Text -- The Song of Songs 6:2 (NET)

6:2 The Beloved to the Maidens: My beloved has gone down to his garden, to the flowerbeds of balsam spices, to graze in the gardens, and to gather lilies.

Commentary -- Word/Phrase Notes (per phrase)

Wesley: Sos 6:2

The spouse had hitherto been at a loss for her beloved, but having diligently sought him, now at last she meets with a gracious answer from God, directing her where to find him. The garden may signify the church catholic, and the gardens, as it follows, as also the beds, the particular assemblies of the faithful, in which Christ affords his presence.

Wesley: Sos 6:2

In which the gifts and graces of God's spirit, fitly compared to spices, grow.

Wesley: Sos 6:2

To refresh and delight himself.

Wesley: Sos 6:2

Which may denote either, particular believers, whom Christ gathers to himself in his church; or, the prayers and praises of his people in the publick congregations.

JFB: Sos 6:2

Jerusalem was on a hill (answering to its moral elevation), and the gardens were at a little distance in the valleys below.

JFB: Sos 6:2

(balsam) which He Himself calls the "mountain of myrrh," &c. (Son 4:6), and again (Son 8:14), the resting-place of His body amidst spices, and of His soul in paradise, and now in heaven, where He stands as High Priest for ever. Nowhere else in the Song is there mention of mountains of spices.

JFB: Sos 6:2

That is, in the churches, though He may have withdrawn for a time from the individual believer: she implies an invitation to the daughters of Jerusalem to enter His spiritual Church, and become lilies, made white by His blood. He is gathering some lilies now to plant on earth, others to transplant into heaven (Son 5:1; Gen 5:24; Mar 4:28-29; Act 7:60).

Clarke: Sos 6:2

My beloved is gone down into his garden - The answer of the bride to her companions.

TSK: Sos 6:2

gone : Son 6:11, Son 4:12-16, Son 5:1; Isa 58:11, Isa 61:11; Mat 18:20, Mat 28:20

the beds : Son 5:13

feed : Son 1:7, Son 1:8; Isa 40:11; Eze 34:23; Zep 3:17; Joh 4:34, Joh 4:35; Rev 7:17

and to : Son 2:2; Isa 57:1; Joh 14:3, Joh 17:24; Phi 1:21-23; 1Th 4:13, 1Th 4:14

Commentary -- Word/Phrase Notes (per Verse)

Barnes: Sos 6:1-2

The question put by the chorus, and the answer it receives from the bride, show that the loss and seeking are not to be taken too seriously.

Poole: Sos 6:2

The spouse had hitherto been at a loss for her Beloved, but having diligently sought him, and inflamed both her own and others’ affections with love to him by her just commendations, now at last she meets with a gracious answer from God, directing her where to find him, which also comes very seasonably, not only for her own relief and comfort, but also for the benefit of others, who inquired after him. The

garden seems to signify the church catholic, and the gardens , as it follows here, as also the beds, may note the particular assemblies of the faithful, in which Christ affordeth his presence and his blessing.

Beds of spices in which the gifts and graces of God’ s Spirit, which are fitly compared to spices or aromatical flowers, do appear and grow.

To feed to refresh and delight himself, or to gather the flowers and fruits of it, as men use to do in their gardens.

To gather lilies which may note either,

1. Particular believers, whom Christ gathereth to himself in his church, who are compared to lilies, Son 2:2 . Or,

2. The prayers and praises tendered to him by his people in the public congregations, and all their gracious dispositions and actions.

Haydock: Sos 6:2

Beloved. She speaks thus, when she finds him, and runs to his embraces, having found what trouble her neglect had occasioned. (Calmet)

Gill: Sos 6:2

My beloved is gone down into his garden,.... Which may be said by Solomon, in allusion to what he himself was wont to do, as Josephus ^q relates; who used to go very early in a morning in great pomp to Etham, about two miles from Jerusalem, a pleasant place, abounding with gardens and flows of water: or respect may be had to the king's gardens nearer Jerusalem, which were at the descent of Mount Zion, and reached to the lower pool ^r; see Neh 3:15; and which lying lower than the king's palace, he might be said to go down to it. And this may point at the low estate of the people of God on earth, depressed with sorrows, afflictions, and persecutions; and the condescension of Christ, in visiting them in their low estate, and granting them his gracious presence: of the garden of Christ, and of his coming into it; see Gill on Son 4:12; See Gill on Son 4:16; See Gill on Son 5:1; and the church might remember what he said, "I am come into my garden", Son 5:1; though she soon fell asleep and forgot it, and now calls it to mind, and so could direct the daughters where he was. She adds,

