{"slug":"tmp1430.tmp1430.opp-lat1","id":"latin:ogl-pl:tmp1430.tmp1430.opp-lat1","title":"Expositio In Canticum Canticorum Salomonis [Incertus] (Appendix VI)","title_source":"Expositio In Canticum Canticorum Salomonis [Incertus] (Appendix VI)","author":"Isidorus Hispalensis","genre":"commentary","date":"","tradition":"latin","coverage":"not-located","coverage_claim":{"status":"not-located","text":"No English translation could be identified: a language model asked twice could not name one, though it could not rule one out either. That is not proof that none exists — translations in dissertations, recent books and other modern languages are easily missed."},"publication":{"status":"machine-draft","reviewed_by":null,"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","generated":"2026-11-15T07:28:42Z","cost_usd":0.019909},"source":{"registry_id":"latin:ogl-pl:tmp1430.tmp1430.opp-lat1","work_id":"tmp1430.tmp1430.opp-lat1","edition":"ogl-pl","language":"","license":"Available under a Creative Commons Attribution-ShareAlike 4.0 International License","url":"https://github.com/OpenGreekAndLatin/patrologia_latina-dev/blob/master/data/tmp1430/tmp1430/tmp1430.tmp1430.opp-lat1.xml"},"stats":{"passages":42,"english_words":9983,"coptic_letters":0,"source_letters":38088,"commentary_units":248,"commentary_kinds":8,"derived_notes":3,"ambiguities":63,"work_notes":5,"external_links":0,"timeline":5},"summary":{"work":"tmp1430.tmp1430.opp-lat1","abstract":"The Expositio In Canticum Canticorum Salomonis is a Latin allegorical commentary on the Song of Songs transmitted among the works of Isidore of Seville but now considered spurious. Its dating is uncertain, likely early medieval, with the earliest surviving manuscript witness from the 9th century. The text follows the Song verse by verse, glossing erotic language as spiritual allegory, often interpreting the bride as the Church. Despite doubtful authorship, it influenced medieval florilegia and allegorical readings. The manuscript tradition shows scribal corruptions, complicating reconstruction. This edition lacks a critical apparatus, directing users to facsimiles for variant readings.","historical_context":"The commentary's uncertain date and place of composition reflect the fluid attribution practices of early medieval Latin exegesis. Transmitted among Isidore of Seville's works (c. 560–636), it was likely written after his lifetime, possibly in a monastic or cathedral school setting in Visigothic Spain or Carolingian Europe. The earliest manuscript witness from the 9th century suggests a Carolingian context, where Isidore's works were copied and expanded. The text's allegorical method, common in patristic and early medieval exegesis, treats the Song's erotic imagery as a figure for Christ and the Church. Its survival in a single manuscript tradition with scribal errors (e.g., 'lideles' for 'fideles') indicates limited circulation, yet its inclusion in florilegia shows it was valued for spiritual interpretation. The commentary's spurious attribution to Isidore highlights how medieval compilers associated authoritative exegesis with major patristic figures.","significance":"This commentary matters as a witness to early medieval allegorical exegesis of the Song of Songs, a book often read as a Christological and ecclesiological allegory. Its spurious attribution to Isidore illustrates medieval authorship conventions, where texts were ascribed to authoritative figures to gain credibility. The work's influence on later florilegia and allegorical readings shows its role in shaping medieval interpretations of the Song, despite its uncertain origins.","timeline":[{"date":"c. 560–636","event":"Lifetime of Isidore of Seville, to whom the commentary was later attributed."},{"date":"7th–8th c.","event":"Probable composition of the commentary, though no firm evidence exists."},{"date":"9th c.","event":"Earliest surviving manuscript witness, likely from a Carolingian scriptorium."},{"date":"Medieval period","event":"The commentary is cited in florilegia and influences allegorical readings of the Song of Songs."},{"date":"Modern era","event":"Scholarship identifies the work as spurious, placing it in an appendix of Isidore's works."}],"relations":[{"work":"Song of Songs (Vulgate)","relation":"Biblical text commented upon verse by verse.","key":"","label":null,"url":null},{"work":"Isidore of Seville, Etymologiae","relation":"Attributed to Isidore in medieval tradition, but not by modern scholarship.","key":"","label":null,"url":null},{"work":"Origen, Commentary on the Song of Songs","relation":"Shares allegorical method, though direct dependence is uncertain.","key":"","label":null,"url":null},{"work":"Bede, In Cantica Canticorum","relation":"Another early medieval allegorical commentary on the Song.","key":"","label":null,"url":null},{"work":"Glossa Ordinaria","relation":"Later medieval compilation that may draw on this commentary.","key":"","label":null,"url":null}],"external_links":[],"cautions":["The work's dating is uncertain; it may originate from the 7th–8th centuries but no firm evidence exists.","Authorship is disputed; the commentary is spurious and not by Isidore of Seville.","The text survives in a single manuscript tradition with scribal corruptions, complicating reconstruction.","This edition lacks a critical apparatus; users should consult manuscript facsimiles for variant readings."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.000461,"generated":"2026-11-15T07:28:41Z"},"links":[{"kind":"source","label":"Open Greek and Latin Patrologia Latina","url":"https://github.com/OpenGreekAndLatin/patrologia_latina-dev/blob/master/data/tmp1430/tmp1430/tmp1430.tmp1430.opp-lat1.xml"}],"checks":{"work":"tmp1430.tmp1430.opp-lat1","status":"pass","blocking":[],"warnings":[],"stats":{"passages":42,"translated":42,"commentary_passages":42,"commentary_units":248,"english_words":9983,"source_letters":37700,"commentary_kinds":8},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"info","text":"This commentary on the Song of Songs is transmitted among the works of Isidore of Seville but is now considered spurious, hence its placement in an appendix.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"dating","kind":"chronology","basis":"background","lemma":"","severity":"caution","text":"The work's dating is uncertain; it may originate from the early medieval period, but no firm evidence links it to Isidore's lifetime (c. 560–636).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"info","text":"The text survives in a single manuscript tradition, with the earliest witness likely from the 9th century, complicating reconstruction of the original.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"Despite its doubtful authorship, the commentary was occasionally cited in medieval florilegia and influenced later allegorical readings of the Song of Songs.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"caution","text":"This edition does not provide a critical apparatus for variant readings; users should consult the manuscript facsimiles for textual discrepancies.","cites":[],"named_sources":[],"dropped_cites":[]}],"derived_work_notes":[{"kind":"coverage","severity":"info","text":"No English translation could be identified: a language model asked twice could not name one, though it could not rule one out either. That is not proof that none exists — translations in dissertations, recent books and other modern languages are easily missed."},{"kind":"limit","severity":"caution","text":"The English is a machine draft produced passage by passage from the transcribed Coptic; no human has verified it. The commentary is model-written and cites only keys the pipeline could resolve."},{"kind":"register","severity":"info","text":"Register: commentary in Latin; the English keeps the liturgical formulae and the vocatives rather than normalising them."},{"kind":"structure","severity":"info","text":"Passages: 42 narrative."},{"kind":"scripture","severity":"info","text":"3 scriptural phrase match(es) noted: John 1:1; John 1:14; John 4:10."},{"kind":"source","severity":"info","text":"Source edition: ogl-pl — Available under a Creative Commons Attribution-ShareAlike 4.0 International License"}],"derived_structure":{"narrative":42},"term_index":[],"citations":{},"segments":[{"i":1,"ref":"p1","source":"APPENDIX VI.\n\nEXPOSITIO IN CANTICUM CANTICORUM SALOMONIS.\n\nCAP. I. — 1. Osculetur me osculo oris sui. Tangat me dulcedine præsentiæ suae, quem saepius a prophetis promissum audivi. Quia meliora sunt ubera tua vino. Dulcedo evangelicæ doctrinæ austeritate legali melior est. Fragrantia unguentis optimis. Donis Spiritus sancti:A chrisma Christus, id est, ab unctione unctus, quod nomen cum gratia sancti Spiritus in baptismo effunditur in omnes lideles. Ideo adolescentulæ dilexerunt te. Electorum animæ gratia baptismatis renovatae.\n\nTrahe me post te. Ut ascendentem in coelos sequar. introduxit me rex in cellaria sua. Fide in gaudia cœlestis patriae interna. Exsultabimus, et lætabimur in te memores uberum tuorum super vinum. In te, non in nnhis; memores per omnia, lidei graliam super legis esse doctrinam. Recti diligunt te. Nullus te diligit nisi rectus; et nullus est rectus nisi qui te diligit. Nigra sum, sed formosa, filiæ Jerusalem. Vox Ecclesiae de suis pressuris. Nigra in pressuris perseculionum, sed formosa in decore virtutum","english":"APPENDIX VI.\n\nEXPOSITIO IN CANTICUM CANTICORUM SALOMONIS.\n\nCHAP. I. — 1. Let him kiss me with the kiss of his mouth. Let him touch me with the sweetness of his presence, whom I have heard promised so often by the prophets. For your breasts are better than wine. The sweetness of evangelical doctrine is better than the austerity of the law. Fragrant with the best ointments. With the gifts of the Holy Spirit: A chrisma Christus, that is, anointed from anointing, which name, with the grace of the Holy Spirit, is poured out upon all the faithful in baptism. Therefore the young maidens have loved you. The souls of the elect, renewed by the grace of baptism.\n\nDraw me after you. That I may follow you ascending into the heavens. The king has led me into his cellars. Faith into the inner joys of the heavenly fatherland. We shall exult and rejoice in you, mindful of your breasts above wine. In you, not in us; mindful through all things that the grace of faith is above the teaching of the law. The righteous love you. No one loves you unless he is righteous; and no one is righteous unless he loves you. I am black, but beautiful, daughters of Jerusalem. The voice of the Church concerning her afflictions. Black in the afflictions of persecutions, but beautiful in the beauty of virtues.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"chrisma Christus","severity":"info","text":"The phrase 'chrisma Christus' glosses 'Christ' as 'anointed' (from Greek χρῖσμα), linking the name to baptismal unction with the Holy Spirit. This etymology is common in patristic and medieval Latin exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Osculetur me osculo oris sui","severity":"info","text":"This opening phrase echoes Song of Songs 1:1 (Vulgate: 'Osculetur me osculo oris sui'), the first verse of the biblical book. The commentary directly glosses the Song's erotic language as spiritual allegory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Nigra sum, sed formosa","severity":"info","text":"The phrase 'Nigra sum, sed formosa' (Song 1:4) is interpreted as the Church speaking of her afflictions and virtues. This allegorical reading of the bride's dark complexion as persecution is typical of early medieval ecclesiological exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"CAP. I. — 1.","severity":"info","text":"The passage is the opening of the commentary, beginning with chapter 1, verse 1. The structure follows the Song of Songs verse by verse, with each lemma glossed allegorically.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Appendix VI","severity":"info","text":"This text is attributed to Isidore of Seville in the OGL-PL edition but is considered spurious (Appendix VI). Its inclusion among Isidore's works reflects medieval attribution practices, though modern scholarship doubts authenticity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"lideles","severity":"caution","text":"The Latin text has 'lideles' (likely a scribal error for 'fideles'), and 'nnhis' (probably 'nobis'). These corruptions suggest a flawed manuscript tradition; the English draft silently corrects to 'faithful' and 'us'.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'lideles' is ambiguous: it may be a scribal error for 'fideles' (faithful) or a variant spelling. The reading taken is 'fideles'.","The phrase 'nnhis' is ambiguous: likely a corruption of 'nobis' (us). The reading taken is 'nobis'."],"confidence":"high","notes":[]},{"i":2,"ref":"p2","source":"Sicut tabernacula Cedar, sicut pelles Salomonis. In tentatione obscurata daemonum, formosa in mortificando desideria carnalia. Nolite me considerare, quod fuscu sim, quia decoloravit me sol. Nolite mirari, si hominibus despecta sim foris ob tentationum æstus. Filii matris meæ pugnaverunt contra me; po. suerunt me cuslodem in vineis, vineam meam non custodivi. Acerbitas filiorum Synagogæ me fecit vineam Jerosolymis non custodire, sed multarum esse vinearum, id est, Ecclesiarum per orbem custodem. Indica mihi quem diligit anima mea, ubi pascas, ubi cubes in meridie, ne vagari incipiam post greges sodalium tuorum. Indica mihi pastorem meum, quem tota meute diligo, et in quibus pascua et requiem habeat, ne, æstu tentationum turbata, per sodalium, id est, hæreticorum conventicula eum quærere incipiam.\n\nSi ignoras te, o pulchra inter mulieres, egredere, et abi post vestigia gregum tuorum. Si ignoras, te sub hujusmodi tentationum conditione mihi esse sponsatam, egredere a meo conspectu, et varios errantiurn actus sequere. Et pasce hædos tuos juxta tabernacula pastorum. Id est, perditos nutri auditores, secuta insipientium doctrinas magistrorum. Equitatui meo in curribus Pharaonis assimilavi te, amica mea. Sicut priorem populum de Ægyptio Iiberavi timore, sic te, sponsa mea, si in me confideris, liberabo inanibus minis.","english":"As the tents of Cedar, as the skins of Solomon. In the temptation darkened by demons, beautiful in mortifying carnal desires. Do not consider me, that I am dark, because the sun has discolored me. Do not wonder if I am despised outwardly by men on account of the heat of temptations. The sons of my mother have fought against me; they set me as a keeper in the vineyards, I did not guard my vineyard. The bitterness of the sons of the Synagogue made me not guard the vineyard of Jerusalem, but to be the keeper of many vineyards, that is, of Churches throughout the world. Tell me whom my soul loves, where you pasture, where you lie at noon, lest I begin to wander after the flocks of your companions. Tell me my shepherd, whom I love with my whole mind, and in what pastures and rest he has, lest, disturbed by the heat of temptations, I begin to seek him through the conventicles of companions, that is, of heretics.\n\nIf you are ignorant, O beautiful among women, go out and go after the tracks of your flocks. If you are ignorant that you are betrothed to me under such a condition of temptations, go out from my sight and follow the various acts of the erring. And feed your goats near the tents of the shepherds. That is, nourish lost hearers, follow the doctrines of foolish teachers. I have likened you to my chariotry in the chariots of Pharaoh, my friend. Just as I freed the former people from Egyptian fear, so I, your spouse, if you trust in me, will free you from empty threats.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Sicut tabernacula Cedar, sicut pelles Salomonis","severity":"info","text":"The phrase echoes Song 1:5 (Vulgate: 'Nigra sum sed formosa, sicut tabernacula Cedar, sicut pelles Salomonis'). The commentary reinterprets the bride's self-description as an allegory of the Church's trials.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Nolite me considerare, quod fuscu sim, quia decoloravit me sol","severity":"info","text":"This adapts Song 1:5-6, where the bride says she is dark from the sun. The commentary reads 'sun' as the heat of temptations, a standard patristic allegorization.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Filii matris meæ pugnaverunt contra me","severity":"info","text":"The 'sons of my mother' are interpreted as the sons of the Synagogue, reflecting a common anti-Jewish polemic in Latin commentaries, where the Synagogue is the mother of the Church but her children oppose Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Indica mihi quem diligit anima mea","severity":"info","text":"This unit shifts from the bride's self-defense to a direct address to the beloved (Christ), mirroring the dialogic structure of the Song of Songs. The commentary identifies the beloved as the shepherd and pastor.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"per sodalium, id est, hæreticorum conventicula","severity":"info","text":"The gloss equating 'companions' with heretics reflects the anti-heretical concerns of early medieval Latin exegesis, particularly against Arian or Donatist groups.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Equitatui meo in curribus Pharaonis assimilavi te","severity":"caution","text":"The Latin text is corrupt: 'Equitatui meo' likely misrepresents the Vulgate's 'equitatui meo' (Song 1:9), but the sense is clear. The commentary allegorizes Pharaoh's chariots as Egyptian fear, linking to the Exodus.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'Cedar' and 'Solomon' in the first line is not explained; the commentary assumes the reader knows the biblical reference. The phrase 'pelles Salomonis' is obscure; it may be a corruption of 'pelles Salomonis' (tents of Solomon) or a misreading of the Vulgate."],"confidence":"high","notes":[]},{"i":3,"ref":"p3","source":"Pulchræ sunt genæ luce, sicut turturis. Tanta te verecundiae salutaris virtute decoravi, ut castitatem promissæ mihi fidei nulla doctorum pravorum seductione corrumpas. Collum tuum, sicut monilia; murenulas aureas faciemus tibi vermiculatas argento. In collo doclores designantur. In monilibus opera exprimuntur, quia ea quæ verbo docent operibus ostendunt. In murenulis Scriptura sacra ostenditur, quæ auro spiritualium sensuum fulget interius, et argento cœlestis eloquii nitet exterius.\n\nDum esset rex in accubitu suo, nardus mea dedit adorem suum. Hee Christo in beatitudine cœlestis secreti quiescente, sanctorum virtus magnæ nobis gratiam suavitatis administrat. Fasciculus myrrhæ dilectus meus mihi, inter ubera mea commorabitur. Mors dilecti mei, quam pro mea salute subiit, semper in mea memoria commorabitur. Botrus cypri dilectus meus mihi in vineis Engaddi. Qui fuit fascicuIus myrrhæ in amariludine passionis, ipse est botrus Cypri in dulcedine resurrectionis. Myrrha tristificat, vinum lætificat. In vineis Engaddi propter charismata divina, quæ post resurrectionem largi tus est in baptismo suis participibus. Engaddi9 lons hœdi, baptismum significat.","english":"Beautiful are the cheeks with light, like the turtledove. I have adorned you with such power of salutary modesty that you may not corrupt the chastity of the faith promised to me by any seduction of depraved teachers. Your neck, like necklaces; we will make for you little golden chains studded with silver. In the neck, teachers are signified. In the necklaces, works are expressed, because those things which they teach by word they demonstrate by works. In the little chains, Sacred Scripture is shown, which shines within with the gold of spiritual senses and gleams without with the silver of heavenly eloquence.\n\nWhile the king was in his reclining place, my nard gave forth its fragrance. This, with Christ resting in the blessedness of heavenly seclusion, the virtue of the saints administers to us the grace of great sweetness. A bundle of myrrh, my beloved, to me, will dwell between my breasts. The death of my beloved, which he underwent for my salvation, will always dwell in my memory. A cluster of Cyprus, my beloved, to me, in the vineyards of Engaddi. He who was a bundle of myrrh in the bitterness of the passion, he himself is a cluster of Cyprus in the sweetness of the resurrection. Myrrh brings sorrow, wine brings joy. In the vineyards of Engaddi, on account of the divine charismata which after the resurrection he bestowed in baptism upon his participants. Engaddi, a fountain of a kid, signifies baptism.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Pulchræ sunt genæ luce, sicut turturis","severity":"info","text":"The turtledove symbolizes chastity and fidelity in patristic exegesis; the 'cheeks' (genæ) likely refer to the bride's modesty, adorned by Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"murenulas aureas","severity":"info","text":"'Little golden chains' (murenulas) are a diminutive of murena, a chain or necklace; the allegory distinguishes teachers (collum), works (monilia), and Scripture (murenulae).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Engaddi","severity":"info","text":"Engaddi (Song 1:14) is glossed as 'fountain of a kid' (fons hœdi), linking to baptism; the Vulgate has 'Engaddi' without translation, but the etymology is from Hebrew ʿen gedi.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"myrrha tristificat, vinum lætificat","severity":"info","text":"Myrrh, associated with burial and bitterness, contrasts with wine (joy); this reflects a common patristic typology of Christ's passion and resurrection.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Dum esset rex in accubitu suo","severity":"info","text":"The passage shifts from the bride's adornment to the king's repose, mirroring the Song's alternation between human and divine scenes; the allegory identifies the king as Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Engaddi","severity":"info","text":"The allegorical equation of Engaddi with baptism is unusual; it may derive from Isidore's Etymologiae (14.8.4) or a lost source, but is not standard in earlier Song commentaries.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has 'doclores' (line 3) which is likely a scribal error for 'doctores' (teachers), as the context requires; the English draft follows this emendation.","The phrase 'fons hœdi' for Engaddi is a folk etymology; the Hebrew 'en gedi' means 'spring of the goat kid', but the allegorical link to baptism is the author's invention."],"confidence":"high","notes":[]},{"i":4,"ref":"p4","source":"Ecce tu pulchra es, amica mea, ecce tu pulchra es. Pulchra in simplicitate cordis et munditia operum. Oculi tui columbarum. Quia sensus tui spirituali sum intelligentia præditi.\n\nEcce tu pulcher es% dilecte mi, ecce tu pulcher es. Tu solus naturaliter pulcher, ego ex te pulchra. Lectulus noster floridus. Pax sanctae Ecclesiæ et virtutibus sanctis florescit, et spirituali prole multiplicatur. Tigna domorum nostrarum cedrina; laquearia nostra cypressina. Tigna et laquearia doctores sunt in sancta Ecclesia propter munimen et decorem. Cedrina et cypressina propter eximias virtutes eo. rum et odorem bonae vitæ.\n\nCAP. II. — I. Ego flos campi, et lilium conrallium Ego decus mundi, et gloria humilium. Sicut lilium inter spinas, sic amica mea inter filias. Tu requiem quaeris, et laudas lectuli; recordare quod candidior tribulationum aculets efficeris, et major est fructus prædicationis, quam quietis.","english":"Behold, you are beautiful, my beloved; behold, you are beautiful. Beautiful in simplicity of heart and purity of works. Your eyes are those of doves, because your senses are endowed with spiritual understanding.\n\nBehold, you are beautiful, my beloved; behold, you are beautiful. You alone are naturally beautiful; I am beautiful through you. Our little bed is flowery. The peace of holy Church flourishes with holy virtues and multiplies in spiritual offspring. The beams of our houses are of cedar; our paneled ceilings are of cypress. The beams and paneled ceilings are the teachers in holy Church, for protection and adornment. They are of cedar and cypress because of their outstanding virtues and the fragrance of a good life.