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461 / 1113 · Song of Solomon 2 · The United Kingdom · Solomon's reign, c. 970–930 BC, by its heading (final form debated)

The Winter Is Past

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In much of India the first clear morning after the monsoon has a feeling all its own: the rain is over, the fields are green, and everyone seems to step outside at once. Song of Songs 2 is built on that feeling, set in the spring of the land of Israel. The winter rains have ended, flowers are showing, the fig trees are putting out their first fruit, and the beloved comes running across the hills like a young deer to call the woman outside. It is one of the most joyful passages in the Bible, and also one of the most restrained: in the middle of the joy comes a solemn warning to wait.

Where it sits in the story: This is still Act 3, the season of Israel's kingdom, and the Song is still circling back towards Eden. Genesis pictured a garden where man and woman were at home with each other; the prophets would later picture the land blooming again after judgment. Chapter 2 gives that hope an ordinary face — two people, a spring hillside, and love that is eager but not forced.

What this chapter is doing: To celebrate love's gladness in the imagery of spring, while introducing the Song's refrain that love must not be stirred up before its time — joy and restraint held together.

Why it is read here: Proverbs 1–24 and the Song of Songs carry Solomon's name and are read in his reign. Parts were gathered later (Proverbs 25:1 names Hezekiah's scribes), and many scholars date the Song's final form later too.
The walk-through
  • 2:1–3 — She calls herself an ordinary wildflower of the plain of Sharon; he replies that she is a lily among thorns. She answers that among the young men he is like an apple tree in a forest, giving shade and sweet fruit.
  • 2:4–7 — She is brought to his banqueting house, faint with love and held close. Then she turns to the 'daughters of Jerusalem' with a solemn charge: do not stir up or awaken love until it is ready. The line returns twice more in the Song.
  • 2:8–14 — The beloved comes leaping over the hills like a gazelle and calls through the window: get up and come away, for the rains are over and the land is in flower. Like someone calling to a dove hidden in the rocks, he longs to see her face and hear her voice.
  • 2:15–17 — A short verse asks for the little foxes that spoil the blossoming vineyards to be caught — perhaps the small troubles that can ruin young love. She ends with the Song's simplest confession: her beloved belongs to her, and she to him.
What it showsThe poem's plants and creatures — lilies, the budding fig and vine, the turtledove's return, the gazelle — fit springtime in the land of Israel, and the call-and-response form matches love lyrics known from the wider ancient world.
Where the evidence stopsThe text does not label its speakers; Hebrew masculine and feminine forms help, but translations still differ over some lines. What the 'little foxes' stand for is an educated guess.

Key verse: Song of Solomon 2:16  ·  So what: The refrain in this chapter is unusual advice in any age: do not hurry love. The Song is not shy about desire, yet it insists that timing matters, and it asks the wider community — the daughters of Jerusalem — to respect that. Joy and patience are not enemies here; waiting is treated as part of love's dignity, not a denial of it.

← The Best of SongsYou have just read the woman's first longing and the lovers' exchange of praise (Song of Solomon 1); now spring arrives and he calls her out. Next, she searches for him through the city at night, and a royal wedding procession appears (Song of Solomon 3).Searching the City at Night →
Sources & further reading
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