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 Thus this seduction-history has not put an end to the over-ingenious allegorizing. In one point, however, at least, it has aided in the understanding of the Song. Herder saw in the Song a collection of Solomonic songs of love, which he translated (1778), as the oldest and the most beautiful, from the Orient. But Goethe, who in the Westöst. Divan (1819) praises the Song as the most divine of all love-songs, recognised, after the appearance of Umbreit's Comm., the unity also of the “inexplicably mysterious.” We are not conscious of any prejudice which makes it impossible for us to do justice to the interpretation to which Umbreit and Ewald gave currency. It abundantly accounts for the reception of the book into the canon, for so interpreted it has a moral motive and aim. And the personality of Solomon has certainly not merely a bright side, which is typical, but also a dark side, which is pregnant with dark issues for his kingdom; it may perhaps be possible that in the Song the latter, and not the former, is brought to view. Then, indeed, the inscription would rest on an error; for that in this case also the Solomonic authorship could be maintained, is an idea which, in the traditional-apologetical interest, mounts up to a faith in the impossible. But the truth goes beyond the tradition; the inscription would then indicate a traditional interpretation which, as is evident from the book itself, does not correspond with its original meaning and aim. “It is clear to every unprejudiced mind,” says Gustav Baur, “that in Sol 2:10-15; Sol 4:8-15, a different person speaks from the royal wooer; for (1) Solomon only says, 'my friend' Sol 1:15, etc.; while, on the other hand, the shepherd heaps up flattering words of warmest love; (2) Solomon praises only the personal beauty of the woman; the shepherd, the sweet voice, the enchanting look, the warm love, the incorruptible chastity of his beloved; - in short, the former reveals the eye and the sensuousness of the king; the latter, the heart of a man who is animated by the divine flame of true love.” We only ask, meanwhile, whether words such as Sol 4:13 are less sensuous than Sol 4:5, and whether the image of the twin gazelles is not more suitable in the mouth of the shepherd than the comparison of the attractions of Shulamith with the exotic plants of Solomon's garden? “In three passages,” says Godet, “lies open the slender thread which Ewald's penetrating eye discovered under the flowers and leaves which adorn the poem: 'The kings has brought me into his palace' (Sol 1:4); 'I knew not how my heart has