as so many of the Rabbins have written upon this book, and defended such various and conflicting views, they questioned whether any were right, and affirmed that the literal explanation is paramount, and therefore confined themselves in the commentary to the literal and philological sense, referring those who are fond of labyrinths to the writings of Rashi, Rabe, Arma, &c.
Seeing that this book describes the love of a shepherd and a shepherdess, and also speaks of a king, of humble rural life, as well as of courtly splendour, and unable to account for it, Löwe and Wolfssohn divided it into separate songs, some celebrating the love between a shepherd and shepherdess, others describing the same between the king and his princes, and others again not speaking of that passion at all.
1798-1821. Löwisohn, born in 1798, and died in 1821, was the first who recognised and elucidated the true design of this book. This sweet singer of modern Israel shows that the Song of Songs celebrates the victory of true and virtuous love in humble life over the temptations of royalty; that this book records the virtuous attachment of a shepherdess to a shepherd; that the rustic maiden having been tempted by the wisest and most celebrated king to transfer her affections, spurned every allurement, and remained faithful to her humble lover.[1]
1832. It is surprising that the profound and learned Zunz,[2] did not follow up the remarks of Löwisohn; but regarded this Song as an epithalamium.[3]
1848. This view, however, has not gained ground among the Jews; and Dr. Salomon Herxheimer, chief Rabbi of Anhalt. Bernburg, in his translation of the Old Testament with anno-*
- ↑ Melizat Jeshurun. Vienna, 1816.
- ↑ Gottesdienstliche Vorträge. Berlin, 1832, p. 334.
- ↑ 1834—Dr. Zunz also wrote a valuable introduction to Rebenstein's Commentary on the Song of Songs (Berlin, 1834), in which he gives a catalogue of Hebrew writers on this book, existing in MS. I am sorry that all my exertions to obtain it have proved abortive.
