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■ 아가 1장
1. 솔로몬의 아가라
The song of songs , which is Solomon’s .
2. 내게 입맞추기를 원하니 네 사랑이 포도주보다 나음이로구나
Let him kiss me with the kisses of his mouth : for thy love is better than wine .
3. 네 기름이 향기로워 아름답고 네 이름이 쏟은 향기름 같으므로 처녀들이 너를 사랑하는구나
Because of the savour of thy good ointments thy name is as ointment poured forth , therefore do the virgins love thee.
4. 왕이 나를 침궁으로 이끌어 들이시니 너는 나를 인도하라 우리가 너를 따라 달려가리라 우리가 너를 인하여 기뻐하며 즐거워하니 네 사랑이 포도주에서 지남이라 처녀들이 너를 사랑함이 마땅하니라
Draw me, we will run after thee: the king hath brought me into his chambers : we will be glad and rejoice in thee, we will remember thy love more than wine : the upright love thee.
5. 예루살렘 여자들아 내가 비록 검으나 아름다우니 게달의 장막 같을지라도 솔로몬의 휘장과도 같구나
I am black , but comely , O ye daughters of Jerusalem , as the tents of Kedar , as the curtains of Solomon .
6. 내가 일광에 쬐어서 거무스름할지라도 흘겨보지 말 것은 내 어미의 아들들이 나를 노하여 포도원지기를 삼았음이라 나의 포도원은 내가 지키지 못하였구나
Look not upon me, because I am black , because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards ; but mine own vineyard have I not kept .
7. 내 마음에 사랑하는 자야 너의 양떼 먹이는 곳과 오정에 쉬게 하는 곳을 내게 고하라 내가 네 동무 양떼 곁에서 어찌 얼굴을 가리운 자 같이 되랴
Tell me, O thou whom my soul loveth , where thou feedest , where thou makest thy flock to rest at noon : for why should I be as one that turneth aside by the flocks of thy companions ?
8. 여인 중에 어여쁜 자야 네가 알지 못하겠거든 양떼의 발자취를 따라 목자들의 장막 곁에서 너의 염소 새끼를 먹일지니라
If thou know not, O thou fairest among women , go thy way forth by the footsteps of the flock , and feed thy kids beside the shepherds’ tents .
9. 내 사랑아 내가 너를 바로의 병거의 준마에 비하였구나
I have compared thee, O my love , to a company of horses in Pharaoh’s chariots .
10. 네 두 뺨은 땋은 머리털로, 네 목은 구슬 꿰미로 아름답구나
Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
11. 우리가 너를 위하여 금사슬을 은을 박아 만들리라
We will make thee borders of gold with studs of silver .
12. 왕이 상에 앉았을 때에 나의 나도 기름이 향기를 토하였구나
While the king sitteth at his table , my spikenard sendeth forth the smell thereof.
13. 나의 사랑하는 자는 내 품 가운데 몰약 향낭이요
A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts .
14. 나의 사랑하는 자는 내게 엔게디 포도원의 고벨화 송이로구나
My beloved is unto me as a cluster of camphire in the vineyards of En–gedi .
15. 내 사랑아 너는 어여쁘고 어여쁘다 네 눈이 비둘기 같구나
Behold, thou art fair , my love ; behold, thou art fair ; thou hast doves’ eyes .
16. 나의 사랑하는 자야 너는 어여쁘고 화창하다 우리의 침상은 푸르고
Behold, thou art fair , my beloved , yea, pleasant : also our bed is green .
17. 우리 집은 백향목 들보, 잣나무 석가래로구나
The beams of our house are cedar , and our rafters of fir .
■ 주석 보기
【아1:1 JFB】아1:1-17. Canticle I.—(아1:2-2:7)—The Bride Searching for and Finding the King.
1. The song of songs—The most excellent of all songs, Hebrew idiom (출29:37; 신10:14). A foretaste on earth of the "new song" to be sung in glory (계5:9; 14:3; 15:2-4).
