{"id":67788,"date":"2024-04-12T10:57:32","date_gmt":"2024-04-12T02:57:32","guid":{"rendered":"https:\/\/www.hkbts.edu.hk\/?p=67788"},"modified":"2025-02-13T08:38:05","modified_gmt":"2025-02-13T00:38:05","slug":"an-interpretation-of-the-song-of-songs-and-love-poems-in-the-book-of-songs-taking-song-of-songs-85-7-as-an-example","status":"publish","type":"post","link":"https:\/\/www.hkbts.edu.hk\/en\/?p=67788\/","title":{"rendered":"Interpretations of Love Poems in the Song of Songs and the Book of Songs: A Case Study of Song of Songs 8:5-7 and \u201cFishhawk\u201d"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"67788\" class=\"elementor elementor-67788\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-0e47810 elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no 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elementor-button-link elementor-size-sm\" href=\"https:\/\/www.hkbts.edu.hk\/wp-content\/uploads\/2024\/05\/Newsletter202405_website-version.pdf\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">Download PDF<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-c01239c elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no\" data-id=\"c01239c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-inner-column elementor-element elementor-element-043bc9c\" data-id=\"043bc9c\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-66c3242 elementor-widget elementor-widget-text-editor\" data-id=\"66c3242\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<style>.elementor-element-66c3242{display:none !important}<\/style>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-02eb485 elementor-widget elementor-widget-text-editor\" data-id=\"02eb485\" data-element_type=\"widget\" data-e-type=\"widget\" data-no-translation=\"\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h4>Curie Qu<\/h4> Assistant Professor of Christian Thought\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-9d409d0 elementor-widget elementor-widget-image\" data-id=\"9d409d0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"768\" height=\"384\" src=\"https:\/\/i0.wp.com\/www.hkbts.edu.hk\/wp-content\/uploads\/2024\/04\/%E9%99%A2%E8%A8%8A%E6%96%87%E7%AB%A0_%E5%9C%96_%E7%92%A9%E7%90%86.png?fit=768%2C384&amp;ssl=1\" class=\"attachment-medium_large size-medium_large wp-image-67802\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-ddc6583 elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no\" data-id=\"ddc6583\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-3e662b3\" data-id=\"3e662b3\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-67f5355 elementor-widget elementor-widget-text-editor\" data-id=\"67f5355\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<style>.elementor-element-67f5355{display:none !important}<\/style>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-34a3a68 elementor-widget elementor-widget-text-editor\" data-id=\"34a3a68\" data-element_type=\"widget\" data-e-type=\"widget\" data-no-translation=\"\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong>Interpretation of the Song of Songs<\/strong><\/h3><p align=\"\u201cjustify\u201d\">\u3000\u3000The Song of Songs, with its explicit expressions of male and female love, is seldom preached from the pulpit; however, it is widely sung at weddings, celebrations, and feasts within Israeli culture, revealing a stark contrast. <em><strong>Historically, there have been two opposing interpretations of the Song of Songs: allegorical and natural. <\/strong><\/em> The debate over which interpretation is correct remains a matter of perspective, which cannot be fully covered in this article. The focus here is on interpretative questions arising from the Song of Songs 8:5-7a, which is the climactic part of the book.<\/p><h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong>Reading Song of Songs 8:5-7a<\/strong><\/h3><blockquote><p><sup>5<\/sup> Who is that coming up from the wilderness,<br \/>leaning on her beloved?<\/p><p>Under the apple tree, I awakened you.<br \/>There your mother was in labor with you;<br \/>there she who bore you was in labor.<\/p><p><sup>6<\/sup> Set me as a seal upon your heart,<br \/>as a seal upon your arm,<br \/>for love is strong as death,<br \/>jealousy is fierce as the grave.<br \/>Its flashes are flashes of fire,<br \/>the very flame of the LORD.