Introduction to the Old Testament Part 15

The reception of the book in the Canon led, as Siegfried has said, to the most monstrous creations in the history of interpretation. If it be by Solomon, and therefore a holy book, it must be a celebration of divine love, not of human. So it was argued; and the theme of the book was regarded as the love of Jehovah for Israel.

Christian interpreters, following this hint of their Jewish predecessors, applied it to the love of Christ for His church or for the individual soul. The allegorical view of the poem has many parallels in the mystic poetry of the East, and it even finds a slender support in Hosea's comparison of the relation of Jehovah to Israel as a marriage relations.h.i.+p; but taking into account the general nature of the poem, and the tendencies of the Hebrew mind, it may be fairly said that the allegorical interpretation is altogether impossible. Any love poem would be equally capable of such an interpretation.

Another view, first hinted at in a phrase of Origen, is that the book is a drama, a view which has held the field--not without challenge--for over a century. There is much in the language of the song to suggest this: it is obvious, e.g., that there is occasional dialogue, i. 15, 16, ii. 2, 3, but the actual story of the drama was very far from clear. The older view was that it was a story of Solomon's love for a peasant girl, and of his redemption from his impure loves by his affection for her. But as in viii. 11 f. and elsewhere, Solomon is spoken of by way of contrast, room must be made for a third person, the shepherd lover of the peasant maid; and, with much variety of detail, the supporters of the dramatic theory now adhere in general to the view that the poem celebrates the fidelity of a peasant maid who had been captured and brought to Solomon's harem, but who steadily resisted his blandishments and was finally restored to her shepherd lover. The book becomes thus not a triumph of love over l.u.s.t, but of love over temptation. The story is very pretty; but the objections to it and to the dramatic view of the book are all but insuperable. It must be confessed that, to arrive at such a story at all, a good deal has to be read between the lines, and interpreters usually find what they bring; but the most fatal objection to it is that the text in vi. 12, on which the whole story turns--the maiden's surprise in the orchard by the retinue of the king--is so disjointed and obscure that the attempt to translate it has been abandoned by many competent scholars.

Apart from that, the story can hardly be said to be probable. "She, my dove, is but one," vi. 9, would sound almost comical upon the lips of one who possessed the harem of vi. 8. But in any case, it is almost inconceivable that Solomon would have taken a refusal from a peasant girl: Oriental kings were not so scrupulous. Again, it is very hard to detect any progress on the dramatic view of the book.

Ch. viii. with its innocent expression of an early love, follows ch.

vii., which is sensuous to the last degree. Further, in the absence of stage directions, every commentator divides the verses among the characters in a way of his own: the opening words of the song, i.

2_a_, may be interpreted in three or four different ways, and equal possibilities of interpretation abound throughout the song. Of course the difficulties are not quite so great in the Hebrew as in the English (e.g. i. 15 must be spoken by the bridegroom and i. 16 by the bride), but they are great enough. Again, how are we to conceive of so short a play--ll6 lines--being divided into acts and scenes? for the scenes are continually changing, and the longest would not last more than two minutes. It would not be fair to lay too much stress upon the fact that there is no other ill.u.s.tration of a purely Semitic drama; that would be to argue that, if a thing did not happen twice, it did not happen once. Nevertheless, coupled with the untold difficulties and confusions that arise from regarding the song as a drama, the absence of a Semitic parallel is significant.

The true view of this perplexing book appears to be that it is, as Herder called it, "a string of pearls"--an anthology of love or wedding songs sung during the festivities of the "king's week," as the first week after the wedding is called in Syria. Very great probability has been added to this view by the observations of Syrian customs made by Wetzstein in his famous essay on "The Syrian Thres.h.i.+ng-board," and first thoroughly applied by Budde to the interpretation of the Song. Syrian weddings, we are told, usually took place in March, ii. 11ff. The thres.h.i.+ng-floor is set on a sort of platform on the thres.h.i.+ng-board covered with carpets and pillows; and upon this throne, the "king and queen," i.e. the bride and bridegroom, are seated, while the guests honour them with song, game and dance. This lasts for seven days (cf. Gen. xxix. 27; Jud. xiv.

