Not skin tone, but skin torn

[itsreed]

Question on Song of Solomon 1:5-6:

5 I am very dark, but lovely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon. 6 Do not gaze at me because I am dark, because the sun has looked upon me. My mother's sons were angry with me; they made me keeper of the vineyards, but my own vineyard I have not kept!

"Dark" (He,: she-horah, adj. she-hor, "black") is not a reference to skin pigmentation (genetics), but to skin condition (sunburnt, aged).
Agree, disagree? Why?

Thx.

 

[ZackF]

Question on Song of Solomon 1:5-6:

5 I am very dark, but lovely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon. 6 Do not gaze at me because I am dark, because the sun has looked upon me. My mother's sons were angry with me; they made me keeper of the vineyards, but my own vineyard I have not kept!

"Dark" (He,: she-horah, adj. she-hor, "black") is not a reference to skin pigmentation (genetics), but to skin condition (sunburnt, aged).
Agree, disagree? Why?

Thx.

Ive heard the same. It is a statement of class rather than ethnicity/race.

 

[itsreed]

Ive heard the same. It is a statement of class rather than ethnicity/race.

Well, class to the extent that she was a shepherdess (a comparatively menial job). But, given the appearance factors in the poem, on the surface, this appears to be dealing with the fact that according to that culture's beauty standards, she wasn't all that. I.e., the immediate meaning is that "Solomon"'s admiration of her beauty is not consistent with the ordinary judgment of the day.

If an allegorical reading is appropriate, this would then apply to Jesus' view of his Bride. She ain't pretty (i.e., in her sinfulness). but in his eyes, she's beautiful (i.e., in imputation of his beauty).

 

[iainduguid]

Well, class to the extent that she was a shepherdess (a comparatively menial job). But, given the appearance factors in the poem, on the surface, this appears to be dealing with the fact that according to that culture's beauty standards, she wasn't all that. I.e., the immediate meaning is that "Solomon"'s admiration of her beauty is not consistent with the ordinary judgment of the day.

If an allegorical reading is appropriate, this would then apply to Jesus' view of his Bride. She ain't pretty (i.e., in her sinfulness). but in his eyes, she's beautiful (i.e., in imputation of his beauty).

Here's what I wrote on this verse in my commentary:
In pre-industrial societies, where poor peasants work in the fields while the rich are able to stay inside, a pale complexion is often valued as beautiful in women. It was only after the Industrial Revolution, when poor women began working long days indoors in factories, that the cult of tanning began. The woman of the Song does not conform to this pre-industrial cultural stereotype of pale beauty: she is dark (v. 5). This is not as a racial feature, but is rather because she has been forced to work outside in the vineyards where her complexion has been darkened by the sun (v. 6). With a note of defiance in her voice, however, she proclaims herself nonetheless beautiful, comparing herself to the tents of Kedar and the curtains of Solomon (v. 5). The terms of her comparison highlight several contrasts: the tents of the Bedouin tribes of Kedar were not only made of a dark and rather coarse, functional material but also represent the epitome of the rural lifestyle on the margins of society. In contrast, the curtains of Solomon were presumably not only light and beautiful, but the height of urban fashion (Munro 1995: 38). This suggests that her conversation partners in these verses, the daughters of Jerusalem, may perhaps also be her social opposites: they are fashionable, attractive city dwellers, in comparison to whom she fears appearing as an undesirable country bumpkin. This urban-rural tension recurs elsewhere in the Song. The daughters of Jerusalem are not really partners in this conversation, however: they remain silent throughout, and simply provide a foil for her thoughts and an audience for her admonitions.

Further comment:
The problem with allegorically applying it to us in our sinful state is the fact that in the song the woman's darkness is not her own fault but the result of oppression by her mother's sons (1:6; note: she does not call them her brothers), who forced her to work outside in the vineyards, and she proclaims herself beautiful in spite of not meeting her culture's stereotypes. We are responsible for our own sin and we are not lovely by any standard, so that allegory that seems superficially attractive quickly breaks down. This is one of the problems of an allegorical reading of the Song - it forces the interpreter to make connections which don't really fit.

 

[itsreed]

Here's what I wrote on this verse in my commentary:
...

Further comment:
...

Thx! That's helpful. Appreciate the interpretive correction in your further comment.

 

[itsreed]

Here's what I wrote on this verse in my commentary:
In pre-industrial societies, where poor peasants work in the fields while the rich are able to stay inside, a pale complexion is often valued as beautiful in women. It was only after the Industrial Revolution, when poor women began working long days indoors in factories, that the cult of tanning began. The woman of the Song does not conform to this pre-industrial cultural stereotype of pale beauty: she is dark (v. 5). This is not as a racial feature, but is rather because she has been forced to work outside in the vineyards where her complexion has been darkened by the sun (v. 6). ...

So, is it reasonable to observe that sun darkened skin experiences greater chance of complexion damage (e.g.,, elasticity damage, wrinkles, etc.)? Or is this extrapolating beyond the basic comparative beauty point?

 

[iainduguid]

So, is it reasonable to observe that sun darkened skin experiences greater chance of complexion damage (e.g.,, elasticity damage, wrinkles, etc.)? Or is this extrapolating beyond the basic comparative beauty point?

That is true, but usually takes longer to appear; it's not usually the younger women (and men) who have problems but those who have spent a lifetime outside.

