King James Version
Song of Solomon 6
13 verses with commentary
Others Ask Where the Beloved Has Gone
Whither is thy beloved gone, O thou fairest among women? whither is thy beloved turned aside? that we may seek him with thee.
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Whither is thy beloved gone, O thou fairest among women? The daughters of Jerusalem respond to the bride's passionate description (5:10-16) by asking where they can find such a remarkable beloved. The Hebrew anah halakh dodeikh (אָנָה הָלַךְ דּוֹדֵךְ, where has your beloved gone?) reveals genuine interest sparked by the bride's testimony. By calling her yaphah banashim (יָפָה בַּנָּשִׁים, fairest among women), they acknowledge that covenant love beautifies the lover.
Their offer—that we may seek him with thee—demonstrates how authentic witness to Christ draws others into seeking relationship with Him. The bride's eloquent praise created contagious desire. Church tradition saw this as the world asking believers, 'Where is this Christ you serve?' Effective evangelism flows from passionate personal love for Christ, not mere argumentation. When believers truly delight in Christ, others want to share that pursuit (John 1:45-46).
Their offer—that we may seek him with thee—demonstrates how authentic witness to Christ draws others into seeking relationship with Him. The bride's eloquent praise created contagious desire. Church tradition saw this as the world asking believers, 'Where is this Christ you serve?' Effective evangelism flows from passionate personal love for Christ, not mere argumentation. When believers truly delight in Christ, others want to share that pursuit (John 1:45-46).
My beloved is gone down into his garden, to the beds of spices, to feed in the gardens, and to gather lilies.
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My beloved is gone down into his garden, to the beds of spices—the bride answers with confidence and intimacy. The Hebrew gan (גַּן, garden) recalls Eden and represents a place of beauty, cultivation, and fruitfulness. Earlier (4:12-16), the bride herself was described as a garden; now her beloved enters his own garden. The phrase la'arugot habosem (לַעֲרוּגוֹת הַבֹּשֶׂם, to the beds of spices) emphasizes the garden's fragrant beauty and precious cultivation.
To feed in the gardens, and to gather lilies (לִרְעוֹת בַּגַּנִּים וְלִלְקֹט שׁוֹשַׁנִּים)—the beloved delights in what grows in his garden. Church tradition saw Christ entering His Church as a garden, feeding among His people and gathering those who bloom for Him. The imagery assures believers that Christ isn't absent but actively present, delighting in and tending His own. The bride's answer demonstrates covenant knowledge—she knows where her beloved is even when he's not immediately visible.
To feed in the gardens, and to gather lilies (לִרְעוֹת בַּגַּנִּים וְלִלְקֹט שׁוֹשַׁנִּים)—the beloved delights in what grows in his garden. Church tradition saw Christ entering His Church as a garden, feeding among His people and gathering those who bloom for Him. The imagery assures believers that Christ isn't absent but actively present, delighting in and tending His own. The bride's answer demonstrates covenant knowledge—she knows where her beloved is even when he's not immediately visible.
I am my beloved's, and my beloved is mine: he feedeth among the lilies.
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The bride affirms with confidence: 'I am my beloved's, and my beloved is mine: he feedeth among the lilies.' This verse echoes 2:16 but reverses the order—there, 'My beloved is mine, and I am his'; here, 'I am my beloved's, and my beloved is mine.' The subtle shift prioritizes belonging to the beloved before claiming him as one's own. This may reflect maturing love—earlier emphasis on possession ('mine') now gives way to self-giving ('I am his'). The reciprocal possessive pronouns maintain mutual covenant commitment—both belong fully to each other. The phrase 'he feedeth among the lilies' repeats the image from 2:16, suggesting the beloved delights in the bride's beauty and presence (lilies representing the bride or beautiful pasture). This verse teaches that covenant love involves both giving oneself ('I am his') and receiving the other ('he is mine'), and that mature love increasingly emphasizes self-giving over possessing. Theologically, it reflects the believer's relationship with Christ: we belong to Him (1 Corinthians 6:19-20; Romans 14:8), and He graciously belongs to us through covenant union (John 17:9-10).
