var songofsongs = [ { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "0", "paragraph": "引言", "sentence": "雅歌引言

《雅歌》和《新約》中的《默示錄》，是全部《聖經》中最高妙而又最難理解的書籍。本書希伯來原名為『歌中之歌』，即最美妙的詩歌，因此中文譯為「雅歌」。

按照傳說，《雅歌》是撒羅滿王的作品。然而大多數聖經學者卻不以為然，因為由本書中不可忽視的內在證據，可以證明本書為充軍期或充軍期後不久的作品。至於誰是《雅歌》的作者，至今還是一個謎。雖說如此，但不論猶太人的傳統或聖教會的傳統，都一致承認《雅歌》的默感性。在猶太教內，馳名的阿基巴經師（卒於公元135年）曾稱頌這本書的神聖性說：「望天主總不許我們否認《雅歌》的神聖性……全世界的價值也比不上《雅歌》的貴重。」在聖教會中，奧利根也以同樣的話來讚頌本書的神聖性。誰若不深究本書中的含意，當然看《雅歌》像是一首歌頌男女戀愛的詩歌。像這樣的解釋早已為君士坦丁堡第二次大公會議（公元553年）所否決。不過從十六世紀以後，在非天主教的學者中，主張《雅歌》的純自然解說的，仍大有人在。他們將《雅歌》與其他古代的戀歌（如埃及、阿剌伯、印度、希臘等國的戀歌）作文字上的比較，堅持《雅歌》不外是一首歌頌男女愛情的詩歌。但這樣的解釋未免太膚淺了，且使我們不能明瞭這篇詩歌中，很多在純粹男女戀愛上所不能解釋的字句。

那麼，《雅歌》究竟含有什麼深意？有些學者主張《雅歌》的象徵說或預像說，說《雅歌》是描寫撒羅滿王與法郎公主大婚史事，同時象徵雅威對選民、或耶穌對聖教會、天主對聖母、或天主對善靈之間的愛情。另有些學者則主張《雅歌》寓意說」，主張《雅歌》所描寫的，並非純然的歷史事實，而是以寓意來講明天主的無限聖愛。但是這愛的對象是誰？我們認為下列的答覆較有神學的根據和價值，就是《雅歌》的作者以寓意藉充軍期或充軍期後的歷史背景，來描寫天主對以色列選民的愛；又因為按聖保祿所說的，舊約選民的歷史是新約聖教會的預象（格前10:1-11），因此，《雅歌》同時也描寫耶穌對他的凈配聖教會的愛。我們在本書中所寫的注釋，即是以這學說為基礎。

《雅歌》的內容，共分六幕：第一幕：互相傾慕（1:2-2:7）；第二幕：互相追求（2:8-3:5）；第三幕：愛情的成熟（3:6-5:1）；第四幕：愛情的試探和鞏固（5:2-6:10）；第五幕：愛情的享受（6:11-8:4）；第六幕：愛情的圓滿（8:5-14）。這六幕的描寫，完全基於《聖經》上論天主與選民神婚（歐2:21-22；耶19:7, 21:2-9, 22:17；谷2:19-20；若3:29）的道理。

本書既然是含有寓意的詩歌，讀者自然不可將詩人所用的各種比喻一一隨字意解釋，反而必須常常注意本書的中心思想：天主對其子民的寵愛。如此，讀者也不會見怪，詩人為描寫這超越人情的眷愛，所借用的情人或夫婦相親相愛的種種比喻。", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "header1", "sentence": "雅歌 第一章", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "1:1", "sentence": "雅歌，撒羅滿作。", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "header0", "sentence": "第一幕 互相傾慕（1:2-2:7）", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "header2", "sentence": "新娘", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "1:2", "sentence": "願君以熱吻與我接吻！因為你的愛撫甜於美酒。", "supplement": true }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "1", "paragraph": "1:3", "sentence": "你的香氣芬芳怡人，你的令名香液四射，為此少女都愛慕你。", "supplement": true 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{ "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "2", "paragraph": "", "sentence": "1:1-4：新娘──選民在此表示自己對上主所懷的熱愛；她的愛，由於遭受過巴比倫充軍的試探，變得更熱烈，甚至她引領一些「少女」（外邦民族）也認識天主（多13:3-4；依60；66:18-21）。──1:5-7：以色列雖遭受了充軍的大災難（哀4:6-8），可是在她的新郎（天主）面前，她還是蒙愛的（依54:4,8；歐2:14-25）。──「我母親的兒子」指加色丁巴比倫人，他們是以色列的兄弟，因為亞巴郎是出自加色丁的烏爾（創11:28-31；15:7）。「派我看守葡萄園」指充軍的奴役：「我自己的葡萄園」指巴力斯坦聖地（依5:1-7；耶12:10-12）。上主屢次被稱為以色列的牧人（則34:4-19）。新娘離開了她先前所淫戀的其他神衹以後，只企望再與上主相聚。──1:8：耶京女郎──她們有如希臘劇典的歌女，表達詩人的心意──告訴新娘：充軍的時期快結束，請她跟着「羊群」，自己的兒子，回到熙雍山去（牧人的帳棚）。──1:9-11：新娘從前怎樣在埃及作奴婢（拉法郎的御車），現在也同樣在巴比倫為奴。可是奴役時期快完結了，她將得到金銀製的飾物（路15:22）。──1:12-17：在此描寫以色列已回歸了「許地」，萬分感激天主。「床榻」指巴力斯坦。按先知的預言，充軍期後，許地將變成樂園（歐2:23-23；14:6-8；依29:17；30:23-24；耶31:12,14）。──2:1-6：自今以後，新娘全心依戀她的愛人；愛人在她身上懸上愛情的旗幟，用以召集因充軍而四散各處的選民，叫他們一同出發，往許地（酒室）去（依5:26；11:10,12；49:22；62:10）。2:7：以民在充軍之地應自己「睡醒」，即應自覺悔悟（依52:1-2）。", "supplement": false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "2", "paragraph": "header0", "sentence": "第二幕 互相追求（2:8-3:5）", "supplement": false }, { 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false }, { "link": "SongofSongs", "group": "智慧書", "book": "雅歌", "chapter": "3", "paragraph": "", "sentence": "第二幕分兩場：第一場（2:8-16）又描寫新郎通知自己的愛卿，恩寵的時期已臨近。當時新娘還關在屋內（9節），或如鴿子隱居在岩石隙中（14節），即謂還在充軍之地。新郎請她離開巴比倫回歸聖地。但因有「狐狸」──即臨居的敵人，如撒瑪黎雅、厄東、阿孟、摩阿布等民族──毀壞「葡萄園」巴力斯坦，敵對回國的人，因此以民大部份還猶疑不決，不敢回歸聖地（厄上4:2；厄下2:19；3:34）新娘所祈求的，是願天主重新與自己的百姓結約，居在「百合花」，即選民中間。見偽經「厄斯德拉卷四」5:23,24。
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