Text -- The Song of Songs 2:14 (NET)

The Dove in the Clefts of En-Gedi

2:14 The Lover to His Beloved: O my dove, in the clefts of the rock, in the hiding places of the mountain crags, let me see your face, let me hear your voice; for your voice is sweet, and your face is lovely.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 2:14

So the church is called, for her dove - like temper, and for her dove - like condition, because she is weak, and exposed to persecution, and therefore forced to hide herself in rocks.

Wesley: Sos 2:14

In the holes of craggy and broken rocks, which resemble stairs.

Wesley: Sos 2:14

Be not afraid to appear before me.

Wesley: Sos 2:14

Thy prayers and praises.

Wesley: Sos 2:14

Thy person and services are amiable in my sight.

JFB: Sos 2:14

Here expressing endearment (Psa 74:19). Doves are noted for constant attachment; emblems, also, in their soft, plaintive note, of softened penitents (Isa 59:11; Eze 7:16); other points of likeness are their beauty; "their wings covered with silver and gold" (Psa 68:13), typifying the change in the converted; the dove-like spirit, breathed into the saint by the Holy Ghost, whose emblem is the dove; the messages of peace from God to sinful men, as Noah's dove, with the olive branch (Gen 8:11), intimated that the flood of wrath was past; timidity, fleeing with fear from sin and self to the cleft Rock of Ages (Isa 26:4, Margin; Hos 11:11); gregarious, flocking together to the kingdom of Jesus Christ (Isa 60:8); harmless simplicity (Mat 10:16).

JFB: Sos 2:14

The refuge of doves from storm and heat (Jer 48:28; see Jer 49:16). GESENIUS translates the Hebrew from a different root, "the refuges." But see, for "clefts," Exo 33:18-23. It is only when we are in Christ Jesus that our "voice is sweet (in prayer, Son 4:3, Son 4:11; Mat 10:20; Gal 4:6, because it is His voice in us; also in speaking of Him, Mal 3:16); and our countenance comely" (Exo 34:29; Psa 27:5; Psa 71:3; Isa 33:16; 2Co 3:18).

JFB: Sos 2:14

(Eze 38:20, Margin), a steep rock, broken into stairs or terraces. It is in "secret places" and rugged scenes that Jesus Christ woos the soul from the world to Himself (Mic 2:10; Mic 7:14). So Jacob amid the stones of Beth-el (Gen 28:11-19); Moses at Horeb (Exo. 3:1-22); so Elijah (1Ki 19:9-13); Jesus Christ with the three disciples on a "high mountain apart," at the transfiguration (Mat 17:1); John in Patmos (Rev 1:9). "Of the eight beatitudes, five have an afflicted condition for their subject. As long as the waters are on the earth, we dwell in the ark; but when the land is dry, the dove itself will be tempted to wander" [JEREMY TAYLOR]. Jesus Christ does not invite her to leave the rock, but in it (Himself), yet in holy freedom to lay aside the timorous spirit, look up boldly as accepted in Him, pray, praise, and confess Him (in contrast to her shrinking from being looked at, Son 1:6), (Eph 6:19; Heb 13:15; 1Jo 4:18); still, though trembling, the voice and countenance of the soul in Jesus Christ are pleasant to Him. The Church found no cleft in the Sinaitic legal rock, though good in itself, wherein to hide; but in Jesus Christ stricken by God for us, as the rock smitten by Moses (Num 20:11), there is a hiding-place (Isa 32:2). She praised His "voice" (Son 2:8, Son 2:10); it is thus that her voice also, though tremulous, is "sweet" to Him here.

Clarke: Sos 2:14

My dove - in the clefts of the rock - He compares his bride hiding herself in her secret chambers and closets to a dove in the clefts of the rock.

