Chapter 66

"She seeketh wool and flax and worketh willingly with her hands. She is like the merchant ships: she bringeth her food from afar. She riseth also while it is yet night, and giveth meat to her household, and their task to the maidens. She considereth a field and buyeth it; with the fruit of her hands she planteth a vineyard.... She perceiveth that her merchandise is profitable. Her lamp goeth not out by night. She layeth her hands to the distaff, and her hands hold the spindle.... She maketh for herself carpets of tapestry.... She maketh linen garments and selleth them; and delivereth girdles unto the merchant."

As for the husband, he "is known in the gates, When he sitteth among the elders of the land," which is an easy and pleasant thing to do; hardly in accordance with the curse the Lord pronounced on Adam and his male descendants. The wife being thus the maid of all work, as among Indians and other primitive races, it is natural that the ancient Hebrew ideal of femininity should he masculine: "She girdeth her loins with strength, and maketh strong her arms;" while the feminine charms are sneered at: "Favor is deceitful, and beauty is vain."

NOT THE CHRISTIAN IDEAL OF LOVE

Not only feminine charms, but the highest feminine virtues are sometimes strangely, nay, shockingly disregarded, as in the story of Lot (Gen. 19:1-12), who, when besieged by the mob clamoring for the two men who had taken refuge in his house, went out and said:

"I pray you, my brethren, do not so wickedly. Behold now, I have two daughters which have not known man; let me, I pray you, bring them out unto you, and do ye to them as is good in your eyes; only unto these men do nothing, forasmuch as they are come under the shadow of my roof."

And this man was saved, though his action was surely more villainous than the wickedness of the Sodomites who were destroyed with brimstone and fire. In Judges (19: 22-30) we read of a man offering his maiden daughter and his concubine to a mob to prevent an unnatural crime being committed against his guest: "Seeing that this man is come into my house, do not this folly." This case is of extreme sociological importance as showing that notwithstanding the strict laws of Moses (Levit. 20: 10; Deut. 22: 13-30) on sexual crimes, the law of hospitality seems to have been held more sacred than a father's regard for his daughter's honor. The story of Abraham shows, too, that he did not hold his wife's honor in the same esteem as a modern Christian does:

"And it came to pass, when he was come near to enter into Egypt, that he said unto Sarai his wife, 'Behold now, I know that thou art a fair woman to look upon; and it shall come to pass, when the Egyptians shall see thee, that they shall say, This is his wife; and they will kill me, but they will save thee alive. Say, I pray thee, Thou art my sister; that it may be well with me for thy sake, and that my soul may live because of thee."

And it happened as he had arranged. She was taken into Pharaoh's house and he was treated well for her sake; and he had sheep, and oxen, and other presents. When he went to sojourn in Gerar (Gen. 20:1-15) Abraham tried to repeat the same stratagem, taking refuge, when found out, in the double excuse that he was afraid he would be slain for his wife's sake, and that she really was his sister, the daughter of his father, but not the daughter of his mother. Isaac followed his father's example in Gerar:

"The man of the place asked him of his wife; and he said, She is my sister: for he feared to say, My wife; lest (said he) the men of the place should kill me for Rebekah; because she was fair to look upon."

Yet we were told that Isaac loved Rebekah. Such is not Christian love. The actions of Abraham and Isaac remind one of the Blackfoot Indian tale told on page 631 of this volume. An American army officer would not only lay down his own life, but shoot his wife with his own pistol before he would allow her to fall into the enemy's hands, because to him her honor is, of all things human, the most sacred.

UNCHIVALROUS SLAUGHTER OF WOMEN

Emotions are the product of actions or of ideas about actions. Inasmuch as Hebrew actions toward women and ideas about them were so radically different from ours it logically follows that they cannot have known the emotions of love as we know them. The only symptom of love referred to in the Hebrew Scriptures is Amnon's getting lean from day to day and feigning sickness (II. Sam. 13: 1-22); and the story shows what kind of love that was. It would be contrary to all reason and psychological consistency to suppose that modern tenderness of romantic feeling toward women could have existed among a people whose greatest and wisest man could, for any reason whatever, chide a returning victorious army, as Moses did (Numbers 31: 9-19), for saving all the women alive, and could issue this command:

"Now, therefore, kill every male among the living ones, and kill every woman that hath known man by lying with him. But all the women children that have not known man by lying with him, keep alive for yourselves."

The Arabs were the first Asiatics who spared women in war; the Hebrews had not risen to that chivalrous stage of civilization. Joshua (8:26) destroyed Ai and slew 12,000, "both of men and women:" and in Judges (21:10-12) we read how the congregation sent an army of 12,000 men and commanded them, saying,

"Go and smite the inhabitants of Jabesh-gilead with the edge of the sword, with the women and the little ones. And this is the thing ye shall do; ye shall utterly destroy every male and every woman that hath lain by man."

