The Song of Songs and Christology in the Early Church

Description

Mark W. Elliott presents a range of interpretations of the imagery used in the Song of Songs and demonstrates how the figures of the Bridegroom and Bride were understood. He pays attention to the historical context of those commenting on the Song between the councils of Constantinople 381 and Chalcedon 451, including theological disputes and spiritual movements. Showing how they found significance in such an unlikely text leads on to the conclusion that the commentators are largely in agreement that the Song refers to a meeting of the Word of God in his incarnate form, reaching out to all humanity, and the collective humanity, viewed in the obedient responsiveness of a bride. This responsive collective humanity is described variously in terms of 'church', believing soul, soul of Christ and humanity of Christ. Mark W. Elliott selects specifically Christological readings (i.e. those which interpret the Song with reference to the incarnation) and gives some reasons for the demise of such an interpretation and of commentary writing as a whole during that period. Cover Titel Foreword Table of Contents 1. Introduction 1.1 Figures and Images 1.2 The Song of Songs: early influences on its interpretation 1.3 Exegetical Styles 1.4 Setting the scene 1.5 The beginnings of Christological deliberation 1.6 The Christological interpretation of the Song 1.7 The task ahead 2. Establishing the Context of the Commentators on the Song of Songs 2.1 Hippolytus 2.2 Origen (Greek) 2.3 Methodius 2.4 Dionysius of Alexandria 2.5 “Athanasius” 2.6 Apollinarius 2.7 Didymus 2.8 Philo of Carpasia 2.9 Jerome 2.10 Pacianus 2.11 Ambrose 2.12 Gregory of Elvira 2.13 Gregory of Nyssa 2.14 Epiphanius of Salamis 2.15 Pseudo-Theophilus of Alexandria 2.16 Rufinus and his translation of Origen’s Commentary on the Song of Songs (= Rufinus-Origen) 2.17 Augustine 2.18 Theodoret 2.19 Nilus of Ancyra 2.20 Cyril of Alexandria 2.21 Pseudo-Athanasius: Synopsis Scripturae 2.22 Apponius 2.23 Conclusion 3. The Groom 3.1 The way the Song relates to the Incarnation. Cant 1:2 3.2 Myrrh and the Groom’s divine spirit. Cant 1:3–4 3.3 The distillation of myrrh as fragrance and the availability of the mind of Christ. Cant 1:12–14; 2:13 3.4 Mutual belonging. Cant 1:7, 10; 2:6, 16; 3:3–4 3.5 The motif of “leaping” and the Incarnation as the Word’s descent and ascent. Cant 2:8 3.6 Coronation as the Word’s triumphal passion. Cant 3:11 3.7 The Groom’s descent. Cant 4:16–5:1 3.8 The Groom’s “coming to the door” and manifestation. Cant 5:2–6 3.9 “The body of God”? The Groom’s body and the Word’s potencies. Cant 5:10–16 3.10 The Cosmic Groom transcendent. Cant 6:9f and beyond 3.11 The Cosmic Groom and nature imagery. Cant 8:14 et al 3.12 Conclusion 4. The Bride 4.1 The Essence of the Human Christ. Cant 1:3 4.2 The Bride as a prepared Church-humanity. Cant 1:5–7 4.3 The identity of the purified Bride ascending. Cant 3:6 (and its doublet, 8:5) 4.4 The “bed” image. Cant 3:7f (with reference to Cant 1:16) 4.5 The Bride as walled garden and spring. Cant 4:12 4.6 The Bride as the imitator of the Groom. Cant 5:2 and 5:12,14 4.7 The Bride’s chosenness as new Jerusalem. Cant 6:4 4.8 The Bride as the perfect human one. Cant 6:8–10 4.9 Conclusion 5. Conclusion 5.1 Factors militating against a Christology inspired by the Song’s imagery 5.1.1 The limits of imagic theology 5.1.2 “No” to mutuality in Christ 5.2 The abiding message: love and loves Bibliography of Primary Works: Texts and Translations Bibliography of Secondary Works Scripture Index Name Index Subject Index