The Canonical Column, Book 22: Song of Solomon

We continue our journey through the Canonical Column with the twenty-second book of the biblical canon—Song of Solomon. For those of you who are unfamiliar with the mystery, the Canonical Column is the name I have given to a framework embedded within the Bible that bears dual-witness to the divinely sanctioned biblical canon through an organized network of witnessing chapters in three key books of the Old Testament: Genesis, Leviticus, and Isaiah.¹ For a deeper understanding of this framework, I highly recommend reading the introductory article linked above, which provides the foundational context for the insights explored in this post.²

Suffice it to say that the Canonical Column refers to a divinely designed structural framework and prophetic network embedded within the Bible which bears witness to the final form of the biblical canon—testifying to its 39–27 book division, identifying all 66 books within it, and even delineating the exact order in which they would appear. In this sense, it may be likened to an internal measuring line that God deliberately placed within his Word, allowing us to determine objectively which canon of Scripture is the correct one.

As established in previous installments, every book of the Bible is confirmed by two witnessing chapters within the Canonical Column—one drawn from the Law (Genesis 12–50 or Leviticus) and the other from the Prophets (Isaiah).³ In the case of Song of Solomon, its two witnesses are Genesis 33 and Isaiah 22. Both of these chapters function within their respective branches of the Canonical Column as figurative types of the book of Song of Solomon. To this end, each has been divinely embedded with textual allusions to specific passages within Song of Solomon and intentionally sequenced as the twenty-second chapter in its branch of the framework, reflecting Song of Solomon’s ordinal position as the twenty-second book of the Old Testament and of the Bible at large. As we will see, it is by the mouth of these two witnesses that the divine inspiration, canonicity, and ordained placement of the book of Song of Solomon are firmly established.

Table of Contents anchor

Song of Solomon

The Song of Solomon—also called the Song of Songs—is one of the most striking and enigmatic books of the Bible. Composed entirely in poetic form, it presents an extended dialogue between a bridegroom and his beloved bride, weaving together vivid imagery from nature, intimate expressions of longing, and celebrations of beauty and desire.

Unlike the historical narratives or prophetic discourses found elsewhere in Scripture, the Song of Solomon does not directly recount Israel’s history or deliver moral commandments. Instead, it unfolds as a series of lyrical poems that portray the joy, tension, and fulfillment of love within the covenant of marriage. Its language is rich with metaphor: gardens in bloom, vineyards in blossom, gazelles and lilies, perfumes and spices—each image contributing to a tapestry of deep affection and mutual delight.

Throughout history, the book has been interpreted on multiple levels. Many have cherished it as a divine affirmation of marital love and the purity of physical intimacy within the bounds of covenant faithfulness. Others, especially within Jewish and Christian traditions, have understood its poetic exchanges as an allegory for the relationship between God and his people—the covenant bond between God and Israel, or Christ and his Church. Its inclusion in the canon stands as a reminder that human love, when rightly ordered, reflects the mystery of divine love and the covenant faithfulness that binds the Lord to his people.

Far more than a collection of romantic verses, the Song of Solomon invites its readers to contemplate the beauty of love that is strong as death, the flame of devotion that many waters cannot quench, and the tender longing for union that lies at the heart of the covenant story of redemption. Its timeless poetry continues to stir the hearts of believers, drawing them to ponder the wonder of love in all its pure and sacred dimensions.

Authorship & Dating

Traditionally, the Song of Solomon has been attributed to King Solomon, the son of David, who reigned over Israel during its united monarchy in the 10th century BC. This attribution is based in part on the opening verse: “The Song of Songs, which is Solomon’s” (Song 1:1). Solomon’s reputation as a prolific writer of proverbs and songs — “He spoke three thousand proverbs, and his songs were a thousand and five” (1 Kings 4:32) — has reinforced this view for centuries. His reign was marked by peace, prosperity, and expansive building projects, circumstances which may have inspired the vivid imagery of gardens, vineyards, flocks, and royal processions woven throughout the book.

However, modern-critical scholarship has long debated the Solomonic authorship. Some argue that the language and poetic style of the book reflect a later period of Hebrew, suggesting that the work may have been composed or compiled by an anonymous poet writing in Solomon’s honor or under his name as a symbol of wisdom and royal love. Linguistic features, such as vocabulary and grammatical forms, have led some to date the final composition anywhere from the 10th to the 3rd century BC.

