The Way of Lovers: The Oxford Anonymous Commentary on the Song of Songs (Bodleian Library, MS Opp. 625) 9004343199, 9789004343191

Table of contents :
Contents
Preface
List of Abbreviations
Part 1: Introduction
1 The History of Research on the Commentary: The Author, His Time and Background
2 The Sources of the Commentary
3 The Nature of the Commentary
4 Linguistic Matters
5 The Social and Cultural Background of the Commentary
6 The Manuscript, the Edition and the Translation
Part 2: The Commentary
Song of Songs, Chapter 1
Song of Songs, Chapter 2
Song of Songs, Chapter 3
Song of Songs, Chapter 4
Song of Songs, Chapter 5
Song of Songs, Chapter 6
Song of Songs, Chapter 7
Song of Songs, Chapter 8
Bibliography
Index of Primary Sources
Index of Hebrew Roots, Words, and Expressions
Index of Modern Authors
Subject Index
Facsimiles of the Oxford Manuscript

Citation preview

The Way of Lovers: The Oxford Anonymous Commentary on the Song of Songs (Bodleian Library, ms Opp. 625)

Commentaria sacred texts and their commentaries: jewish, christian and islamic

Founding Editors Grover A. Zinn Michael A. Signer (ob.)

Editors Frans van Liere Lesley Smith E. Ann Matter Thomas E. Burman Robert A. Harris Walid Saleh

volume 8

The titles published in this series are listed at brill.com/comm

The Way of Lovers The Oxford Anonymous Commentary on the Song of Songs (Bodleian Library, ms Opp. 625)

An Edition of the Hebrew Text, with English Translation and Introduction by

Sara Japhet Barry Dov Walfish

leiden | boston

The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2017009398

Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1874-8236 isbn 978-90-04-34319-1 (hardback) isbn 978-90-04-34543-0 (e-book) Copyright 2017 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner.

Contents Preface ix List of Abbreviations

xi

part 1 Introduction Chapter 1

The History of Research on the Commentary: The Author, His Time and Background 3

Chapter 2

The Sources of the Commentary 6 1 Rabbinic Literature 6 2 Exegetes and Grammarians 12 2.1 Solomon Ibn Parḥon: ‫ מחברת הערוך‬12 2.2 Abraham Ibn Ezra 13 2.3 Yefet ben Eli 15 2.4 Rashi and Rashbam 16 2.5 The Anonymous Commentary in the Prague ms (Prague Anonymous) 20 2.6 David Qimḥi 24 3 The Love Poetry of the Jewish Poets of Spain 25 4 Other Sources 29

Chapter 3

The Nature of the Commentary 32 1 The Exegetical Method: ‫—פשוטו של מקרא‬The Plain Meaning of the Text 32 1.1 The Multiplicity of Meanings of the Text in the Framework of the Peshat 34 1.2 The Way of the World 41 2 Literary Aspects of the Commentary 45 2.1 The Author of the Song of Songs 45 2.2 Narrative Continuity and Textual Coherence 45 2.2.1 Cross References 48 2.3 The Song of Songs as a Lovers’ Discourse 52 2.4 The Literary Units of the Song of Songs 54 2.5 The Characters 59

vi

contents

3

2.6 Rhetorical Devices 63 2.6.1 Deciphering the Figurative Language of the Song of Songs 63 2.6.2 Other Rhetorical Methods 78 2.6.2.1 Repetition to Reinforce Speech 78 2.6.2.2 Biblical Style 79 2.6.2.3 Parallel Expression (‫ )כפל לשון‬80 The Descriptions of Beauty and the Act of Love 81

Chapter 4

Linguistic Matters 97 1 Linguistic Explanations 98 a Switching Persons in One Phrase 98 b The Use of Masculine and Feminine Forms 103 c Letter Substitution 107 d Vowel Substitution 108 e An Extra Yod 109 2 Glosses in Old French 110

Chapter 5

The Social and Cultural Background of the Commentary 118

Chapter 6

The Manuscript, the Edition and the Translation 129 1 The Manuscript 129 2 The Edition 130 2.1 Mathews’s Edition 130 2.2 The Present Edition 131 3 The Translation 132

part 2 The Commentary Song of Songs, Chapter 1 135 Song of Songs, Chapter 2 153 Song of Songs, Chapter 3 165 Song of Songs, Chapter 4 173 Song of Songs, Chapter 5 195

vii

contents

Song of Songs, Chapter 6

209

Song of Songs, Chapter 7

219

Song of Songs, Chapter 8 233 Bibliography 243 Index of Primary Sources 250 Index of Hebrew Roots, Words, and Expressions Index of Modern Authors 259 Subject Index 260 Facsimiles of the Oxford Manuscript 263

258

Preface The Oxford Anonymous commentary on the Song of Songs was published by H.J. Mathews already in 1893 (see introduction), but has until recently been virtually ignored by the scholarly world. In the 1990s Sara Japhet realized the importance of this unique commentary and began working on it, writing several studies and preparing a new edition. About ten years ago she invited Barry Dov Walfish to collaborate with her on the preparation of a new edition, with an English translation and extensive introduction. What you see before you is the result of that collaboration. The work was divided as follows: Sara prepared the Hebrew edition of the commentary and Barry reviewed it; Barry prepared the English translation of the commentary and Sara reviewed it. All the suggested comments and corrections—in both the edition and the translation—were then negotiated between us, until a satisfactory final version was attained. The majority of the introduction was written by Sara in Hebrew and translated by Barry; the sections on the Old French words/glosses, the manuscript, the edition, and the translation were written by Barry. Here too, the final version was reached after we discussed the entire introduction. We consulted with Prof. Cyril Aslanov regarding the Old French words in the commentary and are grateful to him for his kind help in the preparation of the list of glosses with their meanings. The completed work is thus the product of true collaboration; we are both responsible for it, and are glad to bring this unusual and important composition to the attention of the scholarly world. We would like to thank the Bodleian Library, Oxford University for permission to publish the edition of the commentary from manuscript (Opp. 625) and facsimiles thereof. We would also like to thank the staff at the Institute for Microfilmed Hebrew Manuscripts at the National Library of Israel for providing us with a copy of the text of the manuscript for the purpose of preparing this edition. We extend our thanks to the editors of the important Commentaria series at Brill for including this publication in the series.

x

preface

Finally we would like to thank the production editor Renee Otto and the tat Zetwerk typesetters for their excellent work in preparing this rather difficult manuscript for publication. “May the Lord reward their deeds” (Ruth 2:12) Sara Japhet Barry Dov Walfish August 2016 Av 5776

List of Abbreviations Biblical Books Amos Chr Dan Deut Eccl Esth Exod Ezek Ezra Gen Hab Hag Hos Isa Jer Job Joel Jonah Josh Judg Kgs Lam Lev Mal Mic Nah Neh Num Obad Prov Ps Ruth Song Zech Zeph

Amos Chronicles Daniel Deuteronomy Ecclesiastes Esther Exodus Ezekiel Ezra Genesis Habakkuk Haggai Hosea Isaiah Jeremiah Job Joel Jonah Joshua Judges Kings Lamentations Leviticus Malachi Micah Nahum Nehemiah Numbers Obadiah Proverbs Psalms Ruth Song of Songs Zechariah Zephaniah

‫‪xii‬‬

‫‪list of abbreviations‬‬

‫‪Rabbinic Literature‬‬ ‫‪Babylonian Talmud‬‬ ‫‪Berakhot‬‬ ‫‪Bava Metsiaʿ‬‬ ‫‪Mishnah‬‬ ‫‪Shabbat‬‬ ‫‪Song of Songs Rabbah‬‬

‫‪b‬‬ ‫‪Ber‬‬ ‫‪bm‬‬ ‫‪m‬‬ ‫‪Shab‬‬ ‫‪SofSRab‬‬

‫‪Other‬‬ ‫‪Anglo-Norman Dictionary‬‬ ‫‪Masoretic Text‬‬

‫‪In the Manuscript‬‬ ‫וי״מ‬ ‫ופ״פ‬ ‫ורבות׳‬ ‫חטי׳‬ ‫יחזק׳‬ ‫י״מ‬ ‫י ש ר׳‬ ‫כדאמ׳‬ ‫ככת׳‬ ‫כלו׳‬ ‫כמ׳‬ ‫כשאמ׳‬ ‫כת׳‬ ‫לומ׳‬ ‫למעל׳‬ ‫לשו׳‬ ‫מביאי׳‬ ‫מכסיפי׳‬ ‫מלכי׳‬ ‫מלשו׳‬ ‫מפ׳‬ ‫מפר׳‬

‫ויש מפרשים‬ ‫ופירש פרחון‬ ‫ורבותינו‬ ‫חטים‬ ‫יחזקאל‬ ‫יש מפרשים‬ ‫ישראל‬ ‫כדאמר‬ ‫ככתוב‪ ,‬ככתיב‬ ‫כלומר‬ ‫כמו‬ ‫כשאמר‬ ‫כתיב‪ ,‬כתוב‬ ‫לומר‬ ‫למעלה‬ ‫לשון‬ ‫מביאים‬ ‫מכסיפים‬ ‫מלכים‬ ‫מלשון‬ ‫מפרש‬ ‫מפרשים‬

‫‪and‬‬ ‫‪mt‬‬

‫‪xiii‬‬

‫‪list of abbreviations‬‬

‫מקשיבי׳‬ ‫נ״ע‬ ‫נפ׳‬ ‫ע״א‬ ‫פ׳‬ ‫פ״א‬ ‫פי׳‬ ‫פי׳ א׳‬ ‫פי׳‬ ‫פי׳ פ׳‬ ‫פסוק׳‬ ‫פ״פ‬ ‫שאו׳‬ ‫שאמ׳‬ ‫שאפי׳‬ ‫שוכבי׳‬ ‫שומע׳‬ ‫שכת׳‬ ‫שכתו׳‬ ‫שלמ׳‬ ‫שנ׳‬ ‫שפי׳‬ ‫שפירו׳‬ ‫תאמ׳‬ ‫תרגו׳‬

‫מקשיבים‬ ‫נשמתו עדן‪ ,‬נוחו עדן‬ ‫נפרש‬ ‫עניין אחר‬ ‫פירוש‪ ,‬פירושו‬ ‫פירוש אחר‬ ‫פירש‪ ,‬פירוש‪ ,‬פירושו‬ ‫פירוש אחר‬ ‫פירש‬ ‫פירש פרחון‬ ‫פסוקים‬ ‫פירש פרחון‬ ‫שאומר‬ ‫שאמר‬ ‫שאפילו‬ ‫שוכבים‬ ‫שומעת‬ ‫שכתוב‬ ‫שכתוב‬ ‫שלמה‬ ‫שנאמר‬ ‫שפירושו‬ ‫שפירושו‬ ‫תאמר‬ ‫תרגום‬

‫וי״א‬ ‫כה״י‬ ‫מ׳‬ ‫נה״מ‬ ‫פס׳‬ ‫צ״ל‬ ‫שהש״ר‬

‫ויש אומרים‬ ‫כתב היד‬ ‫מתיוס‬ ‫נוסח המסורה‬ ‫פסוק‬ ‫צריך להיות‬ ‫שיר השירים רבה‬

‫‪Other Abbreviations‬‬

part 1 Introduction

∵

chapter 1

The History of Research on the Commentary: The Author, His Time and Background The Oxford anonymous commentary on the Song of Songs was first introduced to the scholarly community by C.D. Ginsburg in the introduction to his Song of Songs commentary. In the chapter on the history of the Jewish exegesis of the book, he gave a brief description of an anonymous commentary found in ms Oppenheim 625 in the Bodleian Library in Oxford,1 and concluded his brief remarks with a call for its publication: “The handwriting is peculiarly bad, and very much effaced; but the valuable remarks it contains, both on the verbal difficulties and poetical figures of this book, would amply repay any Hebrew scholar for publishing it, and would be a boon to Biblical and Hebrew literature.”2 Leopold Dukes partially rose to Ginsburg’s challenge, publishing seven years later selected portions of the commentary in the periodical Jeschurun.3 Following Dukes, Sigmund Salfeld dedicated a few words to the commentary in his book on the history of interpretation of the Song of Songs,4 and in 1896 it was edited by H.J. Mathews.5 In his short introduction to the commentary, Mathews pointed out some of its interesting features.6 Immediately after the publication of the commentary by Mathews, Haim Brody published a short review7 and in 1913 Samuel Poznanski dealt with it briefly in his introduction to the Medieval Northern French School of biblical exegesis.8 For many years after the 1 C.D. Ginsburg, The Song of Songs, translated from the original Hebrew with a commentary, historical and critical, (London: Longman, 1857), 56–57. 2 Ibid., 57. 3 Leopold Dukes, “Excerpts from a Commentary on the Song of Songs by an Anonymous Author,” Jeschurun (ed. Kobak) 4 (1864): 88–94 [Hebrew section]. 4 S. Salfeld, Das Hohelied Salomo’s bei den jüdischen Erklärer des Mittelalters (Berlin: Benzian, 1879), 77–79. 5 H.J. Mathews, “An Anonymous Commentary on the Song of Songs,” in Festschrift zum achtzigsten geburtstage Moritz Steinschneider’s (Leipzig, 1897), 238–240 [non-Hebrew section], 164– 185 [Hebrew section] (henceforth: Mathews). 6 Ibid., 238–240. 7 H. Brody, Zeitschrift für Hebräische Bibliographie 1 (1896): 43. 8 S.A. Poznanski, “Introduction,” to The Commentary of Rabbi Eliezer of Beaugency on Ezekiel and the Twelve Prophets (Warsaw, 1913), lxxxix–xci. [Heb.] (henceforth: Poznanski).

4

introduction

brief description published by Poznanski, the commentary was totally forgotten. No one took any interest in it and no research was dedicated to it. Recently, B.D. Walfish included it in his bibliographic survey of the Jewish exegesis of the Song of Songs9 and Sara Japhet wrote several articles that dealt with it, some as part of articles on other topics and some devoted to it alone.10 The authors feel that the time has come to publish this important commentary in a new edition with a thorough and comprehensive introduction. The author of the commentary is unknown and there are no allusions to his identity, time, or place, anywhere in the commentary. The commentary in the Oxford ms begins at the top of the page with the comment on Song 1:2; this led Mathews to suggest that the beginning of the commentary, which included the introduction and the exegesis on the first verse, was lost at some point, and this view seems reasonable.11 This is a significant loss, since the introduction and the commentary on the first verse are the places where exegetes would present themselves, their methodologies, and the way they understood the nature and genre of the Song of Songs. As far as we know the commentary is not cited by later exegetes, and the only way to identify the exegete and to understand his methodology and outlook is through an analysis of the work itself. The commentary includes thirty-six glosses in Old French, most of them single words, only a few of them longer. These glosses are unambiguous testimony to the place of origin and native tongue of the author.12 The author’s time can only be approximated, based on the sources he used. As we show in what follows, our exegete made extensive use of his predecessors, both exegetes and 9

10

11 12

B.D. Walfish, “An Annotated Bibliography of Medieval Jewish Commentaries on the Song of Songs,” in The Bible in the Light of its Interpreters; Sarah Kamin Memorial Volume, ed. Sara Japhet (Jerusalem, 1994) [Heb.], 549–550. The following are Sara Japhet’s relevant articles: “ ‘Lebanon’ in the Transition from Derash to Peshat: Sources, Etymology and Meaning (with Special Attention to the Song of Songs),” in Emanuel: Studies in Hebrew Bible, Septuagint and Dead Sea Scrolls in Honor of Emanuel Tov, ed. S.M. Paul, [et al.], VTSup 94 (Leiden, 2003), 707–724; “Rashi’s Commentary on the Song of Songs: The Revolution of the peshat and its Aftermath,” in Mein Haus wird ein Bethaus für alle Völker gennant werden ( Jes 56,7): Festschrift für Thomas Willi, ed. J. Männchen and T. Reiprich (Neukirchen; Neukirchener Verlag, 2007), 199–219; “The Human Body and its Beauty in Mediaeval peshat Exegesis of the Song of Songs,” in A Word Fitly Spoken: Studies in Mediaeval Exegesis of the Hebrew Bible and the Qurʾan Presented to Haggai Ben-Shammai (Jerusalem: Magnes Press, 2007), 152–160 [Heb.]; “‘The Lovers’ Way’: Cultural Symbiosis in a Medieval Commentary on the Song of Songs,” in Birkat Shalom: Studies in the Bible, Ancient Near Eastern Literature and Postbiblical Judaism Presented to Shalom M. Paul, ed. C. Cohen, [et al.] (Winona Lake, Ind.; Eisenbrauns, 2008), 863–880. Mathews, 240. For a list of the glosses, with transcription and explanatory notes, see below, pp. 111–117.

the history of research on the commentary

5

authors of other works, but in most cases he did not mention them by name. The only ones he does mention by name are Abraham Ibn Ezra (1089–1164) and Solomon ibn Parḥon (12th cent.), neither of whom is French. There is also a single reference, possibly from a secondary source, to the Karaite exegete Yefet ben Eli (10th cent.). Nevertheless, study of the commentary reveals immediately that the exegete was heavily influenced by the Northern French exegetes, especially Rashi (Solomon ben Isaac; 1040–1105) and Rashbam (Samuel ben Meir; ca. 1085–after 1159).13 In light of these facts, both Mathews and Poznanski dated the commentary to the last third of the twelfth century or shortly thereafter and this view seems reasonable.14 The most important characteristic of this commentary is its strict adherence to the peshat, without any reference, not even an allusion, to the allegorical interpretation of the book.15 It shares this feature with the anonymous commentary in the Prague ms, which is also of Northern French provenance, and also from the same period, perhaps a bit earlier.16 This phenomenon, of explaining the Song of Songs as a poem depicting the love between two young lovers, without any religious content, is unprecedented in the history of the Song of Songs exegesis, whether Jewish or Christian and I address this matter elsewhere.17 13 14

15 16

17

For a discussion of the sources of the commentary see chap. 2 below. The date markings are the year of Ibn Ezra’s death, which is usually accepted as 1164, and the composition date of Ibn Parḥon’s work, which according to the colophon at the end of the manuscript is 1160/61 (see Solomon Ibn Parḥon, ‫מחברת הערוך‬, ed. S.G. Stern [Pressburg, 1844; repr., Jerusalem: Makor, 1970], 1:xviii, 2:75a). In the light of these data, Poznanski estimated the date of composition of this commentary to be between 1180–1190. Salfeld, on the other hand, decided that it dated from the end of the thirteenth century, and justified his late dating by claiming that the author was influenced by David Qimḥi. Salfeld characterized this work, as well as three others, as works “in the spirit of Qimḥi” (im Sinne Kimchi’s; Salfeld, 77), but did not bring proofs for such influence and his proposal has been rejected by both Mathews (239n8) and Poznanski (xc). For a discussion of this possibility see below, pp. 24–25. The author did not present his view on this topic; it is possible that he did so in the conjectured missing introduction which we mentioned above, p. 4. Adolph Hübsch, ed., Die fünf Megilloth nebst dem syrischen Thargum genannt Peschito (Prague, 1866) (in Hebrew); S. Japhet, “The Anonymous Commentary on the Song of Songs in Ms. Prague: A Critical Edition and Introduction,” in ‘To Settle the Plain Meaning of the Verse’: Studies in Biblical Exegesis, ed. Sara Japhet and Eran Viezel (Jerusalem: Mosad Bialik, 2011), 206–247 [Heb.]. Some scholars attribute this commentary to Joseph Qara, but this is an error. For a hypothesis concerning its author, see Japhet, ibid., 229–230. Japhet, “Rashi’s Commentary,” 214–219.

chapter 2

The Sources of the Commentary 1

Rabbinic Literature

Our exegete cites very few rabbinic sources, six in total: a)

b)

c)

d)

In explaining the word ‫[ חרוזים‬1:10], he brings in support of his interpretation the expression “strings of fish” (‫)מחרוזות של דגים‬, which is mentioned in the Mishnah (mBM 2.5) as part of a list of found articles for which the finder is not required to make a public announcement. As we will see below, the entire comment, including the mishnaic example is taken from Ibn Parḥon’s ‫( מחברת הערוך‬see below, pp. 107–108). In his comment on Song 2:1–3, in which the exegete stresses the maiden’s beauty, he quotes the rabbinic adage, “Three things lift a man’s spirit: a beautiful dwelling, a beautiful wife, and beautiful clothes” (bBer 57b). The exegete’s formulation deviates in several details from the original (see Commentary, p. 151), and it would seem that he cited from memory. The same rabbinic quotation appears in Rashbam’s commentary to the same verses. There, the unit being interpreted is Song 1:15–2:1, the quotation is very fitting for the context—the verses that mention the maiden’s beauty, the green couch, and the beams of the house—and it ends the passage. In our commentary, the quotation seems to be in the same location, but it is cut off from verses 1:15–16, and therefore does not connect well with the part of the commentary in which it is located. This leads to the conclusion that our exegete took this quotation from Rashbam’s commentary. At the end of the commentary to chapter 4, the exegete cites another interpretation for verse 13 by Ibn Parḥon:1 “‫שלחיך‬. Parḥon explained: When you are stripped of your clothes and naked … The Targum of ‫ופשט‬ [Lev 6:4] is ‘he stripped off.’” This is the only citation in the commentary from Targum Onkelos on the Torah and it is included in a quote from Ibn Parḥon’s ‫( מחברת הערוך‬p. 69. s.v. ‫)שלח‬. In the comment on Song 5:11, our exegete cites two interpretations by Ibn Parḥon: “And Parḥon explained ‫כתם פז‬. A precious stone like “the ‫כתם‬ of Ophir” [Job 28:16]. Locks. A lot of hair layered plait upon plait. And our sages explained, ‘Piles upon piles.’” The designation (‫פ״פ )פירש פרחון‬,

1 On the use of Ibn Parḥon’s ‫ מחברת הערוך‬in the commentary, see below, pp. 12–13.

the sources of the commentary

e)

f)

7

(Parḥon explained), is brought at the beginning of the first comment (‫כתם‬ ‫)פז‬, but the second comment as well (‫ )תלתלים‬is a direct quote from ‫מחברת‬ ‫הערוך‬: “‫( קווצותיו תלתלים‬Song 5:11). Its meaning is: a lot of hair plaited layer upon layer, and our sages explained: ‘piles upon piles’ ” (s.v. ‫תלתל‬, p. 75). This is the only citation from the Midrash in our commentary and it refers to Song of Songs Rabbah 5.7. This reference too is included in a quote from Ibn Parḥon. At the end of the comment on Song 4:1, the exegete cites “another interpretation” for the term ‫צמתך‬, in the phrase ‫מבעד לצמתך שערך כעדר העזים‬ which, according to this interpretation, means: “Through your net your hair is like a flock of goats.” He states that a woman’s hair “glistens and is thin and yellow and black like the hair of goats whose hair is black,” and that black hair is “a thing of beauty … and it is also a thing of beauty for a woman.” He concludes by bringing the source for his knowledge about goat hair: “It is known that in the Land of Israel the goats are black and the sheep are white, as it is said in the [tractate] Shabbat, ‘What is the reason that goats go at the head of the flock? First the dark, then the light.’” The source he cites is bShabbat 77b, but the quote is not accurate; it is given in an abbreviated manner, with some of the words and their order changed. The full citation is: “What is the reason that goats go at the front, followed by the sheep? He told him: this is like the creation of the world—at first there was darkness, then came the light.” Here too it is clear that the citation is from memory, in order to clarify the main point. In his comment on the expression ‫( דלת ראשך‬the locks of your hair; 7:6), the exegete says: “This is the plaiting of her hair. Trece in French as in ‘he trellised on top of the orchard of his neighbor.’” The phrasing of the quote seems to indicate that it is a quotation from rabbinic literature, possibly Mishnah Sukkah, but we were unable to find its source.2

To sum up, there are six references to or citations from rabbinic literature in the commentary: one reference to Targum Onkelos, one to Song of Songs Rabbah, one to the Mishnah, two to the Talmud, and one to an unidentified source [possibly Mishnah Sukkah]. Three of these citations are included in comments taken from Ibn Parḥon’s ‫ מחברת הערוך‬and one from Rashbam’s

2 However, the verb ‫ הדלה‬is common in Rabbinic Hebrew; the classic source being Mishnah Sukkah 1.4: “If he trained [‫ ]הדלה‬a vine or a gourd or ivy over [the sukkah].” It is possible that our exegete was quoting from memory and misremembered the precise phrasing of his source.

8

introduction

commentary on the Song of Songs. Only for one reference (above no. “f”) have we not yet found a literary source. Does the commentary include reflections of rabbinic literature not as direct quotation or without source citation, as is the exegete’s wont with regard to other sources? Careful study reveals that the commentary contains a number of comments that resemble the Midrash in content and subject matter. These are: 1) 1:2. “From the kisses of his mouth. The kisses on the mouth are a better expression of love and friendship than kissing the hand or shoulder of one’s lover, since this kiss is not such a kiss of friendship.” A similar comment appears in Midrash Shir ha-Shirim Zuta (= Aggadat Shir ha-Shirim) ed. Buber, p. 8: “Another interpretation, Let him kiss me from the kisses of his mouth. We have found that with the kings of East and West it is common to kiss the hand, but this is to make known [God’s] love for Israel since his kisses are only on the mouth.”3 A similar statement appears in Rashi’s commentary to the verse: “Let him kiss me from the kisses of his mouth … Would that King Solomon would kiss me with the kisses of his mouth as he did in days of old, for there are places where it is the custom to kiss on the back of the hand or on the shoulder, but I crave and long for him to behave with me as in the earlier custom, as a bridegroom with a bride, mouth to mouth.”4 The intent of all of the comments is the same—the emphasis on the uniqueness of kisses on the mouth, which express greater intimacy, in comparison with the custom of those that kiss on the hand or on the hand and shoulder— but the formulations are different. The exegete formulates this idea in his customary manner and does not mention his sources, but the greatest similarity is between his formulation and that of Rashi. 2) 1:3. For fragrance your oils are good. “… Therefore your name is called poured out oil, which is oil that is poured from vessel to vessel and whose fragrance spreads a great distance, since it is shaken while it is being poured out.”

3 Buber refers there to a possible source in a baraita in bBerakhot 8b. “R. Aqiva said: There are three things I like about the Medes: … when they kiss, they do so only on the palm of the hand” (10n36) and he also cites parallels in Pesiqta de-Rav Kahana (34a) and Midrash Ecclesiastes Rabbah 7.41 to Eccl 7:23. 4 The same interpretation is alluded to in the brief, concise words of Rashbam, but without a comparison with the customs of other nations: “Let him kiss me. Would that my lover would come and kiss me with the kiss of his mouth on my mouth out of his abundant love, as in days gone by.”

the sources of the commentary

9

A similar comment appears in Shir ha-Shirim Zuta (ed. Buber, p. 10): “Another interpretation ‘For the fragrance of your oils’ … the text says ‘your name is like poured out oil,’ like oil that is poured from one vessel to another and its fragrance goes out and its appearance is pleasant.”5 The same interpretation appears in different formulations in the commentaries of Rashi and Rashbam—in Rashi at length, in Rashbam only briefly— and it is also alluded to in the second commentary of Ibn Ezra: Rashi: “Poured out oil is what your name is called, to say about you, you are oil that is always poured out so that your pleasant odor goes forth a great distance. For this is the way of pleasant oil, as long as it is in a sealed container its odor does not spread. When it is opened and poured into another vessel, its fragrance spreads.” Rashbam: “‫לריח שמניך טובים‬. Because of your goodly oils of persimmon whose fragrance spread afar to the ends of the land and were poured from vessel to vessel, your name is called oil.” Ibn Ezra: “Poured out. There are those who say that it is the name of a place, but the correct meaning is that it is like oil, poured out oil.” From a topical perspective, all of the comments are similar, but in terms of formulation, our exegete’s comment is closest to that of Rashbam. 3) 1:15. “Ah, you are beautiful, my love. … Or perhaps he compared her to the eyes of a dove because the doves love their mates more than any bird.” A similar explanation of “your eyes are doves” appears in Song of Songs Rabbah, and in a similar formulation in the commentaries of Rashi and Ibn Ezra. SofSRab (1.63): “Your eyes are doves. … Just like a dove, who from the time she recognizes her mate, never exchanges him for another ….”6 Rashi: “Your eyes are doves. Just like the dove, who from the time she meets her mate, does not leave him to pair up with another.” Ibn Ezra: “Your eyes are doves. Like a dove, who meets her mate and never leaves him” (First commentary, second level). “Your eyes are doves. Like the eyes of doves. For it is the custom of doves to not pair up except with their partners” (Second commentary, second level).

5 It is possible that this explanation is alluded to indirectly also in Shir ha-Shirim Rabbah (1.22): “R. Johanan explained the verse with reference to the patriarch Abraham … what does this resemble? To a plate of spikenard oil which was sitting in a corner and was not giving off its fragrance; someone came and moved it and then it gave off its fragrance.” 6 Midrash Rabbah Song of Songs, trans. Maurice Simon (London: Soncino, 1939), 86 [1:15.2].

10

introduction

The source of this comment would seem to be the Midrash; Rashi and the Midrash seem to be closest in their formulations. Our exegete formulates the idea in his own manner and does not cite his sources exactly; it is impossible to determine with certainty the source of his comment. 4) 6:11. “I went down to the mown garden (‫)גנת אגוז‬. Now she tells her lover … that she went down to the mown garden, whose greenery was mowed down. For this is the custom of the world to reap and mow down the grass and the hay in order for it to flourish greatly again.” The exegete derives the noun ‫ אגוז‬from the root ‫ גז״ז‬and describes ‫גנת אגוז‬ as a “garden whose greenery was mowed down.” To buttress his explanation he calls upon “the custom of the world,” the reality as he knows it. The noun ‫ אגוז‬is a hapax legomenon and is usually explained as the name of “a tree-fruit with a hard shell.”7 The new biblical dictionaries do not propose a Hebrew etymology for this word, but rather parallels in other languages,8 and the early dictionaries also avoid providing an etymology. Menaḥem ben Saruq does not include ‫ אגוז‬in his ‫ מחברת‬and Jonah ibn Janaḥ only remarks: “this term is known in the Mishnah.”9 I found the etymological derivation of ‫ אגוז‬from the root ‫גז״ז‬/‫ ג״ז‬in only two other sources: Song of Songs Rabbah and the anonymous commentary on the Song of Songs found in the Laurentiana Library in Florence, Italy.10 The Midrash reads as follows: “I went down into the nut garden. R. Joshua ben Levi said: Israel are compared to a nut-tree. Just as a nut-tree is pruned and renewed, and for its benefit it is pruned, since it renews its branches like hair, which renews itself after being shorn, and like nails, which grow back after being pared ….”11 The Midrash on this matter continues till the end of the section, and according to it, Israel is likened to the ‫אגוז‬, which is the fruit, and to the ‫אגוזה‬, which is the tree, which is “pruned and renewed.” The Midrash therefore derives the

7 8 9 10

11

A. Even-Shoshan, ‫[ המילון החדש‬The New Dictionary], vol. 1 (Jerusalem: Qiryat sefer, 1997), 13. See Hebrew and Aramaic Lexicon of the Old Testament (halot) (Leiden, 1994–2000), 10. Jonah ibn Janah, ‫[ ספר השרשים‬Book of Roots], trans. J. Ibn Tibbon; ed. W. Bacher (Berlin, 1896; repr. Jerusalem 1969), 12. Shelfmark: Acq. e Doni 121. Alster in his dissertation on the Song of Songs exegesis calls it “attributed to Rashi.” See Baruch Alster, “Human Love and Its Relationship to Spiritual Love in Jewish Exegesis on the Song of Songs,” (PhD diss., Bar-Ilan University, 2006), 14–16. (Hebrew with an English abstract). Midrash Song of Songs Rabbah 6:17; Midrash Rabbah Song of Songs, 6:11.1; trans. Simon, 270.

the sources of the commentary

11

noun ‫אגוזה‬/‫ אגוז‬from the root ‫גז״ז‬, but as opposed to our exegete, it applies the comment to the tree and not to the garden. The comment in the anonymous commentary in the Florence ms reads as follows: ‫אל גנת אגוז‬. Her lover says this. I went down to the seed garden after they had been pruned (‫ )נגזזו‬to look at the ‫אבי הנחל‬, the moisture of the valley grasses. ‫ אגוז‬is like ‫גינת אגוז … אתמול‬. A garden of grasses, in the feminine, as it is written “and as a garden (‫ )גנה‬causes its seeds to sprout” (Isa 61:11), but a garden (‫ )גן‬of trees is masculine.

This comment is very similar to that of our exegete, and is even more detailed. Not only does it derive the word ‫ אגוז‬from ‫ גז״ז‬but it even explains the alef at the beginning of the word as a prosthetic alef, i.e., “as a meaningless alef at the beginning of a word,”12 by comparing it to ‫אתמול‬, the prime example of this phenomenon. According to this explanation, the word is ‫גוז‬, and it is a passive verb rather than a noun. In addition the exegete adds in a separate comment that what is involved here is a “garden of grasses” and not a “garden of trees,” which is why the word appears in the feminine form. It is possible that he is dealing here with the various positions expressed in Midrash Rabbah on the Song of Songs. Alster believes that this anonymous commentary “attributed to Rashi” is from the twelfth century, but without a more precise dating we cannot know if it predated or postdated our commentary. In light of the similarity between the two commentaries and in light of the detail in the commentary “attributed to Rashi” as opposed to the brevity in our commentary, it is likely that the commentary “attributed to Rashi” is the source that our commentary relied upon. However, all the questions that relate to the relationship between these two works await further research and the forthcoming publication of the commentary attributed to Rashi, which will analyze it in detail.13 To sum up, we have found four comments in our commentary that display a similarity in terms of subject matter and content to midrashic works—two in Shir ha-Shirim Zuta, two in Shir ha-Shirim Rabbah. The detailed examination of these comments leads to the conclusion that our exegete did not access 12 13

O. Schwarzwald and M. Sokoloff, A Hebrew Dictionary of Linguistics and Philology (RamatGan: Rekhes, 1992), 184. [Heb.] In his thesis (above, n10), Alster deals with various aspects of this commentary; he also announces (14n51) that he plans to publish this commentary in a scientific edition, but it has yet to appear.

12

introduction

these midrashic works directly, but rather accessed them through his exegetical predecessors. His connection with rabbinic literature is therefore very limited, bordering on the nonexistent.

2

Exegetes and Grammarians14

Our exegete has various ways to cite the exegetes and grammarians that preceded him and served as his sources and models: some of these sources he mentions by name, others he cites in general ways—“there are those who say,” “there are those who interpret,” “a different explanation,” “a different matter”— without mentioning their names, and there are times when he doesn’t mention his sources at all. The sages he mentions by name are the Spanish scholars Abraham Ibn Ezra and Solomon Ibn Parḥon; he also mentions once the Karaite exegete Yefet ben Eli. Among the exegetes of Northern France there is no doubt that he used the commentaries of Rashi and Rashbam, but he never mentions either of them and only occasionally does he allude to them, using the general designations mentioned above. Because of the cloud of secrecy with which our exegete envelopes his relation to the sources, it is impossible to decipher them completely and accurately. 2.1 Solomon Ibn Parḥon: ‫מחברת הערוך‬ Our exegete cites ‫ מחברת הערוך‬of Solomon Ibn Parḥon using the designation (‫“( פ״פ)פירש פרחון‬Parḥon explained”) and mentions him explicitly eleven times (1:11, 1:17, 2:5, 4:13–14, 4:13 [after v. 16], 5:11, 5:14, 6:5, 7:2, 7:6 [twice]). Mathews points out that he used this source another eight times without mentioning it by name [1:6, 1:10, 1:13, 2:10, 4:9, 5:6, 6:7, 8:9].15 To these should be added the following, which are without a doubt from ‫מחברת הערוך‬: 1:2, 4:5, 4:11, 5:9, 5:13, 6:9, 7:10–11 (twice). In all there are close to thirty verses with a connection to ‫ מחברת הערוך‬and there may be others that have until now escaped detection. The exegete relates to this source in various ways. Sometimes, he quotes it word for word, as in 1:2, 1:13, 2:5, 4:13, etc., and sometimes he reworks it somewhat, rephrasing, lengthening, or shortening. Sometimes he will present Parḥon’s comment as his own (e.g., 1:2, 1:10, etc.); other times he will present it as an additional interpretation, along with others. The considerable number of

14 15

Mathews, 239–240. Mathews, 239 and n. 5.

the sources of the commentary

13

these interpretations makes ‫ מחברת הערוך‬our exegete’s primary source and it is highly likely that it was a constant companion “on his desk” as he wrote his commentary.16 2.2 Abraham Ibn Ezra The designation in the commentary for Abraham Ibn Ezra is I"E [‫ ]א״ע‬and he is mentioned explicitly ten times, of which seven were mentioned by Mathews [1:2, 1:15, 3:8, 4:12, 5:11, 7:3 and 7:10]. To these should be added 1:7, 1:8, and 7:1. As with ‫מחברת הערוך‬, the connection to Ibn Ezra is revealed also in comments in which he is not mentioned. The relation of our exegete to Ibn Ezra’s works is complex. The mention of his name certainly stems from an attitude of respect towards him and arouses in the reader the understandable expectation that the exegete is citing his comments accurately and usually adopts them, as is the case with ‫מחברת הערוך‬. However, an examination of the comments in which Ibn Ezra is mentioned leaves the reader disappointed. The exegete opens the first comment on v. 1:2 with a quote from Ibn Ezra—“Ibn Ezra says”—but the goal of the comment is not to adopt his explanation but rather to take issue with it, and he marshals for this purpose a lengthy list of examples taken from Ibn Parḥon and other sources.17 A critical stance towards Ibn Ezra is also manifested in other mentions of his name, e.g., “Ibn Ezra explained … but the correct interpretation is …” [1:8], and “Ibn Ezra wrote … and the correct interpretation is …” [1:15]. Moreover only some of the comments that the exegete attributes to Ibn Ezra actually appear in one of his commentaries on the Song of Songs.18 Thus, for example, at 1:15, “Your eyes are doves. … And Ibn Ezra wrote: Like the eyes of doves, which are like weavers that move from side to side and thus did the Arabs mention in their love poetry.” This comment is not found in Ibn Ezra’s commentaries on the Song of Songs.19 16 17 18

19

See above, pp. 6–7 and below, p. 27. For a detailed discussion of this comment, see the chapter on Language, below, pp. 98–103. The first commentary was published by Mathews (Oxford 1874), and the second which was written later, is included in rabbinic Bibles (‫)מקראות גדולות‬. Both of the commentaries are included in the Haketer edition of Miqraʾot gedolot: The Five Scrolls (ed. Menachem Cohen; Ramat-Gan, 2012). On Ibn Ezra’s double commentaries, see Uriel Simon, “The Spanish Exegetes,” in Jewish Bible Exegesis: An Introduction, ed. Moshe Greenberg (Jerusalem, 1983), 47 [Heb.]; Simon announced there that he was preparing a comprehensive edition of all of the commentaries of Ibn Ezra on the Five Scrolls, but this publication has not yet appeared; see also Barry Dov Walfish, “The Two Commentaries of Abraham Ibn Ezra on the Book of Esther,” jqr n.s. 79 (1989): 323–343. On the second part of this statement, see below, p. 26 (in the section on Spanish poetry).

14

introduction

In the comment on 7:1 the exegete says: “Turn, turn, O Shulammite … Ibn Ezra explains: they say, turn, turn, so that we can see you again, and she replies to them, what do you see in me and why do you shout after me and you turn me into a ‫ מחנים‬dancer who keeps going around and around?” This comment does not appear in the two commentaries of Ibn Ezra in our possession. The same applies to the comment at 7:10: “And Ibn Ezra explained: It goes down for my beloved. Each one of them says that he will go straight (‫ )למישרים‬with my love and affection,” a comment also not found in Ibn Ezra’s extant commentaries. (Concerning the comment on 4:12–16, which the exegete designates “Ibn Ezra’s method” see below in the chapter on figurative language.)20 Only in a few cases where the exegete mentions Ibn Ezra is there a clear connection to the comments of Ibn Ezra in both his commentaries [e.g., 3:8, 5:11, and 7:3]. As mentioned, in all of these verses, the exegete mentioned Ibn Ezra as his source. But one can add other comments in which Ibn Ezra is not mentioned which also exhibit the same two stances towards his comments: a certain affinity on the one hand and rejection on the other. See for example, the comment on 1:4 in which our exegete accepts Ibn Ezra’s interpretation without mentioning him: “Another matter. We will recall your love more than wine; rightly do they love you. … Also, we find that the expression ‫ מישרים‬is used in the context of wine … ‫ מישרים‬refers to ‘than wine.’” Ibn Ezra to 1:4 comments: “‫ מישרים‬is the attribute of wine” (First comm., first level). “‫ מישרים‬is the attribute of wine … and others said the righteous love you … and the first is closer to me” (Second comm., first level). On the other hand, at 1:13, our exegete accepts the interpretation that Ibn Ezra rejects. “Myrrh. This is a perfume called musge and they are like nipples that grow on the necks of goats in the wilderness of Cush.” Ibn Ezra comments: “There are those who say that myrrh is musk but the word ‫[ אריתי‬5:1; I plucked, gathered] destroys this interpretation” (First comm., first level); “Myrrh. There are those who say that ‫ מור דרור‬is musk, but this is far-fetched” (Second comm., first level). Not all of these comments are unique to Ibn Ezra, and their formulation is not especially close to that of Ibn Ezra; it is possible, then that our exegete had other sources in mind. How is one to understand the exegete’s attitude to Ibn Ezra? On the one hand, the fact that Ibn Ezra is the only exegete that our exegete mentions by 20

Below, pp. 74–75. It would seem that the choice of the term “Ibn Ezra’s method” rather than “Ibn Ezra wrote” is intentional. Ibn Ezra presents his comments in utter brevity and this fits in with his general attitude to the descriptions of the body in the Song of Songs (see Japhet, “The Human Body,” 60–62). Our exegete expands on Ibn Ezra’s comment and apparently adopts it.

the sources of the commentary

15

name attests to the fact that he has a high regard for Ibn Ezra and his work. On the other hand, his stance towards his comments is multifaceted. In general he does not cite them accurately and he adopts them only in a few cases. There are many more cases in which he differs with Ibn Ezra or quotes in his name comments that are not found at all in the commentaries we possess. It is difficult to imagine that he had an additional commentary by Ibn Ezra. As far as we know—and on this there is general unanimity—Ibn Ezra wrote only the two commentaries on the Song of Songs we possess today and no more. And even if we admitted that this was possible and that our exegete had a variant tradition of Ibn Ezra, this would only solve some of the difficulties, but not all of them. It seems to me that the only way to explain the data that we have is to see the exegete’s connection with Ibn Ezra in the framework of his connection with Ibn Parḥon. The latter mentions with reverence the two important teachers he had: Ibn Ezra and Judah ha-Levi.21 It is possible, then, that Ibn Parḥon’s attitude to Ibn Ezra influenced our exegete’s position, which led him to give Ibn Ezra a place of honor in his commentary, even though he didn’t see himself necessarily committed to his interpretations. 2.3 Yefet ben Eli In the comment to 1:12, our exegete mentions Yefet, i.e., Yefet ben Eli: While the king was at his table. And Yefet said that even the king at his table is desirous that my nard spread its fragrance. “Gave forth” refers to the king, i.e., the king gave my nard as his fragrance; because he enjoys the fragrance of my nard he must perfume himself with my nard. But my lover does not need to perfume himself because he himself is a bag of myrrh, and therefore I crave that he lie between my breasts. According to this interpretation, the king is not her lover, but another man is her lover. Aaron Kobak has shown22 that this comment is not found in Yefet’s commentary on the Song of Songs; Dukes and those that followed after him, claimed that the comment was Ibn Ezra’s.23 But the connection to Ibn Ezra is general and not precise, and its essence lies in the contrast between the king and the lover.24 In his first commentary Ibn Ezra says: “Even though I have a pleasant odor, since 21 22 23 24

Ibn Parḥon, ‫מחברת הערוך‬, 2:xxii. In a comment on Dukes’s article, Jeschurun 4 (1864): 89. Mathews, 239, n. 7; Dukes, “Excerpts,” 88. Poznanski explains it as an error: “Apparently, our author made a mistake” (Poznanski, xc, n. 2). See below, p. 45 the discussion on this comment (Solomon as author of the Song of Songs).

16

introduction

the king himself would want to smell my nard, you have an even better odor and I crave for him to rest between my breasts” (First comm., second level). And in the second commentary: “even though my fragrance wafts afar and even the king at his table craves to smell my nard, my lover has more wafting fragrance, since he is a bag of myrrh and I crave for him to rest between my breasts” (Second comm., second level). The main point that the exegete attributes to Yefet “that even the king at his table is desirous that my nard spread its fragrance; ‘gave forth’ refers to the king, i.e., the king gave my nard as his fragrance,” is not found in the commentary of Ibn Ezra. It is possible that our exegete cited Yefet from some secondary source, but at least for the time being, we cannot identify it. 2.4 Rashi and Rashbam Among the sources that our exegete does not explicitly mention, but which he undoubtedly used, should be mentioned the commentaries of Rashi and Rashbam to the Song of Songs. The connection to Rashi’s commentary was already mentioned by Mathews, who listed seven places where a connection to Rashi is clear: comments to 1:3; 2:7; 4:5; 5:11, 12, 15; and 7:5.25 Thorough examination of the entire work proves that the affinity to Rashi’s commentary is much more widespread than was noted by Mathews. Mathews did not mention Rashbam’s commentary to the Song of Songs, even though the connection of our exegete to Rashbam is very clear.26 In light of the similarity between the commentaries of Rashi and Rashbam there are quite a few cases in which it is not clear which commentary was the source of influence. Furthermore, there are quite a few cases in which the influence of the two commentaries is expressed in the content and the topic but not in the formulation, and these may have been the fruit of the exegete’s independent thinking. In keeping with these limitations, I have listed below

25 26

Mathews, 239. Mathews does not mention this fact nor does he explain why. Rashbam’s commentary on the Song of Songs was published by Adolph Jellinek in 1855 and was no doubt known to Mathews. It is possible that Mathews adopted the view of David Rosin that the commentary is not that of Rashbam and therefore he did not refer to it. Poznanski accepted Rosin’s view that the commentary is not authentic (Poznanski, lxxxiv–lxxxvii), but did mention a certain affinity between that work and our commentary (ibid., xc). On the question of the authenticity of the commentary of Rashbam to the Song of Songs, see S. Japhet, The Commentary of Rabbi Samuel Ben Meir (Rashbam) on the Song of Songs (Jerusalem: World Union of Jewish Studies, 2008) [Heb.], 9–50 (henceforth Japhet, Rashbam on the Song of Songs).

the sources of the commentary

17

only those comments in which there is a clear similarity in formulation to Rashi or Rashbam, in total, more than forty cases. In what follows I will list in detail the comments for chapter 1 and will list the others in references only.27 Rashi 1) 1:2. From the kisses of his mouth. The kisses of the mouth are a better expression of love and friendship than kissing the hand or shoulder of one’s lover, since this kiss is not such a kiss of friendship. Rashi: Let him kiss me from the kisses of his mouth … for there are places where it is the custom to kiss on the back of the hand or on the shoulder, but I crave and long for him to behave with me as in the earlier custom, as a bridegroom with a bride, mouth to mouth. 2) 1:5. I am black and beautiful. … if I am black, this is not a great ugliness, because I am beautiful and graceful … with shapely limbs, and well-contoured, like the form of a palace. Rashi: I am black and beautiful … For I am black from the tanning of the sun and beautiful with shapely beautiful limbs. 3) 1:6. That I am dark. This is not real blackness, which comes from my mother’s womb. Rashi: That I am dark. For my darkness and ugliness do not come from my mother’s womb (v. 5–6 are a blending of Rashi and Rashbam with additions and changes in formulation).

