Song 8:7 says love cannot be purchased with all a household’s wealth; 8:11–12 immediately turns to Solomon’s revenue-producing vineyard and silver.

Genesis 2 presents male-female union before death enters the biblical story, while Song 8 declares love strong as death and unquenchable by many waters. The juxtaposition creates a meaningful creation-to-love-and-mortality trajectory without proving direct literary dependence.

Song climaxes in fierce, unquenchable love; Hosea later uses betrothal and enduring covenant commitment to portray the LORD’s restoration of his people.

Isaiah explicitly calls Israel’s Maker her husband and describes enduring covenant compassion, developing marriage language into a God-and-people metaphor.

Isaiah compares God’s rejoicing over Zion to a bridegroom rejoicing over a bride, giving inspired covenant force to marriage imagery that the Song celebrates at the human level.

Jeremiah recalls Israel’s early covenant devotion as “the love of thine espousals,” showing prophetic use of courtship and marriage language for covenant fidelity.

Ezekiel 16 portrays covenant in marriage terms and surrounds the bride with adornment, beauty, and costly gifts.

Ephesians explicitly applies the Genesis 2 marriage mystery to Christ and the church, placing human marriage within a Christological canonical horizon.

Revelation culminates the biblical bridegroom trajectory in the marriage supper of the Lamb, where the bride is prepared for the wedding.

Revelation presents New Jerusalem as a bride adorned for her husband and explicitly calls her “the bride, the Lamb’s wife.”

Revelation 12:11–16 plausibly reuses Song 8:6–7’s cluster of love, death, many waters, and floods: the faithful love not their lives unto death while the dragon sends a flood after the woman.