I am Black but Comely; the Antithesis to the Black Queen of Heaven
Song of Solomon 1:5
“I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.”
King James Version (KJV)
The Queen of Heaven EXPOSED;
Conclusion #doctrinematters #apostasy #endtimes #kjvonly
Essential studies
Quote from Sister Amber:
The Children of Israel Part 2 Identification #End Time #discipleship part one included
Received the following comment on the Video
Queen of Heaven Conclusion:
Quote:
@AmberStruble •
So interesting that I just watched your show about Solomon being a foreshadow and type of the antichrist. (As I firmly believe this and have found very little on this subject, which is how I was led to your channel)
But in that episode you spoke of the dark girl that Solomon longed for and today you quoted another language that through interpretation means dark girl.
@AmberStruble •
So interesting that I just watched your show about Solomon being a foreshadow and type of the antichrist. (As I firmly believe this and have found very little on this subject, which is how I was led to your channel)
But in that episode you spoke of the dark girl that Solomon longed for and today you quoted another language that through interpretation means dark girl.
My response:
@AmberStruble Incredible. Awesome connection. If you find anything else please feel free to share it. My email is in the description box. Amazing… I never made that connection, Yes, in the Song of Solomon, The Shepherd and the Shulamite, the Great LOVE STORY, the Shulamite, "little waif peasant girl the vineyard worker with the dark skin, a nobody,"{("I am black, but comely," SoS: 1:5 KJB - note: SoS 1:5 KJB is a huge Prophetic type and shadow of the Church of Philadelphia to include ISRAEL (church, Jewish Remnant, Trib Saints, OT Saints) Black is skin color caused from a service - servitude labor in the sun a cast away of this world (John 17:14-16 KJB) and yet its very deep meaning is Seeking in the early dawn hours in search for the sheepcote. Where David was found. (2 Samuel 7:8 KJB. Please study my 7 part series on the Messianic Prophecies). A place of perfect habitation see Psalm 23 also read Psalm 63:1.) Also according to my notes on the SoS study, the conjunction “but” in English means YET… See this note: t: "I’m dark, yet still beautiful." Hebrew doesn’t inherently demand this opposition—wĕ- The "but" suggests the Shulamite anticipates judgment from the "daughters of Jerusalem," countering it with her worth.}
The Shulamite was the prize Solomon wanted but could never capture her heart because she belonged to the Shepherd (Jesus Christ). Oh my, could it be that the devil has usurped this and hijacked this as he has so much of God's WORD? Perverted this with the Black Queen of Heaven? And was not Solomon led astray by the "WOmen" who worshipped BAAL Ashtoreth Queen of Heaven? "la or mi "negrita" "my darling dark girl" is indeed a term of deep endearment in the Caribbean. The many years I lived in Puerto Rico and speaking the language gave me a deep look into this culture. The "little or loving 'dark girl' always interested me because of the "love" and affection the locals had for this term in referring to someone they loved and admired. Thank you for your comment. Both transcend literal color, but "negrita" stretches further, applied to anyone as a nickname. I also remember "trigueña" connected to Spain to differentiate skin color tones to establish racial superiority to visible complexion. The tents and curtains: The Shulamite herself, her identity sun exposed labor. The tents of Kedar reflect her outward reality—darkened, resilient, shaped by the vineyard’s demands. The curtains of Solomon reveal her inner truth—valuable, beautiful, undiminished by her toil. Together, they tell her story: a girl who works the vines, bears the sun’s gaze, and still shines with a beauty that’s both wild and royal.
@AmberStruble Incredible. Awesome connection. If you find anything else please feel free to share it. My email is in the description box. Amazing… I never made that connection, Yes, in the Song of Solomon, The Shepherd and the Shulamite, the Great LOVE STORY, the Shulamite, "little waif peasant girl the vineyard worker with the dark skin, a nobody,"{("I am black, but comely," SoS: 1:5 KJB - note: SoS 1:5 KJB is a huge Prophetic type and shadow of the Church of Philadelphia to include ISRAEL (church, Jewish Remnant, Trib Saints, OT Saints) Black is skin color caused from a service - servitude labor in the sun a cast away of this world (John 17:14-16 KJB) and yet its very deep meaning is Seeking in the early dawn hours in search for the sheepcote. Where David was found. (2 Samuel 7:8 KJB. Please study my 7 part series on the Messianic Prophecies). A place of perfect habitation see Psalm 23 also read Psalm 63:1.) Also according to my notes on the SoS study, the conjunction “but” in English means YET… See this note: t: "I’m dark, yet still beautiful." Hebrew doesn’t inherently demand this opposition—wĕ- The "but" suggests the Shulamite anticipates judgment from the "daughters of Jerusalem," countering it with her worth.}
The Shulamite was the prize Solomon wanted but could never capture her heart because she belonged to the Shepherd (Jesus Christ). Oh my, could it be that the devil has usurped this and hijacked this as he has so much of God's WORD? Perverted this with the Black Queen of Heaven? And was not Solomon led astray by the "WOmen" who worshipped BAAL Ashtoreth Queen of Heaven? "la or mi "negrita" "my darling dark girl" is indeed a term of deep endearment in the Caribbean. The many years I lived in Puerto Rico and speaking the language gave me a deep look into this culture. The "little or loving 'dark girl' always interested me because of the "love" and affection the locals had for this term in referring to someone they loved and admired. Thank you for your comment. Both transcend literal color, but "negrita" stretches further, applied to anyone as a nickname. I also remember "trigueña" connected to Spain to differentiate skin color tones to establish racial superiority to visible complexion. The tents and curtains: The Shulamite herself, her identity sun exposed labor. The tents of Kedar reflect her outward reality—darkened, resilient, shaped by the vineyard’s demands. The curtains of Solomon reveal her inner truth—valuable, beautiful, undiminished by her toil. Together, they tell her story: a girl who works the vines, bears the sun’s gaze, and still shines with a beauty that’s both wild and royal.
