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CHAP. XII.

[deferring repentance

13 Let us hear the conclusion of the whole matter: Fear God, and keep his commandments: for this is the whole duty of man.

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14 For God shall bring every into judgment, with every secret thing, whether it be good or whether it be evil. (M)

EXPOSITION.

(M) Youth warned against deferring repentance to the time of old age. This chapter contains a portraiture of old age, which is considered as the winter of human life, in which all its enjoyments wither, and hasten to decay. Several of the images here employed, as the clouds, darkness aud rain, the cessation of agricultural labours, the closing of doors, mark the season to be winter.

In this allegory, according to Bp. Lowth, old age is "admirably depicted. The inconveniences of increasing years, the debility of mind and body, the torpor of the senses, are expressed most learnedly and elegantly indeed; but with some degree of obscurity, by different images, derived from nature and common life for by this enigmatical composition, Solomon, after the manner of the oriental sages, meant to put to trial the acuteness of

readers. It has, on this account, af

forded much exercise to the ingenuity of the learned, many of whom have, differently, it is true, but with much learning and sagacity, explained the passage." (Lect. x.)

The second verse, which speaks of the darkness of winter, is referred, by our great medical expositors, Dr. John Smith and Dr. Kd. Mead, to the duliness of the mental faculties in an infirm old age; and the return of the clouds after the rain may, at the same time, represent the gloomy apprehensions of such persons, when trouble follows trouble, as cloud succeeds cloud in the wintry season.

The same expositors allegorically explain the keepers of the house," of the arms and hands, which are the proper protectors of the body; but which, in old age, become weak and tremulous; the legs are

understood by "the strong men," which have been accustomed to carry the human frame for many years: but at length the knees bend under their burden, and can no longer bear it about, as they were accustomed. In the same series of allegory, "the grinders" may properly represent the teeth, which become few and feeble; and "those that look out at the windows," the eyes, which by age become not only "darkened," but sometimes totally dark."The doors" of the mouth often fall in through the want of teeth; and "the sound of the grinding becomes low" through the incapacity of chewing solid food. Watchfulness, or the inability to sleep, makes the old man "rise at the voice of the bird;" i. e. in the early dawn, whilst his own vocal powers, elegantly called "the daughters of music, are brought low" indeed.

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The timidness of elderly people is next noticed, who are afraid to contemplate any elevated object, and meet with frequent alarms, even as they walk upon the level ground —“ Fears are in the way." The white head of an old man is beautifully compared to the "almond tree' iu blossom, and which blossoms even in winter. If our version be right, that "the grass hopper" becomes a burden," it implies extreme weakness, and we often find that very aged people complain of their neces sary clothing, as a burden almost intole rable: but Dr. John Smith (above referred to) considers the form of the grasshopper, or locust, as representing the bent body, aud crouching knees of a decrepid old

man.

So Luther compares an old man to a locust, because his bones stick out, and his body is shrunk up. From this circumstance, it is supposed, originated the fable of Tithonus being turned into a grasshopper; and on the same account Homer

NOTES-Chap. XII. Con.

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Ibid. By the masters of assemblies. — From the various translations of this difficult line, we select that of Dr. Boothroyd;" The collectors (namely, of the aphorisms here collected) are appointed by one Shepherd." But see the Exposition.

Ver. 12. Of making many books-We must recol Ject, that in these early ages, all books were in MS, and, instead of our convenient volumes, were of rolls of cloth, or parchment, and all copies were taken in the same way; so that book-making and book. reading were bot laborious exercises. Much study-Marg. "Reading."

Ver. 13. Let us hear the conclusion, &c.— Mart "The end of the matter, even all that has been heard (is:) Fear God," &c.

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compared old king Priam, and his aged counsellors, to the same insect. (See Parkhurst's Heb. Lex. 4to. p. 158.)

