Song of Solomon 1 — with JFB Commentary
The King James text with the Jamieson-Fausset-Brown commentary (1871, public domain) directly beneath the verses it explains. Verses without a JFB note stand alone.
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Song of Solomon 1
The Song of Songs
1The song of songs, which is Solomon’s.
Jamieson-Fausset-Brown
INTRODUCTION
The Song of Solomon, called in the Vulgate and Septuagint, "The Song of Songs," from the opening words. This title denotes its superior excellence, according to the Hebrew idiom; so holy of holies, equivalent to "most holy" (Ex 29:37); the heaven of heavens, equivalent to the highest heavens (De 10:14). It is one of the five volumes (megilloth) placed immediately after the Pentateuch in manuscripts of the Jewish Scriptures. It is also fourth of the Hagiographa (Cetubim, writings) or the third division of the Old Testament, the other two being the Law and the Prophets. The Jewish enumeration of the Cetubim is Psalms, Proverbs, Job, Canticles, Ruth, Lamentations, Ecclesiastes, Esther, Daniel, Ezra (including Nehemiah), and Chronicles. Its canonicity is certain; it is found in all Hebrew manuscripts of Scripture; also in the Greek Septuagint; in the catalogues of Melito, bishop of Sardis, A.D. 170 (Eusebius, Ecclesiastical History, 4.26), and of others of the ancient Church.
Origen and Jerome tell us that the Jews forbade it to be read by any until he was thirty years old. It certainly needs a degree of spiritual maturity to enter aright into the holy mystery of love which it allegorically sets forth. To such as have attained this maturity, of whatever age they be, the Song of Songs is one of the most edifying of the sacred writings. Rosenmuller justly says, The sudden transitions of the bride from the court to the grove are inexplicable, on the supposition that it describes merely human love. Had it been the latter, it would have been positively objectionable, and never would have been inserted in the holy canon. The allusion to "Pharaoh's chariots" (So 1:9) has been made a ground for conjecturing that the love of Solomon and Pharaoh's daughter is the subject of the Song. But this passage alludes to a remarkable event in the history of the Old Testament Church, the deliverance from the hosts and chariots of Pharaoh at the Red Sea. (However, see on So 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (So 1:7), "an abomination to the Egyptians" (Ge 46:34); so also So 1:6; 3:4; 4:8; 5:7 are at variance with it. The Christian fathers, Origen and Theodoret, compared the teachings of Solomon to a ladder with three steps; Ecclesiastes, natural (the nature of sensible things, vain); Proverbs, moral; Canticles, mystical (figuring the union of Christ and the Church). The Jews compared Proverbs to the outer court of Solomon's temple, Ecclesiastes to the holy place, and Canticles to the holy of holies. Understood allegorically, the Song is cleared of all difficulty. "Shulamith" (So 6:13), the bride, is thus an appropriate name, Daughter of Peace being the feminine of Solomon, equivalent to the Prince of Peace. She by turns is a vinedresser, shepherdess, midnight inquirer, and prince's consort and daughter, and He a suppliant drenched with night dews, and a king in His palace, in harmony with the various relations of the Church and Christ. As Ecclesiastes sets forth the vanity of love of the creature, Canticles sets forth the fullness of the love which joins believers and the Saviour. The entire economy of salvation, says Harris, aims at restoring to the world the lost spirit of love. God is love, and Christ is the embodiment of the love of God. As the other books of Scripture present severally their own aspects of divine truth, so Canticles furnishes the believer with language of holy love, wherewith his heart can commune with his Lord; and it portrays the intensity of Christ's love to him; the affection of love was created in man to be a transcript of the divine love, and the Song clothes the latter in words; were it not for this, we should be at a loss for language, having the divine warrant, wherewith to express, without presumption, the fervor of the love between Christ and us. The image of a bride, a bridegroom, and a marriage, to represent this spiritual union, has the sanction of Scripture throughout; nay, the spiritual union was the original fact in the mind of God, of which marriage is the transcript (Is 54:5; 62:5; Jr 3:1, &c.; Eze 16:1-63; 23:1-49; Mt 9:15; 22:2; 25:1, &c.; Joh 3:29; 2Co 11:2; Ep 5:23-32, where Paul does not go from the marriage relation to the union of Christ and the Church as if the former were the first; but comes down from the latter as the first and best recognized fact on which the relation of marriage is based; Re 19:7; 21:2; 22:17). Above all, the Song seems to correspond to, and form a trilogy with, Psalms 45 and 72, which contain the same imagery; just as Psalm 37 answers to Proverbs, and the Psalms 39 and 73 to Job. Love to Christ is the strongest, as it is the purest, of human passions, and therefore needs the strongest language to express it: to the pure in heart the phraseology, drawn from the rich imagery of Oriental poetry, will not only appear not indelicate or exaggerated, but even below the reality. A single emblem is a type; the actual rites, incidents, and persons of the Old Testament were appointed types of truths afterwards to be revealed. But the allegory is a continued metaphor, in which the circumstances are palpably often purely imagery, while the thing signified is altogether real. The clue to the meaning of the Song is not to be looked for in the allegory itself, but in other parts of Scripture. "It lies in the casket of revelation an exquisite gem, engraved with emblematical characters, with nothing literal thereon to break the consistency of their beauty" [Burrowes]. This accounts for the name of God not occurring in it. Whereas in the parable the writer narrates, in the allegory he never does so. The Song throughout consists of immediate addresses either of Christ to the soul, or of the soul to Christ. "The experimental knowledge of Christ's loveliness and the believer's love is the best commentary on the whole of this allegorical Song" [Leighton]. Like the curiously wrought Oriental lamps, which do not reveal the beauty of their transparent emblems until lighted up within, so the types and allegories of Scripture, "the lantern to our path" [Psa 119:105], need the inner light of the Holy Spirit of Jesus to reveal their significance. The details of the allegory are not to be too minutely pressed. In the Song, with an Oriental profusion of imagery, numbers of lovely, sensible objects are aggregated not strictly congruous, but portraying jointly by their very diversity the thousand various and seemingly opposite beauties which meet together in Christ.
The unity of subject throughout, and the recurrence of the same expressions (So 2:6, 7; 3:5; 8:3, 4; 2:16; 6:3; 7:10; 3:6; 6:10; 8:5), prove the unity of the poem, in opposition to those who make it consist of a number of separate erotic songs. The sudden transitions (for example, from the midnight knocking at a humble cottage to a glorious description of the King) accord with the alternations in the believer's experience. However various the divisions assigned be, most commentators have observed four breaks (whatever more they have imagined), followed by four abrupt beginnings (So 2:7; 3:5; 5:1; 8:4). Thus there result five parts, all alike ending in full repose and refreshment. We read (1Ki 4:32) that Solomon's songs were "a thousand and five." The odd number five added over the complete thousand makes it not unlikely that the "five" refers to the Song of songs, consisting of five parts.
It answers to the idyllic poetry of other nations. The Jews explain it of the union of Jehovah and ancient Israel; the allusions to the temple and the wilderness accord with this; some Christians of Christ and the Church; others of Christ and the individual believer. All these are true; for the Church is one in all ages, the ancient typifying the modern Church, and its history answering to that of each individual soul in it. Jesus "sees all, as if that all were one, loves one, as if that one were all." "The time suited the manner of this revelation; because types and allegories belonged to the old dispensation, which reached its ripeness under Solomon, when the temple was built" [Moody Stuart]. "The daughter of Zion at that time was openly married to Jehovah"; for it is thenceforth that the prophets, in reproving Israel's subsequent sin, speak of it as a breach of her marriage covenant. The songs heretofore sung by her were the preparatory hymns of her childhood; "the last and crowning 'Song of Songs' was prepared for the now mature maiden against the day of her marriage to the King of kings" [Origen]. Solomon was peculiarly fitted to clothe this holy mystery with the lovely natural imagery with which the Song abounds; for "he spake of trees, from the cedar in Lebanon, even unto the hyssop that springeth out of the wall" (1Ki 4:33). A higher qualification was his knowledge of the eternal Wisdom or Word of God (Pr 8:1-36), the heavenly bridegroom. David, his father, had prepared the way, in Psalms 45 and 72; the son perfected the allegory. It seems to have been written in early life, long before his declension; for after it a song of holy gladness would hardly be appropriate. It was the song of his first love, in the kindness of his youthful espousals to Jehovah. Like other inspired books, its sense is not to be restricted to that local and temporary one in which the writer may have understood it; it extends to all ages, and shadows forth everlasting truth (1Pe 1:11, 12; 2Pe 1:20, 21).
"Oh that I knew how all thy lights combine, and the configurations of their glorie,
Seeing not only how each verse doth shine, but all the constellations of the storie."--Herbert.
Three notes of time occur [Moody Stuart]: (1) The Jewish Church speaks of the Gentile Church (So 8:8) towards the end; (2) Christ speaks to the apostles (So 5:1) in the middle; (3) The Church speaks of the coming of Christ (So 1:2) at the beginning. Thus we have, in direct order, Christ about to come, and the cry for the advent; Christ finishing His work on earth, and the last supper; Christ ascended, and the call of the Gentiles. In another aspect we have: (1) In the individual soul the longing for the manifestation of Christ to it, and the various alternations in its experience (So 1:2, 4; 2:8; 3:1, 4, 6, 7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (So 5:1-3, &c.), and her longings after Him, and reconciliation (So 5:8-16; 6:3, &c.; So 7:1, &c.); (3) Effects of Christ's manifestation on the believer; namely, assurance, labors of love, anxiety for the salvation of the impenitent, eagerness for the Lord's second coming (So 7:10, 12; 8:8-10, 14).
CHAPTER 1
So 1:1-17. Canticle I.--(So 1:2-2:7)--The Bride Searching for and Finding the King.
1. The song of songs--The most excellent of all songs, Hebrew idiom (Ex 29:37; De 10:14). A foretaste on earth of the "new song" to be sung in glory (Re 5:9; 14:3; 15:2-4).
Solomon's--"King of Israel," or "Jerusalem," is not added, as in the opening of Proverbs and Ecclesiastes, not because Solomon had not yet ascended the throne [Moody Stuart], but because his personality is hid under that of Christ, the true Solomon (equivalent to Prince of Peace). The earthly Solomon is not introduced, which would break the consistency of the allegory. Though the bride bears the chief part, the Song throughout is not hers, but that of her "Solomon." He animates her. He and she, the Head and the members, form but one Christ [Adelaide Newton]. Aaron prefigured Him as priest; Moses, as prophet; David, as a suffering king; Solomon, as the triumphant prince of peace. The camp in the wilderness represents the Church in the world; the peaceful reign of Solomon, after all enemies had been subdued, represents the Church in heaven, of which joy the Song gives a foretaste.
INTRODUCTION
The Song of Solomon, called in the Vulgate and Septuagint, "The Song of Songs," from the opening words. This title denotes its superior excellence, according to the Hebrew idiom; so holy of holies, equivalent to "most holy" (Ex 29:37); the heaven of heavens, equivalent to the highest heavens (De 10:14). It is one of the five volumes (megilloth) placed immediately after the Pentateuch in manuscripts of the Jewish Scriptures. It is also fourth of the Hagiographa (Cetubim, writings) or the third division of the Old Testament, the other two being the Law and the Prophets. The Jewish enumeration of the Cetubim is Psalms, Proverbs, Job, Canticles, Ruth, Lamentations, Ecclesiastes, Esther, Daniel, Ezra (including Nehemiah), and Chronicles. Its canonicity is certain; it is found in all Hebrew manuscripts of Scripture; also in the Greek Septuagint; in the catalogues of Melito, bishop of Sardis, A.D. 170 (Eusebius, Ecclesiastical History, 4.26), and of others of the ancient Church.
