A. Song 6:1: The Daughters' Second Inquiry (page
46)
After hearing the Dear One's radiant description of the Loved One, the Daughters of Jerusalem ask her where this
paragon of masculine beauty has gone. The mode is the same as in their first inquiry, but each hemistich here begins
on the 6th degree, underlining 'ana ("Where...?"). The addition of one lower sign at the beginning of
each hemistich gives the questions a totally different feeling. The first inquiry was from curiosity, even surprise;
the second is from anticipation. The Daughters are eager to see the Loved One and ask to seek him with her. When
the Dear One finds him at last, though, she will be quite alone. The Loved One belongs to her, not to the Daughters
of Jerusalem.
B. Song 6:2-3: The Dear One's Confidence (page
46)
The Dear One, in Song 5:8, did not know where her Dear One had gone. Now she says confidently, "My Lover [Dodî] has gone into his garden, to the beds of balsam,
to pasture his flock, and to gather lilies." The mode is Hypophrygian, the melodic interpretation warmed by
the vernal sun. We have seen "balsam", "flock" and "lilies" in various contexts,
literal and figurative. These words seem quite literal here; but they also symbolize the Lovers' romantic relationship.
The Loved One is about his daily work, but also thinking of his reunion with the Dear One -- and those lilies are
for her.
In verse 3, we are reminded of 2:16, which says, "My beloved is mine and I am his...". Here, though,
the Dear One says, "I am my beloved's and my beloved is mine..." (The melody varies in these hemistichs
according to the needs of the verbal and emotional contexts.) In these verses (which are both in the minor mode),
we then read the identical melos: "He
pastures his flock" (or, more correctly, "feeds" -- cf. Appendix
1) "among the lilies". In both verses, this refers metaphorically
to kissing (as the gravity of the melody confirms).
Song 2:16-17 and 6:1-3 are parallel in the overall poetic structure. In 2:16-17 there are potential problems to
combat before marriage; in 6:1-3 there is the resolution of a problem after it. The Dear One's statement in 2:16-17
begins with the Hypophrygian mode, then goes to minor; so does her statement in 6:2-3. Thus yet another thread
is woven into the Song's poetic design.
The Dear One has reminded herself of the Loved One's devotion to her. Now (indirectly, by her embracing reunion
with Solomon) she reminds the Daughters that she belongs to him, and he to her; they will have to see Solomon another
day.
C. Song 6:4-7: The Lovers' Reconciliation
(pages
46,
47,
48,
49)
In these verses, the Lovers have met once again and are reconciled. The Loved One takes time to encourage the Dear
One of his love -- without necessarily intending sex. At this point, such a request might not be appropriate. The
Dear One has been upset, bruised and humiliated -- all because of his impatience (or so the Loved One may be thinking).
In verse 4 he begins with rapturous metaphors describing her overall comeliness (without focusing on her "parts").
She is "beautiful as Tirzah, lovely as Jerusalem, awesome as the banners". He then adds, "Don't
look at me like that!" He is disturbed
by the unexpected intensity of her response (verse 5a).1
Almost despite himself, the Loved One now describes some of her "parts", just as he did on their wedding
night. Song 6:5b is virtually identical (musically and verbally) to 4:1b; 6:6 is identical to 4:2; 6:7, all but
identical to 4:3. In the overall poetic structure, this passage (6:4-7) is parallel to the beginning of Solomon's
lovemaking on the wedding night (4:1-7). The Dear One's love, so openly expressed to the Daughters, has been rewarded.
Some commentators conclude that verses 4-7 speak of reconciliation without sexual union. The melos seems to confirm this. The section ends without a strong sense of conclusion -- confirming
that the Loved One's praises are not a means to an end. Whatever happens later, happens behind a curtain. Perhaps
they simply go to bed, after the Loved One fulfills the Dear One's emotional needs.2
D. Song 6:8: The Sons' Exclamation
(page
49)
Verses 8-10 seem to set us near a public procession.
Haïk-Vantoura's score says the singers are to render this section giocoso (joyfully). The tempo quickens; the rhythm is almost dancelike. The Sons of Jerusalem line the streets, watching the parade pass by. They remark on the beauty
of the women they see, in the procession and everywhere around them:
There are sixty queens,
and eighty concubines,
and maidens without number!
Unlike the Daughters' questions to the Dear One (which have an almost triple meter),
the Sons' comments have an almost duple meter. Could this be a jocular, implied (not direct) question to Solomon about his romantic choices? Yes, it is this and more, in
the light of the verses which follow.
Most translators assign Song 6:4-9 (and sometimes verse 10) to a single speaker: to Solomon, or the anonymous shepherd.
