O poema de amor mais antigo do mundo- A Canção das Canções

מַ֣יִם רַבִּ֗ים לֹ֤א יֽוּכְלוּ֙ לְכַבּ֣וֹת

אֶת־הָֽאַהֲבָ֔ה

וּנְהָר֖וֹת לֹ֣א יִשְׁטְפ֑וּהָ כְּשׁוֹשַׁנָּה בֵּין הַחוֹחִים

כֵּן רַעְיָתִי בֵּין הַבָּנוֹת

אָנָה הָלַךְ, הָלַךְ דּוֹדֵךְ

הַיָּפָה בַּנָּשִׁים

מגילת שִׁיר הַשִּׁירִים (בראשי תיבות: שה"ש) היא הראשונה בקובץ חמש מגילות שב"כתובים" בתנ"ך. המגילה היא סדרה של שירי אהבה בין בני זוג, גבר ואישה, הפונים זה אל זו. במסורת חז"ל נתפרשו שירים אלה באופן אלגורי, כמשל ליחסי עם ישראל ואלוהיו. במסורת הנוצרית מופיע פירוש אלגורי דומה, הרואה במגילה דימוי ליחסי ישו והכנסייה הנוצרית. מגילת שיר השירים השפיעה רבות על השירה העברית כמו גם על הספרות העולמית.

 

𝙇𝙮𝙧𝙞𝙘𝙨 

𝘔𝘢𝘯𝘺 𝘸𝘢𝘵𝘦𝘳𝘴 𝘤𝘢𝘯𝘯𝘰𝘵 𝘲𝘶𝘦𝘯𝘤𝘩 𝘭𝘰𝘷𝘦,

𝘯𝘦𝘪𝘵𝘩𝘦𝘳 𝘤𝘢𝘯 𝘵𝘩𝘦 𝘧𝘭𝘰𝘰𝘥𝘴 𝘥𝘳𝘰𝘸𝘯 𝘪𝘵 (8, 7)

𝘈𝘴 𝘢 𝘭𝘪𝘭𝘺 𝘢𝘮𝘰𝘯𝘨 𝘵𝘩𝘰𝘳𝘯𝘴,

𝘴𝘰 𝘪𝘴 𝘮𝘺 𝘭𝘰𝘷𝘦 𝘢𝘮𝘰𝘯𝘨 𝘵𝘩𝘦 𝘥𝘢𝘶𝘨𝘩𝘵𝘦𝘳𝘴 (2, 2)

𝘞𝘩𝘪𝘵𝘩𝘦𝘳 𝘪𝘴 𝘵𝘩𝘺 𝘣𝘦𝘭𝘰𝘷𝘦𝘥 𝘨𝘰𝘯𝘦,

𝘖 𝘵𝘩𝘰𝘶 𝘧𝘢𝘪𝘳𝘦𝘴𝘵 𝘢𝘮𝘰𝘯𝘨 𝘸𝘰𝘮𝘦𝘯? (6,1)

The Song of Songs also Song of Solomon is one of the megillot (scrolls) found in the last section of the Tanakh, known as the Ketuvim. It is unique within the Hebrew Bible: it shows no interest in Law or Covenant or the God of Israel, it celebrates passionate love, giving "the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy . The two are in harmony, each desiring the other and rejoicing in sensual intimacy; the women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic encounters facilitates the participation of the reader. In modern Judaism the Song is read on the Sabbath during the Passover, which marks the beginning of the grain-harvest as well as commemorating the Exodus from Egypt. Jewish tradition reads it as an allegory of the relationship between God and Israel, Christianity as an allegory of Christ and his bride, the Church.

 

Song of songs. The song of Solomon. fifth or fourth century comprises a collection of profane love songs and epithalamia.

Song of songs - Many waters cannot quench love نَشِيدُ الأَنَاشِيدِ - مِيَاهٌ كَثِيرَةٌ لاَ تَسْتَطِيعُ أَنْ تُطْفِئَ الْمَحَبَّةَ

 

The Song of Songs stands alone within the biblical canon: a highly sensual book within the body of sacred Scripture, a love song to an unknown lover, rich with enigmatic, evocative images that tease the senses even as they confound them. It is a slippery text that resists all simple readings, and even as it weaves together phrases that resonate with other biblical passages it stands apart from them. This loveliest, most enigmatic poem of the Hebrew Bible inspired later poets. Perhaps most famously, its language colors, the lyrics (sacred and otherwise) of the great medieval Andalusian poets: Solomon ibn Gabirol, Abraham ibn Ezra, and Judah Halevi among them. a question that might rise: Is it a religious work, or a secular text, or were such distinctions meaningless in the world of antiquity? 

While in recent decades the question of the Song’s sacred or profane nature has been hotly debated, for most of the last two millennia the answer to this question has seemed obvious: the Song is in the Bible, ergo it must be “religious.” Indeed, the second-century Jewish sage, Rabbi Akiva, described the Song of Songs as the holiest of scriptures, saying that “all the scriptures are holy but the Song of Song is the holy of holies” The Song of Songs has a long history of being read as a religious text, but “secular” readings of the work (or, more precisely, interpretations that do not assume the text is a religious allegory) are also possible, and in recent decades have become common.