Notes
Song of Solomon 1:1 : The Song of Songs which is Solomon’s. ‘The Song of Songs,’ שִׁיר הַשִּׁירִים (shir hashshirim). שִׁיר (shir), a song or poem, as opposed to prose: but distinguished from מִזְמור (mizmor), a song with musical accompaniment, a psalm. EWALD, ZOCKLER in LANGE. According to some, a series. KLEUK. AUGUSTI. שירה in its original acceptation, a string or chain; Arab poets speaking of stringing their verses as pearls. GOOD. ‘Song of Songs,’ a Hebrew reduplication denoting excellency. An instance of the Hebrew superlative, like Ezekiel 16:7; Daniel 9:24; the finest or most beautiful of songs, the comparison however probably not with other poetry of Solomon. NOYES. Not, as GESENIUS, a song consisting of many songs. Nor, as KIMCHI and others, a song out of many Songs of Solomon. The High Song (das Hohelied). LUTHER. The excellent song. GENEVA BIBLE. Indicates emphatically the most excellent of its kind. EWALD. The noblest and sweetest song. SANCTIUS. The most excellent song, and made up many songs; or, comprehending all the songs, not only of Solomon but of the Prophets: the sum, kernel, and marrow of all sacred songs. COCCEIUS, MERCER. The most beautiful song. DE WETTE. A song consisting of many songs, or excelling other songs; indicating also the unity of its contents. DE-LITZSCH. So called either from the excellence of the composition or the subject. LOWTH. Most excellent song of all in the sacred books; in elegance of structure, fulness of mystery, and sublimity of meaning. CARPZOV. Most important, excellent and precious of songs; reference to the subject of it; to prophets and apostles, a reservoir of the treasures of Divine love existing between the Creator and His saved and sanctified creatures; the title claimed not by Solomon, but by the Holy Spirit. WEISS. Other songs celebrate the King’s victory and the deliverance wrought for His Church; this His marriage with her and His love to the Bride. THEODORET. Ten songs have been sung; but this excels them all. TARGUM. The song which is above all songs. RASHI. All the Scriptures are holy; the Song of songs, the Holy of holies. AKIBA. All the songs of Scripture are the Holy place; the Song of songs, the most holy. R. JOSHUA.
‘Which is Solomon’s’ (אֲשָׁר לִשְׁלֹמֹה asher li-Shelomoh). The relative probably not, as GESENIUS thinks, added here on account of the article in הַשִּׁירַים as if—‘the songs which are Solomon’s. The antecedent either שִׁיר or הַשִׁירִים; most likely שִׁיר, הַשִׁירִים being added as a Hebrew form of the superlative. EWALD, HITZIG, BLEEK. So the SEPTUAGINT, ὅ ἑστι, ‘which is.’ לִשְׁלֹמֹה to or of Solomon.’ שְׁלֹמֹה (Shelomo) from שָׁלם (shalom) peace, with the termination הֹ or וֹ, identical with וֹן, and forming the concrete from the abstract. Meaning alluded to in 1 Chronicles 22:2. GESENIUS. DAVIDSON fancifully suggests הֹ as the representative of הוּא ‘he’; as if, ‘He is the peace’ like Micah 5:5 and Ephesians 2:14. The ALEX. SEPTUAGINT has—to, for, or of Solomon (τῷ Σ.). The VULGATE: Solomon’s. As referring to Solomon or ascribed to him. VATABLUS. Both by and concerning Solomon, i.e., Christ. COCCEIUS. Solomon as a type of Christ, both the author and the subject. AINSWORTH. Words so contrived as to mean either. PATRICK. Concerning Solomon, that is, the Messiah. MIDRASH. לְ not used here merely to indicate the authorship: = ‘devoted or delivered to;’ as Psalms 7:2; Jeremiah 15:2; 1 Chronicles 29:2. WEISS. Of Solomon as the author. MERCER, &c. As the author inspired by the Holy Ghost. CARPZOV. Belonging to Solomon, and so placed among the sacred books. ABEN EZRA. Solomon as the author: Amplifies what David his father had begun in the 45th and 68th Psalms: the Bridegroom in the song called Solomon, either from the dignity of the name (Peaceful), or as suiting the circumstances, or because Solomon was a type of Christ, which was probably known to Solomon himself. SANCTIUS. According to EWALD, the title ascribes the poem to Solomon, but was given at a later period, probably after the exile. DELITZSCH: Indicates unity of authorship. ZÖCKLER: Which is by Solomon. His title of ‘King,’ assumed in Proverbs and Ecclesiastes, here laid aside in contemplating the celestial person of whom he speaks. PATRICK. Also, lest Solomon should be thought the King here intended, the book being a ‘Song of Loves.’ GILL. Concerning Solomon: hence not a book of King Solomon’s, but of some other inspired author. HARMER. Concerning Solomon—the true Solomon, the Lord Jesus Christ; no reference being made to King Solomon in any part of the book. HAWKER. Solomon the inspired author, yet not speaking in his own person. FRY.
