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Cantar de los Cantares (Cantique des Cantiques) de Gustave Moreau , 1893 El Cantar de los Cantares ( hebreo bíblico : שִׁיר הַשִּׁירִים ‎ , romanizado: Šīr hašŠīrīm ), también...

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Cantar de los Cantares (Cantique des Cantiques) de Gustave Moreau , 1893

El Cantar de los Cantares ( hebreo bíblico : שִׁיר הַשִּׁירִים ‎ , romanizado:  Šīr hašŠīrīm ), también llamado el Cantar de los Cantares o el Cantar de Salomón , es un poema bíblico , uno de los cinco megillot ("rollos") en los Ketuvim ("escritos"), la última sección del Tanaj . A diferencia de otros libros de la Biblia hebrea , es poesía erótica ; los amantes expresan un deseo apasionado, intercambian halagos y se invitan mutuamente a disfrutar. [ 1 ] El poema narra una intensa y poética historia de amor entre una mujer y su amante a través de una serie de diálogos sensuales, sueños , metáforas y advertencias a las "hijas de Jerusalén" para que no despierten el amor antes de tiempo.

La erudición moderna tiende a sostener que los amantes en el Cantar de los Cantares no están casados, [ 2 ] [ 3 ] lo cual concuerda con su contexto del antiguo Cercano Oriente . [ 4 ] Las mujeres de Jerusalén forman un coro para los amantes, funcionando como una audiencia cuya participación en los encuentros eróticos de los amantes facilita la participación del lector. [ 5 ]

La mayoría de los estudiosos consideran el Cantar de los Cantares como poesía erótica que celebra el amor humano, no como una metáfora divina, y algunos perciben influencias de cultos de fertilidad y literatura sapiencial . Su autoría, fecha y origen siguen siendo inciertos, y los investigadores debaten sobre su unidad, estructura y posibles influencias de la poesía amorosa mesopotámica , egipcia y griega .

Many Jews read the Song during Passover, a custom first recorded in 8th-century Jund Filastin.[6] Jewish tradition interprets it as an allegory of the relationship between God and Israel. In Christianity, it is viewed as an allegory of Christ and his bride, the Church.[7][8] The Song of Songs has inspired diverse works in art, film, theater, and literature, including pieces by Marc Chagall, Carl Theodor Dreyer, Toni Morrison, John Steinbeck, and Neil Diamond.

Structure

There is widespread consensus that, although the book has no plot, it does have what can be called a framework, indicated by the links between its beginning and end.[9] Beyond this, however, there appears to be little agreement: attempts to find a chiastic structure have not found acceptance, and analyses dividing the book into units have employed various methods, yielding diverse conclusions.[10]

The following indicative schema is from Kugler and Hartin's An Introduction to The Bible:[11]

  • Introduction (1:1–6)
  • Dialogue between the lovers (1:7–2:7)
  • The woman recalls a visit from her lover (2:8–17)
  • The woman addresses the daughters of Zion (3:1–5)
  • Sighting a royal wedding procession (3:6–11)
  • The man describes his lover's beauty (4:1–5:1)
  • The woman addresses the daughters of Jerusalem (5:2–6:4)
  • The man describes his lover, who visits him (6:5–12)
  • Observers describe the woman's beauty (6:13–8:4)
  • Appendix (8:5–14)

Title

The introduction calls the poem "the song of songs",[12] a phrase that follows an idiomatic construction commonly found in Scriptural Hebrew to indicate the object's status as the greatest and most beautiful of its class (as in Holy of Holies).[13] The work is also referred to as the "Song of Solomon", meaning the song "of", "by", "for", or "[dedicated] to" Solomon.[14]

Summary

The poem proper begins with the woman's expression of desire for her lover and her self-description to the "daughters of Jerusalem": she insists on her sun-born blackness, likening it to the "tents of Kedar" (nomads) and the "curtains of Solomon". A dialogue between the lovers follows: 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.[15]

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".[15]

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 she was conceived.[a] She reveals that this is 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".[15]

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.[15]

Illustration for the first verse, a minstrel playing before Solomon (15th century Rothschild Mahzor)

