Song of Solomon 7
The Lover praises the Beloved from feet upward in the most detailed wasf of the book, then she invites him to the vineyards to see whether the vines have blossomed.
Summary
Chapter 7 opens with the third voice of the book (uncertain attribution — the daughters of Jerusalem, the Lover, or a chorus figure) asking: return, return, O Shulamite; return, return, that we may look upon thee. The Beloved asks what they see in the Shulamite, as it were a dance of Mahanaim — a phrase of uncertain reference, possibly a place name or a type of dance — and the wasf begins, this time ascending from the feet: how beautiful are thy feet with shoes, O prince's daughter! The thighs are like jewels; the navel is like a round goblet that wanteth not liquor; the belly is like a heap of wheat set about with lilies; the breasts like two young roes; the neck like a tower of ivory; the eyes like fishpools in Heshbon by the gate of Bath-rabbim. The head is like Carmel, the hair like purple, and the king is held captive in its tresses. The Lover declares that he will go up to the palm tree and take hold of its boughs — the palm's fruit clusters a transparent figure for the Beloved's breasts.
The Beloved speaks the chapter's second movement. I am my beloved's and his desire is toward me — the third and subtly altered form of the mutual-possession formula, now placing desire explicitly on his side rather than asserting symmetric possession. Come, my beloved, let us go forth into the field; let us lodge in the villages. Let us get up early to the vineyards; let us see if the vine flourish, whether the tender grape appear, and the pomegranates bud forth: there will I give thee my loves. The mandrakes give a smell, she says, and over their door are all manner of pleasant fruits, new and old, which she has stored for the Lover. The chapter reads as the book's fullest presentation of the lovers going out from the city into the countryside — the garden and vineyard world in which they meet without supervision — and the Beloved's declaration of desire is here the most explicit in the book.
- Song of Solomon 1Chapter 1 is the Song's opening statement of desire.
- Song of Solomon 2Chapter 2 is the book's most famous sequence of natural imagery and contains the lines most associated with the Song in popular memory — I am the rose of Sharon, and the lily of the valleys.
- Song of Solomon 3Chapter 3 contains two of the book's most structurally important passages: the first of the two dream sequences (3:1-5) and the description of Solomon's wedding litter (3:6-11).
- Song of Solomon 4Chapter 4 is the first and most extended of the Lover's wasf praise poems — a form with close parallels in classical Arabic love poetry (wasf meaning 'description'), in which the body of the beloved is described part by part from head downward, using a sequence of metaphors from nature, architecture, and precious materials.
- Song of Solomon 5Chapter 5 is the Song's most dramatically concentrated chapter and contains both the second dream sequence and the Beloved's own wasf — her description of the Lover's body.
- Song of Solomon 6Chapter 6 is the briefest of the book's concentrated central chapters and turns on a structural pivot: the daughters of Jerusalem, who have been the passive audience of the Beloved's declarations, now ask a genuine question — whither is thy beloved gone? — and receive an answer that clarifies the garden as both literal meeting-place and something closer to the Beloved's interior life: my beloved is gone down to his garden, to the beds of spices, to feed in the gardens and to gather lilies.
- Song of Solomon 7Chapter 7 contains the fourth and most structurally unusual of the book's wasf passages — the only one that begins with the feet and moves upward, and the only one framed as a performance for an audience (return, return, O Shulamite, that we may look upon thee).
- Song of Solomon 8Chapter 8 is the Song's ending and contains its most famous lines and its most compressed theology of love.