TRV
Translation
King James Version
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
Complete Jewish Bible
[She] I am dark tan but beautiful, you daughters of Yerushalayim, like the tents of Kedar, like the curtains of Shlomo.
Berean Standard Bible
I am dark, yet lovely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon.
American Standard Version
I am black, but comely, Oh ye daughters of Jerusalem, As the tents of Kedar, As the curtains of Solomon.
World English Bible Messianic
I am dark, but lovely, you daughters of Jerusalem, like Kedar’s tents, like Solomon’s curtains.
Geneva Bible (1599)
Regard ye me not because I am blacke: for the sunne hath looked vpon mee. The sonnes of my mother were angry against mee: they made me the keeper of ye vines: but I kept not mine owne vine.
Young's Literal Translation
Dark am I, and comely, daughters of Jerusalem, As tents of Kedar, as curtains of Solomon.
See also
In the KJVVerse 17,543 of 31,102
Study This Verse
Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers . Public domain.
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Hippolytus of RomeAD 235
TREATISE ON THE SONG OF SONGS 4:1-2
“I am black and beautiful, daughters of Jerusalem.” I am a sinner, but even more, I am beautiful, because Christ loved me. “I am black and beautiful, daughters of Jerusalem.” All nations, come and gather and look at me, the beloved. “Do not marvel at my countenance because I am darkened or because the sun’s glance has made me swarthy.” … Nor is it because Christ has despised me, since [Scripture] calls him the true sun, for it says, “And the sun of righteousness will appear to you who fear my name.”
Origen of AlexandriaAD 253
HOMILIES ON JEREMIAH 11:6.3
Thus some such process also happens to us who are in generation. We are dark at the beginning in believing—hence in the beginning of the Canticle of Canticles it is said, “I am very dark and beautiful,” and we look like the soul of an Ethiopian at the beginning—then we are cleansed so that we may be more bright according to the passage, “Who is she who comes up whitened?”
Origen of AlexandriaAD 253
COMMENTARY ON THE SONG OF SONGS 2:1
“I am dark and lovely, O daughters of Jerusalem, like the tents of Kedar, like the coverings of Solomon.” In other manuscripts we read, “I am black and lovely.” Again in this passage the character of the bride is introduced as the one speaking, but she is not speaking to those young women who are accustomed to run with her, but “to the daughters of Jerusalem.” Although they have derided her for her hideousness, she seems to answer them and say “I am indeed dark” or “black” as far as the color is concerned, “O daughters of Jerusalem,” but I am “beautiful, if someone should examine the internal liniments of the limbs.” For he also says “tents of Kedar,” which is a great nation. They are “black” and the very name of the people “Kedar” means blackness or darkness. But also the “coverings of Solomon” are black and nonetheless the blackness of the coverings did not seem unsightly to the king in all his glory. …This covers the historical drama and the quasi-story that has been set forth. But let us return to the mystical interpretation. This bride who speaks represents the church gathered from the Gentiles; but the “daughters of Jerusalem,” with whom she hold this discourse … are the daughters of this earthly Jerusalem, who see the church from the Gentiles, although they see her as lowborn because she cannot ascribe to herself the noble quality of Abraham, Isaac, and Jacob.…
Responding to these things, she says, “Indeed I am black, O daughters of Jerusalem,” inasmuch as I am not a descendant from the stock of famous men and I did not receive the illumination of the law of Moses, but I have my beauty with me. For also in me there is that first quality, namely that I was created in the image of God; and now that I have drawn near to the Word of God, I have received my beauty.
… I am indeed “black” because of the baseness of my ancestry, but I am “beautiful” because of my repentance and faith. For I received the Son of God in me, I received the Word made flesh. I drew near to him, who is the image of God, the firstborn of all creation and who is the splendor of the glory and the image of the substance of God, and I was made beautiful.…
But this can be said about each and every soul that is converted to repentance after very many sins: it was “black” owing to its sins, but “beautiful” because of its repentance and the fruits of repentance.
