Albert Barnes Commentary Song of Solomon 1

The “Song of Songs,” that is, the best or most excellent of songs.

Which is Solomon’s—literally, “to” or “for Solomon,” that is, belonging to Solomon as its author or concerning him as its subject. In a title or inscription, the former interpretation is to be preferred.

The song begins with two stanzas in praise of the king (who is now absent), sung by a chorus of virgins from the royal household. Commentators, both Jewish and Christian, interpret the entire song as being spoken by the Church to the heavenly Bridegroom.

In Song of Solomon 1:2, the phrase Let him kiss me has been regarded by Christian commentators as a prayer of the Church under the old covenant, seeking closer communion with God through the Incarnation. As Gregory wrote, “Every precept of Christ received by the Church is as one of His kisses.” The line, Your love, is better translated as “your tokens of affection,” meaning these endearments are more desired than any other delights.

Regarding Song of Solomon 1:3, a better translation of the opening is, “For fragrance your ointments are good.” This phrase, along with what follows, creates a two-step climax: “Your perfumes are good; your name is the best of all perfumes.” The “ointments” mentioned here are fragrant oils, which were widely used for anointing guests at feasts (Luke 7:46; John 12:3). The line Your name is ointment poured forth suggests that just as fragrant oils become sweeter when they are spread, so the king’s name becomes greater the more widely it is known.

In Song of Solomon 1:4, the statement The king has brought me into his chambers means he has made me a member of his household. This is true for every member of the chorus, not only the bride. The final phrase, the upright love you, is better understood with the marginal reading: “they love you uprightly.” The word “they” refers to the “virgins” mentioned in the previous verse (Song of Solomon 1:3). Compare the use of the same word in Psalms 58:1 and Proverbs 23:31.

The Targumist and other Jewish interpreters understand this section to foreshadow the condition of Israel in the wilderness. In a similar way, some Christian commentators see it as representing the Gentile Church at the time of her first conversion.

I am black, but comely... (Song of Solomon 1:5). The bride is dark-hued, like the tents of Kedar with their black goats’ hair coverings—rough and weather-stained—but beautiful like the rich hangings that adorn the pavilion of Solomon. Kedar was the name of an Arab tribe (Genesis 25:13; Psalms 120:5), and the word itself means “dark” or “black.” It is possible that “tents of Kedar” poetically represent shepherds’ tents in general (Isaiah 60:7).

Look not upon me... (Song of Solomon 1:6). She asks others not to look at her in wonder or scorn because of her dark complexion. It was acquired through forced but honest toil, for the sun hath looked upon me—or, as the original implies, “glared upon me” with its burning eye. The specific Hebrew word for “looked” is found twice in the book of Job (Job 20:9; Job 28:7) and, in the latter case, indicates the piercing glance of a bird of prey.

The verse continues: My mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept. The phrase “my mother’s sons” is a more affectionate designation than “brothers” and implies the most intimate relationship. Their anger was perhaps a form of jealous care for their sister’s safety (compare to Song of Solomon 8:12). By engaging her in rustic labors, they protected her from idleness and temptation, even though it resulted in a temporary loss of her outward beauty. Her “own vineyard” is a figurative expression for herself or her beauty.

The phrase whom my soul loveth (Song of Solomon 1:7) recurs several times and expresses a great intensity of affection. When she asks where he “feeds” his flock, she is asking where he pursues his work as a shepherd; in this way, she speaks figuratively of the Son of David (compare to Song of Solomon 2:16; Song of Solomon 6:3; Psalms 23:1). The word for “rest” means to lie down, a term properly used for the resting of four-footed animals, so “your flock” is easily understood in this context (Psalms 23:2; Jeremiah 50:6). To be as “one that turns aside” means to be like one who goes astray like an outcast.

In Song of Solomon 1:8, the speakers are the chorus, not the king. Their meaning seems to be: If your beloved is indeed a shepherd, then seek him over there among the other shepherds; but if he is a king, you will find him here in his royal dwelling.

Ancient commentators, both Jewish and Christian, have regarded this section and the next (Song of Solomon 1:2–15:7) as expressing the "love of espousals" (Jeremiah 2:2) between the Holy One and His Church.

This love is seen first in the context of the wilderness of the Exodus, and then in the wilderness of the world (Ezekiel 20:35–36).

Song of Solomon 1:9

The verse can be translated: "I compare you, my love, to a mare among Pharaoh's chariots." (The term for "my love" is the feminine form of the word translated as "friend" in Song of Solomon 5:16.) The comparison of the bride to a beautiful horse is remarkably similar to one in the writings of Theocritus. Some have speculated that the Greek poet may have borrowed these thoughts from the Song of Solomon after reading the Septuagint version in Alexandria. If this is true, it would be the first known instance of sacred literature influencing secular literature.

This simile is especially fitting from the lips or pen of Solomon, who was the first to import horses and chariots from Egypt (1 Kings 10:28–29). When applied to the bride, the image conveys the stately and imposing character of her beauty.

Song of Solomon 1:10–11

Rows ... borders — The same Hebrew word is used in both places. It refers to ornaments for the bride's headdress, likely strings of beads or similar decorations that descended along her cheeks.

The introduction of "jewels" and "gold" in Song of Solomon 1:10 damages the meaning and weakens the climax of Song of Solomon 1:11. Verse 11 is spoken by a chorus—hence the use of "we" instead of "I," which is used when the king speaks (Song of Solomon 1:9). The chorus promises the bride ornaments more worthy and fitting than the rustic attire in which she already so charms the king: "We will make you ornaments of gold, with studs of silver."

These "studs" are small silver ornaments proposed to be added to the golden ones , or to replace the strung beads of the bride's necklace.

Song of Solomon 1:12–14

The bride's reply in Song of Solomon 1:12 may be understood to mean, "While the king reclines at the banquet, I anoint him with my costliest perfume; but he himself is an even sweeter fragrance to me" (Song of Solomon 1:13–14). According to Origen's interpretation, the bride portrays herself as anointing the king with her most precious ointments, similar to Mary in John 12:3.

Spikenard — This was a highly esteemed ointment in the ancient world, which retained its Indian name in Hebrew, Greek, and Latin. It is obtained from an Indian plant now called "jatamansi."

Song of Solomon 1:13

This verse can be translated as: "A sachet of myrrh is my beloved to me, resting all night between my breasts."

Song of Solomon 1:14

Camphire — This word is better translated from the Hebrew כפר (kopher), from which the name "cyprus" is likely derived (this is sometimes misspelled as "cypress" in the margins of older Bibles). This was the name by which the plant, called "henna" by the Arabs, was known to the Greeks and Romans. It is still highly valued throughout the East for the fragrance of its flowers and the dye extracted from its leaves. Engedi was famous for its vineyards, and the henna plant may have been cultivated alongside the vines in the same enclosures.