Text -- The Song of Songs 3:9 (NET)

3:9 King Solomon made a sedan chair for himself of wood imported from Lebanon.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 3:9

In which the royal bridegroom and bride might ride together in state. By this chariot he seems to understand the word of Christ dispensed by his ministers, whereby Christ rides triumphantly in the world, and believers are carried into heavenly glory.

Wesley: Sos 3:9

Of cedars, which wood being incorruptible, doth fitly signify the word of the gospel, which endureth forever, 1Pe 1:25.

JFB: Sos 3:9

More elaborately made than the "bed" or travelling litter (Son 3:7), from a Hebrew root, "to elaborate" [EWALD]. So the temple of "cedar of Lebanon," as compared with the temporary tabernacle of shittim wood (2Sa 7:2, 2Sa 7:6-7; 1Ki 5:14; 1Ki 6:15-18), Jesus Christ's body is the antitype, "made" by the Father for Him (1Co 1:30; Heb 10:5), the wood answering to His human nature, the gold, His divine; the two being but one Christ.

Clarke: Sos 3:9

Of the wood of Lebanon - Of the cedar that grew on that mount. It is very likely that a nuptial bed, not a chariot, is intended by the original word אפיון appiryon . Montanus properly translates it sponsarum thalamum , a nuptial bed. It may, however, mean a palanquin.

TSK: Sos 3:9

a chariot : or, a bed, Appiryon , rendered by Montanus, sponsarum ithalamum , ""a nuptial bed;""but probably it denotes a kind of palanquin, perhaps synonymous with the Arabic farfar , a species of vehicle for women. Son 3:7; 2Sa 23:5; Rev 14:6

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 3:6-11

The principal and central action of the Song; the bride’ s entry into the city of David, and her marriage there with the king. Jewish interpreters regard this part of the poem as symbolizing the "first"entrance of the Church of the Old Testament into the land of promise, and her spiritual espousals, and communion with the King of kings, through the erection of Solomon’ s Temple and the institution of its acceptable worship. Christian fathers, in a like spirit, make most things here refer to the espousals of the Church with Christ in the Passion and Resurrection, or the communion of Christian souls with Him in meditation thereon.

Son 3:6-11

Two or more citizens of Jerusalem, or the chorus of youths, companions of the bridegroom, describe the magnificent appearance of the bride borne in a royal litter, and then that of the king in festive joy wearing a nuptial crown.

Son 3:6

"wilderness"is here pasture-land in contrast with the cultivated districts and garden-enclosures round the city. Compare Jer 23:10; Joe 2:22; Isa 42:11; Psa 65:12.

Pillars of smoke - Here an image of delight and pleasure. Frankincense and other perfumes are burned in such abundance round the bridal equipage that the whole procession appears from the distance to be one of moving wreaths and columns of smoke.

All powders of the merchant - Every kind of spice forming an article of commerce.

Son 3:7

Bed - Probably the royal litter or palanquin in which the bride is borne, surrounded by his own body-guard consisting of sixty mighties of the mighty men of Israel.

Son 3:8

Because of fear in the night - i. e., Against night alarms. Compare Psa 91:5.

Son 3:9, Son 3:10

A stately bed hath king Solomon made for himself of woods (or trees) of the Lebanon. The word rendered "bed"occurs nowhere else in Scripture, and is of doubtful etymology and meaning. It may denote here

(1) the bride’ s car or litter; or

(2) a more magnificent vehicle provided for her reception on her entrance into the city, and in which perhaps the king goes forth to meet her.

It has been made under Solomon’ s own directions of the costliest woods (ceda and pine) of the Lebanon; it is furnished with "pillars of silver"supporting a "baldachin"or "canopy of gold"(not "bottom"as in the King James Version), and with "a seat (not ‘ covering’ ) of purple cushions,"while "its interior is paved with (mosaic work, or tapestry of) love from (not ‘ for’ ) the daughters of Jerusalem;"the meaning being that this part of the adornment is a gift of love, whereby the female chorus have testified their goodwill to the bride, and their desire to gratify the king.

Son 3:11

Daughters of Zion - So called here to distinguish them from the bride’ s companions, who are always addressed by her as "daughters of Jerusalem."

His mother - Bathsheba 1Ki 1:11. This is the last mention of her in sacred history.

Poole: Sos 3:9

A chariot in which the royal Bridegroom and bride might ride together in state, as the manner was in the nuptial solemnities of such persons. By this chariot he seems to understand the word of Christ dispensed by his ministers in the church, whereby both Christ is exalted and rides triumphantly in the world, conquering his enemies, and subduing the world to the obedience of the gospel, and all believers are carried with safety and comfort through this present evil world, into those blessed mansions of heavenly glory.

Of the wood of Lebanon i.e. of cedars, for which Lebanon was famous; which wood, being incorruptible, doth fitly signify the word of the gospel, which endureth forever , 1Pe 1:25 , and is called the everlasting gospel, Rev 14:6 , in opposition to the legal institutions, which were to continue only until the time of reformation, as we read Heb 9:10 .

Haydock: Sos 3:9

Litter. Septuagint, to conduct his spouse with solemnity; or a throne; though it most probably denotes the bridal bed. (Calmet) ---

Hebrew apiron. Greek phoreion.

