Text -- The Song of Songs 6:13--7:6 (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? 7:1 The Lover to His Beloved: How beautiful are your sandaled feet, O nobleman’s daughter! The curves of your thighs are like jewels, the work of the hands of a master craftsman. 7:2 Your navel is a round mixing bowl– may it never lack mixed wine! Your belly is a mound of wheat, encircled by lilies. 7:3 Your two breasts are like two fawns, twins of a gazelle. 7:4 Your neck is like a tower made of ivory. Your eyes are the pools in Heshbon by the gate of Bath-Rabbim. Your nose is like the tower of Lebanon overlooking Damascus. 7:5 Your head crowns you like Mount Carmel. The locks of your hair are like royal tapestries– the king is held captive in its tresses! 7:6 How beautiful you are! How lovely, O love, with your delights!

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.

Wesley: Sos 7:1

Were anciently evidences of a free and comfortable state, whereas slaves and mourners used to go bare - foot.

Wesley: Sos 7:4

Full, and clear, and quiet, and pleasant.

Wesley: Sos 7:4

A pleasant and well watered city, beyond Jordan.

Wesley: Sos 7:4

Which was in all probability built by Solomon in the mountain of Lebanon, the northern border of the land of Israel towards Damascus; and therefore a very fit place for a watch - tower.

Wesley: Sos 7:4

There was another tower or building in or near Jerusalem, which was called the house of the forest of Lebanon, 1Ki 7:2.

Wesley: Sos 7:5

Eminent and pleasant to the eye, and fruitful as mount Carmel was. Which may denote that her mind was replenished with knowledge, and other excellent gifts of the Holy Ghost.

Wesley: Sos 7:5

Which colour was anciently much esteemed.

Wesley: Sos 7:5

In which he walks, and having once espied thee, is unable to take off his eyes from thee.

Wesley: Sos 7:6

For those various lovely features which, are in thee.

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.

JFB: Sos 7:1

Rather, "thy goings" (Psa 17:5). Evident allusion to Isa 52:7 : "How beautiful . . . are the feet of him . . . that publisheth peace" (Shulamite, Son 6:13).

JFB: Sos 7:1

Sandals are richly jewelled in the East (Luk 15:22; Eph 6:15). She is evidently "on the mountains," whither she was wafted (Son 6:12), above the daughters of Jerusalem, who therefore portray her feet first.

JFB: Sos 7:1

Of God the Father, with whom Jesus Christ is one (Mat 5:9), "children of (the) God" (of peace), equivalent to Shulamite (Psa 45:10-15; 2Co 6:18), as well as bride of Jesus Christ.

JFB: Sos 7:1

Therefore princely herself, freely giving the word of life to others, not sparing her "feet," as in Son 5:3; Exo 12:11. To act on the offensive is defensive to ourselves.

JFB: Sos 7:1

Rather, "the rounding"; the full graceful curve of the hips in the female figure; like the rounding of a necklace (as the Hebrew for "jewels" means). Compare with the English Version, Eph 4:13-16; Col 2:19. Or, applying it to the girdle binding together the robes round the hips (Eph 6:14).

JFB: Sos 7:1

(Psa 139:14-16; Eph 2:10, Eph 2:22; Eph 5:29-30, Eph 5:32).

JFB: Sos 7:2

Rather, "girdle-clasp," called from the part of the person underneath. The "shoes" (Son 7:1) prove that dress is throughout presupposed on all parts where it is usually worn. She is "a bride adorned for her husband"; the "uncomely parts," being most adorned (1Co 12:23). The girdle-clasp was adorned with red rubies resembling the "round goblet" (crater or mixer) of spice-mixed wine (not "liquor," Son 8:2; Isa 5:22). The wine of the "New Testament in His blood" (Luk 22:20). The spiritual exhilaration by it was mistaken for that caused by new wine (Act 2:13-17; Eph 5:18).

JFB: Sos 7:2

That is, the vesture on it. As in Psa 45:13-14, gold and needlework compose the bride's attire, so golden-colored "wheat" and white "lilies" here. The ripe grain, in token of harvest joy, used to be decorated with lilies; so the accumulated spiritual food (Joh 6:35; Joh 12:24), free from chaff, not fenced with thorns, but made attractive by lilies ("believers," Son 2:2; Act 2:46-47; Act 5:13-14, in common partaking of it). Associated with the exhilarating wine cup (Zec 9:17), as here.

JFB: Sos 7:3

The daughters of Jerusalem describe her in the same terms as Jesus Christ in Son 4:5. The testimonies of heaven and earth coincide.

JFB: Sos 7:3

Faith and love.

JFB: Sos 7:4

In Son 4:4, Jesus Christ saith, "a tower of David builded for an armory." Strength and conquest are the main thought in His description; here, beauty and polished whiteness; contrast Son 1:5.

JFB: Sos 7:4

Seen by BURCKHARDT, clear (Rev 22:1), deep, quiet, and full (1Co 2:10, 1Co 2:15).

JFB: Sos 7:4

East of Jordan, residence of the Amorite king, Sihon (Num 21:25, &c.), afterwards held by Gad.

JFB: Sos 7:4

"daughter of a multitude"; a crowded thoroughfare. Her eyes (Son 4:1) are called by Jesus Christ, "doves' eyes," waiting on Him. But here, looked on by the daughters or Jerusalem, they are compared to a placid lake. She is calm even amidst the crowd (Pro 8:2; Joh 16:33).

JFB: Sos 7:4

Or, face.

JFB: Sos 7:4

A border-fortress, watching the hostile Damascus. Towards Jesus Christ her face was full of holy shame (see on Son 4:1; Son 4:3); towards spiritual foes, like a watchtower (Hab 2:1; Mar 13:37; Act 4:13), elevated, so that she looks not up from earth to heaven, but down from heaven to earth. If we retain "nose," discernment of spiritual fragrance is meant.

JFB: Sos 7:5

The headdress "upon" her.

JFB: Sos 7:5

Signifying a well-cultivated field (Isa 35:2). In Son 5:15 He is compared to majestic Lebanon; she here, to fruitful Carmel. Her headdress, or crown (2Ti 4:8; 1Pe 5:4). Also the souls won by her (1Th 2:19-20), a token of her fruitfulness.

JFB: Sos 7:5

Royalty (Rev 1:6). As applied to hair, it expresses the glossy splendor of black hair (literally, "pendulous hair") so much admired in the East (Son 4:1). While the King compares her hair to the flowering hair of goats (the token of her subjection), the daughters of Jerusalem compare it to royal purple.

JFB: Sos 7:5

(so Son 1:17, Margin; Rev 21:3). But MAURER translates here, "flowing ringlets"; with these, as with "thongs" (so LEE, from the Arabic translates it) "the King is held" bound (Son 6:5; Pro 6:25). Her purple crowns of martyrdom especially captivated the King, appearing from His galleries (Act 7:55-56). As Samson's strength was in his locks (Jdg 16:17). Here first the daughters see the King themselves.

JFB: Sos 7:6

Nearer advance of the daughters to the Church (Act 2:47; Act 5:13, end). Love to her is the first token of love to Him (1Jo 5:1, end).

JFB: Sos 7:6

Fascinating charms to them and to the King (Son 7:5; Isa 62:4, Hephzi-bah). Hereafter, too (Zep 3:17; Mal 3:12; Rev 21:9).

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.

Clarke: Sos 7:1

How beautiful are thy feet with shoes - " How graceful is thy walking."In the sixth chapter the bridegroom praises the Shulamite, as we might express it, from head to foot. Here he begins a new description, taking her from foot to head

The shoes, sandals, or slippers of the Eastern ladies are most beautifully formed, and richly embroidered. The majestic walk of a beautiful woman in such shoes is peculiarly grand. And to show that such a walk is intended, he calls her a prince’ s daughter

Clarke: Sos 7:1

The joints of thy thighs - Must refer to the ornaments on the beautiful drawers, which are in general use among ladies of quality in most parts of the East.

Clarke: Sos 7:2

Thy navel is like a round goblet - This may also refer to some ornamental dress about the loins. These suppositions are rendered very probable from hundreds of the best finished and highly decorated drawings of Asiatic ladies in my own collection, where every thing appears in the drawings, as in nature

Clarke: Sos 7:2

A heap of wheat set about with lilies - This is another instance of the same kind. The richly embroidered dresses in the above drawings may amply illustrate this also. Ainsworth supposes the metaphor is taken from a pregnant woman; the child in the womb being nourished by means of the umbilical cord or navel string, till it is brought into the world. After which it is fed by means of the mother’ s breasts, which are immediately mentioned. Possibly the whole may allude to the bride’ s pregnancy.

Clarke: Sos 7:3

Thy two breasts - Where the hair and breasts are fine, they are the highest ornaments of the person of a female.

Clarke: Sos 7:4

Thy neck - as a tower of ivory - High, white, and ornamented with jewellery, as the tower of David was with bucklers. See on Son 4:4 (note)

Clarke: Sos 7:4

The fish - pools in Heshbon - Clear, bright, and serene. These must have been very beautiful to have been introduced here in comparison. These two fountains appear to have been situated at the gate that led from Heshbon to Rabba, or Rabboth Ammon. There is a propriety in this metaphor, because fountains are considered to be the eyes of the earth

Clarke: Sos 7:4

Thy nose - as the tower of Lebanon - There was doubtless a propriety in this similitude also, which cannot now be discerned. If we are to understand the similitude as taken from the projecting form of the nose, even here I see nothing striking in the metaphor; for surely the tower of Lebanon did not project from the mountain as the human nose does from the face. It is better to acknowledge that there was undoubtedly some fit resemblances; but in what circumstance we know not. But some commentators are always extolling the correctness of the imagery in those very difficult places, where no soul sees the similitude but themselves.

Clarke: Sos 7:5

Shine head - like Carmel - Rising majestically upon thy neck, and above thy shoulders, as Mount Carmel does in its district. Carmel was the name of the mountain where Elijah had his contest with the prophets of Baal. See 1Ki 18:19, etc

Clarke: Sos 7:5

The hair of thine head like purple - Ornamented with ribbons and jewellery of this tint

Clarke: Sos 7:5

The king is held in the galleries - Or is detained in the antechamber. His heart is captivated by thy person and conduct. Some understand the ringlets of the bride’ s hair.

Clarke: Sos 7:6

How fair and how pleasant - Thou art every way beautiful, and in every respect calculated to inspire pleasure and delight.

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."

Defender: Sos 7:1

As the dance begins, the husband/lover again is moved to praise the beauties of his unclothed wife (Son 7:1-9)."

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

TSK: Sos 7:1

thy feet : Luk 15:22; Eph 6:15; Phi 1:27

O prince’ s : Psa 45:13; 2Co 6:18

the joints : Dan 2:32; Eph 4:15, Eph 4:16; Col 2:19

the work : Exo 28:15, Exo 35:35

TSK: Sos 7:2

navel : Pro 3:8

liquor : Heb. mixture

thy belly : Son 5:14; Psa 45:16; Isa 46:3; Jer 1:5; Rom 7:4

TSK: Sos 7:3

Son 4:5, Son 6:6

TSK: Sos 7:4

neck : Son 1:10, Son 4:4

ivory : Son 5:14; 1Ki 10:18, 1Ki 10:22, 1Ki 22:39; Psa 45:8, Psa 144:12

thine eyes : That is, ""Thine eyes are dark, deep, clear, and serene, as the fish-pools in Heshbon. ""Son 4:1, Son 4:9, Son 6:5; Eph 1:17, Eph 1:18, Eph 3:18, Eph 3:19

Heshbon : Num 21:25; Isa 54:4

thy nose : That is, ""Thy nose is as finely formed as the tower of Lebanon.""Phi 1:9, Phi 1:10; Heb 5:14

the tower : Son 4:8, Son 5:15; 1Ki 7:2, 1Ki 9:19; 2Ch 8:6

Damascus : Gen 15:2; 2Sa 8:6

TSK: Sos 7:5

head : Isa 35:2; Eph 1:22, Eph 4:15, Eph 4:16; Col 1:18, Col 2:19

Carmel : or, crimson, Mic 7:14

the hair : Son 4:1, Son 5:11; Rev 1:14

the king : Son 1:17 *marg. Gen 32:26; Psa 68:24, Psa 87:2; Mat 18:20, Mat 28:20

held : Heb. bound

TSK: Sos 7:6

Son 7:10, Son 1:15, Son 1:16, Son 2:14, Son 4:7, Son 4:10; Psa 45:11; Isa 62:4, Isa 62:5; Zep 3:17

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.

