Original Bible FAQ
We discovered that the original Bible (Hebrew) was created by GOD, since it is encoded with messaging to humanity on 4 different levels. The original Bible has remained unaltered: 1,197,000 million Hebrew letters, 305,490 words, 23,206 verses, 929 chapters, in 39 books. Each of the 22 Hebrew letters is coded with two unique numbers between 1 and 510. As a result, each word or verse, is coded with meaning. The original Bible is the global source for 724 human-mistranslated books that lack the code, such as KJV.
Each of the 22 Biblical Hebrew letters is coded with two unique numbers between 1 to 510. Hence, each word in the original Bible is coded with a numerical value and a meaning. The patented code2GOD system comprises 32 mathematical methods that decode GOD’s messaging to humanity from the original Bible. It was invented by Don Karl Juravin. The findings provide answers to life’s most sought-after questions such as: “What is our purpose in life?”, “What is after death?” or, “How to maximize life?”
We have scientifically determined that words and verses in the original Bible are coded with social and scientific information that are more advanced than today’s science. As such, it can’t be a document created by a mere human in a cave. Therefore, the original Bible was created by a super-intelligent entity named in the original Bible as “GOD אלהים” and “YHWH יהוה” (known as Lord). Only the “GOD” entity can describe the genesis period with the encoded mathematical formulas.
Logically, believers who think that the original Bible was created by humans, assembled over time, are praying on a history book and guiding their lives based on an archeology book. Logically, if you believe that GOD created the universe, GOD can also make the Bible appear without the need for “inspiring human writers” to write it.
GOD (Elohim אלהים coded 86) is not necessarily the same as Lord (YHWH יהוה coded 26). While GOD is a classification (like saying human, animal, or plant), YHWH is the name of the entity. The YHWH name is the combination of the words: past (היה), present (הווה), and future (יהיה).
We can scientifically determine, with the highest certainty, that YHWH is the creator of:
- The 22 Hebrew letters
- The Hebrew language, and
- The original Bible
It is highly likely that YHWH brought into existence earth and life forms. It is likely that YHWH was brought the universe into existence. There is also a high probability that GOD is directly or indirectly, responsible for our daily lives, events, and what humans consider to be random, unknown, uncertain, or simply, luck.
We are researching the scientific difference between GOD and YHWH. For now, we assume the term “GOD,” which can be anything and everything, from a particle to the entire nature, or the universe.
The 305,490 Biblical letter distribution:
א95,683 • ב65,215 • ג10,080 • ד32,370 • ה101,964 • ו129,592 • ז9,099 • ח27,598 • ט6,310 • י137,842 • כ47,469 • ל88,302 • מ98,929 • נ55,093 • ס7,635 • ע44,811 • פ18,284 • צ14,977 • ק16,278 • ר68,065 • ש58,198 • ת63,206
א7.99% • ב5.45% • ג0.84% • ד2.70% • ה8.52% • ו10.83% • ז0.76% • ח2.31% • ט0.53% • י11.52% • כ3.97% • ל7.38% • מ8.26% • נ4.60% • ס0.64% • ע3.74% • פ1.53% • צ1.25% • ק1.36% • ר5.69% • ש4.86% • ת5.28%
1 Genesis בראשית Bereshit • 2 Exodus שמות Shmot • 3 Leviticus ויקרא VaYekra • 4 Numbers במדבר BaMidbar • 5 Deuteronomy דברים Dvarim • 6 Joshua יהושע Yehoshua• 7 Judges שופטים Shoftim • 8 Samuel 1 שמואל Shmuel • 9 Samuel 2 שמואל Shmuel • 10 Kings 1 מלכים Melachim • 11 Kings 2 מלכים Melachim • 12 Isaiah ישעיהו Ishahaiah • 13 Jeremiah ירמיהו Yermiyahu • 14 Ezekiel יחזקאל Yechezkel • 15 Hosea הושע Hoshe-ah • 16 Joel יואל Yoel • 17 Amos עמוס Amos • 18 Obadiah עובדיה Ovadiah • 19 Jonah יונה Yona • 20 Micah מיכה Michah • 21 Nahum נחום Nachum • 22 Habakkuk חבקוק Chavakuk • 23 Zephaniah צפניה Zephaniah • 24 Haggai חגי Haggai • 25 Zechariah זכריה Zechariah • 26 Malachi מלאכי Malachi • 27 Psalms תהלים Tehilim • 28 Proverbs משלי Mishlei • 29 Job איוב Eyov • 30 Song of Songs שיר השירים Shir a-shirim • 31 Ruth רות Rut • 32 Lamentations איכה Eicha •33 Ecclesiastes קהלת Kahelet • 34 Esther אסתר Ester • 35 Daniel דניאל Daniel • 36 Ezra עזרא Ezra • 37 Nehemiah נחמיה Nehemiah • 38 Chronicles 1 דברי הימים Divrei HaYamim • 39 Chronicles 2 דברי הימים Divrei HaYamim
Song of Songs Book Explainer Video
Book of Song of Songs STATS
- Words: 1,250 (0.409% of Word Of God of total 305,490 words)
- Letters: 5,151 (0.430% of Word Of God of total 1,197,000 letters)
- Verses: 117 (0.504% of Word Of God of total 23,206 verses)
- code2GOD value: 354,444 of 78,091,262
Shortest verse: 17 letters in Song of Songs 1:1שיר השירים אשר לשלמהThe song of songs, which [is] Solomon’s.