But LA NEGRA or la negrita is definitely spiritual here I see. Definitely deserves a study here. Thank you again. And oh by the way thank you for saying you believe Solomon was a type of AC. Very few see this.
Notes on the Tents of Kedar and Curtains of Solomon and the relation to the black shulamite who is comely:
Grok (xAI). "Analysis of Song of Solomon 1:5-6: The Tents of Kedar, Curtains of Solomon, and the Black Girl in the Vineyard." Generated response for user query, April 10, 2025. Informed by the interpretive style of Andrew Sheets, The Third Heaven Traveler (https://www.thethirdheaventraveler.com), with scriptural references drawn exclusively from the King James Bible (KJV), including Song of Solomon 1:5 (“I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon”) and Song of Solomon 1:6 (“Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept”).
Tents of Kedar
The phrase “tents of Kedar” refers to the dwellings of the Kedarites, a nomadic tribe descended from Ishmael (Genesis 25:13). Kedar was known in the ancient Near East as a group of Bedouin-like people who roamed the deserts of northern Arabia, particularly around the Syro-Arabian desert. Their tents, made from the dark hair of black goats, were a striking feature—rugged, weathered, and blackened by the sun and sand. These tents weren’t just shelters; they symbolized a way of life: mobile, resilient, and unpretentious.
In the context of Song of Solomon 1:5, the speaker (often interpreted as the Shulamite woman) compares her appearance to these tents. “I am black, but comely” suggests a contrast between her sun-darkened skin—likely from laboring outdoors—and the beauty she asserts despite it. The tents of Kedar, then, evoke a sense of earthy, unrefined beauty. They’re not delicate or ornate; they’re functional, enduring, and striking in their simplicity. The darkness of the tents could symbolize her complexion, while their association with the wild, free Kedarites might hint at her untamed, natural allure—something distinct from the sheltered, perhaps paler “daughters of Jerusalem” she addresses.
Biblically, Kedar also appears elsewhere (e.g., Isaiah 21:16-17, Jeremiah 49:28-29), often tied to strength, archery, and a certain rugged independence. This adds a layer: the speaker might be aligning herself with a beauty that’s bold and resilient, not fragile or conventional.
The Curtains of Solomon
Now, shift to “the curtains of Solomon.” This image transports us from the desert to the opulent world of King Solomon, renowned for his wealth, wisdom, and grandeur (1 Kings 10:4-7). Curtains in this context likely refer to the luxurious hangings or tapestries that adorned his palace or, more specifically, the Temple he built (2 Chronicles 3:14 mentions a veil, though the Hebrew terms differ slightly). These curtains weren’t mere decoration—they were symbols of royalty, craftsmanship, and splendor, possibly woven with fine linen, dyed in rich colors like purple or scarlet, and embroidered with intricate designs.
The Hebrew word here, yeri‘ot (curtains), can also imply hangings or draperies, suggesting something expansive and enveloping. In Solomon’s era, such textiles were exorbitantly expensive, reserved for sacred spaces or the elite. Unlike the tents of Kedar, which face the elements, these curtains are sheltered, refined, and deliberate—crafted to inspire awe.
So why does the speaker compare herself to them? If “tents of Kedar” highlights her dark, natural beauty, “curtains of Solomon” might elevate it to something regal and worthy of admiration. It’s as if she’s saying, “My darkness is not just striking like the tents; it’s also precious and dignified, like the hangings of a king.” The juxtaposition bridges the rustic and the royal, suggesting her beauty transcends categories—it’s both raw and exalted.
Poetic and Cultural Tension
The pairing of these images is deliberate and poetic. The tents of Kedar and the curtains of Solomon stand at opposite ends of a spectrum: one nomadic and exposed, the other stationary and luxurious. Yet both are visually commanding. The speaker seems to embrace this duality—acknowledging how she might be perceived (darkened, perhaps looked down upon by the urban “daughters of Jerusalem”) while asserting her worth in terms that resonate with both simplicity and splendor.