Barnes: Sos 7:1

Thy feet with shoes - Or, thy steps in the sandals: the bride’ s feet are seen in motion in the dance. "Joints"might be rendered circling movements.

Prince’ s daughter - Or, daughter of a noble; the bride is of honorable though not of kingly birth.

Like jewels - The image suggested is that of large well-formed pearls or other jewels skillfully strung or linked together.

Barnes: Sos 7:2

Or, Thy lap is like a moon-shaped bowl where mixed wine faileth not."The wine in the bowl rising to the brim adds to the beauty of the vessel, and gives a more pleasing image to the eye. Some interpret, "thy girdle is like a moon-shaped bowl,"or "bears a moon-shaped ornament"(compare Isa 3:18).

Set about with lilies - The contrast is one of colors, the flowers, it may be, representing the purple of the robe. "The heap of wheat is not seen because covered by the lilies."

Barnes: Sos 7:4

A tower of ivory - The tower of ivory, the allusion being to some particular tower, built probably by Solomon 1Ki 10:21.

Fishpools in Heshbon - Or, simply pools. Among the ruins to the south of Heshbon still remain a number of deep wells cut in the rock, and a large reservoir of water. The simile well sets forth the appearance of a large clear liquid eye (compare Son 5:12 note).

Gate of Bath-rabbim - Perhaps the gate looking toward Rabbath-Ammon on the north side of the city, though this does not agree with the wells above mentioned; or, the gate of the city "full of people"Lam 1:1; or, an expression indicating the gate itself as the scene of numerous gatherings.

Nose - Better perhaps "face "or "brow."

The tower of Lebanon - Possibly "the house of the forest of Lebanon"or part of it 1Ki 7:2; 1Ki 9:19, built by Solomon in the early part of his reign; or possibly a watchtower erected by David to overawe Damascus after his war with Hadadezer 2Sa 8:6.

Barnes: Sos 7:5

Compare and contrast with Son 5:15. The rendering in the margin takes "Carmel"as the name of a color, equivalent to "carmine"(rendered "crimson"in 2Ch 2:7, 2Ch 2:14; 2Ch 3:14). This interpretation is favored by the parallelism with "purple,"but removes a beautiful image.

Purple - A deep violet black.

The king ... - Rather, "A king is bound in the tresses or windings of thy hair."These last words indicate the king’ s approach.

Barnes: Sos 7:6-10

A brief dialogue; Son 7:6-9 are spoken by the king, Son 7:9 and Son 7:10 by the bride.

Son 7:6

A general sentiment.

How fair, and what a charm hast thou,

O love! Among delightsome things!

Compare Son 2:7, note; Son 8:6-7, note.

Son 7:7

This thy stature - The king now addresses the bride, comparing her to palm, vine, and apple-tree for nobility of form and pleasantness of fruit; and the utterances of her mouth to sweetest wine.

Son 7:9

For my beloved, that goeth down sweetly - Words of the bride interrupting the king, and finishing his sentence, that goeth smoothly or pleasantly for my beloved. Compare Pro 23:31.

Son 7:10

His desire is toward me - All his affection has me for its object. The bride proceeds to exercise her power over his loving will.

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.

Poole: Sos 7:2

Thy navel is like a round goblet, to which it is not unfitly compared, because it is of a round form, and hollow, and hath windings and circlings in it,

which wanteth not liquor thy navel is not only comely, but fruitful. For the navel is the proper instrument of nourishing the child or children which are in the womb. And so this seems to signify the church’ s fruitfulness, partly in herself, in cherishing and improving all the graces and good motions of God’ s Spirit within her; and principally in reference to those many children which she bears and feeds in her womb with the wholesome liquor of God’ s ordinances. Thy belly, in which thy children are for a time contained and fed, is like a heap of wheat, i.e. of wheat corn, round and swelling, as it is in women with child, and full of nourishment, not only of liquor, as was last said, but also of meat, which may note the various provisions which Christ hath laid up in his church according to the several capacities of her children, milk for babes, and stronger meat for those who are grown up. Set about with lilies; not for defence, which the church doth not need, having the strong God for her Protector, but for ornament and beauty; whereby is implied that she is not only fruitful, but beautiful, and that her children are not only numerous and well fed, but also comely and delightful to the eye, as lilies are, and withal pure and innocent, in which respect both Christ and the church are compared to lilies, Son 2:1,2 .

Poole: Sos 7:3

Which is repeated from Son 4:5 , where it is explained.

Poole: Sos 7:4

Thy neck of which See Poole "Son 4:4" ,

is as a tower of ivory clear, and smooth, and long, and straight, and erected.

Thine eyes See Poole "Son 1:15"; See Poole "Son 4:1" ,

like the fishpools full, and clear, and quiet, and pleasant. Possibly here were two fish-pools, which being conveniently seated in a large field, might bear some resemblance to the eyes placed in the head.

Heshbon a pleasant and well-watered city, beyond Jordan, as we may guess from Nu 32 , where doubtless there were some eminent and well-known fish-pools, as further appears by the exact description of the particular place here following, in which they were.

Thy nose the instrument of smelling, and discerning between pleasant and loathsome things; which may signify the church’ s sagacity in discerning between good and evil;

is as the tower of Lebanon which though it be not elsewhere mentioned, was in all probability built by Solomon in the mountain of Lebanon, which was the northern border of the land of Israel towards Damascus, and therefore a very fit place for a watch-tower. To this tower her nose is compared, not for its greatness, but for its comely and convenient proportions, and beautiful aspect, which doubtless were in this as well as in the rest of Solomon’ s buildings.

Which looketh toward Damascus which words seem to be added to distinguish this from another tower or building in or near to Jerusalem, which was called the house of the forest of Lebanon, 1Ki 7:2 .

Poole: Sos 7:5

Thine head which may signify the church’ s mind or understanding, which is seated in the head,

upon thee which is upon thee, or above the rest of thy body,

is like Carmel eminent and pleasant to the eye, and fruitful as Mount Carmel was, as hath been formerly noted; which may note that her mind was adorned and replenished with knowledge and other excellent gifts of the Holy Ghost. Or, as others render it, like crimson or purple , which is called Carmel , 2Ch 2:7 3:14 , because those fishes out of which they had their purple were taken in the sea bordering upon Mount Carmel. And so the same thing is repeated in the next clause in other words.

Like purple which colour was anciently much esteemed and commended, as by sacred, so also by profane writers.

The king is held in the galleries in which he walketh, and having once espied thee, is captivated by thee, and unable or unwilling either to depart or to take off his eyes from thee, as if he were fast bound and chained to thee. The galleries may note either the ordinances, or rather the churches, in which Christ walketh, Rev 2:1 , in which Christ and believers converse together.

Poole: Sos 7:6

How fair and how pleasant art thou? it were infinite to reckon up all the particulars of thy beauty; in one word, thou art universally amiable beyond expression.

For delights for those various lovely features which are in thee, and for the great and manifold delights which are or may be enjoyed in conversing with thee.

PBC: Sos 6:13

See Philpot: WHAT WILL YE SEE IN THE SHULAMITE?

Haydock: Sos 7:1

Villages. She begs that he would come and remain with her. (Worthington) ---

She accompanies him into the country, on the morning after the fifth night. There Christ affords the purest delights, (ver. 12.; Calmet) and the Church (Menochius) becomes his mother, while she instructs and feeds others. (St. Gregory, hom.) (Menochius)

Haydock: Sos 7:1

What? Christ commends the Jews, who shall at last embrace the faith with great fervour. (Worthington) ---

Thou. Hebrew and Septuagint, "ye." They join this sentence with the preceding chapter. (Haydock) ---

Companies. Hebrew, "as it were the choir (or dance) of Mahanaim," (Calmet) where Jacob saw the camps of angels, near the Jaboc. (Haydock) (Genesis xxxii.) ---

These dances might be proverbial.

Haydock: Sos 7:4

Ivory. Preachers communicate the sentiments of the Church, (Calmet) which prevails against the gates of hell. [Matthew xvi. 18.] (Cassiodorus)

Haydock: Sos 7:5

Carmel. Shaded with trees. (Calmet) ---

Hebrew, "purple," which colour was sometimes given to the hair. (Propertius ii. 18.) ---

Channels. Of the dyers. Hebrew, "to beams." (Calmet) ---

Protestants, "the king is held in the galleries" to view thee. (Haydock) ---

Christ was all charity, and the faithful are twice dyed, with the love of God, and of their neighbour. (Menochius)

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.

Gill: Sos 7:1

How beautiful are thy feet with shoes,.... It is no unusual thing to describe the comeliness of women by their feet, and the ornaments of them; so Hebe is described by Homer ^d as having beautiful feet, and Juno by her golden shoes: particular care was taken of, and provision made for, the shoes of queens and princesses in the eastern countries; Herodotus ^e tells us, that the city of Anthylla was given peculiarly to the wife of the king of Egypt, to provide her with shoes; which custom, he says, obtained when Egypt became subject to Persia; See Gill on Est 2:18. Shoes of a red, or scarlet, or purple colour, were in esteem with the Jews; and so the Targum here is,

"purple shoes:''

the word used is thought by some ^f to signify a colour between scarlet and purple; see Eze 16:10; and also with the Tyrian virgins ^g; and so with the Romans ^h; and with whom likewise white shoes ⁱ were much in use. That this is said of the church, is plain from the appellation of her,

