Text -- The Song of Songs 6:10 (NET)

6:10 “Who is this who appears like the dawn? Beautiful as the moon, bright as the sun, awe-inspiring as the stars in procession?”

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 6:10

These are the words of the queens and concubines. Who, what manner of person is this, how excellent and glorious! Morning - As the morning light, which coming after the darkness, is very pleasant and amiable.

JFB: Sos 6:10

The words expressing the admiration of the daughters. Historically (Acts 5:24-39).

JFB: Sos 6:10

As yet she is not come to the fulness of her light (Pro 4:18).

JFB: Sos 6:10

Shining in the night, by light borrowed from the sun; so the bride, in the darkness of this world, reflects the light of the Sun of righteousness (2Co 3:18).

JFB: Sos 6:10

Her light of justification is perfect, for it is His (2Co 5:21; 1Jo 4:17). The moon has less light, and has only one half illuminated; so the bride's sanctification is as yet imperfect. Her future glory (Mat 13:43).

JFB: Sos 6:10

(Son 6:4). The climax requires this to be applied to the starry and angelic hosts, from which God is called Lord of Sabaoth. Her final glory (Gen 15:5; Dan 12:3; Rev 12:1). The Church Patriarchal, "the morning"; Levitical, "the moon"; Evangelical, "the sun"; Triumphant, "the bannered army" (Rev 19:14).

Clarke: Sos 6:10

Looketh forth as the morning - The bride is as lovely as the dawn of day, the Aurora, or perhaps the morning star, Venus. She is even more resplendent, she is as beautiful as the Moon. She even surpasses her, for she is as clear and bright as the Sun; and dangerous withal to look on, for she is as formidable as the vast collection of lights that burn by night at the head of every company in a numerous caravan. See the note on Son 6:4 (note). The comparison of a fine woman to the splendor of an unclouded full moon is continually recurring in the writings of the Asiatic poets.

TSK: Sos 6:10

Who : Son 3:6, Son 8:5; Isa 63:1; Rev 21:10, Rev 21:11

looketh : 2Sa 23:4; Job 11:17; Pro 4:18; Isa 58:8; Hos 6:5; Rev 22:16

fair : Job 31:26; Eph 5:27

clear : Psa 14:5; Mal 4:2; Mat 13:43, Mat 17:2; Rev 10:1, Rev 12:1, Rev 21:23, Rev 22:5

terrible : Son 6:4; Rom 8:37

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 6:10

The chorus address the bride here only as the Shulamite, and beg her to perform for their entertainment a sacred dance (see Son 6:13) of her own country. The bride, after complying with their request, while they sing some stanzas in her praise Son 7:1-5, and after receiving fresh commendations from the king Son 7:6-10, invites him to return with her to her mother’ s house Cant. 7:11\endash 8:4. Many Jewish allegorists interpret the whole as referring to the times of the second temple, and to the present dispersion of Israel, during which, God continuing to vouchsafe His mercy, Israel prays for final restoration, the coming of Messiah, and the glory of the latter day. Christian interpreters have made similar applications to the now militant Church looking for the Second Advent, or to the ancient synagogue praying for the Incarnation.

As the morning - The glorious beauty of the bride bursts upon them like a second dawn, as she comes forth to meet them at the commencement of another day. Special poetical words are used for "sun"(burning heat) and "moon"(white one). The same terms are applied to sun and moon in Isa 24:23; Isa 30:26.

Poole: Sos 6:10

These are the words, either,

1. Of the Bridegroom; or,

2. of the queens and concubines last mentioned, as praising of her. And they are either words of inquiry, or rather of admiration and commendation:

Who i.e. what manner of person, is this? how excellent and glorious! and so this pronoun who is understood Psa 24:8 Mar 4:41 , compared with Mat 8:27 .

As the morning as the morning light, which coming after the darkness of the night is very pleasant and amiable, which also suddenly spreadeth itself from the east to the west.

