Clavis Cantici: A Key of the Song

This is a place of Scripture, the exposition of which many in all ages have shunned to venture upon; and truly I have looked upon it for a long time, as not convenient to be treated upon before all audiences, nor easy by many to be understood; especially because of the height of spiritual expressions, and mysterious transports of divine love, and the sublime and excellent expressions of the Bridegroom therein contained, which would require much liveliness of frame, and acquaintance in experience with the things here spoken of, and nearness in walking with God, as being necessary for finding out the mind and meaning of the Spirit of God therein. Yet we are now brought by help of his grace, to attempt the interpretation of it, upon these following considerations.

First, because it is acknowledged by all, not only to be authentic Scripture, but an excellent piece thereof; and therefore is to be made use of by the Church, and not to lie hidden, nor to be laid aside, as if the meaning thereof were not to be searched into, because it seems dark and obscure.

2. Because the subject and matter of it is so divine, carrying along with it many various cases, both of particular souls, as also, of the Church, both visible and invisible, with many excellent commendations of Christ the Bridegroom, which ought to be the subject of his friends' meditations, and cannot but be profitable, if he blesses them; there being here maps, almost for all conditions.

3. Because the style and composition is so divine and excellent, carrying affections along with it, and captivating them in the very reading; so that few can read this Song, but they must fall in love with it, we would therefore see what is within it, if at least we may get a taste of that which does so sweetly relish.

4. It seems the Holy Ghost, by putting it into such a mold, intended to commend it: and if it be true that all the poetical pieces of Scripture ought especially to be learned and taken notice of; so should this, it being so commended to us in that frame.

5. The strain and subject of it is so very spiritual, that it necessitates the students thereof, to aim at some nearness with God; and ordinarily it leaves some stamp upon their affections, which is not the least cause, nor the smallest encouragement to me in this undertaking.

We shall not stand to prove the authority of it: it carries a divine style in its bosom; nor is there need to inquire who was the penman of it, it being clear that Solomon, who was furnished with wisdom and understanding, as never a king before or since was, is honored to be the amanuensis of the Holy Ghost, in putting this Song upon record. Whether after, or before his backsliding, is not much to us; though it be most probable that it was after, in the warmness of a spirit sensible of this so great a deliverance: for here we may, as it were, see him making use of that experience of the vanity of all things he had found, coming to the fear of God as the conclusion of the whole matter; of which this Song of Love is not a little evidence, and which looks like his own saying (Ecclesiastes 12:13).

The means which are necessary for our more clear handling, and your more profitable hearing, of this profound Scripture will be:

First, some acquaintance with the whole Word of God, but mainly the book of Psalms, and other songs recorded in the Word; as also, with the Gospel, and such places as have most likeness to it.

2. Acquaintance with the cases of others, either by reading or mutual fellowship; but most of all it is requisite, that one have some experiential knowledge of the way of God towards his own heart: he who is so wise as to observe these things, even he shall understand this loving kindness of the Lord: such kind of experience is one of the best commentaries upon this text.

3. Watchfulness over ourselves, keeping our heart with all keeping, and studying a tender frame of spirit, that we may have a conscience always void of offence towards God: looseness all the week will not be a frame for the Canticles. It is not the simple being of grace, but the lively operation and exercise thereof, which prompts and disposes either to speak to purpose, or to hear of this with profit; he would grow in grace who would grow in knowledge here: neither have others ground to expect that this secret of the Lord shall be with them, or that they shall be of a quick understanding, who fear him not: one may have grace, and not a lively frame for this, except grace be acting, and in exercise.

4. Much conversing with the Bridegroom, especially by prayer, that he who causes the dull to understand doctrine, may manifest himself, and open our eyes to behold these wondrous things, and that he may bless us in the knowledge of his will in this we undertake, which so especially concerns him and us; for, this Scripture may be dark to those who speak on it, if this be not, and a sealed book to you who hear it, if these things be wanting: whereas, if these be in us and abound, we shall neither be barren nor unfruitful in the knowledge of this piece of sacred Scripture.

Now, that we may have the more clear access to speak profitably of the matter of this Song, and that our way of opening and applying of it (which may possibly in some things be different from others) may be the better cleared, we shall, 1. set forth some propositions concerning it. 2. Draw some conclusions from these; both which we shall endeavor shortly to clear and confirm, as useful to be taken along in our proceeding.

