Беседы на Песнь Песней

The motif of the endless path as a person’s inexhaustible relationship to the goal, described in general terms in the life of Moses, was developed in detail in Gregory’s next work, namely in fifteen conversations on the Old Testament book Song of Songs (Ἐξήγησις τοῦ Ἄισματος τῶν Αισμάτων 1191 ). By their nature, these conversations continue the treatise On the Life of Moses the Lawgiver, although the genres of both works are different. Unlike the life of Moses, the discourses on the Song of Songs are not a retelling of the story or an allegorical interpretation of it; We are talking about a fairly detailed presentation, examining the biblical text verse by verse. Previously, it was believed that the conversations on the Song of Songs preceded the life of Moses, but today, on the contrary, the conversations follow him (since the motives of the treatise On the Life of Moses are briefly given in the conversations 1192, and not vice versa; the theological perspective of the conversations is broader: not only the path of virtue is considered here, but also its culmination, love as the union of the soul with God 1193). It is also interesting that Gregory composed conversations on the Song of Songs at the request of a woman, and an unusual woman - this was the already mentioned deaconess Olympias, a rich widow with serious intellectual needs, a friend of the most prominent saints of her era 1194. John Chrysostom from exile 1195 addressed her seventeen letters, Gregory of Nazianzus dedicated one of his poems to her 1196, the details of her life are told to us, apparently, by her contemporary, an anonymous hagiographer 1197. However, there is no certainty (as Jean Danielou imagined in his colorful fantasies 1198) that Gregory conducted these conversations directly with Olympias and the sisters from the monastic community she founded at the Church of St. Sophia in Constantinople. Complex spiritual sermons might naturally have been well received in monastic circles, but they were most likely originally intended for a wider audience, and the written version dedicated to the Olympics would not necessarily have been addressed only to the “spiritual elite” of her community 1199 . In accordance with Origen’s understanding of the three “Solomon” books 1200, already known to us, Gregory sees in the Song of Songs a certain mystical peak of the meeting with God, associated both with the moral teachings of the Proverbs and with the wisdom of the natural sciences contained in Ecclesiastes. Gregory also adopts the basic interpretative scheme (Bridegroom-Logos/Christ, Bride-soul/Church) from Origen. But his approach to the Song of Songs differs from Origen’s: Gregory considers the cross-cutting theme of the Song of Songs to be movement along the spiritual path 1201. We have already encountered this interpretive moment in some of Gregory’s works; it can be understood as a characteristic feature of the exegesis chosen by Gregory. Closely connected with it is the idea of ​​the spiritual path as a run, always directed forward, which appears more and more often in conversations: in Gregory’s interpretation, the Song of Songs describes the path of the Bride-soul and the girls (souls) accompanying her to marriage with the Divine Bridegroom. The Soul Bride and Her Spiritual Path According to Gregory, souls setting out on the road after their “friends,” who always hasten “to the fragrance of the world (the Bridegroom)” (cf. Song 1:4 O’ 1202) and “stretching to the front, but forgetting the back (τοῖς ἔμπροσθεν ἐπεκτείνονται)" (cf. Phil. 3:13) 1203, strive towards the goal, attracted by a certain fragrance. “The more perfect soul” (ἡ δε τελειοτέρα ψυχή 1204), represented by the Bride, according to Gregory’s