The Song of Songs, long ascribed to King Solomon, has been attended with some difficulty of explanation. It is a poem liable to be perverted by an unsanctified soul, since it is foreign to our modes of expression. For two hundred years it has been variously interpreted. It was the delight of Saint Bernard the ascetic, and a stumbling-block to Ewald the critic. To many German scholars, who have rendered great services by their learning and genius, it is only the expression of physical love, like the amatory songs of Greece. To others of more piety yet equal scholarship, like Origen, Grotius, and Bossuet, it is symbolic of the love which exists between Christ and the Church. It seems, at least, to be a contrast with the impure love of the heathen world. But whether it describes the ardent affection which Solomon bore to his young Egyptian bride; or the still more beautiful love of the innocent Shulamite maiden for her betrothed shepherd feeding his flock among the lilies, unseduced by all the influences of the royal court, and triumphant over the seductions of rank and power; or whether it is the rapt soul of the believer bursting out in holy transports of joy, like a Saint Theresa in the anticipated union with her divine Spouse,--it is still a noble tribute to what is most enchanting of the great certitudes on earth or in heaven; and it is expressed in language of exquisite and incomparable elegance. "Arise, my fair one, and come away! for the winter is past and gone, and the flowers appear upon the earth, and the voice of the turtle is heard in the land. Make haste, my beloved! Be thou like a roe on the mountains of spices, for many waters cannot quench love, nor the floods drown it; yea, were a man to offer all that he hath for it, it would be utterly despised." How tender, how innocent, how fervent, how beautiful, is this description of a lofty love, at rest in its happiness, in the society of the charmer, exultant in the certainty of that glorious sentiment which nothing can corrupt and nothing can destroy!