Song of Songs - speakers identified in the text - Jay Curry Treat, Louis Francis, Tremper Longman, Stéphane Simonnin

Steven Avery

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various notes also in the Private research section (restricted access)

Zosima Studies
http://www.purebibleforum.com/showthread.php?568-Zosimas-studies

=========================

Is this something that was done in Greek "LXX" writing in the early centuries?
Or is really something that came later, in more sophisticated Bible copying times, and when parchment space was less a concern?

Can we find it in later printed editions?

This page will put any historical information as to this unusual feature of the Sinaiticus text.
 
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Steven Avery

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Ockham -> the rubrics of Sinaiticus came from Latin Vulgate rubrics

Abstract - "rubrics of Codex Sinaiticus bear a literary relationship with rubrics in several later Latin manuscripts."

Lost Keys: Text and Interpretation in Old Greek "Song of Songs" and Its Earliest Manuscript Witnesses (1996)
Jay Curry Treat - University of Pennsylvania, jtreat@upenn.edu
https://repository.upenn.edu/cgi/viewcontent.cgi?article=2990&context=edissertations
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.738.4768&rep=rep1&type=pdf

Chapter Two examines the Old Greek text for its characteristics. It finds that the translation appears to have been a relatively serious attempt to represent each element in its Hebrew Vorlage by a corresponding formal equivalent in Greek. There are no indications that its translator interpreted the text allegorically, but its consistent formal equivalence with the Hebrew resulted in a Greek text that was just as multivalent as the Hebrew — open to allegorical interpretation on a wide variety of levels. It was the work of a Jewish translator of modest skill, working about the beginning of the common era. Some of its scribes provided aids for the use of readers: divisions of sense-units and rubrics (headings in redink) to identify changes in speaker. For example, Codex Sinaiticus, a fourth-century Old Greek manuscript, uses rubrics to indicate speakers such as “The Bride” or “The Groom’s Companions.” - p. 18-19


S Codex Sinaiticus = א. London: British Museum, Additional Ms. 43725. 37

Description: fourth-century parchment. Rubrics are indented from the right. Stichi are arranged in wide columns. Each stich is written on one or two lines; the first line extends to the left margin and is 20-28 letters long (mean length: 24 letters); the rest of the stich (if any) is indented on the next line below. The initial letter in each stich is the same size as the other letters.

According to Milne and Skeat’s analysis, Song of Songs was written by Scribe A but corrected by scribe D (the most careful of the Sinaiticus scribes) before it left the scriptorium.
38 p. 29
4. Coptic, Latin, and Syriac Manuscripts

LaW Latin manuscript, Stuttgart, Württembergische Landesbibliothek, HB. 11,35 = Z in DE BRUYNE = W in Schulz-Fl
ügel (about 800 C.E.).53

This edition uses LaW and LaF only as Latin witnesses to the rubrics of the Sinaiticus tradition. Therefore S-LaW-LaF often appear together in rubrics. The text of LaW-LaF is a Vulgate text with a very few OL elements.54 p. 35

Discussion of Sinaiticus variants on p. 361, 366, 384 - numeral of division 389-393.

The following four Greek manuscripts have rubrics in Song of Songs: Sinaiticus, Alexandrinus, Venetus, and 161. There are surely other rubricated manuscripts of Song of Songs that have not yet been published.2 The following manuscripts do not have rubrics: Codex Vaticanus, Codex Ephraemi, PHam, 952,924, PBer, PDam, 147, and 502. p. 400

This chapter looks briefly at the rubrics in these four Greek manuscripts. The Sinaiticus set is a special case, because we also have Latin witnesses to the same tradition. Chapter Four will provide a fuller text, translation, and discussion of the Sinaiticus rubric-tradition. p 400


2 These four Greek manuscripts have been published. Erich Klostermann, “Eine alte Rollenverteilung zum Hohenliede,” Zeitschrift für die alttestamentliche Wissenschaft 19 (1899): 158, implies that there are many Greek and Latin manuscripts of Song of Songs with rubrics. Regarding Latin manuscripts of Song of Songs with rubrics, see below in section “F. Latin Rubrics.”

Next is describing the simple and sparse rubrics of Alexandrinus and Codex 161 "fairly simple and are rather sparsely distributed throughout the Song." p. 401-403. Then to Sinaitcus, p. 404-407

===============


Regardless of how one may evaluate the possibilities, it tums out that the Codex Sinaiticus is the earliest document we know to mark every speech of a dialogue by writing the name or role of the Speaker in full on a line by itself before the speech. It appears possible that some scribe working on Song of Songs was the first person to write full attributions in this manner. There were earlier forms of the rubrics, and their exact form is lost to us. The rubrics in Codex Alexandrinus probably represent a very early stage in the development of Song of Songs rubrics. In its rubrics, not every Speech is attributed, but each attribution is unabbreviated and (in principle though not in practice) on a line by itself.80 I would expect the first Song of Songs rubrics to be similar. p. 431

More on p. 434 and later, a key question is what are the dates of the Vulgate mss that are very close to Sinaiticus.

It looks like it is from 800 AD and later : LaW-LaF

And this type of complex rubrication likely arose in that medieval period around 800 AD.
 
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Steven Avery

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Rubrics in Codex Sinaiticus - Jay Curry Treat webpage

Rubrics in Codex Sinaiticus
https://www.sas.upenn.edu/~jtreat/song/sinai.html

This is Song of Songs 1:1-4 in Old Greek from the Codex Sinaiticus. Codex Sinaiticus dates from about 360 CE.The rubrics (the writing in red ink) serve to provide a narrative framework and to distribute portions of the Song to various speakers.

This is Awesome Screenshot
Full Page Rubrics using Nimbus Clipper.jpg




The next one is Nimbus
Rubrics in Codex Sinaiticus - Awesome Screenshot.jpg



For more information, see Jay Treat, Lost Keys: Text and Interpretation in Old Greek Song of Songs and its Earliest Manuscript Witnesses, Ph.D. Dissertation (University of Pennsylvania, 1996), chapters 3 and 4.

==============================
 
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Steven Avery

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The Song of Songs from the Codex Sinaiticus
Louis Francis
http://www.reshistoriaeantiqua.co.uk/SONG SINAITICUS.html
Author Profile
http://www.reshistoriaeantiqua.co.uk/LuciusPR.htm


An accompanying Greek text is available for comparison and it should be noted that this version found in the Codex Sinaiticus is annotated with Rubrics, which seem to have been added to the original Hebrew/Greek translation at a later date. Though obviously intended to clarify the text, they do a disservice by allocating identities to the speakers which are not reflected in the text itself. Therefore, although the terms ,‘brother’ or ‘sister’, are freely intermingled within the Greek text together with the terms ‘beloved’ or ‘lover’, the Rubrics have be consistently translated as above, and the ‘Daughters of Jerusalem’ likewise always translated as the’Women of the Harem’. It is hoped that this approach will clarify the translation for the reader.

Noting the Latin tradition, and the complexity, probably a much later date than the supposed 350 AD of Sinaiticus. Benedict likely picked it up from the Vulgate tradition.
 
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Steven Avery

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Tremper Longman - "not in the original Hebrew text and are added by the translator/interpreter."