TSK: Sos 2:14

my dove : Son 5:2, Son 6:9; Psa 68:13, Psa 74:19; Isa 60:8; Eze 7:16; Mat 3:16, Mat 10:16

that art : Exo 3:6, Exo 4:11-13; Ezr 9:5, Ezr 9:6; Job 9:16; Isa 6:5; Dan 9:7; Luk 8:47, Luk 8:48

clefts : Exo 33:22, Exo 33:23; Isa 2:21; Jer 49:16; Oba 1:3

let me hear : Son 8:13; Psa 50:14, Psa 50:15; Pro 15:8; Heb 4:16, Heb 10:22

for sweet : Psa 22:3, Psa 50:23; Isa 51:3; Rev 4:8-10, Rev 5:8, Rev 7:9, Rev 7:10

thy countenance : Son 1:5, Son 1:8, Son 6:10; Psa 45:11, Psa 110:3; Eph 5:27; Col 1:22; 1Pe 3:4; Jud 1:24

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 2:8-17

The bride relates to the chorus a visit which the beloved had paid her some time previously in her native home. He on a fair spring morning solicits her company. The bride, immersed in rustic toils, refuses for the present, but confessing her love, bids him return at the cool of day. It is a spring-time of affection which is here described, still earlier than that of the former chapter, a day of pure first-love, in which, on either side, all royal state and circumstance is forgotten or concealed. Hence, perhaps, the annual recitation of the Song of Songs by the synagogue with each return of spring, at the Feast of Passover, and special interpretations of this passage by Hebrew doctors, as referring to the paschal call of Israel out of Egypt, and by Christian fathers, as foreshadowing the evangelic mysteries of Easter - Resurrection and Regeneration. The whole scene has also been thought to represent the communion of a newly-awakened soul with Christ, lie gradually revealing Himself to her, and bidding her come forth into fuller communion.

Son 2:8

Voice - Better, "sound."Not a voice, but the sound of approaching footsteps is meant (compare "noise,"Isa 13:4).

Son 2:9

Like a roe - Gazelle (compare Pro 5:19 note). The points of comparison here are beauty of form, grace, and speed of movement. In 2Sa 2:18; 1Ch 12:8, princes are compared to "gazelles."

Wall - The clay-built wall of the house or vineyard of the bride’ s family, different from the strong wall of a city or fortress Son 5:7; Son 8:9-10.

Looketh forth at the windows - The meaning evidently is, that he is looking in at, or through, the window from the outside. Compare Son 5:4 note.

Shewing himself - Or, peering. Some, taking the marginal rendering, imagine that the radiant face of the beloved is thus compared to some beautiful flower entangled in the lattice-work which protects the opening of the window, from where he gazes down upon the bride.

Son 2:10-13

Arise, my friend, my beautiful one, and come away - The stanza begins and ends with this refrain, in which the bride reports the invitation of the beloved that she should come forth with him into the open champaign, now a scene of verdure and beauty, and at a time of mirth and mutual affection. The season indicated by six signs Son 2:11-13 is that of spring after the cessation of the latter rain in the first or paschal month Joe 2:23, i. e., Nisan or Abib, corresponding to the latter part of March and early part of April. Cyril interpreted Son 2:11-12 of our Lord’ s Resurrection in the spring.

Son 2:12

The time of the singing ... - i. e., The song of pairing birds. This is better than the rendering of the ancient versions, "the pruning time is come."

Son 2:13

The vines ... - The vines in blossom give forth fragrance. The fragrance of the vine blossom ("semadar"), which precedes the appearance of "the tender grape,"is very sweet but transient.

Son 2:14

The secret places of the stairs - A hidden nook approached by a zig-zag path. The beloved urges the bride to come forth from her rock-girt home.

Son 2:15

The bride answers by singing what appears to be a fragment of a vine-dresser’ s ballad, insinuating the vineyard duties imposed on her by her brethren Son 1:6, which prevent her from joining him. The destructive propensities of foxes or jackals in general are referred to, no grapes existing at the season indicated. Allegorical interpretations make these foxes symbolize "false teachers"(compare Eze 13:4).

Son 2:16

Feedeth among the lilies - Pursues his occupation as a shepherd among congenial scenes and objects of gentleness and beauty.

Son 2:17

Until the day break - Or, rather, until the day breathe, i. e., until the fresh evening breeze spring up in what is called Gen 3:8 "the cool"or breathing time of the day.

And the shadows flee - i. e., Lengthen out, and finally lose their outlines with the sinking and departure of the sun (compare Jer 6:4). As the visit of the beloved is most naturally conceived of as taking place in the early morning, and the bride is evidently dismissing him until a later time of day, it seems almost certain that this interpretation is the correct one which makes that time to be evening after sunset. The phrase recurs in Son 4:6.

