What does Song Of Songs mean in the Bible?

Dictionary

Hastings' Dictionary of the Bible - Song of Songs
SONG OF SONGS (or CANTICLES)
1. Place in the Canon, interpretation, structure . ( a ) The Song of Songs is one of the Kethûbîm, Hagiographa , or Writings, the third of the three classes into which the Jewish Canon was divided. Printed copies of the Heb. OT follow the arrangement of the German and French MSS in placing it at the head of the five Megillôth or Rolls the short books which are read at the great annual solemnities of Passover, Pentecost, the 9th Ab, Feast of Booths, Purim. Probably it owes its premier position to the fact that Passover is the earliest festival of the year. But there is reason for believing that a more ancient order survives in the LXX [1] , where it stands by the side of Prov. and Eccles., the two other works to which Solomon’s name was attached.
Grave doubts were long entertained by the Rabbis respecting the canonicity of Canticles (a common name of the book, from Vulg. [2] Canticum Canticorum ).
The Synod of Jamnia (a.d. 90 100), after some discussion, decided in favour of its reception, and Rabbi Akiba († a.d. 135) lent to this conclusion the weight of his great influence: ‘All the Hagiographa are holy, but the Song of Songs is the most holy, and the whole world is not of such importance as the day in which it was given.’ The opening words of the Targum are equally strong: ‘Songs and praises which Solomon the prophet, the king of Israel, spake by the Holy Spirit before Jahweh, the Lord of the whole world. Ten songs were sung in that day, but this song was more to be praised than they all.’ The Midrash asserts that ‘Canticles is the most excellent of songs, dedicated to Him who one day will cause the Holy Ghost to rest on us; it is that song in which God praises us and we Him.’
( b ) It was evidently admitted into the OT because it was supposed to treat of a religious theme. This is implied by its title in the Syriac Version: ‘Wisdom of Wisdoms, which is Solomon’s: the book which is called in Hebrew Shirath Shirim ( i.e. “Song of Songs”).’ The theme was supposed to be the reciprocal love of Jahweh and Israel, and the story of that love in the history of the Chosen People. This was here enshrined in an allegory somewhat analogous to Hosea 1:1-11 ; Hosea 2:1-23 ; Hosea 3:1-5 and Ezekiel 16:1-63 . The Church adopted this line of interpretation from the Synagogue: Christ is the bridegroom, the Church or the soul is the bride.
The rubrics prefixed to many verses in Cod. Amiatinus of the Vulgate illustrate the manner in which this was worked out:’ ‘Voice of the Synagogue,’ ‘Voice of the Church,’ ‘Voice of Christ,’ ‘Voice of Mary Magdalene to the Church,’ ‘Christ calls together the nations.’ To some writers the Virgin Mary was the bride, and Canticles told the story of the incarnation. Luther read here Solomon’s thanksgivings for the blessings bestowed on his kingdom. The school of allegorists has lost ground considerably in modern times, but is not yet extinct. There were, however, almost from the beginning, exegetes who saw that the subject really treated of in Ca. is the mutual love of man and woman. In the early Church the great name of Theodore of Mopsuestia stands out on this side, and among the Jews that of Ibn Ezra. Castellio was driven out of Geneva by Calvin for asserting it, and Luis de Leon was thrown into prison by the Inquisition for the same cause.
( c ) The question of form is closely connected with that of subject. Origen was the first to point out its affinity to the drama , but the earliest attempt to work this out thoroughly was made as late as 1722 by a German, G. Wachter. He has found many followers. Solomon and a country maiden were supposed to be the two leading characters. He married her, and his love for her led him to adopt a simpler mode of life. But is there not a third important character in the play? Later students answered in the affirmative. The revised explanation was that Solomon carried off ‘ the Shulammite ’ to his harem, and, abetted by the women already there, the ‘daughters of Jerusalem,’ sought to divert her affections from her shepherd-lover: failing in this, he at last magnanimously resigned her to the shepherd. Leaving aside all detailed objections, the consideration which is fatal to these and all conceivable forms of the theory is that the drama has no place in Semitic literature. If Ca. had been an exception to the rule, how is it that there is not a single stage-direction, not a note of any kind to identify the speaker or regulate the action?
Certain important MSS of the LXX [1] show how keenly this defect was felt; to each longer or shorter section they prefix ‘The Bridegroom,’ ‘The Bride,’ ‘A second time the Bride adjures the maidens,’ or the like, and one MS (23) runs to the following length, before Song of Solomon 5:7 , ‘Not having found the bridegroom, the bride went out, and, as one found by the city-watchmen in the night, she is wounded and the keepers of the wall take her veil.’
