Song of Songs 7

Hide Headers (H)

Hide Images (I)

Hide Literal (L)

Show Verse References (V)

Show AI Commentary (S)

RBT Paraphrase

1 Turn back, turn back, the Complete One ("Solomonith")! Turn back, turn back, and we are beheld within yourself!¹ How you are beheld within the Complete One ("Solomonith"), as the whirling dance of the Dual Camps/Companies!2 How they are beautiful, the beats/strokes of yourself within the Sandals, daughter of nobility! The curves of the thighs of yourself are just like the Polished Ones, a work of the dual hands of a craftsman!3 The umbilical cord of yourself,the basin of the Crescent Dungeon² not lacking the Mixture, The belly of yourself a heap of wheats, she who is caged/fenced in within the Lilies.
4 Twofold are your dual breasts, like two dust/stags, twins of a roe/beauty.5 The neck of yourself like the Tower of the Tooth, the dual eyes of yourself are pools within Reckoning ("Heshbon") against the gate of Daughter of Multitudes ("Bath-Rabbim") The nostril of yourself like the Tower of the White Mountain, he who spies out out the faces of Dumb Leg ("Damaseq").³
6 The head of yourself against yourself like the Fertile Land ("Carmel"), but the impoverished one of the head of yourself like the Purple One of a king, he who is imprisoned within the Gutters.

Agape Love

7 How you have become beautiful and how you have become agreeable! Love within delights!
8 This one, the height of yourself, she has been compared to the Palm Tree ("Tamar") and the dual breasts of yourself to clusters!

I Spoke

9 I have spoken, "I am climbing up within the palm tree ("Tamar"), I am taking hold within the palm branches of himself and they are becoming, pray, the dual breasts of yourself like the clusters of the Vine, and an aroma of the nostril of yourself like the apple trees.

לדודי - To the Beloved of Myself

10 And the roof of your mouth as the Good Wine, He who walks to the beloved one of myself, to the Straight Ones He who flows gently over the dual lips of dead-sleepers.
11 I to the beloved one of myself, and upon myself the longing desire of himself!12 Walk beloved one of myself, we are going out to the Field, we are spending the night within the covered villages!13 We are shouldering up early to the Vineyards, We are seeing if she has sprouted, the Vine, has the Blossom opened, if the Pomegranates have flashed forth, There I am giving the self eternal beloved ones to yourself!

14 The Mandrakes have given off a fragrance, and upon the openings of ourselves Every excellent thing, new also old, beloved of myself I have treasured up for yourself!

RBT Hebrew Literal

1 turn back turn back the Complete One turn back turn back and we are being beheld within yourself what/why she is beheld within the Complete One like the whirling dance the Dual Camps/Companies
2 what/why They Are Beautiful ("Yaph-o") time strokes of yourself sandal straps a built one/daughter noble/generous curves thighs of yourself just like the Ornaments a work the dual hands craftsman
3 your umbilical cord a basin/bowl the Crescent Dungeon a god/dont/toward he is lacking the Mixture your belly heap wheats she who is fenced in within the lilies
4 twofold your dual breasts as twofold dust/stags twins of a roe/beauty
5 your neck like a tower the Tooth the dual eyes of yourself pools within Reckoning (Heshbon) upon/against/yoke gate a built one/daughter multitudes nostril of yourself like a tower the White Mountain he who looks/watches out faces Dumb Leg (Damaseq)
6 the head of yourself upon yourself like the Fertile Land (Carmel) and the impoverished one the head of yourself as the Purple One a king he who is imprisoned within the Gutters
7 what/why you have become beautiful and what/how you have become agreeable love within delights
8 this one the height of yourself she has been compared with the Palm Tree (Tamar) and the dual breasts of yourself to grape-clusters
9 I have spoken/my discourses I am climbing up within Tamar to take possession within the palm branches of himself and they are becoming pray your dual breasts like the clusters the Vine and an aroma nostril of yourself like the apple trees
10 And the roof of your mouth as the wine the Good One he who walks to the beloved of myself to the Straight Ones he who flows gently the dual lips dead-sleepers/old
11 myself to the beloved of myself and upon myself the longing desire of himself
12 walk beloved of myself we are going out the Field to lodge the night within the covered villages
13 we are shouldering up early to the Vineyards he has appeared/we are seeing if she has sprouted the Vine he has opened the Blossom if they have flashed the Pomegranates there I am giving את-self eternal beloved ones to yourself/walk
14 the Mandrakes they have given a fragrance and upon the opening of ourselves all excellent ones new ones also dead-sleepers/old beloved of myself I have hidden away to yourself/walk

AI Commentary

The mysticism and intricate symbolism of the text is deepened, presenting an exuberant celebration of the self as both subject and object of divine love. The language here is luxuriant and sensual, imbued with allegory, and invites us to contemplate the unity and duality inherent in the self.

The Call for Return and Reflection

The repeated imperative, “Turn back, turn back,” suggests an urgent summons to reengage with the Complete One, here named “Solomonith.” This call is not merely directional but an invitation to reexamine oneself. The Complete One, as an archetypal symbol of perfection and unity, reflects an ideal state wherein the self is recognized in its fullness, much like a whirling dance that embodies both multiplicity and cohesion.

