Now will I sing to my wellbeloved a song of my beloved touching his vineyard. My wellbeloved hath a vineyard in a very fruitful hill:

I WILL sing to my beloved the canticle of my cousin concerning his vineyard. My beloved had a vineyard on a hill in a fruitful place.

I will sing to my well-beloved a song of my beloved touching his vineyard: My well-beloved had a vineyard upon a fruitful hill.

Now will I sing to my well-beloved a song of my beloved concerning his vineyard. My well-beloved hath a vineyard in a very fruitful hill:

Let me sing, I pray you, for my beloved, A song of my beloved as to his vineyard: My beloved hath a vineyard in a fruitful hill,

Now will I sing to my well beloved a song of my beloved touching his vineyard. My well beloved has a vineyard in a very fruitful hill:

Let me make a song about my loved one, a song of love for his vine-garden. My loved one had a vine-garden on a fertile hill:

I will sing to my beloved the canticle of my paternal cousin, about his vineyard. A vineyard was made for my beloved, at the horn in the son of oil.

Cantabo, agedum, pro dilecto meo, canticum dilecti mei ad vineam suam. Vinea fuit dilecto meo in cornu filio olei.

Now will I sing to my beloved. The subject of this chapter is different from that of the former. It was the design of the Prophet to describe the condition of the people of Israel, as it then was, in order that all might perceive their faults, and might thus be led by shame and self-loathing to sincere repentance. Here, as in a mirror, the people might behold the misery of their condition. But for this, they would have flattered themselves too much in their crimes, and would not have patiently listened to any instructions. It was therefore necessary to present a striking and lively picture of their wickedness; and in order that it might have the greater weight, he made use of this preface; for great and memorable events were usually described in verse, that they might be repeated by every one, and that a lasting record of them might be preserved. In like manner, we see that Moses wrote a song, and many other compositions, (Exodus 15:1; Deuteronomy 32:1,) in order that all the events might be proclaimed in this manner, both in public and in private. The instruction becomes more widely diffused than if it had been delivered in plainer language. For the same reason Isaiah composed this song, that he might present to the people a clearer view of their wickedness; and, undoubtedly, he handled this subject with magnificent and harmonious language, for the highest skill is commonly exercised in the composition of poems. To my beloved. There can be no doubt that he means God; as if he had said that he would compose a poem in behalf of God, that he might expostulate with the people about their ingratitude; for it gave additional weight to his language to represent God as speaking. But a question arises, Why does Isaiah call God his friend? Some reply that he was a kinsman of Christ, and I acknowledge that he was a descendant of David; but this appears to be a forced interpretation. A more natural and appropriate one would be, to adopt the statement of John, that the Church is committed to the friends of the bridegroom, (John 3:29,) and to reckon prophets as belonging to that class. To them, unquestionably, this designation applies; for the ancient people were placed under their charge, that they might be kept under their leader. We need not wonder, therefore, that they were jealous and were greatly offended when the people bestowed their attachment on any other. Isaiah therefore assumes the character of the bridegroom, and, being deeply anxious about the bride entrusted to him, complains that she has broken conjugal fidelity, and deplores her treachery and ingratitude. Hence we learn that not only Paul, but all those prophets and teachers who faithfully served God, were jealous of God's spouse. (2-Corinthians 11:2.) And all the servants of God ought to be greatly moved and aroused by this appellation; for what does a man reckon more valuable than his wife? A well-disposed husband will value her more highly than all his treasures, and will more readily commit to any person the charge of his wealth than of his wife. He to whom one will entrust his dearly-beloved wife must be reckoned very faithful. Now to pastors and ministers the Lord commits his Church as his beloved wife. How great will be our wickedness if we betray her by sloth and negligence! Whosoever does not labor earnestly to preserve her can on no pretense be excused. A song of my beloved. By using the word dvdy, dodi, he changes the first syllable, but the meaning is the same as in the former clause. Though some render it uncle, and others cousin, I rather agree with those who consider it to contain an allusion; for greater liberties are allowed to poets than to other writers. By his arrangement of those words, and by his allusions to them, he intended that the sound and rhythm should aid the memory, and impress the minds, of his readers. My beloved had a vineyard. The metaphor of a vineyard is frequently employed by the prophets, and it would be impossible to find a more appropriate comparison. (Psalm 80:8; Jeremiah 2:21.) There are two ways in which it points out how highly the Lord values his Church; for no possession is dearer to a man than a vineyard, and there is none that demands more constant and persevering toil. Not only, therefore, does the Lord declare that we are his beloved inheritance, but at the same time points out his care and anxiety about us. In this song the Prophet mentions, first, the benefits which the Lord had bestowed on the Jewish people; secondly, he explains how great was the ingratitude of the people; thirdly, the punishment which must follow; fourthly, he enumerates the vices of the people; for men never acknowledge their vices till they are compelled to do so. On a hill. He begins by saying that God had placed his people in a favorable situation, as when a person plants a vine on a pleasant and fertile hill. By the word horn or hill I understand a lofty place rising above a plain, or what we commonly call a rising-ground, (un coustau.) It is supposed by some to refer to the situation of Jerusalem, but I consider this to be unnatural and forced. It rather belongs to the construction of the Prophet's allegory; and as God was pleased to take this people under his care and protection, he compares this favor to the planting of a vineyard; for it is better to plant vines on hills and lofty places than on a plain. In like manner the poet says, The vine loves the open hills; the yews prefer the north wind and the cold [1] The Prophet, therefore, having alluded to the ordinary method of planting the vine, next follows out the comparison, that this place occupied no ordinary situation. When he calls it the son of oil or of fatness, [2] he means a rich and exceedingly fertile spot. This is limited by some commentators to the fertility of Judea, but that does not accord with my views, for the Prophet intended to describe metaphorically the prosperous condition of the people.