The first proposition then is this, this Song is a piece of divine Scripture, and a most excellent part thereof (which we shall speak to more fully on the title) and so of equal authority with other Scriptures (wherein holy men spoke, as they were inspired by the Holy Ghost) and tends to the edifying of the Church, and making of the man of God perfect, even as they do. For:

First, this Song has ever been received into the canon, and accounted (as they speak) as canonical, as the rest of the Scriptures were. It was never questioned by the Jews (as Mercer. praefat. ad Cant. makes clear) but was still received by them, and transmitted to the Gentile Churches, who received the Scriptures of the Old Testament from them, who had the oracles of God in keeping: and that the same has been universally received by Christians, may appear by the records of the councils, and writings of the fathers, where the catalogue of the books of the Holy Scripture is set down.

2. It carries the authority of the Holy Ghost engraved upon it, as evidently as any piece of Scripture, not only as to its matter, manner of expression, divine style; but mostly in that divine power and efficacy it has on hearts and spirits (especially of the more discerning, who best know Christ's voice, as his sheep) whereby it relishes so sweetly, and elevates them to such a holy ravishment, that it obtains the testimony from all, that there is something divine in it, and more than can be in human writings, even though they cannot particularly tell the meaning of it. That holding true here, which one said of a book which was something obscure, That which I understand (said he) is excellent: therefore I judge, that which I understand not to be so also, though it exceed my reach. And that it is Christ who speaks, and that it is the language of the Holy Ghost, and can be applied to no other, is by a divine conviction extorted from the reader, and hearer of it; so that confessedly and deservedly, it bears this title, A Song of Songs.

This Song must either be attributed to the Spirit, as the chief author of it (though Solomon was the penman) or we must say, it was not only penned, but dictated merely by some man, (Solomon, or whoever he be) led by his own spirit, or some other spirit, without the Spirit of God: but none of these last can be said. What other spirit can so speak of Christ and the church? What other song (even of the most holy men) can be compared to this? Was it ever equalled? Or can it be equalled? And if it cannot be the fruit of the spirit of a mere man (though in the most holy frame) then it must be inspired by the Spirit, in wonderful wisdom, and a most divine style, compacting the mysteries of communion with God in Christ, in this short Song. Therefore we say, it is justly called A Song of Songs, whereby it is preferred not only to all human songs, but even to other scriptural songs, which were blasphemous to do, were it not of a divine rise and authority.

There are two objections, which sometimes have been started by some; but they will not be of weight to infringe this truth. The first is, that there is no passage of this Song cited in the New Testament: but citation of scriptures in the New Testament does not give authority to them. They are cited as having authority, and not to get it; and therefore there are many scriptures in the Old Testament, which were never cited in the New: although it may be said, there are many near resemblances (at least) in the New Testament, to diverse passages in this Song; as the often styling the church a vineyard (Matthew 20), and comparing the church's union with Christ to marriage (Matthew 22), etc. That Christ stands at the door and knocks (Revelation 3:20), taken as it were from (Song of Solomon 5:2). The virgins falling on sleep (Matthew 25). The efficacy of grace, called drawing (John 6:44), taken from (chapter 1:4), etc. Christ in the parables called a King, or the King (which by way of eminence is applied to him, (Psalm 45:1-2)). Neither is the second objection of greater weight, to wit, that no proper name of God is to be [reconstructed: found] in this Song: for, 1. It is so also in other scriptures, as in the Book of Esther; the scriptures' authority does not depend on naming the name of God, but on having his warrant and authority. 2. This Song being allegorical and figurative, it is not so fitting nor consistent with its style, to have God named under proper names, as in other scriptures. Yet, 3. there are titles and descriptions here given to an excellent person, which can agree to none other, but Christ, the eternal Son of God; as the King, O you whom my soul loves, the chief of ten thousand, the Rose of Sharon, and the like, whereby his eminence is singularly set out above all others in the world.

In sum, there are none of the characteristics, usually agreed upon as necessary for evidencing the authority of holy Scripture, wanting here; this Song being a divine subject, received into the canon, bearing a divine stamp, having much majesty in its style, agreeing with itself and other scriptures fully; impartially speaking out the blots and adversities of the bride, as well as her beauty and prosperity, and written by a prophet and penman of holy writ, to wit, Solomon.

The 2nd Proposition is, that this Song is not to be taken properly, (and [illegible]) or literally, that is, as the words do at first sound; but it is to be taken and understood spiritually, figuratively and allegorically, as having some spiritual meaning contained under these figurative expressions, made use of throughout this Song. My meaning is, that when it speaks of a marriage, spouse, sister, beloved, daughters of Jerusalem, etc., these expressions are not to be understood properly of such, but as holding forth something of a spiritual nature under these.

