We continue with Dillow's book "Solomon on Sex."
THE DANCE OF THE MAHANAIM
(Reflection #13, Song 6:138-8:4)
CONTEXT
In the previous reflection, the Chorus has called Shulamith
back, psychologically, to her home in the palace. They say:
6:13 CHORUS:
Come back, come back, O Shulamite;
Come back, come back, that we may gaze at you.
This serves as a transition to the next scene. The point of
transition is in the word "gaze." The chorus, an imaginary
literary device, obviously will not do the gazing on Shulamith.
But the idea of "gazing" is picked up in the next scene as
Solomon gazes on the beauties of his wife as she dances before
him (they are alone in the palace).
The logical connection with the preceding scenes seems to be
this. Shulamith awakens after a painful dream only to find
Solomon is not at her side. The dream has set her desires in
motion to make love with her husband (5:8). Solomon appears and
assures her of his love regardless of her performance (6:4-30).
Then Solomon returns to the palace, and Shulamith goes down into
the garden to be alone with her thoughts. Her longings for her
country home are interrupted by the urgent plea of the chorus to
come back, psychologically speaking, to life at the palace. Her
thoughts are suddenly drawn once again to her lover, the desire
she had to be in his arms (5:8) is rekindled, and she seeks him
out in the following passage to make love. Solomon had approached
her desiring to make love many times and at the wrong times, and
she had refused him. Now she picks up on her intent of 5:6-8 to
search out her husband and initiate lovemaking with him
(6:13b-7:9).
Thus, even though much of the problem is Solomon's fault,
she assumes responsibility for her own behavior. In 5:10-6:3 she
changes her attitude, and in 6:13b-8:4 changes her actions.
COMMENTARY
Solomon and Shulamith are alone in the palace. Shulamith
desires to make love with her husband and aggressively takes the
initiative. As part of their loveplay, and as her way of arousing
her husband's sexual interest, she dances before him. She
obviously has no problems with inhibitions.
6:136 SHULAMITH (to the Chorus):
Why should you gaze at the Shulamite
As at the dance of the two companies?
As Shulamith dances before her lover, she is being very coy
and saying, "Why would the chorus want to gaze on me?" The answer
is obvious, Solomon thinks she is beautiful and loves to look at
her. She is replying to the quotation of the imaginary chorus of
6:13a. This statement provides a literary and logical transition
from one point in the Song to another. The following verses
clearly indicate this to be a very close, intimate scene
involving Shulamith and Solomon and the conversation of love,
alone! (7:6,10)
What is the "dance of two companies?" The phrase "two
companies" is a translation of the Hebrew word, "mahanaim."
Mahanaim was a town from which David fled as a fugitive from
Absolom (2 Sam.17:24). It was a small town situated north of the
Jabbok, not far from the Jordan Valley. The allusion here seems
to be the appearance of the angelic host at this site to Jacob on
his return home to the promised land. It is not clear why Solomon
refers to Mahanaim. Perhaps, the dance of the Mahanaim contains
something as magnificent and transporting as an angels dance.
Perhaps he viewed Shulamith as an "angel" dancing before him.
Dancing like this may seem strange to Western tastes, but in the
East in the Old Testament conception, joy and dancing were
inseparable (Eccles.3:4) - joy not only as the happy feeling of
youthful life, but also spiritual and holy joy (Ps.87:7).
Zockler argues convincingly that the descriptive phrases to
follow are from Solomon's lips.
7:1 How beautiful are your feet in sandals O prince's
daughter
Solomon comments on the gracefulness of her dancing.
The curves of your hips are like jewels.
The work of the hands of an artist
Both Lehrman and Delitzsch agree the curves of the hips
refer to their swaying motion as she dances before Solomon. The
phrase "curves of hips" is translated by Delitzsch, "the
vibration of the thighs." These movements are of a circular
motion, and probably refer to the windings of the upper part of
the body by means of the thigh joint.
Thus, Shulamith is dancing before her husband as part of
their loveplay. The reference to the top part of her thighs, her
navel, her belly, and her breasts indicates she had little or no
clothing on.
