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 with all his might; for there is neither action nor knowledge in the grave. It is well to remember God in youth before the evil days come. Words of the wise are as goads, but book-making and preaching are both of them a bore." Lastly, Koheleth concludes with the pious advice to the young man whom he is addressing, to fear God and keep his commandments, for that God will judge every action, be it good or be it bad.

—The Song of Solomon. It is a singularly fortunate circumstance that the Song of Songs, a little work of an altogether secular nature and wholly unlike any other portion of the Hebrew Scriptures, should have been admitted into the Canon. Whatever may have been the delusion, whether its reputed Solomonian authorship or some other theory about it, under which it obtained this privilege, we owe it to this mistake that the solitary example of the Jewish drama in existence should have been preserved for the instruction of modern readers. I say modern readers, because it is not until quite recently that the dramatic character of this piece has been ascertained and established beyond reasonable doubt. Thanks to the scholarship of Germany and France, we are now able to read the Song in the light of common sense. The stern theology of Judaism is for once laid aside, and we have before us a common love-story such as might happen among any Gentile and unbelieving race. A young girl, called a Sulamite, who is attached to a young man of her own rank in life, has been carried off to the harem of Solomon against her will. She is indifferent to the splendor of the royal palace, and resists the amorous advances of the king. Thus she succeeds in "keeping her vineyard;" and is rewarded by rejoining her shepherd lover in her native village. The play is not without beauty, although it evinces a somewhat primitive condition of the drama at the time of its composition. —The Prophets.

We have in the prophetical books a class of writings alto-*