and love. A welcome from the King to the Wedding-guests brings this third part and the former half of the Song to a close. Parts IV. VI. constitute the latter half of the poem, which might be entitled THE BRIDE THE KING'S WIFE (v. 2-viii. 14). In it we see the once lowly Shulamite, though now sharing with her Beloved the high places of Israel, yet retaining that sweetness, humility and devoted affection, which in other scenes and circumstances had gained his heart. She responds to the King's former invitation to exchange her rustic home for the splendours of Jerusalem (iv. 7, 8), by inviting him on her part to revisit with her those rural scenes, and share once more their simple pleasures (vii. 11-13): thus drawing down her Royal Friend to renewed sympathy with the lowly circle and estate from which his grace had raised her. Part IV. SEEKING AND FINDING (v. 2-vi. 9) may be divided into three sections: 1. "The Bride's second dream." (v. 2-8); 2. "The Bride's commendation of the Beloved” (v. 9—vi. 3); 3. “The Beloved's commendation of the Bride" (vi. 4-9). The scene of this part is still Jerusalem. It with another opens monologue of the Bride relating to the chorus, a second dream concerning her Beloved. She then at their instance pours forth from a love-filled heart a stream of richest fancies in his praise, who, as she complains, has departed from her. The Chorus offering to aid her in her search of him, suddenly the Beloved reappears and gives in his turn the noblest commendations to the Bride. Part V. HOMEWARD THOUGHTS (vi. 10-viii. 4), subdivisible into four sections: 1. "The Shulamite" (vi. 10-13); 2. "The dance of Mahanaim" (vii. 1-5); 3. "The King and the Bride" (vii. 610); 4. "The Bride's invitation" (vii. II-viii. 4). This part, which begins with the refrain "Who is this," &c. and ends with the adjuration "I charge you," &c., presents in its details the greatest difficulties to the interpreter. But the general drift seems clear. The scene is still Jerusalem, or a Palace-garden in the neighbourhood; but the Bride's thoughts are now reverting to her northern home. She relates to the Chorus how in early spring she had first met the King in a walnut-garden in her own country; and they, addressing her by a name probably derived from her birthplace (vi. 13), ask her to perform for their entertainment a sacred dance seemingly well known to the Bride and her country-folk. The Bride complies, and while she is dancing in her praise, the King himself appears. and the Chorus are singing some stanzas In response to words of love and admiration from him, the Bride invites him to return with her into the country and to her mother's house, Part VI. THE RETURN HOME (viii. tions: I. "Last vows sealed" (viii. 55-14), containing three very brief sec7); 2. "The Bride's intercession" 8-12); 3. "The Epilogue" (viii. 13, (viii. 14). This last part, which commences with the refrain "Who is this," &c., forms a fitting conclusion to the poem. The scene changes from Jerusalem or its neighbourhood to the Bride's birthplace. Thither she has now returned with the King, and there amid well-remembered scenes of earliest love their final vows are sealed. The Bride commends her brothers to the good graces of the King, and ends, at his request, by charming his ear with one last song, recalling to his memory a strain of other days. (See note on viii. 14.) 6. IDEAL AND TYPICAL CHARACTER. If the historical interpretation thus given to the Song of Songs be recognized as true, it would not be difficult to shew that the history, which forms its groundwork, is throughout the poem contemplated from an ideal point of view, and that the fundamental idea expressed and illustrated is the awful all-constraining, the at once levelling and elevating power of the mightiest and most universal of human affections. Various refrains and phrases, striking as it were the key-note of the whole, give expression at regular intervals to this idea; e.g. (1) The Bride's thrice-recurring charge to the Chorus, gently warning them against thoughtlessly exciting so irrepressible a passion: "I charge you daughters of Jerusalem! That ye stir not up nor waken ii. 7, iii. 5, viii. 4. Or (2) her somewhat similar adjuration lamenting the temporary loss of her Beloved One: "I charge you daughters of Jerusalem To which may be added (3) her innocent "All unawares my loving soul had made "How fair, and what a charm hast thou, O Love, amid delightsome things!" vii.6. Compare