than the sorrow for bereaved friendship, in 2 Sam. i. 17, &c.? "To those," says Dr. Mason Good, a defender of the allegorical interpretation, "who disbelieve the existence of such an allegory they (the amorets) still afford a happy example of the pleasures of holy and virtuous love; they inculcate, beyond the power of didactic poetry, the tenderness which the husband should manifest for his wife, and the deference, modesty, and fidelity with which his affection should be returned; and, considered even in this sense alone, they are fully entitled to the honour of constituting a part of the sacred Scriptures."[1] "Why should a passion," remarks another allegorical interpreter, "so strong," so universal, so essential to happiness—to the very existence of the human race, be denied a place in a Revelation from God to man? As a matter of fact, has it not a place in every part of the Bible, from Genesis to Revelation? God is the author of the human constitution as well as of the Bible; and he has in all respects adapted his revelation to the nature of the beings for whom it was designed. It would be strange indeed, if one of the most important and never absent phenomena in the moral and physical creation of men should never be noticed in a revelation to him from his Creator. If the viciousness and licentiousness of men have loaded this subject with vile and filthy associations in vile and filthy minds, this is not the fault of God or of his revelation. The vine will not be destroyed, nor the grapes annihilated, because wicked men make themselves beasts with wine."[2]
The design of the book, in our view, however, is not to celebrate love, but to record an example of virtue, which is still more worthy of a place in the sacred canon.
2. It has been urged, that the language put by the sacred writer into the mouth of the bride, shows that the poem is to be allegorically interpreted, because in its literal sense such