Footnotes

1 - Denique apertos Bacchus amat colles: Aquilonem et frigora taxi. Virg, Georg. II. 112.

2 - In a very fruitful hill. -- Eng. Ver.

Now will I sing - This is an indication that what follows is poetic, or is adapted to be sung or chanted.
To my well-beloved - The word used here - ידיד yedı̂yd - is a term of endearment. It properly denotes a friend; a favorite; one greatly beloved. It is applied to saints as being the beloved, or the favorites of God, in Psalm 127:2; Deuteronomy 33:12. In this place, it is evidently applied to Yahweh, the God of the Jewish people. As there is some reason to believe that the God of the Jews - the manifested Deity who undertook their deliverance from Egypt, and who was revealed as "their" God under the name of 'the Angel of the covenant' - was the Messiah, so it may be that the prophet here meant to refer to him. It is not, however, to the Messiah "to come." It does not refer to the God incarnate - to Jesus of Nazareth; but to the God of the Jews, in his capacity as their lawgiver and protector in the time of Isaiah; not to him in the capacity of an incarnate Saviour.
A Song of my beloved - Lowth, 'A song of loves,' by a slight change in the Hebrew. The word דוד dôd usually denotes 'an uncle,' a father's brother. But it also means one beloved, a friend, a lover; Song 1:13-14, Song 1:16; Song 2:3, Song 2:8, Song 2:9; Song 4:16. Here it refers to Jehovah, and expresses the tender and affectionate attachment which the prophet had for his character and laws.
Touching his vineyard - The Jewish people are often represented under the image of a vineyard, planted and cultivated by God; see Ps. 80; Jeremiah 2:21; Jeremiah 12:10. Our Saviour also used this beautiful figure to denote the care and attention which God had bestowed on his people; Matthew 21:33 ff; Mark 12:1, following.
My beloved - God.
Hath a vineyard in a very fruitful hill - Hebrew 'On a horn of the son of oil.' The word "horn" used here in the Hebrew, denotes the "brow, apex," or sharp point of a hill. The word is thus used in other languages to denote a hill, as in the Swiss words "shreckhorn, buchorn." Thus "Cornwall," in England, is called in the old British tongue "Kernaw," as lessening by degrees, like a horn, running out into promontories, like so many horns; for the Britons called a horn "corn," and in the plural "kern." The term 'horn' is not unfrequently applied to hills. Thus, Pococke tells us (vol. ii. p. 67), that there is a low mountain in Galilee which has both its ends raised in such a manner as to look like two mounts, which are called the 'Horns of Hutin.' Harmer, however, supposes that the term is used here to denote the land of Syria, from its resemblance to the shape ofa horn; Obs. iii. 242. But the idea is, evidently, that the land on which God respresents himself as having planted his vineyard, was like an elevated hill that was adapted eminently to such a culture. It may mean either the "top" of a mountain, or a little mountain, or a "peak" divided from others. The most favorable places for vineyards were on the sides of hills, where they would be exposed to the sun. - Shaw's "Travels," p. 338. Thus Virgil says:
- denique apertos
Bacchus amat colles.
'Bacchus loves open hills;' "Georg." ii. 113. The phrase, "son of oil," is used in accordance with the Jewish custom, where "son" means descendant, relative, etc.; see the note at Matthew 1:1. Here it means that it was so fertile that it might be called the very "son of oil," or fatness, that is, fertility. The image is poetic, and very beautiful; denoting that God had planted his people in circumstances where he had a right to expect great growth in attachment to him. It was not owing to any want of care on his part, that they were not distinguished for piety. The Chaldee renders this verse, 'The prophet said, I will sing now to Israel, who is compared to a vineyard, the seed of Abraham my beloved: a song of my beloved to his vineyard.'