O Prince's daughter! the same with the King's daughter, Psa 45:13; the daughter of the King of kings; for, being espoused to Christ, his Father is her Father, and his God her God: besides, she is born of him who is the Prince of the kings of the earth, 1Jo 2:28; she is both a Prince's wife and a Prince's daughter. It may be rendered, "O noble", or "princely daughter" ^k! being of a free princely spirit, in opposition to a servile one, Psa 51:12; of a bountiful and liberal spirit, as in, Isa 32:5; in distributing temporal things to the necessities of the poor; and in communicating spiritual things to the comfort and edification of others. Some take these to be the words of the daughters of Jerusalem, wondering at the church's beauty, on turning herself to them as they desired: but they are rather the words of Christ; who, observing the church speak so meanly of herself, in order to encourage her, gives a high commendation of her in this and some following verses, and begins with her "feet"; not her ministers, who are "shod with the preparation of the Gospel of peace", Eph 6:15, and who appear beautiful in the eyes of those who have any knowledge of the good things they publish and proclaim; for they are set in the highest place in the church: but here the lowest and meanest members of the church are meant; whose outward walk, the feet are the instruments of, may be said to be "beautiful with shoes", when they are ready to every good work; when their conversation is ordered aright, is agreeably to the word of God, and as becomes the Gospel of Christ; and which, like shoes, is a fence against the briers and thorns, the reproaches and calumnies, of the world; and when there is such a lustre upon it that it cannot but be seen and observed by spectators, by which they are excited to glorify God, it is so beautiful in the eyes of Christ, that to such he shows the salvation of God;

the joints of thy thighs are like jewels, the work of the hands of a cunning workman; a skilful artificer, a goldsmith or jeweller: the allusion seems to be to some ornaments about the knees or legs, wore by women in those times; see Isa 3:18; and this may serve to set off the lustre and beauty of the church's conversation. And since it seems not so decent to describe the parts themselves mentioned, the words may rather design the "femoralia", or garments, with which they were covered; and may signify the garments of salvations and robe of Christ's righteousness, whereby the church's members are covered, so that their nakedness is not seen; but with them are as richly adorned bridegroom and bride with their ornaments and which are not the bungling work of a creature, but of one that is God as well as man, and therefore called the righteousness of God. Some have thought that the girdle about the loins is meant, the thighs being put for the loins, Gen 46:26; and so may intend the girdle of truth, mentioned along with the preparation of the Gospel of peace the feet are said to be shod with, Eph 6:14; and the metaphor of girding is used when a Gospel conversation is directed to, Luk 12:35. But it seems best by these "joints", or "turnings of the thighs" ^l, by which they move more orderly and regularly, to understand the principles of the walk and conversation of saints, as one observes ^m; without which it cannot be ordered aright; for principles denominate actions, good and bad; and the principles of grace, by which believers move in their Christian walk, are as valuable and as precious as jewels, such as faith and love, and a regard to the glory of God; and which are curiously wrought by the finger of God, by his Holy Spirit, who "works in them both to will and to do of his good pleasure", Phi 2:13.

Gill: Sos 7:2

Thy navel is like a round goblet,.... According to some, not the navel itself is meant; but a covering of it, a jewel or plate of gold in the shape of it; and because the word for "round", in the Chaldee language, signifies the "moon", and so Ben Melech interprets it, some have thought of the "round tire like the moon", Isa 3:18; though that was rather an ornament about the neck. Bishop Patrick is of opinion that it refers to "the clothing of wrought gold", Psa 45:13; which had, on the part that covered the belly, a raised embossed work, resembling a heap or sheaves of wheat; about which was an embroidery of curious flowers, particularly lilies; and, in the midst of the whole, a fountain or conduit, running with several sorts of liquor, into a great bowl or basin: and Fortunatus Scacchus ⁿ interprets it of a garment, covering this part, embroidered with lilies. All which may represent the beautiful robe of Christ's righteousness the church is adorned with. But rather the part itself is meant, and designs the ministers of the Gospel; who, in the administration of the word and ordinances, are that to the church as the navel is to a human body; that is in an eminent part of it, is the strength of the intestines, conduces much to the health of the body, and by which the child in the womb is supposed to receive its nourishment: ministers are set in the highest place in the church; are strong in themselves, through the grace and power of Christ and the means of strengthening others; and of keeping the church a good plight and healthful state, by the wholesome words and sound doctrines they preach; and also of nourishing souls in embryo, and when new born, with the sincere milk of the word: and as the navel is said to be like a "round goblet", cup, bowl, or basin, this aptly describes that part; and may express the perfection of Gospel ministers, their gifts and grace, not in an absolute, but comparative sense, the round or circular form being reckoned the most perfect; and also the workmanship bestowed on them, the gifts and grace of the Spirit, a round goblet being turned and formed by some curious artist; and likewise their capacity to hold and retain Gospel truths. And they are compared, not to an empty one, but to one

which wanteth not liquor; meaning the large and never failing supplies of gifts and grace from Christ; so that they never want the liquor, the oil and wine of Gospel truths, to communicate to others, Zec 4:12. The word used signifies a "mixture", or a "mixed liquor" ^o, as of wine and milk, Son 5:1; or rather of wine and water, much used in the eastern countries; so the wine of Sharon used to be mixed, two parts water and one wine ^p: and this designs, not a mixture of divine truths and human doctrines, which ought not to be made; but the variety of Gospel truths ministers deliver to others, and that in a manner they are most capable of receiving them. Some ^q render the words as a wish, "let there not want", &c. and so they declare the tender concern of Christ, that his church might have a continual supply in the ministry of the word;

thy belly is like a heap of wheat; which denotes the fruitfulness of the church in bringing souls to Christ, comparable to a pregnant woman; and whose fruit, young converts born in her, are compared to "a heap of wheat" for their number, choiceness, and solidity, being able to bear the fan of persecution: it was usual with the Jews to scatter wheat on the heads of married persons at their weddings, three times, saying, "increase and multiply" ^r; see Isa 66:8. This heap of wheat is said to be "set about", or "hedged, with lilies" ^s; which suggests, that it was not a heap of wheat on the corn floor which is meant, but a field of standing wheat, enclosed and fenced, not with thorns, but lilies; and these lilies may signify grown saints, who are often compared to lilies in this book, by whom young converts are encompassed and defended; or the beauties of holiness, in which they appear as soon as born again, Psa 110:3.

Gill: Sos 7:3

Thy two breasts are like two young roes that are twins. See Gill on Son 4:5.

Gill: Sos 7:4

Thy neck is as a tower of ivory,.... Two things recommend the neck, erectness and whiteness; both are here expressed, the one by a "tower", the other by "ivory"; hence a fine beautiful neck is called an ivory one ^t; and for the same reason it sometimes has the epithet of "snowy" ^u, and sometimes of "marble" ^w. Of the church's neck, as it may design either the ministers of the word, or the Scriptures of truth; see Gill on Son 4:4; where it is compared to "the tower of David", and here to "a tower of ivory": Marckius conjectures that they may be the same, or that this is the name of, vine ancient structure known at this time; however, it is used as expressive of the purity of the lives of Gospel ministers, and the evenness of their doctrines, and of the purity, beauty, glory, axial harmony of the Scriptures;

thine eyes like the fish pools in Heshbon, by the gate of Bathrabbim; Heshbon was formerly the seat of Sihon, king of the Amorites, Num 22:26; of which Bathrabbim was one of its gates; so called, either because it led to Rabbath, a city near it, and mentioned with it, Jer 49:3; or because of the great numbers that went in and out by it; for it may be rendered, "the daughter of many", or "of great ones" ^x: near this gate, it seems, were very delightful fish pools, to which the eyes of the church are compared. In the Hebrew language, the word for eyes and fountains is the same; the eyes having humours in them, and so fitly compared to fish pools. Of the eyes of the church, as they may design either the ministers of the word, or the eyes of her understanding, particularly faith; see Gill on Son 1:15; here they are said to be like "fish pools", whose waters are clear, quiet, constant and immovable; and, seen at a distance, between trees and groves, look very beautiful: and, if applied to ministers, may denote the clearness of their sight in discerning the truths of the Gospel; and their being filled with the fulness of the blessing of the Gospel of Christ; and their being blessings to the churches of Christ, and to the souls of men the word for "fish pools" comes from a word which signifies "to bless" ^y; and such being observed as were near the gate of Bathrabbim, may have respect to the multitude that attend their ministry, and receive benefit by it; in which they are constant and invariable, and all of a piece, and appear very beautiful to those to whom they are useful. And if applied to the church's eyes of understanding, those of faith and knowledge, may denote the perspicuity of them, in the discernment of spiritual things; and the fixedness and immovableness of them on the person, blood, and righteousness of Christ; looking alone to him, and off of every other object, and so very attractive to him, and beautiful in his sight, as well as their abounding with the waters of evangelic repentance and humiliation; see Son 4:9;

thy nose is as the tower of Lebanon, which looketh towards Damascus; a tower on that part of Mount Lebanon which faced Damascus, which lay in a plain, and so open to view, as well as exposed to winds; hence called, by Lucan ^z, Ventosa Damascus; which tower was so high, as Adrichomius ^a says, that from thence might be numbered the houses in Damascus: by which also may be meant the ministers of the word; nor need it seem strange that the same should be expressed by different metaphors, since the work of ministers is of different parts; who, as they are as eyes to see, so like the nose to smell; and having a spiritual discerning of Gospel truths, both savour them themselves, and diffuse the savour of them to others; and are both the ornament and defence of the church: the former is signified by the "nose", which is an ornament of the face, and the latter by the "tower of Lebanon", and this is looking towards Damascus, the inhabitants of which were always enemies to the people of Israel; and so may denote the vigilance and courage of faithful ministers, who watch the church's enemies, and their motions, and, with a manful courage, face and attack them. Moreover, this description may respect the majesty and magnanimity of the church herself; the former may be intimated by her nose, which, when of a good size, and well proportioned, adds much grace and majesty to the countenance; and the latter by its being compared to the impregnable tower of Lebanon, looking towards Damascus, signifying that she was not afraid to look her worst enemies in the face: or the whole may express her prudence and discretion in spiritual things: by which she can distinguish truth from error, and espy dangers afar off, and guard against them.

Gill: Sos 7:5

Thine head upon thee is like Carmel,.... Set with hair, thick and long, as Carmel with plants and trees. Now Christ is the church's Head in various senses; he is her federal and representative Head in eternity and time; her political Head, as a King to his subjects; an economical Head, as the husband to the wife, as parents to their children, and a master to servants; and, as such, may be compared to Carmel; for the multitude dependent on him, whom he represents, and is connected with under various relations; for his height, being higher than the kings of the earth, and all other heads; and for fruitfulness, all the fruits of the church, and of all true believers, coming from him. Some render the word, "as crimson", or "scarlet" ^b; which may set forth his royal dignity and majesty, this colour being wore by kings and great personages; or the ardent love of Christ to his body, the church, and the members of it; or his bloody sufferings for them;

and the hair of thine head like purple; purple coloured hair has been in great esteem. Of this colour was the hair of King Nysus, according to the fable ^c; and so the hair of Evadne, and of the Muses ^d, were of a violet colour; the hair of Ulysses is said ^e to be like to the hyacinth flower, which is of a purple or violet colour; and Milton ^f calls the first Adam's hair hyacinthine locks; and here, in a figurative sense, the second Adam's hair is said to be like purple. By which believers that grow on Christ, the Head of the church, nay be meant, who have their dependence on him, and their strength and nourishment from him; see Son 4:1; and these may be said to be like "purple", because of their royal dignity, being made kings unto God by Christ; and because of their being washed in the purple blood of Christ; and because of the sufferings they endure for his sake; and especially such may be so compared, who have spilt their blood and laid down their lives on his account;

the king is held in the galleries; the same with the Head of the church, the King of Zion, and King of saints, whose kingdom is a spiritual and everlasting one: and by the "galleries" in which he is held may be meant the ordinances of the Gospel; where Christ and his people walk and converse together; where he discloses the secrets of his heart to them, leads them into a further acquaintance with his covenant, and the blessings and promises of it; and from whence they have delightful views of his person and fulness; see the King in his beauty, and behold the good land which is afar off: the same word as here is rendered "rafters", and by some "canals", in Son 1:17; See Gill on Son 1:17. Now Christ being said to be "held in these galleries" may signify his fixed habitation in his house and ordinances; where he has promised to dwell, and delights to be; and where he is as it were fastened to them, and hatred in them.

