<hi type="bold">3. by the way--</hi>in his ordinary course; in his simplest acts (<reference osisRef="Prov.6.12-Prov.6.14">Pr 6:12-14</reference>). That he "saith," virtually, "that he" himself, &c. [Septuagint]. But Vulgate, "He thinks that every one (else whom he meets) is a fool."

3. by the way-- in his ordinary course; in his simplest acts (Pr 6:12-14). That he "saith," virtually, "that he" himself, &c. [Septuagint]. But Vulgate, "He thinks that every one (else whom he meets) is a fool."


<hi type="bold">4. spirit--</hi>anger.

<hi type="bold">yielding pacifieth--</hi>(<reference osisRef="Prov.15.1">Pr 15:1</reference>). This explains "leave not thy place"; do not in a resisting spirit withdraw from thy post of duty (<reference osisRef="Eccl.8.3">Ec 8:3</reference>).

4. spirit-- anger. yielding pacifieth-- (Pr 15:1). This explains "leave not thy place"; do not in a resisting spirit withdraw from thy post of duty (Ec 8:3).


<hi type="bold">5. as--</hi>rather, "by reason of an error" [Maurer and Holden].

5. as-- rather, "by reason of an error" [Maurer and Holden].


<hi type="bold">6. rich--</hi>not in mere wealth, but in wisdom, as the antithesis to "folly" (for "foolish men") shows. So Hebrew, rich, equivalent to "liberal," in a good sense (<reference osisRef="Isa.32.5">Is 32:5</reference>). Mordecai and Haman (<reference osisRef="Esth.3.1">Es 3:1</reference>, <reference osisRef="2Cor.6.6-2Cor.6.11">2; 6:6-11</reference>).

6. rich-- not in mere wealth, but in wisdom, as the antithesis to "folly" (for "foolish men") shows. So Hebrew, rich, equivalent to "liberal," in a good sense (Is 32:5). Mordecai and Haman (Es 3:1, 2; 6:6-11).


<hi type="bold">7. servants upon horses--</hi>the worthless exalted to dignity (<reference osisRef="Jer.17.25">Jr 17:25</reference>); and vice versa (<reference osisRef="2Sam.15.30">2Sa 15:30</reference>).

7. servants upon horses-- the worthless exalted to dignity (Jr 17:25); and vice versa (2Sa 15:30).


8. The fatal results to kings of such an unwise policy; the wrong done to others recoils on themselves (<reference osisRef="Eccl.8.9">Ec 8:9</reference>); they fall into the pit which they dug for others (<reference osisRef="Esth.7.10">Es 7:10</reference>; <reference osisRef="Ps.7.15">Psa 7:15</reference>; <reference osisRef="Prov.26.27">Pr 26:27</reference>). Breaking through the wise fences of their throne, they suffer unexpectedly themselves; as when one is stung by a serpent lurking in the stones of his neighbor's garden wall (<reference osisRef="Ps.80.12">Psa 80:12</reference>), which he maliciously pulls down (<reference osisRef="Amos.5.19">Am 5:19</reference>).

8. The fatal results to kings of such an unwise policy; the wrong done to others recoils on themselves (Ec 8:9); they fall into the pit which they dug for others (Es 7:10; Psa 7:15; Pr 26:27). Breaking through the wise fences of their throne, they suffer unexpectedly themselves; as when one is stung by a serpent lurking in the stones of his neighbor's garden wall (Psa 80:12), which he maliciously pulls down (Am 5:19).


<hi type="bold">9. removeth stones--</hi>namely, of an ancient building [Weiss]. His neighbor's landmarks [Holden]. Cuts out from the quarry [Maurer].

<hi type="bold">endangered--</hi>by the splinters, or by the head of the hatchet, flying back on himself. Pithy aphorisms are common in the East. The sense is: Violations of true wisdom recoil on the perpetrators.

9. removeth stones-- namely, of an ancient building [Weiss]. His neighbor's landmarks [Holden]. Cuts out from the quarry [Maurer]. endangered-- by the splinters, or by the head of the hatchet, flying back on himself. Pithy aphorisms are common in the East. The sense is: Violations of true wisdom recoil on the perpetrators.


<hi type="bold">10. iron ... blunt--</hi>in "cleaving wood" (<reference osisRef="Eccl.10.9">Ec 10:9</reference>), answering to the "fool set in dignity" (<reference osisRef="Eccl.10.6">Ec 10:6</reference>), who wants sharpness. More force has then to be used in both cases; but "force" without judgment "endangers" one's self. Translate, "If one hath blunted his iron" [Maurer]. The preference of rash to judicious counsellors, which entailed the pushing of matters by force, proved to be the "hurt" of Rehoboam (<reference osisRef="1Kgs.12.1-1Kgs.12.33">1Ki 12:1-33</reference>).

<hi type="bold">wisdom is profitable to direct--</hi>to a prosperous issue. Instead of forcing matters by main "strength" to one's own hurt (<reference osisRef="Eccl.9.16">Ec 9:16</reference>, <reference osisRef="Eccl.9.18">18</reference>).

10. iron... blunt-- in "cleaving wood" (Ec 10:9), answering to the "fool set in dignity" (Ec 10:6), who wants sharpness. More force has then to be used in both cases; but "force" without judgment "endangers" one's self. Translate, "If one hath blunted his iron" [Maurer]. The preference of rash to judicious counsellors, which entailed the pushing of matters by force, proved to be the "hurt" of Rehoboam (1Ki 12:1-33). wisdom is profitable to direct-- to a prosperous issue. Instead of forcing matters by main "strength" to one's own hurt (Ec 9:16, 18).


11. A "serpent will bite" if "enchantment" is not used; "and a babbling calumniator is no better." Therefore, as one may escape a serpent by charms (<reference osisRef="Ps.58.4">Psa 58:4</reference>, <reference osisRef="Ps.58.5">5</reference>), so one may escape the sting of a calumniator by discretion (<reference osisRef="Eccl.10.12">Ec 10:12</reference>), [Holden]. Thus, "without enchantment" answers to "not whet the edge" (<reference osisRef="Eccl.10.10">Ec 10:10</reference>), both expressing, figuratively, want of judgment. Maurer translates, "There is no gain to the enchanter" (Margin, "master of the tongue") from his enchantments, because the serpent bites before he can use them; hence the need of continual caution. <reference osisRef="Eccl.10.8-Eccl.10.10">Ec 10:8-10</reference>, caution in acting; <reference osisRef="Eccl.10.11">Ec 10:11</reference> and following verses, caution in speaking.

11. A "serpent will bite" if "enchantment" is not used; "and a babbling calumniator is no better." Therefore, as one may escape a serpent by charms (Psa 58:4, 5), so one may escape the sting of a calumniator by discretion (Ec 10:12), [Holden]. Thus, "without enchantment" answers to "not whet the edge" (Ec 10:10), both expressing, figuratively, want of judgment. Maurer translates, "There is no gain to the enchanter" (Margin, "master of the tongue") from his enchantments, because the serpent bites before he can use them; hence the need of continual caution. Ec 10:8-10, caution in acting; Ec 10:11 and following verses, caution in speaking.


<hi type="bold">12. gracious--</hi>Thereby he takes precaution against sudden injury (<reference osisRef="Eccl.10.11">Ec 10:11</reference>).

<hi type="bold">swallow up himself--</hi>(<reference osisRef="Prov.10.8">Pr 10:8</reference>, <reference osisRef="Prov.14.21">14, 21</reference>, <reference osisRef="Prov.14.32">32</reference>; <reference osisRef="Prov.12.13">12:13</reference>; <reference osisRef="Prov.15.2">15:2</reference>; <reference osisRef="Prov.22.11">22:11</reference>).

12. gracious-- Thereby he takes precaution against sudden injury (Ec 10:11). swallow up himself-- (Pr 10:8, 14, 21, 32; 12:13; 15:2; 22:11).


13. Illustrating the folly and injuriousness of the fool's words; last clause of <reference osisRef="Eccl.10.12">Ec 10:12</reference>.

13. Illustrating the folly and injuriousness of the fool's words; last clause of Ec 10:12.


<hi type="bold">14. full of words--</hi>(<reference osisRef="Eccl.5.2">Ec 5:2</reference>).

<hi type="bold">a man cannot tell what shall be--</hi>(<reference osisRef="Eccl.3.22">Ec 3:22</reference>; <reference osisRef="Eccl.6.12">6:12</reference>; <reference osisRef="Eccl.8.7">8:7</reference>; <reference osisRef="Eccl.11.2">11:2</reference>; <reference osisRef="Prov.27.1">Pr 27:1</reference>). If man, universally (including the wise man), cannot foresee the future, much less can the fool; his "many words" are therefore futile.

14. full of words-- (Ec 5:2). a man cannot tell what shall be-- (Ec 3:22; 6:12; 8:7; 11:2; Pr 27:1). If man, universally (including the wise man), cannot foresee the future, much less can the fool; his "many words" are therefore futile.


<hi type="bold">15. labour ... wearieth--</hi>(<reference osisRef="Isa.55.2">Is 55:2</reference>; <reference osisRef="Hab.2.13">Ha 2:13</reference>).

