1. Song of songs — The title is discussed in the Introduction. 2. Let him kiss me — No Greek drama opens with truer words of an enamoured woman, the passionate outbreak of love, devotion, and confidence. No wonder that these warm movings of a human heart affected tenderly even that stern rabbi who daily thanked God that he was not a woman. 3. Thy name, etc. — Hebrew, As perfume thou art, thy very name diffuses thee. A difficult passage, the poured forth agreeing with thou, not with “name.” “Thy name” instantly suggests thy character, which, as if compounded of many perfumes, vies with choicest ointment or perfume, an article ever highly valued in the East. The uniform sense of the word virgin in poetical language is candid, not preoccupied. The Enamoured One, to whose longing the Beloved is wrapped in a “light that never was on sea or shore,” thinks that all whose affections are in their own control must love him whom she holds so lovely. 4. After thee, belongs grammatically to the draw me. The Hebrew, like all oriental languages, is very defective in logical and connective particles, such as abound in English, and give direction to the thought, as but, then, indeed, etc. The king has indeed brought me into his chambers, or pavilions, but I am glad and rejoice in thee, that is, in the Beloved, not “the king.”This verse is a soliloquy of one who, amid the splendours of a royal tent, finds home to be, not where she lives, but where she loves. The same tells that “the king” has brought her there, apparently that, impressed with the magnificence of his apartments, she may consent to become one of its inmates. 5. Daughters of Jerusalem — The “daughters of Jerusalem” are, like the Greek chorus, a group of bystanders in close sympathy with the representation, whose part in it serves to explain and aid the general action. Tents of Kedar — An Arab tribe, that, like the modern gipsies, often intruded itself among the villages of Palestine, was a familiar sight. As the curtains, etc. — The hangings of the pavilions, etc. The contrast would not be between a tent and a palace, but between the coarse hair-cloth tents of Kedar and the summer pavilions of the king, which, as Eastern rulers still do, he might pitch in some attractive spot for change of air and for recreation. In such a pavilion this song opens. Comely — That is, graceful. 6. Look not upon me — Supply thus. She accounts with frank simplicity for her swarthiness, and in half-playful style tells how, while getting her complexion, she lost her heart. A glimpse is given of the family of the speaker, how she was under the control of stern and careful brothers, jealous of the family honour, which now (perhaps from the father’s premature death) seems to have come into their keeping. These, to divert her mind from an attachment which they disapproved, set her to a task not unusual to Eastern women of lower rank. There is a slight double sense in the sentence, Mine own vineyard have I not kept — It may mean, with almost Attic wit, I had never done such work for myself, or, I had been so silly as to fall in love. 7. Tell me, etc. — Turning now from “the daughters,” the Enamoured utters as a soliloquy this beautiful apostrophe. There is an allusion to the resting of the flock in the heat of the day, an idea frequent in pastoral poetry. If she were now to seek him, she would not know where she might find him. 8. Go thy way — This verse is spoken by the “daughters of Jerusalem.” Its purport is, “If you have lost him, it is a small matter. Go to your accustomed employment and dismiss this unprofitable longing.” This discouraging intimation is a delicate hint to listen to the blandishments of the king, who now appears. 9. I… compared thee — The language of the King. Horses… chariots — Hebrew, To my mare in the chariots of Pharaoh; that is, to one of them. The horses of the East, from the earliest times until now, have been celebrated for grace and beauty, and many an Eastern, and even Greek and Roman, poet, has compared his heroine to the lightly-stepping, bright-haired steed. The King’s alliance with Pharaoh may have brought him those chariots and horses so often mentioned in allusions to Egypt. 10. The royal pavilion in which the book opens, and in which the lovers are now standing, is magnificent. Yet the Enamoured claims loftier beauty for her hillside grove. Also our bed is green — Better, But there our couch is verdant. At the close of the verse should be no period. 11. Borders — Better, a circlet. A young woman has naturally a passionate love for the beautiful in dress, and this royal offer must have been very tempting. 12. While the king sitteth — In spite of these rich offers, as soon as the King has gone within to his table, the Enamoured breaks forth in tender utterances of longing for her Beloved, calling him by titles expressive of many charms. Nard is a perfume yielded by a plant of India, usually procured by way of Arabia, but possibly by Solomon’s fleets, Ophir being India. It was costly. Judas computed that that with which the woman anointed the Saviour’s head at Bethany was worth nearly $50. The Beloved, whose remembrance is so sweet, is called by this lively metaphor. 13. A bundle — Better, A bag. Several writers mention the usage of eastern women of suspending a bag of myrrh or other perfume from the neck within the dress and in the bosom. Like such constant fragrance is the thought of her Beloved to her. He shall lie all night — This surprising clause is not found in the Hebrew, which merely says, It shall remain, that is, “the myrrh.” The translator of our version must have translated to fit some theory. 14. Camphire — Hebrew, Cypress flowers. The cypress is very much like our lilac in size and appearance, and in the shape of its flowers. It is very fragrant, and its flowers, white and yellow on a red spike, are a favourite eastern bouquet. Engedi — A very fertile spot on the western shore of the Dead Sea, rich in the palm and the cypress; or, as the latter is sometimes called, the henna. 15. Behold — The Beloved now appears, not in person, but in rehearsal of tender words now remembered by the Enamoured. So naturally does this reminiscence agree with the uttered longings for him, that the laws of the drama are honoured, and no violent transition is felt. Thou art fair — The repetition gives a sense of emphasis. Thou art very fair. Thou hast doves’ eyes — Hebrew, Thine eyes are doves, not “doves’ eyes.” The dove is the emblem of gentleness, purity, and fidelity. 17. The beams, etc. — Better, The arches of our house are cedar, and its roof-work of cypress. A summer retreat which, in its coolness and fragrance and templed trees, may vie with the king’s canopies as a home for love. 1. I am the rose, etc. — Better, I am but a flower of the field; that is, a common, unpretentious flower. This is the modest language of the Enamoured, in self-depreciation, in response to the compliments just conveyed. That love exaggerates is a maxim in literature. 2. As the lily — Supply But, at the beginning. By an ingenious turn the Beloved makes the Enamoured’s own words express her conspicuous charms. “But a lily, if you will have it so, yet, compared with that lily, all other damsels are but as thorns and brambles.” 3. As the apple tree — The Enamoured terminates with this verse her rehearsal, and then resumes her direct narrative. The apple tree is a native of Asia. Its ample foliage and rich blossoms and fruit make it not only beautiful in itself, but a grateful object of possession. The praise of the preceding verse is fairly answered. The verbs here denote habitual action, I used to sit, etc. The company of the Beloved was like the shade of such a tree. By a natural rhetoric we gradually lose the tree from sight, and think only of him whose presence was like it, —“Whose breath lent sweetness to the gale And music to the grove.” 