PRINCETON, N. J. »»mwh idS.. 1 4 35 S* Hon ...*.JB. J. ' 2. (84,7 /V {ft., t% . x -.Ih/fofc COMMENTARY ON THE SONG OF SOLOMON. BY Rev. GEORGE BURROAVES, D. D. PROFESSOR OF BIBLICAL INSTRUCTION IN LAFAYETTE COLLEGE. SECOND EDITION, REVISED. PHILADELPHIA: JAMES S. CLAXTON, SUCCESSOR TO WM. B. & ALFRED MARTIEN, 1214 Chestnut Street. Entered according to Act of Congress, in the year 1853, by William S. Martien, In the Clerk's Office of the District Court of the Eastern District of Pennsylvania. CONTENTS PREFACE 5 INTRODUCTION 9 SUMMARY OF THE SONG 75 TRANSLATION. Chapter I. - - - - - 78 Chapter II. . - - - 79 Chapter III. - - - - - 81 Chapter IV. . - - - 82 Chapter V. 83 Chapter VI. . - - - 85 Chapter VII. - - - - - 86 Chapter VIII. - - - - 87 ANALYSIS OF THE SONG. Chapter I. - - - - 89 Chapter II. - - - - - 93 Chapter III. - - - - - 99 Chapter IV. ... - 102 Chapter V. 1^7 Chapter VI. - - - 110 Chapter VII. - - - - - HI Chapter VIII. - 115 4 CONTENTS. COMMENTARY ON THE SONG. Chapter I. 121 Chapter II. - - - - 218 Chapter III. .... - 274 Chapter IV. 298 Chapter V. 312 Chapter VI. .... 383 Chapter VII. - - - - - 401 Chapter VIII. - - - - 424 P 11 E F A C E . The notes which have grown into the following pages were begun amid the pious exercises and duties connected with the pastoral charge of a retired congregation, and without any idea of making a volume for the press. They have gradually taken their present form. The Analysis now stands, with no material alteration, as it was written some years ago; and subsequent research has brought to light no reason for changing the views then adopted concerning the general mean- ing of this portion of Scripture. To those who consider the misapprehension that has prevailed in reference to the Song, the Introduction may not seem unnecessarily long, inasmuch as an answer to G PRE F A C E. objections, an argument in defence of the alle- gorical meaning, and a statement of the principles of interpretation, are required before proceeding to the exposition. The Summary and Analysis give the writer's idea of the meaning of the Song. In the exposition, the aim has been to unfold the truth, in the way supposed the most desirable to a soul animated with fervent love for the Lord Jesus, and craving the hidden manna which the Holy Spirit has lodged in this precious portion of the Scriptures. The heart hungering and thirst- ing for righteousness, does not rest satisfied with the stalk and husks, but is anxious for the luscious kernel, of these fruits of eternal life. As here viewed, the Song is a continuous and coherent whole, illustrating some of the most exalted and delightful exercises of the believing heart. According to our exposition, there will not be found in the book a single passage to which the most fastidious taste can take the least exception. A correct interpretation of the book is its only proper vindication. Those who engage in the work of Scripture exposition, become best PREFACE. 7 aware of the difficulties of the undertaking; and while the writer is sensible of the difficulty attending a Commentary on the Song, and sub- mits this volume with diffidence to those who love the adorable Redeemer, he shall be happy if any- thing has been done, in however humble a degree, for enabling them to value this book, and draw herefrom truth for nourishing a more vigorous affection for their Beloved and their Friend. INTRODUCTION. The effect of sin has been to destroy in the human heart the love of God, and substitute for it the love of unworthy things. The object of redemption is the res- toration of man from his condition of .enmity against God, and from all the consequences of sin, to the posses- sion and enjoyment of perfect love to God. Hence, as hatred of God is the spirit of sin, love is represented as the essential grace, as the fulfilling of the law. The growth of the soul in holiness must be estimated, not by deep excitement, whether of ecstasy or of overwhelming sorrow, not by burning zeal or untiring activity, not by acquaintance with all mysteries and all knowledge, not by giving our goods to feed the poor and our body to be burned; but by the love which beareth all tilings, be- lieveth all things, hopeth all things, endureth all things. Long before the time of the apostle Paul, Plato had celebrated the excellence of this affection, though exer- cised in an inferior sphere. "It is proper to exhort every man to behave in all things piously towards the gods, that we may escape from the ills and obtain the good to which Love is our guide and commander; who confers on us the greatest benefits for the present, and for the future gives us the strongest hopes that if we pay the debt of piety to heaven, he will restore us to our original nature, and make us happy by healing our ills. 2 10 INTRODUCTION. Love appears to be himself the most beautiful and best; and to be the cause of such like beautiful things in other beings. lie it is who produces Peace amongst men, upon the sea a calm; Stillness on winds, on beds of sorrow sleep. It is he who divests us of all feelings of alienation, and fills us with those of friendship ; gracious to the good ; looked up to by the wise; admired by the inhabitants of heaven ; the parent of refinement, of tenderness, of ele- gance, and of grace; in labour, in fear, in wishes, and in discourse, the pilot, the encourager, the assistant, and best protector ; of gods and men, taken altogether, the ornament; a leader the most beautiful and best, in whose train it is the duty of every one to follow, bearing a part in that sweet song which he sings himself when soothing the mind of every one among divinities and men. '* To this love we are restored in sanctification. Per- fect sanctification carries with it perfect love. The death of Christ, the agency of the Holy Spirit, all the means of grace, all the dealings of Providence with the saints, converge on this one point, the forming anew in man of this lost love. As the sanctification of the soul is through the truth, we might therefore suppose, that in giving us the Scriptures, God would give full elucida- tions of this very important principle or affection. This he has been careful to do. He has shown love to be not only important but essential, 1 Cor. xiii. 1 — 3; has * Banquet, Stallbaum's ed., p. 15G. "Love is the leading passion of the soul; all the rest conform them- selves to it, desire and hope and fear, joy and sorrow." — Leighton. "The entire economy of salvation is constructed on the principle of restoring to the world the lost spirit of love."— Harris. N T R D U C T I N. 11 given a full and excellent definition of it as the root of our best and holy feelings. 1 Cor. xiii. 4 — 7; has shown its perpetuity, its superiority to knowledge, faith, and hope, and its inseparable connection with the happiness and existence of the soul of man, 1 Cor. xiii. 8 — 13; he has embodied it for our benefit in the living example of Jesus Christ; has shown that God, to whose image we must be restored, is love, 1 John iv. 8; has given the blood of his Son for removing the difficulty in the way of establishing in us this principle; and has sent his Spirit for forming it within us by a new creation, and for opening channels in the heart, through which its influence may reach and control all our other powers. All this has been necessary, because divine love is so perfectly opposite to our natural disposition. Its pre- sence makes us new creatures, gives us new workings of the affections, and prompts to new language from the lips. Now, it is not unreasonable to suppose that He who has given us such means for cherishing this heavenly affection would go farther, and add a description of the actual operations of a heart in which this love is found, and would give us language such as these emotions would naturally adopt in using the words of men; so that in giving utterance to this love, the saints should not be left to the uncertainty and danger of adopting such words as human error might suggest; but have readily furnished language of precision and beauty made ready to our hands by the same Spirit who is working within us this affection. Much of the difficulty and uncertainty of metaphysical disquisitions arises from the imperfection of language, and the want of precision in its use. Words are the signs of ideas, and if the lan- guage in which we hear or speak on any subject, be 12 INTRODUCTION. imperfect, our apprehension, as thus got on that subject, must be incorrect. It is important that those who have received a spiritual discernment of the things which are freely given to us of God, should be able to speak of them, not in words which man's wisdom teacheth, but in words which the Holy Ghost teacheth, 1 Cor. ii. 13, that the Spirit who prompts the emotion should furnish the language in which such emotion may find suitable Utter- ance for showing forth the praise of the Redeemer. This has been done for us in a beautiful manner in the Song of Solomon.