<br \/><sup>7<\/sup> Many waters cannot quench love,<br \/>neither can floods drown it. (ESV)<\/p><\/blockquote><p align=\"\u201cjustify\u201d\">\u3000\u3000These verses tightly intertwine themes of love, life, and death, which are inseparable. Why is love always entangled with life and death? <em><strong>That is because love is the most intense human emotion and death represents the end of life; to express the most intense emotions, it requires comparing them to these intense and important moments. <\/strong><\/em><\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Verse 5 shows a woman\u2019s expression of love for a man, even in the erotic overtones (scent of the apple tree). Here, the pain of childbirth in particular is mentioned. Then, in verse 6, the woman asks the man to possess her completely as a seal on his heart and his arm. Complete possession is mutual; if a person says, \u201cI am your wife,\u201d it means that they cannot have another wife. The seal has a second meaning. At that time, it was widely popular to mark tombs with seals, which would allow the deceased to enter the netherworld. This is akin to an identity card for the underworld. The seal here also can represent the continuation of one\u2019s status in life, especially the status of being spouse, beyond death.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Immediately following is the most famous line in the Song of Songs\u2014\u201clove is strong as death,\u201d which intertwines the images of love and death in a profoundly moving way. According to feminist biblical scholar F. Scott Spencer, \u201c[L]ove proves to be the most worthy match for death, thereby redeeming our fragile existence with meaning, fulfillment, rapture and transcendence.\u201d <sup>1<\/sup><\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000The next line, \u201cjealousy is fierce as the grave,\u201d is also translated as \u201cits jealousy unyielding as the grave\u201d in the NIV. Does \u201cjealousy\u201d here refer to the jealousy and exclusivity in love? Or does it carry any other meaning? In his commentary on the Song of Songs, Tremper Longman III says, \u201cThere are only two relationships described in the Bible where jealousy is a potentially appropriate reaction: the divine-human relationship and the marriage relationship.\u201d <sup>2<\/sup> Jealousy in these two types of relationships can be so intense that it can be unparalleled, and it is largely for the purpose of maintaining and protecting the relationship.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Tracing the origin of the terms \u201cdeath\u201d and \u201cflashes of fire\u201d in verse 6, related etymologies show a link to the god of death Mot, and the god of war and plague Reshep in Ugaritic mythology. \u201cThe very flame of the LORD\u201d is also translated as \u201ca mighty flame\u201d in the NIV, both being accurate in rendition as the suffix \u201c<em>yah<\/em>\u201d of the term can be interpreted both as shorthand for the divine name and simply as a superlative describing the intensity of the fire. If both meanings are to be included, it can even be translated as \u201can Almighty flame.\u201d The \u201cmany waters\u201d and \u201cfloods\u201d in verse 7 are also related to the conflict between the god of order and the personified chaos in Ugaritic and Mesopotamian myths, with the ravaging floods directly associated with death. Here, the power of love is shown to surpass death and the gods, gripping the lovers as firmly as the grave or Sheol. Love is so intense that only \u201cdeath\u201d seems adequate to express it.<\/p><h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong>Natural or Allegorical Interpretation? <\/strong><\/h3><p align=\"\u201cjustify\u201d\">\u3000\u3000The question then arises: how should these three verses be interpreted? Should we use a natural approach or an allegorical approach? The Studium Biblicum Version of the Catholic Bible notes in its preface to the Song of Songs that the Second Council of Constantinople rejected the idea that the Song of Songs is a collection of poems celebrating the love between men and women. But this statement is not accurate as the Council denied a proposal made by a local member, the details of which are unclear. Historically, most of the commentators who insisted on an allegorical approach were not negative toward a simpler interpretation. The Jewish Targum interprets the content of the Song of Songs as describing the relationship between Yahweh and Israel; Martin Luther sees it as depicting the relationship between God and the state and government; and the notes in the seventeenth-century Dutch Calvinist Bible version <em>Statenbijbel<\/em> naturally assume it to be describing the relationship between Christ the bridegroom and the Church the bride. The perspectives of Luther and the <em>Statenbijbel<\/em> notes, however, cannot be taken as interpretations, but as applications of the text, or, at most, they can be considered typology.