\n\nCHAPTER II. — 1. I am the flower of the field, and the lily of the valleys. I am the glory of the world, and the glory of the humble. As the lily among thorns, so is my beloved among the daughters. You seek rest, and you praise the little bed; remember that you become whiter through the goads of tribulations, and the fruit of preaching is greater than that of quiet.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"CAP. II. — I.","severity":"info","text":"The passage begins with a chapter heading (CAP. II) and a verse number (I.), marking a new section in the commentary. This structural cue is typical of medieval exegetical works.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"pulchra","severity":"info","text":"The repetition of 'pulchra' (beautiful) in the dialogue between Christ and the Church emphasizes the reciprocal nature of beauty: Christ is naturally beautiful, the Church derives beauty from him.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"lectulus noster floridus","severity":"info","text":"'Our little bed is flowery' is interpreted allegorically as the peace of the Church flourishing with virtues and spiritual offspring, a common nuptial metaphor for the Church's fecundity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"tigna ... laquearia","severity":"info","text":"'Beams' and 'paneled ceilings' are identified as teachers in the Church, providing protection (munimen) and adornment (decorem). The cedar and cypress materials signify their outstanding virtues and good life.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Ego flos campi, et lilium conrallium","severity":"info","text":"This line echoes Song of Songs 2:1-2, where the beloved is compared to a lily among thorns. The commentary applies it to the Church as the glory of the world and the humble.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"candidior tribulationum aculets","severity":"caution","text":"The phrase 'candidior tribulationum aculets' (whiter through the goads of tribulations) is textually uncertain; the Latin may be corrupt or a scribal error for 'candidior tribulationum aculeis' (whiter through the goads of tribulations).","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the speakers in the dialogue (Christ and the Church) is assumed but not explicitly marked in the Latin. The phrase 'candidior tribulationum aculets' may be a scribal error."],"confidence":"high","notes":[]},{"i":5,"ref":"p5","source":"Sicut malus inter ligna silvarum, sic dilectus meus inter fIlis. Sicut malus visu, odore, gustu, antecellit ligna silvestria, sic Christus antecellit omnes sanctos, qui filii Dei dicuntur, sed gratia, ille solus natura. Sub umbra illius quem desideraveram sedi. Eodem protegente, quem semper adesse quaesivi, quiesco, et secura permaneo. Et fructus ejus dulcis gutturi meo. Quia gratiæ suæ coelestis dulcedine me refecit.\n\nIntroduxit me in cellam vinariam, ordinavi' in me charitatem. Cella vinaria Ecclesia debet intelligi, in cujus unitate solummodo Spiritus sanctus dari solet et accipi. Cujus gratia hoc loco vini nomine designatur. in qua cella ordinata charitas est, ut quisquam Deum toto corde plusquam seipsum diligat. Fulcite me floribus9 stipate me malis, quia amore langueo. Consolamini me exemplis, seu incipientium, seu terminantium viam salutis, dum adhuc in hujus peregrinationis tadio amore supernae visionis languesco. Læva ejus sub capite meo, et dextera illius amplexabitur me. In læva Christi temporalia ejus bona, in dextera perpetuæ vitæ beatitudo designatur. Quia hic per spem mentem roborat, et illic per remunerationem glorificat.","english":"Just as the apple tree among the trees of the forests, so is my beloved among the sons. Just as the apple tree surpasses the wild trees in sight, smell, and taste, so Christ surpasses all the saints, who are called sons of God, but by grace, while He alone by nature. Under His shadow, whom I had desired, I sat. Protected by the same, whom I always sought to be present, I rest, and I remain secure. And His sweet fruit is to my throat, because He has refreshed me with the celestial sweetness of His grace.\n\nHe led me into the wine cellar; I set in order charity in me. The wine cellar should be understood as the Church, in whose unity alone the Holy Spirit is customarily given and received. Whose grace is designated in this place by the name of wine. In which cellar charity is set in order, so that anyone may love God with his whole heart more than himself. Prop me up with flowers, surround me with apples, because I languish with love. Console me with examples, whether of those beginning or those finishing the way of salvation, while I still languish in the weariness of this pilgrimage with love for the heavenly vision. His left hand is under my head, and His right hand will embrace me. In Christ’s left hand, His temporal goods are designated; in His right hand, the blessedness of eternal life. Because here He strengthens the mind through hope, and there He glorifies through reward.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Sicut malus inter ligna silvarum","severity":"info","text":"The apple tree (malus) symbolizes Christ, surpassing wild trees (saints) in sight, smell, and taste, i.e., in visible glory, spiritual fragrance, and salvific grace.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"cella vinaria","severity":"info","text":"The wine cellar (cella vinaria) is interpreted as the Church, where the Holy Spirit is given and received; wine designates grace, and charity is set in order within it.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Fulcite me floribus stipate me malis","severity":"info","text":"This phrase echoes Song of Songs 2:5, where the beloved asks to be propped with flowers and surrounded with apples, here allegorized as consolation from examples of salvation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Laeva ejus sub capite meo","severity":"info","text":"The left hand of Christ symbolizes temporal goods (hope in this life), the right hand eternal beatitude (reward in the next), reflecting a common patristic typology of Christ’s dual nature.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Introduxit me in cellam vinariam","severity":"info","text":"This passage shifts from arboreal imagery (apple tree) to architectural (wine cellar), then to a request for support (flowers, apples), and finally to an embrace (left/right hand), structuring the soul’s progress from protection to union.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'malus' could mean 'apple tree' or 'evil'; the context and allegory favor 'apple tree' as a type of Christ.","The phrase 'ordinavi in me charitatem' is ambiguous: it may mean 'I set charity in order within me' or 'I arranged charity for myself'; the translation adopts the former as aligning with the allegory of the wine cellar."],"confidence":"high","notes":[]},{"i":6,"ref":"p6","source":"Adjuro vos, filiæ Jerusalem, per capreas, cervosque camporum ne suscitetis, nec evigilare faciatis dilectam, quoadusque ipsa velit. Contestor pacificas fidelium animas, per suas quamque virtutes, quae per munda et ruminantia animalia signatæ sunt, ne pia fratrum studia aliqua imporiunitate impediant; sed sic quisque de proximi profectu, sicut de suo gaudeat.\n\nVox dilecti mei. Subauditur, hæc est; quem au. divi adjurantem filias Jerusalem, ne me in ejus amplexu quiescentem suscitarent. Ecce iste venit saliens in montibus, transiliens colles. Tales enim saltus fecit dilectas meus. De coelo venit in uterum, de ulero in præsepium, de præsepio in crucem, de cruce in sepulcrum, de sepulcro rediit in cælum. Iste, qui elevatus est super omnes montes, et colles, id est, sanctorum altitudines.\n\nSimilis est dilectus meus capreæ, hinnuloque cervorum, In assumptione carnis et humilitate caprex; in varietate virtutum et innocentia hinnulo cervorum Christus comparatur, id est, patriarchaeum. En ipse stat post parietem nostrum, respiciens per fenestras, prospiciens per concellos. indutus pariete nostrae mortalitatis latuit, sed prospiciens ad nos per cancellos, et fenestras miracula fecit, ut ex miraculis appareret Deus, qui ex passionibus lanii. En dilectus meus loquitur mihi. Ad prædicandum me hortatur, dicens;","english":"I adjure you, daughters of Jerusalem, by the roes and stags of the fields, that you not rouse nor awaken the beloved until she herself wishes. I call to witness the peaceful souls of the faithful, by each of their own virtues, which are signified by clean and ruminant animals, that they not impede the pious studies of brothers by any importunity; but let each rejoice in the progress of his neighbor as in his own.\n\nThe voice of my beloved. It is understood: this is whose voice I heard adjuring the daughters of Jerusalem not to rouse me resting in his embrace. Behold, he comes leaping upon the mountains, bounding over the hills. For my beloved made such leaps. He came from heaven into the womb, from the womb into the manger, from the manger to the cross, from the cross to the tomb, from the tomb he returned to heaven. He who is raised above all mountains and hills, that is, the heights of the saints.\n\nMy beloved is like a roe and a young stag. In the assumption of flesh and humility, Christ is compared to a roe; in the variety of virtues and innocence, to a young stag, that is, of the patriarchs. Behold, he himself stands behind our wall, looking through the windows, peering through the lattices. Clothed with the wall of our mortality he lay hidden, but peering at us through the lattices and windows he performed miracles, so that from the miracles the God would appear, who from the passions was hidden. Behold, my beloved speaks to me. He urges me to preach, saying:","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"capreas, cervosque camporum","severity":"info","text":"The 'roes and stags of the fields' are interpreted as clean, ruminant animals symbolizing virtues; this reflects a standard patristic typology of moral purity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Adjuro vos, filiæ Jerusalem","severity":"info","text":"Echoes Song of Songs 2:7 (Vulgate: 'Adjuro vos, filiæ Ierusalem'), where the beloved adjures the daughters not to disturb the sleeping bride.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Vox dilecti mei","severity":"info","text":"This phrase marks a shift from the bride's speech to the beloved's voice, introducing a Christological interpretation of the beloved's leaps through salvation history.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"De coelo venit in uterum, de ulero in præsepium, de præsepio in crucem, de cruce in sepulcrum, de sepulcro rediit in cælum","severity":"info","text":"This five-stage summary of Christ's life (incarnation, nativity, crucifixion, burial, resurrection) is a common catechetical formula in early medieval Latin exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Similis est dilectus meus capreæ, hinnuloque cervorum","severity":"info","text":"The comparison of Christ to a roe and stag for humility and virtues is rare; it may derive from patristic animal symbolism (e.g., Physiologus) but is not standard in Isidorian works.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"En ipse stat post parietem nostrum","severity":"caution","text":"The Latin 'En' (behold) is an interjection; the text may be corrupt or a scribal insertion, as it does not appear in the Vulgate Song of Songs.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the 'daughters of Jerusalem' as either literal or allegorical (souls of the faithful) is left ambiguous; the commentary takes the allegorical reading.","The phrase 'hinnuloque cervorum' could be read as 'young stag of the stags' or 'fawn of the deer'; the translation opts for 'young stag'."],"confidence":"high","notes":[]},{"i":7,"ref":"p7","source":"Surge, propera, amica mea, formosa mea, et veni. Surge de stratu quietis, in quo tuimet solius curam agere quæris; propera tu, et veni ad impendendam etiam proximis curam salulis per studium sedulæ prædicationis. Jam enim hiems transiit, imber abiit, et recessit. Jam frigus infidelitatis, et imber iniquilatis recesserunt, quae totum orbem usque ad tempus Dominicae incarnationis tegcbant. Flores apparuerunt in terra nostra. Id est, initia fidei et justitiæ floruerunt in mundo, crescente Ecclesia.\n\nTempus putationis advenit. hi est, ut, amputatis inutilibus vanæ religionis sarmentis, futuro lidei fructui praeparentur corda hominum. Vox turturis audita est in terra nostra. Id est, Christi Salvatoris nostri dicentis: Pænitentiam agite, appropinquabit enim regnum coelorum. Ficus protulit grossos suos. Veteris legis præcepta ceciderunt. Vinæ florentes dederunt odorem. Id est, evangelicus populus, seu vites florentes sanctae conversationis odorem longe lateque dederunt.","english":"Arise, hasten, my beloved, my beautiful one, and come. Arise from the bed of quiet, in which you seek to care only for yourself; hasten, you, and come to devote care also to the salvation of your neighbors through the zeal of diligent preaching. For now winter has passed, the rain has gone and departed. Now the cold of unfaithfulness and the rain of iniquity have receded, which covered the whole world up to the time of the Lord’s incarnation. Flowers have appeared in our land. That is, the beginnings of faith and righteousness have blossomed in the world, as the Church grows.\n\nThe time of pruning has come. That is, so that, with the useless shoots of vain religion cut away, the hearts of men may be prepared for the future fruit of faith. The voice of the turtledove has been heard in our land. That is, of Christ our Savior saying: Do penance, for the kingdom of heaven will draw near. The fig tree has put forth its unripe figs. The precepts of the Old Law have fallen. The flowering vines have given forth their fragrance. That is, the evangelical people, or the flowering vines of holy conduct, have given forth their fragrance far and wide.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"Surge, propera, amica mea, formosa mea, et veni","severity":"info","text":"The passage opens with a direct exhortation, echoing the Song of Songs 2:10, 13, and is structured as a series of allegorical interpretations of seasonal and agricultural images.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Vox turturis audita est in terra nostra","severity":"info","text":"The turtledove's voice is interpreted as Christ's call to penance, likely alluding to Song of Songs 2:12, where the voice of the turtledove is heard, and to the penitential preaching of Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Ficus protulit grossos suos","severity":"info","text":"The fig tree putting forth unripe figs is allegorized as the fall of Old Law precepts, reflecting a common patristic typology where the fig represents the synagogue or the old covenant.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"putationis","severity":"info","text":"The term 'putationis' (pruning) is used metaphorically for the removal of useless religious practices, preparing hearts for faith, a standard image in early Christian exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"hiems transiit, imber abiit","severity":"info","text":"The allegory of winter and rain as infidelity and iniquity receding at the Incarnation reflects a common patristic theme, seen in works like Gregory the Great's Moralia.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"tegcbant","severity":"caution","text":"The Latin 'tegcbant' appears to be a scribal error for 'tegebant' (covered), as the context requires the imperfect tense; the English translation correctly reads 'covered'.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'Vox turturis' could be read as a direct quotation from Song of Songs or as a general reference; the commentary treats it as Christ's voice.","The term 'grossos' (unripe figs) may be ambiguous in its allegorical reference, but the text specifies it as the Old Law precepts."],"confidence":"high","notes":[]},{"i":8,"ref":"p8","source":"Surge, propera, amica, mea, speciosa mea, et veni; columba mea in foraminibus petræ in caverna maceriæ. sponsa, et amica, cui laUta obtuli bona, surge, et veni; accingere ad certamen, unde æternam quietem accipies. Columba mea, per illusionem sancti Spiritus. In foraminibus petræ, id est, vulneribus, quæ pro salute sponsæ sponsus accepit. In caverna maceria, id est, custodia virtutum cœlestium. Ostende mihi faciem tuaM, sonet vox tua in auribus meis. Vox, videlicet, laudis, vel prædicationis. Vox enim tua dulcis, et facies tua decora. Illus namque vox Domino dulcis est, cui dulce vel verbum Domini annuntiare, vel ipsi Domino laudes resonare. Et illa Uides decora est, quæ, ex operibus ornata, adversa pati non metuit.\n\nCapite nobis vulpes parvulas, quæ demoliuntur vineas. Id est, vincite hæreticos, et schismaticos, pravos fide, et dulosos verbo, qui dente pravæ doctrinae rudes fidelium mentes lacerare solent. Nam vinea nostra fluruit. Id est, late electurum plebes germinant.","english":"Arise, hasten, my beloved, my beautiful one, and come; my dove in the holes of the rock, in the cavern of the wall. Bride and beloved, to whom I have offered choice goods, arise and come; gird yourself for the contest, whence you will receive eternal rest. My dove, through the illumination of the Holy Spirit. In the holes of the rock, that is, the wounds which the bridegroom received for the salvation of the bride. In the cavern of the wall, that is, the custody of the celestial virtues. Show me your face, let your voice sound in my ears. Voice, namely, of praise, or of preaching. For your voice is sweet, and your face is comely. For that voice is sweet to the Lord, to whom it is sweet either to announce the word of the Lord, or to resound praises to the Lord Himself. And that face is comely, which, adorned with works, does not fear to suffer adversities.\n\nCatch for us the little foxes, which demolish the vines. That is, conquer the heretics and schismatics, those corrupt in faith and deceitful in word, who with the tooth of wicked doctrine are accustomed to lacerate the rude minds of the faithful. For our vine flourishes. That is, the peoples of the elect widely germinate.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"columba mea in foraminibus petræ in caverna maceriæ","severity":"info","text":"The dove in the rock-holes and wall-cavern is allegorized as the Church or soul hidden in Christ's wounds and celestial virtues, a common bridal-mystical trope.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"vulpes parvulas","severity":"info","text":"Little foxes are glossed as heretics and schismatics, a standard patristic metaphor for destructive false teachers (cf. Song 2:15 Vg).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Capite nobis vulpes parvulas, quæ demoliuntur vineas","severity":"info","text":"Echoes Song 2:15 (Vg: 'capite vulpes parvulas'), where the beloved is urged to catch foxes that ruin vines; here allegorized as heretics.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"per illusionem sancti Spiritus","severity":"info","text":"The phrase 'through the illumination of the Holy Spirit' reflects a standard exegetical claim that the dove (the Church) is enlightened by the Spirit, not a textual variant.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Ostende mihi faciem tuam, sonet vox tua in auribus meis","severity":"info","text":"This unit shifts from invitation to a demand for visible and audible signs of virtue, structuring the allegory as a call to active preaching and endurance.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"vox tua dulcis, et facies tua decora","severity":"info","text":"The sweet voice and comely face are interpreted as the preacher's orthodoxy and moral beauty, a theme echoed in later medieval homiletics.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'per illusionem' may be a scribal error for 'per illuminationem' (illumination), as the context demands a positive spiritual light; the edition reads 'illusionem' but the sense is clearly 'illumination'.","The phrase 'laUta obtuli bona' is garbled; likely 'lauta obtuli bona' (choice goods), but the exact reading is uncertain."],"confidence":"high","notes":[]},{"i":9,"ref":"p9","source":"Dilectus meus mihi, et ego illi. Id est, solus mihi dilectus, et solus adjutor mihi est. Et ego illi sola sum dilecta, quia nullus alius recte diligit Christum, nisi unica Ecclesia, et nulla alia ab eo diligitur. Qui pascit'ur inter lilia. Id est, munditia fidei, et candore virtutum. Donec aspiret dies, et inclinentur umbræ. Donec venturi saeculi lux oriatur aeterna, et umbræ. id est, errores præsentis vitæ transeant. Revertere, similis esto capreæ, hinnuloque cervorum super montes Bether. Obsecro, dilecte 'ii, ut saepius dulcedine visitationis tuærevertaris ad nIle, qui carne, quam de patriarcharum origine sumpsisti, super omnes altitudins coelestium montium ascendisti, ut laborem peregrinationis meæ speculatione aeternaepatriae releves.\n\nCAP. III.— 1. In lectulo meo per noctes quæsivi quem diligit anima mea; quaesivi, et non inv ni. Jam dudum, inquit, multo studio quaesivi Dominum; sed quia adhuc illecebris carnis meæ subdita fui, et tenebris ignorantiæ obcæcata, non inveui lumen veri tatis, id est, Dominum. Surgam, et circuibo civitatem. per vicos et platens quæram quem diligit anima mea, quæsivi illum, et non inveni. Proposui animo meo surgere de lectulo carnalium voluptatum, terras ac maria circuire, et philosophorum audire magisteria; sed nec sic inveni illum.","english":"My beloved is to me, and I to him. That is, he alone is my beloved, and he alone is my helper. And I am his only beloved, because no other rightly loves Christ except the one Church, and no other is loved by him. Who feeds among the lilies. That is, the purity of faith and the brightness of virtues. Until the day dawns and the shadows incline. Until the eternal light of the coming age arises, and the shadows, that is, the errors of the present life, pass away. Return, be like the roe, and like the fawn of the stags upon the mountains of Bether. I beseech you, beloved, that you may more often return to me with the sweetness of your visitation, you who, by the flesh you assumed from the origin of the patriarchs, have ascended above all the heights of the celestial mountains, so that you may relieve the labor of my pilgrimage by the contemplation of the eternal homeland.\n\nCHAPTER III.— 1. In my bed by night I sought whom my soul loves; I sought, and did not find. For a long time now, she says, I have sought the Lord with great zeal; but because I was still subject to the allurements of my flesh and blinded by the darkness of ignorance, I did not find the light of truth, that is, the Lord. I will arise and go around the city; through the streets and squares I will seek whom my soul loves; I sought him, and did not find him. I resolved in my mind to arise from the bed of carnal pleasures, to go around lands and seas, and to hear the teachings of the philosophers; but even so I did not find him.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Dilectus meus mihi, et ego illi","severity":"info","text":"The opening phrase is glossed as a mutual exclusivity: Christ is the sole beloved and helper of the Church, and the Church is his sole beloved. This ecclesiological reading is typical of the Song of Songs tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"lilia","severity":"info","text":"Lilies are interpreted as the purity of faith and brightness of virtues, a standard allegorical reading in patristic exegesis, contrasting with the literal floral sense.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"montes Bether","severity":"info","text":"The phrase 'super montes Bether' echoes Song of Songs 2:17 (Vulgate: 'super montes Bether'). The commentator allegorizes the mountains as the heights of celestial mountains, referring to Christ's ascension.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"CAP. III.— 1.","severity":"info","text":"The passage marks a new chapter division (Chapter III, verse 1) in the commentary, shifting from the bridegroom's speech to the bride's lament of seeking Christ without success.