12); and the theory is that in the Song of Songs we have specimens of the songs sung on such an occasion. In particular, it is practically certain that vi. 13-vii. 9 is the song which accompanied the "sword-dance" (as the last words of vi. 13 should probably be translated) performed by the bride on the eve of her wedding day. This would explain the looseness of the arrangement, no special attempt being made to unify the songs, though it may be conceded that the n.o.ble eulogy of love in viii. 6, 7, as it is the finest utterance in the book, was probably intended as a sort of climax.

The king, then, is not Solomon, but the peasant bridegroom, who enjoys the regal dignity, and even the name of Israel's most splendid monarch, iii. 7, 9, for the s.p.a.ce of a week. Ch. iii. 11, with its reference to the bridegroom's crown (cf. Isa. lxi. 10), is all but conclusive proof that the hero is not king Solomon, but another sort of bridegroom. His bride, perhaps a plain country girl, counts for the week as the maid of Shulem, vi. 13, i.e. Abis.h.a.g, once the fairest maid in Israel (vi. 1, I Kings i. 3). So throughout the "king's week" everything is transfigured and takes on the colours of royal magnificence: the thres.h.i.+ng-board becomes a palanquin, and the rustic bodyguard appear as a band of valiant warriors, iii. 7, 8. There is a charming naivete, and indeed something much profounder, in this temporary transformation of those humble rustic lives. We are involuntarily reminded of scenes in _A Midsummer Night's Dream_. This view of the book has commended itself to scholars like Nldeke, who formerly championed the dramatic theory, though two of the latest writers[1] have argued skilfully against it.

[Footnote 1: Harper, in the Cambridge Bible "Song of Songs," and Rothstein, in Hastings' _Dictionary of the Bible_.]

The following may be taken as an approximate division of the songs, though some of the longer sections might easily be regarded as a combination of two or three songs. The bride praises the bridegroom, modestly depreciates her own beauty, and asks where her bridegroom is to be found, i. 2-8. Each sings the other's praises: the happiness of the bride, i. 9-ii. 7. A spring wooing, ii. 8-17. The bride's dream, iii. 1-5. The bridegroom's procession, iii. 6-11. The charms of the bride, iv. 1-v. 1. The beauty of the bridegroom, v. 2-vi. 3. Praise of the bride, vi. 4-12. Praise of the bride as she dances the sword-dance, vii. 1-10. The bride's longing, vii. 11-viii. 4. The incomparable power of love, viii. 5-7. The bride's proud reply to her brothers, viii. 8-10.

The two vineyards, viii. 11, 12. Conclusion, viii. 13, 14.

The immortal verses in praise of love, viii. 6, 7, show that, in spite of its often sensuous expression, the love here celebrated is not only pure but exclusive; and the book, which once was regarded as a satire on the court of Solomon, would in any case make in favour of monogamic sentiment, and tend to enn.o.ble ideals in a country where marriage was simply regarded as a contract.

The mention of Israel's ancient capital Tirzah in vi. 4 (if the text be correct) as a parallel to Jerusalem, would alone be enough to bring the date below Solomon's time (cf. 1 Kings xiv. 17, xvi. 23).

But it is no doubt much later. The Persian word _pardes_ in iv.

13 appears to imply the Persian period, and is used elsewhere only in post-exilic books (Neh. ii. 8; Eccles. ii. 5). Indeed the word _appirion_ in iii. 9 appears to be the Hebraized form of a Greek word _ph.o.r.eion_, and if so would almost necessarily imply the Greek period, though the Hebrews may have been acquainted with Greek words, through the Greek settlements in Egypt, as early as the sixth century B.C. Many of the words and constructions, however, are demonstrably late and Aramaic; and the linguistic evidence alone (unless we a.s.sume an earlier book to have been worked over in later times) would put the Song hardly earlier than the fourth century B.C. Yet the fact that though a secular writing, it is in Hebrew and not Aramaic, which was rapidly gaining ground, shows that it can hardly be brought down much later. On the whole, probably it is to be placed somewhere between 400 and 300; and its sunny vivacity thus becomes a welcome foil to the austerity of the post-exilic age. If this argument is sound, it follows that the book cannot have been by Solomon. The superscription, i. 1, was no doubt added by a later hand on the basis of the many references to Solomon in the book, iii. 7-11, viii. 11 f, and of the statement in 1 Kings iv. 32 that he was the author of 1,005 songs.

