Song Of Solomon 3:10

KJV

He made the pillars thereof [of] silver, the bottom thereof [of] gold, the covering of it [of] purple, the midst thereof being paved [with] love, for the daughters of Jerusalem.

KJV (with Strong's)

He made {H6213} the pillars {H5982} thereof of silver {H3701}, the bottom {H7507} thereof of gold {H2091}, the covering {H4817} of it of purple {H713}, the midst {H8432} thereof being paved {H7528} with love {H160}, for the daughters {H1323} of Jerusalem {H3389}.

Complete Jewish Bible

He made its columns of silver, its roof of gold, its seat of purple cloth; its inside was lovingly inlaid by the daughters of Yerushalayim.

Berean Standard Bible

He has made its posts of silver, its base of gold, its seat of purple fabric. Its interior is inlaid with love by the daughters of Jerusalem.

American Standard Version

He made the pillars thereof of silver, The bottom thereof of gold, the seat of it of purple, The midst thereof being paved with love, From the daughters of Jerusalem.

Commentary

### SUMMARY
Song of Solomon 3:10 presents a vivid and highly symbolic description of King Solomon's royal palanquin or litter, emphasizing its extraordinary opulence and, more profoundly, its unique interior. Crafted with pillars of silver, a base of gold, and a purple covering, the conveyance is ultimately distinguished by its "midst thereof being paved with love," serving as a public declaration of the profound affection between the king and his beloved, observed by the "daughters of Jerusalem." This verse stands as a climactic point in the depiction of a grand royal procession, underscoring that beyond material splendor, the true essence of this regal union, and indeed any enduring relationship, is founded upon and permeated by genuine love.

### CONTEXT
* **Literary Context:** Song of Solomon 3:10 is embedded within a majestic and anticipatory passage (Song of Solomon 3:6-11) that vividly portrays a grand procession, most likely a royal wedding procession or a stately arrival of the king. The preceding verses initiate the scene with an evocative rhetorical question, "Who is this that cometh out of the wilderness like pillars of smoke?" ([Song of Solomon 3:6](/song_of_solomon/3-6 "Song of Solomon 3:6 - The Approach of the King")), immediately establishing an atmosphere of awe and mystery. Verses 7-9 then elaborate on the king's formidable retinue—sixty valiant men guarding his litter, which is initially described as being constructed from "the wood of Lebanon." Verse 10 continues this meticulous portrayal, shifting focus from the external security and general construction to the specific, luxurious materials and, most significantly, the deeply symbolic nature of the palanquin's interior. The passage culminates in a direct invitation to the "daughters of Zion," urging them to behold King Solomon adorned in his wedding crown ([Song of Solomon 3:11](/song_of_solomon/3-11 "Song of Solomon 3:11 - Behold King Solomon's Crown")). This progression moves from general wonder to intricate details, culminating in an invitation to witness the royal splendor, with love explicitly presented as its central and most precious element.
* **Historical & Cultural Context:** In the ancient Near East, royal processions and the use of palanquins were potent symbols of status, immense wealth, and supreme authority. The materials enumerated in this verse—silver, gold, and purple—were exceedingly valuable and typically reserved for royalty, the priestly class, or the exceptionally wealthy. Silver (`H3701`) and gold (`H2091`) were primary forms of currency and indicators of immense riches, often used for elaborate ornamentation. Purple dye (`H713`), frequently extracted from Murex snails, was notoriously expensive and labor-intensive to produce, making purple fabric the exclusive color of kings and high priests, signifying nobility, power, and divine favor. The "daughters of Jerusalem" (`H1323`, `H3389`) represent the city's populace, particularly the young women, who would have been eager spectators to such a grand public display. Their presence underscores the public nature of the royal union and the exemplary role it was meant to play within the community, serving as an ideal of marital fidelity and affection. The palanquin itself, a covered litter carried by men, was a common mode of transport for royalty and high-status individuals, offering both privacy and a highly visible display of grandeur.
* **Key Themes:** This verse powerfully contributes to several overarching themes within the Song of Solomon and broader biblical literature. Firstly, it highlights the theme of **royal magnificence and divine favor**, portraying King Solomon not merely as a wealthy monarch but as one whose possessions reflect a divinely ordained splendor and prosperity. Secondly, and most profoundly, it emphasizes the theme of **love as the ultimate foundation and adornment**. While the palanquin's exterior is lavishly adorned with precious metals, the interior's "paving with love" elevates love above all material wealth, positioning it as the true essence and enduring support of the relationship. This anticipates the later biblical emphasis on love's supremacy, as eloquently articulated in [1 Corinthians 13](/1_corinthians/13 "1 Corinthians 13 - The Supremacy of Love"). Thirdly, the public display to the "daughters of Jerusalem" underscores the theme of **love as a public testimony and example**. The royal couple's love is not merely private but is presented as a model for the community, reflecting the ideal of covenantal fidelity and affection. This public affirmation of love resonates with the broader biblical narrative of God's covenant love for His people, often depicted through marital imagery, as seen in [Hosea 2:19-20](/hosea/2-19-20 "Hosea 2:19-20 - God's Covenant Love and Betrothal").

