Introduction to the Song of Songs
In an exegesis such as this it is the writer’s obligation to clearly interpret the scriptures so one and all can understand what the bible is talking about. In the Song of Solomon it is very clear to us that the writer is explaining his relationship with the mushroom and dealing with the inconsistency of the experience as well as his own abilities to appease the mushroom-god. This book is one that is very important to Christian biblical scholars and Jewish scholars alike as it is said if you can understand the Song of Songs then you are as close as you can be to understanding the mind of god.
To understand the book it is important to know that only select few were revealed the secret coding behind these strange metaphoric verses. To the Jews writing and reading was paramount to their social structure. Every Jew was taught to read and write many languages. Only the Jew was taught Hebrew. The Jews also took on bondservants for a period of seven years. As part of the payment for service they would be taught to read and write, everything except Hebrew, unless they were a Hebrew. So the Jewish system is a closed system and so there were only certain people in the society who could read the cant of cants. Then there are the esoteric meanings behind the texts, the secrets that only certain people would be made aware of. They were taught the secrets of the texts in order to go into the mountains and valleys to hunt their gods, the mushrooms. This was a secret of the utmost seriousness. It was only transmitted orally and each and every person who was taught it swore an oath of secrecy, unto death. Roughly one in a thousand people knew the secrets of the mushrooms; they had to be taught to hunt them so they needed to be taught to read the texts, to understand the codes. This is the real secret behind this book and it is one that is relatively unknown.
This book has received a lot of attention. Every serious Jewish and Biblical scholar has tried his hand at interpreting these texts. A marked amount of scholars interpret it wrong right off the bat because they start to interpret it as a book about sex and sexual relationships. This is an easy trap to fall into as will become clear as we read it but the relationship is between the character and the mushroom. Many of the characters within are mushrooms and flushes of mushrooms growing together under the cedars or pines. They can be described as males or females both male and female as the mushroom itself is a hermaphrodite and alludes to both male and female genitalia.
The primary colors of the Amanita Muscaria are red, gold and white so it is easy to see why they are associated with the dove, which is white with red eyes. The spotted characteristics of the fruit bring us clear associations with the roe deer, which is red and spotted as well as hinds. We can also see clear descriptions of the mushroom’s habitat (pine and cedar trees), as well as its life cycle. The descriptions in these pages clearly allow us to identify the mushroom by color, appearance and habitat and even throughout stages of its development (from small round shaped egg-rock to large red and white/golden upturned bird-cup). This is the only book in the whole Bible that does not mention the words lord or god at least once. Our main contention being that the mushroom is the god of the Bible and that the mushroom is Jesus is by now clear so we can now move forward to saying that Solomon is also a mushroom.
The idea of Solomon as an historical figure is questionable to say the least. Unless you are a biblical inerrantist willing to stretch reported archaeological findings to the extreme, it must be admitted that there is not a single shred of evidence to prove the existence of an Israelite king named Solomon. Nor is there any more for his reported king father David. There is no historical proof that a kingdom of Israel ever existed in the glorious fashion described within the Bible during reign of these mythological kings. The supposed conquests of David’s reign are reported to have stretched from its central capital in Jerusalem to the deserts in the south and north to Syria. Then there was the successive reign of David’s son Solomon under whose guidance there was reportedly a glorious temple, as well as many kingly palaces built in the capital city of Jerusalem. It is this period which is testimony that, once upon a time, Israel resembled a real kingdom and a world force. The Davidic Dynasty, kingdom of Israel and the holy city of Jerusalem, once historically established, form the basis for all later prophecies of a messianic redeemer from the House of David and the divine restoration of the greatness of a once again united Israel. But if David is a mushroom, Solomon is a mushroom, the stories are mythology and the once and future messiah king are all mushrooms then there is an actual factual basis to the story, the mushroom (or its knowledge) will once again find its place among mankind and the new Jerusalem will be established. After all the New Jerusalem does have at its center the mushroom fountain of living waters and each and every person that enters into the city is told to partake of the waters of life (another description of the mushroom in its juice-drink form) freely. So it can be said rather seriously that the identity of Solomon as an historical figure is a mushroom and therefore a fact.
