Search results

1

S.Y. Agnon Reads the Song of Songs?

100%

Davidovitch N.

Scripta Judaica Cracoviensia

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2011

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vol. 9

169-187

EN

This paper describes S.Y. Agnon’s ironic, dual, modern attitude to the Song of Songs, as a traditionalist and as one who identifies himself with the doctor’s statements: “We are enlightened individuals, modern people, we seek freedom for ourselves and for all humanity, and in point of fact we are worse than the most die-hard reactionaries.” Agnon’s attitude to the world of love is the attitude of a young Jewish artist of the late 19th century who lives in a world of revolutionary changes that also affect the Jewish world. Agnon’s work stands as a tombstone of the gradually unraveling Jewish shtetl and its institutions and values, specifically, the declining status of love and its significance for the values of family, society, and the Jewish nation. The young Jewish man experiences the changing seasons of the late 19th century and early 20th century, reflected in the vacillation between the traditional conception of love by the traditional world, and the modern perception that views love as an element in individual self-realization. “They say that love exists in the world” – but what is love in Agnon’s world? What are the sources of the gap that many of Agnon’s protagonists experience – the gap between yearning, dreams, and heart’s desires, and the potential for their realization in practice?

2

"Pieśń nad Pieśniami" w interpretacji Aponiusza

100%

Strękowski S.

Vox Patrum

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2012

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vol. 57

601-612

EN

This article is the first attempt in Polish to present the main features of Aponius interpretation of the Song of Songs. For he was one of many authors who commented this book of the Old Testament, the content of which has always been a problem of interpretation. In ancient Christian times there were two exegetical currents: the literal and allegorical. Aponius falls within this second trend but brings individual and original exegesis off. In love of the bridegroom and the bride seems to see the symbol of love of the divine nature to human nature in the mystery of the Incarnation of the Son of God. By Aponius God himself comes through the Incarnation of the Word of the Father for his vineyard, which is the people of Israel, and through the precious seedlings originating from it and by the apostles, is revealed to the whole world, and through the seed of faith sown in individual peoples, creates a separate vineyards and offers the bride to the lavish use of the specific, unique fruits of welfare, to a shared joy in the vineyards.

3

The allegorical sense of Gregory the Great’s commentary on the Song of Songs

89%

Kasprzak D.

Analecta Cracoviensia

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2012

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vol. 44

EN

Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.

PL

Gregory the Great in his Expositio in Canticis Canticorum, created between the years 594 or 595 and 598, ends the patristic tradition of allegorical commentaries on Sg. We are not in the possession of the complete text of Gregory’s commentary, as the text of the Pope’s interpretations finishes at Sg 1 : 8. The text of the commentary as we have it at present shows some signs of a revision made by Gregory I himself and has features characteristic of the original oral version of the text. The comparative study of Origen’s and Gregory’s commentaries shows that Pope Gregory I was familiar with Origen’s homilies and commentary on Sg and used his writings while working on his own text, but only sparingly. Gregory I undoubtedly took from Origen the general approach, some phrases, and at times the way in which exegesis of a certain extract was executed. Gregory discussed the biblical text in accordance with the principles of intellectual, parenetic and pastoral interpretation. The primary interest of the Pope was to extract the spiritual-mystical meaning of the text, and the allegorical interpretation is supposed to help man read the biblical text so that he can love God and follow Him. The allegorical reading of Sg, and actually of the whole Bible as well, should consequently kindle the love of God in man and fill him with thoughts of God. Gregory I recommends a spiritual-ascetic reading of the Bible: the reader is supposed to change his habits for the better, be able to alienate himself ascetically from the surrounding world, and in this way acquire contemplation of Godly matters.

4

Thecla’s hymn (symp. 285-292) – did Methodius of Olympus imitate Plato?

88%

Heszen A.