Solomon's—"King of Israel," or "Jerusalem," is not added, as in the opening of Proverbs and Ecclesiastes, not because Solomon had not yet ascended the throne [Moody Stuart], but because his personality is hid under that of Christ, the true Solomon (equivalent to Prince of Peace). The earthly Solomon is not introduced, which would break the consistency of the allegory. Though the bride bears the chief part, the Song throughout is not hers, but that of her "Solomon." He animates her. He and she, the Head and the members, form but one Christ [Adelaide Newton]. Aaron prefigured Him as priest; Moses, as prophet; David, as a suffering king; Solomon, as the triumphant prince of peace. The camp in the wilderness represents the Church in the world; the peaceful reign of Solomon, after all enemies had been subdued, represents the Church in heaven, of which joy the Song gives a foretaste.
【아1:1 CWC】For the following we are indebted to "An Exposition and Vindication of Solomon's Song" by James Strong, S. T. D., who combines the literal and allegorical modes of interpretation -- the idea that the poem celebrates the royal marriage, and is also symbolic of the relation of Jehovah and His people in both dispensations. The details apply to the former, while the spiritual conceptions are foreshadowed in the latter.
Hebrew wedding festivities usually lasted a week, the marriage being consummated at the close of the first day, but here the nuptials seemed to have been postponed till the last day. The description, therefore, is not that of the honeymoon, but the wooing.
Strong distributes the drama into six acts corresponding to as many days -- not extending into the Sabbath -- and subdivides each into two scenes, morning and evening.
Act I. Scene 1.
This sub-section comprises verses 2-8 of chapter 1. The bride is an Egyptian princess, whose train of attendants has reached the royal portico at Jerusalem, and is met by the Israelitish maids of honor. Her thoughts are busy with anticipation of the greeting from her intended, and she expresses them, almost unconsciously, in the words, "Let him kiss me with the kisses of his mouth" (1-2). The ladies respond to the close of verse 3.
The bride orders the attendants to proceed. She being carried in a palanquin, a covered conveyance borne on the shoulders of men, and she exclaims, "Draw me," or "Bear me forward." The ladies respond, "We will run after thee!" Passing within the palace, she says, "The king hath brought me into his chambers" (his courts), and the ladies respond, to the close of verse 4.
The bride disparages her charms in verse 5, and a dialogue ensues between her and the ladies to the end of verse 8, where she is left awaiting the bridegroom in an ante-room.
If we seek the spiritual application of this, it is found in the expectant desire of true believers for the: second coming of Christ.
Act I. Scene 2.
This scene runs f롬1:9 to 2:6, and describes the introduction of the lovers to each other, in one of the interior reception chambers, in presence of the attendants.
The bridegroom expresses his admiration of the bride (verses 9 and 10), and the attendants respond, verse 11. Probably the bride speaks (12-14), her observations inspired by a glimpse of the nosegay ("spikenard") at her bosom. Compliments are passed between her and the bridegroom (1:15-2:3), and probably the symbolic language is suggested by the garden and its fountains that lie before them.
The bridegroom and his attendants retire, but the bride continues addressing the ladies (4-6). Overpowered with emotion at her lover's favor toward her, she begs restoratives from them, although she sighs for his personal support to keep her from sinking.
The scene is emblematic of the church's rapturous contemplation of her glorified state with Christ. And there is that in it which suggests the declaration of John the Baptist: "He that hath the bride is the bridegroom; but the friend of the bridegroom which standeth and heareth, rejoiceth greatly because of the bridegroom's voice" (요3:29).
Act II. Scene 1.
This scene (2:7-17) opens on the next morning, and represents the royal lover starting on a hunting trip. He serenades his sweetheart beneath her chamber window, urging her maidens not to awaken her (7). Her quick ear detects his voice, and she calls to her maidens concerning him (8-10), and repeats his song (10-14). A rougher voice, that of the gardener, is heard (15). Meanwhile the bride, having finished her toilet, is at the window acknowledging the song (16, 17).
【아1:1 MHCC】 The title. (아1:1) The church confesses her deformity. (아1:2-6) The church beseeches Christ to lead her to the resting-place of his people. (아1:7,8) Christ's commendation of the church, Her esteem for Him. (아1:9-17)
아1:1 This is 'the Song of songs,' excellent above any others, for it is wholly taken up with describing the excellences of Christ, and the love between him and his redeemed people.