Origen and Jerome tell us that the Jews forbade it to be read by any until he was thirty years old. It certainly needs a degree of spiritual maturity to enter aright into the holy mystery of love which it allegorically sets forth. To such as have attained this maturity, of whatever age they be, the Song of Songs is one of the most edifying of the sacred writings. Rosenmuller justly says, The sudden transitions of the bride from the court to the grove are inexplicable, on the supposition that it describes merely human love. Had it been the latter, it would have been positively objectionable, and never would have been inserted in the holy canon. The allusion to "Pharaoh's chariots" (So 1:9) has been made a ground for conjecturing that the love of Solomon and Pharaoh's daughter is the subject of the Song. But this passage alludes to a remarkable event in the history of the Old Testament Church, the deliverance from the hosts and chariots of Pharaoh at the Red Sea. (However, see on So 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (So 1:7), "an abomination to the Egyptians" (Ge 46:34); so also So 1:6; 3:4; 4:8; 5:7 are at variance with it. The Christian fathers, Origen and Theodoret, compared the teachings of Solomon to a ladder with three steps; Ecclesiastes, natural (the nature of sensible things, vain); Proverbs, moral; Canticles, mystical (figuring the union of Christ and the Church). The Jews compared Proverbs to the outer court of Solomon's temple, Ecclesiastes to the holy place, and Canticles to the holy of holies. Understood allegorically, the Song is cleared of all difficulty. "Shulamith" (So 6:13), the bride, is thus an appropriate name, Daughter of Peace being the feminine of Solomon, equivalent to the Prince of Peace. She by turns is a vinedresser, shepherdess, midnight inquirer, and prince's consort and daughter, and He a suppliant drenched with night dews, and a king in His palace, in harmony with the various relations of the Church and Christ. As Ecclesiastes sets forth the vanity of love of the creature, Canticles sets forth the fullness of the love which joins believers and the Saviour. The entire economy of salvation, says Harris, aims at restoring to the world the lost spirit of love. God is love, and Christ is the embodiment of the love of God. As the other books of Scripture present severally their own aspects of divine truth, so Canticles furnishes the believer with language of holy love, wherewith his heart can commune with his Lord; and it portrays the intensity of Christ's love to him; the affection of love was created in man to be a transcript of the divine love, and the Song clothes the latter in words; were it not for this, we should be at a loss for language, having the divine warrant, wherewith to express, without presumption, the fervor of the love between Christ and us. The image of a bride, a bridegroom, and a marriage, to represent this spiritual union, has the sanction of Scripture throughout; nay, the spiritual union was the original fact in the mind of God, of which marriage is the transcript (Is 54:5; 62:5; Jr 3:1, &c.; Eze 16:1-63; 23:1-49; Mt 9:15; 22:2; 25:1, &c.; Joh 3:29; 2Co 11:2; Ep 5:23-32, where Paul does not go from the marriage relation to the union of Christ and the Church as if the former were the first; but comes down from the latter as the first and best recognized fact on which the relation of marriage is based; Re 19:7; 21:2; 22:17). Above all, the Song seems to correspond to, and form a trilogy with, Psalms 45 and 72, which contain the same imagery; just as Psalm 37 answers to Proverbs, and the Psalms 39 and 73 to Job. Love to Christ is the strongest, as it is the purest, of human passions, and therefore needs the strongest language to express it: to the pure in heart the phraseology, drawn from the rich imagery of Oriental poetry, will not only appear not indelicate or exaggerated, but even below the reality. A single emblem is a type; the actual rites, incidents, and persons of the Old Testament were appointed types of truths afterwards to be revealed. But the allegory is a continued metaphor, in which the circumstances are palpably often purely imagery, while the thing signified is altogether real. The clue to the meaning of the Song is not to be looked for in the allegory itself, but in other parts of Scripture. "It lies in the casket of revelation an exquisite gem, engraved with emblematical characters, with nothing literal thereon to break the consistency of their beauty" [Burrowes]. This accounts for the name of God not occurring in it. Whereas in the parable the writer narrates, in the allegory he never does so. The Song throughout consists of immediate addresses either of Christ to the soul, or of the soul to Christ. "The experimental knowledge of Christ's loveliness and the believer's love is the best commentary on the whole of this allegorical Song" [Leighton]. Like the curiously wrought Oriental lamps, which do not reveal the beauty of their transparent emblems until lighted up within, so the types and allegories of Scripture, "the lantern to our path" [Psa 119:105], need the inner light of the Holy Spirit of Jesus to reveal their significance. The details of the allegory are not to be too minutely pressed. In the Song, with an Oriental profusion of imagery, numbers of lovely, sensible objects are aggregated not strictly congruous, but portraying jointly by their very diversity the thousand various and seemingly opposite beauties which meet together in Christ.
The unity of subject throughout, and the recurrence of the same expressions (So 2:6, 7; 3:5; 8:3, 4; 2:16; 6:3; 7:10; 3:6; 6:10; 8:5), prove the unity of the poem, in opposition to those who make it consist of a number of separate erotic songs. The sudden transitions (for example, from the midnight knocking at a humble cottage to a glorious description of the King) accord with the alternations in the believer's experience. However various the divisions assigned be, most commentators have observed four breaks (whatever more they have imagined), followed by four abrupt beginnings (So 2:7; 3:5; 5:1; 8:4). Thus there result five parts, all alike ending in full repose and refreshment. We read (1Ki 4:32) that Solomon's songs were "a thousand and five." The odd number five added over the complete thousand makes it not unlikely that the "five" refers to the Song of songs, consisting of five parts.
It answers to the idyllic poetry of other nations. The Jews explain it of the union of Jehovah and ancient Israel; the allusions to the temple and the wilderness accord with this; some Christians of Christ and the Church; others of Christ and the individual believer. All these are true; for the Church is one in all ages, the ancient typifying the modern Church, and its history answering to that of each individual soul in it. Jesus "sees all, as if that all were one, loves one, as if that one were all." "The time suited the manner of this revelation; because types and allegories belonged to the old dispensation, which reached its ripeness under Solomon, when the temple was built" [Moody Stuart]. "The daughter of Zion at that time was openly married to Jehovah"; for it is thenceforth that the prophets, in reproving Israel's subsequent sin, speak of it as a breach of her marriage covenant. The songs heretofore sung by her were the preparatory hymns of her childhood; "the last and crowning 'Song of Songs' was prepared for the now mature maiden against the day of her marriage to the King of kings" [Origen]. Solomon was peculiarly fitted to clothe this holy mystery with the lovely natural imagery with which the Song abounds; for "he spake of trees, from the cedar in Lebanon, even unto the hyssop that springeth out of the wall" (1Ki 4:33). A higher qualification was his knowledge of the eternal Wisdom or Word of God (Pr 8:1-36), the heavenly bridegroom. David, his father, had prepared the way, in Psalms 45 and 72; the son perfected the allegory. It seems to have been written in early life, long before his declension; for after it a song of holy gladness would hardly be appropriate. It was the song of his first love, in the kindness of his youthful espousals to Jehovah. Like other inspired books, its sense is not to be restricted to that local and temporary one in which the writer may have understood it; it extends to all ages, and shadows forth everlasting truth (1Pe 1:11, 12; 2Pe 1:20, 21).
"Oh that I knew how all thy lights combine, and the configurations of their glorie,
Seeing not only how each verse doth shine, but all the constellations of the storie."--Herbert.
Three notes of time occur [Moody Stuart]: (1) The Jewish Church speaks of the Gentile Church (So 8:8) towards the end; (2) Christ speaks to the apostles (So 5:1) in the middle; (3) The Church speaks of the coming of Christ (So 1:2) at the beginning. Thus we have, in direct order, Christ about to come, and the cry for the advent; Christ finishing His work on earth, and the last supper; Christ ascended, and the call of the Gentiles. In another aspect we have: (1) In the individual soul the longing for the manifestation of Christ to it, and the various alternations in its experience (So 1:2, 4; 2:8; 3:1, 4, 6, 7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (So 5:1-3, &c.), and her longings after Him, and reconciliation (So 5:8-16; 6:3, &c.; So 7:1, &c.); (3) Effects of Christ's manifestation on the believer; namely, assurance, labors of love, anxiety for the salvation of the impenitent, eagerness for the Lord's second coming (So 7:10, 12; 8:8-10, 14).
CHAPTER 1
So 1:1-17. Canticle I.--(So 1:2-2:7)--The Bride Searching for and Finding the King.
1. The song of songs--The most excellent of all songs, Hebrew idiom (Ex 29:37; De 10:14). A foretaste on earth of the "new song" to be sung in glory (Re 5:9; 14:3; 15:2-4).
Solomon's--"King of Israel," or "Jerusalem," is not added, as in the opening of Proverbs and Ecclesiastes, not because Solomon had not yet ascended the throne [Moody Stuart], but because his personality is hid under that of Christ, the true Solomon (equivalent to Prince of Peace). The earthly Solomon is not introduced, which would break the consistency of the allegory. Though the bride bears the chief part, the Song throughout is not hers, but that of her "Solomon." He animates her. He and she, the Head and the members, form but one Christ [Adelaide Newton]. Aaron prefigured Him as priest; Moses, as prophet; David, as a suffering king; Solomon, as the triumphant prince of peace. The camp in the wilderness represents the Church in the world; the peaceful reign of Solomon, after all enemies had been subdued, represents the Church in heaven, of which joy the Song gives a foretaste.
The Pulpit Commentary
The song of songs, which is Solomon's. This is certainly the title of the book which follows, although in our present Hebrew Bible it is the first verse of the book preceded by the shorter form, 'The Song of Songs.' The Septuagint has simply the title Ασμα, So that our English title in the Authorized Version, 'The Song of Solomon,' has no ancient authority. It is well altered in the Revised Version to 'The Song of Songs.' The word "song" (שִׁיר) does not necessarily convey the meaning. composed to be sung to music. If the performance of the words were chiefly in view, the word would have been מִוְמוֹר, carmen, "lyric poem," "hymn," or "ode." The Greek Ασμα ἀσμάτων, and the Latin of the Vulgate, Canticum canticorum, accord with the Hebrew in representing the work as taking a high place either in the esteem of the Church or, on account of the subject, in the esteem of the writer. Luther expresses the same idea in the title he attaches to it, 'Das Hohelied,' that is, the chief or finest of songs. The reference may be to the excellence of the literary form, but probably that which suggested the title was the supreme beauty of the love which prompted the songs. The title may be regarded as applied to the whole book, or to the first portion of it giving the name to the whole. If it be a collection of separate songs strung together, as some think) by mere resemblance in style and subject, then the words, "which is Solomon's" (לִשְל מוֹ אֲשֶׁר) apply to the first song alone. But the unity which is clearly to be traced through the book to the end makes it probable that the title is meant to ascribe the work to the authorship of Solomon. This is the opinion of the majority of critics. It must have come either from the wise king himself, or from some one of his contemporaries or immediate successors. The preposition is the lamedh auctoris. If the meaning were "referring to," another preposition (עַל) would have been employed. It has been remarked by Delitzsch that the absence of any description of Solomon as "King of Israel" or "son of David," as in Proverbs and Ecclesiastes, confirms the view that Solomon himself was the sole author. Some have argued against the authenticity of the title on the ground that the longer form of the relative, אֲשֶׁר, is used in it, whereas in the book itself the shorter form, שְׁ, is found, but no dependence, can be placed on that argument regarded by itself, for the same writer employs both forms, as e.g. Jeremiah, who uses the longer form in his prophecies and the shorter in Lamentations. The shorter form is, in fact, the elder, being Old Canaanitish or Phoenician, אשׁ, which is a lengthened form of שׁ, and afterwards became אֲשֶׁר. One writer, however Fleischer), holds that the relative pronoun as a substantive origin, and compares it with the Arabic ithe and the Assyrian asar, meaning "track" or "place," like the German welcher, which comes from wo. But whether this be so or not, it is certainly unsafe to date any book by the form found in it of the, relative pronoun. We know that in poetry the abbreviated form is common. It was probably a North Palestine provincialism, as we see in the Book of Kings. It became common in prose writings after the Captivity because of the degradation of Hebrew, but it was not unknown before that time either in prose or poetry. With regard to the exact description of the poetic form of the Song of Songs, the difference among critics is considerable, but the question is scarcely worth discussing. There undoubtedly is unity of conception in the songs which are brought together, but it cannot be of importance to prove that there is dramatic unity strictly speaking; there is no dramatic procedure, nor can we suppose that there is any ultimate aim at dramatic representation. But the Exposition which follows will suffice to show that there are facts of history in the background of the poem; if the suggestions of the language and scenery be followed, the facts are very beautiful and even romantic—the love of the great king for one of his own subjects, a lovely northern maiden, whose simplicity and purity of character are a great attraction and lend much force to the religious sentiment of the song. In 1Ki_5:12 we read that "the Lord gave Solomon wisdom, as he promised him." That divinely inspired wisdom enabled him, notwithstanding his own personal errors, to idealize and sanctify the lovely episode of his lifo which lies at the foundation of his poem. And the Church of God in every age has appreciated, more or less widely, the inspiration, both of matter and of form, which breathed in it. We are told that Solomon composed one thousand and five songs (1Ki_4:32); whether this is a part of that collection or not we cannot certainly say, but that it is a mere fasciculus, or collection of separate songs, strung together by their general erotic character, is what we cannot believe. No doubt, as Dr. Mason Good has observed, the Arabian poets were accustomed to arrange their poems in what they compared to a string of pearls, but we can scarcely carry such a fact into the Bible, and deal with sacred books as mere literary remains. There must be a deep religious meaning in such language, and it is in accordance with Eastern usage that amatory songs should be so employed. What the meaning is we must persistently ask, and however much has been wrongly said in the past, while we believe in the Divine authority of the Old Testament we must not renounce the endeavour to find the Song of Songs worthy of its title and its place.
Verse 2-2:7
Part I. MUTUAL LOVE. Song of Shulamith in the royal chambers. Chorus of ladies, daughters of Jerusalem.