Some, noting that verses 4-7 are addressed to the Dear One, while verses 8-10 speak about her, conclude that Solomon
tries to seduce her (or win her back to him) in verses 4-7, while the shepherd affirms his true love in verses
8-10.
Virtually everyone thinks that verses 8-9 refers to Solomon's harem. If the soloist is Solomon (it is said), he
still affirms that Shulamith is the most beloved of his women. If it is the shepherd, he (in effect) tells Solomon
he is welcome to his women; his Loved One surpasses them all! (Verse 10 would be the harem's reaction to Shulamith
in either case.) Notice that both alternatives demand Shulamith must share her love for Solomon with someone, male
or female -- which certainly demeans both Lovers.
Only the original melody, coupled with the overall poetic structure, could tell us that verse 8 is not sung by a soloist. The words themselves, however,
give us important clues. Verse 8 speaks of a plurality of women; verse 9a, of one; verse 9b, of the women's praise
of the Dear One. Moreover, 6:8-9, in the overall poetic structure, is parallel to 5:9-16. The earlier text has
a question from the Daughters of Jerusalem, a reply from the Dear One. Would not a question (even if implied) from
the Sons of Jerusalem and a reply from the Loved One complete the parallelism?
This is what the melody confirms. The mode, the melodic line, the tempo, the rhythm in verse 8 are all completely different from what is found in the Loved One's
encouragement. Verses 8 and 9 begin with the same series of musical signs. The theme stated in verse 8 is restated,
then developed, in verse 9a.3 This
"theme and variation" expounds two related, yet contrasting verbal ideas. This by itself supports the use of antiphony (alternation of chorus and soloist); the use of a soloist alone would dampen the contrast
between the verses. Moreover, verse 8 never rises above the 4th degree, while verse 9a rises as high as the 5th
(and is less "heavy" in its "euphony" than verse 8).
Thus the Sons of Jerusalem are meant to sing verse 8; the Loved One, verse 9 (at least the first half). The Sons,
rather than asking the Loved One a direct question, imply one by their comments (in Hypophrygian mode). The implication:
"With all these beautiful women around, why is Shulamith so special to Solomon?" The parallel (poetically)
with the Daughters' first question to Shulamith are thus consistent with the indications of the melody.
The "maidens" could hardly be part of Solomon's harem; they are the "Daughters of Jerusalem"
(cf. 9b, "daughters", and verse 10). The "queens and concubines" could not be intimate with
Solomon either; otherwise, what is the point of this whole exchange? Where is the parallel with Shulamith's choice
of Solomon over all other men? Could Shulamith have been Solomon's "Dear One" if he had already had 140
wives and concubines?
Of course David had both wives and concubines (some of them young) still alive at this time. The Sons surely do
not mean these; Solomon would not have married his father's concubines (such as Abishag) before David's death.
Yet "maidens" were available to Solomon as a bachelor, just as Shulamith ("the most beautiful among
women") could have married anyone who loved her.
Some think the "queens and concubines" are the women we first meet in Song 1:4, at the royal reception.
We encounter the "maidens" in 1:3, before Shulamith goes to the royal apartments -- but we see no hint
there that Solomon was ever intimate with them. Rather, we think they were sent home, saddened but undefiled (like
Cinderella's competitors after the "ball"), once Solomon had chosen Shulamith. Solomon's "reception"
was his way of "dating" -- not of gathering a harem.4
It seems the "queens and concubines" are here to honor Solomon (at his second anointing as king); no
other explanation accounts for all the Bible's musical-verbal data. Are they being offered to Solomon as wives
by dignitaries of other nations seeking alliances? If so, some would have become primary wives or "queens";
others, secondary wives or "concubines" (depending on their descent and social status).5 Was Solomon tempted by the offer? In the light of Solomon's
huge harem later,6 many, many readers
and commentators have thought so.7
E. Song 6:9a: The Loved One's Praise of the Dear One (page
49)
It is difficult to translate literally the Sons' words in 6:8 and the Loved One's remark in 6:9a. The phrase schiSchim héMa ("Sixty [are] they") in
6:8 is parallel to ahat hi ("One [is] she") in 6:9a. "One (is)
she, my dove, my perfect one; one (is) she to her mother, pure (bara -- cf. Appendix 1) to her who bore her."
The Loved One's musical description here is charming. The phrase ahat hi is
used twice in verse 9a, both times with the same musical signs (and virtually the same melodic theme), found also
on schiSchim heMa in the previous verse.