Mountains of Bether - If a definite locality, identical with Bithron, a hilly district on the east side of the Jordan valley 2Sa 2:29, not far from Mahanaim (Son 6:13 margin). If used in a symbolic sense, mountains of "separation,"dividing for a time the beloved from the bride. This interpretation seems to be the better, though the local reference need not be abandoned.

Poole: Sos 2:14

My dove so the church is called, partly for her dove-like temper and disposition, because she is chaste, and mild, and harmless, &c.; and partly for her dove-like condition, because she is weak, and exposed to persecution, and given to mourning, as doves are, Isa 38:14 59:11 Eze 7:16 , and subject to many fears, and therefore forced to hide herself in rocks, as it follows, in the clefts of the rock ; where she hid herself, either,

1. For fear of her enemies, whom to avoid she puts herself into the protection of the Almighty. Or,

2. Out of modesty, and a humble sense of her own deformities and, infirmities, which makes her endeavour to hide herself even from her Beloved, as ashamed to appear, in his presence, which is frequently the case of God’ s people, especially after falls into sin. And this sense seems to be favoured by the following words, in which Christ relieveth her against such discouraging thoughts.

In the secret places of the stairs in the holes of craggy and broken rocks, which resemble stairs. So the same thing is here repeated in other words.

Let me see thy countenance be not afraid nor ashamed to appear before me; come boldly into my presence, and acquaint thyself with me.

Thy voice thy prayers and praises.

Sweet is thy voice, and thy countenance is comely thy person and services are accepted by me, and are amiable in my sight.

Haydock: Sos 2:14

Rock. Wild pigeons retire thither. (Varro, iii. 7.) Greek: Koilen eiseptato petren. (Il. 20. Ser. xlviii. 28.) (Calmet) ---

Holy souls seek protection in the wounds of their Saviour. (St. Gregory; St. Bernard, ser. lxi.) ---

Wall. In the holy Scriptures, which defend the Church. She is brought to light for the edification of all. (Menochius)

Gill: Sos 2:14

O my dove,.... An epithet sometimes used by lovers ^q, and is a new title Christ gives to his church, to express his affection for her and interest in her; and to draw her out of her retirement, to go along with him. The dove is a creature innocent and harmless, beautiful, cleanly, and chaste; sociable and fruitful, weak and timorous, of a mournful voice, and swift in flying; all which is suitable to the church and people of God: they are harmless and inoffensive in their lives and conversations; they are beautiful through the righteousness of Christ on them, and the grace of the Spirit in them; they are clean through the word Christ has spoken, and having their hearts purified by faith; they are as chaste virgins espoused to Christ, and their love to him is single and unfeigned; they cleave to him, are fruitful in grace and good works; and the church being espoused to Christ brings forth many souls unto him in regeneration; saints carry on a social worship and delight in each other's company; they are weak and timorous, being persecuted and oppressed by the men of the world; and mourn for their own sins and others, and often for the loss of Christ's presence; and are swift in flying to him for safety and protection. Under this character the church is said to be

in the clefts of the rock, the usual place where the dove makes its nest, Jer 48:28; or retires to it for safety ^r. Adrichomius says ^s, there was a stone tower near Jerusalem, to the south of the mount of Olives, called "petra columbarum", "the rock of the doves", where often five thousand were kept at once, to which there may be an allusion here; or else it may have respect to the place where doves are forced to fly when pursued by the hawk, even into a hollow rock, as described by Homer ^t; and may be expressive of the state of the church under persecution, when obliged to flee into holes and corners, and caves of the earth; when the Lord is a hiding place to her, in his love, and grace, and power; and particularly Christ is the Rock of his people, so called for height, strength, and duration, and they are the inhabitants of this Rock; and who was typified by the rock in the wilderness, and particularly by that into the clefts of which Moses was put, when the glory of the Lord passed before him: moreover, the clefts of this rock may design the wounds of Christ, which are opened for the salvation of men; and where saints dwell by faith, and are secure from every enemy ^u. The Ethiopic version is, "in the shadow of the rock", to which Christ is compared, Isa 32:2; and so the Septuagint version, "in the covering of the rock", which is no other than the shade of it. Likewise the church is said to be