4. He brought me — Hebrew, He used to lead me to that home of gladness, that is, the shady bower where gladness dwelt. And his banner, etc. — Better, and shaded me with love. Banqueting house — Better, house of wine; a Hebrew phrase for house of joy, or gladness. Such was the place of his companionship. 5. Flagons — A difficult word, but, probably, a species of cake, apparently of pressed grapes, — grapecakes. It can hardly be thought that she calls for these “cakes” and “apples” in a literal sense. Her heart fainteth, and Love’s own cordials only can minister to her relief. 6. His left hand, etc. — This verse is the utterance of a wish, O that his left hand were under my head! That his right hand were supporting me! Many a heart has felt, oftener in time of sickness and trouble, this faintness of yearning.“O for the touch of a vanished hand, And the sound of a voice that is still!” 7. I charge you — Better, I adjure you; a form of administering an oath. The objects named, the roes, (gazelles,) and… the hinds of the field, are beautiful and graceful, and give a poetic ornamentation and vivacity to the expression. My love is the abstract term, meaning, not a person loved, but the affection or passion itself. The idea is that of diverting it to another person. “That ye arouse and induce not my affection (elsewhere) until it please,” that is, until it be so repelled by my Beloved as to be constrained of itself to turn and seek another object. That they should add their inducements to the flatteries of the King, seems to her a peril earnestly to be deprecated, lest tempted virtue fail.A new phase or scene is now introduced, of which the characterizing features are a longing and a search. It is in the form of an animated rehearsal given by the Enamoured to the “daughters of Jerusalem.” The place is the same as that of the preceding division — the summer pavilion of the king. 8. The voice of my beloved — Better, A voice! It is my beloved! The word rendered “voice” sometimes serves as an interjection, like “Hark!” It is also used of the sound of the feet in running. He cometh — Properly, He came. She saw him at a distance and knew him by his brisk gait and graceful bearing. 9. Like a… hart — He came quickly like the animals to which he is compared. He standeth — More strictly, Now he stood behind our wall, he looketh through the window: showing himself through the lattice. The windows of Jewish houses were very narrow, and set with lattice-work, not glass. 10. Rise… come away — He invites her to a ramble abroad. The season of flowers is the one dear to lovers. The Chinese have a pretty poem, translated into English by Sir William Jones, which appreciates love with the blossoming of the peach tree. In the tactics and resources of affection, in all ages and lands, a lover’s walk, whether by “the white walls of the Paraclete,” made memorable by Eloise, or “in green Bengala’s fragrant grove,” where Bishop Heber poured his heart into the lines, “If thou were by my side, love,” has been the occasion of Love’s dearest ministry. 11. Winter is past — The winter of Palestine has little frost or snow, except on Hermon, and perhaps a few other mountain-tops, but it is a season of long and surly rains, making it far less enjoyable than the lively and joyous winters of our climate. Few of the houses are built to yield comfort at this time. One item, the lack of glass windows, is of itself suggestive — the choice being between darkness and chilliness. No trace can be found of any good method of illuminating, or of any decent appliances for warming, houses. When, therefore, the sun in February began to be felt, welcome was the thought, “The winter is past, the rain is over and gone,” and now hope and love respond to Nature’s gladness. 12. The flowers appear on the earth — The drift of allusion shows the parties foremost in the drama, the Enamoured and the Beloved, to be in lowly condition and dwellers in the country. To such this spring season is the most laborious of all, especially to get in all seeds while the soil is moist with the early rain and the latter rain is yet to come. This gives a holiday zest to this proposed excursion. They are to go, not for labour, but to the banquet which nature spreads. The time of the singing — The word really means, the song of men — of labourers — but to refer it to birds does no harm, though the next clause would be sufficient for that. The voice of the turtle — The “turtle” dove (named tur-tur, from its cooing) spends the winter farther south, and its return to Palestine is like that of the swallow to ours, or like that of the cuckoo, whose note resembles the turtle dove’s, which is often called the mourning dove. 13. The fig tree putteth forth — The verb means really to embalm, and the true sense is, The fig tree is spicing her green figs. The vines, etc. — The vines are abloom, they are fragrant. 14. O my dove — The Beloved calls her a “dove” from the timid nature of that bird, which on the least alarm flies to its shelter. “Oh that I had wings like a dove! for then would I fly away.”“How say ye to my soul, Flee as a bird (dove) to your mountain.”Stairs — Hebrew, In the crevices of mountain cliffs. 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The rest is at https://www.sermonindex.net/commentary/whedon/ 15. It is hard to find in all poetry a more beautiful rhetorical foil than this verse. The knocking at the gate in “Macbeth” is like it. When a passion has run so intensely that its crisis must be near, then to interrupt it, and divert the attention by throwing in fresh and unlooked-for elements, is the highest art. This interruption exactly suits the stern and careful brothers already mentioned. Partly to prevent the intimacy, imprudent and excessive as they seem to regard it, of the lovers, and partly to protect their property in this season of its exposure when they themselves are so busy, they order their sister to spend the day in watching the vineyards. Take us the foxes — Foxes were abundant in Palestine, (the jackal is not here meant,) and they did the vines damage at this season, chiefly by burrowing around their roots, like the gopher and field rat. Unless now caught, they would make havoc in harvest. To this order she meekly yields, consoling herself with the sentiment of the following verse. 16. My beloved is mine — Whatever may be the disappointment, she rests her heart upon the sure and abiding tie which absence cannot sever.Feedeth among the lilies — The verb is transitive, and means “feedeth his flock among the lilies.” The clause should be introduced by the word “while.” The sense is, He is mine and I am his, though I watch, etc. 17. Until the day, etc. — Hebrew, Until the day breathe cool and the shadows stretch themselves. The first clause might apply to evening or morning, either being the time of cool breezes, but the second clause fixes the sense to be “at evening.” Be thou like a… hart — That is, “Return quickly.” Upon the mountains of Bether — Hebrews Over the mountains of separation. “The separating hills.” The speed of the Beloved has already been compared to that of a deer on its mountains.At evening the Beloved did not return. 