Song 1:5, 3:6-7 | JFB | STEP | 5. black —namely, "as the tents of Kedar," equivalent to blackness ( ). She draws the image from the black goatskins with which the Scenite Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted with the splendid state tent in which the King was awaiting His bride according to Eastern custom); typifying the darkness of man's natural state. To feel this, and yet also feel one's self in Jesus Christ "comely as the curtains of Solomon," marks the believer ( ); , "I am chief"; so she says not merely, "I was," but "I am"; still black in herself, but comely through His comeliness put upon her ( ). curtains —first, the hangings and veil in the temple of Solomon ( ); then, also, the "fine linen which is the righteousness of saints" ( ), the white wedding garment provided by Jesus Christ ( ). Historically, the dark tents of Kedar represent the Gentile Church ( , &c.). As the vineyard at the close is transferred from the Jews, who had not kept their own, to the Gentiles, so the Gentiles are introduced at the commencement of the Song; for they were among the earliest enquirers after Jesus Christ ( ): the wise men from the East (Arabia, or Kedar). daughters of Jerusalem —professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings ( ); so near to Jesus Christ as not to be unlikely to find Him ( ); desirous to seek Him with her ( ; compare ). In , the bride's Beloved becomes their Beloved; not, however, of all of them ( ; compare ).

Song of Solomon 1:5

5. black—namely, "as the tents of Kedar," equivalent to blackness (Ps 120:5). She draws the image from the black goatskins with which the Scenite Arabs ("Kedar" was in Arabia-Petræa) cover their tents (contrasted with the splendid state tent in which the King was awaiting His bride according to Eastern custom); typifying the darkness of man's natural state. To feel this, and yet also feel one's self in Jesus Christ "comely as the curtains of Solomon," marks the believer (Ro 7:18, &c.; 8:1); 1Ti 1:15, "I am chief"; so she says not merely, "I was," but "I am"; still black in herself, but comely through His comeliness put upon her (Eze 16:14).

curtains—first, the hangings and veil in the temple of Solomon (Eze 16:10); then, also, the "fine linen which is the righteousness of saints" (Re 19:8), the white wedding garment provided by Jesus Christ (Isa 61:10; Mt 22:11; 1Co 1:30; Col 1:28; 2:10; Re 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Isa 60:3-7, &c.). As the vineyard at the close is transferred from the Jews, who had not kept their own, to the Gentiles, so the Gentiles are introduced at the commencement of the Song; for they were among the earliest enquirers after Jesus Christ (Mt 2:1-12): the wise men from the East (Arabia, or Kedar).

daughters of Jerusalem—professors, not the bride, or "the virgins," yet not enemies; invited to gospel blessings (So 3:10, 11); so near to Jesus Christ as not to be unlikely to find Him (So 5:8); desirous to seek Him with her (So 6:1; compare So 6:13; 7:1, 5, 8). In So 7:8, 9, the bride's Beloved becomes their Beloved; not, however, of all of them (So 8:4; compare Lu 23:27, 28).

Song of Solomon 3:6-7

6. New scene (So 3:6-11). The friends of the Bridegroom see a cortege approach. His palanquin and guard.

cometh out—rather, "up from"; the wilderness was lower than Jerusalem [MAURER].

pillars of smoke—from the perfumes burned around Him and His bride. Image from Israel and the tabernacle (answering to "bed," So 3:7) marching through the desert with the pillar of smoke by day and fire by night (Ex 14:20), and the pillars of smoke ascending from the altars of incense and of atonement; so Jesus Christ's righteousness, atonement, and ever-living intercession. Balaam, the last representative of patriarchism, was required to curse the Jewish Church, just as it afterwards would not succumb to Christianity without a struggle (Nu 22:41), but he had to bless in language like that here (Nu 24:5, 6). Angels too joyfully ask the same question, when Jesus Christ with the tabernacle of His body (answering to "His bed," So 3:7; Joh 1:14, "dwelt," Greek "tabernacled," Joh 2:21) ascends into heaven (Ps 24:8-10); also when they see His glorious bride with Him (Ps 68:18; Re 7:13-17). Encouragement to her; amid the darkest trials (So 3:1), she is still on the road to glory (So 3:11) in a palanquin "paved with love" (So 3:10); she is now in soul spiritually "coming," exhaling the sweet graces, faith, love, joy, peace, prayer, and praise; (the fire is lighted within, the "smoke" is seen without, Ac 4:13); it is in the desert of trial (So 3:1-3) she gets them; she is the "merchant" buying from Jesus Christ without money or price (Isa 55:1; Re 3:18); just as myrrh and frankincense are got, not in Egypt, but in the Arabian sands and the mountains of Palestine. Hereafter she shall "come" (So 3:6, 11) in a glorified body, too (Php 3:21). Historically, Jesus Christ returning from the wilderness, full of the Holy Ghost (Lu 4:1, 14). The same, "Who is this," &c. (Isa 63:1, 5).

7. In So 3:6 the wilderness character of the Church is portrayed; in So 3:7, 8, its militant aspect. In So 3:9, 10, Jesus Christ is seen dwelling in believers, who are His "chariot" and "body." In So 3:11, the consummation in glory.

bed—palanquin. His body, literally, guarded by a definite number of angels, threescore, or sixty (Mt 26:53), from the wilderness (Mt 4:1, 11), and continually (Lu 2:13; 22:43; Ac 1:10, 11); just as six hundred thousand of Israel guarded the Lord's tabernacle (Nu 2:17-32), one for every ten thousand. In contrast to the "bed of sloth" (So 3:1).

valiant— (Jos 5:13, 14). Angels guarding His tomb used like words (Mr 16:6).

of Israel—true subjects, not mercenaries.