To these editorial improvements belong the last verses (Eccl. xii. 13 f.), with its conclusion, "Fear God and keep his commandments, for this is the business of every man; for God will bring every deed into the judgment on all secrets, whether it be good or bad." The judgment after death is evidently meant. The warning against many books and much reading in xii. 12 is also a gloss, while xii. 9-11 appears to be written by an earlier editor of the book, commending it to reading and study. In the body of the book, also, several verses are obviously introduced to give an orthodox twist to the author's very heterodox utterances. That Ecclesiastes belongs to the latest stratum of Hebrew Biblical literature is evident from both its matter and its style; but there is nothing in it by which its age can be exactly fixed. SONG OF SONGS.--A verse already quoted (1 Kings iv. 32) tells that, besides three thousand proverbs, Solomon composed a thousand and five songs. We shall probably not err in assuming that this verse was in the mind of the editor who prefixed the title "The Song of Songs (that is, the very best of songs), by Solomon." There is nothing in the book to indicate that Solomon was the author or that the poet meant his productions to be attributed to him. The one theme of the book, running through many variations, is the love of man and woman, passionate and sensuous. In the second century of our era its songs were warbled at banquets or wedding feasts, a profane abuse on which a scandalized rabbi denounced damnation. In the first century it was, in spite of Solomon's name, no Holy Scripture for the straitest sect, and was not finally admitted to the canon, we may be pretty sure, until an allegorical sense had been discovered in it, or rather imposed on it: it sang, under the figure of wedded love, of the relation of the Lord to Israel. The Fathers took over all the allegory, only making the lover Christ, the beloved the Church (as still in the running titles of the Authorized Version), or the soul. The mediæval church saw in the bride the Virgin Mary. The allegorical interpretation was a necessary corollary of the dogmatic assumption that the canon of inspired scripture could contain nothing but books of religious instruction and edification. Allegorical love poetry--usually the love of God and the soul--is not uncommon in mystical sects or circles of various creeds; and the ultra-spiritual poets often revel in an ultra-sensual imagery of passion and fruition; but nothing in the Song of Songs suggests such an origin, nor have we knowledge of a Jewish mysticism of this erotic type in the centuries from which it must come.