Timothy H. Robinson, ed. <i>A Companion to the Song of Songs in the History of Spirituality</i>

A Companion to the Song of Songs in the History of Spirituality is a volume within Brill’s Companions to the Christian Tradition. Timothy H. Robinson both edits and contributes a chapter to the book under review. Alongside Robinson, the volume includes specialists of the Song of Songs, able to contribute quality scholarly chapters from a variety of expertise, for example, Jewish studies and spirituality studies.The book consists of an introduction, eleven chapters, and an epilogue. The eleven chapters are individual contributions about how Song has been interpreted, and they do not intend to provide the meaning of Song (p. 2). Each chapter is quite different in focus, but the reader will find that they progress close to chronological order. This almost chronological order gives the volume a sense of unity. The introduction provides a bird’s-eye view of interpretation of Song, discusses hesitance in modernity to the allegorical tradition, explores the renewed interest for the premodern interpretations, and gives a walkthrough of the volume’s layout. In addition, the introduction contains approximately half-page summaries for each chapter.Emily R. Cain wrote chapter 1, “Mystical Wounds: Eastern Patristic Authors on the Song of Songs.” Establishing the rough chronological order, chapter 1 covers approximately 180–500 AD (p. 18) and discusses key figures such as Origen and Gregory of Nyssa. Cain’s conclusion concerns Origen’s influence in the interpretation of Song, focusing on similarities and differences with Gregory’s interpretation.Karl Shuve contributed “A Garden Enclosed, a Fountain sealed: The Song of Songs and Ritual Purity in Early Latin Christianity” for the second chapter, focusing roughly on the third and fourth century. Shuve examines Latin authors, including the influence of Greek authors, later translated into Latin, such as Origen. Although Latin authors composed few prominent commentaries, Latin scholars used interpretation of Song to speak to controversies and the church/believer’s identities (p. 69).Hannah H. Matis provided chapter three, “The Song of Songs in Early Middle Ages: From Gregory the great to the Gregorian Reform,” examining the interpretation of Song from approximately the fifth to tenth century. Mattis notes that Song was still predominantly interpreted as a description of the Church and Christ, but Song was beginning to be applied to individuals. Also, Mattis finds that Song was not yet a text “distinctively ‘monastic spirituality’” at this time (p. 100).Chapter 4 is Catherine Rose Cavadini’s contribution, “The Cistercian Song: Reception of Bernard of Clairvaux’s Exegesis in Later Cistercian Interpretations of the Song of Songs.” Cavadini’s chapter gives a thorough analysis of the singular key person, Bernard of Clairvaux and his interpretation of Song. The author observes the focus of Song on Cistercian life and the personal experience of God (p. 101).Suzanne LaVere contributed “The Song of Songs as a Call to Action: Scholastic Interpretation in the High Middle Ages.” LaVere covers the High Middle Ages, approximately 1100–1250 AD, which includes main characters such as Anselm, the Glossator, Stephen Langton, and Peter the Chanter. LaVere observes that a pastoral interpretation of Song was predominate throughout this time, opposing the less notorious monastic interpretations running concurrently (p. 156).In chapter 6, Ann W. Astell examines “The Song of Songs in Aelred of Rievaulx’s Liturgical Preaching” (1110–1167). Astell observes that Aelred preached Song regardless of whether it was specified for teaching on the ecclesiastical calendar (p. 163). Astell proposes that examples of “medieval liturgical sermons” may inspire contemporary preaching (p. 163).Jason Kalman wrote chapter 7, “The Beautiful Men of the Song of Songs? Replacing and Erasing the Female Beloved in Ancient and Medieval Jewish Interpretation.” Kalman’s provocatively titled chapter examines texts from the sixth to eight centuries, for example, the Targum and Midrash, and he finds that commentators frequently interpreted the female metaphors as describing men.“Women Interpreting the Song of Songs: 1150–1700” by Bernard McGinn continues the thematic focus on women chronologically in chapter 8. McGinn observes that Christians viewed Song “predominantly [as] a male prerogative down to modern times,” making it improbable for women to write on Song for approximately the first half of the existence of the Church (p. 249). The chapter gives attention to women mystics and their commentary on Song.Mark S. Burrows authored “Abandonment and Abundance in John of the Cross’s Spiritual Canticle the Poet as the Writer of New Scripture.” John’s Spiritual Canticle is a “40-stanza poem in the form of a rewriting, or ‘revision,’ of [Song]” (p. 276). Burrows observes that the work of John had not explained the text but was an investigation of “the ‘abundance’ of experiences” he had when he created the poem (p. 287).Rabia Gregory wrote chapter 10, “Visual Exegesis of the Song of Songs in European Art.” Gregory deals not with written text on Song but artwork, such as, painting and embroidery. Gregory observes that the visual pieces convey how the creators exegeted Song, for example, either “more explicitly sensual” or “religiously inclusive” (p. 324).Timothy H. Robinson contributed “The Banquet of Love: The Song of Songs in Reformed Sacramental Piety: 1586–1729.” Concerning the reformed scholars, Robinson makes observations about Isaac Watts, Elizabeth Clarke, John Preston, Richard Sibbes, and others. Robinson notes that despite the Reformed and Puritan’s desires to chart a fresh path, they were influenced by traditional interpretations and struggled like all interpreters to find meaning from Song for the spiritual and political lives of their time (p. 357).A Companion to the Song of Songs in the History of Spirituality brings together a wonderful collection. Each chapter presents a unique study on the history of interpretation of Song, while still feeling united as a volume. This book is primarily for fellow scholars of the Song; yet, preachers should consider using this book due to the complexity of teaching Song from the pulpit. Despite being a technical volume, it can bring benefit to the diligent reader, likely best for those with seminary or equivalent training. For pastors, the volume will provide a rich history on the interpretation of Song. Moreover, by reading the historical interpretations, pastors will likely foster a compassionate heart toward alternate interpretations from their own.For scholars, many will find that the book provides a unique collection on the history of interpretation. Several entries discuss influences or root causes on interpretation beyond the dichotomy of allegorical versus literal interpretation. Two contributions optimize both the benefit of perspective and the unique in-depth entry for the scholar: Shuve’s contribution for chapter 2 and Kalman’s for chapter 7. Shuve exposes an interpretation of Song that is lost to time, and one that begins with a debate about rebaptism (p. 45). At one time, this forgotten reading led to one group believing that the singular church of Africa was the enclosed garden of Song, enabling only that true church to perform the sacraments rightfully (pp. 49–50). Kalman’s entry showcases the influence of a masculine Jewish perspective on interpreting Song. As seen above, the root causes or culture behind the interpretations are examined, providing an in-depth insight. Besides the two major benefits, scholars may also appreciate the ability to see trends depicted across the volume. Using the examples just covered, Kalman’s analysis of the portrayal, or lack thereof, of females of Song in ancient and medieval Jewish interpretation occurs nearly 300 years after the Shuve’s analyzed time period. Last, this volume furthers the study of Song by focusing on and studying root causes behind historical trends in interpretation. Researchers will have an opportunity to further historical research in a similar vein or assess how modern cultural worldview influences the interpretations and compare with historical trends. Thus, A Companion to the Song of Songs in the History of Spirituality is first commended to scholars and, second, is recommended to preachers.