27

For the following chapters, see: Rashi: 4:1 (lemma: ‫ צמתך‬.‫ ;)פי׳ א = פירוש אחר‬4:3 (lemma: ‫ ;מדברך‬similarly, Rashbam, Ibn Ezra); 4:5 (lemma: ‫ ;תאומי צביה‬also Rashbam); 5:10 (lemma: ‫ ;)צח‬5:11 (lemma: ‫ ראשו כתם פז; תלתלים‬:‫ ;)פ״א‬5:12 (lemma: ‫מראהו כלבנון בחור‬ ‫ ;)כארזים‬5:16 (lemma: ‫ ;)חכו ממתקים‬6:5 (lemma: ‫ ;הרהיבוני‬similarly Rashbam); 6:11 (lemma: ‫ ;)באבי הנחל‬6:12 (lemma: ‫ ;עמי נדיב‬see below, p. 121); 7:2 (lemma: ‫;חמוקי ירכיך‬ see also 5:7 and Rashbam); 7:5 (lemma: ‫ אפך‬:‫ ;וי״מ‬see also below); 7:14 (lemma: ‫;)הדודאים‬ 8:5 (lemma: ‫ ;מתרפקת‬see also Rashbam, Ibn Ezra). Rashbam: 2:4 (lemma: ‫ ;)הביאני אל בית היין‬2:7 (lemma: ‫ ;פ״א בצבאות‬see also Rashi); 2:10 (lemma: ‫ ;ענה‬also Rashi); 3:1 (lemma: ‫ ;)על משכבי בלילות‬3:9 (lemma: ‫ ;הלבנון‬see also Rashbam 4:11 and following); 4:2 (lemma: ‫ ;שיניך כעדר הקצובות‬also Rashi); 4:3 (lemma: ‫ ;)כחוט השני שפתותיך‬4:3 (lemma: ‫ ;)כפלח הרימון‬4:11 (lemma: ‫;וריח שלמותיך כריח לבנון‬ see below); 5:13 (lemma: ‫ ;)לחיו כערוגת הבושם; נוטפות מור עובר‬5:14 (lemma: ‫ממולאים‬ ‫ ;)בתרשיש‬6:11 (lemma: ‫ ;)?פירות‬7:1 (‫ השולמית‬,‫ ;)או פי׳‬7:2 (lemma: ‫ ;)חלאים‬7:5 (lemma: ‫;אפך‬ see below); 7:6 (lemma: ‫ ;)ודלת ראשך‬7:6 (‫ ;)מלך אסור ברהטים‬7:12 (lemma: ‫)לכה דודי נצא‬.

18

introduction

4) 1:9. ‫לסוסתי‬. A unit of horses is called ‫סוסתי‬. Rashi: ‫לסוסתי‬: A unit of my horses, and in French kavalkia. (Similarly Rashbam). 5) 1:14. A cluster of henna blossoms. A type of perfume that gives off a pleasant fragrance, as it says below “henna with nard” [4:13] and it grows in the vineyards of En-gedi and this is a place. Rashi: A cluster of henna blossoms. There is a perfume called henna, as in “henna with nard” [4:13]. Rashbam: Kofer. A perfume, as in “henna with nard.” [4:13]. En-gedi. The name of a place. (A combination of Rashi and Rashbam. Ibn Ezra also notes that En-gedi is a place). 1:15. Your eyes are doves. See above, pp. 9–10. Rashbam 1) 1:2. For fragrance your oils are good. Because of the fragrance of your oils that you anoint yourself with. … Therefore your name is called poured out oil, which is oil that is poured from vessel to vessel and whose fragrance spreads a great distance …. A good name is likened to oil, as it is said, “A good name is better than good oil” [Eccl 7:1]. Rashbam: For the sake of your good oils … whose fragrance spread a great distance … and were poured from vessel to vessel your name is called ‘oil.’ For example, “A good name is better than good oil” [Eccl 7:1]. (There are also similarities with Rashi.) 2) 1:5. I am black and beautiful …. Now she speaks to her friends … who scorn and mock her, and say that her lover distanced himself from her because she is ugly and black. Rashbam: You my virgin friends … do not scorn me … by saying that because I am black my lover distanced himself from me. 3) 1:5. Kedar. A nation that always dwells in tents, not in houses, because they tend their flocks in the wilderness. Rashbam: The tents of Kedar are dark because the Kedarites are settled in the wilderness and dwell in tents and not in houses. 4) 1:7. For why should I be like an ‫עטיה‬. Like one who wanders from place to place to seek you.

the sources of the commentary

19

‫עטיה‬. Wanderer. Like “The Lord is about to hurl you away violently, and He will surely make you wander (‫[ ”)ועטך עטֹה‬Isa 22:17]. Rashbam: For why should I be [like] a wandering sheep, hurled about to wander and roam by the sheep of your friends the shepherds. ‫כעטייה‬. This means “hurled about” as in “The Lord is about to hurl you away violently, and He will surely make you wander (‫[ ”)ועטך עטֹה‬Isa 22:17].

5) 2:1. These three things lift a man’s spirit: a beautiful dwelling, beautiful furnishings, and a beautiful wife. Rashbam to 1:15–2:1. Therefore you need to take pleasure in me, with a beautiful wife and a beautiful dwelling and beautiful vessels.28 One of the clearest proofs for the use by our exegete of Rashbam’s commentary is the comment on the word Lebanon.29 In the commentary tradition several suggestions were made to explain this word, but prominent among them is Rashbam’s novel interpretation that Lebanon is “a tree bearing lavender whose fragrance spreads afar” (to 4:11). In his commentary on the Song of Songs, Rashbam refers to this matter three times, twice in his comment to 4:11 and once in his comment to 4:15. This comment was twice defined explicitly as “the language of Rashbam” in ‫ספר ערוגת הבושם‬, the piyyut commentary of Abraham ben Azriel: “Rashbam says: ‘His fragrance is like Lebanon’ [Hos 14:7], like a forest of frankincense trees”; also “Rashbam says: ‘Their fragrance shall be like the wine of Lebanon’ [Hos 14:8], like the wine of vines that are planted among grapevines and frankincense, so that their fragrance is absorbed in the grapes.”30 This is the explanation that the exegete adopts without mentioning its source and he repeats it five times with extra emphasis: “Lebanon. A tree from which frankincense is extracted and that has a pleasant fragrance” (at 3:9, and 4:8, 11, 15) and in the comment on 7:9 he brings it as one of the possible interpretations.31

28 29 30 31

See above in greater detail, p. 6. On the incorporation of Rashbam’s words into Ibn Ezra’s interpretation to 1:2, see below, p. 99. For a detailed discussion of this topic, see Japhet, “Lebanon.” Abraham ben Azriel, ‫ספר ערוגת הבשם‬, ed. E.E. Urbach, vol. 2 (Jerusalem; Meqitsei Nirdamim, 1947), 108–109, 110. See Japhet, “Lebanon,” 722–723.

20

introduction

Another example of familiarity with Rashbam’s commentary, while juxtaposing it to that of Rashi, is the comment on “your nose is like the tower of Lebanon” [7:5]. In his comment on this metaphor Rashi claimed: I cannot interpret this as meaning nose … since what kind of praise of beauty is there in a nose that is big and straight as a tower? But I say that ‫ אפך‬refers to the face, and the reason he uses it in the singular … is because he is talking about the forehead which is the most distinctive part of the face … and know that he is praising her from bottom to top, ‘your eyes are like pools in Heshbon’ and after that the forehead. Rashbam reacts to Rashi’s comment briefly without mentioning his name. First he claims that the description of the beloved’s features is from “bottom to top,” after which he says: “‫אפך‬. Your nose. It is a beautiful feature for a woman to have a straight and even nose without any crookedness.” Our exegete cites both explanations. First he brings that of Rashbam and adds: “Your nose is like the tower of Lebanon. Your nose is upright and straight and not sunken, like the tower of Lebanon, which is straight without distortion or curve. … For there the builders took pains to build it with a plumb line.” After this he brings Rashi’s comment prefixed by (‫“ ;וי״מ )= ויש מפרשים‬and there are those who interpret ‫ אפך‬as the forehead, which is the essential part of the glory of the face. And after praising the eyes, he praised the forehead, which is above them and not the nose, which is below. Also there is nothing beautiful about a straight nose.” Here we have two contradictory interpretations, one by Rashi, the other by Rashbam. 2.5

The Anonymous Commentary in the Prague ms (Prague Anonymous) In my study of this commentary I suggested that the author was a student of Eliezer of Beaugency, which fixes his time in the second half of the twelfth century.32 This means that he was a contemporary of our exegete, and it is reasonable to assume that he was slightly older. These two commentaries have differences in method, content, and style, but they resemble each other in 32

Japhet, “Anonymous Commentary” [above, n. 16], 229–230. The dating is not precise because we do not have precise dates for R. Eliezer of Beaugency, his contemporary Joseph Bekhor Shor, or others and their dates are established based on various data in their biographies and in their works, such as their teachers, their sources, etc., and also their citations in later works. See, for example, Poznanski, lviii (on Joseph Bekhor Shor), cxxix (on Eliezer of Beaugency), etc. On the estimated dating of our exegete, see above, p. 5.

the sources of the commentary

21

several central features, first and foremost in the basic data of date and place: both exegetes were active in Northern France in the same period and were part of the central movement of Northern French exegesis, though perhaps they belonged to different branches of it. These exegetes were not direct students of the fathers of this movement, but the students of the students, and their affinity to the founders stemmed from their adoption of various aspects of their exegetical methods, a certain affinity in terms of the content and style of their compositions, and precise citations. Both exegetes used the commentaries of Ibn Ezra as was the custom of the continuators of the French School.33 The most important point that connects these two exegetes is the fact that both deviated from the unwavering position of their predecessors that the Song of Songs is an allegory of the love of God for the Jewish people and explained the book exclusively according to its plain meaning as a dialogue between two lovers, a man and a woman.34 Aside from this essential similarity there are several points of affinity between the two works and some similar comments, and the question is whether these are enough to attest to a direct connection between them, and specifically, whether our exegete knew the Prague Anonymous commentary and made use of it. This is not easy to determine, because among the similar comments in the two commentaries, there are those that are not unique to them and it is likely that they were both borrowing from earlier sources. Even when the comments are unique in their content, the different styles of each exegete—short and laconic in one case, verbose and colorful in the other— lead to quite different formulations of their commentaries. With these limitations in mind, I present a few illustrations of the affinity between the two commentaries. 1 The Identification of the Central Characters of the Song of Songs The three great exegetes of the Song of Songs—Rashi, Rashbam and Ibn Ezra— while ascribing authorship of the book to Solomon, refused to see him as its main protagonist—“the lover”—and each one had a different explanation for Solomon’s appearance in it.35 The same applies to the maiden, the main female protagonist of the book. Rashi determined that the Song of Songs tells of “a woman abandoned by her husband.” According to Rashbam, the heroine is a maiden who is “pining away and longing for her lover who left her to travel far 33 34 35

On the influence of Ibn Ezra on the exegetes of Northern France, see Poznanski, lix, cxxxvi–cxxxvii. See also below, pp. 32–33 (On the nature of the commentary). See Japhet, Rashbam on the Song of Songs, 127–133.

22

introduction

away.” According to Ibn Ezra, the heroine is a young maiden, who was grazing her sheep outside the city and met a passing shepherd, and “desire was kindled in both of their hearts.”36 On the issue of the composition of the Song of Songs, the position of the two anonymous exegetes is identical to that of their predecessors,37 but concerning the identification of the main protagonists they share a view, which is completely different from those of their predecessors, that Solomon is the “lover” and the “beloved” is one of his wives. The author of the Prague Anonymous declares this explicitly: “According to the plain meaning, Solomon had one woman whom he loved more than the others, and she was very fond of him, and he wrote this song about her.”38 On the basis of this assumption, he explained many verses as describing encounters between Solomon and his beloved wife and emotions expressed by them.39 Our exegete defines the protagonists of the book in a similar fashion; although he doesn’t make it explicit (perhaps this can be explained by the lack of an introduction), study of the details of the commentary clearly attests to this.40 2 The Pleasure-Walking (‫ )טיול‬Motif In an article that I devoted to the Prague Anonymous, I pointed out an unusual motif shared by the author and Rashbam, that of “walking for pleasure.”41 I noted there that this motif is repeated a lot in his Song of Songs commentary “not only in verses in which the text might allude to such a motif but also in verses in which there is no indication in the text that walking is involved.” According to Rashbam the purpose of walking is “be intimate there,” which is a euphemism for sexual relations. The author of the Prague Anonymous adopted this motif and even extended it to additional verses, but made no allusions to the act of love. I mentioned there that this motif appears as well in the commentary under discussion here, but I did not go into detail.42 Our exegete uses the term ‫ טיול‬more than ten times, and the motif of going out to the mountains, the fields and the vineyards is also quite common, 36 37

38 39 40 41 42

These identifications are set down explicitly in the introductions to each of the commentaries. See also Japhet, “Anonymous Commentary,” 212–213. The author of the Prague Anonymous, deals explicitly with the question of the authorship of the Song of Songs and attributes it to Solomon; for our exegete’s position, see below, p. 45. Prague Anonymous, comment to vs. 1:2, “‫ישקני מנשיקות פיהו‬.” Japhet, “Anonymous Commentary,” 212–213. For a detailed discussion of this matter, see below, in the chapters on the characters. Ibid., 221–222. Ibid., n. 62.

the sources of the commentary

23

without the use of the root ‫טי״ל‬. Most of the verses in which our exegete uses this motif are identical to those used in the Prague Anonymous [2:15, 17, 4:6, 8, 12; 6:11; 7:12, 14; 8:12 [a second interpretation], 13], but the formulation is broader and more detailed. In light of the fact that our exegete also refrains from allusions to the act of love and emphasizes the walking together with his “friends,” it seems to me likely that the Prague Anonymous is his source and not Rashbam. 3 Similar Interpretations 1) 5:14. His hands are rods of gold. … like those cylinders of gold … because he wants to fill their mountings with ‫תרשיש‬, which is a precious stone. Prague Anonymous: Filled with ‫תרשיש‬. Like rods of gold filled with ‫תרשיש‬, which is a precious stone, inside the gold. 2) 5:14. Adorned with sapphires. Our exegete offers three explanations for this figure: (a) “The belly is as if wrapped in sapphires”; (b) some explain: “The pubic hair, which is a thing of beauty for a man”; (c) the third is defined as the correct explanation: “Adorned with sapphires refers to “tablet of ivory.” It means a white and valuable tablet of ivory, which because of its worthiness is set with sapphires and precious stones.” Prague Anonymous: Adorned. This refers to the tablet (‫)עשת‬. It means like a tablet and thickness adorned and surrounded by sapphires. 3) 5:16. His palate is sweets. His words are sweet and pleasant. Prague Anonymous: His palate is sweets. The words that come from his palate are sweet. 4) 5:16. This is my lover and this is my friend. … This is how she answered the daughters of Jerusalem who asked her “How is your lover different from any other lover” [5:9]. Prague Anonymous: This is my lover and this is my friend. Since you asked me: “How is your lover different from any other lover” [5:9]. 5) 6:9. The only one of her mother … Therefore he says that of all the girls that her mother gave birth to, there is none as beautiful as she. Prague Anonymous: The only one of her mother. Even to her mother she is the only one, she is more beloved to her than her other daughters. In light of all the data, I would cautiously suggest that the Prague Anonymous served as one of our exegete’s sources. The works differ from each other in

24

introduction

scope, in the attitude toward peshat as a method—single as opposed to multiple explanations—in the degree of reflection of the social and cultural milieu in their works, and in their style. It is possible that the authors of these commentaries belonged to different branches of the Northern French school of interpretation, but a complete comparison between the two commentaries is beyond the scope of this introduction. 2.6 David Qimḥi (ca. 1160–ca. 1235) Should the works of David Qimḥi (Radaj) also be included in the list of our exegete’s sources? S. Salfeld included the commentary among the works written under Qimḥi’s influence, and on the basis of this assumption determined the date of the exegete as the second half of the thirteenth century. According to Salfeld, “many of his explanations were taken from Ibn Ezra and David Qimḥi.”43 And indeed, a few comments in our commentary show affinity to Radaq’s works, especially two of them. One, which I deal with at length (in the chapter on language) is the topic of the switching of persons, at the beginning of the commentary. Radaq deals with this topic twice in his ‫מכלול‬, the first time at the beginning of the chapter on verbs (ch. 1, p. 2), where he cites the following verses: Micah 1:2; Job 17:10; 1Sam 6:4; Isa 1:29, 33:2. He also points to his discussion of the root ‫מח״ה‬: “there are many cases in Scripture, in which a person is referred to in second person and in another person.” He cites there the following verses: Isa 42:20; Ruth 4:4; Mal 2:15; Isa 1:29; Zeph 2:12; Job 17:10; 1 Kgs 22:28 = Mic 1:2; 1Sam 6:4; Micah 7:4; Isa 33:2; Mic 7:19, “and many like them” (p. 20). He mentions this matter in his commentaries as well. In the commentary to Isaiah 1:29 he says: “‫( יבושו‬they shall be ashamed) and ‫( ותחפרו‬you shall be embarrassed/disgraced); this is biblical usage, to use second and third person in one verse as in … (1Kgs 22:28), … (Job 17:10), and similar examples, as we wrote in the ‫מכלל‬.” Later on he cites the Targum Jonathan ‫תתבהתון‬, which uses the second person—you shall be ashamed. He repeats this explanation at Isa 22:19: “and this is the usage of the Holy Tongue,” and likewise at Isa 33:2, 42:20; Mic 7:19; Zeph 2:12; 1Kgs 2:15. The second explanation is his comment on the word: ‫ ארוזים‬in Ezek 27:24. I deal with this at length in discussing the comment to Song 1:10 in the chapter on language (below, pp. 107–108). The closeness in terms of content between the commentaries of Radaq and our exegete’s comment at Song 1:2 is clear, but the matching in the choice of verses is partial and the formulation is different. As we will see below, this

43

Salfeld, 77.

the sources of the commentary

25

matter appears in the works of several Spanish scholars, including Dunash ben Labrat, and at length in ‫ ספר הרקמה‬of Jonah ibn Janaḥ. But our exegete’s clear connection is with Solomon ibn Parḥon, who summarized the words of Ibn Janaḥ. It is important to remember that Salfeld did not examine the entire manuscript and characterized the commentary on the basis of a few selections that Dukes had published and he was certainly not aware of the great influence that Ibn Parḥon had on our exegete. The comparison of all the selections and the testimony of the material in its entirety lead to the conclusion that there is no evidence of dependence between Radaq and our commentary. Radaq continues the Spanish commentary tradition in this matter, especially as summarized in ‫ספר הרקמה‬, while our exegete is relying on the ‫ מחברת הערוך‬of Ibn Parḥon. Already Mathews and Poznanski rejected Salfeld’s suggestions with regard to both the affinity with the works of Radaq and the time of the commentary.44

3

The Love Poetry of the Jewish Poets of Spain

One of the sources the exegete mentions explicitly is “the poet.” In his comment on 4:1 he says: “Another interpretation: ‫ … צמתך‬And black hair is a thing of beauty … and it is also a thing of beauty for a woman, as the poet said, ‘Over your splendor and the hair of your head I will bless: He forms light and creates darkness.’” Mathews did not identify the unnamed poet, but he was identified by H. Brody as Judah ha-Levi in his short review of Mathews’s edition.45 The quote is taken from ha-Levi’s poem “You are the fawn, the palace deer,” with a slight change: “your splendor” instead of “your cheek.” The second half of the line cites Isa 45:7 “I am the Lord and there is no other, former of light, creator of darkness,” and the language of the poem alludes to the “Yotser” blessing before the recitation of the Shema.46

44

45

46

Mathews rejected the connection of our exegete to Radaq but did not suggest a time period for his activity (239, n. 8), whereas Poznanski determined that it was written between 1180–1190 (xc). H. Brody, in zhb 1(1898): 43. See also Brody’s edition of Judah ha-Levi’s Diwan, 4 vols. (Berlin: Meqitsei Nirdamim, 1901–1930; reissued with new introduction and indexes by A.M. Habermann, Westmead, Farnborough, Hants., 1971), 2:49. On the question of the composition of this line and this poem and about later citations of this one, see Brody, Diwan, notes volume, 53–54. This is the only citation of poetry in the commentary, and the citation from a poem by

26

introduction

Our exegete also mentioned the “Qedarites” (i.e., Arabs) and their “love poetry” in the name of Ibn Ezra: “Like the eyes of doves … thus did the Arabs mention in their love poetry” (1:15). As I mentioned above, this comment is not included in Ibn Ezra’s commentaries to verse 1:15,47 but the terms ‫קדרים‬ and ‫( בני קדר‬Qedarites; lit., sons of Qedar) are used by Ibn Ezra (and other Spanish scholars) to refer to the Arabs, and Ibn Ezra mentions their poetry in his comment on 7:6: “The king bound in chains: … This matter is mentioned by the Arab love poets.” The reference to Arabic culture, language, and literature is one of the characteristic features of Jewish literary works in Spain. It is likely that our exegete was not familiar with Arabic language and literature and the reference to it is an expression of the influence of Spanish poetry and the esteem in which it was held. Another allusion to Spanish poetry is the comment our exegete cited from ‫ מחברת הערוך‬of Ibn Parḥon for the word ‫( חרוזים‬1:10): “‫בחרוזים‬. These are types of jewelry like bells, necklaces, and bracelets, which are made with several rows that are equally weighted …. For this reason, religious poems (‫ )פיוטין‬and rhymed poems (‫ )חרוזות‬are called by this name because their words are equal in vowels and shewaʾim.” The comment is an almost exact quote from ‫מחברת‬ ‫( הערוך‬s.v. ‫חרז‬, ibid., 2:23b),48 and it attests to the exegete’s familiarity with the unique prosody of Spanish Hebrew poetry and his esteem for it.49 However, the commentary’s connection to Spanish Hebrew poetry goes beyond the few direct references to it. It is clearly expressed in the choice of terms for the most important subject in the commentary—the ways of love.50 Our commentary defines love using the root ‫ חש״ק‬and the world of the lovers with all its forms and expressions with the term “the way of lovers”

47 48

49

50

Judah ha-Levi specifically is perhaps an expression of the respect that the author had for Solomon ibn Parḥon, who mentioned Judah ha-Levi as one of his illustrious teachers (‫מחברת הערוך‬, 1: xxii). Until now I have not discovered a more precise source for the quote in our commentary on 1:15; it is possible that the exegete cited it from a secondary source. For discussion of this comment see below, pp. 107–108. There is an extensive literature on the prosody of Spanish Hebrew poetry. See, e.g., J. Schirmann, Hebrew Poetry in Spain and Provence, part 2, book 2 (Jerusalem/Tel-Aviv: Mosad Bialik, 1961), 719–736 [Heb.]; D. Pagis, Change and Tradition in the Secular Poetry: Spain and Italy (Jerusalem: Keter, 1976), 108– 124 [Heb.]. The high regard for Spanish Hebrew poetry among the sages of Northern France is well known. A prime example is the attempt by Rabbenu Tam to compose poems in a Spanish meter, which earned a mocking reaction from Ibn Ezra. See E.E. Urbach, The Tosafists: Their History, Works and Methods (Jerusalem: Mosad Bialik, 1980), 109–110 [Heb.] For a detailed discussion see Japhet, “ ‘The Lovers’ Way.’”

the sources of the commentary

27

(‫ )דרך החושקים‬and its synonyms.51 This usage is especially prominent in the comment to 5:1: “I want all those who love maidens to enjoy them. Because I love and desire, I love lovers and desirers (‫שלפי שאני אוהב וחושק אני אוהב‬ ‫)דודים וחושקים‬. For it is the way of lovers (‫ )דרך החושקים‬to love all those who love like them (‫ )כל החושקים כמותם‬and they share with them what they have.” The very use of this root attests to the influence of Spanish Jewish culture, where this root figures prominently in secular love poetry and in which love poems are commonly referred to as “love poems” (‫)שירי חשק‬. In its origin this definition is influenced by Arabic literature and culture in whose environment this poetry was created and the same applies to the other words from this root.52 In the area of biblical exegesis, we find these terms in the commentary of Abraham Ibn Ezra to the Song of Songs, which influenced our exegete greatly, and which is one of the few sources he mentioned by name.53 But Ibn Ezra’s commentary was only one of the works from the Spanish cultural world that were known to the exegete. The influence of Spanish love poetry is also seen in the commentary through the use of the word ‫ עפרה‬as an epithet for the young female lover. This epithet, the feminine form of the noun ‫( עֹפר‬2:9, 17; 4:5; 7:4; 8:14), is imprinted on Spanish love poetry and is unique to it.54 The epithet does appear in Ibn Ezra’s commentaries to the Song of Songs, and the fact that it appears three times in our commentary (1:12, 2:1, 6:5), and in each occurrence serves as a term

51

52

53

54

The root ‫חש״ק‬, the synonym to ‫ אה״ב‬and ‫דודים‬, appears in the commentary twenty times, and this is one of its characteristic stylistic features. See the terms ‫[ דרך החושקים‬1:16, 2:10, 3:8, 4:9], ‫[ מנהג החושקים‬2:9, 5:1]; ‫[ משפט החושקים‬8:2]; ‫[ דרך החושק‬4:12]; ‫דרך החושקות‬ [4:9]; ‫[ חושק ודודתו‬4:12]; ‫[ משכב דודים וחושקים‬2:6]; ‫[ חושק‬2:6, 5:1 [twice]]; ‫[ חושקים‬2:9, 5:1]; ‫[ חשקך‬5:1]; ‫[ שירי חשק‬1:15]; ‫[ חשוקה‬4:9]. On the term ‫ דרך‬and its synonyms, see below, pp. 41–45 and in Japhet, “The Lovers Way,” 866–868. See the entries ‫ חושק‬,‫ חשוק‬,‫ חשוקה‬,‫ חש״ק‬,‫ ֵחֶשק‬in Eliezer Ben-Yehuda, Complete Dictionary of Ancient and Modern Hebrew, 17 vols. (Jerusalem/Berlin: Langenscheidt, 1908–1947), 3: 1477, 4:1799–1800, 1807–1809. On secular love poetry, its characteristics and development, see Pagis, Change and Tradition, 253–280; Israel Levin, Embroidered Coat, 3 vols. (Tel-Aviv: Tel-Aviv University, Institute for the Study of Hebrew Literature; Hakibbutz Hameuchad, 1995), 2: 287–434 [Heb.]. The root appears in both editions of Ibn Ezra’s commentary, in the introduction and in the body of the commentary at 1:1; 2:7; 3:7–8, 11; 4:1; 6:2; 7:6, all in the second level of the commentary. See Ben Yehuda, Complete Dictionary, 9:4623. In Spanish love poetry this is only one of the epithets for the “female lover”; see Levin, Embroidered Coat, 2:292–301.

28

introduction

for the female lover, attests that our exegete was well versed in Spanish Hebrew poetry and took the term from it.55 It is also possible to find traces of Spanish secular poetry in the content of our commentary, in the interpretation of various figures in the Song of Songs. For example, for the verse “Your lips drip myrrh … honey and milk are under your tongue” (4:11), the exegete offers two interpretations. In the second he explains the figures in the verse as metaphors for speech: “Or the meaning of ‫תטפנה‬ is from ‘speech,’ as in “preach (‫ )הטף‬against the south” [Ezek 21:2], and “such a one would be the preacher (‫ )מטיף‬for this people” [Mic 2:11]. Therefore he says your words are sweet and pleasant like honey and milk.” This interpretation appears in the ‫ מחברת‬of Menaḥem ben Saruq in the entry ‫טף‬: “this has a connotation of speech (‫)מלל‬, expression (‫”;)ניב שפתים‬56 similarly in the ‫מחברת‬ ‫ הערוך‬of Ibn Parḥon: “the speech that comes out of the mouth like drops.”57 The first interpretation in our commentary explains the figure in a different way: “They drip nectar. When I kiss your lips it seems to me as if honey and nectar and milk are dripping from your lips.” According to this interpretation, the figure alludes to the flow of saliva during kissing, and the saliva is compared to nectar, honey, and milk. This sensual interpretation is taken from the figurative world of Spanish love poetry, in which the female lover’s saliva and her kisses are compared to wine, honey, milk, and various sweet drinks.58 We can conclude that our exegete was influenced by Spanish poetry in sev-

55 56

57 58

The term ‫ עפרה‬is especially prevalent in the love poetry of Moses Ibn Ezra and Judah haLevi, and the above mentioned poem of Judah ha-Levi opens with it (p. 25). Menahem ben Saruq, Mahberet, ed. A. Saenz-Badillos (Granada: Universidad de Granada, 1986), 200*. Menahem himself ascribes the verse in the Song of Songs to the “second connotation,” meaning flow, but the verses from Ezekiel and Micah are ascribed to the “third connotation.” Ibn Parḥon, ‫מחברת הערוך‬, s.v. ‫נטף‬, 2:40c. See also Ibn Ezra to 1:2: “Your love … and one of the geonim said that this is the saliva that is under the tongue as in ‘Let us drink our fill of love’” (Prov 7:18) (First commentary, first level; in the second commentary, it says: “and the Gaon said”; Gaon is Ibn Ezra’s usual epithet for Saadia Gaon). See also Ibn Ezra’s comment on “Your palate is like the good wine” (Song 7:10). “Your palate. This is the saliva under the tongue which is like wine” (Second commentary, second level). This figure is very common in the love poetry of Moses Ibn Ezra. Pagis cites the following lines from his poetry (in the Brody ed.; see below) in which these figures appear: no. 159, lines 2, 4, 7; no. 247, lines 10–12; no. 248, lines 5–7; no. 150, lines 15–17, etc. See Dan Pagis, Secular Poetry and Poetic Theory, Moses Ibn Ezra and his Contemporaries (Jerusalem: Mosad Bialik, 1970) [Heb.], p. 268; Moses Ibn Ezra, Secular Poetry, ed. H. Brody, 3 vols. (Berlin/Jerusalem: Schocken, 1934–1977) [Heb.], vol. 1 for the poems and vol. 2, p. 294 for comments on these figures.

the sources of the commentary

29

eral aspects of his work: the language, choice of terminology, interpretation of various poetic figures, and the overt sensuality that is expressed in his comments.

4

Other Sources

Did the exegete have any other sources? Study of the commentary reveals that he was well anchored in the culture of his surroundings (see below, on the social and cultural background of the commentary) and this fact turns our attention to the literary sources of the author’s time. Did the exegete know the Vulgate translation and make use of it? Did he know the Christian interpretive tradition of the Song of Songs and was he influenced by it? Was he familiar with the love poetry of his French contemporaries, especially the songs of the troubadours and trouveres? None of these potential sources is mentioned or alluded to in the commentary, but nevertheless, it seems appropriate to make a few comments. A similarity between the commentary and the Vulgate can be seen in the explanation of two words: ‫( עטיה‬1:7) and ‫( סוסתי‬1:9). However, the similarity to the Vulgate in explaining ‫ עטיה‬can already be found in the commentary of Rashbam, and the similarity with regard to ‫ סוסתי‬can be found in the commentaries of Rashi and Rashbam. I dealt with these two comments elsewhere, and came to the conclusion that it is possible that Rashi’s explanation (‫ סוסתי‬means a unit of my horses) is indeed influenced by the Vulgate, but this is not the case with Rashbam (‫—עטיה‬exiled and wandering).59 It seems reasonable to assume that our exegete took these two interpretations from Rashi and Rashbam respectively and not from the Vulgate. A separate question is whether the exegete knew Latin and whether he had direct access to Latin literature; in the commentary there is no witness, not even a hint in this regard. We can therefore conclude, at least on the basis of the evidence we now possess, that the exegete had no contact with the Vulgate nor was he influenced by it. Was our exegete familiar with the love poetry of his time? On this matter there is only one hint, the comment on 2:10. The verse reads: “My lover spoke and said to me: ‘Arise, my love, my fair one, and go away’ ”, and the exegete explains it in four lemmata:

59

S. Japhet, “Did Rashbam Know the Vulgate Latin Translation of the Song of Songs?” Textus 24 (2009): 268–272.

30

introduction

My lover spoke. When he saw me inside the house he began to speak and to sing in full voice words of poetry. Arise, my fair one, and go away. And come to me. And this is the way of lovers to make hints to their beloved with words of poetry lest people take notice. Speaks. As in “Then the Levites shall speak” [Deut 27:14]. Similarly “She began to speak to him,” with reference to Samson [Judg 16:19]. And go away. For your enjoyment. The starting point of the explanation is the verb ‫ענ״ה‬, which our exegete explains after Rashi and Rashbam, but deviates from them: Rashi: ‫ענה‬. Shouting. It has the connotation of shouting out loud. The prototypical example is: “And the Levites shouted” [Deut 27:14]. Rashbam: ‫ענה דודי‬. This has a connotation of raising the voice, as in “And the Levites shouted” [Deut 27:14]. Into the interpretation of his predecessors, our exegete incorporates the matter of song: “to speak and to sing in full voice words of poetry.” The verse uses the verbs ‫ ענ״ה‬and ‫אמ״ר‬, a pair of verbs that appear many times in the Bible, as early as Deut 27:14, which serves as the prototype: “Then the Levites shall declare in a loud voice.”60 Our exegete ignores the second verb ‫ אמ״ר‬and explains ‫ ענ״ה‬with a connotation of singing: “to speak and to sing in full voice words of poetry.” In order to buttress his unconventional interpretation, the exegete returns to it twice: in the third lemma he brings the supporting verse Deut 27:14, while leaving out ‫ואמרו‬, and in the second lemma he broadens his interpretation and bases it on ‘the way of the world’:61 “And this is the way of lovers to make hints to their beloved with words of poetry.” The “way of lovers” that he describes clearly reflects the social reality of his period. This is a clear allusion to secular love poetry, the poetry of the trouveres (or troubadours). The exegete even hints at the content of the poems—they are meant to present the love of the poet for his beloved with allusions rather than explicit words, “so that people will not notice.”

60

61

In Avraham Even-Shoshan, A New Concordance to the Bible (Jerusalem: Qiryat Sefer, 1988) [Heb.], this phrase is treated in a special paragraph, which lists over one hundred occurrences. Concerning this, see below, pp. 41–43.

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31

Even though this is only one comment, it seems that it allows an affirmative answer to the question of whether the exegete was familiar with the love poetry of his time, although we can only guess as to the extent of the influence of this poetry on his work. It is possible that this poetry is the source for the open and erotic nature of the commentary and for the general atmosphere that rules it,62 but for the time being this must remain in the realm of conjecture. 62

For more on the connection of the exegete to the reality of his time, see below, pp. 118–128.

chapter 3

The Nature of the Commentary The Oxford Anonymous is a complete and unified work. It presents comments on every verse of the Song of Songs, verse by verse, topic by topic,1 and in a number of places it interprets larger units which encompass two or three verses.2 Only in two places does it deviate from this practice and explains a complete unit in two phases—first one comment for the unit, then, a second comment.3 In the commentary there are no additions, and on the few marginal notes, see the chapter on the manuscript (below, p. 130). Despite the technical structure of the work, study of it reveals that the exegete had a clear picture of the literary units of the Song of Songs.4

1

The Exegetical Method: ‫—פשוטו של מקרא‬The Plain Meaning of the Text

The defining quality of this anonymous commentary is its dedication to “pure peshat” with nothing in it but the peshat. In his classified bibliography of the Song of Songs commentaries, B.D. Walfish listed seven commentaries in this category, six of them anonymous,5 but these commentaries need to be further subdivided into two groups. One group includes commentaries in which the exegete proclaims the essential validity of the midrashic method (i.e., the allegorical interpretation), but limits his commentary to the peshat. A prime example is the commentary of Isaiah of Trani. Another group negates in principle the midrashic method and sees in the peshat the only correct way of interpreting the text. An example of this type is the Prague Anonymous.6 The assignment of the Oxford Anonymous to one of these categories is not explicit. In general the exegetes presented their positions on this matter (and on other essential 1 Only one verse [7:4] lacks a comment, but this verse was already explained in its first appearance [4:5]. In other cases of repetition, the exegete explains the verse at each of its occurrences. 2 The sections are as follows: 1:5–6; 1:12–13; 2:1–3; 3:1–2; 3:8–9; 4:13–14 (2×); 5:4–5a; 6:8–9; 7:10–11; 8:3–4; 8:6–7. 3 4:12–5:1; 8:11–14. See below, pp. 68–69. 4 See below, pp. 54–59. 5 Walfish, “Bibliography,” 571. 6 See above, pp. 20–24.

the nature of the commentary

33

matters) in three contexts: in their introductions to the book, in the commentary on the first verse, or in various places within the commentary.7 All three of these ways are absent from our commentary. As already mentioned, the commentary begins at the top of a folio with a comment on Song 1:2, and Mathews already noted, with good reason, that the introduction and the comment on the first verse were left out by the copyist of the Oxford ms.8 We cannot know if this cutting off of the beginning of the commentary was the result of an editorial decision, or pure coincidence, but since the commentary is found in only one ms, we have no way to reconstruct the lost text. The commentary does not have even one programmatic statement, and thus the question concerning the exegete’s stance with regard to the allegory does not have an explicit answer. Nevertheless, the exegete’s strict fidelity to the peshat demonstrates that he sees in this method the only correct way of interpretation; for the time being at least, this position must be expressed tentatively, as highly likely, since it is not explicitly stated. As mentioned, the commentary does not contain even one programmatic statement, which could clarify the exegete’s principles, including his exegetical methodology. Even the common terms ‫ פשוטו של מקרא‬and peshat, (whose purpose is usually to present the proposed method of the commentary as opposed to other methods), do not appear in the commentary even once. All we can say about this matter has to be learned from the exegetical product we have before us. As I have defined it elsewhere, peshat is an exegetical method, through which “the text is explained in its context and understood as a linguistic expression that is subject to all the rules of language and methods of literary expression and in which the understanding of the text is based on common sense and accepted customs [‫ ;מנהגו של עולם‬lit., the custom of the world].”9 In light of these definitions I will analyze the commentary’s peshat method according to three principles: “the text as a linguistic expression subject to all the laws of linguistic usage,”10 “the way of the world,” and the context.11 7 8 9

10 11

See, for example, the introductions to the commentaries of Rashi, Rashbam, Ibn Ezra, and the Prague Anonymous. Mathews, 239. See Sara Japhet, The Commentary of Rabbi Samuel ben Meir (Rashbam) on the Book of Job (Jerusalem: Magnes Press, 2000) [Heb.] (henceforth, Japhet, Rashbam on Job), 55; similarly, “the understanding of the text in its immediate literary context is one of the outstanding principles of peshat exegesis,” Japhet, Rashbam on the Song of Songs, 97. This principle is defined by some exegetes as “the way of Scripture,” but our exegete does not use this definition, or any other. There are some who define the peshat methodology as “contextual exegesis,” especially in

34

introduction

1.1

The Multiplicity of Meanings of the Text in the Framework of the Peshat The multiplicity of meanings of the biblical text is a basic assumption of rabbinic thought, which assumes that the “Torah has seventy faces” and the task of the exegete is to reveal the entire range of its possible meanings. This principle is fully expressed in the framework of the derash, but is it valid in the framework of peshat as well? I dealt with this question with regard to Rashbam, who took the position that in the framework of peshat the biblical text has only one meaning, which is the “essence of peshat” or the “true peshat.”12 Ibn Ezra shares this view, which he presents in the introduction to his Torah commentary, where he discusses the various exegetical approaches to the text that were in vogue in his time, and in many other places in his commentaries.13 Our anonymous exegete takes an entirely different position on this matter, even though he does not present it in a theoretical statement. For him, the biblical text is multivalent, and in order to properly understand it, one must explore the entire array of possible meanings of each and every detail even in the framework of a peshat exegesis. The principle of multivalence guides biblical lexicography in general, despite the differences in the various biblical dictionaries with regard to different topics, and the lexicographers use various terms to express this principle: “divisions” [‫ ]מחלקות‬or “images” [‫ ]מראות‬in the ‫ מחברת‬of Menaḥem ben Saruq, “matter” [‫ ]עניין‬in the Book of Roots of Jonah ibn Janaḥ (pp. 1–2 and passim), “another type” [‫ ]מין אחר‬in ‫ מחברת הערוך‬of Solomon ibn Parḥon, etc. Our exegete adopted this principle and he frequently offers alternative explanations for a single word or phrase. Sometimes he precedes the various interpretations with the expressions “another interpretation,” “another matter,” “its interpretation [is],” or “according to another interpretation,” and sometimes he quotes them without any introductory words. Sometimes he offers the alternative interpretations as his own and sometimes he ascribes them to others,

12

13

English, which has no equivalent term for the term peshat. See e.g., R.A. Harris, Discerning Parallelism: A Study in Northern French Medieval Jewish Biblical Exegesis, Brown Judaic Studies, no. 341 (Providence, r.i.: Brown University, 2004), 15: “a methodology that came to be called peshat or ‘contextual exegesis.’” “Context” is indeed one of the major principles of the peshat methodology, but the definition “contextual exegesis” ignores the other aspects of the peshat. S. Japhet and R. Salters, The Commentary of R. Samuel ben Meir Rashbam on Qoheleth. (Jerusalem/Leiden: Magnes Press/Brill, 1985), 95–98; Japhet, Rashbam on Job, 95–98; Japhet, Rashbam on the Song of Songs, 86–87. See the introductions to both his long and short commentaries to the book of Genesis.

the nature of the commentary

35

preceded by “there are those that say” (‫ )יש אומרים‬or “there are those that interpret.” In general the alternative interpretations meet the requirement of “the way of Scripture” and are buttressed by biblical parallels, leading to the conclusion that analyzing the biblical text according to all the linguistic rules can yield more than one meaning. In a few cases, the exegete expresses his opinion as to which is the “correct” interpretation, but in most cases he sets down all the various possibilities without deciding between them. The distinction between what is “correct” and what is not “correct” is not based on the linguistic meaning of the text, but rather on the other criteria such as context or accepted practice (the way of the world); but he does not always present his reasoning. The following three examples will clarify the exegete’s method in this matter: 1) 1:4. The upright love you (‫)מישרים אהבוך‬. Just as I and the maidens love you, so anyone who is innocent and upright loves you because of the greatness of your virtues. Another matter: [‫נזכירה דודיך מיין מי]שרים[ אה]בוך‬. I and the maidens who love you will rejoice when we recall your love, which gladdens our heart more than wine, which goes from the mouth and flows through the throat to the bowels in a straight path since it is sweet and pleasant and does not linger in the throat, as does the poor quality wine called are, which lingers in the throat. Also, we find that the expression ‫ מישרים‬is used in the context of wine: “And your palate is like good wine, flowing smoothly for my beloved” [7:10], which means your words are sweet and pleasant like the sweet and pleasant wine, which goes in a straight path without delay from the mouth to the bowels. Similarly, it is written, “Do not look at wine when it is red, when it sparkles in the cup and goes down smoothly (‫[ ”)במישרים‬Prov 23:31]. ‫ מישרים‬refers to “than wine.” 7:11. Your palate. Your words are sweet like good wine, which is sweet and pleasant, which goes down pleasantly and smoothly because of its sweetness and goes down straight to the stomach and does not linger in the throat as does the wine that is called are. And he compared her words to the good wine, which goes smoothly from the mouth to the throat. And the phrase ‫ מישרים‬is used with reference to wine, as it is said, “we will extol your love; they love you more than smooth-flowing wine” [1:4]. And in Proverbs it is written “Do not look at wine when it is red, when it sparkles in the cup and goes down smoothly (‫”)במישרים‬ [Prov 23:31]. The exegete offers two explanations of the word “‫מישרים‬.” According to the first explanation it refers to “anyone who is pure and upright.” The second explanation, which is introduced by “another matter” is that of Ibn Ezra, who

36

introduction

claims that “‫ מישרים‬is an attribute of the wine”.14 Ibn Ezra explains the syntactic structure of the verse 1:4 by adding a mem, according to the principle of “it draws himself and another with it”: ‫]מ[מישרים‬, but the exegete does not linger to explain the syntax of this hemistich. From the verses the exegete cites and his other interpretations it seems that he sees ‫ מישרים‬as an adverb that describes the way the wine is swallowed. In his interpretation of v. 7:11 he offers only one interpretation, the second of the two that he offered in v. 1:4. He presents both interpretations as his and does not decide between them. Which then is the “correct” interpretation? Can it be said that they are both correct? 2) 4:4. Your neck is like the tower of David, built in courses; on it hang a thousand bucklers, all of them shields of warriors. Our exegete offers six different interpretations for this verse. The first he ascribes to himself in three lemmata without an introduction. The second interpretation opens with “or its interpretation is,” the third and the fourth open with “another matter” and the last ones again are preceded by “or its interpretation is.” The exegete does not conclude with “and the correct interpretation is” and does not decide among the explanations. a) Your neck is like the tower of David. Upright and straight like the tower of David, which is tall and upright and straight without any deformity or curve. ‫בנוי לתלפיות‬. That is to say, therefore I compare your neck to the tower of David and not to the rest of the towers because good artisans built it and it teaches those who look at it how to build buildings. ‫תלפיות‬. With the same meaning as “who teaches us (‫ )מלפנו‬more than the animals of the earth” [Job 35:11], and ‫ואאלפך חכמה‬, which means “and I will teach you wisdom” [Job 33:33]. b) Or the meaning of ‫ בנוי לתלפיות‬is: great artisans that teach the world the craft of design built it. Maitres in French. And do not ask in amazement why there were so many artisans involved in its construction, because “on it hang a thousand bucklers,” that is to say a thousand knights are required to guard it, as they say mil chevalers de garde, and their bucklers and shields are hanging from it, and each one brought his artisan there to build it, and since there were a thousand artisans, it makes sense that they were very precise in its construction and built it without any distortion or corruption. c) Another matter. ‫ תלפיות‬are cernels little towers around the wall and they adorn and beautify the tower; similarly, your neck is straight and upright suited for hanging from it necklaces and chokers for beauty.

14

See above, p. 14.

the nature of the commentary

37

d) Another matter. On the necklaces on her neck are drawn the shields of the warriors. e) Or its meaning is: each of the warriors made a golden ornament in the shape of the coat of arms of his shield and gave it to her to hang on her neck out of his love for her. f) Or its meaning is, a thousand knights hang shields on their necks out of love for her and they make a tourneiement. On it. For it. In the first interpretation the exegete explains the significance of the simile in the first hemistich of the verse. What the two elements being compared have in common is uprightness and height. The tower is “tall, upright, and straight” and likewise the neck of the maiden is “upright and straight.” He explains in detail why the tower is described as ‫ בנוי לתלפיות‬and why this tower in particular was chosen as a simile for the neck of the beloved: skilled artisans built the tower and therefore it serves as a model of good construction. It “instructs whoever looks at it.” Already in this interpretation the exegete includes his explanation of the word ‫—תלפיות‬meaning instruction—which he subsequently details in a separate lemma: the word is derived from the root ‫אל״ף‬, which means to teach wisdom.15 The second interpretation begins as an alternative wider application of the idea of instruction and also passes over into the second hemistich: the tower is described as ‫ בנוי לתלפיות‬because it was built by great artisans who are teachers of the “craft of design.” In order to define these teachers, the exegete uses the Old French word “mestres”—expert or master craftsmen. He continues with an explanation of the second hemistich of the verse, which includes an explanation of the first hemistich. Since on the tower were suspended a thousand bucklers, this means that it was guarded by a thousand knights. Therefore, each knight brought his artisan to build the building, and since a thousand artisans built it, “it makes sense that they were very precise in its construction.” The third explanation, opened by “another matter” suggests another possible meaning for the word ‫—תלפיות‬a name for one of the parts of the tower: “little towers around the wall and they adorn and beautify the tower.” According to this interpretation, what the two elements have in common is their external appearance and their beauty. Just as the little towers surround the big tower and decorate it, so the items of jewelry, “necklaces and chokers for beauty,” decorate the upright and straight neck of the maiden. 15

This is the accepted meaning of the word in Jewish exegesis; it is found already in the Mahberet of Menaḥem ben Saruq (p. 61*), and also in Rashi, Rashbam, and Ibn Ezra, inter alia.