I grant it has a literal meaning, but I say, that literal meaning is not immediate, and that which first looks out, as in historical scriptures, or others which are not figurative, but that which is spiritually and especially meant by these allegorical and figurative speeches, is the literal meaning of this Song. So that its literal sense is mediate, representing the meaning, not immediately from the words, but mediately from the scope, that is, the intention of the Spirit, which is couched under the figures and allegories, here made use of. For, a literal sense (as it is defined by Rivet out of the Schoolmen) is that which flows from such a place of scripture as intended by the Spirit in the words, whether properly or figuratively used, and is to be gathered from the whole complex expression together, applied thereunto, as in the exposition of parables, allegories and figurative scriptures is clear. And it were as improper and absurd to deny a figurative sense (though literal) to these, as it were to fix figurative expositions upon plain scriptures, which are properly to be taken.

For there is a twofold literal sense of Scripture. 1. Proper and immediate, as where it is said, Solomon married Pharaoh's Daughter. The second is figurative and mediate, as when it is said (Matthew 22:2), A certain King made a Marriage to his Son, etc. Both have a literal meaning. The first immediate, fulfilled in Solomon: the second is mediate, setting out God's calling Jews and Gentiles to fellowship with his Son: and so that Parable is to be understood in a spiritual sense. Now we say, this Song (if we would take up its true sense and meaning) is not to be understood the first way, properly and immediately, but the second way, figuratively and mediately, as holding forth some spiritual thing under borrowed expressions, which will further appear from these things.

First, there can be no edification in setting out human love (among parties properly understood) so largely and lively; and yet edification must be the end of this Song, being a part of Scripture; it must have therefore a higher meaning than the words at first will seem to bear.

2. There can be no parties mentioned, beside Christ and his Bride, to whom this Song can agree; nor can any proper meaning thereof be assigned, which can make it applicable to these parties: and therefore it cannot be understood properly, but figuratively, and that not of any other, but of Christ and Believers. To Solomon it cannot agree in its application, nor to his Queen, indeed, to no man, if it be taken in a proper sense. For, 1. These commendations given to the Bridegroom (Chapter 5), to the Bride (Chapters 4, 6, 7), if properly understood, would be monstrous, blasphemous, and ridiculous; such as to have teeth like a flock of sheep, a head like Carmel, etc., and so in many other things. 2. Some things are attributed to this Solomon, who is the subject of this Song, that were not within Solomon's reach, as that his presence at the Table (Chapter 1:12) makes her spikenard to smell, which influence cannot proceed from one man more than another, and (Chapter 3:11), where it is said, He made a Chariot, and paved it with Love, which is no material thing, and so could be no pavement in Solomon's Chariot. 3. That Solomon being the penman of this Song, yet speaks of Solomon in the second person, 'You, O Solomon' (Chapter 8:12), makes it appear that some other was designed than himself; and many such like expressions that fill up the matter of this Song (such as Spices, Gardens, etc.) cannot be understood properly of these very things themselves, but of some other thing veiled under them: and so also, when she is called terrible as an army with Banners, it cannot be understood of Solomon's Queen, and applying it to the Church, we cannot understand it of any carnal terror, which the external aspect of the Church does beget in beholders.

3. The style and expressions will bear out more than any human love, or any human object, upon which men set their love: we are sure, no such love would be proposed to Believers as a warranted pattern for their imitation, as if it would be commendable in them to be so much ravished and taken up, even with the most lovely creature.

4. Many things here are inconsistent with human love, and that modesty that is required in it (as the Hebrews themselves, apud Mercer, observe) as to propose him to others, to excite them to love him, others undertaking to follow after him, her speaking to him in her sleep (Chapter 5:2), running in the night through the streets, and slighting him at the door; which by no means can admit a proper, literal, immediate sense, but must needs aim at something figurative. Besides, what reason can there be to argue for a proper sense here, more than in other figurative Scriptures of the same sort, as of these that speak of the soul's union with Christ, under the similitude of a marriage, and particularly that of Psalm 45, which is (as it were) a compend of this Song, and is looked upon by all as figurative?

If it be inquired in what sense we call this Song figurative, whether as Typical or Allegorical, the answering and clearing of this question will further us in the interpretation of this excellent Scripture. We shall therefore show, 1. How Allegorical properly so called differs from Typical. And 2. Why we call this Song Allegorical, and not Typical.

