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 of God. But the congregation is truly a bride (Jer 2:2; Isa 62:5), and Solomon a type of the Prince of peace (Isa 9:5; Luk 11:31), and marriage a mystery, viz., as a pattern of the loving relation of God and His Christ to the church (Eph 5:32). The Song has consequently not only a historico-ethical, but also a typico-mystical meaning. But one must be on his guard against introducing again the allegorical interpretation as Soltz (1850) has done, under the misleading title of the typical interpretation. The typical interpretation proceeds on the idea that the type and the antitype do not exactly coincide; the mystical, that the heavenly stamps itself in the earthly, but is yet at the same time immeasurably different from it. Besides, the historico-ethical interpretation is to be regarded as the proper business of the interpreter. But because Solomon is a type (vaticinium reale) of the spiritual David in his glory, and earthly love a shadow of the heavenly, and the Song a part of sacred history and of canonical Scripture, we will not omit here and there to indicate that the love subsisting between Christ and His church shadows itself forth in it. But the prevailing view which Jacob (1771) established, and which has predominated since Umbreit (1820) and Ewald (1826), is different from ours. According to them, the Song celebrates the victory of the chaste passion of conjugal love. The beloved of Shulamith is a shepherd, and Solomon acts toward her a part like that of Don Juan with Anna, or of Faust with Gretchen. Therefore, of course, his authorship is excluded, although Anton (1773), the second oldest representative of this so-called shepherd hypothesis, supposes that Solomon at a later period of his life recognised his folly, and now here magnanimously praises the fidelity of Shulamith, who had spurned his enticements away from her; and a Jewish interpreter, B. Holländer (1871), following Hezel (1780), supposes that Solomon represents himself as an enticer, only to exhibit the idea of female virtue as triumphing over the greatest seduction. Similarly also Godet (1867), who, resting on Ewald, sees here a very complicated mystery presented by Solomon himself, and pointing far beyond him: Solomon, the earthly Messiah; Shulamith, the true Israel; the shepherd, Jahve, and as Jahve who is about to come, the heavenly Solomon; the little sisters, heathenism - it is the old allegory, able for everything, only with changed names and a different division of the parts which here comes in again by the back-door of the seduction-history.