Song of Songs - Wikipedia, The Free Encyclopedia

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Song of Songs
From Wikipedia, the free encyclopedia
The Song of Songs, also known as the Song of Solomon or Canticles (Hebrew: r Harm;
Greek: asma asmaton, both meaning "song of songs"), is one of the megillot (scrolls) of the
Ketuvim (the "Writings", the last section of the Tanakh or Hebrew Bible) and is a book of the Old Testament.
[1]
Scripturally, the Song of Songs is unique in that it makes no reference to "Law", "Covenant" or to Yahweh, the God
of Israel, nor does it teach or explore "wisdom" in the manner of Proverbs or Ecclesiastes (although it does have
some affinities to Wisdom literature, as the ascription to Solomon suggests). Instead, it celebrates sexual love.
[2]
It
gives "the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy".
[3]
The
two are in harmony, each desiring the other and rejoicing in sexual intimacy; the women (or "daughters") of
Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic
encounters facilitates the participation of the reader.
[4]
In modern Judaism, the Song is read on the Sabbath during the Passover, which marks the beginning of the grain
harvest as well as commemorating the Exodus from Egypt. Jewish tradition reads it as an allegory of the relationship
between God and Israel.
[5]
Christian tradition, in addition to appreciating the literal meaning of a romantic song
between husband and wife, has also largely adopted an allegorical reading of the piece, taking it as relating Christ
(the bridegroom) and his Church (the bride).
Contents
1 Structure
2 Summary
3 Composition
4 Later interpretation and influence
4.1 Judaism
4.2 Christianity
4.3 The Church of Jesus Christ of Latter-Day Saints
4.4 Cultural references
5 See also
6 References
7 Bibliography
8 External links
Structure
Illustration for the first verse, a minstrel
playing before Solomon (15th century
Rothschild Mahzor)
There is widespread consensus that, although the book has no plot, it
does have what can be called a framework, as indicated by the links
between its beginning and end.
[6]
Beyond this, however, there appears
to be little agreement: attempts to find a chiastic structure have not
been compelling, and attempts to analyse it into units have used
differing methods and arrived at differing results.
[7]
The following must
therefore be taken as indicative rather than determinative:
Introduction (1:16)
Dialogue between the lovers (1:72:7)
The woman recalls a visit from her lover (2:817)
The woman addresses the daughters of Zion (3:15)
Sighting a royal wedding procession (3:611)
The man describes his lover's beauty (4:15:1)
The woman addresses the daughters of Jerusalem (5:26:4)
The man describes his lover, who visits him (6:512)
Observers describe the woman's beauty (6:138:4)
Appendix (8:514)
[8]
Summary
The introduction calls the song a "the song of songs", a superlative commonly used in the Scripture to show it as the
greatest and most beautiful of all songs (as in Holy of Holies).
[9]
The poem begins with the woman's expression of
desire for her lover and her self-description to the "daughters of Jerusalem": she says she is "black" because she had
to work in the vineyards and got burned by the sun. This is followed by a dialogue between the lovers: the woman
asks the man to meet; he replies with a lightly teasing tone; the two compete in offering flattering compliments ("my
beloved is to me as a cluster of henna blossoms in the vineyards of En Gedi", "an apple tree among the trees of the
wood", "a lily among brambles", while the bed they share is like a forest canopy). The section closes with the
woman telling the daughters of Jerusalem not to stir up love such as hers until it is ready.
[10]
The woman recalls a visit from her lover in the springtime. She uses imagery from a shepherd's life, and she says of
her lover that "he pastures his flock among the lilies."
[10]
The woman again addresses the daughters of Jerusalem, describing her fervent and ultimately successful search for
her lover through the night-time streets of the city. When she finds him she takes him almost by force into the
chamber in which her mother conceived her. She reveals that this a dream, seen on her "bed at night, and ends by
again warning the daughters of Jerusalem not to stir up love until it is ready."
[10]
The next section reports a royal wedding procession: Solomon is mentioned by name, and the daughters of
Jerusalem are invited to come out and see the spectacle.
[10]
The man describes his beloved: her hair is like a flock of goats, her teeth like shorn ewes, and so on from face to
breasts. Place-names feature heavily: her neck is like the Tower of David, her smell like the scent of Lebanon. He
hastens to summon his beloved, saying that he is ravished by even a single glance. The section then becomes a
"garden poem", in which he describes her as a "locked garden" (usually taken to mean that she is chaste); the
woman speaks, inviting the man to enter the garden and taste the fruits; the man accepts the invitation, and a third
party tells them to eat, drink, "and be drunk with love".
[10]
The woman tells the daughters of Jerusalem of another dream. She was in her chamber when her lover knocked.
She was slow to open, and when she did, he was gone. She searched through the streets again, but this time she
failed to find him and the watchmen, who had helped her before, now beat her. She asks the daughters of
Jerusalem to help her find him, and describes his physical good looks; then she admits that her lover is in his garden,
