Ісая 5:1

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. Isa 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 Isa 1:1, Isa 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 Geo…

See what variety of methods the great God takes to awaken sinners to repentance by convincing them of sin, and showing them their misery and danger by reason of it. To this purport he speaks sometimes in plain terms and sometimes in parables, sometimes in prose and sometimes in verse, as here. "We have tried to reason with you (Isa 1:18); now let us put your case into a poem, inscribed to the honour of my well beloved." God the Father dictates it to the honour of Christ his well beloved Son, whom he has constituted Lord of the vineyard. The prophet sings it to the honour of Christ too, for he is his well beloved. The Old Testament prophets were friends of the bridegroom. Christ is God's beloved Son and our beloved Saviour. Whatever is said or sung of the church must be intended to his praise, even that which (like this) tends to our shame. This parable was put into a song that it might be the more moving and affecting, might be the more easily learned and exactly remembered, and the better transmitted to posterity; and it is an exposition of he song of Moses (Deu. 32), showing that what he then foretold was now fulfilled. Jerome says, Christ the well-beloved did in effect sing this mournful song when he beheld Jerusalem and wept over it (Luk 19:41), and had reference to it in the parable of the vineyard (Mat 21:33, etc.), only here the fault was in the vines, there in the husbandmen. Here we have, I. The great things which God had done for the Jewish church and nation. When all the rest of the world lay in common, not cultivated by divine revelation, that was his vineyard, they were his peculiar people. He acknowledged them as his own, set them apart for himself. The soil they were planted in was extraordinary; it was a very fruitful hill, the horn of the son of oil; so…

5:1-30 The prophet pronounced judgment through song (5:1-7) and prophecies of woe (5:8-30). Although Israel’s future condition would be one of purity and fellowship with God (4:2-6), that future cannot ignore the present sinful condition of the people and their leaders. 5:1-7 The Song of the Vineyard expresses in poetic form God’s indictment of the wicked leadership that had ruined his vineyard, Israel. Like some wisdom literature, it presents readers with an account of a puzzling situation (5:1-2) before giving its spiritual significance (5:3-7). The theme of the vineyard’s transformation is found again in ch 27 and in Jesus’ teaching (Matt 21:33; Mark 12:1). 5:1 The one I love refers to the Lord; the prophet was singing this song on the Lord’s behalf. • At first, the song sounds like a love song, but by 5:3 readers realize it is actually a complaint. • On Israel as God’s vineyard, see also 3:14; Matt 21:33-46; John 15:1-17.