Classica Cracoviensia

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2015

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issue 18

171-184

EN

In this article the author analyses the literary sources of Thecla’s hymn from Methodius of Olympus’ Symposium. It is obvious that Methodius took over his concept of the treaty on chastity from Plato’s Symposium, but in the end of the work, or Thecla’s Hymn, is closer to Origen, from whom he borrowed the concept of mystical marriage of the Church and of the soul. In the hymn there are some common motifs with Song of Songs, especially with regard to the allegorical interpretation of love. The hymn is not Platonic, but it is a poetic summary of philosophical discussion, and praise and glory to Christ.

5

Píseň písní v mariánské úctě českého baroka

63%

Smyčková K.

Česká literatura (Czech Literature)

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2020

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vol. 68

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issue 2

141-157

EN

This study deals with the reception of the Song of Songs in Czech Baroque literature, particularly in works associated with Marian pilgrimage sites. The introductory chapter is a brief summary of the three main lines of canticle exegesis; for the subject of this study the most important allegorical exposition of the figures of the bridegroom and the bride from the Song of Songs is as God and Mary. The flourishing of canticle expositions and the influence of this book of the Bible on national literatures may be documented in particular in the 12th century within the Bohemical environment and then two centuries later, and the reception of the Song of Songs peaks again in the 17th and 18th centuries. The Song of Songs was quoted by preachers at this time, and we find its verses in the names of pilgrimage guidebooks and the like. The main part of this study consists of an analysis of three works that are paraphrases of this book of the Bible or that perform substantial work on it in a different manner. The anonymous Marian song Pojďte, chvalte, ó, křesťané (Come, Praise, Oh Christians) turns the verses of the Song into the text of a collective pilgrimage song, in which elements of high literature combine with those of simple folk song. Jan Ignác Dlouhoveský quotes substantially from the Song in his pilgrimage books on the Stará Boleslav Virgin Mary, often interpreting it very unconventionally and using it to create a Marian love lyric of a courtly nature. The third work, a pilgrim’s meditative book Vera effigies by Daniel Doležal, uses the Song of Songs as a primary compositional element. This work, dedicated to the St James Pietà, is particularly notable for its application of principles of modern-period poetics (visualization and emblematics). These examples illustrate a not too well-known aspect of Baroque Marian piety and document the confrontation between fashionable poetic principles and the medieval exegetic and literary tradition.

6

„Pieśń duchowa” św. Jana od Krzyża – przekład,aluzje biblijne i symbolika

63%

Bardski K.

Warszawskie Studia Teologiczne

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2019

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vol. 32

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issue 1

60-79

EN

The article presents a new translation into Polish of the sixteenth-century poem The Spiritual Canticle of Saint John of the Cross. The translation was made in the form of an eight-syllable verse, without rimes. In the introduction, we presented earlier Polish translations of the work, and in footnotes, we emphasized the issues related to symbolism and biblical allusions.

7

Oblubieniec widziany oczami oblubienicy w Pieśni nad Pieśniami

63%

Drawnel H.

The Biblical Annals

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2008

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vol. 55

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issue 1

17-29

PL

The Canticle seen in its literal, non-alegorical or spiritual, sense recounts the story of a profound love relationship between an anonymous man and an anonymous woman. Their mutual love is expressed by the two fundamental terms dôdîm and ’ahăbāh that are mainly used by the bride, hence the feminist approach to the text. These two terms on the lips of the bride do not refer exclusively to the erotic aspect of love, but, to the contrary, implicate an involvement of the whole person of both the bride and bridegroom. The concept of love rises quite often from the sensual description of the body to the transforming experience of love the purpose of which is to create a full and exclusive communion with the beloved. Thus the experience of love in the Canticle utterances formulated by the bride should be inscribed within the context of the creation account (Gen 2) that stresses the communion between man and woman. Love in the Canticle should also be analyzed in the context of aesthetic categories characteristic to poetic compositions that tend to positively transform the object of love by using the language of metaphor and symbol.

8

Nowe ujęcia translatoryczne w przekładach Księgi Koheleta i Pieśni nad Pieśniami w Biblii Ekumenicznej

63%

Bardski K.

