CHAPTER XIX LEPERS 277 iv. 13-16. CHAPTER XX VAIN HOPES 288 iv. 17-20. CHAPTER XXI THE DEBT OF GUILT EXTINGUISHED 300 iv. 21, 22. CHAPTER XXII AN APPEAL FOR GOD'S COMPASSION 311 v. 1-10. CHAPTER XXIII SIN AND SHAME 324 v. 11-18. CHAPTER XXIV THE EVERLASTING THRONE 335 v. 19-22. _THE SONG OF SOLOMON_ CHAPTER I _THE STRUCTURE OF THE BOOK_ The Song of Solomon is a puzzle to the commentator. Quite apart from the wilderness of mystical interpretations with which it has been overgrown in the course of the ages,[1] its literary form and motive are subjects of endless controversy. There are indications that it is a continuous poem; and yet it is characterised by startling kaleidoscopic changes that seem to break it up into incongruous fragments. If it is a single work the various sections of it succeed one another in the most abrupt manner, without any connecting links or explanatory clauses. [1] To be considered later. See chap. iv. The simplest way out of the difficulty presented by the many curious turns and changes of the poem is to deny it any structural unity, and treat it as a string of independent lyrics. That is to cut the knot in a rather disappointing fashion. Nevertheless the suggestion to do so met with some favour when it was put forth at the close of the last century by Herder, a writer who seemed better able to enter into the spirit of Hebrew poetry than any of his contemporaries. While accepting the traditional view of the authorship of the book, this critic described its contents as "Solomon's songs of love, the oldest and sweetest of the East;" and Goethe in the world of letters, as well as biblical students, endorsed his judgment. Subsequently it fell into disfavour, and scholars who differed among themselves with respect to their own theories, agreed in rejecting this particular hypothesis. But quite recently it has reappeared in an altered form. The book, it is now suggested, is just a chance collection of folk songs from northern Palestine, an anthology of rustic love-poems. These songs are denied any connection with Solomon or the court. The references to royalty are accounted for by a custom said to be kept up among the Syrian peasants in the present day, according to which the week of wedding festivities is called "The king's week," because the newly-married pair then play the part of king and queen, and are playfully treated by their friends with the honours of a court. The bridegroom is supposed to be named Solomon in acknowledgment of his regal splendour--as an English villager might be so named for his conspicuous wisdom; while perhaps the bride is called the Shulammite, with an allusion to the famous beauty Abishag, the Shunammite of David's time.[2]