to the beds of spices; of odoriferous plants; to which particular believers, planted regularly in the churches of Christ, may be compared, for the excellency and fragrancy of their graces; and among whom Christ delights to be; see Son 4:13. Gussetius ^s thinks the words, both here and in Son 5:13, should be rendered "rivers of spices"; an hyperbolical expression, showing that a man walking by rivers of waters, where aromatic plants and fragrant flowers grow, perceives such a sweet odour, that, while he is refreshed with the moisture of the waters, he seems to be walking by rivers of spices. The end of her beloved's going thither is,

to feed in the gardens; to feed his flocks there: not on commons and in fields, but in gardens, which is unusual: and by which are meant particular churches, where Christ feeds his people, by his Spirit and by his ministers, word and ordinances, with himself, the bread of life; with the discoveries of his love, better than wine; and with the doctrines and promises of the Gospel: or to feed himself, or that "he himself might be fed" ^t there; by beholding with pleasure how the plants grow, and the spices flow out; by tasting the pleasant fruits of the garden; and by observing with delight the graces of the Spirit in his people in lively exercise;

and to gather lilies; to crop them with the hand ^u; lilies are liable to be cropped, hence Horace ^w calls the lily "breve lilium", the short lived lily: to these saints may be compared, for the glory, splendour, and beauty, they receive from Christ; see Son 2:2; there was a gathering of these at the death of Christ, Eph 2:10; and there is a gathering of them in effectual calling, and into a church state, and into nearer communion with Christ; but here it seems to signify a gathering them by death, when fully ripe, to enjoy everlasting fellowship with him.

Commentary -- Verse Notes / Footnotes

NET Notes: Sos 6:2

¹ sn The term גַּן (gan, “garden”) is used six other times in the Song. In five cases, it is used figuratively (hypocatastasis) to describe her body or the sexual love of the couple (4:12, 15, 16a, 16b; 5:1). There is only one usage in which it might refer to a real garden (8:13). Thus, this usage of “garden” might be figurative or literal: (1) He went to a real garden for repose. Solomon did, in fact, own a great many gardens (Eccl 2:4-7; 1 Chr 27:27). (2) The “garden” is a figurative description referring either to: (a) the young woman, (b) their sexual love, or (c) Solomon’s harem.

² sn The phrase כַּעֲרוּגַת הַבֹּשֶׂם (ka’arugat havvosem, “flower-beds of balsam”) is used elsewhere in the Song only in 5:13 where it is a simile comparing his cheeks to a flower-bed of balsam yielding perfumed spices. The term הַבֹּשֶׂם (“balsam-spice”) by itself appears five times in the Song, each time as a figure for sexual love (4:10, 14, 16; 5:1; 8:14). Thus, the two options are: (1) the term refers to a real flower-bed of balsam to which Solomon had gone or (2) this term is a figure for sexual love.

³ tn The verb לִרְעוֹת (lir’ot, “to browse”; so NAB, NIV) is from the root רָעָה (ra’ah, “to feed, graze”) which is used seven times in the Song (1:7, 8a, 8b; 2:16; 4:5; 6:2, 3). All its uses appear to be either literal or figurative descriptions of sheep grazing. The verb is used twice in reference to sheep “grazing” in a pasture (1:7, 8). The participle is used once to designate “shepherds” (1:8), once in reference to two fawns which “which graze among the lilies” as a figurative description of her breasts (4:5), and twice as a figurative description of Solomon as “the one who grazes among the lilies” which is probably also a comparison of Solomon to a grazing sheep (2:16; 6:3). Therefore, it is likely that the usage of the term לִרְעוֹת (“to graze”) in 6:2 is also a figurative comparison of Solomon to a sheep grazing among garden flowers. Thus, there are two options: (1) nuance the term לִרְעוֹת as “to browse” (NAB, NIV) and take this as a literal action of Solomon walking through a real garden or (2) nuance the term לִרְעוֹת as “to graze” (NLT) and take this as a figure in which Solomon is pictured as a gazelle grazing on the flowers in a garden.

