of the Christian Church, her progress, and the peace which she attained in the days of Constantine. Upon the words, "We have a little sister," he remarks, "This is the Church humble and abject among the worldly enemies, for so she was till the time of Constantine."[1] 1538. The great reformer, Luther, could not reconcile his mind to believe that the Song of Songs describes the conjugal union of Christ, the bridegroom, with the bride, i. e. the Church as a whole, or with the soul of every individual believer. He therefore rejected the allegorical interpretation of the Fathers, and advanced a new theory, viz., "that the bride is the happy and peaceful State under the dominion of Solomon, and that the Song is a hymn of praise, in which Solomon thanks God for the obedience rendered unto him as a divine gift: for, where the Lord does not direct and rule there is neither obedience nor happy dominion, but where there is obedience or a happy dominion there the Lord lives and kisses and embraces his bride with his word, and that is the kisses of his mouth."[2] 1542. John Brentius, the Suabian reformer, adopted the same theory. He calls the Song of Songs. "Carmen encomiasticum, quod de laude regni et politiae suae Solomon conscripsit."[3] 1544. Castellio, seeing that Luther had rejected the allegorical interpretation of the Fathers, and propounded a theory of his own equally untenable, maintained that the book has no allegorical meaning whatever, but is merely a "colloquium Salomonis cum amica quadam Sulamitha," and as such deemed it unworthy of a place in the sacred canon.[4] 1585. Thomas Wilcocks adhered to the opinion that this book celebrates the marriage between Christ and his Church, and especially "the great love of the bridegroom to his spouse, which is never removed, but always abideth constant, how oft
