Text -- The Song of Songs 6:13 (NET)

The Love Song and Dance

6:13 The Lover to His Beloved: Turn, turn, O Perfect One! Turn, turn, that I may stare at you! The Beloved to Her Lover: Why do you gaze upon the Perfect One like the dance of the Mahanaim?

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 6:13

Christ recalls his spouse, who as when Christ was gone, she pursued after him, so now when Christ was coming to her, she was ready to wander from him.

Wesley: Sos 6:13

This word is repeated four times, to signify both Christ's passionate love to her, and her backwardness.

Wesley: Sos 6:13

This title signifies, the wife of Solomon, thus called after her husband's name, and as Christ is called by the name of Solomon, so the church is fitly described by the title of Solomon's wife.

Wesley: Sos 6:13

That I and my companions may contemplate thy beauty.

Wesley: Sos 6:13

But what do you my friends expect to discover in her? Christ proposes the question, that they might take special notice of this as a very remarkable thing in her.

Wesley: Sos 6:13

Whereby he intimates that this one spouse was made up of the whole multitude of believers.

Wesley: Sos 6:13

Confederate together, and so this may signify the union of Jews and Gentiles, and the safety and strength of the church, which is compared to a numerous host, distributed into two armies.

JFB: Sos 6:13

Entreaty of the daughters of Jerusalem to her, in her chariot-like flight from them (compare 2Ki 2:12; 2Sa 19:14).

JFB: Sos 6:13

New name applied to her now for the first time. Feminine of Solomon, Prince of Peace; His bride, daughter of peace, accepting and proclaiming it (Isa 52:7; Joh 14:27; Rom 5:1; Eph 2:17). Historically, this name answers to the time when, not without a divine design in it, the young Church met in Solomon's porch (Act 3:11; Act 5:12). The entreaty, "Return, O Shulamite," answers to the people's desire to keep Peter and John, after the lame man was healed, when they were about to enter the temple. Their reply attributing the glory not to themselves, but to Jesus Christ, answers to the bride's reply here, "What will ye see" in me? "As it were," &c. She accepts the name Shulamite, as truly describing her. But adds, that though "one" (Son 6:9), she is nevertheless "two." Her glories are her Lord's, beaming through her (Eph 5:31-32). The two armies are the family of Jesus Christ in heaven, and that on earth, joined and one with Him; the one militant, the other triumphant. Or Jesus Christ and His ministering angels are one army, the Church the other, both being one (Joh 17:21-22). Allusion is made to Mahanaim (meaning two hosts), the scene of Jacob's victorious conflict by prayer (Gen 32:2, Gen 32:9, Gen 32:22-30). Though she is peace, yet she has warfare here, between flesh and spirit within and foes without; her strength, as Jacob's at Mahanaim, is Jesus Christ and His host enlisted on her side by prayer; whence she obtains those graces which raise the admiration of the daughters of Jerusalem.

Clarke: Sos 6:13

Return, O Shulamite - This appears to be addressed to the bride, as now the confirmed, acknowledged wife of Solomon; for שולמית shulammith , appears to be a feminine formed from שלמה shelomoh , or Nwmlv shelomon, as we form Charlotte from Charles; Henrietta, from Henry; Janette, from John, etc

Clarke: Sos 6:13

The company of two armies - Or the musicians of the camps. She is as terrible as hosts of armed men, on the ground of what is said on Son 6:4, Son 6:5. The two armies may refer to the choirs of the bride’ s virgins, and the bridegroom’ s companions; but the similitude is not very perceptible. The Targum explains it of "the camps of Israel and Judah:"as if the bridegroom should say, "My beloved possesses all the perfections both of the Israelitish and Jewish women."But how little satisfaction do the best conjectures afford

With this chapter the fifth night is supposed to end.

Defender: Sos 6:13

Solomon's bride is called the Shulamite, evidently referring to her home country. However, there is no other mention of Shulam in the Bible or the known extra-Biblical literature. It may be that the name, which is very similar to Solomon in the Hebrew, was simply a term of possessive endearment given her by Solomon.

Defender: Sos 6:13

The phrase "the company of two armies" is said to mean, literally, "the dance of Mahanaim," where Mahanaim was the name of the place where Jacob met the angels (Gen 32:2). This dance seems to have been a very intimate dance enjoyed alone by a man and his wife, and Solomon was rebuking the daughters of Jerusalem for wanting to observe it."

