494 BlaΩej ∏trba precious oil ran down (cf. Ps 133,2), gradually releasing the perfume which spread all around. But the comparison 13(cd) does not rest only on the aromatic fragrance. Although µynvwv’s power has obviously a connotation with precious scent, yet the cola (cd) seem to suggest that both myrrh and µynvwv serve to produce a fascinating attraction rather than to present a very beautiful odour. The verse 4,14 may be used as a chief argument to discard the use of µynvwv as merely a fragrant flower. There are seven flowers with fragrance spices some of which occur only in the Song or only in this v. 14. After these seven plants the addition of the fullness is expressed: “with all chief spices”. There is no mention at all of hnvwv. If the strength of µynvwv was only in its fragrance should it not be accounted among these seven flowers? The conclusion would be, that since µynvwv is absent from the group of aromatic flowers in 4,14, although it is an extremely scented flower, the strength of its symbol must rest somewhere else. The attraction is not in the form either. Another extra-biblical example of this matter is given in an ancient Egyptian love song, where a comparison with the flower ππn appears. The fingers of a beloved (she) are compared to this flower. The metaphor has no strength when based on the shape of the fingers, but rather on their movement which awakens the deep passion of love and the desire of her beloved (82). Before closing the examination of µynvwv in 5,13 and of all other single occurrences within the Canticle, the contextual considerations may give us some indication about the meaning and thus a further support for “lotus” translation of the lexeme of hnvwv. Referring again to the context of the Song the girl’s very first request is “Let him kiss me with the kisses of his mouth!” (1,2a) (83). Towards the end of the Song she presents herself ready to kiss him: “If I met you outside, I would kiss you, and no one would despise me” (8,1b). These are the only two times when the kisses are mentioned in the Song. At the very beginning, the first appeal of the main protagonist is linked to the lips’ expression – kisses. Towards the end (82) A.H. GARDINER, The Library of A. Chester Beatty. Description of a Hieratic Papyrus with a Mythological Story, Love-Songs, and Other miscellan- eous Texts. Chester Beatty Papyri, No. 1 (London 1931) 30, XXIIA, 4; cf. KEEL, Hohelied, 188. (83) This kind of language and this verse itself is as easy (apparently) to understand as to interpret in different ways.