Text -- The Song of Songs 2:4-7 (NET)

The Banquet Hall for the Love-Sick

2:4 The Beloved about Her Lover: He brought me into the banquet hall, and he looked at me lovingly. 2:5 Sustain me with raisin cakes, refresh me with apples, for I am faint with love. The Double Refrain: Embracing and Adjuration 2:6 His left hand caresses my head, and his right hand stimulates me. 2:7 The Beloved to the Maidens: I adjure you, O maidens of Jerusalem, by the gazelles and by the young does of the open fields: Do not awaken or arouse love until it pleases!

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 2:4

The places in which believers receive the graces and blessings of Christ.

Wesley: Sos 2:4

By the lifting up whereof I was invited to come to him, and to list myself under him.

Wesley: Sos 2:4

The love of Christ crucified, which, like a banner, is displayed in the gospel.

Wesley: Sos 2:5

Or, support me, keep me from fainting.

Wesley: Sos 2:5

maids, the daughters of Jerusalem: or to the bridegroom himself.

Wesley: Sos 2:5

With wine, which is a good cordial.

Wesley: Sos 2:5

With odoriferous apples, the smell whereof was grateful to persons ready to faint. By this understand the application of the promises, and the quickening influences of the Spirit.

Wesley: Sos 2:6

No sooner did I cry out for help, but he was at hand to succour me.

Wesley: Sos 2:7

This is spoken by the bride.

Wesley: Sos 2:7

By the example of those creatures, which are pleasant and loving in their carriage towards one another.

Wesley: Sos 2:7

That you do not disturb nor offend him.

Wesley: Sos 2:7

Never, as this word, until, in such phrases, is commonly used. For neither can sin ever please him, nor can the church bear it that Christ should ever be offended.

JFB: Sos 2:4

Historically fulfilled in the joy of Simeon and Anna in the temple, over the infant Saviour (Luk 2:25-38), and that of Mary, too (compare Luk 1:53); typified (Exo 24:9-11). Spiritually, the bride or beloved is led (Son 2:4) first into the King's chambers, thence is drawn after Him in answer to her prayer; is next received on a grassy couch under a cedar kiosk; and at last in a "banqueting hall," such as, JOSEPHUS says, Solomon had in his palace, "wherein all the vessels were of gold" (Antiquities, 8:5,2). The transition is from holy retirement to public ordinances, church worship, and the Lord's Supper (Psa 36:8). The bride, as the queen of Sheba, is given "all her desire" (1Ki 10:13; Psa 63:5; Eph 3:8, Eph 3:16-21; Phi 4:19); type of the heavenly feast hereafter (Isa 25:6, Isa 25:9).

JFB: Sos 2:4

After having rescued us from the enemy, our victorious captain (Heb 2:10) seats us at the banquet under a banner inscribed with His name, "love" (1Jo 4:8). His love conquered us to Himself; this banner rallies round us the forces of Omnipotence, as our protection; it marks to what country we belong, heaven, the abode of love, and in what we most glory, the cross of Jesus Christ, through which we triumph (Rom 8:37; 1Co 15:57; Rev 3:21). Compare with "over me," "underneath are the everlasting arms" (Deu 33:27).

JFB: Sos 2:5

MAURER prefers translating, "dried raisin cakes"; from the Hebrew root "fire," namely, dried by heat. But the "house of wine" (Son 2:4, Margin) favors "flagons"; the "new wine" of the kingdom, the Spirit of Jesus Christ.

JFB: Sos 2:5

From the tree (Son 2:3), so sweet to her, the promises of God.

JFB: Sos 2:5

The highest degree of sensible enjoyment that can be attained here. It may be at an early or late stage of experience. Paul (2Co 12:7). In the last sickness of J. Welch, he was overheard saying, "Lord, hold thine hand, it is enough; thy servant is a clay vessel, and can hold no more" [FLEMING, Fulfilling of the Scriptures]. In most cases this intensity of joy is reserved for the heavenly banquet. Historically, Israel had it, when the Lord's glory filled the tabernacle, and afterwards the temple, so that the priests could not stand to minister: so in the Christian Church on Pentecost. The bride addresses Christ mainly, though in her rapture she uses the plural, "Stay (ye) me," speaking generally. So far from asking the withdrawal of the manifestations which had overpowered her, she asks for more: so "fainteth for" (Psa 84:2): also Peter, on the mount of transfiguration (Luk 9:33), "Let us make . . . not knowing what he said."

JFB: Sos 2:6

The "stay" she prayed for (Son 2:5) is granted (Deu 33:12, Deu 33:27; Psa 37:24; Isa 41:16). None can pluck from that embrace (Joh 10:28-30). His hand keeps us from falling (Mat 14:30-31); to it we may commit ourselves (Psa 31:5).

JFB: Sos 2:6

The left is the inferior hand, by which the Lord less signally manifests His love, than by the right; the secret hand of ordinary providence, as distinguished from that of manifested grace (the "right"). They really go together, though sometimes they seem divided; here both are felt at once. THEODORET takes the left hand, equivalent to judgment and wrath; the right, equivalent to honor and love. The hand of justice no longer is lifted to smite, but is under the head of the believer to support (Isa 42:21); the hand of Jesus Christ pierced by justice for our sin supports us. The charge not to disturb the beloved occurs thrice: but the sentiment here, "His left hand," &c., nowhere else fully; which accords with the intensity of joy (Son 2:5) found nowhere else; in Son 8:3, it is only conditional, "should embrace," not "doth."

JFB: Sos 2:7

Not an oath but a solemn charge, to act as cautiously as the hunter would with the wild roes, which are proverbially timorous; he must advance with breathless circumspection, if he is to take them; so he who would not lose Jesus Christ and His Spirit, which is easily grieved and withdrawn, must be tender of conscience and watchful (Eze 16:43; Eph 4:30; Eph 5:15; 1Th 5:19). In Margin, title of Psa 22:1, Jesus Christ is called the "Hind of the morning," hunted to death by the dogs (compare Son 2:8-9, where He is represented as bounding on the hills, Psa 18:33). Here He is resting, but with a repose easily broken (Zep 3:17). It is thought a gross rudeness in the East to awaken one sleeping, especially a person of rank.

JFB: Sos 2:7

In Hebrew, feminine for masculine, the abstract for concrete, Jesus Christ being the embodiment of love itself (Son 3:5; Son 8:7), where, as here, the context requires it to be applied to Him, not her. She too is "love" (Son 7:6), for His love calls forth her love. Presumption in the convert is as grieving to the Spirit as despair. The lovingness and pleasantness of the hind and roe (Pro 5:19) is included in this image of Jesus Christ.

Clarke: Sos 2:4

He brought me to the banqueting house - Literally, the house of wine. The ancients preserved their wine, not in barrels or dark cellars under ground, as we do, but in large pitchers, ranged against the wall in some upper apartment in the house, the place where they kept their most precious effects. We have a proof of this in Homer: -

Ως φαν· ὁ δ ’ ὑψοραφον θαλομον κατεβησατο πατρο

Ευρυν, ὁθι νητος χρυσος και χαλκος εκειτο

Εσθης τ ’ εν χηλοισιν, ἁλις τ ’ ευωδες ελαιον

Εν δε πιθοι οινοιο παλαιου ἡδυποτοι

Εστασαν, ακρητον θειον ποτον εντος εχοντες

Ἑξειης ποτε τοιχον αρηροτες· ειποτ ’ Οδυσσευ

Οικαδε νοστησειε, και αλγεα πολλα μογησας

Κληΐσται δ ’ επεσαν σανιδες πυκινως αραρυιαι

Δικλιδες· εν δε γυνη ταμιη νυκτας τε και ημα

Εσχ ’ , κ. τ. λ. . Od. lib. ii., ver. 337

Meantime the lofty rooms the prince surveys

Where lay the treasures of th’ Ithacian race

Here, ruddy brass and gold refulgent blazed

There, polished chests embroider’ d gestures graced

Here, pots of oil breathed forth a rich perfume

There, jars of wine in rows adorn’ d the dome

(Pure flavorous wine, by gods in bounty given

And worthy to exalt the feasts of heaven)

Untouch’ d they stood, till, his long labors o’ er

The great Ulysses reach’ d his native shore

A double strength of bars secured the gates

Fast by the door wise Euryclea waits, etc

Pope.

||&&$

Clarke: Sos 2:5

Stay me with flagons - I believe the original words mean some kind of cordials with which we are unacquainted. The versions in general understand some kind of ointment or perfumes by the first term. I suppose the good man was perfectly sincere who took this for his text, and, after having repeated, Stay me with flagons, comfort me with apples, for I am sick of love sat down, perfectly overwhelmed with his own feelings, and was not able to proceed! But while we admit such a person’ s sincerity, who can help questioning his judgment?

Clarke: Sos 2:7

I charge you - by the roes - This was probably some rustic mode of adjuration. The verses themselves require little comment. With this verse the first night of the first day is supposed to end.

