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Song of Solomon 6

1

Whither is thy beloved gone, O thou fairest among women? whither is thy beloved turned aside? that we may seek him with thee.

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2

My beloved is gone down into his garden, to the beds of spices, to feed in the gardens, and to gather lilies.

3

I am my beloved’s, and my beloved is mine: he feedeth among the lilies.

4

Thou art beautiful, O my love, as Tirzah, comely as Jerusalem, terrible as an army with banners.

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5

Turn away thine eyes from me, for they have overcome me: thy hair is as a flock of goats that appear from Gilead.

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6

Thy teeth are as a flock of sheep which go up from the washing, whereof every one beareth twins, and there is not one barren among them.

2
7

As a piece of a pomegranate are thy temples within thy locks.

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8

There are threescore queens, and fourscore concubines, and virgins without number.

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9

My dove, my undefiled is but one; she is the only one of her mother, she is the choice one of her that bare her. The daughters saw her, and blessed her; yea, the queens and the concubines, and they praised her.

10

Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?

2
11

I went down into the garden of nuts to see the fruits of the valley, and to see whether the vine flourished, and the pomegranates budded.

12

Or ever I was aware, my soul made me like the chariots of Amminadib.

13

Return, return, O Shulamite; return, return, that we may look upon thee. What will ye see in the Shulamite? As it were the company of two armies.

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Song of Solomon 6

Companions ask where the maiden's beloved has gone, and where they might seek him together. The maiden responds that he has gone to his garden to feed among the lilies. She declares her beloved's uniqueness: perfect and unequaled among all women. The narrative celebrates mutual presence: the beloved comes to the maiden in gardens, and she is his and he is hers. The final verse affirms: you are beautiful as Tirzah, comely as Jerusalem, terrible as an army with banners. This chapter pivots from loss toward reunion and affirmation. The maiden's statement that her beloved feeds in his garden suggests that separation serves a purpose—he attends to his own responsibilities—yet they remain bound in belonging to one another. The comparison to cities (Tirzah and Jerusalem) suggests that the beloved's beauty carries civic grandeur and transcendent significance. Literarily, the shorter chapter functions as a interlude, affirming the relationship's resilience and the complementarity of presence and absence. Theologically, the chapter suggests that in covenant love—whether between human lovers or between God and the people—seasons of separation and reunion strengthen rather than diminish the bond. The beloved's feeding in his garden need not threaten their union; both can pursue independent vocations while remaining mutually committed.

Song of Solomon 6:13

The verse concludes with a call to the Shulammite woman to return, that others may see her, establishing that the beloved is called to visible presence before the community and that her appearance is worthy of public gaze. The designation 'Shulammite' identifies the beloved by a place name or epithet, establishing her as rooted in a specific location or identity. The call to return suggests that the beloved may have withdrawn or become absent, yet she is invited back to public view and community recognition. This verse theologically suggests that the beloved's beauty is not to be hidden away but is worthy of public recognition, and that her presence enriches community.

Song of Solomon 6:2

The beloved responds that her beloved has gone down into his garden to the beds of spices to pasture his flock and to gather lilies, establishing the beloved's knowledge of where he is and the garden imagery that has characterized their union throughout. The beloved's confident declaration of where the beloved is suggests that despite separation and pain, she maintains intimate knowledge of his whereabouts and his habitual movements. The reference to the beloved's pastoral activities—pasturing, gathering—establishes that his engagement with the beloved's garden is itself a kind of peaceful, generative work. This verse theologically suggests that the beloved maintains intimate knowledge of her lover even during separation, and that his engagement with her garden-self is understood as productive and life-giving work.

Song of Solomon 6:3

The beloved declares that she is her beloved's and her beloved is hers, and that he feeds his flock among the lilies, reiterating the refrain of mutual possession and establishing that their separation is temporary and that their fundamental unity persists. The repetition of mutual belonging—'I am my beloved's and my beloved is mine'—establishes covenantal commitment that transcends temporary separation. The beloved's assertion of her lover's activity ('feeds his flock among the lilies') suggests that she understands his actions as being integrated with her own space and suggests their continued intimacy despite physical separation. This verse theologically suggests that authentic love persists through separation and that mutual covenantal commitment provides the framework within which temporary absence can be understood and endured.

Song of Solomon 6:4

The lover reappears, declaring that the beloved is beautiful as Tirzah, lovely as Jerusalem, terrible as an army with banners, establishing her as beautiful as the most beautiful human cities and as awesome as martial might. The comparison of the beloved to cities—places of civilization, governance, and community—establishes that her beauty is not merely personal but participates in the beauty and order of human civilization. The assertion that she is 'terrible as an army with banners' suggests that her beauty is not merely gentle but overwhelming and formidable, capable of conquering the lover completely. This verse theologically suggests that the beloved's beauty encompasses both the refined beauty of civilization and the awesome power of martial strength, establishing her as incomparably magnificent.

Song of Solomon 6:5

The lover continues that the beloved should turn her eyes from him because they overwhelm him, and her hair is like a flock of goats descending from Gilead, establishing that her gaze is so powerful that it overcomes the lover and that her hair is luxurious and abundant. The request for her to turn her eyes away paradoxically establishes the power of her gaze and the overwhelming effect of her beauty, suggesting that her eyes exercise a kind of erotic dominance over the lover. The description of her hair as a flock of goats descending Gilead suggests movement, abundance, and the beauty of flowing form. This verse theologically suggests that the beloved's gaze itself is a source of erotic power and that her beauty can overwhelm and conquer the lover completely.

