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Thomas Constable · Citado em PreceptAustin
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Constable has a helpful note regarding when in Solomon's life this book was likely written, as he answers the relevant question... How could Solomon, who had 700 wives and 300 concubines (1 Kings 11:3, read the tragic story in 1Kings 11:1-8), be the same faithful lover this book presents? He could be if he became polygamous after the events in this book took place. That seems a more likely explanation than that he was polygamous when these events occurred but just omitted reference to his other loves. Probably he wrote the book before he became polygamous. We do not know how old Solomon was when he married the second time. The history recorded in Kings and Chronicles is not in strict chronological order. The Shulammite was probably not Pharaoh’s daughter (1 Kings 3:1; cf. Song of Sol. 4:8). (Expository Notes) An Outline: Song of Solomon Song 1:1 - Title and authorship Song 1:2-3:5 - Courtship: Sexual desire expressed but restrained (Anticipation) Song 3:6-11 - Procession for the Marriage Song 4:1-5:1 - Marriage consummated: Sexual desires not restrained (Consummation) Song 5:2-8:4 - Maturation in marriage (Celebration) or ("The Honeymoon is Over!") Song 8:5-7 - Conclusion Song 8:8-14 - Epilogue Subtitles for the Song of Solomon: A Simple Love Song Exalting Marital Romance "When A Husband Loves His Wife" "The Blessedness of Conjugal Love"
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Constable writes that "When Solomon originally wrote this book it was a poem about the love of two people, a man and a woman, for each other. Consequently what it reveals about love is applicable to human love. However since God revealed and inspired it as part of Scripture He also intended us to apply it to our spiritual lives, our relationship with God. That is the purpose of every other book of the Bible, and this was God’s purpose in giving us this book as well. In Ephesians, Paul wrote that we should learn about Christ’s love for the church from marriage (Eph 5:32+)." (Expository Notes) Truth for the World - Two great lessons can be learned from the Song of Solomon. First, it teaches us that monogamy (one husband and one wife) is best. This was God’s original plan for marriage (Genesis 2:21-25). It is still God’s plan for marriage today (Matthew 19:3-9). Second, it teaches that sexual love is right in marriage, but sinful outside of it (Hebrews 13:4). The Language of the Song of Solomon Solomon makes repeated use of comparisons (see discussion of terms of comparison - simile and metaphor) to vividly highlight his portrayal of the idyllic love that should exist between a husband and his wife, his beloved. Note the the repetition of like or as (see simile from Latin = something similar) in some 43 verses (out of a total of 117 verses, although some uses are added by the translators of the NASB and are therefore more properly metaphors)! Similes using like are found in - Song 1:3, 1:5, 1:7, 1:9, 1:15, 2:2, 2:3, 2:9, 2:17, 3:6, 4:1, 4:2, 4:3, 4:4, 4:5, 4:11, 5:11, 5:12, 5:13, 5:15, 6:5, 6:6, 6:7, 6:10, 7:1, 7:2, 7:3, 7:4, 7:5, 7:7, 7:8, 7:9, 8:1, 8:6, 8:10, 8:14. Similes using as are found in - Song 5:11, 5:15, 6:4, 6:10, 6:13, 8:6, 8:10. There are also numerous metaphors (figures of speech in which a word or phrase is applied to something that it does not literally denote in order to imply a resemblance) such as Song 5:15 "His legs are pillars of alabaster....", Song 5:16 "His mouth is full of sweetness....", etc. Read though in one sitting specifically looking to discover the metaphors. Suggestion - As you read this love poem meditatively (see Primer on Biblical Meditation), allow the Spirit to teach you so that each time you encounter a simile or metaphor, you ask "What picture is Solomon painting with this simile or metaphor? How can I apply this truth in my marriage?" I can assure you that you will have quite an "adventure" and it cannot help but significantly impact your relationship with your spouse (but have them read it also or even better, set aside some time to read it over and over as a couple.) Your marriage will never be quite the same! God stands behind His promise that the Word which