Defender: Sos 2:4

The "banner" metaphor envisions a flag on a flagpole, depicting ownership and protection. The bride's "banner" is the love of her bridegroom, just as our eternal security is in the undying love of Christ. Except for Son 2:2, it is the bride who is speaking throughout this chapter."

Defender: Sos 2:7

This charge is given three times to the "daughters of Jerusalem," urging them to premarital chastity (Son 3:5; Son 8:4). The word "my" is not in the original, so the charge is really: "Stir not up, nor awake love, until he please (please can mean 'is proper').""

TSK: Sos 2:4

brought : Son 1:4, Son 5:1; Psa 63:2-5, Psa 84:10; Joh 14:21-23; Rev 3:20

banqueting house : Heb. house of wine, Son 1:1, Son 1:4; Est 7:7

his banner : Son 6:4; Job 1:10; Psa 60:4; Isa 11:10; Joh 15:9-15; Rom 5:8-10, Rom 8:28-39

TSK: Sos 2:5

Stay : Psa 4:6, Psa 4:7, Psa 42:1, Psa 42:2, Psa 63:1-3, Psa 63:8; Isa 26:8, Isa 26:9; Luk 24:32; Phi 1:23

flagons : 2Sa 6:19; Hos 3:1

comfort me : Heb. straw me

for : Son 5:8; 2Sa 13:1, 2Sa 13:2; Psa 119:130, Psa 119:131

TSK: Sos 2:6

Son 8:3-5; Isa 54:5-10, Isa 62:4, Isa 62:5; Jer 32:41; Zep 3:17; Joh 3:29; Eph 5:25-29

TSK: Sos 2:7

charge you : Heb. adjure you, Mat 26:63

O ye : Son 1:5, Son 5:8, Son 5:16

by the roes : Son 3:5; Pro 5:19

ye stir : Son 8:4; Eph 5:22-33

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 2:3-7

The bride’ s answer: "As the ‘ tappuach’ with its fragrant fruit excels the barren trees of the wild wood, so my beloved his associates and friends etc." תפוח tappûach may in early Hebrew have been a generic name for apple, quince, citron, orange etc.

Son 2:4

His banner - As the standard is the rallying-point and guide of the individual soldier, so the bride, transplanted from a lowly station to new scenes of unaccustomed splendor, finds support and safety in the known attachment of her beloved. His "love"is her "banner."The thought is similar to that expressed in the name "Jehovah-nissi"(see the Exo 17:15 note).

Son 2:5

Flagons - More probably cakes of raisins or dried grapes (2Sa 6:19 note; 1Ch 16:3; Hos 3:1). For an instance of the reviving power of dried fruit, see 1Sa 30:12.

Son 2:6

Render as a wish or prayer: "O that his left hand were under my head, and that his right hand did embrace me!"Let him draw me to him with entire affection. Compare Deu 33:27; Pro 4:8.

Son 2:7

Render: "I adjure you ... by the gazelles, or by the hinds of the field, that ye stir not up nor awaken love until it please."The King James Version, "my love,"is misleading. The affection or passion in itself, not its object, is here meant. This adjuration, three times significantly introduced as a concluding formula (marginal references), expresses one of the main thoughts of the poem; namely, that genuine love is a shy and gentle affection which dreads intrusion and scrutiny; hence the allusion to the gazelles and hinds, shy and timid creatures.

The complementary thought is that of Son 8:6-7, where love is again described, and by the bride, as a fiery principle.

Poole: Sos 2:4

Banqueting-house Heb. house of wine , or, by a common synecdoche, of feasting. By which he understands the places in which, or the means and instruments by which, believers receive the graces and blessings of Christ, to wit, the Holy Scriptures, ministers, and public assemblies, and all Christ’ s institutions.

His banner over me or, to or towards me ; by the lifting up or displaying whereof I was invited and encouraged to come in to him, and to list myself under him, as soldiers are by the lifting up of a banner or ensign, of which see Isa 11:10 49:22 .

Was love the love of Christ crucified, which, like a banner, is displayed in the gospel, whereby sinners are drawn and engaged to come to Christ: see Joh 3:14 12:32 2Co 5:14 . The motto or device of Christ’ s banner was not like those of other great generals, a lion, or leopard, or eagle, but love, by which alone Christ made all his conquests.

Poole: Sos 2:5

Stay me or, support me ; keep me from sinking or fainting. The spouse speaks this to her bridemaids, the daughters of Jerusalem , as it is expressed, Son 2:7 , or to the servants or friends of the Bridegroom there waiting, and to the Bridegroom himself; as a person ready to faint cries to any or all that are near to him or her for help.

With flagons with wine, which is a good cordial, Psa 104:15 Pro 31:6,7 , and which was there present, Son 2:4 . Flagons are here, and 1Ch 16:3 , put for flagons of wine , as it is fully expressed, Hos 3:1 , or for the wine contained in them, as the cup is put for wine, Luk 22:20 , by a common metonymy.

Comfort me with apples with odoriferous apples, such as pomegranates, or the like, the smell whereof was grateful and useful to persons ready to faint. By these metaphors understand the application of the promises, and the comfortable and quickening influences of the Spirit.

I am sick of love either,

1. With transports of joy, which sometimes causes a fainting of the spirits, as Gen 45:26 1Ki 10:5 . Or,

2. With grief for his departure from her, of which we read Son 3:1,2 , or for fear of it. Or rather,

3. With ardent desire of a stricter union, and clearer discoveries of his love, and perfect and uninterrupted communion with him in glory. That sickness is sometimes the effect of love hath been oft observed by physicians.

Poole: Sos 2:6

Is under my head as a pillow for me to rest upon. No sooner did I cry out for help, but he was at hand to succour me, and did manifest his tender care and dear love to me.

Poole: Sos 2:7

This verse is spoken either,

1. By the Bridegroom, who having reposed the sick church in his arms, chargeth them not to disturb her till she please , as the last clause in this case must be rendered. Or rather,

2. By the bride, as may be gathered,

1. From the connexion, because both the foregoing and following words are hers.

2. Because it was more decent for the bride than for the Bridegroom to give this charge to the bridemaids,

the daughters of Jerusalem and therefore in all places in this book where they are mentioned the person speaking to them is the bride, and not the Bridegroom, and particularly Son 3:5 8:4 , where this verse is repeated, and is confessedly and evidently spoken by the spouse. Daughters of Jerusalem ; my bridemaids, friends, and members, over whom I have authority.

By the hinds either,

1. By the kindness you have to those pretty and amiable creatures, as

you would not injure nor disturb them, nor drive them away, but please yourselves with the sight of them, as shepherds and country damsels commonly do. Or,

2. By the example of those creatures, which are pleasant and loving in

their carriage towards one another. Of the field ; which have their usual abode in the fields. That ye stir not up, nor awake ; that you do not disturb nor offend him by your miscarriages, but permit him and me to enjoy a quiet repose. Do nothing to grieve him, or molest me. My love ; my dearly beloved, called love emphatically, to express her great passion for him. So love is used Son 7:6 , and in other authors. Till he please , i.e. never, as this word until , in such like phrases, is commonly used, as Gen 28:15 2Sa 6:23 Isa 22:14 . For neither can sin ever please him, nor can the church bear it that Christ should ever be offended, or that her sweet fellowship with him should be interrupted.

Haydock: Sos 2:4

Cellar. This was not under ground. Homer (Odyssey b. 237.) places the wine near the nuptial bed. (Calmet) ---

In me. Hebrew, "he brought me to the banquetting-house, and his banner over me was love." (Protestants) (Haydock) ---

He has shewn me the greatest tenderness. Only the religion of Christ lays before us our duties to God, to ourselves, and neighbours. (Calmet) (St. Thomas Aquinas, [Summa Theologiae] ii. 2. q. 26.) (Haydock) ---

The holy Spirit came on the assembled disciples, who were deemed to be drunk, and Christ nourishes the pious soul with the wine of his own blood. (Menochius)

Haydock: Sos 2:5

Flowers. Hebrew, "bottles." ---

Languish. Septuagint, "am wounded." (Haydock) ---

Those who enter upon the paths of virtue, are often deprived of consolations. (Calmet) ---

They must support themselves by reflecting on the words and sufferings of Christ. (St. Ambrose, psalm cxviii. ser. 5.) (Bossuet)

Haydock: Sos 2:6

Hand. After peace comes affliction: grace is followed by glory, Proverbs iii. 16. (Calmet)

Haydock: Sos 2:7

I. Christ permits not his Church to be persecuted, till she be able to bear it. (Worthington) ---

Roes. Septuagint, "armies and power;" the angels and apostles, who have spread the gospel through the world. It would seem that the Jewish women loved hunting, (Calmet) like those of Phœnicia and Lacedæmon. (Virgil, Æneid i.) They were going to sing, (Calmet) the morning epithalamium, (Theocrit. xviii.) after the first night of the marriage. The second meeting takes place, ver. 8, 17. (Haydock)