Gill: Sos 7:6

How fair and how pleasant art thou, O love, for delights! These are the words of the King in the galleries, wondering at the church's beauty, it being incomparable and inexpressible, it could not be said well how great it was; and expressing the strength of his love to her, which was invariably the same as ever. Of the "fairness" of the church, and of this title, "love", see Son 1:9; and here she is said also to be "pleasant" to him, as his spouse and bride, in whom he takes infinite delight and pleasure, loving her with a love of complacency and delight; and therefore adds, "for delights", which he had in her before the world was, Pro 8:31. She was all delight ^g to him; her words, her actions and gestures, her comely countenance, her sweet and pleasant voice in prayer and praise, her ravishing looks of faith and love, her heavenly airs, and evangelic walk; in all which she appeared beautiful and delightful, beyond all human thought and expression.

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”).

NET Notes: Sos 7:1

¹ sn Solomon calls attention to the sandals the “noble daughter” was wearing. While it was common for women in aristocratic circles in the ancient Near East to wear sandals, women of the lower classes usually went barefoot (e.g., Ezek 16:10).

² tn Alternately, “noble daughter” or “magnificent daughter.” The title בַּת־נָדִיב (bat-nadiv, “princely daughter” or “daughter of the prince”; HALOT 673 s.v. נָדִיב; BDB 622 s.v. נָדִיב 2) suggests to some that this woman is not the Israelite country maiden of chapters 1-4 and 8, but the daughter of Pharaoh whom Solomon later married (1 Kgs 11:1). While the term נָדִיב often denotes nobility of position (“nobleman”), it can also denote nobility of character (“noble, willing, magnificent”) (e.g., Prov 17:26; Isa 32:5, 8) (HALOT 673-74; BDB 622 s.v. 2).

³ tn The term ַַחמּוּק (khammuq, “curve”) describes the shapely curvature of her legs (HALOT 327; BDB 330 s.v. 2) rather than a curving, dancing motion (Arabic bridal dance view). Although the verb חָמַק (khamaq, “turn”) appears twice (Song 5:6; Jer 31:22), the noun חַמּוּק is a hapax legomenon. In postbiblical Hebrew it refers to “rundles” (Jastrow 476 s.v. חַמּוּק). The term here has been translated in various ways: “[thigh] joints” (KJV), “rounded [thighs]” (RSV), “curves [of thighs]” (NASB), “graceful [thighs]” (NIV).

⁴ tn The term יָרֵךְ (yarekh, “thigh”) may refer to (1) the fleshy upper part of the thigh where the leg joins the pelvis (Gen 32:25-32; 46:26; Exod 1:5; Judg 8:30) or (2) the outside of the thigh from the hip down (Exod 32:27; Judg 3:16, 21; Ps 45:4; Song 3:8). The first usage is usually restricted to a figure for the male loins, the source of male procreation (Gen 46:26; Exod 1:5) and the locus of an oath (Gen 24:2, 9; 47:29).

NET Notes: Sos 7:2

¹ tn The noun שֹׁרֶר (shorer) is a hapax legomenon, appearing in the OT only here. There is debate whether it means “navel” or “vulva”: (1) Lys and Pope suggest that שֹׁרֶר is related to Arabic srr (“secret place, pudenda, coition, fornication”). They suggest that this is contextually supported by three factors: (a) His descriptive praise of her is in ascending order, beginning with her feet and concluding with her hair. The movement from her thighs (7:1b), to her vulva (7:2a), and then to her waist (7:2b) would fit this. (b) The descriptive comparison to a glass of wine would be grotesque if her navel were in view – her navel was moist or filled with liquid? – but appropriate if her vulva were in view. (c) The navel would be a somewhat synonymous reference to the belly which is already denoted by בִּטְנֵךְ (bitnekh, “belly”) in the following line. Because 7:1-7 does not use synonymous parallelism, the term שֹׁרֶר would have to refer to something other than the belly. (2) The term שֹׁרֶר denotes “navel”: (a) It may be related to the bi-consonantal noun שֹׁר (shor, “navel, umbilical cord”) (Prov 3:8; Ezek 16:4). (b) Mishnaic Hebrew שָׁרָר (sharar) denotes “navel, umbilical cord” (Jastrow 1634 s.v. שָׁרָר). For example, in a midrash on the Book of Numbers, the noun שֹׁרֶר appears in an allusion to Song 7:3 to justify the seating of the Sanhedrin in the middle of the synagogue: “As the navel (שֹׁרֶר) is placed in the centre of the body, so are the Sanhedrin…” (Num. Rab. 1:4). On the other hand, the meaning “vulva” never appears in Mishnaic Hebrew. Therefore, apart from this disputed usage there is no evidence that this term was ever used in this manner in Hebrew. (c) Rather than שֹׁרֶר being related to Arabic sirr (“pudenda”), it could just as easily be related to the Arabic noun surr “navel.” It is methodologically more sound to define שֹׁרֶר as “navel” than as “vulva.” (d) The nuance “navel” is not as out of line contextually as Lys and Pope suggest. The navel would not be out of place in the ascending order of praise because the בִּטְנֵךְ (“abdomen”) which follows may be viewed as both above and below the navel. The figurative association of the שֹׁרֶר as a mixing bowl filled with wine does not imply that this bodily part must actually be moist or filled with liquid as Pope suggests. The point of comparison is not physical or visual but one of function, i.e., it is intoxicating. The comparison of the navel to a mixing bowl of wine is no more out of line than the comparison of the belly to a heap of wheat in the next line. In fact, the two go together – she is both the “drink” and “food” for Solomon. The shape of the navel is as congruent with the metaphor of the “round bowl” as the vulva; both are round and receding. (3) Since both terms are derived from the same geminate root – Hebrew שֹׁרֶר and Arabic srr – it is more prudent to take the term as a synecdoche of whole (lower region) for the parts (including navel and vulva). The attempt to decide between these two options may be illegitimately splitting hairs. See K&D 18:123; J. S. Deere, “Song of Solomon,” BKCOT, 199-200; D. Lys, “Notes sur de Cantique,” VTSup 17 (1969): 171-78; M. H. Pope, Song of Songs (AB), 617; G. L. Carr, Song of Solomon (TOTC), 157.

² sn The expression אַגַּן הַסַּהַר (’aggan hassahar, “round mixing bowl”) refers to a vessel used for mixing wine. Archaeologists have recovered examples of such large, deep, two handled, ring-based round bowls. The Hebrew term אַגַּן (“mixing bowl”) came into Greek usage as ἂγγος (angos) which designates vessels used for mixing wine (e.g., Homer, Odyssey xvi 16) (LSJ 7). This is consistent with the figurative references to wine which follows: “may it never lack mixed wine.” Selected Bibliography: J. P. Brown, “The Mediterranean Vocabulary for Wine,” VT 19 (1969): 158; A. M. Honeyman, “The Pottery Vessels of the Old Testament,” PEQ 80 (1939): 79. The comparison of her navel to a “round mixing bowl” is visually appropriate in that both are round and receding. The primary point of comparison to the round bowl is one of sense, as the following clause makes clear: “may it never lack mixed wine.” J. S. Deere suggests that the point of comparison is that of taste, desirability, and function (“Song of Solomon,” BKCOT, 202). More specifically, it probably refers to the source of intoxication, that is, just as a bowl used to mix wine was the source of physical intoxication, so she was the source of his sexual intoxication. She intoxicated Solomon with her love in the same way that wine intoxicates a person.

³ tn The phrase אַל־יֶחְסַר (’al-yekhsar) has traditionally been taken as an imperfect: “it never lacks mixed wine” (M. H. Pope, Song of Songs [AB], 619); “which wanteth not liquor” (KJV); “in which liquor is never lacking” (RSV); “that never lacks mixed wine” (JB); “with no lack of wine” (NEB); “that shall never want for spiced wine” (NEB); “that never lacks blended wine” (NIV). This is also how LXX understood it: μὴ ὑστερούμενος κρᾶμα (mh usteroumenos, “not lacking liquor”). However, the negative אַל (’al) normally precedes a jussive expressing a wish or request: “May it never lack mixed wine!” (J. S. Deere, “Song of Solomon,” BKCOT, 202). This approach is adopted by several translations: “that should never lack for mixed wine” (NASB) and “Let mixed wine not be lacking!” (NJPS).

⁴ sn The term מָזֶג (mazeg, “mixed wine”) does not refer to wine mixed with water to dilute its potency, but to strong wine mixed with weaker wine. The practice of mixing wine with water is not attested in the Hebrew Bible. Both מָזֶג and מֶסֶךְ (mesekh) refer to strong wine mixed with weaker wine. The rabbis later distinguished between the two, stating that מָזֶג was strong wine mixed with weak wine, while מֶסֶךְ was wine mixed with water (Aboda Zara 58b). However, both types of wine were intoxicating. Mixed wine was the most intoxicating type of wine. In a midrash on the Book of Numbers a comment is made about the practice of mixing strong wine with weaker wine (e.g., Isa 5:22; Prov 23:30), stating its purpose: “They used to mix strong wine with weak wine so as to get drunk with it” (Num. Rab. 10:8). See J. P. Brown, “The Mediterranean Vocabulary of Wine,” VT 19 (1969): 154. The comparison of a wife’s sexual love to intoxicating wine is common in ancient Near Eastern love literature. Parallel in thought are the words of the Hebrew sage, “May your fountain be blessed and may you rejoice in the wife of your youth. A loving doe, a graceful deer – may her love (or breasts) always intoxicate you, may you ever stagger like a drunkard in her love” (Prov 5:18-19).

⁵ tn Alternately, “your waist.” The term בִּטְנֵךְ (bitnekh) probably refers to the woman’s “belly” rather than “waist.” It is associated with a woman’s abdominal/stomach region rather than her hips (Prov 13:25; 18:20; Ezek 3:3). The comparison of her belly to a heap of wheat is visually appropriate because of the similarity of their symmetrical shape and tannish color. The primary point of comparison, however, is based upon the commonplace association of wheat in Israel, namely, wheat was the main staple of the typical Israelite meal (Deut 32:14; 2 Sam 4:6; 17:28; 1 Kgs 5:25; Pss 81:14; 147:14). Just as wheat satisfied an Israelite’s physical hunger, she satisfied his sexual hunger. J. S. Deere makes this point in the following manner: “The most obvious commonplace of wheat was its function, that is, it served as one of the main food sources in ancient Palestine. The Beloved was both the ‘food’ (wheat) and ‘drink’ (wine) of the Lover. Her physical expression of love nourished and satisfied him. His satisfaction was great for the ‘mixed wine’ is intoxicating and the ‘heap of wheat’ was capable of feeding many. The ‘heap of wheat’ also suggests the harvest, an association which contributes to the emotional quality of the metaphor. The harvest was accompanied with a joyous celebration over the bounty yielded up by the land. So also, the Beloved is bountiful and submissive in giving of herself, and the source of great joy” (“Song of Solomon,” BKCOT, 203-204).

⁶ tn Heb “fenced around by.”

NET Notes: Sos 7:4

¹ tn Alternately, “the ivory tower.” The noun הַשֵּׁן (hashshen, “ivory”) is a genitive of composition, that is, a tower made out of ivory. Solomon had previously compared her neck to a tower (Song 4:4). In both cases the most obvious point of comparison has to do with size and shape, that is, her neck was long and symmetrical. Archaeology has never found a tower overlaid with ivory in the ancient Near East and it is doubtful that there ever was such a tower. The point of comparison might simply be that the shape of her neck looks like a tower, while the color and smoothness of her neck was like ivory. Solomon is mixing metaphors: her neck was long and symmetrical like a tower; but also elegant, smooth, and beautiful as ivory. The beauty, elegance, and smoothness of a woman’s neck is commonly compared to ivory in ancient love literature. For example, in a piece of Greek love literature, Anacron compared the beauty of the neck of his beloved Bathyllus to ivory (Ode xxxix 28-29).

