TRV
“The Magnificent Arrival of Solomon”· Song of Solomon 3:6–10
Translation
King James Version
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.
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.
World English Bible Messianic
He made its pillars of silver, its bottom of gold, its seat of purple, its midst being paved with love, from the daughters of Jerusalem.
Geneva Bible (1599)
Hee made the pillars thereof of siluer, and the pauement thereof of gold, the hangings thereof of purple, whose middes was paued with the loue of the daughters of Ierusalem.
Young's Literal Translation
Its pillars he made of silver, Its bottom of gold, its seat of purple, Its midst lined with love, By the daughters of Jerusalem.
See also
In the KJVVerse 17,582 of 31,102 · 56.5%
LawLawHistoryHistPoetryPoetProphetsProphNew TestamentNT
Study This Verse
Copy as
Historical interpretation
Three Centuries of Reception
9 surviving comments on this verse. Each one is dated, so this reads as a timeline rather than a list.
Post-NiceneEarly Medieval
400500600700
Select a marker to jump to its quote. Markers stagger vertically where authors wrote within a few decades of each other.
Every king is proclaimed by soldiers. It was fitting that Jesus also, in figure, be crowned by soldiers. For this reason Scripture says in the Canticles: “Daughters of Jerusalem, come forth and look upon King Solomon in the crown with which his mother has crowned him.” But the crown was also a mystery, for it was a remission of sins and release from the sentence of condemnation.
No one can adequately grasp the terms pertaining to God. For example, “mother” is mentioned in the Song in place of “father.” Both terms mean the same, because there is neither male nor female in God. For how can anything transitory like this be attributed to God? But when we are one in Christ, we are divested of the signs of this difference along with the old person. Therefore every name equally indicates God’s ineffable nature; neither can “male” nor “female” defile God’s pure nature. Because of this, the father mentioned in the gospel parable prepares a wedding. The prophet says of God, “You have placed on his head a crown of precious stones.” Hence the Song says that a crown is placed upon the bridegroom by his mother. Since the nuptials and bride are one, one mother places the crown upon the bridegroom’s head. Neither does it make much difference whether one calls the Son of God the only begotten God, or the Son of his love. According to Paul, each name has the capacity to be a bridal escort that leads the bridegroom to dwell in us.
Therefore, when the bride reaches the rest of the bridegroom, they sing a wedding song, saying to the daughters of Jerusalem: Go forth and see King Solomon, in the crown with which his mother crowned him on the day of his wedding. They sing the wedding hymn and invite the other powers of heaven, or souls, to see the love that Christ has for the daughters of Jerusalem. Hence, he merited to be crowned by his mother as the son of charity, as Paul shows, saying: For he has delivered us from the power of darkness and has transferred us into the kingdom of his beloved Son.
It is written that there was put on him a crown of thorns. Of this hear in the Canticles the voice of God the Father marveling at the iniquity of Jerusalem in the insult done to his Son: “Go forth and see, you daughters of Jerusalem, the crown with which his mother has crowned him.”
We should think that the use of gold denotes spiritual union, which is precious and divine. For, to demonstrate the union of God and humankind, the ark in the desert was also covered within and without by gold. The purple signifies that number of persons who are called to the kingdom. And when someone believes, at that moment Christ is received in the heart, who is a precious pearl. For it says that he made a litter for himself from the daughters of Jerusalem on account of love alone: "For God so loved the world that he sent his only-begotten Son, that all who believe in him would not perish but have eternal life."
