Глава 3

1–5. The Shulamite anxiously searches for her Beloved at night and finally finds him. 6–11. The ceremonial exit of King Solomon and the celebration of his marriage. Song 3:1. On my bed at night I looked for the one whom my soul loves, I looked for him and did not find him. Song 3:2. I will get up and walk through the city, through the streets and squares, and will look for the one whom my soul loves; I looked for him and didn’t find him. Song 3:3. I was met by guards going around the city: “Have you seen him whom my soul loves?” Song 3:4. But as soon as I left them, I found the one whom my soul loves, grabbed hold of him, and did not let him go until I brought him to my mother’s house and to the inner rooms of my parent. Song 3:5. I conjure you, daughters of Jerusalem, with chamois or deer of the field: do not wake or disturb your beloved as long as she pleases. Everything that is told here takes place in the dead of night (v. 1) and relates more to the dreams and dreams of the Shulamite than to reality, in which, according to biblical-Jewish concepts, it would be indecent for a bride to look for a groom at night through the streets of the city (probably Jerusalem), cf. Proverbs 7.11. A much more satisfactory meaning is given by the allegorical explanation of this chapter. “The beloved (sun and earth) parted with mutual longing and sorrow. Especially the earth cannot calm down, it feels sick, it cannot lie on its bed. Verses 1–2 of the third chapter are a beautiful poetic depiction of that hidden struggle that is felt in Palestinian nature at night, that trembling that stands in the air itself and makes everything around it seem to tremble. The earth is looking for the sun and will soon find it (the spring night is not long.) The section ends, like the previous one, with a spell addressed to the population of Palestine - not to spoil the harmony and love that reigns in the Palestinian nature boiling with honey and milk” (Olesnitsky, pp. 370–371). The Midrash interprets this section about the religious and civil life of Israel during the nights (i.e. captivities) of Egypt, Babylonia, Media, Greece and Rome (s. 82). Song 3:6. Who is this, rising from the desert like columns of smoke, fumigated with myrrh and incense, all sorts of powders of the world brewer? Song 3:7. This is his bed - Solomon's: sixty mighty men around him, of the mighty men of Israel. Song 3:8. They all wield a sword and are experienced in combat; Every one has a sword at his hip for the fear of the night. Song 3:9. King Solomon made himself a carrying bed from the trees of Lebanon; Song 3:10. He made his pillars of silver, his elbows of gold, his seat of purple cloth; its interior was decorated with love by the daughters of Jerusalem. Song 3:11. Go and see, daughters of Zion, King Solomon in the crown with which his mother crowned him on the day of his marriage, a day of joy for his heart. The majesty of the picture depicted here prompts the sacred writer to introduce a new group of characters, namely the chorus of the Bride’s friends, with the exclamation of Art. 6th expressing their feelings of delight and surprise at the majestic spectacle opening here. The general meaning of the picture drawn here is usually understood to mean that it depicts the marriage of King Solomon with the chosen Bride of the Song of Songs, and in v. 6 presents the wedding procession of the Bride, in v. 7–10 – the oncoming royal train of Solomon’s groom, and vv. 11 speaks of their marriage as an already accomplished fact. Question or exclamation v. 6 is naturally attributed specifically to the Bride and her movement, as the parallels of Songs 6.10 and Songs 8.5 can confirm. Regarding Art. 6–10, then the description here of the bed of Heb. mitta or carrying bed (appirion Greek ψορε τον) and the entire atmosphere of the front exit and all the court splendor of King Solomon depicted here are fully confirmed by everything that is known about Solomon from the 3rd book of Kings and 2nd Chronicles. But it is impossible not to mention here the explanation given to the section of Cantos 3.6–11 under consideration by Prof. A. A. Olesnitsky, from the point of view of his, already known to us, theory about the origin, meaning and significance of the book of Song of Songs. “The essence of this stanza,” he says, is a poetic image of the sunrise, for which, as we saw in the previous stanza, the earth languished during the night... The image of verse six cannot have any relation to the human figure; comparing a person to columns of smoke would not be elegant or natural. The Palestinian sun, rising precisely from the direction of the desert (that was the name of the mountainous region of Judea to the east of Jerusalem) among the blue steam eternally standing over the Moabite mountains, for the observer from the Jerusalem mountains it appears precisely in the columns of smoke, called by the poet the fragrant smoke of myrrh and incense, that is, similar to the smoke that smoked on the altar of the church (the sun's emergence was met by the burning of the sacrifice in Jerusalem temple" (p. 371). An objection to this is the feminine gender of the pronoun in the question: “who is this...” (Hebrew mizot) and the parallelism we noted with Art. 6 two other places (Song 6.10, 8.5), in which, undoubtedly, the bride is meant. The first objection is easily eliminated by Prof. Olesnitsky indicating that Heb. shemesh sun in the ancient Hebrew language is feminine, which is confirmed by the frequent feminine construction of the verb in it, for example, Gen. 15:17, 19v Ktib, Nahum 3.17 (p. 359). But some surprise in the appearance of the implied (as if) shemesh in the speech of the sacred poet remains in force. However, the intermediate concept is the thought of the King of Israel, and then, as the pinnacle of everything, the thought of the Messiah is also meant. “The rising of the “promised” (Isaiah 30.26) sun,” says Prof. Olesnitsky - can only mean the moment of the appearance of the expected executor of God’s destinies for His land and people. And this perfector appears in the rays of the material sun and is none other than King Solomon, the political sun of the country (Solomon pers. sol sun). Song 3.7–11 speaks specifically about Solomon’s accession to the throne and his triumphant appearance to the people. The extraordinary stretchers depicted here, like the chariots in Song 6.12, serve together as both a royal seat and an attribute of the sun (2 Kings 23.11)... The marriage spoken of here is a covenant concluded between the king and the people upon the king’s accession to the throne, and together the poetic covenant of the sun and the earth, which poets of all times and peoples found in the spring relationship of the sun to the earth. But that's not all. The combination of two images of the rising of the sun and the accession to the throne of the great king was supposed to bring to consciousness a new higher image of the Messiah King, whose name is: East, and the Righteous Sun. According to the explanation of the Midrash (Midr. III, 11, s. 99), under the king mentioned in 3:11, of course the king is the Messiah, since only he can bring into harmony the phenomena of heat and the phenomenon of cold, the actions of the Angel of Winter Michael and the Angel of Spring Gabriel” (pp. 372-373). “Fear of the night” (v. 8) – fear of ghosts and the like. existed among the Jews from ancient times (Job 4.14; Ruth 3.8; Proverbs 3.23–25; Ps 90.5) to later times (Matt 14.26). You might be interested in: