This and the next Cant. 1:15-2:7 sections are regarded by ancient commentators (Jewish and Christian) as expressing "the love of espousals" Jeremiah 2:2 between the Holy One and His Church, first in the wilderness of the Exodus, and then in the wilderness of the world Ezekiel 20:35-36.

Or, to a mare of mine in the chariots of Pharaoh I liken thee, O my friend. (The last word is the feminine form of that rendered "friend" at Song 5:16.) The comparison of the bride to a beautiful horse is singularly like one in Theocritus, and some have conjectured that the Greek poet, having read at Alexandria the Septuagint Version of the Song, may have borrowed these thoughts from it. If so, we have here the first instance of an influence of sacred on profane literature. The simile is especially appropriate on the lips, or from the pen, of Solomon, who first brought horses and chariots from Egypt 1-Kings 10:28-29. As applied to the bride it expresses the stately and imposing character of her beauty.

I have compared thee - to a company of horses - This may be translated, more literally, "I have compared thee, to my mare, in the chariots or courses of Pharaoh;" and so the versions understood it. Mares, in preference to horses, were used both for riding and for chariots in the East. They are much swifter, endure more hardship. and will go longer without food, than either the stallion or the gelding.
There is perhaps no brute creature in the world so beautiful as a fine well-bred horse or mare; and the finest woman in the universe, Helen, has been compared to a horse in a Thessalian chariot, by Theocritus. Idyl. 18: ver. 28: -
Ὡδε και ἁ χρυσεα Ἑλενα διαφαινετ' εν ἡμιν,
Πιειρη, μεγαλη, ἁτ' ανεδραμεν ογμος αρουρᾳ,
Η καπῳ κυπαρισσος, η ἁρματι Θεσσαλος ἱππος.
"The golden Helen, tall and graceful, appears as distinguished among us as the furrow in the field, the cypress in the garden, or the Thessalian horse in the chariot."
This passage amply justifies the Hebrew bard, in the simile before us. See Jeremiah 6:2.

I have compared thee, O my love, to a company of horses in Pharaoh's (q) chariots.
(q) For your spiritual beauty and excellency there was no worldly treasure to be compared to you.

I have compared thee, O my love,.... The church having taken the direction of Christ, had now found him, and was with him; and when for her encouragement and comfort he greets her as his love, an appellation very usual among lovers; and in the chastest sense between husband and wife; the church was Christ's love, being both the object and subject of it; to whom he had showed love, and whose love was shed abroad in her heart; or "my friend" (t), another name used among lovers; there is a mutual friendship between Christ and his people; they are Christ's friends, and he is theirs, Song 5:1. The Septuagint render it "my neighbour", whom Christ loves as himself; and they dwell near each other; he dwells in them, and they in him, John 6:56; and here are compared by him
to a company of horses in Pharaoh's chariots; or "I have likened thee", or reckoned thee like (u); formed such an image of thee in my mind, with regard to some peculiar excellencies in her which agreed therewith: or to "my mare" (w), as some translate the word, which ran in one of his chariots, called Pharaoh's chariot; because perhaps it was made a present of to him by Pharaoh king of Egypt, his father in law, for which he had a particular regard, as Alexander for his Bucephalus; nor is such a comparison of a woman a disagreeable one, since, as Marckius observes, many women have had their names from the horse, because of some celebrated excellency in them (x); and Theocritus (y) compares Queen Helena to a Thessalian horse in a chariot; and it is thought he took the hint from this song, as admiring it; so, by others (z), persons are compared to mares for their beautiful form. Christ's church and people be compared to "the horse" for their strength, majesty, and comeliness; they are strong in Christ, and in his grace, and of an undaunted courage in bearing hardships, reproaches, and persecutions for his sake, and in fighting the Lord's battles; and are stately and majestic, especially a company of them in Gospel order, Song 6:4; and are very comely and beautiful in their trappings, clothed with the righteousness of Christ, and the graces of his Spirit; and to a "company" of them, a collection of goodly ones, as Egyptian ones, reckoned the best; and those in Pharaoh's chariot best of all; choice, costly, well fed, and well taken care of; and not wild and loose, but coupled and joined together in a chariot, all drawing one way. Christ's church and people are a choice and select company, distinguished from others by the grace of God; cost a great price, the blood of Christ; are well fed with the finest of the wheat; and are under the care both of angels and Gospel ministers; and look very beautiful as under the yoke of Christ, and joined together in Gospel bonds, being of the same faith and judgment; drawing one way, striving together for the faith of the Gospel, and endeavouring to keep the unity of the spirit in the bond of peace.
(t) "amica mea", Pagninus, Montanus, Tigurine version, Mercerus, Michaelis. (u) "similem te judico", Tigurine version. (w) , Sept. "equae meae", Pagninus, Montanus, Gussetius, p. 551. so Aben Ezra, Syriac and Arabic versions; "equabus", Piscator. (x) As Hippo, Hippe, Hippia, Hippodomia, Hippothoe, Hipponoe, Mercippe, Alcippe, Archippe. (y) Idyll. 18. v. 29. (z) , Theognis Sententiae, v. 257. '- Phocylides. So by Plato in Hippias Major, p. 1250. & Horat. Carmin. l. 3. Ode 11. v. 9.

