TRV
Translation
King James Version
Thine head upon thee is like Carmel, and the hair of thine head like purple; the king is held in the galleries.
Complete Jewish Bible
You hold your head like the Karmel, and the hair on your head is like purple cloth — the king is held captive in its tresses.
Berean Standard Bible
Your head crowns you like Mount Carmel, the hair of your head like purple threads; the king is captured in your tresses.
American Standard Version
Thy head upon thee is like Carmel, And the hair of thy head like purple; The king is held captive in the tresses thereof.
World English Bible Messianic
Your head on you is like Carmel. The hair of your head like purple. The king is held captive in its tresses.
Geneva Bible (1599)
Thine head vpon thee is as skarlet, and the bush of thine head like purple: the King is tyed in the rafters.
Young's Literal Translation
Thy head upon thee as Carmel, And the locks of thy head as purple, The king is bound with the flowings!
See also
In the KJVVerse 17,633 of 31,102
Study This Verse
Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers . Public domain.
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Theodoret of CyrusAD 458
COMMENTARY ON THE SONG OF SONGS 7
“The hair of your head like purple, a king caught in its tresses.” Your hair was previously loose and hence was compared with the flocks of goats emerging in Gilead, whereas now it is caught up, and not only caught up but also wondrously dyed, resembling a king clad in purple and hastening in all directions. By the comparison of her fastened hair to royal purple he refers to the teaching proposed in orderly fashion and colored with the blood of Christ. A king clad in purple is not so resplendent as the teacher of religion who carefully composes the proclamation of the knowledge of God and offers it to the devotees of truth.
BedeAD 735
Commentary on the Song of Songs
Your head is like Carmel, etc. In the head of the bride, the soul of the faithful is rightly understood, because just as the members are ruled by the head, so are thoughts arranged by the mind. Hence, even the thoughts themselves, which emerge countless times every hour and moment from the human mind, are aptly depicted as hair. What is said about one chosen soul is to be understood by the prudent reader as applying to the whole Church, because even though the multitude of believers differs in merits, they nevertheless have one heart and soul, insofar as they all aspire to the heavenly courts with one and the same faith, hope, and love. Scripture recounts that Elijah prayed on Mount Carmel kneeling, and after a long drought, he obtained rains from the Lord. Thus, the head of the bride is like Carmel, because the hearts of the chosen are elevated through their way of life and provide an ascent to the Lord through their daily progress in virtues. For Elijah is called the Lord God, who prays to the Father in them and, like dry fields, calls rains from heaven because he invisibly ignites them to pray to God, and through their prayers and merits, he often grants his gifts to a world in peril. The name of Carmel, which is interpreted as the knowledge of circumcision, fits the head of the bride, that is, the ecclesiastical mind, which well knows it should not boast in carnal but in spiritual circumcision, about which the Apostle also debates much to the Galatians, and the prophet teaches, saying, "Circumcise yourselves to the Lord, and take away the foreskins of your heart" (Jer. IV). The Jews refused to have this knowledge when they only glorified in the outward circumcision. Therefore, they did not know to have their head like Carmel because their mind was set on things below and on the glory of the flesh. Hence, they rightly deserve to be reproached by the voice of the blessed proto-martyr Stephen, saying, "You stiff-necked people, uncircumcised in heart and ears, you always resist the Holy Spirit" (Acts VII). And he says, "The hair of your head is like a purple rope bound in channels." The hair of the bride's head, as we said, represents the thoughts of the faithful soul. But the purple signifies the imitation of the Lord's passion, to which the hair of the bride's head is rightly compared, because every thought of the chosen ones is fortified by the holy faith of the cross, and every intention of their heart is ready to suffer for the Lord, so they may deserve to be resurrected with him. But that the same purple is said to be bound in channels can either be understood to mean that the dyed wool, before it is woven, is stored separated in channels, or that, since the wool is dyed in the channels with the blood of the murex, it is there distinguished and tied separately to be dyed. For the purple dye is extracted by cutting with iron the shellfish, that is, the sea snails, which are also called "conchylia," releasing tears of purple color. When collected, they produce the purple dye. This mystically conveys one and the same meaning. For the channels that receive the king’s purple denote the faithful hearts of Christ; thus, the wool that is sent to be dyed in the channels, so that it may become an ornament for the king after dyeing, represents the humility, the mildest and kindest of a faithful conscience, which through sufferings and works of justice attains the appearance of the eternal king. For as many of you as were baptized into Christ have put on Christ (Galatians 3). Now, this wool bound in the channels is dyed with the purple color, because the virtue of humility, fastened and as if bound in the hearts of the elect, is continuously animated by the memory of the Lord’s blood to endure temporal tribulations, by which it may attain to the fellowship of the Lord’s kingdom. And what we have said about the purple bound in the channels can be understood in such a way that fleeces already dyed by the shellfish, before being spun into threads, are kept stored in compartments, symbolizing the higher virtue, since it represents the humility of those who are already exercised in frequent tribulations for the Lord, showing that they can be overcome by no adversities. They say that the perfect dye of purple never fades from sunlight or water sprinkling, and that the tint once received endures. Thus, the bride’s hair on her head is bound in the purple channels of the king, when thoughts prepared in the devoted hearts for God are also ready to die for Christ, so that they may reign with him, making the purple, drawn from the channels, the highest ornament of the king. When the occasion for suffering is given, they show what they have rendered in that heart, bravely prepared to undergo all sorts of adversities and even death, if it happens, for the glory of their Redeemer. This was well represented in the Acts of the Apostles by Lydia, the purple-seller, who, being a fearer of God, was the first to believe and be baptized with her household when Paul preached in Macedonia, and who received him into her house, both when he first preached the word of faith and later when he suffered beatings, imprisonments, and bonds from the infidels. For she foreshadowed in her profession, faith, and obedience the Church made up of the Gentiles, who, imbued with the confession of the Lord’s passion, were themselves to shed their blood for it and to receive deeply in their hearts the apostolic doctrine expelled by the infidels.