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000In his commentary on the Song of Songs, Robert W. Jenson acknowledges that modern scholars consider the text to be about human love based on its genre and language and that it was not until later that it was interpreted allegorically to fit the canon. On the other hand, when discussing verses 6 and 7 in chapter 8, he suggests, \u201cOne poem \u2026 almost compels us to suppose that the poet did intend at least this one of the poems to be about both human lovers with each other and God with Israel; for we will see that in this passage the boundary between a secular reading and a theological reading amounts to no more than the difference between alternative resolutions of a play with mythic names that can hardly be accidental.\u201d <sup>3<\/sup><\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Actually, it is not very difficult for modern readers to embrace both natural and allegorical interpretations simultaneously. The author(s) of the Song of Songs, familiar with the myths, religions, and literary forms of Israel and its neighbors (primarily Canaanites), used purely Hebrew language and imagery. On this basis, it is entirely reasonable to imagine <em><strong>the Song of Songs as a secular celebration of love between men and women, with the authors naturally associating it with God\u2019s passionate love for the people of Israel, using it as a blueprint or the source for comparison (\u201cbi\u201d) or affective image (\u201cxing\u201d) <\/strong><\/em>.<sup>4<\/sup> This means that allegory could exist not only at an interpretive level (text \u2192 interpretation) but also at the creative level (author \u2192 text) This, in a sense, can also serve as a kind of footnote to 1 John 4:19: \u201cWe love because he first loved us.\u201d<\/p><h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong>Interpretation of the <em>Book of Songs<\/em><\/strong><\/h3><p align=\"\u201cjustify\u201d\">\u3000\u3000The <em>Book of Songs<\/em> (<em>Shijing<\/em>), also known as the <em>Classic of Poetry<\/em>, is one of the earliest classic books in Chinese literature. The ancient commentaries on the <em>Book of Songs<\/em> are the Mao Poetry (<em>Mao shi<\/em>), the Lu Poetry (<em>Lu shi<\/em>), the Qi Poetry (<em>Qi shi<\/em>), and the Han Poetry (<em>Han shi<\/em>), all compiled in the Han Dynasty. The Mao Poetry was annotated and passed down by Mao Heng of Lu, and the others, collectively known as Three Schools\u2019 Poetry, were passed down by Shen Pei of Lu, Yuan Gu of Qi, and Han Ying of Yan respectively.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Both the Mao Poetry and the Three Schools\u2019 Poetry were completed during the Han Dynasty. In comparison with contemporary readers, Han scholars enjoyed the advantage of being closer to the language, history, and texts of the original <em>Book of Songs<\/em>. However, it is still important to consider the following issues: first, if the claimed meaning cannot be discerned from the explanation of words and the context of the passage, then there is no \u201cinternal evidence\u201d; second, if the events mentioned in the poetry have no historical evidence or, even if they have, cannot be related to the text itself, then there is no \u201cexternal evidence.\u201d Those interpretations lacking both internal and external evidence can be considered speculations of both Mao and the Three Schools\u2019 commentators, and such speculations of the Han Confucians hold no more value than modern conjecture. The following analysis, which focuses on the first love poem \u201cFishhawks\u201d from the <em>Book of Songs<\/em>, also confronts the interpretive dilemma between natural and allegorical readings.<\/p><h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong> \u201cFishhawks\u201d: Allegorical or Natural Reading? <\/strong><\/h3><blockquote><p>The fishhawks sing <strong>gwan gwan<\/strong><br \/>on sandbars of the stream.<br \/>Gentle maiden, pure and fair,<br \/>fit pair for a prince.