2 'While the sun, or the light, or the moon, or the stars, be not darkened, 1 Nor the clouds return after the rain :2 3 In the day when the keepers of the house3 shall tremble, And the strong men shall bow themselves, And the grinders cease because they are few, And those that look out of the windows be darkened, 1 1 Ge. 2. 1; 1 Sam. 11 4 And the doors shall be shut in the streets,-when the sound of the grinding is low, And he shall rise up at the voice of the bird, 4 And all the daughters of music shall be brought low; 5 Also when they shall be afraid of that which is high, And fears shall be in the way, And the almond tree shall flourish, 5-and the grasshopper shall be a burden, And the mourners go about the streets: 6 Or ever the silver cord be loosed,8-or the golden bowl be broken, Or the pitcher be broken at the fountain, or the wheel broken at the cistern. 7 Then shall the dust return to the earth as it was: 8 9 And the spirit shall return unto God who gave it.9 Practical conclusions from the whole. VANITY of vanities, 10 saith the Preacher; all is vanity. 1 KL 4.2: Pra LL ch. 1. 1, 12 • Pra 1.1-6 ML 3.7 Ac 25; And moreover, because the Preacher was wise, he still taught the people 1 i. 16. 8. knowledge; yea, he gave good heed, and sought out, and set in order many 10 proverbs. The Preacher sought to find out acceptable words: and that which 11 was written was upright, even words of truth. The words of the wise are as goads, 12 and as nails fastened by the masters of assemblies, 13 which are given 12 from one shepherd. And further, by these, 14 my son, be admonished: of making many books there is no end; and much study is a weariness of the flesh. 13 Let us hear the conclusion of the whole matter: Fear God, and keep his 14 commandments: for this is the whole duty of man. 15 For God shall bring every work into judgment, with every secret thing, whether it be good, or whether I & A it be evil. C 1 All this (vers. 2-5) is a highly figurative and very beautiful description of the troubles and infirmities of old age. The images in the former part of this verse set forth the general gloom and insensibility to joy by which it is usually characterized. 2 The cheerfulness of youth throws off one trouble long before another comes; but the intervals are very short between the clouds which darken the wintry sky of old age. 3 The body is compared to a house which is falling to ruin. The arms which guard, and the legs which support it are palsied; the teeth, the eyes, and the lips lose their power; the voice is weak and unmusical (ver. 4); the steep hill and the thronged road are dreaded; and nothing can stimulate or please the worn-out senses (ver. 5). 4 This may refer to the easily broken sleep of the aged; or it may be rendered, And it rises to the voice (or note) of the sparrow;' alluding to the whining voice of aged persons. Or 5 The white blossom of the almond-tree represents very significantly the hoary head of the old man. the words may be better rendered, 'The almond occasions loathing;' i. e. this delicate fruit gives no pleasure to the old man; whilst the locust,' which every one else can eat, is a burden,' a disgust to him. 6 Man occupies his grave longer than any house in which he lived. 7 Mourners were hired to bewail the deceased: see refs. 8 After describing old age, the Preacher proceeds by another set of images (ver. 6) to represent the circumstances attending upon dissolution. Some suppose the metaphors to be taken from various parts of the human body; others understand them as referring to a lamp suspended by a 'silver chain,' which being broken, the golden bowl' or reservoir of oil falls upon the floor, and the lamp of life' is extinguished. The figure is then changed, and death is represented by the images of the 'broken wheel' and the 'broken pitcher' of a well. ☛ Ge. 49. 24: Fm. 2.1. Lk. 16.29-31. Jaba 339; 2 Pec 1. 1– 21. e ch. 1. 18. ✔ Dea. & 1. 1. 12, see refs. Pra, 3. 7. Job R Mt. 12. 36: Lk. 12 2: Ac. 17. 30, 31; Ro. 2. 