Text -- The Song of Songs 4:1 (NET)

The Wedding Night: Praise of the Bride

4:1 The Lover to His Beloved: Oh, you are beautiful, my darling! Oh, you are beautiful! Your eyes behind your veil are like doves. Your hair is like a flock of female goats descending from Mount Gilead.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 4:1

These words are evidently spoken by the bridegroom.

Wesley: Sos 4:1

Being clothed with my righteousness, and adorned with all the graces of my spirit.

Wesley: Sos 4:1

He repeats it both to confirm his assertion, and to shew the fervency of his affection.

Wesley: Sos 4:1

Whereas the beauty of the spouse is here described in her several parts, we need not labour much about the application of each particular to some distinct grace of the church, this being the chief design of the description to shew that compleatness and absolute perfection which the church hath in part received, and shall more fully receive in the future life.

Wesley: Sos 4:1

Which in these parts was of extraordinary length, and softness, and comeliness.

Wesley: Sos 4:1

A very fruitful place, fit for breeding all sorts of cattle, and especially of goats, because it was an hilly and woody country.

JFB: Sos 4:1

Contrast with the bride's state by nature (Isa 1:6) her state by grace (Son 4:1-7), "perfect through His comeliness put upon her" (Eze 16:14; Joh 15:3). The praise of Jesus Christ, unlike that of the world, hurts not, but edifies; as His, not ours, is the glory (Joh 5:44; Rev 4:10-11). Seven features of beauty are specified (Son 4:1-5) ("lips" and "speech" are but one feature, Son 4:3), the number for perfection. To each of these is attached a comparison from nature: the resemblances consist not so much in outward likeness, as in the combined sensations of delight produced by contemplating these natural objects.

JFB: Sos 4:1

The large melting eye of the Syrian dove appears especially beautiful amid the foliage of its native groves: so the bride's "eyes within her locks" (Luk 7:44). MAURER for "locks," has "veil"; but locks suit the connection better: so the Hebrew is translated (Isa 47:2). The dove was the only bird counted "clean" for sacrifice. Once the heart was "the cage of every unclean and hateful bird." Grace makes the change.

JFB: Sos 4:1

(Mat 6:22; Eph 1:18; contrast Mat 5:28; Eph 4:18; 1Jo 2:16). Chaste and guileless ("harmless," Mat 10:16, Margin; Joh 1:47). John the Baptist, historically, was the "turtledove" (Son 2:12), with eye directed to the coming Bridegroom: his Nazarite unshorn hair answers to "locks" (Joh 1:29, Joh 1:36).

JFB: Sos 4:1

The hair of goats in the East is fine like silk. As long hair is her glory, and marks her subjection to man (1Co 11:6-15), so the Nazarite's hair marked his subjection and separation unto God. (Compare Jdg 16:17, with 2Co 6:17; Tit 2:14; 1Pe 2:9). Jesus Christ cares for the minutest concerns of His saints (Mat 10:30).

JFB: Sos 4:1

Literally, "that lie down from"; lying along the hillside, they seem to hang from it: a picture of the bride's hanging tresses.

JFB: Sos 4:1

Beyond Jordan: there stood "the heap of witness" (Gen 31:48).

Clarke: Sos 4:1

Thou hast doves’ eyes within thy locks - Perhaps this refers rather to a sort of veil worn by many of the Eastern women, but especially in Egypt. It is a species of black cloth made of the hair of some animal, probably the black goat; is suspended from the head by silken cords, one of which comes from the crown of the head, down the forehead, to the upper part of the nose, just under the eyes, at which place the veil begins; for the forehead and the eyes are uncovered, except the cord above mentioned, which is ornamented with gold, silver, and precious stones, according to the circumstances of the wearer. This partial veil not only covers all the face, the eyes and forehead excepted, but the neck also, and hangs loosely down over the bosom. One of them, lately brought from Egypt, now lies before me

But the clause, within thy locks, מבעד למתך mibbaad letsammathech , is not well translated, either by ourselves or by the versions. Jerome’ s translation is an indication of the meaning: Absque eo quod intrinsecus latet ; without that, or independently of that, which lies hidden within. The Septuagint, Syriac, and Arabic have, besides thy silence. Calmet contends that none of these gives the true meaning, and that the word tmu tsemath has not the meaning of hair or locks wherever it occurs, and has quite a different meaning in Isa 47:2. St. Jerome on this place expresses himself thus: Nolentibus gui interpretati sunt transferre nomen quod in Sancta Scriptura sonat turpitudinem - Ergo Ktmu tsammathech, quod Aquila posuit, verenda mulieris appellanatur cujus etymologia apud eos sonat sitiens tuus . Calmet translates: Vous etes toute belle, won amie; vous etes toute belle: vos yeux sont des yeux de colombe; sans ce que la pudeur et la modestie tiennent cache . I leave the translation of these to the learned reader. See another description under Son 4:7 (note)

Clarke: Sos 4:1

As a flock of goats - Because it was black and sleek, as the hair of the goats of Arabia and Palestine is known to be; which, with its fine undulation, is supposed to bear some resemblance to the curls or plaits of a woman’ s tresses. The mountains of Gilead were beyond Jordan, on the frontiers of Arabia Deserta.

