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 character which herein comes to view: her longing after quietness and peace, her love for collectedness of mind and for contemplation; her delight in thoughts of the Creator suggested by the vegetable world, and particularly by the manifold soft beauty of flowers; she is again once more in the gardens of her home, but the address, “O thou at home in the gardens!” denotes that wherever she is, these gardens are her home as a fundamental feature of her nature. The חברים are not Solomon's companions, for she has come hither with Solomon alone, leaning on his arm. Also it is indicated in the expression: “are listening for thy voice,” that they are such as have not for a long time heard the dear voice which was wont to cheer their hearts. The חבר are the companions of the former shepherdess and keeper of a vineyard, Sol 1:6 f., the playmates of her youth, the friends of her home. With a fine tact the poet does not represent Solomon as saying חבריך nor חברינוּ: the former would be contrary to the closeness of his relation to Shulamith, the latter contrary to the dignity of the king. By חברים there is neither expressed a one-sided reference, nor is a double-sided excluded. That “for thy voice” refers not to her voice as speaking, but as the old good friends wish, as singing, is evident from השׁמיעני in connection with Sol 2:14, where also קולך is to be supplied, and the voice of song is meant. She complies with the request, and thus begins:

Verse 14
Sol 8:14 14 Flee, my beloved,      And be thou like a gazelle,      Or a young one of the harts,      Upon spicy mountains. Hitzig supposes that with these words of refusal she bids him away from her, without, however, as “my beloved” shows, meaning them in a bad sense. They would thus, as Renan says, be bantering coquetry. If it is Solomon who makes the request, and thus also he who is addressed here, not the imaginary shepherd violently introduced into this closing scene in spite of the words “(the thousand) is thine, Solomon” (Sol 8:12), then Shulamith's ignoring of his request is scornful, for it would be as unseemly if she sang of her own accord to please her friends, as it would be wilful if she kept silent when requested by her royal husband. So far the Spanish author, Soto Major, is right (1599): jussa et rogata id non debuit nec potuit recusare. Thus with “flee” she begins a song which she sings, as at Sol 2:15 she commences one, in response to a similar request, with “catch us.” Hoelem. finds in her present happiness, which fills her more than ever, the thought here expressed that her beloved, if he again went from her for a moment, would yet