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Copyright of Studia Paedagogica Ignatiana is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artykuł podejmuje problem interpretacji terminów florystycznych (lilia, lotos) zastosowanych do opisu oblubienicy w Pieśni nad pieśniami (2,1–2). Problem wynika z trudności rozpoznania gatunku wymienionych w języku hebrajskim dwóch nazw kwiatów. Różne przekłady tych terminów od starożytności po czasy współczesne ilustrują tę trudność. Tymczasem symbolika różnych gatunków kwiatów może być odmienna. Celem opracowania jest ponowne odczytanie i interpretacja symboliki florystycznej fragmentu Pnp 2,1-2. Aby osiągnąć zamierzony cel, przeprowadzona została analiza leksykalna zastosowanych terminów w ich kontekście literackim. Dodatkową pomocą posłużyły dane z zakresu botaniki i geografii uprawy wyżej wymienionych roślin. Odczytanie znaczenia symboliki rozpoznanych roślin zostało przeprowadzone w odniesieniu do szerszego kontekstu kulturowego jej zastosowania (w Egipcie, w świątyni jerozolimskiej). Analizy prowadzą do wniosku, że zastosowano symboliczne, znaczące nazwy, które niosą w pierwszym rzędzie konotacje płodnościowe. Starożytni podziwiali nie tylko dziewicze piękno kobiety, ale fascynowała ich tajemnica płodności i życia. Obraz lilii i lotosu odniesiony do oblubienicy w Pnp rozwija symbolikę, która może być odczytana jako aluzja nawiązująca do Ewy jako „Matki żyjących” z Rdz 3,20.

The article presents a new translation into Polish of the sixteenth-century poem The Spiritual Canticle of Saint John of the Cross. The translation was made in the form of an eight-syllable verse, without rimes. In the introduction, we presented earlier Polish translations of the work, and in footnotes, we emphasized the issues related to symbolism and biblical allusions.

“You set charity in order in me” (Song 2:4, LXX) is one of the most funda­mental biblical texts for the concept of the ordo caritatis. The Author seeks to examine how this text was read in the East and West, analysing the commen­tary of three Greek authors (Origen, Gregory of Nyssa and Theodoret of Cyrus), and three Latin authors (Augustine of Hippo, John Cassian and Apponius). There commentaries, he notes, agree with one another for the most part, and refer more or less to Origen’s exegesis of this verse. However, some differences can be noted. The Eastern Fathers, for example, hold that, in the order of charity, the criterion of merit is more important than the criterion of blood relationship; that is to say, the greater love is to be shown to those who have been born in Christ (cf. 1Cor 4:15) over those born of the flesh. Only the Eastern Fathers explore what the ordo caritatis means also in relation to one’s enemies. The Western Fathers, for their part, tend to underline the moral aspect of the ordo caritatis, insofar as upholding that order is virtue, while infringing it is sin. In this regard, a casuistic approach can occur in their commentary more frequently than in those of the Eastern Fathers. The novelty of the commentaries of the Western Fathers is also found in their reflection on the ordo caritatis within the Holy Tri­nity, as well as the manner in which they expand the embrace of this order to other categories of people: friends, fellow citizens, strangers. Some of the Western Fathers (Apponius) apply the ordo caritatis not only to people but also to works of mercy, while others (Augustine) bring out the aesthetic element in the ordo caritatis, noting that the effect of order of any kind, including the order of charity, is beauty.

W sposób dosłowny tekst Pnp 8,10 powinien zostać przetłumaczony: „I stałam się w jego oczach jako ta, która znajduje pokój”. Główne problemy translatorskie i interpretacyjne dotyczą idiomatycznego wyrażenia hebrajskiego: „znaleźć łaskę w czyichś oczach” oraz znaczenia hebrajskiego terminu shalom. Artykuł analizuje różne sugestie translatorskie w Biblii wydanej w języku angielskim, portugalskim, francuskim, niemieckim i polskim oraz prezentuje własną propozycję: „znalazłam szczęście w jego oczach”.

Copyright of Religious & Sacred Poetry: An International Quarterly of Religion, Culture & Education is the property of Fundacja Naukowa Katolikow Eschaton and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is the first attempt in Polish to present the main features of Apo­nius interpretation of the Song of Songs. For he was one of many authors who commented this book of the Old Testament, the content of which has always been a problem of interpretation. In ancient Christian times there were two exegetical currents: the literal and allegorical. Aponius falls within this second trend but brings individual and original exegesis off. In love of the bridegroom and the bride seems to see the symbol of love of the divine nature to human nature in the mystery of the Incarnation of the Son of God. By Aponius God himself comes through the Incarnation of the Word of the Father for his vineyard, which is the people of Israel, and through the precious seedlings originating from it and by the apostles, is revealed to the whole world, and through the seed of faith sown in individual peoples, creates a separate vineyards and offers the bride to the lavish use of the specific, unique fruits of welfare, to a shared joy in the vineyards.

In the christian antiquity the word sacrament designated any sacred sign. The Bible can be considered as a sign of the love between God and the Church. In our article we analyze the symbols created in connection with the more-than-literal interpretation ofthe Song of Songs. The different aspects o f the loving relation between the Bridegroom and the Bride have been interpreted by the ancient and medieval commentators in the light of the role that the Bible plays in the relation between Jesus and the Church or Jesus and the human soul.

In the tradition of the allegorical interpretation of the Song of Songs the Bridegroom of the Song of Songs represents Christ, meanwhile the bride represents the Church. The verse 8,2 shows us the Bride satiating the thirst of the Bridegroom. In the article we tried to analyze and reflect on the commentaries of the Fathers of the Church and medieval writers to this verse in connection with the charisma of Mother Teresa and the Missionaries of Charity centered on the mystery of Jesus' "I thirst" on the cross. The main streams ofthe Christian tradition interpreted the spiced vine in connection with the love of God and the juice of pomegranates in connection with martyrdom.

Cirillo di Gerusalemme si caratterizza dal proprio e speciale attegglamento esegetico verso il Cantico dei Cantlei. Lo lntorpretava nel contesto delle descrlzloni evangeliche della Passione e della Risurrezlone di Cristo.