[59] vi. 13. This is obscured in the Authorised Version.
[60] vii. 1-9.
[61] vii 1.
It has been suggested, with some degree of probability, that the Shulammite is supposed to make her escape while the attention of the king and his court is diverted by this entrancing spectacle. It is to be observed, at all events, that from this point onwards to the end of the poem, neither Solomon nor the daughters of Jerusalem take any part in the dialogue, while the scene appears to be shifted to the Shulammite's home in the country, where she and the shepherd are now seen together in happy companionship. The bridegroom has come to fetch his bride. Again she owns that she is his, and delights in the glad thought that his heart goes out to her.[62] She bids him come with her into the field, and lodge in the villages. They will get them early into the vineyards and see whether the vines are blooming, and whether the pomegranates are in blossom.[63] It is still early spring. It was early spring when she was snatched away. Unless she had been a whole year at the palace,--an impossible situation with the king continuing his ineffectual courtship for so long a time,--we have no movement of time. But the series of events from the day when the Shulammite was seized in her nut garden, till she found herself back again in her home in the north country, after the trying episode of her temporary residence in the royal palace, must have occupied some weeks. And yet the conclusion of the story is set in precisely the same stage of spring, the time when people look for the first buds and blossoms, as the opening scenes. It has been proposed to confine the whole action to the northern district, where Solomon might have had a country house adjoining his vineyard.[64] The presence of the "daughters of Jerusalem," and allusions to the streets of the city, its watchmen, and the guard upon the walls, are against this notion. It is better to conclude that we have here another instance of the idealism of the poem. Since early spring is the season that harmonises most perfectly with the spirit of the whole work, the author does not trouble himself with adapting its scenes in a realistic manner to the rapidly changing aspects of nature.
[62] vii. 10.
[63] vii. 11-13.
[64] viii. 11.
The shepherd has addressed the Shulammite as his sister;[65] she now reciprocates the title by expressing her longing that he had been as her brother.[66] This singular mode of courtship between two lovers who are so passionately devoted to one another that we might call them the Hebrew Romeo and Juliet, is not without significance. Its recurrence, now on the lips of the bride, helps to sharpen still more the contrast between what passes for love in the royal harem, and the true emotion experienced by a pair of innocent young people, unsullied by the corruptions of the court--illustrating, as it does at once, its sweet intimacy and its perfect purity.
[65] viii. 1.
[66] viii. 1.
The proud bride would now lead her swain to her mother's house.[67] There is no mention of her father; apparently he is not living. But the fond way in which this simple girl speaks of her mother reveals another lovely trait in her character. She has witnessed the wearisome magnificence of Solomon's palace. It was impossible to associate the idea of home with such a place. We never hear the daughters of Jerusalem, those poor degraded women of the harem, speaking of their mothers. But to the Shulammite no spot on earth is so dear as her mother's cottage. There her lover shall have spiced wine and pomegranate juice--simple home-made country beverages.[68] Repeating one of the early refrains of the poem, the happy bride is not afraid to say that there too her husband shall support her in his strong embrace.[69] She then repeats another refrain, and for the last time--surely one would say now, quite superfluously--she adjures the daughters of Jerusalem not to awaken any love for Solomon in her, but to leave love to its spontaneous course.[70]