Solomon Praises His Beloved Again
Thou art beautiful, O my love, as Tirzah, comely as Jerusalem, terrible as an army with banners.
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The bridegroom declares: Thou art beautiful, O my love, as Tirzah, comely as Jerusalem. Tirzah (תִּרְצָה) was an early northern capital of Israel (1 Kings 14:17), whose name means 'delight' or 'pleasantness.' Jerusalem (יְרוּשָׁלַםִ) was the royal city, the place of God's temple and presence. Comparing the bride to these two capital cities emphasizes both her beauty and her significance—she's not merely attractive but majestic, important, chosen. The parallelism elevates her to the status of cities representing God's covenant people.
Terrible as an army with banners (אֲיֻמָּה כַּנִּדְגָּלוֹת)—'terrible' here means 'awe-inspiring' or 'formidable.' The beloved isn't merely delicate but powerful. Church tradition saw the Church as beautiful to Christ yet formidable to evil—adorned with grace while advancing in spiritual warfare (Ephesians 6:10-18). This verse balances beauty and strength, gentleness and power—the bride is both lovely and victorious.
Terrible as an army with banners (אֲיֻמָּה כַּנִּדְגָּלוֹת)—'terrible' here means 'awe-inspiring' or 'formidable.' The beloved isn't merely delicate but powerful. Church tradition saw the Church as beautiful to Christ yet formidable to evil—adorned with grace while advancing in spiritual warfare (Ephesians 6:10-18). This verse balances beauty and strength, gentleness and power—the bride is both lovely and victorious.
Turn away thine eyes from me, for they have overcome me: thy hair is as a flock of goats that appear from Gilead. overcome: or, puffed me up
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Turn away thine eyes from me, for they have overcome me (הָסֵבִּי עֵינַיִךְ מִנֶּגְדִּי שֶׁהֵם הִרְהִיבֻנִי)—the bridegroom is overwhelmed by the bride's gaze. The Hebrew hirhivuni (הִרְהִיבֻנִי) means 'they have overwhelmed/overpowered me.' This isn't fear but the overpowering effect of love's intensity. The bride's devoted eyes—those 'doves' eyes' focused exclusively on him (1:15, 4:1)—are too powerful to bear. Love makes the lover vulnerable, overcome by the beloved's attention and affection.
Thy hair is as a flock of goats that appear from Gilead repeats earlier praise (4:1), showing that covenant love doesn't diminish with familiarity but renews appreciation. Gilead (גִּלְעָד) was known for its balm and pastures east of Jordan. The imagery celebrates natural beauty, vitality, and abundance. Church fathers saw the bride's hair as multitudes of believers covering Christ's Church, or as the Nazirite dedication symbolizing consecration to God (Numbers 6:5).
Thy hair is as a flock of goats that appear from Gilead repeats earlier praise (4:1), showing that covenant love doesn't diminish with familiarity but renews appreciation. Gilead (גִּלְעָד) was known for its balm and pastures east of Jordan. The imagery celebrates natural beauty, vitality, and abundance. Church fathers saw the bride's hair as multitudes of believers covering Christ's Church, or as the Nazirite dedication symbolizing consecration to God (Numbers 6:5).
Thy teeth are as a flock of sheep which go up from the washing, whereof every one beareth twins, and there is not one barren among them.
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Thy teeth are as a flock of sheep which go up from the washing—the bridegroom continues his detailed admiration (repeating 4:2) with imagery celebrating cleanliness, order, and health. Sheep emerging from washing are white, clean, and uniform. Teeth represent both beauty and function—attractiveness and ability to nourish oneself. The Hebrew rechelim (רְחֵלִים) specifically means 'ewes' (female sheep), emphasizing gentleness and productivity.