### EXPOSITION AND ANALYSIS

#### Key Word Analysis
* **love (Hebrew, _ʼahăbâh'_):** From `H160`, meaning affection in a good or bad sense, but here unequivocally in a positive and profound context. In this verse, "love" is not merely an emotion but is personified or materialized as a paving material, transforming an abstract concept into a tangible, foundational element. This signifies that the very essence and support of the palanquin's interior, where the royal couple would rest, was composed not of physical substance but of profound affection and devotion. It elevates love to the most foundational and precious element of the entire structure, surpassing even the material value of gold and silver.
* **paved (Hebrew, _râtsaph'_):** From `H7528`, meaning to tessellate, to inlay, or to embroider, as if with bright stones. While typically referring to a physical laying of stones or an intricate mosaic, its application to "love" here is profoundly metaphorical. It suggests that the interior of the palanquin was not merely adorned with love but intricately and fundamentally composed of it, as if love itself were the very material meticulously laid down to form its floor or inner surface. This implies a deep, pervasive, intentional, and beautiful presence of love, making it the very ground upon which the royal union rested.
* **covering (Hebrew, _merkâb'_):** From `H4817`, primarily meaning a chariot or a seat in a vehicle, but here translated as "covering" in the sense of a canopy or roof. This term refers to the upper part of the palanquin, which provided shade, privacy, and additional adornment. The fact that it is made of "purple" (`H713`) highlights the extreme luxury and royal status of the conveyance, indicating that every visible part, from top to bottom, was fashioned with the most precious and regal materials, fitting for a king and his bride.

#### Verse Breakdown
* **"He made the pillars thereof [of] silver":** This clause initiates the detailed description of the palanquin's construction, focusing on its vertical supports. The "pillars" (`H5982`) would have been ornate and sturdy, indicating both the structural integrity and the aesthetic beauty of the conveyance. Silver (`H3701`), a precious metal, immediately conveys immense wealth and high status, setting a tone of regal splendor and durability.
* **"the bottom thereof [of] gold":** Following the pillars, the description moves to the base or "bottom" (`H7507`) of the palanquin. Gold (`H2091`), the most valuable of metals, reinforces the extraordinary luxury and the king's boundless resources. This detail suggests that even the part that bore the greatest weight and was closest to the ground was fashioned from the most esteemed material, emphasizing the unparalleled richness and importance of its occupant.
* **"the covering of it [of] purple":** The "covering" (`H4817`), likely a canopy or roof, is described as being made of purple (`H713`). As previously noted, purple was a color reserved for royalty due to its rarity and expense, often associated with power and dignity. This detail completes the picture of external magnificence, showcasing the palanquin as a symbol of ultimate regal authority and opulence, visible to all onlookers and underscoring the king's majesty.
* **"the midst thereof being paved [with] love":** This is the most striking and unique clause in the verse. After detailing the material opulence, the verse shifts from physical materials to an abstract quality: "love" (`H160`). The Hebrew word for "midst" (`H8432`) refers to the center, interior, or very heart of something. The idea of the interior being "paved" (`H7528`) with love is a profound metaphor, suggesting that the very essence, foundation, and atmosphere within the palanquin—the intimate space occupied by the royal couple—was permeated and constituted by genuine affection. It implies that love, not just material wealth, was the true substance and enduring support of this union.
* **"for the daughters of Jerusalem":** This final phrase clarifies the audience and purpose of this magnificent display. The "daughters of Jerusalem" (`H1323`, `H3389`) are the young women of the city, who are invited to witness this procession. The palanquin, with its dazzling material splendor and deeply symbolic "paving with love," serves as a public spectacle and, more importantly, an instructive example for the community, particularly regarding the ideal of a loving, devoted, and enduring marital relationship.