And how is it that there is, within the poem itself, no movement towards a climax, no knot united or cut, no dénouement? Matters are as far advanced at Song of Solomon 1:4 ; Song of Solomon 2:4 as at Song of Solomon 1:8-9 .
Even during the period when the drama-theory was most vigorously maintained, some distinguished scholars held that Ca. is made up of a number of originally detached pieces, which were eventually brought together because they all treat of Love. Wetzstein’s Die Syrische Dreschtafet (1873) furnished a strong reinforcement of this opinion. He had observed, whilst resident in Syria, that the peasant bridegroom and bride are entitled king and queen for the first week of married life [4] xxiv. p. 42) in which the man actually bears the name of the reigning Sultan, Abd il-Hamîd]; they are attended by a vizier, have their throne on the threshing-floor, and receive the homage of the whole countryside. Songs and dances are executed by the ‘friends of the bridegroom,’ the bystanders, and the newly married pair. Some of these ditties, especially those which enumerate the charms of the bride, ate of exactly the same character as certain sections of Canticles, and Song of Solomon 7:1 ff. corresponds precisely with the wasf (‘description’) which the bride sings as she goes through the sword-dance on the wedding night. These facts have induced a large number of expositors to believe that Ca. is a collection of love-songs, composed expressly for, or at any rate suitable for use at, marriage festivals.
Budde, who strongly advocates this view, admits that the book is not without marks of unity, but holds that these are sufficiently accounted for on the supposition that all these folk-songs originated in a single district and period. Haupt entirely rejects the idea of a unity, and, looking on the book in its present state as a disorganized mass, re-arranges it into twelve poems. The extent to which he carries the liberty of re-casting may be seen in his No. 3, ‘Brothers of the Bride,’ which is made up of Song of Solomon 6:3 , Song of Solomon 7:11 , Song of Solomon 2:1 , Song of Solomon 1:5-6 , Song of Solomon 8:8-10 , Song of Solomon 8:1-2 . Even Budde’s less drastic treatment ecarcely does justice to the tokens of plan and unity which the book presents. The recurrence of certain phrases ( Song of Solomon 2:7 , Song of Solomon 3:6 , Song of Solomon 8:4 ; Song of Solomon 2:17 , Song of Solomon 4:6 , Song of Solomon 8:14 ) is meant to indicate connexions and transitions of thought, and there is no overwhelming reason against our ascribing them to the original writer.
The sentiments and the style are so similar throughout as to justify our thinking of a single author who composed erotic and nuptial pieces for several occasions, and afterwards wove them into a garland of verse (cf. Song of Solomon 2:5 , Song of Solomon 5:8 ; Song of Solomon 1:16 , Song of Solomon 4:1 ; Song of Solomon 4:2 , Song of Solomon 6:6 ; Song of Solomon 2:16 , Song of Solomon 6:3 ; Song of Solomon 6:4 , Song of Solomon 6:10 ; Song of Solomon 2:9 , Song of Solomon 8:14 ). A few of the smaller parts have probably been removed from their intended place, and it hardly admits of doubt that Song of Solomon 4:8 is a belated fragment, unintelligible where it now stands. But when we remember the apparent irrelevance of the occasional verses sung in Palestine to-day, we shall be slow to deny that the singers and auditors of Ca. grasped allusions and perceived a fitness which we fail to apprehend. And in studying the song from this point of view it is well to bear in mind the facts collected by Dalman ( Paläst. Divan , p. xii.). He points out that the wasf is not limited to wedding festivities, but is sung by the tent-fire, in the village inn, in the coffee-house where townsmen gather at night; that it is usually brief when descriptive of the beauty of bride or bridegroom; that in Palestine itself however true Wetzstein’s account of Damascus and the Hauran there are but scanty traces of the temporary royalty of the bridal pair, and none of the threshing-sledge throne.
