Christians have long read the Song of Songs as music that sings of the one who so loved his bride that not even death could keep him from her. If Hosea could present his relationship with Gomer as a kind of allegory of the covenant between Yahweh and Israel, why couldn’t Solomon have done the same thing in his very positive depiction of the idealized king’s love for his bride in the Song?
Not only am I convinced that Solomon intended an allegorical layer of meaning for his poetry, I’m also convinced that he understood the importance of his role as Israel’s king, as the scion of David, and as one whose life and writings contributed to significant patterns of events. These patterns of events lay the groundwork for the assertion, “One greater than Solomon is here,” and such historical correspondences and escalations in significance are typological.
If Solomon intended the Song to be both allegorical and typological, we can describe it as Christological. My biblical-theological exposition of the Song, which has just appeared from Christian Focus, attempts to be faithful to the text and apply the truth of Scripture to the heart.
I pray the Lord will use this little book to help people feel his love, stronger than death, a flame no waters can quench, and I pray it will heal and strengthen marriages, guide and bless Bible studies, and bring glory to the Bridegroom whose voice made the Baptist rejoice.