The man describes his beloved: Her eyes are like doves, 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 becomes a "garden poem", in which he describes her as a "locked garden" (usually taken to mean that she is chaste). The woman invites 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".[15]

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. Eventually, she admits her lover is in his garden, safe from harm, and committed to her as she is to him.[15]

The man describes his beloved; the woman describes a rendezvous they have shared. (The last part is unclear and possibly corrupted.)[15]

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, e.g., 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 invites him to a tryst in the fields. She once more warns the daughters of Jerusalem against waking love until 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".[15]

Composition

El poema parece estar arraigado en una representación festiva, y se han propuesto conexiones con el "matrimonio sagrado" de Ishtar y Tammuz . [ 16 ] No ofrece ninguna pista sobre su autor ni sobre la fecha, el lugar o las circunstancias de su composición. [ 17 ] El encabezado dice que es "de Salomón", pero incluso si esto pretende identificar al autor, no puede interpretarse tan estrictamente como una declaración moderna similar. [ 18 ] La evidencia más fiable sobre su fecha es su idioma: el arameo reemplazó gradualmente al hebreo después del fin del exilio babilónico a finales del siglo VI a. C., y la evidencia del vocabulario, la morfología , el modismo y la sintaxis apuntan claramente a una fecha tardía, siglos después del rey Salomón a quien tradicionalmente se le atribuye. [ 19 ] Tiene paralelismos con la poesía amorosa mesopotámica y egipcia de la primera mitad del primer milenio, y con los idilios pastorales de Teócrito , un poeta griego que escribió en la primera mitad del siglo III a. C.; [ 20 ] [ 5 ] [ 21 ] como resultado de estos signos contradictorios, la especulación abarca desde el siglo X hasta el siglo II a. C., [ 17 ] con el lenguaje apoyando una fecha alrededor del siglo III. [ 22 ] Otros estudiosos son más escépticos sobre la idea de que el lenguaje exija una fecha postexílica. [ 23 ]

El debate sobre la unidad o desunión del libro continúa. Quienes lo consideran una antología o colección señalan los cambios abruptos de escena, narrador, tema y tono, así como la falta de una estructura o narrativa evidente. Quienes lo consideran un solo poema destacan la ausencia de indicios internos de origen compuesto y ven las repeticiones y similitudes entre sus partes como evidencia de unidad. Algunos afirman encontrar un propósito artístico consciente subyacente, pero no hay consenso sobre cuál podría ser. Por lo tanto, la cuestión permanece sin resolver. [ 24 ]

Género

El consenso entre los estudiosos contemporáneos de la Biblia es que el Cantar de los Cantares es un poema erótico, y no una metáfora elaborada. [ 25 ] [ 26 ] [ 27 ]

In his commentary for the Anchor Bible Series, Marvin H. Pope describes the Song as a fertility cult liturgy, rooted in the fertility cults of the ancient Near Eastern cultures of Mesopotamia and Canaan, as well as their sacred marriage rites and funeral feasts.[28]

J. Cheryl Exum wrote: "The erotic desire of its protagonists, everywhere evident in the Song, leads me, in conclusion, to the Song's unique contribution to the conceptualization of love in the Bible: its romantic vision of love".[29]

The historian and rabbi Shaye J. D. Cohen summarises:

Song of Songs [is a] collection of love poems sung by him to her and her to him: [– –] While authorship is ascribed to Solomon in its first verse and by traditionalists, [modern Bible scholarship] argues that while the book may contain ancient material, there is no evidence that Solomon wrote it.

[– –] What is a collection of erotic poems doing in the Hebrew Bible? Indeed, some ancient rabbis were uneasy about the book’s inclusion in the canon.[30]

Several scholars have also argued that, alongside its condition as love poetry, the Song of Songs also shares a number of features with Wisdom literature.[31] For instance, Jennifer L. Andruska argues that the Song employs a number of literary conventions typical of this didactic literature and that it combines features of both ancient Near Eastern love song and wisdom genres to produce a wisdom literature about romantic love, instructing readers to pursue what she describes as a particular type of "wise love" relationship, modelled by the lovers of the poem.[32][33] Likewise, Katharine J. Dell notes a number of Wisdom motifs in the Song such as parallels between the lovers and the advices and conduct of Woman Wisdom and the Loose Woman of Proverbs, among others.[34]

