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Song of Solomon 1:5

“Self-Awareness and Beauty”Song of Solomon 1:5–6

King James Version
I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.

Bible text: King James Version (1769 Blayney text) · Public domain

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.

Bible text: King James Version with Strong's numbers · Public domain

Berean Standard Bible
I am dark, yet lovely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon.

Bible text: Berean Standard Bible · Public domain

American Standard Version
I am black, but comely, Oh ye daughters of Jerusalem, As the tents of Kedar, As the curtains of Solomon.

Bible text: American Standard Version (1901) · Public domain

World English Bible Messianic
I am dark, but lovely, you daughters of Jerusalem, like Kedar’s tents, like Solomon’s curtains.

Bible text: World English Bible, Messianic edition · Public domain

Geneva Bible (1599)
I am blacke, O daughters of Ierusalem, but comely, as the tentes of Kedar, and as the curtaines of Salomon.

Bible text: Geneva Bible (1599) · Public domain

Young's Literal Translation
Dark am I, and comely, daughters of Jerusalem, As tents of Kedar, as curtains of Solomon.

Bible text: Young's Literal Translation · Public domain

King James Version — Interlinear
9 Hebrew words
  1. שְׁחוֹרָהshe·cho·Rah[am] blackH7838Adj-fsAdjective Singular Feminine Absolute
  2. אֲנִי'a·NiIH589Pro-1csPronoun Personal 1st Singular common gender
  3. וְנָאוָהve·na·Vahand lovelyH5000Conj-w ¦ Adj-fsAdjective Singular Feminine Absoluteוְandנָאוָהlovely
  4. בְּנוֹתbe·NotO daughters ofH1323N-fpcNoun Plural Feminine Construct
  5. יְרוּשָׁלִָםye·ru·sha·LimJerusalemH3389N-properNoun Proper Location
  6. כְּאָהֳלֵיke·'o·ho·Leilike [the] tents ofH168Prep-k ¦ N-mpcNoun Plural Masculine Constructכְּlikeאָהֳלֵי[the] tents of
  7. קֵדָרke·DarKedarH6938N-proper-mNoun Proper Masculine
  8. כִּירִיעוֹתki·ri·'otlike [the] tent curtains ofH3407Prep-k ¦ N-fpcNoun Plural Feminine Constructכִּlikeירִיעוֹת[the] tent curtains of
  9. שְׁלֹמֹהshe·lo·MohSolomonH8010N-proper-mNoun Proper Masculine
English is a literal word-by-word gloss of the Hebrew, not the KJV's wording. Why?

This is the original text the KJV's translators worked from — each Hebrew word with its own literal English meaning in this verse, prepared by scholars at Tyndale House, Cambridge. The KJV translates whole sentences, not word by word, so its wording differs: one Hebrew word can become several English words, and the KJV may choose “the LORD” where the gloss reads “Yahweh”. Both are faithful — they answer different questions. For the KJV's own rendering, switch to the KJV text.

Words in [ ] are added by the English.

Translation
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In the KJVVerse 17,543 of 31,102 · 56.4%

Study this verse

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This verse

The bride tells the daughters of Jerusalem that her skin is dark and that she is lovely, as dark as the tents of Kedar and as fine as the curtains of Solomon.

“I am black, but comely,”

Her first words to the court name her darkness and her beauty in one breath, and the “but” keeps both true.

“O ye daughters of Jerusalem,”

The women of the city and the court, her audience here and her confidantes later in the Song.

“as the tents of Kedar,”

The black tents of Ishmael’s desert descendants, plain and hardy, the picture of her darkness.

“as the curtains of Solomon.”

The fine hangings of the king’s house, the picture of her loveliness and of a beauty fit for a palace.

Passage studySong of Solomon 1:5–6

Sun-Darkened and Still Comely

5I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon. 6Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.

Summary

A young woman from the country speaks to the women of Jerusalem about her own face. Her skin has been darkened by the sun, and she says so plainly: “I am black, but comely.” She is as dark as the tents of Kedar and as lovely as the curtains of Solomon’s house. Then she tells them why. Her brothers were angry with her and set her to keep their vineyards, and the long days in their vines left her own vineyard untended. In two verses we meet a woman who is honest about the marks of a hard life and still sure of her beauty, and the rest of the Song shows that her beloved sees her the same way.

A country girl speaks to the women of the court

These are among the first words the bride of the Song speaks, and she addresses them to the “daughters of Jerusalem”. They are the women of the city and of the royal court, and they come back again and again in the Song as the listeners and confidantes of her love story. She is a country girl standing among city ladies, and they set the standard of beauty she knows she is measured by.

