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Your two breasts are like two fawns, twins of a gazelle.

The Global Message of The Song of Solomon | parkmesviaka.cf

Your neck is like an ivory tower. Your eyes are pools in Heshbon, by the gate of Bath-rabbim.

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Your nose is like a tower of Lebanon, overlooking Damascus. Your head crowns you like Carmel, and your flowing locks are like purple; a king is held captive in the tresses. How fair and pleasant you are, O loved one, delectable maiden! You are stately as a palm tree, and your breasts are like its clusters. I say I will climb the palm tree and lay hold of its branches.

Oh, may your breasts be like clusters of the vine, and the scent of your breath like apples, and your kisses like the best wine that goes down smoothly, gliding over lips and teeth. Come, my beloved, let us go forth into the fields, and lodge in the villages; let us go out early to the vineyards, and see whether the vines have budded, whether the grape blossoms have opened and the pomegranates are in bloom.

There I will give you my love. Never once have I preached on these texts from the pulpit. Fellatio makes an awkward segue to most anything most anywhere, not least of all in the pulpit. Preaching it is complicated even more because God is never once mentioned, not even by way of allusion, in the whole book. Most scholars, though, believe it to be just this: a gorgeous secular love song; the landscape itself voluptuous and lusty and succulent; about abundant and seductive love; love that shows the woman to be the pursuer as well as the pursued; that it is reciprocal; that is unquenchable until sated; that celebrates creative and complete and unabashed giving of their two bodies.

Song of Songs

Perhaps it was included in the Holy Books because such joyous celebration of sexuality is, itself, a religious experience. Is not the discovery of incredible mutually delightful unbridled sexuality in Scripture reason enough? The text of the short book can be found here. An extraordinarily well-done and richly written piece on the Song of Solomon is here , written by The Rev. Alyce M.

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Read it. You can see and here it sung here. Do you have questions or issues about theology, vocation, or life matters? Anna invites you to ask your questions and share your issues during a private conversation guided by various theological approaches. Book your one hour appointment today.

My personal belief is that the Song of Solomon was purposefully included to help us make sense of the mixed messages we get from scripture about sex. There are entries throughout the Bible about the sinfulness of sex. Be it prostitution, adultery, incest etc. All of these are missing a key component that makes them less: Love. I think this Song is to purposefully remind us that sex can also be one of the great gifts given to us by God.

I really believe that we should use this text more in our teachings at the appropriate ages of course to reaffirm that sex is not bad and indeed is good if it is used in love and not in lust or infatuation. Thanks, Troy. Your comment also raises some further questions. There is exploitative sex, and then there is sex that is a manifestation of deep love.

This song seems to be about the latter—although they two are unmarried, and they seem to be teenagers; at the very least, young adults. Be it homosexuality, adultery, polygamy, and not least of all marriage; all had different contexts and circumstances then versus now. This book is quite powerful because it demonstrates love and passion, both of which seek to be requited, and yea verily, often!

All Rights Reserved. Site by Fused Interactive. Blog - View All Posts. There is no clear evidence that the Song develops a story line. While the Song clearly celebrates idealized romantic love between a man and woman, we do not find a dramatic plot that is typical of narrative prologue, problem, development, turning point, resolution, epilogue. There are numerous intimations in the so-called courtship section SOS — which seem to depict a man and woman involved in conjugal relations e.

Likewise, there are poems within the so-called marriage section SOS — that seem to depict a couple involved in courtship e. For example, advocates of the chronological approach are forced to translate —6 in such a way that the maiden is merely expressing her desire for sexual intimacy with her lover, rather than actually experiencing this kind of intimacy. However, the Hebrew syntax of SOS a verb-less clause which typically describes a present-time situation seems to demand an indicative or factual situation rather than a wished-for experience:.

He has brought me into his house of wine; and his intent is to make love to me. Sustain me with raisin-cakes, refresh me with apples; for I am love-sick! His left hand is under my head, and his right hand fondles me! SOS —6. For a brief discussion on the translation of —6, and the present-time indicative experience in view here, see my study notes on this passage in the NET Bible.

Noting the prominent role of dialogue in the Song, Murphy suggests that the individual poems appear to be arranged in a dramatic pattern of dialogue between two lovers. In striking contrast to contemporary Egyptian love poems, which primarily feature monologues expressing admiration, longing and fantasy , the Hebrew Song of Songs portrays idealized romantic love as characterized by the dynamic of dialogue—communicating their love to one another.


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Rather than moving forward in a linear direction, the Song features the repetition of poetic refrains, a literary characteristic more consistent with a poetic structure rather than a narrative structure. For example, the Song contains no less than four sets of repeated refrains that are scattered throughout the entire composition: 1 adjuration refrain SOS ; ; ; ; 2 mutual possession refrain SOS ; ; ; 3 sexual embrace refrain SOS ; ; and 4 gazelle refrain SOS ; The content of the Song itself consists of several sets of parallel panels.

This pattern of repetition seems to argue for a recurrent poetic structure rather than a linear narrative-like story line. In contrast to the linear narrative approach, numerous scholars suggest that the Song features some kind of nonlinear symmetrical structure. The chart below presents the chiastic-like macro-structure of the Song. While the macro-structure features a somewhat symmetrical pattern, several of the major sections within the Song are arranged in concentric fashion.

For example, SOS — consists of eight poems SOS —4, 5—6, 7—8, 9—11, 12—14, 15—17; —3, 4—7 linked together in a concentric structure that features the repetition of key terms and themes. This is shown below:. Rather than tracing a straight-line narrative progression from desire in courtship in the first half of the book to fulfillment in marriage in the second half of the book, this movement from desire to fulfillment recurs no fewer than ten times in a cyclic pattern.

This clearly suggests a cyclical poetic rather than linear narrative structure for the Song. Since the discovery of several collections of ancient Egyptian love songs from the Ramesside Period Dynasties 19— ca. Comparison with these collections of ancient Egyptian love poems suggests that the Hebrew Song of Songs is also a collection of individual love poems, albeit the best collection of romantic love poetry.

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Using this kind of comparative method, form critics identify about a dozen forms of love poems in the Song. On the basis of form-critical analysis, we may identify about forty individual poems in the Song. If only I were her Nubian maid, her attendant in secret! I would be the one who brings her a bowl of mandragoras. I would be strengthened by grasping the clothes that touch her body. If only I were her little seal-ring, the keeper of her finger! I would see her each and every day. I would meet you outside and kiss you, and no one would despise me.

Viewing Song of Songs as a collection of love poetry finds analogy with the two other works traditionally attributed to Solomon, namely, Proverbs and Ecclesiastes, which are collections of wisdom-sayings. The biblical historian reports that Solomon both composed and collected numerous proverbs and songs. While Solomon composed numerous proverbial sayings, he also collected other well-known wisdom-sayings composed by other sages.

So we may conclude that Solomon may have composed some of the love poems in the book, while others were composed by other poets but collected by Solomon into this anthology. Viewing the Song as a collection of individual love poems rather than a narrative story better explains the seeming lack of connection from one passage to another. Rather than superimposing an implied story line upon the Song to try to explain the relation of one passage to the next, we may simply read the 30—40 literary units in the Song as individual love poems that are self-enclosed. Although some of these poems are linked to one another with linking catch words or similar themes, there is no need to reconstruct a story line.

First, the maiden in one poem does not always appear to be the same maiden in other poems. In one poem she is a country maiden working in the family vineyards but victimized by angry brothers SOS —6.