Song of Solomon 3:5

3:1-5 It was hard to the Old Testament church to find Christ in the ceremonial law; the watchmen of that church gave little assistance to those who sought after him. The night is a time of coldness, darkness, and drowsiness, and of dim apprehensions concerning spiritual things. At first, when uneasy, some feeble efforts are made to obtain the comfort of communion with Christ. This proves in vain; the believer is then roused to increased diligence. The streets and broad-ways seem to imply the means of grace in which the Lord is to be sought. Application is made to those who watch for men's souls. Immediate satisfaction is not found. We must not rest in any means, but by faith apply directly to Christ. The holding of Christ, and not letting him go, denotes earnest cleaving to him. What prevails is a humble, ardent suing by prayer, with a lively exercise of faith on his promises. So long as the faith of believers keeps hold of Christ, he will not be offended at their earnest asking, yea, he is well pleased with it. The believer desires to make others acquainted with his Saviour. Wherever we find Christ, we must take him home with us to our houses, especially to our hearts; and we should call upon ourselves and each other, to beware of grieving our holy Comforter, and provoking the departure of the Beloved.

I charge you, O ye daughters of Jerusalem,.... Which are either the words of Christ, adjuring the young converts not to disturb the church; who had now Christ in her arms, taking repose with him, being wearied with running about in search of him: or they are the words of the church; who having experienced a long absence of Christ, and having been at much pains in search of him, and now had found him, was very unwilling to part with him; and fearing these young converts should by any unbecoming word or action provoke him to depart, she gives them a solemn charge; by the roes and by the hinds of the field, that ye stir not up, nor awake my love, till he please; See Gill on Sol 2:7.

This verse is repeated from Song of Solomon 2:7 , where it is explained. The spouse exhorts herself and all her fellow members to be very circumspect, lest by any unkind or provoking carriage they should give Christ any cause to depart from them. He is supposed to allude to the custom of awakening the bridegroom and bride by songs and musical instruments.

5. So So 2:7; but there it was for the non-interruption of her own fellowship with Jesus Christ that she was anxious; here it is for the not grieving of the Holy Ghost, on the part of the daughters of Jerusalem. Jealously avoid levity, heedlessness, and offenses which would mar the gracious work begun in others (Mt 18:7; Ac 2:42, 43; Eph 4:30). Canticle III.—(So 3:6-5:1)—The Bridegroom with the Bride. Historically, the ministry of Jesus Christ on earth.

Verse 5. - I adjure you, O daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awaken love, until it please. This is the refrain which divides the poem. We thus perceive that the whole of the preceding passage has been uttered by the bride in the presence of the ladies. There is no occasion to connect a refrain very closely with the words which go before it. Like the ancient Greek chorus, it may express a general sentiment in harmony with the pervading feeling of the whole composition. In this case it seems to be a general note of praise, celebrating the preciousness of pure, spontaneous affection. There have been several beautiful and celebrated imitations of this first part of Solomon's Song, though they all fall far short of the original. Paul Gerhard has caught its spirit; Laurentius has copied it in his Advent Hymn. Watts, in bk. 1:66-78 of his 'Divine gongs;' 'Lyra Germanica;' Schaff's 'Christian Song;' and Miss Havergal, in some of her compositions, will furnish examples. Delitzsch quotes an ancient Latin imitation - "Quando tandem venies, meus amor?Propera de Libano, dulcis amor!Clamat, amat, sponsula. Veni, Jesu;Dulcis veni Jesu." This ends Part II., which sets before us the lovely beginning of this ideal love. We must then suppose that the writer imagines himself in Jerusalem, as though one of the court ladies, at the time that Solomon the king returns from the north, bringing with him his bride elect.

We pass, therefore, from the banqueting chamber, and recall the scenes which accompanied the arrival of Shulamith at Jerusalem. The remainder of the poem is simply the celebration of married love, the delight of the bridegroom in the bride and of the bride in her husband. The whole book concerns a bride, and not one who is about to be made a bride. Here the dream which is introduced is not the dream of a lover awaiting the beloved one, but the dream of a young wife whose bridegroom tarries. The third part is the nuptial rejoicings; the fourth part is the reminiscence of love days or of the early married life; and the fifth part, which is a conclusion, is a visit of Solomon and his bride to the country home of the latter, pointing to the depth and reality of the influence which this pure maiden had upon his royal nature. Song of Solomon 3:5

The closing words of the monologue are addressed to the daughters of Jerusalem. 5 I adjure you, O ye daughters of Jerusalem, By the gazelles or the hinds of the field, That ye awake not and disturb not love Till she pleases. We are thus obliged apparently to think of the daughters of Jerusalem as being present during the relation of the dream. But since Shulamith in the following Act is for the first time represented as brought from her home to Jerusalem, it is more probable that she represented her experience to herself in secret, without any auditors, and feasting on the visions of the dream, which brought her beloved so near, that she had him by herself alone and exclusively, that she fell into such a love-ecstasy as Sol 2:7; and pointing to the distant Jerusalem, deprecates all disturbance of this ecstasy, which in itself is like a slumber pervaded by pleasant dreams. In two monologues dramatically constructed, the poet has presented to us a view of the thoughts and feelings by which the inner life of the maiden was moved in the near prospect of becoming a bride and being married.

Whoever reads the Song in the sense in which it is incorporated with the canon, and that, too, in the historical sense fulfilled in the N.T., will not be able to read the two scenes from Shulamith's experience without finding therein a mirror of the intercourse of the soul with God in Christ, and cherishing thoughts such, e.g., as are expressed in the ancient hymn: Quando tandem venies, meus amor? Propera de Libano, dulcis amor! Clamat, amat sponsula: Veni, Jesu, Dulcis veni Jesu!