1. By night — When night veils all things, and the soul is driven in upon itself, fond memory brings the light of other days, and our emotions, especially of tenderness and anxiety, become stronger. Even should be prefixed to this verse, and still be inserted before sought. She looked anxiously at her lattice, but he did not appear. “Next to love’s joys, are wakeful, anxious fears.” 2. I will rise — A plainer connexion would be made by placing, I said to myself, at the beginning of the verse. The emotions of the Enamoured have become intolerable. About the city, suggests an unusual effort at search, as her home was evidently in the suburbs. Tidings of him at night will more likely be found in the streets of the town and the broad thoroughfares leading to it, than in the fields. Or it may be, that as Palestine has always been infested by robbers, the inhabitants, even of the rural districts, sought the safety of the town by night. Such is the prevailing usage at this time. 3. Saw ye him — The question, put to the watchman patrolling the town, is very abrupt, hardly enough to explain her untimely roving. 4. It was but a little, etc. — Better, Scarcely had I passed from them, when, etc. He may have heard her voice, as she inquired, or he may now have been seeking her. Into my mother’s house — This statement, and that of my own mother’s room, suggests at once the privilege and the safety of lovers under the sanctity of such a shelter. One can but infer that the mother was in widowhood, and the story has the greater diversity from the guardianship of the brothers over their sister, its heroine. 5. I charge you, O ye daughters — With this verse ends the rehearsal; and so sweet was this last interview, over which memory fondly broods with miser care, that she urges the hearers to do nothing to divert her affections — unless, in some possible juncture. they of themselves seek another object. See Son 2:7. In all this rehearsal the leading emotions are so delicately and faithfully traced and sustained by given incidents, while so much is skilfully left to the imagination to supply, that, by the rules of rhetoric which we apply to Theocritus or Catullus, to Moore or Burns, it must take rank as a master-piece of soft and brilliant poetry. No wonder that under its infinite suggestion it has furnished material for allegory, often true and tender, applicable to much of Christian experience, to many a phase of both the Church of Israel and the Church of Christ. And this it does all the more solidly for having itself been real, if not literal, at first. That is to say, it was a dramatic truth if not a historic truth. 6. Who is this that cometh, etc. — The scene of action now changes. The royal pavilion, in which the king and his court were enjoying the pleasure of a country sojourn, is exchanged for the capital and its palace. The division opens with the return of the royal train to the city.From the most conspicuous theme presented in this division, it may be called the Vision of Love, but this title would not apply to every thing herein contained.The speakers at first are citizens along the principal street of the city. Perfumes have always been burned at the head of processions in the East. They seem to be used, as we use music, to give eclat, that is, dignity and impressiveness, to the occasion.Out of the wilderness — Better, From the fields, the open country.Powders — That is, aromatics. The trade of perfumery is an important one to this day in the East, requiring large capital. Palestine furnishes some articles of perfumery, Arabia more, while some choice aromatics come from India. To collect, convey, and make sale of all these, was a large and distinct business. 7. Behold… bed — Better, That is the palanquin of Solomon. A palanquin is a canopied couch used by men of rank for travelling. It is usually carried on men’s shoulders, is long enough for the person within to lie at full length, and, as it requires relays of bearers to accompany it, it is a more pretentious mode of conveyance than riding on horseback or even in a chariot. This verse is uttered by a second speaker from the throng of bystanders as a rejoinder to the first. 8. Expert in war — Better, the valiant of Israel. There was probably no time in the history of Israel when robbers did not infest the country. These were, and still are, mostly Arabs. Ishmael dwelt in the presence of his brethren, and kept them always on the lookout. Hence, the royal escort included such a guard as is here described. The fear in the night is, of course, these nightly marauders. The phrase seems to refer to the selected bodyguard of mighty men formed by David, and perhaps continued by Solomon. 9. Still another bystander calls attention to the great beauty and costliness of this palanquin. Chariot — Its frame was of the choice cedar or cypress of Lebanon — strong, light, and admitting a polish. This framework usually includes a latticed door on each side. 10. The bottom — Hebrew, the support of the head and back. The covering — Better, the seat. The midst — Rather, the lining wrought for him by the daughters of Jerusalem, as a token of their love. Rich and costly as was this palanquin, the British Government, in 1766, presented one of perhaps greater cost and beauty to the Nabob of the Carnatic. Other Indian sovereigns used to appear in public in similar style of palanquin and escort. 11. Go forth, etc. — The call, apparently, of a fourth speaker. Crowned — Crowns in ancient times were not merely symbols of royalty, but were also expressive of joy and gladness. The Greeks and Romans wore them at banquets and carousals. The Jews formerly wore them at marriage feasts, as members of the Greek Church do still. Solomon arrayed in all his glory was a sight worthy of admiration even of those to whom he was no stranger. The term daughters of Zion, is clearly applied to the women of Jerusalem, but is more limited and noble than the phrase daughters of Jerusalem, to whom the Enamoured was lately speaking. It would be quite natural for the court ladies, when in the country, to be called “daughters of Jerusalem” by one who recognized them as having come from the city.Zion was the royal abode.The arrival of the royal train at Jerusalem causes the conversation of the following verses to take place in the king’s palace instead of the pavilion in the open country. As rehearsal characterized the first division of the Song, so this division is made up of direct and personal address, in which the Beloved gives his utmost from his heart in rapturous admiration, while the Enamoured, for the most part, listens in modest, but expressive, silence. The appearance of both in the royal hall — the Enamoured apparently in the train of the king, and induced to come by a feeling not well defined to herself, (Son 6:12,) he anxiously following, “love winging his feet” — is by no means so abrupt and violent an action as many found in the masterpieces of dramatic transition, as in the Tempest of Shakspeare, and the Medea of Euripides. 1. The language of the Beloved. Thou hast doves’ eyes, etc. — Hebrew, Thine eyes are doves within thy veil. That appear, etc. — Hebrew, That leap playfully down Mount Gilead. The word, etymologically meaning to descend, is used only of goats that spring and caper playfully in their descent. It is a happy figure to express the dancing of the ringlets of a lady’s head. 2. Thy teeth, etc. — This verse should read, Thy teeth are like a fleecy flock which have come up from the washing, all of which are paired, and not one among them solitary. Shorn — Should be, accustomed to be shorn, that is, fleece-bearing. Paired, means, each having its fellow in the opposite row. Wool, in Scripture, is associated with snow for whiteness. The teeth, full, white, and sound, are always reckoned a beauty and a blessing. 