finally (5) the grand passage already quoted in which the Bride, sealing last vows of unalterable affection with the Beloved, refers the undying principle that unites them to its origin in the heart and being of God: "Its flames are flames of fire A lightning flash from Jah." viii. 6. The ideal character of the whole poem is further evidenced by the way in which the chief points whereon the action turns are indicated: eg. (1) the Bride's entry into Jerusalem before her marriage with the King and her subsequent return with him to her mother's house are both announced by the Chorus with the same admiring exclamation "Who then is this ascending from the pastures?" iii. 6, viii. 5. While on another occasion, placed midway between these two, they are made to exclaim, with similar emphasis, on the appearance of the Bride, (2) In a somewhat similar way a chorus, probably of young men (Origen), indicates on one occasion the presence or approach of the King: "Come forth and gaze, O Zion's daughters, Upon the King, on Solomon in the crown Wherewith his mother crowned him Upon the day of his espousals And on the day of gladness for his heart." iii. 11. (Comp. vii. 5 and note.) (3) It will be found moreover that the two halves, or main divisions of the Song have throughout numerous well-balanced contrasts and correspondences: in the one the Bride ascends to Jerusalem and at the King's invitation remains with him there, in the other at her request he returns with her to Shunem; in the one, the Beloved seeks and wins the Bride, in the other she seeks and obtains her will from him; in the one he claims her self-surrender, in the other she demands his vow of fidelity. In the First Half of the Song the Chorus sing the praise of the King, in the Second they celebrate the beauty of the Bride and her triumph divisions the Bride relates to her comover him. Finally, in each of these main panions a significant dream in order more fully to express her feelings towards the Beloved (iii. 1-5, v. 2—8), and in each she sings at his request a strain of peculiar import which seems to have a special music for his ear (ii. 17, and viii. 14). These and other peculiarities, which impart to the Song of Songs its unique and enigmatical character, and have proved a crux to the soberest expositors, seem chiefly due to its idealizing treatment of an actual history felt at the time, and especially by the Writer, to be profoundly interesting and significant. And though little regarded by most of those who give the Song an historical interpretation, they may yet prove when assistance in unravelling its enigmas. viewed in their right connection a real 1 We follow Delitzsch in regarding i. 2-4 as a Song of the Chorus in praise of the King, and "Who then is this with glances like the vii. 1-5 as another Song of the same Chorus in Dawn? praise of the Bride. The concluding stanza of the latter Song (vii. 5) thus indicates her triumph, through Love's charm, over her Royal Friend: "Thy head above like Carmel shews, Thy head of hair like purple glows, A King within its locks enchained!" Further, that the history thus idealized and the form in which it is presented have meanings beyond themselves and point to something higher, has ever been a deep-seated conviction in the mind both of the Church and of the Synagogue: nor need the extravagances of allegorical exposition impel the Christian interpreter now to reject it. In saying this, we hardly claim a deeper significance for the subject-matter of the Song of Songs than might be found in every true and noble human history when contemplated, as here, from the highest and most wide-reaching points of view. The two axes, so to speak, on which the main action of the poem appears alternately to revolve, may be found in that two-fold invitation to which the reader's notice has been repeatedly called, the King's invitation to the Bride on bringing her to Jerusalem, the Bride's to the King in recalling him to Shunem'; in these two invitations and their immediate consequences-the willing obedience of the Bride and the ready condescension of the King, the first surrender on her part and the final vow on his-the writer of the Song seems to have intended to ex 673 hibit the two-fold energy, both for elevation and abasement, of that affection, to the delineation of which his work is dedicated, its easy reconcilement of the widest differences, and its ready absorption of all other claims. The omnipotent, transforming, and yet