Ecclesiastes 12:14

Work. Or, “deed.” Words as well as deeds will be judged (Matt. 12:36, 37). But God requires even more — in his very thoughts man is to be obedient (see 2 Cor. 10:5; see on Matt. 5:22, 28; etc.).

Every secret thing. Men may think to conceal their words and deeds from other men, but “all things are naked and opened unto the eyes of him with whom we have to do” (Heb. 4:13). Even the thoughts of our hearts are subject to His scrutiny (1 Sam. 16:7; Ps. 7:9; Jer. 17:10; cf. Acts 1:24; Heb. 4:12). God reads the secret motives of our hearts; He knows how much of the light of truth has penetrated the darkness of our hearts, and for every ray He will hold us accountable (see Rom. 2:16; 1 Cor. 4:5). In the great day of final reckoning it is those who have done the will of God who will enter the kingdom (Matt. 7:21-27). To profess allegiance to God and at the same time disobey even one requirement His wisdom and love may lay upon us is to deny the reality of that allegiance (see John 15:10; 1 John 2:3-6). To do less is to worship God in vain (see Mark 7:7-9), for in that great day every man will be rewarded “according to his works” (Matt. 16:27 cf. Rev. 22:12).

=== 22 Song of Solomon 01-08.txt ===

Song of Solomon 1:1

The song of songs. The expression implies that this song is of peculiar excellence. The Jews considered the Song of Solomon the most excellent of all Bible songs. The original title presumably compared the song with the other 1,004 composed by Solomon (1 Kings 4:32).

Song of Solomon 1:2

Let him kiss me. The speaker is evidently the Shulamite maid. Her speech continues to the end of verse 7, except for interruptions by the ladies of the court indicated by the “we” of verse 4.

Thy love. The change in person from the third in line 1 to the second here is common in Hebrew poetry. The word translated “love” is in the plural, indicating the many attentions and manifestations of love.

Wine. Hebrew yqyin, the juice of the grape (see Gen. 9:21; 1 Sam. 1:14; Isa. 5:11; etc.).

Song of Solomon 1:3

Ointment poured forth. Among the Orientals perfume and ointment were very precious. For Solomon’s bride the name of her beloved meant more to her than any perfume, however sweet.

Virgins. Hebrew ‘alamoth, “young women” (see on Isa. 7:14). Solomon’s bride is probably thinking of herself, though in modesty she does not definitely name herself. She says only that Solomon is the kind of man that a young woman like herself would love.

Song of Solomon 1:4

Draw. Hebrew mashak, here “to draw in love” (see Jer. 31:3; Hosea 11:4).

We will run. This address is probably by the bride’s attendants.

Into his chambers. Some see in verses 2-4 an allusion to a bridal procession and in this phrase a description of the entry into the palace.

We will be glad. Presumably the bride’s attendants speak again.

The upright love thee. Or, “they love thee uprightly.” These could be words of approval spoken by the bride, who believes that all should feel kindly affection toward a man as charming as her beloved. She feels that all will approve her decision to marry Solomon.

Song of Solomon 1:5

I am black. She probably means no more than that she is dark complexioned.

Kedar. Nomadic tribes of Ishmael (Gen. 25:13) inhabiting the Arabian deserts (see Isa. 21:16; Isa. 42:11). Bedouins usually lived in tents made of black goat’s hair.

Song of Solomon 1:6

Looked upon me. This is evidence that her blackness was due to the sun rather than to her race. The LXX here reads, “the sun has looked unfavorably upon me.”

My mother’s children. It seems that the bride’s older brothers had left their little sister to take care of the vineyards, thus causing her to become sunburned.

Mine own vineyard. That is, her own personal beauty (see ch. 8:12). Her brothers had not allowed her the leisure or the opportunity to give attention to her appearance.

Song of Solomon 1:7

Thy flock. This verse presents a difficulty in that it represents the lover as a shepherd, which Solomon, of course, was not. It may be that the bride, in poetic fancy, thinks of him as the companion of her simple country life. Some have suggested that Solomon disguised himself as a shepherd when he came to her home to court her.

Rest at noon. In hot countries the shepherds seek a place where they can retire for shelter both for themselves and their flocks during the burning heat of the noon-day sun.

One that turneth aside. Hebrew ‘otyah, literally, “one that is veiled.” If two of the Hebrew consonants are transposed, the reading, “one who wanders,” is obtained. This reading is found in the Syriac, the Vulgate, and in the Greek translation of Symmachus.