The Bridegroom gives high praises of his spouse. In the sight of Christ believers are the excellent of the earth, fitted to be instruments for promoting his glory. The spiritual gifts and graces which Christ bestows on every true believer, are described by the ornaments then in use, Song 1:10, Song 1:11. The graces of the saints are many, but there is dependence upon each other. He who is the Author, will be the Finisher of the good work. The grace received from Christ's fulness, springs forth into lively exercises of faith, affection, and gratitude. Yet Christ, not his gifts, is most precious to them. The word translated "camphire," signifies "atonement or propitiation." Christ is dear to all believers, because he is the propitiation for their sins. No pretender must have his place in the soul. They resolved to lodge him in their hearts all the night; during the continuance of the troubles of life. Christ takes delight in the good work which his grace has wrought on the souls of believers. This should engage all who are made holy, to be very thankful for that grace which has made those fair, who by nature were deformed. The spouse (the believer) has a humble, modest eye, discovering simplicity and godly sincerity; eyes enlightened and guided by the Holy Spirit, that blessed Dove. The church expresses her value for Christ. Thou art the great Original, but I am but a faint and imperfect copy. Many are fair to look at, yet their temper renders them unpleasant: but Christ is fair, yet pleasant. The believer, Song 1:16, speaks with praise of those holy ordinances in which true believers have fellowship with Christ. Whether the believer is in the courts of the Lord, or in retirement; whether following his daily labours, or confined on the bed of sickness, or even in a dungeon, a sense of the Divine presence will turn the place into a paradise. Thus the soul, daily having fellowship with the Father, the Son, and the Holy Spirit, enjoys a lively hope of an incorruptible, undefiled, and unfading inheritance above.

horses in Pharaoh's chariots--celebrated for beauty, swiftness, and ardor, at the Red Sea (Exodus 14:15). These qualities, which seem to belong to the ungodly, really belong to the saints [MOODY STUART]. The allusion may be to the horses brought at a high price by Solomon out of Egypt (2-Chronicles 1:16-17). So the bride is redeemed out of spiritual Egypt by the true Solomon, at an infinite price (Isaiah 51:1; 1-Peter 1:18-19). But the deliverance from Pharaoh at the Red Sea accords with the allusion to the tabernacle (Song 1:5; Song 3:6-7); it rightly is put at the beginning of the Church's call. The ardor and beauty of the bride are the point of comparison; (Song 1:4) "run"; (Song 1:5) "comely." Also, like Pharaoh's horses, she forms a great company (Revelation 19:7, Revelation 19:14). As Jesus Christ is both Shepherd and Conqueror, so believers are not only His sheep, but also, as a Church militant now, His chariots and horses (Song 6:4).

