From Weston W. Fields:
It is further stated that Rabbi Akiba said: "God forbid!-no man in Israel ever disputed about the Song of Songs (that he should say) that it does not render the hands unclean, for all the ages are not worth the day on which the Song of Songs was given to Israel; for all the Writings are holy, but the Song of Songs is the Holy of Holies."30 This is to some an indication that Rabbi Akiba interpreted the Song allegorically. It is true that it is difficult to understand his hyperbolic language if he did not.
Field's entire article can be found here: http://faculty.gordon.edu/hu/bi/Ted_Hildebrandt/OTeSources/22-SongOfSongs/Text/Articles/Fields-SongOfSongs-GTJ.htm
See also http://www.chabad.org/library/bible_cdo/aid/16445/showrashi/true
http://www.chabad.org/library/bible_cdo/aid/16452/showrashi/true
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THE SONG OF SOLOMON
This little book is so named because, among all the songs that Solomon composed, it is the most beautiful, sublime, and remarkable. In its literal sense, it contains a dialogue describing the pure love of an engaged couple, who, despite the greatest obstacles and the strongest temptations confronting their union, remained faithful to each other. However, this literal interpretation is merely the shell of the book, beneath which lies the kernel of the deepest and most sacred truths. For these reasons, not only the Jewish but also the Christian church has recommended its reading to the faithful from the beginning. According to the unanimous interpretation of ancient Jews, the love of the engaged couple symbolizes the higher divine love and marital relationship that binds God to His chosen people and to each individual righteous soul. The Jews base this on several passages in the Old Testament, where God is clearly presented as the spouse of the people of Israel (Jeremiah 2:2, Ezekiel 16:8), so that the depiction of this relationship in the Song of Solomon is entirely in harmony with the spirit and thinking of the sacred writers. Additionally, some Jewish teachers also interpret the imagery in this song as representing the engagement of the Messiah to His chosen people, basing their interpretation on scripture, as the Messiah is portrayed in Psalm 45 as a king who holds a wedding from which salvation flows to all nations.
In agreement with the ancient Jewish church, the Christian church has also from the beginning understood the love described in this book in a higher sense. According to the unanimous teaching of the Church Fathers, it depicts the union of the Son of God with the holy church and every individual righteous soul, and in 553 AD, the Second Council of Constantinople condemned Theodore of Mopsuestia’s claim that this song was merely a love poem composed by Solomon for his marriage to the daughter of the Egyptian king (cf. 1 Kings 11:1). The teaching of the Church Fathers relies not only on the faith of the Jewish church but also finds its justification in the teaching of the Apostle Paul, who compares the union of Christ with the Church to a marital relationship (Ephesians 5:31). It is further reinforced by the declarations of Christ Jesus himself, who in the Gospel, like the bridegroom in this song, compares himself to a bridegroom, before whom wise virgins with their lamps go out to celebrate a wedding with him; to a king who comes to take possession of his kingdom; and to a shepherd who knows his sheep, calls them by name, and lays down his life for them. Everything contradicts the view that the author’s aim was merely to present sensual, albeit pure, love. This is opposed not only by the ancient Jews and Christians, who must have known well the meaning of this song from its inception, but also by the inclusion of this book in the collection of sacred writings, which contains only religious books. Furthermore, the example of most other Eastern peoples, where the mutual love of God for His true devotees was depicted through a whole series of images drawn from sensual love, also contradicts this view. Besides, the Jews forbade their youths from reading this book and allowed it only to married individuals after the age of 30. Although there was no such prohibition in the Christian church, and this little book was even read publicly in the temple, Christian teachers wisely advise that only those Christians who have a sober, vigilant mind, despise worldly pleasures, and strive for greater perfection should read it. Such individuals are not scandalized by the unadorned images of the mysterious song, for to the pure all things are pure, while to the defiled and unbelieving nothing is pure, because their minds and consciences are corrupted (Titus 1:15).
The Song of Solomon, called "Shir Hashirim" in Hebrew, according to the distinctive Hebrew expression, signifies the most excellent and sublime song. If ever there was a time, it is here, that the sublime requires an elevated understanding for proper appreciation. The Song of Solomon describes a higher union, transcending the physical, under the guise of marriage; behind the literal sense lies a deeper, mystical meaning. Those who do not keep this in mind read the book with little spiritual profit and possibly to the detriment of their souls.
The understanding of the literal sense has been facilitated by ethnographic observations made mainly in Syrian villages around Damascus, shedding light on the marriage customs of ancient Semitic peoples. The wedding festivities typically lasted about a week (cf. Judges 14:17). The agreement was accompanied by grand processions, joyous, partly bawdy songs, performances, dances, and feasts. Around Lebanon, the bride and groom are still depicted as king and queen (king week). We get the most consistent picture of the literal sense of the song if we view it as a poetic script filling the Hebrew wedding week. However, it is not to be understood as a collection of folk poetry relevant to this context. The style of the book is so unified, polished, and individual that at least the majority of it must have originated from the hands of a single skilled poet. The author created an independent work, partially using certain folk songs, and placed it in the service of the aforementioned higher purpose.
