Text -- The Song of Songs 1:1-6 (NET)

Title/Superscription

1:1 Solomon’s Most Excellent Love Song.

The Desire for Love

1:2 The Beloved to Her Lover: Oh, how I wish you would kiss me passionately! For your lovemaking is more delightful than wine. 1:3 The fragrance of your colognes is delightful; your name is like the finest perfume. No wonder the young women adore you! 1:4 Draw me after you; let us hurry! May the king bring me into his bedroom chambers! The Maidens to the Lover: We will rejoice and delight in you; we will praise your love more than wine. The Beloved to Her Lover: How rightly the young women adore you!

The Country Maiden and the Daughters of Jerusalem

1:5 The Beloved to the Maidens: I am dark but lovely, O maidens of Jerusalem, dark like the tents of Qedar, lovely like the tent curtains of Salmah. 1:6 Do not stare at me because I am dark, for the sun has burned my skin. My brothers were angry with me; they made me the keeper of the vineyards. Alas, my own vineyard I could not keep!

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 1:1

The most excellent of all songs. And so this might well be called, whether you consider the author of it, who was a great prince, and the wisest of all mortal men; or the subject of it, which is not Solomon, but a greater than Solomon, even Christ, and his marriage with the church; or the matter of it, which is most lofty, containing in it the noblest of all the mysteries contained either in the Old or the New Testament; most pious and pathetical, breathing forth the hottest flames of love between Christ and his people, most sweet and comfortable, and useful to all that read it with serious and Christian eyes.

Wesley: Sos 1:2

The beginning is abrupt; but is suitable to, and usual in writing of this nature, wherein things are not related in an historical and exquisite order, but that which was first done is brought in, as it were accidentally, after many other passages: as we see in Homer, and Virgil, and others. These are the words of the spouse, wherein she breathes forth her passionate love to the bridegroom, whom she does not name; because it was needless, as being so well known to the persons, to whom she speaks, and being the only person who was continually in her thoughts. By kisses, the usual tokens of love and good - will, she means the communications of his love and favour, his graces and comforts breathed into her from the Spirit of Christ.

Wesley: Sos 1:2

This sudden change of the person is frequent, in pathetic discourses. First she speaks of him as absent, but speedily grows into more acquaintance with him, and by ardent desire and faith, embraces him as present.

Wesley: Sos 1:2

Than the most delicious meat or drink, or than all sensible delights, one kind being put for all.

Wesley: Sos 1:3

Because of those excellent gifts and graces of God's Spirit wherewith thou art replenished.

Wesley: Sos 1:3

Thy report, the very mention of thee, and all those things by which thou makest thyself known to men, thy word, particularly thine offers of pardon and salvation to sinners; and all thy works, especially that great work of redemption is most acceptable, and refreshing.

Wesley: Sos 1:3

called the companions of the bride, Psa 45:14, particular believers, who are called virgins, 2Co 11:2; Rev 14:4, who have their senses exercised to perceive this sweetness and fulness of Christ.

Wesley: Sos 1:4

By thy grace and holy spirit.

Wesley: Sos 1:4

Both I, thy spouse, and the virgins, my companions. And this change of numbers teaches us that the spouse is one great body, consisting of many members.

Wesley: Sos 1:4

Will follow thee readily, chearfully, and swiftly.

Wesley: Sos 1:4

Christ, the king of his church, hath answered my prayer.

Wesley: Sos 1:4

Where I may freely converse with him, and enjoy him. He hath taken me into intimate communion with himself.

Wesley: Sos 1:4

This shall be the matter of our thoughts and discourses.

Wesley: Sos 1:5

I confess, as to myself, I am contemptible and deformed. She alludes to the complexion of Pharaoh's daughter.

Wesley: Sos 1:5

Yet I am glorious within, and comely through the beauty which my husband hath put upon me, by his graces conferred upon me, in justification and sanctification.

Wesley: Sos 1:5

By which she understands particular believers, whose mother, Jerusalem is called, Gal 4:26.

Wesley: Sos 1:5

Of the wild Arabians, the posterity of Kedar, Gen 25:13, who dwelt in tents, and were black and uncomely.

Wesley: Sos 1:5

As the hangings wherewith Solomon's house was furnished, which none can doubt were most beautiful and glorious. So these two last clauses answer to the two first, and that in the same order in which they lie.

Wesley: Sos 1:6

With wonder and disdain.

Wesley: Sos 1:6

False brethren, who pretend that the church is their mother, when their actions demonstrate, that God, the husband of the church, is not their father; hypocritial professors, who are, and ever were, the keenest enemies; false teachers, and their followers, who by their corrupt doctrines, and divisions, and contentions, bring great mischief to the church.

Wesley: Sos 1:6

Having prevailed against me, they used me like a slave, putting me upon the most troublesome services, such as the keeping of the vineyards was esteemed, 2Ki 25:12; Isa 61:5; Mat 20:1-7.

Wesley: Sos 1:6

They gave me such a full employment in the drudging work about their vineyards, that they left me no time to mind my own; they hindered me from doing my own duty, and from minding my own concerns. And therefore it is no wonder if I be uncomely and scorched by the sun.

JFB: Sos 1:1

(CANTICLE I)--THE BRIDE SEARCHING FOR AND FINDING THE KING. (Son. 1:2-2:7)

JFB: Sos 1:1

The most excellent of all songs, Hebrew idiom (Exo 29:37; Deu 10:14). A foretaste on earth of the "new song" to be sung in glory (Rev 5:9; Rev 14:3; Rev 15:2-4).

JFB: Sos 1:1

"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.

JFB: Sos 1:2

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; Mat 13:44-46; Phi 3:7-8).

JFB: Sos 1:2

The token of peace from the Prince of Peace (Luk 15:20); "our Peace" (Psa 85:10; Col 1:21; Eph 2:14).

JFB: Sos 1:2

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; Luk 4:22; Heb 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 (Hos 2:19-20), and of friendship (1Sa 20:41; Joh 14:21; Joh 15:15).

JFB: Sos 1:2

Hebrew, "loves," namely, tokens of love, loving blandishments.

JFB: Sos 1:2

Which makes glad "the heavy heart" of one ready to perish, so that he "remembers his misery no more" (Pro 31:6-7). So, in a "better" sense, Christ's love (Hab 3:17-18). He gives the same praise to the bride's love, with the emphatic addition, "How much" (Son 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 (Mat 26:29), which we can never drink to "excess," as the other (Eph 5:18; compare Psa 23:5; Isa 55:1).

JFB: Sos 1:3

Rather, "As regards the savor of thy ointments, it is good" [MAURER]. In Son 4:10-11, the Bridegroom reciprocates the praise of the bride in the same terms.

JFB: Sos 1:3

Christ's character and office as the "Anointed" (Isa 9:6; Isa 61:1), as "the savor of ointments" are the graces that surround His person (Psa 45:7-8). Ecc 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 Act 4:12), implies the exclusive preciousness of Messiah's name (Exo 30:23-28, Exo 30:31-38). So Mary brake the box of precious ointment over Him, appropriately (Mar 14:5), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (Col 1:19; Col 2:9); of sweet odor (Eph 5:2).

JFB: Sos 1:3

(Isa 53:12; Rom 5:5).

JFB: Sos 1:3

Because of the manifestation of God's character in Christ (1Jo 4:9, 1Jo 4:19). So the penitent woman (Luk 7:37-38, Luk 7:47).

JFB: Sos 1:3

The pure in heart (2Co 11:2; Rev 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" (Rom 5:5).

JFB: Sos 1:4

(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.

JFB: Sos 1:4

The Father draws (Joh 6:44). The Son draws (Jer 31:3; Hos 11:4; Joh 12:32). "Draw" here, and "Tell" (Son 1:7), reverently qualify the word "kiss" (Son 1:2).

JFB: Sos 1:4

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, Joh 1:45). Individuality and community meet in the bride.

JFB: Sos 1:4

Her earnestness kindles as she prays (Isa 40:31; Psa 119:32, Psa 119:60).

JFB: Sos 1:4

Not before (Joh 10:4).

JFB: Sos 1:4

(Psa 45:14-15; Joh 10:16). He is the anointed Priest (Son 1:3); King (Son 1:4).

JFB: Sos 1:4

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 (Est 4:11; Est 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 (Eph 2:6; Heb 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 (Isa 26:20). There are various chambers, plural (Joh 14:2).

JFB: Sos 1:4

Inward and outward rejoicing.

JFB: Sos 1:4

(Isa 61:10; Phi 4:1, Phi 4:4). Not in our spiritual frames (Psa 30:6-7).

JFB: Sos 1:4

Rather, "commemorate with praises" (Isa 63:7). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (Psa 4:6-7).

JFB: Sos 1:4

Rather, "uprightly," "sincerely" (Psa 58:1; Rom 12:9); so Nathanael (Joh 1:47); Peter (Joh 21:17); or "deservedly" [MAURER].

JFB: Sos 1:5

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 (Rom 7:18, &c.; Rom 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).

JFB: Sos 1:5

First, the hangings and veil in the temple of Solomon (Eze 16:10); then, also, the "fine linen which is the righteousness of saints" (Rev 19:8), the white wedding garment provided by Jesus Christ (Isa 61:10; Mat 22:11; 1Co 1:30; Col 1:28; Col 2:10; Rev 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Isa 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 (Mat 2:1-12): the wise men from the East (Arabia, or Kedar).

JFB: Sos 1:5

Professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (Son 3:10-11); so near to Jesus Christ as not to be unlikely to find Him (Son 5:8); desirous to seek Him with her (Son 6:1; compare Son 6:13; Son 7:1, Son 7:5, Son 7:8). In Son 7:8-9, the bride's Beloved becomes their Beloved; not, however, of all of them (Son 8:4; compare Luk 23:27-28).

JFB: Sos 1:6

She feels as if her blackness was so great as to be gazed at by all.

JFB: Sos 1:6

(Mat 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 (Luk 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 (Mat 16:26; Luk 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 Son 8:12.

Clarke: Sos 1:1

The song of songs - A song of peculiar excellence. See the Introduction. The rabbins consider this superior to all songs. Ten songs, says the Tarpon, have been sung; but this excels them all

1.    The first was sung by Adam when his sin was pardoned

2.    The second was sung by Moses and the Israelites at the Red Sea

3.    The third was sung by the Israelites when they drank of the rock in the wilderness

4.    The fourth was sung by Moses when summoned to depart from this world

5.    The fifth was sung by Joshua when the sun and moon stood still

6.    The sixth was sung by Deborah and Barak after the defeat of Sisera

7.    The seventh was sung by Hannah when the Lord promised her a son

8.    The eighth was sung by David for all the mercies given him by God

9.    The ninth is the present, sung in the spirit of prophecy by Solomon

10.    The tenth is that which shall be sung by the children of Israel when restored from their captivities. See the Targum.

Clarke: Sos 1:2

Let him kiss me, etc. - She speaks of the bridegroom in the third person, to testify her own modesty, and to show him the greater respect

Clarke: Sos 1:2

Thy love is better than wine - The versions in general translate דדיך dodeyca , thy breasts; and they are said to represent, spiritually, the Old and New Testaments.

Clarke: Sos 1:3

Thy name is as ointment poured forth - Ointments and perfumes were, and still are, in great request among the Asiatics. They occur constantly in their entertainments. Thy name is as refreshing to my heart, as the best perfumes diffused through a chamber are to the senses of the guests

Clarke: Sos 1:3

Therefore do the virgins love thee - She means herself; but uses this periphrasis through modesty.

Clarke: Sos 1:4

Draw me - Let me have the full assurance of thy affection

Clarke: Sos 1:4

We will run after thee - Speaking in the plural through modesty, while still herself is meant

Clarke: Sos 1:4

The king hath brought me - My spouse is a potentate, a mighty king, no ordinary person

Clarke: Sos 1:4

Into his chambers - He has favored me with his utmost confidence

Clarke: Sos 1:4

The upright love thee - The most perfect and accomplished find thee worthy of their highest esteem.

Clarke: Sos 1:5

I am black, but comely - This is literally true of many of the Asiatic women; though black or brown, they are exquisitely beautiful. Many of the Egyptian women are still fine; but their complexion is much inferior to that of the Palestine females. Though black or swarthy in my complexion, yet am I comely - well proportioned in every part

Clarke: Sos 1:5

As the tents of Kedar - I am tawny, like the tents of the Arabians, and like the pavilions of Solomon, probably covered by a kind of tanned cloth. The daughters of Jerusalem are said to represent the synagogue; the bride, the Church of Christ. It is easy to find spiritual meanings: every creed will furnish them.

Clarke: Sos 1:6

Because the sun hath looked upon me - The bride gives here certain reasons why she was dark complexioned. "The sun hath looked upon me."I am sunburnt, tanned by the sun; being obliged, perhaps, through some domestic jealously or uneasiness, to keep much without: "My mother’ s children were angry; they made me keeper of the vineyards."Here the brown complexion of the Egyptians is attributed to the influence of the sun or climate

Clarke: Sos 1:6

My mother’ s children were angry with me - Acted severely. The bringing of a foreigner to the throne would no doubt excite jealousy among the Jewish females; who, from their own superior complexion, national and religious advantages, might well suppose that Solomon should not have gone to Egypt for a wife and queen, while Judea could have furnished him with every kind of superior excellence.

Defender: Sos 1:1

This book is variously identified as "Song of Songs," "Song of Solomon" or "Canticles" (Latin for "songs"). There is no reason not to accept the traditional authorship of Solomon. The theme, however, has been interpreted in many different ways. The most obvious interpretation is that of a simple love song, telling the story of the love of a Shulamite maiden and Solomon, appearing alternately as both a shepherd and as the king. (Son 6:13) The story, however, is probably also a type of the love of Christ (who is also both a shepherd and a king) for His bride, the Church. Similarly, the Jews took it as an allegory of Jehovah and Israel."

Defender: Sos 1:5

The bride is dark of skin because of working long in the sun in the family vineyards (Son 1:6), so that she looked like a Kedar native (descendant of Ishmael and the desert Arabians). Her beauty had brought her to young Solomon's attention, and they soon fell in love. Solomon then took her as his bride.

Defender: Sos 1:5

The "daughters of Jerusalem" were probably the "virgins" (Son 1:3), serving as attendants in the royal palace."

TSK: Sos 1:1

song : Psa 14:1 *title Isa 5:1

Solomon’ s : 1Ki 4:32

TSK: Sos 1:2

him : Son 5:16, Son 8:1; Gen 27:26, Gen 27:27, Gen 29:11, Gen 45:15; Psa 2:12; Luk 15:20; Act 21:7; 1Pe 5:14

thy love : Heb. thy loves, Son 1:4, Son 2:4, Son 4:10, Son 7:6, Son 7:9, Son 7:12, Son 8:2; Psa 36:7, Psa 63:3-5; Isa 25:6, Isa 55:1, Isa 55:2; Mat 26:26

TSK: Sos 1:3

the savour : Son 3:6, Son 4:10, Son 5:5, Son 5:13; Exo 30:23-28; Psa 45:7, Psa 45:8, Psa 133:2; Pro 27:9; Ecc 7:1; Isa 61:3; Joh 12:3; 2Co 2:14-16; Phi 4:18

thy name : Exo 33:12, Exo 33:19, Exo 34:5-7; Psa 89:15, Psa 89:16; Isa 9:6, Isa 9:7; Jer 23:5, Jer 23:6; Mat 1:21-23; Phi 2:9, Phi 2:10

the virgins : Son 6:8; Psa 45:14; Mat 25:1; 2Co 11:2; Rev 14:4

TSK: Sos 1:4

Draw : Jer 31:3; Hos 11:4; Joh 6:44, Joh 12:32; Phi 2:12, Phi 2:13

we will : Psa 119:32, Psa 119:60; Heb 12:1

the king : Son 2:3-5, Son 3:4; Psa 45:14, Psa 45:15; Mat 25:10; Joh 14:2, Joh 14:3; Eph 2:6

we will be : Psa 98:4-9, Psa 149:2; Isa 25:8, Isa 45:25, Isa 61:3; Zep 3:14; Zec 9:9; Luk 2:10; Phi 3:3, Phi 4:4; 1Pe 1:8

remember : Son 1:2; Psa 42:4, Psa 48:9, Psa 63:5, Psa 103:1, Psa 103:2, Psa 111:4; Isa 63:7; Luk 22:19; 1Co 11:23-26

the upright love thee : or, they love thee uprightly, Son 1:3; Joh 21:15-17; Eph 6:24

TSK: Sos 1:5

black : Isa 53:2; Mat 10:25; 1Co 4:10-13; 1Jo 3:1

comely : Psa 90:17, Psa 149:4; Isa 61:10; Eze 16:14; Mat 22:11; Luk 15:22; Rom 13:14; 2Co 5:21; Eph 5:26

O ye : Psa 45:9; Luk 13:34; Gal 4:26

as the tents : Psa 120:5

TSK: Sos 1:6

Look : Rth 1:19-21

because : Job 30:30; Jer 8:21; Lam 4:8; Mar 4:6; Act 14:22

my mother’ s : Psa 69:8; Jer 12:6; Mic 7:6; Mat 10:22, Mat 10:25, Mat 10:35, Mat 10:36; Luk 12:51-53; Gal 4:29

keeper : Son 8:11, Son 8:12

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 1:1

The "Song of songs,"i. e., the best or most excellent of songs.

Which is Solomon’ s - literally, "to"or "for Solomon,"i. e., belonging to Solomon as its author or concerning him as its subject. In a title or inscription, the former interpretation is to be preferred.

Barnes: Sos 1:2-4

the prologue. - The Song commences with two stanzas in praise of the king (now absent) by a chorus of virgins belonging to the royal household. Expositors, Jewish and Christian, interpret the whole as spoken by the Church of the heavenly Bridegroom.

Son 1:2

Let him kiss me - Christian expositors have regarded this as a prayer of the Church under the old covenant for closer communion with the Godhead through the Incarnation. Thus, Gregory: "Every precept of Christ received by the Church is as one of His kisses."

Thy love - Better as margin, i. e., thy endearments or tokens of affection are more desired than any other delights.

Son 1:3

Because ... - Better, For fragrance are thine ointments good, making with the clause that follows two steps of a climax: "thy perfumes are good, thy name the best of all perfumes.""Ointments"here are unguents or fragrant oils largely used for anointing at entertainments (compare Psa 23:5; Luk 7:46; Joh 12:3).

Thy name ... poured forth - As unguents are the sweeter for diffusion, so the king’ s name the wider it is known.

Son 1:4

The king hath brought me - Made me a member of his household. This is true of every member of the chorus as well as of the bride.

The upright love thee - Better as in the margin: uprightly do they (i. e., "the virgins"of Son 1:3) love thee. Compare the use of the same word in Psa 58:1; Pro 23:31.

Barnes: Sos 1:5-8

This section is made by the Targumist and other Jewish interpreters to adumbrate the condition of Israel in the wilderness; by some Christian expositors, that of the Gentile Church on her first conversion.

Son 1:5

I am black ... - Dark-hued, as the tents of Kedar with their black goats’ hair coverings, rough and weather-stained, "but comely (beautiful) as the rich hangings which adorn the pavilion of Solomon. Kedar was the name of an Arab tribe Gen 25:13; Psa 120:5. The word itself signifies "dark"or "black."Possibly "tents of Kedar"stand here poetically for shepherds’ tents in general Isa 60:7.

Son 1:6

Look not upon me - In wonder or scorn at my swarthy hue. It was acquired in enforced but honest toil: the sun hath scanned me (or "glared upon me") with his burning eye. The second word rendered "looked"is a word twice found in Job Job 20:9; Job 28:7, and indicates in the latter place the piercing glance of a bird of prey.

My mother’ s children, - Or, sons; a more affectionate designation than "brothers,"and implying the most intimate relationship.

Angry - This anger was perhaps but a form of jealous care for their sister’ s safety (compare Son 8:12). By engaging her in rustic labors they preserved her from idleness and temptation, albeit with a temporary loss of outward comeliness.

Mine own vineyard - A figurative expression for herself or her beauty.

Son 1:7

whom my soul loveth - A phrase recurring several times. It expresses great intensity of affection.

Feedest - i. e., "Pursuest thy occupation as a shepherd;"so she speaks figuratively of the Son of David. Compare Son 2:16; Son 6:3; Psa 23:1.

Rest - Or, lie down; a term properly used of the couching of four-footed animals: "thy flock"is here therefore easily understood. Compare Eze 34:14-15; Psa 23:2; Jer 50:6.

As one that turneth aside - Or, goeth astray like an outcast.

Son 1:8

The chorus, and not the king, are the speakers here. Their meaning seems to be: If thy beloved be indeed a shepherd, then seek him yonder among other shepherds, but if a king, thou wilt find him here in his royal dwelling.

Poole: Sos 1:2

Let him kiss me with the kisses of his mouth The beginning of this book is abrupt, and may seem disorderly; but is very suitable to and usual in writings of this nature, wherein things are not related in an historical and exquisite order, but that which was first done is brought in as it were accidentally after many other passages; as we see in Homer, and Virgil, and in the Greek and Latin comedians. These are the words of the spouse, as all acknowledge, wherein she breatheth forth her passionate love to the Bridegroom, whom she doth not name, but only intimate by the pronoun relative him, which is here put without and for the antecedent, as Psa 87:1 114:2 Joh 20:15 ; which manner of expression she useth, because it was needless to name him, as being so well known to the person or persons to whom site speaks, and being the only person who was continually in her thoughts and speeches. By kisses , which were the usual tokens of love and good will, she means nothing else but the communications and manifestations of his love and favour to her, as the following clause explains this; his graces and comforts breathed into her from the mouth and Spirit of Christ.

Thy love: this sudden change of the person is frequent, especially in such pathetical discourses. First she speaks of him as absent, and at a distance, but speedily grows into more acquaintance with him, and by ardent desire in faith embraceth him as present.

Than wine than the most delicious meats or drinks, or than all sensual delights, this one kind being synecdochically put for all the rest, as it is Est 5:6 Job 1:13 Pro 9:2 Ecc 2:3 .

Poole: Sos 1:3

Because of the savour of thy good ointments because of those excellent gifts and graces of God’ s Spirit wherewith thou art replenished, and which flow from thee upon thy members,

Thy name either,

1. Thou thyself;

names being oft put for persons, as Act 1:15 Rev 3:4 . Or rather,

2. Thy fame or report, the very mention of thee, and all those things by which thou makest thyself known to men, thy word, and particularly thine offers and promises of pardon and salvation made to sinners, and all thy works, both ordinary and miraculous, especially that great work of redemption.

Is as ointment poured forth most lovely, and acceptable, and refreshing.

The virgins called the companions of the bride, Psa 45:14 , particular believers, who are called virgins, 2Co 11:2 Rev 14:4 , who have their senses exercised to perceive this sweetness and fulness of Christ.

Poole: Sos 1:4

Draw me by thy grace and Holy Spirit effectually inclining my heart to come unto thee, as this phrase implies, Jer 31:3 Hos 11:4 Joh 6:44,45 . As thou hast outwardly called and invited me, so do thou inwardly move me, who am naturally averse and backward to follow thee.

We both I thy spouse, and the virgins my companions. And this change of numbers teaches us that the spouse in this book is one great body, consisting of many members, of whom therefore he speaks sometimes in the singular, and sometimes in the plural number.

Will run after thee will follow thee readily, and cheerfully, and swiftly; which is opposed to her former sluggishness and listlessness. We will not receive thy grace in vain, but will improve it, and co-operate with it, and stir up all our strength to serve and obey thee.