Gill: Sos 2:4

He brought me to the banqueting house,.... Or "into" it ^q. The "house of wine" ^r, as it is literally in the original; either the "wine cellar" ^s, as some, where stores of it were kept; or, the "place of fasting" ^t, as others, and, as we render it, a "banqueting house"; where it was distributed and drank; a banquet of wine being put for a feast, and here the nuptial feast; and may design the Gospel feast in the house of God, where there is plenty of the wine of Gospel truths, and provisions of rich food, with which believers are sweetly refreshed and delightfully regaled: and to be brought hither, under the drawings and influences of divine grace, is a special privilege, a distinguishing layout; and show a great condescension in Christ, the King of kings, and Lord of lords, to take his people by the hand, as it were, and introduce them into his house, so well furnished, and to a table so well spread: and so the church relates it as an instance of divine favour, and as a fresh token of Christ's love to her; which further appears by what follows: the covenant of grace and the Scriptures of truth may be thought of as a banqueting house, well stored with blessings, and promises, and rich provisions; which, to be led and let into, is a singular kindness;

and his banner over me was love; signifying, that she was brought into the banqueting house in a grand, stately, and majestic manner, with flying colours; the motto on which inscribed was "love"; the allusion may be to the names of generals being inscribed on the banners of their armies; so Vespasian's name was inscribed on the banners throughout his armies ^u. Christ's name, inscribed on his, was "love", his church's love; and by which his company or band was distinguished from all others, even by electing, redeeming, calling love. It may signify the security and protection of the saints, while in the house of God, and enjoying communion with him, being under the banner of love, with which they are encompassed as a shield; and it may denote the very manifest and visible displays of it, which the church now experienced.

Gill: Sos 2:5

Stay me with flagons,.... Of wine, which is a supporter of the animal spirits ^w. The church was now in a house of wine, where was plenty of it; even of the love of Christ, compared to wine, and preferred unto it, Son 1:2; the church though she had had large discoveries of it, desired more; and such that have once tasted of this love are eagerly desirous of it, and cannot be satisfied until they have their fill of it in heaven: the flagons, being vessels in which wine is put, and from thence poured out, may signify the word and ordinances, in which the love of Christ is displayed and manifested; the church desires she might be stayed and supported hereby, while she was attending on Christ in them;

comfort me with apples; with exceeding great and precious promises; which, when fitly spoken and applied, are "like apples of gold in pictures of silver", Pro 25:11; and are very comforting: or rather, with fresh and greater manifestations of his love still; for the apple is an emblem of love, as before observed; for one to send or throw an apple to another indicated love ^x. It may be rendered, "strew me with apples" ^y; in great quantities, about me, before me, and under me, and all around me, that I may lie down among them, and be sweetly refreshed and strengthened: the words, both in this and the former clause, are in the plural number; and so may be an address to the other two divine Persons, along with Christ, to grant further manifestations of love unto her, giving the following reason for it:

for I am sick of love; not as loathing it, but as wanting, and eagerly desirous of more of it; being, as the Septuagint version is, "wounded" ^z with it; love's dart stuck in her, and she was inflamed therewith: and "languished" ^a; as the Vulgate Latin version is; with earnest desires after it; nor could she be easy without it, as is the case of lovers.

Gill: Sos 2:6

His left hand is under my head, and his right hand doth embrace me. The church, having desired to be stayed, supported, strengthened, and comforted, presently found her beloved with her, who with both hands sustained her; which shows his tender love to her, care of her, and regard for her; and is expressive of the near and intimate communion she had with him, as the effect of union to him, often enjoyed in his house and ordinances; likewise of blessings of every kind she received from him; temporal, mercies, or left hand blessings, which are necessary to support and carry through this wilderness; and spiritual, or right hand blessings, as justification, pardon, adoption, &c. and, moreover, may denote the safety and security of the church, being encircled in the arms of her beloved, sustained by Christ's left hand, and embraced by his right hand, out of whose hands none can pluck. Some read the words prayer wise, "let his left hand be", &c. ^b; still desiring further tokens of his love to her, and more and nearer communion with him: others read it in the future, "his left hand will be", &c. ^c; "his right hand shall embrace", &c. expressing the strength of her faith that she should for the future enjoy his gracious presence; and that he would support her, that she should not sink and faint.

Gill: Sos 2:7

I charge you, O ye daughters of Jerusalem,.... Of whom, see Son 1:5. There is some difficulty in these words, whether they are spoken by the church, or by Christ: according to our version, they are the words of the church, and bids fair to be the sense; since they are spoken to the virgins, her companions, that waited on her; and the manner of speech is not by way of command, as by way of adjuration; and the matter, style, and language of it, Christ being the church's love; and the phrase, "till he please", best agrees with his sovereignty and authority, who is at liberty to stay with, and remove from, his people at pleasure; and the context and scope of the place seem to confirm it; the church, enjoying communion with Christ, chooses not that he should be disturbed, and by any means be caused to depart from her. Others think they are the words of Christ, and not without reason; since it was the church that was in Christ's arms, and fallen asleep in them; and the phrase, "my love", is used by Christ concerning his church, Son 7:6; and not this, but another, is used by her concerning him; and besides, both the word for "my love", and that which is rendered "he please", are feminine, and best agree with her, "that ye stir not up, the" or "this love, until she please"; so Michaelis ^d interprets and renders the word for "love by this lovely one"; the word is very emphatic, the love, the famous love, the well known love ^e: add to which, the following words seem to confirm this sense, "the voice of my beloved", which she had heard, adjuring the daughters of Jerusalem. This charge is made,

by the roes, and by the hinds of the field; not that either Christ or his church swore by them; but the words may be descriptive of the persons addressed by the creatures, among whom they were feeding their flocks, or whom they delighted to hunt ^f; or were loving and lovely creatures, as they: and the charge is, that they would continue among them, and mind their business, and give no disturbance to Christ or the church; or these creatures are called as witnesses to this charge, which, if not observed, would be brought against them: or the charge is made by all that is dear, these being pleasant and lovely creatures, that they would not interrupt the mutual communion of Christ and his church; or it may be a severe threatening, that, should they disregard the charge, they should become food as common as roes and hinds; and that they should be as cautious of stirring up and awaking the person meant as they would be of starting those timorous creatures. The charge is,

that ye stir not up, nor awake my love, till he please; or, "till she please"; if it is the charge of the church, it may lead to observe, that Christ is the object of the church's love; and that she is his resting place; that he may not be disturbed and raised up from it by an unfriendly behavior toward him, or by animosities among themselves; that saints should be very careful that they do not provoke Christ to depart from them; and that communion with him is entirely at his pleasure, when and how long it shall continue; it depends as much upon his sovereign will as the first acts of his grace towards them. But if this is the charge of Christ, not to disturb his church, then it may be observed, that the church is the object of Christ's love, and always continues so; that the church sleeps and takes her rest in Christ's arms; which is not to be understood of a criminal drowsiness and sleep, but of comfortable repose and rest, Christ gives his beloved ones, in communion with himself; that he loves and delights in the company of his people, and would not have them disturbed in their fellowship with him; and though, while grace is in exercise, saints are desirous of enjoying Christ's presence always; yet, when it is otherwise, they become indifferent to it, which provokes Christ to depart from them; and therefore it is said, "till she please": and as this charge is given to the "daughters of Jerusalem", young converts, or weak believers; it suggests, that they are apt to disturb both Christ and his church; to disturb Christ by their impatience and frowardness, like children; hence the church acts the part of a mother charging her children to be quiet, and not disturb her loving husband, while she enjoyed his company; and to disturb the church, through their weakness, not being able to bear the sublime doctrines of the Gospel, and through their ignorance of Gospel order.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 2:4

¹ tc The MT vocalizes consonantal הביאני as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular with 1st person common singular suffix, “He has brought me”). However, several medieval Hebrew mss vocalize the form as הֲבִיאֻנִי (havi’uni, Hiphil imperative 2nd person masculine singular with 1st person common singular suffix, “Bring me!”). This is also reflected in LXX (εἰσαγαγετε με, eisagagete me, “Bring me!”) and Syriac. This alternate vocalization tradition has several factors that make it a viable option: (1) It respects the consonantal text; (2) It is supported by the LXX and Syriac; (3) It provides a tighter parallelism with the two identical imperatival forms in 2:5a (both 2nd person masculine plural imperatives with 1st person common singular suffixes); (4) It provides thematic unity to the entire poetic unit of 2:4-5; and (5) It helps make better sense of an enigmatic unit. This approach is strengthened if the MT reading וְדִגְלוֹ (vÿdiglo, “and his banner”) is revocalized to the imperative וְדִגְלוּ (vÿdiglu, “and feed [me]”) (see translator’s note below). In this case, the parallelism throughout 2:4-5 would be very tight. It would feature four parallel imperatives of request, all revolving around the theme of love-sickness: “Bring me into the banquet hall, feed me with love; sustain me with raisin cakes, refresh me with apples, because I am faint with love.” The weakness with the revocalization to הֲבִיאֻנִי (“Bring me!”) is that it demands, due to the dictates of synonymous parallelism, the questionable revocalization of the MT’s וְדִגְלוֹ (“and his banner”) to the imperative וְדִגְלוּ (“and feed [me]”).

tn Alternately, “Bring me!”