TSK: Sos 6:13

return : Son 2:14; Jer 3:12-14, Jer 3:22; Hos 14:1-4

What : Son 1:6; Luk 7:44, Luk 15:10; 2Th 1:10

Shulamite : Gen 49:10; Psa 76:2; Isa 8:6; Joh 9:7; Heb 7:2

As : Joh 10:16; Rom 3:29; Eph 2:14-17

two armies : or, Mahanaim, Gen 32:2; Rom 7:23; Gal 5:17; Eph 6:10-19

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 6:13

Return, return - About to withdraw, the bride is recalled by the chorus, desiring yet a little longer to contemplate a grace and beauty which has won all hearts.

Shulamite - Probably the same as "Shunamite,"i. e., a native of the town or district of Shunem, situated in the territory of Issachar Jos 19:18, on the slopes of the Little Hermon, overlooking the plain of Jezreel. It is now called Salem.

See - Look or gaze at. The bride’ s modest reply, taking up their words, and wondering at their request. The chorus answer with a further petition.

As it were the company of two armies - Or, rather, the dance of Mahanaim (see the margin), a well-known sacred dance, taking its name from the locality in which it originated Gen 32:2; Jos 21:38. Some, taking "Mahanaim"to be an ordinary designation for "the Angels"or "Angelic Hosts,"render here "a dance as it were of angel-choirs,"i. e., one of special grace and beauty. The former of these interpretations is to be preferred.

Poole: Sos 6:13

Return: Christ recalls his spouse, who as when Christ was gone she pursued after him, so now when Christ was coming or come to her, she was ready to wander and go astray from him, according to the common and corrupt disposition and custom of mankind; and therefore he seeks to stop or to reclaim her, and to oblige her to return to her first love, and to repent more thoroughly than she had yet done. Return : this word is here repeated four times, to signify both Christ’ s passionate love to her, and earnest desire of her return, and her backwardness to it, which made so many calls necessary.

Shulamite: this title signifies either,

1. One born in or belonging to Jerusalem, called also Salem, Psa 76:2 . Or,

2. The wife of Solomon, thus called after her husband’ s name: see Isa 4:1 . And as Christ is called by the name of Solomon, Son 3:7,9,11 , so the church is fitly described by the title of Solomon’ s wife.

That we may look upon thee that I and my companions and friends may contemplate thy beauty.

What will ye see? but what do you my friends expect to discover in her? Christ proposeth the question, that he may give the following answer, and that they should take special notice of this as a very remarkable thing in her.

The company whereby he intimates that this one and only spouse was made up of the whole multitude of believers, of two armies; either,

1. Opposite one against the other; and so this may note the conflict between the flesh and Spirit which is in all the faithful in this life. Or,

2. Confederate together; and so this may signify either,

1. The re-collection and union of Jews and Gentiles which shall one

day be under Christ as their common Head, Eph 2:15 . Or,

2. The safety and strength of the church, which is compared to an army

with banners, above, Son 6:4,10 , and here to a numerous host distributed into two armies; wherein also there may be an allusion to that story, Gen 32:1 , where this very word, here rendered two armies, is used.

PBC: Sos 6:13

See Philpot: WHAT WILL YE SEE IN THE SHULAMITE?

Gill: Sos 6:13

Return, return, O Shulamite; return, return,.... By whom the church is meant, so called from her being the spouse of Christ, the true Solomon; it being common for the wife to have the same name with her husband; thus, with the Romans, if the man's name was Caius, the woman's name was Caia: is the name of Christ Solomon? the church's name is Shulamite; see Jer 23:6. The word from which this is derived signifies both perfection and peace; and the church may be called the Shulamite from her perfection, not in herself, but in Christ, in whom she is complete, and perfectly comely through his righteousness; and is also denominated from the peace which she has from Christ, and he has made for her through his blood, and he gives unto her by his Spirit; and from what she does or should enjoy in her members, and from what she will be possessed of to all eternity. Now the church, the Shulamite, is very importunately desired by the daughters of Jerusalem to return; which is said no less than four times, which shows how vehemently desirous they were of her company: and perceiving she was about to go from them, most earnestly press her to return, or to "turn" ^b; to turn herself, that her beauty and comeliness might be more plainly seen; for this is the end proposed by them,

that we may look upon thee; that they might still have more opportunity of viewing her, and more narrowly to examine her beauty, for which she was so much commended; and that they might enjoy more of her company and conversation, which had been, and they might hope would be, more useful and instructive to them. A question upon this follows,