Allegorical Scriptures, or Allegories (we take Allegory here as Divines do, who take it not as Grammarians or Rhetoricians, for a continued discourse of many figures together) properly and strictly taken (for sometimes Allegory may be taken largely, and so may comprehend whatever is figurative, whether Typical, Tropological, Analogical, etc., as the Apostle takes it in Galatians 4, speaking of Abraham's two Sons, which is yet properly a Type) differs from Types, or Typical Scriptures, thus.

First, Types suppose still the verity of some history, as Jonah casting into the sea, and being in the fish's belly three days and three nights, when it is applied to Christ in the New Testament, it supposes such a thing once to have been. Allegories again have no such necessary supposition, but are as Parables proposed for some mystical end. Thus, while it is said (Matthew 22:2), A certain King made a Marriage, planted a Vineyard, etc., that place supposes it not necessary as to the being of the Allegory, that ever such a thing was; it may be an Allegory without that; but a Type cannot be without reality in the thing or fact, which is made a Type.

2. Types look only to matters of fact; and compare one fact with another (as Christ's lying in the grave for such a time, to that of Jonah, who did lie so long in the whale's belly) but Allegories take in words, sentences, doctrines both of faith and manners, as in the former examples is clear.

3. Types compare persons and facts under the Old Testament with persons and facts under the New, and are made up of something that is present, prefiguring another to come. Allegories look especially to matters in hand, and intend the putting of some hidden spiritual sense upon words, which at first they seem not to bear; whether the Allegory be only in the Old Testament, or only in the New, or in both, it looks to the sense and meaning, being so considered in itself, as the words may best serve the scope, and teach or manifest the thing the Spirit intends, without any comparison between this and that of the Old Testament and New. Indeed, an Allegory may be in precepts, as 'Muzzle not the mouth of the Ox,' and 'cut off the right hand,' etc., which have an Allegorical sense in them.

4. Types are only historical as such, and the truth of fact agreeing in the anti-type, make them up, it being clear in Scripture that such things are types; for we must not forge types without Scripture warrant: but allegories are principally doctrinal, and in their scope intend not to clear, or compare facts, but to hold forth and explain doctrines, or by such similitudes to make them the better understood, and to move, and affect the more, or the more forcibly to convince, as Nathan made use of a parable, when he was about to convince David (2 Samuel 12:1-2, etc.).

5. Types in the Old Testament respect only some things, persons and events; as Christ, the Gospel, and its spreading, etc. and cannot be extended beyond these: but allegories take in everything, that belong either to doctrine, or instruction in faith, or to practice for ordering one's life.

Hence we may see, that allegories are much more extensive, and comprehensive in their meaning and application, than types (which cannot be extended further than some one thing) and so are much more doctrinal, and concern both the faith and manners of God's people much more, and may for that, more warrantably be applied, and made use of for these ends.

2. We say, that this Song is not typical, as being made up of two histories, namely, Solomon's marriage, and Christ's, nor does it any way intend the comparing of these two together in the events, as to their facts or deeds: but it is allegorical, not respecting Solomon, or his marriage, but aiming to set out spiritual mysteries in figurative expressions, in such a manner as may most effectuate that end, for enlightening the judgment, and moving of the affections, without any respect to that story, or fact of Solomon's: for,

First, the strain and series of it, is clearly allegorical, as the reading and considering of it will clear. 2. There can be no history to which it can relate, to which the things spoken in this Song can be properly applied, as is said. 3. Solomon's marriage was at least twenty years before this Song was written; see on Song of Solomon 7 concerning the Tower of Lebanon, and compare it with 1 Kings 7:1-2 and Chapter 6, last verse. Therefore it cannot be thought so much as to be penned on that occasion, as an Epithalamium which was to be sung that night on which he was married, (and although occasion of penning of it, were taken from that, yet would it not prove it typical, and to respect that as its type.) And 4. What more is this allegory of a marriage, to be accounted typical, than other places of Scripture, where this same manner of expression is used? 5. If it be partly typical, how is this type to be made up? For Christ's love to, and marriage with, his Church, is not only set out here as peculiar to the New Testament, but is applicable to believers under the Old: there can therefore be here no comparing of facts of the Old Testament, with anything answering to them in the New. If it be said, Solomon's marriage typified Christ's marrying of the Gentiles. I answer, besides that there is no Scripture for this conjecture (and it is hard to coin types without Scripture authority, otherwise we might make Solomon a type in his many wives, possibly, and in many other such things; also that of his marrying Pharaoh's Daughter was against a law as well as this) it cannot be said that this Song sets out only Christ's love to the Gentiles; or the believing Gentiles, their carriage and love to him: for, was it not fulfilled (in that which they would make its anti-type) before Christ came in the flesh, in the believing Jews? Indeed, before ever that marriage was: and therefore, there can be no typical respect had to that marriage here. Besides, it would much darken the spiritualness and divineness of this Song, to make it in such a way typical, as having any proper fulfilling or meaning, that were possibly verified in the deed of any man. We conclude then, that this Song is simply allegorical.

