A book in the Old Testament of the Bible, the Song of Solomon, also known as the Song of Songs or the Canticles, is a collection of lyric poetry celebrating human love.一本书，在旧约的圣经，所罗门之歌，也称为歌的歌曲，或canticles ，是一家集抒情诗庆祝人类的爱。 The tradition of Solomonic authorship does not stand scrutiny.传统solomonic作者不纳入审议。 The milieu of the poetry is heavily northern Israelite and the imagery rural, although it may have been among sophisticated urbanites.该氛围的诗是重北以色列人和农村的意象，虽然它可能已被都市人之间的复杂的。 A reasonable hypothesis is that love lyrics from the period 950 - 750 BC were collected and supplemented in postexilic times and accepted among religious Jews as an allegory of the relationship of God and Israel.一个合理的假设是，爱的歌词，从950期-公元前7 50收集和补充，在p ostexilic倍和接受之间的宗教犹太人作为一个寓言的关系，上帝和以色列。 The early Christian church accepted this explanation, with the allegory becoming that of Christ and his church.早期的基督教教堂接受这个解释，与寓言成为指出，基督和他的教会。 Other scholars interpret the song as a collection of hymns to true love, sanctified by union.其他学者解释，这首歌作为一个收集的赞美诗，以真正的爱情，神圣的，由联盟。 The poetry describes nature and the male and female bodies with an ardent and unjaded eroticism.诗描述的性质和男，女团体与热心和unjaded色情业。
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Bibliography
参考书目
G Carr and DJ
Wiseman, Song of Solomon (1984); R Gordis, The Song of Songs and Lamentations: A
Study, Modern Translation, and Commentary (1974); JB White, A Study of the
Language of Love in the Song of Songs (1978).克卡尔和DJ怀斯曼，所罗门之歌（ 1984年） ; r
gordis ，这首歌的歌曲和悲叹：一项研究显示，现代的翻译，评注（ 1974年） ; jb白色，研究语文的爱情在这首歌的歌曲（ 1978年） 。
Different
scholars have interpreted this book as:不同的学者解释，这本书为：
Jews generally believe that the bridegroom is God and the bride is the Jewish people.犹太人普遍认为，新郎是上帝和新娘是犹太人民。 Many Christians feel that the bridegroom is Christ and the bride is the Church.许多基督教徒认为，新郎是基督和新娘是教会。
Solomon, peaceful, (Heb. Shelomoh), David's second son by Bathsheba, ie, the first after their legal marriage (2 Sam. 12).索罗门，和平， （希伯来书shelomoh ） ，大卫的第二个儿子，由拔示巴，即第一后，他们的合法婚姻（ 2萨姆12段） 。 He was probably born about BC 1035 (1 Chr. 22:5; 29:1).他可能是出生约公元前1035年（ 1人权委员会。 22时05分; 29:1 ） 。 He succeeded his father on the throne in early manhood, probably about sixteen or eighteen years of age.他成功地对他父亲的宝座，在早期青壮年，大概约16或18岁以下。 Nathan, to whom his education was intrusted, called him Jedidiah, ie, "beloved of the Lord" (2 Sam. 12:24, 25).弥敦道，向谁他的教育是intrusted ，叫他jedidiah ，即“敬爱的上帝” （ 2萨姆。 12时24分， 25 ） 。 He was the first king of Israel "born in the purple."他是第一个国王以色列“出生在紫色” 。 His father chose him as his successor, passing over the claims of his elder sons: "Assuredly Solomon my son shall reign after me."他的父亲选择他，作为他的继任者，经过索赔他的老儿子： “稳妥地所罗门我的儿子应统治后，我” 。 His history is recorded in 1 Kings 1-11 and 2 Chr.他的历史是记录在一国王1月11日和2人权委员会。 1-9. 1月9日。 His elevation to the throne took place before his father's death, and was hastened on mainly by Nathan and Bathsheba, in consequence of the rebellion of Adonijah (1 Kings 1:5-40).他的海拔，以王位发生前，他父亲的死亡，并加快对主要由弥敦道和拔示巴，在后果叛乱的多尼雅（ 1国王1:5-40 ） 。 During his long reign of forty years the Hebrew monarchy gained its highest splendour.在他漫长的统治四十年希伯来文的君主立宪制获得最高荣光。
This period has well been called the "Augustan age" of the Jewish annals.在这段期间，以及被称为“古斯坦年龄”对犹太人的史册。 The first half of his reign was, however, by far the brighter and more prosperous; the latter half was clouded by the idolatries into which he fell, mainly from his heathen intermarriages (1 Kings 11:1-8; 14:21, 31).上半年，他的统治是，不过，到目前为止，光明和更加繁荣;下半年被蒙上阴影，由idolatries到他下跌，主要是从他的heathen通婚（ 1国王11:1-8 ; 14时21分， 31 ） 。 Before his death David gave parting instructions to his son (1 Kings 2:1-9; 1 Chr. 22:7-16; 28).在他死之前，朱了临别的指示，他的儿子（ 1国王2:1-9 ;一人权委员会。 22:7-16 ; 28 ） 。 As soon as he had settled himself in his kingdom, and arranged the affairs of his extensive empire, he entered into an alliance with Egypt by the marriage of the daughter of Pharaoh (1 Kings 3:1), of whom, however, nothing further is recorded.一旦他已经解决了自己在他的王国，并安排的事务，他广泛的帝国，他进入联盟与埃及，由结婚的女儿，老王（ 1国王3:1 ） ，其中，但没有进一步记录下来。 He surrounded himself with all the luxuries and the external grandeur of an Eastern monarch, and his government prospered.萨达姆的周围都是他与所有的奢侈品和外部宏伟的东方君主，和他的政府的繁荣。 He entered into an alliance with Hiram, king of Tyre, who in many ways greatly assisted him in his numerous undertakings.他进入联盟与西贡，国王的轮胎，谁在许多方面很大的帮助，他在他的众多事业的发展。
For some years before his death David was engaged in the active work of collecting materials (1 Chr. 29:6-9; 2 Chr. 2:3-7) for building a temple in Jerusalem as a permanent abode for the ark of the covenant.一些年来在他死之前，朱是在从事积极的工作，收集材料（ 1人权委员会。 29:6-9 ;二月人权委员会。 2:3-7 ）建设圣殿，在耶路撒冷为永久居留权的方舟的公约的规定。 He was not permitted to build the house of God (1 Chr. 22:8); that honour was reserved to his son Solomon.他不准许建立内务上帝（ 1人权委员会。 22时08分） ;荣幸地被保留给他的儿子所罗门。 (See TEMPLE.) After the completion of the temple, Solomon engaged in the erection of many other buildings of importance in Jerusalem and in other parts of his kingdom. （见庙）完成后，庙，索罗门，从事竖立许多其他建筑物的重要性，在耶路撒冷和其他部分，他的王国。 For the long space of thirteen years he was engaged in the erection of a royal palace on Ophel (1 Kings 7:1-12).对于长期的空间十三年，他在从事竖立一个王宫就ophel （ 1国王7:1-12 ） 。 It was 100 cubits long, 50 broad, and 30 high.这是100肘长，五十广泛，和30日高点。 Its lofty roof was supported by forty-five cedar pillars, so that the hall was like a forest of cedar wood, and hence probably it received the name of "The House of the Forest of Lebanon."其崇高的屋顶是支持45雪松支柱，使大厅就像一个森林雪松木，因此可能收到“的名义众议院森林的黎巴嫩” 。 In front of this "house" was another building, which was called the Porch of Pillars, and in front of this again was the "Hall of Judgment," or Throneroom (1 Kings 7:7; 10:18-20; 2 Chr. 9:17-19), "the King's Gate," where he administered justice and gave audience to his people.在前面的这个“家”是另一个建设，这被称为阳台的支柱，并在前面，这又是“在人民大会堂的判断， ”或throneroom （ 1国王7时07分; 10:18-20 ; 2 ，人权委员会。 9:17-19 ） ， “国王的门， ”而他管理的正义和给观众以他的人民。
This palace was a building of great magnificence and beauty.这宫殿是一个建设的伟大辉煌和美容。 A portion of it was set apart as the residence of the queen consort, the daughter of Pharaoh.部分它是除了作为官邸，女王的CONSORT ，法老王的女儿。 From the palace there was a private staircase of red and scented sandal wood which led up to the temple.从故宫有一个私人的楼梯，红色凉鞋和有香味的木材，导致了到寺庙。 Solomon also constructed great works for the purpose of securing a plentiful supply of water for the city (Eccl. 2:4-6).所罗门还建造了伟大的工程，目的在于保证对丰富的食水供应，为市（ eccl. 2:4-6 ） 。 He then built Millo (LXX., "Acra") for the defence of the city, completing a line of ramparts around it (1 Kings 9:15, 24; 11:27).然后，他建立了米罗（ lxx. ， “ acra ” ）为保卫城市，完成了线的城墙围绕它（ 1国王9点15分， 24 ; 11时27分） 。 He erected also many other fortifications for the defence of his kingdom at various points where it was exposed to the assault of enemies (1 Kings 9:15-19; 2 Chr. 8:2-6).他竖立也有许多其他的防御工事，为保卫他在英国的各点，它被暴露在攻击敌人（ 1国王9:15-19 ;二月人权委员会。 8:2-6 ） 。 Among his great undertakings must also be mentioned the building of Tadmor (qv) in the wilderness as a commercial depot, as well as a military outpost.他的伟大的事业还必须提到建设tadmor （请参阅）在旷野作为一个商业车厂，以及作为一个军事前哨。 During his reign Palestine enjoyed great commercial prosperity.在他的统治巴勒斯坦享有很大的商业繁荣。