The Song of Solomon is reported to have been written in reference to an encounter with an angel by Solomon. This is an encounter with the mushroom. This encounter infuses the consciousness with the consciousness of the mushroom or the god and also blends the consciousness with the heavenly host. This is why the narrative constantly switches around between being the first person to the second, to a group, and back to the first person, then even becoming the voice of multiple personalities. Far from being indication of schizophrenia, the narrative is clearly showing that the merging of consciousness is a group mind experience just as in John, when one eats the body of Jesus and drinks his blood, the son is in the father and the father and the son are one.
The Middle East was not always as desert an area as it is (and perceptively seems) today. At one time there were millions of cedar trees in Lebanon, now there are only 400. The crusades against the Cedars of Lebanon is one of those little discussed historical facts that must be understood in order to know how the Amanitas could have been so popular to the religions of the area. This book refers a lot to the cedars and mountains of Lebanon because this is the important information setting the stage for our narrative. The Cedars of Lebanon were misclassified by early botanists and are actually a member of the pine family. They are host trees for the Amanita muscaria and have been revered for thousands of years for this very reason. Below the Cedars is where the ancient peoples discovered god and they returned year after year to find god again.
Song of Solomon 1
1 The Song of Songs, which is Solomon’s.
Our narrator starts by telling us that this book is a song and that it is Solomon’s. We can recognize thereafter that the chapters repeat themes and ideas nearly in a verse/chorus fashion. Perhaps the book was originally sung during festivals as it is reported to have been popular particularly during Passover. The Jews commonly sang songs at celebrations; Jack’s family lineage includes the lead canter in Europe during the 1800s who developed the song melody of the Colnidra. Sometimes the book is referred to as the “Cant of Cants’ because it means song and also the term “cant” is related to the word chant. Chant being the religious form of prayer or religious worship that is done in singing, chanting or tonal inflections.
2 Let him kiss me with the kisses of his mouth: for thy love is better than wine.
We immediately notice the first reference to intoxication, wine. The love is better than wine relates to the intoxication, mental, physical, emotional, and spiritual effects of the mushroom. This will become clear as we see the theme repeated. The effects are the love given to the recipient of the kiss. We also see the first potential misunderstanding that the kiss is a physical kiss given to our narrator by an undisclosed person.
Kiss (kisses) in the Song of Songs is the Hebrew word nashaq that means to attach or connect. To connect oneself in this sense is not merely to touch lips or even to deeply kiss but to connect in a much deeper sense. Nashaq is also connected in this sense to the Hebrew word nasaq that enlightens us further to the deeper meaning because nasaq means to catch fire, burn or kindle. The red/golden color of the mushroom has been associated with fire the world over and fire is a much used euphemism for the mushroom because of this, as well as the internal heat it produces in the imbiber. The mushroom’s association with fire cannot be stressed enough, nor can we emphasize enough the sweating produced when you take it and the heat that accompanies this.
3 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.
The mushroom’s taste and smell is often referred to as honey like, sweet and good. The savour (also related to the word ‘saviour’) means smell, taste and even perception and/or understanding. The ointments in the old world were spices and perfumes, yes, but also these were medicinal anointings of oil that was infused with any manner of psychoactive or medicinal compounds. The word “ointments” in the Song of Songs is the Hebrew word shemen [connection to semen?] which means an oil (particularly olive oil) based ointment, grease or liquid.