* * This book is received as canonical for the following reasons. 1. We have seen that there is every ground for the presumption that the Divine Author of the Scriptures would give us a book on the sub- ject with which this is occupied. 2. There can be no presumption against it from the nature of the book, for there are other parts of Scripture containing the same kind of illustrations. 3. "Ezra wrote, and, we may believe," says Warburton, "acted by the inspiration of the Most High, amid the last blaze indeed, yet in the full lustre of expiring prophecy. And such a man would not have placed any book that was not sacred in the same volume with the law and the pro- phets." 4. The Song of Songs has always been a canonical book in the Jewish church. 5. Our Saviour and his apostles gave their sanc- tion to the canon of the Scriptures received by the Jewish church; in that canon this book had then a place; and therefore, though not quoted by Christ and the apostles, it clearly received their sanction as canonical. 0. In his Antiquities, (viii. 2, 5,) Josephus speaks of Solomon as inspired; and in his work against Apion, gives the number of their canonical books as thirty. nine: the Song is necessary to make up this number. 7. According to Eusebius, (iv. 26,) Melito, Bishop of Sardis, in the second century of the Christian era, went to Palestine for the purpose of ascertaining the sacred books of the Jewish canon, and found the Song of Solomon among the number. 8. Origen in the third century, Jerome, Augustine, and Theodorct in the fifth cen- tury, not to mention various others, all testify to the same point. The testimony of the Christian Church on this Bubject is uniform. This book, illustrating that love which is the very core of the believer's spi ritual life, is therefore a part of the Scriptures given by inspi- ration. INTRODUCTION. 13 The services of the Jewish ritual point out the way in which this newness of heart, this divine love may be attained by sinners. The Epistle to the Hebrews, as well as the general language of piety, shows how impos- sible it is to understand the work of Christ and the office of the Holy Spirit, without those typical allusions. The leprosy is the emblem of our spiritual state of nature; the sacrifices show the ground of pardon ; the sacred anointing oil, and the water of the laver, illustrate the excellency of the Holy Spirit, and his cleansing power, in developing those fruits, the first of which is love. In the same mode, by allegorical language and emblems, the Song shows what this affection is as already formed and in operation. The heart on which the work of the Spirit has been felt to the greatest extent can best tell how much at a loss we must be in speaking of spiritual exercises and love to Jesus, were Ave cut off from the lan- guage of this Song. Should the soul be influenced to these feelings by the Holy Spirit, and inclined to use such expressions of devoted love, without having at the same time a knowledge of this book as given by inspira- tion, we would hesitate, would feel ourselves guilty of presumption, and could not answer those who might upbraid us with irreverence or fanaticism. There are persons of undoubted piety, in the early stages of the Christian life, though having long borne the profession, who are as reluctant to believe the reality of the exer- cises of the most advanced Christians, as is the impeni- tent to admit the reality of the first emotions attending a change of heart; the error in both instances arises from unwillingness to believe what has not been personally experienced. If, in consequence of having never felt such deep emotions, persons of certain attainments in piety may object to this book as using language too 9* 14 INTRODUCTION. strong, tlic unrenewed heart may, -with the same pro- priety, doubt the reality of all the exercises of religion. Beyond controversy, there are spiritual exercises which can he hotter and more naturally expressed in the lan- gnage of this Song, than in any other portion of the Scriptures. And the Holy Spirit has put into our hands this precious scroll, written full of the characters of love, and whispers to us that we can never do wrong in speak- ing of Jesus in these terms ; and that we may judge of the nature of our love to him by our disposition to speak of him in such language, and by finding in our hearts emotions corresponding with these expressions. The several books of the word of God have some par- ticular aim and some leading topic. The Gospels furnish the life of God manifest in flesh; the Epistle to the Hebrews opens the doctrine of atonement as vicarious and possessing infinite value from the divine nature of Him who suffered; Proverbs embody the practical duties of daily life; the Psalms are the pious heart's language of devotion; the Song is its language of love. Devotion being the utterance of the different feelings of the soul in combination and resting with reverence on the majesty and goodness of God, and love being the bond which brings us into union with God and gives all our other powers their proper exercise, we find in the Psalms expressions in which to embody our general feelings of repentance, contrition, trust, veneration and praise; in the Song, the expressions are restricted to the various operations of the one exercise of love. These deepest spiritual emotions of the human soul are here exhibited in a way best adapted to the comprehension and wants of man. In the portraits of Shakspeare we have veins of a profound metaphysics, never surpassed, yet so arrayed in flesh and blood, that we overlook the mental abstrac- INTRODUCTION. 15 tions, in the beauty and attractiveness of their guise. And no metaphysical disquisition however laboured, no didactic statement however clear, could give as intelligi- bly as docs this Song, the nature of those exalted exer- cises of the human soul which constitute love to our redeeming Lord. Love to Jesus Christ becomes through sanctification, the strongest passion that can take possession of the human heart. Ambition, avarice, and passion may have more of the unnatural vigour attending fever; this carries with it the quiet, enduring energy of health, with suffi- cient power to consume those unhallowed principles, and bring into captivity every thought to the obedience of Jesus. The power of this love cannot be known without being felt; and none but those who have experienced the greatest intensity of it possible on earth, can be capable judges, whether any language used in expressing it may be exaggerated. The love of the pious heart to God being thus strong, and indeed not utterable even by the strongest terms; the love of God towards us is as incom- prehensible as his eternity, omnipresence, or Almighty power. If, therefore, ho condescends to illustrate to our comprehension the nature of this reciprocal love, the Holy Spirit must be expected to draw his comparisons from the strongest and tenderest instances of affection known among men, and use, in so doing, all the colouring that can be supplied even from the domains of poetry. Hence, in this Song, the relation of husband and bride is Belected. Nor is this comparison peculiar to the Song. It is used throughout the New no less than the Old Testament, and at the close of Revelation the Church is spoken of as the bride, the wife of the Lamb. The relation of father and son, imperfect though it be. is nevertheless the best that language can furnish for setting 16 INTRODUCTION. forth the union between the first and second persons of the Trinity; and the relation between husband and wife is the best known to us, for illustrating the union between Jesus and his redeemed. This union must be far more intimate and far more tender than the marriage relation. The attachment of two persons, strangers perhaps to each other previously during almost their whole life, must, even in its greatest purity, ripeness, and strength, fall very far below the love of Jesus for a soul he has formed for the end of loving him; whose constitution has been framed by sanctification of the Holy Ghost, according to what he can love and desires to love; whom he has allured to himself by overpowering manifestations of love ; whom he loved not merely from the first moments of its being, but even before the origin of its being; and who owes its being to his loving it before it was called into existence, even before the world began; over whose course he has watched from its first breath; for whose rescue from misery he did himself submit to death. ]>esides all this, he has the tender and incomprehensilile love of the infinite God. Such love on his part, demands corresponding affection on ours. And how can any earthly comparison reach the measure of this love, when it is such, th'at if any man hate not his father, and mother, and wife, and children, and brethren, and sisters, yea, and his own life also, he cannot be worthy of the love of his Lord. The comparison of father and son is not more imperfect in expressing the relation of the first and second persons of the Trinity, than is the love of the husband and wife, even when taken in the strongest terms, imperfect in unfolding the love of Christ for his people. This illustration <>f that love is the best we can now have; but like all human comparisons applied to God, falls very i'dv short of the truth. The expressions INTRODUCTION. 