Peter J. Leithart

In Epistle 11, Augustine attempts to explain an apparent contradiction in the Catholic faith.  On the one hand, all of God does all that God does, since the Persons of the Trinity are inseparable and act inseparably: “For the union of Persons in the Trinity is in the . . . . Continue Reading »

David Garland comments that the first part of Matthew’s Passion narrative (26:2-56) begins with the plot of the priests and elders and then is divided into six scenes: 1. Anointing for burial, 26:6-13 2. Judas’ betrayal, 26:14-15 3. Preparation for Passover, 26:17-19 4. Last Supper, . . . . Continue Reading »

INTRODUCTION After the Olivet Discourse, Jesus “finished all these words” (26:1; cf. 7:28; 11:1; 13:53; 19:1).  His public ministry of teaching Israel is over.  Like Moses (Deuteronomy 32:45), nothing remains for Him but to die. THE TEXT “Now it came to pass, when Jesus had . . . . Continue Reading »

Protestants agreed with Catholics that the Song elaborates a nuptial analogy to the church’s relation to Christ, but Scheper finds a significant difference between Protestants and Catholics when they explain why that analogy is apt in the first place.  Protestants, consistent with the . . . . Continue Reading »

The Puritans were not prudes, but the caricature has some basis in fact. Again the Song of Songs provides a neat barometer.  Scheper juxtaposes a medieval monk’s interpretation of the “breasts” of the Song with that of two Protestant interpreters.  The results are . . . . Continue Reading »

the Protestant commentaries almost uniformly adopt a primarily ecclesial allegory, with the tropological dimension as a valid application. But so, in fact, is the medieval tradition built on the foundation of the ecclesial interpretation, and even those commentaries devoted most strikingly to the . . . . Continue Reading »

The modern oblivion of the book has tended to blind us to the really crucial position it holds in exegetic history, not only for the question of allegory but for the central matter of the relation of divine to profane love, and in fact, as Ruth Wallerstein has said, the Song involved for the Middle . . . . Continue Reading »

there is a certain discrepancy between the purity of these theoretical statements, polemical in context, and the actual exegetic practice of the Reformers. Moreover, the rejection of allegory and the insistence on one undivided sense hinged for the early Reformers on maintaining a radical . . . . Continue Reading »

Carey Ellen Walsh ( Exquisite Desire ) points to the difference between classical responses to desire and the account of desire in the Song of Songs.  Using Odysseus and the Sirens as an illustration, she notes how this scene reveals the Greek instinct that desire “harbors danger by . . . . Continue Reading »

Love is as strong as death.  But no stronger.  It’s a standoff. No, Jenson says: “death does not allow of stalemates.  If love binds lovers even in death’s despite, death is overcome by love.  Nor does the grave allow of partial retrievals; if it yields its . . . . Continue Reading »