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Updated: May 1, 2025
She remains tantalizingly invisible, but becomes audible. Shulammith sings Take us the foxes, The little foxes, That spoil the vineyards: For our vines are in blossom! Then, in loving rapture, Shulammith speaks in an aside My beloved is mine, and I am his: He feedeth his flock among the lilies!
Ewald, while refusing to connect the Idylls with Canticles, admitted that one particular parallel is at first sight forcible. It is the comparison of both Helen and Shulammith to a horse. Margoliouth thinks the Greek inexplicable without the Hebrew; Graetz thinks the Hebrew inexplicable without the Greek. In point of fact, the Hebrew and the Greek do not explain each other in the least.
Shulammith makes no answer, though she feels that the shepherd is conscious of her presence. She is, as it were, in an unapproachable steep, such as the wild dove selects for her shy nest. So he goes on: O my dove, that art in the clefts of the rock, In the covert of the steep! Let me see thy face, Let me hear thy voice, For sweet is thy voice, and thy face comely!
But, argues Graetz with extraordinary ingenuity, Simaitha, recounting her unfortunate love-affair, introduces, as Shulammith does, dialogues between herself and her absent lover; she repeats what he said to her, and she to him; her monologue is no more a soliloquy than are the monologues of Shulammith, for both have an audience: here Thestylis, there the chorus of women.
Obviously, there is no kinship between the facile Sirnaitha of the Idyll and the difficult Shulammith of Canticles: one the seeker, the other the sought; between the sensuous, unrestrained passion of the former and the self-sacrificing, continent affection of the latter. The nobler conceptions of love derive from the Judean maiden, not from the Greek paramour.
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