What will ye see in the Shulamite? which question is put, either by the daughters among themselves; some wishing for her return, and others asking what they expected to see in her, should she return: or rather it is put by the church herself; who asks the daughters, what they expected to see in her, a poor, mean, unworthy creature, not fit to be looked on, having nothing extraordinary, nor indeed valuable or of worth, in seeing of her? Which question is thus answered,

As it were the company of two armies: either by the daughters, declaring what they expected to see in the church; either such a glorious and joyful meeting between Christ and her, as is often between great persons, attended with singing and dancing; so the word for company is rendered by the Septuagint ^c "choroi", a "company" of those that dance and sing; see Psa 68:24; or such an appearance as an army makes at the reception of their prince, when it is divided into two bands, for the sake of greater honour and majesty. Or rather this answer is returned by the church herself; signifying that nothing was to be seen in her but two armies, flesh and Spirit, sin and grace, continually warring against each other; which surely, she thought, could be no desirable and pleasing sight to them; see Rom 7:23.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 6:13

¹ sn The chapter division comes one verse earlier in the Hebrew text (BHS) than in the English Bible; 6:13 ET = 7:1 HT, 7:1 ET = 7:2 HT, through 7:13 ET = 7:14 HT. Beginning with 8:1 the verse numbers in the Hebrew Bible and the English Bible are again the same.

² tn Alternately, “Return…Return…!” The imperative שׁוּבִי (shuvi, “Turn!”) is used four times for emphasis. There are two basic interpretations to the meaning/referent of the imperative שׁוּבִי (“Turn!”): (1) The villagers of Shunem are beckoning her to return to the garden mentioned in 6:11-12: “Come back! Return!” R. Gordis nuances these uses of שׁוּבִי as “halt” or “stay” (“Some Hitherto Unrecognized Meanings of the Verb SHUB,” JBL 52 [1933]: 153-62); (2) In the light of the allusion to her dancing in 7:1 (Heb 7:2), several scholars see a reference to an Arabic bridal dance. Budde emends the MT’s שׁוּבִי to סוֹבִי (sovi, “revolve, spin”) from סָבַב (savav, “to turn around”). M. H. Pope (Song of Songs [AB], 595-96) also emends the MT to the Hebrew verbal root יָסַב (yasav, “to leap, spin around”) which he connects to Arabic yasaba (“to leap”). These emendations are unnecessary to make the connection with some kind of dance because שׁוּבִי has a wide range of meanings from “turn” to “return.”

³ tn The article on הַשּׁוּלַמִּית (hashshulammit) functions as a vocative (“O Shulammite”) rather than in a definite sense (“the Shulammite”). The article is often used to mark a definite addressee who is addressed in the vocative (e.g., 1 Sam 17:55, 58; 24:9; 2 Kgs 6:26; 9:5; Prov 6:6; Eccl 11:9; Zech 3:8). For the vocative use of the article, see GKC 405 §126.e; Joüon 2:506-7 §137.f; R. J. Williams, Hebrew Syntax, 19, §89; IBHS 247 §13.5.2c.