Solomon has no desire to marry anyone else. Shulamith is his only love. She is "unique" (Haïk-Vantoura)
to him, his "dove", his "perfect one". She is also "unique" to her mother, her only
daughter. More than that, she is "pure". We prefer this more literal reading to "choice", "flawless"
or even "favorite" (Haïk-Vantoura), though these too describe the implications of bara. Shulamith grew up morally and physically pure as
well as perfect in form.8
The Hebrew word ahat (which Haïk-Vantoura translates as "unique")
also refers to Shulamith's unity (she
is one person, not many), individuality
(she is everything her mother and the Loved One could ask for), and singularity (she stands out among all others). The Sons, being normal men, are attracted by the multiplicity and diversity of the women around them.9 Solomon is attracted by the typical Dear One's
"uniqueness" -- a fine foil to the antitypical
uniqueness of the kehal ha'Elohim.
Were political considerations on Solomon's
mind (as they surely were when he married Pharaoh's daughter), he could have married one or more of the foreign
"queens" or "concubines". He married Shulamith, a commoner, for the right reason: because of
Love.
F. Song 6:9b: The Sons' Praise of the Dear One (pages
49,
50)
Solomon's reply in 6:9a, like the Sons' statement, is in nearly duple meter. The words by the Sons in 6b are in
nearly quadruple meter: a joyous march,
as if the women are being formally presented.
The melody lifts up to the 6th degree on ra'ouha ("they saw her"), beginning a different melodic theme.
The Sons mention first the "daughters" (those called "maidens" in verse 8), then the "queens
and concubines" -- partially reversing the order in verse 8. This subtle change confirms our presence at a
public event, with the Sons and Daughters of Jerusalem in attendance. The "daughters" (the Daughters
of Jerusalem) "call her happy"; the visiting queens and concubines "praise her". The praise
of all these Visitors (as described by the Sons) is almost hymnic; the repetition of the tonic on vayhalluha underlines the reverence
they give her. The Dear One is so beautiful (from the inside out) that even to be rejected in favor of her is an honor.
G. Song 6:10: The Visitors' Praise of the Dear One (page
50)
"Who is this that looks out and down
(cf.
Appendix 1) like the dawn, beautiful as the moon, clear (bara, "pure") as the sun (hama, emphasizing its heat), terrible as the banners?"
The Dear One seems to be looking from a balcony or window (or the top of a flight of stairs) on the crowd below.10 The melody rises as the Visitors speak, as
if they are lifting their eyes upward (to Shulamith, as to the sun and moon). Haïk-Vantoura adds an arpeggiated
bass (in the harp accompaniment) to bring out the effect given by the melody.
The RSV puts this verse in quotes, perhaps implying that it is sung by a soloist (the same one that sung the preceding
six verses). Others assign this verse (naturally enough) to the Daughters of Jerusalem, or to Shulamith's "friends"
(NIV). The change in melodic theme, rhythm and verbal context, and the suitability of the melodic line to the female
chorus, confirms that the Visitors (not the Sons, Solomon, or the Daughters alone) sing this verse.
H. Song 6:11-12: The Loved One's Daydream
(pages
50,
51)
These two verses are parallel (in the poetic structure) to the Dear One's reverie in Song 2:15. Both 2:15 and 6:12
have a dreamy quality, as given by their
melodies.
The NIV correctly assigns these verses to the Loved One. Most translations (including the RSV) and many exegetes
assign them to the Dear One. The RSV amends the Hebrew phrase at the end of verse 12, "in the chariots of
my noble people", to "in a chariot beside my prince" -- assuming Shulamith is speaking. The KJV
has "the chariots of Ammi-nadib" (as if a person or a place), as do the NIV's marginal notes (cf. Appendix
1).
The melodic theme and tempo change yet again here; the melody is sung more slowly, lyrically, with the warmth of
a spring day. The vines and pomegranates are just beginning to flower. Before the Loved One knows it, he is daydreaming...The
suspensive cadences ending lo yada`Ti
("Not / I knew [it]") and nafschi çamatni ("my soul had set me [in]"), rising from the augmented 4th to the 5th degree, put
the Loved One's head in the clouds (verse 12).
The Loved One takes a proper masculine pride in his future, and in the achievements which are within his grasp.
The world is his oyster. Any pearls he finds within shall be the Dear One's as well. He also takes pride in his
"noble people": the nation of Israel, and his servants in particular.
Thus the chapter ends in the Masoretic Text. Its original melody makes the translation of marKevot
`aMi nadiv (verse 12) easier. In the melody's light, the phrase is not a textual
corruption of Shulamith's words, but a poetic description given by Solomon: not of the chariots of "Amminadib",
but of the people he respects. The melody also confirms that the division between chapters 6 and 7 in Hebrew (and
not in English) is correct. Song 7:1 (6:13, English versification) is not separated unto itself; and it belongs
at the beginning of a musical section, not at the end of one.
The next chapter brings us to a time well after the procession and the daydream. We have seen the public, formal
reaction to Shulamith's beauty; now we will see the reaction of the Sons of Jerusalem in an everyday context.
|
