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 paululum, here standing for a sentence: it was as a little that I passed, etc. Without שׁ, it would be paululum transii; with it, paululum fuit quod transii, without any other distinction than that in the latter case the paululum is more emphatic. Since Shulamith relates something experienced earlier, אחזתּי is not fitly rendered by teneo, but by tenui; and ארפּנּוּ dna ;iune לאו, not by et non dimittam eum, but, as the neg. of וארפנו, et dimisi eum, - not merely et non dimittebam eum, but et non dimisi eum. In Gen 32:27 [26], we read the cogn. שׁלּח, which signifies, to let go (“let me go”), as הרפּה, to let loose, to let free. It is all the same whether we translate, with the subjective colouring, donec introduxerim, or, with the objective, donec introduxi; in either case the meaning is that she held him fast till she brought him, by gentle violence, into her mother's house. With בּית there is the more definite parallel חדר lellar, which properly signifies (vid., under Sol 1:4), recessus, penetrale; with אמּי, the seldom occurring (only, besides, at Hos 2:7) הורה, part.f. Kal of הרה fo la, to conceive, be pregnant, which poetically, with the accus., may mean parturire or parere. In Jacob's blessing, Gen 49:26, as the text lies before us, his parents are called הורי; just as in Arab. ummâni, properly “my two mothers,” may be used for “my parents;” in the Lat. also, parentes means father and mother zeugmatically taken together.

Verse 5
The closing words of the monologue are addressed to the daughters of Jerusalem. 5 I adjure you, O ye daughters of Jerusalem,    By the gazelles or the hinds of the field,    That ye awake not and disturb not love    Till she pleases. We are thus obliged apparently to think of the daughters of Jerusalem as being present during the relation of the dream. But since Shulamith in the following Act is for the first time represented as brought from her home to Jerusalem, it is more probable that she represented her experience to herself in secret, without any auditors, and feasting on the visions of the dream, which brought her beloved so near, that she had him by herself alone and exclusively, that she fell into such a love-ecstasy as Sol 2:7; and pointing to the distant Jerusalem, deprecates all disturbance of this ecstasy, which in itself is like a slumber pervaded by pleasant dreams. In two monologues dramatically constructed, the poet has presented to us a view of the thoughts and feelings by which the inner life of the maiden was moved in the near prospect of becoming a bride and being married. Whoever reads the Song in the sense in which it is incorporated