Jewish and Christian communities have classically understood the Song of Songs as a statement of divine love for God's chosen people: Israel or the church, respectively. I adopt the term "theo-erotic" (in contrast to the more commonly used term "allegorical") to describe this interpretive mode and then chart the hermeneutical and rhetorical shape of Jewish and Christian interpretations of the Song in the first centuries of the common era. The Song portrays an ideal world in which the lovers can be understood as archetypes with which other lovers can be identified, thus enabling theo-erotic interpretation. I argue that the Song's transmission and translation in the Septuagint, the Qumran manuscripts, references to the Song's use in Josephus's Against Apion , 4 Ezra , Mishnah, and Tosefta, and purported allusions to the Song in numerous works from the Second Temple period provide limited evidence for the theo-erotic interpretation of the Song. The first verifiable allusions to and echoes of the Song appear in 4 Ezra and Revelation. I argue that these texts make use of a theo-erotic reading of the Song (as part of a complex of allusions) that recasts the Song into eschatological time and apocalyptic space in describing the community's ideal and affective relationship with God. Rabbinic texts that record traditions from the Tannaitic Period (ca. 70-200 C.E.) interpret the utterances of the Song typologically as prefigurations of ideals in Israel's relationship with God. The twenty-five passages that contain interpretations of the Song in Mekilta de-Rabbi Yishmael exemplify this mode of interpretation. In Mekilta the sages historicize and connect many of the Song's verses with the period of Israel's exodus from Egypt and the divine revelation at Sinai, understood in ideal terms as the period of Israel's betrothal to God.

In this reading, Israel adopts the woman's praises for her lover and reciprocates God's fidelity through acts of devotion, expressed in characteristically rabbinic ways as the mitzvot , or divine commandments.