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 of that lineage, occupying the throne, was regarded as the representative of God; as the predecessor and type of Him who was to be born of the seed of David to occupy the throne in the highest sense. So that, whether we translate [HE: k.is.^e'a:k/o 'e:lOhiym/] ''thy throne, O God, taking [HE: 'e:lOhiym/] as a vocative, or thy God-throne, i. e. the throne committed to thee by God, or, thou art seated upon a throne of God, or regard the phrase as an ellipsis'' for [HE: k.is.^e'a:k/o k.is.Ey 'e:lOhiym/], thy throne is a throne of God, comes substantially to the same thing. It is, therefore, a groundless assertion, that the whole Psalm is an allegory, and the reference to it in proof of the allegorical interpretation of the poem before us is nugatory.

But, even admitting that the 45th Psalm is an allegory, this would by no means prove that the Song of Songs is also an allegory, for the two cases differ essentially. In the former the bridegroom is addressed in verse 8 as God, and this verse is quoted in the New Testament, whereas in the latter there is nothing of the kind.

4. The custom of oriental nations to express their religious and devotional sentiments under the disguise of amatory and drinking songs has been adduced as an argument in favour of the allegorical interpretation of the Song of Songs.

"The durweesh," says Lane, "pointed out the following poem as one of those most common at Zikrs, and as one which was sung at the Zikr which I have begun to describe. I translated it verse for verse, and imitate the measure and system of the original, with this difference only, that the first, third, and fifth lines of each stanza rhyme with each other in the original, but not in my translation.

'With love my heart is troubled, And mine eyelid hindereth sleep: My vitals are dissever'd, While with streaming tears I weep.