7:2a Your navel is like a round goblet which never lacks
mixed wine
The word "navel" is assuredly an incorrect translation,
probably reflecting the translator's modesty. While the Hebrew
word could take that meaning, it is generally translated today as
"vulva," according to Brown, Driver, & Briggs. In other words,
Solomon views his wife's "garden" as she dances nude before him,
and she/him, and he says it looks to him like a "round goblet"
The Hebrew for "round goblet" should be rendered "a bowl in the
shape of a half moon." The allusion to the female genitals is
obvious; furthermore, this interpretation is necessary in view of
the sequential progression upward of his description of his wife,
similar to the sequence in 4:1-8.
(10) hair - tresses 7:5
( 9) head - crowns you like carmel 7:5
( 8) nose - like a tower of Lebanon 7:4
( 7) eyes - pools in Heshbon 7:4
( 6) neck - tower of ivory 7:4 (
( 5) breasts - two fawns 7:3
( 4) belly - heap of wheat 7:2
( 3) "garden" - navel - bowl in shape of a half moon 7:2
( 2) upper part of thighs - roundings of hips 7:2
( 1) feet - 7:1
For "navel" to mean "belly button" would violate the obvious
sequence of the passage.
Solomon says his wife's garden never lacks mixed wine. Wine
is used throughout the book (see 1:2, 2:4, 5:1) and in Eastern
erotic poems as a symbol of sexual pleasure. It would appear that
Solomon is suggesting that her "garden" is a never lacking source
of sexual pleasure for him. It is probable that the "mixed wine"
refers to a mixing of his sexual pleasure with hers - of wine and
milk (5:1); of myrrh and balsam.
7:26 SOLOMON:
Your belly is like a heap of wheat
Fenced about with lilies.
In Syria, the perfect skin was considered to be that which
could be compared in color to the yellowish-white of wheat after
it had been threshed and winnowed. Her navel and stomach are
described as being composed of wine and wheat. These symbols
suggest the common associations of a meal. Thus, the joining of
these two images implies that her "navel" and stomach constitute
a feast. It indicates a desire to kiss these areas as he later
expresses a desire to kiss her breasts.
7:3 SOLOMON:
Your two breasts are like two fawns,
Twins of a gazelle (see 4:5).
Your neck is like a tower of ivory
Her neck is smooth, white, and long.
Your eyes like the pools of Heshbon.
This was a city noted for its soft and beautiful pools. The
symbolism indicates peace in her eyes.
By the gate of Bath-rabbim.
The gates of a city were the chief places of assembly.
Your nose is like the tower of Lebanon
Which faces toward Damascus.
A tower facing Damascus was for the protection of the
nation. "In alike manner her stately look perhaps reflected the
strong character which was her protection" says one author.
7:5 SOLOMON:
Your head crowns you like Carmel
And the flowing locks of your head are like purple threads.
The king is captivated by your tresses
As majestic Mt. Carmel crowned the fertile plains of
Palestine, so her beautiful face sits exquisitely atop her lovely
figure. Since purple was the royal color, he must see her hair as
"queenly." While chains could not hold this mighty king,
Shulamith's lovely tresses have bound him to her.
7:6 SOLOMON:
How beautiful and delightful you are,
My love, with all your charms.
7:7 Your stature is like a palm tree
And your breasts are like its clusters.
She has a stately stature. To look upon the clusters of the
date palm causes the beholder to want to taste them. This simile
of subjective response, then, suggests Solomon's desire to kiss
her breasts.
The palm tree serves as a very beautiful description of
Solomon's beloved. It sways in the wind with inexpressible
gracefulness but seldom breaks. The trunk was tall, slender, and
flexible? Palm branches were traditionally a source of rejoicing
(Lev.23:4; Neh.8:15; Rev.7:9). The tree typified grace, elegance,
and uprightness.
7:8 SOLOMON:
I said "I will climb the palm tree
I will take hold of its fruit stalks."
Oh may your breasts be like clusters of the vine.
