Richard M. Davidson on the Song of Songs

Richard M. Davidson, ‘Theology of Sexuality in the Song of Songs: Return to Eden’, Andrews University Seminary Studies 27, 1 (1989), 1-19.

After looking at ‘allegorical’ and ‘literal’ approaches to interpreting the Song of Songs, Richard Davidson notes studies that have analysed the relationship between the early chapters of Genesis and the Song of Songs (5). On this basis, he makes the following points:

Sexuality is Good

‘First, underlying the entire Song is the same high doctrine of creation that forms the backdrop for biblical wisdom literature in general’ (6).

Sexuality is for Couples

‘Secondly, the man and woman are a duality, as in the beginning – a lover and his beloved’ (7).

Sexuality is Egalitarian

‘Third, the lovers in the Song are presented as equals in every way’ (8).

Sexuality is Related to Wholeness

‘Closely related to the motifs of equality/mutuality, we note, fourthly, the concept of wholeness in sexuality’ (10).

Sexuality is a Multidimensional Relationship

‘From the aspect of wholeness and solidarity we are led to a fifth insight into the nature of sexuality: Paradisiacal sexual love means a multidimensional relationship’ (11).

Sexuality is Pleasurable

‘As a sixth insight into the nature of sexuality from the Song of Songs, we note one aspect that is not mentioned. The Song contains no reference to the procreative function of sexuality’ (15-16).

Sexuality is Beautiful

‘This leads us to the final insight and the major statement of the Song of Songs regarding the nature of sexuality. In living pictures sexuality is presented as wholesome, beautiful, and good; something to be celebrated and enjoyed without fear or embarrassment’ (16).

He also notes, in conclusion, that the Song may contain an explicit indication of the divine source of human love – in 8:6-7, translated as:

‘For love is as strong as death,

ardent love as relentless as Sheol;

the flash of it is a flash of fire,

a flame of Yah(weh) himself.

If this is the case, he holds, ‘then true human love is explicitly described as originating in God as “a spark off the original flame” [and] points beyond itself to the Lord of love’ (18).

Davidson thus advocates a typological – as opposed to allegorical – approach to the Song of Songs. While the relationship between husband and wife as described in the Song ‘has independent meaning and value of its own that is affirmed and extolled’, yet ‘at the same time this human love is given even greater significance as it typologically points beyond itself to the divine Lover’ (18).

Davidson returns to Song of Songs in the final two chapters of his 844-page treatment of sexuality in the Old Testament – Flame of Yahweh: Sexuality in the Old Testament (Peabody: Hendrickson, 2007), dealing with similar themes though under a slightly different set of headings.

The final chapter seems to expand the ‘sexuality is beautiful’ dimension under the following points:

• Paradisal love is stunningly beautiful

• Paradisal love is wonderfully sensuous

• Paradisal love is an exuberant celebration

• Paradisal love is a thrilling adventure

• Paradisal love is an exquisite delight

• Paradisal love is highly erotic

• Paradisal love is unashamed and uninhibited

• Paradisal love is restrained and in good taste

• Paradisal love is light-hearted play

• Paradisal love is a romantic love affair

• Paradisal love is powerfully passionate

• Paradisal love is an awe-inspiring mystery