² tn Heb “house of wine.” The expression בֵּית הַיָּיִן (bet hayyayin, lit. “house of wine” or “place of wine”) refers to a banquet house where wine is drunk or a vineyard where grapes to produce wine are grown (HALOT 409 s.v. יַיִן). G. L. Carr favors the vineyard view due to the agricultural metaphors in 2:1-5. However, most commentators favor the banquet house view because of the reference to “raisin-cakes” and “apples” (2:4) which were served at banquets in the ancient Near East. Moreover, the expression בֵּית הַיָּיִן in in Song 2:4 may be equivalent to בֵּית מִשְׁתֵּה הַיַּיִן (bet mishte hayyayin, “house of the drinking of wine”) in Esther 7:8 (HALOT 409 s.v. יַיִן). Second, raisin cakes are mentioned in this context in 2:5, and they were often eaten to celebrate festive occasions (2 Sam 6:19; Isa 16:7; Hos 3:1); therefore, the banquet motif finds support. Selected Bibliography: E. Würthwein, “Zum Verständnis des Hohenliedes,” TRu 32 (1967): 205; G. L. Carr, Song of Solomon [TOTC], 90-91.

³ tc The MT vocalizes דגלו as the noun דְּגֶל (dÿgel) with 3rd person masculine singular suffix דִּגְלוֹ (diglo, “his banner [over me is love]”). However, several medieval Hebrew mss vocalize דגלו as Qal mp imperative וְדִגְלוּ (vÿdihlu, “Set [love before me].”) This is also reflected in LXX τάξατε ἐπ’ ἐμὲ ἀγάπην (taxate ep eme agaphn, “Set love before me!”).

tn The meaning of the term דִּגְלוֹ (diglo) is debated. Five basic views have emerged: (1) “his banner over me was love.” BDB relates דִּגְלוֹ to the noun דְּגֶל (dÿgel, “standard, banner”; BDB 186 s.v. דֶּגֶל) which refers to (a) banners, standards (Num 1:52; 2:2) and (b) battalion, company of troops, or division of a tribe signaled by a banner or standard (Num 2:3, 10, 17-18, 25, 31, 34; 10:14, 18, 22, 25). Thus, most translations render דִּגְלוֹ as “his banner” (KJV, NASB, NIV, NJPS). However, the expression “His banner over me was love” is enigmatic. (2) “serve love to me!” Delitzsch revocalized the noun וְדִגְלוֹ (“his banner”) as an imperative וְדִגְלוּ (vÿdiglu, “serve [me]”) from the root דָּגַל (dagal, “to serve food”) which is related to Akkadian dagalu II (“to serve food”). Delitzsch renders the passage: “Bring me into the banquet hall and serve me love…for I am faint with love.” This is supported by LXX which reads: εἰσαγάγετέ με εἰς οἶκον τοῦ οἲνου, τάξατε ἐπ’ ἐμὲ ἀγάπην (eisagagete me eis oikon tou oinou, taxate ep’ eme agaphn, “Bring me into the wine house, and set love before me”). However, R. Gordis points out the difficulties with Delitzsch’s proposal: (a) The meaning “serve” for דָּגַל is unparalleled in Hebrew thus, it would create a homonymic hapax legomenon; (b) We would expect the preposition לִי (li, “to me”) rather than עָלַי (’ala, “over me”) after the imperative; and (c) The Akkadian parallel is uncertain. (3) “its banner above me is love.” HALOT relates דִּגְלוֹ to the Akkadian noun diglu (“eyesight, view, look, gaze”) and proposes the nuance “sign of an inn,” such as a flag placed over taverns (HALOT 213 s.v. דֶּגֶל). This approach renders the line: “He has brought me to the banquet hall, and its banner above me is love.” (4) “his look toward me was loving” = “he looked at me lovingly.” Several lexicons relate דִּגְלוֹ to the homonymic root דָּגַל, “look, glance” (e.g., DCH 2:415 s.v. II דָּגַל). The Hebrew noun degel II is related to the Akkadian noun diglu “eyesight, view, look, gaze” (CAD 3:21; AHw 1:14). Likewise, the Hebrew verb II דָּגַל (“to look, behold”; Song 5:10; 6:4, 10; Eccl 9:13; Ps 20:6) (BDB 186 s.v. דָּגַל; HALOT 213 s.v. I דגל; DCH 2:414 s.v. I) is related to the Akkadian verb dagalu I “to look upon, to gaze, to look with astonishment, to look at with admiration” (CAD 3:21; AHw 1:14). Those who adopt this approach render the line: “His glance upon me is love” (DCH 2:414) or “His look upon me was loving” (R. Gordis, “The Root dgl in the Song of Songs,” JBL 88 [1969]: 203-204; idem, Song of Songs and Lamentations, 81-82); or “He looked upon me with love.” (5) “his wish regarding me was lovemaking.” M. H. Pope (Song of Songs [AB], 376-77) notes that the Assyrian noun diglu may denote “wish,” i.e., desire or intent (CAD 3:136). He renders the line: “His wish regarding me was lovemaking” or “His intentions were to make love.” Pope’s suggestion has been adopted by several recent commentators (e.g., G. L. Carr, Song of Solomon [TOTC], 91).

⁴ tn The syntax of the noun אַהֲבָה (’ahavah, “love”) has been taken as: (1) predicate nominative: “His banner over me [was] love” or “His intention toward me [was] lovemaking” (M. H. Pope, Song of Songs [AB], 376-77; G. L. Carr, Song of Solomon [TOTC], 91); (2) genitive of attribute/content: “His banner of love [was] over me,” and (3) adverbial or adjectival accusative: “His look upon me was loving” or “He looked upon me lovingly” (R. Gordis, Song of Songs and Lamentations, 81-82). Examples of adverbial or adjectival accusatives, e.g., “I am peace” = “I am peaceful” (Ps 120:7); “I will love them as a free gift” = “I will love them freely” (Hos 14:5).

NET Notes: Sos 2:5

¹ tn The imperatives סַמְּכוּנִי (sammÿkhuni, “sustain me”) and רַפְּדוּנִי (rappÿduni, “revive me”) are both plural in address (Piel 2nd person masculine plural imperatives with 1st person common singular suffixes). Thus, some commentators suggest that the woman is speaking to a large audience, perhaps the banquet guests implied in 2:4 or the maidens mentioned in 2:7 (R. Gordis, Song of Songs and Lamentations, 82). However, the Hebrew plural can be used in reference to a single individual when functioning in an intensive sense (IBHS 122 §7.4.3a). Thus, the woman may be speaking to her beloved, as in the rest of 2:3-6, but with intense passion. Similarly, in Sumerian love literature the bride sometimes uses plural verbs in reference to herself or her bridegroom (S. N. Kramer, The Sacred Marriage Rite, 92, 99).

² sn The term אֲשִׁישׁוֹת (’ashishot, “raisin cakes,” from אֲשִׁישָׁה, ’ashishah) refers to an expensive delicacy made of dried compressed grapes (HALOT 95 s.v. אֲשִׁישָׁה; BDB 84 s.v. אֲשִׁישָׁה; Jastrow 128 s.v. אֲשִׁישָׁה). Raisin cakes were used as cultic offerings by many ancient Near Easterners, and were especially prominent in ancient Near Eastern fertility rites (e.g., Isa 16:7; Hos 3:1). In ancient Israel they were eaten during festive celebrations, being viewed as enhancing sexual fertility (2 Sam 6:19; 1 Chr 16:3). Scholars regard the “raisin cakes” as (1) literal food viewed as an aphrodisiac to “cure” her love-sickness; (2) a figurative expression (hypocatastasis) for sexual passion or lovemaking; or (3) double entendre referring to the literal food as an aphrodisiac and her desire for lovemaking.

³ tn Or “apricots.” The term תַּפּוּחִים (tappukhim, “apples,” from תַּפּוּחַ, tappukha) occurs four times in the book (Song 2:3, 5; 7:9; 8:5) and twice outside (Prov 25:4; Joel 1:12). It is usually defined as “apples” (BDB 656 s.v. תַּפּוּחַ); however, some argue for “apricots” (FFB 92-93). The Hebrew noun תַּפּוּחַ (“apple”) is derived from the Hebrew root נָפַח (nafakh, “scent, breath”) which is related to the Arabic root nafahu “fragrant scent” (HALOT 708 s.v. נפח). Hence, the term refers to a fruit with a fragrant scent. This may explain why the mere scent of this fruit was thought to have medicinal powers in the ancient Near East (G. E. Post, Flora of Syria, Palestine and Sinai, 128). This imagery draws upon two motifs associated with apples. First, apples were viewed as medicinal in ancient Syro-Palestinian customs; the sick were given apples to eat or smell in order to revive them. Similarly, the Mishnah and Talmud refer to apples as a medication like wine and grapes. Second, apples were considered an aphrodisiac in the ancient Near East. Both motifs are combined here because the Beloved is “love-sick” and only the embrace of her beloved can cure her, as 2:6 indicates (T. H. Ratzaby, “A Motif in Hebrew Love Poetry: In Praise of the Apple,” Ariel 40 [1976]: 14).

