The Song of Songs: Translated from the Original Hebrew, with a Commentary, Historical and Critical
Religion
The Song of Songs: Translated from the Original Hebrew, with a Commentary, Historical and Critical
Bible. Song of Solomon -- Commentaries
7. Tell me, O thou, &c. Having repelled the disdainful looks of the
court ladies, the Shulamite now resumes her address to her beloved; so
that this verse is intimately connected with the fourth; and verses
five and six are, as it were, parenthetical. Is it not surprising that
some can read this verse, and yet believe that the king was the object
of the damsel’s attachment, when this shows so clearly that it was a
shepherd? The violent heat of noonday compels people in the East to
desist from labour, and recline in some cool part of the house (2 Sam.
iv. 5). Shepherds especially, being more exposed to the burning rays of
the sun, lead their flocks under some shady tree near wells and
streams. (Gen. xxix. 7; Ps. xxiii.; Isa. xix. 10.) We have beautiful
descriptions of the same custom by Greeks and Romans. Thus Virgil,
Georg. iii. 331—
Aestibus at mediis umbrosam exquirere vallem,
Sicubi magna Jovis antiquo robore quercus
Ingentis tendat ramos, aut sicubi nigrum
Ilicibus crebris sacra nemus adcubet umbra.
“When noon-tide flames, down cool sequester’d glades,
Lead where some giant oak the dell o’ershades,
Or where the gloom of many an ilex throws
The sacred darkness that invites repose.”
Compare also Theocritus, i. 14, 15: vi. 1, 16, 38, 39. אֵיכָה prop.
how, but also of place, where, 2 Kings xvi. 13. Twenty-eight MSS. of
Kenn. and De Rossi, read וְאֵיכָה, but this weakens the sentence. We
must supply צֹאנְךָ after תִּרְעֶה, and –ם after תַּרְבִּיץ, see Ezek.
xxxiv. 15. Immanuel accounts for the dual, צָהֳרַיִם, because שזה השם
נופל לא על חצות היום בלבד אלא גם על חלק מהיום קרוב לחצות וחלק מהיום מעט
אחר חצות, it speaks of that part of the day immediately preceding noon
as well as of that part which immediately follows noon. שֶׁלָמָה, i.q.
אֲשֶׁר לָמָה, Dan. i. 10, ut ne, well rendered by the Sept. μήποτε, Vulg.
ne. אֲשֶׁר is used as a conjunction, the ל to express design, or
purpose, and מָה for negation, Ewald, § 337, 6. כְּעֹטְיָה has caused
much perplexity to interpreters. It is explained to mean like one
veiled (ὡς περιβαλλομένη, Sept.), as a sign of mourning (Rashi, compare
2 Sam. xv. 30; xix. 5); of harlotry (Rosenmüller, comp. xxviii. 5); of
shame (Umbreit, Hengstenberg, comp. Jer. xiv. 3; Mal. iii. 7); and of
wandering or roaming (Philippson, comp. Jer. xliii. 12). But wherever
covering is used to signify mourning or shame, the part of the body
usually covered, in order to indicate the existence of the emotion, is
invariably stated. Equally untenable is the rendering of harlot; for
Tamar covered her face, not as a sign that she was a prostitute, but to
disguise herself, so that she might not be recognised, and Judah took
her to be a harlot because she sat by the way side, Comp. Jer. iii. 2.
Ewald renders it like one unknown; but this, to say the least, is
remote from the context; Gesenius, like one fainting; but this incurs
the same objection.
Public-domain text, read in full here on John Shaqi.
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