safe from harm, and committed to her as she is to him.
[10]
The man describes his beloved; the woman describes a rendezvous they have shared. (The last part is unclear and
possibly corrupt).
[10]
The people praise the beauty of the woman. The images are the same as those used elsewhere in the poem, but
with an unusually dense use of place-names: pools of Hebron, gate of Bath-rabbim, tower of Damascus, etc. The
man states his intention to enjoy the fruits of the woman's garden; the woman replies, inviting him to a tryst in the
fields. She once more warns the daughters of Jerusalem against waking love till it is ready.
The woman compares love to death and sheol: love is as relentless and jealous as these two, and cannot be
quenched by any force. She summons her lover, using the language used before: he should come "like a gazelle or a
young stag upon the mountain of spices".
[10]
Composition
The Song offers no clue to its author or to the date, place or circumstances of its composition.
[11]
The
superscription states that it is "Solomon's", but even if this is meant to identify the author, it cannot be read as strictly
as a similar modern statement.
[12]
The most reliable evidence for its date is its language: Aramaic gradually replaced
Hebrew after the end of the Babylonian exile in the late 6th century BCE, and the evidence of vocabulary,
morphology, idiom and syntax clearly points to a late date.
[13]
It has long been recognised that the Song has
parallels with the pastoral idylls of Theocritus, a Greek poet who wrote in the first half of the 3rd century BCE;
[14]
against this, it clearly shows the influence of Mesopotamian and Egyptian love-poetry, and is probably even closer
to Egyptian love-poetry from the first half of the 1st millennium than to Greek parallels from the last.
[15][16]
As a
result of these conflicting signs, speculation ranges from the 10th to the 2nd centuries BCE,
[11]
with the cumulative
evidence supporting a later rather than an earlier date.
[17]
The unity (or not) of the Song continues to be debated. Those who see it as an anthology or collection point to the
abrupt shifts of scene, speaker, subject matter and mood, and the lack of obvious structure or narrative. Those who
hold it to be a single poem point out that it has no internal signs of composite origins, and view the repetitions and
similarities among its parts as evidence of unity. Some claim to find a conscious artistic design underlying it, but
there is no agreement among them on what this might be. The question therefore remains unresolved.
[18]
The setting in which the poem arose is also debated.
[19]
Some have posited a ritual origin in the celebration of the
sacred marriage of the god Tammuz and the goddess Ishtar; whether this is so or not, (most scholars seem to doubt
the idea), the poem does seem to be rooted in some kind of festive performance.
[19]
External evidence supports the
idea that the Song was originally recited by different singers representing the different characters, accompanied by
mime.
[20]
Later interpretation and influence
Judaism
The Song was accepted into the Jewish canon of scripture because of its supposed authorship by Solomon, and
because its subject-matter was taken to be not sexual desire but God's love for Israel.
[21]
It is one of the overtly
mystical Biblical texts for the Kabbalah, which gave esoteric interpretation on all the Hebrew Bible. Following the
dissemination of the Zohar in the 13th century, Jewish mysticism took on a metaphorically anthropomorphic erotic
element, and Song of Songs is an example of this. In Zoharic Kabbalah, God is represented by a system of ten
sephirot emanations, each symbolizing a different attribute of God, comprising both male and female. The Shechina
(indwelling Divine presence) was identified with the feminine sephira Malchut, the vessel of Kingship. This
symbolizes the Jewish people, and in the body, the female form, identified with the woman in Song of Songs. Her
beloved was identified with the male sephira Tiferet, the "Holy One Blessed be He", central principle in the
beneficent Heavenly flow of Divine emotion. In the body, this represents the male torso, uniting through the sephira
Yesod of the male sign of the covenant organ of procreation. Through beneficent deeds and Jewish observance, the
Jewish people restore cosmic harmony in the Divine realm, healing the exile of the Shechina with God's
transcendence, revealing the essential Unity of God. This elevation of the World is aroused from Above on the
Sabbath, a foretaste of the redeemed purpose of Creation. The text thus became a description, depending on the
aspect, of the creation of the world, the passage of Shabbat, the covenant with Israel, and the coming of the
Messianic age. "Lecha Dodi", a 16th-century liturgical song with strong Kabbalistic symbolism, contains many
passages, including its opening two words, taken directly from Song of Songs. In modern Judaism, certain verses
from the Song are read on Shabbat eve or at Passover to symbolize the love between the Jewish People and their
God. Solomon B. Freehof writes of the Song:
As revealed in numerous talmudic passages, in the Targum and in the midrash, this biblical book is
interpreted as referring to God's love for Israel. This interpretation (evidently the one ascribed to the
Keneset Hagdola in Abot d'R. Nathan, Schechter, A #1) soon became official. In fact, anyone
quoting verses from the Song of Songs giving them the literal meaning was declared a heretic who
had forfeited his portion in Paradise (Tos. Sanh. XII, 10). This symbolic interpretation of the book