The song of songs, which is Solomon's. This is certainly the title of the book which follows, although in our present Hebrew Bible it is the first verse of the book preceded by the shorter form, 'The Song of Songs.' The Septuagint has simply the title Ασμα, So that our English title in the Authorized Version, 'The Song of Solomon,' has no ancient authority. It is well altered in the Revised Version to 'The Song of Songs.' The word "song" (שִׁיר) does not necessarily convey the meaning. composed to be sung to music. If the performance of the words were chiefly in view, the word would have been מִוְמוֹר, carmen, "lyric poem," "hymn," or "ode." The Greek Ασμα ἀσμάτων, and the Latin of the Vulgate, Canticum canticorum, accord with the Hebrew in representing the work as taking a high place either in the esteem of the Church or, on account of the subject, in the esteem of the writer. Luther expresses the same idea in the title he attaches to it, 'Das Hohelied,' that is, the chief or finest of songs. The reference may be to the excellence of the literary form, but probably that which suggested the title was the supreme beauty of the love which prompted the songs. The title may be regarded as applied to the whole book, or to the first portion of it giving the name to the whole. If it be a collection of separate songs strung together, as some think) by mere resemblance in style and subject, then the words, "which is Solomon's" (לִשְל מוֹ אֲשֶׁר) apply to the first song alone. But the unity which is clearly to be traced through the book to the end makes it probable that the title is meant to ascribe the work to the authorship of Solomon. This is the opinion of the majority of critics. It must have come either from the wise king himself, or from some one of his contemporaries or immediate successors. The preposition is the lamedh auctoris. If the meaning were "referring to," another preposition (עַל) would have been employed. It has been remarked by Delitzsch that the absence of any description of Solomon as "King of Israel" or "son of David," as in Proverbs and Ecclesiastes, confirms the view that Solomon himself was the sole author. Some have argued against the authenticity of the title on the ground that the longer form of the relative, אֲשֶׁר, is used in it, whereas in the book itself the shorter form, שְׁ, is found, but no dependence, can be placed on that argument regarded by itself, for the same writer employs both forms, as e.g. Jeremiah, who uses the longer form in his prophecies and the shorter in Lamentations. The shorter form is, in fact, the elder, being Old Canaanitish or Phoenician, אשׁ, which is a lengthened form of שׁ, and afterwards became אֲשֶׁר. One writer, however Fleischer), holds that the relative pronoun as a substantive origin, and compares it with the Arabic ithe and the Assyrian asar, meaning "track" or "place," like the German welcher, which comes from wo. But whether this be so or not, it is certainly unsafe to date any book by the form found in it of the, relative pronoun. We know that in poetry the abbreviated form is common. It was probably a North Palestine provincialism, as we see in the Book of Kings. It became common in prose writings after the Captivity because of the degradation of Hebrew, but it was not unknown before that time either in prose or poetry. With regard to the exact description of the poetic form of the Song of Songs, the difference among critics is considerable, but the question is scarcely worth discussing. There undoubtedly is unity of conception in the songs which are brought together, but it cannot be of importance to prove that there is dramatic unity strictly speaking; there is no dramatic procedure, nor can we suppose that there is any ultimate aim at dramatic representation. But the Exposition which follows will suffice to show that there are facts of history in the background of the poem; if the suggestions of the language and scenery be followed, the facts are very beautiful and even romantic—the love of the great king for one of his own subjects, a lovely northern maiden, whose simplicity and purity of character are a great attraction and lend much force to the religious sentiment of the song. In 1Ki_5:12 we read that "the Lord gave Solomon wisdom, as he promised him." That divinely inspired wisdom enabled him, notwithstanding his own personal errors, to idealize and sanctify the lovely episode of his lifo which lies at the foundation of his poem. And the Church of God in every age has appreciated, more or less widely, the inspiration, both of matter and of form, which breathed in it. We are told that Solomon composed one thousand and five songs (1Ki_4:32); whether this is a part of that collection or not we cannot certainly say, but that it is a mere fasciculus, or collection of separate songs, strung together by their general erotic character, is what we cannot believe. No doubt, as Dr. Mason Good has observed, the Arabian poets were accustomed to arrange their poems in what they compared to a string of pearls, but we can scarcely carry such a fact into the Bible, and deal with sacred books as mere literary remains. There must be a deep religious meaning in such language, and it is in accordance with Eastern usage that amatory songs should be so employed. What the meaning is we must persistently ask, and however much has been wrongly said in the past, while we believe in the Divine authority of the Old Testament we must not renounce the endeavour to find the Song of Songs worthy of its title and its place.
Verse 2-2:7
Part I. MUTUAL LOVE. Song of Shulamith in the royal chambers. Chorus of ladies, daughters of Jerusalem.
The Bride's Desire for the Bridegroom
2Let him kiss me with the kisses of his mouth: for thy love is better than wine.
Jamieson-Fausset-Brown
2. him--abruptly. She names him not, as is natural to one whose heart is full of some much desired friend: so Mary Magdalene at the sepulchre (Joh 20:15), as if everyone must know whom she means, the one chief object of her desire (Psa 73:25; Mt 13:44-46; Php 3:7,8).
kiss--the token of peace from the Prince of Peace (Lu 15:20); "our Peace" (Psa 85:10; Col 1:21; Ep 2:14).
of his mouth--marking the tenderest affection. For a king to permit his hands, or even garment, to be kissed, was counted a great honor; but that he should himself kiss another with his mouth is the greatest honor. God had in times past spoken by the mouth of His prophets, who had declared the Church's betrothal; the bride now longs for contact with the mouth of the Bridegroom Himself (Job 23:12; Lu 4:22; He 1:1, 2). True of the Church before the first advent, longing for "the hope of Israel," "the desire of all nations"; also the awakened soul longing for the kiss of reconciliation; and further, the kiss that is the token of the marriage contract (Ho 2:19, 20), and of friendship (1Sa 20:41; Joh 14:21; 15:15).
thy love--Hebrew, "loves," namely, tokens of love, loving blandishments.
wine--which makes glad "the heavy heart" of one ready to perish, so that he "remembers his misery no more" (Pr 31:6, 7). So, in a "better" sense, Christ's love (Ha 3:17, 18). He gives the same praise to the bride's love, with the emphatic addition, "How much" (So 4:10). Wine was created by His first miracle (Joh 2:1-11), and was the pledge given of His love at the last supper. The spiritual wine is His blood and His spirit, the "new" and better wine of the kingdom (Mt 26:29), which we can never drink to "excess," as the other (Ep 5:18; compare Psa 23:5; Is 55:1).
2. him--abruptly. She names him not, as is natural to one whose heart is full of some much desired friend: so Mary Magdalene at the sepulchre (Joh 20:15), as if everyone must know whom she means, the one chief object of her desire (Psa 73:25; Mt 13:44-46; Php 3:7,8).
kiss--the token of peace from the Prince of Peace (Lu 15:20); "our Peace" (Psa 85:10; Col 1:21; Ep 2:14).
of his mouth--marking the tenderest affection. For a king to permit his hands, or even garment, to be kissed, was counted a great honor; but that he should himself kiss another with his mouth is the greatest honor. God had in times past spoken by the mouth of His prophets, who had declared the Church's betrothal; the bride now longs for contact with the mouth of the Bridegroom Himself (Job 23:12; Lu 4:22; He 1:1, 2). True of the Church before the first advent, longing for "the hope of Israel," "the desire of all nations"; also the awakened soul longing for the kiss of reconciliation; and further, the kiss that is the token of the marriage contract (Ho 2:19, 20), and of friendship (1Sa 20:41; Joh 14:21; 15:15).
thy love--Hebrew, "loves," namely, tokens of love, loving blandishments.
wine--which makes glad "the heavy heart" of one ready to perish, so that he "remembers his misery no more" (Pr 31:6, 7). So, in a "better" sense, Christ's love (Ha 3:17, 18). He gives the same praise to the bride's love, with the emphatic addition, "How much" (So 4:10). Wine was created by His first miracle (Joh 2:1-11), and was the pledge given of His love at the last supper. The spiritual wine is His blood and His spirit, the "new" and better wine of the kingdom (Mt 26:29), which we can never drink to "excess," as the other (Ep 5:18; compare Psa 23:5; Is 55:1).
The Pulpit Commentary
Let him kiss me with the kisses of his mouth: for thy love is better than wine. Whether we take these words as put in the lips of the bride herself, or of the chorus as identifying themselves with her, is of little consequence. It is certain that the idea intended to be expressed is that of delight in the approach of the royal bridegroom. The future is used optatively, "Let me be taken up into the closest fellowship and embrace." All attempts to dispense with the amatory phraseology are vain. The "kisses" must be interpreted in a figurative sense, or the sacred character of the whole book must be removed. The words may be rendered, with one of his kisses; i.e. the sweetness of his lips is such that one kiss would be rapture. Some have thought that allusion is intended to the custom among idolaters referred to in Job_31:27, "My mouth hath kissed my hand;" but the meaning is simply that of affection. The great majority of Christian commentators have regarded the words as expressive of desire towards God. Origen said, the Church of the old dispensation longing after higher revelations, as through the Incarnation, "How long shall he send me kisses by Moses and the prophets? I desire the touch of his own lips." It is dangerous to attempt specific applications of a metaphor. The general truth of it is all that need be admitted. If the relation between God and his people is one that can be set forth under the image of human affection, then there is no impropriety in the language of Solomon's Song. "To kiss a kiss" (נָשָׁק נְשִׁקָה) is the ordinary Hebraic form (cf. "to counsel a counsel"). Thy love is better than wine. The plural is used, "loves," as in the word "life" (חַיִים)—the abstract for the concrete, perhaps in order to indicate the manifestation of love in many caresses. The change from the third person to the second is common in poetry. The comparison with wine may be taken either as denoting sweetness or exhilarating effects. The intoxicating power of wine is but rarely referred to in Scripture, as the ordinary wine was distinguished from strong drink. Some, as Hitzig and Bottcher, would read יַשְׁקֵנִי, changing the pointing, and translating, "Let him give me to drink;" but there is no necessity for a reading so forced and vulgar. The Septuagint, altering the vowels of the word "love," turn it into "breasts," and must therefore have supposed it addressed to the bride. The word is connected with the Arabic, and runs through the languages, dodh (cf. Dada, Dido, David). Perhaps the reference to wine, as subsequently to the ointments, may be explained by the fact that the song is supposed to be sung while wine is presented in the chamber, and while the perfumes are poured out in preparation for the entrance of the royal bridegroom. We can scarcely doubt that the opening words are intended to be the utterance of loving desire on the part of the bride in the presence of the daughters of Jerusalem. Some have suggested that verses 1-8 are from a kind of responsive dialogue, but the view of the older interpreters and of Ewald, Hengstenberg, Weissbach, and others of the moderns, seems more correct, that all the first seven verses are in the mouth of Shulamith, and then verse 8 comes in naturally as a chorus in reply to the song of the bride. The use of the plural, "We will run after thee," etc; is easily explicable. The bride is surrounded by her admiring companions and attendants. They are congratulating her on the king's love. She speaks as from the midst of the company of ladies.
Let him kiss me with the kisses of his mouth: for thy love is better than wine. Whether we take these words as put in the lips of the bride herself, or of the chorus as identifying themselves with her, is of little consequence. It is certain that the idea intended to be expressed is that of delight in the approach of the royal bridegroom. The future is used optatively, "Let me be taken up into the closest fellowship and embrace." All attempts to dispense with the amatory phraseology are vain. The "kisses" must be interpreted in a figurative sense, or the sacred character of the whole book must be removed. The words may be rendered, with one of his kisses; i.e. the sweetness of his lips is such that one kiss would be rapture. Some have thought that allusion is intended to the custom among idolaters referred to in Job_31:27, "My mouth hath kissed my hand;" but the meaning is simply that of affection. The great majority of Christian commentators have regarded the words as expressive of desire towards God. Origen said, the Church of the old dispensation longing after higher revelations, as through the Incarnation, "How long shall he send me kisses by Moses and the prophets? I desire the touch of his own lips." It is dangerous to attempt specific applications of a metaphor. The general truth of it is all that need be admitted. If the relation between God and his people is one that can be set forth under the image of human affection, then there is no impropriety in the language of Solomon's Song. "To kiss a kiss" (נָשָׁק נְשִׁקָה) is the ordinary Hebraic form (cf. "to counsel a counsel"). Thy love is better than wine. The plural is used, "loves," as in the word "life" (חַיִים)—the abstract for the concrete, perhaps in order to indicate the manifestation of love in many caresses. The change from the third person to the second is common in poetry. The comparison with wine may be taken either as denoting sweetness or exhilarating effects. The intoxicating power of wine is but rarely referred to in Scripture, as the ordinary wine was distinguished from strong drink. Some, as Hitzig and Bottcher, would read יַשְׁקֵנִי, changing the pointing, and translating, "Let him give me to drink;" but there is no necessity for a reading so forced and vulgar. The Septuagint, altering the vowels of the word "love," turn it into "breasts," and must therefore have supposed it addressed to the bride. The word is connected with the Arabic, and runs through the languages, dodh (cf. Dada, Dido, David). Perhaps the reference to wine, as subsequently to the ointments, may be explained by the fact that the song is supposed to be sung while wine is presented in the chamber, and while the perfumes are poured out in preparation for the entrance of the royal bridegroom. We can scarcely doubt that the opening words are intended to be the utterance of loving desire on the part of the bride in the presence of the daughters of Jerusalem. Some have suggested that verses 1-8 are from a kind of responsive dialogue, but the view of the older interpreters and of Ewald, Hengstenberg, Weissbach, and others of the moderns, seems more correct, that all the first seven verses are in the mouth of Shulamith, and then verse 8 comes in naturally as a chorus in reply to the song of the bride. The use of the plural, "We will run after thee," etc; is easily explicable. The bride is surrounded by her admiring companions and attendants. They are congratulating her on the king's love. She speaks as from the midst of the company of ladies.
3Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.
