Text -- The Song of Songs 5:13 (NET)

5:13 His cheeks are like garden beds full of balsam trees yielding perfume. His lips are like lilies dripping with drops of myrrh.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 5:13

His face or countenance, an eminent part whereof is the cheeks.

Wesley: Sos 5:13

Of aromatic flowers which delight both the eye with a pleasant prospect, and the smell with their fragrancy.

Wesley: Sos 5:13

Beautiful and pleasant.

JFB: Sos 5:13

The seat of beauty, according to the Hebrew meaning [GESENIUS]. Yet men smote and spat on them (Isa 50:6).

JFB: Sos 5:13

Full, like the raised surface of the garden bed; fragrant with ointments, as beds with aromatic plants (literally, "balsam").

JFB: Sos 5:13

Rather, "terraces of aromatic herbs"--"high-raised parterres of sweet plants," in parallelism to "bed," which comes from a Hebrew root, meaning "elevation."

JFB: Sos 5:13

(Psa 45:2; Joh 7:46).

JFB: Sos 5:13

Red lilies. Soft and gentle (1Pe 2:22-23). How different lips were man's (Psa 22:7)!

JFB: Sos 5:13

Namely, His lips, just as the sweet dewdrops which hang in the calyx of the lily.

Clarke: Sos 5:13

His cheeks are as a bed of spices - Possibly meaning a bed in the garden, where odoriferous herbs grew. But it has been supposed to refer to his beard, which in a young well-made man is exceedingly beautiful. I have seen young Turks, who had taken much care of their beards, mustachios, etc., look majestic. Scarcely any thing serves to set off the human face to greater advantage than the beard, when kept in proper order. Females admire it in their suitors and husbands. I have known cases, where they not only despised but execrated Europeans, whose faces were close shaved. The men perfume their beards often; and this may be what is intended by spices and sweet-smelling myrrh

Clarke: Sos 5:13

His lips like lilies - The שושנם shoshannim may mean any flower of the lily kind, such as the rubens lilium , mentioned by Pliny, or something of the tulip kind. There are tints in such flowers that bear a very near resemblance to a fine ruby lip.

Defender: Sos 5:13

In Christ's humiliation, "His visage was so marred more than any man" (Isa 52:14), as His cheeks were given "to them that plucked off the hair" (Isa 50:6), bearing little resemblance to "a bed of spices, as sweet flowers." But when He comes in glory, we shall see "His face as the appearance of lightning" (Dan 10:6).

Defender: Sos 5:13

"Never man spake like this man," they said of Jesus (Joh 7:46), even as Solomon was famed for His wisdom of speech. The day will come, however, when men will hear "His voice as the sound as many waters" (Rev 1:15) and "like the voice of a multitude" (Dan 10:6)."

TSK: Sos 5:13

cheeks : Son 1:10; Isa 50:6

as a : Psa 4:6, Psa 4:7, Psa 27:4, Psa 89:15; Rev 21:23

sweet flowers : or, towers of perfumes, Son 3:6

his lips : Son 4:11; Psa 45:2; Isa 50:4; Luk 4:22

dropping : Son 5:5

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 5:13

Sweet flowers - Better as in the margin, i. e., plants with fragrant leaves and flowers trained on trellis-work.

Like lilies - Are lilies dropping liquid myrrh (see the Son 5:5 note). Perhaps the fragrance of the flowers, or the delicate curl of the lip-like petals, is here the point of comparison, rather than the color.

Poole: Sos 5:13

His cheeks his face or countenance, an eminent part whereof is the cheeks, in which the beauty or deformity of a face doth much consist.

As a bed which being higher than other parts of the garden, fitly represents the cheeks, which are higher than other parts of the face.

Of spices not of dry spices, for they are not in beds; but of aromatical flowers, which delight both the eye with a pleasant prospect, and the smell with their fragrancy. This may also signify the down or hair upon the Bridegroom’ s cheeks, which is the evidence of his mature and vigorous age, and may denote that Christ’ s sweetness and gentleness is accompanied with majesty, and gravity, and just severity.

Sweet flowers: this may be added to explain the former phrase. Or,

towers of perfumes i.e. boxes in which perfumes were put, which by their height or form had some resemblance to a turret.

His lips like lilies beautiful and pleasant. Or this is meant of that sort of lilies which were of a red or purple colour, as ancient writers affirm, and so signify the grateful colour of the lips. This may note that grace which was poured into Christ’ s lips, and which flowed from them in sweet and excellent discourses.

Dropping sweet smelling myrrh not only graceful to the eye, as lilies are, but also fragrant to the smell.

