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Song of Solomon 2:14

“The Dove in the Rock and the Little Foxes”Song of Solomon 2:14–17

King James Version
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.

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

KJV (with Strong's)
O my dove H3123, that art in the clefts H2288 of the rock H5553, in the secret H5643 places of the stairs H4095, let me see H7200 thy countenance H4758, let me hear H8085 thy voice H6963; for sweet H6156 is thy voice H6963, and thy countenance H4758 is comely H5000.

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

Berean Standard Bible
O my dove in the clefts of the rock, in the crevices of the cliff, let me see your face, let me hear your voice; for your voice is sweet, and your countenance is lovely.

Bible text: Berean Standard Bible · Public domain

American Standard Version
O my dove, that art in the clefts of the rock, In the covert of the steep place, Let me see thy countenance, Let me hear thy voice; For sweet is thy voice, and thy countenance is comely.

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

World English Bible Messianic
My dove in the clefts of the rock, In the hiding places of the mountainside, Let me see your face. Let me hear your voice; for your voice is sweet, and your face is lovely.

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

Geneva Bible (1599)
My doue, that art in the holes of ye rocke, in the secret places of the staires, shewe mee thy sight, let mee heare thy voyce: for thy voyce is sweete, and thy sight comely.

Bible text: Geneva Bible (1599) · Public domain

Young's Literal Translation
My dove, in clefts of the rock, In a secret place of the ascent, Cause me to see thine appearance, Cause me to hear thy voice, For thy voice is sweet, and thy appearance comely.

Bible text: Young's Literal Translation · Public domain

King James Version — Interlinear
16 Hebrew words
  1. יוֹנָתִיyo·na·Timy O doveH3123N-fsc ¦ 1csNoun Singular Feminine Construct with suffixיוֹנָתִO doveיmy
  2. בְּחַגְוֵיbe·chag·Veiin [the] clefts ofH2288Prep-b ¦ N-mpcNoun Plural Masculine Constructבְּinחַגְוֵי[the] clefts of
  3. הַסֶּלַעha·Se·la'the rockH5553Art ¦ N-msNoun Singular Masculine Absoluteהַtheסֶּלַעrock
  4. בְּסֵתֶרbe·Se·terin [the] hiding place ofH5643Prep-b ¦ N-mscNoun Singular Masculine Constructבְּinסֵתֶר[the] hiding place of
  5. הַמַּדְרֵגָהha·mad·re·Gahthe steep placeH4095Art ¦ N-fsNoun Singular Feminine Absoluteהַtheמַּדְרֵגָהsteep place
  6. הַרְאִינִיhar·'I·nilet see meH7200V-Hiphil-Imp-2fs ¦ 1csVerb Hiphil Imperative 2nd Singular Feminineהַרְאִיlet seeנִיme
  7. אֶת'et[obj.]H853DirObjMParticle Object Indicator
  8. מַרְאַיִךְmar·'A·yikhyour formH4758N-msc ¦ 2fsNoun Singular Masculine Construct with suffixמַרְאַיִformךְyour
  9. הַשְׁמִיעִינִיhash·mi·'I·nicause to hear meH8085V-Hiphil-Imp-2fs ¦ 1csVerb Hiphil Imperative 2nd Singular Feminineהַשְׁמִיעִיcause to hearנִיme
  10. אֶת'et[obj.]H853DirObjMParticle Object Indicator
  11. קוֹלֵךְko·Lekhyour voiceH6963N-msc ¦ 2fsNoun Singular Masculine Construct with suffixקוֹלֵvoiceךְyour
  12. כִּיkiforH3588PrtParticle Conditional
  13. קוֹלֵךְko·Lekhyour voiceH6963N-msc ¦ 2fsNoun Singular Masculine Construct with suffixקוֹלֵvoiceךְyour
  14. עָרֵב'a·Rev[is] sweetH6156Adj-msAdjective Singular Masculine Absolute
  15. וּמַרְאֵיךְu·mar·'Eikhand your formH4758Conj-w ¦ N-msc ¦ 2fsNoun Singular Masculine Construct with suffixוּandמַרְאֵיformךְyour
  16. נָאוֶהna·Veh[is] lovelyH5000Adj-msAdjective Singular Masculine Absolute
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 17,569 of 31,102 · 56.5%

Study this verse

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This verse

The bridegroom calls his bride his dove, hidden in the clefts of the rock, and asks to see her face and hear her voice, because both delight him.

“O my dove,”

A name of love. He calls her his own dove, as he does elsewhere in the Song.

