,,the ,,song ,,of ,,songs3 ,translated from the ,original ,hebrew1 ,,with ,a ,,commentary1 ,,historical ,,and ,,critical4 ,,by ,,christian ,d4 ,,ginsburg4 3--,prov4 xxxi4 #cj4 ,,london3 ,,longman1 ,,brown1 ,,green1 ,,longmans1 ,,and ,,roberts4 #aheg4 ,,contents4 ,,page ,preface vii4 ,introduction3 ,section ,i4--,title of the ,book1 and its ,signification #a ,section ,,ii4--,canonicity of the ,book #b ,section ,,iii4--,design and ,method of the ,book #d ,section ,,iv4--,importance of the ,book #ab ,section ,v4--,historical ,sketch of the ,exegesis of the ,book #bj ,section ,,vi4--,the different ,views classified and examined #ajb ,section ,,vii4--,author1 ,date1 and ,form of the ,book #abd ,section ,,viii4--,exegetical ,helps #abf ,commentary #abg ,,preface4 ,the following is an exposition of the first of the five books called ,megiloth1 all of which1 having engaged the attention of the ,author for several years1 will now1 ,god willing1 be brought before the ,public in regular succession4 ,the ,author's aim has been to investigate and elucidate the true meaning of the original1 in accordance with the established laws of historico-grammatical exegesis1 and to show that1 in its literal sense1 the ,song of ,songs teaches a great moral lesson1 worthy of ,divine inspiration4 ,the resemblance1 however1 between the narrative here recorded and the experience of the people of ,god is striking and apposite4 ,the ,shulamite1 espoused to her shepherd1 is tempted by a mighty potentate with riches and pleasures to transfer her affections2 but1 strengthened by the power of divine love1 she resists all temptation1 remains faithful to her beloved1 and is ultimately rewarded4 ,the people of ,god1 espoused to 8the ,shepherd and ,bishop of their souls10 are tempted by the prince of this world to forsake their ,lord1 but1 strengthened by grace divine1 they resist all allurements1 and eventually receive the crown of glory4 ,the references to ,genesius' and ,ewald's ,grammars are to the last editions1 which differ in the numbering of the sections from the earlier ones2 ,frst's valuable ,lexicon1 to which frequent reference is made1 is not yet completed4 ,the author tenders his hearty thanks to his esteemed friend1 the ,rev4 ,isaac ,salkinson of ,hamburg2 to the ,rev4 ,j4 ,m4 ,charlton1 ,a4,m42 the ,rev4 ,r4 ,robinson1 of ,york-road2 the ,rev4 ,g4 ,rogers1 of ,albany-road2 and to ,nathaniel ,bridges1 ,esq41 ,a4,m41 for perusing the ,,ms4 and proofs1 and for kind suggestions4 ,thanks are also due to those gentlemen in ,london and ,oxford1 who have facilitated the author's access to ,,mss4 and other rare works in the ,british ,museum and the ,bodleian ,library4 ,may the ,divine ,spirit1 whose words the ,author has attempted to elucidate1 render the attempt profitable to the readers6 ,london3 #af1 ,barkham ,terrace1 ,st4 ,george's1 ,may1 #aheg4 ,,introduction4 ,,section ,i4--,,title ,,of ,,the ,,book1 ,,and ,,its ,,signification4 ,this book is called 1 which is literally translated by the ,septuagint1 1 by the ,vulgate1 ,canticum ,canticorum1 and by the ,english ,version1 ,song of ,songs2 and1 according to a ,hebrew mode for expressing the superlative degree by repeating the same noun in the genitive1 denotes the finest1 the most beautiful1 or the most excellent ,song4 ,compare 1 servant of servants1 i4e4 most abject servant 7,gen4 ix4 #be72 1 holy of holies1 i4e4 most holy 7,exod4 xxix4 #cg2 ,numb4 iii4 #cb2 ,deut4 x4 #ad2 ,eccl4 i4 #b2 ,hos4 x4 #ae2 ,jer4 vi4 #bh2 ,gesenius1 ,grammar1 #aai1 #b2 ,ewald1 ,lehrbuch1 #cac1 c74 ,medrash ,yalkut renders it 1 a song more celebrated and sublime than all songs2 as ,rashi1 ,ibn ,ezra ,rashbam1 ,luther1 and many others4 ,the opinion of ,kleuker1 c41 that this interpretation of the ,rabbins is more owing to their preconceived notion of the sublime contents of the book than to the real meaning of these words1 is refuted by ,rashbam himself1 who1 having explained this phrase by 8most excellent song10 refers not to the contents of the book for its corroboration1 but adduces similar constructions of the superlative from other passages of the ,bible1 viz41 1 and 7,deut4 x4 #ag74 ,other explanations1 such as a song of songs1 i4e4 a song from the songs of ,solomon 7,kimchi71 or a collection of songs 7,kleuker71 or a chain of songs1 or string of strings1 comparing with the ,chaldee 1 1 ,greek 1 chain 7,velthusen1 ,paulus1 ,good1 c471 are contrary to the ,hebrew usage of the word 1 and the construction of 4 ,more recent commentators1 and even those who regard this book as a collection of separate songs 7as1 for instance1 ,dpke1 ,magnus1 ,noyes1 c47 admit that the ,rabbinical interpretation of this title is the only admissible one4 ,the prefixed to 1 is the so-called ,lamed auctoris1 used in the inscriptions of ,psalms and other ,hebrew poems to designate the author4 ,comp4 ,ps4 iii4 #a2 iv4 #a1 c4 ,the addition of here1 which is not found in the other inscriptions1 is owing to the article in 1 which generally1 though not always1 is followed by this pronoun2 comp4 ,gen4 xxix4 #i2 xl4 #e2 xlvii4 #d2 #a ,kings iv4 #b2 ,gesen4 #aae1 #a2 ,ewald1 #bib a4 ,the rendering therefore of by respecting ,solomon1 is contrary to usage1 and is rightly rejected by modern grammarians and lexicographers4 ,this ,song is the first of the 7 7 five ,megiloth1 or books which are annually read in the ,synagogues2 viz4 ,the ,song of ,songs on the ,feast of the ,passover2 ,ruth on ,pentecost2 ,lamentations on the ,ninth of ,ab2 ,ecclesiastes on ,tabernacles2 and ,esther on ,purim4 ,the present arrangement of these five books in the ,hebrew canon is according to the order of the festivals on which they are read4 ,,section ,,ii4--,,canonicity ,,of ,,the ,,book4 ,this book possesses all the external marks which entitle other writings to a place in the list of the sacred books4 ,the evidence for its canonicity is as conclusive as that which is commonly adduced to prove the canonicity of any other portion of the ,old ,testament4 ,in the ,mishna ,yadim 7sect4 iii4 #e71 we find the following testimony respecting it from ,r4 ,akiba1 one of the most celebrated ,rabbins1 who lived at the end of the first century1 and was president of the academy of ,bani-,brac3 ,no ,israelite has ever disputed the canonicity of the ,song of ,songs4 ,no day in the whole history of the world is of so much worth as the one in which the ,song of ,songs was given to ,israel2 for all the ,scriptures are holy1 but the ,song of ,songs is most holy4 ,another ,rabbi 7,simeon b4 ,azzai71 in the same place1 says1 ,i received it from the mouth of the seventy-two elders1 at the time when ,r4 ,eliezer b4 ,azzaria was appointed ,elder1 that the ,song of ,songs and ,ecclesiastes are canonical4 #a ,we have here positive evidence that this book existed in the canon in the ,apostolic age2 and that it was comprised in the sacred books1 which our ,lord calls 1 the ,scriptures1 ,matt4 xxii4 #bi4 ,it has1 therefore1 been transmitted to us both by the ,jewish and ,christian churches as canonical4 ,it was translated into ,greek1 between the years #ij and #acj1 by ,aquila1 who was anxious to furnish his ,jewish brethren with a faithful version of the sacred books2 and also by ,symmachus and ,theodotion1 before the end of the second century4 ,it is contained in the catalogue given in the ,talmud2 #b and in the catalogue of ,melito1 ,bishop of ,sardis 7fl4 #agj1 ,a4,d471 which he brought from ,palestine1 whither this learned and pious prelate expressly travelled to obtain information respecting the number of the sacred books4 #c ,those who in modern days have questioned the canonicity of this book have done so1 not from external evidence1 but from misapprehension of its design4 ,,section ,,iii4--,,design ,,and ,,method ,,of ,,the ,,book4 ,we have no sympathy with those who affirm that the ,old ,testament ,scriptures contain all the national writings which were esteemed valuable in ,hebrew literature1 that this ,song was placed among those writings simply because it possessed much poetic beauty1 and was supposed to be the composition of a person so celebrated throughout the ,east as ,solomon1 and that it is destitute of any moral or practical instructions4 ,we believe that every book of the ,old ,testament is inspired2 and has1 on that account1 obtained a place in the ,hebrew ,canon4 ,this is the unanimous testimony1 not of the ,jewish church only1 but is corroborated by ,christ and his apostles4 ,paul1 referring to the ,old ,testament1 most distinctly affirms1 that 8all ,scripture is given by inspiration of ,god2 and is profitable for doctrine1 for reproof1 for correction1 for instruction in righteousness40 #b ,tim4 iii4 #af4 #d ,as this ,song undoubtedly formed a part of the ,scriptures to which the apostle alluded1 it must1 therefore1 be inspired1 and must serve some of those purposes of inspiration4 ,the particular design of this book has been much disputed4 ,it is here maintained1 that1 upon careful examination1 it will be found to record an example of virtue in a young woman who encountered and conquered the greatest temptations1 and was1 eventually1 rewarded2 the simple narrative of which1 divested of its poetic form1 is as follows4 ,there was a family living at ,shulem1 consisting of a widowed mother1 several sons1 and one daughter1 who maintained themselves by farming and pasturage4 ,the brothers were particularly partial to their sister1 and took her under their special care1 promising that her prudence and virtue should be greatly rewarded by them4 ,in the course of time1 while tending the flock1 and1 according to the custom of the shepherds1 resorting at noon beneath a tree for shelter against the meridian sun1 she met with a graceful shepherd youth1 to whom she afterwards became espoused4 ,one morning1 in the spring1 this youth invited her to accompany him into the field2 but the brothers1 overhearing the invitation1 and anxious for the reputation of their sister1 in order to prevent their meeting1 sent her to take care of the vineyards4 ,the damsel1 however1 consoled her beloved and herself with the assurance that1 though separated bodily1 indissoluble ties subsisted between them1 over which her brothers had no control4 ,she requested him to meet her in the evening1 and as he did not come1 she feared that some accident had befallen him on the way1 and went in search of him1 and found him4 ,the evening now was the only time in which they could enjoy each other's company1 as1 during the day1 the damsel was occupied in the vineyards4 ,on one occasion1 when entering a garden1 she accidentally came in the presence of ,king ,solomon1 who happened to be on a summer visit to that neighbourhood4 ,struck with the beauty of the damsel1 the ,king conducted her into his royal tent1 and there1 assisted by his court-ladies1 endeavoured with alluring flatteries and promises1 to gain her affections2 but without effect4 ,released from the ,king's presence1 the damsel soon sought an interview with her beloved shepherd4 ,the ,king1 however1 took her with him to his capital in great pomp1 in the hope of dazzling her with his splendour2 but neither did this prevail3 for while even there1 she told her beloved shepherd1 who had followed her into the capital1 and obtained an interview with her1 that she was anxious to quit the gaudy scene for her own home4 ,the shepherd1 on hearing this1 praised her constancy1 and such a manifestation of their mutual attachment took place1 that several of the court-ladies were greatly affected by it4 ,the ,king1 still determined1 if possible1 to win her affections1 watched for another favourable opportunity1 and with flatteries and allurements1 surpassing all that he had used before1 tried to obtain his purpose4 ,he promised to elevate her to the highest rank1 and to raise her above all his concubines and queens1 if she would comply with his wishes2 but1 faithful to her espousals1 she refused all his overtures1 on the plea that her affections were pledged to another4 ,the ,king1 convinced at last that he could not possibly prevail1 was obliged to dismiss her2 and the shepherdess1 in company with her beloved shepherd1 returned to her native place4 ,on their way home1 they visited the tree under which they had first met1 and there renewed their vows of fidelity to each other4 ,on her arrival in safety at her home1 her brothers1 according to their promise1 rewarded her greatly for her virtuous conduct4 ,the plot1 if such it may be called1 gradually develops itself1 like most poetic narratives of a similar kind4 ,various speakers are introduced in the poem1 as the ,shulamite shepherdess1 the shepherd1 the ,king1 the court-ladies1 the inhabitants of ,jerusalem1 the brothers of the ,shulamite1 and the companions of the shepherd1 all of whom are represented as speaking more or less1 but without any such distinctions as we find in ,job1 as 8,after this ,job opened his mouth and cursed his day--,then ,eliphaz the ,temanite answered and said--,then answered ,bildad the ,shuhite and said--c410 and without separate names1 or initial letters of names to indicate the speakers1 which renders it difficult to gather the history it contains2 and especially as some of the statements appear at first sight to have little or no logical sequence4 ,the ,song of ,songs differs materially in this respect from all the other books of ,scripture2 but not1 as is well known1 from the poems of profane writers4 ,notwithstanding the aforementioned difficulty1 an attentive reader of the original will find nearly as much help from the masterly structure of this ,song1 as can be obtained from the divisions and initial letters in modern dramas1 by which the different speakers are distinguished1 and the various statements are connected in a regular narrative4 ,the recurrence1 for instance1 of the same formula of adjuration three times 7ii4 #g2 iii4 #e2 viii4 #d71 and the use of another closing sentence 7v4 #a71 divide the ,song into five sections4 ,the heroine of the book1 when speaking with her beloved or with the king1 is easily distinguished by the feminine gender of the verb1 or of the adjective or the noun2 as1 i4 #e1 8,i am swarthy but comely10 where both adjectives1 swarthy 77 and comely 771 are feminine in the original1 and plainly indicate the speaker4 ,the beloved shepherd1 when he speaks1 or is spoken to1 or is spoken of1 is recognised by the pastoral language 7i4 #c1 #d1 #g2 ii4 #ab2 iii4 #d1 c472 the ,king is distinguished by express allusions to his position 7i4 #i-aa2 vi4 #d-vii4 #aj72 the court-ladies1 when speaking to the ,shulamite1 are recognised by the phrase1 8fairest of women0 7i4 #h2 v4 #i2 vi4 #a71 and when spoken to by 8daughters of ,jerusalem0 7i4 #e2 ii4 #g2 iii4 #e1 #aj2 v4 #h2 viii4 #d72 the brothers of the ,shulamite are introduced as speaking in ii4 #ae1 compared with i4 #f and viii4 #h1 #i2 the inhabitants of ,jerusalem1 in iii4 #f-aa1 and the companions of the shepherd1 in viii4 #e1 are sufficiently indicated by the context4 ,on a careful examination of the statements of the various speakers in these five sections1 it will be found that the narrative1 though not recorded in the order we have stated1 may be easily deduced from it4 ,in the ,,first section--ch4 i4 #b1 #g--the heroine of the ,song1 who1 as is evident from verse #h and vii4 #a1 is a ,shulamite shepherdess1 ardently wishes for the presence and love-tokens of her beloved1 who1 as she herself most distinctly tells us 7ver4 #g1 and ii4 #af2 vi4 #c71 is a shepherd2 she wishes him to take her away from the royal apartments into which the ,king had brought her1 for she loves him above all things 7verses #b1 #c1 #d72 these apartments 7or royal tent71 as we learn from iii4 #f-aa1 were out of ,jerusalem1 and in the neighbourhood of the ,shulamite's home1 where the ,king temporarily resided1 and where he met with the damsel 7vi4 #aa1 #ab74 ,in reply to the disdainful looks of the daughters of ,jerusalem1 in whose presence she had expressed her desire for the shepherd1 and who had contrasted their fair and delicate countenances with her own1 she insists that her swarthy complexion need not render her contemptible1 for it was not natural1 but had arisen from the duties which her brothers had unjustly required of her 7v4 #f72 she then resumes the address to her beloved1 asking him1 as if he were present1 to tell her where he tends his flock 7#g74 ,the daughters of ,jerusalem1 who1 as we see from vi4 #i1 are the court-ladies1 comprising the maidens1 concubines1 and queens1 ironically answer this question 7#h74 ,the watchful ,king1 having heard that she wished for her beloved1 immediately comes forward1 and1 with flatteries and promises1 tries to win her affections 7#i1 #aj1 #aa72 but without effect2 for as soon as the ,king retires she shows her unabated attachment to her shepherd 7#ab2 ii4 #f71 and concludes by adjuring the court-ladies not to persuade her to transfer her affections to another 7#g74 ,the ,,second section--ch4 ii4 #h2 iii4 #e--though apparently disconnected from the first1 is found1 upon investigation1 to be a proper and natural sequence4 ,the ,shulamite1 in rebutting the contempt of the court-ladies1 had reflected with some severity upon her brothers for sending her to keep the vineyards2 but this had been done merely to account for the darkness of her complexion2 and having been interrupted in her warm address to her beloved1 which she hastened to resume1 she was obliged to be satisfied with this passing allusion to that event4 ,it was natural1 therefore1 to expect that1 at the first opportunity1 she would state more circumstantially how her brothers came to be severe with her1 and why they had made her a keeper of the vineyards1 which she proceeds to do in this section4 ,she tells the court-ladies that her brothers were displeased with her because they had overheard the shepherd inviting her to accompany him into the fields to enjoy together the charms of nature 7#h-ad71 on account of which1 in their anxiety for her reputation1 they changed her employment1 told her to be a 8keeper of the vineyards10 in order to separate her from her beloved 7#ae74 ,she1 moreover1 relates that they consoled themselves with the assurance that1 though separated bodily1 indissoluble ties subsisted between them1 over which her brothers had no control 7#af72 that she invited him to come again in the evening1 when unobserved 7#ag72 and that1 seeing he did not come1 she went in search of him1 c4 7ch4 iii4 #a-d74 ,having thus evinced her deep attachment for the shepherd1 she again concludes by adjuring the court-ladies not to persuade her to transfer her affections to another 7#e74 ,this section1 therefore1 follows the preceding one1 to set forth the cause of the brother's severity in having made her a 8keeper of the vineyards10 and thus gives a further insight into her previous history4 ,the ,,third section 7ch4 iii4 #f1 v4 i47 relates the second unsuccessful effort of ,solomon to gain the ,shulamite's affections4 ,the ,king1 determined to gain his purpose1 takes the damsel1 with great pomp1 into the capital 7ch4 iii4 #f-aa71 in the hope of dazzling her with his great splendour2 but he is again disappointed4 ,in the midst of the imposing magnificence1 the damsel tells her beloved shepherd1 who has followed her thither1 and obtained an interview with her1 and expressed his delight at seeing her again 7ch4 iv4 #a-e71 that she is anxious to quit the palace for her rural home 7#f74 ,her beloved1 on hearing this1 offers his assistance to effect an escape 7#g1 #h71 and praises her constancy and charms 7#i-af72 whereupon they both manifest their mutual attachment in so affecting a manner that even some of the court-ladies are moved 7ch4 iv4 #af1 v4 #a71 with whose expression of sympathy the section concludes4 ,the bearing which this section has upon the whole plan is1 in the first place1 to develop the progress of the history itself1 inasmuch as it records the conveyance of the ,shulamite from her rural home into the royal capital2 and1 in the second place1 to relate her faithfulness in resisting another temptation1 in which the grandeur of the procession which elicited so much admiration from the inhabitants of ,jerusalem1 and the splendour of the court1 which dazzled the eyes and fed the vanity of so many of its inmates1 had far less charms for her than the presence of her shepherd in a humble home4 ,the ,,fourth section 7ch4 v4 #b-viii4 #d7 records the last and greatest trial which the ,shulamite had to encounter1 and which she also overcame4 ,it commences with a dream which she had recently had1 and which she relates 7ch4 v4 #b-h7 to the court-ladies whose sympathy with her has been shown at the close of the preceding section4 ,the narration of this dream gives the damsel an opportunity of describing the personal appearance of her beloved 7#aj-af71 and thus we are gradually led on to her chief trial and success4 ,the court-ladies1 having listened to this charming description1 inquire whither her beloved is gone1 and offer their assistance to seek him 7ch4 vi4 #a72 but she1 suspecting the motive1 gives them an evasive answer 7#b1 #c74 ,the ,king1 ever watchful for a favourable opportunity to show his attachment to her1 as soon as he hears of the inquiry after the damsel's beloved1 comes forward with most alluring flatteries and promises4 ,he begins with praising her beauty 7#d-g71 and then promises to raise her to the highest rank of all his numerous retinue of women 7#h1 #i71 who themselves are constrained to extol her beauty 7#aj74 ,but the damsel1 having explained how she came to be seen by those court-ladies1 spurns all those praises and promises1 and goes away 7#aa1 #ab72 the ,king calls her back 7ch4 vii4 #a71 and1 having again described her beauty and attractions 7#b-h71 wishes that he might enjoy the favours of so charming a person 7#i1 #aj72 but she refuses the ,king's overtures1 on the plea that her affections are engaged1 and that it is her duty to be faithful to her beloved 7#aa72 then1 addressing herself to her beloved1 she asks him to go with her from the palace to their rural home 7#ab1 ch4 viii4 #c72 and concludes with again adjuring the court-ladies not to persuade her to transfer her affections to another 7#d74 ,this section1 as we have seen1 is intimately connected with the preceding one4 ,the damsel1 having obtained the sympathies of some of the court-ladies1 according to the close of the last section1 relates to them1 at the opening of this 7ch4 v4 #b-h71 a dream which she had recently had2 which gives the damsel an opportunity of describing the appearance of her beloved1 and this description gradually introduces the last and the greatest trial which she has to encounter4 ,the ,,fifth section--ch4 viii4 #e-ad--states the result of the damsel's victory over all her temptations4 ,the ,king1 convinced that nothing could induce her to transfer her affections1 dismisses her2 and accompanied by her beloved shepherd1 she quits the court for her humble country residence4 ,on their way1 they visit the tree under which they were first espoused 7viii4 #e71 and there implore that the flame which had been kindled in their hearts might be lasting4 ,a most graphic and powerful description of the nature of true love follows1 in which all her trials are recounted 7#f1 #g74 ,the damsel then reminds her brothers of the promise they had made her1 and obtains the reward of virtue4 ,thus this ,song records the real history of a humble but virtuous woman1 who1 after having been espoused to a man of like humble circumstances1 had been tempted in a most alluring manner to abandon him1 and to transfer her affections to one of the wisest1 and richest of men1 but who successfully resisted all temptations1 remained faithful to her espousals1 and was ultimately rewarded for her virtue4 ,,section ,,iv4--,,importance ,,of ,,the ,,book4 ,few1 it is presumed1 will question the importance of a ,book1 in the sacred canon1 which records an example of virtue in a humble individual1 who had passed successfully through unparalleled temptations4 ,the avowed object of ,holy ,writ is to teach all that is good and conducive to human happiness4 ,lessons of wisdom and virtue are interspersed throughout the ,old and ,new ,testaments4 ,the ,apostle ,paul urges the ,philippians to think of whatsoever is true1 noble1 just1 pure1 lovely1 and of good report3 of everything1 in short1 that is in any way profitable or praiseworthy4 ,these lessons are not communicated to us in abstract forms1 or enforced by powerful argument merely1 but they are presented in the most attractive examples drawn from the lives of illustrious men and women1 who1 amidst the greatest trials and temptations1 have pre-eminently maintained their integrity4 ,the ,patriarch ,job is set forth as an example of patience1 and the ,prophets as patterns of suffering affliction 7,james v4 #aj1 #aa74 ,an example of virtue1 very similar to the one in the ,song before us1 is recorded in ,gen4 xxxix4 #g1 c41 where a ,hebrew slave is tempted by a woman of rank1 but resists the temptations2 and though left to suffer for a season1 is ultimately rewarded for his virtue4 ,such instances1 therefore1 are in harmony with the design of ,scripture1 and its method of teaching4 ,the individual who passes through the extraordinary temptations recorded in this ,song1 and remains faithful1 is a woman4 ,who can find a virtuous woman8 ,this was the question of the ,ancients1 was reiterated in the middle ages1 and is still asked by many4 ,here is a reply to ,solomon's own enquiry4 ,he has found one at least of spotless integrity1 and her virtue is recorded in ,scripture1 for the defence of women against a prevalent1 but unjust suspicion4 ,the second chapter of ,genesis clearly states1 that the man and the woman were created with the same intellectual and moral powers4 ,the words used by ,god respecting the creation of the woman are1 8the being of man in his solitary state is not good4 ,i will make him a help-mate corresponding to him20 that is1 one that shall be exactly like him in affections1 in sympathies1 in mind1 in fact his counterpart2 she shall be the reflection of his own person4 ,that this is the meaning of is evident from the ,septuagint1 which renders it in verse #ah1 ' 1 and verse #bj1 2 and from the ,syriac and the ,vulgate2 as well as from the ,rabbinical usage of 1 to express things exactly like one another4 #e ,the word of ,god affirms here1 that the woman was created exactly with the same capacities as the man1 and contains no intimation of subserviency to him1 or of being in the slightest degree weaker or less virtuous than he4 ,the fact that the ,tempter assailed the woman1 and not the man1 so far from showing that the woman was weaker1 would rather prove that she was stronger2 that the cunning serpent knew this1 and was persuaded1 if he could only prevail over the woman1 she1 with her superior influence1 would be sure to succeed with the man1 as the sad result showed4 ,the curse which ,god pronounced upon the guilty pair1 proves that the woman was created with the same intellectual and moral capacities as the man4 ,had the woman been weaker in these respects than the man1 she would not have been accountable in an equal degree for her sin1 and would not have been punished with the same severity4 ,no alteration has taken place in their relative position1 in this respect1 since the fall4 ,the curse upon the woman in relation to the man does not refer to any intellectual or moral1 but to a physical1 inferiority4 ,hitherto the ,protoplasts resided in ,paradise1 and subsisted upon its delightful fruit2 and the employment of the man was mere recreation4 ,henceforth they were to be driven from that happy abode2 the woman was to experience all the sorrow and pain of pregnancy and parturition1 and must look to her husband for support from his hard-earned labour4 ,the man1 consigned to rough labour in the field1 exposed to the assault of brutes1 was henceforth to have more physical strength and daring2 while the woman1 destined to manage the affairs at home1 and to rear up a family1 was to exercise the power of patient endurance4 ,the man1 with his superior strength and boldness1 was henceforth to be the protector2 the woman1 suffering and mild1 the protected4 ,he was to be the tiller of the ground1 and she1 in addition to the sorrow peculiar to her condition1 must depend on what he might provide for her2 and hence her desire was to be unto him2 that is1 she should be looking up to him for protection and maintenance1 and thus he would rule over her4 ,that this is the whole meaning of the phrase 1 ,gen4 iii4 #af1 is evident from the clause immediately preceding1 which describes the woman's constant suffering1 and precludes the possibility of securing maintenance for herself2 and also from the following verse1 where the man is destined to labour hard for bread4 ,the notion1 therefore1 that the woman is intellectually or morally weaker than man1 is not the teaching of the word of ,god4 ,while man1 through his superior out-of-door qualities1 or physical strength and courage1 is the supporter1 protector1 and ruler of the woman2 she1 through her superior in-door qualities1 her endurance and her charms1 ameliorates his government1 and sways his inmost heart4 ,their different characteristics1 arising from their different destinations1 were designed to blend together so as to produce a happy harmony1 and to make both one4 ,but how vilely and treacherously has man employed his superior strength and audacity6 ,instead of maintaining1 protecting1 and defending the woman1 he has used his strength to oppress1 to crush1 and to degrade her4 ,as the human race became more and more alienated from their ,creator1 intrinsic merit and moral character were despised1 and physical force became rampant2 the stronger1 as among animals1 oppressed and preyed upon the weaker1 and thus woman became the slave of man1 and was absolutely sold in the capacity of daughter or wife1 as cattle and other property4 ,thus ,eliezer1 the servant of ,abraham1 purchased ,rebekah as a wife for ,isaac1 his master's son1 7,gen4 xxiv4 #ec74 ,jacob1 having nothing to give as a compensation for his wives1 was obliged to serve fourteen years for them 7,gen4 xxix4 #ah-bh74 ,shechem1 wishing to obtain ,dinah for a wife1 and ascribing the unwillingness of ,jacob to part with her to the insufficiency of the compensation he had offered1 says--8,ask me never so much dowry and gift1 and ,i will give according as ye shall say unto me3 but give me the damsel to wife 7,gen4 xxxiv4 #ab740 ,compare1 also1 ,exod4 xxii4 #ae1 c42 #a ,sam4 xviii4 #be2 ,hos4 iii4 #b4 ,this custom of purchasing wives was general among the ,orientals4 8,in ,babylon1 #f the following course was pursued in every village once a-year4 ,all the maidens of a marriageable age were collected together1 and brought in a body to one place2 around them stood a crowd of men4 ,then a crier1 having made these maidens stand up one by one1 offered them for sale1 beginning with the most beautiful2 and when she had been sold for a large sum1 he put up another who was next in beauty4 ,they were sold on condition that they should be married4 ,such men among the ,babylonians as were rich and desirous of marrying used to bid against one another1 and purchase the most beautiful4 ,but such of the lower classes as were desirous of marrying1 did not regard beauty1 and were willing to take the plainer damsels with a sum of money given with them4 ,for when the crier had finished selling the most beautiful of the maidens1 he made the plainest stand up1 or one that was a cripple1 and put her up for auction1 for the person who would marry her for the least sum4 ,this money was obtained from the sale of the most beautiful2 and thus the beautiful portioned out the plain and the crippled40 ,wives were purchased among the ,assyrians and ,arabians also2 #g among the ancient ,greeks #h and ,germans #i and are still bought among the ,orientals of the present day4 #aj ,fearful consequences1 arising from such a mode of obtaining wives1 were inevitable1 and soon became apparent4 ,as the procuring of wives depended upon the offer which any one was able to make1 those that could afford it purchased as many as they pleased4 ,hence the practice of polygamy1 than which nothing produces more contempt for the proper character of women1 or tends more to their degradation4 ,as these contracts were formed without the parties being previously known to each other1 and without any affection subsisting between them1 the woman1 instead of being the help-mate or companion of man became his slave1 and was kept for the gratification of his carnal appetites1 or at best was regarded as a plaything for a leisure hour4 ,her rights were denied1 her education was neglected1 her intellect was degraded1 her moral character was questioned4 ,man1 seeking to possess as many wives as he could afford1 gave the woman no credit for virtue4 ,acting upon this suspicion and false accusation1 he placed her in the most inaccessible part of the house2 dogs or eunuchs guarded the doors of her chambers2 #aa the harem was made as impenetrable as a prison2 none but the nearest relatives were allowed to see her1 and when permitted to pass through the streets her countenance was thickly veiled1 and eunuchs watched her every step4 ,plutarch relates that when women travelled they were placed in a conveyance closely covered on all sides1 and that it was in such a covering that ,themistocles fled from ,persia1 his attendants being instructed to tell every inquirer that they were conveying a ,grecian lady from ,ionia to a nobleman at ,court4 #ab ,the sacred books of heathen nations teem with loud execrations against the natural unfaithfulness and immorality of women4 8,the lust of a woman10 says the pundits1 8is never satisfied1 no more than fire is satisfied with fuel1 or the main ocean with receiving the rivers1 or the empire of death with the dying of men and animals40 ,and again3 8,women have six qualities3 the first is an immoderate desire for jewels and fine furniture1 handsome clothes and nice victuals2 the second1 immoderate lust2 the third1 violent anger2 the fourth1 deep resentment1 no person knowing the sentiments concealed in their hearts2 the fifth1 another person's good appears evil in their eyes2 the sixth1 they commit bad actions40 #ac ,the wickedness of women is a subject upon which the stronger sex among the ,arabs1 with an affectation of superior virtue1 often dwell in common conversation4 ,that women are deficient in judgment or good sense1 is held as an undisputed fact1 as it rests on an assertion of the ,prophet2 but that they possess a superior degree of cunning1 rests upon the same authority4 ,their general depravity is affirmed to be much greater than that of men4 8,i stood10 said the ,prophet1 8at the gate of ,paradise1 and lo1 most of its inmates were the poor2 and ,i stood at the gate of hell1 and lo1 most of its inmates were women40 ,in allusion to women1 the caliph ,omar said1 8,consult them1 and do the contrary of what they advise10 which ,moore has thus paraphrased3-- 8,whene'er you're in doubt1 said a sage ,i once knew1 ',twixt two lines of conduct which course to pursue1 ,ask a woman's advice1 and whate'er she advise1 ,do the very reverse1 and you're sure to be wise40 ,when woman was created1 8the devil10 we are told1 8was delighted1 and said1 #8,thou art half of my host1 and thou art the depository of my secret1 and thou art my arrow1 with which ,i shoot and miss not4'0 #ad ,they were made so much to feel their inferiority1 that ,iphigenia is made to say1 8,one man1 forsooth1 is better than ten thousand women40 #ae ,though the ,jewish women were treated more leniently1 and enjoyed greater privileges than their sex in other nations1 yet it is evident1 from a variety of circumstances in ,old ,testament history1 that they were not wholly emancipated from a state of unnatural inferiority4 ,polygamy was practised amongst the ,jews1 and its debasing effects were obvious4 ,the harems1 the veils1 and eunuchs were not uncommon to their women4 ,weakness of moral character was imputed to them2 unfaithfulness and incontinency were dilated upon 7,num4 v4 #ab2 ,prov4 xxxi4 #aj2 ,eccl4 vii4 #bh74 ,josephus tells us #af that women1 in consequence of their natural levity1 were not admitted as legal witnesses in courts of justice4 ,maimonides teaches the same2 8,there are10 says this great luminary1 8ten sorts of disqualifications1 and every individual in whom one of them is found1 is disqualified from giving evidence2 and these are women1 slaves1 children1 idiots1 the deaf1 the blind1 the wicked1 the despised1 relations1 and those interested in their testimony2 these are the ten40 #ag ,the ,rabbins endeavour to justify this inhuman treatment of women from the law of ,moses4 8,women10 say they1 8are disqualified by the law from giving testimony3 for it is said1 #8,at the mouth of two witnesses1' where the word #8witnesses' is of the masculine1 and not feminine gender40 ,it is not to be wondered at1 therefore1 that the ,jew1 among his thanksgivings1 should say to the ,almighty every morning1 8,blessed be thou1 ,o ,lord our ,god1 ,king of the universe1 that thou hast not created me a woman40 ,now1 if one sex of the human family has been so degraded by the other2 if she whom ,god created to be a help-mate and counterpart has been reduced by man to the slave of his carnal lusts2 if such slavish and inhuman treatment has been justified on the false plea of the natural unfaithfulness and incontinency of the sex2 if exclusion from society and imprisonment have been deemed necessary for the preservation of her morals1 how greatly has woman been alienated from the original design of her creation6 how unjustly has her character been aspersed6 how inhumanly has she been treated6 and how great is the importance of a book which celebrates the virtuous example of a woman1 and thus strikes at the root of all her reproaches and her wrongs6 ,the importance of this view of the book may be further seen from the fact1 that1 in proportion to the degradation of women1 men themselves have become degraded2 for1 deprived of the meliorating influences which the delicacy and tenderness of women were designed to have over them1 and never more needed than in their fallen state1 they have abandoned themselves to their worst passions and desires1 and thus their whole civil and social condition has been proportionally undignified and unblest4 ,look1 on the other hand1 at the state of society where woman is restored to her rightful position1 there we shall find refinement of manners1 purity of conversation1 mutual confidence and affection1 domestic happiness1 intellectual enjoyment1 freedom of thought and action1 sympathetic repose1 and whatever1 in fact1 tends to mitigate the unavoidable evils of the present life2 all referable1 in a greater or less degree1 to the unrestricted influence of woman upon the child and upon the man4 ,in religion1 her influence is still more potent4 ,if first in the transgression1 she is first in the restoration2 and were man as ready to follow her in doing good as he has been in doing evil1 the world would long ago have been in a holier and happier state than it is at present4 ,who constitute the principal part of our worshipping assemblies8 ,women4 ,who form the chief portion of the members of our churches8 ,women4 ,who are the chief agents in the religious education of our children8 ,women4 ,who are the main support of our various benevolent and evangelical institutions8 ,women4 ,let it not be said1 then1 that a ,book which celebrates the ascendency of a virtuous woman in humble life over all the blandishments of wealth and royalty1 is unworthy of a place in ,holy ,writ4 ,the importance of this book is1 moreover1 enhanced by the circumstances more immediately connected with the time in which it was written4 ,the conduct of ,bath-sheba with ,david was calculated to confirm man in his opinion that woman was naturally unfaithful and incontinent1 and that it was requisite to exclude her from society1 in order to preserve her morals4 ,but the narrative here recorded forms a contrast to the conduct of ,bath-sheba4 ,it shows the power of virtue in a woman1 even of humble life4 ,as the wife of an officer of rank1 accustomed to luxury and wealth1 the temptations of ,bath-sheba were not so great1 and yet she surrendered to them4 ,whereas the ,shulamite1 a humble shepherdess1 to whom the promise of costly apparel and of elevation from a low and toilsome occupation to the highest rank1 must have been an extraordinary allurement1 triumphed over them all4 ,if one woman yielded to small incitements1 this book shows that another overcame unparalleled temptations1 and thus checked the clamour against woman which might have arisen from the conduct of ,bath-sheba with ,david4 ,,section ,v4--,,historical ,,sketch ,,of ,,the ,,exegesis ,,of ,,the ,,book4 ,no book has furnished a wider field for the speculation and visionary projects of those who substitute their own imagination and enthusiastic feelings for the teaching of ,scripture1 than the ,song of ,solomon2 the varieties and absurdities of which are a solemn warning against departing from the rules of sound philology and critical interpretation4 ,an enumeration of all the different interpretations of this ,song would be too lengthy1 and is not required4 ,it will be sufficient to glance at the leading expositions4 ,we begin with the ,jewish4 #cbc-bdf1 ,b4,c4 #ah ,it has been supposed that the ,septuagint1 which may be regarded as the oldest ,jewish exegetical tradition1 contains some intimation that the translators of the ,old ,testament into ,greek and their ,jewish brethren of those days must have interpreted the ,song of ,solomon in an allegorical manner4 ,the only passage adduced in corroboration of this opinion is1 ,ch4 iv4 #h1 where the ,septuagint renders from the top of ,amana1 by 1 from the top of faith4 ,that this appeal is nugatory is obvious from the rendering of ,tirzah by 1 delight1 vi4 #d1 and of noble daughter by 1 daughter of ,nadab1 vii4 #a2 whence it is evident that the ,septuagint frequently mistook proper names for appellatives and adjectives1 and vice vers4 ,it appears inconceivable that a profound scholar like ,keil1 who is well acquainted with the frequent errors of the ,septuagint1 should quote this as a special and sufficient proof that 8the ,alexandrian version took this ,song in an allegorical sense10 #ai especially as he knew that some have drawn from it the very opposite conclusion1 who have argued that if the authors of the ,septuagint had understood this book in any other than its obvious sense1 they would have betrayed it in the translation4 #bj #ahj1 ,b4,c4 ,jesus ,sirach1 xlvii4 #ad-ag1 is next adduced as furnishing some clue to the ,jewish interpretation of this book4 ,ecclesiasticus1 according to some1 is a name given to it ' 1 because of its being the most remarkable and useful of the ecclesiastical or apocryphal books2 others say it was so called from its resemblance to ,solomon's ,ecclesiastes1 and others1 again1 with more probability1 that this name was given to it by the ,latins1 to denote its use in the church4 ,its ,greek name1 however1 1 wisdom of ,jesus son of ,sirach1 is more appropriate4 ,it specifies at once the author1 who mentions his own name in ,ch4 l4 #bg4 ,the age given to the book here1 is that which is thought most probable4 #ba ,this apocryphal writer says in his apostrophe to ,solomon1--8,how wise wast thou in thy youth1 and1 as a flood1 filled with understanding6 ,thy mind covered the earth1 and thou filledst it with enigmatic sayings4 ,thy name went forth to the distant isles1 and thou wast beloved for thy peace4 ,countries admired thee for songs1 and proverbs1 and enigmas1 and solutions40 ,the #agth verse is supposed to include the whole writings of ,solomon contained in the ,old ,testament2 and it is affirmed that in verse #ae1 cannot be understood to mean the ,proverbs 77 since these are separately mentioned in verse #ag1 hence it follows that they refer to the allegorical interpretation of this ,song4 #bb ,even ,hengstenberg1 who1 though a defender of the allegorical interpretation1 remarks1 #bc 8,sirach xlvii4 #ag1 has wrongly been referred to in support of the allegorical interpretation4 ,for the words depend upon the historical narration in the ,books of the ,kings1 and do not refer to the writings comprised in the ,canon4 ,this is evident from the mention of the 1 whereby the solutions of the enigmas in contradistinction to the enigmas themselves1 can alone be meant4 ,comp4 #a ,kings x4 #a-c4 ,whereas in the ,canon no such are to be found4 ,verse #ae1 in which ,keil finds a special reference to the allegorical interpretation1 likewise alludes to #a ,kings x41 especially to verse #bd40 #abj1 ,b4,c4 ,the ,book of ,wisdom has also been supposed to contain a clue to the interpretation of this ,song4 ,the author and the age of the ,book are points of great contest4 ,all that can be concluded with any degree of probability is1 that the author was an ,alexandrian ,jew1 who lived after the transplanting of the ,greek philosophy into ,egypt1 and that he seems to refer to the oppression of the later ,ptolemies4 #bd ,in ch4 viii4 #b1 ,solomon is represented as speaking to ,wisdom2 8,her ,i loved and sought from my youth1 ,i sought to bring her home for my bride1 and ,i became a lover of her beauty40 ,because ,solomon is here made to speak of ,wisdom as his bride1 it has been maintained to be an explanation of the ,song of ,songs1 as though the brides were necessarily the same4 #be ,let any impartial reader peruse the description of ,wisdom in the chapter quoted1 and that of the bride in the ,song of ,songs1 and he will be convinced that there is no intentional resemblance whatever4 #cg-ie1 ,a4,d4 ,josephus is also said to have understood this ,song in an allegorical sense1 although it is not in a single instance quoted by him4 ,his arrangement of the ,books of the ,old ,testament is the only ground of this argument4 ,it is said1 as he #bf mentions twenty-two books which are justly accredited as ,divine1 7 7 and describes five as belonging to ,moses1 thirteen to the ,prophets1 and the remaining four as containing hymns to ,god1 and rules of life for men 7 7 viz41 the ,psalms1 ,job1 ,proverbs1 and ,ecclesiastes1 no place is left for this ,song except among the ,prophets2 and if ,josephus placed it there1 it follows that he must have understood it allegorically4 #bg ,but were we to admit that ,josephus placed this ,song among the prophetical writings1 we should deny the conclusion attempted to be drawn from it4 ,for according to the same mode of argumentation1 we might infer that ,josephus understood ,ruth and ,esther allegorically1 for he also places these books among the prophetical writings4 ,the fact is1 that this historian1 as he tells us himself1 reckons the historical books among the prophetical ones4 ,but we demur to the assertion that ,josephus put this ,song among the prophetical writings2 it is far more likely that he placed it among the four books which he describes as consisting of hymns to ,god and precepts for the life of men4 #bh ,we come now to the ,talmud1 in which passages from this ,song are quoted and interpreted4 ,this elaborate work1 consists of what is called the ,mishna1 constituting the text1 and the ,gemara1 which is a commentary upon it1 derived from two sources1 viz4--,jerusalem and ,babylon4 ,the ,jews1 from time immemorial1 had an unwritten law 1 in addition to the written one1 1 1 contained in the ,pentateuch4 ,hillel of ,babylon 7born #ge ,b4,c471 who1 next to ,ezra1 was celebrated by posterity as the restorer of the law1 #bi first arranged and divided this oral law into six parts3--#a1 concerning sowing2 #b1 women2 #c1 festivals2 #d1 the rights of property2 #e1 holy things2 #f1 pure and impure things4 ,this1 which comprises everything that appertains to the ,jewish law1 was called ,mishna1 1 or the second recension of the law4 ,in order to reconcile the ,sadducees1 who denied every law not founded on ,holy ,writ1 ,hillel laid down seven hermeneutic rules1 whereby the ,scriptures might be interpreted in such a manner that the oral law could be deduced from it4 #cj ,when fears were afterwards entertained lest the oral tradition should be lost1 ,rabbi ,judah ,hakkadosh 7i4e4 holy71 in the year #bbj ,a4,d41 collected everything that had been said upon the subject1 preserving the division of ,hillel1 and probably making some additions of his own4 ,this he did in a manner so masterly and satisfactory1 that it superseded every other previous attempt1 and constitutes the present ,mishna4 ,the ,mishna became the chief object of study4 ,the rules of ,hillel were increased and much acted on2 expositions were given upon the reasons that led to the decisions in the ,mishna2 the expounders were called ,amoraim1 public lecturers1 and the exposition ,gemara4 ,after the death of ,judah1 many of his learned disciples1 objecting to the appointment of his second son ,gamaliel1 to his father's office1 emigrated to ,babylon1 and having erected schools there1 pursued the study of the ,mishna4 ,the academy they established in ,sura rivalled the one in ,tiberias4 ,the ,gemara of ,tiberias1 collated about #ceh 7,a4,d47 by an unknown individual1 is called ,talmud ,jerushalmi2 and the ,gemara of ,sura1 the compilation of which was begun by ,r4 ,ashe 7#ceb-dbg71 continued by his disciple and friend1 ,rabina1 and finished about #ebe1 is called ,talmud ,babli4 ,the latter surpasses the former in comprehensiveness1 perspicuity1 and depth1 is about four times as large1 and fills #bidg folio pages4 ,both united are called ,the ,talmud book of instruction2 and also ,gemara4 ,it contains the civil and ceremonial law1 debates on various branches of art and science1 moral sayings1 anecdotes1 expositions on different passages of ,scripture1 c4 #ca #ajj-ejj1 ,a4,d4--,in ,yadaim1 7,sect4 iii4 #e47 we find that ,r4 ,akiba1 one of the greatest ,rabbins who lived in the first century1 and president of the ,academy of ,bai-,barc1 said1 8,the whole world was not worthy of the day in which this sublime ,song was given to ,israel2 for all the ,scriptures are holy1 but this sublime ,song is most holy40 ,there can1 therefore1 be no doubt that the mysteries which this distinguished ,rabbi found in the ,song of ,songs1 he regarded as greater than those he discovered in any other portion of the ,sacred ,scriptures4 ,subsequent ,rabbins quote and explain different passages4 ,thus1 ,ch4 i4 #b is discussed in ,abodah ,sarah 7,sect4 #b1 p4 #ce74 ,it is asked1 8,how are the words1 #8,thy love is better than wine' understood80 ,answer3 ,when ,rabbi ,dimi came to ,babylon1 he said1 8,this verse is thus understood3 the ,congregation of ,israel said to ,god1 #8,lord of the ,universe1 the words of thy friends 7namely1 the sages7 are more excellent than even the wine of the ,law4'0 ,here we see that the beloved is taken to be ,god1 and the loved one the ,congregation of ,israel4 ,ch4 i4 #c1 is quoted and expounded1 a little further on1 in the same tract of the ,talmud1 in the following manner4 8,r4 ,nachman ben ,r4 ,chasdah once said1 in his discourse1 the words #8,delicious is the odour of thy perfumes1' denote a learned man2 for such an one is like a box of perfumes2 if it is covered up1 no one can smell the perfumes1 but when it is opened the odour becomes widely diffused4 ,it is so with a learned man without disciples1 no one knows of his learning2 but if he gets a circle of disciples his name and his learning become widely diffused4 ,and not only this1 but he himself will increase learning by teaching1 so that things which he formerly did not understand will now become plain to him2 for it is written in the same verse ,,damsels ,,love ,,thee2 read ,,hidden ,,things will love thee1 i4e41 will become plain to thee2 and not only this1 but even the angel of death will love him2 read then ,,he ,,who ,,is ,,over ,,death will love thee2 and still more1 he will inherit both worlds1 this world and the world to come2 read also ,,worlds love thee40 ,ch4 i4 #ac1 #ad1 and v4 #ac1 are quoted and explained in ,sabbath1 p4 #hh1 b41 8,rabbi ,joshuah ben ,levi saith1 ,what is meant by is the congregation of ,israel1 who is saying before the ,holy ,one thus3 ,o ,lord1 though my beloved 7i4e4 ,god7 oppresses me1 and is embittered against me1 yet he still lodges with me4 ,by is meant1 ,he who is the owner of all things1 will forgive me the sin of the calf1 with which ,i covered myself4 ,a question is raised1 ,how does signify my covering8 ,then ,rabbi ,mar-,sutra ben ,rabbi ,nachman quotes from another part of the ,talmud 7,kelim #ce71 where means to cover4 ,r4 ,joshuah ben ,levi proceeds1 ,what is meant by is1 ,at every commandment which proceedeth from the mouth of the ,holy ,one on ,mount ,sinai1 the world was filled with aromatics4 ,a question is asked1 ,if the world was filled at the first commandment1 where was the odour diffused at the second commandment8 ,answer1 ,the ,holy ,one sent his wind from his stores1 and carried them away successively1 as it is written1 do not read but repeating in succession4 ,rabbi ,joshuah ben ,levi concludes1 ,at every commandment uttered by the mouth of the ,holy ,one1 the soul of ,israel was drawn out of them1 as it is written1 #8,my soul went out when he spake4' ,a question is again asked1 ,if their soul was drawn out at the first commandment1 how could they receive the second8 ,answer4 ,he 7i4e4 ,god7 caused the dew to come down1 by which he will raise the dead1 and revived them1 as it is written1 #8,thou1 ,o ,god1 didst send a plentiful rain1 whereby thou didst confirm thine inheritance1 when it was weary4'0 ,ps4 lxviii4 #i4 #cb ,here1 again1 we see that the bridegroom is taken to be the ,holy ,one1 the ,owner of all things1 and the bride the congregation of ,israel4 ,the reader1 looking into the text of the ,talmud quoted in the note1 will observe that most of this interpretation has been obtained1 either by the separation of words1 the transposition and change of letters1 or by substituting in the commentary words1 similar in sound to those in the ,scriptures4 ,thus1 a bundle1 a bag1 is explained by oppress2 myrrh by embitter2 a cluster by ,he whose are all things2 cypress flowers by pardon2 ,en-gedi by the sin of the calf4 ,this mode of interpretation is not confined to the ,song of ,songs1 but is applied to all parts of the ,bible1 and is an illustration of the way in which the hermeneutic rules laid down by ,rabbi ,hillel1 and augmented by ,r4 ,ishmael1 and others1 were carried out4 #eej1 ,a4,d4--,the ,targum or ,chaldee paraphrase is the first entire commentary upon the ,song of ,songs which has been handed down to us4 ,the author is unknown4 ,kitto erroneously affirms1 that it was 8made several centuries before the time of ,christ1 and probably before the traditionary interpretation of the author himself 7i4e4 the author of this ,song7 would entirely be lost40 #cc ,the inferior style in which it is written1 the copious use it makes of legends of a very late date1 and especially the mention it makes of the ,gemara 7,ch4 i4 #b71 which was not completed till nearly the middle of the sixth century1 prove most distinctly that this paraphrase was made in the sixth century4 ,hvernick1 #cd however1 is equally wrong in affirming that the ,mahomedans are mentioned in ,ch4 i4 #g4 ,that the sons of ,ishmael here alluded to are not the ,mahomedans1 is evident from ,ch4 vi4 #g4 of the same paraphrase1 where we are told that these headed by ,alexander the ,great1 came to wage war against ,jerusalem at the time of the ,maccabees4 ,the ,targum takes the ,song of ,songs as an allegory1 describing prophetically the history of the ,jewish nation1 beginning with their ,exodus from ,egypt1 and detailing their doings and sufferings1 down to the coming of the ,messiah1 and the building of the third ,temple4 ,thus1 according to this allegory1 ,ch4 i4 #c1 describes ,jehovah's fame1 which went abroad in consequence of the wonders he wrought when bringing the ,israelites out of ,egypt2 verse #ab describes the departure of ,moses to receive the two tables of stone1 and how the ,israelites1 in the mean time1 made the golden calf2 verse #ad describes the pardon of that sin1 and the erection of the ,tabernacle2 ,ch4 iii4 #f-aa1 describes the passage of the ,israelites1 under the leadership of ,joshua1 over the ,jordan1 their attacking and conquering the ,canaanites1 and the building of ,solomon's ,temple2 ,ch4 v4 #b1 describes the ,babylonian captivity2 ,ch4 vi4 #b1 the deliverance of ,israel through ,cyrus2 and the building of the second ,temple2 ,ch4 vi4 #g1 c41 describes the battles of the ,maccabees2 ,ch4 vii4 #aa1 #ab1 the present dispersion of the ,jews1 and their future anxiety to learn the time of their restoration2 ,ch4 viii4 #e1 c41 describes the resurrection of the dead1 the final ingathering of ,israel1 the building of the third ,temple1 c41 c4 8,the beloved10 according to the ,targum1 is the ,lord2 8the loved one0 is the ,congregation of ,israel2 8the companions of the beloved0 7,ch4 i4 #g7 are the ,edomites and the ,ishmaelites2 8the daughters of ,jerusalem0 are1 in ,ch4 i4 #e1 the ,gentile nations2 in ii4 #g1 iii4 #e1 viii4 #d1 the ,congregation of ,israel2 and in v4 #h1 the prophets2 8the brothers of the loved one0 are the false prophets2 8the little sister10 in viii4 #h1 is the people of ,israel2 the speakers in the same verse are the angels2 the speaker in viii4 #ac1 is the ,lord2 8the companions10 in the same verse are the ,sanhedrim4 ,the following specimen of the ,targum1 on the first chapter of this ,song1 will give the reader an idea of the way in which the paraphrase develops the allegorical construction of this book4 #a4 ,the ,song of ,songs1 c4--,the songs and praises which ,solomon the prophet1 ,king of ,israel1 sang1 by the spirit of prophecy1 before ,god1 the ,lord of the whole world4 ,ten songs were sung in this world1 but this song is the most celebrated of them all4 ,the first song ,adam sang when his sins were forgiven him1 and when the sabbath-day came1 and protected him1 he opened his mouth and said1 8,a song for the sabbath-day10 c4 7,ps4 xcii47 ,the second song ,moses and the children of ,israel sang when the ,lord of the world divided the ,red ,sea for them1 they all opened their mouths and sang as one man1 the song1 as it is written1 8,then sang ,moses and the children of ,israel40 7,exod4 xv4 #a47 ,the third song the children of ,israel sang when the well of water was given to them1 as it is written1 8,then sang ,israel40 7,numb4 xxi4 #ag47 ,the fourth song ,moses the prophet sang1 when his time came to depart from this world1 in which he reproved the people of the house of ,israel1 as it is written3 8,give ear1 ,o heavens1 and ,i will speak40 7,deut4 xxxii4 #a47 ,the fifth song ,joshua the son of ,nun sang1 when he waged war in ,gibeon1 and the sun and moon stood still for him thirty-six hours1 and when they left off singing their song1 he himself opened his mouth and sang this song1 as it is written3 8,then sang ,joshua before the ,lord40 7,josh4 x4 #ab47 ,the sixth song ,barak and ,deborah sang in the day when the ,lord delivered ,sisera and his army into the hands of the children of ,israel1 as it is written3 8,then sang ,deborah1 c40 7,judg4 v4 #aa47 ,the seventh song ,hannah sang when a son was given her by the ,lord1 as it is written3 8,and ,hannah prayed prophetically1 and said40 7#a ,sam4 ii4 #a1 and the ,targum in loco47 ,the eighth song ,david the ,king of ,israel sang for all the wonders which the ,lord did for him4 ,he opened his mouth and sang a hymn1 as it is written3 8,and ,david sang in prophecy before the ,lord40 7#b ,sam4 xxii4 #a1 and the ,targum in loco47 ,the ninth song ,solomon the ,king of ,israel sang by the ,holy ,spirit before ,god1 the ,lord of the whole world4 ,and the tenth song the children of the captivity shall sing when they shall be delivered from their captivity1 as it is written and declared by ,isaiah the prophet3 8,this song shall be unto you for joy1 as in the night in which the feast of the passover is celebrated2 and gladness of heart as when the people go to appear before the ,lord three times in the year1 with all kinds of music1 and with the sound of the timbrel1 to go up to the mountain of the ,lord1 and to worship before the ,lord1 the ,mighty ,one of ,israel40 7,is4 xxx4 #bi1 and the ,targum in loco47 #b4 ,let him kiss me1 c4--,solomon the prophet said1 8,blessed be the name of the ,lord who has given us the law through ,moses the great scribe1 written upon two tables of stone2 and the six parts of the ,mishna and the ,talmud traditionally1 and who spoke with us face to face1 as a man that kissed his friend1 because of his great love wherewith he loved us above the seventy nations40 #ce #c4 ,thy perfumes1 c4--,at the report of thy wonders and mighty deeds which thou hast done for thy people the house of ,israel1 all the nations trembled who heard of thy famous strength1 and thy great miracles2 and in all the earth was heard thy holy name1 which is more excellent than the anointing oil that was poured upon the heads of kings and priests2 therefore the righteous love to walk after thy good way1 