. The term 'idyl' has been explained above (page 248, note
to iv): such idyls may be either narrated as stories, or brought out
lyrically or dramatically, as in the present case. It is one of a series
of lyric idyls making up the poem of Solomon's Song. The story
underlying this poem has been variously interpreted; the interpretation
followed in this series (Biblical Idyls volume) is that King Solomon,
visiting his vineyards on Mount Lebanon, has come by surprise upon a
beautiful Shulammite maiden. As she flies from the royal suite he seeks
her in shepherd disguise and wins her love, then he brings her as queen
to his palace. The present selection is Idyl II of the series, and
contains two of the Bride's Reminiscences of this courtship. The first
is of a visit by the disguised king on a fair spring morning, and how
the lovers were interrupted by the harsh voices of the Bride's Brothers
crying out that the foxes were in the vineyards. The second is a dream
of losing and finding her lover. [The passages in italics are not spoken
by the Bride, but are the poet's interludes, dividing the different
sections of the poem.]--Metrical scheme. The idyls are a combination of
Antique Rhythm and Antistrophic structure: but the parallelism of
strophe and antistrophe must be reckoned in strains, not in lines (see
above, page 242): thus we have four strains balanced by four, then two
by two; then (in the Dream) three by three. [The refrains are outside
the metrical scheme.]

/viii, ix./ These are songs from the books of the prophets.

/viii. The Battle of Carchemish./ This is a War Ballad, in triplet
stanzas with 'duplication.' The battle celebrated was a turning-point in
history, settling for ever the supremacy of the Babylonian over the
Egyptian empire: these were the two world empires between which parties
in the nation of Israel fluctuated, the whole strength of Jeremiah and
the prophetic party being thrown against Egypt.

/ix./ This /Song of Zion Redeemed/ forms a section of the Isaiahan
'Rhapsody of Zion Redeemed' [chapters xl-lxvi]. It is in stanzas of 4,
or occasionally 6 and 8 lines, the flow interrupted by couplets,
especially at the beginning of the sections. Compare above, page 262,
note to /vii/ (Sonnets).

/x, xi./ These are illustrations of a characteristic feature of
Biblical poetry--the 'Doom form.' See above, page 245.

/x. Isaiah's Doom of Babylon./ The structure is made up of the Divine
word of the overthrow of