Despite these debates, the Song of Solomon has been accepted within the Hebrew Bible and the Christian Old Testament for millennia. Its deeply evocative imagery and its portrayal of covenant love have made it one of the most cherished and frequently interpreted books in the biblical canon. Whether understood as Solomon’s literal song or as a divinely inspired tribute to love framed in his royal persona, the book endures as a poetic testament to the beauty and sanctity of intimate devotion.

Song of Solomon’s Witnessing Chapters in the Canonical Column

The two witnessing chapters of Song of Solomon within the Canonical Column are Genesis 33 and Isaiah 22. These chapters have been divinely embedded with various allusions to scenes, imagery, and language from the book of Song of Solomon. As with every book attested by the Canonical Column, these chapters have been intentionally designed and meticulously placed within their respective branches of the Canonical Column to bear witness to the canonicity of the book of Song of Solomon–establishing it as the twenty-second book of the divinely sanctioned biblical canon.⁴

Context of Genesis 33

Genesis 33 recounts the long-awaited reunion between Jacob and his brother Esau after years of separation and unresolved tension. Years earlier, Jacob had fled from Esau’s anger after deceitfully obtaining the blessing meant for his older brother. In this chapter, Jacob returns from Padan-aram with his wives, children, and flocks, burdened by the fear that Esau might still seek revenge.

As the narrative unfolds, Jacob carefully arranges his family, sends generous gifts ahead, and approaches Esau with humility and trepidation. To his surprise and relief, Esau runs to meet him, embraces him, and weeps upon his neck. Their reconciliation is marked by gestures of affection, forgiveness, and restored fellowship. The chapter closes with Jacob settling safely in the land, having seen his brother’s face “as though [he] had seen the face of God” (Genesis 33:10).

While brief in length, Genesis 33 highlights themes of estrangement overcome by love, fear dispelled by grace, and divided relationships restored through humble pursuit of peace. The imagery of brothers meeting face to face — with embraces, tears, and expressions of goodwill — stands as a powerful testament to the possibility of reconciliation where once there was betrayal and alienation.

Genesis 33 -> Song of Solomon

As the twenty-second chapter of The Circumcision (which functions within the Canonical Column as a figurative type of the Old Testament canon), Genesis 33 has been deliberately designed by God to function as a figurative type of the Song of Solomon–ordained before the foundation of the world to become the twenty-second book of the Old Testament (and the Bible). Accordingly, this chapter has been divinely embedded with allusions and echoes of various kinds to specific scenes and passages that God in his perfect foreknowledge knew would be found in the Song of Solomon. The comparative table below documents just a few of what I deem to be the most notable of these allusions (explanations provided in the footnotes).

Genesis 33	Song of Solomon
And he passed over before them, and bowed himself to the ground seven times, until he came near to his brother. And Esau ran to meet him, and embraced him, and fell on his neck, and kissed him: and they wept.5 (Genesis 33:3-4)	O that thou wert as my brother, that sucked the breasts of my mother! when I should find thee without, I would kiss thee; yea, I should find thee without, I would kiss thee; yea, I should not be despised. . . . His left hand should be under my head, and his right hand should embrace me. (Song of Solomon 8:1-3).
And he said, What meanest thou by all this drove which I met? And he said, These are to find grace in the sight of my lord.6 (Genesis 33:8; cf. 33:10; 33:15)	I am a wall, and my breasts like towers: then was I in his eyes as one that found favour. (Song of Solomon 8:10)
And he said, Let us take out journey, and let us go, and I will go before thee.7 (Genesis 33:12)	Come, my beloved, let us go forth into the field; let us lodge in the villages. Let us get up early to the vineyards; let us see if the vine flourish, whether the tender grape appear, and the pomegranates bud forth: there will I give thee my loves. (Song of Solomon 7:11-12)
So Esau returned that day on his way unto Seir.8 (Genesis 33:16)	Return, return, O Shulamite; return, return, that we may look upon thee. What will ye see in the Shulamite? As it were the company of two armies. (Song of Solomon 6:13)
And Jacob journeyed to Succoth, and built him an house, and made booths for his cattle: therefore the name of the place is called Succoth.9 (Genesis 33:17)	Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions? (Song of Solomon 1:7)
And Jacob came to Shalem, a city of Shechem, which is in the land of Canaan, when he came from Padanaram; and pitched his tent before the city. And he bought a parcel of a field, where he had spread his tent, at the hand of the children of Hamor, Shechem’s father, for an hundred pieces of money.10 (Genesis 33:18-19)	If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherd’s tents. (Song of Solomon 1:8)