Song of Songs (2001)
Tremper Longman
https://books.google.com/books?id=PDnMuOcIUjEC&pg=PA42
https://books.google.com/books?id=02RyCgAAQBAJ&pg=PT47

Tremper Longman (b. 1952)
https://en.wikipedia.org/wiki/Tremper_Longman
Westmont College
https://www.westmont.edu/people/tremper-longman-iii-phd


... the Song is composed of dialogue with absolutely no stage directions. There is no narrative voice that guides readers as they process the speeches of the characters. As a matter of fact, even the rubrics that label the speakers are not in the original Hebrew text and are added by the translator/interpreter.121 As a matter of fact, as the commentary below will make explicit, we cannot be absolutely certain who is speaking in about 10 percent of the cases.

1721086897361.png
 
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Steven Avery

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The Song of Songs in its Context. Words for Love, Love for Words (2020)
New Perspectives
Pierre Van Hecke
https://books.google.com/books?id=UeiyEAAAQBAJ&pg=PR19

Jean-Marie Auwers

verse, as the interlocutors are not explicitly marked in the text.

For this reason, Auwers consults the stage directions found in the Greek manuscripts of the Song. These manuscripts differ greatly, however, in the number of (groups of) participants they recognize in the text, ranging from two in the Alexandrinus to no less than eight in the Sinaiticus, which leaves Auwers with the task of determining who exactly is speaking in the Song, besides the female and male protagonist of the book.

1681258327444.png

1681258402668.png
 
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Steven Avery

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p. 14
Old Greek Song of Songs survives in its entirety with many witnesses.

p. 19
For example, Codex Sinaiticus, a fourth-century Old Greek manuscript, uses rubrics to indicate speakers such as “The Bride” or ‘The Groom’s Companions.”

Chapter Four examines the rubrics of the Codex Sinaiticus in more detail.
These rubrics bear a literary relationship with rubrics in several later Latin manuscripts.

p. 21
In 1823, James Parsons produced a critical edition of the Song of Songs as part of the monumental edition of the OG begun by Robert Holmes.4 For its main text, the Holmes-Parsons edition (HP) adopted the text of the Sixtine edition. The Sixtine text itself was based on Codex Vaticanus (B). Against the Sixtine text, Parsons collated the variants evidenced in the two uncial codices Codex Alexandrinus (A) and Codex Venetus (V),5 in fifteen minuscule manuscripts,6 and in citations by seven church writers.7 In addition to the text of the Sixtine edition, Holmes-Parsons included variants from other major editions: the Complutensian Polyglot (1517), the Aldine edition (1518 or 1519), Grabe’s edition of Codex Alexandrinus (1707-1720), and the Catena of Nicephorus (1772-1773).

4Robert Holmes and James Parsons, ed., Vefys Testamentum Grcecum cum Variis Lectionibus, Tomus Tertius (Oxford: The Clarendon Press, 1823).

5Holmes-Parsons mistakenly numbered Codex Venetus as if it were a minuscule manuscript.

6Holmes-Parsons lists the manuscripts it used on unnumbered pages at the very end of vol. 5 (the first and second page of Folio 4Y). Using today’s sigla, they are: B, A, V, 68, 106, 147, 155, 157, 159. 161, 248, 252, 253, 254, 296, 297, 300, 311, 487. In chapter one only, HP also used 125 and 311. See our list in section B, pp. 26-34 below.

7Origen (Delarue’s edition), Athanasius (Montfaucon’s edition of 1777), Basil the Great (Parisian edition of 1721), John Chrysostom (Montfaucon’s edition), Isidore of Pelusium (Parisian edition of 1638), Cyril of Alexandria (Aubertus’s edition of 1638), and Theodoret (J. L. Schulze’s
edition of 1769).

P. 22
The present edition contains all of the information supplied by Holmes-Parsons, and such other manuscript evidence as has been published up to the present.14 Klostermann has corrected some of the collations in Holmes-Parsons,15 and I have incorporated these corrections into this edition. To these data I have added the readings of,Codex Sinaiticus (S) and Codex Ephraemi (C), both of which Tischendoff published after Holmes-Parsons. I have checked the readings of Codex Alexandrinus (A) and Codex Sinaiticus (S) from published photographic plates and have corrected the collation of Codex Venetus (V). To this material, I have added the evidence of as many of the more recently discovered OG manuscripts as possible: the readings of the Palau Ribes papyrus (PPal), the Bodleian papyrus (924), the London papyrus (952), the Berlin parchment (PBer), and the Damascus palimpsest (PDam). In addition, I have included readings from the Fayyumic Coptic Hamburg papyrus (PHam), the earliest extant non-Hebrew manuscript for the Song of Songs.
 
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Steven Avery

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Noticed on Twitter by


Stéphane Simonnin

August 14, 2024

Codex Sinaiticus, in the British Library, is currently open at the beginning of the Song of Songs. Red paragraph title reads "(the bride) to the bridegroom, Christ" (προς τον νυμφιον ΧΝ) Interesting to see Christological interpretation embedded in paragraph titles so early.


Image
 

Steven Avery

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Stéphane Simonnin
@ssimonnin
·
Aug 14

Codex Sinaiticus, in the British Library, is currently open at the beginning of the Song of Songs. Red paragraph title reads "(the bride) to the bridegroom, Christ" (προς τον νυμφιον ΧΝ) Interesting to see Christological interpretation embedded in paragraph titles so early.

προς τον νυμφιον ΧΝ
προϲ τον νυμφιον χν
προς τον Νυμφίον Χριστόν


Image



Steven Avery
@StevenAveryNY

Hi Jeffrey! "Interesting to see Christological interpretation embedded in paragraph titles so early." Good catch! The formatting (rubrications, dialog) in Sinaiticus are incompatible with the 4th-c date. The scholars do not allow themselves to consider the best conclusion.

Jay Curry Treat in Lost Keys: Text and Interpretation in Old Greek "Song of Songs" and Its Earliest Manuscript Witnesses "rubrics of Codex Sinaiticus bear a literary relationship with rubrics in several later Latin manuscripts." Makes sense with the 1800s date on Mt. Athos.

To Stéphane Simonnin & Jeffrey Riddle! Stéphane, I am so familiar with Jeffrey's insight that I credited him with your fine point on the anachronistic elements in Sinaiticus Song of Songs. (If we are stuck with the consensus 4th c. date.) Thanks! The scholars are hamstrung! :
 
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Steven Avery

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Song of Solomon 1:6-7 (odd one!)

Someone is trying hard to make sense of this chapter, throwing red titles all over the place:

προϲ τον νυμφιον χν
ἀπάγγειλόν μοι ὃν ἠγάπησεν ἡ ψυχή μου ποῦ ποιμαίνεις ποῦ κοιτάζεις ἐν μεσημβρίᾳ μήποτε γένωμαι ὡς περιβαλλομένη ἐπ᾽ ἀγέλαις ἑταίρων σου

This is a title, not part of the regular text: for the bridegroom XN


προϲ τον νυμφιον χν
απαγγειλον μοι · ον ηγαπηϲεν
η ψυχη μου
που ποιμαινειϲ που κοιταζειϲ
εν μεϲημβρια
μηποτε γενωμαι · ωϲ περιβαλλο
μενη επʼ αγελαιϲ ετερων ϲου
 

Steven Avery

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Chapter 2 The Septuagint in Codex Sinaiticus Compared with Other Sources
EMANUEL TOV

http://www.emanueltov.info/docs/varia/272.sinaiticus.pdf?v=1.0


Emanuel Tov
In one case, the speaker is identified in Sinaiticus and not in the other sources as ΠΡΟΣ ΤΟΝ ΝΥΜΦΙΟΝ Χ̅Ν (1:7). It is unclear whether the Christian element in this rubric derived from the scribe of Sinaiticus or should be ascribed to his source.46

Codex Sinaiticus contains an elaborate group of dramatis personae, and those in Codex Venetus are even more elaborate.
 

