Attributed commentary excerpt
Keil & Delitzsch on Song of Solomon 5:15
A historical reference excerpt for this verse. Read it alongside the biblical text and other available sources.
Commentary on the Old Testament
C. F. Keil & F. Delitzsch · 19th-century historical commentary
Source: BibleWord.ai's local reference edition of this named work.
15a His legs white marble columns, Set on bases of fine gold. If the beauty of the living must be represented, not by colours, but in figurative language, this cannot otherwise be done than by the selection of minerals, plants, and things in general for the comparison, and the comparison must more or less come short, because dead soulless matter does not reach to a just and full representation of the living. Thus here, also, the description of the lower extremity, which reaches from the thighs and the legs down to the feet, of which last, in the words of an anatomist, (Note: Hyrtl's Lehrbuch der Anat. des Menschen, sec. 155.) it may be said that "they form the pedestal for the bony pillars of the legs." The comparison is thus in accordance with fact; the שׁוקים (from שוק = Arab. saḳ, to drive: the movers forward), in the structure of the human frame, take in reality the place of "pillars," and the feet the place of "pedestals," as in the tabernacle the wooden pillars rested on small supports in which they were fastened, Exo 26:18. But in point of fidelity to nature, the symbol is inferior to a rigid Egyptian figure. Not only is it without life; it is not even capable of expressing the curvilinear shape which belongs to the living. On the other hand, it loses itself in symbol; for although it is in conformity with nature that the legs are compared to pillars of white (according to Aquila and Theod., Parian) marble, - שׁשׁ = שׁישׁ, Ch1 29:2 (material for the building of the temple), Talm. מרמרא, of the same verbal root as שׁוּשׁן, the name of the white lily, - the comparison of the feet to bases of fine gold is yet purely symbolical. Gold is a figure of that which is sublime and noble, and with white marble represents greatness combined with purity. He who is here praised is not a shepherd, but a king. The comparisons are thus so grand because the beauty of the beloved is in itself heightened by his kingly dignity. (Note: Dillmann proposes the question, the answer to which he desiderates in Ewald, how the maiden could be so fluent in speaking of the new glories of the Solomonic era (plants and productions of art). Bttcher answers, that she had learned to know these whilst detained at court, and that the whole description has this ground-thought, that she possessed in her beloved all the splendour which the women of the harem value and enjoy. But already the first words of the description, "white and ruddy," exclude the sunburnt shepherd. To refer the gold, in the figurative description of the uncovered parts of the body, to this bronze colour is insipid.) 15b His aspect like Lebanon, Distinguised as the cedars. By בּחוּר the Chald. thinks of "a young man" (from בּחר = בּגר, to be matured, as at Psa 89:20); but in that case we should have expected the word כּארז instead of כּארזים. Luther, with all other translators, rightly renders "chosen as the cedars." His look, i.e., his appearance as a whole, is awe-inspiring, majestic, like Lebanon, the king of mountains; he (the praised one) is chosen, i.e., presents a rare aspect, rising high above the common man, like the cedars, those kings among trees, which as special witnesses of creative omnipotence are called "cedars of God," Psa 80:11 \[10\]. בּחוּר, electus, everywhere else an attribute of persons, does not here refer to the look, but to him whose the look is; and what it means in union with the cedars is seen from Jer 22:7; cf. Isa 37:24. Here also it is seen (what besides is manifes…
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