Is The Song of Solomon Inspired?

One of the common claims made by missionaries from The Church of Jesus Christ of Latter-day Saints is that the Bible is incomplete. Christians, they argue, removed books from Scripture, lost revelation, or corrupted the original faith. Often passages such as 1 Chronicles 29:29 are presented as evidence:

“Now the acts of King David, first and last, indeed they are written in the Book of Samuel the seer, in the Book of Nathan the prophet, and in the Book of Gad the seer.”

The suggestion is that inspired books once existed which were later removed from the canon. Yet this argument quickly weakens under examination. Most scholars recognise that references like these point to prophetic source material incorporated into what later became books such as 1 and 2 Samuel. Samuel himself dies during the narrative of 1 Samuel (1 Samuel 25:1), demonstrating that prophetic histories were compiled together under divine inspiration.

In other words, there is very little evidence that Christians “removed” inspired books from Scripture. But there is something far more serious than the accusation of lost books. It is the declaration that words already preserved within Holy Scripture are somehow not inspired at all. That is precisely what early Mormonism did with the Song of Solomon. 

Joseph Smith dismissed the Song of Solomon as uninspired writing.

The JST manuscript states that “the Songs of Solomon are not inspired writings.”

Think about the weight of that claim for a moment. This is not a debate over an apocryphal text. This is a rejection of a book preserved within the Hebrew canon itself — received by Israel (Romans 3:1–2), accepted by the Apostles, and treasured by Christians throughout history.

And yet the irony is profound. Because the Song of Solomon contains one of the clearest prophetic portraits of Christ and His redeemed people in the entire Old Testament. 

Too often modern readers approach the Song with embarrassment. Some reduce it merely to romantic poetry. Others ignore it altogether because its language feels intensely personal and intimate. But the Song of Songs is not misplaced inside Scripture. It sits exactly where God intended it to be.

The Bible begins with a marriage in Eden (Genesis 2:24). It ends with the Marriage Supper of the Lamb (Revelation 19:7–9). And right in the heart of Scripture stands this great covenant love song — revealing the desire of God to dwell in loving fellowship with His people. 

The Song of Solomon is not merely about romance. It is about redemption.

The book celebrates the purity of covenant love between husband and wife. In a world obsessed with lust, pornography, fornication, and counterfeit intimacy, the Song unapologetically presents marital love as holy, beautiful, and created by God (Hebrews 13:4). It repeatedly warns:

“Do not stir up nor awaken love until it pleases” (Song of Solomon 2:7; 3:5; 8:4).

In other words: covenant before consummation. Love before lust. Holiness before passion. 

But beyond the earthly picture lies a heavenly reality. Throughout Scripture, God presents Himself as the Bridegroom of His people.

Israel is called the wife of Yahweh (Isaiah 54:5; Hosea 2:19–20).The Church is called the Bride of Christ (Ephesians 5:25–32; Revelation 21:2).Paul says believers are betrothed unto one Husband (2 Corinthians 11:2).Revelation culminates in the wedding feast of the Lamb (Revelation 19:7–9).

The Song therefore becomes a prophetic shadow of Christ and His Church. 

One of the most remarkable themes within the Song is the appearance of Solomon in two seemingly different forms. At times he appears as a humble shepherd wandering among the vineyards (Song of Solomon 1:7). At other times he appears as the glorious king surrounded by royal splendour (Song of Solomon 3:6–11).

This mirrors the great mystery of the Messiah revealed throughout Scripture. The prophets spoke of a suffering servant (Isaiah 53) and a conquering king (Psalm 2; Daniel 7:13–14). Some in ancient Israel even struggled to reconcile the two images. Yet both find fulfilment in Jesus Christ.

At His first coming, Christ came as the Good Shepherd (John 10:11). At His second coming, He will return as King of kings and Lord of lords (Revelation 19:11–16). The Song beautifully foreshadows both realities. 

Solomon first approaches the Shulamite not in royal robes, but in humility. He does not overwhelm her through power. He does not compel her affection through outward majesty. He wins her heart through love.

And this is exactly how Christ came to us. He laid aside heavenly glory and clothed Himself in human flesh (Philippians 2:5–8). The eternal Son stepped into a broken world not demanding submission by terror, but awakening love through mercy and grace.

The Gospel is not Christ forcing sinners into outward allegiance. It is the Bridegroom seeking a bride. 

The Shulamite herself becomes a picture of redeemed humanity. She speaks of being darkened by the sun, worn by labour, neglected and ordinary (Song of Solomon 1:5–6). Yet Solomon sees beauty where she sees shame. What a picture of grace.