because they shall inherit both this world and the world to come4 #d4 ,draw me1 c4--,when the people of the house of ,israel went out of ,egypt the shechinah of the ,lord of the world went before them in a pillar of cloud by day1 and in a pillar of fire by night1 and the righteous of that generation said1 ,lord of the whole world1 draw us after thee1 and we will run in thy good way6 ,bring us to the foot of ,mount ,sinai1 and give us thy law out of thy treasury in heaven1 and we will rejoice and be glad in the twenty-two letters #cf with which it is written1 and we will remember them1 and love thy divine nature1 and withdraw ourselves from the idols of the nations2 and all the righteous1 who do that which is right before thee1 shall fear thee and love thy commandments4 #e4 ,i am swarthy1 c4--,when the house of ,israel made the calf1 their faces became black1 like the sons of ,cush1 who dwelt in the tents of ,kedar2 but when they returned by repentance1 and were forgiven1 the shining splendour of their faces was increased to that of angels1 because they made the curtains for the tabernacle1 and the shechinah of the ,lord dwelt among them2 and ,moses1 their teacher1 went up to heaven and made peace between them and their ,king4 #f4 ,do not look down upon me1 c4--,the congregation of ,israel said before all the nations1 ,do not despise me because ,i am blacker than you1 for ,i have done your deeds1 and worshipped the sun and moon2 for false prophets have been the cause that the fierce anger of the ,lord has come upon me1 and they taught me to worship your idols1 and to walk in your laws2 but the ,lord of the world1 who is my ,god1 ,i did not serve1 and did not walk in his precepts1 and did not keep his commandments and laws4 #g4 ,tell me1 c4--,when the time came for ,moses the prophet to depart from this world1 he said to the ,lord1 ,it is revealed to me that this people will sin1 and be carried into captivity2 show me now how they shall be governed and dwell among the nations1 whose decrees are oppressive as the heat and the scorching sun in the summer solstice1 and wherefore is it that they shall wander among the flocks of the sons of ,esau and ,ishmael1 who make their idols equal to thee1 as though they were thy companions4 #h4 ,if thou knowest not1 c4--,the ,holy ,one1 blessed be his name1 said to ,moses1 the prophet1 8,i suffer myself to be entreated to abolish their captivity2 the congregation of ,israel1 which is like a fair damsel1 and which my soul loves1 she shall walk in the ways of the righteous1 and shall order her prayers according to the order of her governors and leaders1 and instruct her children1 who are like to the kids of the goats1 to go to the synagogue and the schools2 and by the merits of this they shall be governed in the captivity1 until the time that ,i send ,king ,messiah1 and he shall lead them quietly to their habitations2 yea1 he shall bring them to the house of the sanctuary1 which ,david and ,solomon1 the shepherds of ,israel1 shall build for them40 #i4 ,i compare thee1 c4--,when ,israel went out of ,egypt1 ,pharaoh and his hosts pursued after them with chariots and horsemen1 and their way was shut up on the four sides of them2 on the right hand and on the left were wildernesses full of fiery serpents1 and behind them was wicked ,pharaoh with his army1 and before them was the ,red ,sea1 what did the holy blessed ,god do8 ,he was manifested in the power of his might upon the ,red ,sea1 and dried the sea up1 but the mud he did not dry up4 ,the wicked and the mixed multitude1 and the strangers who were among them1 said1 ,the waters of the sea he was able to dry up1 but the mud he was not able to dry up4 ,in that very hour the fierce anger of the ,lord came upon them1 and he sought to drown them in the waters of the sea1 as ,pharaoh1 and his army1 and his chariots1 and his horsemen1 and his horses were drowned1 had it not been for ,moses the ,prophet1 who spread his hands in prayer before the ,lord1 and turned away the anger of the ,lord from them4 ,then he and the righteous of that generation opened their mouths1 and sang a song1 and passed through the ,red ,sea on dry land1 through the merits of ,abraham1 ,isaac1 and ,jacob1 the beloved of the ,lord4 #aj4 ,beautiful are thy cheeks1 c4--,when they went out into the wilderness the ,lord said to ,moses1 8,how comely is this people1 that the words of the law should be given unto them1 and they shall be as a bridle in their jaws1 that they may not depart out of the good way1 as a horse turneth not aside that has a bridle in his jaws2 and how fair is their neck to bear the yoke of my commandments2 and it shall be upon them as a yoke upon the neck of a bullock which plougheth in the field1 and feeds both itself and its owner40 #aa4 ,circlets of gold1 c4--,then was it said to ,moses1 8,go up into heaven1 and ,i will give thee the two tables of stone1 hewn out of the sapphire of the throne of my glory1 shining as the best gold1 disposed in rows1 written with my finger1 on which are engraven the ten commandments1 purer than silver that is purified seven times seven1 which is the number of the things explained in them in forty-nine various ways1 and ,i shall give them by thy hands to the people of the house of ,israel40 #ab4 ,while the ,king1 c4--,whilst ,moses1 their teacher1 was in heaven to receive the two tables of stone1 and the law and the commandments1 the wicked of that generation and the mixed multitude that was among them rose up and made a golden calf1 and caused their works to stink1 and an evil report of them went out in the world2 for before this time a fragrant odour of them was diffused in the world1 but afterwards they stank like nard1 the smell of which is very bad1 and the plague of leprosy came down upon their flesh4 #ac4 ,a bag of myrrh1 c4--,at that time the ,lord said to ,moses1 8,go down1 for the people have corrupted themselves1 desist from speaking to me1 and ,i will destroy them40 ,then ,moses returned and asked mercy of the ,lord1 and the ,lord remembered for them the binding of ,isaac1 whom his father bound1 on ,mount ,moriah1 upon the altar2 and the ,lord turned from his fierce anger1 and caused his shechinah to dwell among them as before4 #ad4 ,a bunch of cypress flowers1 c4--,so then went ,moses down with the two tables of stone in his hands2 and1 because of the sins of ,israel1 his hands grew heavy1 and the tables fell and were broken4 ,then went ,moses and ground the calf to powder1 and scattered the dust of it upon the brook1 and made the children of ,israel to drink it1 and slew all that deserved to die1 and went up a second time into heaven1 and prayed before the ,lord1 and made atonement for the children of ,israel2 then was the commandment to make a tabernacle and an ark4 ,immediately ,moses hastened and made the tabernacle1 and all its furniture1 and the ark2 and he put in the ark the two other tables1 and appointed the sons of ,aaron1 the priests1 to offer the offerings upon the altar1 and to pour the wine upon the offerings2 but from whence had they wine to pour8 ,for in the wilderness they had no proper place for sowing2 neither had they fig-trees1 nor vines1 nor pomegranates2 but they went to the vineyards of ,en-gedi1 and took clusters of grapes from thence1 and pressed wine out of them1 and poured it upon the altar1 the fourth part of a hin to one lamb4 #ae4 ,behold thou art beautiful1 c4--,when the children of ,israel performed the will of their ,king1 he himself praised them in the family of the holy angels1 and said1 8,how fair are thy works1 my daughter1 my beloved1 ,o congregation of ,israel1 in the time that thou doest my will1 and studiest in the words of my law2 and how well ordered are thy works and thy affairs1 as young doves that are fit to be offered upon the altar60 #af4 ,behold thou art comely1 c4--,the congregation of ,israel answered before the ,lord of the world1 and thus said1 8,how fair is the shechinah of thy holiness1 when thou dwellest among us1 and receivest prayers with acceptance2 and when thou dwellest in our beloved bed1 and our children are multiplied in the world1 and we increase and multiply like a tree that is planted by a stream of water1 whose leaf is fair1 and whose fruit is plenteous60 #ag4 ,the beams of1 c4--,solomon1 the prophet1 said1 8,how beautiful is the house of the sanctuary of the ,lord1 which is built by my hands1 of wood of ,gulmish2 but far more beautiful will be the house of the sanctuary which shall be built in the days of the ,king ,messiah1 the beams of which will be of the cedars of the garden of ,eden1 and whose rafters will be of cypress1 pine1 and box40 ,the precedent of the ,talmud in taking the beloved as the ,lord1 and the loved one as the ,congregation of ,israel1 and in explaining the text in such a manner as to make it square with her doings1 has quite prepared us for the ,chaldee exposition1 the author of which most probably was himself one of the later ,talmudists4 ,how could the paraphrast do otherwise8 8,are not the words of the sages more excellent than even the wine of the ,law80 #cg 8,is not he who transgresses the words of the scribes more guilty than he who transgresses the words of the ,law80 #ch ,having1 therefore1 been once settled by the sages that this ,song describes the doings and sufferings of ,israel1 it only remained for the expositors to apply their exegetical canons1 viz43 of transposing1 changing1 or omitting letters2 explaining words by others of a similar sound2 making each letter of a word begin another word2 reducing an expression to its numerical value1 and explaining the text accordingly1 c4 c41 in order to palm upon this book1 in a consecutive order1 the remarkable events in connection with the history of the ,jews4 ,thus1 the love of ,god to ,israel1 which was greater than to all the seventy other nations mentioned in ,ch4 i4 #b1 was obtained by reducing the word to its numerical value1 seventy2 the two worlds1 in verse #c1 which the pious are to inherit1 were obtained by changing maidens1 into worlds1 according to the example of the ,talmud2 #ci the twenty-two letters with which the ,law is written1 in verse #d1 were obtained by reducing the word to its numerical value2 the ,tabernacle1 in verse #e1 was obtained from the word 1 and the effected peace by changing the proper name into peace2 the worship of the sun and moon1 in verse #f1 was obtained from the word sun2 the ploughing bullock1 in verse #aj1 was obtained by changing ringlet1 and necklace1 into 2 the two tables shining as the best gold1 verse #aa1 were obtained by rendering golden ,laws1 and the seven times seven1 or the forty different interpretations of the ,law1 by reducing the word to its numerical value1 being seven1 and and seven1 and then multiplying seven by seven2 the binding of ,isaac1 in verse #ac1 was obtained by rendering by the binding of ,moriah2 the sin of the calf1 and the atonement of that1 in verse #ad1 were obtained by changing ,en-gedi1 into the sin of the calf1 and by substituting pardon1 for cypress-flower1 according to the example of the ,talmud4 #dj ,this is the development of ,hagadic exegesis1 and this the paraphrase appealed to in support of the allegorical interpretation1 and in the track of which future allegorists more or less follow4 #hib-idb4 ,from the ,chaldee paraphrase to ,r4 ,saadias ,gaon1 a period of about #cej years1 thick darkness covers the annals of ,jewish literature4 ,with him1 however1 a new epoch begins to dawn4 ,saadias was born at ,pithom1 in ,egypt1 about the year #hib1 and died in the year #idb4 ,he was 8,gaon10 or spiritual head of the ,jews in ,babylon1 and is well known by his translation of the ,bible into ,arabic1 the ,pentateuch of which is inserted in ,walton's ,polyglott4 #da ,among the many philosophical and exegetical works this eminent man bequeathed to posterity1 is a commentary on the ,song of ,songs1 which was originally written in ,arabic1 and was translated into ,hebrew by some unknown individual4 ,this work is exceedingly rare1 and ,i have happily found a copy of the original ,constantinople edition in the ,british ,museum1 of which ,dukes was not aware when he wrote his 8,literarische ,mittheilungen40 ,the view that ,saadias takes is that 8,solomon relates in it the history of the ,jews1 beginning with their ,exodus from ,egypt1 and extending it beyond the coming of the ,messiah40 ,thus far he agrees with the ,targum1 but his commentary on the text is entirely at variance with that paraphrase4 ,according to ,saadias1 ,ch4 i4 #b-;iii4 #e1 describes the bondage of ,israel in ,egypt1 their liberation1 the giving of the ,law1 the battles with ,sihon1 ,og1 and the ,king of ,aroar1 the wrath of ,god at the time of the spies1 c4 ,ch4 iii4 #f-;iv4 #g1 describes the erection of the ,tabernacle1 the various journeys in the wilderness1 the high position of ,moses and ,aaron1 c4 ,hitherto ,israel has been called by the appellation my loved one1 for they had not as yet entered ,canaan2 henceforth they are called bride 771 because ,god takes them into the promised land2 just as a bridegroom calls his loved one bride1 when he takes her home4 ,ch4 iv4 #h-v4 #a1 describes ,israel's entrance into ,canaan1 the building of the first ,temple1 the separation of ,judah and ,israel1 the ,shechinah departing from ,israel and abiding with ,judah1 and the people coming up to ,jerusalem to the three great festivals4 ,ch4 v4 #b-vi4 #c1 describes the rebellion of ,israel and ,ahaz1 ,god sending prophets to warn them to repent1 the destruction of the ,temple1 the ,babylonian captivity1 ,israel's liberation1 the building of the second ,temple1 and the covenant of ,god with his repenting people4 ,ch4 vi4 #d-;ix4 describes the twofold condition of the people that returned from ,babylon1 some of whom were godly1 while others took strange women1 forgot the holy language1 and were therefore called dawn1 being neither real light nor real darkness1 neither pious nor wicked4 ,ch4 vi4 #aj-vii4 #i1 refers to the present dispersion1 in which the ,jews1 though being many days without a king1 without a priest1 c41 say we still live in the fear of ,god1 and are ,his4 ,ch4 vii4 #ab-viii4 #d1 refers to the sufferings of the ,messiah ben ,joseph1 the manifestation of the ,messiah ben ,david1 the obedience of ,israel to ,god in those days1 and to the ,lord's rejoicing over them as a bridegroom over his bride4 ,ch4 viii4 #e1 to the end1 describes ,israel restored1 the third ,temple built1 and all the people walking according to the will of the ,lord4 ,the principal persons in this ,song are understood in the following manner3 8the beloved0 is the ,lord2 8the loved one10 the ,congregation of ,israel2 8the companions of the beloved10 7,ch4 i4 #g17 are ,moses1 ,aaron1 and ,miriam2 8the daughters of ,jerusalem10 the ,congregation of ,israel2 8the little sister10 the two tribes and a half2 8the speaker10 the ,lord2 8the inhabitant of the gardens10 is the sages2 8the companions10 in the same verse1 are the ,israelites wishing to listen to the teaching of their sages4 ,the following is a specimen of ,r4 ,saadias's commentary1 the ,hebrew of which is given in the note4 #db #a-c4 ,the ,song of ,songs1 c4--,know1 my brother1 that you will find a great diversity of opinions as regards the interpretation of this ,song of ,songs2 and it must be confessed that there is reason for it1 since the ,song of ,songs is like a lock1 the key of which hath been lost4 ,some maintain that it refers to the kingdom of ,israel2 others say that it refers to the days of the ,messiah2 and others again affirm that it refers to the time of the dispersion and the ,messiah1 and assert that by beloved 77 the ,messiah is meant1 and by bride 77 is meant the law 774 ,but this is a sin1 an error1 and a great heresy4 ,the truth is1 that by beloved 77 is meant the ,lord1 for it is written1 8,i will sing to my beloved a song of love respecting his vineyard0 7,isa4 v4 #a71 which the prophet ,isaiah explains 7verse #g71 8,the vineyard of the ,lord of ,hosts is the house of ,israel40 ,solomon relates in this book the history of the ,jews commencing with their ,exodus from ,egypt until after the coming of the ,messiah1 and compares the position of ,israel to ,god to that of a bride to a bridegroom1 because she 7,israel7 is dear to him1 and he to her4 ,when he first takes her from her father's house he calls her my friend 771 when he brings her to his house he calls her my bride 771 when she finds favour in his eyes he calls her my sister 771 and praises her from head to foot2 then he is angry with her1 and she returns and praises him from head to foot2 then he praises her a second time4 ,and1 because it is unlawful for a bridegroom and bride to come together without a marriage-contract and witnesses1 therefore ,solomon begins with the words1 8,let him give me kisses of his mouth20 that is1 the commandments and the statutes1 comprising both the written and the oral law which the ,lord gave to ,israel through the pious ,moses1 ,aaron1 and ,miriam1 so that ,israel's fame went forth into the world in consequence of their wisdom1 as it is written1 8,and thy renown went forth among the heathen for thy beauty10 c4 7,ezek4 xvi4 #ad71 so much so that many of the nations desired to be gathered under the wings of the shechinah and become ,jews2 and these are the mixed multitudes1 ,jethro and others1 and therefore it is said1 8,thy perfumes are good in odour10 that is1 the ,lord tried them from the departure out of ,egypt till their entrance into ,canaan whether they would walk in his ways1 as it is written1 8,thou didst follow me in the wilderness10 c4 ,jer4 ii4 #b4 #d4 ,draw me1 c4--,having related in this verse how ,israel walked in the fear of the ,lord1 and received the ten commandments in the #fth of ,sivan1 and then made the calf on the #agth of ,tamuz1 ,solomon in astonishment says in their name1 #e4 ,i am swarthy1 c4--,that is1 ,i am swarthy1 but comely2 ,i am swarthy because of making the calf1 but comely because of receiving the ten commandments2 and ,israel says that his sin has been forgiven through the three thousand men1 the wicked among ,israel1 who served idols1 who were killed before the sun to atone for the great sin1 as it is written1 8,for thou hadst done it in secret1 but ,i will do it before all ,israel1 and before the sun0 7#b ,sam4 xii4 #aa1 #ab72 and the nations made me keeper of the service of other gods1 for ,i served strange gods1 as it is written1 8,and they changed their glory into the likeness of a calf that eateth grass0 7,psal4 cv4 #be47 ,the reader will have observed that this early commentator does already compare the ,song of ,songs to a lock1 the key of which has been lost1 and refers to several modes in which it has been interpreted4 #ajjj-ajdj4 ,the allegorical interpretation was nevertheless introduced into the ,jewish liturgical services in the middle ages1 when they were seeking1 from traditions1 dogmas1 biblical events1 c41 to construct sacred hymns and poems to be said or sung at their feasts and fasts4 #dc ,being regarded as representing the departure of ,israel from ,egypt 7 71 and their subsequent history in confirmation of ,jehovah's covenant with them1 the ,song of ,songs is used in a poetical paraphrase on the first and second morning services of the ,passover feast1 which was designed to celebrate the ,exodus from ,egypt as the commencement of the conjugal relation between ,god and his people4 ,for the same reason1 the book itself is read in the synagogue on the ,sabbath of the middle days of the ,passover 7 74 ,the poetical paraphrase above alluded to is in an alphabetical form1 has the author's name in it1 and each stanza closes with a quotation from the book in regular order1 which renders the paraphrastic meaning artificial and obscure4 ,some idea of it may be gathered from the following version which we have made of ,r4 ,solomon ben ,judah ,hababli's paraphrase1 comprising the first five verses of the ,song of ,songs4 #a ,the ,light and ,saviour of the chosen people ,deserving protection1 ,he shall have from ,his beloved assembly 8,a song of ,songs40 #b ,the ,graceful ,one1 the object of all longing desires4 ,the ,reviving ,cordial of the fainting heart1 ,the ,bountiful ,source of abundant supply1 8,he hath kissed me with kisses40 #dd #c ,the loved one above all nations1 ,the keeper of the ,law ,thou hast given1 ,her didst ,thou perfume with ,thy spices1 8,the odour of ,thy sweet ointments40 #de #d ,the chosen of ,thy house and nobles1 ,lo6 we are surrounded with splendour1 ,we press to the house of ,thy glory1 8,oh draw us after thee40 #df #e ,oh ,thou all majestic1 yet mild1 ,thou hast crown'd me with grace above many1 ,though now with grief ,i am marred1 8,i am swarthy1 but comely40 #dg ,it must1 however1 be borne in mind that the synagogal poetry was not authorized to express the creed of the whole nation2 which is evident from the fact that many learned and pious ,jews unscrupulously1 and without censure1 rejected some of its opinions4 ,some of these poems were composed by prelectors of separate congregations1 and for the use of the particular synagogues in which they officiated4 ,the adoption or rejection of any such poem entirely depended upon the influence of the prelector on his congregation1 and upon the theme and merit of the composition4 ,the poetical paraphrase of the allegorical interpretation of the ,song of ,songs was sure to be adopted because of the consolation which it imparts to the dispersed and suffering ,israelites1 inasmuch as it assures them that ,god has not cast them off1 that ,he is still their beloved1 and they are still his loved ones1 and that he will speedily be reunited to them4 #ajdj-aaje4 ,through ,r4 ,solomon ben ,isaac1 the founder of the ,germano-,french ,rabbinical literature1 this encouraging allegorical interpretation was introduced into ,germany and ,france1 where the suffering ,jews obtained consolation4 ,this distinguished commentator1 commonly called ,rashi1 and1 through the misleading of ,buxtorf1 erroneously named ,jarchi1 was born at ,troyes1 in ,champagne1 in #ajdj1 where he also died1 about #aaje4 #dh 8,my opinion is10 says ,rashi1 8that ,solomon foresaw1 by the aid of the ,holy ,spirit1 that ,israel would be carried into sundry captivities1 and undergo sundry dissolutions2 that they would lament in their captivity over their former glory1 and recall the former love1 which ,god manifested for them above all other nations2 that they would say1 #8,i will go and return to my first husband1 for then was it better with me than now' 7,hos4 ii4 #i72 that they would acknowledge ,his kindness and their own rebellion1 and the good things which ,he promised to give them in the latter days 7i4e41 at the coming of ,messiah47 8,this book is written by inspiration1 and represents a wife forsaken by her husband1 and shut up1 longing after him1 recalling to her mind her love in youth to her beloved1 and confessing her guilt2 her beloved sympathising with her affection1 and remembering the kindness of her youth1 the charms of her beauty1 and her good works1 which had tied him to her with an everlasting love4 8,the design of this book is to show to ,israel that ,god has not afflicted her 7i4e41 ,israel7 willingly2 that though ,he did send her away1 ,he has not cast her off2 that she is still ,his wife1 and ,he her husband1 and that ,he will again be united to her40 #di ,according to ,rashi1 represents ,god as a husband1 and the 8loved one0 the congregation of ,israel1 as a wife forsaken for a time by him2 the 8companions of the beloved0 are the heathen kings and princes1 under the figure of wolves2 8the daughters of ,jerusalem10 are the heathen nations2 the 8brothers of the loved one10 are the ,egyptians2 the 8little sister0 is the forsaken wife of the ,song1 c4 c4 ,the following is a specimen of ,rashi's commentary3-- #a4 ,the ,song of ,songs1 c4--,our ,rabbins state1 that whenever ,solomon is mentioned in this ,song1 it signifies the ,holy ,one1 the ,king of ,peace4 ,this is confirmed by the fact that the name of ,solomon's father is not here given1 as in ,prov4 i4 #a and ,eccl4 i4 #a4 ,this most excellent ,song was addressed to ,god by his people1 the congregation of ,israel4 ,rabbi ,akiba says1 that the world was not worthy of the day in which the ,song of ,songs was given to ,israel2 for all the ,scriptures are holy1 but the ,song of ,songs is most holy4 ,rabbi ,eliezer ben ,azariah says1 it is like to a king who took a measure of wheat1 and gave it to the baker1 saying1 ,produce from it so much flour1 so much bran1 and so much chaff1 and make me a refined and excellent cake of the flour2 so all ,scriptures are holy1 but this ,song is most holy2 for the whole of this book teaches the fear of ,god and submission to his kingdom4 #b4 ,let him kiss me1 c4--,this ,song ,israel utters in her captivity and widowhood4 ,oh that ,king ,solomon would give me kisses of ,his mouth1 as in the time of yore6 ,some kiss the hand1 and others the shoulders2 but ,i desire that ,he should behave to me as in former days1 viz41 kiss my mouth as a bridegroom kisses his bride2 for ,thy caresses are better than all the banquets of wine1 and all joys and pleasures4 ,it is a ,hebrew idiom to call every banquet of pleasure and joy by the name of wine 7,comp4 ,esth4 vii4 #b2 ,isaiah xxiv4 #i2 v4 #ab74 ,this is the literal sense2 but1 according to the allegory1 this refers to the giving of the ,law1 and ,god's speaking with ,israel face to face4 ,these favours still continue to be more precious to them than any delights2 and as they are assured by ,god that ,he will appear again to reveal the secrets and mysteries of the ,law1 ,israel prays to ,him for the fulfilment of ,his promises4 ,this is the meaning of 8,let him kiss me60 #c4 ,thy perfumes1 c4--,a good name is called good oil4 ,the fragrance of ,thy name is so excellent that the ends of the earth have smelt it when they heard of ,thy fame and of ,thy great wonders in ,egypt4 ,thy name is called 1 i4e41 ,thou art oil1 and art constantly poured forth1 so that ,thy sweet odour might be widely diffused4 ,this is the nature of good oil4 ,as long as it is sealed in a bottle1 it does not emit any smell2 but when the bottle is opened1 and the oil poured into a vessel1 the smell is diffused4 ,the maidens love thee4 ,jethro1 hearing of the wonderful doings of ,god in ,egypt1 confessed the ,god of ,israel 7,exodus xviii472 so ,rahab1 when she heard that the ,lord had dried up the waters of the ,red ,sea1 became a proselyte 7,joshua ii4 #aa74 ,by the maidens are meant the ,gentiles2 they are so called because ,god is represented as a youth4 #d4 ,draw me1 c4--,i gathered from ,thy messengers that ,thou didst wish to draw me1 and ,i immediately replied1 ,we will run after ,thee to be ,thy wife4 ,he has brought me1 c4 ,and up to the present time ,i still rejoice1 and am glad that ,i have been united to ,thee4 ,we celebrate1 c4 ,even now1 though a living widow1 ,i celebrate ,thy love more than a banquet of pleasure and mirth4 ,they love thee1 c4 ,i and my forefathers1 in their days1 have loved ,thee with fervent and upright love1 without deception4 ,this is the literal meaning according to the context4 ,but1 according to the allegory1 ,israel reminds ,god of the kindness of their youth and the love of their espousals 7,jer4 ii4 #b71 of their following ,him in the wilderness1 a land of aridity and the shadow of death1 whither they took no provisions1 because they believed in ,him and in ,his messenger1 and did not say1 ,how shall we follow ,thee in the wilderness1 a place destitute of fertility and food8 but went after ,him1 and 8,he brought them into his apartments30 that is1 surrounded them with the protecting clouds4 ,and even now1 though in distress and affliction1 they rejoice and are glad in ,him and delight in the ,law2 and herein celebrate ,his love more than wine1 and manifest their sincere attachment to ,him4 #e4 ,i am swarthy1 c4--,you1 my companions1 let me not be lightly esteemed in your eyes1 although my ,husband forsook me because of my swarthiness2 for ,i am swarthy because of the tanning sun1 yet ,i am comely because of the symmetry of my beautiful limbs4 ,if ,i am swarthy1 like the tents of ,kedar1 which are discoloured by the rain1 in consequence of their being constantly spread out in the wilderness1 ,i shall easily be washed1 and be as beautiful as the curtains of ,solomon4 ,the allegorical meaning is1 the congregation of ,israel speaks this to the ,gentiles1--,i am swarthy in my own works1 but ,i am comely in the works of my fathers2 and some of my own works even are good4 ,and though ,i am tainted with the sin of the calf1 ,i have1 to counterbalance this1 the merit of accepting the ,law4 ,israel calls the ,gentiles 8daughters of ,jerusalem10 because ,jerusalem is to be the metropolis of all nations1 as it is predicted1 8,and ,i will give them to thee for daughters0 7,ezek4 xvi4 #fa72 and1 again1 8,ekron and her daughters0 7,josh4 xv4 #dd74 ,rashi also says1 that he had seen 8a number of other commentaries on this ,song2 some containing an exposition of the whole ,book1 and others of separate passages1 but they are compatible neither with the language of ,scripture1 nor with the connexion of the verses40 #ej #ajhe-aaee4 ,the spread of this consoling allegorical interpretation in ,france and ,germany was promoted by the commentary #ea of the distinguished ,r4 ,samuel ben ,meier1 called ,rashbam1 the grandson of ,rashi1 who was born about #ajhe1 and died about #aaee4 #eb ,rashbam too affirms that this book 8represents captive ,israel as a virgin sighing and mourning for her beloved1 who left her and went afar off1 as describing his everlasting love to her1 declaring in a ,song1 #8,such an ardent love did my beloved manifest when with me1' and telling her friends and companions in a colloquial manner1 #8,so did my beloved speak to me1 and so did ,i answer him4'0 #ec ,in the explanations of the principal persons ,rashbam generally agrees with ,rashi4 ,the following is a specimen of his commentary3-- #a4 ,the ,song of ,songs--,that is1 a song celebrated above all songs1 like the great and awful ,god1 above all gods1 and the great ,lord above all lords4 ,which is ,solomon's4 ,that is1 ,king ,solomon composed it by inspiration4 ,foreseeing the ,israelites in their captivity sighing after the ,holy ,one who went away from them1 as a bridegroom separates himself from his beloved1 ,solomon sings this song in the name of the congregation of ,israel1 who is like a bride to ,him 7,god74 describes ,solomon as the author1 compare 1 4 #b4 ,would that1 c4--,would that my ,beloved came1 and kissed me kisses of ,his mouth on my mouth in his great love as in the days of old2 for the expressions of ,his love are better1 pleasanter1 and sweeter than any delicious banquet4 ,thy caresses4 ,the loved one sometimes addresses herself to her beloved as if he were present1 and at other times she speaks of him to her companions1 as if he were absent4 ,more than wine1 i4e4 more than sweet beverages called 4 ,according to the allegorical meaning1 this refers to the law delivered to ,israel mouth to mouth4 #c4 ,thy perfumes1 c4--,because of ,thy good ointment of balsam1 the odour of which extended to the end of the earth1 and was poured out from vessel to vessel1 therefore is ,thy name called ointment4 ,comp4 ,eccl4 vii4 #a4 8,a good name is better than precious ointment40 ,by the extension of youthful love is meant the wonders which the ,holy ,one performed for the congregation of ,israel in ,egypt1 on account of which ,his name and power became known among the nations1 as it is written1 8,the priest of ,midian heard1 c40 ,exod4 xviii4 #a3 and again1 what is said by ,rahab the harlot1 8,for we have heard how the ,lord dried up the water1 c40 ,josh4 ii4 #aj4 ,and again1 8,the people shall hear and be afraid10 ,exod4 xv4 #ad4 #d4 ,draw me1 c4--,draw me to ,thee1 and ,i and my congregation will run after ,thee1 as in the days of old1 when the ,king1 my beloved1 brought me into ,his chambers2 and1 while running after ,thee1 we will rejoice and be glad in ,thee1 and celebrate ,thy love and the expressions of ,thy affection above any banquet of wine and beverages2 for all the world loves ,thee with upright love4 ,this refers to the congregation of ,israel1 who sighs and makes supplication before the ,holy ,one1 to bring her out from her captivity1 as ,he had formerly brought her out of ,egypt1 and led her into ,his chambers1 i4e41 the tabernacle1 where they served ,him continually4 #e4 ,i am swarthy1 c4--,oh1 my companions1 virgin daughters of ,ishmael1 do not disdain and deride me on account of my blackness1 saying1 ,because ,i am black1 therefore my ,beloved left me2 for1 although ,i am black as regards the appearance of my face1 like the tents of ,kedar1 yet ,i am comely and graceful in body and stature1 like the curtains of ,king ,solomon1 which are becoming and suitable to royalty4 ,thus the congregation of ,israel1 whom the nations reproach on account of her sins and transgressions which she committed1 answers3 ,true1 ,i have sinned2 and woe to me1 for ,i am wandering in captivity for it2 yet ,i am comely1 ,i am of royal blood1 and have the merits of my fathers2 and the ,holy ,one1 in the latter days1 will restore me to my former state1 and liberate me from the iron furnace of captivity4 ,the daughters of ,jerusalem are the heathen4 ,compare 8,i will give them to thee to be thy daughters40 ,ezek4 xvi4 #fa4 ,the tents of ,kedar are black1 because the sons of ,kedar sojourn in deserts and dwell in tents1 and not in houses4 #ajic-aafh4 ,while ,rashi and ,rashbam1 by means of this allegorical interpretation1 assuaged the sufferings of their brethren in ,france and ,germany1 the celebrated ,abraham ,ibn-,ezra ben ,meier1 also called ,ibn-,ezra and ,raba1 who was born in ,toledo in #ajic1 and died in #aafh1 #ed administered consolation through the same medium to his suffering brethren in ,spain1 shewing them that this ,song recounts the past wonderful dealings of ,god with his beloved people from the very call of ,abraham1 and the blessings reserved for them at the coming of the ,messiah1 who shall gather them from among all nations1 and bring them back to the land flowing with milk and honey4 ,thus ,ibn ,ezra maintains that 8,this book is allegorical1 and describes the history of ,israel2 commencing with the days of our ,father1 ,abraham1 and coming down to the days of the ,messiah2 just as the ,song of ,moses 7,deut4 xxxii47 begins with the dispersion of the human family1 and finishes with the final ingathering of ,israel1 after the battle of ,gog and ,magog4 ,do not wonder that the ,congregation of ,israel is here compared to a bride1 and the ,lord to a bridegroom2 for this is the manner of the prophets40 7,comp4 ,isa4 v4 #a1 lxii4 #e1 ,ezek4 xvi4 #g1 ,hos4 iii4 #a1 ,psa4 xlv4 #aj47 ,the allegory1 according to this distinguished ,rabbi1 is developed in the suppositious attachment contracted between a damsel who kept a vineyard1 and a shepherd4 ,the representation of the love of these parties 8is suppositious1 because such an actual manifestation1 in so public a manner as here recorded1 would be regarded as highly improper40 #ee 8,the beloved0 represents ,god2 with the exception of viii4 #ab1 where the ,messiah is meant2 8the loved one0 is the ,congregation of ,israel2 8the companions of the beloved0 are the pious ancestors2 8the daughters of ,jerusalem0 are the thoughts of the loved one2 8the little sister10 in viii4 #h1 is the two tribes and a half2 8the speaker10 in viii4 #ac1 the shechinah2 8the companions10 in the same verse1 are the angels4 ,the commentary consists of three different glosses3 in the first1 the words are explained2 in the second1 the suppositious history of the attachment of the shepherd and shepherdess is developed2 and in the third gloss1 the allegory is evolved from that history4 ,the following is a specimen of the gloss where the allegory is propounded4 #b4 ,let him kiss me4--,he 7i4e4 ,solomon7 begins with ,abraham1 for he is the root of the ,jewish nation4 ,by 8the kisses of his mouth0 are meant the law and the commandments1 as it is written1 8,abraham obeyed my voice and kept my charge1 my commandments1 my statutes1 and my laws40 7,gen4 xxvi4 #e47 ,do not wonder that the future 77 is used instead of the past2 this is the idiom of the sacred ,scriptures1 compare 1 then he sang 7,exod4 xv4 #a1 and ,psa4 cvi4 #ai72 just as we find the contrary1 the past used for the future 7,psa4 lxxix4 #a74--;,for thy love1 c4 i4e41 to be loved by thee2 as the ,scriptures testify of ,god's love to his people4 ,compare 8the seed of ,abraham whom ,i love0 7,isa4 xli4 #h72 for there is a difference between 1 loving1 and 1 loved4 #c4 ,thy perfumes1 c4--,abraham proclaimed the works of ,god1 and instructed his generation2 and wherever he went he called on the name of the ,lord2 this is the meaning of 8thy name is poured forth like oil40 ,therefore do the damsels love thee4-- are such as have no husbands1 and denote the heathen who had no ,god1 and were brought by ,abraham into union with ,god2 as it is written1 8,the souls which they had begotten in ,haran0 7,gen4 xii4 #e74 #d4 ,draw me4--,abraham was drawn after ,god1 and therefore left his native place 7,gen4 xii4 #a74 ,the king has brought me1 c4--,god has brought ,abraham into the land of ,canaan2 or it may mean1 ,god has made him wise in his secrets1 and the words1 we will praise thy love1 denote the altars and groves which ,abraham erected and planted wherever he came4 #e4 ,i am swarthy4--,this refers to the ,egyptian bondage4 ,although ,i 7i4e4 ,israel7 am swarthy because of some evil deeds committed there2 yet ,i am comely because of my adhesion to the covenant and to the belief in the unity of ,god4 ,it has generally been overlooked that ,ibn ,ezra distinctly states in the second gloss1 in which he professes to give the literal meaning of the narrative1 that the lovers are a shepherd and a shepherdess1 and that the king is a separate and distinct person from the beloved shepherd4 ,thus he explains ,ch4 i4 #d1 8,i rejoice in ,,thee 7the shepherd7 more than if ,,the ,,king had brought me into his apartments40 ,again1 verse #ab1 the shepherdess says to the shepherd1 8,though my fragrance is so sweet that ,,the ,,king1 whilst reclining1 desires to smell my nard1 yet ,,my ,,beloved 7the shepherd71 who is a bundle of myrrh1 diffuses a still sweeter fragrance40 ,compare also ,ch4 iii4 #f-aa1 ,ch4 vi4 #h1 ,ch4 viii4 #aa1 #ab4 ,this is an important step to the right understanding of the ,book4 ,ibn ,ezra also mentions that 8,the philosophers explain this book to refer to the mysterious harmony of the universe1 and to the union of the divine soul with the earthly body2 and that others1 again1 explain it literally40 #ef ,in reference to the last mentioned mode of interpretation1 he exclaimed1 8,far be it6 far be it6 to think that the ,song of ,songs is an amatory composition40 #eg #abjj-abej4 ,the frequent mention made by the preceding commentators of the different views entertained respecting this ,song1 will have prepared the reader for the philosophical interpretation which has been adopted and defended by a large and influential portion of the ,jewish community4 ,joseph ,ibn ,caspe1 a learned author1 who lived in the beginning of the thirteenth century1 and who wrote expositions on several portions of the ,scriptures1 maintains that 8this book represents the union between the ,,active ,,intellect 7intellectus agens7 and the ,,receptive ,,material ,,intellect 7intellectus materialis710 typified by the beloved and loved one4 ,as ,caspe's commentary is short and exceedingly rare1 we give a translation of it1 and subjoin the original in the footnote3-- ,,the ,,commentary ,,of ,,ibn ,,caspe4 #eh ,joseph ,caspe saith3 ,having commented on ,ecclesiastes and ,proverbs1 which ,solomon of blessed memory has in wisdom composed1 it behoves us also to write a few words on the ,song of ,songs1 which is likewise the composition of ,solomon of blessed memory4 ,i need not1 however1 explain the words1 since they have been explained long before me4 ,i shall1 therefore1 confine my remarks to the design of the book in general1 and now and then make some observations in particular4 ,the general design of this book1 however1 is not my discovery2 the luminary 7,maimonides7 that shone upon the earth has enlightened our eyes also upon this subject when treating upon it1 especially in part iii4 c4 #ea 7of the ,more ,nebochim72 and his hint there is sufficient for us and for such as ourselves4 ,i therefore submit that this book undoubtedly belongs to the second kind of parables which the teacher of blessed memory 7,maimonides7 mentions in the beginning of his book1 in which all the words used in the comparison must not be applied to the thing compared1 just as in the case there quoted1 which treats on the subject of a beloved and loved one1 like the book before us1 with the only difference that the instance there adduced refers to the union of matter and mind1 and this book represents the union between the active intellect and the receptive1 material intellect1 which latter is divided into four parts1 the highest of which is the imparted intellect4 ,with all the particulars of this book1 ,solomon merely designed to hint at the subject in general4 ,it is most certain that he calls here the highest order of the human intellect 8the fairest of women10 and the active intellect 8the graceful lover20 frequently the whole intellectual mind is meant by the latter phrase1 for this is the meaning demanded in several places of this ,book4 ,it is well known that the active intellect 7intellectus agens7 stirs up or brings the receptive intellect 7intellectus materialis7 from a possibility into activity1 as it is known to the philosophers2 and that the receptive intellect requires to seek after this2 as it is written1 8,if thou wilt seek it1 it shall be found of thee40 ,having explained the general design1 we need not dwell upon the particulars2 the design is indicated in a few passages only1 whilst the whole is treated in accordance with the train of a poetical composition and logical science2 and this ,solomon declares in the beginning of the book by saying 8,the ,song of ,songs40 ,it is1 moreover1 known that ,solomon composed three books which we possess2 and as the prophets of blessed memory spoke in three different kinds of ways2 the one1 in a plain manner1 containing nothing beyond the obvious and literal sense1 which is called all silver2 the second entirely symbolical1 having no literal meaning whatever1 but consisting of mere allegories or parables1 which is called all gold2 and the third comprising both the figurative and the literal1 which is called apples of gold 7under plates of silver72 so ,solomon wrote the three books--,ecclesiastes1 which belongs to the first kind2 the ,song of ,songs to the second2 and ,proverbs to the third4 ,remember these distinctions1 and observe how we are in danger at every step to mistake in the ,law1 ,hagiography1 and ,prophets1 one for the other1 and thus change life into death4 ,and this leads us to commit one of two errors2 we either put into the words a thing which is false1 or1 to say the least1 make the author say what he did not intend2 in such a case1 our words can no more be called a commentary1 but form a separate composition or a book for themselves4 ,i only call that a commentary which thoroughly comes up to the design of the author of the book4 ,the appearance1 however1 of each book of the ,bible will indicate to a judicious1 clear-headed1 and intellectual man1 whether it belongs to the one or the other of the above-mentioned classes4 ,we cannot here give rules whereby to test this2 it is sufficient to say that truth is her own witness4 ,there is another important remark to be made1 viz41 that allusions are made in this book to the writings of ,moses1 as1 indeed1 ,solomon has made in his other books4 ,this all the prophets have done1 in order to explain expressions and synonyms which occur in the ,law of ,moses1 especially when referring to that part of the ,law which treats on the ,creation and the ,chariot1 the chief objects of the ,law4 ,we must study deeply to understand the wonderful works of the prophets1 and after them1 the rabbins of blessed memory1 in their respective books2 for when they intended to be profound1 they did not mention the same terms employed in the ,law1 but changed them for other expressions which are somewhat synonymous with those in the former1 e4g41 1 1 wine1 vine1 vineyard1 c4 ,from this arose the great hyperbole in the writings of the ,rabbins of blessed memory1 for wisdom was not hid from them4 ,but this is not necessary here4 ,the above remarks will suffice for this book according to our design4 ,praise be to ,god1 and blessed be his name6 ,amen4 ,moses ,ibn ,tibbon1 a celebrated writer of the same age1 wrote an elaborate commentary in which he maintains the same view that 8the ,song of ,songs represents the union of the ,,receptive or ,,material ,,intellect with the ,,active ,,intellect40 ,this commentary has not been printed4 ,a defective ,,ms4 containing the ,preface1 which is very copious1 is to be found in the ,british ,museum1 ,harleian ,collection1 ,no4 #egig2 and a complete ,,ms4 is in the possession of the ,bodleian ,library at ,oxford4 #abgb-acej4 ,the most powerful and ingenious defender of this view is ,immanuel ben ,solomon4 ,this most charming ,hebrew writer1 who is poetically called 1 the ,prince of ,science in ,rome1 was born in ,rome1 in #abgb1 where he was the spiritual head of the ,jewish community1 and where he died1 in the first half of the fourteenth century4 ,as ,immanuel gives an analysis of this mode of interpretation in his exposition on the first verse1 and as this commentary has not been published1 we give a translation of this verse1 which will enable the reader to see how this mode of interpretation is applied to the whole book4 ,the ,,ms4 used for this purpose is in the possession of the ,british ,museum1 ,harl4 ,col41 ,no4 #egig4 #ei ,the ,song of ,songs4--,immanuel ben ,r4 ,solomon of blessed memory1 saith1 ,acknowledging the goodness of the ,lord1 ,i agree with the opinion of our ,rabbins1 that this book is the most sublime of all the ,books given by inspiration4 ,expositors1 however1 differ in its interpretation1 and their opinions are divided1 according to the diversity of their knowledge4 ,there are some--but these are such as go no further than the material world1 and that which their eye sees1 looking forward to the good of this world and its glory1 to the great reward of their labours and a recompense from ,god1 desiring to be restored to their greatness1 and to the land flowing with milk and honey1 and to have their stomachs filled with the flesh of the ,leviathan1 and the best of wines preserved in its grapes--such men interpret this sublime song as having reference to the history of the ,patriarchs1 their going down to ,egypt1 their ,exodus from thence with a mighty hand and outstretched arm1 the giving of the ,law1 the entry into the land of ,canaan1 the settlement of ,israel in it1 their captivity1 restoration1 the building of the second ,temple1 the present dispersion1 and their final ingathering which is to take place4 ,such interpreters regard this book1 which is holy of holies1 as some common book1 or historical record of any of the kings1 which is of very little use1 and the reading of which is only a loss of time4 ,but there are other sages and divines1 who have attained to know the value of true wisdom2 they are separated from the material world1 despise the mere temporal things1 heartily desire to know the courts of the ,lord1 and have a footing in the ,jerusalem which is above1 and with heart and flesh sing to the living ,god2 these have put off the garments of folly1 and clothed themselves in the robes of wisdom1 and while searching after the mysteries of this precious book through the openings of the figures of silver1 glanced at golden apples of the allegory concealed in it4 ,they1 in the vessel of their understanding1 traversed its sea1 and brought to light from the depth1 the reality of the book4 ,thus they have declared that the book was composed to explain the possibility of a reunion with the incorporeal mind1 which forms the perceptive faculty1 and influences it with abundant goodness4 ,the shepherds1 accordingly1 represent the corporeal intellect which longs after the influence of the active intellect1 and desires to be like it1 as much as possible1 to cleave to it1 and to come up to its standing1 which is the ultimate end of its purpose4 ,these learned divines above mentioned have expounded the design of the book in general1 and explained some of its verses indirectly2 but they did not explain it in regular order from beginning to end1 till the celebrated sage1 ,r4 ,moses ,ibn ,tibbon1 came and explained the book according to wisdom1 and his exposition is1 indeed1 full of wisdom and excellency4 ,as he1 however1 passed by several particulars1 not noticing their design1 our wise contemporaries1 reading the writing of that learned author1 and wishing to enter more fully into all its parts1 insisted1 with a command of love1 that ,i should write a complete commentary on the book1 keeping the same path the learned author has pointed out1 bringing out all its particulars1 and making discoveries not mentioned in the said book1 also paying attention to its literal meaning1 as far as ,god may enable me4 ,seeing their entreaties1 and regarding it a duty to yield to their wishes1 ,i gathered strength1 and made the commentary on the book1 according to my feeble abilities4 ,i kept the plan of the said author1 mentioned some of his words1 and altered others1 sometimes adding to1 and at other times diminishing from what he said1 as ,i was led by the heavenly ,father4 ,thus ,i begin4 ,it appears necessary first to mention the design of the book in general1 and its division into sections4 ,i submit that all truly wise men who commented upon this book philosophically1 saw clearly that it is divisible into three principal sections4 ,the first section extends from chap4 i4 #b1 to ii4 #ag4 ,the second section extends from chap4 iii4 #a1 to v4 #a4 ,and the third from chap4 v4 #b1 to the end of the book4 ,these three sections1 moreover1 refer to three different kinds of men4 ,the first section--,chap4 i4 #b1-;ii4 #ag1--represents man1 who either ideally or actually1 was in the garden of ,eden before he sinned1 and brought into activity his choice for good and evil2 as it is written1 8,and the ,lord ,god planted a garden eastward in ,eden2 and there he put the man whom he had formed4 ,and out of the ground made the ,lord ,god to grow every tree that is pleasant to the sight and good for food2 the tree of life also in the midst of the garden1 and the tree of knowledge of good and evil0 7,gen4 ii4 #h1 #i74 ,the ,lord permitted1 or commanded him to eat of all the fruit of the garden2 but ,he pointed out to him one tree of which he was not to eat1 lest he should die2 as it is said1 8,but of the tree of the knowledge of good and evil1 thou shalt not eat of it3 for in the day that thou eatest thereof thou shalt surely die0 7,gen4 ii4 #ag74 ,and if1 as man1 he had the choice to eat of the tree of life1 he might have eaten and lived for ever1 without mortification or trouble2 as it is written1 8,behold1 ,i have set before thee life and good1 and death and evil3 choose1 therefore1 of the life1 that thou mayest live0 7,deut4 xxx4 #ae74 ,this represents one who endeavours to learn wisdom in its order1 but is afraid lest he should be terrified when looking up to ,god1 seeing that his fruit is not yet ripe4 ,this is the meaning of what is said in the section1 8,turn1 my beloved1 and be thou like a gazelle or a young hind upon the mountains of separation0 7,song of ,songs ii4 #ag72 and again1 8,catch us the foxes1 the little foxes1 that destroy the vineyards2 for our vineyards are in blossom0 7ibid4 #ae74 ,this teaches that the fruit was not yet ripe4 ,there is no mention in this first section that the shepherdess did eat of the fruit4 ,her saying1 8,i desired to sit down under its shade1 and its fruit is sweet to my taste0 7,song of ,songs ii4 #c71 merely declares her desire1 which is evident from the word 4 ,the expression is here used in the sense of words1 wisdom1 and instruction4 ,the whole1 therefore1 of the first section refers to the mind of man when still young1 prior to its developing the end for which its existence was designed1 and when the powers of the body have still the dominion over it1 for he has not pursued his studies farther than mathematics and physics4 ,this first section is again subdivided into two parts4 ,the first part begins chap4 i4 #b1 and ends ii4 #g1 and represents one who fears ,god and shuns evil2 but his knowledge of ,god is derived from tradition1 and has no wisdom of his own4 ,and the second part 7chap4 ii4 #h to iii4 #a7 represents one who has studied mathematics and physics4 ,the second section 7chap4 iii4 #a1 v4 #a7 represents one who has found the virtuous woman whose desire is to her husband1 and who seeks her beloved while upon her couch1 and in whom her husband may safely trust2 that is1 a mind which has brought out its possibility into reality1 and has1 as it were1 stretched out its hand and taken of the tree of life1 and eaten1 and lives for ever4 ,this is meant by the declaration in this section1 8,scarcely had ,i passed them1 when ,i found him whom my soul loveth4 ,i seized him1 and would not let him go1 till ,i brought him into the house of my mother1 into the apartment of her that gave me birth0 7,song of ,songs iii4 #d74 ,the nuptials1 too1 are mentioned1 and the day of the gladness of his heart 7iii4 #aa71 which is the true spiritual nuptial day and union4 ,it is also stated that he had a couch1 as it is said1 8,behold the couch of ,solomon0 7iii4 #g71 as well as a palanquin1 and was fit for royalty4 ,he is1 moreover1 called here ,king ,solomon1 whereas1 in the remainder1 he is merely called ,solomon1 or ,shulamite1 in the feminine1 to denote the effeminate state4 ,the beloved also declares that he had found his loved one a closed garden1 and that her branches are an orchard of pomegranates with delicious fruit3 7iv4 #ab1 #ac71 that is1 though most of them are generally sour1 here1 however1 they are sweet1 pleasant1 and ripe3 he affirms that she is altogether beautiful1 and there is no blemish in her 7ver4 #g71 and calls her bride six times1 which he has not done before2 for she is his true wife1 dear to him above all4 ,she therefore asks her beloved to 8come to his garden1 and eat of his pleasant fruit0 7iv4 #af71 which befits him4 ,this is the import of the words1 8,thy shoots are an orchard of pomegranates with most delicious fruit0 7iv4 #ac73 whereby1 however1 it must not be understood that she will give to her husband1 and make him eat of the fruit1 which properly belongs to the woman1 who listened to the words of the serpent1 and was beguiled by him4 ,the beloved declares that he did come to his garden1 and ate and drank1 and also caused his friends to eat and drink1 and that they indulged together in a sumptuous feast2 for 8when the righteous have the rule1 the city rejoiceth0 7,prov4 xi4 #aj74 ,this is the meaning of the words1 8,i have come into my garden1 my sister1 my spouse3 ,i have gathered my myrrh with my spice2 ,i have eaten my honeycomb with my honey2 ,i have drunk my wine with my milk3 eat1 ,o ye friends1 drink1 yea1 drink abundantly1 ,o beloved60 7v4 #a47 ,he1 as it were1 sent forth and took of the tree of life1 and did eat and lived for ever1 without any trouble or hinderance2 for he passed through all the three 7degrees7 in proper order1 he went in and out in peace3 that is1 he passed through all the degrees1 and finished their proper course1 without doing any mischief or committing any error2 and his carnal powers1 which are the watchmen who walk in the city1 and especially his intellectual powers1 which are those that watch the walls1 are all profitable1 and point out to the mind the right way1 and never mislead1 nor hinder1 nor delay its course4 ,she then asks of the watchmen1 8,have you seen him whom my soul loveth80 7iii4 #c17 for they 7i4e41 the watchmen1 who represent the bodily and intellectual powers7 are upright1 and their knowledge is perfect1 and1 as it were1 they see and guide2 yet they did not answer her1 for it is not in their nature to teach4 ,but no sooner had she passed them1 and was at a distance from them1 than she found her beloved1 and was united to him1 as it is said1 8,scarcely had ,i passed them1 when ,i found him whom my soul loveth4 ,i seized him1 and would not let him go till ,i brought him into the house of my mother1 and into the apartment of her that gave me birth0 7iii4 #d72 whereupon they made themselves a couch and a palanquin1 rejoicing1 and feasting1 and banqueting1 as we have already explained4 ,this second section is also subdivided into two parts2 the first is from iii4 #a to verse #f1 and the second from iii4 #f to v4 #b2 the second part is epexegetical of the first4 ,the third section 7v4 #b1 viii4 #ad inclusive7 represents a man who has a sinful wife that has been beguiled by the carnal appetites1 and has listened to them1 and eaten of the tree of knowledge of good and evil1 and given also to her husband with her and he has eaten4 ,mark here the expression with her 771 for man cannot eat of it unless with her2 for since ,god has not revealed it to man1 and will not2 and man1 indeed1 has no access to it1 except through the woman2 for she finds it and takes it up2 and she is the one who pursues after pleasure1 and is drawn after sensual lust4 ,but she does not seek for her husband when retiring to bed1 nor does she wait for him2 but1 undressing herself1 and washing her feet1 and perfuming her fingers with myrrh1 which is temporal instead of eternal ointment1 falls asleep1 and is even too lazy to open when her beloved knocks at the door1 saying1 8,open to me1 my sister1 my spouse1 c40 ,her husband1 however1 influences her1 and she repents1 as she was not in a deep sleep1 her heart being awake1 and she opens for her husband in spite of her great laziness2 but her beloved withdrew1 and went away4 ,she then sought him1 and found him not2 she called him1 but he answered her not4 ,the guards of the wall and the patrol of the city found her1 and smote her1 and wounded her1 and stripped her of her cloak2 that is1 they misdirected her1 had hindered her from getting to her beloved2 for sin once tasted is hard to forsake4 ,as it is not mentioned in the case of ,adam1 after being driven from the garden of ,eden1 that he ever touched with his hand1 and took of the tree of life1 and was cured1 though it was open for him to do so2 for it is written1 8,and now1 lest he put forth his hand1 and take also of the tree of life1 and eat1 and live for ever0 7,gen4 iii4 #bb72 by which is meant1 would that he should do so1 for the ,lord loves righteousness1 and he is not a ,god desiring condemnation2 as it is written1 8,as ,i live1 saith the ,lord ,god1 ,i have no pleasure in the death of the wicked2 but that the wicked turn from his way and live40 7,ezek4 xxxiii4 #aa47 ,yet it is not stated in the ,scriptures that after the fall he ever ate of the tree of life4 ,this is1 perhaps1 a hint that it is almost impossible for one who once has eaten of the tree of knowledge of good and evil1 that he should afterwards eat of the tree of life4 8,for the difficulty of uniting a couple a second time is as great as dividing the ,red ,sea10 which was supernatural1 although it is indeed not impossible4 ,thus ,solomon left the thing unexplained2 and though he mentioned how they longed for each other after their separation1 and how they praised one another in the manner of lovers1 yet they are not any more found united1 or to have a nuptial couch1 a palanquin1 feast and joy1 as a husband and wife2 nay1 at the conclusion we even find the beloved reproving her1 saying1 8,neighbours hear thy voice10 it being improper for a woman to let her voice be heard by young men1 for there is dishonour in a woman's voice4 ,he therefore asks her to let her voice be heard by him only1 and not by others4 ,but she boldly replied1 8,haste1 my beloved1 and be like the gazelle or the young fawn upon the mountains of aromatics20 as if the neighbours were her husbands1 and her husband a paramour who must conceal himself1 and run away1 lest they meet him4 ,this section also is subdivided into two parts3 the first is from v4 #b to viii4 #e1 and the second from viii4 #e1 to the end of the book2 the second part being epexegetical of the first4 ,the above is the division of the ,book in accordance with the learned1 who wrote expositions on it4 ,this union of the active with the passive intellect is represented by the sincere and ardent attachment formed between a humble shepherd and shepherdess1 the literal history of which ,immanuel beautifully explains before he attempts to palm upon it his philosophical theory4 ,it is of importance to notice1 that this distinguished poet also takes the hero and heroine of the plot to be a shepherd and a shepherdess1 and regards ,solomon as a separate person1 