This is the division, which is in the main most followed, especially by the best critics. But, besides this, several others have been proposed; and the reader, who wishes to enter more particularly into the subject, may consult Bishop Bossuet, Calmet, and Bishop Lowth. For my own part I doubt the propriety of this technical arrangement, and do not think that any thing of the kind was intended by the author. The division is not obvious; and therefore, in my apprehension, not natural. Of Dr. Good's division I shall speak below.
The dramatis personae have been marked by some of the ancient interpreters, and the different portions of the whole Song appointed to several persons who are specified; and this division served for the basis of a commentary. The most regular division of this kind with which I have met is in a MS. of my own; the Bible which I have often quoted in my comment.
This, attributed by some to Wiclif, and by others to an older translator, I have carefully transcribed, with all the distinction of parts and speeches. The translation is very simple; and in many cases is much more faithful to the meaning of the Hebrew text, though in the main taken from the Vulgate, than our own version. It is a great curiosity, and certainly was never before printed; and is a fine specimen of our mother tongue as spoken in these countries in M.CCCLX., which may be about the date of this translation. On the common mode of interpretation I venture to assert that my readers will understand this Song ten times better from this translation and its rubricks, than they have ever done from all the forms in which it has been presented to them, to the present time. For this addition, I anticipate the thanks of every intelligent reader. The indications of the speakers, printed here in black letter, are all rubrick, in the beautiful original. I have added a short glossary on some of the more difficult or obsolete words, which will assist the less experienced reader, under whose notice such remote specimens of his own tongue seldom fall.
Between twenty and thirty years ago I received from India a part of the Gitagovinda, or Songs of Jayadeva. This poet, the finest lyric poet of India, flourished before the Christian era; and the poem above, which makes the tenth book of the Bhagavet, was written professedly to celebrate the loves of Chrishna and Radha, or the reciprocal attraction between the Divine goodness and the human soul. The author leaves us in no doubt concerning the design of this little pastoral drama; for in the conclusion he thus speaks: "Whatever is delightful in the modes of music, whatever is Divine in Meditations on Vishnu, whatever is exquisite in the sweet art of love, whatever is graceful in the fine strains of poetry; all that, let the happy and wise learn from the Songs of Jayadeva, whose soul is united with the foot of Narayan." Vishnu and Narayan are epithets of Christina, or the supreme incarnated god of the Hindoos. I found the general phraseology of this work, and its imagery as well as its subject, to correspond so much with those of the Song of Solomon, that in the short notes which I wrote on this book in 1798, I proposed the illustration of many of its passages from the Gitagovinda; and was pleased to find, several years after, that my view of the subject had been confirmed by that encyclopedia of learning and science, Dr. Mason Good, who in his translation of the Song of Songs, with critical notes, published 1803, 8vo., has illustrated many passages from the Gitagovinda.
After having made a selection from this ancient poet for the illustration of the Song of Solomon, I changed in some measure my purpose, and determined to give the whole work, and leave it to my readers to apply those passages which they might think best calculated to throw light upon a book which professedly has the wisest of men for its author, and according to the opinion of many, the most important doctrines of the Christian religion for its subject. I have now followed the metrical version which I received from India, but rather the prose translation of Sir William Jones; dividing it into parts and verses, after the model of the metrical version above mentioned; and adding verbal interpretations of the principal proper names and difficult terms which are contained in the work.