Historically, skin tone carried social weight in the ancient world. The daughters of Jerusalem, likely city-dwellers, might have prized lighter skin as a sign of leisure, while the Shulamite’s “blackness” (from the sun, as verse 6 explains) marks her as a worker. By invoking Kedar and Solomon, she reframes this: her darkness is not a flaw but a feature of beauty, as compelling as desert tents and as honorable as royal curtains.
Deeper Layers
In a spiritual or allegorical reading (common in Jewish and Christian traditions), the Song of Solomon often represents the love between God and His people. The “tents of Kedar” could symbolize the earthly, transient nature of humanity, while the “curtains of Solomon” point to divine glory or the sacred space of communion. The speaker’s identity—black yet comely—might reflect the soul’s journey: marked by the world’s harshness yet adorned with heavenly worth.
Conclusion
The tents of Kedar and the curtains of Solomon together weave a tapestry of meaning. They’re not just similes for physical appearance; they’re a bold declaration of identity—beauty that’s weathered yet radiant, humble yet majestic. The Shulamite stands between these worlds, claiming both as hers. It’s a profound poetic move, inviting us to see beauty in contrasts and value in what might otherwise be overlooked.
The “tents of Kedar” resonate powerfully with her vineyard experience. The Kedarites, as nomadic herders, lived in dark, goat-hair tents exposed to the harsh desert sun—much like the Shulamite has been exposed in the vineyards. Her blackened skin mirrors the weathered, sun-scorched appearance of those tents. There’s a shared ruggedness here: both the tents and the Shulamite endure the elements, their “blackness” a testament to resilience rather than refinement.
In the vineyard, she’s not just a passive figure; she’s a protector, a laborer—roles that echo the Kedarites’ tough, independent lifestyle. The tents of Kedar, then, aren’t just about color—they reflect her life’s texture: unpolished, strong, and shaped by the outdoors. Her beauty, like the tents, stands out precisely because it’s forged in hardship, not hidden from it.
Curtains of Solomon: Elevating the Vineyard Girl
Now, the “curtains of Solomon” lift her story to another level. While the tents of Kedar align with her sun-darkened, vineyard-worn exterior, the curtains of Solomon suggest something more—an inner worth or a beauty that transcends her circumstances. Solomon, the king who built the Temple and filled his palace with splendor, is also tied to vineyards in the Song. Later, in 8:11-12, he’s depicted as owning a vineyard, leasing it out, yet the Shulamite asserts her own “vineyard” (often a metaphor for herself or her love) is hers to give.
In 1:6, she laments, “mine own vineyard have I not kept.” This could mean she’s neglected herself—her own beauty, desires, or potential—while toiling for others. The “curtains of Solomon” contrast this neglect with a vision of dignity. If the vineyard blackened her like Kedar’s tents, the curtains reframe her as royalty-worthy, as if her labor doesn’t diminish her but adorns her with a regal quality. It’s a defiant elevation: she’s not just a worker; she’s a queen in her own right, her beauty as striking as Solomon’s opulent hangings.
The Tension and Triumph
The vineyard setting amplifies the tension in her identity. She’s caught between duty and desire—forced to tend others’ vines while her own languishes. Her brothers’ anger (perhaps jealousy or control) pushed her into this role, yet she speaks to the daughters of Jerusalem with confidence, not shame. The “black girl in the vineyard” isn’t apologizing; she’s proclaiming. The tents of Kedar capture her toil’s visible mark, while the curtains of Solomon hint at the hidden glory she claims despite it.
This duality mirrors the Song’s broader themes of love and worth. The vineyard isn’t just a workplace—it’s a recurring symbol of fertility, intimacy, and identity (e.g., 2:15, 7:12). Her darkened skin, tied to the tents, is the cost of her labor; her comeliness, tied to the curtains, is the gift she asserts through it. She’s both the weathered keeper and the cherished beloved, a paradox she embraces.
A Deeper Layer: Allegory and Identity
If we lean into the allegorical tradition (God and Israel, Christ and the Church), the “black girl in the vineyard” becomes even richer. The vineyard often represents God’s people (Isaiah 5:1-7), and her blackness could symbolize humanity’s earthly struggles—sin, suffering, or exile—while her comeliness reflects divine grace or redemption. The tents of Kedar might evoke the transient, flawed state of life, and the curtains of Solomon the sacred beauty of God’s presence. Her vineyard toil? A picture of stewardship, even under duress.
Synthesis
The “black girl in the vineyard” is the Shulamite herself, her identity forged in the sunlit rows of labor. The tents of Kedar reflect her outward reality—darkened, resilient, shaped by the vineyard’s demands. The curtains of Solomon reveal her inner truth—valuable, beautiful, undiminished by her toil. Together, they tell her story: a girl who works the vines, bears the sun’s gaze, and still shines with a beauty that’s both wild and royal.
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