To "climb the palm tree" had a special meaning. In the
Ancient Near East the artificial fertilization of the female palm
tree flowers by the male palm tree flowers has been practiced
from earliest times. The male and female flowers are born on
separate trees in clusters among the leaves. In order to
fertilize the female tree, one must climb the male tree and get
some of its flowers. One then ascends the female tree and ties
among its flowers a bunch of the pollen-bearing male flowers.
Thus, to climb the palm tree is to fertilize it. Solomon 's
using some contemporary language of the vineyard to say he
intends to make love to Shulamith right away!
Solomon says he will caress her fruit stalks - her breasts.
Now he changes images from date palms to gape clusters for
breasts, which seems more appropriate. Grapes swell and become
increasingly round and elastic as they ripen, similar to the
female breasts when sexually aroused.
7:9 SOLOMON:
And the fragrance of your breath like apples,
And your mouth like the best wine.
Her mouth is "like the best wine." In other words, it is a
great source of pleasure. Her kisses are "sweeter than wine."
7:9 SHULAMITH:
It goes down smoothly for my beloved
Flowing gently through the lips of those who fall asleep
To what does "it" refer? Obviously, it goes back to the
"wine," or high sexual pleasure. She says her love is totally and
completely satisfying to him - "It goes down smoothly." She is
fully confident of her lovemaking skill and knows she can satisfy
her man. As wine causes the body to relax and drift into sleep,
so their love has left them sweetly exhausted, and they fall
asleep in one another's arms.
7:10 SHULAMITH:
I am my beloved's
And his desire is for me.
She thrills at the fact that Solomon desires her physically.
This refrain has been slightly but profoundly changed from its
three previous usages.
2:16 My beloved is mine and I am his
6:3 I am my beloved's and my beloved is mine,
7:10 I am my beloved's and his desire is for me.
This could possibly suggest a deepened sense of security in
Solomon's love. When she first mentions the refrain it is during
their courtship, and her possession of Solomon is primary, while
his possession of her is secondary. The second time she reverses
the order, making his possession of her primary, indicating a
greater degree of security in him. Now, after this love scene
where she has totally satisfied her man, she not only places his
possession of her in the forefront, but she strengthens it by
saying that his desire is toward her. She is so focused on him
that she omits her possession of him. She is revelling in her
"woman power" - her ability to satisfy her man physically. The
word translated "desire" is the same word used in Gen.3:16 where
it is said the woman's desire would be toward her husband.
They have just consummated sexual union. As they lie there
together, Shulamith broaches a subject that has long been on her
heart, she desires to visit the countryside and now claims the
"vacation for two" Solomon promised her on the honeymoon night
(4:8).
7:11 SHULAMITH:
Come, my beloved, let's go out into the country,
Let us spend the night in the villages
7:12 Let us rise early and go to the vineyards;
Let us see whether the vine has budded
And its blossoms have opened
And whether the pomegranates have bloomed
There I will give you my love.
7:13 The mandrakes have given forth fragrance
And over our doors are all choice fruits,
Both new and old
Which I have saved up for you my beloved.
In these verses, Shulamith invites Solomon for an escape
into the forests of the Lebanon mountains to the north. There,
she says, they will make love outdoors! I think any married
couple would do well to follow her advice in planning a few
getaways every year where they can renew their physical love and
evaluate their marriage and goals in life. My wife and I try to
do this at least twice a year. I wish we could do it once a
month!
Note, wives, Shulamith suggests this adventure away from the
palace. There are places to make love other than the bedroom.
Shulamith is suggesting they make love in the open air of the
countryside. With a little careful research you can probably find
a private spot for you and your mate to enjoy a Sunday afternoon
making love out under the sky. Be sure your research is thorough,
however, or your picnic for two might suddenly be interrupted by
a troop of Boy Scouts tromping through the woods!
Notice she longs to see "whether the vine has budded and its
blossoms have opened" (7:12). It is apparently spring. They had
courted and were married in the midspring (2:10-14). perhaps this
indicates the passage of one year since their marriage. "The
mandrakes have given forth fragrance. . . ." The mandrake was
considered an aphrodisiac in the ancient world. To say they give
forth fragrance is a poetic way of saying the springtime
atmosphere of the countryside is conducive to making love.