“that art in the clefts of the rock, in the secret places of the stairs,”

She is like a dove nesting in a crack in the rock, sheltered and out of sight along the hidden paths of the hillside.

“let me see thy countenance, let me hear thy voice;”

He asks for her face and her voice, the presence of the person herself, and in the life of faith this is God’s wish to see his people turned to him and to hear their prayers.

“for sweet is thy voice, and thy countenance is comely.”

His reason and his praise in one, an assurance that she will be welcome when she comes out.

Passage studySong of Solomon 2:14–17

The Dove in the Rock and the Little Foxes

14O 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. 15Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes. 16My beloved is mine, and I am his: he feedeth among the lilies. 17Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether.

Summary

The bridegroom calls his bride, his dove, out of her hiding place in the rocks, because he longs to see her face and hear her voice. Then comes a call to catch the little foxes that spoil the vines while the grapes are still young. The bride answers with the Song’s best-known words of belonging, “My beloved is mine, and I am his”, and asks him to come to her swiftly, like a gazelle on the mountains, until the day breaks and the shadows flee away. These four verses celebrate the love of a husband and wife, and in them we also see the love of Christ for his church. He seeks his people, he guards what he is growing in them, and he belongs to them as they belong to him.

Who is speaking, and how the Song speaks to us

These verses close the springtime section of the Song that opens with the beloved’s arrival (Song of Solomon 2:8–17). He has already called her out into the new season, when the flowers appear and the birds sing: “Rise up, my love, my fair one, and come away” (Song of Solomon 2:10–13). In verse 14 he speaks again and asks to see her. In verses 16 and 17 the bride answers, and we know it is her because she speaks of “my beloved” and calls him “he”. Verse 15 stands between them, and it may be spoken by either of the two. Its “us” and “our vines” make it a call made on behalf of both.

The Song is first a song of married love between a man and a woman, and this is how the Bible honours that love: two people, each belonging to the other, with a faithfulness that belongs to them alone. The New Testament calls Christ the Bridegroom (John 3:29), and Paul says that marriage speaks of Christ and the church (Ephesians 5:32). So in these verses we also hear the love between Christ and his people. The two readings belong together, and each sheds light on the other.

The dove in the clefts of the rock

“O my dove” is a name of love. The Hebrew yôwnâh simply means a dove or pigeon, and the tenderness comes from the way he uses it: she is his dove. Doves nest in the cracks and caves of rocky hillsides, and that is where he pictures her, “in the clefts of the rock, in the secret places of the stairs”. The word for clefts, chăgâv, means a rift in the rock, and Strong’s links it to a root meaning to take refuge. The secret places of the stairs are hidden nooks along the rocky paths, out of sight and hard to reach. She is safe there, and she is also hidden from him.

Her hiding can be read as shyness or modesty, as a playful hesitation after his call to come away, or simply as the safety of a private place where she feels at ease. Each of these fits the picture, and in each one he wants her to come out to him.

Let me see thy countenance, let me hear thy voice

His request has two parts. The word for countenance, marʼeh, comes from the verb to see and means a person’s appearance, the way they look, and here it is her face. He wants to look at her and to hear her speak. Then he gives his reason: “for sweet is thy voice, and thy countenance is comely.” Sweet, ʻârêb, means pleasing and delightful to hear. Comely, nâʼveh, means beautiful and fitting. He wants the person herself, her own face and her own voice, and he tells her plainly how much they delight him. His praise is part of his invitation, because it assures her that she will be welcome when she comes out.

God seeks those who hide

The same longing runs through Scripture’s account of God and his people. When Adam and Eve hid after their sin, God came looking for them (Genesis 3:9). The psalmist speaks of the king who desires the beauty of his bride (Psalm 45:11) and asks that his prayer be set before God like incense (Psalm 141:2). Christ stands at the door and knocks, wanting to come in and eat with whoever opens (Revelation 3:20). He calls his people out of the places where fear, shame, busyness or a cold heart keep them hidden, because he wants their faces turned to him in worship and their voices raised to him in prayer.

His people are lovely to him because of what he has done for them. Christ loved the church and gave himself for it, to cleanse it and present it to himself glorious (Ephesians 5:25–27). His call goes both ways, too, for his sheep know his voice and follow him (John 10:27).

The little foxes that spoil the vines

In Israel a vineyard was a precious thing, a family’s livelihood and a sign of God’s blessing on the land. Foxes and jackals were a known menace to vineyards, eating the young shoots and the forming fruit. The Hebrew word shûwʻâl covers both animals, the fox and the jackal.

