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 *graded herself by doing that for which every man would despise her. The very first word of this Song, then, stands a witness against the notion of its being a human love-song; for it would better suit Solomon's strange woman, that with an impudent face caught and kissed the young simpleton, than Solomon's princess-bride, or Dr. Smith's supposed chaste monogamist. Till fishes mount to sing with larks on the shady boughs, and nightingales dive to ocean's depths to court the whales, no man, of any age, of any clime, of any rank, can be supposed to write ordinary love-songs in such a style. We are told, by the first word, that a greater than Solomon is here, one who must be courted, and that loves more than human are the theme. This is the Bridegroom of whom the Psalmist says, 'He is thy Lord, and worship thou him:' 'Kiss the Son, lest he be angry, and ye perish from the way.' Such a spouse may exhibit his Bride as asking for his love; every other must present himself as asking for hers, and begging the acceptance of his."

It is allowed by scholars of taste, that, regarded as a mere human production, this poem is inimitable. "Every part of this Song," says the learned Bishop Bossuet, "abounds in poetical beauties; the objects which present themselves on every side are the choicest plants, the most beautiful flowers, the most delicious fruits, the bloom and vigour of spring, the sweet verdure of the fields, flourishing and well-watered gardens, pleasant streams, and perennial fountains. The other senses are represented as regaled with the most precious odours, natural and artificial; with the sweet singing of birds, and the soft voice of the turtle; with milk and honey, and the choicest of wine. To these enchantments are added all that is beautiful and graceful in the human form, the endearments, the caresses, the delicacy of love. If any object be introduced which seems not to harmonize with this delightful scene, such as the awful prospect of tremendous precipices, the wildness of the moun-*