⁴ tn Heb “sick of love.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “sick of love”) is an example of the causative use of the genitive construct: “I am sick because of love,” that is, “I am love-sick.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “faint with love”) is a figure which compares physical or medical illness caused by a physically draining disease to sexual desire which is so intense that a person is so physically drained that they feel as if they could faint. The term חוֹל (khol, “sick”) refers to the physical weakness which consumes a person who is suffering from a medical illness (Gen 48:1; 1 Sam 19:14). It is used figuratively as a hyperbolic hypocatastasis for being so consumed with sexual desire that it saps one of his/her physical and emotional strength (BDB 317 s.v. 2). This is commonly referred to as “love-sickness.” It was associated with such deep longing for physical and sexual fulfillment that it weighed so heavily upon a person that he/she was physically and emotionally drained (2 Sam 13:2).

NET Notes: Sos 2:6

¹ tn Heb “His left hand is under my head.” Ultimately, the only cure for her love-sickness is the caress of her beloved. The ancient Near Eastern love songs frequently portray the embrace of the lover as the only cure for the speaker’s love-sickness. For example, one Egyptian love song reads: “She will make the doctors unnecessary, because she knows my sickness” (Papyrus Harris 4:11). Similarly, “My salvation is her coming in from outside; when I see her, I will be healthy. When she opens her eye, my body is young; when she speaks, I will be strong. When I embrace her, she exorcises evil from me” (Papyrus Chester Beatty, C5:1-2).

² tn Heb “embraces.” Alternately, “May his left hand be under my head, and [may] his right hand embrace me.” The verb חָבַק (khavaq) has a two-fold range of meanings in the Piel stem: (1) to embrace or hug someone (Gen 29:13; 33:4; 48:10; Job 24:8; Prov 4:8; Eccl 3:5; Lam 4:5) and (2) to fondle or sexually stimulate a lover (Prov 5:20; Song 2:6; 8:3) (HALOT 287 s.v. חבק; BDB 287 s.v. חָבַק). The verb designates an expression of love by the position or action of one’s hands (TWOT 1:259). The term is probably used here as a euphemism. The function of the prefixed verbal form of תְּחַבְּקֵנִי (tÿkhabbÿqeni, “embrace me”) may be classified several ways: (1) ingressive: “His right hand is beginning to stimulate me,” (2) instantaneous: “His right hand is stimulating me [right now],” (3) progressive: “His right hand stimulates me,” (4) jussive of desire: “May his right hand stimulate me!” (5) injunction: “Let his right hand stimulate me!” or (6) permission: “His right hand may stimulate me.” Based upon their view that the couple is not yet married, some scholars argue for an imperfect of desire (“May his right hand stimulate/embrace me!”). Other scholars suggest that the progressive imperfect is used (“His right hand stimulates me”). For a striking parallel, see S. N. Kramer, The Sacred Marriage Rite, 105.

NET Notes: Sos 2:7

¹ sn Frequently, when oaths were taken in the ancient world, witnesses were invoked in order to solemnize the vow and to act as jurists should the oath someday be broken. Cosmic forces such as the “heavens and earth” were often personified to act as witnesses to an oath (e.g., Deut 32:1; Isa 1:2; Mic 1:2; 6:1-2; Ps 50:2). In this case, the “witnesses” are the “gazelles and stags of the field” (2:7; 3:5). These animals were frequently used as symbols of romantic love in the OT (Prov 5:19). And in Egyptian and Mesopotamian love literature and Ugaritic poetry the gazelle was often associated with sexual fertility. For instance, in the following excerpt from a Mesopotamian incantation text the stag is referred to in the context of sexual potency in which a woman urges an ailing male: “With the love-[making of the mountain goat] six times, with the lovemaking of a stag seven times, with the lovemaking of a partridge twelve times, make love to me! Make love to me because I am young! And the lovemaking of a stag…Make love to me!” (R. D. Biggs, Ancient Mesopotamian Potency Incantations [TCS], 26, lines 4-8).

² tn Traditionally, “hinds.” A hind is a female deer, generally less than three years old.

³ tn Heb “of the field.” The Hebrew term refers to open fields or open country as the home of wild animals; if taken adjectivally this could modify the previous term: “wild young does” (cf. NRSV).

sn The “gazelles” and “does of the fields” are probably zoomorphisms for love personified. In other words, the witness of this oath is “love” itself. Should the daughters violate this vow which they are asked to make, “love” itself would hold them accountable. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3).

⁴ tn Alternately, “arouse…awaken….” The root עוּר (’ur) is repeated twice in 2:7 for rhetorical emphasis. The first is the Hiphil imperative (“do not awake/excite…”) and the second is the Polel imperative (“do not awake/start to move…”). The Hiphil depicts a causative action (causing love to initially awaken) and the Polel depicts an intensive action (repeated efforts to awaken love or to set love into motion). On the other hand, G. L. Carr (Song of Solomon [TOTC], 94) writes: “The meaning is not stir up, i.e., a repetition of the same act, but is rather first the act of awakening or summoning something, and then doing what is necessary to sustain the activity already begun, i.e., being so fully awakened that sleep becomes impossible (e.g., 5:2).” The terms ָתּעִירוּ (ta’iru, “arouse”; Hiphil imperative from עוּר) and תְּעוֹרְרוּ (tÿ’orÿru, “awaken”; Polel imperative from עוּר) are probably figurative expressions (hypocatastasis) rather than literal, because the object does not refer to a person (her lover) but to an emotional state (“love”). The Hebrew root עוּר has two basic meanings: (1) to wake up and (2) to excite (HALOT 802 s.v. II עוּר). These two nuances are paralleled in the related Semitic roots: Ugaritic `r and `rr “to be excited” (UT 19.1849; 19.1926; WUS 2092) and Akkadian eru “to awake” (AHw 1:247) (HALOT 802 s.v. II). The Hiphil stem has a four-fold range of meanings: (1) to wake up someone/something, (2) to excite, put into motion, start to work, (3) to summons, (4) to disturb (HALOT 802-803 s.v. II). When used literally, the Hiphil describes waking up a sleeper (Zech 4:1) or stirring up a fire (Hos 7:4). When used figuratively, it describes stirring up (Isa 50:4; Pss 57:9; 108:3) strength (Dan 11:25), anger/wrath (Ps 78:38), jealous/zeal (Isa 42:13), and love/sexual passion (Song 2:7; 3:5; 8:4). The Polel stem has a three-fold range of meanings: (1) to awake, start to move, (2) to agitate, disturb, (3) to set in motion (HALOT 802-803 s.v. II). The expression “arouse or awaken love” is figurative (hypocatastasis). It draws an implied comparison between the literal action of arousing a person from sleep and stirring him/her up to excited action, with the figurative picture of a lover sexually stirring up, arousing and exciting the sexual passions of his beloved.

sn What does the expression to “arouse or awaken love” mean? There are three major views: (1) to force a love relationship to develop prematurely rather than to allow it to develop naturally; (2) to interfere with the experience of passionate love; or (3) to stir up sexual passion, that is, to become sexually active. As noted above, אַהֲבָה (’ahavah, “love”) probably denotes “sexual passion” (DCH 1:141 s.v. I אַהֲבָה; HALOT 18 s.v. I אַהֲבָה) and עוּר (’ur, “awaken…arouse”) probably denotes “to stir up, excite” (HALOT 802-803 s.v. II עוּר). Likewise, the verb עוּר (“awake”) is used in Song 4:16 and Hosea 7:4 in reference to stirring up sexual passion to excitement.

⁵ tn The syntactical function of the article on הָאַהֲבָה (ha’ahavah, “love”) is debated. Most translations view this as an example of the article denoting an abstract concept. However, a few translations (KJV, AV, JB, NEB) view it as an abstract use of the article for the concrete (abstractum pro concreto), and render it as “my love” as referring either to the woman’s own feelings or the feelings of her lover. Throughout the Song, the term אַהֲבָה (’ahavah, “love”) is not used as a term for endearment in reference to one of the lovers; it typically refers to sexual passion (Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7). When used of the man/woman relationship, the term אַהֲבָה (“love”) may refer to emotional love (Eccl 9:1, 6; Prov 15:17; Ps 109:4-5) or sexual love/desire (Gen 29:20; 2 Sam 1:26; 13:4, 15; Prov 5:19-20; 7:18; Jer 2:33; Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7) (DCH 1:141 s.v. I אַהֲבָה; HALOT 18 s.v. I אַהֲבָה). The reference to sexual desire in 2:4-5 and חוֹלַת אַהֲבָה (kholat ’ahavah, “love-sickness”) in 2:5 suggests that the use of אַהֲבָה (“love”) in 2:7 is sexual desire. Love is personified in this picture.

