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 quiet life of her village home. Solomon appears here in loving fellowship with a woman such as he had not found among a thousand (Ecc 7:28); and although in social rank far beneath him, he raises her to an equality with himself. That which attached her to him is not her personal beauty alone, but her beauty animated and heightened by nobility of soul. She is a pattern of simple devotedness, naive simplicity, unaffected modesty, moral purity, and frank prudence, - a lily of the field, more beautifully adorned than he could claim to be in all his glory. We cannot understand the Song of Songs unless we perceive that it presents before us not only Shulamith's external attractions, but also all the virtues which make her the idea of all that is gentlest and noblest in woman. Her words and her silence, her doing and suffering, her enjoyment and self-denial, her conduct as betrothed, as a bride, and as a wife, her behaviour towards her mother, her younger sister, and her brothers, - all this gives the impression of a beautiful soul in a body formed as it were from the dust of flowers. Solomon raises this child to the rank of queen, and becomes beside this queen as a child. The simple one teaches the wise man simplicity; the humble draws the king down to her level; the pure accustoms the impetuous to self-restraint. Following her, he willingly exchanges the bustle and the outward splendour of court life for rural simplicity, wanders gladly over mountain and meadow if he has only her; with her he is content to live in a lowly cottage. The erotic external side of the poem has thus an ethical background. We have here no “song of loves” (Eze 33:32) having reference to sensual gratification. The rabbinical proverb is right when it utters its threat against him who would treat this Song, or even a single verse of it, as a piece of secular literature. The Song transfigures natural but holy love. Whatever in the sphere of the divinely-ordered marriage relation makes love the happiest, firmest bond uniting two souls together, is presented to us here in living pictures. “The Song,” says Herder, “is written as if in Paradise. Adam's song: Thou art my second self! Thou art mine own! echoes in it in speech and interchanging song from end to end.” The place of the book in the canon does not need any further justification; that its reception was favoured also by the supposition that it represented the intercourse between Jahve and the congregation of Israel, may be conjectured indeed, but is not established. The supposition, however, would have been false; for the book is not an allegory, and Solomon is by no means an Allegorumenon