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The Song of Songs:
A Spiritual Commentary
by M. Basil Pennington
illustrated by Phillip Ratner
SkyLight Paths, 2004, 136 pages
Reviewed by Tara Soughers
“Delight -- that is what this Song of Songs, this greatest Song of all Songs is about,” M. Basil Pennington proclaims. His spiritual commentary on the Song of Songs is meant not so much to be an academic commentary as it is an aid to contemplation. In this book, he shares with the reader some of what the Song of Songs has evoked in him, in hopes that the reader might “take some time to let this poetry play on the chords of your own heart and evoke currents of delight.” He is joined in this endeavor by artist Phillip Ratner, whose drawings accompany the text.
In commenting upon the Song of Songs, Pennington is following a long tradition in Cistercian circles of using this book to describe and to nourish the monks’ spiritual lives. In the early twelfth century, Bernard of Clairvaux wrote eighty-six sermons on the Song of Songs. When his death prevented him from finishing, the work was carried on by two of his disciples. Having been formed in the tradition, Pennington is well-versed in the work of these early commentators.
In terms of style, Pennington sounds much like a modern Bernard of Clairvaux. Like Bernard, he moves quickly between the four levels of meaning that have been attributed to this verse through the centuries. These include the literal, the allegorical, the moral, and the anagogical (or unitive sense). Although the monks of Bernard’s time might have been comfortable with the quickly shifting frames of reference, it may be more difficult for people today to follow. Allegorical reading of scripture is rare in modern biblical commentary. His “multidimensional hologram” gives a sometimes overwhelming array of images: the dizzying heights of love mixed with our own sinfulness, and discourses on Christian dogma and allegorical interpretations, all join together in the kaleidoscope. At times, the multitude of references to other Biblical passages makes it harder to follow the strand of the story.
Nevertheless, in the midst of the shifting perspectives, the passion that the author feels for Christ is clearly revealed. “No chalice was ever so filled, nor ever did a chalice have such a thirst to be filled. Bottomless is my cup in its thirst for your love,” Pennington proclaims. Even as the bride in the Song of Songs is shown to be vulnerable in the midst of her longing, so he reveals that such longing and passion are a part of his relationship with God.
The object of Pennington’s devotion, longing, and passion is Jesus Christ. Much of his allegorical work shows how the images in the Song of Songs refer to Jesus’ incarnation and life. For him, as for Bernard, the kiss is the symbol of the coming together of divine and human, consummated in Jesus Christ. In that event, the Song of Songs finds its meaning for Pennington.
This makes the collaboration of author and illustrator fascinating, for Phillip Ratner is Jewish. His drawings spring from his own faith tradition, reflecting the Jewish passion for God. The collaboration is a vivid reminder of the commonality at the experiential level of God’s passion and love.
Ratner’s drawings bring the words to life. Even images that may be puzzling to modern readers are illuminated in his drawings. Comparing a lover’s hair to a flock of goats becomes clearer after seeing his handling of the image. The details evoke not only the words (which are incorporated in both Hebrew and English), but also the whole scene. When the Beloved compares the bride to a lily among the thorns, the lily pictured is radiantly beautiful. Like the text of the Song of Songs, the drawings take time to appreciate fully, but the illustrator pulls the reader into the experience in a way beyond words.
Perhaps the most important outcome for readers of this book would be to draw them into their own meditation on the Song of Songs. In fact, in his welcome, Pennington suggests that the reader allow himself or herself to be transported beyond the words, into an experience with God. “I keep my text short so as not to lead you too far away from the more enticing and expressive drawings. Do not hesitate to record your own feelings, thoughts, and inspirations. But do not get caught up in words. They are products of our very limited minds. Rather, let the drawings draw and the Sacred Text invite you to realms beyond words.”
I suspect that Pennington is hoping to convince us that we are indeed passionately loved by God. It was a radical idea at the time of Bernard of Clairvaux, and it remains startling and perhaps incomprehensible. “This is what the Song of Songs is all about: an opportunity to discover the reality of the depths of our own love in the face of such an insatiable love.”
Pennington does not believe in the passionless God of Greek philosophy, but the passionate God of the Bible. His book is an invitation to explore not only our passion for God but also God’s passion for us. May we, like Pennington and Bernard of Clairvaux, cry out to God, “Oh, give me the kisses of your mouth!” (Song of Songs 1:2, author’s translation)
Tara Soughers is an author, spiritual director, and Episcopal priest. Her first book, Falling in Love with God: Passion, Prayer, and the Song of Songs, will be published in the spring of 2005 by Cowley Publications. She lives with her husband and children in Connecticut.
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