a force of nature, capable of withstanding even the greatest challenges, much like death itself.
- Desire and Intimacy: Desire and intimacy are vividly portrayed in this chapter, with the speaker longing for a close and open relationship with the beloved. The speaker imagines being able to express affection publicly: “If only you were to me like a brother, who was nursed at my mother’s breasts! Then, if I found you outside, I would kiss you, and no one would despise me” (Song of Solomon 8:1). The sensuality of the text continues with imagery such as, “I would give you spiced wine to drink, the nectar of my pomegranates” (8:2). These references to intimate physical acts and the use of rich, evocative symbols like wine and pomegranates highlight the theme of passionate, unashamed desire between the lovers.
- Commitment and Exclusivity: Chapter 8 emphasizes the idea of love as an unbreakable bond, sealed by commitment and exclusivity. The speaker asks to be like a “seal over your heart, like a seal on your arm” (Song of Solomon 8:6), suggesting a desire for permanent attachment and a love that cannot be forgotten or removed. The imagery of the seal represents ownership and identity, implying that the speaker wishes to be marked permanently as the beloved’s. This theme reinforces the sacred and exclusive nature of their love, as something that cannot be shared or diminished by others.
- Maturity and Readiness for Love: Another theme is the maturity required for true love, highlighted in both the cautionary refrain and the metaphorical discussion of the young sister. The speaker repeatedly charges the “Daughters of Jerusalem” not to “arouse or awaken love until it so desires” (Song of Solomon 8:4), implying that love must come at the right time. The metaphor of the young sister, whose breasts are not yet grown, reflects the idea that she is not yet ready for love: “We have a young sister, and her breasts are not yet grown. What shall we do for our sister for the day she is spoken for?” (8:8). This concern about readiness for love illustrates that love should be approached with maturity and care, as it is a serious and transformative force in one’s life.
Literary Theories and “Song of Solomon – Chapter-8” by King Solomon
| Literary Theory | Application to “Song of Solomon – Chapter 8” | References from the Poem |
| Feminist Theory | Feminist literary theory explores gender roles and the dynamics between men and women. In Chapter 8, the woman speaker takes a central, active role in expressing her desire and love. She openly declares her longing for her beloved and emphasizes her autonomy, as seen in the metaphor of the vineyard: “But my own vineyard is mine to give” (Song of Solomon 8:12). This indicates her control over her body and affections, challenging traditional patriarchal norms of ownership and control over women’s sexuality. | “But my own vineyard is mine to give; the thousand shekels are for you, O Solomon” (8:12). |
| Psychoanalytic Theory | Psychoanalytic theory, particularly Freudian concepts, can be applied to the deep emotions, desires, and underlying psychological motivations present in the poem. The speaker’s intense love and longing are akin to Freudian concepts of desire and repression. Her wish to be close to the beloved, even imagining a scenario where public affection would be acceptable (“If only you were to me like a brother”) hints at the societal suppression of her desires. The references to intimate acts and longing also tap into subconscious desires and the human drive for connection and fulfillment. | “If only you were to me like a brother, who was nursed at my mother’s breasts!” (8:1). |
| New Historicism | New Historicism examines the cultural and historical context in which a text is written. Applying this theory to Song of Solomon, the poem reflects the values of ancient Israelite society, where love and marriage were deeply tied to social norms, family honor, and propriety. The repeated charge, “Do not arouse or awaken love until it so desires” (8:4), reflects the societal emphasis on the timing and control of romantic love. The allusion to Solomon’s vineyard also ties love to economic and material concerns, showing how love, wealth, and social status were interlinked in the historical context. | “Do not arouse or awaken love until it so desires” (8:4); “Solomon had a vineyard in Baal Hamon” (8:11). |
Critical Questions about “Song of Solomon – Chapter-8” by King Solomon
- How does the portrayal of love in Chapter 8 challenge or reinforce traditional views of romantic relationships?
- Chapter 8 presents love as a powerful, all-consuming force that transcends material wealth and social conventions. The speaker declares, “Love is as strong as death, its jealousy unyielding as the grave” (Song of Solomon 8:6), emphasizing love’s inevitability and intensity. This portrayal of love as an elemental force challenges traditional views that might prioritize social, familial, or economic considerations in relationships. The speaker’s desire for public affection and her autonomy over her “vineyard” (a metaphor for her body and love) also questions the conventional roles of women in romantic relationships. However, the chapter also reinforces traditional notions of commitment and fidelity, as seen in the plea to be like a “seal over your heart” (8:6), symbolizing exclusivity and permanence in love.
- What is the significance of the recurring imagery of nature in the depiction of love and desire?
- Throughout Chapter 8, nature is invoked repeatedly to symbolize love’s beauty, vitality, and unpredictability. The speaker uses metaphors such as the “apple tree” (8:5) to evoke fertility and life, while the imagery of fire and water illustrates the uncontrollable and enduring aspects of love: “It burns like blazing fire… many waters cannot quench love; rivers cannot wash it away” (8:6-7). These references to natural elements suggest that love is a fundamental, organic part of human experience—something that grows, blooms, and survives despite external pressures. This natural imagery reinforces the idea that love is a force of nature, beyond human control, and deeply connected to the physical world.
- How does the theme of autonomy and control over one’s body and emotions manifest in the poem?
- The speaker in Chapter 8 expresses a strong sense of autonomy over her love and body, particularly in the metaphor of the vineyard: “But my own vineyard is mine to give” (8:12). This line emphasizes her control over her physical and emotional self, challenging the notion that women’s bodies or love could be claimed or controlled by others, including powerful men like Solomon. The speaker’s assertiveness in describing her own desire and the conditions under which love should unfold—”Do not arouse or awaken love until it so desires” (8:4)—further highlights the theme of emotional agency. This sense of personal control contrasts with societal expectations of the time, where women were often seen as passive participants in love and marriage.