“Take us the foxes” uses ʼâchaz, to grasp, seize or take hold of, often with the sense of keeping hold of what is caught. The foxes are to be caught and held, so that they do no more harm. “The little foxes” adds qâṭân, which means small or young, so these may be young foxes, or simply small ones that are easy to overlook. Either way, the verse names the little ones especially.

They “spoil the vines”. The verb châbal can mean to bind, and it also means to ruin or destroy, which is its sense here. The reason for haste comes at the end: “for our vines have tender grapes.” The word for tender grapes, çᵉmâdar, is the young fruit of the vine, still forming. Damage done now costs the whole harvest.

Set in the middle of the spring scene, this verse brings a note of care into the joy. Love in its early season is lovely and also easily harmed. In a marriage, little foxes are the small things left unattended: a misunderstanding never cleared up, a small offence never forgiven, a silence that grows. Catching them early means clearing up those misunderstandings, forgiving quickly and speaking honestly with each other, before resentment takes root.

What are the little foxes in the life of faith?

They are the small sins and compromises that are easy to excuse and that wear away a believer’s life with God over time. Gossip, unforgiveness, a slow drift into spiritual apathy, neglected prayer and Bible reading, and small dishonesties all belong among them. Scripture warns about such things more than once. A little leaven works its way through the whole lump (Galatians 5:9), a root of bitterness springs up and troubles many (Hebrews 12:15), and so we are told to keep our hearts with all diligence (Proverbs 4:23). In a church the little foxes are division, gossip, apathy and a gradual drift from sound teaching.

Scripture often pictures God’s people as a vine. Isaiah sings of the vineyard the LORD planted and tended with care (Isaiah 5:1–7). Christ calls himself the true vine (John 15:1), and the fruit he looks for in his people is the fruit of the Spirit (Galatians 5:22–23). Behind the little foxes stands an enemy. Peter warns that the devil goes about looking for someone to devour (1 Peter 5:8), and Paul fears that believers might be led astray by the same deceit that beguiled Eve (2 Corinthians 11:3). Christ is the Good Shepherd who came to give life and laid down his life for the sheep (John 10:10–11), and at the cross he disarmed the powers of darkness (Colossians 2:15). He gives his people the strength to see and deal with the little foxes, and God will finish the good work he has begun in them (Philippians 1:6).

My beloved is mine, and I am his

The bride speaks now, and she says that she and her beloved belong to one another. The word for beloved, dôwd, means a beloved or a lover, and it can also mean love itself, or an uncle. In the Song it is her name for the man she loves. She states her claim on him first, “My beloved is mine”, and then his claim on her, “and I am his”. Neither belonging is one-sided, and that is where the security of their love rests.

The saying comes back later in the Song with its order reversed, “I am my beloved’s, and my beloved is mine” (Song of Solomon 6:3), and again in a fuller form: “I am my beloved’s, and his desire is toward me” (Song of Solomon 7:10). Love that grows sure of itself rests more and more on belonging to the other.

The same mutual belonging lies at the heart of our salvation. God says to his people, “I have loved thee with an everlasting love” (Jeremiah 31:3), and Christ says that he knows his own and is known by them (John 10:14). He bought his people for himself, and by faith they give themselves to him. So believers are in Christ, made new (2 Corinthians 5:17), and Christ lives in them (Galatians 2:20). Jesus describes the same bond when he speaks of his people abiding in him and he in them (John 15:5).

What does “he feedeth among the lilies” mean?

It pictures her beloved as a shepherd pasturing his flock in a lovely place. “Feedeth” is râʻâh, the shepherd’s verb, meaning to tend a flock, to pasture or to graze. It is the same word as “shepherd” in “The LORD is my shepherd” (Psalm 23:1). The lily, shûwshan, takes its name from its whiteness, and throughout the Song lilies stand for beauty and delight. So the bride sees her beloved at peace, caring for his flock among the flowers, in the same kind of place he called her out to in the spring.

The picture fits Christ, who calls himself the good shepherd who knows his sheep. The LORD who shepherds his people makes them lie down in green pastures (Psalm 23:2). He feeds them, guides them and delights in their growth.

Until the day break, and the shadows flee away

The bride’s last words in this section look toward the dawn. “Until the day break, and the shadows flee away” points to the moment when night ends and the light comes. The verb for flee away, nûwç, means to flee, to vanish or to escape, and it pictures the shadows slipping away as the morning comes. Until then she asks, “turn, my beloved”. It is a plea for him to come back to her, or to stay close through the night.