Fair as the moon to wit, when it is full and walking in brightness , as the phrase is, Job 31:26 . But withal he seems to intimate that the church, like the moon, may have her eclipse, and be in darkness for a time.

Clear as the sun without any such spots or dark specks as are in the moon; which is to be understood in the same sense that she is said to be without spot, or wrinkle, or blemish, Eph 5:27 , which she is partly by God’ s gracious acceptation of her as such in Christ, and through his righteousness; and partly because she shall be such in the future life.

Terrible as an army with banners: see Son 6:4 .

Gill: Sos 6:10

Who is she that looketh forth as the morning?.... These words may be connected with the preceding, by a supplement of the word "saying"; and so may express what the daughters said, when they blessed and praised the church, wondering at her beauty, it being like the rising morning; so Helena is said to show her beautiful face, αως αντελλοισα, as the morning, when it springs forth ⁿ: there was a city in the tribe of Reuben, called Zarethshahar, the beauty or splendour of the morning, Jos 13:19. Homer often describes the morning by her rosy fingers ^o, and as clothed with a saffron garment ^p, and as beautiful and divine ^q, and fair haired ^r; and as on a golden throne and beautiful ^s. And as these words describe the progressive gradations of light, so they may set forth the state and condition of the church in the several ages of the world; its first state in this clause, which may reach from the first dawn of light to Adam, Gen 3:15; increasing in the times of the patriarchs, Noah, Abraham, and Jacob, and in which and to whom were various displays of Gospel light and grace; to the time of the giving of the law by Moses, when the church might be said to be

fair as the moon; which, though it receives its light from the sun, yet splendour and brightness are ascribed to it, Job 31:26; and, by other writers ^t, is represented as fair and beautiful; and the beautiful form of persons is expressed by it ^u: and very fitly is the state of the church under the law signified by the moon, by which the ceremonial law seems intended, in Rev 12:1; that lying much in the observation of new moons, by the which the several festivals under the law were regulated; and which law gave light in the night of Jewish darkness, into the person, offices, and grace of Christ; and though it was imperfect, variable, waxed old, and at length vanished away, yet the church under it was "fair"; there being a beauty and amiableness in the worship of that dispensation, Psa 27:4. The next clause, "clear as the sun", may describe the church under the Gospel dispensation; when the "sun of righteousness" arose, and made the famous Gospel day; when the shadows of the old law fled away, Christ, the substance, being come; when there were more light and knowledge, and a clear discerning of spiritual and evangelic things: and, in all those periods, the church was "terrible as an army with banners"; to her enemies, being in a militant state; See Gill on Son 6:4. The whole of this may be applied to particular believers; who, at first conversion, "look forth as the morning", their light being small, but increasing; and, as to their sanctification, are "fair as the moon", having their spots and imperfections, and deriving all their light, grace, and holiness, from Christ; and, as to their justification,

clear as the sun, being clothed with Christ, the sun of righteousness, Rev 12:1; and so all fair and without spot;

and terrible as an army with banners, fighting the good fight of faith, under the banners of Christ, against all spiritual enemies.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 6:10

¹ sn This rhetorical question emphasizes her position among women (e.g., Mic 2:7; Joel 2:1).

² tn Alternately, “rises” or “looks forth.” Delitzsch renders הַנִּשְׁקָפָה (hannishqafah) as “who rises,” while NIV opts for “who appears.” The verb means “to look down upon [something] from a height” and is derived from the related noun “ceiling, roof, sky” (BDB 1054 s.v. שָׁקַף; HALOT 1645 s.v. שׁקף). The verb is used of looking down over a plain or valley from the vantage point of a mountain-top (Num 21:20; 23:28; 1 Sam 13:18); of God looking down from heaven (Ps 14:2); or of a person looking down below out of an upper window (Judg 5:28; 2 Sam 6:16; Prov 7:6). M. H. Pope (The Song of Songs [AB], 571-72) suggests that this verb implies the idea of her superiority over the other women, that is, she occupies a “higher” position over them due to his choice of her. But another interpretation is possible: The verb creates personification (i.e., the dawn is attributed with the human action of looking). Just as the dawn is the focus of attention during the morning hours and looks down upon the earth, so too she is the focus of his attention and is in the privileged position over all the other women.