⁴ sn The term שׁוֹשַׁנָּה (shoshannah, “lily”) or שׁוֹשַׁנִים (shoshanim, “lilies”) appears eight times in the Song (2:1, 2, 16; 4:5; 5:13; 6:2, 3; 7:2). Of these five are unequivocally used figuratively as descriptions of a woman or women (2:1, 2), the color and softness of her breasts (4:5), the attractiveness of his lips (5:13), and her waist (7:2). The closest parallel to 6:2 is the description “the one who grazes among the lilies” (2:16; 6:3) which is a figurative expression comparing his romancing of his Beloved with a sheep feeding on lilies. However, this still leaves a question as to what the lilies represent in 2:16; 6:2, 3. The phrase “to gather lilies” itself appears only here in the Song. However, the synonymous phrase “to gather myrrh and balsam spice” is used in 5:1 as a figure (euphemistic hypocatastasis) for sexual consummation by the man of the woman. There are three basic options as to how “lilies” may be taken: (1) The lilies are real flowers; he has gone to a real garden in which to repose and she is picking real lilies. (2) The term “lilies” is a figure for the young woman; he is romancing her just as he had in 2:16 and 5:1. He is kissing her mouth just as a sheep would graze among lilies. (3) The term “lilies” is a figure expression referring to other women, such as his harem (e.g., 6:8-9). Two factors support the “harem” interpretation: (1) Solomon had recently departed from her, and she was desperate to find him after she refused him. (2) His harem is mentioned explicitly in 6:8-9. However, several other factors support the Beloved interpretation: (1) She expresses her confidence in 6:3 that he is devoted to her. (2) The immediately following use of “lilies” in 6:3 appears to refer to her, as in 2:16 and 5:1. (3) He praises her in 6:4-7, suggesting that he was romancing her in 6:2-3. (4) Although his harem is mentioned in 6:8-10, all these women acknowledge that he is disinterested in them and only loves her. (5) Her exultation “I am my beloved’s and my beloved is mine; the one who grazes among the lilies” (6:3) is a statement of assurance in their relationship and this would seem quite strange if he was cavorting with his harem while she said this.

Geneva Bible: Sos 6:2

My beloved is gone down into his ^{( a )} garden, to the beds of spices, to feed in the gardens, and to gather lilies.

^{( a )} That is, is conversant here in earth among men.

Commentary -- Verse Range Notes

TSK Synopsis: Sos 6:1-13

1 The church professes her faith in Christ.

4 Christ shews the graces of the church;

10 and his love towards her.

MHCC: Sos 6:2-3

Christ's church is a garden, enclosed, and separated from the world; he takes care of it, delights in it, and visits it. Those who would find Christ, must attend him in his ordinances, the word, sacraments, and prayer. When Christ comes to his church, it is to entertain his friends. And to take believers to himself: he picks the lilies one by one; and at the great day he will send forth his angels to gather all his lilies, that he may be for ever admired in them. The death of a believer is not more than the owner of a garden plucking a favourite flower; and He will preserve it from withering, yea, cause it to flourish for ever, with increasing beauty. If our own hearts can witness for us that we are Christ's, question not his being ours, for the covenant never breaks on his side. It is the comfort of the church, that he feeds among the lilies, that he takes delight in his people.