17 in the Song, however hyperbolical they may seem to some minds, give therefore nothing more than a shadow of this love. The language appears strong, not because it is exaggerated, but because we are not capable of appreciating the love of God. Now we see the love of Christ through a glass darkly, even in our brightest hours. Angels, who have a better understanding of the subject, see that this language, instead of being exagge- rated, is, as everything heavenly expressed in human language must be, very imperfect. Though the Holy Spirit has selected the most endearing relation on earth, the marriage state, and set forth the reciprocal affections of that relation in the glowing terms, ardent language, and richly coloured imagery of oriental poetry; the whole is not sufficient for enabling us to comprehend, in any other than an indistinct manner, the wondrous love of Christ, which passeth knowledge. Beset with the inseparable infirmity of human nature, an over estimate of ourselves, and forgetting that the difficulty in understanding it may lie mainly with us, we act as though capable judges of the extent of God's love, and of the way it should be expressed; and we censure the language of the Holy Spirit as improper and extra- vagant, because we know so little of this love as to be unable to see how incomprehensible its nature.* All the objections brought against the Song, arise from this source. Those who would reject it from the canon of Scripture, or, if retaining it, would pass it over in silence * "Would it not then be a sad thing, if, when there is true and Bound reasoning, one should not blame himself and his own want of skill, but Bhonld anxiously transfer the blame from himself to the argu- ments, and thereupon pass the rest of his life in hating and reviling arguments, and so be deprived of the truth and knowledge.' - — J'hito's Fkccdo, 90. 18 INTRODUCTION. as unfit for use in the present age, do this, not because it has less direct testimony than the other books in favour of its inspiration, but because its general character is not what they would expect to find in writing coming from God. No part of the Scriptures can show more uninter- ruptedly than this, the concurrent testimony of the Jew- ish and Christian churches. It bears the clearest inter- nal evidence of having been written by the author of Proverbs and Ecclesiastes. The affection here illustrated is a leading one in the Christian life; the mode of illus- trating it is the one generally employed in other parts of the word of God, and is indeed the best that could be used for the purpose. All this, certain opposers of the book will admit, but still object to it strenuously, through prejudices arising from what appears to them exagge- rated, if not indelicate expressions. Under these cir- cumstances, and in view of what has been already said concerning the impossibility of doing anything like full justice to the infinite love of God in human language, even adorned with the highest efforts of poetic genius; such persons would do well to reflect that the difficulty lies not in the book, but in themselves ; that the Holy Spirit can use no other than the best possible words; and that all these apparent imperfections might vanish under the influence of a keener spiritual discernment, and a deeper love. Different minds in which sin exerts an influence, have an affinity for different kinds of error, and an opposition to different kinds of truths. As sanc- tification releases us from our native corruptions by degrees, the < Ihristian life is a gradual progress in work- ing the soul loose from the dominion of error. Hence, some men reject the whole WOrd of God; others reject particular books; while some persons who receive as inspired the whole canon of Scripture, can never become INTRODUCTION. 10 reconciled to some of its doctrines. A defect in the intellectual or spiritual man is at the root of all this error. The defect is not in the pages of inspiration, but in the human heart.* Sir Joshua Reynolds gives this advice to young artists : " With respect to the pictures that you are to choose for your models, I would have you take those of established reputation, rather than follow your own fancy. If you should not admire them at first, you will, by endeavour- ing to imitate them, find that the world has not been mistaken. The habit of contemplating and brooding over the ideas of great geniuses, till you find yourself warmed by the contact, is the true method of forming an artist-like mind." Thus Dr. Arnold: "The cartoons of Raphael at Hampton Court Palace, the frescoes of the same great painter in the galleries of the Vatican at Rome, the famous statues of the Laocoon and the Apollo Belvidere, and the church of St. Peter at Rome, the most magnificent building perhaps in the world — all alike are generally found to disappoint a person on his first view of them. But let him be sure that they are excel- lent, and that he only wants the knowledge and the taste to appreciate them properly, and every succeeding sight of them will open his eyes more and more, till he learns to admire them, not indeed as much as they deserve, but * "The very essence of truth is plainness ami brightness; the dark- ness and crookedness is our own. The wisdom of God created under. Btanding tit and proportionable to truth, the object and end of it, as the eye to the thing visible. If our understanding have a film of ignorance over it, or be blear with gazing on other false glistenings, what is that to truth? If we will but purge with sovereign eye-salve that intellectual ray which God hath planted in us, then we would believe the Scriptures protesting their own plainness and perspicuity, calling to them to be instructed, not only the wise and the learned, but the simple." — Milton, Of Reformation in England, Book I. 20 INTRODUCTION. so much as greatly to enrich and enlarge his own mind, by becoming acquainted with such perfect beauty. So it is with great poets; they must be read often and studied reverently, before an unpractised mind can gain any thing like an adequate notion of their excellence. The reader must be convinced that if he does not fully ad- mire them, it is his fault, and not theirs. Here, as in everything else, humility is the surest path to exalta- tion." These remarks apply with the greatest force to the Scriptures, embodying as they do, in the noblest and most appropriate language, not the conceptions of the human intellect, but truths so unusual, so grand, and so ennobling, that even after having been revealed, they cannot be received by the natural man without a discern- ment imparted by the Spirit. The truths illustrated in this Song, are pre-eminently among those which are spiritually discerned. They are not so much the princi- ples of the doctrine of Christ, as the things which are brought more particularly into view as we go on unto perfection. The nature of the subject, love, makes it belong to the advanced part of the Christian life more especially; and as sanctification refines our spiritual per- ceptions, and by raising us from our degradation of dark- ness towards the condition of saints in light, gives us the ability to appreciate the love of Jesus — we see more and more beauty in this Song; we see in it nothing but beauty: we find our objections against it arose from the corrupt heart rather than from the book; we feel thank- ful that the Author of our faith has provided for us words so rich, so glowing, and so perfect for giving utter- ance to our emotions; and we rejoice to find, under the light of the Holy Ghost, our unsanctified misapprehen- sions giving place to the conviction, that the love of INTRODUCTION. 