Embodiment of Beauty and Craftsmanship

The passage employs a wealth of bodily imagery to express the sublime form of the self. Phrases such as “the curves of the thighs of yourself are just like the Polished Ones” and “the umbilical cord of yourself, the basin of the Crescent Dungeon” evoke not only physical beauty but also the notion that the self is crafted with intention and artistry. These metaphors liken the body to a well-crafted artifact—a work of art fashioned by dual hands, symbolizing a harmonious interplay between the creative forces within and the divine craftsmanship at work.

Duality and Symbolic Anatomy

A striking feature is the emphasis on duality: “Twofold are your dual breasts” and the description of “dual eyes” and “dual lips” create a recurring motif of mirrored halves that together form a complete whole. This duality can be interpreted as a reflection of the inner balance between opposites—the spiritual and the corporeal, the masculine and the feminine, the external and internal. Such imagery underscores the mystical principle that the true essence of the self emerges only when these dual aspects are integrated.

Imagery of Fertility and Abundance

The text is replete with agricultural metaphors that speak to the themes of fertility and growth. References to “a heap of wheats” and the comparison of body parts to clusters and palm branches suggest that the self is as fertile and dynamic as the natural world. The imagery of the mandrakes, whose fragrance permeates “the openings of ourselves,” further reinforces the idea of a regenerative, life-affirming force at work—a subtle alchemy where both the new and the ancient are treasured.

The text’s luxuriant symbolism reaches a heightened expression with the invocation of mandrakes (הדודאים), which have long been associated with sexual desire and fertility. In ancient Near Eastern lore—as vividly exemplified in Genesis 30:14–16, where Rachel seeks mandrakes for their reputed aphrodisiacal properties—the plant embodies an archetype of regenerative power. Here, the mandrakes’ aroma or fragrance becomes a subtle yet potent emblem of attraction and fecundity, echoing the natural allure and vitality celebrated throughout the passage.

Mandrakes and Their Symbolic Resonance

In this context, the mandrakes are not merely botanical details; they serve as a bridge between the physical and the mystical. Their fragrant presence is intertwined with the text’s overarching themes of sensuality and divine union. As in the Genesis narrative, where mandrakes symbolize an essential, albeit enigmatic, fertility charm, here they contribute to the tapestry of imagery that celebrates the self as both a nurturer and a vessel of latent, life-affirming power.

Integration within the Mystical Landscape

The aroma of the mandrakes enhances the chapter’s rich depiction of sensuality and spiritual ecstasy. It reinforces the notion that the journey toward self-realization and union with the divine beloved is intrinsically tied to the forces of nature and the inherent beauty of the physical world. This convergence of sensory pleasure and spiritual awakening—where even the scent of a plant becomes a metaphor for the attraction and beauty of the self—deepens the allegorical quality of the text.

By invoking the mandrakes (הדודאים), the text not only recalls ancient beliefs in their capacity to stimulate desire and promote fertility but also reinterprets these qualities within a mystical framework. The mandrakes’ fragrance is emblematic of the alluring and regenerative force of love, an integral part of the self’s journey toward wholeness and divine union. This symbolic layering enriches the overall narrative, underscoring the interplay between the corporeal and the transcendent in the eternal quest for beauty and unity.

Agape Love and the Celebratory Tone

The act of identifying her as “Love” operates as a profound declaration of identity and union. Here, the beautiful one is not merely an object of desire, but the very embodiment and source of the transformative, divine love that defines the self. This identification carries several layers of meaning:

By naming her “Love,” the text elevates the abstract concept of agape from a mere sentiment to a concrete, personified presence. This personification suggests that love, in its purest form, is not only an emotion or experience but the very essence of being. The beautiful one, then, becomes the living manifestation of this all-encompassing force.

Union of the Self with the Divine

The identification implies an intimate union in which the boundaries between the lover and the beloved dissolve. Here, the act of calling her “Love” signifies that the self, in embracing her, is embracing the totality of divine, transformative power. It is a declaration that the fulfillment of one’s innermost identity lies in the merging of the self with this sacred quality—a merging that transcends the physical and permeates the spiritual.

Symbolic Integration

In the rich tapestry of imagery throughout the text, elements of nature and ritual converge to support this identification. Whether through the evocative presence of the mandrakes, the lush symbolism of the garden, or the metaphorical language of bodily imagery, the text consistently underscores that the path to self-realization is intertwined with the celebration of love. By asserting that she is “Love,” the narrative affirms that every aspect of existence is imbued with the potential for union with the divine.

Thus, identifying her as “Love” is not merely a poetic device but a pivotal assertion of identity. It encapsulates the transformative journey toward self-realization, where the beloved becomes the conduit for the expression of divine agape. In this union, the self is both the seeker and the sought, fully embracing the timeless, unifying power of love.

The Journey Toward Union

The concluding stanzas, with references to walking “to the Field” and spending the night “within the covered villages,” evoke a pilgrimage or journey toward union. The imagery of climbing the palm tree (“Tamar”) and the promise of encountering blossoming vines and flashing pomegranates encapsulate a hopeful vision: the eventual reunion of the self with its eternal beloved. This journey is both individual and communal, suggesting that the fulfillment of divine love is a shared destiny, rich with the promise of renewal and transcendence.