Gill: Sos 3:9

King Solomon made himself a chariot of the wood of Lebanon. The word translated chariot is only used in this place; some render it a bride chamber ^u; others a nuptial bed ^w, such as is carried from place to place; it is used in the Misnah ^x for the nuptial, bed, or open chariot, in which the bride was carried from her father's house to her husband's. The Septuagint render it by φορειον, a word near in sound to that in the Hebrew text, and was the "lectica" of the ancients, somewhat like our "sedan"; some of which were adorned with gold and precious stones, and had silver feet ^y, or pillars, as follows: it seems upon the whole to be the nuptial chariot in which, according to Pausanias ^z, three only were carried, the bride, who sat in the middle, then the bridegroom, and then the friend of the bridegroom: something of this kind is the "palki" or "palanquin" of the Indians, in which the bride and bridegroom are carried on the day of marriage on four men's shoulders ^a: and by this "chariot" may be meant either the human nature of Christ, in which he descended and ascended to heaven; or his church, in which he shows himself to his people in his ordinances, where he rides in triumph, conquering and to conquer, by his Spirit and grace, in his word; or the covenant of grace, in which Christ shows the freeness and sovereignty of his love in being the Mediator, surety, and messenger of it; and in which his people are bore up and supported under and carried through many trials and exercises in this life, and are brought triumphantly to heaven; or rather the Gospel, and the ministration of it, in which Christ shows himself as in a chariot, in the glory of his person, offices, grace, and love; in this he is carried up and down in the world, Act 9:15; and by it is conveyed to the souls of men; and in it he triumphs over his enemies, and causes his ministers to triumph also: and he is the subject, sum, and substance of it, and the alone author of it; for he is the Solomon here spoken of that made it; it is not a device of men's, but a revelation of his, and therefore called "the Gospel of Christ"; and which he gives to men to preach, a commission to preach it, and qualifications for it: and this he does "for himself", to set forth the glories of his person and office, to display the riches of his grace, and to show himself to be the only way of salvation to host sinners: and this chariot being said to be "of the wood of Lebanon", cedar, which is both incorruptible and of a good smell; may denote the uncorruptness of the Gospel, as dispensed by faithful ministers, and the continuance and duration of it, notwithstanding the efforts of men and devils to the contrary; and the acceptableness of it to the saints, to whom is the savour of life unto life; and it being a nuptial chariot that seems designed, it agrees with the Gospel, in the ministry of which souls are brought to Christ, and espoused as a chaste virgin to him, 2Co 11:2.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 3:9

¹ tn The term אַפִּרְיוֹן (’affiryon) is a hapax legomenon variously rendered “sedan-chair” (HALOT 80 s.v. אַפִּרְיוֹן) and “sedan, litter, palanquin” (BDB 68 s.v. אַפִּרְיוֹן). It occurs in Mishnaic Hebrew אַפִּרְיוֹן and Judean Aramaic אַפִּרְיוֹנָא (’affiryona’, “bridal-litter”; Jastrow 108 s.v. אַפִּרְיוֹן) and Syriac pwrywn/purya (“litter”). The Mishnah used אַפִּרְיוֹן in reference to a bridal-litter: “In the last war it was decreed that a bride should not pass through the town in an אַפִּרְיוֹן but our Rabbis later sanctioned it” (Sotah 9:14). There are several views of the origin of the term: (1) LXX Greek φορεῖον (foreion, “bridal-litter”) is a loanword from Hebrew; the term is not used in Greek until the Koine period (LSJ 1950-51); (2) Sanskrit paryanka and palki “palanquin, sedan-chair” (M. Monier-Williams, Sanskrit-English Dictionary, 554); (3) Old Persian upariyana “litter-bed” (R. Gordis, “A Wedding Song for Solomon,” JBL 63 [1944]: 263-70; G. Widengren, Sakrales Königtum im Alten Testament und im Judentum, 122); (4) less likely is Ugaritic apn “two-wheeled cart” (UT 305); and (5) Egyptian pr “house” with the prefix ua and suffix yn meaning “palace” (G. Gerleman, “Die Bildsprache des Hohenliedes und die altegyptische Kunst,” ASTI 1 [1962]: 24-30). A palanquin was a riding vehicle upon which a royal person sat and which was carried by servants who lifted it up by its staffs. Royalty and members of the aristocracy only rode in palanquins. The Illustrated Family Encyclopedia of the Living Bible, 10:55, describes what the typical royal palanquin was made of and looked like in the ancient world: “Only the aristocracy appear to have made use of litters in Israel. At a later period, in Greece, and even more so in Rome, distinguished citizens were carried through the city streets in splendid palanquins. In Egypt the litter was known as early as the third millennium b.c., as is testified by the one belonging to Queen Hetepheres, the mother of the Pharaoh Khufu (Cheops), which was found at Gaza. This litter is made of wood and inlaid in various places with gold decorations. Its total length is 6 ft. 10 in., and the length of the seat inside is 3 ft. 3 in. An inscription on the litter, of gold set in ebony, lists the queen’s titles.”