Matthew Henry: Sos 6:1-3

Here is, I. The enquiry which the daughters of Jerusalem made concerning Christ, Son 6:1. They still continue their high thoughts of the church, and call her, as before, the fairest among women; for true sanctity is true beauty. And now they raise their thoughts higher concerning Christ: Whither has thy beloved gone, that we may seek him with thee? This would be but an indecent, unacceptable, compliment, if the song were not to be understood spiritually; for love is jealous of a rival, would monopolize the beloved, and cares not that others should join in seeking him; but those that truly love Christ are desirous that others should love him too, and be joined to him; nay, the greatest instance of duty and respect that the church's children can show to their mother is to join with her in seeking Christ. The daughters of Jerusalem, who had asked (Son 5:9), What is thy beloved more than another beloved? wondering that the spouse should be so passionately in love with him, are now of another mind, and are themselves in love with him; for, 1. The spouse had described him, and shown them his excellencies and perfections; and therefore, though they have not seen him, yet, believing, they love him. Those that undervalue Christ do so because they do not know him; when God, by his word and Spirit, discovers him to the soul, with that ray of light the fire of love to him will be kindled. 2. The spouse had expressed her own love to him, her rest in that love, and triumphed in it: This is my beloved; and that flame in her breast scattered sparks into theirs. As sinful lusts, when they break out, defile many, so the pious zeal of some may provoke many, 2Co 9:2. 3. The spouse had bespoken their help in seeking her beloved (Son 5:8); but now they beg hers, for they perceive that now the cloud she had been under began to scatter, and the sky to clear up, and, while she was describing her beloved to them, she herself retrieved her comfort in him. Drooping Christians would find benefit themselves by talking of Christ, as well as do good to others. Now here, (1.) They enquire concerning him, " Wither has thy beloved gone? which may must we steer our course in pursuit of him?"Note, Those that are made acquainted with the excellencies of Christ, and the comfort of an interest in him, cannot but be inquisitive after him and desirous to know where they may meet with him. (2.) They offer their service to the spouse to accompany her in quest of him: We will seek him with thee. Those that would find Christ must seek him, seek him early, seek him diligently; and it is best seeking Christ in concert, to join with those that are seeking him. We must seek for communion with Christ in communion with saints. We know whither our beloved has gone; he has gone to heaven, to his Father, and our Father. He took care to send us notice of it, that we might know how to direct to him, Joh 20:17. We must by faith see him there, and by prayer seek him there, with boldness enter into the holiest, and herein must join with the generation of those that seek him (Psa 24:6), even with all that in every place call upon him, 1Co 1:2. We must pray with and for others.

II. The answer which the spouse gave to this enquiry, Son 6:2, Son 6:3. Now she complains not any more, as she had done (Son 5:6), "He is gone, he is gone,"that she knew not where to find him, or doubted she had lost him for ever; no,

1. Now she knows very well where he is (Son 6:2): " My beloved is not to be found in the streets of the city, and the crowd and noise that are there; there I have in vain looked for him"(as his parents sought him among their kindred and acquaintance, and found him not ); "but he has gone down to his garden, a place of privacy and retirement."The more we withdraw from the hurry of the world the more likely we are to have acquaintance with Christ, who took his disciples into a garden, there to be witnesses of the agonies of his love. Christ's church is a garden enclosed, and separated from the open common of the world; it is his garden, which he has planted as he did the garden of Eden, which he takes care of, and delights in. Though he had gone up to the paradise above, yet he comes down to his garden on earth; it lies low, but he condescends to visit it, and wonderful condescension it is. Will God in very deed dwell with man upon the earth? Those that would find Christ may expect to meet with him in his garden the church, for there he records his name (Exo 20:24); they must attend upon him in the ordinances which he has instituted, the word, sacraments, and prayer, wherein he will be with us always, even to the end of the world. The spouse here refers to what Christ had said (Son 5:1), I have come into my garden. It is as if she had said, "What a fool was I to fret and fatigue myself in seeking him where he was not, when he himself had told me where he was!"Words of direction and comfort are often out of the way when we have occasion to use them, till the blessed Spirit brings them to our remembrance, and then we wonder how we overlooked them. Christ has told us that he would come into his garden; thither therefore we must go to seek him. The beds, and smaller gardens, in this greater, are the particular churches, the synagogues of God in the land (Psa 84:8); the spices and lilies are particular believers, the planting of the Lord, and pleasant in his eyes. When Christ comes down to his church it is, (1.) To feed among the gardens, to feed his flock, which he feeds not, as other shepherds, in the open fields, but in his garden, so well are they provided for, Psa 23:2. He comes to feed his friends, and entertain them; there you may not only find him, but find his table richly furnished, and a hearty welcome to it. He comes to feed himself, that is, to please himself with the products of his own grace in his people; for the Lord takes pleasure in those that fear him. He has many gardens, many particular churches of different sizes and shapes; but, while they are his, he feeds in them all, manifests himself among them, and is well pleased with them. (2.) To gather lilies, wherewith he is pleased to entertain and adorn himself. He picks the lilies one by one, and gathers them to himself; and there will be a general harvest of them at the great day, when he will send forth his angels, to gather all his lilies, that he may be for ever glorified and admired in them.