The king Christ, my Husband and Lord, the King of his church, as he is oft called, the King of kings, &c.

Hath brought me Heb. hath caused me to come , by drawing me as I desired. He hath answered my prayer.

Into his chambers where I may most freely and familiarly converse with him, and enjoy him. He hath taken me into intimate communion with himself. These

chambers seem to note either,

1. Those heavenly mansions into which believers are sometimes said to be brought, even in this life, as Eph 2:6 , because they have a lively faith, and a well-grounded hope and assurance, and some comfortable foretastes of that blessed state. Or rather,

2. Those places and conditions upon earth in which they enjoy the special favour and fellowship of God in Christ, as the public assemblies, in which Christ is in a peculiar manner present, Mat 18:20 , where his word and ordinances are dispensed, and where he poureth forth his Spirit and blessings, and speaks great peace, and gives forth his loves unto his people. Yea, even the private closets wherein believers enjoy much of Christ, by prayer, and praise, and reading, and meditation, are such chambers also; for it is not the place, but the state, or privilege, which is here signified, and which is considerable.

In thee or, for thee ; in or for thy love and favour to us, which is the principal cause of our joy.

Remember or commemorate , or celebrate . This shall be the matter of our thoughts and discourses.

The upright those chaste and sincere virgins mentioned Son 1:3 , who are here opposed to hypocritical professors.

Poole: Sos 1:5

I am black It might be objected, Who art thou, that thou shouldst have or pretend to such a royal Bridegroom, and such honours and favours? To this the church answers, I confess, as to myself and outward appearance in the eyes of the world, I have not that pomp and beauty which men admire, but am black, contemptible and deformed, both for my own infirmities and disorders, and for the scandals of some of my own members, and for the reproaches and persecutions of worldly men. She alludes to the complexion of Pharaoh’ s daughter, who was black.

But comely yet I am glorious within, Psa 45:13 , and comely, through the beauty which my Husband hath put upon me, by his graces and blessings conferred upon me, such as justification and sanctification, &c.

Daughters of Jerusalem by which she understands particular believers, whose mother Jerusalem is called, Gal 4:26 , who had joined themselves to her, especially young converts and weak Christians, who were startled and offended at the contemplation of her blackness.

Of Kedar i.e. of the wild Arabians, the posterity of Kedar, Gen 25:13 , who dwelt in tents, which were black and uncomely, both in themselves, and by the injuries of the weather, to which they were constantly exposed.

As the curtains of Solomon as the hangings wherewith Solomon’ s house was furnished, which none can doubt that they were most beautiful and glorious. So these two last clauses answer to the two first, and that in the same order in which they lie.

Poole: Sos 1:6

Look not upon me with wonder and disdain, because of my blackness, as it follows.

Because the sun hath looked upon me: my blackness is not essential, and inseparable, but chiefly caused by the scorching beams of the sun, i.e. of sore persecutions and tribulations, which by God’ s permission have befallen me, which are represented by the sun, Mat 13:6,21 .

My mother’ s children false brethren, who pretend that the church is their mother, with their actions demonstrate that God, the Husband of the church, is not their Father; hypocritical professors, who are, and ever were, the keenest enemies to the true church and people of God, Isa 66:5 Gal 4:29 ; false teachers, and their followers, who, by their corrupt doctrines, and divisions, and contentions which they raise, bring great mischief to the church. See 2Co 11:26 Gal 2:4 .

Were angry with me or, fought against me, as the ancients render it, and so marred my beauty.

They made me keeper of the vineyards i.e. of their vineyards, for to these she opposeth her own, in the next clause. Having prevailed against me, they used me like a slave, putting me upon the most dishonourable and troublesome services, such as the keeping of the vineyards was esteemed, 2Ki 25:12 Isa 61:5 Mat 20:1-7 .

Mine own vineyard have I not kept they gave me such a full and constant employment in their drudging work about their vineyards, that they left me no time to mind my own; they hindered me from doing my own duty, and from minding my own concerns; and therefore it is no wonder if in this posture and condition I be uncomely, and scorched by the sun. But because churches or societies of professors of religion, whether good or bad, are oft called vineyards , as Deu 32:32 Psa 80:8 Isa 5:1,2,7 , this and the foregoing clause may be thus understood, that they endeavored to seduce and corrupt the church with false doctrines, and superstitious or idolatrous worship, and to oblige her to countenance and maintain them, and thereby disturbed and hindered her from her proper work, which was the propagation and advancement of the true doctrine and worship in particular assemblies and persons belonging, or to be brought in, to her.

PBC: Sos 1:1

Introduction: 

    The Song ofSolomon is in essence a love letter between Christ and the Church, portrayed by the relationship between Solomon and the Shulamite woman, using some of the most beautiful language ever written.  We must keep in mind that even though this letter is essentially between Christ and the Church, it includes a blueprint for the natural relationship between husband and wife.  We would fare very well if we would treat our spouses with the care and love that Christ shows the church found in the exchanges between Solomon and the Shulamite.  The Bible is full of expressions that explain Spiritual precepts by natural occurrences, and it is so here.  The actual love and affection that Christ has for His Bride cannot be described to the uttermost, but the best example that we have is in the expressions of true love in this most wonderful book.  

Song 1:1 This is the Song of Songs. There have been many love songs composed and sung, but this exceeds them all.

PBC: Sos 1:2

Wine is an intoxicating liquid, but the Shulamite describes His love as being much better than wine.

PBC: Sos 1:3

Ointment is a healing substance derived from the oil of different plants, and it gives off a most sweet odor. His ointments are savory, meaning that they are good to smell, but most of all, they are an effective healing agent. The Shulamite regards even the hearing of his name as the pouring of ointments. The virgins (attendants to the bride) love him because of the savour of His ointments. Is it not true that we love Him because He first loved us? His ointments (denoting the grace that he gives) are the very reason that we yearn for Him.

PBC: Sos 1:4

" Draw me"

The Shulamite gives a heartfelt request in Draw me. This reminds us that God the Father draws his children to Christ, and that none can come to Christ unless that happens. What follows is a running to Him after being drawn. The Shulamite and the virgins affirm that they will remember His love more than wine. Wine was a very important commodity in that day, since it took much labor to acquire.

" we will remember thy love more than wine"

They are speaking as to his love being much better than wine when they say, we will remember thy love more than wine.

PBC: Sos 1:5

" I am black, but comely,"

In this verse, the Shulamite makes a statement that is true of each of us, whether we like to admit it or not. I am black, but comely. All of Adam’s race is black, black with sin that is. The color black is never used to denote purity, rather the opposite is true: it always denotes impurity and filthiness. She also affirms that she is comely. All of Adam’s race is black, but not all of them are comely. The bride may be sinful, but she is washed and clean in Christ. Therefore, She is also comely.

PBC: Sos 1:6

She admits that she is black, but desires that He not look on her because she is black, but because she is comely. She may be black on the outside, yet her inward parts, her heart is His. She desires that he not look upon her works in the vineyard, where the sun had made her black. She was there because her mother’s children were angry with her. Her mother’s children denote the Pharisees that imputed the original law, and the additions to it, upon God’s people, to force labor and the ill effects of it upon them thus, her skin had been darkened by the sun by reason of labor.

Haydock: Sos 1:1

[ Title. ] Canticles. Hebrew shir hashirim asher Lishlomo, "the Canticle of Canticles which is for (Haydock) or according to Solomon," (Menochius) dictated to him by the Holy Ghost.

Behold. Christ praiseth his spouse. (Worthington) ---

Doves. Sharp-sighted, and reddish, Genesis xlix. 12. The Holy Ghost came upon Christ in the form of a dove, Matthew iii. 16. We must imitate his simplicity, (Matthew x. 16.) and have a pure and single eye, or intention, (Matthew vi. 22.; Calmet) inviolably to please God. (Origen) ---

The Church decides matters of controversy, without any mistakes. (Menochius)

Haydock: Sos 1:1

Let. Hebrew yishakeni, (Haydock) "kiss or instruct me," as if to insinuate the we must raise our thoughts from carnal to spiritual things. ---

The. Hebrew, "kisses." ---

His mouth. Others I reject. (Menochius) ---

The synagogue prays for Christ's coming, as the Church does for his glorious appearance. (Worthington) ---

The figures of the law and predictions afford not satisfaction; only the Messias can bring it to mankind. (Origen) ---

They shall all be taught by God, John vi. 45., and Hebrews i. 2. (Haydock) ---

Breasts. Hebrew also, "loves." But the former is the primary signification of (Menochius) dodec. Christ, in his divine and human nature, is the source of all our good. His graces are manifested. He instructs and feeds us with the truths contained in Scripture, and in tradition, (Haydock) or in the Old and New Testament. (Ven. Bede, &c.) ---

Spiritual delights are to be preferred before all terrestrial ones. From the incarnation of Christ, and sanctification of man, all other graces proceed. (Tirinus) ---

At first the spouse speaks to the bridegroom in the third person, to show her respect, though he was certainly present. Her companions attend her. (Calmet) ---

Wine. All seem to agree that these words are addressed to the bridegroom: which shews that they must be understood in the mystical sense. (Haydock)

Haydock: Sos 1:2

Ointments. The bosom used to be perfumed. (Atheneus xv. 5., and xv. 14.) ---

Thy name. Thou thyself. The preaching of the gospel produced a wonderful change in the world, 2 Corinthians ii. 15. (Calmet) ---

The Church honours the name of Jesus on the second Sunday after the Epiphany. (A. Butler, p. 130.) (Haydock) ---

Thee. The martyrs and Christian virgins are inflamed with divine love.

Haydock: Sos 1:3-4

To, &c., is in the Septuagint; but not in Hebrew or Complutensian. (Calmet) ---

Grace must draw, and then people will run, John vi. 44., and xii. 32., and Philippians iii. 12. (St. Ambrose) (Bossuet) ---

Rooms. Where there is abundance of wine and ointments. The extraordinary favours of heaven are not granted to all, Matthew xiii. 11. (Calmet) ---

Righteous. The apostles, and faithful souls, (Haydock) and all who form a right judgment of things, (Menochius) having their thoughts, works, and actions composed. (Tirinus) ---

Black. Or brown, ver. 5. (Haydock) ---

The Egyptians were of a less fair complexion, and she had been exposed to the sun, ver. 5. (Calmet) ---

The synagogue gloried in her advantages; but the Gentiles being chosen by Christ, obtain the palm. (Theodoret) ---

Though outwardly afflicted, the Church is inwardly fair. (Worthington) ---

Cedar. Or of the Arabs, who dwelt in tents, made of black goat's hair. (Calmet) ---

The tents of the eastern kings were equal in magnificence to our palaces. (Bernier, Valle, &c.)

Haydock: Sos 1:5

Altered. Hebrew, "looked upon me," (Protestants) or "darted his rays at me." (Montanus) (Haydock) ---

The Church of the Gentiles was quite disfigured before Christ chose it. Persecutors afterwards strove to tarnish its beauty, but in vain. ---

Vineyard. My face (Calmet) and person I have not regarded, while I was attentive to serve others. (Haydock) ---

Pastors, who are chosen against their will, sometimes pay so much attention to the welfare of their flock, that they neglect their own interior, and fall into small faults, which Christ will know how to excuse and pardon, Ezechiel xxxiii. 2. (St. Bernard, ser. xxx.) (Calmet)

Haydock: Sos 1:6

Liest. Hebrew, "makest thy flock to rest." (Protestants) (Haydock) ---

Mid-day. She represents herself and her beloved as guarding flocks, which were usually driven into some shady place during the heat of the day, when the shepherds took their innocent recreations. ---

Wander. (Septuagint; Protestants) But marginal note has, "as one that is veiled," which was the mark of a common woman, Genesis xxxviii. 14. The Gentile Church is eager to be guided by the one true Shepherd, and adheres to him with the greatest fervour, (Calmet) during the heat of persecution. (Cassiodorus ) ---

We ought to imitate the solicitude of the spouse, and hide ourselves under the shadow of the cross when we are tempted, Isaias xxv. 4. (Calmet)

Gill: Sos 1:1

The Song of songs, which is Solomon's. Wrote by Solomon, king of Israel, as the "amanuensis" of the Holy Ghost; and not by Hezekiah and his men, as the Jews say ^k: or, "concerning Solomon" ^l; Christ, of whom Solomon was a type; see Son 3:7; of his person, excellencies, love to his church, care of her, and concern for her; and of the nearness and communion he admitted her to, and indulged her with the Jews have a saying ^m, that wherever the word Solomon is used in this song, the Holy One is meant, the holy God, or Messiah: it is called "the Song of songs", because the most excellent, as the Holy of holies, King of kings, &c. which, with the Hebrews, express a superlative; this being more excellent than the one hundred and five songs, written by Solomon, or than any human composure whatever; yea, preferable to all Scriptural songs, as to subject, manner of style, and copiousness of it.

Gill: Sos 1:2

Let him kiss me with the kisses of his mouth,.... That is, Solomon; Christ, the antitype of Solomon, the church's beloved; or it is a relative without an antecedent, which was only in her own mind, "let him"; him, whom her thoughts were so much employed about; her affections were so strongly after; and whose image was as it were before her, present to her mind: and "the kisses of his mouth", she desires, intend some fresh manifestations and discoveries of his love to her; by some precious word of promise from his mouth, applied to her; and by an open espousal of her, and the consummation of marriage with her. It may be rendered, "with one of the kisses of his mouth" ⁿ; kisses with the ancients were very rare, and used but once when persons were espoused, and as a token of that; and then they were reckoned as husband and wife ^o: on which account, it may be, it is here desired; since it was after this we hear of the spouse being brought into the nuptial chamber, and of the keeping of the nuptial feast, Son 1:4;

for thy love is better than wine; or "loves" ^p; which may denote the abundance of it; the many blessings of grace which flow from it; and the various ways in which it is expressed; as well as the high esteem the church had of it. This is said to be "better than wine"; for the antiquity of it, it being from everlasting; and for the purity of it, being free from all dregs of dissimulation and deceit on the part of Christ, and from all merit, motives, and conditions, on the part of the church; for its plenty, being shed plenteously in the hearts of believers, and who may drink abundantly of it; and for its freeness and cheapness, being to be had without money and without price; and it is preferable to wine for the effects of it; which not only revives and cheers heavy hearts, but quickens dead sinners, and comforts distressed saints; and of which they may drink plentifully, without hurt, yea, to great advantage.

Gill: Sos 1:3

Because of the savour of thy good ointments,.... It was usual for lovers to anoint themselves, their hair, garments, &c. to commend themselves to each other; and it was common to commend each other's ointments, and the grateful smell of them ^q none being like them, or so agreeable as theirs: by these ointments may be meant the grace of Christ, the fulness of it, the oil of gladness with which he is anointed above his fellows, and without measure; and which so greatly recommends him to his church and people, Psa 45:7;

thy name is as ointment poured forth; which emits the greater odour for its being poured forth out of the box. The very names of lovers are dear to one another, sweeter than nectar itself ^r; the very mention of them gives an inexpressible pleasure. This may respect not merely the fame of Christ spread abroad in the world through the ministry of the word; nor the Gospel only, which is his name, Act 9:15; and is like a box of ointment broke open, which diffuses the savour of his knowledge everywhere; but some precious name of his, as Immanuel, God with us; Jesus, a Saviour; but more particularly his name Messiah, which signifies anointed, the anointed Prophet, Priest, and King of his church;

therefore do the virgins love thee: for the preciousness of his person, the fulness of grace in him, and the truths of his Gospel: and which love shows itself in a desire of his presence, and communion with him; in a regard to his word and worship, to his truths and ordinances; and to his people, to conversation and communion with them. By these virgins are meant either congregational churches that strictly adhere to Christ, and to his pure worship; or particular believers, for their inviolate attachment to him; for the singleness and sincerity of their love to him; for their uncorruptness in the doctrine of faith; for the truth and spirituality of their worship; for the purity of their lives and conversations; for their beauty and comeliness through Christ; for their colourful and costly attire, being clothed with his righteousness; and for their modest behaviour, having the ornament of a meek and quiet spirit.

Gill: Sos 1:4

Draw me,.... With the cords of love, for what draw lovers to each other more strongly? under the influence of that they cannot bear to be without each other's company. Aben Ezra takes these words to be spoken by the virgins, who everyone of them said this, promising upon it to follow after the drawer; but they are rather the request of the church, desirous of nearer and more intimate communion with Christ; for this is not to be understood of drawing at first conversion, as the fruit of love, and under the influence of grace, Jer 31:3; but of being brought nearer to Christ, and to enjoy more of him;

we will run after thee; the church and the virgins, she and her companions, or particular believers; everyone of them in their respective stations would act with more rigour upon such drawings; would run in a way of duty, follow Christ, and walk in his steps; and as they had him for an example, and according to his word, and in the ways of his commandments: or "that we may run after thee" ^s; intimating that there is no running without drawing; no following Christ, at least no running after him with alacrity and cheerfulness, without being drawn by his love, and influenced by his grace;

the King hath brought me into his chambers: the blessing she sought after, and was so solicitous for in the preceding verses; namely, to have the marriage consummated, to be owned by Christ as his spouse and bride, by taking her home, and introducing her into the nuptial chamber; by putting her into the enjoyment of himself, and the possession of his substance: and this being done by him as King of saints, yea, of the world, showed great condescension on his part, and great honour bestowed on her; since by this act, as he was King, she was declared queen!

we will be glad and rejoice in thee: she and her bridesmaids, the virgins that attended her; that is, "when he should introduce" her into his chambers, as some ^t render the words; then they should express their joy and gladness on that occasion; and that in the greatness, glory, and fitness of his person; in the fulness of grace in him; in the blessings of grace from him; in what he has done for, and is to his church and people; in the offices he bears, and in the relations he stands in to them; and particularly that of a husband, now declared;

we will remember thy love more than wine: which, upon the introduction of the bride to the bridegroom, might be plentifully drank; of the preferableness of Christ's love to wine; see Gill on Son 1:2; it may design more particularly the love of Christ, expressed at this time of solemnizing the marriage between him and his church in an open manner, Hos 2:19; and which would never be forgotten: Christ's love is remembered when thought of and meditated upon; when faith is exercised on it, and the desires of the soul are drawn after it, and the affections set upon it; and when it is often spoken of to others, being uppermost in the mind; saints under the Gospel dispensation have an ordinance for this purpose, to, commemorate the love of Christ;

the upright love thee; or "uprightnesses" ^u; men of upright hearts and conversations, who have right spirits renewed in them; or Israelites indeed, in whom there is no guile; who have the truth of grace in them, walk uprightly according to the rule of God's word, and the Gospel of Christ; and do all they do sincerely, from a principle of love, and with a view to the glory of God; such love Christ superlatively, sincerely, fervently, and constantly; and "love him rightly", or "most uprightly", as some ^w render the phrase.

Gill: Sos 1:5

I am black, but comely, O ye daughters of Jerusalem,.... The church having obtained of Christ, what she wanted, turns to the daughters of Jerusalem, the same perhaps with the virgins her companions; they seem to be young converts, it may be not yet members of the visible church, but had a great respect for the church, and she for them; and who, though they had but a small knowledge of Christ her beloved, yet were desirous of knowing more of him, and seeking him with her; see Son 3:9; to these she gives this character of herself, that she was "black" in herself ^x, through original sin and actual transgression; in her own eyes, through indwelling sin, and many infirmities, spots, and blemishes in life; and in the eyes of the world, through afflictions, persecutions, and reproaches, she was attended with, and so with them the offscouring of all things: "but comely" in the eyes of Christ, called by him his "fair one", the "fairest among women", and even "all fair", Son 1:8; through his comeliness put upon her, the imputation of his righteousness to her; through the beauties of holiness upon her; through, the sanctifying influences of his Spirit; and, being in a church state, walking in Gospel order, attending to the commands and ordinances of Christ; and so beautiful as Tirzah, and comely as Jerusalem, Son 6:4; and upon all accounts "desirable" ^y to Christ, and to his people, as the word may be rendered;

as the tents of Kedar, as the curtains of Solomon: each of which are thought by some to refer to both parts of her character; and suppose that the tents of Kedar, though they might look poor on the outside, were full of wealth and riches within; and Solomon's curtains, or hangings, might have an outward covering not so rich and beautiful as they were on the inside; but rather the blackness of the church is designed by the one, and her comeliness by the other. With respect to her blackness, she compares herself to the tents of Kedar, to the inhabitants of those tents, who were of a black or swarthy complexion; Kedar signifies the name of a man whose posterity these were, that dwelt in tents, even of Kedar the second son of Ishmael, and who inhabited some part of Arabia; and, their employment being to feed cattle, moved from place to place for the sake of pasturage, and so dwelt in tents, which they could easily remove, and hence were called Scenites; and the tents they dwelt in being made of hair cloth, and continually exposed to the sun and rain, were very black, and yet a number of them made a fine appearance, as Dr. Shaw relates ^z; though black, yet were beautiful to behold; he says,

"the Bedouin Arabs at this day live in tents called "hhymes", from the shelter which they afford the inhabitants; and "beet el shaar", that is, "houses of hair", from the materials or webs of goats' hair whereof they were made; and are such hair cloth as our coal sacks are made of; the colour of them is beautifully alluded to, Son 1:5; for nothing certainly can afford (says he) a more delightful prospect than a large extensive plain, whether in its verdure, or even scorched up by the sunbeams, than, these movable habitations pitched in circles upon them; of which (he says) he has seen from three to three hundred.''

And for her comeliness the church compares herself either to the curtains of Solomon, about his bed, or to the rich hangings of tapestry in the several apartments of his palace, which no doubt were very costly and magnificent.

