But why begin an account of Hebrew love songs by citing extant Palestinian examples in Arabic? Because there is an undeniable, if remote, relationship between some of the latter and the Biblical Song of Songs. In that marvellous poem, outspoken praise of earthly beauty, frank enumeration of the physical charms of the lovers, thorough unreserve of imagery, are conspicuous enough. Just these features, as Wetzstein showed, are reproduced, in a debased, yet recognizable, likeness, by the modern Syrian _wasf_--a lyric description of the bodily perfections and adornments of a newly-wed pair. The Song of Songs, or Canticles, it is true, is hardly a marriage ode or drama; its theme is betrothed faith rather than marital affection. Still, if we choose to regard the Song of Songs as poetry merely of the _wasf_ type, the Hebrew is not only far older than any extant Arabic instance, but it transcends the _wasf_ type as a work of inspired genius transcends conventional exercises in verse-making. There are superficial similarities between the _wasf_ and Canticles, but there is no spiritual kinship. The _wasf_ is to the Song as Lovelace is to Shakespeare, nay, the distance is even greater. The difference is not only of degree, it is essential. The one touches the surface of love, the other sounds its depths. The Song of Songs immeasurably surpasses the _wasf_ even as poetry. It has been well said by Dr. Harper (author of the best English edition of Canticles), that, viewed simply as poetry, the Song of Songs belongs to the loveliest masterpieces of art. "If, as Milton said, 'poetry should be simple, sensuous, passionate,' then here we have poetry of singular beauty and power. Such unaffected delight in all things fair as we find here is rare in any literature, and is especially remarkable in ancient Hebrew literature. The beauty of the world and of the creatures in it has been so deeply and warmly felt, that even to-day the ancient poet's emotion of joy in them thrills through the reader." It is superfluous to justify this eulogy by quotation. It is impossible also, unless the quotation extend to the whole book. Yet one scene shall be cited, the exquisite, lyrical dialogue of spring, beginning with the tenth verse of the second chapter. It is a dialogue, though the whole is reported by one speaker, the Shulammite maid. Her shepherd lover calls to her as she stands hidden behind a lattice, in the palace in Lebanon, whither she has been decoyed, or persuaded to go, by the "ladies of Jerusalem." _The shepherd lover calls_ Rise up, my love, My fair one, come away! For, lo, the winter is past, The rain is over and gone, The flowers appear on the earth: The birds' singing time is here, And the voice of the turtle-dove is heard in our land. The fig-tree ripens red her winter fruit, And blossoming vines give forth fragrance. Rise up, my love, My fair one, come away!