Wikipedia: Scripturally, the Song of Songs is unique in that it makes no reference to “Law” or “Covenant”. Nor does it refer to Yahweh, the God of Israel. And it does not explore “wisdom” in the manner of Proverbs or Ecclesiastes (although it does have some affinities to Wisdom literature, as the ascription to Solomon suggests). Instead, it celebrates sexual love. It gives “the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy”. The two voices are in harmony, each desiring the other and rejoicing in sexual intimacy; the women (or “daughters”) of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers’ erotic encounters facilitates the participation of the reader. The Song was accepted into the Jewish canon of scripture in the 2nd century CE, after a period of controversy in the 1st century. It was accepted as canonical because of its supposed authorship by Solomon and based on an allegorical reading where the subject-matter was taken to be not sexual desire but God’s love for Israel. Christians admitted the canonicity of the Song of Songs from the beginning, but after Jewish exegetes began to read the Song allegorically, as having to do with God’s love for his people, Christian exegetes followed suit, treating the love that it celebrates as an analogy for the love between God and the Christian Church. Over the centuries the emphasis of interpretation shifted, first reading the Song as a depiction of the love between Christ and Church, the 11th century adding a moral element, and the 12th century understanding of the Bride as the Virgin Mary, with each new reading absorbing rather than simply replacing earlier ones, so that the commentary became ever more complex.