in the secret places of the stairs; Christ is the stairs or steps by which saints ascend up to God, have access to and communion with him; and the secret places may have respect to the justifying righteousness of Christ, and atonement by him, hidden to other men, but revealed to them; and whither in distress they betake themselves, and are sheltered from sin, law, hell, and death, and dwell in safety. Though as such places are dark and dusty, and whither the dove, or any other creature, may in danger betake itself, so upon the whole both this and the preceding clause may design the dark, uncomfortable, and solitary condition the church was in through fear of enemies; in which situation Christ addresses her, saying,

let me see thy countenance, or "face"; and encourages her to appear more publicly in, his house and courts for worship, and present herself before him, and look him full in the face, and with open face behold his glory, and not be shamefaced and fearful; not to be afraid of any thing, but come out of her lurking holes, and be seen abroad by himself and others, since the stormy weather was over, and everything was pleasant and agreeable;

let me hear thy voice; in prayer to him and praise of him, commending the glories and: excellencies of his person, and giving thanks to him for the blessings of his grace;

for sweet is thy voice; pleasant, harmonious, melodious, having a mixture of notes in it, as the word signifies; and so exceeds the voice of a natural dove, which is not very harmonious: Herodotus ^w makes mention of a dove that spoke with a human voice; and such a voice Christ's dove speaks with, and it is sweet; that is, pleasant and delightful to him, who loves to hear his people relate the gracious experiences of his goodness, and speak well of his truths and ordinances; prayer is sweet music to him, and praise pleases him better than all burnt offerings;

and thy countenance is comely; fair and beautiful, and therefore need not cover her face, or hang down her head, as if ashamed to be seen, since she was in the eye of Christ a perfection of beauty.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 2:14

¹ sn The dove was a common figure for romantic love in ancient Near Eastern love literature. This emphasis seems to be suggested by his use of the term “my dove.” Just as the young man heard the voice of the turtledove in 2:12, so now he wants to hear her voice. Doves were often associated with timidity in the ancient world. Being virtually defenseless, they would often take refuge in crevices and cliffs for safety (Jer 48:28). The emphasis on timidity and the need for security is undoubtedly the emphasis here because of the explicit description of this “dove” hiding in the “clefts of the rock” and in “the hiding places of the mountain crevice.” Fortresses were sometimes built in the clefts of the rocks on mountainsides because they were inaccessible and therefore, in a secure place of safety (Jer 49:16; Obad 3). Perhaps he realized it might be intimidating for her to join him and communicate with him freely. She would need to feel secure in his love to do this. It would be easy for her to hide from such emotionally exposing experiences.

Geneva Bible: Sos 2:14

O my dove, [that art] in the ^{( h )} clefts of the rock, in the secret [places] of the stairs, let me see thy countenance, let me hear thy voice; for sweet [is] thy voice, and thy countenance [is] comely.

^{( h )} You who are ashamed of your sins, come and show yourself to me.

Commentary -- Verse Range Notes

TSK Synopsis: Sos 2:1-17

1 The mutual love of Christ and his church.

8 The hope,

10 and calling of the church.

14 Christ's care of the church.

16 The profession of the church, her faith, and hope.

MHCC: Sos 2:14-17

The church is Christ's dove; she returns to him, as her Noah. Christ is the Rock, in whom alone she can think herself safe, and find herself easy, as a dove in the hole of a rock, when struck at by the birds of prey. Christ calls her to come boldly to the throne of grace, having a great High Priest there, to tell what her request is. Speak freely, fear not a slight or a repulse. The voice of prayer is sweet and acceptable to God; those who are sanctified have the best comeliness. The first risings of sinful thoughts and desires, the beginnings of trifling pursuits which waste the time, trifling visits, small departures from truth, whatever would admit some conformity to the world; all these, and many more, are little foxes which must be removed. This is a charge to believers to mortify their sinful appetites and passions, which are as little foxes, that destroy their graces and comforts, and crush good beginnings. Whatever we find a hinderance to us in that which is good, we must put away. He feedeth among the lilies; this shows Christ's gracious presence among believers. He is kind to all his people. It becomes them to believe this, when under desertion and absence, and so to ward off temptations. The shadows of the Jewish dispensation were dispelled by the dawning of the gospel day. And a day of comfort will come after a night of desertion. Come over the mountains of Bether, " the mountains that divide," looking forward to that day of light and love. Christ will come over every separating mountain to take us home to himself.

