TRV
Translation
King James Version
His hands are as gold rings set with the beryl: his belly is as bright ivory overlaid with sapphires.
Complete Jewish Bible
His arms are rods of gold set with beryl, his body polished ivory adorned with sapphires.
Berean Standard Bible
His arms are rods of gold set with beryl. His body is an ivory panel bedecked with sapphires.
American Standard Version
His hands areasrings of gold set with beryl: His body isasivory work overlaid with sapphires.
World English Bible Messianic
His hands are like rings of gold set with beryl. His body is like ivory work overlaid with sapphires.
Geneva Bible (1599)
His hands as rings of gold set with the chrysolite, his belly like white yuorie couered with saphirs.
Young's Literal Translation
His hands rings of gold, set with beryl, His heart bright ivory, covered with sapphires,
In the KJVVerse 17,613 of 31,102
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Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers . Public domain.
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BedeAD 735
Commentary on the Song of Songs
His hands are like cylinders of gold, etc. After the lips, the Church praises the hands of her Redeemer, that is, His deeds after His words, because He showed by His actions that what He taught with words was to be believed. For instance, while teaching on the mountain, the crowds were amazed at His doctrine. But to follow this amazement with faith, He descended from the mountain and cleansed a leper with a mere touch of His hand. This is also why, marveling at His deeds, His fellow citizens said, "Where did this man get this wisdom and these mighty works?" (Matthew XIII). For wisdom pertains to the lips, and virtues to the hands. Rightly does he declare His hands to be like cylinders, to denote both their easy power and their unfathomable knowledge of action. It is well known that turning (lathe work) is quicker and more inexplicable than other arts. For example, one who works with an adze, chisel, axe, or hammer, operates more laboriously and with frequent use of a ruler and careful scrutiny to avoid errors. But he who works with a compass does not need an external rule; rather, he can maintain the direction of his work within the instrument itself. Therefore, the Lord's hands are like cylinders because He readily accomplishes what He wills, because He speaks and they are made. Finally, He said: "Pick up your mat and walk." And immediately, rising, he took up his mat and walked, who had been paralyzed for thirty-eight years (John V, 8, 9). His hands are like cylinders because He holds within Himself the rule of all justice. Unlike our poverty, He does not need to learn from sacred writings lest His work deviate from the truth. Hence it is said of Him, "How does this man know letters, having never learned?" (John VII, 15). He knew because He was indeed older than the letters and the law, nay, the judge of the lawgiver Himself. His hands are like golden cylinders full of hyacinths. For in gold, which excels all metals, the excellence of divinity is signified as is evident from frequent exposition. Therefore, his hands are golden, because no faithful person is ignorant that the virtues which he exercised in man are accomplished divinely. These are rightly also said to be full of hyacinths, because they undoubtedly excite us to the hope and love of heavenly things. The hyacinth, indeed, is a gem of a sky-blue color. The Lord has hyacinths in his turned hands, so that he may adorn vessels of election, which he prepares for glory, with such gems, that is, he may gladden the hearts of his elect with the desire and expectation of celestial glory. If we take the pigments designated by this name in the hyacinths, it does not deviate from the appropriate significance of truth: for the hyacinth is a pigment of a purple color and a pleasant scent. Hence the poet, gathering precious things as an example of love, adds: The gifts are of laurel, and the sweetly red hyacinth. And the hands of the Lord were full of purple flowers, because dying for our life, he soaked them in the redness of his own blood at the nailing. But another translation teaches that gems rather than flowers are to be understood in this place by the name of hyacinths, which says: His hands are turned, golden, full of tharsis: for tharsis among the Hebrews is the name of a stone which among us is called chalcedony. His belly is ivory, etc. The belly holds the most fragile place in our limbs, because it lacks bones to protect it and it contains the vitals, all of whose wounds are dangerous. But ivory is the bone of the elephant, which is said to be an animal of great chastity and cold blood. Hence, its death is often sought by the dragon, as it desires to cool its burning entrails by drinking its blood. The sapphire is a