Ecclesiastes 12

1. Remember now. Rather, “And remember.” Religion is the most effectual preservative of youth, and the best preparative for infirmity and age. This life, so full of vanity and vexation, will be best understood and used if it is regarded as God’s gift and trust, to be spent in doing His will (13).

thy Creator. A plural form in Hebrew, like Elohim, expressive of majesty. Father, Son, and Spirit, are all concerned in the creation of man.

2. While the sun, etc. All this (2-5) is a highly figurative and very beautiful description of the approach of death. Dr. Samuel Cox (Expositor’s Bible) takes a view of the passage which seems less far-fetched than the explanations of many commentators. According to him, the description is that of a tempest breaking upon an Eastern city. “Such and so terrible is death to the godless and sensual.”

the mourners go about the streets. Mourners were hired to bewail the deceased.

6. Or ever the silver cord be loosed, etc. The Preacher proceeds by another set of images to represent the process of death. Some suppose the metaphors to be taken from various parts of the human body—the “cord of silver” breaks, and the “golden bowl,” or lamp suspended by a

“silver chain,” is broken, and “the lamp of life” is extinguished. And then death is represented by the images of the “broken wheel” and the “broken pitcher” of a well.

7. Then shall the dust return, etc. Rather, “And the dust returneth,” etc.

the spirit shall return, etc. The inspired Preacher regarded the body as the organ of the indwelling spirit, which, though acting by means of the body while connected with it, is yet capable of separate existence and activity.

10. The Preacher sought to find out, etc. Rather, “The Preacher sought to find out words of pleasantness, and writing of uprightness, words of truth”; aiming to join what is agreeable and interesting with what is true and useful.

11 and as nails fastened, etc. “As nails driven in,” or “spikes driven home by the Shepherds as they pitch their tents” (Dr. Samuel Cox). All these words of the wise, he says, have been suggested and inspired by one Teacher, i.e., by God Himself.

12. Of making many books there is no end, etc. This is not an attack on books and reading but a plea for concentration. The Preacher urges his readers to be satisfied with a few good writings, which shall act as goads and nails, rather than to perplex themselves either with reading many books or with making new ones.

for this is the whole [duty] of man. Or, “for this is [the duty of] every man.” Without true practical religion no man can be happy, whatever he has rank or advantages; with it, he who has little earthly good may possess a pure and real blessedness. The same truth is, in every variety of form, taught by Him who is “greater than Solomon”; and who not only illustrated and enforced all His precepts by His own perfect example, but Himself opened for us the closed gates of paradise.

THE interpretations of this book are many and varied. The simplest and most natural appears to be that which regards it as a poem or drama of pure wedded love. As such it was enshrined in the Jewish Scriptures, and is still part of the service of the Passover, as one of the five Megilloth or rolls which are read at different festivals. That it is capable of a typical application can hardly be denied.

We content ourselves with giving a summary of the drama, taken from The Bible Handbook, by Angus and Green.

Scene I. In Solomon’s Gardens.—The damsels of Jerusalem, as chorus, celebrate the praise of the royal bridegroom (i. 2-4). The Shulamite excuses her rusticity, and asks where she may find the bridegroom: the damsels reply (i. 5-8). Solomon enters, and an affectionate dialogue ensues (i. 9; ii. 7).

Scene II. The Shulamite, alone.—She describes first a happy visit from her beloved; and then a dream, in which he appears as lost and found (ii. 8; iii. 5).

Scene III. The Royal Espousals.—Inhabitants of Jerusalem describe the approach of the King and Bride (iii. 6-11). A scene of mutual endearment follows (iv. 1; v. 1).

Scene IV. The Palace.—The Shulamite narrates a dream to the damsel chorus (v. 2-8). They reply (v. 9). She responds, extolling her beloved (v. 10-16). The chorus responds (vi. 1). The Bride replies (vi. 2, 3). Solomon enters and descents upon her charms (vi. 4-9).

Scene V. The Palace (continued).—Dialogue between the damsel chorus and the Bride (vi. 10–13). Damsels continue (vii. 1–5). Solomon enters and again expresses his delight (vii. 6–9). The Bride invites her beloved to visit her childhood’s rural home (vii. 9; viii. 4).

Scene VI. The Shulamite’s Home.—Inhabitants of the country (viii. 5); Solomon (viii. 5); the Bride (viii. 6, 7); her Brothers (viii. 8, 9); the Bride (viii. 10–12); Solomon (viii. 13); the Bride (viii. 14).