Jamieson-Fausset-Brown
3. Rather, "As regards the savor of thy ointments, it is good" [Maurer]. In So 4:10, 11, the Bridegroom reciprocates the praise of the bride in the same terms.
thy name--Christ's character and office as the "Anointed" (Is 9:6; 61:1), as "the savor of ointments" are the graces that surround His person (Psa 45:7, 8). Ec 7:1, in its fullest sense, applies to Him. The holy anointing oil of the high priest, which it was death for anyone else to make (so Ac 4:12), implies the exclusive preciousness of Messiah's name (Ex 30:23-28, 31-38). So Mary brake the box of precious ointment over Him, appropriately (Mr 14:5), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (Col 1:19; 2:9); of sweet odor (Ep 5:2).
poured--(Is 53:12; Ro 5:5).
therefore--because of the manifestation of God's character in Christ (1Jo 4:9, 19). So the penitent woman (Lu 7:37, 38, 47).
virgins--the pure in heart (2Co 11:2; Re 14:4). The same Hebrew is translated, "thy hidden ones" (Psa 83:3). The "ointment" of the Spirit "poured forth" produces the "love of Christ" (Ro 5:5).
3. Rather, "As regards the savor of thy ointments, it is good" [Maurer]. In So 4:10, 11, the Bridegroom reciprocates the praise of the bride in the same terms.
thy name--Christ's character and office as the "Anointed" (Is 9:6; 61:1), as "the savor of ointments" are the graces that surround His person (Psa 45:7, 8). Ec 7:1, in its fullest sense, applies to Him. The holy anointing oil of the high priest, which it was death for anyone else to make (so Ac 4:12), implies the exclusive preciousness of Messiah's name (Ex 30:23-28, 31-38). So Mary brake the box of precious ointment over Him, appropriately (Mr 14:5), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (Col 1:19; 2:9); of sweet odor (Ep 5:2).
poured--(Is 53:12; Ro 5:5).
therefore--because of the manifestation of God's character in Christ (1Jo 4:9, 19). So the penitent woman (Lu 7:37, 38, 47).
virgins--the pure in heart (2Co 11:2; Re 14:4). The same Hebrew is translated, "thy hidden ones" (Psa 83:3). The "ointment" of the Spirit "poured forth" produces the "love of Christ" (Ro 5:5).
The Pulpit Commentary
Thine ointments have a goodly fragrance; thy name is as ointment poured forth; therefore do the virgins love thee. There is some slight difference among critics as to the rendering of this verse, but it does not affect the meaning. Lovely and delightful thou art. As thy perfumes are so precious, so is thy name; the more it is spread, the more delight is found in it. The idea is that the person is the sweetest, and that his communications are elevating and inspiring. The "virgins" may be taken generally, "Those who are full of the sensibility of youth appreciate thy attractions." The word almah is much disputed about, but the meaning is simply that of "young woman," whether virgin or married. "Thou art the delight of all the young." Mason Good renders the verse—
"Rich thy perfumes; but richer far than they
The countless charms that round thy person play;
Thy name alone, more fragrant than the rose,
Glads every maid, where'er its fragrance flows."
Thine ointments have a goodly fragrance; thy name is as ointment poured forth; therefore do the virgins love thee. There is some slight difference among critics as to the rendering of this verse, but it does not affect the meaning. Lovely and delightful thou art. As thy perfumes are so precious, so is thy name; the more it is spread, the more delight is found in it. The idea is that the person is the sweetest, and that his communications are elevating and inspiring. The "virgins" may be taken generally, "Those who are full of the sensibility of youth appreciate thy attractions." The word almah is much disputed about, but the meaning is simply that of "young woman," whether virgin or married. "Thou art the delight of all the young." Mason Good renders the verse—
"Rich thy perfumes; but richer far than they
The countless charms that round thy person play;
Thy name alone, more fragrant than the rose,
Glads every maid, where'er its fragrance flows."
4Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.
Jamieson-Fausset-Brown
4. (1) The cry of ancient Israel for Messiah, for example, Simeon, Anna, &c. (2) The cry of an awakened soul for the drawing of the Spirit, after it has got a glimpse of Christ's loveliness and its own helplessness.
Draw me--The Father draws (Joh 6:44). The Son draws (Jr 31:3; Ho 11:4; Joh 12:32). "Draw" here, and "Tell" (So 1:7), reverently qualify the word "kiss" (So 1:2).
me, we--No believer desires to go to heaven alone. We are converted as individuals; we follow Christ as joined in a communion of saints (Joh 1:41, 45). Individuality and community meet in the bride.
run--Her earnestness kindles as she prays (Is 40:31; Psa 119:32, 60).
after thee--not before (Joh 10:4).
king ... brought me into--(Psa 45:14, 15; Joh 10:16). He is the anointed Priest (So 1:3); King (So 1:4).
chambers--Her prayer is answered even beyond her desires. Not only is she permitted to run after Him, but is brought into the inmost pavilion, where Eastern kings admitted none but the most intimate friends (Es 4:11; 5:2; Psa 27:5). The erection of the temple of Solomon was the first bringing of the bride into permanent, instead of migratory, chambers of the King. Christ's body on earth was the next (Joh 2:21), whereby believers are brought within the veil (Ep 2:6; He 10:19, 20). Entrance into the closet for prayer is the first step. The earnest of the future bringing into heaven (Joh 14:3). His chambers are the bride's also (Is 26:20). There are various chambers, plural (Joh 14:2).
be glad and rejoice--inward and outward rejoicing.
in thee--(Is 61:10; Php 4:1, 4). Not in our spiritual frames (Psa 30:6, 7).
remember--rather, "commemorate with praises" (Is 63:7). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (Psa 4:6, 7).
upright--rather, "uprightly," "sincerely" (Psa 58:1; Ro 12:9); so Nathanael (Joh 1:47); Peter (Joh 21:17); or "deservedly" [Maurer].
4. (1) The cry of ancient Israel for Messiah, for example, Simeon, Anna, &c. (2) The cry of an awakened soul for the drawing of the Spirit, after it has got a glimpse of Christ's loveliness and its own helplessness.
Draw me--The Father draws (Joh 6:44). The Son draws (Jr 31:3; Ho 11:4; Joh 12:32). "Draw" here, and "Tell" (So 1:7), reverently qualify the word "kiss" (So 1:2).
me, we--No believer desires to go to heaven alone. We are converted as individuals; we follow Christ as joined in a communion of saints (Joh 1:41, 45). Individuality and community meet in the bride.
run--Her earnestness kindles as she prays (Is 40:31; Psa 119:32, 60).
after thee--not before (Joh 10:4).
king ... brought me into--(Psa 45:14, 15; Joh 10:16). He is the anointed Priest (So 1:3); King (So 1:4).
chambers--Her prayer is answered even beyond her desires. Not only is she permitted to run after Him, but is brought into the inmost pavilion, where Eastern kings admitted none but the most intimate friends (Es 4:11; 5:2; Psa 27:5). The erection of the temple of Solomon was the first bringing of the bride into permanent, instead of migratory, chambers of the King. Christ's body on earth was the next (Joh 2:21), whereby believers are brought within the veil (Ep 2:6; He 10:19, 20). Entrance into the closet for prayer is the first step. The earnest of the future bringing into heaven (Joh 14:3). His chambers are the bride's also (Is 26:20). There are various chambers, plural (Joh 14:2).
be glad and rejoice--inward and outward rejoicing.
in thee--(Is 61:10; Php 4:1, 4). Not in our spiritual frames (Psa 30:6, 7).
remember--rather, "commemorate with praises" (Is 63:7). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (Psa 4:6, 7).
upright--rather, "uprightly," "sincerely" (Psa 58:1; Ro 12:9); so Nathanael (Joh 1:47); Peter (Joh 21:17); or "deservedly" [Maurer].
The Pulpit Commentary
Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will make mention of thy love more than of wine: rightly do they love thee. This is best taken as all spoken by the bride. It is the language of the purest affection and adoring admiration. "I drew them," God says (Hos_11:4), "with cords of a man, with bands of love." "The Lord appeared of old unto me," says Jeremiah (Jer_31:3), "saying, Yea, I have loved thee with an everlasting love: therefore with loving kindness have I drawn thee." In the same sense the Greek word ἐλκυεῖν is used by our Lord himself of the Father drawing to the Son, and of the Son, uplifted on the cross, "drawing" all men unto him (cf. Joh_6:44; Joh_12:32). If the spiritual meaning of the whole poem is admitted, such language is quite natural. The king's chambers are the king's own rooms in the palace, i.e. his sleeping, rooms and sitting rooms—the penetralia regis. We may take the preterite as equivalent to the present; i.e. "The king is bringing me into closest fellowship with himself, not merely as a member of his household, but as his chosen bride." The concluding words have caused much discussion. The meaning, however, is the same whether we say, "The upright love thee," or "Thou art rightly loved." The intention is to set forth the object of love as perfect. The plural, מֵישָׁרִים, is used to signify the abstract of the word, thought, or act; i.e. "righteous," for "rightly" (cf. Psa_58:2; Psa_75:3); but the best critics think it could not be the abstract for the concrete plural, as in the Vulgate, Recti diligunt re. The same use of the word is seen in Son_7:9, "The best wine that teeth down smoothly for my beloved" (cf. Pro_23:31). Before going further in the song, it is well to observe how chaste, pure, and delicate is the language of love; and yet, as Delitzsch has pointed out, there is a mystical, cloudy brightness. We seem to be in the region of the ideal. It is not a mere love song, though it may have been the commemoration of an actual past. The Eastern form of the words may be less suited to our taste than it would be to those who first embraced Christianity, and to the nineteenth century than to the first; but the loving rapture of the Church in fellowship with the Saviour is certainly seeking a more vivid expression in song, and there are many of the most simple-minded and devoted Christians whose joy in Christ pours itself out freely in strains not much less fervid and almost as sensuous as anything to be found in Solomon's Song. Some are beginning to remonstrate against this freedom of devotional language, but the instinct of the Church seems to justify it as the demand of the heart under the influence of the Word of God itself. Perhaps there is a state of religious feeling coming into the experience of Christians which will remove the veil from such a book as the Song of Songs, and we shall yet find that its language is needful and is not extravagant.
Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will make mention of thy love more than of wine: rightly do they love thee. This is best taken as all spoken by the bride. It is the language of the purest affection and adoring admiration. "I drew them," God says (Hos_11:4), "with cords of a man, with bands of love." "The Lord appeared of old unto me," says Jeremiah (Jer_31:3), "saying, Yea, I have loved thee with an everlasting love: therefore with loving kindness have I drawn thee." In the same sense the Greek word ἐλκυεῖν is used by our Lord himself of the Father drawing to the Son, and of the Son, uplifted on the cross, "drawing" all men unto him (cf. Joh_6:44; Joh_12:32). If the spiritual meaning of the whole poem is admitted, such language is quite natural. The king's chambers are the king's own rooms in the palace, i.e. his sleeping, rooms and sitting rooms—the penetralia regis. We may take the preterite as equivalent to the present; i.e. "The king is bringing me into closest fellowship with himself, not merely as a member of his household, but as his chosen bride." The concluding words have caused much discussion. The meaning, however, is the same whether we say, "The upright love thee," or "Thou art rightly loved." The intention is to set forth the object of love as perfect. The plural, מֵישָׁרִים, is used to signify the abstract of the word, thought, or act; i.e. "righteous," for "rightly" (cf. Psa_58:2; Psa_75:3); but the best critics think it could not be the abstract for the concrete plural, as in the Vulgate, Recti diligunt re. The same use of the word is seen in Son_7:9, "The best wine that teeth down smoothly for my beloved" (cf. Pro_23:31). Before going further in the song, it is well to observe how chaste, pure, and delicate is the language of love; and yet, as Delitzsch has pointed out, there is a mystical, cloudy brightness. We seem to be in the region of the ideal. It is not a mere love song, though it may have been the commemoration of an actual past. The Eastern form of the words may be less suited to our taste than it would be to those who first embraced Christianity, and to the nineteenth century than to the first; but the loving rapture of the Church in fellowship with the Saviour is certainly seeking a more vivid expression in song, and there are many of the most simple-minded and devoted Christians whose joy in Christ pours itself out freely in strains not much less fervid and almost as sensuous as anything to be found in Solomon's Song. Some are beginning to remonstrate against this freedom of devotional language, but the instinct of the Church seems to justify it as the demand of the heart under the influence of the Word of God itself. Perhaps there is a state of religious feeling coming into the experience of Christians which will remove the veil from such a book as the Song of Songs, and we shall yet find that its language is needful and is not extravagant.
