By Gianni Barbiero
This ebook places ahead an interpretation of the Canticle that's alert to the literal feel of the poem. the writer therefore distances himself either from the allegorical interpretation and from an interpretation that's simply secular. in keeping with the writer, the tune deals a theological imaginative and prescient of human love. Barbiero sees the music as composed within the 3rd century BC, within the Hellenistic epoch, but additionally as highly depending on the affection poetry of the traditional close to East, really that of Egypt. notably, in spite of the fact that, the track was once composed in discussion with the opposite books of the outdated testomony, in particular by contrast with the damaging view of sexuality which they characterize. The examine can pay specific recognition to the constitution of the poem and of the person cantos: for Barbiero, the track is a heavily unitary paintings and is just to be understood as a complete.
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Additional info for Song of Songs: A Close Reading (Supplements to Vetus Testamentum, Volume 144)
Thirteen v. 14 a mare your cheeks your neck a bag of myrrh a number of henna between (be) the chariots of Pharaoh among (be) your ear earrings between (be) chains of pearls among (bên) my breasts between (be) the vineyards between themselves via the truth that it's the girl who speaks in them, addressing her loved within the 3rd individual (while the 1st half is characterized by way of direct speech). furthermore, in every one verse, reference is made to fragrance (‘nard’, v. 12; ‘myrrh’, v. thirteen; ‘henna’, v. 14). The fourth strophe contrasts with the 2 previous ones by means of the very fact of being a excessive burlesque (‘Pharaoh’, v. nine; ‘king’, v. 12). ninety nine From the viewpoint of the passage from separation to union, we word a few growth within the strategy of coming jointly. If vv. 5–8 defined the flow of going out of her own residence and taking off on her look for the family member, vv. 9–14 describe the following occasion: the hunt is over, the 2 stand prior to one another in mutual contemplation. might be the preliminary comparability of the mare alludes nonetheless to the hunt which characterized the 3rd strophe. a hundred The fourth strophe is hooked up with the second via the topic of the ‘vineyard’ (kerem, vv. 6 and 14) and through the lexeme nʾw (‘beautiful’, vv. five and 10). ultimately, the royal burlesque joins the fourth strophe with the 1st (‘king’, vv. four and 12). The time period ‘triclinium’ (mēsab)101 recollects the ‘chambers’ of v. four; the 2 strophes additionally proportion the topic of ‘scent’ (rêaḥ , vv. three, 12). [1:9–10] the web translation (“O my loved, you're like a mare between Pharaoh’s stallions”) supposes that the tertium comparationis ninety nine The ‘vineyards of Engedi’ additionally belong to this royal burlesque; actually, from time immemorial, the oasis of Engedi was once a royal ownership. From the top of the 7th century B. C. as much as the Roman epoch, the kings of Judah had fragrant crops and culmination cultivated there (cf. Keel-Küchler , vol. II, pp. 418–428). a hundred So Ravasi (1992), p. 191 (“From afar, he sees his woman advancing in the direction of him”). during this experience additionally have a tendency a few parallels with the Egyptian love songs, during which it truly is he certainly who's in comparison to a horse: “Oh, that you'd come to me, / like a horse of the king, / selected from between all his chargers, / the 1st of his strong” (Papyrus Chester Beatty IB 1:5–6; cf. Bresciani , p. 458; cf. additionally Papyrus Harris 500A 1:8, ibid. , p. 460). one zero one just like the extra common mesibbâ the time period shows the Greek symposium, within which the visitors recline on 3 couches, whereas the fourth facet is open for the provider (cf. HALAT: ‘round table’). the basis sbb ‘around’ refers back to the round type of the triclinium. The time period is important for the putting of the tune within the Hellenistic epoch. prologue (song 1:2–2:7) seventy one of the metaphor is sexual charm. 102 although, the textual content doesn't aid this interpretation. The time period rikbê is an strange plural of rekeb,103 a time period which has a collective price and shows the army corps of chariots of conflict (the ‘cavalry’ of the army). 104 The emphasis is put, in v. 10, at the aesthetic element, no longer the erotic.