And they did so, sparing only the four hundred virgins. These were given to the tribe of Benjamin, "that a tribe be not blotted out from Israel;" and when it was found that more were needed they lay in wait in the vineyards, and when the daughters of Shiloh came out to dance, they caught them and carried them off as their wives; whence we see that these Hebrews had not advanced beyond the low stage of evolution, when wives are secured by capture or killed after battle. Among such seek not for romantic love.

FOUR MORE BIBLE STORIES

Dr. Trumbull's opinion has already been cited that there are certainly "gleams of romantic love from out of the clouds of degraded human passions in the ancient East," in the stories of Shechem and Dinah, Samson and the damsel of Timnah, David and Abigail, Adonijah and Abishag. But I fail to find even "gleams" of romantic love in these stories. Shechem said he loved Dinah, the daughter of Jacob and Leah, but he humbled her and dealt with her "as with an harlot," as her brothers said after they had slain him for his conduct toward her. Concerning Samson and the Timnah girl we are simply told that he saw her and told his father, "Get her for me; for she pleaseth me well" (literally, "she is right in my eyes"). And this is evidence of romantic love! As for Abigail, after her husband has refused to feed David's shepherds, and David has made up his mind therefore to slay him and his offspring, she takes provisions and meets David and induces him not to commit that crime; she does this not from love for her husband, for when David has received her presents he says to her, "See, I have hearkened to thy voice, and have accepted thy person." Ten days later, Abigail's husband died, and when David heard of it he

"sent and spake concerning Abigail, to take her to him to wife.... And she rose and bowed herself with her face to the earth, and said, Behold, thine handmaid is a servant to wash the feet of the servants of my lord. And Abigail, hasted, and arose, and rode upon an ass, with five damsels of hers that followed her; and she went after the messengers of David, and became his wife."

And as if to emphasize how utterly unsentimental and un-Christian a transaction this was, the next sentence tells us that "David also took Ahinoam of Jezreel; and they became both of them his wives."

ABISHAG THE SHUNAMMITE

The last of the stories referred to by Dr. Trumbull, though as far from proving his point as the others, is of peculiar interest because it introduces us to the maiden who is believed by some commentators to be the same as the Shulamite, the heroine of the _Song of Songs_. After Solomon had become king his elder brother, Adonijah, went to the mother of Solomon, Bath-sheba, and said:

"Thou knowest thy kingdom was mine, and that all Israel set their faces on me, that I should reign: howbeit the kingdom is turned about, and is become my brother's: for it was his from the Lord. And now I ask one petition of thee, deny me not.... Speak, I pray thee, unto Solomon the king (for he will not say thee nay) that he give me Abishag the Shunammite to wife."

But when Solomon heard this request he declared that Adonijah had spoken that word against his own life; and he sent a man who fell on him and killed him.

Who was this Abishag, the Shunammite? The opening lines of the First Book of Kings tell us how she came to the court:

"Now King David was old and stricken in years; and they covered him with clothes, but he gat no heat. Wherefore his servants said unto him, Let there be sought for my lord the king, a young virgin, and let her stand before the king and cherish him; and let her lie in thy bosom, that my lord the king may get heat. So they sought for a fair damsel throughout all the coasts of Israel, and found Abishag the Shunammite, and brought her to the king. And the damsel was very fair; and she cherished the king, and ministered to him; but the king knew her not."

THE SONG OF SONGS

Now it is plausibly conjectured that this Abishag of Shunam or Shulam (a town north of Jerusalem) was the same as the Shulamite of the _Song of Songs_, and that in the lines 6:11-12 she tells how she was kidnapped and brought to court.

I went down into the garden of nuts, To see the green plants of the valley, To see whether the vine budded, And the pomegranates were in flower, Or ever I was aware, my soul [desire] set me Among the chariots of my princely people.

She also explains why her face is tanned like the dark tents of Kedar: "My mother's sons were incensed against me, They made me keeper of the vineyards." The added words "mine own vineyard have I not kept" are interpreted by some as an apology for her neglected personal appearance, but Renan (10) more plausibly refers them to her consciousness of some indiscretion, which led to her capture. We may suppose that, attracted by the glitter and the splendor of the royal cavalcade, she for a moment longed to enjoy it, and her desire was gratified. Brought to court to comfort the old king, she remained after his death at the palace, and Solomon, who wished to add her to his harem, killed his own brother when he found him coveting her. The maiden soon regrets her indiscretion in having exposed herself to capture. She is "a rose of Sharon, a lily of the valley," and she feels like a wildflower transplanted to a palace hall. While Solomon in all his glory urges his suit, she, tormented by homesickness, thinks only of her vineyard, her orchards, and the young shepherd whose love she enjoyed in them. Absent-minded, as one in a revery, or dreaming aloud, she answers the addresses of the king and his women in words that ever refer to her shepherd lover:[289]