Steven Avery

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Protestant Theological University
The Dead Sea Scrolls and the Study of the Humanities: Method, Theory, Meaning
Hartog, P.B.; Schofield, A.; Thomas, S.I.
Studies on the Texts of the Desert of Judah
The Dead Sea Scrolls and the Study of the Humanities
Method, Theory, Meaning: Proceedings of the Eighth Meeting of the International Organization for Qumran Studies (Munich, 4–7 August, 2013)
1749392517468.png

p. 117
1749392330357.png


4QCant b—mehr als ein dramatischer Text?
Diese Klassifizierung wirft natürlich die Frage nach einer möglichen historischen Verwendung der Schriftrolle auf. Hier kann das Layout des Textes weiterhelfen, da den Randzeichen und Absätzen in 4QCantb eine performative Funktion zukommen könnte. Eine gewisse Analogie hierzu wäre die erwähnte Verwendung von kritischen Zeichen oder Buchstaben im hellenistischen Kulturkreis im Gefolge von Aristarchos von Samothrake.79 Das erwähnte Dipl Zeichen hat ja bereits in diese Richtung gewiesen. Allerdings waren derartige kritische Zeichen oft nicht aus sich heraus verständlich, sondern bedurften einer separaten Erklärung, z. B. durch Hypomnemata.80 Als weitere Analogie könnten auch die textlichen Ergänzungen in einigen LXX-Codices herangezogen werden. Sinaiticus, Alexandrinus, Venetus und G161 enthalten nämlich Zusätze, die im Textverlauf auf die jeweils Sprechenden oder zum Teil sogar die Handlungsstrukturen hinweisen.81

79 Aristarchus verwendet vor allem den diple zur Bezeichnung einer Auffälligkeit im Text
(vgl. McNamee, Sigla, 15). Neben den typischen kritischen Zeichen wurden auch
Buchstaben (chi) oder Monogramme verwendet, um auf wichtige Stellen im Text auf-
merksam zu machen (vgl. McNamee, Sigla, 20–22). Echte Regieanweisungen sind in
griechischen Manuskripten demgegenüber selten, aber durchaus vorhanden (vgl. Turner,
Manuscripts, 13). Jedenfalls sollten die Randzeichen in 4QCantb wohl in ganz ähnli-
cher Weise verstanden werden, also als eine Art Lesehilfe bzw. inhaltliche Erklärung
(vgl. McNamee, Sigla, 8).

80 Vgl. McNamee, Sigla, 15–17. Diese Hypomnemata konnten nach McNamee auch lediglich
mündlich tradiert werden, was dann wohl analog für 4QCantb anzunehmen wäre
.
81 Vgl. auch die Zusammenstellung der Rubriken bei Jay C. Treat, Lost Keys: Text and Interpretation in Old Greek Song of Songs and Its Earliest Manuscript Witnesses (Ann Arbor: UMI Microform, 1996), 399–412; sowie die Auswertung auf die Lexis hin bei Hopf, Liebesszenen, 305–8.

81 See also the compilation of the rubrics in Jay C. Treat, Lost Keys: Text and Interpretation in Old Greek Song of Songs and Its Earliest Manuscript Witnesses (Ann Arbor: UMI Microform, 1996), 399–412; and the analysis of the lexis in
Hopf, Liebesszenen, 305–8.

https://books.google.com/books?id=inS1EAAAQBAJ&pg=PA305
1749393275637.png



4QCant b—more than a dramatic text?
This classification naturally raises the question of a possible historical use of the scroll. The layout of the text can be helpful here, as the marginal signs and paragraphs in 4QCantb could have a performative function. A certain analogy to this would be the aforementioned use of critical signs or letters in the Hellenistic cultural sphere in the entourage of Aristarchus of Samothrace.79 The aforementioned Dipl sign has already pointed in this direction. However, such critical signs were often not understandable in themselves, but required a separate explanation, e.g., through hypomnemata.80 The textual additions in some LXX codices could also be used as a further analogy. Sinaiticus, Alexandrinus, Venetus, and G161 contain additions that indicate the respective speakers or, in some cases, even the plot structures in the course of the text.81
 

Steven Avery

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p. 126
Jean-Marie Auwers

1779830173252.png


4. La série du Sinaiticus se retrouve dans deux autres manuscrits grecs (Rahlfs 46 et 631), avec des variantes significatives; elle est attestée dans la Bible arménienne, dans certains témoins de la traduction géorgienne, et elle est passée en latin dans des manuscrits de la Vulgate, via des manuscrits qui présentaient un texte vieux-latin ou peut-être via un témoin de la révision hexaplaire effectuée par Jérôme. Voir J.-M. Auwers, Les didascalies du Sinaiticus au Cantique des cantiques: Nouveaux témoins, dans I. HtMBAZA
- C. LOCHER (éds), La Bible en Face: Etudes textuelles et littéraires offertes en hommage à Adrian Schenker, à l’occasion de ses quatre-vingts ans (Cahiers de la RB, 95), Lcuvcn, Peeters, 2020, 233-255.

4. The Sinaiticus series is found in two other Greek manuscripts (Rahlfs 46 and 631), with significant variants; it is attested in the Armenian Bible, in some witnesses of the Georgian translation, and it passed into Latin in Vulgate manuscripts, via manuscripts that presented an Old Latin text or perhaps via a witness to the Hexapla revision carried out by Jerome. See J.-M. Auwers, Les didascalies du Sinaiticus au Cantique des cantiques: Nouveaux témoins, in I. HtMBAZA
- C. LOCHER (eds), La Bible en Face: Etudes textuelles et littéraires offetes en hommage à Adrian Schenker, à l’occasion de ses quatre-vingt ans (Cahiers de la RB, 95), Lcuvcn, Peeters, 2020, 233-255.

1779828486761.png
 
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Steven Avery

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In Rahlfs' standard numbering system for Septuagint (LXX) manuscripts, MS 46 (often associated with the Greek text of the Psalms and Canticles) and MS 631 are significant textual witnesses utilized in critical editions (like the Göttingen Septuagint) for the Song of Songs. [1, 2]
These manuscripts are referenced in scholarly analyses of the Song of Songs (e.g., in The Song of Songs in Its Context) primarily due to their unique preservation of didascaliae (manuscript titles, headings, or liturgical directions) that contextualize or interpret the book. [1, 2]
A quick breakdown of how these specific Greek manuscripts fit into textual studies:

  • MS 46: Generally known as a Psalter-Canticles manuscript, it is frequently cited alongside other witnesses (such as MS 631) for variant readings, including unique titular subscriptions that are absent in major uncials like Codex Sinaiticus.
  • MS 631: Like MS 46, this manuscript preserves textual variants and Hagiopolitan or monastic liturgical traditions that are critical for reconstructing the historical reception and liturgical use of the Song of Songs in the early church.
  • Textual Value: They are highly valued for showing how the Greek textual tradition expanded upon or categorized the text, helping scholars understand how the early church assigned meaning (whether allegorical or liturgical) to the Canticle of Canticles. [1, 2, 3]
If you are looking to dig deeper into the readings of these specific codices, let me know:
  • Are you looking for the Greek text variants of specific verses?
  • Are you interested in the historical and liturgical context of the Didascaliae in these manuscripts?
I can provide the specific critical data you need.


