By Edmée Kingsmill

Glossy biblical scholarship translates the tune as a set of affection lyrics. For Edmée Kingsmill, to the contrary, the essence of the music is mystical. A relevant problem of this learn, although, is to discover the connection among the 117 verses of the music and people biblical books to which they aspect. underneath the metaphors a community of allusions is being woven, conveying an image contrary to that we discover within the prophets who, faced with the continuous 'adultery' of Israel, poured forth their condemnations with unwearying ardour.

In dramatic distinction, the track offers a paradisal photograph: 'For, lo, the iciness is prior, the rain is over and long gone. The plants seem within the land, and the time of making a song is come' (Song 2: 11-12). therefore, in proposing the fitting, the goal of the Song's writer is proven to be encouragement. The inclusion of this poem within the biblical canon is known, hence, to be important to the aim of the biblical literature: to convey every person to like the God of affection.

The e-book is in components. the 1st and longer half is worried with subject matters, together with the connection of the music to the early Jewish mystical literature. the second one half is a quick observation meant for the reader attracted to the textual content up to within the similar inquiries to which the textual content supplies upward push.

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Additional resources for The Song of Songs and the Eros of God: A Study in Biblical Intertextuality

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They are fascinating, as Daniel Boyarin shows in his profound exposition of Rabbinic motivation, and brilliantly constructed in relation to the great themes of the crossing of the Red Sea and the giving of the Torah at Sinai––the two places at which the Song is argued to have been delivered to Israel, R. Eliezer favouring the Red Sea and R. Akiva, Mount Sinai. But there is a huge shift of focus from the original motivation for the writing of the Song to its use in providing a midrash to the Torah.

8 The book works toward the triumphant conclusion that only Luther has succeeded in freeing Agape from its entanglement with Eros, a claim we will, indeed, see corroborated when we come to Luther’s commentary on the Song. Although Barth’s position on agape and eros is exactly that of Nygren, Barth is too deep a thinker to be happy with Nygren’s over-confident tone, and his references to Nygren all contain a note of criticism. Nevertheless what is clear in both writers is that agape stands for the Protestant Reform and eros for the Catholic Church.

In his book, The Shiur Qomah: Liturgy and Theurgy in Pre-Kabbalistic Jewish Mysticism, Martin S. Cohen cites an article in which the author Alexander Altmann writes: ‘there can be no vision of the chariot-throne without hymnody’––an assertion which, Cohen goes on to say, can be verified on almost every page of the early mystical literature. e. 17 Moreover, to the Hekhalot literature may be added the Songs of the Sabbath Sacrifice of Qumran, and the various tracts of Enoch. And since all this literature reveals numerous links to the Song, differences of tone and content notwithstanding, the evidence that its title is announcing that what follows is the praise of God par excellence is as conclusive as it is possible to get when dealing with the biblical and related ancient material.

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