Song 2:8 shows the beloved bounding toward her; here he speaks — the two verses build the same scene of his approach and call.

Song 2:13 repeats the exact invitation 'Arise, my love... come away' with added seasonal imagery — a refrain within the same poem.

Song 4:7 declares the beloved 'altogether beautiful' — reinforcing the 'beautiful one' address here. Consistent portrayal of the beloved.

Song 4:8 repeats the call to 'come with me' from Lebanon — a parallel invitation to leave a place and join the beloved.

In Song 7:11, the woman echoes his call, inviting him to go out — a reciprocal invitation that mirrors this verse's structure.

Song 5:2 has the beloved knocking and calling from outside — a different scene but the same voice inviting intimacy. Less direct parallel.

In Song 4:1, the beloved expands on her beauty with the same endearment 'my love' and 'beautiful' — deepening the portrait of the one called here.

In Psalm 45:10, the bride is told to forget her father's house and come to the king—a direct parallel to the beloved's invitation.

In Revelation 19:7-9, the marriage of the Lamb is announced and the bride is ready—echoing the call to come to the wedding.

In Revelation 22:17, the Spirit and the bride say 'Come!'—a direct verbal echo of the beloved's invitation in Song of Solomon.

In 2 Corinthians 11:2, Paul presents the church as a bride betrothed to Christ—connecting to the bridegroom theme of Song of Solomon.