Now Solomon reappears on the scene, and resumes his laudation of the Shulammite's beauty.[55] But there is a marked change in his manner. This most recent capture is quite unlike the sort of girls with whom his harem was stocked from time to time. He had no reverence for any of them; they all considered themselves to be highly honoured by his favour, all adored him with slavish admiration, like that expressed by one of them in the first line of the poem. But he is positively afraid of the Shulammite. She is "terrible as an army with banners." He cannot bear to look at her eyes; he begs her to turn them away from him, for they have overcome him. What is the meaning of this new attitude on the part of the mighty monarch? There is something awful in the simple peasant girl. The purity, the constancy, the cold scorn with which she regards the king, are as humiliating as they are novel in his experience. Yet it is well for him that he is susceptible to their influence. He is greatly injured and corrupted by the manners of a luxurious oriental court. But he is not a seared profligate. The vision of goodness startles him; then there is a better nature in him, and its slumbering powers are partly roused by this unexpected apparition. [55] vi. 4-7. We have now reached a very important point in the poem. It is almost impossible to reconcile this with the theory that Solomon is the one and only lover referred to throughout. But on the "shepherd hypothesis" the position is most significant. The value of constancy in love is not only seen in the steadfast character of one who is sorely tempted to yield to other influences; it is also apparent in the effects on a spectator of so uncongenial a nature as king Solomon. Thus the poet brings out the great idea of his work most vividly. He could not have done so more forcibly than by choosing the court of Solomon for the scene of the trial, and shewing the startling effect of the noble virtue of constancy on the king himself.