³ sn The common point in these four comparisons is that all are luminaries. In all four cases, each respective luminary is the focus or center of attention at the hour at hand because it dwarfs its celestial surroundings in majesty and in sheer brilliance. All other celestial objects pale into insignificance in their presence. This would be an appropriate description of her because she alone was the center and focus of his attention. All the other women paled into the background when she was present. Her beauty captured the attention of all that saw her, especially Solomon.

⁴ tn The term לְבָנָה (lÿvanah) literally means “the white one” (BDB 526 s.v. לְבָנָה) and is always used in reference to the moon. It is only used elsewhere in the OT in parallelism with the term used to designate the sun (Isa 24:23; 30:26), which likewise is not the ordinary term, but literally means “the hot one,” emphasizing the heat of the sun (Job 30:28; Ps 19:6). Both of these terms, “the white one” and “the hot one,” are metonymies of adjunct in which an attribute (i.e., color and heat) are substituted for the subject itself. The white moon in contrast to the dark night sky captures one’s attention, just as the red-hot sun in the afternoon sky is the center of attention during the day. The use of the figurative comparisons of her beauty to that of the dawn, sun, moon, and stars is strikingly similar to the Hebrews’ figurative comparison of Simon the high priest coming out of the sanctuary to the morning star, moon, sun, and rainbow: “How glorious he was when the people gathered round him as he came out of the inner sanctuary! Like the morning star among the clouds, like the moon when it is full; like the sun shining upon the temple of the Most High, and like the rainbow gleaming in glorious clouds” (See G. Gerleman, Ruth, Das Hohelied [BKAT], 171).

⁵ tn Heb “pure as the sun.”

⁶ tn The adjective אָיֹם (’ayom) has been nuanced “terrible” (KJV, RSV), “frightful, fear-inspiring” (Delitzsch), “majestic” (NIV), “awesome” (NASB). In the light of its parallelism with יָפָה (yafah, “beautiful”) and נָאוָה (na’vah, “lovely”) in 6:4, and יָפָה (“fair”) and בָּרָה (barah, “bright”) in 6:10, it should be nuanced “awe-inspiring” or “unnervingly beautiful.”

⁷ tn Heb “as bannered armies.” The term כַּנִּדְגָּלוֹת (kannidgalot, “as bannered armies”) is used figuratively (hypocatastasis) in reference to stars which are often compared to the heavenly armies. This nuance is clear in the light of the parallelism with the dawn, moon, and sun.

Geneva Bible: Sos 6:10

^{( e )} Who [is] she [that] looketh forth as the morning, fair as the moon, clear as the sun, [and] terrible as [an army] with banners?

^{( e )} He shows that the beginning of the Church was small, but that it grew up to a great multitude.

Commentary -- Verse Range Notes

TSK Synopsis: Sos 6:1-13

1 The church professes her faith in Christ.

4 Christ shews the graces of the church;

10 and his love towards her.

MHCC: Sos 6:4-10

All the real excellence and holiness on earth centre in the church. Christ goes forth subduing his enemies, while his followers gain victories over the world, the flesh, and the devil. He shows the tenderness of a Redeemer, the delight he takes in his redeemed people, and the workings of his own grace in them. True believers alone can possess the beauty of holiness. And when their real character is known, it will be commended. Both the church and believers, at their first conversion, look forth as the morning, their light being small, but increasing. As to their sanctification, they are fair as the moon, deriving all their light, grace, and holiness from Christ; and as to justification, clear as the sun, clothed with Christ, the Sun of righteousness, and fighting the good fight of faith, under the banners of Christ, against all spiritual enemies.