Where the songs were composed we cannot tell. The scenes they reflect so vividly are rather those of Israel than of Judah, but the repeated allusions to the daughters of Jerusalem would be most naturally explained if the songs came from Jerusalem or its neighbourhood. With this agree the references to Engedi, Heshbon, Kedar, while the northern places mentioned, Lebanon, Hermon, Gilead, Damascus, are such as would be familiar, at any rate, by reputation, to a Judean.

RUTH

Goethe has characterized the book of Ruth as the loveliest little idyll that tradition has transmitted to us. Whatever be its didactic purpose--and some would prefer to think that it had little or none-it is, at any rate, a wonderful prose poem, sweet, artless, and persuasive, touched with the quaintness of an older world and fresh with the scent of the harvest fields. The love--stronger than country--of Ruth for Naomi, the gracious figure of Boaz as he moves about the fields with a word of blessing for the reapers, the innocent scheming of Naomi to secure him as a husband for Ruth--these and a score of similar touches establish the book for ever in the heart of all who love n.o.bility and romance.

The inimitable grace and tenderness of the story are dissipated in a summary, but the main facts are these. A man of Bethlehem, with his wife Naomi and two sons, is driven by stress of famine to Moab, where the sons marry women of the land. In course of time, father and sons die, and Naomi resolves to return home. Ruth, one of her daughters-in-law, accompanies her, in spite of Naomi's earnest entreaty that she should remain in her own land. In Bethlehem, Ruth receives peculiar kindness from Boaz, a wealthy landowner, who happens to be a kinsman of Naomi; and Naomi, with a woman's happy instinct, devises a plan for bringing Boaz to declare himself a champion and lover of Ruth. The plan is successful. A kinsman nearer than Boaz refuses to claim his rights by marrying her, and the way is left open for Boaz. He accordingly marries Ruth, who thus becomes the ancestress of the great King David.

Why was this story told? The question of its object is to some extent bound up with the question of date; and for several reasons, this appears to be late. (1) In the Greek, Latin and modern Bibles, Ruth is placed after Judges; in the Hebrew Bible it is placed towards the end, among the _Writings_, i.e. the last division, in which, speaking generally, only late books appear. Had the book been pre-exilic, it is natural to suppose that it would have been placed after Judges in the second division. Some indeed maintain that this is its original position; but it is easier to account for its transference from the third division to the second, as a foil to the war-like episodes of the judges, than for its transference from the second to the third. (2) The argument from language is perhaps not absolutely decisive, but, on the whole, it is scarcely compatible with an early date. Some words are pure Aramaic, and some of the Hebrew usages do not appear in early literature, e.g., "fall," in the sense of "fall out, issue, happen," iii. 18. (3) The opening words--"In the days when the judges judged," i. 1--suggest not only that those days are past, but that they are regarded as a definite period falling within an historical scheme. The book must be, at any rate, as late as David--for it describes Ruth as his ancestress, iv. l7--and probably much later, as the implication is that it is a great thing to be the ancestress of David. The reverence of a later age for the great king s.h.i.+nes through the simple genealogical notice with which the story concludes.[1] (4) Further, the old custom of throwing away the shoe as a symbol of the abandonment of one's claim to property, a custom familiar in the seventh century B.C. (Deut. xxv. 9f.) is in iv. 7 regarded as obsolete, belonging to the "former time." The c.u.mulative effect of these indications is strongly to suggest a post-exilic date. Not perhaps, however, a very late one: a book as late as the Maccabean period would hardly have reflected so kindly a feeling towards the foreigner (cf. Esther).

[Footnote 1: Probably iv. 18-22 is a later addition, but that does not affect the general argument (cf. _v_.17).]