I Am Black, but Comely
5I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
Jamieson-Fausset-Brown
5. black--namely, "as the tents of Kedar," equivalent to blackness (Psa 120:5). She draws the image from the black goatskins with which the Scenite Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted with the splendid state tent in which the King was awaiting His bride according to Eastern custom); typifying the darkness of man's natural state. To feel this, and yet also feel one's self in Jesus Christ "comely as the curtains of Solomon," marks the believer (Ro 7:18, &c.; 8:1); 1Ti 1:15, "I am chief"; so she says not merely, "I was," but "I am"; still black in herself, but comely through His comeliness put upon her (Eze 16:14).
curtains--first, the hangings and veil in the temple of Solomon (Eze 16:10); then, also, the "fine linen which is the righteousness of saints" (Re 19:8), the white wedding garment provided by Jesus Christ (Is 61:10; Mt 22:11; 1Co 1:30; Col 1:28; 2:10; Re 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Is 60:3-7, &c.). As the vineyard at the close is transferred from the Jews, who had not kept their own, to the Gentiles, so the Gentiles are introduced at the commencement of the Song; for they were among the earliest enquirers after Jesus Christ (Mt 2:1-12): the wise men from the East (Arabia, or Kedar).
daughters of Jerusalem--professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (So 3:10, 11); so near to Jesus Christ as not to be unlikely to find Him (So 5:8); desirous to seek Him with her (So 6:1; compare So 6:13; 7:1, 5, 8). In So 7:8, 9, the bride's Beloved becomes their Beloved; not, however, of all of them (So 8:4; compare Lu 23:27, 28).
5. black--namely, "as the tents of Kedar," equivalent to blackness (Psa 120:5). She draws the image from the black goatskins with which the Scenite Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted with the splendid state tent in which the King was awaiting His bride according to Eastern custom); typifying the darkness of man's natural state. To feel this, and yet also feel one's self in Jesus Christ "comely as the curtains of Solomon," marks the believer (Ro 7:18, &c.; 8:1); 1Ti 1:15, "I am chief"; so she says not merely, "I was," but "I am"; still black in herself, but comely through His comeliness put upon her (Eze 16:14).
curtains--first, the hangings and veil in the temple of Solomon (Eze 16:10); then, also, the "fine linen which is the righteousness of saints" (Re 19:8), the white wedding garment provided by Jesus Christ (Is 61:10; Mt 22:11; 1Co 1:30; Col 1:28; 2:10; Re 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Is 60:3-7, &c.). As the vineyard at the close is transferred from the Jews, who had not kept their own, to the Gentiles, so the Gentiles are introduced at the commencement of the Song; for they were among the earliest enquirers after Jesus Christ (Mt 2:1-12): the wise men from the East (Arabia, or Kedar).
daughters of Jerusalem--professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (So 3:10, 11); so near to Jesus Christ as not to be unlikely to find Him (So 5:8); desirous to seek Him with her (So 6:1; compare So 6:13; 7:1, 5, 8). In So 7:8, 9, the bride's Beloved becomes their Beloved; not, however, of all of them (So 8:4; compare Lu 23:27, 28).
The Pulpit Commentary
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon. The word "black" (שְׁחוֹרָה) does not necessarily mean that the skin is black, but rather sunburnt, dark brown, as in Lam_4:8, where the same word signifies the livid or swarthy appearance of one who has suffered long from famine and wretchedness. There is certainly no reason to take the word as an argument for the bride being Pharaoh's daughter; but it points to what is confirmed by the rest of the poem—the rustic birth and northern blood of the bride. She has been living in the fields, and is browned with the ruddy health of a country life. The best explanation of the words is that they are drawn out by the fact that the bride is surrounded by her ladies. Some think that they look askance at her, or with indignation at the boldness of her words; but that is quite unnecessary, and would be inconsistent with the dignity of the bride. The country maiden feels the greatness of the honour, that she is chosen of the king, and with simple modesty, in the presence of courtly ladies around her, sets forth her claim. The simile is not uncommon in poetry, as in Theocritus and Virgil. Comely; i.e. attractive, agreeable. Kedar (whether from the Arabic, meaning "powerful," or from the Hebrew, "black") designates the tribes of the NorthArabian descendants of Ishmael (Gen_25:13; Isa_21:17), Kedareens, referred to by Pliny, and remaining in Arabia until the time of the Mohammedans. The Bedouin still calls his tent his "hair house;" it is covered with goat's-hair cloth, mostly black or grey. Whether the reference is to the colour of the goat's hair or to the tents being browned or blackened by the heat of the sun, we cannot doubt that the allusion is to the complexion, and the rest of the simile would then be applicable to the lovely shape and features of the maiden, the curtains of Solomon being the curtains of a pavilion, or pleasure tent, spread out like "a shining butterfly," i.e. the beautiful cloth or tapestry which formed the sides of the tent or the tent coverings, the clothing of the framework, or tent hangings (see Isa_54:2; Exo_26:36; 2Sa_7:1-29.; 1Ch_17:1, etc.). Egyptian hangings were particularly prized. The custom prevailed among Eastern monarchs of sojourning once in the year in some lovely rural district, and at such times their tents would be very magnificent. The LXX. has, ὡς δεῤῥείς Σολομὼν, "as the skins of Solomon;" but this is a mistake. The word is derived from a root "to tremble," i.e. "to glitter in the sun." Those who desire to find an allegorical interpretation think there is an evident allusion here to the sojourn of Israel in the wilderness, or the admission of the Gentiles into the covenant; but there is no reason for any such strain upon the meaning. The simile is merely poetical. The soul realizes its own acceptance before God, but ascribes that acceptance to his grace. "The bride, the Lamb's wife," sees the beauty of the Lord reflected in herself, and rejoices in her own attractions for his sake. There is no immodesty in the consciousness of merit so long as that merit is ascribed to him from whom it comes. There is often more pride in the assumption of humility than in the claim to be acknowledged. The same apostle who declared himself less than the least of all saints also maintained that he was not a whit behind the very chiefest apostles.
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon. The word "black" (שְׁחוֹרָה) does not necessarily mean that the skin is black, but rather sunburnt, dark brown, as in Lam_4:8, where the same word signifies the livid or swarthy appearance of one who has suffered long from famine and wretchedness. There is certainly no reason to take the word as an argument for the bride being Pharaoh's daughter; but it points to what is confirmed by the rest of the poem—the rustic birth and northern blood of the bride. She has been living in the fields, and is browned with the ruddy health of a country life. The best explanation of the words is that they are drawn out by the fact that the bride is surrounded by her ladies. Some think that they look askance at her, or with indignation at the boldness of her words; but that is quite unnecessary, and would be inconsistent with the dignity of the bride. The country maiden feels the greatness of the honour, that she is chosen of the king, and with simple modesty, in the presence of courtly ladies around her, sets forth her claim. The simile is not uncommon in poetry, as in Theocritus and Virgil. Comely; i.e. attractive, agreeable. Kedar (whether from the Arabic, meaning "powerful," or from the Hebrew, "black") designates the tribes of the NorthArabian descendants of Ishmael (Gen_25:13; Isa_21:17), Kedareens, referred to by Pliny, and remaining in Arabia until the time of the Mohammedans. The Bedouin still calls his tent his "hair house;" it is covered with goat's-hair cloth, mostly black or grey. Whether the reference is to the colour of the goat's hair or to the tents being browned or blackened by the heat of the sun, we cannot doubt that the allusion is to the complexion, and the rest of the simile would then be applicable to the lovely shape and features of the maiden, the curtains of Solomon being the curtains of a pavilion, or pleasure tent, spread out like "a shining butterfly," i.e. the beautiful cloth or tapestry which formed the sides of the tent or the tent coverings, the clothing of the framework, or tent hangings (see Isa_54:2; Exo_26:36; 2Sa_7:1-29.; 1Ch_17:1, etc.). Egyptian hangings were particularly prized. The custom prevailed among Eastern monarchs of sojourning once in the year in some lovely rural district, and at such times their tents would be very magnificent. The LXX. has, ὡς δεῤῥείς Σολομὼν, "as the skins of Solomon;" but this is a mistake. The word is derived from a root "to tremble," i.e. "to glitter in the sun." Those who desire to find an allegorical interpretation think there is an evident allusion here to the sojourn of Israel in the wilderness, or the admission of the Gentiles into the covenant; but there is no reason for any such strain upon the meaning. The simile is merely poetical. The soul realizes its own acceptance before God, but ascribes that acceptance to his grace. "The bride, the Lamb's wife," sees the beauty of the Lord reflected in herself, and rejoices in her own attractions for his sake. There is no immodesty in the consciousness of merit so long as that merit is ascribed to him from whom it comes. There is often more pride in the assumption of humility than in the claim to be acknowledged. The same apostle who declared himself less than the least of all saints also maintained that he was not a whit behind the very chiefest apostles.
6Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.
Jamieson-Fausset-Brown
6. She feels as if her blackness was so great as to be gazed at by all.
mother's children--(Mt 10:36). She is to forget "her own people and her father's house," that is, the worldly connections of her unregenerate state (Psa 45:10); they had maltreated her (Lu 15:15, 16). Children of the same mother, but not the same father [Maurer], (Joh 8:41-44). They made her a common keeper of vineyards, whereby the sun looked upon, that is, burnt her; thus she did "not keep her own" vineyard, that is, fair beauty. So the world, and the soul (Mt 16:26; Lu 9:25). The believer has to watch against the same danger (1Co 9:27). So he will be able, instead of the self-reproach here, to say as in So 8:12.
6. She feels as if her blackness was so great as to be gazed at by all.
mother's children--(Mt 10:36). She is to forget "her own people and her father's house," that is, the worldly connections of her unregenerate state (Psa 45:10); they had maltreated her (Lu 15:15, 16). Children of the same mother, but not the same father [Maurer], (Joh 8:41-44). They made her a common keeper of vineyards, whereby the sun looked upon, that is, burnt her; thus she did "not keep her own" vineyard, that is, fair beauty. So the world, and the soul (Mt 16:26; Lu 9:25). The believer has to watch against the same danger (1Co 9:27). So he will be able, instead of the self-reproach here, to say as in So 8:12.
The Pulpit Commentary
Look not upon me, because I am swarthy, because the sun hath scorched me. My mother's sons were incensed against me; they made me keeper of the vineyards; but mine own vineyard have I not kept. The meaning seems to be—Do not let the swarthiness of my complexion lower me in your eyes. Literally the words are, Do not see me that I am; i.e. do not regard me as being, because I am. There is no necessity to suppose any looks of the ladies to have suggested the words. They are the words of modest self-depreciation mingled with joyful sense of acceptance. It is difficult to render the Hebrew exactly. The word translated "swarthy" (shecharchoreh) is probably a diminutive from shechorah, which itself means "blackish;" so that the meaning is, "that my complexion is dark." The reference to the sun explains the word still further, as pointing, not to a difference of race, but to mere temporary effects of an outdoor life: "The sun has been playing with my complexion;" or, as the LXX. renders it, Παρέβλεψέ μὰ ὁ ἡλίος, "The sun has been gazing at me." So other Greek versions. Some, however, include the idea of burning or scorching, which is the literal meaning of the verb, though in Job_3:9 and Job_41:10 it is used in the sense of looking at or upon. The sun is the eye of the heavens (see 2Sa_12:11), and with delicate feeling it is spoken of here as feminine, the bride playfully alluding, perhaps, to the lady seen in the heavens preceding the ladies of the court in gazing on her beauty. It is difficult to explain with perfect satisfaction the next clause of the verse. Doubtless "mother's sons" is a poetical periphrasis for brothers—not "step-brothers," as some have said. Perhaps the mother was a widow, as no father is mentioned. The best explanation is that the bride is simply giving an account of herself, why she is so browned in the sun. The brothers, for some reason, had been incensed against her, possibly on account of her favour in the eyes of the king, but more probably for private, family reasons. They would not have her shutting herself up in the house to take care of her complexion; they would have her in the vineyards. In the word "keeper" (noterah instead of notzerah) we have an instance of the northern dialect—a kind of Platt-Hebrew—hardening the pronunciation. My own vineyard have I not kept no doubt refers simply and solely to her complexion, not to her virginity or character. She means—I was compelled by my brothers to go into the vineyards in the heat of the sun, and the consequence was, as you see, I have not been able to preserve the delicacy of my skin; I have been careless of my personal beauty. The sun has done its work. The reference helps us to recognize the historical background of the poem, and leads naturally to the use of the pastoral language which runs through the whole. The king is a shepherd, and his bride a shepherdess. Without straining the spiritual interpretation, we may yet discover in this beautiful candour and Simplicity of the bride the reflection of the soul's virtues in its joyful realization of Divine favour; but the true method of interpretation requires no minute, detailed adjustment of the language to spiritual facts, but rather seeks the meaning in the total impression of the poem.