whom the rustic maiden adduces in illustration of her deep and sincere love to her shepherd1 affirming1 that if this great king were to bring her into his court1 and offer her all its grandeur and luxuries1 she would still rejoice in her humble lover4 ,the commentary contains valuable philological remarks1 and excellent explanations of some of the poetical similes4 ,pity it has never been published4 #abhh-acgj4 ,levi ben ,gershon1 also called ,leon de ,banolas and ,ralbag1 a learned and influential expositor1 who was born in #abhh1 and died about #acgj #fj1 defends the same philosophical theory4 ,his commentary1 which is very lengthy1 is published in the ,amsterdam ,rabbinical ,bible #agbd4 ,it will be remembered1 that allusion has been made by preceding commentators1 to some who rejected the allegorical interpretation1 and took this book in its literal sense4 ,a manuscript commentary1 in the possession of the ,bodleian ,library1 ,oxford1 ,oppenheim ,collection1 ,no4 #fbe1 interprets this ,song as celebrating the virtuous love contracted between a humble shepherd and shepherdess2 and likewise regards ,solomon as a distinct person1 whom the shepherdess adduces in illustration of her deep and sincere attachment to her beloved1 affirming1 that if this great king were to offer her all the splendour and luxury of his court to transfer her affections1 she would spurn all1 and remain faithful to her humble shepherd4 ,this commentary has no title-page1 which renders it impossible to ascertain the name of its author or its exact age4 ,from the ,french expressions1 however1 occurring in it1 and from its style and appearance1 it is evident that this commentary was written by a ,french ,jew in at least the twelfth or thirteenth century4 ,the handwriting is peculiarly bad1 and very much effaced2 but the valuable remarks it contains1 both on the verbal difficulties and poetical figures of this book1 would amply repay any ,hebrew scholar for publishing it1 and would be a boon to ,biblical and ,hebrew literature4 #acej4 ,so numerous and diverse were the interpretations of this ,song in the middle of the fourteenth century1 that ,r4 ,isaac ,sehula1 having been solicited by his friends to comment upon it1 consulted the existing expositions1 but finding himself so confused by their conflicting theories1 as some explained it literally1 others referred it to the union of the body with the soul1 others again expounded it according to the ,medrash1 and others again affirmed1 that it represents the union of the active with the passive intellect1 he felt it necessary to reject them all1 and advanced a new theory1 viz41 that this book represents the love of the people of ,israel to their ,god4 #fa #acfj-agcj4 ,for a space of about four hundred years1 the battle-field was simultaneously occupied by all the parties who strenuously defended those different views4 ,thus1 the commentary ,shear ,jashub1 which was printed together with that of ,saadias and ,caspe1 and ,meier ,arma1 who was born in ,saragossa about the year #adge1 and whose commentary is published in the ,amsterdam ,rabbinical ,bible1 #agbd1 maintain the philosophical interpretation of this ,song4 ,whilst ,isaac ,arma1 the father of ,meier ,arma1 ,obadiah ,sforno1 a physician1 divine1 and commentator1 who died in #aeej1 #fb and whose commentary is published in the ,amsterdam ,rabb4 ,bible1 ,moses ,cordovero1 born in #aebb1 and died #aegj1 #fc whose commentary has not been published1 ,abraham ,levi1 whose commentary has been printed1 together with that of ,ibn ,shoeb1 ,sabionnetta in ,italy1 #eeh1 #fd ,elisha ,galicho1 who flourished in the second half of the sixteenth century1 #fe and whose commentary was published #aehg1 ,venice1 and his contemporary1 ,moses ,alshech1 #ff whose commentary was published in #aeia1 ,venice1 are the combatants for the other views4 ,while this severe struggle was carried on between the conflicting parties for the maintenance of their respective views1 another champion entered the battle-field1 occupying and defending another position4 ,it was no less a personage than the celebrated ,don ,isaac ,abravanel1 who affirmed that the ,bride of the ,song represents ,wisdom1 with whom ,solomon converses4 #fg ,his son1 ,leon ,hebrus1 defended the same view4 #fh #agbi-aghf4 ,with ,moses ,mendelssohn1 a new era commenced in ,biblical exegesis1 and in ,hebrew literature generally4 ,this distinguished philosopher translated the ,song of ,songs1 which was first published in ,berlin1 #aghh1 with an introduction and commentary by his colleagues ,lwe and ,wolfssohn4 ,though they did not deem their age prepared for the rejection of the allegorical interpretation1 these commentators distinctly stated1 that as so many of the ,rabbins have written upon this book1 and defended such various and conflicting views1 they questioned whether any were right1 and affirmed that the literal explanation is paramount1 and therefore confined themselves in the commentary to the literal and philological sense1 referring those who are fond of labyrinths to the writings of ,rashi1 ,rabe1 ,arma1 c4 ,seeing that this book describes the love of a shepherd and a shepherdess1 and also speaks of a king1 of humble rural life1 as well as of courtly splendour1 and unable to account for it1 ,lwe and ,wolfssohn divided it into separate songs1 some celebrating the love between a shepherd and shepherdess1 others describing the same between the king and his princes1 and others again not speaking of that passion at all4 #agih-ahba4 ,lwisohn1 born in #agih1 and died in #ahba1 was the first who recognised and elucidated the true design of this book4 ,this sweet singer of modern ,israel shows that the ,song of ,songs celebrates the victory of true and virtuous love in humble life over the temptations of royalty2 that this book records the virtuous attachment of a shepherdess to a shepherd2 that the rustic maiden having been tempted by the wisest and most celebrated king to transfer her affections1 spurned every allurement1 and remained faithful to her humble lover4 #fi #ahcb4 ,it is surprising that the profound and learned ,zunz1 #gj did not follow up the remarks of ,lwisohn2 but regarded this ,song as an epithalamium4 #ga #ahdh4 ,this view1 however1 has not gained ground among the ,jews2 and ,dr4 ,salomon ,herxheimer1 chief ,rabbi of ,anhalt-,bernburg1 in his translation of the ,old ,testament with annotations1 follows the opinion of ,lwisohn4 #gb ,his opinion is that 8the ,song of ,songs celebrates ardent and virtuous love which resists all allurements4 ,the ,shulamite1 a rustic maiden warmly attached to a young shepherd1 is taken against her will to the court of ,king ,solomon4 ,the king offers everything to win her affections1 but she does not suffer herself to be dazzled either by the royal court1 or by the sweet flatteries of the king himself1 and remains faithful to her absent lover40 #ahed4 ,dr4 ,philippson1 ,rabbi of ,magdeburg1 propounded the same view4 #gc ,the design of the book is to show that true and virtuous love is invincible1 and is not to be bought1 but is a flame of ,god 7,ch4 viii4 #f1 #g71 exemplified in the conduct of a humble shepherdess1 who being attached to a shepherd1 was tempted by ,king ,solomon to transfer her affection1 but who overcame all allurements1 and remained faithful to her lover4 ,the two last-mentioned ,rabbins1 by virtue of their high position and great learning1 may be regarded as representing the view now generally entertained by the ,jews respecting the ,song of ,songs4 #gd #ahe-bed4 ,we come now to the ,christian ,expositors of this book1 whom we shall introduce in the same chronological order1 and of whose views a concise explanation will be given4 ,the first of these is ,origen1 who has been justly celebrated for his genius and extensive acquirements4 ,he was born in ,alexandria in #ahe1 and died in ,tyros in #bed4 ,his commentaries upon ,scripture are very extensive1 and though containing much that is valuable1 abound with fanciful allegories and inexplicable mysteries4 ,his attachment to the ,platonic philosophy drew him aside from the simplicity of inspired truth1 and his instruction in ,hebrew by ,r4 ,hillel1 #ge imbued him with ,hagadic interpretations of the sacred text4 ,his commentary upon the ,song of ,songs was very voluminous1 of which fragments only remain1 but these are of a very elaborate kind1 and sufficient to reveal his whole design4 ,he admits an historical sense as an epithalamium on the marriage of ,solomon with ,pharaoh's daughter1 #gf but in him we meet with a full exhibition of the allegorical allusion to the marriage union of ,christ and his ,church1 which has been adopted by the majority of expositors to the present day4 ,he says1 8,blessed is he who enters the holy place1 but more blessed is he who enters the holy of holies2 blessed is he who keeps the ,sabbath1 but more blessed is he who keeps the ,sabbath of ,sabbaths2 so blessed is he who sings holy songs1 but more blessed is he who sings the ,song of ,songs40 ,he finds in it four distinct parties2 a bridegroom and bride with their separate companions4 ,by 8the bridegroom10 we are to understand ,christ1 by 8the bride10 the ,church1 by 8the companions0 of the former1 angels and saints in heaven1 and by 8the maidens0 of the latter1 believers on the earth4 ,the following is a specimen of ,origen's method of interpretation3-- #b1 #c4 ,let him kiss me1 c4 ,this is the suppliant voice of the bride1 of which the meaning is1 8,how long will my bridegroom send kisses by ,moses and kisses by the ,prophets8 ,i want to touch his lips4 ,let him come10 she says to the father of the bridegroom1 8and give me kisses of his mouth40 ,the father hears and sends his son2 she seeing him near says1 8,how good are thy breasts above wine1 and the odour of thy perfumery above all sweet spices40 ,the bridegroom ,christ1 sent by the ,father1 comes anointed to the ,spouse1 who says to him1 8,thou lovest righteousness and hatest wickedness3 therefore ,god1 thy ,god1 hath anointed thee with the oil of gladness above thy fellows40 ,if the odour of that ointment be upon us1 we shall become a sweet savour of ,christ4 ,sin has putrid effluvia1 virtue breathes forth sweet perfume4 ,the one is an emanation of the flesh1 the other of the ,spirit4 ,thy name1 c4 ,this is prophetic4 ,only so far as the name of ,god comes into the world is this ointment poured forth4 ,in the ,gospel1 a woman having an alabaster box of very precious ointment poured it upon the head of ,christ4 ,one who was a sinner poured it upon his feet1 and one who was not a sinner poured it upon his head4 ,these are not narratives merely1 but mysteries4 ,it is not wonderful that the house was filled with the odour of the ointment1 since the world will be4 ,it is written in the same place concerning ,simon the leper4 ,i think the leprous ,simon to be the prince of this world1 whose house at the coming of ,christ was filled with sweet odour4 ,therefore do the virgins love thee1 because1 through the ,holy ,spirit1 the love of ,god is shed abroad in our hearts4 ,the maidens at first are not present1 but1 upon hearing a chorus from them in praise of the bridegroom1 she says1 ,the virgins love thee4 ,by their coming up it is said1 #8,after thee and the odour of thine ointments we will run4' #d4 ,draw me1 c4 ,in a race all run1 but one receiveth the prize4 ,this prize is ,christ4 ,the bride1 pure and fair1 having entered into the royal apartments1 returns to the maidens1 and tells them what she has seen4 ,the king hath brought me into his chambers4 ,he praises the bride4 ,he says1 ,justice hath loved thee4 ,then the bride says to the maidens1 #e4 ,black ,i am1 c4 ,do not look upon me because ,i am blackened1 for the sun hath looked upon me4 ,how black and without whiteness1 is she beautiful8 ,black with sin1 and comely because converted4 ,because not yet purged from all sin she is called black1 but her dark colour will not remain4 ,she is made white as she ascends to greater things1 according to ch4 viii4 #e4 8,who is this that cometh up from the wilderness1 leaning upon her beloved80 ,tents of ,kedar1 say the ,hebrews1 are dark3 skins of ,solomon1 such as ornamented the temple1 were comely4 #bif-cgc4 ,athanasius1 ,archbishop of ,alexandria1 was born in that city in #bif1 and died in #cgc4 ,he was the principal defender of the ,nicene faith1 in opposition to ,arius4 ,his zealous advocacy of the ,deity of ,christ led him to seek1 and to find that doctrine everywhere4 ,he looked upon the ,song of ,songs as a ,jubilee song of the ,church1 at the incarnation of the ,son of ,god1 and thus differs from ,origen1 who refers it to the experience of the believing soul4 ,the whole book1 he says1 is an allegory1 and is to be understood enigmatically from the beginning to the end4 ,its doctrines are secrets1 and those only who are well versed in allegory ought to study it1 as it is sure to be corrupted in the hands of others4 ,it is called the ,song of ,songs1 because it is the chief and last song1 and the coming of ,christ in the flesh1 which other songs regard as future1 this celebrates as present4 ,it is an ,epithalamium in celebration of the marriage of ,him who is the loved of ,god and human flesh4 ,here are no threatenings and sorrows as in other books1 but as the ,bridegroom is present1 all is turned into joy4 ,the book is full of dialogues between the ,son of ,god and the human race2 sometimes between men in general and ,christ1 sometimes between ,him and his ancient people2 sometimes between ,him and the ,gentile ,church1 sometimes between the ,gentiles and ,jerusalem2 and sometimes between ministering angels and men4 ,the following is a specimen of ,athanasius' ,commentary3-- #b4 ,let him kiss me1 c4 ,this is the entreaty of his ancient people to the ,word1 that he would descend and take flesh2 and also 7ch4 vii4 #ac71 8,the mandrakes give a smell1 and at our gates are all manner of pleasant fruits1 new and old1 which ,i have laid up for thee1 ,o my beloved10 and 7ch4 viii4 #a71 8,oh1 that thou wert as my brother that sucked the breasts of my mother10 which refers to ,christ being of the same nature as man1 a brother1 and yet in reality having a mother only4 ,in ch4 v4 #a1 ,christ speaks of his having become incarnate1 8,i am come into my garden1 my sister1 my spouse2 ,i have gathered my myrrh with my spices40 ,the world is his garden1 because it is his creation2 and his body breathes forth fragrance1 because it is joined to the ,divine word4 ,the ,word having put on flesh1 he calls his ancient people to ,him1 and says 7ch4 ii4 #aj-ac71 8,rise up1 my love1 my fair one1 and come1 for lo1 the winter is past1 c40 ,his first disciples would recognise in his teaching what they had long been listening for1 8the voice of the turtle in their land40 ,in this fanciful manner our author descants upon the whole book4 #cca-cif4 ,notwithstanding the authority and influence of the foregoing fathers1 the allegorical interpretation was rejected by many at a very early age4 ,and ,gregory1 bishop of ,nyssa1 in ,cappadocia1 born about #cca1 and died about #cif1 who wrote an extensive commentary upon this book1 had strenuously to contend for the allegorical or spiritual interpretation1 and severely condemned those who adhered to the literal meaning4 ,the soul1 he considers1 as a spouse who enters into spiritual union with ,god4 ,the most perfect and blessed way of salvation is here shown to those who wish to come to the knowledge of the truth4 ,the following is a specimen of ,gregory's ,commentary3-- #b4 ,let him kiss me1 c41 is the language of the soul to ,god1 which has become worthy to speak to ,god face to face4 ,thy breasts are better than wine1 that is1 divine breasts are better than human wine4 ,all human wisdom cannot equal the milk of the divine word4 #c4 ,thy name1 c4 ,this signifies that all the virtues are nothing to the graces received from above4 ,thus he finds some spiritual meaning in every part1 for the confirmation of which some other part of ,scripture is adduced4 #cca-dbj4 ,jerome1 however1 7born at ,stridon in ,dalmatia in #cca1 and died in the vicinity of ,bethlehem in #dbj17 who was exceedingly fond of the ,greek philosophers1 and1 like ,origen1 was instructed in ,hebrew literature by the ,jews1 #gg as might have been expected1 was not affected by the objections against the allegorical interpretation1 but introduced it into the ,western ,churches4 ,according to him1 it is a nuptial and dramatic song on the occasion of the union of ,christ with his ,church or the soul of man4 ,the bride and her companions1 and the bridegroom and his companions are the interlocutors in the drama4 ,he seems to have embraced almost entirely the theory and interpretation of ,origen4 #ced-dcj4 ,augustin1 who was born at ,tagesta in ,numidia1 in #ced1 and died in #dcj1 materially aided ,jerome in the spread of the allegorical interpretation in the ,west4 ,he regards the ,song of ,songs as describing 8the holy loves of ,christ and his ,church40 ,of ch4 i4 #g1 8,tell me1 ,o thou whom my soul loveth1 where thou feedest thy flock1 where10 c41 he says it is one testimony in behalf of the church in ,africa1 which lies in the meridian of the world4 ,the church asks ,christ to tell her where the one true church is1 where it feeds and reclines4 ,the bridegroom answers1 ,in the meridian1 ,i feed in the meridian1 ,i recline in the meridian4 ,the church is in other parts1 but in ,africa is its meridian4 ,this is the language of believers out of ,africa1 who also say1 8,for why should ,i be as one roaming among the flocks of thy companions80 that is1 why remain concealed and unknown8 ,other churches are not thy flock1 but the flocks of thy companions4 ,upon the adjuration1 8,i adjure you10 c4 vii4 #g1 he observes1 ,the church in these words addresses her own daughters4 ,she is a field of ,god1 fruitful in graces1 to which by loving ,christ the martyrs come1 whom he wishes to lay down their lives as lovingly as he laid down his life for them4 ,ch4 ii4 #ae4 8,take us the foxes10 c41 that is1 withstand1 confute1 subdue1 heretics that injure the ecclesiastical vines4 ,bind them by ,scripture testimony1 as ,samson bound the foxes together1 and put fire to their tails1 by warning them of the condemnation they have deserved4 ,in ch4 iv4 #af1 8,awake1 ,o north1 and come1 thou south wind10 c41 he says1 the north wind is from the cold icy regions of the devil and his angels1 and the south wind is the spirit of grace blowing at noon from warm and shining regions1 that cause the spices to flow out1 as the apostle says1 8,we are unto ,god a sweet savour of ,christ in them that are saved1 and in them that perish40 #cfj-dbi4 ,theodore1 bishop of ,mopsuestia1 who wrote a commentary on this book1 also rejected the allegorical meaning1 and adhered to its literal and obvious sense4 ,pity that his commentary is lost1 and that the only account of it is from his enemies4 #chf-deg4 ,so general was the dissatisfaction with the allegorical interpretation of the ,song of ,songs1 and so different were the theories respecting it at the time of ,theodoret or ,theodorit1 bishop of ,cyrus in ,syria1 who was born at ,antioch about #chf1 and died #deg1 that he was obliged to mention and refute them4 ,there are some1 says this prelate1 who do not admit that the ,song of ,songs has a spiritual sense1 and make of it such a texture of fables1 which is unbecoming even to the insane4 ,some maintain that ,solomon is here celebrating himself and the daughter of ,pharaoh2 others take the ,shulamite1 not as ,pharaoh's daughter1 but as ,abishag2 and others1 again1 considering the thing with a little more reverence1 call this book a ,royal address1 and take 8the bride10 to be the people of ,israel1 and 8the bridegroom0 the king4 ,i have1 therefore1 found it necessary1 before proceeding with the interpretation1 first1 to refute this false and pernicious interpretation1 and then to fix the obvious design of this book4 #a4 ,these people1 he submits1 ought to remember that those holy fathers were much wiser1 and had more spiritual minds than they had1 that this book was incorporated in the sacred writings1 and that the ,church revered it for its spiritual meaning1 c4 #b4 ,through ,manasseh and the destruction of ,jerusalem1 the writings of the ,old ,testament were lost1 but the ,holy ,spirit restored them to ,ezra by inspiration4 ,now the ,holy ,spirit could not have inspired any other than a divine book4 #c4 ,because the holy fathers saw this1 they have either written devotional commentaries on the entire book1 or filled their writings with its thoughts1 as for instance1 ,eusebius and others1 who were near the apostolic age4 ,now1 are we not to believe these holy fathers8 not believe the ,holy ,ghost8 not obey the voice of ,god rather than our own opinions8 ,we must so deal with the sacred ,scriptures as not to regard letters merely1 but draw out the hidden spirit from obscurity4 8,the bridegroom0 is ,christ1 8the bride0 his church2 8the daughters of ,jerusalem0 are pious1 but still unfinished souls 7young in a ,christian sense71 which have not as yet attained the perfection of the bride1 but imitate her example2 8the companions of the bridegroom0 are either the angels or the prophets4 ,the following is a specimen of his commentary3-- #a4 ,the ,song of ,songs1 c4 ,this book is called ,the ,song of ,songs1 because all other songs in the writings of ,moses1 the ,prophets1 and ,psalms are made for this song1 which is not amatory1 but a song about the marriage of the ,divine ,bridegroom with the ,church4 #b4 ,let him kiss me1 c4 ,this is the language of the spouse offering a petition to the ,father of the ,bridegroom2 for she has known both the promises made to ,abraham and the prophecies of ,jacob2 as well as the prophecies of ,moses1 respecting her beloved1 and the description of his beauty and power as given in the ,psalms2 8,thou art more beautiful than the sons of men10 c42 she has learned that her beloved1 who is adorned with beauty and grace1 is both ,god and the eternal ,son2 8,for thy throne1 ,oh ,god1 is for ever and ever10 c4 ,having recognised the beauty1 strength1 riches1 dominion1 and power of the bridegroom which he displays above all things1 world without end1 she draws nigh to him to embrace him and to kiss him in ,spirit4 ,let none whose spirit is low1 and who only tastes that which is earthly1 be misled by the expression 8kisses40 ,let him remember that we ourselves embrace and kiss the limbs of the beloved at the mysterious time 7the ,lord's ,supper71 and that which we see with our eyes1 store up in our hearts1 and1 as it were1 feel ourselves in conjugal embraces2 so that it is with us as if we were with him1 embracing and kissing him1 after1 as the ,scriptures say1 8love has driven away fear40 ,therefore it is that the ,bride wishes to be kissed by the ,bridegroom himself4 #cij-ddd4 ,cyril of ,alexandria1 who was born towards the close of the fourth century1 and died in #ddd1 went so far as to explain 8the palanquin10 to mean the cross2 its 8silver legs10 the thirty pieces of silver which brought ,christ to the cross2 the 8purple cushion10 the purple garment in which the ,saviour was mocked2 8the nuptial crown10 the crown of thorns put on ,christ's head1 c4 c4 #fej4 ,the influence of the ,chaldee mode of interpretation seems now to become more apparent in the ,christian ,church4 ,aponius1 who is quoted by the venerable ,bede1 and must therefore have lived in the seventh century1 regards the ,song of ,songs as describing what the ,logos has done for the ,church from the beginning of the world1 and what he will do to the end of it2 thus1 like the ,chaldee1 he takes the book as a historico-prophetical description of the dealings of ,god with his people1 only that the ,chaldee takes the ,jews as the object of the description1 but ,aponius substitutes the ,gentile ,church4 #fgc-gce4 ,bede1 called the venerable1 who was born at ,wearmouth1 in ,durham1 in #fgc1 and died in #gce1 wrote seven books on the ,song of ,songs1 one being merely a copy from ,gregory the ,great1 in which he defends the doctrine of grace against the ,pelagians4 #ajia-aaec4 ,to the scholastics of the middle ages the ,song of ,songs seemed an unfathomable abyss of mysticism1 into whose depths they could dive as deeply as their speculative minds and fertile imaginations prompted them4 ,st4 ,bernard1 who was born at ,fountains1 in the vicinity of ,dijon1 in ,burgundy1 and died in #aaec1 delivered eighty-six sermons upon this book1 and this prodigious number comprises the first two chapters only4 ,in the first sermon he says1 8,the unction and experience can alone teach the understanding of such a ,song4 ,it is not to be heard outside1 for its notes give no sound in the street2 but she who sings it1 she hears it and he to whom it is sung1 that is the bridegroom and the bride40 ,he divides the ,song into three parts2 in the first part the bridegroom leads the bride into the garden1 and in the second he conducts her into the cellar1 and in the third he takes her home into his apartments4 ,upon the words ,let him kiss me1 c4 7,chap4 i4 #b71 which he explains as referring to the incarnation of ,christ1 he remarks1 8,o happy kiss1 marvellous because of amazing condescension2 not that mouth is pressed upon mouth1 but ,god is united with man40 #gh ,gilbert ,porretanus1 the disciple of ,st4 ,bernard1 continued these sermons1 but only lived to deliver forty-eight1 which extend to ,chap4 v4 #aj2 so that the one hundred and thirty-four sermons only comprise four chapters and a half4 #abgj-acdj4 ,in the ,commentary of the celebrated ,nicolas ,de ,lyra1 a converted ,jew1 and a native of ,lire1 in ,normandy1 we meet more fully the ,chaldee mode of interpretation as adopted by ,aponius4 ,like the ,chaldee1 ,de ,lyra takes the ,song of ,songs to be a historico-prophetical book1 with this difference1 however1 that he regards ,chap4 ii4-vii4 as describing the history of the ,israelites from their ,exodus from ,egypt to the birth of ,christ1 and from ,chapter vii4 to the end1 the origin of the ,christian ,church1 her progress1 and the peace which she attained in the days of ,constantine4 ,upon the words1 8,we have a little sister10 he remarks1 8,this is the ,church humble and abject among the worldly enemies1 for so she was till the time of ,constantine40 #gi #aech4 ,the great reformer1 ,luther1 could not reconcile his mind to believe that the ,song of ,songs describes the conjugal union of ,christ1 the bridegroom1 with the bride1 i4e4 the ,church as a whole1 or with the soul of every individual believer4 ,he therefore rejected the allegorical interpretation of the ,fathers1 and advanced a new theory1 viz41 8that the bride is the happy and peaceful ,state under the dominion of ,solomon1 and that the ,song is a hymn of praise1 in which ,solomon thanks ,god for the obedience rendered unto him as a divine gift3 for1 where the ,lord does not direct and rule there is neither obedience nor happy dominion1 but where there is obedience or a happy dominion there the ,lord lives and kisses and embraces his bride with his word1 and that is the kisses of his mouth40 #hj #aedb4 ,john ,brentius1 the ,suabian reformer1 adopted the same theory4 ,he calls the ,song of ,songs1 8,carmen encomiasticum1 quod de laude regni et politiae suae ,solomon conscripsit40 #ha #aedd4 ,castellio1 seeing that ,luther had rejected the allegorical interpretation of the ,fathers1 and propounded a theory of his own equally untenable1 maintained that the book has no allegorical meaning whatever1 but is merely a 8colloquium ,salomonis cum amica quadam ,sulamitha10 and as such deemed it unworthy of a place in the sacred canon4 #hb #aehe4 ,thomas ,wilcocks adhered to the opinion that this book celebrates the marriage between ,christ and his ,church1 and especially 8the great love of the bridegroom to his spouse1 which is never removed1 but always abideth constant1 how oft soever she fall away1 and seem1 as a man would say1 to forsake her husband40 #hc ,this commentary1 which is rare1 contains many useful remarks4 #afjj4 ,thomas ,brightman1 however1 adopted the view of ,aponius and ,de ,lyra1 that this book describes historico-prophetically1 the condition of the ,church1 and 8agrees well-nigh in all things with the ,revelation of ,st4 ,john40 ,solomon1 in this ,song1 and ,john1 in the ,apocalypse1 8foresaw the same events in like times1 and either of them directed his course to the same mark40 #hd ,he divides the book into two parts2 the first1 chap4 i4-iv4 #f1 describes the condition of the ,legal ,church from the time of ,david to the death of ,christ2 and the second1 chap4 iv4 #g-viii4 #ad1 the state of the ,evangelical ,church1 from ,a4,d4 #cd to the second coming of ,christ4 ,we give the following analysis of this curious commentary4 ,a4 ,the ,legal ,church4 ,chap4 i4-ii4 #b1 describes the condition of the ,church before the captivity2 #a1 #b1 under ,david2 #c1 under ,solomon2 #d-h1 under ,rehoboam2 #i-aa1 under ,abijah and ,asa2 #ab1 under ,jehoshaphat2 #ac1 under ,jehoram1 ,ahaziah1 ,joash1 ,amaziah1 ,uzziah1 ,jotham1 and ,ahaz2 #ad1 under ,hezekiah2 #ae1 #af1 under ,manasseh and ,josiah2 chap4 ii4 #a1 #b1 under the other ,kings to the last ,zedekiah4 ,chap4 ii4 #c-ad1 describes the condition of the ,church during the captivity2 #c1 the comforts of the few left in their own country2 #d-g1 the preservation of the whole in the captivity2 #h1 #i1 the foretold deliverance2 #aj-ac1 its approach2 #ad1 and the deliverance from it4 ,chap4 ii4 #ae-;iv4 #f1 describes the condition of the ,church from the deliverance to the death of ,christ2 #ae1 #af1 the troublesome time from the restoration of the ,church by ,cyrus to ,alexander the ,great2 #ag1 the partial rest under ,alexander2 chap4 iii4 #a-c1 the desolation in the ,church caused by ,antiochus ,epiphanes1 and its effects in driving away the beloved2 #d1 #e1 the finding of the beloved2 #f-aa1 the condition of the ,church during ,christ's sojourn upon this earth2 chap4 iv4 #a-f1 ,christ's description of her then beautiful aspect4 ,b4 ,the ,evangelical ,church4 ,chap4 iv4 #g-aa1 describes the obedience and perfection of the ,church from ,a4,d4 #cd to #ccd2 #g1 ,christ's return to his disciples after his resurrection1 and remaining with them forty days2 #h1 the preaching of the ,gospel by ,peter and ,philip to the ,grecians1 ,samaritans1 and in ,gaza2 #i1 the effects upon ,antioch from the preaching of ,paul and ,barnabas2 #aj1 #aa1 the marvellous constancy of the martyrs who died under ,nero1 ,domitian1 ,trajan1 c42 the spread of the ,gospel through the faithfulness of these sufferers2 the beautiful orations of ,dionysius the ,areopagite1 ,quadratus1 ,aristides the ,athenian1 ,dionysius of ,corinth1 ,melito1 ,apollinarius1 ,polycarp1 c41 and through the setting forth of the sweetness of the garments by ,justin1 ,tertullian1 and ,cyprian4 ,chap4 iv4 #ab-v4 #af1 describes the decayed state of the ,church from #ccd-aeaj2 #ab1 the declension of the ,church after the death of ,dioclesian1 when many embraced ,arianism2 #ac1 #ad1 her rising again under ,constantine2 #ae1 the convocation of the ,council of ,nice2 #af1 ,europe and ,africa defending the truth against ,arian heresy2 #ag1 the decayed state of the ,church after the demise of ,constantine4 ,chap4 v4 #a1 ,christ knocking by persecution 7,a4,d4 #cfh71 in the time of ,constance1 ,julian1 and ,valens2 #b1 the attempt of the ,church to obtain justification by good works2 #c1 the withdrawal of ,christ in consequence of the ,chalcedon ,council refusing to root out heresy according to the exhortation of the ,emperor ,marcian2 #d1 the rising of the ,church in the time of ,leo ,isaurus1 ,constantine his son 7#gee71 and ,charles the ,great1 in ,frankfort 7#gie71 who endeavoured to exterminate image-worship2 #e1 the failure of this endeavour2 #f1 the ,church smitten and wounded through the excommunication of ,leo ,isaurus1 and the conduct of the ,council of ,nice under ,constantine 7#ghh72 verse #h describes how1 in #aajj1 a ,florentine bishop1 ,arnold1 a ,roman1 ,hildegarde the prophetess1 and ,bernard1 began to seek the bridegroom2 #h1 multitudes flocked to ,peter ,waldo1 in #aafj1 to inquire after the beloved2 #i1 #aj1 ,christ appearing again in #abjj1 at the battle of the ,albigenses with the anti-christian bands of ,innocent the ,third2 #aa1 the kingdom almost restored to ,christ after the battle2 #ab1 the faithful teaching of ,michael ,cesenas1 ,peter de ,corboria1 and ,john de ,poliaco1 who were condemned in #abgg by ,pope ,john2 #ac1 the preaching in #abij by ,robert ,trench2 #ad1 the first resurrection1 as described in ,rev4 i4 #bj1 which took place in #acjj1 when ,dante the ,florentine1 ,marsilius ,patavinus1 ,william ,ockham1 and ,john of ,gaunt1 boldly declared the truth1 when ,philip1 king of ,france1 and ,edward of ,england despised the authority of the ,pope1 and when ,john ,wickliff 7#acgj7 taught openly2 #ae-ag1 the days of ,john ,huss1 ,jerome of ,prague 7#adae71 and the shaking off of the ,romish yoke by the ,bohemians4 ,chap4 vi4-viii41 describes the ,church restored1 from #aeag to the second coming of ,christ2 #a1 the teaching of pure doctrine 7#aeag71 by ,luther2 #b1 the ,church1 in the mouth of ,melancthon1 claims her beloved before ,prince ,frederick2 #c1 the unpleasant state of the ,church from #adbi1 when the ,argentinenses joined battle with the ,helvetians1 till the death of ,charles the ,fifth 7#aedh72 and her beauty1 when1 in the following year1 the ,reformation spread in ,scotland1 ,geneva1 in the ,helvetian and ,german churches1 in ,denmark1 ,norway1 and ,sweden2 #d1 the declaration of justification by faith by ,luther2 #e1 the newly-called preachers of the ,gospel in #aeej1 such as ,luther1 ,melancthon1 ,bucer1 ,zwinglius1 c42 #f1 the ecclesiastical and civil government of the ,church as restored again in ,geneva2 #g1 the splitting of the ,church in #aefc1 by ,john ,brentius and ,james ,andrewes2 #h1 the excellency of the faithful2 #i-ab1 the conversion of the ,jews1 who are called princes4 ,chap4 vii41 their conversion a blessing to the ,church4 ,chap4 viii4 #a-d1 their zeal2 #e-g1 the calling in of the ,assyrians and ,egyptians1 and all the nations bordering on the eastern regions1 and their glorious condition after their conversion2 #aa1 #ab1 the care which the bridegroom will exercise over the whole ,church2 #ac1 what he requires of her2 #ad1 her longing desire to be carried with him into everlasting mansions4 ,as ,brightman's ,commentary may be regarded as the fullest development of the ,chaldee interpretation ,christianized1 we shall give a few specimens of his mode of exposition4 ,i sleep1 but my heart1 c4 chap4 v4 #a4--,the negligence of the ,church lying thus is declared first by her drowsiness1 then by his enticing call1 and lastly by the slight causes of her excuse4 ,sleep caused her outward senses to be benumbed1 that she neither regarded nor considered how superstitions arose1 as it happened to the householder in ,matt4 xiii4 #be4 ,neither could it be otherwise 7when the bridegroom left the garden and his friends or fellows drunken with prosperity1 wholly gaping after riches and honours1 all common good despised71 but sleep would overcome the spouse1 wherein outwardly she should not differ from a dead woman1 however the heart should move and live1 the seed of faith not altogether quenched4 ,this drowsiness crept in1 in the time of ,constantine1 when a gaping heaviness1 with a continued desire of sleeping1 so oppressed the spouse1 that the sharpest-sighted pastors could not use their outward senses3 not perceiving how ambition crept in among the bishops1 and not only that1 but how they began to consecrate temples to saints1 earnestly to seek their reliques1 to worship them with prayers1 and to believe that prayers made in the honour of saints at their sepulchres did profit much4 ,who could now tell whether the ,church were sleeping or waking8 who neither loathed nor perceived such things4 ,when ,constantine was dead1 ,christ found the ,church asleep1 and sought by all means to stir her up both by knocking and calling4 ,he knocked by persecutions in the times of ,constance1 ,julian and ,valens1 of whom though ,julian were a professed enemy1 7,a4,d4 #cfh17 yet the other two exceeded him in cruelty4 ,after their tyrannous reign ,god stirred up ,valentinian in the west parts1 by whom ,christ lovingly called his spouse1 that1 returning unto her former integrity1 she should open and let him in4 ,then taking away ,valens1 he called more earnestly at both doors 7as it were7 as well in the west as in the east1 by ,gratian and ,theodosius the elder2 after by ,arcadius and ,honorius1 then by ,theodosius the younger1 and ,valentinian the third4 ,and lastly1 7that there might be four pair as it were answerable to the four voices1 my sister1 my love1 my dove1 my undefiled one17 by ,marcion alone in the east4 ,these emperors studied and laboured very religiously to defend and enlarge true religion2 but the ,church was in all the fault1 who having these helps prepared1 would not use them to recover her former brightness4 ,to this readiness of the emperors was added the voice of the most excellent bishops1 and best learned men of that time2 as ,basil1 ,gregory ,nazianzen1 ,ambrose1 ,hierome1 ,chrysostome1 ,augustine and others1 the lights of that time4 ,but seeing his profession of love could nothing move her1 he tried what his shutting out of the doors at night would do4 ,my head is filled with dew1 c4--,the locks of hair signified1 before the congregation of the faithful1 among whom true religion was now so much deranged by new and foolish ceremonies1 borrowed partly of the ,jews and ,gentiles1 and partly invented of their own idle brains1 that the grass is scarce more covered with drops of dew in the night1 than the ,church was at that time with superstitions4 #ad4 ,his hands are as gold rings1 c4--,hitherto hath the bridegroom been set forth to the world in some special members1 from ,frederick the second to ,robertus ,gallus by almost #ajj years4 ,the hands are the instruments of action1 and in scripture they figuratively signify works4 ,the gems included in the rings seem to signify the ministers of the word1 which elsewhere ,christ carried as stars in his right hand 7,rev4 i4 #bj74 ,but these times yielded not such splendour4 ,these things show a change and alteration of that which ,christ would bring to pass by the labour of his ministers1 as it happened about the year #acjj1 which was called the first resurrection of the dead4 ,for now the thousand years were ended wherein ,satan was bound1 and the dead raised from their graves4 ,very many began now more boldly to set forth the truth1 as ,dante the ,florentine1 ,marsilius ,patavinus1 ,william ,ockham1 ,john of ,gaunt1 and many others4 ,philip the ,french king despised ,pope ,boniface1 ,lewis of ,bavaria strove long time with these most humble servants of servants for the rights of the empire4 ,edward of ,england made show unto many how little he esteemed the pope's authority4 ,his belly is as bright ivory1 c4--,by the belly or bowels1 bright as ivory overlaid with sapphires1 may be understood the two ,sacraments4 ,for the word of ,god is open to the view of every one1 as the mouth and countenance1 neither is it wont to be hid from strangers2 but the ,sacraments serve only for the household1 as the bowels1 which are appointed only to that body whose members they are1 but serve to no use for strangers4 ,these things therefore as it were1 with the finger1 point to those times of ,john ,wickliff 7#acgj71 who taught openly1 that the substance of the material bread and wine remains in the sacrament of the altar2 the accidents of bread remain not without the subject in the same ,sacrament2 ,christ is not really in the ,sacrament1 in proper presence corporally4 ,berengarius spoke against this wicked error #bjj years before1 but the time was not yet come wherein the hands of the bridegroom should be seen full of rings1 whence his empire wanted success4 ,how different to this is the opinion of ,henry ,ainsworth1 the celebrated ,nonconformist divine1 who regards this 8book as treating of man's reconciliation unto ,god1 and peace by ,jesus ,christ1 with joy in the ,holy ,spirit60 8,in ,solomon's days10 says ,ainsworth1 8the ,church before ,christ's coming had the greatest glory1 having the temple builded1 living under that most wise1 rich1 and peaceable ,king2 the ,israelites being as the sand which is by the sea in multitude1 eating1 and drinking1 and making merry1 and dwelling safely1 every man under his vine and under his fig-tree40 7#a ,kings iv4 #aj1 #be47 ,notwithstanding ,solomon1 being a prophet1 foresaw the ruin of his house and kingdom1 and in his book of ,ecclesiastes proclaimed all things under the sun to be vanity1 and in this ,song prophesieth of the ,church and ,kingdom of ,christ4 ,and as he1 with many other prophets1 and kings1 and righteous men1 desired to see ,christ1 and to hear his words1 but did not 7,luke x4 #bd2 ,matt4 xiii4 #g71 so here he manifesteth the desire of himself and of all the faithful to enjoy the blessings and graces of ,christ1 saying1 #8,let him kiss me4' ,whereby the ,church desireth to have ,christ manifested in the flesh1 and to have the loving and comfortable doctrines of his ,gospel applied unto her conscience1 that she might not be always under the schoolmaster of the law1 which worketh wrath 7,rom4 iv4 #ae71 but might be prevented with the grace of ,christ1 and have the feeling of his love towards her4 #he ,the difference of opinion respecting the interpretation of this book1 which obtained after the ,reformation had laid open the ,scriptures to all ,protestants1 and had established the right of private judgment1 did not1 however1 as yet affect the ,romish ,church4 ,her followers not only adhered to the allegorical interpretation1 but1 unlike their predecessors of the middle ages1 took the bride of the ,song to be the ,virgin ,mary4 ,thus ,michael ,ghislerius and ,cornelius ,lapide4 ,the latter is especially to be noticed1 since he was the first who endeavoured to show that this ,song is a drama in five acts4 #aehc-afde4 ,the fact1 that the allegorical interpretation could with equal facility be made to describe the history of the ,jewish nation and that of the ,virgin ,mary1 awakened the suspicion of ,hugo ,grotius1 the celebrated statesman1 philosopher1 and divine4 ,he1 therefore1 adhered to the literal sense of the book1 which1 according to him1 celebrates the marriage of ,solomon with ,pharaoh's daughter1 but at the same time also admitted that the ,,arcana ,,nuptiarum spiritually represent1 first1 the love of ,god to the ,israelites1 and then the love of ,christ to the ,church4 #hf ,it will be remembered that ,origen was already of opinion that this ,song primarily celebrates the marriage of ,solomon with ,pharaoh's daughter1 though with him the literal meaning was of no importance1 and that ,theodoret mentions some who viewed the ,song in no other light than this4 #afjc-afii4 ,it was to be expected that ,john ,cocceius1 the founder of the theological school bearing his name1 whose doctrine was1 that the whole history of the ,old ,testament is a mirror1 accurately reflecting the transactions and events that were to happen under the ,new ,testament dispensation to the end of the world1 would find in this ,song something in accordance with his views4 ,enlarging upon ,aponius' and ,de ,lyra's mode of interpretation1 and1 like ,brightman1 still more approaching the ,chaldee1 in a manner peculiar to himself ,cocceius regards this book as a prophetical narrative of the transactions and events that are to happen in the ,church1 and divides the whole into seven distinct periods1 similar to the seven trumpets and seven seals in the ,revelation of ,st4 ,john4 ,chapter4 #a4 ,the period of the preaching of the ,gospel to ,jews and ,gentiles i4-ii4 #b4 ,the period of the increase of the ,church1 and persecution from without iii4-iv4 #c4 ,the period of peace from without and danger within v4-vi4 #h4 #d4 ,the period of the ,reformation vi4 #i-vii4 #aj4 #e4 ,the period of unsettlement after the ,reformation vii4 #aa-viii4 #c4 #f4 ,the period of the persecution viii4 #d-f4 #g4 ,the period of rest after the sufferings and longing for the spread of the ,gospel viii4 #g-ad4 #hg #afdh4 ,strange as this mode of interpretation may appear1 yet1 as we have seen1 it is not confined to a single individual or country4 ,john ,cotton also affirms that ,solomon in this book 8describes the estate of the ,church towards ,christ1 and his respect towards her from his 7i4e4 ,solomon's7 own time to the last judgment40 #hh ,chap4 i4 describes the estate of the ,church from the days of ,solomon to the repair of the temple by ,josiah4 ,chap4 ii4 describes the estate of the ,church from the repair of the temple to the days of the ,maccabees4 ,chap4 iii4 describes the estate of the ,church from the days of the ,maccabees to the time of ,christ's sojourning here on earth4 ,chap4 iv4 describes the estate of the ,church--first1 in ,christ's time1 under his ministry1 ver4 #a-f2 secondly1 after his ascension1 under the ,apostles1 ver4 #g-aa2 thirdly1 after their departure1 during the first ten persecutions1 ver4 #ab-af4 ,chap4 v4 describes the estate of the ,church from the time that ,constantine entered it to the time of restoring the ,gospel and reforming of the ,church by the ministry of ,luther and other late divines4 ,chap4 vi4 describes the state of the ,church reformed by the ministry of ,luther and other late divines1 and the calling in of the ,jews4 ,chap4 vii4-viii4 #d1 describes the estate of the ,jewish ,church when they shall come to be converted unto the ,lord4 ,chap4 viii4 #e-ad1 describes the solicitude which the ,church of ,judea and ,assyria cherished for the growth and establishment of the good people in ,egypt1 the destruction of the ,turks1 the union of all ,christians1 the coming of the ,lord1 c4 #afej4 ,john ,trapp1 however1 adhered to the more general view1 and regarded this ,song as 8a treasury of the most sacred and highest mysteries of ,holy ,scriptures1 streaming out all along1 under the parable of a marriage1 that full torrent of spiritual love that is betwixt ,christ and the ,church40 444 8,the form of it is dramatical and dialogistical2 the chief speakers are1 not ,solomon and the ,shulamite1 as ,castellio makes it1 but ,christ and his ,church4 ,christ also hath associates 7those friends of the bridegroom71 viz41 the prophets1 apostles1 pastors1 and teachers1 who put in a word sometimes2 as likewise do the fellow-friends of the bride1 viz4 whole churches or particular ,christians40 #hi #afhh4 ,hennischius not only adopted the view of ,brightman and ,cocceius1 but even exceeded it1 and called his commentary upon this book1 #ij 8,the ,apocalypse in the ,canticles40 ,he found in the ,song of ,songs seven periods of the ,church described1 answerable to the states of the seven ,asiatic ,churches in the ,revelation of ,st4 ,john4 ,rev4 ,cant4 ,a4,d4 #a4 ,the ,church at ,ephesus ii4 #a-g i4 #e-ag #cc-cgj #b4 11 11 11 ,smyrna #h-aa ii4 #a-ag #cga-gjg #c4 11 11 11 ,pergamos #ab-ag iii4 #a-aa #gjh-ajd #d4 11 11 11 ,thyatira #ah-bi iv4 #a-v4 #a #ajdf-ach #e4 11 11 11 ,sardis iii4 #a-f v4 #b-vi4 #b #achd-agba #f4 11 11 11 ,philadelphia #g-ac vi4 #i-vii4 #ad #agbb-bjei #g4 11 11 11 ,laodicea #ad-bb viii4 #a-ad #bjfj and onwards4 #afic4 ,the profound scholarship and exquisite taste of ,bossuet1 though a ,roman ,catholic ,bishop1 would not allow him to follow these extravagant theories4 ,presuming that the marriage of ,solomon with the daughter of ,pharaoh is the primary object of this ,song1 and that the nuptial feast among the ,jews was hebdomadal1 ,bossuet divides the poem into seven parts1 corresponding to the seven days of the supposed duration of the wedding4 #ia ,the following is his division3-- ,chapter4 #ast day i4-ii4 #f4 #bnd day ii4 #g-ag4 #crd day iii4-v4 #a4 #dth day v4 #b-vi4 #i4 #eth day vi4 #aj-vii4 #aa4 #fth day vii4 #ab-viii4 #c4 #gth day viii4 #d-ad4 #agjj4 ,bishop ,patrick1 however1 would not admit any literal meaning1 but found1 almost in every word1 some delightful mystery4 ,even the words1 8,thy navel is like a round goblet which wanteth not liquor2 thy belly is like a heap of wheat set about with lilies10 7chap4 vii4 #b17 at which so much umbrage has been taken1 this pious prelate says1 may mean 8the two ,sacraments which the ,church administers to her children2 the ,font in ,baptism being represented by the former1 and the ,sacrament of the ,lord's ,supper by the other part of the figure40 #ib #agaj4 ,shortly after the publication of this commentary appeared the ,exposition of ,matthew ,henry4 ,and though ,henry confessed1 8on the one hand1 that if he who barely reads this book be asked1 as the eunuch was1 ,understandest thou what thou readest8 he will have more reason than he had to say1 ,how can ,i1 except some man shall guide me8 that the books of ,scripture history and prophecy are very much like one another1 but that this ,song of ,solomon is very much unlike the ,songs of his father ,david2 here is not the name of ,god in it2 it is never quoted in the ,new ,testament2 we find not in it any expressions of natural religion or pious devotion2 no1 nor is it introduced by vision1 or any of the marks of immediate revelation2 thus it seems as hard as any part of ,scripture to be made a savour of life unto life40 ,yet he affirms1 8on the other hand1 that with the help of the many faithful guides we have for the understanding of this book1 it appears to be a very bright and powerful ray of heavenly light1 admirably fitted to excite pious and devout affections in holy souls1 to draw out their desires towards ,god1 to increase their delight in him1 and improve their acquaintance and communion with him40 #ic #agbc4 ,durham tells us the import of the ,song of ,songs much more positively and dogmatically than either ,patrick or ,henry4 8,the great scope of this ,song is to set out that mutual love and carriage that is between ,christ and the ,church in five distinct branches4 ,it holdeth out the ,church's case1 and ,christ's care of her1 in all her several conditions1 and under all dispensations2 such as1 ,i4 ,her sinful infirmities1 and failings in duties1 chap4 i4 #f2 v4 #b1 #c1 and also under liveliness in duties1 chap4 i4 #b1 #c1 #d1 and v4 #e1 and almost throughout4 ,,ii4 ,under crosses1 chap4 i4 #f1 as being #8a lily among thorns1' and hated of the world1 ii4 #b1 and also in prosperity1 wherein she is commended as terrible1 vi4 #aj4 ,,iii4 ,as deserted and sick of love1 chap4 iii4 #a1 #b1 and v4 #d1 #e1 and again as enjoying her beloved1 i4 #d2 iii4 #d1 #e4 ,,iv4 ,as under faithful shepherds and lively ordinances1 chap4 i4 #d2 iii4 #d1 #e1 and also as under carnal watchmen1 v4 #g4 ,and in all these1 her various conditions1 in all ages1 are painted forth1 before ,christ's incarnation1 as well as now1 without respect to any particular time or age2 for ceremonial things are not here meddled with1 but what was spiritual2 besides the ,church then and now is one1 as in the next consideration will be cleared4 ,v4 ,as in private dealing with ,christ1 and longing after him and praying for him1 chap4 iv4 #af2 viii4 #a1 and almost throughout1 and also what she was in public duties1 going to the watchmen1 chap4 v4 #g1 and iii4 #c1 and what she was in fellowship with others1 v4 #h1 #i2 vi4 #a1 #b4 ,,vi4 ,it sets out believers as more strong1 and it furnishes a greater measure of grace and knowledge2 and also1 as more weak in gifts and grace4 ,,vii4 ,and lastly1 it holds forth the same believers as more and less lively in their conditions4 8,this book1 in its matter1 is a comprehensive sum of all those particulars formed in a song1 put together1 and drawn as on a board1 for the believers' edification1 to show1 #a4 ,what should be1 and will be their carriage1 when it is right with them as to their frame4 #b4 ,what are their infirmities1 and what they use often to fall into1 even they who are believers1 that they may be the more watchful4 #c4 ,to shew what they meet with1 that they may make for sufferings1 and not stumble at them when they come4 #d4 ,that the care and love of ,christ to them1 in reference to all these1 may appear1 that they may know upon what grounds to comfort themselves in every condition1 and may have this ,song as a little magazine1 for direction and consolation in every condition40 #id ,upon the words 8,take us the foxes1 the little foxes1 that spoil the vines10 c4 7,chap4 ii4 #ae71 ,durham remarks3 8,this fifteenth verse contains the last part of ,christ's ,sermon2 wherein1 as he had formerly given directions in reference to her particular walk1 so here he evidenceth his care of her external peace4 ,that ,christ speaks these words1 the continuation and series of them with the former1 the scope 7which is to make full proof of his case71 and the manner how the duty here mentioned is laid on1 to wit1 by way of authority1 makes it clear4 ,there are three things in them1 #a4 ,on external evil incident to the ,church1 and that is1 to be spoiled by #8foxes4' #b4 ,a care given in a direction1 #8,take them1' c4 #c4 ,he gives reasons to deter all from cruel pity in sparing of them1 #8,for1' c40 ,having descanted at large upon the first and second heads1 ,durham remarks on the third3 8,thirdly4 ,there is a motive to press1 implied1 while he 7i4e4 ,christ7 saith this2 #8,take us1' which words insinuate that it is service both to him and her1 and that ministers are his servants1 and the ,church's for ,christ's sake4 ,it shows also his sympathy in putting himself1 as it were1 in hazard with her 7at least mystically considered71 and his love in comforting her1 that he thinks himself concerned in the restraint of these foxes as well as she is4 8,fourthly4 ,the direction is amplified1 to remove an objection 7say some7 #8,all heresies1 or all heretics are not equal2 some comparatively are little to be regarded1 and it is cruelty to meddle with these1 that seem to profess fair4' #8,no 7saith he71 take them all1 even ,,the ,,little ,,foxes2 for though they be but little1 yet they are foxes2 though they be not of the grossest kind 7as all scandals in fact are not alike1 yet none is to be dispensed with71 so they are 7saith he7 foxes1 and corrupt others2 for a little leaven will leaven the whole lump 7often small-like schisms1 or heresies1 such as the ,novations and ,donatists1 c41 have been exceedingly defacing to the beauty of the ,church71 therefore1 saith he1 hunt and take them up4' ,how small a friend is our ,lord to toleration6 and how displeased is he with many errors1 that the world thinks little of6 ,magistrates1 ministers and people may learn here1 what distance ought to be kept with the spreaders of the least errors2 and how every one ought to concur1 in their stations1 for preventing the hurt that comes by them40 #ie #agbc4 ,whether this commentary1 with its affirmation that 8this ,song is a little magazine1 for direction and consolation in every condition10 and whether the doctrine of intolerance palmed upon ,chap4 ii4 #ae of the ,song were published in time to be seen by ,whiston1 who was neither convinced by ,durham's arguments nor daunted by his appeal to the magistrates1 ministers1 and people2 or whether they appeared too late to be seen by him1 ,i cannot tell4 ,but1 in the same year that ,durham's commentary was published ,whiston's ,essay appeared1 in which he declares that he finds in the ,song of ,solomon1 8from the beginning to the end marks of folly1 vanity1 and looseness10 and assures us that 8it was written by ,solomon when he was wicked and foolish1 and lascivious and idolatrous10 #if and that the sooner this immoral book is rejected from the sacred canon the better4 #agbh4 ,about five years afterwards appeared the bulky ,exposition of ,dr4 ,gill on ,solomon's ,song1 consisting of one hundred and twenty-two sermons1 which the ,doctor delivered to his congregation4 ,in this confused mass of accumulated learning ,gill warmly refutes both ,whiston and others who had written against this book4 ,he acknowledges 8the profit and advantage0 which he had received from 8the sweet observations of the excellent ,durham10 and affirms that this divine poem is wholly allegorical2 8and sets forth in a most striking manner the mutual love1 union and communion1 which are between ,christ and his ,church2 also expresses the several different frames1 cases1 and circumstances which attend believers in this life1 so that they can come into no state or condition1 but there is something in this ,song suited to their experience2 which serves much to recommend it to believers1 and discovers the excellency of it40 #ig ,in vain do we look even here for an exposition based upon the sound rules of grammar and philology4 #agec4 ,it was reserved for ,bishop ,lowth to commence in this country a new era in the interpretation of this book4 ,two of his admirable 8,lectures on the ,sacred ,poetry of the ,hebrews0 are devoted to the investigation of the import and interpretation of this ,song1 and the conclusion he arrived at is almost the same as that of ,grotius and ,bossuet4 8,the subject of the ,canticles10 says this learned ,prelate1 8appears to be the marriage-feast of ,solomon1 7who was1 both in name and reality1 the ,prince of ,peace72 his bride is called ,shulamite4444 ,who this wife of ,solomon was1 is not clearly ascertained2 but some of the learned have conjectured1 with an appearance of probability1 that she was the daughter of ,pharaoh1 to whom ,solomon was known to be particularly attached4 ,may we not1 therefore1 with some shadow of reason1 suspect that1 under the allegory of ,solomon choosing a wife from the ,egyptians1 might be darkly typified that other ,prince of ,peace1 who was to espouse a church chosen from among the ,gentiles80 ,as to the explanation of the allegory1 this learned prelate properly advises1 8that we ought to be cautious of carrying the figurative application too far1 and of entering into a precise explication of every particular2 as these minute investigations are seldom conducted with sufficient prudence not to offend the serious part of mankind1 learned as well as unlearned40 #ih ,bishop ,lowth also takes this poem to be of a dramatic form1 and adopts the division of ,bossuet into seven parts4 #agfd4 ,the excellent and judicious remarks of ,lowth were followed by an elegant version of ,solomon's ,song1 with a brief ,commentary and ,annotations1 by ,thomas ,percy1 ,d4,d41 ,bishop of ,dromore4 ,the author vindicates the theory of ,grotius1 ,lowth1 c41 that this poem literally describes the nuptials of ,solomon2 and1 like ,bossuet and ,lowth1 divides it into seven parts1 answering to the seven days of the supposed duration of the nuptials1 which are distinguished from each other by different solemnities4 ,in terms1 even more severe than those of ,bishop ,lowth1 ,percy censures those commentators1 8who have been so busily employed in opening and unfolding the allegorical meaning of this book as wholly to neglect that literal sense which ought to be the basis of their discoveries4 ,if a sacred allegory may be defined a figurative discourse1 which1 under a lower and more obvious meaning1 delivers the most sublime and important truths2 then it is the first duty of an expositor to ascertain the lower and more obvious meaning4 ,for till this is done1 it is impossible to discover what truths are couched under it4 ,without this all is vague and idle conjecture4 ,it is erecting an edifice without a foundation1 which1 however fair and goodly to the view1 will be blown down by the slightest breath of true criticism40 #ii #agfe4 ,wesley1 however1 opposed this theory4 ,he maintained that 8the description of this bridegroom and bride is such as could not with decency be used or meant concerning ,solomon and ,pharaoh's daughter2 that many expressions and descriptions1 if applied to them1 would be absurd and monstrous2 and that it therefore follows that this book is to be understood allegorically1 concerning that spiritual love and marriage which is between ,christ and his ,church40 #ajj #agfh4 ,harmer advanced a new theory4 ,whilst advocating with ,grotius1 ,bossuet1 ,lowth1 ,percy1 c41 that this ,song in its literal and primary sense celebrates the nuptials of ,solomon with the daughter of ,pharaoh1 he maintained that the heroes of the plot are not two1 as generally believed1 but three--viz41 ,solomon1 the ,shulamite1 who is the principal wife and a ,jewish queen1 and the daughter of ,pharaoh1 whom ,solomon afterwards married1 with which the ,jewish queen was exceedingly displeased1 and looked with jealousy upon the ,gentile wife as an intruder4 8,this event of ,solomon's marrying a ,gentile princess1 and making her equal in honour and privilege with his former ,jewish queen1 and of her being frequently mentioned afterwards in history1 while the other is passed over in total silence1 resembles the conduct of the ,messiah towards the ,gentile and ,jewish ,churches40 444 8,nothing more1 according to that10 says ,harmer1 8is to be sought for of the mystic kind1 than the making out the general resemblance between ,solomon's behaviour with respect to his two queens1 and the situation of