² tn Heb “with trees of Lebanon.” In the genitive construct phrase מֵעֲצֵי הַלְּבָנוֹן (me’atse hallÿvanon, “the wood of Lebanon”) the genitive functions as a genitive of place of origin: “wood from Lebanon.” The plural construct noun עֲצֵי (’atse, literally, “trees, woods” from עֵץ, ’ets, “tree, wood”) is a plural of composition: the plural is used to indicate composition, that is, what the sedan-chair was made out of. The plural is used because the sedan-chair was constructed from the wood from several trees or it was constructed from several pieces of wood (see IBHS 119-20 §7.4.1b; R. J. Williams, Hebrew Syntax, 7, §9; Joüon 2:500 §136.b).

Commentary -- Verse Range Notes

TSK Synopsis: Sos 3:1-11

1 The church's fight and victory in temptation.

6 The church glories in Christ.

MHCC: Sos 3:6-11

A wilderness is an emblem of the world; the believer comes out of it when he is delivered from the love of its sinful pleasures and pursuits, and refuses to comply with its customs and fashions, to seek happiness in communion with the Saviour. A poor soul shall come up, at last, under the conduct of the Comforter; like a cloud of incense ascending from the altar, or the smoke of the burnt-offerings. This signifies pious and devout affections, and the mounting of the soul heaven-ward. The believer is filled with the graces of God's Spirit; his devotions now are very lively. These graces and comforts are from the heavenly Canaan. He, who is the Peace of his people, the King of the heavenly Zion, has provided for the safe conveyance of his redeemed through the wilderness of this world. The bed, or palanquin, was contrived for rest and easy conveyance, but its beauty and magnificence showed the quality of its owner. The church is well guarded; more are with her than are against her: believers, when they repose in Christ, and with him, though they have their fears in the night, are yet safe. The chariot here denotes the covenant of redemption, the way of our salvation. This is that work of Christ, which makes him loved and admired in the eyes of believers. It is framed and contrived, both for the glory of Christ, and for the comfort of believers; it is well ordered in all things and sure. The blood of the covenant, that rich purple, is the cover of this chariot, by which believers are sheltered from the wind and storms of Divine wrath, and the troubles of this world; but the midst of it is that love of Christ which passes knowledge, this is for believers to repose upon. Christ, in his gospel, manifests himself. Take special notice of his crown. Applying this to Christ, it speaks the honour put upon him, and his power and dominion.

Matthew Henry: Sos 3:7-11

The daughters of Jerusalem stood admiring the spouse and commending her, but she overlooks their praises, is not puffed up with them, but transfers all the glory to Christ, and directs them to look off from her to him, recommends him to their esteem, and sets herself to applaud him. Here he is three times called Solomon, and we have that name but three times besides in all this song, Son 1:5; Son 8:11, Son 8:12. It is Christ that is here meant, who is greater than Solomon, and of whom Solomon was an illustrious type for his wisdom and wealth, and especially his building the temple.

Three things she admires him for: -

I. The safety of his bed (Son 3:7): Behold his bed, even Solomon's, very rich and fine; for such the curtains of Solomon were. His bed, which is above Solomon's, so some read it. Christ's bed, though he had not where to lay his head, is better than Solomon's best bed. The church is his bed, for he has said of it. This is my rest for ever; here will I dwell. The hearts of believers are his bed, for he lies all night between their breasts, Eph 3:17. Heaven is his bed, the rest into which he entered when he had done his work. Or it may be meant of the sweet repose and satisfaction which gracious souls enjoy in communion with him; it is called his bed, because, though we are admitted to it, and therefore it is called our bed (Son 1:16), yet it is his peace that is our rest, Joh 14:27. I will give you rest, Mat 11:28. It is Solomon's bed, whose name signifies peace, because in his days Judah and Israel dwelt safely under their vines and fig-trees. That which she admires his bed for is the guard that surrounded it. Those that rest in Christ not only dwell at ease (many do so who yet are in the greatest danger) but they dwell in safety. Their holy serenity is under the protection of a holy security. This bed had threescore valiant men about it, as yeomen of the guard, or the band of gentlemen-pensioners; they are of the valiant of Israel, and a great many bold and brave men David's reign had produced. The life-guard men are well armed: They all hold swords, and know how to hold them; they are expert in war, well skilled in all the arts of it. They are posted about the bed at a convenient distance. They are in a posture of defence, every man with his sword upon his thigh and his hand upon his sword, ready to draw upon the first alarm, and this because of fear in the night, because of the danger feared; for the lives of princes, even the wisest and best, as they are more precious, so they are more exposed, and require to be more guarded than the lives of common persons. Or, because of the fear of it, and the apprehension which the spouse may have of danger, these guards are set for her satisfaction, that she may be quiet from the fear of evil, which believers themselves are subject to, especially in the night, when they are under a cloud as to their spiritual state, or in any outward trouble more than ordinary. Christ himself was under the special protection of his Father in his whole undertaking. In the shadow of his hand he hid me (Isa 49:2); he had legions of angels at his command. The church is well guarded; more are with her than against her. Lest any hurt this vineyard, God himself keeps it night and day (Isa 27:2, Isa 27:3); particular believers, when they repose themselves in Christ and with him, though it may be night-time with them, and they may have their fears in the night, and yet safe, as safe as Solomon himself in the midst of his guards; the angels have a charge concerning them, ministers are appointed to watch for their souls, and they ought to be valiant men, expert in the spiritual warfare, holding the sword of the Spirit, which is the word of God, and having that girt upon their thigh, always ready to them for the silencing of the fears of God's people in the night. All the attributes of God are engaged for the safety of believers; they are kept as in a strong-hold by his power (1Pe 1:5), are safe in his name (Pro 18:10), his peace protects those in whom it rules (Phi 4:7), and the effect of righteousness in them is quietness and assurance, Isa 32:17. Our danger is from the rulers of the darkness of this world, but we are safe in the armour of light.