<hi type="bold">knoweth not how to go to the city--</hi>proverb for ignorance of the most ordinary matters (<reference osisRef="Eccl.10.3">Ec 10:3</reference>); spiritually, the heavenly city (<reference osisRef="Ps.107.7">Psa 107:7</reference>; <reference osisRef="Matt.7.13">Mt 7:13</reference>, <reference osisRef="Matt.7.14">14</reference>). Maurer connects <reference osisRef="Eccl.10.15">Ec 10:15</reference> with the following verses. The labor (vexation) caused by the foolish (injurious princes, <reference osisRef="Eccl.10.4-Eccl.10.7">Ec 10:4-7</reference>) harasses him who "knows not how to go to the city," to ingratiate himself with them there. English Version is simpler.

15. labour... wearieth-- (Is 55:2; Ha 2:13). knoweth not how to go to the city-- proverb for ignorance of the most ordinary matters (Ec 10:3); spiritually, the heavenly city (Psa 107:7; Mt 7:13, 14). Maurer connects Ec 10:15 with the following verses. The labor (vexation) caused by the foolish (injurious princes, Ec 10:4-7) harasses him who "knows not how to go to the city," to ingratiate himself with them there. English Version is simpler.


<hi type="bold">16. a child--</hi>given to pleasures; behaves with childish levity. Not in years; for a nation may be happy under a young prince, as Josiah.

<hi type="bold">eat in the morning--</hi>the usual time for dispensing justice in the East (<reference osisRef="Jer.21.12">Jr 21:12</reference>); here, given to feasting (<reference osisRef="Isa.5.11">Is 5:11</reference>; <reference osisRef="Acts.2.15">Ac 2:15</reference>).

16. a child-- given to pleasures; behaves with childish levity. Not in years; for a nation may be happy under a young prince, as Josiah. eat in the morning-- the usual time for dispensing justice in the East (Jr 21:12); here, given to feasting (Is 5:11; Ac 2:15).


<hi type="bold">17. son of nobles--</hi>not merely in blood, but in virtue, the true nobility (<reference osisRef="Song.7.1">So 7:1</reference>; <reference osisRef="Isa.32.5">Is 32:5</reference>, <reference osisRef="Isa.32.8">8</reference>).

<hi type="bold">in due season--</hi>(<reference osisRef="Eccl.3.1">Ec 3:1</reference>), not until duty has first been attended to.

<hi type="bold">for strength--</hi>to refresh the body, not for revelry (included in "drunkenness").

17. son of nobles-- not merely in blood, but in virtue, the true nobility (So 7:1; Is 32:5, 8). in due season-- (Ec 3:1), not until duty has first been attended to. for strength-- to refresh the body, not for revelry (included in "drunkenness").


<hi type="bold">18. building--</hi>literally, "the joining of the rafters," namely, the kingdom (<reference osisRef="Eccl.10.16">Ec 10:16</reference>; <reference osisRef="Isa.3.6">Is 3:6</reference>; <reference osisRef="Amos.9.11">Am 9:11</reference>).

<hi type="bold">hands--</hi>(<reference osisRef="Eccl.4.5">Ec 4:5</reference>; <reference osisRef="Prov.6.10">Pr 6:10</reference>).

<hi type="bold">droppeth--</hi>By neglecting to repair the roof in time, the rain gets through.

18. building-- literally, "the joining of the rafters," namely, the kingdom (Ec 10:16; Is 3:6; Am 9:11). hands-- (Ec 4:5; Pr 6:10). droppeth-- By neglecting to repair the roof in time, the rain gets through.


19. Referring to <reference osisRef="Eccl.10.18">Ec 10:18</reference>. Instead of repairing the breaches in the commonwealth (equivalent to "building"), the princes "make a feast for laughter (<reference osisRef="Eccl.10.16">Ec 10:16</reference>), and wine maketh their life glad (<reference osisRef="Ps.104.15">Psa 104:15</reference>), and (but) money supplieth (answereth their wishes by supplying) all things," that is, they take bribes to support their extravagance; and hence arise the wrongs that are perpetrated (<reference osisRef="Eccl.10.5">Ec 10:5</reference>, <reference osisRef="Eccl.10.6">6</reference>; <reference osisRef="Eccl.3.16">3:16</reference>; <reference osisRef="Isa.1.23">Is 1:23</reference>; 5:23). Maurer takes "all things" of the wrongs to which princes are instigated by "money"; for example, the heavy taxes, which were the occasion of Rehoboam losing ten tribes (<reference osisRef="1Kgs.12.4">1Ki 12:4</reference>, &c.).

19. Referring to Ec 10:18. Instead of repairing the breaches in the commonwealth (equivalent to "building"), the princes "make a feast for laughter (Ec 10:16), and wine maketh their life glad (Psa 104:15), and (but) money supplieth (answereth their wishes by supplying) all things," that is, they take bribes to support their extravagance; and hence arise the wrongs that are perpetrated (Ec 10:5, 6; 3:16; Is 1:23; 5:23). Maurer takes "all things" of the wrongs to which princes are instigated by "money"; for example, the heavy taxes, which were the occasion of Rehoboam losing ten tribes (1Ki 12:4, &c.).


<hi type="bold">20. thought--</hi>literally, "consciousness."

<hi type="bold">rich--</hi>the great. The language, as applied to earthly princes knowing the "thought," is figurative. But it literally holds good of the King of kings (<reference osisRef="Ps.139.1-Ps.139.24">Psa 139:1-24</reference>), whose consciousness of every evil thought we should ever realize.

<hi type="bold">bed-chamber--</hi>the most secret place (<reference osisRef="2Kgs.6.12">2Ki 6:12</reference>).

<hi type="bold">bird of the air, &c.--</hi>proverbial (compare <reference osisRef="Hab.2.11">Ha 2:11</reference>; <reference osisRef="Luke.19.40">Lu 19:40</reference>); in a way as marvellous and rapid, as if birds or some winged messenger carried to the king information of the curse so uttered. In the East superhuman sagacity was attributed to birds (see on <reference osisRef="Job.28.21">Job 28:21</reference>; hence the proverb). <chapter eID="Eccl.10"/>

20. thought-- literally, "consciousness." rich-- the great. The language, as applied to earthly princes knowing the "thought," is figurative. But it literally holds good of the King of kings (Psa 139:1-24), whose consciousness of every evil thought we should ever realize. bed-chamber-- the most secret place (2Ki 6:12). bird of the air, &c.-- proverbial (compare Ha 2:11; Lu 19:40); in a way as marvellous and rapid, as if birds or some winged messenger carried to the king information of the curse so uttered. In the East superhuman sagacity was attributed to birds (see on Job 28:21; hence the proverb).


<title type="x-s2">CHAPTER 11</title>
 <reference osisRef="Eccl.11.1-Eccl.11.10">Ec 11:1-10</reference>.

1. <reference osisRef="Eccl.11.2">Ec 11:2</reference> shows that charity is here inculcated.

<hi type="bold">bread--</hi>bread corn. As in the Lord's prayer, all things needful for the body and soul. Solomon reverts to the sentiment (<reference osisRef="Eccl.9.10">Ec 9:10</reference>).

<hi type="bold">waters--</hi>image from the custom of sowing seed by casting it from boats into the overflowing waters of the Nile, or in any marshy ground. When the waters receded, the grain in the alluvial soil sprang up (<reference osisRef="Isa.32.20">Is 32:20</reference>). "Waters" express multitudes, so <reference osisRef="Eccl.11.2">Ec 11:2</reference>; <reference osisRef="Rev.17.15">Re 17:15</reference>; also the seemingly hopeless character of the recipients of the charity; but it shall prove at last to have been not thrown away (<reference osisRef="Isa.49.4">Is 49:4</reference>).

CHAPTER 11 Ec 11:1-10. 1. Ec 11:2 shows that charity is here inculcated. bread-- bread corn. As in the Lord's prayer, all things needful for the body and soul. Solomon reverts to the sentiment (Ec 9:10). waters-- image from the custom of sowing seed by casting it from boats into the overflowing waters of the Nile, or in any marshy ground. When the waters receded, the grain in the alluvial soil sprang up (Is 32:20). "Waters" express multitudes, so Ec 11:2; Re 17:15; also the seemingly hopeless character of the recipients of the charity; but it shall prove at last to have been not thrown away (Is 49:4).


<hi type="bold">2. portion--</hi>of thy bread.

<hi type="bold">seven--</hi>the perfect number.

<hi type="bold">eight--</hi>even to more than seven; that is, "to many" (so "waters," <reference osisRef="Eccl.11.1">Ec 11:1</reference>), nay, even to very many in need (<reference osisRef="Job.5.19">Job 5:19</reference>; <reference osisRef="Mic.5.5">Mi 5:5</reference>).

<hi type="bold">evil--</hi>The day may be near, when you will need the help of those whom you have bound to you by kindnesses (<reference osisRef="Luke.16.9">Lu 16:9</reference>). The very argument which covetous men use against liberality (namely, that bad times may come), the wise man uses for it.

