Commentary on the Song of Songs 0.1
Greek text: PG 81.English: Claude (claude-opus-5-5), public domain (CC0).
Part 1
0.1PG 81
ἀπάντων αὐτὴν τοῦ βιδλίου τὴν προγραφὴν ἐξετάσαντες εὐχρινῇ καταστήσωμεν. Ασμα ἀσμάτων, ὃ ἤσθη τῷ Σολομῶντι". Σκοπήσωμεν τί δήποτε οὐκ ἥλιμα, ἀλλ᾽ ε« Ασμα ἀσμάτων » αὐτὸ προσηγόρευσεν ὁ σοφὸς Σολομῶν. “Ὅτι γὰρ οὐδὲν εἰκῇ καὶ μάτην ὑπὸ τοῦ θείου Πνεύματος ἐνεργούμενον λέγεται, δῇλον τοῖς σώφρονι λογισμῷ καὶ εὐσεδεῖ καθέστηκε. Τούτου δὲ οὕτως ἔχοντος, σκοπητέον τίνος ἕνεκεν « Ἄσμα ἀσμάτων, ν» ἀλλ᾽ οὐκ Ασμα, τοῦτο καλεῖται τὸ σύγγραμμα. Πολλὰ μὲν οὖν ᾷσματα, καὶ ψαλμοὺς, καὶ ὕμνους, καὶ ᾧδὰς, παρά τε τῷ μακαρίῳ Δαθὶδ, καὶ παρὰ τοῖς πρὸ αὐτοῦ καὶ μετ᾽ αὑτὸν προφήταις εὑρίσκομεν εἰρημένα καὶ συγγεγραμμένα" καὶ Μωτῆς μὲν ὁ μέγας ἧσε πριίτην μὲν φδὴν τὴν ἐπινίκιον, ἡνίκα ἡ θάλασσα διαιρεθεῖσα, αὐτοὺς μὲν τοῖς Ἰσραηλίταις ἐδὸς ἐγένετο, τοῖς δὲ Αἱ- Ὑσπτίοις τάφος" δευτέραν δὲ ᾧδὴν ἧσεν εὐχαριστήριον τὴν ἐπὶ τῷ φρέατι" τρίτην δὲ, ἐν ἧ τὰς θείας διηγήσατο δωρεὰς, καὶ τῆς ἀγνώμονος γνώμης τοῦ λαοῦ κατηγόρησεν. Καὶ ὁ μακάριος δὲ Δαθδὶδ τοὺς μὲν ἐπινικίους ἧσεν ὕμνους, τοὺς δὲ ἐπιληνίους" καὶ τοὺς μὲν ὀρθρίους, τοὺς δὲ ἑσπερίους,. Ὁ δὲ σοφὸς Σολομὼν οὐκ ἐπινέχιον, οὐδὲ ὄρθριον, ἀλλ᾽ ἐπιθαλάμιον ᾷσμα συγγράφει. Τὰ μὲν γὰρ ἐπινίκια ἄσματα δηλοῖ τῶν πολεμίων κατάλυσιν καὶ τῶν αἰχμαλώτων λύσιν, ὡ; τὸ, ε᾿Ανταναιρῶν πολέμους μέχρι τῶν περάτων τῆς γῆς. Τόξον συντρίψει, καὶ συνθλάσει " ὅπλον, καὶ θυρεοὺς γνῶτε ὅτι ἐγώ " εἶμι Θεός 1" ὑψωθήσομαι ἐν τοῖς ἔθνεσιν, ὑψωθήσυμαι ἐν τῇ γῇ.» Σημαίνει γὰρ, ὅτι τῶν πολεμίων τὴν πανοπλίαν συντρίψας, καὶ τοὺς ὑπ᾽ ἐκείνους πάλαι τελοῦντας αἰχμαλώτους ἐλευθερώσας, ταχαύσει ἕν πυρί. Σχολάσατε ὅ, καὶ ὑφ᾽ ἑαυτὸν ἐποιήσαιο, καὶ τὴν τῶν πάντων ἐχόντων ἀνεδήσατο βασιλείαν. Διό φησιν’ « ἐν τοῖς ἔθνεσιν, ὑψωθήσομαι ἐν τῇ γῇ. » Τοιοῦτόν ἔστι καὶ τὸ, ε Πάντα τὰ ἔθνη, κροτήσατε χεῖρας" ἀλαλάξατε τῷ Θεῷ ἐν φωνῇ ἀγαλλιάσεως, ὅτι Κύριος ὕψιστος, φοδερὸς, βασιλεὺς μέγας ἐπὶ πᾶσαν τὴν γῆν. » Καὶ πάλιν" ε Περίξωσαι τὴν ῥομφαίαν σου ἐπὶ τὸν μηρόν δου, δυνατέ. Τῇ ὡραιότητί σου καὶ τῷ κάλλει σου ἕντεινον ", καὶ κατευοδοῦ, καὶ βασίλευε.» Καὶ αὖθις" εἴΑρατε πύλας, οἱ ἄρχοντες, ὑμῶν, καὶ ἐπάρθητε, πύλαι αἰώνιοι, καὶ εἰσελεύσεται ὁ Βασιλεὺς τῆς δόξης, Κύριος κραταιὸς καὶ δυνατὸς, Κύριος δυνατὸς ἐν πολέμῳ. » Ἐν μὲν οὖν τούτοις τοῖς ἄσμασι τὴν νέχην τοῦ βασιλέως οἱ προφῆται διεξίασε, καὶ ἐπὶ τῇ τῶν αἰχμαλώτων αὐτὸν ὑμνοῦσιν ἔλευ- Β θερίᾳ. Τὸ δὲ Ασμα τῶν ἀσμάτων τὸν γάμον αὐτοῦ διαγράφει, καὶ τὸν περὶ τὴν νύμφην ἔρωτα διαγράφεται. « Νύμφην » δὲ προσαγορεύει τοὺς ἐν ἐκείνοις τοῖς ἄσμασι τῆς αἰχμαλωσίας ἀπαλλαγέντας, καὶ «ᾧ βασιλεῖ, καὶ ἄληστον τῶν εὐεργεσιῶν τὴν μνήμην ἐσχηκότας, καὶ πολλὴν περὶ αὐτὸν εὔνοιαν καὶ στοργὴν ἐπιδεικνυμένους, καὶ διηνεκῶς αὐτῷ ἑπομένους" εἶτα, τῶν ἄνω δυνάμεων πυνθανομένων, « Τίς ἐστιν ὁ βασιλεὺς δόξης "; » συνεῖναι ἐμειρομένους, καὶ οὐδὲ πρὸς βραχὺ μόριον ἡμέρας χωρισθῆναι τοῦ σεσωχότὸς ἀνεχομένους. Τούτου χάριν Ἶλσμα τῶν "5 ἀσμάτῶν καλεῖται τοῦτο τὸ βιδλίον, σημαίνοντος τοῦ λόγου, ὡς ἐκεῖνα τὰ ἄσματα διὰ τοῦτο τὸ ἄσμα γεγένηται, κἀκεῖνα πρὸς τοῦτο ἄγει.". ε Τοῦτο γάρ ἐστε τὸ κεφάλαιον τῶν ἀγαθῶν, καὶ 