Gregory of ElviraAD 392
EXPLANATION OF THE SONG OF SONGS 1:23-24
It adds, “I was dark and beautiful, O daughters of Jerusalem.” I have to confess that I am astonished at how the church is here called dark and beautiful, since it is not possible for what is dark to be beautiful. How can something dark be so beautiful, or something beautiful be so dark? But pay attention to the mystery of the Word and see how elevated is the sense with which the Holy Spirit speaks. The church called herself dark on account of those from the Gentiles who would become believers, all of whom were seen to be blackened with the filthy smoke of idolatry and sepulcher of sacrifices. But they were made beautiful through faith in Christ and the holiness of the Spirit, whom they received. Hence she said, “I was dark” because she had not yet seen herself as the sun.
Gregory of NyssaAD 395
HOMILIES ON THE SONG OF SONGS 2
The bride further speaks to her pupils of an amazing fact about herself in order that we might learn of the bridegroom’s immense love for humankind who added beauty to the beloved [bride] through such love. “Do not marvel,” she says, “that righteousness has loved me.” Although I have become dark through sin and have dwelt in gloom by my deeds, the bridegroom made me beautiful through his love, having exchanged his very own beauty for my disgrace. After taking the filth of my sins upon himself, he allowed me to share his own purity, and filled me with his beauty. He who first made me lovely from my own repulsiveness has showed his love for me.…The bride says, although the beauty given to me by being loved by righteousness now shines forth, I still realize that in the beginning I was not radiant but black. My former life has created this dark, shadowy appearance. Although I am black, I am now this beautiful form, for the image of darkness has been transformed into beauty.…
Then the text adds further words for strengthening the minds of its pupils. The cause of darkness is not ascribed to the Creator, but its origin is attributed to the free will of each person.
Ambrose of MilanAD 397
On the Holy Spirit 2.10.112
It is written, “Ethiopia shall stretch out her hand unto God.” In this is signified the appearance of holy church, who says in the Song of Solomon, “I am black and comely, O daughters of Jerusalem”: black through sin, comely through grace; black by natural condition, comely through redemption, or certainly, black with the dust of her labors. So it is black while fighting but comely when it is crowned with the ornaments of victory.
Ambrose of MilanAD 397
On the Mysteries 7:35
The church, having put on these garments through the laver of regeneration, says in the Song of Songs, “I am black and comely, O daughters of Jerusalem.” Black through the frailty of its human condition, comely through the sacrament of faith. And the daughters of Jerusalem beholding these garments say in amazement, “Who is this that comes up made white?” She was black; how is she now suddenly made white?
JeromeAD 420
LETTER 22.1
Born, in the first instance, of such parentage we are naturally black. Even when we have repented, so long as we have not scaled the heights of virtue, we may still say, “I am black but comely, O daughters of Jerusalem.” … “For this cause shall a man leave his father and his mother and shall be joined unto his wife, and they two shall be” not as is there said, “of one flesh” but “of one spirit.” Your bridegroom is not haughty or disdainful; he has “married an Ethiopian woman.” When once you desire the wisdom of the true Solomon and come to him, he will avow all his knowledge to you; he will lead you into his chamber with his royal hand. He will miraculously change your complexion so that it shall be said of you, “Who is this that goes up and has been made white?”
Theodore of MopsuestiaAD 428
PARAPHRASE OF THE COMMENTARY OF THEODORE OF MOPSUESTIA
[Solomon] took Pharaoh’s daughter as his wife. But … she was dark, as all the Egyptian and Ethiopian women are.… The Hebrews and their beautiful wives, and the other princesses as well, ridiculed her on account of her unseemliness, her small height and her dark complexion. To avoid any irritation on her part and so that no hostility would result between him and the Pharaoh, Solomon exclusively built for her a house of valuable stones [and decorated it] with gold and silver. During the meals he chanted [the Song of Songs] in her presence in order to honor her, and he made known with it that she was dark yet beautiful and loved by him.
