1. The song of songs--The most excellent of all songs, Hebrew
idiom (Exodus
29:37, Deuteronomy
10:14). A foretaste on earth of the "new song" to be sung in glory
(Revelation
5:9, 14:3,
15:2-4).
Solomon's--"King of Israel," or "Jerusalem," is not
added, as in the opening of Proverbs and Ecclesiastes, not because Solomon had
not yet ascended the throne [MOODY STUART], but because his personality is hid
under that of Christ, the true Solomon (equivalent to Prince of Peace).
The earthly Solomon is not introduced, which would break the consistency of the
allegory. Though the bride bears the chief part, the Song throughout is not
hers, but that of her "Solomon." He animates her. He and she, the Head
and the members, form but one Christ [ADELAIDE NEWTON]. Aaron prefigured Him as
priest; Moses, as prophet; David, as a suffering king; Solomon, as the
triumphant prince of peace. The camp in the wilderness represents the Church in
the world; the peaceful reign of Solomon, after all enemies had been subdued,
represents the Church in heaven, of which joy the Song gives a foretaste.
2. him--abruptly. She names him not, as is natural to one whose heart
is full of some much desired friend: so Mary Magdalene at the sepulchre (John
20:15), as if everyone must know whom she means, the one chief object
of her desire (Psalms
73:25'Matthew 13:44-46'Philippians 3:7,8').
kiss--the token of peace from the Prince of Peace (Luke
15:20); "our Peace" (Psalms
85:10, Colossians
1:21, Ephesians
2:14).
of his mouth--marking the tenderest affection. For a king to permit his
hands, or even garment, to be kissed, was counted a great honor; but that he
should himself kiss another with his mouth is the greatest honor. God had
in times past spoken by the mouth of His prophets, who had declared the
Church's betrothal; the bride now longs for contact with the mouth of the
Bridegroom Himself (Job
23:12, Luke
4:22, Hebrews
1:1,2). True of the Church before the first advent, longing for "the
hope of Israel," "the desire of all nations"; also the awakened
soul longing for the kiss of reconciliation; and further, the kiss that
is the token of the marriage contract (Hosea
2:19,20), and of friendship (1 Samuel
20:41, John
14:21, 15:15).
thy love--Hebrew, "loves," namely, tokens of love,
loving blandishments.
wine--which makes glad "the heavy heart" of one ready to
perish, so that he "remembers his misery no more" (Proverbs
31:6,7). So, in a "better" sense, Christ's love (Habakkuk
3:17,18). He gives the same praise to the bride's love, with the emphatic
addition, "How much" (Solomon
4:10). Wine was created by His first miracle (John
2:1-11), and was the pledge given of His love at the last supper. The
spiritual wine is His blood and His spirit, the "new" and better wine
of the kingdom (Matthew
26:29), which we can never drink to "excess," as the other (Ephesians
5:18; compare Psalms
23:5, Isaiah
55:1).
3. Rather, "As regards the savor of thy ointments, it is
good" [MAURER]. In Solomon
4:10,11, the Bridegroom reciprocates the praise of the bride in the same
terms.
thy name--Christ's character and office as the
"Anointed" (Isaiah
9:6, 61:1),
as "the savor of ointments" are the graces that surround His person
(Psalms
45:7,8). Ecclesiastes
7:1, in its fullest sense, applies to Him. The holy anointing oil of the
high priest, which it was death for anyone else to make (so Acts
4:12), implies the exclusive preciousness of Messiah's name (Exodus
30:23-28,31-38). So Mary brake the box of precious ointment over Him,
appropriately (Mark
14:5), the broken box typifying His body, which, when broken, diffused all
grace: compounded of various spices, &c. (Colossians
1:19, 2:9);
of sweet odor (Ephesians
5:2).
poured--(Isaiah
53:12, Romans
5:5).
therefore--because of the manifestation of God's character in Christ (1 John
4:9,19). So the penitent woman (Luke
7:37,38,47).
virgins--the pure in heart (2 Corinthians
11:2, Revelation
14:4). The same Hebrew is translated, "thy hidden ones" (Psalms
83:3). The "ointment" of the Spirit "poured forth"
produces the "love of Christ" (Romans
5:5).
4. (1) The cry of ancient Israel for Messiah, for example, Simeon,
Anna, &c. (2) The cry of an awakened soul for the drawing of the Spirit,
after it has got a glimpse of Christ's loveliness and its own helplessness.