Canonisation and interpretation

Judaism

A page of Rashi's interpretation of the megillot, National Library of Israel

El Cantar de los Cantares fue aceptado en el canon de las escrituras judías y se entendió como "una alegoría del amor entre Dios e Israel", una visión "dominante durante mil años y más". Sin embargo, según el sacerdote católico Andrew Greeley, el Cantar de los Cantares es "poesía amorosa secular, una colección de canciones de amor reunidas en torno a un solo tema" y la erudición ha "refutado la interpretación alegórica". [ 35 ] Aunque "existe la tradición de que incluso este libro fue considerado como uno que debía excluirse", como se afirma en Aboth d'Rabbi Nathan A1 , una obra de 700-900 d. C., el Cantar de los Cantares no solo fue incluido, sino considerado "especialmente meritorio". El judío reformado Solomon Freehof señala que uno debe pensar "si el libro es tan vulgar... a diferencia de todos los demás libros de la tradición bíblica  [...] ¿por qué aceptarlo en absoluto?". [ 36 ]

La canonicidad estaba ligada a su atribución a Salomón y se basaba en una lectura alegórica donde el tema no era el deseo sexual, sino el amor de Dios por Israel. [ 37 ] [ 38 ] [ 39 ] Por ejemplo, el famoso rabino Akiva, de los siglos I y II , prohibió el uso del Cantar de los Cantares en celebraciones populares. Según se cuenta, dijo: «Quien canta el Cantar de los Cantares en tabernas, tratándolo como si fuera una canción vulgar, pierde su parte en el mundo venidero». [ 40 ] Sin embargo, el rabino Akiva defendió la canonicidad del Cantar de los Cantares, y según se cuenta, cuando surgió la cuestión de si debía considerarse una obra impura, dijo: «¡Dios no lo quiera!  [...] Porque toda la eternidad en su totalidad no es tan digna como el día en que el Cantar de los Cantares fue dado a Israel, pues todos los Escritos son santos, pero el Cantar de los Cantares es el Santo de los Santos». [ 41 ]

Otros eruditos rabínicos que han empleado la exégesis alegórica para explicar el significado del Cantar de los Cantares son Tobías ben Eliezer , autor de Lekach Tov , [ 42 ] y Zacarías ha-Rofé , autor de Midrash ha-Hefez . [ 43 ] El rabino francés Rashi no creía que el Cantar de los Cantares fuera un poema erótico. [ 44 ]

Song of Songs is one of the overtly mystical Biblical texts for the Kabbalah, which gave an 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", a 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, which marks the beginning of the grain harvest as well as commemorating the Exodus from Egypt, to symbolize the love between the Jewish people and their God. Jewish tradition reads it as an allegory of the relationship between God and Israel.[7] The entire Song of Songs in its original Hebrew is read in synagogues during the intermediate days of Passover. It is often read from a scroll similar to a Torah scroll in style. It is also read in its entirety by some at the end of the Passover Seder and is usually printed in most Hagadahs. Some Jews have the custom to recite the entire book prior to the onset of the Jewish Sabbath.

Christianity

La sulamita, de Albert Joseph Moore (1864)

El tema literal del Cantar de los Cantares es el amor y el anhelo sexual entre un hombre y una mujer, y tiene poco (o nada) que decir sobre la relación de Dios y el hombre; para encontrar tal significado fue necesario recurrir a la alegoría, tratando el amor que el Cantar celebra como una analogía del amor entre Dios y la Iglesia. [ 8 ] La interpretación de la Iglesia cristiana del Cantar como evidencia del amor de Dios por su pueblo, tanto colectiva como individualmente, comenzó con Orígenes . [ 45 ] San Gregorio de Nisa escribió quince Homilías sobre el Cantar de los Cantares , que son consideradas la cúspide de su exégesis bíblica . En ellas, compara a la novia con el alma y al novio invisible con Dios: el alma finita se extiende incesantemente hacia el Dios infinito y permanece continuamente decepcionada en esta vida debido a la imposibilidad de alcanzar la unión extática con el amado, una visión que arrebata y que puede alcanzarse plena y perfectamente solo en la vida después de la muerte. [ 46 ] [ 47 ] De manera similar, siguiendo la interpretación alegórica de Ambrosio de Milán , [ 48 ] San Agustín de Hipona afirmó que el Cantar de los Cantares representa la boda entre Jesucristo y la Iglesia Católica, pura y virgen, dentro de un contexto ascético . [ 49 ]

