Song of Solomon 3:10

3:6-11 A wilderness is an emblem of the world; the believer comes out of it when he is delivered from the love of its sinful pleasures and pursuits, and refuses to comply with its customs and fashions, to seek happiness in communion with the Saviour. A poor soul shall come up, at last, under the conduct of the Comforter; like a cloud of incense ascending from the altar, or the smoke of the burnt-offerings. This signifies pious and devout affections, and the mounting of the soul heaven-ward. The believer is filled with the graces of God's Spirit; his devotions now are very lively. These graces and comforts are from the heavenly Canaan. He, who is the Peace of his people, the King of the heavenly Zion, has provided for the safe conveyance of his redeemed through the wilderness of this world. The bed, or palanquin, was contrived for rest and easy conveyance, but its beauty and magnificence showed the quality of its owner. The church is well guarded; more are with her than are against her: believers, when they repose in Christ, and with him, though they have their fears in the night, are yet safe. The chariot here denotes the covenant of redemption, the way of our salvation. This is that work of Christ, which makes him loved and admired in the eyes of believers. It is framed and contrived, both for the glory of Christ, and for the comfort of believers; it is well ordered in all things and sure.

The blood of the covenant, that rich purple, is the cover of this chariot, by which believers are sheltered from the wind and storms of Divine wrath, and the troubles of this world; but the midst of it is that love of Christ which passes knowledge, this is for believers to repose upon. Christ, in his gospel, manifests himself. Take special notice of his crown. Applying this to Christ, it speaks the honour put upon him, and his power and dominion.

(10) Bottom. —Heb., rephidah = supports. Probably the back of the litter on which the occupant leaned. The midst thereof . . .—Literally, its interior paved love from the daughters of Jerusalem. There are three possible renderings. (1) Its interior made bright by a lovely girl of, &c; and (2) its interior paved in a lovely way by, &c; (3) its interior tesselated as a mark of love by, &c. The last of these does the least violence to the text as it stands, but very possibly some words have dropped out between ratzuph, paved, and ahabah, love.

A stately bed hath king Solomon made for himself of woods (or trees) of the Lebanon. The word rendered "bed" occurs nowhere else in Scripture, and is of doubtful etymology and meaning. It may denote here (1) the bride's car or litter; or (2) a more magnificent vehicle provided for her reception on her entrance into the city, and in which perhaps the king goes forth to meet her. It has been made under Solomon's own directions of the costliest woods (ceda and pine) of the Lebanon; it is furnished with "pillars of silver" supporting a "baldachin" or "canopy of gold" (not "bottom" as in the King James Version), and with "a seat (not 'covering') of purple cushions," while "its interior is paved with (mosaic work, or tapestry of) love from (not 'for') the daughters of Jerusalem;" the meaning being that this part of the adornment is a gift of love, whereby the female chorus have testified their goodwill to the bride, and their desire to gratify the king.

The pillars thereof; whereby the chariot is either supported or adorned; which may signify either, 1. Ministers, who are called pillars , Galatians 2:9 , and that of silver, because they are, or should be, pure and precious, like silver. Or, 2. The firmness and certainty of Christ’s word, both of his doctrines and promises, which also are pure as silver , Psalm 12:6 . Although there is no necessity that either this or the following particulars should be distinctly applied to several things in or about the gospel; but this in the general may suffice, that as all these particulars are added to show the perfection and beauty of the chariot, so they do imply that Christ’s word is every way amiable, and perfect, and able to make the man of God perfect. The bottom ; either, 1. The couch or seat, which was made of or covered with cloth of gold. Or, 2. The under and lower part, which was at least covered with pure gold. Whereby he may seem to understand the foundation of the word and promises, which is either God’s covenant, or Christ’s mediation, in whom all the promises are yea and amen. The covering; either, 1. The curtains, whereby persons in the chariot are covered or hid from the sight of the people. Or rather, 2. The uppermost part of it, either in the outside or the inside of it. Some render the word, the seat or seats. Of purple ; which represents Christ’s blood, which is our propitiatory or covering to shelter us from God’s wrath.

The midst; the inward parts, especially those between the upper and lower parts, which have been already mentioned. Paved, covered and adorned, with love; with beautiful and lovely ornaments, such as curious embroidery, enriched with gold and precious stones; love being here put for lovely objects, as fear is oft put for terrible things, as hath been oft noted. Whereby we may understand the love of Christ to the sons of men, or his lovely life, and death, and resurrection, &c.; which is the most amiable part and matter of the word or gospel. For the daughters of Jerusalem; for their delight and comfort, who are all concerned and bear a part in this marriage.

10. pillars—supporting the canopy at the four corners; curtains at the side protect the person within from the sun. Pillars with silver sockets supported the veil that enclosed the holy of holies; emblem of Jesus Christ's strength (1Ki 7:21), Margin, "silver," emblem of His purity (Ps 12:6); so the saints hereafter (Re 3:12). bottom—rather, "the back for resting or reclining on" (Vulgate and Septuagint) [Maurer]. So the floor and mercy seat, the resting-place of God (Ps 132:14) in the temple, was gold (1Ki 6:30). covering—rather, "seat," as in Le 15:9. Hereafter the saints shall share His seat (Re 3:21). purple—the veil of the holiest, partly purple, and the purple robe put on Jesus Christ, accord with English Version, "covering." "Purple" (including scarlet and crimson) is the emblem of royalty, and of His blood; typified by the passover lamb's blood, and the wine when the twelve sat or reclined at the Lord's table. paved—translated, like mosaic pavement, with the various acts and promises of love of Father, Son, and Holy Ghost (Zep 3:17; 1Jo 4:8, 16), in contrast with the tables of stone in the "midst" of the ark, covered with writings of stern command (compare Joh 19:13); this is all grace and love to believers, who answer to "the daughters of Jerusalem" (Joh 1:17). The exterior silver and gold, cedar, purple, and guards, may deter, but when the bride enters within, she rests on a pavement of love.

