Ecclesiastes 12

Ec 12:1-14.

1. As Ec 11:9, 10 showed what youths are to shun, so this verse shows what they are to follow.

Creator —"Remember" that thou art not thine own, but God's property; for He has created thee (Ps 100:3). Therefore serve Him with thy "all" (Mr 12:30), and with thy best days, not with the dregs of them (Pr 8:17; 22:6; Jer 3:4; La 3:27). The Hebrew is "Creators," plural, implying the plurality of persons, as in Ge 1:26; so Hebrew, "Makers" (Isa 54:5).

while … not —that is, before that (Pr 8:26) the evil days come; namely, calamity and old age, when one can no longer serve God, as in youth (Ec 11:2, 8).

no pleasure —of a sensual kind (2Sa 19:35; Ps 90:10). Pleasure in God continues to the godly old (Isa 46:4).

2. Illustrating "the evil days" (Jer 13:16). "Light," "sun," &c., express prosperity; "darkness," pain and calamity (Isa 13:10; 30:26).

clouds … after … rain —After rain sunshine (comfort) might be looked for, but only a brief glimpse of it is given, and the gloomy clouds (pains) return.

3. keepers of the house —namely, the hands and arms which protected the body, as guards do a palace (Ge 49:24; Job 4:19; 2Co 5:1), are now palsied.

strong men … bow —(Jud 16:25, 30). Like supporting pillars, the feet and knees (So 5:15); the strongest members (Ps 147:10).

grinders —the molar teeth.

cease —are idle.

those that look out of the windows —the eyes; the powers of vision, looking out from beneath the eyelids, which open and shut like the casement of a window.

4. doors — the lips, which are closely shut together as doors, by old men in eating, for, if they did not do so, the food would drop out (Job 41:14; Ps 141:3; Mic 7:5).

in the streets —that is, toward the street, "the outer doors" [ Maurer and Weiss ].

sound of … grinding —The teeth being almost gone, and the lips "shut" in eating, the sound of mastication is scarcely heard.

the bird —the cock. In the East all mostly rise with the dawn. But the old are glad to rise from their sleepless couch, or painful slumbers still earlier, namely, when the cock crows, before dawn (Job 7:4) [ Holden ]. The least noise awakens them [ Weiss ].

daughters of music —the organs that produce and that enjoy music; the voice and ear.

5. that which is high —The old are afraid of ascending a hill.

fears … in the way —Even on the level highway they are full of fears of falling, &c.

almond … flourish —In the East the hair is mostly dark. The white head of the old among the dark-haired is like an almond tree, with its white blossoms, among the dark trees around [ Holden ]. The almond tree flowers on a leafless stock in winter (answering to old age, in which all the powers are dormant), while the other trees are flowerless. Gesenius takes the Hebrew for flourishes from a different root, casts off; when the old man loses his gray hairs, as the almond tree casts its white flowers.

grasshoppers —the dry, shrivelled, old man, his backbone sticking out, his knees projecting forwards, his arms backwards, his head down, and the apophyses enlarged, is like that insect. Hence arose the fable, that Tithonus in very old age was changed into a grasshopper [ Parkhurst ]. "The locust raises itself to fly"; the old man about to leave the body is like a locust when it is assuming its winged form, and is about to fly [ Maurer ].

a burden —namely, to himself.

desire shall fail —satisfaction shall be abolished. For "desire," Vulgate has "the caper tree," provocative of lust; not so well.

long home —(Job 16:22; 17:13).

mourners —(Jer 9:17-20), hired for the occasion (Mt 9:23).

6. A double image to represent death, as in Ec 12:1-5, old age: (1) A lamp of frail material, but gilded over, often in the East hung from roofs by a cord of silk and silver interwoven; as the lamp is dashed down and broken, when the cord breaks, so man at death; the golden bowl of the lamp answers to the skull, which, from the vital preciousness of its contents, may be called "golden"; "the silver cord" is the spinal marrow, which is white and precious as silver, and is attached to the brain. (2) A fountain, from which water is drawn by a pitcher let down by a rope wound round a wheel; as, when the pitcher and wheel are broken, water can no more be drawn, so life ceases when the vital energies are gone. The "fountain" may mean the right ventricle of the heart; the "cistern," the left; the pitcher, the veins; the wheel, the aorta, or great artery [ Smith ]. The circulation of the blood, whether known or not to Solomon, seems to be implied in the language put by the Holy Ghost into his mouth. This gloomy picture of old age applies to those who have not "remembered their Creator in youth." They have none of the consolations of God, which they might have obtained in youth; it is now too late to seek them. A good old age is a blessing to the godly (Ge 15:15; Job 5:26; Pr 16:31; 20:29).