Richard ChallonerAD 1781
Thy head is like Carmel: Christ, the invisible head of his church, is here signified.
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 7:5 presents a vivid and passionate declaration of the beloved's captivating beauty, likely from the king to the Shulamite woman. The verse focuses on her head and hair, employing rich natural and regal imagery to convey her majestic allure and the profound, almost overwhelming, effect she has on him. It symbolizes the deep enthrallment and delight found in an intimate, reciprocal love, where the beloved's presence is utterly captivating.
CONTEXT
Literary Context: This verse is a pivotal part of a detailed and fervent encomium (praise poem) of the Shulamite's physical beauty, delivered by her lover, the king, found in Song of Solomon 7:1-9. The description proceeds systematically, starting from her feet and moving upwards, culminating in this verse with her head and hair—features often considered the pinnacle of a person's beauty. This upward progression emphasizes the comprehensive nature of the king's admiration. Following this elaborate praise, the Shulamite responds with an invitation for her beloved to join her in the fields, expressing her desire for intimacy and the blossoming of their love, as depicted in Song of Solomon 7:10-13. This narrative flow highlights the mutual admiration, deep affection, and reciprocal desire that characterize their profound bond.
Historical & Cultural Context: In ancient Israel, physical beauty was highly esteemed, often associated with divine blessing and favor. Mount Carmel, a prominent geographical feature, was celebrated for its lush forests, fertile slopes, and majestic height, serving as a powerful symbol of natural grandeur, abundance, and striking beauty. Comparing the Shulamite's head to Carmel evokes a sense of regal prominence, verdant richness, and an awe-inspiring presence. Purple dye was exceedingly rare and expensive, derived from murex snails, and thus exclusively associated with royalty, wealth, and high status. Its use here elevates the Shulamite's hair to a level of exquisite preciousness and nobility, befitting a queen or someone held in the highest esteem. The term "galleries" (Hebrew rahaṭ) could refer to architectural features like colonnades or balconies, but in a poetic context, it might also allude to flowing locks of hair or even the intricate channels of a water trough, alluding to something captivating, intricate, and irresistible.
Key Themes: This verse powerfully contributes to several overarching themes within the Song of Solomon. Primarily, it underscores the theme of Captivating Beauty, portraying the Shulamite's physical attributes in terms that evoke awe and deep admiration, highlighting how her appearance profoundly impacts her beloved. Secondly, the imagery of "Carmel" and "purple" reinforces the theme of Regal Allure and Esteem, suggesting that her beauty is not merely attractive but possesses a majestic quality, worthy of a king's profound respect and adoration. Finally, the declaration that "the king is held in the galleries" speaks to the Overpowering Nature of Love and Desire, illustrating how true love and beauty can utterly enthrall and enchant, even someone of great power and authority. This echoes other expressions of the king's profound affection, such as his declaration in Song of Solomon 4:9 that she has "ravished my heart."
