published in the Amsterdam Rabbinical Bible, 1724, maintain the philosophical interpretation of this Song. Whilst Isaac Arma, the father of Meier Arma, Obadiah Sforno, a physician, divine, and commentator, who died in 1550,[1] and whose commentary is published in the Amsterdam Rabb. Bible, Moses Cordovero, born in 1522, and died 1570,[2] whose commentary has not been published, Abraham Levi, whose commentary has been printed, together with that of Ibn Shoeb, Sabionnetta in Italy, 558,[3] Elisha Galicho, who flourished in the second half of the sixteenth century,[4] and whose commentary was published 1587, Venice, and his contemporary, Moses Alshech,[5] whose commentary was published in 1591, Venice, are the combatants for the other views.
While this severe struggle was carried on between the conflicting parties for the maintenance of their respective views, another champion entered the battle-field, occupying and defending another position. It was no less a personage than the celebrated Don Isaac Abravanel, who affirmed that the Bride of the Song represents Wisdom, with whom Solomon converses.[6]
His son, Leon Hebræus, defended the same view.[7]
1729-1786. With Moses Mendelssohn, a new era commenced in Biblical exegesis, and in Hebrew literature generally. This distinguished philosopher translated the Song of Songs, which was first published in Berlin, 1788, with an introduction and commentary by his colleagues Löwe and Wolfssohn. Though they did not deem their age prepared for the rejection of the allegorical interpretation, these commentators distinctly stated, that, i. e. [HE:t.^ehiy m^env.HotvO kobvor], used for the departed, being mistaken for a proper name. Vide Fürst, Bib. Jud. vol. ii. p. 243.]
- ↑ De Rossi, pp. 294, 295.
- ↑ Fürst, Bib. Jud. vol. i. p. 187.
- ↑ This commentary is erroneously called Tamach's, the euphemic expression [HE:tm"k/
- ↑ Ibid. vol. i. p. 314.
- ↑ Ibid. vol. i. pp. 41, 42.
- ↑ Vide Magnus, Das Hohe Lied Salomo's, p. 26.
- ↑ De Amore dial., c. iii. Delitzsch im Literaturblatt des Orients, 1840, No. 6, &c.