first conversation, “has already reached the goal for which the flow is accomplished,” and is introduced into the royal palace (cf. Song 1:4) 1205. This achievement of the goal, according to Gregory, assumes that such a soul “further extended into the foreground” 1206. At the same time, the question remains open what is meant by “achieving a goal”: does it end the path of the soul? The fourth conversation helps us answer this question, where Gregory divides the ascent of the soul 1207 into three stages: first, Scripture likens the soul to the mare (ἡ ἵππος) of Pharaoh’s chariot (cf. Song 1:9), destroying the Egyptian army, then to a friend (“neighbor,” τὸ πλησίον) with the eyes of a dove (see Song 1:15) (the eyes of a dove, according to Gregory, mean the spirit of prophecy) and finally (Song 2:2) - a sister (ἡ ἀδελφή), who already belongs to the family, since she was accepted by the Holy Spirit as her own. We also find a three-part division of the spiritual path in the eleventh conversation, where by the mare and the dove Gregory understands the first step in which the soul leaves (“runs around”, “flies around”) everything tangible and visible 1208: “in terms of the speed of the flow (τὸ εὔδρομον) it is likened to horses, and in terms of the speed of understanding - a dove (τὸ τάχος τῆς πτήσεως)" 1209 . The second step here is a shady apple tree (σκιά, see Song 2:3), indicating, according to Gregory, a cloud (νεφέλη 1210) - “observation of the hidden, by the visible guiding the soul to the invisible nature” 1211. And finally, at the third step, the soul is shrouded in “divine darkness” (τῷ θείῳ γνόφῳ 1212), in which it approaches the inscrutable knowledge of God 1213, as mentioned in the description of the theophany to Moses at Sinai (see Ex. 20:21 O'). The question is whether Gregory is arguing that the spiritual path is fundamentally divided into three stages 1214, or is describing only a certain part of the ascent, which perhaps continues further 1215 or is divided in other ways. The repetition of what was said earlier, at the beginning of the sixth discourse, indicates that the progress along the spiritual path can be described in more detail and that it can hardly be finally completed at the previously defined goal 1216: The Soul/Bride in her constant growth and continuous change for the better 1217 is here likened in turn to a mare, a turtle dove and a precious monist (see Song 1:10 O'), a bunch of myrrh on the chest of the Bridegroom (see Song 1:13 O'), a vine with fragrant clusters (this is how Gregory interprets Song 1:14), then for the first time she is called “beautiful”, becomes “neighbor”, and her eyes are compared to doves (see Song 1:15 O'). She was strengthened in goodness like the cedar and cypress (see Song 1:17 O'), like the lily among the thorns (see Song 2:1 ff); she is brought into the bridal chamber, anointed with myrrh, and rests among the apples (see Song 2:4 ff O'). She is wounded by a sweet arrow, and she herself becomes an arrow in the hands of the divine archer, who with his left hand points her to a high goal, and with his right embraces her and draws her to himself (see Song 2:56–6 O'). The image of an arrow on a drawn bow very accurately expresses the dynamics of movement and the forward striving that Gregory implies: this is undoubtedly the very limit of perfection 1218 that the soul can achieve, but still this reached peak is only the beginning of the next ascent 1219. The motive of moving forward runs through all of Gregory’s metaphors: already the mare of Pharaoh’s chariot points to the “divine flow” (τὸν θεῖον δρόμον 1220), in which the soul “as if with frequent and intensified leaps stretches forward, but does not return back to what it has improved in what has