2. Contents . These fall into what we may call seven cantos. I. ( Song of Solomon 1:2 to Song of Solomon 2:7 ): in Song of Solomon 1:2-4 the bride declares her affection; In Song of Solomon 1:6 f. deprecates unfavourable criticism; in Song of Solomon 1:7 f. inquires for her beloved. In Song of Solomon 1:9 to Song of Solomon 2:8 we have their praise of each other; in Song of Solomon 2:4-7 her experience of love. II. ( Song of Solomon 2:8 to Song of Solomon 2:17 ): Song of Solomon 2:8-14 a spring visit, Song of Solomon 2:16 the foxes, Song of Solomon 2:16 f. close of the canto. III. ( Song of Solomon 3:1 to Song of Solomon 3:11 ): Song of Solomon 3:1-5 a dream, Song of Solomon 3:6-11 interlude. IV. ( Song of Solomon 4:1 to Song of Solomon 5:1 ): in Song of Solomon 4:1-7 he sets forth her charms; Song of Solomon 4:8 a fragment, Song of Solomon 4:9-11 his ecstasy of love, Song of Solomon 4:12 to Song of Solomon 5:1 a ‘garden.’ V. ( Song of Solomon 5:2 to Song of Solomon 6:9 ): Song of Solomon 5:2-8 a dream, Song of Solomon 5:8 to Song of Solomon 6:8 wasf sung by bride; Song of Solomon 5:4-9 his praise of her. VI. ( Song of Solomon 6:10 to Song of Solomon 8:4 ): Song of Solomon 6:10 inquiry by women, Song of Solomon 6:11 f. her rapture, Song of Solomon 6:13 to Song of Solomon 7:10 wasf sung during sword-dance (‘dance of camps,’ Song of Solomon 7:1 ), Song of Solomon 7:11 to Song of Solomon 8:4 songs of the bride. VII. ( Song of Solomon 8:5-14 ): Song of Solomon 8:6 a reminiscence, Song of Solomon 8:6 f. the power of love, Song of Solomon 8:8-10 the solicitude of the brothers, Song of Solomon 8:11 f. an apologue, Song of Solomon 8:13 f. conclusion.
We cannot regret that these canticles of human love have been preserved for us in the OT. The mutual attraction of the sexes is Divinely ordained. The love which finds expression in Ca. Is regulated by marriage. The imagery is too luscious and the detail too complete for our taste, but they were produced by an Oriental for Orientals. More reticence does not necessarily mean more genuine purity. We should indeed have been glad to find some recognition of the loftier side of marriage, or something to remind us of Proverbs 31:1-31 . But the occasions for which these verses were composed and a comparison of the effusions which are still current on like occasions effectually disarm criticism. Dalman ( Pal. Divan , p. xiii.) remarks justly concerning the folk-songs which he has brought together: ‘The fact that the poems dwell only on the physical excellences of the beloved corresponds with the degree of civilization to which the Palestinian populace has attained. It does not follow that the Oriental ascribes no value to a woman’s excellences of disposition and character.’
3. Authorship and date . The title ( Song of Solomon 1:1 ), according to which Solomon was the poet, is entirely destitute of authority. Its late and artificial origin is betrayed by the absence of the full form of the relative pronoun, which occurs nowhere in the poems themselves. The ascription of the authorship to the famous king is due partly to his being mentioned in Song of Solomon 1:5 , Song of Solomon 8:12 ( Song of Solomon 3:7 ; Song of Solomon 3:11 are doubtful), and partly to his reputation as the typically wise man, the composer of songs a thousand and five ( 1 Kings 4:32 ). But the canonicity of the book would not have remained an open question until the 1st cent. of the Christian era if it had then been extant a thousand years as an acknowledged product of his hand. Moreover, the language in which it is written belongs to the very latest stratum of Biblical Hebrew. The exclusive use of the abbreviated pronoun occurs in no early document, and cannot be explained as a peculiarity of the northern dialect. And there is no proof that the writer was specially connected with the North; if he mentions Lebanon, Amana, Shenir, Hermon, Tirzah, he also knows En-gedi, Heshbon, the wilderness (of Judah), the ‘daughters of Jerusalem.’ Considering the brevity of the book, there is a very considerable number of words which are seldom or never found elsewhere, or are employed here in place of more common ones, or are to be seen only in late writings. One of them pardçs , is Zend; another, ’ĕgôz , is Persian; ’appiryôn may be the Gr. phoreion ; several are Aramaic. We should not look for these phenomena earlier than the period when Hebrew was yielding place to Aramaic, and if the exact age cannot be determined, the 3rd cent. b.c. is at least approximately correct.