She asks him to be “like a roe or a young hart”, a gazelle or a young stag. These animals are swift and graceful and cross rough hill country with ease, and the comparison praises his beauty and strength as well as his speed. The place she names is “the mountains of Bether”. Bether is the name of a place, and the word means division or separation. It may be a real range of craggy hills, and the name gives the picture its point. Whatever lies between the two lovers, she wants him to cross it as quickly and easily as a gazelle crosses the mountains. Love has its times of distance, and the Song knows it, for in the next chapter the bride goes out searching for her beloved (Song of Solomon 3).

Longing for the day

The bride’s longing for the dawn and for her beloved’s coming is the longing of God’s people for him. The psalmist thirsts for the living God (Psalm 42:1–2), and Isaiah calls on God’s people to arise and shine, because the glory of the LORD is rising on them while darkness covers the earth (Isaiah 60:1–2). Christ crossed the deepest division of all, the division sin had made between us and a holy God, and through his cross God reconciled all things to himself (Colossians 1:20). His first coming was the daybreak of salvation. The church now waits for her Bridegroom and prays, “come, Lord Jesus” (Revelation 22:20). When he comes, God will wipe away every tear, and death and sorrow will be gone (Revelation 21:4). Then the last shadows will flee, and we will see him face to face (1 Corinthians 13:12).

The love that seeks, guards and belongs

In these four verses we see love from every side. The bridegroom seeks the one he loves and takes delight in her face and her voice. Together they guard what is growing between them, catching the small things that would ruin it. The bride rests in belonging to him, and she waits for him with hope through the night. The marriages God gives are meant to know this kind of love, and Christ shows it to his church in full. He seeks us out, he protects the young fruit of his work in us, he is ours and we are his, and he will come again when the day breaks.

Last revised

Historical interpretation

Five Centuries of Reception

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

10 quotes · AD 253–735
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.

