Technically the Odes are anonymous, but in many ancient manuscripts, the Odes of Solomon are found together with the similar Psalms of Solomon, and Odes began to be ascribed to the same author. Unlike the Psalms of Solomon, however, Odes is much less clearly Jewish, and much more Christian in appearance.
| 01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 |
| 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 |
OUTLINE
Ode 01
(i) The Lord Is…
Ode 02
(i) (No part of this Ode has ever been identified.) p. 121
Ode 03
(i) The first words of this Ode have disappeared.
Ode 04
(i) This Ode is important because of the historical allusion with which it commences.
Note: This may refer to the closing of the temple at Leontopolis in Egypt which would date this writing about 73A. D.
Ode 05
(i) This Ode has strangely appeared in a speech by Salome in another ancient work called the Pistis Sophia. p. 122
Ode 06
(i) First century universalism is revealed in an interesting way in verse 10. p. 123
Ode 07
(i) A wonderfully, simple and joyful psalm on the Incarnation. p. 124
Ode 08
(i) Note the sudden transition from the person of the Psalmist to the person of the Lord (v.10). This is like the canonical Psalter in style.
Ode 09
(i) We shall never know surely whether the wars referred to here are spiritual or actual outward wars. p. 125
Ode 10
(i) A vigorous little Ode in which Christ Himself is the speaker.
Ode 11
(i) A beautiful sketch of Paradise regained and the blessedness of those who have returned to the privileges of the fallen Adam. p. 126
Ode 12
(i) An exceptionally high level of spiritual thought. p. 127
Ode 13
(i) A strange little Ode.
Ode 14
(i) This Ode is as beautiful in style as the canonical Psalter.
Ode 15
(i) One of the loveliest Odes in this unusual collection. p. 128
Ode 16
(i) The beauty of God’s creation.
Ode 17
(i) A peculiar change of personality, scarcely realized until the return from it in the last verse. p. 129
Ode 18
(i) A man who had a spiritual experience brings a message.
Ode 19
(i) Fantastic and not in harmony with the other Odes. The reference to a painless Virgin Birth is notable. p. 130
Ode 20
(i) A mixture of ethics and mysticism; of the golden rule and the tree of life.
Ode 21
(i) A remarkable explanation of the “coats of skin” in the third chapter of Genesis. p. 131
Ode 22
(i) Like the Psalms of David in their exultation because of freedom.
Ode 23
(i) The reference to the sealed document sent by God is one of the great mysteries of the collection.
Ode 24
(i) The mention of the Dove refers to a lost Gospel to which there are rare references in ancient writings. p. 133
Ode 25
(i) Back again to personal experience.
Ode 26
(i) Remarkable praise.
Ode 27
(i) The human body makes a cross when a man stands erect in prayer with arms outstretched.
Ode 28
(i) This Ode is a musical gem. p. 134
Ode 29
(i) Again reminiscent of the Psalms, of David. p. 135
Ode 30
(i) An invitation to the thirsty.
Ode 31
(i) A song that Marcus Aurelius might have known when he said “Be like the promontory against which the waves continually break.”
Ode 32
(i) Joy and light.
Ode 33
(i) A virgin stands and proclaims (v. 5). p. 136
Ode 34
(i) True poetry–pure and simple.
Ode 35
(i) “No cradled child more softly lies than I: come soon, eternity.”
Ode 36
(i) Theologians have never agreed on an explanation of this perplexing Ode. p. 137
Ode 37
(i) An elementary Ode.
Ode 38
(i) A beautiful description of the power of truth. p. 138
Ode 39
(i) One of the few allusions to events in the Gospels–that of our Lord walking on the Sea of Galilee.
Ode 40
(i) A song of praise without equal. p. 139
Ode 41
(i) We discover that the writer may be a Gentile (v. 8).
Ode 42
(i) The Odes of Solomon, the Son of David, are ended with the following exquisite verses. p. 140
Original Source: The Secrets of Enoch.1)see http://www.sacred-texts.com/bib/fbe/index.htm#section_002 | sacred-texts.com
References
| 1. | ↑ | see http://www.sacred-texts.com/bib/fbe/index.htm#section_002 |