21 Jesus towards us is infinitely greater than is even here expressed. The Scriptures contain truths, promises, and illustra- tions, adapted to every variety of circumstances, and to every grade of religious experience. Particular truths can be fully understood, and the power of certain pro- mises can be adequately felt, only by our being brought into situations where the soul is made to feel the need of those truths and those promises. Here are innumerable gradations of truth adapted to the different degrees of the growth of the soul in grace, from the first exercises of conviction to the highest measure of sanctification attainable on earth. A particular development of our spiritual perceptions is requisite for feeling the beauty and power of any one of the portions of truth in this ascending scale; and as the unrenewed man, even with profound learning, fails to apprehend the perfection of holy beauty in passages with which he has a mere scien- tific acquaintance, the Christian, while understanding all the heart can know of the truths adapted to the steps of religious experience through which he has passed, may yet fail to comprehend and appreciate thoroughly, por- tions of holy writ lying in regions of pious exercises whereunto he has not attained. Three things are neces- sary for understanding perfectly the Scriptures: such an acquaintance with them as may be derived from human learning; the illumination of the Holy Spirit; and a position in the circumstances for which those truths were specially given and adapted. The two last are not inferior in importance to the first, and other things being equal, the man who has the advantage not only of the teaching of the Spirit, but of being led by Providence through the circumstances of life in which the want of certain promises is felt, and their comforting power 3 22 INTRODUCTION. enjoyed, will be better able than other persons to sec beauty, and richness, and glory, in many domains of gospel truths, which must have lain unobserved by him, had he not been drawn into these green pastures, and beside these still waters, by the Presence that dwelt amid the pillar of fire in the wilderness. Hence, this Song is not so much a favourite in the early Btage of the religious life, as at subsequent periods when we have grown in grace. It is the manual of the advanced Christian. When love has been more per- fected by the Spirit, hither do we come for expressions of that love. "When we arc anxious to hear from the lips of Jesus the fulness of his love to us, here do we rejoice to sit and listen. The Jews were not wrong when they represented this book as the holy of holies in the fabric of revelation; for assuredly, the voice here speaking, the living oracles here uttered, can be heard only by those who have been initiated into the mysteries of godliness and dwell under the shadow of the Almighty. Accordingly, this book has been a favourite with eminent Christians. While some persons versed in biblical lore, but ignorant of the alphabet of piety, can see nothing further in this Song than an amatory eclogue ; and others, whose piety we are far from doubting, can repre- sent these words given by inspiration, as "leading us away from pure and spiritual devotion," by "connecting amatory ideas and feelings with a devotional frame of mind;"* there is, and always has been, in the Church, a class of persons of no questionable character for ability, learning, or holiness, who esteem this book among the choicest portions of the word of God. "Were we to speak of the partiality of Lady Guyon for this book, some might reply, she was a mystic. Whether * Stuart on the old Testament, p. 874. INTRODUCTION. 23 mystic or not, far better would it be for the world, were the tone of her deep, fervent, energetic piety, more common. But who will bring the charge of mysticism against Leighton, Owen, Romaine, President Edwards, and Chalmers. That most profound of metaphysician-, the immortal author of the treatise on the Freedom of the Will, was peculiarly fond of the book of Canticles, and read and meditated much upon it. "The whole book of Canticles," says he, "used to be pleasant to me, and I used to be much in reading it about that time, and found from time to time an inward sweetness that would carry me away in my contemplations." The great leader of the Free Church of Scotland in her exodus, speaking of Dr. Pye Smith's asserting the non-inspiration of the Song, says: "It would bespeak not only a more pious but a more philosophic docility, to leave that book in undisturbed possession of the place which it now enjoys, where it might minister, as in ages heretofore, to the saintly and seraphic contemplations of the advanced Christian, who discovers that in this poem a greater than Solomon is here, whose name to him is as ointment poured forth, and who, while he luxuriates with spiritual satisfaction over pages that the world has unhallowed, breathes of the ethereal purity of the third heavens, as well as their ethereal fervour." Owen says: "Then may a man judge himself to have somewhat profited in the experience of a mystery of a blessed intercourse and communion with Christ, when the expressions of love in that holy Dialogue, the Song, do give light and life unto his mind, and efficaciously communicate unto him an experience of their power. But because these things are little understood by many, the book itself is much neglected, if not despised." In the words of the saintly McChcyne, "No book furnishes a better test than does 24 INTRODUCTION. the Song, of the depth of a man's Christianity. If his religion be in his head only, a dry form of doctrines ; or if it hath place merely in his fancy, like Pliable in Pil- grim's Progress, he will see nothing here to attract him. But if his religion have a hold on his heart, this will be a favourite portion of the word of God." Beza, the friend and associate of Calvin, writes : " Those instructed and advanced in the divine life, the writer of this Song does, as it were, carry away with him beyond the regions of earth to the contemplation of heavenly things — as though being now citizens of heaven, they might knock for admission at its gates." Butherford's Letters, so rich in pious affection and heavenly unction, take their colouring from the Song ; and McCheyne, who found in these "Letters" daily delight, though dying at the age of nine and twenty, had scarcely left himself a single text of the Song on which he had not already discoursed. When, therefore, this book is admitted to be inspired, and to have been sanctioned and loved by the ablest and most saintly men of even the present age, those who make these concessions, yet hold the book in disesteem, would act with humility and wisdom by feeling that the difficulty in appreciating it lies with themselves. Much of what is censured as exceptionable, disappears from the Song when read in the original, rather than in our translation, and properly understood. There are argu- ments on this point which we might urge, but on which we do not rely. It might be stated that the Song is in strict accordance with the nature of oriental poetry, and that many things which appear strange to us are but the peculiarities of this oriental costume. The Hebrew modes of thinking and writing, were different from ours ; though not more so than the habits of thought and diction yet found in the literature of eastern nations. INTRODUCTION. 25 Ancient fable mentions a person who possessed the power of turning everything lie touched into gold ; some minds possess the faculty of turning everything they touch into intellectual gold; others have the characteristic of turn- ing everything into impurity; even the grace of God into lasciviousness, and his truth into a lie. Much of the alleged indelicacy of this book, is the fault not of the author but of the translators, as may be seen by entering into the spirit of the original, or by reading any good translation, like that of Ilosenmiiller, Dopke, or John Mason Good. But on the points here mentioned we shall not in- sist. We take the higher and nobler ground, which we trust the subsequent exposition will show to be truth, that that there is nothing in this Song contrary to delicacy of taste and purity of thought. Even what are called by some persons the indelicate passages of holy writ, are far from being found in this Song. We venture to assert, that the parts looked on with most distrust, are capable of a natural interpretation incapable of offending the most sensitive modesty, and tending directly to our edi- fication in holiness. With the same reasonable spirit which is essential for enjoying the finest works of unin- spired genius, let us feel that this Song is everything it has been represented by an innumerable cloud of wit- nesses ; that Ave are not at liberty to reject or neglect a book so manifestly of Divine origin; that if the Song has been ridiculed by the corrupt heart, or misused to pur- poses of evil, the same has happened with almost every other portion of the Bible ; that all Scripture is given by inspiration of God, and is profitable ; and that by pa- tient continuance as learners at the feet of Him who is meek and lowly in heart, we shall become sensible of its beauties, and filled with admiring love. 3* 26 INTRODUCTION. As the enemy of souls