already been achieved” 1221. This running expresses an increase in desire: although the soul has already achieved a lot, it still thirsts. It is not enough to drink from the “cup of wisdom” (see Proverbs 9:2 O'): thirst calls her to “enter the house of wine” (Song 2:4), and here she “rushes to even more” 1222: she asks to “submit her to love” (see Song 2:4) 1223. The images of the Song of Songs in the hands of Gregory appear and are combined in unexpected compositions, in a flowery interweaving of poetic, often multi-level descriptions. The leitmotif, however, remains the idea of ​​​​a constant endless movement forward, an insatiable desire that increases with each filling. Filling and insatiable desire The fulfillment and insatiability of Gregory's ever-increasing desire is expressed both in the images of love and in the motif of intoxication. Gregory uses the oxymoron “sober rapture” (νηφάλιος μέθ 1224), in which “a person is delighted from the material to the Divine” 1225 in an eschatological sense. “The mind goes wild” 1226 in divine intoxication already occurs in this life. Gregory speaks of the Last Supper, where the Divine Logos invites His disciples to “eat and drink” (see Matt. 25:35), just as in the Song of Songs the Bridegroom says to his friends: “Come, ye neighbors, and drink and be drunk, brethren” (Song 5:1 O') 1227. According to Gregory, this expresses “a change from worse to better and retreat” 1228, that is, a movement of constant change and development. The soul involved in good constantly grows; however, the good always remains incommensurable with it, always surpassing it 1229, since the Divine is not limited in good (ἀόριστος ἐν τῷ ἀγαθῷ 1230). It is not limited by any of Its opposites, has no boundaries or limitations, but “every good that is intelligible about Him extends into infinity and infinity” 1231. Therefore, the movement of the soul is like an endless ascent up a ladder 1232: as if through a window or grid (see Song 2:9) of the Law, the Bride guesses the first rays of light emanating from the Bridegroom-Logos. The light gives her beauty, likening her to a dove. However, after this, the Groom calls her to participate in sublime beauty, as if before she had not been involved in it at all 1233. Thus begins the real ascent to a good that still surpasses the soul: something greater is constantly before it, and its aspiration is constantly growing 1234. Therefore, the Groom again says to the Bride: “Rise up... come!”, although she has already risen (see Song 2:10,13). Whoever has once prepared for this “divine current” will rebel forever, and whoever sets out on it will never exhaust the enormous distance that lies before him 1235. Therefore, to the standing friend He says, “Rise up!” and to the running friend, He says, “Come!”; the beautiful Bride must become even more beautiful. Everything that the soul has already achieved is always less than what it seeks, strives for and hopes for 1236. The path of the soul is thus endless, since what it strives for can never be achieved. In the sixth conversation, Gregory develops the ontology of created and uncreated, sensory and intelligible nature to clarify this motive. Spiritual nature is incorporeal (τὸ νοητόν τε καὶ ἄϋλον 1237), although it is created; unlike sensible things, it cannot be comprehended in any way, and avoids any border, since it has no limits 1238. This infinity has different meanings for created nature and uncreated nature: spiritual uncreated nature, which creates itself, always remains unchanged 1239, neither increasing nor decreasing; on the contrary, the spiritual essence that arose through creation is already changeable due to its origin and can turn to good or evil 1240. She succeeds in good as long as she