Having been long convinced that the Chaldee Taryum is at once the oldest and most valuable comment upon this book, I have also added this. And here I might say that I have not only followed my own judgment, but that also of a very learned divine, Dr. John Gill, who, having preached one hundred and twenty-two sermons on the Song of Solomon, to the Baptist congregation at Horsleydown, near London, embodied them all in what he calls "An Exposition" of this book; to which he added a translation of the Targum, with short explanatory notes, folio, 1728. This was, however, suppressed in all the later editions of this exposition; but why, I cannot tell. This piece I give to my readers, and for the same reasons alleged by this very learned and excellent man himself: - "At the end of this exposition I have given," says he, "a version of the Targum or Chaldee paraphrase upon the whole book, with some notes thereon, induced hereunto by the following reasons: "First, to gratify the curiosity of some who, observing frequent mention and use made of it in my exposition, might be desirous of perusing the whole. "Secondly, for the profitableness thereof. Our learned countryman, Mr. Broughton, says, this paraphrase is worth our study both for delight and profit. It expounds several passages of Scripture, and some in the New Testament, which I have directed to in my notes upon it; and I am persuaded that the writings of the Jews, the ancient Jews especially, would give us much light into the phraseology and sense of abundance of texts in the New Testament."
It is certain that this paraphrase does very often direct us, or at least confirm us, as to the persons speaking in this Song, to know which is of very great use in the explication of it. I shall add another reason: I believe the Song of Solomon refers more to the Jewish than to the Christian Church, and I think the Targumist has made a more rational use of it than any of his successors.
I have thus places within the reach of all my readers Three especial helps towards a good understanding of this book:
1. The ancient English translation, with its curious dramatis personae
2. The Gitagovinda, a most curious poem of the spiritual and allegorical kind.
3. The Chaldee Targam, the oldest comment on this Song. And I add my prayer, May God guide the reader into all truth, through Christ Jesus! Amen.
On this part of the subject it would be almost criminal not to mention, still more particularly, Dr. Mason Good's translation and notes on the Song of Songs. He has done much to elucidate its phraseology, and his notes are a treasury of critical learning. He considers the book to be a collection of Sacred Idyls, twelve in number; and his division is as follows:
Idyl I Royal Bride [Sol 1:2], [Sol 1:3], [Sol 1:4] Attendant Virgins Part of the fourth verse, beginning, "We will exult." Royal Bride [Sol 1:5], [Sol 1:6], [Sol 1:7] Attendant Virgins [Sol 1:8] Idyl II King Solomon [Sol 1:9], [Sol 1:10], [Sol 1:11] Royal Bride [Sol 1:12], [Sol 1:13], [Sol 1:14] King Solomon [Sol 1:15] Royal Bride [Sol 1:16], [Sol 1:17], [Sol 2:1] King Solomon [Sol 2:2] Royal Bride [Sol 2:3], [Sol 2:4], [Sol 2:5], [Sol 2:6], [Sol 2:7] Idyl III Royal Bride [Sol 2:8], [Sol 2:9], [Sol 2:10], [Sol 2:11], [Sol 2:12], [Sol 2:13], [Sol 2:14], [Sol 2:15], [Sol 2:16], [Sol 2:17] Idyl IV Royal Bride [Sol 3:1], [Sol 3:2], [Sol 3:3], [Sol 3:4], [Sol 3:5] Idyl VScene, a Chiosk or Pavilion Attendant Virgins [Sol 3:6] Other Virgins [Sol 3:7], [Sol 3:8], [Sol 3:9], [Sol 3:10] Royal Bride [Sol 3:11] King Solomon [Sol 4:1], [Sol 4:2], [Sol 4:3], [Sol 4:4], [Sol 4:5], [Sol 4:6], [Sol 4:7] Idyl VI King Solomon [Sol 4:8], [Sol 4:9], [Sol 4:10], [Sol 4:11], [Sol 4:12], [Sol 4:13], [Sol 4:14], [Sol 4:15] Royal Bride [Sol 4:16] King Solomon [Sol 5:1] Royal Bride Part of the first verse, beginning, "Eat, O my friends." Idyl VII Royal Bride [Sol 5:2], [Sol 5:3], [Sol 5:4], [Sol 5:5], [Sol 5:6], [Sol 5:7], [Sol 5:8] Virgins [Sol 5:9] Royal Bride [Sol 5:10], [Sol 5:11], [Sol 5:12], [Sol 5:13], [Sol 5:14], [Sol 5:15], [Sol 5:16] Virgins [Sol 6:1] Royal Bride [Sol 6:2], [Sol 6:3] King Solomon [Sol 6:4], [Sol 6:5], [Sol 6:6], [Sol 6:7], [Sol 6:8], [Sol 6:9], [Sol 6:10] Idyl VIII Royal Bride [Sol 6:11], [Sol 6:12] Virgins [Sol 6:13] Royal Bride Part of the thirteenth verse, beginning, "What do you expect?" Virgins Latter part of the thirteenth verse, beginning "Fortitude." Idyl IX Virgins [Sol 