Thus far the motif seems to be that of a Cinderella oppressed by brothers but exalted by the most magnificent of princes. But here the plot changes. The magnificence of Solomon cannot allure from her shepherd lover this “lily of the valley.” Her lover visits her in the palace, where her now relenting brothers (vi. 12) seem to appear (though this is doubtful) and witness her triumphs; and all are in raptures at her dancing and her amply displayed charms—all unless one (perhaps the lover) who, according to a doubtful interpretation, complains that they should gaze at her as at dancers in the camps (vi. 13).[4]
Although Russell Martineau maintained, against most other commentators, that Solomon is only a part of the scene, and not among the dramatis personæ, the King certainly seems to be occasionally present, as in the following dialogue, where I give the probable, though of course conjectural, names. The dancer has approached the King while at table.
Solomon—
“I have compared thee, O my love,
To my steed in Pharaoh’s chariot.
Thy cheeks are comely with plaits of hair,
Thy neck with strings of jewels.
We will make thee plaits of gold
With studs of silver.”
Shulamith, who, on leaving the King, meets her jealous lover—