goes forth from His mouth will not return empty without accomplishing that which He desires (see Ge 2:24-25, see a Spirit filled relationship. "Not one word has failed of all His good promise." (1Ki 8:56 speaking of God's word through Moses to Israel, but in principle applicable to all believers. Cp Josh 23:14, Pr 30:5-6) - Ephesians 5:18; 19; 20; 21; 22; 23; 24; 25; 26; 27; 28; 29; 30; 31; 32; 33 [see notes Eph 5:18; 19; 20; 21; 22; 23; 24; 25; 26; 27; 28; 29; 30; 31; 32; 33) and without succeeding in the matter for which He sent it (Isaiah 55:11)! Faithful is He who calls you, and He also will bring it to pass. (1Th 5:24-note) (See related topic Covenant: As It Relates to Marriage) Jensen adds that "the phraseology of the poetry is strictly Oriental, and must be read in that light." (e.g., Chapter 4). (Jensen's Survey of Bible online) Myer Pearlman - Like Hebrew poetry, this Song passes suddenly from speaker to speaker and from scene to scene. The identification is usually by the pronouns used. Song of Solomon like other Hebrew poetry, is characterized by by a literary feature known as parallelism, which is simply the stating and restating of an idea in close context. This may involve repetition of identical phrases or the building of one idea upon another. An example of this technique is seen in Song 1:15... How beautiful you are, my darling, How beautiful you are! Your eyes are like doves. Larry Richards - Debate concerning Song of Songs focuses on two questions: What is this poem really about? and, What is the role of Solomon? Some have been uncomfortable with the erotic elements in this poem, and have sought to “sanctify” them with a typical or allegorical interpretation. Commentators have suggested the poem is actually about the relationship between God, as Lover, and His Old Testament or New Testament people as His beloved. It is best, however, to take the book in its plain sense as love poetry, celebrating the joys of desire and intimacy experienced by a man and woman who become husband and wife. In this view there is nothing vulgar or “unspiritual” in the experience of sex, which God created to deepen the bond of commitment in marriage. The text identifies this love poem as “Solomon’s.” Many characteristics of the Hebrew text suggest an ancient origin, and there is no good reason to doubt that it does date from the 10th century G.p. Still, Solomon’s role is not clear. Some believe that this love poem was not composed by him, but was dedicated to him on the occasion of one of his weddings. However we understand Solomon’s role, Song itself remains one of the world’s most sensitive and beautiful poems; a joyous and moving celebration of married love. KEY IMAGES KEY WORDS Key images in the book include wine, the garden, the kiss, various spices and fruits, and countryside or pastoral metaphors. Key words (based on the NASB 1977 unless otherwise noted) in the Song of Solomon include: beloved (31 uses in 26 verses - Song 1:13; 1:14; 1:16; 2:3; 2:8; 2:9; 2:10; 2:16; 2:17; 4:16; 5:2; 5:4; 5:5; 5:6; 5:8; 5:9; 5:10; 5:16; 6:1; 6:2; 6:3; 7:9; 7:11; 7:13; 8:5; 8:14) beautiful (15 uses in 13 verses - Song 1:8; 1:15; 2:10; 2:13; 4:1; 4:7; 4:10; 5:9; 6:1; 6:4; 6:10; 7:1; 7:6) come (14 times in 9 verses - Song 2:10; 2:13; 4:2; 4:8; 4:16; 5:1; 6:6; 6:13; 7:11) darling (9 uses in 9 verses - Song 1:9; 1:15; 2:2; 2:10; 2:13; 4:1; 4:7; 5:2; 6:4) fair (in KJV) (11 times in 9 verses - Song 1:15; 1:16; 2:10; 2:13; 4:1; 4:7; 4:10; 6:10; 7:6) find (4 uses - Song 3:1; 3:2; 5:6; 5:8) fruit (4 uses in 4 verses - Song 2:3; 7:8; 8:11; 8:12), king (5 times in 5 verses - Song 1:4; 1:12; 3:9; 3:11; 7:5) love (28 times in 25 verses {in every chapter!