Defender: Sos 4:1

The bridegroom is speaking from Son 4:1 to Son 5:1, praising the beauties and perfections of his young bride. In picturesque similes, appropriate to the culture, he describes seven aspects of her beauty - her eyes, hair, teeth, lips, temples, neck and breasts - all speaking of perfection in his eyes. "There is no spot in thee," he says (Son 4:7). Just so, in Christ, we are made complete (Col 2:10)."

TSK: Sos 4:1

my : Son 4:9, Son 4:10, Son 1:15, Son 2:10, Son 2:14; Psa 45:11; Eze 16:14; 2Co 3:18

thou hast : Son 5:12; Mat 11:29; Phi 2:3-5

thy hair : Son 5:11, Son 6:5, Son 6:7, Son 7:5

appear from : or, eat of, etc

mount : Num 32:1, Num 32:40

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 4:1

Thou hast doves’ eyes ... - Thine eyes are doves behind thy veil. So also in Son 4:3; Son 6:7; Isa 47:2, "veil"is better than "locks."

That appear from ... - Or, "that couch upon Mount Gilead."The point of comparison seems to be the multitudinousness of the flocks seen browsing on the verdant slopes of the rich pasture-lands Num 32:1; Mic 7:14.

Haydock: Sos 4:1

Lips. Teachers who accommodate their instructions to the capacity of their audience, (Calmet) giving milk to children, Hebrews v. 13., (Haydock) and 1 Corinthians iii. 2. ---

In allusion, perhaps, to this passage, (Calmet) it was customary to give milk and honey to the new baptized. (Tertullian, coron.) ---

Garments. Which were perfumed, (Genesis xxvii. 17., and Psalm xliv. 9.) and imply good works, (2 Corinthians v. 3., and Romans xiii. 14.; Calmet) and the external service and prayers of the Church, which ascend like incense, Psalm cxl. 2. (Menochius)

Haydock: Sos 4:1

How. Christ again praises the beauty of his Church. (Worthington) ---

The dialogue takes place in the country. (Haydock) ---

From corporal beauty, which is often dangerous, and the portion of the most dissolute, we must raise our minds to spiritual advantages, which the Holy Ghost has here in view. ---

Within. St. Ambrose, "besides thy taciturnity." Septuagint, "silence." Rabbins, &c., "hair." Protestants, "within thy locks." But what renders this version of tsammathec (Haydock) suspicious is, that none of the ancients knew of it, and the hair is afterwards specified, chap. vi. 4. Moreover, Isaias, (xlvii. 2.) uses it for (Calmet) "turpitude," (St. Jerome) or the parts which are usually "covered." (Septuagint) (Haydock) ---

Si qua latent, meliora putat. ([Ovid?] Met. 1500.) ---

All the glory of the king's daughter is within, Psalm xliv. 14. Modesty and silence are the best encomium. (Calmet) ---

The Lord praises the intention, occupations and doctrine of the Church, the twins of faith and good works; the preaching of Christ's passion without shame, (ver. 3.) and the administration of the sacraments, which, like the neck, unite the members to their head; so that they become invincible, (ver. 4.) whether they be of Jewish or Gentile extraction, ver. 5. (Worthington) ---

Up. Hebrew and Septuagint, "appear." Jerusalem was the highest part of the country; (Haydock) and coming up and down often means no more than coming or going, Judges xi. 3., and xv. 11. (Calmet) ---

The hair of goats in Lycia was beautifully curled. (Ælian xvi. 30.) ---

Women used such false hair. (Martial xii. 45.) ---

Though the hair be only an ornament, it is not to be neglected; so the pious Christian will always treat with respect the ceremonies established chiefly for the instruction of the ignorant. (Calmet) ---

Those simple and fervent souls, by their numbers, adorn the Church, as hair does the body. (St. Gregory) ---

The external and internal perfections of the spouse deserve commendation. (Menochius)