Song of Solomon 1:8

If thou know not. Another voice is introduced. It may be that of Solomon, or it may be the playful response of the court ladies telling the Shulamite to be patient. In due time her lover will appear. In the meantime she is to continue watching her flocks.

Song of Solomon 1:9

A company of horses. Literally, “my mare.” Solomon compares his bride with her ornaments to a decked-out royal mare. The comparison seems crude to a Western mind, but it is entirely appropriate in Oriental thinking.

Chariots. See 1 Kings 10:26,28,29.

Song of Solomon 1:12

Spikenard. A powerful perfume probably obtained from India. The plant Nardostachys jatamansi, from the roots of which the Hindus extracted the aromatic perfume, grows in the upper pasturelands of the Himalayas at an elevation of 11,000 to 17,000 feet (3,353 m. to 5,182 m.). Spikenard early became an article of commerce.

Song of Solomon 1:13

Bundle of myrrh. Myrrh was extracted from the aromatic resin of what was probably the Arabian Balsamodendron myrrha tree. The Hebrew women are reported to have worn under their dresses, on occasions, a bottle or little bag of myrrh suspended from their necks.

Song of Solomon 1:14

Cluster of camphire. Better, “cluster of henna flowers.” The plant grew in southern Palestine and produced odoriferous yellow and white flowers. The flowers and twigs were sometimes ground into powder, from which the women made a reddish-orange dye to stain their hands and feet.

En-gedi. Literally, “fountain of the kid.” It was a district to the west of the Dead Sea, about midway between the mouth of the Jordan and the southern extremity of the lake. A copious spring known today as ‘Ain Jidi, still flows in the region.

Song of Solomon 1:16

Our bed is green. It is not certain whether the bride is here describing a couch in the palace, or whether she is referring to her former natural environment. Some see here a reference to the nuptial bed. It would be natural for the bride to describe her present felicities in figures borrowed from her familiar associations.

Song of Solomon 2:1

I am the rose of Sharon. The chapter division has led some to associate verse 1 with what follows. Thus Solomon would be the speaker in this verse. Hence, by spiritual application, both the titles “rose of Sharon” and “lily of the valleys” have been referred to Christ. Grammatically and contextually, however, it is more natural to consider this verse a statement of the bride. The word for “lily” may have either a masculine or a feminine form. The feminine form occurs here, whereas the masculine form appears in chapters 2:16; 4:5; 5:13; 6:2, 3; 7:2. The feminine form occurs again in chapter 2:2, where it definitely applies to the Shulamite maid. Contextual considerations also favor this view. According to it the bride is confessing her modesty, stating that she feels out of place in a palace. She is only a country flower.

The word translated “rose” occurs only here and in Isaiah 35:1, and the identity is uncertain. It may be identified with the crocus, asphodel, or narcissus. Some wild flower seems to be intended.

“Sharon” means literally, “a field,” “a plain,” and as a proper name signifies the maritime plain between Joppa and Mt. Carmel. The LXX takes “Sharon” here as a general designation of an open field.

Song of Solomon 2:2

The lily among thorns. Not the thorns that appear on plants and trees, but thorn plants. Solomon assures his bride that all other women, compared with her, are like thorn plants compared with a beautiful wild flower.

Song of Solomon 2:3

The apple tree. The bride returns the compliment. Her bridegroom, compared with other men, is like a fruit tree compared with the nonfruit-bearing trees of the forest.

Under his shadow. The bride not only enjoys the shade but also eats the fruit with great pleasure.

These words have been taken to picture the soul resting in the shadow of Christ’s love, enjoying blessed companionship with the Lord. The benefits of such a communion cannot be enjoyed by those who pause but a moment in the presence of Jesus. Too often life’s busy activities crowd out the precious seasons of fellowship that are so essential to a healthy growth in grace (see 7T 69; Ed 261).

Song of Solomon 2:4

Banqueting house. Literally, “house of wine” (see on verse 2). This verse has been used to further illustrate fellowship with Christ (see on verse 3; see also COL 206, 207; Ed 261).

Song of Solomon 2:5

Stay me with flagons. Rather, “sustain me with cakes of dried grapes.” These cakes were considered to be stimulating, and hence beneficial in cases of exhaustion.

Sick of love. In modern English she would say that she was lovesick. The bride was completely overcome with the thrill of her new experience and could not find figures adequate to describe her ecstatic delight.