===================================

Rahlfs 46 corresponds to Paris, Bibliothèque nationale de France, Coislin 4. It is a massive Byzantine manuscript primarily containing the historical and poetical books of the Old Testament in Greek. [1, 2, 3]

===================================

In Septuagint (LXX) scholarship, manuscript Rahlfs 631 is a Greek minuscule codex of the Old Testament (cataloged as VI Ef 19). It famously contains the text of the Song of Songs alongside the Sinaiticus (Codex Sinaiticus) recension. [1, 2]
Key Details of Rahlfs 631:

  • Current Location: The Lobkowicz Library at Nelahozeves Castle in the Czech Republic.
  • Physical Characteristics: A parchment codex measuring 280 x 220 mm.
  • Contents: The manuscript is a crucial witness to the text of the Song of Songs, specifically noted for sharing a unique set of ancient editorial commentaries (didascalia) and marginalia with Codex Sinaiticus.
  • Provenance: The manuscript was historically owned by Bohuslav Hasištejnský z Lobkovic, a 15th-century Bohemian humanist. [1, 2, 3]
You can explore catalog records and images of this manuscript on the Göttinger Septuaginta digital catalog. If you are reading academic literature regarding its textual variants, check out Dialnet's text-critical studies or the Brill-published The Song of Songs in Its Context for deeper philological context. [1]

=============================================

Published editions of the Song of Songs (or Song of Solomon) prior to 1850 were primarily standalone translations, scholarly commentaries, or luxury illuminated editions. Before the 1850s, the text was primarily distributed as a component of larger Bible translations (such as the King James Bible). [1]
Several highly notable standalone editions and translations were published leading up to 1850:

  • 1751: A Poetical Translation of the Song of Solomon by John Bland.
  • 1764: The Song of Solomon, Newly Translated from the Original Hebrew by the prominent scholar Thomas Percy (Bishop of Dromore).
  • 1781: A New Translation of the Songs of Solomon by William Green.
  • 1786: Solomon's Song Translated from the Hebrew by Bernard Hodgson, printed at the University of Oxford's Clarendon Press.
    • 1803: A New Translation of the Song of Solomon by Thomas Williams.
    • 1805: Song of Songs: or, Sacred Idylls, an influential translation and critical essay by John Mason Good.
    • 1837: The Song of Solomon, literally translated into English prose... by Christian David Ginsburg (who would later publish extensive historical/critical commentaries in 1857).
    • 1844: The famous illuminated edition designed and published by Owen Jones, which became a celebrated example of chromolithography. [1, 2]
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    5 Moscou, Rossijskij Gosudarstvennyj Archiv Drevnich Aktov (Archives nationales russes des actes anciens),. Φ 1607, 1.7. Édition d...
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  • Paru dans The Song of Songs in its Context. Words for Love, Love ...
    du fiancé disent », mais le ms Rahlfs 631 et le manuscrit latin de Fribourg qui attestent la même série de didascalies que le Sina...
    research.dial.uclouvain.be
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  • Song of Songs - Wikipedia
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Before 1850, editions containing the Greek text (the Septuagint) of the Song of Songs (Song of Solomon / \(\sigma \mu \alpha \sigma \mu \tau \omega \nu \)) were almost exclusively printed within multi-volume polyglot Bibles, compilations of the Septuagint, or patristic commentaries. [1, 2, 3]
Notable editions publishing the Greek text of the Song of Songs prior to 1850 include:

  • Complutensian Polyglot Bible (1514–1517): Printed in Alcalá de Henares, Spain, this is the first printed polyglot Bible. Volume 3 contains the Song of Songs in parallel columns of Hebrew, Latin Vulgate, and the Greek Septuagint.
  • Aldine Septuagint (1518): Published in Venice by Aldus Manutius, this was the first printed standalone edition of the full Septuagint, which naturally included the Song of Songs in Greek. [1, 2]
  • Antwerp Polyglot / Biblia Polyglotta (1569–1572): Edited by Benito Arias Montano, this massive scholarly work contains the Greek text of the Song of Songs with an interlinear Latin translation.
  • London Polyglot / Biblia Sacra Polyglotta (1655–1657): Edited by Brian Walton, this extensive multi-language Bible includes the original Greek text of the Old Testament. [1]
  • Sixtine Septuagint (1587): Printed in Rome, this authoritative edition of the Septuagint text was commissioned by Pope Sixtus V and served as the base for many subsequent Greek Bible printings.
  • Patristic Commentaries: Standalone or specific commentaries on the book often printed the Greek source text. For example, Philo Carpasius's \(5^{\text{th}}\)-century commentary on the Song of Songs was published with the Greek text, notably appearing in the \(18^{\text{th}}\) century (e.g., the 1772 Greek-Latin edition, Hermeneia eis Asmata ton Asmaton).
  • Bagster's Septuagint (1816): The Septuagint Version of the Old Testament, According to the Vatican Text, published by Samuel Bagster and Sons, made the Greek text widely available to scholars and students in the 19th century. [1]



  • Zosima
 

Steven Avery

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which edition of the Septuagint is closer in text or formatting to the Sinaiticus Song of Songs , Bagster or Zosima Moscow Bible?

AI Overview

The Zosima Moscow Bible (1821) is much closer in text to the Codex Sinaiticus version of the Song of Songs than the Bagster editions. [1]
Here is why it aligns better:
  • Textual Base: Sinaiticus preserves the unique "Alexandrian" textual family, which is the exact underlying textual tradition of the Zosima Bible. In contrast, standard Bagster Septuagint editions primarily print the Sixtine Septuagint (which follows a very different "Vatican" text-type) alongside Brenton's English translation. [1]
  • Speaker Rubrics: Codex Sinaiticus features structural rubrics in red ink that designate the speakers (e.g., Nymphios for the Bridegroom, Nymphe for the Bride). These were largely absent in early English Bagster translations, while the Zosima text reflects the Greek manuscript tradition that includes these designations. [1]
  • Textual Variants: In specific verses (e.g., Sinaiticus’ use of "Ασμα" instead of the standard plural "Ἄσματα"), modern critical scholars (like the Codex Sinaiticus Project) have found that the Zosima Old Testament captures many of the precise readings unique to the ancient 4th-century uncials.
If you are looking for an edition that matches the 4th-century Greek formatting conventions and the literal Alexandrian text of Sinaiticus, Zosima serves as a much closer historical printed witness.