2. portion-- of thy bread. seven-- the perfect number. eight-- even to more than seven; that is, "to many" (so "waters," Ec 11:1), nay, even to very many in need (Job 5:19; Mi 5:5). evil-- The day may be near, when you will need the help of those whom you have bound to you by kindnesses (Lu 16:9). The very argument which covetous men use against liberality (namely, that bad times may come), the wise man uses for it.


<hi type="bold">3. clouds--</hi>answering to "evil" (<reference osisRef="Eccl.11.2">Ec 11:2</reference>), meaning, When the times of evil are fully ripe, evil must come; and speculations about it beforehand, so as to prevent one sowing seed of liberality, are vain (<reference osisRef="Eccl.11.4">Ec 11:4</reference>).

<hi type="bold">tree--</hi>Once the storm uproots it, it lies either northward or southward, according as it fell. So man's character is unchangeable, whether for hell or heaven, once that death overtakes him (<reference osisRef="Rev.22.11">Re 22:11</reference>, <reference osisRef="Rev.14.15">14, 15</reference>). Now is his time for liberality, before the evil days come (<reference osisRef="Eccl.12.1">Ec 12:1</reference>).

3. clouds-- answering to "evil" (Ec 11:2), meaning, When the times of evil are fully ripe, evil must come; and speculations about it beforehand, so as to prevent one sowing seed of liberality, are vain (Ec 11:4). tree-- Once the storm uproots it, it lies either northward or southward, according as it fell. So man's character is unchangeable, whether for hell or heaven, once that death overtakes him (Re 22:11, 14, 15). Now is his time for liberality, before the evil days come (Ec 12:1).


4. Therefore sow thy charity in faith, without hesitancy or speculation as to results, because they may not seem promising (<reference osisRef="Eccl.9.10">Ec 9:10</reference>). So in <reference osisRef="Eccl.11.1">Ec 11:1</reference>, man is told to "cast his bread corn" on the seemingly unpromising "waters" (<reference osisRef="Ps.126.5">Psa 126:5</reference>, <reference osisRef="Ps.126.6">6</reference>). The farmer would get on badly, who, instead of sowing and reaping, spent his time in watching the wind and clouds.

4. Therefore sow thy charity in faith, without hesitancy or speculation as to results, because they may not seem promising (Ec 9:10). So in Ec 11:1, man is told to "cast his bread corn" on the seemingly unpromising "waters" (Psa 126:5, 6). The farmer would get on badly, who, instead of sowing and reaping, spent his time in watching the wind and clouds.


<hi type="bold">5. spirit--</hi>How the soul animates the body! Thus the transition to the formation of the body "in the womb" is more natural, than if with Maurer we translate it "wind" (<reference osisRef="Eccl.1.6">Ec 1:6</reference>; <reference osisRef="John.3.8">Joh 3:8</reference>).

<hi type="bold">bones ... grow--</hi>(<reference osisRef="Job.10.8">Job 10:8</reference>, <reference osisRef="Job.10.9">9</reference>; <reference osisRef="Ps.139.15">Psa 139:15</reference>, <reference osisRef="Ps.139.16">16</reference>).

<hi type="bold">knowest not the works of God--</hi>(<reference osisRef="Eccl.3.11">Ec 3:11</reference>; <reference osisRef="Eccl.8.17">8:17</reference>; <reference osisRef="Eccl.9.12">9:12</reference>).

5. spirit-- How the soul animates the body! Thus the transition to the formation of the body "in the womb" is more natural, than if with Maurer we translate it "wind" (Ec 1:6; Joh 3:8). bones... grow-- (Job 10:8, 9; Psa 139:15, 16). knowest not the works of God-- (Ec 3:11; 8:17; 9:12).


<hi type="bold">6. morning ... evening--</hi>early and late; when young and when old; in sunshine and under clouds.

<hi type="bold">seed--</hi>of godly works (<reference osisRef="Hos.10.12">Ho 10:12</reference>; <reference osisRef="2Cor.9.10">2Co 9:10</reference>; <reference osisRef="Gal.6.7">Ga 6:7</reference>).

<hi type="bold">prosper--</hi>(<reference osisRef="Isa.55.10">Is 55:10</reference>, <reference osisRef="Isa.55.11">11</reference>).

<hi type="bold">both ... alike--</hi>Both the unpromising and the promising sowing may bear good fruit in others; certainly they shall to the faithful sower.

6. morning... evening-- early and late; when young and when old; in sunshine and under clouds. seed-- of godly works (Ho 10:12; 2Co 9:10; Ga 6:7). prosper-- (Is 55:10, 11). both... alike-- Both the unpromising and the promising sowing may bear good fruit in others; certainly they shall to the faithful sower.


<hi type="bold">7. light--</hi>of life (<reference osisRef="Eccl.7.11">Ec 7:11</reference>; <reference osisRef="Ps.49.19">Psa 49:19</reference>). Life is enjoyable, especially to the godly.

7. light-- of life (Ec 7:11; Psa 49:19). Life is enjoyable, especially to the godly.


8. But while man thankfully enjoys life, "let him remember" it will not last for ever. The "many days of darkness," that is, the unseen world (<reference osisRef="Job.10.21">Job 10:21</reference>, <reference osisRef="Job.10.22">22</reference>; <reference osisRef="Ps.88.12">Psa 88:12</reference>), also days of "evil" in this world (<reference osisRef="Eccl.11.2">Ec 11:2</reference>), are coming; therefore sow the good seed while life and good days last, which are not too long for accomplishing life's duties.

<hi type="bold">All that cometh--</hi>that is, All that followeth in the evil and dark days is vain, as far as work for God is concerned (<reference osisRef="Eccl.9.10">Ec 9:10</reference>).

8. But while man thankfully enjoys life, "let him remember" it will not last for ever. The "many days of darkness," that is, the unseen world (Job 10:21, 22; Psa 88:12), also days of "evil" in this world (Ec 11:2), are coming; therefore sow the good seed while life and good days last, which are not too long for accomplishing life's duties. All that cometh-- that is, All that followeth in the evil and dark days is vain, as far as work for God is concerned (Ec 9:10).


<hi type="bold">9. Rejoice--</hi>not advice, but warning. So <reference osisRef="1Kgs.22.15">1Ki 22:15</reference>, is irony; if thou dost rejoice (carnally, <reference osisRef="Eccl.2.2">Ec 2:2</reference>; <reference osisRef="2Cor.7.2">7:2</reference>, not moderately, as in <reference osisRef="Eccl.5.18">Ec 5:18</reference>), &c., then "know that ... God will bring thee into judgment" (<reference osisRef="Eccl.3.17">Ec 3:17</reference>; <reference osisRef="Eccl.12.14">12:14</reference>).

<hi type="bold">youth ... youth--</hi>distinct Hebrew words, adolescence or boyhood (before <reference osisRef="Eccl.11.10">Ec 11:10</reference>), and full-grown youth. It marks the gradual progress in self-indulgence, to which the young especially are prone; they see the roses, but do not discover the thorns, until pierced by them. Religion will cost self-denial, but the want of it infinitely more (<reference osisRef="Luke.14.28">Lu 14:28</reference>).

9. Rejoice-- not advice, but warning. So 1Ki 22:15, is irony; if thou dost rejoice (carnally, Ec 2:2; 7:2, not moderately, as in Ec 5:18), &c., then "know that... God will bring thee into judgment" (Ec 3:17; 12:14). youth... youth-- distinct Hebrew words, adolescence or boyhood (before Ec 11:10), and full-grown youth. It marks the gradual progress in self-indulgence, to which the young especially are prone; they see the roses, but do not discover the thorns, until pierced by them. Religion will cost self-denial, but the want of it infinitely more (Lu 14:28).


<hi type="bold">10. sorrow--</hi>that is, the lusts that end in "sorrow," opposed to "rejoice," and "heart cheer thee" (<reference osisRef="Eccl.11.9">Ec 11:9</reference>), Margin, "anger," that is, all "ways of thine heart"; "remove," &c., is thus opposed to "walk in," &c. (<reference osisRef="Eccl.11.9">Ec 11:9</reference>).

<hi type="bold">flesh--</hi>the bodily organ by which the sensual thoughts of the "heart" are embodied in acts.

<hi type="bold">childhood--</hi>rather, "boyhood"; the same Hebrew word as the first, "youth" in <reference osisRef="Eccl.11.9">Ec 11:9</reference>. A motive for self-restraint; the time is coming when the vigor of youth on which thou reliest, will seem vain, except in so far as it has been given to God (<reference osisRef="Eccl.12.1">Ec 12:1</reference>).

<hi type="bold">youth--</hi>literally, the dawn of thy days. <chapter eID="Eccl.11"/>

10. sorrow-- that is, the lusts that end in "sorrow," opposed to "rejoice," and "heart cheer thee" (Ec 11:9), Margin, "anger," that is, all "ways of thine heart"; "remove," &c., is thus opposed to "walk in," &c. (Ec 11:9). flesh-- the bodily organ by which the sensual thoughts of the "heart" are embodied in acts. childhood-- rather, "boyhood"; the same Hebrew word as the first, "youth" in Ec 11:9. A motive for self-restraint; the time is coming when the vigor of youth on which thou reliest, will seem vain, except in so far as it has been given to God (Ec 12:1). youth-- literally, the dawn of thy days.