The story probably rests upon a basis of fact. David's conduct in putting his parents under the protection of the king of Moab (I Sam.

xxii. 3, 4) would find its simplest explanation, if he had been connected in some way with Moab, as the book of Ruth represents him to have been; whereas a later age would hardly have dared to invent a Moabite ancestress for him, had there been no tradition to that effect.

The object of the book has been supposed by some to be to commend the so-called levirate marriage. This is improbable: not so much because the marriage was not strictly levirate, since neither Boaz nor the kinsman was the brother-in-law of Ruth--it would be fair enough to regard this as a legitimate extension of the principle of levirate marriage, whose object was to perpetuate the dead man's name--but rather because this is a comparatively subordinate element in the story.

The true explanation is no doubt to be sought in the fact that Ruth the Moabitess is counted worthy to be an ancestress of David; and, if the book be post-exilic, its religious significance is at once apparent. It was in all probability the dignified answer of a man of prophetic instincts to the rigorous measures of Ezra, which demanded the divorce of all foreign women (Ezra ix. x, cf. Neh. xiii. 23ff.); for it can hardly be doubted that there is a delicate polemic in the repeated designation of Ruth as _the Moabitess_, i. 22, ii. 2, 6, 21, iv. 5, 10--she even calls herself the "stranger," ii. 10. It would be pleasant to think that the writer had himself married one of these foreign women. In any case, he champions their cause not only with generosity but with insight; for he knows that some of them have faith enough to adopt Israel's G.o.d as their G.o.d, i. 16, and that even a Moabitess may be an Israelite indeed. Ezra's severe legislation was inspired by the worthy desire to preserve Israel's religion from the peril of contagion: the author of Ruth gently teaches that the foreign woman is not an inevitable peril, she may be loyal to Israel and faithful to Israel's G.o.d. The writer dares to represent the Moabitess as eating with the Jews, ii. l4--winning by her ability, resource and affection, the regard of all, and counted by G.o.d worthy to be the mother of Israel's greatest king. The generous type of religion represented by the book of Ruth is a much needed and very attractive complement to the stern legalism of Ezra.

LAMENTATIONS

The book familiarly known as the Lamentations consists of four elegies[1] (i., ii., iii., iv.) and a prayer (v.). The general theme of the elegies is the sorrow and desolation created by the destruction of Jerusalem[2] in 586 B.C.: the last poem (v.) is a prayer for deliverance from the long continued distress. The elegies are all alphabetic, and like most alphabetic poems (cf. Ps. cxix.) are marked by little continuity of thought. The first poem is a lament over Jerusalem, bereft, by the siege, of her glory and her sanctuary, i. 1-11, though the bitter and comfortless doom which she bewails in i. 12-22, is regarded as the divine penalty for her sin, i. 5, 8. Similarly in ii. 1-10 her sorrow and suffering are admitted to be a divine judgment. Her shame and distress are inconsolable, ii. 11-17, and she appeals to her G.o.d to look upon her in her agony, ii. 18-22. The third poem, probably the latest in the book, represents the city, after a bitter lament, iii. 1-21, as being inspired, by the thought of the love of G.o.d, to submission and hope, iii. 22-36. A prayer of penitence and confession, iii. 37-54, is followed by a pet.i.tion for vengeance upon the adversaries, iii. 55-66.

The fourth poem, like the second, offers a very vivid picture of the sorrows and horrors of the siege: it laments, in detail, the fate of the people, iv. 1-6, the princes, iv. 7-11, the priests and the prophets, iv. 12-16, and the king, iv. 17-20, and ends with a prophecy of doom upon the Edomites, iv. 21, 22, who behaved so cruelly after the siege (Ps, cx.x.xvii. 7). In the last poem the city, after piteously lamenting her manifold sorrows, v. 1-18, beseeches the everlasting G.o.d for deliverance therefrom, v. 19-22.

[Footnote 1: In the Hebrew elegiac metre, as in the Greek and Latin, the second line is shorter than the first--usually three beats followed by two.]

[Footnote 2: An unconvincing attempt has been made to refer the last two chapters to the Maccabean age--about 170 B.C.]