Gill: Sos 4:1

Behold, thou art fair, my love; behold, thou art fair,.... The same as in Son 1:15; here repeated by Christ, to introduce the following commendation; to express the greatness of his love to his church; and show that he had the same opinion of her, and esteem for her, notwithstanding what had passed between that time and this;

thou hast doves' eyes within thy locks; the same comparison; see Gill on Son 1:15; only with this difference, here her eyes are said to be "within her locks": which, whether understood of the ministers of the Gospel; or of the eyes of the understanding, particularly of, the eye of faith, as has been observed on the above place; do not seem so much to design the imperfection of the sight of the one or of the other, in the present state, as eyes within or under locks and in some measure covered with them, hinder the sight of them; as the modesty of either of them; locks being decently tied up, as the word signifies ⁱ, is a sign thereof, as the contrary is a sign of boldness and wantonness. Doves' eyes themselves are expressive of modesty and humility, and, this phrase added to them, increases the idea; such ministers, who have the largest gifts, greatest grace, light, and knowledge, are the most humble, witness the Apostle Paul; and this phrase expresses the beauty of them, not only in the eyes of Christ, but in the eyes of those to whom they publish the good tidings of salvation: and so it may denote what an exceeding modest grace faith is, which receives all from Christ, and gives him all the glory, and takes none to itself; and what a beauty there is in it, insomuch that Christ is ravished with it, Son 4:9; and seems rather to be the sense here;

thy hair is as a flock of goats; like the hair of goats, so Ben Melech. Hair adds much to the comeliness of persons, and is therefore frequently mentioned, both with respect to the bride and bridegroom, in this song, Son 5:1; and so in all poems of this kind ^k; and one part of the comeliness of women lies in their hair;

"let a woman, says Apuleius ^l, be adorned with ever such fine garments, and decked with gold and jewels, yet, without this ornament, she will not be pleasing; no, not Verus herself.''

The women ^m in Homer, are described by their beautiful hair; nor is it unusual to compare the hair of women, and represent it as superior to a fleece of the choicest flock ⁿ. And here the church's hair is said to be like the hair of goats, for that is the sense of the expression; and which is thought to be most like to human hair, 1Sa 19:13; and it is compared to that, not so much for its length and sleekness, as for its colour, being yellowish; which, with women formerly, was in esteem, and reckoned graceful ^o; this being the colour of the hair of some of the greatest beauties, as Helena, Philoxena, and others, whose hair was flaxen and yellow; hence great care was taken to make it look so, even as yellow as gold ^p: the Jewish women used to have their perukes, or false hair, of goats' hair, and still have in some places to this day ^q; and it should seem the Roman women also had, to which the poet ^r refers. And the church's hair here is said to be like the hair of a flock of goats,

that appear from Mount Gilead; or rather "on Mount Gilead", as Noldius: Gilead was a mountain in the land of Israel, beyond Jordan, famous for pasturage for cattle, where flocks of goats were fed, as was usual on mountains ^s; and, being well fed, their hair was long, smooth, neat, and glistering; and so to spectators, at a distance, looked very beautiful and lovely; especially in the morning at sun rising, and, glancing on them with its bright and glittering rays, were delightful. So R. Jonah, from the use of the word in the Arabic language, which signifies the morning, interprets it, which "rise early in the morning"; and which, as Schultens ^t observes, some render,

"leading to water early in the morning;''

the Vulgate Latin version is, "that ascend from Mount Gilead", from a lower to a higher part of it; which is approved of by Bochart ^u. Now the hair of the church may be interpreted either of believers, the several members of the church of Christ; the hairs of the head are numerous, grow upon the head, and have their nourishment from it; are weak in themselves, but depend upon the head, and are an ornament to it: so the saints, though few in comparison of the world, yet by themselves are a great number, which no man can number; these grow upon Christ, the Head of the church, and receive their nourishment from him; and, though weak in themselves, have strength from him, and have their dependence on him; and are an ornament and crown of glory to him; and who are cared for and numbered by him, so that no one can be lost; see Eze 5:1. Or rather it may be interpreted of the outward conversation of the saints; hair is visible, is a covering, and an ornament, when taken care of, and managed aright, and has its dependence and is influenced by the head: the good conversation of the church and its members is visible to all, as the hair of the head, and as a flock of goats on Mount Gilead; and is a covering, though not from divine justice, yet from the reproaches of men; is ornamental to believers, and to the doctrine they profess; especially when their conversation is ordered aright, according to the weird of God, and is influenced by grace, communicated from Christ, the Head.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 4:1

¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot – comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.

² sn The introductory demonstrative particle הִנֵּךְ (hinneh, “Behold!”) is repeated for rhetorical effect. This particle is often used with verbs of seeing or discovering, making the narrative graphic and vivid. It enables the reader to enter into the surprise, wonder, and delight of the speaker (BDB 243 s.v. הִנֵּךְ c).

³ sn The repetition of יָפָה רַעְיָתִי (yafah ra’yati, “You are beautiful, my darling”) in 4:1 and 4:7 forms an inclusion, marking off the song of descriptive praise in 4:1-7.

⁴ sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes.