In the midst of love He established it, etc. With that very love with which He suffered for us: for no one has greater love than this, that someone lay down his life for his friends (John 15). And as the Apostle says, But God commends His love toward us in that, while we were yet sinners, Christ died for the ungodly (Rom. 5), for through this middle part He prepared His Church's stratum place, where faithful souls might rest softly, because He filled it entirely within with the love of heavenly things. And this is what He added, For the daughters of Jerusalem, that is, for the souls burning with the desire of heavenly things. For as much as God commended His love toward us by suffering for us, He kindled more souls to love Him in return and to suffer for Him. The purple ascent can also be specially understood in those who shed their blood for Christ. They are rightly said to have ascended to the golden headrest by the purple ascent, because they reached the love of perpetual rest through the labor, the art of tribulation. To whom it aptly applies what follows, because He established it in the midst of love. For this reason, they are ready to shed their blood for the heavenly King, because He inflamed their hearts, which are the middle part of His couch, with His love. Whence the Apostle, while describing the purple ascent of the couch, said: But we also glory in tribulations, knowing that tribulation works patience, patience works proof; immediately he took care to add about the golden headrest, saying: Proof however works hope, and hope does not disappoint. And then he concluded about the love, with which the middle is established, because the love of God is shed abroad in our hearts (Rom. 5). Therefore, to the daughters of Jerusalem who are amazed and praising the Church from the nations, which ascends to heaven like a colonnade of smoke from aromatic spices, He Himself returns the reasons for His ascent, explaining that the bed of the peaceful king to which He hastened, is safe from the incursions of evil; and that His couch, where He hopes to be refreshed, although the ascent is arduous, nevertheless has a headrest shining like gold; and established in the midst of His love, for which reason He hastens to ascend, knowing that God is love, and he who abides in love, abides in God, and God in him (1 John 4). With these words having been said, in a wonderful and proper order, after narrating the gifts of His King, He also begins to extol His own appearance and adornment, inviting everyone to see this, and after He has been called Himself, He also takes care to call others, having taken up the task of evangelizing, while it is subsequently added:
He made its columns of silver. James, Cephas, and John, who seemed to be columns. He made these columns of silver, in truth, because He established holy teachers in the splendor of the heavenly word to confirm the faith and to uplift the state of the Church.
Its ascent of purple. True purple is dyed with the blood of shellfish. Therefore, the ascent of Solomon's palanquin is purple because our King and Lord loved us and washed us from our sins in His own blood (Revelation I). And no ascent to this palanquin is found but purple, because no one enters the Church unless imbued with the sacraments of the Lord’s passion. Hence He Himself said, "Unless you eat the flesh of the Son of Man and drink His blood, you have no life in you. Whoever eats my flesh and drinks my blood has eternal life, and I will raise him up on the last day" (John VI).
Its recliner of gold. He made a recliner in the palanquin when He promised the faithful the hope of perpetual rest. "Take my yoke upon you," He says, "and learn from me, for I am gentle and humble in heart, and you will find rest for your souls" (Matthew XI). And He made this recliner of gold because He prepared for us the resplendent glory of the eternal divine vision. Hence it is said, "Whoever loves me will be loved by my Father; and I will love him and manifest myself to him" (John XIV).
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.
Copy as
Continue studying Song of Solomon 3:10 across the web’s major study libraries — every link below opens this exact verse, chapter, or book on the destination site.
Read & Compare
BibleGatewayThis verse in more than 200 translations and 70 languages.
Bible.comThe YouVersion reader — hundreds of translations, reading plans, and highlights.
ESV.orgCrossway's official English Standard Version reader.
NET BibleThe NET translation with 60,000+ translators' notes on every rendering decision.
STEP BibleTyndale House's free study tool — original text, vocabulary, and scholarly resources.
BibliaLogos Bible Software's free web reader.
USCCBThe New American Bible (Revised Edition) with the U.S. bishops' study notes.
Commentaries
BibleHub CommentariesDozens of classic commentaries on this verse, gathered on one page.
StudyLightMore than 100 commentary sets — the largest collection on the web.
BibleRefPlain-English commentary on what this verse means, verse by verse.
Enduring WordDavid Guzik's free commentary on this chapter, widely used by Bible teachers.
Bible Study ToolsVerse commentary alongside Greek and Hebrew study aids.
Original Language & Research
- BibleHub InterlinearThe verse word by word — original language, transliteration, and English.
- BibleHub LexiconEvery word's original-language definition and Strong's entry.
Blue Letter BibleDeep-study tools — Strong's numbers, concordance, and word studies.
SefariaThe Hebrew text with Rashi and centuries of Jewish commentary.
Sermons, Hymns & Audio
TrulyRandomVerse is not affiliated with these sites and doesn’t control their content. They’re linked because they’re genuinely useful.
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), 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). 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. 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.
Exposition and Analysis
Key Word Analysis
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.
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.
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.
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
FAQ
What is the significance of the palanquin being "paved with love" rather than another precious material?
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). 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). 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). 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). 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). 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).