10 . the pillars thereof ] The supports of the canopy or roof. the bottom thereof ] Rather, the back , that upon which one leans. Cp. LXX ἀνάκλιτον, Vulg. reclinatorium . the covering of it ] the seat of it . purple ] i.e. the seat of it is upholstered with purple, argâmân . This is the red purple, which is sometimes so dark as to be almost black. It is to be distinguished from the violet or cerulean purple which is těkhçleth . Both words are found in Assyrian inscriptions as argamannu and takiltu . Attempts to derive argâmân from a Heb. root are practically abandoned, and Benary’s suggestion that it is the Sanscrit râgaman = ‘red,’ an adj. derived from râga , ‘red colour,’ with the formative syllable mat or vat (cp. Addit. Ges. Thes . p. 90), is probable; more especially as the Aramaic form of the word, argěwân , can be explained by another adj. form of the same word, viz. râgavan , which is identical in meaning with râgaman . the midst thereof being paved with love, for the daughters of Jerusalem ] This is a very difficult phrase to understand, and it has been very variously interpreted. The A.V. can hardly be right in rendering ‘love for the daughters of Jerusalem,’ for the preposition is min which cannot mean for . The R.V. has, more correctly, from the daughters of Jerusalem . paved with love ] Lit. paved as to love , the word being an adv. accus. The translation is grammatically correct. (Cp.

Davidson, Synt . § 78, R. 2.) But what does ‘paved with love from the daughters of Jerusalem’ mean? Gesenius in his Thes . translates, “paved in a lovely manner by the daughters of Jerusalem,” but besides that the prep. min cannot be used for the causa efficiens with the passive, the word ‘love’ is not found elsewhere in such a sense. Del. translates, made up as a bed, from love on the part of the daughters of Jerusalem , and explains it to mean that they, from love to the king, have procured a costly tapestry which they have spread over the purple cushion. Oettli, following the LXX, takes love to mean, ‘a mark of love,’ and translates, “the middle of it adorned as a mosaic, a love-gift on the part of the daughters of Jerusalem.” Budde would change the order of the words, and reading hôbhânîm = ‘ebony’ for ahăbhâh = ‘love,’ would translate, “its seat is inlaid with ebony, its centre purple.” If the text is corrupt this may perhaps have been its original form. But of the text as it stands Delitzsch’s rendering seems to be the best, except that wrought as a mosaic would be better than made up as a bed . Song of Solomon 3:10

Another voice now describes the splendour of the bed of state which Solomon prepared in honour of Shulamith: 9 A bed of state hath King Solomon made for himself Of the wood of Lebanon. 10 Its pillars hath he made of silver, Its support of gold, its cushion of purple; Its interior is adorned from love By the daughters of Jerusalem. The sound of the word, the connection and the description, led the Greek translators (the lxx, Venet., and perhaps also others) to render אפּריון, by φορεῖον, litter palanquin (Vulg. ferculum). The appiryon here described has a silver pedestal and a purple cushion - as we read in Athenaeus v. 13 (II p. ed. Schweigh.) that the philosopher and tyrant Athenion showed himself "on a silver-legged φορεῖον, with purple coverlet;" and the same author, v. 5 (II p. , also says, that on the occasion of a festal procession by Antiochus Epiphanes, behind 200 women who sprinkled ointments from golden urns came 80 women, sitting in pomp on golden-legged, and 500 on silver-legged, φορεῖα - this is the proper name for the costly women's-litter (Suidas: φορεῖον γυναικεῖον), which, according to the number of bearers (Mart. VI 77: six Cappadocians and, ix. 2, eight Syrians), was called ἑξάφορον (hexaphorum, Mart. II 81) or ὀκτώφορον (octophorum, Cicero's Verr. v. 10).

The Mishna, Sota ix. 14, uses appiryon in the sense of φορεῖον: "in the last war (that of Hadrian) it was decreed that a bride should not pass through the town in an appiryon on account of the danger, but our Rabbis sanctioned it later for modesty's sake;" as here, "to be carried in an appiryon," so in Greek, προιέναι (καταστείχειν) ἐν φορείω. In the Midrash also, Bamidbar rabba c. 12, and elsewhere, appiryon of this passage before us is taken in all sorts of allegorical significations in most of which the identity of the word with φορεῖον is supposed, which is also there written פּוּרון (after Aruch), cf. Isaiah 49:22, Targ., and is once interchanged with פאפליון, papilio (parillon), pleasure-tent. But a Greek word in the Song is in itself so improbable, that Ewald describes this derivation of the word as a frivolous jest; so much the more improbable, as φορεῖον as the name of a litter (lectica) occurs first in such authors (of the κοινή) as Plutarch, Polybuis, Herodian, and the like, and therefore, with greater right, it may be supposed that it is originally a Semitic word, which the Greek language adopted at the time when the Oriental and Graeco-Roman customs began to be amalgamated. Hence, if mittā Sol 3:7, means a portable bed, - is evident from this, that it appears as the means of transport with an escort, - then appiryon cannot also mean a litter; the description, moreover, does not accord with a litter.