The Biblical Annals

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2014

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vol. 4

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issue 2

451-459

EN

The article presents the new ecumenical polish translation of the Scripture and focuses on its original aspects. The author of the article translated the books of Qohelet and Song of Songs in the Ecumenical Bible. The main newness in the book of Qohelet was a translation of the motto of the book. The traditional “vanity of vanities” was interpreted according to the Hebrew etymology connected with wind and vapor, using at the same time an adjectival form. Literally it could be expressed in English: “evanescent, how evanescent – says Qohelet – everything is so evanescent”. Another newness is the interpretation of the Hebrew re’ut ruach as “similar to the wind” based on the interpretation of the word re’ut in connection with the verbal root resh-ayin-hei. Also we propose, on the base of some semantic and intertextual analyses, a new interpretation of the passage considered misogynic of Qoh 7,27-28: “Behold, I have discovered this, says Qohelet, comparing one women with another to find an explanation. I am not able to understand even the one whom I love with all my heart. I am able to understand one man among a thousand, but I am not able to understand any woman among all these”. In the translation of the Song of Songs, instead of the traditional marginal notes “bride” and “bridegroom” introducing the speeches of different characters, we choose simply “she” and “he”.

9

Czy Oblubienica rzeczywiście „znalazła pokój”? Dylematy translacyjne Pnp 8,10b

63%

Bardski K.

Verbum Vitae

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2016

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vol. 30

43-51

PL

W sposób dosłowny tekst Pnp 8,10 powinien zostać przetłumaczony: „I stałam się w jego oczach jako ta, która znajduje pokój”. Główne problemy translatorskie i interpretacyjne dotyczą idiomatycznego wyrażenia hebrajskiego: „znaleźć łaskę w czyichś oczach” oraz znaczenia hebrajskiego terminu shalom. Artykuł analizuje różne sugestie translatorskie w Biblii wydanej w języku angielskim, portugalskim, francuskim, niemieckim i polskim oraz prezentuje własną propozycję: „znalazłam szczęście w jego oczach”.

EN

From a purely literal standpoint, Song 8:10 is properly translated as: „I became in his eyes as one finding peace”. However, the main problems of translation and interpretation here have to do with the similarity between the Hebrew idiomatic formula „to find favor in someones eyes” and the meaning of the Hebrew word „shalom”. We analyze different suggestions for translation of the passage as found in published Bibles in English, Portuguese, French, German and Polish. Finally, we present our own proposal for a truer rendering: „I found happiness in his eyes”.

10

SZIR ha-SZIRIM (pieśń najpiękniejsza). Obrazowanie za pomocą metafory Sacrum i profanum na przykładzie „Pieśni nad pieśniami” – analiza kognitywna

51%

Łukiewicz-Kostro R.

Kultura i Wartości

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2016

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issue 20

DE

Das im alttestamentarischen Buch der Weisheit Salomos enthaltene Hohelied ist ein leidenschaftliches erotisches Liebesgedicht, das Prototyp der Liebeslyrik, das uralte, faszinierende, sinnliche Empfindungen und Wünsche von Mensch und ... Gott ausdrückt. Der Text hat zahlreiche Interpretationen in unterschiedlichen Strömungen erfahren, u.a. natürliche, kultisch-mythische, allegorische oder auch theologische Interpretation. Der Artikel verfolgt das Ziel, die einzigartige, multisensorische Veranschaulichung der Liebe zwischen Mann und Frau in körperlich-seelischer Dimension mit Hilfe der Metapher einer verkörperten Erfahrung von Sacrum und Profanum aufzuzeigen und zu beweisen, dass es keinen Dualismus dieser zwei Dimensionen gibt, sondern nur gegenseitige Beeinflussung. Die Verfasserin führt eine Analyse ausgewählter Metaphern und Metonymien des Textes in der Übersetzung von Czesław Miłosz unter Verwendung der kognitiven Methode von G. Lakoff und M. Johnson durch.