affairs between the ,messiah and the two ,churches2 of those that observed the laws of ,moses and those that did not40 #aja ,the following analysis is gathered from ,harmer's singularly confused work4 ,chapter ,i4 describes ,solomon and his attendants meeting the ,egyptian bride and her companions2 ii4 #a-;iii4 #e1 describes the complaining language of the ,jewish queen2 iii4 #f-v4 #a1 resumes the account of ,solomon's journey with the ,egyptian bride up to ,jerusalem1 and describes the consummation of the marriage2 v4 #b-vi4 #c1 relates ,solomon's conversation with his ,jewish wife2 vi4 #d-i1 ,solomon's conversation with the ,egyptian wife in the garden2 vi4 #aj-viii4 #g1 begins with ,solomon's astonishment at his being surprised by his ,jewish wife whilst in the garden with the ,egyptian wife1 and the ensuing conversation between them2 viii4 #h1 describes the imaginative hope of the ,jewish wife that ,solomon's marriage with the ,egyptian would not be consummated1 and that she would1 therefore1 not be treated as a wife2 viii4 #i1 gives ,solomon's reply1 that the ,egyptian princess should be treated with the highest honours2 viii4 #aj-ab1 contains a smart reply of the ,egyptian princess to the ,jewish queen1 in which she at the same time also notices the addition her marriage had made to the ,king's possessions2 viii4 #ac1 states ,solomon's appeal to the ,jewish queen in the presence of all to give her final thoughts respecting her future conduct2 viii4 #ad1 gives her resolution to keep her distance2 but at the same time there appears no thought of renouncing her relation to ,solomon on her part1 as 8there was not on his40 8,such actually10 concludes ,harmer1 8is the state of things with respect to the ,messiah1 and the two churches of ,jews and ,gentiles4 ,the ,jewish ,church persists in not receiving the ,gentiles as fellow-heirs1 but they renounce not their relation to the ,messiah1 nor has he utterly excluded them from hope4 ,the state of distance has long continued1 but as they still remain a distinct body of people1 waiting for great events that are to happen1 so the ,new ,testament leads us to expect their reconciliation40 #aggj4 ,different to these strange outlines of ,harmer were the effects which ,lowth's remarks upon this ,song produced in ,germany4 ,michaelis1 the celebrated professor at the ,gttingen ,university1 in his edition of the ,praelectiones1 took a more advanced and decided step in the interpretation of this book4 ,he not only rejected the allegorical interpretation1 as unsupported by internal evidence1 but denied the theory1 defended by ,lowth1 c41 that this poem celebrates the nuptials of ,solomon1 because there is no direct mention made in any part of this long poem of the marriage ceremony1 nor of any circumstance attending it2 no time appearing appropriated to the nuptial banquet itself1 the bride and the bridegroom being separated from and in quest of each other1 wishing and enjoying solitude1 always showing themselves in the street or field when conversing together1 or with the virgins1 and never found with the guests or at the banquet2 because it cannot be possibly imagined that a bridegroom would be so necessitated to labour as not to be able to devote the few days of his nuptial week to the celebration of his marriage2 that he would be compelled immediately to quit his spouse and his friends for whole days in order to attend his cattle in the pastures2 and especially because we could not imagine that the bridegroom would at this time of the festival leave his bride1 to whom he professes to be so deeply attached1 alone and unhappy1 and not return at night4 ,the learned professor1 therefore1 concludes that this ,song describes the chaste passion of conjugal and domestic love2 the attachment of two delicate persons who have been long united in the sacred bond2 and then asks1 ,can we suppose such happiness unworthy of being recommended as a pattern to mankind1 and of being celebrated as a subject of gratitude to the great ,author of happiness8 #ajb #agga4 ,the honour1 however1 of first elucidating the true design of this book is due to ,j4 ,t4 ,jacobi2 notwithstanding the imperfections of his attempt4 ,he showed that the importance of this ,song is not to describe the chaste passion of conjugal love1 but to celebrate fidelity4 ,the pattern of this conjugal fidelity is the ,shulamite1 the heroine of the book4 ,this humble woman was married to a shepherd4 ,solomon1 being struck with her beauty1 tempted her with the luxuries and splendour of his court to forsake her husband and enter the royal harem2 but the ,shulamite spurned all the allurements1 and remained faithful to her humble husband4 #ajc ,however strange the manner in which ,jacobi divides this book1 and the interpretation of separate passages1 it must be acknowledged that he was the first in ,germany who showed that ,solomon was not the object of the ,shulamite's affections1 and that the beloved was a humble shepherd from whom the ,king endeavoured to separate her4 ,it will be remembered that ,ibn ,ezra1 ,immanuel1 and the ,anonymous ,commentary1 #ajd have already taken the lovers to be a shepherd and shepherdess1 and regarded ,solomon as a separate person1 whom the rustic maiden adduces in illustration of her sincere attachment to her shepherd1 affirming that if this great ,king were to bring her into his court1 and offer her all its grandeur and luxuries1 she would still rejoice in her humble lover4 #aggb4 ,it seems unaccountable that though the increased attention paid in this country to the sound exegesis of the ,scriptures compelled expositors to propound the literal meaning of this book1 that ,durell #aje could still overlook the two distinct persons referred to in this poem1 viz4 the ,king and the ,shepherd1 and maintain that the ,song of ,songs is an epithalamium on ,solomon's marriage with ,pharaoh's daughter4 #aggf4 ,it was not to be expected that the opposition of sound critics1 and much less the newly propounded view of ,jacobi1 would at once subvert the old allegorical theories1 or check fertile imaginations from inventing new speculations4 ,the ,song of ,songs was too darling an object of those whose minds were addicted to allegories and mysticisms to be so easily surrendered to the simple meaning of the text4 ,so far from being surprised1 we rather expect that every one who rejects the obvious sense of the ,song will find in it some new view which his predecessors had overlooked4 ,and ,herr von ,puffendorf's new theory1 therefore1 only realises our expectations4 ,he explained this ,song hieroglyphically1 and by a process of reasoning as sound as that of the other allegorisers1 found his interpretation corroborated by analogy4 ,the sacred picture language constituted the wisdom of ,solomon's days1 and was therefore used among all nations to express everything divine4 ,as ,solomon was more versed in the ,egyptian mysteries than any of his contemporaries1 he would necessarily write the divine mysteries contained in this book in hieroglyphics1 in accordance with the custom of those days4 ,according to the deciphering of these hieroglyphics by ,puffendorf1 8this much disputed ,song treats almost exclusively of the sepulchre of the ,saviour1 and his death1 and the communion of believers1 especially of ,old ,testament saints2 but it also describes their longing for his ,advent1 whereby1 however1 the condition of the ,new ,testament community1 and even the resurrection from the dead1 are represented in prophetical types40 #ajf ,on the clause1 8,the virgins love thee40 ,puffendorf remarks1 8,these are the pure and chaste souls which are locked up in the dark sepulchre1 and wait for the light20 and in a note says1 8the root 1 whence 1 virgins1 is derived1 signifies to be concealed1 as those souls were4 ,the ,egyptian ,neitha1 or ,minerva1 was the tutelar deity of pious souls1 and was covered with a veil1 which none were allowed to uncover4 ,the virgins1 concealed in the same manner1 have to expect that through marriage they will emerge into light4 ,thus the souls are here represented1 which in the dominion of darkness wait for salvation and light40 ,the curious reader must consult the ,commentary itself to see how this extraordinary mode of exposition is carried through the book4 #aggh4 ,about two years after the publication of the deciphered hieroglyphics of this ,song1 the allegorical interpretation sustained some most severe blows from the eminently pious and celebrated poet ,herder4 ,he denounced the allegorisers as violating common sense1 and the established laws of language1 and maintained that this ,song celebrated true and chaste love in its various stages4 ,upon the question1 whether there may not be another sense concealed under the obvious and literal meaning1 ,herder remarks--8,when ,i read the book itself ,i do not find the slightest intimation1 or even the faintest trace that such a sense was the design of the author4 ,were ,i to admit it1 ,i should also expect to find it in the ,song of ,ibrahim1 in the odes of ,hafiz1 and in all the oriental erotic poems which in form entirely resemble this ,song4 ,in the life of ,solomon ,i discover still less reason for this concealed sense1 be it historical1 mystical1 metaphysical1 or political4 ,for ,solomon's wisdom did not consist in mysticism1 much less in metaphysics1 or scholastic church history4 ,his wisdom was displayed in his common sense1 as seen in his view of the things of this life1 in his acute penetration and extensive knowledge of nature4 ,subsequent ,arabian tradition has indeed attributed to him also the art of sorcery1 and of driving out evil spirits1 but never did even this tradition ascribe to him the downcast look of a mystic1 or represent him as indulging in airy speculations1 or as writing a compendium of ,christian ,church ,history40 #ajg ,herder admits that this book describes the love of a shepherd and shepherdess1 as well as that of a king2 but finding great difficulty to account for this1 he divides the book into separate songs1 or amorets1 while at the same time he acknowledges that there is a marked unity throughout1 and that love is described from its first germs to its full maturity1 its ripened fruit1 and its first regermination4 #aghj4 ,this beautiful commentary was followed by an elaborate work of ,kleuker on this ,song4 #ajh ,he too1 with an overwhelming force of argument1 opposes the allegorical interpretation1 and maintains that the book consists of detached songs4 #agha4 ,ann ,francis1 a lady of much poetical taste1 who1 assisted by the learned ,parkhurst1 published a poetical version of the ,song1 #aji was the first who adopted and defended the theory of ,harmer1 that this book speaks of two wives1 one a ,jewish lady1 who had been married to ,solomon long before1 and the daughter of ,pharaoh1 whom the king had recently espoused4 #aghf4 ,hodgson1 however1 was not influenced by the theory of ,harmer1 but1 with ,bossuet1 ,lowth1 ,percy1 c41 regarded this poem as 8an epithalamium written by ,solomon1 on his marriage1 as some have supposed1 with the daughter of ,pharaoh40 #aaj #aghi4 ,the theory maintained by ,abrabanel and ,leon ,hebraeus1 #aaa seems at this time to have found its way into the ,christian ,church4 ,an unknown author1 mentioned by ,magnus1 #aab defended the view that the bride of the ,song represents wisdom1 with whom ,solomon converses4 #agij4 ,it is indeed cheering to meet again with some glimpses of light amidst the dense darkness which gathered around this book4 ,ammon not only vindicated its unity against some of his contemporaries1 but showed that it celebrates the victory of true and chaste love in humble life over the allurements of courtly grandeur4 #aac #ahja4 ,in this country those who paid more regard to the established laws of language1 and were therefore constrained to admit a literal sense1 mostly adhered to the opinion that this poem is a nuptial song4 ,thus ,williams maintained that it celebrates the marriage of ,solomon with ,pharaoh's daughter4 #aad #ahjc4 ,mason ,good could not acquiesce in this opinion1 because the matrimonial connexion of the ,hebrew monarch with the ,egyptian princess was of an exclusively political character1 without any preceding personal intimacy or interchange of affection2 whereas1 the connexion celebrated in this ,song1 8proceeded from reciprocal affection1 from the gentleness1 modesty1 and delicacy of mind1 which are uniformly and perpetually attributed to this beautiful and accomplished fair one40 #aae ,he1 therefore1 regards this book as celebrating in distinct amorets1 the reciprocal attachment of ,solomon and a female1 who was a native of ,sharon1 which was a canton of ,palestine2 conveying also a spiritual allegory4 #ahac4 ,hug1 #aaf rejecting the literal interpretation1 exercised1 like the rest of the allegorisers1 the right of introducing a new theory4 ,according to him1 8the bride0 means the ten tribes1 and 8the bridegroom0 is ,king ,hezekiah1 and the book describes allegorico-politically the longing of ,israel after the destruction of ,samaria to be re-united with ,judah1 and the opposition of the citizens of ,judah1 represented under the image of the brothers 7chap4 viii4 #h1 #i7 to this re-union4 #ahbj4 ,the feeble arm raised by ,jacobi1 ,ammon1 c4 in the defence of the true design of this book against the mighty host of allegorisers1 was greatly supported by the learned ,umbreit4 ,in the introduction to his exposition of this ,song1 ,umbreit maintains that the design of the poem is to celebrate the conquest of virtue in humble life over the allurements of royalty4 ,a virtuous country-maiden1 who was attached to a shepherd1 was brought into ,solomon's harem1 and there tempted by the king with flatteries and promises to transfer her affections2 but she1 armed by the power of virtue1 resisted all his allurements1 and remained faithful to her shepherd1 to whom she was afterwards re-united4 #aag ,though it cannot be said that either ,clarke or ,boothroyd in any way elucidated the design of this book1 yet they have done great service by their rejection of the allegorical interpretation4 #ahbe4 ,we must1 however1 not suppose that the allegorisers1 though considerably diminished in number1 had exhausted their inventive faculties4 ,kaiser maintains that 8the bride0 is a new colony near the ,jordan1 and the bridegroom represents ,zerubbabel1 ,ezra1 and ,nehemiah2 and that the ,song celebrates their restoration of the ,jewish constitution in the province of ,judah4 #aah #ahbf4 ,the little band1 who struggled hard for the defence of the true design of this book1 could now rejoice at the accession of a mighty leader to their ranks4 ,the celebrated ,ewald showed in a masterly manner that 8this poem celebrates chaste1 virtuous1 and sincere love1 which no splendour is able to dazzle1 nor flattery to seduce40 #aai #ahbi4 ,dpke1 in his elaborate philologico-critical commentary1 though not espousing this view1 materially aided the combatants for the literal interpretation4 #abj #ahcj4 ,it is surprising that the sharp-sighted ,rosenmller1 who could not follow the allegorical interpretation of the church1 instead of adhering to the obvious sense of the poem1 adopted the view of ,abrabanel1 ,leon ,hebraeus1 c41 that 8the bride0 represents wisdom1 with whom ,solomon is described as conversing4 #aba ,whilst the battle between the allegorisers and literalists was being waged on the continent1 the few champions who came forward in ,england to defend the literal interpretation received an important addition to their number in the person of ,dr4 ,pye ,smith1 who denounced this method of treating ,scripture as contrary to all laws of language1 and dangerous to real religion4 ,he regards this ,song as 8a pastoral eclogue1 or a succession of eclogues1 representing1 in the vivid colour of ,asiatic rural scenery1 with a splendour of artificial decoration1 the honourable loves of a newly married bride and bridegroom1 with some other interlocutors40 #abb #ahci4 ,the controversy between ,drs4 ,pye ,smith and ,bennett #abc about the ,song of ,songs produced a salutary effect1 inasmuch as it added considerably to the number of those who in this country defended the literal interpretation4 ,a version of ,chap4 ii4 #h-ag appeared in the ,congregational ,magazine1 #abd in which the translator boldly affirms that 8it celebrates the beautiful scenery of the spring1 the attachment of two individuals to each other1 and their meeting in that season of nature's gaiety and loveliness40 ,he1 moreover1 declares that he can 8see no more reason for the spiritual interpretation which ,mr4 ,williams1 ,mr4 ,fry1 and others give it1 than for its application to the revival of letters1 the termination of feudalism1 or any other gratifying circumstance in civil or political life40 #ahdj4 ,whilst the ranks of the literalists grew stronger in ,england1 the band that defended the true design of this poem in ,germany1 also under the able leadership of ,ewald1 became stronger1 and ,hirzel now contended for the view that the ,song of ,songs celebrates the victory of virtuous love in humble life over the allurements of royalty4 #abe #ahdb4 ,the learned but 8lynx-eyed0 ,magnus1 however1 could see in this book nothing else than a collection of various erotic pieces1 some perfect1 others imperfect1 some amended1 others interpolated1 all the work of different authors1 and written in various ages4 #abf ,yet his commentary is full of learning1 and well deserves to be mentioned in this historical sketch4 #ahde4 ,entirely different is the opinion of ,professor ,stuart1 the great ,biblical scholar of ,america1 who says1 8,it seems better and firmer ground1 to regard the ,canticles as expressing the warm and earnest desire of the soul after ,god1 in language borrowed from that which characterises chaste affection between the ,jews40 #abg #ahdf4 ,it must not be supposed that all the ,american ,professors were of the same opinion4 ,dr4 ,noyes1 ,professor of ,hebrew1 c4 in ,harvard ,university1 published a translation of the ,canticles with notes1 shortly after the appearance of ,stuart's work1 in which he maintains that it is a collection of erotic songs1 without any moral or religious design1 #abh and most powerfully opposes the allegorical interpretation4 #ahdg4 ,another ,professor1 ,dr4 ,stowe1 affirmed that 8the general idea of the book1 which has just been pronounced #8as injurious to morals and religion1' if interpreted allegorically1 #abi is descriptive of the mutual love of ,god and his people2 the vicissitudes1 the trials1 the backslidings1 the repentings1 and finally the perfect and eternal union of the church with its ,lord and ,saviour40 #acj #ahdi4 ,though not entirely defeated1 yet the ranks of the allegorisers were materially thinned1 and they were driven to adopt a different course4 ,they no longer sought for some ,christian mysteries and doctrine in every chapter1 verse1 and word of the ,song1 but satisfied themselves with a general allegorical idea1 which may be seen both from the above article of ,dr4 ,stowe1 and ,keil's 8,introduction to the ,song of ,songs40 ,dr4 ,keil submits that it allegorically describes the mutual love subsisting between ,god and his chosen people1 and how this communion was in various ways interrupted through the unfaithfulness of ,israel1 and how1 through their return to the true covenant-,god1 and through his unchanging love1 it was again restored4 #aca #ahea4 ,not even this mild view of the allegory1 however1 could conciliate ,delitzsch4 ,this learned author1 after having interpreted the book as representing 8the mutual love subsisting between ,solomon and ,wisdom10 was at last constrained to reject every allegorical interpretation as untenable4 ,though adopting the view that the book poetically describes a love-relationship formed by ,solomon1 and that 8the idea of marriage is the idea of the ,song10 and may figuratively represent the union of ,god with his people1 he frankly confesses1 that amongst other views1 that which regards the poem as celebrating the victory of virtuous love in humble life over the allurements of royalty1 is to be preferred4 #acb #aheb4 ,immediately after the publication of this commentary1 containing some of the most cogent arguments against the allegorical interpretation1 a new translation appeared with an allegorical exposition by ,hahn4 ,denying that ,solomon represents the ,messiah1 because at that early period the notion of a personal ,messiah was not yet developed in the minds of the people1 this commentator advances a new theory1 that 8the bridegroom0 represents the kingdom of ,israel1 and 8the bride0 ,japhetic heathenism1 and that the poem describes1 allegorically1 8the kingdom of ,israel as destined1 in ,god's service1 eventually to overcome heathenism with the weapons of justice and love1 and to bring the ,heathen into a state of fellowship and love with itself1 and consequently with ,god40 #acc ,he takes the ,song to be a dramatico-didactic poem1 divisible into six sections4 ,the first section1 ,chap4 i4 #b-;ii4 #g1 describes the longing of the maiden1 who represents ,japhetic heathenism1 for the pleasurable love of the king of ,israel2 her humble supplication to be received into his fellowship1 and the ultimate realization of her desire in that union4 ,the second section1 ,chap4 ii4 #h-;iii4 #e1 supplementing the first1 describes the friendly invitation which the king of ,israel gives to this maiden 7the ,japhetic heathen7 to catch with him the foxes1 which represent the kingdom of ,satan upon earth1 the ,hametic heathen1 and to unite herself with him in the land of ,canaan1 which is the kingdom of ,god1 and her acceptance of this invitation4 ,the third section1 ,chap4 iii4 #f-v4 #a1 supplementing the first and second1 represents this maiden1 after being conquered by the power of the king's love1 and from sincere reciprocal attachment1 devoting herself as an acceptable offering to the service of ,god1 as introduced into the land of ,canaan1 which is the type of the kingdom of ,god1 and describes the completion of her never-ending union with the king of ,israel4 ,the fourth section1 ,chap4 v4 #b-vi4 #i1 a supplementary explanation of the first1 describes the early love of the king of ,israel when he visited the maiden in the dark night as she lay in a deep sleep1 void of all love to him1 entreating to be admitted2 her refusal2 her repentance after having become acquainted with his glory2 her long search after him2 his accepting her after her repentance had been tried1 c4 c4 ,the fifth section1 ,chap4 vi4 #aj-viii4 #d1 which explains the second1 and supplements the fourth1 describes how the king of ,israel revealed himself ultimately to the maiden2 the king1 after being long and painfully sought by the maiden1 who1 despairing of success1 and in a dejected state1 had returned home1 was again incited1 by some new charms of hers1 followed her1 attended by his martial hosts1 once more offered her his love1 met with a hearty response1 and then she offered herself to him with all she had1 as his property4 ,the sixth section1 ,chap4 viii4 #e-ad1 which is a supplementary exposition of the third1 and a completion of the fifth1 describes how the maiden1 after long and painfully searching1 and longing for the king of ,israel1 yielded herself up to him in her home1 whither he had followed her1 and how she entreated for the favourable reception of her younger sister1 that is1 the ,hametic heathen1 and how the king promised the maiden that her sister shall eventually be received4 #ahec4 ,though this allegorist has repudiated the idea that ,solomon represents the ,messiah1 at the same time1 another allegorist1 and that a no less writer than ,hengstenberg1 assures us that ,solomon can be regarded only as the ,messiah1 and that the bride is not ,japhetic heathenism1 but the people of ,god4 ,according to him1 the poem celebrates the ,prince of ,peace and all the mercies which through him flow to the people of ,god1 and is divisible into two parts4 ,the first part1 ,chap4 i4-v4 #a1 describes the advent of ,messiah1 the heavenly ,solomon1 to save his people2 the tribulations and sorrows which will precede his coming1 and especially the bondage of the people of ,god to worldly power1 as the merited punishment of their unfaithfulness4 ,these sufferings are represented under the figure of swarthiness1 i4 #f2 winter and rain1 ii4 #aa2 dark nights and a wilderness1 iii4 #f4 ,connected with the coming of ,messiah is the admission of the heathen into the kingdom of ,christ1 iii4 #i-aa1 effected through the mediation of the ,old ,testament people1 as indicated by the name 8daughters of ,jerusalem40 ,the second part1 ,chap4 v4 #b-viii4 #ad1 describes the sinning of the daughter of ,zion against the heavenly ,solomon1 her punishment1 repentance1 and the re-union effected through the mediation of the daughters of ,jerusalem 7the heathen71 whose salvation she had first assisted to accomplish2 the complete restoration of the former mutual love1 in consequence of which the daughter of ,zion becomes again the centre of the kingdom of ,god2 and the immutability of the new covenant of love in contrast with the mutability of the old4 #acd #ahec4 ,simultaneous with this commentary of ,hengstenberg1 an allegorical exposition appeared in ,america1 by ,professor ,burrowes4 ,he differs again from the preceding in regarding this ,song as illustrating by imagery drawn from the court of ,solomon1 the mutual love of ,christ and the ,church1 as exercised in the case of individual believers4 ,he divides it into three parts4 ,the first part1 ,chap4 i4-ii4 #g1 describes the way in which the soul1 longing after the manifestation of the love of ,christ1 is conducted in the gratification of that desire1 from one degree of pious enjoyment to another1 till1 by the vicissitudes of fortune1 and by the diversities in its progress towards heaven1 and the enjoyment of ,christ's love as manifested in private communion in 8his chamber20 #g-aa1 in the way of duty and self-denial2 #ab-ad1 in social communion with him2 #ae-ag1 in delightful repose with him1 amid enlarged prospects of spiritual beauty2 chap4 ii4 #a-c1 in the protection and delight here set forth2 #d-g1 it possesses the greatest possible pleasure on the earth4 ,the second part1 ,chap4 ii4 #h-vii4 #i1 describes the motives by which the ,lord ,jesus would allure such souls away from the present world to be with him in glory2 chap4 ii4 #h-ag1 as by the beauty of heaven2 chap4 iii4 #a-aa1 by the splendour of the reception awaiting them there1 as well as by the grandeur of the conveyance thither2 chap4 v4 #a-vii4 #i1 and by his love for them1 which remains constant even amidst their greatest neglect4 ,the third section1 ,chap4 vii4 #aj-viii4 #ad1 describes the effects which these manifestations of love produce on the heart of saints2 chap4 vii4 #aj1 assurance of hope2 #aa1 desire to be much alone in communion with ,christ2 #ab1 their engagement in labours of love2 #ac1 consecration to him of all their gifts2 chap4 viii4 #a1 #b1 a desire that everything interposing between ,christ and them may be removed2 #c1 #d1 their avoidance of everything that would cause the withdrawal of ,christ's love2 #e1 the pleasing consciousness of leaning on ,jesus1 and of being upheld by his everlasting arm2 #f1 their desire to be constantly near him1 and sustained by his power1 and willingness to make every sacrifice for him2 #g1 their conviction of the insufficiency of everything the world could offer to tempt them from ,christ2 #h-aj1 their interest for the salvation of the impenitent2 #ab1 the sense of their accountability as stewards of ,god2 #ac1 the privilege of continual access to the throne of grace2 #ad1 desire for the completion of their redemption1 and for the perfecting of their love to ,christ1 and of his to them1 by the prospect of his second coming4 #ace ,from the analysis of the three latest commentaries upon this book1 it will be perceived that allegorical interpreters1 even to this day1 differ in their views of its application and design4 #ahed4 ,after quitting the bewildering maze of allegorism1 it is cheering to come to the commentary of ,meier1 in which the view that this poem celebrates the victory of virtuous love in humble life over the allurements of royalty is defended4 #acf #ahee4 ,this is also the view propounded by ,friedrich #acg and ,hitzig1 #ach though the latter embraces a similar theory to ,harmer1 that there are two women as chief speakers in the poem4 #ahef4 ,in this opinion of the superiority of virtuous love to all the temptations of royalty1 the ,jew and the ,christian1 the ,englishman and the ,german1 are beginning to unite4 ,the reviewer in the ,jewish ,monthly ,journal of ,history and ,science1 declares himself in favour of regarding the ,shulamite as resisting all the offers of ,solomon and remaining faithful to her shepherd4 #aci ,meier1 the author of a commentary mentioned above1 in his ,history of the poetical ,national ,literature of the ,hebrews1 recently published1 maintains the same opinion4 #adj ,this poem1 says ,dr4 ,davidson1 8warns against impure love1 encourages chastity1 fidelity1 and virtue1 by depicting the successful issue of sincere affection amid powerful temptations4 ,the innocent and virtuous maiden1 true to her shepherd lover1 resists the flatteries of a monarch1 and is allowed to return to her home40 #ada ,umbreit1 in an article upon this book1 just published1 states that he still adheres to the view propounded in his commentary of #ahbh1 #adb noticed above1 that it is a celebration of virtuous love over the allurements of royalty4 ,how mournful is the thought which irresistibly forces itself upon the mind1 in reviewing this imperfect sketch of what has befallen this poem6 ,this book1 we have seen1 is made to describe the most contradictory things4 ,it contains the wanderings of the ,jews1 how they will ultimately 8fill their stomachs with the flesh of the ,leviathan and the best of wines preserved in grapes10 and is the sanctum sanctorum of all ,christian mysteries4 ,it is denounced as a love song1 and extolled as declaring the incarnation of ,christ2 it speaks of the meridian church in ,africa1 and of the betrayal of the ,saviour2 it contains a treatise upon the doctrine of free grace against ,pelagianism1 and an ,aristotelian disquisition upon the functions of the active and passive mind2 it is an apocalyptic vision1 a duplicate of the ,revelations of ,st4 ,john1 and records the scholastic mysticisms of the middle ages2 it denounces ,arianism1 and describes the glories of the ,virgin ,mary2 it 8treats of man's reconciliation unto ,god and peace by ,jesus ,christ1 with joy in the ,holy ,ghost10 and teaches lewdness1 and corrupts the morals2 it records the conversation of ,solomon and ,wisdom1 and describes the tomb of ,christ in ,egyptian hieroglyphics2 it celebrates the nuptials of ,solomon1 and gives us a compendium of ecclesiastical history to the second advent of ,christ2 it records the restoration of a ,jewish constitution by ,zerubbabel1 ,ezra1 and ,nehemiah1 and the mysteries of marriage2 it advocates monogamy and encourages polygamy2 it assists devotion and excites carnal passions4 ,what a solemn lesson we have here never to depart from the simple meaning of the word of ,god6 ,,section ,,vi4--,,the ,,different ,,views ,,classified ,,and ,,examined4 ,the various opinions1 enumerated in the preceding section1 respecting the design of this book1 may be divided into three classes1 the literal1 the allegorical1 and the typical4 ,the first considers the description as real1 that the words should be taken as representing an historical fact2 the second considers that the description has no historical truth for its basis1 but contains some latent meaning2 whilst the third admits the literal meaning1 but regards it as typical of spiritual truth4 ,the literal view adopted by us having been given in sections iii4 and iv41 we have to examine here only the claims of the allegorical and typical4 ,,the ,,allegorical ,,view4 ,the allegorical view principally maintained is1 that this poem1 in language borrowed from that which characterises chaste affections between the sexes1 expresses the mutual love subsisting between the ,lord and his ,church4 ,,reasons ,,for ,,the ,,allegorical ,,view ,,examined4 #a4 ,the existence of this book in the sacred canon has been adduced as an argument for its allegorical interpretation4 8,in what part of the ,hebrew ,bible can we find any composition of an analogous nature8 ,all--every ,psalm1 every piece of history1 every part of prophecy--has a religious aspect1 and 7the book of ,esther perhaps excepted7 is filled with theocratic views of things4 ,how came there here to be such a solitary exception1 so contrary to the genius and nature of the whole ,bible8 ,it is passing strange1 if real amatory ,idyls are mingled with so much1 all of which is of a serious and religious nature4 ,if the author viewed his composition as being of an amatory nature1 would he have sought a place for it among the sacred books8 ,and subsequent redactors or editors--would they have ranked it here1 in case they had regarded it in the same light8 ,i can scarcely deem it credible4 ,so different was the reverence of the ,jews for their ,scriptures from any mere approbation of an amatory poem as such1 that ,i must believe that the insertion of ,canticles among the canonical books1 was the result of a full persuasion of its spiritual import4 ,had the case stood otherwise1 why did they not introduce other secular books1 as well as this1 into the canon80 #adc ,granting that the design of the book was simply to describe love1 we deny that it would have been deemed unworthy of a place in the sacred canon4 ,why should the pleasures of chaste love be considered less worthy of record in the sacred books1 than the sorrow for bereaved friendship1 in #b ,sam4 i4 #ag1 c48 8,to those10 says ,dr4 ,mason ,good1 a defender of the allegorical interpretation1 8who disbelieve the existence of such an allegory they 7the amorets7 still afford a happy example of the pleasures of holy and virtuous love2 they inculcate1 beyond the power of didactic poetry1 the tenderness which the husband should manifest for his wife1 and the deference1 modesty1 and fidelity with which his affection should be returned2 and1 considered even in this sense alone1 they are fully entitled to the honour of constituting a part of the sacred ,scriptures40 #add 8,why should a passion10 remarks another allegorical interpreter1 8so strong1 so universal1 so essential to happiness--to the very existence of the human race1 be denied a place in a ,revelation from ,god to man8 ,as a matter of fact1 has it not a place in every part of the ,bible1 from ,genesis to ,revelation8 ,god is the author of the human constitution as well as of the ,bible2 and he has in all respects adapted his revelation to the nature of the beings for whom it was designed4 ,it would be strange indeed1 if one of the most important and never absent phenomena in the moral and physical creation of men should never be noticed in a revelation to him from his ,creator4 ,if the viciousness and licentiousness of men have loaded this subject with vile and filthy associations in vile and filthy minds1 this is not the fault of ,god or of his revelation4 ,the vine will not be destroyed1 nor the grapes annihilated1 because wicked men make themselves beasts with wine40 #ade ,the design of the book1 in our view1 however1 is not to celebrate love1 but to record an example of virtue1 which is still more worthy of a place in the sacred canon4 #b4 ,it has been urged1 that the language put by the sacred writer into the mouth of the bride1 shows that the poem is to be allegorically interpreted1 because in its literal sense such language would be contrary to nature and to the modesty of women4 8,that this is not a song of human loves10 says ,dr4 ,bennett1 #adf 8is clear from the beginning to the end4 ,it opens with the language of a female3 #8,let him kiss me2' it is full of her solicitous seeking after him2 it abounds with praises of his person1 and her dispraises of herself1 of her person and her conduct2 it invites other females to love him1 and it speaks of him as her brother1 and of her as his sister4 ,let any one examine the ,song1 and then muse over these facts1 recollecting that ,solomon is1 in the opening of the poem itself1 said to be the writer4 ,was ever such a human love-song composed by mortal1 since man either loved or wrote verses8 ,what writer1 with the feelings1 or the reason1 of a man1 would begin a poem on his fair one by describing her as courting him8 ,let it not be said1 #8,we must not transfer our modern and northern ideas to the ancient ,orientals1 who had not our delicate notions of the female character2' for this would only make my case stronger4 ,it would be more abhorrent from the secluded1 submissive character of ,eastern brides to ask the gentlemen to come and kiss them1 than it would be from the dignified confidence of ,british women4 ,it is not a question of climate or age1 but of nature4 ,the bridegroom1 who is supposed to love this fairest of women1 himself puts into her lips this speech3 #8,let him kiss me6' ,never would human love speak thus4 ,though men like to court1 they do not like to be courted2 and while they think it cruel to be rejected when they court1 they without mercy reject her that courts them2 as the forward female has usually found1 from the days of ,sappho to this hour4 ,women were endowed with the form and the qualities intended to attract courtship1 and they feel it2 and when they do not feel it1 men despise them4 ,no man1 therefore1 in his senses1 would think to compliment his fair one by writing of her1 to her1 as if she had lost her retiring modesty1 her female dignity1 and degraded herself by doing that for which every man would despise her4 ,the very first word of this ,song1 then1 stands a witness against the notion of its being a human love-song2 for it would better suit ,solomon's strange woman1 that with an impudent face caught and kissed the young simpleton1 than ,solomon's princess-bride1 or ,dr4 ,smith's supposed chaste monogamist4 ,till fishes mount to sing with larks on the shady boughs1 and nightingales dive to ocean's depths to court the whales1 no man1 of any age1 of any clime1 of any rank1 can be supposed to write ordinary love-songs in such a style4 ,we are told1 by the first word1 that a greater than ,solomon is here1 one who must be courted1 and that loves more than human are the theme4 ,this is the ,bridegroom of whom the ,psalmist says1 #8,he is thy ,lord1 and worship thou him3' #8,kiss the ,son1 lest he be angry1 and ye perish from the way4' ,such a spouse may exhibit his ,bride as asking for his love2 every other must present himself as asking for hers1 and begging the acceptance of his40 ,it is allowed by scholars of taste1 that1 regarded as a mere human production1 this poem is inimitable4 8,every part of this ,song10 says the learned ,bishop ,bossuet1 #adg 8abounds in poetical beauties2 the objects which present themselves on every side are the choicest plants1 the most beautiful flowers1 the most delicious fruits1 the bloom and vigour of spring1 the sweet verdure of the fields1 flourishing and well-watered gardens1 pleasant streams1 and perennial fountains4 ,the other senses are represented as regaled with the most precious odours1 natural and artificial2 with the sweet singing of birds1 and the soft voice of the turtle2 with milk and honey1 and the choicest of wine4 ,to these enchantments are added all that is beautiful and graceful in the human form1 the endearments1 the caresses1 the delicacy of love4 ,if any object be introduced which seems not to harmonize with this delightful scene1 such as the awful prospect of tremendous precipices1 the wildness of the mountains1 or the haunts of lions1 its effect is only to heighten1 by the contrast1 the beauty of the other objects1 and to add the charms of variety to those of grace and elegance40 ,bishop ,lowth1 after having descanted upon some passages1 remarks1 8,nothing can be imagined more truly elegant and poetical than all these1 nothing more apt or expressive than these comparisons40 #adh ,if the poet is so charming in his style1 so exquisite and true in his picture of nature1 surely it is but reasonable to give him credit for understanding his art1 that he was acquainted with the manners and habits of the women of his age1 and that he would be as true to nature in the description of the bride as he is in depicting nature herself4 ,if it be true that language of such exquisite taste would outrage female decency and modesty when addressed to a human love1 it will surely be more outrageous when put into the mouth of the humble1 penitent1 and submissive ,church in addresses to the ,lord of lords4 ,where in the ,old or ,new ,testament do we find any address from the saints to ,god or ,christ resembling the opening of this poem8 ,the addresses of ,abraham1 7,gen4 xviii4 #bc-cc17 ,jacob1 7,gen4 xxxii4 #aj-ac17 and of ,solomon himself1 7#a ,kings viii4 #bc-ec17 and the language in which ,christ has taught us to appeal to ,god1 are characterized by the greatest reverence and humility4 ,how1 then1 can it be affirmed1 that language which would violate female modesty and decency in the mouth of a woman to a lover whom she prizes above all things1 is becoming in the mouth of the ,church when addressing the ,holy ,one of ,israel8 ,dr4 ,bennett1 however1 misunderstood the design of the book4 ,the ,song1 in its literal meaning1 does not begin with representing a woman courting a man1 but describes how a humble and virtuous rustic maiden was taken away from her beloved into the court of ,solomon1 and tempted to transfer her affections1 by the splendour and luxuries of royalty2 but even there1 amidst all the grandeur1 and in spite of all alluring promises1 the maiden was faithful to her espousals1 and desired that he whom she prized above all things would come and rescue her4 #c4 ,it is urged that the same language and imagery employed in the ,song1 and the bridegroom and the bride here introduced1 are elsewhere spiritually applied to the ,lord and his people4 8,this sort of imagery10 says ,professor ,stuart1 8is frequent in the ,old ,testament1 and in the ,new4 ,frequently are the ,jews charged with #8going a whoring after other gods1' ,exod4 xxxiv4 #ae1 #af2 ,lev4 xx4 #e1 #f2 ,numb4 xv4 #ci2 ,deut4 xxxi4 #af2 #b ,chron4 xxi4 #ac2 ,ps4 lxxiii4 #bg2 ,ezek4 vi4 #i4 ,here the idea is1 that they were affianced to the true ,god1 and could not seek after idols without incurring the guilt of adultery4 ,so ,god calls himself the husband of the ,jews1 ,isa4 liv4 #e4 ,the nation of ,israel is his bride1 ,isa4 lxii4 #d1 #e4 ,in ,isa4 l4 #a1 ,jehovah asks1 #8,where is the bill of divorcement' on his part1 that ,israel has departed from ,him8 ,jeremiah speaks of the espousals of ,israel1 when young1 in the wilderness4 8,in ,jer4 iii4 #a-aa1 the prophet speaks of ,israel as playing the harlot1 and committing adultery1 in forsaking ,jehovah4 ,in ,ezekiel1 two long chapters 7xvi41 xxiii47 are occupied with carrying through the imagery drawn from such a connexion4 ,hosea 7i4-iii47 recognises the same principle1 and carries out the imagery into much detail4 ,these are merely specimens4 ,ps4 xlv4 presents the ,mediator1 the ,king of ,zion1 in the attitude of a husband to the ,church1 and celebrates the union between the former and the latter4 ,so in the ,new ,testament this imagery is very familiar3 see ,matt4 ix4 #be2 ,john iii4 #bi2 ,rev4 xix4 #g2 xxi4 #b4 ,especially consult #b ,cor4 xi4 #b1 and ,eph4 v4 #bb-cb1 where the ,apostle has gone into much particularity as to the duties of the marriage relation1 and then avows that he #8speaks concerning ,christ and the ,church4' 8,such is the custom of the ,hebrew writers and of the ,apostles4 ,if1 now1 this imagery is so often employed in all parts of the ,bible1 what forbids the idea1 that there may be one short book in which it occupies an exclusive place1 and is designed to symbolize the love that existed between ,god and his ancient people1 or the ,church2 or rather1 which ought to have existed on their part between ,god and his spiritually regenerated people1 who have become one 7in a spiritual sense7 with him1 and are for ever united to him8 ,it cannot be shown1 priori1 that it is even improbable40 ,first4 ,what does this argument prove8 ,surely not what the representation of this poem ,,is2 it only shows what it might have been4 ,it shows that if we had indubitable proof1 as in the passages cited1 that a whole book in the sacred canon is entirely devoted to symbolize1 under the figure of husband and wife1 the covenant-relationship subsisting between ,god and his people1 we ought not to be surprised at it1 since it would be in harmony with those alleged passages4 ,but surely it does not follow1 that1 because we are distinctly told in some passages of ,scripture that the terms1 husband and wife1 are employed to symbolize the relationship between ,god and his people1 that they should have this signification as often as they are employed4 ,second4 ,we utterly deny that the covenant-relation which subsisted between the ,lord and ,israel was represented by the terms1 husband and wife1 before the days of ,solomon4 ,the phrase1 1 to go whoring after other gods1 to which reference has been made1 does not mean that ,israel1 by worshipping idols1 committed spiritual adultery against the true ,god to whom they were affianced1--thus presupposing ,god to be their husband1 and ,israel his wife1--but describes a literal fact1 the libidinous orgies and prostitutions identified with heathen worship which the ,jews indulged in when worshipping idols4 ,numb4 xxv4 #a2 ,hos4 iv4 #ac1 c4 ,this is evident from ,exod4 xxxiv4 #ae1 #ag1 where this phrase first occurs1 and is applied to heathen women worshipping their own gods4 ,and though these women stood in no such covenant-relation to the ,god of ,israel1 and therefore could not incur the guilt of spiritual adultery1 yet they are described as 8whoring after ,,their gods40 ,from these licentious rites1 therefore1 originated this phrase1 afterwards used to describe the worship of idols4 ,but even admitting that it does suggest a marriage relationship between ,god and his people1 the distance between a suggestive phrase of this kind and an entire book of marital descriptions is so great1 that the one cannot be reasonably supposed to have suggested the other4 ,third4 ,we deny that even the language used by the prophets after the days of ,solomon1 in the passages cited1 is at all analogous to that of this poem4 ,let us examine some of the passages themselves4 ,isa4 l4 #a3-- 8,where is the bill of your mother's divorce ,with which ,i dismissed her80 ,isa4 liv4 #d-f3-- 8,fear not1 for thou shalt not be ashamed1 ,and be not abashed1 for thou shalt not blush2 ,for thou shalt forget the shame of thy youth1 ,and the reproach of thy widowhood thou shalt remember no more4 ,for he weddeth thee who made thee4 ,jehovah of hosts is his name1 ,and the ,holy ,one of ,israel redeemeth thee4 ,he is called the ,god of the whole earth4 ,for ,jehovah calleth thee1 as a forsaken wife1 when spirit-broken1 ,and as a wife of youth when melting in repentance1 saith thy ,lord40 ,isa4 lxii4 #d1 #e3-- 8,no more shall it be said to thee1 ,thou forsaken6 ,and no more shall it be said to thy land1 ,thou desolate6 ,but thou shalt be called1 ,the object of my delight1 ,and thy land1 ,the married woman2 ,for ,jehovah delighteth in thee1 ,and thy land shall be married2 ,for the young man shall marry the virgin2 ,thy children shall marry thee2 ,and with the joy of a bridegroom over his bride ,shall thy ,god rejoice over thee40 ,jer4 iii4 #bj3-- 8,as a wife faithlessly departeth from her husband1 ,so have ye acted faithlessly towards me1 ,o house of ,israel6 saith ,jehovah40 ,these1 and several more of a similar kind1 are the passages referred to1 to prove that the bridegroom and bride in this ,song mean the ,lord and his people6 ,how totally different is the strain of thought and expression in those passages to that in the ,song6 ,in the former1 the wedded-relation forms the comparison2 in the latter1 ante-nuptial love is the theme4 ,in the former1 the general idea of the figure is briefly used1 without any particulars of the accompaniments2 in the latter1 particulars of the persons1 dresses1 scenery1 are largely described4 ,in the former1 ,god is represented as the ,high and ,holy ,one inhabiting eternity1 and1 in his infinite condescension and compassion1 loving1 with the tenderness of a husband1 ,israel1 who is represented as an unlovely1 ungrateful1 and unfaithful wife2 in the latter1 the bridegroom and the bride are placed upon an equality1 nay1 the bridegroom declares that his heart has been ravished by the charms and faithfulness of the bride4 ,in the former we are distinctly told that the husband means the ,lord1 and the wife the people of ,israel1 so that the most superficial reader is compelled to perceive it2 in the latter we have no intimation whatever that the lovers are intended to represent ,god and his people1 and no reader would ever gather it from the poem4 ,this will appear all the more forcible when we remember that1 supposing this poem to be a description of the covenant-relation subsisting between ,god and his people1 it contains the completest representation of this kind4 ,we should1 therefore1 naturally expect that subsequent writers1 employing the same figure1 would borrow something of the imagery and colouring from it4 ,but1 so far from this being the case1 there is not the slightest analogy between the strain of thought and expression of this poem and that of subsequent writers4 ,fourth4 ,the #deth ,psalm1 which is supposed to celebrate1 allegorically1 the union of the ,messiah and the ,church1 has been adduced as analogous to the ,song of ,songs1 and therefore an evidence in behalf of the allegorical interpretation4 8,if we admit10 says ,hengstenberg1 8the allegorical interpretation of this ,psalm1 we shall also be obliged to drop the literal meaning of the ,song of ,songs40 ,is it certain1 however1 that this ,psalm is all allegory8 ,the ,psalm itself gives not the slightest intimation that it is to be understood in any other than its literal sense4 ,let us examine it3-- 8,my heart boils with good matter2 ,when ,i think my work is for the king1 ,my tongue becomes as a style of a quick writer4 ,thou art beautiful1 beautiful above the sons of men3 ,charm is poured upon thy lips1 ,therefore ,god has blessed thee for ever4 ,gird thy sword on thy thigh1 ,o hero6 ,thy splendour and thy glory1 yea1 thy glory1 ,ride on victoriously for truth and mildness and right4 ,great things shall thy right hand teach thee6 ,thy arrows are sharp--people fall under thee-- ,they dart into the heart of the king's enemies6 ,thy throne1 ,o ,god1 stands for ever and ever2 ,a sceptre of justice is the sceptre of thy kingdom2 ,thou lovest right1 and hatest wrong2 ,therefore ,god1 thy ,god1 anointed thee ,with gladdening oil above thy companions6 ,myrrh1 aloes1 and cassia are all thy garments1 ,out of ivory palaces stringed instruments joyfully greet thee2 ,kings' daughters are among thy dear ones-- ,upon thy right hand stands the queen in gold of ,ophir4 ,hear1 ,o daughter1 and see1 and incline thine ear2 ,forget thy people and thy father's house1 ,that the king may desire thy beauty1 ,for he is thy ,lord1 and honour thou him4 ,o daughter of ,tyre1 now with presents ,the rich of the people salute thy face4 ,the king's daughter stands in the palace in all the splendour1 ,her clothing is of fabricated gold1 ,she is led to the king in wrought raiment2 ,behind her are the virgins1 her companions1 brought for thee2 ,they are conducted with joy and rejoicing1 ,they enter the palace of the king4 ,instead of thy fathers shall be thy sons2 ,thou wilt set them as princes over the whole land4 ,i wilt celebrate thy name from generation to generation2 ,therefore shall nations praise thee for ever and ever40 ,this ,psalm is evidently a congratulatory nuptial-song1 composed for the occasion of a king's marriage with a princess of ,tyre4 ,the sacred writer begins by stating that such is the greatness of the subject1 that it awakens thoughts too big for utterance2 but recollecting that his work is for the king1 at once his tongue is loosed1 and glides as rapidly as the stylus of a quick writer 7#b74 ,he then celebrates the king's beauty and eloquence1 recognising in it ,god's blessing 7#c71 his valour1 symbolized by the conquering sword1 the prosperous chariot1 the terrible arm1 the well-directed arrow 7#d-f71 his divine throne1 and love of justice 7#g71 his great happiness1 resulting from his love for justice 7#h71 which consists in the splendour around him 7#i71 in his magnificent harem1 and especially in the new princess-bride at his right hand 7#aj74 ,having gradually arrived at the subject which is the occasion of the poem1 the sacred writer now addresses the bride1 and1 in accordance with ,eastern custom1 which represents brides as unwilling to leave their parents on the day of espousals 7,comp4 ,deut4 xxi4 #ac71 telling her to forget her father's house1 as she will have such glory as is just described 7#aa1 #ab74 ,the bride is then presented with gifts1 according to ,oriental manners1 from the first ladies of the kingdom 7#ac72 she appears in all the splendour in the first palace 7#ad71 and thence conducted in grand procession to the king's palace 7#ae1 #af74 ,the marital procession now being over1 the inspired writer congratulates the king1 wishing him a happy issue 7#ag71 and concludes by saying that his renown will rapidly spread 7#ah74 ,what is there in this ,psalm compelling us to understand it allegorically8 ,the quotation of the sixth verse in ,hebrews i4 #h1 #i1 only proves that this verse refers in a higher sense to the ,messiah1 but not that the whole ,psalm is descriptive of him4 ,who would think of allegorizing the eighth chapter of ,isaiah1 because verses #ag and #ah are quoted in ,hebrews ii4 #ac8 ,the throne of ,david is declared to be an everlasting throne1 #b ,sam4 vii4 #ac1 #af2 a throne of ,god1 i4e4 a divine throne1 since the ,messiah was to be the last and ever reigning king4 ,hence it is said1 1 8and ,solomon sat upon the throne of ,jehovah as king instead of his father ,david40--#a ,chron4 xxix4 #bc4 ,every king1 therefore1 of that lineage1 occupying the throne1 was regarded as the representative of ,god2 as the predecessor and type of ,him who was to be born of the seed of ,david to occupy the throne in the highest sense4 ,so that1 whether we translate thy throne1 ,o ,god1 taking as a vocative1 or thy ,god-throne1 i4e4 the throne committed to thee by ,god1 or1 thou art seated upon a throne of ,god1 or regard the phrase as an ellipsis for 1 thy throne is a throne of ,god1 comes substantially to the same thing4 ,it is1 therefore1 a groundless assertion1 that the whole ,psalm is an allegory1 and the reference to it in proof of the allegorical interpretation of the poem before us is nugatory4 ,but1 even admitting that the #deth ,psalm is an allegory1 this would by no means prove that the ,song of ,songs is also an allegory1 for the two cases differ essentially4 ,in the former the bridegroom is addressed in verse #h as ,god1 and this verse is quoted in the ,new ,testament1 whereas in the latter there is nothing of the kind4 #d4 ,the custom of oriental nations to express their religious and devotional sentiments under the disguise of amatory and drinking songs has been adduced as an argument in favour of the allegorical interpretation of the ,song of ,songs4 8,the durweesh10 #adi says ,lane1 8pointed out the following poem as one of those most common at ,zikrs1 and as one which was sung at the ,zikr which ,i have begun to describe4 ,i translated it verse for verse1 and imitate the measure and system of the original1 with this difference only1 that the first1 third1 and fifth lines of each stanza rhyme with each other in the original1 but not in my translation4 #8,with love my heart is troubled1 ,and mine eyelid hindereth sleep3 ,my vitals are dissever'd1 ,while with streaming tears ,i weep4 ,my union seems far distant1 ,will my love e'er meet mine eye8 ,alas6 did not estrangement ,draw my tears1 ,i would not sigh4 #8,by dreary nights ,i'm wasted1 ,absence makes my hopes expire2 ,my tears1 like pearls1 are dropping1 ,and my heart is wrapt in fire4 ,whose is like my condition8 ,scarcely know ,i remedy4 ,alas6 did not estrangement ,draw my tears1 ,i would not sigh4 #8,o turtle dove6 acquaint me ,wherefore thus dost thou lament8 ,art thou so stung by absence8 ,of thy wings deprived1 and pent8 ,he saith1 #8,our griefs are equal2 ,worn away with love1 ,i lie4' ,alas6 did not estrangement ,draw my tears1 ,i would not sigh4 #8,o ,first and ,everlasting6 ,show thy favour yet to me4 ,thy slave1 ,ahh'mad ,el-,bek'ree1 #aej ,hath no ,lord excepting ,thee4 ,by ,t-,h1 #aea the great prophet1 ,do thou not his wish deny4 ,alas6 did not estrangement ,draw my tears1 ,i would not sigh4' 8,i must translate a few more lines1 to show more strongly the similarity of these songs to that of ,solomon2 and lest it should be thought that ,i have varied the expressions1 ,i shall not attempt to translate into verse4 ,in the same collection of poems sung at ,zikrs is one which begins with these lines3-- #8,o gazelle from among the gazelles of ,el-,yem'en6 ,i am thy slave without cost2 ,o thou small of age1 and fresh of skin6 ,o thou who art scarce past the time of drinking milk6' 8,in the first of these verses we have a comparison exactly agreeing with that in the concluding verse of ,solomon's ,song2 for the word which1 in our ,bible1 is translated a #8roe1' is used in ,arabic as synonymous with ghaza'l 7or a gazelle72 and the mountains of ,el-,yem'en are #8the mountains of spices4' ,this poem ends with the following lines3-- #8,the phantom of thy form visited me in my slumber4 ,i said1 8,o phantom of slumber6 who sent thee80 ,he said1 8,he sent me whom thou knowest2 ,he whose love occupies thee60 ,the beloved of my heart visited me in the darkness of night2 ,i stood1 to show him honour1 until he sat down4 ,i said1 8,o thou my petition1 and all my desire1 ,hast thou come at midnight1 and not feared the watchmen80 ,he said to me1 8,i feared1 but1 however1 love ,had taken from me my soul and my breath40' 8,compare the above with the second and five following verses of the fifth chapter of ,solomon's ,song4 ,finding that songs of this description are extremely numerous1 and almost the only poems sung at ,zikrs2 that they are composed for this purpose1 and intended only to have a spiritual sense 7though certainly not understood in such a sense by the generality of the vulgar72 ,i cannot entertain any doubt as to the design of ,solomon's ,song40 ,to this we cannot do better than quote the able reply of ,dr4 ,noyes3--8,now1 as to the first of these religious love-songs of the ,mahometan dervishes1 whatever slight resemblance it may have to any part of the ,canticles1 it differs essentially from any of them in the circumstance1 that the ,supreme ,being is expressly introduced as the object of worship4 ,without this essential circumstance1 no one could tell whether it were originally composed for a love-song1 or a religious hymn expressing a longing for a union of the soul with ,god1 according to the ,sufi philosophy and religion4 8,in the second poem1 quoted by ,mr4 ,lane1 it is to be regretted that he did not quote the whole of it2 for ,i can by no means admit the circumstance1 that it was sung by the dervishes in their morning devotions1 to be conclusive in regard to the original design of the hymn4 ,mr4 ,lane expressly tells us1 in a note1 that he found the last six lines inserted1 with some slight alterations1 as a common love-song1 in a portion of the #8,thousand and ,one ,nights1' printed at ,calcutta1 vol4 i4 p4 #bbe2 ,lane's translation1 ii4 p4 #cdi4 ,whether the whole was originally composed as a love-song or a devotional hymn1 does not appear from the parts of it which ,mr4 ,lane gives us4 ,if in the parts omitted there is any clear reference to the ,deity1 it is unlike any of the ,canticles4 ,if there is no such reference1 the meaning of the hymn is too doubtful to allow any inference to be drawn from it4 ,for we might as well allow the singing of ,dr4 ,watts's version of the ,canticles to be an argument for their original design1 as to admit the singing of the mystic dervishes to be an evidence of the original design of the hymns4 8,before making some general remarks on this whole subject of attempting to show the character of the ,canticles by reference to the pantheistic poetry of the ,mahometan ,sufis1 it may be well to mention that reference has been made even to the poets of ,hindostan for the same purpose2 especially to the ,gitagovinda1 the production of a celebrated ,hindoo poet1 named ,jayadeva4 ,this appears to be a mystical poem1 designed to celebrate the loves of ,crishna and ,radha1 or the reciprocal attraction between the divine goodness and the human soul4 ,now1 whatever may be the resemblance between the ,gitagovinda and ,canticles in some of their