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"philosophorum audire magisteria","severity":"info","text":"The reference to hearing the teachings of philosophers reflects a common patristic trope: the insufficiency of pagan philosophy to attain divine truth, contrasted with Christian revelation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Qui pascit'ur inter lilia","severity":"caution","text":"The Latin text has 'pascit'ur' with an apostrophe, likely a scribal abbreviation for 'pascitur'. The reading is clear, but the punctuation may reflect a manuscript variant or editorial intervention.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'super montes Bether' is a direct biblical citation, but the commentator's allegorical interpretation of 'Bether' as 'celestial mountains' is not etymologically justified; the Hebrew 'Bether' likely means 'division' or 'cleft'."],"confidence":"high","notes":[]},{"i":10,"ref":"p10","source":"Invenerunt me vigiles, qui custodiunt civitatem. Num quem diligit anima mea, vidistis? Vigiles sunt qui custodiunt Ecclesiam apostoli, et doctores, qui gentilitatem veritatis indagine sollicita invenerunt. Paululum, cum pertransissem eos, inveni quem diligit anima mea. Dum me illorum magisterio tradidi, moi lumen veritatis, quod quaesivi, inveni. Tenui illum, nec dimittam, donec introducam illum in domum maIris meæ et ini cubiculum genitricis meæ. Teneo illum firma fide, donec in fine sæculi per officium prædicationis introducam illum in domum, et in cubile Synagogæ, quae me genuit in Domnino, et sit unum ovile. et unus pastor.\n\nAdjuro vos, filiæ Je rusalem, etc. Ideo hunc versum repetit sponsus, ne minorem Ecclesiae degentibus congregatæ, quam de Judæis habere sollicitudinem putaretur, sed ut sit de utrisque una sponsa, et illa dilectissima.","english":"The watchmen who guard the city found me. Have you seen the one whom my soul loves? The watchmen who guard the Church are the apostles and teachers, who found the gentile world by a diligent search for truth. A little while after I had passed by them, I found the one whom my soul loves. When I entrusted myself to their teaching, I found the light of truth which I had sought. I held him, and I will not let him go, until I bring him into the house of my mother and into the chamber of my parent. I hold him with firm faith, until at the end of the age, through the office of preaching, I bring him into the house and into the chamber of the Synagogue, which gave birth to me in the Lord, and there shall be one fold and one shepherd.\n\nI adjure you, daughters of Jerusalem, etc. The bridegroom repeats this verse so that he might not be thought to have less concern for the people gathered from the Church than for those from the Jews, but so that there might be from both one bride, and she the most beloved.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"vigiles","severity":"info","text":"The Latin 'vigiles' (watchmen) is interpreted as apostles and teachers, a standard patristic identification of the Church's guardians.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Invenerunt me vigiles, qui custodiunt civitatem","severity":"info","text":"This line echoes Song of Songs 5:7 (Vulgate: 'Vigiles invenerunt me'), where the beloved is sought by watchmen; the commentary recontextualizes it as the Church's search for Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Synagogae","severity":"info","text":"The mention of 'Synagogue' as the mother of the Church reflects a supersessionist typology common in Latin patristic exegesis, where the Church emerges from and fulfills Judaism.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Adjuro vos, filiæ Jerusalem","severity":"info","text":"The commentary notes a repetition of the bridegroom's adjuration to the daughters of Jerusalem, explaining it as a rhetorical device to ensure equal concern for Gentile and Jewish converts.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"unum ovile et unus pastor","severity":"info","text":"The phrase 'one fold and one shepherd' echoes John 10:16 and became a key ecclesiological image in Latin Christianity, emphasizing unity under Christ.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'mother' and 'parent' (genitricis) is ambiguous: it may refer to the Synagogue or to the Church as a maternal figure; the commentary resolves it as Synagogue."],"confidence":"high","notes":[]},{"i":11,"ref":"p11","source":"Quæ est ista quæ ascendit per desertum? Miratur Synagoga quomodo gentium populus, nullo circumcisionis mysterio emendatus, nulla prophetarum ad. monitione eruditus, subito ab infimis voluptatibus per desertum idololatriæ et gentilitlatis ad alta virtutum culmina, et sponsi amplexus ascendisset. Sicut virgula fumi ex aromatibus. Igne amoris accensa omni nisu virtutum ad coelestia tendit.\n\nMyrrhæ et thuris, et universi pulveris, pigmenlarii. Ex mortificatione carnalium voluptatum, et puritate orationum, et omnium virtutum odore. En lectulum Salomonis sexaginta fortes ambiunt ex fortissimis Israel. Lectulus Salomonis est conversatio sanctorum; sexaginta fortes prædicatores sunt sancti, et fortissimi bellatores, qui mundo corde digni sunt Dominum videre.\n\nOmnes tenentes gladios, et ad bella doctissimi. Tenent enim gladium spiritus, quod est verbum Dei, qui quod ore docent opere complent. Uniuscujusque ensis super femur suum propter timores nocturnos. Nocturni timores sunt in die tentationis occultae. Ensis prædicatoris est cuslodia vigilans, carnis concupiscentias premens, ne verbum prædicationis immunditia vitæ maculet.","english":"Who is this that ascends through the desert? The Synagogue marvels how the people of the Gentiles, uncorrected by any mystery of circumcision, untaught by any admonition of the prophets, suddenly from the lowest pleasures ascended through the desert of idolatry and paganism to the high summits of the virtues and the embraces of the bridegroom. Like a wisp of smoke from aromatics. Kindled by the fire of love, she strains with all the effort of the virtues toward the heavens.\n\nOf myrrh and frankincense, and of every powder of the perfumer. From the mortification of carnal pleasures, and the purity of prayers, and the fragrance of all the virtues. Behold, sixty strong men from the mightiest of Israel surround the bed of Solomon. The bed of Solomon is the communion of the saints; the sixty strong men are the holy preachers and the mightiest warriors, who with a pure heart are worthy to see the Lord.\n\nAll holding swords, and most skilled in war. For they hold the sword of the spirit, which is the word of God, who complete by their deeds what they teach by their mouths. Each one’s sword upon his thigh on account of nocturnal fears. Nocturnal fears are the hidden temptations of the day. The sword of the preacher is vigilant watchfulness, suppressing the lusts of the flesh, lest the word of preaching be stained by the impurity of life.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Quæ est ista quæ ascendit per desertum?","severity":"info","text":"The rhetorical question introduces the Synagogue's wonder at the Gentile church's ascent, a common exegetical trope in patristic commentaries on the Song of Songs.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"desertum","severity":"info","text":"Desertum here is allegorized as 'idolatry and paganism,' contrasting with the spiritual ascent to virtue, a standard interpretation in Latin commentaries.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Sicut virgula fumi ex aromatibus","severity":"info","text":"This phrase echoes Song of Songs 3:6 (LXX: 'ὡς ῥάβδος καπνοῦ'), where the beloved is compared to smoke from spices, here applied to the soul's ascent.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"sexaginta fortes","severity":"info","text":"The 'sixty strong men' surrounding Solomon's bed (Song 3:7) are interpreted as preachers and warriors, a numerological allegory common in early medieval exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"En lectulum Salomonis sexaginta fortes ambiunt","severity":"info","text":"This passage shifts from the Synagogue's question to a detailed allegory of the bed of Solomon, marking a new exegetical unit within the commentary.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"gladius spiritus","severity":"info","text":"The 'sword of the spirit' as the word of God reflects a Pauline metaphor (Eph 6:17) and was widely used in monastic and clerical literature to denote preaching.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has 'pigmenlarii' which is likely a scribal error for 'pigmentarii' (perfumers), as in the English draft."],"confidence":"high","notes":[]},{"i":12,"ref":"p12","source":"Ferculumfecit sibi rex Salomon de lignis Libani. Ferculum Salomonis est sancta Ecclesia, quæ credeutes ad æternæ bealitudinis epulas levat, quæ de lortibus animo, quasi de lignis imputribilibus, cunstructa est. Columnas ejus fecit argenteas, reclinatorium aureum. Columnæ argenteæ sunt doctores eloquii luce fulgentes. Reclinatorum aureum est spes perpetua: quietis fidelibus promissa.\n\nAscensum purpureum. Quid est ascensus purpureus, nisi martyrum sanguis, et passio Redemptons nostI? quia nOli ascenditur 2d epulas vitæ, nisi per IIi usterium passionis Christi. Media charitate constravit pro pter filias Jerusalem. Omnis eniim qui charitatem habet D i et proximi, ad hanc requiem, et ad has epulas lætus perveniet Hæc omnia ornamenta Ecclesiae præstitu Christus ob nimiam charitatem, qua dilexit nos, et tradidit semectipsum pro nobis.\n\nEgredimini, et videte, filiæ Sion, regem Salomonem. Egredimini mente, et actu de turbulenti mundi nversatione, ut regem pacis valeatis videre. In diademate, quo corona vit cum mater sua. Videte Dominum Christum in humanitate, quam de Virgine matre susceptam, in majestatis paternæ dextera collocavit. In die desponsationis illius. Id est, in tempore incarnationis illius, quo ad copulandam sibi Ecclesiam sponsam ex virginali uteio proccessit. In die lætitiæ cordis ejus. Id est, redeluptionis humani generis, quae fuit dies lætitiæ Christi.","english":"He made for himself a litter, King Solomon, from the wood of Lebanon. The litter of Solomon is the Holy Church, which lifts believers to the feasts of eternal blessedness, which is built from the virtues of the soul, as from incorruptible woods. He made its columns of silver, its headrest of gold. The silver columns are the teachers, shining with the light of eloquence. The golden headrest is perpetual hope, promised to the faithful in their rest.\n\nA purple ascent. What is the purple ascent, if not the blood of the martyrs and the passion of our Redeemer? For one does not ascend to the feasts of life except through the mystery of the passion of Christ. In the middle he paved it with love for the sake of the daughters of Jerusalem. For everyone who has love for God and for neighbor will joyfully arrive at this rest and at these feasts. Christ provided all these ornaments of the Church out of the exceeding love with which he loved us, and gave himself for us.\n\nGo out and see, daughters of Zion, King Solomon. Go out in mind and in deed from the turbulent life of the world, so that you may be able to see the king of peace. In the diadem with which his mother crowned him. See the Lord Christ in the humanity which he assumed from the Virgin mother, which he placed at the right hand of the paternal majesty. On the day of his betrothal. That is, at the time of his incarnation, when he came forth from the virginal womb to join the Church, his bride, to himself. On the day of the joy of his heart. That is, of the redemption of the human race, which was a day of joy for Christ.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Ferculum","severity":"info","text":"Ferculum (litter) is a key allegorical term: Solomon's litter represents the Church, built from virtues (incorruptible woods) and lifting believers to eternal feasts.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Ascensum purpureum","severity":"info","text":"Purple ascent allegorizes martyrdom and Christ's passion; purple (sanguis) evokes blood and royal dignity, linking suffering to the path to eternal life.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Egredimini, et videte, filiæ Sion, regem Salomonem","severity":"info","text":"This echoes Song of Songs 3:11 (Vulgate: 'Egredimini, filiae Sion, et videte regem Salomonem'), here allegorized as a call to leave worldly turmoil to see Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"In diademate, quo corona vit cum mater sua","severity":"info","text":"The diadem from his mother refers to Christ's humanity from the Virgin; the right hand of paternal majesty alludes to the session at God's right hand (creedal language).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"In die desponsationis illius","severity":"info","text":"This passage shifts from architectural allegory (litter, columns, ascent) to a temporal sequence: betrothal (incarnation) and joy (redemption), structuring the narrative as a wedding feast.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Media charitate constravit","severity":"info","text":"The emphasis on love (charitas) as the pavement to eternal rest reflects a common patristic theme, later influential in medieval bridal mysticism (e.g., Bernard of Clairvaux).","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor orthographic variants (e.g., 'credeutes' for 'credentes', 'bealitudinis' for 'beatitudinis', 'lortibus' for 'fortibus', 'cunstructa' for 'constructa', 'Redemptons' for 'Redemptoris', 'nOli' for 'non', 'IIi' for 'illud', 'uisterium' for 'mysterium', 'præstitu' for 'præstitit', 'semectipsum' for 'semetipsum', 'nversatione' for 'conversatione', 'uteio' for 'utero', 'proccessi"],"confidence":"high","notes":[]},{"i":13,"ref":"p13","source":"Cap. iv. — i. Quam pulchra es, amica mea; quam pulchra es? Pulchram licii Ecclesiam, et pulchram repetit, quia hanc et actione et pradicatione vidit esse laudabilem. Oculi lui columbarum. Sensus tui spiritualtum sunt rerum contemplatione excellenles, aC veuerandi. Absque eo quod intrinsecus latel. Magna est gloria quippe aperti operis, sed longe incomparabilior æternæ retribationis, quæ necdum videri potest.\n\nCapilli tui, sicut greges caprarum. Possunt in eapillis populi fideles accipi, qui maximum decus sua numerositate præbent Ecclesiæ. Quæ ascenderunt de monte Galaad. Galaad acervus testimomi interpretatur, qui bene convenit adunatæ multitudini sanctorum. Dentes tui sicut gregestonsarum. In capillis fragiliores, in dentibus vero perfectiores quique ad regendam Ecclesiam apti designamur.\n\nQuæ ascenderunt de lavacro. Id est, fonte sacri baptismatis qui ut tonsi, et loti sunt, hoc est, nudati renuntiando saeculo, et vitælavacro mundati. Omnes gemellis fetibus, et sterilis non est in eis. Non cst qui fetus boni operis in eis non agate. Sicut vitia coccinea, labia iMa, et eloquium tuum dulce. Vitia coccinea doctrina veritatis intelligitur. Labia sponsæ cocco assimilantur, quia dominici sanguinis quo redempta est, pretium pradicare non cessat Ecclesia, vel quia prædicatio sancta ardore charitatis flammescit.","english":"Chapter 4. — 1. How beautiful you are, my beloved; how beautiful you are? He calls the Church beautiful, and repeats that she is beautiful, because he has seen that she is praiseworthy both in action and in preaching. Your eyes are like doves. Your spiritual senses are excellent in the contemplation of spiritual things, and worthy of veneration. Apart from what lies hidden within. The glory of the open work is indeed great, but far more incomparable is that of eternal reward, which cannot yet be seen.\n\nYour hair is like flocks of goats. In the hair, the faithful people may be understood, who provide the greatest adornment to the Church by their multitude. Which have come down from Mount Gilead. Gilead is interpreted as a heap of testimony, which well suits the assembled multitude of saints. Your teeth are like flocks of shorn sheep. In the hair, the more fragile ones are signified; in the teeth, however, the more perfect ones, who are suited for governing the Church.\n\nWhich have come up from the washing. That is, from the font of holy baptism, who, as they are shorn and washed, that is, stripped bare by renouncing the world, and cleansed by the washing of life. All with twin offspring, and there is no barren one among them. There is no one who does not produce the offspring of good work in them. Like scarlet ribbons, your lips, and your speech is sweet. The scarlet ribbons are understood as the teaching of truth. The lips of the bride are likened to scarlet, because the Church does not cease to proclaim the price of the Lord's blood by which she was redeemed, or because holy preaching blazes with the ardor of charity.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"Cap. iv. — i. Quam pulchra es, amica mea; quam pulchra es?","severity":"info","text":"The passage opens Chapter 4 with a direct quotation from Song of Songs 4:1, which the commentary then interprets allegorically as referring to the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Oculi tui columbarum","severity":"info","text":"The phrase 'eyes like doves' is interpreted as the Church's spiritual senses excelling in contemplation, a common patristic trope for spiritual insight.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Galaad acervus testimonii interpretatur","severity":"info","text":"Gilead is etymologized as 'heap of testimony,' a standard medieval gloss derived from Jerome's Onomasticon, linking the place name to the assembled saints.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Quae ascenderunt de lavacro","severity":"info","text":"The washing refers to baptism, echoing New Testament language (e.g., Titus 3:5) and liturgical practice, where the baptized are 'shorn' (tonsured) and cleansed.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"vitta coccinea","severity":"info","text":"Scarlet ribbons symbolize the teaching of truth and the blood of Christ, a dual reference to martyrdom and the Eucharist, common in early medieval exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Pulchram licii Ecclesiam","severity":"caution","text":"The Latin 'licii' is likely a scribal error for 'licet' or 'dicit'; the sense is that the Church is called beautiful, but the text is corrupt here.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'licii' in the Latin is unclear; it may be a corruption of 'licet' (it is permitted) or 'dicit' (he says). The reading taken follows the English draft's 'calls'.","The identity of the speaker in the opening quotation is ambiguous; the commentary attributes it to the bridegroom (Christ) addressing the Church."],"confidence":"high","notes":[]},{"i":14,"ref":"p14","source":"Sicut cortex mali Punici, genæ tuæ. In genis verecundia, in malo Punico passio Christi exprimitur. Habet ergo ruborem in gcuis spuma mali Pumci, cum sacramentum dominicæ crucis verbis latetur, et factis probat. Sicul turris David, collum tuum. Turris Ecclesia est, collum prædicatores, quorum fides et constantia in eadem civitate firma est, et undique inexpugnabilis. Quæ ædificata est cum propugnaculis. Propugnacula autemejus civitatis Scriptuiarum sanctarum mun mina sunt, vel Patrum præce lentium.\n\nMille clypei pendent ex ea. Quia, quot in divinis libris præcepta sunt, tot sunt pectoris nostri munimina, quibus contra insidias omnes defendimur. Omnis armatura fortium. Omnis instructio est vcl operationis, vcl doctrinæ cœlestis, pcr quam non solum evadimus, sed etiam superamus. Duo ubera tua, sicut duo hinnuli capreæ yemelli;qui puscuntur in liliis, donec aspiret dies, et inclinentur umbræ. Duo uera, duo sunt populi ex circumcisione venientes, ct gentilitate; qui per humilitatem quidem parvos sc intelligunt, et peccatores, sed charitate currentes, omnia obstacula mundi transeunt, qui pascuntur in liliis,. hoc cst, candidissimis sanctorum Patrum exemplis, donec præsentis moitaittatis umbras æterno die aspirante transeamnus.","english":"Just as the rind of a pomegranate, your cheeks. In the cheeks modesty is expressed, in the pomegranate the passion of Christ. Therefore she has a blush on her cheeks from the foam of the pomegranate, when the mystery of the Lord’s cross is hidden in words and proven by deeds. Just as the tower of David, your neck. The tower is the Church, the neck the preachers, whose faith and constancy in that same city are firm and impregnable from all sides. It is built with battlements. The battlements of that city, however, are the defenses of the holy Scriptures, or the precepts of the Fathers.\n\nA thousand shields hang from it. Because, as many precepts as there are in the divine books, so many are the protections of our breast, by which we are defended against all snares. All the armor of the strong. All instruction is either of action or of heavenly doctrine, through which we not only escape but also overcome. Your two breasts, like two twin fawns of a roe deer, which feed on lilies until the day dawns and the shadows incline. The two breasts are the two peoples coming from circumcision and from gentility; who through humility indeed understand themselves as small and sinners, but running with charity, they pass over all obstacles of the world, who feed on lilies, that is, on the most shining examples of the holy Fathers, until we pass through the shadows of this present mortality when the eternal day dawns.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Sicut cortex mali Punici, genæ tuæ","severity":"info","text":"The pomegranate rind is interpreted as a symbol of Christ's passion, with the blush on the cheeks representing modesty and the hidden mystery of the cross.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"genæ","severity":"info","text":"The Latin 'genae' (cheeks) is taken as a sign of modesty (verecundia), a common patristic trope for humility or shame before divine mysteries.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Sicut turris David, collum tuum","severity":"info","text":"The 'tower of David' likely alludes to Song of Songs 4:4, where the beloved's neck is compared to a tower; here it is allegorized as the Church and its preachers.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Mille clypei pendent ex ea","severity":"info","text":"The image of a thousand shields hanging from the tower reflects a common patristic metaphor for the protective power of Scripture and patristic precepts against spiritual attacks.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"Duo ubera tua, sicut duo hinnuli capreæ yemelli","severity":"info","text":"The twin fawns of a roe deer are interpreted as the two peoples from circumcision and gentility, a parallel to Pauline ecclesiology of Jews and Gentiles united in the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"qui pascuntur in liliis","severity":"info","text":"The lilies on which the fawns feed are glossed as 'candidissimis sanctorum Patrum exemplis' (most shining examples of the holy Fathers), reflecting a later monastic reception of the Song of Songs as a moral exemplar.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor scribal errors: 'gcuis' for 'genis', 'Pumci' for 'Punici', 'autemejus' for 'autem eius', 'Scriptuiarum' for 'Scripturarum', 'mun mina' for 'munimina', 'præce lentium' for 'præcellentium', 'vcl' for 'vel', 'pcr' for 'per', 'yemelli' for 'gemelli', 'ct' for 'et', 'moitaittatis' for 'mortalitatis'. The reading assumes these are copyist mistakes and corrects them accordingly."],"confidence":"high","notes":[]},{"i":15,"ref":"p15","source":"Vadam ad montem myrrhæ, et ud collem thuris. In mytria mortificatio carnis, in thure devotio orationis exprimitur; quasidiceret sponsus; Frequentabo. eos, et pia propitius illustratione glorificabo, quos in. passinis, sive orationis virtute sublimes essc persplcio.\n\nVeni de Libauo, sponsa mea, veni de Libano. Libanus candor interpretatur, id est, aaima bonis aci tibus candidata, quam tertio hortatur sponsus ut veniat. Primo vivens in carne per bona opera; secundo, absoluta carne ad percipiendam vitam beatam; tertio, recepto corpore ad fruenda post resurrectionem gaudia perfecta.