The various elements of the wedding week are most clearly evident in the middle section of the song (3:6-7:13). After the description of the bridal procession of the groom depicted as Solomon (3:6-11), there follows 1. the first wasf (Arabic term for a poetic description of praise) about the veiled bride and the accompanying dialogue, ending with an invitation for the guests to eat and drink (4:1-5:1); 2. the wasf describing the groom, followed by another variation of the bride's description (5:2-6:9); 3. the bride's camp dance (sword dance), providing an opportunity for a more detailed description of her (6:12-7:9). Finally, 4. there is a call to consummate the marriage (7:10-13). The role of the other parts in the context of the wedding week is less clear. In the introduction to the book, the bride, playing the role of the shepherd girl, surrounded by the daughters of the wedding party, pleads for the favors of the king (the groom) (1:1-5), and engages in three dialogues with him, sometimes as a king, sometimes as a shepherd (1:6-7; 1:8-13; 1:14-2:3). This is followed by three monologues of the bride in the presence of the daughters of Jerusalem (the daughters of the wedding party), describing her pleasant moments with the groom (2:4-7), the joint spring outing (2:8-17), and the search for the absent groom (3:1-5). The last chapter (8) contains short wedding songs and dialogue fragments.
The songs placed in the mouths of the groom and bride were not actually performed by them; instead, they mostly listened to and watched the scenes, elevated like a royal couple. Their emotions were expressed by other performers, likely professional singers.
Many interpreters have demanded a higher, allegorical, or typical meaning for the book, in addition to or instead of its literal sense, arguing that without it, the book’s content would be entirely secular and morally questionable. However, this reasoning is unfounded. The lawful marriage praised in the book is a holy institution ordained by God; the description of the beauty of the human body could have been freer in the warmer climates of the East. Therefore, the insistence of the Church Fathers and prominent ecclesiastical writers on the higher meaning of the book, as declared by the Fifth Ecumenical Council (553), does not stem from the mentioned concern but from the conviction adopted from the synagogue along with the book as a tradition of faith.
In the Old Testament view, lawful marriage is mainly a symbol and a very suitable representation of two exalted religious relationships. One is the relationship of wisdom, that is, godliness regulated by Mosaic law, as a faithful spouse to the devout Israelite and the learned soul. Wisdom already appears as a bride or lawful wife in the great introduction of the Book of Proverbs (chapters 1-9, especially 4:8; 8:31), contrasted with the adulterous woman represented by folly (cf. Wisdom 8:2, 9; Sirach 15:2; 51:19, especially 24:17-23; the latter illuminates wisdom with almost the same metaphors as those used to praise the bride in Song 4:12-5:1). In line with this understanding, later Jewish scholars named their gatherings for interpreting the law "Bride" (Kallah), and perhaps this is why the Syrian translation titles the book "The Wisdom of Wisdoms." Other Old Testament texts illustrate the relationship between the Lord and His chosen people with the imagery of marriage (cf. Hosea 1-3; Jeremiah 2:2; 3:1; Ezekiel 16; Isaiah 1:21; 50:1; 54:6 ff.; 62:4-5). This understanding is enthusiastically embraced by the New Testament, which, seeing the Church as the legitimate continuation and fulfillment of the old synagogue, uses it to illustrate the relationship between Christ and the Church (2 Corinthians 11:2; Ephesians 5:32; Revelation 19:7 ff.; also Matthew 9:15 ff.; John 3:29). Most Catholic interpreters seek the higher meaning of the song in this direction. The masters of spiritual life and the prayers of the Church often see the song's wedding as an allegory for the relationship between God and the Christian soul or God and the Blessed Virgin Mary. Interpreting the song in a higher sense does not require explaining every detail in this light verse by verse. In the parables of our Savior, many details are mere decorations serving the vividness of the presentation; even more details in the Song of Solomon do not necessitate searching for a higher meaning behind them. Therefore, the notes attached to the text primarily aim to clarify the literal sense.
The author of the book is unknown. Earlier interpreters concluded from the book’s title that King Solomon wrote it. However, most modern interpreters believe that this note in the title originated later when Solomon’s role as the groom was interpreted to imply Solomon as the author. In 8:12, the groom directly contrasts himself with Solomon, the past ruler. Based on linguistic features, most modern authors place the book's composition in one of the centuries following the Babylonian captivity. From the frequent mention of the daughters of Jerusalem, many deduce that the author lived in or around Jerusalem.
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