Solomon, while he was absent during the first scene, is now present. It is generally acknowledged that the words which follow were spoken by him:
9 To a horse in the chariot of Pharaoh Do I compare thee, my love.
10 Beautiful are thy cheeks in the chains, Thy neck in the necklaces.
11 Golden chains will we make for thee, With points of silv.
Till now, Shulamith was alone with the ladies of the palace in the banqueting-chamber. Solomon now comes from the banquet-hall of the men (Song 1:12); and to Song 2:7, to which this scene extends, we have to think of the women of the palace as still present, although not hearing what Solomon says to Shulamith. He addresses her, "my love:" she is not yet his bride. רעיה (female friend), from רעי (רעה), to guard, care for, tend, ethically: to delight in something particularly, to take pleasure in intercourse with one, is formed in the same way as נערה; the mas. is רעה (= ra'j), abbreviated רע, whence the fem. rǎ'yāh (Judges 11:37; Chethı̂b), as well as rē'āh, also with reference to the ground-form. At once, in the first words used by Solomon, one recognises a Philip, i.e., a man fond of horses, - an important feature in the character of the sage (vid., Sur. 38 of the Koran), - and that, one fond of Egyptian horses: Solomon carried on an extensive importation of horses from Egypt and other countries (2-Chronicles 9:28); he possessed 1400 war-chariots and 12, 000 horsemen (1-Kings 10:26); the number of stalls of horses for his chariots was still greater (1-Kings 5:6) [4:26]. Horace (Ode iii. 11) compares a young sprightly maiden to a nimble and timid equa trima; Anacreon (60) addresses such an one: "thou Thracian filly;" and Theocritus says (Idyl xviii. 30, 31):
"As towers the cypress mid the garden's bloom,
As in the chariot proud Thessalian steed,
Thus graceful rose-complexioned Helen moves."
But how it could occur to the author of the Song to begin the praise of the beauty of a shepherdess by saying that she is like a horse in Pharaoh's chariot, is explained only by the supposition that the poet is Solomon, who, as a keen hippologue, had an open eye for the beauty of the horse. Egyptian horses were then esteemed as afterwards the Arabian were. Moreover, the horse was not native to Egypt, but was probably first imported thither by the Hyksos: the Egyptian name of the horse, and particularly of the mare, ses-t, ses-mut, and of the chariot, markabuta, are Semitic.
(Note: Eber's Aegypten u. die B. Mose's, Bd. I pp. 221f. 226; cf. Aeg. Zeitschr. 1864, p. 26f.)
סוּסה is here not equitatus (Jerome), as Hengst. maintains: "Susah does not denote a horse, but is used collectively;" while he adds, "Shulamith is compared to the whole Egyptian cavalry, and is therefore an ideal person." The former statement is untrue, and the latter is absurd. Sūs means equus, and susā may, indeed, collectively denote the stud (cf. Joshua 19:5 with 1-Chronicles 4:31), but obviously it first denotes the equa. But is it to be rendered, with the lxx and the Venet., "to my horse"? Certainly not; for the chariots of Pharaoh are just the chariots of Egypt, not of the king of Israel. The Chirek in which this word terminates is the Ch. compag., which also frequently occurs where, as here and Genesis 49:11, the second member of the word-chain is furnished with a prep. (vid., under Psalm 113:1-9). This i is an old genitival ending, which, as such, has disappeared from the language; it is almost always accented as the suff. Thus also here, where the Metheg shows that the accent rests on the ult. The plur. רכבי, occurring only here, is the amplificative poetic, and denotes state equipage. דּמּה is the trans. of דּמה, which combines the meanings aequum and aequalem esse. Although not allegorizing, yet, that we may not overlook the judiciousness of the comparison, we must remark that Shulamith is certainly a "daughter of Israel;" a daughter of the people who increased in Egypt, and, set free from the bondage of Pharaoh, became the bride of Jahve, and were brought by the law as a covenant into a marriage relation to Him.