Look not upon me, because I am swarthy, because the sun hath scorched me. My mother's sons were incensed against me; they made me keeper of the vineyards; but mine own vineyard have I not kept. The meaning seems to be—Do not let the swarthiness of my complexion lower me in your eyes. Literally the words are, Do not see me that I am; i.e. do not regard me as being, because I am. There is no necessity to suppose any looks of the ladies to have suggested the words. They are the words of modest self-depreciation mingled with joyful sense of acceptance. It is difficult to render the Hebrew exactly. The word translated "swarthy" (shecharchoreh) is probably a diminutive from shechorah, which itself means "blackish;" so that the meaning is, "that my complexion is dark." The reference to the sun explains the word still further, as pointing, not to a difference of race, but to mere temporary effects of an outdoor life: "The sun has been playing with my complexion;" or, as the LXX. renders it, Παρέβλεψέ μὰ ὁ ἡλίος, "The sun has been gazing at me." So other Greek versions. Some, however, include the idea of burning or scorching, which is the literal meaning of the verb, though in Job_3:9 and Job_41:10 it is used in the sense of looking at or upon. The sun is the eye of the heavens (see 2Sa_12:11), and with delicate feeling it is spoken of here as feminine, the bride playfully alluding, perhaps, to the lady seen in the heavens preceding the ladies of the court in gazing on her beauty. It is difficult to explain with perfect satisfaction the next clause of the verse. Doubtless "mother's sons" is a poetical periphrasis for brothers—not "step-brothers," as some have said. Perhaps the mother was a widow, as no father is mentioned. The best explanation is that the bride is simply giving an account of herself, why she is so browned in the sun. The brothers, for some reason, had been incensed against her, possibly on account of her favour in the eyes of the king, but more probably for private, family reasons. They would not have her shutting herself up in the house to take care of her complexion; they would have her in the vineyards. In the word "keeper" (noterah instead of notzerah) we have an instance of the northern dialect—a kind of Platt-Hebrew—hardening the pronunciation. My own vineyard have I not kept no doubt refers simply and solely to her complexion, not to her virginity or character. She means—I was compelled by my brothers to go into the vineyards in the heat of the sun, and the consequence was, as you see, I have not been able to preserve the delicacy of my skin; I have been careless of my personal beauty. The sun has done its work. The reference helps us to recognize the historical background of the poem, and leads naturally to the use of the pastoral language which runs through the whole. The king is a shepherd, and his bride a shepherdess. Without straining the spiritual interpretation, we may yet discover in this beautiful candour and Simplicity of the bride the reflection of the soul's virtues in its joyful realization of Divine favour; but the true method of interpretation requires no minute, detailed adjustment of the language to spiritual facts, but rather seeks the meaning in the total impression of the poem.
7Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?
Jamieson-Fausset-Brown
7. my soul loveth--more intense than "the virgins" and "the upright love thee" (So 1:3, 4; Mt 22:37). To carry out the design of the allegory, the royal encampment is here represented as moving from place to place, in search of green pastures, under the Shepherd King (Psa 23:1-6). The bride, having first enjoyed communion with him in the pavilion, is willing to follow Him into labors and dangers; arising from all absorbing love (Lu 14:26); this distinguishes her from the formalist (Joh 10:27; Re 14:4).
feedest--tendest thy flock (Is 40:11; He 13:20; 1Pe 2:25; 5:4; Re 7:17). No single type expresses all the office of Jesus Christ; hence arises the variety of diverse images used to portray the manifold aspects of Him: these would be quite incongruous, if the Song referred to the earthly Solomon. Her intercourse with Him is peculiar. She hears His voice, and addresses none but Himself. Yet it is through a veil; she sees Him not (Job 23:8, 9). If we would be fed, we must follow the Shepherd through the whole breadth of His Word, and not stay on one spot alone.
makest ... to rest--distinct from "feedest"; periods of rest are vouchsafed after labor (Is 4:6; 49:10; Eze 34:13-15). Communion in private must go along with public following of Him.
turneth aside--rather one veiled, that is, as a harlot, not His true bride (Ge 38:15), [Gesenius]; or as a mourner (2Sa 15:30), [Weiss]; or as one unknown [Maurer]. All imply estrangement from the Bridegroom. She feels estranged even among Christ's true servants, answering to "thy companions" (Lu 22:28), so long as she has not Himself present. The opposite spirit to 1Co 3:4.
7. my soul loveth--more intense than "the virgins" and "the upright love thee" (So 1:3, 4; Mt 22:37). To carry out the design of the allegory, the royal encampment is here represented as moving from place to place, in search of green pastures, under the Shepherd King (Psa 23:1-6). The bride, having first enjoyed communion with him in the pavilion, is willing to follow Him into labors and dangers; arising from all absorbing love (Lu 14:26); this distinguishes her from the formalist (Joh 10:27; Re 14:4).
feedest--tendest thy flock (Is 40:11; He 13:20; 1Pe 2:25; 5:4; Re 7:17). No single type expresses all the office of Jesus Christ; hence arises the variety of diverse images used to portray the manifold aspects of Him: these would be quite incongruous, if the Song referred to the earthly Solomon. Her intercourse with Him is peculiar. She hears His voice, and addresses none but Himself. Yet it is through a veil; she sees Him not (Job 23:8, 9). If we would be fed, we must follow the Shepherd through the whole breadth of His Word, and not stay on one spot alone.
makest ... to rest--distinct from "feedest"; periods of rest are vouchsafed after labor (Is 4:6; 49:10; Eze 34:13-15). Communion in private must go along with public following of Him.
turneth aside--rather one veiled, that is, as a harlot, not His true bride (Ge 38:15), [Gesenius]; or as a mourner (2Sa 15:30), [Weiss]; or as one unknown [Maurer]. All imply estrangement from the Bridegroom. She feels estranged even among Christ's true servants, answering to "thy companions" (Lu 22:28), so long as she has not Himself present. The opposite spirit to 1Co 3:4.
The Pulpit Commentary
Tell me, O thou whom my soul loveth, where thou feedest thy flock, where thou makest it to rest at noon: for why should I he as one that is veiled beside the flock of thy companions? These words carry on the associations suggested by the previous verse. The bride is longing for the bridegroom; but she cannot think of him yet in any other light than as a companion of her simple country life—he is a shepherd, and she a shepherdess. "Take me into closer fellowship with thyself; let me not remain still only one amongst the many." Perhaps there is intended to be an allusion to the common metaphor—the king as the shepherd and the people as his flock; but the uppermost thought of the bride is separation unto her husband. The soul which longs for the enjoyment of fellowship with God desires to be carried away out of all distractions, out of all restraints, lifted above reserve and above doubt into the closest and most loving union. The idea of the veil may be either the veil of mourning or the veil of modesty and reserve. Probably the latter is the true reference. The LXX. has, ὡς περιβαλλομένη. There is some difference of opinion among critics. Ewald thinks it refers to strangeness—"like one unknown," and therefore veiled; Gesenius says, "one fainting;" others connect the word with the root "to roam," "to wander" (see Isa_22:17), which is confirmed by Symmachus, the Vulgate, the Syriac, the Chaldee, Jerome, Venetian, and Luther. The simplest explanation is that the bride compares herself, in her absence from her lord, among the ladies of the court, to a veiled woman travelling beside the flocks of the shepherds, seeking her friend, but not yet brought to him.
Tell me, O thou whom my soul loveth, where thou feedest thy flock, where thou makest it to rest at noon: for why should I he as one that is veiled beside the flock of thy companions? These words carry on the associations suggested by the previous verse. The bride is longing for the bridegroom; but she cannot think of him yet in any other light than as a companion of her simple country life—he is a shepherd, and she a shepherdess. "Take me into closer fellowship with thyself; let me not remain still only one amongst the many." Perhaps there is intended to be an allusion to the common metaphor—the king as the shepherd and the people as his flock; but the uppermost thought of the bride is separation unto her husband. The soul which longs for the enjoyment of fellowship with God desires to be carried away out of all distractions, out of all restraints, lifted above reserve and above doubt into the closest and most loving union. The idea of the veil may be either the veil of mourning or the veil of modesty and reserve. Probably the latter is the true reference. The LXX. has, ὡς περιβαλλομένη. There is some difference of opinion among critics. Ewald thinks it refers to strangeness—"like one unknown," and therefore veiled; Gesenius says, "one fainting;" others connect the word with the root "to roam," "to wander" (see Isa_22:17), which is confirmed by Symmachus, the Vulgate, the Syriac, the Chaldee, Jerome, Venetian, and Luther. The simplest explanation is that the bride compares herself, in her absence from her lord, among the ladies of the court, to a veiled woman travelling beside the flocks of the shepherds, seeking her friend, but not yet brought to him.
The Bridegroom's Answer
8If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds’ tents.
Jamieson-Fausset-Brown
8. If--she ought to have known (Joh 14:8, 9). The confession of her ignorance and blackness (So 1:5) leads Him to call her "fairest" (Mt 12:20). Her jealousy of letting even "His companions" take the place of Himself (So 1:7) led her too far. He directs her to follow them, as they follow Him (1Co 11:1; He 6:10, 12); to use ordinances and the ministry; where they are, He is (Jr 6:16; Mt 18:19, 20; He 10:25). Indulging in isolation is not the way to find Him. It was thus, literally, that Zipporah found her bridegroom (Ex 2:16). The bride unhesitatingly asks the watchmen afterwards (So 3:3).
kids--(Joh 21:15). Christ is to be found in active ministrations, as well as in prayer (Pr 11:25).
shepherds' tents--ministers in the sanctuary (Psa 84:1).
8. If--she ought to have known (Joh 14:8, 9). The confession of her ignorance and blackness (So 1:5) leads Him to call her "fairest" (Mt 12:20). Her jealousy of letting even "His companions" take the place of Himself (So 1:7) led her too far. He directs her to follow them, as they follow Him (1Co 11:1; He 6:10, 12); to use ordinances and the ministry; where they are, He is (Jr 6:16; Mt 18:19, 20; He 10:25). Indulging in isolation is not the way to find Him. It was thus, literally, that Zipporah found her bridegroom (Ex 2:16). The bride unhesitatingly asks the watchmen afterwards (So 3:3).
kids--(Joh 21:15). Christ is to be found in active ministrations, as well as in prayer (Pr 11:25).
shepherds' tents--ministers in the sanctuary (Psa 84:1).
The Pulpit Commentary
(Chorus of ladies.) If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents. That another voice is here introduced there can be no doubt; and as it is not like the voice of the bridegroom himself, which is heard in the next verse, we must suppose it to be the chorus of attendant ladies. Delitzsch suggests very plausibly that they are pleasantly chiding the simplicity of the country maiden, and telling her that, if she cannot understand her position, she had better return to her country life. In that case, "if thou know not" would mean—If thou canst not rise up to thy privilege; the knowledge referred to being general knowledge or wisdom. The delicate irony is well expressed, as in the reference to the kids—"feed thy kids," like a child as thou art. But there may be no intentional irony in the words; rather a playful and sympathetic response to the beautiful simplicity of the bride—If thou art waiting to be brought to thy beloved, if thou art seeking thy shepherd, thou most lovely woman, then go quietly on thy way, like a shepherdess tending the kids beside the shepherds' tents; follow the peaceful footsteps of the flock, and in due time the beloved one will appear. This is better than to suppose the ladies presuming to indulge in irony when they must know that Shulamith is the king's favourite. Besides, the first scene of the poem, which is a kind of introduction, thus ends appropriately with an invitation to peaceful waiting for love. We are prepared for the entrance of the beloved one. The spiritual meaning is simple and clear—Those that would be lifted up into the highest enjoyments of religion must not be impatient and doubt that the Lord will reveal himself, but go quietly and patiently on with the work of life, "in the footsteps of the flock," in fellowship with humble souls, and in the paths of peace, in the green pastures and beside the still waters, ready to do anything assigned them, and the time of rejoicing and rapture will come.
(Chorus of ladies.) If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents. That another voice is here introduced there can be no doubt; and as it is not like the voice of the bridegroom himself, which is heard in the next verse, we must suppose it to be the chorus of attendant ladies. Delitzsch suggests very plausibly that they are pleasantly chiding the simplicity of the country maiden, and telling her that, if she cannot understand her position, she had better return to her country life. In that case, "if thou know not" would mean—If thou canst not rise up to thy privilege; the knowledge referred to being general knowledge or wisdom. The delicate irony is well expressed, as in the reference to the kids—"feed thy kids," like a child as thou art. But there may be no intentional irony in the words; rather a playful and sympathetic response to the beautiful simplicity of the bride—If thou art waiting to be brought to thy beloved, if thou art seeking thy shepherd, thou most lovely woman, then go quietly on thy way, like a shepherdess tending the kids beside the shepherds' tents; follow the peaceful footsteps of the flock, and in due time the beloved one will appear. This is better than to suppose the ladies presuming to indulge in irony when they must know that Shulamith is the king's favourite. Besides, the first scene of the poem, which is a kind of introduction, thus ends appropriately with an invitation to peaceful waiting for love. We are prepared for the entrance of the beloved one. The spiritual meaning is simple and clear—Those that would be lifted up into the highest enjoyments of religion must not be impatient and doubt that the Lord will reveal himself, but go quietly and patiently on with the work of life, "in the footsteps of the flock," in fellowship with humble souls, and in the paths of peace, in the green pastures and beside the still waters, ready to do anything assigned them, and the time of rejoicing and rapture will come.
9I have compared thee, O my love, to a company of horses in Pharaoh’s chariots.
Jamieson-Fausset-Brown
9. horses in Pharaoh's chariots--celebrated for beauty, swiftness, and ardor, at the Red Sea (Ex 14:15). These qualities, which seem to belong to the ungodly, really belong to the saints [Moody Stuart]. The allusion may be to the horses brought at a high price by Solomon out of Egypt (2Ch 1:16, 17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (Is 51:1; 1Pe 1:18, 19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (So 1:5; 3:6, 7); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (So 1:4) "run"; (So 1:5) "comely." Also, like Pharaoh's horses, she forms a great company (Re 19:7, 14). As Jesus Christ is both Shepherd and Conqueror, so believers are not only His sheep, but also, as a Church militant now, His chariots and horses (So 6:4).