Matthew Henry: Sos 6:4-10

Now we must suppose Christ graciously returned to his spouse, from whom he had withdrawn himself, returned to converse with her (for he speaks to her and makes her to hear joy and gladness ), returned to favour her, having forgiven and forgotten all her unkindness, for he speaks very tenderly and respectfully to her.

I. He pronounces her truly amiable (Son 6:4): Thou art beautiful, O my love! as Tirzah, a city in the tribe of Manasseh, whose name signifies pleasant, or acceptable, the situation, no doubt, being very happy and the building fine and uniform. Thou art comely as Jerusalem, a city compact together (Psa 122:3), and which Solomon had built and beautified, the joy of the whole earth; it was an honour to the world (whether they thought so or no) that there was such a city in it. It was the holy city, and that was the greatest beauty of it; and fitly is the church compared to it, for it was figured and typified by it. The gospel-church is the Jerusalem that is above (Gal 4:26), the heavenly Jerusalem (Heb 12:22); in it God has his sanctuary, and is, in a special manner, present; thence he has the tribute of praise issuing; it is his rest for ever, and therefore it is comely as Jerusalem, and, being so, is terrible as an army with banners. Church-censures, duly administered, strike an awe upon men's consciences; the word (the weapons of her warfare) casts down imaginations (2Co 10:5), and even an unbeliever is convinced and judged by the solemnity of holy ordinances, 1Co 14:24, 1Co 14:25. The saints by faith overcome the world (1Jo 5:4); nay, like Jacob, they have power with God and prevail, Gen 32:28.

II. He owns himself in love with her, Son 6:5. Though, for a small moment, and in a little wrath, he had hid his face from her, yet now he gathers her with very surprising instances of everlasting lovingkindness, Isa 54:8. Turn thy eyes towards me (so some read it), "turn the eyes of faith and love towards me, for they have lifted me up; look unto me, and be comforted."When we are calling to God to turn the eye of his favour towards us he is calling to us to turn the eye of our obedience towards him. We read it as a strange expression of love, " Turn away thy eyes from me, for I cannot bear the brightness of them; they have quite overcome me, and I am prevailed with to overlook all that is past;"as God said to Moses, when he interceded for Israel, " Let me alone, or I must yield,"Exo 32:10. Christ is pleased to borrow these expressions of a passionate lover only to express the tenderness of a compassionate Redeemer, and the delight he takes in his redeemed and in the workings of his own grace in them.

III. He repeats, almost word for word, part of the description he had given of her beauty (Son 4:1-3), her hair, her teeth, her temples (Son 6:5-7), not because he could not have described it in other words, and by other similitudes, but to show that he had still the same esteem for her since her unkindness to him, and his withdrawings from her, that he had before. Lest she should think that, though he would not quite cast her off, yet he would think the worse of her while he knew her, he says the same of her now that he had done; for those to whom much is forgiven will love the more, and, consequently, will be the more loved, for Christ has said, I love those that love me. He is pleased with his people, notwithstanding their weaknesses, when they sincerely repent of them and return to their duty, and commends them as if they had already arrived at perfection.

IV. He prefers her before all competitors, and sees all the beauties and perfections of others meeting and centering in her (Son 6:8, Son 6:9): " There are, it may be, threescore queens, who, like Esther, have by their beauty attained to the royal state and dignity, and fourscore concubines, whom kings have preferred before their own queens, as more charming, and these attended by their maids of honour, virgins without number, who, when there is a ball at court, appear in great splendour, with beauty that dazzles the eyes of the spectators; but my dove, my undefiled, is but one, a holy one."1. She excels them all. Go through all the world, and view the societies of men that reckon themselves wise and happy, kingdoms, courts, senates, councils, or whatever incorporations you may think valuable, they are none of them to be compared with the church of Christ; their honours and beauties are nothing to hers. Who is like unto thee, O Israel! Deu 33:29; Deu 4:6, Deu 4:7. There are particular persons, as virgins without number, who are famed for their accomplishments, the beauties of their address, language, and performances, but the beauty of holiness is beyond all other beauty: " My dove, my undefiled, is one, has that one beauty that she is a dove, an undefiled dove, and mine, and that makes her excel the queens and virgins, though they were ever so many."2. She included them all. "Other kings have many queens, and concubines, and virgins, with whose conversation they entertain themselves, but my dove, my undefiled, is to me instead of all; in that one I have more than they have in all theirs."Or, "Though there are many particular churches, some of greater dignity, others of less, some of longer, others of shorter, standing, and many particular believers, of different gifts and attainments, some more eminent, others less so, yet they all constitute but one catholic church, are all but parts of that whole, and that is my dove, my undefiled. "Christ is the centre of the church's unity; all the children of God that are scattered abroad are gathered by him (Joh 11:52), and meet in him (Eph 1:10), and are all his doves.

