Secrets Of The Holy Bible - Erotism & Sex

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The allegorical interpretations are valid, and the Song of Solomon is pregnant with profound spiritual and mystical meaning. But it is still undeniable that the metaphor chosen by the Bible to convey these insights is that of a highly erotically charged relationship between a man and a woman. To dismiss it completely is to miss the central message of the song. A rabbinic tradition teaches that 3no Biblical verse ever loses its literal meaning.

The Song of Solomon is an erotic poem and we need to know why. Here's THE secret of the song and much else in life. God is a burning conflagration, a raging inferno, vibrancy incarnate.

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Moses encounters God in a burning bush. The Jews are lead through the wilderness of Sinai by God represented as a pillar of fire. And in our relationship with God, indeed in our relationship with all things outside us, we need to find passion. God is not cold or complacent or detached. He is involved rather than aloof, immersed rather than indifferent.

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God is discovered not in the monotony of subsistence but in the ecstasy of living. But today we have rejected the God of wonder and replaced him with the God of cheap tricks. If Nietzsche was right and God is dead, then that can only be because man has killed Him. We took an enervating creator and converted Him into a haunting spirit. We don1t pray because we have a flame burning in our hearts, but because we have have debts burning in our pocket. Our prayers are shallow attempts at deal making, cynical business transactions.

God, you do for me, and I1ll do for you. The Song of Solomon challenges us to feel for God and life what a man and a woman feel for each other in the heat of passion. The song challenges us to be erotically charged in our religious commitments. For a man who tries to uncover the mysteries of a beautiful woman, every interaction is emotionally pointed.

He pursues her not because he wants something from her but because she excites him.

Even if he never tastes of her sensual pleasures but merely beholds her from a distance in awe and wonder, still he is enraptured. God wants to be the people1s mistress. He wants to be exciting to us for His very existence, not because He can bless us to win the lottery. God wants us to thrill to the study of His law, delight in the fulfillment of His commandments, revel in uncovering the mysteries of the Universe, and soar in the fathoming the mysteries of His name.

It is no coincidence that Kabbala employs extensive sexual imagery in depicting the relationship between God and man. The sexual instinct is all consuming, and the saintly righteous are obsessed with God's existence. This is why Torah study is so central to Judaism. At its core Eros is a manifestation of a desire to know. Eroticism is the stuff of curiosity.


To live without Eros is to fundamentally lose a desire to appreciate and apprehend. I believe that the secret of Eros is to be found in Song of Songs. Hence, the song serves as the soul of the Torah, the spirit within God's word, all of which is about life. And here is the hidden secret of the song, the foundation of Eros: never once in the poem are the lovers described as finally indulging their lust for each other. They live in a perpetual state of hunger. I had bathed my feet, how could I soil them? My beloved put his hand to the latch, and my heart was thrilled within me.

I arose to open to my beloved, and my hands dripped with myrrh, my fingers with liquid myrrh, upon the handles of the bolt. I opened to my beloved, but my beloved had turned and gone.

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My soul failed me when he spoke. I sought him, but found him not; I called him, but he gave no answerS I am sick with love. Second, the couple are never described as being married. In other words, they are both platonic and illicit lovers. Their relationship involves neither consummation nor consecration. From here we derive that Eros embodies the twin qualities of hunger and sin. One of the reasons that marriage becomes so boring is that it is so legal. Sex is allowed and expected, even obligatory.

The thrill of Eros is predicated on the idea of experiencing something so powerful that it carries us away. It is the pleasure of losing control and being overpowered by something greater than ourselves. Anyone who has ever experienced a truly erotic moment knows the experience of being totally consumed by emotion.

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  8. But because the pleasures of eroticism are entirely dependent on being overwhelmed and consumed by a greater force, it is for this reason - and this is key--that Eros is always associated with sin. The force of Eros is such that you begin to do things that you are not meant to do.

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    You betray your own principles. You cannot stop yourself from entering the danger zone. You allow yourself to be carried away on a wave of pleasure, even as you crash against the rocks. Marriage says that your sexual partner will only ever be your spouse. How then can marriage, predicated as it is on the exclusivity of a contract, ever enjoy the pleasures of sin and Eros? The answer is that life in general, and marriage in particular, must be made sinful. Judaism offers an ingenious formula for enjoying the pleasures of Eros within a religious framework.

    Judaism actually incorporates the forbidden and sinful into the marital state.

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    For 12 days out of every month--the five days of menstruation and seven days thereafter--a man's wife becomes forbidden to him. Not only may he not have sex with her, he may not even touch her or share her bed. Suddenly, from the confines of the routine and the predictable emerges the sinful and the erotic.

    In addition his handwriting is hard to decipher, which makes it difficult to deal with his works, especially with his letters.

    5 Surprising Things That the Bible Says about Sex

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    This present work of nine chapters portrays iconoclastic trends within Western Christianity from the early Middle Ages up to the time of the French Revolution. The primary intent of this work is an explanation of the important iconoclastic movements - their origins and their theoretical foundations and motives.

    Parallel to this, the book deals with the religious and theological justification of the iconographic cult and of the icon in sacred architecture both in the formal theological teachings of schools and universities and in the arena of popular pietism. The areas of concentration are: iconographic controversy in the Carolingian Period, iconoclasm in the context of the Cistercian monastery reform, the icon in Franciscan thought, Reformation iconoclasm, the meaning of the icon in Tridentine Catholicism.

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