II. The splendour of his chariot, Son 3:9, Son 3:10. As Christ and believers rest in safety under a sufficient guard, so when they appear publicly, as kings in their coaches of state, they appear in great magnificence. This chariot was of Solomon's own contriving and making, the materials very rich, silver, and gold, and cedar, and purple. He made it for himself, and yet made it for the daughters of Jerusalem, to oblige them. Some by this chariot, or coach, or chaise (the word is nowhere else used in scripture), understand the human nature of Christ, in which the divine nature rode as in an open chariot. It was a divine workmanship ( A body hast thou prepared me ); the structure was very fine, but that which was at the bottom of it was love, pure love to the children of men. Others make it to represent the everlasting gospel, in which, as in an open chariot, Christ shows himself, and as in a chariot of war rides forth triumphantly, conquering and to conquer. The pillars, the seven pillars (Pro 9:1), are of silver, for the words of the Lord are as silver tried (Psa 12:6), nay, they are better than thousands of gold and silver. It is hung with purple, a princely colour; all the adornings of it are dyed in the precious blood of Christ, and that gives them this colour. But that which completes the glory of it is love; it is paved with love, it is lined with love, not love of strangers, as Solomon's was in the days of his defection, but love of the daughters of Jerusalem, a holy love. Silver is better than cedar, gold than silver, but love is better than gold, better than all, and it is put last, for nothing can be better than that. The gospel is all love. Mr. Durham applies it to the covenant of redemption, the way of our salvation, as it is contrived in the eternal counsel of God, and manifested to us in the scriptures. This is that work of Christ himself wherein the glory of his grace and love to sinners most eminently appears, and which makes him amiable and admirable in the eyes of believers. In this covenant love is conveyed to them, and they are carried in it to the perfection of love, and, as it were, ride in triumph. It is admirably framed and contrived, both for the glory of Christ and for the comfort of believers. It is well ordered in all things, and sure (2Sa 23:5); it has pillars that cannot be shaken, it is made of the wood of Lebanon, which can never rot; the basis of it is gold, the most lasting metal; the blood of the covenant, that rich purple, is the cover of this chariot, by which believers are sheltered from the wind and storms of divine wrath, and the troubles of this world; but the midst of it, and that which is all in all in it, is love, that love of Christ which surpasses knowledge and the dimensions of which are immeasurable.

III. The lustre of his royal person, when he appears in his greatest pomp, Son 3:11. Here observe,

1. The call that is given to the daughters of Zion to acquaint themselves with the glories of king Solomon: Go forth, and behold him. The multitude of the spectators adds to the beauty of a splendid cavalcade. Christ, in his gospel, manifests himself. Let each of us add to the number of those that give honour to him, by giving themselves the satisfaction of looking upon him. Who should pay respects to Zion's king but Zion's daughters? They have reason to rejoice greatly when he comes, Zec 9:9. (1.) Behold him then. Look with pleasure upon Christ in his glory. Look upon him with an eye of faith, with a fixed eye. Here is a sight worth seeing; behold, and admire him, behold, and love him; look upon him, and know him again. (2.) Go forth and behold him; go off from the world, as those that see no beauty and excellency in it in comparison with what is to be seen in the Lord Jesus. Go out of yourselves, and let the light of his transcendent beauty put you out of conceit with yourselves. Go forth to the place where he is to be seen, to the street through which he passes, as Zaccheus.

2. The direction that is given them to take special notice of that which they would not see every day, and that was his crown, either the crown of gold, adorned with jewels, which he wore on his coronation-day (Solomon's mother, Bathsheba, though she did not procure that for him, yet, by her seasonable interposal, she helped to secure it to him when Adonijah was catching at it), or the garland or crown of flowers and green tied with ribbons which his mother made for him, to adorn the solemnity of his nuptials. Perhaps Solomon's coronation day was his marriage-day, the day of his espousals, when the garland his mother crowned him with was added to the crown his people crowned him with. Applying this to Christ, it speaks, (1.) The many honours put upon him, and the power and dominion he is entrusted with: Go forth, and see king Jesus, with the crown wherewith his Father crowned him, when he declared him his beloved Son, in whom he was well-pleased, when he set him as King upon his holy hill of Zion, when he advanced him to his own right hand, and invested him with a sovereign authority, both in heaven and in earth, and put all things under his feet. (2.) The dishonour put upon him by his persecutors. Some apply it to the crown of thorns with which his mother, the Jewish church, crowned him on the day of his death, which was the day of his espousals to his church, when he loved it, and gave himself for it (Eph 5:25); and it is observable that when he was brought forth wearing the crown of thorns Pilate said, and said it to the daughters of Zion, Behold the man. (3.) It seems especially to mean the honour done him by his church, as his mother, and by all true believers, in whose hearts he is formed, and of whom he has said, These are my mother, my sister, and brother, Mat 12:50. They give him the glory of his undertaking; to him is glory in the church, Eph 3:21. When believers accept of him as theirs, and join themselves to him in an everlasting covenant, [1.] It is his coronation-day in their souls. Before conversion they were crowning themselves, but then they begin to crown Christ, and continue to do so from that day forward. They appointed him their head; they bring every thought into obedience to him; they set up his throne in their hearts, and cast all their crowns at his feet. [2.] It is the day of his espousals, in which he betroths them to him for ever in lovingkindness and in mercies, joins them to himself in faith and love, and gives himself to them in the promises and all he has, to be theirs. Thou shalt not be for another, so will I also be for thee, Hos 3:3. And to him they are presented as chaste virgins. [3.] It is the day of the gladness of his heart; he is pleased with the honour that his people do him, pleased with the progress of his interest among them. Does Satan fall before them? In that hour Jesus rejoices in spirit, Luk 10:18, Luk 10:21. There is joy in heaven over repenting sinners; the family is glad when the prodigal son returns. Go forth and behold Christ's grace toward sinners, as his crown, his brightest glory.

