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A. The beloved praises the appearance and character of the maiden. 1. ( Sng 4:1-5) The beloved praises the appearance of the maiden. Behold, you are fair, my love! Behold, you are fair! You have dove's eyes behind your veil. Your hair is like a flock of goats, Going down from Mount Gilead.
New International Version. She[ a] 2 I am a rose[ b] of Sharon, a lily of the valleys. He. 2 Like a lily among thorns. is my darling among the young women. She. 3 Like an apple[ c] tree among the trees of the forest.
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Song of Songs (Cantique des Cantiques) by Gustave Moreau, 1893 The Song of Songs (Biblical Hebrew: שִׁיר הַשִּׁירִים , romanized: Šīr hašŠīrīm; Greek: Άσμα Ασμάτων; Latin: Canticum Canticorum), also called the Canticle of Canticles or the Song of Solomon, is an erotic poem, one of the five megillot ("scrolls") in the Ketuvim ('writings'), the last section of ...
22. Song of Songs 4 (abbreviated [where?] as Song 4) is the fourth chapter of the Song of Songs in the Hebrew Bible or the Old Testament of the Christian Bible. [1] [2] This book is one of the Five Megillot, a collection of short books, together with Ruth, Lamentations, Ecclesiastes and Esther, within the Ketuvim, the third and the last part of ...
Mar 15, 2021 · The Story. “Lily” is – or “was” – “a little girl”. She grew up in a sheltered environment, i.e. “within her castle walls”. However, she was bored of such an existence and/or curious of the outside world. So occasionally she tried to run away. And then one evening she did in fact succeed at this goal.
The Lily among the Thorns and the Apple Tree in the Forest - The Beloved to Her Lover: I am a meadow flower from Sharon, a lily from the valleys. The Lover to His Beloved: Like a lily among the thorns, so is my darling among the maidens. The Beloved about Her Lover: Like an apple tree among the trees of the forest, so is my beloved among the young men. I delight to sit in his shade, and his ...
ʾ poetry (on which see ch. 4, p. 149–50) accounts for the presence of such language in the Song of Songs. For other relevant passages, see 3:7-8; 4:4; 6:4, 12, 7:5; 8:9–10. 10. This is the first of many passages in the poem that extol the female lover but that, in light of . hijā. ʾ technique, are to be understood as satrirical praise ...