This word is also related to the Hebrew word Shaman meaning to shine (as ones skin shines when it is covered in oil). We cannot miss the connection here with these oils and the word Shaman. Shaman is an Ural Altaic (Siberian) word for medicine man and this connection with the Hebrew term for anointing oils is quite interesting. Shaman as a medicine man is properly a Siberian healer-sage-mystic-holy man. The Siberian shaman’s primary healing and divinatory tool is the Amanita muscaria mushroom. It can be used as an ointment to absorb the active alkaloids trans-dermally (a very effective method especially for someone that is sick and can not keep down any food).
As previously discussed in the chapter on virgins, the mushrooms themselves are the virgins and it is through the entheogenic ointments that the virgins give their love-gift.
4 Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.
The mushroom whisks away the imbiber to otherworldly states of consciousness. These altered states can be considered realms, kingdoms, houses and chambers for the consciousness to enter. The king (another term for the mushroom identity) has taken him into his realm of consciousness or, more figuratively, brought our narrator into his chambers. Upright, in this verse, can be understood as the mushroom standing upright upon its pillar (stem). The love (or as previously stated), the ‘experience’ will be remembered more than wine surely describes the effects of the mushroom as compared to the simple and not very remarkable effects or experience of wine.
5 I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
The term Jerusalem here is actually a state of mind rather than a place. The daughters of Jerusalem are the mushrooms and he/she/it that is black is the mushroom. Black as the tents of Kedar is reference to the forest canopy of the cedar trees (actually pines) under which the mushrooms grow.
6 Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.
When the mushrooms grow to full cycle they begin to melt. Past their prime and beaten upon by the sun they begin to turn black. The full strength of the sun is the kiss of death for the mushroom. “Don’t look upon me” is reference to the picker to stay away from the black, rotting mushrooms. The first person of the mushroom is explaining why it has rotted (turned black) so as to add a story the mushroom has rotted because of disfavor, charged as the keeper of the vineyards (patch of mushrooms) the little black one kept not his own vineyard and has paid the price by turning black with the sunshine and becoming undesirable.
Now the story shifts gears and takes us into another scenario:
7 Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?
“Oh though whom my soul loveth” is none other than our mushroom god who feeds the soul with gifts of wondrous experience. It is not a simple love but a love of the soul that compels our narrator at this juncture to inquire as to the whereabouts of his desire. “Tell me where though feedest… where thou makest thy flock to rest” questions where to find the mushrooms, the flock of mushrooms at rest. We have in this verse our first reference to the mushroom as a sheep. The flock is the patch of mushrooms “the flock rests” and the young mushrooms resemble a flock of sheep because they are white and fluffy. The mushrooms grow in patches (or rings) because the fresh mycellial growth (the living organism growing in symbiosis with the roost of the host trees) spreads itself around the tree and only the new growth (like on a fruit tree) produces the mushroom fruit. So the fruit grows in groups under the trees. Our narrator plays a little game of jealousy here with the insinuation that if the one flock can’t be found there are others where that one came from. Turning aside to the flocks of thy companions” is a tease to find another mushroom or flock of mushrooms.
8 If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds’ tents.
Our narration takes a shift to the mushroom’s perspective and responds to the quest of where the flock rests. If the location is unknown, the searcher (who is now designated as a female, or “fairest among women”) then one should look for a single footstep, then the next and the next until the whole flock rewards one. The mushrooms as footsteps (like stones across a grassy meadow) lead the way to where it is safe to ‘feed thy kids’ besides the shepherds’ tents, another description of the hitherto fore sought after mushroom patch. The reference to kids (baby sheep) as being fed in the mushroom patch indicates the young mushrooms that are still fruiting rather than the fully developed or past their prime (rotting) ones previously mentioned.
9 I have compared thee, O my love, to a company of horses in Pharaoh’s chariots.
Wheels within wheels, Mazzaroth references aside, the mushrooms resemble a wheel with its many spokes and round wheel design. The colors of the Pharaoh’s chariot may have varied but golden and red would surely have been a popular combination. A Chariot bedecked in red and gold, pulled by a white horse creates quite the illusion of a mushroom come to life. A certain observer with a keenly connected eye might imagine the chariot as a giant mushroom going across the landscape.