Haydock: Sos 5:13

Set by. Protestants, " as sweet flowers." ---

Choice. Literally, "the first," ver. 5. (Haydock) ---

The modesty and words of Christ excited admiration, 1 Peter ii. 21., and John vii. 46. (Calmet) ---

He exhorted sinners to repent, and rebuked the obstinate. (Menochius)

Gill: Sos 5:13

His cheeks are as a bed of spices, as sweet flowers,.... Which may intend the presence of Christ with his people in his word and ordinances; often called his "face", which he shows, and they seek after, than which nothing is more desirable; walking in the light of his countenance is preferable to walking among spicy beds, where fragrant plants and odoriferous flowers grow: or the cheeks, being the seat of modesty and blushing, may denote the great humility of Christ, seen in his assumption of our nature, throughout the whole course of his life, and especially at his death, and which renders him very delightful to his people; how lovely does the meek and lowly Jesus look! how beautiful are those blushing cheeks of his, who, being equal with God, took upon him the form of a servant! The cheeks may intend not bare cheeks, but with the hair growing upon them, the hair of the beard; which puts forth itself, and grows upon the cheeks or "jaws" ^o, as it may be rendered, which makes a man look graceful and majestic; so Aben Ezra interprets the word of the beard, and so many Christian ^p interpreters, which puts out like aromatic plants on spicy beds. This was literally true of Christ, who was a grown man when he suffered, and gave his cheeks to the smiters, and who plucked off the hair of his beard: and in a mystical sense it may intend either believers in Christ, who are the hair of his cheeks, as well as of his head; and who, like spicy beds and fragrant flowers, are odoriferous to Christ and to one another; or " as towers of perfumes" ^q as some, which ascend upwards in the exercise of faith, hope, and love: or rather the graces of the Spirit in Christ, as man and Mediator; which, like the hair of the beard, are in Christ, in great numbers, without measure, and make him very lovely and graceful; and are like beds of spices and sweet flowers, for the variety and sweet smelling savour of them. Though it seems, best of all, to be expressive of the manliness, courage, prudence, gravity, and majesty of Christ; of which the beard, thick set and well grown, is an indication; all which appeared in the whole conduct and deportment of Christ among men; in his ministry, in his life and conversation, at his apprehension, arraignment, condemnation, sufferings, and death. The cheeks rising, and being a little elevated, are fitly described by beds in a garden, by "towers of perfumes", or fragrant flowers and fruit trees, reared up in the form of towers, or pyramids; or by a dish of fruit preserves, placed in such a figure: and the hair of the cheeks, or beard, are aptly represented by spices, rising up from a bed of them; and all denote the beauty, savour, and majesty of Christ. Or, as the Vulgate Latin version, "as beds of spices set by confectioners"; not as aromatic plants, set in rows by the gardener; but the spices themselves, set in rows by the confectioner in vessels ^r, placed in his shop in rows to be sold; which being of various colours, especially white and red, the cheeks, for colour and eminence, are compared unto them;

his lips like lilies dropping sweet smelling myrrh; by which are meant the words of Christ, which drop from his lips; which are like lilies, for their purity, thinness, and beautiful colour: the words of Christ are pure words, free from all pollution, deceit, and human mixtures; nor are his lips big with his own praises, but with expressions of regard for his Father's glory; and are very pleasant, gracious, and graceful. But then the comparison is not between them and white lilies, for not white, but red lips, are accounted the most beautiful; see Son 4:3; wherefore rather red or purple lilies are respected, such as Pliny ^s, and other writers ^t, speak of; such as grew in Syria ^u, a neighbouring country; and also in Egypt ^w grew lilies like to roses. Some ^x think the allusion is to crowns, made of red or purple lilies, wore at nuptial festivals, on which were poured oil of myrrh, and so dropped from them; but the phrase, "dropping sweet smelling myrrh", is not in construction with "lilies", but with "lips": signifying, that the lips or words of Christ were like to lilies; not so much or not only for their thinness and colour, as for the sweet smell of them, very odorous, grateful, and acceptable; as are the doctrines of peace, pardon, righteousness, life, and salvation, to sensible souls, delivered in the ministry of the word: the manner of which delivery of them is expressed by "dropping"; gradually, by little and little, as Christ's church and people can bear them; seasonably, and at proper times, as their wants require constantly, as while Christ was here or, earth, so now he is in heaven, by his ministers, in all ages, to the end of the world; and yet sweetly and gently refreshing, and making fruitful; see Deu 32:2. Moreover, the kisses of Christ's lips, or the manifestations of his love, may be taken into the sense of this clause; which together with the grateful matter and graceful manner of his words, render him very acceptable to his church; see Son 1:2; and such a sentiment is expressed, in much the same language, by others ^y.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 5:13

¹ sn In the genitive construct phrase עֲרוּגַת הַבֹּשֶׂם (’arugat havvosem, literally, “beds of balsam”) the term בֹּשֶׂם (bosem) is a genitive of composition, identifying what these gardens were composed of. The term עֲרוּגַת (“garden-beds”) refers to a private garden terrace or garden bed, a rare luxury in Palestine and very expensive to own (Ezek 17:7, 10) (BDB 788 s.v. עֲרוּגָה). The term בֹּשֶׂם (bosem, “balsam”) refers to balsam trees which yielded sweet-smelling oils from which perfumes were produced. The balsam trees should be identified either as Astragalus tragacantha which grew everywhere in Palestine and exude resin from its thorns, or as Commiphora opobalsamum which was not native to Israel but to South Arabia from whence it had to be imported at great cost (2 Chr 9:1) (Fauna and Flora of the Bible, 177-78). She is comparing the beautiful scent of his cologned cheeks to fragrant beds of spice.

