King James Version
Song of Solomon 2
17 verses with commentary
The Bride and the Bridegroom Rejoice
I am the rose of Sharon, and the lily of the valleys.
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The bride speaks: 'I am the rose of Sharon, and the lily of the valleys.' This verse employs botanical imagery to describe the bride's beauty and character. The 'rose of Sharon' (Hebrew 'chavatzeleth hasharon,' חֲבַצֶּלֶת הַשָּׁרוֹן) likely refers to a crocus or meadow saffron that bloomed abundantly in the fertile Sharon plain along Israel's Mediterranean coast. The 'lily of the valleys' (shoshannat ha'amaqim, שׁוֹשַׁנַּת הָעֲמָקִים) designates a beautiful flower growing in lowland areas. Some interpret this as humble self-assessment—the bride comparing herself to common wildflowers rather than exotic, rare blossoms. However, the parallelism with the bridegroom's lavish praise (1:15) suggests the bride is acknowledging her beauty while maintaining humility. She is genuinely lovely ('rose,' 'lily') yet unpretentious ('of Sharon,' 'of the valleys')—beautiful but accessible, not proud or haughty. The church fathers traditionally applied this to Christ Himself—the Rose of Sharon representing His beauty, purity, and the fragrance of His character. Christ is both transcendently glorious and humbly approachable, 'lowly in heart' (Matthew 11:29) yet the 'fairest of ten thousand' (Song 5:10).
As the lily among thorns, so is my love among the daughters.
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The bridegroom responds to the bride's self-description (2:1): 'As the lily among thorns, so is my love among the daughters.' While the bride compared herself to a common wildflower ('lily of the valleys'), the bridegroom elevates her: among other women ('the daughters'), she stands out as a lily among thorns. The Hebrew 'shoshanah' (שׁוֹשַׁנָּה, lily) represents beauty, while 'choachim' (חוֹחִים, thorns) suggests inferior plants—prickly, useless, even painful. The comparison isn't insulting other women but expressing the bridegroom's exclusive devotion: to him, the bride surpasses all others as a fragrant, beautiful lily surpasses thorny brush. This verse teaches that covenant love sees the beloved as uniquely precious and incomparably valuable. Theologically, Christ views His Church this way—though surrounded by the world ('thorns'), she is His treasured lily, set apart and beloved.
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. I sat: Heb. I delighted and sat down, etc taste: Heb. palate
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The bride declares, '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.' The comparison elevates the beloved above all others—as an apple tree (bearing fruit, providing shade) stands out among forest trees (non-fruit-bearing), so the beloved surpasses all competitors. The imagery emphasizes both protection ('shadow') and provision ('fruit'). The bride finds refuge, rest, and refreshment in her beloved's presence. The Hebrew 'chimmadti' (חִמַּדְתִּי, I delighted) expresses intense desire and pleasure. The 'sweet' fruit suggests satisfying nourishment and delight. This verse teaches that covenant love provides security, refreshment, and deep satisfaction—not fleeting pleasure but enduring fulfillment. Theologically, this prefigures the believer's rest and satisfaction in Christ. Jesus is the true source of shade (protection, Isaiah 25:4) and fruit (nourishment, John 15:5). Believers find 'great delight' in sitting under His authority, receiving His provision, and tasting His goodness (Psalm 34:8; 1 Peter 2:3).
He brought me to the banqueting house, and his banner over me was love. banqueting: Heb. house of wine
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The bride continues: 'He brought me to the banqueting house, and his banner over me was love.' The 'banqueting house' (Hebrew 'beth hayayin,' בֵּית הַיָּיִן, literally 'house of wine') suggests a place of celebration, abundance, and joy—perhaps a vineyard house or feast hall. The beloved actively 'brought' the bride there—initiating, providing, hosting. The second phrase employs military imagery: 'his banner over me was love.' Banners (Hebrew 'degel,' דֶּגֶל) were military standards or flags identifying troops, rallying soldiers, and signifying protection. To be under someone's banner meant you belonged to them and enjoyed their defense. But this banner isn't war or conquest—it's love (ahavah, אַהֲבָה). The beloved publicly declares his love, protection, and commitment to the bride. She is secure under his standard, identified as belonging to him. This verse celebrates love that both delights (banqueting) and protects (banner). Theologically, Christ brings believers to His feast (Luke 14:16-23; Revelation 19:9) and covers them with the banner of His covenant love (Psalm 91:4; Ephesians 1:4).
