Song of Songs

This is the sixteenth in a series of biblical summaries from David Dorsey's book: The Literary Structure of the Old Testament.  This is the fifth in the sub-series of poetic books, covering the Song of Songs.

a   opening words of mutual love and desire (1:2-2:7)
     b   young man's invitation to the young woman to join him in the countryside (2:8-17)
          c   young woman's nighttime search for the young man (3:1-5)
               d   CENTER: their wedding day (3:6-5:1)
          c'  young woman's nighttime search for the young man (5:2-7:10)
     b'  young woman's invitation to the young man to join her in the countryside (7:11-8:4)
a'  closing words of mutual love and desire (8:5-14)

The 'a' pattern shows two sections expressing mutual love and desire between a young woman and a young man.  Both sections include seven alternating speeches.  Both mention Solomon by name.  Both contrast the woman's vineyard with others'.  In both, the woman is either mistreated or belittled and she experiences self-assurance regarding her beauty.  In both, an apple tree is a place of intimacy, and a refrain mentions the young man's left arm.

The 'b' pattern links two corresponding invitations: the first from the man, and the second from the woman.  In both, there is a description of the renewal of spring, and also flowers, grapevines, and vineyards in bloom.  In the first section, he comes to her home to invite her to come out with him.  In the second section, she says she would bring him to her home.  The first section includes the refrain, "my lover is mine" while the section includes the refrain "I am my lover's..."

The 'c' pattern links two sections in which the young woman searches at nighttime for her lover.  Both begin with the woman in bed at night, yearning for her absent lover.  In both, she goes out to search for him, but is found by the guards who go about the city.  The first has the refrain, "my lover is mine" and the sescond has the refrain "I am my lover's..."  The second section has additional speeches of admiration and longing.

The 'd' section is central, focusing on the lovers' wedding day.  Unlike the other units, this section begins and ends with the poet's own words, serving to highlight it.  The dramatic conclusion in 4:16-5:1 serves as an appropriate high point of the book.  Third, Dorsey writes: "it would be expected that a symmetrically arranged song celebrating romantic love would have the wedding scene at its center, functioning as the centerpiece of the entire song." (213)