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Special “Twos-day” Edition

Preachers call it “feast or famine.” There are weeks when a sermon will fight you tooth and nail…and then there are weeks where inspiration strikes and you randomly find yourself writing not one, but TWO sermons.

 

I literally flipped a coin on which sermon to preach. At the 8AM service, I preached on the Gospel and how we should imagine the Pharisees as faithful rather than obstinate. At the 10AM, I preached on Song of Songs (Also called Song of Solomon) and the need for the church to understand desire and sexuality as gifts from God.

 

Below are both sermons.

Notes on the Texts

 

8AM Sermon - Gospel of Mark

10AM Sermon - Old Testament

 

Proper  17

 

Year B

 

St. Stephen’s, Orinda

 

 

 

Great things, Thou hast done, O Lord, my God. I would name them and proclaim them, but they are more than I can tell. In the name of the Father, the Son, and the Holy Spirit. Amen.

 

 

 

As a general rule, my typed sermons are five and half pages. Now, don’t get too excited, my sermon this morning is the standard length of five and a half pages. Although, strangely, three of them were left almost entirely blank. All these pages say is “wait for congregation to stop awkwardly fidgeting in the pews.”

 

This morning, I’d like to preach on the Song of Solomon, a book in the Bible predominately focused on sexual love between two partners. Doing so, of course, means that our time together this morning will be spent exploring the theological dimension of sex and sexuality.

 

Ahh…here it is. Wait for awkward fidgeting to stop.

 

I think the first thing we can and should do this morning is to acknowledge the awkwardness. It is a sad commentary on the Christian Church that teaching and preaching on sexuality is at best, oxymoronic, and at worst, paradoxical. The reason for this, is quite clear. Church teaching on sexuality can be summed up in this way: Sex is a dirty, sinful, shameful, and depraved act—save it for the one you love.

 

At its core, the Song of Solomon is both a remarkable as well as a remarkably strange entry into our biblical cannon. With its vivid imagery, the story is one of love, desire, and fidelity expressed through sexual love. The story is told by both partners of this relationship, but the overwhelming majority is written from the woman’s perspective. Given the less-than-stellar reputation of the Judeo-Christian tradition in dealing with female sexuality, it’s almost a complete and total surprise that this book is even in our Bible, at all. The Jewish midrash records that there was quite the debate as to whether or not Song of Solomon should be included in the Hebrew Bible. At Bet Din, or the House of Judgement at Jamina where Jewish sages debated which books should be part of the scripture, we learn that eventually, history was bent by the will of one Rabbi Akiva, who argued “For all of eternity in its entirety is not as worthy as the day on which Song of Songs was given to Israel, for all the Writings are holy, but Song of Songs is the Holy of Holies.”

 

As valuable as Rabbi Akiva’s defense of the Song of Solomon, or the Song of Songs, as it is also known, was, his cause was aided by a growing interpretive strain which saw the story as an allegory of the love between God and Israel. Christian scholars would later adopt this allegorical interpretation as the story of the love between Christ and his Church.

 

Like the third rail of the BART tracks, there seems to be something both terribly powerful and frightening about this story. Jewish and Christian scholars seem to bend over backward in order to redirect or sublimate the text. A surprising number of commentators described the story as a love story between husband and wife. And while it is true that on one occasion, the man describes the woman as his bride…its not entirely clear that they are actually married. Perhaps they are betrothed—that seems to be the only plausible explanation as to why the man and woman are forced to sneak outside of the city walls to rendezvous with one another, narrowly escaping a judgmental crowd which threaten to beat the woman on one occasion.

 

And to me, every effort to sublimate, legitimize, or transform the story into allegory does each of us a great disservice. Rabbi Akiva was correct, the Song of Songs does deserve a place among the “holy of holies” within scripture, for within its pages is a vision of sexual love marked by desire, fidelity, and partnership between two partners.

 

In our text for this morning, we hear the voice of the woman both remembering and anticipating her love. The natural world reflects and magnifies the woman’s stirring and longing for her beloved, and the beauty and the balance of the natural world recall and affirm the goodness of God’s creation. It is nearly impossible to read the Song of Songs without recalling the story of Eden. In Genesis, God creates Adam. God shares that it “It is not good that the man should be alone; I will make him a helper as his partner.”

 

A partner.

 

God then creates every living thing, showing them to Adam and allowing the created to name each species. But none of them are right. It is only when God causes Adam to sleep and creates Eve from the man’s flesh that Adam finally recognizes a partner.

 

There, in the garden, man and woman live not as master over one another, but partners towards one another. It is their mutuality which is the final affirmation of God’s creation. When humankind is banished from the Garden, God punishes Eve, saying “your desire shall be for your husband, and he shall rule over you.” But in the Song of Songs, the woman shares "I am my beloved's, and his desire is for me.”

 

“As Ellen Davis has argued, the Song reverses the curses of the Garden of Eden, including the rupturing of the relationship between man and woman. There is a mutuality about this love that repairs that rupture and places the lovers back into the Garden.”

 

In our lectionary this morning, the woman repeats the invitation of her beloved: “Arise, my love, my fair one, and come away.” As Prof. Wil Gafney reminds us, The man asks his love to run away with him; it does not appear that they are running away from anything or towards anything. They just want to be together. The natural beauty of the world around them reflects their love, blossoming flowers, fruit-laden trees, singing birds. It is paradise.

 

“The natural world evokes all of the senses as does the love between the couple. The very physicality of this text as scripture is its gift. The woman, man, their love and their world are all God's good, creation. There is no division between body and soul.”

 

More than that, we see the love drawing us towards a new life. Whether understood allegorically as God calling Israel out of Egypt, or Christ rising from dead and appearing in the garden, love calls us into a new creation, a transformed reality. When read without allegory, the devotion and commitment of one who is at the same time deeply loving and deeply loved, harnesses the power to infuse great purpose and meaning into the life of a lover.

 

 

 

If I had to use one word to describe the Song of Songs, I would choose “embodied.” The lovers again and again articulate their love for one another’s bodies. It is a reminder that our physical bodies are created—beloved, beautiful, and a reflection of God. The Song of Songs is a reminder that loving relationships are set within, and not in spite of our physical selves.

 

 

 

But where in this story of sexual love, is the good news? What lesson can the Song of Songs offer, even if it is somewhat uncomfortable to talk about in church?

 

To me, the Good News of the Song of Songs is the gentle reminder that we are all a reflection of the God who created us. Our sexuality and our sexual desires are a part of our created selfs, intended by God for a purpose. Like our bodies, our sexuality is a gift from God. As Jesus reminds us from our gospel lesson, our sexuality has the ability to build up or defile our spiritual lives…and because it has such great spiritual consequences, it is high time that the church regularly reflect on the gift of sexuality.

 

The Song of Songs affirms human sexuality as a lens through which we can understand the beauty and the purpose of creation. Without this affirmation of our sexuality, I fear the church is doomed to repeat the dangerous and paradoxical understandings of our past. It is only when we can look positively upon our sexual selves can we begin to create an moral framework for how Christians are to use this gift in the way God intended. As surprising as the Song of Songs may be, it nevertheless upholds the biblical principle that sexuality is best expressed through a partnership marked by love, affection, mutuality, and care.

 

The Song of Songs offers the Christian Church the means of untangling our often-times paradoxical approach to sexuality. It is a book in which the feminine voices the beauty and grandeur of creation. And whether we gladly welcome this vision of desire, or even if it makes us a little uncomfortable, it is a book worth sitting with.

 

 

 

[Wait for congregation to stop figiting…]

 

Amen.

 

To know, to love, and to serve Christ.