⁴ tn Heb “O Perfect One.” Alternately, “O Shunammite” or “O Shulammite.” The term הַשּׁוּלַמִית (hashshulammit) has been variously translated: “Shulammite maiden” (NEB); “maiden of Shulam” (JB); “O maid of Shulem” (NJPS); “the Shulammite” (KJV; NASB; NIV). The meaning of the name הַשּׁוּלַמִית is enigmatic and debated. LXX renders it ἡ Σουλαμιτἰ ({h Soulamiti, “O Shulamite”) and Vulgate renders it Sulamitis (“O Shulamite”). A few Hebrew mss read the plural הַשּׁוּלַמוֹת (hashshulamot) but the Masoretic tradition reads הַשּׁוּלַמִית as the versions confirm. Eight major views have emerged in the history of interpretation of the Song. They are arranged, as follows, in order from most likely (views 1-2), plausible (views 3-5), unlikely (view 6), to bizarre (views 7-8): (1) שׁוּלַמִית is a substantival use of the adjectival form qutal שׁוּלָם (shulam, “perfection”) with the gentilic suffix ית- from the root שָׁלֵם (shalem, “to be complete, perfect”): “the perfect, unblemished one” (Fox). This approach is reflected in rabbinic exegesis of the 12th century: “The meaning of the Shulammite is ‘perfect, without spot’” (Midrash Rabbah). (2) שׁוּלַמִית is Qal passive participle with the feminine adjectival suffix ית- from the root שָׁלֵם (“peace”): “the peaceful one” or “the pacified one” (Andre, Robert, Joüon). This is reflected in Vulgate pacificus (“the pacified one”), and Aquila and Quinta ἡ ἐηρυνεούσα ({h ehruneousa) “the peaceful one” (Andre Robert, Joüon). (3) שׁוּלַמִית is an alternate form of the gentilic name “Shunammite” (שׁוּנַמִית) used to refer to inhabitants of Shunem (1 Kgs 1:15; 2 Kgs 4:12). This is reflected in LXX ἡ Σουλαμιτἰ ({h Soulamiti, “O Shulamite”). This is supported by several factors: (a) Gentilic names are formed by the suffix ית- and the prefixed article to a place-name, e.g., הַיְּרוּשָׁלַמִית (hayyÿrushalamit, “the Jerusalemite”) is from יְרוּשָׁלַם (yÿrushalam, “Jerusalem”); (b) the interchange between lateral dental ל (l) and nasal dental נ (n) is common in the Semitic languages (S. Moscati, Comparative Grammar, 32, §8.26); (c) the town of Shunem was also known as Shulem, due to the common interchange between נ (n) and ל (l) in Hebrew (Aharoni, 123), as seen in Eusebius’ Onomasticon in which Shunem = Shulem; and (d) later revisions of the LXX read ἡ Σουναμωτἰ (“the Shunamite”) instead of the Old Greek ἡ Σουλαμωτἰ (“the Shulamite”). Shunem was a town in the Jezreel Valley at the foot of Mount Moreh near Mount Tabor and situated about nine miles east of Megiddo, fifteen miles northwest of Beth-shean, and five miles north of Jezreel (Josh 19:18; 1 Sam 28:4; 2 Kgs 4:8). During the Roman period, the town was called Shulem. See Y. Aharoni, The Land of the Bible, 24, 152, 172, 442, 308. Some scholars suggest that “Shul/nammite” refers to Abishag, the beautiful virgin from the village of Shunem who warmed elderly King David and was sought by Adonijah (1 Kgs 2:13- 25). Other scholars argue that Abishag has been imported in the Song on too slender grounds. (4) שׁוּלַמִית is the feminine form of the masculine name שְׁלֹמֹה (shÿlomoh, “Solomon”), just as Judith is the feminine of Judah: “Shulamith” or “Solomonette” or “Solomoness” (Lowth, Goodspeed, Rowley). The feminine ending ־ית may be suffixed to masculine personal names to transform them into feminine names. A similar form occurs in the Ugaritic designation of Daniel’s wife as Lady Daniel (e.g., mtt dnty). An anonymous Jewish commentator of the 12th century wrote: “The Shulammite was beloved of Solomon, for she was called after the name of her beloved.” The 16th century commentator Joseph Ibn Yahya wrote: “And the calling of her ‘Shulammite’ was determined by reason of her devotion to the Holy One (Blessed be He) who is called Shelomoh.” (5) As a combination of views 1-2, שׁוּלַמִית is a wordplay formed by the combination of the feminine name שְׁלֹמִית (shÿlomit, “Shelomite”) from שְׁלֹמֹה (“Solomon”) and the gentilic name הַשּׁוּנַמִית (“the Shunammite”) denoting a woman from Shunem: “Solomoness/Shunammite.” (6) שׁוּלַמִית is related to the Arabic root salama “consummation gift” (given to a bride the morning after the wedding): “O Consummated One” or “O Bride” (Hirschberg). (7) Those espousing a cultic interpretation of Canticles take שׁוּלַמִית as the name or epithet of the Canaanite moon goddess Ishtar, designated by the feminine form of the name Shelem, the name of her lover Tammuz, called Dod or Shelem (T. J. Meek). (8) An alternate cultic interpretation takes שׁוּלַמִית as a conflation of the name of the Assyrian war-goddess “Shulmanith” (Ishtar) and the gentilic name “the Shunammite” for a woman from Shunem (Albright). See M. V. Fox, The Song of Songs and the Egyptian Love Songs, 157-58; T. J. Meek, “Canticles and the Tammuz Cult,” AJSL 39 (1922-23): 1-14; E. J. Goodspeed, “The Shulammite,” AJSL 50 (1933): 102-104; H. H. Rowley, “The Meaning of ‘The Shulammite’,” AJSL 56 (1938): 84-91; W. F. Albright, “The Syro-Mesopotamian God Sulman-Esmun and Related Figures,” AfO 7 (1931-32): 164-69; W. F. Albright, “Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 5; H. H. Hirschberg, “Some Additional Arabic Etymologies in Old Testament Lexicography,” VT 11 (1961): 373-85; M. H. Pope, Song of Songs (AB), 596-600.

