Song of Songs — Chapter 1

Osculetur me osculo oris sui: quia meliora sunt ubera tua vino

The voice of the Patriarchs and the Synagogue longing for the coming of Christ (Bernard, Thomas Aquinas). The Bride (Church) begs Christ to come and give her the kiss of His mouth — that is, the Incarnation itself, the hypostatic union joining flesh to the Word, man to God. The three persons of the Trinity are signified: the Father is the one who kisses, the Son (Word of the Father) is the kiss itself, and the Holy Spirit is the bond of love between them — the \"osculum\" of the Trinity. The Church petitions the entire Trinity for intimate union. In the Chaldaic tradition, the kiss = the Law given through Moses as type of Christ's new law and Gospel teaching. Bernard: the Church asks for the Spirit, by whom she receives the taste of knowledge and the communion of grace. The kiss also signifies the soul's vivification by the Spirit, making her a daughter and heir of God. Formerly God spoke through the mouths of the Prophets; now the Bride asks that He open His own mouth in the Incarnation and speak directly through His Son.

Fragrantia unguentis optimis. Oleum effusum nomen tuum: ideo adolescentulae dilexerunt te

The Bride has experienced the sweetness of Christ's breasts (spiritual consolations and charisms), which far surpass wine — that is, all worldly pleasures and created goods. The \"fragrance of best ointments\" = the fame of Christ's holiness, miracles, and grace, spread by the Apostles everywhere (2 Cor. 2:15: \"We are the good odor of Christ\"). The best ointments = the charisms of the Holy Spirit given by Christ to the Church: wisdom, consolation, gifts of healing, miracles, prophecy, discernment of spirits, tongues. These surpass all other spiritual aromas combined. Origen, Aponius, and Theodoret note that all spiritual aromas are surpassed by the one supremely sweet ointment of Christ's grace, which from the first moment of His conception was infused in Him in fullness as grace of the Head flowing into all the Saints. The name of Christ is \"Oleum effusum\" — poured out like oil — for formerly it was enclosed in Judaea, but now through the apostolic preaching it has been diffused to all nations. Baptism pours this ointment on Christians. The \"adolescentulae\" = the young Gentile nations newly drawn to Christ by His fragrance.

Trahe me, post te curremus in odorem unguentorum tuorum

The Church, drawn by the fragrance of Christ's charisms, begs to be drawn after Him, that she may follow His holy life, passion, and cross. The Church confesses her own weakness and impotence: she cannot follow Christ without being drawn by His efficacious grace (John 6:44: \"No man can come to me unless the Father draw him\"). The drawing = the gratia efficax of Christ. Three interpretations: (1) Christ draws by love, not by compulsion or chains; (2) He draws the soul by the Spirit through prayer and desire; (3) the resistance of concupiscence is such that only grace can overcome it. Bernard: Christ draws us by spiritual consolations. Those who run after Him must be renewed by the warmth of grace to keep pace. The plural \"curremus\" shows that no one runs alone — the Church runs as a body. As a scent draws one involuntarily, so Christ's grace draws the soul.

Introduxit me rex in cellaria sua: exultabimus et laetabimur in te, memores uberum tuorum super vinum

Christ the Bridegroom-King has introduced the Church Bride into His inner chambers and cellars. These cellars = (1) Holy Scripture with its hidden mysteries (Theodoret, Jerome); (2) the mysteries of the Incarnation, Passion, Cross, and Resurrection of Christ; (3) the secrets and counsels of God, including the sanctifying crosses and tribulations He sends; (4) heaven with its many mansions (John 14:2); (5) Paradise, expelled from which Adam now returns through Christ; (6) mystical raptures and spiritual visions given to the Church's saints. Ambrose: the Church introduced into the mysteries of Christ's flesh, blood, burial, and resurrection as a Bride into her Bridegroom's chamber. Origen: the Divine Word produces ripe and sweet fruit in the cellars, where the Bride finds the wealth of the Spirit. The Church exults and rejoices in Christ, remembering His breasts more than wine — i.e., His spiritual gifts and consolations exceed all earthly delights.

Nigra sum sed formosa, filiae Hierusalem, sicut tabernacula Cedar, sicut pelles Salomonis

The Church, darkened by the persecution of Jews and Gentiles, is yet beautiful by patience, constancy, and interior grace. Four interpretations: (1) Darkened by past idolatry among the Gentiles, but cleansed by baptism and penance; (2) Black externally by worldly tribulations but beautiful by patience and virtue; (3) Darkened by concupiscence but beautiful by charity; (4) Blackened by persecution yet glorious in endurance. \"Cedar\" = the Arab tribes living in tents in the desert — a rude exterior. \"Pelles Salomonis\" = Solomon's richly adorned tents — a magnificent interior. The Church, seemingly rude and despised in the world's eyes, is interiorly adorned with the grace of Christ. The Synagogue, formerly beautiful before God, became black through rejection of the Messiah, yet retains a certain beauty in the promises she received.