² sn It is impossible at the present time to determine the exact significance of the comparison of her eyes to the “gate of Bath-Rabbim” because this site has not yet been identified by archaeologists.

NET Notes: Sos 7:5

¹ tn Heb “your head [is] upon you.”

² sn The Carmel mountain range is a majestic sight. The mountain range borders the southern edge of the plain of Esdraelon, dividing the Palestinian coastal plain into the Plain of Acco to the north and the Plains of Sharon and Philistia to the south. Its luxuriant foliage was legendary (Isa 33:9; Amos 1:2; Nah 1:4). Rising to a height of approximately 1750 feet (525 m), it extends southeast from the Mediterranean for 13 miles (21 km). Due to its greatness and fertility, it was often associated with majesty and power (Isa 35:2; Jer 46:18). The point of the comparison is that her head crowns her body just as the majestic Mount Carmel rested over the landscape, rising above it in majestic and fertile beauty. See ZPEB 1:755; C. F. Pfeiffer and H. F. Vos, Wycliffe Historical Geography of Bible Lands, 100.

³ sn The term דַּלָּה (dallah, “locks, hair”) refers to dangling curls or loose hair that hangs down from one’s head (HALOT 222-23 s.v. I דַּלָּה). The Hebrew term is from a common Semitic root meaning “to hang down,” and is related to Arabic tadaldala “dangle” and Ethiopic delul “dangling curls” (KBL 222-23).

⁴ tn Heb “like purple” or “like purple fabric.” The term אַרְגָּמָן (’argaman, “purple fabric”) refers to wool dyed with red purple (HALOT 84 s.v. אַרְגָּמָן). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). NASB translates it as “purple threads,” while NIV nuances this term as “royal tapestry.” M. H. Pope (The Song of Songs [AB], 629-30) adduces several ancient Near Eastern texts and suggests that it refers to purple hair-dye. The comparison is to hair which entangles Solomon like binding cords and therefore, it seems most likely that the idea here must be purple threads. The Hebrew noun is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” Aramaic argwn “purple” (HALOT 84). Purple cloth and threads were considered very valuable (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26).

⁵ tn Alternately, “captivated.” The verb אָסַר (’asar, “to bind, capture, hold captive, put in prison”) is commonly used of binding a prisoner with cords and fetters (Gen 42:34; Judg 15:10-13; 16:5-12; 2 Kgs 17:4; 23:33; 25:7; 2 Chr 33:11) (HALOT 75 s.v. אסר). It is frequently used as a figure to depict absolute authority over a person (Ps 105:22). The passive participle סוּר means “to be bound, held captive, imprisoned” (2 Sam 3:34; Jer 40:1; Job 36:8). Like a prisoner bound in cords and fetters and held under the complete control and authority of his captor, Solomon was captivated by the spellbinding power of her hair. In a word, he was the prisoner of love and she was his captor. Similar imagery appears in an ancient Egyptian love song: “With her hair she throws lassoes at me, with her eyes she catches me, with her necklace she entangles me, and with her seal ring she brands me” (Song 43 in the Chester Beatty Cycle, translated by W. K. Simpson, ed., The Literature of Ancient Egypt, 324). J. S. Deere suggests, “The concluding part of the metaphor, ‘The king is held captive by your tresses,’ is a beautiful expression of the powerful effect of love. A strong monarch was held prisoner by the beauty of his Beloved” (“Song of Solomon,” BKCOT, 206-207). This is a startling statement because Solomon emphasizes that the one who was being held captive like a prisoner in bonds was the “king”! At this point in world history, Solomon was the ruler of the most powerful and wealthy nation in the world (1 Kgs 3:13; 10:23-29). And yet he was held totally captive and subject to the beauty of this country maiden!

NET Notes: Sos 7:6

¹ tn Alternately, “O beloved one.” Consonantal אהבה is vocalized by the Masoretes as אַהֲבָה (’ahavah, “love”). However, a variant Hebrew ms tradition preserves the vocalization of the passive form אֲהֻבָה (’ahuvah, “beloved one, one who is loved”), as is also reflected in the Vulgate and Syriac. The term אַהֲבָה (“love”) usually refers to sexual (2 Sam 13:15; Prov 5:19) or emotional love between a man and a woman (2 Sam 1:26; Song 8:6-7) (HALOT 18 s.v. I אַהֲבָה).

² tc The MT preserves a syntactically difficult reading בַּתַּעֲנוּגִים (batta’anugim, “in/with delights”). A variant Hebrew textual tradition preserves the alternate reading בַּת תַּעֲנוּגִים (bat ta’anugim, “daughter of delights” or “delightful daughter”). The textual variant is either due to haplography (mistakenly writing ת once instead of twice) or dittography (mistakenly writing ת twice instead of once). The alternate textual tradition is reflected in Aquila θυγάτηρ τρυφῶν (qugarhr trufwn, “daughter of delights”). However, the MT reading אַהֲבָה בַּתַּעֲנוּגִים (’ahavah batta’anugim, “O love, in your delights”) is אַהֲבָה בַּתַּעֲנוּגִים (“O love, in your delights”) is supported by LXX (Old Greek) ἀγάπη, ἐν τρυφαῖς σου (agaph, en trufais sou, “O love, in your delights”).

tn The term תַּעֲנוּג (ta’anug, “luxury, daintiness, exquisite delight”) is used in reference to: (1) tender love (Mic 1:16); (2) the object of pleasure (Mic 2:9); (3) erotic pleasures (Eccl 2:8); (4) luxury befitting a king (Prov 19:10). The term may have sexual connotations, as when it is used in reference to a harem of women who are described as “the delights” of the heart of a man (Eccl 2:8) (BDB 772 s.v. תַּעֲנוּג).

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.

Geneva Bible: Sos 7:1

How beautiful are thy ^{( a )} feet with shoes, O prince's daughter! the joints of thy thighs [are] like jewels, the work of the hands of a skilful workman.

^{( a )} He describes the comely beauty of the Church in every part, which is to be understood spiritually.

Geneva Bible: Sos 7:3

^{( b )} Thy two breasts [are] like two young roes [that are] twins.

^{( b )} See Son 4:5

Geneva Bible: Sos 7:5

Thy head upon thee [is] like Carmel, and the hair of thy head like purple; the king [is] ^{( c )} held captive by [its] locks of hair.

^{( c )} He delights to come near you, and to be in your company.

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.

TSK Synopsis: Sos 7:1-13

1 A further description of the church's graces.

10 The church professes her faith and desire.

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.

MHCC: Sos 7:1-9

The similitudes here are different from what they were before, and in the original refer to glorious and splendid clothing. Such honour have all his saints; and having put on Christ, they are distinguished by their beautiful and glorious apparel. They adorn the doctrine of God their Saviour in all things. Consistent believers honour Christ, recommend the gospel, and convince and awaken sinners. The church resembles the stately and spreading palm; while her love for Christ, and the obedience resulting therefrom, are precious fruit of the true Vine. The King is held in the galleries. Christ takes delight in the assemblies and ordinances of his people; and admires the fruit of his grace in them. When applied to the church and to each faithful Christian, all this denotes that beauty of holiness, in which they shall be presented to their heavenly Bridegroom.

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.

Matthew Henry: Sos 7:1-9

The title which Jesus Christ here gives to the church is new: O prince's daughter! agreeing with Psa 45:13, where she is called the king's daughter. She is so in respect of her new birth, born from above, begotten of God, and his workmanship, bearing the image of the King of kings, and guided by his Spirit. She is so by marriage; Christ, by betrothing her to himself, though he found her mean and despicable, has made her a prince's daughter. She has a princely disposition, something in her truly noble and generous; she is daughter and heir to the prince of the kings of the earth. If children, then heirs. Now here we have,

I. A copious description of the beauty of the spouse, which, some think, is given by the virgins her companions, and that those were they who called upon her to return; it seems rather to be given by Christ himself, and to be designed to express his love to her and delight in her, as before, Son 4:1, etc., and Son 6:5, Son 6:6. The similitudes are here different from what they were before, to show that the beauty of holiness is such as nothing in nature can reach; you may still say more of it, and yet still come short of it. That commendation of the spouse, ch. 4, was immediately upon the espousals (Son 3:11), this upon her return from a by-path (Son 6:13); yet this exceeds that, to show the constancy of Christ's love to his people; he loves them to the end, since he made them precious in his sight and honourable. The spouse had described the beauty of her beloved in ten particulars (Son 5:11, etc.); and now he describes her in as many, for he will not be behindhand with her in respects and endearments. Those that honour Christ he will certainly honour, and make honourable. As the prophet, in describing the corruptions of degenerate Israel, reckons from the sole of the foot even unto the head (Isa 1:6), so here the beauties of the church are reckoned from foot to head, that, as the apostle speaks, when he is comparing the church, as here, to the natural body (1Co 12:23), more abundant honour might be bestowed on those parts of the body which we think to be less honourable, and which therefore lacked honour, 1Co 12:24. 1. Her feet are here praised; the feet of Christ's ministers are beautiful in the eyes of the church (Isa 52:7), and her feet are here said to be beautiful in the eyes of Christ. How beautiful are thy feet with shoes! When believers, being made free from the captivity of sin (Act 12:8), stand fast in the liberty with which they are made free, preserve the tokens of their enfranchisement, have their feet shod with the preparation of the gospel of peace, and walk steadily according to the rule of the gospel, then their feet are beautiful with shoes; they tread firmly, being well armed against the troubles they meet with in their way. When we rest not in good affections, but they are accompanied with sincere endeavors and resolutions, then our feet are beautified with shoes. See Eze 16:10. 2. The joint of the thighs are here said to be like jewels, and those curiously wrought by a cunning workman. This is explained by Eph 4:16 and Col 2:19, where the mystical body of Christ is said to be held together by joints and bands, as the hips and knees (both which are the joints of the thighs ) serve the natural body in its strength and motion. The church is then comely in Christ's eyes when those joints are kept firm by holy love and unity, and the communion of saints. When believers act in religion from good principles, and are steady and regular in their whole conversation, and turn themselves easily to every duty in its time and place, then the joints are like jewels. 3. The navel is here compared to a round cup or goblet, that wants not any of the agreeable liquor that one would wish to find in it, such as David's cup that ran over (Psa 23:5), well shaped, and not as that miserable infant whose navel was not cut, Eze 16:4. The fear of the Lord is said to be health to the navel. See Pro 3:8. When the soul wants not that fear then the navel wants not liquor. 4. The belly is like a heap of wheat in the store-chamber, which perhaps was sometimes, to make show, adorned with flowers. The wheat is useful, the lilies are beautiful; there is every thing in the church which may be to the members of that body either for use or for ornament. All the body is nourished from the belly; it denotes the spiritual prosperity of a believer and the healthful constitution of the soul all in good plight. 5. The breasts are like two young roes that are twins, Son 7:3. By the breasts of the church's consolations those are nourished who are born from its belly (Isa 46:3), and by the navel received nourishment in the womb. This comparison we had before, Son 4:5. 6. The neck, which before was compared to the tower of David (Son 4:4), is here compared to a tower of ivory, so white, so precious; such is the faith of the saints, by which they are joined to Christ their head. The name of the Lord, improved by faith, is to the saints as a strong and impregnable tower. 7. The eyes are compared to the fish-pools in Heshbon, or the artificial fish-ponds, by a gate, either of Jerusalem or Heshbon, which is called Bath-rabbim, the daughter of a multitude, because a great thoroughfare. The understanding, the intentions of a believer, are clean and clear as these ponds. The eyes, weeping for sin, are as fountains (Jer 9:1), and comely with Christ. 8. The nose is like the tower of Lebanon, the forehead or face set like a flint (Isa 50:7), undaunted as that tower was impregnable. So it denotes the magnanimity and holy bravery of the church, or (as others) a spiritual sagacity to discern things that differ, as animals strangely distinguish by the smell. This tower looks towards Damascus, the head city of Syria, denoting the boldness of the church in facing its enemies and not fearing them. 9. The head like Carmel, a very high hill near the sea, Son 7:5. The head of a believer is lifted up above his enemies (Psa 27:6), above the storms of the lower region, as the top of Carmel was, pointing heaven-ward. The more we get above this world, and the nearer to heaven, and the more secure and serene we become by that means, the more amiable we are in the eyes of the Lord Jesus. 10. The hair of the head is said to be like purple. This denotes the universal amiableness of a believer in the eyes of Christ, even to the hair, or (as some understand it) the pins with which the hair is dressed. Some by the head and the hair understand the governors of the church, who, if they be careful to do their duty, add much to her comeliness. The head like crimson (so some read it) and the hair like purple, the two colours worn by great men.

