Song of Solomon 5:2

“I sleep, but my heart waketh, etc.] Like persons that are half awake, half asleep, whom Cicerof312 calls “semisomni”. Christ and the church having feasted together at his invitation, she soon after fell asleep, as the disciples did after a repast with their Lord; yet not so fast asleep but that she was sensible of it; for this was not the dead sleep of sin, in which unconverted men are, and are insensible of; nor a judicial slumber some are given up unto, and perceive it not, yet a frame of spirit unbecoming saints, and displeasing to Christ; though consistent with grace, which at such a time is not, or very little, in exercise; they are slothful in duty, and backward to it; the phrase is…”

“Some time may be supposed to have elapsed since the bride’s solemn espousals with the king Song of Solomon 4:7-1. A transient cloud of doubt or estrangement is now passing over her soul, as by the relation of this dream she intimates to her friends. Ancient allegorical interpreters find here a symbol of the condition and feelings of Israel during the Babylonian captivity, when the glories and privileges of Solomon’s Temple were no more, and the manifested presence of the Holy One had been withdrawn. Israel in exile seeks the Lord Song of Solomon 5:8, and will find Him again in the second temple Song of Solomon 6:3-9. I sleep, but my heart waketh - A poetical periphrasis for “I dream.”…”

“Asleep - I was dull, and sluggish. But - Yet in my very sleep my thoughts were running upon my beloved. It is - Between sleeping and waking, I heard his voice. Knocketh - By his word, and providence, and spirit, at the door of my heart. Open - Inviting me to let him into my soul. My love - This heap of kind compellations signifies Christ's fervent affection to his people. With dew - While I wait without thy door, which signifies his sufferings for the church's good. The drops - The dew which falls in the night. Song of Solomon (Canticles) 5:3”

“5:2–6:3 One verse earlier, the couple are fully enjoying their intimate union. Now the woman feels the torment of separation. In the dramatic interpretation, the woman has been separated from the man twice before and has searched for him (1:4-7; 3:1-4). This last time, the separation takes place in her dreams—it is only a nightmare. Her dream seems to extend to 6:3, given the natural flow of questions and answers between the woman and the young women of Jerusalem. • If the Song is an anthology, these poems explore love rather than giving accounts of actual events. This poem reminds us that an intimate relationship is not always easy or perfectly satisfying. 5:2 I slept, but my heart was…”

“sleep: Sol 3:1, Sol 7:9; Dan 8:18; Zac 4:1; Mat 25:4, Mat 25:5, Mat 26:40, Mat 26:41; Luk 9:32; Eph 5:14 the voice: Sol 2:8, Sol 2:10; Joh 10:4 knocketh: Rev 3:20 Open: Psa 24:7-10, Psa 81:10; Pro 23:26 my dove: Sol 2:14, Sol 6:9; Psa 119:1; Rev 3:4, Rev 14:4 my head: Sol 8:7; Gen 29:20, Gen 31:40, Gen 31:41; Isa 50:6, Isa 52:14, Isa 53:3-5; Mat 8:17, Mat 25:35-45; Mar 1:35; Luk 6:12, Luk 22:44; Co2 5:14, Co2 5:15; Gal 2:20 Song of Solomon (Canticles) 5:3”

“2 I sleep, but my heart keeps waking- Hearken! my beloved is knocking: Open to me, my sister, my love, My dove, my perfect one; For my head is filled with dew, My locks (are) full of the drops of the night. The partic. subst. clauses, Sol 5:2, indicate the circumstances under which that which is related in Sol 5:2 occurred. In the principal sentence in hist. prose ויּדפּק would be used; here, in the dramatic vivacity of the description, is found in its stead the interject. vocem = ausculta with the gen. foll., and a word designating (Note: דּופק is knocking is not an attribute to the determinate דּודי my beloved which it follows, but a designation of state or condition, and thus acc., as the…”