Song of Solomon 4:5

Thy two breasts are like two young roes that are twins, which feed among the lilies. THY TWO BREASTS - an image of the nutritive virtue in the Church. The bust is left open in Eastern dress. The breastplate of the high priest was made of "two" pieces, folded one on the other, in which were the Urim and Thummim (lights and perfection). 'Faith and love' are the double breastplate (), answering to 'hearing the Word' and 'keeping it,' in a similar connection with breasts (Luke 11:27). LIKE TWO YOUNG ROES. He reciprocates her praise (). Emblem of love and satisfaction (). Feed...

1-7 If each of these comparisons has a meaning applicable to the graces of the church, or of the faithful Christian, they are not clearly known; and great mistakes are made by fanciful guesses. The mountain of myrrh appears to mean the mountain Moriah, on which the temple was built, where the incense was burned, and the people worshipped the Lord. This was his residence till the shadows of the law given to Moses were dispersed by the breaking of the gospel day, and the rising of the Sun of righteousness. And though, in respect of his human nature, Christ is absent from his church on earth, and will continue to be so till the heavenly day break, yet he is spiritually present in his ordinances, and with his people. How fair and comely are believers, when justified in Christ's righteousness, and adorned with spiritual graces! when their thoughts, words, and deeds, though imperfect, are pure...

Verse Song of Solomon 4:5. _THY TWO BREASTS_ ARE _LIKE TWO YOUNG ROES_] I have met with many attempts to support this _similitude_, or rather to show that there is a _similitude_; but I judge them unworthy of citation. The poet speaks the _language of nature_; and in a case of this kind, where the impassioned lover attempts to describe the different perfections of his bride, language often fails him, and his comparisons and similitudes are often without strict correctness. In love songs we have heard ladies' _necks_ compared to that of the _swan_, not only for its _whiteness_, but also for its _length_! The description here shows more of _nature_ than of _art_, which I consider a high recommendation. _FEED AMONG THE LILIES._] It may be the _nipples_ especially, which the poet c

EXPOSITION SONG OF SOLOMON 4:1 BEHOLD, THOU ART FAIR, MY LOVE; BEHOLD, THOU ART FAIR; THINE EYES ARE AS DOVES BEHIND THY VEIL; THINE HAIR IS AS A FLOCK OF GOATS, THAT LIE ALONG THE SIDE OF MOUNT GILEAD. We commence, at this verse, the loving converse of the bridegroom with the bride, which we must suppose is heard as they travel together in the bridal procession. The words of adoring affection are chiefly spoken by the bridegroom, as is natural in the circumstances, and the reference to the journey, and its consummation in Song of Solomon 4:8, make it certain that the intention is to carry us in thought to the palanquin and the breathings of first love in bridal joy. The poetry is exquisite and truly Eastern, while yet absolutel

THY TWO BREASTS [ARE] LIKE TWO YOUNG ROES THAT ARE TWINS,.... Or, "two fawns, the twins of a doe": Providence, as Plutarch observes p, has given to women two breasts, that, should they have twins, both might have a fountain of nourishment; and are fitly compared to twins of the doe. The hind, for the most part, brings but one roe at a time; but there are some, the philosopher says q, bring twins; by which the beauty of the breasts is expressed: "young roes" may point at the smallness of them, large breasts are not accounted handsome; and "twins", at their equal size and shape, not one larger nor higher than the other, that would be a deformity; twins are generally alike; WHICH FEED AMONG THE LILIES; and are fat and plump: the allusion may be to the putting of lilies in the bosom, between the breasts, as other flowers; lilies are reckoned among the decorations of women, in the Apocryha:...

This is a chapter which is, perhaps, more adapted for private meditation than for rending in public. Nevertheless, as this is a communion season, and I trust that the most of us are partakers of the life of God, I could not resist reading it this evening. It is a love-song, the song of the loves of Jesus. As he sets forth the beauties and charms of his Church, may the like beauties and charms be found in every one of us through the grace which he imparts to us by his Spirit! May we, as parts of his mystical body, be fair and lovely in his esteem because he has bestowed upon us so much of his own loveliness! Let us walk so carefully with God that there may be nothing to put even a spot upon our garments, or to defile our grace-given comeliness. Song of Solomon 4:1. _Behold, thou art fair, my love; behold, thou art fair;_ «Twice fair, first, through being wa

CHAPTER 4 The King, the Bridegroom speaks of her, who is “perfect through His comeliness put upon thee” Ezekiel 16:14. He tells out all she is in His sight and loving estimation. He has called her from the lions' den, from the mountains of the leopards (Song of Solomon 4:8); she has passed through the fires of persecution and tribulation and now His heart expresses His delight in her. There are eight descriptions of her beauty. He tells her, “Behold thou art fair, my love, behold thou art fair.” And after the description of the beauty He beholds in her, whom He has brought out of the wilderness and out of the lions' den, He says, “Thou art all fair, MY love; and there is no spot in thee.” He assures her of His delight in her. It is all His own workmanship; she has not made herself fair w

DESCRIPTIVE POEM (_WASF_) SETTING FORTH THE BEAUTY OF THE BRIDE (_cf._ Song of Solomon 5:10; Song of Solomon 6:4, and see the Introduction). On the allegorical view, Christ here commends the beauty of His Church; the eyes are the ministers of the Gospel, or the eyes of the understanding; ministers of the Gospel are to be like doves in sincerity and simplicity, and the eyes of doves are clear and sharp-sighted; that the eyes are within her locks shows the mingling of light and dark in the knowledge of ministers, and also their modesty (J. Gill). The dramatic theory places this poem in the mouth of Solomon, who, in pressing his suit upon the Shulammite, praises her beauty. It is now admitted that such poems, with certain conventional forms, were used in connexion with

Song of Solomon 4:1-7. The Royal Suitor King Solomon is here the speaker, and in these verses he presses his suit anew by praise of the Shulammite's beauty. The whole song is evidently modelled, as several of the succeeding songs are, on the _wasf_or description of the bride, which is so prominent a thing at marriage festivals in Syria to this day. To have established this is Wetzstein's great merit, for until his _Essay on the Threshing-Board_appeared these descriptions were to a large extent inexplicable. But the discovery that the _wasf_is an ancient form of song connected by prescription with love and marriage explains its appearance here. In a series of love-songs disposed so as to give scenes of a connected narrative, it was natural and almost inevitable that the _wasf_should be imitated. It has been noticed by many that the spontaneity and origina

TEXT 4:1-7 _THIRD SCENEThe Lover's Interviews Song of Solomon 4:1_ to Song of Solomon 5:1 First Meeting (Jerusalem?): Shepherd's Monologue, Song of Solomon 4:1-7 1. Behold, thou art fair, my love; behold, thou art fair. Thine eyes are as doves behind thy veil. Thy hair is as a flock of goats, that lie along The side of Mount Gilead. 2. Thy teeth are like a flock of ewes that are newly shorn, Which are come up from the washing, Whereof every one hath twins, and none is bereaved among them. 3. Thy lips are like a thread of scarlet, and thy mouth is comely. Thy temples are like a piece of pomegranate behind thy veil.