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Song of Songs — Capítulo 6

The Song of Songs is romantic poetry at its best. It portrays two passionate lovers who revel in the emotional and physical pleasures of human intimacy. The book was misunderstood in the past as being only an allegory of the relationship between God and the church, but is now accepted as celebrating the profound love between a man and a woman, providing a refreshingly realistic and wholesome tr…

Versión

Texto — Reina-Valera 1960

1¿A dónde se ha ido tu amado, oh la más hermosa de todas las mujeres? ¿A dónde se apartó tu amado, Y lo buscaremos contigo?

2Mi amado descendió a su huerto, a las eras de las especias, Para apacentar en los huertos, y para recoger los lirios.

3Yo soy de mi amado, y mi amado es mío; Él apacienta entre los lirios.

4Hermosa eres tú, oh amiga mía, como Tirsa; De desear, como Jerusalén; Imponente como ejércitos en orden.

5Aparta tus ojos de delante de mí, Porque ellos me vencieron. Tu cabello es como manada de cabras Que se recuestan en las laderas de Galaad.

6Tus dientes, como manadas de ovejas que suben del lavadero, Todas con crías gemelas, Y estéril no hay entre ellas.

7Como cachos de granada son tus mejillas Detrás de tu velo.

8Sesenta son las reinas, y ochenta las concubinas, Y las doncellas sin número;

9Mas una es la paloma mía, la perfecta mía; Es la única de su madre, La escogida de la que la dio a luz. La vieron las doncellas, y la llamaron bienaventurada; Las reinas y las concubinas, y la alabaron.

10¿Quién es esta que se muestra como el alba, Hermosa como la luna, Esclarecida como el sol, Imponente como ejércitos en orden?

11Al huerto de los nogales descendí A ver los frutos del valle, Y para ver si brotaban las vides, Si florecían los granados.

12Antes que lo supiera, mi alma me puso Entre los carros de Aminadab.

13Vuélvete, vuélvete, oh sulamita; Vuélvete, vuélvete, y te miraremos. ¿Qué veréis en la sulamita? Algo como la reunión de dos campamentos.

TYNDALE OPEN STUDY NOTES

Versículo 1

I. 6:1-3 The conversation that ends this poem indicates that it is not an actual event. The dream en…

6:1-3 The conversation that ends this poem indicates that it is not an actual event. The dream ends as the young women of Jerusalem ask the woman where her man has gone. The woman tells them not to concern themselves with finding him—he is back in bed with her, enjoying his garden with its spice beds and lilies, a description of sexual intimacy.

Versículo 4

II. 6:4-10 The man again describes the physical beauty of the woman. He repeats parts of the descript…

6:4-10 The man again describes the physical beauty of the woman. He repeats parts of the description from ch 4 almost verbatim, showing the same high regard for his wife. 6:4 Tirzah was a city-state as early as Joshua’s time; it eventually became great enough to be the capital of the northern kingdom (Josh 12:24; 1 Kgs 15:33). The town’s name means “pleasant.” • Jerusalem was the capital of David’s and Solomon’s united kingdom and after that, the most important city of Judah.

Versículo 8

III. 6:8-9 If the Song were an allegory of the Lord’s love for his people, it would provide a very wea…

6:8-9 If the Song were an allegory of the Lord’s love for his people, it would provide a very weak parallel, since Solomon’s excesses in marrying do a poor job of picturing God’s love and faithfulness (see 1 Kgs 11:1-13). • sixty queens: Many of Solomon’s wives were obtained by marrying into international treaties (see 1 Kgs 11:1-3, 8). • Concubines were wives who had secondary status, lower than a wife but higher than a slave. Concubines were acquired by war, debt repayment, or purchase. • In the anthology view, the reference to queens and concubines simply means that the woman herself is more desirable than all other women.

Versículo 9

IV. 6:9 sing her praises: Literally called her blessed. If the Song is a drama, the woman has left So…

6:9 sing her praises: Literally called her blessed. If the Song is a drama, the woman has left Solomon’s harem, and the singing took place in the past, when the woman was still there.

Versículo 10

V. 6:10 The poem ends as it began in 6:4: The woman’s majesty, like an army with billowing banners i…

6:10 The poem ends as it began in 6:4: The woman’s majesty, like an army with billowing banners in full display, makes the knees knock and the heart flutter.

Versículo 11

VI. 6:11 I went down: There is ambiguity over who is speaking here. The NLT presents it as the beginn…

6:11 I went down: There is ambiguity over who is speaking here. The NLT presents it as the beginning of the young woman’s speech, though it could just as plausibly be a continuation of the young man’s. The trip to the walnut grove is a poetic way of expressing desire for a romantic meeting.

Versículo 12

VII. 6:12 to the chariot of a noble man: Desire leads to the union of the man and the woman. There may…

6:12 to the chariot of a noble man: Desire leads to the union of the man and the woman. There may be support here for Solomon being the husband, though this description could be a metaphor for the joys of romance (cp. 1:16-17).

Versículo 13

VIII. 6:13–7:9 An interaction between the young women of Jerusalem and the man introduces his last majo…

6:13–7:9 An interaction between the young women of Jerusalem and the man introduces his last major description of the woman’s beauty and his desire to hold her (see study note on 4:1–5:1). 6:13 Return: Or turn around. • Shulam: The place is not known, though some have identified it with Shunem (1 Kgs 1:3; 2 Kgs 4:11-12). Maid of Shulam (Hebrew shulammith) might be a wordplay on the name Solomon (Hebrew shelomoh). It would then be equivalent to saying “Solomon’s maiden.” • as she moves so gracefully between two lines of dancers? The man praises the woman’s grace and beauty to everyone.

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Song of Songs — Capítulo 6