} - Song 1:2; 1:3; 1:4; 1:5; 1:7; 1:10; 2:4; 2:5; 2:7; 2:14; 3:1; 3:2; 3:3; 3:4; 3:5; 4:3; 4:10; 5:1; 5:8; 6:4; 7:6; 7:12; 8:4; 8:6; 8:7) Solomon (5 times in 5 verses - Song 1:5; 3:9; 3:11; 8:11; 8:12) vineyard (9 times in 6 verses - Song 1:6; 1:14; 2:15; 7:12; 8:11; 8:12) wine (7 times in 7 verses - Song 1:2; 1:4; 4:10; 5:1; 7:2; 7:9; 8:2) The Setting Song of Solomon Harry Ironside gives the following background based on the book (see book)... King Solomon had a vineyard in the hill country of Ephraim, about 50 miles N of Jerusalem, Song 8:11. He let it out to keepers, Song 8:11, consisting of a mother, two sons, Song 1:6, and two daughters—the Shulamite, Song 6:13, and a little sister, Song 8:8. The Shulamite was "the Cinderella" of the family, Song 1:5, naturally beautiful but unnoticed. Her brothers were likely half brothers, Song 1:6. They made her work very hard tending the vineyards, so that she had little opportunity to care for her personal appearance, Song 1:6. She pruned the vines and set traps for the little foxes, Song 2:15. She also kept the flocks, Song 1:8. Being out in the open so much, she became sunburned, Song 1:5. One day a handsome stranger came to the vineyard. It was Solomon disguised. He showed an interest in her, and she became embarrassed concerning her personal appearance, Song 1:6. She took him for a shepherd and asked about his flocks, Song 1:7. He answered evasively, Song 1:8, but also spoke loving words to her, 1:8-10, and promised rich gifts for the future, Song 1:11. He won her heart and left with the promise that some day he would return. She dreamed of him at night and sometimes thought he was near, Song 3:1. Finally he did return in all his kingly splendor to make her his bride, Song 3:6-7.3 (H. A. Ironside, Addresses on the Song of Solomon, pp. 17-21, summarized in the article entitled "Sanctity of Wedded Love" in Unger's Bible Handbook - BORROW, pp. 299-300) Sidlow Baxter describes the Song of Solomon as... A lyric poem in dialogue form, the book describes Solomon’s love for a Shulammite girl. The king comes in disguise to her family’s vineyard, wins her heart, and ultimately makes her his bride. (Explore the Book) Hebrew Language & Song of Solomon Dennis Kinlaw has a helpful discussion of language issues which contribute to the difficulty modern commentators have in discerning the meaning of this love poem... Several problems confront the modern reader in the study of the text of the Song of Songs that make certainty in understanding and interpretation difficult to achieve. One of these is the matter of language. Ancient Hebrew is a primitive tongue. The syntax is quite different from ours. Verb tenses are different so that time sequences are more difficult to establish. Word order can raise problems. There is an economy of language that can be tantalizing. And then it is poetry. There is a succinctness of style that makes it almost telegraphic. The result is that the text is often more suggestive than delineative, more impressionistic than really pictorial. Much is left to the imagination of the reader rather than spelled out for the curious modern, who wants to know the specific meaning of every detail. Added to the preceding problems is that of vocabulary. In 117 verses there is an amazing number of rare words, words that occur only in the Song of Songs, many only once there, or else that occur only a handful of times in all the rest of the corpus of the OT. There are about 470 different words in the whole Song. Some 50 of these are hapax legomena. Since use is a major way of determining the meaning of words in another language, the result is that we are often uncertain as to the exact meaning of key terms and phrases. Another problem is that the imagery used was a normal part of a culture that is very different from our modern world. The scene is pastoral and Middle Eastern. So the references to nature, birds, animals, spices, perfumes, jewelry, and places are not the normal vocabulary of the modern love story. The associations that an ancient culture gives to its vocabulary are difficult, if not impossible, for us to recapture. The list of plants and animals is illustrative: figs, apples, lilies, pomegranates, raisins, wheat, brambles, nuts, cedar, palms, vines, doves, ravens, ewes, sheep, fawns, gazelles, goats, lions, and leopards. So is that of spices and perfumes: oils, saffron, myrrh, nard, cinnamon, henna, frankincense, and aloes. The place names carried connotations some of which are undoubtedly lost to us: Jerusalem, Damascus, Tirzah, En Gedi, Carmel, Sharon, Gilead, Senir, and Heshbon. We understand the overtones of "bedroom," but when the lover refers to "the clefts of the rock, in the hiding places on the mountainside" (Song 2:14), to gardens, parks, fields, orchards, vineyards, or valleys, we are aware that the places of rendezvous were different for lovers in that world than in ours. The