3. Thread — Better, braid. As literal features are here named, speech might better be mouth. Thy temples — Hebrew, Thy cheeks. The pomegranate has one side of rich red blushing through its clear brown. Such are the cheeks of this rustic damsel, within her veil, or visible just below its border. 4. Tower of David — No such tower is known, though some have thought it might have stood at an angle of the temple area. The “mighty men” of David’s body guard made a deep impression on the minds of the following generation. That he should have built them an armory, (Hebrew, a pattern, a lesson,) in which their shields and all their weapons of defence were hung — though these were oftener hung in temples and public places as trophies of victory — is not improbable. The comparison suggests erectness, symmetry, and dignity of carriage. 5. Roes… which feed — The red kids feeding upon the white lilies, which, springing up in profusion, carpet their pasture-ground, form a true and natural comparison, given in the style of warm oriental poetry. 6. In the play of feeling here traced, this verse is of great importance. Amid the splendours of the palace of which, as will soon plainly appear, (and must have been already suggested,) she can, if she choose, become an inmate, the voice of her Beloved still controls her feelings. Not the compliments which he pays, but the tones of his voice, the music of a faithful heart, and the beaming of a love-lighted face, prevail. The palace fades from her thought. Better to be queen of one true heart in the poor simplicities of country life, than to share with many rivals the marble court of the king. This verse is the crisis of the Song. There has been a test and trial in her spirit, but the difficult point is now passed. All blandishments will hereafter be vain. Until, etc. — See Son 2:17. The Enamoured decides to leave the palace at the cool and shelter of evening, and go back to the country, which takes now a sudden charm in her thought. Mountain of myrrh — An old traveller speaks of Syrian hills so overgrown with spicy shrubs and bushes that the very air was fragrant as he passed. 7. Thou art all fair — Encouraged by this ardent interruption, the Beloved, in hopeful tone and lively phraseology, declares that she shall escape freely with him, and shall be safe in any and every place, on mountains and among wild beasts. Her declaration of preference, now fixed, if for the moment wavering, gives him the courage and animation belonging to perfect confidence. 8. Lebanon… Hermon — The Beloved compares the king’s palace to the most magnificent objects of the land. “That goodly mountain… Lebanon.” “Hermon,” the most perfect mountain in Palestine, which was afterward made glorious by the transfiguration. Amana is a part of “Lebanon,” and Shenir of “Hermon.” But with all its grandeur it is, to the Enamoured, a place of danger. The hint is, that the eyes of the amorous monarch are upon her. Look — Hebrew, Thou shall come. 9. Thou hast ravished my heart — Our best grammarians give this verb an opposite and intensive meaning: Thou hast given me heart. It is like the common English, “I have topped,” meaning either, “I have put on a top,” or, “I have taken off a top,” according to the connexion. Here the general sense requires, “Thou hast greatly encouraged me.” Sister is merely a term of endearment. My spouse — This word once meant betrothed, and such is the Hebrew here, meaning the ante-nuptial relation, my betrothed. Eastern women are usually veiled before men. A corner of the veil gracefully raised as a token of confidence and favour, reveals an eye and a part of the neck jewels. It is as if an American girl extended her lover her hand to kiss. 10. Wine, “that maketh glad the heart of man,” is mentioned even by Homer as grateful to gods and men. But the sympathy of woman, warming into tenderness and concentrating into love, is uniformly spoken of as the most gladdening and enlivening to the heart of man. And the smell, etc.Sweeter than breath of morn in Ceylon’s grove, Breathed from her lips the fragrance of her love. 11. Drop as the honeycomb — If her breath was like “incense on the air,” her words were most luscious. Some Arabian legends illustrate, incidentally, the extravagant fondness of Orientals for honey, and the hazards and adventures encountered in obtaining it among desert cliffs and in hostile territory. It was the only available sweet. The Scriptures speak of it in the same way. It was one of the “goodly things” of the Promised Land.The smell of thy garments — As the Enamoured was now the guest of the king, she had received, as the eastern usage was, apparel fitting the place and occasion. (See the parable of the Wedding Garment.) This, as for a palace, would be sumptuous, and, as in the East, nothing if not fragrant. The perfume “of Lebanon” is like that of an American pine forest. 12. A spring shut up — Most critics give this, by the change of one letter, as a repetition of a garden enclosed, making greater emphasis. The fields of Palestine were not fenced, but the gardens were walled, as more private. Passers through the fields might take, if hungry, from the crops, enough for their relief, but not so from the gardens. A fountain sealed — In the dry East fountains are often marked as private property, or the top is covered and sealed, and the water conveyed in pipes to the dwelling or garden of the owner. The idea is, of assurance of exclusive possession, and freedom from anxiety for the result of any arts and resources that the king may employ. 13. The comparison of his loved one to a garden is more fully given. Not merely enclosed, but worth enclosing! Thy plants — That is, the growths within the garden. Orchard — Hebrew, paradise. This word, whether taken from the Hebrew or the Sanscrit, means “enclosure.” The Hindustanee and Persian of to-day have a like term, “Peridesh,” fairy land. Camphire, etc. Fragrant with perfume. 14. Spikenard, etc. — A list is given of the choicest shrubs and flowers which the land could produce. Some, as cinnamon, which is a native of Ceylon and Southern Asia, must have been cultivated in Palestine as an exotic. Or it may have been known only as an article of commerce, and thus assigned a place in a garden furnished according to a lively ideal. 15. Well of living waters — The fountain which was “sealed,” now diffuses in the garden to which its “waters” are conveyed, life to all verdure, beauty to every flower, and flavour to all fruits. It is a source of “living waters,” like the pure, perennial streams of Lebanon. From Lebanon flow Abana and Pharpar, the rivers which give Damascus its life and beauty. 16. Awake, O north wind — The Beloved closes this well-sustained figure of a garden by invoking the breezes to arise, that the perfume they exhale may be diffused widely, that many may enjoy it. What is his own to possess, he would make many glad to share. The Enamoured says modestly, (If I be such,) Let my Beloved, etc. — For the garden is his, and its pleasant fruits are his. Her joy is in making it beautiful and rich for him. Her Beloved responds in the language of the following chapter, the first verse of which should be in this chapter, as its connexion is unbroken and necessary to its significance. 