7. dust —the dust-formed body.

spirit —surviving the body; implying its immortality (Ec 3:11).

8-12. A summary of the first part.

Vanity, &c.—Resumption of the sentiment with which the book began (Ec 1:2; 1Jo 2:17).

9. gave good heed —literally, "he weighed." The "teaching the people" seems to have been oral; the "proverbs," in writing. There must then have been auditories assembled to hear the inspired wisdom of the Preacher. See the explanation of Koheleth in the Introduction , and chapter 1 (1Ki 4:34).

that which is written, &c.—rather, (he sought) " to write down uprightly (or, 'aright') words of truth" [ Holden and Weiss ]. "Acceptable" means an agreeable style; "uprightly … truth," correct sentiment.

11. goads —piercing deeply into the mind (Ac 2:37; 9:5; Heb 4:12); evidently inspired words, as the end of the verse proves.

fastened —rather, on account of the Hebrew genders, (The words) "are fastened (in the memory) like nails" [ Holden ].

masters of assemblies —rather, "the masters of collections (that is, collectors of inspired sayings, Pr 25:1), are given ('have published them as proceeding' [ Holden ]) from one Shepherd," namely, the Spirit of Jesus Christ [ Weiss ], (Eze 37:24). However, the mention of "goads" favors the English Version, "masters of assemblies," namely, under-shepherds, inspired by the Chief Shepherd (1Pe 5:2-4). Schmidt translates, "The masters of assemblies are fastened (made sure) as nails," so Isa 22:23.

12. (See on Ec 1:18).

many books —of mere human composition, opposed to "by these"; these inspired writings are the only sure source of "admonition."

(over much) study —in mere human books, wearies the body, without solidly profiting the soul.

13. The grand inference of the whole book.

Fear God —The antidote to following creature idols, and "vanities," whether self-righteousness (Ec 7:16, 18), or wicked oppression and other evils (Ec 8:12, 13), or mad mirth (Ec 2:2; 7:2-5), or self-mortifying avarice (Ec 8:13, 17), or youth spent without God (Ec 11:9; 12:1).

this is the whole duty of man —literally, "this is the whole man," the full ideal of man, as originally contemplated, realized wholly by Jesus Christ alone; and, through Him, by saints now in part, hereafter perfectly (1Jo 3:22-24; Re 22:14).

14. For God shall bring every work into judgment —The future judgment is the test of what is "vanity," what solid, as regards the chief good, the grand subject of the book.

THE SONG OF SOLOMON. Commentary by A. R. Faussett

INTRODUCTION

The Song of Solomon, called in the Vulgate and Septuagint, "The Song of Songs," from the opening words. This title denotes its superior excellence, according to the Hebrew idiom; so holy of holies, equivalent to "most holy" (Ex 29:37); the heaven of heavens, equivalent to the highest heavens (De 10:14). It is one of the five volumes ( megilloth ) placed immediately after the Pentateuch in manuscripts of the Jewish Scriptures. It is also fourth of the Hagiographa ( Cetubim, writings ) or the third division of the Old Testament, the other two being the Law and the Prophets. The Jewish enumeration of the Cetubim is Psalms, Proverbs, Job, Canticles, Ruth, Lamentations, Ecclesiastes, Esther, Daniel, Ezra (including Nehemiah), and Chronicles. Its canonicity is certain; it is found in all Hebrew manuscripts of Scripture; also in the Greek Septuagint; in the catalogues of Melito , bishop of Sardis, A.D. 170 ( Eusebius , Ecclesiastical History, 4.26), and of others of the ancient Church.