strives for the original beginning of existence, as long as she participates in that which surpasses her 1241. In a certain sense, it is constantly being transformed, constantly growing in virtue, therefore it has no limit and its growth is unlimited 1242. After all, the good already achieved, no matter how perfect it may seem, is always the beginning of an even greater good. This is the forward flow (ἡ τῶν ἔμπροσθεν ἐπέκτασις 1243) and the forgetting of the previous, about which the apostle speaks (Phil. 3:13): the experience of more abolishes the memories of less. By participating in the good, which is always infinitely greater than anything that one who participates in it can achieve, its capacity also increases, since no achievement can lead to its exhaustive filling; and this will last, according to Gregory, “forever and ever” 1244. The same thing that Gregory said about participation in good can be said about knowledge. The nature of God, which has no boundaries, can never be adequately known, which means that the movement of search never stops. Any perfection of knowledge that the human mind can achieve is immediately transformed into a desire for further knowledge 1245. In this sense, Gregory understands the image of the night (Song. 3:1), where the Bride is looking for the Groom on her bed and cannot find him: ... when I was embraced by the Divine Night, seeking the Hidden in the darkness, then, although I had love for the Beloved, this Beloved flew away from the embrace of thoughts 1246. The Bride called the Groom by name - as far as it is possible to “invent a name for the Unnameable” 1247 - but He did not hear, since no name can describe Him. Then the Bride went out into the city, that is, according to Gregory, she ascended to the heavenly city of disembodied entities, but even in the realm of the speculative and immaterial, she could not find Him. Then, leaving everything that was found, she thus recognized the Searched One by the mere incomprehensibility of what It is 1248. Gregory calls this only possible knowledge “acquisition by faith” (τῇ πίστει εὗρον 1249) or “embrace of faith” (ἡ τῆς πίστεως λαβή 1250), which assumes that we get rid of all conceptual representations. Everything that could serve as a discursive understanding of what is sought becomes an obstacle to the acquisition itself 1251. So, faith, according to Gregory, is a certain step of trust towards the unknowable, which can be known to exist only by giving up attempts to know that it exists. In the eleventh conversation, which we have already mentioned, Gregory likens this grasping by faith to the “divine darkness” into which Moses plunged during the epiphany on Sinai (see Ex. 20:21 O’) 1252: God allows the soul to feel His presence, avoiding, however, distinct knowledge 1253. This means that everything that we can say about the Searched (or the Acquired by faith) will be only hypothetical, because this Searched cannot be unambiguously and exhaustively comprehended 1254. Therefore, the Song of Songs also does not speak about the appearance, face or features of the 1255 Bridegroom, but only about His voice (see Song 2:8 O’), sounding as if from afar and not allowing for certainty. For this reason, Scripture avoids any judgment about the Bridegroom 1256 or description of His image 1257, although it refers to many descriptions (ἐπί πολλὰ φέρεσθαι ταῖς ὀπτασίαις 1258), wanting to look at each time a little differently (ἄλλοτε ἄλλως βλέπειν 1259) and without offering a single imprint of the comprehended (οὐ πάντοτε τῷ αὐτῷ παραμένουσαν χαρακτῆρι τοῦ καταληφθέντος 1260 ). Therefore, it likens the Bridegroom to both a roe and a young deer (Song. 2:9 O'). The lightness and mobility of these animals hint at the inaccessibility