² tn Alternately, “towers of perfume.” The MT reads מִגְדְּלוֹת (migdÿlot) which yields the awkward “towers of perfume.” The term מִגְדָּל (migdal, “tower”) is normally used in reference to (1) watch-towers, defended towers along the city wall, and individual towers in the countryside to protect the borders, (2) storehouses, and (3) a tower in a vineyard (HALOT 543-44 s.v. I מִגְדָּל). It is never used in OT in association with a flower garden. On the other hand, LXX reads φυουσαι (fuousai, “yielding”) which reflects an alternate vocalization tradition of מְגַדְּלוֹת (mÿgaddÿlot; Piel participle feminine plural from גָּדַל, gadal, “to increase, produce”). This makes good sense contextually because the Piel stem of גָּדַל means “to grow” plants and trees (Isa 44:14; Ezek 31:4; Jonah 4:10) (HALOT 179 s.v. I גדל 2). This revocalization is suggested by BHS editors, as well as the Hebrew lexicographers (HALOT 544 s.v. 2; 179 s.v. I 2; BDB 152 s.v. גָּדַל 1). Several translations follow LXX and revocalize the text (RSV, NIV, NJPS margin): “His cheeks are like beds of spice yielding perfume” (NIV) and “His cheeks are like beds of spice producing perfume” (NJPS margin). The other translations struggle to make sense of the MT, but are forced to abandon a literal rendering of מִגְדְּלוֹת (“towers”): “banks sweet herbs” (ASV), “banks sweetly scented” (JB), “treasure-chambers full of perfume” (NEB), “banks of sweet scented herbs” (NASB), and “banks of perfume” (JPS, NJPS).

Commentary -- Verse Range Notes

TSK Synopsis: Sos 5:1-16

1 Christ awakes the church with his calling.

2 The church having a taste of Christ's love, is sick of love.

9 A description of Christ by his graces.

MHCC: Sos 5:9-16

Even those who have little acquaintance with Christ, cannot but see amiable beauty in others who bear his image. There are hopes of those who begin to inquire concerning Christ and his perfections. Christians, who are well acquainted with Christ themselves, should do all they can to make others know something of him. Divine glory makes him truly lovely in the eyes of all who are enlightened to discern spiritual things. He is white in the spotless innocence of his life, ruddy in the bleeding sufferings he went through at his death. This description of the person of the Beloved, would form, in the figurative language of those times, a portrait of beauty of person and of grace of manners; but the aptness of some of the allusions may not appear to us. He shall come to be glorified in his saints, and to be admired in all that believe. May his love constrain us to live to his glory.

Matthew Henry: Sos 5:9-16

Here is, I. The question which the daughters of Jerusalem put to the spouse concerning her beloved, in answer to the charge she had given them, Son 5:9. Observe, 1. The respectful title they give to the spouse: O thou fairest among women! Our Lord Jesus makes his spouse truly amiable, not only in his eyes, but in the eyes of all the daughters of Jerusalem. The church is the most excellent society in the world, the communion of saints the best communion, and the beauty of the sanctuary a transcendent beauty. The saints are the most excellent people; holiness is the symmetry of the soul; it is its agreement with itself; it recommends itself to all that are competent judges of it. Even those that have little acquaintance with Christ, as those daughters of Jerusalem here, cannot but see an amiable beauty in those that bear his image, which we should love wherever we see it, though in different dresses. 2. Their enquiry concerning her beloved: " What is thy beloved more than another beloved? If thou wilt have us to find him for thee, give us his marks, that we may know him when we see him."(1.) Some take it for a scornful question, blaming her for making such ado about him: "Why shouldst thou be so passionate in enquiring after thy beloved, more than others are after theirs? Why shouldst thou be so set upon him, more than others that yet have a kindness for him?"Those that are zealous in religion are men wondered at by such as are indifferent to it. The many careless ones laugh at the few that are solicitous and serious. "What is there in him that is so very charming, more than in another person? If he be gone, thou, who art the fairest among women, wilt soon have another with an equal flame."Note, Carnal hearts see nothing excellent or extraordinary in the Lord Jesus, in his person or offices, in his doctrine or in his favours; as if there were no more in the knowledge of Christ, and in communion with him, than in the knowledge of the world and in its conversation. (2.) Others rather take it for a serious question, and suppose that those who put it intended, [1.] To comfort the spouse, who, they knew, would recover new spirits if she did but talk awhile of her beloved; nothing would please her better, nor give a more powerful diversion to her grief, than to be put upon the pleasing task of describing the beauties of her beloved. [2.] To inform themselves; they had heard, in general, that he was excellent and glorious, but they desired to know more particularly. They wondered what moved the spouse to charge them concerning her beloved with so much vehemence and concern, and therefore concluded there must be something more in him than in another beloved, which they are willing to be convinced of. Then there begin to be some hopes of people when they begin to enquire concerning Christ and his transcendent perfections. And sometimes the extraordinary zeal of one, in enquiring after Christ, may be a means to provoke many (2Co 9:2), as the apostle, by the faith of the Gentiles, would stir up the Jews to a holy emulation, Rom 11:14. See Joh 4:10.