EN

Song of Songs, included in the Old Testament Book of Wisdom is a passionate erotic poem, a prototype of love lyrical poetry which expresses perennial, fascinating, sensual sensations and human desires. The text has been the subject of numerous interpretations in various perspectives, among others: natural (pastoral), cult and mystical, allegorical or theological. It also stimulated quite provocative radical interpretations as it is a text one cannot go by indifferently. The aim of this paper is to analyze briefly a selected Sacrum/profanum metaphor via cognitive approach and indicate there is no dualism but rather mutual overlapping of those two spheres.

PL

Pieśń nad Pieśniami zawarta w starotestamentowej księdze mądrościowej Salomona to namiętny erotyk, prototyp liryki miłosnej, który wyraża odwieczne, fascynujące, zmysłowe doznania i pragnienia człowieka i …Boga. Tekst doczekał się licznych interpretacji w różnych nurtach , m.in. interpretacja naturalna, kultowo-mityczna, alegoryczna, czy też teologiczna. Celem artykułu jest pokazanie unikatowego, wielosensorycznego obrazowania miłości pomiędzy mężczyzną a kobietą w wymiarze fizyczno-duchowym za pomocą metafory ucieleśnionego doświadczenia Sacrum i profanum i wykazanie, że nie istnieje dualizm tych dwóch wymiarów, a jedynie wzajemne przenikanie. Autorka dokonuje analizy wybranych metafor i metonimii tekstu w przekładzie Czesława Miłosza z zastosowaniem metody kognitywnej G. Lakoffa i M. Johnsona.

11

„Uporządkujcie we mnie miłość” (Pnp 2, 4, LXX) w egzegezie wybranych autorów wschodu i zachodu

51%

Nocoń A.

Vox Patrum

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2017

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vol. 67

477-497

EN

“You set charity in order in me” (Song 2:4, LXX) is one of the most fundamental biblical texts for the concept of the ordo caritatis. The Author seeks to examine how this text was read in the East and West, analysing the commentary of three Greek authors (Origen, Gregory of Nyssa and Theodoret of Cyrus), and three Latin authors (Augustine of Hippo, John Cassian and Apponius). There commentaries, he notes, agree with one another for the most part, and refer more or less to Origen’s exegesis of this verse. However, some differences can be noted. The Eastern Fathers, for example, hold that, in the order of charity, the criterion of merit is more important than the criterion of blood relationship; that is to say, the greater love is to be shown to those who have been born in Christ (cf. 1Cor 4:15) over those born of the flesh. Only the Eastern Fathers explore what the ordo caritatis means also in relation to one’s enemies. The Western Fathers, for their part, tend to underline the moral aspect of the ordo caritatis, insofar as upholding that order is virtue, while infringing it is sin. In this regard, a casuistic approach can occur in their commentary more frequently than in those of the Eastern Fathers. The novelty of the commentaries of the Western Fathers is also found in their reflection on the ordo caritatis within the Holy Trinity, as well as the manner in which they expand the embrace of this order to other categories of people: friends, fellow citizens, strangers. Some of the Western Fathers (Apponius) apply the ordo caritatis not only to people but also to works of mercy, while others (Augustine) bring out the aesthetic element in the ordo caritatis, noting that the effect of order of any kind, including the order of charity, is beauty.

12

Polifoniczne opracowania wersetów z Pieśni nad Pieśniami w czasach Johna Dunstaple’a i Leonela Powera

51%

Odoj W.

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2016

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vol. 22

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issue 48

513-523

EN

Marian texts were very popular in England in the fourteenth and the first half of the fifteenth century. This English interest in Marian texts is a reflection of a great adoration and devotion to the Virgin in England and the Roman tradition, and can be traced back to the twelfth and thirteenth century when Marian doctrine gained an increasing popularity. It can be even traced back to the ninth century when the earliest known antiphonary saw the light of day. Among all the antiphons, the most prominent were these based on the Song of Songs. Polyphonic settings of the Song texts, which originated in England in the mid-fourteenth century, belong to the category of the polyphonic votive antiphon. Such works can be found in Dunstaple’s and Power’s output, two the most important and famous English composers of that time. Of all their works, Dunstaple’s motet Quam pulchra es appears to be the most popular and well-known, and is considered to be the excellent example of the so-called English style, la contenance angloise. The goal of this paper is to show that in addition to these two composers, there were many others who also set the texts from the Song of Songs and contributed a lot to the development of the English music at that time, and had an influence on the composers from the continent.