Extensive traffic was carried on by land with Tyre and Egypt and Arabia, and by sea with Spain and India and the coasts of Africa, by which Solomon accumulated vast stores of wealth and of the produce of all nations (1 Kings 9:26-28; 10:11, 12; 2 Chr. 8:17, 18; 9:21).广泛的交通进行了土地与轮胎和埃及，阿拉伯和海路与西班牙和印度及非洲海岸，其中所罗门积累了丰富的商店，财富和生产的所有国家（ 1国王9:26-28 ; 10时11分， 12岁;人权委员会2 。 8时17分， 18岁; 9时21分） 。 This was the "golden age" of Israel.这是“黄金时代”的以色列。 The royal magnificence and splendour of Solomon's court were unrivalled.皇家的壮观和辉煌的所罗门的法院无可匹敌的。 He had seven hundred wives and three hundred concubines, an evidence at once of his pride, his wealth, and his sensuality.他曾700妻子和300妾，一证据，一旦他感到骄傲，他的财富，和他的性感。 The maintenance of his household involved immense expenditure.维持他的家庭所涉及的巨大开支。 The provision required for one day was "thirty measures of fine flour, and threescore measures of meal, ten fat oxen, and twenty oxen out of the pastures, and an hundred sheep, beside harts, and roebucks, and fallow-deer, and fatted fowl" (1 Kings 4:22, 23).提供所需的一天是“ 30的措施，罚款面粉，和threescore措施，膳食， 10发牛，牛和20列的牧场，和1 100羊，旁边的harts ， roebucks ，及休耕-鹿，脱脂鸡“ （ 1国王4点22 ， 23 ） 。 Solomon's reign was not only a period of great material prosperity, but was equally remarkable for its intellectual activity.所罗门的统治不仅是一个时期的伟大的物质繁荣，但也同样显着，为它的智力活动。 He was the leader of his people also in this uprising amongst them of new intellectual life.他是领导人，他的人也是在这起义，其中新的知识生活。
"He spake three thousand proverbs: and his songs were a thousand and five. And he spake of trees, from the cedar tree that is in Lebanon even unto the hyssop that springeth out of the wall: he spake also of beasts, and of fowl, and of creeping things, and of fishes" (1 Kings 4: 32, 33). “他spake 3000谚语：和他的歌曲，千5 。 spake和他的树木，从雪松树是在黎巴嫩，甚至永远hyssop认为springeth出墙：他spake也兽，禽，和蠕动的东西，鱼类“ （ 1国王4 ： 32 ， 33 ） 。 His fame was spread abroad through all lands, and men came from far and near "to hear the wisdom of Solomon."他的成名是在国外的传播，通过所有的土地，和男子来自远近“听到所罗门的智慧” 。 Among others thus attracted to Jerusalem was "the queen of the south" (Matt. 12:42), the queen of Sheba, a country in Arabia Felix.除其他外，从而吸引到耶路撒冷是“女王的南方” （ matt. 12时42分） ，女王示巴，一个国家在阿拉伯的费利克斯。 "Deep, indeed, must have been her yearning, and great his fame, which induced a secluded Arabian queen to break through the immemorial custom of her dreamy land, and to put forth the energy required for braving the burdens and perils of so long a journey across a wilderness. “深，事实上，必须是被她的向往，以及他的伟大的名利，诱导幽静阿拉伯女王打破透过远古的习俗，她的梦幻般的土地，并提出所需的能量为冒的负担和危险的，只要一跨洲之旅野外。
Yet this she undertook, and carried it out with safety." (1 Kings 10:1-13; 2 Chr. 9: 1-12.) She was filled with amazement by all she saw and heard: "there was no more spirit in her." After an interchange of presents she returned to her native land. But that golden age of Jewish history passed away. The bright day of Solomon's glory ended in clouds and darkness. His decline and fall from his high estate is a sad record. Chief among the causes of his decline were his polygamy and his great wealth. "As he grew older he spent more of his time among his favourites.然而，这她答允，并进行了出来，与安全。 “ （ 1国王10:1-13 ;人权委员会2 。 9 ： 1月12日）她是充满惊奇，所有她看到和听到的： ”有没有更多的精神在她的“后，一个交汇处的介绍，她回到自己的乡土，但黄金时代犹太人的历史去世。光明的一天索罗门的辉煌结束了在云层和黑暗，他的衰亡从他的高级地产是一个可悲的纪录。政务的原因之一，其跌幅分别为他的一夫多妻制和他的伟大财富“ ，因为他年龄的增长，他花更多的时间，他在他的收藏。 The idle king living among these idle women, for 1,000 women, with all their idle and mischievous attendants, filled the palaces and pleasure-houses which he had built (1 Kings 11:3), learned first to tolerate and then to imitate their heathenish ways.闲置的国王生活在这些闲置的妇女，为1000年的妇女，其所有的闲置和恶作剧的服务员，填补了宫殿和游乐场-房子，他建立了（ 1国王11时03分） ，据悉，第一要容忍，然后模仿他们的异教方法。 He did not, indeed, cease to believe in the God of Israel with his mind.他没有，事实上，不再相信，在以色列的上帝与他的主意。 He did not cease to offer the usual sacrifices in the temple at the great feasts.他并没有停止，以提供一般的牺牲，在观音庙的伟大节日。
But his heart was not right with God; his worship became merely formal; his soul, left empty by the dying out of true religious fervour, sought to be filled with any religious excitement which offered itself.但他的心是不对的上帝，他的崇拜，成为正式的只是;他的灵魂，留下空洞的，由消亡的真正的宗教热潮，力求填补与任何宗教的激动提供本身。 Now for the first time a worship was publicly set up amongst the people of the Lord which was not simply irregular or forbidden, like that of Gideon (Judg. 8:27), or the Danites (Judg. 18: 30, 31), but was downright idolatrous." (1 Kings 11:7; 2 Kings 23:13.) This brought upon him the divine displeasure. His enemies prevailed against him (1 Kings 11:14-22, 23-25, 26-40), and one judgment after another fell upon the land. And now the end of all came, and he died, after a reign of forty years, and was buried in the city of David, and "with him was buried in the city of David, and "with him was buried the short-lived glory and unity of Israel."现在为第一次有崇拜，公开成立，其中人民的上帝，这不单单是不规则或禁止，这样的吉迪（ judg. 8时27分） ，或danites （ judg. 18 ： 30 ， 31 ） ，但是彻头彻尾的idolatrous 。 “ （ 1国王11时07分; 2国王23时13分） 。这使他神圣的不满。他的敌人普遍存在的对他（ 1国王11:14-22 ， 23-25 ， 26-40 ） ，和一判决后，另一项下跌后，土地和现在结束所有一来，和他去世后，统治四十年，被安葬在该城市的国宝，和“与他被安葬在该城市的国宝，和“与他下葬短命的荣耀和团结的以色列” 。 "He leaves behind him but one weak and worthless son, to dismember his kingdom and disgrace his name." “他留下他，但一薄弱和不值钱的儿子，肢解他的英国和耻辱，他的名字” 。 "The kingdom of Solomon," says Rawlinson, "is one of the most striking facts in the Biblical history. “英国的所罗门，说： ”罗林森， “是其中一个最突出的事实，在圣经的历史。
A petty nation, which for hundreds of years has with difficulty maintained a separate existence in the midst of warlike tribes, each of which has in turn exercised dominion over it and oppressed it, is suddenly raised by the genius of a soldier-monarch to glory and greatness.小民族，千百年来已与困难，保持一个单独的存在，在中好战的部落，各自有反过来又行使统治权和压迫，是突然间所提出的天才，一个士兵的君主到荣耀和伟大。 An empire is established which extends from the Euphrates to the borders of Egypt, a distance of 450 miles; and this empire, rapidly constructed, enters almost immediately on a period of peace which lasts for half a century.一个帝国，建立了延伸，从幼发拉底河到埃及的边界，距离450英里;这帝国，迅速兴建，进入几乎立即就一个时期的和平持续了半世纪。 Wealth, grandeur, architectural magnificence, artistic excellence, commercial enterprise, a position of dignity among the great nations of the earth, are enjoyed during this space, at the end of which there is a sudden collapse.财富，宏伟，建筑壮丽，艺术卓越，商业企业，一个有尊严的立场之间的伟大的民族的地球，享受在这个空间，截至去年底，其中有一个突然崩溃。 The ruling nation is split in twain, the subject-races fall off, the pre-eminence lately gained being wholly lost, the scene of struggle, strife, oppression, recovery, in-glorious submission, and desperate effort, re-commences.", Historical Illustrations.执政党民族的分裂是在和Twain ，学科竞赛脱落，前隆起，最近获得了被完全失去了，现场的斗争，内乱，压迫，恢复，在光荣的意见书，和绝望的努力，重新开始“ 。 ，历史插图。
Song of Solomon, called also, after the Vulgate, the "Canticles."所罗门之歌，所谓的同时，后武加大， “ canticles ” 。 It is the "song of songs" (1:1), as being the finest and most precious of its kind; the noblest song, "das Hohelied," as Luther calls it.这是“宋歌” （ 1:1 ） ，作为最优秀和最宝贵的实物;崇高的歌曲“之hohelied ， ”路德呼吁。 The Solomonic authorship of this book has been called in question, but evidences, both internal and external, fairly establish the traditional view that it is the product of Solomon's pen.该solomonic作者，这本书已在所谓的问题，但证据，无论是内部和外部，建立公平的传统观点，这是产品的所罗门的笔名。 It is an allegorical poem setting forth the mutual love of Christ and the Church, under the emblem of the bridegroom and the bride.这是一个寓言诗设置提出了互爱的基督和教会，根据会徽新郎和新娘。 (Compare Matt. 9:15; John 3:29; Eph. 5:23, 27, 29; Rev. 19:7-9; 21:2, 9; 22:17. Compare also Ps. 45; Isa. 54:4-6; 62:4, 5; Jer. 2:2; 3:1, 20; Ezek. 16; Hos. 2:16, 19, 20.) （比较马特。 9时15分;约翰3点29分;以弗所书5点23 ， 27 ， 29 ;牧师19:7-9 ; 21时02分，第9条; 22:17 。比较也的PS 。 45 ;伊萨54 :4 -六; 62:4 ，五;哲。 2时02分; 3:1 ，第20条; ezek 。 16 ;居屋。 2点16 ， 19 ， 20 ） 。
