Introduction
‘How beautiful your sandaled feet, O prince’s daughter! Your graceful legs are like jewels, the work of an artist’s hands. Your navel is a rounded goblet that never lacks blended wine. Your waist is a mound of wheat encircled by lilies. Your breasts are like two fawns, like twin fawns of a gazelle. Your neck is like an ivory tower. Your eyes are the pools of Heshbon by the gate of Bath Rabbim. Your nose is like the tower of Lebanon looking toward Damascus. Your head crowns you like Mount Carmel. Your hair is like royal tapestry; the king is held captive by its tresses.’ Song Of Solomon 7:1-5
Earlier the daughters of Jerusalem voiced their views of the Shulammite woman’s beauty back in Song of Songs 5:9 and back in Song of Songs 6:10-12. In the previous chapter, they view her beauty as angelic in form while dancing, Song of Songs 6:13.
It appears that the Shulammite woman danced, and the daughters of Jerusalem are utterly in awe of her beauty. Her beauty is seen from her feet to her head, and a total of ten body parts are described. Ten is a special number among the Hebrews as it represents things that are complete. Hence the daughters of Jerusalem are implying that nothing is lacking in her.
The first part of her body they noticed was her ‘sandaled feet’, Song of Songs 7:1. They admired both the beauty of her feet and her sandals. In other words, she has the beautiful feet of a princess. They go on to describe her ‘legs’, which are precisely formed as if carved by a jeweller Song of Songs 7:1. It’s possible that she wore some kind of ornaments around her knees or legs, as was the custom of women at this time, Isaiah 3:18-23.
Her ‘navel’ brings satisfaction and her ‘waist’ is narrow and white, like a bundle of wheat tied with lilies, Song of Songs 7:2. Wine and wheat were the basic foods of any meal.
Dummelow, in his commentary, says the following.
‘The Talmud states that the proportions for mixed wine (RV) were two-thirds water, one-third wine. In Syria, the colour of wheat is considered to be the most beautiful for a human body.’
Ainsworth, in his commentary, says the following concerning the wheat tied with lilies, Song of Songs 7:2.
‘The metaphor is taken from a pregnant woman; the child in the womb being nourished by means of the umbilical cord or navel string, till it is brought into the world. After which it is fed by means of the mother’s breasts, which are immediately mentioned. Possibly the whole may allude to the bride’s pregnancy.’
The Shulammite woman’s ‘breasts’ are described as fawns, Song of Songs 7:3 / Song of Songs 1:13 / Song of Songs 4:5 / Song of Songs 7:8. They are called twins because they are evenly matched and by referring to them as fawns, this gives us the allusion to soft, gentle creatures that fills one with a desire to hold, Proverbs 5:18-19. Gazelles must be approached quietly and gently or they may be frightened off.
Her ‘neck’ is like a tower of ivory, Song of Songs 7:4 / Song of Songs 4:4, possibly comparing it to one of the towers which Solomon built, 1 Kings 10:18, it’s white and stately, showing dignity in character. The idea with this image isn’t so much of an extremely long neck, but of one that speaks of nobility and strength of character.
Her ‘eyes’ are like the pools in Heshbon, Song of Songs 7:4. In other words, they are large and clear, possibly blue in colour. Among the ruins to the south of Heshbon still remain several deep wells cut in the rock and a large reservoir of water.
Her ‘nose’ is like the tower of Lebanon, Song of Songs 7:4, that is, stately. We don’t know if this is a literal tower or not, it’s possible it’s speaking of ‘the house of the forest of Lebanon’ or part of it, 1 Kings 7:2 / 1 Kings 9:19, built by Solomon in the early part of his reign or possibly a watchtower erected by David to overawe Damascus after his war with Hadadezer, 2 Samuel 8:6. The reference here speaks more of the colour of the Shulammite woman’s nose than the size or shape of it.