2. She is very confident of her own interest in him (Son 6:3): " I am my beloved's, and my beloved is mine; the relation is mutual, and the knot is tied, which cannot be loosed; for he feeds among the lilies, and my communion with him is a certain token of my interest in him."She had said this before (Son 2:16); but, (1.) Here she repeats it as that which she resolved to abide by, and which she took an unspeakable pleasure and satisfaction in; she liked her choice too well to change. Our communion with God is very much maintained and kept up by the frequent renewing of our covenant with him and rejoicing in it. (2.) She had occasion to repeat it, for she had acted unkindly to her beloved, and, for her so doing, he had justly withdrawn himself from her, and therefore there was occasion to take fresh hold of the covenant, which continues firm between Christ and believes, notwithstanding their failings and his frowns, Psa 89:30-35. "I have been careless and wanting in my duty, and yet I am my beloved's; "for every transgression in the covenant does not throw us out of covenant. "He has justly hidden his face from me and denied me his comforts, and yet my beloved is mine; "for rebukes and chastenings are not only consistent with, but they flow from covenant-love. (3.) When we have not a full assurance of Christ's love we must live by a faithful adherence to him. "Though I have not the sensible consolation I used to have, yet I will cleave to this, Christ is mine and I am his. "(4.) Though she had said the same before, yet now she inverts the order, and asserts her interest in her first: I am my beloved's, entirely devoted and dedicated to him; and then her interest in him and in his grace: " My beloved is mine, and I am happy, truly happy in him."If our own hearts can but witness for us that we are his, there is no room left to question his being ours; for the covenant never breaks on his side. (5.) It is now her comfort, as it was then, that he feeds among the lilies, that he takes delight in his people and converses freely with them, as we do with those with whom we feed; and therefore, though at present he be withdrawn, "I shall meet with him again. I shall yet praise him who is the health of my countenance, and my God. "

Keil-Delitzsch: Sos 6:2

2 My beloved has gone down into the garden,

To the beds of sweet herbs,

To feed in the gardens

And gather lilies.

He is certainly, she means to say, there to be found where he delights most to tarry. He will have gone down - viz. from the palace (Son 6:11; cf. 1Ki 20:43 and Est 7:7) - into his garden, to the fragrant beds, there to feed in his garden and gather lilies (cf. Old Germ. "to collect steplang7 rôsen "); he is fond of gardens and flowers. Shulamith expresses this in her shepherd-dialect, as when Jesus says of His Father (Joh 15:1), "He is the husbandman."Flowerbeds are the feeding place ( vid ., regarding לרעות under Son 2:16) of her beloved. Solomon certainly took great delight in gardens and parks, Ecc 2:5. But this historical fact is here idealized; the natural flora which Solomon delighted in with intelligent interest presents itself as a figure of a higher Loveliness which was therein as it were typically manifest (cf. Rev 7:17, where the "Lamb,""feeding,"and "fountains of water,"are applied as anagogics, i.e. , heavenward-pointing types). Otherwise it is not to be comprehended why it is lilies that are named. Even if it were supposed to be implied that lilies were Solomon's favourite flowers, we must assume that his taste was determined by something more than by form and colour. The words of Shulamith give us to understand that the inclination and the favourite resort of her friend corresponded to his nature, which is altogether thoughtfulness and depth of feeling (cf. under Psa 92:5, the reference to Dante: the beautiful women who gather flowers representing the paradisaical life); lilies, the emblems of unapproachable grandeur, purity inspiring reverence, high elevation above that which is common, bloom there wherever the lily-like one wanders, whom the lily of the valley calls her own. With the words:

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 6:1-3

3. Steps toward reconciliation 6:1-3

6:1 The Shulammite convinced the daughters of Jerusalem that her love for her husband was deep and genuine. They agreed to search for Solomon with her.

6:2-3 Having expressed her love for her husband, the Shulammite now knew where to find him. Solomon loved his gardens (Eccles. 2:5). Perhaps the catharsis of verbalizing his praise had healed her emotional estrangement, and in her dream the knowledge of his whereabouts popped into her mind.