V. He shows how much she was esteemed, not by him only, but by all that had acquaintance with her and stood in relation to her. It would add to her praise to say, 1. That she was her mother's darling; she had that in her, from a child, which recommended her to the particular affection of her parents. As Solomon himself is said to have been tender and an only one in the sight of his mother (Pro 4:3), so was she the only one of her mother, as dear as if she had been an only one, and, if there were many more, yet she was the choice one of her that bore her, more excellent than all the societies of men this world ever produced. All the kingdoms of the world, and the glory of them, are nothing, in Christ's account, compared with the church, which is made up of the excellent ones of the earth, the precious sons of Zion, comparable to fine gold, and more excellent than their neighbours. 2. That she was admired by all her acquaintance, not only the daughters, who were her juniors, but even the queens and the concubines, who might have reason to be jealous of her as a rival; they all blessed her, and wished well to her, praised her, and spoke well of her. The daughters of Jerusalem called her the fairest among women; all agreed to give her the pre-eminence for beauty, and every sheaf bowed to hers. Note, (1.) Those that have any correct sense of things cannot but be convinced in their consciences (whatever they say) that godly people are excellent people; many will give them their good word, and more their good-will. (2.) Jesus Christ takes notice what people think and speak of his church, and is well pleased with those that honour such as fear the Lord, and takes it ill of those that despise them, particularly when they are under a cloud, that offend any of his little ones.

VI. He produces the encomium that was given of her, and makes it his own (Son 6:10): Who is she that looks forth as the morning? This is applicable both to the church in the world and to grace in the heart.

1. They are amiable as the light, the most beautiful of all visible things. Christians are, or should be, the lights of the world. The patriarchal church looked forth as the morning when the promise of the Messiah was first made known, and the day-spring from on high visited this dark world. The Jewish church was fair as the moon; the ceremonial law was an imperfect light; it shone by reflection; it was changing as the moon, did not make day, nor had the sun of righteousness yet risen. But the Christian church is clear as the sun, exhibits a great light to those that sat in darkness. Or we may apply it to the kingdom of grace, the gospel-kingdom. (1.) In its rise, it looks forth as the morning after a dark night; it is discovering (Job 38:12, Job 38:13), and very acceptable, looks forth pleasantly as a clear morning; but it is small in its beginnings, and scarcely perceptible at first. (2.) It is, at the best, in this world, but fair as the moon, which shines with a borrowed light, which has her changes and eclipses, and her spots too, and, when at the full, does but rule by night. But, (3.) When it is perfected in the kingdom of glory then it will be clear as the sun, the church clothed with the sun, with Christ the sun of righteousness, Rev 12:1. Those that love God will then be as the sun when he goes forth in his strength (Jdg 5:31; Mat 13:43); they shall shine in inexpressible glory, and that which is perfect will then come; there shall be no darkness, no spots, Isa 30:26.

