King James Version
Song of Solomon 3
11 verses with commentary
The Bride's Dream
By night on my bed I sought him whom my soul loveth: I sought him, but I found him not.
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The bride recounts a night of anxiety: 'By night on my bed I sought him whom my soul loveth: I sought him, but I found him not.' The phrase 'by night on my bed' suggests solitude, darkness, and vulnerability—perhaps physical nighttime or metaphorically a season of spiritual darkness and separation. The threefold use of 'sought' (Hebrew 'biqqashti,' בִּקַּשְׁתִּי) emphasizes earnest, persistent searching. The object of her search is 'him whom my soul loveth' (she'ahavah naphshi, שֶׁאָהֲבָה נַפְשִׁי)—not superficial attraction but deep soul-love. Yet despite seeking, 'I found him not'—the beloved remains elusive. This verse portrays love's anxiety when separated from the beloved, the soul's longing for communion, and the pain of perceived absence. It teaches that genuine love actively seeks, persists despite difficulty, and feels loss keenly. Spiritually, this represents the believer's experience of God's seeming hiddenness (Psalm 13:1; Isaiah 45:15). Dark nights of the soul test and purify faith, driving deeper seeking and more intense desire for God's presence. The bride's persistence anticipates Jesus's teaching: 'seek, and ye shall find' (Matthew 7:7).
I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: I sought him, but I found him not.
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The bride's search intensifies: I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: I sought him, but I found him not. The resolve 'I will rise now' (aqumah-na, אָקוּמָה־נָּא) demonstrates determination—she won't remain passively in bed but will actively search. Go about the city in the streets, and in the broad ways (asovevah va'ir bashuqim uvarecho vot, אָסוֹבְבָה בָּעִיר בַּשְּׁוָקִים וּבָרְחֹבוֹת) describes comprehensive urban search through narrow streets (shuqim, שְּׁוָקִים) and broad squares (rechovot, רְחֹבוֹת).
This verse celebrates love's courageous persistence. The bride doesn't give up after initial failure but escalates her search, venturing into public spaces despite cultural restrictions on women's nighttime movement. Her determination demonstrates love's intensity—willing to risk propriety, safety, and reputation to find the beloved. Yet even determined seeking initially fails: 'I sought him, but I found him not.' This teaches that love persists through difficulty and disappointment, trusting that faithful seeking will ultimately succeed (verse 4). Spiritually, believers sometimes must 'rise' from comfortable passivity to active pursuit of God through fervent prayer, Scripture, and worship.
This verse celebrates love's courageous persistence. The bride doesn't give up after initial failure but escalates her search, venturing into public spaces despite cultural restrictions on women's nighttime movement. Her determination demonstrates love's intensity—willing to risk propriety, safety, and reputation to find the beloved. Yet even determined seeking initially fails: 'I sought him, but I found him not.' This teaches that love persists through difficulty and disappointment, trusting that faithful seeking will ultimately succeed (verse 4). Spiritually, believers sometimes must 'rise' from comfortable passivity to active pursuit of God through fervent prayer, Scripture, and worship.
The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth?
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The bride's search brings unexpected encounter: The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth? The 'watchmen that go about the city' (hasshomrim hassobbim ba'ir, הַשֹּׁמְרִים הַסֹּבְבִים בָּעִיר) were night guards patrolling for security. Interestingly, they found me (metsa'uni, מְצָאוּנִי)—she didn't find them; they discovered her searching. Her question to them: Saw ye him whom my soul loveth? (et she'ahavah naphshi re'item, אֵת שֶׁאָהֲבָה נַפְשִׁי רְאִיתֶם) uses the familiar phrase 'him whom my soul loveth' but doesn't name him—her love is too well known to require identification.
This verse portrays vulnerability in seeking—the bride must ask others for help, risking their response. The watchmen's reaction isn't recorded here (contrast 5:7 where watchmen mistreat her), creating ambiguity. She persists in seeking despite uncertainty about their helpfulness. This teaches that love sometimes requires humility—asking others for help, acknowledging need, risking rejection. Spiritually, believers seek Christ through means He provides—Scripture, Christian community, prayer—even when the 'watchmen' (ministers, teachers, fellow believers) can't directly give what only Christ Himself provides.