(Easton Illustrated Dictionary) （伊斯顿说明字典）
(Greek Aisma asmaton, Latin Canticum canticorum.) （希腊aisma asmaton ，拉丁美洲canticum canticorum ） 。
One of three books of Solomon, contained in the Hebrew, the Greek, and the Christian Canon of the Scriptures.其中三本书的索罗门，载在希伯来文，希腊文，和基督教佳能的经文。 According to the general interpretation the name signifies "most excellent, best song".按照一般的解释的名称，标志， “最优秀的，最佳歌曲” 。 (Cf. the similar forms of expression in Exodus 26:33; Ezekiel 16:7; Daniel 8:25, used throughout the Bible to denote the highest and best of its kind.) Some commentators, because they have failed to grasp the homogeneousness of the book, regard it as a series or chain of songs. （参看类似形式的表达在出埃及记26:33 ;以西结书16时07分;丹尼尔8时25分，用整个圣经是指最高及最佳的一种）一些评论家，因为他们未能把握homogeneousness的这本书，把它当作了一系列或连锁式的歌曲。
CONTENTS AND EXPOSITION内容和博览会
The book describes the love for each other of Solomon and the Sulamitess in lyrico-dramatic scenes and reciprocal songs.这本书描述了爱对方的所罗门和sulamitess在lyrico -戏剧性的场面和对等的歌曲。 One part of the composition (iii, 6 to v, 1) is clearly a description of the wedding-day.其中一部分组成（三，六至五， 1 ）这显然是一个描述婚礼天。 Here the two chief personages approach each other in stately processlon, and the day is expressly called the wedding-day.在这里，两个行政人士的做法，对方在庄严processlon ，和天是明确的所谓婚礼天。 Moreover the bridal wreath and the bridal bed are referred to, and six times in this section of the song, although never before or after, the word spouse is used.此外，新娘敬献了花圈和婚纱床转介，和6倍，在这一节的这首歌，虽然从来没有之前或之后，这个词是用来配偶。 All that has preceded is now seen to be preparatory to the marriage, while in what follows the Sulamitess is the queen and her garden is the garden of the king (v, 1-vi, 7 sq.), although such expressions as "friend", "beloved", and "dove", are common.所有这之前，现在看到的筹备向婚姻，而在什么遵循sulamitess是女王和她的花园是花园，国王（五，一至六，七平方米） ，虽然这样的表现，作为“朋友“ ， ”心爱的“和”鸽派“ ，是常见的。 Along with the assurances of love for each other, there is a continually progressive action that represents the development of the warm friendship and affection of the pair, then the bridal union and the married life of the royal couple.随着保证爱对方，有一个不断进步的行动，代表了发展的热情友谊和爱戴两人，那么婚纱联盟和婚姻生活的皇家夫妇。 The bride, however, is exhibited as a simple shepherdess, consequently, when the king takes her, she has to undergo a training for the position of queen; in the course of this training occur various trials and sorrows (3:1; 5:5 sqq.; 6:11 -- Hebrews 12)新娘，不过，展示作为一个简单的shepherdess ，因此，当国王她，她要经历一个培训的立场，皇后大道中;在这个过程训练发生的各种试验和悲伤（ 3时01分; 5 ： 5 sqq 。 ; 6点11分-希伯来书1 2）
Various meanings have been attributed to the contents of the song.各种意义已归入的内容，这首歌。 Before the sixteenth century tradition gave an allegorical or symbolical meaning to the love of Solomon for the Sulamitess.前16世纪的传统，介绍了寓言或象征意义的爱情所罗门为sulamitess 。 The view held by the Jewish Synagogue was expressed by Akiba and Aben Ezra; that held by the Church, by Origen, Gregory of Nyssa, Augustine, and Jerome.检视举行的犹太会堂被所表达的秋叶和aben以斯拉;举行，由教会，由俄，格雷戈里的nyssa ，奥古斯丁，杰罗姆。 An opinion opposed to these found only isolated expression.一项民意反对这些发现，只有孤立的表达。 Akiba (first century after Christ) speaks severely of those who would strike the book from the Sacred Canon, while St. Philastrius (fourth century) refers to others who regarded it not as the work of the Holy Ghost but as the Composition of a purely sensuous poet.秋叶（第一世纪后，基督）说，严重的那些谁将罢工这本书从神圣的佳能公司，而圣philastrius （第四世纪）是指对他人的谁不把它作为工作的圣灵，但由于组成一个纯粹感性的诗人。 Theodore of Mopsuestia aroused such indignation by declaring the Canticle of Canticles to be a love-song of Solomon's, and his contemptuous treatment of it gave great offense (Mansi, Coll. Conc., IX, 244 sqq; Migne, PG, LXVI, 699 sqq.).西奥多的摩普绥提亚引起这样的愤慨，由申报canticle的canticles是一个爱-所罗门之歌的，和他藐视治疗了伟大的进攻（曼西， coll 。浓度，第九章， 244 sqq ;米涅页， lxvi ， 699 sqq ） 。 At the Œcumenical Council of Constantinople (553), Theodore's view was rejected as heretic and his own pupil Theoret, brought forward against him unanimous testimony of the Fathers (Migne, PG, LXXXI, 62).在œcumenical会君士坦丁堡（ 553 ） ，西奥多的意见被否决，作为邪教和他自己的学生theoret ，提出了对他一致的证词，父亲（米涅页， lxxxi ， 62 ） 。 Theodore's opinion was not revived until the sixteenth century, when the Calvinist Sebastien Castalion (Castalio), and also Johannes Clericus, made use of it.西奥多的意见，不是复苏，直到十六世纪，当calvinist塞巴斯蒂安卡斯塔利翁（卡斯塔利奥） ，也约翰内斯clericus ，利用了它。 The Anabaptists became partisans of this view; later adherents of the same opinion were Michaelis, Teller, Herder, and Eichhorn.该anabaptists成为partisans这一看法的;稍后遗民同样的观点被米氏，柜员，赫尔德，艾希霍恩。 A middle position is taken by the "typical" exposition of the book.一中的立场是所采取的“典型”的论断，这本书。 For the first and immediate sense the typical interpretation holds firmly to the historical and secular meaning, which has always been regarded by the Church as heretical; this interpretation gives, however, to the "Song of Love", a second and higher sense.为第一和即时的意识，典型的解释认为，牢牢把握历史和世俗的意义，因而一直被认为是由教会作为异端邪说;这个解释让，不过， “宋爱” ，一个第二和更高的责任感。 As, namely, the figure of Solomon was a type of Christ, so is the actual love of Solomon for a shepherdess or for the daughter of Pharaoh, intended as a symbol of the love of Christ for His Church.作为，即数字所罗门是一个类型的基督，所以是真正的爱所罗门为shepherdess或为法老王的女儿，打算作为一个象征基督的爱为他的教会。 Honorius of Autun and Luis of Leon (Aloysius Legionensis) did not actually teach this view, although their method of expression might be misleading (cf. Cornelius a Lapide, Prol. in Canticum, c. i).挪的欧坦和路易斯的里昂（ aloysius legionensis ）实际上并没有教导这种看法，虽然他们的方法表达可能误导（参见利乌斯一拉辟特的哥尼流，增殖，在canticum ，长一） 。 In earlier times reference was often made to a first and literal meaning of the words of a text, which meaning, however, was not the real sense of the context as intended by the author, but was held to be only its external covering or "husk".在较早的时代参考，往往作出的第一个和字面意义的话，一个文本，其中的含义，然而，并非真正意义上的背景下，作为打算由作者，但举行了只有其外部覆盖或“壳“ 。 Entirely dissimilar to this method is the typical exposition of modern times, which accepts an actual double meaning of the text, the two senses being connected and intended by the author.完全不同，这种方法是典型的论述，近代以来，接受一个实际的双重意义的文本，两个感官的连接，并打算由作者。 Bossuet and Calmet may, perhaps, be regarded as holding this view; it is unmistakably held by the Protestant commentators Delitzsch and Zockler as also by Kingsbury (in The Speaker's Commentary) and Kossowicz. bossuet和calmet可能，或许，被视为持有这种看法，这是明白无误地举行，由新教评论家delitzsch和zockler也由布（在议长的评论）和kossowicz 。 A few others hold to this view, but the number does not include Lowth (cf. De sacra poesi Hebr. prael., 31).其他一些持有这种看法，但数字并不包括lowth （参见德萨克拉poesi黑布尔。 prael 。月31日） 。 Grotius makes it evident, not so much in words as in the method of exposition, that he is opposed to a higher interpretation.格劳秀斯，使明显的，而不是在这么多的话，作为在该方法的论述，他反对向更高的解释。 At the present day most non-Catholics are strongly opposed to such an exposition; on the other hand most Catholics accept the allegorical interpretation of the book.目前，天大多数非天主教徒的强烈反对这样的论述;另一方面大多数天主教徒接受寓言的解释，这本书。
Exposition of the Allegory博览会的寓言