<\/p><p>Watercress grows here and there,<br \/>right and left we gather it.<br \/>Gentle maiden, pure and fair,<br \/>wanted waking and sleep.<\/p><p>Wanting, sought her, had her not,<br \/>waking, sleeping, thought of her,<br \/>on and on he thought of her,<br \/>he tossed from one side to another.<\/p><p>Watercress grows here and there,<br \/>right and left we pull it.<br \/>Gentle maiden, pure and fair,<br \/>with harps we bring her company.<\/p><p>Watercress grows here and there,<br \/>right and left we pick it out.<br \/>Gentle maiden, pure and fair,<br \/>with bells and drums do her delight. <sup>5<\/sup><\/p><\/blockquote><p align=\"\u201cjustify\u201d\">\u3000\u3000From the words, it is clear that this is a poem about unrequited love. Modern commentators Cheng Junying and Jiang Jianyuan in their <em>Annotation<\/em> <em>and<\/em> <em>Analysis of Shijing<\/em> (<em>Shijing Zhuxi<\/em>) describe its theme as the imagination of a nobleman experiencing unrequited love. But how can it be considered proper to place such a poem of unrequited love at the beginning of the <em>Book of Songs<\/em>? For the Han Confucians Mao and the commentators from the Three Schools, it was intolerable\u2014how could the former emperors \u201cuse this to smooth out the ways of husband and wife, cultivate filial piety and respect, enhance human morality, improve indoctrination and change (undesirable) customs\u201d (<em>Mao Preface<\/em>)? If it is unacceptable to say it is \u201cnaturally\u201d a love poem, an \u201callegorical\u201d interpretation must be adopted. But then what could the allegory be? All three schools described \u201cFishhawks\u201d as a \u201csatirical poem,\u201d while Mao described it as a \u201cpraise poem.\u201d In <em>A Compilation of Three Schools of Commentaries on Shijing<\/em> (<em>Shi Sanjia Yi Jishu<\/em>), written by Wang Xianqian of the Qing Dynasty, Mao\u2019s interpretation was even criticized as \u201chiding the satire and highlighting the praise.\u201d<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Let\u2019s talk about \u201cpraise\u201d first. It means praising \u201cthe virtuous attainment of the Queen Consort.\u201d Thus, the \u201cgentle maiden\u201d in the poem refers to the Queen Consort. But what are we going to say about the feelings of admiration that cannot be erased from the text? According to Mao Poetry, the Queen Consort longs for a virtuous woman. If we read it this way, then \u201cgentle maiden\u201d could also refer to the person the Queen Consort pines for, the person with whom the Queen Consort cannot wait to serve her husband. Such a Queen Consort truly deserves the description \u201cgentle maiden\u201d!<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Then comes \u201csatire.\u201d Who is being satirized? Who is doing the satirizing? This interpretation mainly comes from the Lu Poetry of the Three Schools, suggesting that King Kang of the Zhou Dynasty was criticized by many for waking up late one day. Some say the criticism came from the consorts; others say the consorts disliked King Kang\u2019s late rising, and those staying around seized the opportunity to criticize; still others suggest that King Kang\u2019s late rising was due to his indulgence in the Queen Consort, making other consorts, officials, and people all potential critics. If this is truly the subject of the poem\u2019s satire, then what kind of language should we expect to see in the text? According to the style of Bai Juyi\u2019s \u201cSong of Lasting Pain,\u201d it might be said, \u201cThe nights of spring seem all too short, our king avoids daybreak court.\u201d One may argue that the <em>Book of Songs<\/em> predates Bai Juyi\u2019s work and that criticism would not be so direct, making it as roundabout as the text itself to the point where no one can discern the critique. At that point, it becomes unconvining because there are far too many examples in the three hundred poems of the <em>Book of Songs<\/em> with even more direct criticisms.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000Both allegorical interpretations mentioned above might not be valid. The discussion focusing on \u201cpraise\u201d is far removed from the text and cannot conform to internal evidence. As for the discussion focusing on \u201csatire,\u201d it cannot even be called an allegorical interpretation but rather a search for hidden meanings. What is more, the Lu Poetry\u2019s suggestion that the text indirectly refers to King Kang\u2019s late rising simply cannot be linked to the text itself, hence lacking external evidence.