Explore metaphors in the exquisite and enigmatic poetry of Song of Songs

One of the chief difficulties in interpreting the Song's lyrics is the unusual imagery used to depict the lovers' bodies. Why is the maiden's hair compared to a flock of goats (4:1), the man’s cheeks likened to garden beds of spice (5:13), and the eyes of both lovers described as doves (4:1; 5:12)? While scholars speculate on the significance of these images, a systematic inquiry into the Song's body metaphors is curiously absent. Based on insights from cognitive linguistics, this study incorporates biblical and comparative data to uncover the meaning of these metaphors surveying literature in the eastern Mediterranean (and beyond) that shares a similar form (poetry) and theme (love). Gault presents an interpretation of the Song's body imagery that sheds light on the perception of beauty in Israel and its relationship to surrounding cultures.

Features

• Exploration of the Song's use of universal themes and culturally specific variations
• Discussion of the Song's literary structure and unity

This is the first English translation of a major work by Rupert of Deutz, arguably the most prolific Christian author since Augustine. During his lifetime, which spanned the eleventh and twelfth centuries, Rupert engaged in controversies on the Eucharist and on predestination and composed works on the Trinity, salvation in Christ, and other major theological topics. An ardent defender of a monastic theology that focused on the interpretation of Scripture and the liturgy, Rupert is well known also for his distinctive hermeneutical approach to the Bible. His Commentary on the Songs of Songs builds on the long Hebrew-Christian tradition of allegorical interpretation of this Old Testament book but adds a radically original dimension to it: it interprets the text as a dialogue between Jesus and Mary and unfolds in this context a novel approach to Mary, who is presented as the teacher of the apostles and assumed to have participated in the Apostolic Council, described in Acts 15. Rupert has prefaced his commentary with a letter to Thietmar, bishop of Verden (in northern Germany), as well as a prologue in which he reflects on his experience of being called to perform this exegetical task. The complete translation by Jieon Kim and Vittorio Hösle of this major work (up to now translated only into German) is preceded by an introduction that discusses Rupert's life and works, as well as the history of the interpretation of the Song of Songs, and offers hermeneutical reflections on Rupert's methodology.

The first comprehensive study of the Song of Songs' use of military metaphors

Although love transcends historical and cultural boundaries, its conceptualizations, linguistic expressions, and literary representations vary from culture to culture. In this study, Danilo Verde examines love through the military imagery found throughout the Song’s eight chapters. Verde approaches the military metaphors, similes, and scenes of the Song using cognitive metaphor theory to explore the overlooked representation of love as war. Additionally, this book investigates how the Song conceptualizes both the male and the female characters, showing that the concepts of masculinity and femininity are tightly interconnected in the poem. Conquered Conquerors provides fresh insights into the Song's figurative language and the conceptualization of gender in biblical literature.

Gregory of Nyssa’s fifteen Homilies on the Song of Songs offer an important resource for the history of Christian biblical exegesis, as well as for the history of Christian ascetical and spiritual teaching, and stand alongside Origen’s commentary on the Song as a source for the later interpretative tradition. In addition to offering the original text and an English translation of all fifteen homilies, Norris provides an analysis of the characteristic themes of Gregory’s ascetical teaching, emphasizes its connection in his mind with the institution of baptism, and stresses the degree to which Gregory sees the teaching of the Song as addressed not to a special class of believers but to any and all Christians.

St. Thomas Aquinas never commented on the Song of Songs. The purpose of this book is to demonstrate, however, that he meditated on it and absorbed it, so that the words of the Song are for him a familiar repertoire and a theological source. His work contains numerous citations of the Song, not counting his borrowings of vocabulary and images from it. In total, there are 312 citations of the Song in Aquinas’s corpus, along with citations of the Song that are found in citations that Aquinas makes of other authors (as for example in the Catena aurea). Understanding the purpose and placement of these citations significantly enriches our understanding of Aquinas as a theologian, biblical exegete, and spiritual master. The book contains an Appendix listing and contextualizing each citation. The study of the citations of the Song especially illuminates Aquinas’s spiritual doctrine. By citing the Song, Aquinas emphasizes the spiritual life’s path of dynamic ascent, through an ever increasing participation in the mystery of the nuptial union of Christ and the Church through love. The Song also highlights the eschatological tension or yearning present in the spiritual life, which is ordered to the fullness of beatific vision. Although Aquinas’s theology is highly “intellectual,” by citing the Song he brings out the affective character of the spiritual life and conveys the centrality of love in the soul’s journey toward Christ. He also draws together contemplation and preaching through his use of the Song.

Sex, Celibacy, and Deviance is the first major study to explore the Song of Songs (or Song of Solomon) in Victorian literature and art. As the Bible’s only erotic poem, the Song of Songs is the canonical Judeo-Christian book about love, furnishing the Victorians with an authoritative and literary language for love, marriage, sex, mourning, and religious celibacy.

Duc Dau adopts a queer and feminist lens to consider how Victorians employed and interpreted the Song of Songs in their work. How did writers and artists fashion and, most importantly, challenge the norms of gender, romantic love, and marriage? Spanning the early Victorian era through the first two decades of the twentieth century, Sex, Celibacy, and Deviance considers the works of Charlotte Brontë, Thomas Hardy, Christina Rossetti, John Gray, Michael Field, Edward Burne-Jones, and Simeon Solomon alongside two lesser-known figures: Irish-born Scottish artist Phoebe Anna Traquair and the Catholic religious leader Augusta Theodosia Drane. By addressing the relevance of the Song of Songs in light of shifting and conflicting religious and social contexts, Dau provides a fresh perspective on Victorian literature, religion, and culture.