THE SONG OF SOLOMON
Title of the Book
CHAPTER 1. Song of Solomon 1:1
“The Song of Songs, which is Solomon’s.”
It is well, with Dr. Chalmers, to begin the study of this sacred book with the prayer: “My God, spiritualize my affections; give me intense love to Christ.”
Two parts in the Title of the book as here given:—
1. Its name and character—“the Song of Songs.”
2. Its ascription—“which is Solomon’s.” The First part of the Title,
“The Song of Songs,”
Indicates—
I. The NATURE of the Book. A Song. Hence—
1. Pleasant and joyous. Song the language of joy. Indicates joy in those who sing, and aims at awakening joy in those who hear. This one of the ‘songs in the night’ given by our Maker and Saviour (Job 35:10). The Holy Spirit the author of joy, and therefore the author of songs. This book all the more attractive from its being a song. Both old and young love songs, and are attracted by them. The subject of this book of a pleasing nature, and fit to be treated in a song. Marriage a joyful event, celebrated with festivity and music. The subject of this song a Divine and heavenly union. The song a spiritual Epithalamium, or Nuptial Ode. A song of the bride-chamber (Matthew 9:15). A Gospel song, and one for Gospel times; the whole subject being the love of Jesus Christ to sinners and the salvation He brings to them. Gospel grace puts a new song in the mouth (Psalms 40:3; Psalms 98:1). The Gospel began with songs and ends with them. This book one of the ‘spiritual songs,’ in which believers are to ‘speak one to another’ (Ephesians 5:19; Colossians 3:16). A large part of the Bible taken up with songs. The Word of God intended to be attractive. The Lord’s ransomed ones to ‘return and come to Zion with songs’ (Isaiah 35:10).
2. Profitable. A song, like poetry in general, fitted to stir and move the affections. Songs found to have the most powerful influence on the minds and morals of a people. “Give me the making of the songs and ballads of a nation, and I will leave the laws to others.” By the Jews the poetical parts of Scripture were especially esteemed, and often learned by heart.
II. Its EXCELLENCE. A ‘Song of songs A Hebrew expression denoting excellence as king of kings, heaven of heavens, &c. This not only excels all human, but all Divine songs. The Jews called other Scripture songs ‘holy,’ but this the ‘holy of holies.” The book worthy of this title on account of—
1. Its Character at a Composition. The most “beautiful example of Hebrew poetry in its highest style of metaphor and arrangement.” More especially, however, on account of—
2. Its Subject. The bridal relation between the Son of God and His saved people. Christ’s excellence and beauty, and His love to the Church as His bride. The Church’s excellence and beauty as a reflection of His, and her happiness and honour in consequence of her bridal relation to Him. This song has the Holy Ghost for its author; the union and communion between Christ and believers for its matter; and the glory of God and the comfort of His people for its end. Here are prophecy, history, and the spiritual life, divinely woven into one symbolical robe of matchless beauty. The song a many-sided mirror reflecting the Lord’s dealings with His Church, viewed both collectively and individually, as well in the Old Testament as in the New. Reveals mysteries of Divine love into which the angels desire to look. This book, next to the Gospels, the fullest of Christ, and therefore the sweetest to the Christian who is enlightened enough to understand it. A fountain at which prophets and apostles and the Lord Jesus Himself refreshed their spirits. Next to David’s Psalms, the favourite book of the Bible with the Fathers of the Church. Its foundation laid in the Psalms; especially in that gem of Psalms, the forty-fifth. David sung the Bridegroom’s future appearing, His conflicts, his sorrows, and his triumphs: Solomon sung His alliance and fellowship with His blood-bought bride. The song a labyrinth of exquisite flowers transplanted from heaven to earth. Wafts a perfumed breath of celestial spring from paradise to this world. The song “a maze of sweets, and a lovely obscurity.” A heaven-given riddle in connection with the marriage of the Lamb, the true Samson; and only to be ploughed with His own heifer. Requires ‘the mind that hath,’ not earthly but, heavenly ‘wisdom.’ A mine of precious diamonds, demanding patient and prayerful labour and the Spirit’s light to explore it and discover them.