38

introduction

The fourth explanation continues the third and explains the second hemistich of the verse according to a different meaning of ‫ תלפיות‬and with a different understanding of ‫ מגנים‬and ‫עליו‬. The pronominal phrase “on it” does not refer to the tower but rather to the neck of the maiden, and the bucklers are not actual bucklers but necklaces upon which are drawn depictions of the shields of the warriors. The fifth explanation is an expansion of the fourth, with reference to the number “one thousand” and adds additional detail with regard to the jewelry around the neck of the maiden. The necklaces that are hanging around her neck are gold ornaments that were modelled after the symbols of the warriors and each of the thousand warriors gave the maiden his ornament. The sixth explanation completes the series: “a thousand bucklers” are not the symbols of the bucklers but the bucklers themselves that the knights hang around their necks. Each of the thousand knights hangs the buckler around his neck and goes out to the competition—tourneiement—against his comrades in order to win the love of the maiden. The array of comments on this verse reflects clearly and convincingly the social background of the commentary—a world of knights, fortified cities and towers, competitions for the love of a maiden, etc. It is not a coincidence that this section includes quite a few words in Old French, more than in other sections of the commentary, to describe the warriors, to describe the small turrets that sit atop the wall and to define the competition. The explanation of this verse ends without the author expressing an opinion as to which is the “correct” meaning. It would seem that for our exegete all of the explanations are acceptable as peshat, an explanation that properly explains the figurative language in the verse; in other words all are possible. Although the explanation of the word ‫ תלפיות‬as “small towers around the wall” is not based on a linguistic foundation, since the word is a hapax legomenon, and all the exegetes struggled to explain it, the exegete turns to contemporary realia, “the way of the world” in order to learn the meaning of the word, which he explains according to the appearance of the towers that he is familiar with.16 16

It is possible that this explanation was inspired by Ibn Ezra’s comment on 8:10. Ibn Ezra wonders about the conception of beauty in the verse “I am a wall and my breasts are like towers” and suggests as a solution “since she resembles a wall her breasts should resemble the turrets which are atop the wall and are small” (Second commentary, second level; see below, pp. 87–88, but the exegete strengthens his explanation through the use of a French word. A similar comment appears in a supplement to Rashbam’s commentary: “‫תלפיות‬ should be explained as the teeth of the tower (i.e., crenellations) and this is a beautiful feature of towers” (Japhet, Rashbam on the Song of Songs, 77, n. 18). The Glossaire de Leipzig adopts this interpretation (p. 1593).

the nature of the commentary

39

3) 1:15. Ah, you are beautiful, my beloved, Ah you are beautiful; your eyes are doves. To explain the metaphor “your eyes are doves,” the exegete offers seven different explanations, some of which focus on the word ‫( עיניך‬your eyes) and some on the word ‫( יונים‬doves). He presents the explanations in different ways: the first two are presented without an introduction, as his own interpretation. The third is presented as an alternative (some explain); the fourth and fifth are introduced by the words “another matter”; the sixth is attributed to Ibn Ezra; the seventh he calls the “correct.” In other words, linguistically, all the other interpretations are suitable peshat possibilities, but in the light of other considerations, only the last one is appropriate. These are the interpretations: a) Just as the eyes of doves are properly and fittingly set in their forehead and are not sunken too much nor do they protrude too much, similarly your eyes are properly set in your forehead. b) Or perhaps he compared her to the eyes of a dove because doves love their mates more than any bird, and their eyes and their heart are always upon their mate; similarly your eyes are always upon me. c) There are those who interpret your eyes are doves like “and its appearance (‫ )עינו‬was like the appearance of gum resin” [Num 11:7], meaning your appearance, color in French. d) Another matter: ‫יונים‬, as in ‫( יין‬wine), as in “because of the wine-colored (‫ )היונה‬sword” [Jer 46:16], that is, your appearance is red like wine. e) Another matter: ‫יונים‬, as in “you shall not cheat (‫[ ”)תונו‬Lev 19:33], and similarly, “he will not cheat (‫ )יונה‬anyone” [Ezek 18:7]. “The oppressing (‫)היונה‬ city” [Zeph 3:1]. Thus he says, the beauty of your eyes cheats and deceives a man’s heart. f) And Ibn Ezra wrote: Like the eyes of doves, which are like weavers that move from side to side and thus did the Arabs mention in their love poetry. g) And the correct interpretation is that in every case where the phrase “Your eyes are doves” is mentioned in this book, the intention is to say that your eyes are like doves beside streams of water, as it is written below [5:12]. And because those doves who nest by streams of water have very clear eyes, vers in French because they are created from clear water, therefore he compared the eyes of his beloved to them. In all the explanations, the exegete explains the metaphor “your eyes are doves” as a simile, i.e., that there is a certain similarity between the object and what it is being compared to, but not general similarity or identity. The first explanation explains the figure as if it said “your eyes are like the eyes of doves.” The eyes of the beloved are similar to the eyes of doves because they are “properly set in their foreheads.” This explanation is taken from another verse in the Song of Songs, the second part of which the exegete cites here and the

40

introduction

first part later on. “Fitly set. They are not sunk into the forehead too much and do not protrude too much, but are precisely fitted and sit exactly in their sockets and they fill their sockets the way that the mounting of a gold ring is filled with the precious stone that is set into it” [ad 5:12]. The second interpretation follows along a similar line and explains the figure as if the text said “your eyes are doves’ eyes,” but in this case “your eyes” does not actually mean eyes, but is a metaphor for emotion and inclination of the heart: “their eyes and their heart are always upon their mate.” According to the third explanation “your eyes” does not refer to the organ of sight, but rather means “appearance.” As a basis for this interpretation he brings the verse “‫[ ”ועינו כעין הבדולח‬Num 11:7], where ‫ עינו‬means appearance.17 In order to strengthen this interpretation, the exegete also supplies the vernacular (Old French) translation: color. The fourth interpretation continues the third, but has a different opening: “another matter.” It derives the meaning of ‫ יונה‬differently: “‫ יונים‬refers to wine,” drawing on the similarity with the word for wine (‫)יין‬. ‫ עיניך יונים‬means therefore “your appearance is like that of red wine.” In the fifth interpretation yet another derivation for ‫ יונים‬is suggested—the root ‫ינ״ה‬.18 According to this interpretation ‫ יונים‬is not the name of a bird, but is rather a verb: “the beauty of your eyes cheats and deceives a man’s heart.” The sixth interpretation is brought in the name of Ibn Ezra (see above, p. 13). After all these interpretations, which are intended to exhaust all the lexicographical and exegetical possibilities of the two words that make up the metaphor, the exegete proposes his own interpretation, preceded by ‘and the correct [one is]’, thereby determining that all the other interpretations are not suitable. His choice of the “correct” interpretation is based on comparing this verse with another verse in the book: “his eyes are like doves on watercourses” (Song 5:12). In other words, “the doves” mentioned here are the same as the “doves on watercourses” mentioned in 5:12, and the special quality they have is their great clarity. The metaphor therefore means: your eyes are clear like the eyes of doves on watercourses. The exegete’s decision with regard to the correct interpretation is based on context. In his view, all the explanations he proposed are based on biblical language and on the use of the words in other verses; they are all peshat interpretations, but only the last one is fitting for the context of the Song of Songs: “every ‘your eyes are doves’ mentioned in this book.” It is this context that is determinative. 17 18

Ibn Janaḥ, ‫ספר השורשים‬, 366. Rashbam on Num 11:7: “and its appearance is the appearance of onyx.” Ibid., 196.

the nature of the commentary

41

1.2 The Way of the World “The essence of this principle is the recognition that in the real world in all its aspects there are fixed phenomena, some universally valid, some valid only for a fixed time or place. This recognition in and of itself is not a new insight …. What turns this recognition into a principle of peshat is the understanding that the general regularity that is found in the world is expressed in the biblical text …. This recognition requires that the text be interpreted in accordance with this regularity.”19 Our exegete defines this principle with the terms ‫( דרך‬way) and ‫( מנהג‬practice, custom); he frequently bases his interpretations on it and uses this exegetical principle even without defining it. He applies this principle both to the natural world and to the human domain, first and foremost with respect to the realia of his time and place but also with respect to the realia of the historical period in which the Song of Songs was written; there are also definitions that rely on the testimony of the text rather than on direct observation of the surrounding environment. His broad application of this principle reflects the historical and social background of the exegete and his readers and brings the biblical text closer to their own time and place. Most of the comments that make use of the terms ‫ דרך‬and ‫ מנהג‬relate to the human realm and only a few to the natural, but the observation of the world in all its phenomena is broadly expressed without the use of these definitions as well. The following are a few examples of the use of this principle as a guide for peshat interpretation, with the use of these terms: ‫דרך‬

a) 1:2. From the kisses of his mouth. … Kisses on the mouth are a better way of expressing love and friendship (‫ )דרך חבה ורעות‬than kissing the hand or shoulder of one’s lover …. b) 1:6. My mother’s sons were angry with me. … For it is the way of young women (‫ )דרך בנות‬to tend flocks … But out of their anger with me, they made me guard the vineyards …. c) 1:10. Your cheeks are comely with turtledoves. Because he compared her to a beautiful horse and it is the way of the world (‫ )דרך העולם‬to make for horses 19

Japhet, Rashbam on the Song of Songs, 101. And this is the way that Poznanski defined it: “And in matters such as these the unique quality of the French exegetes and their tendency to make use of all the phenomena of life in order to penetrate through them to the deepest intent of the biblical text stands out once again” (xci).

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silver and gold bridles … and they are decorated with figures of turtledoves and pigeons … therefore he said to her that your cheeks are comely with turtledoves of gold …. d) 1:16. Our couch is leafy. And this is the way of lovers (‫ )דרך חושקים‬to lie under a leafy tree or a thick terebinth. e) 2:5. Another matter. He brought me to the wine house. Out of his abundant love for me he brought me to the banqueting house even though it is not the way of women (‫ )דרך אשה‬to enter there. f) 2:9. My lover is like a gazelle … And since it is the way of the gazelle (‫)דרך הצבי‬ to lie in one place only until the spot becomes warm underneath it and then it jumps from there and lies in another place, therefore lovers are compared to them. g) 2:9. Young stag. When he is young he is called this [‫ ]עופר‬because he has the habit (‫ )דרכו‬of rolling himself in the dust (‫)עפר‬. h) 2:10. Arise, my fair one, and go away and come to me. And this is the way of lovers (‫ )דרך החושקים‬to make hints to their beloved through poetry lest people take notice. i) 3:8. Because of fear by night. Because Solomon was afraid that knights would steal her from him; this is the way of lovers (‫)דרך החושקים‬, they are constantly longing for their beloved and afraid that someone might snatch her away. j) 4:5. Twins of a gazelle. It is the way of the [female] gazelle (‫ )דרך הצביה‬to give birth to twins, one male, one female. k) 4:5. That graze among the roses. It is the way of the roses (‫ )דרך השושנים‬that they shrink the body of whoever eats them regularly, so that it will never grow fat. l) 4:9. You have heartened me, my sister, the bride. … This is the way of lovers (‫דרך‬ ‫ )החושקים‬who fight battles and win victories for the love of their beloved. m) 4:9. With one of your eyes. … And this is the way of female lovers (‫דרך‬ ‫)החושקות‬, who look at their lovers with one eye allusively and with affection.

the nature of the commentary

43

n) 4:12. A locked garden is my sister, the bride. … And this is the way of the lover (‫ )דרך החושק‬to make for himself an herb garden … in which to stroll. o) 5:7. The guards found me. Because they heard that I was calling out and shouting at night …. for it is not the way of a wise woman (‫ )דרך אשה חכמה‬to act like this. p) 5:7. My wrap. This is a very fine garment … it is the wrap that she wrapped herself with when she got up from her bed … in the manner of a man who rises (‫ )כדרך איש שקם‬from his bed to open the door and wraps himself in a shawl and goes out. q) 5:10. Another matter. ‫ … דגול מרבבה‬And this is the way of the good and superior knight (‫ )דרך הפרש טוב ומעולה‬that his banner and armor are distinguished from the banners of his fellows …. r) 6:10. Another matter. Who is she that looks forth like the dawn? It is the way of men and women (‫ )דרך אנשים ונשים‬that when they get up in the morning from their beds their faces are slightly pale from sleep …. But this one … she is like the rising dawn. s) 8:10. Like towers. It is the way of builders (‫ )דרך הבונים‬to build towers from hard stone, so that they will not be reduced by the battering rams that strike them. Practice/custom (‫)מנהג‬ t) 1:7. Another interpretation: ‫ … עטיה‬This means, wearing filthy clothes as is the custom of shepherds. u) 2:9. He stands behind our wall. As is the custom of lovers (‫)כמנהג החושקים‬ who gaze at the house through the windows and lattices to see their beloved. v) 5:1. Eat, friends, drink, and be drunk, lovers. … For it is the custom of lovers (‫ )מנהג החושקים‬to love all those who love like them …. w) 6:11. I went down to the mown garden. …. For this is the custom of the world (‫ )שכן מנהג העולם‬to reap and mow down the grass and the hay in order for it to flourish greatly again.

44

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x) 8:7. For love is fierce as death. It is the custom of the world (‫)מנהג העולם‬ that as love gets old it always becomes weaker. But our love is growing steadily stronger. y) 8:11. He entrusted the vineyard to keepers. For a half or a third [of the yield], as is the custom of the place (‫)כמנהג המקום‬. One of the ways that our exegete chose to describe the “custom of the world” was by citing aphorisms, either as part of the commentary (as in example x above) or on their own. See, inter alia:20 a) 1:3. Therefore the maidens love you. … for many beautiful women love men who are not handsome. b) 1:15. Ah, you are beautiful, my love. … The doves love their mates more than any bird. c) 1:17. The beams of our houses are cedar. There is no building more beautiful than one made of cedar. d) 2:16. My lover is mine and I am his. … even though … the bodies have been distanced, the hearts have not been distanced. e) 4:1. Lo, You are beautiful, my beloved. … For there might be a woman who is not so beautiful, but she pleases her lover and appears beautiful to him, but does not appear beautiful in the eyes of others. f) 4:3. And your speech is lovely. … there are men and women for whom it is not becoming to speak because they open their mouths too much. g) 6:4. Comely. … there may be a woman who is beautiful but does not find favor … and there may be a woman who finds favor but is not beautiful. h) 6:10. People say “at dawn one examines beautiful women.”

20

On the exegete’s definitions of beauty: “it is a thing of beauty (‫)נוי הוא‬,” see below, 81–89.

the nature of the commentary

45

In order to interpret the text on the basis of this recognition, the exegete must carefully examine the world around him and uncover the laws that govern it, its “way and custom.” Indeed, the observation of the surrounding environment and its reflection in the commentary is one of its outstanding features (see below, pp. 118–128).

2

Literary Aspects of the Commentary

2.1 The Author of the Song of Songs As is well known, the dominant—if not the only—opinion in Jewish exegesis is that the book was written by King Solomon,21 and this seems to be the opinion of our exegete as well, although he does not address this question and does not allude to it directly. As I have mentioned several times, this is possibly due to the absence of an introduction and a commentary for verse 1:1, but the subject does not arise in the course of the commentary. In only one place is there an allusion to this matter, and this is in the short comment to the phrase “Solomon had a vineyard at Baal-hamon” (8:11): “He compares his beloved to his vineyard.” The exegete explains 8:11–12 as a parable whose subject is Solomon, and therefore it seems from the short comment that Solomon is both the one who wrote the parable and also the “lover,” the main protagonist of the Song of Songs, whose beloved is the maiden. In the parable Solomon presents himself in the third person and the “vineyard” is explained literally, but in the continuation of v. 12 there is a transition to first person and an explanation of the application of the parable: “So are you, my beloved, for you are compared to a vineyard, as it is said, ‘your breasts are like clusters of grapes’ (7:8–9) … Many days I toiled over you and I guarded your fruit to prevent others from picking it ….” Despite the brevity and the vagueness of the statement it is possible to conclude from it that according to our exegete, the author of the Song of Songs, who is also the lover, is Solomon. 2.2 Narrative Continuity and Textual Coherence Our exegete presents the Song of Songs as a dialogue between lovers, in the course of which their love story is revealed. He sees in the Song of Songs a continuous story, which takes place in several places and over stretches of time and also includes flashbacks to the past. In order to present the narrative sequence, the exegete frequently mentions the situations in which the dialogue

21

See, inter alia, Japhet, Rashbam on the Song of Songs, 127–133.

46

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takes place, clarifies the connections between the situations—which are not always self-understood—and mentions the literary and verbal connections between the various sections of the book. In addition, the exegete presents in a broad systematic manner the speakers and the audience in the various scenes. In what follows I tell the story of the Song of Songs as the exegete presents it, and then supplement it with two sections: “The Song of Songs as a Lovers’ Discourse” and “Literary Units.” The story begins in 1:2 in the presence of the maiden, her attendants and her lover, with a dialogue that continues until 2:3 and concludes with the words: “With great delight I sat in his shadow, and his fruit was sweet to my taste.” The following scene is the story of the wedding canopy, told by the maiden who describes it to her companions: (2:4) “He brought me to the wine house. She tells her friends: When my lover understood that I craved to dwell in his house he immediately brought me to the wine house, to the wedding canopy.” The story of the wedding canopy continues until verse 6: “His left hand is under my head, and his right hand embraces me. This is the way passionate lovers lie together.” Verse 7 is connected to this: “I adjure you, O daughters of Jerusalem. After she told them that she had united with her lover and they had become one flesh.” The maiden’s story to her friends continues, but from v. 8 on she tells them of events that occurred in the past: “The voice of my beloved, lo, it is coming. Now she tells her friends [about the time] before she had revealed herself to her lover,” and this scene finishes at v. 17. The maiden recounts that even though her lover told her that the winter had passed, and therefore it is pleasant to go out and stroll in the vineyards and see the nascent fruit of our vineyards (end of comment on 2:15) she did not join him, for she could not “go out to him even though the winter has passed” (2:16), therefore she asked him to go and walk with his friends (2:17). Here the next scene begins, also told by the maiden. She recounts that “while in bed at night she regretted telling her lover to turn away from her and go on the cleft mountain,” and she arose from her bed to seek her lover at night (3:1– 2). Her search was successful and she brought him to her mother’s house. “Until I brought him into my mother’s house. This is the outer quarter, which is open to the public domain. Even there I did not let go of him until I brought him to the chamber of her that conceived me, this is an innermost room, a secluded spot for lovemaking” (3:4). The next scene takes place the following day: “Who is that coming up from the wilderness. Now she recounts that that night they slept together in her mother’s chamber, but the next day, her lover brought her to his land and his home, as he said to her above, ‘Arise and go away’ [2:13]” (3:6). The continuation is presented in the next verse: “There is the couch of Solomon. Now she tells her

the nature of the commentary

47

friends, when she came to her lover Solomon’s house she saw the virtue of his couch and there were sixty warriors around his couch,” and the recounting of this scene continues until the end of chapter 3 (3:11). The next unit is a song of praise from the mouth of the lover to the beauty of his beloved. “Lo, You are beautiful, my beloved. When Solomon saw that all the girls and maidens were praising his beloved … he understood in his heart that truly her beauty is unique in the world” (4:1). The praises for the maiden continue until 4:5. Then the lover decided to go for a walk with his friends. “Until the day breathes. After her lover brought her to his house and his palanquin and tarried with her a few days, the groom desired to go to the mountain of myrrh to walk with his friends, but she would not go with him because of the cold. But when the day breathes, he would return to her and take her with him” (4:6). He departs from her with words of praise and a promise to return to her. In 5:2 begins a series of events that continue until 6:4. “I am asleep. This refers to what was said above ‘Until the day breathes’ (4:6). And he coaxed her with words and told her that … he did not bring her with him because of the cold. And when the day breathes he will return to her and take her to his locked garden. And now that she has seen that the winter has passed and her lover has not returned to her, she was longing for him. And now she recounts … .” One night when her lover returned and knocked at her door she did not open the door for him right away because she was not certain that he was the one knocking and when she went out to look for him he was already gone. The maiden continues to recount to her friends what happened that night and how she was beaten by the guards of the city, describes for them the beauty of her lover, talks about her love and declares that he is hers alone and that she will go look for him in his garden (6:4). And then her lover returns. “You are beautiful, my love. After her lover returned and heard that she had been beaten and wounded on his account, his mercies were stirred for her and he began to comfort her and to speak to her tenderly” (6:4). The words of praise of the lover for his beloved continue until 6:10 and in response to this the maiden tells her lover that she went down to the mown garden to look for him: “I went down to the mown garden. Now she tells her lover what happened to her when she went looking for him, and she tells him that she went down to the mown garden” (6:11). And then, “When I went to search for you, the youths said to me, you are the Shulammite … . Turn to us so that we may see your beauty” (7:1), and from here on the maiden quotes the words of praise that the “youths” said to her and her response (7:11), and then she addresses her lover: “Come, my lover, let us go out. Now that she has found her lover she says to him, let us go to the country to stroll there” (7:12). The conversation between them continues and she ends it with a suggestion to

48

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her lover: “Take flight, my lover. If you wish that I leave them for you flee from here and go to the mountain of myrrh and I will go with you and there I will give my love to you” (8:14). Another explanation for that verse: “If you wish that I sing for you, flee from here and go to the mountain of myrrh and I will go with you and will sing for you” (ibid.). This is the story. There is more than a little forcing involved in such an understanding of the Song of Songs. The question of whether the Song of Songs is a continuous narrative on a single theme or a collection of unconnected love poems has occupied scholars for over two centuries.22 But our exegete’s stance is unequivocal—he goes to great lengths to fill in gaps, add explanations, and establish the book as a continuous narrative. 2.2.1 Cross References One of the ways of emphasizing the nature of the commentary as a unified work whose sections illuminate each other and presenting it as a “context” in whose framework all the details of the text are explained, is through the use of cross references. Our exegete uses cross references frequently—about thirty times.23 The cross references are usually introduced by two terms—“ahead” and “above,” i.e., below and above, and are also expressed in other ways. The most widespread term is “above” (‫ )למעלה‬and not surprisingly it is most common in the later chapters; “below” (‫)לפנים‬, which is less common, appears mostly in the first chapters. Some matters are referenced in both directions, and thus the connection between the two appearances of the topic is emphasized more. Presenting the book as a single literary unit through the use of cross references fulfills two secondary purposes: emphasizing the connection between the book’s parts and explaining matters that appear in one place according to their appearance in another. The distinction between the various functions of the references is not always unambiguous, but I tried to classify them according to this principle. 22

23

The first to present the Song of Songs as a collection of love poems was J.G. Herder, Salomos Lieder der Liebe (Leipzig, 1778). Zakovitch, for instance suggested that the book has twentyseven poems and four fragments, but points out the difficulty in setting the boundaries between the poems (Y. Zakovitch, The Song of Songs with Introduction and Commentary [Tel-Aviv: Am oved/Jerusalem: Magnes Press, 1992]) [Heb.], 3–5. For discussion on this questions, see, among others, Michael V. Fox, The Song of Songs and Ancient Egyptian Love Songs (Madison, Wisc.: University of Wisconsin Press, 1985), 202–226; J. Cheryl Exum, Song of Songs: A Commentary, Old Testament Library (Louisville, Ky: Westminster John Knox, 2005), 33–37. The use of cross references is found in Rashbam’s commentary on the Song of Songs as well, but I found there only four of them; see Japhet, Rashbam on the Song of Songs, 73–74.

the nature of the commentary

49

a Narrative and Literary Connection between the Verses 1) 1:3. For fragrance your oils are good. Because of the fragrance of your oils …. As it is written below, “The fragrance of your oils [is better] than any spice” [4:10]. 2) 4:10. How much better is your love than wine. … And with regard to her saying to him above “your love is better than wine” [1:2] he said to her thus. And with regard to her saying “Your anointing oils are fragrant” [1:3], he said to her, the fragrance of your oils is more pleasant to me than any perfume. Through bi-directional cross-references the exegete stresses the literary purpose of the repetition. The repetition of the same motifs and the same forms of expression is intentional. The lover reacts to the words of his beloved and chooses his words in accordance with hers. 3) 2:6. His left hand is under my head, and his right hand embraces me. … This is the meaning of what is said below, “Set me as a seal upon your heart, as a seal upon your arm” [8:6]. 4) 8:6. Set me as a seal upon your heart. … And this is what she says above, “His left hand was under my head, his right arm embraced me” [2:6]. This is also a bi-directional cross-reference. The two verses are connected to one matter and present the book as one context. 5) 3:6. Who is that coming up from the wilderness. Now she recounts that that night they slept together in her mother’s chamber, but the next day, her lover brought her to his land and his home, as he said to her above, “Arise and go away” [2:13]. And while she was walking on the road, etc. The cross-reference creates a connection between the stages in the narrative and fills in the missing gaps. 6) 4:15. A garden fountain. After he listed the types of trees and spices, he returns to his context and explains the matter of the spring mentioned above …. And since there are in this garden many matters pertaining to gardens, trees, and spices, therefore he says “a garden fountain and flowing streams from Lebanon.” The source of its flow is from under the trees of frankincense mentioned above [3:9]. The double reference refers to the repeated mention of the fountain and thus reveals the literary structure of the unit and the connection between its parts. It also lays the foundation for the explanation of “Lebanon” as “trees of frankincense.”

50

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7) 5:2. I am asleep. This refers to what was said above “Until the day breathes, I will go, etc.” [4:6]. … And now that she has seen that the winter has passed and her lover has not returned to her, she was longing for him. And now she recounts … The reference clarifies the narrative continuity and fills in the gap between what was described in chapter 4 and what was described in chapter 5. 8) 7:13. Let us see if the vine has flowered. She mentioned this matter above, “To see the blossoms of the valley; to see whether the vines had budded” [6:11] … Similarly, above, “for our vineyards have nascent fruit (‫[ ”)סמדר‬2:15] (cf. nrsv: “for our vineyards are in blossom”). 9) 7:9. I said, ‘I will climb the palm tree’ … because he compared her above to a palm tree. 10) 7:13. If the pomegranates are in bloom. All of these species grow in the garden mentioned above which is called ‫פרדס‬. 11) 7:14. Another matter. ‫הדודאים‬. This has the connotation of affection and love, that is to say, all of the things that cause feelings of love and stir up love have already given forth fragrance. And what are the things that stir up love, these are the budding of the trees and the blooming of the spices, as it is said above, “The blossoms have appeared in the land, The time of singing has come; Arise, my love, and go” [2:12–13]. 12) 7:14. Another matter: ‫דודי‬. My love. I hid it to give it to you in the vineyards, as it is said above, “I will give my love [‫ ;דודי‬pl.] to you” [v. 13]. 13) 8:5. Who is that coming up from the wilderness. … who ever saw a woman who would go out to the wilderness to seek her lover as I did, when I did not find you in the mown garden, as it is said above, I sought you in the wilderness. … Now I am leaning upon you and joining myself to you, because I am afraid that you might leave me. Similarly, it is written above, “I held him and would not let him go” [3:4]. The references allude to two matters—“I went down to the mown garden” [6:11] and to the first time the maiden searched for her lover [3:4]. The references fill in gaps in the story and create a strong connection between its parts. 14) 8:5. It was there your mother conceived you. You are accustomed to sit and sleep under the apple tree, which is your birthplace, because your mother

the nature of the commentary

51

conceived and gave birth to you under the apple tree … Above she compared him to an apple tree: “Like an apple tree among the trees of the forest” [2:3]. 15) 8:12. (in the second series). My vineyard, my very own, is before me. I do not want to sell its fruit because I and my beloved and my friends will eat it as it is said above “Drink and get drunk, lovers” [5:1]. b

The Explanation of a Matter that Appears in one Place through Its Appearance in Another Place 1) 1:8. But the correct interpretation is: And pasture your kids … And perhaps roses were growing there, and this is what is said below, “He pastures his flock among the roses” [2:16; 6:3]. 2) 1:12. ‫( עד שהמלך במסבו‬while the king is at his table). Or its meaning is … my lover who is the king mentioned above, etc. The reference connects the mention of the king in v. 12 to its mention in v. 4. Thus, it is established that we are talking about one king and later on the king will be identified as Solomon. 3) 1:14. A cluster of henna blossoms. A type of perfume that gives off a pleasant fragrance, as it says below “henna with nard” [4:13]. 4) 1:15. And the correct interpretation is that in every case where the phrase “Your eyes are doves” is mentioned in this book, the intention is to say that your eyes are like doves beside streams of water, as it is written below [5:12]. After suggesting several interpretations for the metaphor “your eyes are doves” the exegete decides on what he thinks is the “correct” interpretation on the basis of context and explains the metaphor according to its meaning in 5:12. The importance of this interpretation becomes clear not just from the cross reference but also from the explicit statement in 4:1: “Your eyes are doves. I already explained that her eyes were similar to the eyes of doves that are found beside streams of water, whose eyes are clear.” 5) 4:1. From behind your veil. The veil is called ‫ … צמתך‬Therefore he told her, when your face is covered and wrapped with a veil, except for your eyes, … and nothing is seen of all your beauty except for your eyes, it is known to those that see them that there is no woman as beautiful as you. Similarly he says below, “You have heartened me with one of your eyes” [4:9].

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6) 4:2. Your teeth are like a flock of ewes. … Similarly below, “Your teeth are like a flock of ewes” [6:6], that are all uniform. 7) 6:6. Like a flock of ewes. Its explanation is above. What is written above “your hair is like a flock of ‫[ ”קצובות‬4:2], means the flock of ewes that are uniform, as it says here. This is a bi-directional reference intended to explain the meaning of the adjective ‫קצובות‬. One verse sheds light on the meaning of the other. 8) 4:12. ‫גל נעול‬. Locked refers to the garden, which is mentioned above. That is, that same garden that is mentioned above that is locked by a high wall, still has a locked moat which goes around it and encloses and surrounds it.” 9) 4:13–14. (Ibn Ezra’s method). ‫ … שלחיך‬He calls the body of the bride ‫שלחיך‬, that is to say, you are the tree that I call garden and orchard, … Similarly, above, he calls her lily and rose [2:1–2], and she calls him “a bag of myrrh” and “a cluster of henna” [1:13–14]. 10) 6:9. Maidens see and acclaim her. ‫ בנות‬are the maidens mentioned above. 11) 6:9. Queens and concubines, and praise her. These are the queens and the concubines mentioned above. 12) 6:11. Another matter. ‫אבי הנחל‬. These are the fruits in the garden … as it is said above, “Let its spices flow” [4:16], and the water carries them. 2.3 The Song of Songs as a Lovers’ Discourse As mentioned above, our exegete does not deal with questions concerning the literary nature of the Song of Songs—its plot, characters, or the literary units it is made up of—but it is possible to uncover all of these aspects in the exegetical work itself. The most prominent stylistic feature of the commentary is the consistency in identifying the speakers, the addressees, and as demonstrated above, also the situations in which the words are spoken. The exegete presents the Song of Songs as a continuous discourse—monologues and dialogues— and in every place he precedes his commentary with the identification of the speaker/speakers (masc./fem.). Prefaces like these appear in the commentary dozens of times, mostly after the lemma and sometimes before it; in a few cases also as part of the commentary.24 The exegete uses various verbs to define the 24

After the lemma: 1:2 (Let him kiss me with the kisses of his mouth. … the maiden saw her

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discourse: ‫ קל״ס‬,‫ שא״ל‬,‫ השי״ב; ענ״ה‬,‫ בק״ש‬,‫ ספ״ר‬,‫ דב״ר‬,‫אמ״ר‬. The prefaces are an excellent tool for clarifying the narrative continuity and coherence of the book. They are also the tool that enables the uncovering of the literary units that make up the book. Let us now define these literary units.

lover … and said to her friends); 1:4 (Draw me after you. She is asking her lover and says); 1:5–6 (I am black and beautiful, o daughters of Jerusalem. Now she speaks to her friends, the daughters of Jerusalem); 1:7 (Tell me, you whom my soul loves. I ask of you, you who are my lover); 1:9 (To a ‫ סוסתי‬among Pharaoh’s chariots. This refers to the verse above where she said … and he said to her); 1:10 (Your cheeks are comely with turtledoves. … therefore he said to her …); 1:11 (We will make you turtledoves of gold. The lover says …); 1:12–13 (While the king is at his table says the maiden); 1:15 (Ah, you are beautiful, my love. The lover answered); 2:1–3 (I am a rose of Sharon. … and since the maiden heard … she answered … and he answered); 2:4 (He brought me to the wine house. She tells her friends …); 2:8 (The voice of my beloved, lo, it is coming. Now she tells her friends …); 2:14 (My dove in the clefts of the rock. All this she recounts to her friends that her lover told her …); 2:16 (My lover is mine and I am his. She continues to tell her friends. I answered my lover …); 2:17 (Until the day breathes … And I ask of you); 3:1 (Upon my bed at night … Now she recounts …); 3:6 (Who is that coming up from the wilderness. Now she recounts …); 3:7 (There is the couch of Solomon. Now she tells her friends …); 3:11 (Come out. Look. Thus the maidens said to each other …); 4:1 (Lo, You are beautiful, my beloved. When Solomon saw … he understood in his heart … But you, my beloved …); 4:1 (From behind your veil. … Therefore he told her …); 4:7 (You are altogether beautiful, my beloved. He said to her …); 4:9: (You have heartened me my sister, the bride. He said to her); 4:10 (How much better is your love than wine. … And with regard to her saying to him above … he said to her thus. And with regard to her saying …, he said to her …); 4:12 (A locked garden is my sister, the bride. The lover said to his bride …); 4:16 (Let my lover come to his garden. Since he said to her … she replied to him …); 5:2 (I am asleep. This refers to what was said above. … And now she recounts …); 5:8 (I adjure you, O daughters of Jerusalem. The next day, when she came to her friends, she made them swear in this way …); 5:11 (His head is the finest gold. All this is from the words of the bride. …); 5:16 (This is my lover and this is my friend … This is how she answered the daughters of Jerusalem who asked her “How is your lover different from any other lover” [5:9]); 6:1 (Where has your lover gone? After her friends heard his virtues, they said to her …); 6:3 (I am my lover’s. Thus she replies to her friends …); 6:4 (You are beautiful, my love. After her lover returned … he began to comfort her and to speak to her tenderly, saying …); 6:10 (Who is she that looks forth like the dawn? This is what the queens and the maidens say. …); 6:11 (I went down to the mowed garden. Now she tells her lover …); 7:1 (Turn, turn, O Shulammite. When I went to search for you, the youths said to me …); 7:1 (Or, the meaning of Shulammite … And I replied to them …); 7:7 (How fair and pleasant you are. After they praised her in detail they praised her in general); 7:8 (Like a palm tree. With regard to her calling him “choice as the cedars” [5:15] they told her …); 7:9 (I said, ‘I will climb the palm tree.’ Thus each of the young men said to her …); 7:10–11 (And your palate like best wine. So the youths said to her.); 7:10–11 (‫דודי‬. … And I answered them …); 7:12 (Come, my lover, let us

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2.4 The Literary Units of the Song of Songs Like many other exegetes, ours does not define the literary units of the Song of Songs, and his commentary is generally presented according to the flow of the verses, verse after verse, or passage after passage.25 However, careful examination of the commentary reveals that the exegete has a clear picture of the literary units that make up the book and it is possible to uncover it by a systematic presentation of the speakers, which includes defining the changing scenes. Unit 1 The first unit begins with 1:2 and continues until 2:3 and the actors are the maiden, her friends, and her lover. In this framework, there takes place an intermittent dialogue between the maiden and her friends and between the maiden and her lover. In v. 1:2a, the maiden says to her friends: “Let him kiss me with the kisses of his mouth … The maiden saw her lover who was coming and

25

go out. Now that she has found her lover she says to him …); 7:14 (At our doors are all choice fruits. She said to him …); 8:3–4 (His left hand is under my head. Now she goes back to talk with her friends … and she tells them …); 8:5 (Who is that coming up from the wilderness. Now she speaks to her lover and says …); 8:8 (We have a little sister. Thus said her brothers …); 8:11 (A man was to bring for its fruit a thousand pieces of silver. A man came to Solomon and told him …); 8:12 (You may have the thousand, O Solomon. They said to him); ….; 8:11– 12 (another matter) (A man was to bring for its fruit a thousand pieces of silver. … And he answered him … And he said to him); 8:13 (You who dwells in the gardens. When he came to his garden, he and his beloved and his friends, he said to her …). Before the lemma: 1:8 (And he answers her: If you do not know, the fairest among women …); 1:16 (And she replies: You are beautiful, my lover. …); 5:1 (And he answers her: I came to my garden …); 5:9 (And her friends, the daughters of Jerusalem, answer: How is your lover different from any other lover? …); 5:10 (And she answers their questions in sequence: My beloved is all radiant and ruddy. … Since they asked her … she answers: ‫ ;)דגול מרבבה‬6:2 (She replies to them: My beloved has gone down to his garden. …); 7:2 (They reply: How beautiful are your feet …); 7:10–11 (Another matter: They said your palate is like the best wine, and she replies, it goes straight to my lover. …); 8:10 (She answers: I am a wall …); 8:12 (And when the keepers heard, this is what they said to Solomon. My vineyard, my very own, is for myself …); 8:14 (And she answers: Take flight, my lover); 8:14 (And she answers: Take flight, my lover) (second time). An exception in this regard is the commentary of Rashbam on the Song of Songs which is systematically structured according to the division into literary units (Japhet, Rashbam on the Song of Songs, 113–116). In the new edition of Mikraʾot Gedolot Haketer (above, p. 13n18) Rashbam’s commentary on the Song of Songs is also included, but the way in which the commentary is presented in it obscures this essential feature of the work and makes it very difficult to use.

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approaching her and said to her friends, ‘if only my lover would kiss me,’” and her words continue until the end of v. 3.26 In v. 4 the maiden turns to her lover: “Draw me after you. She is asking her lover and says,” and in vss. 5–6 she again turns to her friends: “I am black and beautiful, o daughters of Jerusalem. Now she speaks to her friends, the daughters of Jerusalem … and therefore she says to them ….” In 1:7 the maiden again addresses her lover and from here until 2:3 there is an extended dialogue between her and her lover. The maiden opens and closes the dialogue. Thus: in v. 7 the female speaker is presented: “Tell me, you whom my soul loves. I ask of you, you who are my lover who loves me … .” Then her interlocutor is presented: (1:8) “And he replies to her: If you do not know, the fairest among women, etc.” The lover’s answer to the maiden’s question continues to the end of v. 8, but his words continue. At the beginning of v. 9 the exegete says: “I compare you … to a unit among Pharaoh’s chariots. This refers to the verse above where she said ‘I am black’ and he said, etc.” In other words, after he answered the maiden’s question, the lover reacts to what she said to her friends, in his presence (v. 5) and his words continue until the end of v. 11. In order to clarify this structure, the exegete again presents the speaker: (v. 11) “We will make you turtledoves of gold. The lover says, etc.” In v. 12 begin the words of the maiden, which continue until v. 14: “While the king was at his table, says the maiden.” Her lover answers her: (v. 15) “Ah, you are beautiful, my love. The lover answered,” and she answers him: (v. 16) “And she replies: You are beautiful, my love,” and her words continue until 2:1. And again the speakers are switched: The lover in v. 2: “He answered … ‘like a rose among the thorns,’” and the maiden in v. 3: “And she praises her lover again … and she says ‘As an apple tree among the trees of the wood.’” Unit 2 In 2:4 begins a new literary unit, which continues until 3:11. The speaker is still the maiden and her interlocutors are her friends: “He brought me to the wine house. She tells her friends.” This long unit presents an unbalanced dialogue between the maiden and her friends. It begins with a long monologue by the maiden who tells her story to her friends and it includes a dialogue from the past between her and her lover (2:10–16); it ends with the reaction of the friends 26

On the switching of the person of the possessive pronoun from third person (‫ )פיהו‬to second person (‫)דודיך‬, see in more detail in the chapter on language, below, pp. 98– 103. According to our exegete, this is the way of Biblical Hebrew, but according to the interpretation of Ibn Ezra, which he cites and does not accept, the address to the lover is already in the second hemistich of vs. 2, in the transition to second person, “for your love is better than wine.” According to this view, her words to her lover begin in vs. 2b.

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to her words [3:11]. The exegete stresses that the unit includes the story that the maiden is telling her friends by presenting the speaker from time to time, e.g., in v. 7: “I adjure you, O daughters of Jerusalem. After she told them … Therefore she made them take an oath.” In v. 8: “The voice of my lover, lo, it is coming. Now she tells her friends [about the time] before she had revealed herself to her lover.” The maiden’s story continues with the quotation of the words of song that her lover said to her: (v. 10) “My lover speaks. When he saw me inside the house he began to speak and to sing in full voice words of poetry.” According to this pattern, the words of the lover to the maiden in vss. 10–15 are not part of a dialogue between them in the present but words of poetry that her lover said to her in the past, which she is repeating to her friends. The exegete stresses this again at the beginning of v. 14: “My dove in the clefts of the rock. All this she recounts to her friends that her lover told her,” and again at the beginning of v. 16: “My lover is mine and I am his. She continues to tell to her friends. I answered my lover ….” Here she quotes to her friends the words she said to her lover (v. 17), and continues the story in chapter 3 until the end of v. 10. From time to time the exegete presents the female protagonist again: (3:1–2) “Upon my bed at night …. Now she recounts that while in bed at night she regretted telling her lover to turn away from her …”; (v. 5) “I adjure you. Since she told them … she adjures them”; (v. 6) “Who is that coming up from the wilderness. Now she recounts that that night” etc.; (v. 7) “There is the couch of Solomon. Now she tells her friends ….” She finishes her story in v. 10: “All the daughters of Jerusalem love Solomon with a love as strong as fire … but the only one he loves is me.” In v. 11 appear the maiden’s female interlocutors who react to her words: “Come out. Look. Thus the maidens said to each other,” and this marks the end of this literary unit. Unit 3 4:1–5:1 represents a new literary unit. In the majority of the unit the speaker is the lover, but it ends with a short dialogue between him and the maiden (4:16b–5:1). The words of the lover are presented in two episodes. In the first episode (4:1–5) the lover reacts to the words of praise of the maiden’s friends: (4:1) “You are beautiful, my beloved. When Solomon saw that all the girls and maidens were praising his beloved and lauding her he understood in his heart.” From here until the end of v. 5 he praises his beloved directly: (4:1) “From behind your veil … . Therefore he said to her … another interpretation ‫ … צמתך‬therefore he said to her.” (4:4) ‫בנוי לתלפיות‬. “That is to say, therefore I compare your neck to the tower of David.” In v. 6 is presented the second episode in which the speaker is also the lover: “Until the day breathes. After her lover brought her to his house and his palanquin and tarried with her a few days, the groom desired to go to the mountain of myrrh,” and he addresses his beloved and explains to

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her: (4:7) “You are altogether beautiful, my beloved. He said to her …,” and his words continue with an address in the second person until v. 16a. Here as well the emphasis that these are his words is made from time to time: (4:9) “You have heartened me … . He said to her, do not think in your heart …”; (4:10) “How much better is your love than wine. …. And with regard to her saying … [1:2] he said to her thus.” To these lengthy words of praise the maiden answers briefly: (4:16b) “Let my lover come to his garden. Since he said to her ‘your branches’ and not ‘my branches,’ … therefore she replied to him” … and he answers: (5:1) “And he answers her: I came to my garden.” Unit 4 In 5:2 the next unit begins, which continues until 6:3. The speaker is the maiden and the unit includes a dialogue with her friends, in which is included a detailed description of her lover. At the beginning of the unit the female speaker is presented: (5:2) “I am asleep … and now she recounts ….” But only in v. 8 is it stated explicitly that she is telling her story to her interlocutors: (5:8) “I adjure you, O daughters of Jerusalem. The next day, when she came to her friends, she made them swear in this way ….” From this point onward the dialogue between her and her companions continues: (5:9) “And her friends, the daughters of Jerusalem, answer: How is your lover different from any other lover”; (5:10) “And she answers their questions in sequence. … Since they asked her … she answers.” The exegete continues and explains that the continuation is also part of the maiden’s answer: (5:11) “His head is the finest gold. All this is from the words of the bride.” The detailed description of the lover continues until the end of v. 16 where it ends: “This is my lover and this is my friend. …. This is how she answered the daughters of Jerusalem who asked her ‘How is your lover different from any other lover’” (5:9). The dialogue continues with the words of the maiden’s friends: (6:1) “Where has your lover gone? After her friends heard his virtues, they said to her: ‘Where has your lover gone?’” (6:1); “She replies to them: My beloved has gone down to his garden” (6:2). The dialogue ends at the end of v. 6:3 with a complete rejection of the friends’ offer in v. 1. Unit 5 Verse 6:4 begins a new unit, which continues until 8:2. The unit contains a dialogue between the lover and the maiden and in the story of the maiden is included a conversation between her and the “youths.” The situation described is “after her lover returned” and after he heard everything that happened to her in his absence. (6:4) “You are beautiful, my love. After her lover returned and heard that she had been beaten and wounded on his account, his mercies were

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stirred for her and he began to comfort her and to speak to her tenderly, saying ….” The comforting words of the lover, enthusiastic words of praise in which he addresses the maiden in the second person, continue until 6:10, at the end of which he cites the words of “the queens and maidens” [6:8]. (6:10): “Who is she that looks forth like the dawn? This is what the queens and the maidens say.” In verse 11 begins the maiden’s reply. She turns to her lover and tells him what happened to her: “I went down to the mown garden. Now she tells her lover what happened to her when she went looking for him.” After describing her searches and despair (vss. 11–12) she reports to her lover that “the youths” addressed her: (7:1a) “Turn, turn, O Shulammite. When I went to search for you, the youths said to me,” she quotes her reply (7:1b): “And I replied to them, What do you see in the Shulammite? … She replied thus because she wanted to reject them.” The youths continue with exaggerated words of praise: (7:2) “They reply: How beautiful are your feet,” and their words of praise continue until v. 10, in the course of which the exegete identifies the speakers again. (7:7): “How fair and pleasant you are. After they praised her in detail, they praised her in general”: (7:8) “Like a palm tree. With regard to her calling him “choice as the cedars” [5:15] they told her.” (7:9) “I said, ‘I will climb the palm tree.’ Thus each of the young men said to her.” (7:10) “And your palate like best wine. So the youths said to her.” To all these things she reacts in brief: (7:11) ‫ … דודי‬And I answered them: “I am my lover’s.” With this ends the first part of the words of the maiden, in which she recounts to her lover everything that happened to her from the day he left her, and after she quoted the words of the youths that tried to seduce her and her reaction. Then she addresses her lover directly: (7:12) “Come, my lover, let us go out. Now that she has found her lover she says to him, let us go to the country to stroll there.” Her words continue until 8:2. Units 6–9 From v. 8:3 until the end of the book, the units are shorter, and the speaking role shifts from one character to another. Unit 6 In 8:3–4 the speaker is still the maiden but her interlocutor is not her lover but her friends: “His left hand is under my head. Now she goes back to talk with her friends.” Unit 7 Immediately afterwards, she turns again to her lover: (8:5) “Who is that coming up from the wilderness. Now she speaks to her lover and says.” Her words continue until v. 7.