Keil-Delitzsch: Sos 3:9-10

Another voice now describes the splendour of the bed of state which Solomon prepared in honour of Shulamith:

9 A bed of state hath King Solomon made for himself

Of the wood of Lebanon.

10 Its pillars hath he made of silver,

Its support of gold, its cushion of purple;

Its interior is adorned from love

By the daughters of Jerusalem.

The sound of the word, the connection and the description, led the Greek translators (the lxx, Venet., and perhaps also others) to render אפּריון , by φορεῖον , litter palanquin (Vulg. ferculum ). The appiryon here described has a silver pedestal and a purple cushion - as we read in Athenaeus v. 13 (II p. 317, ed. Schweigh.) that the philosopher and tyrant Athenion showed himself "on a silver-legged φορεῖον , with purple coverlet;"and the same author, v. 5 (II p. 253), also says, that on the occasion of a festal procession by Antiochus Epiphanes, behind 200 women who sprinkled ointments from golden urns came 80 women, sitting in pomp on golden-legged, and 500 on silver-legged, φορεῖα - this is the proper name for the costly women's-litter (Suidas: φορεῖον γυναικεῖον ), which, according to the number of bearers (Mart. VI 77: six Cappadocians and, ix. 2, eight Syrians), was called ἑξάφορον ( hexaphorum , Mart. II 81) or ὀκτώφορον ( octophorum , Cicero's Verr. v. 10). The Mishna, Sota ix. 14, uses appiryon in the sense of φορεῖον : "in the last war (that of Hadrian) it was decreed that a bride should not pass through the town in an appiryon on account of the danger, but our Rabbis sanctioned it later for modesty's sake;"as here, "to be carried in an appiryon ,"so in Greek, προιέναι ( καταστείχειν ) ἐν φορείω . In the Midrash also, Bamidbar rabba c. 12, and elsewhere, appiryon of this passage before us is taken in all sorts of allegorical significations in most of which the identity of the word with φορεῖον is supposed, which is also there written פּוּרון (after Aruch), cf. Isa 49:22, Targ., and is once interchanged with פאפליון , papilio ( parillon ), pleasure-tent. But a Greek word in the Song is in itself so improbable, that Ewald describes this derivation of the word as a frivolous jest; so much the more improbable, as φορεῖον as the name of a litter ( lectica ) occurs first in such authors (of the κοινή ) as Plutarch, Polybuis, Herodian, and the like, and therefore, with greater right, it may be supposed that it is originally a Semitic word, which the Greek language adopted at the time when the Oriental and Graeco-Roman customs began to be amalgamated. Hence, if mittā Son 3:7 , means a portable bed, - is evident from this, that it appears as the means of transport with an escort, - then appiryon cannot also mean a litter; the description, moreover, does not accord with a litter. We do not read of rings and carrying-poles, but, on the contrary, of pillars (as those of a tent-bed) instead, and, as might be expected, of feet. Schlottm., however, takes mittā and appiryon as different names for a portable bed; but the words, "an appiryon has King Solomon made,"etc., certainly indicate that he who thus speaks has not the appiryon before him, and also that this was something different from the mittā . While Schlottm. is inclined to take appiryon , in the sense of a litter, as a word borrowed from the Greek (but in the time of the first king?), Gesen. in his Thes . seeks to derive it, thus understood, from פּרה , cito ferri, currere ; but this signification of the verb is imaginary.

