By J. Christopher King
Christian exegesis of the tune of Songs has lengthy interacted creatively with - and, extra lately, reacted severely opposed to - the allegorical interpretation constructed by means of Origen of Alexandria (c.185-c.254) in his statement and Homilies at the track of Songs. curiosity in Origen's exegesis of the Song's narrative components has ruled prior scholarship, which has nearly solely missed how Origen assesses the track itself, in its team spirit as a printed textual content. This learn goals to teach that the observation and Homilies - whilst learn in gentle of Origen's hermeneutic, his nuptial theology, his realizing of the prophetic mediation of encouraged texts, and his doctrine of final issues - essentially painting the track of Songs itself because the divine Bridegroom's ideal marriage-song. As such, it mediates Christ's eschatological presence, because the `spirit' of Scripture, in and during the intelligible buildings of the textual content itself.
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Extra info for Origen on the Song of Songs As the Spirit of Scripture: The Bridegroom's Perfect Marriage-Song (Oxford Theological Monographs)
E. e. Solomon as type of Christ] describes himself neither as Son of David, nor as king, enables us to say further that, since the servant has been made the lord, and the disciple as the master, the servant obviously is such no longer: he has become as the lord.
Rightly, then, is this song preferred before all songs. The other songs that the Law and the prophets sang, were sung to the Bride while she was still a little child and had not yet attained maturity. But this song is sung to her now that she is grown up, and very strong, and ready for a husband’s power and the perfect mystery. 72 72 ‘Illa ergo omnia quae per illos adnuntiabantur cantica erant per amicos sponsi praecedentia; istud vero unum canticum est, quod ipsi iam sponso sponsam suam suscepturo epithalamii specie erat canendum, in quo sponsa non adhuc per amicos sponsi cantari sibi vult, sed ipsius iam sponsi praesentis audire verba desiderat dicens: ‘‘Osculetur me ab osculis oris sui’’.
5 (SC 375. 148–50). 78 Cant. prol. 4 (SC 375. 148). 79 Ibid. 80 Ibid. 81 Cant. prol. 35 (SC 375. 172). 82 Lawson translates vero unum canticum as ‘unique song’ (p. 46), an inexact expression that communicates neither the vigorous precision of Origen’s words nor their clear orientation to the very text of the Song. Introduction 27 In setting out his vision of the Song, Origen has raised the hermeneutical stakes higher than for any other biblical book. In no other commentary or homily will one Wnd that he has praised a Scripture so highly or so precisely measured his praise in light of an explicit metaphysical deWnition of the text itself.