13

El Espíritu Santo en su índole trinitaria y esponsal según Guillermo de Saint Thierry

51%

Reyes-Gacitúa E.

Verbum Vitae

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2020

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vol. 37

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issue 1

201-213

PL

Teolog i mistyk Wilhelm z Saint-Thierry rozwinął trynitarną myśl pneumatologiczną, której osią jest dynamizm oblubieńczy. To właśnie na nim autor oparł główne założenia w dziele Expositio super Cantica cantorum: pierwsze z nich to postawienie w centrum jego zainteresowania miłości jako pierwociny Ducha; drugie to przyjęcie rozwoju piękna za źródło wszelkiego dobra w odniesieniu do wzajemności zakochanych, trzecie zaś to złączenie obojga w jednego Ducha. Opierając się na wspomnianych założeniach, podejmiemy próbę zrozumienia i analizy Unitas Spiritus jako wydarzenia ekonomicznego w życiu osoby wierzącej, dzięki któremu autor zakłada, że Duch Święty umożliwia zarówno zjednoczenie Boga Ojca z Synem, jak i Boga z ludzkością.

EN

The theologian and mysticist William of St-Thierry elaborates a pneumatological thought centering around espousal dynamism. From this place, the author’s main formulations are reflected from Expositio super Cantica canticorum: First, placing love as a primacy of the Spirit on top of its understanding; second, from the progress of beauty to the source of every good, referring to lovers’ reciprocity and, finally, from the two to only one Spirit. From these axes, we intend to understand and analyze Unitas spiritus, as an economic event in the life of a believer, from whom our author articulates that the Holy Spirit makes possible the unity of Father God and Son, as well as that of God and mankind.

ES

In his writings, the theologian and mysticist William of St-Thierry (early 12th century) elaborates a pneumatological conception centering around espousal dynamism. From this place, the author’s main formulations are reflected in the work Expositio super Cantica canticorum: First, William of St-Thierry understood love as a primacy of the Spirit; second, he elucidated the progress of beauty as the source of every good, referring to lovers’ reciprocity; and finally, he speaks of the union of the two lovers which brings them into only one Spirit. From these axes, we intend to understand and analyze Unitas spiritus, as an economic event in the life of a believer, from which our author articulates that the Holy Spirit makes possible the unity of Father God and Son, as well as that of God and mankind.

14

The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew

51%

Kahn L.

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2017

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vol. 16

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issue 31

13-27

EN

This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.

15

Covenantal Metaphors and Interreligious Reality

45%

Goshen-Gottstein A.

Edukacja Filozoficzna

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2019

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issue 68

19-40

EN

Religious thought does only express abstract truths. It also captures relationships and these are served by means of metaphors. Metaphors condition the religious imagination as well as theological thinking. One of the key concepts of biblical faith is the covenant between God and Israel, itself a crossover between a literal and a metaphorical view of the relationship. The covenant is served by a series of metaphors – husband/wife, king/people, parent/child, shepherd and more. Covenantal metaphors took shape in a context in which Israel alone was considered to have a valid relationship with God. Historically, there has been a decline in covenantal theology for two millennia, since the end of the period represented in the Hebrew Bible. The twentieth century witnessed a revival of Jewish covenantal theology. Proponents of such a theological view happen to also be proponents of religious pluralism in relation to other faiths. This presents an interesting challenge that has not been previously tackled. How does one apply the biblical covenantal metaphors, that came into being during a period of religious exclusivism in an era of religious pluralism? Such application must be deliberate, and may lack some of the spontaneity associated with the uses of metaphor. The present essay considers the metaphors above and how they might be expanded and reinterpreted in the context of interreligious pluralism. It also considers the metaphor of the friend, which in and of itself is not one of the stock biblical covenantal metaphors, and its usefulness for the present theological challenge. The metaphor of the friend allows us to develop a contemporary religious approach that can function both vertically, in relation to God, and horizontally, in relation to other peoples and religions.