7:1], [Sol 7:2], [Sol 7:3], [Sol 7:4], [Sol 7:5] King Solomon [Sol 7:6], [Sol 7:7], [Sol 7:8], [Sol 7:9] Idyl X Royal Bride [Sol 7:10], [Sol 7:11], [Sol 7:12], [Sol 7:13], [Sol 8:1], [Sol 8:2], [Sol 8:3], [Sol 8:4] Idyl XI Virgins [Sol 8:5] King Solomon Part of the fifth verse, beginning, "I excited thee." Royal Bride [Sol 8:6] King Solomon [Sol 8:7] Idyl XII Royal Bride [Sol 8:8] King Solomon [Sol 8:9] Royal Bride [Sol 8:10], [Sol 8:11], [Sol 8:12] King Solomon [Sol 8:13] Royal Bride [Sol 8:14] There have been various opinions on this division; and many will still think that much remains yet to be done. Dr. Good considers it a spiritual allegory; but he does not attempt a spiritual application of any part of it. This perhaps is no mean proof of his good sense and judgment. I have acted in the same way, though not so convinced of its spirituality as Dr. Good appears to be. If I took it up in this way, I should explain it according to my own creed, as others have done according to theirs; and could I lay it down as a maxim, that it is to be spiritually interpreted in reference to the Christian Revelation, I might soon show my reader that it points out the infinite love of God to every human soul, in the incarnation of Christ; the means he uses to bring all mankind to an acquaintance with himself; the redemption of true believers from all unrighteousness, through the inspiration of God's Holy Spirit; their consequent holy life, and godly conversation; the calling of the Gentiles; the restoration of the Jews; and the final judgment! And my comment on this plan would have just as solid a foundation as those of my predecessors, from Origen to the present day.
To conclude: I advise all young ministers to avoid preaching on Solomon's Song. If they take a text out of it, to proclaim salvation to lost sinners, thev must borrow their doctrines from other portions of Scripture, where all is plain and pointed. And why then leave such, and go out of their way to find allegorical meanings, taking a whole book by storm, and leaving the word of God to serve tables?
It is curious to see the manner in which many preachers and commentators attempt to expound this book. They first assume that the book refers to Christ and his Church; his union with human nature; his adoption of the Gentiles; and his everlasting love to elect souls, gathered out of both people; then take the words bride, bridegroom, spouse, love, watchmen, shepherds, tents, door, lock, etc., etc., and, finding some words either similar or parallel, in other parts of the sacred writings, which have there an allegorical meaning, contend that those here are to be similarly understood; and what is spoken of those apply to these; and thus, in fact, are explaining other passages of Scripture in their own way, while professing to explain the Song of Solomon! What eminent talents, precious time, great pains, and industry, have been wasted in this way! One eminent scholar preaches to his congregation one hundred and twenty-two sermons upon the Song of Solomon, while all this time the evangelists and apostles have been comparatively forgotten; except only as they are referred to in illustration of the particular creed which such writers and preachers found on this book. How can they account to God for so much time spent on a tract which requires all their ingenuity and skill to make edifying, even on their own plan; a text of which they are not permitted to allege, in controversy, to prove the truth of any disputed doctrine? This, however, is not the fault of any particular class of ministers exclusively; several of all classes, though of some more than of others, have been found, less or more, laboring at this thriftless craft. Some, having preached on it during the whole of their ministry, have carried it, in a certain way, beyond the grave. An aged minister once told me, in a very solemn manner, that as God had been exceedingly merciful to him in saving his soul, and putting him into the ministry, thus accounting him faithful, he hoped that, when called to the Church above, if any funeral sermon were preached for him, it should be from Song of Solomon, [Sol 1:8] : "Go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents." That he could have applied these words to his own state, and the use which should be made of his life and death, I have no doubt; but who, from this text, would have chosen to pronounce the funeral oration?
