It is impossible to find any time in the life of David's successor when this great conversion might have taken place; and the occurrence itself is highly improbable. Those however are not fatal objections to the proposed scheme, because the poem may be entirely ideal; it may even be written _at_ the king. Historical considerations need not trouble us in dealing with an imaginative work such as this. It must be judged entirely on internal grounds. But when it is so judged it refuses to come into line with the interpretation suggested. Regarding the matter only from a literary point of view, we must confess that it is most improbable that Solomon would be introduced as a simple peasant without any hint of the reason of his appearing in this novel guise. Then we may detect a difference between the manner in which the king addresses the Shulammite and that in which, on the second hypothesis, the shepherd speaks to her. Solomon's compliments are frigid and stilted; they describe the object of his admiration in the most extravagant terms, but they exhibit no trace of feeling. The heart of the voluptuary is withered, the fires of passion have burnt themselves out and only the cold ashes remain, the sacred word "love" has been so long desecrated that it has ceased to convey any meaning. On the other hand, frequent practice has outstripped the clumsy wooing of inexperienced lovers and developed the art of courtship to a high degree. The royal bird-catcher knows how to lay his lines, though fortunately for once even his consummate skill fails. How different is the bearing of the true lover, a village lad who has won the maiden's heart! He has no need to resort to the vocabulary of flattery, because his own heart speaks. The English translations give an unwarrantable appearance of warmth to the king's language where he is represented as calling the Shulammite "My love."[3] The word in the Hebrew means no more than _my friend_. When Solomon first appears he addresses the Shulammite with this title, and then immediately tries to tempt her by promising her presents of jewelry. Take another instance. In the beginning of the fourth chapter Solomon enters on an elaborate series of compliments describing the beauty of the Shulammite, without a single word of affection. As she persists in withstanding his advances her persecutor becomes abashed. He shrinks from her pure, cold gaze, calls her terrible as an army with banners, prays her to turn away her eyes from him. On the theory that Solomon is the accepted lover, the beloved bridegroom, this position is quite unintelligible. Now turn to the language of the true lover: "Thou hast ravished my heart, my sister, my bride; thou hast ravished my heart with one look of thine eyes."[4]
[3] i. 9.
[4] iv. 9.
A corresponding difference is to be detected in the bearing of the maiden towards the rivals. Towards the king she is cool and repellent; but no dream of poetry can equal the tenderness and sweetness of her musing on her absent lover or the warmth of love with which she speaks to him. These distinctions will be more apparent in detail as we proceed with the story of the poem. It may be noticed here, that this story is not at all consistent with the theory that Solomon is the only lover. According to that hypothesis we have the highly improbable situation of a separation of the newly married couple on their wedding day. Besides, as the climax is supposed to be reached at the middle of the book, there is no apparent motive for the second half. The modern novel, which has its wedding at the middle of its plot, or even at the very beginning, and then sets itself to develop the comedy or perhaps the tragedy of married life, is not at all parallel to this old love story. Time must be allowed for the development of matrimonial complications; but here the scenes are all in close connection.