PL

Tezy religijne odnoszą się jedynie do prawd abstrakcyjnych. Uchwytują też relacje, które przedstawiają za pomocą metafor. Metafory warunkują wyobraźnię religijną oraz myślenie w kategoriach teologicznych. Jednym z kluczowych aspektów biblijnej wiary jest przymierze zawarte między Bogiem i Izraelem, które rozumiane być może zarówno literalnie, jak i metaforycznie. Wspomniane przymierze opisywane jest przez szereg metafor – mąż/żona, król/poddani, ojciec/dziecko, pasterz i inne. Metafora przymierza ukształtowała się w kontekście, w którym Izrael miał wyłączność na posiadanie istotnej relacji z Bogiem. Od czasu, w którym kończy się historia przedstawiona w hebrajskiej Biblii, czyli przez ostatnie dwa tysiąclecia, daje się zaobserwować zanik teologicznych rozważań o przymierzu. Dwudziesty wiek jest jednak czasem, kiedy żydowska teologia przymierza przeżywa powtórny rozkwit. Akurat tak się zdarzyło, że zwolennicy takiego teologicznego podejścia odznaczają się również przychylnym nastawieniem do pluralizmu religijnego w stosunku do innych wiar. To stawia przed nami interesujące wyzwanie, które nie zostało wcześniej podjęte. Jak można zasadnie posługiwać się biblijną metaforą przymierza, która sformułowana została w czasach ekskluzywizmu religijnego żydów, w czasach religijnego pluralizmu? Używanie tej metafory musi być celowe i może mu brakować czegoś ze spontaniczności, które związane jest z posługiwaniem się metaforami. Niniejszy artykuł skupia się na przytoczonych wyżej metaforach i na tym, jak mogą być one poszerzone i zreinterpretowane w kontekście pluralizmu międzyreligijnego. Kolejną ważną metaforą, na której koncentrują się rozważania prowadzone w artykule, jest metafora przyjaciela – która sama w sobie nie jest częścią biblijnych metafor przymierza – oraz jej przydatność dla współczesnych wyzwań teologicznych. Metafora przyjaciela pozwala nam rozwinąć religijne podejście do relacji z Bogiem (w formie wertykalnej) oraz do relacji z innymi ludźmi i religiami (w formie horyzontalnej).

16

Wierzchowce i sala tronowa Salomona oraz gwiazdozbiór Panny według Pieśni nad Pieśniami

38%

Lipiński E.

The Biblical Annals

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2011

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vol. 1

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issue 1

87-101

EN

The Qumran fragments of the Song of Songs witness some versions of the poem which are older than the textus receptus. They also show that independent songs have been combined into one composition. Thus Cant. 3, 6-8, missing in 4QCantb, was a description of Solomon's guards on riding horses or camels, for mttw is the suffixed plural of the Arabic and Aramaic noun matiya, designating a riding animal. This passage has been joined to the following poem, starting in Cant. 3, 9 with a description of king's apadana, a colonnaded hall or palace. Its fi rst word, borrowed from Old Persian, has indeed been misspelled as 'prywn. Another poem, missing in 4QCanta, corresponds to Cant. 4, 8 - 5, 1. It is written entirely in Aramaic in 4QCantb and the Hebrew textus receptus still preserves traces of its original language. The Aramaic poem refers to the zodiacal constellation Virgo, called Kalla in Aramaic and requested to show the New Moon of Elul above the Lebanon range: 't mn lbnwn 'b'y, 'Let the sign enter from Lebanon'. The Song of Songs in its fi nal shape, characterized by its dramatic features and love lyrics, was accepted as Scripture because of its presumed Solomonic authorship, and it was highly valuated by Akiba, as its contents was appearing to him as a qds h-qdsym, a play word meaning 'the sanctification of betrothals'.

17

Wizja miłości mężczyzny i kobiety w Pieśni nad pieśniami. Implikacje psychologiczno-pedagogiczne

32%

Witczyk H.