We expect here, in accordance with the progress of the scene, the name of the bridal couch; and on the supposition that appiryon , Sota 12 a , as in the Mishna, means the litter (Aruch) of the bride, Arab. maziffat , and not torus nuptialis (Buxt.), then there is a possibility that appiryon is a more dignified word for 'ěrěs , Son 1:17, yet sufficient thereby to show that פּוּריא is the usual Talm. name of the marriage-bed ( e.g. , Mezia 23 b , where it stand, per meton ., for concubitus ), which is wittily explained by שׁפרין ורבין עליה ( Kethuboth 10 b , and elsewhere). The Targ. has for it the form פּוּרין ( vid ., Levy). It thus designates a bed with a canopy (a tent-bed), Deu 32:50, Jerus; so that the ideas of the bed of state and the palanquin (cf. כילה , canopy, and כילת חתנים , bridal-bed, Succa 11 a ) touch one another. In general, פוריא ( פורין , as is also the case with appiryon , must have been originally a common designation of certain household furniture with a common characteristic; for the Syr. aprautha , plur. parjevatha (Wiseman's Horae , p. 255), or also parha (Castell.), signifies a cradle. It is then to be inquired, whether this word is referable to a root-word which gives a common characteristic with manifold applications. But the Heb. פּרה , from the R. pr, signifies to split,

(Note: Vid ., Friedr. Delitzsch's Indogerman.-semit. Studien , p. 72.)

to tear asunder, to break forth, to bring fruit, to be fruitful, and nothing further. Paaraa has nowhere the signification to run, as already remarked; only in the Palest.-Aram. פּרא is found in this meaning ( vid ., Buxt.). The Arab. farr does not signify to run, but to flee; properly (like our "steplang7 ausreissen "= be tear out, to break out), to break open by flight the rank in which one stands (as otherwise turned by horse-dealers: to open wide the horse's mouth). But, moreover, we do not thus reach the common characteristic which we are in search of; for if we may say of the litter that it runs, yet we cannot say that of a bed or a cradle, etc. The Arab. farfâr , species vehiculi muliebris , also does not help us; for the verb farfar , to vacillate, to shake, is its appropriate root-word.

(Note: The Turkish Kâmûs says of farfâr : "it is the name of a vehicle (merkeb ), like the camel-litter (haudej ), destined merely for women."This also derives its name from rocking to and fro. So farfâr , for farfara is to the present day the usual word for agiter, sécouer les ailes ; farfarah , for légèreté ; furfûr , for butterfly (cf. Ital. farfalla ); generally, the ideas of that which is light and of no value - e.g. , a babbler-connect themselves with the root far in several derivatives.)

With better results shall we compare the Arab. fary , which, in Kal and Hiph ., signifies to break open, to cut out ( couper, tailler une étoffe ), and also, figuratively, to bring forth something strange, something not yet existing (yafry alfaryya , according to the Arab. Lex . = yaty bal'ajab fy 'amalh , he accomplishes something wonderful); the primary meaning in Conj . viii. is evidently: yftarra kidban , to cut out lies, to meditate and to express that which is calumnious (a similar metaphor to khar'a , findere , viii. fingere , to cut out something in the imagination; French, inventer , imaginer ). With this fary , however, we do not immediately reach פּוּריא , אפּריון ; for fary , as well as fara (farw ), are used only of cutting to pieces, cutting out, sewing together of leather and other materials (cf. Arab. farwat , fur; farrā , furrier), but not of cutting and preparing wood.

But why should not the Semitic language have used פּרה , פּרא , also, in the sense of the verb בּרא , which signifies

(Note: Vid ., Friedr. Delitzsch's Indogerm.-sem. Stud . p. 50. We are now taught by the Assyr. that as בן goes back to בנה , so בר (Assyr. nibru ) to ברה = ברא , to bring forth.)

to cut and hew, in the sense of forming (cf. Pih . כּרא , sculpere , Eze 21:24), as in the Arab. bara and bary , according to Lane, mean, "be formed or fashioned by cutting (a writing-reed, stick, bow), shaped out, or pared,"- in other words: Why should פרה , used in the Arab. of the cutting of leather, not be used, in the Heb. and Aram., of the preparing of wood, and thus of the fashioning of a bed or carriage? As חשּׁבון signifies a machine, and that the work of an engineer, so פּריון signifies timber-work, carpenter-work, and, lengthened especially by Aleph prosthet ., a product of the carpenter's art, a bed of state. The Aleph prosth . would indeed favour the supposition that appiryon is a foreign word; for the Semitic language frequently forms words after this manner, - e.g. , אמגּוּשׁא , a magician; אסמּרא , a stater.

(Note: Vid ., Merx's Gramm. Syr . p. 115.)

But apart from such words as אגרטל , oddly sounding in accord with κάρταλλος as appiryon with φορεῖον , אבטּיח and אבעבּעה are examples of genuine Heb. words with such a prosthesis, i.e. , an Aleph , as in אכזב and the like. אפּדן , palace, Dan 11:45, is, for its closer amalgamation by means of Dag ., at least an analogous example; for thus it stands related to the Syr. opadna , as, e.g. , (Syr.), oparsons , net, Ewald, §163 c , to the Jewish-Aram. אפרסנא , or אפּרסנא ; cf. also אפּתם , "finally,"in relation to the Pehlv. אפדוּם (Spiegel's Literatur der Parsen , p. 356).

(Note: אּפוּריא , quoted by Gesen. in his Thes., Sanhedrin 109 b , is not applicable here, it is contracted from אד־פוריא (on the bed).)

We think we have thus proved that אפּריון is a Heb. word, which, coming from the verb פּרה , to cut right, to make, frame, signifies

(Note: This derivation explains how it comes that appiryon can mean, in the Karaite Heb., a bird-cage or aviary, vid ., Gottlober's ס בקרת , p. 208. We have left out of view the phrase אפריון נמטיי ליה , which, in common use, means: we present to him homage (of approbation or thanks). It occurs first, as uttered by the Sassanidean king, Shabur I, Mezia 119 a , extr. ; and already Rapoport, in his Erech Millîn , 1852, p. 183, has recognised this word appiryon as Pers. It is the Old Pers. âfrîna or âfrivana (from frî , to love), which signifies blessing or benediction ( vid ., Justi's Handb. d. Zendsprache , p. 51). Rashi is right in glossing it by חן שׁלנו (the testimony of our favour).)

a bed, and that, as Ewald also renders, a bed of state.