II. The complacency which Christ takes in his church thus beautified and adorned. She is lovely indeed if she be so in his eyes; as he puts the comeliness upon her, so it is his love that makes this comeliness truly valuable, for he is an unexceptionable judge. 1. He delighted to look upon his church, and to converse with it, rejoicing in that habitable part of his earth: The king is held in the galleries, and cannot leave them. This is explained by Psa 132:13, Psa 132:14, The Lord has chosen Zion, saying, This is my rest for ever; here will I dwell; and Psa 147:11, The Lord takes pleasure in those that fear him. And, if Christ has such delight in the galleries of communion with his people, much more reason have they to delight in them, and to reckon a day there better than a thousand. 2. He was even struck with admiration at the beauty of his church (Son 7:6): How fair and how pleasant art thou, O love! How art thou made fair! (so the word is), "not born so, but made so with the comeliness which I have put upon thee."Holiness is a beauty beyond expression; the Lord Jesus is wonderfully pleased with it; the outward aspect of it is fair; the inward disposition of it is pleasant and highly agreeable, and the complacency he has in it is inexpressible. O my dearest for delights! so some read. 3. He determined to keep up communion with his church. (1.) To take hold of her as of the boughs of a palm-tree. He compares her stature to a palm-tree (Son 7:7), so straight, so strong, does she appear, when she is looked upon in her full proportion. The palm-tree is observed to flourish most when it is loaded; so the church, the more it has been afflicted, the more it has multiplied; and the branches of it are emblems of victory. Christ says, " I will go up to the palm-tree, to entertain myself with the shadow of it (Son 7:8) and I will take hold of its boughs and observe the beauty of them."What Christ has said he will do, in favour to his people; we may be sure he will do it, for his kind purposes are never suffered to fall to the ground; and if he take hold of the boughs of his church, take early hold of her branches, when they are young and tender, he will keep his hold and not let them go. (2.) To refresh himself with her fruits. He compares her breasts (her pious affections towards him) to clusters of grapes, a most pleasant fruit (Son 7:7), and he repeats it (Son 7:8): They shall be (that is, they shall be to me) as clusters of the vine, which make glad the heart. "Now that I come up to the palm-tree thy graces shall be exerted and excited."Christ's presence with his people kindles the holy heavenly fire in their souls, and then their breasts shall be as clusters of the vine, a cordial to themselves and acceptable to him. And since God, at first, breathed into man's nostrils the breath of life, and breathes the breath of the new life still, the smell of their nostrils is like the smell of apples, or oranges, which is pleasing and reviving. The Lord smelt a sweet savour from Noah's sacrifice, Gen 8:21. And, lastly, the roof of her mouth is like the best wine (Son 7:9); her spiritual taste and relish, or the words she speaks of God and man, which come not from the teeth outward, but from the roof of the mouth, these are pleasing to God. The prayer of the upright is his delight. And, when those that fear the Lord speak one to another as becomes them, the Lord hearkens, and hears with pleasure, Mal 3:16. It is like that wine which is, [1.] Very palatable and grateful to the taste. It goes down sweetly; it goes straightly (so the margin reads it); it moves itself aright, Pro 23:31. The pleasures of sense seem right to the carnal appetite, and go down smoothly, but they are often wrong, and, compared with the pleasure of communion with God, they are harsh and rough. Nothing goes down so sweetly with a gracious soul as the wine of God's consolations. [2.] It is a great cordial. The presence of Christ by his Spirit with him people shall be reviving and refreshing to them, as that strong wine which makes the lips even of those that are asleep (that are ready to faint away in a deliquium), to speak. Unconverted sinners are asleep; saints are often drowsy, and listless, and half asleep; but the word and Spirit of Christ will put life and vigour into the soul, and out of the abundance of the heart that is thus filled the mouth will speak. When the apostles were filled with the Spirit they spoke with tongues the wonderful works of God (Act 2:10, Act 2:12); and those who in opposition to being drunk with wine, wherein is excess, are filled with the Spirit, speak to themselves in psalms and hymns, Eph 5:18, Eph 5:19. When Christ is thus commending the sweetness of his spouse's love, excited by the manifestation of his, she seems to put in that word, for my beloved, as in a parenthesis. "Is there any thing in me that is pleasant or valuable? As it is from, so it is for my beloved." Then he delights in our good affections and services, when they are all for him and devoted to his glory.

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.

Keil-Delitzsch: Sos 7:1

1 a How beautiful are thy steps in the shoes,

O prince's daughter!

The noun נדיב , which signifies noble in disposition, and then noble by birth and rank (cf. the reverse relation of the meanings in generosus ), is in the latter sense synon. and parallel to מלך and שׂר ; Shulamith is here called a prince's daughter because she was raised to the rank of which Hannah, 1Sa 2:8, cf. Psa 113:8, speaks, and to which she herself, 6:12 points. Her beauty, from the first associated with unaffected dignity, now appears in native princely grace and majesty. פּעם (from פּעם , pulsare , as in nunc pede libero pulsanda tellus ) signifies step and foot, - in the latter sense the poet. Heb. and the vulgar Phoen. word for רגל ; here the meanings pes and passus (Fr. pas , dance-step) flow into each other. The praise of the spectators now turns from the feet of the dancer to her thighs:

1 b The vibration of thy thighs like ornamental chains,

The work of an artist's hands.

The double-sided thighs, viewed from the spine and the lower part of the back, are called מתנים ; from the upper part of the legs upwards, and the breast downwards (the lumbar region), thus seen on the front and sidewise, חלצים or ירכים . Here the manifold twistings and windings of the upper part of the body by means of the thigh-joint are meant; such movements of a circular kind are called חמּוּקים , from חמק , Son 5:6. חלאים is the plur. of חלי = (Arab.) ḥaly , as חבאים (gazelles) of צבי = zaby . The sing. חלי (or חליה = Arab. hulyah ) signifies a female ornament, consisting of gold, silver, or precious stones, and that (according to the connection, Pro 25:2; Hos 2:15) for the neck or the breast as a whole; the plur. חל , occurring only here, is therefore chosen because the bendings of the loins, full of life and beauty, are compared to the free swingings to and fro of such an ornament, and thus to a connected ornament of chains; for חם are not the beauty-curves of the thighs at rest, - the connection here requires movement. In accordance with the united idea of חל , the appos. is not מעשׂי , but (according to the Palestin.) מעשׂה (lxx, Targ., Syr., Venet.). The artist is called אמּן (ommân ) (the forms אמן and אמן are also found), Syr. avmon , Jewish-Aram. א婢µמן ; he has, as the master of stability, a name like ימין , the right hand: the hand, and especially the right hand, is the artifex among the members.

(Note: Vid ., Ryssel's Die Syn. d. Wahren u. Guten in d. Sem. Spr . (1873), p. 12.)

The eulogists pass from the loins to the middle part of the body. In dancing, especially in the Oriental style of dancing, which is the mimic representation of animated feeling, the breast and the body are raised, and the forms of the body appear through the clothing.

Keil-Delitzsch: Sos 7:2

2 Thy navel is a well-rounded basin -

Let not mixed wine be wanting to it

Thy body is a heap of wheat,

Set round with lilies.

In interpreting these words, Hitzig proceeds as if a "voluptuary"were here speaking. He therefore changes שׁררך into שׁררך , "thy pudenda ."But (1) it is no voluptuary who speaks here, and particularly not a man, but women who speak; certainly, above all, it is the poet, who would not, however, be so inconsiderate as to put into the mouths of women immodest words which he could use if he wished to represent the king as speaking. Moreover (2) שׁר = (Arab.) surr , secret (that which is secret; in Arab. especially referred to the pudenda, both of man and woman), is a word that is

(Note: Vid ., Tebrîzi, in my work entitled Jud.-Arab. Poesien, u.s.w . (1874), p. 24.)

foreign to the Heb. language, which has for "Geheimnis "secret the corresponding word סוד ( vid ., under Psa 2:2; Psa 25:14), after the root-signification of its verbal stem (viz., to be firm, pressed together); and (3) the reference - preferred by Döpke, Magnus, Hahn, and others, also without any change of punctuation - of שׁר to the interfeminium mulieris , is here excluded by the circumstance that the attractions of a woman dancing, as they unfold themselves, are here described. Like the Arab. surr , שׁר (= shurr ), from שׁרר , to bind fast, denotes properly the umbilical cord, Eze 16:4, and then the umbilical scar. Thus, Pro 3:8, where most recent critics prefer, for לשׁרּך , to read, but without any proper reason, לשׁרך = לשׁארך , "to thy flesh,"the navel comes there into view as the centre of the body, - which it always is with new-born infants, and is almost so with grown-up persons in respect of the length of the body, - and as, indeed, the centre. whence the pleasurable feeling of health diffuses its rays of heat. This middle and prominent point of the abdomen shows itself in one lightly clad and dancing when she breathes deeply, even through the clothing; and because the navel commonly forms a little funnel-like hollow (Böttch.: in the form almost of a whirling hollow in the water, as one may see in nude antique statues), therefore the daughters of Jerusalem compare Shulamith's navel to a "basin of roundness," i.e. , which has this general property, and thus belongs to the class of things that are round. אגּן does not mean a steplang7 Becher (a cup), but a steplang7 Bechen (basin), pelvis ; properly a washing basin, ijjanah (from אגן = ajan , to full, to wash = כּבּס ); then a sprinkling basin, Exo 24:6; and generally a basin, Isa 22:24; here, a mixing basin, in which wine was mingled with a proportion of water to render it palatable ( κρατήρ , from κεραννύναι , temperare ), - according to the Talm. with two-thirds of water. In this sense this passage is interpreted allegorically, Sanhedrin 14 b , 37 a , and elsewhere ( vid ., Aruch under מזג ). מזג .)מז is not spiced wine, which is otherwise designated (Son 8:2), but, as Hitzig rightly explains, mixed wine, i.e. , mixed with water or snow ( vid ., under Isa 5:22). מזג is not borrowed from the Greek μίσγειν (Grätz), but is a word native to all the three chief Semitic dialects, - the weaker form of מסך , which may have the meaning of "to pour in;"but not merely "to pour in,"but, at that same time, "to mix"( vid ., under Isa 5:22; Pro 9:2). סהר , with אגּן , represents the circular form (from סהר = סחר ), corresponding to the navel ring; Kimchi thinks that the moon must be understood (cf. שׂהרון , lunula ): a moon-like round basin; according to which the Venet., also in Gr., choosing an excellent name for the moon, translates: ῥἀντιστρον τῆς ἑκάτης . But "moon-basin"would be an insufficient expression for it; Ewald supposes that it is the name of a flower, without, however, establishing this opinion. The "basin of roundness"is the centre of the body a little depressed; and that which the clause, "may not mixed wine be lacking,"expresses, as their wish for her, is soundness of health, for which no more appropriate and delicate figure can be given than hot wine tempered with fresh water.