16 9 The inspired Preacher was no materialist. He did not consider the soul as of the same substance as the body; but he knew that the body is only the organ of the indwelling spirit; and that the soul, though acting br means of the body while connected with it, is yet capable of separate existence and activity. 10 In the concluding verses (8-14), the Preacher recails attention to his first utterance (ver. 8), which he repeats with emphasis as having been proved by all his investigations; he then briefly describes his labours in the inculcation of Divine wisdom (9-12); and, finally, sums up his whole discourse (13, 14) by urging a reverent attention to God and eternity as the great business of all men. 11 Rather, 'The Preacher sought to find out acceptable words, and writing of uprightness and words of truth;' aiming to join what is agreeable and interesting with what is true and useful. 12 Urging men to wisdom and virtue. 13 Rather, and as nails driven in are the masters of assemblies [which] are given from one Shepherd' (or teacher). The teachings of such men make a deep and lasting impression; and to them Solomon compares his instructions in this book, which he says have been suggested and inspired by one Teacher, . . by God himself. 14 By the admonitions already given. The Preacher's design in what follows seems to be to urge his readers to be satisfied with a few good writings, which shall act as goads and nails, rather than to perplex themselves either with reading many books or with making new ones. 15 Or, 'For this is [the duty of] every man.' Without true practical piety no man can be happy, whatever be his rank or advantages; with it, he who has little earthly good may possess a pure and real blessedness Such was the experience and teaching of this wisest of the ancients. The same truth is, in every variety of form, taught by Him who is greater than Solomon;' and who not only illustrated and enforced all his precepts by his own perfect example, but himself opened for us the closed gates of paradise. THE SONG OF SOLOMON. THE name given to this book in the title (ch. i. 1) signifies the most excellent song;' and evidently represents it as being not a collection of separate poems or idyls, as some have thought, but a single composition. And a close acquaintance with its contents confirms this testimony to its excellence and its unity. The title also agrees with all ancient writers on the subject in ascribing this poem to Solomon; and this too is corroborated by internal evidence. The allusions to David's tower (ch. iv. 4), to Solomon's couch, or palanquin (ch. iii. 7, 9), and to his vineyard in Baal-hamon (ch. viii. 11), indicate a writer familiar with that age. Rare and precious articles of luxury are also mentioned. Objects of interest to the naturalist are often referred to; not less than twenty different names of plants, and thirteen of animals, being found in these few pages. An intimate acquaintance is displayed with various parts of the land from Egypt to Damascus; whilst the beauties of Tirzah, Gilead, and Heshbon, and the grandeur of Lebanon and Hermon, are alluded to in language which shows that they are fully appreciated. All this is just what might naturally be expected if Solomon were the author. In addition to this, the reference to his mother, in ch. iii. 11, and a comparison of ch. vi. 8 with 1 Kings xi. 3, seem to connect the poem with the earlier part of his reign, when Bathsheba was still living, and when his harem was less extensive than it became in his later years of unbounded indulgence. The burden of this Song is the mutual affection and endearments of the marriage relation. Solomon places himself before us as a bridegroom with his bride, in all the warmth and freshness of their newly-formed connection. Those who assign to the poem an historical origin suppose the bride to be either Pharaoh's daughter (1 Kings ja. 1), or a native of Palestine, of lower but still of noble rank. But there is so little in it that is distinctive of any individual, that it is difficult to believe it to have been composed either solely or chiefly with a view to any particular nuptial festivity. In part it resembles a pastoral, in part a drama, in part an epithalamium, or nuptial song yet it is not properly either of these. The peculiarity