Origen and Jerome tell us that the Jews forbade it to be read by any until he was thirty years old. It certainly needs a degree of spiritual maturity to enter aright into the holy mystery of love which it allegorically sets forth. To such as have attained this maturity, of whatever age they be, the Song of Songs is one of the most edifying of the sacred writings. Rosenmuller justly says, The sudden transitions of the bride from the court to the grove are inexplicable, on the supposition that it describes merely human love. Had it been the latter, it would have been positively objectionable, and never would have been inserted in the holy canon. The allusion to "Pharaoh's chariots" (So 1:9) has been made a ground for conjecturing that the love of Solomon and Pharaoh's daughter is the subject of the Song. But this passage alludes to a remarkable event in the history of the Old Testament Church, the deliverance from the hosts and chariots of Pharaoh at the Red Sea. (However, see on So 1:9). The other allusions are quite opposed to the notion; the bride is represented at times as a shepherdess (So 1:7), "an abomination to the Egyptians" (Ge 46:34); so also So 1:6; 3:4; 4:8; 5:7 are at variance with it. The Christian fathers, Origen and Theodoret , compared the teachings of Solomon to a ladder with three steps; Ecclesiastes, natural (the nature of sensible things, vain); Proverbs, moral; Canticles, mystical (figuring the union of Christ and the Church). The Jews compared Proverbs to the outer court of Solomon's temple, Ecclesiastes to the holy place, and Canticles to the holy of holies. Understood allegorically, the Song is cleared of all difficulty. "Shulamith" (So 6:13), the bride, is thus an appropriate name, Daughter of Peace being the feminine of Solomon, equivalent to the Prince of Peace. She by turns is a vinedresser, shepherdess, midnight inquirer, and prince's consort and daughter, and He a suppliant drenched with night dews, and a king in His palace, in harmony with the various relations of the Church and Christ. As Ecclesiastes sets forth the vanity of love of the creature, Canticles sets forth the fullness of the love which joins believers and the Saviour. The entire economy of salvation, says Harris , aims at restoring to the world the lost spirit of love. God is love, and Christ is the embodiment of the love of God. As the other books of Scripture present severally their own aspects of divine truth, so Canticles furnishes the believer with language of holy love, wherewith his heart can commune with his Lord; and it portrays the intensity of Christ's love to him; the affection of love was created in man to be a transcript of the divine love, and the Song clothes the latter in words; were it not for this, we should be at a loss for language, having the divine warrant, wherewith to express, without presumption, the fervor of the love between Christ and us. The image of a bride, a bridegroom, and a marriage, to represent this spiritual union, has the sanction of Scripture throughout; nay, the spiritual union was the original fact in the mind of God, of which marriage is the transcript (Isa 54:5; 62:5; Jer 3:1, &c.; Eze 16:1-63; 23:1-49; Mt 9:15; 22:2; 25:1, &c.; Joh 3:29; 2Co 11:2; Eph 5:23-32, where Paul does not go from the marriage relation to the union of Christ and the Church as if the former were the first; but comes down from the latter as the first and best recognized fact on which the relation of marriage is based; Re 19:7; 21:2; 22:17). Above all, the Song seems to correspond to, and form a trilogy with, Psalms 45 and 72, which contain the same imagery; just as Psalm 37 answers to Proverbs, and the Psalms 39 and 73 to Job. Love to Christ is the strongest, as it is the purest, of human passions, and therefore needs the strongest language to express it: to the pure in heart the phraseology, drawn from the rich imagery of Oriental poetry, will not only appear not indelicate or exaggerated, but even below the reality. A single emblem is a type; the actual rites, incidents, and persons of the Old Testament were appointed types of truths afterwards to be revealed. But the allegory is a continued metaphor, in which the circumstances are palpably often purely imagery, while the thing signified is altogether real. The clue to the meaning of the Song is not to be looked for in the allegory itself, but in other parts of Scripture. "It lies in the casket of revelation an exquisite gem, engraved with emblematical characters, with nothing literal thereon to break the consistency of their beauty" [ Burrowes ]. This accounts for the name of God not occurring in it. Whereas in the parable the writer narrates, in the allegory he never does so. The Song throughout consists of immediate addresses either of Christ to the soul, or of the soul to Christ. "The experimental knowledge of Christ's loveliness and the believer's love is the best commentary on the whole of this allegorical Song" [ Leighton ]. Like the curiously wrought Oriental lamps, which do not reveal the beauty of their transparent emblems until lighted up within, so the types and allegories of Scripture, "the lantern to our path" [Ps 119:105], need the inner light of the Holy Spirit of Jesus to reveal their significance. The details of the allegory are not to be too minutely pressed. In the Song, with an Oriental profusion of imagery, numbers of lovely, sensible objects are aggregated not strictly congruous, but portraying jointly by their very diversity the thousand various and seemingly opposite beauties which meet together in Christ.