Matthew Henry: Sos 2:14-17

Here is, I. The encouraging invitation which Christ gives to the church, and every believing soul, to come into communion with him, Son 2:14.

1. His love is now his dove; David had called the church God's turtle-dove (Psa 84:1-12 :19), and so she is here called; a dove for beauty, her wings covered with silver (Psa 18:13), for innocence and inoffensiveness; a gracious spirit is a dove-like spirit, harmless, loving quietness and cleanliness, and faithful to Christ, as the turtle to her mate. The Spirit descended like a dove on Christ, and so he does on all Christians, making them of a meek and quiet spirit. She is Christ's dove, for he owns her and delights in her; she can find no rest but in him and his ark, and therefore to him, as her Noah, she returns.

2. This dove is in the clefts of the rock and in the secret places of the stairs. This speaks either, (1.) Her praise. Christ is the rock, to whom she flies for shelter and in whom alone she can think herself safe and find herself easy, as a dove in the hole of a rock, when struck at by the birds of prey, Jer 48:28. Moses was hid in a cleft of the rock, that he might behold something of God's glory, which otherwise he could not have borne the brightness of. She retires into the secret places of the stairs, where she may be alone, undisturbed, and may the better commune with her own heart. Good Christians will find time to be private. Christ often withdrew to a mountain himself alone, to pray. Or, (2.) her blame. She crept into the clefts of the rock, and the secret places, for fear and shame, any where to hide her head, being heartless and discouraged, and shunning even the sight of her beloved. Being conscious to herself of her own unfitness and unworthiness to come into his presence, and speak to him, she drew back, and was like a silly dove without heart, Hos 7:11.

3. Christ graciously calls her out of her retirements: Come, let me see thy countenance, let me hear thy voice. She was mourning like a dove (Isa 38:14), bemoaning herself like the doves of the valleys, where they are near the clefts of the impending rocks, mourning for her iniquities (Eze 7:16) and refusing to be comforted. But Christ calls her to lift up her face without spot, being purged from an evil conscience (Job 11:15; Job 22:26), to come boldly to the throne of grace, having a great high priest there (Heb 4:16), to tell what her petition is and what her request: Let me hear thy voice, hear what thou hast to say; what would you that I should do unto you? Speak freely, speak up, and fear not a slight or repulse.

4. For her encouragement, he tells her the good thoughts he had of her, whatever she thought of herself: Sweet is thy voice; thy praying voice, though thou canst but chatter like a crane or a swallow (Isa 38:14); it is music in God's ears. He has assured us that the prayer of the upright is his delight; he smelled a sweet savour from Noah's sacrifice, and the spiritual sacrifices are no less acceptable, 1Pe 2:5. This does not so much commend our services as God's gracious condescension in making the best of them, and the efficacy of the much incense which is offered with the prayers of saints, Rev 8:3. "That countenance of thine, which thou art ashamed of, is comely, though now mournful, much more will it be so when it becomes cheerful." Then the voice of prayer is sweet and acceptable to God when the countenance, the conversation in which we show ourselves before men, is holy, and so comely, and agreeable to our profession. Those that are sanctified have the best comeliness.

II. The charge which Christ gives to his servants to oppose and suppress that which is a terror to his church and drives her, like a poor frightened dove, into the clefts of the rock, and which is an obstruction and prejudice to the interests of his kingdom in this world and in the heart (Son 2:15): Take us the foxes (take them for us, for it is good service both to Christ and the church), the little foxes, that creep in insensibly; for, though they are little, they do great mischief, they spoil the vines, which they must by no means be suffered to do at any time, especially now when our vines have tender grapes that must be preserved, or the vintage will fail. Believers are as vines, weak but useful plants; their fruits are as tender crops at first, which must have time to come to maturity. This charge to take the foxes is, 1. A charge to particular believers to mortify their own corruptions, their sinful appetites and passions, which are as foxes, little foxes, that destroy their graces and comforts, quash good motions, crush good beginnings, and prevent their coming to perfection. Seize the little foxes, the first risings of sin, the littles ones of Babylon (Psa 137:9), those sins that seem little, for they often prove very dangerous. Whatever we find a hindrance to us in that which is good we must put away. 2. A charge to all in their places to oppose and prevent the spreading of all such opinions and practices as tend to corrupt men's judgments, debauch their consciences, perplex their minds, and discourage their inclinations to virtue and piety. Persecutors are foxes (Luk 13:32); false prophets are foxes, Eze 13:4. Those that sow the tares of heresy or schism, and, like Diotrephes, trouble the peace of the church and obstruct the progress of the gospel, they are the foxes, the little foxes, which must not be knocked on the head ( Christ came not to destroy men's lives ), but taken, that they may be tamed, or else restrained from doing mischief.

