English Standard Version
We will make for you ornaments of gold, studded with silver.
King James Bible
We will make thee borders of gold with studs of silver.
American Standard Version
We will make thee plaits of gold With studs of silver.
We will make thee chains of gold, inlaid with silver.
English Revised Version
We will make thee plaits of gold with studs of silver.
Webster's Bible Translation
We will make for thee borders of gold with studs of silver.
Song of Solomon 1:11 Parallel
CommentaryKeil and Delitzsch Biblical Commentary on the Old Testament
After this choral song, Shulamith, who has listened to the singers not without being examined by their inquisitive glances as a strange guest not of equal rank with them, now speaks:
5 Black am I, yet comely, ye daughters of Jerusalem,
As the tents of Kedar, as the hangings of Solomon.
From this, that she addresses the ladies of the palace as "daughters of Jerusalem" (Kerı̂ ירושׁלים, a du. fractus; like עפרין for עפרון, 2 Chronicles 13:19), it is to be concluded that she, although now in Jerusalem, came from a different place. She is, as will afterwards appear, from Lower Galilee; - and it may be remarked, in the interest of the mystical interpretation, that the church, and particularly her first congregations, according to the prophecy, was also Galilean, for Nazareth and Capernaum are their original seats; - and if Shulamith is a poetico-mystical Mashal or emblem, then she represents the synagogue one day to enter into the fellowship of Solomon - i.e., of the son of David, and the daughters of Jerusalem, i.e., the congregation already believing on the Messiah. Yet we confine ourselves to the nearest sense, in which Solomon relates a self-experience. Shulamith, the lightly esteemed, cannot boast that she is so ruddy and fair of countenance as they who have just sung how pleasant it is to be beloved by this king; but yet she is not so devoid of beauty as not to venture to love and hope to be loved: "Black am I, yet comely." These words express humility without abjectness. She calls herself "black," although she is not so dark and unchangeably black as an "Ethiopian" (Jeremiah 13:23). The verb שׁחר has the general primary idea of growing dark, and signifies not necessarily soot-blackness (modern Arab. shuhwar, soot), but blackness more or less deep, as שׁחר, the name of the morning twilight, or rather the morning grey, shows; for (Arab.) saḥar
(Note: After an improbable etymology of the Arab., from saḥar, to turn, to depart, "the departure of the night" (Lane). Magic appears also to be called sihar, as nigromantia (Mediaev. from nekromantia), the black art.)
denotes the latter, as distinguished from (Arab.) fajr, the morning twilight (vid., under Isaiah 14:12; Isaiah 47:11). She speaks of herself as a Beduin who appears to herself as (Arab.) sawda, black, and calls
(Note: The houri (damsel of paradise) is thus called ḥawaryyt, adj. relat. from ḥawra, from the black pupil of the eye in the centre of the white eyeball.)
the inhabitants of the town (Arab.) ḥawaryyat (cute candidas). The Vav we have translated "yet" ("yet comely"); it connects the opposite, which exists along with the blackness. נאוה is the fem. of the adj. נאוה equals נאוה equals נאוי, which is also formed by means of the doubling of the third stem-letter of נאה equals נאו, נאי (to bend forward, to aim; to be corresponding to the aim, conformable, becoming, beautiful), e.g., like רענן, to be full of sap, green. Both comparisons run parallel to nigra et bella; she compares on the one hand the tents of Kedar, and on the other the tapestry of Solomon. אהל signifies originally, in general, the dwelling-place, as בּית the place where one spends the night; these two words interchange: ohel is the house of the nomad, and baith is the tent of him who is settled. קדר (with the Tsere, probably from (Arab.) ḳadar, to have ability, be powerful, though of after the Heb. manner, as Theodoret explains and Symm. also translates: σκοτασμός, from (Heb.) Kadar, atrum esse) is the name of a tribe of North. Arab. Ishmaelites (Genesis 25:13) whom Pliny speaks of (Cedraei in his Hist. Nat. Sol 5:11), but which disappeared at the era of the rise of Islam; the Karaite Jefeth uses for it the word (Arab.) Ḳarysh, for he substitutes the powerful Arab tribe from which Muhammed sprung, and rightly remarks: "She compares the colour of her skin to the blackness of the hair tents of the Koreishites," - even to the present day the Beduin calls his tent his "hair-house" (bêt wabar, or, according to a more modern expression, bêt sa'r, שׂער בּית); for the tents are covered with cloth made of the hair of goats, which are there mostly black-coloured or grey. On the one hand, dark-coloured as the tents of the Kedarenes, she may yet, on the other hand, compare herself to the beautiful appearance of the יריעות of Solomon. By this word we will have to think of a pleasure-tent or pavilion for the king; pavillon (softened from Lat. papilio) is a pleasure-tent spread out like the flying butterfly. This Heb. word could certainly also mean curtains for separating a chamber; but in the tabernacle and the temple the curtains separating the Most Holy from the Holy Place were not so designated, but are called פּרכת and מסך; and as with the tabernacle, so always elsewhere, יריעות (from ירע, to tremble, to move hither and thither) is the name of the cloths or tapestry which formed the sides of the tent (Isaiah 54:2); of the tent coverings, which were named in parall. with the tents themselves as the clothing of their framework (Habakkuk 3:7; Jeremiah 4:20; Jeremiah 10:20; Jeremiah 49:29). Such tent hangings will thus also be here meant; precious, as those described Exodus 26 and 36, and as those which formed the tabernacle on Zion (2 Samuel 7; cf. 1 Chronicles 17:1) before the erection of the temple. Those made in Egypt
(Note: Vid., Wetzstein's Isaiah (1869), p. 698.)
were particularly prized in ancient times.
Treasury of Scripture Knowledge
Song of Solomon 1:10
Your cheeks are lovely with ornaments, your neck with strings of jewels.
Song of Solomon 1:12
While the king was on his couch, my nard gave forth its fragrance.
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