Page:04.BCOT.KD.PoeticalBooks.vol.4.Writings.djvu/2146



he Song is the most obscure book of the Old Testament. Whatever principle of interpretation one may adopt, there always remains a number of inexplicable passages, and just such as, if we understood them, would help to solve the mystery. And yet the interpretation of a book presupposes from the beginning that the interpreter has mastered the idea of the whole. It has thus become an ungrateful task; for however successful the interpreter may be in the separate parts, yet he will be thanked for his work only when the conception as a whole which he has decided upon is approved of.

It is a love-poem. But why such a minne-song in the canon? This question gave rise in the first century, in the Jewish schools, to doubts as to the canonicity of the book. Yet they firmly maintained it; for they presupposed that it was a spiritual and not a secular love-poem. They interpreted it allegorically. The Targum paraphrases it as a picture of the history of Israel from the Exodus to the coming of the Messiah. The bride is the congregation of Israel; and her breasts, to quote one example, are interpreted of the Messiah in His lowliness and the Messiah in His glory. But “Solomon” is an anthropomorphic representation of Jahve Himself. And all the instances of the occurrence of the name, with one exception, are therefore regarded as an indirect allegorical designation of the God of peace (vid., Norzi under Sol 1:1). And because of its apparently erotic, but in truth mysterious contents, it was a Jewish saying, as Origen and Jerome mention, that the Song should not be studied by any one till he was thirty years of age (nisi quis aetatem sacerdotalis ministerii, id est, tricesimum annum impleverit). Because, according to the traditional Targ. interpretation, it begins with the departure out of Egypt, it forms a part of the liturgy for the eighth day of the Passov.