Gill: Sos 1:6

Look not upon me,.... Meaning not with scorn and disdain because of her meanness; nor as prying into her infirmities to expose her; nor with joy at her trials and afflictions; neither of these can be supposed in the daughters of Jerusalem addressed by her: but rather, not look on her as amazed at her sufferings, as though some strange thing had befallen her; not at her blackness only, on one account or another, lest they should be stumbled; but at her beauty also;

because I am black; or "blackish" somewhat black ^a, but not so black as might be thought, or as she was represented: the radicals of the word being doubled, some understand it as diminishing; but rather it increases the signification; see Psa 14:2; and so it may be rendered "very black" ^b, exceeding black; and this she repeats for the sake of an opportunity of giving the reason of it, as follows;

because the sun hath looked upon me; and had burnt her, and made her black; which effect the sun has on persons in some countries, and especially on such who are much abroad in the fields, and employed in rural services ^c; as she was, being a keeper of vineyards, as in this verse, and of flocks of sheep, as in the following. This may be understood of the sun of persecution that had beat upon her, and had left such impressions on her, and had made her in this hue, and which she bore patiently; nor was she ashamed of it; nor should she be upbraided with it, nor slighted on account of it, see Mat 13:6;

my mother's children were angry with me; by whom may be meant carnal professors, members of the same society, externally children of the same mother, pretend to godliness, but are enemies to it: these were "angry" with the church for holding and defending the pure doctrines of the Gospel; for keeping the ordinances as they were delivered; and for faithful reproofs and admonitions to them and others, for their disagreeable walk: and these grieved the church, and made her go mourning, and in black; and more blackened her character and reputation than anything else whatever: though it may be understood of any carnal men, who descend from mother Eve, or spring from mother earth, angry with the church and her members preciseness in religion; and particularly violent persecutors of her, who yet would be thought to be religious, may be intended;

they made me the keeper of the vineyards; this is another thing that added to her blackness, lying abroad in the fields to keep the "vineyards" of others, by which may be meant false churches, as true ones are sometimes signified by them; and her compliance with their corrupt worship and ordinances, which was not voluntary, but forced; they made me, obliged her, and this increased her blackness; as also what follows;

but mine own vineyard have I not kept; which made her blacker still; her church state, or the spiritual affairs of her own, her duty and business incumbent on her ^d, were sadly neglected by her: and this sin of hers she does not pretend to extenuate by the usage of her mother's children; but ingenuously confesses the fault was her own, to neglect her own vineyard and keep others, which was greatly prejudicial to her, and was resented by Christ; upon which it seems he departed from her, since she was at a loss to know where he was, as appears from the following words. With the Romans, neglect of fields, trees, and vineyards, came under the notice of the censors, and was not to go unpunished ^e.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 1:1

¹ tn The preposition ל in אֲשֶׁר לִשְׁלֹמֹה (’asher lishlomoh) has been taken as: (1) authorship: “which is written by Solomon.” The lamed of authorship (also known as lamed auctoris) is well attested in Hebrew (see GKC 421 §130.b), particularly in the psalms (e.g., Pss 18:1; 30:1; 34:1; 51:1; 52:1; 54:1; 56:1; 57:1; 59:1; 60:1; 63:1; 72:21); (2) dedication: “which is dedicated for Solomon.” The lamed of dedication is attested in Ugaritic psalms dedicated to Baal or about Baal (CTA 6.1.1 = UT 49.1); or (3) topic: “which is about/concerning Solomon.” The lamed of topic is attested in Hebrew (e.g., 1 Chr 24:20) and in Ugaritic, e.g., lb`l “About Baal” (CTA 6.1.1 = UT 49.1). The ל is most likely denoting authorship. The ל followed by a name in the superscription of a poetic composition in the OT, usually (if not always) denotes authorship. Just as the superscription לְדָוִד (lÿdavid) claims Davidic authorship within the Psalter, the heading claims Solomonic authorship. Whether or not this attribution is historically reliable or simply a matter of Jewish tradition is debated in scholarship, just as the Davidic superscriptions in the Psalter are debated (see study note on the word “Song” in the superscription).

² tn Heb “the song of songs.” The genitive construct שִׁיר הַשִׁירִים (shir hashirim) is translated literally as “the song of songs” in the early versions: Greek LXX (ᾀσμα ᾀσμάτων, asma asmatwn), Latin Vulgate (canticum canticorum) and Syriac Peshitta (tesŒbÿhat tesŒbÿha„ta„á). The phrase שִׁיר הַשִׁירִים may be understood in two ways: (1) The noun הַשִׁירִים is a plural of number (“songs”) and functions as a genitive of composition: “the song composed of several songs,” that is, the book is a unified collection (hence the singular שִׁיר “song”) composed of individual love songs (see note on the expression “Her Lover” in v. 1). (2) The expression may be a superlative genitive construction denoting par excellence (see IBHS 154 §9.5.3j; GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 11, §44; 17-18, §80). For example, קֹדֶשׁ קָדָשִׁים (qodesh qadashim, “the holy of holies”) means the most holy place (Exod 29:37); אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הָאֲדֹנִים (’elohe ha’elohim va’adone ha’adonim, “the God of Gods and Lord of Lords”) means the Highest God and the Supreme Lord (Deut 10:17); and עֶבֶד עֲבָדִים (’eved ’avadim,“a slave of slaves”) means an abject slave (Gen 9:25). The title “the Song of Songs” is an expression of great esteem for the composition. It has been translated variously: “The Song of Songs, which is Solomon’s” (KJV, NKJV, RSV, NRSV, NASB), “Solomon’s Song of Songs” (NIV), “The most beautiful of songs, by Solomon” (TEV), “dedicated to,” or “about Solomon” (TEV margin), “Solomon’s most beautiful song” (CEV), “This is Solomon’s song of songs, more wonderful than any other” (NLT).

³ tn Heb “song.” The noun שִׁיר (shir) may refer to a musical song that was sung (Exod 15:1; Num 21:17; Ps 33:3; Isa 42:10) or a poetic composition that was simply read (Deut 31:19, 21, 22; 30; 32:44) (BDB 1010 s.v. שׁיר). Several factors suggest that the Song of Songs was poetry to be read and enjoyed rather than sung: (a) its sheer length, (b) absence of musical notations or instrumental instructions, (c) testimony of Jewish tradition and interpretation, (d) lack of evidence of its musical performance in the history of Israel, and (e) comparison with ancient Egyptian love poetry. The term שִׁיר here probably refers to love poetry (e.g., Isa 5:1) (BDB 1010 s.v. 1; W. L. Holladay, Concise Hebrew and Aramaic Lexicon, 368). The Song appears to be a collection of individual love songs rather than a single multistanza poem. For comparison of the Song of Songs with ancient Egyptian loves songs, see M. V. Fox, The Song of Songs and the Ancient Egyptian Love Songs, and J. B. White, Language of Love in the Song of Songs and Ancient Egyptian Poetry (SBLDS).

sn The superscription “Solomon’s Most Excellent Love Song” appears to be a late addition, just as many superscriptions in the Psalter appear to have been added to the psalms sometime after their original composition. R. E. Murphy (Song of Songs [Hermeneia], 119) notes that the use of the independent relative pronoun אֲשֶׁר (’asher) in 1:1 sharply distinguishes the superscription from the body of the Song as a whole where the short form -שֶׁ (she-) occurs thirty-two times (e.g., 1:6, 12; 6:5). The short form -שֶׁ also occurs frequently in Ecclesiastes which is traditionally attributed to Solomon. Therefore, it would appear that the superscription is a later addition to the Song. This, of course, raises the question whether or not the attribution of Solomonic authorship of the Song is historically reliable or simply a matter of later Jewish tradition.

NET Notes: Sos 1:2

¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (1:5; 3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

² tn Heb “May he kiss me….” The shift from 3rd person masculine singular forms (“he” and “his”) in 1:2a to 2nd person masculine singular forms (“your”) in 1:2b-4 has led some to suggest that the Beloved addresses the Friends in 1:2a and then her Lover in 1:2b-4. A better solution is that the shift from the 3rd person masculine singular to 2nd person masculine singular forms is an example of heterosis of person: a poetic device in which the grammatical person shifts from line to line (M. H. Pope, Song of Songs [AB], 297). The third person is put for the second person (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1; Song 4:2; 6:6) (E. W. Bullinger, Figures of Speech, 524-25). Similar shifts occur in ancient Near Eastern love literature (cf. S. N. Kramer, The Sacred Marriage Rite, 92, 99). Most translations render 1:2 literally and preserve the shifts from 3rd person masculine singular to 2nd person masculine singular forms (KJV, AV, NASB, NIV); others render 1:2 with 2nd person masculine singular forms throughout (RSV, NJPS).

³ tn Heb “May he kiss me with the kisses of his mouth!” The phrase יִשָּׁקֵנִי מִנְּשִׁיקוֹת (yishshaqeni minnÿshiqot, “kiss me with kisses”) is a cognate accusative construction used for emphasis.

⁴ tc The MT vocalizes consonantal דדיך as דֹּדֶיךָ (dodekha, “your loves”; mpl noun from דּוֹד, dod, “love” + 2nd person masculine singular suffix). The LXX and Vulgate reflect the vocalization דַּדֶּיךָ (daddekha, “your breasts”; mpl noun from דַּד, dad, “breast” + 2nd person masculine singular suffix). This alternate tradition was well known; it was followed by Hippolytus of Rome (d. 235) in his exposition of Canticles 1:2 and by Rabbi Yohanan of Tiberias (3rd century a.d.) as recorded in the Jewish midrashim on Canticles Rabbah 1:2.2. However, the MT vocalization is preferred. In terms of external evidence, the MT vocalization tradition is generally more reliable. In terms of internal evidence, the LXX form דַּדֶּיךָ (daddekha, “your [male!] breasts”) is a bit shocking, to say the least. On the other, the plural form דּוֹדִים (dodim, “loves”) is used in the Song to refer to multiple expressions of love or multiple acts of lovemaking (e.g., 1:4; 4:10; 5:1; 7:13 [ET 12]).

tn Although it may be understood in the general sense meaning “love” (Song 1:4), the term דּוֹד (dod) normally means “lovemaking” (Prov 7:18; Song 4:10; 7:12[13]; Ezek 16:8; 23:17). The plural form דֹּדֶיךָ (dodekha, lit. “your lovemakings”) is probably not a plural of number but an abstract plural (so BDB 187 s.v. דּוֹד 3).

⁵ tn Heb “better than.” With the comparison of lovemaking to wine, the idea is probably “more intoxicating than wine” or “more delightful than wine.”

⁶ tn The young woman compares his lovemaking to the intoxicating effects of wine. A man is to be “intoxicated” with the love of his wife (Prov 5:20). Wine makes the heart glad (Deut 14:26; Judg 9:13; Ps 104:15) and revives the spirit (2 Sam 16:1-2; Prov 31:4-7). It is viewed as a gift from God, given to enable man to enjoy life (Eccl 2:24-25; 5:18). The ancient Egyptian love poems use the imagery of wine and intoxication to describe the overwhelming effects of sexual love. For example, an ancient Egyptian love song reads: “I embrace her and her arms open wide; I am like a man in Punt, like someone overwhelmed with drugs. I kiss her and her lips open; and I am drunk without beer” (ANET 467-69).

NET Notes: Sos 1:3

¹ tn The preposition לְ (lÿ) of לְרֵיחַ (lÿrekha) has been understood in three ways: (a) dative of reference: “with respect to fragrance [your perfumes are pleasing]” (see GKC 430 §133.d); (b) asseverative or emphatic: “indeed the fragrance [of your perfumes is pleasing]” (see R. J. Williams, Hebrew Syntax, 50-51, §283); or (c) comparative: “[your lovemaking is better than wine], indeed better the scent [of precious ointments]” (W. F. Albright, “Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 2, n. 4).

² tn Heb “the scent of your oils.” The term שֶׁמֶן (shemen, “cologne”) refers to perfumes or colognes (Eccl 7:1; 10:1; Song 4:10). In Israel bodily oils were expensive (1 Kgs 17:12ff; 2 Kgs 2:4ff). Possession of oils and perfumes was a sign of prosperity and luxury (Deut 32:8; 33:24; Job 29:6; Prov 21:17; Ezek 16:13, 20). Wearing cologne was associated with joy (Ps 45:8; Eccl 9:8; Isa 61:3) because they were worn on festive occasions (Prov 27:9).

³ sn The term טוֹבִים (tovim, “pleasing”) refers to what is pleasant to the olfactory senses (BDB 373 s.v. II טוֹב 1.c) (e.g., Jer 6:20).

⁴ sn The term שְׁמֶךָ (shÿmekha, “your name”) may be a metonymy of association for her lover. In Hebrew idiom, the name often represents the person (e.g., 1 Sam 25:25).

⁵ tn The meaning of the phrase שֶׁמֶן תּוּרַק (shemen turaq) is difficult to determine; several options have been proposed: (1) Traditionally, the term תּוּרַק is taken as a verb (Hophal imperfect 3rd person feminine singular from רִיק, riq, “to pour out”) which functions as an attributive adjective modifying the noun שֶׁמֶן (“oil, perfume”): “poured out oil.” The phrase is taken this way by LXX ἒλαιον ἐκχεομενον (“oil poured out”) which seems to reflect a Hebrew Vorlage of a passive verb functioning adjectivally. Accordingly, the phrase is traditionally translated “ointment/oil poured forth/poured out” (KJV, NKJV, ASV, NIV, RSV, NRSV, NJB), “purified oil” (NASB) or “spreading perfume” (NAB, CEV). However, this is syntactically awkward because: (a) the noun שֶׁמֶן (“oil”) is masculine (BDB 1032 s.v. שֶׁמֶן) but the verb תּוּרַק (“poured out”) is feminine (3rd person feminine singular); and (b) this would demand heterosis of the verb for an adjective function. (2) Aquila, who is known for his woodenly literal translation technique, reads ἒλαιον ἐκκενωθὲν (elaion ekkenwqen, “oil poured out”) which reflects a passive participle functioning adjectivally, perhaps מוּרָק (muraq; Hophal participle ms from רִיק “to pour out”). This involves simple orthographic confusion between ת and מ. This might be reflected in Qumran because Baillet’s restoration of 6QCant reads מרקחת מורקה (cited in BHS apparatus “c-c”) which would be vocalized מִרְקַחַת מוּרקָה (mirqakhat murqah, “perfumed poured out”). However, Baillet’s restoration is questioned by some scholars. (3) The BHS editors suggest emending MT תּוּרַק (turaq) to the noun תַּמְרוּק (tamruq, “purification”), used for oil of purification (e.g., Esth 2:3, 9, 12): תַּמְרוּק שֶׁמֶן (shemen tamruq) would mean “oil of purification” or “purified oil.” (4) A simpler solution is to take תּוּרַק as a previously unrecognized noun that is related to the Ugaritic noun trq which refers to high grade cosmetic oil (UT 145.20; 19.371). This approach is adopted by one other translation: “Your name is like finest oil” (NJPS).

⁶ sn The similar sounding terms שֵׁם (shem, “name”) and שֶׁמֶן (shemen, “perfume”) create a wordplay (paronomasia).

⁷ sn The term עַלְמָה (’almah, “young woman”) refers to a young woman who is of marriageable age or a newly married young woman, usually before the birth of her first child (HALOT 835-36 s.v. עַלְמָה; BDB 761 s.v. עַלְמָה) (e.g., Gen 24:43; Exod 2:8; Ps 68:26; Prov 30:19; Song 1:3; 6:8; Isa 7:14). The only other use of the term “young women” (עֲלָמוֹת) in the Song refers to the young women of Solomon’s harem (Song 6:8). The root עלם denotes the basic idea of “youthful, strong, passionate” (HALOT 835 s.v. III עלם). While the term עַלְמָה (“young woman”) may be used in reference to a young woman who is a virgin, the term itself does not explicitly denote “virgin.” The Hebrew term which explicitly denotes “virgin” is בְּתוּלָה (bÿtulah) which refers to a mature young woman without any sexual experience with men (e.g., Gen 24:16; Exod 22:15-16; Lev 21:3; Deut 22:23, 28; 32:25; Judg 12:12; 19:24; 2 Sam 13:2, 18; 1 Kgs 1:2; 2 Chr 36:17; Esth 2:2-3, 17, 19; Job 31:1; Pss 45:15; 78:63; 148:12; Isa 23:4; 62:5; Jer 2:32; 31:3; 51:22; Lam 1:4, 18; 2:10, 21; 5:11; Ezek 9:6; Joel 1:8; Amos 9:13; Zech 9:17 (HALOT 166-7 s.v. בְּתוּלָה; BDB 143 s.v. בְּתוּלָה). The related noun בְּתוּלִים (bÿtulim) means “state of virginity” (Lev 21:13; Judg 11:37-38; Ezek 23:3, 8; Sir 42:10) and “evidence of virginity” (Deut 22:14-15, 17, 20) (HALOT 167 s.v. בְּתוּלִים).

⁸ tn Heb “love.”

NET Notes: Sos 1:4

¹ sn The verb מָשַׁךְ (mashakh, “draw”) is a figurative expression (hypocatastasis) which draws an implied comparison between the physical acting of leading a person with the romantic action of leading a person in love. Elsewhere it is used figuratively of a master gently leading an animal with leather cords (Hos 11:4) and of a military victor leading his captives (Jer 31:3). The point of comparison might be that the woman wants to be the willing captive of the love of her beloved, that is, a willing prisoner of his love.

² tn The three verbs in this line are a good example of heterosis of person, that is, a shift from 2nd person masculine singular to 1st person common plural to 3rd person masculine singular forms: מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from מָשַׁךְ, mashakh, “to draw” + 1st person common singular suffix:), נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”), and הֱבִיאַנִי (hevi’ani, “he has brought me” or “bring me!”; Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix). Heterosis from second to third person occurs elsewhere in the Song in 1:2-3; 4:2; 6:6 (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1).

³ tn Or “O king, bring me into your chambers!” The article on the noun הַמֶּלֶךְ (hammelekh, “the king”) may be taken in two ways: (1) the particularizing use of the article: “The king” (e.g., NIV: “The king has brought me into his chambers”) or (2) the vocative use of the article: “O king!” (NJPS margin: “O king, bring me into your chambers!”) (For the vocative use of the article, see GKC 405 §126.e; Joüon 2:506-7 §137.f; R. J. Williams, Hebrew Syntax, 19, §89; IBHS 247 §13.5.2c). The syntactical classification of the article is dependent upon: (1) Whether the MT reading of the 3rd person masculine singular suffix on חֲדָרָיו (khadarav, “his chambers”) is retained or whether the text is emended to the 2nd person masculine singular suffix form חַדְרֶךָ (khadrekha, “your chamber”) as reflected in Syriac (see textual note below). (2) Whether הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular from בּוֹא, bo’, “to bring” + 1st person common singular suffix) is classified as a perfect of past action (“The king has brought me into his chambers”) or a precative perfect (“O king, bring me into your chambers!”) (see syntactical note below). (3) Whether the consonantal form הביאני should be vocalized as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular + 1st person common singular suffix) as preserved in MT or as הֲבִיאֵנִי (havi’eni, Hiphil imperative 2nd person masculine singular + 1st person common singular suffix) as reflected in Symmachus and Syriac (see textual note below).

⁴ tn Or “has brought me.” The verb הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix) may be classified in two ways: (1) perfect of past action: “The king has brought me into his chambers” or (2) precative perfect: “May the king bring me into his chambers!” (J. S. Deere, “Song of Solomon,” BKCOT, 1012). While some older grammarians denied the existence of the precative (volitional) function of the perfect in Hebrew (e.g., S. R. Driver, Tenses in Hebrew, 25-26; GKC 312-13 §106.n, n. 2), its existence is accepted in more recent grammars (e.g., IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). While the perfect of past action is the more common use of the perfect, the context suggests the more rare precative. As IBHS 494-95 §30.5.4d notes, the precative can be recognized contextually by its parallelism with the other volitive forms. The parallelism of precative הֱבִיאַנִי (“bring me!”) with the volitives in the two preceding parallel colons – מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from משַׁךְ, mashakh, “to draw” + 1st person common singular suffix:) and נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”) – favors the precative function of the perfect. The volitive function of consonantal הביאני is reflected in Syriac. The BHS editors suggest revocalizing MT to הֲבִיאֵנִי “bring me!” The precative function of the perfect הֱבִיאַנִי may explain the origin of this variant vocalization tradition reflected in Syriac. In terms of connotation, the precative functions as a volitive as an example of the irreal modal or optative function of the perfect (IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). In contrast to the use of the irreal perfect for situations which the speaker expresses as a wish without expectation of fulfillment (contrary-to-fact situations, hypothetical assertions, and expressions of a wish that is not expected to be realized), the precative refers to situations the speaker expresses his desire for and expects to be realized (IBHS 494-95 §30.5.4d). It is used most often in contexts of prayers to God which the speakers expect to be answered (e.g., Pss 3:8; 22:22; 31:5-6). Here, she expresses her desire that her lover consummate their love in his bedroom chambers; she expects this desire to be realized one day (e.g., 4:1-5:1). There are, however, several problems with nuancing the form as a precative: (a) this would demand emending MT חֲדָרָיו (khadarav, “his chambers”) to חַדְרֶךָ (khadrekha, “your chamber[s]”) – which is, however, reflected by Syriac Peshitta and Symmachus, and (b) it would demand nuancing the article on הַמֶּלֶךְ (hammelekh) as a vocative (“O king!”).

⁵ tc The MT reads the 3rd person masculine singular suffix on a plural noun חֲדָרָיו (khadarav, “his chambers”). This is reflected in LXX, Targums, and Vulgate. However, the 2nd person masculine singular suffix on a singular noun חַדְרֶךָ (khadrekha, “your chambers”) is reflected by Syriac Peshitta and Symmachus. See preceding note on the text-critical significance of these variant readings.

⁶ tn The term חֶדֶר (kheder, “chamber”) is used frequently in reference to a bedroom (Gen 43:30; Judg 15:1; 16:9; 2 Sam 13:10; 1 Kgs 1:15; Ps 105:30; Isa 26:20). It refers explicitly to a bedroom when used with the noun מִשְׁכָּב (mishkav, “bed”) in the expression חֶדֶר מִשְׁכָּב “bedroom chamber” (Exod 7:28; 2 Sam 4:7; 2 Kgs 6:12; Eccl 10:20). The plural form חֲדָרָיו (khadarav, “his chambers”) functions as a plural of extension rather than a plural or number; it refers to one bedroom composed of several parts rather than referring to several different bedrooms. The expression “Bring me into your chambers” is a metonymy of cause for effect, that is, her desire for lovemaking in his bedroom chambers.

⁷ sn Normally in the Song, the person/gender of the pronouns and suffixes makes the identify of the speaker or addressee clear. However, there are several places in which there is grammatical ambiguity that makes it difficult to identify either the speaker or the addressee (e.g., 6:11-13; 7:9b). This is particularly true when 1st person common plural or 3rd person common plural verbs or suffixes are present (1:3[4]; 2:15; 5:1b; 8:8-9), as is the case in the three lines of 1:3b[4b]. There are four views to the identity of the speaker(s): (1) NASB attributes all three lines to the maidens, (2) NIV attributes the first two lines to the friends and the third line to the Beloved (= woman), (3) NJPS attributes all three lines to the Beloved, speaking throughout 1:2-4, and (4) The first line could be attributed to the young man speaking to his beloved, and the last two lines attributed to the Beloved who returns praise to him. The referents of the 1st person common plural cohortatives and the 2sg suffixes have been taken as: (1) the maidens of Jerusalem, mentioned in 1:4[5] and possibly referred to as the 3rd person common plural subject of אֲהֵבוּךָ (’ahevukha, “they love you”) in 1:3b[4b], using the 1st person common plural cohortatives in reference to themselves as they address her lover: “We (= maidens) will rejoice in you (= the young man).” (2) The Beloved using 1st person common plural cohortatives in a hortatory sense as she addresses her lover: “Let us (= the couple) rejoice in you (= the young man), let us praise your lovemaking…” (3) The Beloved using the 1st person common plural cohortatives in reference to herself – there are examples in ancient Near Eastern love literature of the bride using 1st person common plural forms in reference to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99) – as she addresses the young man: “We (= I) will rejoice in you (= the young man).” Note: This problem is compounded by the ambiguity of the gender on בָּךְ (bakh, “in you”) which appears to be 2nd person feminine singular but may be 2nd person masculine singular in pause (see note below).

⁸ tn Alternately, “Let us rejoice and delight in you.” There is debate whether the cohortatives נָגִילָה (nagilah, Qal cohortative 1st person common plural from גִּיל, gil, “to exult”), וְנִשְמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”) and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) should be classified as (1) cohortatives of resolve, expressing the resolution or determination of the speakers to adopt or accomplish a course of action: “We will rejoice…we will delight…we will praise” (e.g., KJV, NASB, NIV) or (2) hortatory cohortatives, exhorting others to join in doing something: “Let us rejoice…let us delight…let us praise” (e.g., NJPS).