"Tell me, O thou whom my soul loveth, where thou feedest thy flock." "My beloved is unto me as a cluster of henna flowers in the vineyards of En-gedi." "Behold, thou art fair, my beloved, yea pleasant: Also our couch is green." "As the apple-tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste." "The voice of my beloved! behold, he cometh, leaping upon the mountains, skipping upon the hills." "My beloved is mine, and I am his: He feedeth his flock among the lilies," "Come, my beloved, let us go forth into the field, let us lodge in the villages. Let us get up early to the vineyards.... There will I give thee my love."

The home-sick country girl, in a word, has found out that the splendors of the palace are not to her taste, and the thought of being a young shepherd's darling is pleasanter to her than that of being an old king's concubine. The polygamous rapture with which Solomon addresses her: "There are three-score queens and four-score concubines, and maidens without number," does not appeal to her rural taste. She has no desire to be the hundred and forty-first piece of mosaic inlaid in Solomon's palanquin (III., 9-10), and she stubbornly resists his advances until, impressed by her firmness, and unwilling to force her, the king allows her to return to her vineyard and her lover.

The view that the gist of the _Song of Songs_ is the Shulamite's love of a shepherd and her persistent resistance to the advances of Solomon, was first advanced in 1771 by J.F. Jacobi, and is now universally accepted by the commentators, the overwhelming majority of whom have also given up the artificial and really blasphemous allegorical interpretation of this poem once in vogue, but ignored in the Revised Version, as well as the notion that Solomon wrote the poem. Apart from all other arguments, which are abundant, it is absurd to suppose that Solomon would have written a drama to proclaim his own failure to win the love of a simple country girl. In truth, it is very probable that, as Renan has eloquently set forth (91-100), the _Song of Songs_ was written practically for the purpose of holding up Solomon to ridicule. In the northern part of his kingdom there was a strong feeling against him on account of his wicked ways and vicious innovations, especially his harem, and other expensive habits that impoverished the country. "Taken all in all," says the Rev. W.E. Griffis, of Solomon (44),

"he was probably one of the worst sinners described in the Old Testament. With its usual truth and fearlessness, the Scriptures expose his real character, and by the later prophets and by Jesus he is ignored or referred to only in rebuke."

The contempt and hatred inspired by his actions were especially vivid shortly after his death, when the _Song of Songs_ is believed to have been written (Renan, 97); and, as this author remarks (100),

"the poet seems to have been animated by a real spite against the king; the establishment of a harem, in particular, appears to incense him greatly, and he takes evident pleasure in showing us a simple shepherd girl triumphing over the presumptuous sultan who thinks he can buy love, like everything else, with his gold."

That this is intended to be the moral of this Biblical drama is further shown by the famous lines near the close:

"For love is strong as death; jealousy is cruel as the grave [literally: passion is as inexorable (or hard) as sheol]: The flashes thereof are flashes of fire, a very flame of the Lord. Many waters cannot quench it, nor can the floods drown it: If a man should give all the substance of his house for love, he [it] would utterly be contemned."

These lines constitute the last of the passages cited by my critics to prove that the ancient Hebrews knew romantic love and its power. They doubtless did know the power of love; all the ancient civilized nations knew it as a violent sensual impulse which blindly sacrifices life to attain its object. The ancient Hindoos embodied their idea of irresistible power in the force and fury of an amorous elephant. Among animals in general, love is even stronger than death. Male animals of most species engage in deadly combat for the females. "For most insects," says Letourneau, "to love and to die are almost synonymous terms, and yet they do not even try to resist the amorous frenzy that urges them on." Yet no one would dream of calling this romantic love; from that it differs as widely as the insect mind in general differs from the human mind. Waters cannot quench any kind of love or affection nor floods drown it. What we are seeking for are _actions or words describing the specific symptoms of sentimental love_, and these are not to be found in this passage any more than elsewhere in the Bible. An old man may buy a girl's body, but he cannot, with all his wealth and splendor, awaken her love, either sentimental or sensual; love, whatever its nature, will always prefer the apple-tree and the shepherd lover to the vain desires and a thousand times divided attentions of a decrepit king, though he be a Solomon.