아1:2-6 The church, or rather the believer, speaks here in the character of the spouse of the King, the Messiah. The kisses of his mouth mean those assurances of pardon with which believers are favoured, filling them with peace and joy in believing, and causing them to abound in hope by the power of the Holy Ghost. Gracious souls take most pleasure in loving Christ, and being loved of him. Christ's love is more valuable and desirable than the best this world can give. The name of Christ is not now like ointment sealed up, but like ointment poured forth; which denotes the freeness and fulness of the setting forth of his grace by the gospel. Those whom he has redeemed and sanctified, are here the virgins that love Jesus Christ, and follow him whithersoever he goes, 계14:4. They entreat him to draw them by the quickening influences of his Spirit. The more clearly we discern Christ's glory, the more sensible shall we be that we are unable to follow him suitably, and at the same time be more desirous of doing it. Observe the speedy answer given to this prayer. Those who wait at Wisdom's gate, shall be led into truth and comfort. And being brought into this chamber, our griefs will vanish. We have no joy but in Christ, and for this we are indebted to him. We will remember to give thanks for thy love; it shall make more lasting impressions upon us than any thing in this world. Nor is any love acceptable to Christ but love in sincerity, 엡6:24. The daughters of Jerusalem may mean professors not yet established in the faith. The spouse was black as the tents of the wandering Arabs, but comely as the magnificent curtains in the palaces of Solomon. The believer is black, as being defiled and sinful by nature, but comely, as renewed by Divine grace to the holy image of God. He is still deformed with remains of sin, but comely as accepted in Christ. He is often base and contemptible in the esteem of men, but excellent in the sight of God. The blackness was owing to the hard usage that had been suffered. The children of the church, her mother, but not of God, her Father, were angry with her. They had made her suffer hardships, which caused her to neglect the care of her soul. Thus, under the emblem of a poor female, made the chosen partner of a prince, we are led to consider the circumstances in which the love of Christ is accustomed to find its objects. They were wretched slaves of sin, in toil, or in sorrow, weary and heavy laden, but how great the change when the love of Christ is manifested to their souls!
아1:7,8 Observe the title given to Christ, O Thou whom my soul loveth. Those that do so, may come to him boldly, and may humbly plead with him. Is it with God's people a noon-time of outward troubles, inward conflicts? Christ has rest for them. Those whose souls love Jesus Christ, earnestly desire to share in the privileges of his flock. Turning aside from Christ is what gracious souls dread more than anything else. God is ready to answer prayer. Follow the track, ask for the good old way, observe the footsteps of the flock, look what has been the practice of godly people. Sit under the direction of good ministers; beside the tents of the under shepherds. Bring thy charge with thee, they shall all be welcome. It will be the earnest desire and prayer of the Christian, that God would so direct him in his worldly business, and so order his situation and employment, that he may have his Lord and Saviour always before him.
아1:9-17 The Bridegroom gives high praises of his spouse. In the sight of Christ believers are the excellent of the earth, fitted to be instruments for promoting his glory. The spiritual gifts and graces which Christ bestows on every true believer, are described by the ornaments then in use, 아1:10,11. The graces of the saints are many, but there is dependence upon each other. He who is the Author, will be the Finisher of the good work. The grace received from Christ's fulness, springs forth into lively exercises of faith, affection, and gratitude. Yet Christ, not his gifts, is most precious to them. The word translated 'camphire,' signifies 'atonement or propitiation.' Christ is dear to all believers, because he is the propitiation for their sins. No pretender must have his place in the soul. They resolved to lodge him in their hearts all the night; during the continuance of the troubles of life. Christ takes delight in the good work which his grace has wrought on the souls of believers. This should engage all who are made holy, to be very thankful for that grace which has made those fair, who by nature were deformed. The spouse (the believer) has a humble, modest eye, discovering simplicity and godly sincerity; eyes enlightened and guided by the Holy Spirit, that blessed Dove. The church expresses her value for Christ. Thou art the great Original, but I am but a faint and imperfect copy. Many are fair to look at, yet their temper renders them unpleasant: but Christ is fair, yet pleasant. The believer, 아1:16, speaks with praise of those holy ordinances in which true believers have fellowship with Christ. Whether the believer is in the courts of the Lord, or in retirement; whether following his daily labours, or confined on the bed of sickness, or even in a dungeon, a sense of the Divine presence will turn the place into a paradise. Thus the soul, daily having fellowship with the Father, the Son, and the Holy Spirit, enjoys a lively hope of an incorruptible, undefiled, and unfading inheritance above.