Whereof every one beareth twins, and there is not one barren among them (שֶׁכֻּלָּם מַתְאִימוֹת וְשַׁכֻּלָה אֵין בָּהֶם)—the imagery emphasizes completeness, fruitfulness, and lack of deficiency. Every sheep has twins; none is barren (shakkulah, שַׁכֻּלָה, bereaved/childless). This celebrates not only beauty but fertility and abundance. Church fathers saw this as the Church's fruitfulness in producing spiritual offspring through evangelism and discipleship. Healthy teeth enable nourishment, just as spiritually mature believers properly receive and digest God's word (Hebrews 5:12-14).
Whereof every one beareth twins, and there is not one barren among them (שֶׁכֻּלָּם מַתְאִימוֹת וְשַׁכֻּלָה אֵין בָּהֶם)—the imagery emphasizes completeness, fruitfulness, and lack of deficiency. Every sheep has twins; none is barren (shakkulah, שַׁכֻּלָה, bereaved/childless). This celebrates not only beauty but fertility and abundance. Church fathers saw this as the Church's fruitfulness in producing spiritual offspring through evangelism and discipleship. Healthy teeth enable nourishment, just as spiritually mature believers properly receive and digest God's word (Hebrews 5:12-14).
As a piece of a pomegranate are thy temples within thy locks.
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As a piece of a pomegranate are thy temples within thy locks (כְּפֶלַח הָרִמּוֹן רַקָּתֵךְ)—this exact phrase repeats from 4:3, demonstrating love's delight in recurring contemplation of the beloved's beauty. The pomegranate (רִמּוֹן, rimmon) was highly valued in Israel for beauty, flavor, and symbolic significance. Its deep red color represented vitality and life. The 'temples' (raqqah, רַקָּה) likely refers to the cheeks or the side of the face—the part that blushes, revealing inner emotion and modesty.
Pomegranates appeared on the high priest's robe (Exodus 28:33-34) and decorated Solomon's temple (1 Kings 7:18), connecting to worship and God's presence. The imagery celebrates both outward beauty (color, form) and inner character (the blush of modesty). Church interpretation saw the pomegranate's many seeds representing the Church's unity in diversity—many believers forming one body. The repetition teaches that genuine love never tires of contemplating the beloved's beauty.
Pomegranates appeared on the high priest's robe (Exodus 28:33-34) and decorated Solomon's temple (1 Kings 7:18), connecting to worship and God's presence. The imagery celebrates both outward beauty (color, form) and inner character (the blush of modesty). Church interpretation saw the pomegranate's many seeds representing the Church's unity in diversity—many believers forming one body. The repetition teaches that genuine love never tires of contemplating the beloved's beauty.
There are threescore queens, and fourscore concubines, and virgins without number.
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There are threescore queens, and fourscore concubines, and virgins without number—the bridegroom contrasts the multitude of potential lovers (sixty queens, eighty concubines, countless virgins—categories of women in a royal harem) with his exclusive choice. The numbers (60, 80, innumerable) suggest abundance and possibility. In Solomon's actual life, he eventually had 700 wives and 300 concubines (1 Kings 11:3), but this poetic statement makes a point about exclusive choice amid many options.
The verse sets up the declaration in verse 9—despite all these possibilities, the bridegroom chooses only one. This celebrates the exclusivity and preciousness of covenant love. God could have chosen any nation, but He chose Israel (Deuteronomy 7:6-8). Christ could have countless followers, but He loves each believer with unique, particular affection. The imagery rejects polygamy and harem culture, affirming monogamous covenant as God's design. Love's value comes not from scarcity of options but from deliberate, exclusive choice.
The verse sets up the declaration in verse 9—despite all these possibilities, the bridegroom chooses only one. This celebrates the exclusivity and preciousness of covenant love. God could have chosen any nation, but He chose Israel (Deuteronomy 7:6-8). Christ could have countless followers, but He loves each believer with unique, particular affection. The imagery rejects polygamy and harem culture, affirming monogamous covenant as God's design. Love's value comes not from scarcity of options but from deliberate, exclusive choice.