Introduction / Outline

JFB: The Song of Songs (Book Introduction)

The Song of Solomon, called in the Vulgate and Septuagint, "The Song of Songs," from the opening words. This title denotes its superior excellence, according to the Hebrew idiom; so holy of holies, equivalent to "most holy" (Exo 29:37); the heaven of heavens, equivalent to the highest heavens (Deu 10:14). It is one of the five volumes (megilloth) placed immediately after the Pentateuch in manuscripts of the Jewish Scriptures. It is also fourth of the Hagiographa (Cetubim, writings) or the third division of the Old Testament, the other two being the Law and the Prophets. The Jewish enumeration of the Cetubim is Psalms, Proverbs, Job, Canticles, Ruth, Lamentations, Ecclesiastes, Esther, Daniel, Ezra (including Nehemiah), and Chronicles. Its canonicity is certain; it is found in all Hebrew manuscripts of Scripture; also in the Greek Septuagint; in the catalogues of MELITO, bishop of Sardis, A.D. 170 (EUSEBIUS, Ecclesiastical History, 4.26), and of others of the ancient Church.

ORIGEN and JEROME tell us that the Jews forbade it to be read by any until he was thirty years old. It certainly needs a degree of spiritual maturity to enter aright into the holy mystery of love which it allegorically sets forth. To such as have attained this maturity, of whatever age they be, the Song of Songs is one of the most edifying of the sacred writings. ROSENMULLER justly says, The sudden transitions of the bride from the court to the grove are inexplicable, on the supposition that it describes merely human love. Had it been the latter, it would have been positively objectionable, and never would have been inserted in the holy canon. The allusion to "Pharaoh's chariots" (Son 1:9) has been made a ground for conjecturing that the love of Solomon and Pharaoh's daughter is the subject of the Song. But this passage alludes to a remarkable event in the history of the Old Testament Church, the deliverance from the hosts and chariots of Pharaoh at the Red Sea. (However, see on Son 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (Son 1:7), "an abomination to the Egyptians" (Gen 46:34); so also Son 1:6; Son 3:4; Son 4:8; Son 5:7 are at variance with it. The Christian fathers, ORIGEN and THEODORET, compared the teachings of Solomon to a ladder with three steps; Ecclesiastes, natural (the nature of sensible things, vain); Proverbs, moral; Canticles, mystical (figuring the union of Christ and the Church). The Jews compared Proverbs to the outer court of Solomon's temple, Ecclesiastes to the holy place, and Canticles to the holy of holies. Understood allegorically, the Song is cleared of all difficulty. "Shulamith" (Son 6:13), the bride, is thus an appropriate name, Daughter of Peace being the feminine of Solomon, equivalent to the Prince of Peace. She by turns is a vinedresser, shepherdess, midnight inquirer, and prince's consort and daughter, and He a suppliant drenched with night dews, and a king in His palace, in harmony with the various relations of the Church and Christ. As Ecclesiastes sets forth the vanity of love of the creature, Canticles sets forth the fullness of the love which joins believers and the Saviour. The entire economy of salvation, says HARRIS, aims at restoring to the world the lost spirit of love. God is love, and Christ is the embodiment of the love of God. As the other books of Scripture present severally their own aspects of divine truth, so Canticles furnishes the believer with language of holy love, wherewith his heart can commune with his Lord; and it portrays the intensity of Christ's love to him; the affection of love was created in man to be a transcript of the divine love, and the Song clothes the latter in words; were it not for this, we should be at a loss for language, having the divine warrant, wherewith to express, without presumption, the fervor of the love between Christ and us. The image of a bride, a bridegroom, and a marriage, to represent this spiritual union, has the sanction of Scripture throughout; nay, the spiritual union was the original fact in the mind of God, of which marriage is the transcript (Isa 54:5; Isa 62:5; Jer 3:1, &c.; Eze. 16:1-63; Eze. 23:1-49; Mat 9:15; Mat 22:2; Mat 25:1, &c.; Joh 3:29; 2Co 11:2; Eph 5:23-32, where Paul does not go from the marriage relation to the union of Christ and the Church as if the former were the first; but comes down from the latter as the first and best recognized fact on which the relation of marriage is based; Rev 19:7; Rev 21:2; Rev 22:17). Above all, the Song seems to correspond to, and form a trilogy with, Psalms 45 and 72, which contain the same imagery; just as Psalm 37 answers to Proverbs, and the Psalms 39 and 73 to Job. Love to Christ is the strongest, as it is the purest, of human passions, and therefore needs the strongest language to express it: to the pure in heart the phraseology, drawn from the rich imagery of Oriental poetry, will not only appear not indelicate or exaggerated, but even below the reality. A single emblem is a type; the actual rites, incidents, and persons of the Old Testament were appointed types of truths afterwards to be revealed. But the allegory is a continued metaphor, in which the circumstances are palpably often purely imagery, while the thing signified is altogether real. The clue to the meaning of the Song is not to be looked for in the allegory itself, but in other parts of Scripture. "It lies in the casket of revelation an exquisite gem, engraved with emblematical characters, with nothing literal thereon to break the consistency of their beauty" [BURROWES]. This accounts for the name of God not occurring in it. Whereas in the parable the writer narrates, in the allegory he never does so. The Song throughout consists of immediate addresses either of Christ to the soul, or of the soul to Christ. "The experimental knowledge of Christ's loveliness and the believer's love is the best commentary on the whole of this allegorical Song" [LEIGHTON]. Like the curiously wrought Oriental lamps, which do not reveal the beauty of their transparent emblems until lighted up within, so the types and allegories of Scripture, "the lantern to our path" [Psa 119:105], need the inner light of the Holy Spirit of Jesus to reveal their significance. The details of the allegory are not to be too minutely pressed. In the Song, with an Oriental profusion of imagery, numbers of lovely, sensible objects are aggregated not strictly congruous, but portraying jointly by their very diversity the thousand various and seemingly opposite beauties which meet together in Christ.