of the Bridegroom: “behold, he comes, galloping to the mountains and leaping to the hills,” Song. 2:8 O1), “snatching itself out of sight before the soul came into perfect knowledge” 1261. All images and judgments about God can only have a preliminary, but not definitive, character, because they are determined by our own attitude towards God: ...The Divinity always appears to us as we voluntarily present ourselves before God 1262. Our path of knowledge of God is always outlined not only by our ability to contain (limited, although increasing), but also by our choice. For this reason alone, neither our thoughts nor our words can reach God as He is in Himself; therefore, we can never know Him. God, who eludes any understanding, can be known, according to Gregory, only along the incomplete path of knowledge, which never stops at what has been comprehended, but constantly moves further towards the awareness of the defining incomprehensibility of the Seeked: ...that in the reasoning of a power that exceeds any mind, there is only one way of comprehension: do not stop at anything comprehended, but, always seeking more than what is comprehended, do not be satisfied with anything 1263. God, to whom the soul strives, it can see only if it constantly follows Him 1264 and never stops. Gregory sees a hint of this in the Bride's words about her lover who "turned and departed" from her door (see Song 5:6), as well as in the description of the theophany in the rocky cleft where Moses saw the "back" of God (Exodus 33:23). These texts for Gregory mean a call to follow the Bridegroom-Logos, who moves “into the foreground” 1265, a call to unceasing striving forward. This, according to Gregory, is the only way to know the incomprehensible God. In the discourses on the Song of Songs, the motif of epectasis represents one of the central motifs, or even the key idea. The soul bride, appearing before us in an endless kaleidoscopic series of images, begins her ascent upward, moving forward or moving towards better things. Her path is endless, since her goal is endless, not limited by its opposite, as we already know from Gregory’s previous works. In addition to the infinity of the goal, the infinity of the human path has another aspect. As in the polemic with Eunomius, in the conversations on the Song of Songs the ontological basis of human life as an endless path appears to be the very creatureliness of the human mind. Created, and therefore changeable by nature (as brought from non-existence to existence), the human mind can never finally “hit the target”, it can only be directed towards it. But as you approach the goal, it seems to be “created anew,” constantly changing, constantly increasing. At the same time, growth determines a new need for filling, a new need for movement, and in an eschatological perspective: “forever and ever.” In other words, the more fulfillment the mind achieves, the more its boundaries will expand and the longer the path will lie before it. In addition to love and aspiration, which both the Song of Songs itself and its exegete speak of, this dynamic also applies to the knowledge of the unlimited and infinite God, according to Gregory, cognizable only on the path of unceasing knowledge, which moves further and further, overcoming every achieved result in favor of a further, not yet known. It is in the knowledge of the completely unknowable - that God is - that Gregory sees the only possible evidence about God, the only way to know that He exists, to feel His presence. Gregory calls this overcoming of any conceptual knowledge for the sake of the new and unknown “the embrace of faith.” The only thing that can be obvious to a person regarding God is, therefore, the understanding that it is necessary