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000However, even if we abandon allegorical interpretations and adopt a natural approach to interpreting the text as a love poem, there are still a number of problems. A notable difficulty is the mention of musical instruments in the poem. It\u2019s one thing for the consort to think of a virtuous woman while playing the zither or harp in her chamber, but bells and drums (\u201czhong-gu\u201d) are only used in religious rituals. Wang Xianqian notes that when the Han Poetry reads this as \u201cgu-zhong,\u201d instead of \u201czhong-gu,\u201d it poses no problem then; \u201cgu\u201d being a verb, \u201cgu-zhong\u201d means \u201cstriking a bell.\u201d Nobles could use instruments like bells and stone chimes in their chambers, not necessarily for rituals. How should we view his argument? From a negative perspective, if \u201cgu\u201d is a verb, \u201cgu-zhong\u201d and \u201cqin-se\u201d (\u201charps\u201d; literally, zithers and harps) are not parallel structures then; in any case, we cannot say \u201cqin\u201d is also a verb, meaning \u201cto play\u201d or \u201cto drum\u201d the zither, can we? From an affirmative perspective, if \u201cgu-zhong\u201d is established as correct, it could not only resolve the interpretive challenge of \u201cthe consort thinking of a virtuous woman,\u201d but also address the problem arising from the interpretation supported by Cheng Junying and Jiang Jianyuan of \u201ca nobleman\u2019s unrequited love\u201d: whether it\u2019s the consort or the nobleman, unrequited love is unrequited love, hardly requiring the grandeur of a ritual, while a young nobleman playing music at home to express his longing is perfectly reasonable.<\/p><h3 class=\"has-text-color\" style=\"color: #235ba8; font-size: 24px;\"><strong>Conclusion<\/strong><\/h3><p align=\"\u201cjustify\u201d\">\u3000\u3000In interpreting the Song of Songs 8:5-7a, we can embrace both literal and allegorical interpretations without any conflict\u2014the two harmoniously coexist. Allegory can be built upon a literal interpretation (text \u2192 interpretation), comparing the text\u2019s depiction of the love between men and women to the love between God and humans\/the Kingdom\/the Church. Allegory can also be included at the creative level (author \u2192 text), as we can reasonably speculate that the author(s) of the love poems, who were very familiar with the love between Yahweh and Israel in the covenant, intentionally used this as a comparison while writing about male-female love.<\/p><p align=\"\u201cjustify\u201d\">\u3000\u3000However, in reading the mentioned commentaries on \u201cFishhawks,\u201d we cannot accept the allegorical interpretations. Whether analyzing the main idea from the perspective of \u201cpraise\u201d or from that of \u201csatire,\u201d neither can be supported by the text. This shows that Mao\u2019s and the Three Schools\u2019 interpretations are just being \u201cread into\u201d (imposed on) the text, far from the standards of internal and external evidence. Thus, the theme of \u201cFishhawks\u201d can only be the unrequited love of a nobleman that we naturally \u201cread out\u201d from the text. The allegorical \u201cpraise\u201d and the search for hidden \u201csatire\u201d are products of Han Confucian ideology.<\/p><h3 class=\"has-text-color\" style=\"color: #808080; font-size: 10px;\">____________________________________________<\/h3><p style=\"font-size: 14px;\"><sup>1<\/sup> F. Scott Spencer, <em>Song of Songs<\/em> (Collegeville: Liturgical, 2017), 213.<br \/><sup>2<\/sup> Tremper Longman III, <em>Song of Songs<\/em>, NICOT (Grand Rapids: Eerdmans, 2001), 211.<br \/><sup>3<\/sup> Robert W. Jenson, <em>Song of Songs<\/em>, Interpretation (Louisville: Westminster John Knox, 2005), 7.<br \/><sup>4<\/sup> \u201cFu\u201d (exposition), \u201cbi\u201d (comparison), and \u201cxing\u201d (stirring\/affective image) are the three rhetorical skills mainly used in <em>Shijing<\/em> (the <em>Book of Songs<\/em>). \u201cBi\u201d is a simile and \u201cxing\u201d is an image that is supposed to stir emotions.<br \/><sup>5<\/sup> Stephen Owen, ed. and trans., <em>An Anthology of Chinese Literature: Beginnings to 1911<\/em> (New York: W. W. Norton, 1996), 30-31.<\/p><p><!