Song of Solomon 8:14

“Make haste, my beloved, etc.] These are the words of the church, to Christ, calling him her “beloved”; a title often used in this Song, (see <220113> Song of Solomon 1:13,14); and is continued to the last; for Christ was still the object of her love; and she had now a comfortable sense of her interest in him, and claimed it; and makes use of this title, not only to distinguish him from others, but to obtain her request the more easily, that he would “make haste”, and come; which may either be understood of his speedy coming in the flesh, and appearing on Mount Zion and in the temple, where the spicy and sweet smelling incense was offered; or of his spiritual presence, in his house and upon…”

“The poem having opened with the song of a chorus in praise of the king Song of Solomon 1:2-4, concludes with a versicle recited by the bride, repeating the last words of her former strain Song of Solomon 2:17, with one significant change. She no longer thinks of the possibility of separation. The “Mountains of Bether” (division) of Song of Solomon 2:17, are now “Mountains of Besamim” (spices). His haunts and hers are henceforth the same (compare Song of Solomon 4:6). return to 'Top of Page' Footnotes: Copyright Statement These files are public domain. Bibliographical Information Barnes, Albert. "Commentary on Song of Solomon 8". "Barnes' Notes on the Whole Bible".…”

“Make haste - Seeing we must part for a time, make haste, O my beloved bridegroom, and speedily finish the work which thou hast to do in the world, that so thou mayest take me to thyself, that I may live in thine everlasting embraces. Next: Isaiah Chapter 1”

“8:14 Come away, my love! She invites him to follow her, and he chases her with all the robust and exhilarating speed of a gazelle (see 2:8-10). • mountains of spices: Cp. 4:6.”

“Make haste: Heb. Flee away, Sol 2:17; Luk 19:12; Phi 1:23; Rev 22:17, Rev 22:20 Next: Isaiah Introduction”

“14 Flee, my beloved, And be thou like a gazelle, Or a young one of the harts, Upon spicy mountains. Hitzig supposes that with these words of refusal she bids him away from her, without, however, as "my beloved" shows, meaning them in a bad sense. They would thus, as Renan says, be bantering coquetry. If it is Solomon who makes the request, and thus also he who is addressed here, not the imaginary shepherd violently introduced into this closing scene in spite of the words "(the thousand) is thine, Solomon" ( Sol 8:12), then Shulamith's ignoring of his request is scornful, for it would be as unseemly if she sang of her own accord to please her friends, as it would be wilful if she kept silent…”