In this situation all the natural appetites and senses fail, as was the case with old Barzillai, who had lost his sight, his taste, and his hearing, and could have no more enjoyment of the present life. (2 Sam. xix. 35.) Death is daily expected, and the mourners, usually hired in the East to lament over the dead, are waiting in the streets, expecting to be called. (See Jer. ix. 17, 18.)

The next verse (6) is generally explained anatomically; yet it is not necessary to suppose, with Bishop Horsley, that Solomon had anticipated the modern discoveries of anatomy."The silver cord" may beautifully represent the spinal marrow, which runs through the back bone as a vein of silver through the mine, and from decay or injury of which, the back becomes curved and crooked. "The golden bowl" no less properly represents the human skull, with its curious and invaluable contents; and its being cracked, or broken, may intend its being no longer adapted to its proper functions. The rest of the verse, probably, alludes to the circulation of the blood to and from the heart, though the precise nature of that circulation might be very imperfectly understood. It is certain that the Hebrews used to draw water from their wells by means of a wheel, and to this the description evidently alludes, though it may be difficuit to ascertain the exact import of the particulars in the description. The heart might very naturally be considered as the fountain, well, or cistern, from which the blood originated, and the wonderful machinery attached to it, as the wheel by which it was, in some mysterious manner, distributed through the frame. By the pitcher and the wheel being broken, must be meant, that the heart and lungs were no longer able to perform their functions. When these cease, then must the whole frame be returned to the dust, and "the spirit unto God who gave it." This text we consider as a clear and decided

[old age.

testimony to the doctrine of a future state, repeatedly before hinted, and farther confirmed in the concluding verse. But before we proceed, we must remark, that the great and avowed object of this comment on the infirmities of age, is to excite the young to a proper recollection of their duty to their Creator in their early days, before these evil days should come.

We come now to the conclusion, which is, perhaps, more obscure than any other part of this abstruse and mysterious book, which, from its many difficulties, has drawn out our remarks much beyond their due proportion. This conclusion informs us, that as the Preacher increased in knowledge, he studied the more zealously to inform his people; a very proper model to all public teachers! And as, in his early days, he delivered many proverbs extempore, (as we understand it) so, in his latter days, he had honestly laboured to collect and arrange many of them into this discourse and here he gives us the happiest definition of a true proverbial saying, which is, that it should "prick sharply, and hold firmly;" the first idea being suggested by the image of a goad that would pierce an ox-hide, and the other by a nail so firmly fixed in a wall, that it could not be eradicated without injuring the wall itself. Now these wise sayings, which pierce and infix themselves in the mind, he tells us are all "from one Shepherd;" i. e. from God, "the Shepherd, the Rock of Israel." (See Gen. xlix. 24. and Note.) The meaning of which we take to be, that all true wisdom, however distributed by preachers, "the masters of assemblies," or by writers, "the masters of collections," (as some translate it) comes ultimately from God himself.

The whole then concludes with a summary of man's duty, which is, to "fear God, and keep his commandments," and the awful account which must be given of our actions, and even thoughts, ("every secret thing") before his judgment bar.

END OF ECCLESIASTES.

THE SONG OF SOLOMON.

INTRODUCTION.

one

IN the First Book of Kings (chap. iv. 32.) we find Solomon's Songs recorded at thousand and five," some of which are probably preserved in the Book of Psalms, and others included in the book now before us, which is called "the Song of Songs,” as the most esteemed and considerable, and probably including several of them. Bossuet, Bishop of Meaux, divided the poem into seven parts, answering to the seven days of the Jewish weddings; and Dr. Percy, (afterwards Bishop of Dromore) who adopted the same notion, divides it into seven eclogues; but Dr. Mason Good into twelve distinct idyls. Not only is this poem attributed to Solomon in the title, and by general tradition; but there are several points in the imagery which direct us to the age and circumstances of this celebrated king. The towers of David and of Lebanon, the fishpools of Heshbon, the vineyards of Engedi, the chariot and horses of Pharaoh, &c. would hardly have been thus referred to in a much later age.

Should it be asked, in what period of Solomon's life it was composed, the style and imagery employed, by no means agree with an advanced stage of life; the references to his marriage certainly incline us to attribute it, with Dr. Lightfoot, to a period not long after his accession to the throne, and it has generally been referred to the occasion of his marriage with Pharaoh's daughter-his only marriage particularly noticed in the Scriptures; and who is distinguished from the strange women that turned away his heart to idols. See 1 Kings xi. 1. Some passages have been indeed objccted to, as inconsistent with this idea; notwithstanding all objections, however, we still think it the most probable hypothesis.

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That this book belongs to the sacred canon, we cannot doubt: indeed the late Dr. Priestley (who was not ready to believe too much) says, There can be no doubt but that the canon of the Old Testament was the same in the time of our Saviour as it is now. It has been objected, that Josephus does not name this in his Catalogue of the Sacred Books; but though he is not so express as might be wished, there is no reason to think he meant to exclude it. It is well known that the Jews reckoned their inspired books 22, (equal to the number of letters in their alphabet,) and he divides them thus: five books of Moses, thirteen of the prophets, early and later, and "four more, containing hymns to God, and admonitions to men;"+ which, though he does not distinctly name them, are generally and reasonably reckoned to be, the Psalms, Proverbs, Eccle siastes, and the Song of Solomon. In the Christian church, we find this book in the Catalogue of Melito, about A.D. 170; in Origen, about 230; in Athanasius, about 326, and in every succeeding age.‡

"The Song of Songs (for so it is entitled, either on account of the excellence of the subject, or of the composition) is an Epithalamium § or nuptial dialogue; or rather, i we may be allowed to give it a title more agreeable to the genius of the Hebrew, a Song of Loves. It is expressive of the utmost fervour, as well as of the utmost delicacy of passion; it is instinct, with all the spirit and all the sweetness of affection. The prin cipal characters are Solomon himself and his bride, who are represented speaking both in dialogue, and in soliloquy, when accidentally separated. Virgins, also, the companions of the bride, are introduced, who seem to be constantly upon the stage, and bear a part in the dialogue; mention, too, is made of young men, friends of the bridegroom, but they are mute persons. This is exactly conformable to the manners of the Hebrews, who had always a number of companions to the bridegroom, thirty of whom were present in honour of Samson, at his nuptial feast." Lowth's Lect. xxx.

Still it may be questioned, whether it is to be considered as a secular or a sacred poem. Michaelis, who considers it perfectly chaste in its language, looks upon it as written in honour of marriage; but others consider it as a sacred allegory; and the very learned and elegant critic just quoted says, "By several reasons, by the general authority and consent of both the Jewish and Christian churches; and still more by the nature and analogy of the parabolic style, I feel irresistibly inclined to that side of the question which considers this poem as an entire allegory. Those, indeed, who have considered it in a different light, and who have objected against the inconsistency and meanness of the imagery, seem to be but little acquainted with the genius of the parabolic diction." (Lect. xxxi.)

*Institutes of Religion, vol. i. p. 297. (1782.) + Jos. contra Apion, lib. i. cap. 8.

Dr. Findlay's Vindic. of the S Books, p. 457.

This idea was adopted by the Editor on a former occasion, but as it is a mere hypothesis, it will in this work be only slightly noticed.

INTRODUCTION.

Sir Wm. Jones, Dr. Mason Good, and others, have shown that this also is according to the general style of Eastern poetry, and have given a great number of similar examples from the Persian poets, and even from the Greek and Roman classics: but it is of much more importance to us, that we have similar instances of sacred allegory in other parts of the Old Testament.*

That the poem is a sacred allegory, the Editor has argued at some length in a former work; what is here offered must be very brief. In this light it was certainly considered by the ancient Rabbins; though, like Christian expositors, they differ in their modes of exposition. An old mystical writer says, that "God was transformed into love before be made the world. And because God created all things in love, he embraces all things with the same love:" and the sum of all that he exacts of us is," that, being knit together by mutual love, we may, in conclusion, be united with him in love; that so all things may be one, as they were from the beginning."