The reasons for this interpretation are to be found not only in tradition and the decision of the Church, but also in the song itself.这种情况的原因的解释是要发现，不仅在传统的决定，教会，而且在歌曲本身。 As long as the effort is made to follow the thread of an ordinary love-song, so long will it be impossible to give a coherent exposition, and many despair of ever obtaining a successful interpretation.只要努力，是按照线程的一个普通的爱松，只要将它不可能给一个连贯的论述，许多绝望以往任何时候都取得了成功的诠释。 In the commentary of the present writer, "Comment. in Eccl. et Canticum Canticorum" (Paris, 1890), a number of examples are given of the typical and of the purely secular interpretations, and besides these, in treating of each of the larger divisions, the varying methods of exposition are carefully investigated.在评注本作家“的评论。在传道书。等canticum canticorum ” （巴黎， 1890年） ，一些例子，给出的典型和纯粹世俗的解释，除了这些，在治疗的每一项较大的部门，不同方法的论述，是认真调查。 The proper connection of scenes and parts can only be found in the realm of the ideal, in allegory.正确连接的场面及零件，只能发现在的境界的理想，在寓言。 In no other way can the dignity and sanctity befitting the Scriptures be preserved and the striking title, "Song of Songs", receive a satisfactory explanation.在没有其他办法可以的尊严和神圣不可侵犯的配合经文予以保留，并醒目的标题， “宋歌” ，得到一个满意的交代。 The allegory, however, can be shown as possible and obvious by means of numerous passages in the Old and the New Testament, in which the relation of God to the Synagogue and of Christ to the Church or to the adoring soul is represented under the symbol of marriage or betrothal (Jeremiah 2:2; Psalm 44 - Hebrew 45; Hosea 19 sqq., Ezekiel 16:8 sqq., Matthew 25:1 sqq; 2 Corinthians 11:2; Ephesians 5:23 sqq.; Revelation 19:7 sq., etc.).寓言，不过，可以证明尽可能明显的方式，众多的通道，在旧的和新约圣经，在这种关系的上帝犹太教堂和基督的教会，或向崇拜的灵魂，是代表下的象征因结婚或订婚（耶利米2时02分;诗篇44 -希伯来语4 5;何西阿1 9s qq。以西结书1 6时0 8分s qq，马修2 5:1s qq; 2 ，哥林多前书1 1时0 2分;以弗所书5时2 3s qq。 ;启示1 9： 7平方米，等等） 。 A similar manner of speaking occurs frequently in Christian literature, nor does it appear forced or artificial.类似的方式发言经常出现在基督教文学，也没有出现强迫或人为的。 The testimony of Theodoret to the teaching of the Early Church is very important.证词theodoret ，以教学早期教会是非常重要的。 He names Eusebius in Palestine, Origen in Egypt, Cyprian in Carthage, and "the Elders who stood close to the Apostles", consequently, Basil, the two Gregorys [of Nyssa and Nazianzen -- Ed.], Diodorus, and Chrysostom, "and all in agreement with one another".他的名字尤西比乌斯在巴勒斯坦，俄在埃及，塞浦路斯在迦太基，和“长老谁站在接近使徒” ，因此，罗勒，两个gregorys [ nyssa和nazianzen -教育署。 ] ，狄奥多罗斯，金口， “和所有在协议与一的另一个“ 。 To these may be added Ambrose (Migne, PL, XIII, 1855, 1911), Philastrius (Migne, PL, XII, 1267), Jerome (Migne, PL XXII, 547, 395; XXIII, 263), and Augustine (Migne, PL, XXXIV, 372, 925; XLI, 556).这些可能会增加，刘汉铨（米涅，特等，第十三， 1855 ， 1911 ） ， philastrius （米涅，特等，第十二章， 1267年） ，杰罗姆（米涅，特等22 ， 547 ， 395 ;二十三， 263 ） ，和奥古斯丁（米涅，特等，第三十四， 372 ， 925 ;四十一， 556 ） 。 It follows from this, that the typical interpretation, also, contradicts tradition, even if it does not come within the decree pronounced against Theodore of Mopsuestia.因此，从这个，即典型的诠释，也违背了传统，即使不属于该法令宣布对西奥多的摩普绥提亚。 This method of exposition has, moreover, very few adherents, because the typical can only be applied to separate individuals or things, and cannot be used for the interpretation of a connected text which contains only one genuine and proper meaning.这种方法的论述，此外，极少数的信徒，因为典型的只适用于单独的个人或事物，不能用来解释一个连通的文本只包含一个真正的和适当的意义。 The foundation of the typical interpretation is destroyed at once when the historical explanation is held to be indefensible.的基础，典型的解释是销毁，一旦当历史的解释是，要举行站不住脚的。
In the allegorical interpretation of the song, it makes no essential difference whether the bride is taken as a symbol of the Synagogue, that is, of the congregation of the Old Covenant or of the Church of God of the New Covenant.在寓言的诠释这首歌，它并没有本质区别，是否新娘是作为一个象征犹太教堂，即是该聚集的旧盟约，或神的教会的新的盟约。 In truth, the song turns aside from both; by the spouse should be understood human nature as elected (electa elevata, sc. natura humana) and received by God.在真相，原来这首歌，除了两个;由配偶应该被理解人性作为民选（ electa elevata ，资深大律师。胡玛的Natura ）和所收到的上帝。 This is embodied, above all, in the great Church of God upon earth, which God takes to Himself with the love of a bridegroom, makes the crowning point of all His external works, and adorns with the bridal ornament of supernatural grace.这是体现，最重要的是，在伟大的神的教会后，地球，上帝需对自己与爱一个新郎，使加冕点，他的所有外部工程，并adorns与婚纱饰品超自然的宽限期。 In the song the bride is not reproached with sins and guilt but, on the contrary, her good qualities and beauty receive high praise; consequently, the chosen community of God appears here under that form which is according to the Apostle, without spot or blemish (Ephesians 5:27).在这首歌，新娘是不是责备与捷联惯导系统和内疚，但与此相反，她的良好素质和美容得到高度赞扬;因此，所选择的社会上帝似乎在这里下，这种形式是根据使徒，没有现货或污点（以弗所书5时27分） 。 It is plain that the Canticle of Canticles finds its most evident application to the most holy Humanity of Jesus Christ, which is united in the most intimate bond of love with the Godhead, and is absolutely spotless and essentially sanctified; after this to the most holy Mother of God as the most beautiful flower of the Church of God.这是平原，该canticle的canticles认定，其最明显的应用到人类最神圣的耶稣基督，这是在美国最亲密的纽带爱与神的源头，是绝对一尘不染，基本上圣洁;之后，这是最圣洁的天主之母，作为最美丽的花神的教会。 (In regard to a twofold sense of this kind of in the Scriptures, cf. "Zeitschrift fur katholische Theologie", 1903, p. 381.) The soul that has been purified by grace is also in a more remote yet real sense a worthly bride of Lord. （在方面具有双重意义，这种在圣经中，比照“ zeitschrift毛皮katholische theologie ” ， 1903年，页381 ）的灵魂，已纯化的宽限期，亦是在一个较偏远的，但真正意义上值得一新娘勋爵。 The actual meaning of Canticles is not, however, to be limited to any one of these applications, but is to be appropriated to the elected "bride of God in her relation of devotion to God".实际的意义canticles是没有，不过，只限于任何一个这些申请，但要拨当选的“上帝的新娘在她的关系，奉献给上帝” 。
As a matter of fact, the spiritual interpretation of the song has proved a rich source for mystical theology and asceticism.作为一个的问题，事实上，精神的诠释这首歌已证明是一项丰富的资源，为神秘的神学和禁欲主义。 It is only necessary to call to mind the best of the old commentaries and interpretations of the book.这是不仅是必要的呼吁想起最好的旧的评论和解释，这本书。 There are still in existence fifteen homilies by St. Gregory of Nyssa on the first six chapters (Migne, PG, XLI, 755 sqq.).仍然有存在的15 homilies圣格雷戈里的nyssa就第一项共6章（米涅页，四十一， 755 sqq ） 。 The commentary of Theodoret (Migne, PG, LXXXI, 27 sqq.) is rich in suggestion.评theodoret （米涅页， lxxxi ， 27 sqq ） ，是丰富的建议。 In the eleventh century Psellus compiled a "Catena" from the writings of Nilus, Gregory of Nyssa, and Maximus (Auctar. bibl. Patr., II, 681 sqq.).在11世纪psellus编制了一份“ catena ”的著作尼卢斯，格雷戈里的nyssa ，并鲆（ auctar. bibl 。 patr 。第一，二， 681 sqq ） 。 Among the Latins Ambrose made such frequent use of the Canticle of Canticles that a whole commentary may be developed from the many applications, rich in piety, that he made of it (Migne, PL, XV, 1851 sqq.).其中拉丁美洲，刘汉铨作出如此频繁地使用该canticle的canticles说，整个评有可能发展从许多应用，丰富的孝道，他所作的资讯科技（米涅，特等，十五， 1851 sqq ） 。 Three commentaries are to be found in the works of Gregory the Great (Migne, P L., LXXIX, 471 sqq., 905; CLXXX, 441 sqq.).三评是要发现在工程的格里高利的伟大（米涅，磷的研究， lxxix ， 471 sqq ， 905 ; clxxx ， 441 sqq ） 。 Apponius wrote a very comprehensive commentary which, even as late as 1843, was republished at Rome. apponius写了非常全面的评论，即使迟至1843年，是重新在罗马。 The Venerable Bede prepared the matter for a number of smaller commentaries.老贝德准备此事，若干规模较小的评论。 The elaborate exposition by Honorius of Autun of the book in its historical, allegorical, tropological, and anagogical meanings deserves special mention.详尽的论述，由挪的欧坦的这本书在它的历史，寓言， tropological ， anagogical的意义，值得特别一提。 The eighty-six homilies left by St. Bernard are universally known.该86 homilies遗留下来的圣伯纳德普遍众所周知的。 Gilbert of Hoyland added to this number forty-eight more.吉尔伯特的hoyland添加到这个数目48以上。 The greatest of the saints enkindled their love for God on the tender expressions of affection of Christ and His bride, the Church, in the Canticle of Canticles.最大的圣人enkindled他们对上帝的爱就投标的表达感情，基督和他的新娘，教会，在canticle的canticles 。 Even in Old Testament times it must have greatly consoled the Hebrews to read of the eternal covenant of love between God and His faithful people.即使在旧约时代，它必须有很大的安慰希伯来人阅读的永恒的爱的盟约之间的上帝和他忠实的人。