Context of Isaiah 22

Isaiah 22 is one of the prophet Isaiah’s oracles concerning Judah and Jerusalem. Often called the “Burden of the Valley of Vision,” the chapter is a somber and vivid prophecy addressing the spiritual blindness and misplaced confidence of Jerusalem’s inhabitants during a time of impending siege.

The chapter opens with Isaiah’s lament over the people’s reckless celebrations and lack of repentance in the face of looming judgment. Instead of humbling themselves before the Lord, the people of Jerusalem throw parties and declare, “Let us eat and drink; for tomorrow we shall die” (Isaiah 22:13). Their disregard for God’s warnings reveals a deep spiritual complacency and pride.

One of the chapter’s central episodes is the judgment pronounced on Shebna, the royal steward, who misused his position for self-glorification. God declares that Shebna will be removed from office and replaced by Eliakim son of Hilkiah — a faithful servant who will “be a father to the inhabitants of Jerusalem, and to the house of Judah” (Isaiah 22:21). Eliakim’s elevation points to God’s intention to establish trustworthy leadership and restore order in the midst of chaos and decline.

Isaiah 22 is therefore a chapter of stark contrasts: mourning and revelry, corruption and faithfulness, judgment and restoration. It underscores the consequences of misplaced trust and the need for humility and faith in times of crisis. Its rich prophetic imagery — keys, doors, burdens, and the “nail in a sure place” — has inspired centuries of interpretation, with many seeing in Eliakim a foreshadowing of Christ’s faithful rule and the opening of the way for covenant blessing.

Isaiah 22 -> Song of Solomon

As the twenty-second chapter of Second Isaiah (which functions within the Canonical Column as a figurative type of the Old Testament canon), Isaiah 22 has been deliberately designed by God to function as a figurative type of the Song of Solomon–which was ordained before the foundation of the world to become the twenty-second book of the Old Testament (and the Bible). Accordingly, this chapter has been divinely embedded with allusions and echoes of various kinds to specific scenes and passages that God in his perfect foreknowledge knew would be found in the Song of Solomon. The comparative table below documents just a few of what I deem to be the most notable of these (explanations provided in the footnotes).

Isaiah 22	Song of Solomon
Thou that art full of stirs, a tumultuous city, a joyous city: thy slain men are not slain with the sword, nor dead in battle.11 (Isaiah 22:2)	I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please. (Song of Solomon 2:7; 3:5; cf. 8:4)
And it shall come to pass, that thy choicest valleys shall be full of chariots, and the horsemen shall set themselves in array at the gate. And he discovered the covering of Judah, and thou didst look in that day to the armour of the house of the forest.12 (Isaiah 22:7-8)	The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me. (Song of Solomon 5:7)
And behold joy and gladness, slaying oxen, and killing sheep, eating flesh, and drinking wine: let us eat and drink; for to morrow we shall die.13 (Isaiah 22:13)	I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, O friends; drink, yea, drink abundantly, O beloved. (Song of Solomon 5:1)
What hast thou here? and whom hast thou here, that thou hast hewed thee out a sepulchre here, as he that heweth him out a sepulchre on high, and that graveth an habitation for himself in a rock?14 (Isaiah 22:16)	O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely. (Song of Solomon 2:14)
And I will clothe him with thy robe, and strengthen him with thy girdle, and I will commit thy government into his hand: and he shall be father to the inhabitants of Jerusalem, and to the house of Judah.15 (Isaiah 22:21)	Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart. (Song of Solomon 3:11)
And the key of the house of David will I lay upon his shoulder, so shall he open, and none shall shut; and he shall shut, and none shall open.16 (Isaiah 22:22)	I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dover, my undefiled: for my head is filled with dew, and my locks with the drops of the night. I have put off my coat; how shall I put it on? I have washed my feet; how shall I defile them? My beloved put in his hand by the hole of the door, and my bowels were moved for him. I rose up to open to my beloved; and my hands dropped with myrrh, and my fingers with sweet smelling myrrh, upon the handles of the lock. I opened to my beloved; but my beloved had withdrawn himself, and was gone: my soul failed when he spake: I sought him, but I could not find him; I called him, but he gave me no answer. (Song of Solomon 5:2-6)
And they shall hang upon him all the glory of his father’s house, the offspring and the issue, . . . .17 (Isaiah 22:24)	Thy neck is like the tower of David builded for an armoury, whereon there hang a thousand bucklers, all shields of mighty men. (Song of Solomon 4:4)
, . . . all vessels of small quantity, from the vessels of cups, even to all the vessels of flagons.18 (Isaiah 22:24)	Stay me with flagons, comfort me with apples: for I am sick of love. (Song of Solomon 2:5)