Draw me--The Father draws (John
6:44). The Son draws (Jeremiah
31:3, Hosea
11:4, John
12:32). "Draw" here, and "Tell" (Solomon
1:7), reverently qualify the word "kiss" (Solomon
1:2).
me, we--No believer desires to go to heaven alone. We are converted as individuals;
we follow Christ as joined in a communion of saints (John
1:41,45). Individuality and community meet in the bride.
run--Her earnestness kindles as she prays (Isaiah
40:31, Psalms
119:32,60).
after thee--not before (John
10:4).
king . . . brought me into--(Psalms
45:14,15, John
10:16). He is the anointed Priest (Solomon
1:3); King (Solomon
1:4).
chambers--Her prayer is answered even beyond her desires. Not only is she
permitted to run after Him, but is brought into the inmost pavilion,
where Eastern kings admitted none but the most intimate friends (Esther
4:11, 5:2,
Psalms
27:5). The erection of the temple of Solomon was the first bringing of the
bride into permanent, instead of migratory, chambers of the King. Christ's body
on earth was the next (John
2:21), whereby believers are brought within the veil (Ephesians
2:6, Hebrews
10:19,20). Entrance into the closet for prayer is the first step. The
earnest of the future bringing into heaven (John
14:3). His chambers are the bride's also (Isaiah
26:20). There are various chambers, plural (John
14:2).
be glad and rejoice--inward and outward rejoicing.
in thee--(Isaiah
61:10, Philippians
4:1,4). Not in our spiritual frames (Psalms
30:6,7).
remember--rather, "commemorate with praises" (Isaiah
63:7). The mere remembrance of spiritual joys is better than the present
enjoyment of carnal ones (Psalms
4:6,7).
upright--rather, "uprightly," "sincerely" (Psalms
58:1, Romans
12:9); so Nathanael (John
1:47); Peter (John
21:17); or "deservedly" [MAURER].
5. black--namely, "as the tents of Kedar," equivalent to blackness
(Psalms
120:5). She draws the image from the black goatskins with which the Scenite
Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted
with the splendid state tent in which the King was awaiting His bride
according to Eastern custom); typifying the darkness of man's natural state. To
feel this, and yet also feel one's self in Jesus Christ "comely as the
curtains of Solomon, marks the believer (Romans
7:18, &c. Romans
8:1); 1 Timothy
1:15, "I am chief"; so she says not merely, "I
was," but "I am"; still black in herself, but comely
through His comeliness put upon her (Ezekiel
16:14).
curtains--first, the hangings and veil in the temple of Solomon (Ezekiel
16:10); then, also, the "fine linen which is the righteousness of
saints" (Revelation
19:8), the white wedding garment provided by Jesus Christ (Isaiah
61:10, Matthew
22:11, 1 Corinthians
1:30, Colossians
1:28, 2:10,
Revelation
7:14). Historically, the dark tents of Kedar represent the Gentile
Church (Isaiah
60:3-7, &c.). As the vineyard at the close is transferred from the Jews,
who had not kept their own, to the Gentiles, so the Gentiles are introduced at
the commencement of the Song; for they were among the earliest enquirers after
Jesus Christ (Matthew
2:1-12): the wise men from the East (Arabia, or Kedar).
daughters of Jerusalem--professors, not the bride, or "the
virgins," yet not enemies; invited to gospel blessings (Solomon
3:10,11); so near to Jesus Christ as not to be unlikely to find Him (Solomon
5:8); desirous to seek Him with her (Solomon
6:1; compare Solomon
6:13, 7:1,5,8).
In Solomon
7:8,9, the bride's Beloved becomes their Beloved; not, however, of all
of them (Solomon
8:4; compare Luke
23:27,28).
6. She feels as if her blackness was so great as to be gazed at by
all.
mother's children--(Matthew
10:36). She is to forget "her own people and her father's house,"
that is, the worldly connections of her unregenerate state (Psalms
45:10); they had maltreated her (Luke
15:15,16). Children of the same mother, but not the same father [MAURER], (John
8:41-44). They made her a common keeper of vineyards, whereby the sun looked
upon, that is, burnt her; thus she did "not keep her own" vineyard,
that is, fair beauty. So the world, and the soul (Matthew
16:26, Luke
9:25). The believer has to watch against the same danger (1 Corinthians
9:27). So he will be able, instead of the self-reproach here, to say as in Solomon
8:12.
