Marrying Christ: Bernard of Clairvaux and the Song of Songs in Aemilia Lanyer’s "Salve Deus Rex Judaeorum"

Jocelyn Diemer
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Abstract

In 1611, an Englishwoman named Aemilia Lanyer published a volume of poetry and prose titled Salve Deus Rex Judaeorum. Throughout the volume, which centres on an 1800-line retelling of Christ’s death and resurrection, Lanyer draws from the Song of Songs as well as other biblical texts to produce an image of Christ as a Bridegroom. In so doing, Lanyer inserts herself into a hermeneutical genealogy populated by both Protestant and Catholic writers. A key figure in this interpretive tradition is the twelfth-century abbot and mystic Bernard of Clairvaux, whose sermon cycle on the first part of the Song of Songs offers a detailed character study of the Bridegroom. This article examines the cross-confessional nature of the bridal-mystical tradition epitomized by Bernard before conducting a close reading of the images that Lanyer associates with Christ. Ultimately, this article suggests that Lanyer puts bridal theology to a new communal use by producing a devotional poetic space in which female readers can engage with each other through Christ and with Christ through each other.
嫁给基督:克莱尔沃的伯纳德和埃米莉亚·兰耶的《犹太之神的救赎》中的圣歌
1611年,一位名叫艾米莉亚·兰耶的英国妇女出版了一本名为《救赎上帝的救赎》的诗集和散文集。整本书以1800行重述基督的死亡和复活为中心,兰耶从《雅歌》和其他圣经文本中提取了基督作为新郎的形象。在这样做的过程中,兰耶将自己插入了一个由新教和天主教作家组成的解释学谱系。这个解释传统的关键人物是十二世纪的修道院院长和神秘主义者克莱尔沃的伯纳德,他的布道周期在《雅歌》的第一部分提供了对新郎性格的详细研究。本文在仔细阅读兰耶与基督联系在一起的图像之前,考察了伯纳德所概括的新娘神秘传统的交叉忏悔性质。最后,这篇文章表明,兰耶通过创造一个虔诚的诗歌空间,将新娘神学运用到一种新的公共用途上,在这个空间里,女性读者可以通过基督相互交流,也可以通过彼此与基督交流。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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