The unity of subject throughout, and the recurrence of the same expressions (Son 2:6-7; Son 3:5; Son 8:3-4; Son 2:16; Son 6:3; Son 7:10; Son 3:6; Son 6:10; Son 8:5), prove the unity of the poem, in opposition to those who make it consist of a number of separate erotic songs. The sudden transitions (for example, from the midnight knocking at a humble cottage to a glorious description of the King) accord with the alternations in the believer's experience. However various the divisions assigned be, most commentators have observed four breaks (whatever more they have imagined), followed by four abrupt beginnings (Son 2:7; Son 3:5; Son 5:1; Son 8:4). Thus there result five parts, all alike ending in full repose and refreshment. We read (1Ki 4:32) that Solomon's songs were "a thousand and five." The odd number five added over the complete thousand makes it not unlikely that the "five" refers to the Song of songs, consisting of five parts.

It answers to the idyllic poetry of other nations. The Jews explain it of the union of Jehovah and ancient Israel; the allusions to the temple and the wilderness accord with this; some Christians of Christ and the Church; others of Christ and the individual believer. All these are true; for the Church is one in all ages, the ancient typifying the modern Church, and its history answering to that of each individual soul in it. Jesus "sees all, as if that all were one, loves one, as if that one were all." "The time suited the manner of this revelation; because types and allegories belonged to the old dispensation, which reached its ripeness under Solomon, when the temple was built" [MOODY STUART]. "The daughter of Zion at that time was openly married to Jehovah"; for it is thenceforth that the prophets, in reproving Israel's subsequent sin, speak of it as a breach of her marriage covenant. The songs heretofore sung by her were the preparatory hymns of her childhood; "the last and crowning 'Song of Songs' was prepared for the now mature maiden against the day of her marriage to the King of kings" [ORIGEN]. Solomon was peculiarly fitted to clothe this holy mystery with the lovely natural imagery with which the Song abounds; for "he spake of trees, from the cedar in Lebanon, even unto the hyssop that springeth out of the wall" (1Ki 4:33). A higher qualification was his knowledge of the eternal Wisdom or Word of God (Pro. 8:1-36), the heavenly bridegroom. David, his father, had prepared the way, in Psalms 45 and 72; the son perfected the allegory. It seems to have been written in early life, long before his declension; for after it a song of holy gladness would hardly be appropriate. It was the song of his first love, in the kindness of his youthful espousals to Jehovah. Like other inspired books, its sense is not to be restricted to that local and temporary one in which the writer may have understood it; it extends to all ages, and shadows forth everlasting truth (1Pe 1:11-12; 2Pe 1:20-21).

"Oh that I knew how all thy lights combine, and the configurations of their glorie,

Seeing not only how each verse doth shine, but all the constellations of the storie."--HERBERT.