⁵ tn Heb “flowing down” or “descending.” The verb שֶׁגָּלְשׁוּ (sheggalÿshu, “flowing down”) may be nuanced “descending.” The most recent lexicons define גָּלַשׁ (galash) as “to flow, leap” (DCH 2:357 s.v. גלשׁ); “to hop, move down” (HALOT 195 s.v. גלשׁ); and “to go down, glide down” (E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 102). Earlier lexicons suggested the meanings “to sit, sit up, recline” (BDB 167 s.v. גָּלַשׁ). The Hebrew root is probably related to Arabic jalasa “to go up, to go down, sit up” (HALOT 195).

Geneva Bible: Sos 4:1

Behold, thou [art] ^{( a )} fair, my love; behold, thou [art] fair; thou [hast] doves' eyes within thy locks: thy hair [is] as a ^{( b )} flock of goats, that appear from mount Gilead.

^{( a )} Because Christ delights in his Church, he commends all that is in her.

^{( b )} He has respect for the multitude of the faithful, which are many in number.

Commentary -- Verse Range Notes

TSK Synopsis: Sos 4:1-16

1 Christ sets forth the graces of the church.

8 He shews his love to her.

16 The church prays to be made fit for his presence.

MHCC: Sos 4:1-7

If each of these comparisons has a meaning applicable to the graces of the church, or of the faithful Christian, they are not clearly known; and great mistakes are made by fanciful guesses. The mountain of myrrh appears to mean the mountain Moriah, on which the temple was built, where the incense was burned, and the people worshipped the Lord. This was his residence till the shadows of the law given to Moses were dispersed by the breaking of the gospel day, and the rising of the Sun of righteousness. And though, in respect of his human nature, Christ is absent from his church on earth, and will continue to be so till the heavenly day break, yet he is spiritually present in his ordinances, and with his people. How fair and comely are believers, when justified in Christ's righteousness, and adorned with spiritual graces! when their thoughts, words, and deeds, though imperfect, are pure, manifesting a heart nourished by the gospel!

Matthew Henry: Sos 4:1-7

Here is, I. A large and particular account of the beauties of the church, and of gracious souls on whom the image of God is renewed, consisting in the beauty of holiness. In general, he that is a competent judge of beauty, whose judgment, we are sure, is according to truth, and what all must subscribe to, he has said, Behold, thou art fair. She had commended him, and called all about her to take notice of his glories; and hereby she recommends herself to him, gains his favour, and, in return for her respects, he calls to all about him to take notice of her graces. Those that honour Christ he will honour, 1Sa 2:30.

1. He does not flatter her, nor design hereby either to make her proud of herself or to court her praises of him; but, (1.) It is to encourage her under her present dejections. Whatever others thought of her, she was amiable in his eyes. (2.) It is to teach her what to value herself upon, not any external advantages (which would add nothing to her, and the want of which would deprive her of nothing that was really excellent), but upon the comeliness of grace which he had put upon her. (3.) It is to invite others to think well of her too, and to join themselves to her: "Thou art my love, thou lovest me and art beloved of me, and therefore thou art fair. "All the beauty of the saints is derived from him, and they shine by reflecting his light; it is the beauty of the Lord our God that is upon us, Psa 90:17. She was espoused to him, and that made her beautiful. Uxor fulget radiis mariti - The spouse shines in her husband's rays. It it repeated, Thou art fair, and again, Thou art fair, denoting not only the certainty of it, but the pleasure he took in speaking of it.

2. As to the representation here made of the beauty of the church, the images are certainly very bright, the shades are strong, and the comparisons bold, not proper indeed to represent any external beauty, for they were not designed to do so, but the beauty of holiness, the new man, the hidden man of the heart, in that which is not corruptible. Seven particulars are specified, a number of perfection, for the church is enriched with manifold graces by the seven spirits that are before the throne, Rev 1:4; 1Co 1:5, 1Co 1:7.

(1.) Her eyes. A good eye contributes much to a beauty: Thou hast doves' eyes, clear and chaste, and often cast up towards heaven. It is not the eagle's eye, that can face the sun, but the dove's eye, a humble, modest, mournful eye, that is the praise of those whom Christ loves. Ministers are the church's eyes (Isa 52:8, thy watchmen shall see eye to eye ); they must be like doves' eyes, harmless and inoffensive (Mat 10:16), having their conversation in the world in simplicity and godly sincerity. Wisdom and knowledge are the eyes of the new man; they must be clear, but not haughty, not exercised in things too high for us. When our aims and intentions are sincere and honest, then we have doves' eyes, when we look not unto idols (Eze 18:6), but have our eyes ever towards the Lord, Psa 25:15. The doves' eyes are within the locks, which area as a shade upon them, so that, [1.] They cannot fully see. As long as we are here in this world we know but in part, for a hair hangs in our eyes; we cannot order our speech by reason of darkness; death will shortly cut those locks, and then we shall see all things clearly. [2.] They cannot be fully seen, but as the stars through the thin clouds. Some make it to intimate the bashfulness of her looks; she suffers not her eyes to wander, but limits them with her locks.