רפידה (from רפד , R. רף , to lift from beneath, sublevare , then sternere ) is the head of the head of the bed; lxx ἀνάκλιτον ; Jerome, reclinatorium , which, according to Isidore, is the Lat. vulgar name for the fulchra , the reclining (of the head and foot) of the bedstead. Schlottmann here involuntarily bears testimony that appiryon may at least be understood of a bed of state as well as of a litter of state; for he remarks: "The four sides of the bed were generally adorned with carved work, ivory, metal, or also, as in the case of most of the Oriental divans, with drapery.""Nec mihi tunc ," says Porpertius, ii. 10, 11, "fulcro lectus sternatur eburno ." Here the fulcrum is not of ivory, but of gold.

מרכּב (from רכב , to lie upon anything; Arab. II componere ; Aethiop. adipisci ) is that which one takes possession of, sitting or lying upon it, the cushion, e.g. , of a saddle (Lev 15:9); here, the divan ( vid ., Lane, Mod. Egypt , I 10) arranged on an elevated frame, serving both as a seat and as a couch. Red purple is called ארגּמן , probably from רגם = רקם , as material of variegated colour. By the interior תּוך of the bed, is probably meant a covering which lay above this cushion. רצף , to arrange together, to combine (whence רצפה , pavement; Arab. ruṣafat , a paved way), is here meant like στορέννυμι , στόρνυμι , στρώννυμι , whence στρῶμα . And רצוּף אה is not equivalent to רצוּף אה (after the construction 1Ki 22:10; Eze 9:2), inlaid with love, but is the adv. accus of the manner; "love"(cf. hhesed , Psa 141:5) denotes the motive: laid out or made up as a bed from love on the part of the daughters of Jerusalem, i.e. , the ladies of the palace - these from love to the king have procured a costly tapestry or tapestries, which they have spread over the purple cuchion. Thus rightly Vaihinger in his Comm ., and Merx, Archiv . Bd. II 111-114. Schlottmann finds this interpretation of מן "stiff and hard;"but although מן in the pass. is not used like the Greek ὑπό , yet it can be used like ἀπό (Ewald, sec. 295 b ); and if there be no actual example of this, yet we point to Ps 45 in illustration of the custom of presenting gifts to a newly-married pair. He himself understands אהבה personally, as do also Ewald, Heiligst., Böttcher; "the voice of the people,"says Ewald, "knows that the finest ornament with which the invisible interior of the couch is adorned, is a love from among the daughters of Jerusalem, - i.e. , some one of the court ladies who was raised, from the king's peculiar love to her, to the rank of a queen-consort. The speaker thus ingeniously names this newest favourite 'a love,' and at the same time designates her as the only thing with which this elegant structure, all adorned on the outside is adorned within."Relatively better Böttcher: with a love (beloved one), prae filiis Hierus . But even though אהבה , like amor and amores, might be used of the beloved one herself, yet רצוף does not harmonize with this, seeing we cannot speak of being paved or tapestried with persons. Schlottm. in vain refers for the personal signification of אהבה to Son 2:7, where it means love and nothing else, and seeks to bring it into accord with רצוף ; for he remarks, "as the stone in mosaic work fills the place destined for it, so the bride the interior of the litter, which is intended for just one person filling it."But is this not more comical, without intending to be so, than Juvenal's (i. 1. 32 s.):

Causidici nova cum veniat lectica Mathonis

Plena ipso ... .

But Schlottm. agrees with us in this, that the marriage which is here being prepared for was the consummation of the happiness of Solomon and Shulamith, not of another woman, and not the consummation of Solomon's assault on the fidelity of Shulamith, who hates him to whom she now must belong, loving only one, the shepherd for whom she is said to sigh ( Son 1:4 ), that he would come and take her away. "This triumphal procession,"says Rocke,

(Note: Das Hohelied, Erstlingsdrama, u.s.w. The Song, a Primitive Drama from the East; or, Family Sins and Love's Devotion. A Moral Mirror for the Betrothed and Married, 1851.)

"was for her a mourning procession, the royal litter a bier; her heart died within her with longing for her beloved shepherd."Touching, if it were only true! Nowhere do we see her up to this point resisting; much rather she is happy in her love. The shepherd-hypothesis cannot comprehend this marriage procession without introducing incongruous and imaginary things; it is a poem of the time of Gellert. Solomon the seducer, and Shulamith the heroine of virtue, are figures as from Gellert's Swedish Countess; they are moral commonplaces personified, but not real human beings. In the litter sits Shulamith, and the appiryon waits for her. Solomon rejoices that now the reciprocal love-bond is to find its conclusion; and what Shulamith, who is brought from a lowly to so lofty a station, experiences, we shall hear her describe in the sequel.