Nolite me considerare quod fusca sim, quia decoloravit me sol; filii matris meae pugnaverunt contra me

The Church addresses her daughters: do not marvel that I am darkened/sunburned, for the sun of persecution has burned me. Four interpretations of the sun/blackness: (1) Burnt by the ardor of mortal sins committed before conversion; (2) By venial sins; (3) By the concupiscence of the flesh; (4) By tribulations and persecutions from enemies. This very burning, however, produces patience and constancy which glorify the Church. The \"children of my mother who fought against me\" = the Jews and persecutors, who are children of the same mother (the Synagogue/humanity) yet fought against the Church. Ambrose: this is also the voice of the Synagogue, abandoned for a time by Christ at the transmission of the Gospel to the Gentiles. The vineyard she could not keep = her own soul, neglected when she was occupied with external disputes.

Indica mihi quem diligit anima mea, ubi pascas, ubi cubes in meridie, ne vagari incipiam post greges sodalium tuorum

The Church (Bride) begs Christ to show her where He pastures and rests at noon, so she will not wander after the flocks of His companions — meaning heretics and false teachers. The \"meridian\" has several interpretations: the crucifixion at the sixth hour (Theodoret); the clear public preaching of orthodox faith; the Nativity of Christ; or the Roman Church which enjoys the fullness of the Faith (Augustine). The Church, like the soul seeking God, must be guided to the right pasture and not fall into the hands of heretics or false teachers. \"Companions\" of Christ = the Apostles and Doctors of the Church, or (by a darker reading) heretics who falsely claim Christ's name. The word \"meridie\" also signifies contemplation — the noon of perfect union with God in prayer.

Si ignoras te, o pulcherrima mulierum, egredere et abi post vestigia gregum

The Bridegroom's (or His companions') reply: If you, O most beautiful of women, do not know yourself, go forth and follow the tracks of the flocks. Four interpretations: (1) Know yourself — self-knowledge leads to God, for He is within you (Christ dwells in the soul that knows her own poverty and need); (2) Gregory of Nyssa: exhortation to self-knowledge as the path to God; (3) Ironic response: \"If you do not know, go forth\" = gentle rebuke for asking what could be found within; (4) Nyssen: the soul instructed through similitudes of the holy life until she attains the King dwelling within her. The \"vestiges of the flocks\" = the example of the holy Patriarchs and their successors, and the orthodox tradition handed down from the Apostles. The \"tents of the shepherds\" = the Church's pastors.

Equitatui meo in curribus Pharaonis assimilavi te amica mea

Christ the Bridegroom compares His beloved Church to His cavalry in Pharaoh's chariots, signifying: (1) The Church's swiftness in pursuing Christ; (2) Her obedience and mortification, like a horse subject to its rider; (3) Her vastness and beauty spread throughout the world; (4) The mutual accommodation of Christ and the Church — just as horses yoked together accommodate each other, so Christ and the Church are intimately united. Christ placed His angelic cavalry against Pharaoh's horses to vindicate Moses and Israel, typifying how Christ defends His Church against persecutors. The comparison also implies the Church's obedience: a well-trained horse goes where its rider directs, so the Church goes where the Spirit of Christ leads.

Pulchrae sunt genae tuae sicut turturis, collum tuum sicut monilia

The Bridegroom praises the Bride's cheeks like the turtle-dove's and neck like necklaces. Cheeks as turtle-doves = the Church's simplicity, fidelity, and chaste love, fixed on God alone as the turtle-dove is faithful to one mate. The neck with necklaces = the beauty of sound doctrine and ecclesiastical discipline adorning the Church, especially through her Pontiffs and Doctors. The neck also signifies the Church's obedience connecting her (as a neck) to Christ her Head. Tropologically: the cheeks blush with shame and compunction; the neck, adorned with the yoke of Christ, bears obedience willingly and beautifully. The double mention of beauty (\"pulchrae\") emphasizes internal and external comeliness united in the Church.

Murenulas aureas faciemus tibi, vermiculatas argento

Christ and the Apostles (or the angels) promise to adorn the Church with golden necklaces studded with silver. Six interpretations: (1) Chaldaic: tablets of the Decalogue given through Moses; (2) the charisms of sacred Scripture's understanding, illumined by the Holy Spirit; (3) virginity (Jerome); (4) martyrdom and martyrs (Philo Carpathius); (5) holy inspirations and divine suggestions communicated through angels (Bernard); (6) charity toward neighbor expressed in works of mercy. \"Vermiculata argento\" (embroidered with silver) = the adornment of silver eloquence, or the variety of prophecies pertaining to Christ. The plural \"faciemus\" implies the Trinity collaborating to beautify the Church. The aureola — the special crown of teachers, virgins, and martyrs — is here promised to the Church.