Now will I sing to my well-beloved a song of my beloved "Let me sing now a song," etc. - A MS., respectable for its antiquity, adds the word שיר shir, a song, after נא na; which gives so elegant a turn to the sentence by the repetition of it in the next member, and by distinguishing the members so exactly in the style and manner in the Hebrew poetical composition, that I am much inclined to think it genuine.
A song of my beloved "A song of loves" - דודי dodey, for דודים dodim: status constructus pro absoluto, as the grammarians say, as Micah 6:16; Lamentations 3:14, Lamentations 3:66, so Archbishop Secker. Or rather, in all these and the like cases, a mistake of the transcribers, by not observing a small stroke, which in many MSS., is made to supply the מ mem, of the plural, thus, דודי dodi. שירת דודים shirath dodim is the same with שיר ידידת shir yedidoth, Psalm 45:1. In this way of understanding it we avoid the great impropriety of making the author of the song, and the person to whom it is addressed, to be the same.
In a very fruitful hill "On a high and fruitful hill" - Hebrew בקרן בן שמן bekeren ben shamen, "on a horn the son of oil." The expression is highly descriptive and poetical. "He calls the land of Israel a horn, because it is higher than all lands; as the horn is higher than the whole body; and the son of oil, because it is said to be a land flowing with milk and honey." - Kimchi on the place. The parts of animals are, by an easy metaphor, applied to parts of the earth, both in common and poetical language. A promontory is called a cape or head; the Turks call it a nose. "Dorsum immane mari summo;" Virgil, a back, or ridge of rocks: -
"Hanc latus angustum jam se cogentis in arctum
Hesperiae tenuem producit in aequora linguam,
Adriacas flexis claudit quae cornibus undas."
Lucan, 2:612, of Brundusium, i.e., Βρεντεσιον, which, in the ancient language of that country, signifies stag's head, says Strabo. A horn is a proper and obvious image for a mountain or mountainous country. Solinus, cap. viii., says, "Italiam, ubi longius processerit, in cornua duo scindi;" that is, the high ridge of the Alps, which runs through the whole length of it, divides at last into two ridges, one going through Calabria, the other through the country of the Brutii. "Cornwall is called by the inhabitants in the British tongue Kernaw, as lessening by degrees like a horn, running out into promontories like so many horns. For the Britons call a horn corn, in the plural kern." - Camden. "And Sammes is of opinion, that the country had this name originally from the Phoenicians, who traded hither for tin; keren, in their language, being a horn." - Gibson.
Here the precise idea seems to be that of a high mountain standing by itself; "vertex montis, aut pars montis ad aliis divisa;" which signification, says I. H. Michaelis, Bibl. Hallens., Not. in loc., the word has in Arabic.
Judea was in general a mountainous country, whence Moses sometimes calls it The Mountain, "Thou shalt plant them in the mountain of thine inheritance;" Exodus 15:17. "I pray thee, let me go over, and see the good land beyond Jordan; that goodly mountain, and Lebanon;" Deuteronomy 3:25. And in a political and religious view it was detached and separated from all the nations round it. Whoever has considered the descriptions given of Mount Tabor, (see Reland, Palaestin.; Eugene Roger, Terre Sainte, p. 64), and the views of it which are to be seen in books of travels, (Maundrell, p. 114; Egmont and Heyman, vol. ii., p. 25; Thevenot, vol. i., p. 429), its regular conic form rising singly in a plain to a great height, from a base small in proportion, and its beauty and fertility to the very top, will have a good idea of "a horn the son of oil;" and will perhaps be induced to think that the prophet took his image from that mountain.

