Cantares 5

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Song of Solomon 5 turns from the wedding night to a lovers' quarrel and its repair. The chapter opens with the bridegroom in his garden, feasting on myrrh, honey, wine, and milk, and a chorus urging the couple to drink deeply. Then the bride tells a dream: her beloved knocks at night, she hesitates to rise, and when she finally opens the door he is gone. She searches the city, is beaten by the watchmen, and begs the daughters of Jerusalem to tell him she is sick with love. Asked what makes him so special, she answers with the Song's only full description of the man: head of gold, raven hair, eyes like doves, lips like lilies, legs like marble pillars, altogether lovely, "my beloved, and my friend."

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Song of Solomon 5 begins in a garden and ends in the streets, and in between is one of the truest scenes about love in the Bible. The wedding night of chapter 4 closes with the man feasting in his garden and a chorus telling the couple to drink their fill. Then the mood changes. The bride is in bed, half asleep, and hears her beloved knocking, wet with the night dew, asking her to open. She hesitates. She has taken off her robe and washed her feet; must she really get up? By the time desire wins over comfort and she goes to the door with myrrh running from her fingers onto the bolt, he has gone. What follows is a search through a dark city, a beating from the watchmen, and a plea to the women of Jerusalem: if you find him, tell him I am sick with love. They ask her what is so special about this man, and her answer is the only place in the Song where the man's body is described, feature by feature, from his golden head and black wavy hair to his marble legs and his sweet mouth. He is altogether lovely, she says, and then adds the word that lifts the poem above desire: this is my beloved, and this is my friend. Christians have read the knock at the door as Christ and the delay as the soul's; read simply as poetry, the chapter knows that love can be lost by a moment's laziness and found again by praise.

Anahtar bölümler

Song of Solomon 5:1 Song of Solomon 5:2-8 Song of Solomon 5:10-16 Song of Solomon 3:1-4 Song of Solomon 4:1-7 Revelation 3:20

Historical and literary context

The Song is a collection of Hebrew love poetry attributed to Solomon, whose name appears in it, though most scholars date its final form later, perhaps to the Persian period; its language and imagery belong to the world of royal gardens, city walls, and night watchmen. The garden, myrrh, and spices are the vocabulary of ancient Near Eastern love poetry, especially Egyptian songs of the same type. The description of the man's body, called a wasf after the Arabic term, matches the descriptions of the woman in chapters 4 and 7 and follows a tradition of praising a lover feature by feature. Jewish and Christian readers long read the book as an allegory of God and Israel or Christ and the church.

How the chapter unfolds

Verse 1 completes the wedding scene of chapter 4: the man enters his garden and a chorus blesses the lovers. Verses 2 to 6a are the bride's night vision, the knock, her hesitation, her rising with hands dripping myrrh, and his disappearance. Verses 6b to 8 are the search, the watchmen's beating, and the charge to the daughters of Jerusalem. Verse 9 is the daughters' question. Verses 10 to 16 are the bride's praise of her beloved from head to legs, ending with his mouth, his loveliness, and the double naming of him as beloved and friend.

Why this chapter matters

Verse 2, "I sleep, but my heart is awake," and the knock at the door became, in Christian reading, the image of Christ seeking the soul and the soul's costly delay, echoed in Revelation 3:20; the bride's search through the streets shaped mystical writing from Bernard of Clairvaux to John of the Cross. "Altogether lovely" in verse 16 has been applied to Christ in hymns for centuries. Read as human poetry, the chapter is the Bible's frankest account of desire, hesitation, loss, and the way praise restores what a quarrel damaged, and its closing "this is my friend" makes friendship part of married love.

Interpretive tension to watch

Whether verses 2 to 8 are a dream, a memory, or a poem in the form of a dream is not settled, and the watchmen's violence in verse 7 is jarring in either reading. The chapter's delay, the woman's reluctance to dirty her feet while the man waits in the dew, has been moralized as spiritual laziness and defended as ordinary human hesitation. The allegorical readings that dominated for two thousand years and the literal reading of the poem as celebrating married love both claim the chapter, and translators must decide how explicit to make its physical imagery.

Bu bölüm için sorular

  • The bride delays opening the door and loses the moment. What small hesitations cost the most in the relationships you care about?
  • Asked why her beloved is better than others, she answers with detailed praise. How does describing someone's goodness aloud change how you see them?
  • The chapter ends with "my beloved, and my friend." What does it add to a marriage when the lover is also the friend?

Study with context

Use this as a chapter guide, then press deeper into the text itself. The goal is to slow down observation, notice structure, and ask better questions before jumping to conclusions.

Notlara Ekle
1 ¡Entro en mi jardín, hermana mía, novia mía! Recojo mirra con mi especia. Como mi panal con mi miel. Bebo vino con mi leche. ¡Comamos nuestra saciedad de amor! Embriaguémonos de amor! 2 Aunque estaba dormida, mi mente iba a toda velocidad. Oí que mi amor llamaba a la puerta, y gritaba: “Por favor, abre la puerta, hermana mía, querida, paloma mía, mi amor perfecto. Mi cabeza está empapada de rocío, mis cabellos están mojados por la niebla nocturna”. 3 Respondí: “Ya me he desvestido. No tengo que volver a vestirme, ¿verdad? Ya me he lavado los pies. No tengo que ensuciarlos de nuevo, ¿verdad?” 4 Mi amor metió la mano en la abertura. En mi interior lo anhelaba. 5 Me levanté para dejar entrar a mi amor. Mis manos goteaban de mirra, mis dedos de mirra líquida, mientras agarraba las asas del cerrojo. 6 Me abrí a mi amor, pero él se había ido, ¡se había ido! Quedé destrozada por ello. Lo busqué pero no pude encontrarlo. Lo llamé, pero no respondió. 7 Los vigilantes me encontraron al pasar por la ciudad. Me golpearon, me hirieron y me robaron el manto, aquellos centinelas de las murallas. 8 Mujeres de Jerusalén, prométanme que si encuentran a mi amor y no saben qué decirle, díganle que estoy débil de amor. 9 ¿Por qué el que amas es mejor que cualquier otro? Dinos, mujer más bella de las mujeres? ¿En qué es el que amas es mejor que cualquier otro para que te prometamos eso? 10 Mi amor tiene una apariencia deslumbrante y está muy en forma, mejor que otros diez mil. 11 Su cabeza es como el oro más fino, su cabello es ondulado y negro como el cuervo. 12 Sus ojos son como palomas junto a manantiales de agua, lavados con leche y engastados como joyas resplandecientes. 13 Sus mejillas son como un macizo de especias que produce fragancia. Sus labios son como lirios, goteando mirra líquida. 14 Sus brazos son barras redondas de oro con incrustaciones de joyas. Su abdomen es como marfil tallado con incrustaciones de lapislázuli. 15 Sus piernas son columnas de alabastro asentadas sobre bases de oro. Parece fuerte, como los poderosos cedros del Líbano. 16 Su boca es la más dulce de todas; ¡es absolutamente deseable! Este es mi amor, mi amigo, mujeres de Jerusalén.

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