II. The account which the spouse gives of her beloved in answer to this question. We should always be ready to instruct and assist those that are enquiring after Christ. Experienced Christians, who are well acquainted with Christ themselves, should do all they can to make others acquainted with him.

1. She assures them, in general, that he is one of incomparable perfections and unparalleled worth (Son 5:10): "Do not you know my beloved? Can the daughters of Jerusalem be ignorant of him that is Jerusalem's crown and crowned head? Let me tell you then,"(1.) That he has every thing in him that is lovely and amiable: My beloved is white and ruddy, the colours that make up a complete beauty. This points not at any extraordinary beauty of his body, when he should be incarnate (it was never said of the child Jesus, as of the child Moses, when he was born, that he was exceedingly fair, Act 7:20; nay, he had no form nor comeliness, Isa 53:2); but his divine glory, and the concurrence of every thing in him as Mediator, to make him truly lovely in the eyes of those that are enlightened to discern spiritual things. In him we may behold the beauty of the Lord; he was the holy child Jesus; that was his fairness. If we look upon him as made to us wisdom, righteousness, sanctification, and redemption, he appears, in all, very amiable. His love to us renders him lovely. He is white in the spotless innocency of his life, ruddy in the bloody sufferings he went through at his death, - white in his glory, as God (when he was transfigured his raiment was white as the light ), ruddy in his assuming the nature of man, Adam - red earth, - white in his tenderness towards his people, ruddy in his terrible appearances against his and their enemies. His complexion is a very happy composition. (2.) That he has that loveliness in him which is not to be found in any other: He is the chief among ten thousand, a nonsuch for beauty, fairer than the children of men, than any of them, than all of them; there is none like him, nor any to be compared with him; every thing else is to be accounted loss and dung in comparison of him, Phi 3:8. He is higher than the kings of the earth (Psa 89:27) and has obtained a more excellent name than any of the principalities and powers of the upper or lower world, Phi 2:9; Heb 1:1-14, 4. He is a standard-bearer among ten thousand (so the word is), the tallest and comeliest of the company. He is himself lifted up as an ensign (Isa 11:10), to whom we must be gathered and must always have an eye. And there is all the reason in the world why he should have the innermost and uppermost place in our souls who is the fairest of ten thousands in himself and the fittest of twenty thousands for us.

2. She gives a particular detail of his accomplishments, conceals not his power or comely proportion. Every thing in Christ is amiable. Ten instances she here gives of his beauty, which we need not be nice in the application of, lest the wringing of them bring forth blood and prove the wresting of them. The design, in general, is to show that he is every way qualified for his undertaking, and has all that in him which may recommend him to our esteem, love, and confidence. Christ's appearance to John (Rev 1:13, etc.) may be compared with the description which the spouse gives of him here, the scope of both being to represent him transcendently glorious, that is, both great and gracious, made lovely in the eyes of believers and making them happy in himself. (1.) His head is as the most fine gold. The head of Christ is God (1Co 11:3), and it is promised to the saints that the Almighty shall be their gold (Job 22:25), their defence, their treasure; much more was he so to Christ, in whom dwells all the fulness of the Godhead bodily, Col 2:9. Christ's head bespeaks his sovereign dominion over all and his vital influence upon his church and all its members. This is as gold, gold; the former word in the original signifies shining gold, the latter strong solid gold; Christ's sovereignty is both beautiful and powerful. Nebuchadnezzar's monarchy is compared to a head of gold (Dan 2:38), because it excelled all the other monarchies, and so does Christ's government. (2.) His locks are bushy and black, not black as the tents of Kedar, whose blackness was their deformity, to which therefore the church compares herself (Son 1:5), but black as a raven, whose blackness is his beauty. Sometimes Christ's hair is represented as white (Rev 1:14), denoting his eternity, that he is the ancient of days; but here as black and bushy, denoting that he is ever young and that there is in him no decay, nothing that waxes old. Every thing that belongs to Christ is amiable in the eyes of a believer, even his hair is so; it was pity that it should be wet, as it was, with the dew, and these locks with the drops of the night, while he waited to be gracious, Son 5:2. (3.) His eyes are as the eyes of doves, fair and clear, and chaste and kind, by the rivers of waters, which doves delight in, and in which, as in a glass, they see themselves. They are washed, to make them clean, washed with milk, to make them white, and fitly set, neither starting out nor sunk in. Christ is of purer eyes than to behold iniquity, for they are doves' eyes, Hab 1:13. All believers speak with pleasure of the omniscience of Christ, as the spouse here of his eyes; for, though it be terrible to his enemies as a flame of fire (Rev 1:14), yet it is amiable and comfortable to his friends, as doves' eyes, for it is a witness to their integrity. Thou knowest all things, thou knowest that I love thee. Blessed and holy are those that walk always as under the eye of Christ. (4.) His cheeks (the rising of the face) are as a bed of spices, raised in the gardens, which are the beauty and wealth of them, and as sweet flowers, or towers of sweetness. There is that in Christ's countenance which is amiable in the eyes of all the saints, in the least glimpse of him, for the cheek is but a part of the face. The half discoveries Christ makes of himself to the soul are reviving and refreshing, fragrant above the richest flowers and perfumes. (5.) His lips are like lilies, not white like lilies, but sweet and pleasant. Such are the words of his lips to all that are sanctified, sweeter than honey and the honey-comb; such are the kisses of his lips, all the communications of his grace; grace is poured into his lips, and those that heard him wondered at the gracious words which proceeded out of his mouth. His lips are as lilies, dropping sweet-smelling myrrh. Never any lilies in nature dropped myrrh, but nothing in nature can fully set forth the beauty and excellence of Christ, and therefore, to do it by comparison, there must be a composition of images. (6.) His hands are as gold rings set with the beryl, a noted precious stone, Son 5:14. Great men had their hands adorned with gold rings on their fingers, set with diamonds or other precious stones, but, in her eye, his hands themselves were as gold rings; all the instances of his power, the works of his hands, all the performances of his providence and grace, are all rich, and pure, and precious, as gold, as the precious onyx and the sapphire, all fitted to the purpose for which they were designed as gold rings to the finger, and all beautiful and very becoming, as rings set with beryl. His hands, which are stretched forth both to receive his people and to give to them, are thus rich and comely. (7.) His bowels are as bright ivory, for so it should be rendered, rather than his belly, for it is the same word that was used for bowels (Son 5:4) and is often ascribed to God (as Isa 63:15; Jer 31:20), and so it denotes his tender compassion and affection for his spouse, and the love he has to her even in her desolate and deserted state. This love of his is like bright ivory, finely polished, and richly overlaid with sapphires. The love itself is strong and firm, and the instances and circumstances of it are bright and sparkling, and add much to the inestimable value of it. (8.) His legs are as pillars of marble, so strong, and stately, and no disgrace, no, not to the sockets of fine gold upon which they are set, Son 5:15. This bespeaks his stability and stedfastness; where he sets his foot he will fix it; he is able to bear all the weight of the government that is upon his shoulders, and his legs will never fail under him. This sets forth the stateliness and magnificence of the goings of our God, our King, in his sanctuary (Psa 68:24), and the steadiness and evenness of all his dispensations towards his people. The ways of the Lord are equal; they are all mercy and truth; these are the pillars of marble, more lasting than the pillars of heaven. (9.) His countenance (his port and mien) is as Lebanon, that stately hill; his aspect beautiful and charming, like the prospect of that pleasant forest or park, excellent as the cedars, which, in height and strength, excel other trees, and are of excellent use. Christ is a goodly person; the more we look upon him the more beauty we shall see in him. (10.) His mouth is most sweet; it is sweetness itself; it is sweetnesses (so the word is); it is pure essence, nay, it is the quintessence of all delights, Son 5:16. The words of his mouth are all sweet to a believer, sweet as milk to babes (to whom it is agreeable), as honey to those that are grown up (Psa 119:103), to whom it is delicious. The kisses of his mouth, all the tokens of his love, have a transcendent sweetness in them, and are most delightful to those who have their spiritual senses exercised. To you that believe he is precious.