Theodoret of CyrusAD 458
COMMENTARY ON THE SONG OF SONGS 1
The bride is saying this no longer to the young girls but to those taking pride in the law, glorying and boasting, and reproaching her not only for her foreign origins but also for her former superstition and the black color coming from it. Hence she says to them, “I am not only black but also beautiful: though once blind, I gained my sight, and though once clad in rags, I am now clothed in a vesture of gold, of a rich variety, enjoying the king’s regard. I attend on the king, displacing you for raging against the king, delivering him to death, and defiling the bridal chamber with a series of adulteries. So do not reproach me for my black color, nor bring my former vices to the fore: I am black, I admit, but beautiful and pleasing to the bridegroom.… I too am Ethiopian, then, but the bride of the great lawgiver, daughter of a Midianite priest, an idolatrous man. I forgot my people and my father’s house—hence the king desired my beauty.”“So do not gaze on me for my being black, because the sun looked at me; you will see me, black though I now am, made white, and you will cry out, ‘Who is this who emerges in her whiteness?’ I shall tell you also the reason for this blackness: I became black through worshiping creation instead of the Creator, and adoring this visible sun instead of the sun of righteousness. But I saw the difference between the one and the other, and forsook the creature to worship the Creator. So do not gaze on me for being blackened because the sun looked at me—or, as Symmachus says, fastened upon me. In fact, ‘I am black and beautiful, daughters of Jerusalem’: black as a result of the former impiety, beautiful as a result of repentance; black as a result of unbelief, beautiful as a result of belief. I was as black ‘as the tents of Kedar,’ which means darkness; I became beautiful ‘like Solomon’s curtains.’ ”
Theodoret of CyrusAD 458
COMMENTARY ON PSALM 87:3
In the Song of Songs the bride cries aloud, “I am black and beautiful, O daughters of Jerusalem”—“black” in the sense of deceived, besmirched by the stench of wild beasts, and “beautiful” in the sense of awaiting for your arrival from heaven as Lord for the sake of my salvation. He suggested at the same time both the gloom of impiety and the charm given by divine grace.
Caesarius of ArlesAD 542
SERMON 124:1
It is said concerning the church of the Gentiles, “I am dark and beautiful, O daughter of Jerusalem.” Why is the church dark and beautiful? She is dark by nature, beautiful by grace. Why dark? “Indeed, in guilt was I born, and in sin my mother conceived me.” Why beautiful? “Cleanse me of sin with hyssop, that I may be purified; wash me, and I shall be whiter than snow.”
CassiodorusAD 585
EXPOSITION OF THE PSALMS 44:3
Concerning the church which bears the image of the Lord Savior, one reads the following passages in Song of Songs: “I am black and beautiful,” that is, black with regard to the physical body, but beautiful because of heavenly merits. Then he shows why he used the term beautiful: as Christ says, the world was reconciled to God by grace.
CassiodorusAD 585
We read in the Song of Songs of the church which bears the image of the Lord Savior, “I am black and beautiful,” that is, black physically and beautiful in heavenly merits. He demonstrates why he used the word beautiful: as Christ put it, the world was reconciled to God through grace. - "Exposition of the Psalms 44.3"
Gregory the DialogistAD 604
COMMENTARY ON THE SONG OF SONGS 32
For we know that in the first days of the church, when the grace of our Redeemer had been preached, some of the Jews believed and others did not. Those who believed were despised by the unbelievers and suffered persecution as though they had been found guilty of taking the way of the Gentiles. Hence the church in their name cries out against those who had not converted: “I am black but beautiful, daughters of Jerusalem.”
BedeAD 735
Commentary on the Song of Songs
I am black, etc. Black evidently from the adversity of oppressions, but beautiful in the comeliness of virtues; truly, the more beautiful in the sight of the internal judge, the more harassed and seemingly defiled by the greater oppressions of the foolish. However, the daughters of Jerusalem, to whom she speaks, are called souls imbued with heavenly sacraments, longing for the home of the heavenly homeland. For consoling these in her tribulations, the holy mother says: I am black, but beautiful, daughters of Jerusalem. As if she plainly says, Indeed, I appear very vile in the eyes of the persecutors; but before God, I shine gloriously in the confession of truth. Therefore, it does not behove you to be saddened in this exile of labors, who remember that you are citizens of the heavenly homeland, who hasten toward the vision of eternal peace through the adversities of the fleeting world.