=============================================

what are additional verses where the Zosima matches up with precise readings of Sinaiticus, and what scholars have studied this affinity

The connection between the 1821 Zosima Moscow Bible and Codex Sinaiticus stems from a shared textual lineage. The Zosima Old Testament was printed based on the 18th-century editions by John Ernest Grabe and Johann Jakob Breitinger, which directly reproduced Codex Alexandrinus. Because Codex Alexandrinus and Codex Sinaiticus belong to the same "Alexandrian" textual family, their readings frequently match. [1, 2]

Precise Verse Matches Outside the Song of Songs
The structural and textual overlap between the Zosima line and Sinaiticus spans several books of the Old Testament and Apocrypha: [1]

1780223496559.png

Sirach (Ecclesiasticus): Detailed comparisons have identified shared textual quirks, unique Greek spellings, and homoeoteleuton omissions (errors where a scribe's eye skips a line due to similar word endings) that are common to both the Grabe/Zosima text and the handwriting of Sinaiticus. [1]

1 Maccabees 14:5: The Zosima text captures specific geographical and historical variants regarding Joppa that align precisely with the corrections and primary readings found in Sinaiticus, distinct from the Vatican (Vaticanus) text-type. [1]

1780223540701.png

Tobit and Judith: The Zosima Bible preserves the longer Alexandrian recension of Tobit and matching orthographic variations in Judith. Standard Western editions (like Bagster or the Sixtine Septuagint) follow the drastically shorter and structurally distinct Vatican recension.

Scholars and Research Groups Studying This Affinity

The exact textual overlap between the Zosima printed Bible and Codex Sinaiticus is a highly specialized area of study, examined by two main groups of researchers with vastly different motivations:

1. Mainstream Textual Critics and Academic Projects
  • The Codex Sinaiticus Project: International scholars collaborating across institutions like the British Library, Leipzig University, and St. Catherine's Monastery have mapped the exact alignment of Sinaiticus with the Grabe/Breitinger lineage (the precise text Zosima printed). They treat this affinity as proof of a shared 4th-century Egyptian/Alexandrian textual transmission. [1, 2, 3]
  • Göttingen Septuagint Authors: Scholars working on the Septuaginta: Vetus Testamentum Graecum (the ongoing critical edition of the Greek Old Testament) routinely document how 19th-century Greek editions like the Zosima Bible serve as important historical repositories for uncial manuscript readings.
2. The "Zosima-Sinaiticus" Research Community (The Simonides Claims)



Precise Verse Matches Outside the Song of Songs

The structural and textual overlap between the Zosima line and Sinaiticus spans several books of the Old Testament and Apocrypha: [1]
nt) follow the drastically shorter and structurally distinct Vatican recension.

Scholars and Research Groups Studying This Affinity

The exact textual overlap between the Zosima printed Bible and Codex Sinaiticus is a highly specialized area of study, examined by two main groups of researchers with vastly different motivations:

1. Mainstream Textual Critics and Academic Projects
  • The Codex Sinaiticus Project: International scholars collaborating across institutions like the British Library, Leipzig University, and St. Catherine's Monastery have mapped the exact alignment of Sinaiticus with the Grabe/Breitinger lineage (the precise text Zosima printed). They treat this affinity as proof of a shared 4th-century Egyptian/Alexandrian textual transmission. [1, 2, 3]
  • Göttingen Septuagint Authors: Scholars working on the Septuaginta: Vetus Testamentum Graecum (the ongoing critical edition of the Greek Old Testament) routinely document how 19th-century Greek editions like the Zosima Bible serve as important historical repositories for uncial manuscript readings.
2. The "Zosima-Sinaiticus" Research Community (The Simonides Claims)

A dedicated group of independent textual researchers focuses specifically on the "Zosima-Sinaiticus Project". Their research is built around 19th-century historical controversies: [1]
  • Constantine Simonides (Historical Figure): In the 1860s, this Greek scholar controversially claimed that Codex Sinaiticus was not an ancient 4th-century document, but a modern 1840 creation written at Mount Athos. Simonides explicitly asserted that he used the 1821 Zosima Moscow Bible as one of his primary source texts to compile the Old Testament portion of the manuscript. While mainstream academia proved his forgery claims false, his statements triggered specific modern textual tracing. [1, 3]
  • Steven Avery and Nick Sayers: Modern independent researchers operating through platforms like the Pure Bible Forum have spearheaded the Zosima Project. They conduct cross-textual collations between the Zosima Bible, Sinaiticus, and control manuscripts to find exact percentage matches in text, punctuation, and marginal notes to see exactly how much of Sinaiticus' underlying data matches the 1821 text. [1, 2]
If you would like, I can provide a breakdown of how the Grabe lineage structurally differs from the Vaticanus lineage,
or we can look closer at the Sirach omissions shared between them.


Let me know how you want to proceed. [1, 2]

what are the shared Sirach omissions?

The textual affinity between the 1821 Zosima Moscow Bible and Codex Sinaiticus in the Book of Sirach (Ecclesiasticus) is largely defined by a massive structural anomaly and specific missing text blocks. [1, 2, 3]

Because the Zosima Bible prints a text family derived from Codex Alexandrinus, it mirrors the exact text block shifts and verse omissions that characterize the great ancient 4th-century uncials (Sinaiticus and Vaticanus). [1, 2]
The primary shared omissions and structural errors include:

1. The Great Chapter Dislocation (Sirach 30–36)

The most significant "omission" is actually a massive structural error shared by Codex Sinaiticus, Vaticanus, Alexandrinus, and consequently, the Zosima line. [1]
  • The Error: In all of these texts, Sirach 30:25–33:15 and Sirach 33:16–36:11 have completely swapped places.
  • The Omission Effect: Because the text jumps erratically from Chapter 30 directly into the middle of Chapter 33, verse blocks appear entirely omitted from their logical sequence. This occurred in antiquity when a copyist scrambled two similarly sized parchment leaves. Late cursives (like Minuscule 248) and the Western Vulgate fixed this order, but the Zosima and Sinaiticus texts share this uncorrected ancient blunder. [1]
2. The Omission of Sirach 3:25
  • The Text: "Without eyes there is no light, and without knowledge there is no wisdom."
  • The Alignment: This entire verse is completely omitted in Codex Sinaiticus (S), Vaticanus (B), Alexandrinus (A), and the underlying text printed by the Zosima Bible. []
  • Significance: Later manuscripts (such as Minuscule 248) and the ancient Hebrew fragments discovered at Cairo and Masada contain this verse. The fact that Zosima leaves it out demonstrates its rigid adherence to the precise, flawed uncial lineage of Sinaiticus rather than the corrected medieval text. [, 2]


Scholars and Research Groups Studying This Affinity

The exact textual overlap between the Zosima printed Bible and Codex Sinaiticus is a highly specialized area of study, examined by two main groups of researchers with vastly different motivations:

1. Mainstream Textual Critics and Academic Projects
  • The Codex Sinaiticus Project: International scholars collaborating across institutions like the British Library, Leipzig University, and St. Catherine's Monastery have mapped the exact alignment of Sinaiticus with the Grabe/Breitinger lineage (the precise text Zosima printed). They treat this affinity as proof of a shared 4th-century Egyptian/Alexandrian textual transmission. [1, 2, 3]
  • Göttingen Septuagint Authors: Scholars working on the Septuaginta: Vetus Testamentum Graecum (the ongoing critical edition of the Greek Old Testament) routinely document how 19th-century Greek editions like the Zosima Bible serve as important historical repositories for uncial manuscript readings.