We come now to a third proposition, which is this: the divine mystery intended, and set forth here, is the mutual love, and spiritual union, and communion that is between Christ and his Church, and their mutual carriage towards one another, in several conditions and dispensations. The comprehensive sum of this, is contained in this Song, and summarized by the Spirit, for the comfort and edification of the Church, under these figurative expressions: this, we say, is the scope and subject matter of this Song: for,

First, if the intent of this Song be to set out the spiritual carriage, among spiritual parties, and the spiritual love which each has for one another, then it must set out Christ's love to his Church, and Hers to Him: The reason is, because there are no other spiritual marriage parties known, but Christ and His Church; There is no other spiritual marriage, or spiritual marriage-love but this: But this Song in its scope is to set out a spiritual marriage, of spiritual parties, and their spiritual love, therefore it must set out this.

2. The scope of this Song must be agreeable to the matter contained in it. Now the matter contained in it, can agree to no other parties, and be approved in no other love; therefore these descriptions given to the Bridegroom, can be given to no other but Christ; and these given to the Bride by him, can be given to no other but the Church, and must speak out no less love, than that love of Christ's, the expressions being far beyond the love of all others: This will more fully appear in the opening up of the Song:

3. What is the scope of these allegories, in other Scriptures, as that of Psalm 45, that of planting a vineyard (Matthew 21), that of marriage (Matthew 22), (which none can deny) is meant of espousing spiritually. (See this same allegory of marriage, Jeremiah 3, Hosea 2-3, Ezekiel 16, Matthew 22, Luke 14, 2 Corinthians 11:1, Revelation 19:8.) that must be the scope of this also. For, 1. There cannot be two spiritual marriages, to which these Scriptures and this can be applied. 2. Scripture must agree with Scripture, and one more obscure place, must be expounded by others more clear; and therefore seeing this scope is clear in other Scriptures of this nature, we may conclude it is the scope here also: that Psalm 45 does agree with the expressions and strain of this Song, is clear, by comparing them; and that it speaks of that spiritual marriage between Christ and his Church, is clear by the citations drawn from it, and applied to that [reconstructed: end] by the Apostle (Hebrews 1:8-9).

4. Either this must be its scope, or it must have some other scope, or none at all. To say none at all, is blasphemous: If it be said another scope than this, then it must either be such a scope as agrees with these other Scriptures, or which differs from them; But not such as differs from them, that cannot be said, therefore it must be the same: And so it sets out Christ's way with his Church, and hers with Him, drawing them, as it were, in a map together.

Objection. If any would argue, that it might better be prophetically applied, as foretelling events in the Church, as some do: For answer, We suppose, it would be hard to make that out to be the scope and intention of the Spirit.

2. It would be more hard to get help from other Scriptures, in the application of it to such events, and such times; and so this would leave it wholly to uncertainty, or men's pleasure, as their invention, and groundless conjectures, would lead them to apply it: (as we fear some good men have taken too much liberty, without any ground but mere conjectures, to wrest the scope of this Song) and besides, such an interpretation would exceedingly spoil believers of that instruction and consolation, which the true scope gives them; for then they were not to apply it to themselves, or to the Church, but at such a time, and in such an age: because, if it shall be once fulfilled in others, or, if it be not applicable to them, because they live not in such a time, it will certainly mar their confidence in making any comfortable application of it to themselves.

Besides, these considerations may clear, that, in its scope, it cannot be properly prophetical of such, and such times, and events, but dogmatic and practical, for believers use, in all times and events.

First, If the scope and matter of this Song will agree to any one time, or if all of it will agree to believers at any time, then it cannot be prophetical; for, prophecy supposes a diversity of time, for diverse events, and cannot be said at any one time alike to be fulfilled; but all the subject of this Song may be fulfilled in one believer or other, at any one time; there are still some enjoying Christ, some deserted, some praying, some suffering, etc. and so of whatever part of it we can think upon, it may be said of one time, as well as of another, that it has its accomplishment in one believer or other; and therefore, it is not properly prophetical.