The generality of Jewish expositors consider the allegory as relating to the God of Israel and the Jewish church, but the most eminent Christian divines (especially Profestants) refer it to the pure and spiritual love subsisting between Messiah and the Christian Church, which, in New Testament language, he "purchased" with his blood. "God is represented as the spouse of the church, and the church as the betrothed of God. Thus also.. the piety of the people, their impiety, their idolatry, and rejection, stand in the same relation to the sacred covenant as chastity, immodesty, adultery, and divorce, with respect to the marriage contract. And this notion is so familiar in Scripture, that the word adultery (or whoredom) is commonly used to denote idolatrous worship; and so appropriate does it appear to this metaphorical purpose, that it very seldom occurs in its proper and literal sense." (Lowth's Lect. xxxi.)

As the God of Israel was considered as the Husband of the Jewish church, so is Jesus Christ represented in the same relation to the Christian. 2 Cor. xi. 2; Ephes. v. 23. And, consequently, not only is idolatry considered as adultery, but even heresy, by which we mean some fundamental error, such as "turning the grace of God into lasciviousness, and denying the only Lord God, and our Lord Jesus Christ:" (Jude 4.) and such heretics are threatened to be punished as spiritual adulterers. Rev. ii. 19-24.

But admitting the conjugal relation of Christ and the New Testament Church, it is proper to inquire who are intended mystically by the VIRGINS, the daughters of Jerusalem, and the Companions of the Bridegroom? Commentators seem divided on this subject: but we have a happy clue to our inquiry, from an infallible expositor. When the dispute was agitated between the disciples of John and those of Jesus, why the former fasted and not the others, Jesus calls his own disciples" children of the bride-chamber," which seems of the like import with Companions of the Bridegroom: and even John the Baptist himself claims that character. (See Matt. ix. 15; John iii. 29.)

Christ then is the Bridegroom, and the Christian Church the bride, the Lamb's wife. (Rev. xxi. 9.) Those who may not be formally members of this church, in any of its ecclesiastical divisions, but love the Bridegroom, and rejoice to hear his voice, may be properly considered as either the friends of the Bridegroom, or the virgin companions of the bride.

But who compose the Christian Church? Most certainly we are not authorised to confine this to the members of any national or congregational church; but we include in it the members of every Christian society who hold Christ" the head," and honour him as such. (Col. ii. 19.) This is the church universal, and we consider as bridal virgins and companions of the Bridegroom, all who desire to unite with her, or delight to hear his voice.

Farther, as that which is true of the whole Christian church must be generally true of all its members, so we think ourselves authorised to apply to each and every one of them all the precepts and all the consolations of this sacred book, with due regard to their peculiar circumstances. And as the language of the Old Testament Church to Messiah was, "Make haste, my Beloved," as in the close of this book: so the Book of Revelation closes with a like devout aspiration for his second coming-"Even so, come Lord Jesus!"

See Isa. v. 1.-xxvii. 2.-liv. 5, 6.-lxii. 4, 5; Ezek. xvi. 10-14; Hos. ii. 19, 20.

+ See "The Song of Songs, &c. a New Translafin, with a Commentary and Notes, by T. Williams,” (101) This work has been many years out of print; but should the Author's life be spared for a few months after the completion of "The Cottage Bible," he hopes to present the public with a New Edition, considerably improved.

Aben Ezra, a learned Rabbin of the 11th century, says, "Far be it from me to affirm, that the Song of Songs should treat of carnal pleasures, for all things are spoken figuratively in it." See Findlay's Vindic. p. 453. Also Bp. Patrick's Preface to his Paraphrase on this book, and Dr. Gill's Comment.