15 θείας φιλανθρωπίας ὁ χολοφὼν, ἡ ἄῤῥητος ἀγαθότης, ὁ ἀμέτρητος ἔλεος, ὁ ἀστάθμητος οἶκτος, ἡ ἄφραστος ἀγάπη, τὸ ἀνέχεσθαι τὸν ποιητὴν, καὶ πλάστην, καὶ δημιουργὸν, καὶ Κύριον, καὶ Θεὸν, καὶ Δεσπότην, καὶ ἀεὶ ὡσαύτως ἔχοντα, τὸ πήλινον 5 τοῦτο ζῶον, καὶ παθητὸν, καὶ φθαρτὸν, καὶ ἀγνῶμον, καὶ ἄχρηστον, μὴ μόνον ἀπαλλάξαι θανάτου, καὶ διαθολιχῆς τυραννίδος, ἀλλὰ χοὶ ἐλευθερίαν δωρήσασθαι, καὶ μὴ μόνον ἐλευθέρους ἀποφῆναι, ἀλλὰ καὶ υἱοὺς καταστῆσαι """ καὶ μὴ μόνον τῆς υἱοθεσίας δωρήσασθαι χάρισμα, ἀλλὰ καὶ γύμφην προσαγορεῦσαξ τε καὶ ποιῆσαι, καὶ νυμφίῳ παραπλησίως συναρμοσθῆναι αὐτῇ, καὶ ἕδνα μυρία προσενεγκεῖν, καὶ νυμφῶνα καὶ θάλαμον Ὁ πίσαι" καὶ γυμνὴν οὖσαν ἀμφιάσαι, καὶ γενέσθαι αὐτῇ περιδόλαιον, καὶ τροφὴν, καὶ πόμα, καὶ ὁδὸν, καὶ θυρεὸν, καὶ ζωὴν, καὶ φῶς, καὶ ἀνάστασιν. ᾿Αλλὰ γὰρ φιλονειχῶ ψάμμον ἀριθμεῖν, ἣ ὑετοῦ σταγόνας, ἣ τὴν θάλασσαν χυάθῳ 1" μετρεῖν, τῆς θείας φιλανθρωπίας ἐφικέσθαι λόγῳ τολμῶν. Διὰ τοῦτο τοίνυν Ἶλσμα τῶν 5 ἀσμάτων προσαγορεύεται τὸ βιδλίον, ὡς τὰ μείζω τοῦ "7 Θεοῦ ἀγαθότητος εἴδη διδάσχαν
apantōn autēn tou bidliou tēn prographēn exetasantes euchrinę̄ katastēsōmen. Asma asmatōn, ho ēsthē tǭ Solomōnti". Skopēsōmen ti dēpote ouk hēlima, all᾽ e« Asma asmatōn » auto prosēgoreusen ho sophos Solomōn. “Hoti gar ouden eikę̄ kai matēn hypo tou theiou Pneumatos energoumenon legetai, dę̄lon tois sōphroni logismǭ kai eusedei kathestēke. Toutou de houtōs echontos, skopēteon tinos heneken « Asma asmatōn, n» all᾽ ouk Asma, touto kaleitai to syngramma. Polla men oun ąsmata, kai psalmous, kai hymnous, kai hǭdas, para te tǭ makariǭ Dathid, kai para tois pro autou kai met᾽ hauton prophētais heuriskomen eirēmena kai syngegrammena" kai Mōtēs men ho megas hēse priitēn men phdēn tēn epinikion, hēnika hē thalassa diairetheisa, autous men tois Israēlitais edos egeneto, tois de Hai- Hysptiois taphos" deuteran de hǭdēn hēsen eucharistērion tēn epi tǭ phreati" tritēn de, en hē tas theias diēgēsato dōreas, kai tēs agnōmonos gnōmēs tou laou katēgorēsen. Kai ho makarios de Dathdid tous men epinikious hēsen hymnous, tous de epilēnious" kai tous men orthrious, tous de hesperious,. Ho de sophos Solomōn ouk epinechion, oude orthrion, all᾽ epithalamion ąsma syngraphei. Ta men gar epinikia asmata dēloi tōn polemiōn katalysin kai tōn aichmalōtōn lysin, hō? to, e᾿Antanairōn polemous mechri tōn peratōn tēs gēs. Toxon syntripsei, kai synthlasei " hoplon, kai thyreous gnōte hoti egō " eimi Theos 1" hypsōthēsomai en tois ethnesin, hypsōthēsymai en tę̄ gę̄.» Sēmainei gar, hoti tōn polemiōn tēn panoplian syntripsas, kai tous hyp᾽ ekeinous palai telountas aichmalōtous eleutherōsas, tachausei hen pyri. Scholasate ho, kai hyph᾽ heauton epoiēsaio, kai tēn tōn pantōn echontōn anedēsato basileian. Dio phēsin’ « en tois ethnesin, hypsōthēsomai en tę̄ gę̄. » Toiouton esti kai to, e Panta ta ethnē, krotēsate cheiras" alalaxate tǭ Theǭ en phōnę̄ agalliaseōs, hoti Kyrios hypsistos, phoderos, basileus megas epi pasan tēn gēn. » Kai palin" e Perixōsai tēn rhomphaian sou epi ton mēron dou, dynate. Tę̄ hōraiotēti sou kai tǭ kallei sou henteinon ", kai kateuodou, kai