was, with some re-interpretation, carried over into Christianity and there, too, it became official.
[22]
The famed first- and second-century rabbi Akiva ben Joseph famously defended the holiness of the Song of Songs,
reportedly saying when the question came up of whether it should be considered a defiling work, "God forbid! No
one in Israel disputed about Song of Songs, saying that it does not defile the hands. For all of eternity in its entirety
is not as worthy as the day on which Song of Songs was given to Israel, for all the Writings are holy, but Song of
Songs is the Holy of Holies."
[23]
Rabbi Akiva is also reported to have said, "He who sings the Song of Songs in wine taverns, treating it as if it were
a vulgar song, forfeits his share in the world to come".
[24]
Christianity
The literal subject of the Song of Songs is love and sexual longing between a man and a woman, and on its face has
little (or nothing) to say about the relationship of God and man. Thus, Christians read the Song allegorically, treating
the love that it celebrates as an analogy for the love between God and Church.
[25]
The Christian church's
interpretation of the Song as evidence of God's love for his people, both collectively and individually, began with
Origen, though clearly the roots of this interpretation go back the Jewish tradition which takes the poem to be about
the relation between God and his people.
Over the centuries the emphases of interpretation shifted, first reading the Song as a depiction of the love between
Christ and Church, the 11th century adding a moral element, and the 12th century understanding of the Bride as the
Virgin Mary, with each new reading absorbing rather than simply replacing earlier ones, so that the commentary
became ever more complex.
[26]
These theological themes are not in the poem, but derive from a theological
reading; nevertheless, what is notable about this approach is the way it leads to conclusions not found in the overtly
theological books of the bible.
[27]
Those books reveal an abiding imbalance in the relationship between God and
man, ranging from slight to enormous; but reading Songs as a theological metaphor produces quite a different
outcome, one in which the two partners are equals, bound in a committed relationship.
[27]
In contemporary times the poem has attracted the attention of feminist biblical critics. The feminist companion to
the Bible series, edited by Athalya Brenner, has two volumes (1993, 2001) devoted to the Song, the first of which
was actually the first volume of the whole series. Phyllis Trible had earlier published "Depatriarchalizing in Biblical
Interpretation" in 1973, offering a reading of the Song with a positive representation of sexuality and egalitarian
gender relations, which was widely discussed, notably (and favourably) in Marvin Pope's major commentary for the
Anchor Bible.
The Church of Jesus Christ of Latter-Day Saints
The manuscripts of the Joseph Smith Translation of the Bible state that "the Song of Solomon is not inspired
scripture."
[28]
Therefore, the book is not included in the LDS canon and is rarely studied by members of the LDS
Church. However, the Song of Songs is still printed in every copy of the King James Bible published by the church.
Cultural references
J. S. Bach's Wachet auf, ruft uns die Stimme, BWV 140, while mainly based on the Parable of the Ten
Virgins, also uses words and imagery from Song of Songs.
[29]
John Zorn's "Shir Ha-Shirim" premiered in February 2008.
[30]
The piece is inspired by Song of Songs and is
performed by an amplified quintet of female singers with female and male narrators performing the "Song of
Solomon". A performance at the Guggenheim Museum in November 2008 featured choreography for paired
dancers from the Khmer Arts Ensemble by Sophiline Cheam Shapiro.
[31]
In 2013 a new version featuring
the five singers without the two narrators premired in NYC at Alice Tully Hall and at the Jerusalem Sacred
Music Festival and released on the album Shir Hashirim.
In Carl Theodor Dreyer's Day of Wrath, a film about sexual repression in a puritanical Protestant family, the
first few verses of Song of Songs chapter 2 are read aloud by the daughter Anne, but soon after her father
The Song of Songs: A Love Poem
Illustrated (2009)
(http://www.amazon.com/The-Song-
Songs-Love-
Illustrated/dp/1600200028)
forbids her to continue. The chapter's verse paraphrases Anne's own amorous adventures and desires.
[32]
The voice of the turtle that is heard in Song of Solomon 2:12 inspired many artists.
Nobel Prize-winning writer Toni Morrison's 1977 novel is entitled "Song of Solomon".
"The Song of Solomon" by British singer Kate Bush is largely based on the Song of Songs.
Rose of Sharon is a major character in John Steinbeck's novel "The Grapes of Wrath".
Lillian Hellman's 1939 play The Little Foxes (and the later 1941 film adaptation) gets its title from Song
2:15: "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes."
[33]
Catherine L. Morris' 2009 collection The Song of Songs: A Love Poem Illustrated presents a series of
paintings that visualize the book.
[34]
Post-hardcore band mewithoutYou named their sophomore album
Catch for Us the Foxes
See also
4Q106, 4Q107, 4Q108, 6Q6, fragments of the Dead Sea Scrolls
that include portions of Song of Songs.
Hortus conclusus
References
1. ^ Garrett 1993, p. 348.
2. ^ Garrett 1993, p. 366.
3. ^ Alter 2011, p. 232.
4. ^ Exum 2011, p. 248.
5. ^ Sweeney 2011.
6. ^ Assis 2009, pp. 11, 16.
7. ^ Assis 2009, pp. 1618.
8. ^ Kugler & Hartin 2009, p. 220.
9. ^ Keel 1994, p. 38.
10. ^
a