Stay me with flagons, comfort me with apples: for I am sick of love. comfort: Heb. straw me with apples
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The bride exclaims, 'Stay me with flagons, comfort me with apples: for I am sick of love.' The Hebrew 'raphad' (רַפֵּד, stay/sustain) suggests supporting or strengthening, while 'samakh' (סָמַךְ, comfort) means uphold or refresh. The 'flagons' (ashishot, אֲשִׁישׁוֹת) were likely raisin cakes—sweet, nourishing food. Apples (tappuchim, תַּפּוּחִים) provide refreshment. The bride feels faint—'sick of love' (cholat ahavah, חוֹלַת אַהֲבָה) describes lovesickness, overwhelming desire for the beloved. Love's intensity creates physical effects requiring sustenance. This verse celebrates passion's power—legitimate desire within covenant relationship so strong it requires physical refreshment. Spiritually, it represents the soul's intense longing for God that can feel overwhelming, requiring spiritual nourishment through Word and sacrament.
His left hand is under my head, and his right hand doth embrace me.
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His left hand is under my head, and his right hand doth embrace me. This tender verse describes intimate physical closeness. The Hebrew 'semolo tachat leroshi vimino techabbekeni' (שְׂמֹאלוֹ תַּחַת לְרֹאשִׁי וִימִינוֹ תְּחַבְּקֵנִי) pictures the beloved cradling the bride's head with his left hand while his right arm embraces her. The positioning suggests reclining together—perhaps at a feast (following verse 4's banqueting house) or in rest. The left hand 'under my head' provides support and protection, while the right hand's embrace expresses affection and security.
This verse celebrates covenant love's physical tenderness—strong yet gentle, protective yet intimate. The bride rests securely in the beloved's arms, supported and embraced. The dual action (supporting and embracing) models complete care: meeting practical needs while expressing affectionate love. Spiritually, this represents believers resting in Christ's strong yet tender care—He upholds (left hand supporting) while drawing near in intimate fellowship (right hand embracing). The imagery anticipates Jesus's promise: 'Come unto me... and I will give you rest' (Matthew 11:28), and the Father's embrace of the returning prodigal (Luke 15:20).
This verse celebrates covenant love's physical tenderness—strong yet gentle, protective yet intimate. The bride rests securely in the beloved's arms, supported and embraced. The dual action (supporting and embracing) models complete care: meeting practical needs while expressing affectionate love. Spiritually, this represents believers resting in Christ's strong yet tender care—He upholds (left hand supporting) while drawing near in intimate fellowship (right hand embracing). The imagery anticipates Jesus's promise: 'Come unto me... and I will give you rest' (Matthew 11:28), and the Father's embrace of the returning prodigal (Luke 15:20).
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. I charge: Heb. I adjure you
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The bride adjures the daughters of Jerusalem: '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.' This solemn charge appears three times in the Song (2:7; 3:5; 8:4), forming a refrain about love's proper timing. The oath formula 'I charge you' (Hebrew 'hishba'ti,' הִשְׁבַּעְתִּי) means 'I adjure' or 'I put you under oath.' The reference to 'roes' (gazelles) and 'hinds' (female deer) may serve as oath terminology (avoiding God's name) or symbolize love's delicate, free nature—wild creatures that cannot be forced. The command 'stir not up, nor awake my love' warns against artificially hastening or forcing love. Love must develop in its proper season, neither rushed nor manipulated. The phrase 'till he please' (Hebrew 'ad shetechpats,' עַד שֶׁתֶּחְפָּץ) literally means 'until it delights' or 'until it desires'—love awakens when ready, not before. This verse teaches that godly love respects proper timing, processes, and readiness. It warns against premature sexual intimacy, emotional manipulation, or forced commitment before appropriate maturity.
The Bride Hears Her Beloved
The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills.
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The bride exclaims with joy: The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills. The phrase 'qol dodi' (קוֹל דּוֹדִי, the voice of my beloved) expresses recognition and delight—she knows his approach before seeing him. The verbs 'leaping' (medallekh, מְדַלֵּג) and 'skipping' (meqappets, מְקַפֵּץ) suggest joyful, energetic, eager movement. He cometh leaping upon the mountains, skipping upon the hills pictures the beloved bounding over obstacles with gazelle-like agility and enthusiasm.
This verse celebrates the beloved's eager, joyful approach—he doesn't walk slowly but runs, leaps, bounds in his desire to reach the bride. Mountains and hills represent obstacles, yet the beloved overcomes them effortlessly in his passion to arrive. This teaches that genuine love is eager, active, and persistent—overcoming barriers rather than being deterred by difficulty. Spiritually, this represents Christ's eager pursuit of His Church. He 'leaps over mountains' of sin, death, and separation to reach His beloved. The Incarnation, Cross, and Resurrection demonstrate Christ's determination to overcome every obstacle separating Him from His people.