Song of Solomon 2:7

I charge you. This verse is a refrain. It is repeated in chapters 3:5 and 8:4. The speaker is presumably still the bride.

My love. The “my” is supplied. “Love” is from ’ahabah, a feminine form considering love in the abstract, and not the lover. Pure and natural affection is extolled.

Song of Solomon 2:8

The voice of my beloved! Verses 8-17 seem to be the bride’s reminiscence of a delightful rendezvous in the springtime. The whole is probably spoken while she is in the loving embrace of her husband (see verse 6).

He cometh. The bride’s quick sense of love discerns a long way off the approach of her lover as he comes to her mountain home.

Song of Solomon 2:9

Roe. In modern English, a gazelle.

Looketh forth at the windows. Literally, “gazing from [the outside of] the windows.” Or the clause may be translated idiomatically, “gazed through the windows.” Solomon is represented as playfully looking through the windows in search of his beloved.

Song of Solomon 2:11

The winter is past. Verses 11-13 constitute one of the most beautiful poetic descriptions of springtime ever penned (see Ed 160). The spring of the year was the time when the joyful pilgrims made their way to the Passover festival in Jerusalem (see PP 537,538).

The rain is over. The latter rain ended in the early spring (see Vol. II, p. 109).

Song of Solomon 2:12

Turtle. Hebrew tor, the turtledove, a species of pigeon. Tor is onomatopoeic, that is, the sound of the word imitates the plaintive note of the bird. Several species of the turtledove are migratory, and their coming marks the return of spring (see Jer. 8:7).

Song of Solomon 2:13

Putteth forth her green figs. Literally, “spiceth its unripe figs,” probably in the sense of ripening them.

The vines with the tender grape. Literally, “the vines are blossom.”

Song of Solomon 2:14

My dove. The rock pigeon selects the lofty cliffs and deep ravines (see Jer. 48:28) for its roosting places, and avoids the neighborhood of men. Thus Solomon indicates the modesty and shyness of his loved one.

The stairs. Hebrew madregah, better, “steep places” as in Ezekiel 38:20.

Song of Solomon 2:15

Take us the foxes. The meaning of this line and the identification of the speaker are matters of conjecture. Moulton suggests that the bride hears her brothers speaking to her, or that they interrupt the bridegroom, who says he wants to see her face and hear her voice. They give the warning against the foxes that come in the spring and destroy the vines that are just then in blossom. Some think that the Shulamite is giving the reason why she cannot immediately respond to her beloved’s invitation, since she has domestic duties to perform. Others think that the reference is merely to the playful pleasure the happy lovers would enjoy chasing the little foxes in the aromatic vineyards.

Song of Solomon 2:16

My beloved is mine. These words are a frequent refrain in this Song of Solomon (see chapters 6:3; 7:10). The expression illustrates the tender attraction between Christ and His people (see MB 100).

Song of Solomon 2:17

Until the day break. Literally, “until the day breathes.” Reference may be either to the dawn of day, when the fresh morning breeze comes up, or to the beginning of evening, when the fresh evening breeze comes up.

Mountains of Bether. No such geographical mountains are known. Perhaps the word here rendered “Bether” should be translated instead. Bether comes from a root meaning “to cut in two,” hence possibly cleft mountains are meant.

Song of Solomon 3:1

By night. Verses 1-5 are best explained as the recounting of a dream in which the maid dreamed that she had momentarily lost her beloved. However, the separation was brief and the reunion most joyful.

Song of Solomon 3:4

My mother’s house. The women in the East have separate apartments, into which no one but the immediate family enters. Isaac brought Rebekah into his mother’s tent when he made her his wife (see Gen. 24:67). The maiden dreams of the marriage taking place not in the bridal chamber of Solomon’s palace but in her northern home (see on Song of Solomon 4:8).

Song of Solomon 3:5

I charge you. See on chapter 2:7.

Song of Solomon 3:6

Who is this? The pronoun “this” and the accompanying verb “cometh” represent feminine forms in the Hebrew. Either the bride is referred to or the “bed” of verse 7, which is a feminine form in the Hebrew. In the latter case the words should be translated “what is this?” The speaker cannot be definitely identified.

A new section begins. A royal procession is described. A description of the journey of the procession depends upon the interpretation of “who is this.” If this refers to the Shulamite, the procession may be the one in which Solomon went to fetch his country maiden. If “who is this” or “what is this” refers to the “litter of Solomon,” the bride may be the one watching the approach of the procession, and giving an eyewitness description of the impressive display.