imagery1 there is this essential difference1 that1 in the former1 ,crishna was the chief incarnate god of the ,hindoos1 #aeb and that there are references to other gods1 and to various superstitions of the ,hindoo mythology2 whilst in the ,canticles there is no reference to any but human characters4 ,besides1 the author of the ,gitagovinda clearly intimates its religious character in the conclusion of the poem4 8,we have seen1 then1 that there are material differences between the ,canticles and the religious love-songs to which reference has been made4 ,but supposing the resemblance to be much greater than it is1 those mystical songs do not in any essential respect resemble the ,canticles more than they do the odes of ,anacreon1 or some of the eclogues of ,virgil1 and the idyls of ,theocritus4 ,and it is not easy to see why the resemblance does not prove the religious character of the odes of ,anacreon as much as that of the ,canticles4 8,but1 after all1 the great objection remains to any conclusion drawn from the pantheistic mystic poets1 whether of ,persia or ,india1 whether ,mahometans or ,hindoos1 namely1 that their productions are founded on a religion and philosophy entirely different from the ,jewish4 ,the ,canticles are productions of a different country1 and separated from any of the songs of the ,sufi poets by an interval of nearly two thousand years4 ,the ,jewish religion has nothing in common with the pantheistic mysticism on which those songs are founded4 ,there is nothing in the ,old ,testament of a similar character4 ,if any production similar to those mystical love-songs had existed in the religious literature of the ,hebrews1 undoubtedly we should have found some in the ,book of ,psalms1 which comprises compositions from the age preceding that of ,david to a period long after the return of the ,jews from the captivity at ,babylon4 ,but in the most fervent ,psalms1 the forty-second1 for instance1 nothing of the kind is found4 ,neither is anything similar to those mystic songs ascribed to the ,jewish sect1 as described by ,josephus and ,philo4 ,nothing of the kind is laid to the charge of the ,essenes4 ,it is needless to say1 that nothing approaching to the like character is found in the ,new ,testament4 ,nothing similar is discovered even in the allegorical paraphrase of the ,targumist on the ,canticles4 ,all those religious love-songs are founded on the ,sufi religion1 or rather religious philosophy1 which1 whether it was borrowed from ,india1 as ,von ,hammer supposes1 or arose independently among the ,mahometans1 according to the opinion of ,tholuck1 has no connexion with1 or resemblance to1 the ,jewish4 ,it is as different from the latter as darkness from light4 ,the argument1 therefore1 which is drawn from the mystical songs of the ,mahometan devotees for ascribing a mystical character to the ,canticles1 is without foundation40 #aec ,,reasons ,,against ,,the ,,allegorical ,,interpretation4 #a4 ,in every allegory1 or parable1 employed in the ,scripture1 or in any good human composition1 something is wrought into its texture to indicate most unmistakably its allegorical design2 that1 under the garb of an immediate representation1 is conveyed one more remote4 ,thus1 in the #hjth ,psalm1 #i-ag1 where ,israel is represented under the allegory of a vine which came out of ,egypt1 the design is distinctly wrought into the texture of the allegory4 ,the expression1 heathen 771 at the very beginning of the allegory1 and especially the words1 8the ,son whom thou hast chosen for thyself10 7 7 in the second clause of verse #ae1 which1 when compared with 8the ,son of man1 whom thou hast chosen for thyself10 7 7 in verse #ag1 are evidently explanatory of the words1 8and protect what thy right hand hath planted10 7 7 in the first clause1 clearly to show the more remote concealed under the immediate representation4 ,thus1 also1 in the allegory of the vineyard1 and by the prophet ,isaiah 7chap4 v471 we are distinctly told1 in verse #g1 that 8the vineyard of ,jehovah of hosts is the house of ,israel1 and the men of ,judah are his pleasant plantation40 ,compare also ,judges ix4 #g-bj2 #b ,kings xiv4 #i1 #aj2 ,ezek4 xvi41 xxxvii4 #a-ad2 the parables of our ,saviour1 ,acts x4 #aj-ag2 ,gal4 iv4 #bb-ca4 ,now1 if the author of this poem had intended it to be understood allegorically1 he would have given some indication to that effect2 especially since the allegories occasionally used in some parts of this very book1 chap4 iv4 #ab1 v4 #a1 vii4 #g1 #h1 are rendered plain and obvious4 ,as there is1 however1 not the slightest intimation in the whole of this lengthy poem that it is designed to be allegorical1 we are unwarranted to assume it4 ,to take one portion of the ,scriptures allegorically1 without even an obscure hint of it in the writing itself1 is to violate the established laws of language1 and to expose all other portions of the sacred volume to a similar treatment4 ,if one chooses to allegorize one part without any sanction1 another may choose to allegorize another4 ,but we have no right to depart from the literal and obvious meaning1 without some authority for it from the inspired writer4 ,this argument is applicable to every allegorical interpretation1 whether historical or hieroglyphical1 whether political or metaphysical4 #b4 ,the total silence of our ,lord and his apostles respecting this book is against its allegorical interpretation4 ,if this ,song1 according to the first and last allegorisers1 8celebrates the glories of the ,messiah1 and all the mercies which through him flow to the people of ,god10 it is more spiritual and more evangelical than any other portion of the ,old ,testament2 surpassing even the writings of ,isaiah1 who is called the fifth ,evangelist1 and is1 in fact1 what ,origen called it1 8,the ,holy of ,holies40 ,is it possible1 then1 that our ,saviour1 and his apostles1 who1 in their disputations with the ,jews1 so frequently quoted the prophecies of ,isaiah and other passages of the ,old ,testament1 far less evangelical and ,messianic1 would never have referred to this book8 ,is it possible that the apostle ,paul1 who so frequently describes the relation of ,christ to the ,church by the union subsisting between husband and wife 7#b ,cor4 xi4 #b1 ,rom4 vii4 #d1 ,eph4 v4 #bc-cb71 would be silent about a book which1 more than any other in the ,old ,testament1 sets forth that union8 ,the fact1 therefore1 that our ,saviour and his apostles never once refer to this book is against the allegorical interpretation4 #c4 ,is ,solomon the man from whom a production of such preeminent spirituality and evangelical truth could have been reasonably expected8 ,is there anything in his private history1 his habits of thought1 his moral inclinations1 or in the general tone and tendency of his religious emotions1 at any period of his life1 as far as they can be gathered from his history and writings1 that would lead us to anticipate such evangelical piety as this interpretation presupposes8 ,the same agreement which exists between ordinary writers and their productions is perceptible in the inspired records4 ,inspiration1 like ,providence1 selected the fittest instruments for its work4 ,thus1 between the history of ,moses and his writings1 of ,david and his writings1 of ,paul and his writings1 of ,john and his writings1 a natural uniformity exists2 and so of other sacred authors4 ,accordingly1 we have not only to suppose ,solomon to have been more spiritually-minded than any under the ,jewish economy1 but to have stood upon a level with the most enlightened and ,christ-loving under the present dispensation1 in order to write in such a strain4 ,where is any such qualification in ,solomon1 even remotely intimated in any part of ,scripture8 ,the wisdom which he asked1 which he received1 and for which he gained celebrity1 was that displayed in his civil government1 in social and moral teaching1 of which the first-fruit was given in the decision upon the litigation of the two mothers4 ,the poetry which he wrote1 consisting of one thousand and five songs1 upon natural history1 not having been deemed worthy of a place in the sacred canon1 shows that his muse did not indulge in a devotional strain4 ,the ,book of ,ecclesiastes1 which is attributed to him by tradition1 is the experience of a thorough-going worldling and libertine1 and a confession to men rather than ,god4 ,the extensive harem which he had1 displays his inordinate desire for revels and foreign women1 which in old age inveigled him into the practice of idolatry4 8,his wives10 as the ,scriptures teach us1 8turned away his heart after other gods40 ,and the last we hear of him is1 that 8his heart was not perfect with the ,lord his ,god1 as was the heart of his father ,david40 ,is this1 then1 the man whose love-song is to be regarded as pre-eminently spiritual1 and to be exalted as more evangelically rapturous than any other portion of ,holy ,writ8 ,to what period of his life is this pre-eminent piety to be assigned8 ,if to the latter1 that is the period of his greatest degeneracy2 if to the former1 how are we to reconcile his apostasy with so high a degree of spirituality8 ,it is difficult to conceive of such a mind as that of ,solomon brought at any time into sympathy with the prevailing allegorical exposition of this ,song4 ,who can conceive that he who caused an irreparable breach in his kingdom should represent himself as the ,prince of ,peace1 or that he who was the embodiment of the carnal propensities should describe1 under the figure of chaste love1 the union of ,christ and his ,church8 ,it is inconceivable4 ,as ,david was not qualified to build the temple1 because he had been a man of war1 and had shed blood1 so ,solomon was not qualified to write in such a spiritual strain concerning ,christ and his ,church as the prevailing allegorical exposition of this ,song1 because he had been a man of lust1 and had turned aside to idolatry4 #d4 ,for the same reason we cannot conceive that any other writer would represent the ,messiah as symbolized by ,solomon4 ,is it conceivable that he of whom the whole congregation of ,israel complained to ,rehoboam1 8,thy father made our yoke grievous--now1 therefore1 make thou the grievous service of thy father1 and his heavy yoke which he put upon us1 light10 would be chosen to represent the ,saviour of the world1 8whose yoke is easy1 and his burden light80 ,we can understand why the painter of the ,judgment ,scene1 among the celebrated frescoes in the cloisters of the ,campo ,santo at ,pisa1 in ,italy1 in which the righteous and the wicked are gathered in their respective positions1 placed ,solomon midway between them1 as an intimation of his inability to determine to which he belonged2 but we cannot understand how an inspired writer could choose ,solomon1 whose lusts were displayed in the revels of an ,eastern harem1 and who was seduced to practise idolatry1 to represent ,him who was 8holy1 harmless1 undefiled1 and separate from sinners10 together with the pure and holy union subsisting between him and the ,church4 #e4 ,in the allegorical interpretation language is attributed to ,christ inconsistent with his dignity and purity4 ,it is almost blasphemous to suppose ,christ thus to address his ,church3-- 8,the circuits of thy thighs are like ornaments1 ,the work of a master's hand4 ,thy navel is a round goblet1 ,let not spiced wine be wanted in it6 ,thy growth is like a palm tree1 ,and thy bosom like its clusters3 ,i long to climb this palm tree1 ,i long to clasp its branches4 ,may thy bosom be unto me ,as the cluster of the vine1 ,and the odour of thy breath ,as that of apples40--,chap4 vii4 verses #b1 #c1 #g1 #h4 ,this is the language of seduction1 but it is blasphemous when put into the mouth of ,him who spake as never man spake4 #f4 ,the fact that three individuals are the principal persons represented in this ,song1 and not two1 is subversive of the allegorical theory4 ,that the poem speaks of three individuals1 a shepherd1 a shepherdess1 and a king1 and that the shepherd1 and not the king1 is the object of the maiden's affections1 will be evident to every unbiassed reader of the book1 and has been recognised by some of the ,rabbins of the middle ages4 ,for the sake of avoiding repetition1 we refer the reader to the commentary1 where the passages pointing out the distinctions of persons are dwelt upon at large4 ,,the ,,typical ,,interpretation4 ,the defenders of this view maintain that this book records an historical fact2 that it celebrates the nuptials of ,solomon with the daughter of ,pharaoh1 or some other heathen princess2 and that this marriage typically represents the union of ,christ with the ,gentiles4 ,,reasons ,,against ,,this ,,nuptial ,,theory4 ,as we concur with those who seek 8nothing more than a general resemblance0 between the history recorded in this poem and the experience of the people of ,god1 we have merely to state here our reasons for rejecting their view of the narrative4 ,no direct mention is made in any part of this long poem of the marriage ceremony1 nor of any circumstance connected with it4 ,the bride is described as a shepherdess and keeper of the vineyards 7chap4 i4 #f2 ii4 #ae2 viii4 #ab1 c472 as walking in the streets in the night to seek her beloved1 and as being beaten by the watchmen 7iii4 #a-d2 v4 #f1 c472 which are incompatible with the notion that she was ,pharaoh's daughter1 or any other princess4 ,besides1 the bridegroom is not a king1 but a shepherd2 ,compare chap4 i4 #g1 ii4 #h1 and v4 #b-d4 ,these1 and other considerations which might have been mentioned1 are entirely subversive of this nuptial theory4 ,,section ,,vii4--,,author1 ,,date1 ,,and ,,form ,,of ,,the ,,book4 ,the title of this poem designates ,solomon as the author1 but internal evidence is against it4 ,the writer mentions ,david in such a manner as if he were not his father 7iv4 #d74 ,the words1 8,solomon had a vineyard10 7 7 in viii4 #aa1 show that the author was not a contemporary of ,solomon4 ,the subject1 especially of the poem1 is decisive against ,solomon's authorship4 ,it is impossible that he should describe himself as having attempted to gain the espoused affections of a country maiden1 and being defeated by her virtue4 ,the title is evidently the addition of some other person2 for the author of the book never uses the pronoun 1 but invariably employs the form 2 nor would he announce his own production as 8the finest or most celebrated ,song40 ,the exact date of this poem has been much disputed4 ,the powerful and fluent style in which it is written1 the originality of the figures1 the freshness of the landscapes1 the life-like descriptions of local circumstances1 the imagery drawn from the royal court of ,solomon1 the horses of ,pharaoh1 the tower of ,david1 the tower of ,solomon1 the pools of ,heshbon1 show that the poem must have been written in the most flourishing age of the ,hebrew language1 and about the time of ,solomon4 ,the ,aramaisms1 which used formerly to be adduced in order to transfer the book to an age after the captivity1 are now rightly rejected by modern critics as inconclusive1 since almost every poetical composition of the earliest age contains such ,aramaisms4 ,the word 7iv4 #ac71 to which a ,persian etymology has been assigned1 and which has especially been used to show the late period of this poem1 is of a ,shemitic origin4 ,see ,comment1 in loco4 ,the form1 for 1 is also used in ,judges v4 #g1 vi4 #ag1 vii4 #ab1 viii4 #bf1 and with god in ,amos vi4 #e1 ix4 #aa1 ,hos4 iii4 #e4 ,the form of the book has also been a matter of great dispute4 ,from its earliest age it has been regarded as one continued poem in a dramatic form4 ,since the time of ,richard ,simon1 however1 who pronounced this book1 8summam confusionem1 in quo vix ac ne vix quidem personas discernere queas10 #aed it has been split by many into fragments1 and in turn been regarded as consisting of a number of eclogues1 or armorets1 as an epithalamium1 or nuptial song1 and as a regular drama4 ,having traced the unity of the poem in ,section ,,iii41 we need not again show the unsoundness of the fragmentary theory1 which originated from a misunderstanding of the design of the book4 ,it seems to approach nearest in form to a drama4 ,yet we cannot think1 with ,ewald and others1 that it is a regular drama4 ,the genius1 character1 and manners of the ,shemitic nations1 their deficiency in plastic art1 and their aversion to females appearing on a public stage1 seem to militate against it4 ,,section ,,viii4--,,exegetical ,,helps4 ,,ancient ,,versions4 #a4 ,the ,septuagint1 being the oldest version1 occupies the first place2 its deviations from the ,hebrew have generally been noticed in the ,commentary4 #b4 ,the ,vulgate1 which chiefly follows the ,septuagint4 #c4 ,the ,syriac1 which is far superior to the ,vulgate4 ,,jewish ,,commentators4 #d4 ,rashi1 found in ,buxtorf's ,rabbinical ,bible4 #e4 ,rashbam1 recently printed for the first time4 #f4 ,ibn ,ezra2 found in ,rabbinical ,bible4 #g4 ,immanuel1 ,,ms4 in the ,british ,museum4 #h4 ,an ,anonymous ,,ms4 ,commentary in the ,bodleian4 #i4 ,philippson1 an excellent modern commentator4 ,,christian ,,commentators4 #aj4 ,wilcock1 an old writer4 #aa4 ,bishop ,lowth1 ,praelect4 xxx41 xxxi4 #ab4 ,bishop ,percy1 ,commentary and ,annotations4 #ac4 ,michaelis1 ,notes to ,bishop ,lowth's ,praelect4 #ad4 ,jacobi1 ,das ,gerettete ,hohelied4 #ae4 ,durell1 ,critical ,remarks on ,job1 ,proverbs1 ,ecclesiastes1 and ,canticles4 #af4 ,williams1 ,the ,song of ,songs4 #ag4 ,good1 ,the ,song of ,songs4 #ah4 ,umbreit1 ,lied der ,liebe4 #ai4 ,ewald1 ,das ,hohe ,lied ,salomonis1 c4 #bj4 ,dpke1 ,philologisch-critischer ,comment4 #ba4 ,rosenmller1 ,scholia in ,vet4 ,test4 #bb4 ,hirzel1 ,das ,lied der ,lieder4 #bc4 ,magnus1 ,kritische ,bearbeitung und ,erklrung des ,hohen ,liedes4 #bd4 ,noyes1 ,a ,new ,translation of the ,proverbs1 ,ecclesiastes1 and the ,canticles4 #be4 ,heligstedt's ,continuation of ,maurer's ,commentary1 which1 by an oversight1 is omitted in the ,historical ,sketch1 deserves special mention3 ,leipzig1 #ahdg4 #bf4 ,delitzsch1 ,das ,hohe ,lied untersucht und ausgelegt4 #bg4 ,hengstenberg1 ,das ,hohe ,lied ,salomonis4 #bh4 ,meier1 ,das ,hohe ,lied in deutscher ,uebersetzung4 #bi4 ,friedrich1 ,cantici ,canticorum4 #cj4 ,hitzig1 #afth ,lief4 des ,kurzg4 ,exeg4 ,handb4 ,for a further description of the dates and places of these commentaries1 see the ,historical ,sketch4 ,,the ,,song ,,of ,,songs1 ,,which ,,is ,,solomon',s4 ,,section ,i4 ,,chapters ,i4-,,ii4 #g4 ,the scene of this division is in the royal tent of ,solomon4 ,the ,shulamite1 separated from her beloved shepherd1 longs to be reunited with him whom she prizes above all things 7#b1 #c74 ,she implores him to come and rescue her2 for1 though brought by the king into his royal tent1 her love continues the same 7#d74 ,she repels the scornful reflection of the court ladies when they hear her soliloquy 7#e1 #f74 ,she implores her lover to tell her where she may find him 7#g74 ,the court ladies ironically answer this request 7#h74 ,meanwhile the king comes in1 and tries to win her affections by flatteries and promises 7#i-aa74 ,this attempt fails1 and she opposes to the king's love her unabated attachment to her beloved shepherd 7#ab-;ii4 #f74 ,in an ecstasy she adjures the court ladies not to attempt to persuade her to love any one else 7#g74 ,,the ,,shulamite4 ,oh for a kiss of the kisses of his mouth6 ,for sweet are thy caresses above wine4 ,sweet is the odour of thy perfumes1 ,which perfume thou art1 by thy name diffused abroad1 ,therefore do the damsels love thee4 ,oh draw me after thee6 ,oh let us flee together6 ,the king has brought me into his apartments1 ,but we exult and rejoice in thee1 ,we praise thy love more than wine1 ,the upright love thee4 ,i am swarthy1 ,o ye daughters of ,jerusalem1 ,as the tents of ,kedar1 ,but comely as the pavilions of ,solomon4 ,disdain me not because ,i am dark1 ,for the sun hath browned me4 ,my mother's sons were severe with me1 ,they made me keeper of their vineyards1 ,though my own vineyard ,i never kept4-- ,tell me1 ,o thou whom my soul loveth1 ,where thou feedest thy flock1 ,where thou causest it to lie down at noon1 ,lest ,i should be roaming ,among the flocks of thy companions4 ,,daughters ,,of ,,jerusalem4 ,if thou knowest not1 ,o fairest among women1 ,go in the footsteps of the flocks1 ,and feed thy kids ,by the tents of the shepherds4 ,,solomon4 ,to my steed in the chariot of ,pharaoh ,do ,i compare thee1 ,o my love4 ,beautiful is thy countenance in the circlet1 ,thy neck in the necklace6 ,a golden circlet will we make thee1 ,with studs of silver4 ,,the ,,shulamite4 ,while the king is at his table ,my nard shall diffuse its fragrance4 ,a bag of myrrh resting in my bosom ,is my beloved unto me4 ,a bunch of cypress-flowers from the garden of ,en-gedi ,is my beloved unto me4 ,,the ,,shepherd4 ,behold1 thou art beautiful1 my love2 ,behold1 thou art beautiful1 ,thine eyes are doves4 ,,the ,,shulamite4 ,behold1 thou art comely1 my beloved1 ,yea thou art lovely2 ,yea1 verdant is our couch2 ,our bower is of cedar arches1 ,our retreat of cypress roof3 ,chap4 ,,ii4 ,i am a mere flower of the plain1 ,a lily of the valley4 ,,the ,,shepherd4 ,as a lily among the thorns1 ,so is my loved one among the damsels4 ,,the ,,shulamite4 ,as an apple-tree among the wild trees1 ,so is my beloved among the youths4 ,i delight to sit beneath its shade1 ,for delicious is its fruit to my taste4 ,he led me into that bower of delight1 ,and overshaded me with love4 ,oh1 strengthen me with grape-cakes1 ,refresh me with apples1 ,for ,i am sick with love6 ,let his left hand be under my head1 ,and his right hand support me6 ,i adjure you1 ,o ye daughters of ,jerusalem1 ,by the gazelles1 or the hinds of the field1 ,neither to excite nor to incite my affection ,till it wishes another love4 ,,section ,,ii4 ,,chapter ,,ii4 #h-;,,iii4 #e4 ,here we have a second scene1 which is also in the royal tent4 ,the speakers are the ,shulamite and the court ladies4 ,the ,shulamite1 to account for the cause of the severity of her brothers1 mentioned in ii4 #f1 relates that her beloved shepherd came one charming morning in the spring to invite her to the fields 7#h-ad72 that her brothers1 in order to prevent her from going1 gave her employment in the gardens 7#ae72 that she consoled herself with the assurance that her beloved1 though separated from her at that time1 would come again in the evening 7#af1 #ag72 that seeing he did not come1 she1 under difficult circumstances1 ventured to seek him1 and found him 7ch4 iii4 #a-d74 ,having narrated these events1 and reiterated her ardent affection for her beloved1 she concludes as before1 by adjuring the court ladies not to persuade her to change her love4 ,,the ,,shulamite4 ,hark6 my beloved6 ,lo1 he came ,leaping over the mountains1 ,bounding over the hills4 ,my beloved was like a gazelle1 ,or the young one of a hind4 ,lo6 there he stood behind our wall1 ,he looked through the window1 ,he glanced through the lattice4 ,my beloved spake1 he spake to me1 8,arise1 my love1 my fair one1 and come6 ,for lo1 the winter is past1 ,the rain is over1 is gone4 ,the flowers appear upon the fields1 ,the time of singing is come1 ,the cooing of the turtle-dove is heard in our land4 ,the fig-tree sweetens her green figs1 ,the vines blossom1 ,they diffuse fragrance2 ,arise1 my love1 my fair one1 and come6 ,my dove in the clefts of the rock1 ,in the hiding-place of the cliff1 ,let me see thy countenance1 ,let me hear thy voice1 ,for sweet is thy voice1 ,and thy countenance lovely40 ,,the ,,brothers ,,of ,,the ,,shulamite4 ,catch us the foxes1 the little foxes ,which destroy the vineyards1 ,for our vineyards are in bloom4 ,,the ,,shulamite4 ,my beloved is mine1 and ,i am his1 ,his who feeds his flock among the lilies4 ,when the day cools1 ,and the shadows flee away1 ,return1 haste1 ,o my beloved1 ,like the gazelle or the young one of the hind1 ,over the mountains of separation4 ,chap4 ,,iii4 ,when on my nightly couch1 ,i still sought him whom my soul loveth2 ,i sought him1 but found him not4 ,i must arise now and go about the city1 ,in the streets and in the squares2 ,i must seek him whom my soul loveth3 ,i sought him1 but found him not4 ,the watchmen who patrol the city found me3 8,have you seen him whom my soul loveth80 ,scarcely had ,i passed them1 ,when ,i found him whom my soul loveth2 ,i seized him and would not let him go ,till ,i brought him to the house of my mother1 ,into the apartment of her who gave me birth4 ,i adjure you1 ,o ye daughters of ,jerusalem1 ,by the gazelles or the hinds of the field1 ,neither to excite nor to incite my affection ,till it wishes another love4 ,,section ,,iii4 ,,chapters ,,iii4 #f4-,v4 #a4 ,the royal tent in the country is broken up1 and the royal train comes up to ,jerusalem4 ,some of the inhabitants of the capital1 as they behold it at a distance1 hold a dialogue respecting it 7#f-aa74 ,the shepherd1 coming up to rescue his loved one1 obtains an interview with her1 and expresses his delight in her charms 7ch4 iv4 #a-e74 ,the ,shulamite moved1 modestly interrupts his description1 and tells him that she is ready to escape with him that very evening 7#f74 ,he immediately proffers his assistance1 declaring that her charms had inspired him with courage sufficient for the occasion 7#g-i72 he describes her charms 7#aj1 #aa7 and her faithfulness 7#ab-af74 ,the ,shulamite declares that all she possesses shall be his 7#af74 ,some of the court ladies sympathize with them 7ch4 v4 #a74 ,,one ,,of ,,the ,,inhabitants ,,of ,,jerusalem4 ,what is that coming up from the country1 ,as in columns of smoke1 ,perfumed with myrrh1 with frankincense1 ,and all sorts of aromatics from the merchants8 ,,another4 ,lo6 it is the palanquin of ,solomon1 ,around it are threescore valiant men ,from the valiant of ,israel3 ,all skilled in the sword1 expert in war1 ,each with his sword girded on his thigh ,against the nightly marauders4 ,a ,,third4 ,a palanquin hath king ,solomon made for himself1 ,of the wood of ,lebanon4 ,its pillars he hath made of silver1 ,its support of gold1 its seat of purple1 ,its interior tesselated most lovely ,by the daughters of ,jerusalem4 ,a ,,fourth4 ,come out1 ye daughters of ,zion1 ,and behold ,king ,solomon2 ,the crown with which his mother crowned him ,on the day of his espousals1 ,on the day of his gladness of heart4 ,,the ,,shepherd1 ,,advancing ,,to ,,the ,,shulamite4 ,chap4 ,,iv4 ,behold1 thou art beautiful1 my loved one1 ,behold1 thou art beautiful6 ,thine eyes are doves behind thy veil2 ,thy hair is like a flock of goats1 ,springing down ,mount ,gilead4 ,thy teeth are like a flock of sheep ,which come up from the washing-pool1 ,all of which are paired1 ,and not one among them is bereaved4 ,like a braid of scarlet are thy lips1 ,and thy mouth is lovely3 ,like a part of the pomegranate ,are thy cheeks behind thy veil2 ,thy neck is like the tower of ,david1 ,reared for the builder's model3 ,a thousand shields are hung upon it1 ,all sorts of bucklers of the mighty4 ,thy bosom like two young fawns1 ,twins of a gazelle1 feeding among lilies4 ,,the ,,shulamite4 ,when the day cools ,and the shadows flee away1 ,i will go to the mount of myrrh1 ,to the hill of frankincense4 ,,the ,,shepherd4 ,thou art all beautiful1 my loved one1 ,and there is no blemish in thee4 ,with me1 with me1 my betrothed1 ,thou shalt go from ,lebanon2 ,thou shalt go from the heights of ,amana1 ,from the summit of ,shenir and ,hermon1 ,from the habitations of lions1 ,from the mountains of panthers4 ,thou hast emboldened me1 ,my sister1 my betrothed1 ,thou hast emboldened me1 ,with one of thine eyes1 ,with one of the chains of thy neck4 ,how sweet is thy love1 ,o my sister1 my betrothed6 ,how sweet is thy love above wine6 ,and the fragrance of thy perfumes above all the spices6 ,thy lips1 ,o my betrothed1 distil honey3 ,honey and milk are under thy tongue1 ,and the odour of thy garments is as the smell of ,lebanon4 ,a closed garden art thou1 my sister1 my betrothed1 ,a closed garden1 a sealed fountain4 ,thy shoots like a garden of pomegranates1 ,with precious fruits1 ,cypresses and nards1 ,nard and crocus1 ,calamus and cinnamon1 ,with all sorts of frankincense trees1 ,myrrh and aloes2 ,with all kinds of excellent aromatics1 ,with a garden-fountain1 ,a well of living waters1 ,and streams flowing from ,lebanon4 ,arise1 ,o north wind6 and come1 thou south6 ,blow upon my garden1 ,that its perfumes may flow out6 ,,the ,,shulamite4 ,let my beloved come into his garden ,and eat its delicious fruits6 ,,the ,,shepherd4 ,chap4 ,v4 ,i am coming into my garden1 my sister1 my betrothed3 ,i am gathering my myrrh with my spices1 ,i am eating my honeycomb with my honey1 ,i am drinking my wine with my milk4 ,,some ,,of ,,the ,,daughters ,,of ,,jerusalem4 ,eat1 ,o friends6 ,drink1 and drink abundantly1 ,o beloved6 ,,section ,,iv4 ,,chapter ,v4 #b-,,viii4 #d4 ,the ,shulamite relates to the court ladies a dream which she has had1 in which she manifests great attachment for her beloved 7#b-h74 ,the court ladies1 surprised at this extraordinary enthusiasm1 ask what there is particular in his person to cause such an attachment 7#i74 ,the ,shulamite then gives a description of him 7#aj-af74 ,whereupon the court ladies inquire where he is1 and offer to seek him 7ch4 vi4 #a74 ,the ,shulamite1 suspecting their intention1 gives an evasive answer to their inquiry 7#b1 #c74 ,the king1 having heard the ,shulamite's beloved mentioned1 immediately comes forward and seeks to win her affections 7#d-i72 in exalting her beauty1 he repeats how the court ladies had praised her when they first saw her 7#aj74 ,the ,shulamite1 having explained how she came to be seen by the court ladies1 withdraws 7#aa1 #ab47 ,the king calls her back 7ch4 vii4 #a72 and1 as she returns1 describes her charms1 and wishes to enjoy the love of one so beautiful 7#b-aj74 ,the ,shulamite refuses the king's desire1 stating that her affections were espoused 7#aa72 then addressing herself to her beloved1 she asks him to go home with her1 and descants upon their rural pleasures 7#ab-ad74 ,remembering1 however1 that circumstances even at home prevented the full manifestation of her love1 she longs for those obstacles to be removed 7ch4 viii4 #a1 #b74 ,overcome by her feelings1 she wishes that none but her beloved may support her 7#c71 and with the little strength she has left1 adjures the court ladies not to persuade her to change her love 7#d74 ,,the ,,shulamite4 ,i was sleeping1 but my heart kept awake1 ,hark6 my beloved6 he is knocking6 ,open to me1 my sister1 my love6 ,my dove1 my perfect beauty6 ,for my head is filled with dew1 ,my locks with the drops of the night4 ,i have put off my tunic1 ,how shall ,i put it on8 ,i have washed my feet1 ,how shall ,i soil them8 ,my beloved withdrew his hand from the door hole1 ,and my heart was disquieted within me4 ,i immediately arose to open to my beloved1 ,and my hands dropped with myrrh1 ,and my fingers with liquid myrrh1 ,upon the handles of the bolt4 ,i opened to my beloved1 ,but my beloved had withdrawn1 was gone6 ,my soul departed when he spoke of it6 ,i sought him1 and found him not2 ,i called him1 and he answered me not4 ,the watchmen who patrol the city found me3 ,they beat me1 they wounded me2 ,the keepers of the walls stripped me of my veiling garment4 ,i adjure you1 ,o ye daughters of ,jerusalem1 ,if ye shall find my beloved1 ,what will ye tell him8 ,tell him that ,i am sick of love4 ,,daughters ,,of ,,jerusalem4 ,what is thy beloved more than another beloved1 ,o thou fairest among women8 ,what is thy beloved1 more than another beloved1 ,that thou thus adjurest us8 ,,the ,,shulamite4 ,my beloved is white and ruddy1 ,distinguished above thousands2 ,his head is as the finest gold1 ,his flowing locks are black as the raven4 ,his eyes1 like doves in water streams1 ,are bathing in milk1 sitting on fulness2 ,his cheeks are like beds of balsam1 ,elevations of aromatic plants2 ,his lips are like lilies distilling liquid myrrh4 ,his hands like golden cylinders1 inlaid with chrysolite1 ,his body is like polished ivory1 covered with sapphires4 ,his legs are like pillars of marble ,based upon pedestals of gold4 ,his aspect is like that of ,lebanon4 ,he is distinguished as the cedars4 ,his voice is exquisitely sweet2 ,yea1 his whole person is exceedingly lovely4 ,such is my beloved1 such my friend1 ,o daughters of ,jerusalem4 ,,daughters ,,of ,,jerusalem4 ,chap4 ,,vi4 ,whither is thy beloved gone1 ,o thou fairest among women8 ,whither is thy beloved turned away8 ,say1 that we may seek him with thee4 ,,the ,,shulamite4 ,my beloved is gone down into his garden1 ,to the beds of aromatics1 ,to feed in the gardens1 and to gather lilies4 ,i am my beloved's1 and my beloved is mine2 ,he who feeds his flock among the lilies4 ,,solomon4 ,graceful art thou1 ,o my love1 as ,tirzah1 ,beautiful as ,jerusalem1 ,awe-inspiring as bannered hosts6 ,turn away thine eyes from me1 ,for they inspire me with awe6 ,thy hair is like a flock of goats ,springing down ,mount ,gilead2 ,thy teeth are like a flock of sheep1 ,which come up from the washing-pool2 ,all of which are paired1 ,and not one among them is bereaved4 ,like a part of the pomegranate ,are thy cheeks behind thy veil4 ,i have threescore queens1 ,and fourscore concubines1 ,and maidens without number2 ,but she is my only one1 my dove1 my perfect beauty1 ,she1 the delight of her mother1 ,she1 the darling of her parent6 ,the damsels saw her and praised her2 ,the queens also1 and the concubines1 and extolled her thus3 8,who is she that looks forth as the morn1 ,beautiful as the moon1 bright as the sun1 ,awe-inspiring as bannered hosts80 ,,the ,,shulamite4 ,i went down into the nut-garden1 ,to look among the green plants by the river1 ,to see whether the vine was budding1 ,whether the pomegranates were in bloom4 ,unwittingly had my longing soul brought me ,to the chariots of the companions of the prince4 7,she goes away74 ,,solomon4 ,chap4 ,,vii4 ,return1 return1 ,o ,shulamite1 ,return1 return1 that we may look at thee4 ,,the ,,shulamite4 ,what will you behold in the ,shulamite8 ,,solomon4 ,like a dance to double choirs4 ,how beautiful are thy feet in sandals1 ,o noble maiden6 ,the circuits of thy thighs like ornaments1 ,the work of a master's hands4 ,thy navel is like a round goblet1 ,let not spiced wine be wanted in it2 ,thy body is like a heap of wheat1 ,hedged round with lilies4 ,thy bosom is like two young fawns1 ,twins of a gazelle4 ,thy neck is like an ivory tower2 ,thine eyes are as the pools in ,heshbon1 ,by the populous gate2 ,thy nose is as the tower of ,lebanon1 ,looking towards ,damascus4 ,thy head upon thee as purple1 ,and the tresses of thy head as crimson4 ,the king is captivated by the ringlets3 ,how beautiful and how charming1 ,o love1 in thy fascinations6 ,this thy growth is like a palm-tree1 ,and thy bosom like its clusters4 ,i long to climb this palm-tree1 ,i long to clasp its branches4 ,may thy bosom be unto me ,as the clusters of the vine1 ,and the odour of thy breath ,as that of apples2 ,and thy speech as delicious wine1 ,which to my friend flows down with mellowed sweetness1 ,and causes slumbering lips to speak4 ,,the ,,shulamite4 ,i belong to my beloved1 ,and it is for me to desire him4 ,come1 my beloved1 let us go into the country1 ,let us abide in the villages4 ,we will go early to the vineyards1 ,we will see whether the vine flourishes2 ,whether the buds open2 ,whether the pomegranates blossom2 ,there will ,i give thee my love4 ,the mandrakes diffuse fragrance1 ,and at our door are all sorts of delicious fruit1 ,both new and old2 ,i have reserved them1 ,o my beloved1 for thee6 ,chap4 ,,viii4 ,oh that thou wert as my brother1 ,as one who had been nourished in the bosom of my mother6 ,if ,i found thee in the street ,i would kiss thee1 ,and should no more be reproached4 ,i would lead thee thence1 ,i would bring thee into the house of my mother2 ,thou shouldst be my teacher1 ,i would cause thee to drink ,of the aromatic wine1 ,of my pomegranate juice4 ,let his left hand be under my head1 ,and his right hand support me6 ,i adjure you1 ,o daughters of ,jerusalem1 ,neither to incite nor to excite my affection ,till it desires another love4 ,,section ,v4 ,,chapter ,,viii4 #e-ad4 ,the ,shulamite1 released from the palace1 returns to her native place with her beloved 7#e74 ,on their way home they visit the spot where they had been first pledged to each other2 and there they renew their vows 7#f1 #g74 ,on their arrival at the ,shulamite's home1 her brothers are reminded of the promise they had made to reward their sister's virtue 7#i1 #aj74 ,the ,shulamite mentions the greatness of her temptations1 and her victory over them 7#aa1 #ab74 ,the shepherds visit her1 to whom she declares1 according to request1 her unabated attachment to her beloved shepherd 7#ac1 #ad74 ,,the ,,companions ,,of ,,the ,,shepherd4 ,who is it that comes up from the plain1 ,leaning upon her beloved8 ,,the ,,shulamite4 ,under this apple-tree ,i won thy heart1 ,here thy mother travailed1 ,here labouring she gave thee birth4 ,oh1 place me as a seal upon thy heart1 ,as a seal upon thine hand6 ,for love is strong as death1 ,affection as inexorable as ,hades4 ,its flames are flames of fire1 ,the flames of the ,eternal4 ,floods cannot quench love2 ,streams cannot sweep it away4 ,if one should offer all his wealth for love1 ,he would be utterly despised4 ,,one ,,of ,,the ,,brothers ,,of ,,the ,,shulamite4 ,our sister is still young1 ,and is not yet marriageable4 ,what shall we do for our sister1 ,when she shall be demanded in marriage8 ,,another ,,brother4 ,if she be like a wall1 ,we will build upon her a silver turret4 ,but if she be like a door1 ,we will enclose her with boards of cedar4 ,,the ,,shulamite4 ,i am like a wall1 ,and my bosom is as towers6 ,then ,i was in his eyes ,as one that findeth favour4 ,solomon had a vineyard in ,baal-hammon2 ,he let out the vineyard to tenants2 ,each of whom yielded for the fruit of it ,a thousand shekels of silver4 ,i will keep my own vineyard3 ,be the thousands thine1 ,o ,solomon1 ,and the two hundreds to the keepers of its fruit6 ,,the ,,shepherd4 ,o thou that dwellest in the gardens1 ,my companions are listening to thy voice1 ,let me hear thy voice6 ,,the ,,shulamite4 ,haste1 ,o my beloved1 ,and be like the gazelle1 as the young one of the hind1 ,over the mountains of spices4 ,,notes #b4 ,oh for a kiss1 c4 ,that the speaker is a ,shulamite shepherdess who had been separated by king ,solomon from her beloved1 and that she desires to be reunited with him1 is evident from verses #d1 #g1 #h2 vii4 #a1 c4 ,excited by the pain of separation1 the damsel wishes that her beloved were present1 that he could kiss her1 for his caresses would cheer her fainting heart more than the best of wines4 ,wine1 either pure or mixed 7see infra1 vii4 #c71 is often spoken of by the sacred and profane poets as delighting the hearts of both gods and men1 and reviving their drooping spirits4 7,judges ix4 #ac2 ,ps4 civ4 #ae2 ,prov4 xxxi4 #f2 ,eccl4 x4 #ai47 ,hence ,helen gave a bowl of mixed wine to her guests oppressed with grief1 to raise their spirits4 7,hom4 ,odyss4 iv4 #bbj47 ,yet the ,shulamite declares that she preferred the caresses of her beloved to this highly prized cordial4 ,the imperfect form is used optatively or voluntatively1 8,oh that he would kiss me60 7,gesen4 #abg1 #c b2 ,ewald1 #bbd a72 i4e4 a kiss3 the subject1 either in the singular 7,gen4 xxviii4 #aa1 compare v4 #ah2 ,exod4 vi4 #be2 ,ps4 cxxxvii4 #c71 or plural 7,gen4 xxx4 #ad2 ,exod4 xvii4 #e2 #b ,sam4 xi4 #ag71 is to be supplied from the plural noun 1 as indicated by the partitive 4 7,compare ,gesen4 #aed1 #c c2 ,ewald1 #bag1 b1 i4 b47 ,the singular1 however1 is preferable1 for the ,shulamite does not wish so much for a number of kisses as for the presence of her beloved2 one would be sufficient if he could only come4 ,we thus obtain a phrase 1 to kiss a kiss1 i4e4 to give a kiss2 corresponding to 1 to counsel a counsel1 i4e4 to give counsel1 #b ,sam4 xvi4 #bc2 1 #b ,kings xiii4 #ad4 ,this construction is of frequent occurrence in ,hebrew1 and is also found in ,greek and ,latin2 7,compare 1 pugnam pugnare2 ,gesen4 #ach i41 ,rem4 #a2 ,ewald1 #bha a47 ,the rendering1 therefore1 of by with 7,luther1 ,english ,version1 ,good1 ,williams1 c47 is incorrect4 ,ewald's and ,herxheimer's translation1 ,let one of the kisses kiss me1 is both incongruous and ungrammatical2 for in the first place1 it is not the kiss that kisses1 but the individual2 and secondly1 is feminine1 which would require 1 the third fem4 1 prop4 love1 the abstract1 which1 as in ,greek and ,latin1 is in ,hebrew frequently expressed by the plural1 7comp4 1 life1 1 sweetness1 1 beauty2 vide infra1 v4 #af2 ,gesen4 #ajh1 #b a2 ,ewald1 #agi a71 here metonomically for the expressions of it--love-tokens1 caresses4 ,so ,lee1 ,magnus1 ,noyes1 ,frst1 ,philippson1 c4 ,this rendering is demanded by the context1 for this clause gives the cause of the statement in the preceding one4 ,the change from the third person 1 to the second 1 or from the second to the third person1 is an enallage of frequent occurrence in sacred poetry4 7,deut4 xxxii4 #ae2 ,isa4 i4 #bi2 ,jer4 xxii4 #bd2 ,gesen4 #acg1 #c1 ,rem4 #c47 ,the ,sept4 and ,vulg4 have 1 thy breasts1 instead of 1 thy caresses4 ,that this is a gross error is evident from the fact that a man and not a woman is here addressed4 ,to appeal to the catachresis in ,isa4 lx4 #af1 would be preposterous4 #c4 ,sweet is the odour1 c4 ,ointments1 like wines1 were used by the ancients as cordials 7,prov4 xxvii4 #i71 and as restoratives in consequence of their supposed sanative properties4 ,hence the anointing of the sick4 7,isa4 i4 #f1 c42 ,jer4 viii4 #bb47 ,the fainting ,shulamite1 therefore1 mentions this second cordial4 ,the in signifies in1 as regards1 quoad1 and is frequently used for the sake of giving prominence to an idea4 ,thus 8,solomon was greater than all the kings of the earth 1 in or as regards riches and wisdom40 7#a ,kings x4 #bc47 ,compare also ,exod4 xx4 #e1 #f2 ,ewald1 #bag a4 ,frst1 ,lexicon1 #e1 f4 ,the ,sept4 has instead of 2 or it may be1 favours the view of ,dpke1 ,heiligstedt1 ,meier1 c41 that the introduces the nominative2 but this requires another anomaly1 viz41 to refer 1 to the nomen rectum1 instead of regens1 and does not at all improve the sense4 ,the ,syriac1 ,ibn ,ezra1 ,authorized ,version1 ,percy1 ,williams1 ,noyes1 c41 take the in the sense of 1 because1 and connect it with 1 therefore1 of the last clause2 but these words are never used together for cause and effect4 ,besides1 this explanation1 like the former1 interrupts the sense2 for the fainting damsel evidently refers here to the second restorative4 ,luther strangely renders this clause1 dass man deine gute ,salbe rieche4 ,kleuker1 ,rosenmller1 ,ewald1 ,delitzsch1 ,philippson1 c41 translate to the smell2 but this is contrary to the usus loquendi1 as is never used for the organ which inhales1 but invariably means something exhaled or emitted4 ,hodgson renders 1 like the scent2 but never signifies like4 ,the instance in ,deut4 xi4 #ah1 adduced in support of his assertion1 is gratuitous1 for the in has not that meaning4 ,which perfume thou art1 by thy name1 c4 ,this clause is explanatory of the preceding one1 8,sweet is the odour of thy perfumes1 because thou art that perfume40 ,the comparison of an agreeable person to perfumes arose from the great requisition of aromatics in the ,east4 ,in warm climates perspiration is profuse1 and much care is needful to prevent its offensiveness4 ,hence the use of perfumes particularly at weddings1 feasts1 on visits to persons of rank 7#b ,sam4 xii4 #bj2 ,ps4 xlv4 #h2 ,prov4 vii4 #ag2 ,amos vi4 #f71 and most of the occasions which bring people together with the intention of being agreeable to one another4 ,hence the pleasant odours diffused by perfumes soon became a metaphor to express the attractions which an agreeable person throws around him 7,eccl4 vii4 #a71 just as an offensive smell is used to express the contrary idea4 7,gen4 xxxiv4 #cj2 ,exod4 v4 #ba47 ,the word 1 being taken as the third person fem41 has greatly perplexed interpreters4 ,for neither 1 to which the ,sept41 ,ibn ,ezra1 ,rashbam1 ,immanuel1 c41 refer it1 nor 1 to which it is referred by ,ewald1 ,gesenius1 c41 ever occurs as feminine4 ,others1 to overcome this difficulty1 have either taken as a proper name 7,syria4 ,r4 ,tobiah7 or as an appellative 7,bochart1 ,hieron4 ii4 #d1 #bf47 ,the true solution seems to be that the word in question is not the third person feminine but the second person masculine4 ,so ,rashi1 ,michaelis1 ,hengstenberg1 c4 ,the words literally translated would be1 like oil art thou poured forth1 with regard to thy name4 1 is the second accusative1 comp4 ,ps4 lxxxiii4 #ai2 ,ewald1 #bha1 #c c4 ,the words and form a paranomasia4 ,this figure1 which consists of words ranged together of similar sound1 but differing in sense1 is frequently used in the ,old ,testament2 and also occurs in the ,new4 7,compare 1 ,luke xxi4 #aa1 and ,acts xvii4 #be47 ,therefore do the damsels love thee4 ,how natural for a woman1 greatly admiring1 and dotingly attached to her beloved1 to think that every damsel must be enamoured of him6 ,the most probable derivation of the much-disputed 1 is from 1 to come up1 to grow up2 hence the ,poel 1 a growth1 a child1 1 one growing up2 with the termination -1 7,compare ,alma1 in ,latin1 from alo1 1 and ,frst1 ,lexicon1 #b c17 and the feminine 1 a growing damsel1 without any reference to the idea of virginity1 for which is invariably used2 ,joel i4 #h1 not excepted4 is here used1 not to indicate that the marriage was consummated1 but because the ,jews regarded parties consecrated to each other from the very moment they were betrothed4 ,hence ,mary is called the wife of ,joseph1 and he her husband4 7,compare ,matt4 i4 #ai1 #bj1 c47 ,other derivations assigned to 1 such as 1 to be fat1 full1 ripe1 marriageable 7,gesenius1 c471 or being excited1 hence youth as being peculiarly subject to it 7,lee72 or 1 to hide1 be concealed1 unrevealed1 unknown2 hence and 1 persons of a youthful age who were destitute of the knowledge which springs from sexual intercourse 7,henderson7 are exceedingly forced4 ,jerome's assertion1 as also ,wordsworth's1 on ,matt4 i4 #bc1 that 1 is the designation of a virgin1 because it signifies kept secret1 as a virgin is under the care of her parents1 is gratuitous1 for 1 is formed from 1 a young man1 of whom this cannot be said4 #d4 ,oh draw me1 c4 ,the ,shulamite wishes that her beloved should not only come and cheer her fainting heart with the tokens of his love1 but take her away altogether4 belongs to 4 7,compare ,job xxi4 #cc47 ,so the ,chaldee1 ,immanuel1 ,luther1 ,mendelssohn1 ,kleuker1 ,percy1 ,hodgson1 ,ewald1 ,meier1 ,hitzig1 ,philippson1 c4 ,the ,septuagint renders 1 by 1 mistaking it for 1 and adds after 1 evidently an interpolation from the first clause of the third verse1 which the ,vulgate1 ,percy1 c41 follow4 ,the king has brought me1 c4 ,it was the king1 she tells us1 who brought her into his apartments1 and thus separated her from her beloved1 in whom1 however1 she still delights4 ,that this is the import of this clause is obvious from the words and connexion4 ,the ,shulamite began with invoking her absent beloved in the third person2 but no sooner had she expressed her desire to be with him1 than he is1 as it were1 present to her mind1 and she forthwith1 dropping the third person1 addresses him in the second1 and so continues to speak to him throughout the third verse4 ,she begins the fourth verse in the same way1 imploring her beloved1 in the second person1 to take her away1 telling him that 8the king1 #8,,he1' has brought her into his apartments0 7mark the change from the second to the third person72 and then continues and finishes her address to her beloved in the second person4 ,now we ask1 do not the words 1 the king1 8,,he10 has brought me into his apartments1 placed between 1 do 8,,thou0 draw me after thee1 and 1 we exult and rejoice in 8,,thee10 c41 clearly show that the king here referred to is a separate person from the beloved to whom the maiden is addressing herself8 ,we venture to affirm that few readers of the original ,hebrew1 whose minds are not biassed by a preconceived theory1 can carefully peruse these three verses without observing that ,,two persons are here introduced--viz4 the beloved to whom1 and the king of whom1 the damsel speaks4 ,ibn ,ezra1 ,immanuel1 the ,anonymous ,,ms4 ,commentary1 c41 could not help seeing this1 and explained the passage1 8,were even the king to bring me into his apartments1 ,i should rejoice and be glad in thee0 7the shepherd74 ,the ,septuagint1 which is followed by the ,vulgate1 has again 1 thy breast1 instead of 1 thy love2 but see supra1 ver4 #b4 ,the upright love thee4 ,the word 1 is explained by ,rashi1 ,rashbam1 ,dpke1 ,de ,wette1 ,rosenmller1 ,gesenius1 c41 by sincerely1 uprightly2 ,ibn ,ezra1 who is followed by ,houbigant1 takes it as an adjective for wine1 i4e4 1 wine that glides down smoothly2 and ,ewald1 ,boothroyd1 ,magnus1 ,hitzig1 c41 render it deservedly1 justly4 ,as for 1 it is either referred to 1 the damsels love thee more than wine 7,ibn ,ezra72 or is taken impersonally1 i4e4 thou art sincerely or deservedly beloved4 7,ewald1 ,magnus1 c47 ,but this is against the structure of these verses4 ,for the second and third verses1 consisting of five members1 form one stanza1 finishing with the words 2 and it is evident that the fourth verse1 also consisting of five members1 is of the same structure1 and that the concluding words 1 are intended to correspond to those at the end of the first stanza4 1 therefore1 must be taken as a parallelism with 1 and means the upright4 ,so the ,septuagint 7 1 the abstract for concrete71 ,symmachus1 7 17 the ,vulgate 7recti diligant te71 the ,chaldee 7 71 ,english ,version 7margin71 ,mendelssohn1 ,philippson1 c4 1 the upright1 is designedly chosen in preference to 1 damsels1 in order to give an indirect and gentle blow to him who had separated her from her beloved4 8,thee1 the upright1 and not the seduced love40 #e4 ,i am swarthy1 c4 ,the court ladies1 indignant at this statement1 looked with affected disdain upon the discoloured rustic girl4 ,the ,shulamite repels these disdainful looks1 for she knows that1 though swarthy1 she is comely1 else the king would not have noticed her4 ,a similar idea occurs in ,theocritus 7,idyl4 x4 #bf-bi71 where ,bambyce1 though sun-burnt1 is called beautiful4 1 1 1 4 1 4 ' 4 8,charming ,bambyce1 though some call you thin1 ,and blame the tawny colour of your skin2 ,yet ,i the lustre of your beauty own1 ,and deem you like ,hyblaean honey-brown4 ,the letter'd hyacinth's of darksome hue1 ,and the sweet violet a sable blue2 ,yet these in crowns ambrosial odours shed1 ,and grace fair garlands that adorn the head40 ,compare also ,virgil1 ,eclog4 x4 #ch4 ,the comparison between the dark complexion and the tents of the ,kedareens1 and between the comeliness and the pavilions of ,solomon1 arose from the custom of nomades and travellers in the ,east of carrying with them moveable tents1 which were temporarily pitched for the purpose of the pernoctation or protection against meridian sun4 ,the tents of the ,kedareens1 a nomadic tribe of ,north ,arabia 7,gen4 xxv4 #ac2 ,isa4 xxi4 #ag71 were and still are to this day made of coarse cloth1 obtained from the shaggy hair of their black goats 7,rosenmller1 ,orient4 iv4 #ici2 ,saalschtz1 ,archologie der ,hebrer1 ,erster ,theil1 p4 #fc74 ,whereas1 the curtains of which ,solomon's pavilion was constructed were1 most probably1 very fine and beautiful4 ,from this passage1 confirmed by chap4 iii4 #f1 and vi4 #ab1 we see that this scene took place in the royal tent of ,solomon1 pitched in the open air of some favourite spot to which the king resorted in the summer4 ,it is still the custom of ,oriental potentates to go once a-year to some attractive neighbourhood1 where they erect their magnificent tents1 which serve as their temporary abodes4 7,morier1 ,zweite ,reise in ,persien1 p4 #bbc2 ,jaubert1 ,voyage1 p4 #ccd74 1 swarthy1 refers to 1 the tents of ,kedar1 and 1 comely1 to the pavilion of ,solomon4 1 a contraction of 1 from the root 1 is formed from the ,pilel4 ,the third radical1 which this conjugation requires to be doubled1 appears in this and in two other words1 under the form 4 ,compare 1 to bow1 ,pilel1 1 hence the reflexive 1 to bow1 or prostrate oneself2 1 archers1 ,gen4 xxi4 #af2 ,gesen4 #ge1 ,rem4 #ah2 ,ewald1 #aba c4 1 prop4 a vail1 a curtain of a tent1 ,exod4 xxvi4 #ab1 and metonomically for the tent itself1 #b ,sam4 vii4 #b2 #a ,chron4 xvii4 #a1 and like here1 in parallelism with 1 ,jer4 iv4 #bj2 x4 #bj2 xi4 #bi4 ,the ,septuagint1 followed by the ,vulgate1 erroneously renders 1 1 as the skins of ,solomon1 and ,bishop ,foliot refers it to the beautiful skin of ,solomon's body1 with which the ,church compares herself to set forth her comeliness4 ,hodgson1 misunderstanding the figure1 absurdly renders 1 like the spices of ,kedar1 and makes the ,shulamite compare herself to the odoriferous trees and beautiful figures in the 771 fine tapestry4 #f4 ,disdain me not4 ,in repelling these disdainful looks the ,shulamite states first that her dark complexion is adventitious1 being merely sun-burnt1 and as ,rashi remarks1 1 will be white again under the protection of the shade3 and secondly1 how she came to be so much exposed to the sun1 and this she ascribes to the anger of her brothers4 ,this anger1 however1 as it appears from ii4 #h-ag1 was merely a fraternal solicitude for her reputation1 which induced them to give her employment in the vineyards1 in order to prevent her meeting her beloved in the field4 7i4q4 1 ,ewald1 #bdh71 is well explained by the ,chald41 ,rashi1 ,ibn ,ezra1 ,rashbam1 ,immanuel1 c41 1 do not disdain me4 1 to see1 is also used for looking down upon any one1 ,job4 xli4 #bf4 ,instead of 1 four of ,kennicott's ,,mss41 two of ,de ,rossi's1 and two more1 originally read 1 fear me not1 which is adopted by ,dderlein2 but the reading of the received text is both more supported1 and suits the connexion better2 for it can hardly be possible that the damsel was actually so black as to inspire terror2 or that the court ladies were so highly nervous as to be so easily frightened4 ,hodgson's rendering1 mind me not1 is incorrect4 ,the in 1 stands for 1 the being rejected by aphaeresis1 and the assimilated2 ,gesen4 #cf4 1 blackish2 adjectives denoting colour have frequently the last two stem letters repeated to render them diminutives2 as 1 reddish1 ,lev4 xiii4 #ai2 1 greenish1 ,lev4 xiii4 #di4 ,so ,rashi1 ,ibn ,ezra1 ,rashbam1 ,immanuel1 ,gesen4 #hd4 #bc2 ,ewald1 #aeg c4 1 i4q4 1 to scorch1 to burn1 ,gen4 xxiii4 #ag2 xli4 #f4 ,so the ,syriac1 ,aquila1 ,theodotion1 ,ewald1 ,gesenius1 ,meier1 ,hitzig1 c4 ,the and frequently interchange1 compare and 1 to cut down2 and are even found to do so by the same inspired writer2 compare 1 ,job4 vi4 #ag1 with 1 xvii4 #a4 1 not step-brothers1 7,houbigant1 ,ewald1 ,good17 who would not have such power over their sister1 but poetically used for 1 my brothers4 ,comp4 ,gen4 xxvii4 #bj2 ,ps4 l4 #bj2 lxix4 #i4 is the ,niphal of 1 to burn1 7comp4 ,ps4 cii4 #d2 ,gesen4 #f1 #g1 #h1 ,rem4 #e2 ,ewald1 #adj a4 #aic c471 and not from 7,kimchi1 ,ibn ,ezra1 ,immanuel1 c47 which would be 1 ,is4 xli4 #aa4 ,though my own vineyard1 c4 ,the word 1 is either taken to denote the ,shulamite's personal appearance1 or to mean her beloved3 and the phrase is explained1 8,through the constant watch which my brothers made me keep over their vineyard1 ,i could not take care of 77 my complexion2 or could not attend to 77 my beloved40 ,but it is a hazardous mode of interpretation to take an expression in the same verse in an ordinary and in an extraordinary sense1 which ought never to be done unless required by absolute necessity1 which is not the case here4 ,dr4 ,good indeed escapes this inconsistency by assigning a spiritual meaning to 1 7viz4 personal estate1 one's own person7 in both clauses2 and he submits that 8the bride asserts that she had been compelled to neglect her own person1 through the perpetual attention which was demanded of her by her brothers or sisters in decorating themselves1 or in assisting in their concerns40 ,but apart from the unnecessary and unjustifiable deviation from the literal meaning1 this interpretation is entirely at variance with the context4 ,for in the words1 8,they have made me keeper of their vineyards10 the ,shulamite evidently means to explain how she came to be exposed to the tanning sun4 ,whereas1 the supposition of her perpetual attention to the adornment of her brothers1 fails to account for the brown complexion4 ,if however1 with ,ibn ,ezra1 we take these words to explain the severity of her brothers1 everything will be plain and unforced4 ,the damsel says1 8,my brothers were so angry--so severe with me that1 resolved to carry out their purpose1 they made me keep their vineyards1 1 a thing which ,i had never done before1 even to my own vineyard4 ,it is utterly inconceivable how those who maintain that this ,song celebrates the marriage of ,solomon with the daughter of ,pharaoh can reconcile it with the facts that the damsel's dark complexion is here described as adventitious2 whereas the ,egyptians1 even of the highest and most secluded classes1 are naturally dark1 and that she has been made keeper of the vineyards1 which would ill agree with any prince's daughter4 is most probably derived from 1 to dig1 hence a garden cultivated by means of axes and spades in contradistinction to fields worked with ploughs and harrows4 7,compare ,saalschtz1 ,archologie der ,hebrer1 vol4 i4 p4 #aai47 ,for the term4 - vide supra1 p4 #aca4 1 i4q4 is used emphatically after 1 to mark the contrast1 and not1 as ,houbigant erroneously supposes1 in the sense of 1 tranquill1 mine own vineyard ,i kept not quietly4 #g4 ,tell me1 ,o thou1 c4 ,having repelled the disdainful looks of the court ladies1 the ,shulamite now resumes her address to her beloved2 so that this verse is intimately connected with the fourth2 and verses five and six are1 as it were1 parenthetical4 ,is it not surprising that some can read this verse1 and yet believe that the king was the object of the damsel's attachment1 when this shows so clearly that it was a shepherd8 ,the violent heat of noonday compels people in the ,east to desist from labour1 and recline in some cool part of the house 7#b ,sam4 iv4 #e74 ,shepherds especially1 being more exposed to the burning rays of the sun1 lead their flocks under some shady tree near wells and streams4 7,gen4 xxix4 #g2 ,ps4 xxiii42 ,isa4 xix4 #aj47 ,we have beautiful descriptions of the same custom by ,greeks and ,romans4 ,thus ,virgil1 ,georg4 iii4 #cca-- ,aestibus at mediis umbrosam exquirere vallem1 ,sicubi magna ,jovis antiquo robore quercus ,ingentis tendat ramos1 aut sicubi nigrum ,ilicibus crebris sacra nemus adcubet umbra4 8,when noon-tide flames1 down cool sequester'd glades1 ,lead where some giant oak the dell o'ershades1 ,or where the gloom of many an ilex throws ,the sacred darkness that invites repose40 ,compare also ,theocritus1 i4 #ad1 #ae3 vi4 #a1 #af1 #ch1 #ci4 prop4 how1 but also of place1 where1 #b ,kings xvi4 #ac4 ,twenty-eight ,,mss4 of ,kenn4 and ,de ,rossi1 read 1 but this weakens the sentence4 ,we must supply after 1 and - after 1 see ,ezek4 xxxiv4 #ae4 ,immanuel accounts for the dual1 1 because 1 it speaks of that part of the day immediately preceding noon as well as of that part which immediately follows noon4 1 i4q4 1 ,dan4 i4 #aj1 ut ne1 well rendered by the ,sept4 1 ,vulg4 ne4 is used as a conjunction1 the to express design1 or purpose1 and for negation1 ,ewald1 #ccg1 #f4 has caused much perplexity to interpreters4 ,it is explained to mean like one veiled 7 1 ,sept471 as a sign of mourning 7,rashi1 compare #b ,sam4 xv4 #cj2 xix4 #e72 of harlotry 7,rosenmller1 comp4 xxviii4 #e72 of shame 7,umbreit1 ,hengstenberg1 comp4 ,jer4 xiv4 #c2 ,mal4 iii4 #g72 and of wandering or roaming 7,philippson1 comp4 ,jer4 xliii4 #ab74 ,but wherever covering is used to signify mourning or shame1 the part of the body usually covered1 in order to indicate the existence of the emotion1 is invariably stated4 ,equally untenable is the rendering of harlot2 for ,tamar covered her face1 not as a sign that she was a prostitute1 but to disguise herself1 so that she might not be recognised1 and ,judah took her to be a harlot because she sat by the way side1 ,comp4 ,jer4 iii4 #b4 ,ewald renders it like one unknown2 but this1 to say the least1 is remote from the context2 ,gesenius1 like one fainting2 but this incurs the same objection4 ,the explanation of ,philippson would have been the most plausible1 if ,rashbam and the anonymous ,,ms4 had not shown that itself means to roam1 to wander1 by referring to ,isa4 xxii4 #ag1 where1 according to its parallel1 1 to cast down1 it must signify to roll about4 ,this meaning bests suits the context here1 and is confirmed by ,symach41 ,vulg41 ,syriac1 ,chald4 #h4 ,if thou knowest not4 ,the court ladies1 hearing the rustic girl say that she wished to be with her shepherd1 tell her ironically to go1 and be employed in the low and