【아1:2 JFB】2. him—abruptly. She names him not, as is natural to one whose heart is full of some much desired friend: so Mary Magdalene at the sepulchre (요20:15), as if everyone must know whom she means, the one chief object of her desire (시73:25; 마13:44-46; 빌3:7,8).
kiss—the token of peace from the Prince of Peace (Lu 15:20); "our Peace" (시85:10; 골1:21; 엡2:14).
of his mouth—marking the tenderest affection. For a king to permit his hands, or even garment, to be kissed, was counted a great honor; but that he should himself kiss another with his mouth is the greatest honor. God had in times past spoken by the mouth of His prophets, who had declared the Church's betrothal; the bride now longs for contact with the mouth of the Bridegroom Himself (욥23:12; Lu 4:22; 히1:1, 2). True of the Church before the first advent, longing for "the hope of Israel," "the desire of all nations"; also the awakened soul longing for the kiss of reconciliation; and further, the kiss that is the token of the marriage contract (호2:19, 20), and of friendship (삼상20:41; 요14:21; 15:15).
thy love—Hebrew, "loves," namely, tokens of love, loving blandishments.
wine—which makes glad "the heavy heart" of one ready to perish, so that he "remembers his misery no more" (잠31:6, 7). So, in a "better" sense, Christ's love (합3:17, 18). He gives the same praise to the bride's love, with the emphatic addition, "How much" (아4:10). Wine was created by His first miracle (요2:1-11), and was the pledge given of His love at the last supper. The spiritual wine is His blood and His spirit, the "new" and better wine of the kingdom (마26:29), which we can never drink to "excess," as the other (엡5:18; compare 시23:5; 사55:1).
【아1:3 JFB】3. Rather, "As regards the savor of thy ointments, it is good" [Maurer]. In 아4:10, 11, the Bridegroom reciprocates the praise of the bride in the same terms.
thy name—Christ's character and office as the "Anointed" (사9:6; 61:1), as "the savor of ointments" are the graces that surround His person (시45:7, 8). 전7:1, in its fullest sense, applies to Him. The holy anointing oil of the high priest, which it was death for anyone else to make (so 행4:12), implies the exclusive preciousness of Messiah's name (출30:23-28, 31-38). So Mary brake the box of precious ointment over Him, appropriately (막14:5), the broken box typifying His body, which, when broken, diffused all grace: compounded of various spices, &c. (골1:19; 2:9); of sweet odor (엡5:2).
poured—(사53:12; 롬5:5).
therefore—because of the manifestation of God's character in Christ (요일4:9, 19). So the penitent woman (Lu 7:37, 38, 47).
virgins—the pure in heart (고후11:2; 계14:4). The same Hebrew is translated, "thy hidden ones" (시83:3). The "ointment" of the Spirit "poured forth" produces the "love of Christ" (롬5:5).
【아1:4 JFB】4. (1) The cry of ancient Israel for Messiah, for example, Simeon, Anna, &c. (2) The cry of an awakened soul for the drawing of the Spirit, after it has got a glimpse of Christ's loveliness and its own helplessness.
