1778. About two years after the publication of the deciphered hieroglyphics of this Song, the allegorical interpretation sustained some most severe blows from the eminently pious and celebrated poet Herder. He denounced the allegorisers as violating common sense, and the established laws of language, and maintained that this Song celebrated true and chaste love in its various stages.
Upon the question, whether there may not be another sense concealed under the obvious and literal meaning, Herder remarks—"When I read the book itself I do not find the slightest intimation, or even the faintest trace that such a sense was the design of the author. Were I to admit it, I should also expect to find it in the Song of Ibrahim, in the odes of Hafiz, and in all the oriental erotic poems which in form entirely resemble this Song. In the life of Solomon I discover still less reason for this concealed sense, be it historical, mystical, metaphysical, or political. For Solomon's wisdom did not consist in mysticism, much less in meta-*physics, or scholastic church history. His wisdom was displayed in his common sense, as seen in his view of the things of this life, in his acute penetration and extensive knowledge of nature. Subsequent Arabian tradition has indeed attributed to him also the art of sorcery, and of driving out evil spirits, but never did even this tradition ascribe to him the downcast look of a mystic, or represent him as indulging in airy speculations, or as writing a compendium of Christian Church History."[1]
Herder admits that this book describes the love of a shepherd and shepherdess, as well as that of a king; but finding great difficulty to account for this, he divides the book into separate songs, or amorets, while at the same time he acknowledges that there is a marked unity throughout, and that love is
- ↑ Salomon's Lieder der Liebe, &c. Herder's Sämmbliche Werke in vierzig Bänden, Dritter Band, pp. 82, 83. Stuttgart und Tübingen, 1852.
