Commentaries:
Jamieson, Fausset, and Brown
my soul loveth—more intense than "the virgins" and "the upright love thee" (Song of Solomon 1:3-4; Matthew 22:37). To carry out the design of the allegory, the royal encampment is here represented as moving from place to place, in search of green pastures, under the Shepherd King (Psalms 23:1-6). The bride, having first enjoyed communion with him in the pavilion, is willing to follow Him into labors and dangers; arising from all absorbing love (Luke 14:26); this distinguishes her from the formalist (John 10:27; Revelation 14:4).
feedest—tendest thy flock (Isaiah 40:11; Hebrews 13:20; I Peter 2:25; I Peter 5:4; Revelation 7:17). No single type expresses all the office of Jesus Christ; hence arises the variety of diverse images used to portray the manifold aspects of Him: these would be quite incongruous, if the Song referred to the earthly Solomon. Her intercourse with Him is peculiar. She hears His voice, and addresses none but Himself. Yet it is through a veil; she sees Him not (Job 23:8-9). If we would be fed, we must follow the Shepherd through the whole breadth of His Word, and not stay on one spot alone.
makest . . . to rest—distinct from "feedest"; periods of rest are vouchsafed after labor (Isaiah 4:6; Isaiah 49:10; Ezekiel 34:13-15). Communion in private must go along with public following of Him.
turneth aside—rather one veiled, that is, as a harlot, not His true bride (Genesis 38:15), [GESENIUS]; or as a mourner (II Samuel 15:30), [WEISS]; or as one unknown [MAURER]. All imply estrangement from the Bridegroom. She feels estranged even among Christ's true servants, answering to "thy companions" (Luke 22:28), so long as she has not Himself present. The opposite spirit to I Corinthians 3:4.
Other Jamieson, Fausset, and Brown entries containing Song of Solomon 1:7:
Song of Solomon 1:4
Song of Solomon 1:8
Song of Solomon 1:16
John 4:6-8
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