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The
Shulammite woman - singing a new song
Text: Song of Songs 2:1-7, 10-13
(additional text: Genesis 3:16-24)
I have been preaching in the last
few weeks on women in the Bible - women whose lives have been
transformed and women whose stories can transform us today. In this
service with its special gospel music I thought I would turn today the
Song of Solomon. It is a matter for speculation how much the book really
had to do with Solomon, and the Hebrew title for it seems more
appropriate - as in all of the books of the Hebrew bible it takes its
title from the opening words, which are "the Song of Songs".
In Hebrew expression this is another way of saying "the greatest of
songs". We have already heard some great songs today - and will
share in some more before the end of the service: Amazing Grace, How
Great Thou Art - some of the classic gospel songs.
I looked up a definition of Gospel
music and found that it is songs whose lyrics are: "substantially
based upon historically orthodox Christian truth contained in or derived
from the Holy Bible; and/or an expression of worship of God or praise
for His works; and/or testimony of relationship with God through Christ;
and/or obviously prompted and informed by a Christian world view."
So this song that the Bible
preserves as the greatest of songs, the Song of Songs, is an unexpected
choice. For one thing, it is, as my Bible puts it, a rich and sensual
love song. "There is enough sexual punning in it," one author
wrote, "to make Shakespeare blush." Its heroine is
black-skinned and assertive, its hero handsome but more inclined to fall
at her feet than display great acts of daring. There are no typical role
stereotypes here, much less great biblical figures such as priests and
prophets. And last but by no means least, the name of God doesn't even
rate a mention in the song. Many gospel songs are written out of pain
and suffering, with the hope of vindication and a glorious new world at
the end of time being the central theme. This song can't get past the
present moment (there is no thought given to what this rose of Sharon
will look like after she turns 40!)
Yet I think it is a book that
presents a message that fits right in with our gospel theme today -a
message of grace and love and the gifts of God who created us to live in
harmony with each other.
All commentators admit that this
song or poem is difficult to analyse. Despite its ascription to Solomon
it is not clear who wrote it, whom the speakers are meant to represent,
or even what all of the language means. But with its striking imagery
and sensual language it invites imagination; after all it is about love
and love tends to create a world of its own.
It invites us to imagine a joyous
world - a world celebrating the return of spring as the season of
rebirth and fulfilment. Its setting suggests a delightful garden - one
which reminds us of the original Garden of Genesis where male and female
were made in God's image and lived in harmony with each other, with all
nature and with their God. In fact it has been suggested that this song
functions in the Old Testament to overturn the curse of Eden and return
the lovers to the garden that was created for their enjoyment.
In support of this suggestion there
is much imagery that is familiar from the Genesis creation story in the
Song of Songs: in both settings every tree is pleasant to the sight and
good for food; there are fountains and streams of living water; animals
are a metaphor for human love and joy; work and play belong together and
both are part of life in the garden. In the Song of Songs the woman is
not bowed down with the pain and care of childbearing - in fact there
is no suggestion of that role. The man is not weary with the toil of
work - he is free to call his loved one away to a private place of
passion and delight.
As we read this song we perhaps at
times feel a little embarrassed being invited into this private world
but there is an intriguing movement between the private and the public
in the Song of Songs. There are three voices singing this song: a woman,
a man, and the daughters of Jerusalem. The woman is the main figure, she
speaks the most, and she is aware of her attraction. She is called the
Shulammite later in the song - a name not describing her origin but a
word meaning "the perfect one". She is backed up by the women
of Jerusalem - I imagine them as her "soul sisters" in the
nature of Christine Anu and her companions singing "Lady
Marmalade". They listen to her effusive language and even tease her
a little. And in another reversal of Genesis where a man leaves his
mother and father and cleaves to his wife, the Shulammite invites her
lover into the house of her mother.
In fact the book gives us an
impression of a community of women who invite the man in and welcome
him. This a turnaround from the Jewish worshipping community where men
participate enthusiastically but women are separated off and have to
watch from a balcony. In the Song of Songs love is inclusive - it
welcomes companions and is pleased when others celebrate the happiness
of the lovers.
In the Song of Songs relationships
are marked by mutuality and not power. In the Fall story of Genesis the
woman is told "your desire shall be for your husband and he shall
rule over you" (3:16). In Song of Songs the Shulammite sings
"I am my beloved and his desire is for me" (7:10). The woman
is neither subordinate nor stereotyped. She works, she is independent,
she initiates the contact with her lover, her movements are bold and
open, she is not defined by her role in procreation. In this joyous,
mutual, delightful song the human creation - the image of God male and
female - is indeed very good.
So what makes this a gospel song and
not just another popular love song? I think although it does not mention
God, God is implicit in the relationships. After all, human love is not
separate from divine love, but is an echo of it. God was the creator of
human love, and God is interested in all aspects of life - love as
well as laws, beauty as well as battles, passion as well as piety, joy
as well as justice. Through the other we experience God - through our
relationships of love and justice and peace we offer the love and
justice and peace of God to each other. Our appreciation of the good
gifts of creation can become worship by God's grace, and can inspire us
to thanksgiving.
I deliberately set the reading from
Genesis and the reading from Song of Songs together, because in the
Shulammite and her lover a new version of creation's song is sung. A
song that celebrates a world where love rules, not pride or greed or
selfishness.
Perhaps a cherubim and flaming sword
should be placed to guard the gates to the garden of delight described
to us in the Song of Songs also. The ones who would be kept out would be
those who want to exploit, pervert or dominate in their relationships
with others. Inside would be those who take joy in mutuality, who
delight in differentiation, who celebrate and share the good gifts of
creation. Inside would be those who see the face of God in those whom
God loves and cherishes. Inside would be the ones committed to a world
ruled by a song of love.
Rev. Jeanette Mathews
20/10/2002
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