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Unit 8 In vss. 8–10 is presented a dialogue between the maiden and her brothers, and, as opposed to other units, it is not presented as a part of the story of the maiden; rather, it stands alone and no details are given as to the situation in which it takes place. (8:8) “We have a little sister. Thus said her brothers.” (8:10) “She answers I am a wall,” and her words continue until the end of the verse. Unit 9 The book ends with a dialogue between the maiden and her lover (vss. 11– 14). The unit opens with a statement in the third person: “Solomon had a vineyard at Baal-hamon,” but our exegete ascribes this statement to Solomon: “He compares his beloved to his vineyard.” Solomon—the lover—tells her a parable about himself, in which he quotes the words of the “man” who turned to him, and the words of the guards who wished to keep the vineyard for themselves. Only in the continuation of v. 12 does Solomon turn to his beloved in the second person and explain to her that the parable is meant for her: “So are you, my beloved, for you are compared to a vineyard … But I ask you not to leave me for them.” His words continue until the end of v. 13. The last word goes to the maiden: (v. 14): “And she answers: Take flight, my lover.” The division of the text by speakers helps present a clear and unequivocal picture of the structure of the Song of Songs. The book consists of nine literary units: the main body of the book consists of five long units (1:1–2:3; 2:4–3:11; 4:1– 5:1; 5:2–6:3; 6:4–8:2) and its last part is made up of four short units (8:3–4, 5–7, 8–10, 11–14). 2.5 The Characters There are two main characters in the Song of Songs: the maiden and her lover. The story revolves around their life stories; they are the main speakers in the book; they are presented with their names and titles; and are characterized in several ways. The secondary characters are not individuals but groups: the maiden’s friends, the lover’s friends, and the maiden’s brothers. In addition there are mentioned a few individuals and other groups: the mothers of the maiden and her lover, shepherds, the watchmen of the city and the walls, queens and concubines, and guards. Our exegete identifies most of these characters and even adds to the list. The most characteristic feature of the main characters of the book, the maiden and her lover, is their beauty. Words and expressions from the semantic field of beauty—‫ טו״ב בר״ה‬,‫ נע״ם‬,‫ נא״ה‬,‫—יפ״ה‬are constantly repeated in the Song of Songs, and the book is replete with detailed descriptions of the characters’ beauty. The exegete adopts this characterization and emphasizes it to the

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extreme—the lover, of whom he says “there is no man as upright and handsome as he in all the world” (3:11); the maiden, about whom he says “that there is no beauty in the world like hers” (ibid.); and the conclusion that is selfunderstood: “because he is the most handsome of men and you are the most beautiful of women and it is a beautiful match” (6:1). The observation of the body—of both the lover and the maiden—is very detailed and emphasized. Over and over again, one feature or another is called “a thing of great beauty.” The lover says about the maiden: “You possess every possible aspect of physical beauty and comeliness” (1:11) and “there is no woman as beautiful as you” (4:1), and she says about him that “his beauty is unmatched in the entire world” (5:10).27 The commentary also has allusions to psychological qualities like the maiden’s modesty (2:1) and her absolute faithfulness to her lover (5:8–10, 16; 7:3, 13), and the lover’s courage, leadership skill, and bravery (5:10); but these pale in comparison to the descriptions of external beauty. Not only are the protagonists beautiful, but also everything around them is beautiful and pleasant. The black horse is beautiful (1:9), and the couch is beautiful (1:16), the structure of cedar wood is the most beautiful of dwellings (1:17), and the rose is beautiful (2:1). The canopy is beautiful (3:8) and Solomon’s crown is “beautiful and precious and superior” (3:11), etc., etc. The entire world is full of beauty, and this is the background to the love life of the lovers—to their external and internal image, to their conversation, and to their lovemaking. The formation of the images of the main characters is not uniform. The identity and image of the maiden are described in a uniform manner. She is presented once by her name—the Shulammite (7:1), which the exegete explains in two different ways: “the beloved of Solomon, for they called her after her lover. Or, the meaning of Shulammite is perfect, without blemish” (ibid.). On the life of the maiden before her marriage to Solomon very little is said, and the exegete does not add to what is told in the Song of Songs, as I described above, when summarizing the story (pp. 45–48). The only thing told about her is that her brothers forced her to guard the vineyards and as a result her skin became dark (1:5–6), and therefore she prefers to be a shepherd. From this we can conclude that she was a village girl, but after her marriage to Solomon, she moved into the royal palace. (3:6) “Who is that coming up from the wilderness. Now she recounts that that night they slept together in her mother’s chamber, but the next day, her lover brought her to his land and his home.” Of her psychological qualities, the exegete only points out her modesty (“out of modesty she said this”; 2:1). The trait that most characterizes the maiden,

27

See below, pp. 81–90, and Japhet, “Descriptions of the Body,” 76–82.

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besides her beauty, “which is beyond compare” is her burning passion for her lover and her complete devotion to this love. The image of the lover is more complex. According to the exegete, the lover is King Solomon, who is mentioned by name several times in the book (1:1, 5; 3:7, 9, 11; 8:11, 12). Because of the epithet “King Solomon,” which appears twice in the book (3:9, 11), the exegete applies to him all the other occurrences of “king” (1:4, 12; 7:6). The identification of the lover as King Solomon is not straightforward. Exegetes who preceded our exegete, who identified Solomon as the author of the book, did not see him as the main protagonist of the book and explained his appearance in the book in various ways,28 but our exegete states this explicitly: 3:7. There is the couch of Solomon. Now she tells her friends, when she came to her lover Solomon’s house she saw the virtue of his couch and there were sixty warriors around his couch. 3:10. Paved with love. More than all the daughters of Jerusalem. This means, the interior of the canopy contains the attached, bound, and joined love of Solomon and his beloved who are bound and joined together in the great love between them, more than all the daughters of Jerusalem, for there is not a single one of all the daughters of Jerusalem who is bound and joined to her lover with love like Solomon and his beloved. Similarly, in the same vein, till the end of the section (3:11; see also 8:11, and above, p. 45). Nevertheless, in two places the exegete raises the exegetical possibility that the “king” or “Solomon” should not be identified as the main protagonist of the book. To 1:12–13 the exegete offers two explanations. The first is that the “king” is the “lover”: While the king is at his table. Says the maiden. The fragrance of my nard, that I am perfumed with, reaches all the way to the place where the king reclines in his palace, because it is very good and its fragrance spreads a great distance. … Or its meaning is, I thought to myself that there is no better smell in the world than the smell of my nard, whose fragrance wafts

28

For the positions expressed in Midrash Shir ha-Shirim, and for the positions of Rashi, Rashbam, and Ibn Ezra, see Japhet, Rashbam on the Song of Songs, 127–133, and above, p. 21.

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unto the place where the king reclines. But he does not need it, because my lover who is the king mentioned above, is himself a bag of myrrh and does not need to perfume himself. According to this interpretation, vss. 12–13 are one continuous unit whose subject is the sweet smell of the maiden, which reaches the king her lover who does not need to perfume himself. In the middle of this interpretation the exegete inserts a comment in the name of Yefet, according to which there is no identity between the king and the lover, but rather the opposite. “The king” mentioned in v. 12 takes pleasure in the perfume of the maiden, but the lover mentioned in v. 13 does not need this perfume because he himself is a bag of myrrh. The conclusion is that “according to this interpretation the king is not her lover, but another man is her lover.” But, as it becomes clear from the words of the exegete in chapter 3, he does not accept this possibility. The second interpretation, which implies that Solomon is not the main protagonist of the story is an alternative interpretation of 3:8–9, which the exegete cites in the name of Ibn Ezra: “And Ibn Ezra interpreted: after she said to her lover “turn, be like …” [2:17] she lay on her bed and imagined in her dream that she was searching for her lover until she found him. And the whole matter.” According to this interpretation the description of Solomon’s couch and canopy is a dream the maiden dreamt and does not reflect the life situation of the maiden and her lover. The essence of the dream is the contrast between King Solomon and the lover: “Furthermore, the beloved of King Solomon, who was one of the daughters of Jerusalem, did not accede to come to him until he made her a beautiful canopy, and further, he had to treat her with respect … And lo, you my beloved are more beautiful than Solomon’s beloved and out of your love for me you are chasing after me alone even though I did not make you a canopy and did not do anything in your honor.” From the continuation of the commentary on 3:10–11 (cited above) it becomes clear that the exegete did not adopt Ibn Ezra’s interpretation but kept to his own view that Solomon was the lover. The identification of Solomon as the sole protagonist of the Song of Songs— the lover—makes describing his figure quite difficult. There are in the Song of Songs some data whose ascription to Solomon is backed up by the biblical testimony about him, such as his having many wives (6:8–9) and his having been blessed with great wealth. The exegete indeed adopts these data and even mentions that Solomon used to trade in horses with Egypt: “as it is written in the book of Kings ‘Solomon’s import of horses was from Egypt’ [1 Kgs 10:28]” (1:9). However, there are other qualities of the main protagonist mentioned in the Song of Songs that are difficult to reconcile with the historical image of

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Solomon as it is described in the Bible, e.g., that he was a shepherd: “Tell me, you whom my soul loves … where you are tending your flocks all day … where you make your flock lie down at noon” [1:7]; that he goes with his friends to the wine house [2:4], that he goes out to wander over the mountains, that he “gazes in at the windows, and peers through the lattices” [2:9] of his beloved’s house, and others. The exegete widens this gap with additional qualities that he ascribes to the figure of the lover, mainly by presenting him as a brave warrior, who fights lions and leopards and goes out to do battle at the head of his armies.29 The tension between the nature of the Song of Songs as a collection of various love songs and its presentation as a unified work, as is done by our exegete, is expressed most forcefully in the formation of the lover’s image. 2.6 Rhetorical Devices With regard to the rhetorical devices used by the author of the Song of Songs the exegete devotes most of his attention to the figurative language. He defines the figurative language using the verbs ‫ מש״ל‬and ‫דמ״ה‬, and explains the similes and metaphors consistently through the entire length of the book. 2.6.1 Deciphering the Figurative Language of the Song of Songs In addition to defining the figurative language in the terms ‫ מש״ל‬and ‫דמ״ה‬ (‫ מש״ל‬in niphʿal and hiphʿil and as a noun, and ‫ דמ״ה‬in qal and piʿel), the exegete explains the figures without defining them, limiting himself to the kaph of comparison or the comparative word ‫( כמו‬like).30 In general the exegete does not 29 30

On all these, see below in the chapter on the cultural and social background of the commentary, pp. 118–128. The root ‫ מש״ל‬in all its forms appears in the commentary twenty-one times and the root ‫ דמ״ה‬seven times. Occurrences of ‫מש״ל‬: 1:2: “Therefore, he compared (‫ )המשיל‬his kisses to wine”; 1:3: “A good name is likened (‫ )נמשל‬to oil”; 1:10: “Because he compared her (‫ )המשילה‬to a beautiful horse”; 1:15: “Or perhaps he compared her (‫ )המשילה‬to the eyes of a dove”; 1:15: “Therefore he compared (‫ )המשיל‬the eyes of his beloved to them”; 2:7: “These are their lovers that are compared (‫ )נמשלו‬to gazelles”; 2:9: “therefore lovers are compared (‫)נמשלו‬ to them”; 2:14: “he compares her (‫ )ממשילה‬to a dove that hides in the clefts of the rock”; 2:15: “Because he compared her (‫ )שהמשילה‬to a dove … he spoke to her using figurative language (‫ ;”)דרך משל‬3:10: “And this is a figure (‫)משל‬, for love is compared (‫ )נמשלת‬to flashes of fire”; 4:4: “therefore I compare (‫ )ממשיל‬your neck to the tower of David”; 4:12: (Ibn Ezra’s method): “The lover compared (‫ )המשיל‬his beloved”; 4:13: (Ibn Ezra’s method): “Since he compared her (‫ )המשילה‬to a garden”; 7:3: “He compared her (‫ )המשילה‬to a heap of wheat grains”; 7:9: “because he compared her (‫ )המשילה‬above to a palm tree”; 7:10: “he compared (‫ )המשיל‬her words to good wine”; 8:5: “Above she compared him (‫)המשילה אותו‬

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distinguish between metaphors and similes, and his guiding principle in interpreting the figures is that the similarity between something and the thing it is being compared to is partial and is expressed in one or several shared characteristics but not in identity. In this way all of the figures can be explained.31 Only in a few cases does the exegete present the figure as a true metaphor. A detailed analysis of all of the figures is beyond the scope of this introduction, but I will illustrate his technique with examples from two chapters—1 and 4. Chapter 1 1) 1:2. For your love is better than wine. Therefore, his kisses are compared to wine, since with all the drinks in the world, once a man has drunk his fill, he is put off by them for a long time. But with wine, the more he drinks, the more of it he desires, since it warms the body and inflames it, as it is said, “They are inflamed by wine” [Isa 5:11]. And he craves it to cool off its warmth, but it inflames him more and more. Similarly his kisses inflame her body more and more. ‫טובים‬. Joyful (‫)שמחים‬, as in “They went to their tents joyful (‫)שמחים‬ and glad of heart (‫[ )וטובי לב‬1Kgs 8:66].” Therefore he says that your love gladdens the heart more than wine, which gladdens the human heart. The exegete explains at length why the author compares the kisses to wine, and mentions two qualities shared by kisses and wine: Wine is different from other beverages in that it causes anyone who drinks it to want more and more.

31

to an apple tree”; 8:11: “He compares (‫ )ממשיל‬his beloved to his vineyard”; 8:12: “So are you, my beloved, for you are compared (‫ )נמשלת‬to a vineyard.” Occurrences of ‫דמ״ה‬: 1:9: “I compare you” (‫( )דמיתיך‬2×); 4:1: “Another interpretation: … it resembles (‫ )דומה‬the hair of goats”; 4:2: “Another interpretation: he compares (‫)מדמה‬ the whiteness of her teeth to the whiteness of wool”; 4:3: “it resembles (‫ )דומה‬a red scarlet thread”; 4:11: “They drip nectar. When I kiss your lips it seems to me (‫ )דומה לי‬as if honey and nectar and milk are dripping from them”; 5:15: “And he compared (‫ )ודימה‬the feet to golden bases.” For other methods of comparison, see, e.g., 1:5–6: “like the tents of Kedar like the curtains of Solomon”; 1:15: “Another matter: ‫ … יונים‬like wine”; 2:1: “I am a lily of Sharon, a rose of the valleys”; 2:2: “As a rose among brambles, so is my love among maidens”; 2:3: “As an apple tree among the trees of the wood, so is my beloved among young men”; 7:6: “Your head crowns you like Carmel, and your flowing locks are like purple”; 7:10: “And your palate like good wine”; and others. Rashbam also follows this method, although he explains the figurative language without defining it (Japhet, Rashbam on the Song of Songs, 158–160).

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This derives from the ability of wine to heat the body—whoever drinks it wishes to cool off his body by drinking more. But the opposite occurs and he gets warmer and warmer. This is also the quality of the lover’s kisses—they heat up the maiden’s body and she wants more and more of them. The second shared quality is that they gladden the heart. Just as wine makes its drinker happy, so do the kisses of her lover make the maiden happy. There is a difference between these two qualities in terms of their connection to the text. The second quality is explained in the text itself, in the phrase “better than wine,” which the exegete explains as “gladden the heart more than wine” according to a parallel in the Book of Kings. But the first quality is the exegete’s interpretation, which has no basis in the text and is based on his observation and personal understanding. What’s more, according to this interpretation, the word ‫דודיך‬, which is usually translated “your love” (see the next verse and throughout the book) is interpreted here metonymically as “your kisses.” The comparison of kisses, and love in general, to wine is repeated in this chapter twice and it is also repeated in the commentary to 7:10, which is also cited here: 1:4. We will exult and rejoice in you. I and my maidens who serve me. We will recall your love more than wine. Even the mere recollection, that we recall your love, gladdens our heart more than drinking wine. Another matter: We will recall your love more than wine; ‫מישרים אהבוך‬. I and the maidens who love you will rejoice when we recall your love, which gladdens our heart more than wine, which goes from the mouth and flows through the throat to the bowels in a straight path since it is sweet and pleasant and does not linger in the throat, as does the poor quality wine called are, which lingers in the throat. Also, we find that the expression ‫ מישרים‬is used in the context of wine: “And your palate is like good wine, flowing smoothly for my beloved” [7:10], which means your words are sweet and pleasant like the sweet and pleasant wine, which goes in a straight path without delay from the mouth to the bowels. As I demonstrated above (p. 14) the explanation of ‫ מישרים‬as an attribute of wine is taken from Ibn Ezra’s commentary, but our exegete is not satisfied with the textual proofs that Ibn Ezra cites, and he repeats them and explains at length why wine is called ‫—מישרים‬because it “goes from the mouth … directly.” This is a special type of wine, which is “sweet and pleasant.” In order to exemplify the uniqueness of the wine he cites another verse from the Song of Songs (7:10), which has a different figure for wine: “your palate is like the good wine, flowing smoothly for my beloved.” Good wine, as opposed to bad

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wine, goes in a straight path without delay, because of its sweetness, and because of this quality, the words of the lover are compared—in a metonymic interpretation of “your palate”—to wine. Ibn Ezra connects between the two parts of the verse through the assumption that the mem of ‫“ מיין‬draws itself and another with it” (First commentary, first level; also in the second commentary), in other words, ‫ מישרים‬should be understood as ‫ ממישרים‬in parallel to ‫מיין‬. Our exegete does not relate to this matter and it is not clear how he explains the syntax of the sentence. Like Rashbam and Ibn Ezra before him, he explains ‫ אהבוך‬as an abbreviated locution, which follows after ‫ עלמות אהבוך‬in verse 3. This erotic interpretation of the first verse in the book sets the tone for the entire commentary (see further below, 90–96). 2) 1:9. I compare you […] to a ‫ סוסתי‬among Pharaoh’s chariots. This refers to the verse above where she said “I am black” and he said: I compare you to a unit of horses among Pharaoh’s chariots, that are black and the black horse is more beautiful than the rest of the horses and Egyptian horses are more beautiful than the rest of the horses as it is written in the book of Kings “Solomon’s import of horses was from Egypt” [1 Kgs 10:28]. … It stands to reason that Pharaoh’s horses are the choicest of all the horses of his land, and it is to those horses that I compare you my beloved—for just as the horses of Pharaoh, which are black, are more beautiful than all the horses, so your blackness becomes you and you are the most beautiful of all women. 1:10. Your cheeks are comely with turtledoves. Because he compared her to a beautiful horse and it is the way of the world to make for horses silver and gold bridles [‫ ]מצילות‬called lorains, and they are decorated with figures of turtledoves and pigeons and other figures; therefore he said to her that your cheeks are comely with turtledoves of gold that you adorn yourself with for comeliness and beauty. It would seem that v. 9 marks the beginning of a new poetic unit, which appears to stand apart, without any connection, thematic or stylistic, to what preceded it.32 Also, the connection between this verse and the subsequent verses is not self-evident—some find a connection, others do not. The figure in the verse is defined explicitly as such: “I compared you.” But the majority of exegetes do

32

See, e.g., Eliyahu Assis, Infinity of Love in the Song of Songs: A Literary Analysis (Tel Aviv: Yediʿot Aḥaronot; Sifrei Ḥemed, 2009) [Heb.], 47.

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not explain the simile. In contrast, our exegete interprets it at length and turns it into a means of unification that not only unites verses 9–11 into a single unit but also connects the unit to the general context, especially to verses 5–6. The unexpressed question that the exegete answers is: Why does the poet compare the maiden to “a unit of horses (‫ )סוסתי‬among Pharaoh’s chariots.” What do they have in common? He himself attests to the source of his answer: v. 9 is the continuation of vss. 5–6 and in it is brought the lover’s answer to the words of the maiden “I am black and beautiful.” In the words of the maiden there are two adjectives: “Black” and “beautiful,” i.e., blackness and beauty, and the exegete relates to both of them. The black horse is the most beautiful of all the horses, the horses of Egypt are the most beautiful of all the horses, and the horses of Pharaoh are the choicest of all the horses of Egypt. The conclusion: Your blackness is your beauty and you are the most beautiful of all women! In connecting the simile in v. 9 to the statement in v. 5, the exegete offers a special interpretation to v. 5 as well. The exegetes that preceded him explained the waw of ‫ ונאוה‬as the contrastive waw: “black, but beautiful.”33 The blackness is temporary and accidental, the result of circumstances, and is likely to change,34 and in this spirit the exegete himself explains the phrasing of verse 5. But in explaining the simile he states that “black is beautiful”—blackness suits her and because of it she is the most beautiful of all women. On the basis of the simile in verse 9, the exegete also explains verse 10. In this he continues Ibn Ezra’s interpretation, but expands it. Because the maiden is compared to a horse, the jewelry that adorns her, on which are drawn “turtledoves and pigeons” is similar to “gold and silver bridles” which it is the “way of the world” to make for horses.35 Verse 11 is the direct continuation of 33 34 35

So already in the Vulgate translation and in the Midrash; see Zakovitch, Song of Songs, 49; Japhet, “Descriptions of the Body,” 77–78. See Rashi, Rashbam and Ibn Ezra. Ibn Ezra changed his mind with regard to the word ‫ ;תורים‬in his first commentary he wrote: “It seems likely to me that it has no counterpart in the book, and it is a bit (‫”)מתג‬ (First commentary, first level); “He compared the shawl on her cheek to the bit on the cheek of the horse and its straps to the chains on the neck of the horse” (First commentary, second level). But in the second commentary he wrote: “‫בתורים‬. Drawn forms in the image of turtledoves” (Second commentary, first level), but continued in the spirit of the first commentary: “He imagined the shawl on her cheek as drawn, like the bit drawn with the image of turtledoves which is on the cheeks of the mares. And the ‫ חלי הכתם‬are the straps similar to the straps that are put on the neck of the mare.” Rashbam explains ‫תורים‬ differently (it relates to order) and connects the verses such that the pieces of jewelry on the neck of the maiden are the ornaments of the king’s horses.

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verse. 10. Through interpreting the simile in the framework of the context the exegete creates a dialogical and ideational continuity between the sections of the chapter, which seem at first disconnected from each other. 3) 1:12–13. While the king is at his table. … But my lover does not need to perfume himself because he himself is a bag of myrrh, and therefore I crave that he lie between my breasts … Or its meaning is, I thought to myself that there is no better smell in the world than the smell of my nard, whose fragrance wafts unto the place where the king reclines. But he does not need it, because my lover, who is the king mentioned above, is himself a bag of myrrh and does not need to perfume himself. The two interpretations that the exegete offers are somewhat different but equal in describing the figure. The exegete explains the “bag of myrrh” (and without saying it explicitly, also the “cluster of henna”) as a metaphor. “My lover … is himself a bag of myrrh,” and he repeats this concept also in the commentary to 4:13–14 (method of Ibn Ezra): “Similarly, above, he calls her lily and rose [2:1–2], and she calls him “a bag of myrrh” and “a cluster of henna” [1:13–14]” (see below, p. 75).36 Chapter 4 Chapter 4 is replete with figures and the exegete relates to all of them, but there is a difference in the method of interpretation between verses 1–11 and verses 4:12–5:1. In verses 1–11 the exegete follows the method he uses in the whole work: He explains verse after verse and suggests two interpretations for nearly every figure, except for verses 3 and 10. In verses 4:12–5:1 the exegete

36

We should also mention briefly the other figures in chapter 1, both with their definition by the root ‫ מש״ל‬and without it. In vs. 3: “For fragrance your oils are good. … Therefore your name is called poured out oil, which is oil that is poured from vessel to vessel and whose fragrance spreads a great distance … A good name is compared (‫ )נמשל‬to oil as it is said: “A good name is better than good oil [Eccl 7:1]. And vss. 5–6: I am black and beautiful, o daughters of Jerusalem. … and if I am now dark from the sun like the tents of Kedar that are burnt and darkened in the sun and the rains, in the end I will become white like the curtains of Solomon which are spread over his bed, which are of silk or of white linen.” And similarly, the comparison of the locks of hair to water channels (7:6) in the commentary on 1:17: “a king is held captive in the tresses” [7:6]. The king was tied up and knotted by the tresses of her head which resemble water channels”. For the figure, “your eyes are doves” in 1:15 see above, pp. 39–40.

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builds his commentary in a different manner and interprets the entire section in two stages; in each stage he proposes only one explanation without alternatives.37 Therefore, the following discussion will also be arranged in two sections: first I will briefly deal with the figures in verses 1–11, then with verses 12–16. 4:1. Another interpretation. ‫מבעד לצמ]תך[ שערך כעדר העזים‬. ‫ צמתך‬is the net that holds the hair together so that it does not move from its place. And through that net her hair shines. And it resembles (‫ )ודומה‬the hair of goats that graze on Mount Gilead, whose hair is very shiny. Another interpretation. ‫צמתך‬. This is the greve [i.e., part] on the head of women that goes from the forehead to the nape of the neck and it is called ‫ צמת‬because the hair is held on either side and the greve is in the middle like an open road. … the hair, which is held on either side, glistens and is thin and yellow and black like the hair of goats on Mount Gilead whose hair is black. The word ‫ צמתך‬is explained in two different ways but the figure is the same in both interpretations—the hair shines like the hair of goats. 4:2. Your teeth are like a flock of ewes. This means, your teeth are white and uniform and even, with none being bigger than another, but they are all of one size like the teeth of a flock of ewes. Similarly below, “Your teeth are like a flock of ewes” [6:6], that are all even. Another interpretation: Your teeth are white like the wool of a flock of counted sheep, which means the ones that are submitted to the shepherd according to a count and a quota because of the value of their wool. … And he compares (‫ )מדמה‬the whiteness of her teeth to the whiteness of wool. The figure is explained in two ways, which differ from each other in their understanding of the meaning and the syntactic function of ‫קצובות‬. In the first interpretation, ‫ קצובות‬describes the teeth. Your teeth are like the teeth of the flock, “which are all of one size,” i.e., they are all equal. In the second interpretation, ‫ קצובות‬is a description of the sheep. Your teeth are white like the wool of the counted sheep, which are submitted to the shepherd according to a count. The comparison is between the whiteness of the teeth and the whiteness of the wool.

37

To this method there is only one parallel, in 8:11–14.

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4:3. Your lips are like a crimson thread. … When she closes her mouth and her lips are pressed against each other it resembles a red scarlet thread dyed with crimson. The figure relates to the appearance of the lips—they resemble a thread dyed red. Your cheek is like a piece of a pomegranate. A half of a pomegranate [when] the pomegranate is divided into two, and it is red. Thus ‫ רקתך‬is the hard part of the cheek … round and red. And according to another interpretation, like the division of a pomegranate, which has whiteness from inside redness, such is your ‫רקה‬, these are your temples on both sides and the jaws on both sides against your veil. The comparison of the ‫ רקה‬to a sliced open pomegranate is shared by both interpretations, but they are distinguished in their interpretation of the word ‫רקה‬. According to the first interpretation, ‫ רקה‬is the hard part of the cheek (the cheekbone) and it is round and reddish like a sliced open pomegranate. According to the second interpretation, the ‫ רקות‬are the temples, on both sides of the face, and they have whiteness inside redness like a sliced-open pomegranate. 4:4. Your neck is like the tower of David. Upright and straight like the tower of David, which is tall and upright and straight without any deformity or curve. ‫בנוי לתלפיות‬. That is to say, therefore I compare your neck to the tower of David and not to the rest of the towers because good artisans built it and it teaches those who look at it how to build buildings. Another matter. ‫ תלפיות‬are cernels, little towers around the wall and they adorn and beautify the tower; similarly, your neck is straight and upright, suited for hanging from it necklaces and chokers for beauty. In the first interpretation, the comparison between the neck and the tower of David is that they are both upright and straight, and specifically the “tower of David” because it is superior to the other towers and serves as a model for towerbuilding. In the second interpretation, the comparison is between the neck and the small towers around the wall because the neck is decorated with “necklaces and chokers”; and just as the small towers “adorn and beautify the tower,” so do the necklaces and chokers decorate and beautify the neck.

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4:5. Your two breasts. Are small like the breasts of two fawns. Twins of a gazelle. It is the way of the gazelle to give birth to twins, one male, one female. And he compared her breasts to those of the female [twin], which are extremely small. That graze among the roses. It is the way of the roses that they shrink the body of whoever eats them regularly, so that it will never grow fat. Therefore he said that those twins of a gazelle eat nothing but roses, which shrink their bodies and their breasts, and they will not get fat and be gross. Another interpretation. Your two breasts. Are equal in size, like two gazelle twins, which are equal in size, neither one being bigger than the other. Here as well the exegete interprets in two ways the comparison of the breasts of the maiden to two fawns. According to one interpretation, the breasts are small like the breasts of fawns and the explanation for the smallness of the fawns’ breasts is their nutrition—they eat only lilies. According to the second interpretation, the breasts are equal in size like two twin fawns. 4:10. How much better is your love than wine. Your love gladdens my heart more than the drinking of wine. For this figure, see above, 1:2 (pp. 64–65). 4:11. They drip nectar. When I kiss your lips it seems to me as if honey and nectar and milk are dripping from them. Or the meaning of ‫ תטפנה‬is from ‘speech,’ … Therefore he says your words are sweet and pleasant like honey and milk. Here as well, the figure is explained in two ways and in both the comparison is with respect to taste. In the first interpretation, the lips themselves “drip nectar” and the similarity is in the taste that the lips give: the kiss of the lips creates in the lover the same sensation that he gets from eating honey, nectar, or milk. In the second interpretation, the word ‫ תטפנה‬is explained as deriving “from speech” and the comparison is between the words that come from her lips and honey and milk; both are “sweet and pleasant.” As mentioned above, the interpretation of the unit 4:12–5:1 is built in two stages. In the first stage, the commentary is based on the assumption that the word ‘garden’ means just that, i.e., an actual physical garden. The commentary follows the detailed description of the garden, verse by verse, all the while incorporating citations from other biblical books as is the exegete’s wont. In

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the second stage, the exegete suggests another interpretation, based on the assumption that ‘garden’ is a metaphor for the woman’s body. He calls this interpretation “Ibn Ezra’s method,” meaning that this is not a quote from Ibn Ezra but the development of a basic idea proposed by Ibn Ezra. He explains the passage in detail on the basis of this assumption and only towards the end of the passage (vss. 16b–5:1) does he interpret the word ‫( גן‬garden) in its literal sense. To the interpretation according to Ibn Ezra’s method is added an appendix taken from ‫ מחברת הערוך‬of Ibn Parḥon. The appendix is based on the same exegetical assumption that ‘garden’ should be understood as a figure, and deals extensively with v. 13. In what follows I will briefly present the first stage— the literal interpretation—and then in greater detail the second stage—the interpretation of the figurative meaning. 4:12. A locked garden is my sister, the bride. The lover said to his bride. I have a garden that is locked lest the feet of humans and animals trample it. … And this is the way of the lover to make for himself an herb garden … in which to stroll. ‫גל נעול‬. Locked refers to the garden, which is mentioned above. That is, that same garden mentioned above, which is locked by a high wall, still has a locked moat which goes around it and encloses and surrounds it. ‫גל‬. … this is a canal. The exegete explains the words “my sister, the bride” as a form of address: “The lover said to his bride,” and with this states that this is a continuation of the words of the lover in the first part of the chapter (1–11). The lover tells his bride that he has a herb garden, which is very suitable for lovers’ strolls. The garden is fortified and locked in two ways: it is surrounded by a wall, “lest the feet of humans and animals trample it,” and the wall is surrounded by a moat, and together they seal the garden completely. 4:12. A sealed spring. Inside the garden there is a sealed spring whose water is not polluted by the feet of those who come to draw from it. This is the opposite of: “When you drink of clear water, must you foul the rest with your feet?” [Ezek 34:18]. And that spring irrigates the trees of the garden and it is good for a lover and his beloved to stroll in such a garden because it is a secluded place. The lover continues to tell her that the garden has a spring that irrigates the trees inside it, and the spring is sealed and its waters are clean. The place is ideal for lovers to stroll in.

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4:13–14. Your branches (‫)שלחיך‬. These are the trees that grow branches and boughs and their roots spread out a great distance … ‫פרדס‬. Namely, the trees in it are the types of trees that are in a ‫פרדס‬, which is a Garden of Eden, which has in it all types of trees and spices … ‫כרכום‬. Saffron. And calamus and cinnamon and all the other spices, all grow and thrive in my garden. For this reason he called it ‫ פרדס‬because it is a kind of a Garden of Eden … Therefore he said ‫שלחיך‬, that is, all the trees that are in it I gave to you … The lover describes in detail to his beloved all the types of plants that grow in the garden: various trees and spices of all types. Such a garden is comparable to the Garden of Eden and therefore it is called ‫( פרדס‬paradise). The exegete also dwells on the fact that the lover calls the trees of the garden ‫ שלחיך‬with a second person singular pronominal suffix, i.e., he proposes them to his lover as her garden. 4:15. A garden fountain. After he listed the types of trees and spices, he returns to his context and explains the matter of the spring mentioned above, and says that that spring in the garden is a well of living waters, that are constantly flowing and never dry up. And since there are in this garden many items pertaining to gardens, trees, and spices, therefore he says “a garden fountain and flowing streams from Lebanon.” The source of its flow is from under the trees of frankincense mentioned above [3:9]. After the lover listed the wonderful plants growing in the garden, he returned to speak about the matter of the spring: this is a flowing spring, that flows steadily and whose source is from under the frankincense trees, which give to the water its perfumed smell. 4:16. Awake, O north, and come, O south. As if he were asking the north and south [winds] to breathe and blow among the trees of the garden and because of the wind the spices and fruits will fall into the spring and will flow in the water and the water will carry the spices and the fruits afar … The lover completes the description of the garden with a call to the winds to come and blow among the trees of the garden so that their fruit will fall into the spring and the water will carry the spices and the fruit afar. Thus the lover completes his speech.

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Let my lover come to his garden. Since he said to her “your branches” and not “my branches,” namely, all the trees in it I have given to you to do with as you please, therefore she replied to him “let my lover come to his garden,” for I do not deserve that a garden like this should be mine, but for you it is suitable. The dialogue between the lover and his beloved continues in v. 4:16b with the words of the maiden. She reacts briefly to the words of the lover and invites him to come to the garden—which is his and not hers—in order to eat from its fruit. 5:1. And he answers her: I came to my garden. I have already come to my garden. I gathered my myrrh. I gathered my myrrh and the other spices that are in it. My honeycomb. A honey cake, like “the honeycomb” [1 Sam 14:27]. Eat, friends, drink, and be drunk, lovers. That is to say, I want that all those who love maidens should enjoy them. Because I love and desire, I love lovers and desirers. For it is the custom of lovers to love all those who love like them and they share with them what they have. The passage ends with a return to the words of the lover. He tells his beloved that he already has come to the garden and has invited his friends to join him. After finishing the commentary on the passage on the basis of the assumption that “garden” is meant literally, the exegete moves to a second stage—the interpretation of the passage according to what he calls the “method of Ibn Ezra,” according to which ‫ גן‬is not to be taken literally, but metaphorically: “The lover compared his beloved to a locked garden and a sealed spring.”38 In the course of the commentary he repeats this definition several times.

38

Ibn Ezra presents this interpretation with utmost brevity, emphasizing that this is a metaphor. In the first commentary he says: “Lo, you are as esteemed as a sealed garden to which no one is allowed entry … and you are like a garden spring, a well of living waters that revive a tired soul” (second level). In the second commentary: “You resemble a sealed garden which has a pleasant smell from the outside and no one can enter it. And since he compared her to a sealed spring, he said: ‘You are like a garden spring which is a well of living waters’” (second level). In a similar manner, Rashbam briefly comments, emphasizing that this is a metaphor: “A sealed garden … you, my sister the bride, you are precious and guarded, to keep you away from others … and like a spring, a fount of living waters which is sealed and locked in the orchard” (comment to 4:12–15). Rashi alludes to

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4:12. The method of Ibn Ezra: The lover compared his beloved to a locked garden and a sealed fountain, in that she is a virgin and her source has not been exposed, but is sealed. The opposite of “a muddied spring or a polluted fountain” [Prov 25:26]. The point of origin for the interpretation of this passage is the meaning of the figure, which is presented in an express statement: “Locked garden” and “sealed spring” are metaphors for the maiden. The decisive words are “locked” and “sealed”–signifying the virgin who has not yet had sexual relations with a man.39 In the continuation of the passage, the exegete is even more explicit: “he calls the body of the bride ‫( ”שלחיך‬v. 13) and “the tree and the garden are the body of the bride” (v. 16). 4:13–14. ‫שלחיך‬. Since he compared her to a garden, he said your branches are an orchard of pomegranates. He calls the body of the bride ‫שלחיך‬, that is to say, you are the tree that I call garden and orchard, and you are sweet like pomegranates with other choice fruits and your scent is good like the scent of choice spices. Similarly, above, he calls her lily and rose [2:1–2], and she calls him “a bag of myrrh” and “a cluster of henna” [1:13–14]. The exegete adds another level to the interpretation of the metaphor—not only is ‫ גן‬a metaphor for the bride but also ‫שלחיך‬, i.e., the trees in the garden, which make up a “pomegranate orchard.” The bride herself is as sweet as pomegranates and the fruits of other trees of the orchard, and her odor is like that of perfume. In the language of the exegete, the definition of the metaphor is done with the word “call”—the lover “compared” the bride to a garden but he “calls” her ‫שלחיך‬. In order to strengthen this interpretation he brings support from two other places in the Song of Songs: “he calls her” [2:2] and “she calls him” [4:13–14]. 4:15. A garden fountain. Since he called her a sealed fountain he said that this spring in the garden is a well of living water, which prolongs the life of the one who drinks from it, like the tree of knowledge and the tree of life, which give knowledge and life to the one who eats from them.

39

this in his allegorical commentary: “A sealed garden. Recalling the modesty of the Jewish women who are not promiscuous.” The definition of the virgin as a woman “whose source has not been exposed (‫”)הוערה‬ alludes to Lev 20:18: “he has laid bare (‫ )הערה‬her flow and she has laid bare her flow of blood,” but the meaning is expanded from a menstruating woman—during her period— to a virgin.

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The description of the spring as a “well of living waters” continues and expands on the meaning of the metaphor “a sealed fountain,” but here the exegete speaks in allusions and not explicitly: just as the tree of knowledge is the tree that gives knowledge to whomever eats of its fruit, and the tree of life is the tree that gives life to anyone who eats from it, so the spring—i.e., the bride—prolongs the life of anyone who drinks from it. What exactly does he have in mind with the description “whoever drinks from the well”? Even though he doesn’t say this explicitly, it is likely that he is alluding to sexual relations, which he mentions elsewhere explicitly, or to “your desire,” which is mentioned immediately below (5:1). 4:16. Awake, O north and come, O south. When the bride heard that her lover compared her to a garden and to a tree and to spices that grow in the garden, she said, I am persuading the north and south winds to blow upon my garden, that is, my body. Let them blow on my body, for the tree and the garden are the body of the bride; for that is what her lover called her, a locked garden. Here the exegete veers from the dialogue format he presented above. In his first commentary on the passage he presented the first hemistich of v. 16 as a continuation of the words of the lover and as their conclusion, whereas here he presents all of v. 16 as the words of the bride. The address to the winds to blow in the garden is not by the lover but by the bride, who calls the winds to blow on her body, i.e., that they cause her body to spread its good smell. Not only does the lover describe the body of the bride as a garden and a tree, but the bride does so as well: “My garden. My body.” “That is what her lover called her, a locked garden.” Let my lover come to his garden. She also says, let my lover come to the garden, which is his, not to the garden that was mentioned, which is the body of the bride, but to his garden and let him eat its choice fruits and rejoice with his friends. And when the north wind moves and blows in my garden and its spices flow, then let my lover come to me. Here the exegete switches to an ambiguous interpretation of the word “garden.” At first the bride calls her lover to come to his “garden,” but in order to prevent any misunderstanding he explains that the intention is not to the garden, “which is the body of the bride,” but rather to an actual, literal garden, the garden in which he will spend time with his friends and will enjoy its fruit. However, in what follows, he repeats the interpretation of ‫ גן‬as a metaphor

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for the body of the bride. The maiden calls her lover to come to her after the north wind will have blown in her garden—her body—and its perfumes flow. What is the meaning of “let my lover come to me” in this context? Does the expression have a sexual connotation as in “He [Abram] went in to Hagar, and she conceived” [Gen 16:4]? 5:1. And he replies, I have come to my garden, and likewise she says, “My lover has gone down to his garden” [6:2]. ‫אריתי‬. I drank. For I am sated with all things good, but I desire nothing but your love. And the lover, after he drank and let some of his friends into his garden, set aside a place and left them there. The interpretation of the passage concludes without an explicit answer, at least on the overt level. The lover left his friends in the garden, but did he come to the garden of the bride, to her body? He says that all his desire is for her love, but with this the description ends. 4:13. ‫שלחיך‬. Parḥon explained: When you are stripped of your clothes and naked, you are like an orchard full of pomegranates and choice fruits; this refers to the breasts and the navel and the folds of the neck and the sides of a woman. Similarly, ‫שלחיך‬, “stretched out (‫ )שלוחה‬to me” [Ezek 2:9], which means stripped from her sleeve. The Targum of ‫[ ופשט‬Lev 6:4] is ‫( וישלח‬he stripped off). As I mentioned above, for the second part of the commentary the exegete added an exegetical element taken verbatim from Ibn Parḥon’s ‫מחברת הערוך‬. The basis for the interpretation is linguistic: the explanation of the root ‫של״ח‬ as meaning ‫ פש״ט‬and it is reinforced by two verses: “stretched out (‫ )שלוחה‬to me” [Ezek 2:9] and the Aramaic Targum ‫ פשט‬for the verb ‫ וישלח‬in Lev. 6:4. The exegetical conclusion from this interpretation is very daring: ‫ שלחיך‬means your nakedness and “an orchard full of pomegranates and choice fruits” is a metaphor for the naked body of the bride: breasts, navel, and the folds of the neck and the body. From this interpretation can be derived an interpretation of v. 16: Let my lover come to his garden and eat its choicest fruits, that the exegete does not explicitly express. He brings Ibn Parḥon’s comment as a completion and as the peak of the figurative line of interpretation. The detailed and precise explanation of the figurative language is a central aspect of the exegete’s peshat methodology. The exegete expresses in this way his awareness of the basic essence of poetic language and uses intentionally the roots ‫ דמ״ה‬and ‫ מש״ל‬in order to express this essence. The Song of Songs indeed

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speaks in figures that need to be deciphered, but the things being compared to are not Israel and God, and the events described are not events from Israel’s past, its present state and its future hopes, but rather, a man and a woman, two lovers, who tell in the language of similes and metaphors the story of their love. 2.6.2 Other Rhetorical Methods 2.6.2.1 Repetition to Reinforce Speech In the comment on v. 2:1–3 the exegete relates to the statement “behold you are beautiful my beloved, behold you are beautiful” [1:15] saying: “And since the maiden heard that her lover praised her ‘behold you are beautiful my beloved, behold you are beautiful,’ twice, to strengthen the statement that she is surely beautiful, she answered … .” The verse Ah, you are beautiful, my love, you are beautiful, your eyes are doves [1:15], is the first example in the Song of Songs of the poetic pattern called “staircase parallelism” in the research literature of biblical poetry.40 This pattern recurs six times in the Song of Songs (possibly eight), two of them in an identical statement, as follows: 4:1, a repetition of 1:15; 4:8: With me from Lebanon, my bride, with me from Lebanon you should come; 4:9: You have heartened me, my sister, the bride. You have heartened me, with one of your eyes; 5:9: How is your lover different from any other lover, most beautiful of women, how is your lover different from any other lover?; 7:1: Turn, turn, O Shulammite, turn, turn, so that we may see you. Some add also 4:10: How sweet is your love, my sister, my bride! How much better is your love than wine; and 6:1: Where has your beloved gone, O fairest among women? Which way has your beloved turned? In this poetic pattern the central statement of the verse stops in the middle, specifies who is being talked about or who is being addressed, begins again and finishes. It was Rashbam who first pointed out this poetical pattern in his commentary on the Pentateuch (e.g., at Gen 49:22, etc.), and in the exegetical tradition that succeeded him, these verses were called “Samuel’s verses.”41

40

41

Wilfrid G.E. Watson, Classical Hebrew Poetry (London, 2005), 150–156. Another common term for this phenomenon is “parallelism of the expanded hemistich” (Y. Avishur, “On the Stylistic Connection between the Song of Songs and Ugaritic Literature,” Beth Mikra 19 [1974], 508–525 [Heb.]). Aharon ben Yosi ha-Kohen, Sefer ha-Gan, Commentary on the Pentateuch, ed. J.M. Orlian (Jerusalem: Mosad ha-Rav Kook, 2009) [Heb.], 208; Y. Gelis (ed.), Sefer Tosafot ha-shalem, vol. 5 (Jerusalem: Mifʿal Tosafot ha-Shalem, 1986), 71; see also, at length, Japhet, Rashbam on the Song of Songs, 147–150.

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Rashbam’s innovation was not to point out that these verses contain repetitions, since this is quite obvious, but rather to show that this mode of expression was a special poetic pattern, which he defined as a stylistic/rhetorical phenomenon: the repeating words have an expressive function and do not add to the content of the statement.42 This function Rashbam defined with the words: “to strengthen and verify his word” (in his comment to 4:1) and in another place: “he repeats the beginning of his statement in order to strengthen his words” (Commentary on Job 13:2).43 The words of the exegete “twice to strengthen the statement” are an echo of Rashbam’s position, but this is the only time the exegete relates to this phenomenon. He does not refer to the other occurrences of staircase parallelism or even to the phenomenon of parallelism in general. It seems that this should be seen as a silent polemic—opposition in principle to understanding the “duplication” as a stylistic/rhetorical phenomenon, as claimed by the school of Rashbam. 2.6.2.2 Biblical Style Only once in the entire commentary does the exegete use the term “biblical style” (‫)מליצת המקרא‬, in a passage where he tries to explain the meaning of the poetic formulation in 3:11: Come out. Look. … Look how much more beautiful and precious and superior is the crown on Solomon’s head that his mother placed on his head on his wedding day, than the one he was crowned with on his coronation day. And on the day of the gladness of his heart. … The biblical style (‫ )מליצת המקרא‬of writing, “on his wedding day and on the day of the gladness of his heart,” teaches us that he wishes to say that he had another crown and he wore it. Also, he once was happy, but the quality of that crown did not reach the quality of this one, and that joy did not reach this joy. Therefore he says “the gladness of his heart,” that this joy came to him from the heart. The comment is long and cumbersome but it can be deciphered. According to the exegete the verse compares two crowns that Solomon’s mother decorated his head with, one for his coronation and one for his wedding day. The crown for

42 43

On the polemical anti-midrashic sting in this position see Japhet, Rashbam on the Song of Songs, 155–156. See also his comment on Eccl 1:2.

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his wedding day was more beautiful, precious, and superior than his coronation crown and the joy on his wedding day, which is the “joy of his heart,” was greater than his joy on the day of his coronation. The exegete assumes that the verse needs to be completed as if it were written as follows: “with the crown that his mother crowned him with on his wedding day [which is] the day of the gladness of his heart [more than the crown and the gladness of the day of his coronation].” The exegete bases this interpretation on the emphasis he finds in the formulation “on his wedding day and on the day of the gladness of his heart.” He explains this emphasis as an expression of comparison to another day of coronation and gladness, which was not “the day of the gladness of his heart.” He justifies this interpretation with the term ‫( מליצת המקרא‬biblical expression). This rather forced interpretation seems to be a silent polemic against the view of Rashbam, who explained that this verse is referring to one crown and one happy day: “who was crowned with a crown that his mother Bathsheba made for him on the day of his wedding and joy”.44 According to the exegete, the term ‫ מליצה‬describes the poetic nature of biblical poetry; the phrase “the day of the gladness of his heart” that may seem an empty repetition is a mode of emphasis, that should be illuminated by exegesis. Since this is the sole occurrence of ‫ מליצה‬in the commentary we are unable to say any more. 2.6.2.3 Parallel Expression (‫)כפל לשון‬ The term ‫ כפל לשון‬appears once in the commentary, in the comment on 5:6: My soul failed me when he spoke. When I recognized his voice and his speech my soul and spirit left me and no breath remained inside me … and this is a parallel expression to “my bowels murmured for him” [v. 4]. The expression ‫ כפל לשון‬has several meanings in exegetical literature and defines various phenomena of repetition, the most prominent among them— but not the only one—being defining parallelism.45 The root ‫ כפ״ל‬on its own 44

45

Japhet, Rashbam on the Song of Songs, 252. The term ‫ מליצה‬appears in Rashi’s commentary on Proverbs and according to the analysis of Sarah Kamin, “the word ‫ מליצה‬connotes for Rashi the level of the overt significance, i.e. the literal meaning” (Kamin, Rashi [Jerusalem: Magnes Press, 1986] [Heb.], 116–120; the quote is from p. 117). The exegete was familiar with Rashi’s work, and he frequently availed himself of it, but there is no way to determine that such a connection also exists in the use of ‫מליצה‬. See, inter alia, Japhet, Rashbam on Job, 176–177; Harris, Discerning Parallelism, 12–13.