BedeAD 735
Commentary on the Song of Songs
Like the tents of Kedar, etc. Kedar was the son of Ishmael, of whom it was said: His hand against all, and the hand of all against him (Gen. XVII). The truth of which prophecy is proven today by the nation of the Saracens, who are hated by all and descended from him: and the Psalmist, besieged by afflictions, affirms this when he says: I have lived with those who dwell in Kedar, my soul has been a long-time sojourner. With those who hate peace, I was peaceful (Psal. CXIX). For neither is it read that David suffered any hatred from the Ishmaelites themselves; but wanting to exaggerate the evils he suffered from Saul or his other adversaries, he lamented that he was vexed by the wickedness of the nation, which never sought peace with anyone. On the contrary, Solomon was peaceful both in name and in life. Hence, as Scripture testifies, all the kings of the lands desired to see the face of Solomon, to hear the wisdom that God had given into his heart. Therefore, he says: I am black but beautiful, like the tents of Kedar, like the curtains of Solomon; it is distinguished thus: she is black as the tents of Kedar, beautiful as the curtains of Solomon. For the holy Church, often darkened by the afflictions of unbelievers, seems as if it were an enemy to the entire world, fulfilling the word the Lord said, And you will be hated by all because of my name (Matt. X). Thus, she is always beautiful in the sight of her Redeemer, as if truly worthy to be visited by the King of peace himself. And it should be noted that Kedar, by its very name, which signifies darkness, hints at either wicked men or unclean spirits. Just as Solomon, who is interpreted as peaceful, also indicates by the mystery of the name itself; of whom it is written, His empire will be multiplied, and peace will have no end; upon the throne of David and upon his kingdom, and so on (Isaiah IX). And when it is said that the Church is black like the tents of Kedar, it is placed not for truth, but for the estimation of the foolish, who think it provides a dwelling for vices or evil spirits within itself. But when it is called beautiful as the curtains of Solomon, it is placed as an example of truth, because, as Solomon was accustomed to make tents for himself out of the skins of dead animals, so the Lord gathers the Church for himself out of those animals who have learned to renounce carnal desires. Hence he said to all: If anyone wishes to come after me, let him deny himself, and take up his cross, and follow me (Matt. XVI). And the Apostle says, Mortify therefore your members which are upon the earth (Coloss. III). Some, reading this sentence thus, Black am I but beautiful, say that the Church is black in her carnal members or false brethren, like the tents of Kedar; but beautiful in her spiritual members, like the curtains of Solomon. But if we pay attention to what is written about the Lord, We saw him, and he had neither form nor beauty (Isaiah LIII); which was said not about his sin, for he had absolutely no sin, but about his passion, it is evident that the Church too, not because of sins or the vices of sinners, but because of her temptations and her sufferings, with which she is constantly exercised, claims to be black. This sense is affirmed also by the following words, when it is said:
Source: Quotations drawn from early Church Fathers and historical Christian theologians (AD 100–1500). Some quotes address the surrounding passage context rather than this verse alone.
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SUMMARY
Song of Solomon 1:5 presents the Shulamite woman's striking self-description to the "daughters of Jerusalem," declaring herself "black, but comely." This seemingly paradoxical statement immediately establishes a profound theme of beauty that transcends conventional standards, comparing her appearance to both the rugged, sun-darkened tents of Kedar and the luxurious, richly woven curtains of Solomon, thereby asserting a multifaceted beauty that is both naturally resilient and exquisitely refined, simple yet elegantly regal.
CONTEXT
Literary Context: This verse is strategically placed early in the Song of Solomon, a unique poetic masterpiece often interpreted as a dramatic love poem between a king (Solomon) and a country maiden (the Shulamite), or allegorically as the profound relationship between God and His people, and Christ and the Church. The opening chapter introduces the Shulamite's deep longing for her beloved, her yearning for intimacy, and her candid awareness of her own appearance and social standing. Her declaration in Song of Solomon 1:5 serves as a pivotal self-introduction to the "daughters of Jerusalem," who appear to be the sophisticated ladies of the royal court. This statement not only addresses potential societal judgments but also sets the stage for the unfolding narrative of love, longing, and mutual affirmation that characterizes the entire book. The dialogue format allows for the expression of deep emotions and vivid imagery, with this verse immediately presenting a central tension and its confident resolution regarding identity and beauty.