Constable: Sos 3:6--5:2

III. THE WEDDING 3:6--5:1

Weddings in Israel took place before the local town elders rather than before the priests (e.g., Ruth 4:10-11). They transpired in homes rather than in the tabernacle or temple (or synagogue later). They were civil rather than religious ceremonies.

There were three parts to a wedding in the ancient Near East. First, the groom's parents selected a bride for their son. This involved securing the permission of the bride's parents and the approval of both the bride and the groom themselves. Though the parents of the young people arranged the marriage, they usually obtained the consent of both the bride and the groom. Second, on the wedding day the groom proceeded to the bride's house accompanied by a group of his friends. He then escorted her to the site of the wedding ceremony and finally took her to their new residence accompanied by their friends. Physical union consummated the marriage the night after the wedding ceremony took place. Third, the couple feasted with their friends usually for seven days following the wedding ceremony.⁵⁹

In the section before us (3:6-5:1) the writer mentioned the wedding procession (3:6-11) and the consummation (4:1-5:1).

". . . the book is framed by an inclusio involving the brothers' and the vineyard,' and at the heart of the book is the wedding day, framed by two dream' sections with noticeable parallels."⁶⁰

Constable: Sos 3:6-11

A. The Procession 3:6-11

3:6 The marriage procession of King (or Prince) Solomon would have been unusually splendid, as this description portrays.

"The pomp and beauty of this procession were wholly appropriate in light of the event's significance. The Scriptures teach that marriage is one of the most important events in a person's life. Therefore it is fitting that the union of a couple be commemorated in a special way. The current practice of couples casually living together apart from the bonds of marriage demonstrates how unfashionable genuine commitment to another person has become in contemporary society. This violates the sanctity of marriage and is contrary to God's standards of purity."⁶¹

3:7-8 The 60 warriors were Solomon's chosen friends. Normally the groom's friends accompanied him to the house of his prospective wife. These friends were very likely members of Solomon's bodyguard. His example of providing protection for his bride is one that every new husband should follow. This might include a measure of financial security for her.

3:9-11 Solomon provided his bride with the best he could afford. This self-sacrificing attitude evidences his genuine love for her. Solomon's crown was a special one his mother Bathsheba gave him for this occasion. It evidently represented his joy as well as his royalty. This may have been a crowning that preceded Solomon's coronation as king, since the high priest crowned him then (cf. 1 Kings 1:32-48; 2 Kings 11:11-20).⁶²

"Crowns, usually wreaths of flowers rather than royal crowns, were frequently worn by the nuptial couple in wedding festivities."⁶³

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 3 (Chapter Introduction)

Overview

Son 3:1, The church’s fight and victory in temptation; Son 3:6, The church glories in Christ.

Poole: The Song of Songs 3 (Chapter Introduction)

OF SOLOMON CHAPTER 3

The church seeking Christ, Son 3:1-3 . Her great joy; she findeth him, Son 3:4 . Her charge to the daughters of Jerusalem not to awake her Beloved, Son 3:5 . The manner of Christ’ s coming out of the wilderness, Son 3:6 . His bed, guard, and chariot, Son 3:7-9 . Its maker, matter, and furniture, Son 3:10 . An invitation of the faithful to the kingdom of glory, Son 3:11 .

By night on my bed either,

1. In a time of tribulation, which is commonly signified by the night, and sometimes by a bed, as Rev 2:22 . Or,

2. When I expected to find him; for the husband who by his occasions is oft forced to be absent from his wife in the day time, but at night returns to her, and beds with her. Or,

3. When others compose themselves to rest and sleep, my thoughts were troubled and my affections were working towards him, and I was very desirous to enjoy him.

I sought him I sought for Christ’ s gracious and powerful presence, in and by the word, and prayer, and meditation. I sought him : this repetition notes her perseverance and unweariedness in seeking him.

But I found him not for he had withdrawn himself and the manifestations of his love from me, either because I had not sought him diligently, or because I had abused his favour, or to try and exercise my faith, and patience, and love, and other graces.

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 3 (Chapter Introduction)

(Son 3:1-5) The trials of the church by the withdrawing of Christ.

(Son 3:6-11) The excellences of the church, The care of Christ for her.

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 3 (Chapter Introduction)

In this chapter, I. The church gives an account of a sore trial wherewith she was exercised through the withdrawing of her beloved from her, the pains she was at before she recovered the comfortable sense of his favour again, and the resolution she took, when she did recover it, not to lose it again, as she had done through her own carelessness (Son 3:1-5). II. The daughters of Jerusalem admire the excellencies of the church (Son 3:6). III. The church admires Jesus Christ under the person of Solomon, his bed, and the life-guards about it (Son 3:7, Son 3:8), his chariot (Son 3:9, Son 3:10). She calls upon the daughters of Zion, who were admiring her, to admire him rather, especially as he appeared on his coronation day and the day of his nuptials (Son 3:11).

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

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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 3 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 3

In this chapter an account is given of an adventure of the church, in quest of her beloved; of the time when, and places where, and the persons of whom she sought him; and of her success upon the whole; with a charge she give to the daughters of Jerusalem, Son 3:1; by whom she is commended, Son 3:6; and then Christ, her beloved, is described by her; by his bed, and the guard about it, Son 3:7; by the chariot he rode in, Son 3:9; and by the crown he wore on his coronation day, Son 3:11.