Returning the King and the Women to the Beginning of the Song of Songs.
The male lover portrayed in Song 1:2–4 was once ubiquitously considered to be a king. Recent interpreters, however, have understood the word "king" to be either a hypocorism (a nickname of affection) or an epithet for a "bridegroom." Earlier interpretation also recognized a group of women in the ope...
| Publicado en: | Journal of Biblical Literature Vol. 143; no. 1; pp. 27 - 47 |
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| Formato: | Artículo |
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Society of Biblical Literature
2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176580444&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176580444 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00219231 JBL jtl: Journal of Biblical Literature issn: 00219231 maglogo: N pubinfo: dt: 2024 vid: 143 iid: 1 pid: 11433 pub: Society of Biblical Literature artinfo: ui: 176580444 10.15699/jbl.1431.2024.2 ppf: 27 ppct: 20 formats: fmt: @attributes: type: P size: 232KB tig: atl: Returning the King and the Women to the Beginning of the Song of Songs. aug: au: Fernandes, Gavin affil: University of Pretoria, Hatfield, Pretoria, 0002, South Africa London School of Theology, Middlesex University, London NW4 4BT, United Kingdom su: Theology Assyro-Babylonian poetry Enallage Old Testament Bible. Song of Solomon sug: subj: Theology Assyro-Babylonian poetry Enallage Old Testament Bible. Song of Solomon ab: The male lover portrayed in Song 1:2–4 was once ubiquitously considered to be a king. Recent interpreters, however, have understood the word "king" to be either a hypocorism (a nickname of affection) or an epithet for a "bridegroom." Earlier interpretation also recognized a group of women in the opening scene, but this too is disappearing today. To address these exclusions, I present a close analysis of the grammar and offer an alternative perspective to what is identified as enallage (a substitution of one grammatical form for another) but which also inadvertently suppresses the women's presence. Next, I investigate how the Song's "king" became denuded of his royal meaning, including through a reliance on some dubious interpretations of Akkadian poetry. I also explore literary themes in the Hebrew Bible—women's celebratory praise and a hitherto undiscovered case of subtle soundplay called "hidden paronomasia"—to show why the Song's "king" should be understood as a royal personage. Finally, by comparing this scene in the Song to the Sumerian love poem Dumuzi-Inanna G, I show how the Song opens with a prominent ancient Near Eastern motif of love literature—the entrance or bringing of the royal consort into the palace, lauded by a group of rejoicing women. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Biblical Literature is the property of Society of Biblical Literature and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Biblical Literature holder: Society of Biblical Literature dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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