contests every step of our pro- gress from error into the full light of truth, failing to make us reject this book as uninspired, or as improper for the use of the pure in heart, he will be equally satis- fied in depriving us of its benefit, by leading to a wrong interpretation. Much of the dislike to this Song, even by Christians, has arisen from the erroneous method pur- sued in the exposition, by some of the most pious com- mentators. Even a pious man may go astray, through a false theory of interpretation. There is no book in the Bible further removed than this Song, beyond the capability of an impious man, even of great learning, for giving a proper exposition. There are portions of Scrip- ture containing an unadorned statement of doctrine or facts, which a scholar who takes them up as he would an uninspired classic, may interpret fairly according to the literal meaning. Such a man may be called a commen- tator on the Scriptures, he can hardly be called an expounder of them. It is a dangerous error, and one into which the unsanctified heart is continually liable to fall, that learning is the one essential thing in biblical interpretation. The importance in this book of a well furnished head, may cause us to undervalue the aid necessary from a pious heart. Bringing to the subject of religion our modes of thinking on common topics, we forget that the Scriptures have difficulties which require spiritual discernment, no less than philological acumen, and that a man may "understand all mysteries and all knowledge," while destitute of the love which is the key to the solution of its deepest and most edifying problems. The mere philologist and antiquary perform an important work in the business of exposition. It is nothing more than the work of hewing the wood and drawing the water. In religious worship, the tendency of the heart, I M I It D U C T I N. '11 under its corrupt inclinations, is to exalt the ceremonial above the spiritual ; and in devotion to the study of the Scriptures, we are in danger of exalting the scientific above the spiritual; of resting in the means, rather than in the end; in learned investigation, rather than in the spiritual apprehension by the heart, of the truths to •which those investigations lead. The enemy of holiness and parent of error cares not in what -way he succeeds in keeping us from understanding the truth; whether by inducing us to neglect the essential aids of learning and study, under the fanatical impression that the Spirit will give all needed illumination without the use of means, or by leading us to rest in these scientific investigations alone, without the indispensable assistance of the Holy Spirit. Here, especially, must the well furnished head be found in alliance with a heart controlled by grace. There is no portion of the Scriptures which reijuires more than does this Song, a sanctified state of the affec- tions in him who undertakes the interpretation. With- out this, the marrow of the book cannot be relished or detected. Here, especially, are things which must be not so much philologically, as spiritually discerned; and which, to the natural mind, however learned, without the teaching of the Spirit, must appear as absolute foolish- ness. To such we may say, in the language of Herbert: "Slight imt these few -words; If truly Baid, they may take part Among the best in art. The fineness which a hymn or psalm affords, Is, when the soul unto the lines accords." In this Song, truth is taught, not by didactic state- ments, but by figurative illustrations. As the doctrines relating to the person and work of Jesus are not only set forth literally in the New Testament, but are illustra- 28 INTRODUCTION. ted by the emblems of the Jewish service ; so the recipro- cal love of Christ and his people, unfolded by plain state- ment in other portions of the Bible, is here elucidated by poetical imagery and comparisons. The types are cor- rectly interpreted by a knowledge of the doctrines of the New Testament, while those doctrines are in turn made clear only by intelligent acquaintance with the meaning of the types. And the love of the Redeemer and the re- deemed, as taught by himself ami his inspired disciples, is illustrated in the emblematical language of this Song; while, at the same time, the key to a knowledge of these instructive figures is found in acquaintance with the divine love here so beautifully elucidated. A single emblem or illustration, standing out by itself, is called a type or figure of things to come. "When the emblems are multiplied, and the figure continued to some length, the whole becomes an allegory. Such is the nature of this book. It is an allegorical illustration of the ope- rations of love in the bosom of the saint and of the Redeemer. Lowth defines an allegory to be " a figure, which, under the literal sense of the words, conceals a foreign or a distant meaning." Dividing allegories into three kinds, the continued metaphor, the parabolic allegory, and the mystical or historic allegory, he supposes this Song to belong to the third class, which conveys under the veil of some historical narrative a sacred and more elevated meaning. According to him, the parabolic alle- gory " consists of a continued narration of fictitious events, applied by way of simile to the illustration of some important truth." The difference between the his- toric and the parabolic allegory lies in this fact: in the latter, the incidents are partly or wholly fictitious; in the former they are entirely real. "We differ from him, in INTRODUCTION. 29 holding this book to belong to the parabolic, rather than the historic allegory. Fairbairn's definition is good:* "An allegory is a narrative, either expressly feigned for the purpose, or, if describing facts which really took place, describing them only for the purpose of represent- ing certain higher truths or principles than the narrative in its immediate representation, whether real or fictitious, could possibly have taught. The immediate representa- tion, therefore, is cither invented, or at least used, as a mere cover for the higher sense, which may refer to things ever so remote from those primarily denoted, if only the corresponding relations are preserved." The inquiry then arises — Receiving this book as a part of the canon, what reasons have we for giving it an allegorical interpretation? While proceeding to mention these, we consider the point as incontestably settled, that no por- tion of the Scriptures has a better right than this Song to a place among the pages of inspiration. Taking this book as canonical, are we to go no further than the literal import, or are we to give it an allegorical mean- ing? We expound it allegorically for the following reasons. 1. The reception of this book into the canon cannot be accounted for but on the ground that it represents alle- gorically the reciprocal love of Christ and his people. There must have been some reason for taking it into the canon. It could not have been for singing of carnal love : this the whole aim of the Scriptures opposes. And when such men as Umbreit, Amnion, and Yelthusen maintain that it consists of amatory epistles by Solomon, and Michaelis supposes it was placed here to guard against the opinions of those who hold conjugal love inconsistent with the love of God — they forget that a house divided * Fairbairn's Typology, vol. i. p. 10. 30 INTRODUCTION. against itself cannot stand; that as the design of the Scriptures is to effect the purity of heart necessary for seeing God, they cannot by any possibility sing of illicit love, or even the praises of conjugal affection. "Impos- sible! impossible!" says Aben Ezra, the celebrated rabbi, "that the Song of songs should treat of carnal love; everything is expressed in it in the "way of allegory. Were not the book of the highest dignity, it could never have been incorporated among the sacred writings. Nor on this point is there any controversy." To all such objections, the answer of Rosenmiiller is sufficient: "The universal genius and method of the sacred books exclude the idea of admitting among them songs about the ordi- nary love of man and woman." The marriage of Solomon was not a thing of such importance, as to warrant the Jews in placing among the sacred Scriptures a song restricted to this topic only, and uninspired. Nothing "was admitted into the canon that is not inspired, and that has not a direct bearing on the spiritual improvement of man — that is not profitable for instruction in righteous- ness. 2 Tim. iii. 16. 