(2.) Her hair; it is compared to a flock of goats, which looked white, and were, on the top of the mountains, like a fine head of hair; and the sight was more pleasant to the spectator because the goats have not only gravity from their beards, but they are comely in going (Pro 30:29), but it was most pleasant of all to the owner, much of whose riches consisted in his flocks. Christ puts a value upon that in the church, and in believers, which others make no more account of than of their hair. He told his disciples that the very hairs of their head were all numbered, as carefully as men number their flocks (Mat 10:30), and that not a hair of their head should perish, Luk 21:18. Some by the hair here understand the outward conversation of a believer, which ought to be comely, and decent, and agreeable to the holiness of the heart. The apostle opposes good works, such as become the professors of godliness, to the plaiting of the hair, 1Ti 2:9, 1Ti 2:10. Mary Magdalen's hair was beautiful when she wiped the feet of Christ with it.

(3.) Her teeth, Son 4:2. Ministers are the church's teeth; like nurses, they chew the meat for the babes of Christ. The Chaldee paraphrase applies it to the priests and Levites, who fed upon the sacrifices as the representatives of the people. Faith, by which we feed upon Christ, meditation, by which we ruminate on the word and chew the cud upon what we have heard, in order to the digesting of it, are the teeth of the new man. These are here compared to a flock of sheep. Christ called his disciples and ministers a little flock. It is the praise of teeth to be even, to be white, and kept clean, like sheep from the washing, and to be firm and well fixed in the gums, and not like sheep that cast their young; for so the word signifies which we translate barren. It is the praise of ministers to be even in mutual love and concord, to be pure and clean from all moral pollutions, and to be fruitful, bringing forth souls to Christ, and nursing his lambs.

(4.) Her lips; these are compared to a thread of scarlet, Son 4:3. Red lips are comely, and a sign of health, as the paleness of the lips is a sign of faintness and weakness; her lips were the colour of scarlet, but thin lips, like a thread of scarlet. The next words explain it: Thy speech is comely, always with grace, good, and to the use of edifying, which adds much to the beauty of a Christian. When we praise God with our lips, and with the mouth make confession of him to salvation, then they are as a thread of scarlet. All our good works and good words must be washed in the blood of Christ, dyed like the scarlet thread, and then, and not till then, they are acceptable to God. The Chaldee applies it to the chief priest, and his prayers for Israel on the day of atonement.

(5.) Her temples, or cheeks, which are here compared to a piece of a pomegranate, a fruit which, when cut in two, has rich veins or specks in it, like a blush in the face. Humility and modesty, blushing to lift up our faces before God, blushing at the remembrance of sin and in a sense of our unworthiness of the honour put upon us, will beautify us very much in the eyes of Christ. The blushes of Christ's bride are within her locks, which intimates (says Mr. Durham) that she blushes when no other sees, and for that which none sees but God and conscience; also that she seeks not to proclaim her humility, but modestly covers that too; yet the evidences of all these, in a tender walk, appear and are comely.

(6.) Her neck; this is here compared to the tower of David, Son 4:4. This is generally applied to the grace of faith, by which we are united to Christ, as the body is united to the head by the neck; this is like the tower of David, furnishing us with weapons of war, especially bucklers and shields, as the soldiers were supplied with them out of that tower, for faith is our shield (Eph 6:16): those that have it never want a buckler, for God will compass them with his favour as with a shield. When this neck is like a tower, straight, and stately, and strong, a Christian goes on in his way, and works with courage and magnanimity, and does not hang a drooping head, and he does when faith fails. Some make the shields of the mighty men, that are here said to hang up in the tower of David, to be the monuments of the valour of David's worthies. Their shields were preserved, to keep in remembrance them and their heroic acts, intimating that it is a great encouragement to the saints to hold up their heads, to see what great things the saints in all ages have accomplished and won by faith. In Heb. 11 we have the shields of the mighty men hung up, the exploits of believers and the trophies of their victories.

(7.) Her breasts; these are like two young roes that are twins, Son 4:5. The church's breasts are both for ornament (Eze 16:7) and for use; they are the breasts of her consolation (Isa 66:11), as she is said to suck the breasts of kings, Isa 60:16. Some apply these to the two Testaments; others to the two sacraments, the seals of the covenant of grace; others to ministers, who are to be spiritual nurses to the children of God and to give out to them the sincere milk of the word, that they may grow thereby, and, in order to that, are themselves to feed among the lilies where Christ feeds (Son 2:16), that they may be to the babes of the church as full breasts. Or the breasts of a believer are his love to Christ, which he is pleased with, as a tender husband is with the affections of his wife, who is therefore said to be to him as the loving hind and the pleasant roe, because her breasts satisfy him at all times, Pro 5:19. This includes also his edifying others and communicating grace to them, which adds much to a Christian's beauty.