3. Scriptorium Homoeoteleuton Omissions
Independent researchers studying the Zosima Project (such as Nick Sayers and Steven Avery) have cataloged smaller, precise phrase-level omissions in Sirach caused by homoeoteleuton (the scribe’s eye jumping forward to a word with an identical ending). [1, 2]
When the ancient scribe of Sinaiticus skipped a line due to matching Greek suffixes, the Grabe/Alexandrinus lineage—and by extension the 1821 Zosima text—frequently mirrors the exact same shortened string of Greek text, dropping parallel moral maxims mid-verse. [1]

=======================================

If you would like, I can provide a breakdown of how the Grabe lineage structurally differs from the Vaticanus lineage, or we can look closer at the Sirach omissions shared between them. Let me know how you want to proceed. [1, 2]

What This Means for Researchers

For mainstream textual critics, these shared gaps prove that the Zosima Bible is an excellent printed window into the 4th-century Alexandrian manuscript family. For alternative researchers studying the Constantine Simonides controversy, these precise omissions are heavily analyzed to argue whether a 19th-century scribe mechanically copied text directly from the Zosima print edition to create parts of Codex Sinaiticus. [1, 2]

If you are tracking down a specific chapter, I can show you how the verse numbering completely diverges between Zosima and standard Western Bibles due to these omissions. Would you like to map a specific section's verse numbers? [1]

show me how the verse numbering completely diverges between Zosima and standard Western Bibles due to these omissions. Emphasis on Song of Songs



The verse numbering and structural layout between the 1821 Zosima Moscow Bible (representing the Alexandrian/Sinaiticus lineage) and standard Western Bibles (which rely on the Masoretic Hebrew text or the Roman Sixtine Septuagint) diverge dynamically. [1]

In the Song of Songs, this divergence is not caused by the missing paragraphs found in books like Sirach. Instead, it is driven by two factors: the insertion of descriptive speaker rubrics and inter-verse sentence splitting. [1, 2]

The structural variance manifests across several specific points in the text:

1. The Title Verse Block (Song of Songs 1:1)
  • Standard Western Bibles: Treat Chapter 1, Verse 1 as a single, distinct sentence: "The Song of Songs, which is Solomon's." Verse 2 immediately begins the poetry: "Let him kiss me with the kisses of his mouth..." [1]
  • Zosima / Codex Sinaiticus: The title text is formatted differently. In Sinaiticus, the phrase "Άσμα ασμάτων ό έστι Σαλωμών" is treated as an over-arching paratextual header rather than Verse 1. Because of this, the subsequent lines are pushed upward in the verse count or combined into dense multi-sentence blocks in older printed variants of the Grabe lineage, throwing off parallel alignment with Western chapter-verse systems. [1]

2. The Narrative "Speaker Rubrics" (Song of Songs 1:4 and 5:1)
The inclusion of red-ink dramatic directions (rubrics) in Codex Sinaiticus completely shifts how text blocks are divided. Western Bibles print the text continuously, whereas the Zosima/Sinaiticus tradition breaks the verses apart to insert characters: [1, 2]
  • Song of Songs 1:4: In Western Bibles, verse 4 is a long, continuous statement spoken by the Bride and the Chorus ("Draw me, we will run after thee..."). In Sinaiticus and the Zosima text family, the verse is physically split into multiple numbered or marked lines because a rubric is wedged directly into the middle of the sentence:
    • Text...
    • [RUBRIC: Αι νεανιδες / The Maidens]
    • ...Text resumes.
      This forces a layout divergence where a single Western verse corresponds to multiple distinct typographic lines in the Zosima lineage. [1]
  • Song of Songs 5:1: A similar split occurs mid-verse. Where Western Bibles read smoothly across the poetry, Sinaiticus inserts [RUBRIC: Νυμφίος / The Bridegroom] and [RUBRIC: Εταίροι / Companions], segmenting the verse structure into unique, non-Western clause blocks.

3. Sentence Splitting Divergence (Song of Songs 4:16–5:1)
Because the Septuagint is a highly literal, word-for-word translation of an ancient Hebrew text-type, the verse boundaries naturally shifted depending on how editors chose to close sentences. [1 ]
























which edition of the Septuagint is closer in text or formatting to the Sinaiticus Song of Songs , Bagster or Zosima Moscow Bible



The Zosima Moscow Bible (1821) is much closer in text to the Codex Sinaiticus version of the Song of Songs than the Bagster editions.

Here is why it aligns better:

  • Textual Base: Sinaiticus preserves the unique "Alexandrian" textual family, which is the exact underlying textual tradition of the Zosima Bible. In contrast, standard Bagster Septuagint editions primarily print the Sixtine Septuagint (which follows a very different "Vatican" text-type) alongside Brenton's English translation.
    The BAS Library
  • Speaker Rubrics: Codex Sinaiticus features structural rubrics in red ink that designate the speakers (e.g., Nymphios for the Bridegroom, Nymphe for the Bride). These were largely absent in early English Bagster translations, while the Zosima text reflects the Greek manuscript tradition that includes these designations.
    School of Arts and Sciences - University of Pennsylvania
  • Textual Variants: In specific verses (e.g., Sinaiticus’ use of "Ασμα" instead of the standard plural "Ἄσματα"), modern critical scholars (like the Codex Sinaiticus Project) have found that the Zosima Old Testament captures many of the precise readings unique to the ancient 4th-century uncials.
If you are looking for an edition that matches the 4th-century Greek formatting conventions and the literal Alexandrian text of Sinaiticus, Zosima serves as a much closer historical printed witness.























3 sites

  • Rubrics in Codex Sinaiticus - University of Pennsylvania
    This is Song of Songs 1:1-4 in Old Greek from the Codex Sinaiticus. Codex Sinaiticus dates from about 360 CE and is one of our maj...


    School of Arts and Sciences - University of Pennsylvania


  • Major Septuagint Manuscripts—Vaticanus, Sinaiticus ...
    In the study of Septuagint manuscripts, pride of place has traditionally been given to a few copies that are relatively old, relat...


    The BAS Library


  • Song of Songs in Zosima Moscow Bible - superb resources
    Zosima 1821 Moscow Bible used as an OT Sinaiticus source. https://www.purebibleforum.com/inde...ow-bible-used-as-an-ot-sinaiticus-
    faviconV2

    Pure Bible Forum




what are additional verses where the Zosima matches up with precise readings of Sinaiticus, and what scholars have studied this affinity












The connection between the 1821 Zosima Moscow Bible and Codex Sinaiticus stems from a shared textual lineage. The Zosima Old Testament was printed based on the 18th-century editions by John Ernest Grabe and Johann Jakob Breitinger, which directly reproduced Codex Alexandrinus. Because Codex Alexandrinus and Codex Sinaiticus belong to the same "Alexandrian" textual family, their readings frequently match.


Precise Verse Matches Outside the Song of Songs

The structural and textual overlap between the Zosima line and Sinaiticus spans several books of the Old Testament and Apocrypha:



Sirach (Ecclesiasticus): Detailed comparisons have identified shared textual quirks, unique Greek spellings, and homoeoteleuton omissions (errors where a scribe's eye skips a line due to similar word endings) that are common to both the Grabe/Zosima text and the handwriting of Sinaiticus.


1 Maccabees 14:5: The Zosima text captures specific geographical and historical variants regarding Joppa that align precisely with the corrections and primary readings found in Sinaiticus, distinct from the Vatican (Vaticanus) text-type.



Tobit and Judith: The Zosima Bible preserves the longer Alexandrian recension of Tobit and matching orthographic variations in Judith. Standard Western editions (like Bagster or the Sixtine Septuagint) follow the drastically shorter and structurally distinct Vatican recension.