4. Style . It would be a dull eye that should miss the beauty of these poems. The verse moves lightly and gracefully, the imagery is charming. Our poet was deeply susceptible to the loveliness of nature, and fully capable of appreciating the art of his time. He carries us with him into the open air, to the vineyards, the villages, the mountains. He is awake at daybreak, to inhale the scent of the forest trees, to gather the apples and the pomegranates, to listen to the tinkle of the rills. Flocks of wild pigeons, timid and swift gazelles, fields embroidered with lilies, the breath of spring all appeal to him. On the other hand, he is stirred by the pomp of a court, the magnificence of a royal litter, the glittering whiteness of an ivory tower, martial trophies, the rich attire of women, their jewels and perfumes. As a poem there is nothing else in the Bible to compare with this. Had it indeed been Solomon’s, it would have been, as the title asserts, his Song of Songs, the fine fleur of his poetry.
5. Text. This is not in a satisfactory state, but the critic should proceed with much caution. There are many passages where our view of the interpretation suggests alterations ( Song of Solomon 1:2 ; Song of Solomon 1:4 ; Song of Solomon 8:5 ; Song of Solomon 2:9 ; Song of Solomon 3:10 ; Song of Solomon 4:14 ; Song of Solomon 4:16 ; Song of Solomon 5:1 ; Song of Solomon 5:6 ; Song of Solomon 6:2 ; Song of Solomon 6:6 ; Song of Solomon 6:8 ; Song of Solomon 7:8 ; Song of Solomon 7:8 ; Song of Solomon 7:13 ), but it is obviously easy to allow ourselves too much licence. Bearing in mind what might be advanced on both sides, who shall determine whether Nergal is to be substituted for nidhgaloth (‘banners’) at Song of Solomon 6:10 ? The Versions, especially LXX [1] and Syr., supply a few better readings ( Song of Solomon 1:3-4 ; Song of Solomon 1:7 ; Song of Solomon 1:10 , Song of Solomon 2:17 , Song of Solomon 3:1 ; Song of Solomon 3:6 ; Song of Solomon 3:10 , Song of Solomon 4:8 ; Song of Solomon 4:12 , Song of Solomon 5:11 ; Song of Solomon 5:13 , Song of Solomon 6:6 , Song of Solomon 7:1 , Song of Solomon 8:2 ). There are obvious errors of transcription: nard should not follow nards ( Song of Solomon 4:13 f.). Emendations suggested by the metre deserve attention ( Song of Solomon 1:15 , Song of Solomon 3:9 ; Song of Solomon 3:11 , Song of Solomon 7:8 ), but this has been carried much too far, not only by Bickell, but also in Kittel’s edition of the Heb. Bible. Littmann ( ZATW [6] xxiv. p. 43) pertinently remarks that in many of the popular Arabic poems which he has collected there is an absence of definite verse-measure, and considers that ‘in the OT also, verses of that kind, without definite metre, are at least possible.’ There has been also a little too much readiness to delete verses, sentences, or words, on the ground that they occur in other parts of the poem in more suitable contexts. Martineau would omit Song of Solomon 3:1-5 because of its resemblance to Song of Solomon 5:2 ff. We must not forget that catchwords and refrains are characteristic of this class of poetry.
J. Taylor.
Fausset's Bible Dictionary - Song of Songs, the
(See SOLOMON.)
Fausset's Bible Dictionary - Song of Songs, the Book of
(See SOLOMON.)
Chabad Knowledge Base - Song of Songs
A book of Tanach authored by Solomon, depicting the love between G-d and the Jewish people, employing the metaphor of the love between husband and wife. In many communities it is read on the holiday of Passover.
Bridgeway Bible Dictionary - Song of Songs
Solomon had the reputation of being one of Israel’s greatest wisdom teachers and song writers (1 Kings 4:29-34). He was also one of its most famous lovers (1 Kings 11:1-4). It is not surprising, therefore, that he has been traditionally regarded as the author of the biblical book that contains one of the world’s best known collections of love songs, the Song of Songs. The book contains a number of references to the splendour of Solomon and his court, and is sometimes called the Song of Solomon (Song of Song of Solomon 1:1; Song of Solomon 1:5; Song of Solomon 3:7-11; Song of Solomon 8:11-12).
Interpretation
Although the book declares that it was written by Solomon, it is not necessarily about Solomon personally. A poet can write a poem about anybody. The reader has difficulty working out the identity of the people mentioned in the Song of Songs, because the poems can be understood in different ways. In some poems the words may all be from one speaker; in others, from several speakers. Some poems are the private reflections of individuals, others are dialogues; some describe actual circumstances or events, others recount dreams; some recall the past, others look to the future.
Since the reader has to work out for himself who is speaking in the various poems, a number of interpretations have been suggested. In some of the more recent versions of the Bible, the translators have tried to help the reader by inserting subheadings. The variations in these subheadings reflect the variations in interpretation.
