296–373. Athanasius, Archbishop of Alexandria, was born [[63]]in that city in 296, and died in 373. He was the principal defender of the Nicene faith, in opposition to Arius. His zealous advocacy of the Deity of Christ led him to seek, and to find that doctrine everywhere. He looked upon the Song of Songs as a Jubilee song of the Church, at the incarnation of the Son of God, and thus differs from Origen, who refers it to the experience of the believing soul. The whole book, he says, is an allegory, and is to be understood enigmatically from the beginning to the end. Its doctrines are secrets, and those only who are well versed in allegory ought to study it, as it is sure to be corrupted in the hands of others. It is called the Song of Songs, because it is the chief and last song, and the coming of Christ in the flesh, which other songs regard as future, this celebrates as present. It is an Epithalamium in celebration of the marriage of Him who is the loved of God and human flesh. Here are no threatenings and sorrows as in other books, but as the Bridegroom is present, all is turned into joy. The book is full of dialogues between the Son of God and the human race; sometimes between men in general and Christ, sometimes between Him and his ancient people; sometimes between Him and the Gentile Church, sometimes between the Gentiles and Jerusalem; and sometimes between ministering angels and men.
The following is a specimen of Athanasius’ Commentary:—
[2]. Let him kiss me, &c. This is the entreaty of his ancient people to the Word, that he would descend and take flesh; and also (ch. vii. 13), “The mandrakes give a smell, and at our gates are all manner of pleasant fruits, new and old, which I have laid up for thee, O my beloved,” and (ch. viii. 1), “Oh, that thou wert as my brother that sucked the breasts of my mother,” which refers to Christ being of the same nature as man, a brother, and yet in reality having a mother only. In ch. v. 1, Christ speaks of his having become incarnate, “I am come into my garden, my sister, my spouse; I have gathered my myrrh with my spices.” The world is his garden, because it is his creation; and his body breathes forth fragrance, because it is joined to the Divine word. The Word having put on flesh, he calls his ancient people to Him, and says (ch. ii. 10–13), “Rise up, my love, my fair one, and come, for lo, the winter is past, &c.” His first disciples would recognise in his teaching what they had long been listening for, “the voice of the turtle in their land.”
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In this fanciful manner our author descants upon the whole book.
331–396. Notwithstanding the authority and influence of the foregoing fathers, the allegorical interpretation was rejected by many at a very early age. And Gregory, bishop of Nyssa, in Cappadocia, born about 331, and died about 396, who wrote an extensive commentary upon this book, had strenuously to contend for the allegorical or spiritual interpretation, and severely condemned those who adhered to the literal meaning. The soul, he considers, as a spouse who enters into spiritual union with God. The most perfect and blessed way of salvation is here shown to those who wish to come to the knowledge of the truth.
The following is a specimen of Gregory’s Commentary:—
[2]. Let him kiss me, &c., is the language of the soul to God, which has become worthy to speak to God face to face. Thy breasts are better than wine, that is, divine breasts are better than human wine. All human wisdom cannot equal the milk of the divine word.
[3]. Thy name, &c. This signifies that all the virtues are nothing to the graces received from above.
Thus he finds some spiritual meaning in every part, for the confirmation of which some other part of Scripture is adduced.
331–420. Jerome, however, (born at Stridon in Dalmatia in 331, and died in the vicinity of Bethlehem in 420,) who was exceedingly fond of the Greek philosophers, and, like Origen, was instructed in Hebrew literature by the Jews,[77] as might have been expected, was not affected by the objections against the allegorical interpretation, but introduced it into the Western Churches. According to him, it is a nuptial and dramatic song on the occasion of the union of Christ with his Church or the soul of man. The bride and her companions, and the bridegroom and his companions are the interlocutors [[65]]in the drama. He seems to have embraced almost entirely the theory and interpretation of Origen.