finally the perfect and eternal union of the church with its Lord and Saviour."[1]
1849. Though not entirely defeated, yet the ranks of the allegorisers were materially thinned, and they were driven to adopt a different course. They no longer sought for some Christian mysteries and doctrine in every chapter, verse, and word of the Song, but satisfied themselves with a general allegorical idea, which may be seen both from the above article of Dr. Stowe, and Keil's "Introduction to the Song of Songs." Dr. Keil submits that it allegorically describes the mutual love subsisting between God and his chosen people, and how this communion was in various ways interrupted through the unfaithfulness of Israel, and how, through their return to the true covenant-God, and through his unchanging love, it was again restored.[2]
1851. Not even this mild view of the allegory, however, could conciliate Delitzsch. This learned author, after having interpreted the book as representing "the mutual love subsisting between Solomon and Wisdom," was at last constrained to reject every allegorical interpretation as untenable. Though adopting the view that the book poetically describes a love-relationship formed by Solomon, and that "the idea of marriage is the idea of the Song," and may figuratively represent the union of God with his people, he frankly confesses, that amongst other views, that which regards the poem as celebrating the victory of virtuous love in humble life over the allurements of royalty, is to be preferred.[3]
1852. Immediately after the publication of this commentary, containing some of the most cogent arguments against the allegorical interpretation, a new translation appeared with an allegorical exposition by Hahn. Denying that Solomon repre-*