Draw me—The Father draws (요6:44). The Son draws (렘31:3; 호11:4; 요12:32). "Draw" here, and "Tell" (아1:7), reverently qualify the word "kiss" (아1:2).
me, we—No believer desires to go to heaven alone. We are converted as individuals; we follow Christ as joined in a communion of saints (요1:41, 45). Individuality and community meet in the bride.
run—Her earnestness kindles as she prays (사40:31; 시119:32, 60).
after thee—not before (요10:4).
king … brought me into—(시45:14, 15; 요10:16). He is the anointed Priest (아1:3); King (아1:4).
chambers—Her prayer is answered even beyond her desires. Not only is she permitted to run after Him, but is brought into the inmost pavilion, where Eastern kings admitted none but the most intimate friends (에4:11; 5:2; 시27:5). The erection of the temple of Solomon was the first bringing of the bride into permanent, instead of migratory, chambers of the King. Christ's body on earth was the next (요2:21), whereby believers are brought within the veil (엡2:6; 히10:19, 20). Entrance into the closet for prayer is the first step. The earnest of the future bringing into heaven (요14:3). His chambers are the bride's also (사26:20). There are various chambers, plural (요14:2).
be glad and rejoice—inward and outward rejoicing.
in thee—(사61:10; 빌4:1, 4). Not in our spiritual frames (시30:6, 7).
remember—rather, "commemorate with praises" (사63:7). The mere remembrance of spiritual joys is better than the present enjoyment of carnal ones (시4:6, 7).
upright—rather, "uprightly," "sincerely" (시58:1; 롬12:9); so Nathanael (요1:47); Peter (요21:17); or "deservedly" [Maurer].
【아1:5 JFB】5. black—namely, "as the tents of Kedar," equivalent to blackness (시120:5). She draws the image from the black goatskins with which the Scenite Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted with the splendid state tent in which the King was awaiting His bride according to Eastern custom); typifying the darkness of man's natural state. To feel this, and yet also feel one's self in Jesus Christ "comely as the curtains of Solomon," marks the believer (롬7:18, &c.; 8:1); 딤전1:15, "I am chief"; so she says not merely, "I was," but "I am"; still black in herself, but comely through His comeliness put upon her (겔16:14).
curtains—first, the hangings and veil in the temple of Solomon (겔16:10); then, also, the "fine linen which is the righteousness of saints" (계19:8), the white wedding garment provided by Jesus Christ (사61:10; 마22:11; 고전1:30; 골1:28; 2:10; 계7:14). Historically, the dark tents of Kedar represent the Gentile Church (사60:3-7, &c.). As the vineyard at the close is transferred from the Jews, who had not kept their own, to the Gentiles, so the Gentiles are introduced at the commencement of the Song; for they were among the earliest enquirers after Jesus Christ (마2:1-12): the wise men from the East (Arabia, or Kedar).
daughters of Jerusalem—professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (아3:10, 11); so near to Jesus Christ as not to be unlikely to find Him (아5:8); desirous to seek Him with her (아6:1; compare 아6:13; 7:1, 5, 8). In 아7:8, 9, the bride's Beloved becomes their Beloved; not, however, of all of them (아8:4; compare Lu 23:27, 28).
【아1:6 JFB】6. She feels as if her blackness was so great as to be gazed at by all.
mother's children—(마10:36). She is to forget "her own people and her father's house," that is, the worldly connections of her unregenerate state (시45:10); they had maltreated her (Lu 15:15, 16). Children of the same mother, but not the same father [Maurer], (요8:41-44). They made her a common keeper of vineyards, whereby the sun looked upon, that is, burnt her; thus she did "not keep her own" vineyard, that is, fair beauty. So the world, and the soul (마16:26; Lu 9:25). The believer has to watch against the same danger (고전9:27). So he will be able, instead of the self-reproach here, to say as in 아8:12.
【아1:7 JFB】7. my soul loveth—more intense than "the virgins" and "the upright love thee" (아1:3, 4; 마22:37). To carry out the design of the allegory, the royal encampment is here represented as moving from place to place, in search of green pastures, under the Shepherd King (시23:1-6). The bride, having first enjoyed communion with him in the pavilion, is willing to follow Him into labors and dangers; arising from all absorbing love (Lu 14:26); this distinguishes her from the formalist (요10:27; 계14:4).