terms of endearment cause us problems. The metaphors used are often alien. When the lover likens his beloved to a mare in the chariot of Pharaoh (Song 1:9), we are surprised. "Darling among the maidens" (Song 2:2) or even "dove" (Song 2:14; 5:2; 6:9) is understandable, or "a rose of Sharon" (Song 2:1). "A garden locked up" (Song 4:12), "a sealed fountain" (Song 4:12), "a wall" (Song 8:9, 10), "a door" (Song 8:9), "beautiful … as Tirzah" (Song 6:4), and "lovely as Jerusalem" (Song 6:4) are not our normal metaphors of love. Nor are our heroine's references to her lover as "an apple tree" (Song 2:3), "a gazelle" (Song 2:9, 17), "a young stag" (Song 2:9, 17), or "a cluster of henna" (Song 1:14). To further complicate matters, it is not always certain who is speaking. One of the most difficult tasks is to determine who the speaker is in each verse. It is not even completely clear as to how many speakers there are. Our best clues are grammatical. Fortunately, pronominal references in Hebrew commonly reflect gender and number. In some cases, however, the masculine and the feminine forms are the same. (Expositor's Bible Commentary or see The Expositor's Bible Commentary - Abridged Edition) TODAY IN THE WORD: King Edward VIII of England shocked the world when he abdicated from the throne in order to marry the divorced American socialite Wallis Warfield Simpson. Some years later he gave marital advice to a group of his close friends about how to stay on good terms with one’s spouse. “Of course, I do have a slight advantage over the rest of you,” he admitted. “It does help in a pinch to be able to remind your bride that you gave up a throne for her.” Believers also have a vivid reminder of what it cost Jesus Christ to make the church His bride. He did not give up His throne forever, but He did lay aside the prerogatives of divinity and took upon Himself a human nature (Phil 2:5; 2:6; 2:7; 2:8-notes Ph 2:5; 6; 7; 8). Being fully human and fully God, He submitted to a brutal death on the cross in order to purify the church and present it to Himself as a spotless bride (Titus 2:14-note). In many ways, this is also the drama played out in the biblical book Song of Songs, also called the Song of Solomon. One of the most mysterious and controversial books of the Bible, its message has something to say about both human marriage and the divine love God has for His church. (Ed note: This comment highlights the caution needed in reading commentaries on the Song. The diligent Berean must remember that God spoke literal words through the human author Solomon and these words have one specific meaning, but they can have a number of valid applications, which is how I would categorize the comments regarding God/Christ and the Church or Christ's Bride. Application of the truth in the Song is important but must still represent a valid reflection of God's literal words!) Its frank description of the delights of human love has caused some people to wonder why it was included in the Bible. However, the Jewish writings known as the Mishnah quote the second-century Jewish rabbi Aquiba as saying, “All the ages are not worth the day on which the Song of Songs was given to Israel; for all the Writings are holy, but the Song of Songs is the Holy of Holies.” THOUGHT: Do you know a couple who reflect the biblical picture of a loving relationship? Ask them to tell you their story. How did they meet? What was it like to fall in love? What kinds of challenges have they had to overcome in order to keep their love for one another strong? O happy love! - Where love like this is found! O heart-felt raptures! bliss beyond compare! I've paced much this weary, mortal round, And sage experience bids me this declare "If Heaven a draught of heavenly pleasure spare, One cordial in this melancholy vale, 'Tis when a youthful, loving, modest pair, In either's arms breathe out the tender tale, Beneath the milk-white thorn that scents the evening gale." Robert Burns in "The Cotter's Saturday Night." SELECT RESOURCES Song of Solomon See also main resource page for Song of Solomon Adam