II. The bridegroom's resolution hereupon to retire to the mountain of myrrh (Son 4:6) and there to make his residence. This mountain of myrrh is supposed to signify Mount Moriah, on which the temple was built, where incense was daily burnt to the honour of God. Christ was so pleased with the beauty of his church that he chose this to be his rest for ever; here he will dwell till the day break and the shadows flee away. Christ's parting promise to his disciples, as the representatives of the church, answer to this: Lo, I am with you always, even to the end of the world. Where the ordinances of God are duly administered there Christ will be, and there we must meet him at the door of the tabernacle of meeting. Some make these to be the words of the spouse, either modestly ashamed of the praises given her, and willing to get out of the hearing of them, or desirous to be constant to the holy hill, not doubting but there to find suitable and sufficient succour and relief in all her straits, and there to cast anchor, and wish for the day, which, at the time appointed, would break and the shadows flee away. The holy hill (as some observe) is here called both a mountain of myrrh, which is bitter, and a hill of frankincense, which is sweet, for there we have occasion both to mourn and rejoice; repentance is a bitter sweet. But in heaven it will be all frankincense, and no myrrh. Prayer is compared to incense, and Christ will meet his praying people and will bless them.

III. His repeated commendation of the beauty of the spouse (Son 4:7): Thou art all fair, my love. He had said (Son 4:1), Thou art fair; but here he goes further, and, in review of the particulars, as of those of the creation, he pronounces all very good: " Thou art all fair, my love; thou art all over beautiful, and there is nothing amiss in thee, and thou hast all beauties in thee; thou art sanctified wholly in every part; all things have become new (2Co 5:17); there is not only a new face and a new name, but a new man, a new nature; there is no spot in thee, as far as thou art renewed."The spiritual sacrifices must be without blemish. There is no spot but such as is often the spot of God's children, none of the leopard's spots. The church, when Christ shall present it to himself a glorious church, will be altogether without spot or wrinkle, Eph 5:27.

Keil-Delitzsch: Sos 4:1

1a Lo, thou art fair, my friend! yes, thou art fair!

Thine eyes are doves behind thy veil.

The Gr. Venet. translates, after Kimchi, "looking out from behind, thy hair flowing down from thy head like a mane."Thus also Schultens, capillus plexus ; and Hengst., who compares πλέγμα , 1Ti 2:9, and ἐμπλοκὴ τριχῶν , 1Pe 3:3, passages which do not accord with the case of Shulamith; but neither צמם , Arab. ṣmm , nor ṭmm signifies to plait; the latter is used of the hair when it is too abundant, and ready for the shears. To understand the hair as denoted here, is, moreover, inadmissible, inasmuch as מבעד cannot be used of the eyes in relation to the braids of hair hanging before them. Symm. rightly translates צמה by κάλυμμα veil (in the Song the lxx erroneously renders by σιωπήσεως behind thy silence), Isa 47:2. The verb צמם , (Arab.) ṣmam , a stopper, and (Arab.) alṣamma , a plaid in which one veils himself, when he wraps it around him.

(Note: Regarding this verbal stem and its derivatives, see Theé's Schlafgemach der Phantasie , pp. 102-105.)

The veil is so called, as that which closely hides the face. In the Aram. צמם , Palp. צמצם , means directly to veil, as e.g. , Bereshith rabba c. 45, extr. , of a matron whom the king lets pass before him it is said, פניה צימצמה . Shulamith is thus veiled. As the Roman bride wore the velum flammeum , so also the Jewish bride was deeply veiled; cf. Gen 24:65, where Rebecca veiled herself (Lat. nubit ) before her betrothed. בּעד , constr. בּעד , a segolate noun, which denotes separation, is a prep. in the sense of pone , as in Arab. in that of post . Ewald, sec. 217 m , supposes, contrary to the Arab., the fundamental idea of covering (cogn. בגד ); but that which surrounds is thought of as separating, and at the same time as covering, the thing which it encompasses. From behind her veil, which covered her face ( vid ., Bachmann, under Jdg 3:23), her eyes gleam out, which, without needing to be supplemented by ` עיני , are compared, as to their colour, motion, and lustre, to a pair of doves.

From the eyes the praise passes to the hair.

1b Thy hair is like a flock of goats

Which repose downwards on Mount Gilead.

The hair of the bride's head was uncovered. We know from later times that she wore in it a wreath of myrtles and roses, or also a "golden city"( עיר שׁל זהב ), i.e. , an ornament which emblematically represented Jerusalem. To see that this comparison is not incongruous, we must know that sheep in Syria and Palestine are for the most part white; but goats, for the most part, black, or at least dark coloured, as e.g. , the brown gedi Mamri .

(Note: Burns, the Scottish poet, thinking that goats are white, transfers the comparison from the hair to the teeth:

"Her teeth are like a flock of sheep,

With fleeces newly washen clean,

That slowly mount the rising steep;

And she's twa glancin', sparklin' een.")

The verb גּלשׁ is the Arab. jls , which signifies, to rest upon; and is distinguished from the synon. q'd in this, that the former is used of him who has previously lain down; the latter, of one who first stands and then sits down.

(Note: Ḳ'ad cannot be used of one who sits on the bed farash ; in jalas lies the direction from beneath to above; in ḳ'ad (properly, to heap together, to cower down), from above to beneath.)

The nejd bears also the name jals , as the high land raising itself, and like a dome sitting above the rest of the land. One has to think of the goats as having lain down, and thus with the upper parts of their bodies as raised up. מן in מהר is used almost as in מדּלי מר , Isa 40:15. A flock of goats encamped on a mountain (rising up, to one looking from a distance, as in a steep slope, and almost perpendicularly), and as if hanging down lengthwise on its sides, presents a lovely view adorning the landscape. Solomon likens to this the appearance of the locks of his beloved, which hang down over her shoulders. She was till now a shepherdess, therefore a second rural image follows:

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 4:1--5:2

B. The Consummation 4:1-5:1

Our attention now turns from the public procession that took place on the wedding day to the private union that followed that night.

Constable: Sos 4:1-7

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

His bride's beauty ravished Solomon. His praise in verses 1 and 7 frames his description of her in verses 1-6.

4:1 Women in Solomon's culture did not always wear a veil. Before their wedding they put one on and did not take it off until the wedding night (cf. Gen. 24:65; 29:19-25). From a distance a flock of black goats descending from the mountains at dusk was very attractive and reminded Solomon of his beloved's long black locks rippling and tumbling freely.

4:2-3 Her teeth were white and evenly matched. Her mouth had a beautiful color and shape. Her temples were rosy with robust health, like the outside of a pomegranate.⁶⁴

4:4 A long neck, which gives a stately appearance, may have been a mark of beauty in the ancient world.⁶⁵ On the other hand, this may be a figurative description designed to compliment. It was customary for soldiers to hang their shields on the towers belonging to the lords to whom they pledged allegiance.⁶⁶ What tower of David this was we do not know. It was not David's citadel that now stands on the west side of old Jerusalem because that tower did not exist at this time. The idea is that many of the best people loved and stood by the bride. She enjoyed popular acceptance by Solomon's subjects.

4:5-6 Fawns are soft and lovable. The "mountain" and "hill" are also metaphors for the girl's breasts. Myrrh and frankincense were expensive perfumes, so Solomon may have meant his wife's breasts were precious to him as well as attractive.

4:7 Perhaps she was not really as perfect as Solomon claimed here (cf. 1:5-6). "Beauty is in the eye of the beholder." She was perfect to him.

Probably Solomon drew comparisons between his bride and things common in pastoral settings because rural life was her background and was dominant in Israel. She would have understood his meaning easily.

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 4 (Chapter Introduction)

Overview

Son 4:1, Christ sets forth the graces of the church; Son 4:8, He shews his love to her; Son 4:16, The church prays to be made fit for his presence.

Poole: The Song of Songs 4 (Chapter Introduction)

OF SOLOMON CHAPTER 4

Christ commendeth his church for her beauty, Son 4:1-7 . He calleth her to go with him, Son 4:8 , manifesting his love and affection for her, Son 4:9 . A further commendation of her, Son 4:10-15 . She prayeth for the effectual operation of his Holy Spirit on her to make her fruitful, Son 4:16 .

These and the following words are evidently spoken by the Bridegroom to and concerning his spouse.

Thou art fair not in thyself, but by my beauty, being clothed with my righteousness, and adorned with all the graces of my Spirit, which I acknowledge to be in thee.

Thou art fair he repeats it, both to confirm the truth of his assertion, and to show the sincerity and fervency of his affection to her.