\n\nCoronaberis de capite Amana, de vertice Sanir, et llermon, de cubilibus leonum, de montibus pardorum. Leones propter superbiam, pardi propter cru. delitateim maligni sunt spiritus; montes vero Amana superba infidelium corda, ubi immundi spiritus sedem babent, designant. Dum sancti prædicatores tales ad viam salutis convertunt, coronantur de capite ct vertice montium, id est, principibus superboruin, quia de labore certaminis crescit Corona gloriæ.","english":"I will go to the mountain of myrrh, and to the hill of incense. In myrrh the mortification of the flesh is expressed, in incense the devotion of prayer; as if the bridegroom were saying: I will frequent them, and I will glorify them with pious and favorable illumination, whom I perceive to be exalted in the virtue of the passions or of prayer.\n\nCome from Lebanon, my bride, come from Lebanon. Lebanon is interpreted as whiteness, that is, a soul made white by good deeds, whom the bridegroom urges three times to come. First, while living in the flesh through good works; second, freed from the flesh to receive the blessed life; third, having received the body to enjoy the perfect joys after the resurrection.\n\nYou will be crowned from the head of Amana, from the summit of Sanir and Hermon, from the lairs of lions, from the mountains of leopards. Lions on account of pride, leopards on account of cruelty, are evil spirits; the mountains Amana, however, designate the proud hearts of the unfaithful, where unclean spirits have their seat. When holy preachers convert such men to the way of salvation, they are crowned from the head and summit of the mountains, that is, from the princes of the proud, because from the labor of the struggle the crown of glory grows.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"myrrh","severity":"info","text":"Myrrh (myrrha) is a bitter resin used in burial and penitential contexts; here it symbolizes the mortification of the flesh, a standard ascetic trope in Latin patristic commentary.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"incense","severity":"info","text":"Incense (thus) represents the devotion of prayer, contrasting with myrrh’s mortification; the pairing reflects a dual spiritual discipline of bodily renunciation and contemplative ascent.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Vadam ad montem myrrhæ, et ud collem thuris","severity":"info","text":"This phrase adapts Song of Songs 4:6 (Vulgate: ‘Vadam ad montem myrrhae, et ad collem thuris’), where the bridegroom invites the bride; the commentary reinterprets the geographical imagery as spiritual states.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Libanus","severity":"info","text":"Libanus (Lebanon) is etymologized as ‘whiteness’ (candor), a common patristic trope for purity; the bridegroom’s threefold call to ‘come’ allegorizes the soul’s progress through life, death, and resurrection.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Amana, Sanir, Hermon","severity":"info","text":"These are mountains in the Anti-Lebanon range (Amana, Sanir, Hermon), often cited in the Song of Songs (4:8) as symbols of pride; the commentary identifies them with the proud hearts of the unfaithful, where demons dwell.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Coronaberis de capite Amana...","severity":"info","text":"The passage moves from invitation (Vadam, Veni) to promise of reward (Coronaberis), structuring the allegory as a three-stage spiritual ascent: mortification, purification, and glorification through preaching.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text contains minor scribal errors (e.g., 'ud' for 'ad', 'passinis' for 'passionis', 'aaima' for 'anima', 'aci tibus' for 'actibus', 'babent' for 'habent') which do not affect the allegorical sense."],"confidence":"high","notes":[]},{"i":16,"ref":"p16","source":"Vulnerasti cor meum, soror mea sponsa, vulnerasti cor meum. In vulneratione cordis hignitudo amoris Christi in Ecclesia intelligitur. In uno oculorum tuorum, el in lIno crine colli tui. In ullitate sancta doctorum, i est, oculorum, et unitate sancta plebis, id est, capillorum. Quum pulchræ sunt mammæ tuæ, soror mea sponsa. Item III mammarum ut;-: mine sancti ductores desigrantur propter consolationem infirmorum et parvulorum sustentationem quæ lacte exprimitur. Pulchfiora sunt ubera tua vino. Suavitas gratiæ pulchrior est austeritate regis. Et odor tuorum unguentorum super omnia aromata. Fama suavissima diffusae per totum orbem fidei latiot est quain veteris legis et patrum in ea, quæ in sola Judæa coangustabatur.\n\nFavus distillans labia foa, sponsa. Favus niel in cera cst. Mel autem in cera spiritualis est divinorum sensus, it littera mel stillans, quia mutiplices sensus pene singulæ sententiæ habent: labia spiritus sunt doctorum, qui multifarios sensus sacris litteris inesse paudunt. Mel et lac sub lingua lMa. In Jacte cruditio parvuloruin, in nielle perfectior doctrina lortiorum siguatur; sub lingua, id est, in meditatione cordis.","english":"You have wounded my heart, my sister spouse, you have wounded my heart. In the wounding of the heart, the intensity of Christ’s love in the Church is understood. In one of your eyes, and in one lock of your neck. In the holy unity of the teachers, that is, the eyes, and the holy unity of the people, that is, the hairs. How beautiful are your breasts, my sister spouse. Likewise, three breasts: the holy teachers are designated on account of the consolation of the weak and the support of the little ones, which is expressed by milk. Your breasts are more beautiful than wine. The sweetness of grace is more beautiful than the austerity of the king. And the odor of your ointments is above all spices. The most sweet renown of the faith spread through the whole world is wider than that of the old law and of the fathers in it, which was confined to Judea alone.\n\nA dripping honeycomb are your lips, spouse. A honeycomb is honey in wax. But honey in wax is the spiritual sense of the divine words, honey dripping from the letter, because nearly every sentence has multiple senses: the lips are the spirits of the teachers, who reveal that manifold senses inhere in the sacred writings. Honey and milk under the tongue. In milk, the instruction of the little ones is signified; in honey, the more perfect teaching of the stronger ones; under the tongue, that is, in the meditation of the heart.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Vulnerasti cor meum","severity":"info","text":"The wounding of the heart is interpreted as the intensity of Christ's love for the Church, a common allegorical reading in Song of Songs commentaries.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"mammarum","severity":"info","text":"The three breasts (mammarum) are allegorized as holy teachers who provide consolation and support, symbolized by milk. This numerical symbolism is distinctive.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Favus distillans labia tua","severity":"info","text":"This phrase echoes Song of Songs 4:11 (Vulgate: 'favus distillans labia tua'), where the beloved's lips are compared to a dripping honeycomb.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Mel et lac sub lingua","severity":"info","text":"The pairing of milk and honey for elementary and advanced teaching reflects patristic educational metaphors, e.g., in Origen and Augustine, where milk is basic instruction and honey is deeper wisdom.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Item III mammarum","severity":"info","text":"The phrase 'Item III mammarum' suggests a textual variant or gloss; the numeral III may indicate a marginal note or a corruption in the manuscript tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"In uno oculorum tuorum, el in lIno crine colli tui","severity":"caution","text":"The Latin text contains apparent scribal errors: 'el in lIno crine' likely should be 'et in uno crine'; the reading is uncertain and may affect interpretation of the unity of teachers and people.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'Item III mammarum' is ambiguous: it may be a gloss or a corruption; the numeral III could refer to three breasts or be a misreading.","The text 'el in lIno crine' is corrupt; the intended reading is likely 'et in uno crine' (and in one lock of hair)."],"confidence":"medium","notes":[]},{"i":17,"ref":"p17","source":"Et odor vestimentorum tuorum, sicut odor thuna. Vestimenta Ecclesiæ opera sunt ejus, quæ odori thuris comparantur, quia cuncta, quæ sancta pro Domino agit Ecclesia, orationum pro ea viceni reddunt. Hortus conclusus, soror mea sponsa, hortus conclusus, fons signatus. Hortus couclusus Ecclesia est, quia multitaria spiritualium operum genuina gignit; fonsest, quia doctrima salutari redundat; conclusus, quia Domnum protectione munita persistit: signatus, sermone fidei.\n\nEmissionestucc paradisus malorum Punicorum, cum pomorum fiuctibus. Per irrigationem sacri baptisma. tis sancta Ecclesia paradisum ex se emisit matorum Punicorum, id est, sanctorum martyrum: cum pomorum fructibus, id est, cum sanctarum virtutum fructu. Cypri cum nardo, nardus, et crocus. Cyprus arbor aromatica est, signilicatque cœlestis glatiæ benedictionem. Nardus dommicæ passionis typum; ctocus charitatis fervorem exprimit; conjungitur cyprus nardo, cum divina gratia conlortat nos pro Christo pati: Item nardus croco conjongitur, cum charitate Christi mortem libenter suscipimus.","english":"And the smell of your garments, like the smell of incense. The garments of the Church are its works, which are compared to the odor of incense, because all that the holy Church does for the Lord renders prayers for it in return. An enclosed garden, my sister spouse, an enclosed garden, a sealed fountain. An enclosed garden is the Church, because it produces manifold spiritual works; it is a fountain, because it overflows with salutary doctrine; enclosed, because it persists fortified by the Lord’s protection; sealed, by the word of faith.\n\nIt has sent forth a paradise of pomegranates, with the fruits of apples. Through the irrigation of sacred baptism, the holy Church has sent forth from itself a paradise of pomegranates, that is, of holy martyrs: with the fruits of apples, that is, with the fruit of holy virtues. Cypress with nard, nard, and crocus. Cypress is an aromatic tree, and it signifies the blessing of heavenly grace. Nard is a type of the Lord’s passion; crocus expresses the fervor of charity; cypress is joined with nard when divine grace strengthens us to suffer for Christ. Likewise, nard is joined with crocus when we willingly undergo death for the love of Christ.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Vestimenta Ecclesiæ opera sunt ejus","severity":"info","text":"The garments of the Church are interpreted as its works, a common allegorical move in patristic exegesis of the Song of Songs.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"thuna","severity":"info","text":"The Latin 'thuna' is a variant spelling of 'tus' (incense), not a separate aromatic substance; the text compares the Church's works to incense.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Hortus conclusus","severity":"info","text":"'Hortus conclusus' (enclosed garden) is a standard allegory for the Church, drawing on Song of Songs 4:12 and patristic tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"paradisus malorum Punicorum","severity":"info","text":"The phrase echoes Song of Songs 4:13 (Vulgate: 'paradisus malorum punicorum'), where pomegranates symbolize fertility and, here, martyrs.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Cypri cum nardo, nardus, et crocus","severity":"info","text":"These aromatic plants (cypress, nard, crocus) are standard in ancient perfumery and allegorized here as grace, passion, and charity, following patristic typology.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Emissionestucc","severity":"caution","text":"The Latin 'Emissionestucc' is likely a scribal corruption of 'Emisit et' (it has sent forth), as the English draft reads; the text may be garbled here.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'Emissionestucc' is unclear; the reading 'Emisit et' is adopted based on context and the English draft.","The identity of 'thuna' as incense (tus) is assumed, though the spelling is non-standard."],"confidence":"medium","notes":[]},{"i":18,"ref":"p18","source":"Fistula et cinnamonum cum universis lignis Libani. Fistula, quæ et casia, orbor aromatica est, sed modica, et ideo spiritu humiles designat. Item cinnamonum qui seipsos despiciunt signat. Quæ et ipsa est brevis arbos, sed odorifera ct duicis. Sed humilitas magnam habet laudem ct dulcedinem apud Dominum. Cum universis lignis Libani. Sicut fistula et cinnamomum humi es sanctur uin cogitationes signant, ligna Libani sublimes corum actiones demonstrant. Myrrha et aloc arbores sum aromaticæ, quæ continentiam carnis exprimunt.\n\nCum omnibus primis unguentis. Id est, charismatibus virtutum excellentioribus, et pulchra est conjunctio harum arborum, quia dum carnem a lascivia refrenamus, consequens cst ut majora spiritus dona percipiamus. Fons hortorum, puteus aquarum viventium, quæ fluunt impetu de Libano. Utrumque Ecclesia; et fons est hortorum, quia spirituales gignit fructus, ei puteus aquarum viventium, quæ impetu fluunt de Libano, propter occulta mysteria quæ sanctis propter revelationem sancti Spiritus solis panduntur; aquarum viventium, propter eloquia divina, quæ de invisibilibus divinai gratiæ procedunt thesaur is; de Libano, de ipsa Ecclesta dicit, quæ et candida cst per munditiam fidei, et alta per virtutem gloriæ.","english":"A reed and cinnamon with all the woods of Lebanon. The reed, which is also cassia, is an aromatic tree, but small, and therefore it designates those humble in spirit. Likewise, cinnamon signifies those who despise themselves. It too is a short tree, but fragrant and sweet. But humility has great praise and sweetness before the Lord. With all the woods of Lebanon. Just as the reed and cinnamon signify humble thoughts, the woods of Lebanon demonstrate their lofty actions. Myrrh and aloe are aromatic trees, which express continence of the flesh.\n\nWith all the first ointments. That is, with the more excellent charisms of virtues, and the conjunction of these trees is beautiful, because when we restrain the flesh from lasciviousness, it follows that we receive greater gifts of the spirit. A fountain of gardens, a well of living waters, which flow impetuously from Lebanon. The Church is both; it is a fountain of gardens, because it produces spiritual fruits, and a well of living waters, which flow impetuously from Lebanon, on account of the hidden mysteries which are revealed only to the saints through the revelation of the Holy Spirit; living waters, on account of the divine words, which proceed from the invisible treasuries of divine grace; from Lebanon, it says of the Church itself, which is both white through the purity of faith and high through the power of glory.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Fistula et cinnamonum","severity":"info","text":"The Latin 'fistula' is glossed as 'casia' (cassia), a small aromatic tree, here allegorized as humility. 'Cinnamomum' (cinnamon) similarly signifies self-despising humility.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Myrrha et aloc","severity":"info","text":"'Myrrha' (myrrh) and 'aloc' (aloe) are aromatic trees allegorized as expressing 'continentiam carnis' (continence of the flesh), linking physical restraint to spiritual gifts.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Cum omnibus primis unguentis","severity":"info","text":"The phrase 'primis unguentis' (first ointments) is interpreted as 'charismatibus virtutum excellentioribus' (more excellent charisms of virtues), reflecting a common patristic trope of spiritual gifts as ointments.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Fons hortorum, puteus aquarum viventium","severity":"info","text":"The passage shifts from aromatic trees to water imagery, identifying the Church as both a fountain of gardens (spiritual fruits) and a well of living waters (divine eloquence), with 'Lebanon' allegorized as the Church's purity and glory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"de Libano","severity":"info","text":"The allegorical interpretation of 'Lebanon' as the Church—'candida per munditiam fidei, et alta per virtutem gloriæ' (white through purity of faith, high through power of glory)—is a distinctive exegetical move, likely drawing on Isidorian etymological traditions.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor scribal errors (e.g., 'humiles' for 'humiles', 'ct' for 'et', 'arbos' for 'arbor', 'exprimunt' for 'exprimunt'), but the allegorical sense is clear."],"confidence":"high","notes":[{"kind":"scripture","severity":"info","ref":"John 4:10","text":"The English carries the scriptural phrase “living water”, which matches John 4:10. The match is on the English draft; check the Coptic before quoting the verse."}]},{"i":19,"ref":"p19","source":"Surge, Aquilo, et veni, Auster, perfla hortum meum. In Aquilone enim adversa mundi, in Austro blandimenta designantur, qua gemina impugnatione probatur Ecclesia. Consurge permittentis vox, non imperantis. Et fluant aromata illius. Id est virtutum constantiam miro odore dispergat.\n\nCAP. V. — I. Venial dilectus meus in horlum suum. Veniat Dominus in Ecclesiam suam, ut enm ipse conservet immaculatam ubique, et fidei fruge fecundet. Et comedat fructum pomorum suorum. Et libenter accipiat, gratanterque inspiciat opera servorum suorum.\n\nVeni in hortum meum, soror mea sponsa. Veni (inquit) sæpissime in Ecclesiam meam, et venio. ut corrigam, adjuvem, et confirmem. Messui tnyr'rham meam cum aromatibus meis. Per myrrham passio, vel mortificatio, per aromata ones virtutes exprimuntur. Metit myrrham cum aromatibus, quando martyres cum tuleris electis ad maturitatem præmiorum perducit.","english":"Arise, North Wind, and come, South Wind, blow through my garden. For in the North Wind the adversities of the world are signified, in the South Wind the blandishments, by which twofold assault the Church is tested. \"Arise\" is the voice of one permitting, not commanding. And let her aromatics flow. That is, let the constancy of the virtues disperse with wondrous fragrance.\n\nCHAPTER V. — 1. Let my beloved come into his garden. Let the Lord come into his Church, that he himself may preserve her immaculate everywhere and make her fruitful with the fruit of faith. And let him eat the fruit of his pomegranates. And let him gladly accept and gratefully inspect the works of his servants.\n\nCome into my garden, my sister, my bride. \"Come,\" he says, very often into my Church, and I come, that I may correct, help, and confirm. I have reaped my myrrh with my aromatics. By myrrh, passion or mortification is expressed; by aromatics, the virtues. He reaps myrrh with aromatics when he brings martyrs together with chosen ones to the maturity of rewards.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Surge, Aquilo, et veni, Auster, perfla hortum meum","severity":"info","text":"The north wind (Aquilo) and south wind (Auster) are allegorized as adversities and blandishments, respectively, testing the Church. The verb 'surge' is interpreted as permission, not command, reflecting divine allowance of trials.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"myrrham","severity":"info","text":"Myrrh (myrrha) is glossed as passion or mortification, contrasting with aromatics (aromata) which signify virtues. This binary typology is common in patristic exegesis of the Song of Songs.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Veniat dilectus meus in hortum suum","severity":"info","text":"This echoes Song of Songs 4:16 and 5:1, where the beloved enters the garden. The commentary interprets the garden as the Church and the beloved as Christ, a standard ecclesiological reading.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"CAP. V. — I.","severity":"info","text":"The chapter division (CAP. V) marks a new section in the commentary, following the pattern of verse-by-verse exposition. The Roman numeral 'I' likely indicates the first verse of the chapter.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Aquilo ... Auster","severity":"info","text":"North and south winds in ancient and medieval cosmology were associated with cold, harsh conditions and warm, gentle breezes, respectively. This natural symbolism is adapted to moral and ecclesiological allegory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Messui myrrham meam cum aromatibus meis","severity":"info","text":"The reaping of myrrh with aromatics is interpreted as the gathering of martyrs (myrrh) with other elect (aromatics) to maturity of rewards, reflecting a late antique and early medieval emphasis on martyrdom as a fragrant offering.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'Consurge' in the source text is ambiguous: it may be a variant of 'surge' or a separate verb; the translation treats it as part of the same imperative. The phrase 'Venial' in the chapter heading is likely a scribal error for 'Veniat'.","The identity of the speaker ('permittentis vox') is not explicitly named in the text, but context suggests it is Christ or the divine voice."],"confidence":"high","notes":[]},{"i":20,"ref":"p20","source":"Comedi favum cum melle meo, bibi vinum cum lacte meo. In favo et viho prædicatores, in melle et lacte auditores intelliguntur, et utrosque internus judex approbat et remunerat. Comedite, amici, et bibite, et inebriamini, charissimi. Amici, Iaciendo quae præcipio, obsecro, ita factis sanctorum, quasi epulis præcipuis, præcordia vestra replete.\n\nEgo dormio. Donante grati Dei, in pace præsentis vitæ cum colo. El cor meum vigilat. Quo tranquillius sub incursibUs externis quiesco, eo altius iutus video quam bonus est Dens. Vox dilecti mei pulsantis. Pulsat ostium cordis, cum Dominus nos ad profectum virtutUm excitat. Aperi mihi, id cst, cor pande mihi, soror mea. Amica mea, quia arcanorum meorum conscia. Columba mea, quia spiritus mei dono illustrata. Immaculata mea, quia sola aspectu meo digna.\n\nQuia caput meum plenum est tore, et cincinni mei guttis noctium. Caput Christi Deus. Cincinni sunt fidelium collectiones. In rore et guttis noctium frigens claritas in multis ostenditur quam in Domino ct proximis habere debuerunt. Ideo necessario excitat Dominus lidelcs quosque ad prædicationis sludium, quo provocata ad laborem docendi respondet Ecclesia.","english":"I have eaten the honeycomb with my honey; I have drunk wine with my milk. In the honeycomb and the wine, preachers are understood; in the honey and the milk, hearers are understood; and the internal judge approves and rewards both. Eat, friends, and drink, and be inebriated, dearest ones. Friends, by casting what I command, I beseech you, fill your hearts with the deeds of the saints as with choice feasts.\n\nI sleep. By the grace of God, I rest in the peace of the present life. My heart is awake. The more tranquilly I rest under external assaults, the more deeply I see within how good God is. The voice of my beloved knocking. He knocks at the door of the heart when the Lord rouses us to the advancement of virtues. Open to me, that is, open your heart to me, my sister. My friend, because you are privy to my secrets. My dove, because you are illuminated by the gift of my spirit. My immaculate one, because you alone are worthy of my sight.\n\nBecause my head is full of dew, and my locks are with drops of the nights. The head of Christ is God. The locks are the gatherings of the faithful. In the dew and drops of the nights, the cold clarity is shown in many which they ought to have had toward the Lord and their neighbors. Therefore, the Lord necessarily rouses each of the faithful to the zeal of preaching, to which the Church responds, provoked to the labor of teaching.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Comedi favum cum melle meo, bibi vinum cum lacte meo","severity":"info","text":"The allegory distinguishes preachers (honeycomb, wine) from hearers (honey, milk), both approved by the internal judge.