2. The allegorical interpretation is in perfect accord- ance with the spirit of oriental poetry. "The Song of songs is an oriental poem ; and this allegoric mode of describing the sacred union subsisting between mankind at large, or an individual and pious soul, and the great Creator, is common to almost all eastern poets, from the earliest down to the present age. It is impossible, without such an esoteric interpretation, to understand many of the passages of the chaste and virtuous Sadi, or the more impassioned Hafiz; and the Turkish commentators, Feri- dun, Sudi, and Seid Ali, following the example of the ancient Hushangis, have uniformly thus interpreted them, as they have also the writings of all the Sufi poets; INTRODUCTION. 31 though in many instances they have unquestionably pur- sued their mystic meaning to an extravagant length. The Leili and Mejnun of the Persians may be contem- plated as the royal bridegroom and his beloved spouse of the Hebrews. The former have furnished a subject for a variety of the bards of Iran. But whether, in the instance before us, Solomon intended, or not, to introduce the mystic allegory here assumed, it is incontrovertible that precisely such an allegory exists in the Mesnavi, or poem upon the loves of the same illustrious personages, Leili and Mejnun, by the elegant Nezami, who, as well as Hafiz, in the opinion of Sir William Jones, always appears to apply the name of Leili to the omnipresent Spirit of God. This emblematic mysticism in the bards of Iran, is quite as conspicuous in those of India; and the Vedantis, or Hindu commentators, have been as eager as the Sufis themselves to attribute such a double meaning to their compositions. Of all the poems of the East, by far the nearest in subject, style, and imagery, to the Song of Solomon, are the Gitagovinda,* or Songs of Jayadeva. The subject of the inimitable Jayadeva is the loves of Crishna and Radha, or the reciprocal attraction between the divine goodness and the human soul. His style, like that of the Hebrew bard, is in the highest degree flowery; his poem consists of distinct songs or idyls, some of which are soliloquies, and others dialogues; but all of them, like the Song of songs, confined to the same theme, and in some measure progressive in its history."f Major Scott "Waring says: "The Persians insist that we should give them the credit of understanding their own language; that all the odes of their celebrated poets are mystical, * A translation of this may be found in Adam Clark's Commentary on the Song, and in Sir William Jones's Works. f Song of songs, or Sacred Idyls, by John Mason Good, p. _i>. 32 INTRODUCTION. and breathe a fervent spirit of adoration towards the Supreme Being. They maintain that the poets, being generally Soofees, profess eager desire without carnal affection, and circulate the cup, but no material goblet, since all is spiritual to them, all is mystery within mys- tery. In fact, they regard the poetry as of the same nature as Solomon's Song; and, indeed, the fact that so large a proportion of the poetry of Western Asia, that is, of Arabia and Persia, is employed in the expression of religious emotions mystically, under the same image that we find there, is a very strong argument for the general opinion that the Canticles form a mystical, or allegorical, or religious poem, the details of which, although they seem to us hard to be understood, are perfectly intelligi- ble, in a sacred sense, to the Persian and Arabian of the present day, as they were to the ancient Hebrew." In his essay on the mystical poetry of the Persians and Hindus, Sir William Jones says all that need be said on this subject: "A figurative mode of expressing the fervour of devotion, or the ardent love of created spirits towards their beneficent Creator, has prevailed from time immemorial in Asia: particularly among the Persian thcists, both ancient Ilushangis and modern Sufis. This singular species of poetry consists almost wholly of a mystical religious allegory, though it seems, on a tran- sient view, to contain only the sentiments of a wild and voluptuous libertinism. Passages in Barrow on the love of God, and the mysterious union of the soul with him, border on quietism and enthusiastic devotion; and differ only from the mystical theology of the Sufis and Yogis, as the flowers and fruits of Europe differ in Bcent and flavour from those of Asia; or as European differs from Asiatic eloquence; the same strain, in poetical measure, would rise up to the odes of Spencer on divine INTRODUCTION. 33 love and beauty; and in a higher key, with richer embel- lishments, to the songs of Hafiz and Jayadeva, the rap- tures of the Masnavi, and the mysteries of the Bhagavat. Many zealous admirers of Ilafiz insist that by wine he invariably means devotion, by kisses and embraces the raptures of piety. The poet himself gives a colour in many passages to such an interpretation; and without it we can hardly conceive that his poems, or those of his numerous imitators, would be tolerated in a Musselman country, especially at Constantinople, where they are venerated as divine compositions."* The Sufis have a regular lexicon of large size, the express design of which is to give the allegorical meaning of the words most fre- quently used in this kind of poetry — as in the following specimens : wine means devotion ; sleep, meditation ; per- fume, religious hope; kiss, pious rapture; ebriety, reli- gious ardour; lips, mysteries of God; beauty, perfections of God; tresses, glory of God. As the Song is an oriental production, the allegorical interpretation is the natural one to a person acquainted with the spirit of oriental literature. To such, the literal interpretation is that which appears far-fetched, vapid, and unnatural. 3. The names employed to designate the two important persons in this Song, prove it to be an allegory. Sholo- moh and Shulamith differ from each other only as Cor- nelius differs from Cornelia. They are in as perfect keeping with the tenor of the allegory as John Banyan's Christian and Christiana are with the scope of the Pil- grim's Progress. According to prophecy, Jesus was to be called the Prince of Peace; and angels heralded his coming. as "peace on earth." The names here adopted * Sir W. Jones's essay on " The Mystical Poetry of the Persians ami Hindus." — Works, vol. i. p. 440. •34 INTRODUCTION. are in accordance with such a character — Shelomoh mean- ing Prince of peace; and Shulamith, the bride of Shelo- moh, the Princess of peace. 4. There are many things in the Song which cannot be explained by any knowledge we have of Hebrew cus- toms ; nor indeed in any way, without taking the book as an allegory, rather than a personal narrative, without reference to facts as existing, and solely to illustrate truth. Such departure from rigid facts and customs is allowable in an allegory. In reading history, our object is to have reproduced before the mind a picture of events as they really existed: in an allegory we look for nothing further than the illustration of truth ; and there- fore he who weaves it, is not bound, in bringing together the incidents, to follow any order of nature or of facts; but is at liberty to combine incidents in any way that imagination, guided by reason, sees conducive to the end in view. "By what other means," says Warburton, "except by revelation, can an allegorical writing be known to be allegorical, but by circumstances in it which cannot be reconciled to the story or fable that serves both for a cover and vehicle to the moral? "When the allegory is of some length, it can scarce be otherwise but that some circumstances in it must be varied from the fact to adapt it to the moral."* In such compositions as the vision of Mirza or of Theodore, the history of Seged or the Tilgrim's Progress, the adventures of Sir Guyon or of Faustus, we do not expect an adherence to facts, or even to probabilities. "The poet is universally allowed to place his personages, even when strictly historical, in circumstances which we know could not have been those that actually surrrounded them."f And we must notice * Warburton's Divine Legation, book iii. 274. f Edinbprgh Review, No. 181, p. 109. INTRODUCTION. 35 the difference between an allegory and a type. Types are incidents, personages, or objects, appointed under the Old Dispensation as illustration of truths to be thereafter fully revealed. The meaning conveyed by them is meta- phorical, but the incidents in which that meaning is em- bodied, are not to any degree imaginary, but are through- out real. While an allegory is a continued metaphor, the materials composing it may be drawn indiscriminately from the domains of fact or of fiction. This Song is not a typical, but an allegorical representation of the love of Christ and his Church, a love that existed and needed elucidation under the Old Economy, no less than under the New. Hence many things are found in it that are a deviation from Jewish customs, and from human facts; and are here written down for setting in a clear light this wondrous love. It will be sufficient now to refer to chap, iii. 2, chap. v. 7, and chap. iii. 10, "paved with love." Therefore it is that Rosenmiiller says, on chap. iii. 4, J line satis patet aA/jjoyr/.w^ Juec inteUigenda esse. And it is for obviating the difficulty arising from the disagree- ment of circumstances here mentioned, with Jewish anti- quities, that some commentators have resorted to the sup- position that a part of the incidents here recorded, occur- red only in a dream. When the book is viewed as an allegory, all these difficulties disappear. 