<title type="x-s2">CHAPTER 12</title>
 <reference osisRef="Eccl.12.1-Eccl.12.14">Ec 12:1-14</reference>.

1. As <reference osisRef="Eccl.11.9">Ec 11:9</reference>, <reference osisRef="Eccl.11.10">10</reference> showed what youths are to shun, so this verse shows what they are to follow.

<hi type="bold">Creator--</hi>"Remember" that thou art not thine own, but God's property; for He has created thee (<reference osisRef="Ps.100.3">Psa 100:3</reference>). Therefore serve Him with thy "all" (<reference osisRef="Mark.12.30">Mr 12:30</reference>), and with thy best days, not with the dregs of them (<reference osisRef="Prov.8.17">Pr 8:17</reference>; <reference osisRef="Prov.22.6">22:6</reference>; <reference osisRef="Jer.3.4">Jr 3:4</reference>; <reference osisRef="Lam.3.27">La 3:27</reference>). The Hebrew is "Creators," plural, implying the plurality of persons, as in <reference osisRef="Gen.1.26">Ge 1:26</reference>; so Hebrew, "Makers" (<reference osisRef="Isa.54.5">Is 54:5</reference>).

<hi type="bold">while ... not--</hi>that is, before that (<reference osisRef="Prov.8.26">Pr 8:26</reference>) the evil days come; namely, calamity and old age, when one can no longer serve God, as in youth (<reference osisRef="Eccl.11.2">Ec 11:2</reference>, <reference osisRef="Eccl.11.8">8</reference>).

<hi type="bold">no pleasure--</hi>of a sensual kind (<reference osisRef="2Sam.19.35">2Sa 19:35</reference>; <reference osisRef="Ps.90.10">Psa 90:10</reference>). Pleasure in God continues to the godly old (<reference osisRef="Isa.46.4">Is 46:4</reference>).

CHAPTER 12 Ec 12:1-14. 1. As Ec 11:9, 10 showed what youths are to shun, so this verse shows what they are to follow. Creator-- "Remember" that thou art not thine own, but God's property; for He has created thee (Psa 100:3). Therefore serve Him with thy "all" (Mr 12:30), and with thy best days, not with the dregs of them (Pr 8:17; 22:6; Jr 3:4; La 3:27). The Hebrew is "Creators," plural, implying the plurality of persons, as in Ge 1:26; so Hebrew, "Makers" (Is 54:5). while... not-- that is, before that (Pr 8:26) the evil days come; namely, calamity and old age, when one can no longer serve God, as in youth (Ec 11:2, 8). no pleasure-- of a sensual kind (2Sa 19:35; Psa 90:10). Pleasure in God continues to the godly old (Is 46:4).


2. Illustrating "the evil days" (<reference osisRef="Jer.13.16">Jr 13:16</reference>). "Light," "sun," &c., express prosperity; "darkness," pain and calamity (<reference osisRef="Isa.13.10">Is 13:10</reference>; <reference osisRef="Isa.30.26">30:26</reference>).

<hi type="bold">clouds ... after ... rain--</hi>After rain sunshine (comfort) might be looked for, but only a brief glimpse of it is given, and the gloomy clouds (pains) return.

2. Illustrating "the evil days" (Jr 13:16). "Light," "sun," &c., express prosperity; "darkness," pain and calamity (Is 13:10; 30:26). clouds... after... rain-- After rain sunshine (comfort) might be looked for, but only a brief glimpse of it is given, and the gloomy clouds (pains) return.


<hi type="bold">3. keepers of the house--</hi>namely, the hands and arms which protected the body, as guards do a palace (<reference osisRef="Gen.49.24">Ge 49:24</reference>; <reference osisRef="Job.4.19">Job 4:19</reference>; <reference osisRef="2Cor.5.1">2Co 5:1</reference>), are now palsied.

<hi type="bold">strong men ... bow--</hi>(<reference osisRef="Judg.16.25">Jud 16:25</reference>, <reference osisRef="Judg.16.30">30</reference>). Like supporting pillars, the feet and knees (<reference osisRef="Song.5.15">So 5:15</reference>); the strongest members (<reference osisRef="Ps.147.10">Psa 147:10</reference>).

<hi type="bold">grinders--</hi>the molar teeth.

<hi type="bold">cease--</hi>are idle.

<hi type="bold">those that look out of the windows--</hi>the eyes; the powers of vision, looking out from beneath the eyelids, which open and shut like the casement of a window.

3. keepers of the house-- namely, the hands and arms which protected the body, as guards do a palace (Ge 49:24; Job 4:19; 2Co 5:1), are now palsied. strong men... bow-- (Jud 16:25, 30). Like supporting pillars, the feet and knees (So 5:15); the strongest members (Psa 147:10). grinders-- the molar teeth. cease-- are idle. those that look out of the windows-- the eyes; the powers of vision, looking out from beneath the eyelids, which open and shut like the casement of a window.


<hi type="bold">4. doors--</hi>the lips, which are closely shut together as doors, by old men in eating, for, if they did not do so, the food would drop out (<reference osisRef="Job.41.14">Job 41:14</reference>; <reference osisRef="Ps.141.3">Psa 141:3</reference>; <reference osisRef="Mic.7.5">Mi 7:5</reference>).

<hi type="bold">in the streets--</hi>that is, toward the street, "the outer doors" [Maurer and Weiss].

<hi type="bold">sound of ... grinding--</hi>The teeth being almost gone, and the lips "shut" in eating, the sound of mastication is scarcely heard.

<hi type="bold">the bird--</hi>the cock. In the East all mostly rise with the dawn. But the old are glad to rise from their sleepless couch, or painful slumbers still earlier, namely, when the cock crows, before dawn (<reference osisRef="Job.7.4">Job 7:4</reference>) [Holden]. The least noise awakens them [Weiss].

<hi type="bold">daughters of music--</hi>the organs that produce and that enjoy music; the voice and ear.

4. doors-- the lips, which are closely shut together as doors, by old men in eating, for, if they did not do so, the food would drop out (Job 41:14; Psa 141:3; Mi 7:5). in the streets-- that is, toward the street, "the outer doors" [Maurer and Weiss]. sound of... grinding-- The teeth being almost gone, and the lips "shut" in eating, the sound of mastication is scarcely heard. the bird-- the cock. In the East all mostly rise with the dawn. But the old are glad to rise from their sleepless couch, or painful slumbers still earlier, namely, when the cock crows, before dawn (Job 7:4) [Holden]. The least noise awakens them [Weiss]. daughters of music-- the organs that produce and that enjoy music; the voice and ear.


<hi type="bold">5. that which is high--</hi>The old are afraid of ascending a hill.

<hi type="bold">fears ... in the way--</hi>Even on the level highway they are full of fears of falling, &c.

<hi type="bold">almond ... flourish--</hi>In the East the hair is mostly dark. The white head of the old among the dark-haired is like an almond tree, with its white blossoms, among the dark trees around [Holden]. The almond tree flowers on a leafless stock in winter (answering to old age, in which all the powers are dormant), while the other trees are flowerless. Gesenius takes the Hebrew for flourishes from a different root, casts off; when the old man loses his gray hairs, as the almond tree casts its white flowers.

<hi type="bold">grasshoppers--</hi>the dry, shrivelled, old man, his backbone sticking out, his knees projecting forwards, his arms backwards, his head down, and the apophyses enlarged, is like that insect. Hence arose the fable, that Tithonus in very old age was changed into a grasshopper [Parkhurst]. "The locust raises itself to fly"; the old man about to leave the body is like a locust when it is assuming its winged form, and is about to fly [Maurer].

<hi type="bold">a burden--</hi>namely, to himself.

<hi type="bold">desire shall fail--</hi>satisfaction shall be abolished. For "desire," Vulgate has "the caper tree," provocative of lust; not so well.

<hi type="bold">long home--</hi>(<reference osisRef="Job.16.22">Job 16:22</reference>; <reference osisRef="Job.17.13">17:13</reference>).

<hi type="bold">mourners--</hi>(<reference osisRef="Jer.9.17-Jer.9.20">Jr 9:17-20</reference>), hired for the occasion (<reference osisRef="Matt.9.23">Mt 9:23</reference>).

5. that which is high-- The old are afraid of ascending a hill. fears... in the way-- Even on the level highway they are full of fears of falling, &c. almond... flourish-- In the East the hair is mostly dark. The white head of the old among the dark-haired is like an almond tree, with its white blossoms, among the dark trees around [Holden]. The almond tree flowers on a leafless stock in winter (answering to old age, in which all the powers are dormant), while the other trees are flowerless. Gesenius takes the Hebrew for flourishes from a different root, casts off; when the old man loses his gray hairs, as the almond tree casts its white flowers. grasshoppers-- the dry, shrivelled, old man, his backbone sticking out, his knees projecting forwards, his arms backwards, his head down, and the apophyses enlarged, is like that insect. Hence arose the fable, that Tithonus in very old age was changed into a grasshopper [Parkhurst]. "The locust raises itself to fly"; the old man about to leave the body is like a locust when it is assuming its winged form, and is about to fly [Maurer]. a burden-- namely, to himself. desire shall fail-- satisfaction shall be abolished. For "desire," Vulgate has "the caper tree," provocative of lust; not so well. long home-- (Job 16:22; 17:13). mourners-- (Jr 9:17-20), hired for the occasion (Mt 9:23).