Wilderness. Hebrew midbar, which may mean merely a pastureland or a wide, open space.

Like pillars of smoke. This probably refers to the custom of heading a procession with burning incense which pervades the route of the procession with fragrant odors. This is an ancient and common custom in the East.

Bed. Hebrew mittah, a couch for sitting, reclining, or reposing. The context suggests that here it refers to the litter on which Solomon would be carried.

Threescore valiant men. These were the guards that surrounded the pavilion of the bridegroom. The security of the head of the state required the unwearying vigilance of such a guard as this.

Song of Solomon 3:9

Chariot. Hebrew ’appiryon, here probably synonymous with mittah (verse 7), hence Solomon’s “sedan,” “litter,” or “palanquin.”

Song of Solomon 3:10

Pillars. Presumably the bedposts or corner posts either made of solid silver or covered with silver plate. Royal chariots were richly adorned.

The bottom. Hebrew rephidah, which seems rather to refer to the support, or railing, on the sides of a litter.

The covering. Hebrew merkab. Rather the “seat” of the litter. The word appears in Lev. 15:9, where it is translated “saddle.”

Paved with love. The latter part of this verse reads literally, “its interior, paved love from the daughters of Jerusalem.” A free translation would be, “the interior was decorated as a mark of love by the daughters of Jerusalem.” The paving with love may refer to verses worked on the counterpane, the hangings, or the carpet by the daughters of Jerusalem as an expression of their love for King Solomon and his bride.

Song of Solomon 4:1

Thou art fair. Better, “thou art beautiful.” The principal speaker thus far in the song has been the Shulamite maid. Now begins the most extended speech of the bridegroom. The reminiscent address extols the beauty of the bride and culminates in a proposal for marriage, which is accepted.

Doves’ eyes. See chapter 1:15.

Thy locks. Rather, “thy veil.” The veil worn by many Eastern women is a dark cloth that is suspended from the head. The forehead and the eyes are left uncovered. This veil covers not only all the face except the forehead and eyes, but also the neck, and hangs loosely down over the bosom.

A flock of goats. Her hair is black and sleek like the hair of Palestinian goats, which were mostly black or dark brown in color.

Song of Solomon 4:2

Flock of sheep. The teeth are beautifully white, well formed, and evenly paired. None is missing.

Song of Solomon 4:3

Speech. Rather the “mouth” as an instrument of speech.

Temples. Hebrew raqqah, from a root meaning “to be thin,” “to be weak,” hence the thin parts of the skull on each side of the eyes. Some suggest that the cheeks are intended.

Song of Solomon 4:4

Bucklers. Bucklers were frequently hung about towers, both as ornaments and to have at hand in time of emergency.

Song of Solomon 4:6

Day break. See on chapter 2:17. This seems to be another refrain, perhaps spoken by the bride in her modesty and humility, to check the fervor of the bridegroom. He, however, immediately continues to pour forth his love with new expressions of affection.

Song of Solomon 4:7

Thou art all fair. You are altogether lovely, you do not have a single defect. Jesus is represented as saying these words to the church, His bride (see MH 356; MB 100).

Song of Solomon 4:8

Amana. The Anti-Lebanon Mountains.

Shenir. The Amorite as well as the Ugaritic and Akkadian name for Mt. Hermon (see Deut. 3:9). The two mountains may stand in apposition here, or Shenir may be a prominent peak of Hermon. Solomon wants the Shulamite maiden to leave all the beautiful mountains of her northern country land.

Song of Solomon 4:9

Ravished my heart. The Hebrew verb is derived from the noun “heart.” Solomon said literally, “you have hearted me.” Perhaps what he meant was, “you have encouraged me.”

Song of Solomon 4:10

Thy love. Literally, “thy loves,” that is, the many attentions and manifestations of love (see chapter 1:2).

Song of Solomon 4:12

A garden inclosed. Under the symbolic expression of an enclosed garden King Solomon proposes marriage, and under the same symbol is accepted by the Shulamite maiden (verse 16). No one has ever entered this garden, no one has ever tasted this fountain, the seal of this fountain has never been broken.

Song of Solomon 4:15

A well of living waters. The language of this verse has been used to describe the ever-refreshing draughts that may be drawn from the Word of God (see PP 234; PK 37).

