Menestrier (born in Sion 1631, died 1705), who, in his two little works on the opera and the ballet, speaks of Solomon as the creator of the opera, and regards the Song as a shepherd-play, in which his love-relation to the daughter of the king of Egypt is set forth under the alle...
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Menestrier (born in Sion 1631, died 1705), who, in his two little works on the opera and the ballet, speaks of Solomon as the creator of the opera, and regards the Song as a shepherd-play, in which his love-relation to the daughter of the king of Egypt is set forth under the allegorical figures of the love of a shepherd and a shepherdess! (Note: Vid., Eugne Despris in the Revue politique et litteraire 1873. The idea was not new. This also was the sentiment of Fray Luis de Leon; vid., his Biographie by Wilkens (1866), p. 209.) For Shulamith is thought of as a רעה shepherdess, Sol 1:8, and she thinks of Solomon as a רעה shepherd. She remains so in her inclination even after her elevation to the rank of a queen. The solitude and glory of external nature are dearer to her than the bustle and splendour of the city and the court. Hence her pressing out of the city to the country. השׂדה is local, without external designation, like rus (to the country). כּפרים (here and at 1 Chronicles 27:25) is plur. of the unused form כּפר (constr. כּפר, Joshua 18:24) or כּפר, Arab. kafar (cf. the Syr. dimin. kafrûno, a little town), instead of which it is once pointed כּפר, 1 Samuel 6:18, of that name of a district of level country with which a multitude of later Palest. names of places, such as כּפר נחוּם, are connected. Ewald, indeed, understands kephārim as at Sol 4:13 : we will lodge among the fragrant Al-henna bushes.