The transition to Song 1:10 is mediated by the effect of the comparison; for the head-frame of the horse's bridle, and the poitral, were then certainly, must as now, adorned with silken tassels, fringes, and other ornaments of silver (vid., Lane's Modern Egypt, I 149). Jerome, absurdly, after the lxx: pulchrae sunt genae tuae sicut turturis. The name of the turtle, תּוּד, redupl. turtur, is a pure onomatopoeia, which has nothing to do with תּוּר, whence דּוּר, to go round about, or to move in a circle; and turtle-dove's cheeks - what absurdity! Birds have no cheeks; and on the sides of its neck the turtle-dove has black and white variegated feathers, which also furnishes no comparison for the colour of the cheeks. תּורים are the round ornaments which hang down in front on both sides of the head-band, or are also inwoven in the braids of hair in the forehead; תּוּר, circumire, signifies also to form a circle or a row; in Aram. it thus denotes, e.g., the hem of a garment and the border round the eye. In נאווּ (vid., at 5a) the Aleph is silent, as in לאמר, אכל. חרוּזים are strings of pearls as a necklace; for the necklace (Arab. kharaz) consists of one or more, for the most part, of three rows of pearls. The verb חרז signifies, to bore through and to string together; e.g., in the Talm., fish which one strings on a rod or line, in order to bring them to the market. In Hebrews. and Aram. the secondary sense of stringing predominates, so that to string pearls is expressed by חרז, and to bore through pearls, by קדח; in Arab., the primary meaning of piercing through, e.g., michraz, a shoemaker's awl.
After Song 1:11, one has to represent to himself Shulamith's adorning as very simple and modest; for Solomon seeks to make her glad with the thought of a continued residence at the royal court by the promise of costly and elegant ornaments. Gold and silver were so closely connected in ancient modes of representation, that in the old Aegypt. silver was called nub het, or white gold. Gold derived its name of זהב from its splendour, after the witty Arab. word zahab, to go away, as an unstable possession; silver is called כּסף, from כּסף, scindere, abscindere, a piece of metal as broken off from the mother-stone, like the Arab. dhuḳrat, as set free from the lump by means of the pickaxe (cf. at Psalm 19:11; Psalm 84:3). The name of silver has here, not without the influence of the rhythm (Song 8:9), the article designating the species; the Song frequently uses this, and is generally in using the art. not so sparing as poetry commonly is.
(Note: The art. denoting the idea of species in the second member of the st. const. standing in the sing. without a determining reference to the first, occurs in Song 1:13, "a bundle of (von) myrrh;" Song 1:14, "a cluster of (von) the cyprus-flower;" Song 4:3, "a thread of (von) scarlet," "a piece of pomegranate;" Song 5:13, "a bed of balm" (but otherwise, Song 6:2), Song 7:9, "clusters of the vine;" Song 7:3, "a bowl of roundness" (which has this property); Song 7:10, "wine (of the quality) of goodness;" cf. Song 8:2, "wine the (= of the) spicing." It also, in cases where the defined species to which the first undefined member of the st. const. belongs, stands in the pl.: Song 2:9, Song 2:17; Song 8:14, "like a young one of the hinds;" Song 4:1; Song 6:5, "a herd of goats;" Song 4:2, "a flock of shorn sheep;" Song 6:6, "a flock of lambs," i.e., consisting of individuals of this kind. Also, when the second member states the place where a thing originates or is found, the first often remains indeterminate, as one of that which is there found, or a part of that which comes from thence: Song 2:1, "a meadow-saffron of Sharon," "a lily of the valleys;" Song 3:9, "the wood of Lebanon." The following are doubtful: Song 4:4, "a thousand bucklers;" and Song 7:5, "a tower of ivory;" less so Song 7:1, "the dance of Mahanaim." The following are examples of a different kind: Genesis 16:7, "a well of water;" Deuteronomy 22:19, "a damsel of Israel;" Psalm 113:9, "a mother of children;" cf. Genesis 21:28.)
עם makes prominent the points of silver as something particular, but not separate. In נישׂה, Solomon includes himself among the other inhabitants, especially the women of the palace; for the plur. majest. in the words of God of Himself (frequently in the Koran), or persons of rank of themselves (general in the vulgar Arab.), is unknown in the O.T.
They would make for her golden globules or knobs with (i.e., provided with; cf. Psalm 89:14) points of silver sprinkled over them, - which was a powerful enticement for a plain country damsel.

Compared thee - For strength and courage, to overcome all thine enemies. For horses are famous for that property, and the strength of the battle was then thought to consist much in horses, and chariots, especially in a company or multitude of them. And the church in this book is represented not only as fair and beautiful, but also as terrible to her enemies.