-- \/wp:paragraph --><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Curie Qu Assistant Professor of Christian Thought Interpretation of Song of Songs The Song of Songs is a book that is rarely preached on the worship platform because of its straightforward and explicit expression of love between men and women. However, it is widely sung in weddings, celebrations, banquets and other occasions in Israelite society, which forms a sharp contrast. Since ancient times, there have been two opposing interpretations of the Song of Songs: &quot;allegorical interpretation&quot; and &quot;natural interpretation&quot;. It is a matter of opinion whether the interpretation strategies proposed by past and contemporary commentators are right or wrong, which is beyond the scope of this article. Below, we will only discuss some interpretation issues in the climax of Song of Songs, chapter 8, verses 5 to 7. Interpretation of Song of Songs 8:5-7a 5 Who is this who comes up from the wilderness, leaning against her lover? I woke you under the apple tree, where your mother conceived you, where she who gave birth to you was in labor pains. 6 Set me as a seal upon your heart, and as a seal upon your arm; for love is strong as death; jealousy is as steadfast as the grave; its flames are the flames of fire, a very fierce flame. 7 Many waters cannot quench love, nor can floods drown it. (New Translation) These verses closely intertwine love with life and death, and the two are inseparable. Why is love always intertwined with life and death? Because love is the most intense emotion of human beings, and death is the limit of life; to express the most intense emotion, it is necessary to compare it to the state of life pushed to the extreme. Verse 5 is a woman expressing her love to a man, and the scene even has sexual connotations (the fragrance of the apple tree), and specifically mentions the pain of giving birth to children. Then in verse 6, the woman asks the man to possess her completely, like a seal on the heart and on the arm. Complete possession is a two-way relationship. If one party says I am your wife, it also means that you cannot have other wives. The seal has a second meaning. At that time, it was widely popular to put a seal on the grave so that the dead could enter the underworld. This is like an ID card for the underworld. The seal here is likely to express the continuation of the identity before death - especially the identity of each other as husband and wife - after death. The next sentence is the most well-known sentence in the entire Song of Songs - &quot;Love is as strong as death.&quot; The two images of &quot;love&quot; and &quot;death&quot; are entangled together, which is shocking. Feminist Bible scholar F. Scott Spencer said: &quot;Love is the best rival of death; by giving meaning, perfection, elevation, and transcendence, love can redeem our fragile life.&quot; 1 The next sentence &quot;jealousy is as strong as the underworld&quot; is &quot;jealousy as cruel as the underworld&quot; in the Union Version. Does the &quot;jealousy&quot; here refer to jealousy and exclusivity in love, or does it refer to something else? Tremper Longman III, in his commentary on the Song of Songs, says: \u201cThe Bible indicates that jealousy is a legitimate response only in two relationships.\u201d2 These are \u201cthe relationship between God and man\u201d and \u201cthe relationship between man and man.\u201d<\/p>","protected":false},"author":148,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[261],"tags":[],"class_list":["post-67788","post","type-post","status-publish","format-standard","hentry","category-261"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u96c5\u6b4c\u8207\u300a\u8a69\u7d93\u300b\u4e2d\u611b\u60c5\u8a69\u7684\u8a6e\u91cb\uff1a\u4ee5\u96c5\u6b4c\u516b\u7ae05\u81f37\u7bc0\u548c\u3008\u95dc\u96ce\u3009\u70ba\u4f8b - \u9999\u6e2f\u6d78\u4fe1\u6703\u795e\u5b78\u9662<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.hkbts.edu.hk\/en\/?p=67788\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u96c5\u6b4c\u8207\u300a\u8a69\u7d93\u300b\u4e2d\u611b\u60c5\u8a69\u7684\u8a6e\u91cb\uff1a\u4ee5\u96c5\u6b4c\u516b\u7ae05\u81f37\u7bc0\u548c\u3008\u95dc\u96ce\u3009\u70ba\u4f8b - \u9999\u6e2f\u6d78\u4fe1\u6703\u795e\u5b78\u9662\" \/>\n<meta property=\"og:description\" content=\"\u74a9\u7406 \u57fa\u7763\u6559\u601d\u60f3\u52a9\u7406\u6559\u6388 Curie Qu Assistant Professor of Christian Thought 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