Scholars and Research Groups Studying This Affinity

The exact textual overlap between the Zosima printed Bible and Codex Sinaiticus is a highly specialized area of study, examined by two main groups of researchers with vastly different motivations:


1. Mainstream Textual Critics and Academic Projects

  • The Codex Sinaiticus Project: International scholars collaborating across institutions like the British Library, Leipzig University, and St. Catherine's Monastery have mapped the exact alignment of Sinaiticus with the Grabe/Breitinger lineage (the precise text Zosima printed). They treat this affinity as proof of a shared 4th-century Egyptian/Alexandrian textual transmission.
    Wikipedia +2
  • Göttingen Septuagint Authors: Scholars working on the Septuaginta: Vetus Testamentum Graecum (the ongoing critical edition of the Greek Old Testament) routinely document how 19th-century Greek editions like the Zosima Bible serve as important historical repositories for uncial manuscript readings.

2. The "Zosima-Sinaiticus" Research Community (The Simonides Claims)

A dedicated group of independent textual researchers focuses specifically on the "Zosima-Sinaiticus Project". Their research is built around 19th-century historical controversies:

  • Constantine Simonides (Historical Figure): In the 1860s, this Greek scholar controversially claimed that Codex Sinaiticus was not an ancient 4th-century document, but a modern 1840 creation written at Mount Athos. Simonides explicitly asserted that he used the 1821 Zosima Moscow Bible as one of his primary source texts to compile the Old Testament portion of the manuscript. While mainstream academia proved his forgery claims false, his statements triggered specific modern textual tracing.

  • Steven Avery and Nick Sayers: Modern independent researchers operating through platforms like the Pure Bible Forum have spearheaded the Zosima Project. They conduct cross-textual collations between the Zosima Bible, Sinaiticus, and control manuscripts to find exact percentage matches in text, punctuation, and marginal notes to see exactly how much of Sinaiticus' underlying data matches the 1821 text.
If you would like, I can provide a breakdown of how the Grabe lineage structurally differs from the Vaticanus lineage, or we can look closer at the Sirach omissions shared between them. Let me know how you want to proceed.





















5 sites

  • The Zosima project should consider looking at a chapter in ...
    Jun 15, 2023 — If there is a homeoarcton or homoeoteleuton match for an omission in Sinaiticus, that is a solid evidence. If Sinaiticus has a cor...
    1780227160822.png



    Facebook·Textus Receptus Academy


  • Ten More Reasons Sinaiticus Was Not Made by Simonides
    Mar 25, 2017 — If Simonides had actually written the codex, he would have said something to the effect that a large part of his work was missing.
    The Text of the Gospels


  • ( Zosima --> Sinaiticus ) project information
    Aug 31, 2020 — The other text is the Zosima Moscow Greek Bible, produced in 1821 as an offshoot of the John Ernest Grabe (1666-1711) line of Code...
    purebibleforum.com
Show all











































what are the shared Sirach omissions?










The textual affinity between the 1821 Zosima Moscow Bible and Codex Sinaiticus in the Book of Sirach (Ecclesiasticus) is largely defined by a massive structural anomaly and specific missing text blocks.

Because the Zosima Bible prints a text family derived from Codex Alexandrinus, it mirrors the exact text block shifts and verse omissions that characterize the great ancient 4th-century uncials (Sinaiticus and Vaticanus).

The primary shared omissions and structural errors include:


1. The Great Chapter Dislocation (Sirach 30–36)

The most significant "omission" is actually a massive structural error shared by Codex Sinaiticus, Vaticanus, Alexandrinus, and consequently, the Zosima line.

  • The Error: In all of these texts, Sirach 30:25–33:15 and Sirach 33:16–36:11 have completely swapped places.
  • The Omission Effect: Because the text jumps erratically from Chapter 30 directly into the middle of Chapter 33, verse blocks appear entirely omitted from their logical sequence. This occurred in antiquity when a copyist scrambled two similarly sized parchment leaves. Late cursives (like Minuscule 248) and the Western Vulgate fixed this order, but the Zosima and Sinaiticus texts share this uncorrected ancient blunder.

2. The Omission of Sirach 3:25

  • The Text: "Without eyes there is no light, and without knowledge there is no wisdom."

  • The Alignment: This entire verse is completely omitted in Codex Sinaiticus (S), Vaticanus (B), Alexandrinus (A), and the underlying text printed by the Zosima Bible.

  • Significance: Later manuscripts (such as Minuscule 248) and the ancient Hebrew fragments discovered at Cairo and Masada contain this verse. The fact that Zosima leaves it out demonstrates its rigid adherence to the precise, flawed uncial lineage of Sinaiticus rather than the corrected medieval text.

3. Scriptorium Homoeoteleuton Omissions

Independent researchers studying the Zosima Project (such as Nick Sayers and Steven Avery) have cataloged smaller, precise phrase-level omissions in Sirach caused by homoeoteleuton (the scribe’s eye jumping forward to a word with an identical ending).
faviconV2
Bible Research +1
When the ancient scribe of Sinaiticus skipped a line due to matching Greek suffixes, the Grabe/Alexandrinus lineage—and by extension the 1821 Zosima text—frequently mirrors the exact same shortened string of Greek text, dropping parallel moral maxims mid-verse.


What This Means for Researchers

For mainstream textual critics, these shared gaps prove that the Zosima Bible is an excellent printed window into the 4th-century Alexandrian manuscript family. For alternative researchers studying the Constantine Simonides controversy, these precise omissions are heavily analyzed to argue whether a 19th-century scribe mechanically copied text directly from the Zosima print edition to create parts of Codex Sinaiticus.
earlywritings.com +1
If you are tracking down a specific chapter, I can show you how the verse numbering completely diverges between Zosima and standard Western Bibles due to these omissions. Would you like to map a specific section's verse numbers?





















7 sites

  • Zosima - Sirach - Pure Bible Forum
    Jun 23, 2023 — All extant Greek manuscripts except the late cursive 248 seem to go back to one original MS, since in all of them the two sections...
    Pure Bible Forum


  • The Zosima project should consider looking at a chapter in ...
    Jun 15, 2023 — Steven Avery Dutchess County, NY. Nick Sayers. 1. 6. Steven Avery. Author. Zosima was likely used for most, but not all, boo...
    Facebook·Textus Receptus Academy


  • What is the percentage that Codex Sinaiticus and Vaticanus agree ...
    Mar 1, 2019 — Based on Marlowe's work, I marked all instances in which Codex Vaticanus exhibits omissions with a translatable impact, totalling ...
    Facebook·NT Textual Criticism
Show all














































show me how the verse numbering completely diverges between Zosima and standard Western Bibles due to these omissions. Emphasis on Song of Songs













The verse numbering and structural layout between the 1821 Zosima Moscow Bible (representing the Alexandrian/Sinaiticus lineage) and standard Western Bibles (which rely on the Masoretic Hebrew text or the Roman Sixtine Septuagint) diverge dynamically.
Wikipedia
In the Song of Songs, this divergence is not caused by the missing paragraphs found in books like Sirach. Instead, it is driven by two factors: the insertion of descriptive speaker rubrics and inter-verse sentence splitting.
faviconV2
Pure Bible Forum +1
The structural variance manifests across several specific points in the text:


1. The Title Verse Block (Song of Songs 1:1)

  • Standard Western Bibles: Treat Chapter 1, Verse 1 as a single, distinct sentence: "The Song of Songs, which is Solomon's." Verse 2 immediately begins the poetry: "Let him kiss me with the kisses of his mouth..."