stone, the color of which, the sacred history testifies, which says: And they saw the God of Israel under his feet, as it were the work of a sapphire stone, and as it were the sky when it is clear (Exodus XXIV, 10). Therefore, the belly of the beloved signifies the fragility of his humanity, by which he was conformable to us. The ivory indicates the beauty of chastity, by which in human flesh he remained undefiled by corruption of sin. The sapphires express the sublimity of heavenly virtues, with which he shone in the flesh. He says, his belly of ivory, adorned with sapphires. As if he openly says, the fragility of the mortal substance in him shall indeed be true, but this shall be utterly free from the lasciviousness of mortality and shall rather shine with the excellent glory of divine works. And beautifully did he say his belly was entirely of ivory, yet not wholly adorned with sapphires, but marked with sapphires, so that part appears ivory, part sapphires. For his belly was indeed of ivory, because the fragility which he assumed was free from all sin, just as no contagious heat can be found in the bone of a dead elephant. He was distinguished by sapphires, because amidst the passions of assumed humanity, he showed frequent signs of perpetual divinity: for it pertains to the frailty of humanity that the little child is born to us, to the power of divinity that he is born of the Virgin, and the same birth is proclaimed by angelic voices and celebrated with mysteries; to the power of divinity that he is shown by the indication of a star, to be adored by the Magi, to the frailty of humanity that he is fled from his homeland by the snares of a treacherous king; to the frailty of humanity that he could be led and tempted by the devil, to the power of divinity that, with him conquered and repulsed, he is honored by angelic ministries; to the frailty of humanity that he asks the Samaritan woman for water, to the power of divinity that he testifies that he can give the same the fountain of living water; to the frailty of humanity that he is wearied from the journey, to the power of divinity that he promises eternal rest to those who follow him; to the frailty of humanity that he sleeps in the boat, to the power of divinity that, when awakened, he commands the winds and the sea; to the frailty of humanity that he was crucified and died, to the power of divinity that at his death the elements trembled along with the earthly and even the heavenly beings; to the frailty of humanity that he was embalmed with spices and buried, to the power of divinity that he rose and ascended into heaven; it pertains to the frailty of humanity that Isaiah says: He has no form or comeliness, and we saw him despised (Isaiah LIII, 3). And shortly after: Like one from whom people hide their faces, he was despised, and we did not respect him (ibid.); to the power of divinity that John says: We saw his glory, glory as of the only begotten from the Father, full of grace and truth (John I). Therefore, the sapphire was distinguished as the ivory belly of Christ, because his immaculate and undefiled incarnation shone with frequent miracles of divine majesty. It should be noted that Scripture says of the sapphire color, that it is such in appearance as the sky when it is clear. By the name of the clear sky, the sublimity of divine majesty is not incongruously represented, as attested by the Psalmist, who, describing the incarnation of our Redeemer, says: His going forth is from the end of the heavens, and his circuit to their ends (Psalm XVIII). This is what he himself said to the disciples about himself: And you believe that I came from God; I came from the Father and have come into the world; again, I am leaving the world and going to the Father (John XVI, 28). But the bride herself saw the form of the sapphire in the ivory belly of her beloved when, with the voice of her first pastor, she said: You are the Christ, the Son of the living God (Matt. XVI, 16), because indeed, in the holy, innocent, undefiled Son of Man, separated from sins, she recognized the pure fullness of divinity.
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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SUMMARY
Song of Solomon 5:14 forms a pivotal part of the Shulamite's passionate and detailed description of her beloved, presented to the inquiring daughters of Jerusalem. Following an initial portrayal of his head and face, this verse meticulously illustrates his hands and torso, employing lavish and precise comparisons to the most exquisite and valuable materials—gold, beryl, bright ivory, and sapphires. This imagery constructs an unparalleled vision of his physical beauty, inherent strength, and profound intrinsic worth, serving as a powerful testament to her deep admiration and the supreme desirability of her beloved.