5. The obvious connection of this Song with the forty- fifth and seventy-second psalms, is another claim for giving it an allegorical meaning. The thirty-seventh psalm bears a very strong resemblance to the book of Proverbs, and the thirty-ninth psalm to the book of Job; as the Song does to the psalms just mentioned. There arc certainly trilogies to be found in the book of Psalms, though we would run no parallel whatever between them and the trilogy of the Greek drama. Thus, according to 36 INTRODUCTION. Ilengstenberg, psalms cviii. ex. and cxi. form a trilogy. The same is true of the Song of Solomon, and psalm xlv. and lxxii. They are all the parts of a whole, and draw their imagery from the court and reign of Solomon. Psalm lxxii. represents the nature of the reign of the Prince of Peace as righteous, universal, gracious, and enduring; psalm xlv. sets forth, under the marriage of a noble, beauteous, conquering prince with a foreign prin- cess, the relation of the Messiah to his chosen people ; the Song of Solomon illustrates under a comparison drawn from the mutual affection of such a king and queen, doubtless the same referred to in psalm xlv. — the recipro- cal love of Jesus and his redeemed. The oldest inter- preters, both Jewish and Christian, give these two psalms no other than an allegorical interpretation. Considering, therefore, their identity with this book, in imagery, spirit, and aim, all correct principles of exposition require that we give to the Song, equally with them, an allegorical interpretation. 6. The Scriptures apply the spirit of this allegory to Christ and the Church. This is not indeed done within the narrow compass of the book called the Song. It is enough that such application be found in the limits of the Bible. The clew to the meaning of the parable of the sower was not given at the time it was spoken, but afterwards, when the disciples had been made to feel themselves unable to see through the mystery, and had come to Jesus for an explanation. The interpretation of this parable and of others, is as much detached from the parable as the grounds for explaining this Song are detached from the Song. The clew to the whole system of the Jewish ritual is not found till we come to the Epistle to the Hebrews. The solution of many of the prophecies given in allegorical dress, is to be got, not INTRODUCTION. 37 from any hints appended as to the specific facts pointed ont thereby, but only from the general meaning of such symbols in prophetical language, and from the future history of the world, viewed in comparison with such meaning. It is not a thing of the least moment, that the clew to a prophecy, parable, or allegory, be given in the book containing it, or by the man who gave it utterance. The material point is, that it be spoken by the Holy Spirit, and be found within the word of God. The various books of inspiration are merely different chapters in the one great volume of revelation. The whole has one Author, the divine Spirit of Wisdom, and whatever truths are there found, derive their authority, "not of men, neither by man," but from the presence of the Holy Ghost. And according to the laws of poetic com- position, we could not expect to find in Canticles itself, an indication that the book is an allegory, and that such is its meaning. The poem is more finished and more pleasant as a study, in its present form, than it could be with the thread of the allegory continually broken by interpolations concerning the meaning. Is it necessary, or in good taste, to write on an allegorical picture or piece of statuary, what it means. The finest allegorical poems, and the finest allegorical passages of poems not wholly allegorical, are framed on the same principle with this Song — of leaving much to be done by the reader towards threading out the literal meaning. Every piece of this kind is a species of enigma : the solution of this is to be sought at the lips of the Holy Spirit ; he will lay open the veins of wisdom here contained, to those who search for them as for hid treasures. Tin- question therefore is, Do we find in the Scriptures any clew to the meaning of an allegory like this? any thing leading us to suppose that such language may be 4* 38 INTRODUCTION. applied to the illustration of the love of Christ and his people? On this point we have full and satisfactory instructions. In many passages, the relation of husband and wife is used for setting forth the love and the rela- . tions of the Redeemer and the redeemed. This is, in truth, the leading and standing comparison on this sub- ject, throughout the whole Scriptures. For establishing the inspiration of a book, there is no necessity for it to be quoted by Christ and his Apostles, or for its illustrations to receive such sanction. The Song is not the only book in the Old Testament where this comparison is used. It is the leading and standing comparison on this subject. And how can there be a doubt concerning its meaning, after such language as this : "I have likened the daugh- ter of Zion to a comely and delicate woman." Jer. vi. 2. After such frequent repetition of it through the compass of revelation, one of the last things in the Scriptures is the setting of this allegory beyond all question, by call- ing the Church "the bride, the wife of the Lamb," Rev. xxi. 9; as though it was said, The bride alluded to in those many passages as the wife of the Lamb, is the redeemed Church. And how could we expect anything more satisfactory than the words of our Saviour, in Matt, xxii. 1 — 10, and xxv. 1 — 13? There the meaning is made clear by the restriction, "The kingdom of heaven is like unto a certain king which made a marriage." Here, therefore, we have a volume which the Holy Spirit has given to man by inspiration, consisting of different chapters, called by us books, published at inter- vals, through a succession of ages, according to his aviso arrangements in unfolding the plan of salvation. One of these chapters is occupied as an elucidation of the love of Christ and his people, by means of a comparison taken from the love of husband and wife. In perfect keeping INTRODUCTION. 39 with the laws of poetry, this allegory is not marred by the introduction of sentences giving a clew to its literal meaning. It lies in the casket of revelation, an exquisite gem, engraved with emblematical characters, with no- thing literal thereon to break the consistency of their beauty. But in other parts of this volume, its author, the Holy Spirit, has very distinctly stated that the bride there introduced is the redeemed Church, the sanctified soul; and that "her Maker is her husband, the Lord of Hosts is his name." 7. The Scriptures do more than merely apply the spirit of this allegory to Christ and his Church; they set forth the union of Christ and his Church, as a great fact on which the relation of marriage is founded, for being the illustration of this union to the comprehension of men. In Eph. v. 22 — 33, the apostle takes the truth of the oneness of Jesus and his people, and makes it the basis of an argument for illustrating and enforcing the duties of the marriage relation. These were very much violated in the heathen world, as they are even at the present day; they lie at the foundation of everything good and stable among men, and therefore required to be set in a very clear light, and on a very strong basis. This has been done. What, therefore, is that basis? It is nothing less than the union existing between Christ and his people, and the likeness of the relation between husband and wife to this union. He does not go from the marriage relation to the union of Christ and the Church, as though the former was the first and better estab- lished principle; but he comes down from the union of Jesus and his people, to the marriage relation, inas- much as that union was the first and best recognized fact, and the ground of the reciprocal duties of the mar- riage state. 