to renounce any concept and any idea about Him. The constant detachment from what is known and achieved at the same time becomes a continuous openness to the unknown, a constant direction forward (epectasis), a constant path of following the Groom, who “passes by” the doors of the Bride unnoticed. This incomprehensibility does not allow us to talk about God one-sidedly, from a single point of view, in a single image or on the basis of a single concept. It is necessary, learning from Scripture, to build chains of different images, to look simultaneously from different sides, to develop several ways of thinking if we want to get closer to the unlimited, and therefore elusive, God. In the light of this idea of ​​Gregory, which we have already encountered in the polemic with Eunomius, we can appreciate the multi-colored interweaving of poetic images in his conversations on the Song of Songs, which overlap each other to the point of impenetrability. We are talking not only about a passion for allegorical interpretation or about unbridled flights of fancy, but also about the realization that a single image, a single division of the spiritual path, a single description or a single exegetical method would necessarily be insufficient, if only because they would not be correlated with further perspectives and supplemented by them. Published under this title by N. Langerbeck for GNO VI, Leiden 1960. Compare, for example, a brief overview of the life of Moses as an example of the constant development of In Cant. 12: GNO VI, 354, 11 – 356, 16. See about this F. Dünzl, “Gregor von Nyssa’s Homilien zum Canticum auf dem Hintergrund seiner Vita Moysis” // Vigiliae Christianae, 44, 1990, p. 371–381. Gregory in the subtitle dedicates his creation to the “most venerable Olympias” (see In Cant. prologue: GNO VI, 3) and indicates that this work was written by him at her oral and written requests (see In Cant. prologue: GNO VI, 3,3 ff). Ed. A.-M. Malingrey, SC 13bis, 106–388. Carmen ad Olympiadem, PG 37,1542–1550. Ed. A.-M. Malingrey, SC 13bis, 406–448. Cp. J. Daniélou, La chronologie, p. 168. See F. Dünzl, Braut und Bräutigam. Die Auslegung des Canticum durch Gregor von Nyssa, Tübingen 1993, p. 23–30. See above, chapter Interpretation of Ecclesiastes, approx. 6 and 7. See about this F. Dünzl, “Die Canticum-Exegese des Gregor von Nyssa und des Origenes im Vergleich” // Jahrbuch für Antike und Christentum, 36, 1993, p. 94–109. Gregory's interpretation is completely at odds with the meaning of the biblical text, which speaks of the running of the Bride and Groom. In Cant. 1: GNO VI, 39, 9–15; hereinafter translation of the Accurate Explanation of the Song of Solomon - according to the edition: Works of St. Gregory of Nissk, Moscow, 1861, vol. 3. - P. 34. In Cant. 1: GNO VI, 39.19. ... ἤδη τυγχάνει τοῦ σκοποῦ, δι’ ὃν ὁ δρόμος ἀνύεται (In Cant. 1: GNO VI, 39.20 ff; rus. per. – p. 35). ... σφοδρότερον ἐπεκταθεῖσα τοῖς ἔμπροσθεν (In Cant. 1: GNO VI, 39.19 ff). ... τῆς εἰς τὸ ὕψος ἀνόδου τὴν προκοπὴν ἐπὶ τῆς ψυχῆς γινομένην (In Cant. 4: GNO VI, 115, 3 ff). ... καὶ ὡς περιστερὰ διαπτᾶσα (In Cant. 11: GNO VI, 4 ff). In Cant. 11: GNO VI, 324.2 ff; rus. lane – c. 279. In Cant. 11: GNO VI, 324, 7. In Cant. 11: GNO VI, 322, 17 – 323.1; pyc. nep. – c. 278. In Cant. 11: GNO VI, 323.4; pyc. nep. – c. 279. ... ἐντὸς τῶν ἀδύτων τῆς θεογνωσίας γίνεται (In Cant. 11: GNO VI, 323, 3 ff). This is what J. Daniélou thinks in his work Platonisme. So says F. Dünzl, FC 16/1, 269 ad locum. A similar impression is given by the description given in the ninth conversation (In Cant. 9: GNO VI, 279.4 - 282.8). ... (In Cant. 6: GNO VI, 175.17 ff). ... ἐν τῷ ἀκροτάτῳ γεγενῆσθαι ὅρῳ τῆς τελειότητος (In Cant. 6: GNO VI, 177,18). ... ὑπερκείμενα χειραγωγίας (In Cant. 6: GNO VI, 177.19 – 178.1). In Cant. 4: GNO VI, 119, 14 ff. ... (In Cant. 4: GNO VI, 119.16 ff; Russian translation – p. 104). ... πάλιν ἐπὶ τὸ μεῖζον ἐξάλλεται (In Cant. 4: GNO VI, 120,16). ... ὑποταγῆναι τῇ ἀγάπῃ (In Cant. 4: GNO VI, 120.16 ff). In Cant. 5: GNO VI, 156.18; In Cant. 10: GNO VI, 310, 4. See Philo, De opif. mundi 70; VitaMos. I, 187; Qoud omnis probus lib. sit 13; and also De fuga et inven. 