Within certain limits the application to the relation between God and the individual soul adorned with supernatural grace is self-evident and an aid to virtuous living.在一定范围内的应用之间的关系上帝和个人的灵魂，点缀与超自然的宽限期，是不言自明的和援助，以良性的生活。 The bride is first raised by the bridegroom to a relation of complete affection, afterwards betrothed or married (iii 6-v, 1), and, finally, after a successful activity (vii, 12 sq.; viii, 11 sq.); is received into the heavenly dwellings.新娘是第一次提出由新郎到一个关系完成的感情，事后订婚或结婚（三6 -五， 1 ） ，并在最后，在经过了成功的活动（第七章， 12平方米;第八， 11平方米） ;收到到天堂的住房。 A life of contemplation and activity bound up with painful trials is the way there.生活的沉思和活动的约束与痛苦的审判方式。 In the Breviary and Missal the Church has repeatedly applied the song to the Mother of God (see B. Schafer in Komment., p. 255 sqq.).在breviary和missal教会曾多次申请这首歌，以天主之母（见乙沙菲尔在komment 。页255 sqq ） 。 In truth the bride adorned with the beauty of spotless purity and deep affection is a figure most appropriate to the Mother of God.在真理的新娘，装饰美丽的，一尘不染的纯洁和深厚感情，是一个数字，最适当的天主之母。 This is the reason why St. Ambrose in his book "De virginibus", so repeatedly and especially quotes Canticles.这就是为什么圣刘汉铨在他的著作“时点virginibus ” ，所以多次，尤其是行情canticles 。 Finally, the application of the song to the history of the life of Christ and of the Church offers pious thought rich material for contemplation.最后，应用这首歌，以历史的生命，耶稣和教会的虔诚的思想提供了丰富的物质为沉思。 In doing thus the natural course of the song can, in some measure, be followed.在这样做的，因此自然的过程中的歌曲，可以在一定程度上，应遵循的。 At His entrance into life, and especially at the time of His public activity as a teachers the Saviour sought the Church, His bride and she came lovingly towards Him.在他进入生活，特别是在时间，他的公众活动，作为教师的救世主寻求教会，他的新娘和她来到慈爱对他的。 He united Himself with her at the Cross (iii, 11), the Church itself makes use of this thought in a number of offices.他美国自己与她在两岸关系（三， 11 ） ，教会本身利用这一思想在多个办事处。 The affectionate conversations with the bride (to ch. v, 1) take place after the Resurrection.该深情的交谈新娘（甲烷。五， 1 ）发生后复活。 What follows may be referred to the later history of the Church.什么如下可能被转介到后来教会的历史。 A distinction should be made in such methods of interpretation, however, between what may be accepted as certain or probable in the context and what pious contemplation has, more or less arbitrarily, added.区分应作出在这种方法的解释，不过，两者之间可能会被接纳为某些或可能在背景和什么虔诚的沉思，更多或更少随意，补充。 For this reason, it is important to ascertain more exactly than was done in earlier times the genuine and true sense of the text.基于这个原因，这是很重要的，以确定更准确地做了比在较早的时代真正和真正意义上的案文。
LITERARY FORM OF THE SONG文学的形式，这首歌
Both of the traditional poetic accentuation and language used to express the thoughts show the book to be a genuine poem.这两个传统的诗意的重读和所使用的语言来表达思想，显示这本书是一个真正的诗。 The attempt has been made in various ways to prove the existence of a definite metre in the Hebrew text.尝试已经取得了在以各种方式证明存在着一定的米，在希伯来文的文字。 The opinion of the present writer is that a six-syllable trochaic metre may be applied to the original Hebrerw version (De re metrica Hebraeorum, Freiburg, Baden, 1880).认为目前的作家，这是一个6个音节的trochaic米，可用于原hebrerw版本（德重新metrica hebraeorum ，弗赖堡，德国巴登， 1880年） 。 e and true sense of the text. E和真正意义上的案文。 The essentially lyrical character of the song is unmistakable.基本上是抒情性质的这首歌是明确无误的。 But as various voices and scenes appear, neither should the dramatic character of the poem fail of recognition; it is, however, evident that the development of an external action is not so much the intention as the unfolding of the lyrical expression of feeling under varying circumstances.但由于各种的声音和场面的出现，也不应戏剧性的品格的诗不承认它是，但是，显而易见，发展成为一个对外行动是没有这么多的意图，作为开展的抒情表达的感觉，根据不同情况而定。 The cantata form of composition is suggested by the presence of a chorus of the "daughters of Jerusalem" though the text does not indicate clearly how the words are divided among the various characters.该大合唱的形式组成，是建议由在场的大合唱“女儿的耶路撒冷” ，虽然文字并不清楚显示如何说话之间分工的各种字符。 This accounts for the theory put forward at times that there are different personages who, as bride and bridegroom, or as lovers, talk with, or of, cach other.这个账户的理论提出的时代有不同的人士谁，因为新娘和新郎，或作为爱好者，谈话，或， cach其他。 Stickel in his commentary assigns three different persons to the role of the bridegroom, and two to that of the bride. stickel在他的评论指派三种不同人士的作用，新郎，和两至，即新娘。 But such arbitrary treatment is the result of the attempt to make the Canticle of Canticles into a drama suitable for the stage.但这种治疗是任意的结果，企图使canticle的canticles成为一个戏剧适合的阶段。
Unity of the Canticle团结的canticle
The commentator just mentioned and other exegetes start from the natural conviction that the poem, simply called the Song of Songs and handed down to posterity as a book, must be regarded as a homogeneous whole.评论员刚才所说的和其他exegetes开始从自然的信念，即诗，只是所谓的这首歌的歌曲，并流传后代，作为一本书，必须被视为一个均质的整体。 It is evident that the three clearly distinguished roles of bridegroom, bride, and chorus maintain their plainly defined characters from beginning to end; in the same way certain other designations, as "beloved", "friend", etc., and certain refrains keep recurring.很显然，三个明确区分的作用，新郎，新娘，和合唱团，保持其明显的定义字符从开始到结束，在同样的方式有某些其他的称号，作为“敬爱” ， “朋友”等，和某些不保持再次发生。 Moreover, several parts apparently repeat one another, and a peculiar phraseology is found throughout the book.此外，几个部分显然是重复一，和一个奇特的用语是，发现在整个这本书。 The attempt has, however, been made to resolve the poem into separate songs (some twenty in all); thus has been tried by Herder, Eichhorn, Goethe, Reuss, Stade, Budde, and Siegfried.企图，不过，已作出解决的诗到单独的歌曲（约20在所有） ;因此，已审结，由赫尔德，艾希霍恩，歌德， reuss ，比赛，布德，西格弗里德。 But It has been found exceedingly difficult to separate these songs from one another, and to give to each lyric a meaning dlstinctly its own.但它已发现的极为困难分开，这些歌曲从一个另一个，并给每个抒情的意思dlstinctly自己。 Goethe believed this impossible, and it is necessary to resort to a working over of the songs by the person who collected them.歌德认为这是不可能的，这是必要诉诸一个工作小组，超过该歌曲的人谁收集他们。 But in this everything would depend on a vague personal impression.但在这一切都将取决于一个空泛的个人印象。 It is true that a mutual dependence of all the parts cannot be maintained in the secular (historical) interpretation.这是事实，一个相互依存的所有零件不能维持在世俗（的历史）的解释。 For, even in the historical hypothesis, the attempt to obtain a flawless drama is successful only when arbitrary additions are made which permit the transition from one scene to another, but these interpolations have no foundation in the text itself.为，即使是在历史的假设，试图获得完美的戏剧是成功的只有当任意的增补作出允许从一个过渡到另一个现场，但这些插值有没有基础，在文本本身。 Tradition also knows nothing of genuine dramatic poetry among the Hebrews, nor is the Semitic race more than slightly acquainted with this form of poetry.传统也知道没有什么真正的戏剧性的诗歌之间的希伯来人，也不是犹太人的种族以上略有熟悉这种形式的诗歌。 Driven by necessity, Kämpf and others even invent double roles, so that at times other personages appear along with Solomon and the Sulamitess; yet it cannot be said that any one of these hypotheses has produced a probable interpretation of the entire song.驱动的必要性， kämpf和其他人，甚至发明的双重角色，以便在时代的其他人士看来，随着所罗门和sulamitess ;但不能说任何一个这些假说产生了可能的解释，整个歌曲。