1. I am come — Hebrew, I am coming. All these verbs are of present action; I am eating, etc. Here, in the full blaze of her charms, and the exhilaration which her love breathes into his heart, the Beloved finds all that he has described, and his soul is melting in raptures. O friends — The remainder of this verse — an utterance by the Chorus — is as from the “daughters of Jerusalem,” or the ladies of the court, bidding the happy lovers take full enjoyment of affections so pure and simple. Sad or guilty indeed must be the heart that has no sympathy with tender and faithful love! That is the holy light of the wedding day and the wedding feast —always so joyous, if innocent and sincere — and on which the Countenance that gladdens both earth and heaven beamed at Cana of Galilee. This brief utterance is a gush of natural, beautiful sympathy from women, who, by experience or by instinct, at once appreciate the feelings of lovers. 2. The Beloved now disappears. A great German poet has said, that next to love’s joys are love’s anxieties. The play of poetry — which must always keep time with nature — demands the relief which the darker emotions of regret convey. The Enamoured tells of a dream, made of such “stuff” as the course of love develops, a bit of peevishness and remorse. In the mystery of sleep and dreams, the partition between the affairs of actual life and the wild, free movement of uncurbed fancy, is thin, and the scenes and doings of dreams are a broken and grotesquely-set reproduction of the elements gathered from waking experiences. I sleep, but, etc. — Hebrew, I was asleep, but my heart was awake. This verse is, in Hebrew, very animated and abrupt. It is the voice, etc. — Better, Hark! my Beloved! He is knocking! Omit saying. For my head, etc. — The dews in Palestine are, for a part of the year, very heavy, like those of Greece, “all cold and wet.” 3. Coat — The Greeks took from the Phoenicians both the garment and its name — preserved in our word tunic. It was a linen shirt, reaching below the knees, sometimes to the ankles and to the wrists. I have washed, etc.— The wearing of sandals made the washing of the feet a frequent necessity, and, of course, on retiring at night. These are trifling excuses. The labours of humble life, in which the Beloved is located, give him little leisure or control of his time. Even a late visit, after the toils of the day, perhaps far away, should have been welcomed, in view of its evident cost to him. So she quickly came to think. 4. Put in his hand — The Land and the Book tells us that Eastern house-doors usually lock from within only, and a hole in the doorframe is left by which one can reach the keyhole from without. The Beloved will not enter unbidden, from a sense of true delicacy. By the hole — Hebrew, From the hole; that is, to withdraw the bolt. It is simply astonishing that this language, so expressive of modesty, the more beautiful because found in humble life, has ever been thought to have a character directly opposite. My bowels, etc. — The Hebrew word signifies the upper viscera, and chiefly the heart. It means, figuratively, the sympathies, the anxieties. As soon as the Beloved had departed, her disquiet began. 5. I rose up, etc. — Regretting her freak of harshness, she rises in a flood of tender feeling. My hands dropped with myrrh — Figuratively, these words imply that her hands shared the emotion of her heart. Literally, which is better, they mean that the Beloved had left — the cost of which he must have felt — a perfume of myrrh upon the very doorhandle. This token of his faithful love increases her pain. 6. My soul failed, etc. — Hebrew, Departed because he had so spoken; had solicited admission and been slighted. She goes out in search of him. In just this way Virgil represents Dido, after her rejection by AEneas, as dreaming of following in vain pursuit of him through desert lands, until her dream turns to sick and weary despair. 7. The watchmen — The darkness gave no token, and the only words then spoken were her own. The watchmen and keepers treated her as a vagrant. Veil — An external garment, worn only out of doors. They rudely tore it from her face to see who she was. 8. Wayward as her dream had been, in her waking hours she was true. Of this she assures the ladies. That ye tell him — Better, What will ye tell him? A question abruptly inserted to give force to the thought. Sick of love — That is, utterly enthralled by it. 9. What is thy Beloved — The Chorus draw out by this question a fuller description of the Beloved. The glimpse which they have had of him seems to have given them no particular impression of his superiority. They find it entertaining to listen as the ardent girl gives forth a portraiture in which love quickens fancy. The description illustrates the adage, that love has eyes. 10. White and ruddy — His bright and flush complexion make him as conspicuous among common men as a standard-bearer is in an army. Chiefest — Hebrew, Standard-man, colour-bearer. The phrase among ten thousand is of military origin. 11. His head, etc. — Literally, His head is gold, gold; the repetition of the original giving emphasis. The idea is, that his head is among men as gold among metals, kingly and grand. His locks — Literally, his curls. A pure, soft, black hair was much admired by ancient poets next to the colour of sunbeams, the gold-yellow hair of Moses and Apollo, “the rare gift of the gods.” A beautiful woman is called “a bird of raven wing and snowy breast.” 12. His eyes, etc. — Hebrew, His eyes are doves, etc. Doves are fond of bathing and dressing their plumage, and the blue creatures tricking their feathers by a full and sparkling summer stream form a lively and agreeable picture. But the eyes seem to bathe in milk. Fitly set — Rather, Framed in fulness, that is, with ample development, full-orbed, and gushing copious light. 13. Cheeks… bed of spices — The wearing of the full beard is ancient and uniform in the East. The growth of the cheeks of the Beloved, in its soft, early luxuriance, is like “beds of balsams, rising growths of spiceries.”From this growth, gracefully dressed, his lips appear as lilies. The Hebrew word here used is not the one for the white lily of the valley, but means, probably, the red crown lily. Dropping, etc. — refers to the lips, not the lilies, meaning pleasant words. 14. His hands, etc. — The rings… better as an adjective, smoothly rounded. The arms and fingers taper, preserving their fulness to the nails, which are like enamel of beryl, or chrysolite, (Hebrew, the stone of Tarshish,) now called topaz, of a clear brown yellow and of glassy lustre. His belly — This word may refer to the entire surface of the body, and the word body would more truly translate it. The sapphire of the ancients was both our true sapphire — a sky-blue stone, nearly as valuable as the diamond — and the lapis lazuli, a blue with yellow specks. Probably the former is here meant, and as it overlays the body, it refers to the tunic. The hue of the sapphire is admirable to relieve and vary the general picture; nor is there anything indelicate in allusion to such parts of the person as, being usually covered, keep their whiteness. 15. His legs — Hebrew, The calves of his legs. Sockets — Better, pedestals. His countenance — Literally, His appearance; that is, his whole mien and bearing. The general impression of his stature is like that of “that goodly mountain, even Lebanon,” which, rising to ten thousand feet, always, in sun-shine or in storm, was the Jewish ideal of lofty majesty.And as Lebanon wears its cedars, unconscious of the crown they give it, so the Beloved bears himself, nobly unaware of the perfect, comeliness of his features. 