III. The believing profession which the church makes of her relation to Christ, and the satisfaction she take sin her interest in him and communion with him, Son 2:16. He had called her to rise and come away with him, to let him see her face and hear her voice; now this is her answer to that call, in which, though at present in the dark and at a distance,

1. She comforts herself with the thoughts of the mutual interest and relation that were between her and her beloved: My beloved to me and I to him, so the original reads it very emphatically; the conciseness of the language speaks the largeness of her affection: "What he is to me and I to him may better be conceived than expressed."Note, (1.) It is the unspeakable privilege of true believers that Christ is theirs: My beloved is mine; this denotes not only propriety ("I have a title to him") but possession and tenure - "I receive from his fulness."Believers are partakers of Christ; they have not only an interest in him, but the enjoyment of him, are taken not only in the covenant, but into communion with him. All the benefits of his glorious undertaking, as Mediator, are made over to them. He is that to them which the world neither is nor can be, all that which they need and desire, and which will make a complete happiness for them. All he is is theirs, and all he has, all he has done, and all he is doing; all he has promised in the gospel, all he has prepared in heaven, all is yours. (2.) It is the undoubted character of all true believers that they are Christ's, and then, and then only, he is theirs. They have given their own selves to him (2Co 8:5); they receive his doctrine and obey his laws; they bear his image and espouse his interest; they belong to Christ. If we be his, his wholly, his only, his for ever, we may take the comfort of his being ours.

2. She comforts herself with the thoughts of the communications of his grace to his people: He feeds among the lilies. When she wants the tokens of his favour to her in particular, she rejoices in the assurance of his presence with all believers in general, who are lilies in his eyes. He feeds among them, that is, he takes as much pleasure in them and their assemblies as a man does in his table or in his garden, for he walks in the midst of the golden candlesticks; he delights to converse with them, and to do them good.

IV. The church's hope and expectation of Christ's coming, and her prayer grounded thereupon. 1. She doubts not but that the day will break and the shadows will flee away. The gospel-day will dawn, and the shadows of the ceremonial law will flee away. This was the comfort of the Old Testament church, that, after the long night of that dark dispensation, the day-spring from on high would at length visit them, to give light to those that sit in darkness. When the sun rises the shades of the night vanish, so do the shadows of the day when the substance comes. The day of comfort will come after a night of desertion. Or it may refer to the second coming of Christ, and the eternal happiness of the saints; the shadows of our present state will flee away, our darkness and doubts, our griefs and all our grievances, and a glorious day shall dawn, a morning when the upright shall have dominion, a day that shall have no night after it. 2. She begs the presence of her beloved, in the mean time, to support and comfort her: " Turn, my beloved, turn to me, come and visit me, come and relieve me, be with me always to the end of the age. In the day of my extremity, make haste to help me, make no long tarrying. Come over even the mountains of division, interposing time and days, with some gracious anticipations of that light and love."3. She begs that he would not only turn to her for the present, but hasten his coming to fetch her to himself. " Even so, come, Lord Jesus, come quickly. Though there be mountains in the way, thou canst, like a roe, or a young hart, step over them with ease. O show thyself to me, or take me up to thee. "

Keil-Delitzsch: Sos 2:14

Solomon further relates how he drew her to himself out of her retirement:

My dove in the clefts of the rock,

In the hiding-place of the cliff;

Let me see thy countenance,

Let me hear thy voice!

For thy voice is sweet and thy countenance comely.