The Second part of the Title—
“Which is Solomon’s,”
Ambiguous. Probably indicates—
I. The AUTHOR of the Book. The literal Solomon, King of Israel and wisest of men. Best proof of wisdom, to celebrate the love of God is Christ, and to stir up ourselves and others to love Him in return. Gradation in Solomon’s writings: the Proverbs, Ecclesiastes, Canticles, or the Song. In proverbs, Solomon sings of moral virtues and their benefits; in Ecclesiastes, of the vanity of earthly things; in Canticles, of Divine love and fellowship. Canticles a striking contrast to Ecclesiastes. Ecclesiastes, a mournful complaint of the disappointment found in the creature; Canticles a joyous song of the infinite satisfaction found in the Creator. Ecclesiastes points to earthly pleasure, and says: ‘Whosoever drinketh of this water shall thirst again’; Canticles points to God as revealed in Jesus Christ, and says: ‘Whosoever drinketh of this water shall never thirst.’—Solomon, with his hands full of state affairs, yet found time for spiritual meditation and the celebration of Divine love. Worldly business, and diligence in it, no hindrance to love to Christ, and due concern for the spiritual interests of ourselves and others.
II. The SUBJECT of the Book. The spiritual Solomon, the true Prince of Peace and King of Israel,—Solomon’s great antitype. The true Solomon and his love to the Church the great subject of the Song. Solomon exhibited in the Bible as one of the types of the Messiah. Is so—
1. In his Names: ‘Jedidiah,’ Beloved of the Lord: ‘Solomon.’ the Peaceful.
2. In his Wisdom.
3. In his Riches and Magnificence.
4. In the wide extent of his Dominions.
5. In the peaceful character of his Reign.
6. In the prosperous and happy condition of his Kingdom.
7. In the erection of the Temple of God at Jerusalem.
Christ prefigured by Aaron as a priest; by Moses as a prophet; by David and Solomon as a King,—by the one in his conquests and by the other in his peaceful enjoyment of them. Solomon not called here, as in Proverbs and Ecclesiastes, the King of Israel. His personality here lost sight of in his typical character. The type overshadowed by the antitype. Christ, in one aspect or another, the central figure in all the Books of Scripture. “Search the Scriptures; for they testify of Me.” This said even of Old Testament Scripture. “The testimony of Jesus is the spirit of prophecy.” “He expounded to them in all the Scriptures the things concerning Himself” (John 5:39; Revelation 19:10; Luke 24:27). The Scriptures all testify of Jesus. The Song testifies of Him as the King and Bridegroom of His Church, stooping to win and wed poor fallen humanity for His Bride. By the Jews, the Song understood of their Divine King to be manifested in the Messiah, and the Israelitish nation as the Bride whom He was pleased to espouse to Himself.
III. The DESIGN of the Book. For the true Solomon.
1. For his Glory. The glory of Christ, and of God in Him, the end of all Scripture as of all creation (Colossians 1:16). Especially true of this portion of it, so full of Himself, of His excellencies, His joys, and His love.
2. For hit Use. All Old Testament intended for his use as the perfect man (Psalms 1:1-3; 2 Timothy 3:15-16). Probably this portion of it especially, which speaks most about him. Reason to believe that the Psalms of David and the Song of Solomon formed the principal devotional books of our Lord (Davidson). As a child, Jesus grew in wisdom and in stature. In both respects, doubtless, through ordinary means. The sincere milk of the Word his daily food. What was designed for the Head, designed also for the members. What was used by the man Christ Jesus as His spiritual aliment and refreshment, to be used also by ourselves for ours. The Rabbinical rule that this Book was only to be read by those who had reached their thirtieth year, a mere human invention,—like others, rejected by Christ and to be rejected by us. 2 Timothy 3:15-16, and Romans 15:4 clean against any such limitation. This Book, like the rest of Scripture, to be read with seriousness and expounded with discretion; but no argument against reading and preaching from it in the fact that evil men may abuse it. Ignorant men wrest also other Scriptures to their own destruction. “To the pure all things are pure.” The holiest and most spiritually-minded have naturally delighted most in this Book, in which they find most of their Beloved and their Friend. Witness Bernard of Clairvoix, Samuel Rutherford, and Robert McCheyne. In Scotland’s best times, the song of Solomon the chosen field of meditation at Sacramental seasons.
Two things needful for the profitable reading of this remarkable book:—
(1) A Christian experience. The song a mirror of the believer’s heart. Only taught by a Divine anointing, and only learned by a spiritual experience” (Bernard). Only to be properly understood by our becoming part of the Bride whose experience it portrays.
(2) A loving heart. Like the forty-fifth Psalm, which it greatly resembles, the Song of Solomon a ‘Song of loves’ (Psalms 45 title). The mystery of the song a mystery of love. Words of earthly love employed to elevate the soul to a heavenly one. A ‘song of loves’ requires a loving heart to understand, realize, and appreciate it. “Love’s language a foreign tongue to one who does not love.” Hence the song of Solomon pre-eminently a test for the state of the heart.