Song Of Solomon 1:5

KJV

I [am] black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.

KJV (with Strong's)

I am black {H7838}, but comely {H5000}, O ye daughters {H1323} of Jerusalem {H3389}, as the tents {H168} of Kedar {H6938}, as the curtains {H3407} of Solomon {H8010}.

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.

Commentary

### 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](/song_of_solomon/1-5 "Song of Solomon 1:5 - The Shulamite's Self-Description") 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](/song_of_solomon/1-6 "Song of Solomon 1:6 - Her Brothers' Vineyard"). 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](/isaiah/21-13 "Isaiah 21:13 - Prophecy Against Arabia's Desolation"). 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](/1_kings/7 "1 Kings 7 - Solomon's Palace and Temple Construction").

* **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](/colossians/3-12 "Colossians 3:12 - Put on Compassion, Kindness, Humility")). 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](/psalm/104-24 "Psalm 104:24 - God's Wisdom in Creation"). 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](/1_samuel/16-7 "1 Samuel 16:7 - The Lord Looks at the Heart")). 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
* **black (Hebrew, _shâchôr'_):** H7838. From שָׁחַר; properly, dusky, but also (absol.) jetty. This word refers to a dark complexion, most likely resulting from sun exposure due to outdoor labor, and is not a racial descriptor in the modern sense. It emphasizes a physical characteristic that, in her cultural context, might have been seen as less desirable by some, yet she asserts its inherent beauty.
* **comely (Hebrew, _nâʼveh'_):** H5000. From נָאָה or נָוֶה; suitable, or beautiful. This term denotes beauty, attractiveness, or a pleasing appearance. Its immediate juxtaposition with "black" creates a paradox, asserting that her dark complexion does not negate, but rather coexists with and perhaps even contributes to, her beauty. It implies a holistic attractiveness that encompasses more than just skin tone.
* **Kedar (Hebrew, _Qêdâr'_):** H6938. From קָדַר; dusky (of the skin or the tent); Kedar, a son of Ishmael; also (collectively) Bedouin (as his descendants or representatives). This refers to a nomadic Arabian tribe known for their durable, black goatskin tents. The word itself carries the connotation of "dusky" or "dark," linking the tents' appearance to her own complexion, and suggesting a rugged, natural, and resilient beauty.

#### Verse Breakdown
* **"I [am] black, but comely,"**: This is the Shulamite woman's direct and confident self-declaration. The initial statement "I am black" acknowledges her sun-darkened complexion, likely from working in the vineyards. The immediate conjunction "but comely" introduces a powerful paradox, asserting that her dark skin does not detract from her beauty but rather coexists with it, challenging superficial judgments and setting a tone of confident self-acceptance and redefinition of beauty.
* **"O ye daughters of Jerusalem,"**: This is a direct address to the sophisticated ladies of the royal court, who likely represent the prevailing societal ideal of beauty—often associated with paler skin and refined indoor living. Her statement is both an explanation of her appearance and a bold affirmation directed to those who might judge her, establishing her unique identity and inherent worth.
* **"as the tents of Kedar,"**: This first simile compares her dark complexion to the black, durable, and functional tents of the nomadic Kedarites. These tents, made of goatskin, were rugged, practical, and resilient, possessing a simple, natural beauty. This comparison emphasizes her earthy, perhaps rustic, beauty and her hardy, enduring nature.
* **"as the curtains of Solomon."**: This second simile contrasts sharply with the first, comparing her beauty to the luxurious, richly woven tapestries or hangings found in King Solomon's opulent palace. These curtains would have been exquisitely crafted, possibly dark in color but splendid, elegant, and highly valued. This comparison highlights a sophisticated, refined, and opulent aspect of her beauty, suggesting a multifaceted attractiveness that combines both natural charm and regal elegance, encompassing both simplicity and splendor.

#### 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.

* [1 Samuel 16:7](/1_samuel/16-7 "1 Samuel 16:7 - The Lord Looks at the Heart")
* [1 Peter 3:3-4](/1_peter/3-3-4 "1 Peter 3:3-4 - Adornment of a Gentle and Quiet Spirit")
* [Psalm 45:11](/psalm/45-11 "Psalm 45:11 - The King Desires Your Beauty")

### 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
* **In what ways do societal beauty standards influence my self-perception, and how can I align my view of beauty more closely with God's perspective, which values the heart above outward appearance?**
* **How does the Shulamite's confidence in her "black but comely" appearance challenge me to embrace my own unique qualities or perceived imperfections, trusting in God's design?**
* **How can I cultivate a heart that sees and values the "comeliness" in others, looking beyond superficial appearances to their inner worth and character, reflecting God's own impartial love?**

### 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 (cf. [Song of Solomon 4:7](/song_of_solomon/4-7 "Song of Solomon 4:7 - You are Altogether Beautiful, My Love")).

**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](/song_of_solomon/1-5 "Song of Solomon 1:5 - The Shulamite's Self-Description") 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 (cf. [Psalm 19:1](/psalm/19-1 "Psalm 19:1 - The Heavens Declare God's Glory")).

### 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 (cf. [Romans 3:22](/romans/3-22 "Romans 3:22 - Righteousness Through Faith")). The "tents of Kedar" can represent the Church's earthly, humble, and often persecuted existence, a pilgrim people dwelling in temporary structures (cf. [Hebrews 11:13](/hebrews/11-13 "Hebrews 11:13 - Pilgrims on Earth")), 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" (cf. [Ephesians 5:25-27](/ephesians/5-25-27 "Ephesians 5:25-27 - Christ's Love for the Church")). 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.

Note: Commentary is generated by AI with a directive for Biblical fidelity. Always rely on the Holy Spirit for discernment. The Scripture text and cross-references are from verified, non-AI sources.

Cross-References

Song Of Solomon 2:14

¶ O my dove, [that art] in the clefts of the rock, in the secret [places] of the stairs, let me see thy countenance, let me hear thy voice; for sweet [is] thy voice, and thy countenance [is] comely.

Psalms 120:5

¶ Woe is me, that I sojourn in Mesech, [that] I dwell in the tents of Kedar!

2 Corinthians 5:21

For he hath made him [to be] sin for us, who knew no sin; that we might be made the righteousness of God in him.

Song Of Solomon 5:16

His mouth [is] most sweet: yea, he [is] altogether lovely. This [is] my beloved, and this [is] my friend, O daughters of Jerusalem.

Song Of Solomon 2:7

I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake [my] love, till he please.

Luke 15:22

But the father said to his servants, Bring forth the best robe, and put [it] on him; and put a ring on his hand, and shoes on [his] feet:

Song Of Solomon 5:8

I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I [am] sick of love.