Jamieson, Fausset and Brown on Song of Solomon 1:5

5. black--namely, "as the tents of Kedar," equivalent to blackness (Psa 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 (Ro 7:18, &c.; 8:1); 1Ti 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 (Eze 16:14).

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