⁹ tn A shift occurs in 1:4 from 1st person common singular forms to 1st person common plural forms: “Draw me (מָשְׁכֵנִי, mashÿkeni)…Let us run (נּרוּצָה, narutsah)…Bring me (הֱבִיאַנִי, hevi’ani)…We will be glad (נָגִילָה, nagilah)…We will rejoice in you (וְנִשְׁמְחָה, vÿnishmÿkhah)…We will remember (נַזְכִּירָה, nazkirah)…They love you (אֲהֵבוּךָ, ’ahevukha)….” Several translations and many commentators end the words of the Beloved at 1:4a and begin the words of the Friends in 1:4b and revert back to the words of the Beloved in 1:4c. The subject of the 1st person common plural forms may be the “young women” (עֲלָמוֹת) previously mentioned in 1:3. This is supported by the fact that in 1:3 the Beloved says, “The young women love you” (עֲלָמוֹת אֲהֵבוּךָ, ’alamot ’ahevukha) and in 1:4c she again says, “Rightly do they [the young women] love you” (מֵישָׁרִים אֲהֵבוּךָ, mesharim ’ahevukha). On the other hand, in ANE love literature the bride often uses plural pronouns to refer to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99). Some commentators suggest that the young man is addressing his beloved because בָּךְ (bakh) appears to have a 2nd person feminine singular suffix. However, the suffix on בָּךְ is in pause (after the accent) therefore, the normal 2nd person masculine singular suffix בָּךָ has reduced to shewa. The parallelism with the 2nd person masculine singular suffix on דֹדֶיךָ (dodekha, “your love”) supports the 2nd person masculine singular classification.

¹⁰ tn Alternately, “remember.” The verb נַזְכִּירָה (nazkirah, Hiphil imperfect 1st person common plural from זָכַר, zakhar) is traditionally rendered “we will remember” (KJV), but is better nuanced “we will extol” (NASB) or “we will praise” (NIV). The verb זָכַר has a wide range of meanings: “to remember, call to mind” (Gen 8:1; Deut 24:9; Judg 8:34), “to name, mention” (Jer 20:9; 23:36; 31:20; Pss 63:7; 77:4), “to summon, command” (Nah 2:6), “to swear by” (Amos 6:10; 1 Chr 16:4), and “to praise, extol” (Exod 23:13; Josh 23:7; Pss 45:18; 71:16; Isa 26:13; 48:1; 62:6). The Hiphil stem has four denotations, and “to remember” is not one of them: (1) “to take to court,” (2) “to mention,” (3) “to make known,” and (4) “to praise, profess” (HALOT 269-70 s.v. I זכר). NJPS offers a poetic nuance that plays upon the wine motif: “savoring it more than wine.”

¹¹ tn Alternately, “The righteous love you.” Scholars debate whether מֵישָׁרִים (mesharim) should be taken as a substantive (“the righteous”), abstract noun (“righteousness”), or adverb (“rightly”). The LXX’s εὐθύτης ἠγάπησεν σε (euquths hgaphsen, “righteousness loves you”) is awkward. The adverbial sense is preferred for several reasons: (1) The verb אֲהֵבוּךָ (’ahevuka, “they love you”) in 1:4c is repeated from 1:3c where it was used in reference to the maiden’s love for her lover. (2) There is no group designated as “the righteous” elsewhere in the Song. (3) To introduce an additional party into this poetic unit is unnecessary when it can be easily understood as a reference to the maidens of 1:3c.

¹² tn Heb “they love you.” The words “the young women” do not appear in the Hebrew but are supplied in the translation for the sake of clarity. The shift from the 1st person common plural subjects in the three cohortatives – נָגִילָה (nagilah, Qal cohortative 1st person common plural from גּיל, gil, “to exult”), וְנִשְׂמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”), and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) – to the 3rd person common plural subject in the verb אֲהֵבוּךָ (’ahevukha, Qal perfect 3rd person common plural from אָהֵב, ’ahev, “to love” + 2nd person masculine singular suffix) suggests to many scholars that a shift in speakers occurs at this point: the maidens praise the young man in the first two lines, while the Beloved affirms the appropriateness of their praise in the last line (e.g., NIV). However, the shift in person might simply be another example of heterosis of person (as already seen in 1:2-4a) – this time from first person to third person. Thus, the shift in grammatical person does not necessarily indicate a shift in speakers. It is possible that the maidens are speaking throughout all three lines, and that the third line should be nuanced, “How rightly we love you!”

NET Notes: Sos 1:5

¹ tn Heb “O daughters of Jerusalem.”

² sn The term “dark” does not appear in the Hebrew in this line but is supplied in the translation from the preceding line for the sake of clarity. The poetic structure of this tricolon is an example of redistribution. The terms “black but beautiful” in the A-line are broken up – the B-line picks up on “black” and the C-line picks up on “beautiful.” The Beloved was “black” like the rugged tents of Qedar woven from the wool of black goats, but “beautiful” as the decorative inner tent-curtains of King Solomon (J. L. Kugel, The Idea of Biblical Poetry, 40; W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 181).

³ sn The comparison of her dark, outdoors appearance to the “tents of Qedar” is quite fitting for two reasons. First, the name “Qedar” refers to an ancient Arabian tribe of bedouin who lived in tents and inhabited a region in northern Arabia. Their tents were traditionally woven from the wool of black goats. They were not beautiful to look at; they were rough, rustic, rugged, and weather-beaten. Second, the terms שְׁחוֹרָה (shÿkhorah, “black”) and קֵדָר (qedar, “Qedar”) create a wordplay because the root קָדַר (qadar) means “dark, dirty” (HALOT 1072 s.v. קדר). The point of the comparison is that the Beloved had dark skin and a rugged outdoors appearance because she had been forced to work outdoors, and so her skin had become dark as 1:6 states.

⁴ tn The term “lovely” does not appear in the Hebrew in this line but is supplied in the translation from the first line in this verse for the sake of clarity.

⁵ sn There is debate whether the terms “tents” אָהֳלֵי (’ahale, “tents”) and יְרִיעוֹת (yÿri’ot, “tent-curtains”) used here as synonyms or antonyms. The term אֹהֶל (’ohel, “tent”) is often used in reference to an overall tent assembly, with particular emphasis on the external structure (e.g., Gen 4:20; 18:1; 31:33; Exod 26:13; 40:19; Judg 4:17; Isa 54:2; Jer 37:10) (HALOT 19 s.v. I אֹהֶל). The term “tent-curtains” (יְרִיעוֹה) is used to refer to (1) inner hanging curtains, such as decorative hangings or tapestries inside a tent (e.g., Exod 26:1-2, 7; Num 4:25) and (2) a tent as a whole (e.g., 2 Sam 7:2; Jer 4:20; 10:20; Hab 3:7) (HALOT 439 s.v. יְרִיעוֹת). The two terms are often used in parallelism as an A-B word pair (Isa 54:2; Jer 4:20; 10:20; 49:29; Hab 3:7). Like the “tents” (אֹהָלִים) of Qedar which were made from the wool of black goats, “tent-curtains” (יְרִיעוֹה) also were sometimes made from goat hair (Exod 26:7). If the two are synonymous, the point is that the tents of Qedar and the tent-curtains of Salmah were both black but beautiful. If the two terms are antonyms, the point is that the tents of Qedar are black but the tent-curtains of Salmah are beautiful. In either case, her point is that she is black, but nonetheless beautiful. Rabbinic midrash misses the point; it views the metaphor as contrasting her swarthy outward appearance with her inner beauty: “Just as the tents of Kedar, although from outside they look ugly, black, and ragged, yet inside contain precious stones and pearls, so the disciples of the wise, although they look repulsive and swarthy in this world, yet have within them knowledge of the Torah, Scriptures, Mishnah, Midrash, Halachoth, Talmud, Toseftas and Haggadah” (Midrash Rabbah 4:54-55).

⁶ tc The MT vocalizes שׁלמה as שְׁלֹמֹה (shÿlomoh, “Solomon”); however, the BHS editors suggest the vocalization שַׁלְמָה (shalmah); cf. NAB “Salma.” Salmah is the name of an ancient Arabian tribe mentioned in Assyrian and South Arabic sources, as well as Targum Onqelos (Gen 15:19; Num 24:21; Judg 4:17). Like the tribe of Qedar, Salmah was an Arabian nomadic tribe which inhabited a region in northern Arabia and the region of Petra. The proposed revocalization produces tighter parallelism between Qedar and Salmah, than Qedar and Solomon. This also creates a striking wordplay on the name שְׁלֹמֹה (M. H. Pope, Song of Songs [AB], 320).

NET Notes: Sos 1:6

¹ tn The relative pronoun שֶׁ (she) on שֶׁאֲנִי (she’ani, “because I”) functions in a causal sense, as in the following colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

² tn The relative pronoun שֶׁ (she) on שֶׁשֱּׁזָפַתְנִי (sheshshezafatni) functions in a causal sense, as in the preceding colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

³ tn Heb “the sun has stared at me.” The verb שָׁזַף (shazaf) means “to look at, catch sight of, glance at” (e.g., Job 20:9; 28:7) (HALOT 1456 s.v. שׁזף; BDB 1004 s.v. שָׁזַף). The Beloved personifies the sun (הַשָּׁמֶשׁ, hashshamesh) as having looked at the Beloved too long, that is, it burned her skin.

⁴ tn Heb “the sons of my mother.”

⁵ sn The verb הָרָה (harah, “to burn in anger, to be angry”) creates an interesting wordplay or pun on the preceding line: “The sun burned me (= my skin).” The sun burned her skin, because her brothers had burned (נִהֲרוּ, niharu) in anger against her. This is an example of a polysemantic wordplay which explains the two basic meanings of הָרָה (“to burn, to be angry”) (W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 241-42).

⁶ sn The noun כֶּרֶם (kerem, “vineyard”) is used figuratively in this line (see following note on the wordplays in this verse). Some suggest that her “vineyard” refers to her virginity, that is, she lost her virginity. However, this runs contrary to the moral purity accorded to the Beloved throughout the Song (e.g., 4:12; 8:8-10). It is better to take the “vineyard” imagery as a reference to her ability to take care of her physical appearance which had been thwarted by being forced to work outside where her skin had been darkened by the scorching rays of the sun, as alluded to throughout 1:4-5[5-6].

⁷ sn The repetition of the noun כֶּרֶם (kerem, “vineyard”) and the verb נָטַר (natar, “to keep, maintain”) creates a series of eloquent wordplays. The first occurrence of כֶּרֶם (“vineyard”) and נָטַר (“to keep”) is literal, the second occurrence of both is figurative (hypocatastasis). Her brothers forced her to work outside in the sun, taking care of the vineyards; as a result, she was not able to take care of her appearance (“my own vineyard I could not keep”).

Geneva Bible: Sos 1:2

Let ^{( a )} him kiss me with the kisses of his mouth: for thy love [is] better than wine.

^{( a )} This is spoken in the person of the Church, or of the faithful soul inflamed with the desire of Christ, whom she loves.

Geneva Bible: Sos 1:3

Because of the ^{( b )} savour of thy good ointments thy name [is as] ointment poured forth, therefore do the ^{( c )} virgins love thee.

^{( b )} The feeling of your great benefits.

^{( c )} They that are pure in heart and conversation.

Geneva Bible: Sos 1:4

^{( d )} Draw me, we will run after thee: the king hath brought me into his ^{( e )} chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.

^{( d )} The faithful confess that they cannot come to Christ, unless they are drawn.

^{( e )} Meaning the secret joy that is not known to the world.

Geneva Bible: Sos 1:5

I [am] ^{( f )} black, but comely, O ye daughters of Jerusalem, as the tents of ^{( g )} Kedar, as the ^{( h )} curtains of Solomon.

^{( f )} The Church confesses her spots and sin, but has confidence in the favour of Christ.

^{( g )} Kedar was Ishmael's son, of whom came the Arabians that dwelt in tents.

^{( h )} Which within were all set with precious stones and jewels.

Geneva Bible: Sos 1:6

Look not upon me, because I [am] ^{( i )} black, because the ^{( k )} sun hath looked upon me: ^{( l )} my mother's children were angry with me; they made me the keeper of the vineyards; [but] my own vineyard have I not ^{( m )} kept.

^{( i )} Consider not the Church by the outward appearance.

^{( k )} The corruption of nature through sin and afflictions.

^{( l )} My own brethren who should have most favoured me.

^{( m )} She confesses her own negligence.

Commentary -- Verse Range Notes

TSK Synopsis: Sos 1:1-17

1 The church's love unto Christ.

5 She confesses her deformity,

7 and prays to be directed to his flock.

8 Christ directs her to the shepherd's tents;

9 and shewing his love to her,

11 gives her gracious promises.

12 The church and Christ congratulate one another.

MHCC: Sos 1:1

This is " the Song of songs," excellent above any others, for it is wholly taken up with describing the excellences of Christ, and the love between him and his redeemed people.

MHCC: Sos 1:2-6

The church, or rather the believer, speaks here in the character of the spouse of the King, the Messiah. The kisses of his mouth mean those assurances of pardon with which believers are favoured, filling them with peace and joy in believing, and causing them to abound in hope by the power of the Holy Ghost. Gracious souls take most pleasure in loving Christ, and being loved of him. Christ's love is more valuable and desirable than the best this world can give. The name of Christ is not now like ointment sealed up, but like ointment poured forth; which denotes the freeness and fulness of the setting forth of his grace by the gospel. Those whom he has redeemed and sanctified, are here the virgins that love Jesus Christ, and follow him whithersoever he goes, Rev 14:4. They entreat him to draw them by the quickening influences of his Spirit. The more clearly we discern Christ's glory, the more sensible shall we be that we are unable to follow him suitably, and at the same time be more desirous of doing it. Observe the speedy answer given to this prayer. Those who wait at Wisdom's gate, shall be led into truth and comfort. And being brought into this chamber, our griefs will vanish. We have no joy but in Christ, and for this we are indebted to him. We will remember to give thanks for thy love; it shall make more lasting impressions upon us than any thing in this world. Nor is any love acceptable to Christ but love in sincerity, Eph 6:24. The daughters of Jerusalem may mean professors not yet established in the faith. The spouse was black as the tents of the wandering Arabs, but comely as the magnificent curtains in the palaces of Solomon. The believer is black, as being defiled and sinful by nature, but comely, as renewed by Divine grace to the holy image of God. He is still deformed with remains of sin, but comely as accepted in Christ. He is often base and contemptible in the esteem of men, but excellent in the sight of God. The blackness was owing to the hard usage that had been suffered. The children of the church, her mother, but not of God, her Father, were angry with her. They had made her suffer hardships, which caused her to neglect the care of her soul. Thus, under the emblem of a poor female, made the chosen partner of a prince, we are led to consider the circumstances in which the love of Christ is accustomed to find its objects. They were wretched slaves of sin, in toil, or in sorrow, weary and heavy laden, but how great the change when the love of Christ is manifested to their souls!

Matthew Henry: Sos 1:1

We have here the title of this book, showing, 1. The nature of it; it is a song, that it might the better answer the intention, which is to stir up the affections and to heat them, which poetry will be very instrumental to do. The subject is pleasing, and therefore fit to be treated of in a song, in singing which we may make melody with our hearts unto the Lord. It is evangelical; and gospel-times should be times of joy, for gospel-grace puts a new song into our mouths, Psa 98:1. 2. The dignity of it; it is the song of songs, a most excellent song, not only above any human composition, or above all other songs which Solomon penned, but even above any other of the scripture-songs, as having more of Christ in it. 3. The penman of it; it is Solomon's. It is not the song of fools, as many of the songs of love are, but the song of the wisest of men; nor can any man give a better proof of his wisdom than to celebrate the love of God to mankind and to excite his own love to God and that of others with it. Solomon's songs were a thousand and five (1Ki 4:32); those that were of other subjects are lost, but this of seraphic love remains, and will to the end of time. Solomon, like his father, was addicted to poetry, and, which way soever a man's genius lies, he should endeavor to honour God and edify the church with it. One of Solomon's names was Jedidiah - beloved of the Lord (2Sa 12:25); and none so fit to write of the Lord's love as he that had himself so great an interest in it; none of all the apostles wrote so much of love as he that was himself the beloved disciple and lay in Christ's bosom. Solomon, as a king, had great affairs to mind and manage, which took up much of his thoughts and time, yet he found heart and leisure for this and other religious exercises. Men of business ought to be devout men, and not to think that business will excuse them from that which is every man's great business - to keep up communion with God. It is not certain when Solomon penned this sacred song. Some think that he penned it after he recovered himself by the grace of God from his backslidings, as a further proof of his repentance, and as if by doing good to many with this song he would atone for the hurt he had perhaps done with loose, vain, amorous songs, when he loved many strange wives; now he turned his wit the right way. It is more probable that he penned it in the beginning of his time, while he kept close to God and kept up his communion with him; and perhaps he put this song, with his father's psalms, into the hands of the chief musician, for the service of the temple, not without a key to it, for the right understanding of it. Some think that it was penned upon occasion of his marriage with Pharaoh's daughter, but that is uncertain; the tower of Lebanon, which is mentioned in this book (Son 7:4), was not built, as is supposed, till long after the marriage. We may reasonably think that when in the height of his prosperity he loved the Lord (1Ki 3:3) he thus served him with joyfulness and gladness of heart in the abundance of all things. It may be rendered, The song of songs, which is concerning Solomon, who as the son and successor of David, on whom the covenant of royalty was entailed, as the founder of the temple, and as one that excelled in wisdom and wealth, was a type of Christ, in whom are hidden all the treasures of wisdom and knowledge, and yet is a greater than Solomon; this is therefore a song concerning him. It is here fitly placed after Ecclesiastes; for when by the book we are thoroughly convinced of the vanity of the creature, and its insufficiency to satisfy us and make a happiness for us, we shall be quickened to seek for happiness in the love of Christ, and that true transcendent pleasure which is to be found only in communion with God through him. The voice in the wilderness, that was to prepare Christ's way, cried, All flesh is grass.

Matthew Henry: Sos 1:2-6

The spouse, in this dramatic poem, is here first introduced addressing herself to the bridegroom and then to the daughters of Jerusalem.

I. To the bridegroom, not giving him any name or title, but beginning abruptly: Let him kiss me; like Mary Magdalen to the supposed gardener (Joh 20:15), If thou have borne him hence, meaning Christ, but not naming him. The heart has been before taken up with the thoughts of him, and to this relative those thoughts were the antecedent, that good matter which the heart was inditing, Psa 45:1. Those that are full of Christ themselves are ready to think that others should be so too. Two things the spouse desires, and pleases herself with the thoughts of: -

1. The bridegroom's friendship (Son 1:2): " Let him kiss me with the kisses of his mouth, that is, be reconciled to me, and let me know that he is so; let me have the token of his favour."Thus the Old Testament church desired Christ's manifesting himself in the flesh, to be no longer under the law as a schoolmaster, under a dispensation of bondage and terror, but to receive the communications of divine grace in the gospel, in which God is reconciling the world unto himself, binding up and healing what by the law was torn and smitten; as the mother kisses the child that she has chidden. "Let him no longer send to me, but come himself, no longer speak by angels and prophets, but let me have the word of his own mouth, those gracious words (Luk 4:22), which will be to me as the kisses of the mouth, sure tokens of reconciliation, as Esau's kissing Jacob was."All gospel duty is summed up in our kissing the Son (Psa 2:12); so all gospel-grace is summed up in his kissing us, as the father of the prodigal kissed him when he returned a penitent. It is a kiss of peace. Kisses are opposed to wounds (Pro 27:6), so are the kisses of grace to the wounds of the law. Thus all true believers earnestly desire the manifestations of Christ's love to their souls; they desire no more to make them happy than the assurance of his favour, the lifting up of the light of his countenance upon them (Psa 4:6, Psa 4:7), and the knowledge of that love of his which surpasses knowledge; this is the one thing they desire, Psa 27:4. They are ready to welcome the manifestation of Christ's love to their souls by his Spirit, and to return them in the humble professions of love to him and complacency in him, above all. The fruit of his lips is peace, Isa 57:19. "Let him give me ten thousand kisses whose very fruition makes me desire him more, and, whereas all other pleasures sour and wither by using, those of the Spirit become more delightful."So bishop Reynolds. She gives several reasons for this desire. (1.) Because of the great esteem she has for his love: Thy love is better than wine. Wine makes glad the heart, revives the drooping spirits, and exhilarates them, but gracious souls take more pleasure in loving Christ and being beloved of him, in the fruits and gifts of his love and in the pledges and assurances of it, than any man ever took in the most exquisite delights of sense, and it is more reviving to them than ever the richest cordial was to one ready to faint. Note, [1.] Christ's love is in itself, and in the account of all the saints, more valuable and desirable than the best entertainments this world can give. [2.] Those only may expect the kisses of Christ's mouth, and the comfortable tokens of his favour, who prefer his love before all delights of the children of men, who would rather forego those delights than forfeit his favour, and take more pleasure in spiritual joys than in any bodily refreshments whatsoever. Observe here the change of the person: Let him kiss me; there she speaks of him as absent, or as if she were afraid to speak to him; but, in the next words, she sees him near at hand, and therefore directs her speech to him: " Thy love, thy loves "(so the word is), "I so earnestly desire, because I highly esteem it."(2.) Because of the diffuse fragrancy of his love and the fruits of it (Son 1:3): " Because of the savour of thy good ointment (the agreeableness and acceptableness of thy graces and comforts to all that rightly understand both them and themselves), thy name is as ointment poured forth, thou art so, and all that whereby thou hast made thyself known; thy very name is precious to all the saints; it is an ointment and perfume which rejoice the heart."The unfolding of Christ's name is as the opening of a box of precious ointment, which the room is filled with the odour of. The preaching of his gospel was the manifesting the savour of his knowledge in every place, 2Co 2:14. The Spirit was the oil of gladness wherewith Christ was anointed (Heb 1:9), and all true believers have that unction (1Jo 2:27), so that he is precious to them, and they to him and to one another. A good name is as precious ointment, but Christ's name is more fragrant than any other. Wisdom, like oil, makes the face to shine; but the Redeemer outshines, in beauty, all others. The name of Christ is not now like ointment sealed up, as it had been long ( Ask not after my name, for it is secret ), but like ointment poured forth, which denotes both the freeness and fulness of the communications of his grace by the gospel. (3.) Because of the general affection that all holy souls have to him: Therefore do the virgins love thee. It is Christ's love shed abroad in our hearts that draws them out in love to him; all that are pure from the corruptions of sin, that preserve the chastity of their own spirits, and are true to the vows by which they have devoted themselves to God, that not only suffer not their affections to be violated but cannot bear so much as to be solicited by the world and the flesh, those are the virgins that love Jesus Christ and follow him whithersoever he goes, Rev 14:4. And, because Christ is the darling of all the pure in heart, let him be ours, and let our desires be towards him and towards the kisses of his mouth.

2. The bridegroom's fellowship, Son 1:4. Observe here,

(1.) Her petition for divine grace: Draw me. This implies sense of distance from him, desire of union with him. "Draw me to thyself, draw me nearer, draw me home to thee."She had prayed that he would draw nigh to her (Son 1:2); in order to that, she prays that he would draw her nigh to him. " Draw me, not only with the moral suasion which there is in the fragrancy of the good ointments, not only with the attractives of that name which is as ointment poured forth, but with supernatural grace, with the cords of a man and the bands of love, "Hos 11:4. Christ has told us that none come to him but such as the Father draws, Joh 6:44. We are not only weak, and cannot come of ourselves any further than we are helped, but we are naturally backward and averse to come, and therefore must pray for those influences and operations of the Spirit, by the power of which we are unwilling made willing, Psa 110:3. " Draw me, else I move not; overpower the world and the flesh that would draw me from thee."We are not driven to Christ, but drawn in such a way as is agreeable to rational creatures.