Conclusion: The Canonical Column affirms the canonicity and ordinal position of Song of Solomon in the biblical canon.

The canonicity of the Song of Solomon is affirmed by its two witnessing chapters within the Canonical Column: Genesis 33 and Isaiah 22. These two chapters have been deliberately structured and sequenced as the twenty-second chapter within their respective branches of the Canonical Column, in order to function as individual figurative types of the Song of Solomon–the twenty-second book of the Old Testament and the Bible at large. To this end, both chapters have been divinely embedded with direct allusions to specific passages and content that God in his perfect foreknowledge knew would be contained within the Song of Solomon, which was ordained before the foundation of the world to become the twenty-second book of the Old Testament and biblical canon. Accordingly, the divine inspiration, canonicity, and ordinal placement of the Song of Solomon are established by the Canonical Column–being witnessed by both the Law & the Prophets.

1. I received the knowledge of this great mystery by the light of divine revelation way back in 2009 (1 Chron. 28:19; Num. 8:4; cf. 1 Cor. 2:10; Gal. 1:12). ↩︎
2. Alternatively, if that article is too long, you can read a summarized version here. ↩︎
3. Every book of the Bible has two chapters which correspond to it within the Canonical Column–one in Genesis 12-50 or Leviticus (the Law), and one in Isaiah (the Prophets). Genesis 12-50 (known in the Canonical Column as “The Circumcision”) and Isaiah 1-39 (known in the Canonical Column as “First Isaiah”) are both figurative types of the Old Testament canon–each containing 39 chapters which have been divinely designed to prefigure the 39 books of the Old Testament canon. Similarly, Leviticus (known in the Canonical Column as “An Holy Priesthood”) and Isaiah 40-66 (known in the Canonical Column as “Second Isaiah”) function as figurative types of the New Testament canon–each containing 27 chapters which have been divinely designed to prefigure the 27 books of the New Testament canon. The individual chapters within these four scaffolding branches of the Canonical Column are known as witnessing chapters, so called because they have been divinely embedded with textual allusions of various kinds to the content of the specific biblical book which occupies the same numerical position within the canonical sequence. Thus the witnessing chapters function as divinely designed figurative types of whatever biblical book they numerically correspond to within their specific branch of the framework–testifying to their divine inspiration, canonicity, and ordinal placement within the completed biblical canon. ↩︎
4. The Canonical Column testifies that the Protestant biblical canon is the divinely sanctioned form of the Christian Bible that is stamped with the Lamb’s seal of messianic approval.  ↩︎
5. In Genesis 33:3–4, Jacob approaches Esau, bowing himself to the ground seven times before his brother runs to meet him, embraces him, falls on his neck, kisses him, and they both weep. Within the Canonical Column, this is an obvious allusion to Song of Solomon 8:1–3, where the bride longs for the intimacy of a familial embrace: “O that thou wert as my brother… I would kiss thee… his right hand should embrace me.” The distinctive imagery of the kiss and embrace strongly echoes the fraternal reconciliation scene. ↩︎
6. In Genesis 33, Jacob repeatedly says that his gifts are given to “find grace in the sight” of Esau (vv. 8, 10, 15). Within the Canonical Column, this triple repetition functions as an obvious allusion to Song of Solomon 8:10, where the bride declares that she was “in his eyes as one that found favour.” The shared phrase (חֵן) ties both passages together as deliberate linguistic echoes. ↩︎
7. In Genesis 33:12, Esau says to Jacob, “Let us take our journey, and let us go, and I will go before thee.” Within the Canonical Column, this is an obvious allusion to Song of Solomon 7:11–12, where the bride repeatedly invites her beloved, “Come, my beloved, let us go forth… let us lodge… let us get up early… let us see…” The distinctive repetition of cohortative invitations to go together creates a clear verbal and structural echo. ↩︎