My dove, my undefiled is but one; she is the only one of her mother, she is the choice one of her that bare her. The daughters saw her, and blessed her; yea, the queens and the concubines, and they praised her.
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My dove, my undefiled is but one (אַחַת הִיא יוֹנָתִי תַמָּתִי)—following the enumeration of many potential lovers, the bridegroom declares his bride is unique. Yonati (יוֹנָתִי, my dove) emphasizes purity, faithfulness, and singular devotion. Tammati (תַמָּתִי, my perfect/undefiled one) means complete, whole, without blemish—morally and relationally pure. The word achat (אַחַת, one) stresses both her uniqueness and his exclusive commitment.
She is the only one of her mother, she is the choice one of her that bare her—the bride is her mother's unique treasure, the chosen and favored one. The daughters saw her, and blessed her; yea, the queens and the concubines, and they praised her—even potential rivals recognize her excellence and bless her. Church tradition saw Christ declaring His Church 'one'—united in Him despite many members (John 17:21-23; Ephesians 4:4-6). Believers are undefiled not inherently but through Christ's cleansing (Ephesians 5:26-27).
She is the only one of her mother, she is the choice one of her that bare her—the bride is her mother's unique treasure, the chosen and favored one. The daughters saw her, and blessed her; yea, the queens and the concubines, and they praised her—even potential rivals recognize her excellence and bless her. Church tradition saw Christ declaring His Church 'one'—united in Him despite many members (John 17:21-23; Ephesians 4:4-6). Believers are undefiled not inherently but through Christ's cleansing (Ephesians 5:26-27).
Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?
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Others ask about the bride: 'Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?' The verse employs escalating cosmic imagery: 'morning' (shachar, שַׁחַר) suggests dawn's first light; 'fair as the moon' (yaphah khalevanah, יָפָה כַלְּבָנָה) indicates reflected beauty; 'clear as the sun' (barah kachamah, בָּרָה כַּחַמָּה) describes brilliant radiance; 'terrible as an army with banners' (ayummah kanidgalot, אֲיֻמָּה כַּנִּדְגָּלוֹת) suggests awesome, overwhelming power. The progression moves from gentle beauty to overwhelming glory. This verse celebrates the bride's comprehensive excellence—she is beautiful, radiant, and formidable. The combination of attractiveness and strength models complete femininity. Church fathers saw the Church as both beautiful (adorned in Christ's righteousness) and terrible (victorious over Satan and sin through Christ's triumph).
The Bride Returns to the Garden
I went down into the garden of nuts to see the fruits of the valley, and to see whether the vine flourished, and the pomegranates budded.
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I went down into the garden of nuts to see the fruits of the valley, and to see whether the vine flourished, and the pomegranates budded. The bride (or possibly bridegroom) describes descending to inspect gardens. The Hebrew el-ginnat egoz yaradti lir'ot be-ibbey hanahal lir'ot hafarechah hagofen heneitsu harimonim (אֶל־גִּנַּת אֱגוֹז יָרַדְתִּי לִרְאוֹת בְּאִבֵּי הַנַּחַל לִרְאוֹת הֲפָרְחָה הַגֶּפֶן הֵנֵצוּ הָרִמֹּנִים) employs pastoral imagery emphasizing seasonal inspection of agricultural progress.
"Garden of nuts" (ginnat egoz) refers to walnut or nut orchard. Egoz (אֱגוֹז) appears only here in Scripture, likely Persian walnut trees valued for shade, beauty, and edible nuts. "Fruits of the valley" (ibbey hanahal) means fresh sprouts or blossoms near water source—nachal (wadi or stream valley) provided irrigation. The descent "down into" suggests valley location, typically more fertile than hilltops. This echoes shepherd imagery throughout the Song (1:7-8, 2:16, 6:2-3)—tending flocks and monitoring crops.