6. A double image to represent death, as in <reference osisRef="Eccl.12.1-Eccl.12.5">Ec 12:1-5</reference>, old age: (1) A lamp of frail material, but gilded over, often in the East hung from roofs by a cord of silk and silver interwoven; as the lamp is dashed down and broken, when the cord breaks, so man at death; the golden bowl of the lamp answers to the skull, which, from the vital preciousness of its contents, may be called "golden"; "the silver cord" is the spinal marrow, which is white and precious as silver, and is attached to the brain. (2) A fountain, from which water is drawn by a pitcher let down by a rope wound round a wheel; as, when the pitcher and wheel are broken, water can no more be drawn, so life ceases when the vital energies are gone. The "fountain" may mean the right ventricle of the heart; the "cistern," the left; the pitcher, the veins; the wheel, the aorta, or great artery [Smith]. The circulation of the blood, whether known or not to Solomon, seems to be implied in the language put by the Holy Ghost into his mouth. This gloomy picture of old age applies to those who have not "remembered their Creator in youth." They have none of the consolations of God, which they might have obtained in youth; it is now too late to seek them. A good old age is a blessing to the godly (<reference osisRef="Gen.15.15">Ge 15:15</reference>; <reference osisRef="Job.5.26">Job 5:26</reference>; <reference osisRef="Prov.16.31">Pr 16:31</reference>; <reference osisRef="Prov.20.29">20:29</reference>).

6. A double image to represent death, as in Ec 12:1-5, old age: (1) A lamp of frail material, but gilded over, often in the East hung from roofs by a cord of silk and silver interwoven; as the lamp is dashed down and broken, when the cord breaks, so man at death; the golden bowl of the lamp answers to the skull, which, from the vital preciousness of its contents, may be called "golden"; "the silver cord" is the spinal marrow, which is white and precious as silver, and is attached to the brain. (2) A fountain, from which water is drawn by a pitcher let down by a rope wound round a wheel; as, when the pitcher and wheel are broken, water can no more be drawn, so life ceases when the vital energies are gone. The "fountain" may mean the right ventricle of the heart; the "cistern," the left; the pitcher, the veins; the wheel, the aorta, or great artery [Smith]. The circulation of the blood, whether known or not to Solomon, seems to be implied in the language put by the Holy Ghost into his mouth. This gloomy picture of old age applies to those who have not "remembered their Creator in youth." They have none of the consolations of God, which they might have obtained in youth; it is now too late to seek them. A good old age is a blessing to the godly (Ge 15:15; Job 5:26; Pr 16:31; 20:29).


<hi type="bold">7. dust--</hi>the dust-formed body.

<hi type="bold">spirit--</hi>surviving the body; implying its immortality (<reference osisRef="Eccl.3.11">Ec 3:11</reference>).

7. dust-- the dust-formed body. spirit-- surviving the body; implying its immortality (Ec 3:11).


8-12. A summary of the first part.

<hi type="bold">Vanity, &c.--</hi>Resumption of the sentiment with which the book began (<reference osisRef="Eccl.1.2">Ec 1:2</reference>; <reference osisRef="1John.2.17">1Jo 2:17</reference>).

8-12. A summary of the first part. Vanity, &c.-- Resumption of the sentiment with which the book began (Ec 1:2; 1Jo 2:17).


13. The grand inference of the whole book.

<hi type="bold">Fear God--</hi>The antidote to following creature idols, and "vanities," whether self-righteousness (<reference osisRef="Eccl.7.16">Ec 7:16</reference>, <reference osisRef="Eccl.7.18">18</reference>), or wicked oppression and other evils (<reference osisRef="Eccl.8.12">Ec 8:12</reference>, <reference osisRef="Eccl.8.13">13</reference>), or mad mirth (<reference osisRef="Eccl.2.2">Ec 2:2</reference>; <reference osisRef="2Cor.7.2-2Cor.7.5">7:2-5</reference>), or self-mortifying avarice (<reference osisRef="Eccl.8.13">Ec 8:13</reference>, <reference osisRef="Eccl.8.17">17</reference>), or youth spent without God (<reference osisRef="Eccl.11.9">Ec 11:9</reference>; <reference osisRef="Eccl.12.1">12:1</reference>).

<hi type="bold">this is the whole duty of man--</hi>literally, "this is the whole man," the full ideal of man, as originally contemplated, realized wholly by Jesus Christ alone; and, through Him, by saints now in part, hereafter perfectly (<reference osisRef="1John.3.22-1John.3.24">1Jo 3:22-24</reference>; <reference osisRef="Rev.22.14">Re 22:14</reference>).

13. The grand inference of the whole book. Fear God-- The antidote to following creature idols, and "vanities," whether self-righteousness (Ec 7:16, 18), or wicked oppression and other evils (Ec 8:12, 13), or mad mirth (Ec 2:2; 7:2-5), or self-mortifying avarice (Ec 8:13, 17), or youth spent without God (Ec 11:9; 12:1). this is the whole duty of man-- literally, "this is the whole man," the full ideal of man, as originally contemplated, realized wholly by Jesus Christ alone; and, through Him, by saints now in part, hereafter perfectly (1Jo 3:22-24; Re 22:14).


<hi type="bold">14. For God shall bring every work into judgment--</hi>The future judgment is the test of what is "vanity," what solid, as regards the chief good, the grand subject of the book. <chapter eID="Eccl.12"/>

14. For God shall bring every work into judgment-- The future judgment is the test of what is "vanity," what solid, as regards the chief good, the grand subject of the book.


<milestone n="THE SONG OF SOLOMON." type="x-usfm-toc1"/> <milestone n="" type="x-usfm-toc2"/> <milestone n="" type="x-usfm-toc3"/> <title type="main">THE SONG OF SOLOMON.</title>

THE SONG OF SOLOMON.


<title type="x-IS">INTRODUCTION</title>
 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" (<reference osisRef="Exod.29.37">Ex 29:37</reference>); the heaven of heavens, equivalent to the highest heavens (<reference osisRef="Deut.10.14">De 10:14</reference>). 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" (<reference osisRef="Song.1.9">So 1:9</reference>) 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 <reference osisRef="Song.1.9">So 1:9</reference>). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (<reference osisRef="Song.1.7">So 1:7</reference>), "an abomination to the Egyptians" (<reference osisRef="Gen.46.34">Ge 46:34</reference>); so also <reference osisRef="Song.1.6">So 1:6</reference>; <reference osisRef="1Cor.3.4">3:4</reference>; <reference osisRef="1Cor.4.8">4:8</reference>; <reference osisRef="1Cor.5.7">5:7</reference> 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" (<reference osisRef="Song.6.13">So 6:13</reference>), 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 (<reference osisRef="Isa.54.5">Is 54:5</reference>; <reference osisRef="Isa.62.5">62:5</reference>; <reference osisRef="Jer.3.1">Jr 3:1</reference>, &c.; Eze 16:1-63; 23:1-49; <reference osisRef="Matt.9.15">Mt 9:15</reference>; <reference osisRef="Matt.22.2">22:2</reference>; <reference osisRef="Matt.25.1">25:1</reference>, &c.; <reference osisRef="John.3.29">Joh 3:29</reference>; <reference osisRef="2Cor.11.2">2Co 11:2</reference>; <reference osisRef="Eph.5.23-Eph.5.32">Ep 5:23-32</reference>, 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; <reference osisRef="Rev.19.7">Re 19:7</reference>; <reference osisRef="Rev.21.2">21:2</reference>; <reference osisRef="Rev.22.17">22:17</reference>). 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 (<reference osisRef="Song.2.6">So 2:6</reference>, <reference osisRef="2Cor.2.7">7</reference>; <reference osisRef="2Cor.3.5">3:5</reference>; <reference osisRef="2Cor.8.3">8:3</reference>, <reference osisRef="2Cor.8.4">4</reference>; 2:16; 6:3; 7:10; 3:6; 6:10; 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 (<reference osisRef="Song.2.7">So 2:7</reference>; <reference osisRef="2Cor.3.5">3:5</reference>; <reference osisRef="2Cor.5.1">5:1</reference>; <reference osisRef="2Cor.8.4">8:4</reference>). Thus there result five parts, all alike ending in full repose and refreshment. We read (<reference osisRef="1Kgs.4.32">1Ki 4:32</reference>) 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" (<reference osisRef="1Kgs.4.33">1Ki 4:33</reference>). A higher qualification was his knowledge of the eternal Wisdom or Word of God (<reference osisRef="Prov.8.1-Prov.8.36">Pr 8:1-36</reference>), 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 (<reference osisRef="1Pet.1.11">1Pe 1:11</reference>, <reference osisRef="1Cor.1.12">12</reference>; <reference osisRef="2Pet.1.20">2Pe 1:20</reference>, <reference osisRef="1Cor.1.21">21</reference>).

