The bride and groom tell the whole world of their devotion to each other. The treasure here is the collection of images in the unique Hebrew context.
The woman opens with a measure of self-denigration. She’s nothing but a common flower of the meadow. We make too much of the early English translators’ choice of “rose” when the Hebrew word meant something more common with no noticeable fragrance. The effect is to deny that she is anything special. The man responds that, if so, she happens to be that flower growing among thorns by comparison to other women. It’s not that thorns didn’t come with flowers, but that picking them would be risky. He has no interest in high-risk romance. He prefers the simple beauty of someone who won’t complicate his life with unnecessary drama.
She returns in kind. Apple trees were wholly exotic in Palestine, an imported species requiring a great deal of trouble and care to get any fruit. To find such a thing growing randomly in the forest is a miraculous discovery. She paints the image of embracing him as her covering protection, her relief from a difficult world. His love is more than simply sustaining, but a rare delight. She could never get enough.
In dreamy anticipation, she then paints an image of celebration, the fundamental meaning of sex. That this party hall with sweet wine and exotic food is all about making love should be obvious. Hardly a duty, she’s looking forward to it with indescribable passion. The image of how he holds her with one hand and caresses with the other is meant to titillate. The Hebrews were uninhibited, and had no discomfort with frank discussion of human sexuality. By the same token, they avoided any hint of bawdiness. It’s hard for Westerners to envision a world view without Victorian prissiness.
The lady then turns to warn the other maidens about jumping the gun. The imagery of stags, does, and similar creatures are quite ancient symbols of sexual vigor. She calls them to promise themselves they won’t settle for the first thing that comes along and stirs the hormones. Give it time; wait for the right man. We note in passing this would be easier for a rural girl to observe than a city girl, so she’s bringing her country wisdom to bear. Then she conjures the image of patient restraint because God’s choice for husband can appear suddenly with little advance notice. So she encourages them to open their hearts to sensing things not easily noticed in the hustle and bustle of the city. Get out away from all of that and experience the quiet solitude of waiting for something worth the wait. You never know where he’ll appear, but you’ll know it when you see him because he will be paying attention to you without demanding anything.
Instead, he’ll wait for the right moment to win your heart. His appeal will leave you totally free to reject him and his honorable intent will be obvious. He doesn’t demand too much too soon. Instead, all he asks is to be near her, to revel in the joy of her simple presence.
Typical of Ancient Near Eastern literature, the Hebrew people used the image of the fox as negative, a destructive influence in romance. The vineyard is generally the symbol of pleasure in marriage, a life of happiness in building a family, having children. In response to the man’s call to her, she asks him to invest himself in removing hindrances that would spoil their love. Does he really mean it? Will he reduce his attention to other gals? Don’t play games, boy; show me.
Finally, she notes how true love is peaceful, rather like an animal quietly grazing in the meadow where those little flowers grow. She calls to him as the figure of a virile buck to turn aside from the distractions of other social opportunities and stay with her until it’s clear as the morning light that he is committed to her. Let the whole world know and he can rut wildly with her.