Now will (a) I sing to my (b) wellbeloved a song of my beloved concerning his vineyard. My wellbeloved hath a (c) vineyard in a very fruitful hill:
(a) The prophet by this song sets before the people's eyes their ingratitude and God's mercy.
(b) That is, to God.
(c) Meaning that he had planted his Church in a place most plentiful and abundant.

Now will I sing to my well beloved,.... These are the words of the Prophet Isaiah, being about to represent the state and condition of the people of Israel by way of parable, which he calls a song, and which he determines to sing to his beloved, and calls upon himself to do it; by whom he means either God the Father, whom he loved with all his heart and soul; or Christ, who is often called the beloved of his people, especially in the book of Solomon's song; or else the people of Israel, whom the prophet had a great affection for, being his own people; but it seems best to understand it of God or Christ:
a song of my beloved; which was inspired by him, or related to him, and was made for his honour and glory; or "a song of my uncle" (q), for another word is used here than what is in the preceding clause, and is rendered "uncle" elsewhere, see Leviticus 25:49 and may design King Amaziah; for, according to tradition, Amoz, the father of Isaiah, was brother to Amaziah king of Judah, and so consequently Amaziah must be uncle to Isaiah; and this might be a song of his composing, or in which he was concerned, being king of Judah, the subject of this song, as follows:
touching his vineyard; not his uncle's, though it is true of him, but his well beloved's, God or Christ; the people of Israel, and house of Judah, are meant, comparable to a vineyard, as appears from Isaiah 5:7 being separated and distinguished from the rest of the nations of the world, for the use, service, and glory of God.
My beloved hath a vineyard in a very fruitful hill; or, "in a horn, the son of oil" (r); which designs the land of Israel, which was higher than other lands; and was, as some observe, in the form of a horn, longer than it was broad, and a very fruitful country, a land of olive oil, a land flowing with milk and honey, Deuteronomy 8:7. The Targum is,
"the prophet said, I will sing now to Israel, who is like unto a vineyard, the seed of Abraham, my beloved, a song of my beloved, concerning his vineyard. My people, my beloved Israel, I gave to them an inheritance in a high mountain, in a fat land.''
(q) "canticum patruelis mei", V. L. (r) "in cornu, filio olei", V. L.