This verse celebrates the beloved's eager, joyful approach—he doesn't walk slowly but runs, leaps, bounds in his desire to reach the bride. Mountains and hills represent obstacles, yet the beloved overcomes them effortlessly in his passion to arrive. This teaches that genuine love is eager, active, and persistent—overcoming barriers rather than being deterred by difficulty. Spiritually, this represents Christ's eager pursuit of His Church. He 'leaps over mountains' of sin, death, and separation to reach His beloved. The Incarnation, Cross, and Resurrection demonstrate Christ's determination to overcome every obstacle separating Him from His people.
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. shewing: Heb. flourishing
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The bride continues: 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. The comparison to 'a roe or a young hart' (tsevi o leopher ha'ayalim, צְבִי אוֹ לְעֹפֶר הָאַיָּלִים, gazelle or young deer) emphasizes grace, swiftness, and beauty—these animals were proverbial for agility. Now arrived, he standeth behind our wall, looketh forth at the windows, shewing himself through the lattice pictures the beloved at the dwelling, gazing through openings, seeking to see his bride and be seen by her.
The progression from distant approach (verse 8) to present arrival creates romantic tension: he has come but waits appropriately, looking through windows and lattice rather than forcing entry. This respects boundaries while expressing desire for connection. The beloved seeks mutual encounter—not content with distance but also not violating proper decorum. Spiritually, Christ stands near, seeking fellowship—He knocks but doesn't force entry (Revelation 3:20). He looks through 'windows'—revealing Himself through Scripture, creation, and providence—inviting response without coercion.
The progression from distant approach (verse 8) to present arrival creates romantic tension: he has come but waits appropriately, looking through windows and lattice rather than forcing entry. This respects boundaries while expressing desire for connection. The beloved seeks mutual encounter—not content with distance but also not violating proper decorum. Spiritually, Christ stands near, seeking fellowship—He knocks but doesn't force entry (Revelation 3:20). He looks through 'windows'—revealing Himself through Scripture, creation, and providence—inviting response without coercion.
My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.
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The bride recalls her beloved's invitation: 'My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.' The dual imperatives 'rise up' (qumi, קוּמִי) and 'come away' (lekhi-lakh, לְכִי־לָךְ) summon urgent response and departure. The terms of endearment—'my love' (rayati, רַעְיָתִי) and 'my fair one' (yaphati, יָפָתִי)—express affection and admiration. The context (verses 11-13) reveals this as springtime invitation: winter has passed, flowers appear, singing birds return. The beloved calls the bride to leave confinement and enjoy creation's renewal with him. This verse celebrates love's invitation to partnership, adventure, and shared joy. Spiritually, it represents Christ's call to believers: leave sin's bondage, rise from spiritual deadness, come to Him for abundant life. The resurrection imagery ('rise up') anticipates new life in Christ.
For, lo, the winter is past, the rain is over and gone;
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The beloved explains his invitation: For, lo, the winter is past, the rain is over and gone. The Hebrew 'ki-hinneh hastav avar' (כִּי־הִנֵּה הַסְּתָו עָבָר, behold, the winter has passed) and 'hageshem chalaf halakh lo' (הַגֶּשֶׁם חָלַף הָלַךְ לוֹ, the rain has passed, it has gone away) celebrate seasonal transition from harsh confinement to liberating spring. Winter is past (stav, סְתָו) refers to the cold, rainy season forcing indoor confinement. The rain is over and gone (geshem chalaf, גֶּשֶׁם חָלַף) signals the end of winter's storms and the arrival of pleasant weather.
This verse celebrates transition from difficulty to blessing, confinement to freedom, harshness to beauty. Winter—necessary but difficult—has served its purpose and departed. Now comes spring's renewal and invitation to enjoy life together. Spiritually, this represents leaving behind spiritual winter (sin's bondage, guilt's burden, law's condemnation) for gospel spring (forgiveness, freedom, grace). Christ's invitation to 'come away' summons believers from winter's deadness to resurrection life. The old has passed; behold, all things become new (2 Corinthians 5:17).
This verse celebrates transition from difficulty to blessing, confinement to freedom, harshness to beauty. Winter—necessary but difficult—has served its purpose and departed. Now comes spring's renewal and invitation to enjoy life together. Spiritually, this represents leaving behind spiritual winter (sin's bondage, guilt's burden, law's condemnation) for gospel spring (forgiveness, freedom, grace). Christ's invitation to 'come away' summons believers from winter's deadness to resurrection life. The old has passed; behold, all things become new (2 Corinthians 5:17).