The unity of subject throughout, and the recurrence of the same expressions (So 2:6, 7; 3:5; 8:3, 4; 2:16; 6:3; 7:10; 3:6; 6:10; 8:5), prove the unity of the poem, in opposition to those who make it consist of a number of separate erotic songs. The sudden transitions (for example, from the midnight knocking at a humble cottage to a glorious description of the King) accord with the alternations in the believer's experience. However various the divisions assigned be, most commentators have observed four breaks (whatever more they have imagined), followed by four abrupt beginnings (So 2:7; 3:5; 5:1; 8:4). Thus there result five parts, all alike ending in full repose and refreshment. We read (1Ki 4:32) that Solomon's songs were "a thousand and five. " The odd number five added over the complete thousand makes it not unlikely that the "five" refers to the Song of songs, consisting of five parts.

It answers to the idyllic poetry of other nations. The Jews explain it of the union of Jehovah and ancient Israel; the allusions to the temple and the wilderness accord with this; some Christians of Christ and the Church; others of Christ and the individual believer. All these are true; for the Church is one in all ages, the ancient typifying the modern Church, and its history answering to that of each individual soul in it. Jesus "sees all, as if that all were one, loves one, as if that one were all." "The time suited the manner of this revelation; because types and allegories belonged to the old dispensation, which reached its ripeness under Solomon, when the temple was built" [ Moody Stuart ]. "The daughter of Zion at that time was openly married to Jehovah"; for it is thenceforth that the prophets, in reproving Israel's subsequent sin, speak of it as a breach of her marriage covenant. The songs heretofore sung by her were the preparatory hymns of her childhood; "the last and crowning 'Song of Songs' was prepared for the now mature maiden against the day of her marriage to the King of kings" [ Origen ]. Solomon was peculiarly fitted to clothe this holy mystery with the lovely natural imagery with which the Song abounds; for "he spake of trees, from the cedar in Lebanon, even unto the hyssop that springeth out of the wall" (1Ki 4:33). A higher qualification was his knowledge of the eternal Wisdom or Word of God (Pr 8:1-36), the heavenly bridegroom. David, his father, had prepared the way, in Psalms 45 and 72; the son perfected the allegory. It seems to have been written in early life, long before his declension; for after it a song of holy gladness would hardly be appropriate. It was the song of his first love, in the kindness of his youthful espousals to Jehovah. Like other inspired books, its sense is not to be restricted to that local and temporary one in which the writer may have understood it; it extends to all ages, and shadows forth everlasting truth (1Pe 1:11, 12; 2Pe 1:20, 21).

Three notes of time occur [ Moody Stuart ]: (1) The Jewish Church speaks of the Gentile Church (So 8:8) towards the end; (2) Christ speaks to the apostles (So 5:1) in the middle; (3) The Church speaks of the coming of Christ (So 1:2) at the beginning. Thus we have, in direct order, Christ about to come, and the cry for the advent; Christ finishing His work on earth, and the last supper; Christ ascended, and the call of the Gentiles. In another aspect we have: (1) In the individual soul the longing for the manifestation of Christ to it, and the various alternations in its experience (So 1:2, 4; 2:8; 3:1, 4, 6, 7) of His manifestation; (2) The abundant enjoyment of His sensible consolations, which is soon withdrawn through the bride's carelessness (So 5:1-3, &c.), and her longings after Him, and reconciliation (So 5:8-16; 6:3, &c.; So 7:1, &c.); (3) Effects of Christ's manifestation on the believer; namely, assurance, labors of love, anxiety for the salvation of the impenitent, eagerness for the Lord's second coming (So 7:10, 12; 8:8-10, 14).