toilsome occupation of a shepherdess1 rather than enjoy the exalted and easy life of a royal favourite4 ,some have put this answer into the mouth of the beloved2 but it is evident from v4 #i1 and vi4 #a1 the only two places where the appellation 8fairest of women0 occurs1 that it is the reply of the court ladies1 which even ,dpke1 ,good and ,noyes1 the defenders of the fragmentary theory1 admit4 ,nothing can be more plain and incontrovertible than the statement in this verse1 that the damsel is a shepherdess1 and the beloved a shepherd1 whom1 she is told1 she would find among his fellow-shepherds4 ,it is for those who maintain the theory that this ,song celebrates the marriage of ,solomon with the daughter of ,pharaoh1 or some other prince's daughter1 to get over this fact4 is unnecessarily and incorrectly rendered by ,ewald1 ,meier1 ,hitzig1 c41 unwise4 ,the ,sept41 which is followed by ,luther1 mistaking the usage of 1 translates this clause 1 as if the original were 4 ,the prepo4 in gives to the force of the superlative4 ,besides the several modes of expressing the superlative adduced by ,gesenius1 #aai1 #b1 this degree is sometimes also expressed by the positive and the prepo4 prefixed to the noun designating the class to which the person or thing compared belongs3 thus 1 my family is the weakest in ,manasseh1 ,judg4 xvi4 #e2 ,prov4 xxx4 #cj1 comp4 also 1 thou art the most blessed of women1 ,luke i4 #bh1 ,ewald1 #cac c4 #i4 ,to my steed1 c4 ,the court-ladies having turned from her and told her to go back to her menial employment1 her severest trial begins4 ,the king1 having watched his opportunity1 enters at that moment1 and thus begins his flattering address4 ,he first praises her beauty and gracefulness by comparing her to his stately and noble chariot steed4 ,the anonymous ,,ms4 commentary rightly remarks1 1 that this simile was suggested by the reference which the damsel has made in the preceding verse to her dark complexion4 ,the king1 therefore1 compares her to his noble steed1 whose dark colour renders it more beautiful than the other horses4 ,such a comparison must have been very striking and flattering in the ,east1 where this animal was so much celebrated for its preeminent beauty4 8,a young chestnut mare10 says ,layard1 ,nineveh1 i4 #ia1 8belonging to the sheik1 was one of the most beautiful creatures ,i ever beheld4 ,as she struggled to free herself from the spear to which she was tied1 she showed the lightness and elegance of the gazelle4 ,her limbs were in perfect symmetry2 her ears long1 slender1 and transparent2 her nostrils high1 dilated and deep red1 her neck gracefully arched2 and her mane and texture of silk4444 ,no one can look at the horses of the early ,assyrian sculptures without being convinced that they were drawn from the finest models40 ,compare also the exquisite and inimitable description of this noble animal in ,job xxxix4 #ai1 c4 and ,rosenmller1 ,orient4 iv4 #ida4 ,the same comparison is used by the ,greek and ,roman poets4 ,thus ,theocritus1 ,idyl4 xviii4 #cj1 #ca3-- 1 4 8,as towers the cypress mid the garden's bloom1 ,as in the chariot proud ,thessalian steed1 ,thus graceful rose-complexion'd ,helen moves40 ,compare also ,horace1 ,ode iii4 #aa4 ,this shows the futility both of those who affirm that the strangeness of the simile is against the literal meaning of this ,song1 and of those who accuse the writer of uncouthness4 ,besides1 is this comparison more strange or uncouth than that of a man with a bony ass8 7,gen4 xlix4 #ad47 ,mark also the other comparison used in the same chapter1 such as of an ox1 serpent1 c4 is not equitatus1 7,vulg4 ,rashi1 ,rashbam1 ,english ,version17 but as ,ibn ,ezra and ,immanuel rightly remark1 1 mare1 the regular feminine of 4 ,the - in is the suffix of the first person1 as the ancient versions have it2 and refers to a well-known and celebrated mare which ,solomon possessed and highly prized1 and which he always put into one of ,pharaoh's chariots4 1 one of ,pharaoh's chariots1 like 1 one of the cities of ,gilead4 ,judg4 xii4 #g4 #aj1 #aa4 ,beautiful is thy countenance1 c4 ,the flattering praises are followed by enticing promises4 8,thou art indeed beautiful10 says the tempting king1 8even in humble ornaments1 but thou shalt have more costly adornments1 which will show off thy beauty to greater advantage40 ,the mention of the noble steed which was adorned with costly trappings1 contributing so much to its stately and elegant appearance1 naturally suggested the reference here made to the damsel's ornaments4 ,the reader will not fail to observe that it is not the shepherd1 but the king who is speaking in verses #i-aa4 ,the poor shepherd had no prancing steed1 no ,egyptian chariots2 he could not promise the shepherdess such costly ornaments as are here described4 7from 1 to go round1 hence 1 something round1 a circle1 ,esth4 ii4 #ab1 #ae17 small rings or beads strung upon threads1 worn as a head-dress4 ,it is customary in the ,east for women to wear strings of beads hanging down from the temples over the cheeks4 ,rosenmller1 ,orient4 iv4 #idb4 ,niebuhr1 ,reise nach ,arab4 i4 #afc4 1 cheeks 7dual of 71 by a synecdoche for the whole face4 7from 1 to pierce1 to perforate71 little perforated balls1 or beads strung upon a thread and worn around the neck2 i4q4 a necklace4 and are plurals1 because the circlet and necklace consisted of many composite parts4 ,whether the circlet was of gold or brass1 or whether the necklace consisted of real pearls1 corals1 or steel1 the etymology of the words does not at all intimate4 ,the context alone must decide this4 ,the fact that the ,shulamite was a humble rustic girl1 and that ,solomon promises to present to her a golden circlet with silver studs1 proves that they were of a common description4 ,this is another proof that the bride was not a prince's daughter2 since her ornaments were not even of gold or silver1 notwithstanding the impassionate desire of ,eastern ladies for costly adornments4 ,the ,sept4 and ,vulg4 have 1 i4e4 8thy neck is as beautiful as doves1 2 they have also 1 like a necklace2 but they have evidently mistaken the for 1 as well as the meaning of 4 #ab4 ,while the king is at his table4 ,here we see how signally the first attempt of ,solomon failed to win the affections of the ,shulamite4 ,for no sooner did he go to his repast than the damsel indulges in sweet expressions of love with her beloved shepherd4 ,two distinct persons are here spoken of2 the king at the table1 and a beloved shepherd1 called 8nard40 ,that by the expression 1 my nard1 the ,shulamite means her beloved is evident from the following verse1 where1 led on by the figure of this odorous plant1 she continues to call him by the fragrant names1 8bag of myrrh10 8bunch of cypress flowers10 c4 1 as long as1 while1 ,sept4 1 ,vulg4 dum4 7from to sit round a table1 to recline4 #a ,sam4 xvi4 #aa1 comp4 ,sept41 ,chald41 ,syriac1 ,arabic1 ,vulg4 in loco17 seats set round1 couches set in a circle1 for reclining at the repast1 according to the ,oriental custom1 7see ,rosenmller1 ,orient4 iii4 #fca27 so the ,sept4 4 ,vulg4 accubitus1 ,rashbam1 1 in the couch at the partaking of the repast2 and comp4 ,ps4 cxxviii4 #c4 ,the reading of 1 in aulaeo1 tentorio1 instead of 1 proposed by ,houbigant1 is both needless and unauthorized4 1 spikenard or nard1 1 is the ,valeriana ,jatamansi1 a plant peculiar to ,hither ,india4 ,it was obtained from ,india by way of ,arabia and ,southern ,asia4 ,the perfume extracted from it was highly prized4 ,thus we are told 7,mark xiv4 #ca71 when the ,saviour sat at meat in ,bethany1 8there came a woman having an alabaster box of ointment of spikenard very precious1 and she broke the box1 and poured it upon his head10 7comp4 also ,john xii4 #ca17 which ,judas1 the betrayer1 estimated at three hundred pence1 about eight pounds ten shillings4 ,the ,romans considered this perfume so precious that ,horace promises ,virgil a whole cadus1 about nine gallons1 of wine for a small onyx-box full of spikenard4 ,see ,pliny1 ,hist4 ,nat4 xiii4 #b2 ,sir ,w4 ,jones1 ,asiatic ,researches1 vol4 ii4 p4 #daf2 ,rosenmller1 ,mineralogy and ,botany of the ,bible1 p4 #aff2 ,kitto1 ,cyclop4 ,bib4 ,lit42 ,winer1 ,bib4 ,dict4 s4v4 #ac4 ,a bag of myrrh1 c4 ,this appellation is a continuation of the figurative expression 8nard10 under which the ,shulamite described her beloved in the preceding verse4 ,the ,hebrew women were in the habit of wearing little bags or bottles filled with perfumes1 especially with myrrh1 suspended from the neck1 and hanging down between their breasts1 under the dress4 ,comp4 ,mishna1 ,sabbath vi4 #c2 ,schroeder de ,vestit4 ,mulier4 p4 #aee2 ,hartmann1 ,hebr4 ii4 #bce4 ,the ,shulamite says that her beloved is to her what this delightful perfume is to others2 having him she did not require any other fragrance4 7from 1 to tie up1 to close71 is a leather smelling-bag or bottle1 i4q4 1 tied up1 or closed at the top4 1 1 1 ,balsamodendron myrrha1 7from 1 to flow17 myrrh1 so called from its flowing down1 is a perfume obtained from a shrub growing in ,arabia1 and much more profusely in ,abyssinia4 ,it formed an article of earliest commerce1 was highly prized by the ancients1 and is still much esteemed both in the ,east and in ,europe4 ,this aromatic liquid either exudes spontaneously from cracks in the bark1 and is called 1 1 stilicidious or profluent myrrh 7vide infra1 v4 #e2 ,exod4 xxx4 #bc71 and on that account is esteemed superior2 or is elicited artificially by bruises or incisions made with stones1 and is therefore regarded as inferior4 ,it was used for incense 7,exod4 xxx4 #bc71 for perfuming dresses 7,ps4 xlv4 #i71 and couches 7,prov4 vii4 #ag71 for the purification of women 7,esth4 ii4 #ab71 for embalming dead bodies 7,john xix4 #ci71 and was worn by women in the bosom4 ,see ,pliny1 lib4 xii4 cap4 #ce2 ,rosenmller1 ,altherth4 iv4 #a1 #aei2 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v4 is a relative clause1 with implied 7,see ,gesen4 #abc1 #c2 ,ewald1 #ccb71 and refers to 4 ,this is evident from 1 which refers to 2 comp4 also iv4 #d4 ,the verb is not here1 8lie all night10 but to abide1 to rest1 like ,job xix4 #d1 1 where even the ,authorized ,version has 8mine error remaineth with myself40 ,ps4 xlix4 #ac4 #ad4 ,a bunch of cypress flowers1 c4 is unanimously regarded by the ancient versions and the ,rabbins to denote the plant called by the ,greek1 and ,al-henna by the ,arabs4 ,this plant1 which grows in many places1 both in ,palestine and ,egypt1 7,plin4 ,hist4 ,nat4 xii4 #bd17 is a tall shrub1 growing from the height of eight to ten feet2 it is exceedingly beautiful and odoriferous4 8,the dark colour of its bark1 the light green of its foliage1 the softened mixture of white and yellow1 with which the flowers1 collected into long clusters like the lilac1 are coloured1 the red tint of the ramifications which support them1--form a combination the effect of which is highly agreeable4 ,the flowers1 whose shades are so delicate1 diffuse around the most grateful odours1 and embalm with their strong fragrance the gardens in which they grow1 and the apartments which they beautify4444 ,the women take pleasure in adorning their persons and apartments with those delightful blossoms40 ,see ,pliny1 lib4 xii4 c4 #ad2 ,rosenmller1 ,bib4 ,miner4 and ,bot42 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v4 ,the flowers grow in dense clusters1 whence 1 cluster of cypress flowers4 ,en-gedi1 more anciently called ,hazezon-,tamar1 which modern explorers identify with the present ,ain-,jidy1 abounded with the best of those delightful shrubs1 7,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v42 ,robinson1 ,palest1 ii4 #bji-baf47 ,hence this beautiful appellation1 8a bunch of cypress flowers10 than which nothing could be more expressive of sweetness and beauty to an ,oriental4 ,the word is most probably derived from 1 to bind1 to twine together2 hence 1 a bundle1 a string1 with the addition of - like 1 1 ,gesen4 #cj1 #c2 ,ewald1 #afc f4 ,this is confirmed by the ,talm4 1 disciples1 7,sota #dg1 a71 i4e4 a combination of youths2 comp4 1 and ,frst1 ,lexicon1 s4v4 here is a field cultivated as a garden2 comp4 1 an olive-yard4 ,judg4 xv4 #e2 ,job xxiv4 #ah1 and supra1 ver4 #f4 #ae4 ,behold1 thou art beautiful4 ,that is1 8,it is not ,i who possess such attraction1 it is thou who art beautiful1 yea superlatively beautiful60 ,the repetition of enhances the idea4 8,thine eyes are doves10 i4e4 8,thine eyes1 in which #8the rapt soul is sitting1' beams forth the purity and constancy of the dove40 ,as the eye is the inlet of ideas to the mind1 so it is also the outlet of inward feelings4 ,thus it expresses many of the passions1 such as pity1 mildness1 humility1 anger1 envy1 pride1 c42 hence the phrases 7which we also have71 to look with an eye of compassion1 ,prov4 xxii4 #i2 1 1 an evil eye1 ,deut4 xv4 #i1 ,mark vii4 #bb4 ,the dove is the emblem of purity and constancy4 ,ps4 lvi4 #a2 ,matt4 x4 #af4 are taken by the ,syriac1 ,vulg41 ,ibn ,ezra1 ,rashbam1 ,immanuel1 ,luther1 ,authorized ,version1 ,kleuker1 ,percy1 ,gesenius1 ,dpke1 ,rosenmller1 ,meier1 c4 as an ellipsis for 1 thine eyes are doves' eyes4 ,gesen4 #add1 ,rem4 ,ewald1 #bif1 b4 ,but such an ellipsis can be tolerated only in extreme emergencies1 whereas here the natural construction yields an excellent sense4 ,besides1 v4 #b proves that the doves themselves1 and not the eyes1 are the point of comparison1 just as the hair and the teeth are 7iv4 #a1 #b7 compared to the goats and sheep themselves1 and not merely to their hair and teeth4 ,and 7vii4 #d71 which does not mean1 thou hast fish-ponds eyes1 but1 thine eyes are like the fish-ponds themselves4 ,hence the ,sept41 ,chald41 ,rashi1 ,mendelssohn1 ,hodgson1 ,ewald1 ,umbreit1 ,magnus1 ,williams1 ,hengstenberg1 ,philippson1 ,hitzig1 rightly reject this elliptical construction4 #af4 ,behold1 thou art comely4 ,the ,shulamite1 refusing to receive all the praise1 responds3 8,it is thou who art lovely and attractive20 and referring to their meeting-spot1 she adds1 8,lovely is our flowery couch2 the arches of our bowers are formed of the spreading and interweaving branches of the majestic and odoriferous cedars and cypresses40 is to be mentally supplied before 2 comp4 ,prov4 iii4 #aa1 i4e4 ,yea1 lovely is our verdant couch4 ,the adj4 is formed from the ,pilel of the verb 4 ,this conjugation1 which is formed by doubling the third radical 7see supra1 #e71 is used to describe permanent states or conditions1 or some striking property2 comp4 ,job xii4 #e2 ,gesen4 #ee1 #b2 ,ewald1 #abj a4 1 beam1 roof 7,gen4 xix4 #h71 here arch1 vault4 1 i4q4 in the 7the is sometimes pronounced harshly like the 1 comp4 1 ,exod4 ii4 #af1 where the ,samaritan has 1 and ,gesen4 #g1 #d71 is rendered by the ,sept41 ,vulg41 ,ewald1 ,gesenius1 c4 fretted ceilings2 by ,kimchi galleries2 and the anonymous manuscript explains it bolt1 and adds1 1 8it is called bolt because it runs backward and forward40 ,but this is not in keeping with the structure of the verse4 stands evidently in parallelism with 1 and accordingly is of a similar import4 ,rashbam has therefore rightly rendered it 1 one of the apartments of the house4 ,as however the house here described is a bower1 would be an arbour4 ,the etymology of the word is in keeping with this sense4 1 i4q4 1 to run1 to flow1 hence 1 #a4 a gutter1 from the water running down1 ,gen4 xxx4 #ch2 #b4 a curl1 from its flowing down 7vide infra1 vii4 #f71 and #c4 1 a place upon which one runs1 a charming spot much frequented2 just like 1 a place where people run1 a street1 from 1 to run4 ,it is now pretty generally agreed that 1 the ,aram4 for 1 is not the fir1 but the cypress4 ,it is quite natural that this lofty tree1 which grows to a height of from fifty to sixty feet1 of so hard and durable a nature1 and so highly esteemed among the ancients1 7,virg4 ,georg4 ii4 #ddc17 should be placed together with the majestic cedar4 ,comp4 ,sirach1 xxiv4 #ac2 ,virg4 ,georg4 ii4 #dd2 ,winer1 ,bib4 ,dict42 ,rosenmller1 ,bib4 ,miner4 and ,bot4 p4 #bfj2 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v4 #a4 ,i am a mere flower of the plain4 8,as for me10 the ,shulamite modestly insinuates1 8my beauty is not peculiar1 but is of an ordinary character1 like these flowers which are found in great profusion in the plain and in the valley4 ,the word 1 which occurs only once more 7,isa4 xxxv4 #a71 is variously explained4 ,the ancient versions vary in their rendering of it4 ,thus the ,sept4 and ,vulg4 have here 1 flos1 flower2 the ,chald41 1 narcissus2 so ,saadias3 whereas in ,isa4 the ,sept41 ,vulg41 ,chald41 render it lily4 ,modern critics are no less divided4 ,kimchi1 ,ibn ,ezra1 c41 explain it rose2 ,michaelis1 ,ewald1 ,gesenius1 ,dpke1 ,henderson1 ,meier1 c41 take it to be autumn crocus1 colchicum autumnale2 ,de ,wette1 ,rosenmller1 ,royle1 ,winer1 c41 narcissus2 ,professor ,lee1 lily4 ,the etymology of the word is likewise disputed4 ,some derive it from 1 a bulb1 with prefixed1 as like is sometimes put before triliterals1 in order to form a quadriliteral1 7,gesenius1 ,lehrg4 p4 #hfc1 ,rosenmller1 ,henderson1 ,hengstenberg1 c417 and others take it as a compound of and 1 acrid bulb4 7,ewald1 ,heiligstedt1 c47 ,the most probable derivation1 however1 seems to be 1 to be bright1 to shine2 hence 7with the termination - like 1 71 a flower2 as most verbs which signify shining are used also to denote verdure and bloom4 ,compare 1 a flower1 from 1 to shine2 and ,simonis ,arcanum ,formarum1 p4 #ceb4 ,the word 7for 1 like for 1 from 1 to be straight1 plain1 with the termination -1 comp4 ,gesen4 #hd1 #ae71 is here best translated a plain1 or field2 so the ,sept41 ,vulg41 ,percy1 c4 render 1 a flower of the field2 and this admirably suits the 1 lily of the valley--a flower common in the valley4 #b4 ,as a lily among the thorns4 ,beautifully and ingeniously does the shepherd take up this humble figure of the ,shulamite1 and1 by a happy turn1 make it symbolical of her surpassing beauty4 8,it is true1 that thou art a lily1 but as a lily surrounded by a multitude of brambles2 so thou appearest among all the damsels40 ,the expressions and are not merely used for son and daughter1 but also1 idiomatically1 denote lad and lass1 youth and damsel4 ,gen4 xxx4 #ac2 ,judg4 xii4 #i2 ,prov4 vii4 #g4 #c4 ,as an apple-tree1 c4 ,the ,shulamite returns the compliment3 8,as the charming apple-tree1 covered with beautifully tinged and sweetly smelling fruit1 appears amidst the wild and barren trees1 so doest thou1 my beloved1 look among the youths4 ,i delight10 continues the ,shulamite1 8to repose beneath the shady tree1 because of its charming fruit40 ,the comparison between the delight which she had in the company of her beloved1 and the agreeable enjoyment which a shady tree affords1 will especially be appreciated by those who have travelled in the ,east1 and had the opportunity of exchanging1 in the heat of the day1 their close tents for an airy and fragrant bower4 ,comp4 ,gen4 xviii4 #d1 #h2 #a ,sam4 xxii4 #f2 ,rosenm4 ,morgenl4 i4 #di2 iii4 #ebh4 is taken by the ,chald4 for 1 citron2 by ,rosenmller and others1 for quince4 ,the expression occurs only six times in the ,scriptures2 four times in this book 7besides the present instance1 see also ii4 #e2 vii4 #i2 viii4 #e72 once in ,prov4 xxv4 #aa2 and once in ,joel i4 #ab4 ,it is used in three passages out of the six for the tree itself1 and in the other three for its fruit4 ,but in all these places the common apple-tree or apple is quite in keeping with the context1 and the etymology of the word1 viz41 1 to breathe1 to breathe sweetly2 hence 1 from its fragrant breath1 is an appropriate description of the common apple in ,syria 7,ovid4 ,met4 viii4 #fge71 and1 indeed1 in all other countries4 ,it is evident from proper names 7,josh4 xii4 #ag2 xvi4 #h71 that this tree was much cultivated in ,palestine at a very early period4 ,in the ,talmud we frequently meet 1 used to denote the common apple4 ,it is worthy of notice that the shepherd calls his beloved 1 fem41 whilst she calls him 1 mas4 ,the second verb is subordinated to the 1 by means of the and the two words are well rendered by the ,chald4 1 ,i delight to sit2 comp4 1 how shall ,i endure and witness1 for how shall ,i endure to witness1 ,esth4 viii4 #f4 ,this subordination also occurs without the 2 comp4 infra1 vii4 #h2 viii4 #b2 ,job x4 #af2 xix4 #c2 ,gesen4 #adb1 #c a1 b2 ,ewald1 #bhe4 #d4 ,he led me1 c4 ,having represented her beloved1 in the preceding verse1 as a tree1 forming with its widely-spread branches and rich foliage a shady bower1 in which she delighted to repose and enjoy its delicious fruit1 the ,shulamite here narrates1 in the same metaphorical language1 how he took her into that bower of delight1 that arbour of love4 ,the words mean bower of delight1 wine being frequently used in this book for delight2 and are but a designation of the manifestations of love denoted in the preceding verse by 1 delicious apple-tree4 ,so also the word 1 from 1 to cover1 retaining here its primary meaning1 cover1 shade1 corresponds to 1 shade1 in the last verse4 ,the ,sept41 ,sym41 ,syriac1 ,arab41 which are followed by many moderns1 read 1 and 1 bring me1 and cover me1 imper41 arising most likely from a wish to produce uniformity in this and the following verses4 #e4 ,oh1 strengthen me1 c4 ,the rehearsal of their past union and enjoyment kindled the ,shulamite's affections1 and made her wish again for that delicious fruit1 i4e4 the tokens of his love4 ,the cakes here mentioned were held in high estimation in the ,east2 here1 however1 both the cakes and the apples are to be taken figuratively as expressions of love4 ,this is obvious from the preceding verse1 and from the words1 8for ,i am sick with love10 for no real cake or apple could cure a heart suffering from this complaint4 7from 1 to burn1 to fire2 hence 1 fire1 like 1 mother1 from 1 to join1 to unite71 something made by fire1 a sort of sweet cake prepared with fire1 and is most probably the same which in ,hos4 iii4 #a is written more fully 1 grape-cakes4 ,the meaning1 cake1 is retained in the ,sept4 in all the passages 7except ,isa4 xvi4 #g1 where the ,sept4 reads 1 instead of 1 see the parallel place1 ,jer4 xlviii4 #ca71 where this word occurs4 ,thus 1 a cake from the frying-pan1 #b ,sam4 vi4 #ai2 and in the parallel passage1 #a ,chron4 xvi4 #c1 1 a sweet cake2 in ,hos4 iii4 #a1 1 a baked cake2 and 1 sweet cakes1 in the passage before us4 ,this meaning is supported by the ,chald4 on ,exod4 xvi4 #ca1 where is used for the ,hebrew 1 and ,mishna ,nedarim1 vi4 #aj4 ,gesenius1 ,hitzig1 ,henderson1 ,frst1 c41 derive it from 1 to press1 to compress1 whence1 they say1 1 a cake made of dried grapes pressed together1 and 1 a foundation 7,isa4 xvi4 #g71 which is pressed down by treading on it4 ,but as the transition from cake to foundation is not so easily conceived1 and especially as the meaning to press1 attached to 1 is nowhere to be found in ,hebrew 7the word in ,isa4 xvi4 #g is to be translated cake1 see ,hengstenberg1 ,christ4 i4 p4 #cae71 it is far better to derive this word as above from 1 to burn4 ,the ,rabbinical explanation1 1 flagons of wine1 which the ,authorized ,version follows1 is not borne out by the etymology1 nor does it suit the passages in which this word occurs1 and is therefore rightly abandoned by modern lexicographers4 ,the rendering of ,hodgson1 8,support me with cups1 around me strew apples20 and that of ,michaelis1 8,support me with verdant herbs1 spread fragrant fruits under me10 are contrary to the meaning of the words4 #f4 ,let his right hand1 c4 ,the pressure of the attempts to alienate her affections from him whom her soul loveth1 and the burning desire to be re-united with him1 though well sustained by her noble mind1 yet overcame her body2 and whilst momentarily sinking beneath the weight1 the ,shulamite desires that no other hand should raise her drooping head1 no other arm support her exhausted frame than that of her beloved4 ,this verse is to be taken in the optative mood4 ,comp4 ,ps4 vii4 #i2 xlv4 #b2 ,ewald1 #cbi a4 #g4 ,i adjure you1 c4 ,having evinced her warm and undiminished attachment to her beloved shepherd1 the ,shulamite adjures the court ladies1 who1 as we have seen1 tried to gain her affections for the king1 by everything dear and lovely1 not to excite her love for anyone else till her own 77 affections wish 7 7 for another object4 ,the gazelle1 1 so called from the beauty of its form1 is an animal of the antelope kind1 of very graceful and elegant figure1 has very slender limbs1 large and soft eyes4 ,the great admiration in which this animal was held in the ,east1 made the ,hebrews use it as an emblem of everything beautiful 7,prov4 v4 #ai72 and from its being charming and lovely1 it also became an object by which to swear4 ,such adjurations are frequently used in the ,east4 ,comp4 ,reland1 de ,religio ,mah4 ii4 p4 #afd3 ,rosenmller1 ,orient4 i4 #adf2 v4 #bb4 ,dio1 in the neid1 lib4 iv4 #cad2 ,bochart1 ,hieroz4 i4 p4 #hii4 1 mas41 for 1 fem4 ,both masculine pronouns and verbs are sometimes used in reference to objects which are feminine4 ,see ,gesenius1 #aba1 ,rem4 i4 #acg1 #a2 ,ewald1 #ahd c4 1 after formul of swearing1 has the effect of a negative particle 7,isa4 xxii4 #ad2 ,prov4 xxvii4 #ad74 ,this is owing to a part of the oath being omitted4 ,comp4 #b ,sam4 iii4 #ce2 ,gesen4 #aee1 #b f42 ,ewald1 #cef a4 1 here1 is not to arouse1 to wake from sleep 7,gesen471 but to rouse1 to excite the passions1 affections2 thus 1 he will arouse his zeal1 ,isa4 xlii4 #ac2 ,prov4 x4 #ab4 ,the repetition of the same verb in the ,hiphil and ,piel expresses intensity1 ,isa4 xxix4 #i2 ,zeph4 ii4 #a4 is the abstract1 love1 affection1 iii4 #aj2 vii4 #g4 ,after supply 4 ,similarly1 ,rashbam4 ,the ,sept4 strangely renders 1 1 by the powers and virtues of the field4 ,thus in this scene1 the first attempts1 both on the part of the king and the court ladies1 to win the ,shulamite's affections1 signally failed4 ,the same formula re-occurs iii4 #e1 and viii4 #d1 to mark1 at the end of the trials1 her successful resistance4 #h4 ,hark6 my beloved6 ,having alluded in the preceding ,section 7i4 #f7 to the ill-treatment which she had received from her brothers1 the ,shulamite now relates the cause of that treatment4 ,thus whilst this narrative forms the connecting link between this and the preceding ,section1 it also gradually acquaints us with her history4 ,the description given of the arrival and conduct of her beloved is very graphic and beautiful4 ,she first sees him at a distance1 bounding over the hills with the speed of the swift-footed gazelle1 and presently he is found behind the wall1 peeping through the window1 and imploring her in the sweetest language imaginable to go with him into the fields and enjoy the beauties and charms of nature4 is not 1 the sound of his feet 7,ibn ,ezra1 ,hitzig71 which could not be heard at such a distance from the mountains2 nor the voice of his song 7,dpke1 ,philippson71 for he could not very well sing when running at such a speed as here described2 but simply means hark6 7,ewald1 ,magnus1 ,meier71 and is used in animated descriptions to arrest attention1 ,ewald1 #bhf f4 #i ,my beloved is like1 c4 ,to describe the speed of his approach the ,shulamite compares him to the swift-footed gazelle1 and nimble fawn4 ,this comparison is also used in other parts of ,scripture4 ,thus ,asahel is called light-footed as a gazelle4 #b ,sam4 ii4 #ah2 ,prov4 vi4 #e2 ,hab4 iii4 #ai4 8,the ,eastern buildings generally surround a square inner court2 the beloved is described as gradually making his approach1 first to the wall1 then looking through the window40 ,here is another incontestable proof that the object of the damsel's affection1 whom she describes as coming to her1 is not the king1 but a shepherd1 for the king could not consistently be represented as bounding over the hills4 ,though has a feminine1 1 which is used in ver4 #g1 yet instead of its being here 1 we have 3 see also ,ps4 xlii4 #b4 ,this is owing to the neglect on the part of the writer to avail himself of the forms established by usage1 ,gesen4 #ajg1 #a4 ,or it may be that such names were still of a common gender1 and the feminines were only in the process of formation1 but not as yet fixedly established1 ,ewald1 #age b4 occurs only here1 but it is evident from ,dan4 v4 #e1 and the ,targum1 ,josh4 ii4 #ae1 where it stands for the ,hebrew 1 that it means a wall forming a part of the house4 ,the ,sept4 has here 1 from ii4 #ag4 #aj1 #aa4 ,arise1 my love1 c4 ,the ,shulamite introduces here her beloved as speaking4 ,he urges her to go1 since the rain is over1 and everything without is charming4 is idiomatically used in reference even to the person speaking first1 without any antecedent interrogation4 7,deut4 xxvi4 #e2 ,isa4 xiv4 #aj2 xxi4 #i47 ,the meaning of the word seems to be simply to impart information1 either asked for or not4 ,in the former case obtains the additional idea of a reply1 whereas in the latter it merely means to inform1 to tell1 like in the ,new ,testament4 ,comp4 1 ,matt4 xvii4 #d2 ,mark ix4 #e4 ,on the use of the dative 1 see ,gesen4 #aed1 #c e4 ,ewald1 #cae a4 ,the 4 4 properly denotes the winter the rainy season1 at the end of which1 viz4 ,february or ,march1 the spring advances with surpassing quickness2 it excludes the autumn1 and thus differs from 4 ,the form 7from 1 to winter71 is1 according to the analogy of 1 1 1 see ,frst1 ,lexicon1 under 4 ,the ,sept4 has mistaken the dative for the imp4 1 and adds 1 my dove1 after 1 my beauty4 #ab4 ,the flowers appear1 c4 ,the gradual development is exceedingly beautiful2 the description unfolds with the season4 ,after the graphic delineation of the meadows strewed with a profusion of variegated flowers2 of the men in the fields1 and the birds hovering over them1 joining to pour forth a volume of various sounds2 of the delicious odour of the embalmed fig1 and fragrant vine1 the beloved exclaims3 8,nature has prepared a rich banquet2 come1 let us go and enjoy it60 ,the ,sept41 ,aquila1 ,sym41 ,vulg41 ,chald41 ,rashbam1 render 1 by the season for the pruning of vines3 ,gesenius defends this rendering1 but against the usage of the word 1 and the connexion4 ,wherever occurs1 either in the singular 7,isa4 xxv4 #e71 or plural 7#b ,sam4 xxiii4 #a2 ,isa4 xxiv4 #af71 it invariably means song or singing4 ,moreover1 the parallelism1 and the whole of the description1 demand that it should be rendered so here4 ,all the pleasures and charms here depicted are gratifications for the senses1 and are adduced by the beloved as the invitation of nature to enjoy her banquet2 whereas the pruning of the vines would be a summons to engage in toil4 ,besides1 the vine is mentioned afterwards in its rotation 7v4 #ac71 and it would mar the gradual progression of this minute description to suppose that it has been uselessly repeated4 ,hence it has been rightly rendered singing by ,rashi1 ,kimchi1 ,ibn ,ezra1 ,anonymous ,oxford ,manuscript1 ,mendelssohn1 ,kleuker1 ,ewald1 ,dpke1 ,rosenmller1 ,de ,wette1 ,magnus1 ,hengstenberg1 ,philippson1 ,frst1 ,meier1 ,hitzig1 c4 ,the objection that 1 singing1 means the song of men1 is obviated by referring it here to the season when both man and bird begin to sing4 1 like other words of the form 1 expresses the time of the action2 comp4 1 harvest2 properly the time when the fruit is gathered4 1 the time of ploughing4 ,gesen4 #hd1 #e2 ,ewald1 #adi e4 ,the cooing of the turtle1 c4 ,the turtle-dove is a migratory bird 7,jer4 viii4 #g2 ,arist4 ,hist4 ,anim4 viii4 #c1 #ab1 #af2 ,pliny1 ,hist4 ,nat4 x4 #cf2 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v472 it resides in the winter farther south than ,palestine1 and returns in the spring1 when its cooing voice in the woods announces the return of that season4 #ac4 ,the fig-tree sweetens her green figs4 ,the word is now rendered by many commentators1 according to the example of ,ibn ,ezra1 to sweeten1 to embalm1 to spice2 i4e4 the fig-tree sweetens her fruit by filling it with aromatic juice4 ,this rendering is confirmed by the use of 1 to embalm 7,gen4 l4 #b1 #bf71 which was done with spices and aromatic plants 7#b ,chron4 xvi4 #ad2 ,john xix4 #dj74 ,the ,sept41 ,aquila41 and ,vulg4 render 1 puts forth1 but this signification cannot be deduced from the root4 ,ewald1 ,magnus1 ,hitzig1 have 8the fig-tree reddens10 c41 but the verb is not used in this sense in ,hebrew4 7from immature71 an unripe fig1 ,sept4 1 ,vulg4 grossus2 so in the ,talmud and ,ibn ,ezra1 1 the fruit before it is ripe4 ,the vines blossom1 c4 ,it is well known that the blossoming vine smells sweetly2 comp4 ,pliny1 ,hist4 ,nat4 xiv4 #b4 1 lit4 the vines are in blossom1 i4e4 the vines blossom2 so ,sym4 1 ,vulg4 florentes4 ,substantives are frequently used in ,hebrew instead of adjectives to express properties2 thus 1 the flax was bolled4 ,exod4 ix4 #ca2 ,ezra4 x4 #ac4 ,this peculiarity is to be accounted for by supposing either that the adjectives were not as yet formed1 or if formed were still not currently used4 ,gesen4 #ajf1 #a2 ,ewald1 #bif b4 stands for 2 comp4 ver4 #aj2 the has been occasioned by the preceding form 1 and succeeding words 1 which terminate in 4 ,this is not unfrequently the case1 see ,job xix4 #bi2 ,eccl4 viii4 #ag2 ,prov4 viii4 #ce2 ,mich4 i4 #h4 ,the ,sept4 has here again for 1 and after 4 #ad4 ,my dove in the clefts1 c4 ,having described the charming aspect of nature1 he repeated his invitation to her to go with him into the fields4 ,impatient at her apparent delay1 the beloved1 whilst calling her by the endearing epithet 8dove10 delicately ascribed to her the timorous character of that bird4 ,doves in the ,east make their nests in the clefts of elevated rocks and cliffs 7,jer4 xxviii4 #bh71 which they are exceedingly afraid to leave when once frightened4 ,thus ,homer1 ,iliad1 xxi4 #dic3 ' 1 1 ' ' 1 1 ' 4 8,as when the falcon wings her way above1 ,to the cleft cavern speeds the frighten'd dove1 ,straight to her shelter thus the goddess flew40 ,see also ,virg4 n4 v4 #bac4 is the plural construct4 of 7from the root 1 to make incisions in1 to split or perforate rocks72 according to the analogy of 1 plural const4 of and from 1 vide sup4 ii4 #aa4 1 7from 1 cognate with 1 to ascend17 a place reached by climbing or ascending1 a steep1 a precipice4 ,the ,mazora marks the in as superfluous1 evidently to avoid the apparent incongruity between the adjective 1 which is in the singular1 and the noun 1 apparently plural4 ,but the here may be retained1 and the word may still be singular4 ,for many nouns from roots preserve in the singular before a suffix the original of the root1 and thus have the appearance of the plural3 e4g4 1 thy castle 7,isa4 xxx4 #bc71 from 1 1 the same expression1 ,job xli4 #a2 ,gesen4 #ic1 #i2 ,ewald1 #bef b4 #ae4 ,catch us the foxes1 c4 ,the ,shulamite here quotes the words of her brothers1 who had overheard the invitation4 ,to prevent the meeting of the lovers1 the brothers gave the damsel employment in the vineyard1 to catch and keep out the foxes4 ,to this she refers in i4 #f1 when1 repelling the disdainful looks of the court ladies1 and accounting for her brown complexion1 she mentions the severe treatment of her brothers4 1 foxes1 as well as jackals1 were very numerous in ,palestine 7,judg4 xv4 #d2 ,lam4 v4 #ah2 ,ps4 lxiii4 #aa2 ,neh4 iv4 #c74 ,there was a district actually called 1 from the abundance of these creatures1 #a ,sam4 xiii4 #ag4 ,these animals are gregarious1 found in packs of two or three hundred 7,boch4 ,hieroz4 lib4 iii4 #ab71 and are described1 both by sacred and profane writers1 as destructive to vineyards1 ,sam4 i4 #ag1 #ah2 and ,theocritus1 ,idyl4 v4 #aab3 1 4 8,i hate those brush-tail'd foxes1 that each night ,spoil ,micon's vineyards with their deadly bite30 also ,idyl4 i4 #dg-ej4 ,the young foxes are especially injurious to the vineyards1 because they burrow in holes in the ground1 ,neh4 iv4 #c4 ,the brothers1 in the last clause1 assign a reason for their proposal2 the in is therefore to be rendered for1 ,gesen4 #aee1 #a c4 ,the ,sept4 inadvertently omits the word 4 #af4 ,my beloved is mine1 c4 ,the ,shulamite tells the court ladies how she had consoled herself under these circumstances of separation3 8,though my brothers succeeded in separating us bodily by assigning to me this post of keeping the vineyards1 yet our affections are inseparable2 and though still separated from me1 my beloved is mine and ,i am his2 his who tends his flock in the meadows abounding with flowers40 ,it seems as if the words1 8he who feeds his flock among the lilies10 were designedly added1 whenever the damsel speaks of her beloved1 to show unmistakably that he was a shepherd4 ,how such passages can be reconciled with the supposition that the king is the object of the maiden's attachment1 or1 according to others1 that the maiden is the daughter of ,pharaoh1 is difficult to divine4 #ag4 ,when the day cools1 c4 ,she also relates how she had comforted her beloved1 telling him that this state of separation would not last long2 that he must come in the evening1 when unobserved1 with the same swift-footed speed as he came in the morning4 1 i4q4 1 when the day breeze blows1 i4e4 in the evening1 shortly before sunset1 when a gentle and cooling breeze blows in the ,east 7see ,pliny1 ,hist4 ,nat4 ii4 #dg72 hence 1 ,gen4 iii4 #h1 opposed to 1 xviii4 #a4 ,that this is the sense of 1 and not day-break 7,english ,ver471 or morning-breath 7,good71 is evident from the immediately following 1 which expresses the same idea in other words1 i4q4 evening2 comp4 ,job xiv4 #b4 ,the shadows are said to flee away when at sunset they become elongated and stretched out2 thus as it were run away from us1 further and further1 till they eventually vanish in the dark of night4 ,hence ,david1 speaking of the approaching sunset of his life1 says1 1 ,my days are like an elongated shadow1 ,ps4 cii4 #ab2 cix4 #bc4 ,comp4 also ,virg4 ,eclog4 i4 #hd1 and ii4 #ff4 ,so ,herder1 ,kleuker1 ,ewald1 ,gesen41 ,dpke1 ,rosenmller1 ,magnus1 ,heiligstedt1 ,frst1 ,philippson1 ,meier1 ,hengstenberg1 ,hitzig4 ,the rendering of ,hodgson1 ,good1 c41 8till the day-breath10 and their reference to the passage of ,milton1 8,sweet is the breath of morn0 7,par4 ,lost1 iv4 #fda71 is gratuitous4 ,the words are rendered by the ,sept4 1 mountains of cavities1 i4e4 decussated mountains1 from 1 to divide1 to cut1 which ,gesenius and ,heiligstedt explain1 a region divided by mountains and valleys1 but very unsatisfactorily4 ,the ,syriac and ,theodo4 have 1 taking for 1 which is adopted by ,meier2 but this emendation is unsupported by ,,mss41 and has evidently arisen from viii4 #ad4 ,the ,vulg4 and ,rashbam take as a proper name1 montes ,bether2 but neither place nor mountain is known by such name4 ,the ,chald41 ,ibn ,ezra1 ,rashi explain by mountains of separation1 i4e4 mountains which separate thee from me3 this is followed by ,luther1 ,ewald1 ,de ,wette1 ,hengstenberg1 ,philippson1 ,hitzig1 and is most consonant with the context4 ,we have seen 7ver4 #i71 that there were mountains separating the houses of the lovers1 which the shepherd had to cross to reach the ,shulamite2 and as she told him to go back and return in the evening1 it was evident that he had to cross again those separating mountains4 #a4 ,when on my nightly couch1 c4 ,through some means or other her beloved did not come in the evening according to request1 and1 unable to wait any longer1 she retired4 ,her thoughts1 however1 kept her awake1 and her confidence in him made her look for him even when on her couch4 ,the words do not mean1 8,i sought him in my bed10 at which unnecessary umbrage has been taken1 but 8,even when ,i reclined upon my nocturnal couch1 ,i could not give him up2 ,i still sought to find him40 means my couch used at nights1 i4q4 1 in contradistinction to 1 a couch used at noonday1 #b ,sam4 iv4 #e4 ,this is evident from the plural 1 in the nights1 and from ver4 #h1 where the same plural is used to describe nocturnal marauders4 ,the affirmation of ,harmer1 therefore1 that no reasonable doubt can be made that these are the words of one to whose bed the beloved was no stranger1 falls to the ground4 ,the ,sept4 adds1 1 from chap4 v4 #f4 #b4 ,i must arise now1 c4 ,seeing1 however1 that her beloved did not come1 and apprehending that some disaster might have befallen him on his way1 the ,shulamite determined to go and find him4 ,the - in is expressive of self-summons and determination3 8,i said to myself1 ,come6 ,i must arise now60 ,comp4 ,ps4 ii4 #c2 lv4 #c2 ,gesen4 #abh1 #a2 ,ewald1 #bbh a4 #c4 ,the watchmen1 c41 found her whilst engaged in seeking her beloved1 and she at once inquired of them whether they had seen him4 ,the interrogative particle is here omitted4 ,this is sometimes the case when the whole sentence1 as here1 is interrogative1 in which case it is distinguished by the prominence given to the word upon which the force or weight of the interrogation more especially falls2 as by the tone in which it is uttered1 e4g4 1 8,this thy kindness to thy friend60 #b ,sam4 xvi4 #ag2 xviii4 #bi2 ,gesen4 #aec1 #a2 ,ewald1 #cbd a4 #d4 ,scarcely had ,i passed them1 c4 ,the abruptness of the description here is very characteristic4 ,she informs us that she had put a question to the watchmen1 but1 in her hurry to find her beloved1 does not tell us the answer which she received4 ,the construction --1 scarcely when1 is nowhere else to be found in the ,old ,testament2 it may be resolved to 1 the time that ,i passed them amounted to a little while4 #e4 ,i adjure you1 c4 ,having expressed her deep attachment to her beloved shepherd1 she again adjures the court ladies not to persuade her to love any one else4 ,comp4 ii4 #g4 ,the ,sept4 has again 1 powers1 and 1 virtues2 vide supra1 ii4 #g4 #f4 ,what is that1 c4 ,the situation changes4 ,the state tents have been broken up in the neighbourhood of the ,shulamite's home1 and the royal train travels towards ,jerusalem4 ,some of the inhabitants1 as they see at a distance the procession almost enveloped in the fragrant cloud of smoke arising from the incense profusely burned1 exclaim1 8,what is that coming up from the country80 8,the burning of perfumes in the ,east1 in the preceding part of processions1 is both very ancient and very general4 ,deities 7images7 were probably the first honoured with this ceremony1 and afterwards their supposed vicegerents1 human divinities4 ,we have a relic of the same custom still existing among ourselves1 in the flowers strewed or borne in public processions1 at coronations1 c41 and before our great officers of state3 as the ,lord ,chancellor1 the ,speaker of the ,house of ,commons2 and in some corporations1 the mace1 as an ensign of office1 has the same origin1 though now reduced to a gilded ornament only40 ,see ,calmet1 ,dictionary1 and ,rosenmller1 ,orient4 iv4 #idh4 is properly used of persons1 but also of things1 especially when the notion of person or persons is in them1 e4g4 1 8,what is all this company with thee80 ,gen4 xxxiii4 #h2 ,mich4 i4 #e4 ,that this is here the meaning of 1 is evident from the answer1 1 ,behold1 it is the palanquin4 7from 1 to range in order1 to guide1 to drive flocks71 here is not desert1 but1 as frequently1 an uninhabited plain or country1 where flocks are tended1 in contradistinction to town1 where people dwell4 ,comp4 ,isa4 xlii4 #aa2 ,jer4 xxiii4 #aj2 ,joel ii4 #bb4 1 the plur4 of 1 like 1 from 1 columns or clouds1 only occurs once more1 ,joel iii4 #c1 and is most probably derived from 1 to ascend1 to rise up like a column or cloud4 ,the has merely been inserted to help the pronunciation 7comp4 ,exod4 xxv4 #ca2 ,ps4 xix4 #d471 and1 indeed1 nineteen ,,mss4 and originally another omit the 1 which is undoubtedly the correct reading4 ,the in signifies as in4 ,comp4 ,isa4 v4 #ag2 xxix4 #g2 ,gesen4 ,gram4 #aah1 #c1 ,rem4 is used for a plurality comprising1 or consisting of1 divers single things or objects1 and is to be rendered all kinds4 ,comp4 ,lev4 xix4 #bc2 ,neh4 xiii4 #af2 ,frst1 ,lexicon1 under #e2 ,gesen4 #ajh1 #d1 #aaa1 #a4 71 1 arbor thuris1 thus71 frankincense1 so called from its white colour1 was early known and extensively used by the ,jews 7,exod4 xxx4 #cd2 ,lev4 ii4 #a1 #b2 ,isa4 lxiii4 #bc7 and other nations 7,tibull4 ,lib4 ,eleg4 ii42 ,ovid4 ,trist4 ,lib4 ,v4 ,eleg4 v4 #aa7 in sacrifices for fumigation4 ,it is represented as a shrub1 growing on mountains1 and thorny1 both in ,arabia 7,isa4 lx4 #f2 ,jer4 vi4 #bj7 and in ,palestine1 according to the passage here2 reaches a height of about five feet1 and resembles in its leaves and fruit the myrtle4 ,the frankincense is obtained by incisions which are made twice a year2 the first in the beginning of autumn1 which is white and pure 7 1 ,exod4 xxx4 #cd71 and is regarded as superior2 and the second incision is made in the winter1 when the resin thus obtained is reddish1 and considered much inferior4 ,comp4 ,winer1 ,bibl4 ,dict4 p4 #fha1 et seq42 ,pliny1 ,hist4 ,nat4 xxxii4 #ad4 #g1 #h4 ,lo6 it is the palanquin1 c4 ,another bystander1 recognizing it at a distance1 exclaims that it is the cortge of ,solomon1 consisting of his palanquin and guard4 1 i4q4 2 comp4 ,gesen4 #aba1 #e1 note2 ,ewald1 #cji c4 ,this construction1 however1 has no real analogy in the ,scriptures2 it frequently occurs in latter ,hebrew writings4 ,comp4 1 the bottom of the mountain1 in ,rashbam on the ,song of ,songs1 iv4 #a4 ,the here mentioned1 were a separate class of the body-guard formed by ,david2 and1 as co-religionists 7 71 seem to have been chosen to protect the monarch on his excursion against any attack of nocturnal marauders1 so frequent and so much dreaded in the ,east4 ,comp4 ,job i4 #ae1 with ,gen4 xvi4 #ab4 ,the in is used partitively1 vide supra1 i4 #b4 1 skilled in the sword4 1 to take hold1 also to handle artfully1 like 1 to take hold1 to handle skilfully4 ,the participle 1 though of a passive form1 has an active signification2 this is not unfrequently the case1 especially when it belongs to an intransitive verb4 ,comp4 1 he trusted in ,jehovah1 ,ps4 cxii4 #g2 ,gesen4 #ej1 #c1 ,rem4 #b2 ,ewald1 #adi d4 ,this removes the apparent contradiction caused by the ,authorized ,version1 8,they all hold swords20 when in the next clause1 as ,hodgson and ,good remarked1 we are told that each had his sword on his thigh4 1 a man is used as a distributive for each1 every4 ,comp4 ,gen4 xv4 #ah2 xlii4 #be2 ,gesen4 #abd1 #b1 ,rem4 #a2 ,ewald1 #bgh1 b4 ,we must supply after 4 ,comp4 ,exod4 xxii4 #bg2 ,ps4 xlv4 #d4 1 fear1 metonymically for the object of fear 7,gen4 xxxi4 #db1 #ec71 here marauders4 ,this is evident from ,ps4 xci4 #e2 ,prov4 iii4 #bd4 1 in or during the nights1 i4e4 nocturnal marauders4 ,vide supra1 iii4 #a4 #i4 ,a palanquin1 c4 ,as the train draws nearer1 a third person recognizes it as the newly-made palanquin1 of which he gives a circumstantial description4 ,palanquins were and are still used in the ,east by great personages4 ,they are like a couch1 sufficiently long for the rider to recline1 covered with a canopy resting on pillars at the four corners1 hung round with curtains to exclude the sun2 they have a door1 sometimes of lattice-work1 on each side4 ,they are borne by four or more men1 by means of strong poles1 like those of our sedan-chairs2 and in travelling great distances1 there are always several sets of men to relieve each other4 ,the materials of which these palanquins are made1 and the style of their construction1 depend upon the rank and wealth of the owners4 ,the word is most probably derived from 1 to run1 to be borne quickly4 ,comp4 1 from 1 1 from 1 currus from currendo1 ferculum from fero4 ,the form is1 according to the analogy of 1 likeness 7,ps4 xvii4 #ab71 and 1 ransom 7,exod4 xxi4 #cj72 comp4 ,gesen4 #hd1 #ae2 ,ewald1 #afc c4 with a prosthetic 7,gesen4 #ai1 #d2 ,ewald1 #afb c17 followed by a ,dagesh forte like 1 a palace1 ,dan4 xi4 #de2 see ,frst1 ,lexicon4 ,ewald1 however1 derives it from 1 to work out1 to build1 to form1 hence 1 ein ,prachtstck4 ,kimchi derives it from 1 to be fruitful1 and says it is called 1 because 1 people increase and multiply therein4 ,but this is contrary to the description here given of the procession4 ,besides1 a bridal bed has no 77 seat4 1 to make1 means also to have made1 to order to be made4 ,a person is frequently described in ,scripture idiom as doing that which he orders to be done4 #b ,sam4 xv4 #a2 ,gal4 ii4 #e1 #f4 ,the in denotes the material of which the frame-work was made4 ,ps4 xlv4 #d4 ,the wood of ,lebanon1 i4e4 cedars and cypresses1 ,zech4 xi4 #a1 #b2 #a ,chron4 ii4 #h4 #aj4 ,its pillars he hath made1 c4 ,the description here given of the costly construction of this magnificent palanquin is by no means a mere poetic embellishment4 ,a similar litter was presented by the ,british government in #agff to the ,nabob of the ,carnatic1 of which the following account is given by ,williams in loco1 from the public prints of the time3 8,the beams are solid gold1 the inside beautifully decorated with silver lining and fringe throughout2 the panels are painted in the highest style of finishing1 and represent various groups and heads of animals1 after the manner of ,asia1 beaded with gold richly raised above the surface1 and engraved4 ,the stays and different other ornaments are of embossed silver40 ,curtius 7viii4 #i1 #bc7 gives us a description of the procession of an ,indian potentate1 which strikingly resembles the one here depicted4 8,when the king shows himself in public1 his servants go before him with silver censers1 which fill the air1 throughout the way along which he is borne in the palanquin1 with delicious odour4 ,he himself is reclining upon a golden couch1 covered with pearls and veiled with purple curtains1 embroidered with gold2 the life-guard bring up the rear40 7from 1 to support1 ii4 #e71 that which supports the back when sitting2 so the ,sept4 2 ,vulg4 reclinatorium2 ,dpke1 ,rosenmller1 ,hitzig1 c4 1 a seat1 comp4 ,lev4 xv4 #i4 ,the words 1 are either to be translated3 its centre is tesselated most lovely1 by the daughters of ,jerusalem2--the noun may be used adverbially for lovely1 charmingly1 comp4 1 8,i will love them freely10 ,hos4 xiv4 #d2 ,ewald1 #bgi c1 #bjd2 so ,luther1 ,kleuker1 ,herder1 ,de ,wette1 ,rosenmller1 ,philippson1 c42 and the in may denote the author or instrument1 see ,isa4 xxii4 #c2 xxviii4 #g2 ,eccl4 xii4 #aa2 ,gesen4 ,gram4 #adc1 #b2--or they may be rendered1 the middle thereof is wrought1 as expressive of their love1 by the daughters of ,jerusalem2 taking 1 love1 for the effect1 or proof of it2 comp4 1 i4 #b1 and in ,greek2 so ,le ,clerc1 ,bp4 ,percy1 ,drs4 ,good and ,clark4 ,the interior of these couches is generally painted with baskets of flowers and nosegays1 intermixed with short sentences or mottoes1 expressing the power of love4 #aa4 ,come out1 ,o ye daughters1 c4 ,as the royal train begins to enter the city1 a fourth bystander calls the daughters of ,zion to come out and see the monarch in his joyful attire4 ,thus the inspired writer beautifully puts into the mouth of several spectators the description he desires to give4 ,the crown here mentioned is not the symbol of royalty1 but the emblem of happiness 7,job xix4 #i74 ,crowns or chaplets of flowers were worn in ancient times on occasions of festivity and rejoicing2 comp4 ,apocryp4 ,wisdom1 ii4 #g1 #h4 ,conjugal life being regarded as the most happy1 it became a custom among the ,jews1 as well as among other nations1 to put crowns on the heads of the newly-married people4 ,rosenmller1 ,orient4 iv4 #aif4 8,in the ,greek ,church in ,egypt10 says ,maillet1 8the parties are placed before a reading-desk on which is the book of the ,gospels1 having two crowns upon it of flowers1 cloth1 or tinsel4 ,the priest1 after benedictions and prayers1 places one on the bridegroom's1 the other on the bride's head1 covering both with a veil40 7,see also ,talmud1 ,sotha1 ix4 #ad2 ,selden1 ,uxor4 ,hebr4 ,,ii4 xv4 #aci2 ,i4 ,f4 ,hirt1 de ,coronis apud ,hebraeos nuptialibus sposi sposaeque74 ,the ,jews still call the bridegroom 1 and the bride 4 ,the design of ,solomon in putting on this crown is evidently to dazzle the rustic girl4 ,the arrival and entrance of the royal train in the capital1 recorded in verses #f-aa1 evidently show that the circumstances narrated in the preceding sections took place out of ,jerusalem1 and that the apartments into which the king brought the damsel1 as stated in ch4 i4 #d1 were not in the capital1 but1 as we see from ch4 vi4 #aa1 #ab1 in the neighbourhood of the ,shulamite's home4 ,the abnormal is here intentionally used instead of the normal 1 to correspond in form with 2 just as 1 entrance 7,ezek4 xliii4 #aa71 is employed instead of 1 to correspond with 1 see also ,jer4 l4 #bj2 ,ezek4 xvi4 #ej2 infra1 viii4 #e2 ,gesen4 #ei1 ,rem4 #c2 ,ewald1 #aah d4 ,the female inhabitants of the town are designedly called 1 to distinguish them from the 1 which is the appellation of the court ladies4 #a4 ,behold1 thou art1 c4 ,the shepherd1 who had followed afar off the royal train in which his beloved was conveyed to the capital1 obtains an interview with her1 and is now addressing her4 ,thine eyes are doves2 see supra1 i4 #ae4 ,thy hair is like a flock of goats1 i4e4 the tresses1 dangling from the crown of her head1 are as beautiful as ,mount ,gilead covered with the shaggy herd4 ,the hair of ,oriental goats is exceedingly delicate1 soft 7,gen4 xxvii4 #af71 long1 and black 7#a ,sam4 xix4 #ac72 and when the sun shines upon it1 reflects such a glare that the eye can hardly bear the lustre 7see ,boch4 ,hieroz4 i4 #b1 #ea4 ,rosenmller1 ,orient4 i4 #he74 is the name of a chain of limestone mountains beyond ,jordan1 intersected by numerous valleys 7,gen4 xxxi4 #ba2 ,jer4 l4 #ai74 ,this ridge extends over the regions inhabited by the tribes of ,reuben1 ,gad1 and the northern part of ,manasseh 7,numb4 xxxii4 #dj2 ,deut4 iii4 #ac2 ,josh4 xvii4 #a-f74 ,it was famous for its luxuriant verdure1 aromatic simples1 and rich pastures2 and hence attracted the flocks 7,numb4 xxxii4 #a72 and animals from this region were regarded as of a superior quality1 like gold from ,ophir4 ,nothing1 therefore1 could more beautifully express the curly hair of a woman1 dangling down from the crown of her head1 than the sight1 at a distance1 of a flock of goats running down from the summit of this verdant hill on a beautiful day4 7from 1 i4q4 ,chald4 1 1 to bind1 to twine1 to veil71 is well explained by ,rashbam1 1 a kind of cover1 or veil2 so ,sym41 ,sept41 ,isa4 xlvii4 #b1 ,michaelis1 ,dpke1 ,gesenius1 ,de ,wette1 ,lee1 ,percy1 ,williams1 ,hitzig1 c4 ,the rendering of the ,sept4 here1 1 behind thy silence1 which is followed by the ,syriac and ,arabic1 is both contrary to the etymology of the word1 and meaningless4 ,the other translations1 viz4 locks 7,auth4 ,vers41 ,ewald71 a plait of hair 7,hengstenberg71 cannot be substantiated4 ,the word 1 which occurs only here and vi4 #e1 is of difficult interpretation1 and has produced a variety of renderings4 ,the ,sept4 has here 1 and vi4 #e1 1 the ,syriac 1 the ,vulg4 here ascenderunt1 and vi4 #e1 apparuerunt4 ,the ,rabbins also differ in their interpretations4 ,rashi explains it 1 that make bare1 i4e4 quit or descend the mountain4 ,ibn ,ezra1 1 which look down2 ,rashbam1 1 which are seen1 i4e4 while coming down from the mount4 ,modern commentators are not less at variance4 ,luther translates it shorn2 ,houbigant1 which hang down2 ,kleuker1 ,ewald1 which shows itself2 ,dpke1 ,gesenius1 ,hitzig1 ,philippson1 which lie down2 ,magnus1 which climb up2 ,percy1 ,hengstenberg1 which come up1 i4e4 from ,jerusalem4 ,amidst these conflicting opinions1 it appears best to take 1 like its kindred 1 in the sense of rolling down1 running down2 see ,frst4 ,lexicon1 s4v4 ,this meaning accords best with the comparison here used1 and leaves to the preposition its natural signification4 ,the omission of in the ,sept41 ,arabic1 and a few ,,mss41 is evidently owing to the carelessness of a transcriber4 #b4 ,thy teeth1 c4 ,the compliment passed upon the black hair is followed by another on the white teeth3 8,thy teeth resemble in whiteness woolly sheep just washed40 ,this comparison will appear more striking when we remember that the wool of ,scripture is proverbial for its whiteness1 and is placed in juxtaposition with the colour of snow1 ,isa4 i4 #ah2 ,dan4 vii4 #i2 ,rev4 i4 #ad2 ,book of ,enoch xlvi4 #a4 ,the ,sept41 which is followed by many modern commentators1 takes the comparison to be between the shorn skin of the sheep and the teeth2 but this is untenable4 ,for1 #a4 ,the skin of shorn sheep can never have the whiteness which the context here demands2 #b4 ,shorn sheep would yield a very incongruous figure1 if teeth were compared with them2 #c4 ,sheep1 as now1 were generally washed before and not after they were shorn2 #d4 ,the passage in vi4 #f1 shows that is merely a poetical epithet for 1 not because they were then shorn1 but because they are periodically shorn4 ,the explanation of by well numbered 7,rashi71 or by 1 same size 7,kimchi1 ,ibn ,ezra71 are against vi4 #f4 ,all of which are paired4 ,that is1 each upper tooth has its corresponding lower one2 thus they1 as it were1 appear in pairs1 like this flock of white sheep1 each of which keeps to its mate1 as they come up from the washing-pool4 ,and no one of them is deprived of its fellow1 i4e4 no tooth is deprived of its corresponding one1 just as none of the sheep is bereaved of its companion4 ,the ,hiphil of 1 to be double1 to be pairs 7,exod4 xxvi4 #bd2 xxxvi4 #bi71 is to make double1 to make pairs1 to appear paired4 is deprived1 bereaved1 ,jer4 xviii4 #ba4 ,on the masculine suffixes in and 1 referring to 1 fem41 see supra1 ii4 #g4 ,the words and form a paranomasia2 see i4 #b4 ,the rendering of by 1 all bearing twins 7,kimchi1 c471 which some try to justify by submitting that sheep as well as goats in the ,east frequently bear twins 7,arist4 ,hist4 ,anim4 i4 #f1 #ai2 ,theocret4 i4 #be2 iii4 #cd71 is incompatible with the figure4 ,the teeth surely1 which are here compared to the flock1 cannot be said to bear twins like the sheep4 ,those who attempt to get over this difficulty by referring it to the rows of the teeth1 are1 to say the least1 guilty of introducing a new subject4 #c4 ,thy mouth is lovely4 is translated by the ,sept41 ,syriac1 ,vulg41 ,rashi1 ,ibn ,ezra1 ,rashbam1 speech1 language2 but this is incompatible with the description here given1 which depicts the members of the body1 and not their actions4 ,it is therefore more consonant with the context to take as a poetical expression for the instrument of speech2 not the tongue 7,schultens1 ,kleuker1 ,dpke71 which is kept within the mouth1 and not when put out 77 beautiful2 but the mouth itself1 7,ewald1 ,gesenius1 ,de ,wette1 ,umbreit1 ,rosenmller1 ,meier1 ,philippson1 c47 ,the objection of ,magnus 7who translates it voice71 and of ,hitzig 7who translates it palate71 that the rendering of mouth would produce tautology1 inasmuch as the mouth consists of the lips1 and these have already been described1 is gratuitous3 for an individual may have lips like scarlet1 and yet not have a lovely mouth4 ,the in 1 added to the root 1 to speak1 in order to form the noun1 denotes the instrument with which one speaks3 compare 1 an instrument with which to draw out a fork1 from 1 to draw out2 1 an instrument for opening a key1 from 1 to open1 ,gesen4 #hd1 #ad2 ,ewald1 #afj1 #f4 ,this corroborates the rendering we defended4 ,like a part of1 c4 ,that is1 the rosy cheeks visible beneath the veil resemble the vermilioned part of the pomegranate4 ,eastern poets frequently compare the colour of the cheeks with pomegranates and apples4 ,thus in a ,persian ode quoted by ,sir ,william ,jones3 8,the pomegranate brings to my mind the blushes of my beloved1 when her cheeks are covered with a modest resentment30 and ,ibn ,challecan1 as adduced by ,magnus in loco3 8,believest thou that the apple can divert my looks from thee1 when ,i behold thy cheeks80 ,ibn ,ezra1 who is followed by some modern commentators1 explains by 1 the red flower of the pomegranate2 but this is contrary to #b ,kings iv4 #ci1 where the root is used for dissecting fruit1 and #a ,sam4 xxx4 #ab4 ,others again take the simile to be between the interior of the pomegranate1 when cut or burst open1 and the cheeks2 but this being flat would by no means represent the round form of the coloured cheek here referred to4 ,the comparison appears natural1 striking1 and beautiful1 according to ,rashi's explanation of 1 viz4 1 that external half of the pomegranate which is red1 one half of the pomegranate being brown1 and the other beautifully vermilioned1 intermixed with yellow and white2 and it is to the latter part to which reference is here made4 ,so the ,sept4 1 the peel1 or the external4 ,rashbam1 ,dpke1 ,hitzig4 #d4 ,thy neck is like1 c4 ,that is1 8,the erect and bold carriage of thy neck1 decked with ornaments1 resembles that high1 commanding tower1 adorned with trophies40 ,though the text supplies us with no clue for finding out what tower this was1 yet the comparison implies that it must have been one well known and celebrated for its imposing aspect and symmetrical proportions4 ,sandys 7iii4 #acg71 who is followed by others1 identifies this tower with some ruins still found in the uttermost angle of ,mount ,zion1 which bears that name4 is rendered by the ,sept4 1 as a proper name2 but there is no place known by such a name4 ,aquila has 3 so ,vulg4 cum propugnaculis1 battlements1 ,sym4 1 heights2 but it is difficult to divine how these renderings are to be made out from the form and meaning of the word4 ,the ,talmud ,jerushalmi1 ,berachoth1 section #d1 and ,saadias explain it 1 an elevation towards which all look1 i4e4 by which they are guided4 ,ibn ,ezra seems to favour the view that is a compound of 1 for the suspension of arms4 ,but the ,talmudic explanation rests upon the favourite whim of making a word of every letter4 ,ibn ,ezra's explanation incurs the objection that 1 by itself1 never means swords or arms4 ,besides1 it is evident that this interpretation owes its origin to the immediately following clause1 4 ,gesenius derives it from the ,arabic 1 to destroy2 hence 1 destructive1 deadly2 poetically1 for arms4 ,but1 apart from the difficulty of making 1 even according to this derivation1 to mean weapons1 according to this rendering there is no connexion between this clause and the figure4 ,it is therefore better1 with ,rashi and ,rashbam1 to take as a contraction for from the root 1 to teach4 ,the radical in the feeble verbs 1 does not unfrequently fall away3 thus 1 #b ,sam4 xxii4 #dj1 for 1 and in the same verb1 for 1 ,job xxxv4 #aa2 ,gesen4 #fh1 #b2 ,ewald1 #ed4 7plur4 of 1 according to the analogy of 1 from 1 1 from 71 would therefore signify instruction2 the plural being here used for the abstract1 see supra1 i4 #b4 ,this derivation is confirmed by the ,chald41 which periphrases by 1 instruction of the law1 and bears out the figure1 and yields a beautiful sense4 ,the ,shulamite's neck is not compared to some common turret1 but to that splendid tower which was built for a model1 that1 as ,rashbam rightly remarks1 1 all architects might learn their designs from it4 ,a thousand shields1 c4 ,it was customary to adorn the walls of towers and castles with all sorts of splendid arms1 ,ezek4 xxvii4 #aa4 ,the castles of the maritime people1 whose conquest is recorded by the ,kouyunjik bas-reliefs1 and distinguished by the shields hung round the walls4 ,layard's ,nineveh1 ii4 #bif4 1 thousand stands for a round1 large member1 ,isa4 xxx4 #ag2 lx4 #bb2 ,ps4 cv4 #h2 ,eccl4 vi4 #f4 1 all kinds1 all sorts1 see supra1 iii4 #f4 #e4 ,thy bosom1 c4 ,the point of comparison is the lovely sight which these objects present4 ,the gazelles1 as we have seen 7ii4 #g71 are the symbol of beauty4 ,to add however to their native charms1 they are represented here as browzing in pasture-ground abounding with lilies4 ,to this lovely spectacle1 than which nothing could be more beautiful to an ,oriental1 her breasts are compared4 ,the explanation which ,bochart1 ,patrick1 ,henley1 ,percy1 ,good1 give of this comparison1 viz4 8,the two paps rise upon the breast like lilies from the ground2 among which1 if we conceive two red kids feeding1 that were twins and perfectly alike1 they appeared like the nipples or teats upon the paps1 to those that behold them afar off10 is extravagant4 #f4 ,when the day cools1 c4 ,transported with joy at the sight of her beloved shepherd1 the ,shulamite interrupts the praises of her personal charms1 which1 on seeing her again1 he began to pour forth1 by exclaiming3 ,when the day cools1 that is1 8this very evening1 as soon as it gets dark1 ,i will quit the royal abode1 and go to our beautiful and open country1 to the flowery meads1 where are found aromatic plants growing in abundance40 ,for an explanation of the first part of this verse1 see ii4 #ag1 also spoken by the ,shulamite4 ,that such mountains of myrrh and hills of frankincense actually existed1 is evident from ,florus1 ,epitome ,rerum ,rom41 lib4 iii4 c4 #f41 where ,pompey the ,great is said to have passed over ,lebanon1 and by ,damascus1 8per nemora illa odorata1 per thuris et balsami sylvas40 #g1 #h4 ,thou art all beautiful1 c4 ,gladdened with her declaration1 the shepherd1 crowning and closing his description in the words1 8,thou art a perfect beauty10 responds1 8,thou shalt go with me1 ,i will help thee to quit these lofty heights1 the abode of lions and panthers--the royal residence2 and safely conduct thee to the place whither thou wouldst go40 ,lebanon is the name of a long range of mountains on the north of ,palestine 7,deut4 ii4 #bd2 ,josh4 i4 #d71 consisting of two parallel chains1 which run from south-west to north-east4 ,though the ,scriptures have only one name1 viz4 ,lebanon1 for both these chains1 yet the present inhabitants of that country1 as well as modern ,travellers1 have found it convenient to call the westermost chain1 facing the ,mediterranean1--,lebanon2 and the eastern one1 facing the plain of ,damascus1--,anti-,libanus1 from its being at ,tyre1 parallel with and opposite to the ,syrian ,lebanon4 ,amana1 1 is the name of the southern part of ,anti-,libanus1 at the root of which1 it is supposed1 issues the river of the same name2 see #b ,kings v4 #ab4 ,hermon1 1 is the name of the highest summit of a chain at the northernmost boundary of ,palestine1 and belongs also to ,anti-,libanus 7,josh4 xi4 #ag2 xiii4 #e71 and is now identified with ,jebel-el-,sheikh4 ,it consists of several mountains1 viz4 ,sirion1 1 ,shenir1 1 and ,sion1 2 whence its plural name 1 see ,frst1 ,lexicon1 s4v4 ,lebanon1 ,amana1 ,shenir and ,hermon are here not intended to denote various parts of the range of mountains1 but are merely different names of the royal residence4 ,the word is well rendered by the ,sept41 ,syriac1 c41 thou shalt go2 comp4 ,isa4 lvii4 #i4 ,the ,common ,version look is incompatible with the context and parallelism4 ,surely no one would invite his beloved to go with him to dangerous mountain-tops1 to take a view of the country6 ,persons are generally anxious to avoid perilous places4 ,the lions and panthers denote the king and his courtiers1 ,ezek4 xix4 #g2 xxii4 #be2 ,nahum ii4 #ab4 1 rendered spouse in the ,authorized ,version1 is taken by some to denote a newly-married woman4 ,the word however only means betrothed a female under an engagement to marry4 ,this is the sense in which the ,jews still use the expression4 ,the ,sept41 which is followed by the ,vulg4 and ,luther1 translates 1 1 mistaking it for 1 the imp4 of 1 to come4 ,the ,vulg4 rendering of by coronaberis1 evidently savours of allegorism4 ,for the ,septuagint's rendering of 1 by 1 see ,introduction1 p4 #ba4 #i4 ,thou hast put heart into me1 c4 ,this extraordinary amount of strength and courage which he feels1 to enable him to rescue her from the abode of the lion1 and to lead her safely home1 has been infused into his heart1 he says1 by the sight of his beloved one4 ,so the ,anonymous ,oxford ,manuscript1 4 ,as the ,piel has sometimes an intensive1 and sometimes a privative meaning 7see ,gesen4 #eb1 #b2 ,ewald1 #abj71 a difference of opinion exists as to the signification of here4 ,the ,sept4 has 1 thou hast unhearted us2 the ,vulg4 ,vulnerasti cor meum2 ,ibn ,ezra1 1 thou hast taken away my heart2 ,gesenius1 ,de ,wette1 c4 adopt this rendering4 ,against this however it is urged1 that it is incompatible with the context4 ,the beloved here accounts for his extraordinary strength and courage1 which would enable him to rescue his beloved one from her critical position2 and to say1 8,thou hast deprived me of all heart10 would be a positive contradiction4 ,to be in such an unusually courageous frame1 the individual must have been full of heart1 and not disheartened4 ,hence ,herder1 ,ewald1 ,dpke1 ,lee1 ,meier1 c41 translate 1 thou hast put heart into me2 thou hast made me bold4 ,this is confirmed by ,sym41 ,syriac1 ,arabic1 and ,chald4 1 my sister1 does not imply that the betrothed was related to her beloved1 but is used as an expression of endearment1 ,prov4 vii4 #ad2 ,tobit vii4 #ab2 the ,apoc4 ,esth4 xv4 #h1 and soror in ,latin4 ,good's rendering of by my sister-spouse1 and his remark that the pronoun 8my0 between the two substantives1 being a useless interpretation of the versions1 are gratuitous4 has no suffix here1 not because it is to be joined with 1 but because this word1 like in ,chald41 never takes the suffix #a pers42 and versions therefore made in languages whose idioms allow of the suffix are right in so expressing it4 ,with one of thine eyes1 c4 ,it is customary with ,eastern women to unveil one of their eyes in conversation1 in which case a part of their neck ornaments becomes also visible4 ,niebuhr1 ,travels in ,arabia1 i4 #bfb2 see ,kitto1 ,cyclop4 ,bib4 ,lit4 ,art4 ,veil1 figure #ecf1 and infra1 viii4 #i4 ,the ,anonymous ,,ms41 however1 explains by 1 one look of thine eyes4 ,the rendering at once 7,hodgson1 ,good7 is incongruous4 ,the attempt of the ,masorites to substitute 1 fem41 for 1 mas41 having evidently arisen from their anxiety to avoid the apparent incongruity of coupling a masculine numeral with a feminine noun1 is unnecessary4 ,the true solution lies in the fact1 that members of the human body1 although usually feminine1 are most of them employed occasionally as masculine4 ,job xxi4 #bj2 ,zech4 iv4 #aj2 and infra1 vi4 #e2 ,gesen4 #ajg1 #d b2 ,ewald1 #agd d4 is not look 7,vulg471 nor turn 7,percy1 ,good71 nor stone 7,ewald1 ,magnus71 but chain4 ,this is evident from ,judg4 viii4 #bf1 and ,prov4 i4 #i1 the only two passages where this word occurs again 7except as a proper name71 and is translated by the ,sept4 7,judg4 and ,prov47 1 necklace1 ,aquila1 1 1 neckband1 neck-work2 ,sym4 1 1 necklace2 ,vulg4 7,judg4 and ,prov47 torques4 ,so ,ibn ,ezra1 1 a kind of ornamental band1 tied round the neck1 ,rashi1 ,rashbam1 ,gesenius1 ,de ,wette1 ,dpke1 ,lee1 ,philippson1 ,meier1 ,hengstenberg1 c4 ,the objection urged by ,hitzig1 that an inanimate ornament could not effect such great things1 is obviated by a reference to the ,book of ,judith1 xvi4 #i1 where we are informed that the fair one succeeded in captivating even the savage ,holofernes with her sandals3 4 ,besides1 the meaning here is1 that the slightest view of her is sufficient to inspire him with vigour and courage4 ,the termination - in 1 like 1 in ,syriac1 forms the diminutive2 and1 like diminutives in other languages1 is expressive of affection2 ,gesen4 #hf1 #b1 #d2 ,ewald1 #e1 #afg a4 ,the plur4 termination - in 1 is to be accounted for on the score that the ,hebrews sometimes use plural forms for certain members of the body4 ,comp4 1 face1 ,gesen4 #ajh1 #b a2 ,ewald1 #agh a4 #aj4 ,how sweet is thy love1 c4 ,here the lover tells his loved one why the sight of her is so animating and emboldening4 ,for the comparison of love with wine1 see i4 #b1 #c4 ,the ,sept41 which is followed by the ,syriac1 ,vulg41 ,arabic1 and ,luther1 has here again 1 thy breasts2 but see i4 #b4 ,the ,sept4 has also 1 1 for 1 evidently taken from the following verse4 #aa4 ,thy lips1 ,o my betrothed1 c4 ,every word which falls from her lips is like a drop from the honeycomb4 ,this comparison is used in other parts of ,scripture1 and by the ,greeks and ,romans4 ,thus ,prov4 v4 #c3-- 8,the harlot's lips distil honey1 ,and her palate is smoother than oil40 ,theocrit4 ,idyl4 xx4 #bf3-- 4 8,more sweet my lips than milk in luscious rills1 ,lips1 whence pure honey1 as ,i speak1 distils40 ,also ,idyl4 i4 #adf1 #h1 #hb2 ,homer1 ,iliad1 i4 #bdi2 ,hor4 ,epist4 i4 #ai1 #dd4 ,that we are to understand by distilling honey1 8lovely words10 and not saliva oris osculantis1 is evident from ,prov4 xvi4 #bd1 where pleasant words are compared to a honeycomb1 and the passage already quoted1 just as slanderous words are represented as poisons1 ,ps4 cxl4 #c4 ,and the odour of thy garments1 c4 ,the ,orientals were in the habit of perfuming their clothes with aromatics4 ,thus we are told that the garments of ,jacob emitted a pleasant smell1 ,gen4 xxviii4 #bg2 ,ps4 xlv4 #i2 ,rosenmller1 ,orient4 i4 #abb4 ,in consequence of the odoriferous trees which abounded on it1 ,lebanon became proverbial for fragrance4 ,hence the prophet ,hosea 7xiv4 #g71 describing the prosperous state of repenting ,israel1 says 1 and his odour shall be as that of ,lebanon4 ,this passage is sufficient to show the error of the ,vulg4 in rendering by sicut odor thuris1 as if it were 4 ,the perfumed attire which the ,shulamite had on1 and which the shepherd here praises1 is evidently not the humble clothes which she had brought with her1 but some splendid apparel recently given to her by the king4 #ab4 ,a closed garden1 c4 ,the trees of ,lebanon1 referred to at the end of the last verse1 suggested this beautiful metaphor of a garden1 under which the shepherd describes the unsullied purity and chastity of the ,shulamite4 ,gardens in the ,east were generally hedged or walled in1 to prevent the intrusion of strangers 7,isa4 v4 #e2 ,joseph4 ,de ,bell4 ,jud4 vii474 ,from this arose the epithet1 8closed garden10 for a virtuous woman1 shut up against every attempt to alienate her affections4 ,the contrary figure is used in viii4 #i2 there accessibility is described as 8a door10 i4e4 open to seduction4 ,a sealed fountain1 c4 ,another metaphor to express the same idea4 ,the scarcity of water in arid countries renders fountains very valuable4 ,to secure them against the encroachment of strangers1 the proprietors formerly fastened their fountains with some ligament1 and the impression of a seal upon clay1 which would quickly harden in the sun1 that would soon dissolve wax4 ,this mode of rendering pits safe is found in ,dan4 vi4 #ah2 ,matt4 xxvii4 #ff4 ,a fountain sealed in this manner indicated that it was private property4 ,hence its metaphorical use1 to represent chastity as an inaccessible fountain4 ,it is better1 with the ,sept41 ,syriac1 ,arabic1 ,chald41 ,vulg41 upwards of fifty of ,kennicott's ,,mss41 and many modern commentators1 to read 1 instead of 4 ,this is confirmed by the intensive phraseology of the shepherd1 used in his addresses1 which is produced by a repetition of the same words4 ,comp4 supra1 vv4 #h1 #i4 #ac4 ,thy shoots1 c4 ,having compared his loved one to a garden1 the shepherd is anxious to show that the one she resembled is not of an ordinary character4 ,it is an orchard full of the most costly trees1 and producing the most delicious fruit4 1 well rendered by the ,sept4 3 and ,kimchi1 1 thy shoots1 branches 7,gen4 xlix4 #ba2 ,ps4 lxxx4 #ab7 is figuratively used for the members of the body1 and not for 8the children who shall spring from her10 as ,hodgson supposes4 1 found elsewhere only ,eccl4 ii4 #e2 ,neh4 ii4 #h1 has been derived by some from the ,persian1 and by others from the ,sanscrit4 ,there is no necessity1 however1 for seeking its etymology in other languages4 ,the ,hebrews1 who had gardens at so early a period1 would surely not borrow names for them from other nations4 1 according to the analogy of the quadriliteral 1 is a compound of 1 to divide1 and 1 to separate1 to enclose2 hence a protected1 an enclosed place1 a garden4 ,this is corroborated by the fact that 1 a garden1 is also derived from a root 771 which means to separate1 to enclose4 ,compare also the ,german and ,english1 ,grten1 garden1 and ,saalschtz1 ,archologie der ,hebrer1 vol4 i4 p4 #aag4 ,and like many other ,hebrew expressions1 this word was adopted in other languages4 1 pomegranate-trees3 the ,hebrews frequently use the same expression to denote the tree and its fruit1 see supra1 ii4 #c4 1 i4q4 1 precious fruits3 when a compound idea is to be expressed in the plural1 the governed noun only is often put in the plural form2 e4g4 1 ancestral houses1 ,numb4 i4 #b2 ,gesen4 #ajh1 #c4 ,the precious fruits are those of the pomegranate-tree4 ,the words 1 are still genitives to 4 ,for 1 and 1 see supra1 i4 #ab1 #ac4 #ad4 ,nard and crocus1 c4 ,both the ancient versions and modern commentators generally agree that by the word 1 which occurs only here1 the well-known saffron plant is meant4 ,calamus 71 reed1 also written and 1 sweet calamus1 ,exod4 xxx4 #bc2 ,jer4 vi4 #bj1 1 ,calamus odoratus71 was well known and highly prized among the ancients1 and was imported to ,palestine from ,india 7,jer4 vi4 #bj2 xxvii4 #ai72 it was1 however1 also found in the valley of ,mount ,lebanon1 7,polyb4 v4 #df2 ,strabo1 xvi4 #d74 ,it has a reed-like stem1 of a tawny colour1 much jointed1 breaking into splinters1 and its hollow reed filled with pitch1 like the web of a spider4 ,the best1 which1 according to ,pliny 7,hist4 ,nat4 xii4 #ab or #dh71 grows in ,arabia1 diffuses around a very agreeable odour1 and is soft to the touch 7see ,rosenmller1 ,bib4 ,bot42 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v47 ,cinnamon 71 1 ,laurus cinnamomum71 indigenous to ,ceylon in the ,east ,indies1 and is called by the natives ,karonda-gouhah2 it is now1 however1 also cultivated on the ,malabar coast1 in the islands of ,sumatra and ,borneo1 in ,china and ,cochin-,china4 ,the cinnamon-tree1 which grows on the coast1 is generally about twenty or thirty feet high1 and reaches a still greater height in groves3 it is adorned with numerous boughs1 bearing oval and laurel-like leaves1 of a scarlet colour when young1 but changing to bright green1 and growing to the length of from four to six inches when matured1 and putting forth whitish blossoms1 which ripen into fruit1 resembling those of the juniper-tree in ,june3 the fruit1 though possessing neither the smell nor the taste of the cinnamon1 when boiled secretes an oil1 which1 after cooling1 becomes hard1 white1 and fragrant4 ,the wood itself1 which is white1 inodorous1 and soft as fir1 is used for a variety of purposes4 ,it is the rind which1 when peeled off and dried in the sun1 yields the much-valued cinnamon4 7,see ,rosenmller1 ,bibl4 ,bot42 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v47 ,aloe 71 4 ,john xix4 #ci4 1 1 arbor alois71 a tree which grows in ,india and the ,moluccas1 the wood of which is highly aromatic4 ,the stem of this tree is as thick as a man's thigh2 the top is adorned with a bunch of thick and indented leaves1 broad below1 and narrowing gradually towards the point1 and are about four feet long3 its blossoms--which are red1 intermixed with yellow1 and double like a pink--yield the pod1 producing a red and white fruit1 about the size of a pea4 ,this tree1 in consequence of its singularly beautiful appearance and odoriferous wood1 which is used as a perfume1 is very gratifying both to the sight and smell1 and is held by the ,indians in sacred veneration4 7,see ,rosenmller1 ,bib4 ,bot42 ,winer1 ,bib4 ,dict4 s4v47 1 head metaph41 chief1 most excellent4 ,exod4 xxx4 #bc2 ,ps4 cxxxvii4 #f2 ,ezek4 xxvii4 #bb4 #ae4 ,with a garden-fountain1 c4 ,to finish the picture of this charming garden1 the shepherd introduces into it fountains1 streams1 rills1 and cooling breezes1 to rouse and waft the balmy fragrance through its delightful retreats4 ,the fact that the ,shulamite has been called a sealed fountain proves that this verse is not descriptive of her4 ,for it would be contradictory to call her in one verse a sealed fountain1 and in the other a stream flowing from ,lebanon1 i4e4 an open stream4 a fountain of gardens1 i4e4 a fountain belonging to gardens1 usually found in gardens to irrigate them4 1 a part4 noun plur41 denoting flowing streams4 ,the indicates the place whence these streams issue4 living water1 i4e4 perennial2 waters1 gushing forth from fountains1 or moving along1 appear as if they were living2 whilst those in a stagnant condition seem dead4 ,gen4 xxvi4 #ai2 ,jer4 ii4 #ac2 ,zech4 xiv4 #h2 see also 1 ,rev4 vii4 #ag1 and flumen vivum1 ,virg4 n4 ii4 #gai4 #af4 ,arise1 ,o north wind6 ,these are still the words of the shepherd1 who1 to complete the picture1 invokes the gentle breezes to perflate this paradise4 ,rashbam1 ,ibn ,ezra1 ,williams1 ,good1 ,ewald1 ,delitzsch1 ,philippson1 c41 take this clause to begin her reply2 but this is incompatible with the figure4 ,she herself1 and not anything separate1 has been described as this charming garden4 ,she could1 therefore1 not say 8blow through ,,my garden0 771 which would imply that this garden of hers was something apart from her person4 ,moreover1 the expression 1 his garden1 which she uses1 shows that 1 my garden1 is spoken by him4 ,so ,rashi1 ,dpke1 ,magnus1 ,hitzig1 c4 ,that the south and north winds are merely poetical designations for a gale generally1 without any particular reference to the peculiarities of the wind when blowing from these respective regions is evident from a comparison of ,numb4 xi4 #ca with ,ps4 lxxviii4 #bf4 ,this does away with the conflicting conjectures which have been hazarded1 to account for the invocation of the wind from these opposite quarters of the earth4 and 1 prop4 the north and southern quarters1 are poetically used1 1 and 1 the north and south wind4 ,ps4 lxviii4 #bf4 1 spices1 here their odours4 ,let my beloved come1 c4 ,the ,shulamite1 continuing this beautiful apostrophe1 responds3 8,if my person really resembles such a paradise1 this garden is yours2 yours are all its productions40 1 literally the fruit of his deliciousness1 i4e4 his delicious fruit4 ,when a compound idea is expressed by one noun followed by another in the genitive1 a suffix which refers to this whole idea is sometimes appended to the second of the two nouns4 ,comp4 1 his silver idols1 ,isa4 ii4 #bj2 ,gesen4 #abi1 b2 ,ewald1 #bia1 b2 being of a common gender1 the suffix in may either refer to garden1 or to beloved2 it is more in keeping with the construction to refer it to the beloved1 just as the suffix in refers to him4 ,the fruit is the beloved's because the garden is his1 and therefore he may enjoy it4 #a4 ,i am coming into my garden1 c4 ,the shepherd1 as he embraces his beloved1 expresses his unbounded delight in her charms4 ,the perfect forms1 1 1 1 are used for the present1 ,gesen4 #abf4 ,eat1 ,o friends1 c4 ,some sympathizing court ladies1 at a distance1 seeing the mutual happiness of the lovers1 urge them to take their fill of delight4 ,the explanation of ,rashbam and others1 that this address is to the companions of the beloved to partake of a friendly meal2 or1 as others will have it1 that it is an invitation to the marriage feast1 is against the context4 ,the expression 1 eat ye1 must be taken in the same sense as 1 ,i eat2 and it would be most incongruous to suppose that the beloved1 who enjoys the charms of his loved one1 would call on his friends to do the same4 ,dr4 ,geddes1 who is followed by ,dr4 ,good1 alters the text into 1 ,eat1 ,o my friend6 drink1 yea1 drink abundantly1 ,o my beloved6 and puts it into the mouth of the ,shulamite2 thus making it an answer to what the beloved said in the preceding clause4 ,but such conjectural emendations ought to be repudiated4 ,it is most in accordance with the context to take these words as an epiphonema of some sympathizing court ladies4 ,the parallelism and the accents require us to take as a concrete1 synonymous with 1 friends2 so the ,sept41 ,vulg41 ,syr41 ,rashbam1 ,ibn ,ezra1 ,rashi1 ,mendelssohn1 c4 #b4 ,i was sleeping1 c4 ,the sympathies manifested by some of the court ladies for the ,shulamite1 at the close of the last section1 encourage her to relate to them a dream which she recently had4 ,the purpose of this narration is the description of the shepherd to which it leads1 and which is necessary to the completion of the whole drama4 1 like the participle form generally1 may be used to express all the relations of time4 ,comp4 1 for all were sleeping1 #a ,sam4 xxvi4 #ab2 #a ,kings iii4 #bj4 ,gesen4 #acd1 #a2 ,ewald1 #cjf d4 1 heart1 here the seat of thought4 ,the ,hebrews regarded the heart1 not only as the seat of the passions1 but also of the intellectual faculties of the mind4 ,the whole clause is merely another way of saying 1 ,gen4 xli4 #ag4 ,the circumlocution is chosen in preference to 1 to indicate that the powers under which the exhausted frame succumbed1 could not keep her mind from dwelling upon the object of her affections4 1 hark2 vide supra1 ii4 #h4 is best taken with the ,sept41 ,syriac1 ,vulg41 and many modern commentators1 as a separate clause1 he is knocking4 ,the ,sept4 adds 1 at the door1 after 1 he is knocking4 ,open to me1 c4 ,she introduces him speaking4 ,to make his request the more urgent1 he pleads that he had been drenched with dew4 ,the dew falls so copiously in the ,east1 during certain months1 that it saturates the clothes like rain4 ,see ,judges vi4 #ch2 ,rosenmller1 ,orient4 i4 #abb2 ,winer1 ,bib4 ,dict4 s4v4 ,a similar passage occurs in ,anacreon1 iii4 #aj1 where love is represented as standing at night behind the door1 begging for admittance1 and pleading the same excuses4 1 1 1 4 8#8,fear not1' said he1 with piteous din1 #8,pray ope the door and let me in3 ,a poor unshelter'd boy am ,i1 ,for help who knows not where to fly3 ,lost in the dark1 and with the dews1 ,all cold and wet1 that midnight brews4'0 ,comp4 also ,propert4 i4 #af1 #bc2 ,ovid ,amor4 ii4 #ai1 #ba4 1 my perfect one1 is well explained by ,rosenmller by 1 there is no fault in thee1 iv4 #g2 #b ,sam4 xiv4 #be4 #c4 ,i have put off my tunic2 was the answer she gave in her dream4 1 1 tunic1 is an inner garment1 commonly of linen1 descending to the ankles1 which is taken off when one retires4 ,on the costume of the ,hebrews1 see ,rosenmller1 ,orient4 ii4 #ai2 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v42 ,saalschtz1 ,archologie der ,hebrer1 vol4 i4 c4 #b4 ,i have washed my feet1 c4 ,in the ,east1 where people wear sandals1 which protect the soles only1 or go barefoot1 as in the passage before us1 the feet soon get dirty and parched2 it is therefore essential and refreshing to wash the feet after much walking 7,gen4 xviii4 #d2 xix4 #b71 or before retiring to rest3 remembering this1 we can appreciate the hospitality shown to travellers in providing for the washing of their feet1 ,judges xix4 #ba4 ,on the masculine suffix in 1 referring to the feminine 1 see iv4 #i4 #d4 ,my beloved withdrew his hand1 c4 ,hearing her excuses for not getting up1 he at last grew weary and ceased knocking1 which immediately caused her uneasiness4 ,the words are better translated1 he sent away his hand from the hole withdrew2 so the ,sept4 and ,rashbam1 1 he took his hand back from the hole in the door4 ,the expression 1 like 1 has not the modern sense of bowels1 which is restricted to the lower viscera1 but denotes1 like in ,greek1 the upper viscera1 comprising the heart1 lungs1 liver1 c4 ,hence it is used for the heart alone as the seat of passion1 ,isa4 lxiii4 #ae2 ,jer4 xxxi4 #bj2 and for 1 soul1 ,job xxx4 #bg2 ,ps4 xl4 #i4 1 to hum1 to make a noise1 which is frequently used for the roaring produced by the waves of the troubled sea 7,isa4 li4 #ae2 ,ps4 xlvi4 #d2 ,jer4 v4 #bb71 is employed to denote the motion of an agitated heart4 ,with upwards of fifty ,,mss4 and several editions we read 1 in me1 instead of 1 to him2 the phrase thus exactly corresponds to 1 ,ps4 xlii4 #f1 #ab4 #e4 ,my hands dropped with myrrh1 c4 ,alarmed at his ceasing to knock1 she flew at once to open the door1 and in trying to unfasten it1 her hands came in contact with the liquid myrrh which her beloved had poured upon the bolts1 and which dropped from her fingers4 ,so ,immanuel1 ,lovers1 in ancient times1 whilst suing for admission1 used to ornament the door with wreaths1 and perfume it with aromatics4 ,thus ,lucretius1 iv4 #aaga1 ,at lacrimans exclusus amator limina spe ,floribus1 et sertis operit1 posteisque superbos ,unguit amaracino1 et foribus miser oscula figit4 8,then1 too1 the wretched lover oft abroad ,bars she1 who at her gate loud weeping stands1 ,kissing the walls that clasp her2 with perfumes ,bathing the splendid portals1 and around ,scattering rich wreaths and odoriferous flowers40 ,comp4 also ,tibul4 i4 #b1 #ad4 ,so ,herder1 ,kleuker1 ,ewald1 ,dpke1 ,rosenmller1 ,philippson1 c42 ,rashbam however is of opinion that the liquid myrrh which distilled from the ,shulamite's hand1 was the perfume with which she had anointed herself after washing4 ,whilst ,percy supposes that 8she got up in such haste1 that she spilt upon her hand the vessel of liquid myrrh1 which she had brought to anoint and refresh his head1 after having been exposed to the inclemencies of the night40 1 liquid myrrh1 see i4 #b2 and not1 as ,le ,clerc erroneously supposes1 current myrrh1 that kind of myrrh which is most passable in traffic4 ,the ,vulg4 has1 ,et digiti mei pleni myrrha probatissima1 evidently mistaking the prep4 for 1 and takes the words over to the following verse1 ,pessulum ostii mei aperui dilecto meo4 #f4 ,my beloved had withdrawn1 c4 ,to her great grief she found1 when opening1 that her beloved had gone4 ,the asyndeton is very expressive1 and the use of the two synonymous terms strengthens the sense4 ,this figure1 which is effected by the omission of the conjunctive particle1 is used in animated descriptions1 both by sacred and profane writers4 ,comp4 1 1 ,mark iv1 #ci4 ,winer1 ,new ,testament ,gram4 #ff1 #d4 ,the phrase 1 properly denoting the departure of the soul from the body1 7,gesen4 xxxv4 #ah2 ,ps4 cxlvi4 #d17 like 1 is used to express the momentary loss of the senses1 i4e4 to faint4 1 in his speaking1 i4e4 when he had spoken of it1 7,judg4 viii4 #c2 #a ,sam4 xvii4 #bh71 i4e4 of his going away3 so ,rashi1 1 8,because he said ,i will not now enter thy house1 for thou didst at first refuse to open me10 and ,immanuel1 4 8,my soul departed when he told me1 ,now ,i am going away1 because thou wouldst not open me the door40 ,we must employ a finite verb with a conjunction to express in ,english the ,hebrew construction of the infinitive with a preposition1 and the relation of time must be gathered from the connection1 ,gesen4 #acb1 #b1 #c4 #g4 ,the watchmen who patrol the city1 c4 ,that the seeking and calling mentioned in the last verse were not confined to the door1 is evident from this verse4 1 are again an asyndeton4 1 which occurs only once more1 ,is4 iii4 #bc1 is a kind of veil-garment1 which ,oriental ladies still wear1 and denotes more properly an out-door cloak4 ,see ,schroeder1 ,vestit4 ,mul4 p4 #cfh2 ,gesen4 on ,isa4 iii4 #bc2 ,winer1 ,bib4 ,dict4 s4v42 ,saalschtz1 ,archologie der ,hebrer1 vol4 i4 p4 #bh4 #h4 ,i adjure you1 c4 ,having mentioned the indifference with which she had treated her beloved1 the ,shulamite is anxious to impress upon the court-ladies that this was in a dream1 and that in reality1 so far from her affections being abated1 she was as dotingly attached to him as ever2 and begs of them1 if they should see him1 to tell him so4 ,for the masculine termination in and 1 see ii4 #g4 ,we must supply 1 tell him1 after 1 what will you tell him8 ,the omission is designedly made1 to give animation to the request4 ,the emendation proposed by ,houbigant1 to read 1 instead of 1 is gratuitous1 like all his emendations4 ,the ,sept4 adds 1 8by the powers1 and by the virtues of the field10 the false rendering of 1 from the preceding formula of adjuration4 #i4 ,what is thy beloved1 c4 ,the great solicitude manifested by the ,shulamite for her beloved1 induces the court ladies to ask what peculiar attractions there were in him more than in an ordinary lover1 to cause such an unusual manifestation of feeling1 and thus an opportunity is afforded her to give a description of him4 ,it is evident from this question of the court ladies that ,solomon is not the beloved of whom the ,shulamite has been speaking in the preceding verses4 ,for surely these court ladies knew the aspect and character of ,solomon better than the ,shulamite4 ,this is1 moreover1 established beyond doubt from ch4 vi4 #b1 #c1 where the damsel1 at the end of the description1 designedly states that the object of her delineation and attachment1 is the shepherd4 ,the particle 1 prefixed to 1 with which the comparison is made1 expresses the comparative1 ,gesen4 #aia1 #a4 ,for 1 see i4 #h1 and for the form 1 ,ewald1 #bdi1 d4 #aj4 ,my beloved is white1 c4 ,the ,shulamite answers this question by giving a very graphic description of her beloved4 ,the colour of his countenance and body is such a beautiful mingling of white and red as is seldom seen1 and by which he is distinguished above thousands4 ,a similar description is found in ,virg4 n4 xii4 #fe1 seq4 ,flagrantes perfusa genas3 cui plurimus ignem ,subjecit rubor1 et calefacta per ora cucurrit4 ,indum sanguineo veluti violaverit ostro1 ,si quis ebur1 aut mixta rubent ubi lilia mult ,alba ros2 tales virgo dabat ore colores4 8,at this a flood of tears ,lavinia shed2 ,a crimson blush her beauteous face o'erspread4 ,varying her cheeks by turns with white and red4 ,the driving colours1 never at a stay1 ,run here and there1 and flush and fade away4 ,delightful change6 thus ,indian ivory shows1 ,which1 with the bordering paint of purple glows2 ,or lilies damask by the neighbouring rose40 ,comp4 also ,ovid4 ,am4 ii42 ,eleg4 v4 #ci2 ,hor4 ,od4 i4 #ac1 v4 #b2 iv4 #aj2 v4 #d2 ,tibul4 ,eleg4 ,,iii1 #d2 vv4 #bi1 #cj4 1 bright1 white2 compare ,lam4 iv4 #g1 where it stands in parallelism with 1 clear2 from the same passage we also see that the predicates 1 white1 and 1 red1 are not restricted to the countenance1 but refer to all the parts of the body which the ,oriental costume left exposed1 to the carnation as it were of the picture4 denom4 from 1 banner2 prop4 to be furnished with a banner1 i4e4 his singular beauty renders him as distinguished above multitudes1 just as a standard-bearer is marked above all other soldiers4 1 more1 above1 vide supra1 ver4 #i1 indefinitely for a large number1 see ,gesen4 xxiv4 #fj4 #aa4 ,his head is as pure gold4 ,that is of consummate excellency4 ,having characterized his whole person as charming1 the ,shulamite describes the beauty of the individual parts of his body1 and begins with his head4 ,gold is frequently used1 both in ,scripture and in profane writers1 to denote consummate excellency and beauty4 ,thus the illustrious personages are called gold and fine gold in ,lam4 iv4 #a2 and ,theocritus 7,idyl4 iii4 #bh47 calls the beautiful ,helen golden4 ,the words are variously rendered4 ,the ,sept4 has 1 gold of ,cephaz1 ,aquila and ,sym4 1 so the ,syriac 1 a precious stone of gold4 ,the ,chald4 has 2 so the ,vulg4 aurum optimum4 ,the ,rabbins too vary in their explanations of these words4 ,ibn ,ezra takes to be a diadem1 and 1 precious stones4 ,rashi indefinitely 1 choice things1 which kings treasure up4 ,rashbam explains by a heap of gold1 and by 1 and says it is called 1 8because its colour is like pearl40 ,the majority of modern commentators1 after the ,sept41 ,vulg41 ,chald41 take as a poetical expression for gold1 and derive it from 1 to hide1 to conceal2 like 1 gold 7,job4 xxviii4 #ae71 from 1 to shut up1 to conceal1 because precious metals are generally kept shut up or concealed4 ,this meaning and derivation of the word are supported by the fact that treasures and precious things are generally expressed in ,hebrew by words whose roots signify to conceal2 comp4 1 a treasure 7#a ,kings vii4 #ea2 xiv4 #bf71 from 1 to shut up2 1 a treasure1 gold 7,isa4 liv4 #b2 ,prov4 ii4 #d71 from 1 to hide2 1 riches 7,job xx4 #bf71 from 1 to conceal4 ,as for 1 it is translated by some purified1 pure1 from 1 to separate1 to purify 7,gesenius1 c472 and by others solid1 massy1 from 1 to be strong1 solid 7,rosenmller1 c474 ,but never occurs as an adjective to 1 or to 7 1 #a ,kings x4 #ah1 is a contraction of 1 comp4 ,jer4 x4 #i72 the word itself invariably means gold 7see ,job xxvii4 #ag2 ,ps4 xix4 #aa2 xxi4 #d2 cxix4 #bg2 ,prov4 viii4 #ai2 ,cant4 v4 #ae2 ,isa4 xiii4 #ab2 ,lam4 iv4 #b472 and accordingly ought to be rendered so here3 8thy head is as gold1 gold40 ,as this1 however1 would produce tautology1 it is therefore best to take as a contraction of 7a variation of 2 see ,gesenius1 s4v42 ,henderson on ,jer4 x4 #i1 and ,stuart on ,dan4 x4 #e71 with which this word goes together1 #a ,kings x4 #ah2 ,jer4 x4 #i2 ,dan4 x4 #e4 ,as 1 is regarded as the best gold2 hence the rendering of the ,vulg4 aurum optimum1 and ,chald4 4 ,black as the raven1 i4e4 of the purest and most jet black1 so highly esteemed by the ,orientals as well as by the classical writers4 ,thus ,hafiz1 as quoted by ,dr4 ,good3-- 8,thy face is brighter than the cheek of day4 ,blacker thy locks than midnight's deepest sway40 ,and ,ossian1 ,fingal1 #b3 8,her hair was the wing of the raven40 ,comp4 also ,anac4 xxix42 ,ovid4 ,am4 ,el4 xiv4 #i4 1 is rendered by the ,sept4 1 the young leaves of the palm2 so the ,vulg4 sicut elat palmarum2 similarly ,gesenius1 ,de ,wette1 c41 pendulous branches of the palm2 but this signification does not lie in the root 1 which simply means waving1 hanging1 or flowing down2 hence 7according to the analogy of and 1 comp4 ,ewald1 #aeh1 b7 flowing curls1 locks4 #ab4 ,his eyes1 like doves1 c4 ,the vivid and black pupils of his eyes1 sparkling forth from the encircling lactean white1 in which they are1 as it were1 bathing and sitting on the fountain of tears1 resemble doves bathing gaily in pellucid streams4 ,the doves themselves1 and not their eyes1 are the point of comparison 7vide supra1 i4 #ae1 and iv4 #a47 ,doves are very fond of bathing1 and hence choose for their abode regions abounding with streams 7,boch4 ,hieroz4 ii4 #a1 c4 #b47 ,the deep blue or grey dove1 reflecting the lustrous dark hue about its neck when bathing in the limpid brook1 suggested this beautiful simile4 ,a similar figure occurs in the ,gitagovinda3 8,the glances of her eyes played like a pair of water-birds of azure plumage1 that sport near a full-blown lotos in a pool in the season of dew40 ,the words 1 bathing in milk1 referring to the eyes1 are descriptive of the milky white in which the black pupils of the eyes are1 as it were1 bathing4 1 on the fulness1 also referring to the eyes1 correspond to the 1 by the brooks of water1 which are predicated of the doves4 ,hodgson's rendering of 1 by 8and dwell among the ripe corn10 is absurd4 #ac4 ,his cheeks are like beds of balsam1 c4 ,his round cheeks with the pullulating beard1 resemble beds growing aromatic plants4 ,the ,sept41 ,arabic1 th41 ,chald41 read 1 the part4 ,piel1 instead of 1 which many modern commentators follow1 but without ,,ms4 authority4 ,the lily here referred to is most probably the crown imperial1 of a deep red colour1 whose leaves contain an aqueous humidity1 which gathers itself in the form of pearls1 especially at noon1 and distils clear and pellucid drops2 see ,rosenmller1 ,alther1 iv4 #ach2 ,winer1 ,bib4 ,dict4 s4v4 ,there is1 however1 no necessity for referring the words 8distilling liquid myrrh10 to the lilies4 ,indeed1 it seems to be more consonant with the context1 to take them as predicated of the lips1 expressing the sweetness of his conversation4 ,comp4 iv4 #aa4 #ad4 ,his hands are like1 c4 ,his rounded arms and fingers tipped with well-shaped nails1 as if inlaid with precious stones1 resemble golden cylinders3 and his white and smooth body1 covered with a delicate blue vest1 resembles polished ivory4 7from 1 to roll71 a roller1 a cylinder4 ,kleuker1 ,gesenius1 ,dpke1 c41 translate 1 gold1 and 1 a stone71 is of a yellow or gold colour1 and pellucid4 ,being of a glass lustre1 the chrysolite is beautifully chosen to represent the nails4 ,the words refer to 4 ,the expression 1 prop4 the internal parts of the human frame 7v4 #d71 is here used for the external the body2 so ,dan4 ii4 #cb4 is taken by most modern commentators to denote something fabricated1 or wrought2 an artificial work2 thus deducing this sense from the secondary meaning of 1 which the ,syriac 71 work17 seems to favour2 but this is incompatible with the description here given of the beloved4 ,the ,shulamite1 throughout the whole of this delineation1 depicts the splendour and colour of the body as they dazzle the eye1 but makes no reference to the wondrous construction of the frame1 which could have been discerned only by the exercise of the intellect4 ,it is therefore better1 with ,ibn ,ezra1 ,kimchi1 ,rashi1 ,rashbam1 ,luther1 ,auth4 ,version1 ,mendelssohn1 ,kleuker1 ,williams1 ,good1 ,hengstenberg1 c4 to take 1 from 1 in its primary meaning1 to shine1 to be bright1 in the sense of brightness1 polish2 comp4 ,jer4 v4 #bh4 ,covered with sapphires4 ,these words refer to his body1 and describe the purple tunic covering the snowy white skin4 ,good1 ,meier1 c4 take it to describe the blue veins which were seen through his clear snowy skin1 like a sapphire stone through a thin transparent plate of ivory4 ,but this is against the meaning of 1 which signifies covered1 and not inlaid2 the external covering1 and not the internal seen through the outer cover4 ,commentators are not agreed whether that which we call the genuine sapphire1 a transparent stone of a beautiful sky-blue colour1 in hardness and value next to the diamond1 is meant by 2 or the sapphire of the ancients1 which1 according to ,pliny1 7,hist4 ,nat4 xxxvii4 #ci2 ,theophrast4 ,de ,lapid4 #bca17 is a stone of a pure blue colour1 and has frequently pebble spots of a golden yellow hue1 which were formerly thought to be really gold1 and is evidently our lapis lazuli1 lazure-stone4 ,as the latter does neither suit ,job xxviii4 #f1 for the lazure-stone is not very precious2 nor ,exod4 xxviii4 #ah1 since it is too soft to bear engraving1 it is more probable that the real sapphire is meant by in the ,scriptures4 ,this stone is often found in collections of ancient gems2 see ,rosenmller1 ,bib4 ,bot4 and ,miner42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v4 ,the ,syriac1 which translates by 1 upon the sapphire breathing1 must have had another reading4 #ae4 ,his legs are like pillars of marble1 c4 ,his white legs1 standing upon beautiful feet1 resemble the purest marble columns based upon golden pedestals4 1 as ,kimchi well explains it1 1 is that part of the limb from the knee to the foot4 ,that refers to his feet 7,ibn ,ezra1 ,rashbam1 ,kleuker1 ,meier1 ,hitzig1 c471 and not to his sandals 7,good1 ,williams1 c471 is evident from ver4 #aa and #ad1 where the head and the hands1 the visible parts of the body1 are described as golden2 and it is but natural that the feet1 the only remaining exposed parts1 should also be described as golden4 ,his aspect is like that of ,lebanon4 ,having depicted the single parts of his body1 the ,shulamite now joins them together1 and presents them in one whole1 the appearance of which impresses the mind with a sense of beauty and majesty1 like that of ,lebanon4 8,that goodly mountain1 even ,lebanon0 7,deut4 iii4 #be71 being so luxuriant in its vegetation and rich in scenery1 appeared very beautiful and majestic at a distance4 8,lebanon is a noble range of mountains1 well worthy of the fame it has so long maintained4 ,it is cultivated in a wonderful manner1 by the help of terraces1 and is still very fertile4 ,we saw on some of its eminences1 more than #b1jjj feet high1 villages and luxuriant vegetation2 and on some of its peaks1 #f1jjj feet high1 we could discern tall pines against the clear sky beyond4 ,at first the clouds were on the lofty summit of the range1 but they cleared away1 and we saw ,tannin1 which is generally regarded as the highest peak of ,lebanon4 ,there is a deep ravine that seems to run up the whole way1 and ,tannin rises to the height of #aj1jjj feet4 ,the rays of the setting sun gave a splendid tint to the lofty brow of the mountain40--,mission of ,inquiry to the ,jews1 p4 #bdj1 c42 comp4 also ,isa4 xxxv4 #b2 ,rosenmller1 ,alterth4 i4 #b4 p4 #bci2 ,volney1 ,travels1 i4 #bic4 ,he is distinguished as the cedars1 i4e41 in his stature4 ,the lofty cedar1 towering above all other trees1 is easily distinguished from the rest 7,ezek4 xxxi4 #c-af2 ,amos ii4 #i74 ,a similar comparison occurs in ,theocritus1 xviii4 #cj1 as quoted above1 i4 #i4 ,the ,chald41 ,ewald1 ,magnus1 ,philippson1 c41 take for young man1 youth2 comp4 ,ruth iii4 #aj2 ,isa4 lxii4 #e1 8,a young man like the cedars20 but the point of comparison is lost in this case4 ,besides1 we should then expect the sing4 1 and not the plur4 4 ,moreover1 #b ,kings xix4 #bc1 and ,jer4 xxii4 #g1 where the same phrase is used1 is against it4 #af4 ,his voice is exquisitely sweet1 c4 ,the members1 after being analysed separately1 have been viewed as a whole2 but the beautiful person thus described is inanimate1 like the splendid marble columns or the lofty cedars1 to which she had compared him4 ,in this verse the ,shulamite represents the charms of his speech2 and thus affirms his whole person1 bodily and mentally1 as most lovely4 8,such10 she triumphantly exclaims1 8is my friend2 and now1 ye daughters of ,jerusalem1 judge for yourselves wherein my beloved is more than another beloved40 1 prop4 palate1 is used for the organ of speech1 and speech itself1 ,job vi4 #cj2 xxxi4 #aj2 ,prov4 v4 #c4 ,that here does not mean any part of the body1 is evident from the context2 for it would be preposterous to recur to the palate or mouth after the whole person had been described4 and are abstracts 7see i4 #b71 adjectively used 7,gesen4 #ajf1 #a1 ,rem4 #a71 to give intensity to the idea2 comp4 ,gen4 i4 #b4 1 his whole person1 bodily and mentally4 #a4 ,whither is thy beloved gone1 c48 ,the court ladies1 moved by this charming description1 inquire of the ,shulamite what direction he took1 and offer to seek him4 ,the word is omitted after 1 for the sake of brevity and pathos4 ,for the superlative force of 1 vide supra1 i4 #h4 #b1 #c4 ,my beloved is gone down into his garden1 c4 ,the ,shulamite1 knowing that the court ladies are anxious to induce her to transfer her affections to the king1 replies in a vague manner1 that he is gone to his garden1 he is not lost1 nor has her affection to him abated1 though they are now separated1 nor does she fear that his love for her is diminished4 ,this incontestably proves that the object of the damsel's affection1 of whom she gave a description in the preceding1 is not the king1 but1 as she herself tells us here most unequivocally1 a shepherd4 ,for ver4 #c1 comp4 chap4 ii4 #af4 #d4 ,graceful art thou1 ,o my love1 c4 ,just as before 7i4 #i71 ,solomon made his appearance as soon as the ,shulamite inquired after her beloved1 so here he comes forward again when she speaks of her absent lover2 thus endeavouring to show his own attachment to her4 ,he addresses her1 as before1 in the most flattering terms3 8,thou art as graceful as the delectable ,tirzah1 as charming as the delightful ,jerusalem1 as striking and conquering as an imposing army in full battle array40 ,tirzah was the royal residence of the kings of ,israel after the revolt of ,rehoboam1 and retained that distinction till the time of ,omri1 who built ,samaria 7#a ,kings x4 #ae-ba2 xvi4 #ad2 #b ,kings xv4 #d74 ,it was a city of fascinating appearance1 as its name1 1 delightful1 indicates2 and hence yielded a very flattering comparison4 ,the ,sept4 takes as an appellative1 2 so ,aquila1 ' 1 ,sym4 1 ,syriac1 ,the ,chald4 paraphrases it 1 in the time of thy willingness1 and ,rashi inclines to it2 the ,vulg4 has suavis et decora4 ,but there can be no doubt1 as ,ibn ,ezra1 ,rashbam1 and all modern commentators take it1 that it is a proper name1 ,tirzah1 the capital of ,jeroboam's kingdom4 ,it may be that the ancient versions resorted to the expediency of taking as an appellative1 because they wished to avoid the contrast of the two capitals1 since this would speak against ,solomon being the author of this book4 ,jerusalem1 8the perfection of beauty0 7,lam4 ii4 #ae71 afforded another excellent figure4 ,awe-inspiring as bannered hosts6 ,the fascinating power of a woman is frequently compared to the prowess of an armed host4 ,comp4 ,prov4 vii4 #bf4 1 which occurs once more in connexion with 1 ,hab4 i4 #g1 means awful1 awe-inspiring1 imposing4 1 ,niph4 part4 prop4 bannered1 people furnished1 or arrayed with banners1 hence armies1 hosts4 ,the feminine is here used to express a collective idea2 comp4 1 caravans1 ,isa4 xxi4 #ac2 ,gesen4 #ajg1 #c d2 ,ewald1 #agi c4 #e4 ,turn away thine eyes from me1 c4 ,these awe-inspiring hosts are described as concentrated in her eyes1 which ,solomon implores the ,shulamite to remove from him4 8,the artillery of the eyes10 says ,dr4 ,good1 in loco1 8is an idea common to poets of every nation40 ,thus ,anacreon1 xvi4 1 ' ' 4 1 1 1 ' 4 8,sing thou of ,thebes--let others tell ,how ,troy's foundations rose and fell2 ,my numbers shall alone repeat ,my own rencounters and defeat4 ,me fleets and armies ne'er appal-- ',tis to a different host ,i fall3 ,a host within thine eyes1 my fair1 ,that lurk and ply their arrows there40 ,comp4 also ,ode ii4 1 in ,kal1 to tremble 7,isa4 lx4 #e71 and ,hiphil1 to cause to tremble or fear1 to frighten1 to awe4 ,similarly the ,sept4 4 ,vulg4 me avolare fecerunt1 8they make me flee for fear20 and the ,syriac 1 they make me fear4 ,the explanation of ,ibn ,ezra1 1 which is followed by the ,authorized ,version1 cannot be deduced from the root2 nor does it suit the context4 ,equally untenable is the explanation 1 ,rashi and ,rashbam4 ,for 1 mas1 with 1 fem4 see supra1 iv4 #i4 #f1 #g4 ,thy teeth are like a flock of sheep1 c4 ,for the interpretation of the second half of ver4 #e and vers4 #f1 #g1 see iv4 #a-c1 where the same description is given1 with the exception that there is used for sheep1 and here 1 and that the first half of ver4 #c is here omitted in the ,hebrew1 which is here given by the ,sept4 ,we cannot refrain from quoting the beautiful explanation of these figures from the manuscript commentary of ,immanuel3 1 1 4 ,the ,septuagint adds after 1 and not one among them is bereaved1 in ver4 #f2 1 1 like a braid of scarlet are thy lips1 and thy mouth is lovely1 from chap iv4 #c4 #h1 #i4 ,i have threescore queens1 c4 ,the flattery and praise here exceed all that have been previously offered4 ,solomon protests that1 though he is surrounded by a numerous retinue of women of all ranks1 the ,shulamite is the sole possessor of his heart3 she who is the best beloved of her mother1 and whose consummate beauty has elicited the highest praises from the queens1 concubines and maidens4 ,the discrepancy between the number of ,solomon's wives and concubines here stated1 and that described in #a ,kings xi4 #c1 maybe reconciled by taking 1 and for indefinite and large numbers3 many1 very many1 without number3 so ,kleuker1 ,rosenmller1 ,magnus1 c4 8,we must supply 1 to me1 after 1 there4 ,for 1 mas1 instead of 1 fem41 see ii4 #g4 ,the pronoun 1 she1 is the subject in all the three clauses1 and in the first and second clause1 and in the third are predicates4 ,we must supply after 1 she is my only one2 just as 4 ,the word is used for the only one of its kind 7,job xxiii4 #ac2 ,ezek4 ii4 #fd2 vii4 #e71 favourite2 comp4 1 #b ,sam4 vii4 #bc4 #aj4 ,who is she that looks forth1 c4 ,that ,solomon quotes here the eulogy mentioned in the preceding verse1 which the court ladies pronounced upon the superlative beauty of the ,shulamite when they first beheld her1 has long been recognised by the ,rabbins1 and is now admitted by most interpreters4 ,this is1 moreover1 confirmed by ,prov4 xxxi4 #bh1 where the same words1 and 1 are used1 and the following verse contains the eulogy which the husband utters4 ,the rising morning1 with its red light looking down from heaven over the mountains 7,joel ii4 #b72 the beautiful and placid complexion of the moon1 and the refulgent and resplendent appearance of the sun1 have often afforded1 both to the ,oriental and to the ,greek and ,latin writers1 exquisite similes for beauty and grandeur4 ,thus ,sirach 7l4 #e1 #f71 describing the ,high ,priest1 says3-- 8,how splendid he was in his interview with the people4 ,in his coming out from the house of the veil6 ,as the morning star amid the clouds1 ,as the moon when full in her days1 ,as the sun when beaming upon the temple of the ,most ,high40 ,comp4 also ,rev4 i4 #af2 ,theocritus' description of ,helen1 xviii4 #bf-bh2 ,lane's ,arabian ,nights1 i4 #bi4 and are poetical epithets for the sun and moon1 ,isa4 xxiv4 #bc4 #aa1 #ab4 ,i went down into the nut-garden1 c4 ,as ,solomon had referred1 in uttering his encomium1 to her first coming within sight of the court ladies1 the ,shulamite here instantly interrupts the king1 in order to explain how that came to pass4 8,i did not go to meet the king1 to exhibit myself and be admired by him or his royal retinue2 ,i merely went into the garden with the intention of seeing whether there were any herbs to take home for use1 and whether the fruit promised well2 and this 77 intention of mine brought me unawares near the monarch and his cortge40 ,though 1 nut-tree1 7so ,sept41 ,vulg41 ,chald417 nut occurs nowhere else in the ,old ,testament1 yet its meaning is established from the cognate languages1 and its frequent usage in the ,talmud and latter ,hebrew writers1 1 to look among 7,gen4 xxxiv471 with the intention of choosing that which pleases1 ,gen4 vi4 #b4 1 the green or vegetables growing by the river side2 so the ,sept4 1 and ,rashbam1 4 ,the ,sept4 has here 1 from chap4 vii4 #ad1 which the ,arabic1 thiopic1 and several modern commentators wrongly follow1 as it has no ,,ms4 authority1 and has evidently arisen from a misunderstanding of this passage4 #ab4 ,unwittingly1 c4 ,this verse has caused much perplexity to interpreters4 ,the ancient versions1 finding the sense obscure1 have altered almost every word1 and hence increased the difficulty4 ,thus the ,sept4 has 1 which ,luther follows3 8,meine ,seele wusste es nicht1 dass er mich zum ,wagen ,aminadib gezetzt hatte30 ,they take as the subject1 alter 1 the first person com41 into 1 the third fem41 to agree with 1 a fem4 noun1 1 the third fem41 into 1 the third masc4 referring it to ,solomon1 and regard as a proper name4 ,the ,vulg4 has ,nescivi1 anima mea conturbavit me propter quadrigas ,aminadab2 altering 1 the ,kal of 1 to put1 to place1 into the ,hiphil of 1 to be astonished1 into 1 the plural of 1 with the preposition 1 and taking as a proper name4 ,passing over these textual alterations1 and the emendations proposed by modern commentators1 as unauthorized1 we shall first examine the words as they are in the text1 and then the most plausible interpretations deducible therefrom4 are rightly taken by most1 though differing in their opinion as to the rendering of the remainder of the verse1 as adverbial1 in the sense of suddenly1 unwittingly1 and as subordinate to 1 my soul has unwittingly put me1 or placed me2 comp4 ,job v4 #i2 ,isa4 xlvii4 #aa2 ,jer4 l4 #bd4 ,the verb 1 to put1 to place1 may be construed with two accusatives1 one of the person1 and the other of the thing2 and may be taken as the second accusative 7comp4 ,ps4 xxxix4 #i2 #a ,sam4 viii4 #a2 ,mich4 i4 #g71 or may be taken as a designation of place after 1 a verb of motion2 comp4 ,isa4 xl4 #bf4 1 a chariot1 used for warlike purposes1 or for state or pleasure1 ,gen4 xlvi4 #bi2 ,exod4 xv4 #d2 #b ,sam4 xv4 #a4 ,the expression may either mean populares mei--7the ,hebrews having no separate word for 8countryman10 use this expression to denote one of their own people 7,gesen4 xxiii4 #aa2 ,lam4 ii4 #aa71 and may be an adjective for 1 as the article is sometimes omitted through following a noun with suffix7--or may here be used1 like 1 for companions1 attendants1 followers1 7,eccl4 iv4 #af17 the in not being a suffix1 but paragogic1 and a mark of the const4 state 7,deut4 xxxiii4 #af2 ,lam4 i4 #a71 and 1 a noun in the genitive of the king or prince4 ,as to how much stress there is to be laid on the ,sept41 which takes as a proper name1 and is followed by the ,arabic1 thiop41 ,vulg41 and which also produced some variations in the orthography of these words1 we need only refer to vii4 #b1 where the same version renders by 4 ,the verse1 therefore1 may either be translated3 8,my soul has unwittingly made me the chariots of my noble countrymen10 or1 8,my soul has unwittingly placed at1 or brought me to the chariots of my noble people1 or to the chariots of the companions of the prince40 ,now against the first rendering we urge1 in the first place1 that if the chariots be taken in the accusative1 and hence in a figurative sense1 we are unavoidably led into a bewildering maze of conjectural and fanciful opinions4 ,the following may serve as a specimen4 ,rashi takes the chariots to be a sign of ignominy4 1 8,my soul has made me to be chariots for foreign princes to ride upon02 i4e4 ,i have willingly brought upon me a foreign yoke4 ,ibn ,ezra takes the chariots as a figure for swiftness1 1 8,i did not know that ,i was hurrying on to thee with the rapidity of the chariots of the great prince who is among my people20 which the ,syriac1 1 though sharing somewhat in the errors of the ,sept4 and ,vulg41 seems to favour4 ,herder takes the chariots as a symbol of martial power1 guard1 and protection 7,ps4 xx4 #h2 #b ,kings ii4 #aa1 #ab74 ,hengstenberg affirms that the chariots signify champion1 guard1 defence4 ,and secondly1 this translation interrupts the connexion of this verse with the preceding one4 ,now the second rendering avoids all this4 ,solomon has repeated in verse #aj the praise which the court ladies had pronounced on the ,shulamite when they first saw her2 the ,shulamite 7in ver4 #aa1 #ab71 in reply1 explains how she came to the carriages of the court ladies4 #a4 ,return1 return1 c4 ,here we see how little all the persuasions1 promises1 and eulogies of the king and courtiers affected the sincere and deeply rooted affections of the ,shulamite for her beloved shepherd4 ,no sooner had she explained 7as she incidentally informs us7 how she came to be noticed and taken up by the king1 than she actually started off4 ,but the king entreated her to return1 that he might look at her once more4 ,the ,shulamite1 pausing a little1 turns round and modestly asks3 ,what will you behold in the ,shulamite8 ,that is1 what can ye see in a humble rustic girl8 1 as is evident from the article1 is a gentile noun1 according to the analogy of 1 7#a ,kings i4 #c2 #b ,kings iv4 #ab1 #be47 ,ewald1 #aef c3 and a female inhabitant of ,shulem1 i4q4 ,shunem4 ,shulem still exists as a village1 now called ,slam1 about three miles and a half north of ,zern1 7,jezreel71 and lies on the declivity1 at the western end of the mountain of ,duhy1 the so-called ,little ,hermon4 8,there is little room for doubt that it is the ancient ,shunem of the tribe of ,issachar1 where the ,philistines encamped before ,saul's last battle1 7,josh4 xix4 #ah2 #a ,sam4 xxviii4 #d47 ,from the same place1 apparently1 ,abishag the ,shunammite was brought to the aged ,david2 and here it was probably that ,elisha often lodged in the house of the ,shunammite woman1 and afterwards raised her son from the dead 7#a ,kings i4 #c2 #b ,kings iv4 #h-cg2 viii4 #a-f74 ,eusebius and ,jerome describe it in their day as a village lying five ,roman miles from ,mount ,tabor1 towards the southern quarter1 and they write the name already ,sulem40 ,robinson1 ,palestine1 iii4 #afi1 c4 ,the transition of into is of frequent occurrence2 comp4 and 1 to burn4 7,gesen4 ,lexicon1 a2 ,ewald1 #aef1 c47 is not the feminine of the name 1 which would be 2 comp4 ,lev4 xxiv4 #aa2 #a ,chron4 iii4 #ai2 ,ewald1 #bgd1 f4 ,like a dance to double choirs1 replies the king1 i4e4 8to see thee is like gazing at the charming view of a festive choir expressing their merriment in a sacred dance4 ,the ,hebrews1 in common with other nations 7,strabo1 #aj71 used sacred dancing1 accompanied by vocal and instrumental music1 as expressive of joy and rejoicing 7,exod4 xv4 #bj2 #b ,sam4 vi4 #ae2 ,ps4 cxlix4 #c74 ,a sight of such an assemblage of various beauties1 all swelling their voices into one song of joy1 and blending their several forms in one choral dance of joy1 must have afforded a delightful picture4 ,no wonder that such a scene is described by ,homer 7,iliad1 xviii4 #eij17 as portrayed on the famous shield of ,achilles1 and that 8,on either side spectators numerous stood1 ,delighted40 ,to this charming scene1 therefore1 does the captivated monarch compare the view of the ,shulamite4 1 from 1 to turn round1 a dance1 the joyous dancing on a festive occasion4 1 prop4 a camp1 also a multitude1 a band of people1 ,gen4 l4 #i4 is the regular dual1 and not the plural 7,sept41 ,vulg41 ,gesenius1 ,dpke1 c471 and is here used because this dance consisted of a band arranged in a double line1 something like our country dance4 ,on the different kinds of ,oriental dances1 see ,rosenmller1 ,orient4 ii4 #ai-bb2 ,wilkinson1 ,manners1 c41 ii4 #cbh-cdj4 ,saalschtz1 ,archologie der ,hebrer1 vol4 i4 #cjb4 ,the words have elicited a variety of interpretations4 ,some take as a proper name1 and say that reference is here made to some particular mode of worship practised in that place in consequence of ,jacob's sojourn there2 but this is purely imaginary4 ,others again suppose that an allusion is made to ,gen4 xxxii4 #b1 #c1 and hence render by or 2 but this is unfounded1 since we have not the slightest intimation in that passage that the angels were engaged in dancing4 #b4 ,how beautiful are thy feet in sandals6 ,the ,shulamite1 in obedience to the king's request1 returns1 and as she advances1 ,solomon is arrested by her beautiful feet1 with which he begins his last highly flattering delineation of her beauty1 and his last attempt to win her affections4 1 ,chald4 1 sandals1 formed an important part of an ,oriental costume 7,ezek4 xvi4 #aj2 ,judith xvi4 #i74 ,the ladies bestowed great pains upon1 and evinced much taste in ornamenting this article of dress1 which attracted the