⁶ tn Heb “If you arouse or if you awaken love before it pleases….” Paraphrase: “Promise that you will not arouse or awaken love until it pleases!” This line is a typical Hebrew negative oath formula in which the speaker urges his/her audience to take a vow to not do something that would have destructive consequences: (1) The expression הִשְׁבַּעְתִּי (hishba’ti, “I adjure you”) is used when a speaker urges his audience to take an oath. (2) The conditional clause אִם־תָּעִירוּ וְאִם־תְּעוֹרְרוּ אֶת־הָאַהֲבָה (’im-ta’iru vÿim-te’orÿru ’et-ha’ehavah, “If you arouse or awaken love…”) reflects the typical construction of a negative oath formula which consists of two parts: (1) protasis: the warning introduced by the conditional particle אִם (“if”) and (2) apodosis: the description of the disaster or penalty which would befall the person who broke the vow and violated the condition of the oath. (3) If the consequences of violating the oath were extremely severe, they would not even be spoken; the statement of the consequences would be omitted for emphasis – as is the case here, that is, the apodosis is omitted for rhetorical emphasis. As is typical in negative oath formulas, the sanction or curse on the violation of the condition is suppressed for rhetorical emphasis. The curse was so awful that one could not or dare not speak of them (M. H. Pope, IDB 3:575-77).

Geneva Bible: Sos 2:7

^{( c )} I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not, nor awake [my] love, till he please.

^{( c )} Christ charges them who have to do in the Church as it were by a solemn oath, that they trouble not the quietness of it.

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 2:1-7

Believers are beautiful, as clothed in the righteousness of Christ; and fragrant, as adorned with the graces of his Spirit; and they thrive under the refreshing beams of the Sun of righteousness. The lily is a very noble plant in the East; it grows to a considerable height, but has a weak stem. The church is weak in herself, yet is strong in Him that supports her. The wicked, the daughters of this world, who have no love to Christ, are as thorns, worthless and useless, noxious and hurtful. Corruptions are thorns in the flesh; but the lily now among thorns, shall be transplanted into that paradise where there is no brier or thorn. The world is a barren tree to the soul; but Christ is a fruitful one. And when poor souls are parched with convictions of sin, with the terrors of the law, or the troubles of this world, weary and heavy laden, they may find rest in Christ. It is not enough to pass by this shadow, but we must sit down under it. Believers have tasted that the Lord Jesus is gracious; his fruits are all the precious privileges of the new covenant, purchased by his blood, and communicated by his Spirit; promises are sweet to a believer, and precepts also. Pardons are sweet, and peace of conscience sweet. If our mouths are out of taste for the pleasures of sin, Divine consolations will be sweet to us. Christ brings the soul to seek and to find comforts through his ordinances, which are as a banqueting-house where his saints feast with him. The love of Christ, manifested by his death, and by his word, is the banner he displays, and believers resort to it. How much better is it with the soul when sick from love to Christ, than when surfeited with the love of this world! And though Christ seemed to have withdrawn, yet he was even then a very present help. All his saints are in his hand, which tenderly holds their aching heads. Finding Christ thus nigh to her, the soul is in great care that her communion with him is not interrupted. We easily grieve the Spirit by wrong tempers. Let those who have comfort, fear sinning it away.

Matthew Henry: Sos 2:3-7

Here, I. The spouse commends her beloved and prefers him before all others: As the apple-tree among the trees of the wood, which perhaps does not grow so high, nor spread so wide, as some other trees, yet is useful and serviceable to man, yielding pleasant and profitable fruit, while the other trees are of little use, no, not the cedars themselves, till they are cut down, so is my beloved among the sons, so far does he excel them all, - all the sons of God, the angels (that honour was put upon him which was never designed for them, Heb 1:4), - all the sons of men; he is fairer than them all, fairer than the choicest of them, Psa 45:2. Name what creature you will, and you will find Christ has the pre-eminence above them all. The world is a barren tree to a soul; Christ is a fruitful one.

II. She remembers the abundant comfort she has had in communion with him: She sat down by him with great delight, as shepherds sometimes repose themselves, sometimes converse with one another, under a tree. A double advantage she found in sitting down so near the Lord Jesus: - 1. A refreshing shade: I sat down under his shadow, to be sheltered by him from the scorching heat of the sun, to be cooled, and so to take some rest. Christ is to believers as the shadow of a great tree, nay, of a great rock in a weary land, Isa 32:2; Isa 25:4. When a poor soul is parched with convictions of sin and the terrors of the law, as David (Psa 32:4), when fatigued with the troubles of this world, as Elijah when he sat down under a juniper tree (1Ki 19:4), they find that in Christ, in his name, his graces, his comforts, and his undertaking for poor sinners, which revives them and keeps them from fainting; those that are weary and heavily laden may find rest in Christ. It is not enough to pass by this shadow, but we must sit down under it ( here will I dwell, for I have desired it ); and we shall find it not like Jonah's gourd, that soon withered, and left him in a heat, both inward and outward, but like the tree of life, the leaves whereof were not only for shelter, but for the healing of the nations. We must sit down under this shadow with delight, must put an entire confidence in the protection of it (as Jdg 9:15), and take an entire complacency in the refreshment of it. But that is not all: 2. Here is pleasing nourishing food. This tree drops its fruits to those that sit down under its shadow, and they are welcome to them, and will find them sweet unto their taste, whatever they are to others. Believers have tasted that the Lord Jesus is gracious (1Pe 2:3); his fruits are all the precious privileges of the new covenant, purchased by his blood and communicated by his Spirit. Promises are sweet to a believer, yea, and precepts too. I delight in the law of God after the inward man. Pardons are sweet, and peace of conscience is sweet, assurances of God's love, joys of the Holy Ghost, the hopes of eternal life, and the present earnests and foretastes of it are sweet, all sweet to those that have their spiritual senses exercised. If our mouths be put out of taste for the pleasure of sin, divine consolations will be sweet to our taste, sweeter than honey and the honeycomb.

III. She owns herself obliged to Jesus Christ for all the benefit and comfort she had in communion with him (Son 2:4): " I sat down under the apple-tree, glad to be there, but he admitted me, nay, he pressed me, to a more intimate communion with him: Come in, thou blessed of the Lord, why standest thou without? He brought me to the house of wine, the place where he entertains his special friends, from lower to higher measures and degrees of comfort, from the fruit of the apple tree to the more generous fruit of the vine." To him that values the divine joys he has more shall be given. One of the rabbin by the banqueting-house understands the tabernacle of the congregation, where the interpretation of the law was given; surely we may apply it to Christian assemblies, where the gospel is preached and gospel-ordinances are administered, particularly the Lord's supper, that banquet of wine, especially to the inside of those ordinances, communion with God in them. Observe, 1. How she was introduced: " He brought me, wrought in me an inclination to draw nigh to God, helped me over my discouragements, took me by the hand, guided and led me, and gave me an access with boldness to God as a Father, "Eph 2:18. We should never have come into the banqueting-house, never have been acquainted with spiritual pleasures, if Christ had not brought us, by opening for us a new and living way and opening in us a new and living fountain. 2. How she was entertained: His banner over me was love; he brought me in with a banner displayed over my head, not as one he triumphed over, but as one he triumphed in, and whom he always caused to triumph with him and in him, 2Co 2:14. The gospel is compared to a banner or ensign (Isa 11:12), and that which is represented in the banner, written in it in letters of gold, letters of blood, is love, love; and this is the entertainment in the banqueting-house. Christ is the captain of our salvation, and he enlists all his soldiers under the banner of love; in that they centre; to that they must continually have an eye, and be animated by it. The love of Christ must constrain them to fight manfully. When a city was taken the conqueror set up his standard in it. "He has conquered me with his love, overcome me with kindness, and that is the banner over me. "This she speaks of as what she had formerly had experience of, and she remembers it with delight. Eaten bread must not be forgotten, but remembered with thankfulness to that God who has fed us with manna in this wilderness.

IV. She professes her strong affection and most passionate love to Jesus Christ (Son 2:5): I am sick of love, overcome, overpowered, by it. David explains this when he says (Psa 119:20), My soul breaks for the longing that it has unto thy judgments, and (Psa 119:81), My soul faints for thy salvation, languishing with care to make it sure and fear of coming short of it. The spouse was now absent perhaps from her beloved, waiting for his return, and cannot bear the grief of distance and delay. Oh how much better it is with the soul when it is sick of love to Christ than when it is surfeited with the love of this world! She cries out for cordials: "Oh stay me with flagons, or ointments, or flowers, any thing that is reviving; comfort me with apples, with the fruits of that apple-tree, Christ (Son 2:3), with the merit and meditation of Christ and the sense of his love to my soul."Note, Those that are sick of love to Christ shall not want spiritual supports, while they are yet waiting for spiritual comforts.