3. She concludes with a full assurance both of faith and hope, and so gets the mastery of her trouble. (1.) Here is a full assurance of faith concerning the complete beauty of the Lord Jesus: " He is altogether lovely. Why should I stand to mention particulars, when throughout there is nothing amiss?"She is sensible she does him wrong in the particular descriptions of him, and comes far short of the dignity and merit of the subject, and therefore she breaks off with the general encomium: He is truly lovely, he is wholly so; there is nothing in him but what is amiable, and nothing amiable but what is in him. He is all desires; he has all in him that one can desire. And therefore all her desire is towards him, and she seeks him thus carefully and cannot rest contented in the want of him. Who can but love him who is so lovely? (2.) Here is a full assurance of hope concerning her own interest in him: " This is my beloved, and this is my friend; and therefore wonder not that I thus long after him."See with what a holy boldness she claims relation to him, and then with what a holy triumph she proclaims it. It is property that sweetens excellency. To see Christ, and not to see him as ours, would be rather a torture than a happiness; but to see one that is thus lovely, and to see him as ours, is a complete satisfaction. Here is a true believer, [1.] Giving an entire consent to Christ: "He is mine, my Lord and my God (Joh 20:28), mine according to the tenour of the gospel-covenant, mine in all relations, bestowed upon me, to be all that to me that my poor soul stands in need of."[2.] Taking an entire complacency in Christ. It is spoken of here with an air of triumph: "This is he whom I have chosen, and to whom I have given up myself. None but Christ, none but Christ. This is he on whom my heart is, for he is my best-beloved; this is he in whom I trust, and from whom I expect all good, for this is my friend. "Note, Those that make Christ their beloved shall have him their friend; he has been, is, and will be, a special friend to all believers. He loves those that love him; and those that have him their friend have reason to glory in him, and speak of him with delight. "Let others be governed by the love of the world, and seek their happiness in its friendship and favours, This is my beloved and this is my friend. Others may do as they please, but this is my soul's choice, my soul's rest, my life, my joy, my all; this is he whom I desire to live and die with."

Keil-Delitzsch: Sos 5:13

13 a His cheeks like a bed of sweet herbs,

Towers of spicy plants.