notice of the opposite sex4 does not mean a descendant of a titled family1 but1 according to a common ,hebrew idiom1 which applies 1 and other terms of human kindred to relations of every kind1 expresses that she herself was of a noble character4 ,comp4 #a ,sam4 i4 #af2 ,gesen4 #ajf1 #b a2 ,ewald1 #bhg f4 ,the circuits of thy thighs like ornaments1 c4 ,to describe the beautiful appearance of an object1 the ,orientals frequently compared it to some precious metal or gem2 see supra1 v4 #aa2 ,prov4 xxv4 #ab4 ,the simple metal or gem1 however1 seems not to suffice here to express the exquisite symmetry of these parts of the body2 they are1 therefore1 compared with some beautifully-wrought and highly-finished ornaments1 formed of such materials4 ,the rendering of by steps 7,sept41 ,vulg41 ,ewald1 ,dpke1 ,hengstenberg1 c471 and by ,schwingungen1 movements 7,hengstenberg71 is contrary to the scope of the description1 which obviously depicts the several members of the body 7beginning with the feet and gradually ascending to the head71 and not their actions4 is not the dual 7,luther71 but the plural2 according to the analogy of 1 2 1 4 ,the in the plural is preferred to the in consequence of the preceding ,a sound4 ,gesen4 #ic1 #ff2 ,ewald1 #ahf e4 #c4 ,thy navel is like a round goblet1 c4 ,the reference and the import of the figure are obvious4 1 i4q4 1 mixture1 mixed wine4 ,the ancients were in the habit of mixing wine with spices1 to make it more stimulating and exciting4 ,wine thus mixed was called 1 viii4 #b1 the vinum aromatites of the ,greeks and ,romans4 7,comp4 ,ps4 lxxv4 #i2 ,prov4 ix4 #e2 ,isa4 v4 #bb2 ,mishna1 ,maaser sheni1 ii4 #a2 ,baba ,mez4 v4 #b2 ,pliny1 ,hist4 ,nat4 xiv4 #ae2 ,gesen4 ,thesaurus1 p4 #hjh2 ,winer1 ,bib4 ,dict4 s4v47 is one of the few instances in which are resolved before suffixes1 owing to the broadness of the vowels when preceding 1 or 4 ,comp4 with suffix 3 3 1 ,ewald1 #bfe2 ,frst1 ,lexicon1 s4v4 -4 ,the particle expresses a subjective wish1 ,gesen4 ,lexicon1 1 ii4 #f1 ,ewald1 #cbj4 ,thy body is like a heap of wheat1 c4 ,the point of analogy seems to subsist between the appearance of the body and that of a quantity of corn heaped up1 1 which ,ibn ,ezra well explains 2 so also ,rashbam4 ,remembering that corpulency was deemed essential to an ,eastern beauty1 this comparison will appear obvious4 ,selden1 who is followed by others1 takes this passage as a prediction of the bride's fertility3 as3--8,wheat and barley were among the ancient ,hebrews emblems of fertility2 and it was usual for standers-by to scatter these grains upon the married couple1 with a wish that they might increase and multiply40 ,uxor ,hebraica1 lib4 ii4 cap4 #ae4 8,a custom10 adds ,williams1 8which might probably originate from this passage1 or vice vers40 ,but though it is true that it was a common practice among the ,jews at marriages to distribute among the company dried seeds 7,talm4 ,chethuboth1 ii4 #a71 probably to indicate a wish that the newly-married couple might be fruitful1 it does not follow that it was the practice at so early an age1 or that it is the meaning here4 ,were this the sense here1 we should expect that the ,jewish commentators1 who well knew and practised the manners and customs of their own people1 would have recognised it4 ,whereas1 ,rashi1 ,rashbam1 ,ibn ,ezra1 c41 explain this figure as referring to the appearance4 ,hedged round with1 c4 ,the threshing-floors in ancient times were in the open air2 and when the wheat had been threshed out1 fanned and heaped up1 each heap was stuck round with thorns1 in order to keep off the cattle4 7,hos4 ii4 #e1 #f47 ,to render the figure more beautiful1 and the compliment more flattering1 the enamoured king changes the hedge of thorns into a fence of lilies4 ,others1 however1 refer these words to a robe embroidered with lilies1 covering her body2 and others1 again1 to some ancient custom of surrounding or covering the newly-threshed heap of wheat with a sort of garland of flowers1 indicating the joy of the husbandman at the return of the harvest4 #d1 #e4 ,thy bosom is like1 c4 ,these verses1 with a little variation arising from the fact that a different person is the speaker here1 contain the same figures as iv4 #d1 #e4 ,the comparison between the beautiful symmetry1 erect bearing1 and ivory colour of the neck1 and between the elegant structure1 lofty altitude1 and white colour of a tower1 appears more striking and apposite from the description given by ,josephus of the towers of ,jerusalem3 8,they were so very tall1 they appeared much taller by the place on which they stood2 for that very old wall1 wherein they were1 was built on a high hill1 and was itself a kind of elevation that was still thirty cubits taller1 over which were the towers situated1 and thereby were made much higher to appearance4 ,the largeness also of the stones was wonderful2 for they were not made of common small stones1 nor of such large ones only as men could carry1 but they were of white marble1 cut out of the rocks3 each stone was twenty cubits in length1 and ten cubits in breadth1 and five in depth4 ,they were so exactly united to one another1 that each tower looked like one entire block of stone1 so growing naturally1 and afterwards cut by the hand of the artificer into the present shape and corners2 so little1 or not at all1 did their joints or connexion appear40 7,jewish ,war1 book v4 chap4 iv4 #d4--,whiston's translation47 ,the comparison of the neck with ivory is also used by ,anacreon 7,ode xxix4 #bh1 #bi71 in his description of ,bathyllus3-- 4 8,but never can thy pencil trace ,his ivory neck of ,paphian grace40 ,thine eyes1 c4 ,that is1 are as bright and serene as the celebrated translucent pools of this city4 ,heshbon1 a town in the southern parts of the ,hebrew territory1 about twenty miles east of the point where the ,jordan enters the ,dead ,sea1 originally belonged to the ,moabites 7,numb4 xxi4 #be71 and afterwards came into possession of the ,amorite king ,sihon 7ibid42 ,deut4 ii4 #bd2 ,josh4 iii4 #aj74 ,it was conquered by ,moses shortly before his death 7,numb4 xxi4 #be71 and was first assigned to the tribe of ,reuben 7,numb4 xxxii4 #cg2 ,josh4 xiii4 #ag71 and afterwards to the tribe of ,gad1 and became a ,levitical city 7,josh4 xxi4 #ci2 #a ,chron4 vi4 #ha74 ,it was retaken by the ,moabites when the ten tribes were carried into exile 7,isa4 xv4 #d2 xvi4 #i2 ,jer4 xlviii4 #b71 but the ,jews conquered it again afterwards 7,joseph4 ,antiq4 lib4 xiii47 ,the ruins of ,heshbon1 the name by which the place is still known1 have been visited and described by modern travellers4 7,burckhardt1 ,travels1 p4 #cfe2 ,biblical ,repos4 for #ahcc1 p4 #fej2 ,robinson1 ,palestine1 ii4 #bgh47 ,heshbon was the pride of ,moab1 was famous for its fertility1 verdure of plantation1 and beautiful reservoirs4 ,hence the simile here4 ,a similar comparison is used by ,ovid1 ,de ,arte ,ama4 ii4 #gbb3-- 8,adspicies oculos tremulo fulgare meiantes1 ,ut sol a liquida saepe refulget aqua40 is well explained by ,rashbam1 the populous1 1 8because1 through it a multitude of the inhabitants of the town walk in and out20 1 8because it is the chief place of concourse40 1 daughter1 like 1 son1 is idiomatically used in ,hebrew to express quality4 ,compare 1 a son of fatness1 i4e4 fat2 ,isa4 v4 #a1 and supra1 vii4 #b4 ,the ,septuagint1 which is followed by the ,vulgate1 not understanding this idiom1 renders it literally 1 by the gates of the daughter of many4 ,thy nose1 c4 ,this tower must have contained a projection or an overhanging part1 celebrated for its great symmetry and elegance4 ,hence the comparison between the beautifully projecting tower and the well-proportioned nose4 #f4 ,thy head upon thee1 c4 stands here for 1 purpura2 so ,ibn ,gamach1 ,ibn ,ezra1 ,frst1 c4 ,this shell-fish is of a spiral form1 and 8the exquisite juice which is so greatly sought after for the purpose of dyeing cloth is situate in the middle of the throat4 ,this secretion consists of a tiny drop contained in a white vein1 from which the precious liquid used for dyeing is distilled1 being of the tint of a rose1 somewhat inclined to black40 ,pliny1 ,hist4 ,nat4 ix4 #fj1 #fa2 ,arist4 ,hist4 ,anim4 lib4 v4 c4 #ad4 ,the simile here subsists between the spiral form of this shell-fish and the pyramidal shape in which the hair was anciently tied up on the top of the head4 ,the ,chinese and other ,eastern women still wear their hair rolled up into a knot or bunch at the top of the head2 and even in this country ladies used to dress their hair in a somewhat similar manner4 ,the rendering of the ancient versions of 1 by ,mount ,carmel1 which the majority of modern interpreters follow3 they take the simile to be between the beautiful appearance of the bride's head and the charming1 luxuriant1 and picturesque summit of this celebrated mountain2 but this is against the parallelism and #b ,chron4 ii4 #af1 #ac2 iii4 #ad4 is derived from 1 to be shiningly red1 with - appended1 according to the analogy of 2 vide ,frst1 ,lexicon in voce2 or it may be that this shell-fish was so called because it was found on the shore near ,carmel4 ,at all events1 there is no need to look for the etymology of this word out of the ,shemitic family4 ,and the tresses1 c4 ,fine hair is frequently compared by the ,greeks and ,romans with purple4 ,thus ,anacreon1 xxviii4 #aa1 #ac4 ' 4 ,then paint1 from her full cheeks1 ,beneath her purple hair1 ,her ivory forehead4 ,compare also ,virgil1 ,georg4 i4 #dje2 ,tibul4 i4 #d1 #fc4 ,the purple here referred to is that kind which ,pliny describes as 8nigrans adspectu idemque suspectu refulgens40 1 the costly colour extracted from the shell-fish1 is from 1 kind4 1 to colour1 with the prostetic and termination -2 vide supra1 chap4 iii4 #i4 ,the king is captivated1 c4 ,the ringlets1 like the lashes of the eyelids1 are frequently represented as the net of love4 ,prov4 vi4 #be2 ,sirach ix4 #c1 #d4 ,thus ,jami1 in his ,joseph and ,zuleikha1 chap4 i41 as quoted by ,dr4 ,good1 says3-- 8,when ,love in graceful ringlets plants his toils1 ,the fool he catches1 and the wise man foils2 ,but1 thence released1 the sage his snare discerns1 ,and ,reason's lamp with wonted lustre burns40 stands for 2 the article is not unfrequently omitted in poetry2 comp4 ,ps4 ii4 #b2 xxi4 #b2 ,gesen4 #aji2 ,ewald1 #bgg1 b4 1 a ringlet1 so called from its flowing down over the shoulders2 vide supra1 chap4 i4 #af4 ,the construction of with 1 i4e4 royal purple 7one of the ,greek translators in the ,hexapla1 ,vulgate1 ,syriac1 ,luther1 ,houbigant1 c471 is against the punctuation and the evenness of the metre1 interferes with the interpretation of the remaining words1 and has evidently arisen from a misunderstanding of the passage4 ,besides1 no people is known by such a name4 ,it was owing to a feeling of being consistent that the editor of ,calmet felt himself constrained to take as a proper name1 ,argamen1 to correspond with the parallel 2 and to explain this clause as alluding to a particular mode of plaiting the hair1 like the weaving of ,arech1 a city in ,babylonia1 supposed to be famous for its weaving manufactories4 ,how beautiful1 c4 ,the captivated king1 having described the beauty of the several parts of the body1 now combines the separate members into one lovely form1 and endows it with life and fascination1 which none of the inanimate beauties to which he had compared her1 however admirable1 possessed4 1 love1 abstract for concrete1 loved one1 vide supra1 chap4 v4 #a4 1 charm1 attraction1 such as living beings possess4 ,aquila and the ,syriac1 separating the word 1 render it 1 4 #g4 ,this thy growth1 c4 ,the beautiful growth of the palm-tree1 like that of the cedar and cypress1 supplied a forcible image to the ancients4 ,thus the ,son of ,sirach1 xxiv4 #ac1 #ad3-- 8,i grew up as a cedar of ,lebanon1 ,and as a cypress upon ,mount ,hermon2 ,i grew up as a palm-tree in ,en-gedi1 ,and as a rose-tree in ,jericho40 ,comp4 also ,homer1 ,odyss4 vi4 #afb1 and supra1 chap4 v4 #ae4 1 bunch1 cluster1 of grapes1 dates1 or flowers2 the context must decide which4 ,here1 from its close proximity to 1 palm-tree1 dates are most probably intended4 ,for the etymology of 1 see supra1 chap4 i4 #ad2 and for its form1 both here and in ver4 #i1 ,ewald1 #bab d4 #h4 ,i long to climb1 c4 ,after this flattering description ,solomon tells the ,shulamite how greatly he desires1 and how happy he should be to enjoy1 the affections of one so lovely and charming4 ,we earnestly request those who maintain the allegorical interpretation of the ,song seriously to reflect whether this verse1 and indeed the whole of this address1 can be put into the mouth of ,christ as speaking to the ,church4 ,would not our minds recoil with horror were we to hear a ,christian using it publicly1 or even privately1 to illustrate the love of ,christ for his ,church8--1 to speak1 also to wish1 to desire1 ,gen4 xliv4 #bh2 ,exod4 ii4 #ad2 #a ,sam4 xx4 #d4 does not express the past1 but the present2 comp4 in the preceding verse2 ,gesen4 #abf1 #c2 ,ewald1 #ace b4 ,the second verb is subordinate to the first1 vide supra1 chap4 ii4 #c4 is added to 1 to distinguish it from the dates in ver4 #g4 ,and the odour of thy breath1 c4 ,that is1 be as sweet and as quickening as that of apples4 is used in preference to 1 because the nostril1 or the breathing 7which literally means7 is regarded by the ,hebrews as that which in distension betokens pleasure1 anger1 c4 ,the appropriateness of this expression will be more manifest when we remember that hitherto all that the ,shulamite showed towards ,solomon were resistance and independence4 ,there is also a play of words here1 being derived from 1 to breathe1 and 1 from 1 to breathe4 ,hodgson strangely renders 1 8the fragrance of thy face10 because several ,,mss4 read with a yod4 #i4 ,and thy speech1 c4 ,that is1 ,let thy language to me be as the sweetness of delicious wine4 ,rosenmller1 ,dpke1 ,de ,wette1 ,noyes1 ,delitzsch1 ,hengstenberg1 c41 put these words into the mouth of the maiden4 ,but it is incredible that this modest woman would approve of these expressions with regard to her own person1 and that she would continue the words 4 1 palate1 metonymically for speech2 vide supra1 chap4 v4 #af4 is used as a substantive1 and placed in the genitive after 2 comp4 ,ps4 xxi4 #d2 ,prov4 xxiv4 #be2 ,ewald1 #bhg b4 ,the phrase describes the smooth or mellow wine1 which is of a very superior quality1 and highly prized1 ,prov4 xxiii4 #ca4 ,the expression is added in order to describe still more forcibly the nature of the wine1 and affords a more striking illustration of the pleasantness of the damsel's speech4 ,her voice is not merely compared to wine1 valued because it is sweet to everybody2 but to such wine as would be sweet to a friend1 and on that account is more valuable and pleasant4 ,ammon1 ,ewald1 ,heiligstedt1 ,hitzig1 c4 regard as having erroneously crept in here from ver4 #aa1 whilst ,velthusen1 ,meier1 c4 point it in the plural2 but this is unsupported by ,,mss4 ,hodgson1 taking for 1 translates it ad amores1 delightfully1 corresponding to in the next clause4 ,but this rendering1 to say the least1 is contrary to the general meaning of this word4 ,the rendering of ,williams1 8which ,i sent to those whom ,i love for their integrity10 is preposterous4 ,and causes slumbering lips1 c4 ,the wine is of such an animating nature1 that it even causes silent lips to speak4 ,thus ,horace1 ,epist4 lib4 i4 ,ep4 v4 #ai3-- ,fecundi calices quem non fecere disertum8 8,whom have not soul-inspiring cups made eloquent80 ,others1 however1 with less probability1 explain these words to mean wine of so excellent a flavour1 as to induce those who have indulged in it to dream of it1 and converse about it2 or wine so delicious and tempting that it leads to excess1 in consequence of which the drinkers fall asleep1 and then either disclose the subject of their dream1 or mutter unintelligible words4 is not gently flowing1 suffusing 7,ewald1 ,dpke1 ,gesenius1 ,de ,wette1 ,lee1 ,magnus1 ,noyes1 ,meier1 ,philippson1 ,hitzig1 c471 but causing to speak 7,vulg41 ,rashi1 ,ibn ,ezra1 ,rashbam1 ,mendelssohn1 ,kleuker1 ,hengstenberg1 ,frst1 ,delitzsch1 c47 ,this is corroborated by the derivative 1 which primarily means something spoken1 a report1 either good or bad1 as is evident from ,gen4 xxvii4 #b2 ,numb4 xiv4 #cg1 where the adjective 1 evil1 is joined to it2 and from ,ezek4 xxxvi4 #c1 where it stands in parallelism with 1 and by the frequent usage in the ,talmud and other ,hebrew writers of the word 1 for speaking4 is the ,poel of 1 a form frequently used in verbs 7comp4 1 ,eccl4 vii4 #g2 1 ,ps4 lix4 #g2 ,gesen4 #fg1 #h71 and1 like the ,piel1 is often the causative of ,kal1 ,gesen4 #ee1 #a4 ,the ,sept41 ,vulg41 ,sym41 ,syr41 read 1 the lips and the teeth1 instead of 2 but this is neither supported by ,,mss41 nor yields a better sense4 #aj4 ,i belong to my beloved1 c4 ,the ,shulamite gently but decidedly refuses the wishes of the king1 declaring that her affections are fixed on one whom she ardently loves1 and on whom alone it is her sacred duty to look4 ,even ,ibn ,ezra and ,rashbam1 though explaining it differently1 admit that the maiden here refuses the petitioner of the last verse on the plea that she belonged to her beloved4 1 lit4 on me1 i4e4 it is upon me as a duty4 is frequently used to denote duty or obligation1 which rests upon one like a burden1 and must be discharged4 ,thus 1 8it was my duty to give10 #b ,sam4 xviii4 #aa2 1 8peace-offerings are due from me10 ,prov4 vii4 #ad2 ,gesen4 ,lexicon1 ,a4 #a1 4 ,ewald1 #bag1 #d 4 ,the suffix in expresses the object1 i4e4 the desire for him4 ,this is often the case2 comp4 1 his fear1 i4e4 the fear for him1 ,exod4 xx4 #bj2 ,gesen4 #aba1 #e2 ,ewald1 #bhf b4 ,we thus obtain the same sense of this clause which ,hodgson gives it1 without changing the words into 1 upon the slender authority of one ,,ms4 to support the first1 and three ,,mss4 to support the second alteration4 #aa4 ,come1 my beloved1 c4 ,having distinctly and finally refused the king1 who forthwith quitted her1 the ,shulamite now addresses her beloved shepherd1 who approached her1 urging their departure from the royal palace for their festive bowers in ,nature's hall4 ,the want of separate names1 or initial letters of names1 generally used in profane composition to indicate the speaker or the person spoken to1 is amply supplied here by the skill of the inspired poet in putting into the mouth of the ,shulamite such rural language as shows most plainly that she was a rustic maiden1 and that her beloved1 whom she here addresses1 is a shepherd4 ,comp4 also chap4 i4 #g2 ii4 #h2 v4 #b1 #d1 c4 ,to ascribe these words to a princess addressing king ,solomon is preposterous4 ,dderlein1 ,ewald1 ,meier1 c41 take as the plural of 1 cypress1 vide supra1 i4 #ad2 iv4 #ac2 but #a ,chron4 xxvii4 #be1 where 1 like here1 coupled with 1 field1 forms a contrast to 1 city1 is against it4 is the accusative of place1 #a ,sam4 xx4 #aa2 ,gesen4 #aah1 #a4 #ab4 ,we will go early1 c4 ,transported with the thought of her speedy arrival at her mother's house1 the ,shulamite vividly depicts to her beloved the scenes of home1 where they will again together enjoy rural life4 ,it may be that ,milton thought of this passage when he wrote the words3-- 8,to-morrow1 ere fresh morning streak the east ,with first approach of light1 we must be risen1 ,and at our pleasant labour1 to reform ,yon flowery arbours1 yonder alleys green1 ,our walks at noon with branches overgrown40 ,paradise ,lost1 iv4 #fbc1 c4 is constructio praegnans1 and is well explained by ,rashbam1 1 8we will rise early to stroll in the vineyards40 ,comp4 ,gen4 xliv4 #cc2 ,numb4 xiv4 #bd2 ,gesen4 #ada4 ,there will ,i give1 c4 ,the shepherd1 gladdened with the fact that his loved one is restored to him1 is desirous of expressing his joy and affection1 but the ,shulamite1 anxious to get off as quickly as possible1 tells him that at home1 amidst the charms of nature1 they may indulge in sweet effusions of love4 ,the ,sept4 and ,vulg4 have here again 1 breasts1 instead of 1 love4 ,but in addition to what has already been remarked1 we would state that whenever breasts are mentioned in this ,song1 is invariably used4 #ac4 ,the mandrakes diffuse1 c4 ,another reason for hastening away from the royal prison into the rural home4 ,there nothing will be wanting2 they have there the highly prized apples1 they have all sorts of precious fruit1 which she left on the trees for him4 ,a similar passage occurs in ,virgil1 ,ecl4 i4 #cg1 where the loved one kept fruit on the tree for her lover3-- ,mirabar1 quid moesta deos1 ,amarylli1 vocares2 ,cui pendere su patereris in arbore poma3 ,tityrus hinc aberat4 8,we stood amazed to see your mistress mourn2 ,unknowing that she pined for your return3 ,we wonder'd why she kept her fruit so long1 ,for whom so late th' ungather'd apples hung3 ,but no1 the wonder ceases1 since ,i see ,she kept them only1 ,tityrus1 for thee40 1 which occurs only once more1 7,gen4 xxx4 #ad71 is1 according to the testimony of the ancient versions1 the mass of commentators and modern travellers1 the mandrake-plant1 ,atropa mandragora1 called yabrochack by the ,arabs1 the fruit of which is highly valued by the ,orientals for its supposed exhilarating1 aphrodisiac1 and procreative properties4 8,it grows low1 like lettuce1 to which its leaves have a strong resemblance1 except that they have a dark green colour4 ,the flowers are purple1 and the root is for the most part forked4 ,the fruit1 when ripe1 in the beginning of ,may1 is of the size and colour of a small apple1 exceedingly ruddy1 and of a most agreeable flavour40 ,see ,kitto1 ,cyclop4 ,bib4 ,lit42 ,winer1 ,bib4 ,dict4 s4v4 ,here1 however1 this plant is mentioned merely to fill out the picture of charming and highly prized plants1 without reference to any supposed internal properties1 and has evidently been suggested by the preceding 1 beloved4 1 lit4 love-apples1 is the plural of 1 from the root 1 to love1 with the termination -1 like 1 the plural of 1 from the root 4 ,gesen4 #ic1 #f1 #f2 ,ewald1 #ahi g4 is well explained by ,rashbam1 1 8in our garden1 close to our door10 c4 has not unfrequently the sense of neighbourhood and contiguity4 ,gesen4 ,lexicon1 #c4 ,others however render 1 over1 i4e4 8and over our doors grow10 c42 others again translate in1 i4e4 8in our house are10 c41 taking in the sense of house2 comp4 ,prov4 xiv4 #ai1 but with less probability4 ,houbigant's transposition of letters1 viz4 1 in nostris malis aureis1 instead of 1 is an idle conjecture4 #a4 ,oh that thou wert as my brother1 c4 ,the charming description which the ,shulamite gave of their happiness when at home1 recalled to her mind the obstacles which they met with1 even there2 and hence she is led to wish that he had sustained to her the relation of a brother1 that1 whether in the street or the house1 none might misinterpret or interrupt the manifestation of their attachment4 is used to express the optative4 ,comp4 ,deut4 v4 #bi2 xxviii4 #fg2 ,ps4 xiv4 #g2 ,job vi4 #h2 ,gesen4 #acf1 #a2 ,ewald1 #cbi c4 is the accusative4 ,the rendering of the ,septuag41 1 1 2 and ,luther1 8,o dass ich dich1 mein ,bruder1 der du meiner ,mutter ,brste saugest1 draussen fnde10 are wrong4 1 does not mean 8an infant still sucking the breasts40 7,grotius1 ,gill1 ,good1 ,williams1 c471 but 8one who had sucked and is now a youth20 it is the second accusative to 1 and stands in parallelism with 1 brother2 like the participle 7which does not mean one who just gave birth71 and 1 vide supra1 chap4 vi4 #i4 is conditional1 with the particle implied1 ,judg4 xi4 #cf2 ,prov4 xxiv4 #aj2 ,ewald1 #cfg b4 is used poetically for 1 and1 ,judg4 v4 #d2 ,joel i4 #ab4 3 the third person is used to express the indeterminate third person1 the passive in ,english4 ,gen4 xli4 #ad2 ,gesen4 #aeg1 #c4 ,for 1 me1 five ,,mss4 and two editions read 1 thee1 which ,ewald adopts4 ,but this is against the majority of ,,mss4 and all the versions1 and does not at all improve the sense4 #b4 ,i would lead thee1 c4 ,as a brother1 she could unreservedly bring him from the spot1 where she met him in the street1 to her mother's house4 ,we must supply 1 thence1 before 2 so ,rashbam4 ,simple as the word seems to be1 it has nevertheless produced a variety of renderings4 ,the ,septuagint and ,syriac1 followed by ,percy1 entirely omit it1 and interpolate here 1 and into the apartment of her who gave me birth1 from chap4 iii4 #d2 after 1 the house of my mother4 ,ibn ,ezra1 the ,authorized ,version1 ,kleuker1 ,dderlein1 ,hitzig1 c41 supply 1 who1 before 1 and refer it to 1 my mother4 ,but this interrupts the construction1 and1 against the scope of the description1 introduces the mother as an actress4 ,hodgson and the editor of ,calmet1 strangely enough1 render it ,talmudni1 as a proper name of the maiden's mother4 ,the most natural way seems to be to take it with the ,vulgate1 ,chaldee1 ,rashbam1 ,luther1 ,ewald1 ,dpke1 ,de ,wette1 ,delitzsch1 ,hengstenberg1 ,philippson1 c41 as the second person masculine4 ,i would cause thee to drink1 c4 ,on the aromatic wine1 see supra1 chap4 vii4 #c4 ,the pomegranate-juice was and still is a favourite beverage in the ,east4 8,the ,orientals10 says ,dr4 ,kitto1 8indulge largely in beverages made with fresh juice of various kinds of fruits4 ,among these1 sherbet made with pomegranate-juice is particularly esteemed1 and1 from its agreeable and cooling acidity1 the present writer was himself accustomed to prefer it to any other drink of this description40 1 is either an anomalous construct 7,gesenius2 ,frst1 ,lex4 s4v471 or the absolute1 and 1 apposition in the accusative4 ,compare 1 #a ,kings xx4 #bg2 ,gesen4 #aaf1 #f1 ,rem4 b2 ,ewald1 #bhg h4 and are a paranomasia1 vide supra1 chap4 i4 #c4 1 my pomegranate-juice1 i4e4 which ,i myself have prepared4 ,the noun in the genitive1 expressing the quality of the nominative1 has the suffix2 compare 1 my holy mountain1 ,ps4 ii4 #f2 ,gesen4 #aba b2 ,ewald1 #bia b4 ,from an oversight of this most probably arose the readings of or 7several ,,mss471 7,vulgate1 ,syriac71 the supposition that is an adjective 7,schultens71 and the opinion that it is an abbreviated plural from 1 like for 1 7,ps4 xlv4 #i1 ,meier1 ,frst1 ,lexicon1 1 #c b47 #c4 ,let his left hand1 c4 ,exhausted with the attempt to describe her unfailing attachment for her beloved shepherd1 an attachment far deeper than external circumstances permit her to manifest1 the ,shulamite desires that no other hand should raise her drooping head1 no other arm support her enfeebled frame1 than those of her beloved2 compare chap4 ii4 #f4 #d4 ,i adjure you1 c4 ,this last affecting scene1 having brought the ,shulamite's struggle to a successful termination1 is closed by her adjuring the court ladies as before 7ii4 #g1 and v4 #c71 to make no more attempt to draw her affections away from her beloved to any one else1 since they were unalterably fixed4 ,the ,septuagint1 which is followed by ,good1 c41 supplies here 1 from ii4 #g1 and v4 #c4 ,it is obvious1 from the change of into the more urgent negative particle 1 7comp4 ,job xxxi42 ,ewald1 #cbe b71 that the variation is designedly made2 and indeed the haste in which the ,shulamite is to depart with her beloved does not permit her to use the lengthy adjuration4 #e4 ,who is it that comes up1 c4 ,the last successful resistance secured for the ,shulamite her liberty4 ,convinced that even the blandishments of a king cannot overcome the power of virtuous love in the heart of a rustic damsel2 satisfied that 8all the wealth of his house0 could not buy it1 ,solomon dismisses her4 ,then1 reunited to her beloved shepherd1 the happy pair immediately depart for home4 ,as they approach their native place the inhabitants1 beholding them at a distance1 exclaim1 8,who is it that comes up from the plain1 leaning upon her beloved80 1 the plain 7vide supra1 iii4 #f71 most probably the plain of ,esdraelon1 at present known by the name of ,merij ,ibn ',amir1 lying between ,jezreel and ,sulem 7,robinson1 ,palestine1 iii4 #afi71 which the lovers had to cross on their way home4 7from 1 to lean2 hence 1 an arm1 on which one leans1 ,talm4 ,sabbath1 #ib71 supporting herself1 being weary with so long a journey4 ,so the ,sept4 2 the ,vulg4 innixa1 c4 ,as for the additional in the ,sept41 and deliciis affluens in the ,vulg41 the one most probably arose from the word 1 used in chap4 vi4 #aj1 where a similar question occurs1 and the other from a marginal gloss1 or 4 ,under this apple-tree1 c4 ,as they drew nearer home they beheld the endeared spot--the memorable shady tree under which the shepherd was born1 and where their mutual love was first kindled4 ,these sweet musings are at length terminated by the ,shulamite1 who joyfully recounts the pleasing reminiscences of that place4 ,the frequent meetings of shepherds and shepherdesses under shady trees1 7vide supra1 chap4 i4 #g71 often resulted in the formation of a sacred tie4 ,the solemn vow of love was then engraven on the bark of the tree1 as a witness of their union4 ,thus ,theocritus1 ,idyl4 xviii4 #dg1 #dh3-- ' 1 1 1 ' 4 8----and on the bark1 ,in ,doric1 shall be engraven for all to mark1 #8,to me pay honour--,i am ,helen's tree4'0 ,compare also ,idyl4 xxiii4 #df2 ,propert4 ,i4 xviii4 #bb2 ,virg4 ,ecl4 x4 #ec2 and ,pope1 ,past4 iii4 #ff1 #fg4 ,here thy mother1 c4 ,confinements in the open air are of frequent occurrence in the ,east 7,gen4 xv4 #af74 8,there are in ,asia10 says ,dr4 ,chardin in his manuscript notes1 8large districts in which no midwives are to be found1 and even if some live there they are little known1 for mothers assist their daughters1 and often female relatives or neighbours fill the place of the former4 ,in ,kurman1 ,i saw a woman who was delivered without any assistance in the open fields1 three hours from a village1 and to my great surprise1 she arrived not much later in town where ,i was4 ,the people there smiled at my astonishment1 remarking that similar cases were very frequent in their country40 7,see ,rosenmller1 ,orient4 i4 #ahh2 ,paxton1 ,illustrations of ,scripture1 i4 #dfb2 ,kalisch on ,exod4 p4 #ah47 1 to excite1 to move to love1 vide supra1 ii4 #g2 iii4 #e2 viii4 #d4 does not mean conceived thee 7,aquila1 ,schultens1 ,hitzig1 c471 which the ,shulamite could not know1 nor plighted1 or engaged thee1 7,houbigant1 ,michaelis1 ,percy1 ,kleuker1 ,good1 ,williams1 ,boothroyd1 ,magnus1 ,meier1 c471 which is contrary to the ,piel signification of this verb1 but signifies laboured with thee1 7,sept41 ,syriac1 ,chaldee1 ,rashi1 ,rashbam1 ,ibn ,ezra1 ,luther1 ,ewald1 ,de ,wette1 ,gesenius1 ,philippson1 c472 compare ,ps4 vii4 #ae1 and ,hupheld in loco4 ,to put these words into the mouth of the bridegroom as addressing his bride1 7,percy1 ,good1 ,williams1 ,boothroyd1 ,delitzsch1 ,hitzig1 c471 is contrary to the words in the text1 which have masculine suffixes4 ,the form is used instead of 1 to correspond in sound with in pause1 vide supra1 iii4 #aa4 1 i4q4 4 ,the ,vulgate1 which seems here to savour of allegorism1 translates 1 ibi corrupta est mater tua1 ibi violata est genitrix tua4 8,the tree10 the ,roman ,catholics explain of the cross2 8the individual0 excited to love under it1 the ,gentiles redeemed by ,christ at the foot of the cross2 and 8the deflowered and corrupted mother0 means1 the synagogue of the ,jews 7the mother of the ,church71 which was corrupted by denying and crucifying the ,saviour4 #f4 ,oh1 place me as a seal1 c4 ,that is1 8,let me be near and dear to thee40 ,the ,shulamite1 having shown her faithfulness during a period of extraordinary trials1 could now look up to the witnessing tree with an inward satisfaction4 ,it is therefore very natural that she should remind her beloved1 in the presence of this witness1 of his vows4 ,in ancient times1 when the art of writing was confined to a very few1 and writing materials were not so easily procurable1 rings or signets1 with names engraven upon them1 were generally used as manual signs4 ,this contrivance for a signature soon became used as an ornament4 ,people who could afford it had these seals or signets made of silver or gold1 inlaid with precious stones4 ,being indispensable articles of use1 and highly prized as decorations1 they were carried in the bosom1 suspended from the neck by a string 7,gen4 xxxviii4 #ae71 or were worn on the right hand 7,jer4 xxii4 #bd2 ,sirach xlix4 #aa71 and thus became a symbol of what is dear and indispensable4 ,jehovah himself uses this metaphor1 ,jer4 xxii4 #bd3-- 8,though ,coniah1 the son of ,jehoiakim1 king of ,judah1 ,were as a seal on my right hand1 ,yet ,i would pluck thee thence40 ,comp4 also ,hag4 ii4 #bc2 ,sirach xvii4 #bb2 ,rosenmller1 ,orient4 vi4 #beb2 i4 #ahc2 iv4 #aij2 ,winer1 ,bib4 ,dict42 ,kitto1 ,cyclop4 ,bib4 ,lit4 s4v4 ,for love is strong as death1 c4 ,true love seizes with a tenacious grasp4 ,like death1 it rules with resistless sway2 like ,hades1 it is never moved to give up its object3 neither power nor prayer can overcome it4 1 hard1 firm1 inexorable4 is not jealousy 7,sept41 ,vulg41 ,authorized ,version1 ,percy1 ,kleuker1 ,good1 ,williams1 c471 but devout affection1 ardent love 7,ewald1 ,gesenius1 ,de ,wette1 ,noyes1 ,meier1 ,hitzig1 ,philippson c472 it is here used as an intensitive term for love1 as is evident from the parallelism and the connexion4 ,the flames of the ,eternal4 ,these words are exegetical of 8flames of fire20 i4e4 the flames of love1 though having the same energy as those of fire1 are not of the same origin2 they emanate from the ,eternal1 the source of all love4 ,whether1 with ,ben ,asher1 we read 1 conjointly1 like 1 ,jer4 ii4 #ca2 or with ,ben ,naphtali1 1 separately1 which is followed by most editions1 ,rashi1 ,ibn ,ezra1 and the majority of modern critics1 and which is required by the parallelism2 this predicate does not state that the flames of love are 8most vehement10 but affirms that they emanate from the ,eternal4 1 an abbreviation of 7see ,kalisch on ,exod4 iii4 #ad2 xi4 #b2 ,frst1 ,lexicon1 s4v471 like 1 ,isa4 xiv4 #ac1 is the genitive of cause or origin4 ,comp4 1 #a ,john iv4 #g4 1 flame1 may either be a quadriliteral1 formed from 1 ,arabic1 to burn1 with the insertion of the after the first radical1 according to the analogy of 1 violent heat1 7,ps4 ii4 #f71 from the root 1 to be hot2 or1 which is more probable1 is the ,shaphel conjugation of 1 to burn4 ,frst1 ,lexicon1 s4v42 ,gesen4 #ee1 #f2 ,ewald1 #abb a4 ,the ,sept4 has 1 4 ,that the original reading of the text was 7,ewald1 ,dpke1 ,hitzig1 c47 is purely conjectural4 #g4 ,floods cannot quench love4 ,being a flame of celestial origin no terrestrial influence1 however great1 can destroy or wash it away2 it is not subjected to means resorted to for the extinction of ordinary fires4 1 prop4 much water1 i4e4 a great quantity of it 7,numb4 xx4 #aa71 floods4 1 to wash1 or sweep away1 ,job xiv4 #ai2 ,isa4 xxviii4 #ag4 ,if one should offer all1 c4 ,such divine love spontaneously flows from the heart1 and cannot be purchased with money2 though one offered all his riches for it1 they would be utterly despised4 ,this affirmation1 whilst true in itself1 is levelled against the king1 who attempted to gain love by flatteries and praises 7vide supra1 i4 #aa2 vi4 #h71 but was utterly rejected 7vii4 #aa74 any one1 one1 ,gen4 xiii4 #af2 ,exod4 xvi4 #bi2 ,gesen4 #abb1 ,rem4 #b4 1 the infinitive absolute1 is employed before the finite verb 1 to express intensity1 ,gen4 xliii4 #c2 #a ,sam4 xx4 #f2 ,gesen4 #aca1 #c a2 ,ewald1 #bhj b4 1 the third person plural1 is used for the passive1 see supra1 chap4 viii4 #a4 #h4 ,our sister is still young1 c4 ,the brothers are here introduced1 on the arrival of the ,shulamite1 as repeating the promise which they had once given to their sister if she kept virtuous1 and1 when espoused1 remained true to her vows4 ,one of the brothers inquires of the others what they should do for the ,shulamite when she reached womanhood1 and is demanded in marriage4 1 i4q4 1 our sister1 and is well rendered by the ,sept4 1 the ,vulg4 soror nostra1 ,luther1 unsere ,schwester4 ,the adjective 1 like 1 prop4 denoting size1 is also used with reference to age4 ,gen4 ix4 #bd2 xxvii4 #ae2 ,judg4 xv4 #b4 1 i4e4 she has not yet reached puberty4 1 when1 ,gen4 ii4 #d4 1 to speak for1 to demand in marriage1 #a ,sam4 xiii4 #i2 xxv4 #ci4 #i4 ,if she be like a wall1 c4 ,to this inquiry the second brother replied1 that if1 having reached that age1 she should firmly resist every allurement as a battlement resists the attack of an enemy1 they would decorate her as an impregnable wall2 i4e4 highly reward her4 ,the expression 8wall0 is figuratively used for impregnability1 ,jer4 ii4 #ah2 so ,immanuel1 4 ,the silver turret here mentioned most probably refers to the silver horn1 a highly prized ornament which women wear on their heads4 8,one of the most extraordinary parts of the attire of their females0 7,druses of ,lebanon71 says ,dr4 ,macmichael1 8is a silver horn1 sometimes studded with jewels1 worn on the head in various positions1 distinguishing different conditions4 ,a married woman has it affixed to the right side of the head1 a widow to the left1 and a virgin is pointed out by its being placed on the very crown4 ,over this silver projection the long veil is thrown1 with which they so completely conceal their faces as to rarely have more than one eye 7vide supra1 chap4 iv4 #i71 visible40 ,comp4 also ,bowring1 ,report on ,syria1 p4 #h4 ,but if she be like a door1 c4 ,that is1 accessible 7vide supra1 chap4 iv4 #ab71 she shall be barricaded with cedar planks--be punished by being locked up4 ,the word 8door0 is metaphorically used for open to seduction4 ,the cedar wood is mentioned because it is exceedingly strong1 and increases the idea of strict vigilance4 ,similarly ,immanuel1 1 4 #aj4 ,i am a wall1 c4 ,the ,shulamite now triumphantly responds1 that she had proved impregnable as a wall1 and had now reached womanhood1 and therefore the promised reward was due to her4 1 i4q4 1 ,ezek4 xvi4 #g1 is well explained by ,rashbam1 1 my time for marriage has arrived1 and is an answer to 1 in the preceding verse4 ,then ,i was in his eyes1 c4 ,that is1 in her brother's eyes4 ,he now1 being convinced of his sister's chastity1 gave her the reward of virtue4 ,the suffix in 1 his eyes1 does not refer to ,solomon 7,ewald1 ,hitzig1 ,philippson1 c471 whose name has not been mentioned1 but to the brother 7,ibn ,ezra1 c471 who last spoke4 1 peace1 has no reference to the name 1 but is used in the sense of 1 favour1 and refers to chap4 i4 #f2 comp4 ,gen4 xxxiv4 #g with ver4 #aa4 #aa4 ,solomon had a vineyard1 c4 ,having been obliged1 when demanding her promised reward1 to describe her virtue as an impregnable wall1 the ,shulamite now relates more circumstantially how she had resisted the attempt to gain her affections4 ,solomon had a large vineyard in ,baal-hammon1 which he offered to consign to her if she granted his request2 but the ,shulamite refused his offer1 telling him he might keep his large estate to himself1 for she was quite satisfied with her humble possession4 ,many are the conjectures hazarded as to the locality of ,baal-hammon1 which occurs nowhere else1 and no place is known by this name4 ,it is taken for ,baal-,gad1 or ,heliopolis 7,rosenmller1 ,bib4 ,geog4 ii4 p4 #bec71 for 1 ,hammon1 a place in the tribe of ,asher1 ,josh4 xix4 #bh 7,ewald71 and for or 1 ,belamon or ,balamon1 a place mentioned in the book of ,judith1 viii4 #c1 not far from the plain of ,esdraelon1 ,judith iii4 #i 7,meier1 ,hitzig74 ,it is1 however1 more probable1 according to ,rashi1 that ,baal-hammon was in or near ,jerusalem1 and was called 1 place of the multitude1 because its beauties and charms attracted a multitude of people1 thus presenting a greater temptation for the ,shulamite4 ,the ,vulgate strangely renders 1 vinea fuit pacifico in ea1 quae habet populos4 ,he let out the vineyard1 c4 ,this is intended to show the value of the vineyard4 ,it was so extensive that it was leased out to a number of tenants1 and every one of them paid a thousand shekels annually1 and yet had two hundred shekels left for himself4 1 an indefinite number of keepers or farmers4 each1 vide supra1 ver4 #g4 ,the suffix in 1 his fruit1 refers to 1 vineyard1 which is masculine4 1 silver1 stands for 1 silver shekel3 substantives denoting weight1 measure1 or time1 are frequently omitted4 ,gen4 xx4 #af2 xxxvii4 #bh2 ,acts xix4 #i2 ,gesen4 #abj1 #d1 ,rem4 #b2 ,ewald1 #bhg i4 ,the amount of a shekel is supposed to be about two shillings and sevenpence4 ,the shekel of the sanctuary1 however1 like all the weights and measures of the ,temple1 was computed at double the ordinary4 ,see ,ezek4 xlv4 #ab2 #a ,kings x4 #ag2 comp4 with #b ,chron4 ix4 #af2 ,mishna1 ,shekalim1 ,maaser ,sheni2 ,winer1 ,bib4 ,dict4 s4v4 ,a thousand shekels1 therefore1 would be about one hundred and thirty pounds4 ,remembering that each of these farmers had to pay this sum annually1 and that money in those days had fifteen or twenty1 nay1 according to ,michaelis 7,mos4 ,rech4 #bdc71 fifty times its present value1 we shall be able to judge of the allurement which this ample estate offered4 #ab4 ,i will keep my own vineyard1 c4 ,and yet1 notwithstanding all this1 the ,shulamite prefers to keep her little vineyard1 and be with her beloved shepherd1 rather than unfaithfully give him up for riches and honours4 1 my own vineyard1 the vineyard which belongs to me2 vide supra1 chap4 i4 #f4 lit4 is before me2 it is mine1 and ,i will keep it3 this is obvious from the immediately following 1 thine1 keep thou it4 ,the words are to be taken as an exclamatory phrase1 ,ewald1 #cbi a4 is here used collectively for all the thousands put together1 which come in annually from the farmers2 so 1 the two hundreds4 ,the ,vulgate translates here again the proper 1 mille tui pacifici4 #ac4 ,o thou that dwellest in the gardens1 c4 ,the companions of the shepherd1 who had manifested their joy at the successful arrival of the happy pair 7vide supra1 ver4 #e71 and rejoice that one of their humble occupation has brought such honour upon the whole class1 visit the ,shulamite1 to hear from her own mouth her avowed attachment to her beloved4 ,the shepherd1 therefore1 requests her to gratify this desire4 ,she is no more 1 sitting in the apartments of the king1 vide supra1 chap4 i4 #d1 but has the honourable appellation of 1 dwelling in the gardens4 1 companions1 i4e4 my companions1 fellow-shepherds1 i4 #h4 #ad4 ,haste1 ,o my beloved1 c4 ,the ,shulamite complies with the request4 ,in the presence of all1 she calls the shepherd her beloved1 and tells him always to hasten to her with the speed of the swift-footed gazelle2 vide supra ii4 #i1 #ag4 ,he has no more to cross 8the mountains of separation0 7see ii4 #ag71 for they are united4 ,these rugged mountains have now given place to the much-wished-for aromatic hills1 iv4 #f4 ,,footnotes #a 4 1 4 ,as the phrase 1 polluting the hands1 has recently been quoted by ,dr4 ,davidson 7,the ,text of the ,old ,testament1 c4 p4 #gif71 in direct contrariety to its meaning1 we shall here give an explanation of it4 ,let it be observed1 that in the ,mishna1 whence the above passage is quoted1 the phrase is applied to all the ,holy ,scriptures 7 74 ,the reason of this is given in the ,talmud1 7,sabbath1 #ad a17 where the question is asked1 why ,holy ,writ is reckoned among the eighteen subjects which are decreed as polluting the hands8 ,the answer there given is1 because the ,theruma-food and the ,thorah1 both being regarded as holy1 used to be placed near each other4 ,when it was afterwards discovered that the sacred books were thereby exposed to danger 7damage by mice71 the ,rabbins decreed that they should henceforth be regarded as unclean1 in order to prohibit them from coming in contact with those sacred eatables4 ,hence the decree 1 all ,holy ,scripture pollutes the hands1 which exclusively applies to holy1 i4e4 inspired books4 ,wherever1 therefore1 it is said that a book is 1 polluting the hands1 it affirms that it is canonical2 and when it is said 1 it does not pollute the hands1 it means that the book is not canonical4 ,thus we are told 1 8the ,song of ,songs pollutes the hands because it is inspired40 ,and of the non-canonical 1 8,the book of the ,son of ,sirach1 and all the books written from that time and afterwards1 do not pollute the hands40 #b ,baba ,bathra1 #ad4 #c ,eusebius1 ,hist4 ,eccl4 iv4 #bf4 #d ,for a full elucidation of this verse1 see ,henderson1 8,divine ,inspiration10 pp4 #bai-bbd4 #e ,see ,gesenius1 ,lexicon in voce4 #f ,herodotus1 i4 #aif4 #g lian1 ,v4 ,h4 iv4 #a4 ,strabo1 xvi4 #gde4 #h ,homer1 ,odyss4 viii4 #cah1 c42 ,pausanias1 iii4 #ab1 #b4 #i ,tacitus1 ,germ4 xviii4 #aj ,michaelis1 the ,laws of ,moses1 #he2 ,rosenmller1 ,orient4 i4 p4 #acb1 c42 ,grant's ,nestorians1 p4 #bad2 ,perkins1 ,eight ,years in ,persia1 p4 #bcf4 #aa ,est4 ii4 #c1 #ad1 #ae2 iv4 #d2 ,joseph4 ,ant4 lib4 xv4 c4 #g1 #d4 #ab ,plutarch's ,lives4 ,themistocles4 #ac ,alexander1 ,history of ,women1 ,introd4 p4 vii4 #ad ,lane1 ,arabian ,nights1 ,vol4 ,i4 pp4 #ch1 #ci4 #ae ,euripides1 ,iphi4 in ,aulis4 #af ,ant4 lib4 iv4 c4 #h1 #ae4 #ag ,hilochoth ,eduth1 c4 ix4 #a4 #ah ,this is the date according to ,aristobulus1 which has1 however1 been questioned4 ,see ,frankel1 ,vorstudien zu der ,septuaginta2 ,de ,wette1 ,einleitung1 #dj1 #da2 ,herzog1 ,real-,encyklopdie fr protestantische ,theologie1 art4 ,alexandrinische ,bibelbersetzung2 ,kitto1 ,cyclop4 ,bib4 ,lit41 under ,septuagint4 #ai ,hvernick's ,einleitung ,dritter ,theil1 p4 #dge4 #bj ,ewald1 p4 #cd4 ,dpke1 philologisch-critischer ,commentar zum ,hohenliede1 p4 #cd4 #ba ,vide ,kitto1 ,cyclop4 ,bib4 ,lit41 art4 ,wisdom of ,jesus2 ,de ,wette1 ,einleitung1 #caf4 #bb ,keil1 in ,hvernick's ,einleitung ,dritter ,theil1 p4 #dgf4 #bc ,das ,hohelied ,salomonis1 p4 #bed4 #bd ,vide ,kitto1 ,cyclop4 ,bib4 ,lit41 under1 ,wisdom of ,solomon2 ,de ,wette1 ,einleitung1 #cad4 #be ,rosenmller1 ,scholia1 p4 #bgj1 sqq4 ,delitzsch1 ,das ,hohelied1 p4 #ff4 #bf ,cont4 ,apion4 #a4 #h4 #bg ,kleuker1 ,samlung der ,gedichte ,salomon's1 p4 #ed4 ,hengstenberg1 p4 #bee4 #bh ,vide ,stuart on the ,old ,testament ,canon1 sect4 #ab1 p4 #bde4 ,davidson's ,edit4 ,henderson1 ,divine ,inspiration1 p4 #cdi4 #bi ,succa ad fin4 #cj ,torath ,cohanim4 ,tosiftha ,synhedrin1 c4 #g4 ,aboth di ,r4 ,nathan1 c4 #bg4 ,graetz1 ,geschichte der ,juden1 ,dritter ,band1 p4 #baa4 #ca ,vide ,jost1 ,allgemeine ,geschichte des ,israelitischen ,volkes 7#ahej71 ,zweiter ,band1 pp4 #fc1 #acj1 sqq4 #aec1 ,graetz1 ,geschichte der ,juden1 ,dritter ,band1 p4 #baj4 ,vierter ,band1 pp4 #bdc-bdf1 #dda-ddc1 #ddf1 #dgc4 ,zunz1 ,vortrge1 p4 #eb4 #cb 3 3 4 4 #cc ,daily ,bible ,illustrations1 the ,song of ,songs1 p4 #ddi4 #cd ,einleitung in das ,alte ,testament1 ,zweite ,auflage1 ,erster ,theil1 ,erste ,abtheilung1 #hb1 p4 #dja4 #ce ,the ,hebrew word 1 consisting of two #bj1 and #ej1 caused this explanation4 ,this mode of interpretation is called 1 ,gematria1 1 each letter of the word being taken according to its numerical value and the text interpreted accordingly4 #cf ,this interpretation is derived from reducing the word to its numerical value1 #bb4 ,see note on verse #a4 #cg ,vide supra1 p4 #bf4 #ch ,hieros4 ,berach4 p4 #c4 b4 #ci ,vide supra1 p4 #bf4 #dj ,ibid4 p4 #bh4 #da ,comp4 ,wolfii ,bibl4 ,rabbin4 ,vol4 i4 pp4 #icb-icf2 ,ewald und ,dukes1 ,beitrge zur ,geschichte der ,alten ,auslegung und ,spracherklrung des ,alten ,testamentes1 ,zweites ,bndchen1 p4 #e1 seqq4 ,we must confess that ,dukes' arguments1 here produced against the genuineness of this commentary1 appear inconclusive4 ,such an allegorical exposition is just what might have been expected from ,saadias1 judging from his predilection for ,rabbinisms and allegorising1 which appears in his translation of the ,pentateuch4 ,moreover1 does not necessarily imply commentaries written before ,saadias1 but may refer to the opinions of some of his contemporaries4 ,it is1 however1 probable that the translator of it into ,hebrew has omitted some verbal explanations1 deeming them unnecessary for his purpose4 #db 1 4 1 #dc ,vide ,sachs1 ,religise ,poesie der ,juden in ,spanien1 p4 #bfg4 ,zunz1 die ,synagogale ,poesie des ,mittelalters1 pp4 #fc1 #fd4 #dd ,this refers to the giving of the ,law1 and ,god's speaking face to face4 ,compare the ,chaldee on the verse4 #de ,through receiving the law ,israel was anointed1 i4e41 became wise1 and the fame of their wisdom was diffused abroad4 ,compare ,saadias on the passage4 #df i4e41 ,let the guiding ,pillar allure us in the path of obedience4 #dg i4e41 ,swarthy through the sin of the calf1 comely through the reception of the ,law4 ,compare the ,chaldee4 #dh ,zunz1 ,zeitschrift fr die ,wissenschaft des ,judenthums1 #ahbc1 p4 #bgb1 seqq4 ,jost1 ,allgemeine ,geschichte des ,israelitischen ,volkes1 ,zweiter ,band1 p4 #cgd4 #di ,introduction to the ,commentary4 #ej ,introduction to the ,commentary4 #ea ,commentar zu ,kohelot und dem ,hohen ,liede von ,r4 ,samuel ben ,meier herausgegeben von ,adolph ,jellineck4 ,leipz4 #ahee4 ,this ,commentary has just been published for the first time1 edited by the learned ,adolph ,jellineck1 who constantly enriches the ,hebrew literature by bringing before the public some ancient writings4 #eb ,see ,zunz1 zur ,literatur und ,geschichte1 i4 #gj1 #ga4 #ec ,introduction to the ,commentary4 #ed ,see ,reland1 ,analecta ,rabbinica1 ,vit celeberrimorum ,rabbinorum1 p4 #fi-hj4 ,frst1 ,biblioth4 ,judaica1 i4 p4 #bea-beg4 ,herzog1 ,realencyklopdie1 art4 ,aben ,ezra4 #ee ,introduction to the ,second ,gloss4 #ef ,introduction to the ,first ,gloss4 #eg ,preface to the ,commentary4 #eh 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 #ei 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 4 4 1 1 4 4 4 4 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 4 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 4 4 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 8 1 1 1 1 1 1 0 8 1 1 1 1 4 1 1 4 4 #fj ,de ,rossi1 pp4 #aad-aag4 ,frst1 ,bibl4 ,jud41 vol4 i4 pp4 #hb-hd4 #fa 1 1 1 1 1 1 4 ,from a ,,ms4 in the possession of the ,bodleian4 ,oppenheim ,collection1 ,no4 #bfa4 #fb ,de ,rossi1 pp4 #bid1 #bie4 #fc ,frst1 ,bib4 ,jud4 vol4 i4 p4 #ahg4 #fd ,this commentary is erroneously called ,tamach's1 the euphemic expression 1 i4e4 1 used for the departed1 being mistaken for a proper name4 ,vide ,frst1 ,bib4 ,jud4 vol4 ii4 p4 #bdc4 #fe ,ibid4 vol4 i4 p4 #cad4 #ff ,ibid4 vol4 i4 pp4 #da1 #db4 #fg ,vide ,magnus1 ,das ,hohe ,lied ,salomo's1 p4 #bf4 #fh ,de ,amore dial41 c4 iii4 ,delitzsch im ,literaturblatt des ,orients1 #ahdj1 ,no4 #f1 c4 #fi ,melizat ,jeshurun4 ,vienna1 #ahaf4 #gj ,gottesdienstliche ,vortrge4 ,berlin1 #ahcb1 p4 #ccd4 #ga #ahcd--;,dr4 ,zunz also wrote a valuable introduction to ,rebenstein's ,commentary on the ,song of ,songs 7,berlin1 #ahcd71 in which he gives a catalogue of ,hebrew writers on this book1 existing in ,,ms4 ,i am sorry that all my exertions to obtain it have proved abortive4 #gb ,vierter ,band41 p4 #cfg4 #gc ,israelitische ,bibel1 ,dritter ,theil4 #ahed1 pp4 #ffj1 #ffa4 #gd ,the following is a list of the names of some of the commentators and their works1 selected from a large number of authors who have written upon this book1 and which we could not analyse in our historical sketch4 ,abi-,simra1 7printed1 according to de ,rossi1 at ,constantinople74 ,affendopulo1 7,dod ,mordechai1 c4 #c1 ,vienna1 #ahcj74 ,allemanno1 4 ,almosneno1 7,venice1 #aeig74 ,arepol1 7,ssafet1 #aegi74 ,asulai1 1 and 7,leghorn1 #ahjj47 ,br4 b4 ,naphtali1 7,amsterdam1 #agbe74 ,baruch b4 ,isaac1 7,amsterdam1 #agcj74 ,birs1 7,grodno1 #agig74 ,chiquitilla1 in ,,ms4 ,cohen1 7,venice1 #afeg74 ,eliezer b4 ,judah1 7,lublin1 #afjh74 ,elijah b4 ,salomon-,abraham1 1 in ,,ms4 ,gensburg1 7,hamburg1 #agjh74 ,jaabez1 7in ,frankfurter's ,bible1 ,amsterdam1 #agbd-bg74 ,ibn ,jaehaj 7in the ,amsterdam ,rab4 ,bible1 #agbd74 ,ibn ,jaish1 7,constantinople1 #aegf74 ,jacob b4 ,isaac1 7,berlin1 #agji74 ,jacob b4 ,joel1 7,altona1 #agbg74 ,jacob-,lissa1 7,dyrhenfurt1 #ahae-ai74 ,joseph-,jossel1 7,wandsbeck1 #agbg74 ,kara1 in ,,ms4 ,dav4 ,kimchi1 in ,,ms4 ,landsberger1 7,offenbach1 #agbd74 ,lando1 7,venice1 #afai74 ,libowitzer1 7,korez1 #agia71 ,loanz1 surnamed ,baal ,shem1 7,basle1 #afjf74 ,lw b4 ,joshua1 7,wilmersdorf1 #afgd74 ,saul ,lw1 7,amsterdam1 #aggh74 ,meyer 7,frankfort on the ,main1 #afgi74 ,solomon ,ibn ,melech1 7,amsterdam1 #affa74 ,salomon b4 ,jacob 7,prague1 #afbh74 #ge ,origenes ,selecta in ,psalmos #a4 ,hieronymus ,apologia adversus ,rufinum4 ,see on this subject ,frankel1 ,monatschrift1 #aheb1 p4 #bai1 and ,graetz1 ,geschichte der ,juden1 ,vierter ,band1 p4 #bgi4 #gf ,davidson1 ,introduction to the ,old ,testament1 c41 p4 #gij4 #gg ,comp4 ,hieronymus ad ,pamachium2 ,prefacio in ,paralipomena1 in ,tobiam1 in ,job4 ,to his ingratitude and bitter vituperations against the ,jews1 this people may trace many of their subsequent sufferings from so-called ,christians4 7,com4 ,hiero4 adversus ,rufinum ii41 ,graetz1 ,geschichte der ,juden1 ,vierter ,band1 p4 #dfb47 #gh ,bernardi ,oper4 vol4 ii4 7,paris1 #agai71 p4 #bgf1 et seqq4 #gi 8,ecclesia humilis et abjecta inter hostes saeculi1 et hoc fuit usque ad tempus ,constantini40 #hj ,comment4 in ,cant4 ,canticor4 #ha ,homil4 xxxii4 #hb ,bib4 ,sac41 book vi4 haer4 xiii4 p4 #ffd4 #hc ,an ,exposition upon the ,book of ,canticles4 ,london1 #afbd1 p4 #b4 #hd ,a ,commentary on the ,canticles4 ,amsterdam1 #afdd1 p4 #b4 #he ,annotations upon the ,five ,books of ,moses1 the ,book of the ,psalms1 and the ,song of ,songs 7,london1 #afci71 pp4 #d1 #e4 #hf ,est inter ,salomonem et filiam regis ,aegypti1 interloquentibus etiam choris duobus tum juvenum tum virginum1 qui in proximis thalamo locis excubabant4 ,nuptiarum arcana sub honestis verborum involucris hic latent3 quae etiam causa est1 cur ,hebraei veteres hunc librum legi noluerint nisi a jam conjugio proximis4 ,creditur autem ,salomon1 quo magis perennaret hoc scriptum1 ea arte id composuisse1 ut sine multa distorsione in eo inveniri possent2 quae ,dei amorem adversus populum ,israeliticum exprimerent2 quod et sensit et ostendit ,chaldaeus hic paraphrastes1 nec aliter accepit ,maimonides4 ,ille autem amor typus cum fuerit amoris ,christi erga ecclesiam1 ,christiani ingenia sua ad applicanda ad eam rem hujus carminis verba exercuerunt laudabili studio4 ,nam et ,apostoli ,christi cum ecclesia conjunctionem matrimonio comparaverant4 ,eph4 v4 #cb2 #b ,cor4 ii4 #b2 ,apoc4 vii4 #h4 ,annot4 in ,vet4 ,test4 #hg ,vide ,opera ,cocceii1 ,tom4 viii4 fol4 ,amstel4 ,tom4 ii4 ,synopsis et ,medulla prophet4 ,cantici4 #hh ,a brief ,exposition of the whole book of ,canticles 7,london1 #afdh71 p4 #d4 #hi ,a ,commentary upon the ,book of ,proverbs1 ,ecclesiastes1 and the ,song of ,songs 7,london1 #afej71 pp4 #agd1 #age4 #ij ,comm4 ,apocalypticus in ,canticum ,canticorum1 #afhh4 #ia ,praef4 in ,cant4 ,paris1 #afic4 #ib ,paraphrase and ,annotations on the ,song of ,songs1 in loco4 #ic ,preface to the ,exposition of the ,song of ,solomon4 #id ,clavis ,cantici1 or an ,exposition of the ,song of ,solomon 7,edinburgh1 #agbc71 pp4 #aa1 #ab4 #ie ,exposition1 pp4 #ajc1 #ajf4 #if ,a ,supplement to ,whiston's late ,essay towards restoring the true text of the ,old ,testament 7,london1 #agbc71 pp4 #e1 #g4 #ig ,an ,exposition of the book of ,solomon's ,song1 c4 7,london1 #ahed71 p4 #aj4 #ih ,see ,lectures on the ,sacred ,poetry of the ,hebrews1 ,lect4 xxx42 p4 #cde1 ,gregory's ,translation1 ,third ,edition4 #ii ,preface to the ,song of ,solomon1 newly translated from the original ,hebrew1 with a ,commentary and ,annotations1 ,london1 #agfd4 #ajj ,explanatory ,notes upon the ,old ,testament1 by ,john ,wesley1 7,bristol1 #agfe47 ,vol4 ,,iii4 p4 #aibf4 #aja ,the ,outlines of a new ,commentary on ,solomon's ,song1 ,london1 #agfh2 second edition1 #agge1 pp4 #gd1 #ge1 #ha4 #ajb ,notes to ,bishop ,lowth's ,praelectiones4 #ajc ,das durch eine leichte und ungeknstelte ,erklrung von seinen ,vorwrfen gerettete ,hohelied1 #agga4 #ajd ,vide supra1 pp4 #df1 #ef4 #aje ,critical ,remarks on ,job1 ,proverbs1 ,ecclesiastes1 and ,canticles1 #aggb4 #ajf ,umschreibung des ,hohenliedes1 oder die ,gemeine mit ,christo und den ,engeln im ,grabe1 nebst andern biblischen ,erklrungen4 ,herausgegeben von ,d4 ,conrad ,heinrich ,runge4 ,bremen1 #aggf4 #ajg ,salomon's ,lieder der ,liebe1 c4 ,herder's ,smmtliche ,werke in vierzig ,bnden1 ,dritter ,band1 pp4 #hb1 #hc4 ,stuttgart und ,tbingen1 #aheb4 #ajh ,sammlung der ,gedichte ,salomons1 c4 ,hamm1 #aghj4 #aji ,a poetical ,translation of the ,song of ,solomon1 ,london1 #agha4 #aaj ,solomon's ,song1 translated from the ,hebrew1 by ,bernard ,hodgson1 ,,ll4,d4 ,principal of ,hertford ,college1 ,oxford1 #aghf4 #aaa ,vide supra1 p4 #eh4 #aab ,neueste ,uebersetzung des ,hohen ,liedes1 ,basel1 #aghi2 see ,magnus1 ,comment1 p4 #bf4 #aac ,salomon's verschmhte ,liebe1 oder die belohnte ,treue4 ,leipzig1 #agij4 #aad ,the ,song of ,songs1 a new translation1 with a ,commentary and ,notes4 ,london1 #ahja1 pp4 #ed1 #ee4 #aae ,song of ,songs1 c41 translated from the original ,hebrew1 with ,notes1 critical and explanatory4 ,london1 #ahjc1 ,preface pp4 xii4 xiii4 xiv4 #aaf ,das ,hohelied1 in einer noch unversuchten ,deutung4 ,freyburg1 #ahjc4 #aag ,lied der ,liebe1 das lteste und schnste aus dem ,morgenlande4 ,gttingen1 #ahbj1 second edition1 #ahbh1 pp4 #bj1 #ba4 #aah ,das ,hohelied1 ein ,collectiv-,gesang auf ,serubabel1 ,ezra und ,nehemia1 als die ,wiederhersteller einer ,jdischen ,verfassung in der ,provinz ,juda4 ,erlangen1 #ahbe4 #aai ,das ,hohelied ,salomo's bersetzt mit ,einleitung1 ,anmerkungen1 c4 ,gttingen1 #ahbf4 #abj ,philologisch-critischer ,commentar zum ,hohen ,liede ,salomo's4 ,leipzig1 #ahbi4 #aba ,rosenmller1 ,scholia1 ix4 #b1 p4 #bgj4 #abb ,script4 ,test4 to the ,messiah1 vol4 i4 book i4 chap4 ii4 note ,a2 and ,congregational ,magazine for #ahcg1 p4 #dae4 #abc ,congregational ,magazine for #ahcg and #ahch4 #abd ,for #ahch1 p4 #dga1 et seq4 #abe ,das ,lied der ,lieder oder ,sieg der ,treue4 ,zrich1 #ahdj4 #abf ,kritische ,bearbeitung und ,erklrung des ,hohen ,liedes ,salomo's4 ,halle1 #ahdb4 #abg ,critical ,history and ,defence of the ,old ,testament ,canon1 p4 #cfj1 ed4 ,davidson4 #abh ,a ,new ,translation of the ,proverbs1 ,ecclesiastes1 and the ,canticles4 ,boston1 #ahdf1 p4 #aai4 #abi ,ibid4 p4 #acb4 #acj ,article in the ,biblical ,repository for ,april1 #ahdg1 reprinted in the ,journal of ,sacred ,literature for #aheb1 p4 #cch4 #aca ,hvernick's ,einleitung in das ,alte ,testament4 ,dritter ,theil1 p4 #ejd4 #acb ,das ,hohelied untersucht und ausgelegt von ,franz ,delitzsch4 ,leipzig1 #ahea1 pp4 #ca1 #age4 #acc ,das ,hohe ,lied von ,salomo1 bersetzt und erklrt von ,heinrich ,augustus ,hahn4 ,breslau1 #aheb1 p4 #g4 #acd ,das ,hohe ,lied ,salomonis ausgelegt von ,w4 ,hengstenberg4 ,berlin1 #ahec1 p4 #bci4 #ace ,a ,commentary on the ,song of ,solomon1 by the ,rev4 ,george ,burrowes1 ,professor in ,lafayette ,college1 ,easton1 ,pa4 ,philadelphia1 #ahec1 pp4 #hg-ij4 #acf ,das ,hohe ,lied in deutscher ,uebersetzung1 ,erklrung1 und kritischer ,textausgabe1 von ,ernst ,meier1 ,professor der ,morgenlndischen ,sprachen4 ,tbingen1 #ahed4 #acg ,cantici ,canticorum poetica forma2 dissertatio ,ernesti ,fred4 ,friedrich4 ,knigsberg1 #ahee4 #ach ,das ,hohe ,lied erklrt von ,ferd4 ,hitzig4 #afte ,lieferung des ,kurzgef4 exegetischen ,handbuch's zum ,alten ,testament4 ,leipzig1 #ahee4 #aci ,monatschrift fr ,geschichte und ,wissenschaft des ,judenthums1 herausgegeben vom ,oberrabbiner ,dr4 ,frankel4 ,leipzig1 #ahef1 p4 #bae1 et seq4 #adj ,geschichte der poetischen ,national-,literatur der ,hebrer von ,dr4 ,ernst ,meier4 ,leipzig1 #ahef1 p4 #bae1 et seq4 #ada ,the ,text of the ,old ,testament considered1 c41 by ,samuel ,davidson1 ,d4,d4 ,london1 #ahef1 p4 #hjf4 #adb ,herzog's ,real-,encyklopdie fr protestantische ,theologie und ,kirche4 ,stuttgart1 #ahef1 vol4 vi4 p4 #bbj4 #adc ,stuart1 ,critical ,history and ,defence of the ,old ,testament ,canon1 pp4 #cdb1 #cdc1 ed4 ,davidson4 #add ,song of ,songs1 c41 ,preface1 p4 #ai4 #ade ,an ,article on ,solomon's ,song1 by the ,rev4 ,c4 ,e4 ,stowe1 ,d4,d41 ,professor of ,biblical ,literature1 reprinted in ,kitto's ,journal of ,sacred ,literature1 #aheb1 pp4 #cca1 #ccb4 #adf ,reply to ,dr4 ,pye ,smith1 ,congregational ,magazine for #ahch1 pp4 #adh1 #adi4 #adg ,praef4 in ,canticum ,canticorum1 uvres1 tom4 i4 p4 #dfg1 #dto4 edit4 #adh ,lecture xxxi4 p4 #cej1 third edition4 #adi ,account of the ,manners and ,customs of the ,modern ,egyptians1 vol4 ii4 p4 #bae1 et seqq4 #aej ,the author of the poem4 ,the singer sometimes puts his own name in the place of this4 #aea ,t-,h is a name of the ,arabian prophet4 #aeb ,crishna continues to this hour the darling god of the ,indian women4 ,the sect of ,hindoos1 who adore him with enthusiastic and almost exclusive devotion1 have broached a doctrine which they maintain with eagerness1 and which seems general in those provinces1 that he was distinct from all the ,avatars1 who had only an ansa1 or portion of his divinity2 while ,crishna was the person of ,vishnu himself in a human form4--,sir ,w4 ,jones1 ,asiatic ,researches1 vol4 i4 p4 #bfj4 #aec ,noyes1 ,a ,new ,translation of the ,proverbs1 ,ecclesiastes1 and ,canticles1 pp4 #acj-acb4 #aed ,historia ,crit4 ,vet4 ,test4 l4 i4 c4 iv4 p4 #bh4