Christ is God's beloved Son, and our beloved Saviour. The care of the Lord over the church of Israel, is described by the management of a vineyard. The advantages of our situation will be brought into the account another day. He planted it with the choicest vines; gave them a most excellent law, instituted proper ordinances. The temple was a tower, where God gave tokens of his presence. He set up his altar, to which the sacrifices should be brought; all the means of grace are denoted thereby. God expects fruit from those that enjoy privileges. Good purposes and good beginnings are good things, but not enough; there must be vineyard fruit; thoughts and affections, words and actions, agreeable to the Spirit. It brought forth bad fruit. Wild grapes are the fruits of the corrupt nature. Where grace does not work, corruption will. But the wickedness of those that profess religion, and enjoy the means of grace, must be upon the sinners themselves. They shall no longer be a peculiar people. When errors and vice go without check or control, the vineyard is unpruned; then it will soon be grown over with thorns. This is often shown in the departure of God's Spirit from those who have long striven against him, and the removal of his gospel from places which have long been a reproach to it. The explanation is given. It is sad with a soul, when, instead of the grapes of humility, meekness, love, patience, and contempt of the world, for which God looks, there are the wild grapes of pride, passion, discontent, and malice, and contempt of God; instead of the grapes of praying and praising, the wild grapes of cursing and swearing. Let us bring forth fruit with patience, that in the end we may obtain everlasting life.

PARABLE OF JEHOVAH'S VINEYARD. (Isaiah. 5:1-30)
to--rather, "concerning" [GESENIUS], that is, in the person of My beloved, as His representative [VITRINGA]. Isaiah gives a hint of the distinction and yet unity of the Divine Persons (compare He with I, Isaiah 5:2-3).
of my beloved--inspired by Him; or else, a tender song [CASTALIO]. By a slight change of reading "a song of His love" [HOUBIGANT]. "The Beloved" is Jehovah, the Second Person, the "Angel" of God the Father, not in His character as incarnate Messiah, but as God of the Jews (Exodus 23:20-21; Exodus 32:34; Exodus 33:14).
vineyard-- (Isaiah 3:14; Psalm 80:8, &c.). The Jewish covenant-people, separated from the nations for His glory, as the object of His peculiar care (Matthew 20:1; Matthew 21:33). Jesus Christ in the "vineyard" of the New Testament Church is the same as the Old Testament Angel of the Jewish covenant.
fruitful hill--literally, "a horn" ("peak," as the Swiss shreckhorn) of the son of oil; poetically, for very fruitful. Suggestive of isolation, security, and a sunny aspect. Isaiah alludes plainly to the Song of Solomon (Song 6:3; Song 8:11-12), in the words "His vineyard" and "my Beloved" (compare Isaiah 26:20; Isaiah 61:10, with Song 1:4; Song 4:10). The transition from "branch" (Isaiah 4:2) to "vineyard" here is not unnatural.