7. my soul loveth--more intense than "the virgins" and
"the upright love thee" (Solomon
1:3,4, Matthew
22:37). To carry out the design of the allegory, the royal encampment is
here represented as moving from place to place, in search of green pastures,
under the Shepherd King (Psalms
23:1-6). The bride, having first enjoyed communion with him in the pavilion,
is willing to follow Him into labors and dangers; arising from all absorbing
love (Luke
14:26); this distinguishes her from the formalist (John
10:27, Revelation
14:4).
feedest--tendest thy flock (Isaiah
40:11, Hebrews
13:20, 1 Peter
2:25, 5:4,
Revelation
7:17). No single type expresses all the office of Jesus
Christ; hence arises the variety of diverse images used to portray the
manifold aspects of Him: these would be quite incongruous, if the Song referred
to the earthly Solomon. Her intercourse with Him is peculiar. She hears His
voice, and addresses none but Himself. Yet it is through a veil; she sees Him
not (Job
23:8,9). If we would be fed, we must follow the Shepherd through the whole
breadth of His Word, and not stay on one spot alone.
makest . . . to rest--distinct from "feedest";
periods of rest are vouchsafed after labor (Isaiah
4:6, 49:10,
Ezekiel
34:13-15). Communion in private must go along with public following of Him.
turneth aside--rather one veiled, that is, as a harlot, not
His true bride (Genesis
38:15), [GESENIUS]; Or as a mourner (2 Samuel
15:30), [WEISS]; or as one unknown [MAURER]. All imply estrangement
from the Bridegroom. She feels estranged even among Christ's true servants,
answering to "thy companions" (Luke
22:28), so long as she has not Himself present. The opposite spirit to 1 Corinthians
3:4.
8. If--she ought to have known (John
14:8,9). The confession of her ignorance and blackness (Solomon
1:5) leads Him to call her "fairest" (Matthew
12:20). Her jealousy of letting even "His companions" take the
place of Himself (Solomon
1:7) led her too far. He directs her to follow them, as they follow Him (1 Corinthians
11:1, Hebrews
6:10,12); to use ordinances and the ministry; where they are, He
is (Jeremiah
6:16, Matthew
18:19,20, Hebrews
10:25). Indulging in isolation is not the way to find Him. It was thus,
literally, that Zipporah found her bridegroom (Exodus
2:16). The bride unhesitatingly asks the watchmen afterwards (Solomon
3:3).
kids--(John
21:15). Christ is to be found in active ministrations, as well as in prayer
(Proverbs
11:25).
shepherds' tents--ministers in the sanctuary (Psalms
84:1).
9. horses in Pharaoh's chariots--celebrated for beauty, swiftness, and ardor, at the Red Sea (Exodus 14:15). These qualities, which seem to belong to the ungodly, really belong to the saints [MOODY STUART]. The allusion may be to the horses brought at a high price by Solomon out of Egypt (2 Chronicles 1:16,17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (Isaiah 51:1, 1 Peter 1:18,19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (Solomon 1:5, 3:6,7); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (Solomon 1:4) "run"; (Solomon 1:5) "comely." Also, like Pharaoh's horses, she forms a great company (Revelation 19:7,14). As Jesus Christ is both Shepherd and Conqueror, so believers are not only His sheep, but also, as a Church militant now, His chariots and horses (Solomon 6:4).
10. rows of jewels--(Ezekiel 16:11-13). OLERIUS says, Persian ladies wear two or three rows of pearls round the head, beginning on the forehead and descending down to the cheeks and under the chin, so that their faces seem to be set in pearls (Ezekiel 16:11) implies the vital energy of the bride; this verse, her superadded graces (Proverbs 1:9, 4:9, 1 Timothy 2:9, 2 Peter 1:5).
11. We--the Trinity implied by the Holy Ghost, whether it was so by
the writer of the Song or not (Genesis
1:26, Proverbs
8:30, 30:4).
"The Jews acknowledged God as king, and Messiah as king, in interpreting
the Song, but did not know that these two are one" [LEIGHTON].
make--not merely give (Ephesians
2:10).
borders of gold, with studs of silver--that is, "spots of
silver"--Jesus Christ delights to give more "to him that hath" (Matthew
25:29). He crowns His own work in us (Isaiah
26:12). The "borders" here are equivalent to "rows" (Solomon
1:10); but here, the King seems to give the finish to her attire, by adding
a crown (borders, or circles) of gold studded with silver spots,
as in Esther
2:17. Both the royal and nuptial crown, or chaplet. The Hebrew
for "spouse" (Solomon
4:8) is a crowned one (Ezekiel
16:12, Revelation
2:10). The crown is given at once upon conver sion, in title, but in
sensible possession afterwards (2 Timothy
4:8).