This verse portrays vulnerability in seeking—the bride must ask others for help, risking their response. The watchmen's reaction isn't recorded here (contrast 5:7 where watchmen mistreat her), creating ambiguity. She persists in seeking despite uncertainty about their helpfulness. This teaches that love sometimes requires humility—asking others for help, acknowledging need, risking rejection. Spiritually, believers seek Christ through means He provides—Scripture, Christian community, prayer—even when the 'watchmen' (ministers, teachers, fellow believers) can't directly give what only Christ Himself provides.
It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother's house, and into the chamber of her that conceived me.
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The bride continues her search narrative: 'It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother's house, and into the chamber of her that conceived me.' After seeking unsuccessfully through the city (verse 2-3), the bride finds her beloved 'but a little' distance beyond the watchmen. The discovery brings overwhelming relief and possessive clinging: 'I held him, and would not let him go.' The Hebrew 'achaztihu' (אֲחַזְתִּיהוּ, I held/seized him) suggests firm grasping, while 'velo arpennu' (וְלֹא אַרְפֶּנּוּ, I would not let him go) expresses determined unwillingness to release. The bride brings him to 'my mother's house... the chamber of her that conceived me'—intimate, domestic space associated with origins, security, and family blessing. This verse teaches that persistent seeking finds reward, that love clings to the beloved once found, and that covenant relationship seeks family/community blessing and inclusion. Spiritually, it prefigures the believer's determined pursuit of Christ ('I held him'), persistence in prayer ('would not let him go'), and desire to bring Christ into every aspect of life ('my mother's house').
I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.
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The bride repeats her adjuration: 'I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.' This refrain (appearing in 2:7; 3:5; 8:4) emphasizes love's proper timing. The context here follows the bride's successful search for her beloved (verses 1-4), celebrating reunion after separation. The warning still applies: don't force or manipulate love's rhythms. Even within committed relationship, intimacy requires mutual readiness and appropriate timing. The verse teaches that covenant love respects both partners' readiness, never coercing or demanding beyond what is freely given. Spiritually, it reminds believers that God's timing in spiritual development and answered prayer cannot be rushed through human manipulation.
Solomon Arrives in His Splendor
Who is this that cometh out of the wilderness like pillars of smoke, perfumed with myrrh and frankincense, with all powders of the merchant?
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The scene dramatically shifts: Who is this that cometh out of the wilderness like pillars of smoke, perfumed with myrrh and frankincense, with all powders of the merchant? The question 'Who is this' (mi-zot, מִי־זֹאת) expresses wonder at a spectacular procession. Cometh out of the wilderness (olah min-hamidbar, עֹלָה מִן־הַמִּדְבָּר) pictures ascending from desert toward Jerusalem (going 'up' to the holy city). Like pillars of smoke (ketimarot ashan, כְּתִימֲרוֹת עָשָׁן) suggests rising clouds of incense or dust. Perfumed with myrrh and frankincense, with all powders of the merchant (mequtteret mor ulevonah mikol avqat rokhel, מְקֻטֶּרֶת מֹר וּלְבוֹנָה מִכֹּל אַבְקַת רוֹכֵל) describes aromatic spices creating fragrant cloud.
This elaborate procession celebrates the bridegroom (King Solomon, verse 7) coming for his bride with royal splendor. The wilderness-to-Jerusalem journey, fragrant spices, and public spectacle mark significant moment—likely wedding procession. The imagery combines humble origin (wilderness) with glorious arrival (perfumed, spectacular). Spiritually, this prefigures Christ's procession—He came 'from the wilderness' of humble incarnation, yet His arrival brought fragrant offering to God (Ephesians 5:2). The Church will ultimately be presented to Christ in glorious procession (Revelation 19:7-9).