- What role does social propriety play in shaping the expression of love in Chapter 8?
- Social propriety and public perception are recurring concerns in Chapter 8, as the speaker navigates the boundaries of expressing love in a society with strict norms. The opening lines reflect a desire to be free of judgment: “If only you were to me like a brother… I would kiss you, and no one would despise me” (8:1). This suggests that love, while powerful and natural, is also constrained by societal expectations of appropriate behavior, particularly for women. The cautionary refrain, “Do not arouse or awaken love until it so desires” (8:4), reinforces the idea that love must be tempered and expressed at the right time, aligning with cultural values of patience, control, and readiness in romantic relationships. This tension between personal desire and social propriety creates a complex dynamic in the speaker’s expression of love.
Literary Works Similar to “Song of Solomon – Chapter-8” by King Solomon
- “The Passionate Shepherd to His Love” by Christopher Marlowe
This poem, like Song of Solomon, celebrates the beauty of love and nature, using pastoral imagery to express desire and devotion between lovers. - “To His Coy Mistress” by Andrew Marvell
Both poems explore themes of love, time, and desire, with Marvell urging his beloved to seize the moment, similar to the intensity and urgency of love in Song of Solomon. - “Sonnet 18” by William Shakespeare
Shakespeare’s sonnet compares love to the eternal beauty of nature, much like Song of Solomon uses natural imagery to symbolize the enduring power of love. - “A Valediction: Forbidding Mourning” by John Donne
Donne’s poem, like Song of Solomon, portrays love as an unbreakable and spiritual bond, enduring despite physical separation or external challenges. - “La Belle Dame sans Merci” by John Keats
Keats’ poem shares with Song of Solomon a focus on the complexities of love, blending sensual imagery with the tension between desire and unattainability.
Representative Quotations of “Song of Solomon – Chapter-8” by King Solomon
| Quotation | Context | Theoretical Perspective |
| “If only you were to me like a brother, who was nursed at my mother’s breasts!” | The speaker longs for a relationship where public affection would be socially acceptable, showing the societal constraints on romantic love. | Feminist Theory – Reflects societal limitations on female expression of desire. |
| “Then, if I found you outside, I would kiss you, and no one would despise me.” | The speaker imagines a scenario where love can be expressed freely in public, without judgment, underlining the social pressures of propriety. | New Historicism – Examines the influence of societal norms on the expression of love. |
| “Place me like a seal over your heart, like a seal on your arm;” | The speaker desires a permanent, unbreakable bond with her beloved, symbolizing eternal commitment. | Psychoanalytic Theory – The seal represents the need for emotional security and attachment. |
| “For love is as strong as death, its jealousy unyielding as the grave.” | This metaphor emphasizes the unrelenting and powerful nature of love, comparing it to death and jealousy. | Psychoanalytic Theory – Reflects the subconscious, primal forces of desire and jealousy. |
| “It burns like blazing fire, like a mighty flame.” | Love is likened to an uncontrollable fire, symbolizing its intensity and all-consuming nature. | Romanticism – Highlights the sublime, powerful emotions associated with love. |
| “Many waters cannot quench love; rivers cannot wash it away.” | Love is portrayed as indestructible, even by the overwhelming forces of nature like water. | Romanticism – Celebrates the indomitable force of love, transcending physical elements. |
| “Do not arouse or awaken love until it so desires.” | This recurring caution emphasizes the importance of timing and readiness in romantic love. | Psychoanalytic Theory – Suggests the need for emotional maturity before fully engaging in love. |
| “We have a young sister, and her breasts are not yet grown.” | The speaker references the sister’s physical immaturity, symbolizing her unreadiness for love or marriage. | Feminist Theory – Examines the role of women’s bodies and maturation in the context of marriage. |
| “But my own vineyard is mine to give;” | The speaker asserts control over her own body and love, claiming personal autonomy. | Feminist Theory – A statement of female autonomy over her own body and choices. |
| “Come away, my lover, and be like a gazelle or like a young stag on the spice-laden mountains.” | The speaker invites her lover to join her, using natural imagery to evoke passion and desire. | Ecocriticism – Uses nature as a metaphor for love, connecting human emotions to the natural world. |
Suggested Readings: “Song of Solomon – Chapter-8” by King Solomon
- Spallino, Chiara. “Song of Solomon: An Adventure in Structure.” Callaloo, no. 25, 1985, pp. 510–24. JSTOR, https://doi.org/10.2307/2930822. Accessed 19 Oct. 2024.
- Jesse Rainbow. “The Song of Songs and the Testament of Solomon: Solomon’s Love Poetry and Christian Magic.” The Harvard Theological Review, vol. 100, no. 3, 2007, pp. 249–74. JSTOR, http://www.jstor.org/stable/4495119. Accessed 19 Oct. 2024.
- Brenkman, John. “Politics and Form in Song of Solomon.” Social Text, no. 39, 1994, pp. 57–82. JSTOR, https://doi.org/10.2307/466364. Accessed 19 Oct. 2024.
- Lee, Dorothy H. “Song of Solomon: To Ride the Air.” Black American Literature Forum, vol. 16, no. 2, 1982, pp. 64–70. JSTOR, https://doi.org/10.2307/2904138. Accessed 19 Oct. 2024.
- Farshid, Sima. “The Crucial Role of Naming in Toni Morrison’s ‘Song of Solomon.'” Journal of African American Studies, vol. 19, no. 3, 2015, pp. 329–38. JSTOR, http://www.jstor.org/stable/43525598. Accessed 19 Oct. 2024.