See this argued more fully in the Editor's New Translation, &c, above referred to p. 113-115.

The mutual love between] SOLOMON'S SONG. [Christ and his Church.

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2 Let him kiss me with the kisses of his mouth for thy love is better than wine:

3 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.

4 Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.

5 I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.

6 Look not upon me because I am black, because the sun hath looked upon me my mother's children were angry with me; they made me keeper of the vineyards; but mine own vineyard have I not kept.

7 Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth

CHAP. I.

aside by the flocks of thy companions?

8 If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents.

9 I have compared thee, O my love, to a company of horses in Pharaoh's chariots.

10 Thy cheeks are comely with rows of jewels, thy neck with chains of gold.

11 We will make thee borders of gold, with studs of silver.

12 While the king sitteth at his table, my spikenard sendeth forth the smell thereof.

13 A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.

14 My beloved is unto me as a cluster of camphire in the vineyards of En-gedi.

15 Behold thou art fair, my love; behold, thou art fair; thou hast doves' eyes.

16 Behold, thou art fair, my be loved, yea, pleasant; also our bed is green.

17 The beams of our house are cedar, and our rafters of fir. (A)

EXPOSITION.

(A) The mutual love between Christ and his Church.-The scene before us is evi

dently the Harem, or the apartments devoted to the women in one of the royal palaces, probably the House of the Forest

NOTES.

CHAP. 1. Ver. 1. Which is Solomon's-that is, composed by Solomon. See Note on Ps. Ixxii. title.

Ver. 2. Thy love is-Heb. "Thy loves (are)." In this language the plural is often used for singular, as implying excellence.

Ver. 3. Ointments-that is, perfumes; so throughout this book, in every instance. See Eccles. vii. 1. Ver. 4. The upright love thee-Marg. "They love thee uprightly," Boothroyd, "justly;" i. e. thou art every way lovely. See chap. v. 16.

Ver. 5. I am black-Williams, " dark;" i. e. darkcomplexioned. The Editor hopes to be forgiven the egotism of quoting his former translation of this book, as he has therein given the authorities on which he deviated from the current version. Ver. 6. Look not-Gaze not, stare not.

Because

I am black.-The Hebrew word here is more emphatic than in the preceding verse. Angry; Boothroyd, "Severe."

Ver. 7. As one that turneth aside-Marg, "That is veiled;" but we prefer the textual rendering, as agreeing better with the pastoral imagery.

Ver. 9. To a company of horses-Dr. Good," One of the steeds;" Dr. Percy," My mare;" Williams, "The horse," using the word as plural, like cavalry. Egypt produced the finest horses in the world, and

the best horses of Egypt were doubtless chosen for Pharaoh's chariot. The idea meant to be conveyed probably corpulency, which, in the East, is a mark of beauty.

Ver. 11. Borders of gold with studs of silver-that is, ornaments of jewellery, in which there may be an allusion to the dress and furniture of Pharaoh's horses.

Ver 13. A bundle of myrrh.—Myrrh is a gum, and must therefore have been enclosed in a casket, in which form it was commonly worn in the bosom of females of the higher class. So Mr. Harmer,

Ver. 14. Camphire-Marg. "Cypress;" Dr. Shaw and Sir W. Jones explain this of the Henna, an elegant and odoriferous plant, which Sonnini says was worn by ladies as a nosegay.

Ver. 15. Fair-here means beautiful, without any particular reference to the skin.My love-Marg. "Companion;" Williams, "Consort.""

Ver. 16. Our bed is green-Williams, "Verdant is our carpet." Drs. Percy, Good, Boothroyd, and others, consider the present scene as a shady grove; but if " the house of the forest of Lebanon" was, as some think, built to resemble a forest, that may be the scene here intended. See Expos. 1 Kings vii. 1. Ver. 17. Rafters-Marg. "Galleries."

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