Longest verse: 81 letters in Song of Songs 5:1באתי לגני אחתי כלה אריתי מורי עם בשמי אכלתי יערי עם דבשי שתיתי ייני עם חלבי אכלו רעים שתו ושכרו דודיםI am come into my garden, my sister, [my] spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, O friends; drink, yea, drink abundantly, O beloved.
- Start word: שיר
- Last word: בשמים
- Middle letter: In position 2576 is וSong of Songs 4:16
- Middle word: In position 625 is עורי, In position 626 is צפוןSong of Songs 4:16
- א281 ב260 ג65 ד188 ה366 ו481 ז38 ח132 ט32 י668 כ247 ל319 מ444 נ320 ס36 ע184 פ117 צ68 ק62 ר288 ש249 ת306
- 668 י481 ו444 מ366 ה320 נ319 ל306 ת288 ר281 א260 ב249 ש247 כ188 ד184 ע132 ח117 פ68 צ65 ג62 ק38 ז36 ס32 ט
- 12.97% י9.34% ו8.62% מ7.11% ה6.21% נ6.19% ל5.94% ת5.59% ר5.46% א5.05% ב4.83% ש4.80% כ3.65% ד3.57% ע2.56% ח2.27% פ1.32% צ1.26% ג1.20% ק0.74% ז0.70% ס0.62% ט
Song of Songs Book FAQ
The Song of Songs, also called the Canticle of Canticles or the Song of Solomon, is an erotic poem that is one of the megillot (scrolls) found in the last section of the Tanakh, known as the Ketuvim (or “Writings”).
It is unique within the Bible: it shows no interest in Law or Covenant or the God of Israel, nor does it teach or explore wisdom like Proverbs or Ecclesiastes (although it does have some affinities to wisdom literature); instead, it celebrates sexual love, giving “the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy”.
The two are in harmony, each desiring the other and rejoicing in sexual intimacy. The women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers’ erotic encounters facilitates the participation of the reader.
In modern Judaism, the Song is read on the Sabbath during the Passover, which marks the beginning of the grain harvest as well as commemorating the Exodus from Biblical Egypt. Jewish tradition reads it as an allegory of the relationship between God and Israel; Christianity, as an allegory of Christ and his bride, the Church.
Song of Songs 1:2-3 – “Let him kiss me with the kisses of his mouth – for your love is more delightful than wine. Pleasing is the fragrance of your perfumes; your name is like perfume poured out. No wonder the young women love you!”
Song of Songs 2:1 – “I am a rose of Sharon, a lily of the valleys.”
Song of Songs 2:4 – “Let him lead me to the banquet hall, and let his banner over me be love.”
Song of Songs 2:7; 3:5; 8:4 – “Do not arouse or awaken love until it so desires.”
Song of Songs 5:1 – “Eat, O friends, and drink; drink your fill, O lovers.”
Song of Songs 6:2 – “My beloved has gone down to his garden, to the beds of spices, to pasture his flock in the gardens, and to gather lilies.”
Song of Songs 8:6-7 – “Place me like a seal over your heart, like a seal on your arm; for love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame. Many waters cannot quench love; rivers cannot wash it away. If one were to give all the wealth of his house for love, it would be utterly scorned.”
The Shulammite speaks the first words in the poem—“kiss me” (1:2)—and the last (8:14); she delivers most of the lines, including the rousing speeches about the power of love (2:7; 8:6–7). Her voice and thoughts come directly to the reader, unmediated by a narrator.