basileue.» Kai authis" eiArate pylas, hoi archontes, hymōn, kai eparthēte, pylai aiōnioi, kai eiseleusetai ho Basileus tēs doxēs, Kyrios krataios kai dynatos, Kyrios dynatos en polemǭ. » En men oun toutois tois asmasi tēn nechēn tou basileōs hoi prophētai diexiase, kai epi tę̄ tōn aichmalōtōn auton hymnousin eleu- B therią. To de Asma tōn asmatōn ton gamon autou diagraphei, kai ton peri tēn nymphēn erōta diagraphetai. « Nymphēn » de prosagoreuei tous en ekeinois tois asmasi tēs aichmalōsias apallagentas, kai «hǭ basilei, kai alēston tōn euergesiōn tēn mnēmēn eschēkotas, kai pollēn peri auton eunoian kai storgēn epideiknymenous, kai diēnekōs autǭ hepomenous" eita, tōn anō dynameōn pynthanomenōn, « Tis estin ho basileus doxēs "? » syneinai emeiromenous, kai oude pros brachy morion hēmeras chōristhēnai tou sesōchotos anechomenous. Toutou charin Ilsma tōn "5 asmatōn kaleitai touto to bidlion, sēmainontos tou logou, hōs ekeina ta asmata dia touto to asma gegenētai, kakeina pros touto agei.". e Touto gar este to kephalaion tōn agathōn, kai 15 theias philanthrōpias ho cholophōn, hē arrhētos agathotēs, ho ametrētos eleos, ho astathmētos oiktos, hē aphrastos agapē, to anechesthai ton poiētēn, kai plastēn, kai dēmiourgon, kai Kyrion, kai Theon, kai Despotēn, kai aei hōsautōs echonta, to pēlinon 5 touto zōon, kai pathēton, kai phtharton, kai agnōmon, kai achrēston, mē monon apallaxai thanatou, kai diatholichēs tyrannidos, alla choi eleutherian dōrēsasthai, kai mē monon eleutherous apophēnai, alla kai huious katastēsai """ kai mē monon tēs huiothesias dōrēsasthai charisma, alla kai gymphēn prosagoreusax te kai poiēsai, kai nymphiǭ paraplēsiōs synarmosthēnai autę̄, kai hedna myria prosenenkein, kai nymphōna kai thalamon Ho pisai" kai gymnēn ousan amphiasai, kai genesthai autę̄ peridolaion, kai trophēn, kai poma, kai hodon, kai thyreon, kai zōēn, kai phōs, kai anastasin. ᾿Alla gar philoneichō psammon arithmein, hē hyetou stagonas, hē tēn thalassan chyathǭ 1" metrein, tēs theias philanthrōpias ephikesthai logǭ tolmōn. Dia touto toinyn Ilsma tōn 5 asmatōn prosagoreuetai to bidlion, hōs ta meizō tou "7 Theou agathotētos eidē didaschan
… let us first examine the title of the whole book and make it clear. "Song of Songs, which is Solomon's." Let us consider why the wise Solomon called it not "Song" but "Song of Songs." For that nothing spoken under the working of the divine Spirit is said at random or in vain is plain to anyone of sober and pious reasoning. This being so, we must consider why this writing is called "Song of Songs" and not "Song." We find many songs, psalms, hymns and odes spoken and written by the blessed David and by the prophets before and after him. The great Moses sang a first ode, the ode of victory, when the sea was divided and became a road for the Israelites but a grave for the Egyptians; he sang a second ode, of thanksgiving, at the well; and a third, in which he recounted the divine gifts and accused the ungrateful mind of the people. The blessed David too sang hymns of victory and hymns for the winepresses, morning hymns and evening