Psalms

Psalms is a collection of songs. Many of the songs are attributed to the poet and king David. Others are attributed to Asaph, the sons of Korah, Solomon and even Moses. Many are anonymous.

The songs were meant to be sung, and sometimes they contain annotations suggesting a certain style, tune or instruments. I find that sometimes the structure or words of a psalm suggest that it was probably intended for a soloist, a chorus, or a call and response.

Many of the psalms, especially those attributed to David, deal with the faithfulness of God and the blessed life of those who trust Him. Other psalms suggest that David encouraged, and probably enjoyed, corporate singing of praise to God. David is particularly honest in his prayer-like psalms, and is not afraid to express his anger, disappointment and fear. Even in these moments, he is grateful for God’s mercy.

Several psalms have a messianic message, foreseeing and describing Christ before His coming. Jesus even suggests that these psalms refer to Him, along with other Old Testament scripture (see Luke 24:44).

Other songs were written for, or have become associated with, certain ceremonies. The Hallel psalms (113-118) are sung as part of the Passover celebration. The Songs of Ascent (120-134) are associated with pilgrimages to Jerusalem.

You will find there is a psalm that resonates with almost any emotion, mood or experience. Though the music of these songs is lost to most of us, they still invite us to explore our thoughts and experience, reflect, pray, and connect to a God who cares, who’s mercy is at hand. Even the structure of much of this Hebrew poetry, in which ideas are repeated, compare and contrasted, invites one into meditation.

Psalms. The Holy Bible. New King James Version. Nashville, TN: Thomas Nelson, 1982.

Song of Solomon

What is an erotic poem doing in the middle of the Bible? The Song of Solomon, or Song of Songs, is a beautiful poem, but some find it hard to reconcile with the more solemn books on either side of it (in most editions, it is between Ecclesiastes and Isaiah).

The poem celebrates the courtship, marriage and continuing union of a couple.  This couple is the King, referred to as the Beloved (Solomon), and the Shulamite, one of his favorite wives. In much of the poem, the Beloved and the Shulamite express their love for each other and the delight they experience in being loved by each other.

Though it is masked in metaphor, there is clearly physical attraction and pleasure in the relationship. The Shulamite compares her husband to a feast, and she is deeply satisfied (maybe pleasantly drunk) from enjoying him. The Beloved compares his wife to a beautiful garden, and he wants to smell every flower and taste every fruit.

Some have taken the entire book to be a metaphor for something else. It has been read at Passover by Jews, who see it as a reference to the God (the King) initiation relationship (marriage) to Israel (the humble and lowly Shulamite). Christian scholars have often taken it as a metaphor of the relationship between Christ and the church, which is often referred to as the bride of Christ in the New Testament.

These ideas no doubt have merit, but I would not want to lose the more straightforward story of the song. Marriage can be full of passion and pleasure. A committed couple can find ways to make that passion last and continue to enjoy each other. God created marriage, and I think He wants husbands and wives to enjoy each other in many way, including sex.

The poem has multiple narrators and take place in multiple settings. In addition to the Beloved and the Shulamite, we here from the ladies of the court, the Shulamites’ brothers, and other possible guests of a wedding feast or similar event. The original text does not readily identify shifts in speaker or setting except through internal clues, such as changes in pronouns. Many editions of the Bible including notes or headers to make understanding the poem easier, but these are the addition of editors.

Song of Solomon. The Holy Bible. New King James Version. Nashville: Thomas Nelson, 1982.