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In addition to a comprehensive introduction and an analysis of text and form, Othmar Keel focuses on the metaphorical and symbolic language of the Song of Songs. He makes full use of parallels—textual and iconographic—from Palestine, Egypt, and Mesopotamia. More than 160 illustrations, prepared by Hildi Keel-Leu, add to the interpretation of the songs.

His breasts beautiful pomegranates, His neck like the neck of the antelope, His arms staffs of pure silver, His finger golden pencils.48 Because of its richness the form has its adherents not only in the East, but also in Europe. Goethe ingeniously transforms it in his “West-Eastern Divan”: In thousand forms mayst thou attempt surprise, Yet, all-beloved one, straight know I thee; Thou mayst with magic veils thy face disguise. And yet, all-present one, straight know I thee. Upon the cypress’ purest,
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