⁵ tn Heb “we.” In ancient Near Eastern love literature, plural verbs and plural pronouns are often used in reference to singular individuals. See note on Song 2:15.

⁶ tn Alternately, “What do you see in…?” or “Why should you look upon…?” The interrogative pronoun מַה (mah) normally denotes “what?” or “why?” (BDB 552 s.v. מָה; HALOT 550-52 s.v. מָה). However, Gesenius suggests that the phrase מַה־תֶּחֱזוּ (mah-tekhezu) is the idiom “Look now!” on the analogy of Arabic ma tara (“Look now!”) (GKC 443 §137.b, n. 1).

⁷ tc The MT reads כִּמְחֹלַת (kimkholat, “like the dance”), while other Hebrew mss read בִּמְחֹלוֹת (bimkholot, “in the dances”). The LXX’s ὠ χοροὶ (w coroi, “like the dances”) reflects כִּמְחֹלוֹת and Symmachus’ ἐν τρώσεσιν (en tpwsesin, “in the injury”) reflects the locative preposition but a confusion of the noun.

tn Alternately, “like a dance or two camps” or “like a dance in two lines.” The phrase כִּמְחֹלַת הַמַּחֲנָיִם (kimkholat hammakhanayim) is difficult to translate: “as it were the company of two armies” (KJV), “as at the dance of the two companies” (NASB), “as at the dance of Mahanaim” (NIV), “in the Mahanaim dance” (NJPS). The meaning of the individual terms is clear: The noun מְחֹלָה (mÿkholah) denotes “dance in a ring” (Exod 15:20; 32:19; Judg 11:34; 21:21; 1 Sam 21:12; 29:5) (HALOT 569 s.v. מְחֹלָה). The noun מַחֲנֶה (makhneh) denotes “encampment, camp, army” and the dual form probably means “two armies” (HALOT 570 s.v. מַחֲנֶה). However, the meaning of the genitive-construct מְחֹלַת הַמַּחֲנָיִם (mÿkholat hammakhanayim) is unclear: “dance of the two camps/armies”[?]. W. F. Albright proposed “the dance of the Mahanaim” (“Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 5). LXX translates ὠ χοροὶ τῶν παρεμβολῶν (w coroi twn parembolwn, “like the dances before the camps”).

Geneva Bible: Sos 6:13

Return, return, O ^{( i )} Shulamite; return, return, that we may look upon thee. What will ye see in the Shulamite? As it were the company of two armies.

^{( i )} O ye people of Jerusalem, for Jerusalem was called Shalem which signifies peace.

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 6:11-13

In retirement and in meditation the Christian character is formed and perfected. But not in the retirement of the idle, the self-indulgent, or the trifler. When the Christian is released from the discharge of his duties in life, the world has no attractions for him. His prayer is, that all things belonging to the Spirit may live and grow within him, and around him. Such are the interesting cares and employments of him whom the world wrongly deems unhappy, and lost to his true interests. In humility and self-abasement, the humble Christian would turn away from the sight of all; but the Lord delights to honour him. Chiefly, however, may the reference be to the ministering angels who shall be sent for the soul of the Christian. Their approach may startle, but the departing soul shall find the Lord its strength and its portion for ever. The church is called the Shulamite: the word signifies perfection and peace; not in herself, but in Christ, in whom she is complete, through his righteousness; and has peace, which he made for her through his blood, and gives unto her by his Spirit.

Matthew Henry: Sos 6:11-13

Christ having now returned to his spouse, and the breach being entirely made up, and the falling out of these lovers being the renewing of love, Christ here gives an account both of the distance and of the reconciliation.