It would be strange if this purely profane poem, which was added to the Scriptural collection only by an unusual stretch of liberality,[290] and in which there is not one mention of God or of religion, should give a higher conception of sexual love than the books which are accepted as inspired, and which paint manners, emotions, and morals as the writers found them. As a matter of fact the _Song of Songs_ was long held to be so objectionable that the Talmudists did not allow young people to read it before their thirtieth year. Whiston denounced it as foolish, lascivious, and idolatrous. "The excessively amative character of some passages is designated as almost blasphemous when supposed to be addressed by Christ to his Church,"[291] as it was by the allegorists. On the other hand there is a class of commentators to whom this poem is the ideal of all that is pure and lovely. Herder went into ecstasies over it. Israel Abrahams refers to it (163) as "the noblest of love-poems;" as "this idealization of love." The Rev. W.E. Griffis declares rapturously (166, 63, 21, 16, 250) that "the purest-minded virgin may safely read the _Song of Songs_, in which is no trace of immoral thought." In it "sensuality is scorned and pure love glorified;" it "sets forth the eternal romance of true love," and is "chastely pure in word and delicate in idea throughout." "The poet of the Canticle shows us how to love." "An angel might envy such artless love dwelling in a human heart."

The truth, as usual in such cases, lies about half-way between these extreme views. There is only one passage which is objectionably coarse in the English version and in the Hebrew original obscene;[292] yet, on the other hand, I maintain that the whole poem is purely Oriental in its exclusively sensuous and often sensual character, and that there is not a trace of romantic sentiment such as would color a similar love-story if told by a modern poet. The _Song of Songs_ is so confused in its arrangement, its plan so obscure, its repetitions and repeated dénouements so puzzling,[293] that commentators are not always agreed as to what character in the drama is to be held responsible for certain lines; but for our purpose this difficulty makes no difference. Taking the lines just as they stand, I find that the following:--1: 2-4, 13 (in one version), 17; 2: 6; 4: 16; 5: 1; 8: 2, 3--are indelicate in language or suggestion, as every student of Oriental amorous poetry knows, and no amount of specious argumentation can alter this. The descriptions of the beauty and charms of the beloved or the lover, are, moreover, invariably sensuous and often sensual. Again and again are their bodily charms dwelt on rapturously, as is customary in the poems of all Orientals with all sorts of quaint hyperbolic comparisons, some of which are poetic, others grotesque. No fewer than five times are the external charms thus enumerated, but not once in the whole poem is any allusion made to the spiritual attractions, the mental and moral charms of femininity which are the food of romantic love. Mr. Griffis, who cannot help commenting (223) on this frequent description of the human body, makes a desperate effort to come to the rescue. Referring to 4: 12-14, he says (212) that the lover now "adds a more delicate compliment to her modesty, her instinctive refinement, her chaste life, her purity amid court temptations. He praises her inward ornaments, her soul's charms." What are these ornaments? The possible reference to her chastity in the lines: "A garden shut up is my sister, my bride. A spring shut up, a fountain sealed"--a reference which, if so intended, would be regarded by a Christian maiden not as a compliment, but an insult; while every student of Eastern manners knows that an Oriental makes of his wife "a garden shut up," and "a fountain sealed" not by way of complimenting her chastity, but because he has no faith in it whatever, knowing that so far as it exists it is founded on fear, not on affection. Mr. Griffis knows this himself when he does not happen to be idealizing an impossible shepherd girl, for he says (161):

"To one familiar with the literature, customs, speech, and ideas of the women who live where idolatry prevails, and the rulers and chief men of the country keep harems, the amazing purity and modesty of maidens reared in Christian homes is like a revelation from heaven."[294]

Supersensual charms are not alluded to in the _Song of Songs_, for the simple reason that Orientals never did, and do not now, care for such charms in women or cultivate them. They know love only as an appetite, and in accordance with Oriental taste and custom the _Song of Songs_ compares it always to things that are good to eat or drink or smell. Hence such ecstatic expressions as "How much better is thy love than wine! And the smell of thine ointments than all manner of spices!" Hence her declaration that her beloved is

"as the apple-tree among the trees of the wood.... I sat down under his shadow with great delight, and his fruit was sweet to my taste.... Stay ye me with raisins, comfort me with apples: For I am sick of love. His left hand is under my head, and his right hand doth embrace me."

Hence the shepherd's description of his love: "I am come into the garden, my sister, my bride: I have gathered my myrrh with my spice: I have eaten my honeycomb with my honey; I have drunk my wine with my milk."

Modern love does not express itself in such terms; it is more mental and sentimental, more esthetic and sympathetic, more decorous and delicate, more refined and supersensual. While it is possible that, as Renan suggests (143), the author of the Canticles conceived his heroine as a saint of her time, rising above sordid reality, it is clear from all we have said that the author himself was not able to rise above Orientalism. The manners of the East, both ancient and modern, are incompatible with romantic love, because they suppress the evolution of feminine refinement and sexual mentality. The documents of the Hebrews, like those of the Hindoos and Persians, Greeks, and Romans, prove that tender, refined, and unselfish affection between the sexes, far from being one of the first shoots of civilization, is its last and most beautiful flower.

GREEK LOVE-STORIES AND POEMS