Thou hast dove’ s eyes thou art harmless, chaste, &c., as appears by thine eyes, which commonly discover the temper of the mind or person. See more of this phrase Son 1:15 . And whereas the beauty of the spouse is here described in her several parts, we need not labour much about the application of each particular to some distinct member or grace of the church, this being the chief design of this description of a bride which is beautiful in all points, to show that completeness and absolute perfection which the church hath in part received, and shall more fully receive from Christ in the future life. Yet because the church is a body, consisting of divers members, and enriched with variety of gifts and graces, I know no reason but the several parts of this description may have a more special regard to one or other of them. And so her eyes may here note, either,

1. Her teachers, who are instead of eyes to her, as the phrase is, Num 10:31 , whence they are called seers and guides, &c. Or,

2. The disposition of her mind or heart, which is compared to the eye, Mat 6:22,23 , and is oft discerned in the eye.

Within thy locks which being decently composed, make the eyes appear more amiable: withal this intimates the modesty of her looks; her eyes are not wanton, and wandering, or lofty, but sober, and humble, and confined within their proper bounds, looking directly upon her husband, not looking asquint upon other lovers, nor minding other Gods or Christs. If the eyes signify teachers, the locks may note the people assembled together to hear their teachers, to whom they are a great ornament when they thrive by his teaching.

Thy hair the hair of thine head, which is a great ornament to the female sex, 1Co 11:15 . This hair may signify either,

1. The inward thoughts and meditations; or rather,

2. The outward conversation and visible fruits of holiness, which do greatly adorn the professors and profession of religion, as hair doth the head, as is implied, 1Ti 2:9,10 1Pe 3:3-5 .

As a flock of goats which are comely and orderly in going, Pro 30:29,31 , and afford a goodly prospect. Or rather, as the hair (which word is here to be understood, as appears both from the comparison itself, and from divers places where goats are put for goats’ hair, as it is in the Hebrew text, Exo 25:4 26:7 35:26 ) of a flock of goats , which in these parts was of extraordinary length, and thickness, and softness, and comeliness, and much more like to the hair of a man or woman than the hair of our goats is, as is evident both from Scripture, as Gen 27:16 1Sa 19:13 ; and from the testimony of other ancient writers, as Apulcius, Martial, &c.

That appear from Mount Gilead that feeding there, or coming down thence, or going up thither, show themselves evidently to those who stand below it, or near them. Or, as it is rendered in our margin, and by others, that eat , or graze of, or upon . He mentions it as a very fruitful place, and fit for the breeding of all sorts of cattle, as is manifest from Num 32:1 Jer 1 19 Mic 7:14 ; and especially of goats, partly because it was a hilly and woody, country, and partly because it abounded with resinous, and oily, and gummy trees, as appears from Gen 37:25 Jer 8:22 46:11 , wherewith the goats are much delighted, as Dioscorides observes. And some affirm that the hair of these goats was commonly of a yellow colour, as may seem probable from 1Sa 19:13,16 , compared with 1Sa 16:12 , and from Son 7:5 ; which also was in ancient times esteemed a beauty in men or women, as the learned know.

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 4 (Chapter Introduction)

(Son 4:1-7) Christ sets forth the graces of the church.

(Son 4:8-15) Christ's love to the church.

(Son 4:16) The church desires further influences of Divine grace.

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 4 (Chapter Introduction)

In this chapter, I. Jesus Christ, having espoused his church to himself (Son 3:11), highly commends her beauty in the several expressions of it, concluding her fair, all fair (Son 4:1-5 and again, Son 4:7). II. He retires himself, and invites her with him, from the mountains of terror to those of delight (Son 4:6, Son 4:8). III. He professes his love to her and his delight in her affection to him (Son 4:9-14). IV. She ascribes all she had that was valuable in her to him, and depends upon the continued influence of his grace to make her more and more acceptable to him (Son 4:15, Son 4:16).

Constable: The Song of Songs (Book Introduction)

Introduction

Title

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

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

Writer and Date

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

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

Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

Purpose

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

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

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

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

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

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

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

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

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

Canonicity

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

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

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

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

Message²⁴

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

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

3. Solomon's praise 1:9-11

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

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

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

2. The groom's request 4:8

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

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

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

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

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

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

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

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

3. The ultimate unity 7:10

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

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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

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

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

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

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Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

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

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

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

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

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

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

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

Gill: The Song of Songs 4 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 4

In this chapter is contained a large commendation of the church's beauty by Christ; first, more particularly, by an enumeration of several parts, as her eyes, hair, teeth, lips, temples, neck, and breasts, Son 4:1; and more generally, Son 4:7; And having observed where he himself was determined to go, he invites her to go with him; which he enforces, partly from the danger she was exposed unto where she was Son 4:6; and partly from the comeliness of her person and graces in his esteem; with which he was ravished, and therefore was extremely desirous of her company, Son 4:9; And then enters into some new descriptions of her; as a garden and orchard, as a spring and fountain, Son 4:12; all which she makes to be owing to him, Son 4:15; And the chapter is closed with an order from Christ to the winds to blow on his garden, and cause the spices of it to flow out; and with an invitation of the church to Christ, to come into his garden, and relax there, Son 4:16.