"Dove"(for which Castellio, columbula , like vulticulum, voculam ) is a name of endearment which Shulamith shares with the church of God, Psa 74:19; cf. Psa 56:1; Hos 7:11. The wood-pigeon builds its nest in the clefts of the rocks and other steep rocky places, Jer 48:28.

(Note: Wetstein's Reisebericht , p. 182: "If the Syrian wood-pigeon does not find a pigeon-tower, περιστερεῶνα , it builds its nest in the hollows of rocky precipices, or in the walls of deep and wide fountains."See also his Nord-arabien , p. 58: "A number of scarcely accessible mountains in Arabia are called alkunnat , a rock-nest.")

That Shulamith is thus here named, shows that, far removed from intercourse with the world, her home was among the mountains. חגוי , from חגו , or also חגוּ , requires a verb הגה = (Arab.) khajja , findere . ( סל , as a Himyar. lexicographer defines it, is a cleft into the mountains after the nature of a defile; with צוּר , only the ideas of inaccessibility and remoteness are connected; with סלע , those of a secure hiding-place, and, indeed, a convenient, pleasant residence. מדרגה is the stairs; here the rocky stairs, as the two chalk-cliffs on the Rügen, which sink perpendicularly to the sea, are called "steplang7 Stubbenkammer ,"a corruption of the Slavonic Stupnhkamen , i.e. , the Stair-Rock. "Let me see,"said he, as he called upon her with enticing words, "thy countenance;"and adds this as a reason, "for thy countenance is lovely."The word מראיך , thus pointed, is sing.; the J od Otians is the third root letter of ראי , retained only for the sake of the eye. It is incorrect to conclude from ashrēch , in Ecc 10:17, that the ech may be also the plur. suff., which it can as little be as êhu in Pro 29:18; in both cases the sing. ěshěr has substituted itself for ashrē . But, inversely, mǎraīch cannot be sing.; for the sing. is simply marēch . Also mǎrāv , Job 41:1, is not sing.: the sing. is marēhu , Job 4:16; Son 5:15. On the other hand, the determination of such forms as מראינוּ , מראיהם , is difficult: these forms may be sing. as well as plur. In the passage before us, מראים is just such a non-numer. plur. as פנים . But while panīm is an extensive plur., as Böttcher calls it: the countenance, in its extension and the totality of its parts, - marīm , like marōth , vision, a stately term, Exo 40:2 ( vid ., Deitrich's Abhand . p. 19), is an amplificative plur.: the countenance, on the side of its fulness of beauty and its overpowering impression.

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 2:8-17

2. Increased longing 2:8-17

Whereas the setting so far had been Israel, it now shifts to the Shulammite's home that was evidently in Lebanon (cf. 4:8, 15).

2:8-9 The girl described her young lover coming for a visit in these verses. He was obviously eager to see her.

2:10-13 She related his invitation to take a walk in the countryside. His invitation, "Arise . . . come along," (vv. 10, 13) brackets a beautiful description of spring that was as much a feeling in Solomon's heart as a season of the year.

"Whenever any couple falls in love, it is spring for them because their lives are fresh; everything in life has a new perspective; what was black and white is now in color; what was dark is light."⁵⁴

2:14 The desire to be alone with one's lover is both natural and legitimate. Unfortunately it sometimes departs after marriage.

2:15 Probably the Shulammite began speaking here. She was evidently urging Solomon poetically to deal with some problems in their relationship rather than telling him to clear the literal foxes out of her family's vineyards. "Foxes" may refer to "the ravages of the aging process that can sap the beauty and vitality of persons (the vines' or vineyards)."⁵⁵ They may refer to the other women in Solomon's life and court.⁵⁶ Probably they refer generally to hostile forces that could spoil their love.⁵⁷ All couples encounter some potentially destructive situations in their relationships that need dealing with occasionally. Often the woman senses these first, as here, but the man should take the initiative in dispelling them.

2:16-17 Even though they faced problems, the Shulammite rejoiced in the security of her beloved's love and in the assurance that he would take care of his responsibilities to her (v. 16b).