Her repeated adjurations to the daughters of Jerusalem (2:7; 3:5; 8:4), filled with awe at love’s power, convey the seriousness with which she regards this relationship. When she asks her lover to be true to her forever (8:6), she is expressing hope for a permanent bond in language that is characteristically emphatic.
The lover’s affectionate phrase “my sister, my bride” (4:9–10, 12; 5:1, 2) is not to be taken literally; both epithets express closeness and intimacy. (In Egyptian love poetry, the lovers refer to each other as “sister” and “brother” as a sign of closeness.) In 8:1, the Shulammite says she wishes her lover was “like a brother”; then she could kiss him in the streets and no one would scorn her.
The word bride reflects the young man’s desire for a permanent relationship; the Shulammite expresses a similar wish in 8:6. There is no indication in the poem that the lovers are married; that they meet secretly in the countryside at night and part at daybreak implies the contrary.
The most complex portrait of the Shulammite is also the most dramatic scene in the poem (5:2–8), conveying passion, coquetry, self-reproach, and yearning in quick succession.
The second section of the Song of Songs reports a royal wedding procession. Solomon is mentioned by name, and the daughters of Jerusalem are invited to come out and see the spectacle.
The man describes his beloved: Her hair is like a flock of goats, her teeth like shorn ewes, and so on from face to breasts. Place names feature heavily: her neck is like the Tower of David, and her smell is like the scent of Lebanon. He hastens to summon his beloved, saying that he is ravished by even a single glance.
The section becomes a “garden poem”, in which he describes her as a “locked garden” (usually taken to mean that she is chaste). The woman invites the man to enter the garden and taste the fruits. The man accepts the invitation, and a third party tells them to eat, drink, “and be drunk with love”.
The woman tells the daughters of Jerusalem of another dream. She was in her chamber when her lover knocked. She was slow to open, and when she did, he was gone. She searched through the streets again, but this time she failed to find him and the watchmen, who had helped her before, now beat her.
She asks the daughters of Jerusalem to help her find him and describes his physical good looks. Eventually, she admits her lover is in his garden, safe from harm, and committed to her as she is to him. The man describes his beloved; the woman describes a rendezvous they have shared.
Some attempt to interpret the Song of Songs as though it is meant to represent God’s abiding love for His people. However, its lyrical language and sensual themes lead the reader to believe it is a book of wisdom about what an ideal love union between a man and a woman looks like. Throughout Song of Songs, we are offered the sort of love union designed and ordained by God, filled with a pure and powerful sensuality, respect, appreciation, and adoration.
Song of Songs contains eight chapters all praising and giving voice to love. It begins with the woman wishing for the kiss of her man and ends with the acknowledgment that love is “as strong as death” (8:6), and that its burning fire cannot be quenched even by the river, as she urges him to come away with her. Their love is both fulfilling and equivalently matched—she desires him, he desires her, and by the end, we understand their joyful union will come to pass.
Throughout, both the man and woman use evocative and often precious language to describe their attraction to each other. He calls her “beautiful” and “darling” (1:15), his “lily among thorns” (2:2), and his “dove in the clefts of the rock” (2:14), while she calls him “handsome” and “beloved” (1:16), a “young stag on the rugged hills” (2:17).
As their desire strengthens, they become more confident in their expressions of adoration, calling him “the one my heart loves” (3:1).
There is widespread consensus that, although the book has no plot, it does have what can be called a framework, as indicated by the links between its beginning and end. Beyond this, however, there appears to be little agreement: attempts to find a chiastic structure have not been compelling, and attempts to analyze it into units have used different methods and arrived at differing results. The Song of Songs is arranged by character. Three parties join the song:
The bride – A hard-working shepherd girl with a rough home life (So 1:6).
The bridegroom – A handsome and stately shepherd. The text doesn’t explicitly say whether or not Solomon is the bridegroom, but the bride does reference Solomon’s wedding parade (So 3:6–11).
The chorus – The community of people celebrating the bride and bridegroom’s love and union.
If this were indeed an arranged song, think of it as a duet with a choir. And this song has three general movements: 1) The bride and groom prepare for the wedding. 2) The bride and groom profess their desire for one another. 3) The bride and groom are finally united.
It culminates in their marriage and mutual delight in one another: the bride is her beloved’s and his desire is for her (So 7:10).
Although unnamed, the Shulammite is specifically characterized in the Song of Solomon. She is described as very close to her mother, assertive, and extremely beautiful; images of plants and animals are often used to allude to her appearance.
Her narrative is sensual and filled with longing as she waits for her lover. The Shulammite does not shy away from declaring her feelings and desires, and the Bible portrays her as a complex woman whose eroticism is celebrated.