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

<hi type="bold">Seeing not only how each verse doth shine, but all the constellations of the storie."--</hi>Herbert.

 Three notes of time occur [Moody Stuart]: (1) The Jewish Church speaks of the Gentile Church (<reference osisRef="Song.8.8">So 8:8</reference>) towards the end; (2) Christ speaks to the apostles (<reference osisRef="Song.5.1">So 5:1</reference>) in the middle; (3) The Church speaks of the coming of Christ (<reference osisRef="Song.1.2">So 1:2</reference>) 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 (<reference osisRef="Song.1.2">So 1:2</reference>, <reference osisRef="1Cor.1.4">4</reference>; 2:8; 3:<reference osisRef="1Cor.4.6">1, 4, 6</reference>, <reference osisRef="1Cor.4.7">7</reference>) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (<reference osisRef="Song.5.1-Song.5.3">So 5:1-3</reference>, &c.), and her longings after Him, and reconciliation (So 5:8-16; 6:3, &c.; <reference osisRef="Song.7.1">So 7:1</reference>, &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 (<reference osisRef="Song.7.10">So 7:10</reference>, <reference osisRef="Song.7.12">12</reference>; <reference osisRef="Song.8.8-Song.8.10">8:8-10</reference>, <reference osisRef="Song.8.14">14</reference>).
 <title type="x-s">CHAPTER 1</title> <title type="x-s3"><reference osisRef="Song.1.1-Song.1.17">So 1:1-17</reference>. Canticle I.--(<reference osisRef="Song.1.2-Song.2.7">So 1:2-2:7</reference>)--The Bride Searching for and Finding the King.</title>

<hi type="bold">1. The song of songs--</hi>The most excellent of all songs, Hebrew idiom (<reference osisRef="Exod.29.37">Ex 29:37</reference>; <reference osisRef="Deut.10.14">De 10:14</reference>). A foretaste on earth of the "new song" to be sung in glory (<reference osisRef="Rev.5.9">Re 5:9</reference>; <reference osisRef="Rev.14.3">14:3</reference>; <reference osisRef="Rev.15.2-Rev.15.4">15:2-4</reference>).

<hi type="bold">Solomon's--</hi>"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.

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" (Ex 29:37); the heaven of heavens, equivalent to the highest heavens (De 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" (So 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 So 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (So 1:7), "an abomination to the Egyptians" (Ge 46:34); so also So 1:6; 3:4; 4:8; 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" (So 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 (Is 54:5; 62:5; Jr 3:1, &c.; Eze 16:1-63; 23:1-49; Mt 9:15; 22:2; 25:1, &c.; Joh 3:29; 2Co 11:2; Ep 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; Re 19:7; 21:2; 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 (So 2:6, 7; 3:5; 8:3, 4; 2:16; 6:3; 7:10; 3:6; 6:10; 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 (So 2:7; 3:5; 5:1; 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 (Pr 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 (So 8:8) towards the end; (2) Christ speaks to the apostles (So 5:1) in the middle; (3) The Church speaks of the coming of Christ (So 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 (So 1:2, 4; 2:8; 3:1, 4, 6, 7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (So 5:1-3, &c.), and her longings after Him, and reconciliation (So 5:8-16; 6:3, &c.; So 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 (So 7:10, 12; 8:8-10, 14). CHAPTER 1 So 1:1-17. Canticle I.--(So 1:2-2:7)--The Bride Searching for and Finding the King. 1. The song of songs-- The most excellent of all songs, Hebrew idiom (Ex 29:37; De 10:14). A foretaste on earth of the "new song" to be sung in glory (Re 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.


<hi type="bold">2. him--</hi>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 (<reference osisRef="John.20.15">Joh 20:15</reference>), as if everyone must know whom she means, the one chief object of her desire (<reference osisRef="Ps.73.25">Psa 73:25</reference>; <reference osisRef="Matt.13.44-Matt.13.46">Mt 13:44-46</reference>; <reference osisRef="Phil.3.7">Php 3:7</reference>,<reference osisRef="Phil.3.8">8</reference>).

<hi type="bold">kiss--</hi>the token of peace from the Prince of Peace (<reference osisRef="Luke.15.20">Lu 15:20</reference>); "our Peace" (<reference osisRef="Ps.85.10">Psa 85:10</reference>; <reference osisRef="Col.1.21">Col 1:21</reference>; <reference osisRef="Eph.2.14">Ep 2:14</reference>).

<hi type="bold">of his mouth--</hi>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 (<reference osisRef="Job.23.12">Job 23:12</reference>; <reference osisRef="Luke.4.22">Lu 4:22</reference>; <reference osisRef="Heb.1.1">He 1:1</reference>, <reference osisRef="2Cor.1.2">2</reference>). 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 (<reference osisRef="Hos.2.19">Ho 2:19</reference>, 20), and of friendship (<reference osisRef="1Sam.20.41">1Sa 20:41</reference>; <reference osisRef="John.14.21">Joh 14:21</reference>; <reference osisRef="John.15.15">15:15</reference>).

<hi type="bold">thy love--</hi>Hebrew, "loves," namely, tokens of love, loving blandishments.

<hi type="bold">wine--</hi>which makes glad "the heavy heart" of one ready to perish, so that he "remembers his misery no more" (<reference osisRef="Prov.31.6">Pr 31:6</reference>, <reference osisRef="Prov.31.7">7</reference>). So, in a "better" sense, Christ's love (<reference osisRef="Hab.3.17">Ha 3:17</reference>, <reference osisRef="Hab.3.18">18</reference>). He gives the same praise to the bride's love, with the emphatic addition, "How much" (<reference osisRef="Song.4.10">So 4:10</reference>). Wine was created by His first miracle (<reference osisRef="John.2.1-John.2.11">Joh 2:1-11</reference>), 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 (<reference osisRef="Matt.26.29">Mt 26:29</reference>), which we can never drink to "excess," as the other (<reference osisRef="Eph.5.18">Ep 5:18</reference>; compare <reference osisRef="Ps.23.5">Psa 23:5</reference>; <reference osisRef="Isa.55.1">Is 55:1</reference>).

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 (Joh 20:15), as if everyone must know whom she means, the one chief object of her desire (Psa 73:25; Mt 13:44-46; Php 3:7,8). kiss-- the token of peace from the Prince of Peace (Lu 15:20); "our Peace" (Psa 85:10; Col 1:21; Ep 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; Lu 4:22; He 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 (Ho 2:19, 20), and of friendship (1Sa 20:41; Joh 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" (Pr 31:6, 7). So, in a "better" sense, Christ's love (Ha 3:17, 18). He gives the same praise to the bride's love, with the emphatic addition, "How much" (So 4:10). Wine was created by His first miracle (Joh 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 (Mt 26:29), which we can never drink to "excess," as the other (Ep 5:18; compare Psa 23:5; Is 55:1).


3. Rather, "As regards the savor of thy ointments, it is good" [Maurer]. In <reference osisRef="Song.4.10">So 4:10</reference>, <reference osisRef="Song.4.11">11</reference>, the Bridegroom reciprocates the praise of the bride in the same terms.

<hi type="bold">thy name--</hi>Christ's character and office as the "Anointed" (<reference osisRef="Isa.9.6">Is 9:6</reference>; <reference osisRef="Isa.61.1">61:1</reference>), as "the savor of ointments" are the graces that surround His person (<reference osisRef="Ps.45.7">Psa 45:7</reference>, <reference osisRef="Ps.45.8">8</reference>). <reference osisRef="Eccl.7.1">Ec 7:1</reference>, 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 <reference osisRef="Acts.4.12">Ac 4:12</reference>), implies the exclusive preciousness of Messiah's name (<reference osisRef="Exod.30.23-Exod.28.31">Ex 30:23-28, 31</reference>-<reference osisRef="Exod.28.38">38</reference>). So Mary brake the box of precious ointment over Him, appropriately (<reference osisRef="Mark.14.5">Mr 14:5</reference>), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (<reference osisRef="Col.1.19">Col 1:19</reference>; 2:9); of sweet odor (<reference osisRef="Eph.5.2">Ep 5:2</reference>).

<hi type="bold">poured--</hi>(<reference osisRef="Isa.53.12">Is 53:12</reference>; <reference osisRef="Rom.5.5">Ro 5:5</reference>).

<hi type="bold">therefore--</hi>because of the manifestation of God's character in Christ (<reference osisRef="1John.4.9">1Jo 4:9</reference>, <reference osisRef="1John.4.19">19</reference>). So the penitent woman (<reference osisRef="Luke.7.37">Lu 7:37</reference>, 38, 47).