166; Leg all. I, 84 (νήφουσα μέθη); see also De ebr. 147; De fuga et inven. 32; Leg. all. III, 82. For this metaphor in Philo, in Greek and Latin patristics, see H. Lewy, Sobria ebrietas. Untersuchungen zur Geschichte der antiken Mystik, Giessen 1929. In Cant. 5: GNO VI, 156, 18 ff; rus. lane – c. 135. ... ἔκστασιν ... τῆς διανοίας (In Cant. 10: GNO VI, 308.17 ff). See In Cant. 10: GNO VI, 308, 5–14. ... τῆς ἀπὸ τῶν χειρόνων πρὸς τὰ βελτίω μεταβολῆς καὶ ἐκστάσεως (In Cant. 10: GNO VI, 309, 1 ff. – p. ... τὸ δὲ μετεχόμενον ἀγαθὸν ἐν ἴσῳ μένει ὡσαύτως ὑπὸ τῆςἐπὶ πλεῖον ἀεὶ μετεχούσης ἐν ἴσῃ πάντοτε τῇ ὑπεροχῇ εὑρισκόμενον (In Cant. 5: GNO VI, 158.17 ff). In Cant. 5: GNO VI, 158, 11. ... ἀόριστον πρόεισιν (In Cant. 5: GNO VI, 157, 20 ff). ... ὥσπερ ἐν βαθμῶν ἀναβάσει (In Cant. 5: GNO VI, 158, 19 ff). In Cant. 5: GNO VI, 159, 5 ff. ... (In Cant. 5: GNO VI, 159, 7 ff). ... ? εὐρυχωρία δαπανηθήσεται (In Cant. 5: GNO VI, 159,12–15). ... τὸ λάμβανόμενον καὶ τὸ ἀεὶ εὑρισκόμενον... μικρότερον εἶναι τοῦ ἐλπιζομένου (In Cant. 5: GNO VI, 160.4 ff). In Cant. 6: GNO VI, 173, 9. ... τὸ δὲ νοητόν τε καὶ ἄϋλον τῆς τοιαύτης περιοχῆς καθαρεῦον (In Cant. 6: GNO VI, 173.17 – 174.1). ... πάντοτε ὡσαύτως ἔχουσα (In Cant. 6: GNO VI, 174, 3). See In Cant. 8: GNO VI, 252.10 ff. .. (In Cant. 6: GNO VI, 174.6 ff). ... ἐπαυξήσεως πρὸς τὸ μεῖζον ἀλλοιουμένη, ὡς μηδὲ ταύτῃ τι πέρας ἐνθεωρεῖσθαι μηδὲ ὅρῳ τινὶ τὴν πρὸς τὸ κρεῖττον αὔξησιν αὐτῆς περιγράφεσθαι (In Cant. 6: GNO VI, 174, 8–11). In Cant. 6: GNO VI, 174, 14 ff. Only in this place does Gregory use the substantive expression ἐπέκτασις (extension), which, with the light hand of J. Daniélou (see above, chapter Review of Research, notes 1 and 2), became a household name for his teaching about the endless path of spiritual development. ... ὑπερκείμενον καὶ τοῦτο εἰς τὸ διηνεκὲς γίνεται τῷ μετέχοντι ἐν πάσῃ τῇ τῶν αἰώνων ἀϊδιότητι διὰ τῶν ἀεὶ μειζόνων τῆς ἐπαυξήσεως τοῖς μετέχουσι γινομένης (In Cant. 8: GNO VI, 246,1–5). ... (In Cant. 6: GNO VI, 180, 6 ff). ... ἀναζητοῦσα, τότε τὴν μὲν ἀγάπην πρὸς τὸν ποθούμενον εἶχον, (In Cant. 6: GNO VI, 181, 13–16). ... ἐξευρεῖν ἐπὶ τοῦ ἀκατονομάστου ὀνόματα (In Cant. 6: GNO VI, 181, 20). See also In Cant. 2: GNO VI, 61.14 ff. ... ζητούμενον, τὸ ἐν μόνῳ τῷ μὴ καταλαμβάνεσθαι τί ἐστιν ὅτι ἔστι γινωσκόμενον (In Cant. 6: GNO VI, 183, 1 ff). In Cant. 6: GNO VI, 183, 8. In Cant. 6: GNO VI, 183, 9. ... εὕρεσιν γίνεται (In Cant. 6: 370.21 GNO VI, 4 ff). See In Cant. 11: GNO VI, 323, 3–9. ... τὴν ἐναργῆ κατανόησιν (In Cant. 11: GNO VI, 324, 10 ff). ... πληροφορία τῆς καταλήψεως (In Cant. 5: GNO VI, 139, 4 ff). ... οὐκ εἶδος, οὐ πρόσωπον, οὐ χαρακτήρ (In Cant. 5: GNO VI, 139, 1 ff). ... μὴ μιᾷ τινι... διανοίᾳ (In Cant. 5: GNO VI, 139, 6). ... μηδὲ... ἓν εἶδος (In Cant. 5: GNO VI, 139, 7). In Cant. 5: GNO VI, 139, 7. In Cant. 5: GNO VI, 139, 8. In Cant. 5: GNO VI, 139, 8 ff. ... (In Cant. 5: GNO VI, 139.12 ff; Russian translation - p. 121). ... τοιοῦτον ἀεὶ γίνεται τὸ θεῖον ἡμῖν, οἵους ἂν ἑαυτοὺς τῷ θεῷ διὰ τῆς προαιρέσεως δείξωμεν (In Cant. 9: GNO VI, 264, 18 – 265, 1). ... τρόπος οὐ τὸ στῆναι περὶ τὸ κατειλημμένον ἀλλὰ τὸ ἀεὶ (In Cant. 12: GNO VI, 352, 15 ff). ... τὸν ποθούμενον καὶ ἡ τοῦ προσώπου αὐτοῦ θεωρία ἐστὶν ἡ ἄπαυστος πρὸς αὐτὸν πορεία (In Cant. 12: GNO VI, 356, 12–15). ... ἑπομένη προϊόντι τῷ λόγῳ (In Cant. 12: GNO VI, 354, 10 ff).