The Culmination of the “Royal Travesty” in the Poetic Imagery of Solomon’s Wedding Procession (Song 3:6–11)

Abstract

The description of the wedding procession in Song 3:6–11 is distinguished by the culmination of royal features and its climax in the cyclical poetic development of the theme of the king. It is also the only direct reference to weddings in the Song of Songs. Therefore, the following question has been asked about the content of the culmination of royal metaphors in 3:6–11: What is the relationship between the meaning of the pericope and the wisdom conclusion of the entire Canticle (8:5–7)? The article begins with the cultural context (Sitz im Leben) of weddings, and then arguments are presented in favour of the interpretation of pericope 3:6–11 as a poetic vision of a wedding procession. The literary device of the royal travesty and its use in the Song of Songs (form criticism) are explained. The basic exegetical analysis is preceded by an analysis of the composition of the pericope. It leads to the conclusion that there is a compositional relationship between the pericope under study 3:6–11 and the punch line of Canticle 8:5–7. They reflect the steps in the progression of the message within the cyclical development of its content, so characteristic for the Song of Songs. The study ends with an intertextual analysis of the studied pericope 3:6–11 and the wisdom conclusion of Canticle 8:5–7. A deeper analysis results in the conclusion that the royal travesty of the wedding procession serves as something more than the praise of the nuptials themselves. The bridegroom’s royal travesty is an attempt at a human response to the experienced mystery of the power and splendour of love (mysterium fascinosum) between the bride and bridegroom. The compositional relationship between the pericopes makes it possible to interpret and justify the words of the punch line of Canticle 8:6 as a call to a commitment and oath of nuptial love.