O panorama
Cânticos 5 abre com “I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice…”, muda perto do versículo 8 com “I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I…” e termina com “His mouth is most sweet: yea, he is altogether lovely. This is my beloved, and this is…”. Esses pontos traçam o movimento próprio do capítulo, da abertura à conclusão.
A Escritura ao lado do resumo
Cânticos · Versão King James · 16Cânticos 5:1-8
Versículos 1–8: I am come into my garden, my sister, my spouse: I have gathered my myrrh…
Cânticos 5:1–8 abre com “I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have…” e chega a “I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I am sick…” no último versículo. Esse percurso desenvolve Perceba onde sofrimento, desejo, injustiça, dúvida ou os limites da sabedoria impedem conclusões superficiais em Cânticos.
Contexto que dá vida à passagem
Este bloco contém 1 perguntas. Elas não são simples pontuação: mostram onde uma voz procura, desafia, teme ou tenta compreender.
“I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with…” Os termos próprios desta linha incluem drink, abundantly, beloved. A relação com os versículos 2 permite verificar sua função na passagem.
“I have put off my coat; how shall I put it on? I have washed my feet; how shall I defile them?” A pergunta desacelera a passagem. Observe quem precisa responder, o que ela pressupõe e se as linhas seguintes apresentam uma resposta.
“I rose up to open to my beloved; and my hands dropped with myrrh, and my fingers with sweet smelling myrrh, upon the…” Os termos próprios desta linha incluem myrrh, beloved, dropped. A relação com os versículos 4 e 6 permite verificar sua função na passagem.
Cânticos 5:1-8
Versão King James1I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, O friends; drink, yea, drink abundantly, O beloved.
2I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night.
3I have put off my coat; how shall I put it on? I have washed my feet; how shall I defile them?
4My beloved put in his hand by the hole of the door, and my bowels were moved for him.
5I rose up to open to my beloved; and my hands dropped with myrrh, and my fingers with sweet smelling myrrh, upon the handles of the lock.
6I opened to my beloved; but my beloved had withdrawn himself, and was gone: my soul failed when he spake: I sought him, but I could not find him; I called him, but he gave me no answer.
7The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me.
8I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I am sick of love.
Cânticos 5:9-16
Versículos 9–16: What is thy beloved more than another beloved, O thou fairest among…
Cânticos 5:9–16 abre com “What is thy beloved more than another beloved, O thou fairest among women? what is thy beloved…” e chega a “His mouth is most sweet: yea, he is altogether lovely. This is my beloved, and this is my…” no último versículo. Esse percurso desenvolve Perceba onde sofrimento, desejo, injustiça, dúvida ou os limites da sabedoria impedem conclusões superficiais em Cânticos.
Contexto que dá vida à passagem
Este bloco contém 1 perguntas. Elas não são simples pontuação: mostram onde uma voz procura, desafia, teme ou tenta compreender.
“What is thy beloved more than another beloved, O thou fairest among women? what is thy beloved more than another…” A pergunta desacelera a passagem. Observe quem precisa responder, o que ela pressupõe e se as linhas seguintes apresentam uma resposta.
“His head is as the most fine gold, his locks are bushy, and black as a raven.” Nomear His mantém o relato ligado a pessoas ou lugares concretos. Acompanhe onde o nome retorna e o que muda ao redor dele.
Cânticos 5:9-16
Versão King James9What is thy beloved more than another beloved, O thou fairest among women? what is thy beloved more than another beloved, that thou dost so charge us?
10My beloved is white and ruddy, the chiefest among ten thousand.
11His head is as the most fine gold, his locks are bushy, and black as a raven.
12His eyes are as the eyes of doves by the rivers of waters, washed with milk, and fitly set.
13His cheeks are as a bed of spices, as sweet flowers: his lips like lilies, dropping sweet smelling myrrh.
14His hands are as gold rings set with the beryl: his belly is as bright ivory overlaid with sapphires.
15His legs are as pillars of marble, set upon sockets of fine gold: his countenance is as Lebanon, excellent as the cedars.
16His mouth is most sweet: yea, he is altogether lovely. This is my beloved, and this is my friend, O daughters of Jerusalem.
Detalhes que merecem atenção
A imagem de abertura
Song of Solomon 5:1 começa com “I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with…”
Onde o capítulo muda
Song of Solomon 5:9 forma uma mudança natural: “What is thy beloved more than another beloved, O thou fairest among women? what is thy beloved more than another beloved, that thou dost so charge us?”
A nota final
Song of Solomon 5:16 deixa o leitor com “His mouth is most sweet: yea, he is altogether lovely. This is my beloved, and this is my friend, O daughters of Jerusalem.”
Um caminho de palavras pelo capítulo
As palavras beloved, myrrh, sweet, gold, charge, daughters ajudam a revelar as preocupações repetidas do capítulo.
Primeiro o texto
Onde os leitores divergem
O resumo começa com o que a passagem diz e como suas partes se relacionam. Ele não presume que uma denominação já resolveu todas as questões. A dependência de uma tradição, teoria literária ou reconstrução histórica é claramente identificada.
O texto KJV aparece primeiro. As conclusões interpretativas são identificadas, e as diferenças surgem quando ajudam a explicar por que comunidades sérias nem sempre chegam à mesma resposta.
As notas interpretativas comparativas deste capítulo estão em preparação. Até que as notas revisadas estejam prontas, esta página separa o texto KJV do resumo e da aplicação sem afirmar que leitores responsáveis concordam em todas as questões.