V. She experiences the power and tenderness of divine grace, relieving her in her present faintings, Son 2:6. Though he seemed to have withdrawn, yet he was even then a very present help, 1. To sustain the love-sick soul, and to keep it from fainting away: " His left hand is under my head, to bear it up, nay, as a pillow to lay it easy."David experienced God's hand upholding him then when his soul was following hard after God (Psa 63:8), and Job in a state of desertion yet found that God put strength into him, Job 23:6. All his saints are in his hand, which tenderly holds their aching heads. 2. To encourage the love-sick soul to continue waiting till he returns: "For, in the mean time, his right hand embraces me, and thereby gives me an unquestionable assurance of his love."Believers owe all their strength and comfort to the supporting left hand and embracing right hand of the Lord Jesus.

VI. Finding her beloved thus nigh unto her she is in great care that her communion with him be not interrupted (Son 2:7): I charge you, O you daughters of Jerusalem. Jerusalem, the mother of us all, charges all her daughters, the church charges all her members, the believing soul charges all its powers and faculties, the spouse charges herself and all about her, not to stir up, or awake, her love until he please, now that he is asleep in her arms, as she was borne up in his, Son 2:6. She gives them this charge by the roes and the hinds of the field, that is, by every thing that is amiable in their eyes, and dear to them, as the loving hind and the pleasant roe. "My love is to me dearer than those can be to you, and will be disturbed, like them, with a very little noise."Note, 1. Those that experience the sweetness of communion with Christ, and the sensible manifestations of his love, cannot but desire the continuance of these blessed views, these blessed visits. Pester would make tabernacles upon the holy mount, Mat 17:4. 2. Yet Christ will, when he pleases, withdraw those extraordinary communications of himself, for he is a free-agent, and the Spirit, as the wind, blows where and when it listeth, and in his pleasure it becomes us to acquiesce. But, 3. Our care must be that we do nothing to provoke him to withdraw and to hide his face, that we carefully watch over our own hearts and suppress every thought that may grieve his good Spirit. Let those that have comfort be afraid of sinning it away.

Keil-Delitzsch: Sos 2:4

4 He has brought me into the wine-house,

And his banner over me is love.

After we have seen the ladies of the palace at the feast, in which wine is presented, and after Solomon, till now absent, has entered the banqueting-chamber (Arab. meglis ), by היּין בּית we are not to understand the vineyard, which would be called bēth hǎggephānim or bēth hā'ǎnāvim , as in Act 1:12, Pesh. the Mount of Olives, bēth zaite .

(Note: In Heb. יין does not denote the vine as a plant, as the Aethiop. wain , whence asada wain , wine-court = vineyard, which Ewald compares; Dillmann, however, ineptly cites "vine-arbour,"and South-Germ. "steplang7 kamerte "= vinea camerata ; in Heb. היין בּית is the house in which wine is drunk.)

He has introduced her to the place where he royally entertains his friends. Well knowing that she, the poor and sunburnt maiden, does not properly belong to such a place, and would rather escape away from it, he relieves her from her fear and bashfulness, for he covers her with his fear-inspiring, awful, and thus surely protecting, banner; and this banner, which he waves over her, and under which she is well concealed, is "love." דּגל (from דּגל , to cover) is the name of the covering of the shaft or standard, i.e. , pannus, the piece of cloth fastened to a shaft. Like a pennon, the love of the king hovers over her; and so powerful, so surpassing, is the delight of this love which pervades and transports her, that she cries out:

Keil-Delitzsch: Sos 2:5

5 Support me with grape-cakes,

Refresh me with apples:

For I am sick with love.

She makes use of the intensive form as one in a high degree in need of the reanimating of her almost sinking life: סמּך is the intens. of סמך , to prop up, support, or, as here, to under-prop, uphold; and ripeed, the intens. of רפד (R. רף ), to raise up from beneath ( vid ., at Pro 7:16), to furnish firm ground and support. The apple is the Greek attribute of Aphrodite, and is the symbol of love; but here it is only a means of refreshing; and if thoughts of love are connected with the apple-tree (Son 2:3; Son 8:5), that is explained from Shulamith's rural home. Böttcher understands quinces; Epstein, citrons; but these must needs have been more closely denoted, as at Pro 25:11, by some addition to the expression. אשׁישׁות (from אשׁשׁ , to establish, make firm) are (cf. Isa 16:7; Hos 3:1) grapes pressed together like cakes; different from צמּוּקים , dried grapes (cf. דּבלה ), fig-cakes (Arab. dabbûle , a mass pressed together), and πλακοῦς , placenta , from the pressed-out form. A cake is among the gifts (2Sa 6:19) which David distributed to the people on the occasion of the bringing up of the ark; date-cakes, e.g. , at the monastery at Sinai, are to the present day gifts for the refreshment of travellers. If Shulamith's cry was to be understood literally, one might, with Noack, doubt the correctness of the text; for "love-sickness, even in the age of passion and sentimentality, was not to be cured with roses and apples."But (1) sentimentality, i.e. , susceptibility, does not belong merely to the Romantic, but also to Antiquity, especially in the Orient, as e.g. , is shown by the symptoms of sympathy with which the prophets were affected when uttering their threatenings of judgment; let one read such outbreaks of sorrow as Isa 21:3, which, if one is disposed to scorn, may be derided as hysterical fits. Moreover, the Indian, Persian, and Arabic erotic ( vid ., e.g. , the Romance Siret 'Antar ) is as sentimental as the German has at any time been. (2) The subject of the passage here is not the curing of love-sickness, but bodily refreshment: the cry of Shulamith, that she may be made capable of bearing the deep agitation of her physical life, which is the consequence, not of her love-sickness, but of her love-happiness. (3) The cry is not addressed (although this is grammatically possible, since סמּכוּני is, according to rule, = סמּכנה אתי ) to the daughters of Jerusalem, who would in that case have been named, but to some other person; and this points to its being taken not in a literal sense. (4) It presupposes that one came to the help of Shulamith, sick and reduced to weakness, with grapes and apple-scent to revive her fainting spirit. The call of Shulamith thus means: hasten to me with that which will revive and refresh me, for I am sick with love. This love-sickness has also been experienced in the spiritual sphere. St. Ephrem was once so overcome by such a joy that he cried out: "Lord, withdraw Thine hand a little, for my heart is too weak to receive so great joy."And J. R. Hedinger († 1704) was on his deathbed overpowered with such a stream of heavenly delight that he cried: "Oh, how good is the Lord! Oh, how sweet is Thy love, my Jesus! Oh, what a sweetness! I am not worthy of it, my Lord! Let me alone; let me alone!"As the spiritual joy of love, so may also the spiritual longing of love consume the body (cf. Job 19:27; Psa 63:2; Psa 84:3); there have been men who have actually sunk under a longing desire after the Lord and eternity. It is the state of love-ecstasy in which Shulamith calls for refreshment, because she is afraid of sinking. The contrast between her, the poor and unworthy, and the king, who appears to her as an ideal of beauty and majesty, who raises her up to himself, was such as to threaten her life. Unlooked for, extraordinary fortune, has already killed many. Fear, producing lameness and even death, is a phenomenon common in the Orient.

(Note: "Ro‛b ( רעב , thus in Damascus), or ra‛b (thus in the Hauran and among the Beduins), is a state of the soul which with us is found only in a lower degree, but which among the Arabians is psychologically noteworthy. The wahm , i.e. , the idea of the greatness and irresistibility of a danger or a misfortune, overpowers the Arabian; all power of body and of soul suddenly so departs from him, that he falls down helpless and defenceless. Thus, on the 8th July 1860, in a few hours, about 6000 Christian men were put to death in Damascus, without one lifting his hand in defence, or uttering one word of supplication. That the ro‛b kills in Arabia, European and native physicians have assured me; and I myself can confirm the fact. Since it frequently produces a stiffening of the limbs, with chronic lameness, every kind of paralysis is called ro‛b , and every paralytic mar‛ûb . It is treated medically by applying the 'terror-cup' (tâset er -ro‛b ), covered over with sentences engraved on it, and hung round with twenty bells; and since, among the Arabians, the influence of the psychical on the physical is stronger and more immediate than with us, the sympathetic cure may have there sometimes positive results."- Wetstein .)

If Pharaoh's daughter, if the Queen of Sheba, finds herself in the presence of Solomon, the feeling of social equality prevents all alarm. But Shulamith is dazzled by the splendour, and disconcerted; and it happens to her in type as it happened to the seer of Patmos, who, in presence of the ascended Lord, fell at His feet as one dead, Rev 1:17. If beauty is combined with dignity, it has always, for gentle and not perverted natures, something that awakens veneration and tremor; but if the power of love be superadded, then it has, as a consequence, that combination of awe and inward delight, the psychological appearance of which Sappho, in the four strophes which begin with " Φαίνεταί μοι κῆνος ἴσος θεοῖσιν ἔμμεν ὡνήρ ,"has described in a manner so true to nature. We may thus, without carrying back modern sentimentality into antiquity, suppose that Shulamith sank down in a paroxysm caused by the rivalry between the words of love and of praise, and thus thanking him, - for Solomon supports and bears her up, - she exclaims:

Keil-Delitzsch: Sos 2:6

6 His left hand is under my head,

And his right hand doth embrace me.