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or in various combinations, has a number of connotations, and its meaning needs to be discerned in each place according to its specific context. It seems that here the exegete wants to say that the expressions “my soul failed me” [v. 6] and “my bowels murmured” [v. 4] express a similar idea, i.e., they describe great emotional turmoil. The meaning of ‫ כפל‬in this case would be synonymity of expressions.

3

The Descriptions of Beauty and the Act of Love

The basic position of the commentary—that the Song of Songs is a love discourse between a man and a woman—also determines the exegete’s foci of interest, which are mainly the beauty of the lovers and the many expressions of their love. (1) The Song of Songs strongly emphasizes the beauty of the lovers, and words and expressions from the semantic field of beauty are widely represented in it.46 The exegete is sensitive to this characteristic of the Song of Songs and expands on it a great deal. Even though, as with other matters, he draws on exegetes who preceded him and it is possible to distinguish the foundations upon which his commentary is constructed,47 the extensive preoccupation with the subject of beauty, the great variety of its descriptions, and the complete freedom that he allowed himself in his expression, place him in a class by himself. As we have seen above, one of the characteristics of the work is the exegete’s tendency to explain the biblical text on the basis of “the way of the world,”48 and one of the aspects of this principle is his tendency to propose from time to time rules and sayings on various topics in the book. These sayings distinguish him from earlier exegetes and provide a direct testimony concerning his cultural milieu. Many of the rules and sayings relate to matters of beauty and ugliness, some sound like popular truisms and some sayings are of his own invention. For instance: “many beautiful women love men who are not handsome” [1:3]; “and this combination of red and white is beautiful just like cheeks that are white and red together” [1:11]; “For there might be a woman who is not so beautiful, but she pleases her lover and appears beautiful to him, but does not appear

46 47 48

See above, pp. 59–60. See above, pp. 12–24, 25–29, and Japhet, “Descriptions of the Body.” See above, pp. 41–45.

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beautiful in the eyes of others” [4:1]; “… her eyes are similar to the eyes of doves … and this is a thing of beauty for a woman” [4:1]; “And black hair is a thing of beauty as it says, ‘black like a raven,’ [5:11] and it is also a thing of beauty for a woman” [4:1]; “there are men and women for whom it is not becoming to speak because they open their mouths too much” [4:3]; Ruddy. “ ‘The hardness of one’s countenance is changed’ [Eccl. 8:1] and this is a thing of great beauty” [5:10]; “Also this is a thing of great beauty for a man to have black hair and a white cheek” [5:11]; “And this is the black part of the eye and it is a thing of great beauty” [5:12]; “This is the pubic hair, which is a thing of beauty for a man” [5:14]; “It is praiseworthy for a man to have hair on his shins” [5:15]; “there may be a woman who is beautiful but does not find favor … and there may be a woman who finds favor but is not beautiful” [6:4]; “It is the way of men and women that when they get up in the morning from their beds their faces are slightly pale from sleep and they are not beautiful and ruddy as they are at mid-day after they have eaten and drunk and satisfied themselves” [6:10]; “People say ‘at dawn one examines beautiful women’” [6:10];49 “and it is very ugly when the navel protrudes … and a hollow sunken navel is a thing of beauty” [7:3]; “Your belly is … slightly thick below and this is a thing of beauty for a woman” [7:3]; “And … there are rows upon rows in the sand, … and he compared the hair to them, … And it is a thing of great beauty” [7:6]. These generalizations make it clear that the exegete thought a great deal about the subject of beauty, looked around him at human behavior (or, the ways of the world) and formulated standards for human beauty. Still, these generalizations are meant to be guidelines showing a general direction, but do not exhaust the topic. The exegete’s views are expressed in the details of the commentary and in the matters that he repeats often, and in what follows I will address the most characteristic and typical of them. In the spirit of the Song of Songs the exegete stresses that the two main characters are very beautiful, the maiden more beautiful than all the women and the lover more handsome than all the men. They are both described as being perfect in their qualities, and the most characteristic expression of the perfection of their qualities is their external beauty, which is flawless and second to none.50 This matter is especially prominent in the exegesis of the descriptive poems of the Song of Songs—the descriptions of the physical beauty of the lovers—which is one of the components of love poetry in various 49 50

The opening words “People say” define this saying as a common proverb. Salfeld noted that it has a German parallel, but it seems to have originated in Venice (Salfeld, 79, n. 1). See, inter alia, the comments on 1:9; 2:1–3; 4:1, 7; 5:10; 6:1, 4, 5, 8–9, 10; 7:1, 7. See above, pp. 59–60.

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cultures.51 The descriptive poems are one of the characteristic features of the Song of Songs and they have received a lot of attention in modern scholarship of the book, mainly because of the literary genre that they represent, which is called—following Arabic poetry—wasf (description);52 they describe in detail and at length the faces and body parts of the lovers.53 The exegete adopts the conventional concept of beauty that the most beautiful color for the face is “white and red” and he repeats this several times. “My beloved is white and red (‫)צח ואדום‬. And his beauty is unmatched in the entire world” [5:10]; “and this combination of red and white is beautiful just like cheeks, that are white and red together” [1:11]. One of the aphorisms is also dedicated to this topic: “It is the way of men and women that when they get up in the morning from their beds their faces are slightly pale from sleep and they are not beautiful and ruddy as they are at mid-day after they have eaten and drunk and satisfied themselves” [6:10]. The color red, which is expressed also in the shades of gold as a characteristic of beauty, defines not only the face as a whole, but also specific parts of it. So, the lips: “Your lips are like a crimson thread. Her lips are thin and not thick and her mouth is small. When she closes her mouth and her lips are pressed against each other it resembles a red scarlet thread dyed with crimson” [4:3]; “His lips are roses. Red like roses. And in this manner he praised her ‘Your 51

52

53

For comparing the motifs and modes of expression in the Song of Songs to the love poetry of other ancient literatures and in Arabic literature up to the present, see M.H. Pope, Song of Songs (New York: Doubleday, 1977), 54–85 and the literature cited there; Zakovitch, Song of Songs, 17–18. For the definition of the genre, see: Richard N. Soulen, “The wasf of the Song of Songs and Hermeneutic,” jbl 86 (1967), 183–190; J. David Bernat, “Biblical wasf s beyond Song of Songs,” jsot 28.3 (2004), 327–349 (in particular, 328–334). For more comprehensive literature see S. Japhet, “The Description Poems in Ancient Jewish Sources and in the Jewish Exegesis of the Song of Songs,” in A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum, ed. D.J.A. Clines and Ellen van Wolde (Sheffield: Sheffield Phoenix Press, 2011), 216–229. Budde already saw this literary genre as the key to understanding the entire book: K. Budde, “Das Hohelied,” in K. Budde, A. Bertholet, and G. Wildeboer, Die fünf Megillot: Das Hohelied, das Buch Ruth, die Klagelieder, der Prediger, das Buch Esther, khcat 17 (Tübingen: Mohr, 1898). For reservations concerning this definition, see Fiona C. Black, “Beauty or the Beast: The Grotesque Body in the Song of Songs,” Biblical Interpretation 8 (2000): 300–323. Cheryl Exum does not criticize the term itself but does not use it in her commentary: J. Cheryl Exum, Song of Songs: A Commentary, otl (Louisville, ky: Westminster John Knox, 2005), 19–20. Most of the descriptive poems in the Song of Songs describe the woman’s body and face (esp. 4:1–5; 6:5–7; 7:2–6), but there is also a detailed description of the man’s body [5:10–17] and other short partial descriptions as well.

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lips are like a crimson thread’” [5:13]. For the color of the cheeks, our exegete proposes two possibilities: only red or red and white: “Your cheek is like a piece of a pomegranate. A half of a pomegranate … and it is red. Thus ‫ רקתך‬is the hard part of the cheek which is … round and red; Behind your veil glistens the redness of the cheek. And according to another interpretation, like the division of a pomegranate, which has whiteness from inside redness, such is your ‫”רקה‬ [4:3]. Nevertheless, the exegete presents only white as the most beautiful color for the face: “Also it is a thing of great beauty for a man to have black hair and white cheeks” [5:11].54 With regard to the color of the skin the exegete states that the most beautiful color is white. Thus, the color of the neck is “white like an ivory tower” [7:5]. This is especially true for the area of the belly: for the woman: “Your navel is white and shining like the moon, which shines when it is full” [7:3] and for the man: “His belly a tablet of ivory. White and smooth like a tablet of elephant [ivory], which is white. …. The belly is as if wrapped in sapphires, which are white” [5:14]. White is also the color of teeth: “Your teeth are like a flock of ewes. This means, your teeth are white and uniform and even … Another interpretation: Your teeth are white like the wool of a flock of counted sheep … And he compares the whiteness of her teeth to the whiteness of wool” [4:2]; and the nails: “And some explain ‘set with ‫[ ’תרשיש‬these] are the fingernails, which are white like ‫”תרשיש‬ [5:14].55 The definitive statements concerning the superiority of the color white for the skin direct our attention to the commentary on 1:5–6. The statements “I am black and beautiful … . Do not look at me that I am dark” already drew the attention of the midrashic interpreters and later of the peshat exegetes. The question is posed explicitly in Shir ha-Shirim Zuta: “Is it possible for black to be beautiful?”56 The Midrash offered several answers to this question, the gist of which is:

54

55

56

This very combination is found in the picture of beauty that Tova Rosen presents (T. Rosen, Unveiling Eve: Reading Eve in Medieval Hebrew Literature [Philadelphia: University of Pennsylvania Press, 2003]; cf. revised and expanded version in Hebrew: Hunting Gazelles: Reading Gender in Medieval Hebrew Literature [Tel-Aviv: Tel-Aviv University, 2006]). White is also the color of the eyes around the black pupil: “And the white part that surrounds the black is very white, and it is as if it had been bathed in milk and turned white” [5:12]. Shir ha-Shirim Zuta, 1:5 (p. 11); cf. Exodus Rabbah 49.2, Yalqut Shimʿoni 2.982.

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“One cannot compare a person born ugly to someone beautiful who becomes ugly, because the latter will once again become beautiful.”57 Our exegete also addresses this question at length. He ascribes the explicit statement that the color black is ugly to the “daughters of Jerusalem,” and says: “Now she speaks to her friends … who scorn and mock her, and say that her lover distanced himself from her because she is ugly and black” (1:5). In reply to their words he suggests two possibilities, which were mentioned by the exegetes that preceded him. On the one hand the maiden says “if I am black, this is not a great ugliness, because I am beautiful and graceful … with shapely limbs, and well-contoured, like the form of a palace” (1:5), and this view reflects the positions of Rashi and Rashbam that what determines the beauty of the maiden is the appearance of her body and the shapeliness of her limbs. On the other hand the maiden says “in the end I will become white like the curtains of Solomon” (ibid.), i.e., as the Midrash says, the black color is accidental and temporary and will eventually disappear. He repeats this in the commentary on v. 6: “This is not real blackness, which comes from my mother’s womb, for I was born white, and also in the past my lover saw me beautiful and white.” But the exegete is not satisfied with these suggestions and returns to the matter twice more. In the commentary to 1:9 he says: “I compare you […] to a ‫ סוסתי‬among Pharaoh’s chariots. This refers to the verse above where she said “I am black” and he said I compare you to a unit of horses among Pharaoh’s chariots, which are black, and the black horse is more beautiful than the rest of the horses … for just as the horses of Pharaoh, which are black, are more beautiful than all the horses, so your blackness becomes you and you are the most beautiful of all women,” and again at 1:15: “The lover answered, Do not think in your heart that I will leave you because you are black, for you are very beautiful and pretty. And your eyes are doves.” The dark color of the skin receives several evaluations. Against the conventional assumption expressed by the “daughters of Jerusalem” that the color black is ugly, the exegete presents three positions: (1) agreement with this assumption while emphasizing that the black color is accidental and temporary, and the skin of the face will return to whiteness; (2) a statement that the color black does not mask the beauty of the maiden because her beauty is determined by the shape of her limbs and the beauty of her body; (3) and finally the suggestion that the color black itself is beautiful: “your blackness becomes you and you are the most beautiful of all women” (1:9). While the

57

Yalqut Shimʿoni, 2.982. For other answers see, SofSRab 1.35, though there the question is not expressed explicitly. This matter arises again in many commentaries, sometimes along with the question, sometimes with the answer alone.

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first two positions rely on an exegetical tradition that begins with the Midrash and continues with the commentaries of Rashi and Rashbam, the third position is unique to this exegete and is even more positive than that of the Prague Anonymous. We cannot identify the origin of this change of viewpoint—does it reflect a different historical or geographical background or a different ideological position—but it is most interesting in and of itself.58 The exegete devotes considerable attention to the beauty of the eyes. Like the sages, but in his own words, he claims that beautiful eyes are enough to bear witness to a woman’s beauty: “From behind your veil. The veil is called ‫… צמתך‬ when your face is covered and wrapped with a veil, except for your eyes, … and nothing is seen of all your beauty except for your eyes, it is known to those that see them that there is no woman as beautiful as you” [4:1].59 As we have seen above, the exegete proposes a number of interpretations for the phrase “your eyes are doves” [1:15],60 and at the end states: “And the correct interpretation is that in every case where the phrase ‘Your eyes are doves’ is mentioned in this book, the intention is to say that your eyes are like doves beside streams of water. … And because those doves … have very clear eyes, vers in French, because they are created from clear water, therefore he compared the eyes of his beloved to them.” And again he elaborates at v. 5:12: His eyes are like doves by watercourses. Doves that are found by watercourses have clear eyes, vers in French, because they were born from the water; therefore she compared the eyes of her lover to them. And this is the black part of the eye and it is a thing of great beauty. And the white part that surrounds the black is very white, and it is as if it were bathed in milk and turned white. Fitly set. They are not sunk into the forehead too much and do not protrude too much, but are precisely fitted and sit exactly in their sockets and they fill their sockets the way that the mounting of a gold ring is filled with the precious stone that is set into it. And 58

59

60

For an extensive discussion on the attitudes to blackness see David Goldenberg, The Curse of Ham: Race and Slavery in Early Judaism, Christianity and Islam (Princeton: Princetion University Press, 2003); for the discussion of Song 1:5–6 see 79–92. Goldenberg does not include the views of the classical biblical exegetes. bTaanit 24a: “This can be compared to a bride who lives in the house of her father. So long as her eyes are beautiful her entire body needs no examination; should, however, her eyes be bleared then her entire body needs examination.” And in a slightly different formulation in the Midrash: “R. Levi said: If a bride has ugly eyes, her entire body needs to be examined; if her eyes are beautiful, her body does not need to be examined” (Song of Songs Rabbah 4.3). See above, pp. 39–40.

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again in the comment on 4:1 and at 7:5, on the lemma: “Your eyes are pools in Heshbon.” While the second part of the comment at 5:12 (which repeats what was said at 1:15) is a nearly word-for-word repetition of the comments of his predecessors, the extreme emphasis on this matter and the description of the clear color of the eyes, are unique to this exegete, and according to his description this beauty is shared by the eyes of both the man and the woman. The Old French word vers, which presents the color of the eyes as clear and shining—the color of water— is repeated in the commentary four times, more than any other Old French word (1:15, 4:1, 5:12, 7:5). The emphasis on the beauty of the eyes is anchored in the Song of Songs itself, and the inspiration for this definition of the beauty of the eyes is perhaps Rashbam’s commentary on the Pentateuch;61 nevertheless, what is displayed here is an independent line of interpretation, unique to our exegete. Another beautiful trait shared by the couple is their tall stature. The exegete mentions the height of the man twice and the woman’s once. In one place the height seems to be alluded to in the text itself: “His appearance is like Lebanon. Tall as the tree of Lebanon. Choice as the cedars. Just as the tree of Lebanon is choice and better than the other cedars so is he choice and better than other men, and he is tall, similar to ‘whose height was like the height of cedars’ [Amos 2:9]” (5:15). On the other hand, in the other place there is no mention of height. On the words of the maiden “As an apple among the trees of the wood, so is my lover among the young men” (2:3), he comments: “The apple is the tree whose fruit hangs from it … and it is a tall tree and shades the ground and has a pleasing fragrance. ‘So is my lover among the young men.’ For he has these three virtues.” The lover’s virtues are therefore: height, shade, and pleasing fragrance. As mentioned, the height of the woman is mentioned once: “Your head upon you like Carmel. From your head and above you are taller than all women, just as Mount Carmel is higher than all the mountains around it” (7:6). Perhaps the inspiration for this comment is Rashbam’s brief statement: “Your head upon you is high, like Mount Carmel.”62 61

62

See Rashbam’s commentary on the Pentateuch Gen 29:17: “‫רכות‬. Beautiful, vairs in French. ‘If a bride’s eyes are beautiful, the rest of her body does not need to be examined’ (bTaan 24a). Dark eyes are not as beautiful as light-colored eyes.” Cf. Martin I. Lockshin (trans./annot.), Rabbi Samuel ben Meir’s Commentary on Genesis (Lewiston, n.y. 1989), 172. D. Rosin noted that this comment is cited in the book Hadar zeqenim in the name of Rashbam (Samuel ben Meir, Commentary on the Torah, ed. D. Rosin [Breslau 1882; Heb.], 34, n. 12; also Mathews, 239, n. 2). Japhet, Rashbam on Song of Songs, 271.

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Another matter that the exegete devotes special attention to is the beauty of the breasts. Many earlier exegetes touched on this topic, yet he still has something to add. In the footsteps of his predecessors (Midrash, Rashi, Rashbam, Prague Anonymous), he notes that “Your two breasts are equal in size … neither one bigger than the other” (to 4:5, another interpretation), and following Ibn Ezra and Prague Anonymous he claims that the breasts are “small like the breasts of two fawns” (ibid.), and adds to this an explanation that is nearly “scientific”: the fact that the fawns graze among the roses causes them to be slight in proportions: “It is the way of the roses that they shrink the body and breasts of whomever eats them regularly, so that it will never grow fat. Therefore he said that those twins of a gazelle eat nothing but roses, which shrink their bodies and their breasts, and they will not get fat and be gross” (ibid.). On the other hand, our exegete does not have the same reservations about large breasts as Ibn Ezra. In his commentary to “I am a wall and my breasts are towers” (8:10), Ibn Ezra says “There are those who would wonder, saying, ‘if her breasts are towers, they are big,’ but this is not so, but rather, because she resembles a wall, her breasts should resemble the turrets on the wall, which are small” (Second commentary, second level). In this spirit, the Prague Anonymous says: “Your breasts are like clusters. Large breasts are a blemish for a woman” (7:8). Unlike these reservations, our exegete proposes two interpretations of “I am a wall and my breasts are like towers” (8:10): “… even if my breasts were as big as towers, do not worry about this, for I am a virgin. Or, its meaning is … like the stone of a tower, and from this you can understand that they were not squeezed or crushed by human hands.”63 Another line of interpretation in this commentary is the exegete’s attitude to the descriptions of the naked body, included in two of the descriptive poems: the description of the lover’s body in 5:14–15 and that of the maiden in 7:2–4. The exegete expounds in detail on these descriptions. In describing the hidden parts of the man’s body—the belly and the legs—he mentions the whiteness of their skin, their smoothness and lack of flaws, and the hair that covers them in the proper places, and stresses that all these are “things of beauty” for the man and are worthy of “praise.” 5:14. His belly a tablet of ivory. White and smooth like a tablet of elephant [ivory] which is white. … Adorned with sapphires. The belly is as 63

The exegete bases his interpretation on “the way of the world”: “Like towers. It is the way of builders to build towers from hard stone, so that they will not be reduced by the battering rams that strike them” [8:10]. The purpose of the comparison to a tower is to stress that the breasts are firm as is fitting for the breasts of a virgin.

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if wrapped in sapphires which are white. … Some explain Adorned with sapphires. This is the pubic hair, which is a thing of beauty for a man. 5:15. His legs are marble columns. Smooth and strong like marble. And they are slightly brownish like marble because they have some hair. It is praiseworthy for a man to have hair on his shins. The exegete is more expansive in his descriptions of the hidden parts of the woman, and mentions their white color and perfect form. Especially striking is his description of the navel in which the exegete expands on the form of the navel, expresses his opinion about its beauty and ugliness, and adds aphorisms to attest to its beauty. 7:2. Your rounded thighs are like jewels. The concealed parts of your thighs, from the shins to the belly, which is a concealed and hidden place. … And Parḥon explained ‫—חמוקי ירכיך‬the rounds of your thighs and what is around them … . 7:3. Your navel is the bowl of the moon. Your navel is white and shining like the moon, which shines when it is full, and it is round like a bowl, which is a vessel of gold or beaten copper. Since the moon when it is full is round and resembles the back of a bowl, therefore he said “the bowl of the moon.” That never lacks mixed wine. So that you should not say that since he compares the navel to the moon and to the back of a bowl that this is something ugly. For if so the navel protrudes to the outside like the moon protrudes, and like the back of a bowl that protrudes, and it is very ugly when the navel protrudes. … Therefore he said “that never lacks mixed wine,” that is, the place of the navel is sunken … and a hollow sunken navel is a thing of beauty. And since there are people whose navels are depressed and hollow and nevertheless when they bend over their navel protrudes, therefore he said “that never lacks mixed wine.” Your belly is a heap of wheat. Ibn Ezra interpreted, slightly thick below and this is a thing of beauty for a woman. The exegete relates to the naked body of the woman in one other place in the Song of Songs, which is devoted to the act of love rather than to the beauty of the body and does not refer to the body directly.64 64

To explain the metaphor “Your branches are an orchard of pomegranates with choice fruits” [4:13] the exegete adopts the interpretation of Ibn Parḥon: “Parḥon explained: When you are stripped of your clothes and naked, you are like an orchard full of pomegran-

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The combination of all of these details shines an especially bright light on the nature of the commentary. The commentary sloughs off the entire burden of the exegetical tradition, which saw in the Song of Songs an allegory, and its interpretations do not hide behind allegorical or apologetic meanings. The exegete also shakes off the remnants of restraint and modesty, which characterized the peshat exegetes in general. He interprets the text with complete openness without any inhibitions, and expresses great joy at the beauty of the young lovers. It is likely that he does this not only under the influence of Spanish poetry or any particular exegetical tradition, but in keeping with the norms and values of the cultural milieu of his time and place. (2) The second focus of the commentary is on the displays of love between the two lovers.65 According to the exegete, the essence of love, its focus and pinnacle, is its consummation in the act of lovemaking. This conception of love is expressed in the Song of Songs itself, in the abstract noun ‫דודים‬, which appears eight times in the book, but the exegete presents it in his direct language: “His left hand is under my head, and his right hand embraces me. This is the way passionate lovers lie together, such that out of abundant love he puts her heart on top of his heart. This is the meaning of what it says below, ‘Set me as a seal upon your heart, as a seal upon your arm’ [8:6]” (2:6). He repeats this comment at 8:6: “Set me as a seal upon your heart. … And the seal is connection and cleavage. And this is what she says above, ‘His left hand was under my head, his right arm embraced me’ [2:6]. When they lie in this position, her heart lies on top of his heart and she is sealed and attached to his heart. And when his left hand is under her head then she is sealed upon his arm.”66

65

66

ates and choice fruits; this refers to the breasts and the navel and the folds of the neck and the sides of a woman.” For a detailed discussion of this figure and its meaning see pp. 75, 77. The root ‫אה״ב‬, both as a verb and as a noun (‫)אהבה‬, is repeated fifteen times in the Song of Songs, but more common is the word ‫ דוד‬as an epithet for lover, which appears more than twenty times. Also the abstract noun ‫ דודים‬appears eight times: 1:2, 4; 2:6; 3:4; 4:10 (twice); 5:1; 7:13. This form appears in the Hebrew Bible only twice outside the Song of Songs: Ezek 16:8 and Prov 7:18. The term ‫משכב דודים‬, lit., the “lying down of lovers” is taken from the prophet Ezekiel, in his harsh rebuke of the harlotry of Oholah: “So the Babylonians came to her for lovemaking” [Ezek 23:17]. But in the language of the exegete, this is a neutral term, without any negative connotations.

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The exegete explains in this spirit only some of the appearances of the word ‫ דודים‬in the Song of Songs (2:6, 3:4, 7:13)67 and twice its appearance in the

singular (7:10, 14). But he describes the act of lovemaking even without this term. 7:10. ‫דו ִדי‬. As in “there I will give my love (‫ )דו ַדי‬to you.” [7:13]. This means my love. 7:13. There I will give my love to you. ‫דו ַדי‬. My love, that I will do all you desire. 7:14. Another matter: ‫דו ִדי‬. My love. I hid it to give it to you in the vineyards, as it is said above, “I will give my love [‫ דו ַדי‬pl.] to you” [v. 13]. And here it is written ‫[ דו ִדי‬sing.] for it is her intention to say—the essence of my love, that is, my hymen.68 The exegete explicates in this spirit and in very explicit language all of 2:4–7. He explains “He brought me to the wine house” (2:4) as “He immediately brought me to the winehouse, to the wedding canopy”; he explains the “lovesickness” that the maiden mentions in physical terms: “Sustain me with flagons. This is what I said to the wedding servants who brought me flagons of wine to sustain my heart and support it, for I am sick from love, from the pain of the hymen” (2:5).69 I have already dealt above with the comment on 2:6, in which the exegete mentions explicitly “the way passionate lovers lie together,” and in v. 7 the maiden tells her friends: “I adjure you, O daughters of Jerusalem. After she told them that she had united with her lover and they had become one flesh, she was afraid they would be jealous of her. Therefore she made them take an oath.” In this spirit the exegete explains the description of Solomon’s bed: “Paved with love. More than all the daughters of Jerusalem. This means, the interior of the canopy contains the attached, bound, and joined love of Solomon and his beloved who are bound and joined together in the great love between them, 67 68 69

In 1:2 he interprets ‫ דודיך‬to mean “your kisses”, and similarly 1:4, 4:10. In 5:1 he explains ‫ דודים‬as the plural of ‫דוד‬, meaning “lovers.” This interpretation is implied in other commentaries as well (e.g., Rashbam to 2:14 or Ibn Ezra to 7:13), but they are not formulated so explicitly. For a contrary explanation see, e.g., Zakovitch: “the lovesickness comes from lack of consummation of the love” (Zakovitch, Song of Songs, 63) and he also brings parallels from poetry outside of Israel.

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more than all the daughters of Jerusalem, for there is not a single one of all the daughters of Jerusalem who is bound and joined to her lover with love like Solomon and his beloved” (3:10). The use of the verbs ‫ דב״ק‬and its synonym ‫חב״ר‬, which appear in the commentary to 8:6–7, the second part of which appeared in the comment to 2:7, and which the exegete defined explicitly as “lovemaking,” is undoubtedly an allusion to Gen 2:24 “and clings to his wife (‫)ודבק באשתו‬, and they become one flesh.” This matter is repeated, in more moderate language, in the comment on 8:2: “That you may teach me the practice of lovers and the matter of lovemaking, how I might do something that would give you pleasure.”70 The exegete notes many locations in which love is consummated—in almost any place that is secluded and hidden from human eyes, in the exegete’s language—modest. First and foremost the home and the bed, but also the bower under the tree, fields and vineyards, paths and gardens, and mountains. 1:16. Our couch is leafy. I prepared for us a beautiful couch and a respectable bed in which we will lie under a leafy tree, which gives shade and covers the ground. And this is the way of lovers to lie under a leafy tree or a thick terebinth. 2:13. Arise. Because the time has come for love71 and for joy in lovemaking on the roads and in the gardens.72 3:4. Until I brought him into my mother’s house. … until I brought him to the chamber of her that conceived me, this is an innermost room, a secluded spot for lovemaking. 3:10. Paved with love. … This means, the interior of the canopy contains the attached, bound, and joined love of Solomon and his beloved.

70 71 72

See also the comment on 4:12–5:1, above in the section on figurative language. This expression too is taken from Ezekiel: “your time was the time for love” [16:8]. Thus does he describe the garden that the lover prepared for his beloved: “A locked garden is my sister, the bride. The lover said to his bride, I have a garden that is locked. … And this is the way of the lover to make for himself an herb garden … in which to stroll. … And it is good for a lover and his beloved to stroll in such a garden because it is a secluded place” [4:12]. The exegete sees in the preparation of a garden a characteristic phenomenon for lovers: “this is the way of the lover to make for himself an herb garden,” but he describes the purpose of the garden as being for “strolling” and this term is not as unambiguous as its predecessors. On ‫ טיול‬see also above, pp. 22–23.

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7:14. Another matter. ‫דודי‬. My love. I preserved it to give it to you in the vineyards. 8:1. Who nursed at my mother’s breast. … For if they would think that you were my brother, I would not have needed to ask you to go to the fields and the vineyards to make love there. 8:14. And she answers: Take flight, my lover. … flee from here and go to the mountain of myrrh and I will go with you and there I will give my love to you. And as he explained in 7:14: ‫דודי‬. My love. … as it is said above, “I will give my love [pl.] to you” [v. 13]. … for it is her intention to say—the essence of my love, that is, my hymen. Following the verses of the Song of Songs, the exegete also mentions the physical pleasure in the act of lovemaking, although he alludes to this through figures of eating, this too following the Song of Songs. It seems that he has adopted the saying of Ibn Ezra: “There is nothing in the world that gives more pleasure to the soul and nothing more beautiful and pleasant than passion” (Second commentary, second level, to 7:7: “How fair you are, how sweet, O Love, among delights”). He expounds at length on the nature of kisses and compares them to wine, saying: (1:2) “his kisses inflame her body more and more.” 1:4. We will recall your love more than wine. “Even the mere recollection, that we recall your love, gladdens our heart more than drinking wine” (cf. 7:10). He returns to kisses in 4:11: They drip nectar. When I kiss your lips it seems to me as if honey and nectar and milk are dripping from them. 4:13–14. “You are sweet like pomegranates with other choice fruits and your scent is good like the scent of choice spices.” 7:7. Love with rapture. The one who loves her delights in her love as if he were eating all the delicacies of the world. 7:8. Your breasts are like clusters. [Men] crave to lie between her breasts like they crave to eat a cluster of grapes.

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Around the central topic of lovemaking the exegete points to other matters concerning love and lovers and describes in detail the feelings, behavior, and practices of the “passionate lovers” (‫)חוֹשקים‬.73 He portrays the lovers as a special group of people, all of whose behavioral norms, one may even say, their very essence, are defined and determined by love. He expresses this view explicitly: “Eat, friends, drink, and be drunk, lovers. That is to say, I want that all those who love maidens should enjoy them. Because I love and desire, I love lovers and desirers. For it is the custom of lovers to love all those who love like them and they share with them what they have” (5:1). The exegete portrays the lover as a restless creature who is incapable of staying in one place for a long time. He explains the figure “My beloved is like a gazelle or a young stag” as follows: “And since it is the way of the gazelle to lie in one place only until the spot becomes warm underneath it and then it jumps from there and lies in another place, therefore lovers are compared to them, since because of the great force of their love they are continually wandering from place to place” (2:9). He repeats this idea in another place: “Another interpretation I am asleep but my heart is awake. My heart is my lover, who is my heart and soul. Out of his great love for me he walks in the night as in the day, as he says, ‘for my head is wet with dew, my locks with the drops of the night’ ” (5:2). The lover is found in a permanent psychological state of restlessness and anxiety. His heart, which is full of love, is in a constant state of tension. On the one hand his love strengthens him and causes him to do unusual and unconventional things: “You have heartened me, that is to say, you have given me a brave heart among the warriors, so that for your love I have become strong and a new heart was created in me, for I have the strength to fight with lions and leopards and drive them out of their lairs. This is the way of lovers, who fight battles and win victories for the love of their beloved” (4:9). On the other hand and at the same time, he is in a constant state of anxiety lest his rivals should come and kidnap his beloved. “Because of fear by night. Because Solomon was afraid that knights would steal her from him; this is the way of lovers, they are constantly longing for their beloved and afraid that someone might kidnap her from them” (3:8). Solomon, the lover, feels threatened in the face of the courting by the “youths” of his beloved and he coaxes her not to leave him: “So are you, my beloved, for you are compared to a vineyard. … Many days I toiled over you and I guarded your fruit to prevent others from picking it, and now others want to steal you from me, since they said to you, “Turn, O

73

On the use of this term, see pp. 26–27 above.

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Shulammite.” But I ask you not to leave me for them. … I ask you that you let me hear your voice and tell me that you will go with me and not with them” (8:12–13). Lovers have special methods for courting their chosen partners. The lover stands behind the door or the window of his lover’s house in order to get a glimpse of her, but does not dare enter the house: “He stands behind our wall. As is the custom of lovers who gaze at the house through the windows and lattices to see their beloved” (2:9), and he composes love songs so that he can address her without other people noticing: “And this is the way of lovers to make hints to their beloved with words of poetry lest people take notice” (2:10). The maiden also uses all sorts of tactics in order to win her lover’s heart: “With one of your eyes … And this is the way of female lovers, who look at their lovers with one eye allusively and with affection” (4:9). There is no doubt that the exegete is in complete agreement with the Song of Songs with regard to the power of love. Not only does he explicate at length the phrase “love is as strong as death” (8:6) but he repeats this idea in another place as well: 8:6. For love is strong as death. It is the custom of the world that as love gets old it always becomes weaker. But our love is growing steadily stronger, like death. Once it starts it always grows stronger. Jealousy is as severe as Sheol. Therefore she says, the love I have for you is as severe as Sheol, Gehinnom, whose fire is flashes of fire, a raging flame, … Or perhaps its flashes are flashes of fire refers to love, and he says that love is flashes of fire, a raging flame, and it cannot be extinguished or washed away by water and rivers. 2:7. Or awaken. Its meaning is, do not increase my love by telling something praiseworthy about him that will cause my love for him to enter my heart to an even greater degree than it is at present, lest my heart die inside me out of my great love for him. As with the figures for beauty, so with the descriptions of love, the commentary expresses well the exegete’s open attitude to the human body and its physical experiences. The exegete stresses the erotic dimension in the Song of Songs and presents the biblical text as expressing extremely explicit erotic language. Even though it is possible to find in his comments the influence of exegetes who preceded him as well as the influence of secular Spanish poetry, one may surmise that his open, unapologetic attitude to love and its manifestations and

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towards the material aspects of real life has been influenced by the ideas and values of the cultural milieu in which he lived; it may also attest to his belonging to a particular social stratum.74 74

See further in the chapter on the social and cultural background of the commentary (below, pp. 118–128). In a certain respect, this work, more than any other we know, comes close to the attitude that Rabbi Aqiva warned against, more than a thousand years before our exegete: “anyone who warbles the Song of Songs in banquet halls and makes it into a kind of ditty has no portion in the world to come” (Tosefta Sanhedrin 12.0; cf. bSanh 101a). See also Zakovitch, Song of Songs, 32. Our exegete understands the Song of Songs as a secular song.

chapter 4

Linguistic Matters Our exegete does not give much attention to linguistic matters. His interest in this area focuses on vocabulary and the meanings of words and expressions and only in a few cases does he deal with other aspects of language. Various insights into linguistic matters are expressed in the course of the exegesis, but do not merit focused attention or targeted explanations. The only dictionary the exegete mentions explicitly, and by which he is greatly influenced, is ‫מחברת‬ ‫ הערוך‬by Solomon ibn Parḥon, but he makes use of other sources. As mentioned above, some of the most important resources for our exegete are the commentaries of the Northern French school, especially Rashi and Rashbam,1 who were much influenced by the ‫מחברת‬, the lexicon of Menahem ben Saruq. It seems, therefore, that we should explain our exegete’s utter disregard for this lexicon, which is expressed not only in a lack of explicit citations but also in the detailed content of his commentary. It seems that the explanation for this attitude can also be found in Ibn Parḥon’s lexicon. In the introduction to his work, Ibn Parḥon sets down the motives that led him to write his lexicon, the central one being his dissatisfaction with the heavy reliance of Northern European exegetes on Menahem’s ‫מחברת‬, and their ignorance of developments in the study of Biblical Hebrew under the influence of Arabic culture. In his words: When I, Solomon son of Abraham, known as Ben Parḥon, saw that people owned the ‫ מחברת‬of Menaḥem ben Saruq, and were very fond of it, I understood that they did not have other commentaries from the most recent masters of Scripture, which were written in Arabic, such as Judah Ḥayyuj … and when I reached the city of Salerno and saw that they had none of these commentaries, I had the idea to translate these works into Hebrew.2 It would seem that Ibn Parḥon’s reservations about Menaḥem’s ‫ מחברת‬achieved their goal and our exegete ignored it completely. In the area of vocabulary, our exegete often presents the multiple meanings of a root or a word, and for this he utilizes the works of exegetes who preceded him and the grammarians.3 To these he adds his own contributions and tests 1 See above, chapter on sources, pp. 16–20. 2 ‫מחברת הערוך‬, 1:xxii. 3 See above, pp. 34–40.

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his strength in proposing new etymologies for known words and new connotations, and even suggesting new words. Examples of these phenomena are: the derivations of ‫ יונה‬from ‫( יין‬1:15) and ‫ אגוז‬from ‫( גז״ז‬6:11);4 the explanation of the word ‫ רהיטנו‬as “the bolt that is stuck in the wall … and because it runs in both directions it is called a runner (‫( ”)רהיט‬1:17);5 the explanation of ‫ רהטים‬as meaning “the place of the sands by the sea. … row upon row in the sand, pressed and crooked” (7:6); and the explanation of the expression ‫( לרעות בגנים‬6:2) as derived from “friendship”: “To join his friends there as he said above that he is bringing his friends there to his garden” as it is said, “Eat, friends, drink, and be drunk, lovers” (5:1) … and as in “the friendship (‫ )תרועת‬of the king is in him” [Num 23:21]. An entirely new word is ‫ דוֹדאים‬with a ḥolam: “This has the connotation of affection and love, that is to say, all of the things that cause feelings of love and stir up love” (7:14; see also below pp. 107–108).

1

Linguistic Explanations

There are only two matters in the commentary to which the exegete pays a lot of attention and for which he offers detailed explanations. Both of these matters deal with occurrences of non-standard usage, at least at first blush, in the biblical text. There are also some short comments on other matters. a Switching Persons in One Phrase The first matter that is dealt with at great length is the non-standard switching of persons in one syntactic unit. This is the subject of the first comment in the commentary as it has come down to us (1:2) and is also the longest comment in the commentary. The verse reads: “Let him kiss me with the kisses of his mouth. For your love is better than wine.” The first hemistich is formulated in the third person: subject+predicate (+object)—“let him kiss me,” and the pronominal suffix of “mouth” is in the third person. But the second hemistich is formulated in the second person through the utilization of the possessive pronominal suffix “your love.” Both Rashbam and Ibn Ezra dealt with the switch in persons and both explained it as a switch in the addressee, each in his own way. According to Rashbam: “‫פיהו‬. Your love. Sometimes the bride writes her poem as if she is speaking to her lover and sometimes as if she is telling her 4 For a detailed discussion of this derivation and a possible source, see above, pp. 10–11. 5 It is possible that this interpretation is based on the words of Rashi: “I do not know if this means boards or bars,” but Rashi does not mention the source of his conjecture and does not cite any sources to support it.

linguistic matters

99

friends about his not being with her.” In other words in the first hemistich, the maiden is speaking with her friends about her lover, and therefore he is mentioned in the third person and in the second she is speaking to her lover and addressing him in the second person. Ibn Ezra deals with this matter in both his commentaries in a similar fashion. In the first commentary (second level): “A maiden outside the city … saw a shepherd passing by, desired him and lusted, saying: ‘If only he would kiss me’ … and then as if he had heard her she said to him ‘for your love is better ….’” The comment in the second commentary resembles the first: “Let him kiss me. These are the words of the maiden as if she is speaking to herself with all her desire … and as if the shepherd sensed this and then she speaks to him: ‘for your love’” (Second commentary, second level). In other words, in the first hemistich, the maiden is speaking to herself about the shepherd who passed nearby, and in the second she is speaking directly to him. In both comments Ibn Ezra specifies that the shepherd “as if heard” and “as if sensed,” i.e., that the maiden addressed her words directly to the shepherd on the assumption that he heard or sensed what she felt in her heart. Our exegete begins his interpretation by presenting Ibn Ezra’s comment (“Ibn Ezra said”), but does not quote him accurately. He formulates his words in a different way, including in them elements from Rashbam’s commentary: “Ibn Ezra said that the maiden saw her lover who was coming and approaching her and said to her friends, if only my lover would kiss me. And before she finished speaking her lover approached and stood beside her. She said, I am justified to crave that you kiss me, for your love is better than wine.”6 However, the exegete cites Ibn Ezra’s comment not to adopt it, but to differ with it. He opens his words with an explicit statement—“but I say”—and presents his own explanation for the phenomenon in the verse. According to him, this is a recurring phenomenon in biblical literature, is not unique to this verse, and has several aspects. The exegete cites fourteen verses divided into three groups to buttress his argument. The first two groups demonstrate two categories of switching persons and the third includes eight examples of various switches. The first cate-

6 Ibn Ezra identifies the man whom the maiden addresses and speaks about as “a shepherd passing by,” whereas Rashbam identifies him as “her lover.” Our exegete follows Rashbam and identifies him as “her lover.” Ibn Ezra describes the first part of the verse as the maiden speaking “to herself,” whereas, according to Rashbam, she is speaking to her friends; here too, the exegete follows Rashbam. In addition, Ibn Ezra describes the shepherd “as if hearing” and “as if sensing,” whereas the exegete specifies that “her lover approached and stood beside her.” On the manner in which the exegete quoted Ibn Ezra see above, in the chapter on sources, pp. 13–14.

100

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gory is verses that open with the third person—“verses in which the first part is not in direct speech”—and then switch to second person; he demonstrates this phenomenon with three verses. In the first example (Mic 7:19) the subject in the first hemistich is in the third person—“he will again, he will have compassion, he will cover up”—and the accusative and possessive suffixes are in the first person plural—“he will have mercy on us, our iniquities.” But in the second hemistich, the subject is in the second person—“you will cast” and the possessive suffix is in the third person plural—“their sins”. In the second example (Isa 1:29) the sentence opens in the third person plural—“they will be ashamed”— and continues with a relative clause in the second person—“which you have desired.” In the third example (Job 17:10) the subject is in the third person— “all of them” (‫—)כלם‬and the predicate is in the second person—“come back (‫)תשובו‬.” The second category is verses that open in the first person—‫שתחלתם‬ ‫—מדברים‬and end in the third person. For this too the exegete brings three examples: In the first (Isa 33:12) the person switches twice—“we wait” (verb in the first person plural), “their arm” (third person plural possessive pronoun), our salvation (first person plural possessive pronoun).7 In the second example (Isa 63:19) there is one switch, from a verb in the first person to suffixes in the third person: “we were”—“over them” (‫“—)בם‬on them” (‫;)עליהם‬8 and in the third example (Isa 22:19) there is a transition from a verb in the first person—“I will thrust you” to a verb in the third person “he will pull you down.” After the two typical categories, the exegete cites “many verses that switch person.” In four of these examples he states what should have been the proper way: “He should have written.” As follows: in the verse “Whereas our substance is not cut down” [Job 22:20], it should have been written “their substance.”9 Likewise, “One field would be rained upon, and the field on which you did not cause it to rain” [Amos 4:7]. He should have written “on which I did not cause

7 R. Weiss dealt with this example at length; see R. Weiss, “On Ligatures in the Bible,” in his Studies in the Text and Language of the Bible (Jerusalem: Magnes Press, 1981), 7–8 [Heb.]. He explains the final mem of ‫ זרועם‬as a ligature of nun and waw and reads ‫זרוענו‬. Weiss mentions there that this example of switching persons is also cited by Moses Ibn Ezra (‫שירת ישראל‬ [Leipzig: Stiebel 1924; repr. Jerusalem: Matsḥaf, 1967), 184–185. It should be noted that Moses Ibn Ezra mentioned there also Jer 3:5, Ezek 31:10, and Ps 81:17. Weiss also cites other sources; see below. 8 See also Weiss, “On Ligatures,” 8–9. He also mentions the response of Dunash ben Labrat to Menahem ben Saruq and the ‫ ספר הרקמה‬of Jonah ibn Janaḥ, 328; and see below. 9 Weiss, “On Ligatures,” 11. Weiss also refers to Saadia Gaon (according to the translation of W.Z. Bacher [Paris, 1899], 73), to the ancient versions and to other sources.

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it to rain.” Likewise, “In every place where I cause my name to be remembered” [Exod 20:24], it should have been written “you cause to be remembered; also, for “While they are still standing guard, let them shut the doors [and you bar them]” [Neh 7:3], it should have been written “while you [are still standing] …”, because he was talking to them directly.” (The other examples are Ruth 4:4, Mal 2:15; Zeph 2:12; Mic 7:4). This matter was dealt with at length already in the responses of Dunash ben Labrat to Menaḥem ben Saruq and Saadia Gaon.10 In his responses to Menaḥem ben Saruq, Dunash cited two verses: Isa 63:18–19 and Isa 33:2: “And I explained: ‘You did not rule over them’ as ‘You did not rule over us’ as in ‘O Lord, be gracious to us; we wait for you. Be their arm every morning, our salvation in the time of trouble’; it cannot mean anything other than ‘Be our arm every morning, our salvation in the time of trouble’; there are many like this in Scripture” (p. 73*). Dunash expands on this matter in his responses to Saadia Gaon (§150a) and cites sixteen verses which have alternating persons within them. Alongside each citation he also gives its interpretation, e.g., “and with the wife of your youth, he should not break faith” (Mal 2:15); this should be “you should not break faith.” Similarly for the others.11 The question is also dealt with by Jonah Ibn Janaḥ in his ‫ספר הרקמה‬.12 In Chapter 28 (p. 328) Ibn Janaḥ cites many examples of alternating persons, among them all the examples brought by our exegete (except for Exod 20:24) and additional ones as well. In all these examples Ibn Janaḥ states the correct way the verse should read, with varying formulations; thus: in Amos 4:7 [it is written “you will send rain”] “instead of ‘I will send rain’”; in Ruth 4:4, [it is written] “if he will not redeem” but it should be “if you will not redeem”; in Mal 2:15, [it is written] “he should not be faithless”, but it should be “you should not be faithless”; in Neh 7:3, “while they are standing guard,” should be “while you are standing guard”; in Zeph 2:12 [it is written] “them” instead of “you”; in Mic 7:4, [it is written] “their confusion is at hand” instead of “your confusion”; in Isa

10

11

12

Dunash ben Labrat, Sefer Teshuvot, ed. Angel Saenz-Badillos (Granada: Universidad de Granada, 1980); Dunash ben Labrat, Kritik des Dunasch ben Labrat über einzelne Stellen aus Saadia’s arabischer Übersetzung des a.t., ed. R. Schroeter (Breslau: Schletter, 1866; repr.: Jerusalem 1971). Dunash, Kritik des Dunasch, 50–51; the verses he cites on this matter are: Ezek 27:34, Hab 2:17, Mal 2:15, Hos 12:5, Mic 7:15, 19, Job 22:20, Isa 1:29, Job 17:10, Isa 33:2, Zech 14:5, Isa 42:20, Ruth 4:4, Isa 22:19, Jer 3:6, Isa 38:5. Jonah Ibn Janaḥ, ‫ספר הרקמה‬, ed. Michael Wilensky, 2nd ed., ed. David Tene in consultation with Zeev Ben-Hayyim, vol. 1 (Jerusalem: Academy of the Hebrew Language, 1964); henceforth: ‫ספר הרקמה‬.