8. In Genesis 33:16, Esau “returned that day on his way unto Seir,” marking the parting of the brothers after their reunion. Within the Canonical Column, this is an allusion to Song of Solomon 6:13, where the chorus pleads, “Return, return, O Shulamite; return, return…” The emphasis on “return” and the relational parting create a structural link between the witnessing chapter and its corresponding biblical book. ↩︎
9. In Genesis 33:17, Jacob builds booths (Succoth) for his cattle—a peculiar detail that seems mundane but is included to echo Song of Solomon 1:7, where the bride asks, “Tell me… where thou feedest, where thou makest thy flock to rest at noon.” The unique mention of providing shelter for livestock in the witnessing chapter serves as a clever image-based allusion to its corresponding biblical book. ↩︎
10. In Genesis 33:18–19, Jacob pitches his tent before Shechem and buys a parcel of a field. Within the Canonical Column, this functions as an allusion to Song of Solomon 1:8, where the bride is told to feed her kids “beside the shepherd’s tents.” The parallel detail of settled encampment with flocks ties the passages together through shared pastoral imagery. ↩︎
11. In Isaiah 22:2, Jerusalem is described as “full of stirs, a tumultuous city.” Within the Canonical Column, this is an allusion to the repeated refrain in Song of Solomon (“stir not up, nor awake my love, till he please”), which appears three times (2:7; 3:5; 8:4). The distinctive verb “stir” links the two as an intentional word echo. ↩︎
12. In Isaiah 22:7–8, Judah’s defenses are exposed when the “covering of Judah” is uncovered. Within the Canonical Column, this is an obvious allusion to Song of Solomon 5:7, where the watchmen take away the veil of the distraught bride. ↩︎
13. In Isaiah 22:13, the people say, “Let us eat and drink; for tomorrow we shall die,” feasting in defiance. Within the Canonical Column, this is an intentional reversal allusion to Song of Solomon 5:1, where the beloved says, “Eat, O friends; drink, yea, drink abundantly, O beloved.” Both passages feature communal eating and drinking, but the Song’s covenantal feast contrasts Judah’s reckless revelry. ↩︎
14. In Isaiah 22:16, Shebna hews out a sepulchre “in a rock” for himself. Within the Canonical Column, this is an image-based allusion to Song of Solomon 2:14, where the bride is described as a dove in the “clefts of the rock.” Both passages share the distinctive image of a hidden place in a rock, but inverted: a tomb for pride vs. a refuge for intimacy. ↩︎
15. In Isaiah 22:21, Eliakim is clothed with a robe, girded with a sash, and given governmental authority, becoming “a father to the inhabitants of Jerusalem.” Within the Canonical Column, this functions as an allusion to Song of Solomon 3:11, where the daughters of Zion behold Solomon crowned in the day of his espousals. Both scenes portray the public bestowal of governmental authority. ↩︎
16. In Isaiah 22:22, Eliakim is given “the key of the house of David… so shall he open, and none shall shut; and he shall shut, and none shall open.” Within the Canonical Column, this functions as an obvious allusion to Song of Solomon 5:2–6, where the beloved knocks at the door, calling, “Open to me, my sister, my love…” and the bride delays until he has withdrawn. The rare “open and shut” motif ties these passages together through distinctive language and the shared imagery of access withheld and granted—highlighting the beloved’s authority to come and go as he pleases. ↩︎
17. In Isaiah 22:24, “all the glory of his father’s house” and “all the vessels… cups… flagons” hang on Eliakim as a secure peg. Within the Canonical Column, this is a clever image-based allusion to Song of Solomon 4:4, where the bride’s neck is compared to a tower on which hang “a thousand bucklers, all shields of mighty men.” The distinctive verb “hang” ties the passages together as an intentional object echo. ↩︎
18. In Isaiah 22:24, the household “vessels… of cups… and flagons” hang on the peg. Within the Canonical Column, this peculiar household detail alludes to Song of Solomon 2:5, where the bride pleads, “Stay me with flagons.” The unusual mention of flagons in both passages serves as a minor but clever image-based anchor. ↩︎

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