December 21 Simbang-Gabi: The Bridegroom in Her Womb

by Fr. Randy Flores, SVD

Readings: Sg 2:8-14; Luke 1:39-45

The first reading is taken from an Old Testament book called the Song of Songs. Its Hebrew name, Shir HaShirim, is a superlative form that can be translated as "the greatest of songs." Why this song is considered greater than any of the songs in the  Psalms—especially since the name of God is not mentioned even once, and it is entirely focused on love, specifically erotic love—might raise some eyebrows.

Because of its exceptional character in the biblical corpus, the Song has always been controversial. There was some debate among the rabbis regarding whether the Song of Songs should be included in the canon of Scripture. The renowned Rabbi Akiba, who died around 135 C.E., is said to have proclaimed that the entire world was not worth the day on which the Song was given to Israel, declaring, “For all the scriptures are holy, but the Song of Songs is the Holy of Holies” (Mishnah Yadaim 3:5). However, the rabbis were able to preserve the sanctity of the Song by interpreting it as an allegory for the love between YHWH and Israel, despite the fact that the Song never mentions God. Another rabbinic saying warns that anyone who sings the Song in a banquet house, treating it like a secular song, would have no share in the world to come (Babylonian Talmud Sanhedrin 101a; Tosefta Sanhedrin 12:10).

The Song of Songs contains some of the most beautiful poetry in the Bible, rich in similes and vivid imagery drawn from nature. In the First Reading for Simbang-Gabi (Dec 21), the beloved is compared to a rose of Sharon, a lily of the valley, a lily among brambles (2:1-2), and a dove in the clefts of the rock (2:14). The scene is set as the beloved speaks of a time when winter has passed, flowers bloom on the earth, and the sound of the turtledove is heard in the land (2:10-12).

One of the most striking features of the Song is its celebration of physical beauty, particularly in the wasf poems (an Arabic term for “description”). For example, the lover compares his beloved to a mare among Pharaoh’s chariots (1:9), highlighting her grace and strength. Her hair is described as a flock of goats descending the slopes of Gilead, while her teeth are likened to a flock of shorn ewes that have come up from the washing (4:1-5). Her breasts are described as two fawns, twins of a gazelle, further emphasizing her beauty in a natural, animalistic context. This imagery reflects a bucolic setting, showing a deep appreciation not only for human beauty but also for the splendor of animal life.

Yet, the most remarkable aspect of the Song is its uninhibited celebration of sexual love. The extent to which this celebration is uninhibited depends on interpretation, but several passages clearly lend themselves to sexual readings. For example, in 5:4, the lover speaks: “My beloved thrust his hand into the opening, and my inmost being yearned for him.” Even without exploring all the metaphorical allusions, it is clear that the Song joyfully affirms the beauty and sanctity of physical love.

It was not difficult, then, for the Jewish rabbis and the Church Fathers to interpret the love poetry of the Song of Songs as an allegory of divine love. For the rabbis, it represented the love of God as the bridegroom for His bride, Israel, while for the Church Fathers, such as Augustine, it symbolized the love of Jesus, the Messianic bridegroom, for His Church, the bride.

The use of the Song of Songs in the liturgy is sparse. It is never read on Sundays or major feast days and is omitted from the cycle of weekly readings during Ordinary Time. Apart from the optional reading on the Feast of Saint Mary Magdalene, the only significant use of the Song in Mass is on Dec 21, when the springtime invitation to elope with the Bridegroom (Song 2:8-17) is read as an anticipation of the liturgical “arrival” of Christ on Christmas, understood as the coming of the Bridegroom.

Paired with the reading on the Visitation of the pregnant Mary to Elizabeth, the much-awaited Bridegroom is now present in the womb of the Blessed Mother. Like the beloved lady in the Song of Songs, Mary is filled with joyful anticipation at the arrival of the Divine Beloved. In Song of Songs 2:8–14, the voice of the Beloved brings excitement and hope, just as Mary's arrival fills Elizabeth with the Holy Spirit and causes her child to leap with joy. This parallels the longing and fulfillment expressed in the Song, as the season of salvation dawns with the presence of Christ.

AI generated image depicting the Blessed Virgin Mary as pregnant, with a serene nature background inspired by the Song of Songs.

The eagerness of the beloved in the Song of Songs and Mary’s joy at bringing Christ to Elizabeth inspire us to reflect on our own excitement for the Good News. Are we as enthusiastic and filled with hope in sharing Christ with others? Just as the beloved in the Song of Songs eagerly anticipates the arrival of the bridegroom, we are called to cultivate a sense of joyful anticipation for the Good News of Christ. This excitement reflects our readiness to embrace God’s love and our trust in His promises. Mary’s journey to visit Elizabeth demonstrates this enthusiasm as she carries the Word of God within her, radiating joy and hope.

Mary, the Theotokos (God-bearer), serves as a model for us to bear the Good News to others. Like Mary, we are called to carry Christ within us—in our words, actions, and presence. Whether through acts of kindness, sharing the Word of God, or simply being a source of hope and love, we can become messengers of salvation and joy.

References: John J. Collins, Introduction to the Hebrew Bible, 4th ed. (2018)

John Bergsma and Brant Pitre, A Catholic Introduction to the Bible, vol. 1 (2018)