DIFFICULTIES OF INTERPRETATION解释上的困难
Allegorical寓言
All the hypotheses of the above-mentioned kind owe their origin to the prevalent dislike of allegory and symbolism.所有的假设上面提到的那种欠他们的原产地普遍不喜欢的寓言和象征意义。 It is well known how extremely distasteful poetic allegory is to our age.这是人所共知的，如何非常distasteful诗意的比喻，是我们这个时代。 Nevertheless allegory has been employed at times by the greatest poets of all ages.不过，寓言已聘请时间最大的诗人不分年龄人人共享的。 Its use was widespread in the Middle Ages, and it was always a preliminary condition in the interpretation of the Scriptures by the Fathers.它的使用十分普遍在中世纪，它是永远的初步条件，在解释圣经由父亲。 There are many passages in the Old and New Testaments which it is simply impossible to understand without allegory.有很多通道，在新旧约，它是根本不可能的理解没有寓言。 It is true that the allegorical method of Interpretation has been greatly misused.这是事实的寓言口译方法已大大误用。 Yet the Canticle of Canticles can be proved to be a flawlessly consecutive poem by the employment of rules for poetical allegory and its interpretation which are fixed and according to the canons of art.然而， canticle的canticles可以证明是一个完美的连续诗的就业规则诗意的比喻和解释，这是固定的，根据该炮的艺术品。 The proof of the correctness of the interpretation lies in such a combination of all the parts of the song into a homogeneous whole.证明是正确的解释在于，在这样一个组合，所有的部分，这首歌成为一个均质的整体。 The dramatic form, as far as it can be plainly seen in the traditional text, is not destroyed by this method of elucidation; indeed a number (four to seven) of more or less independent scenes must be recognized.戏剧性的形式，就可以明显看到，在传统的文字，不是摧毁这个方法的澄清;确实是一个号码（ 6时56分）的更多或更少独立的场景必须得到承认。 In separating these scenes from one another the Jewish or Syrian bridal customs may be taken into consideration, as has been done, especially by Budde and Siegfried, if the result is the simplifying of the explanation and not the distortion of the scenes, or other acts of caprice.在这些分离的场面从一个另一个犹太或叙利亚婚纱海关可能会考虑到，作为已经做了，特别是由布德和齐格弗里德，如果结果是简化的解释，而不是扭曲的场面，或其他行为的随想曲。 An attempt has been made in the commentary (p. 388 sqq.) of the present writer to give in detail the determinative rules for a sound allegorical interpretation.已试图在评注（第388 sqq 。 ）目前，作家给予了详细的判定规则健全的寓言的解释。
Historical历史
According to Wetzstein, whom Budde and others follow, the book should be regarded as a collection of short songs such as are still used by the bedouins of Syria in the "threshing-board".据wetzstein ，其中布德和其他的后续，这本书应被视为一项收集短期的歌曲，如仍使用的贝都因人，叙利亚在“脱粒板” 。 The features of similarity are the appearance of the bridal pair for seven days as king and queen the immoderate praise of the two, and the dance of the queen, during which she swings a sword to the accompaniment of a song by the chorus.特点是相似的外观的婚纱一双为七天，作为国王和王后的immoderate称赞两个，和舞蹈皇后，期间她秋千一把刀向伴奏的一首歌是由合唱团。 Bruston and Rothstein have, however, expressed doubts as to this theory. bruston和rothstein有，不过，表示怀疑，以这一理论。 In Solomon's song the bride, in reality, does not appear as a queen and does not swing a sword; the other traces of similarity are of so general a character that they probably belong to the wedding festivities of many nations.在所罗门这首歌的新娘，在现实中，似乎并不作为一个女王和不摆动剑;其他的痕迹是相似的，所以一般的性质，它们可能属于婚礼庆祝活动的许多国家。 But the worst is that the essential songs avowedly do not stand in the proper order.但是最恶劣的是，基本的歌曲avowedly没有立场在适当的秩序。 Consequently it is presupposed that the order.因此，这是假定该命令。 Consequently it is presupposed that the order of succession is accidental.因此，这是假定的顺序继承是偶然发生的。 This opens wide once more the door to caprice.这将打开更广泛的，一旦大门随想曲。 Thus, as what is said does not fit this theory it is claimed that a collector, or later redactor who misunderstood various matters, must have made small additions with which it is impossible now to do anything.因此，什么是说，不符合这个理论，这是声称，一位收藏家，或稍后redactor谁误解了各种事项，必须有小的增补与它是不可能的，现在做任何事情。 Others, as Rothstein in Hastings, Dictionary of the Bible, presuppose that the collector, or rather the redactor, or even the author, had a dramatic end in view, as life and motion and action are, taken all together, unmistakable.其他人，作为rothstein在黑斯廷斯，字典的圣经，假定集电极，或者更确切地说，该redactor ，甚至是作者，产生了巨大年底在来看，由于生活和议案和行动，采取一切在一起，明确无误的。
It is accepted (at least for the present form of the poem) that the book presents a pastoral poem that the book presents a pastoral poem in dramatis or, at least, melodramatic form.这是接受（至少在目前形式的诗）这本书介绍了牧区首诗，这本书介绍了牧区诗在dramatis ，或至少屡有发生的形式。 The poem, according to this theory, shows how a beautiful shepherdess keeps her betrothal vow to her lover of the same rank in fife notwithstanding the allurements and acts of violence of a king.诗，根据这一理论，显示了如何一个美丽的shepherdess不断她订婚的誓言她的情人对同一职级的在法伊夫尽管allurements和暴力行为的一景。 But this shepherd has to be interpolated into the text and not much can be said for the imaginary faith kept with the distant lover, as the Sulamitess, in the middle section of the Song of Solomon, gives herself willingly to the king, and no reason is apparent in the text why her boundless praise should not be intended for the present king and not for an absent lover.不过，这牧羊人，要插值到文本，并没有太多可以说是为假想的信念一直与遥远的情人，作为sulamitess ，在中段的所罗门之歌，让自己心甘情愿地向国王，并没有任何理由很明显，在文本中为什么她无限的赞美不应该为目前的国王，而不是为一缺席情人。 Stickel overcomes the great difficulties which still remain in a very arbitrary manner. stickel克服了很大的困难，这仍然是在一个非常任意的方式。 He allows a second pair of lovers to come suddenly forward, these know nothing of the chief personages and are employed by the poet merely as an interlude.他让第二对情侣来突然提出，这些一无所知的行政人士及所雇用的诗人，只是作为一个插曲。 Stickel gives this pair three short passages, namely: i, 7 sq.; i, 15-ii, 4; iv, 7-v, 1. stickel让这对三的简短段落，即：我， 7平方米;我， 15 -二，四;四，七-五， 1 。 Moreover in these hypotheses appears the difficulty which is ever connected with the historical interpretation, that is, the lowering of the song which is so highly prized by the Church.此外，在这些假设出现的困难，这是以往任何时候都与历史的诠释，那就是降低这首歌是这么珍贵的高度由教会。 The historical interpretation transforms it into ordinary love-scenes, in various moments of which, moreover, a fiery, sensuous love breaks forth.历史的诠释转换为普通爱的场面，在不同时刻，其中，此外，火热的，感性的爱，提出了休息。 For the same expressions which, when referred allegoricallly to Christ and the Church, announce the strength of the love of God, are under ordinary conditions the utterances of a repellent passion.出于同样的表现，当提到allegoricallly ，以基督和教会，宣布的力量上帝的爱，是一般情况下该言论一涂激情。
AGE AND AUTHOR OF THE CANTICLE年龄和作者的canticle