I. That when he had withdrawn from his church as his spouse, and did not comfort her, yet even then he had his eye upon it as his garden, which he took care of (Son 6:11): " I went down into the garden of nuts, or nutmegs, to see the fruits of the valley, with complacency and concern, to see them as my own."When he was out of sight he was no further off than the garden, hid among the trees of the garden, in a low and dark valley; but then he was observing how the vine flourished, that he might do all that to it which was necessary to promote its flourishing, and might delight himself in it as a man does in a fruitful garden. He went to see whether the pomegranates budded. Christ observes the first beginnings of the good work of grace in the soul and the early buddings of devout affections and inclinations there, and is well pleased with them, as we are with the blossoms of the spring.

II. That yet he could not long content himself with this, but suddenly felt a powerful, irresistible, inclination in his own bosom to return to his church, as his spouse, being moved with her lamentations after him, and her languishing desire towards him (Son 6:12): " Or ever I was aware, my soul made me like the chariots of Ammi-nadib; I could not any longer keep at a distance; my repentings were kindled together, and I presently resolved to fly back to the arms of my love, my dove."Thus Joseph made himself strange to his brethren, for a while, to chastise them for their former unkindnesses, and make trial of their present temper, till he could no longer refrain himself, but, or ever he was aware, burst out into tears, and said, I am Joseph, Gen 45:1, Gen 45:3. And now the spouse perceives, as David did (Psa 31:22), that though she said in her haste, I am cut off from before thy eyes, yet, at the same time, he heard the voice of her supplications, and became like the chariots of Ammi-nadib, which were noted for their beauty and swiftness. My soul put me into the chariots of my willing people (so some read it), "the chariots of their faith, and hope, and love, their desires, and prayers, and expectations, which they sent after me, to fetch me back, as chariots of fire with horses of fire."Note, 1. Christ's people are, and ought to be, a willing people. 2. If they continue seeking Christ and longing after him, even when he seems to withdraw from them, he will graciously return to them in due time, perhaps sooner than they think and with a pleasing surprise. No chariots sent for Christ shall return empty. 3. All Christ's gracious returns to his people take rise from himself. It is not they, it is his own soul, that puts him into the chariots of his people; for he is gracious because he will be gracious, and loves his Israel because he would love them; not for their sakes, be it known to them.

III. That he, having returned to her, kindly courted her return to him, notwithstanding the discouragements she laboured under. Let her not despair of obtaining as much comfort as ever she had before this distance happened, but take the comfort of the return of her beloved, Son 6:13. Here, 1. The church is called Shulamite, referring either to Solomon, the bridegroom in type, by whose name she is called, in token of her relation to him and union with him (thus believers are called Christians from Christ ), or referring to Salem, the place of her birth and residence, as the woman of Shunem is called the Shunamite. Heaven is the Salem whence the saints have their birth, and where they have their citizenship; those that belong to Christ, and are bound for heaven, shall be called Shulamites. 2. She is invited to return, and the invitation most earnestly pressed: Return, return; and again, " Return, return; recover the peace thou hast lost and forfeited; come back to thy former composedness and cheerfulness of spirit."Note, Good Christians, after they have had their comfort disturbed, are sometimes hard to be pacified, and need to be earnestly persuaded to return again to their rest. As revolting sinners have need to be called to again and again ( Turn you, turn you, why will you die? ) so disquieted saints have need to be called to again and again, Turn you, turn you, why will you droop; Why art thou cast down, O my soul? 3. Having returned, she is desired to show her face: That we may look upon thee. Go no longer with they face covered like a mourner. Let those that have made their peace with God lift up their faces without spot (Job 22:26); let them come boldly to his throne of grace. Christ is pleased with the cheerfulness and humble confidence of his people, and would have them look pleasant. "Let us look upon thee, not I only, but the holy angels, who rejoice in the consolation of saints as well as in the conversion of sinners; not I only, but all the daughters."Christ and believers are pleased with the beauty of the church. 4. A short account is given of what is to be seen in her. The question is asked, What will you see in the Shulamite? And it is answered, As it were the company of two armies. (1.) Some think she gives this account of herself; she is shy of appearing, unwilling to be looked upon, having, in her own account, no form or comeliness. Alas! says she, What will you see in the Shulamite? nothing that is worth your looking upon, nothing but as it were the company of two armies actually engaged, where nothing is to be seen but blood and slaughter. The watchmen had smitten her, and wounded her, and she carried in her face the marks of those wounds, looked as if she had been fighting. She had said (Son 1:6), Look not upon me because I am black; here she says, "Look not upon me because I am bloody."Or it may denote the constant struggle that is between grace and corruption in the souls of believers; they are in them as two armies continually skirmishing, which makes her ashamed to show her face. (2.) Others think her beloved gives the account of her. "I will tell you what you shall see in the Shulamite; you shall see as noble a sight as that of two armies, or two parts of the same army, drawn out in rank and file; not only as an army with banners, but as two armies, with a majesty double to what was before spoken; she is as Mahanaim, as the two hosts which Jacob saw (Gen 32:1, Gen 32:2), a host of saints and a host of angels ministering to them; the church militant, the church triumphant."Behold two armies; in both the church appears beautiful.