Her ‘head’ is as majestic as a mountain and the beauty of her ‘hair’ is so striking that it can only be related to royalty, Song of Songs 7:5, that is possibly purple in colour. Notice that the daughters of Jerusalem observe that it’s due to her beauty that the ‘king is held captive by its tresses,’ Song of Songs 7:5. The word, ‘tresses’ in Hebrew is ‘rahat’ and it means to run or flow, which means her hair has the appearance of running, rippling water. This surely tells us that it’s not Solomon who is attempting to seduce the Shulammite here but rather the daughters of Jerusalem praising the Shulammite woman’s beauty.
‘How beautiful you are and how pleasing, my love, with your delights! Your stature is like that of the palm, and your breasts like clusters of fruit. I said, ‘I will climb the palm tree; I will take hold of its fruit.’ May your breasts be like clusters of grapes on the vine, the fragrance of your breath like apples, and your mouth like the best wine. May the wine go straight to my beloved, flowing gently over lips and teeth.’ Song Of Solomon 7:6-9
It appears from these verses that Solomon and the Shulammite woman are now reunited after their falling out, Song of Songs 5:2-3. Solomon sees his beloved wife and immediately praises her beauty, Song of Songs 7:6. Notice that his description is more sensual than on the night of their wedding, Song of Songs 5:1. It’s clear they are now familiar with each other and aren’t embarrassed to enjoy any part of each other. We get the impression that they also play around more in their lovemaking.
Solomon compares his wife to a palm tree with her breast being ripe fruit waiting to be picked, Song of Songs 7:7 / Song of Songs 8:6-7. He starts down at her feet and slides up her body, taking time to enjoy the tenderness of her breasts, the fragrance of her breath, Song of Songs 7:8, and the intoxicating kisses from her lips, Song of Songs 7:9 / Proverbs 23:31.
Solomon knows that nothing satisfies the soul of man like love. Love fulfils one’s innermost desires in man’s emotional, physical, and spiritual being. Love will always manifest itself in words and actions. He isn’t merely infatuated with his bride but he is head over hills in love with her. Every part of her being captured his attention. The Shulammite woman’s stature, breasts, breath, and mouth fulfil his deep inner cravings for his wife. When Solomon looks at her, the Shulammite woman is everything that a woman should be.
‘I belong to my beloved, and his desire is for me. Come, my beloved, let us go to the countryside, let us spend the night in the villages. Let us go early to the vineyards to see if the vines have budded, if their blossoms have opened, and if the pomegranates are in bloom—there I will give you my love. The mandrakes send out their fragrance, and at our door is every delicacy, both new and old, that I have stored up for you, my beloved.’ Song Of Solomon 7:10-13
This is the third expression of unity between the Shulammite woman and Solomon, Song of Songs 7:10. While it essentially says the same thing back in Song of Songs 2:16, and Song of Songs 6:3, it’s slightly different. She is now fully secure in her relationship with her husband and she has fully lost herself in him.
Solomon has left no doubts within the Shulammite woman’s mind regarding his feelings for her. The Shulammite woman is the queen of his life and he remains her beloved, Song of Songs 7:10. When two people have such strong mutual feelings toward each other and they reveal this, the relationship is healthy.
Solomon’s bride doesn’t appear to be forcefully abducted here, she is obviously just as happy to see Solomon as he is to see her, Song of Songs 7:10. It’s clear that their absence from each other has heightened their desire to be with each other, Song of Songs 5:2-6.
Clarke, in his commentary, says the following.
‘It has been conjectured that the bridegroom arose early every morning, and left the bride’s apartment, and withdrew to the country; often leaving her asleep, and commanding her companions not to disturb her till she should awake of herself. Here the bride wishes to accompany her spouse to the country and spend a night at his country house.’
The Shulammite woman suggests that the two of them go to the garden, Song of Songs 7:11, and view the new growth of vegetation together and partake of each other’s love, Song of Songs 7:12. She has apparently set aside various fruits and planned this special time together, in order that they may both enjoy each other and the garden’s fruits.
‘Mandrakes’, Song of Songs 7:13, also known are also known as ‘love apples’, and they were considered to be aphrodisiacs, Genesis 30:14-16. This will be a sensual moment of pleasure for the two of them which is again healthy for married couples. This tells us that the sexual part of the marital relationship isn’t just for procreation but can also be used to enjoy each other’s love and affection.