Timur Shchukin. Harmony or salvation. The interpretation on the Song. 2:6 by Michael Psellos and revision of the Byzantine exegetical tradition in the eleventh century. Vol. 3. No. 1. 2018

Publication Details

Harmony or salvation. The interpretation on the Song. 2:6 by Michael Psellos and revision of the Byzantine exegetical tradition in the eleventh century
Title in the language of publication: Толкование Михаила Пселла на Песн. 2:6 в контексте греческой экзегетической традиции
Author:
Timur Shchukin
Associate Research Fellow at the Sociological institute of the Federal Center of Theoretical and Applied Sociology of the Russian Academy of Sciences.
Address: 25/14 7-ya Krasnoarmeyskaya str., St. Petersburg 190005, Russia.
Issue:
P. 252–286.
Language: Russian
Document type: Research Article
 Acknowledgments:  The present study is a part of the project № 17-03-00329, “Nature and movement in the ‘Commentary on the Physics of Aristotle’ by Michael Psellos. Study of the influence of the late antique tradition, of the correlation between physics and the Orthodox theology, and of the reception in the later Peripatetic physics”, implemented with a financial support of the Russian Foundation for Basic Research.
 

Abstract

This study using an example of Michael Psellos’ interpretation of the book Song of Songs focuses on a transformation of the “big text” of the Orthodox tradition, the corpus of texts, including the biblical books, as well as the works of the Church fathers, in the eleventh century. The verse of Song. 2:6 was taken as a touchstone. Its interpretation is present in most of the comments on the Song of Songs and describes the closest connection of the main characters of this book, the Bride and Groom (in the Byzantine tradition: Christ and the human soul). The study shows that Michael Psellos revises the traditional interpretation of the Song of Songs and probably challenge the importance of the most authoritative commentary on this biblical book in the eleventh century — the catenas of “Three fathers”, formed within the tradition of Maximus the Confessor. Indeed, if the leitmotif of all Byzantine commentaries on the Song of Songs is the interpretation of the connection of Christ and the human soul as a real, effective communion of man and God, “deification”, Michael Psellos offers a reduced, rather moralistic interpretation of the images of the Song of Songs. It can be seen not only in the interpretation of Songs. 2: 6, but also in that of some other verses. Perhaps, such interpretation was polemically aimed against the concept of deification presented in the catenas of “Three fathers”, created largely on the basis of the works of Maximus the Confessor, the great theorist of deification. The fact that his theological authority in the 11th century was far from being universally recognized allowed Michael Psellos to be critical of him and tradition, which is based on his doctrine.

Keywords

Michael Psellos, Song of Songs, byzantine exegesis, soteriology, Christology, Gregory of Nyssa, Maximus the Confessor.

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