feedest—tendest thy flock (사40:11; 히13:20; 벧전2:25; 5:4; 계7:17). No single type expresses all the office of Jesus Christ; hence arises the variety of diverse images used to portray the manifold aspects of Him: these would be quite incongruous, if the Song referred to the earthly Solomon. Her intercourse with Him is peculiar. She hears His voice, and addresses none but Himself. Yet it is through a veil; she sees Him not (욥23:8, 9). If we would be fed, we must follow the Shepherd through the whole breadth of His Word, and not stay on one spot alone.
makest … to rest—distinct from "feedest"; periods of rest are vouchsafed after labor (사4:6; 49:10; 겔34:13-15). Communion in private must go along with public following of Him.
turneth aside—rather one veiled, that is, as a harlot, not His true bride (창38:15), [Gesenius]; or as a mourner (삼하15:30), [Weiss]; or as one unknown [Maurer]. All imply estrangement from the Bridegroom. She feels estranged even among Christ's true servants, answering to "thy companions" (Lu 22:28), so long as she has not Himself present. The opposite spirit to 고전3:4.
【아1:8 JFB】8. If—she ought to have known (요14:8, 9). The confession of her ignorance and blackness (아1:5) leads Him to call her "fairest" (마12:20). Her jealousy of letting even "His companions" take the place of Himself (아1:7) led her too far. He directs her to follow them, as they follow Him (고전11:1; 히6:10, 12); to use ordinances and the ministry; where they are, He is (렘6:16; 마18:19, 20; 히10:25). Indulging in isolation is not the way to find Him. It was thus, literally, that Zipporah found her bridegroom (출2:16). The bride unhesitatingly asks the watchmen afterwards (아3:3).
kids—(요21:15). Christ is to be found in active ministrations, as well as in prayer (잠11:25).
shepherds' tents—ministers in the sanctuary (시84:1).
【아1:9 JFB】9. horses in Pharaoh's chariots—celebrated for beauty, swiftness, and ardor, at the Red Sea (출14:15). These qualities, which seem to belong to the ungodly, really belong to the saints [Moody Stuart]. The allusion may be to the horses brought at a high price by Solomon out of Egypt (대하1:16, 17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (사51:1; 벧전1:18, 19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (아1:5; 3:6, 7); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (아1:4) "run"; (아1:5) "comely." Also, like Pharaoh's horses, she forms a great company (계19:7, 14). As Jesus Christ is both Shepherd and Conqueror, so believers are not only His sheep, but also, as a Church militant now, His chariots and horses (아6:4).
【아1:10 JFB】10. rows of jewels—(겔16:11-13). Olerius says, Persian ladies wear two or three rows of pearls round the head, beginning on the forehead and descending down to the cheeks and under the chin, so that their faces seem to be set in pearls (겔16:11). The comparison of the horses (아1:9) implies the vital energy of the bride; this verse, her superadded graces (잠1:9; 4:9; 딤전2:9; 벧후1:5).
【아1:11 JFB】11. We—the Trinity implied by the Holy Ghost, whether it was so by the writer of the Song or not (창1:26; 잠8:30; 30:4). "The Jews acknowledged God as king, and Messiah as king, in interpreting the Song, but did not know that these two are one" [Leighton].
make—not merely give (엡2:10).
borders of gold, with studs of silver—that is, "spots of silver"—Jesus Christ delights to give more "to him that hath" (마25:29). He crowns His own work in us (사26:12). The "borders" here are equivalent to "rows" (아1:10); but here, the King seems to give the finish to her attire, by adding a crown (borders, or circles) of gold studded with silver spots, as in 에2:17. Both the royal and nuptial crown, or chaplet. The Hebrew for "spouse" (아4:8) is a crowned one (겔16:12; 계2:10). The crown is given at once upon conversion, in title, but in sensible possession afterwards (딤후4:8).