12. While--It is the presence of the Sun of Righteousness that draws
out the believer's odors of grace. It was the sight of Him at table that caused
the two women to bring forth their ointments for Him (Luke
7:37,38, John
12:3, 2 Corinthians
2:15). Historically fulfilled (Matthew
2:11); spiritually (Revelation
3:20); and in church worship (Matthew
18:20); and at the Lord's Supper especially, for here public
communion with Him at table amidst His friends is spoken of, as Solomon
1:4 refers to private communion (1 Corinthians
10:16,21); typically (Exodus
24:9-11); the future perfect fulfilment (Luke
22:30, Revelation
19:9). The allegory supposes the King to have stopped in His movements and
to be seated with His friends on the divan. What grace that a table should be
prepared for us, while still militant (Psalms
23:5)!
my spikenard--not boasting, but owning the Lord's grace to and in
her. The spikenard is a lowly herb, the emblem of humility. She rejoices that He
is well pleased with her graces, His own work (Philippians
4:18).
13. bundle of myrrh--abundant preciousness (Greek), (1 Peter
2:7). Even a little myrrh was costly; much more a bundle (Colossians
2:9). BURROWES takes it of a scent-box filled with liquid myrrh; the
liquid obtained by incision gave the tree its chief value.
he--rather, "it"; it is the myrrh that lies in the bosom, as
the cluster of camphire is in the vineyards (Solomon
1:14).
all night--an undivided heart (Ephesians
3:17; contrast Jeremiah
4:14, Ezekiel
16:15,30). Yet on account of the everlasting covenant, God restores the
adulteress (Ezekiel
16:60,62, Hosea
2:2, &c.). The night is the whole present dispensation till the
everlasting day dawns (Romans
13:12). Also, literally, "night" (Psalms
119:147,148), the night of affliction (Psalms
42:8).
14. cluster--Jesus Christ is one, yet manifold in His graces.
camphire--or, "cypress." The "hennah" is meant, whose
odorous flowers grow in clusters, of a color white and yellow softly blended;
its bark is dark, the foliage light green. Women deck their persons with them.
The loveliness of Jesus Christ.
vineyards--appropriate in respect to Him who is "the vine." The
spikenard was for the banquet (Solomon
1:12); the myrrh was in her bosom continually (Solomon
1:13); the camphire is in the midst of natural beauties, which, though
lovely, are eclipsed by the one cluster, Jesus Christ, pre-eminent above them
all.
En-gedi--in South Palestine, near the Dead Sea (Joshua
15:62, Ezekiel
47:10), famed for aromatic shrubs.
15. fair--He discerns beauty in her, who had said, "I am
black" (Solomon
1:5), because of the everlasting covenant (Psalms
45:11, Isaiah
62:5, Ephesians
1:4,5).
doves' eyes--large and beautiful in the doves of Syria. The prominent
features of her beauty (Matthew
10:16), gentleness, innocence, and constant love, emblem of the Holy Ghost,
who changes us to His own likeness (Genesis
8:10,11, Matthew
3:16). The opposite kind of eyes (Psalms
101:5, Matthew
20:15, 2 Peter
2:14).
16. Reply of the Bride. She presumes to call Him beloved,
because He called her so first. Thou callest me "fair"; if I am so, it
is not in myself; it is all from Thee (Psalms
90:17); but Thou art fair in Thyself (Psalms
45:2).
pleasant--(Proverbs
3:17) towards Thy friends (2 Samuel
1:26).
bed . . . green--the couch of green grass on which the King and
His bride sit to "rest at noon." Thus her prayer in Solomon
1:7 is here granted; a green oasis in the desert, always found near waters
in the East (Psalms
23:2, Isaiah
41:17-19). The scene is a kiosk, or summer house. Historically, the
literal resting of the Babe of Beth-lehem and his parents on the green
grass provided for cattle (Luke
2:7,12). In this verse there is an incidental allusion, in Solomon
1:15, to the offering (Luke
2:24). So the "cedar and fir" ceiling refers to the temple (1 Kings
5:6-10, 6:15-18);
type of the heavenly temple (Revelation
21:22).
