It is true that in Solomon’s Song, i. 16, “Behold, thou art fair, my beloved,”—ii. 10, “My beloved spake and said unto me, Rise up my love, my fair one, and come away,”—iv. 1, “Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes,”—iv. 7, “Thou art fair, my love; there is no spot in thee,” and also v. 9, “O thou fairest among women,” the word יָפַהyāpa yapha, in grammatical form, is used in the original, and that the term is applied to a black woman. But this whole song is written in hyperbole. In the description of Solomon’s person, it says, v. 11, “His head is as the most fine gold;” in the original, “His head is the most fine gold.” 14: “His hands are as gold rings set with the beryl: his belly as bright ivory overlaid with sapphires. 15: His legs are as pillars of marble, set upon sockets of gold: his countenance is as Lebanon, excellent as the cedars.”
Asiatic poetry always abounded in hyperbole. Thus an Arabian poet, speaking of his mistress, says—
“I behold in thine eyes, angels looking at me.
Deformity in another, in thee is excellent beauty;
The garments of the shepherd, upon thee, are the finest tissue,
And brass ornaments become fine gold.
Thy excellence, so great among men, the god beholds,
And is astonished at thy beauty.”
It is not from such productions that we are to look for the simple, original, and radical meaning of terms; and probably even in the case of Canticles, the word יָפַהyāpa yapha would not have been allowed by the rules of composition, had it not been first announced in a calm, initiatory manner, that she was a black woman, in order that no misconception might arise from such hyperbole.
Let us suppose ourselves in Arabia, and some poet announces that, for our evening entertainment and diversion, he will deliver a panegyric upon some black woman, and, among other things, says—