"In course of time, a poor and weary traveller was walking on his way by night, his garments were ragged and torn, he was barefooted and ready to faint with hunger, cold, and fatigue. He knew not where to sleep, but, casting his eyes around him, he beheld the skeleton of an ox lying on a field hard by. The youth crept inside the skeleton to shelter himself from the wind, and, while he slept there, down swooped a great bird, which lifted up the carcass and the unconscious youth in it. The bird flew with its burden to the top of Solomon's tower, and set it down on the roof before the very door of the imprisoned princess. She went forth on the morrow to walk on the roof according to her daily wont, and she descried the youth. She said to him, 'Who art thou? and who brought thee hither?' He answered, 'I am a Jew of Acco, and a bird bore me to thee.' The kind-hearted maiden clothed him in new garments; they bathed and anointed him, and she saw that he was the handsomest youth in Israel. They loved one another, and his soul was bound up in hers. One day she said, 'Wilt thou marry me?' He replied, 'Would it might be so!' They resolved to marry. But there was no ink with which to write the Kethubah, or marriage certificate. Love laughs at obstacles. So, using some drops of his own blood as ink, the marriage was secretly solemnized, and he said, 'God is my witness to-day, and Michael and Gabriel likewise.' When the matter leaked out, the dismayed custodians of the princess hastily summoned Solomon. The king at once obeyed their call, and asked for the presumptuous youth. He looked at his son-in-law, inquired of him as to his father and mother, family and dwelling-place, and from his replies the king recognized him for the selfsame man whom he had seen in the stars as the destined husband of his daughter. Then Solomon rejoiced with exceeding joy and exclaimed, Blessed is the Omnipresent who giveth a wife to man and establisheth him in his house."
The moral of which seems to be that, though marriages are made in Heaven, love must be made on earth.
HEBREW LOVE SONGS
Palestine is still the land of song. There the peasant sings Arabic ditties in the field when he sows and reaps, in the desert when he tends his flock, at the oasis when the caravan rests for the night, and when camels are remounted next morning. The maiden's fresh voice keeps droning rhythm with her hands and feet as she carries water from the well or wood from the scanty forest, when she milks the goats, and when she bakes the bread.
The burden of a large portion of these songs is love. The love motive is most prominent musically during the long week of wedding festivities, but it is by no means limited to these occasions. The songs often contain an element of quaint, even arch, repartee, in which the girl usually has the better of the argument. Certainly the songs are sometimes gross, but only in the sense that they are vividly natural. With no delicacy of expression, they are seldom intrinsically coarse. The troubadours of Europe trilled more daintily of love, but there was at times an illicit note in their lays. Eastern love songs never attain the ideal purity of Dante, but they hardly ever sink to the level of Ovid.
But why begin an account of Hebrew love songs by citing extant Palestinian examples in Arabic? Because there is an undeniable, if remote, relationship between some of the latter and the Biblical Song of Songs. In that marvellous poem, outspoken praise of earthly beauty, frank enumeration of the physical charms of the lovers, thorough unreserve of imagery, are conspicuous enough. Just these features, as Wetzstein showed, are reproduced, in a debased, yet recognizable, likeness, by the modern Syrian wasf—a lyric description of the bodily perfections and adornments of a newly-wed pair. The Song of Songs, or Canticles, it is true, is hardly a marriage ode or drama; its theme is betrothed faith rather than marital affection. Still, if we choose to regard the Song of Songs as poetry merely of the wasf type, the Hebrew is not only far older than any extant Arabic instance, but it transcends the wasf type as a work of inspired genius transcends conventional exercises in verse-making. There are superficial similarities between the wasf and Canticles, but there is no spiritual kinship. The wasf is to the Song as Lovelace is to Shakespeare, nay, the distance is even greater. The difference is not only of degree, it is essential. The one touches the surface of love, the other sounds its depths. The Song of Songs immeasurably surpasses the wasf even as poetry. It has been well said by Dr. Harper (author of the best English edition of Canticles), that, viewed simply as poetry, the Song of Songs belongs to the loveliest masterpieces of art. "If, as Milton said, 'poetry should be simple, sensuous, passionate,' then here we have poetry of singular beauty and power. Such unaffected delight in all things fair as we find here is rare in any literature, and is especially remarkable in ancient Hebrew literature. The beauty of the world and of the creatures in it has been so deeply and warmly felt, that even to-day the ancient poet's emotion of joy in them thrills through the reader."
It is superfluous to justify this eulogy by quotation. It is impossible also, unless the quotation extend to the whole book. Yet one scene shall be cited, the exquisite, lyrical dialogue of spring, beginning with the tenth verse of the second chapter. It is a dialogue, though the whole is reported by one speaker, the Shulammite maid. Her shepherd lover calls to her as she stands hidden behind a lattice, in the palace in Lebanon, whither she has been decoyed, or persuaded to go, by the "ladies of Jerusalem."
The shepherd lover calls
Rise up, my love,
My fair one, come away!
For, lo, the winter is past,
The rain is over and gone,
The flowers appear on the earth:
The birds' singing time is here,
And the voice of the turtle-dove is heard in our land.
The fig-tree ripens red her winter fruit,
And blossoming vines give forth fragrance.
Rise up, my love,
My fair one, come away!
Shulammith makes no answer, though she feels that the shepherd is conscious of her presence. She is, as it were, in an unapproachable steep, such as the wild dove selects for her shy nest. So he goes on:
O my dove, that art in the clefts of the rock,
In the covert of the steep!
Let me see thy face,
Let me hear thy voice,
For sweet is thy voice, and thy face comely!