Text -- The Song of Songs 7:4 (NET)

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.

Commentary -- Word/Phrase Notes (per phrase)

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.

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.

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.

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

Commentary -- Word/Phrase Notes (per Verse)

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.

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 .

Haydock: Sos 7:4

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

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.

Commentary -- Verse Notes / Footnotes

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.

Commentary -- Verse Range Notes

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 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 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 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").

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 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 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 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 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 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 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.