2. If all of it may now be applied to believers, indeed, and at any time before the end of the world, may be as well applied as being then fulfilled, as well as when it was written, then it is not prophetical, seeing prophecies have their particular accomplishments; but all parts of this Song, even the first parts, may now be applied, and will still agree to believers, as properly as it did in Solomon's time. Therefore, etc.

3. If all the parts of it were in the same way applicable to, and true, in the cases of believers, then when it was written, even as now, or will be before the end, then it was not intended to be prophetical, but doctrinal, narrative, and consolatory: but the first is true; was there any believer in Solomon's days, but these commendations, properties, promises, practices, etc. did agree to them, as they do to us? And was not Christ's way such to them also, as it is to us?

4. Consider further, if the scope of it be to set out Christ's way to his Church, and hers to Him, as is said; and if according to this scope, it should be made use of by a believer in any time, then it is not prophetical, but doctrinal, as has been said: But the former is true, as is cleared. Therefore, etc.

5. If it be applicable to believers, according to their several cases, and if it be the case agreeing with any part of this Song, which grounds the application of it to any party, and not the time when that case is not; then it is not prophetical, deducing cases by times, but doctrinal, etc. applying directions, warnings, and comforts to believers cases, in whatever time.

6. The matter of it is the ordinary cases which are incident to believers in all times, and what may make it look prophetic-like, may be considered in the exposition.

7. If its scope be one and the same with other allegories of this kind, then it is not prophetical, but doctrinal: But the former is true: Therefore, etc. The truth of both which, may appear by what is said, and will further appear in that which follows.

We leave this then, and come again to the proposition, to wit, that the great scope of this Song is to set out that mutual love and carriage, that is between Christ and his Church: That this proposition, which is a main one, may be the more clear, we shall take it in five distinct branches.

First, It holds out (we say) the Church's case, and Christ's care of her, in all her several conditions, and under all dispensations; Such as, 1. Her sinful infirmities, and failings in duties (chapter 1:6; chapter 5:2-3), and also, under liveliness in duties (chapter 1:2-4; chapter 5:5, and almost throughout). (2.) Under crosses (chapter 1:6), as being a lily among thorns, and hated of the world (chapter 2:2), and also in prosperity, wherein she is commended as terrible (chapter 6:10). (3.) As deserted and sick of love (chapter 3:1-2; chapter 5:4-5), and again, as enjoying her beloved (chapter 1:4; chapter 3:4-5). (4.) As under faithful shepherds, and lively ordinances (chapter 1:4; chapter 3:4-5), and also, as under carnal watchmen (chapter 5:7). And in all these, her various conditions, in all ages, are painted forth, before Christ's Incarnation, as well as now, without respect to any particular time or age; for, ceremonial things are not here meddled with, but what was spiritual: Besides, the Church then and now is one, as in the next consideration will be cleared. (5.) As in private, dealing with Christ, and longing after him, and praying for him (chapter 4:16; chapter 8:1, etc., almost throughout), and also what she was in public duties, going to the watchmen (chapter 5:7; chapter 3:3), and what she was in fellowship with others (chapter 5:8-9; chapter 6:1-2). (6.) It sets out believers as more strong, and furnished with a greater measure of grace, and knowledge, and also, as more weak in gifts, and grace. (7.) And lastly, It holds forth the same believers, as more and less lively in their conditions.

This book in its matter, is a comprehensive sum of all these particulars formed in a song, put together, and drawn as on a board, for the believers' edification; to show, 1. What should be, and will be their carriage when it is right with them, as to their frame. 2. What are their infirmities, and what they use often to fall into, even they who are believers, that they may be the more watchful. 3. To show what they may meet with, that they may make for sufferings, and not stumble at them when they come. 4. That the care and love of Christ to them, in reference to all these, may appear, that they may know upon what grounds to comfort themselves in every condition, and may have this song, as a little magazine, for direction, and consolation in every condition.

Therefore this song is not to be restricted to any particular case or time, and is (even by Bernard, Sermon 1) therefore observed to differ from other spiritual songs, in three things: 1. That it is penned upon no particular occasion, as others are, such as that of Moses (Exodus 15) and Judges 5, etc. 2. That it is composed by way of conference, between several parties. 3. That there are in this conference, more parties than two; Christ, the Bride, watchmen, daughters of Jerusalem, etc. all which do show its extensiveness, and comprehensiveness, in respect of its subject and use.