Among those who regard the book as a drama involving Solomon himself, there are two main interpretations. The first sees two main characters, Solomon and a Shulammite girl who fall in love and marry. The second sees three main characters – a young shepherd, his Shulammite lover, and King Solomon, who takes the girl from the shepherd and unsuccessfully tries to win her love.
Perhaps the book is best understood not as a drama, but as a collection of poems that recount the exchanges of love between an unnamed shepherd and an unnamed country girl. Yet there is a unity to the book. Certain features recur throughout, and there is a development in the love relationship.
The inclusion of such a book in the Bible is an indication of God’s approval of sexual love. Always, however, the love is in the context of a relationship where a man and a woman commit themselves to each other in marriage, to the exclusion of all others (Song of Song of Solomon 2:16; Song of Solomon 6:3; Song of Solomon 7:10).
Contents
In the opening poem the girl longs for her distant lover (1:1-7), after which each speaks in praise of the other (1:8-2:7). Then comes a group of three poems recounting memories and dreams. First the girl imagines her shepherd-lover coming to visit her at her home (2:8-17), then she recalls a dream she had about him (3:1-5), and finally she imagines her wedding day, when he comes and praises her beauty (3:6-5:1).
Another dream indicates the frustration the girl feels at being separated from her lover (5:2-6:3). Further poems express the intensely strong desires that the two have for each other (6:4-7:13), though they know how to restrain their physical expressions of love (8:1-4). The final poem, which pictures the homecoming of the two lovers, speaks of the power of love and the reward it brings (8:5-14).

Sentence search

Canticles - See Song of Songs
Shulammite - See Shunem, Song of Songs
Canticle - ) The Song of Songs or Song of Solomon, one of the books of the Old Testament
Solomon, king - The wisest man of all times, his superlative wisdom is recorded in the books of Song of Songs, Proverbs, and Ecclesiastes
Shlomo - The wisest man of all times, his superlative wisdom is recorded in the books of Song of Songs, Proverbs, and Ecclesiastes
Solomon, Song of - " It is the "song of songs" (1:1), as being the finest and most precious of its kind; the noblest song, "das Hohelied," as Luther calls it
Song of Solomon, Theology of - At first reading it seems impossible to describe a theology of the Song of Songs. ...
The Song of Songs, then, describes a lover and his beloved rejoicing in each other's sexuality in a garden. Delitzsch, Proverbs, Ecclesiastes, Song of Songs ; M. Popoe, Song of Songs ; P. White, A Study of the Language of Love in the Song of Songs and Ancient Near Eastern Poetry
Canticles - (Song of Songs ), entitled in the Authorized Version THE SONG OF SOLOMON
Solomon the Song of - This book, called also Canticles, and according to its Hebrew appellation "the Song of Songs," always had a place in the Jewish canon, and has consequently been received into that of the Christian church
Song of Songs - It is not surprising, therefore, that he has been traditionally regarded as the author of the biblical book that contains one of the world’s best known collections of love songs, the Song of Songs. The reader has difficulty working out the identity of the people mentioned in the Song of Songs, because the poems can be understood in different ways
Song of Solomon - The Hebrew title, “Solomon's Song of Songs,” means that this is the best of songs and that it in some way concerns Solomon. The positive resolution of that debate is reflected in the famous declaration of Rabbi Akiva, “The whole world is not worth the day on which the Song of Songs was given to Israel; all the Writings are holy, but the Song of Songs is the holy of holies
Canticles - the book of, in Hebrew, שיר השירים , the Song of Songs. It is justly entitled Song of Songs, or most excellent song, as being superior to any that an uninspired writer could have produced, and tending, if properly understood, to purify the mind, and to elevate the affections from earthly to heavenly things
Canticles; the Song of Solomon - "The Song of Songs," i. ...
The songs heretofore sung by her were the preparatory hymns of her childhood; the last and crowning 'song of songs' was prepared for the now mature maiden against the day of her marriage to the King of kings" (Origen: see Moody Stuart's admirable commentary)
Canticle of Canticles - Protestant versions call it Song of Solomon or Song of Songs
Solomon, Song of - Protestant versions call it Song of Solomon or Song of Songs
Song of Solomon - Protestant versions call it Song of Solomon or Song of Songs
Milk - Milk is also used to symbolize whiteness (Lamentations 4:7 ) and in Song of Songs as a symbol of marital bliss (Lamentations 5:1 )
Sing - The book that is commonly designated “The Song of Solomon” actually has the title “The Song of Songs” in Hebrew
Solomon's Song - Called also CANTICLES, and Song of Songs, B
Song of Songs - Song of Songs (or CANTICLES)...
