Song of Solomon 1:5

black—namely, "as the tents of Kedar," equivalent to blackness (Psalms 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 (Romans 7:18, etc.; Romans 8:1); I Timothy 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 (Ezekiel 16:14).

curtains—first, the hangings and veil in the temple of Solomon (Ezekiel 16:10); then, also, the "fine linen which is the righteousness of saints" (Revelation 19:8), the white wedding garment provided by Jesus Christ (Isaiah 61:10; Matthew 22:11; I Corinthians 1:30; Colossians 1:28; Colossians 2:10; Revelation 7:14). Historically, the dark tents of Kedar represent the Gentile Church (Isaiah 60:3-7, etc.). 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 (Matthew 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 (Song of Solomon 3:10-11); so near to Jesus Christ as not to be unlikely to find Him (Song of Solomon 5:8); desirous to seek Him with her (Song of Solomon 6:1; compare Song of Solomon 6:13; Song of Solomon 7:1, Song of Solomon 7:5, Song of Solomon 7:8). In Song of Solomon 7:8-9, the bride's Beloved becomes their Beloved; not, however, of all of them (Song of Solomon 8:4; compare Luke 23:27-28).