Now these advices sound very like the base incitements to sensual and unworthy delight which poets of the meaner sort, and some, alas! of the nobler in their meaner moments, have presented. But this writer is no teacher of 'Gather ye rosebuds while ye may,' and wicked trash of that sort. Therefore he brings side by side with these advices the other of our passage. That 'also' saves the former from being misused, just as the thought of judgment did.
That possible combination of hearty, youthful glee and true religion is the all-important lesson of this passage. The word for Creator is in the plural number, according to the Hebrew idiom, which thereby expresses supremacy or excellence. The name of 'Creator' carries us back to Genesis, and suggests one great reason for the injunction. It is folly to forget Him on whom we depend for being; it is ingratitude to forget, in the midst of the enjoyments of our bright, early days, Him to whom we owe them all. The advice is specially needed; for youth has so much, that is delightful in its novelty, to think about, and the world, on both its innocent and its sinful side, appeals to it so strongly, that the Creator is only too apt to be crowded out of view by His works. The temptation of the young is to live in the present. Reflection belongs to older heads; spontaneous action is more characteristic of youth. Therefore, they specially need to make efforts to bring clearly to their thoughts both the unseen future and Him who is invisible. The advice is specially suitable for them; for what is begun early is likely to last and be strong.
It is hard for older men, stiffened into habits, and with less power and love of taking to new courses, to turn to God, if they have forgotten Him in early days. Conversion is possible at any age, but it is less likely as life goes on. The most of men who are Christians have become so in the formative period between boyhood and thirty. After that age, the probabilities of radical change diminish rapidly. So, 'Remember ... in the days of thy youth,' or the likelihood is that you will never remember. To say, 'I mean to have my fling, and I shall turn over a new leaf when I am older,' is to run dreadful risk. Perhaps you will never be older. Probably, if you are, you will not want to turn the leaf. If you do, what a shame it is to plan to give God only the dregs of life! You need Him, quite as much, if not more, now in the flush of youth as in old age. Why should you rob yourself of years of blessing, and lay up bitter memories of wasted and polluted moments? If ever you turn to God in your older days, nothing will be so painful as the remembrance that you forgot Him so long.
The advice is further important, because it presents the only means of delivering life from the 'vanity' which the Preacher found in it all. Therefore he sets it at the close of his meditations. This is the practical outcome of them all. Forget God, and life is a desert. Remember Him, and 'the desert will rejoice and blossom as the rose.'
The verses from the middle of verse 1 to the end of verse 7 enforce the exhortation by the consideration of what will certainly follow youth, and advise remembrance of the Creator before that future comes. So much is clear, but the question of the precise meaning of these verses is much too large for discussion here. The older explanation takes them for an allegory representing the decay of bodily and mental powers in old age, whilst others think that in them the advance of death is presented under the image of an approaching storm. Wright, in his valuable commentary, regards the description of the gradual waning away of life in old age, in the first verses, as being set forth under images drawn from the closing days of the Palestinian winter, which are dreaded as peculiarly unhealthy, while verse 4_b_ and verse 5 present the advent of spring, and contrast the new life in animals and plants with the feebleness of the man dying in his chamber and unable to eat. Still another explanation is that the whole is part of a dirge, to be taken literally, and describing the mourners in house and garden. I venture, though with some hesitation, to prefer, on the whole, the old allegorical theory, for reasons which it would be impossible to condense here. It is by no means free from difficulty, but is, as I think, less difficult than any of its rivals.