The answer comes almimmediately, in the Dod’s first speech after fleeing from her home. The fact that he responds to her longing is less significant to us than the allusions latent in his remarks:
You are beautiful, my darling, as Tirzah, comely as Jerusalem, awesome as bannered hosts. Turn your eyes away from me, for they overwhelm me! Your hair is like a flock of goats streaming down from Gilead. Your teeth are like a flock of ewes climbing up from the washing pool; all of them bear twins, and not one loses her young. Your brow behind your veil gleams like a pomegranate split open… (6:4-7)
In his response, the Dod virtually repeats the same praises for his beloved that he had articulated earlier, just before his arrival at her home. In essence, he does not react to the new reality; he does not attempt either to appease or to discourage her in the aftermath of the recent failure. Rather, he intentionally returns to the point before the crisis. Throughout the Megilla, the images and words of love continuously develop and change in accordance with their emotions. Specifically here – after the jarring disruption of their love – the Dod simply repeats that which he had expressed earlier, indicating that all is forgotten; their love has been restored to its previous peaks of passion. These verses, which describe her teeth, hair and brow, contain the powerful message of the Almighty’s acceptance of us with renewed love, willing to ignore and overlook the awful past of sin and spiritual indifference.
[The Ramban points out that this is the point of the repetition of the details of the Mishkan, God’s abode among Beni Yisrael, in parashiot Vayakhel and Pekudei. These details had originally appeared in parashiot Teruma and Tetzaveh, but were then followed by the Golden Calf in Ki Tisa; their detailed repetition afterwards indicates the restoration of the relationship of love between God and His people despite the intervening sin.]
And so, from this point on, their relationship flows quickly and in straightforward fashion until they finally arrive at their long-awaited union. Once the Dod turns back the clock and overlooks her mistake, the drama continues from the same point where it had developed earlier. Thus, many elements from chapter 4 – before the crisis – appear again in chapter 7, for chapter 7 is but an improved edition of the events of chapter 4.
Another dimension of the Dod’s repetition of chapter 4 relates to the gradual development of his attitude towards her body. Until the beginning of chapter 4 – just before he arrives to actualize their love – all his references related to the whole of her personality, except for several remarks about her most external, less intimate physical features – “your dove-like eyes,” “Your cheeks are comely with plaited wreaths, your neck with strings of jewels.” He spoke not at all about her more private features, whose mention at the formative stages of their relationship would be inappropriate. His depiction was thus consistent with his general approach, which insisted on allowing their feelings to gradually and naturally mature and ripen.
Now, in chapter 4, their love has developed and may now be actualized in the form of their nighttime rendezvous. Understandably, at this point the Dod now turns to the more intimate features of his beloved’s body, the parts concealed from strangers but disclosed to the Re’aya’s soul-mate and lover. Thus, his praises in chapter 4 do not end with the comparison of her eyes with doves and her hair with flocks of sheep. He now progresses to the next level: “Your breasts are like two fawns, twins of a gazelle, browsing among the lilies;” “How sweet is your love, My own, My bride!”