Tradition, in harmony with the superscription, attributes the song to Solomon.传统，在和谐与superscription ，属性，这首歌，以所罗门。 Even in modern times quite a number of exegetes have held this opinion: among Protestants, for example, Hengstenberg, Delitzsch, Zöckler, and Keil.即使在现代的时代相当数量的exegetes举行了这种看法：新教徒之间的，例如，韩斯坦堡， delitzsch ， zöckler ，和Keil公司。 De Wette says: "The entire series of pictures and relationships and the freshness of the life connect these songs with the age of Solomon."德wette说： “整个系列的图片和关系和新鲜的生命连接这些歌曲，随着年龄的所罗门” 。 The song evidences the love of Solomon for nature (it contains twenty-one names of plants and fifteen of animals), for beauty and art, and for regal splendour; bound up with this latter is an ideal simplicity suitable to the type of character of the royal poet.这首歌的证据，爱所罗门，为的性质（它包含21名的植物和动物15 ） ，美容和艺术，并为富豪的辉煌;势必与这后者是一个理想的简单，适合的类型特征皇家诗人。 There is also evident a strain of the most tender feeling and a love of peace which are well in keeping with the reputation of Solomon.也有明显的1株最温情和爱和平，这是在符合的声誉，所罗门。 The somewhat unusual language in connection with the skilful and brilliant style point to a well-practised writer.有点不寻常的语言，他涉嫌与干练和灿烂的作风，指向一个良好的执业作家。 If some Aramaic or foreign expressions are to be found in the song, in relation to Solomon, such cannot cause surprise.如果有些阿拉姆语或外国的表达是被发现在这首歌，在有关索罗门，如不能造成意外。 It is remarkable that in Proverbs the fuller form of the relative is always used, while in Canticles the shorter form is employed, the one used earlier in the song of Debbora.值得注意的是，在谚语充分的形式，相对的是始终用，而在canticles较短的形式，是就业，一个用较早前在歌debbora 。 But in the same way Jeremias used the ordinary form in his prophecies, while in the Lamentations he repeatedly employed the shorter.但在同样的方式jeremias用普通的形式在他的预言，而在悲叹他多次受雇于较短。 The point is raised that Tirzah (vi, 4 - Heb.) is mentioned along with Jerusalem as the capital of the Kingdom of the Ten Tribes.这一点是提出tirzah （六，四-h eb）提到沿以耶路撒冷为首都的英国的1 0部落。 The comparison, though, is made only as to beauty, and Tirzah had, above all, a reputation for loveliness.比较，虽然是只以美， tirzah了，最重要的是，声誉loveliness 。 Many other commentators, as Bottcher, Ewald, Hitzig, and Kämpf, put the composition of the book in the time directly after Solomon.其他许多评论家，作为bottcher ，埃瓦尔德，希齐格， kämpf付诸表决，组成这本书在规定的时间后直接所罗门。 They assert that the action of the poem takes place in the northern part of Palestine, that the author is especially well acquainted with this section of the country, and writes in the form of the language used there.他们断言，行动诗发生在北部的一部分，巴勒斯坦，就是作者，特别是熟悉这一段的国家，并在写的形式，所用的语言有。 It is further said that Tirzah could only be compared with Jerusalem at the time when if was the capital of the Kingdom of the Ten Tribes that is after the age of Solomon but before the time when Samaria was the capital of the Northern Kingdom.这是进一步表示， tirzah只能相比，在耶路撒冷的时候，如果是王国首都十个部落，是岁以后所罗门，但之前的时候，撒马利亚是首都北部的英国。 All these reasons however, have more subjective than objective value.所有这些原因，但有更多的主观比客观价值。 No more convincing, finally, are the reasons that cause others to place the book in post-Exilic times; among such exegetes may be mentioned: Stade, Kautzsch, Cornill, Grätz, Budde, and Siegfried.没有更有说服力，最后，是原因，造成他人的地方，这本书在后exilic倍;之间的这种exegetes可能会提到的：比赛， kautzsch ， cornill ， grätz ，布德，西格弗里德。 They support their theory by reference to many peculiarities of language and believe they even find traces of Greek influence in the song; but for all this there is a lack of clear proof.他们，支持他们的理论参考很多的特殊性，语文，并相信他们甚至找到痕迹，希腊的影响，在这首歌，但所有这一切有一个缺乏明确的证明。
Condition of the Hebrew Text条件希伯来文文本
Gratz, Bickell, Budde, and Cheyne believe that they have been able to prove the existence of various mistakes and changes in the text. gratz ， bickell ，布德，和进益，相信他们已能证明存在的各种错误和变化，在文本中。 The passages referred to are: vi, 12; vii, 1; iii, 6-11; for alterations of the text see chapters vi and vii.通道所指的是：六， 12岁;第七， 1 ;三， 6月11日;改建的案文，见第六章和第七章。
Publication information Written by G. Gietmann.出版信息的书面由G. gietmann 。 Transcribed by Joseph P. Thomas.转录由约瑟夫体育托马斯。 The Catholic Encyclopedia, Volume III.天主教百科全书，第三卷。 Published 1908. 1908年出版。 New York: Robert Appleton Company.纽约：罗伯特阿普尔顿公司。 Nihil Obstat, November 1, 1908. nihil obstat ， 1908年11月1日。 Remy Lafort, STD, Censor.的Remy lafort ，性病，检查员。 Imprimatur. imprimatur 。 +John Cardinal Farley, Archbishop of New York +约翰farley枢机主教，大主教，纽约
ARTICLE HEADINGS:文章标题：
Interpretation: Solomon as Bridegroom.解释：所罗门作为新郎。
Rustic Wedding.质朴的婚礼。
Date.日期。
One of the Five Megillot.其中的5 megillot 。 The Hebrew title, , is commonly understood to mean "the most excellent of songs, composed by Solomon" (not "one of the songs composed by Solomon"); the title, however, is later than the poem, in which the relative pronoun is always希伯来文的标题，是普遍理解为是指“最优秀的歌曲，组成由索罗门” （不是“之一的歌曲组成，由索罗门” ） ;标题，不过，是在不迟于诗，在这种相对的代名词总是 , never . ，从来没有。 The ancient versions follow the Hebrew; from the rendering in the Latin Vulgate, "Canticum Canticorum," comes the title "Canticles."古老的版本，按照希伯来语;从绘制，在拉丁语武加大， “ canticum canticorum ， ”来，题目是“ canticles ” 。
Interpretation: Solomon as Bridegroom.解释：所罗门作为新郎。
The oldest known interpretation of the Song (induced by the demand for an ethical and religious element in its content) is allegorical: the Midrash and the Targum represent it as depicting the relations between God and Israel.已知的最古老的诠释这首歌（诱导的需求， 1伦理和宗教因素，其内容）是寓言：米德拉士和尔代表它作为描绘之间的关系上帝和以色列。 The allegorical conception of it passed over into the Christian Church, and has been elaborated by a long line of writers from Origen down to the present time, the deeper meaning being assumed to be the relation between God or Jesus and the Church or the individual soul.寓言的概念，它通过到基督教教堂，并已拟订的长期路线，作家从俄下降到目前的时间，更深的意义，被假定为之间的关系上帝或耶稣和教会或个人的灵魂。 The literal interpretation of the poem as simply a eulogy of married love had its representatives in early times (Theodore of Mopsuestia, and, to some extent, Abraham ibn Ezra), and, in the renaissance of the sixteenth and seventeenth centuries, was maintained by Grotius, Clericus, and others; but it is only in the last hundred years that this interpretation has practically ousted the allegorical.字面解释诗作为简单的悼词，已婚的爱有其代表在早期时代（西奥多的摩普绥提亚，并在一定程度上，石礼谦伊本以斯拉） ，并在文艺复兴时期的第十六和第十七世纪，是保持格劳秀斯， clericus ，和其他国家;但它仅在过去的一百年的这一解释实际上已经推翻了寓言。 The Song is now taken, almost universally, to be the celebration of a marriage, there being, in fact, no hint of allegory in the text.这首歌是现在所采取的，几乎普遍，以庆祝结婚，有正，事实上，在没有提示的寓言在文本中。 Obviously there are two principal personages, a bridegroom and a bride; but opinions differ as to who the bridegroom is.显然有两个主要人士，新郎和新娘，但见仁见智，至于谁是新郎。 If the title be accepted as genuine, it is a natural conclusion that the poem describes the nuptials of Solomon and a princess (the daughter of Pharaoh) or a country maiden (so Delitzsch and others).如果标题被接纳为真正的，它是一个自然的结论，即首诗叙述了婚礼所罗门和公主（女儿老王）或一个国家的处女（使delitzsch等） 。 But, apart from the question of date, this construction is proved impossible by the fact that the bridegroom is distinguished from Solomon in viii.不过，除了上述的问题，迄今为止，这个建设是证明不可能由一个事实，就是新郎是有别于所罗门在八。 11, 12, and probably, by revision, in vi. 11 ， 12 ，和可能，修订后，在六。 8, 9. 8 ， 9 。 To meet this difficulty it is assumed (by Ewald, Driver, and many others) that the bridegroom or fiancé is a young shepherd, and that Solomon is his would-be rival; that the king has carried off a beautiful rustic maiden (vi. 10-12) and has brought her to his palace in Jerusalem (i. 4), where he endeavors to win her affections; but that she, resisting the allurements of the court, remains true to her country lover, and is finally united to him (viii. 5-14).以应付这个困难，这是假定（埃瓦尔德，司机，及许多其他网站）指出，新郎或未婚夫是一个年轻的牧羊人，以及所罗门是他想成为竞争对手;国王已进行过一个美丽的乡村少女（ vi. 10月12日） ，并带来了她的王宫在耶路撒冷（一4 ） ，他在那里奋斗，赢得她的情感;但她，抗拒allurements的法院，依然如此，以她的国家的情人，和是最后美国以他（ viii. 5月14日） 。 