Historical & Cultural Context: In the ancient Near East, a paler complexion was often associated with aristocracy, leisure, and indoor living, signifying high status. Conversely, a darker, sun-tanned skin tone was typical of those who worked outdoors, such as shepherds or vineyard keepers, a role the Shulamite woman explicitly mentions in Song of Solomon 1:6. Her declaration of being "black, but comely" directly challenges this prevalent cultural perception, asserting her beauty despite her sun-darkened skin. The similes she employs are deeply rooted in the practical realities of the time: the "tents of Kedar" refer to the durable, black goatskin tents of nomadic Arabian tribes, like the Ishmaelite descendants mentioned in Isaiah 21:13. These tents, though dark and utilitarian, possessed a rugged, functional beauty and resilience. The "curtains of Solomon" likely allude to the opulent, richly dyed and intricately woven tapestries or hangings found in the lavish royal palace or the Temple, symbolizing refined elegance and sophisticated beauty, as described in texts detailing Solomon's architectural grandeur, such as 1 Kings 7.
Key Themes: This verse powerfully introduces several key themes that resonate throughout the Song of Solomon and beyond. Firstly, it highlights Self-Acceptance and Confidence, as the Shulamite woman confidently embraces her appearance, acknowledging her dark complexion without apology and immediately affirming her inherent beauty. This speaks to a healthy self-perception and inner assurance, a theme echoed in the New Testament's call to find identity and value not in external appearance but in Christ (e.g., Colossians 3:12). Secondly, it challenges narrow definitions of beauty, promoting Beauty in Diversity. Her comparison of herself to both rustic tents and opulent curtains suggests that attractiveness comes in various forms and is not limited to one ideal, a concept reinforced by God's diverse and wondrous creation, as celebrated in Psalm 104:24. Thirdly, the verse subtly points to Inner Worth, implying that her comeliness is an intrinsic quality not diminished by external factors like sun exposure or social status, aligning with the biblical emphasis on the heart over outward appearance (e.g., 1 Samuel 16:7). Finally, the Contrast and Complement between the "tents of Kedar" and "curtains of Solomon" illustrates how seemingly disparate qualities can coexist and even enhance each other in one person, reflecting the richness and complexity of human identity and relationships.
EXPOSITION AND ANALYSIS
Key Word Analysis
Verse Breakdown
Literary Devices
Song of Solomon 1:5 is exceptionally rich in literary devices that profoundly enhance its meaning and imagery. The most prominent are the two instances of Simile, where the Shulamite's appearance is compared first to the "tents of Kedar" and then to the "curtains of Solomon." These comparisons are crucial for understanding the multifaceted nature of her beauty. The phrase "black, but comely" presents a striking Paradox, affirming that two seemingly contradictory qualities (darkness, which in her cultural context might have been seen as less desirable, and beauty) can coexist harmoniously within the same person, thereby challenging conventional beauty standards. This paradox is further amplified by the clear Contrast between the rustic, utilitarian "tents of Kedar" and the opulent, refined "curtains of Solomon," demonstrating that her beauty encompasses both rugged naturalness and sophisticated elegance. Throughout the verse, vivid Imagery is employed, evoking powerful visual and tactile sensations of dark goatskin tents and luxurious palace fabrics, allowing the reader to fully grasp the depth and complexity of the Shulamite's self-perception and the comprehensive nature of her beauty.
THEOLOGICAL AND THEMATIC CONNECTIONS
The Shulamite's declaration in Song of Solomon 1:5 offers profound theological insights into the nature of beauty, identity, and divine perspective. It challenges the superficiality of outward appearance, asserting that true beauty is not defined by fleeting societal norms or external characteristics, but by an intrinsic worth and a confident self-acceptance rooted in one's being. This resonates deeply with the biblical emphasis on the heart and inner person over outward show. Just as the Shulamite finds beauty in her unique, sun-kissed complexion and multifaceted qualities, believers are called to recognize their inherent value and beauty as God's creation, fearfully and wonderfully made. This verse encourages us to embrace our authentic selves, understanding that God's perspective on beauty often differs radically from human standards, valuing character, spirit, and genuine affection above all else. It points to a divine love that sees beyond the surface, affirming worth and loveliness in unexpected places, celebrating the diverse expressions of His creative hand.