She speaks before they can pass judgment. In a few words she introduces herself, explains how she looks and states her worth. She simply tells them who she is and leaves them to accept it.

What she means by “black, but comely”

The word for black, shâchôr, means dusky or dark, and at its fullest jet black. Here it describes her complexion, darkened by long hours outdoors, and the next verse gives the cause in her own words: “the sun hath looked upon me.” The word for comely, nâʼveh, means fitting or suitable, and so lovely to look at. With the small word “but” she holds the two together. Her darkness is real, her beauty is real, and she owns both of them.

In her day pale skin belonged to people of rank who lived at leisure indoors, while a sun-darkened face marked someone who worked outside, a shepherd or a keeper of vineyards. The ladies of Jerusalem would have seen at once that she came from the fields. Her answer to their look is calm and confident. She knows how she appears to them, and she knows she is lovely.

Her confidence is soon confirmed by the one whose opinion matters most to her. Her beloved begins to praise her a few verses later (Song of Solomon 1:9), and in time he tells her, “Thou art all fair, my love; there is no spot in thee” (Song of Solomon 4:7). A psalm speaks in the same way of the king and his bride: “So shall the king greatly desire thy beauty” (Psalm 45:11).

Is she speaking of her race?

She is speaking of skin darkened by the sun, which is the cause she gives in verse 6. The word belongs to her work outdoors, and it says nothing about race or nation in the modern sense.

The tents of Kedar and the curtains of Solomon

She gives two pictures of herself. The first is the tents of Kedar. Kedar, Qêdâr, was a son of Ishmael, and his name came to stand for his descendants, the wandering Arab tribes of the desert, whom Isaiah addresses in his prophecy against Arabia (Isaiah 21:13). Their tents were black, rough and made to last, the plain and hardy shelter of people who lived in the open. The name itself carries the sense of dusky or dark, the same darkness she sees in her own skin.

The second picture is the curtains of Solomon, the rich hangings of the king’s house, or perhaps of the Temple, finely woven and richly dyed. Scripture describes the splendour of Solomon’s building in 1 Kings 7. These curtains may well have been dark too, and they were splendid and costly.

Set side by side, the two pictures show a beauty that is both rugged and refined. She is as weathered and strong as a nomad’s tent and as fine as a palace hanging, simple and regal at once. God’s own works have the same variety: “O LORD, how manifold are thy works! in wisdom hast thou made them all” (Psalm 104:24), and “The heavens declare the glory of God” (Psalm 19:1). Beauty in his world comes in many forms.

Why the sun had darkened her

Verse 6 turns from her confidence to the story behind it. “Look not upon me,” she says, asking the women to stop staring, and the plea shows that their looks still hurt. The word for black here, shᵉcharchôreth, means swarthy or black. She gives the reason at once: “because the sun hath looked upon me.” The English repeats the word “look”. The women gaze at her now, but the sun gazed at her first, through long days in the open, and left its mark on her face.

Then she names the cause behind the sun. “My mother’s children were angry with me.” These are her brothers, the sons of her mother. The verb, chârar, at root means to glow or burn, and here it is used of anger that burned against her. Their anger took a practical form: “they made me the keeper of the vineyards.” Keeping vineyards was hard, exposed work, long hours in the heat guarding and tending the vines, and others laid it on her. Her dark skin is the mark of that labour.

Why were her brothers angry?

The Song leaves their reason unstated and records only what their anger did, which was to send her out into the vineyards. Jealousy, resentment or a wish to make use of her labour are all possible. Scripture tells of other households where brothers turned on one of their own, as Joseph’s brothers did in their jealousy (Genesis 37), and as David’s sons did in the wrong and the hatred of 2 Samuel 13. The bride mentions her brothers in a single line and moves on to what their anger cost her.

Mine own vineyard have I not kept

The word for vineyard, kerem, means a garden or vineyard, and she uses it twice. First come her brothers’ vineyards, real fields of vines that she was made to guard. Then comes “mine own vineyard”, which is a picture. The verb for keeping, nâṭar, means to guard, and so to tend and protect, and elsewhere it can mean holding on to anger. The same verb makes her the “keeper” of their vines and then confesses that her own she has “not kept”. She gave her care to what belonged to others, and what belonged to her went untended.

