evidence of 'the allegorical theory nntil the eighth century, when there appeared ·a Targum on the book itself, with Ruth, Lamentations, Esther, and ,Ecclesiastes. The allegory is taken to be a figurative representation of the history of the Israelites from the time of the exodus to their final restoration a.nd salvation. The Targum is marked, like most similar produo- tions, by great extravagance and absurd anachronisms. After an interval of several centuries, distinguished rabbis published commentaries which con- tained references tci older interpreters who had followed the Targum in the allegorical view. Such were Rabbi Solomon hen Isaac ( or Rashi), who died 1105; David Kimchi (1190-1250); Ibn Ezra (died 1167); Moses Maimonides ( died 1204); Moses ben 'l'ibbon; Immanuel hen Salome, and others. Some of these ra.bbinical writers have used the book to support their peculiar philosophica.l views and their raobinical interpretations of Scripture; but most of the Jewish writers have regarded the allegory as veiled history a.rid prophecy. It was very different, however, with the Christian commentators. Not only did they almost without exception treat the book as an allegory, but they strained the: interpretation beyond all limits of common sense and Scripture analogy, so that their example has remained a warning, which has produced a healthy reaction in the Church, and has led to the more reasonable view which is now adopted by all the best critics. The rise of the allegorical method can be traced chiefly to the Alexandrian school, and to its great representative Origen. It was the fruit of philosophy in union with Christianity. Origen wrote two homilies on the Song of Solomon, which were translated by Jerome,and a commentary, part of which still remains in .the· Latin of Rufinus. The idea of the book, according to Origen, is the longing of the soul after God, and the sanctifying and elevating influence of Divine love; but he varies in his explanation of the a1leg01·y, now taking it of the individual and then of the Church. Hie example was followed by, later Christian writers, as by Eusebius, Athanasius, Epipbanius, Cyril; Macarius, Gregory of Nyssa, Basil, Gregory Nazianzen, Theodoret, Augustine, and Chrysostom. There were slight differences among these .early, ;Fathers in their application of the method, but they all adopted it. Ambrose went so far as to suggest in his sermon on the per- petual virginity. of Saint Mai·y, that there are allusions to Mary in suoh expressions as the "locked garden" and the "sealed fountain" ( eh. iv. 12); and Gregory the Great regarded the crown wherewith Solomon's mother crowned him as a mystical emblem of the humanity which the Saviour derived from Mary. There were some of the Fathers, however, as Theodore of Mopsuestia, who advocated the literal and historical method of interpretation, and he was challenged by some of his critics for his sensual view of the book. When we come to the.Middle Ages we meet with larger and fuller com- mentaries, in which the allegorical method is wrought out with great ingenuity. 'l'he highest name, perhaps, is that of the mystic Bernard of x.l.l lNTRODO-CTION TO
Clairvaux (died 1153), who wrote eighty-six sermons on the first two obapters, followed by his soholu.r, Gilbert von Hoyland, who wrote fifty- eight discourses on another portion. Bernard's discourses are tnystioal, The soul is seeking her heavenly Bridegroom, and introduoed by him into progressive et-Ates of privilege-the garden, the banqueting-hall, the sleep- ing-chamber. The kiss of Christ is explained of the Incarnation. He was followed by Richard de St. Victor, and by the great theologian Thomas Aquinas, Bonaventura, Gershon, and Isidore Hispalensis. The whole mystery of the soul's intercourse with the Saviour is, according to them, represented in the language of the Song. The book was, of course, greedily le.id hold of by the Middle Age mystics, as it has been by the inystico- eva.ngelical school of modern times, e.nd a.midst a dense cloud of fanciful extravagance there are here and there to be found in their commenta1ies gleams of highly spiritual discernment and profound thought. The Spanish mystics went to great lengths of absurdity; the" cheeks" of the bride were outward Christianity and good works; her "golden chains" were faith; the" silver points" of the golden ornaments were holiness in the walk and conversation; "spikenard" was redeemed humanity; "the breath of myrrh" was the Passion of our Saviour; "the thorns about the rose " were temptations by tribulations, crimes, and heretics; "the chariot of Amminadab" represented the power of the devil, and so forth. When we come to the time of the Reformers, when biblical study received an entirely new impulse and direction, we find the allegorical method; while not altogether discarded, somewhat modified by the historical and critical spirit which was growing in the Church. :Martin Luther.was to a lArge extent under the influence of mystical writers in the early part of hie theological course, but he did not follow them in their allegoric.al tendencies. He saw the danger, which they had promoted, to the healthy use of Scrip~ tnre, and the mist they threw around jts simple, practical meaning. In his • Brevie Enarratio in Cantica Canticornm ' he takes the book as written for an historical purpose-to glorify the age and kingly power of Solomon, and so to exalt the theocracy at its highest splendour. It is to help the people to thank God for the blessings of peace and prosperity. God is the Bridegroom, and his people are the bride. Luther was followed in his view by other Reformers. Nicolas de Lyra, in his 'Portilla/ regards it as a representation of the history of Israel from Moses to Christ, and in the later chapters, of the Christian Church from Christ to the time of the Emperor Constantine. Starke (in his 'Synopsis,' pt. iv.) sees in it a. prophecy in which is represented the coming of Messiah in the flesh, the ?Utpouring of the Holy Spirit, the gathering of the New Testament Church from Jews and Gentiles, and the special tdale and providential leadings tf the people of God in every a~e. Bishop Perez of Valentia, jn 1507, published a. commentary, in which an elaborate system of chronological interpretation is set forth. There are ten canticles setting forth ten periods-the patriarchs, the tabernacle, the voice of God from the taber- THE SONG OF SOLOMON. xiii