(2.) Her promise to improve that grace: Draw me, and then we will run after thee. See how the doctrine of special and effectual grace consists with our duty, and is a powerful engagement and encouragement to it, and yet reserves all the glory of all the good that is in us to God only. Observe, [1.] The flowing forth of the soul after Christ, and its ready compliance with him, are the effect of his grace; we could not run after him if he did not draw us, 2Co 3:5; Phi 4:13. [2.] The grace which God gives us we must diligently improve. When Christ by his Spirit draws us we must with our spirits run after him. As God says, I will, and you shall (Eze 36:27), so we must say, " Thou shalt and we will; thou shalt work in us both to will and to do, and therefore we will work out our own salvation"(Phi 2:12, Phi 2:13); not only we will walk, but we will run after thee, which denotes eagerness of desire, readiness of affection, vigour of pursuit, and swiftness of motion. When thou shalt enlarge my heart then I will run the way of thy commandments (Psa 119:32); when thy right hand upholds me then my soul follows hard after thee (Psa 63:8); when with lovingkindness to us he draws us (Jer 31:3) we with lovingkindness to him must run after him, Isa 40:31. Observe the difference between the petition and the promise: "Draw me, and then we will run."When Christ pours out his Spirit upon the church in general, which is his bride, all the members of it do thence receive enlivening quickening influences, and are made to run to him with the more cheerfulness, Isa 55:5. Or, "Draw me"(says the believing soul) "and then I will not only follow thee myself as fast as I can, but will bring all mine along with me: We will run after thee, I and the virgins that love thee (Son 1:3), I and all that I have any interest in or influence upon, I and my house (Jos 24:15), I and the transgressors whom I will teach thy ways, "Psa 51:13. Those that put themselves forth, in compliance with divine grace, shall find that their zeal will provoke many, 2Co 9:2. Those that are lively will be active; when Philip was drawn to Christ he drew Nathanael; and they will be exemplary, and so will win those that would not be won by the word.

(3.) The immediate answer that was given to this prayer: The King has drawn me, has brought me into his chambers. It is not so much an answer fetched by faith from the world of Christ's grace as an answer fetched by experience from the workings of his grace. If we observe, as we ought, the returns of prayer, we may find that sometimes, while we are yet speaking, Christ hears, Isa 65:24. The bridegroom is a king; so much the more wonderful is his condescension in the invitations and entertainments that he gives us, and so much the greater reason have we to accept of them and to run after him. God is the King that has made the marriage-supper for his Son (Mat 22:2) and brings in even the poor and the maimed, and even the most shy and bashful are compelled to come in. Those that are drawn to Christ are brought, not only into his courts, into his palaces (Psa 45:15), but into his presence-chamber, where his secret is with them (Joh 14:21), and where they are safe in his pavilion, Psa 27:5; Isa 26:20. Those that wait at wisdom's gates shall be made to come (so the word is) into her chambers; they shall be led into truth and comfort.

(4.) The wonderful complacency which the spouse takes in the honour which the king put upon her. Being brought into the chamber, [1.] "We have what we would have. Our desires are crowned with unspeakable delights; all our griefs vanish, and we will be glad and rejoice. If a day in the courts, much more an hour in the chambers, is better than a thousand, than ten thousand, elsewhere."Those that are, through grace, brought into covenant and communion with God, have reason to go on their way rejoicing, as the eunuch (Act 8:39), and that joy will enlarge our hearts and be our strength, Neh 8:10. [2.] All our joy shall centre in God: " We will rejoice, not in the ointments, or the chambers, but in thee. It is God only that is our exceeding joy, Psa 43:4. We have no joy but in Christ, and which we are indebted to him for." Gaudium in Domino - Joy in the Lord, was the ancient salutation, and Salus in Domino sempiterna - Eternal salvation in the Lord. [3.] "We will retain the relish and savour of this kindness of thine and never forget it: We will remember thy loves more than wine; no only thy love itself (Son 1:2), but the very remembrance of it shall be more grateful to us than the strongest cordial to the spirits, or the most palatable liquor to the taste. We will remember to give thanks for thy love, and it shall make more durable impressions upon us than any thing in this world."

(5.) The communion which a gracious soul has with all the saints in this communion with Christ. In the chambers to which we are brought we not only meet with him, but meet with one another (1Jo 1:7); for the upright love thee; the congregation, the generation, of the upright love thee. Whatever others do, all that are Israelites indeed, and faithful to God, will love Jesus Christ. Whatever differences of apprehension and affection there may be among Christians in other things, this they are all agreed in, Jesus Christ is precious to them. The upright here are the same with the virgins, Son 1:3. All that remember his love more than wine will love him with a superlative love. Nor is any love acceptable to Christ but the love of the upright, love in sincerity, Eph 6:24.

II. To the daughters of Jerusalem, Son 1:5, Son 1:6. The church in general, being in distress, speaks to particular churches to guard them against the danger they were in of being offended at the church's sufferings, 1Th 3:3. Or the believer speaks to those that were professors at large in the church, but not of it, or to weak Christians, babes in Christ, that labour under much ignorance, infirmity, and mistake, not perfectly instructed, and yet willing to be taught in the things of God. She observed these by-standers look disdainfully upon her because of her blackness, in respect both of sins and sufferings, upon the account of which they though she had little reason to expect the kisses she wished for (Son 1:2) or to expect that they should join with her in her joys, Son 1:4. She therefore endeavors to remove this offence; she owns she is black. Guilt blackens; the heresies, scandals, and offences, that happen in the church, make her black; and the best saints have their failings. Sorrow blackens; that seems to be especially meant; the church is often in a low condition, mean, and poor, and in appearance despicable, her beauty sullied and her face foul with weeping; she is in mourning weeds, clothed with sackcloth, as the Nazarites that had become blacker than a coal, Lam 4:8. Now, to take off this offence,

1. She asserts her own comeliness notwithstanding (Son 1:5): I am black, but comely, black as the tents of Kedar, in which the shepherds lived, which were very coarse, and never whitened, weather-beaten and discoloured by long use, but comely as the curtains of Solomon, the furniture of whose rooms, no doubt, was sumptuous and rich, in proportion to the stateliness of his houses. The church is sometimes black with persecution, but comely in patience, constancy, and consolation, and never the less amiable in the eyes of Christ, black in the account of men, but comely in God's esteem, black in some that are a scandal to her, but comely in others that are sincere and are an honour to her. True believers are black in themselves, but comely in Christ, with the comeliness that he puts upon them, black outwardly, for the world knows them not, but all glorious within, Psa 45:13. St. Paul was weak, and yet strong, 2Co 12:10. And so the church is black and yet comely; a believer is a sinner and yet a saint; his own righteousnesses are as filthy rags, but he is clothed with the robe of Christ's righteousness. The Chaldee Paraphrase applies it to the people of Israel's blackness when they made the golden calf and their comeliness when they repented of it.

2. She gives an account how she came to be so black. The blackness was not natural, but contracted, and was owing to the hard usage that had been given her: Look not upon me so scornfully because I am black. We must take heed with what eye we look upon the church, especially when she is in black. Thou shouldst not have looked upon the day of thy brother, the day of his affliction, Oba 1:12. Be not offended; for,

(1.) I am black by reason of my sufferings: The sun has looked upon me. She was fair and comely; whiteness was her proper colour; but she got this blackness by the burden and heat of the day, which she was forced to bear. She was sun-burnt, scorched with tribulation and persecution (Mat 13:6, Mat 13:21); and the greatest beauties, if exposed to the weather, are soonest tanned. Observe how she mitigates her troubles; she does not say, as Jacob (Gen 31:40), In the day the drought consumed me, but, The sun has looked upon me; for it becomes not God's suffering people to make the worst of their sufferings. But what was the matter? [1.] She fell under the displeasure of those of her own house: My mother's children were angry with me. She was in perils by false brethren; her foes were those of her own house (Mat 10:36), brethren by nature as men, by profession as members of the same sacred corporation, the children of the church her mother, but not of God her Father; they were angry with her. The Samaritans, who claimed kindred to the Jews, were vexed at any thing that tended to the prosperity of Jerusalem, Neh 2:10. Note, It is no new thing for the people of God to fall under the anger of their own mother's children. It was thou, a man, my equal, Psa 55:12, Psa 55:13. This makes the trouble the more irksome and grievous; from such it is taken unkindly, and the anger of such is implacable. A brother offended is hard to be won. [2.] They dealt very hardly with her: They made me the keeper of the vineyards, that is, First, "They seduced me to sin, drew me into false worships, to serve their gods, which was like dressing the vineyards, keeping the vine of Sodom; and they would not let me keep my own vineyard, serve my own God, and observe those pure worships which he gave me in charge, and which I do and ever will own for mine."These are grievances which good people complain most of in a time of persecution, that their consciences are forced, and that those who rule them with rigour say to their souls, Bow down, that we may go over, Isa 51:23. Or, Secondly, "They brought me into trouble, imposed that upon me which was toilsome, and burdensome, and very disgraceful."Keeping the vineyards was base servile work, and very laborious, Isa 61:5. Her mother's children made her the drudge of the family. Cursed be their anger, for it was fierce, and their wrath, for it was cruel. The spouse of Christ has met with a great deal of hard usage.

(2.) "My sufferings are such as I have deserved; for my own vineyard have I not kept. How unrighteous soever my brethren are in persecuting me, God is righteous in permitting them to do so. I am justly made a slavish keeper of men's vineyards, because I have been a careless keeper of the vineyards God has entrusted me with."Slothful servants of God are justly made to serve their enemies, that they may know his service, and the service of the kings of the countries, 2Ch 12:8; Deu 28:47, Deu 28:48; Eze 20:23, Eze 20:24. "Think not the worse of the ways of God for my sufferings, for I smart for my own folly."Note, When God's people are oppressed and persecuted it becomes them to acknowledge their own sin to be the procuring cause of their troubles, especially their carelessness in keeping their vineyards, so that it has been like the field of the slothful.

Keil-Delitzsch: Sos 1:1

The title of the book at once denotes that it is a connected whole, and is the work of one author. - Son 1:1. The Song of Songs, composed by Solomon . The genitival connection, "Song of Songs,"cannot here signify the Song consisting of a number of songs, any more than calling the Bible "The Book of books"leads us to think of the 24 + 27 canonical books of which it consists. Nor can it mean "one of Solomon's songs;"the title, as it here stands, would then be the paraphrase of שׁיר שׁירי שׁ , chosen for the purpose of avoiding the redoubled genitives; but "one of the songs"must rather have been expressed by שׁיר משּׁירי . It has already been rightly explained in the Midrash:

(Note: Vid ., Fürst's Der Kanon des A. T . (1868), p. 86.)

"the most praiseworthy, most excellent, most highly-treasured among the songs."The connection is superl. according to the sense (cf. ἄῤῥητα ἀῤῥήτων of Sophocles), and signifies that song which, as such, surpasses the songs one and all of them; as "servant of servants,"Gen 9:25, denotes a servant who is such more than all servants together. The plur. of the second word is for this superl. sense indispensable ( vid ., Dietrich's Abhand. zur hebr. Gramm . p. 12), but the article is not necessary: it is regularly wanting where the complex idea takes the place of the predicate, Gen 9:25; Exo 29:37, or of the inner member of a genitival connection of words, Jer 3:19; but it is also wanting in other places, as Eze 16:7 and Ecc 1:2; Ecc 12:8, where the indeterminate plur. denotes not totality, but an unlimited number; here it was necessary, because a definite Song - that, namely, lying before us - must be designated as the paragon of songs. The relative clause, "asher lishlōmō ,"does not refer to the single word "Songs"(Gr. Venet. τῶν τοῦ ), as it would if the expression were שׁיר מהשּׁ , but to the whole idea of "the Song of Songs."A relative clause of similar formation and reference occurs at 1Ki 4:2 : "These are the princes, asher lo , which belonged to him (Solomon)."They who deny the Solomonic authorship usually explain: The Song of Songs which concerns or refers to Solomon, and point in favour of this interpretation to lxx B. ὃ ἐστι Σαλ ., which, however, is only a latent genit., for which lxx A. τῷ Σαλ . Lamed may indeed introduce the reference of a writing, as at Jer 23:9; but if the writing is more closely designated as a "Song,""Psalm,"and the like, then Lamed with the name of a person foll. is always the Lamed auctoris ; in this case the idea of reference to, as e.g. , at Isa 1:1, cf. 1Ki 5:13, is unequivocally expressed by על . We shall find that the dramatized history which we have here, or as we might also say, the fable of the melodrama and its dress, altogether correspond with the traits of character, the favourite turns, the sphere of vision, and the otherwise well-known style of authorship peculiar to Solomon. We may even suppose that the superscription was written by the author, and thus by Solomon himself. For in the superscription of the Proverbs he is surnamed "son of David, king of Israel,"and similarly in Ecclesiastes. But he who entitles him merely "Solomon"is most probably himself. On the other hand, that the title is by the author himself, is not favoured by the fact that instead of the שׁ , everywhere else used in the book, the fuller form asher is employed. There is the same reason for this as for the fact that Jeremiah in his prophecies always uses asher , but in the Lamentations interchanges שׁ with asher. This original demonstrative שׁ is old-Canaanitish, as the Phoenician אש , arrested half-way toward the form asher , shows.

(Note: From this it is supposed that asher is a pronom. root-cluster equivalent to אשׁל . Fleischer, on the contrary, sees in asher an original substantive athar = (Arab.) ithr , Assyr. asar , track, place, as when the vulgar expression is used, "The man where ( wo instead of welcher ) has said.")

In the Book of Kings it appears as a North Palest. provincialism, to the prose of the pre-exilian literature it is otherwise foreign;

(Note: We do not take into view here Gen 6:3. If בּשׁגם is then to be read, then there is in it the pronominal שׁ , as in the old proper name Mishael (who is what God is?).)

but the pre-exilian shir and kinah (cf. also Job 19:29) make use of it as an ornament. In the post-exilian literature it occurs in poetry (Psa 122:3, etc.) and in prose (1Ch 5:20; 1Ch 27:27); in Ecclesiastes it is already a component part of the rabbinism in full growth. In a pre-exilian book-title שׁ in place of asher is thus not to be expected. On the other hand, in the Song itself it is no sign of a post-exilian composition, as Grätz supposes. The history of the language and literature refutes this.

Keil-Delitzsch: Sos 1:2

From these words with which as a solo the first strophe begins:

Let him kiss me with kisses of his mouth,

We at once perceive that she who here speaks is only one of many among whom Solomon's kisses are distributed; for min is partitive, as e.g. , Exo 16:27 (cf. Jer 48:32 and Isa 16:9), with the underlying phrase נשׁיקה נשׁק , osculum osculari = figere , jungere , dare . Nashak properly means to join to each other and to join together, particularly mouth to mouth. פּיהוּ is the parallel form of פּיו , and is found in prose as well as in poetry; it is here preferred for the sake of the rhythm. Böttcher prefers, with Hitzig, ישׁקני ("let him give me to drink"); but "to give to drink with kisses"is an expression unsupported.

In line 2 the expression changes into an address:

For better is thy love than wine.

Instead of "thy love,"the lxx render "thy breasts,"for they had before them the word written defectively as in the traditional text, and read דּדּיך . Even granting that the dual dadayim or dadiym could be used in the sense of the Greek μαστοί (Rev 1:13),

(Note: Vid ., my Handsch. Funde , Heft 2 (1862).)

of the breasts of a man (for which Isa 32:12, Targ., furnishes no sufficient authority); yet in the mouth of a woman it were unseemly, and also is itself absurd as the language of praise. But, on the other hand, that דּדיך is not the true reading ("for more lovely - thus he says to me - are,"etc.), R. Ismael rightly says, in reply to R. Akiba, Aboda zara 29 b , and refers to שׁמניך following (Son 1:3), which requires the mas. for דדיך . Rightly the Gr. Venet. οἱ σοὶ ἔρωτες , for דּודים is related to אהבח , almost as ἔρως to ἀγάπη , steplang7 Minne to steplang7 Liebe . It is a plur. like חיּים , which, although a pluraletantum , is yet connected with the plur. of the pred. The verbal stem דוד is an abbreviated reduplicative stem (Ewald, §118. 1); the root דו appears to signify "to move by thrusts or pushes"( vid ., under Psa 42:5); of a fluid, "to cause to boil up,"to which the word דּוּד , a kitchen-pot, is referred.

(Note: Yet it is a question whether דד , to love, and דד , the breast (Arab. thady , with a verb thadiyi , to be thoroughly wet), are not after their nearest origin such words of feeling, caressing, prattling, as the Arab. dad , sport (also dadad , the only Arab. word which consists of the same three letters); cf. Fr. dada , hobby-horse.)

It is the very same verbal stem from which דּיד (David), the beloved, and the name of the foundress of Carthage, דּידה ( = דּידון ) Minna , is derived. The adj. tov appears here and at 3 a twice in its nearest primary meaning, denoting that which is pleasant to the taste and (thus particularly in Arab.) to the smell.

Keil-Delitzsch: Sos 1:3

This comparison suaves prae vino , as well as that which in line 3 of the pentastich, Son 1:3,

To smell thy ointments are sweet

shows that when this song is sung wine is presented and perfumes are sprinkled; but the love of the host is, for those who sing, more excellent than all. It is maintained that ריח signifies fragrance emitted, and not smell. Hence Hengst., Hahn, Hölem., and Zöck. explain: in odour thy ointments are sweet. Now the words can certainly, after Jos 22:10; Job 32:4; 1Ki 10:23, mean "sweet in (of) smell;"but in such cases the word with Lamed of reference naturally stands after that to which it gives the nearer reference, not as here before it. Therefore Hengst.: ad odorem unguentorem tuorum quod attinet bonus est , but such giving prominence to the subject and attraction (cf. 1Sa 2:4 ; Job 15:20) exclude one another; the accentuation correctly places לריה out of the gen. connection. Certainly this word, like the Arab. ryḥ , elsewhere signifies odor , and the Hiph . הריח (araḥ ) odorari ; but why should not ריח be also used in the sense of odoratus , since in the post-bibl. Heb. הריח חושׁ means the sense of smell, and also in Germ. "steplang7 riechen "means to emit fragrance as well as to perceive fragrance? We explain after Gen 2:9, where Lamed introduces the sense of sight, as here the sense of smell. Zöckl. and others reply that in such a case the word would have been לריח ; but the art. is wanting also at Gen 2:9 (cf. Son 3:6), and was not necessary, especially in poetry, which has the same relation to the art. as to asher , which, wherever practicable, is omitted.

Thus in line 4:

An ointment poured forth is thy name.

By "thy ointments,"line 3, spices are meant, by which the palace was perfumed; but the fragrance of which, as line 4 says, is surpassed by the fragrance of his name. שׁם (name) and שׁמן (fragrance) form a paranomasia by which the comparison is brought nearer Ecc 7:1. Both words are elsewhere mas.; but sooner than שׁם , so frequently and universally mas. (although its plur. is שׁמות , but cf. אבות ), שׁמן may be used as fem., although a parallel example is wanting (cf. devǎsh , mōr , nōphěth , kěmāh , and the like, which are constantly mas.). Ewald therefore translates שמן תורק as a proper name: "O sweet steplang7 Salbenduft "Fragrance of Ointment; and Böttcher sees in turǎk a subst. in the sense of "sprinkling"[steplang7 Spreng-Oel ]; but a name like " Rosenoel "[oil of roses] would be more appropriately formed, and a subst. form תורק is, in Heb. at least, unexampled (for neither תּוּגה nor תּוּבל , in the name Tubal-Cain, is parallel). Fürst imagines "a province in Palestine where excellent oil was got,"called Turak ; "Turkish" Rosenöl recommends itself, on the contrary, by the fact of its actual existence. Certainly less is hazarded when we regard shěměn , as here treated exceptionally, as fem.; thus, not: ut unguentum nomen tuum effunditur , which, besides, is unsuitable, since one does not empty out or pour out a name; but: unguentum quod effunditur (Hengst., Hahn, and others), an ointment which is taken out of its depository and is sprinkled far and wide, is thy name. The harsh expression שׁמן מוּרק is intentionally avoided; the old Heb. language is not φιλομέτοχος (fond of participles); and, besides, מורק sounds badly with מרק , to rub off, to wash away. Perhaps, also, יוּרק שׁמן is intentionally avoided, because of the collision of the weak sounds n and j . The name Shēm is derived from the verb shāmā , to be high, prominent, remarkable: whence also the name for the heavens ( vid ., under Psa 8:2). That attractive charm (lines 2, 3), and this glory (line 4), make him, the praised, an object of general love, line 5, Son 1:3 :

Therefore virgins love thee.

This "therefore"reminds us of Ps 45. עלמות (sing. Isa 7:14), from עלם (Arab.), ghalima , pubescere , are maidens growing to maturity. The intrans. form אהבוּך , with transitive signification, indicates a pathos. The perf. is not to be translated dilexerunt , but is to be judged of according to Gesen. §126. 3: they have acquired love to thee (= love thee), as the ἠγάπησάν σε of the Greek translators is to be understood. The singers themselves are the evidence of the existence of this love.

With these words the first pentastich of the table-song terminates. The mystical interpretation regards it as a song of praise and of loving affection which is sung to Christ the King, the fairest of the children of men, by the church which is His own. The Targum, in line first, thinks of the "mouth to mouth"[Num 12:8] in the intercourse of Moses with God. Evidence of divine love is also elsewhere thought of as a kiss: the post-bibl. Heb. calls the gentlest death the death בנשׁיקה , i.e. , by which God takes away the soul with a kiss.

Keil-Delitzsch: Sos 1:4

The second pentastich also begins with a solo:

4 Draw me, so will we run after thee.

All recent interpreters (except Böttcher) translate, like Luther, "Draw me after thee, so we run."Thus also the Targ., but doubtfully: Trahe nos post te et curremus post viam bonitatis tuae . But the accentuation which gives Tiphcha to משׁ requires the punctuation to be that adopted by the Peshito and the Vulg., and according to which the passage is construed by the Greeks (except, perhaps, by the Quinta): Draw me, so will we, following thee, run ( vid ., Dachselt, Biblia Accentuata , p. 983 s.). In reality, this word needs no complement: of itself it already means, one drawing towards, or to himself; the corresponding (Arab.) masak signifies, prehendere prehensumque tenere ; the root is מש , palpare , contrectare . It occurs also elsewhere, in a spiritual connection, as the expression of the gentle drawing of love towards itself (Hos 11:4; Jer 31:3); cf. ἑλκύειν , Joh 6:44; Joh 12:32. If one connects "after thee"with "draw me,"then the expression seems to denote that a certain violence is needed to bring the one who is drawn from her place; but if it is connected with "we will run,"then it defines the desire to run expressed by the cohortative, more nearly than a willing obedience or following. The whole chorus, continuing the solo, confesses that there needs only an indication of his wish, a direction given, to make those who here speak eager followers of him whom they celebrate.

In what follows, this interchange of the solo and the unisono is repeated:

4 b If the king has brought me into his chambers,

So will we exult and rejoice in thee.

We will praise thy love more than wine!

Uprightly have they loved thee.