I repeat it, and I wish to be heard by young ministers in particular, take the plainest texts when you attempt to convince men of sin, and build up believers on their most holy faith; and thus show rather your love for their souls than your dexterity in finding out spiritual meanings for obscure passages, on the true signification of which few, either among the learned or pious, are agreed.
I now, according to my promise, lay before my readers a transcript from my own MS. Bible, which is most probably the first translation of this Song that was ever made into the English language. I have added, for the sake of reference, the figures for the present division into verses, in the margin: these are not in the MS. The dramatic personae, here in black letter, are in red in the MS. The orthography is scrupulously followed.
The bride's love to her spouse, [Sol 1:1-5]. She conffieuses her unworthiness; desires to be directed to the flock, [Sol 1:6], [Sol 1:7]; and she is directed to the shepherds' tents, [Sol 1:8]. The bridegroom describes his bride, and shows how he will provide for her, and how comfortably they are accommodated, [Sol 1:9-17].
Verse 1
The song of songs - A song of peculiar excellence. See the Introduction. The rabbins consider this superior to all songs. Ten songs, says the Tarpon, have been sung; but this excels them all.
1. The first was sung by Adam when his sin was pardoned.
2. The second was sung by Moses and the Israelites at the Red Sea.
3. The third was sung by the Israelites when they drank of the rock in the wilderness.
4. The fourth was sung by Moses when summoned to depart from this world.
5. The fifth was sung by Joshua when the sun and moon stood still.
6. The sixth was sung by Deborah and Barak after the defeat of Sisera.
7. The seventh was sung by Hannah when the Lord promised her a son.
8. The eighth was sung by David for all the mercies given him by God.
9. The ninth is the present, sung in the spirit of prophecy by Solomon.
10. The tenth is that which shall be sung by the children of Israel when restored from their captivities. See the Targum.
Verse 2
Let him kiss me, etc. - She speaks of the bridegroom in the third person, to testify her own modesty, and to show him the greater respect.
Thy love is better than wine - The versions in general translate דדיך dodeyca, thy breasts; and they are said to represent, spiritually, the Old and New Testaments.
Verse 3
Thy name is as ointment poured forth - Ointments and perfumes were, and still are, in great request among the Asiatics. They occur constantly in their entertainments. Thy name is as refreshing to my heart, as the best perfumes diffused through a chamber are to the senses of the guests.
Therefore do the virgins love thee - She means herself; but uses this periphrasis through modesty.
Verse 4
Draw me - Let me have the full assurance of thy affection.
We will run after thee - Speaking in the plural through modesty, while still herself is meant.
The king hath brought me - My spouse is a potentate, a mighty king, no ordinary person.
Into his chambers - He has favored me with his utmost confidence.
The upright love thee - The most perfect and accomplished find thee worthy of their highest esteem.
Verse 5
I am black, but comely - This is literally true of many of the Asiatic women; though black or brown, they are exquisitely beautiful. Many of the Egyptian women are still fine; but their complexion is much inferior to that of the Palestine females. Though black or swarthy in my complexion, yet am I comely - well proportioned in every part.
As the tents of Kedar - I am tawny, like the tents of the Arabians, and like the pavilions of Solomon, probably covered by a kind of tanned cloth. The daughters of Jerusalem are said to represent the synagogue; the bride, the Church of Christ. It is easy to find spiritual meanings: every creed will furnish them.