Text -- The Song of Songs 2:6 (NET)

2:6 His left hand caresses my head, and his right hand stimulates me.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 2:6

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

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."

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

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 2:6

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.

Haydock: Sos 2:6

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

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.

Commentary -- Verse Notes / Footnotes

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.

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 2:6

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:

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

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

Baxter, J. Sidlow. Explore the Book. 6 vols. London: Marshall, Morgan, and Scott, 1965.

Bromiley, Geoffrey W. God and Marriage. Grand Rapids: Wm. B. Eerdmans Publishing Co., 1980.

Bullock, C. Hassell. An Introduction to the Poetic Books of the Old Testament. Chicago: Moody Press, 1979.

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

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

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

_____. The Song of Solomon. Tyndale Old Testament Commentaries series. Leicester, Eng., and Downers Grove, Ill.: InterVarsity Press, 1984.

Cohen, A. The Five Megilloth. London: Soncino Press, 1946.

Constable, Thomas L. "Analysis of Bible Books--Old Testament." Paper submitted for course 685 Analysis of Bible Books--Old Testament. Dallas Theological Seminary, January 1967.

Crenshaw, James. Old Testament Wisdom. Atlanta: John Knox Press, 1981.

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

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Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

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

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

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

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

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

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

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

Gill: The Song of Songs 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.