102

introduction

1:29 [it is written] “they shall be ashamed” instead of “you shall be ashamed”; in Job 17:10 [it is written] “all of them,” but it should be “all of you”; in Mic 7:19 [it is written] “and he will cast” instead of “and you will cast”; in Isa 33:2 [it is written] “their arm” instead of “your arm”; in Isa 63:19, [it is written] “you never ruled over them; they were not called by your name” instead of “you never ruled over them; we were not called by your name”; in Isa 22:19, [it is written] “he will pull you down” instead of “I will pull you down”; in Job 22:20, [it is written] “our substance” instead of “their substance.” For some of these verses he explains why his suggestion is correct. Ibn Janaḥ included this subject in the chapter devoted entirely to substitutions in biblical language,13 which he defined as “when something is said with a word but the intention is something else,”14 in other words, “sometimes [the Hebrews] say one word and mean another”;15 the chapter includes dozens of examples from various linguistic areas.16 These deviations are explained by Ibn Janaḥ by the shared qualities of the two words—the one being substituted for and the one substituting, and if in some cases these qualities are not obvious, they should be sought out until they are found.17 In other words, he sees in the phenomenon of substitution a characteristic feature of Biblical Hebrew and suggests to the reader to furnish the correct form of the word in question from the context in which it appears. The discussion in Ibn Janaḥ is continued in the first section of Ibn Parḥon’s ‫מחברת הערוך‬.18 The question is dealt with in the chapter called “The Chapter on Substitution” in which Ibn Parḥon cites most of the verses mentioned by Ibn Janaḥ, including all the verses cited by our exegete, including Exod 20:24.19 The exegete’s words are copied nearly word for word from Ibn Parḥon, and this seems to be the source for his words, even though he does not mention Ibn Parḥon as the source. Nevertheless, there are three new details in his comment: (1) the ordering of the examples by category, as I showed above; (2) the

13 14 15 16 17

18 19

Ibid., 307–333. Ibid. Ibid. Ibid., 307 and n. 1. In Ibn Janah’s language (in Ibn Tibbon’s translation): “and this is authorized because the two words share a genre or a type or a quality or something similar, and sometimes one word is substituted for another even though they seem to share nothing in common, in which case they must share some quality besides the ones we’ve mentioned, and when it is looked for it will be found” (ibid., 328). Ibn Parḥon, ‫מחברת הערוך‬, 1:xviii, 7a–c. Ibid., 7a–c.

linguistic matters

103

explanation of Song 1:2, which is cited neither by Ibn Janaḥ nor by Ibn Parḥon, according to this rule; and (3) the explanation he offers for this phenomenon. The ordering of the examples by category results in our exegete listing them in an order different from that found in Ibn Janaḥ or Ibn Parḥon. Only in the third category does he strictly follow the order found in his sources. As already mentioned, v. 1:2 was not mentioned by the exegete’s predecessors, and its addition here serves him in his effort to reject Ibn Ezra’s interpretation. But in his explanation of the phenomenon he does not use the terms used by Ibn Janaḥ, which are repeated in Ibn Parḥon—‫ והמשפט‬and ‫( במקום‬instead of)—but rather he defines the proper way: “he should have written.” I mentioned above that Ibn Janaḥ saw in this phenomenon a typical characteristic of Biblical Hebrew, and Ibn Parḥon followed in his footsteps, not explicitly but implicitly by including the matter in “the chapter on substitution”—one of the “chapters” of Biblical Hebrew, which includes other matters as well. It should be pointed out that modern biblical scholarship has dealt with all the phenomena mentioned by the exegete and in almost every case (except three) suggested emending the text, either on the basis of manuscripts and ancient versions, or by mere conjecture, in general in the spirit of the words of Ibn Janaḥ, Ibn Parḥon, and our exegete.20 b The Use of Masculine and Feminine Forms The second linguistic matter the exegete deals with, and repeats three times, is the use of masculine and feminine forms. The first rule he establishes is that “any place where there is masculine and feminine, he writes in the masculine” (at 4:5). He resorts to this rule to explain why it says “two fawns” and then 20

In order to illustrate the modern textual criticism of the Hebrew Bible, I cite the suggested emendations in the Biblia Hebraica Stuttgartensia (bhs) for the verses in which there are switches in person, according to the order of the verses in the anonymous commentary: (1) Mic 7:19: ‫ ;תשליך‬bhs: “read: ‫ ;והשליך‬cf. the ancient Versions”; (2) Isa 1:29: ‫ ;יבשו‬bhs: “read with several mss and the Targum ‫( ;״תבשו‬3) Job 17:10: ‫ ;כלם‬bhs: “some mss: ‫;״כלכם‬ (4) Isa 33:2: ‫ ;זר ֹעם‬bhs: “in the Peshitta, Vg., and the Targum, the suffix is in the first person plural; read ‫( ;״זרוענו‬5) Isa 63:19: ‫בם‬, ‫ ;עליהם‬not in bhs, but this is the reading in the lxx; (6) Isa 22:19: ‫ ;יהרסך‬bhs: “Peshitta, Vg. and Targum in first person sing.; read: ‫( ;”אהרסך‬7) Job 22:20: ‫ ;קימנו‬not in bhs, but this is the version in the lxx; (8) Amos 4:7: ‫ ;תמטיר‬bhs: “read, perhaps, with some mss, lxx, Vg.: ‫( ;”אמטיר‬9) Exod 20:24: ‫ ;אזכיר‬bhs: “Peshitta has second person singular; read: ‫( ;”?תזכיר‬10) Ruth 4:4: ‫ ;יגאל‬bhs: “many mss and Versions: ‫( ;”תגאל‬11) Mal 2:15: ‫ ;יבגד‬bhs: “Read perhaps with some mss, lxx, Targum, and Vg.: ‫;”תבגד‬ (12) Zeph 2:12: ‫ ;חרבי המה‬bhs: “proposed: ‫( ;”חרב ה׳‬13) Mic 7:4: ‫ ;מבוכתם‬bhs: no comment; (14) Neh 7:3: ‫ ;ועד הם עמדים‬bhs proposes a different reading altogether: “‫ועֹד ֻה)א( מעל‬ ‫הים‬.”

104

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“that graze (‫ ”)הרועים‬in the masculine, even though, in his view, one of the fawns is masculine and the other feminine. After establishing the rule he brings three verses to illustrate it, which mention men and women using a masculine verb, “as he would say about two males”: as in “So they came (‫)ויבאו‬, both men and women” [Exod 35:22], and “Leah and her children and they bowed down (‫[ ”)וישתחוו‬Gen 33:7], also “Joseph and Rachel and they bowed down” [Gen 33:7]. In what follows he states that in some cases women are referred to in the masculine and in opposite cases men are referred to in the feminine. An example of the first case is from Gen 20:17: “and God healed Abimelech, his wife and female slaves so that they bore (‫ ;וילדו‬masc.) children.” The second case he exemplifies with Ruth 1:13: “Would you wait for them (‫ ;הלהן‬fem.) Would you refrain from marrying until the lads are grown?” The exegete returns to this matter in his interpretation of ‫( השבעָתנו‬you have made us swear; 5:9). The speakers are the maiden’s friends who address her and the required form is ‫השבעִתינו‬, i.e., ‫ השבַﬠת‬+‫ נו‬and not ‫ השבעָת‬+‫נו‬, and this is what the bhs suggests. The exegete first establishes that ‫ השבעתנו‬is masculine even though females are referred to and he cites another verse in which a female is addressed, but the continuation of the verse is in the masculine: “but you have done (‫ ;ותעשי‬fem.) evil things and you succeeded [‫ ;ותוכל‬masc.; Jer 3:5].” In the continuation of his explanation the exegete presents another phenomenon— verses that begin in the masculine and end in the feminine—and brings four examples to illustrate it: “I will saddle a donkey (‫ ;החמור‬masc.) for me, so that I may ride on it [‫ ;עליה‬fem., instead of ‫ ;עליו‬2Sam 19:27]”; “You, Lord, threatened to destroy this place (‫ )המקום הזה‬so that neither human beings nor animals shall live in it, and it shall be (‫ ;תהיה‬fem., instead of ‫ )יהיה‬desolate forever” (Jer 51:62); “If you take your neighbor’s cloak ([‫ ;שלמ]ת[ רע]ך‬fem.) in pawn, you shall restore it (‫ ;תשיבנו‬masc., instead of ‫ )תשיבנה‬before the sun goes down” (Exod 22:25); “I looked, and a hand (‫ ;יד‬fem.) was stretched out to me, and a written scroll was in it” [‫ ;בו‬masc., instead of ‫ ;בה‬Ezek 2:9]. The exegete returns to this topic a third time in his comment on 6:9, where he goes into detail: “Acclaim her, praise her (‫ ויהללוה‬,‫)ויאשרוה‬. These verbs are in the masculine; he should have said ‫ ותהללוה‬,‫ותאשרוה‬. Above I explained many verses that speak in the masculine about the feminine.” He cites another verse that speaks of a female in masculine language: “And as he did so (‫ יעשה‬instead of ‫ … )תעשה‬when she went up” [1Sam 1:7]. Precisely this comment attests to the limits of the exegete’s linguistic knowledge. He states that the required forms are ‫ ותאשרוה‬and ‫ותהללוה‬, which in his view are the feminine forms of the masculine ‫ ויאשרוה‬and ‫ ;ויהללוה‬but in this he is mistaken. Actually, ‫ ותאשרוה‬is also a masculine form and the difference between the two forms is in the person: ‫ ויאשרו‬is third person and ‫ ותאשרו‬is

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105

second. The feminine forms required according to the exegete are ‫ ותאשרנה‬and ‫ ותהללנה‬and it would have required the addition of the accusative pronoun ‫אותה‬. This is, then, another example of the phenomenon the exegete mentioned above—the use of a masculine verb with a feminine subject, which he exemplified with Gen 20:17 and 1Sam 1:7—but it is not an example of the phenomenon he sought to illustrate. This matter is dealt with briefly in the response of Dunash ben Labrat to Saadia Gaon (§150c, p. 53) and at greater length in Ibn Janaḥ’s ‫ספר הרקמה‬. In Dunash’s work, the discussion centers on words in Biblical Hebrew that function in both masculine and feminine, such as ‫קהלת‬, ‫אש‬, ‫שמש‬, ‫קיר‬, etc., and he illustrates this with examples from Scripture. Among the verses cited are those that speak about a male in the feminine: “‫( ”הלהן תשברנה‬Ruth 1:13), instead of ‫( ”עשיתן תועבה“ ;הלהם‬Ezek 33:26) instead of ‫עשיתם‬, and one verse that speaks about a feminine person in masculine language: “‫”כי יהיה נערה בתולה‬ (Deut 22:23), instead of ‫תהיה‬. Jonah Ibn Janaḥ devoted six chapters (lit. gates, ‫ )שערים‬to a detailed discussion of the masculine and feminine in the Hebrew Bible (chapters 38–43, pp. 377–389), and inter alia, he deals with the imprecise use of masculine and feminine forms. Chapter 39 is dedicated to “cases in which the feminine is treated as a masculine” (pp. 384–386); chapter 40 is devoted to “cases in which the masculine is treated like a feminine” (pp. 386–387), and chapter 41 is devoted to “cases in which one form is used for masculine and feminine” (pp. 387–388). He also deals briefly with this matter in chapter 28, which deals with word substitutions (see above). Among the many examples Ibn Janaḥ cites in these chapters are some of the verses cited by our exegete: 2 Sam 19:27, Jer 51:62, Exod 22:25 (chapter 28, p. 321); 1Sam 1:7, Jer 3:5 (chapter 39, p. 384); Ruth 1:13 (chapter 40, p. 387); Song 5:9 (chapter 38, p. 383; chapter 39, p. 384). Ibn Parḥon deals with the masculine/feminine issue in two places: in the chapter on substitution (discussed above) and in the chapter on masculine and feminine, and he briefly summarizes the words of Ibn Janaḥ. The verses he uses to illustrate the various occurrences include all the examples cited by our exegete. In the chapter on substitution, Ibn Parḥon cites in one group 2 Sam 19:27, Jer 51:62, Exod 22:25, and Ezek 2:9 as examples of verses that begin in the masculine and continue in the feminine,21 and in the chapter on masculine and feminine he cites in order the following topics and the verses that prove them: “when there is a masculine and feminine [together] they both follow the masculine form,” as in Exod 35:22, Gen 33:7 (twice). “Sometimes he uses

21

‫מחברת הערוך‬, grammar section: 7b.

106

introduction

masculine forms for feminine nouns as in … (Gen 20:17).” “But feminine forms are never used with masculine nouns except for one place in the Bible … (Ruth 1:13).”22 The affinity between the commentary and Ibn Parḥon’s ‫מחברת הערוך‬ is unequivocal and reaches the point of actual word for word citation. See, for example:

The Commentary

Ibn Parḥon

And even if we interpret “like two gazelles” as both being feminine, one need not wonder that he speaks about them in the masculine, since we find “and God healed Abimelech, his wife and female slaves so that they bore (‫)וילדו‬ children” [Gen 20:17] and he does not write ‫ ותלדן‬as in ‫“( ותלדן הצאן‬and so the flocks produced young”) [Gen 30:39] (at 4:5).

Sometimes the text uses masculine forms for feminine nouns as it is said “and God healed Abimelech, his wife and female slaves so that they bore (‫ )וילדו‬children” [Gen 20:17] and it does not say ‫ ותלדן‬as in ‫“( ותלדן הצאן‬and so the flocks produced young”) [Gen 30:39]. (Ibn Parḥon, 1:11)

There is no doubt that the exegete’s source is Ibn Parḥon’s ‫מחברת הערוך‬, even though he does not mention it. The only contribution of the exegete is the addition of Song 4:5 (only on the basis of the assumption that the “two fawns” mentioned are a pair, male and female) and 6:9 (see above). The interest of the exegete in the distinction between masculine and feminine forms is also revealed in another exegetical detail—his short comment on the word ‫שמש‬ (sun). In his comment on 1:6, to the phrase “the sun has gazed at me” he says: “Sun. Feminine, as it is said, ‘When the sun had gone down’” (‫[ )באה‬Gen 15:17]. This comment is interesting for two reasons. First, the absolute statement that ‫ שמש‬is feminine needs to be qualified by clarifying that while this is true for this verse it is not the case everywhere, because ‫ שמש‬is one of the words in the Bible that function in both masculine and feminine.23 The second is that in contrast to his comment, the exegete refers to ‫ שמש‬in the masculine, saying “the sun has looked upon me” (using the masculine ‫ ראה‬instead of the feminine ‫)ראתה‬.

22 23

Ibid., 1:11. See the lists of these nouns, in Dunash, Kritik, § 150c, p. 53.

linguistic matters

107

The great interest the exegete has in the distinction between masculine and feminine can be explained by his linguistic background, since in French, which also distinguishes between masculine and feminine, the distinctions are not always the same as those in Hebrew, and in the exegete’s language there are many deviations from Hebrew usage in this matter.24 c Letter Substitution A third topic the exegete addresses is the matter of letter substitutions, alef for ʿayin and alef for ḥet, which he refers to in two comments: 1) 2:5. ‫אשישות‬. Parḥon explained: glass vessels full of wine like ‫ עששיות‬with an alef instead of an ʿayin. This comment is taken word for word from ‫מחברת הערוך‬: “Sustain me with flagons [Song 2:5]. This means a glass wine vessel like ‫ עששיות‬with alef instead of ʿayin.”25 2) 1:10. Your neck with strings of jewels. These are types of jewelry … which are made with several rows that are equally weighted and are placed on the neck as an adornment. For this reason, poems (‫ )פיוטין‬and rhymes (‫ )חרוזות‬are called by this name because their words are equal in vowels and shewaʾim. Similarly it is written, “‫ ארוזים‬among your merchandise” [Ezek 27:24], which means “strung together” (‫ )חרוזים‬if we substitute ḥet for alef. Similarly “strings of fish” (‫)מחרוזות של דגים‬, which are fish tied together by a string according to size and number. This comment also, down to its last detail, is taken from ‫ מחברת הערוך‬with slight changes in formulation, but the exegete does not mention this. ‫מחברת הערוך‬ has the following: Your neck with strings of jewels (Song 1:10). Strings strung with [precious] stones counted out. They are hung on women’s necks for adornment. Poems (‫ )פיוטין‬and rhymes are compared to them because their shewaʾim are equal and the vocalized vowels in them are counted out. Similarly

24

25

I drew attention to this matter in the introduction to my edition of Rashbam’s Commentary on Ecclesiastes; it applies, even more strongly, to this exegete as well, but here is not the place to elaborate. See Japhet/Salters, Rashbam on Qohelet, 55–61. ‫מחברת הערוך‬, s.v. “‫”אשש‬, 2:6b.

108

introduction

“‫( ”וארוזים במרכולתך‬Ezek 27:24), that is, ‫חרוזים‬, switching a ḥet for an alef. From this the sages said “a string of fish, meaning fish strung on a string or a reed (thread) equally.”26 This explanation is also taken from Jonah Ibn Janaḥ’s ‫ספר השורשים‬. In the entry ‫ ארז‬he says: “The alef, the resh, and the zayin … is known, but “‫”וארוזים במרכולתך‬ [Ezek 27:24] is like “‫ ”צוארך בחרוזים‬and these are the necklaces made up of precious stones and the ʾalef is instead of ḥet in it.”27 And at the entry ‫ חרז‬he says: The ḥet, the resh, the zayin. “‫ ”צוארך בחרוזים‬are necklaces made up of crystal and precious stones and for me “‫ ”וארוזים במרכולתך‬is like it, the alef for me is instead of ḥet. And from this the poets called the ends of poetic stanzas ‫ חרוזים‬because of their being ordered according to known letters, and on this basis our rabbis also called fish tied and connected on one string “‫מחרוזות של דגים‬.”28 The subject matter in all its details is the same and there is no doubt that Ibn Parḥon expressed in his own words the words of Ibn Janaḥ in every detail. But the formulation by the exegete attests to the fact that he took the interpretation from ‫ מחברת הערוך‬and not directly from Ibn Janaḥ. This explanation also appears in the Ezekiel commentaries of two Provençal exegetes: David Qimḥi (Radaq) and Menaḥem ben Simeon. According to Radaq, “‫[ ”וארוזים במרכולתך‬Ezek 27:24] is like ‫ חרוזים‬from “‫( ”צוארך בחרוזים‬Song 1:10), which are the necklaces around the neck.29 Menahem ben Simeon says: ‘‫—’וארוזים‬like ‘‫( ’צוארך בחרוזים‬Song 1:10); alef instead of ḥet.” It is possible that they are both dependent on Ibn Parḥon but it is also possible that they borrowed directly from Ibn Janaḥ. d Vowel Substitution Another linguistic phenomenon that our exegete examines is vowel substitution, specifically the substitution of a shuruq for a ḥolam. In the comment to 7:14, he first explains the meaning of the word ‫דודאים‬: “Another matter. ‫הדודאים‬. This has the connotation of affection and love, that is to say, all of the things that cause feelings of love and stir up love.” Then he dwells on its pattern: “‫הדודאים‬. 26 27 28 29

Ibid., s.v. “‫”חרז‬, 2:23b. Ibn Janaḥ, ‫ספר השורשים‬, 46. Ibid., 169. See Menachem Cohen, ed., Mikraʾot gedolot ‘Haketer’: Ezekiel (Ramat-Gan: Bar-Ilan University, 2000), 184–185.

linguistic matters

109

Like ‫הדוֹדאים‬. In many places ḥolam is replaced by shuruq.” There are two points to note in this comment: the derivation of the word ‫ דודאים‬from ‫דוֹד‬, which leads to the definition as having “the connotation of affection and love,” and the explanation of the pattern as based on the substitution of a shuruq for a ḥolam. Jonah Ibn Janaḥ deals with vowel substitutions in Chapter 8 (7) of ‫ספר‬ ‫הרקמה‬, entitled “Concerning Vowels some of which Change into Something Else.”30 Among the examples he discusses there are some in which the shuruq substitutes for another vowel.31 At the end of the discussion he cites four examples in which the shuruq replaced the ḥolam: ‫( יכסיוּמו‬Exod 15:5); ‫תעבוּרי‬ (Ruth 2:8); ‫( ישפוּטו‬Exod 18:26); ‫( תשמוּרם‬Prov 14:3). Ibn Parḥon does not devote a special chapter to vowel substitutions, but deals with various substitutions in the “Chapter on Substitution.”32 I did not find examples of substituting shuruq for ḥolam in this chapter. It seems that in this matter our exegete had an exegetical tradition whose origins I have not been able to trace, and the explanation of ‫ דודאים‬in the light of this phenomenon is entirely our exegete’s innovation. e An Extra Yod A linguistic comment is also found at 6:12, in the comment to ‫עמי־נדיב‬. “An extra yod as in ‫[ גנובתי יום‬Gen 31:39].” The comment is taken from Rashi’s commentary: “‫עמי נדיב‬. Like ‫ ;עם נדיב‬the yod is superfluous as is the yod of ‫[ גנובתי יום‬Gen 31:39],” except that, as in other places, the exegete does not mention Rashi’s name among his sources.33 The interpretation itself is not Rashi’s innovation, but the application of the comment to 6:12 on the one hand and the extensive borrowing by the exegete from Rashi’s commentary on the other (see above, pp. 16–18), support the conclusion that Rashi is the source of the comment. 30 31 32 33

Ibn Janaḥ, ‫ספר הרקמה‬, 114–119. Ibid., 115. Ibn Parḥon, ‫מחברת הערוך‬, 1:7a–c This is one of the verses in which Ibn Ezra relates to Rashi’s commentary with the designation: “there are some who say.” In his first commentary, Ibn Ezra explained this expression only in the “third level,” seeing in it two words: “to be my people which was generous.” In the second commentary he discusses it already in the first level: “‫עמי נדיב‬. Two words; and there are those who say that the yod of ‫ עמי‬is added.” The origin of this comment is in the Spanish exegetical tradition, as, for example, in the responsa of Dunash to Saadia: “‫גנובתי יום‬. … And I said in its interpretation that the yod is superfluous as is the yod in ‫( ”מלאתי משפט‬Dunash, Kritik des Dunasch, § 13, p. 5), but it was adopted by Rashi already in his comment on Gen 31:39, by Rashbam (see his commentary to Exod 15:2, and Japhet, Rashbam on the Song of Songs, 32, 37–39), and elsewhere.

110

introduction

In conclusion, I noted at the beginning of this chapter that our exegete makes very few comments of a linguistic nature and the study of the comments he does make, both the interpretations themselves and the supporting verses, are drawn from earlier sources—the first three from ‫ מחברת הערוך‬of Solomon Ibn Parḥon and the last from Rashi. For only one explanation did I not find a source, and it is possible that this is the exegete’s innovation. As in other matters, the exegete does not attest to his connection to his sources, despite the fact that he is absolutely dependent on them, and only for one of the three interpretations that he borrowed from Ibn Parḥon does he specify Ibn Parḥon as the source.

2

Glosses in Old French

The commentary contains thirty-six occurrences of Old French glosses, words, or phrases. Of these, six are repeats of words or phrases. This leaves thirty individual glosses, words or phrases used in the commentary.34 The Old French words in the commentary are of two types. Most are glosses on Hebrew words, giving their French equivalent. But some are just inserted into the flow of the text, because, it would seem, the author did not have a suitable word in Hebrew for what he was trying to say (see e.g., are (1:4) for poor wine or crespe (7:6) describing the maiden’s hair as curly). There are also a few phrases, such as parmi ta liure (4:1, 6:7) or mil chevalers de garde (4:4). The following table lists all the Old French35 words in the commentary, with their transcription and meaning. For the identification of the foreign words, I used some of the standard dictionaries of Old French, which are cited in the column on the far right. From among those dictionaries, I have found the online Anglo-Norman Dictionary36 very useful and the presence of so many of the words found in the commentary in this dictionary may suggest that the author lived in Normandy, possibly in Rouen, which had a sizable Jewish community

34

35

36

The decipherment of the Old French glosses and words (fourth column from the left) was done by Cyril Aslanov, who will soon publish an article in which he delves more extensively into the linguistic aspects of these glosses. We are grateful to Prof. Aslanov for sharing his expertise with us. Recently, some scholars have begun to refer to Old French in Hebrew script as JudeoFrench, but this usage is not universally accepted. See Marc Kiwitt, “Judeo-French,” Jewish Language Research Website, http://www.jewish-languages.org/judeo-french.html. The consensus seems to be that Judeo-French does not differ significantly from Old French. Henceforth and: http://www.anglo-norman.net.

111

linguistic matters

in this period (late twelfth-early thirteenth cent.).37 Another source that proved useful was the Glossaire de Leipzig,38 a thirteenth-century biblical glossary, whose French is also primarily Norman in character.39

Table of Old French Glosses

Reference sources

Verse

Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

1.

1:4; 7:10–11

‫ַא ְרא‬

are/arre

dry

‫( יין הגרוע‬part and (arre) of a comment) ofed40 (arre) dalf 41 (are)

2.

1:5, 6:4

‫אוננט‬

avenant42

Pleasing; fine, ‫נאוה‬ beautiful; pleasant; charming; graceful

37 38 39 40 41 42

and (avenant a.2) ofed (avenant1) dalf (2. avenant)

See Norman Golb, The Jews in Medieval Normandy: A Social and Intellectual History (New York: Cambridge University Press, 1998). Le glossaire de Leipzig, ed. Menahem Banitt, 4 vols. [3 vols. + Introduction] (Jerusalem: Académie nationale des sciences et des lettres d’ Israël, 1995–2005). Ibid., Introduction, 342. Alan Hindley, Frederick W. Langley, and Brian J. Levy, Old French-English Dictionary (Cambridge: Cambridge University Press, 2000). Henceforth: ofed. Frédéric Godefroy, Dictionnaire de l’ ancienne langue française et de tous les dialectes du ixe au xve siècle (Paris, 1891–1902; repr. Genève; Paris: Slatkine, 1982). Henceforth: dalf. Cf. Mayer Lambert and Louis Brandin, Glossaire hébreu-français du xiiie siècle (Paris 1905; repr. Genève: Slatkine, 1977), 56, l. 40, where ‫ נאוה‬is glossed: “avonont.” It should be noted that this glossary (Paris, Bibl. Nat. héb. 302), which covers the entire Hebrew Bible, dates from 1241 and has been located in the northeast of France (ibid., i). The edition leaves much to be desired as the editors transcribed the glosses in Hebrew script into Roman characters and did not provide the transcription of the original Hebrew characters, nor did they provide meanings in modern French for the words. Nevertheless, it is useful for comparative purposes.

112

introduction

(cont.) Verse

Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

3.

1:10

‫לורינש‬

lorains/ loreins/ lorens (pl. form)

straps of the bridle, harnesses or trappings of a horse; reins

‫( מצילות‬part of comment)

and (lorein/lorain, loren, etc.) ofed (lorain) dalf (lorain, lorein)

4.

1:13

‫מושגא‬

musge

‫מר‬ ֹ musk, animal glandular secretion (dried and used as a fragrance)

5.

1:15

‫קולור‬

colur/ color

appearance; semblance

‫עין‬

and (colur, no. 5) ofed (color)

6.

1:15, 4:1, 5:12, 7:5

‫וירש‬

vers = vairs/veirs

bright, sparkling, shimmering, gleaming43

‫( צלולין‬part of comment)

and (vair1) ofed (vair)

7.

2:1

‫ליש‬

lis

lily

‫ֲחַבֶצֶּלת‬

and (lis, lisse, liz) ofed (lis) dalf (2.lis)

8.

2:4

‫קומפנון‬

comfanon (gonfanon)

flag, banner, standard44

‫ִד ְגלוֹ‬

and (gunfanun, gomfanun gonfanon) ofed (gonfanon)

43 44

and (musc, musge, muske, etc.) ofed (mugue)

Re vers, clear water sparkles and shimmers in the light, so this could be the connection with the Hebrew ‫צלולין‬, which means clear. Cf. Glossaire de Leipzig, 3:1587, no. 20578 on this verse; as well as 3:1599, no. 20711, gonfanon ‫ גונפנוני‬for ‫[ דגול‬5:10] and 3:1601, no. 20738, comgonfânèe for ‫( כנדגלות‬6:4).

113

linguistic matters

Verse

Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

2:12

‫רושינול‬

rusinol

nightingale

‫זמיר‬

and (russinol, rossenol, rusinol) ofed (rosseignol) dalf (rossignel; roussignel, rousegnel, etc.)

10. 3:9

‫ארקוולוד‬

arc volud

curved or vaulted arch45

‫ַאִפּ ְריוֹן‬

and (volu1) ofed (arc = arch; volu = vaulted)

11. 4:1, 6:7

‫ַפ ְרִמי ָטא‬ ‫ִליאו ְרא‬

parmi46 ta liüre

through your hairnet47

‫ִמַבַּﬠד ְלַצָמֵּתְך‬

and (liure, etc.); ofed (lieure= ribbon, bandage) dalf (lieure = ligature, lien, ruban))

9.

45

46 47

This should be two words as Cyril Aslanov points out in his aforementioned article. Cf. “Tant i firent temples, ponz e arcs voluz,” in Thomas of Kent, The Anglo-Norman ‘Alexander’, ‘Le Roman de toute Chevalerie’, ed. B. Foster with the assistance of I. Short (London: AngloNorman Text Society 1976–1977), line 5375; “Qu’ele pasmë e chiet en un des arcs voluz,” in The Romance of Horn by Thomas, edited by M.K. Pope (Oxford: Anglo-Norman Text Society 1955), line 2015. Cf. Lambert and Brandin, Glossaire, 57, l. 42, ad 4:1, where ‫ מבעד‬is translated as “parmi.” This gloss also appears in the Glossaire de Leipzig, 3:1591, no. 20635. The primary meanings in and are bandage, binding. In our context liure would be something that binds the hair together and keeps it in place, like a hairnet. The Glossaire de Leipzig is familiar with this meaning as well. In 6:7 the author seems to be referring more to a veil or headscarf, that covers the hair but leaves the face exposed as was the custom among proper medieval women.

114

introduction

(cont.) Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

12. 4:1

‫גריוא‬

greve, grieve

part, parting (of hair)

‫ַצָמֵּתְך‬

and (greve1) ofed (greve2) dalf (3. greve, grieve)

13. 4:2

‫טאילאי‬

taillée48

tallied, counted, reckoned

‫ַהְקּצוּבוֹת‬

and (taille 1.6) ofed (taille= tally, estimate)

14. 4:3

‫גרינא‬

graine

scarlet

‫ַהָשּׁ ִני‬

and (grain 1.8= scarlet dye made from the insect kermes) ofed (graine = cochineal or kermesite) dalf (graine; grainne, graigne, greinne, grenne)

15. 3:4

‫פומיל‬

pomel/ pumel49

cheekbone

‫עוז הלחי‬

ofed (pomel) dalf (pomel, pumel, etc.)

Verse

48 49

See Lambert and Brandin, Glossaire, 57, l. 44, where ‫ הקצובות‬is translated as “les taylees”. Taillé also means “cut” but “tallied” or “counted” fits better with the commentary. See Rashi ad loc. in J. Rosenthal, “Rashi’s Commentary on the Song of Songs,” in S.K. Mirsky Jubilee Volume, ed. G.A. Churgin (New York, 1958) [Heb.], 156. He has it in the plural (‫)פומילש‬, referring to the cheekbones. See also Joseph C. Greenberg, Foreign Words in the Bible Commentary of Rashi (Jerusalem, 1992), 220; Moché Catane, Otsar ha-leʿazim (Jerusalem: Gitler, 1990), 72, no. 4274.

115

linguistic matters

Verse

Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

16. 4:4

‫מישטרש‬

mestres/ maistres

master craftsmen; skilled workers

‫ָבּנוּי ְלַתְלִפּיּוֹת‬

and (mestre 1.3 = master, expert, master craftsman, teacher, instructor) ofed (maistre1)

17. 4:4

‫מיל ְיי ַוֵלי ְרְש‬ ‫ְד ַג ְר ְדּא‬

mil chevalers a thousand knights ‫אלף פרשים‬ de garde of guard (part of comment)

18. 4:4

‫קירנלש‬

cernels, crenels

battlements50

‫ַתְּלִפּיּוֹת‬

and (crenel) ofed (crenel)

19. 4:4

‫טֹ ְר ַנ ְימינט‬

torneiement, turneiement

tournament; joust (lit. turning, revolving)

part of comment

and (turneiement) ofed (tornement; tornoiement) dalf (tornoiement, etc.)

20. 4:9

‫ ַאקוֹ ַר ַיש מ ִיא ִי‬acorajas mei [You] have given me heart, encouraged me51

‫ִלַבְּבִתּ ִני‬

and (acurager, acurajer, acorager, etc.) dalf (acoragier)

50 51

and (chevaler [also jevaler] and garde) ofed (chevalier, chevaler = knight, horseman)

4:4. See Glossaire de Leipzig 3:1592–1593, no. 20647; in Heb. script: ‫קריניילש‬. 4:9. Also appears in Glossaire de Leipzig with a slightly different spelling. 3:1592–1593, no. 20658: acorijas moy. The verb derives from cuer (coer, coeur, etc.; see and s.v. “coer” for other variants) meaning heart. Cf. also Lambert and Brandin, Glossaire, 57, l. 63: “akorajas moy.”

116

introduction

(cont.) Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

21. 4:12

‫אירביר‬

erber, herber

[herb] garden

‫גן‬

and (herber, erber) ofed (erber = herb garden)

22. 4:14

‫איספיק‬

espic

Spike, aspic; nard; spikenard

‫ֵנ ְר ְד‬

and (espic) ofed (espic)

23. 5:2

‫דורויאילא‬

dorveille

Dozing, napping

‫נים ולא נים‬ (part of comment)

and (dorveille = doze, nap)

24. 5:11

‫פינדלוייש‬

pendelois52

Suspended, hanging

‫תלתלים‬

and (pendre = hang) ofed (Pendre)

25. 5:13

‫ליטואיירא‬

letuaire53

Electuary, medicinal syrup

‫ֶמ ְרָקִחים‬

and (letuaire, leituaire, etc.) ofed (leituaire)

26. 6:5

‫ ְא ֵי ְנאוֹ ְר ֵגיֵלינט‬enorgueillent They make me ‫ֵמיאי‬ mei proud

‫ִה ְרִהיֻב ִני‬

and (enorgoillir) Cf. enorgueillir ofed (engoillier, enorgoillir [vr] to become proud; enorgoillier [vt] = to make proud)

Verse

52

53

The same gloss is found in Rashi’s commentary on the Song of Songs; see Rosenthal, “Rashi’s Commentary on the Song of Songs,” 167; Catane, Otsar ha-leʿazim, 72, no. 4277. Cf. Lambert and Brandin, Glossaire, 58, l. 3: “pendelochéyž;” Greenberg, Foreign Words, 220. 5:13 Cf. “leitüaire,” in Tobler-Lommatzsch, Altfranzösisches Wörterbuch (Berlin 1925–1936; Wiesbaden, 1954–), 5:319; letuaire in F. Godefroy, Dictionnaire de l’ancienne langue française (Paris, 1880–1902), 4:765b.

117

linguistic matters

Verse

Word in Hebrew script

Word in Roman script

Translation

Context (word glossed or context of usage)

Reference sources

27. 7:6

‫ְט ֵרייְצא‬

trece54

plait of hair, tress

‫אֵשְך‬ ֹ ֹ ‫ַדַלּת ר‬

and (treche) ofed (trece = lock, tress of hair)

28. 7:6

‫קרישפא‬

crespe

curly

‫ודימה להם‬ ‫ לפי‬,‫השיער‬ ‫שהוא קרישפא‬ (no Hebrew equivalent given)

and (cresp = curly) ofed (cresp = curly)

29. 7:6

‫ְג ֵרי ְוְש‬

greves

Wavy rows (from context)55

‫ָבּ ְרָהִטים‬

and (greve2 = riverbank) ofed (greve1 = strand; riverbank)

30. 8:9

‫רקלושא‬

recluse

Shut away

‫( מסוגרת‬part of comment)

and (reclus = shut away) ofed (reclus [n.] = hermit, recluse) dalf (2. reclus)

54 55

See also Glossaire de Leipzig, 3: 1591, no. 20636. Here the form is in the plural: ‫= ט ֵריֵצש‬ trèçës. It would seem that the author is using greve in its primary sense of seashore or riverbank, but that he means to refer to the wavy rows of sand formed by the tides that run along the seashore, which is why the word is in the plural, rather than the singular and why this is a suitable rendition of ‫ ְרָהִטים‬. The wavy rows of sand remind him of the wavy tresses of a woman’s hair. My thanks to Cyril Aslanov for this suggestion.

chapter 5

The Social and Cultural Background of the Commentary The Song of Songs addresses the senses: the sights, the colors, the sounds, and the smells that surround human beings. The poem serves as a mirror for the landscape—both natural and human—and makes it a partner to the experiences of the lovers—the mountains and hills, the valleys and dales, the fields and the houses, the flora and fauna, life in the village and life in the city. The exegete is sensitive to all these aspects of the Song of Songs and his commentary attests to his deep and wide-ranging observation of the world around him. Through this the reader is exposed to the world of the exegete himself, in all the colorful variations of his life experience. The social background of the commentary is reflected first and foremost in the description of the image, deeds, and background of the lover, who is portrayed as a medieval knight.1 The textual peg to which this image is affixed is the root ‫דג״ל‬, which appears in the Song of Songs four times: ‫( דגלו‬2:4); ‫( דגול‬5:10); ‫( נדגלות‬6:4, 10).2 Already in the first occurrence of ‫ דגל‬the exegete elaborates: 2:4. And his banner over me was love. His attendants and his entourage that came with him to his wedding brought banners, comfanon, which he made them bring out of his abundant love for me in order to honor me. Another matter: The banner that the groom brought in his hand was not like the other banners that knights carry in battle, but it was rather a banner of love to show that he loved me and he thought to honor me in front of the people. The basis of the interpretation is the understanding of ‫ דגל‬as meaning confanon, that is “the banners that knights carry into battle.” On this basis the exegete suggests two exegetical possibilities: “the banner of love” is “the attendants and entourage” of the groom who carried their banners with them. The groom brought them to the wedding ceremony to show the world the love and respect he has for his beloved. The other possibility is that the banner of the 1 This was already noted by Salfeld, 77 and Poznanski, xci. 2 The word ‫ דגל‬appears in the Bible only in the book of Numbers (1–2, 10) and the verb ‫נדגל‬ appears in Ps 20:6.

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lover was itself different from the regular banners carried by the knights, in that it was “a banner of love.” Already in this interpretation is reflected the social reality in which the lover lived: knights carrying banners, war, and “the entourage” of the groom; he stands at its head and they take orders from him. This topic is expanded upon in the interpretation of the expression “‫דגול‬ ‫( ”מרבבה‬5:10) for which the exegete also offers a double explanation: ‫דגול מרבבה‬. Ten thousand banners follow after him, that is, he has ten

thousand knights in his party and he leads them wherever he desires. Another matter. ‫דגול מרבבה‬. His banner is recognized among ten thousand banners. And this is the way of the good and superior knight that his banner and armor are distinguished from the banners of his fellows by their images. And when he is among a gathering of knights in battle everyone is afraid of him. And when they see his banner it is known that he is among them. The basis for both explanations is the interpretation of the word ‫ דגול‬according to its form as a passive participle—someone surrounded by banners. In the first explanation the preposition mem in ‫ מרבבה‬is explained as meaning “by,” i.e., he is surrounded by ten thousand banners. The meaning is that the lover stands at the head of a military unit made up of “ten thousand knights” whom he leads as he desires. In the second interpretation, the mem is explained as a mem of comparison—meaning “more than”—the banner of the lover stands out more than the banners of ten thousand other knights carrying banners. In order to round out this interpretation he adds a general note on how to recognize a superior knight, in his words, “the way of a good and superior knight.” The banner and the arms of the select knight stand out and are recognized by the symbols on them—in his words ‫ציורן‬, “their drawings,” and in contemporary language “coat of arms”—which stand out among those of his friends. The knight’s superiority is particularly noticeable at the time of doing battle— everyone knows he is there and this knowledge in itself makes them afraid. In this spirit the exegete also interprets the expression ‫( איומה כנדגלות‬4:6): “Fearsome as an army with banners. She instills fear in people and they are afraid to touch her as they are afraid to stretch out a hand in the towns which are surrounded by its armies with their banners in their hands. And since she said ‘his banner is recognized among ten thousand’ [5:10] he said ‘fearsome as an army with banners.’” According to this interpretation, ‫ נדגלות‬is a niphal participle of the root ‫דג״ל‬: “surrounded by banners,” i.e., towns surrounded by army battalions carrying banners, in his words: “towns which are surrounded by its armies with their banners in their hands.”

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The entire expression is a metaphor for the fear the maiden stirs up in the hearts of those who wish to touch her. The exegete is aware of the uniqueness— and perhaps the strangeness—of this metaphor and presents it as the reaction of the lover to the words of his beloved. The presentation of the lover as a knight, who leads a military unit of professional soldiers, explains also the emphasis in the commentary on “the friends” whom “he leads” and in whose company he spends a great deal of time. The “friends” are mentioned in the Song of Songs three times, twice as ‫ חברים‬and once as ‫ ֵרעים‬,3 but the exegete stresses their presence and returns to them even when there is no allusion to them in the text. Thus, for instance in his unique interpretation of 6:2 “My lover has gone down to his garden, to the beds of spices, to pasture his flock in the gardens, and to gather lilies”: “‫לרעות בגנים‬. To join his friends there, as he said above that he is bringing his friends there to his garden, as it is said, ‘Eat, friends, drink, and be drunk, lovers’ [5:1]. ‫לרעות‬. This has the connotation of friendship, as in ‘the friendship of the king (‫ )תרועת מלך‬is in him’ [Num 23:21].” The exegete includes the “friends” on various occasions and it seems that they accompany the lover to every place and at every time: 2:17. Be, my lover, like a gazelle. To go along the cleft mountains and to walk there with your friends until the day breathes and I will go with you. 4:6. Until the day breathes. … the groom desired to go to the mountain of myrrh and to walk with his friends. 8:12. My vineyard, my very own, is before me. I do not want to sell its fruit because I and my beloved and my friends will eat it, as it is said above “Drink and get drunk, lovers” [5:1]. … But Solomon refused because his whole idea was for him and his beloved and his friends to stroll in it … . 8:13. You who dwells in the gardens. When he came to his garden, he and his beloved and his friends, he said to her: … “friends are listening for your voice.” This means, my friends, whom I brought here to the garden to stroll with us, are listening for your voice.

3 In 1:7 the friends are presented as shepherds: “for why should I be like one who is veiled beside the flocks of your companions?” In 8:13, their identity is not specified: “my companions are listening for your voice”; similarly, “Eat, friends (‫)רעים‬, drink, and be drunk with love” [5:1].

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The exegete presents the military atmosphere and the battles also in verses which have no hint of such things, such as: 6:12. Before I was aware, my soul set me. When I did not find you …. But my soul set me, my soul and my desire enticed me to go out to the chariots of ‫עמי־נדיב‬, these are the king’s chariots and his people and armies that go voluntarily and willingly with the king to fight his wars. Like “Your people come forward willingly on your day of battle” [Ps 110:3], which means your people volunteer willingly without compulsion or coercion to go with you on the day that you will have to gather your army when you go out to battle. And later on: 7:12: “Let us spend the night among the henna shrubs. Many nights, until you are rested because you have tired yourself out from the armor that you carried in the chariots of Ammi-nadiv.” That same reality of battles, cities under siege, kings, knights and their armor, heraldic symbols, and even competitions among knights for the hearts of their beloveds, is reflected also in the description of the towers, which are mentioned several times in the Song of Songs. The exegete takes note of the architectural details of the towers and explains them in light of the military reality of his day. The most striking example is the comment on 4:4. From among the alternative interpretations that the exegete brings, I will cite only those relevant to the matter at hand.4 4:4. Your neck is like the tower of David. Upright and straight like the tower of David which is tall and upright and straight without any deformity or curve. … Or the meaning of ‫ בנוי לתלפיות‬is: great artisans that teach the world the craft of design built it. Maitres in French. And do not ask in amazement why there were so many artisans involved in its construction, because “on it hang a thousand bucklers,” that is to say, a thousand knights are required to guard it, as they say, mil chevalers de garde, and their bucklers and shields are hanging from it, and each one brought his artisan there to build it, and since there were a thousand artisans, it makes sense that they were very precise in its construction and built it without any deformity or distortion. Another matter. ‫ תלפיות‬are cernels, little towers around the wall and they adorn and beautify the tower. … Or its meaning is, each of the warriors made a golden ornament in the shape of the coat

4 See further, above, pp. 36–38.

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of arms of his shield and gave it to her to hang on her neck out of his love for her. Or its meaning is, a thousand knights hang shields on their necks out of love for her and they make a tourneiement.5 The same atmosphere of competition by the knights for the hearts of their beloveds is reflected also in the comment on 4:9: “You have heartened me, my sister, the bride. … This is the way of lovers, who fight battles and win victories for the love of their beloved.” The architecture of the fortresses is revealed even in the description of the garden: “‫גל נעול‬. Locked refers to the garden which is mentioned above. That is, that same garden … which is locked by a high wall still has a locked moat which goes around it and encloses and surrounds it. ‫גל‬. … is a canal” (4:12). This is an accurate depiction of a medieval fortress, which is surrounded by a strong fortified wall, which in turn is surrounded by a moat which gives it added protection. The military atmosphere of the commentary, in all its aspects and variations, stands in stark contrast to the pastoral setting of the Song of Songs itself. Even the perfumed gardens in the Song of Songs are portrayed as places for rest and leisure activities for military units—the friends, or “entourage” (2:4) of the main protagonist. All of this reflects the reality of the author’s period—a time of battles, cities under siege, and knights in shining armor who are professional soldiers. The military units of the knights are recognized by the symbols special to them, which are impressed on their banners and their armor, and they have their own special lifestyle. The exegete even knows about competitions among knights to win the hearts of their lovers. The interpretation of the Song of Songs and its figures in light of the reality of his period is an expression of the effort the exegete is making to bring the Song of Songs and its figures close to his audience. For this purpose, the exegete makes use of not only detailed explanations but also words and expressions in the Old French language, which appear in comments of this nature more than in other areas. The social background of the exegete and his readers comes through to the modern reader clearly and emphatically. Another aspect of the social and cultural reality in which the exegete lives is the attention he pays to topics from daily life; he does not miss a single opportunity to demonstrate his expertise in these matters. Two typical examples are wine and spices. Wine is mentioned in the Song of Songs seven times: in three verses love is compared to wine (1:2, 4; 4:10); in three verses wine is a metaphor

5 See also the description of the tower in 7:5, 8:10 and the description of the horses in 1:10.

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for love or kisses [5:1, 7:10, 8:2]; and one verse mentions the wine-house (2:4). The exegete pays exegetical attention to five of these occurrences (except for 5:1, 8:2). The interpretations devoted to wine are long and repetitive.6 The exegete distinguishes between different types of wine, explains the difference between wine and other beverages, and explains the reason for addiction to it. For example in the commentary to 1:2: For your love is better than wine. Therefore, his kisses are compared to wine, since with all the drinks in the world, once a man is sated with them, he is put off by them for a long time. But with wine, the more he drinks, the more of it he desires, since it warms the body and inflames it, as it is said, “They are inflamed by wine” [Isa 5:11]. And he craves it to cool off its warmth, but it inflames him more and more. Similarly his kisses inflame her body more and more. ‫טובים‬. Joyful, as in “They went to their tents joyful (‫ )שמחים‬and glad of heart (‫[ ”)וטובי לב‬1Kgs 8:66]. Therefore he says that your love gladdens the heart more than wine which gladdens the human heart. He repeats this explanation and expands on it in the comment on 1:4: Another matter: We will recall your love more than wine; ‫מישרים אהבוך‬. … more than wine, which goes from the mouth and flows through the throat to the bowels in a straight path since it is sweet and pleasant and does not linger in the throat, as does the poor quality wine called are, which lingers in the throat. … your words are sweet and pleasant like the sweet and pleasant wine which goes in a straight path without delay from the mouth to the bowels. He repeats this again in the commentary to 7:10. As I have already mentioned, the interpretation of the word ‫ מישרים‬as an attribute of wine is based on Ibn Ezra’s commentary. I also mentioned above that the exegete was influenced by Spanish poetry, which suggests that perhaps the attention to wine shows the influence of “wine songs,” one of the widespread genres of Spanish secular poetry.7 However, the great detail found in

6 See above, pp. 35–36, 65–66. 7 On the literary genre of wine poetry see Levin, The Embroidered Coat, 2:147–286. According to Levin, the affinity between love poetry and wine poetry is so great that it is sometimes difficult

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the commentary and the feeling that the exegete really enjoys describing the virtues of wine, indicate that what is reflected in the commentary is not a literary convention influenced by Spanish poetry but a living reality, familiar to the author from his immediate surroundings. These interpretations are hallmarks of a society in which wine-drinking and the connoisseurship associated with it are essential social components. This is a society in which wine is the main beverage and the awareness that “wine gladdens the human heart” (Ps 104:15) is not just a biblical quote but an everyday reality.8 A similar conclusion can be made regarding the place of perfumes in the commentary. Perfumes in all their variety are a very widespread motif in the Song of Songs.9 The book mentions various types of perfumes, the areas where their plants grow, their application to the body, and their role in lovemaking.10 The exegete paid attention to all of these references and expanded them greatly and in a variety of ways. For example: 1:3. For fragrance your oils are good. Because of the fragrance of your oils that you anoint yourself with. As it is written below, “The fragrance of your oils [is better] than any spice” [4:10]. Similarly in Esther, “six months with oil of myrrh” [Esth 2:12]. Therefore your name is called poured out oil, which is oil that is poured from vessel to vessel and whose fragrance spreads a great distance, since it is shaken while it is being poured out. A good name is likened to oil, as it is said, “A good name is better than good oil” [Eccl 7:1] (again at 4:10).