10 Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
The spots on the Amanitas are faceted and pyramidal rather than being round. They resemble jewels, especially when grouped into rows or patches and the neck (stalk) of the mushroom is adorned with the universal veil that can resemble chains of gold. The Hebrew word translated here as jewel is chelya and comes from the Hebrew chaliy (jewel, ornament) that describes the ornamented looking cap of the mushroom.
11 We will make thee borders of gold with studs of silver.
The narrative takes on the mushroom flock perspective (group mind, as in ‘we’) and describes mushroom identification and what to look for as to be easily recognized. The cap-ridge of the mushroom having a golden color right below the red of the cap and above where the gills end is another identifying characteristic in our “Solomon’s field guide to the Amanitas”. The studs of silver again refer to the patches on the cap that are often a silvery/grey color of white.
12 While the king sitteth at his table, my spikenard sendeth forth the smell thereof.
Spikenard is an Oriental Valerian (Nardostachys Jatamansi). “Modern pharmacists from Valerian sp. extract Valium” and Spikenard has numerous uses as a natural herb. Some uses are for insomnia, pain relief, depression etc. Although Spikenard has flowers that are red/purple and could be indicating the mushroom’s color, it is more interesting in this regard that we are receiving instruction that the mushroom emits a smell like Spikenard. The smell of Spikenard is like earth and the earth smells like mushrooms (mold, fungus etc.). “Table” in this verse is the Hebrew mecab, meaning round about or to compass about and table. The table is the round mushroom and the king is its title, sitting. Also the table stage is the mushroom when it is fully developed and ready for picking. The smell begins to be noticeable at this stage whereas before it is ripe the smell is almost negligible (more harvesting instructions).
13 A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.
Myrrh is another aromatic resin used as incense. The color is described as reddish-brown or yellowish-brown. These are the colors of the mushrooms. Mushrooms are called breasts because of their shape but also the word breasts herein is from the Hebrew “shad/shod” which derives from “shuwd” meaning to swell up (as mushrooms swelling up very quickly to large rounded semi-spheres.
14 My beloved is unto me as a cluster of camphire in the vineyards of Engedi.
Engedi is a place in Palestine and we may visualize this as the mushrooms being described in patches therein but going to the original Hebrew here clarifies this quite well. The vineyards of Engedi are the mushroom patches, yes, and the word Engedi breaks down in the Strong’s Concordance to deriving from two words En (Ayin) meaning a ‘fountain’ (the perfect physical description of the mushroom) and also “eye” another mushroom metaphor plus Gedyi meaning a kid or small goat, previously discussed as a mushroom metaphor. According to the Oxford Dictionary “The shrub called ‘camphire’ in the 1611 version of the Bible is now identified with the Lawsonia inermis or henna-plant, N.O. Lythraceæ.” Henna is a plant used in dying the skin red so a cluster of henna (red) is a patch of several mushrooms in the vineyards of the fountains and kids.
15 Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes.
The fair one, the love and desire of our original narrator (now returned to wind up the first movement) hast dove’s eyes. The dove is white and its eyes are red. Unless there is a special meaning and particular reason that associating red eyes with being attractive we can rest assured that the fair one is none other than the red and white Amanitas. In fact all throughout the scriptures and in every painting the dove is the mushroom.
16 Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.
The fair one, red and white, nestled into a bed of green (the grass of the patch) awaits discovery by those who search and desire to know its whereabouts.
17 The beams of our house are cedar, and our rafters of fir.
The host trees for the mushrooms are cedars and firs. The beams of their houses and their rafters (indicating they are above them, and the mushrooms below) tell us finally the specific abode of the mushroom patch, under the cedars and fir. Our narrator in the end has become one with the mushroom and now speaks in the person of all the characters in the song, from the revealed abode.