#### Literary Devices
Song of Solomon 3:10 is rich with **Imagery**, vividly painting a picture of unparalleled luxury and grandeur through the precise naming of precious materials: silver, gold, and purple. This sensory detail appeals powerfully to the reader's visual imagination, emphasizing the magnificence of the royal procession. The most prominent and profound device employed is **Metaphor**, specifically in the phrase "the midst thereof being paved with love." Here, an abstract, intangible emotion ("love") is presented as a concrete, tangible material ("paved"), transforming it from a feeling into a foundational and structural substance. This is also an example of **Personification**, as love is endowed with the physical quality of being a material that can be laid or inlaid. This powerful metaphor serves as profound **Symbolism**, where the physical structure of the palanquin symbolizes the relationship it carries. The external opulence (silver, gold, purple) represents the visible glory, honor, and value of the union, while the internal "paving with love" symbolizes the true, unseen, and foundational essence of the royal union, emphasizing that genuine affection is its most precious component. The entire description can be seen as a form of **Hyperbole**, exaggerating the lavishness to emphasize the extraordinary nature of the king and his love, elevating the scene beyond mere earthly splendor to a realm of idealized perfection.

### THEOLOGICAL AND THEMATIC CONNECTIONS
Song of Solomon 3:10 transcends a mere description of a luxurious object, offering profound theological and thematic insights into the nature of true value and enduring relationships. The striking shift from tangible precious metals to the intangible "love" as the core element of the palanquin's interior underscores a fundamental biblical principle: true value and an enduring foundation are not found in material wealth or external display, but in the quality of relationships, particularly love. This verse elevates love to the supreme position, suggesting it is the very ground upon which sacred unions, and by extension, God's covenant with His people, are built. It serves as a powerful reminder that while God often blesses with material abundance, His ultimate concern and the true source of blessing lie in the spiritual and relational realm, centered on self-giving love. The public display "for the daughters of Jerusalem" further emphasizes love as a testimony, a visible example of divine order and relational purity, reflecting God's own covenant faithfulness.

* [1 Corinthians 13:4-7](/1_corinthians/13-4-7 "The Enduring Qualities of Love") - Describes the enduring, patient, and foundational qualities of love, paralleling its role as the "paving" of the palanquin's interior.
* [Ephesians 5:25](/ephesians/5-25 "Christ's Sacrificial Love for the Church") - Commands husbands to love their wives as Christ loved the church and gave Himself up for her, reflecting the sacrificial and foundational nature of love in marriage.
* [Psalm 45:13-15](/psalm/45-13-15 "The King's Bride and Her Splendor") - Describes the splendor of the king's bride, often seen as a type of the Church, emphasizing both external glory and internal beauty, with love and righteousness as key components.

### REFLECTION AND APPLICATION
Song of Solomon 3:10 offers a compelling blueprint for how we should construct our most significant relationships and, indeed, our very lives. The palanquin's exterior, adorned with silver, gold, and purple, speaks to the importance of excellence, honor, and beauty in our outward presentation and diligent efforts. Yet, the profound and enduring truth lies in its interior, "paved with love." This challenges us to deeply consider what truly forms the foundation and atmosphere of our homes, marriages, friendships, and communities. Are they built on fleeting pleasures, material possessions, or external accolades, or are they deeply permeated by genuine affection, compassion, and unwavering commitment? For believers, this verse calls us to embody the _agape_ love of Christ in all our interactions, making it the bedrock of our character and the visible testimony of our faith. Just as the palanquin was a public display for the "daughters of Jerusalem," our lives, when authentically "paved with love," become a powerful witness to a watching world, demonstrating the transformative power and enduring beauty of divine love.