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;
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The beloved continues describing spring's arrival: 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. The Hebrew 'hanitsanim nir'u va'arets' (הַנִּצָּנִים נִרְאוּ בָאָרֶץ, the blossoms have appeared on the earth) celebrates visible transformation—color, beauty, life bursting forth. The time of the singing of birds (et hazamir, עֵת הַזָּמִיר) could mean 'time of pruning/singing'—wordplay suggesting both agricultural activity and bird song. The voice of the turtle (qol hator, קוֹל הַתּוֹר, voice of the turtledove) specifies the cooing of turtledoves, migratory birds whose spring return signaled winter's end.
This verse engages multiple senses: sight (flowers), sound (singing, cooing), suggesting comprehensive renewal. Creation itself celebrates—flowers adorning the earth, birds filling the air with music. The beloved invites the bride into this symphonic, colorful world transformed by spring. Spiritually, this prefigures new creation in Christ—visible transformation, joyful celebration, beauty replacing barrenness. When Christ renews hearts, life 'appears,' and spiritual 'singing' replaces mourning (Isaiah 61:3). The Spirit's presence brings forth fruit (Galatians 5:22-23) as certainly as spring brings flowers.
This verse engages multiple senses: sight (flowers), sound (singing, cooing), suggesting comprehensive renewal. Creation itself celebrates—flowers adorning the earth, birds filling the air with music. The beloved invites the bride into this symphonic, colorful world transformed by spring. Spiritually, this prefigures new creation in Christ—visible transformation, joyful celebration, beauty replacing barrenness. When Christ renews hearts, life 'appears,' and spiritual 'singing' replaces mourning (Isaiah 61:3). The Spirit's presence brings forth fruit (Galatians 5:22-23) as certainly as spring brings flowers.
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.
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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. The Hebrew 'hate'enah chaneta pageyha' (הַתְּאֵנָה חָנְטָה פַגֶּיהָ, the fig tree ripens its early figs) and 'gefarim semadar' (גְּפָנִים סְמָדַר, vines in blossom) describe specific agricultural signs of spring—edible early figs (pagim, פַּגִים) and fragrant grape blossoms. Give a good smell (natenu reyach, נָתְנוּ רֵיחַ) emphasizes fragrance—spring brings not only visual beauty but aromatic delight.
The beloved repeats his invitation (from verse 10): Arise, my love, my fair one, and come away—now supported by comprehensive evidence that the time is right. Fig ripening and vine blossoming signal not just beauty but promise of fruitfulness—today's blossoms become tomorrow's harvest. The beloved invites the bride to share in creation's fertility, beauty, and abundance. Spiritually, Christ calls believers into fruitful life—no longer barren but bearing fruit through union with Him (John 15:5). The Spirit produces fragrant 'fruit' (Galatians 5:22-23) in yielded lives. Christ's invitation promises both present beauty (relationship with Him) and future harvest (eternal fruit).
The beloved repeats his invitation (from verse 10): Arise, my love, my fair one, and come away—now supported by comprehensive evidence that the time is right. Fig ripening and vine blossoming signal not just beauty but promise of fruitfulness—today's blossoms become tomorrow's harvest. The beloved invites the bride to share in creation's fertility, beauty, and abundance. Spiritually, Christ calls believers into fruitful life—no longer barren but bearing fruit through union with Him (John 15:5). The Spirit produces fragrant 'fruit' (Galatians 5:22-23) in yielded lives. Christ's invitation promises both present beauty (relationship with Him) and future harvest (eternal fruit).
The Bridegroom Speaks to His Beloved
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.
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The bridegroom calls to his beloved: '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.' The 'dove' (yonati, יוֹנָתִי) symbolizes purity, gentleness, and faithfulness. The phrase 'clefts of the rock' (chagvey hasela, חַגְוֵי הַסֶּלַע) suggests hidden refuge—the dove finding safety in rock crevices. The bridegroom invites the bride from hiding into his presence. The dual requests—'let me see thy countenance, let me hear thy voice'—express desire for both visual and verbal communion. The affirmations—'sweet is thy voice, comely is thy countenance'—provide reassuring acceptance. This verse celebrates the beloved's desire to draw the shy or fearful into secure intimacy. Christ similarly calls believers from fearful hiding into confident fellowship.
Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.
