The philosophical dimension to be noted in this biblical vision, and its importance from the standpoint of the history of religions, lies in the fact that on the one hand we find ourselves before a strictly metaphysical image of God: God is the absolute and ultimate source of all being; but this universal principle of creation—the
Logos, primordial reason—is at the same time a lover with all the passion of a true love.
Eros is thus supremely ennobled, yet at the same time it is so purified as to become one with
agape. We can thus see how the reception of the
Song of Songs in the canon of sacred Scripture was soon explained by the idea that these love songs ultimately describe God's relation to man and man's relation to God. Thus the
Song of Songs became, both in Christian and Jewish literature, a source of mystical knowledge and experience, an expression of the essence of biblical faith: that man can indeed enter into union with God—his primordial aspiration. But this union is no mere fusion, a sinking in the nameless ocean of the Divine; it is a unity which creates love, a unity in which both God and man remain themselves and yet become fully one.