Sin embargo, en contra de la opinión predominante, Teodoro de Mopsuestia , influenciado por la Escuela de Antioquía , interpretó el Cantar de los Cantares únicamente de forma literal, entendiéndolo como un poema erótico escrito por Salomón a la hija del faraón. Dado que la interpretación alegórica era tan predominante, su interpretación fue condenada en el Segundo Concilio de Constantinopla . Los escritos de Teodoro sobre este libro se perdieron, y solo se conoce su postura literalista, que posteriormente (a partir del siglo XVIII) se convertiría en la predominante entre los biblistas. [ 50 ] [ 51 ]

A lo largo de los siglos, los énfasis de la interpretación cambiaron: primero se leyó el Cantar como una representación del amor entre Cristo y la Iglesia, en el siglo XI se añadió un elemento moral, y en el siglo XII se entendió a la Esposa como la Virgen María ; cada nueva lectura absorbía, en lugar de simplemente reemplazar, las anteriores, de modo que el comentario se volvía cada vez más complejo. [ 52 ]

La Iglesia de Jesucristo de los Santos de los Últimos Días

The Church of Jesus Christ of Latter-day Saints includes the book in its standard works, but regards it as "not inspired" in Joseph Smith's Bible translation.[53][54]

Islam

Ibn Hazm (994–1064) writes that Song of Songs should be called "Folly of Follies, for it is a silly discourse which makes no sense, and no one among [the Jews] knows its meaning".[55]

In 1869, Syed Ahmad Khan contended that the word mahamaddim in Song of Songs 5:16 refers to Muhammad, adding to older Islamic claims regarding Haggai 2:7,[56] and this interpretation still appears in modern Islamic apologia.[57]

Feminism

In modern times the poem has attracted the attention of feminist biblical critics, with Phyllis Trible's foundational "Depatriarchalizing in Biblical Interpretation" treating it as an exemplary text, and the Feminist Companion to the Bible series edited by Athalya Brenner and Carole Fontaine devoting two volumes to it.[58][59]

Musical settings

Excerpts from the book have inspired composers to write vocal and instrumental compositions, including:

  • "Come live with me" (1981) by James Dillon, setting of Song of Songs (in Hebrew) for mezzo-soprano, flute, oboe, piano and percussion (1 player), London: Edition Peters
  • "Chi e costei", a setting of "Song of Songs" 6:10 in Il Primo libro delle musiche a 1–2 voci e basso continuo (1618) by Francesca Caccini
  • Symphoniae sacrae I (1629) by Heinrich Schütz
  • A'l Mishkavi Baleylot for soprano and harp (1992) and Spring Calls for soprano and ensemble (2006) by Lior Navok
  • Alex Weiser's After Shir Hashirim (2017) draws its inspiration from the text and cantillation of the Song of Songs.[60]
  • Andrew Rose Gregory of The Gregory Brothers released the album The Song of Songs, with words and music based on the biblical text, with The Color Red Band in 2011.[61]
  • German group Popol Vuh named their 1975 album Das Hohelied Salomos after this text.
  • Animals As Leaders's 2009 self-titled album includes a track titled "Song of Solomon".
  • "Asma Asmaton" from the 1986 album Rapsodies by Vangelis and Irene Papas.[62]
  • "Κραταία ως θάνατος αγάπη" from the album Magnus Eroticus (Μεγάλος Ερωτικός) by Manos Hadjidakis.[63]
  • C'est un jardin secret... for solo viola (1976) by Tristan Murail
  • Canticum Canticorum by Giovanni Pierluigi da Palestrina: 29 five-part a cappella pieces in fourth volume of motets (1584)
  • David Lang's "Just (After Song of Songs)" (2014) was premiered in 2014 by Trio Mediaeval and Garth Knox Saltarello Trio. The piece is featured in the film Youth by Paolo Sorrentino.
  • Dieterich Buxtehude's Membra Jesu Nostri: Cantata VI, Vulnerasti Cor Meum (1680)
  • Eliza Gilkyson's "Rose of Sharon" on her 2007 album Your Town Tonight is based on her reading of "Song of Songs" in a hotel room Gideon Bible, as explained in her intro to the song
  • Flos Campi by Ralph Vaughan Williams, a suite for solo viola, small chorus and small orchestra (1925), each movement headed by a verse from the book
  • 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 the Song of Songs.[64]
  • John Zorn's "Shir Ha-Shirim" premiered in February 2008.[65] The piece is inspired by the "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.[66] In 2013 a new version featuring the five singers without the two narrators premièred in NYC at Alice Tully Hall and at the Jerusalem Sacred Music Festival and released on the album Shir Hashirim.
  • Kate Bush's "Song of Solomon" from her album The Red Shoes (1993) includes lyrics which quote and reference the Song of Songs.[67]
  • Le Cantique des Cantiques (1952) by Jean-Yves Daniel-Lesur
  • Lyubov Streicher (1888–1958) composed a musical setting for the Song of Songs.[68]
  • In "Columba Mea" Opus 78, published by Novello, Kenneth Leighton set substantial sections of the biblical text to music for vocal soloists, chorus, strings, celesta and harpsichord.
  • Nightstone (1979) for voice and piano by Arnold Rosner
  • Rami Bar-Niv's Uri Tsafon (Song of Songs 4, 16: Awake, North Wind) (1972)[69]
  • Song of Solomon (1989) by Steve Kilbey
  • Subject of the song "I Hate Heaven" by The Residents, which is featured in their 1998 Bible inspired album Wormwood.
  • The chorus of Stephen Duffy's 1985 song "Kiss Me" was based on the comparison of wine to love in Song of Songs.
  • The opening track "Glass" from the 2009 album Two Suns by Bat For Lashes begins with a line from the Song of Songs.[70]
  • Song of Solomon (2017) classical wedding suite composition for orchestra, organ and two voices by Chris M. Allport
  • Norwegian composer Ola Gjeilo uses the Latin verses 6:3–4a (Pulchra es) from Song of Solomon in his choral piece "Northern Lights" (2008).
  • American rock band Title Fight has a song entitled "Rose of Sharon" on their 2015 album Hyperview. The "Rose of Sharon" is from Song of Songs 2:1.

Art

Egon Tschirch: Song of Songs, No. 11 (picture cycle 1923)
  • Catherine L. Morris' 2009 collection The Song of Songs: A Love Poem Illustrated presents a series of paintings that visualize the book.[71]
  • Egon Tschirch's Song of Solomon, a 1923 expressionist nineteen-picture cycle, was rediscovered in 2015.
  • Marc Chagall's Song of Songs, a five-painting cycle painted between 1957 and 1966, is housed in the Marc Chagall Museum in Nice.

Theater and film

  • S. Ansky's 1916 play The Dybbuk contains a recitation of the "Song of Songs" by Khanan's father when he is a young yeshiva boy. This becomes a major plot point in the play as it allows for the two lovers to identify the promise of marriage that their fathers made as classmates before departing.
  • In the 1933 film The Song of Songs, Marlene Dietrich's character Lily references the Song of Songs multiple times, aligning herself with its heroine, and throughout the film the passage is quoted.
  • Lillian Hellman's 1939 play The Little Foxes (and the 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".[72]
  • In Carl Theodor Dreyer's Day of Wrath, a 1943 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 forbids her to continue. The chapter's verse paraphrases Anne's own amorous adventures and desires.[73]
  • In The Woman in the Window (1944), the character played by Edward G. Robinson reads "The Song of Songs" prior to his romantic entanglement with Joan Bennett.
  • Several works have taken their name from the phrase "the voice of the turtle", found in 2:10–13.
  • The 1986 Malayalam classic film Namukku Parkkan Munthirithoppukal uses several verses from the "Song of Songs" which forms one of its major plot elements.
  • The 2005 film Keeping Mum sees the character Walter Goodfellow, played by Rowan Atkinson, read several verses from the "Song of Songs", encouraging him later on to sleep once more with his wife Gloria, saving his waning marriage.
  • The 2014 film The Song is based on the "Song of Songs".[74]
  • Agnes Borinsky's 2022 play A Song of Songs was inspired by the book and reinterpreted it through a queer lens.[75]