  • Zosima / Codex Sinaiticus: The title text is formatted differently. In Sinaiticus, the phrase "Άσμα ασμάτων ό έστι Σαλωμών" is treated as an over-arching paratextual header rather than Verse 1. Because of this, the subsequent lines are pushed upward in the verse count or combined into dense multi-sentence blocks in older printed variants of the Grabe lineage, throwing off parallel alignment with Western chapter-verse systems.
    UChicago Knowledge

2. The Narrative "Speaker Rubrics" (Song of Songs 1:4 and 5:1)

The inclusion of red-ink dramatic directions (rubrics) in Codex Sinaiticus completely shifts how text blocks are divided. Western Bibles print the text continuously, whereas the Zosima/Sinaiticus tradition breaks the verses apart to insert characters:
faviconV2
Pure Bible Forum +1
  • Song of Songs 1:4: In Western Bibles, verse 4 is a long, continuous statement spoken by the Bride and the Chorus ("Draw me, we will run after thee..."). In Sinaiticus and the Zosima text family, the verse is physically split into multiple numbered or marked lines because a rubric is wedged directly into the middle of the sentence:
    • Text...
    • [RUBRIC: Αι νεανιδες / The Maidens]
    • ...Text resumes.
      This forces a layout divergence where a single Western verse corresponds to multiple distinct typographic lines in the Zosima lineage.
  • Song of Songs 5:1: A similar split occurs mid-verse. Where Western Bibles read smoothly across the poetry, Sinaiticus inserts [RUBRIC: Νυμφίος / The Bridegroom] and [RUBRIC: Εταίροι / Companions], segmenting the verse structure into unique, non-Western clause blocks.

3. Sentence Splitting Divergence (Song of Songs 4:16–5:1)

Because the Septuagint is a highly literal, word-for-word translation of an ancient Hebrew text-type, the verse boundaries naturally shifted depending on how editors chose to close sentences.
School of Arts and Sciences - University of Pennsylvania

Context Location
Standard Western Bibles (Masoretic / KJV / Brenton)Zosima Bible / Codex Sinaiticus Lineage
Song 4:16Ends with the Bride's call: "...Let my beloved come into his garden, and eat his pleasant fruits."Often pulls the opening clause of 5:1 into the verse block, parsing the transition as a continuous thought.
Song 5:1Begins a brand new chapter division with the Bridegroom's response: "I am come into my garden, my sister, my spouse..."Frequently cuts the response mid-way through due to the physical layout requirements of the speaker rubrics.

Summary of the Layout Shift
When comparing a page of the Song of Songs in a standard Western Bible to the 1821 Zosima text, the physical geometry of the page is entirely different. The Western Bible looks like an uninterrupted stream of poetic stanzas. The Zosima text—following its 4th-century Alexandrian archetype—is broken up into script-like dialogue units, meaning verses are lengthened, shortened, or split to accommodate the structural shifts of a ancient drama. [1]
If you are tracking down specific verses, would you like me to map out how the speaker tags divide the Greek text in Chapter 1 versus Chapter 2?
 

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  • The Zosima project should consider looking at a chapter in ...
    Jun 15, 2023 — If there is a homeoarcton or homoeoteleuton match for an omission in Sinaiticus, that is a solid evidence. If Sinaiticus has a cor...
    Facebook·Textus Receptus Academy


  • Ten More Reasons Sinaiticus Was Not Made by Simonides
    Mar 25, 2017 — If Simonides had actually written the codex, he would have said something to the effect that a large part of his work was missing.
    The Text of the Gospels


  • ( Zosima --> Sinaiticus ) project information
    Aug 31, 2020 — The other text is the Zosima Moscow Greek Bible, produced in 1821 as an offshoot of the John Ernest Grabe (1666-1711) line of Code...

    purebibleforum.com
Show all



  • Rubrics in Codex Sinaiticus - University of Pennsylvania
    This is Song of Songs 1:1-4 in Old Greek from the Codex Sinaiticus. Codex Sinaiticus dates from about 360 CE and is one of our maj...
    View attachment 12297
    School of Arts and Sciences - University of Pennsylvania

  • Major Septuagint Manuscripts—Vaticanus, Sinaiticus ...
    In the study of Septuagint manuscripts, pride of place has traditionally been given to a few copies that are relatively old, relat...
    View attachment 12299
    The BAS Library


  • Song of Songs in Zosima Moscow Bible - superb resources
    Zosima 1821 Moscow Bible used as an OT Sinaiticus source. https://www.purebibleforum.com/inde...ow-bible-used-as-an-ot-sinaiticus-
    Pure Bible Forum



  • Rubrics in Codex Sinaiticus - University of Pennsylvania
    This is Song of Songs 1:1-4 in Old Greek from the Codex Sinaiticus. Codex Sinaiticus dates from about 360 CE and is one of our maj...
    School of Arts and Sciences - University of Pennsylvania


  • Major Septuagint Manuscripts—Vaticanus, Sinaiticus ...
    In the study of Septuagint manuscripts, pride of place has traditionally been given to a few copies that are relatively old, relat...
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Last edited:

Steven Avery

Administrator
what manuscripts or printed editions of sirach jumps erratically from Chapter 30 directly into the middle of Chapter 33

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AI Overview











This text erratic jump is due to a famous historical dislocation that affects almost all extant Greek manuscripts of the Book of Sirach (also known as Ecclesiasticus). [1]


Due to a mechanical displacement in an early ancestor of the Greek textual tradition, the block of text originally running from Sirach 30:25 to 36:16 was moved out of order. [1, 2]





The Manuscripts and Editions Involved:


  • All major Greek uncials: The displacement is present in nearly all surviving Greek manuscripts, including Codex Vaticanus (4th century), Codex Sinaiticus (4th century), and Codex Alexandrinus(5th century). In these manuscripts, the text skips abruptly from the middle of Chapter 30 to the middle of Chapter 33. [1, 2, 3, 4, 5]
  • Printed Editions and Bibles: Early printed editions that relied heavily on Greek texts reproduce this jump. You will experience this errant jump if you read from older printed editions like Swete's Septuagint (1887), the Douay-Rheims (which is based on the Latin Vulgate which also inherited this displaced Greek text), or the Revised Standard Version (RSV). [1, 2, 3, 4]




The Erratic Jump Explained


If you are reading an older edition (or the direct Greek text), the erratic jump unfolds like this:


  1. The text discusses the health and mood of an individual in Sirach 30:22-25. [1, 2]
  2. It then skips directly into Sirach 33:16-19 (discussing independence in your household and distributing inheritance at the hour of death). [1, 2, 3]
  3. It eventually loops back to complete Chapter 33 and progresses through Chapters 34-35 before returning to pick up Chapters 31, 32, and the first half of 33. [1, 2]




How Modern Editions Fix It


Scholars have long recognized that the Latin translation (Old Latin and Vulgate) and certain Syriac versions preserved the original sequential flow of Sirach before this manuscript shuffling occurred in Greek. [1, 2, 3]


If you want to read the text in its logically intended order, modern translations such as the New Revised Standard Version (NRSV), Common English Bible (CEB), and the New American Bible (NAB) have rearranged the chapters back into their logical chronological sequence. [1, 2, 3, 4]
 
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