【아1:12 JFB】12. While—It is the presence of the Sun of Righteousness that draws out the believer's odors of grace. It was the sight of Him at table that caused the two women to bring forth their ointments for Him (Lu 7:37, 38; 요12:3; 고후2:15). Historically fulfilled (마2:11); spiritually (계3:20); and in church worship (마18:20); and at the Lord's Supper especially, for here public communion with Him at table amidst His friends is spoken of, as 아1:4 refers to private communion (고전10:16, 21); typically (출24:9-11); the future perfect fulfilment (Lu 22:30; 계19:9). The allegory supposes the King to have stopped in His movements and to be seated with His friends on the divan. What grace that a table should be prepared for us, while still militant (시23:5)!
my spikenard—not boasting, but owning the Lord's grace to and in her. The spikenard is a lowly herb, the emblem of humility. She rejoices that He is well pleased with her graces, His own work (빌4:18).
【아1:13 JFB】13. bundle of myrrh—abundant preciousness (Greek), (벧전2:7). Even a little myrrh was costly; much more a bundle (골2:9). Burrowes takes it of a scent-box filled with liquid myrrh; the liquid obtained by incision gave the tree its chief value.
he—rather, "it"; it is the myrrh that lies in the bosom, as the cluster of camphire is in the vineyards (아1:14).
all night—an undivided heart (엡3:17; contrast 렘4:14; 겔16:15, 30). Yet on account of the everlasting covenant, God restores the adulteress (겔16:60, 62; 호2:2, &c.). The night is the whole present dispensation till the everlasting day dawns (롬13:12). Also, literally, "night" (시119:147, 148), the night of affliction (시42:8).
【아1:14 JFB】14. cluster—Jesus Christ is one, yet manifold in His graces.
camphire—or, "cypress." The "hennah" is meant, whose odorous flowers grow in clusters, of a color white and yellow softly blended; its bark is dark, the foliage light green. Women deck their persons with them. The loveliness of Jesus Christ.
vineyards—appropriate in respect to Him who is "the vine." The spikenard was for the banquet (아1:12); the myrrh was in her bosom continually (아1:13); the camphire is in the midst of natural beauties, which, though lovely, are eclipsed by the one cluster, Jesus Christ, pre-eminent above them all.
En-gedi—in South Palestine, near the Dead Sea (수15:62; 겔47:10), famed for aromatic shrubs.
【아1:15 JFB】15. fair—He discerns beauty in her, who had said, "I am black" (아1:5), because of the everlasting covenant (시45:11; 사62:5; 엡1:4,5).
doves' eyes—large and beautiful in the doves of Syria. The prominent features of her beauty (마10:16), gentleness, innocence, and constant love, emblem of the Holy Ghost, who changes us to His own likeness (창8:10, 11; 마3:16). The opposite kind of eyes (시101:5; 마20:15; 벧후2:14).
【아1:16 JFB】16.Reply of the Bride. She presumes to call Him beloved, because He called her so first. Thou callest me "fair"; if I am so, it is not in myself; it is all from Thee (시90:17); but Thou art fair in Thyself (시45:2).
pleasant—(잠3:17) towards Thy friends (삼하1:26).
bed … green—the couch of green grass on which the King and His bride sit to "rest at noon." Thus her prayer in 아1:7 is here granted; a green oasis in the desert, always found near waters in the East (시23:2; 사41:17-19). The scene is a kiosk, or summer house. Historically, the literal resting of the Babe of Beth-lehem and his parents on the green grass provided for cattle (Lu 2:7, 12). In this verse there is an incidental allusion, in 아1:15, to the offering (Lu 2:24). So the "cedar and fir" ceiling refers to the temple (왕상5:6-10; 6:15-18); type of the heavenly temple (계21:22).
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웹 브라우저 주소창에 'https://foreverorkr.tistory.com/pages/' 다음에 '창1' 처럼 성경 약자와 장 번호를 입력하면 해당 장으로 바로 이동할 수 있다. 상단의 '한글듣기'와 '영어듣기' 우측의 플레이 아이콘을 누르면 읽는 성경을 들으며 읽을 수 있다.(읽는 성경의 출처는 https://mp3bible.ca , https://www.wordproject.org 이다) 성경 번역본은 개역 한글과 킴제임스 버전(KJV)이다. 주석은 세 가지로 CWC는 Christian Workers' Commentary, MHCC는 Matthew Henry's Concise Commentary, JFB는 Commentary Critical and Explanatory on the Whole Bible을 의미한다.