b

c

d

e

f

g

h
Kugler & Hartin 2009, pp. 22022.
11. ^
a

b
Exum 2012, p. 247.
12. ^ Keel 1994, p. 39.
13. ^ Bloch 1995, p. 23.
14. ^ Bloch 1995, p. 25.
15. ^ Exum 2012, p. 248.
16. ^ Keel 1994, p. 5.
17. ^ Hunt 2008, p. 5.
18. ^ Exum 2005, p. 3334.
19. ^
a

b
Loprieno 2005, p. 126.
Bibliography
Alter, Robert (2011). The Art of Biblical Poetry (http://books.google.com/?
id=8JmlGTZkHVwC&printsec=frontcover&dq=Alter+The+Garden+of+Metaphor#v=onepage&q=Alter%
20The%20Garden%20of%20Metaphor&f=false). Basic Books. ISBN 0465028195.
Assis, Elie (2009). Flashes of Fire: A Literary Analysis of the Song of Songs (http://books.google.com/?
id=yoWsTqUCVjEC&printsec=frontcover&dq=Flashes+of+Fire:+A+Literary+Analysis+of+the+Song+of+
19. ^
a

b
Loprieno 2005, p. 126.
20. ^ Astell 1995, p. 162.
21. ^ Loprieno 2005, p. 107.
22. ^ Freehof 1949, p. 397.
23. ^ Schiffman 1998, pp. 11920
(http://cojs.org/cojswiki/Mishnah_Yadayim_3:5:_The_Debate_Over_th
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=false). In Hagedorn, Anselm C. Perspectives on the Song of Songs. Walter de Gruyter.
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+Jewish+Bible#v=onepage&q=Tanak%3A%20A%20Theological%20and%20Critical%20Introduction%2
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External links
Jewish translations and commentary
Shir Hashirim Song of Songs (Judaica Press) (http://www.chabad.org/library/archive/LibraryArchive2.asp?
AID=15780) translation (with Rashi's commentary) at Chabad.org
Song of Songs (http://www.jewishencyclopedia.com/view.jsp?artid=968&letter=S) in the Jewish
Encyclopedia
The original Hebrew version, vowelized, with side-by-side English translation (http://www.mechon-
mamre.org/p/pt/pt3001.htm) by Mamre Institute (Mechon Mamre)
"The Song of Solomon" (http://www.wdl.org/en/item/670) designed by Tamar Messer from the World
Digital Library
Christian translations and commentary
Sermons on the Song of Songs (http://www.pathsoflove.com/bernard/songofsongs/contents.html), by St.
Bernard of Clairvaux
Online Bible (http://www.gospelhall.org/bible/bible.php?passage=Song+1) at GospelHall.org
Song of Songs (http://www.biblegateway.com/bible?
language=English&Version=NIV&passage=SongOfSongs) at Bible Gateway (various versions)
Song of Songs (http://www.newadvent.org/cathen/03302a.htm) in the Catholic Encyclopedia
Song of Songs (http://www.newadvent.org/bible/son001.htm) (Greek, Latin and English versions) the
newadvent.org
Solomon's Song of Songs (http://www.biblestudytools.com/song-of-solomon/1.html). Bible Study Tools.
Summary Interpretation of the Song of Solomon (http://www.wlsessays.net/node/1818) by H. Speckard
Song of Songs in Hebrew
Song of Songs (https://www.youtube.com/watch?v=et9GUnfIJSs) YouTube video chanted in a Moroccan
Cantillation (20:44)
Song of Songs (https://www.youtube.com/watch?v=UE29iz8zi34) YouTube video of Shir Hashirim read in
Hebrew according to a Ashkenazic nigun (32:11)
Song of Songs
Hebrew poetry
Preceded by
Job
Hebrew Bible
Succeeded by
Ruth
Preceded by
Ecclesiastes
Protestant
Old Testament
Succeeded by
Isaiah
Roman Catholic
Old Testament
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Wisdom
E. Orthodox
Old Testament
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Categories: Song of Songs Ketuvim Erotic poetry Passover Solomon
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Song of Songs - Wikipedia, The Free Encyclopedia

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