Song of Solomon Chapter 4

“Behold, thou [art] fair, my love; behold, thou [art] fair, etc.] The same as in (<220115>Song of Solomon 1:15); here repeated by Christ, to introduce the following commendation; to express the greatness of his love to his church; and show that he had the same opinion of her, and esteem for her, notwithstanding what had passed between that time and this; thou [hast] doves’ eyes within thy locks; the same comparison, (see Gill on “<220115>Song of Solomon 1:15”); only with this difference, here her eyes are said to be “within [her] locks”: which, whether understood of the ministers of the Gospel; or of the eyes of…”

“Contrast with the bride's state by nature (Isa 1:6) her state by grace (Sol 4:1-7), "perfect through His comeliness put upon her" (Eze 16:14; Joh 15:3). The praise of Jesus Christ, unlike that of the world, hurts not, but edifies; as His, not ours, is the glory (Joh 5:44; Rev 4:10-11). Seven features of beauty are specified (Sol 4:1-5) ("lips" and "speech" are but one feature, Sol 4:3), the number for perfection. To each of these is attached a comparison from nature: the resemblances consist not so much in outward likeness, as in the combined sensations of delight produced by contemplating these natural objects.…”

“Thou hast doves’ eyes ... - Thine eyes are doves behind thy veil. So also in Song of Solomon 4:3; Song of Solomon 6:7; Isaiah 47:2, “veil” is better than “locks.” That appear from ... - Or, “that couch upon Mount Gilead.” The point of comparison seems to be the multitudinousness of the flocks seen browsing on the verdant slopes of the rich pasture-lands Numbers 32:1; Micah 7:14. return to 'Top of Page'”

“Behold - These words are evidently spoken by the bridegroom. Fair - Being clothed with my righteousness, and adorned with all the graces of my spirit. Fair - He repeats it both to confirm his assertion, and to shew the fervency of his affection. Dove's eyes - Whereas the beauty of the spouse is here described in her several parts, we need not labour much about the application of each particular to some distinct grace of the church, this being the chief design of the description to shew that compleatness and absolute perfection which the church hath in part received, and shall more fully receive in the future…”

“4:1–5:1 The consummation of the marriage is now expressed. • This poem is the first “descriptive poem” in the book (see also 5:10-16; 6:4-6; 7:2-8). Scholars commonly refer to these poems by the Arabic term wasf (“description”); these poems are similar in form to songs sung at modern Arabic weddings. These sensuous poems are preludes to sexual intimacy. In their descriptions of physical beauty, they often move—as this one does—from the head downward. 4:1 my darling (literally companion): The man is about to consummate his love with the one who is his friend as well as lover (see also 4:7). • like a flock of goats…”

“my: Sol 4:9, Sol 4:10, Sol 1:15, Sol 2:10, Sol 2:14; Psa 45:11; Eze 16:14; Co2 3:18 thou hast: Sol 5:12; Mat 11:29; Phi 2:3-5 thy hair: Sol 5:11, Sol 6:5, Sol 6:7, Sol 7:5 appear from: or, eat of, etc mount: Num 32:1, Num 32:40 Song of Solomon (Canticles) 4:2”

“1a Lo, thou art fair, my friend! yes, thou art fair! Thine eyes are doves behind thy veil. The Gr. Venet. translates, after Kimchi, "looking out from behind, thy hair flowing down from thy head like a mane." Thus also Schultens, capillus plexus; and Hengst., who compares πλέγμα, Ti1 2:9, and ἐμπλοκὴ τριχῶν, Pe1 3:3, passages which do not accord with the case of Shulamith; but neither צמם, Arab. ṣmm, nor ṭmm signifies to plait; the latter is used of the hair when it is too abundant, and ready for the shears. To understand the hair as denoted here, is, moreover, inadmissible, inasmuch as מבעד cannot be used…”