conserving power of faithful love is here seen in personalities through whom it is exlike yet diverse operation in the two hibited. In the case of the Bride we see the lowly rejoicing in unforeseen plicity, in that of the Beloved the highelevation without loss of virginal simment without compromise of kingly est is made happy through self-abasehonour: "For ah! Love's might the widest gulf can span And links our meanest Earth to highest Heaven." fancy, which for so many ages past has And shall we then regard it as a mere melodies of the Song of Songs types been wont to find in the pictures and tions of the highest Love, of Love Divine, in its relations to Humanity; which, if and echoes of the actings and emodimly discerned through their aid by the Synagogue, have been amply revealed 1 The King's invitation may be thus para- in the Gospel to the Church? Shall phrased: "With me from Lebanon, O Bride, From mountain-haunts of leopards." (iv. 8.) The Bride's to the King: "Come, my beloved, and hie we to the field, Lodge there in villages, Go early to the vineyards-see If the vine blossom and its buds disclose, There mine endearments will I give to thee! I'll lead, I'll bring thee to my mother's house The writer's attention was first directed to the vii. 11-13, viii. 2. significance of these Invitations by the Allegorical Commentaries of Theodoret (5th cent.) and Rashi (11th cent.). It has been strangely overlooked in later expositions both literal and allegorical. VOL. IV. we not still claim to trace in the noble 2 "Und ach! den grössten Abstand weiss die Die Erde mit dem Himmel auszugleichen." height of glory, singular in wisdom, abounding in riches, secure in peace, he here by Divine Inspiration sings the praises of Christ and His Church, the grace of holy love, the mysteries of the Eternal Marriage, yet all the while like Moses putting a veil before his face because at that time there were few or none that could gaze upon such glories"—or again "This Song is not heard without; it is not sounded forth in public concourse; She only hears its notes who sings it, and He for whom it is sungthe Bridegroom and the Bride". or when he asks further-"What is it but a nuptial Song expressing sweet and chaste endearments of two minds, their agreement in manners, and their consenting charity of affections one towards another?" 7. PLAN OF THE FOLLOWING COMMEN TARY. A few words remain to be said on one or two points specially kept in view in the following notes: 1. Our main object has been to elucidate what we believe to be the genuine grammatical and historical sense of the whole composition. The often widely discrepant interpretations of those who advocate the hypothesis of a Shepherd-lover opposed to Solomon have not been lost sight of, though the allotted space did not permit any attempt at refuting them in detail. That theory has been so generally adopted by modern interpreters, and expositions based upon it have been so favourably received by the chief representatives of modern criticism, that to impugn or disregard it now might seem to savour of undue presumption. We would therefore in the first place frankly recognize the great, though unequal merit of such commentaries and expositions as those of Ewald and Umbreit, Meier and Hitzig, Bunsen and Holtzmann, Renan and Réville, Ginsburg and Haughton, and thankfully acknowledge our obligations to them. But we must at the same time venture to say of the theory itself (which with various shades of interpretation these and a crowd of modern critics are agreed in maintaining), that the more we examine it in detail, the more thoroughly unsound it appears to be in its main positions. The readiest way to its refutation might perhaps be found in a careful critical discussion and comparison of the numerous and often mutually destructive forms which this one hypothesis has been made to assume in the hands of even its most able advocates. 2. Unique as unquestionably is the position of the Song of Songs in the Hebrew Canon, there are yet numerous and interesting points of contact, both in thought and diction, between this and other parts of Scripture, especially the Sapiential and Prophetical Books of the Old Testament. Particular attention has been directed to these points; and it is hoped that, of the more important of such parallels, very few have been left unnoticed. 