Song of Solomon 4:16

Come into his garden. This is the answer of the Shulamite. She invites him into his garden to eat of his fruits.

Song of Solomon 5:1

Into my garden. This verse belongs properly in the preceding chapter. It is Solomon’s response to the maid’s consent to marriage.

Eat, O friends. Evidently spoken to the guests at the wedding feast.

Song of Solomon 5:2

I sleep. Here begins a new section. The bride relates a troubled dream. She dreams that her beloved came to her at night, and by a moment’s delay she lost him. This is similar to the dream related in chapter 3:1-5, only here the emphasis is on the trouble rather than on the happy outcome.

Song of Solomon 5:3

I have put off my coat. She seems to be saying, “I have retired for the night; do not disturb me.”

Song of Solomon 5:4

Of the door. These words are supplied and perhaps correctly so. Some think he may have extended his hand through the latticed window of her home.

Song of Solomon 5:5

I rose. Presumably still in her dream.

Song of Solomon 5:6

When he spake. We may suppose an expression of disappointment as the lover goes away.

I sought him. Probably still in her troubled dream.

Song of Solomon 5:7

Took away my veil. Evidently to see who she was.

Song of Solomon 5:8

Daughters of Jerusalem. In her dream she finds herself accosting the daughters of Jerusalem to help her find her beloved.

Song of Solomon 5:10

Chiefest among ten thousand. A fitting title of Christ (see DA 827; MB 79, 100; COL 339).

The description of the bridegroom continues through verse 16 and reaches a climax in the expression “He is altogether lovely.” This description is frequently coupled with the title, “chiefest among ten thousand,” when referring to Christ (see in addition to the above references, Ed 69; 6T 175; CT 67).

Song of Solomon 6:1

Whither. The daughters of Jerusalem now address the bride to see what more she has to say.

Song of Solomon 6:2

Down into his garden. The anxiety concerning the loss of her beloved is gone. She knows that he is engaged elsewhere. Nothing has really come in to mar their felicity.

Song of Solomon 6:4

As Tirzah. In verses 4-10 Solomon pours forth lavish praise of his bride.

Tirzah is probably to be identified with Tell el-Far‘ah, some 7 mi. (11.2 km.) northeast of Shechem, in the territory of Manasseh. It was doubtless noted for its beauty.

Comely as Jerusalem. Solomon takes his own capital city in southern Palestine to illustrate the outstanding attractiveness of his bride. Jerusalem was noted for its beauty (see Ps. 48:2; 50:2; Lam. 2:15).

Song of Solomon 6:8

Threescore queens. This is presumably a reference to Solomon’s harem. The number of wives is far less than that given in 1 Kings 11:3. Evidently this song is written early in the reign of Solomon.

Song of Solomon 6:10

Terrible as an army. Beauty and strength are here combined in a description that has appropriately been applied to the church (see PK 725; AA 91). Some think that the question of this verse is raised by the ladies of the court when they first catch a glimpse of the Shulamite.

Song of Solomon 6:11

I went down. This statement is obviously by the bride.

Song of Solomon 6:12

Amminadib. The meaning of this expression is obscure. Literally translated it means, “My people, the noble.” The bride imagines herself being lifted up and placed in a chariot, no doubt with Solomon.

Song of Solomon 6:13

Return, O Shulamite. Perhaps this statement is by the members of the cortege, who express a desire to look at her on the now-acknowledged queen.

What will ye see? A charming display of modesty.

The company. Literally, “the dance.” Some have suggested that this has reference to the choir of the bride’s maids and the choir of the bridegroom’s best men. Others think that the reference is to some local custom that we do not now understand. Still others prefer to transliterate the words as “two armies” (Mahanaim), and see an allusion to the “dance” of the angel host at Mahanaim upon Jacob’s return to Canaan (see Gen. 32:1-3). If this be so, the Shulamite, at this juncture, gives a performance of the “dance of Mahanaim.”

Song of Solomon 7:1

How beautiful. Verses 1-5 are a laudation, probably by the ladies who are looking on, although many consider that the words are spoken by Solomon.

Like jewels. The emphasis is probably on the jewels that she now wears.

Song of Solomon 7:3

Like two young roes. Compare chapter 4:5.

Song of Solomon 7:4

As a tower. Compare chapter 4:4.

Fishpools. Literally, “pools,” as the same word is translated in 2 Sam. 2:13.