Novels

See also

Notes

  1. ↑The action of the conception is attributed specifically and exclusively to the woman's mother.
  1. ↑Alter 2011, p. 232.
  2. ↑Andruska 2022, p. 202.
  3. ↑Alter, Robert (2015). Strong As Death Is Love: The Song of Songs, Ruth, Esther, Jonah, and Daniel, A Translation with Commentary. W. W. Norton & Company. p. 23. ISBN 978-0-393-24305-5.
  4. ↑Andruska, J. L. (2021). "Unmarried Lovers in the Song of Songs". The Journal of Theological Studies. 72 (1): 1–18. doi:10.1093/jts/flab019. ISSN 0022-5185.
  5. 12Exum 2012, p. 248.
  6. ↑Rivlin, Avraham (2021). "Shir hashirm ufesah". Iyyunei mo'adim (in Hebrew). 10: 97–117 – via Asif.
  7. 12Sweeney 2011, p. unpaginated.
  8. 12Norris 2003, p. 1.
  9. ↑Assis 2009, pp. 11, 16.
  10. ↑Assis 2009, pp. 16–18.
  11. ↑Kugler & Hartin 2009, p. 220.
  12. ↑Garrett 1993, p. 348.
  13. ↑Keel 1994, p. 38.
  14. ↑Brenner, A., 21. The Song of Solomon, in Barton, J. and Muddiman, J. (2001), The Oxford Bible CommentaryArchived 2017-11-22 at the Wayback Machine, p. 429, accessed 6 April 2024
  15. 12345678Kugler & Hartin 2009, pp. 220–22.
  16. ↑Loprieno 2005, p. 126.
  17. 12Exum 2012, p. 247.
  18. ↑Keel 1994, p. 39.
  19. ↑Bloch & Bloch 1995, p. 23.
  20. ↑Bloch & Bloch 1995, p. 25.
  21. ↑Keel 1994, p. 5.
  22. ↑Hunt 2008, p. 5.
  23. ↑Exum, J. Cheryl (2016). "Unity, Date, Authorship and the 'Wisdom' of the Song of Songs". In Brooke, George J.; Hecke, Pierre van (eds.). Goochem in Mokum, Wisdom in Amsterdam: Papers on Biblical and Related Wisdom Read at the Fifteenth Joint Meeting of the Society for Old Testament Study and the Oudtestamentisch Werkgezelschap, Amsterdam July 2012. BRILL. p. 57. ISBN 978-90-04-31477-1.
  24. ↑Exum 2012, p. 3334.
  25. ↑Barton, John (1998). How the Bible Came to be. Presbyterian Publishing Corporation. p. 54. ISBN 978-0-664-25785-9. Retrieved 3 October 2023. For example, most scholars think that the Song of Songs originated as a set of erotic poems of very high quality, which were only later treated as scriptural: this was achieved by regarding the lovers in the poems as representative, allegorically, of God and Israel (Jesus and the Church, in the Christian version of the allegory).
  26. ↑Fant, Clyde E.; Reddish, Mitchell Glenn (2008). Lost Treasures of the Bible: Understanding the Bible Through Archaeological Artifacts in World Museums. Eerdmans Publishing Company. p. 250. ISBN 978-0-8028-2881-1. Retrieved 3 October 2023. The view of most scholars today is that the Song of Songs should be taken at face value as erotic love poetry celebrating human love and sexuality, rather than as a divine allegory.
  27. ↑Kling, David W. (2004). The Bible in History: How the Texts Have Shaped the Times. Oxford University Press. p. 115. ISBN 978-0-19-531021-4. Retrieved 5 October 2023. The reigning consensus among contemporary scholars is that the Song is a collection of poems about human love.
  28. ↑Pope, Marvin H. (1995). Song of Songs. The Anchor Bible Series 7C. Yale University Press. pp. 24–25, 222. ISBN 978-0-300-13949-5.