<hi type="bold">virgins--</hi>the pure in heart (<reference osisRef="2Cor.11.2">2Co 11:2</reference>; <reference osisRef="Rev.14.4">Re 14:4</reference>). The same Hebrew is translated, "thy hidden ones" (<reference osisRef="Ps.83.3">Psa 83:3</reference>). The "ointment" of the Spirit "poured forth" produces the "love of Christ" (<reference osisRef="Rom.5.5">Ro 5:5</reference>).

3. Rather, "As regards the savor of thy ointments, it is good" [Maurer]. In So 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" (Is 9:6; 61:1), as "the savor of ointments" are the graces that surround His person (Psa 45:7, 8). Ec 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 Ac 4:12), implies the exclusive preciousness of Messiah's name (Ex 30:23-28, 31-38). So Mary brake the box of precious ointment over Him, appropriately (Mr 14:5), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (Col 1:19; 2:9); of sweet odor (Ep 5:2). poured-- (Is 53:12; Ro 5:5). therefore-- because of the manifestation of God's character in Christ (1Jo 4:9, 19). So the penitent woman (Lu 7:37, 38, 47). virgins-- the pure in heart (2Co 11:2; Re 14:4). The same Hebrew is translated, "thy hidden ones" (Psa 83:3). The "ointment" of the Spirit "poured forth" produces the "love of Christ" (Ro 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.

<hi type="bold">Draw me--</hi>The Father draws (<reference osisRef="John.6.44">Joh 6:44</reference>). The Son draws (<reference osisRef="Jer.31.3">Jr 31:3</reference>; <reference osisRef="Hos.11.4">Ho 11:4</reference>; <reference osisRef="John.12.32">Joh 12:32</reference>). "Draw" here, and "Tell" (<reference osisRef="Song.1.7">So 1:7</reference>), reverently qualify the word "kiss" (<reference osisRef="Song.1.2">So 1:2</reference>).

<hi type="bold">me, we--</hi>No believer desires to go to heaven alone. We are converted as individuals; we follow Christ as joined in a communion of saints (<reference osisRef="John.1.41">Joh 1:41</reference>, 45). Individuality and community meet in the bride.

<hi type="bold">run--</hi>Her earnestness kindles as she prays (<reference osisRef="Isa.40.31">Is 40:31</reference>; <reference osisRef="Ps.119.32">Psa 119:32</reference>, <reference osisRef="Ps.119.60">60</reference>).

<hi type="bold">after thee--</hi>not before (<reference osisRef="John.10.4">Joh 10:4</reference>).

<hi type="bold">king ... brought me into--</hi>(<reference osisRef="Ps.45.14">Psa 45:14</reference>, <reference osisRef="Ps.45.15">15</reference>; <reference osisRef="John.10.16">Joh 10:16</reference>). He is the anointed Priest (<reference osisRef="Song.1.3">So 1:3</reference>); King (<reference osisRef="Song.1.4">So 1:4</reference>).

<hi type="bold">chambers--</hi>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 (<reference osisRef="Esth.4.11">Es 4:11</reference>; <reference osisRef="Esth.5.2">5:2</reference>; <reference osisRef="Ps.27.5">Psa 27:5</reference>). 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 (<reference osisRef="John.2.21">Joh 2:21</reference>), whereby believers are brought within the veil (<reference osisRef="Eph.2.6">Ep 2:6</reference>; <reference osisRef="Heb.10.19">He 10:19</reference>, <reference osisRef="Heb.10.20">20</reference>). Entrance into the closet for prayer is the first step. The earnest of the future bringing into heaven (<reference osisRef="John.14.3">Joh 14:3</reference>). His chambers are the bride's also (<reference osisRef="Isa.26.20">Is 26:20</reference>). There are various chambers, plural (<reference osisRef="John.14.2">Joh 14:2</reference>).

<hi type="bold">be glad and rejoice--</hi>inward and outward rejoicing.

<hi type="bold">in thee--</hi>(<reference osisRef="Isa.61.10">Is 61:10</reference>; <reference osisRef="Phil.4.1">Php 4:1</reference>, <reference osisRef="Phil.4.4">4</reference>). Not in our spiritual frames (<reference osisRef="Ps.30.6">Psa 30:6</reference>, <reference osisRef="Ps.30.7">7</reference>).

<hi type="bold">remember--</hi>rather, "commemorate with praises" (<reference osisRef="Isa.63.7">Is 63:7</reference>). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (<reference osisRef="Ps.4.6">Psa 4:6</reference>, <reference osisRef="Ps.4.7">7</reference>).

<hi type="bold">upright--</hi>rather, "uprightly," "sincerely" (<reference osisRef="Ps.58.1">Psa 58:1</reference>; <reference osisRef="Rom.12.9">Ro 12:9</reference>); so Nathanael (<reference osisRef="John.1.47">Joh 1:47</reference>); Peter (<reference osisRef="John.21.17">Joh 21:17</reference>); or "deservedly" [Maurer].

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 (Joh 6:44). The Son draws (Jr 31:3; Ho 11:4; Joh 12:32). "Draw" here, and "Tell" (So 1:7), reverently qualify the word "kiss" (So 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 (Joh 1:41, 45). Individuality and community meet in the bride. run-- Her earnestness kindles as she prays (Is 40:31; Psa 119:32, 60). after thee-- not before (Joh 10:4). king... brought me into-- (Psa 45:14, 15; Joh 10:16). He is the anointed Priest (So 1:3); King (So 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 (Es 4:11; 5:2; Psa 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 (Joh 2:21), whereby believers are brought within the veil (Ep 2:6; He 10:19, 20). Entrance into the closet for prayer is the first step. The earnest of the future bringing into heaven (Joh 14:3). His chambers are the bride's also (Is 26:20). There are various chambers, plural (Joh 14:2). be glad and rejoice-- inward and outward rejoicing. in thee-- (Is 61:10; Php 4:1, 4). Not in our spiritual frames (Psa 30:6, 7). remember-- rather, "commemorate with praises" (Is 63:7). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (Psa 4:6, 7). upright-- rather, "uprightly," "sincerely" (Psa 58:1; Ro 12:9); so Nathanael (Joh 1:47); Peter (Joh 21:17); or "deservedly" [Maurer].


<hi type="bold">5. black--</hi>namely, "as the tents of Kedar," equivalent to blackness (<reference osisRef="Ps.120.5">Psa 120:5</reference>). 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 (<reference osisRef="Rom.7.18">Ro 7:18</reference>, &c.; 8:1); <reference osisRef="1Tim.1.15">1Ti 1:15</reference>, "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 (<reference osisRef="Ezek.16.14">Eze 16:14</reference>).

<hi type="bold">curtains--</hi>first, the hangings and veil in the temple of Solomon (<reference osisRef="Ezek.16.10">Eze 16:10</reference>); then, also, the "fine linen which is the righteousness of saints" (<reference osisRef="Rev.19.8">Re 19:8</reference>), the white wedding garment provided by Jesus Christ (<reference osisRef="Isa.61.10">Is 61:10</reference>; <reference osisRef="Matt.22.11">Mt 22:11</reference>; <reference osisRef="1Cor.1.30">1Co 1:30</reference>; <reference osisRef="Col.1.28">Col 1:28</reference>; 2:10; <reference osisRef="Rev.7.14">Re 7:14</reference>). Historically, the dark tents of Kedar represent the Gentile Church (<reference osisRef="Isa.60.3-Isa.60.7">Is 60:3-7</reference>, &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 (<reference osisRef="Matt.2.1-Matt.2.12">Mt 2:1-12</reference>): the wise men from the East (Arabia, or Kedar).

<hi type="bold">daughters of Jerusalem--</hi>professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (<reference osisRef="Song.3.10">So 3:10</reference>, <reference osisRef="Song.3.11">11</reference>); so near to Jesus Christ as not to be unlikely to find Him (<reference osisRef="Song.5.8">So 5:8</reference>); desirous to seek Him with her (<reference osisRef="Song.6.1">So 6:1</reference>; compare <reference osisRef="Song.6.13">So 6:13</reference>; <reference osisRef="Song.7.1">7:1</reference>, <reference osisRef="Song.5.8">5, 8</reference>). In <reference osisRef="Song.7.8">So 7:8</reference>, <reference osisRef="Song.7.9">9</reference>, the bride's Beloved becomes their Beloved; not, however, of all of them (<reference osisRef="Song.8.4">So 8:4</reference>; compare <reference osisRef="Luke.23.27">Lu 23:27</reference>, <reference osisRef="Luke.23.28">28</reference>).

5. black-- namely, "as the tents of Kedar," equivalent to blackness (Psa 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 (Ro 7:18, &c.; 8:1); 1Ti 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 (Eze 16:14). curtains-- first, the hangings and veil in the temple of Solomon (Eze 16:10); then, also, the "fine linen which is the righteousness of saints" (Re 19:8), the white wedding garment provided by Jesus Christ (Is 61:10; Mt 22:11; 1Co 1:30; Col 1:28; 2:10; Re 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Is 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 (Mt 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 (So 3:10, 11); so near to Jesus Christ as not to be unlikely to find Him (So 5:8); desirous to seek Him with her (So 6:1; compare So 6:13; 7:1, 5, 8). In So 7:8, 9, the bride's Beloved becomes their Beloved; not, however, of all of them (So 8:4; compare Lu 23:27, 28).


