Pieśń nad pieśniami 3:9

Nowe Przymierze Zaremba

Tę lektykę zrobił sobie król Salomon - z drzewa Libanu.

Parallel Translations

Biblia Brzeska (1563)
Poczynił sobie Salomon król budowanie z drzew Libanu.

Biblia Gdańska (1632)
Pałac sobie król Salomon wystawił z drzewa Libańskiego.

Nowa Biblia Gdańska (2012)
Salomon zrobił sobie palankin z libańskiego drzewa.

Biblia Tysiąclecia
Pałac sobie król Salomon wystawił z drzewa Libańskiego.

Uwspółcześniona Biblia Gdańska
Król Salomon uczynił sobie lektykę z drzewa Libanu.

Biblia Warszawska
Lektykę kazał sobie zrobić król Salomon z drzewa Libanu.

Bible Verse Review
  from Treasury of Scripure Knowledge

a chariot: or, a bed, Appiryon, rendered by Montanus, sponsarum ithalamum, "a nuptial bed;" but probably it denotes a kind of palanquin, perhaps synonymous with the Arabic farfar, a species of vehicle for women. Song of Solomon 3:7, 2 Samuel 23:5, Revelation 14:6

Gill's Notes on the Bible

King Solomon made himself a chariot of the wood of Lebanon. The word translated chariot is only used in this place; some render it a bride chamber u; others a nuptial bed w, such as is carried from place to place; it is used in the Misnah x for the nuptial, bed, or open chariot, in which the bride was carried from her father's house to her husband's. The Septuagint render it by φορειον, a word near in sound to that in the Hebrew text, and was the "lectica" of the ancients, somewhat like our "sedan"; some of which were adorned with gold and precious stones, and had silver feet y, or pillars, as follows: it seems upon the whole to be the nuptial chariot in which, according to Pausanias z, three only were carried, the bride, who sat in the middle, then the bridegroom, and then the friend of the bridegroom: something of this kind is the "palki" or "palanquin" of the Indians, in which the bride and bridegroom are carried on the day of marriage on four men's shoulders a: and by this "chariot" may be meant either the human nature of Christ, in which he descended and ascended to heaven; or his church, in which he shows himself to his people in his ordinances, where he rides in triumph, conquering and to conquer, by his Spirit and grace, in his word; or the covenant of grace, in which Christ shows the freeness and sovereignty of his love in being the Mediator, surety, and messenger of it; and in which his people are bore up and supported under and carried through many trials and exercises in this life, and are brought triumphantly to heaven; or rather the Gospel, and the ministration of it, in which Christ shows himself as in a chariot, in the glory of his person, offices, grace, and love; in this he is carried up and down in the world, Acts 9:15; and by it is conveyed to the souls of men; and in it he triumphs over his enemies, and causes his ministers to triumph also: and he is the subject, sum, and substance of it, and the alone author of it; for he is the Solomon here spoken of that made it; it is not a device of men's, but a revelation of his, and therefore called "the Gospel of Christ"; and which he gives to men to preach, a commission to preach it, and qualifications for it: and this he does "for himself", to set forth the glories of his person and office, to display the riches of his grace, and to show himself to be the only way of salvation to host sinners: and this chariot being said to be "of the wood of Lebanon", cedar, which is both incorruptible and of a good smell; may denote the uncorruptness of the Gospel, as dispensed by faithful ministers, and the continuance and duration of it, notwithstanding the efforts of men and devils to the contrary; and the acceptableness of it to the saints, to whom is the savour of life unto life; and it being a nuptial chariot that seems designed, it agrees with the Gospel, in the ministry of which souls are brought to Christ, and espoused as a chaste virgin to him, 2 Corinthians 11:2.

u אפריון "thalamum sponsarum", Montanus. w So Schmidt, Marckius, David de Pomis, Kimchi in Sopher Shorash. rad. פרה & Ben Melech in loc. x Sotah, c. 9. s. 14. & Jarchi in ibid. y Vid. Alstorph. de Lecticis Veter. c. 3. z Vid. Suidam in voce ζευγος. a Agreement of Customs between the East Indians and Jews, artic. 17. p. 68.

Barnes' Notes on the Bible

The principal and central action of the Song; the bride’s entry into the city of David, and her marriage there with the king. Jewish interpreters regard this part of the poem as symbolizing the “first” entrance of the Church of the Old Testament into the land of promise, and her spiritual espousals, and communion with the King of kings, through the erection of Solomon’s Temple and the institution of its acceptable worship. Christian fathers, in a like spirit, make most things here refer to the espousals of the Church with Christ in the Passion and Resurrection, or the communion of Christian souls with Him in meditation thereon.

Song of Solomon 3:6-11

Two or more citizens of Jerusalem, or the chorus of youths, companions of the bridegroom, describe the magnificent appearance of the bride borne in a royal litter, and then that of the king in festive joy wearing a nuptial crown.

Song of Solomon 3:6

“wilderness” is here pasture-land in contrast with the cultivated districts and garden-enclosures round the city. Compare Jeremiah 23:10; Joel 2:22; Isaiah 42:11; Psalms 65:12.

Pillars of smoke - Here an image of delight and pleasure. Frankincense and other perfumes are burned in such abundance round the bridal equipage that the whole procession appears from the distance to be one of moving wreaths and columns of smoke.

All powders of the merchant - Every kind of spice forming an article of commerce.

Song of Solomon 3:7

Bed - Probably the royal litter or palanquin in which the bride is borne, surrounded by his own body-guard consisting of sixty mighties of the mighty men of Israel.

Song of Solomon 3:8

Because of fear in the night - i. e., Against night alarms. Compare Psalms 91:5.

Song of Solomon 3:9, Song of Solomon 3:10

A stately bed hath king Solomon made for himself of woods (or trees) of the Lebanon. The word rendered “bed” occurs nowhere else in Scripture, and is of doubtful etymology and meaning. It may denote here

(1) the bride’s car or litter; or

(2) a more magnificent vehicle provided for her reception on her entrance into the city, and in which perhaps the king goes forth to meet her.

It has been made under Solomon’s own directions of the costliest woods (ceda and pine) of the Lebanon; it is furnished with “pillars of silver” supporting a “baldachin” or “canopy of gold” (not “bottom” as in the King James Version), and with “a seat (not ‘covering’) of purple cushions,” while “its interior is paved with (mosaic work, or tapestry of) love from (not ‘for’) the daughters of Jerusalem;” the meaning being that this part of the adornment is a gift of love, whereby the female chorus have testified their goodwill to the bride, and their desire to gratify the king.

Song of Solomon 3:11

Daughters of Zion - So called here to distinguish them from the bride’s companions, who are always addressed by her as “daughters of Jerusalem.”

His mother - Bathsheba 1 Kings 1:11. This is the last mention of her in sacred history.

Clarke's Notes on the Bible

Verse 9. Of the wood of Lebanon. — Of the cedar that grew on that mount. It is very likely that a nuptial bed, not a chariot, is intended by the original word אפיון appiryon. Montanus properly translates it sponsarum thalamum, a nuptial bed. It may, however, mean a palanquin.