8

9

10

to separate between them (ibid., 287). See also Raymond P. Scheindlin, Wine, Women, & Death: Medieval Hebrew Poems on the Good Life (Philadelphia, 1986). On the place of wine in life, culture, halakhic disputes and the history of the Jews in France and Germany in the Middle Ages, see Haym Soloveitchik, Principles and Pressures: Jewish Trade in Gentile Wine in the Middle Ages (Tel-Aviv, 2003) [Heb.] and id., Wine in Ashkenaz in the Middle Ages (Jerusalem, 2008), esp. 109–129 [Heb.]. As Zakovitch says, “the fragrances of spices flood the book” (Song of Songs, 25), but he lists there only some of the verses. See A. Brenner, “Aromatics and Perfumes in the Song of Songs”, jsot 25 (1983): 75–81; Sh. Bahar, “Perfume in the Song of Songs: An Erotic Motive and Sign of Social Class,” Shnaton 15 (2005): 39–52. [Heb.] The clear references to the fragrances of perfumes and various spices are the following: ‫נרדים‬/‫( נרד‬1:12; 4:13, 14); ‫כפרים‬/‫( כפר‬1:14; 4:13); ‫( לבונה‬3:6, 4:6, 14); ‫( מור‬1:13; 3:6; 4:6, 14; 5:1, 5, 13); ‫( כרכם‬4:14); ‫( קנה‬4:14); ‫( קנמון‬4:14); ‫( אהלות‬4:14); ‫בשמים‬/‫( בשם‬4:10, 14, 16; 5:1, 13; 8:14); ‫ שמנים‬/‫( שמן‬1:3; 4:10); ‫( ריח‬4:11; 6:9, 14); ‫( מרקחים‬5:13); and in phrases: ‫צרור המור‬ (1:13); ‫( מור עובר‬5:5, 13); ‫( אשכול הכפר‬1:14); ‫( אבקת רוכל‬3:6); ‫( הר המור‬4:6); ‫גבעת הלבונה‬ (4:6); ‫( עצי לבונה‬4:14); ‫( ראשי בשמים‬4:14); ‫( הרי בשמים‬8:14); ‫ערוגות הבשם‬/‫( ערוגת‬5:13; 6:2). To this list should be added other expressions that relate to fragrance and perfumes.

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1:12–13. While the king is at his table … The fragrance of my nard which I am perfumed with reaches all the way to the place where the king reclines in his palace, because it is very good and its fragrance spreads a great distance. And Yefet said that even the king at his table is desirous that my nard spread its fragrance. … i.e., the king gave my nard as his fragrance, because he enjoys the fragrance of my nard he must perfume himself with my nard. But my lover does not need to perfume himself because he himself is a bag of myrrh, and therefore I crave that he lie between my breasts. … Or its meaning is, I thought to myself that there is no better smell in the world than the smell of my nard, whose fragrance wafts unto the place where the king reclines. But he does not need it, because my lover, who is the king mentioned above, is himself a bag of myrrh and does not need to perfume himself.11 3:6. Who is that coming up from the wilderness. … who is that woman who seems like someone who came up from the wilderness and whose perfumed garments and body are dusted with the powder of the merchants’ spices. [Like columns of smoke]. The dust of the incense and the spices rises upwards and ascends upwards like smoke that rises upwards. In addition, the exegete expands the topic of spices and fragrance beyond what is to be found in the text of the Song of Songs. I have already shown above that following Rashbam he explains the name Lebanon as a frankincense tree, “a tree from which frankincense is extracted and which has a pleasant fragrance” (3:9). See also 4:11: “The scent of your garments is like the scent of Lebanon. Like the scent of frankincense”; 4:15: “a garden fountain and flowing streams from Lebanon. The source of its flow is from under the trees of frankincense mentioned above [3:9]”; (similarly 4:8, 7:9). The exegete identifies several of the spices mentioned in the book: 1:13. Myrrh. This is a perfume called musga and they are like nipples that grow on the necks of goats in the wilderness of Cush. And sometimes they fall off and others grow in their place. Also an oil called oil of myrrh is made from them. 1:14. A cluster of henna blossoms. A type of perfume that gives off a pleasant fragrance, as it says below “henna with nard” [4:13] and it grows in the vineyards of En-gedi. 11

For an explanation of these interpretations, see above, pp. 61–62, 68.

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4:14. And nard. Parḥon explained: a spice called espic. ‫כרכום‬. Saffron. Following 7:9 he includes among the plants that have a pleasant fragrance also the apple: “The apple is … a tall tree and shades the ground and it has a pleasing fragrance” (2:3). 2:5. Spread me with apples. Spread apples before my bed so that I can enjoy their pleasing fragrance. Even the maiden explains that she is considered a beautiful woman because she perfumes herself: 2:1. I am not more beautiful than other women, but only [appear so] because I adorn myself and perfume myself more than other women. And the exegete explains the word ‫ פרדס‬by which the garden is called as “a kind of Garden of Eden.” 4:14. ‫כרכום‬. Saffron. And calamus and cinnamon and all the other spices, all grow and thrive in my garden. For this reason he called it ‫ פרדס‬because it is a kind of a Garden of Eden and not like other gardens in which spices do not grow. The exegete offers a unique interpretation to 5:13: His cheeks are like a bed of spices, yielding fragrance. The bed in which one sows spices which are grown to make ointments. Letuaire.12 Many take care to make it square and sow in it spice seeds with intention and precision so that not one of them extends outside the square of the bed. Thus are the beard hairs of his cheeks precisely ordered on his cheeks on both sides and the beard does not spread on one side more than on the other. Another matter. Like a bed of spices. That is pressed constantly so that other seeds will not grow in it. Thus are his cheeks without pimple and blemish. Or, it means that his cheeks emit a pleasant fragrance like the fragrance of a bed of spices, as in “the scent of your breath like apples” [7:9].

12

For a similar Old French gloss, see Le glossaire de Leipzig, 3:1599, no. 20719.

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The exegete offers three explanations. The third follows Rashbam: “His cheeks are sweet and pleasant and their fragrance is good and perfumed like a bed of spices which grows various aromatic herbs,” whereas the first two interpretations are unique to the exegete. In the first he compares the spice garden to the beard on the cheeks,13 and in the second he compares the garden to the cheeks themselves. The comparison of the beard hairs on the cheeks to a garden where spices are planted is detailed and accurate: just as the garden is well cared for, it is square in shape and the seeds are sown in it “with intention and precision,” while making sure that not one seed “extends outside the square of the bed,” so is the beard on the cheeks of the hero well cared for. The hairs are well defined on both cheeks and the beard is shaped with great care. The comparison between the garden and the cheeks is less colorful. The feature common to the well-groomed garden and the cheeks is absolute neatness. Whoever cares for the spice garden makes sure that no weeds or other plants grow in it; so it is with the cheeks of the lover—they are free of any flaw or blemish. These interpretations shed light on the exegete and his work. Among his interpretations are some that do not derive from observation of the world, and their source is the text or the exegetical and scholastic tradition that preceded him,14 but this is not the case with these interpretations. Both the description of the garden planted with spices and the description of the cheeks of the lover, by themselves, and when covered with hair, originate in his own life experience and the reality that he is familiar with. In the culture of the society that he is part of, growing spices is an integral part of agricultural activity, and the use of perfumes is a daily component of personal grooming for both men and women. I have brought three representative examples to illustrate the social and cultural background of the commentary. The exegete’s very decision to interpret the Song of Songs as a secular love song and to present the love of the protagonists of the book as resembling the love between a medieval knight and his beloved prove the extent to which the gentile secular culture of the period had penetrated Jewish society. The exegete was indeed influenced by the secular love poetry of Spanish Jewry but his work is not a blind imitation of this 13

14

This interpretation may have been inspired by Ibn Ezra, who states succinctly: “‫לחייו‬. The hair on their two ends.” (First commentary, second level); “‫לחייו‬. His beard” (Second commentary, second level). Among these one could mention statements such as “For it is the way of young women to tend flocks—[like] the daughters of Midian and the daughters of Laban” [1:6]; or “It is the way of the gazelle to give birth to twins, one male, one female,” whose biblical or Midrashic sources are readily discernible.

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poetry but rather an authentic expression of his own personality against the background of his Northern French milieu. As can be seen from the analysis of the commentary, there were at least four sources of influence on the author: (1) the Jewish scholastic tradition; (2) the Northern French Peshat school of biblical exegesis and its primary spokesmen, Rashi and Rashbam; (3) the culture and literature of the Jews of Spain, especially the secular poetry, biblical exegesis, and linguistics; and (4) the general gentile culture in Northern France including its social and literary expressions. All these are united in the personality of the exegete and define his unique intellectual image. This anonymous commentary on the Song of Songs represents a unique episode in the history of Jewish biblical interpretation and opens a window to a world completely unknown in medieval Jewish culture and literature. The very survival of the commentary is miraculous. However, the fact that we have another similar commentary—the Prague Anonymous—is evidence that this commentary was not the only representative of that intellectual movement, and this raises the question of whether there were other such works which did not survive. This commentary is a living testimony that there was an actual basis for the criticism voiced by some scholars of the period, such as Joseph Qimḥi (1105–1170) and Joseph Ibn Aqnin (1150–1220), against secular commentaries on the Song of Songs.15 These words of criticism were not theoretical and did not refer to the ancient period, when the question of the canonization of the Song of Songs was debated. These scholars were reacting to actual trends in contemporary Jewish circles, which are well represented by our anonymous exegete in his unique commentary on the Song of Songs. 15

See Salfeld, Hohelied, 52, n. 6, 74–75.

chapter 6

The Manuscript, the Edition and the Translation 1

The Manuscript

The only known manuscript of our commentary is located in the Bodleian Library in Oxford, ms Opp. 625 (Ol. 1370) (Neubauer, Cat. No. 1465), fols. 223r– 228v. The manuscript contains a variety of exegetical and grammatical works: (1) ‫מחברת הערוך‬, The dictionary of Solomon ibn Parḥon, fol. 1r–96v; (2) Joseph Qimḥi on Job, fol. 97r–103v; (3) the commentary to the Minor Prophets of Eliezer of Beaugency, fol. 104r–138v; (4) the commentary on Ezekiel of Eliezer of Beaugency, fol. 139r–174r; (5) part of ‫ ספר נצחון‬by Yom Tov Muehlhausen, fol. 174v; (6) a commentary on Isaiah, fol. 175v–219v; (7) Ibn Ezra on Lamentations; fol. 220r–222v; (8) the anonymous commentary on the Song of Songs, fol. 223r– 228r; (9) ‫ ספר הזכרון‬by Joseph Qimḥi, fol. 228v–240v; (10) the text of 2 Chr 24:5 and 1 Kings 8:27; fol. 241r (11) ‫הורית הקורא‬, fol. 241v–249v; (12) Ibn Ezra on Ecclesiastes, fol. 250r–255v; (13) a commentary on Job by a German rabbi, fol. 256r–273v; (14) “‫”שימוש תהלים‬, fol. 274r–284v. Our commentary is the eighth of the fourteen works in the manuscript and was copied by a scribe named Shemuʾel from a copy made by R. Menahem ben Binyamin. At the end of the commentary on the Song of Songs, there is a colophon to this effect: “‫נשלם פי׳ שיר השירים אשר העתקתי מכתיבת יד הרב ר׳ מנחם‬ ‫“ ;”בן רבנו בנימן נ״ע‬This completes the commentary on the Song of Songs which I copied from the copy made by the rabbi R. Menahem ben Rabbenu Binyamin, may he rest in Eden.” Shemuʾel is mentioned as the copyist in a colophon on fol. 96v. Mathews, in the introduction to his edition (p. 238), cites a number of references to owners or scribes named Menahem ben Binyamin, all from the late thirteenth or early fourteenth centuries. Unfortunately nothing is known of the scribe or the owner of the manuscript that was the source for the Oxford copy. The section of the manuscript which contains our commentary (works 1–12) dates from France, in the second half of the 13th century,1 and is written in Ashkenazic semi-cursive script. The

1 The ms is not dated; the dating is based on codicological data; see Adolph Neubauer, Catalogue of the Hebrew Manuscripts in the Bodleian Library (Oxford: Clarendon Press, 1886), vol. 1; Malachi Beit-Arié, Catalogue of the Hebrew Manuscripts in the Bodleian Library: supplement of addenda and corrigenda to vol. i (A. Neubauer’s catalogue) (Oxford: Clarendon Press,

130

introduction

last two parts of the ms date from the late 14th and early 16th cent. The condition of the ms is not very good. It was once owned by Mosheh ben Pinḥas of Tirlingen.2 The content of the ms reflects the taste of the copyist. It is probably not a coincidence that it contains ‫ מחברת הערוך‬by Solomon Ibn Parḥon, a work that is frequently cited in our commentary, as well as works by Ibn Ezra, another of his favorite sources. The commentary begins at the top of the page, with v. 1:2. The fact that it begins with 1:2, without an introduction or a comment on v. 1:1 would suggest that there once was an introduction which at some point went missing. The fact that the commentary begins at the top of a folio would suggest that the beginning section was already missing from the manuscript which served as the scribe’s source, the copy of Menahem ben Binyamin. There are seven marginal notes in the ms: one on fol. 225r, three on fol. 225v, and one each on fols. 226r, 226v and 227r; two of the notes are very short (on fols. 225r, 227r). Except for the note on fol. 227r, they are all readable, and according to the handwriting, most of them, if not all, were probably written by the scribe of the ms.

2

The Edition

2.1 Mathews’s Edition The commentary was first published by H.J. Mathews in 1896 (see above, and bibliography). In general, Mathews’s transcription is quite accurate, but there are a number of exceptions, including misreadings of the manuscript and deviations from it. Some of the deviations are pointed out in the apparatus. Mathews presents the text as it is in the manuscript, in one uninterrupted block, while adding some aids to the reader: verse numbers in the margins and biblical references (and some others) in parentheses. Excerpts from the text of the Song of Songs, either in the lemmata or in quotations, are written in italics. French glosses are written in capital and bold letters. Biblical citations are consistently corrected according to the Masoretic Text, without any mention to this effect. There are quite a few emendations, and they are generally indicated in the notes.

1994), 244; cf. also the online catalogue of the Institute of Microfilmed Hebrew Manuscripts, National Library of Israel (Film 16384). 2 See Neubauer, ibid.

the manuscript, the edition and the translation

131

Mathews’s treatment of abbreviations which appear in the manuscript is inconsistent. Many of the abbreviations are presented as they appear in the text, but there are quite a few cases in which Mathews completed the shortened words, either within the biblical citations or in the interpretations, without any note to this effect. The transcription of the ‫( לעזים‬Old French words) is not always correct. 2.2 The Present Edition The present edition differs from that of Mathews in several respects: a.

b.

c.

d. e. f.

g. h. i. j.

k. l. m.

The manuscript is reproduced in its precise wording and with all its peculiarities. All of Mathews’s incorrect readings and idiosyncratic techniques have been corrected. Deviations from Mathews’s readings are not usually noted in the critical apparatus. Reference to Mathews’s edition is limited to either acceptance of his reconstructions, or to other significant cases. All the marginal notes in the manuscript are pointed out. When necessary, the notes are inserted into the text, whereas in other cases they are presented in the apparatus. The text is divided into literary units. Biblical citations are given as they appear in the manuscript, with the deviation from the Masoretic Text noted in the apparatus. References to biblical sources are given in square brackets inside the text. Other sources are indicated in the apparatus. In the introduction some references to classical texts are included in the body of the text. The biblical lemmata commented upon are written in italics, while all other biblical citations are marked by quotation marks. Peculiar scribal techniques (letters above words, dots above letters, corrections by the scribe, etc.) are all pointed out in the apparatus. Peculiarities in the physical state of the manuscript (like the state of the parchment) are also noted in the apparatus. Abbreviations are usually presented as they appear in the manuscript. (A list of abbreviations requiring elucidation is provided on pp. ix–x). However, words or letters that are missing, either in biblical citations or otherwise, are sometimes completed in square brackets. In a few cases, where the Hebrew is ambiguous, vocalization has been added, to assist the reader. The ‫ =( לעזים‬Old French words/glosses) have been revisited and reconstructed on the basis of more recent research. Mathews prefaced his edition with a short and concise introduction of

132

n.

o.

p.

3

introduction

two and half pages, in which he addressed a few aspects of the commentary. This has been replaced by an extensive introduction, which deals with all the aspects of the commentary and takes into consideration the advances in the study of medieval Jewish exegesis since the publication of Mathews’s edition. We are including images of the entire commentary from the Oxford manuscript. To facilitate consultation of the manuscript, we have inserted page numbers for the manuscript in square brackets ([223r], [223v], etc.), in the body of the text of the edition, at the precise beginning of each manuscript page. In order to make the edition as useful as possible for the reader we have included several indexes (of sources, modern authors, Hebrew words and roots, and subjects), a list of abbreviations, and a bibliography. It should be noted that the critical notes in the Hebrew edition of the commentary are not translated in the English version.

The Translation

The translation of the commentary aims to be as faithful to the original as possible without being slavishly literal. For the text of the Song of Songs we usually relied on the New Revised Standard Version, but when required, we made use of other modern translations (e.g., kjv, njps) or used our own. In cases where the exegete’s commentary required a new translation of the text, we followed the exegete. In quite a few cases, if the commentary included a translation, which would make the Hebrew lemma redundant or would make the interpretation unreasonable, we cited the lemma in Hebrew rather than in translation. Biblical verse citations without mention of a book are from the Song of Songs. Although the edition of the Hebrew text makes note of every biblical citation that deviates from the Masoretic text, no comments on these deviations are made in the translation. In general the scope of notes in the translation is rather limited, as the extensive introduction (with the help of the indexes) should adequately cover the various features of the commentary.

part 2 The Commentary

∵

‫פרק א‬

‫‪5‬‬

‫‪10‬‬

‫‪15‬‬

‫)‪ (2‬ישקני מנשיקות פיהו‪ .‬א׳ א״ע שהעלמה ראת]ה[‪ b‬דודה שהיה בא ומ]ת[קרב אליה‪.‬‬ ‫ואמרה אל רעותיה מי יתן שינשקני דודי‪ .‬וטרם כלתה לדבר נתקרב דודה ועמד אצלה‪.‬‬ ‫אמרה הדין עמי שאני מתאוה שתנשקני כי טובים דודיך מיין‪ .‬ואני או׳ שכיוצא בפסוק זה‬ ‫מצינו הרבה פסוקים ״ישוב ירחמנו יכבוש עונותנו‪ c‬תשליך‪ d‬במצולות‪ e‬ים כל חטאותם״‬ ‫]מיכה ז ‪ .[19‬וכן ״יבושו מאלים‪ f‬אשר חמדתם״ ]ישעיהו א ‪ .[29‬וכן ״ואולם כלם תשובו״‪g‬‬ ‫]איוב יז ‪ .[10‬הרי מקראות אילו שראשם אינו מדבר פה אל פה‪ .‬וכן יש מקראות שתחלתן‬ ‫מדברים וסופן מסבבין הדבור כאילו מדבר על איש אחר‪ .‬״ה׳‪ h‬חננו לך קוינו היה זרועם‪i‬‬ ‫לבקרים אף ישועתנו בעת צרה״ ]ישעיהו לג ‪ .[2‬וכן ״ָה ִינו‪ j‬מעולם לא משלת בם ולא‪ k‬נקרא‬ ‫שמך עליהם״ ]ישעיהו סג ‪ .[19‬וכן ״והדפתיך ממצבך וממעמדך יהרסך״ ]ישעיהו כב ‪.[19‬‬ ‫וכן יש הרבה פסוק]ים[ משנים דבורם כמו ״והדפתיך״‪ .‬וכן ״אם לא נכחד קימנו״ ]איוב כב‬ ‫‪ [20‬היה לו לכתוב ״קימם״‪ .‬וכן ״חלקה אחת ִתָמֵטר וחלקה אשר לא תמטיר״ ] עמוס ד ‪.[7‬‬ ‫היה לו לכתוב ״אשר לא אמטיר״‪ .‬וכן ״כל מקום‪ l‬אשר אזכיר את שמי״ ]שמות כ ‪ [24‬היה‬ ‫לו לכתוב ״אשר תזכיר״‪ .‬וכן ״אם תגאל גאל ואם לא יגאל״ ]רות ד ‪ .[4‬וכן ״ובאשת נעוריך‬ ‫אל יבגוד״‪] m‬מלאכי ב ‪ .[15‬וכן ״גם אתם‪ n‬חללי חרבי המה״ ] צפניה ב ‪ .[12‬וכן ״עתה תהיה‬ ‫מבוכתם״ ]מיכה ז ‪ .[4‬וכן ״ועד הם ]עֹמדים[ יגיפו הדלתות ]ואחזו[״‪] o‬נחמיה ז ‪ .[3‬היה לו‬ ‫לכתוב ״ועד אתם״ שהרי היה מדבר עמהם פה אל פה‪.‬‬ ‫מנשיקות פיהו‪ .‬נשיקות הפה‪ .‬דרך חבה ורעות היא יותר מאותם שמנשקים ידי אוהבם או‬ ‫כתפם שאין נשיקה זו נשיקת ריעות כל כך‪.‬‬

‫‪ a‬כאן ובהמשך מצויינת תחילת כל עמוד בכתב היד‪ b .‬המילה כתובה בסוף השורה בלי ה״א וגם‬ ‫‪ f‬נה״מ‪:‬‬ ‫‪ e‬נה״מ‪ :‬במֻצלות‪.‬‬ ‫‪ d‬נה״מ‪ :‬ותשליך‪.‬‬ ‫‪ c‬נה״מ‪ :‬עוֹֹנתינו‪.‬‬ ‫אין גרש לסימון קיצור‪.‬‬ ‫‪ h‬השם המפורש מסומן בשלושה יודי״ן בצורת משולש‪ .‬מ׳‬ ‫‪ g‬נה״מ‪ :‬תֻשבו‪.‬‬ ‫יבֹשו מאילים‪.‬‬ ‫גרס‪ :‬יי‪ i .‬נה״מ‪ :‬זר ֹעם‪ j .‬המילה כתובה ביו״ד אחת ומעליה קו עליון‪ ,‬וכן היא מנוקדת‪ .‬נה״מ‪:‬‬ ‫היינו‪ k .‬נה״מ‪ :‬לא‪ l .‬נה״מ‪ :‬בכל המקום‪ m .‬נה״מ‪ :‬יבֹגד‪ n .‬נה״מ‪ + :‬כושים‪ o .‬הה״א כתובה מעל‬ ‫השורה‪.‬‬

‫‪223ra‬‬

Song of Songs, Chapter 1 2) Let him kiss me with the kisses of his mouth. Ibn Ezra said that the maiden saw her lover who was coming and approaching her and said to her friends, if only my lover would kiss me. And before she finished speaking her lover approached and stood beside her. She said, I am justified to crave that you kiss me, for your love is better than wine. But I say that there are many other verses like this verse:1 “He will again have compassion upon us; he will cover up our iniquities. You will cast all our sins into the depths of the sea” [Mic 7:19]; “They shall be ashamed of the terebinths which you have desired” [Isa 1:29]; also “But all of them you come back now” [Job 17:10]. These are verses in which the first part is not in direct speech.2 Likewise there are verses in which the first part is in the first person and the latter part turns the speech around as if it is speaking about someone else: “O Lord, be gracious to us! We wait for you; be their arm every morning, our salvation in the time of trouble” [Isa 33:2]; “We have been forever; you did not rule over them; they were not called by your name” [Isa 63:19]; “I will thrust you from your office; and he will pull you down from your post” [Isa 22:19]. Similarly there are many verses that switch person like “I will thrust you.” Also, in the verse “Whereas our substance is not cut down” [Job 22:20], it should have been written “their substance.” Likewise, “One field would be rained upon, and the field on which you did not cause it to rain” [Amos 4:7]. He should have written “on which I did not cause it to rain.” Likewise, “In every place where I cause my name to be remembered” [Exod 20:24], it should have been written “you cause to be remembered.” Also, “If you will redeem it, redeem it; and if he will not redeem” [Ruth 4:4]; also, “Let no one break faith with the wife of your youth” [Mal 2:15]; also “You also, they shall be killed by my sword” [Zeph 2:12]; likewise, “now their confusion is at hand” [Mic 7:4];3 also, for “While they are still standing guard, let them shut the doors [and you bar them]” [Neh 7:3], it should have been written “while you [are still standing] …,” because he was talking to them directly. From the kisses of his mouth. Kisses on the mouth are a better expression of love and friendship than kissing the hand or shoulder of one’s lover, since this kiss is not such a kiss of friendship.

1 That switch from third to second person. 2 Literally, mouth to mouth. 3 The first hemistich reads: “The day of your sentinels, of your punishment, has come.”

‫‪Part II. The Commentary‬‬

‫‪136‬‬

‫מנשיקות‪ .‬הרבה נשיקות‪ .‬שלא הייתי שביעה מנשיקה אחת או משתים‪ .‬רק מהרבה‬ ‫נשיקות‪.‬‬

‫‪5‬‬

‫כי טובים דודיך‪ a‬מיין‪ .‬לכן המשיל נשיקותיו ליין לפי שכל משקים שבעולם כשאדם שבע‬ ‫מהן פעם אחת הוא קץ בהם עד זמן ארוך‪ .‬אך היין כל זמן שהוא שותהו הוא מתאוה אליו‬ ‫יותר ויותר‪ .‬לפי שהוא מחמם הגוף ומדליקו שנ׳ ״יין ידליקם״ ]ישעיהו ה ‪ .[ 11‬והוא תאב לו‬ ‫להקר חמימותו והוא מדליקו יותר ויותר‪ .‬כן נשיקותיו מדליקות‪ b‬גופה יותר ויותר‪.‬‬ ‫טובים‪ .‬שמחים‪ .‬כמו ״וילכו לאהליהם שמחים וטובי לב״ ]מלכים א ח ‪ .[66‬ולכך‪ c‬או׳‬ ‫שדודיך משמחים הלב יותר מיין המשמח לבב אנוש‪.‬‬

‫‪10‬‬

‫‪15‬‬

‫‪20‬‬

‫)‪ (3‬לריח שמניך טובים‪ .‬בשביל ריח שמניך שאתה סך בהן‪ .‬שכן כת׳ לפנים ״וריח שמניך‬ ‫מכל בשמים״ ]ד ‪ .[10‬וכן באסתר ״ששה חדשים בשמן המור״‪] d‬אסתר ב ‪ .[12‬על כן נקרא‬ ‫שמך ״שמן תורק״‪ .‬הוא שמן שמוריקין אותו מכלי אל כלי וריחו יוצא למרחוק על ידי‬ ‫שמתנענע בהרקתו‪ .‬שם טוב נמשל לשמן שנ׳ ״טוב שם משמן טוב״ ]קהלת ז ‪.[1‬‬ ‫על כן עלמות אהבוך‪ .‬אל תאמר מה שאני אוהבת אותו אינו בשביל מעלה יתירה שיש בו‬ ‫יותר מבשאר אדם אלא לפי שאנחנו ממזל אחד‪ .‬שכן הרבה נשים יפות אוהבות אנשים‬ ‫שאינם יפים‪ .‬אל תאמר כן‪ .‬שהרי כמו שאני אוהבת אותו כך אוהבות אותו כל עלמות‬ ‫שבעולם‪ .‬בשביל רבוי מעלותיו‪ .‬שנ׳ ״ששים המה מלכות‪ e‬ועלמות אין מספר״ ]ו ‪.[8‬‬

‫)‪ (4‬משכני אחריך‪ .‬מבקשת לדודה ואו׳‪ .‬אני‪ f‬לך דודי שתמשכני אחריך‪ .‬ואני ואתה נרוצה‪.‬‬ ‫כלו׳ אני שמחה כשאני רצה אחריך כמו שהייתי שמחה אם יביאני המלך חדריו‪ .‬אע״פ‬ ‫שנערות ועלמות שאוהבות אותך כמוני רצות אחריך הביאיני אני לבדי אל חדריך‪ .‬אך לא‬ ‫יכנסו העלמות עמי בחדר‪.‬‬ ‫נגילה ונשמחה בך‪ .‬אני ונערותי המשרתות אותי‪.‬‬

‫‪ a‬נה״מ‪ :‬ד ֹדיך‪ b .‬השחזור בעקבות מ׳‪ .‬כתב היד‪ :‬נשיקות אתדליקות‪ .‬נראה שהאל״ף מייצגת את‬ ‫״יו״‪ ,‬שבסוף ״נשיקותיו״‪ ,‬והמ״ם נשמטה בטעות‪ c .‬הו״ו בראש המילה קצרה מן הרגיל‪ d .‬נה״מ‪:‬‬ ‫מנים פילגשים‪ f .‬מ׳ מוסיף כאן בסוגריים מרובעים ״מבקשת״ ואיננו רואים צורך‬ ‫מר‪ e .‬נה״מ‪+ :‬וש ֹ‬ ‫ה ֹ‬ ‫בכך‪.‬‬

Song of Songs, Chapter 1

137

From the kisses. Many kisses, because I would not be satisfied with one kiss or two, only with many kisses. For your love is better than wine. Therefore, his kisses are compared to wine, since with all the drinks in the world, once a man is sated with them, he is put off by them for a long time. But with wine, the more he drinks, the more of it he desires, since it warms the body and inflames it, as it is said, “They are inflamed by wine” [Isa 5:11]. And he craves it to cool off its warmth, but it inflames him more and more. Similarly his kisses inflame her body more and more. ‫טובים‬. Joyful, as in “They went to their tents joyful (‫ )שמחים‬and glad of heart (‫[ ”)וטובי לב‬1Kgs 8:66]. Therefore he says that your love gladdens the heart more than wine, which gladdens the human heart.

3) For fragrance your oils are good. Because of the fragrance of your oils that you anoint yourself with. As it is written below, “The fragrance of your oils [is better] than any spice” [4:10]. Similarly in Esther, “six months with oil of myrrh” [Esth 2:12]. Therefore your name is called poured out oil, which is oil that is poured from vessel to vessel and whose fragrance spreads a great distance, since it is shaken while it is being poured out. A good name is compared to oil, as it is said, “A good name is better than good oil” [Eccl 7:1]. Therefore the maidens love you. Do not say that my love for him is not because of any exceptional virtue that he possesses to a greater extent than any other person, but because we were born under the same star—for many beautiful women love men who are not handsome—do not say that. For just as I love him, so do all the maidens in the world, because of his many virtues, as it is said, “There are sixty queens, and maidens without number” [6:8]. 4) Draw me after you. She is asking her lover and says, I am yours, my lover, so that you may draw me after you. And you and I will run, that is to say, I am as happy when I run after you as I would be if the king had brought me into his chambers. Even though young women and maidens that love you as I do run after you, bring only me into your chambers. But the other maidens should not enter your chamber with me. We will exult and rejoice in you. I and my maidens who serve me.

‫‪Part II. The Commentary‬‬

‫‪138‬‬

‫נזכירה דודיך‪ a‬מיין‪ .‬אפי׳ הזכרון בעלמ]א[ שאנחנו זוכרים דודיך משמח לבנו יותר משתיית‬ ‫יין‪.‬‬ ‫מישרים אהבוך‪ .‬כמו שאני והעלמות אוהבות אותך כן כל מי שהוא תם וישר אוהבים אותך‬ ‫בשביל גודל מעלותיך‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫‪15‬‬

‫ע״א‪ .‬נזכירה דודיך מיין מי]שרים[ אה]בוך[‪ .‬אני ועלמות האוהבות אותך נגילה בזוכרנו‬ ‫דודיך המשמח לבנו יותר מן ]היין[‪ b‬ההולך מן הפה וזב דרך הגרון אל הֵמַﬠ ִין‪ c‬דרך ישר‬ ‫מתוך שהוא מתוק וערב ואינו מתעכב תוך הגרון‪ ,‬כמו שעושה אותו יין הגרוע שנקרא ַא ְרא‬ ‫שמתעכב בגרון‪ .‬וכן מצינו לשון מישרים לעניין יין‪ .‬״וחכך כיין הטוב הולך לדודי מישרים״‪d‬‬ ‫]ז ‪ [10‬שפירושו דבריך מתוקים ועריבים כמו היין המתוק וערב ההולך דרך ישר בלי עכוב‬ ‫מן הפה אל המעים‪ .‬וכן כת׳ ״אל תרא יין כי יתאדם כי יתן בכוס עינו יתהלך‪ e‬במישרים״‬ ‫]משלי כג ‪ .[31‬מישרים מוסב אל מיין‪.‬‬ ‫)‪ (6–5‬שחורה אני ונאוה בנות ירושלם‪ .‬עתה היא מדברת אל רעותיה בנות ירושלים‬ ‫המלעיגות ומבזות אותה ואומרות שדודה נתרחק ממנה לפי שהיא מכוערת ושחורה כמו‬ ‫שאו׳ הפס׳ שלאחריו ״אל תראוני שאני שחרחרת״ ולכך אומרת להם אם אני שחורה אין זה‬ ‫כיעור גדול‪ .‬כי אני נאוה וחננית‪ .‬אוננט בל׳‪ .‬מחותכת באברים‪ .‬ומחוטבת תבנית היכל ואם‬ ‫אני עתה קדורה בשמש כאהלי קדר שהן שרופים ונקדרים בחמה ובגשמים סופי שאתלבן‬ ‫כיריעות שלמה )ש(הפרוסות‪ f‬על מטתו הן של משי או של פשתן לבן‪.‬‬

‫‪ a‬נה״מ‪ :‬ד ֹדיך‪ b .‬גם מ׳ השלים את החסר‪ c .‬הוספנו את הניקוד כדי להקל על הקורא‪ .‬לזיהוי המילה‬ ‫ראו בהמשך הפירוש‪ d .‬נה״מ ״למישרים״‪ e .‬בכה״י‪ :‬ותהלך‪ ,‬ונראה שידו של הסופר נמשכה והפך‬ ‫את היו״ד לו״ו‪ .‬גם מ׳ התאים לנוסח המסורה‪ f .‬הה״א כתובה מעל המילה ונראה שהסופר התכוון‬ ‫להחליף את השי״ן בה״א‪.‬‬

Song of Songs, Chapter 1

139

We will recall your love more than wine. Even the mere recollection, that we recall your love, gladdens our heart more than drinking wine. ‫מישרים אהבוך‬. Just as I and the maidens love you, so anyone who is innocent and upright loves you because of the greatness of your virtues.

Another matter: We will recall your love more than wine; ‫מישרים אהבוך‬. I and the maidens who love you will rejoice when we recall your love, which gladdens our heart more than wine, which goes from the mouth and flows through the throat to the bowels in a straight path since it is sweet and pleasant and does not linger in the throat, as does the poor quality wine called are,4 which lingers in the throat. Also, we find that the expression ‫ מישרים‬is used in the context of wine: “And your palate is like good wine, flowing smoothly for my beloved” [7:10], which means your words are sweet and pleasant like the sweet and pleasant wine, which goes in a straight path without delay from the mouth to the bowels. Similarly, it is written, “Do not look at wine when it is red, when it sparkles in the cup and goes down smoothly” [Prov 23:31]. ‫ מישרים‬refers to “than wine.” 5–6) I am black and beautiful, o daughters of Jerusalem. Now she speaks to her friends, the daughters of Jerusalem, who scorn and mock her, and say that her lover distanced himself from her because she is ugly and black, as the next verse says, “Do not scorn me because I am dark,” and therefore she says to them, if I am black, this is not a great ugliness, because I am beautiful and graceful, avenant in French,5 with shapely limbs, and well-contoured, like the form of a palace, and if I am now dark from the sun like the tents of Kedar that are burnt and darkened in the sun and the rains, in the end I will become white like the curtains of Solomon which are spread over his bed, which are of silk or of white linen.

4 Old French: dry (Table of Glosses [see Introduction, pp. 111–117], no. 1). 5 The Hebrew term is ‫בלעז‬, referring in general to a foreign language, here Old French. Within the text of the translation we refer to the language as French, since this was the language the author knew. For him it was not Old French. In the notes and introduction we refer to the language as Old French. Avenant = pleasing, fine, beautiful (Table of Glosses, no. 2).

‫‪Part II. The Commentary‬‬

‫‪140‬‬

‫קדר‪ .‬אומה השוכנים‪ a‬באהלים תמיד ולא בבתים לפי שהן רועים במדברות שנ׳ ״ישאו מדבר‬ ‫ועריו חצרים תשב קדר״ ]ישעיהו מב ‪ .[11‬וכת׳ ״כל צאן קדר״ ]ישעיהו ס ‪.[7‬‬ ‫אל תראוני‪ .‬אל תבזוני‪ .‬כמו ״הם‪ b‬יביטו יראו בי״ ]תהלים כב ‪ .[18‬וכן ״כי ראו בארון ה׳״‬ ‫]שמואל א ו ‪.[19‬‬ ‫‪5‬‬

‫‪10‬‬

‫שאני שחרח]רת[‪ .‬אין זה שחרות ממש הבא ממעי אמי כי נולדתי לבנה וגם דודי ראני‬ ‫לשעבר יפה ולבנה אך עתה הושחרתי לפי ששזפתני השמש‪ .‬שראה בי השמש כמו ״לא‪c‬‬ ‫שזפתו עין איה״ ]איוב כח ‪ .[7‬וכל ראיה שהוא מרחוק נקרא שזיפה‪.‬‬ ‫בני אמי נחרו בי‪ .‬כעסו עלי ושמוני בעל כרחי נוטרה כרמים שהרי כרמי שלי לא נטרתי‬ ‫מעולם כי כבודה הייתי ופנימה והם הכריחוני לשמור כרמם‪ .‬ולפי שלא הורגלתי לצאת‬ ‫בשמש רק להיות כבודה בת מלך פנימה מיד בצאתי בחמה הושחרתי‪ .‬שדרך בנות לרעות‬ ‫צאן‪ d.‬בנות מדין ובנות לבן‪ .‬ואילו שמוני רועה צאן‪ e‬הייתי יכולה לסבול ליטע אהל רועה‬ ‫ולשבת בו במדבר‪ .‬אך מתוך כעסם עלי שמוני נוטרה הכרמים וצריכה אני | ללכת תמיד‬ ‫סביב סביב לכרמים ולא יכולתי להסתר מפני החמה‪.‬‬

‫שמש‪ f.‬לשו׳ נקבה שנ׳ ״ויהי השמש באה״ ]בראשית טו ‪.[17‬‬ ‫‪15‬‬

‫‪20‬‬

‫)‪ (7‬הגידה לי שאה]בה[ נפ]שי[‪ .‬מבקשת אני ממך אתה דודי שאוהב אותי שתגיד לי באיזה‬ ‫מקום אתה רועה כל היום כי רוצה אני לצאת מאומנותי שאני נוטרה כרמים ולהיות רועה‬ ‫כמותך כדי שאוכל לדבר עמך ולשבת אצלך באהל רועי שלך‪ .‬ואין זה בשת אם אשה רועה‬ ‫שכן בנות מדין ולבן רועות‪ .‬ואם אין לרצונך להודיעני איכה אתה רועה כל היום לפי שאתה‬ ‫ירא מריעיך הרועים כמותך‪ .‬הודיעני איכה תרביץ בצהרים בשעה שהשמש בצהרים ומכה‬ ‫אותך על ראשך ואתה הולך ורובץ תחת אחת השיחים שיש שם צל ושם מקום הדר ומוצנע‬ ‫ואוכל לבא אליך ולא יראוני הרועים‪.‬‬

‫‪ a‬כה״י‪ :‬השוכבים‪ .‬גם מ׳ שחזר כך‪ b .‬נה״מ‪ :‬המה‪ c .‬נה״מ‪ :‬ולא‪ d .‬מ׳ הוסיף‪] :‬כמו[‪ e .‬השחזור‬ ‫בעקבות מ׳‪ .‬כה״י‪ :‬מיין‪ f .‬נה״מ‪ :‬השמש‪.‬‬

‫‪223v‬‬

Song of Songs, Chapter 1

141

Kedar. A nation that always dwells in tents, not in houses, because they tend their flocks in the wilderness, as it is said, “Let the wilderness and its towns lift up their voice, the villages that Kedar inhabits” [Isa 42:11], and it is written “All the flocks of Kedar” [Isa 60:7]. ‫אל תראוני‬. Do not scorn me, like “They look on and scorn me” (‫[ )יראו בי‬Ps 22:18] and “They scorned the ark of the Lord” (‫[ )ראו בארון ה׳‬1 Sam 6:19].

That I am dark. This is not real blackness, which comes from my mother’s womb, for I was born white, and also in the past my lover saw me beautiful and white, but now I have become darkened because the sun has gazed at me, the sun has looked upon me, like “The falcon’s eye has not gazed upon it” [Job 28:7]. All seeing from a distance is called gazing. My mother’s sons were angry with me. They were angry with me and made me guard the vineyards against my will, for I have never guarded my own vineyard because I was respected and stayed inside and they forced me to guard their vineyard. And because I was not accustomed to go out in the sun, but only to be a respected princess inside, as soon as I went out into the sun, I became darkened. For it is the way of young women to tend flocks— [like] the daughters of Midian and the daughters of Laban. And if they had made me a shepherd I could have tolerated setting up a shepherd’s tent and sitting in it in the wilderness. But out of their anger with me, they made me guard the vineyards and I need to constantly circulate around the vineyards and I could not hide from the sun. Sun. Feminine, as it is said, “When the sun had gone down” (‫[ )באה‬Gen 15:17]. 7) Tell me, you whom my soul loves. I ask of you, you who are my lover who loves me, that you tell me where you tend your flocks all day, because I want to quit my profession as vineyard guard and be a shepherd like you so that I can talk with you and sit beside you in your shepherds’ tent. And it is not shameful for a woman to be a shepherd, since the daughters of Midian and Laban were shepherds. And if you do not want to tell me where you are tending your flocks all day long because you are afraid of your fellow shepherds, let me know where you make your flock lie down at noon when the sun is at noon and strikes you on your head and you go and lie down under one of the bushes where there is shade and there is a beautiful hidden spot and I would be able to come to you and the shepherds would not see me.

‫‪Part II. The Commentary‬‬

‫‪142‬‬

‫שלמה אהיה כעטיה‪ .‬כגולה ממקום למקום לבקשך‪.‬‬ ‫על עדרי חבריך‪ .‬והם מגרשים אותי ממקום למקום כמו שמצינו בבנות מדין ״ויבאו הר ֹעי]ם[‬ ‫ויגרשום״ ]שמות ב ‪.[17‬‬ ‫עטיה‪ .‬גולה‪ .‬כמו ״הנה ה׳ מטלטלך טלטלה גבר ועטך עטה״ ]ישעיהו כב ‪.[17‬‬ ‫‪5‬‬

‫פ״א‪ .‬עטיה‪ .‬כמו ״כאשר יעטה הרועה‪ a‬בגדו״ ]ירמיהו מג ‪ .[12‬פי׳ לובשת בגדים צואים‬ ‫כמנהג הרועים כדי שלא יכירוני הרועים כשאני שואלת להם איפה אתה רועה‪ .‬א״ע‪b.‬‬ ‫)‪ (8‬והוא משיב לה אם לא תדעי ַאת‪ c‬היפה בנשים‪ .‬כלו׳ מכל הנשים‪ .‬אם לא תדעי איכה‬ ‫אני רועה ולא תוכלי תדמי‪ d‬לבא אלי מעצמך‪.‬‬

‫צאי לך בעקבי הצאן‪ .‬של שאר הרועים‪.‬‬ ‫‪10‬‬

‫ורעי גדיותיך מיד‪ e‬שיניחו צאנם ואל תתערבי ביניהם פן יזיקו אותך‪ .‬וזהו ״על משכנות‬ ‫הרועים״‪ .‬סמוך למשכנותם‪ .‬ועכשיו לא הגיד לה מקום למרעהו אך פעם אחרת הגיד לה‬ ‫שהיה רועה בשושנים‪.‬‬ ‫פי׳ א׳ רעי גדיותיך‪ f.‬כלו׳ אל תשאלי אחרי אך תעסקי ִב ְרִﬠ ַית גדיותיך עד שתב ֹאי אלי והם‬ ‫הרועים לא ירגישו בך ולא יזיקוך‪.‬‬

‫‪15‬‬

‫וא״ע פי׳ צאי בעקבי צאני ורעי גדיות קטנות כמו שאת קטנה ולכי על משכנות הרועי׳ ואל‬ ‫תפחדי מהם כי אני גדול מכלם‪.‬‬ ‫והנכון‪ .‬צאי בעקבי צאני ורעי גדיותיך על משכנו]ת[‪ .‬למעלה על משכנות הרועי׳ והוא היה‬ ‫מקום ידוע שהוא היה רועה שם למעלה ממשכנות‪ g‬הרועים‪ .‬ושמא שושנים היו גדלים שם‬ ‫וזהו האמור לפנים ״הרועה‪ h‬בשושנים״ ]ב ‪ ;16‬ו ‪.[3‬‬

‫‪ a‬נה״מ‪ :‬הר ֹעה את בגדו‪ b .‬מ׳ מחק את הסימן הזה מן הטקסט אבל העיר על כך‪ c .‬נה״מ‪ :‬לך‪ d .‬מ׳‬ ‫גרס‪ :‬תדעי‪ ,‬אבל המ״ם ברורה‪ e .‬מ׳ גרס‪ :‬מה‪ f .‬נה״מ‪ :‬את גדי ֹתיך‪ g .‬המ״מ הראשונה כתובה מעל‬ ‫השורה‪ .‬מ׳ קרא‪ :‬למשכנות‪ h .‬נה״מ‪ :‬הר ֹעה‪.‬‬

Song of Songs, Chapter 1

143

For why should I be like an ‫עטיה‬. Like one who wanders from place to place to seek you. Beside the flocks of your companions. And they drive me from place to place, as we find with the daughters of Midian, “But some shepherds came and drove them away” [Exod 2:17]. ‫עטיה‬. Wanderer. Like “The Lord is about to hurl you away violently, and He will surely make you wander (‫[ ”)ועטך עטֹה‬Isa 22:17].

Another interpretation: ‫עטיה‬. As in “as a shepherd wraps himself up in his garment” [Jer 43:12]. This means, wearing filthy clothes as is the custom of shepherds, so that the shepherds will not recognize me when I ask them where you are tending your flocks. Ibn Ezra. 8) And he answers her: If you do not know, the fairest among women. That is, of all the women. If you do not know where I tend my flocks and you cannot figure out how to come to me by yourself. Go in the tracks of the flock. Of the other shepherds. And pasture your kids as soon as they leave their flocks and do not mingle with them lest they harm you. And this is “beside the shepherds’ tents,” close to their tents. At this point he did not tell her where he was grazing his flocks, but on another occasion he told her that he was grazing among the lilies. Another interpretation. And pasture your kids. That is, do not ask after me but busy yourself with pasturing your kids until you come to me and they, the shepherds, will not notice you and will not harm you. And Ibn Ezra explained, Go in the tracks of my flocks and pasture small kids, because you are small and go near the tents of the shepherds and do not be afraid of them because I am bigger than all of them. But the correct interpretation is, go in the tracks of my flocks and pasture your kids above the tents. Above, beyond the tents of the shepherds, and this was a well-known place, where he was grazing above the tents of the shepherds. And perhaps roses were growing there, and this is what is said below, “He pastures his flock among the roses” [2:16; 6:3].