of its construction, and the generality of its references, seem to intimate that it sprang from, and is intended to lead to, a contemplation of the subject apart from personal application, and in its highest and most important bearings. Undoubtedly the Song of Songs may be viewed as a beautiful exhibition of the legitimate exercise of that merely human love which our Creator has implanted in our nature, and has recognised and sanctioned in the institution of marriage, which is declared to be 'honourable in all.' Yet, if this were the main object of the poem, it might well be expected that frequent reference would be made to those abuses of which Solomon himself affords so striking an example. We are therefore led to look for some other design. On examining the word of God, we find numerous passages in which the marriage relation is used to represent the connection between Jehovah and his chosen people. Soon after he had graciously entered into covenant with the Israelites at Sinai, he speaks of the sin of forsaking his worship for that of false gods as unfaithfulness to the bonds of marriage (Exod. xxxiv. 15, 16; Lev. xvii. 7; xx. 5; Deut. xxxi. 16); and he continues to use the same figure in Judges and the later books. This metaphor reappears with great amplification, and often in more pleasing forms, in the prophetical writings (Isa. liv. 5; Ixii. 5; Jer. iii. 20; xxxi. 32; Hos. ii. 2, 7). It was therefore evidently familiar to the minds of the Hebrews; so much so indeed, that the metaphorical | language is often used without any intimation that it is not to be taken literally; and some of the words relating to the violation of the marriage covenant are employed even more frequently in a figurative sense than in their literal meaning. Hence it was not improbable that the love of Jehovah to his people should be represented in a longer allegorical poem, nor was it necessary that any explanation of such a purpose should be interwoven or appended. Accordingly, the Jews have always so understood the Song of Solomon. The ancient book Zohar, the Chaldee Targum, and later Jewish commentators, explain it in this way. Such an application, moreover, is in perfect harmony with another inspired poem, Psa. xlv.; and it is in accordance with the practice which has prevailed universally in the East, even to the present day, of expressing love to the Creator in the language of this human passion. And this mode of representation does not stop with the Old Testament. The relation of Jehovah to the Hebrew nation having been designed to foreshadow his connection with his spiritual church, it naturally supplies the writers of the New Testament with language most appropriate to exhibit the relation between our Lord and his people. Thus Jehovah was David's shepherd (Psa. xxiii.); Jesus is ours (John x. 11, 14). And thus also Christ is the bridegroom, and the church his bride (2 Cor. xi. 2; Eph. v. 23-27; Rev. xxi. 2). Accordingly, Christian commentators in every age have regarded this poem as aptly expressing the mutual love of the Saviour and his church, and as fitly representing the closeness and perpetuity of the union which subsists between them. And when it is regarded in this light, it will appear to be a valuable portion of Divine truth; more suitable to the habits of thought and feeling of some persons than of others, but peculiarly adapted to enliven the religious emotions of no inconsiderable portion of the people of God. Much caution, however, is needed in using this book; for its language and thoughts have been often misunderstood and misapplied by expositors. Some have greatly erred by adopting an arbitrary and fanciful method of explanation-attempting to give a mystical meaning to every minute circumstance in the allegory. But it must be borne in mind that in a figurative representation there is always much which is to be regarded as mere costume and ornament, added to complete the picture. We are not to expect to find in the spiritual objects represented a literal counterpart to every portion of the allegory; but we should rather unite all the single features into one general image, and then