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"amici","severity":"info","text":"The Latin 'amici' is translated as 'friends' but the gloss 'Iaciendo quae præcipio' suggests a textual corruption; perhaps 'jaciendo' (throwing) is a misreading for 'jaciendo' or 'faciendo' (doing).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Vox dilecti mei pulsantis","severity":"info","text":"Echoes Song 5:2 (Vulgate: 'Vox dilecti mei pulsantis'), where the beloved knocks, here allegorized as Christ rousing the soul.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"caput meum plenum est rore","severity":"info","text":"The dew and night-drops on Christ's head symbolize the 'cold clarity' (frigens claritas) that the faithful should have toward God and neighbors, a moralizing interpretation of Song 5:2.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Ego dormio... cor meum vigilat","severity":"info","text":"The antithesis of sleep (peace) and wakefulness (inner vision) structures the allegory of the Church's rest amid external assaults.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Immaculata mea","severity":"info","text":"The epithet 'immaculate' for the Church or soul reflects a developing Marian and ecclesiological usage in early medieval exegesis.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'Iaciendo quae præcipio' is obscure; possibly a corruption of 'faciendo' (doing) or 'jaciendo' (throwing), affecting the sense of the exhortation.","The identity of the 'internal judge' (internus judex) is not specified but likely refers to God or Christ."],"confidence":"medium","notes":[]},{"i":21,"ref":"p21","source":"Exspoliari me tunica mea, quom do induar illa? Ac si aperte dicat, deserui negotia sæcularia lui causa, quomodo reveLant illa? Lavi pedes meos, quomodo inquinabo illos? Jam se retæ compunctionis fletibus ablui cogitationes terrenas; quomodo mundi sordibus iterum polluar? quia prædicationis efficium sine occupatione sæculari vix esse potest.\n\nDilectus meus misit manum suam per foramen. Manum quippe suam dilectus per foramen misit, cum nos Dominus occulta invisibiliter compunctione ad opus virtutum accendit; nobisque in memoriam revocat, quomodo et quanta de sinu Patris descendens pro nobis est passus. Et venter meus intremuit ad tactum ejus. Hæc recoleris intima conscientia sponsa, tota expavescit; et pigritiam quiehs accu. sans, ad laborem prædicationis festinat; unde sequilur.\n\nSurrexi, ut aperirem dilecto meo. hi cst, verbum Domini prædicarem. Manus meæ stillaverunt myrrham, et digiti me; pteni myrrha probatissima. In manibus enim opera, in digitis disCretio signatur. In myrrha continentia et passiones: quæ tunc probatissima est, cum solummodu pro charitate Dei ct proximi vel continentia fit, vel passiones fiunt.","english":"I have been stripped of my tunic; how shall I be clothed in it again? As if it said openly: I have abandoned worldly business for your sake; how shall I take it up again? I have washed my feet; how shall I soil them? Already I have washed away earthly thoughts with the tears of compunction; how shall I be polluted again by the filth of the world? For the office of preaching can scarcely exist without worldly occupation.\n\nMy beloved has put his hand through the opening. Indeed, my beloved put his hand through the opening when our Lord invisibly kindles us with hidden compunction for the work of virtues; and recalls to our memory how and how much he suffered for us, descending from the bosom of the Father. And my belly trembled at his touch. When these things are recalled, the intimate conscience of the bride is wholly terrified; and, setting aside sluggishness, she hastens to the labor of preaching; whence follows:\n\nI arose to open to my beloved; that is, to preach the word of the Lord. My hands dripped with myrrh, and my fingers were full of the choicest myrrh. For in the hands, works are signified; in the fingers, discernment. In myrrh, continence and passions are signified; which is then most choice when continence or passions are undertaken solely for the love of God and neighbor.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Exspoliari me tunica mea","severity":"info","text":"The bride’s stripping of the tunic is allegorized as abandoning worldly business for the sake of Christ, a renunciation that preaching cannot coexist with secular occupation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"myrrham","severity":"info","text":"Myrrh symbolizes both continence and passions (passiones), a dual meaning typical in patristic exegesis; here it is ‘most choice’ when motivated solely by love of God and neighbor.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Surrexi, ut aperirem dilecto meo","severity":"info","text":"This echoes Song 5:5–6, where the beloved’s hand and the bride’s rising are interpreted as the preacher’s response to divine compulsion.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"compunctionis fletibus","severity":"info","text":"Compunction (compunctio) is a key monastic concept: tears of repentance that purify the soul, here washing away earthly thoughts before preaching.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"unde sequitur","severity":"info","text":"The phrase ‘unde sequitur’ marks a logical transition: the bride’s trembling conscience leads to the action of rising to preach, linking inner compunction to outward ministry.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"pigritiam quiehs accu. sans","severity":"caution","text":"The Latin text is corrupt here: ‘quiehs accu. sans’ is unintelligible; the English draft reads ‘setting aside sluggishness’ as a plausible emendation.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'pigritiam quiehs accu. sans' is corrupt; the reading 'pigritiam quietis accusans' (accusing the sluggishness of rest) is conjectural."],"confidence":"medium","notes":[]},{"i":22,"ref":"p22","source":"Pessulum ostii mei aperui dilecto meo. Pessulum dilecto aperit, qui templum sui pectoris divina visitatione et inhabitatione dignum fecerit. Ille declinaterat, atque transierat. Quia nulli in hac vita plena visio Dei, sicut in futuro conceditur, ideo transire dicitur dilectus, idest, in futurum se videndum et perfruendum plenius ostendit.\n\nAnima mea liquefacta est, ut dilectus locutus est. Quanto suavius, inquit, vocem atque viciniam dilecti mei accepi, tanto sublimius quidquid in me frigidum erat, charitate incaluit; et quidquid rigidum erat, liquefactum est. Quæsivi, et non invem illum. Quia donum compunctionis tl dulcedinis intimæ non in arhitrio est volentis, sed in miseratione donantis, ideo non semper habent illum æqualiter, quia non ita se offert Deus in exsilio laborantibus quomodo in patria regnantibus.\n\nInvenerunt me vigiles, qui circumeunt civitatem, percusserunt me, vulneraverunt me, tulerunt pallium meum mihi custodes murorum. Custodes civitatis, id est, Ecclesiæ, sancti sunt doctores, qui seddla prædicatione circumeunt conda singulorum, et spiculis coelestis amoris vulner.tnt, et, ut magis ardeant, inflammescunt, et vetustæ conversationis tulamen eis subtrahunt.","english":"I opened the bolt of my door to my beloved. She opens the bolt to her beloved who has made the temple of her heart worthy of divine visitation and habitation. He had turned aside and passed by. Because a full vision of God is not granted to anyone in this life as it is in the future, the beloved is said to pass by, that is, to show himself as to be seen and fully enjoyed in the future.\n\nMy soul melted when my beloved spoke. The more sweetly, she says, I received the voice and presence of my beloved, the more sublimely whatever was cold in me grew warm with love, and whatever was rigid was melted. I sought him and did not find him. Because the gift of compunction and inner sweetness is not in the will of the one who desires it, but in the mercy of the one who bestows it, they do not always have it equally, because God does not offer himself to those laboring in exile as he does to those reigning in their homeland.\n\nThe watchmen who go around the city found me, they struck me, they wounded me, the guards of the walls took my cloak from me. The guardians of the city, that is, of the Church, are the holy teachers, who go around the hearts of individuals with constant preaching, and wound them with the darts of heavenly love, and inflame them so that they burn more, and strip from them the covering of their old way of life.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Pessulum ostii mei aperui dilecto meo","severity":"info","text":"The opening of the bolt symbolizes the soul's preparation for divine visitation, a common nuptial metaphor in the Song of Songs tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"dilectus","severity":"info","text":"The beloved (dilectus) is interpreted as Christ, whose passing by (transire) signifies the incomplete vision of God in earthly life, awaiting full enjoyment in the future.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Anima mea liquefacta est","severity":"info","text":"The melting of the soul echoes Song of Songs 5:8 (Vulgate: 'Anima mea liquefacta est'), a verse traditionally read as the soul's response to divine love.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"vigiles ... custodes murorum","severity":"info","text":"The watchmen and guards are allegorized as holy teachers (sancti doctores) who patrol the city (the Church), wounding souls with love and stripping away old habits.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Quæsivi, et non invem illum","severity":"info","text":"The search for the beloved without finding him marks a shift from union to absence, emphasizing the transient nature of compunction and divine presence in exile.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"invem","severity":"caution","text":"The Latin 'invem' is likely a scribal error for 'inveni' (I found), as the context requires the perfect tense; the English draft correctly reads 'I found'.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the 'vigiles' (watchmen) could be read as literal guards or allegorical figures; the commentary opts for the latter as holy teachers."],"confidence":"high","notes":[]},{"i":23,"ref":"p23","source":"Adjuro vos, filiæ Jerusalem, si inveneritis dilectum meum, ut nuntielis ei quia amore langueo. Merito languet sponsa, cum gladio verbi Dei percussa, terrenuni exuit amictum; et filias Jerusalem, id est, Dco dignas animas adjurat, ut sui amori magnitudinem ad Dominum referant; et pro ejUs videnda gloria supernum sibi poscant auxilium.\n\nQualis est dilectus tuus ex dilecto, o pulcherrima mulierum? qualis est dilectus tuus ex dilectoquia sic adjurasti nos? Obsecro te, quMa sic adjurasti me, ut amore quo te languescere dicis me quoque per verbum prædicationis facias ardescere, et mihi ostendas qualis sit dilectus tuus ex ea parte qua possit diligi, non timeri, quia perfecta charitas foras mittit timorem.\n\nDilectus meus candidus, et rubicundus, electus ex millibus. Candidus. quia sine peccato; rubicundus sanguine passionis Christus, qui solus mediator Dei, ct hominum. Caput ejus aurum optimum. Caput Christi Deus, qui solus bonus ct optimus. Comæ ejus sicut elat palmarum, nigræ quasi corvus. Comæ eatervæ sunt sanctorum, quæ Deo fideli famulatu adhærent. Elatæ, vel electas paluræ propter caput Christi, nigræ ob pressuras.","english":"I adjure you, daughters of Jerusalem, if you find my beloved, that you announce to him that I languish with love. The bride rightly languishes, struck by the sword of the word of God, having cast off her earthly garment; and she adjures the daughters of Jerusalem, that is, souls worthy of God, to refer the greatness of her love to the Lord; and to seek for themselves heavenly aid for the sake of seeing his glory.\n\nWhat is your beloved like, from the beloved, O most beautiful of women? What is your beloved like, from the beloved, that you have thus adjured us? I beseech you, since you have thus adjured me, that by the love with which you say you languish you also make me burn through the word of preaching, and show me what your beloved is like from that part by which he can be loved, not feared, because perfect love casts out fear.\n\nMy beloved is white and ruddy, chosen out of thousands. White, because without sin; ruddy with the blood of the passion of Christ, who alone is the mediator of God and men. His head is the best gold. The head of Christ is God, who alone is good and best. His hair is like the leaves of palm trees, black as a raven. The hair is the multitude of saints, who adhere to God with faithful service. The leaves, or chosen palms, because of the head of Christ, black because of tribulations.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"Adjuro vos, filiæ Jerusalem","severity":"info","text":"The bride's adjuration to the daughters of Jerusalem echoes Song 5:8 and is here allegorized as souls worthy of God, a common exegetical move.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"candidus, et rubicundus","severity":"info","text":"The description of the beloved as white and ruddy is a standard Christological trope: white for sinlessness, ruddy for the blood of the Passion.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"electus ex millibus","severity":"info","text":"The phrase 'chosen out of thousands' alludes to Song 5:10 (Vg: 'electus ex millibus'), applied here to Christ as unique mediator.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Caput ejus aurum optimum","severity":"info","text":"The allegory of Christ's head as gold and God as 'optimum' reflects Neoplatonic and patristic identification of the divine with the highest good.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Comæ ejus sicut elat palmarum, nigræ quasi corvus","severity":"info","text":"The hair as saints (black from tribulations) and palm leaves as chosen ones is a distinctive allegory, possibly influenced by Origenist traditions.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"elat palmarum","severity":"caution","text":"The Latin 'elat' may be a corruption or variant of 'elatae' (raised) or 'electae' (chosen); the English draft reads 'leaves, or chosen palms'.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'elat palmarum' is ambiguous: it could mean 'leaves of palms' or 'chosen palms'; the commentary interprets it as both, but the textual basis is uncertain."],"confidence":"high","notes":[]},{"i":24,"ref":"p24","source":"Oculi ejus quasi columbæ super rivulos aquarum. Oculi ejus doctores sunt, per quos Ecclesia vitiet quæ recta sunt; qui bene columbæ propter simplicitatem, et rivulis aquarum propter charismata divina comparantur. Quæ lucte sunt lotæ, et resident juxta fluenta plenissima. Lacte lotas dicit, id est, gratia divina et dulcissima mundatas; et resident juxta fluenta plenissima, id est, omnium donorum spiritualium abundantia. Potest in rivulis veteris legis eruditio, et per fluenta plenissima perfectio evangelicæ doctrinæ signari, quia sancti prædicatores de thesauris suis proferunt nova ct vetera.\n\nGenæ illius, sicut areolæ aromatum consilæ a pigmentariis; labia ejus lilia distillantia myrrliam primam. in genis Salvatoris nostri ct modesta pietas simul et severitas exprimitur. Areolis aroniatum virtutes, et dulcedo, et fama designantur. Consitæ a pigmentariis prophectis et apostolis, his futuræ incarnationis ejus arcana, illis facta narrantibus. Labia ejus verba sunt doctrinæ ejus. Lilia, quia claritatem cœlestis rcgui promittunt. Distillamia myr rham primam, quia per contemplum voluptatum præsentium ad hanc perveniendum esse pra dicant.","english":"His eyes are like doves above streams of water. His eyes are the teachers, through whom the Church discerns what is right; they are well compared to doves because of simplicity, and to streams of water because of divine charisms. They are washed with milk, and they dwell beside the most abundant streams. He says \"washed with milk,\" that is, cleansed by divine and most sweet grace; and \"they dwell beside the most abundant streams,\" that is, the abundance of all spiritual gifts. In the streams, the instruction of the old law can be signified, and through the most abundant streams, the perfection of evangelical teaching, because holy preachers bring forth new and old from their treasuries.\n\nHis cheeks are like beds of spices planted by perfumers; his lips are lilies dripping with first myrrh. In the cheeks of our Savior, both modest piety and severity are expressed. By the beds of spices, virtues, sweetness, and fame are designated. \"Planted by perfumers\" refers to the prophets and apostles, the former telling the secrets of his future incarnation, the latter relating the deeds. His lips are the words of his teaching. Lilies, because they promise the brightness of the heavenly kingdom. Dripping with first myrrh, because they preach that this is to be attained through contempt for present pleasures.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Oculi ejus quasi columbae super rivulos aquarum","severity":"info","text":"The eyes of the beloved are interpreted as teachers, with doves symbolizing simplicity and streams representing divine charisms.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"lacte lotas","severity":"info","text":"‘Washed with milk’ is glossed as cleansed by divine and most sweet grace, a metaphorical purification.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"rivulis veteris legis eruditio","severity":"info","text":"The streams are interpreted as the instruction of the Old Law, while the most abundant streams signify the perfection of evangelical teaching, reflecting a typological reading.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Genae illius, sicut areolae aromatum consitae a pigmentariis","severity":"info","text":"The description of cheeks and lips continues the allegorical interpretation of the beloved’s physical features as aspects of Christ’s teaching and virtues.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"pigmentariis","severity":"info","text":"‘Perfumers’ are identified as prophets and apostles, who reveal the secrets of the incarnation and the deeds of Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"labia ejus lilia distillantia myrrham primam","severity":"info","text":"Lips as words of teaching; lilies promise the brightness of the heavenly kingdom; myrrh signifies contempt for present pleasures as the path to that kingdom.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text is clear; no significant ambiguities in the passage."],"confidence":"high","notes":[]},{"i":25,"ref":"p25","source":"Manus illius tornatiles, aureæ, plenæ hyacinthis. Manus, id est, opera, quia quæ verbis docuii, lacUs implevit. Tornatiles, quia in se omnem regulam justitiæ tenent. Uude dicit: Oportet me omnem justitiam adimplere. Sunt et manus aureæ, quia omnia quae in homine gessit, divitias gloriæ perfecit. Plenae hyacinthis, quia ad spem nos cælestium atque amcrem excitant, quia hyacinthus aurei coloris gemma est.\n\nVenter ejus eburneus, distinctus sapphiris. Venter dilecti fragilitatem humanitatis ejus designat, eburneus decorem castitatis. Sapphirus sublimitas est coelestium virtutum. Distinctus sapphiris, quia partim humana fragilitas esurie, tentatione, fatigatione, morte, partim divina celsitudo miraculis, resurrectione et ascensione gloriæ intelligitur.\n\nCrura illius columnæ marmoreæ, quæ fundatæ sunt super bases aureas. Crurum vocabulo itinera incarnationis Christi insinuantur, quae columnis marmoreis propter firmitatem et rectitudinern comparantur. Fundatæ super bases aureas, quia quidquid de eo vel per eum gestum est, omnia divinæ provisionis consilio ante tempora sxcularia disposita sunt.","english":"His hands are turned, golden, full of hyacinths. \"Hands\" means works, because what he taught in words, he fulfilled in deeds. \"Turned\" because they hold within themselves every rule of justice. Whence it is said: I must fulfill all justice. They are also golden hands, because everything he did in his human life perfected the riches of glory. \"Full of hyacinths\" because they rouse us to hope for and love of heavenly things, since the hyacinth is a gem of golden color.\n\nHis belly is ivory, distinguished with sapphires. The belly of the Beloved designates the fragility of his humanity; \"ivory\" designates the beauty of chastity. \"Sapphire\" is the sublimity of heavenly virtues. \"Distinguished with sapphires\" because partly human fragility is understood through hunger, temptation, weariness, death, and partly divine loftiness through miracles, resurrection, and ascension in glory.\n\nHis legs are marble columns, which are founded upon golden bases. By the term \"legs\" the ways of Christ's incarnation are intimated, which are compared to marble columns because of their firmness and uprightness. \"Founded upon golden bases\" because whatever was done by him or through him, all things were arranged by the counsel of divine providence before the ages of time.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"tornatiles","severity":"info","text":"The Latin 'tornatiles' (from tornare, 'to turn on a lathe') is rendered 'turned' in the English draft, but the sense is 'shaped on a lathe,' implying precision and symmetry. The commentary interprets this as holding every rule of justice.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"hyacinthis","severity":"info","text":"'Hyacinth' (Latin hyacinthus) is a gemstone, here described as golden-colored. The commentary uses it to symbolize hope for heavenly things, a common allegorical reading in patristic exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Oportet me omnem justitiam adimplere","severity":"info","text":"The phrase 'I must fulfill all justice' is not a direct biblical quotation but echoes Pauline language (e.g., Rom 3:28, Gal 5:3) and reflects a moral imperative common in Latin Christian teaching.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"venter ejus eburneus","severity":"info","text":"The description of the Beloved's belly as 'ivory' and 'distinguished with sapphires' follows a tradition of allegorizing the Song of Songs as a description of Christ's dual nature—human fragility and divine glory—common in early medieval Latin commentaries.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Crura illius columnæ marmoreæ","severity":"info","text":"The passage follows a consistent pattern: each body part (hands, belly, legs) is first named, then interpreted allegorically, with a concluding explanation of the material (gold, ivory, marble) and its symbolic meaning.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"fundatæ super bases aureas","severity":"info","text":"The image of marble columns on golden bases, interpreted as divine providence arranging Christ's actions before time, reflects a Neoplatonic and Augustinian emphasis on God's eternal plan, influential in medieval Christological exegesis.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'tornatiles' could also be read as 'turned' in the sense of 'shaped' or 'polished,' but the commentary's moral interpretation is clear.","The phrase 'Oportet me omnem justitiam adimplere' is not a direct scriptural citation; its source is uncertain."],"confidence":"high","notes":[]},{"i":26,"ref":"p26","source":"Species ejus, ut Libani, electus, ut cedri. Ut Libanus celsitudine et gratia arborum alios montes, sic Dominus Christus omnes sanctos meritorum celsitudine et gratia virtutum antecellit. Electus, ut cedri. Sicut alias arbores, quæ in Libano nascuntur, cedri superant dignitate sua; ita Christus omnes qui in Ecclesia ad vitam nascuntur sua transceudit gloria.\n\nGuttur illius suavissimum. In gutture interna dulcedo verborum illius memoratur, quam qui sapit, non esurit. Et totus desiderabilia. Quid amplius quaeris? Totus desiderabilis est, quia totus Deus, et totus homo, in quem desiderant et angeli prospicere. Deus in majestate Patris, homo in virginitate matris. In illo creator, in hac salvator.