Coming straight after her words about her darkened face, her own vineyard first means her own person: her looks, her health and the life she might have tended if her days had been her own. The picture reaches to the inner life as well, and Scripture uses the same language of keeping for the heart: “Keep thy heart with all diligence; for out of it are the issues of life” (Proverbs 4:23). Jesus tells us what comes first among all the things that claim our time: “But seek ye first the kingdom of God, and his righteousness; and all these things shall be added unto you” (Matthew 6:33). Her lament is honest about a real loss, the cost of years given over to the demands of others.

The bride, Christ and his Church

Believers differ on how to read the Song. Some hold that it is a love poem, written as a drama, between King Solomon and a country girl. Others hold that it pictures the love between God and his people, and between Christ and the Church. On that second reading these two verses speak of the Church and her Lord.

The Church is gathered from redeemed sinners of every tribe and nation. She is “black” in her former sin, her earthly flaws and her humble beginnings, and Christ makes her “comely” by his cleansing work. Her beauty is given to her as a gift, “Even the righteousness of God which is by faith of Jesus Christ unto all and upon all them that believe” (Romans 3:22). The tents of Kedar picture her life now, a pilgrim people in temporary dwellings who confess, like the faithful of old, that they are “strangers and pilgrims on the earth” (Hebrews 11:13). The curtains of Solomon picture her glory in Christ, adorned with his splendour. Christ loved the Church and gave himself for it, “That he might present it to himself a glorious church, not having spot, or wrinkle, or any such thing; but that it should be holy and without blemish” (Ephesians 5:25–27). He sees his bride as she is becoming through his work.

Verse 6 finds its answer in Christ as well. The bride laboured under compulsion and lost her own vineyard in the work. Christ of his own will “took upon him the form of a servant” and “became obedient unto death, even the death of the cross” (Philippians 2:7–8), and in Gethsemane he prayed, “nevertheless not my will, but thine, be done” (Luke 22:42). Through all his suffering he kept faithfully the work the Father gave him and his communion with the Father. To everyone worn down by labour he says, “Come unto me, all ye that labour and are heavy laden, and I will give you rest” (Matthew 11:28), and he tends the souls of his people and makes them fruitful.

Comely in the sight of the King

The bride is honest. She names her dark skin, her brothers’ anger and the vineyard she let go, and she still says “comely”. You may carry marks of your own, from hard work, hard years or other people’s demands, and they are real. They are seen by a God whose eyes are on the heart: “for man looketh on the outward appearance, but the LORD looketh on the heart” (1 Samuel 16:7).

Peter tells believers where their true adorning lies: “the hidden man of the heart, in that which is not corruptible, even the ornament of a meek and quiet spirit, which is in the sight of God of great price” (1 Peter 3:3–4). God’s people are “the elect of God, holy and beloved” (Colossians 3:12), and their worth rests there. The same way of seeing turns outward too, so that we can see the comeliness in others whose faces show a harder life than ours. And our own vineyard is worth keeping, with its first care given to the Lord who gives rest to all who come to him.

Last revised

Historical interpretation

Five Centuries of Reception

17 surviving comments on this verse. Each one is dated, so this reads as a timeline rather than a list.

17 quotes · AD 235–735
Ante-NicenePost-NiceneEarly Medieval
300400500600700

Select a marker to jump to its quote. Markers stagger vertically where authors wrote within a few decades of each other.

d. AD 235Hippolytus of RomeAnte-NiceneSourceTREATISE 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.”
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?”
“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.
d. AD 392Gregory of ElviraPost-NiceneSourceEXPLANATION 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.
d. AD 395Gregory of NyssaPost-NiceneSourceHOMILIES 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.
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.
d. AD 397Ambrose of MilanPost-NiceneSourceOn 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?
d. AD 420JeromePost-NiceneSourceLETTER 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?”
d. AD 428Theodore of MopsuestiaPost-NiceneSourcePARAPHRASE 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.
d. AD 458Theodoret of CyrusPost-NiceneSourceCOMMENTARY 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.’ ”
d. AD 458Theodoret of CyrusPost-NiceneSourceCOMMENTARY 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.
d. AD 542Caesarius of ArlesPost-NiceneSourceSERMON 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.”
d. AD 585CassiodorusPost-NiceneSourceEXPOSITION 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.
d. AD 585CassiodorusPost-Nicene
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"
d. AD 604Gregory the DialogistEarly MedievalSourceCOMMENTARY 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.”
d. AD 735BedeEarly MedievalSourceCommentary 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.
d. AD 735BedeEarly MedievalSourceCommentary 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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