contemplate the sentiment or truth thus illustrated. And it should ever be remembered, that while we have the practice of the church in all ages, and the judgment of eminent expositors, in favour of the proper application of this Song to evangelical subjects, the true knowledge of Christ and of heavenly things is to be chiefly sought by us in the New Testament, where it is plainly and fully imparted. It must also not be forgotten, that although many have applied the metaphor here employed to the relation subsisting between Christ and the individual believer, on the principle that what is true of the whole body is in some measure true of every member, yet such an application of the figure is never found in the Scriptures. Some portions of this book have been regarded as unnatural, and others have been objected to as wanting in delicacy. These objections, however, are owing partly to defects in the translation of particular passages, and partly to ignorance or forgetfulness of the great difference which exists between Oriental customs and Oriental poetry, and those of Europe. See notes on ch. iv. 1, 12; v. 11; vii. 2. This poem is in the form of a dialogue; the chief speakers being Solomon and his bride, with the occasional interposition of female attendants, and perhaps of other spectators. But it is not easy to mark the divisions; the point of transition from one subject to another being not always very perceptible. Some find here twelve idyls, others eight songs. Others again divide it into seven days, corresponding to the days of a marriage feast. But perhaps it is best to divide it into four principal portions: Part I. The bride desires the society of her husband, whom she seeks and finds in his rural retreat: after mutual expressions of affection she falls asleep, and dreams of him (ch. i.-iii. 5). This portion of the poem was probably designed to exhibit the desire of the church for the coming of the Lord. Part II. introduces a grand royal marriage procession to Jerusalem, followed by the private endearments of the bridegroom and the bride, who then return to the mar 1 a 2 riage feast (ch. iii. 6-v. 1). In this part the glory of Christ and of his church, and his delight in his people, seem to be the subject. Part III. darkens the picture by introducing the indifference of the bride to her husband, followed by her repentance, her anxious search, her sufferings, and at last her restoration to the happy enjoyment of his society and affection, in the very place where she had found him before (ch. v. 2—viii. 4). This evidently displays in an affecting manner the declension of piety in the church. and its attendant sorrows, in contrast with the forgiving grace of the Redeemer, and the happiness of restoration to his favour. Part IV. shows us the bride, notwithstanding the opposition of her family, finally separating herself from them, and devoting herself and all she has to her husband (ch.viii. 5-14). This seems to depict the entire separation of the church from the world, and its perfect consecration to the love and service of its Lord. The bride's desire for and delight in the society of her husband. THE SONG OF SONGS, WHICH IS SOLOMON'S. Let him kiss me with the kisses of his mouth: For thy love is better than wine. 3 Because of the savour of thy good ointments Thy name is as ointment2 poured forth, therefore do the virgins love thee. 4 & Draw me, h we will run after thee: 5 The king hath brought me into his chambers: *We will be glad and rejoice in thee,-'we will remember thy love more than wine: The uprights love thee. I am black, "but comely,-O ye daughters of Jerusalem, • As the tents of Kedar, 4-as the curtains of Solomon. 6 Look not upon me, because I am black,—because the sun hath looked upon me: P My mother's children were angry with me; They made me keeper of the vineyards;6 But mine own vineyard' have I not kept. 7 Tell me, O thou whom my soul loveth, where thou feedest, Where thou makest thy flock to rest at noon:8 " For why should I be as one that turneth aside [or, as one that is veiled], By the flocks of thy companions? 1 In the first part of the poem (comprising ch. i.