9. horses in Pharaoh's chariots--celebrated for beauty, swiftness, and ardor, at the Red Sea (Ex 14:15). These qualities, which seem to belong to the ungodly, really belong to the saints [Moody Stuart]. The allusion may be to the horses brought at a high price by Solomon out of Egypt (2Ch 1:16, 17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (Is 51:1; 1Pe 1:18, 19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (So 1:5; 3:6, 7); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (So 1:4) "run"; (So 1:5) "comely." Also, like Pharaoh's horses, she forms a great company (Re 19:7, 14). As Jesus Christ is both Shepherd and Conqueror, so believers are not only His sheep, but also, as a Church militant now, His chariots and horses (So 6:4).
The Pulpit Commentary
(Entrance of the bridegroom.) I have compared thee, O my love, to a steed in Pharaoh's chariots. There can be no reasonable doubt that these words are put into the mouth of the king. The "steed" is in the feminine (סוּסָה); some would point the word with the plural vowels, that is, "to my horses," or a "body of horses." There is no necessity for that. The reference to a particular very lovely mare is more apt and pointed. In 1Ki_10:26 we read in the LXX. Version of τεσσάρες χιλίαδες θηλειαὶ ἵπποι, which Solomon had for his chariots—fourteen hundred war chariots and twelve thousand horsemen. The Pharaoh chariots were those which the king had imported from Egypt (1Ki_10:28, 1Ki_10:29; 2Ch_9:28). It may be that the reference is to the splendid decoration of the trappings. Delitzsch very rightly sees in such a figure a confirmation of the view that Solomon himself was the author. The horses from Egypt were famed at that time as those of Arabia became afterwards. The names both of horses and chariots in the Egyptian language were borrowed from the Semitic, as they were probably first imported into Egypt by the Hyksos, or shepherd kings. Other examples of the same comparison are found in poetry, as in Horace, Anacreon, and Theocritus. In the last ('Idyl.,' 18.30, 31) occur the following lines, rendered into English verse:—
"As towers the cypress 'mid the garden's bloom,
As in the chariot proud Thessalian steed,
Thus graceful, rose-complexioned Helen moves."
The idea is that of stately beauty and graceful movements. The old commentators see the Divine love of espousals (Jer_2:2), as in the wilderness of the Exodus, and afterwards in the wilderness of the world. The Bible is full of the expression of Divine tenderness and regard for man.
Son_1:10, Son_1:11
Thy cheeks are comely with plaits of hair, thy neck with strings of jewels. We will make thee plaits of gold with studs of silver. This language may be suggested by the comparison first employed—the trappings of the horse. "The head frame of the horse's bridle and the poitral were then certainly, just as now, adorned with silken tassels, fringes, and other ornaments of silver. Torim, 'round ornaments,' which hang down in front on both sides of the headband or are also inwoven in the braids of hair in the forehead." The strings of jewels were necklaces—three rows of pearls. The ornamentation is, however, quite in accordance with female dress. The king makes the promise of gold and silver decoration as an expression of his personal delight in his bride and acceptance of her. Gold and silver were closely connected; hence silver was called, in the Old Egyptian language, "white gold." The idea seems to be that of silver points sprinkled over golden knobs. Compare the description in 'Faust' of Margaret's delight in the casket she finds in her room. The LXX. and Vulgate have mistaken the word torim for a similar word for "doves," taking the simile to be the beautiful colours of the dove's neck. The bride does not seem to reply immediately to the king; but we may suppose that the king takes his bride by the hand, and leads her into the banqueting chamber. But the next three verses, which are certainly in the lips of the bride, may be taken as her expression of delight in her husband, either while he feasts in the banquet or when it is over. The banquet is a familiar emblem of the delight of mutual love. Hence the feasts of love in the primitive Church were regarded, not only as seasons of fellowship between Christians, but times of rejoicing, when the soul entered into the full appreciation of the Saviour's presence.
(Entrance of the bridegroom.) I have compared thee, O my love, to a steed in Pharaoh's chariots. There can be no reasonable doubt that these words are put into the mouth of the king. The "steed" is in the feminine (סוּסָה); some would point the word with the plural vowels, that is, "to my horses," or a "body of horses." There is no necessity for that. The reference to a particular very lovely mare is more apt and pointed. In 1Ki_10:26 we read in the LXX. Version of τεσσάρες χιλίαδες θηλειαὶ ἵπποι, which Solomon had for his chariots—fourteen hundred war chariots and twelve thousand horsemen. The Pharaoh chariots were those which the king had imported from Egypt (1Ki_10:28, 1Ki_10:29; 2Ch_9:28). It may be that the reference is to the splendid decoration of the trappings. Delitzsch very rightly sees in such a figure a confirmation of the view that Solomon himself was the author. The horses from Egypt were famed at that time as those of Arabia became afterwards. The names both of horses and chariots in the Egyptian language were borrowed from the Semitic, as they were probably first imported into Egypt by the Hyksos, or shepherd kings. Other examples of the same comparison are found in poetry, as in Horace, Anacreon, and Theocritus. In the last ('Idyl.,' 18.30, 31) occur the following lines, rendered into English verse:—
"As towers the cypress 'mid the garden's bloom,
As in the chariot proud Thessalian steed,
Thus graceful, rose-complexioned Helen moves."
The idea is that of stately beauty and graceful movements. The old commentators see the Divine love of espousals (Jer_2:2), as in the wilderness of the Exodus, and afterwards in the wilderness of the world. The Bible is full of the expression of Divine tenderness and regard for man.
Son_1:10, Son_1:11
Thy cheeks are comely with plaits of hair, thy neck with strings of jewels. We will make thee plaits of gold with studs of silver. This language may be suggested by the comparison first employed—the trappings of the horse. "The head frame of the horse's bridle and the poitral were then certainly, just as now, adorned with silken tassels, fringes, and other ornaments of silver. Torim, 'round ornaments,' which hang down in front on both sides of the headband or are also inwoven in the braids of hair in the forehead." The strings of jewels were necklaces—three rows of pearls. The ornamentation is, however, quite in accordance with female dress. The king makes the promise of gold and silver decoration as an expression of his personal delight in his bride and acceptance of her. Gold and silver were closely connected; hence silver was called, in the Old Egyptian language, "white gold." The idea seems to be that of silver points sprinkled over golden knobs. Compare the description in 'Faust' of Margaret's delight in the casket she finds in her room. The LXX. and Vulgate have mistaken the word torim for a similar word for "doves," taking the simile to be the beautiful colours of the dove's neck. The bride does not seem to reply immediately to the king; but we may suppose that the king takes his bride by the hand, and leads her into the banqueting chamber. But the next three verses, which are certainly in the lips of the bride, may be taken as her expression of delight in her husband, either while he feasts in the banquet or when it is over. The banquet is a familiar emblem of the delight of mutual love. Hence the feasts of love in the primitive Church were regarded, not only as seasons of fellowship between Christians, but times of rejoicing, when the soul entered into the full appreciation of the Saviour's presence.
10Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
Jamieson-Fausset-Brown
10. rows of jewels--(Eze 16:11-13). Olerius says, Persian ladies wear two or three rows of pearls round the head, beginning on the forehead and descending down to the cheeks and under the chin, so that their faces seem to be set in pearls (Eze 16:11). The comparison of the horses (So 1:9) implies the vital energy of the bride; this verse, her superadded graces (Pr 1:9; 4:9; 1Ti 2:9; 2Pe 1:5).
10. rows of jewels--(Eze 16:11-13). Olerius says, Persian ladies wear two or three rows of pearls round the head, beginning on the forehead and descending down to the cheeks and under the chin, so that their faces seem to be set in pearls (Eze 16:11). The comparison of the horses (So 1:9) implies the vital energy of the bride; this verse, her superadded graces (Pr 1:9; 4:9; 1Ti 2:9; 2Pe 1:5).
11We will make thee borders of gold with studs of silver.
Jamieson-Fausset-Brown
11. We--the Trinity implied by the Holy Ghost, whether it was so by the writer of the Song or not (Ge 1:26; Pr 8:30; 30:4). "The Jews acknowledged God as king, and Messiah as king, in interpreting the Song, but did not know that these two are one" [Leighton].
make--not merely give (Ep 2:10).
borders of gold, with studs of silver--that is, "spots of silver"--Jesus Christ delights to give more "to him that hath" (Mt 25:29). He crowns His own work in us (Is 26:12). The "borders" here are equivalent to "rows" (So 1:10); but here, the King seems to give the finish to her attire, by adding a crown (borders, or circles) of gold studded with silver spots, as in Es 2:17. Both the royal and nuptial crown, or chaplet. The Hebrew for "spouse" (So 4:8) is a crowned one (Eze 16:12; Re 2:10). The crown is given at once upon conversion, in title, but in sensible possession afterwards (2Ti 4:8).
11. We--the Trinity implied by the Holy Ghost, whether it was so by the writer of the Song or not (Ge 1:26; Pr 8:30; 30:4). "The Jews acknowledged God as king, and Messiah as king, in interpreting the Song, but did not know that these two are one" [Leighton].
make--not merely give (Ep 2:10).
borders of gold, with studs of silver--that is, "spots of silver"--Jesus Christ delights to give more "to him that hath" (Mt 25:29). He crowns His own work in us (Is 26:12). The "borders" here are equivalent to "rows" (So 1:10); but here, the King seems to give the finish to her attire, by adding a crown (borders, or circles) of gold studded with silver spots, as in Es 2:17. Both the royal and nuptial crown, or chaplet. The Hebrew for "spouse" (So 4:8) is a crowned one (Eze 16:12; Re 2:10). The crown is given at once upon conversion, in title, but in sensible possession afterwards (2Ti 4:8).
The Bride's Delight in the King
12While the king sitteth at his table, my spikenard sendeth forth the smell thereof.
Jamieson-Fausset-Brown
12. While--It is the presence of the Sun of Righteousness that draws out the believer's odors of grace. It was the sight of Him at table that caused the two women to bring forth their ointments for Him (Lu 7:37, 38; Joh 12:3; 2Co 2:15). Historically fulfilled (Mt 2:11); spiritually (Re 3:20); and in church worship (Mt 18:20); and at the Lord's Supper especially, for here public communion with Him at table amidst His friends is spoken of, as So 1:4 refers to private communion (1Co 10:16, 21); typically (Ex 24:9-11); the future perfect fulfilment (Lu 22:30; Re 19:9). The allegory supposes the King to have stopped in His movements and to be seated with His friends on the divan. What grace that a table should be prepared for us, while still militant (Psa 23:5)!
my spikenard--not boasting, but owning the Lord's grace to and in her. The spikenard is a lowly herb, the emblem of humility. She rejoices that He is well pleased with her graces, His own work (Php 4:18).
12. While--It is the presence of the Sun of Righteousness that draws out the believer's odors of grace. It was the sight of Him at table that caused the two women to bring forth their ointments for Him (Lu 7:37, 38; Joh 12:3; 2Co 2:15). Historically fulfilled (Mt 2:11); spiritually (Re 3:20); and in church worship (Mt 18:20); and at the Lord's Supper especially, for here public communion with Him at table amidst His friends is spoken of, as So 1:4 refers to private communion (1Co 10:16, 21); typically (Ex 24:9-11); the future perfect fulfilment (Lu 22:30; Re 19:9). The allegory supposes the King to have stopped in His movements and to be seated with His friends on the divan. What grace that a table should be prepared for us, while still militant (Psa 23:5)!
my spikenard--not boasting, but owning the Lord's grace to and in her. The spikenard is a lowly herb, the emblem of humility. She rejoices that He is well pleased with her graces, His own work (Php 4:18).
13A bundle of myrrh is my well-beloved unto me; he shall lie all night betwixt my breasts.
Jamieson-Fausset-Brown
13. bundle of myrrh--abundant preciousness (Greek), (1Pe 2:7). Even a little myrrh was costly; much more a bundle (Col 2:9). Burrowes takes it of a scent-box filled with liquid myrrh; the liquid obtained by incision gave the tree its chief value.
he--rather, "it"; it is the myrrh that lies in the bosom, as the cluster of camphire is in the vineyards (So 1:14).
all night--an undivided heart (Ep 3:17; contrast Jr 4:14; Eze 16:15, 30). Yet on account of the everlasting covenant, God restores the adulteress (Eze 16:60, 62; Ho 2:2, &c.). The night is the whole present dispensation till the everlasting day dawns (Ro 13:12). Also, literally, "night" (Psa 119:147, 148), the night of affliction (Psa 42:8).
13. bundle of myrrh--abundant preciousness (Greek), (1Pe 2:7). Even a little myrrh was costly; much more a bundle (Col 2:9). Burrowes takes it of a scent-box filled with liquid myrrh; the liquid obtained by incision gave the tree its chief value.
he--rather, "it"; it is the myrrh that lies in the bosom, as the cluster of camphire is in the vineyards (So 1:14).
all night--an undivided heart (Ep 3:17; contrast Jr 4:14; Eze 16:15, 30). Yet on account of the everlasting covenant, God restores the adulteress (Eze 16:60, 62; Ho 2:2, &c.). The night is the whole present dispensation till the everlasting day dawns (Ro 13:12). Also, literally, "night" (Psa 119:147, 148), the night of affliction (Psa 42:8).
