The Song of Songs Translated from the Original Hebrew, with a Commentary, Historical and Critical — Key Ideas to Explore

A Historical Survey of Interpretation

Ginsburg devotes a substantial portion of his introduction to a "Historical Sketch of the Exegesis of the Book" (Section V), classifying and examining different interpretive approaches. The excerpts show him engaging with Jewish sources such as the Targum, Saadias Gaon, Rashi, Ibn Ezra, and the commentary of R. Samuel ben Meier (Rashbam), recently edited by Adolph Jellineck in 1855. He also references Christian interpreters and the allegorical tradition that read the Song as a depiction of Christ and the church. This survey is not merely doxographical; Ginsburg uses it to position his own literal-historical method as a corrective to what he sees as excessive allegorization.

The Shulamite as Moral Exemplar

In the preface, Ginsburg summarizes the narrative: the Shulamite, "espoused to her shepherd, is tempted by a mighty potentate with riches and pleasures to transfer her affections; but, strengthened by the power of divine love, she resists all temptation, remains faithful to her beloved, and is ultimately rewarded." This précis is notable for its clarity and for the way it treats the poem as a coherent story with a moral arc. Ginsburg then applies this to the believer's experience: "The people of God, espoused to ‘the Shepherd and Bishop of their souls,’ are tempted by the prince of this world to forsake their Lord." The typology is explicit but grounded in the literal sense.

Engagement with Medieval Jewish Exegesis

The excerpts include a lengthy passage from a medieval Jewish commentary—possibly Ibn Ezra or Joseph Kaspi—that interprets the Song as an allegory of the relationship between the Active Intellect and the human soul. The text states: "this book is a parable of the union of the Active Intellect with the human intellect, which is divided into four kinds, the noblest of which is the emanated intellect." Ginsburg's inclusion of such material, complete with Hebrew text and footnotes referencing Zunz and Sachs, demonstrates his commitment to documenting the full range of exegetical tradition. He does not endorse this philosophical reading but presents it as part of the historical record.

Textual and Philological Apparatus

Ginsburg's commentary is heavily philological. The excerpts show him citing Hebrew grammars, comparing variant readings, and offering lexical notes. For example, a footnote explains that "through receiving the law Israel was anointed, i.e., became wise, and the fame of their wisdom was diffused abroad," referencing Saadias on the passage. Another note clarifies that "swarthy through the sin of the calf, comely through the reception of the Law" is a paraphrase of the Targum. The commentary also includes references to contemporary scholars such as Zunz, Jost, and Fürst, situating Ginsburg within the nineteenth-century Wissenschaft des Judentums movement.

Readers approaching this edition should note that Ginsburg's commentary is both a work of scholarship and a theological argument. The lengthy introduction—especially the historical survey of exegesis—provides essential context for understanding his method. The commentary itself is dense with philological detail and cross-references to Jewish and Christian sources. For a first reading, it may be helpful to start with the preface and the summary of the narrative, then consult the commentary on individual verses as needed. The Hebrew text is included, but the English translation and notes make the work accessible to readers without Hebrew.

Reading Ginsburg’s commentary on the Song of Songs, I kept thinking of how he traces ancient voices arguing over a single phrase, each hoping to pin down its truth. That patient, layered searching reminded me, oddly, of evenings spent with a quieter book about the psalms, where the same kind of reverence for older words lives on. A manual of the book of Psalms — Context and Discussion felt like a familiar hand resting near mine.