—iii. 5), the scene is laid in Solomon's gardens; and all the illustrations are derived from rural subjects and occupations. A company of virgins express their admiration of the king, and their desire to share in his love (vers. 2-4). The bride then speaks, excusing her rustic, dark complexion, and longing to know where she may find her bridegroom (5-7), to whom the virgins direct her (8). Having found her husband, she is heard interchanging with him expressions of mutual tenderness; until, overcome by her search and her emotions, she falls asleep (i. 9-ií. 7). She has varied dreams, in which she converses with him from the lattice of her pavilion (ii. 8-17); and then, missing him by night, seeks and finds him (iii. 1-5). The feelings here expressed are chiefly eager longings, as yet only partially gratified. This part of the poem may therefore be supposed to represent the ancient Jewish church anticipating the fuller display and enjoyment of Divine love when the promised Messiah should appear. See Matt. xiii. 16; Luke ii. 25, 38; x. 23, 24. Hence it may be appropriately used to express and to enliven the desires which the church now cherishes for the second coming of her Lord. Comp. 1 Thess. i. 10; 2 Thess. i. 10; 2 Pet. iii. 11-14; Rev. xxi. 2, 9; xxii. 20. And such a state of expectation is shown to admit of much present happiness in the a KL 4 32. Ra 5 1; 2 Car & 18, 19. e ver. 4: ch. 10: P. 467: 2.4 d Pa 45 7, A • Mt. 1. 21-23; Phi 29, 10; 1 Fel 2: / ver. 4; ch. 65; h 45. 14; 7 Car IL 9. Rev. 144 8 Jer. 31. 3: BIL 4: John 6 44; 2 A Ps 182: H& 12-14; Heb. 12 1,2 i eh. 23: Px & 44. 15; John 14 2,3, Eph. 2 & * P. 12; Zeph. 1 14, 15; Zee. 29. 1 Pet. 1.8 I ver. 2; 1 Cor. 11. 2 -26. mJob 41 4: 6: la 64 6; Ba 2.14 17. 1. # Is 61. 10: Exe. X 14; ML. 2211; Eph 5. 26. 27. • P. 1 S P Mic. 7. 6: ML M 35, 36; Gal. £. A ch. 11, 12 7 ch. 3. 1-458-10) Is. # 11: Mic. & 4: Rev. 7. 17. #1 Sam. 12. 2 John & 67-8 #ch. 5. 9; 61, Eph. 5. 27. Pro. 8. 34; Jer. 6. 16; 1 Cor. 11. 1; Heb. 6. 12: 137. y ch. 22. 14, 19; 4. 1.7: 52; 64: John 1. 14, 13 #2 Chr. L. 1, 17. delightful manifestations of the Saviour's love (ch. i. 9— ii. 6). 2 That is, delightful as the fragrance of perfumes just poured out. See John xii. 3. 3 Rather, 'They love thee rightly.' 4 See Gen. xxv. 13; Psa. cxx. 5. The Arabs still use dark-coloured tents, covered with a coarse canvass made from the hair of their black goats. 5 Royal personages in the East are accustomed to have the interior of their tents furnished with most costly and beautiful hangings. 6 The bride had been subjected by her step-brothers to coarse and rustic toil. 7 That is, my personal beauty. See ch. viii. 12. 8 During the heat of the day, the shepherds usually lead their flocks to repose in the shade. The bridegroom being spoken of as a shepherd, in accordance with the figures of the scene, the inquiry and reply naturally take this form. 9 That is, regarded as a harlot. See Gen. xxxviii. 14, 15. Some, however, prefer translating the word, as one that faints; i. e. wearied in searching for my husband. 10 Rather, 'to my Pharaoh's chariot-horse. The high value set upon the horse, and the costly trappings with which it was adorned, made it a fit subject for a highly complimentary comparison. 10 Thy cheeks are comely with rows of jewels, 1- thy neck with chains of gold. 11 We will make thee borders of gold with studs of silver. 12 с While the king sitteth at his table, My spikenard sendeth forth the smell thereof. 13 A bundle of myrrh is my well-beloved unto me; * He shall lie all night betwixt my breasts. 14 My beloved is unto me as a cluster of camphire 5-in the vineyards of En-gedi." 16 Behold, 'thou art fair, my beloved, yea, pleasant:-" also our bed is green. 17 The beams of our house are cedar,-and our rafters of fir. So is my beloved among the sons. I sat down under his shadow 12 with great delight, And his fruit was sweet to my taste. 4 He brought me to the banqueting house, And his banner over me 13 was love. 5 x Stay me with flagons,-comfort me with apples: for I am sick of love. His left hand is under my head," and his right hand doth embrace me. 567 8 stir not up,-nor awake my love,-till he please." The voice of my beloved! 