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Sagradas Escrituras
Cantares 2:14
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EL ESPOSO:
Paloma mía, en las grietas de la peña, en lo secreto de la senda escarpada, déjame ver tu semblante, déjame oír tu voz; porque tu voz es dulce, y precioso tu semblante.Paloma m�a, que est�s en los agujeros de la pe�a, en lo escondido de escarpados parajes, Mu�strame tu rostro, hazme oir tu voz; Porque dulce es la voz tuya, y hermoso tu aspecto.
Paloma m�a, que est�s en los agujeros de la pe�a, en lo escondido de escarpados parajes, mu�strame tu rostro, hazme o�r tu voz; porque dulce es tu voz, y hermoso tu aspecto.
Bible Verse Review
from Treasury of Scripure Knowledge
my dove: Song of Solomon 5:2, Song of Solomon 6:9, Psalms 68:13, Psalms 74:19, Isaiah 60:8, Ezekiel 7:16, Matthew 3:16, Matthew 10:16
that art: Exodus 3:6, Exodus 4:11-13, Ezra 9:5, Ezra 9:6, Job 9:16, Isaiah 6:5, Daniel 9:7, Luke 8:47, Luke 8:48
clefts: Exodus 33:22, Exodus 33:23, Isaiah 2:21, Jeremiah 49:16, Obadiah 1:3
let me hear: Song of Solomon 8:13, Psalms 50:14, Psalms 50:15, Proverbs 15:8, Hebrews 4:16, Hebrews 10:22
for sweet: Psalms 22:3, Psalms 50:23, Isaiah 51:3, Revelation 4:8-10, Revelation 5:8, Revelation 7:9, Revelation 7:10
thy countenance: Song of Solomon 1:5, Song of Solomon 1:8, Song of Solomon 6:10, Psalms 45:11, Psalms 110:3, Ephesians 5:27, Colossians 1:22, 1 Peter 3:4, Jude 1:24
Reciprocal: Genesis 8:8 - a dove Leviticus 14:22 - two turtle doves Proverbs 31:26 - in her Song of Solomon 4:1 - my Song of Solomon 5:15 - his countenance Song of Solomon 6:4 - beautiful Song of Solomon 6:13 - return Song of Solomon 7:6 - General Song of Solomon 7:9 - the roof Jeremiah 48:28 - like John 4:23 - the Father seeketh Philippians 4:6 - known
Gill's Notes on the Bible
O my dove,.... An epithet sometimes used by lovers q, and is a new title Christ gives to his church, to express his affection for her and interest in her; and to draw her out of her retirement, to go along with him. The dove is a creature innocent and harmless, beautiful, cleanly, and chaste; sociable and fruitful, weak and timorous, of a mournful voice, and swift in flying; all which is suitable to the church and people of God: they are harmless and inoffensive in their lives and conversations; they are beautiful through the righteousness of Christ on them, and the grace of the Spirit in them; they are clean through the word Christ has spoken, and having their hearts purified by faith; they are as chaste virgins espoused to Christ, and their love to him is single and unfeigned; they cleave to him, are fruitful in grace and good works; and the church being espoused to Christ brings forth many souls unto him in regeneration; saints carry on a social worship and delight in each other's company; they are weak and timorous, being persecuted and oppressed by the men of the world; and mourn for their own sins and others, and often for the loss of Christ's presence; and are swift in flying to him for safety and protection. Under this character the church is said to be
in the clefts of the rock, the usual place where the dove makes its nest, Jeremiah 48:28; or retires to it for safety r. Adrichomius says s, there was a stone tower near Jerusalem, to the south of the mount of Olives, called "petra columbarum", "the rock of the doves", where often five thousand were kept at once, to which there may be an allusion here; or else it may have respect to the place where doves are forced to fly when pursued by the hawk, even into a hollow rock, as described by Homer t; and may be expressive of the state of the church under persecution, when obliged to flee into holes and corners, and caves of the earth; when the Lord is a hiding place to her, in his love, and grace, and power; and particularly Christ is the Rock of his people, so called for height, strength, and duration, and they are the inhabitants of this Rock; and who was typified by the rock in the wilderness, and particularly by that into the clefts of which Moses was put, when the glory of the Lord passed before him: moreover, the clefts of this rock may design the wounds of Christ, which are opened for the salvation of men; and where saints dwell by faith, and are secure from every enemy u. The Ethiopic version is, "in the shadow of the rock", to which Christ is compared, Isaiah 32:2; and so the Septuagint version, "in the covering of the rock", which is no other than the shade of it. Likewise the church is said to be
in the secret [places] of the stairs; Christ is the stairs or steps by which saints ascend up to God, have access to and communion with him; and the secret places may have respect to the justifying righteousness of Christ, and atonement by him, hidden to other men, but revealed to them; and whither in distress they betake themselves, and are sheltered from sin, law, hell, and death, and dwell in safety. Though as such places are dark and dusty, and whither the dove, or any other creature, may in danger betake itself, so upon the whole both this and the preceding clause may design the dark, uncomfortable, and solitary condition the church was in through fear of enemies; in which situation Christ addresses her, saying,
let me see thy countenance, or "face"; and encourages her to appear more publicly in, his house and courts for worship, and present herself before him, and look him full in the face, and with open face behold his glory, and not be shamefaced and fearful; not to be afraid of any thing, but come out of her lurking holes, and be seen abroad by himself and others, since the stormy weather was over, and everything was pleasant and agreeable;
let me hear thy voice; in prayer to him and praise of him, commending the glories and: excellencies of his person, and giving thanks to him for the blessings of his grace;
for sweet [is] thy voice; pleasant, harmonious, melodious, having a mixture of notes in it, as the word signifies; and so exceeds the voice of a natural dove, which is not very harmonious: Herodotus w makes mention of a dove that spoke with a human voice; and such a voice Christ's dove speaks with, and it is sweet; that is, pleasant and delightful to him, who loves to hear his people relate the gracious experiences of his goodness, and speak well of his truths and ordinances; prayer is sweet music to him, and praise pleases him better than all burnt offerings;
and thy countenance [is] comely; fair and beautiful, and therefore need not cover her face, or hang down her head, as if ashamed to be seen, since she was in the eye of Christ a perfection of beauty.