EXPOSITION AND ANALYSIS
Key Word Analysis
Verse Breakdown
Literary Devices
Song of Solomon 7:5 is rich in literary artistry, employing several devices to convey the Shulamite's captivating beauty and its effect on the king. The most prominent device is Simile, used twice to draw vivid comparisons: "Thine head upon thee is like Carmel" and "the hair of thine head like purple." These similes elevate the Shulamite's beauty by associating it with natural grandeur (Mount Carmel) and royal luxury (purple dye). Symbolism is also heavily employed; Carmel symbolizes majesty, fertility, and natural splendor, while purple symbolizes royalty, wealth, and preciousness. Together, they imbue the Shulamite with a queenly aura. The phrase "the king is held in the galleries" can be interpreted as a Metaphor for the king's complete enthrallment, where her beauty, particularly her hair, acts as an irresistible, binding force. There is also an element of Hyperbole in the king being "held," suggesting an almost overwhelming and irresistible power in her beauty that utterly captivates even a sovereign.
THEOLOGICAL AND THEMATIC CONNECTIONS
This verse, within the broader context of the Song of Solomon, offers profound insights into the nature of human love and its divine reflection. It celebrates the deep admiration and delight that one person can have for another, a beauty that is both physical and deeply captivating to the soul. The detailed praise of the Shulamite's beauty, culminating in the king's utter enthrallment, speaks to the sacredness and intensity of marital love as a gift from God. It highlights how genuine love sees and cherishes the beloved in their unique glory, finding them utterly captivating. This human experience of delight and being "held" by love foreshadows the divine love that God has for His people, a love that finds them beautiful and draws them into intimate communion, delighting in their presence.
REFLECTION AND APPLICATION
Song of Solomon 7:5 serves as a beautiful reminder of the importance of affirmation and appreciation within relationships. The king's detailed and passionate praise of the Shulamite's beauty underscores the value of expressing admiration and delight in our loved ones, not just for their internal qualities but also for their physical presence, which is a part of God's good creation. This verse challenges us to cultivate an eye that truly sees and cherishes the unique beauty of those we love, recognizing that true love finds its beloved utterly captivating. It encourages us to speak words of affirmation that build up and delight, fostering an environment where both partners feel seen, valued, and adored. Beyond romantic love, it can inspire us to appreciate the diverse beauty of God's creation and the unique design of every individual, recognizing the divine artistry in all things.
Questions for Reflection
FAQ
What is the significance of comparing the Shulamite's head to Carmel?
Answer: Comparing her head to Mount Carmel signifies a profound sense of natural majesty, grandeur, and abundance. Carmel was renowned for its lush fertility and prominent height, making it a symbol of striking beauty and richness. This comparison suggests that the Shulamite's presence, particularly her head, is as impressive and captivating as this celebrated landmark.
Why is her hair described as "purple"?
Answer: Purple was an extremely valuable and rare dye in the ancient world, reserved almost exclusively for royalty, the wealthy, and sacred purposes, as seen in the Tabernacle's furnishings in Exodus 25:4. Describing her hair as "purple" elevates its beauty to a level of exquisite preciousness, luxury, and regal status. It suggests her hair is not merely beautiful but possesses a rare and noble quality, fitting for someone held in such high esteem by a king.
What does "the king is held in the galleries" mean?
Answer: The phrase "the king is held in the galleries" powerfully conveys the king's complete enthrallment and captivity by the Shulamite's beauty. While "galleries" could refer to architectural features or literally to flowing locks of hair, the poetic meaning is clear: her beauty has utterly captivated him, binding him with an irresistible allure. This demonstrates the profound, almost overwhelming, power of love and attraction, where even a king is rendered powerless by the beloved's charm, similar to how his heart was "ravished" in Song of Solomon 4:9.
CHRIST-CENTERED FULFILLMENT
Song of Solomon 7:5, while celebrating human love, finds its ultimate and most profound fulfillment in the relationship between Christ and His Church. Just as the king is utterly captivated by the beauty of his beloved, so too is Christ, the ultimate Bridegroom, enthralled by His Bride, the Church. The Church, though flawed, is made beautiful in His eyes, not by her own merit, but by His redemptive work and the righteousness imputed to her. Her "head like Carmel" speaks to the majesty and spiritual prominence she gains through her union with Christ, who is her head (Ephesians 5:23). Her "hair like purple" symbolizes the royal priesthood and holy nation she becomes through His blood (1 Peter 2:9). The declaration that "the king is held in the galleries" beautifully prefigures Christ's deep delight and unwavering commitment to His Church, a love so profound that He gave Himself up for her, to make her holy, cleansing her by the washing with water through the word, and to present her to Himself as a radiant Church, without stain or wrinkle or any other blemish, but holy and blameless (Ephesians 5:25-27). The "galleries" become a metaphor for the intimate communion and fellowship where Christ delights in His redeemed people, a place of mutual adoration and profound spiritual bond, where He is eternally "held" by the beauty He Himself has bestowed upon His Bride.