14My beloved is unto me as a cluster of camphire in the vineyards of Engedi.
Jamieson-Fausset-Brown
14. cluster--Jesus Christ is one, yet manifold in His graces.
camphire--or, "cypress." The "hennah" is meant, whose odorous flowers grow in clusters, of a color white and yellow softly blended; its bark is dark, the foliage light green. Women deck their persons with them. The loveliness of Jesus Christ.
vineyards--appropriate in respect to Him who is "the vine." The spikenard was for the banquet (So 1:12); the myrrh was in her bosom continually (So 1:13); the camphire is in the midst of natural beauties, which, though lovely, are eclipsed by the one cluster, Jesus Christ, pre-eminent above them all.
En-gedi--in South Palestine, near the Dead Sea (Jos 15:62; Eze 47:10), famed for aromatic shrubs.
14. cluster--Jesus Christ is one, yet manifold in His graces.
camphire--or, "cypress." The "hennah" is meant, whose odorous flowers grow in clusters, of a color white and yellow softly blended; its bark is dark, the foliage light green. Women deck their persons with them. The loveliness of Jesus Christ.
vineyards--appropriate in respect to Him who is "the vine." The spikenard was for the banquet (So 1:12); the myrrh was in her bosom continually (So 1:13); the camphire is in the midst of natural beauties, which, though lovely, are eclipsed by the one cluster, Jesus Christ, pre-eminent above them all.
En-gedi--in South Palestine, near the Dead Sea (Jos 15:62; Eze 47:10), famed for aromatic shrubs.
15Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes.
Jamieson-Fausset-Brown
15. fair--He discerns beauty in her, who had said, "I am black" (So 1:5), because of the everlasting covenant (Psa 45:11; Is 62:5; Ep 1:4,5).
doves' eyes--large and beautiful in the doves of Syria. The prominent features of her beauty (Mt 10:16), gentleness, innocence, and constant love, emblem of the Holy Ghost, who changes us to His own likeness (Ge 8:10, 11; Mt 3:16). The opposite kind of eyes (Psa 101:5; Mt 20:15; 2Pe 2:14).
15. fair--He discerns beauty in her, who had said, "I am black" (So 1:5), because of the everlasting covenant (Psa 45:11; Is 62:5; Ep 1:4,5).
doves' eyes--large and beautiful in the doves of Syria. The prominent features of her beauty (Mt 10:16), gentleness, innocence, and constant love, emblem of the Holy Ghost, who changes us to His own likeness (Ge 8:10, 11; Mt 3:16). The opposite kind of eyes (Psa 101:5; Mt 20:15; 2Pe 2:14).
The Pulpit Commentary
While the king sat (or, sits) at his table, my spikenard sent (sends) forth its fragrance. My beloved is unto me as a bundle of myrrh, that lieth betwixt my breasts. My beloved is unto me as a cluster of henna flowers in the vineyards of Engedi. The preterite is best taken poetically for the present. The words are evidently a response to those of the king. As such they refer to present feeling and not to a past state. The bride expresses her delight in the king. The table is used generally. The Hebrew word is from a root "to sit round." The habit of reclining at table was introduced much later, during the Persian, Greek, and Roman period. The spikenard was a powerful perfume, probably of Indian origin, as the Indian word nalada, meaning "that which yields fragrance," shows. The Persian is nard, the Old Arabic nardu. It was made from an Indian plant, the Valeriana, called Nardo-stachys 'Gatamansi, growing in Northern and Eastern India. The hairy part of the stem immediately above the root yields the perfume. That it was "very precious" we see from the account of Mary's offering, which was worth more than three hundred denarii, i.e. £8 10s. (Mar_14:5; Joh_12:2). Horace promised Virgil a whole cask, i.e. nine gallons, of the best wine in exchange for a small onyx box full of the perfume. The metaphor represents the intense longing of love. Myrrh was an exotic introduced into Palestine from Arabia, Abyssinia, and India. Like frankincense, it is one of the amyridae. The Balsamodendron myrrha is the tree itself with its leaves and flowers. From the tree came a resin or gum (Gummi myrrhae), which either dropped from the leaves or was artificially obtained by incisions in the bark. The natural product was the more valuable. It was much prized as a perfume, and employed for many purposes. The Hebrew women were accustomed to carry little bags or bottles of myrrh suspended from their necks and hanging down between the breasts under the dress, diffusing an attractive fragrance round them. The word tseror is, properly, "a little bag," sacculus, "that which one ties up," rather than a "bundle." The meaning, of course, is rhetorical—He is at my heart and delightful to all my thoughts as the fragrance to my senses. The henna flowers, or cypress, in the vineyards of Engedi, is a very beautiful figure. Copher, the cypress cluster,—in Greek, κύπρος: in Arabic, al-henna (Lawsonia)—grows in Palestine and Egypt, as we are told by Pliny ('Nat. Hist.' 12.24). It is a tall shrub reaching to eight or ten feet, exceedingly beautiful in appearance, and giving forth a delightful odour. It is named from a root "to be white or yellow-white." The Moslem women stain their hands and feet with it to give them a yellow tint. Engedi was a lovely district on the west of the Dead Sea—Hazezon Tamar, now Ain Tidy, where Solomon made terraces on the hillsides and covered them with gardens and vineyards. The allusion confirms the date of the writing as contemporary with Solomon, as the gardens would then be in their perfection. The figure is, perhaps, intended to be an advance in rhetorical force upon that which preceded—the fragrance diffused and almost overpowering, as of a blossoming tree.
Behold, thou art fair, my love; behold, thou art fair; thine eyes are as doves; literally, thine eyes are doves. The king receives the worship of his bride and delights in her. She is very sweet and fair to him. The dove is a natural symbol of love; hence it was attached by the classical nations to the garden of love, together with the myrtle, rose, and apple, all of which we find introduced in this Hebrew poem. Hence the Arabic name for a dove, Jemima, as we see in the Book of Job, was the name of a woman (cf. Columbina). The language of the king is that of ecstasy; hence the interjection and repetition. The enraptured monarch gazes into the eyes of his beloved bride, and sees there only purity, constancy, and affection. In So Job_7:4 the eyes are compared to fish ponds, no doubt for their clear, liquid depth and serenity. Some have thought that the allusion is to the very lovely eyes of the doves; but there is no need of the limitation.
While the king sat (or, sits) at his table, my spikenard sent (sends) forth its fragrance. My beloved is unto me as a bundle of myrrh, that lieth betwixt my breasts. My beloved is unto me as a cluster of henna flowers in the vineyards of Engedi. The preterite is best taken poetically for the present. The words are evidently a response to those of the king. As such they refer to present feeling and not to a past state. The bride expresses her delight in the king. The table is used generally. The Hebrew word is from a root "to sit round." The habit of reclining at table was introduced much later, during the Persian, Greek, and Roman period. The spikenard was a powerful perfume, probably of Indian origin, as the Indian word nalada, meaning "that which yields fragrance," shows. The Persian is nard, the Old Arabic nardu. It was made from an Indian plant, the Valeriana, called Nardo-stachys 'Gatamansi, growing in Northern and Eastern India. The hairy part of the stem immediately above the root yields the perfume. That it was "very precious" we see from the account of Mary's offering, which was worth more than three hundred denarii, i.e. £8 10s. (Mar_14:5; Joh_12:2). Horace promised Virgil a whole cask, i.e. nine gallons, of the best wine in exchange for a small onyx box full of the perfume. The metaphor represents the intense longing of love. Myrrh was an exotic introduced into Palestine from Arabia, Abyssinia, and India. Like frankincense, it is one of the amyridae. The Balsamodendron myrrha is the tree itself with its leaves and flowers. From the tree came a resin or gum (Gummi myrrhae), which either dropped from the leaves or was artificially obtained by incisions in the bark. The natural product was the more valuable. It was much prized as a perfume, and employed for many purposes. The Hebrew women were accustomed to carry little bags or bottles of myrrh suspended from their necks and hanging down between the breasts under the dress, diffusing an attractive fragrance round them. The word tseror is, properly, "a little bag," sacculus, "that which one ties up," rather than a "bundle." The meaning, of course, is rhetorical—He is at my heart and delightful to all my thoughts as the fragrance to my senses. The henna flowers, or cypress, in the vineyards of Engedi, is a very beautiful figure. Copher, the cypress cluster,—in Greek, κύπρος: in Arabic, al-henna (Lawsonia)—grows in Palestine and Egypt, as we are told by Pliny ('Nat. Hist.' 12.24). It is a tall shrub reaching to eight or ten feet, exceedingly beautiful in appearance, and giving forth a delightful odour. It is named from a root "to be white or yellow-white." The Moslem women stain their hands and feet with it to give them a yellow tint. Engedi was a lovely district on the west of the Dead Sea—Hazezon Tamar, now Ain Tidy, where Solomon made terraces on the hillsides and covered them with gardens and vineyards. The allusion confirms the date of the writing as contemporary with Solomon, as the gardens would then be in their perfection. The figure is, perhaps, intended to be an advance in rhetorical force upon that which preceded—the fragrance diffused and almost overpowering, as of a blossoming tree.
Behold, thou art fair, my love; behold, thou art fair; thine eyes are as doves; literally, thine eyes are doves. The king receives the worship of his bride and delights in her. She is very sweet and fair to him. The dove is a natural symbol of love; hence it was attached by the classical nations to the garden of love, together with the myrtle, rose, and apple, all of which we find introduced in this Hebrew poem. Hence the Arabic name for a dove, Jemima, as we see in the Book of Job, was the name of a woman (cf. Columbina). The language of the king is that of ecstasy; hence the interjection and repetition. The enraptured monarch gazes into the eyes of his beloved bride, and sees there only purity, constancy, and affection. In So Job_7:4 the eyes are compared to fish ponds, no doubt for their clear, liquid depth and serenity. Some have thought that the allusion is to the very lovely eyes of the doves; but there is no need of the limitation.
16Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.
Jamieson-Fausset-Brown
16. Reply of the Bride. She presumes to call Him beloved, because He called her so first. Thou callest me "fair"; if I am so, it is not in myself; it is all from Thee (Psa 90:17); but Thou art fair in Thyself (Psa 45:2).
pleasant--(Pr 3:17) towards Thy friends (2Sa 1:26).
bed ... green--the couch of green grass on which the King and His bride sit to "rest at noon." Thus her prayer in So 1:7 is here granted; a green oasis in the desert, always found near waters in the East (Psa 23:2; Is 41:17-19). The scene is a kiosk, or summer house. Historically, the literal resting of the Babe of Beth-lehem and his parents on the green grass provided for cattle (Lu 2:7, 12). In this verse there is an incidental allusion, in So 1:15, to the offering (Lu 2:24). So the "cedar and fir" ceiling refers to the temple (1Ki 5:6-10; 6:15-18); type of the heavenly temple (Re 21:22).
16. Reply of the Bride. She presumes to call Him beloved, because He called her so first. Thou callest me "fair"; if I am so, it is not in myself; it is all from Thee (Psa 90:17); but Thou art fair in Thyself (Psa 45:2).
pleasant--(Pr 3:17) towards Thy friends (2Sa 1:26).
bed ... green--the couch of green grass on which the King and His bride sit to "rest at noon." Thus her prayer in So 1:7 is here granted; a green oasis in the desert, always found near waters in the East (Psa 23:2; Is 41:17-19). The scene is a kiosk, or summer house. Historically, the literal resting of the Babe of Beth-lehem and his parents on the green grass provided for cattle (Lu 2:7, 12). In this verse there is an incidental allusion, in So 1:15, to the offering (Lu 2:24). So the "cedar and fir" ceiling refers to the temple (1Ki 5:6-10; 6:15-18); type of the heavenly temple (Re 21:22).
17The beams of our house are cedar, and our rafters of fir.
Jamieson-Fausset-Brown
17. our house--see on So 1:16; but primarily, the kiosk (Is 11:10), "His rest." Cedar is pleasing to the eye and smell, hard, and never eaten by worms.
fir--rather, "cypress," which is hard, durable, and fragrant, of a reddish hue [Gesenius, Weiss, and Maurer]. Contrasted with the shifting "tents" (So 1:5), His house is "our house" (Psa 92:13; Ep 2:19; He 3:6). Perfect oneness of Him and the bride (Joh 14:20; 17:21). There is the shelter of a princely roof from the sun (Psa 121:6), without the confinement of walls, and amidst rural beauties. The carved ceiling represents the wondrous excellencies of His divine nature.
17. our house--see on So 1:16; but primarily, the kiosk (Is 11:10), "His rest." Cedar is pleasing to the eye and smell, hard, and never eaten by worms.
fir--rather, "cypress," which is hard, durable, and fragrant, of a reddish hue [Gesenius, Weiss, and Maurer]. Contrasted with the shifting "tents" (So 1:5), His house is "our house" (Psa 92:13; Ep 2:19; He 3:6). Perfect oneness of Him and the bride (Joh 14:20; 17:21). There is the shelter of a princely roof from the sun (Psa 121:6), without the confinement of walls, and amidst rural beauties. The carved ceiling represents the wondrous excellencies of His divine nature.
THE HOLY BIBLE
Song of Solomon
Chapter 1
Translated out of the original tongues, and with the former translations diligently compared and revised.
KING JAMES VERSION
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