The Shulammite is the central figure in the Song of Solomon (also called Song of Songs or Canticles) and one of the most positive representations of young womanhood in the Hebrew Bible.
As the embodiment of erotic pleasure, innocent and savored for its own sake, she is to be contrasted, on the one hand, with the wily seductress of Proverbs 7, whose sexuality is insidious and destructive, and on the other with figures such as Tamar and Ruth, whose sexual boldness is in the service of perpetuating the family line. In the Shulammite, indeed, we find one of the most unqualified celebrations of female eroticism in all of Western literature.
Like her lover, the Shulammite is not given a proper name. The epithet “the Shulammite,” which occurs (twice) in only one verse of the Song (6:13) and nowhere else in the Bible, is of uncertain meaning. Although she is not as fully articulated as the characters in biblical prose fiction, the Shulammite has a distinct consistency of characterization throughout the Song.
In the Song of Songs, it is love that finds words — inspired words that disclose its exquisite charm and beauty as one of God’s choicest gifts. The voice of love in the Song of Songs, like that of wisdom in Pr 8:1 — 9:12, is a woman’s voice, suggesting that love and wisdom draw men powerfully with the subtlety and mystery of a woman’s allurements.
This feminine voice speaks profoundly of love. She portrays its beauty and delights. She claims its exclusiveness (“My lover is mine and I am his,” 2:16) and insists on the necessity of its pure spontaneity (“Do not arouse or awaken love until it so desires,” 2:7).
She also proclaims its overwhelming power — it rivals that of the fearsome enemy, death; it burns with the intensity of blazing fire; it is unquenchable even by the ocean depths (8:6-7a). She affirms its preciousness: All that one possesses cannot purchase it, nor (alternatively) should it be exchanged for it (8:7b). She hints, without saying so explicitly (8:6), that it is the Lord’s gift.
God intends that such love — grossly distorted and abused by both ancient and modern people — be a normal part of marital life in his good creation (see Ge 1:26-31; 2:24). Indeed, in the Song of Songs, the faithful Israelite could ascertain how to live lovingly within the theocratic arrangement. Such marital love is designed by the Creator-King to come to natural expression within his realm.
The beautiful lyrics about heterosexual sensuality, desire, and love in the Song of Songs beg to be identified with and embraced. Yet as we read and reread, we become aware of small but persistent nuances that raise issues of gender and class and that cloud the general, seemingly idyllic picture that pervades much of the Song (Song 3:1-4 and Song 5:2-8 are the exceptions).
In theater as well as in fiction, the characters with the most lines are usually the more dominant. In the Song, female voices make up more than 60 percent of the text; their voices are bolder, more playful, more outspoken, serious, and artistic than the voices attributed to males. A woman’s voice opens Song 1:2 and concludes Song 8:14. The poem seems to imply gender equality, even female gender superiority.
This impression of female ascendancy is buttressed by one of the most poignant and comprehensive love “credos” to be voiced by a female: “Let me be a seal upon your heart, like the seal upon your hand. For love is fierce as death, passion is mighty as Sheol.” (Song 8:6-7, NJPS)
It is significant because of its fierceness and depth of emotion. It shocks us in its pain and exuberance, strength and weakness, in the hyperbolic radicalism that uses corporeal allusions as well as primal metaphors and symbols.
So, you may say, this is in keeping with the rest of this love lyric. Its female speakers are bold and physical and in general, are allowed to be so.
The introduction calls the poem “the song of songs”, a construction commonly used in Scriptural Hebrew to show something as the greatest and most beautiful of its class (as in Holy of Holies). The poem proper begins with the woman’s expression of desire for her lover and her self-description to the “daughters of Jerusalem”: she insists on her sun-born blackness, likening it to the “tents of Kedar” (nomads) and the “curtains of Solomon”.
A dialogue between the lovers follows: the woman asks the man to meet; he replies with a lightly teasing tone. The two compete in offering flattering compliments (“my beloved is to me as a cluster of henna blossoms in the vineyards of En Gedi”, “an apple tree among the trees of the wood”, “a lily among brambles”, while the bed they share is like a forest canopy).
The section closes with the woman telling the daughters of Jerusalem not to stir up love such as hers until it is ready. The woman recalls a visit from her lover in the springtime. She uses imagery from a shepherd’s life, and she says of her lover that “he pastures his flock among the lilies”.
The woman again addresses the daughters of Jerusalem, describing her fervent and ultimately successful search for her lover through the night-time streets of the city. When she finds him she takes him almost by force into the chamber in which her mother conceived her.