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Constable - Expository Notes Gene Getz short videos (3-12 minutes) - Song of Songs 1:1-4- Intimate Love Song of Songs 1:4-17 - Intimate Conversations Horizon Community Church 28 Page Study Guide - very interesting Net Bible Notes Song of Solomon 1 Commentary Notes Ellicott's Commentary - Song of Solomon 1 Commentary David Guzik Song of Solomon 1 Commentary H A Ironside Song of Solomon 1 Commentary Keil and Delitzsch - not always literal Song of Solomon 1 Commentary Steve Kreloff - Messianic Jewish Pastor Expository Series on Song of Solomon. Literal approach. Practical Application. Although this is only available in Mp3, if you are interested in a serious study of the Song of Solomon, this 16 message series (plus 2 other messages related to "Biblical Marriage") is highly recommended. If you listen to nothing else, take 46 minutes to listen to Pastor Kreloff's well reasoned analysis in his introduction. Introduction to the Song of Solomon Song of Solomon 1:2-3a - The Wedding Day (Pt 1) Song of Solomon 1:3b-8 The Wedding Day (Pt 2) Song of Solomon 1:9-14 Words of Praise at the Wedding Banquet Song of Solomon 1:15-2:7 The Wedding Night Lange - Comments by verse at top of page literal. Doctrinal section at bottom is allegorical. Song 1 Commentary Tommy Nelson Love Song - A Study in the Song of Solomon Mp3's The Art of Attraction Song of Solomon 1:1-2:7 Douglas O'Donnell Invitation to Song of Solomon Purpose Key Verse Outline Rejoicing in Love (1:1–4) Behold, You Are Beautiful (1:5–2:7) Reformation Study Bible Notes Song 1:1, Song 1:2–4, Song 1:4, Song 1:5–6, Song 1:8, Song 1:9, Song 1:11, Song 1:14, Grant Richison - Theology of Sex - Recommended Rob Salvato Sermon Notes Song of Solomon 1:5-2:7 Third Millennium - relatively detailed comments The Title - Song of Solomon 1:1 Mutual Praise and Longing - Song of Solomon 1:2-2:17 The Young Woman - Song of Solomon 1:2-4a The Friends - Song of Solomon 1:4b The Young Woman - Song of Solomon 1:4-7 The Friends - Song of Solomon 1:8 The Young Man - Song of Solomon 1:9-10 The Friends - Song of Solomon 1:11 The Young Woman - Song of Solomon 1:12-14 The Young Man - Song of Solomon 1:15 The Young Woman - Song of Solomon 1:16 The Young Man - Song of Solomon 1:17 Bob
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Constable has a helpful note - Here Solomon reassured his love. Stallions, not mares, pulled chariots. A mare among the best of Pharaoh’s stallions would have been desirable to every one of them. “A passage from Egyptian literature demonstrates that mares were sometimes set loose in battle to allure and distract the pharaoh’s chariot-harnessed stallions.” (Parsons) Solomon meant his love was a woman whom all the best men of his court would have pursued. “This is the ultimate in sex appeal!” (Carr) Solomon’s praise would have bolstered his beloved’s confidence that he loved her. This encouragement is often necessary and is always appropriate in such a relationship. “We have forgotten what a thing of beauty a horse can be when compared to other animals. We are also unaware what valuable creatures they were in the ancient world. They were beautiful in themselves, and the ancient royal courts insisted on brilliantly caparisoning [adorning with rich trappings] the ones that pulled the king’s chariot. The beloved’s jewelry, earrings, and necklaces make him think of such.” (Kinlaw) “Such a comparison was not at all unusual in ancient literature. Theocritus, for example, compared ‘the rose complexioned Helen’ to a ‘Thessalian steed.’ For Solomon the horse was more a cherished companion than a beast of burden. His praise of Shulamith recognized her beauty and her graceful movements.” (Patterson) (Expository Notes) Temper Longman - So what does a reference to a mare among Pharaoh’s chariots signify? Modern commentators (see Pope 1978:336–341) understand the metaphor to be built on an ancient military defensive strategy. As chariots attacked, the defenders would let a mare loose, and the hope was that the charging stallions would be distracted and thrown into confusion. The metaphor, as applied to the woman, implies that her beauty is overwhelming and distracting. She drives him crazy with love. In the next verse, he comments further on her beauty, framed as it is by jewelry; and then, finally, in Song 1:11, he makes known his intention to honor her with precious earrings, further enhancing her beauty. (See Job, Ecclesiastes, Song of Songs - Page 348) Bob