Songs 3:1-5:16

Acts 2, SCENE 1 This scene embraces the first four verses of chapter 2, and is a soliloquy of the bride in the nature of a troubled dream troubled because of anxiety for her lover’s safety in the chase. It is emblematical of the temporary interruption experienced in the fellowship of Christ’s people with their Lord.

Acts 3, SCENE 1 We are here dealing with the events of Song of Solomon 3:5-11 of this same chapter, and which are supposed to have occurred on the third morning. The royal procession advances, bearing the spoils of the preceding day’s excursion. Solomon again sends a caution to the bride’s maids against breaking her slumber (Song of Solomon 3:5). She is alert, however, and exclaims to her attendants as in verse 6, who reply in Song of Solomon 3:7-8. She recognizes the palanquin (Song of Solomon 3:9), and the maidens tell her of its construction (Song of Solomon 3:10). The latter are then permitted by her to make a closer inspection (Song of Solomon 3:11).

Acts 3, SCENE 1 We are now in the fourth chapter to which may be added the first verse of chapter five. Solomon has left the palanquin, and approaching the window of his bride, sings the praises of her person, which a partly drawn veil discloses (Song of Solomon 5:1-7). “His thoughts running upon his favorite rural haunts, he proposes future excursions to these spots, especially his garden, with which he compares his beloved in her gorgeous and perfumed attire” (Song of Solomon 5:8-16).

She receives these ecomiums with modest silence, and then suggests that he do not wait for her to share his enchanting retreat. This observation he turns into another compliment that she herself, her presence, is his garden, whereupon, turning to his companions, he bids them share with him the luxury of the moment (Song of Solomon 5:1).

There is a term occurring (Song of Solomon 1:2; Song of Solomon 1:4; Song of Solomon 4:10; Song of Solomon 7:12) which Strong translates “loves” or “love tokens,” and which, he says, cannot mean kisses, or other fond endearments as some have interpreted them; but as the contexts show, the cosmetic odors, perhaps from a love-charm casket which the bride may have worn on the occasion. That no erotic sentiment is couched under the figures of this scene is shown by the closing invitation of the lover to his companions. From which we may conclude that no double meaning is intended by the similar metaphors in Song of Solomon 7:7-9, and following.

Compare corresponding passages of the Bible which express God’s favor for His people and the love they should show towards Him (Isaiah 62:5; Ezekiel 16:10-13; Zephaniah 3:14; Zephaniah 3:17; Ephesians 5:25-27).

Acts 4, SCENE 1 The morning scene of the fourth day (Song of Solomon 5:2 to Song of Solomon 6:3) contains the recital of a nightmare illusion of the bride addressed to the ladies in her private apartment. In the opinion of Strong, Song of Solomon 5:15 is to be interpreted of the snowy linen leggings, in contrast with the gilt sandals worn by Solomon. His knocking at the door for admission is borrowed in the Savior’s address to the church of Laodicea (Revelation 3:20). The description of the bridegroom’s person is in keeping with the manifestations of the Redeemer in both Testaments (Ezekiel 1:26-27; Daniel 10:5-6; Revelation 1:13-15).