18 Behold, he cometh-leaping upon the mountains,-skipping upon 17 the hills: 9 My beloved is like a roe 18-or a young hart. d Behold, he standeth behind our wall, 19 He looketh forth at 20 the windows,-showing himself through the lattice. 10 My beloved spake,-and said unto me, Rise up, my love, my fair one, and come away. 11 For, lo, the winter is past,—the rain is over and gone; 12 The flowers appear on the earth;-the time of the singing of birds is come, And the voice of the turtle is heard in our land; 13 The fig tree putteth forth her green figs, And the vines with the tender grapes give a good smell.21 14 0 my dove, that art in the clefts of the rock, 1 The words 'jewels' and 'gold' have been supplied by our translators. The 'rows' and 'chains' probably refer to the head-gear of the chariot-horse, which appears, from Egyptian and Assyrian monuments, to have been very splendid. So the bridegroom promises to adorn his bride with splendid gold and silver ornaments (ver. 11). 2 Or, 'rows,' as in ver. 10, perhaps chains.' 3 Literally, while the king is in his circle;' perhaps alluding to the divan or raised couch surrounding a room. 4 Or, 'It shall abide between my breasts;' an allusion to the custom of wearing some precious perfume suspended from the neck. 5 Heb., 'copher;' probably the henna shrub (lawsonia inermis), the flowers of which are both beautiful and fragrant. Its leaves also yield a deep orange dye, with which the Orientals tinge their nails, parts of their hands and feet, and sometimes their hair. 6 See note on I Sam. xxiv. 1. Engedi was, and still is, a very fertile spot. 7 Rather, thine eyes are doves;' i. e. loving, gentle. 8 Rather, our couch is green; the beams of our house are cedars, our rafters cypresses:' referring to the trees overhanging the grass. 9 Continuing the preceding figures, the bride compares herself to the flowers among the grass. The 'rose' is a bulbous plant-probably the narcissus tazetta, which grows abundantly in Palestine, and is highly valued. 10 From ch. v. 13, this appears to have been a bright a Eze. 16. 11-13. beh. 4. 9: Pro. 1. 9. c Ps. 149. 4 d Ps. 45. 1; Mt. 22. 11: 25.34. • Mt. 22. 4; 26. 26-28. Rev. 5; 8.3, 4. 8 Ps. 45. 8. ▲ Eph. 3. 17. ỉ cho 1. 13 * cho 4. 1,7: 3 12 ch. 5. 10-16; Ps. 45. 2: Rev. 511-13. m Ps. 23. 2. n ch. 8. 9. ver. 16; ch. 6. 3. p ch. 5. 9, 10, 16. Is. 25. 4; 32. 2. 1 Pet. 2. 3; Rev. 22. 1. 2. ch. 1.4; Ps. 63. 2—5. Ro. 8. 28-30. r Ps. 4. 6, 7; 42. 1,2 y ch. 5. 8; Ps. 119. 20, 81. # ch. 8. 3; Is. 40. 30, 31: Zeph. 3. 17; Phil. 4. 13. a Job 23. 6; Ps. 63. 8. b ch. 1.5; 3. 5; 8.4; Pro. 5. 19. e ch. 5. 2; John 10 4, 5, 27; Rev. 3. M. d ver. 17; ch. 8. 14. e 1 Cor. 13. 12. ver. 13: Is. 52. 2; Heb. 6. 11, 12. g Is. 12. 1; Mt. 5 4. A ver. 10; Is. 2. 5; 60, 1. í ch. 35. 2. k Jer. 48. 28. red flower, probably the scarlet martagon, whose brilliant flowers attract the notice of travellers in Palestine, in the months of April and May. 11 This was probably either the quince, or the citrontree, the fruit of which is much esteemed by the Orientals on account of its scent. 12 The bridegroom is still spoken of as a tree, whose shade, as well as its fruit, is delightfully refreshing. 13 As soldiers are led onward by the standard borne above them, so I was led on by love to my husband. The whole verse is figurative, representing the strong excitement and irresistible impulse of the bride's affection. 14 Or, 'gazelles.' These elegant creatures are mentioned here as emblems of female beauty. 15 Rather, till she please.' The verb is feminine, 17 Or, 'bounding over the hills;' like a hart (ver. 9). 20 Rather, through the windows.' The bride fancies herself to be in an arbour, or kiosk, built on the garden wall, through the lattice of which her bridegroom looks in and invites her to come with him. 21 Or, The fig tree is sweetening her blossoming vine sends forth its fragrance.' My beloved is mine, and I am his :-he feedeth 3 the lilies. 3 By night on my bed-I sought him whom my soul loveth: I sought him, but I found him not. 2 I will rise now, and go about the city In the streets, and in the broad ways—I will seek him whom my soul loveth: I sought him, but I found him not. 3 The watchmen that go about the city found me: To whom I said, Saw ye him whom my soul loveth? 