This is essential even to the understanding of pure allegory such as that of The Faerie Queen and The Pilgrim's Progress; we must understand the adventures of the Red Cross Knight and the course of Christian's journey before we can learn the moral of Spenser's and Bunyan's elaborate allegories. Similarly it is absolutely necessary for us to have some idea of the movement of the Song of Solomon as a piece of literature, in its external form, even if we are persuaded that beneath this sensuous exterior it contains the most profound ideas, before we can discover any such ideas. In other words, if it is to be considered as a mass of symbolism the symbols must be understood in themselves before their significance can be drawn out of them.
But now we are confronted with the question whether the book has any other meaning than that which meets the eye. The answers to this question are given on three distinct lines: – First, we have the allegorical schemes of interpretation, according to which the poem is not to be taken literally at all, but is to be regarded as a purely metaphorical representation of national or Church history, philosophical ideas, or spiritual experiences. In the second place, we meet with various forms of double interpretation, described as typical or mystical, in which a primary meaning is allowed to the book as a sort of drama or idyl, or as a collection of Jewish love-songs, while a secondary signification of an ideal or spiritual character is added. Distinct as these lines of interpretation are in themselves, they tend to blend in practice, because even when two meanings are admitted the symbolical signification is considered to be of so much greater importance than the literal that it virtually occupies the whole field. In the third place there is the purely literal interpretation, that which denies the existence of any symbolical or mystical intention in the poem.
Allegorical interpretations of the Song of Solomon are found among the Jews early in the Christian era. The Aramaic Targum, probably originating about the sixth century A.D., takes the first half of the poem as a symbolical picture of the history of Israel previous to the captivity, and the second as a prophetic picture of the subsequent fortunes of the nation. The recurrence of the expression "the congregation of Israel" in this paraphrase wherever the Shulammite appears, and other similar adaptations, entirely destroy the fine poetic flavour of the work, and convert it into a dreary, dry-as-dust composition.
Symbolical interpretations were very popular among Christian Fathers – though not with universal approval, as the protest of Theodore of Mopsuestia testifies. The great Alexandrian Origen is the founder and patron of this method of interpreting the Song of Solomon in the Church. Jerome was of opinion that Origen "surpassed himself" in his commentary on the poem – a commentary to which he devoted ten volumes. According to his view, it was originally an epithalamium celebrating the marriage of Solomon with Pharaoh's daughter; but it has secondary mystical meanings descriptive of the relation of the Redeemer to the Church or the individual soul. Thus "the little foxes that spoil the grapes" are evil thoughts in the individual, or heretics in the Church. Gregory the Great contributes a commentary of no lasting interest. Very different is the work of the great mediæval monk St. Bernard of Clairvaux, who threw himself into it with all the passion and rapture of his enthusiastic soul, and in the course of eighty-six homilies only reached the beginning of the third chapter in this to him inexhaustible mine of spiritual wealth, when he died, handing on the task to his faithful disciple Gilbert Porretanus, who continued it on the same portentous scale, and also died before he had finished the fifth chapter. Even while reading the old monkish Latin in this late age we cannot fail to feel the glowing devotion that inspires it. Bernard is addressing his monks, to whom he says he need not give the milk for babes, and whom he exhorts to prepare their throats not for this milk but for bread. As a schoolman he cannot escape from metaphysical subtleties – he takes the kiss of the bridegroom as a symbol of the incarnation. But throughout there burns the perfect rapture of love to Jesus Christ which inspires his well-known hymns. Here we are at the secret of the extraordinary popularity of mystical interpretations of the Song of Solomon. It has seemed to many in all ages of the Christian Church to afford the best expression for the deepest spiritual relations of Christ and His people. Nevertheless, the mystical method has been widely disputed since the time of the Reformation. Luther complains of the "many wild and monstrous interpretations" that are attached to the Song of Solomon, though even he understands it as symbolical of Solomon and his state. Still, not a few of the most popular hymns of our own day are saturated with ideas and phrases gathered from this book, and fresh expositions of what are considered to be its spiritual lessons may still be met with.
It is not easy to discover any justification for the rabbinical explanation of the Song of Solomon as a representation of successive events in the history of Israel, an explanation which Jewish scholars have abandoned in favour of simple literalism. But the mystical view, according to which the poem sets forth spiritual ideas, has pleas urged in its favour that demand some consideration. We are reminded of the analogy of Oriental literature, which delights in parable to an extent unknown in the West. Works of a kindred nature are produced in which an allegorical signification is plainly intended. Thus the Hindoo Gilagovinda celebrates the loves of Chrishna and Radha in verses that bear a remarkable resemblance to the Song of Solomon. Arabian poets sing of the love of Joseph for Zuleikha, which mystics take as the love of God towards the soul that longs for union with Him. There is a Turkish mystical commentary on the Song of Hafiz.
The bible itself furnishes us with suggestive analogies. Throughout the Old Testament the idea of a marriage union between God and His people occurs repeatedly, and the most frequent metaphor for religious apostasy is drawn from the crime of adultery.78 This symbolism is especially prominent in the writings of Jeremiah79 and Hosea.80 The forty-fifth psalm is an epithalamium commonly read with a Messianic signification. John the Baptist describes the coming Messiah as the Bridegroom,81 and Jesus Christ accepts the title for Himself.82 Our Lord illustrates the blessedness of the Kingdom of Heaven in a parable of a wedding feast.83 With St. Paul the union of husband and wife is an earthly copy of the union of Christ and his Church.84 The marriage of the Lamb is a prominent feature in the Book of the Revelation.85
Further, it may be maintained that the experience of Christians has demonstrated the aptness of the expression of the deepest spiritual truths in the imagery of the Song of Solomon. Sad hearts disappointed in their earthly hopes have found in the religious reading of this poem as a picture of their relation to their Saviour the satisfaction for which they have hungered, and which the world could never give them. Devout Christians have read in it the very echo of their own emotions. Samuel Rutherford's Letters, for example, are in perfect harmony with the religious interpretation of the Song of Solomon; and these letters stand in the first rank of devotional works. There is certainly some force in the argument that a key which seems to fit the lock so well must have been designed to do so.
On the other hand, the objections to a mystical, religious interpretation are very strong. In the first place, we can quite account for its appearance apart from any justification of it in the original intention of the author. Allegory was in the air at the time when, as far as we know, secondary meanings were first attached to the ideas of the Song of Solomon. They sprang from Alexandria, the home of allegory. Origen, who was the first Christian writer to work out a mystical explanation of this book, treated other books of the Old Testament in exactly the same way; but we never dream of following him in his fantastical interpretations of those works. There is no indication that the poem was understood allegorically or mystically as early as the first century of the Christian era. Philo is the prince of allegorists; but while he explains the narratives of the Pentateuch according to his favourite method, he never applies that method to this very tempting book, and never even mentions the work or makes any reference to its contents. The Song of Solomon is not once mentioned or even alluded to in the slightest way by any writer of the New Testament. Since it is never noticed by Christ or the Apostles, of course we cannot appeal to their authority for reading
Hosea ii. 2.; iii. 3.
John iii. 29.
Mark. ii. 19.
Matt. xxii. 1-14.
Eph. v. 22-33.
Rev. xxi. 9.