The cohortative נרוּצה (we will run) was the a podosis imperativi ; the cohortatives here are the apodosis perfecti hypothetici . "Suppose that this has happened,"is oftener expressed by the perf. (Psa 57:7; Pro 22:29; Pro 25:16); "suppose that this happens,"by the fut. (Job 20:24; Ewald, §357 b ). חדרי are the interiora domus ; the root word hhādǎr , as the Arab. khadar shows, signifies to draw oneself back, to hide; the hhěděr of the tent is the back part, shut off by a curtain from the front space. Those who are singing are not at present in this innermost chamber. But if the king brings one of them in ( הביא , from בּוא , introire , with acc. loci ), then - they all say - we will rejoice and be glad in thee. The cohortatives are better translated by the fut. than by the conjunctive ( exultemus ); they express as frequently not what they then desire to do, but what they then are about to do, from inward impulse, with heart delight. The sequence of ideas, "exult"and "rejoice,"is not a climax descendens , but, as Psa 118:24, etc., an advance from the external to the internal, - from jubilation which can be feigned, to joy of heart which gives it truth; for שׂמח - according to its root signification: to be smoothed, unwrinkled, to be glad

(Note: Vid ., Friedr. Delitzsch's Indo-german.-sem. Studien (1873), p. 99f.)

- means to be of a joyful, bright, complaisant disposition; and גּיל , cogn. חיל , to turn (wind) oneself, to revolve, means conduct betokening delight. The prep. ב in verbs of rejoicing, denotes the object on account of which, and in which, one has joy. Then, if admitted into the closest neighbourhood of the king, they will praise his love more than wine. זכר denotes to fix, viz., in the memory; Hiph .: to bring to remembrance, frequently in the way of praise, and thus directly equivalent to celebrare , e.g. , Ps. 45:18. The wine represents the gifts of the king, in contradistinction to his person. That in inward love he gives himself to them, excels in their esteem all else he gives. For, as the closing line expresses, "uprightly they love thee,"- viz. they love thee, i.e. , from a right heart, which seeks nothing besides, and nothing with thee; and a right mind, which is pleased with thee, and with nothing but thee. Heiligstedt, Zöckler, and others translate: with right they love thee. But the pluralet . מישׁרים (from מישׁר , for which the sing. מישׁור occurs) is an ethical conception (Pro 1:3), and signifies, not: the right of the motive, but: the rightness of the word, thought, and act (Pro 23:16; Psa 17:2; Psa 58:2); thus, not: jure ; but: recte , sincere , candide . Hengst., Thrupp, and others, falsely render this word like the lxx, Aquil., Symm., Theod., Targ., Jerome, Venet., and Luther, as subject: rectitudes abstr. for concr. = those who have rectitude, the upright. Hengstenberg's assertion, that the word never occurs as in adv., is set aside by a glance at Psa 58:2; Psa 75:3; and, on the other hand, there is no passage in which it is sued as abstr. pro concr . It is here, as elsewhere, an adv. acc. for which the word בּמישׁרים might also be used.

The second pentastich closes similarly with the first, which ended with "love thee."What is there said of this king, that the virgins love him, is here more generalized; for diligunt te is equivalent to diligeris (cf. Son 8:1, Son 8:7). With these words the table-song ends. It is erotic, and yet so chaste and delicate, - it is sensuous, and yet so ethical, that here, on the threshold, we are at once surrounded as by a mystical cloudy brightness. But how is it to be explained that Solomon, who says (Pro 27:2), "Let another praise thee, and not thine own mouth,"begins this his Song of Songs with a song in praise of himself? It is explained from this, that here he celebrates an incident belonging to the happy beginning of his reign; and for him so far fallen into the past, although not to be forgotten, that what he was and what he now is are almost as two separate persons.

Keil-Delitzsch: Sos 1:5

After this choral song, Shulamith, who has listened to the singers not without being examined by their inquisitive glances as a strange guest not of equal rank with them, now speaks:

5 Black am I, yet comely, ye daughters of Jerusalem,

As the tents of Kedar, as the hangings of Solomon.

From this, that she addresses the ladies of the palace as "daughters of Jerusalem"(Kerı̂ ירושׁלים , a du. fractus ; like עפרין for עפרון , 2Ch 13:19), it is to be concluded that she, although now in Jerusalem, came from a different place. She is, as will afterwards appear, from Lower Galilee; - and it may be remarked, in the interest of the mystical interpretation, that the church, and particularly her first congregations, according to the prophecy, was also Galilean, for Nazareth and Capernaum are their original seats; - and if Shulamith is a poetico-mystical Mashal or emblem, then she represents the synagogue one day to enter into the fellowship of Solomon - i.e. , of the son of David, and the daughters of Jerusalem, i.e. , the congregation already believing on the Messiah. Yet we confine ourselves to the nearest sense, in which Solomon relates a self-experience. Shulamith, the lightly esteemed, cannot boast that she is so ruddy and fair of countenance as they who have just sung how pleasant it is to be beloved by this king; but yet she is not so devoid of beauty as not to venture to love and hope to be loved: "Black am I, yet comely."These words express humility without abjectness. She calls herself "black,"although she is not so dark and unchangeably black as an "Ethiopian"(Jer 13:23). The verb שׁחר has the general primary idea of growing dark, and signifies not necessarily soot-blackness (modern Arab. shuhwar , soot), but blackness more or less deep, as שׁחר , the name of the morning twilight, or rather the morning grey, shows; for (Arab.) saḥar

(Note: After an improbable etymology of the Arab., from saḥar , to turn, to depart, "the departure of the night"(Lane). Magic appears also to be called sihar , as nigromantia (Mediaev. from nekromantia ), the black art.)

denotes the latter, as distinguished from (Arab.) fajr , the morning twilight ( vid ., under Isa 14:12; Isa 47:11). She speaks of herself as a Beduin who appears to herself as (Arab.) sawda , black, and calls

(Note: The houri (damsel of paradise) is thus called ḥawaryyt , adj. relat . from ḥawra , from the black pupil of the eye in the centre of the white eyeball.)

the inhabitants of the town (Arab.) ḥawaryyat ( cute candidas ). The Vav we have translated "yet"("yet comely"); it connects the opposite, which exists along with the blackness. נאוה is the fem. of the adj. נאוה = נאוה = נאוי , which is also formed by means of the doubling of the third stem-letter of נאה = נאו , נאי (to bend forward, to aim; to be corresponding to the aim, conformable, becoming, beautiful), e.g. , like רענן , to be full of sap, green. Both comparisons run parallel to nigra et bella ; she compares on the one hand the tents of Kedar, and on the other the tapestry of Solomon. אהל signifies originally, in general, the dwelling-place, as בּית the place where one spends the night; these two words interchange: ohel is the house of the nomad, and baith is the tent of him who is settled. קדר (with the Tsere , probably from (Arab.) ḳadar , to have ability, be powerful, though of after the Heb. manner, as Theodoret explains and Symm. also translates: σκοτασμός , from (Heb.) Kadar , atrum esse ) is the name of a tribe of North. Arab. Ishmaelites (Gen 25:13) whom Pliny speaks of ( Cedraei in his Hist. Nat. Son 5:11), but which disappeared at the era of the rise of Islam; the Karaite Jefeth uses for it the word (Arab.) Ḳarysh , for he substitutes the powerful Arab tribe from which Muhammed sprung, and rightly remarks: "She compares the colour of her skin to the blackness of the hair tents of the Koreishites,"- even to the present day the Beduin calls his tent his "hair-house"(bêt wabar , or, according to a more modern expression, bêt sa'r , שׂער בּית ); for the tents are covered with cloth made of the hair of goats, which are there mostly black-coloured or grey. On the one hand, dark-coloured as the tents of the Kedarenes, she may yet, on the other hand, compare herself to the beautiful appearance of the יריעות of Solomon. By this word we will have to think of a pleasure-tent or pavilion for the king; pavillon (softened from Lat. papilio ) is a pleasure-tent spread out like the flying butterfly. This Heb. word could certainly also mean curtains for separating a chamber; but in the tabernacle and the temple the curtains separating the Most Holy from the Holy Place were not so designated, but are called פּרכת and מסך ; and as with the tabernacle, so always elsewhere, יריעות (from ירע , to tremble, to move hither and thither) is the name of the cloths or tapestry which formed the sides of the tent (Isa 54:2); of the tent coverings, which were named in parall. with the tents themselves as the clothing of their framework (Hab 3:7; Jer 4:20; Jer 10:20; Jer 49:29). Such tent hangings will thus also be here meant; precious, as those described Ex 26 and 36, and as those which formed the tabernacle on Zion (2 Sam 7; cf. 1Ch 17:1) before the erection of the temple. Those made in Egypt

(Note: Vid ., Wetzstein's Isaiah (1869), p. 698.)

were particularly prized in ancient times.

Keil-Delitzsch: Sos 1:6

Shulamith now explains, to those who were looking upon her with inquisitive wonder, how it is that she is swarthy:

6a Look not on me because I am black,

Because the sun has scorched me.

If the words were בי ( תּראינה ) אל־תּראוּ , then the meaning would be: look not at me, stare not at me. But אל־תּראני , with שׁ (elsewhere כּי ) following, means: Regard me not that I am blackish ( subnigra ); the second שׁ is to be interpreted as co-ordin. with the first (that ... that), or assigning a reason, and that objectively (for). We prefer, with Böttch., the former, because in the latter case we would have had שׁהשׁמשׁ . The quinqueliterum שׁחרחרת signifies, in contradistinction to שׁחור , that which is black here and there, and thus not altogether black. This form, as descriptive of colour, is diminutive; but since it also means id quod passim est , if the accent lies on passim , as distinguished from raro , it can be also taken as increasing instead of diminishing, as in יפיפה , הפכפּך . The lxx trans. παρέβλεπσέ (Symm. παρανέβλεπσέ ) με ὁ ἣλιος : the sun has looked askance on me. But why only askance? The Venet. better: κατεῖδέ με ; but that is too little. The look is thought of as scorching; wherefore Aquila: συνέκαυσέ με , it has burnt me; and Theodotion: περιέφρυξέ με , it has scorched me over and ov. שׁזף signifies here not adspicere (Job 3:9; Job 41:10) so much as adurere. In this word itself (cogn. שׁדף ; Arab. sadaf , whence asdaf , black; cf. דּעך and זעך , Job 17:1), the looking is thought of as a scorching; for the rays of the eye, when they fix upon anything, gather themselves, as it were, into a focus. Besides, as the Scriptures ascribe twinkling to the morning dawn, so it ascribes eyes to the sun (2Sa 12:11), which is itself as the eye of the heavens.

(Note: According to the Indian idea, it is the eye of Varuna; the eye (also after Plato: ἡλιοειδέστατον τῶν περὶ τὰς αἰσθήσεις οργάνων ) is regarded as taken from the sun, and when men die returning to the sun (Muir in the Asiatic Journal , 1865, p. 294, S. 309).)

The poet delicately represents Shulamith as regarding the sun as fem. Its name in Arab. and old Germ. is fem., in Heb. and Aram. for the most part mas. My lady the sun, she, as it were, says, has produced on her this swarthiness.

She now says how it has happened that she is thus sunburnt:

6b My mother's sons were angry with me,

Appointed me as keeper of the vineyards -

Mine own vineyard have I not kept.

If "mother's sons"is the parallel for "brothers"( אחי ), then the expressions are of the same import, e.g. , Gen 27:29; but if the two expressions stand in apposition, as Deut. 13:76, then the idea of the natural brother is sharpened; but when "mother's sons"stands thus by itself alone, then, after Lev 18:9, it means the relationship by one of the parents alone, as "father's wife"in the language of the O.T. and also 1Co 5:5 is the designation of a step-mother. Nowhere is mention made of Shulamith's father, but always, as here, only of her mother, Son 3:4; Son 8:2; Son 6:9; and she is only named without being introduced as speaking. One is led to suppose that Shulamith's own father was dead, and that her mother had been married again; the sons by the second marriage were they who ruled in the house of their mother. These brothers of Shulamith appear towards the end of the melodrama as rigorous guardians of their youthful sister; one will thus have to suppose that their zeal for the spotless honour of their sister and the family proceeded from an endeavour to accustom the fickle or dreaming child to useful activity, but not without step-brotherly harshness. The form נחרוּ , Ewald, §193 c , and Olsh. p. 593, derive from חרר , the Niph . of which is either נחר or נחר (= נחרר ), Gesen. §68, An. 5; but the plur. of this נחר should, according to rule, have been נחרוּ (cf. however, נחלוּ , profanantur , Eze 7:24); and what is more decisive, this נחר from חרר everywhere else expresses a different passion from that of anger; Böttch. §1060 (2, 379). חרה is used of the burning of anger; and that נחרוּ (from נחרה = נחרה ) can be another form for נחרוּ , is shown, e.g. , by the interchange of אחרוּ and אחרוּ ; the form נחרוּ , like נחלוּ , Amo 6:6, resisted the bringing together of the ח and the half guttural ר . Něhěrā (here as Isa 41:11; Isa 45:24) means, according to the original, mid. signif. of the Niph ., to burn inwardly, ἀναφλέγεσθαι = ὀργίζεσθαι . Shulamith's address consists intentionally of clauses with perfects placed together: she speaks with childlike artlessness, and not "like a book;"in the language of a book, וישׂמוּני would have been used instead of שׂמני . But that she uses נטרה (from נטר , R. טר = τηρεῖν ; cf. Targ. Gen 37:11 with Luk 2:51), and not נחרה , as they were wont to say in Judea, after Pro 27:18, and after the designation of the tower for the protection of the flocks by the name of "the tower of the nōtsrīm "the watchmen, 2Ki 17:9, shows that the maid is a Galilean, whose manner of speech is Aramaizing, and if we may so say, platt-Heb. (= Low Heb.), like the Lower Saxon plattdeutsch . Of the three forms of the particip. נטרה , נוטרה , נוטרת , we here read the middle one, used subst. (Ewald, §188 b ), but retaining the long ē (ground-form, nâṭir ). The plur. את־הךּ does not necessarily imply that she had several vineyards to keep, it is the categ. plur. with the art. designating the genus; custodiens vineas is a keeper of a vineyard. But what kind of vineyard, or better, vine-garden, is that which she calls שׁלּי כּרמי , i.e. , meam ipsius vineam ? The personal possession is doubly expressed; shělli is related to cǎrmī as a nearer defining apposition: my vineyard, that which belongs to me ( vid ., Fr. Philippi's Status constr . pp. 112-116). Without doubt the figure refers to herself given in charge to be cared for by herself: vine-gardens she had kept, but her own vine-garden, i.e. , her own person, she had not kept. Does she indicate thereby that, in connection with Solomon, she has lost herself, with all that she is and has? Thus in 1851 I thought; but she certainly seeks to explain why she is so sunburnt. She intends in this figurative way to say, that as the keeper of a vineyard she neither could keep nor sought to keep her own person. In this connection cǎarmī , which by no means = the colourless memet ipsam , is to be taken as the figure of the person in its external appearance, and that of its fresh-blooming attractive appearance which directly accords with כּרם , since from the stem-word כּרם (Arab.), karuma , the idea of that which is noble and distinguished is connected with this designation of the planting of vines (for כּרם , Arab. karm , cf. karmat , of a single vine-stock, denotes not so much the soil in which the vines are planted, as rather the vines themselves): her kěrěm is her (Arab.) karamat , i.e. , her stately attractive appearance. If we must interpret this mystically then, supposing that Shulamith is the congregation of Israel moved at some future time with love to Christ, then by the step-brothers we think of the teachers, who after the death of the fathers threw around the congregation the fetters of their human ordinances, and converted fidelity to the law into a system of hireling service, in which all its beauty disappeared. Among the allegorists, Hengstenberg here presents the extreme of an interpretation opposed to what is true and fine.

Constable: Ecc 11:7--Sos 1:1

IV. THE WAY OF WISDOM 11:7--12:14

In 1:12-6:9, Solomon demonstrated that all work is ultimately futile for two reasons. It does not yield anything really permanent under the sun. Moreover we can never be sure we will enjoy the fruits of our labor before we die. In 6:10-11:6 he pointed out that we can never be sure which of our efforts will succeed because we do not know God's plans or what the future holds. In 11:7-12:14 he emphasized how to live acceptably before God in view of these realities.

"The Teacher has discussed how we should act in view of the uncertainties of life. We must recognize the certainties but must plan in such a way as not to be thrown off balance when the unexpected happens. Now the Teacher goes on to speak of the certainty of growing up and growing old."⁷⁴

Constable: Sos 1:1

I. THE SUPERSCRIPTION 1:1

The writer of this book was Solomon. He wrote 1,005 songs (1 Kings 4:32), and this book is one of them (cf. Pss. 72; 127).

"Song of songs" means that this is a superlative song (cf. the terms "holy of holies," "vanity of vanities," or "King of kings"), not that it is one song made up of several other songs. The divine Author probably intended us to view this book as a superlative song that Solomon composed.

"God's name is absent from the entire setting.²⁵ But who would deny that his presence is strongly felt? From whom come such purity and passion? Whose creative touch can ignite hearts and bodies with such a capacity to bring unsullied delight to another? Who kindled the senses that savor every sight, touch, scent, taste, and sound of a loved one? Whose very character is comprised of the love that is the central subject of the Song? None of this is to allegorize either the minute details or the main sense of the book. It is about human love at its best. But behind it, above it, and through it, the Song, as part of the divinely ordered repertoire of Scripture, is a paean of praise to the Lord of creation who makes possible such exquisite love and to the Lord of redemption who demonstrated love's fullness on a cross."²⁶

The Bible has much to say about marriage.

"But the Song of Songs is different. Here sex is for joy, for union, for relationship, for celebration. Its lyrics contain no aspirations to pregnancy, no anticipations of parenthood. The focus is not on progeny to assure the continuity of the line but on passion to express the commitment to covenant between husband and wife."²⁷

Constable: Sos 1:2--3:6

II. THE COURTSHIP 1:2--3:5

Perhaps the outstanding characteristic of this first major section of the book is the sexual restraint that is evident during the courtship. This restraint contrasts with the sexual intimacy that characterizes the lovers after their wedding (3:6-5:1 and 5:2-8:4). Before marriage a couple should restrain their sexual desire rather than indulging it.

Constable: Sos 1:2-11

A. The Beginning of Love 1:2-11

In the NASB, NIV, and NKJV the translators identified the speakers in the various sections of the book. This is, of course, the interpretation of the translators, not part of the inspired text.

Constable: Sos 1:2-4

1. Longing for the boyfriend 1:2-4

As the book begins, the young woman and young man have already met and "fallen in love." In verses 2-4a the girl voices her desire for her boyfriend's physical affection.

"It is significant to this work that the girl speaks first. This young lady is not extremely diffident. She seems to see herself as of equal stature with the male. She longs to express her love to him, and she wants him to reciprocate. There is a sense in which she is the major character in this poem. This is one of the aspects of this work that makes it unique in its day. Much more of the text comes from her mouth and mind than from his. It is more her love story than it is his, though there is no failure on his part to declare his love and admiration for her."²⁸

Who was the Shulammite? No one knows for sure. It is possible that she may have been Abishag, the Shunammite (cf. 1 Kings 1:3-8). "Shulammite" could describe a person from Shunem (cf. Josh. 19:18; 1 Sam. 28:4).

"This would explain Solomon's rather severe reaction to the plot of Adonijah and also partially explain the women of the court listed in 6:8 without the necessity of understanding them to have been actual consorts of Solomon."²⁹

The use of both third and second person address ("he" and "you") is a bit confusing. Is she speaking about him or to him? This feature of ancient oriental poetry is common in other Near Eastern love poems that archaeologists have discovered. It was a device that ancient writers evidently employed to strengthen the emotional impact of what they wrote.³⁰ Here the girl appears to be speaking about her love, not to him.

1:2 The Hebrew word for "love" (dodim) in verse 2 refers to physical expressions of love.³¹ The girl found her boyfriend's physical affection very stimulating.

1:3 His "oils" (v. 3) were the lotions he wore. Since the name of a person represented his character (cf. 2 Sam. 7:9), she meant his character, his whole person, was also as pleasing as oil to her and to other people. Her attraction was not due to physical factors alone.

1:4a We could translate the words, "The king has brought me into his chambers," (v. 4) as, "May the king bring me into his chambers." This is an expression of longing for intimacy. Such a desire is normal and healthy (cf. Prov. 5:18-19). The king was Solomon.

1:4b The last three lines of verse 4 were evidently the words of the daughters of Jerusalem (v. 5; cf. 2:7; 3:5, 10, 17; 5:8, 11, 16; 8:4). These may have been hometown friends of the woman,³² the female inhabitants of Jerusalem,³³ women who display the characteristics of city girls,³⁴ or the women of Solomon's harem (cf. 6:8-9).³⁵ Their words here show that they approved of the romance.

Constable: Sos 1:5-8

2. The girl's insecurity 1:5-8

1:5-6 The young lady felt embarrassed because she had very dark skin as a result of having to tend her family's grapevines. Female courtiers did not work outdoors, so their skin was lighter than women who labored in the fields. The "tents of Keder" (v. 5) were apparently black and were probably animal skins. The Kederites were nomads who lived in northern Arabia southeast of Damascus (cf. Gen. 25:13; Isa. 60:7).

"These words express humility without abjectness."³⁶

Her "own vineyard" (v. 6) refers to her personal appearance.³⁷

"She had not had available to her the luxurious baths and toiletries or fashionable clothing of the court. There had been no opportunity for her to take care of her hair, skin, or hands according to the obvious courtly style."³⁸

1:7 Solomon probably was not a shepherd. Ancient Near Eastern love poems commonly pictured men as shepherds.³⁹ The girl simply wanted to be with Solomon. If she could not, she would be very sad, just as a woman who veiled her face in mourning.

"The girl is saying that she does not want to be mistaken for a cult prostitute, a good picture of which is seen in Genesis 38:13-15."⁴⁰

1:8 If this is Solomon's reply, he probably was kidding her and meant that she had no reason to feel he would disdain her. However these are probably the words of the girl's friends (cf. v. 4b). They evidently meant that if she thought Solomon would not want her because of her dark skin and hard work she was being ridiculous and should go back to her flocks. After all she was a very attractive woman.

Commentary -- Other

Critics Ask: Sos 1:1

SONG OF SOLOMON 1:1 —How did a sensual book like this get in the Bible?

PROBLEM 1: The Bible condemns the lust of the flesh and sensuality ( Rom. 6:6 ; Gal. 5:16-21 ; 1 John 2:16 ). Yet this love song is filled with sensual expressions and sexual overtures (cf. 1:2 ; 2:5 ; 3:1 ; 4:5 ).

SOLUTION 1: The Bible does not condemn sex, but only perverted sex. God created sex ( Gen. 1:27 ), and He ordained that it should be enjoyed within the bonds of a monogamous marriage and in a relationship of love. The Scriptures declare, “Rejoice with the wife of your youth. As a loving deer and a graceful doe, let her breasts satisfy you at all times; and always be enraptured with her love” ( Prov. 5:18-19 ).

After warning against those who forbid marriage ( 1 Tim. 4:3 ), the apostle declares that “every creature of God is good” (v. 4 ), and he goes on to speak of the God “who gives us richly all things to enjoy” ( 6:17 ). Hebrews insists that “marriage is honorable among all, and the bed undefiled; but fornicators and adulterers God will judge” ( Heb. 13:4 ).