q "Mea columba", Plauti Casina, Act. 1. Sc. 1. v. 50. Doves were birds of Venus; her chariot was drawn by them, Chartar. de Imag. Deor. p. 218. Vid. Apulci Metamorph. l. 6. r "Quails spelunca subito commota columba, cui domus et dulces latebroso in pumice nidi", Virgil. Aeneid. 5. v. 213. s Theatrum Terrae S. p. 171. t Iliad. 21. v. 493, 494. u "In tegimento petrae", i.e. "tuta praesidio passionis meae et fidei munimento", Ambros. de Isaac, c. 4. p. 281. w Euterpe, sive l. 2. c. 55.
Barnes' Notes on the Bible
The bride relates to the chorus a visit which the beloved had paid her some time previously in her native home. He on a fair spring morning solicits her company. The bride, immersed in rustic toils, refuses for the present, but confessing her love, bids him return at the cool of day. It is a spring-time of affection which is here described, still earlier than that of the former chapter, a day of pure first-love, in which, on either side, all royal state and circumstance is forgotten or concealed. Hence, perhaps, the annual recitation of the Song of Songs by the synagogue with each return of spring, at the Feast of Passover, and special interpretations of this passage by Hebrew doctors, as referring to the paschal call of Israel out of Egypt, and by Christian fathers, as foreshadowing the evangelic mysteries of Easter - Resurrection and Regeneration. The whole scene has also been thought to represent the communion of a newly-awakened soul with Christ, lie gradually revealing Himself to her, and bidding her come forth into fuller communion.
Song of Solomon 2:8
Voice - Better, “sound.” Not a voice, but the sound of approaching footsteps is meant (compare “noise,” Isaiah 13:4).
Song of Solomon 2:9
Like a roe - Gazelle (compare Proverbs 5:19 note). The points of comparison here are beauty of form, grace, and speed of movement. In 2 Samuel 2:18; 1 Chronicles 12:8, princes are compared to “gazelles.”
Wall - The clay-built wall of the house or vineyard of the bride’s family, different from the strong wall of a city or fortress Song of Solomon 5:7; Song of Solomon 8:9-10.
Looketh forth at the windows - The meaning evidently is, that he is looking in at, or through, the window from the outside. Compare Song of Solomon 5:4 note.
Shewing himself - Or, peering. Some, taking the marginal rendering, imagine that the radiant face of the beloved is thus compared to some beautiful flower entangled in the lattice-work which protects the opening of the window, from where he gazes down upon the bride.
Song of Solomon 2:10-13
Arise, my friend, my beautiful one, and come away - The stanza begins and ends with this refrain, in which the bride reports the invitation of the beloved that she should come forth with him into the open champaign, now a scene of verdure and beauty, and at a time of mirth and mutual affection. The season indicated by six signs Song of Solomon 2:11-13 is that of spring after the cessation of the latter rain in the first or paschal month Joel 2:23, i. e., Nisan or Abib, corresponding to the latter part of March and early part of April. Cyril interpreted Song of Solomon 2:11-12 of our Lord’s Resurrection in the spring.
Song of Solomon 2:12
The time of the singing ... - i. e., The song of pairing birds. This is better than the rendering of the ancient versions, “the pruning time is come.”
Song of Solomon 2:13
The vines ... - The vines in blossom give forth fragrance. The fragrance of the vine blossom (“semadar”), which precedes the appearance of “the tender grape,” is very sweet but transient.
Song of Solomon 2:14
The secret places of the stairs - A hidden nook approached by a zig-zag path. The beloved urges the bride to come forth from her rock-girt home.
Song of Solomon 2:15
The bride answers by singing what appears to be a fragment of a vine-dresser’s ballad, insinuating the vineyard duties imposed on her by her brethren Song of Solomon 1:6, which prevent her from joining him. The destructive propensities of foxes or jackals in general are referred to, no grapes existing at the season indicated. Allegorical interpretations make these foxes symbolize “false teachers” (compare Ezekiel 13:4).
Song of Solomon 2:16
Feedeth among the lilies - Pursues his occupation as a shepherd among congenial scenes and objects of gentleness and beauty.
Song of Solomon 2:17
Until the day break - Or, rather, until the day breathe, i. e., until the fresh evening breeze spring up in what is called Genesis 3:8 “the cool” or breathing time of the day.
And the shadows flee - i. e., Lengthen out, and finally lose their outlines with the sinking and departure of the sun (compare Jeremiah 6:4). As the visit of the beloved is most naturally conceived of as taking place in the early morning, and the bride is evidently dismissing him until a later time of day, it seems almost certain that this interpretation is the correct one which makes that time to be evening after sunset. The phrase recurs in Song of Solomon 4:6.
Mountains of Bether - If a definite locality, identical with Bithron, a hilly district on the east side of the Jordan valley 2 Samuel 2:29, not far from Mahanaim (Song of Solomon 6:13 margin). If used in a symbolic sense, mountains of “separation,” dividing for a time the beloved from the bride. This interpretation seems to be the better, though the local reference need not be abandoned.
Clarke's Notes on the Bible
Verse 14. My dove - in the clefts of the rock — He compares his bride hiding herself in her secret chambers and closets to a dove in the clefts of the rock.