1. ( a ) The Song of Songs is one of the Kethûbîm, Hagiographa , or Writings, the third of the three classes into which the Jewish Canon was divided. 135) lent to this conclusion the weight of his great influence: ‘All the Hagiographa are holy, but the Song of Songs is the most holy, and the whole world is not of such importance as the day in which it was given. “Song of Songs”). Had it indeed been Solomon’s, it would have been, as the title asserts, his Song of Songs, the fine fleur of his poetry
Gilead - Its fitness for pasture is celebrated in the Song of Songs: the Shulammite’s hair is twice compared to ‘goats that lie along the side of Mount Gilead’ ( Song of Solomon 4:6 ; Song of Solomon 6:5 )
Scriptures - The Writings consisted of Psalms, Job, Proverbs, Ruth, Song of Songs, Ecclesiastes, Lamentations, Esther, Daniel, Ezra, Nehemiah and Chronicles
Poetry, Hebrew - But the mere fact of the existence of these rude exhibitions' among the Arabs and Egyptians of the present day is of no weight when the question to be decided is whether the Song of Songs was designed to be so represented, as a simple pastoral drama, or whether the book of Job is a dramatic poem or not
Sol'Omon - or the Song of Songs, we are all but compelled to think of them us having had at least a historical starting-point. The Song of Songs brings before us the brightness of his -youth
Wisdom - The great literary landmarks of the ‘wisdom’ teaching are the Books of Proverbs, Job, Song of Songs, Ecclesiastes, Sirach, and the Wisdom of Solomon. ...
Song of Songs illustrates the humanity of the sages
Targums - The Targums to the Five Megilloth (‘Rolls’), namely: Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther; the Book of Esther has three Targums to it. The Targums to the five Megillolh are likewise post-Talmudic; in all five translation plays a subordinate part, the prevailing element being Midrashic; this reaches its height in the Song of Songs
Didymus, Head of the Catechetical School - Jerome translated into Latin Didymus's treatise On the Holy Spirit , and prefixed a preface, in which he spoke of the author as having "eyes like the spouse in the Song of Songs," as "unskilled in speech but not in knowledge, exhibiting in his very speech the character of an apostolic man, as well by luminous thought as by simplicity of words
Esther, Book of - The Book of Esther belongs to the second group of the third division of the Hebrew Canon the Kethubim , or ‘Writings’ a group which comprises the Megilloth , or ‘Rolls,’ of which there are five, Song of Songs, Ruth, Lam
Ecclesiastes - , the Song of Songs, and Esther was brought up for discussion, and was confirmed
Song of Solomon - This is also called "the Song of Songs, or The Canticles," though it is one poem, and not a collection of poems
Bible, Canon of the - The eleven books of the Writings contained the subdivisions of poetry (Psalms, Proverbs, Job), the five Megilloth or Rolls (Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther), and the three books of history (Daniel, Ezra-Nehemiah, and Chronicles 1-2)
Dionysius, Pseudo-Areopagita - the bold metaphors of the Song of Songs (τὰς τῶν ᾀσμάτων προσύλους καὶ ἑταιρικὰς πολυπαθείας) and the like can only be understood he says by true lovers of holiness who come to the study of divine wisdom divested of every childish imagination (πᾶσαν τὴν παιδαριώδη φαντασίαν ἐπὶ τῶν ἱερῶν συμβόλων ἀποσκευαζομένοις)
Night (2) - At certain seasons in late summer Jesus would be exposed in His nightly vigils to the dense chilly clouds of mist of which the Song of Songs (Song of Solomon 5:2) speaks: ‘For my head is filled with dew, and my locks with the drops of the night
Marriage - This intimate relationship is encouraged by God's portrayal of its beauty and dignity in the Song of Songs
Woman - Song of Songs celebrates the erotic bliss of newlyweds, often from the woman's perspective and initiative
Rufinus of Aquileia - He pointed out also that he was not the first translator of Origen, but that Jerome, whom he did not name but clearly indicated, and of whom he spoke in high praise, had in the time of Damasus translated many of Origen's works, and in the prefaces (especially that to the Song of Songs) had praised Origen beyond measure
Hieronymus, Eusebius (Jerome) Saint - He translated for Damasus the Commentary of Origen on the Song of Songs (vol