Keil-Delitzsch: Sos 6:13

Encouraged by Shulamith's unassuming answer, the daughters of Jerusalem now give utterance to an entreaty which their astonishment at her beauty suggests to them.

13 Come back, come back, O Shulamith!

Come back, come back, that we may look upon thee!

She is now (Son 6:10.) on the way from the garden to the palace. The fourfold "come back"entreats her earnestly, yea, with tears, to return thither with them once more, and for this purpose, that they might find delight in looking up her; for ב חזה signifies to sink oneself into a thing, looking at it, to delight (feast) one's eyes in looking on a thing. Here for the first time Shulamith is addressed by name. But השּׁוּ cannot be a pure proper name, for the art. is vocat., as e.g. , הבּת ירו , "O daughter of Jerusalem!"Pure proper names like שׁלמה are so determ. in themselves that they exclude the article; only such as are at the same time also nouns, like ירדּן and לבנון , are susceptible of the article, particularly also of the vocat., Psa 114:5; but cf. Zec 11:1 with Isa 10:34. Thus השּׁוּ will be not so much a proper name as a name of descent, as generally nouns in î (with a few exceptions, viz., of ordinal number, הררי , ימני , etc.) are all gentilicia . The lxx render השׁו by ἡ Σουναμῖτις , and this is indeed but another form for השּׁוּנמּית , i.e. , she who is from Sunem. Thus also was designated the exceedingly beautiful Abishag, 1Ki 1:3, Elisha's excellent and pious hostess, 2Ki 4:8 ff. Sunem was in the tribe of Issachar (Jos 19:18), near to Little Hermon, from which it was separated by a valley, to the south-east of Carmel. This lower Galilean Sunem, which lies south from Nain, south-east from Nazareth, south-west from Tabor, is also called Shulem . Eusebius in his Onomasticon says regarding it: Σουβήμ ( l . Σουλήμ ) κλήρου Ισσάχαρ καὶ νῦν ἐστὶ κώμη Σουλὴμ κ . τ . λ ., i.e. , as Jerome translates it: Sunem in tribue Issachar. et usque hodie vicus ostenditur nomine Sulem in quinto miliario montis Thabor contra australum plagam . This place if found at the present day under the name of Suwlam ( Sôlam ), at the west end of Jebel ed-Duhi (Little Hermon), not far from the great plain ( Jisre'el , now Zer'în ), which forms a convenient way of communication between Jordan and the sea-coast, but is yet so hidden in the mountain range that the Talmud is silent concerning this Sulem, as it is concerning Nazareth. Here was the home of the Shulamitess of the Song. The ancients interpret the name by εἰρημεύουσα , or by ἐσκυλευμένη ( vid ., Lagarde's Onomastica ), the former after Aquila and the Quinta, the latter after Symm. The Targum has the interpretation: השׁלמה באמונתה עם ה ( vid ., Rashi). But the form of the name (the Syr. writes שׁילוּמיתא ) is opposed to these allegorical interpretations. Rather it is to be assumed that the poet purposely used, not hshwb', but hshwl', to assimilate her name to that of Solomon; and that it has the parallel meaning of one devoted to Solomon, and thus, as it were, of a passively-applied שׁלומית = Σαλόμη , is the more probable, as the daughters of Jerusalem would scarcely venture thus to address her who was raised to the rank of a princess unless this name accorded with that of Solomon.

Not conscious of the greatness of her beauty, Shulamith asks -

1 b a What do you see in Shulamith?