Verse 17 probably looks forward to their wedding and to its physical consummation. "Bether" is a transliteration rather than a translation. Since no Bether mountains exist in this part of the Middle East, it seems preferable to translate the Hebrew word (bater) as "cleavage" or "separation." The mountains of cleavage then may be an allusion to the Shulammite's breasts.⁵⁸

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 2 (Chapter Introduction)

Overview

Son 2:1, The mutual love of Christ and his church; Son 2:8, The hope, Son 2:10, and calling of the church; Son 2:14, Christ’s care of the church; Son 2:16, The profession of the church, her faith, and hope.

Poole: The Song of Songs 2 (Chapter Introduction)

OF SOLOMON CHAPTER 2

The excellency of the majesty of Christ, Son 2:1 , and of his church, Son 2:2 . The benefits which the church receives from him, Son 2:3 . Christ’ s love to his church, Son 2:4 . The church sick of love; her prayer for help, Son 2:5 . His ears for her in this condition, Son 2:6 . The hope and calling of the church, Son 2:10-13 . Christ’ s care of the church, Son 2:14,15 . The profession of the church; her faith and hope, Son 2:16,17 .

These are the words either,

1. Of the spouse, continuing her discourse. Or rather,

2. Of the bridegroom, drawing forth the church’ s affections to him. He compares himself to the rose and lily, for fragrancy and beauty. Nor is it in the least degree indecent that Christ should thus commend himself, partly because his excellency is so transcendently great, that he is free from all suspicion of vanity and self-flattery; and partly because it is suitable to the style of such writings, and to the present design of recommending himself to the affection of his spouse. He mentions the rose of Sharon, which was a very fruitful place, as is evident from 1Ch 27:29 Isa 33:9 65:10 , and famous for roses, as may seem probable from Isa 35:1,2 . Or, as others translate it, the rose of the field , which may note that Christ is not only pleasant and beautiful, but free and communicative, offering himself to all that come to him. The

lily is a beautiful and glorious creature, Mat 6:29 , especially to one who beholds it through a magnifying glass. He saith,

the lily of the valleys because they grew and flourished best in such low and waterish grounds.

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 2 (Chapter Introduction)

(Son 2:1-7) The mutual love of Christ and his church.

(Son 2:8-13) The hope and calling of the church.

(Son 2:14-17) Christ's care of the church, Her faith and hope.

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 2 (Chapter Introduction)

In this chapter, I. Christ speaks both concerning himself and concerning his church (Son 2:1, Son 2:2). II. The church speaks 1. Remembering the pleasure and satisfaction she has in communion with Christ (Son 2:3, Son 2:4). 2. Entertaining herself with the present tokens of his favour and taking care that nothing happen to intercept them (Son 2:5-7). 3. Triumphing in his approaches towards her (Son 2:8, Son 2:9). 4. Repeating the gracious calls he had given her to go along with him a walking, invited by the pleasures of the returning spring (Son 2:10-13), out of her obscurity (Son 2:14), and the charge he had given to the servants to destroy that which would be hurtful to his vineyard (Son 2:15). 5. Rejoicing in her interest in him (Son 2:16). 6. Longing for his arrival (Son 2:17). Those whose hearts are filled with love to Christ, and hope of heaven, know best what these things mean.

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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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 2 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 2

Here begins a new colloquy between Christ and his church; in which they alternately set forth the excellencies of each other; and express their mutual affection for, and delight and pleasure they take in, each other's company. Christ seems to begin, in an account of himself and his own excellencies, and of the church in her present state, Son 2:1; then she, in her turn, praises him, and commends him above all others relates some choice proofs she had had of his love to her, and of communion with him in his house and ordinances, to such a degree as to overcome her, Son 2:3; and then either he or she gives a charge to the daughters of Jerusalem, not to disturb either the one or the other in their sweet repose, Son 2:7. Next the church relates how she heard the voice of Christ, and had a sight of him on the hills and mountains, at some distance; then more nearly, behind her wall, and through the lattices, Son 2:8; and expresses the very words in which he spake to her, and gave her a call to come away with him; making use of arguments from the season of the year, the signs of which are beautifully described, Son 2:10; and requests that she would come out of her solitude, that he might enjoy her company, whose countenance and voice are so delightful to him; and gives a charge to her and her friends, to seize on such as were harmful and prejudicial to their mutual property, Son 2:14. And she closes the chapter with expressing her faith of interest in Christ; and with a petition for his speedy approach to her, and continued presence with her, Son 2:16.