By Paul J. Griffiths
During this addition to the well-received Brazos Theological remark at the Bible, Paul Griffiths deals theological exegesis of the track of Songs. This statement, like every one within the sequence, is designed to serve the church--providing a wealthy source for preachers, academics, scholars, and research groups--and reveal the ongoing highbrow and functional viability of theological interpretation of the Bible.Praise for the Brazos Theological observation at the Bible"The Brazos Theological remark deals simply the fitting point of sunshine to make illuminating the be aware the enjoyment it used to be intended to be."--Calvin Miller, writer of A starvation for the Holy and Loving God Up shut
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Additional resources for Song of Songs (Brazos Theological Commentary on the Bible)
32] It is certainly possible to hear the Song as an auditor only, preserving distance with the cynical smile of the worldly wise or the analytical sneer of the scholar. But that stance is not the one the Song’s text calls you to.  None of the voices in the Song is clearly named in its text, though each of them is identified with various titles and epithets and endearments. I call them, to begin with, the lover (a man), the beloved (a woman), and the daughters (a group of women). The speakers refer to one another most often by pronouns or by epithets; and their presence in the text, whether as speaker or addressee, ordinarily has to be inferred or, in cases of unclarity (there are many), guessed.
But only the living God can confirm the quest. ” —Michael Fishbane, The Kiss of God What was said and done in the Old Testament was ordained and disposed by God with such consummate wisdom, that things past prefigured in a spiritual way those that were to come under the new dispensation of grace. . so also must he do likewise for the spiritual sense, provided it is clearly intended by God. ” This piece of scripture, like most, has a long and complicated history of composition, redaction, edition, translation, commentary, and liturgical use, much of which is no longer accessible to us.
In the case of the Song the result is unusually sweet, and the confection went roughly as follows. Long ago, perhaps some time after the return of the Jewish people from exile in Babylon midway through the first millennium before Christ, there began to take shape among the Jews a collection of Hebrew love songs. This collection belongs to the cultural and religious world of the ancient Near East—there are many parallels and echoes in the love poetry of the Egyptians and the Mesopotamians—but it finds its specific location in the Hebrew-using, which is to say Jewish, part of that world.