The comparison in 3b is the same as that of R. Johanan's of beauty, Mezîa 84 a : "He who would gain an idea of beauty should take a silver cup, fill it with pomegranate flowers, and encircle its rim with a garland of roses."

(Note: See my Gesch. d. Jüd. Poesie , p. 30 f. Hoch (the German Solomon) reminds us of the Jewish marriage custom of throwing over the newly-married pair the contents of a vessel wreathed with flowers, and filled with wheat or corn (with money underneath), accompanied with the cry, פּרוּ וּרבוּ be fruitful and multiply.)

To the present day, winnowed and sifted corn is piled up in great heaps of symmetrical half-spherical form, which are then frequently stuck over with things that move in the wind, for the purpose of protecting them against birds. "The appearance of such heaps of wheat,"says Wetstein ( Isa . p. 710), "which one may see in long parallel rows on the thrashing-floors of a village, is very pleasing to a peasant; and the comparison of the Song; Son 7:3, every Arabian will regard as beautiful."Such a corn-heap is to the present day called ṣubbah , while ‛aramah is a heap of thrashed corn that has not yet been winnowed; here, with ערמה , is to be connected the idea of a ṣubbah , i.e. , of a heap of wheat not only thrashed and winnowed, but also sifted (riddled). סוּג , enclosed, fenced about (whence the post-bibl. סיג , a fence), is a part. pass. such as פּוּץ , scattered ( vid ., under Psa 92:12). The comparison refers to the beautiful appearance of the roundness, but, at the same time, also the flesh-colour shining through the dress; for fancy sees more than the eyes, and concludes regarding that which is veiled from that which is visible. A wheat-colour was, according to the Moslem Sunna, the tint of the first created man. Wheat-yellow and lily-white is a subdued white, and denotes at once purity and health; by πυρός wheat one thinks of πῦρ - heaped up wheat developes a remarkable heat, a fact for which Biesenthal refers to Plutarch's Quaest . In accordance with the progress of the description, the breasts are now spoken of:

Keil-Delitzsch: Sos 7:3

3 Thy two breasts are like two fawns,

Twins of a gazelle.

Son 4:5 is repeated, but with the omission of the attribute, "feeding among lilies,"since lilies have already been applied to another figure. Instead of תּאומי there, we have here מּאמי (taǒme ), the former after the ground-form ti'âm , the latter after the ground-form to'm (cf. נּאלי , Neh 8:2, from גּאל = גּאל ).

Keil-Delitzsch: Sos 7:4

4a Thy neck like an ivory tower.

The article in חשּׁן may be that designating species ( vid ., under Son 1:11); but, as at Son 7:5 and Son 4:4, it appears to be also here a definite tower which the comparison has in view: one covered externally with ivory tablets, a tower well known to all in and around Jerusalem, and visible far and wide, especially when the sun shone on it; had it been otherwise, as in the case of the comparison following, the locality would have been more definitely mentioned. So slender, so dazzlingly white, is imposing, and so captivating to the eye did Shulamith's neck appear. These and the following figures would be open to the objection of being without any occasion, and monstrous, if they referred to an ordinary beauty; but they refer to Solomon's spouse, they apply to a queen, and therefore are derived from that which is most splendid in the kingdom over which, along with him, she rules; and in this they have the justification of their grandeur.

4 b a Thine eyes pools in Heshbon,

At the gate of the populous (city).

Hesbhon , formerly belonging to the Amorites, but at this time to the kingdom of Solomon, lay about 5 1/2 hours to the east of the northern point of the Dead Sea, on an extensive, undulating, fruitful, high table-land, with a far-reaching prospect. Below the town, now existing only in heaps of ruins, a brook, which here takes it rise, flows westward, and streams toward the Ghôr as the Nahr Hesbán . It joins the Jordan not far above its entrance into the Dead Sea. The situation of the town was richly watered. There still exists a huge reservoir of excellent masonry in the valley, about half a mile from the foot of the hill on which the town stood. The comparison here supposes two such pools, but which are not necessarily together, though both are before the gate, i.e. , near by, outside the town. Since שׁער , except at Isa 14:31, is fem., רבּים־בּים , in the sense of עם רבּתי , Lam 1:1 (cf. for the non-determin. of the adj., Eze 21:25), is to be referred to the town, not to the gate (Hitz.); Blau's

(Note: In Merx' Archiv. III 355.)

conjectural reading, bath -'akrabbim , does not recommend itself, because the craggy heights of the "ascent of Akrabbim"(Num 34:4; Jos 15:3), which obliquely cross

(Note: Vid ., Robinson's Phys. Geogr. p. 51.)

the Ghôr to the south of the Dead Sea, and from remote times formed the southern boundary of the kingdom of the Amorites (Jdg 1:36), were too far off, and too seldom visited, to give its name to a gate of Heshbon. But generally the crowds of men at the gate and the topography of the gate are here nothing to the purpose; the splendour of the town, however, is for the figure of the famed cisterns like a golden border. בּרכה (from בּרך , to spread out, vid ., Genesis , p. 98; Fleischer in Levy , I 420 b ) denotes a skilfully built round or square pool. The comparison of the eyes to a pool means, as Wetstein

(Note: Zeitschr. für allgem. Erdkunde , 1859, p. 157 f.)

remarks, "either thus glistening like a water-mirror, or thus lovely in appearance, for the Arabian knows no greater pleasure than to look upon clear, gently rippling water."Both are perhaps to be taken together; the mirroring glance of the moist eyes (cf. Ovid, De Arte Am . ii. 722):

"Adspicies obulos tremulo fulgore micantes,

Ut sol a liquida saepe refulget aqua"

and the spell of the charm holding fast the gaze of the beholder.

4 b b Thy nose like the tower of Lebanon,

Which looks towards Damascus.

This comparison also places us in the midst of the architectural and artistic splendours of the Solomonic reign. A definite town is here meant; the art. determines it, and the part. following appositionally without the art., with the expression "towards Damascus"defining it more nearly ( vid ., under Son 3:6), describes it. הלּמנון designates here "the whole Alpine range of mountains in the north of the land of Israel"(Furrer); for a tower which looks in the direction of Damascus ( פּני , accus., as את־פּני , 1Sa 22:4) is to be thought of as standing on one of the eastern spurs of Hermon, or on the top of Amana (Son 4:8), whence the Amana (Barada) takes its rise, whether as a watch-tower (2Sa 8:6), or only as a look-out from which might be enjoyed the paradisaical prospect. The nose gives to the face especially its physiognomical expression, and conditions its beauty. Its comparison to a tower on a lofty height is occasioned by the fact that Shulamith's nose, without being blunt or flat, formed a straight line from the brow downward, without bending to the right or left (Hitzig), a mark of symmetrical beauty combined with awe-inspiring dignity. After the praise of the nose it was natural to think of Carmel; Carmel is a promontory, and as such is called anf el -jebel ("nose of the mountain-range").

Keil-Delitzsch: Sos 7:5

5 a a Thy head upon thee as Carmel.

We say that the head is "on the man"(2Ki 6:31; Judith 14:18), for we think of a man ideally as the central unity of the members forming the external appearance of his body. Shulamith's head ruled her form, surpassing all in beauty and majesty, as Carmel with its noble and pleasing appearance ruled the land and sea at its feet. From the summit of Carmel, clothed with trees) Amo 9:3; 1Ki 18:42), a transition is made to the hair on the head, which the Moslem poets are fond of comparing to long leaves, as vine leaves and palm branches; as, on the other hand, the thick leafy wood is called ( vid ., under Isa 7:20) comata silva (cf. Oudendorp's Apuleii Metam . p. 744). Grätz, proceeding on the supposition of the existence of Persian words in the Song, regards כרמל as the name of a colour; but (1) crimson is designated in the Heb.-Pers. not כרמל , but כרמיל , instead of תולעת שׁני ( vid ., under Isa 1:18; Pro 31:21); (2) if the hair of the head (if ראשׁך might be directly understood of this) may indeed be compared to the glistening of purple, not, however, to the listening of carmese or scarlet, then red and not black hair must be meant. But it is not the locks of hair, but the hair in locks that is meant. From this the eulogium finally passes to the hair of the head itself.

5 a b The flowing hair of thy head like purple -

A king fettered by locks.

Hitzig supposes that כרמל reminded the poet of כּרמיל (carmese), and that thus he hit upon ארגּמן (purple); but one would rather think that Carmel itself would immediately lead him to purple, for near this promontory is the principal place where purple shell-fish are found (Seetzen's Reisen , IV 277 f.). דּלּה (from דּלל , to dangle, to hang loose, Job 28:4, Arab. tadladal ) is res pendula , and particularly coma pendula . Hengst. remarks that the "purple"has caused much trouble to those who understand by דלה the hair of the head. He himself, with Gussetius, understand by it the temples, tempus capitis ; but the word רקּה is used (Son 4:3) for "temples,"and "purple-like"hair hanging down could occasion trouble only to those who know not how to distinguish purple from carmese. Red purple, ארגּמן (Assyr. argamannu , Aram., Arab., Pers., with departure from the primary meaning of the word, ארגּון ,drow eht ), which derives this name from רגם = רקם , material of variegated colour, is dark-red, and almost glistening black, as Pliny says ( Hist. Nat . ix. 135): Laus ei (the Tyrian purple) summa in colore sanguinis concreti, nigricans adspectu idemque suspectu (seen from the side) refulgens, unde et Homero purpureus dicitur sanguis . The purple hair of Nisus does not play a part in myth alone, but beautiful shining dark black hair is elsewhere also called purple, e.g. , πυρφύρεος πλόκαμος in Lucian, πορφυραῖ χαῖται in Anacreon. With the words "like purple,"the description closes; and to this the last characteristic distinguishing Shulamith there is added the exclamation: "A king fettered by locks!"For רהטים , from רהט , to run, flow, is also a name of flowing locks, not the ear-locks (Hitz.), i.e. , long ringlets flowing down in front; the same word (Son 1:17) signifies in its North Palest. form רחיט (Chethı̂b ), a water-trough, canalis . The locks of one beloved are frequently called in erotic poetry "the fetters"by which the lover is held fast, for "love wove her net in alluring ringlets"(Deshâmi in Joseph and Zuleika ).

(Note: Compare from the same poet: "Alas! thy braided hair, a heart is in every curl, and a dilemma in every ring"( Deut. Morg. Zeit . xxiv. 581).)

Goethe in his Westöst. Divan presents as a bold yet moderate example: "There are more than fifty hooks in each lock of thy hair;"and, on the other hand, one offensively extravagant, when it is said of a Sultan: "In the bonds of thy locks lies fastened the neck of the enemy." אסוּר signifies also in Arab. frequently one enslaved by love: asîruha is equivalent to her lov.

(Note: Samaschshari, Mufaṣṣal , p. 8.)

The mention of the king now leads from the imagery of a dance to the scene which follows, where we again hear the king's voice. The scene and situation are now manifestly changed. We are transferred from the garden to the palace, where the two, without the presence of any spectators, carry on the following dialogue.

Keil-Delitzsch: Sos 7:6

6 How beautiful art thou, and how charming,

O love, among delights!