Roczniki Pedagogiczne

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2019

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vol. 11(47)

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issue 3

37-57

PL

Przedstawiona w biblijnej Pieśni nad pieśniami miłość, która łączy mężczyznę (oblubieńca) i kobietę (oblubienicę), stanowi ideał, wolny od negatywnych faktorów zniekształcających lub wręcz przekreślających tę relację. Wydarza się ona między nimi jako realizacja podstawowego powołania, które otrzymali w momencie stworzenia „mężczyzną i kobietą”. To dlatego miłość ta stanowi wyzwanie i szczęście zarazem; ona nadaje najgłębszy sens ich życiu, czyni je pełnym blasku i radości. Oblubieniec i oblubienica przeżywają miłość w trzech wymiarach: oczarowania (zakochania się), erosa i agape. Autor artykułu wydobywa z Pnp to wszystko, co pokazuje ważność każdej z tych sfer oraz ich ponad-naturalne źródło i ukierunkowanie. Ma świadomość, że miłości te wzajemnie się przenikają i niejako stopniowo na siebie się nakładają. Są organicznie ze sobą zintegrowane. W każdej z nich na pierwszy plan wysuwa się właściwy jej dynamizm i odpowiedzialne zań komponenty cielesno-duchowej osoby oblubieńca i oblubienicy. Odkrywając je, możemy dostrzec to, co może rzeczywiście chronić oblubieńczą i małżeńską miłość w czasach współczesnych przed największymi zagrożeniami.

EN

The love presented in the biblical Song of Songs, which unites a man (the bridegroom) and a woman (the bride), is an ideal situation free of negative factors that distort or even delete this relationship. It occurs between them as the realization of the basic vocation which they received at the time of their creation as “man and woman.” That is why this love is a challenge that at the same time brings them happiness; it gives their lives deepest meaning, making them fully shine with joy. The bridegroom and the bride experience love in three dimensions: enchantment (falling in love), eros and agape. The author of the article takes from the Song of Songs everything that shows the importance of each of these spheres with their their supernatural source and orientation. He is aware that these types of love interpenetrate and gradually overlap each other. They are organically integrated with each other. In each of them, the proper dynamics and responsible components appear, which concern the bodily and spiritual functions of the bridegroom and bride. By discovering these, we can see what can actually protect spousal and marital love in modern times from its greatest threats.

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S.Y. Agnon Reads the Song of Songs?

"Pieśń nad Pieśniami" w interpretacji Aponiusza

The allegorical sense of Gregory the Great’s commentary on the Song of Songs

Thecla’s hymn (symp. 285-292) – did Methodius of Olympus imitate Plato?

Píseň písní v mariánské úctě českého baroka

„Pieśń duchowa” św. Jana od Krzyża – przekład,aluzje biblijne i symbolika

Oblubieniec widziany oczami oblubienicy w Pieśni nad Pieśniami

Nowe ujęcia translatoryczne w przekładach Księgi Koheleta i Pieśni nad Pieśniami w Biblii Ekumenicznej

Czy Oblubienica rzeczywiście „znalazła pokój”? Dylematy translacyjne Pnp 8,10b

SZIR ha-SZIRIM (pieśń najpiękniejsza). Obrazowanie za pomocą metafory Sacrum i profanum na przykładzie „Pieśni nad pieśniami” – analiza kognitywna

„Uporządkujcie we mnie miłość” (Pnp 2, 4, LXX) w egzegezie wybranych autorów wschodu i zachodu

Polifoniczne opracowania wersetów z Pieśni nad Pieśniami w czasach Johna Dunstaple’a i Leonela Powera

El Espíritu Santo en su índole trinitaria y esponsal según Guillermo de Saint Thierry

The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew

Covenantal Metaphors and Interreligious Reality

Wierzchowce i sala tronowa Salomona oraz gwiazdozbiór Panny według Pieśni nad Pieśniami

Wizja miłości mężczyzny i kobiety w Pieśni nad pieśniami. Implikacje psychologiczno-pedagogiczne