2. The beauty of the church and of believers is not only amiable, but awful as an army with banners. The church, in this world, is as an army, as the camp of Israel in the wilderness; its state is militant; it is in the midst of enemies, and is engaged in a constant conflict with them. Believers are soldiers in this army. It has its banners; the gospel of Christ is an ensign (Isa 11:12), the love of Christ, Son 2:4. It is marshalled, and kept in order and under discipline. It is terrible to its enemies as Israel in the wilderness was, Exo 15:14. When Balaam saw Israel encamped according to their tribes, by their standards, with colours displayed, he said, How goodly are thy tents, O Jacob! Num 24:5. When the church preserves her purity she secures her honour and victory; when she is fair as the moon, and clear as the sun, she is truly great and formidable.

Keil-Delitzsch: Sos 6:10

10 Who is this that looketh forth like the morning-red,

Beautiful as the moon, pure as the sun,

Terrible as a battle-host?

The question, "Who is this?"is the same as at Son 3:6. There, it refers to her who was brought to the king; here, it refers to her who moves in that which is his as her own. There, the "this"is followed by עלה appositionally; here, by הנּשׁ looking forth determ., and thus more closely connected with it; but then indeterm., and thus apposit. predicates follow. The verb שׁקף signifies to bend forward, to overhang; whence the Hiph . השׁקיף and Niph . שׁקף , to look out, since in doing so one bends forward ( vid ., under Psa 14:2). The lxx here translates it by ἐκκύπτουσα , the Venet. by παρακύπτουσα , both of which signify to look toward something with the head inclined forward. The point of comparison is, the rising up from the background: Shulamith breaks through the shades of the garden-grove like the morning-red, the morning dawn; or, also: she comes nearer and nearer, as the morning-red rises behind the mountains, and then fills always the more widely the whole horizon. The Venet. translates ὡς ἑωσφόρος ; but the morning star is not שׁחר , but בּן־שׁחר , Isa 14:12; shahhar , properly, the morning-dawn, means, in Heb., not only this, like the Arab. shaḥar , but rather, like the Arab. fajr , the morning-red, - i.e. , the red tinge of the morning mist. From the morning-red the description proceeds to the moon, yet visible in the morning sky, before the sun has risen. It is usually called ירח , as being yellow; but here it is called לבנה , as being white; as also the sun, which here is spoken of as having risen (Jdg 5:31), is designated not by the word שׁמשׁ , as the unwearied ( Psa 19:6 , Psa 19:6 ), but, on account of the intensity of its warming light ( Psa 19:7 ), is called חמּה . These, in the language of poetry, are favourite names of the moon and the sun, because already the primitive meaning of the two other names had disappeared from common use; but with these, definite attributive ideas are immediately connected. Shulamith appears like the morning-red, which breaks through the darkness; beautiful, like the silver moon, which in soft still majesty shines in the heavens (Job 31:26); pure ( vid ., regarding בּר , בּרוּר in this signification: smooth, bright, pure under Isa.Isa 49:2) as the sun, whose light (cf. טהור with the Aram. מיהרא , mid-day brightness) is the purest of the pure, imposing as war-hosts with their standards ( vid ., Son 6:4). The answer of her who was drawing near, to this exclamation, sounds homely and childlike:

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 6:4-13

4. Restoration of intimacy 6:4-13

6:4-10 Solomon's first words to his beloved were praises. Verse 4c probably means Solomon felt weak-kneed as a result of gazing on his wife's beauty, as he would have felt facing a mighty opposing army. Her eyes too unnerved him (v. 5a). By using some of the same flattering comparisons he had employed on their wedding night (vv. 5-7), he assured her that his love for her had not diminished since then. The other women (vv. 8-9) were, perhaps, the women who frequented his court. Some commentators have taken them to be the members of Solomon's harem.⁷⁹

"If . . . the relationship of Solomon and Shulamith was monogamous at the outset, then the queen's concubines and virgins without number' must refer to those attached to the court of the king but not a part of his personal harem."⁸⁰

Solomon used these women for comparison to show how highly not only he but many other people regarded his beloved. Her beauty had grown and was still increasing in his eyes (v. 10).