"To see whether the vine flourished" (hafarechah hagofen) uses parach (פָּרַח), meaning to bud, bloom, or flourish—same root used of Aaron's rod that budded (Numbers 17:8). Grapevines represented covenant Israel (Isaiah 5:1-7, Psalm 80:8-16) and later the church with Christ as true vine (John 15:1-8). "Whether the pomegranates budded" (heneitsu harimonim) completes agricultural inspection. Pomegranates symbolized fruitfulness and appeared extensively in temple decoration (1 Kings 7:18-20). The verse suggests pastoral care, periodic inspection, eager anticipation of harvest—all applicable to Christ's oversight of His church (1 Peter 5:2-4, John 10:14-16).
"Garden of nuts" (ginnat egoz) refers to walnut or nut orchard. Egoz (אֱגוֹז) appears only here in Scripture, likely Persian walnut trees valued for shade, beauty, and edible nuts. "Fruits of the valley" (ibbey hanahal) means fresh sprouts or blossoms near water source—nachal (wadi or stream valley) provided irrigation. The descent "down into" suggests valley location, typically more fertile than hilltops. This echoes shepherd imagery throughout the Song (1:7-8, 2:16, 6:2-3)—tending flocks and monitoring crops.
"To see whether the vine flourished" (hafarechah hagofen) uses parach (פָּרַח), meaning to bud, bloom, or flourish—same root used of Aaron's rod that budded (Numbers 17:8). Grapevines represented covenant Israel (Isaiah 5:1-7, Psalm 80:8-16) and later the church with Christ as true vine (John 15:1-8). "Whether the pomegranates budded" (heneitsu harimonim) completes agricultural inspection. Pomegranates symbolized fruitfulness and appeared extensively in temple decoration (1 Kings 7:18-20). The verse suggests pastoral care, periodic inspection, eager anticipation of harvest—all applicable to Christ's oversight of His church (1 Peter 5:2-4, John 10:14-16).
Or ever I was aware, my soul made me like the chariots of Amminadib. Or ever: Heb. I knew not made: or, set me on the chariots of my willing people
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Or ever I was aware, my soul made me like the chariots of Amminadib. One of Scripture's most enigmatic verses. The Hebrew lo yadati nafshi samatni markevot ammi-nadiv (לֹא יָדַעְתִּי נַפְשִׁי שָׂמַתְנִי מַרְכְּבוֹת עַמִּי־נָדִיב) has sparked centuries of interpretive debate. Literally: "I did not know—my soul set me [as] chariots of my willing people" or "chariots of Amminadib." The difficulty lies in ammi-nadiv (עַמִּי־נָדִיב)—is it a name (Amminadib) or phrase ("my princely/willing people")?
"Or ever I was aware" (lo yadati)—"I did not know" or "before I knew"—suggests sudden, unexpected transformation. "My soul made me" (nafshi samatni) indicates inner desire or overwhelming emotion propelling action beyond conscious control. Nefesh (נֶפֶשׁ, soul) often represents the seat of passions and desires. "Like the chariots" (markevot) symbolized swiftness, power, military might. Combined, the verse describes love's overwhelming power sweeping the speaker away swiftly, unexpectedly, beyond rational control.
If "Amminadib" is personal name, some identify him with Nahshon son of Amminadab, prince of Judah (Numbers 1:7) whose lineage led to King David. Others see it as "chariots of my willing people"—the lover transported as if by royal escort. Allegorically, this pictures the church's surprising elevation when Christ claims His bride, transporting her from ordinary existence to royal dignity (Ephesians 2:4-7). Love's transformative power exceeds human comprehension—grace overwhelms and exalts beyond expectation (Romans 5:20).