A flower-bed is called ערוּגה , from ערג , to be oblique, inclined. His cheeks are like such a soft raised bed, and the impression their appearance makes is like the fragrance which flows from such a bed planted with sweet-scented flowers. Migedaloth are the tower-like or pyramidal mounds, and merkahhim are the plants used in spicery. The point of comparison here is thus the soft elevation; perhaps with reference to the mingling of colours, but the word chosen (merkahhim ) rather refers to the lovely, attractive, heart-refreshing character of the impression. The Venet., keeping close to the existing text: αἱ σιαγόνες αὐτοῦ ὡς πρασιὰ τοῦ ἀρώματος πύργοι ἀρωματισμῶν (thus not a ̓ρωματιστῶν ] according to Gebhardt's just conjecture). But is the punctuation here correct? The sing. כערוגת is explained from this, that the bed is presented as sloping from its height downward on two parallel sides; but the height would then be the nose dividing the face, and the plur. would thus be more suitable; and the lxx, Symm., and other ancient translators have, in fact, read כערוגת . But still less is the phrase migdeloth merkahhim to be comprehended; for a tower, however diminutive it may be, it not a proper figure for a soft elevation, nor even a graduated flowery walk, or a terraced flowery hill, - a tower always presents, however round one may conceive it, too much the idea of a natural chubbiness, or of a diseased tumour. Therefore the expression used by the lxx, φύουσαι μυρεψικά , i.e. , מרק ' מהדּלות , commends itself. Thus also Jerome: sicut areolae aromatum consitae a pigmentariis , and the Targ. (which refers לחיים allegorically to the לוּחי of the law, and merkahhim to the refinements of the Halacha): "like the rows of a garden of aromatic plants which produce ( gignentes ) deep, penetrating sciences, even as a (magnificent) garden, aromatic plants."Since we read מגדּלות כערוגת , we do not refer migadloth , as Hitzig, who retains כערוגת , to the cheeks, although their name, like that of the other members ( e.g. , the ear, hand, foot), may be fem. (Böttch. §649), but to the beds of spices; but in this carrying forward of the figure we find, as he does, a reference to the beard and down on the cheeks. גּדּל is used of suffering the hair to grow, Num 6:5, as well as of cultivating plants; and it is a similar figure when Pindar, Nem . v. 11, compares the milk-hair of a young man to the fine woolly down of the expanding vine-leaves ( vid ., Passow). In merkahhim there scarcely lies anything further than that this flos juventae on the blooming cheeks gives the impression of the young shoots of aromatic plants; at all events, the merkahhim , even although we refer this feature in the figure to the fragrance of the unguents on the beard, are not the perfumes themselves, to which megadloth is not appropriate, but fragrant plants, so that in the first instance the growth of the beard is in view with the impression of its natural beauty.

13 b His lips lilies,

Dropping with liquid myrrh.

Lilies, viz., red lilies ( vid ., under Son 2:1), unless the point of comparison is merely loveliness associated with dignity. She thinks of the lips as speaking. All that comes forth from them, the breath in itself, and the breath formed into words, is עבר מור , most precious myrrh, viz., such as of itself wells forth from the bark of the balsamodendron . עבר , the running over of the eyes (cf. myrrha in lacrimis , the most highly esteemed sort, as distinguished from myrrha in granis ), with which Dillmann combines the Aethiop. name for myrrh, karbê ( vid ., under Song _Num 5:5).

Constable: Sos 5:2--8:5

IV. THE MATURING PROCESS 5:2--8:4

In this last major section of the book the married love of Solomon and the Shulammite is in view. This stage of love is not without its share of problems. However the king and his bride worked through them, and these chapters provide insight into dealing effectively with basic marriage difficulties.

"Here we are given the beloved's perspective. Of the 111 lines, 80 in this section are the words of the girl. This is really her book."⁷⁴

Constable: Sos 5:2--7:1

A. The Problem of Apathy 5:2-6:13

Sometime after the wedding the Shulammite failed to respond encouragingly to Solomon's demonstration of affection. This led him to withdraw from her. Shortly after that, she realized that a gap had opened up between them. They were no longer as intimate as they had been.

Constable: Sos 5:9-16

2. Renewed affection 5:9-16

This pericope contains the most extensive physical description of any character in the Old Testament, namely, Solomon. Of course, it is poetic and so not a completely literal description.

5:9 We might hear this attitude expressed in these words today: "What is so great about him? Surely you could find someone who would treat you better than he does!"

5:10-16 Nevertheless the Shulammite still loved Solomon very much, as is clear from her description of him here. The comparisons illustrate his value and attractiveness to her more than giving us a picture of his actual physical appearance. For example, his hand (v. 11) was not the color of gold, but his dealings with her symbolized by his hand had been of the highest quality. Some features in her description may be purely physical such as his black hair (v. 11). These verses show that a woman has the right to enjoy her husband's body (cf. 1 Cor. 7:4).

"A normal person finds the erotic ultimately meaningful only if there is trust and commitment, delight in the other's person as well as in the body."⁷⁸

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 5 (Chapter Introduction)

Overview

Son 5:1, Christ awakes the church with his calling; Son 5:2, The church having a taste of Christ’s love, is sick of love; Son 5:9, A description of Christ by his graces.

