1854. Dr. Philippson, Rabbi of Magdeburg, propounded the same view. [73] The design of the book is to show that true and virtuous love is invincible, and is not to be bought, but is a flame of God (Ch. viii. 6, 7), exemplified in the conduct of a humble shepherdess, who being attached to a shepherd, was tempted by King Solomon to transfer her affection, but who overcame all allurements, and remained faithful to her lover. The two last-mentioned Rabbins, by virtue of their high position and great learning, may be regarded as representing the view now generally entertained by the Jews respecting the Song of Songs. [74] 185–254. We come now to the Christian Expositors of this book, whom we shall introduce in the same chronological order, and of whose views a concise explanation will be given. The first of these is Origen, who has been justly celebrated for his genius and extensive acquirements. He was born in Alexandria in 185, and died in Tyros in 254. His commentaries upon Scripture are very extensive, and though containing much that is valuable, abound with fanciful allegories and inexplicable mysteries. His attachment to the Platonic philosophy drew him aside from the simplicity of inspired truth, and his instruction in Hebrew by R. Hillel, [75] imbued him with Hagadic interpretations of the sacred text. His commentary upon the Song of Songs was very voluminous, of which fragments only remain, but these are of a very elaborate kind, and sufficient to reveal his whole design. He admits an historical sense as an epithalamium on the marriage of Solomon with Pharaoh’s daughter, [76] but in him we meet with a full exhibition of the allegorical allusion to the marriage union of Christ and his Church, which has been adopted by the majority of expositors to the present day. He says, “Blessed is he who enters the holy place, but more blessed is he who enters the holy of holies; blessed is he who keeps the Sabbath, but more blessed is he who keeps the Sabbath of Sabbaths; so blessed is he who sings holy songs, but more blessed is he who sings the Song of Songs.” He finds in it four distinct parties; a bridegroom and bride with their separate companions. By “the bridegroom,” we are to understand Christ, by “the bride,” the Church, by “the companions” of the former, angels and saints in heaven, and by “the maidens” of the latter, believers on the earth. The following is a specimen of Origen’s method of interpretation:—