The Song Of Songs Through The Ages

Included among the sacred books of Judaism and Christianity alike, the Song of Songs does not mention God at all; on the surface it is a lyrical exchange between unnamed lovers who articulate the range of emotions associated with sexual love. Ann W. Astell here examines medieval reader response, both interpretive and imitative, to the Song. Disputing the common view that the literal meaning of Canticles had no value for medieval readers, Astell points to twelfth-century commentaries on the Song, as well as an array of Middle English works, as evidence that the Song's sensuous imagery played an essential part in its tropological appeal. Emphasizing the ways in which a complex fusion of the Song's carnal and spiritual meanings appealed rhetorically to a variety of audiences, Astell first considers interpretive responses to Canticles, contrasting Origen's dialectical exposition with the affective commentaries of the twelfth century—ecclesiastical, Marian, and mystical. According to Astell, these commentaries present Canticles as a marriage song that mirrors a series of analogous marriages, both within the individual and between human and divine persons. Astell describes interpretations of the Song of Songs in terms of the various feminine archetypes that the expositors emphasize—the Virgin, Mother, Hetaira, or Medium. She maintains that the commentat5ors encourage the auditor's identification with the figure of the Bride so as to evoke and direct the feminine, affective powers of the soul. Turning to literature influenced by the Song, she then discusses how the reading process is reinscribed in selected works in Middle English, including Richard Rolle's autobiographical writings, Pearl, religious love lyrics, and cycle dramas. The Song of Songs in the Middle Ages provides an innovative model of reader response that opens the way for a deeper understanding of the literary influence of biblical texts.

The Song of Songs is a fascinating text. Read as an allegory of God’s love for Israel, the Church, or individual believers, it became one of the most influential texts from the Bible. This volume includes twenty-three essays that cover the Song’s reception history from antiquity to the present. They illuminate the richness of this reception history, paying attention to diverse interpretations in commentaries, sermons, and other literature, as well as the Song’s impact on spirituality, theological and intellectual debates, and the arts.

Now, in The Song of Songs: The Honeybee in the Garden, author and artist Debra Band presents a breathtakingly beautiful illuminated work in which these two lines of interpretation are harmonized within a stunning visual context.

Hannah Matis examines how a biblical text was read by the most important figures within the ninth-century Carolingian Reform to think about the nature of Christ and the church.

Read as an allegory of God's love for Israel, the Church, or individual believers, the Song of Songs became one of the most influential texts from the Bible. The essays in this volume cover the Song's rich reception history from antiquity to the

The Song of Songs, eight chapters of love lyrics found in the collection of wisdom literature attributed to Solomon, is the most enigmatic book of the Bible. For thousands of years Jews and Christians alike have preserved it in the canon of scripture and used it in liturgy. Exegetes saw it as a central text for allegorical interpretations, and so the Song of Songs has exerted an enormous influence on spirituality and mysticism in the Western tradition. In the Voice of My Beloved, E. Ann Matter focuses on the most fertile moment of Song of Songs interpretation: the Middle Ages. At least eighty Latin commentaries on the text survive from the period. In tracing the evolution of these commentaries, Matter reveals them to be a vehicle for expressing changing medieval ideas about the church, the relationship between body and soul, and human and divine love. She shows that the commentaries constitute a well-defined genre of medieval Latin literature. And in discussing the exegesis of the Song of Songs, she takes into account the modern exegesis of the book and feminist critiques of the theology embodied in the text.

The Song of Songs is one of the most often interpreted books of the Bible. Through the ages interpreters have agreed that it is a highly poetic piece of literature, but their interpretations have differed fundamentally. After a centuries-long consensus that the Song must be interpreted allegorically as reflecting the relationship of God and humans and a shorter consensus that the Song must be interpreted literally as a composition of profane love lyrics, the discussion in recent years has once again become more controversial, as a growing number of exegetes have been more open to theological interpretations. This volume offers contibutions that take different stands in this newly inflamed discussion. It thus enables readers to further think about the question and come to their own conclusions.