With his left hand he supports her head that had fallen backwards, and with his right he embraces her [herzet ], as Luther rightly renders it (as he also renders the name Habakkuk by "steplang7 der Herzer "= the embracer); for חבּק signifies properly to enfold, to embrace; but then generally, to embrace lovingly, to fondle, of that gentle stroking with the hand elsewhere denoted by חלּה , mulcere . The situation here is like that at Gen 29:13; Gen 48:10; where, connected with the dat., it is meant of loving arms stretched out to embrace. If this sympathetic, gentle embracing exercises a soothing influence on her, overcome by the power of her emotions; so love mutually kindled now celebrates the first hour of delighted enjoyment, and the happy Shulamith calls to those who are witnesses of her joy:

Keil-Delitzsch: Sos 2:7

7 I adjure you, ye daughters of Jerusalem,

By the gazelles or the hinds of the field,

That ye arouse not and disturb not love

Till she pleases.

It is permitted to the Israelites to swear, נשׁבּע , only by God (Gen 21:23); but to adjure, השׁבּיע , by that which is not God, is also admissible, although this example before us is perhaps the only direct one in Scripture. צבי (= צבי , dialect. טבי ), fem. צביה (Aram. טביתא , Act 9:36), plur. tsebaim or tsebajim , fem. tsabaōth (according with the pl. of צבא ), softened from tsebajōth , is the name for the gazelle, from the elegance of its form and movements. אילות is the connecting form of איּלות , whose consonantal Yod in the Assyr. and Syr. is softened to the diphthong ailuv , ailaa ; the gen. "of the field,"as not distinguishing but describing, belongs to both of the animals, therefore also the first is without the article. או (after the etymon corresponding to the Lat. vel ) proceeds, leaving out of view the repetition of this so-called Slumber-Song (Son 3:5; cf. Son 8:4, as also Son 2:9), from the endeavour to give to the adjuration the greatest impression; the expression is varied, for the representations flit from image to image, and the one, wherever possible, is surpassed by the other ( vid ., at Pro 30:31).

Under this verse Hengst. remarks: "The bride would not adjure by the hinds, much more would she adjure by the stage."He supposes that Solomon is here the speaker; but a more worthless proof for this could not be thought of. On the contrary, the adjuration by the gazelles, etc., shows that the speaker here is one whose home is the field and wood; thus also not the poet (Hitz.) nor the queen-mother (Böttch.), neither of whom is ever introduced as speaking. The adjuration is that love should not be disturbed, and therefore it is by the animals that are most lovely and free, which roam through the fields. Zöckler, with whom in this one point Grätz agrees, finds here, after the example of Böttch. and Hitz., the earnest warning against wantonly exciting love in themselves (cf. Lat. irritamenta veneris, irritata voluptas ) till God Himself awakens it, and heart finds itself in sympathy with heart. But the circumstances in which Shulamith is placed ill accord with such a general moralizing. The adjuration is repeated, Son 3:5; Son 8:4, and wherever Shulamith finds herself near her beloved, as she is here in his arms. What lies nearer, then, than that she should guard against a disturbance of this love-ecstasy, which is like a slumber penetrated by delightful dreams? Instead of אתכם , תּעירוּ , and תּעוררוּ , should be more exactly the words אתכן , תּעררנה , and תּעוררנה ; but the gram. distinction of the genera is in Heb. not perfectly developed. We meet also with the very same synallage generis , without this adjuration formula, at Son 5:8; Son 7:1; Son 4:2; Son 6:8, etc.; it is also elsewhere frequent; but in the Song it perhaps belongs to the foil of the vulgar given to the highly poetic. Thus also in the vulgar Arab. the fem. forms jaḳtulna , taḳtulna , corresponding to תּקטלנה , are fallen out of use. With העיר , expergefacere , there is connected the idea of an interruption of sleep; with עורר , excitare , the idea, which goes further, of arousing out of sleep, placing in the full activity of awakened life.

(Note: The distinction between these words is well explained by Lewisohn in his Investigationes Linguae (Wilna, 1840), p. 21: "The מעיר את־הישׁן is satisfied that the sleeper wakes, and it is left to him fully to overcome the influence of sleep; the מעורר , however, arouses him at once from sleepiness, and awakes him to such a degree that he is secured against falling asleep again.")

The one adjuration is, that love should not be awakened out of its sweet dream; the other, that it should not be disturbed from its being absorbed in itself. The Pasek between מעירו and the word following has, as at Lev 10:6, the design of keeping the two Vavs distinct, that in reading they might not run together; it is the Pasek which, as Ben Asher says, serves "to secure to a letter its independence against the similar one standing next it." האהמה is not abstr. pro concreto , but love itself in its giving and receiving. Thus closes the second scene of the first act: Shulamith lies like one helpless in the arms of Solomon; but in him to expire is her life; to have lost herself in him, and in him to find herself again, is her happiness.

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 1:12--2:8

1. Mutual admiration 1:12-2:7

In this section the love of Solomon and his beloved continues to intensify.

Constable: Sos 1:12--2:7

Praise of one another 1:12-2:6

1:12-14 The Shulammite girl (6:3) described the effect that seeing Solomon had on her as he reclined at his banquet "table." She wore nard (spikenard, "perfume" NASB, NIV; cf. Mark 14:3; John 12:3), which was an ointment that came from a plant grown in northern and eastern India. He was as sweet to her as the fragrant myrrh sachet that hung around her neck. He was as attractive as henna at the refreshing Engedi oasis that lay on the west coast of the Dead Sea. Henna plants bore white blossoms, but their leaves produced a red-orange cosmetic dye.⁴⁵

1:15 Solomon returned her praise by commending her beauty and tranquil character. Doves were examples of tranquillity in eastern literature (cf. Gen. 2:18-25).

"According to Rabbinic teaching, a bride who has beautiful eyes possesses a beautiful character; they are an index to her character."⁴⁶

1:16-17 The girl probably spoke both of these verses. "Pleasant" refers to Solomon's charming personality. The references to "couch," "beams," "houses," and "rafters" probably go back to a place in the countryside where the lovers liked to meet and talk.⁴⁷ "Luxuriant" implies a grassy area, and the other terms seem to indicate that trees overarched it.

2:1 The Shulammite described herself as a rather common though attractive person. The "rose of Sharon" probably refers to the crocuses (possibly narcissuses, lilies, or meadow saffrons) that grew on the plain of Sharon that bordered the Mediterranean Sea south of the Carmel mountain range.⁴⁸ Lilies grew and still grow easily in the valleys of Israel. She did not depreciate her appearance here as she had earlier (1:5-6), though she was modest. Perhaps Solomon's praise (1:9-10) had made her feel more secure.

2:2 Solomon responded that in comparison with the other single women she was not common but a rare beauty.

"It is the essence of poetry that it employs symbolism to express nuances beyond the power of exact definition. This is particularly true of love poetry."⁴⁹

2:3-6 The girl responded that Solomon, too, was a rare find. He was as rare as an apple (or possibly quince or citron) tree in a forest of other trees: sweet, beautiful, and outstanding.

"Shade,' fruit,' apple tree' are all ancient erotic symbols, and erotic suggestions are what she has in mind (2:3-4). . . . Shade' speaks of closeness."⁵⁰

The metaphors that follow show that Solomon satisfied three needs of this woman: protection, intimate friendship, and public identification as her beloved. A woman's lover must meet these basic needs for the relationship to flourish.

The word "banner" in "his banner over me" may be from an Akkadian word that means "desire" or "intent." If so, the clause may mean "his intent toward me was lovemaking."⁵¹

"Lovesick" means faint from love. She needed strengthening (vv. 5-6; cf. 5:8). She felt exhausted from her love for her loved one.

"In the Song, as in much of the other ancient Near Eastern love poetry, the woman is the one who takes the initiative, and who is the more outspoken. Similarly, in the Mesopotamian Ritual Marriage materials, much is placed on the girl's lips. Our contemporary attitude, where the girl is on the defensive and the man is the initiator, is a direct contrast with the attitude in the ancient world."⁵²

Constable: Sos 2:7

The refrain 2:7

This charge by Solomon occurs again later (3:5; 8:4) and serves as an indicator that one pericope has ended. The point of Solomon's words is that others desiring the kind of relationship he and his beloved enjoyed should be patient and "let love take its natural course."⁵³ The gazelle is a member of the antelope family, and the hind is a female deer. Both animals are skittish, and anyone who wants to get close to them must wait patiently. One cannot approach them aggressively. Similarly a man cannot awaken a woman's love clumsily.

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.