hymns. But the wise Solomon composes not a song of victory nor a morning song, but a wedding song. Songs of victory signify the destruction of enemies and the release of captives, as for instance: "Making wars cease to the ends of the earth; he will break the bow and shatter the weapon, and the shields …; know that I am God; I will be exalted among the nations, I will be exalted on the earth." For it signifies that, having shattered the full armour of the enemies and set free the captives who had long been subject to them ("… will burn with fire. Be still, and …"), he made them his own and took the kingship over all. That is why he says: "[I will be exalted] among the nations, I will be exalted on the earth." Of the same kind is: "Clap your hands, all you nations; shout to God with a voice of rejoicing, for the Lord Most High is awesome, a great king over all the earth." And again: "Gird your sword upon your thigh, O mighty one; in your comeliness and your beauty bend [your bow], and prosper, and reign." And once more: "Lift up your gates, you rulers, and be lifted up, you everlasting gates, and the King of glory shall come in, the Lord strong and mighty, the Lord mighty in battle." In these songs, then, the prophets recount the king's victory and sing his praise for the freedom of the captives. But the Song of Songs describes his marriage and depicts his love for the bride. And he calls "bride" those who in those songs were freed from captivity and … to the king, who keep an unforgettable memory of his benefits, show him great goodwill and affection, and follow him continually; and then, when the powers above ask, "Who is the King of glory?", they long to be with him and cannot bear to be separated even for a brief part of a day from the one who saved them. For this reason this book is called the Song of Songs: the word signifies that those songs came to be for the sake of this song, and that they lead to it. For this is the sum of good things and the crown of the divine love for humankind, the unspeakable goodness, the immeasurable mercy, the unweighable compassion, the inexpressible love: that the Maker and Fashioner and Creator, the Lord and God and Master, who is ever the same, should bear with this creature of clay, subject to suffering, perishable, ungrateful and useless, and not only release it from death and from the devil's tyranny but also grant it freedom; and not only make them free, but also establish them as sons; and not only grant the gift of adoption, but also call it a bride and make it one, be joined to it as a bridegroom, bring countless bridal gifts, and prepare a bridal hall and chamber; and clothe her when she was naked, and become for her garment and food and drink, way and shield, life and light and resurrection. But I am trying to count the sand or the drops of rain, or to measure the sea with a cup, when I dare to reach the divine love for humankind in words. This, then, is why the book is called the Song of Songs: because it teaches the greater forms of God's goodness …
Textual problem in this passage: see the notes.
Song 1:1 (quotation, high confidence) · Exod 15:1–19 (allusion, high confidence) · Num 21:17–18 (allusion, high confidence) · Deut 32:1–43 (allusion, high confidence) · Ps 46:9–10 (45:10-Ps LXX) (quotation, high confidence) · Ps 47:1–2 (46:2-Ps LXX) (quotation, high confidence) · Ps 45:3–4 (44:4-Ps LXX) (quotation, high confidence) · Ps 24:7–10 (23:7-Ps LXX) (quotation, high confidence)
Notes and citation
Summary: The Song of Songs is so called because, unlike victory songs that celebrate the freeing of captives, it celebrates the King's marriage to those he freed: the height of God's love for humankind.
- The beginning of Theodoret's preface is lost in the scan; the section opens mid-sentence, and the end breaks off. Moses' odes: Exod 15:1–19; Num 21:17–18; Deut 32. Psalms quoted: Ps 46:9–10 (LXX 45:10–11; part of its text appears displaced in the scan, marked in parentheses), Ps 47:1–2 (LXX 46:2–3), Ps 45:3–4 (LXX 44:4–5), Ps 24:7–8, 10 (LXX 23:7–8, 10).
Notes on the original text
- Digital text corrected (Latin column debris; Latin column debris and Migne's marginal references; Migne's footnotes and Latin column debris): ἰπ- Ομ ηὰαιὶθην 6 Ἐξ Υὕλῃ- 418 δὰ → ; (, δ Εχοί. κν, 1-19. ὅν Νυιϊῃ. χχι, 11, (8. « " φρο, μακαρίτου. 38-- Σολομῶντι, οοἀ, ὅ ἐστι τῷ Σαλωμών. {ππς δ. τεσορία ἸοοΙο τῶν θ΄. 8 τῶν. οοἱὐ, 4 ὅτ. ἐγώ ἀύ5. ἰῃ ἐοὐ ἰη- Α → ; ξεπεγὶβ οἱ ᾿Πυ δϑί: ε« οἱ εἱ Αἱ εἰ ἴα! 6 ἴῃ ο ἰπ)εἰ δεῦβ, οἱ ργίποορβ, οἱ υΐ ἃ νὸεἰ οὐ }}6, οἱ (Παϊαπηιπὶ Δἀογηδγιί, δὲ πάλην ἴηεἰυβ, οἱ εἰ"»υ8, εἴ ρμοίι5, οἱ νἱᾶ, οἱ βουιίθμ, δἱ Πΐο θὸ- 4. κυνι, 2, ὅ. 18]. χιιν, 4, ὅ. → .
Cite (SBL): Theodoret, Comm. Cant. 0.1 (PG 81; trans. Sophia Scriptura, https://sophiascriptura.com/p/theodoret-interpretatio-canticum/0-1). (abbreviation not yet checked)
Permanent link: https://sophiascriptura.com/p/theodoret-interpretatio-canticum/0-1
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Translation: Translated by Claude (Opus) from the Greek as printed in Migne PG 81 (archive.org OCR); no public-domain or FOTC English exists, so each batch was re-read against the Greek.