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 xxvii.) sought to show that the Book of Leviticus was written about a thousand years after Moses, that there never was a prophet Ezekiel, that the dates of this book are fictitious, etc.; so Grätz attempts to prove that the Song in its Graecising language and Greek customs and symbols bears evidences of the Syro-Macedonian age; that the poet was acquainted with the idylls of Theocritus and the Greek erotic poets, and, so far as his Israelitish standpoint admitted, imitates them; and that he placed an ideal picture of pure Jewish love over against the immorality of the Alexandrine court and its Hellenistic partisans, particularly of Joseph b. Tobia, the collector of taxes in the time of Ptolemy Euergetes (247-221 b.c.), - a picture in which “the Shepherd,” now grown into a fixed idea, renders welcome service, in contrast to Solomon, in whom the poet glances at the court of Alexandria. One is thus reminded of Kirschbaum (1833), who hears in Eze 33:5 an echo of Cicero's dixi et salvavi animam, and in the Sol 2:17, a reference to the Bethar of Barcochba. We do not deny the penetration which this chief of Jewish historians has expended on the establishment of his hypothesis; but the same penetration may prove that the Babylon.-Assyr. “syllabaries” of the time of Asurbanipal (667-626) belong to the Greek era, because there occurs therein the word azamillav (knife), and this is the Greek σμίλη; or that the author of Prov 1-9 alludes in Pro 7:23 to Eros and his quivers, and in Pro 9:1 betrays a knowledge of the seven artes liberales. Parallels to the Song are found wherever sensuous love is sung, also in the Pastoralia of Longus, without the least dependence of one author upon another. And if such a relation is found between Theocritus and the Song, then it might rather be concluded that he became acquainted with it in Alexandria from Jewish literates, than that the author of the Song has imitated Greek models, as Immanuel Romi, the Arabians and Dante; besides, it is not at all the Song lying before us which Grätz expounds, but the Song modified by violent corrections of all kinds, and fitted to the supposed tendency. Thus he changes (Sol 1:3) שׁמניך (thine unguent)