4 It was but a little that I passed from them, 5 6 But I found him whom my soul loveth: 'I held him, and would not let him go, Until I had brought him-into my mother's house, And into the chamber of her that conceived me. I charge you, O ye daughters of Jerusalem, By the roes, and by the hinds of the field, That ye stir not up,-nor awake my love,-till he please." The marriage procession; the delight of the bridegroom in his bride. WHO is this that cometh out of the wilderness 9-like pillars of smoke, 10 Perfumed with myrrh and frankincense,—with all powders11 of the merchant? 7 Behold his bed, 12 which is Solomon's; Threescore valiant men are about it,-of the valiant of Israel. 8 They all hold swords, 13-being expert in war: Every man hath his sword upon his thigh- because of fear in the night. 9 King Solomon made himself a chariot of the wood of Lebanon. 10 He made the pillars thereof of silver, The bottom thereof of gold,-the covering of it of purple, The midst thereof being paved with love, for the daughters of Jerusalem. 14 11 Go forth, O ye daughters of Zion,-* and behold king Solomon, With the crown 15 wherewith his mother crowned him, In the day of his espousals,-and in 'the day of the gladness of his heart. 4 Behold, m thou art fair, my love; behold, thou art fair; Thou hast doves' eyes 16 within thy locks: 17 Thy hair is as a "flock of goats, 18-that appear from mount Gilead. 1 Rather, the hiding-places of the precipices.' He | happiness in him. Comp. Isa. lii. 1-12; liv.; lx.—ki complains that, like a dove on a high cliff, she is inaccessible to him. 2 This is an address from the bride to her husband. Foxes abound in Judea, and do much injury to vineyards and gardens. 3 This means, 'he feeds his flock.' See ch. i. 7. 4 Rather, 'Until the day breathes (i. e. is cool), and the shadows flee away' (i. e. stretch away or lengthen); meaning the evening. And so in ch. iv. 6. 5 The mountains which separate us.' Or, perhaps, the same as Bithron, in 2 Sam. ii. 29. 6 In the warmth of her feeling, she forgets that others may not know who is the object of her affection. 7 Rather, 'till she please;" as in ch. ii. 7, and ch. viii. 4. & The Hebrew words rendered 'this' and 'perfumed' are in the feminine gender, referring to the bride. This is the beginning of Part II., which brings before us a royal marriage procession, in a description by an eyewitness, of the king and his bride approaching Jerusalem (ch. iii. 6-11), followed by a private scene of mutual endearment (iv. 1-v. 1), ending abruptly in the return to the marriage feast (v. 1, last clause). This second division of the poem appears to be designed to celebrate the glory which the church expected to share with the Messiah when he should come to reign, and the delight which he would take in his people, as well as their These are partially realized in the present privileges of the church; but they await their complete fulfilment in its future glory and blessedness. Comp. John xiv. 1-4; | xvii. 24; Rev. vii. 14-—17. 9 Probably from the south-east, the direction in which the wilderness lay. 10 Alluding probably to the incense which was burnt before a marriage procession. 11 That is, costly aromatic powders. 12 Or, 'couch;' probably a kind of litter or palanquin, borne upon men's shoulders. 13 Or, are strengthened with a sword;' i. e, armed with swords. 14 Or, 'Its interior carpeted [by the work of] a lovely one of the daughters of Jerusalem.' 15 It was usual to place crowns or garlands on the heads of newly-married persons; and it appears from this verse that this was done by one of the parents. 16 Thine eyes are doves.' " See ch. i. 15. 17 Or, 'behind thy veil.' And so in ver. 3. 18 In reading these descriptions, it must be remembered that the figures of Eastern poetry are peculiarly bold and luxuriant. Here the dark hair of the bride, hanging! down in tresses over her shoulders, is compared to a dock of goats (which in Palestine are almost always black) spread over Mount Gilead. |