Dum esset rex in accubitu suo, nardus mea dedit odorem suum

While the King/Christ was reclining at His banquet-couch — symbolizing His eternal repose in the Father's bosom, or (in the moral sense) His dwelling in the soul's interior — the Bride's nard gave forth its fragrance. Bernard: the King's reclining = the repose of the Father, whose throne and banqueting-place received the fragrance of humble suppliants, until it was moved to mercy to send His Son. The nard = the Church's faith, humility, and prayer that attracted God's mercy. The accubitus = eternity (the divine throne), or the Incarnation itself as a wedding feast. Ambrose: introduced into Christ's mysteries of flesh, blood, burial, and resurrection, the Church was exhilarated. Nard = humility above all, especially the humility of the Blessed Virgin whose fragrance drew down the Son of God from heaven.

Fasciculus myrrhae dilectus meus mihi, inter ubera mea commorabitur

A bundle of myrrh is my beloved to me; he shall abide between my breasts. The Church declares that Christ — who is myrrh, signifying bitterness, passion, and its surpassing sweet fragrance of love — is her beloved, and she will bear Him ever in her heart. Myrrh = (1) the bitterness of Christ's Passion; (2) its surpassing sweet fragrance of love poured out; (3) its preserving power against corruption of sin; (4) its strengthening of the heart. Christ is called a \"bundle\" (fasciculus) of myrrh because His whole life was a bundle of bitter sufferings: from the manger to the cross, bound up together. The Church and the faithful soul meditate continually on Christ's passion, keeping it in the heart (between the breasts) as a preservative against all spiritual corruption. Origen: the fascicle of myrrh lodged between the breasts signifies the perpetual memory of Christ's sufferings in the faithful heart.

Botrus cypri dilectus meus mihi in vineis Engaddi

My beloved is a cluster of cyprus (henna) to me in the vineyards of Engaddi. Cyprus/henna = (1) a rich, sweet-smelling cluster, signifying Christ's redemption — precious and fragrant; (2) the vine of Cyprus producing the best wine = Christ's blood poured out in the winepress of the Cross enriches the Church; (3) camphor (caphura) which ignites even in water = Christ's charity burning in the midst of the flood of sin and the world; (4) the cypress/henna whose flowers atone for foul odors = Christ's Passion atoning for the stench of sins (Hebrew \"copher\" = expiation, atonement). En-gaddi = \"fountain of the kid\" = a place of temptation (desert spring), where the cluster of Christ's grace is found most abundantly. Tropologically: in temptation and trial, the consolation of Christ flowers most abundantly for the soul.

Ecce tu pulchra es amica mea, ecce tu pulchra es, oculi tui columbarum

The Bridegroom (Christ) responds to the Bride's (Church's) praise of Himself by praising her double beauty. The dove's eyes signify the Church's contemplative and simple gaze, fixed solely on God: a pure, direct spiritual vision aligned to its divine end. Double mention = the Church is beautiful both spiritually (in grace and faith) and in the beauty she radiates outwardly. Allegorically: the seven gifts of the Holy Spirit are the seven \"eyes\" of the Church. The Prophets and Apostles are the eyes guiding the Church to truth (Philo Carpathius). \"Dove's eyes\" also signify simplicity and fidelity, freedom from duplicity, and the Spirit of God dwelling in her as He descended on Christ in the form of a dove.

Ecce tu pulcher es, dilecte mi, et decorus. Lectulus noster floridus

The Bride responds in admiration: \"Behold, you are beautiful, my beloved, and comely; our couch is flowery.\" Our couch = (1) the humanity of Christ, in which the divinity rests veiled from human sight; (2) Holy Scripture flowering with spiritual mysteries; (3) the contemplative soul's quiet repose in Christ; (4) the blessed tomb of Christ which \"flowered\" at the Resurrection when Christ rose in glory. The flowery couch = the Church flourishing in good works, protected by Christ from the burning of persecution. Tropologically: the flowery couch = the monasteries and consecrated life, where souls devoted to God are shielded and cultivated. \"Lectulus noster\" — the couch is shared (\"noster\"), for Christ and the Church rest together in mutual love and communion.

Tigna domorum nostrarum cedrina, laquearia nostra cypressina

The beams of our houses are cedar, our ceilings are cypress. The house built of cedar and cypress = the imperishable, sweet-smelling body of Christ and the Church, built with the virtues of immortality and incorruption. Cedar is incorruptible and repels worms = signifying the impassibility and immortality of Christ's resurrection body and the Church's future glorified state. The Anagogical sense: in heaven, the glorified soul and body of the saints will be as cedar (incorruptible) and cypress (glorious and fragrant). Ambrose/Alanus: the cedar = the body of Christ and the body of the Virgin, both incorruptible from their divine formation; the cypress = the sufferings of Christ and the Blessed Virgin, which from apparent infirmity produced a marvellous fragrance of grace. The \"house\" built of such wood = the eternal dwelling prepared for the Church in heaven.