It is a truth of all-embracing application which is here expressed. There is nothing more admirable than love, i.e. , the uniting or mingling together of two lives, the one of which gives itself to the other, and so finds the complement of itself; nor than this self-devotion, which is at the same time self-enrichment. All this is true of earthly love, of which Walther v. d. Vogelweide says: "steplang7 minne ist sweier herzen wünne "love is the joy of two hearts, and it is true also of heavenly love; the former surpasses all earthly delights (also such as are purely sensuous, Ecc 2:8), and the latter is, as the apostle expresses himself in his spiritual "Song of Songs,"1Co 13:13, in relation to faith and hope, "greater than these,"greater than both of them, for it is their sacred, eternal aim. In יפית it is indicated that the idea, and in נעמתּ that the eudaemonistic feature of the human soul attains its satisfaction in love. The lxx, obliterating this so true and beautiful a promotion of love above all other joys, translate ἐν ταῖς τρυφαῖς σου (in the enjoyment which thou impartest). The Syr., Jerome, and others also rob the Song of this its point of light and of elevation, by reading אהמה O beloved! instead of אהבה . The words then declare (yet contrary to the spirit of the Hebrew language, which knows neither אהוּמה nor אהוּמתי as vocat.) what we already read at Son 4:10; while, according to the traditional form of the text, they are the prelude of the love-song, to love as such, which is continued in Son 8:6.

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).

Constable: Sos 7:1-10

B. Communicating Affection 7:1-10

This section that provides a window into the intimate relationship of Solomon and his wife shows how their love had matured since their wedding (cf. 4:1-11).

Constable: Sos 7:1-6

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

7:1-2 These verses contain both physical and metaphorical compliments. Verse 1 seems to refer to the Shulammite's body, but verse 2 goes beyond that. It seems to convey the idea that she was Solomon's drink and food, "that her physical expressions of love nourished and satisfied him."⁸¹

7:3-4 Heshbon was a Moabite city famous for its refreshing ponds.

"The soft glance of her eyes reflects the peace and beauty of the Heshbon pools."⁸²

Bath-rabbim is unknown today. The tower of Lebanon was evidently a beautiful tower that marked the unusually attractive city of Damascus. Similarly the Shulammite's nose attractively represented her total beauty.

7:5-6 Mt. Carmel was majestic (cf. Isa. 35:2; Jer. 46:18), as was she. In Solomon's day, people considered purple threads most beautiful, precious, and regal.

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.

TSK: The Song of Songs 7 (Chapter Introduction)

Overview

Son 7:1, A further description of the church’s graces; Son 7:10, The church professes her faith and desire.

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.

Poole: The Song of Songs 7 (Chapter Introduction)

OF SOLOMON CHAPTER 7

A further description of the church’ s graces, Son 7:1-7 . This design to visit the church, with the blessed effect thereof, Son 7:8,9 . She professeth her faith and desire, Son 7:10 . She inviteth him to communion with her, Son 7:11 . The end thereof, Son 7:12,13 .

The Bridegroom, who spake the last words, here continueth his speech, and breaks forth into an elegant and particular description and commendation of the spouse, partly from the parts of her body, and partly from her ornaments; in which the same thing is to be observed which was noted concerning her description of the Bridegroom, that there is no necessity of a distinct application of every parcel of it, the design being only this, to describe the beauty and glory of the church under the representation of a beautiful and noble woman. This also is observable, that in the description of Christ she begins at the head, and so goeth downward, Son 5:11 , &c., but Christ in the description of the spouse proceedeth from the feet upwards.

Feet being the chief instrument of our motion from place to place, is oft used metonymically for the motion itself, and so may here signify either the inward motions, the workings of the affections, or the outward motions, the steps or actions of the life, both which are right and amiable in believers.

Shoes were anciently evidences of a free and comfortable state, whereas slaves and mourners use to go barefoot, 2Sa 15:30 Isa 20:4 , which also in women of high quality were adorned with gold and other ornaments; of which see Isa 3:18 . These may also signify that the feet of believers should be shod with the preparation of the gospel of peace , Eph 6:15 . Prince’ s daughter , both by birth, being born of God, and by disposition and deportment agreeable to that quality.

The joints of thy thighs either,

1. The hollow place in which the hip or thigh-bone moveth and turneth itself; or rather,

2. The hip or thighbone which moveth there; for this is more fitly compared to a jewel well set. Some understand this of some ornaments worn by women upon those parts; for the word rendered joints may signify girdles , or any ornament which encompasseth any part of the body, and the same words which signify thighs are both in Hebrew and other languages sometimes used concerning the legs ; which being admitted, this might seem to be understood of the bride’ s garters, about her legs, which not unfitly follows the shoes upon her feet last mentioned. But this sense seems not to suit so well with the following comparison as the former doth.

Like jewels the work of the hands of a cunning workman ; like jewels orderly and excellently set by a skillful artist. So this signifies the uprightness and decency of her going, which depends very much upon the right situation of the hip or thigh-bone, which when it is dislocated or disordered causeth a lameness or uncomeliness in going; whereby he understands the orderliness and amiableness of her conversation.

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.

MHCC: The Song of Songs 7 (Chapter Introduction)

(Son 7:1-9) The graces of the church.

(Son 7:10-13) The delight of the church in Christ.

Matthew Henry: The Song of Songs (Book Introduction)

An Exposition, with Practical Observations, of The Song of Solomon

All scripture, we are sure, is given by inspiration of God, and is profitable for the support and advancement of the interests of his kingdom among men, and it is never the less so for there being found in it some things dark and hard to be understood, which those that are unlearned and unstable wrest to their own destruction. In our belief both of the divine extraction and of the spiritual exposition of this book we are confirmed by the ancient, constant, and concurring testimony both of the church of the Jews, to whom were committed the oracles of God, and who never made any doubt of the authority of this book, and of the Christian church, which happily succeeds them in that trust and honour. I. It must be confessed, on the one hand, that if he who barely reads this book be asked, as the eunuch was Understandest thou what thou readest? he will have more reason than he had to say, How can I, except some man shall guide me? The books of scripture-history and prophecy are very much like one another, but this Song of Solomon's is very much unlike the songs of his father David; here is not the name of God in it; it is never quoted in the New Testament; we find not in it any expressions of natural religion or pious devotion, no, nor is it introduced by vision, or any of the marks of immediate revelation. It seems as hard as any part of scripture to be made a savour of life unto life, nay, and to those who come to the reading of it with carnal minds and corrupt affections, it is in danger of being made a savour of death unto death; it is a flower out of which they extract poison; and therefore the Jewish doctors advised their young people not to read it till they were thirty years old, lest by the abuse of that which is most pure and sacred ( horrendum dictu - horrible to say! ) the flames of lust should be kindled with fire from heaven, which is intended for the altar only. But, II. It must be confessed, on the other hand, that with the help of the many faithful guides we have for the understanding of this book it appears to be a very bright and powerful ray of heavenly light, admirable fitted to excite pious and devout affections in holy souls, to draw out their desires towards God, to increase their delight in him, and improve their acquaintance and communion with him. It is an allegory, the letter of which kills those who rest in that and look no further, but the spirit of which gives life, 2Co 3:6; Joh 6:63. It is a parable, which makes divine things more difficult to those who do not love them, but more plain and pleasant to those who do, Mat 13:14, Mat 13:16. Experienced Christians here find a counterpart of their experiences, and to them it is intelligible, while those neither understand it nor relish it who have no part nor lot in the matter. It is a song, an Epithalamium, or nuptial song, wherein, by the expressions of love between a bridegroom and his bride, are set forth and illustrated the mutual affections that pass between God and a distinguished remnant of mankind. It is a pastoral; the bride and bridegroom, for the more lively representation of humility and innocence, are brought in as a shepherd and his shepherdess. Now, 1. This song might easily be taken in a spiritual sense by the Jewish church, for whose use it was first composed, and was so taken, as appears by the Chaldee-Paraphrase and the most ancient Jewish expositors. God betrothed the people of Israel to himself; he entered into covenant with them, and it was a marriage-covenant. He had given abundant proofs of his love to them, and required of them that they should love him with all their heart and soul. Idolatry was often spoken of as spiritual adultery, and doting upon idols, to prevent which this song was penned, representing the complacency which God took in Israel and which Israel ought to take in God, and encouraging them to continue faithful to him, though he might seem sometimes to withdraw and hide himself from them, and to wait for the further manifestation of himself in the promised Messiah. 2. It may more easily be taken in a spiritual sense by the Christian church, because the condescensions and communications of divine love appear more rich and free under the gospel than they did under the law, and the communion between heaven and earth more familiar. God sometimes spoke of himself as the husband of the Jewish church (Isa 64:5, Hos 2:16, Hos 2:19), and rejoiced in it as his bride, Isa 62:4, Isa 62:5. But more frequently is Christ represented as the bridegroom of his church (Mat 25:1; Rom 7:4; 2Co 11:2; Eph 5:32), and the church as the bride, the Lamb's wife, Rev 19:7; Rev 21:2, Rev 21:9. Pursuant to this metaphor Christ and the church in general, Christ and particular believers, are here discoursing with abundance of mutual esteem and endearment. The best key to this book is the 45th Psalm, which we find applied to Christ in the New Testament, and therefore this ought to be so too. It requires some pains to find out what may, probably, be the meaning of the Holy Spirit in the several parts of this book; as David's songs are many of them level to the capacity of the meanest, and there are shallows in them learned, and there are depths in it in which an elephant may swim. But, when the meaning is found out, it will be of admirable use to excite pious and devout affections in us; and the same truths which are plainly laid down in other scriptures when they are extracted out of this come to the soul with a more pleasing power. When we apply ourselves to the study of this book we must not only, with Moses and Joshua, put off our shoe from off our foot, and even forget that we have bodies, because the place where we stand is holy ground, but we must, with John, come up hither, must spread our wings, take a noble flight, and soar upwards, till by faith and holy love we enter into the holiest, for this is no other than the house of God and this is the gate of heaven.

Matthew Henry: The Song of Songs 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).

Matthew Henry: The Song of Songs 7 (Chapter Introduction)

In this chapter, I. Christ, the royal bridegroom, goes on to describe the beauties of his spouse, the church, in many instances, and to express his love to her and the delight he has in her conversation (Son 7:1-9). II. The spouse, the church, expresses her great delight in him, and the desire that she had of communion and fellowship with him (Son 7:10-13). Such mutual esteem and endearment are there between Christ and believers. And what is heaven but an everlasting interchanging of loves between the holy God and holy souls!

Constable: The Song of Songs (Book Introduction)

Introduction

Title

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

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

Writer and Date

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

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

Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

Purpose

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

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

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

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

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

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

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

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

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

Canonicity

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

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

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

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

Message²⁴

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

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

3. Solomon's praise 1:9-11

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

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

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

2. The groom's request 4:8

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

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

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

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

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

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

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

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

3. The ultimate unity 7:10

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

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

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

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

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

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

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

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

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

Gill: The Song of Songs 6 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 6

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

Gill: The Song of Songs 7 (Chapter Introduction)

INTRODUCTION TO SONG OF SOLOMON 7

In this chapter Christ gives a fresh commendation of the beauty of his church, in a different order and method than before; beginning with her "feet", and so rising upwards to the "hair" of her head, and the roof of her mouth, Son 7:1; And then the church asserts her interest in him, and his desire towards her, Son 7:10; and invites him to go with her into the fields, villages, and vineyards, and offers various reasons, by which she urges him to comply with her invitation, Son 7:11.