40 INTRODUCTION. While man was formed in the image of God, and thus hears in his constitution certain endowments which are the likeness of certain attributes of the divine character; in his social relation, the union between husband and wife was intended to be an image of the relation existing between Jesus and the redeemed; just as the relation of father and son is an illustration of the union between two persons of the Trinity. In the purpose of God, this union existed before the creation of man and the institu- tion of the marriage relation. It was an original picture lodged in the mind of God, of a great and glorious fact thereafter to be developed, which it was necessary to unfold to man, and of which the marriage relation was a transcript. God could doubtless have made other arrangements for representing to us this spiritual rela- tion; it is sufficient for us to know that marriage has been shaped with reference to this end. Love in the human soul is the image of love in God, and the love of husband and wife is the image of that love of God in Christ exercised towards his people. This is not an uncertain figment of the fancy, but truth resting on the deliberate purpose of God the Creator. The apostle brings out distinctly several points on this topic; Christ is the head of the Church; — the Church is his body; — he is the Saviour of this body, by and through him it was created anew from its state of spiritual death; — this salvation or new creation is the result of his love, and is a strong exhibition of that love ; — it required him to leave heaven and suffer great sacri- fices; — it prompts him to foster and cherish the Church by sanctification ; — this is in order that the Church may be without spot or wrinkle, perfectly lovely; — the Church, as a consequence, is subject to Christ. He states these truths as the foundation of the follow ing INTRODUCTION. 41 duties: As Christ is the head of the Church, so the hus- band is the head of the wife ; as the Church is the body of Christ, so the wife is really one with the husband, as truly as the body of an individual is one with the person ; — as the Church is formed from Christ, so the wife was formed from the body of the husband; — as this forming of the Church is the result of his love, or for the purpose of gratifying that love, so the existence of the marriage relation calls into exercise the strongest affection of man; — as it required Jesus to leave the glory of the Father and heaven, so must a man leave father and mother and cleave to his wife;— as Christ fosters and cherishes the Church, so should a man foster and cherish his wife, even as his own body; — as this was done in order that the Church might be made more lovely, husbands should so cherish their wives as to bear with infirmities;— as the Church is subject to Christ, so must the wife be subject to the husband. According to the plain purport of this passage, this union is the appointed means for illustrating to us what is the nature of the relation between Christ and his people ; and the character of that relation cannot be understood in this world without studying this union. Therefore, in apply- ing to Christ and his Church the language of the Song, we are only using in words prepared for us by the Holy Spirit the illustrations which the Creator established on this subject when the world began. 8. Man was made in the image of God— that is, his nature or soul has been filled up with endowments which represent certain characteristics of the invisible God. These faculties are a living portrait of divine attributes, far from being perfect, yet correct as far as they go, and sufficient for our present wants until we are brought into a more perfect state and a clear vision of the divine 42 INTRODUCTION. glory. That such a state is before us, is evident from the promises given us of seeing God. Matt. v. 8; 1 Cor. xii. 12. "When, therefore, the Scriptures speak of God as hearing, seeing, loving, hating, &c, they do not use illustrations caught up at random, as when Ave use a common simile; but they are adopting as representations of the divine attributes things which were established for this purpose by the Creator. The furniture of the taber- nacle, and the Jewish ritual were not more definitely appointed by God as representations of divine things, than was the fabric of the human soul. And when God said, "Let us make man in our image," he meant, "Let us now form a creature who shall be a portrait, shall combine a likeness, of certain of our intellectual and moral perfections." Of those thus implanted in the soul, a leading one was love. "God is love." This affection was inlaid in the human heart for representing to us the love of God. When we ask of our Creator what is the character of his love to the saints, he replies, that in forming us in his image, he placed in the soul love as the image of his love; and that by studying the workings of this affection in the tenderest and dearest relations, we Avill see what he intended to be the standing represent- ation of his love to us. Love to God is the gem ; and the frame-work of the soul with its curious workmanship and costly finishing, is the setting wherein this brilliant is inlaid for reflecting the splendour of the divine love. This living temple of the human soul, which once stood in perfection, has been laid in ruins by sin; and the Bculpture bearing the image of the divine attributes has been, lying, like the alabaster slabs and statues of Nine- veh, dilapidated, defaced, and hidden Prom new. Some of the truths originally written on the chambers of the soul, but so sadly lost, have been brought to light again INTRODUCTION. 48 and written in the pages of Scripture — thence to be transferred by the Holy Spirit to the fleshly tablet of the heart. The love of God, engraved so gloriously on the soul at creation, but now so completely lost, has been rescued from ruins, and is set before us in this alabaster tablet of the Song, by the same original image, the love of the human heart — dim and broken indeed, yet the best means possible for illustrating the love of God to us, in our present state. By going down into the ruins of the soul, and exhuming the table on which is wrought in bold relief the affection of husband and wife, we shall find — though in lines broken and decayed — what our Creator has appointed as the image to us of the love of God. 9. Hence, the principle of allegorical instruction is found to be wrought into the very nature of man. The human soul is itself a living allegory: the truths it embodies and represents are truths relating to the character of God.* We are living emblems of the divine perfections. We were formed for being illustrations of the attributes of our invisible, spiritual Creator. Accord- ingly, when genius would make abstract truths tangible, intelligible, and attractive, resort is at once had to emblems, comparisons, and allegories. These constitute, to a great extent, the embellishments of poetry. Some of the greatest works of genius are pure allegories. This principle pervades the whole Pagan Mythology of all countries and all ages. Even facts have there received an allegorical shape for embalming them in the memory and making them interesting to the curiosity of future ages. "The ancients," says Bryant, ''loved to * "The system of the world may be called an allegorical fiction in which there is an outward bodily appearance wherein a meaning lies concealed, as the soul within the body." — Sattusi on the goda. 44 INTRODUCTION. wrap up everything in mystery and fable."* Which- ever of the two leading theories concerning the origin of Pagan idolatry be adopted, the principle here stated will appear true. The beautiful fable of Cupid and Psychef has the same aim with the Song of Solomon — the illus- tration of divine love towards the human soul. The interval between the two allegories is indeed as great as the difference between a state of nature and a state of grace — reason unaided and revelation — the glimmerings of fancy and the effulgence of the Holy Ghost; — they both however point to the one end — the human soul as the object of heavenly love. The pleasure and profit had from poetical personification is allied with this, and has its foundation in the nature of man. Many of the brightest gems of poetry are abstract truths and things personified; and when thus personified, are seen to assume a garb kindred to that of allegory. Since these principles are thus woven by nature into our being, God acts according to those laAvs in revealing to us his love through an allegorical guise. The love of God to us and our love to him, lie at the foundation of our eternal happiness. Whatever other knowledge may be possessed, we can never be happy without a practical acquaintance with these. There is, therefore, need that they be unfolded to us in the plainest manner, and according to the laws of our being. Those laws re- quire this to be done by allegory, such as is found in the Song. 10. As LeightoD says, "The experimental knowledge of Christ's loveliness and the believer's love, is the best * Analysis of Ancient Mythology, vol. ii. 98; Faber's Hovjb Mo- saiccB, ii. 231. f Apuleii Metfimorph. lib. iv. See also the remarks in Maurice's l!i