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The beloved speaks: 'Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.' The 'little foxes' (shualim qetanim, שֻׁעָלִים קְטַנִּים) were destructive pests damaging vineyards by eating tender grapes before harvest. The command 'take us' (echez-lanu, אֶחֱזוּ־לָנוּ) means catch or capture them. The reference to 'our vines' and 'tender grapes' suggests the couple's relationship (vineyards frequently symbolize intimacy in the Song). The verse warns against small threats that damage growing relationships—minor irritations, unresolved conflicts, neglected communication. 'Little foxes' aren't dramatic crises but subtle erosions. The verse teaches vigilance: protect covenant love from small but destructive influences. Spiritually, it warns against tolerating 'little sins' that damage relationship with God.
My beloved is mine, and I am his: he feedeth among the lilies.
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The bride declares with confidence: 'My beloved is mine, and I am his: he feedeth among the lilies.' This verse expresses mutual belonging and covenant security. The reciprocal possessive—'mine... his'—reflects the covenant formula used in marriage and God's relationship with Israel: 'I will be their God, and they shall be my people' (Jeremiah 31:33; Ezekiel 37:27). Neither partner dominates; both mutually belong to each other. The phrase 'he feedeth among the lilies' uses pastoral imagery—the shepherd grazing his flock among beautiful flowers, or the beloved feeding on lilies representing the bride's beauty and purity (lily imagery appears in 2:1-2). This suggests the beloved finds delight, nourishment, and contentment in the bride's presence. The verse celebrates covenant love's security: 'I am his' (belonging, commitment) and joy: 'he feedeth among the lilies' (delight, satisfaction). This mutual possession doesn't diminish personhood but establishes security, identity, and purpose through covenant union. Theologically, it prefigures the believer's union with Christ: 'I am my beloved's, and my beloved is mine' (6:3).
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. of Bether: or, of division
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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. The bride appeals for her beloved's presence until morning comes. The Hebrew ad sheyafuach hayom venasu hatselalim sov demeh-lekha dodi litsebi o le-ofer ha-ayalim al-harei bater (עַד שֶׁיָּפוּחַ הַיּוֹם וְנָסוּ הַצְּלָלִים סֹב דְּמֵה־לְךָ דוֹדִי לִצְבִי אוֹ לְעֹפֶר הָאַיָּלִים עַל־הָרֵי בָתֶר) blends longing, urgency, and sensual imagery.
"Until the day break" (ad sheyafuach hayom) literally means "until the day breathes" or "blows"—the morning breeze that dispels night. "The shadows flee away" (venasu hatselalim) describes darkness retreating before dawn. Night represents separation, shadows symbolize obstacles. The bride desires her beloved's presence throughout the night until dawn reunites them fully. This temporal imagery gains eschatological significance: believers await Christ's return when "the shadows flee away" and we see "face to face" (1 Corinthians 13:12).
"Turn, my beloved" (sov dodi) invites responsive movement—come to me, turn toward me. The comparison to "roe or young hart" (litsebi o le-ofer ha-ayalim) emphasizes grace, strength, swiftness, and vigor. The gazelle (tsebi) and young stag (ofer ayalim) were proverbially swift and sure-footed on mountains (2 Samuel 2:18, Proverbs 6:5). "Mountains of Bether" (harei bater) likely means "mountains of separation" or "rugged mountains"—geography emphasizing distance overcome by love. Christ leaps over every barrier (2:8) to reach His beloved, demonstrating His pursuing grace (Luke 19:10).
"Until the day break" (ad sheyafuach hayom) literally means "until the day breathes" or "blows"—the morning breeze that dispels night. "The shadows flee away" (venasu hatselalim) describes darkness retreating before dawn. Night represents separation, shadows symbolize obstacles. The bride desires her beloved's presence throughout the night until dawn reunites them fully. This temporal imagery gains eschatological significance: believers await Christ's return when "the shadows flee away" and we see "face to face" (1 Corinthians 13:12).
"Turn, my beloved" (sov dodi) invites responsive movement—come to me, turn toward me. The comparison to "roe or young hart" (litsebi o le-ofer ha-ayalim) emphasizes grace, strength, swiftness, and vigor. The gazelle (tsebi) and young stag (ofer ayalim) were proverbially swift and sure-footed on mountains (2 Samuel 2:18, Proverbs 6:5). "Mountains of Bether" (harei bater) likely means "mountains of separation" or "rugged mountains"—geography emphasizing distance overcome by love. Christ leaps over every barrier (2:8) to reach His beloved, demonstrating His pursuing grace (Luke 19:10).