Humanity is scarred by sin (Romans 3:23). We are stained by the fall. We cannot cleanse ourselves before God. Religion attempts to beautify the outward man, but the Gospel transforms from within (Ezekiel 36:26–27). The Song even hints toward this inward transformation. The bride initially sees herself as insignificant — merely a common flower of the field — yet the bridegroom declares her to be a lily among thorns (Song of Solomon 2:2).

That is justification through grace.

Christ declares beautiful those whom He redeems. Not because they are righteous in themselves, but because they are clothed in His righteousness (2 Corinthians 5:21; Romans 5:1). 

One of the most extraordinary images in the Song comes from the declaration:

“I awakened you under the apple tree” (Song of Solomon 8:5).

For the Christian reader, the imagery ultimately finds its deepest fulfilment beneath the shadow of the cross.

The cross is where the Bridegroom declared His love (Romans 5:8). The cross is where mercy and truth met together, righteousness and peace kissed (Psalm 85:10).The cross is where Christ purchased His bride with His own blood (Acts 20:28; Ephesians 5:25).

This is why the Song of Solomon ultimately cannot be understood apart from Calvary. The entire movement of the book points toward covenant union established through sacrificial love. 

And this is where the contrast with Mormon temple theology becomes unavoidable.

LDS theology teaches eternal marriage through temple sealing ordinances administered by priesthood authority. Exaltation is tied to temple covenants and celestial progression.

But the Song of Solomon presents something radically different.

The eternal marriage of Scripture is not fundamentally about exalted husbands and wives becoming gods together.

It is about Christ and His redeemed people.

The Bride is not secured through rituals performed in earthly temples. She is secured through the blood of the Lamb (1 Peter 1:18–19).

Not by secret ordinances.Not by genealogical sealings.Not by priesthood ceremonies.Not by temple worthiness interviews. But by grace alone through faith alone in Christ alone (Ephesians 2:8–9; Romans 3:24–28). 

The Bridegroom leaves glory (John 17:5). The Bridegroom humbles Himself (Philippians 2:8).The Bridegroom awakens love through sacrifice (1 John 4:19).The Bridegroom prepares a place (John 14:2–3).The Bridegroom returns in glory (Matthew 25:31).The Bridegroom receives His bride forever (1 Thessalonians 4:16–17).

The Song follows the exact pattern of ancient Jewish betrothal customs. The bridegroom pledges himself to the bride, departs to prepare a place for her, then returns unexpectedly in glory to receive her unto himself. Is this not precisely what Christ says in John 14?

“I go to prepare a place for you… I will come again and receive you unto Myself” (John 14:2–3). 

The Church now lives in that period of waiting. Betrothed, but awaiting consummation. Redeemed, yet longing for the appearing of the King (Titus 2:13).

And when Solomon returns in the Song, he no longer comes disguised as a shepherd. He arrives openly as king, surrounded by mighty men and royal procession (Song of Solomon 3:6–11). The entire village suddenly realises the humble shepherd was the king all along.

So too the world will one day realise that the crucified Nazarene is the enthroned Lord of Glory (Philippians 2:9–11).

The Lamb is the Lion (Revelation 5:5–6).The Shepherd is the King (Ezekiel 34:23–24).The suffering servant is the eternal ruler. 

And perhaps nowhere does the Song reach greater theological beauty than in its declaration:

“Many waters cannot quench love, nor can the floods drown it” (Song of Solomon 8:7).

That is the love of Christ.

A love stronger than death (Romans 8:38–39). A love that entered the grave and conquered it (1 Corinthians 15:54–57). A love that justifies sinners freely by grace (Romans 3:24). A love that no flood of judgment can extinguish for those hidden in Him. 

This is why the Song of Solomon is inspired Scripture.

Because Christ is in the Song.

As Paul says:

“All Scripture is God-breathed and is profitable for doctrine, for reproof, for correction, for instruction in righteousness, that the man of God may be complete, thoroughly equipped for every good work” (2 Timothy 3:16–17).

The Shepherd is in the Song.The King is in the Song.The Bridegroom is in the Song.

And the eternal marriage it points toward is not one established through latter-day temple rituals, but one signed and sealed through the blood of Jesus Christ upon the cross, received by grace through faith alone. 

The Song of Songs is most certainly inspired, and it is clear Smith did not understand this because:

“the message of the cross is foolishness to those who are perishing” (1 Corinthians 1:18).

Special thanks to Pastor Derek Walker of Oxford for his teaching on the Song of Solomon.