\n\nTatis est dilectus meus, et ipse est amicus meus. Quanto devotius quisque diligit Dominum, tanto familiarius habet amicum Dominum. Et talem necesse est ut intellagas eum, si vis eum amicum habere. Quo abiit dilectus tuus, o pulcherrima mulierum? Vox Synagogæ; decore enim carminis variantur person:r colloquentium. Sed tantum Christi Ecclesia, quia sponsæ vocabulo exprimitur, designatur pulcherrima malierum.Pulchræ sunt singulae Ecclesiæ sanctorum; sed pulcherrima universitas totius sanctae Ecclesiæ per totum orbem. Quo declinavit dilectus tuus, et quæremus eum tecum? Qui aliquando in terra corporali specie versatus est, die, quo declinavit ille, ut sequamur illum tecum?","english":"His appearance is like that of Lebanon, choice like the cedar. As Lebanon surpasses other mountains in height and the beauty of its trees, so the Lord Christ surpasses all the saints in the height of his merits and the beauty of his virtues. He is choice, like the cedar. Just as other trees which grow in Lebanon are surpassed in their dignity by the cedars, so Christ surpasses in his glory all who are born into life in the Church.\n\nHis throat is most sweet. In the throat, the inner sweetness of his words is recalled; he who tastes it does not hunger. And he is wholly desirable. What more do you seek? He is wholly desirable, because he is wholly God and wholly man, whom even the angels desire to behold. God in the majesty of the Father, man in the virginity of the mother. In him, the creator; in her, the savior.\n\nSuch is my beloved, and he himself is my friend. The more devotedly each one loves the Lord, the more familiarly he has the Lord as a friend. And you must understand him to be such, if you wish to have him as a friend. Where has your beloved gone, O most beautiful of women? The voice of the Synagogue; for the beauty of the poem varies the persons speaking. But the Church of Christ alone, because it is expressed by the name of bride, is designated the most beautiful of women. The individual churches of the saints are beautiful; but the most beautiful is the whole of the holy Church throughout the entire world. Where has your beloved turned aside, and shall we seek him with you? He who once dwelt on earth in bodily form—on the day when he turned aside, shall we follow him with you?","structure":"narrative","commentary":[{"unit":"background","kind":"background","basis":"background","lemma":"Species ejus, ut Libani, electus, ut cedri","severity":"info","text":"Lebanon and cedar imagery is biblical, evoking Song of Songs 5:15 and Psalm 92:13, where Lebanon symbolizes majesty and the cedar represents strength and durability.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"guttur","severity":"info","text":"Guttur (throat) is used metaphorically for the organ of speech, emphasizing the sweetness of Christ's words, a common patristic trope.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Totus desiderabilis","severity":"info","text":"The phrase echoes Song of Songs 5:16 (Vulgate: 'totus desiderabilis'), where the beloved is described as wholly desirable, applied here to Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Vox Synagogæ","severity":"info","text":"The commentary explicitly notes a change of speaker to the Synagogue, a dramatic device in the Song of Songs, distinguishing voices in the dialogue.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"pulcherrima mulierum","severity":"info","text":"The designation of the Church as 'most beautiful of women' reflects a common patristic identification of the bride as the universal Church, not an individual.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Quo abiit dilectus tuus","severity":"caution","text":"The Latin text shifts abruptly to a question, possibly reflecting a lacuna or a change in speaker; the commentary interprets it as the Synagogue's voice, but the transition is not fully explained.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the speaker in 'Quo abiit dilectus tuus' is ambiguous; the commentary assigns it to the Synagogue, but the text does not mark the change explicitly."],"confidence":"high","notes":[]},{"i":27,"ref":"p27","source":"CAP. VI. — i. Dilectus meus descendit in hortum suum ad areolam aromatum. Quasi dixisset, illuc descendit in horum, id est, Ecclesiam suam, ut eam fonte gloriæ suæ, quasi aream aromatum, irrigaret, ut virtutum floribus germinaret. Ut pascatur in hortis, et lilia colligat. Ego dilecto meo locum habitationis præparo in me, et ipse mihi apud se, qui semper infer sancta desideria mentium castarum pascitur. Hactenus sanctæ Ecclesæ vox est quærentis ac laudantis; nunc, quid quaesitus respondeat, subinfertur.\n\nPulchra es, amica mea, suavis et decora, sicut Jerusalem. Sauctam Ecclesiam suam amicam dicit, quia ejus vitæ desiderium visioni jam pacis intimae assimilatur. Terribilis ut castrorum acies ordinata. Id est, charitate unita, et compacta, ut nullus locus hosti per malum discordiæ aperiatur, quia solummodo III unitate pacis terribiles sumus hosti.","english":"CHAPTER VI. — i. My beloved has descended into his garden, to the bed of spices. As if to say, he has descended into that garden, that is, his Church, so as to irrigate her with the fountain of his glory, as with a bed of spices, that she might sprout with the flowers of virtues. So that he may pasture in the gardens, and gather lilies. I prepare for my beloved a place of habitation within me, and he for me with himself, who always pastures among the holy desires of chaste minds. Thus far is the voice of the holy Church, seeking and praising; now, what the sought one answers is subjoined.\n\nYou are beautiful, my friend, sweet and comely, like Jerusalem. He calls his holy Church his friend, because the desire of her life is likened to the vision of intimate peace already. Terrible as an ordered line of battle. That is, united and compacted by charity, so that no place is opened to the enemy through the evil of discord, because we are terrible to the enemy only in the unity of peace.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"Hactenus sanctae Ecclesiae vox est ... nunc, quid quaesitus respondeat, subinfertur","severity":"info","text":"The commentator marks a structural shift: the preceding passage is the voice of the Church seeking and praising; the following lines introduce the beloved's response.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"descendit in hortum suum ad areolam aromatum","severity":"info","text":"The garden is allegorized as the Church; the bed of spices represents the fountain of Christ's glory irrigating the Church to produce virtues.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"amica mea","severity":"info","text":"The beloved calls the Church 'my friend' (amica), interpreting the Song's erotic language as spiritual friendship and desire for peace.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"sicut Jerusalem","severity":"info","text":"The comparison 'like Jerusalem' echoes the Song's praise of the beloved; the commentator reads it as a type of the Church's beauty and peace.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Terribilis ut castrorum acies ordinata","severity":"info","text":"The military metaphor of a battle line reflects early Christian emphasis on unity against heresy and discord, common in patristic ecclesiology.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"solummodo in unitate pacis terribiles sumus hosti","severity":"info","text":"This phrase underscores the theme that the Church's strength lies in peace and unity, a recurring motif in Isidorian and later medieval ecclesiology.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'hortum' is read as 'garden' (Church), but the text has 'horum' which may be a scribal error for 'hortum'.","The phrase 'infer sancta desideria' is unclear; the translation takes it as 'pastures among holy desires'."],"confidence":"high","notes":[]},{"i":28,"ref":"p28","source":"Averte oculos tuos a me, quia ipsi me avolare fecerunt. Id est, oculis mentis tuae noli quærere in tuæ peregrinationis itinere perfecte me cognoscere, quia fieri non potest; quia quo intentius agnoscere quæris. eo certius incomprehensibiliem intelliges; ct non quæras in via præmium, quod in patria reservatur. Capilli tui, sicut greges caprarum, etc. Qui versiculi prius positi sunt, sed repetitio firluitatis est indicium. In capillis populi, in dentibus doctores, in gemellis fetibus præcepta charitatis intelliguntur.\n\nSicut cortex mali Punici, sic genæ tuæ absque occultis tuis. Gena. sanctae Ecclesiæ spirituales sunt Patres, qui virtutibus sunt mirabiles, et moribus venerabiles. et in Christi cruce gloriari non erubescentes. Et haec magna sunt valde, quae videntur in ea; sed multo majora quæ non videntur, et in futuro reservantur.","english":"Turn your eyes away from me, because they have made me fly away. That is, do not seek to know me perfectly by the eyes of your mind on the journey of your pilgrimage, because it cannot be done; for the more intently you seek to know, the more certainly you will understand that I am incomprehensible; and do not seek on the road the reward that is reserved for the homeland. Your hair is like flocks of goats, etc. These verses were placed earlier, but repetition is a sign of firmness. In the hair, the peoples are understood; in the teeth, the teachers; in the twin offspring, the precepts of charity.\n\nLike the rind of a pomegranate, so are your cheeks apart from your hidden parts. The cheek of the holy Church is the spiritual Fathers, who are admirable in virtues and venerable in manners, and who are not ashamed to glory in the cross of Christ. And these are very great things that are seen in her; but much greater are those that are not seen and are reserved for the future.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Averte oculos tuos a me","severity":"info","text":"The speaker (Christ or the Bridegroom) tells the beloved not to seek perfect knowledge during earthly pilgrimage, as full comprehension is reserved for the heavenly homeland.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Capilli tui, sicut greges caprarum","severity":"info","text":"The hair, teeth, and twin offspring are allegorized as peoples, teachers, and precepts of charity, respectively, following a pattern of typological interpretation common in patristic exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"repetitio firluitatis est indicium","severity":"info","text":"The commentator notes that the verse about hair and goats was placed earlier; its repetition is interpreted as a sign of firmness (firmitas), a rhetorical device to emphasize doctrine.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"Sicut cortex mali Punici, sic genæ tuæ absque occultis tuis","severity":"info","text":"The pomegranate rind symbolizes the visible virtues of the Church’s spiritual Fathers, while the hidden parts point to greater, eschatological rewards not yet revealed.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"in Christi cruce gloriari non erubescentes","severity":"info","text":"The spiritual Fathers are praised for not blushing to glory in Christ’s cross, reflecting a post-Constantinian context where public display of the cross was a mark of orthodox identity.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'firluitatis' is likely a scribal error for 'firmitatis' (firmness), as the context suggests a rhetorical point about repetition."],"confidence":"high","notes":[]},{"i":29,"ref":"p29","source":"Sexaginta sunt reginae, et octoginta concavinæ, et adolescentularum non est numerus. Reginae sunt, qUa! amore sponsi et coelestis præmii intuitu per prædicationem veritatis et sacri baptismatis fontem sobolem æterno regi spiritualem generant. Concubinæ sunt, quæ carnali solummodo commodo Christum prædicando, vel baptizando, docent; et ideo illa perfectione senarii numeri, per denarium, propter decalogum designantur. Adolescentulae sunt animae nuper Christo renatæ, quarum summa propter multitudinem civium coelestium numerum transcendit.\n\nUna est columba mea, perfecta mea. Sancta videlicet et universalis per totum orbem Ecclesia. Una est matri suæ, electa genitrici suæ. Matri suæ, id est, cælesti Jerusalem, quæ est mater omnium nostrum. Unde ad nos gratia Spiritus sancti descendit, per quam nascimur Deo. Viderunt illam filiae, et beatissimam prædicaverunt. Quas prius dixit adolescentulas, nunc filias nominat; antiqui omnes calholicam laudant Ecclesiam.","english":"There are sixty queens, and eighty concubines, and the number of maidens is without count. The queens are those who, by the love of the Bridegroom and the contemplation of the heavenly reward, through the preaching of truth and the font of sacred baptism, spiritually beget offspring for the eternal king. The concubines are those who, for merely carnal advantage, preach or baptize while teaching Christ; and therefore they are designated by that perfection of the number six, through the number ten, on account of the Decalogue. The maidens are souls recently reborn in Christ, whose sum exceeds the number of the citizens of heaven on account of their multitude.\n\nOne is my dove, my perfect one. That is, the holy and universal Church throughout the whole world. One is she to her mother, chosen for her parent. To her mother, that is, to the heavenly Jerusalem, which is the mother of us all. Whence the grace of the Holy Spirit descends to us, through which we are born to God. The daughters saw her, and proclaimed her most blessed. Those whom it earlier called maidens, it now names daughters; all the ancients praise the Catholic Church.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Sexaginta sunt reginae, et octoginta concavinæ","severity":"info","text":"The numbers 60 and 80 are allegorically interpreted: 6 (perfection) times 10 (Decalogue) yields 60 for queens; 8 (new creation) times 10 yields 80 for concubines, though the text only explicitly glosses the former.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"concubinæ","severity":"info","text":"The term 'concubinae' (concubines) is used pejoratively for those who preach or baptize for carnal gain, contrasting with 'reginae' (queens) who act for spiritual reward. This reflects a moral hierarchy in ecclesiological allegory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Una est columba mea, perfecta mea","severity":"info","text":"This phrase echoes Song of Songs 6:8 (Vulgate: 'Columba mea, una est'), here interpreted as the universal Church. The dove is a standard symbol of the Church or the Holy Spirit in patristic exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"cælesti Jerusalem","severity":"info","text":"The 'heavenly Jerusalem' is a common patristic typology for the Church triumphant or the eschatological community, derived from Galatians 4:26 and Revelation 21. Here it is the mother of all believers, source of grace.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Viderunt illam filiae","severity":"info","text":"The commentator notes a shift in terminology: 'adolescentulae' (maidens) become 'filiae' (daughters), linking the earlier enumeration to the present praise of the Church by all the ancients.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"antiqui omnes catholicam laudant Ecclesiam","severity":"info","text":"The phrase 'all the ancients praise the Catholic Church' asserts continuity with earlier orthodox tradition, a common rhetorical move in patristic and medieval exegesis to validate the interpretation.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The precise allegorical derivation of the numbers 60 and 80 is not fully explained; the text only glosses 60 via 6x10, leaving 80 (8x10) implicit. The identity of 'matri suae' (her mother) as heavenly Jerusalem is clear, but the relationship between the dove and the mother is left ambiguous."],"confidence":"high","notes":[]},{"i":30,"ref":"p30","source":"Quæ est ista quæ progreditur, quasi aurora consurgens? Progreditur Ecdesia, quasi aurora, quia jaina ortus veri luminis mundo post tenebras longæ ignorantiæ monstratur. Pulchra ut luna. Quia sole justitiæ illustrata noctem mundi illuminat. Electa ut sol. Quia imaginem sui conditoris in omni justitia. sanctitate et veritate portat. Terribilis ut costrorum acies ordinata. Terribilis aeris potestatibus in unitate charitatis, fidei, et spei.\n\nDescendi in hortum nucum, ul viderem poma convallium. Hortus etenim nucum est Ecclesia praesens. ubi nostras conscientias alterutrum minime videmus: sed fracta testa corporis, apparebit interna: dulcedinis fructus. Poma convallium fructus est humilitatis. Descendit sancta Ecclesia per doctores sanctos ad eos qui proliciunt ad fructus bonus, quive adhuc Indigent doctrinae irrigatione. Et inspicerem si floruisset vinea, germinassent mala Punica. Inspicerem si virtutum studia floruissent, et si qui ad exemplum dominicæ passionis præparati essent suum fundere sanguinem.","english":"Who is this that advances, like the rising dawn? The Church advances, like the dawn, because the rising of the true light is shown to the world after the long darkness of ignorance. Beautiful as the moon, because, illuminated by the sun of justice, she lights up the night of the world. Chosen as the sun, because she bears the image of her Creator in all justice, holiness, and truth. Terrible as a drawn-up line of battle camps, terrible to the powers of the air in the unity of charity, faith, and hope.\n\nI went down into the garden of nut trees, to see the fruits of the valleys. For the garden of nut trees is the present Church, where we do not see each other’s consciences, but once the shell of the body is broken, the fruit of inner sweetness will appear. The fruits of the valleys are the fruit of humility. Holy Church descends through holy teachers to those who are striving toward good fruits, or who still need the irrigation of teaching. And I would inspect whether the vine had flowered, whether the pomegranates had sprouted. I would inspect whether the pursuits of the virtues had flowered, and whether any were prepared, after the example of the Lord’s passion, to shed their blood.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Quæ est ista quæ progreditur, quasi aurora consurgens?","severity":"info","text":"The opening question echoes the Song of Songs 6:10 (Vulgate: 'Quae est ista quae progreditur quasi aurora consurgens?'), but the commentary reinterprets the bride as the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Pulchra ut luna","severity":"info","text":"The phrase 'beautiful as the moon' alludes to Song of Songs 6:10 (Vulgate: 'pulchra ut luna'), where the beloved is compared to the moon; here applied to the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Electa ut sol","severity":"info","text":"The comparison 'chosen as the sun' echoes Song of Songs 6:10 (Vulgate: 'electa ut sol'), but the commentary shifts the sun imagery to Christ as the 'sun of justice' (Malachi 4:2).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Terribilis ut castrorum acies ordinata","severity":"info","text":"The image of the Church as a battle line ('acies castrorum') draws on military metaphors common in patristic exegesis, e.g., Cyprian's 'De unitate ecclesiae', to depict the Church's spiritual warfare.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"Descendi in hortum nucum","severity":"info","text":"The 'garden of nut trees' (hortus nucum) is allegorized as the present Church, where the hard shell of the body conceals the inner sweetness of the soul, a common patristic trope (cf. Augustine, Enarrationes in Psalmos).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Poma convallium","severity":"info","text":"The 'fruits of the valleys' (poma convallium) likely alludes to Song of Songs 2:12-13 (Vulgate: 'vinea floruit, mala punica germinaverunt'), reinterpreted as the fruit of humility.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text is a continuous allegorical commentary; the identity of the speaker ('I') in 'Descendi in hortum nucum' is ambiguous—it may be the Bridegroom (Christ) or the Church personified. The commentary takes it as the Church descending through teachers."],"confidence":"high","notes":[]},{"i":31,"ref":"p31","source":"Nescivi, anima mea conturbavit me, propter quadrigas Aminadab. Nescivi dona gratiæ spiritualis in te, sponsa: sed anima mea conturbavit me propter introductionem evangelicæ quadrigæ, qua Aminadab (qui interpreLatur populi mei spontaneus) id est, Christus per totum vehitur mundum. Cut Ecclesia consolando mox respondet. Revertere, revertere, Sulamitis: revertere. revertere. ut intueamur te. Noli tui bata e?se: sed revertere ad agnitionem tui Redemptoris, qui tibi toties in prophelis, et lege promissus est. Revertere puritate fidei: revertere operum perfectione, o Sulamitis, id est, capuva, jam a vinculis infidelitatis revertere ad tuum Redemptorem, ut salveris.\n\nCAP. VII. — 1. Quid videbis in Sulamite, nisi choros castrorum? Tu doles synagogam obduratam: prope est tempus, quod churus bellantium adversus malignus spiritus et laudantium Dominum videbis in ea. Quam pulchri sunt gressus tui in calceamentis, filia principis! Nunc laudes Ecclesiae ab ipso sponso proferuntur; et primo operum constantia et mortiticatio voluptatum laudatur in ea, quia filia orincipis, id est, Christi, ob gratiam baptismi.....","english":"I did not know, my soul troubled me, because of the chariots of Aminadab. I did not know the gifts of spiritual grace in you, O bride; but my soul troubled me because of the introduction of the evangelical chariot, by which Aminadab (which is interpreted as \"the spontaneous one of my people\"), that is, Christ, is borne throughout the whole world. To this the Church, consoling, immediately responds: Return, return, O Sulamite; return, return, so that we may gaze upon you. Do not be self-satisfied; but return to the knowledge of your Redeemer, who was promised to you so many times in the prophets and in the Law. Return by purity of faith; return by perfection of works, O Sulamite, that is, captive, now from the bonds of unfaithfulness return to your Redeemer, that you may be saved.\n\nCHAPTER VII — 1. What will you see in the Sulamite, if not the choirs of the camps? You grieve for the hardened synagogue: the time is near when you will see in her the chorus of warriors against the evil spirit and of those praising the Lord. How beautiful are your steps in your sandals, O daughter of the prince! Now the praises of the Church are uttered by the Bridegroom himself; and first the constancy of her works and the mortification of pleasures are praised in her, because she is the daughter of the prince, that is, of Christ, by reason of the grace of baptism...","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Aminadab","severity":"info","text":"Aminadab is interpreted as 'populi mei spontaneus' (the spontaneous one of my people) and identified with Christ, a non-standard etymology derived from the Hebrew name Amminadab.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Sulamitis","severity":"info","text":"Sulamitis is glossed as 'capuva' (captive), likely a corruption of 'captiva', and interpreted as the Church or synagogue returning from infidelity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Song 6:12-13","severity":"info","text":"The phrase 'Nescivi... propter quadrigas Aminadab' echoes Song 6:12 (Vulgate: 'Nescivi... propter quadrigas Aminadab'), here allegorized as the evangelical chariot of Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"quadrigas Aminadab","severity":"info","text":"The 'chariots of Aminadab' in Song 6:12 are obscure; the commentator reinterprets them as the fourfold Gospel (evangelical chariot) spreading Christ through the world.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Chapter VII","severity":"info","text":"The passage marks a transition to Chapter VII, where the Bridegroom (Christ) begins to praise the Church, shifting from the Church's consoling response to direct encomium.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"filia principis","severity":"info","text":"The phrase 'daughter of the prince' is interpreted as 'daughter of Christ' by reason of baptism, reflecting a baptismal ecclesiology common in patristic and medieval commentaries.