#### Questions for Reflection
* **What are the "silver, gold, and purple" in my life or relationships—the external displays or achievements—and how do they compare to the "paving with love" that truly defines their essence?**
* **In what specific, practical ways can I intentionally "pave" my significant relationships (marriage, family, friendships, church community) with more genuine, sacrificial, and enduring love?**
* **How does the idea of love as a foundational "paving" challenge my current priorities and actions in daily life, especially concerning time, resources, and emotional investment?**
* **Considering the "daughters of Jerusalem" as witnesses, how does the quality of love in my life serve as a compelling and authentic testimony to others about the nature of God's love?**

### FAQ

**What is the significance of the palanquin being "paved with love" rather than another precious material?**

Answer: The phrase "paved with love" (`H160`, `H7528`) is profoundly significant because it marks a deliberate and striking shift from a literal description of material wealth (silver, gold, purple) to a metaphorical description of an intangible quality. While the exterior of King Solomon's palanquin was made of the most precious and luxurious materials available in the ancient world, the interior, where the royal couple would reside, was symbolically "paved with love." This emphasizes that for all its external grandeur, the true value and enduring foundation of the conveyance—and by extension, the royal relationship it represents—was not in its material components but in the profound affection and devotion shared between the king and his bride. It elevates love above all earthly riches, portraying it as the most essential, foundational, and beautiful element. This unique detail serves as a powerful theological statement about the supremacy of love, suggesting that genuine affection is the ultimate "paving" for any enduring and meaningful union. It implies that love permeated and constituted the very atmosphere and support of their shared space, making it a sacred and cherished place, displayed for all the "daughters of Jerusalem" to see.

### CHRIST-CENTERED FULFILLMENT
Song of Solomon 3:10, with its depiction of a royal palanquin "paved with love," finds its ultimate and most profound fulfillment in the person and redemptive work of Jesus Christ. While the palanquin symbolizes the magnificent union of King Solomon and his bride, it serves as a beautiful type foreshadowing the infinitely greater and more glorious union between Christ, the true King of Kings, and His Church, His beloved bride ([Ephesians 5:25-27](/ephesians/5-25-27 "Christ's Love for the Church")). The "pillars of silver" and "bottom of gold" speak to Christ's inherent divine glory, His perfect righteousness, and the unshakeable foundation of His eternal kingdom, a reality far more precious and enduring than any earthly metal ([Philippians 2:6-8](/philippians/2-6-8 "Christ's Humility and Exaltation")). The "covering of purple" points unmistakably to His supreme kingship, His royal authority, and the majesty that will one day be acknowledged by all creation ([Revelation 19:16](/revelation/19-16 "King of Kings and Lord of Lords")). However, the most striking and tender parallel is the "midst thereof being paved with love." This speaks directly to the very essence of Christ's relationship with His people. His entire ministry, from His incarnation to His atoning sacrifice on the cross, and His ongoing intercession, is fundamentally "paved with love"—a divine, self-giving, unwavering _agape_ love ([John 3:16](/john/3-16 "God's Love for the World")). The "place" where believers dwell with Christ, and where His presence is found, is not adorned with mere earthly riches but is entirely permeated and founded upon His boundless love. He is the one who "loved us and gave himself up for us, a fragrant offering and sacrifice to God" ([Ephesians 5:2](/ephesians/5-2 "Christ's Sacrificial Offering")). Thus, the palanquin of Song of Solomon 3:10 becomes a beautiful type of the spiritual reality of Christ's dwelling with His Church, a relationship founded, sustained, and eternally "paved" by His perfect and unfailing love, a love displayed for all the "daughters of Jerusalem" and indeed, the entire world, to behold and experience ([John 13:34-35](/john/13-34-35 "The New Commandment of Love")).

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

Psalms 87:3

Glorious things are spoken of thee, O city of God. Selah.

1 Timothy 3:15

But if I tarry long, that thou mayest know how thou oughtest to behave thyself in the house of God, which is the church of the living God, the pillar and ground of the truth.

1 Timothy 3:16

And without controversy great is the mystery of godliness: God was manifest in the flesh, justified in the Spirit, seen of angels, preached unto the Gentiles, believed on in the world, received up into glory.

Romans 5:8

But God commendeth his love toward us, in that, while we were yet sinners, Christ died for us.

Revelation 3:12

Him that overcometh will I make a pillar in the temple of my God, and he shall go no more out: and I will write upon him the name of my God, and the name of the city of my God, [which is] new Jerusalem, which cometh down out of heaven from my God: and [I will write upon him] my new name.

Revelation 1:5

And from Jesus Christ, [who is] the faithful witness, [and] the first begotten of the dead, and the prince of the kings of the earth. Unto him that loved us, and washed us from our sins in his own blood,

Song Of Solomon 1:5

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