  29. ↑Exum, J. Cheryl (2022). "Conceptualizing Love in the Song of Songs". In Van Hecke, Pierre; Van Loon, Hanneke (eds.). Where Is the Way to the Dwelling of Light?: Studies in Genesis, Job and Linguistics in Honor of Ellen van Wolde. Brill. p. 335. ISBN 978-90-04-53629-6.
  30. ↑Cohen, Shaye J.D. "The Hebrew Bible: Notes for Lecture 20"(PDF).
  31. ↑Andruska 2022, p. 203.
  32. ↑Andruska 2022, pp. 214–215.
  33. ↑Andruska, Jennifer L. (2019). Wise and Foolish Love in the Song of Songs. Brill. pp. 11–12. ISBN 978-90-04-33100-6.
  34. ↑Dell, Katharine J. (2020). The Solomonic Corpus of 'Wisdom' and Its Influence. Oxford University Press. pp. 52–58. ISBN 978-0-19-886156-0.
  35. ↑Scolnic, Benjamin Edidin (1996). "Why Do We Sing the Song of Songs on Passover?"(PDF). Conservative Judaism. 48: 53–54. Archived(PDF) from the original on September 6, 2015.
  36. ↑Freehof, Solomon B (1949). "The Song of Songs: A General Suggestion". The Jewish Quarterly Review. 39 (4): 399. doi:10.2307/1453261. JSTOR 1453261.
  37. ↑Avot of Rabbi Natan 1:4, "At first they buried [Song of Songs], until the Men of the Great Assembly arrived to explain it [...] as it says, 'Come my beloved, let us go forth to the field [...]'" Cf. b.Eruvin 31b for the Rabbinic homily on this verse, "'Come my beloved' – so the congregation of Israel said to the Holy One, blessed be He [...]"
  38. ↑Loprieno 2005, p. 107.
  39. ↑Japhet, Sara (2007). "Rashi's Commentary on the Song of Songs: The Revolution of Prashat and Its Aftermath"(PDF). Rashi: The Man and His Work: 199.
  40. ↑Phipps 1974, p. 85.
  41. ↑Schiffman 1998, pp. 119–20.
  42. ↑Jacobs, Jonathan (2015). "The Allegorical Exegesis of Song of Songs by R. Tuviah ben 'Eli'ezer—"Lekaḥ Tov", and Its Relation to Rashi's Commentary". AJS Review. 39 (1). University of Pennsylvania Press: 75–92. doi:10.1017/S0364009414000658. JSTOR 26375005. S2CID 164390241.
  43. ↑Qafiḥ, Yosef (1962). The Five Scrolls (Ḥamesh Megillot) (in Hebrew). Jerusalem: ha-Agudah le-hatsalat ginze Teman. pp. 13–ff. OCLC 927095961.
  44. ↑Zafar 2014, p. 24.
  45. ↑R. O. Lawson (1957). The Song of Songs: Commentary and Homilies. Ancient Christian Writers. Paulist Press. ISBN 978-0-809-10261-7.{{cite book}}: ISBN / Date incompatibility (help)
  46. ↑"Homilies on the Song of Songs". Holy See.
  47. ↑Gregory of Nyssa; Claudio Moreschini. Homilies on the Song of Songs(PDF) (in Italian). Archived from the original on 2024-01-09. Retrieved 2024-01-12.{{cite book}}: CS1 maint: bot: original URL status unknown (link)
  48. ↑Asiedu, F. B. A. (2001). "The Song of Songs and the Ascent of the Soul: Ambrose, Augustine, and the Language of Mysticism". Vigiliae Christianae. 55 (3): 299–317. doi:10.2307/1584812. JSTOR 1584812.
  49. ↑De Civitate Dei, XVII, 20. As quoted in Nathalie Henry, The Lily and the Thorns : Augustine’s Refutation of the Donatist Exegesis of the Song of Songs, in Revue des Études Augustiniennes, 42 (1996), 255-266 (ivi p. 255)
  50. ↑THE HISTORY OF INTERPRETATION OF THE SONG OF SONGS
  51. ↑Was Theodore of Mopsuestia condemned for his views on the Song of Songs?
  52. ↑Matter 2011, p. 201.
  53. ↑"Introduction to the Song of Solomon". Old Testament Seminary Teacher Manual. The Church of Jesus Christ of Latter-day Saints. Joseph Smith Translation states, "The Songs of Solomon are not inspired writings"
