That the one hundred and seventeen verses of the most famous love song of universal poetry occupy such a prominent place in the Judeo-Christian mysticism and laterally in the Islamic one, constitutes a destiny clearly magnificent for verses as exalted as they are obscure. Just five pages, which The Song of Songs occupies in the Castilian Bible, summarize, for rabbis and Christian scholars alike, the whole adventure of the human being in his search for the divine, the irresistible desire of the creature to access his Creator or, if you like, the feeling that each individual experiences before beauty, its grace and enigmatic power of attraction. This version that Mario Satz has carried out following the numerical and geographical keys of the Cantar, and in the context of comparative literature, reveals unexpected synchronicities and amazing constants that corroborate the unanimity of the courtship of love with his gesture for the music of words , the aromas and the compliments, the art of seducing and the willingness to please with which our species has expressed, over the centuries, the intimate relationship between man and woman, but also -as the mystics want Juan de la Cruz and Teresa de Jesus or the poets like Fray Luis de León-, the bridge between the soul and its Beloved, the psyche and the Spirit, the wife and the Husband. In The Song of Songs, however, there is much more than poetry. There are the fingerprints of a diopter between the finite heart of man and the polyphonic beat of the earth, its species and landscapes; the urge to desire and the disappointment of losing; the joy of living, the delight of sharing and, finally, the corroboration that, as the Greeks wanted, love is a god, and as Jews and Christians knew, God is love, the force that makes the whirlpool dance water and the helicoid in the galaxies. The deepest and perhaps the most complex of laws.