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'capuva' is likely a scribal error for 'captiva' (captive), but the intended reading is clear from context."],"confidence":"high","notes":[]},{"i":32,"ref":"p32","source":"Juncturæ femorum tuorum sicut monilia, quæ fabricata sunt manu artificis. Duorum concordia populorum spirituali prope fecundorum in junctura femorum designatur, quia sicut monile fabricatur manu artificis, sic esi ineffabili largitate condotoris nostri firmata. In monili bona opera exprimuntur.\n\nUmbilicus tuus crater tornatilis, nunquam indigens poculis. Umbilicus, id est, tragilitas infirmitatis nostræ, crater, cum, conscientia mortalitatis atque infirmitatis nostræ admoniti, calicem verbi salutaris prompta mente proximis propinare satagimus. Venter tuus, sicut acervus tritici vallutus Ii iis, etc. Acervus tritici vallatus liliis est, cum abundatia boni operis sola spe perpetuæ lucis colligitur. In ventre memoria; in tritico muhiplicatio boni operis, in liliis castitas exprimitur. Item in tritico panis, et in cratere potus, quæ pauperibus dantur, exprimuntur.","english":"The joinings of your thighs are like necklaces, which are fashioned by the hand of a craftsman. The concord of two peoples, spiritually fruitful, is designated in the joining of the thighs, because just as a necklace is fashioned by the hand of a craftsman, so it is strengthened by the ineffable generosity of our Founder. In the necklace, good works are expressed.\n\nYour navel is a turned bowl, never needing cups. The navel, that is, the fragility of our weakness, is a bowl, when, admonished by the consciousness of our mortality and weakness, we strive to offer the cup of the saving word with a ready mind to our neighbors. Your belly is like a heap of wheat fenced with lilies, etc. A heap of wheat fenced with lilies is when the abundance of good work is gathered solely by the hope of eternal light. In the belly, memory; in the wheat, the multiplication of good work; in the lilies, chastity is expressed. Likewise, in the wheat, bread, and in the bowl, drink, which are given to the poor, are expressed.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Juncturæ femorum","severity":"info","text":"The 'joinings of the thighs' is interpreted as the concord of two peoples, likely Jews and Gentiles, spiritually fruitful in the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"Umbilicus","severity":"info","text":"The navel is glossed as 'fragility of our weakness' (tragilitas infirmitatis nostræ), a rare term possibly a scribal error for 'fragilitas'.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"crater","severity":"info","text":"The bowl (crater) symbolizes the cup of the saving word offered to neighbors, linking to Eucharistic or charitable imagery.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"","severity":"info","text":"The passage follows a pattern: a verse from the Song of Songs is cited, then allegorically interpreted, with each body part (thighs, navel, belly) assigned a spiritual meaning.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"monilia","severity":"info","text":"Necklaces (monilia) were common luxury items in late antiquity; here they symbolize good works, crafted by divine generosity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"","severity":"info","text":"The allegorical interpretation of the Song of Songs as a dialogue between Christ and the Church was standard in Latin patristic exegesis, notably in Ambrose and Gregory the Great.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has 'tragilitas' which is likely a scribal error for 'fragilitas' (fragility).","The phrase 'vallutus Ii iis' in the Latin is corrupt; the English draft reads 'fenced with lilies', which is the intended sense."],"confidence":"high","notes":[]},{"i":33,"ref":"p33","source":"Duo ubera, tua sicut duo hinnuli gemelli capreæ. De duobus uberibus superius dictum est. Duo ubera doctores sunt utriusque populi. In gemellis duo Testamenta sunt. Gemelli, propter unam concordiam. Collum tuum sicut turris eburnea. Item in collo doctores designati sunt, qui turri eburneæ propter firmitatem et pulchritudinem comparantur. Qui civitati Dei et robur præstant, et decus.\n\nOculi tui sicut piscinæ in Hesebon, quæ sunt in porta filiæ multitudinis. Item oculi Eclesiæ, doctores propter nutrimentum. Et recte piscinæ comparantur, quia fluenta doctrinæ suis auditoribus præbere non cessant. Hesebon cingulum mæroris interpretatur, quia sancti pro vana lætitia carnis cingulo abstinentiæ constringuntur; et bene in porta multitudinis, ob abundantiam populorum concurrentium per portam fidei in Ecclesiam.\n\nNasus tuus sicut turris Libani. quæ respicit contra Damascum. Item in naso verbi Dei dispensatores causa discretionis designantur. Turris, quia eminenlis! mum locum tenet in Ecclesia, quæ respicit contra Damascum, id est, sangumarium et impium ( quia Damascus sanguinem bibens interpretatur ): significat carnales et crudeles, contra quos sancti doctores, in turri Libani, id est, firmitate Ecclesiæ semper vigilant.","english":"Your two breasts are like two twin fawns of a roe deer. Concerning the two breasts, it has been said above. The two breasts are the teachers of each people. In the twins, the two Testaments are present. Twins, on account of a single concord. Your neck is like an ivory tower. Likewise, in the neck, teachers are designated, who are compared to an ivory tower on account of firmness and beauty. They both provide strength and adornment to the city of God.\n\nYour eyes are like the pools in Hesebon, which are at the gate of the daughter of the multitude. Likewise, the eyes of the Church are the teachers, on account of nourishment. And they are rightly compared to pools, because they do not cease to provide the streams of teaching to their hearers. Hesebon is interpreted as “girdle of mourning,” because the saints are bound by the girdle of abstinence on account of the vain joy of the flesh; and rightly at the gate of the multitude, on account of the abundance of peoples running together through the gate of faith into the Church.\n\nYour nose is like the tower of Lebanon, which looks out towards Damascus. Likewise, in the nose, the dispensers of the word of God are designated on account of discernment. A tower, because it holds an eminent place in the Church, which looks out towards Damascus, that is, bloodthirsty and impious (because Damascus is interpreted as “drinking blood”): it signifies the carnal and cruel, against whom the holy teachers, in the tower of Lebanon, that is, in the firmness of the Church, are always vigilant.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"glossary","lemma":"Hesebon","severity":"info","text":"Hesebon is interpreted as 'girdle of mourning' (cingulum maeroris), a moralizing etymology that links the place name to the saints' abstinence.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"Damascus","severity":"info","text":"Damascus is interpreted as 'drinking blood' (sanguinem bibens), an etymological gloss that identifies it with the carnal and impious.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Duo ubera tua sicut duo hinnuli gemelli capreae","severity":"info","text":"The verse is not from the Vulgate Song of Songs; it is a free allegorical expansion typical of the commentary tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"","severity":"info","text":"The passage follows a consistent pattern: a body part is named, then interpreted allegorically, often with a secondary term (e.g., twins, tower) receiving its own spiritual sense.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"turris eburnea","severity":"info","text":"The ivory tower (turris eburnea) is a classical image of strength and beauty, here applied to teachers who support and adorn the city of God.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"piscinae in Hesebon","severity":"info","text":"The pools of Hesebon are a rare topographical reference; the commentary's allegorization of place names reflects the patristic exegetical method of etymological interpretation.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has 'eminenlis' which is likely a scribal error for 'eminentis' (eminent).","The phrase 'porta filiae multitudinis' is ambiguous: it may refer to a specific gate in Hesebon or be a symbolic name."],"confidence":"high","notes":[]},{"i":34,"ref":"p34","source":"Caput tuum ut Carmelus, et comæ capitis tui sicut purpura regis junctu canalibus. In capite mens designatur, in comis cogitationes. Et sicut capite membra, ita cogitationes niente reguntur. In Carmelo, id est, sublimibus, et passione Christi, quæ nomine purpuræ exprimitur, versantur. Canales, præcordia sanctorum, in quibus alligamur tales cogitationes.\n\nQuam pulchra es, et quum decora, charissima, in deliciis. Pulchra lide, et opere decora, charissima in deliciis, id est, spiritualibus virtutibus. Statura tua assimilata est palmæ. Id est, rectitudo operat onis Donæ semper ad victoriam tendit. Et ubera tua botris. Uberibus doctores ecclesiæ propter lac primæ eruditionis comparantur, et botris æquantur propter mysteria dulcissima æternitatis.\n\nDixi: Ascendam in palmam, et apprehendam fructus ejus, et erunt ubera tua sicut botri vineæ. Apte enim victoriosissima crux palmæ comparatur, in quam Christus ascendens apprehendit fructus ejus, id est, dona quæ largitus est sanctæ Ecclesiæ, quæ ex illo tempore botros vineæ germinavit, id est, sanctos doctores, qui majori sciemia et gratia propter crucem et resurrecti nem Salvatoris abundant.","english":"Your head is like Carmel, and the locks of your head are like the king's purple joined to channels. In the head, the mind is signified; in the locks, thoughts. And just as the limbs are ruled by the head, so thoughts are ruled by the mind. In Carmel, that is, in sublime things, and in the passion of Christ, which is expressed by the name of purple, they are engaged. The channels are the hearts of the saints, in which such thoughts are bound.\n\nHow beautiful you are, and how comely, most dear, in delights. Beautiful in faith, and comely in work, most dear in delights, that is, in spiritual virtues. Your stature is likened to a palm. That is, the uprightness of your work always tends toward victory. And your breasts to clusters of grapes. The breasts are compared to the teachers of the Church on account of the milk of primary instruction, and they are equated to clusters of grapes on account of the sweetest mysteries of eternity.\n\nI said: I will ascend into the palm, and I will grasp its fruits, and your breasts will be like clusters of the vine. For the most victorious cross is aptly compared to a palm, into which Christ, ascending, grasped its fruits, that is, the gifts which he lavished upon the holy Church, which from that time germinated clusters of the vine, that is, holy teachers, who abound in greater knowledge and grace on account of the cross and resurrection of the Savior.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"Carmelus","severity":"info","text":"Carmelus is interpreted allegorically as 'sublime things' (sublimibus) and linked to the passion of Christ, a standard exegetical move in Latin commentaries.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"purpura","severity":"info","text":"Purpura (purple) is glossed as the passion of Christ, drawing on the color's association with royalty and martyrdom in patristic tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"canales","severity":"info","text":"Canales (channels) are interpreted as the hearts (præcordia) of the saints, where thoughts are bound; this is a rare allegorical usage.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Ascendam in palmam","severity":"info","text":"The phrase echoes Song of Songs 7:8-9 (Vulgate: 'ascendam in palmam'), where the beloved speaks of climbing a palm tree; the commentary reinterprets it as Christ's ascent on the cross.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"palmæ","severity":"info","text":"The palm was a symbol of victory in Roman and early Christian culture; here it is explicitly linked to the cross as 'victoriosissima crux' (most victorious cross).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Dixi: Ascendam in palmam","severity":"info","text":"This passage shifts from descriptive allegory (head, neck, breasts) to a first-person declaration ('I said'), introducing a narrative of Christ's action on the cross.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor scribal errors: 'niente' likely for 'mente' (by the mind), and 'operat onis Donæ' may be corrupt for 'operationis bonae' (of good work). The reading follows the source edition's emendations."],"confidence":"high","notes":[]},{"i":35,"ref":"p35","source":"Udor oris tui sicut malorum, guttur tuum sicut vinum optimum. In gutture vox præsentis doc rinæ, in odore fama absentis demostratur. Et ideo vino illa propter fragrantiam virtutum, hæc maiis ob suavitatem absentis famæ comparatur.\n\nDignum dilecto meo ad potandum, labiisque et dentibus illius ad ruminandum. Rapuit enim sponsa verbum ex ore sponsi, qua ille vino optimo eam comparavit et subjecit: Dignum dilecto meo, id est, tanta sublimitas est evangelicæ prædicationis, quod ipse dilectus primus per hanc in carne apparens, mundo iter cœleste aperuit. Labiisque et dentibus, id est, apostolis praedicatoribusque maximis dedit ad meditandum.\n\nEgo dilecto meo. Et non alteri, cui totam curam servitutis et dilectionis impendo. Et ad me conversio ejus. Me solam diligit et adjuvat, ne deficiam in via. Egrediamur in agrum, commoremur in villis; mane surgamus ad vineas; videamus si floruit vinea, si flores fructus parturiunt, si floruerunt mala Punica. Quia null etenus Ecclesia vel ad bene operandum egrediendo procedere, vel in exercitio bonæ operationis persistendo commorari, vel callem ad propositum bene agendi assurgere, vel animos auditorum suorum, quantum profecerint, discernere sufficit, nisi gratia Dei adjuta, qni dixit: Ecce ego vobiscum sum, etc. Item in agro Christiani, in viners Ecclesiæ, in floribus fides, in fruclihus virtutes, in malis Punic martyrium designatur.","english":"The moisture of your mouth is like apples, your throat like the finest wine. In the throat, the voice of present teaching is signified; in the scent, the reputation of an absent one is shown. And therefore that one is compared to wine on account of the fragrance of virtues, this one to apples on account of the sweetness of the reputation of an absent one.\n\nWorthy for my beloved to drink, and for his lips and teeth to ruminate. For the bride seized a word from the mouth of the bridegroom, when he compared her to the finest wine and added: Worthy for my beloved, that is, such is the sublimity of evangelical preaching that the beloved himself, first appearing in the flesh through it, opened the heavenly path to the world. And for his lips and teeth, that is, he gave it to the apostles and the greatest preachers to meditate upon.\n\nI to my beloved. And not to another, to whom I devote the whole care of service and love. And his turning to me. He loves and helps me alone, lest I fail on the way. Let us go out into the field, let us stay in the country houses; let us rise early in the morning to the vineyards; let us see if the vine has flowered, if the flowers are bringing forth fruit, if the pomegranates have flowered. For the Church is never able either to proceed by going out to good works, or to tarry by persisting in the exercise of good works, or to rise up on the path to the purpose of doing good, or to discern the minds of her hearers, how much they have progressed, unless aided by the grace of God, who said: Behold, I am with you, etc. Likewise, in the field, Christians; in the vineyards, the Church; in the flowers, faith; in the fruits, virtues; in the pomegranates, martyrdom is signified.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Udor oris tui sicut malorum","severity":"info","text":"The comparison of the beloved's mouth-moisture to apples and throat to wine is allegorized: the throat signifies present teaching (vox praesentis doctrinae), the scent (odor) the reputation of an absent one (fama absentis).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ruminandum","severity":"info","text":"Ruminandum (to ruminate) is a technical term for meditative reading, here applied to the apostles and preachers who meditate on evangelical preaching.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Ecce ego vobiscum sum","severity":"info","text":"The phrase 'Behold, I am with you' echoes God's assurance to Israel (Exod 3:12) or Christ's promise to the Church (cf. John 14:18), though not a direct quotation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"mala Punica","severity":"info","text":"Pomegranates (mala Punica) are a standard symbol of martyrdom in patristic exegesis, due to their many seeds and red color, as seen in Augustine and Gregory the Great.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Egrediamur in agrum, commoremur in villis; mane surgamus ad vineas","severity":"info","text":"The passage shifts from allegorical interpretation of body parts to a series of exhortations (egrediamur, commoremur, surgamus) that are then systematically decoded as stages of the Church's activity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Dignum dilecto meo ad potandum","severity":"info","text":"The bride's response 'Worthy for my beloved to drink' is interpreted as the Church's acknowledgment that Christ first opened the heavenly path through evangelical preaching, a Christological reading typical of the Song's allegorical tradition.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has 'doc rinæ' which is likely a scribal error for 'doctrinae' (teaching).","The phrase 'Et ad me conversio ejus' could be read as either 'and his turning to me' or 'and his conversion to me'; the translation adopts the former."],"confidence":"high","notes":[]},{"i":36,"ref":"p36","source":"In his enim singulis sponsa dilecti sui præsentiam quærit.\n\nIbi dabo tibi ubera mea. Id est, parvulorum meorum pædagogos: quia in his omnibus proficiunt ductores sancti. Mandrugoræ dederunt odorem in hortis nostris. Mandragora propter multimoda medicaminum genera sanctorum virtutibus comparatur: portæ Ecclesiæ doctores sunt sancti. In hujusmodi purtis mandragoræ dederunt odorem, cum spiritualis quisque ex se virtutum famam longe lateque spargunt. Omnia poma nova et velera, dilecte mi, servavi tibi. Poma nova, et vetera, præcepta sunt sive promissa Noi Testamenti, et Veteris: quia omnia ad ejus gratiam refert Ecclesia.\n\nCAP. VIII.— 1.Quis mihi det te fratrem meum sugentem ubera matris meæ, ut inveniam te foris? Vox ista esi antiqua justorum optan lum adventum Christi in carne. Sogentem ubera matris meæ, id est, in synagoga nasci ac nutriri juxta humanæ cond tionis naturam. Et inveniam te foris. Intus erat dilectus, dum in principio erat verbum; foris, dum Verbum caro lactum est.","english":"In each of these things, the bride seeks the presence of her beloved.\n\nThere I will give you my breasts. That is, the teachers of my little ones: because in all these things the holy guides make progress. The mandrakes gave off their fragrance in our gardens. The mandrake, on account of its many kinds of remedies, is compared to the virtues of the saints; the gates of the Church are the holy teachers. In such gardens the mandrakes gave off their fragrance, when each spiritual person spreads the fame of their virtues far and wide. All the fruits, new and old, my beloved, I have kept for you. The new and old fruits are the precepts or promises of the New Testament and the Old: because the Church refers everything to his grace.\n\nCHAPTER VIII.—1. Who will grant me that you, my brother, be sucking the breasts of my mother, so that I may find you outside? This is the ancient voice of the righteous longing for the coming of Christ in the flesh. Sucking the breasts of my mother, that is, to be born and nurtured in the synagogue according to the nature of the human condition. And I may find you outside. The beloved was within, while in the beginning was the Word; outside, while the Word became flesh and was born.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"mandragoræ","severity":"info","text":"The mandrake is allegorized as the virtues of the saints due to its many medicinal properties, a common patristic trope.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ubera mea","severity":"info","text":"The bride's breasts are interpreted as the teachers (paedagogi) of the little ones, i.e., the faithful, a standard ecclesiological allegory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"poma nova et vetera","severity":"info","text":"The new and old fruits allegorize the precepts or promises of the New and Old Testaments, a common typological pairing.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"sugentem ubera matris meæ","severity":"info","text":"The image of the beloved sucking the mother's breasts is interpreted as Christ's birth and nurture in the synagogue, i.e., his incarnation within Judaism.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"CAP. VIII.— 1.","severity":"info","text":"The passage marks a new chapter (VIII) and verse (1), introducing a shift from the bride's speech to a voice of the righteous longing for the Incarnation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Vox ista est antiqua justorum","severity":"info","text":"The commentator identifies the verse as the ancient voice of the righteous, a common patristic reading that sees the Song of Songs as prophetic of Christ.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'mandrugoræ' is a variant spelling of 'mandragoræ' (mandrakes); the text is clear.","The phrase 'in hujusmodi purtis' likely a scribal error for 'in hujusmodi hortis' (in such gardens); the sense is retained."],"confidence":"high","notes":[{"kind":"scripture","severity":"info","ref":"John 1:1","text":"The English carries the scriptural phrase “in the beginning was the word”, which matches John 1:1. The match is on the English draft; check the Coptic before quoting the verse."},{"kind":"scripture","severity":"info","ref":"John 1:14","text":"The English carries the scriptural phrase “the word became flesh”, which matches John 1:14. The match is on the English draft; check the Coptic before quoting the verse."}]},{"i":37,"ref":"p37","source":"Ibi deosculer te. Id est, facie ad faciem videbo, et os ad os loquar. Et jam me nemo despiciat. Ante adventum Christu itura angustias Judææ tantum fuit Ecclesia; post Ascensionem in toto mundo dilatata lunt, et venerabilis. Apprehendam te. Id est, prompta ac fideli devotione excipiam venientem.\n\nEt ducam in domum matris meæ, et in cubiculum genitricis mere, ibi me docebis. Peracta carnis dispensati ne, redeuntem lætis ducam in dolium matris meæ luminibus. III domum matris meæ, ubi cœlestis Jerusalem mater nostra. ibi me docebis potiora sperare dona, quam in lege habuissem. Et dabo tibi poculam ex vino condito. Id est, ferventem amorem, variis virtitum pigmentis ornatum. Et mustum malorum granatorum meorum. Id est, gloriorum sanctorum martyrum triumphum, qui terventissima charitate perferunt flammas, per quas ad te transire non dubitant.","english":"There I will kiss you. That is, I will see face to face and speak mouth to mouth. And now let no one despise me. Before the coming of Christ, the Church was only in the narrow confines of Judaea; after the Ascension, it was spread throughout the whole world and became venerable. I will take hold of you. That is, I will receive you as you come with ready and faithful devotion.\n\nAnd I will lead you into my mother’s house, and into the chamber of my mother; there you will teach me. When the dispensation of the flesh is completed, I will lead you, returning with joyful eyes, into the house of my mother. The house of my mother is where our mother, heavenly Jerusalem, dwells. There you will teach me to hope for greater gifts than I had in the Law. And I will give you a cup of spiced wine. That is, a fervent love adorned with the various pigments of the virtues. And the must of my pomegranates. That is, the glory of the triumphs of the holy martyrs, who endure flames with the most burning charity, through which they do not hesitate to pass over to you.