God realizes that normal people will have sexual desires, but He adds, “Nevertheless, because of sexual immorality, let each man have his own wife, and let each woman have her own husband” ( 1 Cor. 7:2 ). So, sex itself is not sinful, nor are sexual desires. God created them and intends that they be enjoyed within the loving bonds of a monogamous marriage. The Song of Solomon is a divinely authoritative example of how sensual love should be expressed in marriage.

PROBLEM 2: Some question whether this book should be in the Bible, claiming that some rabbis rejected it. Was it always a part of the Jewish Scriptures?

SOLUTION 2: From the very earliest times, this book was part of the Jewish canon. Centuries after it was accepted into the canon of Scriptures, the school of Shammai ( A.D. 1st century) expressed doubt about its inspiration, but the view of Rabbi Akiba ben Joseph (c. A.D. 50-132) prevailed when he declared, “God forbid!—No man in Israel ever disputed about the Song of Songs … for all the ages are not worthy the day on which the Song of Songs was given to Israel; for all the writings are holy, but the Song of Songs is the Holiest of Holies” (See Geisler and Nix,A General Introduction to the Bible, Moody Press, 1986, 259).

PROBLEM 3: Many modern scholars propose that this book of Solomon is simply a collection of love poems that have been put together on the basis of their similarity in theme. However, as a whole, this book is said to have been written by Solomon. How can it be a book written by Solomon if it is really only a loosely connected group of poems?

SOLUTION 3: Actually, the Song of Solomon is not a loosely connected group of love poems. The structure of the book demonstrates that it is a single poetic expression of the relationship between Solomon and his Shulamite bride. The structure of the Song of Solomon is revealed in the repetition of key phrases.

OPENING PHRASES CLOSING PHRASES   

2:8 “The voice of my beloved! Behold, he comes.” 2:7 “I charge you O daughters of Jerusalem …”  

3:6 “Who is this coming …” 3:5 “I charge you O daughters of Jerusalem …”   

6:10 “Who is she …” 6:9 “The daughters saw her …”   

8:5 “Who is this coming …” 8:4 “I charge you O daughters of Jerusalem …”   

The structure of this book can be illustrated by the following outline.   

I. The mutual compassion of the lovers 1:2-2:7 A   

II. Pre-wedding events 2:8-3:5 B   

III. Wedding details 3:6-6:9 C   

IV. Post-wedding events 6:10-8:4 B´   

V. The mutual contentment of the lovers 8:5-8:14 A´

The repetition of “A”s and “B”s is a pattern called chiasm that was frequently employed by the Hebrew poets as a means of structuring their material. This structure not only indicates the unity of the book, but it provides evidence of a single author who put the material together in this manner to tell a true story and communicate a message. This literal account of the love of Solomon for his wife teaches the sanctity of human love in the marriage relationship (cf. Heb. 13:4 ).

Critics Ask: Sos 1:2

SONG OF SOLOMON 1:2 —Why do so many people who claim to interpret the Bible literally, spiritualize the Song of Solomon?

PROBLEM: Evangelical Christians defend the literal interpretation of the Bible. They insist that it should be taken in its normal, historical-grammatical sense, not in some hidden, mystical, or allegorical sense. To do so in the Gospels, for example, leads to liberalism, denying the historicity of the life, death, and resurrection of Christ. However, many evangelicals do not take the Song of Solomon literally, but give it an allegorical or spiritual meaning. Is this not inconsistent?

SOLUTION: There are three basic interpretations of the Song of Solomon—the literal, the allegorical, and the typical.

First, there is a literal interpretation. According to this view, it is a literal story about King Solomon and his love for his wife and her love for him, although scholars differ over just which of his 700 wives and 300 concubines ( 1 Kings 11:3 ) this might be. Some say it was “the daughter of Pharaoh” ( 1 Kings 11:1 ). Others suggest it was a lowly maiden known as the Shulamite. But all who take it literally insist that it is about the historical King Solomon and a love affair he had with a woman. They insist, then, that the book is intended to extol the beauty, purity, and sanctity of marriage.

Second, others take an allegorical interpretation of the book, shying away from the more sensuously descriptive parts of the story. They prefer to see a deeper meaning, such as Yahweh’s love for His people Israel (cf. Hosea) or, more broadly, God’s love for His people in general.

Third, many Christians opt for a typical interpretation of this canticle, seeing in it the prefiguration or type of Christ and His love for the church (cf. Eph. 5:28-32 ). This view also denies that the book should be taken in a literal sense, insisting rather on a deeper spiritual meaning.

Whatever application this love story may have to God’s relation to His people, or Christ’s love for His church, it seems better to insist on a literal interpretation of this book for the following two basic reasons. First, it is inconsistent to allegorize this story and insist on taking the Gospels and other parts of Scripture literally. Second, taking it literally does not contradict any other teaching of Scripture. Rather, it complements it in many ways. God instituted marriage ( Gen. 2:23-24 ). God created sex and gave it to humans to enjoy within the bonds of marriage ( Gen. 1:27 ; Prov. 5:17-19 ). Paul declared that sex should be exercised within a monogamous marriage ( 1 Cor. 7:1-5 ). Timothy was informed that sex within marriage should not be forbidden ( 1 Tim. 4:1-4 ) and that God “gives us richly all things to enjoy” ( 1 Tim. 6:17 ). The Song of Solomon is a beautiful example of a real romance between two actual people that extols the biblical view of sex and marriage.

Since a literal marriage does, according to Paul, exemplify the love of Christ for His bride, the church, there is no reason we cannot take this literal love story as a picture of God’s love. However, to claim the story is not literally true, or that it is a type orprediction of Christ’s love for the church goes beyond the meaning of the text.   

Introduction / Outline

JFB: The Song of Songs (Book 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" (Exo 29:37); the heaven of heavens, equivalent to the highest heavens (Deu 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" (Son 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 Son 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (Son 1:7), "an abomination to the Egyptians" (Gen 46:34); so also Son 1:6; Son 3:4; Son 4:8; Son 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" (Son 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 (Isa 54:5; Isa 62:5; Jer 3:1, &c.; Eze. 16:1-63; Eze. 23:1-49; Mat 9:15; Mat 22:2; Mat 25:1, &c.; Joh 3:29; 2Co 11:2; Eph 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; Rev 19:7; Rev 21:2; Rev 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 (Son 2:6-7; Son 3:5; Son 8:3-4; Son 2:16; Son 6:3; Son 7:10; Son 3:6; Son 6:10; Son 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 (Son 2:7; Son 3:5; Son 5:1; Son 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 (Pro. 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 (Son 8:8) towards the end; (2) Christ speaks to the apostles (Son 5:1) in the middle; (3) The Church speaks of the coming of Christ (Son 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 (Son 1:2, Son 1:4; Son 2:8; Son 3:1, Son 3:4, Son 3:6-7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (Son 5:1-3, &c.), and her longings after Him, and reconciliation (Son 5:8-16; Son 6:3, &c.; Son 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 (Son 7:10, Son 7:12; Son 8:8-10, Son 8:14).

TSK: The Song of Songs 1 (Chapter Introduction)

Son 1:1, The church’s love unto Christ; Son 1:5, She confesses her deformity, Son 1:7, and prays to be directed to his flock; Son 1:8, Christ directs her to the shepherd’s tents; Son 1:9, and shewing his love to her, Son 1:11, gives her gracious promises; Son 1:12, The church and Christ congratulate one another.

Poole: The Song of Songs 1 (Chapter Introduction)

SONG OF SOLOMON

Before I come to the explication of this book, some things must be premised concerning it.

1. That it was of Divine inspiration is so clear and certain, that, as Jewish writers note, none ever questioned it, although some doubted of some other of Solomon’ s writings. And the same arguments which prove the divinity of other books are found here, such as the quality of the penman, who was confessedly a man inspired by God; the excellency and usefulness of the matter; the sacred and sublime majesty of the style, and the singular efficacy of it upon the heats of sober and serious persons, who read it with due preparation; and those other characters which are commonly known, and therefore it is needless here to enumerate.

2. The form of this book is dramatical, wherein several parts or parcels of it are uttered by or in the name of several persons, which are chiefly four, the bridegroom and the bride, and the friends or companions of the one and of the other. Nor is it declared what or when each of them speak, but that is secretly couched, and is left to the observation of the prudent reader, as is usual in writings of this nature.

3. The design of the book in general is to describe the passionate loves and happy marriage of two persons, and their mutual satisfaction therein, and the blessed fruits and effects thereof. But then it is not to be understood carnally, concerning Solomon and Pharaoh’ s daughter, as some have fancied, although the occasion of this love and marriage may be taken from that, or rather he makes an allusion to that; but spiritually, concerning God, or Christ, and his church and people. This is sufficiently evident from the descriptions of this bridegroom and bride, which are such as could not with any decency be used or meant concerning Solomon and Pharaoh’ s daughter, as when he is brought in like a country shepherd, Son 1:7 , and is called his bride’ s brother, Son 5:2 , and when he gives such high and excessive commendations to himself, as we shall see, and when she is made the keeper of vineyards and of sheep , Son 1:6,8 , and is said to be smitten and abused by the watchmen, Son 5:7 , and said to be terrible as an army , Son 6:4 , and to be like Pharaoh’ s horses, and to have a head like Carmel, a nose like a tower, eyes like fishpools, teeth like a flock of sheep , &c., Son 7:4,5 . And there are many such-like expressions and descriptions, which being applied to them, are absurd and monstrous. Hence it follows that this book is to be understood mystically or allegorically, concerning that spiritual love and marriage which is between God, or Christ, and his church, or every believing soul. And this will be more than probable to any man who shall consider the following particulars.

1. That the Scriptures both of the Old and New Testament are full of mystical and allegorical passages; which being known and confessed, it is needless to prove.

2. That the doctrine of Christ, or the Messias, and of his being the Head, and Husband, and Saviour of God’ s church or people, was well known, at least to the prophets, and the wise and pious Israelites, in the time of the Old Testament; whereof we have many manifest and unquestionable evidences, not only in the New Testament, but in the writings of Moses, in the Books of Psalms and Proverbs, and in the prophets, as hath been noted in part, and will, God assisting, be further observed in the proper places.

3. That God compares himself to a bridegroom, and his church to a bride, Isa 62:5 , and calls and owns himself the Husband of his people, Isa 54:5 Hos 2:16,19,20 . In which places, by comparing these. with many other texts of Scripture, by God, or the Lord, is meant Christ, the second person in the Godhead, who then was to come down, and since did come from heaven to earth, for the consummation of that eternal project of marriage between God and his people; which also is fully confirmed by the writings of the New Testament which were designed for the explication of the Old, in which Christ is expressly declared to be the Bridegroom or Husband of his church, an Mat 9:15 22:2 Joh 3:29 2Co 11:2 Eph 5:23 Rev 19:7 21:2 22:17 4 . That Ps 45 , which is a kind of abridgement: of this book, although it had its rise from or alludes to the marriage between Solomon and Pharaoh’ s daughter, was written concerning the Messias, as all interpreters, both Christian and Jewish, agree, and concerning the mystical marriage between Christ and his church; of which see my notes upon that Psalm. From these considerations, and many others which might be suggested, and which will offer themselves to our thoughts from several passages of it, it is sufficiently manliest, that the main scope and business of this book is to describe the mutual love, union, and communion which is between Christ and his church in the various conditions to which it is liable in this world, as in the state of weakness, and desertion, and persecution from foolish shepherds, and the like, Son 1:6,7 3:1-4 5:2,7 , &c. Moreover it is to be considered, that Solomon doth here vary his speech, sometimes speaking of the church in general, as one person or body; and sometimes of the particular members of it, or of several believers, both of such as really and sincerely are so, or such as profess to be so, and of their various dispositions and conditions. And hence comes the difference of persons here mentioned, the mother or spouse, and the children or daughters of Jerusalem, sixty queens, and eighty concubines; some that are strangers to the bridegroom, and some that are well acquainted with him, &c. These things being premised will give great light to the several passages of this book.

SONG OF SOLOMON CHAPTER 1

A description of the earnest longing of the church after Christ, Son 1:1-4 . A confession of her deformity; prayeth for direction. Son 1:5-7 . Christ’ s direction and command, Son 1:8 . He showeth his love to her both for her strength and comeliness, Son 1:9,10 , and giveth her gracious promises, Son 1:11 . The church’ s commendation of Christ both for the sweetness of fellowship with him, and the excellency of ordinances, Son 1:12-17 .

The song of songs the most excellent of all songs, whether composed by profane or sacred authors, by Solomon or by any other. So this Hebrew phrase is understood in other cases, as the holy of holies signifies the most holy; and the highest King is called King of kings ; and there are multitudes of such instances, as hath been oft observed. And so this might well be called, whether you consider the author of it, who was a great prince, and the wisest of all mortal men, the two Adams only excepted; or the subject of it, which is not Solomon, but a greater than Solomon , even Christ, and his marriage with the church, as hath been noted; or the matter of it, which is most lofty and mysterious, containing in it the greatest and noblest of all the mysteries contained either in the Old or the New Testament; most pious and pathetical, breathing forth the hottest flames of love between Christ and his people; most sweet, and comfortable, and useful to all that read it with serious and Christian eyes. Nor is it the worse because profane and wanton wits abuse it, and endeavour to fasten their absurd and filthy senses upon some passages in it. The truth is, this book requires a sober and pious, not a lascivious and foolish readier; for which reason some of the ancient Hebrews advised young men to forbear the reading of it, till they were thirty years old.

Which is Solomon’ s which was composed by Solomon; but whether before his fall, or after his repentance, is not easy to determine, nor necessity to be known.

MHCC: The Song of Songs (Book Introduction)

This book is a Divine allegory, which represents the love between Christ and his church of true believers, under figures taken from the relation and affection that subsist between a bridegroom and his espoused bride; an emblem often employed in Scripture, as describing the nearest, firmest, and most sure relation: see Psalms 45; Isa 54:5, Isa 54:6; Isa 62:5; Jer 2:2; Jer 3:1; also in Ezekiel, Hosea, and by our Lord himself, Mat 9:15; Mat 25:1; see also Rev 21:2, Rev 21:9; Eph 5:27. There is no character in the church of Christ, and no situation in which the believer is placed, but what may be traced in this book, as humble inquirers will find, on comparing it with other Scriptures, by the assistance of God the Holy Spirit, in answer to their supplications. Much, however, of the language has been misunderstood by expositors and translators. The difference between the customs and manners of Europe, and those of the East, must especially be kept in view. The little acquaintance with eastern customs possessed by most of our early expositors and translators, has in many cases prevented a correct rendering. Also, the changes in our own language, during the last two or three centuries, affect the manner in which some expressions are viewed, and they must not be judged by modern notions. But the great outlines, rightly interpreted, fully accord with the affections and experience of the sincere Christian.

MHCC: The Song of Songs 1 (Chapter Introduction)

(Son 1:1) The title.

(Son 1:2-6) The church confesses her deformity.

(Son 1:7, Son 1:8) The church beseeches Christ to lead her to the resting-place of his people.

(Son 1:9-17) Christ's commendation of the church, Her esteem for Him.

Matthew Henry: The Song of Songs (Book Introduction)

An Exposition, with Practical Observations, of The Song of Solomon

All scripture, we are sure, is given by inspiration of God, and is profitable for the support and advancement of the interests of his kingdom among men, and it is never the less so for there being found in it some things dark and hard to be understood, which those that are unlearned and unstable wrest to their own destruction. In our belief both of the divine extraction and of the spiritual exposition of this book we are confirmed by the ancient, constant, and concurring testimony both of the church of the Jews, to whom were committed the oracles of God, and who never made any doubt of the authority of this book, and of the Christian church, which happily succeeds them in that trust and honour. I. It must be confessed, on the one hand, that if he who barely reads this book be asked, as the eunuch was Understandest thou what thou readest? he will have more reason than he had to say, How can I, except some man shall guide me? The books of scripture-history and prophecy are very much like one another, but this Song of Solomon's is very much unlike the songs of his father David; here is not the name of God in it; it is never quoted in the New Testament; we find not in it any expressions of natural religion or pious devotion, no, nor is it introduced by vision, or any of the marks of immediate revelation. It seems as hard as any part of scripture to be made a savour of life unto life, nay, and to those who come to the reading of it with carnal minds and corrupt affections, it is in danger of being made a savour of death unto death; it is a flower out of which they extract poison; and therefore the Jewish doctors advised their young people not to read it till they were thirty years old, lest by the abuse of that which is most pure and sacred ( horrendum dictu - horrible to say! ) the flames of lust should be kindled with fire from heaven, which is intended for the altar only. But, II. It must be confessed, on the other hand, that with the help of the many faithful guides we have for the understanding of this book it appears to be a very bright and powerful ray of heavenly light, admirable fitted to excite pious and devout affections in holy souls, to draw out their desires towards God, to increase their delight in him, and improve their acquaintance and communion with him. It is an allegory, the letter of which kills those who rest in that and look no further, but the spirit of which gives life, 2Co 3:6; Joh 6:63. It is a parable, which makes divine things more difficult to those who do not love them, but more plain and pleasant to those who do, Mat 13:14, Mat 13:16. Experienced Christians here find a counterpart of their experiences, and to them it is intelligible, while those neither understand it nor relish it who have no part nor lot in the matter. It is a song, an Epithalamium, or nuptial song, wherein, by the expressions of love between a bridegroom and his bride, are set forth and illustrated the mutual affections that pass between God and a distinguished remnant of mankind. It is a pastoral; the bride and bridegroom, for the more lively representation of humility and innocence, are brought in as a shepherd and his shepherdess. Now, 1. This song might easily be taken in a spiritual sense by the Jewish church, for whose use it was first composed, and was so taken, as appears by the Chaldee-Paraphrase and the most ancient Jewish expositors. God betrothed the people of Israel to himself; he entered into covenant with them, and it was a marriage-covenant. He had given abundant proofs of his love to them, and required of them that they should love him with all their heart and soul. Idolatry was often spoken of as spiritual adultery, and doting upon idols, to prevent which this song was penned, representing the complacency which God took in Israel and which Israel ought to take in God, and encouraging them to continue faithful to him, though he might seem sometimes to withdraw and hide himself from them, and to wait for the further manifestation of himself in the promised Messiah. 2. It may more easily be taken in a spiritual sense by the Christian church, because the condescensions and communications of divine love appear more rich and free under the gospel than they did under the law, and the communion between heaven and earth more familiar. God sometimes spoke of himself as the husband of the Jewish church (Isa 64:5, Hos 2:16, Hos 2:19), and rejoiced in it as his bride, Isa 62:4, Isa 62:5. But more frequently is Christ represented as the bridegroom of his church (Mat 25:1; Rom 7:4; 2Co 11:2; Eph 5:32), and the church as the bride, the Lamb's wife, Rev 19:7; Rev 21:2, Rev 21:9. Pursuant to this metaphor Christ and the church in general, Christ and particular believers, are here discoursing with abundance of mutual esteem and endearment. The best key to this book is the 45th Psalm, which we find applied to Christ in the New Testament, and therefore this ought to be so too. It requires some pains to find out what may, probably, be the meaning of the Holy Spirit in the several parts of this book; as David's songs are many of them level to the capacity of the meanest, and there are shallows in them learned, and there are depths in it in which an elephant may swim. But, when the meaning is found out, it will be of admirable use to excite pious and devout affections in us; and the same truths which are plainly laid down in other scriptures when they are extracted out of this come to the soul with a more pleasing power. When we apply ourselves to the study of this book we must not only, with Moses and Joshua, put off our shoe from off our foot, and even forget that we have bodies, because the place where we stand is holy ground, but we must, with John, come up hither, must spread our wings, take a noble flight, and soar upwards, till by faith and holy love we enter into the holiest, for this is no other than the house of God and this is the gate of heaven.

Matthew Henry: The Song of Songs 1 (Chapter Introduction)

In this chapter, after the title of the book (Son 1:1), we have Christ and his church, Christ and a believer, expressing their esteem for each other. I. The bride, the church, speaks to the bridegroom (Son 1:2-4), to the daughters of Jerusalem (Son 1:5, Son 1:6), and then to the bridegroom (Son 1:7). II. Christ, the bridegroom, speaks in answer to the complaints and requests of his spouse (Son 1:8-11). III. The church expresses the great value she has for Christ, and the delights she takes in communion with him (Son 1:12-14). IV. Christ commends the church's beauty (Son 1:15). V. The church returns the commendation (Son 1:16, Son 1:17). Where there is a fire of true love to Christ in the heart this will be of use to blow it up into a flame.

Constable: The Song of Songs (Book Introduction)

Introduction

Title

In the Hebrew Bible the title of this book is "The Song of Songs." It comes from 1:1. The Septuagint and Vulgate translators adopted this title. The Latin word for song is canticum from which we get the word Canticles, another title for this book.

Some English translations have kept the title "Song of Songs" (e.g., NIV), but many have changed it to "Song of Solomon" based on 1:1 (e.g., NASB, AV, RSV, NKJV).

Writer and Date

Many references to Solomon throughout the book confirm the claim of 1:1 that Solomon wrote this book (cf. 1:4-5, 12; 3:7, 9, 11; 6:12; 7:5; 8:11-12; 1 Kings 4:33). He reigned between 971 and 931 B.C.

How could Solomon, who had 700 wives and 300 concubines (1 Kings 11:3), be the same faithful lover this book presents? He could be if he became polygamous after the events in this book took place. That seems a more likely explanation than that he was polygamous when these events occurred but just omitted reference to his other loves. Probably he wrote the book before he became polygamous. We do not know how old Solomon was when he married the second time. The history recorded in Kings and Chronicles is not in strict chronological order. The Shulammite was probably not Pharaoh's daughter (1 Kings 3:1; cf. Song of Sol. 4:8).¹

Interpretation

This book has received more varied interpretations than probably any other book in the Bible.² Some writers believed it presents the reader with the "greatest hermeneutical challenge" in the Old Testament.³ One excellent exegete called it "the most obscure book of the Old Testament."⁴

"Among the books of the Bible, the Song of Solomon is one of the smallest, most difficult, yet one of the most popular with both Jews and Christians. Over the centuries hundreds of books and commentaries have been written and unnumbered sermons preached on these 117 verses."⁵

Bible students have understood the Song of Solomon as an allegory, an extended type, a drama with either two or three main characters, or a collection of wedding songs. Others have thought it is a collection of pagan fertility cult liturgies or an anthology of songs extolling love, to name only the most common interpretations.⁶

Those who interpret the book allegorically--the majority of interpreters--believe that what the writer said is only a symbolic husk for a deeper spiritual meaning that the reader must discover. Jewish interpreters took this deeper revelation to be God's love for Israel. Christian scholars have frequently seen it as Christ's love for the church. However the text itself does not indicate that we should interpret this book differently than any other Bible book.⁷

Those who view it as an extended type believe the events recorded really took place, in contrast to the allegorical interpreters, but their primary significance lies in their illustrative value.⁸ The basic teaching Christian interpreters see is Christ's love for the church. Yet again the text itself does not indicate that this book requires a different interpretation than the other books of the Bible.

A careful analysis of the text has convinced most scholars that the Song of Solomon was not a drama.⁹ We really cannot break it down into acts and scenes in any presentable order. The action is too interwoven. There is also no evidence that the Hebrews had dramas of this type in Solomon's day.¹⁰

Some interpreters believe three main characters are in view, namely, Solomon, the Shulammite girl, and her shepherd lover.¹¹ However, what some scholars have attributed to the shepherd lover can just as easily refer to Solomon. It was not uncommon in ancient Near Eastern literature to refer to kings as shepherds since they served a pastoral function in relation to their people. Furthermore many of them did own many flocks (cf. 2:7).