3. Finally, some attention has been paid to ancient allegorical interpretations, and to a few others conceived in their spirit. No one can read the best ancient or medieval Jewish and Christian expositions of this Book without perceiving how largely the Song of Songs has ministered to devout thought and profitable meditation in many minds, to the sustenance of elevating hopes of "good times coming" in seasons of despondency, and in general to the maintenance of the spiritual life in the dry tree of unconverted Israel or amid the corruptions of medieval Christianity. We have therefore thought it not unsuitable to the general purpose of the present Commentary to notice under each section, and so far as our limited space would allow, some of those allegorical interpretations which for various reasons seemed most interesting. Particular regard has been given throughout to the historico-prophetic expositions of the 'Chaldee Targum,' a work, notwithstanding its many puerilities, of rare merit for its age and authorship, being probably the compo sition of a persecuted Israelite in the seventh century. But, to whatever age its composition be referred, it will never cease to be of considerable value, both for the expositor of Scripture and the intelligent student of historical theology. CHAP. I. 1. Hebrew title of the book, indicating its character and authorship. It is "the Song of songs," i.e. (according to a wellknown idiomatic periphrasis for the superlative) the best or most excellent of songs, the song par excellence, well rendered by Luther, Das Hohelied, "the High Song." which is Solomon's] Literally, "to" or "for Solomon," i.e. belonging to Solomon as its author or concerning him as its subject. For the latter interpretation, compare Ps. xlv. 1, and note. But in a title or inscription, the former is to be preferred. So in many titles of Psalms the same Hebrew particle occurs as sign of authorship. FIRST PART. THE BRIDE IN THE KING'S CHAMBERS. CHAP. I. 2-II. 7. 2-4. THE PROLOGUE.-The Song commences with two stanzas recited in praise of the King (now absent) by a chorus of virgins belonging to the royal household (henceforth companions and attendants of the Bride; comp. Ps. xlv. 14, 15, and Esth. ii. 9), to whose sentiments of admiration and love they give expression before she speaks herself. The alternate use of singular and plural ("me," 66 we," "the virgins") shews that we have here the song of a chorus, not of the Bride speaking in her own person. Each stanza ends with the refrain, "they love thee." Expositors, Jewish and Christian, interpret the whole as spoken by the Church of the Heavenly Bridegroom. 2. Let him kiss me] Christian expositors, from Origen downwards, have regarded this as a prayer of the Church under the old cove 2 Let him kiss me with the kisses of his mouth: "forthy love is better a chap. 4than wine. 3 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee. 10. t Heb. thy loves. 4 Draw me, we will run after John 6. thee: the king hath brought me into nant for closer communion with the Godhead through the Incarnation; "How long shall He send me kisses by Moses and the prophets? I desire the touch of His own lips." (Origen.) Jewish interpreters make it a prayer of Israel in reference to the first giving of the law on Sinai: "God spake to us face to face as a man kisseth his friend for the greatness of his love." ('Chaldee Targum,' 7th cent., and the still older 'Midrash Rabba.') St Gregory (Moral. in Job,' xIV. 43) unites in effect both interpretations: "Every precept of Christ received by the Church is as one of His kisses." for thy love is] Better (as margin), thy loves are, i.e. thy endearments or tokens of affection are more desired than thine entertainment or any other delights. 3. Because of the savour] Better, taken as an independent clause: For fragance are thine unguents good, making with the clause that follows two steps of a climax: "Thy perfumes are good, Thy name the best of all perfumes." "Ointments" here are unguents or fragrant oils largely used for anointing at entertainments. Comp. Pss. xxiii. 5, xlv. 7, 8; Prov. xxvii. 9; St Luke vii. 46; St John xii. 3. thy name—poured forth] As unguents are the sweeter for diffusion, so the King's name the wider it is known. Compare, for the thought, Hos. xiv. 7 (margin); Isai. xxvi. 8; and, especially, for a similar paronomasia, Eccles. vii. I, "Name" (Heb. Shem) "is a goodlier thing than good oil" (Heb. Shémen). 4. Draw me, we will run] Allegorical interpreters compare Hos. xi. 4; Jer. ii, 2; Hos, xi. 10, II. the king bath brought me] Made me a 44. |