The literary criticism of the last century chiefly spent itself in endeavours to discover in the book a lyric drama with a moral tendency, on some such theme as the triumph of pure love over lust. Great ingenuity was expended in dividing the text into regular acts and scenes and assigning the speeches to the leading actors and the chorus. In its simplest form there were but two actors, the virtuous village maiden and the harem-jaded Solomon; a more plausible scheme gave the girl a rustic lover, which added much to the piquancy of the scenes with Solomon, and to the _dénouement_, in which the king, foiled by the maiden's constancy, confesses virtue triumphant, and sends her back to her shepherd swain. More recent supporters of the dramatic hypothesis have modified this scheme in a way to remove some of its plainest difficulties, but have complicated it in proportion. Other interpreters take the book for a collection of love songs, or, more specifically, of wedding songs, such as are sung to-day at village weddings in Syria and Palestine. A certain dramatic quality in the songs, and their relation to successive stages of the festivities, would give the appearance of a progressive action which has been urged for the dramatic theory. The Syrian peasant to-day, in the region of Damascus, is for his bride-week in song and salutation a king or prince; a sledge on the village threshing-floor is his throne, and the bride is queen. Through the week the royal pair are honoured by the villagers with songs and dances. If in the Hebrew songs the bridegroom-king is sometimes called Solomon, it is because Solomon was the richest and most splendid of kings. This view of the nature of the book is simpler and more probable. The several poems are not distinguished by titles, and there is room for difference of opinion about the divisions; but this is a small difficulty compared with the partition into roles in the supposed play. The songs are fine examples of popular poetry, with traditional subjects, forms, and imagery. Nothing requires us to suppose that they are the production of one poet; we may think of them rather as an anthology of love songs, not necessarily all composed for wedding festivities, but all appropriate for use on such occasions. The language of the songs proves that they belong to a very late period in Hebrew literature, though the type is doubtless old enough. Such popular poetry has no motive for preserving or imitating archaism, as hymn writers do, but modernizes itself from generation to generation. The wedding songs of old Israel may have been like enough to these in character, but they were in another speech. It was a fortunate misunderstanding that has preserved them; but the accidental preservation of these few pages emphasizes the loss of almost every other vestige of Hebrew secular poetry. BIBLIOGRAPHY