6. She feels as if her blackness was so great as to be gazed at by all.

<hi type="bold">mother's children--</hi>(<reference osisRef="Matt.10.36">Mt 10:36</reference>). She is to forget "her own people and her father's house," that is, the worldly connections of her unregenerate state (<reference osisRef="Ps.45.10">Psa 45:10</reference>); they had maltreated her (<reference osisRef="Luke.15.15">Lu 15:15</reference>, <reference osisRef="Luke.15.16">16</reference>). Children of the same mother, but not the same father [Maurer], (<reference osisRef="John.8.41-John.8.44">Joh 8:41-44</reference>). 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 (<reference osisRef="Matt.16.26">Mt 16:26</reference>; <reference osisRef="Luke.9.25">Lu 9:25</reference>). The believer has to watch against the same danger (<reference osisRef="1Cor.9.27">1Co 9:27</reference>). So he will be able, instead of the self-reproach here, to say as in <reference osisRef="Song.8.12">So 8:12</reference>.

6. She feels as if her blackness was so great as to be gazed at by all. mother's children-- (Mt 10:36). She is to forget "her own people and her father's house," that is, the worldly connections of her unregenerate state (Psa 45:10); they had maltreated her (Lu 15:15, 16). Children of the same mother, but not the same father [Maurer], (Joh 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 (Mt 16:26; Lu 9:25). The believer has to watch against the same danger (1Co 9:27). So he will be able, instead of the self-reproach here, to say as in So 8:12.


<hi type="bold">7. my soul loveth--</hi>more intense than "the virgins" and "the upright love thee" (<reference osisRef="Song.1.3">So 1:3</reference>, <reference osisRef="1Cor.1.4">4</reference>; <reference osisRef="Matt.22.37">Mt 22:37</reference>). 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 (<reference osisRef="Ps.23.1-Ps.23.6">Psa 23:1-6</reference>). 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 (<reference osisRef="Luke.14.26">Lu 14:26</reference>); this distinguishes her from the formalist (<reference osisRef="John.10.27">Joh 10:27</reference>; <reference osisRef="Rev.14.4">Re 14:4</reference>).

<hi type="bold">feedest--</hi>tendest thy flock (<reference osisRef="Isa.40.11">Is 40:11</reference>; <reference osisRef="Heb.13.20">He 13:20</reference>; <reference osisRef="1Pet.2.25">1Pe 2:25</reference>; <reference osisRef="2Cor.5.4">5:4</reference>; <reference osisRef="Rev.7.17">Re 7:17</reference>). 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 (<reference osisRef="Job.23.8">Job 23:8</reference>, <reference osisRef="Job.23.9">9</reference>). If we would be fed, we must follow the Shepherd through the whole breadth of His Word, and not stay on one spot alone.

<hi type="bold">makest ... to rest--</hi>distinct from "feedest"; periods of rest are vouchsafed after labor (<reference osisRef="Isa.4.6">Is 4:6</reference>; <reference osisRef="Isa.49.10">49:10</reference>; <reference osisRef="Ezek.34.13-Ezek.34.15">Eze 34:13-15</reference>). Communion in private must go along with public following of Him.

<hi type="bold">turneth aside--</hi>rather one veiled, that is, as a harlot, not His true bride (<reference osisRef="Gen.38.15">Ge 38:15</reference>), [Gesenius]; or as a mourner (<reference osisRef="2Sam.15.30">2Sa 15:30</reference>), [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" (<reference osisRef="Luke.22.28">Lu 22:28</reference>), so long as she has not Himself present. The opposite spirit to <reference osisRef="1Cor.3.4">1Co 3:4</reference>.

7. my soul loveth-- more intense than "the virgins" and "the upright love thee" (So 1:3, 4; Mt 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 (Psa 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 (Lu 14:26); this distinguishes her from the formalist (Joh 10:27; Re 14:4). feedest-- tendest thy flock (Is 40:11; He 13:20; 1Pe 2:25; 5:4; Re 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 (Is 4:6; 49:10; Eze 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 (Ge 38:15), [Gesenius]; or as a mourner (2Sa 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" (Lu 22:28), so long as she has not Himself present. The opposite spirit to 1Co 3:4.


<hi type="bold">8. If--</hi>she ought to have known (<reference osisRef="John.14.8">Joh 14:8</reference>, <reference osisRef="John.14.9">9</reference>). The confession of her ignorance and blackness (<reference osisRef="Song.1.5">So 1:5</reference>) leads Him to call her "fairest" (<reference osisRef="Matt.12.20">Mt 12:20</reference>). Her jealousy of letting even "His companions" take the place of Himself (<reference osisRef="Song.1.7">So 1:7</reference>) led her too far. He directs her to follow them, as they follow Him (<reference osisRef="1Cor.11.1">1Co 11:1</reference>; <reference osisRef="Heb.6.10">He 6:10</reference>, <reference osisRef="Heb.6.12">12</reference>); to use ordinances and the ministry; where they are, He is (<reference osisRef="Jer.6.16">Jr 6:16</reference>; <reference osisRef="Matt.18.19">Mt 18:19</reference>, <reference osisRef="Matt.18.20">20</reference>; <reference osisRef="Heb.10.25">He 10:25</reference>). Indulging in isolation is not the way to find Him. It was thus, literally, that Zipporah found her bridegroom (<reference osisRef="Exod.2.16">Ex 2:16</reference>). The bride unhesitatingly asks the watchmen afterwards (<reference osisRef="Song.3.3">So 3:3</reference>).

<hi type="bold">kids--</hi>(<reference osisRef="John.21.15">Joh 21:15</reference>). Christ is to be found in active ministrations, as well as in prayer (<reference osisRef="Prov.11.25">Pr 11:25</reference>).

<hi type="bold">shepherds' tents--</hi>ministers in the sanctuary (<reference osisRef="Ps.84.1">Psa 84:1</reference>).

8. If-- she ought to have known (Joh 14:8, 9). The confession of her ignorance and blackness (So 1:5) leads Him to call her "fairest" (Mt 12:20). Her jealousy of letting even "His companions" take the place of Himself (So 1:7) led her too far. He directs her to follow them, as they follow Him (1Co 11:1; He 6:10, 12); to use ordinances and the ministry; where they are, He is (Jr 6:16; Mt 18:19, 20; He 10:25). Indulging in isolation is not the way to find Him. It was thus, literally, that Zipporah found her bridegroom (Ex 2:16). The bride unhesitatingly asks the watchmen afterwards (So 3:3). kids-- (Joh 21:15). Christ is to be found in active ministrations, as well as in prayer (Pr 11:25). shepherds' tents-- ministers in the sanctuary (Psa 84:1).


<hi type="bold">9. horses in Pharaoh's chariots--</hi>celebrated for beauty, swiftness, and ardor, at the Red Sea (<reference osisRef="Exod.14.15">Ex 14:15</reference>). 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 (<reference osisRef="2Chr.1.16">2Ch 1:16</reference>, <reference osisRef="1Cor.1.17">17</reference>). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (<reference osisRef="Isa.51.1">Is 51:1</reference>; <reference osisRef="1Pet.1.18">1Pe 1:18</reference>, <reference osisRef="1Cor.1.19">19</reference>). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (<reference osisRef="Song.1.5">So 1:5</reference>; <reference osisRef="1Cor.3.6">3:6</reference>, <reference osisRef="1Cor.3.7">7</reference>); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (<reference osisRef="Song.1.4">So 1:4</reference>) "run"; (<reference osisRef="Song.1.5">So 1:5</reference>) "comely." Also, like Pharaoh's horses, she forms a great company (<reference osisRef="Rev.19.7">Re 19:7</reference>, <reference osisRef="Rev.19.14">14</reference>). 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 (<reference osisRef="Song.6.4">So 6:4</reference>).

9. horses in Pharaoh's chariots-- celebrated for beauty, swiftness, and ardor, at the Red Sea (Ex 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 (2Ch 1:16, 17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (Is 51:1; 1Pe 1:18, 19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (So 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; (So 1:4) "run"; (So 1:5) "comely." Also, like Pharaoh's horses, she forms a great company (Re 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 (So 6:4).


<hi type="bold">10. rows of jewels--</hi>(<reference osisRef="Ezek.16.11-Ezek.16.13">Eze 16:11-13</reference>). 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 (<reference osisRef="Ezek.16.11">Eze 16:11</reference>). The comparison of the horses (<reference osisRef="Song.1.9">So 1:9</reference>) implies the vital energy of the bride; this verse, her superadded graces (<reference osisRef="Prov.1.9">Pr 1:9</reference>; <reference osisRef="1Cor.4.9">4:9</reference>; <reference osisRef="1Tim.2.9">1Ti 2:9</reference>; <reference osisRef="2Pet.1.5">2Pe 1:5</reference>).

10. rows of jewels-- (Eze 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 (Eze 16:11). The comparison of the horses (So 1:9) implies the vital energy of the bride; this verse, her superadded graces (Pr 1:9; 4:9; 1Ti 2:9; 2Pe 1:5).