(5) Carmel.--Marg., crimson, from reading charmil, which preserves the parallelism with the next clause better. But the whole passage deals in the author's favourite figures from localities; and certainly the comparison of a finely-set head to a mountain is at least as apt as that in the preceding verse, of the nose to a "tower in Lebanon." Besides, there may be a play on words, which in turn may have suggested the allusion to purple in the next clause, or possibly the vicinity of Carmel to Tyre may have led to the thought of its famous dyes.

Hair.--Heb. dallath, most probably = flowing tresses. For comparison--

"Carmine purpurea est Nisi coma."

"Et pro purpureo dat p?nas Scylla capillo.

(Comp. ????????? ???????? in Lucian., and ???????? ?????? in Anacreon.) So Collins:--

"The youths whose locks divinely spreading,

Like vernal hyacinths in sullen hue."

Ode to Liberty.

The king is held (Marg., bound) in the galleries.--For galleries, see Note on Song of Solomon 1:17. Translate "A king caught and bound by thy tresses," i.e., they are so beautiful that a monarch would be caught by them.

(Comp.--

"When I lie tangled in her hair

And fettered in her eye.")

Verse 5. - Thine head upon thee is like Carmel, and the hair of thine head like purple; the king is held captive in the tresses thereof. Carmel is called the "Nose of the mountain range" (Arf-ef-jebel). It is a promontory. The meaning, no doubt, is the exquisite fitness of the head upon the neck, which is one of the most lovely traits of personal beauty. Some, however, think that the reference is to colour - Carmel being derived from the Persian, and meaning "crimson." This is rejected by Delitzsch, as the Persian would be carmile, not carmel. The transition is natural from the position and shape of the head and neck to the hair. The purple shellfish is found near Carmel (cf. Lucian's πορφύρεος πλόκαμος and Anacreon's πορφυραῖ χαῖται, and similar expressions in Virgil's 'Georgics,' 1:405, and Tibullus, 1:4, 63). The locks of hair are a glistening purple colour, i.e. their black is purple as they catch the lights. Hengstenberg, however, thinks that the reference is to the temples, and not to the hair itself; but the use of the term in classical poets is decisive. The lovely head shaking the locks as the body moves gracefully in the dance fills the king with delight and admiration. He is quite captivated, and the ladies, having finished their description of the bride, look at the bridegroom, and behold him quite lost in the fascination - "held captive in the tresses." Delitzsch quotes a similar expression from Goethe, in the 'West Ostliche Divan,' "There are more than fifty hooks in each lock of thy hair." The idea of taking captive is frequent in Hebrew poetry (cf. Proverbs 6:25; Sirach 9:3, 4). Thus ends the song of the ladies in praise of the bride. We must suppose that the king, who is probably present, then takes up the word, and pours out his heart.

7:1-9 The similitudes here are different from what they were before, and in the original refer to glorious and splendid clothing. Such honour have all his saints; and having put on Christ, they are distinguished by their beautiful and glorious apparel. They adorn the doctrine of God their Saviour in all things. Consistent believers honour Christ, recommend the gospel, and convince and awaken sinners. The church resembles the stately and spreading palm; while her love for Christ, and the obedience resulting therefrom, are precious fruit of the true Vine. The King is held in the galleries. Christ takes delight in the assemblies and ordinances of his people; and admires the fruit of his grace in them. When applied to the church and to each faithful Christian, all this denotes that beauty of holiness, in which they shall be presented to their heavenly Bridegroom.Thine head upon thee is like Carmel,.... Set with hair, thick and long, as Carmel with plants and trees. Now Christ is the church's Head in various senses; he is her federal and representative Head in eternity and time; her political Head, as a King to his subjects; an economical Head, as the husband to the wife, as parents to their children, and a master to servants; and, as such, may be compared to Carmel; for the multitude dependent on him, whom he represents, and is connected with under various relations; for his height, being higher than the kings of the earth, and all other heads; and for fruitfulness, all the fruits of the church, and of all true believers, coming from him. Some render the word, "as crimson", or "scarlet" (b); which may set forth his royal dignity and majesty, this colour being wore by kings and great personages; or the ardent love of Christ to his body, the church, and the members of it; or his bloody sufferings for them;

and the hair of thine head like purple; purple coloured hair has been in great esteem. Of this colour was the hair of King Nysus, according to the fable (c); and so the hair of Evadne, and of the Muses (d), were of a violet colour; the hair of Ulysses is said (e) to be like to the hyacinth flower, which is of a purple or violet colour; and Milton (f) calls the first Adam's hair hyacinthine locks; and here, in a figurative sense, the second Adam's hair is said to be like purple. By which believers that grow on Christ, the Head of the church, nay be meant, who have their dependence on him, and their strength and nourishment from him; see Sol 4:1; and these may be said to be like "purple", because of their royal dignity, being made kings unto God by Christ; and because of their being washed in the purple blood of Christ; and because of the sufferings they endure for his sake; and especially such may be so compared, who have spilt their blood and laid down their lives on his account;

the king is held in the galleries; the same with the Head of the church, the King of Zion, and King of saints, whose kingdom is a spiritual and everlasting one: and by the "galleries" in which he is held may be meant the ordinances of the Gospel; where Christ and his people walk and converse together; where he discloses the secrets of his heart to them, leads them into a further acquaintance with his covenant, and the blessings and promises of it; and from whence they have delightful views of his person and fulness; see the King in his beauty, and behold the good land which is afar off: the same word as here is rendered "rafters", and by some "canals", in Sol 1:17; See Gill on Sol 1:17. Now Christ being said to be "held in these galleries" may signify his fixed habitation in his house and ordinances; where he has promised to dwell, and delights to be; and where he is as it were fastened to them, and hatred in them.

(b) "veluti coccinum", Pagninus, Vatablus, Mercerus; "simile est coccineo", Junius & Tremellius; "est ut coccus", Piscator; so Ainsworth; "sicut carmesinum", Schindler. (c) Ovid. Metamorph. l. 8. Fab. 1. v. 301. De Arte Amandi, l. 1. & de Remed. Amor. l. 1. v. 68. Hygin. Fab. 198. Pausan. Attica, p. 33. (d) Pindar. Olymp. Ode 6. Pyth. Ode 1. v. 2.((e) Homer. Odyss. 6. v. 231. & 23. v. 155. (f) Paradise Lost, Book 4.