This theory, however, rests on unwarranted interpretations of particular passages.这个理论，不过，在于对不必要的解释，尤其是通道。 The alleged rivalry between a king and a shepherd appears nowhere in the text: there is only one lover, as there is only one maiden; Solomon is introduced as an actor in only one place (iii. 6-11), and here he is represented as the shepherd bridegroom himself.据称之争国王和牧羊人，似乎没有在文本中：有只有一个情人，由于只存在一个处女;所罗门介绍了作为一个演员，只在一个地方（ iii. 6月11日） ，并在这里，他是代表作为牧羊人的新郎自己。 Both the views described above (and the various modifications of them) regard the poem as a drama: it is divided by expositors into acts and scenes.双方的意见，上文所述的（和各种修改他们）把诗歌作为一个戏剧：这是除以expositors到的行为和场景。 It is, in fact, dramatically conceived (like the Job poem, for instance), since it consists not of narratives, but of lyric utterances put into the mouths of certain characters; but it is not a drama.这是，事实上，显着的构想（如就业诗，例如） ，因为它不是叙述，但抒情的言论放进口中某些字符，但它不是一个话剧。 Not only is there no definite indication of time or place, all being vaguely rhapsodical; but there is no movement, no culmination or catastrophe.不仅是有没有明确的迹象显示时间或地点，都被隐约rhapsodical ;但是没有运动，没有高潮或灾难。 The marriage is already consummated in i.婚姻是已经consummated在一 6 (and so in ii. 6, iv. 16-v. 1, vii. 9 [AV 8]); and the story is no farther advanced in viii. 6 （因此，在二，六，四。 16 - V上。一，七，九[的AV 8 ] ） ;和故事是没有先进的远在八。
Rustic Wedding.质朴的婚礼。
Still another view regards the book as picturing the popular festivities held in Palestine in connection with the wedding-week.还有另一种看法方面，这本书作为想象受欢迎的庆祝活动举行的巴勒斯坦涉嫌与该结婚周。 Of such festivities there are hints in the Old Testament (Judges xiv. 10-12; Jer. xvi. 9; Ps. xix. 6 [5]; comp. Matt. xxv. 1 et seq.); and Wetzstein (in his article "Die Syrische Dreschtafel," in Bastian's "Zeitschrift für Ethnologie," 1873, pp. 270 et seq., and in the appendix to Delitzsch's commentary on the Song) has given the details of the modern Syrian marriage celebration, in which he finds parallels to those of the poem.这样的庆祝活动有暗示在旧约（法官十四。 10月12日;哲。十六，九;的PS 。十九。 6 [ 5 ] ;可比。马特。二十五。 1等及以下各段） ; wetzstein （在他的文章“死硬syrische dreschtafel ， ”在巴斯坦的“ zeitschrift f黵ethnologie ， ” 1873年，第270条及以下各条，并在附录delitzsch的评论，这首歌）已作出详细的现代叙利亚举行婚礼，他在其中发现平行的那些诗。 In the week succeeding the marriage the villagers assemble; the thrashing-board is set up as a throne, on which the newly married pair take their seats as "king" and "queen"; there are songs in praise of the physical charms of the pair, and dances, in which bridegroom and bride take part; especially noteworthy is the "sword-dance," performed by the bride with a naked sword in one hand (see vii. 1 [RV vi. 13]).在一周内成功的婚姻村民聚集;痛击板是成立作为一个宝座，这是新婚一双采取各自的席位为“国王”和“皇后” ;有歌曲，歌颂的身体魅力的对，舞蹈，在其中的新郎和新娘参加，尤其值得注意的是， “剑舞” ，由新娘与赤裸裸的剑在一方面（见七，一[的RV六， 13 ] ） 。 In accordance with this view the "king" of the poem, sometimes called "Solomon" (an imaginative designation of a person of ideal beauty), is the bridegroom; the "daughters of Jerusalem" are the village maidens in attendance on the bride; the royal procession of iii.在按照这种观点“国王”的诗，有时也称为“所罗门” （一个富有想象力指定一个人的理想美容） ，是新郎; “女儿的耶路撒冷”是乡村少女在出席关于新娘;皇家游行三。 6-11 is that of the bridegroom (comp. Ps. xix. 6 [5]); the dialogues, descriptions of bodily charms, and other pieces are folk-songs; according to Budde, the name "Shulamite," given to the bride once (vii. 1 [vi. 13]), is equivalent to "Shunemmite," and isan imaginative reminiscence of the fair Abishag (I Kings i. 3). 6月11日是的新郎（ comp.的PS 。十九。 6 [ 5 ] ） ;对话，说明身体的魅力，和其他件是民间歌曲;据布德，命名为“ shulamite ， ”考虑到新娘一旦（ vii. 1 [六， 13 ] ） ，相当于“ shunemmite ， ” isan富有想象力的回忆公平比煞（王一3 ） 。 Some explanation such as this is required by the character of the book.一些解释，例如，这是所需要的性格这本书。 It is a collection of pieces in praise of the physical delights of wedded love.这是一个收集件，在赞美的身体愉悦的wedded爱。 The freeness of expression (especially in vii. 2-10 [1-9]), offensive to modern taste, is in accord with ancient custom (comp. Ezek. xvi., xxiii.; Prov. v. 16-20): it may be due in part also to the license of popular festivities.该游离的表达（尤其是在七， 2月10日[ 1-9 ] ） ，进攻，以现代品味的，是符合古代习俗（ comp. ezek 。十六，二十三。 ;省。诉16日至20日） ：这可能是由于在部分也许可受欢迎的庆祝活动。 It is not necessary, however, to suppose that the author has merely reproduced the songs of the rustic celebrations of his time; rather, a poet of high ability here sings of married love, following the lines of the festive customs, but giving free play to his imagination: such charm of style as the book shows is not to be looked for in rustic songs.这是没有必要，不过，假设作者只是转载了歌曲的乡村庆祝活动，他的时间，而是一个诗人高的能力，在这里唱的已婚爱，以下线路的节日习俗，但给予免费游戏以他的想象：这样的魅力风格，作为这本书显示，是不被期待为在乡村歌曲。 The unity of the poem is one of emotion-all the situations reflect the same circumstances and the same sentiments.团结，诗是一种情感的所有情况，反映了相同的情况下和相同的情绪。
Date.日期。
The date of the Song is indicated by its literary form: the idyl is foreign to the Hebrew genius, and points to the time when the Jews imitated Greek models (Theocritus and Bion).日期这首歌是表示，其文学形式： idyl是外国，以希伯来文的天才，和点的时候，犹太人模仿希腊模式（忒奥克里托斯和•拜昂） 。 The word (= "palanquin" [iii. 9]) appears to be the Greek φορεῖον; (iv. 13) was not introduced earlier than the later Persian period (for other late words see Driver, "Introduction").字（ = “轿” [三， 9 ] ）似乎成为希腊φορεῖον ; （ iv. 13 ）是不是比年初推出后波斯时期（其他晚的话，看看司机， “导言” ） 。 The date of the book can hardly be determined precisely: it was probably composed in the period 200-100 BC; but some of the material may be older.日期的这本书也难以确定准确的说：这是可能的组成在这段期间200-100年，但一些材料可能是老年人。
The discussions at the Synod of Jabneh (Jamnia) show that toward the end of the first Christian century the canonical authority of the Song was disputed in certain quarters (see Bible Canon, § 11).讨论时的主教的贾卜奈（雅麦尼亚）表明，对年底的第一基督教世纪典型的权威，这首歌是有争议的，在某些宿舍（见圣经佳能， § 11 ） 。 Probably the ground of opposition was its non-religious character: it does not contain the Divine Name (except "Yah" in viii. 6, Hebr., as an expression of intensity); its love is sensuous; and its only ethical element is the devotion of one man to one woman in marriage.可能的理由，反对是其非宗教性质：它不包含神圣的名称（除“ yah ”在八，六，黑布尔，作为一个表达的强度） ;其爱情是感性的，而且它不仅是道德因素是奉献，一名男子向一名女子在婚姻中。 It is quoted neither by Philo nor in the New Testament.这是引述既不是由斐洛，也没有在新约圣经。 But it appears to have gained popularity; and the probability is that at an early day it was interpreted allegorically by the sages, and that it was on the basis of such an interpretation that its canonicity was finally established.但它似乎已得到普及;的概率是，在早期一天，它被解释allegorically由圣人，这是在此基础上的这种解释，其canonicity终于成立。 On its ritual use at Passover see Megillot, The Five.就其使用仪式在逾越节见megillot ， 5 。
Emil G. Hirsch, Crawford Howell Toy埃米尔g.赫希，克劳福德霍维尔玩具
Jewish Encyclopedia, published between 1901-1906.犹太百科全书， 1901年至1906年之间出版的。
Bibliography: On the history of the interpretation: S. Salfeld, Das Hohelied Salomo's bei den Jüdischen Erklärern des Mittelalters, 1879; W. Riegel, Die Auslegung des Hohenliedes in der Jüdischen Gemeinde und der Griechischen Kirche, 1898; E. Reuss, La Bible (gives a conspectus of various schemes); CD Ginsburg, Song of Songs, 1857; Cheyne, in Encyc.参考书目：对历史的解释：第salfeld ，之hohelied萨洛莫的鼻书斋jüdischen erklärern万mittelalters ， 1879年;瓦特里格尔，模具auslegung万hohenliedes在明镜jüdischen gemeinde und明镜griechischen kirche ， 1898年; e. reuss ，香格里拉圣经（给出了概论的各项计划） ;裁谈会金斯伯格，宋歌， 1857年;进益，在encyc 。 Bibl. bibl 。 sv Canticles. s