The Song of Songs was considered as Sacred Scripture before the Christian Era. The Pharisaic discussion in the 2nd century C.E. as to whether the Canticle defiles the hands refers neither to canonicity nor to inspiration; it expresses a doubt as to whether for any reason whatever in the text an exception could be applied to the Song with regard to the general rule that sacred books defile the hands. The copy of Esdras in the Temple was such an exception. (...) The reason for the presence of the Song of Songs in the Canon is not based on its author , nor on any allegorical explanation . The reason for canonicity can be seen in the sapiential character of the Song which shows itself in its literal sense that presents the natural love of a couple in all its amplitude and that by analogy can be referred also to the love of God. (shrink)

This is the first translation of the Magnificat into the Palestinian Aramaic of the time and it casts some light on several features of the hymn which steeped in the biblical culture, but differs from the MT and LXX in the details of its modes of expression, showing at the same time the peculiarity of the composer. The hypothesis of the Aramaic background behind it seems to be the best choice to explain the sometimes irregular Greek, and other striking parts (...) that often confront the exegete; and such an Aramaic chant fits in well with the contents and forms of the prayers of the time, and with requirements of poetry. All its lines together make up one ode to God sung by a woman, who praises his mighty deeds and his way of acting in history, mainly with the haughty and the humble of heart and with the people of the Lord. (shrink)

The cultural background of the nard and its mention in connection with the Sulamite in the Song of Songs helps to understand Mary's gesture of anointing Jesus' feet . This was in thanksgiving for the resurrection. The nard as an exotic and strong aromatic plant acts mainly as a metaphor for life, love and value, confirmed by the symbolic values of the other plants mentioned with it in the Song . Special reference is made to its presentation as pistitós and (...) to its economic worth. John insists that the unction was performed on Jesus' feet; and this is the right way of anointing a man reclined for a banquet, while a previous anointing of the head remains plausible. The wiping up of the perfume on Mary's part hints to her participation in Jesus; both are defined by the significance of the nard. The nard was not used in any rite of kingship, nor for burial. And so Jesus' words referring to the poor and his burial are interpreted as an ironic reproach to Judas' criticism, and not as an explanation of Mary' gesture. The difficulty of combining the mention of some oil remaining for the future when all seems already poured out is solved by applying the narrative technique of presenting synchronicity and simultaneity. (shrink)