Heshbon. Heshbon is generally identified with Tell Hesban, about 15 mi. (24 km.) east of the Jordan. This site has yielded no evidence from Moses’ time, but has well-attested remains from the period of the judges and of the monarchy, including portions of a large open-air water reservoir.

Bath-rabbim. Literally, “daughter of multitudes.” Doubtless the name of one of the gates.

Song of Solomon 7:5

Carmel. A range of hills about 1,800 ft. elevation, forming the southwestern boundary of the plain of Esdraelon and the Bay of Acre.

Galleries. Hebrew rehatim. The meaning of the word here is uncertain. In Gen. 30:38, 41 it means “watering troughs.” It may come from a root meaning “to run,” “to flow,” hence “a flowing down.” From this the definition “locks of hair” has been suggested. The king speaks of himself as held in the locks of the Shulamite’s hair.

Song of Solomon 7:7

Palm tree. Hebrew tamar. The tall and graceful palm tree was an appropriate figure for female beauty. The name Tamar was borne by several women (Gen. 38:6; 2 Sam. 13:1).

Song of Solomon 7:10

I am my beloved’s. A refrain (see chapters 2:16; 6:3) ending the section extolling the bride’s beauty.

Song of Solomon 7:11

Let us go forth. In this section the bride expresses her longing for her home in Lebanon. She may be imagined as begging her husband to take her back to her own old home, with promises of a renewed love for him.

Song of Solomon 7:13

Mandrakes. By popular etymology, “love apples.” They were supposed to excite amatory desire and favor procreation (see Gen. 30:14-16).

Song of Solomon 8:1

As my brother. The bride seems to reminisce of the time before the obstacles to their union were removed. Not being able yet to declare her affection to him as a lover, she wished that their relationship had been that of brother and sister.

Despised. That is, her family and her friends should not reproach her.

Song of Solomon 8:2

Who would instruct me. As translated, the mother is the instructor. The verb may, however, also be translated, “thou wilt instruct.” Either translation makes good sense. Mothers have sane counsel for daughters about to be married. The wise Solomon, too, could have thrilled the heart of his young bride by sharing with her his vast fund of knowledge. In return she would reciprocate by supplying suitable refreshments.

Song of Solomon 8:4

I charge you. Compare chapters 2:7; 3:5. The repetition of this refrain lends strong support to the idea of an intended unity of the song.

Song of Solomon 8:5

Who is this that cometh? Verse 5 appears to be a description of the arrival of the royal pair at the bride’s home.

Raised thee up. Literally, “aroused thee.” Solomon probably means to say that they have come back to the place where he first inspired his bride with love.

Thy mother. They have returned to the home where his bride was born.

Song of Solomon 8:6

Set me as a seal. The bride is speaking, as is evident in the Hebrew by the masculine form of “thee.” The Hebrew word for “seal,” chotham, means signet ring (see Ex. 28:11, 21; Job 38:14; 41:45; Jer. 22:24). The Hebrews sometimes wore the signet ring suspended upon the breast by a string. Solomon’s bride wants her husband to view her as such a precious signet ring.

Coals. Hebrew reshaphim, “flames,” “firebolts,” translated “hot thunderbolts” in Ps. 78:48.

A most vehement flame. Literally, “a flame of Jehovah.” Probably the lightning.

Song of Solomon 8:7

Cannot quench love. Pure love is such that nothing can destroy it. It cannot be bought. The highest offer would be completely scorned. This passage, telling of the invincible might and enduring constancy of true love, stands without a parallel in literature for forcefulness of expression.

Song of Solomon 8:8

Little sister. This statement may have been made by the Shulamite’s brothers, in reminiscence of the bride’s childhood days. It appears they had been debating as to how to deal with their little sister when an offer of marriage should be made to her.

Song of Solomon 8:11

Solomon had a vineyard. This was doubtless one of Solomon’s many vineyards.

Song of Solomon 8:12

My vineyard. The bride renews her vows to her husband. She speaks of herself as the keeper of her own vineyard, but she transfers these rights and privileges to her husband.

Song of Solomon 8:13

Cause me to hear it. As the curtain falls, Solomon requests to hear once more the voice of his beloved, perhaps in a refrain he had heard her repeat in their courtship.

Song of Solomon 8:14

Make haste, my beloved. Thus the poem ends with two short verses that compress into them all that has been repeated over and over under different figures: the wooing and the wedding of two happy hearts.

=== 23 Isaiah 01-02.txt ===