 

[Parakaleo]

From James Durham's commentary on the Song of Solomon:

She illustrates this description of her self, or her mixed condition, by two similitudes, both tending to one thing, or one of them tending to set forth her blacknesse, the other her beauty. I am (saith she) like the Tents of Kedar, which were blackish, and of no great value, being, by these who lived in them, so frequently transported in such hot countreys; this sets forth her blacknesse. The similitude is, that she was like the Curtains of Solomon: he built glorious dwellings, and being a rich King, no question had rich Hangings; this sets forth her beauty: as if she would say, ye must not judge of my worth from one side, especially my out∣side, or upon one consideration, for I have in me, both to humble and comfort me. It may be also, though these Tents of Kedar were not outwardly beautiful, yet they were within well furnished; and that the Curtains of Solomon which were most rich, had outer coverings of smaller value, as the Tabernacle had of Badgers skins; and so the similitudes illustrate her condition, and sets out the thing more to the life, as Kedar's Tents (saith she) look poor and base-like, yet if ye look within, they are glorious; so think not strange, if I appear without beauty to the eye, there may be, yea, there is comelinesse within, if ye could discern it, for within the Kings daughter is all glorious, Psal. 45. 13. which way of distinguishing, is a notable piece of spiritual wisdom and learning, and a great mean of peace in our selves; when what is true of our infirmities, is acknowledged, and yet the conclusion that tentation would infer, is denyed. Here observe, 1. The conditions of Believers, even the best of them are mixed of good and ill, sin and grace, comfortable priviledges and sad sufferings. 2. There is a mixture of blacknesse in Believers beauty, even in their best frame and condition, for she is now in the King's Chamber, and yet we find her saying, I am black. 3. Believers, if they would consider what they are rightly, they would look on themselves as having contraries in them. 4. Where challenges are just and well grounded, they should be acknowledged, and taken with. 5. It is wisdom so to acknowledge our sin, as we may difference it from any work of God's grace in us. 6. Believers their observing of their sinfulnesse, should not make them deny their grace; and their observing their grace, should not make them forget their sinfulnesse. 7. The crosse that follows godlinesse, or the stain and spot that is on a godly person, is sooner taken notice of by on-lookers, than either the advantages that follow holinesse, or the graces and spiritual beauty of holy persons; this makes it needfull to remove this offence. 8. When it may be edifying, Believers would assert the worth and beauty of holinesse, and their own comelinesse thereby, as well as confesse their own infirmities; and Christian communion will require both.

 

[ReformedChristian]

What is crazy is that the Black Hebrew Israelites use one of these verses to prove that the Jews are Black.

 

[Andres]

Draw me O thou whom my soul loveth
Sermon my pastor preached on this passage for our communion season end of last year.

 

[alexandermsmith]

From James Durham's commentary on the Song of Solomon:

She illustrates this description of her self, or her mixed condition, by two similitudes, both tending to one thing, or one of them tending to set forth her blacknesse, the other her beauty. I am (saith she) like the Tents of Kedar, which were blackish, and of no great value, being, by these who lived in them, so frequently transported in such hot countreys; this sets forth her blacknesse. The similitude is, that she was like the Curtains of Solomon: he built glorious dwellings, and being a rich King, no question had rich Hangings; this sets forth her beauty: as if she would say, ye must not judge of my worth from one side, especially my out∣side, or upon one consideration, for I have in me, both to humble and comfort me. It may be also, though these Tents of Kedar were not outwardly beautiful, yet they were within well furnished; and that the Curtains of Solomon which were most rich, had outer coverings of smaller value, as the Tabernacle had of Badgers skins; and so the similitudes illustrate her condition, and sets out the thing more to the life, as Kedar's Tents (saith she) look poor and base-like, yet if ye look within, they are glorious; so think not strange, if I appear without beauty to the eye, there may be, yea, there is comelinesse within, if ye could discern it, for within the Kings daughter is all glorious, Psal. 45. 13. which way of distinguishing, is a notable piece of spiritual wisdom and learning, and a great mean of peace in our selves; when what is true of our infirmities, is acknowledged, and yet the conclusion that tentation would infer, is denyed. Here observe, 1. The conditions of Believers, even the best of them are mixed of good and ill, sin and grace, comfortable priviledges and sad sufferings. 2. There is a mixture of blacknesse in Believers beauty, even in their best frame and condition, for she is now in the King's Chamber, and yet we find her saying, I am black. 3. Believers, if they would consider what they are rightly, they would look on themselves as having contraries in them. 4. Where challenges are just and well grounded, they should be acknowledged, and taken with. 5. It is wisdom so to acknowledge our sin, as we may difference it from any work of God's grace in us. 6. Believers their observing of their sinfulnesse, should not make them deny their grace; and their observing their grace, should not make them forget their sinfulnesse. 7. The crosse that follows godlinesse, or the stain and spot that is on a godly person, is sooner taken notice of by on-lookers, than either the advantages that follow holinesse, or the graces and spiritual beauty of holy persons; this makes it needfull to remove this offence. 8. When it may be edifying, Believers would assert the worth and beauty of holinesse, and their own comelinesse thereby, as well as confesse their own infirmities; and Christian communion will require both.

Wonderful stuff. This is the true understanding of this verse. Throughout the Song, the Bride is under the scrutiny (which has an undercurrent of scorn) of the Daughters of Jerusalem who, as pointed out here, are looking (can only look) upon the outer appearance of the Bride. The Bride often feels herself to be alone amongst her companions, misunderstood. But the King looks upon her heart and sees the beauty within, which is nothing other than the image of Himself formed within her. It is He who has made her beautiful spiritually, who has made her "[look] forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners". (Song of Solomon 6:10) And because of this work of grace which He has wrought in her soul He can describe her thus: "Thou art all fair, my love; there is no spot in thee...Thou hast ravished my heart, my sister, my spouse; thou hast ravished my heart with one of thine eyes, with one chain of thy neck. How fair is thy love, my sister, my spouse! how much better is thy love than wine! and the smell of thine ointments than all spices!" (Song of Solomon 4:7-10)