The Bible, King James version, Book 22: Song of Solomon — Context and Discussion

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Words 5,806
Reading time 26 min
Text sections 2

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This editorial note examines the King James Version of the Song of Solomon, focusing on its lyrical language, shifts in narrative voice between the lovers and the daughters of Jerusalem, and the poem's rhythmic pacing from intimate dialogue to vivid nature imagery.
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Book 22 Song of Solomon

22:001:001 The song of songs, which is Solomon’s.

22:001:002 Let him kiss me with the kisses of his mouth: for thy love is better than wine.

22:001:003 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.

22:001:004 Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.

22:001:005 I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.

22:001:006 Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.

22:001:007 Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?

22:001:008 If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds’ tents.

22:001:009 I have compared thee, O my love, to a company of horses in Pharaoh’s chariots.

22:001:010 Thy cheeks are comely with rows of jewels, thy neck with chains of gold.

22:001:011 We will make thee borders of gold with studs of silver.

22:001:012 While the king sitteth at his table, my spikenard sendeth forth the smell thereof.

22:001:013 A bundle of myrrh is my well-beloved unto me; he shall lie all night betwixt my breasts.

22:001:014 My beloved is unto me as a cluster of camphire in the vineyards of Engedi.

22:001:015 Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes.

22:001:016 Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.

22:001:017 The beams of our house are cedar, and our rafters of fir.

22:002:001 I am the rose of Sharon, and the lily of the valleys.

22:002:002 As the lily among thorns, so is my love among the daughters.

22:002:003 As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste.

22:002:004 He brought me to the banqueting house, and his banner over me was love.

22:002:005 Stay me with flagons, comfort me with apples: for I am sick of love.

22:002:006 His left hand is under my head, and his right hand doth embrace me.

22:002:007 I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.

22:002:008 The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills.

22:002:009 My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice.

22:002:010 My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.

22:002:011 For, lo, the winter is past, the rain is over and gone;

22:002:012 The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land;

22:002:013 The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.

22:002:014 O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.

22:002:015 Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.

22:002:016 My beloved is mine, and I am his: he feedeth among the lilies.

22:002:017 Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether.

22:003:001 By night on my bed I sought him whom my soul loveth: I sought him, but I found him not.

22:003:002 I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: I sought him, but I found him not.

22:003:003 The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth?

The Song of Solomon opens with a direct, urgent plea: "Let him kiss me with the kisses of his mouth" (1:2). This immediate physicality sets the tone for a poem that intertwines desire, nature, and the body. The King James Version renders the Hebrew poetry in a cadenced, formal English that preserves the original's sensuous imagery—"thy love is better than wine" (1:2), "a bundle of myrrh is my well-beloved unto me" (1:13). The text alternates between the voices of the beloved woman, her lover, and a chorus of the "daughters of Jerusalem," creating a dramatic, almost theatrical structure. The language shifts from intimate dialogue to expansive similes drawn from the natural world: the beloved is compared to "a company of horses in Pharaoh's chariots" (1:9) and later to "the rose of Sharon" (2:1).

Voice and Dialogue

The poem's narrative voice is not singular. It moves fluidly between speakers, often without explicit markers. The woman speaks first, then the man responds, and the daughters of Jerusalem interject with warnings or encouragement. For instance, after the woman's declaration of love, the man calls her "fairest among women" (1:8). This interplay creates a sense of immediacy and intimacy. The voices are distinguished by their concerns: the woman speaks of longing and physical absence, the man praises her beauty, and the chorus advises restraint. The King James translation preserves these shifts through changes in pronouns and imperatives, such as the repeated charge "I charge you, O ye daughters of Jerusalem" (2:7, 3:5, 8:4).

Imagery and the Natural World

The poem draws heavily on pastoral and agricultural imagery. The beloved is compared to a "lily among thorns" (2:2), and the lover to an "apple tree among the trees of the wood" (2:3). These similes root the emotional experience in the physical landscape. The setting shifts from vineyards (1:6) to gardens (4:12) to mountains (2:8). The King James Version uses concrete nouns—"myrrh," "camphire," "spikenard"—that evoke the sensory richness of the ancient Near East. The repetition of natural elements, such as "the voice of the turtle" (2:12) and "the fig tree putteth forth her green figs" (2:13), ties the lovers' union to the cycle of seasons and fertility.

Pacing and Structure

The poem's pacing varies between rapid, breathless lines and slower, more reflective passages. Short exclamations—"Behold, thou art fair" (1:15)—alternate with longer descriptive verses. The structure is not linear; it circles back to themes of seeking and finding, absence and presence. The refrain "I charge you, O ye daughters of Jerusalem, that ye stir not up, nor awake my love, till he please" (2:7, 3:5, 8:4) marks a rhythmic pause, a warning against forcing love. The final chapter accelerates with urgent calls: "Make haste, my beloved" (8:14). This ebb and flow mirrors the emotional arc of desire and fulfillment.

Language and Translation

The King James Version's language is both archaic and poetic. Words like "comely," "spikenard," and "camphire" are now rare, lending a formal, almost liturgical tone. The translation often uses parallelism, a hallmark of Hebrew poetry: "I am black, but comely" (1:5). The syntax can be inverted for emphasis: "Thy cheeks are comely with rows of jewels" (1:10). The text also employs repetition for effect, as in "Behold, thou art fair, my love; behold, thou art fair" (1:15). These choices create a rhythmic, chant-like quality that distinguishes this book from other biblical prose.

Readers approaching the Song of Solomon in this edition should attend to the shifts in speaker and the density of imagery. The poem rewards slow reading: each simile and metaphor builds a layered portrait of love. The King James Version's formal diction may initially seem distant, but its rhythmic patterns and concrete details ground the text in a vivid, tangible world. Consider reading aloud to hear the interplay of voices and the cadence of the poetry.

Reading the Song of Solomon’s tender, almost breathless exchanges, I remembered sitting with my grandmother’s old Bible, tracing her underlines in 2 Samuel, where David’s grief for Absalom felt so raw and wordless. Both texts hold that ache of loving someone fiercely, imperfectly. It comforts me to know those voices persist.The Bible, King James version, Book 10: 2 Samuel — Edition Insights

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Victoria Lewis
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    Diana Best - 1 month ago
    This edition of the Song of Solomon is straightforward and true to the KJV text. The poetic verses are beautiful, but I wished for more commentary or interpretation to help understand the layers of meaning. The book is short, so it's a quick read, but the lack of supplementary material leaves you to your own devices. It's a good, basic presentation of the text, though not particularly enriching.

  • ...
    Ray Simmons - 1 month ago
    The Song of Solomon is one of the most poetic and beautiful books of the Bible, and this KJV edition captures its lyrical essence perfectly. The passionate and allegorical language is a delight to read, whether you interpret it as a love poem or a metaphor for God's love. The digital format is clean and easy to navigate, making it a pleasure to revisit these timeless verses. A must-have for poetry lovers and theologians.

  • ...
    Sharon Sampson - 1 month ago
    The Song of Solomon is often misunderstood, and this bare-bones edition does little to clarify its symbolism. The language is ornate but inaccessible to modern readers without a guide. The brevity of the book is both a blessing and a curse; it's over before you can truly grasp its significance. If you're seeking a devotional or study tool, this isn't it. It's just the raw text, which may leave you confused rather than inspired.


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