A very old and by no means unreasonable tradition a.s.signs the authors.h.i.+p of the book to Jeremiah. In the Greek version it is introduced by the words--which appear to go back to a Hebrew original--"And it came to pa.s.s, after Israel had been led captive and Jerusalem made desolate, that Jeremiah sat down weeping, and lifted up this lament over Jerusalem and said." This view of the authors.h.i.+p is as old as the Chronicler, who in 2 Chronicles x.x.xv. 25 seems to refer the book to Jeremiah, probably regarding iv. 20, which refers to Zedekiah, as an allusion to Josiah. Chs. ii. and iv.

especially are so graphic that they must have been written by an eye-witness who had seen the temple desecrated and who had himself tasted the horrors of a siege, in which the mothers had eaten their own children for very hunger. The pa.s.sionate love, too, for the people, which breathes through the elegies might well be Jeremiah's; and the ascription of the calamity to the sin of the people, i. 5, 8, is in the spirit of the prophet.

Nevertheless, it is not certain, or even very probable, that Jeremiah is the author. Unlike the Greek and the English Bible, the Hebrew Bible does not place the Lamentations immediately after Jeremiah but in the third division, among the _Writings_, so that there is really no initial presumption in favour of the Jeremianic authors.h.i.+p. Again, Jeremiah could hardly have said that "the prophets find no vision from Jehovah," ii. 8, nor described the vacillating Zedekiah as "the breath of our nostrils," iv. 20, nor attributed the national calamities to the sins of _the fathers_, v. 7 Other features in the situation presupposed by ch.

v. appear to imply a time later than Jeremiah's, v. 18,20, and it is very unlikely that one who was so sorely smitten as Jeremiah by the inconsolable sorrow of Jerusalem would have expressed his grief in alphabetic elegies: men do not write acrostics when their hearts are breaking. When we add to this that chs. ii. and iv. which stand nearest to the calamity appear to betray dependence on Ezekiel (ii.

14, iv. 20, Ezek. xxii. 28, xix, 24, etc.) there is little probability that the poems are by Jeremiah.

It is not even certain that they are all from the same hand, as, unless we transpose two verses, the alphabetic order of the first poem differs from that of the other three, and the number of elegiacs--three--in each verse of the first two poems, differs from the number--one--in the third, and two in the fourth. In the third poem each letter has three verses to itself; in the other three poems, only one.

Ch. iii. with its highly artificial structure and its tendency to sink into the gnomic style, iii. 26ff., is probably remotest of all from the calamity.[1] Considering the general hopelessness of the outlook, chs. ii. and iv. at any rate, which are apparently the earliest, were probably composed before the pardon of Jehoiachin in 561 B.C. (2 Kings xxv. 27) when new possibilities began to dawn for the exiles. 580-570 may be accepted as a probable date. The calamity is near enough to be powerfully felt, yet remote enough to be an object of poetic contemplation. The other poems are no doubt later: ch. v. may as well express the sorrow of the returned exiles as the sorrow of the exile itself. More than this we cannot say.

[Footnote 1: The intensely personal words at the beginning of ch.

iii. are, no doubt, to be interpreted collectively. The "man who has seen affliction" is not Jeremiah, but the community, Cf. _v_.

14, "I am become the laughing stock of all nations" (emended text).

Cf. also _v_. 45.]

The older parts of the book, whether written in Egypt, Babylon, or more probably in Judah, are of great historic value, as offering minute and practically contemporary evidence for the siege of Jerusalem (cf. ii. 9-12) and as reflecting the hopelessness which followed it. Yet the hopelessness is by no means unrelieved. Besides the prayer to G.o.d who abideth for ever, v. 19, is the general teaching that good may be won from calamity, in. 24-27, and, above all, the beautiful utterance that "the love of Jehovah never ceases[1] and His pity never fails," iii. 22.

[Footnote 1: Grammar and parallelism alike suggest the emendation on which the above translation rests.]

