He describes her as “a garden locked” and “a spring locked, a fountain sealed,” using a protected-garden image (Song of Solomon 4:12). The following lines continue with a list of fruits and spices connected to that garden picture (Song of Solomon 4:13-14).

The speaker charges the daughters of Jerusalem not to arouse love before the right time (Song of Solomon 2:7). It functions as a pause that frames love as something not to be forced prematurely (Song of Solomon 2:7).

The speaker asks to be brought close and to follow quickly after her beloved (Song of Solomon 1:4). She describes being brought into the king’s chambers and rejoicing in his love (Song of Solomon 1:4).

She states mutual belonging and adds that his desire is directed toward her (Song of Solomon 7:10). The line answers the preceding expressions of desire and attraction in the surrounding speech (Song of Solomon 7:8-10).

The beloved announces that he has entered his garden and enjoyed its spices, honey, and wine (Song of Solomon 5:1). The verse ends with a call to others: “Eat, friends; drink, and be drunk with love” (Song of Solomon 5:1).

The speaker describes love as powerful and unyielding, comparing it to death and jealousy to Sheol (Song of Solomon 8:6). The verse adds that its flashes are “flashes of fire” and “a very flame of the LORD” (Song of Solomon 8:6).

The text says love cannot be put out by many waters or floods (Song of Solomon 8:7). It also says love cannot be bought with all the wealth of a house; such an offer would be despised (Song of Solomon 8:7).

The line is a direct statement of mutual belonging between the lovers (Song of Solomon 2:16). It is paired with the pastoral image that “he grazes among the lilies” (Song of Solomon 2:16).

The book opens with the title “The Song of Songs,” presented as an outstanding or supreme song (Song of Solomon 1:1). The same line links the song with Solomon (Song of Solomon 1:1).

She connects his “name” with pleasant fragrance, like perfume being poured out (Song of Solomon 1:3). The image explains why others are drawn to him (“therefore virgins love you”) (Song of Solomon 1:3).

He compares her to a striking mare among Pharaoh’s chariots as a vivid image of beauty and impact (Song of Solomon 1:9). The comparison introduces a sequence of admiration for her appearance (Song of Solomon 1:9-10).

She explains that family conflict led to her being made a keeper of vineyards (Song of Solomon 1:6). She adds that she has not kept “my own vineyard,” contrasting her work with her personal situation (Song of Solomon 1:6).

She describes seeking the one she loves at night, getting up to search the city streets and squares (Song of Solomon 3:1-2). After asking the watchmen, she finds him and holds him, bringing him to her mother’s house (Song of Solomon 3:3-4).

The passage describes Solomon’s carriage (his litter) surrounded by sixty mighty men of Israel (Song of Solomon 3:7). They are armed and prepared because of “terror by night” (Song of Solomon 3:8).

The text calls for catching “the little foxes” because they ruin vineyards when the vines are in blossom (Song of Solomon 2:15). The image highlights small threats that can spoil what is growing and fruitful (Song of Solomon 2:15).

The daughters of Zion are invited to look on King Solomon with the crown his mother placed on him (Song of Solomon 3:11). The verse names it “the day of his wedding” and “the day of the gladness of his heart” (Song of Solomon 3:11).

They question what makes her beloved unique compared to others (Song of Solomon 5:9). The question comes after she asks them to deliver a message to him (Song of Solomon 5:8-9).

During her search in the city, the watchmen find her, strike her, wound her, and take away her veil (Song of Solomon 5:7). The verse presents this as part of the hardship she meets while seeking her beloved (Song of Solomon 5:6-7).

He says she has captured his heart with a glance and with a single jewel of her necklace (Song of Solomon 4:9). The statement introduces further praise of her love and fragrance (Song of Solomon 4:10).

She wants to know where he rests at midday so she can find him rather than wander among others (Song of Solomon 1:7). The question is framed as a request for guidance to meet him where he is (Song of Solomon 1:7).

She uses fragrance imagery to describe closeness and delight, calling him a sachet of myrrh that lies between her breasts (Song of Solomon 1:13). The line continues the perfume language used throughout the opening scene (Song of Solomon 1:12-13).

She describes her sun-darkened appearance while still affirming her beauty (Song of Solomon 1:5). She compares herself to the tents of Kedar and the curtains of Solomon (Song of Solomon 1:5).

She calls for the winds to blow so the garden’s fragrances may flow out (Song of Solomon 4:16). Then she invites her beloved to come to his garden and eat its choice fruits (Song of Solomon 4:16).

The speaker compares his love to wine to express how pleasing and desirable it is to her (Song of Solomon 1:2). The line is part of her opening praise and desire for closeness (Song of Solomon 1:2).