"Because your voice is sweet." And who would not profess that voice of the catholic church confessing the true faith is sweet, but the voice of the heretics is rough and unpleasant, which does not speak the teachings of truth but blasphemies against God and iniquity against the Most High? Thus also the appearance of the church is comely, but that of the heretics is ugly and foul—that is, if there is someone who knows how to test the beauty of the face, that is, if there is some spiritual person who knows how to examine all things. For among the unskilled and unregenerate people the sophistries of the lie seem more beautiful than the teachings of the truth.
d. AD 392Gregory of ElviraPost-NiceneSourceEXPLANATION OF THE SONG OF SONGS 4:13, 15
There is thus no doubt that winter has a double meaning, either that harshness and severity belong to it, or that it is a time for sowing with the coming of the rain. When it says winter, therefore, it refers to the present world, where the Word of God is sowed in this age like a seed of righteousness by prophets and apostles, or priests, and is fertilized by assiduous preaching, as though by rains from heaven.…But with the passing of winter, that is, the tribulations of this world, and the cessation of the rains, that is, the preaching of the Word of God, and the subsequent arrival of the joy of Spring (which designates the coming of Christ’s vernal kingdom in great peace), then the bodies of the saints everywhere will emerge from the graves of the earth like flowers—lilies or roses—pure white with holiness and red with passion.
He is a fine deer, whose mountain is the house of God, to which he runs with such speed that he surpasses the wishes and desires of his bride. Indeed, when he saw him coming from afar, he suddenly recognized that he was present beside him. Hence he says: Behold, he is here behind our wall, looking through the windows, peering through the lattice. My cousin answered and said to me: Arise, come, my nearest one, my beautiful one, my dove; for behold, winter has passed, the rain has gone, it has departed for itself, flowers have appeared on the earth. Winter is the Synagogue: the rain is the Jewish people, who could not see the sun: the apostles are the flowers. And he added: The harvest of the incision has come, the voice of the turtledove was heard in our land. That harvest is the faith of the Church: the voice of the turtledove is chastity.
"Arise, come to me, my love," that is, rise from worldly pleasures, rise from earthly things, and come to me, who are still laboring and burdened, because you are anxious for the things of the world. Come above the world, come to me, for I have conquered the world. Come near to me now, beautiful with the beauty of eternal life, now a dove, that is, gentle and meek, now completely full of spiritual grace. Now winter has passed, that is, Easter has come, indulgence has come, remission of sins has come, temptation has ceased, the rain has gone, the storm has gone, and the shaking. Before the coming of Christ, there is winter, after His coming there are flowers. Hence it says: Flowers are seen on the earth. Where there were thorns before, there are now flowers. It is said that the time for cutting has come. Where there was a desert before, there is now a harvest. The voice of the turtle-dove has been heard in our land.
d. AD 420JeromePost-NiceneSourceAgainst Jovinianus 1.30
Then the bridegroom makes answer to the bride and teaches her that the shadow of the old law has passed away and the truth of the gospel has come. “Rise up, my love, my fair one, and come away, for lo, the winter is past, the rain is over and gone.” … “The voice of the turtle [dove] is heard in our land.” The turtle [dove], the most chaste of birds, always dwelling in lofty places, is a type of the Savior.
d. AD 420JeromePost-NiceneSourceAgainst Jovinianus 1.30
Immediately the turtle says to its fellow, “The fig tree has put forth its green figs,” that is, the commandments of the old law have fallen, and the blossoming vines of the gospel give forth their fragrance.… While you covered your countenance like Moses and the veil of the law remained, I neither saw your face, nor did I condescend to hear your voice. I said, “Yes, when you make many prayers, I will not hear.” But now, with unveiled face behold my glory, and shelter yourself in the cleft and steep places of the solid rock.
d. AD 444Cyril of AlexandriaPost-NiceneSourceFRAGMENTS IN THE COMMENTARY ON THE SONG OF SONGS 2:14
The rock is Christ. He is a wall and a shelter to us who believe and a perfect guardian, which is denoted by the wall. When you arrive, he says, you will be protected with every defense.
d. AD 458Theodoret of CyrusPost-NiceneSourceCOMMENTARY ON THE SONG OF SONGS 2
It makes sense, therefore, for the bridegroom to call the bride, mature in virtue as she is, “dove,” that is, spiritual and filled with the Holy Spirit.…The bridegroom encourages and consoles his church in its struggle with trials, “peeps through the windows and looks in through the netting,” and urges her to stand fast and to fly to him.…
He is saying, if you rest in the middle of the two Testaments and draw benefit from both, you will find there the manifold gifts of the Spirit. The bride, accordingly, by accepting the spiritual exhortation and lying between the lots, found the wings coated in silver through which she was bidden fly up to the bridegroom.
d. AD 735BedeEarly MedievalSourceCommentary on the Song of Songs
Show me your face, etc. You who in the hidden recesses of quiet, like a dove in the clefts of the rock, or in the hole of the wall, desire to be concealed, I pray that you come forth into the public sphere of action, and show your faith from your works, and declare to others also outwardly as an example what beauty you have within. For indeed to me, who perceive the inner part of the heart, I consider your face shown when I see your action demonstrating unblemished, without spot or wrinkle or any such thing, for the benefit of others. For as long as one does something to the least of these, they do it to Me. Let your voice sound in my ears, namely the voice of praise or preaching, that is, either which praises me in psalms and hymns and spiritual songs, or which by proclaiming stirs the mouths and minds of others to my praise. Therefore, the bride shows her face to the Lord in what she does in His sight; she also shows the sound of her voice in what she rightly says before Him. It is also to be considered more attentively what He says, Show me your face. He says, yours, not another's, that is, holy and unblemished: for such I have made it, cleansing it by the washing of water with the word; such I have perfected by the anointing of the Holy Spirit, signing upon you the light of my face. Let your voice sound in my ears, not another's, that is, the one which I taught you to have on your wedding day, by which you promised to keep your chastity for me. Again show me your face, let your voice sound in my ears, that is, to me, not to others, show your face. To my ears, not others, remember to give your voice; that is, for the sake of my love, not any other reason, and take care to do good works and speak holy words; for whoever expends their good works or words for human approval shows the beauty of their face or the sweetness of their voice to externals rather than to the Creator. But also according to the letter, women who strive to beautify the face of their body for the deception of fools and to soften their words over oil are transgressors of this Lord's precept, and therefore remain unworthy of that eminent praise by which the Lord glorifies His bride, adding,
d. AD 735BedeEarly MedievalSourceCommentary on the Song of Songs
Because your voice is sweet, etc. Indeed, the voice of that soul is sweet to the Lord, which knows how either to announce the words of the Lord to neighbors or to resound praises to the Lord Himself sweetly with the prophet, How sweet are your words to my taste, sweeter than honey to my mouth (Psalm 119)! That face seems beautiful to the Lord, which strives to present itself as worthy to behold His face, which is accustomed to say to Him from the innermost heart, I have sought Your face, O Lord; Your face will I seek; do not turn Your face away from me (Psalm 27). However, our diligence in cleanliness will not be sufficient for us, if we do not also correct those who err, as much as we can, if we do not care to defend the weaker ones from their snares. Hence it is added:
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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