This elaborate procession celebrates the bridegroom (King Solomon, verse 7) coming for his bride with royal splendor. The wilderness-to-Jerusalem journey, fragrant spices, and public spectacle mark significant moment—likely wedding procession. The imagery combines humble origin (wilderness) with glorious arrival (perfumed, spectacular). Spiritually, this prefigures Christ's procession—He came 'from the wilderness' of humble incarnation, yet His arrival brought fragrant offering to God (Ephesians 5:2). The Church will ultimately be presented to Christ in glorious procession (Revelation 19:7-9).
Behold his bed, which is Solomon's; threescore valiant men are about it, of the valiant of Israel.
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Behold his bed, which is Solomon's; threescore valiant men are about it, of the valiant of Israel. The command 'Behold' (hinneh, הִנֵּה) draws attention to the royal litter/bed. 'His bed, which is Solomon's' (mittato sheli-shlomoh, מִטָּתוֹ שֶׁלִּשְׁלֹמֹה) likely refers to a portable couch or palanquin for traveling. Threescore valiant men are about it (shishshim gibborim saviv lah, שִׁשִּׁים גִּבֹּרִים סָבִיב לָהּ) means sixty mighty warriors surround it. Of the valiant of Israel (miggibborey yisra'el, מִגִּבֹּרֵי יִשְׂרָאֵל) identifies them as Israel's elite fighters.
This royal escort demonstrates protection, honor, and the bridegroom's status. Sixty warriors surrounding the bridal litter signals both celebration and security. Love is both joyous and guarded—requiring protection from threats. The 'valiant of Israel' (gibborim, גִּבֹּרִים) suggests these aren't common soldiers but elite guards, emphasizing the bride's preciousness. Spiritually, Christ protects His Church with divine power—angels (Psalm 91:11) and His own might guard believers. The Church is precious, warranting heaven's finest protection.
This royal escort demonstrates protection, honor, and the bridegroom's status. Sixty warriors surrounding the bridal litter signals both celebration and security. Love is both joyous and guarded—requiring protection from threats. The 'valiant of Israel' (gibborim, גִּבֹּרִים) suggests these aren't common soldiers but elite guards, emphasizing the bride's preciousness. Spiritually, Christ protects His Church with divine power—angels (Psalm 91:11) and His own might guard believers. The Church is precious, warranting heaven's finest protection.
They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night.
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They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night. These warriors are fully armed—'they all hold swords' (kullam achuzey cherev, כֻּלָּם אֲחֻזֵי חֶרֶב) indicates ready weapons. Being expert in war (melummedey milchamah, מְלֻמְּדֵי מִלְחָמָה) means trained, experienced fighters. Every man hath his sword upon his thigh (ish charbo al-yerekho, אִישׁ חַרְבּוֹ עַל־יְרֵכוֹ) shows readiness—swords strapped for quick access. Because of fear in the night (mipachad balleylot, מִפַּחַד בַּלֵּילוֹת) explains vigilance: night brings danger requiring constant readiness.
Love's procession requires armed protection—beauty and danger coexist. The bride is precious but vulnerable, warranting expert guards maintaining constant vigilance. 'Fear in the night' acknowledges real threats—physical danger, spiritual opposition. This teaches that covenant love, while beautiful, faces genuine opposition requiring protection. Spiritually, believers face real spiritual warfare (Ephesians 6:12) requiring divine protection and spiritual vigilance. Christ's 'mighty warriors' maintain constant guard 'because of fear in the night'—the devil prowls like a roaring lion (1 Peter 5:8), but believers are protected by One greater.
Love's procession requires armed protection—beauty and danger coexist. The bride is precious but vulnerable, warranting expert guards maintaining constant vigilance. 'Fear in the night' acknowledges real threats—physical danger, spiritual opposition. This teaches that covenant love, while beautiful, faces genuine opposition requiring protection. Spiritually, believers face real spiritual warfare (Ephesians 6:12) requiring divine protection and spiritual vigilance. Christ's 'mighty warriors' maintain constant guard 'because of fear in the night'—the devil prowls like a roaring lion (1 Peter 5:8), but believers are protected by One greater.
