destroy her love for the shepherd, and all possible means were employed for buying her love for the king. Both utterly failed. All the floods of scorn which the harem ladies poured over her love for the country lad could not quench it; all the wealth of a kingdom could not buy it for Solomon. Where true love exists, no opposition can destroy it; where it is not, no money can purchase it. As for the second idea--the purchasing of love--the Shulammite flings it away with the utmost contempt. Yet this was the too common means employed by a king such as Solomon for replenishing the stock of his harem. Then the monarch was only pursuing a shadow; he was but playing at love-making; he was absolutely ignorant of the reality. [71] viii. 5. [72] viii. 6, 7. The vigour, one might say the rigour, of this passage distinguishes it from nearly all other poetry devoted to the praises of love. That poetry is usually soft and tender; sometimes it is feeble and sugary. And yet it must be remembered that even the classical Aphrodite could be terribly angry. There is nothing morbid or sentimental in the Shulammite's ideas. She has discovered and proved by experience that love is a mighty force, capable of heroic endurance, and able, when wronged, to avenge itself with serious effect. Towards the conclusion of the poem fresh speakers appear in the persons of the Shulammite's brothers, who defend themselves from the charge of negligence in having permitted their little sister to be snatched away from their keeping, explaining how they have done their best to guard her. Or perhaps they mean that they will be more careful in protecting a younger sister. They will build battlements about her. The Shulammite takes up the metaphor. She is safe now, as a wall well embattled; at last she has found peace in the love of her husband. Solomon may have a vineyard in her neighbourhood, and draw great wealth from it with which to buy the wares in which he delights.[73] It is nothing to her. She has her own vineyard. This reference to the Shulammite's vineyard recalls the mention of it at the beginning of the poem, and suggests the idea that in both cases the image represents the shepherd lover. In the first instance she had not kept her vineyard,[74] for she had lost her lover. Now she has him, and she is satisfied.[75] He calls to her in the garden, longing to hear her voice there,[76] and she replies, bidding him hasten and come to her as she has described him coming before,-- "Like to a roe or a young hart Upon the mountains of spices."[77] [73] viii. 11. [74] i. 6. [75] viii. 12. [76] viii. 13. [77] viii. 14. And so the poem sinks to rest in the happy picture of the union of the two young lovers. CHAPTER IV _MYSTICAL INTERPRETATIONS_