6:11-13 Verses 11-12 are probably the Shulammite's words. She had gone down to Solomon's garden (v. 2) but to see if his love for her was still in bloom more than to examine the natural foliage (v. 11). Immediately because of his affirmation of his love (vv. 4-10) she felt elevated in her spirit, as though she was chief over all the 1,400 chariots in Solomon's great army (1 Kings 10:26). Evidently in her dream she rode out of the garden in a chariot accompanied by Solomon. As she did, the people they passed called out to her to come back so they might look on her beauty longer (v. 13a). However, Solomon answered them, "Why should you gaze at the Shulammite as you do at the dance at Mahanaim?" Perhaps he was referring to a celebration held at that transjordanian town that drew a specially large crowd of onlookers. However, we have no record that such an event took place there.

This ends the Shulammite's second dream (5:2-6:13; cf. 3:1-4).

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 6 (Chapter Introduction)

Overview

Son 6:1, The church professes her faith in Christ; Son 6:4, Christ shews the graces of the church; Son 6:10, and his love towards her.

Poole: The Song of Songs 6 (Chapter Introduction)

OF SOLOMON CHAPTER 6

An inquiry after Christ, Son 6:1 . The church’ s answer, Son 5:2 . The church confesseth her faith in Christ, Son 6:3 . Christ showeth the graces of his church, Son 6:4 , and the beauty of several parts, Son 6:5-10 . He acquaints her where he had been, and what he had been doing, Son 6:11 ; and discovers his affection to her, Son 6:12 ; with an invitation of her to return to him again, Son 6:13 .

These are the words of the daughters of Jerusalem, last mentioned, whom this full and pathetical description of the Bridegroom’ s excellency had inflamed with love to him.

Whither is thy Beloved turned aside to wit, from thee, as thy words imply, Son 6:6,8 ; where dost thou use to look for him, and to find him, when thou hast lost him? O thou who art well acquainted with all the places both of his usual abode, and of his diversion, inform us who are ignorant of them. That we may seek him with thee; we ask not with any evil design, but only because we desire an interest in him.

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 6 (Chapter Introduction)

(Son 6:1) Inquiry where Christ must be sought.

(Son 6:2, Son 6:3) Where Christ may be found.

(Son 6:4-10) Christ's commendations of the church.

(Son 6:11-13) The work of grace in the believer.

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 6 (Chapter Introduction)

In this chapter, I. The daughters of Jerusalem, moved with the description which the church had given of Christ, enquire after him (Son 6:1). II. The church directs them where they may meet with him (Son 6:2, Son 6:3). III. Christ is now found of those that sought him, and very highly applauds the beauty of his spouse, as one extremely smitten with it (Son 6:4-7), preferring her before all others (Son 6:8, Son 6:9), recommending her to the love and esteem of all her neighbours (Son 6:10), and, lastly, acknowledging the impressions which her beauty had made upon him and the great delight he took in it (Son 6:11-13).

Constable: The Song of Songs (Book Introduction)

Introduction

Title

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

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

Writer and Date

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

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

Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

Purpose

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

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

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

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

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

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

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

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

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

Canonicity

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

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

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

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

Message²⁴

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

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

3. Solomon's praise 1:9-11

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

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

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

2. The groom's request 4:8

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

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

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

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

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

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

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

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

3. The ultimate unity 7:10

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

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

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

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

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

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

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

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

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

Gill: The Song of Songs 6 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 6

The discourse between the church and the daughters of Jerusalem is continued in this chapter: they inquire whither her beloved was gone, in order to seek him with her, Son 6:1; she tells them where he was gone, and for what purpose he went thither, and what he was doing there; and claims and asserts her interest in him, Son 6:2; Then follows a commendation of the church by Christ, who admires her beauty, and describes her by her eyes, hair, &c. Son 6:4; and prefers her to all others; being a singular and choice one to him, and the praise of others, Son 6:8; and next he gives an account of his going into his garden, and his design in it, and of what happened to him there, Son 6:11. And the chapter is concluded with a charge to the Shulamite, to turn herself, that she might be looked upon; which occasions a question, to which an answer is returned, Son 6:13.