2. This song holds forth the church's, or bride's conditions, under all her several considerations: we may consider the bride, or church, four ways, all of which we will find here. 1. As visible, and visibly professing Christ, and worshipping him in ordinances: in this respect there are watchmen spoken of, a mother's house, gardens of many believers together, and a vineyard let out to keepers, and a mother having children, (called also daughters of Jerusalem) who are professing believers, and such like, which agree only to the church, as visible.

2. Consider her as invisible, having true faith in Christ, spiritual union with him, love to him, and real exercise of graces, etc. Thus Christ is hers, and she his; she is drawn by him, and brought into the chambers of lively sense and communion: thus she is near him, or absent from him, and such like, which only agree to the church or saints, as members of the invisible church, having real (and not only professed) union with Christ; and thus she is distinguished from the mother's children, which are outward professors of the visible church; and thus the most of the commendations she gets throughout this song, agree to her as invisible: neither can it be thought strange that both these considerations take place in one and the same song. For, 1. That distinction of the church in visible and invisible, is not a distribution of a whole into distinct parts, as, suppose one would divide a heap of chaff and corn, into corn and chaff; but this is a distinct uptaking of the same whole, (to wit, the church) under two distinct considerations; as, suppose one would consider the foresaid heap, as it is a heap, comprehending both corn and chaff, or, as it is only comprehensive of corn; so the church thus distinguished, is but one, considered in whole, as having both renewed and unrenewed in it, and as having renewed only; yet so, as the renewed are a part of the whole, under one consideration, to wit, as they are visible professors; and also, are the invisible church, being distinctly considered, as they have more than a visible profession: therefore, the closeness being so great and near, it is no marvel they be frequently conjoined in this song, so as they must be distinguished in respect of these distinct considerations, seeing the visible church in its consideration as such, comprehends the invisible militant church under it, but not contrarily. 2. It is ordinary upon this ground, thus to join them in other Scriptures, as when an epistle is written to a church, some things are said of it, and to it, as visible, some things again are peculiarly applicable to believers, who are members of the invisible church in it; as by looking to these epistles, Revelation 2 and 3, is clear, all are comprehended in every epistle, yet is the matter diversely to be applied, and these who have ears to hear (that is, are real members of the invisible church also) are particularly spoken to, although indefinitely: and why then may not the church in both these considerations, be spoken of here in this song?

3. If we consider either the visible or invisible church, as whole or Catholic, something is spoken to her under that consideration, namely as Catholic; so she is said to be one (Song of Solomon 6:9) made up of many, the mother having many daughters, a vineyard, intrusted to all the keepers, having some children beloved, others hated, etc. which must be applicable to her, as so considered.

4. If we look to particular members, either, 1. As professors of the visible church, such as the daughters of Jerusalem, seeking the Beloved with the bride, and one of them are distinct from another, and from the watchmen; such are the threescore queens, and fourscore concubines, as distinct from the church, considered as one. Or, 2. As members in particular of the invisible church; so the bride is distinguished from other professors, and believers; she speaks to them and they to her (chapter 2). So is one queen and concubine, distinguished from another; thus also is the church considered in general, and in individuals, in their carriage; yes, it serves much to the scope of edifying believers, that the church in these respects, be thus distinctly considered and looked upon: neither will this be thought strange, if we consider, that the church however understood, and the particular and individual members thereof (especially of this invisible church) are of a homogeneous nature; so that what may be said of the whole, may be said of all its parts, and what may be predicated concerning the whole essentially, may be predicated of every part, etc. As when we consider the whole element of water, it is water; so when we consider a drop, it is also water: and what essential properties do agree to the whole, as such, agrees to every drop of the whole; so is it in the church; all saints, members of the invisible church, have the same Spirit, faith, and privileges, the same covenant, husband, etc. and what thus essentially agrees to one, agrees to all, and what may be said of all, may be said of one: I say in essentials, because, though there may be many circumstantial, and gradual differences, as one believer may be stronger than another, etc. yet that will not mar this oneness, and agreement in essentials.

Yet, 3. We say, every thing in this Song, is not to be applied to all within the Church, or to the Church, under every consideration, in the same manner; what agrees to the Church as visible, will not, at least, in the same manner agree to her, considered as invisible, & contra; nor will every thing which agrees to a Believer in one case, agree to all; indeed, not to that same Believer always. Therefore, there is great need of wariness in application, that the word may be rightly divided, and the diverse cases of the Church and particular Believers would be rightly taken up for that end: Every place is not to be applied to all (though sometimes a place may be taken up under diverse considerations, as from other Scriptures, and the formerly cited Epistles, is clear) but what agrees to every one, would be so applied, and solely upon that consideration, and under that notion, as it agrees to such a person, or such a case.

For helping us in this distinct application, it is necessary that we lay down these following Rules:

First, We must weigh the particular scope of such a place of Scripture, if it speak something concerning a Believer in particular, or the Church in general; if it set out some outward, or some inward thing concerning them.

2. We would consider the matter spoken to, and see how it agrees, whether to the Church under one consideration, or under another; and if the matter predicated of her, or attributed to her, will agree to her as visible, or as invisible only, for so it is to be applied; if to the whole Church, or if also to all its members, and every particular Believer; for so it is to be understood.

3. We would see, how the same matter is applied in other Songs and Scriptures, and it will be safe for us to follow the same way of application here.

4. We would consider, what the particular circumstances, that may be observed in such a particular Scripture, will help in finding out the sense; as who speaks, to whom, in what frame, on what occasion, etc.

Yet fourthly, we say, that this Song does most generally agree, and is especially applicable to the cases of particular Believers: Because,

First, The scope is not so much to speak to all collectively, as distributively to hold forth the several cases, that all of them, at all times are subject to; for although every place do not point out the case of the Church in general, or her duty, yet we conceive it is still in every part, pertinent to some one Believer, or other: Such places must therefore be understood distributively.

2. The nature and strain of the most of those things mentioned in this Song, generally will agree best (if not only) to particular Believers; As to love Christ, to seek him, to be commended so by him, to be out of one case into another, pursuing after him from one duty to another: which indeed shows the way of the Church in general, but so as considered in the exercises of her individual members, and in the intercourse of communion, which uses to be between Christ and them, and so agrees to the church, only in respect of particular Believers.

3. There is a plurality of parties speaking, differenced not only from carnal professors, but from one another, who are commending the Bride, and so loving her and Christ also; which says that the several parts of this Song must especially be distributively considered of Believers severally.

4. There is no time, we can conceive all Believers to be in the like case, so that one case or word will not suit them all; as to be sick of love, to have his right hand under her head, etc. Something then must agree to one, something to another, and both also at different times to the same person: And therefore we must consider this Song, as speaking distributively the Church's condition, to be applied according to the several cases of the saints, and according to their several conditions; something as spoken to one, and something to another.

5. The putting of these exercises in a Song, as it were to be learned and sung by particular Believers (as a little compendium, both of what concerns their faith and manners) was certainly for helping their memories, and furthering their consolation; which would be much impaired, if in singing of it, particular Believers might not draw their own consolation in particular from Christ's words to them: And what can hinder, but a Believer may say, I am his, and he is mine, and that [reconstructed: these] and other places applicable to them, may not be so applied, seeing their comfort and edification is the scope of this Song?

5. The last branch of the proposition is, That this Song holds forth the same love, and care in Christ to his Church, and the same exercises and duties of Believers, under figurative terms, which are plainly, and properly held forth in other Scriptures, which are not figurative, such as are in the Gospel, in the Psalms, etc. There are no new, strange, or unusual cases here; but Believers' ordinary cases, there is no unusual way of Christ's here, but what he uses to his Church: It is often the folly and vanity of men's minds, that when expressions of Scripture look somewhat strange, they suppose still some unusual, and strange thing to be there, and therefore loathes that which is plain. It is true, the cases mentioned here, are most spiritual, having love often drawn in its most bright & lively colors, yet, for substance, the exercises are the same, which in other plain Scriptures are otherwise expressed; for, it must express the same cases, or, we must say, it expresses something different from them, not incident ordinarily to Believers, and not mentioned anywhere in Scripture, which to affirm, were both dangerous and absurd: Besides, Christ being still the same in his way with Believers, and they having still the same spirit, and being still under the same covenant, etc. we can conceive no other thing here, but what he has expressed concerning himself and them, elsewhere in Scripture. And certainly, the scope of this Song, is rather in a sweet way, to compact together the ordinary cases of Believers, and their consolations, for their edification, than to pitch on strange things, or make new cases, which would not be so profitable to them, and would wrong, and enervate the great intent of this Song.