Poole: The Song of Songs 5 (Chapter Introduction)

OF SOLOMON CHAPTER 5

Christ answereth the church’ s invitation, and showeth her the delight he took in her fruit, Son 5:1 . She acknowledges her negligence to Christ in not opening the door, Son 5:2-6 . Of the harsh usage she met with, Son 5:7 . She tells the daughters of Jerusalem she is sick of love to Christ. Son 5:8 . Their question concerning him, Son 5:9 . A description of Christ by his graces, Son 5:10-15 , in whom she boasteth, Son 5:16 .

I am come into my garden: this is the Bridegroom’ s answer to her request, delivered in the next foregoing words.

I have eaten my honey-comb with my honey; I have drunk my wine, with my milk I have eaten of my pleasant fruits, as thou didst desire. I have taken notice of, and delight in, the service and obedience of my people.

Friends the friends of the Bridegroom; whereby he understands either,

1. The holy angels and glorified saints, who in a sublime and spiritual sense may be said to eat and drink in heaven, the happiness whereof is frequently represented under the name and notion of a feast. Or rather,

2. Believers or members of the church militant upon earth, who by the argument of Christ’ s gracious presence with them, and acceptation of their works signified in the last words, are here invited and encouraged with great freedom and cheerfulness to eat and drink their spiritual food, to feed upon God’ s holy word and sacraments, to eat the flesh and drink the blood of the Son of God, who here gives them a hearty welcome to this feast.

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 5 (Chapter Introduction)

(Son 5:1) Christ's answer.

(Son 5:2-8) The disappointments of the church from her own folly.

(Son 5:9-16) The excellences of Christ.

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 5 (Chapter Introduction)

In this chapter we have, I. Christ's gracious acceptance of the invitation which his church had given him, and the kind visit which he made to her (Son 5:1). II. The account which the spouse gives of her own folly, in putting a slight upon her beloved, and the distress she was in by reason of his withdrawings (Son 5:2-8). III. The enquiry of the daughters of Jerusalem concerning the amiable perfections of her beloved (Son 5:9), and her particular answer to that enquiry (Son 5:10-16). " Unto you that believe he is thus precious."

Constable: The Song of Songs (Book Introduction)

Introduction

Title

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

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

Writer and Date

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

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

Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

Purpose

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

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

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

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

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

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

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

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

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

Canonicity

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

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

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

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

Message²⁴

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

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

3. Solomon's praise 1:9-11

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

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

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

2. The groom's request 4:8

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

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

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

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

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

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

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

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

3. The ultimate unity 7:10

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

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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

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

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

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

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

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

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

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

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

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

Darby, John Nelson. Synopsis of the Books of the Bible. 5 vols. Revised ed. New York: Loizeaux Brothers Publishers, 1942.

Deere, Jack S. "Song of Songs." In The Bible Knowledge Commentary: Old Testament, pp. 1009-25. Edited by John F. Walvoord and Roy B. Zuck. Wheaton: Scripture Press Publications, Victor Books, 1985.

Delitzsch, Franz. Biblical Commentary on the Song of Songs and Ecclesiastes. Translated by M. G. Eason. Biblical Commentary on the Old Testament. Reprint ed., Grand Rapids: Wm. B. Eerdmans Publishing Co., n.d.

Dillow, Joseph C. Solomon on Sex. Nashville: Thomas Nelson, 1979.

Exum, J. Cheryl. "A Literary and Structural Analysis of the Song of Songs." Zeitschrift für die Alttestamentliche Wissenschaft 85 (1973):47-79.

Farstad, Arthur L. "Literary Genre of the Song of Songs." Th.M. thesis, Dallas Theological Seminary, 1967.

Gaebelein, Arno C. The Annotated Bible. 4 vols. Reprint ed. Chicago: Moody Press, and New York: Loizeaux Brothers, Inc., 1970.

Ginsburg, Christian D. Song of Songs and Coheleth. Reprint ed., New York: KTAV Publishing House, 1970.

Glickman, S. Craig. A Song for Lovers. Downers Grove, Ill.: InterVarsity Press, 1976.

Godet, F. "The Interpretation of the Song of Songs." In Classical Evangelical Essays in Old Testament Interpretation, pp. 151-75. Edited by Walter C. Kaiser Jr. Grand Rapids: Baker Book House, 1972.

Gordis, Robert. The Song of Songs and Lamentations. New York: KTAV Publishing House, 1974.

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

Gray, George Buchanan. The Forms of Hebrew Poetry. Library of Biblical Studies series. 1915; reprint ed. New York: KTAV Publishing House, 1972.

Holmyard, Harold R., III. "Solomon's Perfect One." Bibliotheca Sacra 155:618 (April-June 1998):164-71.

Hubbard, David A. Ecclesiastes, Song of Solomon. Communicator's Commentary series. Dallas: Word Books, 1991.

Keown, Gerald L., Pamela J. Scalise, and Thomas G. Smothers. Jeremiah 26-52. Word Biblical Commentary series. Dallas: Word Books, 1995.

Knight, George A. F. Esther, Song of Songs, Lamentations. London: SCM Press, 1955.