REFLECTION AND APPLICATION
Song of Solomon 1:5 provides a powerful mirror for contemporary believers, inviting us to reflect on our own self-perception and how we view others. In a world often obsessed with external perfection and fleeting beauty standards, the Shulamite's confident declaration of "black, but comely" serves as a liberating reminder that true beauty is multifaceted, often paradoxical, and deeply rooted in an inner assurance that transcends superficial judgment. This verse encourages us to embrace our unique God-given characteristics, recognizing that our ultimate worth is not derived from societal approval or physical appearance, but from our identity as beloved creations of God, uniquely fashioned in His image. It challenges us to cultivate a spirit of self-acceptance and to extend grace and affirmation to others, seeing beyond the surface to the inherent dignity and beauty within every individual, just as God sees us. This perspective fosters genuine confidence, humility, and a deeper appreciation for the diverse tapestry of humanity, reflecting God's own delight in variety.
Questions for Reflection
FAQ
What is the primary significance of the Shulamite woman saying "I am black, but comely"?
Answer: The primary significance lies in its bold and paradoxical assertion of beauty that defies conventional standards. In her cultural context, a sun-darkened complexion (being "black") might have been viewed as less desirable than pale skin, which often signified indoor living and aristocratic status. By immediately adding "but comely," the Shulamite confidently declares that her dark skin does not diminish her beauty but is an integral part of it. This statement champions self-acceptance, challenges superficial judgments, and suggests that true attractiveness is multifaceted and not limited to one ideal. It sets a tone for the entire book, where her beloved consistently affirms her beauty despite her own initial insecurities (Song of Solomon 4:7).
Who are the "daughters of Jerusalem" and what is their role in this verse?
Answer: The "daughters of Jerusalem" are typically understood to be the ladies of the royal court or the elite women of the city. They represent the societal standard of beauty and refinement against which the Shulamite, a country maiden, might have felt she was being compared. Her address to them in Song of Solomon 1:5 is an act of self-introduction and self-affirmation. She is not seeking their approval but rather confidently stating her identity and beauty, perhaps to preempt any judgment or to establish her own unique place within the courtly setting. They serve as an audience for her declaration and later become confidantes and witnesses to her unfolding love story.
What do the "tents of Kedar" and "curtains of Solomon" symbolize?
Answer: These two similes powerfully symbolize the multifaceted nature of the Shulamite's beauty, contrasting and complementing each other. The "tents of Kedar" (made of black goatskin) represent a rugged, natural, and utilitarian beauty, associated with nomadic life, resilience, and perhaps a sun-tanned complexion like her own. They are dark, but possess an inherent strength and functionality. The "curtains of Solomon" (luxurious palace hangings) symbolize refined, elegant, and opulent beauty, associated with wealth, artistry, and sophistication. By comparing herself to both, the Shulamite asserts that her beauty is not one-dimensional; it encompasses both natural charm and cultivated grace, both simplicity and splendor. This highlights a holistic view of beauty that integrates seemingly disparate qualities, much like the diverse beauty found in God's creation (Psalm 19:1).
CHRIST-CENTERED FULFILLMENT
Song of Solomon 1:5, when viewed through a Christ-centered lens, offers a profound allegory of Christ's unconditional love for His Church, His beloved bride. Just as the Shulamite declares herself "black, but comely," acknowledging her rustic appearance yet asserting her inherent beauty, so too does Christ see His Church. The Church, composed of redeemed sinners from every tribe and nation, is "black" in its former sinfulness, its earthly imperfections, and its humble origins, yet Christ declares her "comely" because of His cleansing work and imputed righteousness. He does not see our flaws as disqualifying but rather covers them with His grace, making us beautiful in His sight. This echoes the transformative power of the Gospel, where believers are declared righteous not by their own merit, but by faith in Christ (Romans 3:22). The "tents of Kedar" can represent the Church's earthly, humble, and often persecuted existence, a pilgrim people dwelling in temporary structures (Hebrews 11:13), while the "curtains of Solomon" symbolize the glorious, perfected state of the Church in Christ, adorned with His splendor and destined for eternal union with Him. Christ's love elevates and beautifies His bride, seeing her not as she is in her fallen state, but as she is becoming through His sanctifying work, ultimately presenting her to Himself as "without stain or wrinkle or any other blemish, but holy and blameless" (Ephesians 5:25-27). This verse, therefore, beautifully prefigures the unconditional, transforming love of Christ for His people, who, though "black" in their humanity, are made "comely" by His redeeming and sanctifying grace.