patristicБиблия и христианская древностьBible and Christian Antiquity2658−78152713-1122Московская духовная академия10.31802/BCA.2020.7.3.005patristic-342Research ArticleИССЛЕДОВАНИЯ. Библия, экзегеза, герменевтика, филологияRESEARCHES. Bible, exegesis, hermeneutics, philologyЗаметки о том, как читать Песнь песнейNotes on How to Read the Song of SongsЭйделькиндЯ.EidelkindY.

Яков Эйделькинд, независимый исследователь

Yakov Eidelkind, independent researcher

y.eidelkind@gmail.com20201503202603163196Copyright © Эйделькинд Я., 20262026Эйделькинд Я.Eidelkind Y.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.patristic.ru/jour/article/view/342

Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъективным интерпретациям. Последние вполне законны, пока не претендуют на то, чтобы быть единственно верными. Три контекста помогают понять Песнь песней: древний культурный контекст, более узкий контекст Ветхого Завета и контекст лирической традиции от древности до наших дней.

This article is an attempt to formulate some principles of reading the Songs of Songs that would take into account its genre and poetic features. Being a collection of lyric poetry, the Song of Songs works primarily with sound and has no plot. An important role in its composition plays the principle of diversity and contrast. A serious tone gives place to a humorous one, and vice versa. Female voices alternate with male ones; gender stereotypes in some cases retain their power, but in others are subverted. Sexual physiology, contrary to a widespread belief, is not in the foreground — much more important are emotions. This fact belies both “spiritual” and “carnal” readings. The Song of Songs involves an identification of the reader with the lyrical speaking voice and provokes subjective interpretations. These are legitimate as long as they do not pretend to be the only true ones. Three contexts help to understand Song of Songs: ancient cultural context, a narrower Old Testament context and the context of the lyrical tradition from antiquity to the present day.

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The authors declare that there are no conflicts of interest present.