The Song does not open with abstract praise of love, or with love of a sublimated sort, but with a demand for kisses, and apparently with haste for something more than kisses. Both are solicited by a woman whose cry is her only introduction, and who will be the dominant and more eager persona through most of the Song. She will have no name until 6:13, supposing that “the Shulammite” is a name and that the Shulammite is indeed the same woman as the persona of the other