Gordon Johnston’s aforementioned article reviews and evaluates a number of structural analyses of the Song. He doesn’t find any of the following persuasive, but they provide some helpful pointers to the shape of the Song.
The Targum and many Jewish commentators see the Song as an allegorical poem about Israel’s history, a view that Johnston helpfully summarizes:
1. Prologue: Opening Praise (1:2–4)
2. Exodus, Sinai, Conquest (1:5–3:6)
3. Early Monarchy and Building of the Temple (3:7–5:1)
4. Israel’s Apostasy, Babylonian Exile, Repentance (5:2–6:1)
5. Second Temple Period up to the Diaspora (6:2–7:14)
6. Eschatological Events and Messianic Kingdom (8:1–10)
7. Epilogue: Concluding Prayer (8:11–14)
In a 1980 article, William Shea argued for a chiastic outline that Johnston gives in this form:
A. Six alternating speeches, brothers and vineyards of the beloved
(1:2–2:2)
B. Apple motif, double refrain, approach, mother’s house, possession
(2:3–17)
C. Dream, groom’s praise, bride’s beauty, invitation (3:1–
4:16)
C.’ Dream, groom’s praise, bride’s beauty, response (5:1–
7:11)
B.’ Apple motif, double refrain, approach, mother’s house, possession
(7:12–8:5)
A.’ Six (?) alternating speeches, brothers and vineyards of the beloved
(8:6–14)
In an early article, Cheryl Exum found a modified chiastic structure:
A. Vineyard and brothers, desire for intimacy (1:2–2:6)
B. Call to the woman + seeking and finding (2:7–3:5)
C. Question (“who is this?”) + a description of the woman
(3:6–5:1)
B.’ Call to the woman + seeking and finding (5:2–6:3)
C.’ Description of the woman + a question (“who is this?”)
(6:4–8:3)
A.’ Vineyard and brothers, desire for intimacy (8:4–14)
And Richard Davidson offered another modified chiasm, a chiastic inclusio surrounding a parallel structure:
A. Mutual love (1:2–2:7)
B. Coming and going (2:8–17)
C. Dream I: lost and found (3:1–5)
D. Praise of groom I (3:6–11)
E. Praise of bride I (4:1–7)
F. Praise of bride II (4:8–15)
G. Invitation by bride (4:16)
G.’ Acceptance of invitation by groom (5:1)
C. Dream II: found and lost (5:2–8)
D.’ Praise of groom II (5:9–6:3)
E.’ Praise of bride III (6:4–12)
F.’ Praise of bride IV (7:1–10)
B.’ Going and coming (7:11–8:2)
A.’ Mutual love (8:3–14)