The playful, evocative, back-and-forth words of admiration between the young man and his bride that took place in Song of Solomon 1:1 – 2:17, before the consummation of their marriage on their wedding night (Song of Solomon 3:6 – 5:1), has been restored after the painful breakdown in intimacy after the wedding in Song of Solomon 5:2–9. The young bride’s response (Song of Solomon 6:11–12) to his poem of praise in Song of Solomon 6:4–10 is followed by yet another poem of praise from the young man in Song of Solomon 7:1–9a.
In this poem of admiration in Song of Solomon 7:1–9a, it is not so much the woman’s identity as a Shulammite that matters (Song of Solomon 6:13), but the idea that she is being viewed as a dancer.1
The idea of dancing has already been introduced in Song of Solomon 6:13, and even though the young woman may not actually be dancing, her new husband seems to be picturing her dancing in his mind as he appreciates her beauty.
The Hebrew word for feet
used here is paam and normally indicates feet in motion and so may also have in mind the gracefulness of her steps.2 This supports the idea that he is picturing her dancing.
That is why his poem begins at her feet. It is the feet of a dancer that first occupy his attention.3 His praise of her beauty moves generally from the bottom to the top, the reverse of Song of Solomon 4:1–5. Sandals are mentioned because they enhance the natural beauty of her feet.4 Describing her beauty by moving from her feet upwards emphasizes her height, a point that is explicit in several of the images that follow. She is exalted in his eyes.5
1 How beautiful are your feet in sandals, O noble daughter! Your rounded thighs are like jewels, the work of a master hand.