Song of Solomon 6:6

The lover describes her teeth as a flock of sheep coming up from washing, all of which bear twins and none bereaved, reiterating the image from his earlier praise and establishing this as a sustained motif of the beloved's perfect dental beauty and wholeness. The repetition of this image establishes that the lover's appreciation of the beloved's teeth is consistent and that this particular feature merits reiteration. The assertion of their wholeness and fertility—'all bearing twins, none bereaved'—maintains the emphasis on the beloved's completeness and the absence of deficiency in her physical form. This verse theologically suggests that authentic love involves sustained and repeated appreciation of the beloved's beauty, and that certain features merit reiteration because of their particular significance.

Song of Solomon 6:7

The lover declares that the beloved's temples are like halves of a pomegranate behind her veil, establishing her temples as perfectly symmetrical and beautiful even when partially concealed. The reference to pomegranate halves suggests the beloved's temples as containing the seeds and abundance associated with pomegranates elsewhere in the poem, establishing that even the smallest visible parts of her body participate in the fertility and abundance of the whole. The mention of the veil suggests that the beloved maintains some covering, establishing that her beauty encompasses both revelation and hiddenness. This verse theologically suggests that beauty exists at the intersection of concealment and revelation, and that the beloved's veiling is an aesthetic choice rather than a denial of her beauty.

Song of Solomon 6:8

The lover declares that there are sixty queens and eighty concubines and maidens without number, but his dove, his perfect one, is unique—she is the only one to her mother, the favorite of the one who bore her, establishing the beloved's absolute singularity and uniqueness among all women. The enumeration of other women establishes that the beloved exists in a context of many other women, yet she is incomparably superior and unique. The designation of her as 'the only one to her mother' suggests not merely that she is the lover's favorite but that she is uniquely precious to her mother and to those who know her, suggesting that her singularity is recognized by those closest to her. This verse theologically suggests that authentic love involves the recognition of the beloved's absolute and irreplaceable singularity, and that this singularity is not merely a matter of the lover's subjective preference but is recognized by the broader community.

Song of Solomon 6:9

The lover continues, declaring that the maidens saw her and called her blessed and the queens and concubines praised her, establishing that the beloved's excellence is recognized and celebrated even by those who might be her rivals. The community's recognition of the beloved's superiority and their blessing of her establishes that authentic beauty and worth are apparent to all observers, not merely to the lover. The beloved's status as the object of praise from all women—including those with every reason to be jealous—establishes her incomparable worth and the power of her beauty to overcome competitive feeling. This verse theologically suggests that authentic beauty and excellence invite universal recognition and celebration, and that the beloved's worth is affirmed even by those who might otherwise be rivals.

Song of Solomon 6:10

The verse continues with the community's declaration: 'Who is this that looks forth like the dawn, fair as the moon, bright as the sun, terrible as an army with banners?' establishing the beloved's appearance through celestial imagery and martial awesomeness. The beloved's emergence as dawn, appearance as moon, and brightness as sun establish her as participating in the fundamental light sources of creation, suggesting that her beauty is cosmic in scope. The return to the 'terrible as an army with banners' imagery from earlier verses reiterates her formidable beauty and suggests that her appearance has cosmic and military significance. This verse theologically suggests that the beloved's beauty participates in the order of creation itself and that she is marked by a kind of awesome, overwhelming magnificence.

Song of Solomon 6:11

The lover declares that he went down into the garden of nuts to see the fruits of the valley and to see if the vine had budded and if the pomegranates had bloomed, establishing the lover's engagement with the natural world and his attention to the progress of fertility and growth. The garden imagery recurs and now includes nuts, vine, and pomegranates—multiple sources of nourishment and fertility. The lover's action of going down to observe the progress of growth suggests that he maintains attention to natural cycles and the development of abundance. This verse theologically suggests that authentic love is integrated with attention to natural cycles and the progress of creation's fertility, and that the lover's engagement with gardens and growth is a form of devotion.

Song of Solomon 6:12

The verse continues ambiguously: 'I did not know my own soul set me among the chariots of my people,' establishing a moment of confusion or transition wherein the speaker (presumably the beloved) finds herself transported or elevated without fully understanding how. The reference to chariots and people suggests public elevation and the beloved's sudden presence before community, hinting that her beauty and worth have earned her a kind of public prominence. The statement that she did not know her own soul had done this suggests surprise at her own elevation and the seemingly automatic response of her being to the lover's gaze. This verse theologically suggests that love can elevate the beloved unexpectedly and that her own soul may participate in her elevation without conscious intention.

Song of Solomon 6:1

The daughters of Jerusalem respond to the beloved's description by declaring that they will seek the beloved's lover with her, asking where he has gone that they might seek him with her, establishing the community as moved by her description to participate in her search. The community's offer to help is a response to the beloved's articulation of her lover's worth, suggesting that clear communication of love's object can move others to participate in the beloved's pursuit. The rhetorical question about where the beloved's lover has gone suggests that the daughters of Jerusalem implicitly accept that he is worthy of being sought and that they are now motivated to help. This verse theologically suggests that authentic love's articulation can move community to participate in erotic pursuit, and that the beloved's passionate self-expression has persuasive power.