Probably the Song of Solomon was a single love poem that the writer designed to deal primarily with the subject of human love and marriage. This was the viewpoint of many ancient Jewish rabbis.¹² It is also the conclusion most conservative commentators have come to who have sought to interpret this book in the same way they interpret other Bible books (i.e., literally, historically, and grammatically). It is also the conclusion of some liberal scholars who have analyzed the structure of the book.¹³ Love is an important subject of special revelation, and human love in particular is a central feature of it as well (cf. Lev. 19:18; Matt. 22:36-39; John 13:34-35). Consequently it should not seem incredible that God gave us this book to help us understand this subject better.¹⁴

However, it seems clear that this book also has spiritual value, specifically to clarify divine-human love.

". . . it is widely acknowledged that the Bible is a book of faith and theology, and there is no place in the canon for atheological literature. . . .

"The literal approaches of Dillow, Glickman, and others are much more faithful to the intent of the book [than other approaches]. The limitations of these strictly literal approaches are the tendency to see sexuality as a more prominent feature of the Song than is justified by the text and the propensity to overreact to the absurdities of the allegorical method to the extent of missing justifiable [spiritual] analogy."¹⁵

Evidence of unity within the book argues against its being only a collection of poems that had general similarity to one another that the writer assembled into one song.¹⁶

Purpose

Probably God's primary purpose in inspiring this book of the Bible was to give us revelation concerning the way love between a man and a woman should look.¹⁷ The characters in the book behave toward one another the way men and women in love should conduct themselves in attitudes and activities.

"Solomon was a man of many lovers, and the Song of Songs is a record of one of the relationships that stood out above all others. . . .

"The Song of Songs hearkens back to God's prototypical design in the Garden of Eden of one man and one woman, in marriage, a relationship God designed to be mutually exclusive. This book, then, presents a most relevant and urgent message for today."¹⁸

"The prospect of children is not necessary to justify sexual love in marriage. Significantly, the Song of Solomon makes no reference to procreation. It must be remembered that the book was written in a world where a high premium was placed on offspring and a woman's worth was often measured in terms of the number of her children. Sex was often seen with reference to procreation; yet there is not a trace of that here. The song is a song in praise of love for love's sake and for love's sake alone. This relationship needs no justification beyond itself."¹⁹

The love relationship between a man and a woman is an illustration of the love relationship within the Godhead and between God and Israel and between Christ and the church (cf. Hos. 3:1; Eph. 5:32). Therefore part of the purpose of this book seems to be the revelation of those more basic love relationships for application by the reader.

"The use of the marriage metaphor to describe the relationship of God to his people is almost universal in Scripture. . . .

"Human love is thus a good pedagogical device to cast light on divine love."²⁰

"In creating man--male and female--in his own image and joining them together so that they become one flesh, God makes us copies both of himself in his trinitarian unity and distinction as one God and three persons and of himself in relation to the people of his gracious election. Analogically, what is between Father and Son and Holy Spirit, and what ought to be and is and shall be between God and Israel and Christ and the Church, is also what is meant to be in the relation of man and woman and more specifically of husband and wife. Neither the intratrinitarian relationship nor the union between the heavenly bridegroom and his bride is a good copy of a bad original. Earthly marriage as it is now lived out is a bad copy of a good original."²¹

"There is something proleptic and eschatological in human passion. We deal with symbols that image eternal realities here. Little wonder that this little book is in the canon."²²

Canonicity

There have been three primary reasons that some scholars have thought this book does not deserve to be in the Bible. First, it does not contain the name of God. However, God's name may appear in 8:6. Furthermore, what makes a book theological or religious is not just the presence of the divine name. God's name does not appear in the Book of Esther either.

Second, the presence of frank language describing physical intimacies seems inappropriate in the Bible to some people. Yet the Bible presents marriage as sacred, including its physical aspects.

Third, the difficulty of interpretation has caused some readers to reject it as non-canonical. This criticism fails to recognize that finite and fallen human beings may not easily comprehend the revelations of an infinite and omniscient God.

"Like other portions of the Word of God, this book has its difficulties. But so have all the works of God. Is not the fact that they surpass our unaided powers of comprehension and research a sign-manual' of divinity? Can feeble man expect to grasp divine power, or to understand and interpret the works or the providences of the All-wise? And if not, is it surprising that His Word also needs superhuman wisdom for its interpretation? Thanks be to God, the illumination of the Holy Ghost is promised to all who seek for it: what more can we desire?"²³

Message²⁴

Contemporary culture has affected the interpretation of this book more than that of most other Bible books. For many years believers considered this book to be a revelation of God's love for the believer and the believer's love for God expressed in vivid metaphorical language. This was the predominant viewpoint for centuries during which time most people did not talk about the intimacies of human physical love publicly. With the sexual revolution that began in the 1960s there are many interpreters who now believe this book is a revelation of two human beings' love for each other primarily. Some have even suggested that it is an inspired marriage manual that God has given us to enable us to develop strong marriages.

Personally I believe God gave it to us so that we could understand the nature of love primarily. I think God wanted us to apply that understanding both in our love for our spouses and in our love for our Savior. In other words I believe the purpose is "both . . . and" rather than "either . . . or."

This book emphasizes the supremacy of love. Human life finds its highest fulfillment in the love of a man and a woman. Spiritual life finds its highest fulfillment in the love of a human being and God. Jesus Christ makes the fulfillment of love on both the human and the spiritual levels possible. He manifested God's love to us. Consequently we love Him, and we can love one another.

When Solomon originally wrote this book it was a poem about the love of two people, a man and a woman, for each other. Consequently what it reveals about love is applicable to human love. However since God revealed and inspired it as part of Scripture He also intended us to apply it to our spiritual lives, our relationship with God. That is the purpose of every other book of the Bible, and this was God's purpose in giving us this book as well. In Ephesians, Paul wrote that we should learn about Christ's love for the church from marriage (Eph. 5:32).

Let us look then at the values of this book that are primarily two.

First, the Song of Solomon is a revelation of the true nature of human love. It reveals four things about human love.

1. It reveals the foundation of love. According to this book the foundation of love is mutual satisfaction. The man and the woman in this book find perfect rest in each other. They satisfy one another in every way. Affection relates directly to this ability. We have an affection for people who satisfy some need or desire in us. We have supreme affection for one who satisfies us ultimately. That supreme affection is the basis for marriage. God intended it to be so. This book also reveals that mutual satisfaction is not only complementary, but it is also exclusive. The man and the woman in this book each saw the other as the only one for them (2:2-3). For satisfaction to be complete there must be a commitment to exclusivity. There is usually a promise to forsake all others in the wedding vows. When love is not exclusive, it is diluted (cf. 1 Tim. 3:2). The foundation of love then is mutual satisfaction that is both complementary and exclusive.

2. This book also reveals the strength of love. It is the strongest force in life (8:6-7). People will do for love what they will do for no other reason. However when mutual satisfaction breaks down, the strength of love grows weaker. If you want strong love in your marriage, commit yourselves to satisfying each other more than yourself.

3. This book also reveals how to love. It shows Solomon taking the initiative in reaching out to his loved one with intensity and protecting her. It also shows the Shulammite responding to her beloved by yielding to him and trusting in him. These are the usual actions and reactions of the male and the female in love. Sometimes there is a reversal of roles, but not usually. God intended these methods of expressing love to be instructive for us. They are applicable in both our love for our spouse and in our love for God.

4. Fourth, this book reveals the fruits of love. These are three.

a. In true love there is rest. There is a perfect contentment that turmoil outside or within cannot destroy. The home in which genuine love resides is a haven from the storms of life.

b. In true love there is joy. No matter what other conditions may exist (poverty, misery, etc.) real love fills the heart with song and brightens the darkest day.

c. In true love there is courage. Both individuals gain strength from their love to face circumstances boldly and to recover from their failures and go on. All three of these fruits of love are prominent in this book.

The second value of this book is that it reveals spiritual experience at its highest level.

This was the ultimate intention of the divine Author. This conclusion finds support in the fact that this was the belief of Jewish interpreters as well as Christian scholars in both Old and New Testament times. Furthermore the writers of Scripture used the example of a bride and groom, husband and wife, to describe God's relationship with His people in both Testaments (e.g., Hosea, Isaiah, Jeremiah, Ezekiel, the bride of Christ; Eph. 5:25-32).

It is therefore important that we take these revelations concerning the nature of love and apply them to our relationship with God as well as to our relationship to our spouse.

1. The foundation of our love for God and His love for us is also mutual satisfaction. He satisfies our every need and our every want. Nevertheless He also finds satisfaction in us.

2. We see the strength of God's love for us when we look at Calvary. The strength of our love for God is the extent to which we respond to Him in obedience.

3. We see how to love in God's initiating love for us, His reaching out intensely and protectively. We express our love for Him by yielding to Him and trusting in Him.

4. The fruits of love are the same in our relationship with God as in our relationship with another human being. We enjoy rest, joy, and courage. God does too. He experiences courage in the sense of encouragement (cf. Zeph. 3:17).

Because of these revelations and emphases I would summarize the message of this book as follows. Human life and spiritual life find their greatest fulfillment in the experience of mutual love.

Love is the greatest experience in all human relationships and our spiritual relationship. Consequently God commands us to love Him and to love one another wholeheartedly (Matt. 22:37-39). We must give attention to loving. This is not how the world views love. The world thinks you fall into it and out of it; it comes and goes. The Bible says it requires continuing commitment.

This book also encourages us to view human love in the light of God's love for us and our love for Him. A person who has experienced the love of God can know best how to express and receive love on the human level. Human love is the child of divine love.

The opposite is true too. We can find help in loving God by learning from our human love. Our passion, abandonment, and fidelity to our mate on the human level should help us to practice these things in our relationship with God. I believe God created the family to help us understand our relationship with Himself. When we learn how to respond to one another, we learn how to respond to God, and vice versa.

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

2. The girl's insecurity 1:5-8

3. Solomon's praise 1:9-11

B. The growth of love 1:12-3:5

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

1. The bride's beauty 4:1-7

2. The groom's request 4:8

3. The bride's love 4:9-11

4. The bride's purity 4:12-15

5. The bride's surrender 4:16-5:1

IV. The maturing process 5:2-8:4

A. The problem of apathy 5:2-6:13

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

1. The wife's charms 7:1-6

2. The husband's desires 7:7-9

3. The ultimate unity 7:10

C. The wife's initiative 7:11-13

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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Carr, G. Lloyd. "Is the Song of Songs a Sacred Marriage' Drama?" Journal of the Evangelical Theological Society 22:2 (June 1979):103-14.

_____. "The Love Poetry Genre in the Old Testament and the Ancient Near East: Another Look at Inspiration." Journal of the Evangelical Theological Society 25:4 (December 1982):489-98.

_____. "The Old Testament Love Songs and Their Use in the New Testament." Journal of the Evangelical Theological Society 24:2 (June 1981):97-105.

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_____. "A Wedding Song for Solomon." Journal of Biblical Literature 63 (1944):263-70.

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Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

This book is called the Canticle of Canticles, that is to say, the most excellent of all canticles: because it is full of high mysteries, relating to the happy union of Christ and his spouse; which is here begun by love; and is to be eternal in heaven. The spouse of Christ is the Church: more especially as to the happiest part of it, viz., perfect souls, every one of which is his beloved; but above all others, the immaculate and ever blessed Virgin mother [Mary]. (Challoner) --- The bridegroom is Christ, as God and man. His praises and those of his spouse are recorded by various speakers. Solomon has given us three works; for beginners, the more advanced, and the perfect; as the philosophers teach ethics, physics, and metaphysics. All the holy Scriptures contain spiritual food, but they are not all fit for every person, Hebrews v. 13. With what humility ought we not, therefore, to read this most perfect and mystical canticle, as the sentiments of spiritual love are expressed in the same words as that of worldlings, and we are more inclined to follow our own judgment and carnal notions! (Worthington) --- None, therefore, should dare to peruse this work, who has not mastered his passions, having his conversation in heaven. (Haydock) --- The Jews would not allow any ot read it before the age of thirty. (Origen and St. Jerome) --- Some of the fathers and commentators have even asserted that the mystical sense is the only one which pertains to this book, (Theodoret; Durham; Tirinus) and it is certainly the true and principal one, though allusion may be made to the marriage of Solomon with Pharao's daughter, (Calmet; Bossuet; Du Hamel) or with a Tyrian princess, (chap. iv. 8., and 3 Kings xiii. 5.) or with Abisag. (Rabbins) --- Grotius shews the corruption of his own heart in his impure comments, as Theodorus, of Mopsuestra, is blamed by the second Council of Const.[Constantinople?] iv. a. 68. The name of God never, indeed, occurs; as he is represented under the idea of the bridegroom, &c., and the piece is allegorical. It might be divided into seven scenes, or nights, as the marriage feast lasted so long, Genesis xxix. 22. During this time the bridegroom saw his spouse seldom, and with great reserve, (Calmet) as was the custom with the Lacedemonians. (Plut.[Plutarch?] in Lyc.) --- We might also refer all to six nights, or to the six ages of the Church, conformably to the system of De la Chetardie and Bishop Walmesley on the Apocalypse. --- I. Age. Chap i. 2., marks the ascension of Christ, and the propagation of Christianity; ver. 4, 5., persecutions; ver. 6, 7., vocation of the Gentiles; ver. 12., protection granted by Christ. II. Chap. ii. 3., peace under Constantine; ver. 11, 17., troubles excited by Arius. III. Chap. iii. 1., irruption of barbarians; ver. 4., does not overturn the Church; ver. 6., they are converted; ver. 11., and Christ is more glorified, as [in] Apocalypse xix. IV. Chap. iv. 5., the Latin and Greek Churches; ver. 8., the Chaldeans, lions, and Greeks, leopards, (Daniel) are converted; the Turks obtain dominion; ver. 12., the Greek schismatics cut off: ver. 16., the Church is persecuted, but protected. V. Chap. v. 2., Dew marks the cooling of charity, (St. Augustine) when Luther appeared; chap. vi. 3., yet the Church triumphs, particularly after the Council of Trent. VI. Chap. vi. 9., after the sounding of the sixth trumpet, the Jews are converted, and adorn the Church, in spite of antichrist's power; ver. 11., she addresses the synagogue, ver. 12. Chap. viii. 2., obtains leave to go into the house of her mother, as the apostles were of Jewish extraction; ver. 7., the constancy of the martyrs appears; (see Rondet.) ver. 8-14., the Church pants for her speedy union with her beloved. We may justly admire her authority, in preserving this and the former work of the canon, notwithstanding the internal and external evidence, and the ill use made of them by infidels, which seemed to militate against them. The Protestant Chateillon styles this "a wicked book." Several passages may, no doubt, be abused by a corrupt heart: but what is there so holy, which may not be perverted? When we meditate on this canticle, we ought to remember the admonition given by the Church in the Mass: "Let hearts be on high;" and Oh! that all might answer with truth: "We have them to the Lord!"

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

This book is entitled, in the Hebrew copies, "Shir Hashirim", the Song of Songs. The Septuagint and Vulgate Latin versions call it, "the Song"; and the title of it in the Syriac version, is,

"the Wisdom of Wisdoms of the same Solomon;''

that is, the same who wrote the two preceding books. It has always been received and esteemed by the ancient Jews as a valuable part of the sacred writings, calling it "the Holy of Holies" ^a; forbidding their children to read it, because of the sublimity and mysteriousness of it, until they were at years to understand it: nor was there ever any controversy among them about the authenticity of it; but all their writers ^b, ancient and more modern, agree that it was written by the inspiration of the Holy Spirit. The ancient Christian fathers and councils have held it as a part of the holy Scriptures, and have continued it in the canon of them; and it has been received as canonical by Christians in all ages, except a very few, as Theodore of Mopsuest, condemned calling it in question by the second council at Constantinople, in 553; and Castalio, in later times, who for the same was censured and exiled by the senate at Geneva; and Mr. Whiston, in our age, whose objections to it I have attempted to answer, in my larger Commentary on this book, published in 1728, and since republished: and I am very sorry I am obliged to take notice of an objection to the antiquity of it, and to its being Solomon's, made by a learned ^c man, very lately; who observes, that the word David, from its first appearance in Ruth, where it is written דוד, without the "yod", continues to be so written through the books of Samuel, Kings, Psalms, Proverbs, Isaiah, Jeremiah, and Ezekiel; but appears with a "yod", דויד, in the books of Chronicles, Ezra, Nehemiah and Zechariah; wherefore he suggests, that if it was customary to write this word without a "yod" till the captivity, and with one after it; then he thinks a strong argument may be drawn from hence against the antiquity of the Canticles, and its being made by Solomon, since this name is written with a "yod" in Son 4:4; the only place in it in which it is used: but in answer to this it must be said, that it is not fact that the word is invariably without a "yod" in the books mentioned, particularly the book of Kings: for the authors of the Masorah have observed, on 1Ki 3:14, that it is five times written in that book full, as they call it, that is, with a "yod", דויד; three of the places I have traced out, 1Ki 3:14; and have found it so written in all the printed copies I have seen; and so it is read by the eastern Jews, in Eze 37:24. This learned man is aware that it is so written, once in Hosea, and twice in Amos, books written two hundred years before the captivity; but then he observes, that in the two last places, in Bomberg's edition, it has a little circle (o) to mark it for an error, or a faulty word, though none over the word in Hosea: but it should be known, that that circle, in hundreds of places, is not used to point out anything faulty in the copy; but is only a mark referring to the margin, and what is observed there; and be it that it does point out an error, or a faulty word, the same circle is over the word in Canticles, and consequently shows it to be faulty there, and to be corrected and read without the "yod", as it was originally without it there; which observation destroys the argument from it: and so it is read in that place in the Talmud ^d without it, and in the ancient book of Zohar ^e; and indeed it seems as if it was read without the "yod" in the copies seen by the authors of the Little Masorah; since in their note on 1Ki 3:14; besides the five places in the Kings, where it is written full, or with the "yod", they say, it is so written throughout the Chronicles, the twelve minor prophets, and Ezra, which includes Nehemiah; but make no mention of Solomon's Song, which, one would think, they would have done, had it been so written there in the copies before them: so that, upon the whole, the argument, if it has any force in it, turns out for, and not against, the antiquity of Solomon's Song. This book of Canticles has plain marks of a divine original, and proofs of its being of divine inspiration: it was written by, one that was inspired of God, as appears by the books of Proverbs and Ecclesiastes, written by him; the greatness of the matter contained in it, the dignity, sublimity, and majesty of its style, show it to be no human composure; the power and efficacy which it has had over the hearts of men, in reading it, and hearing it explained, is another evidence of its being the word of God, which is quick and powerful; the impartiality of it, the bride, who is introduced speaking in it, confessing and proclaiming her own failings and infirmities, is no inconsiderable proof of the same; to which may be added the agreement between this and other portions of Scripture, as particularly Psa 45:1; and there seem to be many allusions and references to various passages of this book in the New Testament; see Mat 9:13, &c. Joh 3:8 Col 2:17; compared with Son 1:3 Son 5:1. In what time of Solomon's life this book was written is not agreed on: some of the Jewish writers say the book of Proverbs was written first, then the Song of Songs, and last of all Ecclesiastes; others, that the Song was written first, then Proverbs, and then Ecclesiastes ^f; though their chronologer ^g says they were all written in his old age, as indeed the last book seems to be; but the Song rather seems to have been written in the middle part of his life, when in the most flourishing circumstances as to body, mind, and estate. Dr. Lightfoot ^h is of opinion it might be written in the thirtieth year of his reign, about ten years before his death, after he had built his summer house in Lebanon, to which he supposes respect is had in Son 4:8; and upon his bringing Pharaoh's daughter to the house prepared for her, 1Ki 9:24; but be this at it may, it was not a celebration of the amours between Solomon and her, since the literal sense, in many places, would be monstrous and absurd; and besides it must be written twenty years at least after that, if the house of the forest of Lebanon is referred to in the above places; nor does it set forth their amours, and the marriage between them, as typical of the inexpressible love and marriage union between Christ and his church; though there is a resemblance between natural and spiritual marriage, and the love of persons in such a relation to one another, and to which there may be an allusion in some passages. Nor is this book historical and prophetic, expressing either the state of the people of Israel, from the times of Abraham to Solomon, and so to the Messiah; in which way go many Jewish interpreters, as the Targum, Jarchi, Aben Ezra, and others: nor is it to be considered as describing the state of the church: of God, whether legal, from the times of David and Solomon, and before, in and after the captivity, to the birth and death of Christ; or the Gospel church, in its beginning, progress, various changes, and consummation, as Brightman and Cotton nor as setting forth the several ages and periods of the Christian church, in agreement with the seven churches of Asia, as Cocceius, and those that follow him, Horchius, Hofman, and Heunischius; which latter, particularly, makes this distribution of them:

(1) The Ephesian church, Son 1:5; from the ascension of Christ to heaven, A. C. 33, to 370. (2) The Smyrnaean church, Son 2:1; from A. C. 371, to 707; (3) The church at Pergamos, Son 3:1; from A. C. 708, to 1045. (4) The Thyatirian church, Son 4:1, from A. C. 1046, to 1383. (5) The Sardian church, Son 5:2, from A. C. 1384, to 1721. (6) The church at Philadelphia, Son 6:9, from A. C. 1722, to 2059. (7) The Laodicean church, Son 8:1, from A. C. 2060, and onwards.

But these senses are very arbitrary, uncertain, and precarious, and limit the several parts of it to certain periods; whereas it is applicable to believers in all ages of time. The whole is figurative and allegorical; expressing, in a variety of lively metaphors, the love, union, and communion, between Christ and his church; setting forth the several different frames, cases, and circumstances of believers, in this life; so that they can be in no case and condition spiritual whatever, but there is something in this Song suitable to them; and which serves much to recommend it, and shows the excellency of it; and that it justly claims the title it bears, the Song of Songs, the most excellent. M. Bossuet ⁱ is of opinion, that whereas the nuptial feast with the Hebrews was kept seven days, this Song is to be distributed into seven parts, a part to be sung, one each day, during the celebration: The first day, Son 1:1. The second day, Son 2:7. The third day, Son 3:1. The fourth day, Son 5:2. The fifth day, Son 6:10. The sixth day, Son 7:12. The seventh day, Son 8:4. The thought is ingenious, but seems too fanciful, and without foundation.

Gill: The Song of Songs 1 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 1

In this chapter, after the general title of the book, Son 1:1, the church expresses her strong desires, and most ardent wishes, for some fresh discoveries of the love of Christ to her, and for communion with him; having tasted of his love, smelt a sweet savour in his grace, and enjoyed fellowship with him in his house, Son 1:2. She observes her blackness and uncomeliness in herself; the trials and afflictions she met with from others; and her carelessness and negligence of her own affairs, Son 1:5; and entreats her beloved to direct her where she might meet with him, feeding his flocks, and giving them rest, to which he returns a kind and gracious answer; gives her proper instructions where to find him, Son 1:7; and commends her beauty; sets forth her amiableness and loveliness, by various metaphors; and makes promises of more grace and good things to her, Son 1:9. And then she declares what a value she had for Christ, her beloved; and how precious he was unto her, like a bundle of myrrh, and a cluster of camphire, Son 1:12. Christ again praises her beauty; and particularly takes notice of her eyes, and her modest look, Son 1:15; and she returns the encomium back to him, and expresses her pleasure and satisfaction in the house he had built for her, and the furniture of it, Son 1:16.