16. His mouth — Better, His voice, is tuneful, sweet. Altogether — Hebrew, His whole; his tout-ensemble. In concluding this portrayal, the Enamoured puts on an air and look of triumph, as one feels in her words, as if she said: “Have I not proven my statement, that he is the banner-man of a host?” A young Indian chief, who, injured in battle, came into the writer’s cave, was of so perfect bodily development as to realize the ideal of this description. Of lofty stature, his structure, to his finger ends, was formed for beauty and grace, and, at the same time, for manly strength. 1. Whither… gone — By a very skilful and gentle turn of the action. the reader is prepared for a very different scene. The Chorus, as being in the secret knowledge of the King’s desires, remind the Enamoured that her Beloved, charming as he may be in her eyes, has suddenly gone and left her, as intimating that his love for her cannot be very ardent, and that she may as well not be wholly inaccessible to the approaches of one who has much to recommend him. This sentiment is half concealed and half revealed in this first verse. That we may seek — Supply, Tell us, in order that we may, etc. 2. Into his garden — This reply is made with the utmost composure, as if she divined their plan, but was entirely easy and assured of herself. The verse might be introduced by an “Oh,” pronounced so as to depreciate the question. “As if he thought his stay here might not be the best thing, he has returned to his pleasant business at home.” To feed in the gardens — Better, to enjoy the good of the gardens. 3. See Son 2:16. Supply, For all that. The connective though, is to be supplied: “Though he feedeth his flock among the lilies.” This is now uttered for the king to hear, and his ear can catch it, as, “with condescension covering every kingly grace,” he approaches to see if he may win a new victory over a fresh young heart by blandishments that never yet have failed. 4. Tirzah (Delightful) was the capital of Israel until Omri built Samaria. Its site was charming, and the town probably worthy of its name. Comely as Jerusalem — “The perfection of beauty,” “built as a city compact together,” or at harmony with itself — now adorned with the temple and the various works of the royal builder — must have been the most imposing of all cities known to the people of the land. Terrible, etc. — The beauty of woman has more than once been compared to the power of an army. The fascinations of Cleopatra dazzled and subdued Caesar — the foremost man of all his time, and afterward the grim and unscrupulous Antony. So Alexander refused to see the daughters of Darius, lest, alter conquering men, he should be conquered by women. 5. Thine eyes… have overcome me — Better, Have unmanned me; as if he could not bear the full blaze of her charms. 6, 7. Thy teeth, etc. — The King falls into the same forms of speech as the Beloved had used before. (See Son 4:2.) Had he overheard? Or had his thought an identity of expression, as it had identity of suggestion, with that of the Beloved? However that might be to his hearer, how different the sound! These words were the words that charmed her ear from the lips of her Beloved, but they lose all music when the voice is the voice of the King. No elocution of his can make these compliments sound as when that other spoke them. 8. There are — Better, I have there, pointing to the women’s apartments of his palace. The King here alludes to his harem. Threescore queens, etc.— Stating the numbers of its inmates in general and representative terms, equivalent to many, very many. The exact numbers are given — three hundred wives and seven hundred concubines — in 1 Kings 11:3. These hapless beauties, by a policy of luxury which in the end proved disastrous, were selected to form a galaxy to brighten and adorn the court, and minister to the pride and passion of the King. But he affirms that this one, on whom his eye is newly set, is —“Fair as a star when only one Is shining in the sky.” 9. Is but one — That is, there is none like her. It is not affirmed that she is an only child, or even an only daughter, but that she is without like or equal — absolutely peerless in her beauty. The daughters — That is, The maidens in waiting — Blessed her… praised her — The verbs should be in the present. The King nowhere ventures to call her his betrothed. My undefiled — Hebrew, My perfect one. To connect this verse with the following, supply “saying.” 10. Who is she, etc. — The purport of this verse is, that if all the ladies of the palace are thus warm in admiration of this girl, she need have no apprehension of slights and annoyances to which jealousy might give rise. That looketh forth — Better, looks forth. As the morning — The Greek goddess Athena,“The patroness of Athens, and to whom was built the Parthenon.The brightest gem Greece wore on all her zone,”was the deified dawn. At the first streak of light in the east the priestess kindled her sacrificial fire and chanted a hymn of praise. The red morn beaming from the hills is always beautiful. So the meek moon, walking in brightness, and the effulgent sun that lights up the blushing day, all are vigorous metaphors. 11. Went… into the garden — Unaffected by these courtly words, yet her cheeks mantling as if flushed with wine, the girl timidly and apologetically explains — what seems to herself passing strange — how she came to be in the palace at all. These verses are not only the most difficult of translation to be found in the song, but they contain the most difficult point of the entire plot. Yet the author follows strictly the rule honoured by the great masters of the dramatic art, and laid down by Horace of old; that what would be revolting or unintelligible to enact before an audience, may properly be rehearsed, its painful or obscure features being omitted. She was in the enjoyments and employments of her quiet country life, looking after the welfare of her little “garden.” 12. Or ever I was aware — Hebrew, I knew not; that is, unconsciously, unintentionally. Made me — Hebrew, set me. Amminadib — Hebrew, the escort of the prince. “By some influence, of which I could hardly explain the cause, I joined the chariots of the escort of the King.” The most careful and rigorous construction of the Hebrew comes to this as the sense and design of the verse. It explains how she left her home — which she herself cannot quite understand — and came with the King’s train from the pavilion in the country, and afterward to the palace in the capital. This bashful, half-hinted, half-suppressed confession, skilful as if from the lips of the Jocaste of Sophocles, tells what seems passing strange to the heroine herself — that she should be at all in royal company. 13. Shulamite is, in Hebrew, the same as “Shunammite.” Shunem was a little village near Jezreel, the residence of Abishag, the last wife of David, and of the woman whose son Elisha restored to life. The address of the verse is to one who is, apparently, in the act of departing. The speaker, in the first period, may be either the King or the Chorus. The Shulamite — Representing herself as one of the people of the village, the proper translation should be, “a Shulamite;” that is, an humble country girl. The company of two armies — This very difficult passage can, on the whole, have but one of two meanings. One is, “a dance of double lines,” as when the dancers are arranged in rows facing each other. It would then be poetically equivalent to “many beauties and graces in harmony.” Its other sense would be taken from Genesis 32:1-2, where Jacob and his company are met by the vision of angels, and he calls the place Mahanaim, because angels as well as mortals are there. This would poetically signify, “Something more than human, more fair and lovely, seems added to our company when thou art here.” The idea of angels was always familiar to the Jewish mind, nor is this sense of the word extravagant. In either case — and sound criticism can hardly admit the possibility of a third — the speech is very highly complimentary. 