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Ibi deosculer te","severity":"info","text":"The kiss signifies the eschatological union of Christ and the Church, interpreted as face-to-face vision and mouth-to-mouth speech.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Ante adventum Christi ... post Ascensionem","severity":"info","text":"The contrast between the Church confined to Judaea before Christ and its universal spread after the Ascension reflects a common patristic theme of ecclesial expansion.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"domum matris meae","severity":"info","text":"The 'mother's house' is allegorically identified with heavenly Jerusalem, the celestial Church, not a literal maternal dwelling.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"poculam ex vino condito","severity":"info","text":"The spiced wine cup represents fervent love adorned with the pigments of virtues, a metaphor for spiritual gifts.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"mustum malorum granatorum meorum","severity":"info","text":"The pomegranate must symbolizes the glory of martyrs' triumphs, enduring flames with burning charity to pass to Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Et ducam ... ibi me docebis","severity":"info","text":"This passage continues the bride's (Church's) invitation, moving from kiss to leading into the mother's house, where teaching occurs.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor scribal errors (e.g., 'itura' for 'iterum'? 'lunt' for 'est'? 'mere' for 'meae'? 'dispensati ne' for 'dispensatione'?), but the sense is clear from context."],"confidence":"high","notes":[]},{"i":38,"ref":"p38","source":"Læva ejus sub capite meo, et dextera illius amplexabitur me. Læva carnis Christi dona designat, et dex erafutura sanctorum cum Christo gaudia exprimit. Quæ est ista quæ ascendit de deserto, deliciis affluens, innixa super dilectum suum? Vox synagogæ mirantis quomodo de deserto gentilitas in amplexus subito sponsi ascendisset. Deliciis aflluens, id est, omnium honorum pulchritudine, lunixa nuper dilectum, omnia, quæ habet ad gratiam dilecti referens. Suum, quem mihi soli mittendum putabam.\n\nSub arbore malo susitavi te. Sub arbore crucis a perpetua morte revocavi te, ut apostolos ei cæteros electes ex Judæa. Ibi corrupta est mater tua, ibi violata est genitrix tua. Id est, major plebs, Christum negando, et Barabbam eligendo, reprobata est. Pone we ut signuculum super cor tuum, ut signaculum super brachium luum. Ut digito ob memoriam cujuslibet rei signum aliquod ligamus. Per cor cogitatio, et per brachium designatur operatio. Si me velis babere sponsum, intus charitas fide nou (icla sit, et foris operatio devola.","english":"His left hand is under my head, and his right hand will embrace me. The left hand designates the gifts of Christ’s flesh, and the right hand expresses the future joys of the saints with Christ. Who is this that ascends from the desert, abounding in delights, leaning upon her beloved? The voice of the synagogue, wondering how the gentile world had suddenly ascended from the desert into the embraces of the bridegroom. Abounding in delights, that is, in the beauty of all good things, recently leaning upon her beloved, referring everything she has to the grace of her beloved. Her beloved, whom I thought was sent to me alone.\n\nUnder the apple tree I awakened you. Under the tree of the cross I recalled you from perpetual death, as the apostles and the other elect from Judaea. There your mother was corrupted, there your mother was violated. That is, the greater people, by denying Christ and choosing Barabbas, were rejected. Place it as a little sign upon your heart, as a little sign upon your arm. As we bind some sign with a finger for the memory of some thing. By the heart is designated thought, and by the arm is designated action. If you wish to have me as a bridegroom, let charity of faith be within, and devout action without.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Læva ejus sub capite meo, et dextera illius amplexabitur me","severity":"info","text":"The left hand symbolizes the gifts of Christ's flesh; the right hand, the future joys of the saints with Christ. This allegorical reading of the bride's posture is typical of the commentary's spiritual interpretation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Sub arbore malo susitavi te","severity":"info","text":"The phrase echoes Song of Songs 8:5, where the bride says 'under the apple tree I awakened you.' The commentary reinterprets the apple tree as the cross of Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Ibi corrupta est mater tua, ibi violata est genitrix tua","severity":"info","text":"The 'mother' or 'genitrix' is interpreted as the 'greater people' (major plebs) who rejected Christ and chose Barabbas, a reference to the crowd in Matthew 27:20-21 that preferred Barabbas over Jesus.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"signuculum","severity":"info","text":"The Latin 'signuculum' (a diminutive of signum) means a little sign or seal. The commentary explains it as a token bound to the finger for memory, then allegorizes heart (thought) and arm (action).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Vox synagogæ mirantis","severity":"info","text":"The passage shifts to the voice of the synagogue, wondering how the gentile world (gentilitas) ascended from the desert into the bridegroom's embrace. This marks a dramatic change in speaker within the commentary.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"Pone we ut signuculum super cor tuum, ut signaculum super brachium luum","severity":"caution","text":"The Latin text is corrupt: 'we' is likely a scribal error for 'me' or 'hoc', and 'luum' for 'tuum'. The English draft reads 'Place it as a little sign upon your heart, as a little sign upon your arm.'","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the speaker in the phrase 'Vox synagogæ mirantis' is ambiguous: it could be the commentator's own voice or a dramatic personification.","The phrase 'deliciis aflluens' contains a probable scribal error ('aflluens' for 'affluens'), but the sense is clear."],"confidence":"high","notes":[]},{"i":39,"ref":"p39","source":"Quia fortis est ut mors dilectio, dura sicut infernus æmulatio. Furtis est usque ad niortem mea dilectio in te, o Synagoga; sed tua semulatio dura in me fuil sicut internus. Sed verte æmulationem in dileciionem, et eris mihi sponso sponsa. Lampades eius lampades ignis atque flammarum. Dilectionis lampades corda sunt fidelium; ignis, propter fervoreul cordis; flammarum, propter operationis efficaciam,\n\nAquæ mullæ non poterunt exstinguere charitatem, nec flumina obruent illam. Aquas multas et flumima, tentationum dicit incursus quæ visibiliter, seu invisibiliter, animas fidelium impugnare non desinunt, quibus charitas non cedit. Si dederil homo omnem substantiam domus suæ pro dilectione, quasi nihil despiciet eam. Sancti vere totius domus suæ subStantiam pro dilectionis magnitudine quasi nihil despicichant.\n\nSoror nostra parva est, et ubera non habet. Prima nascentis Ecclesiæ de gentibus tempora designai, quando adhuc et parva fuit numero, et minus idonea prædicare verbum Dei, quasi sponsus Synagogæ dixisset de ea: Quid faciemus sorori nostræ in die, quando alloquenda est? Acsi aperte dical: Parva quidem numero est Ecclesia gentium, et necdum verbi ministerium subire sufficit. Quid ergo ubi videtur, o Synagoga, de sorore faciendum nostra, quando alloquenda est, id esi, per verbi ministerium ducenda in fidem? Synagoga tacente, ipse sponsus quid fieri debent respondet.","english":"Because love is as strong as death, rivalry is as hard as hell. My love for you, O Synagogue, is strong unto death; but your rivalry toward me has been hard as hell. But turn rivalry into love, and you will be to me, the bridegroom, a bride. His lamps are lamps of fire and flames. The lamps of love are the hearts of the faithful; fire, on account of the fervor of the heart; flames, on account of the efficacy of action.\n\nMany waters will not be able to extinguish charity, nor will rivers overwhelm it. By many waters and rivers it speaks of the onslaughts of temptations which, visibly or invisibly, do not cease to assail the souls of the faithful, to which charity does not yield. If a man gives all the substance of his house for love, he will despise it as almost nothing. The saints truly despise the substance of their whole house as almost nothing on account of the greatness of love.\n\nOur sister is little, and she has no breasts. It designates the early times of the Church arising from the Gentiles, when it was still small in number and less fit to preach the word of God, as if the bridegroom of the Synagogue had said of her: What shall we do with our sister on the day when she is to be addressed? As if he openly says: The Church of the Gentiles is indeed small in number, and it is not yet sufficient to undertake the ministry of the word. What then seems to you, O Synagogue, should be done about our sister, when she is to be addressed, that is, led into the faith through the ministry of the word? With the Synagogue remaining silent, the bridegroom himself answers what ought to be done.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"Quia fortis est ut mors dilectio, dura sicut infernus æmulatio","severity":"info","text":"The opening sentence adapts a biblical simile (Song 8:6 Vg) but inverts the original: the Vulgate reads 'fortis est ut mors dilectio, dura sicut infernus aemulatio'.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Aquæ mullæ non poterunt exstinguere charitatem, nec flumina obruent illam","severity":"info","text":"Echoes Song 8:7 Vg: 'Aquae multae non potuerunt exstinguere caritatem, nec flumina obruere illam'.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"æmulatio","severity":"info","text":"The Latin 'æmulatio' (rivalry, jealousy) is contrasted with 'dilectio' (love). The author plays on the Pauline opposition between carnal jealousy and spiritual love.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"Soror nostra parva est, et ubera non habet","severity":"info","text":"The image of the 'little sister without breasts' is a patristic allegory for the infant Church of the Gentiles, unable yet to nurse (teach) the faithful. The metaphor derives from Song 8:8 Vg.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Synagoga tacente, ipse sponsus quid fieri debent respondet","severity":"info","text":"The passage concludes with a dramatic pause: the Synagogue remains silent, and the bridegroom (Christ) answers his own question. This rhetorical device underscores the supersession of the Synagogue by the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Lampades eius lampades ignis atque flammarum","severity":"info","text":"The allegory of lamps as hearts of the faithful, fire as fervor, and flames as efficacy of action is typical of early medieval exegesis, found in Gregory the Great and later in Isidore's circle.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin text has minor orthographic variants (e.g., 'niortem' for 'mortem', 'fuil' for 'fuit', 'despicichant' for 'despiciebant') that do not affect the sense.","The phrase 'Furtis est usque ad niortem mea dilectio' is likely a scribal error for 'Fortis est usque ad mortem mea dilectio'."],"confidence":"high","notes":[]},{"i":40,"ref":"p40","source":"Si murus est, ædificemus super eum propugnacula argentea. Acsi diceret: Si aliquos habet iu se fortes fide, ingenio claros, vel philosophia instructos, addamus illis propugnacula argentea, id est scientiam divinarum Scripturarum, ut eo fa ili:s possint tutari infirmos atque indoctos. Si ostium est, compingamus illud tabulis cedrmis. Si sunt simplices, tamen docendi studio inhiantes, proponamus illis prioruui exempla justorum, quo certius et efficacius docendi opus implere possint. Cedri virtutes sanctorum ei tabulas latitudinem cLaritatis designant. Ad hæc ipsa respondet Ecclesia.\n\nEgo murus, et ubera mea quasi 'urnis. Ex quo facta sum coram eo quasi pacem reperiens, ego de vivis compacta sum lapidibus, ct glutino charitatis adunata, et super fundamentum immobile ædificata. Ubera, id est, doctores fortissimi, ceu turris, qui et parvulos nutrire sciunt, et omuia maligni expellere; et hoc mihi accidit ex eo tempore quo Christus me reconciliavit, et per eum pacem reperi.","english":"If it is a wall, let us build upon it silver battlements. As if he were to say: If it has some who are strong in faith, distinguished in talent, or instructed in philosophy, let us add to them silver battlements, that is, knowledge of the divine Scriptures, so that they may more easily be able to protect the weak and unlearned. If it is a door, let us construct it with cedar planks. If they are simple, yet eager for the study of teaching, let us set before them the prior examples of the just, so that they may be able to fulfill the work of teaching more certainly and effectively. The cedars signify the virtues of the saints, and the planks the breadth of clarity. To these things the Church herself responds.\n\nI am a wall, and my breasts are like towers. From the time I was made before him as one finding peace, I am built of living stones, united by the glue of charity, and built upon an immovable foundation. The breasts, that is, the strongest teachers, like a tower, who both know how to nourish the little ones and to drive away everything of the evil one; and this has happened to me from the time when Christ reconciled me, and through him I found peace.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"propugnacula argentea","severity":"info","text":"The silver battlements symbolize knowledge of divine Scriptures, a defensive and ornamental addition to those already strong in faith or philosophy.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ubera","severity":"info","text":"The Latin 'ubera' (breasts) is allegorized as 'doctores fortissimi' (strongest teachers), who nourish the faithful and repel evil, a common ecclesiological trope.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Ego murus, et ubera mea quasi turris","severity":"info","text":"Echoes Song of Songs 8:10 (Vulgate: 'Ego murus, et ubera mea quasi turris'), where the bride describes herself as a wall with tower-like breasts, here applied to the Church.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"glutino charitatis","severity":"info","text":"The phrase 'glue of charity' (glutino charitatis) reflects a patristic metaphor for the unity of the Church, found in Cyprian and Augustine, emphasizing cohesion through love.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Ad hæc ipsa respondet Ecclesia","severity":"info","text":"This phrase marks a shift from the bridegroom's speech to the Church's response, structuring the commentary as a dialogue between Christ and Ecclesia.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Ex quo facta sum coram eo quasi pacem reperiens","severity":"info","text":"The Church's peace after Christ's reconciliation echoes the theme of the Song as a covenant allegory, influential in medieval ecclesiology and liturgy.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'prioruui' in the source edition is likely a scribal error for 'priorum' (of the prior ones), as in the English draft.","The phrase 'compingamus illud tabulis cedrmis' contains 'cedrmis' which may be a variant spelling of 'cedrinis' (of cedar)."],"confidence":"high","notes":[]},{"i":41,"ref":"p41","source":"Vinea fuit pacifico meo in ea quæ habet populos. Vinea id est, catholica Ecclesia fructu abundans fidei fuit pacifico, id est, Christo, quia omnia pacificavit in cœlis et in te ris, in ea congregatione quæ multos populos possidet ex toto orbe, non Juda'a solum. Traditur ea custodibus prophetis, vel apostolis, vel angelicis potestatibus et dignitatibus.\n\nVir autem p.o fructu. Id est, retributione æterna hujus vineæ. Affert mille argentes. Id est, pro acquisitione regni cœlestis, qui est fructus vineæ, cuncta quæ mundi sum reliquit. Milleuarius numerus pro perfectione ponitur. Id est, qui omnia reliquit. Argentei pro omni pecunia accipiantur. Vinea mea coram me. Vox sponsi. Verumtamen, etsi tc aliis commendem custodibus, tamen te semper in mea habeo præsentia, videns et remunerans laboris tui devotionem in omnibus. Mille tui pacifici. Mille tui, subauditur, argentei. Quasi dixisset: Qui amore meo cuncta sua dimittit, in pace erit, quia omnem substantiam suam, quæ millenario designatur, pro charitate Dei amittit.","english":"A vineyard belonged to my peaceful one in that place which has peoples. A vineyard, that is, the Catholic Church abounding in the fruit of faith, belonged to the peaceful one, that is, to Christ, because he pacified all things in the heavens and on the earth, in that congregation which possesses many peoples from the whole world, not from Judea alone. It is entrusted to guardians, prophets, or apostles, or angelic powers and dignities.\n\nBut a man of fruit. That is, of the eternal reward of this vineyard. He brings a thousand silver pieces. That is, for the acquisition of the heavenly kingdom, which is the fruit of the vineyard, he has left behind all things of the world. The number one thousand is placed for perfection. That is, he who has left all things. Silver pieces are taken for all money. My vineyard before me. The voice of the bridegroom. Nevertheless, even if I entrust you to other guardians, I still always have you in my presence, seeing and rewarding the devotion of your labor in all things. A thousand of your peaceful ones. A thousand of yours, that is, silver pieces are understood. As if he had said: He who, out of love for me, gives up all his own things will be in peace, because he loses all his substance, which is designated by the thousand, for the love of God.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"pacifico","severity":"info","text":"The Latin 'pacifico' (dative of 'pacificus') is rendered 'peaceful one' and glossed as Christ, reflecting the allegorical identification of the Song of Songs' beloved with Christ the peacemaker.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"mille argentes","severity":"info","text":"'Mille argentes' (a thousand silver pieces) is interpreted symbolically: 'mille' denotes perfection, 'argentes' all worldly wealth. The phrase signifies total renunciation for the heavenly kingdom.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Vinea fuit pacifico meo in ea quæ habet populos","severity":"info","text":"This passage echoes Song of Songs 8:11-12 (Vulgate: 'Vinea mea... coram me est'), but the wording is adapted; the commentary reworks the verse to introduce the allegory of the Church as a vineyard.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"custodibus prophetis, vel apostolis, vel angelicis potestatibus","severity":"info","text":"The guardians (prophets, apostles, angelic powers) reflect a common patristic trope of the Church's hierarchy and heavenly protection, as seen in Gregory the Great and Augustine.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Vox sponsi","severity":"info","text":"The phrase 'Vox sponsi' (voice of the bridegroom) marks a shift to direct speech by Christ, a structural cue typical of commentary on the Song of Songs, distinguishing speaker roles.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"Vinea mea coram me","severity":"info","text":"The bridegroom's assurance of constant presence ('I always have you in my presence') reflects a spiritual interpretation of divine oversight, common in monastic readings of the Song.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Latin 'p.o' in 'Vir autem p.o fructu' is an abbreviation; the edition expands it as 'pro' (for), but it could be a scribal contraction for 'pro' or 'per'."],"confidence":"high","notes":[]},{"i":42,"ref":"p42","source":"Et ducenti (id est) his qui custodiunt fructus ejus. Qui sunt doctores sancti, qui omnia mundi dimittunt, et in verbo prædicationis laborare non cessant, hi duplici remuneratione, quæ ducentenano designatur, donantur apud me. Quæ habitas in I ortis, amici auscultant. Ouia locutio nostra finienda est, hoc ultimum vale ame audito. Semper habita in buflis virtutum; et scito qUia amici, id est, angelici spiritus et animæ sanctorum, semper te considerant, et tuo gaudent aspectu. Fac me audire vocem tuam. Id est, vex prædicationis tuæ, duin vales, semper audiatur a me.\n\nFuge, dilecte mi. Acsi aperte dicat: Quoniam, in carne apparens præcepta mihi ac dona vitæ cœlestis conferre dignatus es, nunc his peractis, revertere in sinum Patris, omni dilecte. Assimilare caprea, hinnuloque cervorum super montes aromatum. Et hoc mihi sit solatium, quia continua visione te nequeo cernere, saltem crebra visitatione me consolari memento.","english":"And the two hundred (that is) those who guard his fruits. They are the holy teachers, who abandon all worldly things and do not cease to labor in the word of preaching; they are granted a double reward, which is signified by the two hundred, in my presence. You who dwell in the gardens, the friends listen. Because our discourse must be ended, hear this final farewell from me. Always dwell in the thickets of virtues; and know that the friends, that is, the angelic spirits and the souls of the saints, always regard you and rejoice in your sight. Let me hear your voice. That is, the voice of your preaching, as long as you are able, may it always be heard by me.\n\nFlee, my beloved. As if it openly says: Since, appearing in the flesh, you deigned to bestow upon me commandments and gifts of heavenly life, now that these are accomplished, return to the bosom of the Father, O most beloved one. Be like the roe deer, and like the fawn of the stags upon the mountains of spices. And let this be a comfort to me: because I cannot behold you in continuous vision, at least remember to console me with frequent visitation.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ducenti","severity":"info","text":"The number two hundred (ducenti) is interpreted as a symbol of double reward for the holy teachers, likely referencing the twofold reward of earthly and heavenly life or of contemplation and action.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"Fuge, dilecte mi","severity":"info","text":"The phrase 'Flee, my beloved' echoes the Song of Songs 2:17 (Vulgate: 'Fuge, dilecte mi'), where the beloved is urged to flee, here reinterpreted as Christ's return to the Father.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"caprea, hinnuloque cervorum super montes aromatum","severity":"info","text":"The imagery of the roe deer and fawn on mountains of spices draws on Song of Songs 2:17 (Vulgate: 'caprea hinnuloque cervorum super montes aromatum'), symbolizing swiftness and fragrant holiness in the allegorical tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"Quia locutio nostra finienda est","severity":"info","text":"This passage marks the conclusion of the commentary, with the phrase 'Because our discourse must be ended' serving as a formal closing to the work.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"amici, id est, angelici spiritus et animæ sanctorum","severity":"info","text":"The identification of 'friends' as angelic spirits and souls of the saints reflects a common patristic and medieval exegetical trope, emphasizing the spiritual audience of the text.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"in I ortis","severity":"caution","text":"The Latin 'in I ortis' is likely a scribal error or abbreviation for 'in hortis' (in the gardens), as the English draft renders it; the text may be corrupt here.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'in I ortis' is ambiguous; it may be a corruption of 'in hortis' (in the gardens) or an abbreviation for 'in Ierusalem hortis' (in the gardens of Jerusalem).","The identity of the speaker throughout this passage is unclear; it may be the Church or the soul addressing Christ."],"confidence":"high","notes":[]}]}