King Solomon made himself a chariot of the wood of Lebanon. a chariot: or, a bed
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King Solomon made himself a chariot of the wood of Lebanon. The Hebrew 'appiryon' (אַפִּרְיוֹן) is a rare word, possibly borrowed from Greek/Persian, describing an ornate portable throne or palanquin. Made himself (asah lo, עָשָׂה לוֹ) indicates Solomon personally commissioned this special conveyance. Of the wood of Lebanon (me'atsey halevanon, מֵעֲצֵי הַלְּבָנוֹן) specifies the prestigious cedars of Lebanon—prized for durability, beauty, and fragrance. Solomon used Lebanese cedar for the temple (1 Kings 5:6-10), making this choice symbolically significant.
The bridegroom crafts a special conveyance for his bride using the finest materials—demonstrating love, provision, and honor. This isn't utilitarian transport but artistic expression of devotion. Using temple-quality wood elevates the bridal journey to sacred significance. The beloved prepares carefully for receiving his bride, sparing no expense or effort. Spiritually, Christ prepares a place for His bride (John 14:2-3)—not hastily or carelessly but with divine care, using the finest 'materials' (grace, righteousness, glory).
The bridegroom crafts a special conveyance for his bride using the finest materials—demonstrating love, provision, and honor. This isn't utilitarian transport but artistic expression of devotion. Using temple-quality wood elevates the bridal journey to sacred significance. The beloved prepares carefully for receiving his bride, sparing no expense or effort. Spiritually, Christ prepares a place for His bride (John 14:2-3)—not hastily or carelessly but with divine care, using the finest 'materials' (grace, righteousness, glory).
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.
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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. The description details the chariot's opulent construction: pillars of silver (amudav asah keseph, עַמֻּדָיו עָשָׂה כֶסֶף), bottom of gold (raphidato zahav, רְפִידָתוֹ זָהָב), covering of purple (merkavo argaman, מֶרְכָּבוֹ אַרְגָּמָן, royal purple fabric). The phrase midst thereof being paved with love (tokho ratsuf ahavah, תּוֹכוֹ רָצוּף אַהֲבָה) is remarkable—the interior is 'inlaid' or 'tessellated' with love itself.
The chariot combines precious metals (silver, gold), royal fabric (purple, expensive Tyrian dye), and intangible treasure—love. The exterior displays wealth and status, but the interior reveals love's motivation. 'Paved with love' suggests love is the chariot's true foundation and beauty, more precious than gold or silver. The phrase 'for the daughters of Jerusalem' indicates this public display invites witnesses to marvel. Spiritually, Christ's preparation for His Church combines divine resources (gold, silver = righteousness, redemption) with royal covering (purple = kingly authority), all motivated and sustained by love (John 3:16; 1 John 4:8-10).
The chariot combines precious metals (silver, gold), royal fabric (purple, expensive Tyrian dye), and intangible treasure—love. The exterior displays wealth and status, but the interior reveals love's motivation. 'Paved with love' suggests love is the chariot's true foundation and beauty, more precious than gold or silver. The phrase 'for the daughters of Jerusalem' indicates this public display invites witnesses to marvel. Spiritually, Christ's preparation for His Church combines divine resources (gold, silver = righteousness, redemption) with royal covering (purple = kingly authority), all motivated and sustained by love (John 3:16; 1 John 4:8-10).
Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart.
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The poet commands: 'Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart.' This verse shifts to third-person observation of the bridegroom, identified as 'king Solomon.' The 'daughters of Zion' (Jerusalem's women) are summoned to witness the wedding celebration. The 'crown wherewith his mother crowned him' presents a tender image—not the royal diadem of political authority but a wedding crown placed by his mother, signifying maternal blessing and joy. The parallel phrases 'in the day of his espousals' (wedding day) and 'in the day of the gladness of his heart' emphasize the bridegroom's joy—this isn't political alliance or duty but heartfelt delight. The verse teaches that covenant love brings profound joy, warranting celebration and community witness. The bridegroom's gladness models that love is meant to be joyful, not burdensome. Theologically, this prefigures Christ the Bridegroom's joy over His Church (Isaiah 62:5; Zephaniah 3:17) and the eschatological marriage supper of the Lamb (Revelation 19:7-9).