At the outset, however, we are confronted by the question whether the Song of Songs has any general coherency or dramatic character at all. Several modern critics of learning, among them Prof. Karl Budde and the late Edward Reuss, find the book a collection of unconnected lyrics, and Professor Cornill of Königsberg has added the great weight of his name to that opinion (Einleitung in das Alte Testament. 1891). Unfortunately Professor Cornill's treatment is brief, and not accompanied by a complete analysis of the book. He favors as a principle Reuss's division of Canticles into separate idylls, and thinks most readers import into this collection of songs an imaginary system and significance. This is certainly true of the "allegorical" purport, aim, and religious ideas ascribed to the book, but Professor Cornill's reference to Herder seems to leave the door open for further treatment of the Song of Songs from a purely literary standpoint. He praises Herder's discernment in describing the book as a string of pearls, but passes without criticism or denial Herder's further view that there are indications of editorial modifications of some of the lyrics. For what purpose? Herder also pointed out that various individualities and conditions are represented. This indeed appears undeniable: here are prince and shepherd, the tender mother, the cruel brothers, the rough watchman, the dancer, the bride and bridegroom. The dramatis personæ are certainly present: but is there any drama? Admitting that there was no ancient Hebrew theatre, the question remains whether among the later Hellenic Jews the old songs were not arranged, and new ones added, in some kind of Singspiele or vaudeville. There seems to be a chorus. It is hardly consistent with the general artistic quality of the compilation that the lady should say "I am swarthy but comely," or "I am a lily of the valley" (a gorgeous flower). Surely the compliments are ejaculations of the chorus. And may we not ascribe to a chorus the questions, "Who is this that cometh up out of the wilderness?" etc. (iii. 6-10.) "What is thy beloved more than another beloved"? (v. 9.) "Who is this that cometh up from the wilderness leaning on her beloved"? (viii. 5).