CONTEXT
Literary Context: Song of Solomon 5:14 is embedded within the Shulamite's elaborate and effusive response to the "daughters of Jerusalem," who, in Song of Solomon 5:9, challenge her to describe the unique excellence of her beloved. Her detailed praise commences in Song of Solomon 5:10, where she systematically moves from his "head of fine gold" and "bushy locks" to his "eyes as doves" and "cheeks as a bed of spices." Verse 14 specifically focuses on his hands and midsection, continuing the thematic thread of his flawless physical perfection and immense value. This meticulous, head-to-toe exposition builds towards her climactic and all-encompassing declaration of his supreme loveliness in Song of Solomon 5:16, serving to justify her profound affection and present him as truly unparalleled among men.
Historical & Cultural Context: Ancient Near Eastern love poetry, of which the Song of Solomon is a quintessential example, frequently utilized rich, sensuous imagery and elaborate comparisons to precious materials to extol the beauty of the beloved. Gold, beryl, ivory, and sapphires were not merely aesthetically pleasing but also carried immense value and were often associated with royalty, wealth, and divine favor. Gold, a universal symbol of purity, enduring value, and regal status, would have signified the beloved's unmatched worth. Beryl, likely referring to a topaz or aquamarine, added a touch of vibrant color and rarity, suggesting a multi-faceted brilliance. Ivory, prized for its smooth texture, strength, and lustrous appearance, was commonly used in royal furnishings, sculptures, and adornments, implying a physique that was both robust and exquisitely refined. Sapphires, with their deep blue hue, were highly esteemed and often associated with the heavens and divine majesty, as evidenced by descriptions of God's throne in Exodus 24:10 and Ezekiel 1:26. These cultural and religious associations elevate the Shulamite's description from mere physical attraction to a profound appreciation of her beloved's regal, exquisite, and almost divinely appointed nature.
Key Themes: This verse powerfully contributes to several overarching themes within the Song of Solomon and broader biblical literature. Firstly, it underscores the theme of Exquisite Beauty and Perfection, portraying the beloved not merely as attractive, but as possessing an ideal, flawless form, akin to the most precious elements of creation. This resonates with the biblical affirmation of the human body as a wondrous creation, as celebrated in Psalm 139:14. Secondly, the lavish use of rare and valuable materials like gold, beryl, ivory, and sapphires emphasizes the Preciousness and Intrinsic Value the Shulamite places on her beloved. He is esteemed not just for his outward appearance but for his inherent worth and the profound value of his person, reflecting the high value placed on the beloved in a covenantal relationship. Finally, the meticulous and effusive nature of her description highlights the theme of Deep Admiration and Adoration. Her detailed praise reveals a love that is not superficial but deeply captivated and appreciative of every aspect of her beloved, demonstrating the profound emotional and spiritual bond that is the hallmark of true marital love, as depicted throughout the entire Song of Solomon.
EXPOSITION AND ANALYSIS
Key Word Analysis
Verse Breakdown
Literary Devices
Song of Solomon 5:14 is replete with literary artistry, primarily employing Simile, evident in the explicit use of "as" ("hands are as gold rings," "belly is as bright ivory"). These comparisons vividly describe the beloved's physical attributes by likening them to precious and beautiful objects, making his qualities more tangible and impactful. The verse also utilizes Hyperbole, exaggerating the beloved's beauty beyond ordinary human standards by comparing him to the most valuable and flawless materials known. This deliberate overstatement emphasizes the Shulamite's intense admiration and the unparalleled nature of her beloved in her eyes, portraying him as a figure of idealized perfection. Furthermore, the verse is a prime example of Sensory Imagery, particularly visual, inviting the reader to envision the gleaming gold, the sparkling beryl, the smooth, bright ivory, and the deep, rich blue of sapphires. This vivid imagery creates a luxurious and idealized portrait that appeals directly to the senses. Finally, Symbolism is profoundly at play, where gold, beryl, ivory, and sapphires transcend mere physical description to symbolize deeper qualities such as purity, enduring value, strength, royalty, and even divine majesty, elevating the beloved's description to a realm of profound worth and adoration.
THEOLOGICAL AND THEMATIC CONNECTIONS
This verse, situated within the broader celebration of marital love in the Song of Solomon, powerfully underscores the biblical affirmation of physical beauty and intimacy within the sanctity of a committed relationship. It portrays the beloved as a masterpiece of creation, reflecting God's own artistry in forming the human body. The lavish use of precious stones and metals elevates the description beyond mere physical attraction, suggesting an intrinsic value and regal quality that mirrors the high esteem God places on humanity, made in His image. The Shulamite's detailed and effusive praise models a profound appreciation and adoration for one's spouse, recognizing and celebrating their unique and God-given qualities. This deep admiration for the beloved's physical and inner attributes is a testament to the holistic nature of love that God intends for marriage, where both soul and body are cherished as part of a unified whole.
REFLECTION AND APPLICATION
Song of Solomon 5:14 invites us to reflect on the profound beauty and value inherent in human relationships, particularly within the covenant of marriage. The Shulamite's meticulous and lavish description of her beloved challenges us to cultivate a similar appreciative gaze towards our own spouses or those we deeply cherish. It reminds us that true love sees beyond superficiality, finding extraordinary beauty and intrinsic worth in every aspect of the beloved, much like an artist marvels at a masterpiece. This verse encourages us to articulate our admiration, to speak words of affirmation that build up and honor our partners, recognizing their unique and God-given qualities. Furthermore, it subtly points to the sacredness of the human body as a creation of God, affirming that physical attraction, when expressed within the bounds of covenantal love, is a beautiful and God-ordained aspect of human experience. It calls us to cherish and respect the physical form, both our own and that of our beloved, as a testament to divine design and a means of expressing love and intimacy.
Questions for Reflection
FAQ
Is the Song of Solomon purely literal, or does it have allegorical meaning for Christians?
Answer: The Song of Solomon is primarily understood as a celebration of human marital love, depicting the beauty, passion, and challenges within a committed relationship. Its vivid, sensual language affirms the goodness of physical intimacy and emotional connection within the covenant of marriage, providing a divine endorsement for such love. However, for centuries, both Jewish and Christian traditions have also interpreted the Song allegorically. In Jewish tradition, it has been seen as a metaphor for God's covenantal love for Israel. For Christians, it is widely interpreted as an allegory for the profound love between Christ and His Church, or between Christ and the individual believer. New Testament passages, such as Ephesians 5:25-32, explicitly use the marriage metaphor to describe Christ's relationship with the Church, lending significant theological weight to this allegorical interpretation. While the primary, literal meaning should not be overlooked, the allegorical understanding enriches the text, allowing believers to see profound spiritual truths about divine love, intimacy, and commitment mirrored in the human experience of love.
CHRIST-CENTERED FULFILLMENT
While Song of Solomon 5:14 literally extols the physical beauty of the Shulamite's beloved, its rich imagery finds a profound Christ-centered fulfillment, pointing to the unsurpassed glory and perfections of Jesus Christ, the ultimate Bridegroom of the Church. His "hands, as gold rings set with the beryl," symbolize not only His perfect and pure actions but also His divine power and authority, which are always exercised in righteousness and grace. These are the hands that created the cosmos (Colossians 1:16), healed the sick and suffering (Matthew 8:3), blessed the children (Mark 10:16), and were ultimately pierced for our salvation on the cross (John 20:27). His "belly, as bright ivory overlaid with sapphires," speaks to His inner being, His pure and spotless humanity, perfectly united with His divine nature. Ivory represents His purity and strength as the Lamb of God who takes away the sin of the world, while sapphires, often associated with the very throne of God, underscore His divine majesty, heavenly origin, and the radiant glory that emanates from His very essence as the "radiance of God's glory" (Hebrews 1:3). In Christ, we find not just ideal physical beauty, but the embodiment of all divine excellencies, a Savior who is truly "altogether lovely" (Song of Solomon 5:16), worthy of the Church's deepest adoration and praise.