1. In the Hebrew Bible this chapter begins with the last verse of the preceding, and such seems to be the better arrangement. If the first and last periods of that verse were spoken by the Chorus, still the speaker now must be the King. In the compliments of these following verses nothing is noticed more than it has always been allowed to painters and sculptors to portray. The King, as is most fitting to his well-known character, takes greater license in his praises, and this goes to prove the naturalness of the Song. It is far from necessary to suppose that all the parts of the person here described were exposed to view. The modesty of the maiden, unaffected by the warm and amorous language of the King, is seen to recoil from all these blandishments as being distasteful. They have the same effect on her as on any pure and highminded girl in any land or age. It is a masterstroke on the part of the writer of the Song to show thus delicately the amorousness which was the king’s undoing here failing to win its object, and appearing odious in the light of truth and virtue, however artfully disguised in poetic flatteries. Shoes — Better, sandals. The sandals of Eastern ladies are often highly ornamented, and are much noticed. O prince’s daughter — Hebrew, noble girl. There is no allusion to her pedigree, but to her character. Like jewels — That is, delicately wrought and highly finished. 2. Which wanteth not liquor — Hebrew, Spiced wine should not be lacking. Set about, etc. — Grain threshed in the fields and left in a heap was “set about” with thorn bushes, to protect it from animals. From that usage this figure is taken, lilies, fair and white, being substituted for thorns. Plumpness and corpulency have always been reckoned in the East as elements of beauty in the feminine person. There can be no doubt that the writer here represents the King’s fatal disregard of the moral sentiment stated by our Lord, Matthew 5:28. 3. Thy two breasts, etc. — This figure has already been explained, as used by another speaker, in Son 4:5. 4. Thy neck, etc. — Not that any tower was ever known to be built of ivory. The translation might be “thy neck, which is like a tower, is ivory;” that is, like a tower for symmetry and stateliness and as ivory for whiteness. Poets, from Anacreon until now, have used the complimentary phrase, “ivory neck.” Heshbon was twenty miles east of the mouth of the Jordan, and was in the possession, sometimes of the Jews and sometimes of the Moabites. Its pools, receiving their waters from living springs, were clear and sparkling, and the vegetation around, fed by them, was luxuriant, making the city and its environs “the pride of Moab.” The gate of Bath-rabbim — That is, the gate where many are passing. What gate of Heshbon this may have been is unknown. The tower of Lebanon — No “tower” of this description is known. The suggestion is agreeable; a “tower” or, the noble “Lebanon,” looking down the course of the Abana and Pharpar, “rivers of Damascus,” upon the plain which their waters render green and charming. So the nose is a graceful watchtower, commanding a view of a lovely face and a sweet and queenly form. 5. Like Carmel — This beautiful promontory, jutting boldly into the sea, seems to have received its name from “the crimson fringes of the evening” lingering so long upon its summit. The fish found near it, which yields colouring matter, may take its name from the mountain. Like purple — Pliny says, that the ancient purple was glossy, and inclining to black. The curious linguist will find in all ancient tongues — the Greek as well as the Hebrew — a singular poverty and obscurity of words to express colours, and here “Carmel” may mean “purple,” which the following clause only makes more emphatic. The king, etc. — Hebrew, The king is charmed with thy flowing ringlets. 6. O love — That is, O lovely one. Admiration is expressed for the general effect of the special qualities now enumerated. The aggregate of the whole is most fascinating. 7. Palm tree — The palm, rising majestically to a lofty height, and wearing its crown of verdure visible from a distance, is the most striking in its appearance of all the trees of the East. An Indian prince, visiting London, came upon a palm in a royal greenhouse, and clasping it as a dear fellow-stranger and countryman, burst into tears. So in the medals representing Judea captured by Titus, the country is represented by a female sitting mournfully beneath a palm tree. Clusters — The word may mean clusters of any kind, but here evidently clusters of dates, which are a well-known fruit, bright, fragrant, and delicious. 8. Again we notice the King using a boldness of speech too great for that feeling of reverence which true love holds toward its object. “He comes too near, who needs to be denied.” I said — That is, “I said” in thought; equivalent to purposed. The past tense, however, implies the present continuance of the purpose, as the connexion shows. The smell of thy nose — Better, the fragrance of thy breath. It is compared to the sweet perfume of ripe apples. 9. The roof of thy mouth — Hebrew, thy palate; that is, thy speech. For my beloved — That is, Such wine as I would offer to a dear friend. Causing the lips, etc. — It so quickens the blood that even silent lips grow talkative under its influence.Into these few verses is thrown a faithful display of the character of Solomon, confirmed by his other Scriptural portraitures. We have seen the splendour of his pavilion and his train, the gorgeousness of his palace, the throngs of beautiful women that, like stars, adorn his court. We see the proud owner of all this, arrayed in all his glory and with arts of address, compress temptation to its intensest form by declaring his passionate attachment and preference for this Shulamite. But her bearing is firm, independent, and something more. She has placed her affection on one whose love is to her a vital need.“The mind has a thousand eyes, And the heart but one, And the light of a whole life dies When love is done.” 10. Her reply is modest but decisive. His desire is toward me — Hebrew, Desire of him is for me, that is, “I ought to desire him.” This is a definite refusal of the proposals of the King, who, baffled and mortified, disappears from view. The Beloved reappears. At this point the Song clearly treats of presence after espousal. After the trial which she has endured so well, and the conflicting emotions which must have heaved her bosom under the words of the King, the feelings of the Enamoured sink to natural calm and quietude.“So beautiful comes on The stilly hour when storms are gone.” 11. Let us go… into the field — Hebrew, country. She longs to return to the country, —“To its glow of summer gladness, To its hush of golden silence.”Let us lodge — Better, Let us abide. 12. Let us get up, etc. — Better, Early, will we stroll in the vineyards; we will see, etc. My loves — My affections. She speaks as a queen.“With a regal grace In her sun-kissed face, And a light in her beaming eye.”she assures him that he shall have what she refused to the King. 13. The mandrakes give a smell — Mandrakes are a bright, ruddy, and fragrant fruit, like a small apple, agreeable and exhilarating. At our gates — “In the garden near our door.” All these pleasures are described in lively anticipation. Her love has pruned and cherished many a plant that he might share its fruit. 