‫‪Part II. The Commentary‬‬

‫‪144‬‬

‫)‪ (9‬לסוסתי ברכבי פרעה דמיתיך‪ a.‬מוסב למעל׳ שאמרה שחורה אני והוא אמר לה‪.‬‬

‫‪5‬‬

‫דמיתיך לסוסתי ברכבי פרעה שהם שחורים וסוס השחור יפה הוא יותר משאר סוסים‬ ‫וסוסי מצרים יפים יותר משאר סוסים ככת׳ במלכים ״ומוצא הסוסים אשר לשלמה‪b‬‬ ‫ממצרים״ ]מלכים א י ‪ .[28‬וכת׳ ״וסוס בחמשים ומאה״ ]מלכים א י ‪ .[29‬וכת׳ ״ומצרים‬ ‫אדם ולא ה׳‪ c‬וסוסיהם בשר ולא רוח״ ]ישעיהו לא ‪ .[3‬ומסתמא סוסי פרעה הם מובחרים‬ ‫מכל סוסי ארצו ולאותם סוסים דמיתיך רעיתי שכשם שסוסי פרעה שהם שחורים יפים‬ ‫מכל הסוסים כך שחרותך נאה לך ואת יפה מכל הנשים‪.‬‬

‫לסוסתי‪ d.‬קבוצת סוסים נקרא סוסתי‪.‬‬

‫‪10‬‬

‫‪15‬‬

‫)‪ (10‬נאוו לחייך בתורים‪ e.‬לפי שהמשילה לסוס יפה ודרך העולם לעשות לסוס מצילות של‬ ‫כסף וזהב ונקראים לורינש‪ .‬ומציירין בהם תורים ובני יונה ושאר ציורין‪ .‬לכך א׳ לה שנאוו‬ ‫לחייך בתורים של זהב שאת מתקשטת בהן לנוי וליופי‪.‬‬ ‫וצואר]ך[‪ f‬בחרוזים‪ .‬הן מיני תכשיטין כמו פעמונים וענקים ורבידין העשויים שורות שורות‬ ‫בשוה ובמשקל ונתונים על הצואר להעדות בהם‪ .‬ועל שם זה נקראו הפיוטין והחרוזות‬ ‫לפי שמלותיהן שוות במלכים ושבאין‪ .‬וכן כת׳ ״וארוזים במולכותיך״‪] g‬יחזקאל כז ‪ .[24‬פ׳‬ ‫חרוזים בחלוף א׳ בח׳‪ .‬וכן ״מחרוזות של דגים״‪ h,‬הן דגים הקשורים בחבל במדה ומנין‪.‬‬

‫‪ a‬נה״מ‪ :‬לֻססתי … דמיתיך‪ b .‬כה״י‪ :‬לפרעה‪ ,‬וזו בוודאי פליטת קולמוס‪ c .‬נה״מ‪ :‬אל‪ .‬על האופן‬ ‫תרים‪ f .‬נה״מ‪:‬‬ ‫שבו נכתב שם ההוויה בכה״י ראו לעיל הערה ‪ d .7‬נה״מ‪ :‬לֻססתי‪ e .‬נה״מ‪ :‬ב ֹ‬ ‫צוארך‪ g .‬נה״מ‪ :‬וא ֻרזים במרֻכלתך‪ h .‬משנה‪ ,‬בבא מציעא פרק ב משנה א‪.‬‬

Song of Songs, Chapter 1

145

9) I compare you […] to a unit of horses (‫ )סוסתי‬among Pharaoh’s chariots. This refers to the verse above where she said “I am black” and he said I compare you to a unit of horses among Pharaoh’s chariots, which are black, and the black horse is more beautiful than the rest of the horses, and Egyptian horses are more beautiful than the rest of the horses as it is written in the book of Kings “Solomon’s import of horses was from Egypt” [1 Kgs 10:28], and it is written, “and a horse for one hundred fifty” [1 Kgs 10:29], and it is written, “The Egyptians are human, and not the Lord; their horses are flesh, and not spirit” [Isa 31:3]. It stands to reason that Pharaoh’s horses are the choicest of all the horses of his land, and it is to those horses that I compare you my beloved—for just as the horses of Pharaoh, which are black, are more beautiful than all the horses, so your blackness becomes you and you are the most beautiful of all the women. ‫לסוסתי‬. A unit of horses is called ‫סוסתי‬.

10) Your cheeks are comely with turtledoves. Because he compared her to a beautiful horse and it is the way of the world to make for horses silver and gold bridles (‫ )מצילות‬called lorains6 and they are decorated with figures of turtledoves and pigeons and other figures; therefore he said to her that your cheeks are comely with turtledoves of gold that you adorn yourself with for comeliness and beauty. Your neck with strings of jewels. These are types of jewelry like bells, necklaces, and bracelets which are made with several rows that are equally weighted and are placed on the neck as an adornment. For this reason, poems (‫ )פיוטין‬and rhymes (‫ )חרוזות‬are called by this name because their words are equal in vowels7 and shewaʾim. Similarly it is written, “‫ארוזים‬ among your merchandise” [Ezek 27:24], which means “strung together,” (‫ )חרוזים‬if we substitute ḥet for ʾalef. Similarly “strings of fish,” (‫מחרוזות של‬ ‫)דגים‬,8 which are fish tied together by a string according to size and number.

6 Old French: lorains, loreins, lorens; straps of the bridle, harnesses or trappings of a horse; see Table of Glosses, no. 3. 7 In medieval Hebrew grammar, vowels were called ‫מלכים‬, kings; ‫ שוואים‬were ‫משרתים‬, servants. 8 mBM 2.1.

‫‪146‬‬

‫‪Part II. The Commentary‬‬

‫)‪ (11‬תורי זהב נעשה לך‪ .‬הדוד אומ׳ כל נוי וכל יופי התלוי בגוף יש בך‪ .‬ואין את‪ a‬חסירה‬ ‫כלום רק תכשיטין ועדיים הבאים ממקום אחר שאינן תלוים בגוף‪ .‬ואנחנו נעשה לך תורי‬ ‫זהב עם נקודות הכסף שאותן עדים של זהב אדומים ונעשה בהן נקודות נקודות של כסף‬ ‫שהוא לבן והוא דבר יפה לבן ואדום יחד כמו שלחיין לבן ואדום יחד‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫‪15‬‬

‫נקודות‪ b.‬כמו ״נקוד‪ c‬וטלוא״ ]בראשית ל ‪ [32‬ופי׳ פרחון נקודות לשו׳ ציורין כמו ״עשרה‬ ‫לחם נקודים״‪] d‬מלכים א יד ‪ [3‬פי׳ מצויר‪.‬‬ ‫)‪ (13–12‬עד שהמלך במסבו אומרת העופרה‪ .‬עד מקום שהמלך מיסב בבית מלכותו מגיע‬ ‫ריח נרדי שאני מבוסמת בו כי הוא טוב מאד וריחו הולך ונודף למרחוק‪ .‬ויפת אמ׳ אפי׳‬ ‫המלך כשהוא במסבו מתאוה הוא לתת נרדי ריחו‪ .‬נתן מוסב אל המלך‪ .‬כלו׳ המלך נתן נרדי‬ ‫ריחו‪ .‬שהוא מתענג בריח נרדי וצריך הוא להתבשם בנרדי‪ .‬אך דודי אינו צריך להתבשם כי‬ ‫הוא עצמו צרור המור ולכך מתאוה אני שילין בין שדי‪ .‬ולפי׳ זה אין המלך דודה אלא איש‬ ‫אחר דודה‪.‬‬ ‫או פי׳‪ .‬אני חשבתי בלבי שאין בעולם ריח טוב כמו ריח נרדי שריחו נודף עד מקום שהמלך‬ ‫מיסב‪ .‬אך איננו צריך לו כי דודי שהוא המלך הנזכר למעלה הוא עצמו צרור המור ואינו‬ ‫צריך להתבשם‪.‬‬

‫מור‪ e.‬הוא בושם הנקרא מושגא והם כמין דדים הגדלים בצוארי עזים שבמדבר כוש‪.‬‬ ‫ולפעמים נופלים וצומחין אחרים תחתם‪ .‬וגם עושין ממנו שמן ונקרא שמן המור‪.‬‬

‫‪ a‬הסופר כתב ׳אתה׳ ומחק את הה״א הסופית‪.‬‬ ‫מר‪.‬‬ ‫ונֻקדים‪ e .‬נה״מ‪ :‬ה ֹ‬

‫‪ b‬נה״מ‪ :‬נֻקדות‪.‬‬

‫‪ c‬נה״מ‪ :‬נקֹד‪.‬‬

‫‪ d‬נה״מ‪:‬‬

Song of Songs, Chapter 1

147

11) We will make you turtledoves of gold. The lover says, You possess every possible aspect of physical beauty and comeliness, you are not wanting anything, only jewelry and ornaments that come from elsewhere and are not part of the body. And we will make you turtledoves of gold with studs of silver; these ornaments of gold are red and we will make in them many studs of silver which is white and this combination of red and white is beautiful just like cheeks that are white and red together. Studs. Like “studded and spotted” [Gen 30:32]. And Parḥon interpreted ‫נקודות‬ as images,9 as in “ten loaves [and] ‫[ ”נקודים‬1 Kgs 14:3], which means with images. 12–13) While the king is at his table, says the maiden.10 The fragrance of my nard, that I am perfumed with, reaches all the way to the place where the king reclines in his palace, because it is very good and its fragrance spreads a great distance. And Yefet said that even the king at his table is desirous that my nard spread its fragrance. “Gave forth” refers to the king, i.e., the king gave my nard as his fragrance; because he enjoys the fragrance of my nard he must perfume himself with my nard. But my lover does not need to perfume himself because he himself is a bag of myrrh, and therefore I crave that he lie between my breasts. According to this interpretation, the king is not her lover, but another man is her lover. Or its meaning is, I thought to myself that there is no better smell in the world than the smell of my nard, whose fragrance wafts unto the place where the king reclines. But he does not need it, because my lover, who is the king mentioned above, is himself a bag of myrrh and does not need to perfume himself. Myrrh. This is a perfume called musge11 and they12 are like nipples that grow on the necks of goats in the wilderness of Cush. And sometimes they fall off and others grow in their place. Also an oil called oil of myrrh is made from them.

9 10 11 12

Cf. Parḥon, ‫מחברת‬, 42d. He uses the word ‫ עפרה‬for maiden, a common epithet in Spanish poetry of the Golden Age. Old French: musk (Table of Glosses, no. 4). It is not clear what “they” is referring to.

‫‪Part II. The Commentary‬‬

‫‪148‬‬

‫)‪ (14‬אשכל הכפר‪ .‬מין בשם הנותן ריח טוב שנ׳ לפנים ״כפרים עם נרדים״ ]ד ‪ [13‬והוא‬ ‫גדל בכרמי עין גדי והוא מקום ככת׳ בסוף יחזק׳‪ a‬״והיה כעמדו‪ b‬עליו דייגים‪ c‬מעין גדי עד‪d‬‬ ‫עגלים״ ]יחזקאל מז ‪.[10‬‬

‫‪5‬‬

‫)‪ (15‬הנך יפה רעיתי‪ .‬ענה הדוד‪ .‬אל תחשוב]י[‪ e‬בלבך שאניחך בשביל שאת שחורה כי‬ ‫יפה ]ו[נאוה‪ f‬את מאד ועיניך יונים‪ .‬כמו שעיני היונים מיושבים במצחם כהוגן וכראוי ואינן‬ ‫לא שקועים יותר מדי ולא בולטים יותר מדי כן עיניך מיושבים במצחך כראוי‪ .‬או שמא‬ ‫המשילה לעיני יונה לפי שהיונים אוהבים ]בן[‪ g‬זוגן יותר מכל עוף‪ .‬ועיניהן ולבן תמיד אל בן‬ ‫זוגן כך עיניך תמיד עלי‪.‬‬

‫וי״מ עיניך יו]נים[ כמו ״ועינו כעין הבדלח״ ] במדבר יא ‪ [7‬פי׳ מראיך‪ .‬קולור בל׳‪.‬‬ ‫‪10‬‬

‫ע״א‪ .‬יונים לשו׳ יין כמו ״חרב היונה״ ]ירמיהו מו ‪ [16‬כלו׳ מראיך אדום כמו יין‪.‬‬ ‫ע״א‪ .‬יונים לשו׳ ״לא תונו״ ]ויקרא יט ‪ [33‬וכן ״ואיש לא יונה״ ]יחזקאל יח ‪ .[7‬״העיר היונה״‬ ‫]צפניה ג ‪ h.[1‬וכך או׳ יפי עיניך מונים‪ i‬ומרמים לב האדם‪.‬‬ ‫וא״ע כתב‪ .‬כעיני היונים שהן כדמות אורגים מצד אל צד וככה הזכירו הקדרים בשירי‬ ‫חשקם‪.‬‬

‫‪15‬‬

‫והנכון כל ״עיניך יונים״ האמור בספר זה רוצה לומ׳ עיניך כיונים אשר על אפיקי מים כמו‬ ‫שכתו׳ לפנים ]ה ‪ .[12‬ולפי שאותן יונים המקננים על אפיקי המים עיניהם צלולין מאד‪ .‬וירש‬ ‫בל׳ לפי שהן מתולדת המים הצלול]י[ם‪ j‬לכך המשיל להם עיני רעייתו‪.‬‬

‫‪ a‬מ׳‪ :‬יחזקאל‪ b .‬נה״מ‪ :‬כתיב‪ :‬יעמדו‪ ,‬קרי‪ :‬עמדו‪ c .‬נה״מ‪ :‬ד ָוגים‪ d .‬נה״מ‪ :‬ועד עין‪ e .‬ההשלמה‬ ‫מסברה‪ f .‬ההשלמה מסברה‪ ,‬וכך גם מ׳‪ g .‬ההשלמה על פי ההמשך‪ h .‬הדוגמה מנבואת צפניה‬ ‫מופיעה בכה״י לאחר הציטוט של פירוש אבן עזרא הבא מיד להלן‪ ,‬והיא מנותקת שם מכל הקשר‪.‬‬ ‫כיוון שעל פי עניינה היא שייכת לכאן העברנו אותה למקום זה‪ .‬מ׳ השמיט אותה‪ i .‬נראה שהסופר‬ ‫כתב תחילה ״מיונים״ ואחר כך מחק את היו״ד‪ j .‬נראה שהסופר כתב תחילה ״הצלולה״ ואחר כך‬ ‫הסב את הה״א הסופית למ״ם סופית‪.‬‬

Song of Songs, Chapter 1

149

14) A cluster of henna blossoms. A type of perfume that gives off a pleasant fragrance, as it says below “henna with nard” [4:13] and it grows in the vineyards of En-gedi and this is a place as it is written at the end of Ezekiel, “People will stand fishing beside the sea from En-gedi to En-eglaim” [Ezek 47:10]. 15) Ah, you are beautiful, my love. The lover answered, do not think in your heart that I will leave you because you are black, for you are very beautiful and pretty. And your eyes are doves. Just as the eyes of doves are properly and fittingly set in their forehead and are not sunken too much nor do they protrude too much, similarly your eyes are properly set in your forehead. Or perhaps he compared her to the eyes of a dove because the doves love their mates more than any bird, and their eyes and their heart are always upon their mate; similarly your eyes are always upon me. There are those who interpret your eyes are doves like “and its appearance (‫ )עינו‬was like the color of gum resin” [Num 11:7], meaning your appearance, color in French.13 Another matter: ‫יונים‬, as in ‫( יין‬wine), as in “because of the wine-colored (‫ )היונה‬sword” [Jer 46:16], that is, your appearance is red like wine. Another matter: ‫יונים‬, as in “you shall not cheat” [Lev 19:33], and similarly, “he will not cheat (‫ )יונה‬anyone” [Ezek 18:7]. “The oppressing city” [Zeph 3:1]. Thus he says, the beauty of your eyes cheats and deceives a man’s heart. And Ibn Ezra wrote: Like the eyes of doves which are like weavers that move from side to side and thus did the Arabs mention in their love poetry.14 And the correct interpretation is that in every case where the phrase “Your eyes are doves” is mentioned in this book, the intention is to say that your eyes are like doves beside streams of water, as it is written below [5:12]. And because those doves who nest by streams of water have very clear eyes, vers in French,15 because they are created from clear water, therefore he compared the eyes of his beloved to them. 13 14

15

Old French: appearance (Table of Glosses, no. 5). At this point the ms has the words ‫[ העיר היונה‬Zeph 3:1]. These words were probably written here by mistake and belong to the previous comment, where we included it. Mathews did not include them in his edition. Old French: bright, sparkling, shimmering, gleaming (Table of Glosses, no. 6).

‫‪150‬‬

‫‪Part II. The Commentary‬‬

‫)‪ (16‬והיא משיבה הנך יפה דודי‪ .‬לך הנוי והיופי‪.‬‬ ‫אף נעים‪ .‬דבריך חביבים ונעימים כמו ״שמעו‪ a‬אמרי כי נעמו״ ]תהלים קמא ‪ .[6‬וכן מעשיך‬ ‫נעימים כמו ״שאול ויהונתן הנאהבים והנעימים״‪] b‬שמואל ב א ‪.[23‬‬

‫‪5‬‬

‫אף ערשנו רעננה‪ .‬הכנתי לנו ערש יפה ומטה כבודה שנשכב בה תחת עץ רענן המיצל ומיסך‬ ‫על הארץ‪ .‬וכן דרך חושקים לשכב תחת עץ רענן ואלה עבותה‪.‬‬

‫‪10‬‬

‫)‪ (17‬קורות‪ c‬בתינו ארזים‪ .‬אין שום בנין יפה כמו של עץ ארז‪ .‬וכן מצינו בשלמה שבנה ביתו‬ ‫מארזים‪ .‬וכן בענין שלום בן יאשיה כת׳ ״האו]מר[‪ d‬אבנה לי בית מדות ועליות מרוחים‬ ‫וקרע לו חלוני ספון‪ e‬בארז ומשוח בששר‪ .‬התמלוך‪ f‬כי אתה מתחרה בארז״ ]ירמיהו כב‬ ‫‪ .[15–14‬וכן במפלת נבוכדנצר כת׳ בישעיה ״גם ברושים שמחו לך ארזי לבנון מאז שכבת‬ ‫לא יעלה הכורת‪ g‬עלינו״ ]ישעיהו יד ‪ .[8‬ובחבקוק כת׳ ״כי חמס לבנון תכסך״‪] h‬חבקוק ב‬

‫‪.[17‬‬ ‫רהיטנו ברותים‪ .‬פ״פ רהיטנו מזחילות‪ .‬וכן ״מלך אסור ברהטים״ ]ז ‪ .[6‬המלך נאסר ונקשר‬ ‫בתלתלי ראשה הדומין למזחילות המים‪.‬‬

‫‪15‬‬

‫והנכון‪ .‬הוא הבריח התחוב בכותל שמוציאין אותו ומבריחין הדלת‪ .‬ולפי שרץ הנה והנה‬ ‫נקרא רהיט‪ .‬ולכך אומרת שהוא מעץ ברותי׳ שהוא קשה וחלק ואינו משמיע קול כשמוציאי׳‬ ‫אותו לסגור הדלת או לפותחו ויכול אתה לפתוח הדלת הסגור בו ולא ירגיש שום אדם‪.‬‬

‫‪ a‬נה״מ‪ :‬ושמעו‪ b .‬נה״מ‪ :‬והנעיִמם‪ c .‬נה״מ‪ :‬קֹרות‪.‬‬ ‫התמֹלך‪ g .‬נה״מ‪ :‬הכֹרת‪ h .‬נה״מ‪ :‬יכסך‪.‬‬

‫אמר‪.‬‬ ‫‪ d‬נה״מ‪ :‬ה ֹ‬

‫‪ e‬נה״מ‪ :‬וספון‪.‬‬

‫‪ f‬נה״מ‪:‬‬

‫‪224r‬‬

Song of Songs, Chapter 1

151

16) And she replies: You are beautiful, my lover. Handsomeness and beauty are yours. Truly pleasant. Your words are agreeable and pleasant as in “then they shall hear my words for they are pleasant” [Ps 141:6]. Also, your deeds are pleasant, as in “Saul and Jonathan, beloved and pleasant” [2 Sam 1:23]. Our couch is leafy. I prepared for us a beautiful couch and a respectable bed in which we will lie under a leafy tree, which gives shade and covers the ground. And this is the way of lovers to lie under a leafy tree or a thick terebinth. 17) The beams of our houses are cedar. There is no building more beautiful than one made of cedar. So we find with Solomon who built his house with cedars, and so concerning Shalum son of Josiah it is written “who says, ‘I will build myself a spacious house with large upper rooms,’ and who cuts out windows for it, paneling it with cedar, and painting it with vermilion. Are you a king because you compete in cedar?” [Jer 22:14–15]. Similarly, about the downfall of Nebuchadnezzar it is written in Isaiah, “The cypresses exult over you, the cedars of Lebanon, saying, ‘Since you were laid low, no one comes to cut us down’” [Isa 14:8]. And in Habakkuk it is written “For the violence done to Lebanon will cover you” [Hab 2:17]. ‫רהיטנו ברותים‬. Parḥon explained: ‫ רהיטנו‬are water channels;16 similarly “a king is held captive in the tresses” [7:6]. The king was tied up and knotted by the tresses of her head which resemble water channels.

And the correct interpretation: this is the bolt that is stuck in the wall, which is taken out to bolt the door with. And because it runs in both directions it is called a runner (‫)רהיט‬. Therefore she says that it is of cypress wood which is hard and smooth and does not make any noise when it is taken out to close the door or to open it, and you can open the door which is closed by it without anyone noticing.

16

Parḥon, ‫מחברת‬, 62d.

‫פרק ב‬

‫)‪ (3–1‬אני חבצלת השרון‪ .‬חבצלת ליש בל׳‪ .‬פרח לבן ושושנה אדום‪ .‬כך אני לבנה ואדומה‪.‬‬ ‫ושלושה דברי׳ אלה מרחיבין לבו של אדם‪ .‬דירה נאה וכלים נאים ואשה נאה‪ a.‬ולפי ששמעה‬

‫‪5‬‬

‫‪10‬‬

‫‪15‬‬

‫העופרה שדודה קילסה ״הנך יפה רעיתי הנך יפה״ שני פעמים לחזק הדבור שהיא יפה‬ ‫בברור‪ ,‬השיבה‪ :‬אתה הוא היפה אך אני כחבצלת השרון וכשושנת העמקים שהיא מסובבת‬ ‫משאר שושנים יפות כמותה‪ .‬והמים שבעמק מרטבין ומלחלחים אותה תמיד פן תכסיף‬ ‫זהרה‪ .‬כך אני אינני יפה משאר נשים רק ממה שאני מתקשטת ומתבשמ]ת[ יותר משאר‬ ‫נשים ומתוך צניעותה אמרה כן‪.‬‬ ‫והוא השיב‪ .‬אל תאמר]י[ כן שאין את יפה משאר נשים ואת כשושנה שבעמקים שהמים‬ ‫מרטבין אותה אך את כשושנה בין החוחים שהוא פרח אדום הגדל בין התבואות כמו שאמ׳‬ ‫איוב ״תחת חטה תצא‪ b‬חוח״ ]איוב לא ‪ .[40‬ואין יופיו ואדמומיתו דומה ליופי השושנה‪ .‬כך‬ ‫אין יופי הבנות אשר את ביניהן מגיעות ליופיך ואת יפה מהן בלי שום קישוט ופרכוס‪ .‬והיא‬ ‫חוזרת ומקלסת דודה מענין שקילס אותה ואומרת ״כתפוח בין עצי היער״‪ .‬תפוח הוא העץ‬ ‫שהאתרג תלוי בו וגדל כמו שהוא בין עצי היער שהוא אילן גבוה ומיצל על הארץ ויש לו‬ ‫ריח טוב‪ .‬״כן דודי בין הבנים״‪ .‬שיש לו שלשה מעלות אילו‪ .‬לפיכך ״בצלו חמדתי וישבתי‬ ‫ופריו מתוק לחכי״‪.‬‬ ‫)‪ (4‬הביאני אל בית היין‪ .‬מספרת לרעותיה‪ .‬כשהבין דודי שהייתי חומדת לשבת בצל קורתו‬ ‫מיד הביאני אל בית היין לחופה‪.‬‬ ‫ודגלו עלי אהבה‪ .‬שושביניו וסיעתו שבאו עמו לחופתו היו מביאי׳ דגלים‪ .‬קומפנון‪ .‬שהוא‬ ‫הזקיקם לכך מרוב אהבתו אותי כדי לכבדני‪.‬‬

‫‪ a‬ברכות‪ ,‬נז ע״ב‪ .‬המחבר ציטט את המקור התלמודי בשינויים קלים‪ ,‬וזו לשונו שם‪ :‬שלשה מרחיבין‬ ‫דעתו של אדם‪ ,‬אלו הן‪ :‬דירה נאה‪ ,‬ואשה נאה וכלים נאים‪ b .‬נה״מ‪ :‬יצא‪.‬‬

Song of Songs, Chapter 2 1–3) I am a lily of Sharon. ‫ חבצלת‬lis17 in French. A white flower and the rose is red. Thus am I white and red. “These three things lift a man’s spirit: a beautiful dwelling, beautiful furnishings, and a beautiful wife.”18 And since the maiden heard that her lover praised her “behold you are beautiful my beloved, behold you are beautiful” [1:15] twice, to emphasize that she is surely beautiful, she answered, You are the handsome one, but I am like the lily of Sharon, and like the rose of the valley which is surrounded by other roses as beautiful as it. And the water in the valley dampens and moistens her constantly lest her splendor fade. Similarly, I am not more beautiful than other women, but only [appear so] because I adorn myself and perfume myself more than other women. She said this out of modesty. He answered: Do not say that, that you are not more beautiful than other women and that you are like a rose in the valley which the water moistens. Rather you are “like a rose among the thorns,” which is a red flower that grows among the grains, as Job said: “let thorns grow instead of wheat” [Job 31:40]. And its beauty and redness are not similar to that of the rose. Similarly the beauty of the maidens that surround you does not approach your beauty, and you are more beautiful than they without adornment or embellishment. And she praises her lover again in a similar way that he praised her, and she says “As an apple tree among the trees of the wood.” The apple is the tree whose fruit hangs from it and grows as it is among the trees of the wood; and it is a tall tree and shades the ground and it has a pleasing fragrance. “So is my lover among the young men.” For he has these three virtues. Therefore: “With great delight I sat in his shadow, and his fruit was sweet to my taste.” 4) He brought me to the wine house. She tells her friends: When my lover understood that I craved to dwell in his house he immediately brought me to the wine house, to the wedding canopy. And his banner over me was love. His attendants and his entourage that came with him to his wedding brought banners, comfanon,19 which he made them bring out of his abundant love for me in order to honor me. 17 18 19

Old French: Lily (Table of Glosses, no. 7). Our author understands ‫ חבצלת‬as lily and ‫ שושנה‬as rose. bBer 57b. Old French: banner, standard (Table of Glosses, no. 8).

‫‪Part II. The Commentary‬‬

‫‪154‬‬

‫ע״א‪ .‬ודגלו שהביא החתן בידו איננו כשאר דגלים שנושאים פרשים למלחמה אך דגל של‬ ‫אהבה היה להראות שהיה אוהב אותי ודעתו לכבדני נגד העם‪.‬‬ ‫)‪) (5‬אוהבי אשישי ענבים(‪ a.‬סמכוני באשישות‪ .‬כך אמרתי למשרתי החופה שהביאו לי‬ ‫אשישי יין לסעוד את לבי ולסמכו כי אני חולת אהבה מצער הבתולים‪.‬‬ ‫‪5‬‬

‫אשישות‪ .‬פ״פ כלי זכוכית מלאים יין כמו עששיות בחלוף ע׳ בא׳‪.‬‬ ‫רפדוני בתפוחים‪ .‬שטחו לפני מטתי תפוחים שאיהנה מריח טוב שלהם‪.‬‬ ‫רפדוני‪ .‬לשון שטיחה‪ .‬כמו ״בחשך רפדתי יצועי״ ]איוב יז ‪ .[13‬וכן ״ירפד חרוץ עלי טיט״‬ ‫]איוב מא ‪ .[22‬וכן ״רפידתו זהב״ ]ג ‪.[10‬‬

‫‪10‬‬

‫ע״א‪ .‬הביאני אל בית היין‪ .‬מרוב אהבתו אותי היה מביאני עמו אל בית המשתאות אף כי‬ ‫אין דרך אשה ליכנס שם‪.‬‬ ‫ודגלו עלי אהבה‪ .‬כל סיעתו ולגיונו הנמשכין אחר דגלו היו מסבירין לי פנים של אהבה‬ ‫ומכבדין אותי‪.‬‬ ‫)‪ (6‬שמאלו תחת לראשי וימינו תחבקני‪ .‬זה משכב דודים וחושקים שמרוב חבה משים לבה‬ ‫על לבו‪ .‬וזהו שאומ׳ לפנים ״שימני כחותם על לבך כחותם על זרועך״ ]ח ‪.[6‬‬

‫‪15‬‬

‫ולפי׳ שיני‪ .‬אע״פ שכל רעיו מסבירין לי פנים אין אחד מהם מתקרב אלי רק דודי בלבד‬ ‫שהיה מחבקני בפני כלם ולא היה בוש‪.‬‬ ‫)‪ (7‬השבעתי את]כם[ בנו]ת[ ירושלם‪ .‬לאחר שספרה להם שנתחברה אל דודה והיו לבשר‬ ‫אחד והיתה יראה פן יתקנאו בה לכך השביעם‪.‬‬

‫‪ a‬מילים אלו נראות כטעות סופר‪ ,‬ואולי נכנסו מחוץ למקומן‪ .‬גם מ׳ השמיט אותן והעיר‪.‬‬

Song of Songs, Chapter 2

155

Another matter: The banner that the groom brought in his hand was not like the other banners that knights carry in battle, but it was rather a banner of love to show that he loved me and he thought to honor me in front of the people. 5) Sustain me with flagons. This is what I said to the wedding servants who brought me flagons of wine to sustain my heart and support it, for I am sick from love, from the pain of the hymen. Flagons. Parḥon explained: glass vessels full of wine like ‫ עששיות‬with an alef instead of an ʿayin. Spread me with apples. Spread apples before my bed so that I can enjoy their pleasing fragrance. ‫רפדוני‬. It has the meaning of spreading, as in, “I spread my couch in darkness”

[Job 17:13], “it spreads a threshing sledge on the mire” [Job 41:22], and “its spread is gold” [3:10]. Another matter. He brought me to the wine house. Out of his abundant love for me he brought me to the banqueting house even though it is not the way of women to enter there. And his banner over me was love. His whole entourage and his legion that follow after his banner showed me love and respected me. 6) His left hand is under my head, and his right hand embraces me. This is the way passionate lovers lie together, such that out of abundant love he puts her heart on top of his heart. This is the meaning of what it says below, “Set me as a seal upon your heart, as a seal upon your arm” [8:6]. According to another interpretation: even though all his friends are cordial to me, not one of them comes close to me, only my lover alone, who embraced me in front of all of them and was not embarrassed. 7) I adjure you, O daughters of Jerusalem. After she told them that she had united with her lover and they had become one flesh, she was afraid they would be jealous of her. Therefore she made them take an oath.

‫‪Part II. The Commentary‬‬

‫‪156‬‬

‫בצבאות או באילות‪ .‬הם דודים שלהם שנמשלו לצבי או לאיל שנ׳ ״דומה דודי לצבי״ ]ב‬ ‫‪ .[9‬ולכך אמרה להם אני משבעת אתכם בחיי הצבאות והאילות‪.‬‬

‫אם תעירו‪ .‬אם תקיצוה משנתה‪ .‬לפי שבעוד שאהובי עמי נעשה כאילו האהבה ישינה‪.‬‬

‫‪5‬‬

‫ואם תעוררו‪ .‬אם תשימו שנאה ומדנים בינינו‪ .‬כמו ״מעורר‪ a‬מדנים״ ]משלי י ‪ .[12‬ושלא‬ ‫תמהרו אותו לזוז ממני עד שתחפץ מאליו‪.‬‬

‫פ״א‪ .‬בצבאות או באילו]ת[‪ .‬כאילו אומ׳ תהיו להפקר כמו הצבאות והאילות אם תעשו כן‪.‬‬ ‫פ״א‪ .‬השבעתי את]כם[ בצב]אות[‪ .‬אם תזכו ליאהב על דודיכם כמו הצבי והאיל הנאהב‬ ‫מאד אל‪] b‬בן[‪ c‬זוגו‪.‬‬

‫אם תעירו אוהבי עלי לספר לי שום גנאי ממנו‪ .‬מלשו׳ ״ויהי ערך״ ]שמואל א כח ‪.[16‬‬ ‫‪10‬‬

‫‪15‬‬

‫ואם תעוררו‪ .‬פי׳ אם תגבירו עלי אהבה‪ .‬לספר ממנו שום שבח כדי שיכנס אהבתו בלבי‬ ‫יותר ממה שהוא עתה פן ימות לבי בקרבי מרוב אהבתי אותו‪ .‬אך הניחו הדבר כמו שהוא‬ ‫עתה‪.‬‬ ‫)‪ (8‬קול דודי הנה זה בא‪ .‬עתה מספרת לריעותיה אשר טרם נגלתה אל דודה‪ .‬שמעתי קול‬ ‫דודי כשהיה )קול דודי כשהיה(‪ d‬דודי מקפץ על ההרים ומדלג על הגבעות וממהר לבוא‬ ‫אלי‪.‬‬ ‫)‪ (9‬דומה דודי לצבי‪ .‬לפי שאמרה מקפץ על ההרים ומדלג אמרה אחר כן שדודי דומה‬ ‫בקלותו לצבי ולעופר הקלים ומקפצים כמ׳ שנ׳ בעשאל‪ e‬שהיה קל ברגליו כאחד הצבאים‬ ‫]שמואל ב ב ‪ .[18‬ולפי שדרך הצבי שלא ישכב במקום אחד רק עד שיתחמם מקומו תחתיו‪.‬‬

‫‪ a‬נה״מ‪ :‬תעורר‪ b .‬מ׳‪ :‬מתקן ל״על״ ומעיר‪ c .‬התוספת מסברה‪ ,‬לאור לשונו של המחבר בפירושים‬ ‫אחרים‪ .‬ראו למשל ל‪-‬א ‪ d .15‬ברור שזוהי דיטוגרפיה‪ e .‬הכתיב המקובל בנה״מ‪ :‬עשהאל‪.‬‬

Song of Songs, Chapter 2

157

By the gazelles or the wild does. These are their lovers that are compared to gazelles or rams,20 as it is said: “My beloved is like a gazelle” [2:9]. Therefore she said to them, I am making you swear by the lives of the gazelles and the rams. Do not awaken. Do not wake it from its sleep. Since as long as my lover is with me it is as if love were asleep. Or stir up. Do not place hatred or strife between us, as in “stirs up strife” [Prov 10:12]. And do not rush him to move from me until it [love] wants to on its own. Another interpretation: By the gazelles or the wild does. As if she says, you will be wild like gazelles or does if you do this. Another interpretation: I adjure you … by the gazelles. That you will not merit to be loved by your lovers like the gazelle and the ram which are much loved by their mates. Do not stir up my lover against me by telling me something disgraceful about him, as in “he has become your enemy” [1Sam 28:16]. Or awaken. Its meaning is, do not increase my love by telling something praiseworthy about him that will cause my love for him to enter my heart to an even greater degree than it is at present, lest my heart die inside me out of my great love for him. Rather, let the matter stay as it is now. 8) The voice of my lover, lo, it is coming. Now she tells her friends [about the time before] she had revealed herself to her lover: I heard the voice of my lover when he was bounding over the mountains and leaping over the hills and hurrying to come to me. 9) My lover is like a gazelle. Since she said, bounding over the mountains and leaping, she then said that my lover in his speed resembles a gazelle and a young stag which are swift and leap as it is said concerning Asahel who was swift of foot like a gazelle [2Sam 2:18]. And since it is the way of the gazelle

20

The Hebrew ‫ איילות‬is feminine and is translated “does” or “hinds,” but the commentary requires the masculine “rams.”

‫‪Part II. The Commentary‬‬

‫‪158‬‬

‫וקופץ משם ושוכב במקום אחר‪ ,‬לכן נמשלו להם החושקים שמרוב תוקף אהבתם נעים‬ ‫ונדים תמיד ממקום למקום‪.‬‬

‫עופר‪ .‬בקטנותו נקרא כך לפי שדרכו להתעפר בעפר‪.‬‬

‫‪5‬‬

‫הנה זה‪ .‬לפי שהיתה יראה שמא יחשדוה ריעותיה שמדברת על דוד אחר שיש לה לפיכך‬ ‫אומרת ״הנה זה״ | כלו׳ זה הוא דודי ואין לי דוד אחר‪.‬‬ ‫עומד אחר כותלנו‪ a.‬כמנהג החושקים המשגיחים‪ b‬בבית בחלונות ובחרכי׳ לראות‬ ‫אהובתם‪.‬‬

‫)‪ (10‬ענה דודי‪ .‬כשראני בבית התחיל לענות ולשורר בקול רם בדברי שיר‪.‬‬

‫‪10‬‬

‫קומי לך‪ c‬יפתי ולכי לך ובאי אלי‪ .‬וזה דרך החושקים לעשות רמזים לאהובתם בדברי שיר‬ ‫פן ירגישו העולם‪.‬‬

‫ענה‪ .‬כמו ״וענו הלוים״ ]דברים כז ‪ .[14‬וכן ״ותחל לענותו״ ]שופטים טז ‪ [19‬דשמשון‪.‬‬ ‫ולכי לך‪ .‬להנאתך‪.‬‬ ‫)‪ (11‬כי הנה הסתו עבר‪ .‬מה שאיחרתי עד עתה לפי שהיה העת עת גשמי׳ והקרח נורא אך‬ ‫עתה עת לצאת כי הסתו עבר והגשם חלף‪.‬‬ ‫‪15‬‬

‫)‪ (12‬הנצנים נראו בארץ‪ .‬שהאילנות צצים ציץ לעשות פרחים‪.‬‬ ‫]הזמיר[‪ d.‬זמיר העופות‪ .‬עוף הנקרא רושינול‪.‬‬ ‫קול התור‪ .‬זהו מה שכת׳ בירמיה ״גם חסידה בשמים ידעה מועדיה ותור‪ e‬וסיס ועגור שמרו‪f‬‬ ‫עת בואנה״‪] g‬ירמיהו ח ‪ .[7‬וכשהן משוררין משמחים לב הולכי דרכים‪.‬‬

‫‪ a‬נה״מ‪ :‬כתלנו‪ b .‬כה״י‪ :‬ומשגיחים‪ .‬ואפשר שצ״ל‪] :‬העומדים[ ומשגיחים‪ c .‬נה״מ‪ + :‬רעיתי‪ d .‬נראה‬ ‫תר‪ f .‬נה״מ‪ + :‬את‪ g .‬נה״מ‪ :‬ב ֹאנה‪.‬‬ ‫שהמילה נשמטה בגלל הפלוגרפיה‪ .‬גם מ׳ שחזר‪ e .‬נה״מ‪ :‬ו ֹ‬

‫‪224v‬‬

Song of Songs, Chapter 2

159

to lie in one place only until the spot becomes warm underneath it and then it jumps from there and lies in another place, therefore lovers are compared to them, since because of the great force of their love they are continually wandering from place to place. Young stag. When he is young he is called this [‫ ]עופר‬because he has the habit of rolling himself in the dust (‫)עפר‬. Look, this one. Because she was afraid that her friends would suspect that she was talking about a different lover that she had, therefore she says “Look, this one,” namely, this is my lover and I have no other. He stands behind our wall. As is the custom of lovers who gaze at the house through the windows and lattices to see their beloved. 10) My lover speaks. When he saw me inside the house he began to speak and to sing in full voice words of poetry. Arise, my fair one, and go away and come to me. And this is the way of lovers to make hints to their beloved with words of poetry lest people take notice. Speaks. As in “Then the Levites shall speak” [Deut 27:14]. Similarly “She began to speak to him (‫)לענותו‬,” with reference to Samson [Judg 16:19]. And go away. For your enjoyment. 11) For now the winter is past. The reason I delayed until now is that it was the rainy season and the ice was terrible, but now it is time to go out because the winter is past and the rain is gone. 12) The buds appear on the earth. The trees put out buds to produce flowers. [‫]הזמיר‬. The ‫ זמיר‬of the birds. A bird called rusinol.21 The voice of the turtledove. This is what is written in Jeremiah “Even the stork in the heavens knows its times; and the turtledove, swallow, and crane observe the time of their coming” [Jer 8:7], and when they sing they gladden the hearts of wayfarers. 21

Old French: nightingale (Table of Glosses, no. 9).

‫‪Part II. The Commentary‬‬

‫‪160‬‬

‫)‪ (13‬קומי לך‪ a.‬כי הגיע עת דודים ושמחה באהבים בדרכים ובגנות‪.‬‬ ‫)‪ (14‬יונתי בחגוי הסלע‪ .‬כל זה מספרת לריעותיה שא]מר[ לה‪ b‬דודה‪ .‬יונתי נאהבת עלי‬ ‫כיונה על בן זוגה‪ .‬ולפי שקראה יונה ממשילה ליונה המסתתרת בחגוי הסלע‪ ,‬נקיקי הסלע‪,‬‬ ‫מפני הצנה והקור‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫הראני‪ c‬מראיך‪ .‬ובאי אלי כי הסתו עבר ואם אין את רוצה להראות לי מראיך‪ .‬השמיעני‬ ‫קולך לכל הפחות כי לשניהם אני תאב‪.‬‬ ‫)‪ (15‬אחזו לנו שועלים‪ .‬לפי שהמשילה‪ d‬ליונה המסתתרת מפני השועלים המזיקי׳ לה אמ׳‬ ‫לה דרך משל‪ .‬כבר נאחזו השועלים שאת יראה מהן‪ .‬והשועלים הוא הצנה המזיק לה‬ ‫ויכולה את לצאת ולטייל בכרמים‪ .‬כי כבר עבר הסתו שהיתה יראה ממנו כמו היונה היראה‬ ‫מן השועל‪ .‬וגם השועלים קטנים המחבלים הכרמים ואוכלים הסמדר גם הם נאחזו ואינן‬ ‫מחבלים )עוד(‪ e‬כרמינו‪ .‬ולכך נאה לצאת ולטייל בכרמים ולראות סמדר כרמינו‪.‬‬

‫שועלים‪ .‬ראשון אינו ממש שועלים אלא דברים המזיקין לה‪ .‬כמו השועל המזיק היונה‪.‬‬ ‫ושועלים שני ממש‪.‬‬ ‫אחזו לנו‪ .‬כמו נאחזו בשבילנו‪.‬‬ ‫‪15‬‬

‫)‪ (16‬דודי לי ואני לו‪ .‬עוד מספרת לריעותיה‪ .‬השיבותי לדודי אע״פ שאני מסתתרת מפני‬ ‫הסתו ונתרחקו הגופים‪ f‬לא נתרחקו הלבבות‪ .‬כי אני לו והוא לי‪ .‬לבי היה עליו ולבו עלי‪.‬‬ ‫הרועה‪ g‬בשושנים‪ .‬ואל תחשדוני שיש לי דוד אחר‪ .‬כי אין לי דוד ואוהב רק אותו הרועה‬ ‫צאנו בשושנים‪ .‬אך אינני יכולה לצאת עדיין אליו‪ h‬אע״פ שעבר הסתו‪.‬‬

‫‪ b‬מ׳ לא הבחין בסימן הקיצור שמעל האל״ף וגרס כאן מילה אחת‪:‬‬ ‫‪ a‬כך הקרי‪ .‬הכתיב‪ :‬לכי‪.‬‬ ‫‪ d‬השי״ן הראשונה מושלמת‬ ‫‪ c‬נה״מ‪ :‬הראיני‪ +‬את )אולי בגלל סוף שורה(‪.‬‬ ‫שאלה‪.‬‬ ‫בשוליים‪ e .‬המילה מחוקה בכה״י על ידי קו לרוחבה‪ f .‬בעקבות מ׳‪ .‬כה״י‪ :‬בגופים‪ ,‬ומ׳ שחזר‬ ‫והעיר‪ g .‬נה״מ‪ :‬הר ֹעה‪ h .‬כה״י‪ :‬אליך‪.‬‬

Song of Songs, Chapter 2

161

13) Arise. Because the time has come for love and for joy in lovemaking on the roads and in the gardens. 14) My dove in the clefts of the rock. All this she recounts to her friends that her lover told her. My dove is beloved to me like a dove to her mate. And since he called her a dove he compares her to a dove that hides in the clefts of the rock, in the crevices of the rock, from the chill and the cold. Let me see how you look. And come to me because the winter has passed and if you do not want to show me how you look, at least let me hear your voice, for I crave both of them. 15) Catch us the foxes. Because he compared her to a dove that hides itself from the foxes that harm her, he spoke to her using figurative language, the foxes that you fear have already been caught. And the foxes is the chill that harms her; and you can go out and walk in the vineyards. Because the winter that she was afraid of, like the dove that is afraid of the fox, has passed. Also the little foxes that damage the vineyards and eat the nascent fruit are also caught and no longer damage our vineyards. Therefore it is pleasant to go out and stroll in the vineyards and see the nascent fruit of our vineyards. Foxes. The first [‫ ]שועלים‬does not mean real foxes, but things that harm her, like the fox that harms the dove. But the second means real foxes. Catch us. Like they were caught for us. 16) My lover is mine and I am his. She continues to tell to her friends. I answered my lover: even though I am hiding because of the winter and the bodies have been distanced, the hearts have not been distanced, because I am his and he is mine. My heart was with him and his with me. He pastures [his flock] among the roses. Do not suspect of me that I have another lover. For I have no lover other than that one who pastures his flocks among the roses. But I still cannot go out to him even though the winter has passed.

‫‪Part II. The Commentary‬‬

‫‪162‬‬

‫)‪ (17‬עד שיפוח היום ונסו הצללי]ם[‪ .‬ואני מבקשת ממך שתיסוב מכאן‪.‬‬ ‫ודמה‪ a‬לך דודי לצבי‪ .‬ללכת על הרי בתר ולטייל שם עם ריעיך עד שיפוח היום ואלך עמך‪.‬‬

‫‪ a‬נה״מ‪ :‬דמה‪.‬‬

Song of Songs, Chapter 2

163

17) Until the day breathes and the shadows flee. And I ask of you to turn away from here. Be, my lover, like a gazelle. To go along the cleft mountains and to walk there with your friends until the day breathes and I will go with you.

‫פרק ג‬

‫)‪ (2–1‬על משכבי בלילות בקשתי‪ a‬שאהבה נפשי‪ .‬עתה מספרת שעל מטתה בלילה‬ ‫נתחרטה על שאמרה לדודה ליסוב ממנה וללכת על הרי בתר‪ .‬וקמתי ממטתי לבקש דודי‬ ‫בלילה ולא נתעצלתי מפני הצנה כי אהבתו דוחקת אותי‪.‬‬

‫‪5‬‬

‫)‪ (3‬מצאוני השומרים‪ b.‬אני הייתי מסתתרת מהם ועל כל זאת מצאוני‪ .‬כי הם מסובבין בעיר‬ ‫ואין להסתר מהם‪ .‬ושאלתים ״את שאהבה נפשי ראיתם״‪ .‬ולא הזכרתי להם שמו כי נכר‬ ‫היה וידוע לכל‪.‬‬ ‫)‪ (4‬אחזתיו ולא ארפנו‪ .‬לא רפיתיו מתוך ידי כלל כי יראה הייתי פן יברח ממני כאשר עשה‬ ