Song of Solomon 4:1-5 is a poetic, intimate passage where King Solomon praises his bride’s physical beauty on their wedding night, using rich pastoral imagery to highlight her purity, grace, and allure. The verses symbolize the joy, admiration, and intense love within a committed marriage, often interpreted allegorically as Christ’s love for the Church. 

Song of Songs is a well-known but little-understood book of the Bible made up of eight chapters of ancient Israelite love poetry. While there is an introduction and a conclusion, the book doesn’t have a rigid literary design. It’s a collection of poems that are not meant to be dissected but rather read and enjoyed as a flowing whole.

The first line of the book declares that it’s “the Song of Songs,” a Hebrew idiom similar to “holy of holies” or “king of kings.” It’s a Hebrew way of saying that something is the greatest. This song is the greatest song of all.

We’re also told that this song is “of Solomon,” which could be taken to mean that he’s the author. However, as we read the poems, we find that the main voice belongs to a woman called “the beloved.” And while there is a male voice in the poems, it is not Solomon’s. He is mentioned in the poems, but never as a speaker (Song 3:7-11; Song of Songs 8:11-12).

Interpretations of the Song of Songs

Now, throughout history, the big question raised by the book of Song of Songs is: What on earth is love poetry doing in the Bible? There have been three main interpretations of the book through history. In Jewish tradition, it was read as an allegory, with each character acting as a symbol. The woman is Israel, the man is God, and their love is a symbol of the covenant between them and the giving of the Torah. This view flowed into Christian tradition, but the characters were swapped. It’s about Christ’s love for his people and the Church.

This interpretation was inspired by Paul’s words in Ephesians 5:25-33, that a Christian husband’s love for his wife is a symbol of Christ’s love for the Church. However, in the last century, archaeological discoveries among Israel’s ancient neighbors in Egypt and Babylon have turned up all kinds of ancient love poetry, and it’s full of imagery and language very similar to the Song of Songs. In other words, love poetry was a meaningful part of Israel’s cultural environment. It should not surprise us to find it in the wisdom literature of the Bible. This has led most scholars today to view the Song as what it presents itself to be, a collection of Israelite love poetry reflecting on the divine gift of love.

However, that doesn’t mean it’s only ancient love poetry. There’s a key feature to these poems that sticks out when they’re read as part of the Hebrew Bible, and that’s the overwhelming use of garden imagery. There are powerful echoes of the Garden of Eden and the idyllic scene of the first married couple in Genesis 1-2. The images of the man and woman naked and vulnerable yet unified and completely safe with each other (Gen. 2:23-25) resonate in the background of the Song. It’s as if, through these poems, we’re witnessing the love of a couple whose relationship is untainted by selfishness and sin. So the Song of Songs holds out hope. Even though our relationships are often distorted by selfishness, love is a transcendent gift that’s meant to point us to something greater, the gift of God’s love that will one day permeate and transform his beloved world.

This beautiful hope is what the “Greatest of All Songs” is about. With that mentioned, I can now look at interpreting these verses in this passage

Key Imagery and Interpretations (Song of Solomon 4:1-5): my summary

• “Dove’s eyes behind your veil” (v. 1): Suggests innocence, purity, tenderness, and focused devotion, according to Daniel Akin’s commentary. Right off the bat, Solomon assures Kallah that she is beautiful to him. Now he doesn’t just stop there. He proceeds to articulate all the things he appreciates about her body.
• “Hair is like a flock of goats” (v. 1): Symbolizes thick, flowing, beautiful hair, noted by Enduring Word. Solomon begins with her head and works his way down. The imagery that he has chosen may seem odd to us, but it is perfectly sound and reasonable for the time and culture in which this was written. Kallah’s eyes, like doves, bring a sense of peace to Solomon. Her hair and teeth remind him of ordered, well-tended flocks, representing wealth and prosperity.
• “Teeth are like a flock of shorn sheep” (v. 2): Suggests a perfect, white, and clean smile, as discussed in this YouTube video.
• “Lips are like a strand of scarlet” (v. 3): Indicates redness, beauty, and sweetness in her speech, according to Bible Study Tools.
• “Temples… like a piece of pomegranate” (v. 3): Implies a rosy, healthy, and fair complexion, noted by Enduring Word.
• “Neck is like the tower of David” (v. 4): Symbolizes strength, grace, and elegance, possibly adorned with jewelry (like necklaces or shields), as described in this YouTube video. Solomon admires Kallah’s sensuality. He reflects on the softness, color, and beauty of her face and neck.
• “Two breasts are like… twins of a gazelle” (v. 5): Highlights beauty, grace, and allure, according to Enduring Word. He continues admiring his way down, admiring her breasts and then acknowledging his intended “retreat” into the spicy mountain and hill of her “parts” below the waist. If it wasn’t obvious before, Solomon is engaging in foreplay with his wife!

Contextual Meaning:

• Marital Love: The passage highlights the importance of admiration, verbal affirmation, and sexual intimacy within marriage.
• Spiritual Allegory: Many commentators see this as Christ admiring the beauty of his church the “bride” whom he has purified.
• Cultural Context: The imagery reflects rural Israelite life (flocks, mountains, pomegranates), which was familiar to the couple, notes upwards.

I’m keeping my explanations pretty brief here because it’s pretty plain speech, albeit tastefully veiled and lacking any coarse or crass language and imagery. Solomon is in love with Kallah and she brings tremendous erotic excitement to him.

Solomon concludes his serenade with two interesting metaphors. First, Kallay is a locked garden. This means that her physical attributes are delicacies reserved for her husband. She is a private garden, locked away from others. Secondly, her garden contains a variety of treats. There are numerous pleasures to be found in this private sanctuary that they share with each other. Yes, it is mutual. Notice Kallah’s response.

The Marriage: A couple of things stand out to me in the way that Solomon and Kallah approach this sexual encounter. First, there is time involved. While the passage can be read quickly, it really paints a picture of an intimate encounter in which these lovers relish the moments and take time to engage with one another.

Second, the focus is on the wife. Even Solomon is the primary speaker here; his speech is focused on Kallah, spending time in admiration and likely resulting in her response and desires building as time and his attentions progress. Indeed, she opens the garden and invites Solomon in!

Third, as mentioned above, there is a sense of exclusivity between these two. This garden that they are reveling in is a locked garden a private space just for them to enjoy with each other.

Finally, the delicacies that are involved are many. This garden does not have just one kind of fruit growing in it. In other words, the couple takes time to enjoy each other in a variety of ways, encouraging each other to fully enjoy the pleasures to be found there.

The Church

How does this sexual encounter reflect our relationship with Jesus Christ? Really, the same four principals discussed above apply here. First, our relationship with Christ is enhanced by the time we spend engaging with him in prayer and Bible study. If you approach God in a quick, flippant manner, you’ll find that you don’t feel nearly as connected with him as if you took more time to do so. And, the more time you spend, the more time you’ll want to spend!

Second, the focus is on the bride. Now bear with me on this. Sexually speaking (as a generalization), it often takes the wife a bit more time to “get on board” with sexual intimacy. That’s just the way women (as a rule) tend to be wired. Now, we, as the church, are the bride of Christ. I’m not saying that our focus should be on ourselves. What I’m trying to say here is that God has already invested so much time and energy in us, through the creation that He gave us, through the revealing of Himself to us and fostering a relationship with His chosen people, through the incarnation of Himself as one of us (Jesus) in order to live the life we could never live and die the required death in our place, and to defeat death and rise from the dead and take his rightful place back on the throne of heaven. God has invested everything in us and we need to reflect on that and appreciate it. The more we think about those things, the more our love and desire for Him is awakened within us!

Third, there is exclusivity in our relationship with God. He is very clear. We are to have no other gods. He has provided the way of salvation from our sins, but there is only ONE way to be in right relationship with God and that’s through the covenant relationship with His son Jesus our bridegroom. Marriage, and yes, even sex, are intended to be pictures of our exclusive relationship with our God.

Finally, the more time we spend with God, the more we discover more about Him and what it means to follow Him. Christianity, like sex, was never intended to be boring!

 

Verse 1

Women in Solomon’s culture did not always wear a veil. Before their wedding they put one on and did not take it off for some time after that (Genesis 24:65; Genesis 29:19-25). From a distance, a herd of black goats descending from the mountains at dusk was very attractive and reminded Solomon of his beloved’s long black locks rippling and tumbling freely.

“The hair of goats in ancient Israel was commonly black or dark colored, whereas that of sheep, used for comparison in the next verse, was commonly white.”

B. The Consummation 4:1-5:1

Our attention now turns from the public procession that took place on the wedding day to the private union that followed that night.

Verses 2-3

Her teeth were white and evenly matched. Her mouth had a beautiful color and shape. Her temples were rosy with robust health, like the outside of a pomegranate. Carr rendered the Hebrew word for temples “the sides of her face,” and noted that cosmetics were common in the ancient Near East.

Verse 4

A long neck, which gives a stately appearance, may have been a mark of beauty in the ancient world. [Note: Kinlaw, p. 1229.] On the other hand, this may be a figurative description designed to compliment. It was customary for soldiers to hang their shields on the towers belonging to the lords to whom they pledged allegiance (cf. Ezekiel 27:11). [Note: Deere, p. 1018.]

“Her neck would hold much of the jewelry that a woman might wear. Such jewelry was often layered, where strands of jewelry were placed one on top of the other. This formed a layered appearance that could ascend from the shoulder and reach as far as the top of the neck.” [Note: Hess, p. 134.]

What “tower of David” this was, we do not know. It was not David’s “citadel,” that now stands on the west side of old Jerusalem, because that tower did not exist then. The idea is that many of the best people loved and stood by the bride. She enjoyed popular acceptance by Solomon’s subjects.

Verses 5-6

Fawns are soft and lovable. The “mountain” and “hill” are also metaphors for the girl’s breasts. Myrrh and frankincense were expensive perfumes, so Solomon may have meant his wife’s breasts were precious to him as well as attractive.

Another approach in interpretation of that script

The Bride’s Beauty Literal Interpretation As a part of the wedding song the bridegroom sings to his bride describing her beauty in Song of Solomon 4:1-7. In this passage of Scripture we can imagine the bridegroom beholding the beautiful bride in all of her glory as he seeks for words to describe his feelings towards her.

Figurative Interpretation – in this passage of Scripture that there are seven characteristics of her beauty. The fact that there are seven means that these are divine characteristics that reflect the divine nature of the Lord Jesus Christ.  These seven characteristics of her beauty may be interpreted figuratively as follows:

1. Eyes – Spiritual discernment

2. Hair – Submission to authority

3. Teeth – Without sin, healthy and prosperity

4. Lips – Words of divine authority

5. Temples – (cheeks) – Humility

6. Neck – Strong in character

7. Breasts – Maturity in divine virtues

It can be noted that the eyes symbolize the maturity of the spirit of the believer, the hair symbolizes his mental maturity in being willing to submit, and the teeth reflect his physical well-being.

Song of Solomon 4:1 Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes within thy locks: thy hair is as a flock of goats that appear from mount Gilead.

Song of Solomon 4:1 “Behold, thou art fair, my love; behold, thou art fair” Comments – This part of the song (4:1-7) opens and closes with a similar phrase, “Behold, thou art fair, my love; behold, thou art fair” ( 4:1) and, “Thou art all fair, my love; there is no spot in thee.” (4:7) these may be interpreted figuratively to mean that this child of God is without sin. Hudson Taylor interprets this to mean that the believer is “fit for service”. In other words, Christ is calling a believer to a higher walk of forsaking all and following Him in divine service.

Song 4:1 “thou hast doves’ eyes within thy locks” Word Study on “doves’” Strong says the Hebrew word “dove” “ yownah ” means, “dove.” The Enhanced Strong says it is used 32 times in the Old Testament, being translated in the KJV as “dove 21, pigeon 10.” It is used 6 times in the Song of Songs ( 1:15;  2:14;  4:1;  5:2;  5:12;  6:9). On three occasions it refers to the Shula mite, and on three occasions the lovers describe one another with dove’s eyes.

Figurative Interpretation – The eyes of man are figurative of man’s heart (Matthew 6:22-23; Matthew 13:15, Luke 11:34). Watchman Nee suggests the dove’s eyes symbolize the spiritual perception that she has acquired. Luke 24:16 says that “their eyes were Holden that they should not know him.” This means the two on the road to Emmaus could not discern what was taking place in their midst. The dove may represent the believer who is born again by the Spirit of God. Watchman Nee interprets the phrase “within thy locks” to mean that this spiritual perception is hidden from the world. They do not know the believer’s ability to look within the heart of a man with spiritual discernment, or to be given spiritual direction from the Lord.

Song of Solomon 4:1 “thy hair is as a flock of goats, that appear from mount Gilead” Word Study on “mount” the Hebrew word “mountain” “ har ” means, “a mountain or range of hills.” This word is used 5 times in the Song of Solomon ( 2:8;  2:17;  4:1;  4:6;  8:14).

Figurative Interpretation “thy hair”- the hair to represent “special consecration and obedience”. 1. Consecration – Nee notes how Samson’s hair was an outward sign of an inward consecration. In other words, he had been dedicated and set apart for the Lord (Numbers 6:5, Judges 13:7).    2. Submission & Obedience- Nee notes the second significance of hair, in that it serves as a covering. We read in 1 Corinthians 11:1-16 that a woman’s hair is given her as a covering that represents the authority of her husband over her. In other words, she is to reflect his glory with this covering of hair. This metaphor may represent the divine glory that a believer reflects in his life as a result of submitting to the authority of his head, which is Christ.

Numbers 6:5, “All the days of the vow of his separation there shall no razor come upon his head: until the days are fulfilled, in which he separated himself unto the LORD, he shall be holy, and shall let the locks of the hair of his head grow.”

Judges 13:7, “But he said unto me, Behold, thou shalt conceive, and bear a son; and now drink no wine nor strong drink, neither eat any unclean thing: for the child shall be a Nazarite to God from the womb to the day of his death.”

“Is as a flock of goats, that appear from mount Gilead” – Nee interprets the flock of goats to mean that this consecrated child of God has been well-fed on the slopes of Gilead (Jeremiah 50:19, Micah 7:14). In other words, the Lord has given His people abundant pastures. Just as goats that feed well are fat and ready to be offered as food or sacrificial Temple offerings, so is this believer ready to offer his body as “a living sacrifice, holy, acceptable unto God, which is our reasonable service.” (Romans 12:1)

[174] Watchman Nee, Song of Songs (Fort Washington, Pennsylvania: CLC Publications, c1965, 2001), 72.

Jeremiah 50:19, “And I will bring Israel again to his habitation, and he shall feed on Carmel and Bashan, and his soul shall be satisfied upon mount Ephraim and Gilead.”

Micah 7:14, “Feed thy people with thy rod, the flock of thine heritage, which dwell solitarily in the wood, in the midst of Carmel: let them feed in Bashan and Gilead, as in the days of old.” Since the valleys in Israel were used for crops, the surrounding hills were ideal for grazing livestock, such as sheep and goats, for these are their natural habitat in the wild.

The Song of Solomon describes the mountains metaphorically as “the mountains of Bether” ( 2:17), “mount Gilead” ( 4:1), “the mountain of myrrh” ( 4:6), “the mountain of spices” (8:14), “the mountains of the leopards” ( 4:8). The hills are referred to as “the hill of frankincense” ( 4:6). Watchman Nee says the phrase “the mountains of spices” refers to “the new millennial world of fragrance and beauty.” The mountains and hills seem to refer to the heavenly, spiritual realm of eternity that the believer partakes of in a limited measure along his earthly journey.

This phrase is repeated in Song of Solomon 6:5. “Turn away thine eyes from me, for they have overcome me: thy hair is as a flock of goats that appear from Gilead.”

Song of Solomon 4:2 Thy teeth are like a flock of sheep that are even shorn, which came up from the washing; whereof every one bear twins, and none is barren among them.

Song of Solomon 4:2 “Thy teeth are like a flock of sheep that are even shorn”

 Literal Interpretation – The lover describes her teeth figuratively by comparing them to a flock of sheep. He is basically saying that her teeth are beautiful, white, clean and evenly set in her mouth, and not one of them is missing. Regarding the phrase, “everyone beareth twins,” we know that each tooth in our mouth has a matching tooth on the other side as its matching pair. A beautiful set of teeth would have been of high praise in a culture where dentistry may have allowed the pulling of teeth to be a standard way of relieving tooth pain.

Figurative Interpretation “Thy teeth are like a flock of sheep” – Teeth are figurative of the health of an animal or person. This may be interpreted to mean that the believer has divine health as a testimony of walking in God’s blessings. “That are even shorn” – Perhaps the sheep were the whitest when they were just shaven, before their long wool was soiled from lying on the ground. White teeth are healthy teeth. “Which came up from the washing” Perhaps the washing is figurative of the fact that the believer is walking without sin. But the idea may be the leaping and prancing of sheep coming up from their washing as a way to mean they were all in good health. “Whereof every one bear twins and none are barren among them. Songs 4:2 creates a picture of a flock of sheep with many offspring. Twin offspring, with none barren, represents a healthy, well-fed flock. When food is scarce, an animal’s reproduction naturally decreases in the wild to compensate for a shortage of food. Thus, with an abundance of food is an abundance of offspring. Fruitfulness is a testimony of divine favor with God. It is evidence that a person is walking is God’s blessings of abundance and prosperity. Thus, we can see the two-fold blessings of health and prosperity alluded to in Song 4:2, which is a testimony that the believer’s soul is prospering in Christ (3 John 1:2).  3 John 1:2, “Beloved, I wish above all things that thou may prosper and be in health, even as thy soul prosperity.” Song 4:2 is repeated in Song 6:6, “Thy teeth are as a flock of sheep which go up from the washing, whereof every one beareth twins, and there is not one barren among them.”

Song of Solomon 4:3 “Thy lips are like a thread of scarlet, and thy speech is comely” Word Study on “like a thread of scarlet” Garrett notes that the Hebrew words “like a thread of scarlet” are the same that are used in Joshua 2:18. This phrase is only used these two times in the Scriptures.   2:18, “Behold, when we come into the land, thou shalt bind this line of scarlet thread in the window which thou didst let us down by: and thou shalt bring thy father, and thy mother, and thy brethren, and thy entire father’s household, home unto thee.”

Word Study on “speech” Strong says the Hebrew word “wilderness” “midbar” means, “a pasture, open field, desert, and speech.” The Enhanced Strong says this word is used 271 times in the Old Testament, being translated in the KJV as “wilderness 255, desert 13, south 1, speech 1, and wilderness.” This word is used 3 times in the Song of Solomon “wilderness”  3:6; “speech”  4:3; “wilderness”  8:5. Within the context of 3:6;  8:5, it probably refers to the open plains that surround many cities in the land of Palestine, which was used as pasture for the flocks, with this same Hebrew word used in Isaiah 42:11 to describe the relationship between the city and its surrounding plain, “Let the wilderness and the cities thereof lift up their voice.” In Song 4:3 it necessitates a figurative meaning, “the instrument of speech”, since it comes from the primitive root which means, “to speak”; hence, we can imagine a shepherd driving his sheep with his words across the pasture.

Figurative Interpretation A person’s speech is the true evidence of a mature believer walking in faith. With this new spiritual perception, a believer must learn to know what to say and when to say it to others. In many cultures a woman uses lipstick to paint her lips scarlet red in order to enhance her beauty. the color scarlet represents redemption as well as authority. Rehab’s scarlet thread used to redeem her family (Joshua 2:21), and Jesus’ red robe that signified divine authority (Matthew 27:28-29). “Thy lips are like a thread of scarlet” – In the Kingdom of God our lips must proclaim a message of redemption for mankind. “And thy speech is comely” – In addition, it must speak by the Spirit of God with divine authority. If we look at this phase of consecration and divine calling in the lives of Isaiah, Jeremiah and Ezekiel, we see how the Lord dealt with their mouth, for out of it they would fulfill their calling, and out of it prophecies would go forth to set into motion God’s plan of redemption for mankind (Isaiah 6:5-8. Jeremiah 1:9-10, Ezekiel 3:1-4).

Isaiah 6:5-8, “Then said I, Woe is me! For I am undone; because I am a man of unclean lips, and I dwell in the midst of a people of unclean lips: for mine eyes have seen the King, the LORD of hosts. Then flew one of the seraphim’s unto me, having a live coal in his hand, which he had taken with the tongs from off the altar: And he laid it upon my mouth, and said, Lo, this hath touched thy lips; and thine iniquity is taken away, and thy sin purged. Also I heard the voice of the Lord, saying, whom shall I send, and who will go for us? Then said I, Here am I; send me.”

Jeremiah 1:9-10, “Then the LORD put forth his hand, and touched my mouth. And the LORD said unto me, Behold, I have put my words in thy mouth. See, I have this day set thee over the nations and over the kingdoms, to root out, and to pull down, and to destroy, and to throw down, to build, and to plant.”

Ezekiel 3:1-4, “Moreover he said unto me, Son of man, eat that thou finds; eat this roll, and go speak unto the house of Israel. So I opened my mouth, and he caused me to eat that roll. And he said unto me, Son of man, cause thy belly to eat, and fill thy bowels with this roll that I give thee. Then did I eat it; and it was in my mouth as honey for sweetness. And he said unto me, Son of man, go, get thee unto the house of Israel, and speak with my words unto them.”

Song of Solomon 4:3 Word Study on “temples” the Hebrew word “temples” “rak-kaw’” is derived from the primitive root, which means “to spit.” This noun means properly, “something thin.” it means, “temple” (Judges 4:21-22; Judges 5:26), or poetically, “cheek” (Song 4:3; Song 6:7). Strong says it means, “A temple.” The Enhanced Strong says it is used 5 times in the Old Testament, being translated in the KJV as “temple 5.” This word is used 2 times in Songs (Song 4:3, Song 6:7).

Song of Solomon 4:3 Word Study on “a pomegranate” Strong says the Hebrew word “pomegranate” “rimmôwn” means “a pomegranate, the tree or the fruit,” and it also refers to the pomegranate ornament used in the Tabernacle and Temple. The Enhanced Strong says this word is used 32 times in the Old Testament, being translated in the KJV as “pomegranate 31, pomegranate tree 1.” It is used times in the book of Songs ( 4:3;  4:13;  6:7;  6:11;  7:12;  8:2).

Comments – The pomegranate tree was one of the most attractive fruit trees in the Middle East, with brilliant scarlet blossom in the spring ( 7:12). The Israelites planted the tree in orchards ( 4:13;  6:11;  7:12) and made wine from its juice ( 8:2) The beautiful texture of its inner fruit may have been behind the metaphorical phrase, “thy temples are like a piece of a pomegranate within thy locks” ( 4:3;  6:7).

According to Numbers 20:5 the pomegranate was a favorite fruit of the Israelites, along with figs and grapes. God promised Israel that Canaan would be a land of wheat, barley, vines, fig trees pomegranates, olive oil and honey. It continued to be a popular tree throughout Israel’s history (Haggai 2:19; “Is the seed yet in the barn? yea, as yet the vine, and the fig tree, and the pomegranate, and the olive tree, hath not brought forth: from this day will I bless you.”  Deuteronomy 8:8, “A land of wheat, and barley, and vines, and fig trees, and pomegranates; a land of oil olive, and honey;”

The NBD says because of its beauty the pomegranate was used as an ornament embroidered on the skirts of robe of the high priest between golden bells (Exodus 28:33-34; Exodus 39:24-26). It was also used extensively to decoration the capitals of Solomon’s Temple (1 Kings 7:18; 1 Kings 7:20; 1 Kings 7:42, 2 Kings 25:17, 2 Chronicles 3:16; 2 Chronicles 4:13, Jeremiah 52:22-23). It was also used on the silver shekel of Jerusalem that circulated 143-135 B.C

Song of Solomon 4:3 “thy temples are like a piece of a pomegranate within thy locks” Literal Interpretation – Garrett takes the view in Song 4:3 that the Shula mite’s beautiful upper cheeks reminds her lover of the rich, pinkish colors of a slice of pomegranate fruit

Figurative Interpretation Westwood suggests that this phrase refers to the attitude of humility. Andrew Miller says the idea is “of modesty, shamefacedness, or blushing.” He calls it the “the ornament of a meek and quiet spirit” (1 Peter 3:4).

Song of Solomon 4:4 Word Study on “the tower of David” There is no other reference in the Scriptures to the tower of David specifically. We note from the Scriptures that towers were often identified by the name of their location or builder.

Genesis 35:21, “And Israel journeyed, and spread his tent beyond the tower of Edar.”

Judges 8:17, “And he beat down the tower of Penuel, and slew the men of the city.”

Judges 9:46, “And when all the men of the tower of Shechem heard that, they entered into an hold of the house of the god Berith.”

2 Kings 9:17, “And there stood a watchman on the tower in Jezreel, and he spied the company of Jehu as he came, and said, I see a company. And Joram said, Take an horseman, and send to meet them, and let him say, Is it peace?”

Nehemiah 3:1, “Then Eliashib the high priest rose up with his brethren the priests, and they built the sheep gate; they sanctified it, and set up the doors of it; even unto the tower of Meah they sanctified it, unto the tower of Hananeel.”

Jeremiah 31:38, “Behold, the days come, saith the LORD, that the city shall be built to the LORD from the tower of Hananeel unto the gate of the corner.”

Ezekiel 29:10, “Behold, therefore I am against thee, and against thy rivers, and I will make the land of Egypt utterly waste and desolate, from the tower of Syene even unto the border of Ethiopia.”

Zechariah 14:10, “All the land shall be turned as a plain from Geba to Rimmon south of Jerusalem: and it shall be lifted up, and inhabited in her place, from Benjamin’s gate unto the place of the first gate, unto the corner gate, and from the tower of Hananeel unto the king’s winepresses.”

There were numerous towers named around the walls of Jerusalem.

Nehemiah 12:38-39, “And the other company of them that gave thanks went over against them, and I after them, and the half of the people upon the wall, from beyond the tower of the furnaces even unto the broad wall; And from above the gate of Ephraim, and above the old gate, and above the fish gate, and the tower of Hananeel, and the tower of Meah, even unto the sheep gate: and they stood still in the prison gate.”

They were places of fortification and strength for refugee from the enemy. David sang a song calling God his high tower, and his refuge. The Lord is then called “the tower of salvation.”

2 Samuel 22:3, “The God of my rock; in him will I trust: he is my shield, and the horn of my salvation, my high tower, and my refuge, my savior; thou savest me from violence.” 2 Samuel 22:51, “He is the tower of salvation for his king: and sheweth mercy to his anointed, unto David, and to his seed for evermore.”

Also,

Psalms 61:3, “For thou hast been a shelter for me, and a strong tower from the enemy.”  Psalms 144:2, “My goodness, and my fortress; my high tower, and my deliverer; my shield, and he in whom I trust; who subdueth my people under me.”  Proverbs 18:10, “The name of the LORD is a strong tower: the righteous runneth into it, and is safe.”

Towers were also used as watch towers to look for impending danger.

Habakkuk 2:1, “I will stand upon my watch, and set me upon the tower, and will watch to see what he will say unto me, and what I shall answer when I am reproved.”

Song of Solomon 4:4 Word Study on “an armory” Gesenius says the Hebrew word “armory” “tal-pee-yaw’” literally means, “the deadly,” and it is used poetically for arms, that is, a place in which arms are suspended. Strong says it means, “Something tall, slenderness.” The Enhanced Strong says this word is used only one time in the Old Testament, being translated in the KJV as “armory.”

Song 4:4 Literal Interpretation Garrett notes that there is a type of beauty associated with an armory of military weapons, but the beauty is in the strength that is represented. He interprets the king to say in Song of Solomon 4:4 that she has the strength to resist all approaches, and hopes that she will accept his offer of marriage. Garrett notes a similar verse in Ezekiel 27:11.“The men of Arvada with thine army were upon thy walls round about, and the Gamma dims were in thy towers: they hanged their shields upon thy walls round about; they have made thy beauty perfect.”

Figurative Interpretation “Thy neck” – Watchman Nee suggests that the neck represents man’s will. [184] Perhaps the neck is descriptive of a believer who is strong in character, being willing to choose divine service over personal pleasures. This is a person who has “power over his own will” (1 Corinthians 7:37), so that he is able to obey Christ despite the hardships. One excellent illustration of this is when Kenneth Hagin tells about the struggles during his early years of the field ministry, when he has to spend weeks away from home. He would literally start crying by the time his car drove around the block away from home to go preach at some distant location. 1 Corinthians 7:37, “Nevertheless he that standeth steadfast in his heart, having no necessity, but hath power over his own will, and hath so decreed in his heart that he will keep his virgin, doeth well.”

In contrast, the Scriptures use the word neck to describe a person who refuses to receive instruction, a person in rebellion against God’s will.

Deuteronomy 31:27, “For I know thy rebellion, and thy stiff neck: behold, while I am yet alive with you this day, ye have been rebellious against the LORD; and how much more after my death?”

2 Kings 17:14, “Notwithstanding they would not hear, but hardened their necks, like to the neck of their fathers, that did not believe in the LORD their God.”

2 Chronicles 36:13, “And he also rebelled against king Nebuchadnezzar, who had made him swear by God: but he stiffened his neck, and hardened his heart from turning unto the LORD God of Israel.”

Nehemiah 9:16, “But they and our fathers dealt proudly, and hardened their necks, and hearkened not to thy commandments,”

Proverbs 29:1, “He, that being often reproved hardened his neck, shall suddenly be destroyed, and that without remedy.”

Isaiah 48:4, “Because I knew that thou art obstinate, and thy neck is an iron sinew, and thy brow brass;”

Jeremiah 7:26, “Yet they hearkened not unto me, nor inclined their ear, but hardened their neck: they did worse than their fathers.”

Jeremiah 17:23, “But they obeyed not, neither inclined their ear, but made their neck stiff, that they might not hear, nor receive instruction.”

Micah 2:3, “Therefore thus saith the LORD; Behold, against this family do I devise an evil, from which ye shall not remove your necks; neither shall ye go haughtily: for this time is evil.”

“Is like the tower of David built for an armory” – This was not ordinary tower, but one build and designed as an armory of war. The battlefield against Satan is found in the mind. It is there where Satan tempts God’s children with evil thoughts, and it is there where a believer chooses to resist him or yield. An excellent illustration is found in the story of Jesus’ temptation in the wilderness (Matthew 4:1-11). Although Jesus hungered, He would not turn stones to bread; and although He was the Son of God, He did not tempt His Heavenly Father; and although He had authority over all of creation, He submitted to the authority from God in Heaven.

“Whereon there hang a thousand bucklers, all shields of mighty men” – Watchman Nee notes that this armory is filled with shields, which are weapons of defense. It is in the mind that a person chooses to defend himself against the temptations of the world and serve the Lord. Nee suggests the number “a thousand” represents an all sufficient supply. God’s Word supplies all we need in order to defeat the temptations of Satan. Nee says the phrase “mighty men” suggests the strength of these weapons against the devil.

Song of Solomon 4:5 “Thy two breasts are like two young roes that are twins” Literal Interpretation Garrett suggests that the comparison of her breasts to two young deer “connote beauty, sexuality and life.” [187] We can imagine oriental women with the beautiful skin of golden complexion, a color similar to the soft, velvet, golden color of the hair of the young fawns.

[187] Duane Garrett, Song of Songs, in Word Biblical Commentary, vol. 23B (Dallas, Texas: Word, Incorporated, 2002), in Libronix Digital Library System, v. 2.1c [CD-ROM] (Bellingham, WA: Libronix Corp., 2000-2004), comments on Song of Song of Solomon 4:5. ]

Figurative Interpretation “Thy two breasts” – There has been many allegorical interpretations as to the two breasts referred to in  4:5 and 7:8. Dennis F. Kinlaw says:

“Jewish scholars have seen in the bride’s breasts Moses and Aaron; the two Messiahs, Messiah Son of David and Messiah son of Ephraim; Moses and Phinehas; and Joshua and Eleazar. Christian interpreters have been equally ingenious. They have seen the bride’s breasts as the church from which we feed; the two testaments, Old and New; the twin precepts of love of God and neighbor; and the Blood and the Water. Gregory of Nyssa found in them the outer and the inner man, united in one sentient being. Little wonder that the allegorical interpretation has come under increasing attack in the last two centuries. It is not difficult to understand Luther when he insisted that the literal sense.”

Watchman Nee suggests the two breasts represent the seat of a woman’s emotions. He suggests that faith and love are the two most important characteristics of the child of God and may well be represented here in this metaphor.

“Are like two young roes” The comparison of breasts to two young deer is easily seen in the fact that a deer’s skin is soft as velvet to the touch. In other words, the breasts are soft and delicate as the deer’s skin.

“that are twins” Watchman suggests the concept of twins means that the two primary characteristics of faith and love are equally important in the believer’ life. One cannot grow and develop without the others. In addition, these two characteristics are what sustain the believer in his daily walk with the Lord.

Galatians 5:6, “For in Jesus Christ neither circumcision availed anything, nor un-circumcision; but faith which worked by love.”

Philemon 1:5, “Hearing of thy love and faith, which thou hast toward the Lord Jesus, and toward all saints;”

Song of Solomon 4:5 “which feed among the lilies” Word Study on “lilies” Strong says the Hebrew word “lily” “ shuwshan ” means, “a lily (from its whiteness), as a flower or [archaic] an ornament.” The Enhanced Strong says this word is used 15 times in the Old Testament, being translated in the KJV as “lily 13, Shoshannim 2.” However, its compound uses in Psalms 60:0 (Shushan-eduth) and Psalms 80:0 (Shoshannim-Eduth) can be included. It is found 8 times in Songs ( 2:1-2;  2:16;  4:5;  5:13;  6:2-3;  7:2). Lilies were used to adorn Solomon’s Temple (1 Kings 7:19; 1 Kings 7:22; 1 Kings 7:26, 2 Chronicles 4:5). This word or its derivatives are used in the title of four psalms as “Shoshannim” (Psalms 45, 60, 69, 80). Psalms 45:0 is a song of love, where a wedding processional is described. In Songs the Beloved is describes as “a lily of the valley,” and “a lily among thorns” (Song 2:1-2). The Lover feeds among the lilies in the garden ( 2:16;  4:5;  6:3), and gathers lilies ( 5:13). Hosea describes the children of Israel as a lily, saying, “I will be as the dew unto Israel: he shall grow as the lily, and cast forth his roots as Lebanon.” (Hosea 14:5) Watchman Nee suggests that the lilies in Songs are symbolic of those who are upright before God.

Literal Interpretation Garrett suggests the lilies may be water lilies, or water lotuses. This would paint a picture of the two deer feeding on the edge of the pond with the lilies floating nearby.

Figurative interpretation In the Song of Solomon the lilies are found in the garden (Song of Solomon 6:2), which represents the place of prayer and communion with the Lord. Jesus communes with the upright in the prayer garden. Watchman Nee notes that it is in an environment of communion with God where faith and love develop and grow into maturity.

THE BRIDE AS A TYPE OF THE CHURCH

The traditional allegorical interpretation, often termed “bridal theology” or “nuptial mysticism,” posits that the Song of Solomon (Song of Songs) and various marital metaphors in the Bible represent the intimate, spiritual relationship between Christ (the Lover/Bridegroom) and the Church or the individual soul (the Beloved/Bride).

An allegory is a literary work in which the characters and events are symbolic of a deeper moral or spiritual truth. The Pilgrim’s Progress and The Holy War by John Bunyan are famous allegories. The Song of Solomon is often interpreted as an allegory by both Jewish and Christian scholars. Jews have seen it as an allegory of God’s love, while Christians have often viewed the book as an allegory of Christ’s love for the Church. The book is lyric, poetic, and rich in symbolism, but can it properly be called an allegory?

Because of the romantic and even sexual nature of the book’s contents, many have sought a different way to understand its message. However, an allegorical approach is unnecessary to understanding the intended meaning of the Song of Solomon. The straightforward approach to the Song of Solomon shows it is a love poem written by Solomon regarding a woman he loves. The book includes many intimate details regarding the love between a man and a woman; those details are cloaked in symbolism, but chapter 4 is obviously a poetic description of the consummation of a marriage on the wedding night. There is no need to allegorize this, since its presentation of connubial love is completely consistent with the Bible’s other teachings regarding marriage.

In the poem the wedding takes place prior to the consummation of sexual relations between the lover and his beloved (Song of Solomon 3:6–11). The wedding night is symbolically described in 4:1—5:1, and then 5:2–8:4 addresses the maturing of the marriage relationship. The beloved concludes, “Many waters cannot quench love; / rivers cannot sweep it away” (Song of Solomon 8:7).

There is nothing in the book to suggest it’s anything but a lyrical presentation of what actually took place between King Solomon and his true love. There are no supernatural events or apocalyptic beasts; there is nothing that must be understood as allegorical, and there is no need to spiritualize the text.

A major concern with an allegorical approach to the Song of Solomon is that the meaning of the allegory is debatable. The lover is usually seen as God or Christ, with the beloved as either God’s people (Israel) or the Church. While the Church is called the bride of Christ (Ephesians 5; Revelation 19:7), this does not mean the bride in the Song of Solomon must be seen from this perspective. The Church did not exist at the time the Song of Solomon was composed.

Could Solomon have written the book as an allegory of God’s love for the Jewish people? God loves Israel (Hosea 3:1), but this does not require the Song of Solomon to be an allegory about Israel. There may be applications relevant to God’s love for His people, but this is different from interpreting the book as an allegory.

My summary;

Core Components of the Allegory

• The Lover (Bridegroom): Represents Jesus Christ, who initiates the relationship, pursues the beloved, and is the Savior.
• The Beloved (Bride): Represents the Church as a whole (corporate body of believers) or the individual believer’s soul.
• The Union: The “one flesh” marriage bond (Genesis 2:24) symbolizes the spiritual union where believers are united with Christ and with each other. 

Scriptural and Theological Foundations

1. Ephesians 5:22–33: This is the primary New Testament text for this interpretation. Paul compares the union of husband and wife to that of Christ and the Church, calling it a “great mystery”.
2. Song of Solomon: Historically interpreted not as mere love poetry, but as a depiction of Christ’s love for his people. The Shula mite woman represents the Church, and her search for her beloved represents the Church’s longing for Christ’s presence.
3. Revelation 19:7–9 & 21:2: The Church is shown as the “bride, the Lamb’s wife,” and the “New Jerusalem” coming down out of heaven, adorned for her husband.
4. John 3:29: John the Baptist refers to Jesus as the bridegroom, establishing the metaphor early in the ministry of Jesus. 

Key Themes in Traditional Interpretation.

• Purity and Holiness: The Bride is meant to be prepared as “spotless” and “chaste” for her husband, symbolizing the call for holiness within the church.
• The Happy Exchange: Popularized by Martin Luther, this concept states that through spiritual marriage, Christ takes the sin and death of the believer and exchanges it for his grace and righteousness.
• Longing and Pursuit: The bride’s longing for her beloved mirrors the Church’s desire for the return of Christ and the believer’s journey toward spiritual intimacy.
• Mystical Union: Medieval mystics, such as Bernard of Clair Vaux, viewed the allegory as the pinnacle of spiritual maturity, where the soul intimately connects with God. 

Historical Significance

While modern scholarship often focuses on the literal interpretation of the Song of Songs as human love poetry, the allegorical interpretation dominated Christian thought for centuries, influencing theology, liturgy, and the spiritual lives of saints and mystics. It was used to explain the covenantal, unbreakable nature of God’s love for His people.

The traditional allegorical interpretation where the lover represents Christ and the beloved represents the Church or individual believers.

Wedding the Literal and Allegorical

Here I’d like to offer three pieces of evidence for wedding the literal reading with the allegorical reading.

1. Its Place in a Christ-Centered Canon

Christians recognize that the Bible, though written over the course of many centuries by many different human authors, is inspired by a single divine Author with a single overarching purpose. The Bible is fundamentally a story that points us to Christ. Christ himself treated Scripture in this way. For example, when speaking with the disciples on the road to Emmaus, Jesus claimed that the entire Old Testament points to him (Luke 24:27; cf. John 5:46). Since the Song of Songs is a part of the canon of Scripture, it’s appropriate for us to ask how this text points to Christ.

We can also consider the ways that the Song is specifically echoed in later New Testament writings. While it’s true that the New Testament doesn’t contain any direct quotations of the Song (with the possible disputed exception of John 7:38 quoting from Song 4:15), there are a number of allusions that strongly point to the Song’s influence. For example, one can compare the lover knocking on the door of his beloved (Song 5:2) with the words of Christ: “Behold, I stand at the door and knock” (Rev. 3:20). The imagery of Christ as a “bridegroom” (Matt. 25:1–13; John 3:29; cf. Rev. 19:6–9) also echoes the Song. Some interpreters have likewise noted close verbal connections between the woman’s use of fragrant nard (Song 1:12) and Mary’s anointing Jesus with fragrant nard (John 12:1–3), and also between the woman seeking her beloved (Song 3:1–5) and Mary Magdalene seeking Christ at the empty tomb (John 20:1–18).

If the New Testament authors understood and applied the themes of the Song in a Christological direction, then it’s right for us to do so as well.

2. Clues within the Song Itself

James Hamilton identifies three aspects of the Song that point us to Christ: its setting, its plot, and its hero.

The two locations that form the setting are a garden and Jerusalem, the city of David. This parallels the broad storyline of Scripture, which begins in an uncultivated Eden and concludes in the New Jerusalem, displaying humanity’s trajectory as God intended. The Song is also a multisensory book, filled with spices and fruits that immerse the reader in an environment redolent of Eden. In fact, says Hamilton, “The closest we get to being back to the Garden of Eden in the rest of the Bible is in the poetry of the Song of Songs.”

The plot of the Song follows the pursuit and consummation of the love between a husband and wife, and yet their intimacy is wholly uninterrupted by the shame and hostility introduced by the fall. The hero of the Song is Solomon (or at least an idealized version of Solomon), the son of David, who represents the line through which the blessings promised to Abraham (Gen. 12:1–3) would come to fruition and undo the curses of Genesis 3. All of these aspects of the Song signal a greater fulfillment in Christ, the ultimate Son of David, whose saving work overcomes sin and shame and restores us to loving fellowship with God.

3. Mystery of Marriage Itself

Perhaps the strongest argument for taking the Song allegorically is the symbolic nature of marriage itself. Throughout Scripture, marriage is treated as a metaphor for God’s relationship to his people. The prophet Hosea’s own marriage to faithless Gomer was intended to be a living parable of God’s commitment to faithless Israel (Hos. 1–2). Israel is elsewhere described as God’s “beloved” (Jer. 11:15; 12:7), with whom he enters into a marriage covenant (Ezek. 16:8).

Especially significant are Paul’s words in Ephesians 5, where he instructs wives to submit to their husbands and husbands to love their wives. He speaks of the one-flesh union described in Genesis 2:24 and writes, “This mystery is profound, and I am saying that it refers to Christ and the church” (Eph. 5:32).

When a Christian husband faithfully fulfills his role to lead and love his wife, and when a Christian wife fulfills her role to honor and respect her husband, it puts the gospel on display in a way that no other human institution can. Therefore, we’re justified in saying that the Song of Songs is an allegory of Christ and the church, because marriage itself designed as an allegory of Christ and the church.

The traditional allegorical interpretation of the Song of Solomon (or Song of Songs) holds that the poem is not merely a celebration of human romantic love, but a deeply symbolic representation of the spiritual relationship between God and His people. In Christian tradition, this interpretation holds that the lover (bridegroom) represents Christ, and the beloved (bride or Shula mite woman) represents the Church or the individual believer’s soul. 

Key Aspects of the Traditional Allegory [summary]

• The Bridegroom (Christ): Represents divine love, initiating the relationship, pursuing the beloved, and calling her to leave her old life. He is the one who “pastures his flock among the lilies,” signifying his care and provision.
• The Beloved (The Church/Soul): Represents the church community (corporate) or the individual believer (personal) longing for intimacy, grace, and ultimate union with the Savior.
• The Journey/Story: The bride’s longing, searching, and finding of her beloved mirrors the Church’s longing for Christ’s presence and the believer’s personal journey of spiritual intimacy.
• “My Beloved is Mine”: The phrase (Song of Songs 2:16) symbolizes the reciprocal nature of the covenant, where Christ belongs to the believer and the believer belongs to Christ. 

Historical Prevalence

• Early Church: Early interpreters like Hippolytus (c. 200 A.D.) and Origen developed this approach, seeing the Song as a dialogue between Christ and his church.
• Medieval Period: It was considered “Holy of Holies” and was arguably the most influential book for medieval spirituality, often interpreted by mystics as the soul’s union with God (Bernard of Clair Vaux).
• Reformation: Despite a shift toward the literal sense of Scripture, Protestant Reformers continued to use the allegorical approach to emphasize the mystical union between Christ and the faithful. 

Differences in Interpretation

While the corporate interpretation views the bride as the entire Church Body, the individual (or mystical) interpretation focuses on the individual soul’s yearning for Christ. In some medieval interpretations, the bride was also interpreted as a figure of the Virgin Mary. 

The Modern Perspective: While modern critical scholarship often focuses on the literal interpretation of the Song as erotic love poetry, many theologians argue that the allegorical interpretation should not be dismissed, but rather that the literal and allegorical, or “figural,” readings can coexist, where human love is seen as a created reflection of divine love.

The Ravished Heart of God (Song 4:1-5)

THE CHERISHED HEART OF GOD: EQUIPPED TO LOVE JESUS (4:1-5)

A.  In Song 4:1-5, Solomon gave eight characteristics of the Shula mite maiden that spoke of her physical beauty. These characteristics can be seen as symbolic of spiritual characteristics. In her season of discipline (3:1-2) the King described her beauty (4:1-5), even while her obedience was immature. He saw her sincere desire to obey before it was fully manifested in her character. This motivated her to commit to obey Him by rising up to go to the mountains with Him (4:6).

1. The King spoke to her in agricultural language that was familiar in her day. The Scripture gives insight into the meaning of the symbols.

2. In interpreting this passage spiritually, we see the Lord affirming eight “budding virtues” in the Bride’s life. Each godly virtue starts out in “seed form” as a sincere desire to obey

B. In Song 4:1-5, we see the cherishing heart of Jesus our Bridegroom King. Jesus washes and cherishes His Church. God’s cherishing heart for His people is one of the prominent spiritual themes in the Song. The Lord’s affirmation in our life breaks the power of accusation.

C. the Lord transforms His people by cherishing them. He removes the stain of shame from our heart. One way that He cherishes His people is by affirming the budding virtues in their lives.

D. With tender love, Jesus corrects, rebukes, and calls us to greater zeal and repentance (Rev. 3:19) as He invites us to deeper fellowship (Rev. 3:20) and partnership with Him (Rev. 3:21). This is the same spirit in which His people are to correct, rebuke, and call others to repentance.

E. the Laodicea church was self-satisfied, spiritually passive, and proud. They had taken their relationship with Jesus for granted. Yet Jesus pursued them, knocking on the door and lifting His voice to beckon them to return by offering to have dinner with them and share His resources.

F. The devil assaults us with accusation to influence us to give up in despair (Rev. 12:10). The devil wants us to feel like hopeless hypocrites. He knows that accusation and the fear of being rejected by God will hinder our motivation to love. Being preoccupied with condemnation, failure, and shame hinders us from walking with the Lord effectively.

G. the Lord makes His people feel beautiful and loved in the grace of God, even while they are growing. When we feel cherished, we become confident in our love for Jesus.

H. The whole truth about our life includes so much more than the wrong we have done. Our obedience begins when we sincerely set our heart to obey Him, not after we gain full victory in an area of our life. We can confidently feel His pleasure at every step of the growth process.

Jesus does not define our life by our struggles. He sees more than our outward actions. He defines us by what we set our heart on and by our longing to love Him.

I. the Lord relates to us on the basis of grace. This includes relating to us according to what we long to be, not according to what we fail to do. He sees our heart more clearly than we do.

J. He sees the seeds of character in us and calls forth things that do not yet exist in fullness as though they did. He sees the fullness of our love even when it is in seed form as a budding virtue. 17 God, who calls those things which do not exist as though they did. (Rom. 4:17)

K. While Israel was being attacked by a mighty Midianite army, Gideon hid in the winepress in fear (Judg. 6:11-12). An angel appeared to him and called him a mighty man of valor. The Lord saw in Gideon what he could not see in himself seeds of faith and courage that he was not yet operating in. The Lord named Gideon according to what he would become in the future, and he went on to become one of Israel’s great military leaders. 12 And the Angel of the LORD appeared to him, and said to him, “The LORD is with you, you mighty man of valor!” (Judg. 6:12).

L. Jesus called Peter a rock, one who was reliable and stable (Mt. 16:18). He knew Peter would one day deny Him, but He also saw the seeds of stability in Peter and so named him the rock.

M. We see the Lord’s “editing process” in Abraham’s life, saying that he never wavered in his faith. 20 He did not waver at the promise of God through unbelief. (Rom. 4:20)

N. David’s failures are recorded in the Scripture, yet God’s testimony of his life was that David did all of God’s will and fulfilled God’s purpose (Acts 13:22, 36).

I. WE ARE BEAUTIFUL TO GOD EVEN IN OUR WEAKNESS (4:1-5)

A. After the Bride’s season of discipline (3:1-2), the King declared that she was beautiful to Him. The Holy Spirit gives a trumpet blast to our heart, “Behold! You are beautiful, and I love you.” 1Behold, you are fair [beautiful], my love! Behold, you are fair! (Song 4:1)

B. the King highlighted eight character traits that the Lord wants to develop in His Bride (4:1-5).

1. Dove’s eyes: Eyes of single-minded devotion and loyalty to the Lord

2. Hair like goats: Dedication to God (hair may point to submission or to a Nazirite dedication)

3. Teeth like shorn sheep: Chewing the meat of the Word

4. Lips like scarlet: Godly speech that calls forth God’s redemptive (scarlet) purposes in others

5. Kisses of the mouth: Intimacy with God in receiving the kisses of His Word

6. Veiled temples (cheeks/countenance): Emotions empowered by the grace of God

7. Neck like David’s tower: Setting our will to obey God without any stiff-necked resistance

8. Breasts like fawns: The power to edify and nurture others with the milk of the Word