"Or ever I was aware" (lo yadati)—"I did not know" or "before I knew"—suggests sudden, unexpected transformation. "My soul made me" (nafshi samatni) indicates inner desire or overwhelming emotion propelling action beyond conscious control. Nefesh (נֶפֶשׁ, soul) often represents the seat of passions and desires. "Like the chariots" (markevot) symbolized swiftness, power, military might. Combined, the verse describes love's overwhelming power sweeping the speaker away swiftly, unexpectedly, beyond rational control.
If "Amminadib" is personal name, some identify him with Nahshon son of Amminadab, prince of Judah (Numbers 1:7) whose lineage led to King David. Others see it as "chariots of my willing people"—the lover transported as if by royal escort. Allegorically, this pictures the church's surprising elevation when Christ claims His bride, transporting her from ordinary existence to royal dignity (Ephesians 2:4-7). Love's transformative power exceeds human comprehension—grace overwhelms and exalts beyond expectation (Romans 5:20).
Return, return, O Shulamite; return, return, that we may look upon thee. What will ye see in the Shulamite? As it were the company of two armies. of: or, of Mahanaim
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Return, return, O Shulamite; return, return, that we may look upon thee. What will ye see in the Shulamite? As it were the company of two armies. The chorus calls for the Shulamite's return, met with defensive question. The Hebrew shuvi shuvi hashulammit shuvi shuvi venechez-bakh mah-techezu bashulammit kimcholat hamachanayim (שׁוּבִי שׁוּבִי הַשּׁוּלַמִּית שׁוּבִי שׁוּבִי וְנֶחֱזֶה־בָּךְ מַה־תֶּחֱזוּ בַּשּׁוּלַמִּית כִּמְחֹלַת הַמַּחֲנָיִם) introduces the bride as "Shulamite" and employs military imagery.
"Shulamite" (Shulammit, שׁוּלַמִּית) appears only here in Scripture. Etymology debated: feminine form of Solomon (Shelomo), meaning she belongs to Solomon? Reference to Shunem (hometown of Abishag, 1 Kings 1:3)? Or from shalom (peace), making her "the peaceful one"? The fourfold repetition "return, return" (shuvi shuvi) expresses urgent desire to behold her, possibly calling her back from dance or procession. "That we may look upon thee" (venechez-bakh) uses chazah (חָזָה), meaning to gaze, perceive, contemplate—intense visual focus.
The question "What will ye see?" challenges the gaze—why this intense scrutiny? The answer: "as it were the company of two armies" (kimcholat hamachanayim). Macholat (מְחֹלַת) means dance; machanayim (מַחֲנָיִם) means two camps/armies. Is this the "dance of Mahanaim" (place name from Genesis 32:2 where Jacob saw two camps of angels)? Or dance resembling two armies in formation? Either way, the bride's beauty and grace command attention like impressive military display. The church's corporate worship and unified beauty similarly displays Christ's glory before watching world (John 17:21-23, Ephesians 3:10).
"Shulamite" (Shulammit, שׁוּלַמִּית) appears only here in Scripture. Etymology debated: feminine form of Solomon (Shelomo), meaning she belongs to Solomon? Reference to Shunem (hometown of Abishag, 1 Kings 1:3)? Or from shalom (peace), making her "the peaceful one"? The fourfold repetition "return, return" (shuvi shuvi) expresses urgent desire to behold her, possibly calling her back from dance or procession. "That we may look upon thee" (venechez-bakh) uses chazah (חָזָה), meaning to gaze, perceive, contemplate—intense visual focus.
The question "What will ye see?" challenges the gaze—why this intense scrutiny? The answer: "as it were the company of two armies" (kimcholat hamachanayim). Macholat (מְחֹלַת) means dance; machanayim (מַחֲנָיִם) means two camps/armies. Is this the "dance of Mahanaim" (place name from Genesis 32:2 where Jacob saw two camps of angels)? Or dance resembling two armies in formation? Either way, the bride's beauty and grace command attention like impressive military display. The church's corporate worship and unified beauty similarly displays Christ's glory before watching world (John 17:21-23, Ephesians 3:10).