Three notes of time occur [MOODY STUART]: (1) The Jewish Church speaks of the Gentile Church (Son 8:8) towards the end; (2) Christ speaks to the apostles (Son 5:1) in the middle; (3) The Church speaks of the coming of Christ (Son 1:2) at the beginning. Thus we have, in direct order, Christ about to come, and the cry for the advent; Christ finishing His work on earth, and the last supper; Christ ascended, and the call of the Gentiles. In another aspect we have: (1) In the individual soul the longing for the manifestation of Christ to it, and the various alternations in its experience (Son 1:2, Son 1:4; Son 2:8; Son 3:1, Son 3:4, Son 3:6-7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (Son 5:1-3, &c.), and her longings after Him, and reconciliation (Son 5:8-16; Son 6:3, &c.; Son 7:1, &c.); (3) Effects of Christ's manifestation on the believer; namely, assurance, labors of love, anxiety for the salvation of the impenitent, eagerness for the Lord's second coming (Son 7:10, Son 7:12; Son 8:8-10, Son 8:14).

TSK: The Song of Songs 6 (Chapter Introduction)

Overview

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

Poole: The Song of Songs 6 (Chapter Introduction)

OF SOLOMON CHAPTER 6

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

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

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

MHCC: The Song of Songs (Book Introduction)

This book is a Divine allegory, which represents the love between Christ and his church of true believers, under figures taken from the relation and affection that subsist between a bridegroom and his espoused bride; an emblem often employed in Scripture, as describing the nearest, firmest, and most sure relation: see Psalms 45; Isa 54:5, Isa 54:6; Isa 62:5; Jer 2:2; Jer 3:1; also in Ezekiel, Hosea, and by our Lord himself, Mat 9:15; Mat 25:1; see also Rev 21:2, Rev 21:9; Eph 5:27. There is no character in the church of Christ, and no situation in which the believer is placed, but what may be traced in this book, as humble inquirers will find, on comparing it with other Scriptures, by the assistance of God the Holy Spirit, in answer to their supplications. Much, however, of the language has been misunderstood by expositors and translators. The difference between the customs and manners of Europe, and those of the East, must especially be kept in view. The little acquaintance with eastern customs possessed by most of our early expositors and translators, has in many cases prevented a correct rendering. Also, the changes in our own language, during the last two or three centuries, affect the manner in which some expressions are viewed, and they must not be judged by modern notions. But the great outlines, rightly interpreted, fully accord with the affections and experience of the sincere Christian.

MHCC: The Song of Songs 6 (Chapter Introduction)

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

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

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

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

Matthew Henry: The Song of Songs (Book Introduction)

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

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

Matthew Henry: The Song of Songs 6 (Chapter Introduction)

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

Constable: The Song of Songs (Book Introduction)

Introduction

Title

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

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

Writer and Date

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

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

Interpretation

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

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

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

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

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

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

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

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

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

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

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

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

Purpose

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

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

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

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

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

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

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

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

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

Canonicity

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

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

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

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

Message²⁴

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Constable: The Song of Songs (Outline)

Outline

I. The superscription 1:1

II. The courtship 1:2-3:5

A. The beginning of love 1:2-11

1. Longing for the boyfriend 1:2-4

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

3. Solomon's praise 1:9-11

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

1. Mutual admiration 1:12-2:7

2. Increased longing 2:8-17

3. The pain of separation 3:1-5

III. The wedding 3:6-5:1

A. The procession 3:6-11

B. The consummation 4:1-5:1

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

2. The groom's request 4:8

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

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

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

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

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

1. Indifference and withdrawal 5:2-8

2. Renewed affection 5:9-16

3. Steps toward reconciliation 6:1-3

4. Restoration of intimacy 6:4-13

B. Communicating affection 7:1-10

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

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

3. The ultimate unity 7:10

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

D. Increased intimacy 8:1-4

V. The conclusion 8:5-7

VI. The epilogue 8:8-14

A. The past 8:8-12

B. The present 8:13-14

Constable: The Song of Songs

Song of Solomon

Bibliography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Robinson, Theodore H. The Poetry of the Old Testamen

t

. London: Duckworth, 1947.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Copyright 2003 by Thomas L. Constable

Haydock: The Song of Songs (Book Introduction)

SOLOMON'S CANTICLE OF CANTICLES.

INTRODUCTION.

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

Gill: The Song of Songs (Book Introduction)

INTRODUCTION TO THE SONG OF SOLOMON

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

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

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

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

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

Gill: The Song of Songs 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.