1. A quiet and tender play of fancy. O that thou wert — Better, If thou hadst but been. When I, etc. — “If I found thee even in the streets, I would kiss thee, and none would reproach me for it.” She could then lay aside reserve and act with greater freedom. This is said as the lovers walk to the country. 2. I would lead thee — That is, from the street. Who would instruct me — Hebrew, Thou shouldst be my teacher. There should be a pause between spiced wine and of the juice of my pomegranate, as they refer to entirely distinct things. 3. Turning to the Chorus she affirms that she needs no support at any time other than her Beloved can give. 4. This verse differs slightly from Son 2:7; Son 3:5, and is more forcible. That ye stir, etc. — Hebrew, Why should ye stir, or awake, my affection to make it wish another? This is an appeal to them to see for themselves that she is perfectly content and happy in her Beloved. The scene now changes. The Chorus of the Daughters of Jerusalem — the ladies of the court and palace — no more appear. The Enamoured and the Beloved go from the city to the open fields on their way to the village in which is their home. The Chorus is now composed of villagers. Shulem, the native place of the happy pair, is so situated, that to reach it one crosses the plain of Esdraelon. 5. The wilderness — Hebrew, the plain. Dismissed now from the palace, the people of the village — the Homeric τις — the casual group, ask of each other this question. Not hearing — certainly not heeding — any words of theirs, they pass on in tender musing’s, until a dear old trysting place, an apple tree, calls out a remark. I raised thee up — Hebrew, I incited thee to love. The common people of the East live much in the open air, and it is not extraordinary that the Beloved may have been born under the apple tree, (Hebrew, this apple tree,) where, in years long after, the speaker won his heart. The repetition here given makes the identification of the tree the more forcible. 6. Set me as a seal — The place of so tender associations gives new impulse to her feelings. In all ancient nations the sealing ring, or signet ring — the “seal” here alluded to — was constantly worn upon the person, sometimes as a bracelet, oftener as a finger ring. It was, from the comparative infrequency of writing, much used in impressions which served as a sign manual. The wish of the Enamoured is, that she may be always with him. Jealousy — The Hebrew term is simply more intense than that for “love.” Ardent love is more resistless than sheol — the world to which all the living are hurried. The coals, etc. — Hebrew, the flames thereof are flames of fire. Which hath — Hebrew, because they are the flames of the eternal. The Author of our being, the Maker of our hearts, has implanted love within us. This brief sentence contains within itself the ample excuse for the existence of this song. This is the only mention of the divine Being in this book, and it gives reverently his sanction, or rather, appeals to him as fashioning our hearts and framing our nature. 7. Many waters cannot quench love — “Therefore” is to be supplied before “many.” It has often been observed that the lack of logical particles in Hebrew causes an appearance of independent, proverbial statement, when there is real connexion. In this respect it is even more obscure than Latin, and contrasts forcibly with Greek. For the reason that love is a flame from the Eternal, “many waters cannot quench it.” If a man, etc. — The allusion to the efforts and the failure of the King is very plain. The idea of the holy origin of love is still kept in view. It cannot be bought and sold for money, for houses and lands. Only a heart can buy a heart; and in dark, polygamous times, and in the case of such a king, it is good to see this truth, on the delicate and conscientious regard for which the happiness of the individual and the welfare of society must for ever depend, so firmly, though gently, asserted. The brothers — of whose care over the Shulamite, honest (though perhaps rigorous) mention has already been made —appear upon the scene in anxious discussion, to which their sister listens. One says to the other: — 8. We have, etc. — Hebrew, Our sister is young, and not yet marriageable. When she shall be spoken for — Better, when she shall be demanded in marriage. The brothers contemplate the time when she will pass from their guardianship, and according to her behaviour during the years of her minority they will apportion her dowry. 9. If she be a wall — This implies stability and fidelity of character. A palace of silver — Better, a turret of silver. Among the Druses of Mount Lebanon an unmarried girl wears upon the crown of her head a silver horn, often studded with jewels. Possibly a beautiful gift of this sort is contemplated as a reward for her maintenance of the honour of their family. And if she be a door — That is, “swinging to and fro,” “fickle.” Cedar is a strong wood, and the idea of enclosing her in boards of cedar is that of close, strict custody. If she show herself accessible to seductive arts, she shall be guarded with the greater vigilance. 10. I am a wall, etc. — Better, I am a wall, and of marriageable age. This is her reply to the suggestions of her brothers. Her principles have stood the test. The development of the bosom in woman, as the growth of beard in man, marks puberty, the time of life when marriage unions may properly be consummated.“‘Tis the time of times, in the dewy morn, When the sunbeams flush the earth, To yield in love a glowing heart, Whatever that heart be worth.”She turns to the Beloved with an air of triumph. The last obstacle of love — the removal of her brothers’ misgivings — seems removed. Then was I — Better, therefore am I. This is said to the Beloved concerning her brother, whose anxiety for her character is now at rest. 11. A vineyard at Baal-hamon — From the presentation of this verse, in its connexion with the following, it suggests that the estate herein described was offered by Solomon (who has until now been called simply the King) as a dowry to the Shulamite if she would accept his proposals. No such place as “Baal-hamon” can be traced. A thousand pieces — The “pieces of silver” which each tenant brought were probably the shekel — about fifty cents of our money. The property was evidently valuable. 12. We have seen the Shulamite sitting in the pavilion of the King, and in his palace. Now, she is sitting in the gardens; the friends of herself and of her Beloved welcoming her return, and anticipating the bridal feast, beguile the happy time with gentle conversation. 13. The Beloved addresses her in this verse, and urges the gladsome utterance that shall fix the nuptial hour. 14. To this she replies that there need be no delay. The Beloved may haste to assume the character of bridegroom. The lively, simple imagery, now so familiar, is kept to the last —“Wouldst thou the poet rightly understand, Go thou and wander through his native land.”The graceful forms of the gazelle and the young hart, the hills set with spicy groves like those of “Araby the blest,” the bride amid her companions, the bridegroom coming out of his chamber in the prime of his manly beauty — with this picture, simple, yet richly set with many a charm, the Song concludes. No wonder that the rabbi, in language still preserved in the Talmud, pronounced it a legend of the beautiful, a comfort and a blessing.