ECCLESIASTES

It is not surprising that the book of Ecclesiastes had a struggle to maintain its place in the canon, and it was probably only its reputed Solomonic authors.h.i.+p and the last two verses of the book that permanently secured its position at the synod of Jamnia in 90 A.D. The Jewish scholars of the first century A.D. were struck by the manner in which it contradicted itself: e.g., "I praised the dead more than the living," iv. 2, "A living dog is better than a dead lion," ix. 4; but they were still more distressed by the spirit of scepticism and "heresy" which pervaded the book (cf. xi. 9 with Num. xv. 39).

In spite of the opening verse, it is very plain that Solomon could not have been the author of the book. Not only in i. 12 is his reign represented as over--I _was_ king--though Solomon was on the throne till his death, but in i. 16, ii. 7, 9, he is contrasted with all--apparently all the kings--that were before him in Jerusalem, though his own father was the founder of the dynasty. There is no probability that Solomon would have so scathingly a.s.sailed the administration of justice for which he himself was responsible, as is done in iii. 16, iv. i, v. 8. The sigh in xii. 12 over the multiplicity of books is thoroughly inappropriate to the age of Solomon.

Indeed the whole manner in which the problem is attacked is inappropriate to so early a stage of literary and religious development. But it was by a singularly happy stroke that Solomon was chosen by a later thinker as the mouthpiece of his reflections on life; for Solomon, with his wealth, buildings, harem, magnificence, had had opportunity to test life at every point, and his exceptional wisdom would give unique value to his judgment.

Ecclesiastes is undoubtedly one of the latest books in the Old Testament. The criteria for determining the date are chiefly three.

(1) _Linguistic_. Alike in its single words (e.g., preference for abstract nouns ending in _uth_) its syntax (e.g., the almost entire absence of waw conversive) and its general linguistic character, the book ill.u.s.trates the latest development of the Hebrew language. There are not a few words which occur elsewhere only in Chronicles, Ezra, Nehemiah, Esther: there are some pure Aramaic words, some words even which belong to the Hebrew of the Mishna.

Even if we allow an early international use of Aramaic, the corrupt Hebrew of the book would alone compel us to place it very late. Some have sought to strengthen the argument for a late date from the presence of Greek influence on the _language_ of the book, e.g., in such phrases as "under the sun," "to behold the sun," "the good which is also beautiful," v. 18; but, probable as it may be, it is not certain that there are Graecisms in the language of Ecclesiastes.[1]

[Footnote 1: Cf. A. H. McNeile, _Introduction to Ecclesiastes_, p. 43.]

(2) _Historical_. There is much interesting detail which is clearly a transcript of the author's experience: the slaves he had seen on horseback, x. 7, the poor youth who became king, iv. 13-16 (cf. ix. 14ff.). These incidents, however, are too lightly touched, and we know too little of the history of the period, to be able to locate them definitely. The woe upon the land whose king is a child, x. 16, has been repeatedly connected with the time of Ptolemy V.

Epiphanes (205-181 B.C.), the last of his house who ruled over Palestine and who at his father's death was little over four years old. However that may be, the general historical background is unmistakably that of the late post-exilic age. The book bears the stamp of an evil time, when injustice and oppression were the order of the day, iii. 16, iv. 1, v. 8, government was corrupt and disorderly and speech dangerous, x. 20. The allusions would suit the last years of the Persian empire (333); but if, as the linguistic evidence suggests, the book is later, it can hardly be placed before 250 B.C., as during the earlier years of the Greek period, Palestine was not unhappy.

(3) _Philosophical_. The speculative mood of the book marks it as late. Though not an abstract discussion--the Old Testament is never abstract--it is more abstract than the kindred discussion in the book of Job. It is hard to believe that Ecclesiastes was not affected by the Greek philosophical influences of the time. If it be not necessary to trace its contempt of the world to Stoicism, or its inculcation of the wise enjoyment of the pa.s.sing moment directly to Epicureanism, at least an indirect influence can hardly be denied.

Greek thought was spreading as the Greek language was; and the scepticism of Ecclesiastes, though not without parallels in earlier stages of Hebrew literature, yet here a.s.sumes a deliberate, sustained and all but philosophic form, which finds its most natural explanation in the profound and pervasive influence of Greek philosophy--an influence which could hardly be escaped by an age in which books had multiplied and study been prosecuted till it was a burden, xii. 12.