The prophet commenced his first address in chapter 1 like another Moses; the second, which covered no less ground, he opened with the text of an earlier prophecy; and now he commences the third like a musician, addressing both himself and his hearers with enticing words. Isaiah 1:1. "Arise, I will sing of my beloved, a song of my dearest touching his vineyard." The fugitive rhythm, the musical euphony, the charming assonances in this appeal, it is impossible to reproduce. They are perfectly inimitable. The Lamed in lı̄dı̄dı̄ is the Lamed objecti. The person to whom the song referred, to whom it applied, of whom it treated, was the singer's own beloved. It was a song of his dearest one (not his cousin, patruelis, as Luther renders it in imitation of the Vulgate, for the meaning of dōd is determined by yâdid, beloved) touching his vineyard. The Lamed in l'carmo is also Lamed objecti. The song of the beloved is really a song concerning the vineyard of the beloved; and this song is a song of the beloved himself, not a song written about him, or attributed to him, but such a song as he himself had sung, and still had to sing. The prophet, by beginning in this manner, was surrounded (either in spirit or in outward reality) by a crowd of people from Jerusalem and Judah. The song is a short one, and runs thus in Isaiah 1:1, Isaiah 1:2 : "My beloved had a vineyard on a fatly nourished mountain-horn, and dug it up and cleared it of stones, and planted it with noble vines, and built a tower in it, and also hewed out a wine-press therein; and hoped that it would bring forth grapes, and it brought forth wild grapes." The vineyard was situated upon a keren, i.e., upon a prominent mountain peak projecting like a horn, and therefore open to the sun on all sides; for, as Virgil says in the Georgics, "apertos Bacchus amat colles." This mountain horn was ben-shemen, a child of fatness: the fatness was innate, it belonged to it by nature (shemen is used, as in Isaiah 28:1, to denote the fertility of a nutritive loamy soil). And the owner of the vineyard spared no attention or trouble. The plough could not be used, from the steepness of the mountain slope: he therefore dug it up, that is to say, he turned up the soil which was to be made into a vineyard with a hoe (izzēk, to hoe; Arab. mi‛zak, mi‛zaka); and as he found it choked up with stones and boulders, he got rid of this rubbish by throwing it out sikkēl, a privative piel, lapidibus purgare, then operam consumere in lapides, sc. ejiciendos, to stone, or clear of stones: Ges. 52, 2). After the soil had been prepared he planted it with sorek, i.e., the finest kind of eastern vine, bearing small grapes of a bluish-red, with pips hardly perceptible to the tongue. The name is derived from its colour (compare the Arabic zerka, red wine). To protect and adorn the vineyard which had been so richly planted, he built a tower in the midst of it. The expression "and also" calls especial attention to the fact that he hewed out a wine-trough therein (yekeb, the trough into which the must or juice pressed from the grapes in the wine-press flows, lacus as distinguished from torcular); that is to say, in order that the trough might be all the more fixed and durable, he constructed it in a rocky portion of the ground (Châtsēb bo instead of Chătsab bo, with a and the accent drawn back, because a Beth was thereby easily rendered inaudible, so that Châtsēb is not a participial adjective, as Bttcher supposes). This was a difficult task, as the expression "and also" indicates; and for that very reason it was an evidence of the most confident expectation. But how bitterly was this deceived! The vineyard produced no such fruit, as might have been expected from a sorek plantation; it brought forth no ‛anâbim whatever, i.e., no such grapes as a cultivated vine should bear, but only b'ushim, or wild grapes. Luther first of all adopted the rendering wild grapes, and then altered it to harsh or sour grapes. But it comes to the same thing. The difference between a wild vine and a good vine is only qualitative. The vitis vinifera, like all cultivated plants, is assigned to the care of man, under which it improves; whereas in its wild state it remains behind its true intention (see Genesis, 622). Consequently the word b'ushim (from bâ'ash, to be bad, or smell bad) denotes not only the grapes of the wild vine, which are naturally small and harsh (Rashi, lambruches, i.e., grapes of the labrusca, which is used now, however, as the botanical name of a vine that is American in its origin), but also grapes of a good stock, which have either been spoiled or have failed to ripen.
(Note: In the Jerusalem Talmud such grapes are called ūbshin, the letters being transposed; and in the Mishnah (Ma'aseroth i. 2, Zeb'ith iv 8) הבאישׁ is the standing word applied to grapes that are only half ripe (see Lwy's Leshon Chachamim, or Wrterbuch des talmudischen Hebrisch, Prag 1845). With reference to the wild grape (τὸ ἀγριόκλημα), a writer, describing the useful plants of Greece, says, "Its fruit (τὰ ἀγριοστάφυλα) consists of very small berries, not much larger than bilberries, with a harsh flavour.")
These were the grapes which the vineyard produced, such as you might indeed have expected from a wild vine, but not from carefully cultivated vines of the very choicest kind.

Now - I will record it to he a witness for God, and against you, as Moses did his song, Deuteronomy 31:19, Deuteronomy 32:1. To - To the Lord of the vineyard. Of my beloved - Not devised by me, but inspired by God. Vineyard - His church. Hill - Hills being places most commodious for vines.