When she says ". . . Over our doors are all choice fruits,
Both new and old, Which I have saved up for you my beloved," she
is promising both new and old things in their countryside
lovemaking. The "doors" refer to the fact that they are outside,
and their "doors" are the branches in the trees and the open air.
Fruit is a reference to sexual pleasure in general here. Thus,
she has saved up some sexual pleasure they are accustomed to, and
with the coming of the new fruit of a fresh spring she has some
new sexual pleasures she plans to offer him. She is creative! She
is skilfully building his sense of anticipation by appealing to
his sexual imagination.
8:1 SHULAMITH:
Oh that you were like a brother to me
Who nursed at my mother's breasts
If I found you outdoors, I would kiss you;
No one would despise me either.
She expresses her desire to be free to unashamedly kiss her
husband in public as well as in private. It is all right to kiss
your brother unashamedly in public because no one will think of
sexual connotations - "no one would despise me either." However,
to kiss your husband like that is deemed socially inappropriate.
Times haven't changed.
8:2 SHULAMITH:
I would lead you and bring you into the house of my mother,
who used to instruct me;
I would give you spiced wine to drink from the juice of my
pomegranates.
If you were my brother, she says, we could live at my home
in the country. I would feed you from the juice of my
pomegranates (from the vineyard of my sexual pleasures), and sit
under your instruction as I used to sit under my mother's.
8:3 SHULAMITH:
Let his left hand be under my head,
And his right hand embrace me.
She is now referring to what she said in 7:12,13. They are
going to make love in the country. The momentary daydream of her
desire that Solomon be like a brother is broken, and she longs
for the opportunity to make love with him in the countryside. She
imagines his left hand under her head as she lies on her back in
some country meadow, and his right hand "embracing" or "fondling"
her breasts and "garden."
For the third time in the book now, Shulamith repeats the
warning not to allow sexual passion to develop until God has
brought the right man (i.e., the one He wants you to marry) into
your life.
8:4 SHULAMITH:
I want you to swear, O Daughters of Jerusalem,
Do not arouse or awaken love,
Until it pleases.
For the third time she addresses the imaginary chorus with
this warning. Let us review the warnings.
First warning, 2:7: If you want to have the maximum sexual joy
and fulfilment in marriage, do not allow sexual arousal to occur
with anyone but the one God intends for you.
Second warning: If you want to be free to evaluate objectively
and to consider the cost of marriage to this particular person,
do not allow yourself to become sexually stimulated, or your
objectivity may be lost, and there are great issues at stake,
3:5.
Third warning: This one in 8:4 seems to stress the importance of
premarital chastity in view of the sexual adjustments to be made
"after you've said 'I do.'" - To involve yourself sexually before
marriage can hinder your ability to resolve sex problems after
marriage. We now know this is not simply theoretical. Any
marriage counsellor can give numerous illustrations of the
effects of premarital sexual involvement on postmarital sexual
adjustment.
For example, it often results in premature ejaculation
difficulties for the men. The guilt some wives feel over their
premarital sexual involvement can so scar their emotions that
they continue to think of sex as wrong even in marriage and
freeze up sexually. One woman complains of the fact that every
time she makes love with her husband, she carries mental images
of the other men she had relationships with before she was
married. These images generate continued guilt. No, Shulamith's
waning is very relevant to the twentieth century. The new
morality is just the old immorality that has plagued the lives of
many and destroyed numerous marriages over the centuries.
Fortunately, the believer in Christ can experience
forgiveness of sin through the cross. Every sin you will ever
commit has been paid for if you trust Christ as Savior. What a
freedom! "There is therefore now no condemnation to those who are
in Christ Jesus" (Rom.8:1). If God can forgive murder, He can
forgive premarital sex. Claim that forgiveness now (1 John 1:9)!
COMMENT
This beautiful love scene and the ensuing conversation
suggest several pertinent applications to marriage today.
To be continued
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