_____. The Song of Songs. International Theological Commentary series. Grand Rapids: Wm. B. Eerdmans Publishing Co., 1988.

LaCocque, Andre. Romance, She Wrote: A Hermeneutical Essay on Song of Songs. Harrisburg, Pa.: Trinity, 1998.

Lange, John Peter, ed. Commentary on the Holy Scriptures. 12 vols. Reprint ed., Grand Rapids: Zondervan Publishing House, 1960. Vol. 4: Psalms-Song of Solomon, by Carl Bernard Moll and Otto Zockler. Translated and edited by Charles A. Briggs, John Forsyth, James B. Hammond, J. Fred McCurdy, Charles A. Aiken, Tayler Lewis, William Wills, and W. Henry Green.

LaSor, William S.; David Allan Hubbard; and F. W. Bush. Old Testament Survey. Grand Rapids: Wm. B. Eerdmans Publishing Co., 1982.

Laurin, Robert B. "The Life of True Love: The Son of Songs and Its Modern Message." Christianity Today, August 3, 1962, pp. 10-11.

Lehrman, S. M. "The Song of Songs." In The Five Megilloth. London: Soncino Press, 1946.

Meyers, Carol. "Gender Imagery in the Song of Songs." Hebrew Annual Review 10 (1986):209-23.

Miller, Andrew. Meditations on the Song of Solomon. London: Pickering & Inglis, n.d.

Morgan, G. Campbell. Living Messages of the Books of the Bible. 2 vols. New York: Fleming H. Revell Co., 1912.

Murphy, Roland E. The Song of Songs. Hermeneia series. Minneapolis: Fortress Press, 1990.

Nelson, H. Thomas. "Love Song: >From Attraction to Faithfulness." 6 cassette tapes. Denton, Tex.: Denton Bible Church, 1991.

Parsons, Greg W. "Guidelines for Understanding and Utilizing the Song of Songs." Bibliotheca Sacra 156:624 (October-December 1999):399-422.

Patterson, Paige. Song of Solomon. Everyman's Bible Commentary series. Chicago: Moody Press, 1986.

Phipps, William E. "The Plight of the Song of Songs." Journal of the American Academy of Religion 42 (1974):82-100.

Pope, Marvin H. Song of Songs. Anchor Bible series. Garden City, N.Y.: Doubleday and Co., 1977.

Robinson, Theodore H. The Poetry of the Old Testamen

t

. London: Duckworth, 1947.

Rowley, H. H. "The Interpretation of the Song of Songs." In The Servant of the Lord, pp. 195-245. Lutherworth Press, 1952; 2nd ed revised, Oxford: Basil Blackwell & Mott, 1965.

Rylaardsdam, J. Coert. The Proverbs, Ecclesiastes, The Song of Solomon. Layman's Bible Commentary series. Richmond: John Knox Press, 1964.

_____. "The Song of Songs and Biblical Faith." Biblical Research 10 (1965):7-18.

Sasson, Victor. "King Solomon and the Dark Lady in the Song of Songs." Vetus Testamentum 39:4 (October 1989):407-14.

Schonfield, Hugh S. The Song of Songs. New York: New American Library, 1959.

Shea, Williams H. "The Chiastic Structure of the Song of Songs. Zeitschrift für die Alttestamentliche Wissenschaft 92 (1980):378-96.

Tanner, J. Paul. "The History of Interpretation of the Song of Songs." Bibliotheca Sacra 154:613 (January-March 1997):23-46.

_____. "The Message of the Song of Songs." Bibliotheca Sacra 154:614 (April-June 1997):142-61.

Taylor, J. Hudson. Union and Communion. Reprint ed., London: China Inland Mission, 1954.

von Rad, Gerhard. Wisdom in Israel. New York: Abingdon, 1972.

Woudstra, Sierd. "The Song of Solomon." In The Wycliffe Bible Commentary, pp. 595-604. Edited by Charles F. Pfeiffer and Everett F. Harrison. Chicago: Moody Press, 1962.

Yamauchi, Edwin M. "Cultural Aspects of Marriage in the Ancient World." Bibliotheca Sacra 135:539 (July-September 1978):241-52.

Yoder, Sanford Calvin. Poetry of the Old Testament. Scottdale, Pa: Herald Press, 1973.

Zuck, Roy B. "A Theology of the Wisdom Books and the Song of Songs." In A Biblical Theology of the Old Testament, pp. 207-55. Edited by Roy B. Zuck. Chicago: Moody Press, 1991.

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 5 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 5

This chapter begins with Christ's answer to the church's request; in which he informs her, that he was come into his garden, as she desired, and gives an account of what he had done there; and kindly invites his dear friends to feast with him there, Son 5:1; Then she relates her case and circumstances, which followed upon this, her sleepy frame, and ungrateful carriage to her beloved; which he resenting, withdrew from her, and this gave her sensible pain, Son 5:2; what treatment she met with from the watchmen; her charge to the daughters of Jerusalem; and the questions they asked about her beloved, Son 5:7; which put her upon giving a large description of him, by each of his parts, head, hair, &c. Son 5:10; And the chapter is concluded with a general commendation of him and his loveliness, and a claim of interest in Son 5:16.