The Song of Songs: Translated from the Original Hebrew, with a Commentary, Historical and Critical — John Shaqi
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
Thus Ibn Ezra maintains that “This book is allegorical, and describes
the history of Israel; commencing with the days of our Father, Abraham,
and coming down to the days of the Messiah; just as the Song of Moses
(Deut. xxxii.) begins with the dispersion of the human family, and
finishes with the final ingathering of Israel, after the battle of Gog
and Magog. Do not wonder that the Congregation of Israel is here
compared to a bride, and the Lord to a bridegroom; for this is the
manner of the prophets.” (Comp. Isa. v. 1, lxii. 5, Ezek. xvi. 7, Hos.
iii. 1, Psa. xlv. 10.)
The allegory, according to this distinguished Rabbi, is developed in
the suppositious attachment contracted between a damsel who kept a
vineyard, and a shepherd. The representation of the love of these
parties “is suppositious, because such an actual manifestation, in so
public a manner as here recorded, would be regarded as highly
improper.” [55]
“The beloved” represents God; with the exception of viii. 12, where the
Messiah is meant; “the loved one” is the Congregation of Israel; “the
companions of the beloved” are the pious ancestors; “the daughters of
Jerusalem” are the thoughts of the loved one; “the little sister,” in
viii. 8, is the two tribes and a half; “the speaker,” in viii. 13, the
shechinah; “the companions,” in the same verse, are the angels.
The commentary consists of three different glosses: in the first, the
words are explained; in the second, the suppositious history of the
attachment of the shepherd and shepherdess is developed; and in the
third gloss, the allegory is evolved from that history. The following
is a specimen of the gloss where the allegory is propounded.
2. Let him kiss me.—He (i.e. Solomon) begins with Abraham, for he
is the root of the Jewish nation. By “the kisses of his mouth” are
meant the law and the commandments, as it is written, “Abraham
obeyed my voice and kept my charge, my commandments, my statutes,
and my laws.” (Gen. xxvi. 5.) Do not wonder that the future
(ישקני) is used instead of the past; this is the idiom of the
sacred Scriptures, compare ﬡז ישּיר, then he sang (Exod. xv. 1,
and Psa. cvi. 19); just as we find the contrary, the past used for
the future (Psa. lxxix. 1).—For thy love, &c. i.e., to be loved by
thee; as the Scriptures testify of God’s love to his people.
Compare “the seed of Abraham whom I love” (Isa. xli. 8); for there
is a difference between אוהב, loving, and אהוב, loved.
3. Thy perfumes, &c.—Abraham proclaimed the works of God, and
instructed his generation; and wherever he went he called on the
name of the Lord; this is the meaning of “thy name is poured forth
like oil.” Therefore do the damsels love thee.—עלמות are such as
have no husbands, and denote the heathen who had no God, and were
brought by Abraham into union with God; as it is written, “The
souls which they had begotten in Haran” (Gen. xii. 5).
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