She is not aware that anything particular is to be seen in her; but the daughters of Jerusalem are of a different opinion, and answer this childlike, modest, but so much the more touching question -

1 b b As the dance of Mahanaim!

They would thus see in her something like the dance of Manahaaïm. If this be here the name of the Levitical town (now Mahneh ) in the tribe of Gad, north of Jabbok, where Ishbosheth resided for two years, and where David was hospitably entertained on his flight from Absalom (Luthr.: "the dance to Mahanaaïm"), then we must suppose in this trans-Jordanic town such a popular festival as was kept in Shiloh, Jdg 21:19, and we may compare Abel-meholah = meadow of dancing, the name of Elisha's birth-place (cf. also Herod. i. 16: "To dance the dance of the Arcadian town of Tegea"). But the Song delights in retrospective references to Genesis (cf. Gen 4:11 , Gen 7:11). At Gen 32:3, however, by Mahanaaïm

(Note: Böttcher explains Mahanaaïm as a plur.; but the plur. of מצנה is מצנות and מחנים ; the plur. termination ajim is limited to מים and שׁמים .)

is meant the double encampment of angels who protected Jacob's two companies (Gen 32:8). The town of Mahanaaïm derives its name from this vision of Jacob's. The word, as the name of a town, is always without the article; and here, where it has the article, it is to be understood appellatively. The old translators, in rendering by "the dances of the camps"(Syr., Jerome, choros castrorum , Venet. θίασον στρατοπέδων ), by which it remains uncertain whether a war-dance or a parade is meant, overlook the dual, and by exchanging מחנים with מצנות , they obtain a figure which in this connection is incongruous and obscure. But, in truth, the figure is an angelic one. The daughters of Jerusalem wish to see Shulamith dance, and they designate that as an angelic sight. Mahanaaïm became in the post-bibl. dialect a name directly for angels. The dance of angels is only a step beyond the responsive song of the seraphim, Isa 6:1-13. steplang7 Engelkoere angel-choir and "heavenly host"are associated in the old German poetry.

(Note: Vid ., Walther von der Vogelweide , 173. 28. The Indian mythology goes farther, and transfers not only the original of the dance, but also of the drama, to heaven; vid ., Götting. Anziegen , 1874, p. 106.)

The following description is undeniably that (let one only read how Hitzig in vain seeks to resist this interpretation) of one dancing. In this, according to biblical representation and ancient custom, there is nothing repulsive. The women of the ransomed people, with Miriam at their head, danced, as did also the women who celebrated David's victory over Goliath (Exo 15:20; 1Sa 18:6). David himself danced (2 Sam 6) before the ark of the covenant. Joy and dancing are, according to Old Testament conception, inseparable (Ecc 3:4); and joy not only as the happy feeling of youthful life, but also spiritual holy joy (Psa 87:7). The dance which the ladies of the court here desire to see, falls under the point of view of a play of rival individual artistes reciprocally acting for the sake of amusement. The play also is capable of moral nobility, if it is enacted within the limits of propriety, at the right time, in the right manner, and if the natural joyfulness, penetrated by intelligence, is consecrated by a spiritual aim. Thus Shulamith, when she dances, does not then become a Gaditanian (Martial, xiv. 203) or an Alma (the name given in Anterior Asia to those women who go about making it their business to dance mimic and partly lascivious dances); nor does she become a Bajadere (Isa 23:15 f.),

(Note: Alma is the Arab. 'ualmah (one skilled, viz., in dancing and jonglerie), and Bajadere is the Portug. softening of baladera , a dancer, from balare (ballare ), mediaev. Lat., and then Romanic: to move in a circle, to dance.)

as also Miriam, Exo 15:20, Jephthah's daughter, Jdg 11:34, the "daughters of Shiloh,"Jdg 21:21, and the woman of Jerusalem, 1Sa 18:6, did not dishonour themselves by dancing; the dancing of virgins is even a feature of the times after the restoration, Jer 31:13. But that Shulamith actually danced in compliance with the earnest entreaty of the daughters of Jerusalem, is seen from the following description of her attractions, which begins with her feet and the vibration of her thighs.

After throwing aside her upper garments, so that she had only the light clothing of a shepherdess or vinedresser, Shulamith danced to and fro before the daughters of Jerusalem, and displayed all her attractions before them. Her feet, previously (Son 5:3) naked, or as yet only shod with sandals, she sets forth with the deportment of a prince's daughter.

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

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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.