  54. ↑Smith, Joseph (2004). Jackson, Kent; Matthews, Robert; Faulring, Scott (eds.). Joseph Smith's New Translation of the Bible: original manuscripts. Salt Lake City, Utah: Religious Studies Center, Brigham Young University. p. 406.
  55. ↑Adang, Camilla (1996). Muslim writers on Judaism and the Hebrew Bible : from Ibn Rabban to Ibn Hazm. New York: E. J. Brill. p. 247. ISBN 978-90-04-10034-3– via Internet Archive.
  56. ↑Ahmad Khan, Sayyid (1870). A series of essays on the life of Muhammad and subjects subsidiary thereto. London: Trübner.
  57. ↑Moberg, David O. (2013). "I was a Target for Muslim Evangelization: A Christian Critique of Muhammad Foretold in the Bible by Name – A Review Essay". Journal of Sociology and Christianity. 3 (2). ISSN 2572-4088.
  58. ↑Pardes 2017, p. 134.
  59. ↑Brenner & Fontaine 2000, p. passim.
  60. ↑"Cantata Profana Performs Gustav Mahler's Das Lied Von Der Erde – Concert Program"(PDF). YIVO Institute for Jewish Research. YIVO. Retrieved 12 May 2018.
  61. ↑"The Song of Songs, by Andrew Rose Gregory". Andrew Rose Gregory. Retrieved 2022-04-06.
  62. ↑"A musical journey". Nemo Studios. Retrieved 2023-08-21.
  63. ↑Miralis, Yiannis (2004). "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'". Philosophy of Music Education Review. 12 (1): 43–54. ISSN 1063-5734. JSTOR 40327219.
  64. ↑Herz, Gerhard. Bach: Cantata No. 140. W. W. Norton.
  65. ↑Allan, J. (February 22, 2008). "Live – John Zorn Abron Arts Centre". Amplifier Magazine (review). Archived from the original on November 12, 2011. Retrieved December 29, 2008.
  66. ↑Smith, S (November 27, 2008). "An Unlikely Pairing on Common Ground". The New York Times.
  67. ↑"Song Of Solomon (the)". Kate Bush Encyclopedia. 19 August 2017. Retrieved 2021-04-04.
  68. ↑Weisser, Albert (1954). The Modern Renaissance of Jewish Music, Events and Figures, Eastern Europe and America. Bloch.
  69. ↑"Uri Tsafon". YouTube. 23 August 2015. Archived from the original on 2021-11-07.
  70. ↑"Bat for Lashes – Glass". Genius. Retrieved 2022-12-23.
  71. ↑The Song of Songs: A Love Poem Illustrated. New Classic Books. 2009. ISBN 978-1-600-20002-1..
  72. ↑Song of Solomon 2:15
  73. ↑Bordwell, David (July 1992). The Films of Carl Theodor Dreyer. University of California Press. ISBN 978-0-520-04450-0.
  74. ↑"THE SONG Movie – The Story – Coming Soon to Digital HD + DVD". Thesongmovie.com. Retrieved 20 January 2018.
  75. ↑Feldman, Adam. "A Song of Songs | Theater in New York". Time Out New York. Archived from the original on 2022-08-11. Retrieved 2026-01-15.
  76. ↑Garfield, Leon (1976). The Pleasure Garden. New York: Viking. ISBN 978-0-670-56012-7– via Internet Archive.
  77. ↑Aleichem, Sholem. Jewish Children (Yudishe Kinder). Translated by Berman, Hannah. Retrieved 20 January 2018– via LibriVox.

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  • The original Hebrew version, vowelized, with side-by-side English translationDeprecated link archived 2013-04-15 at archive.today by Mamre Institute (Mechon Mamre)
  • Full English text
  • Song of Songs at Bible Gateway (various translations)
  • Song of Solomon public domain audiobook at LibriVox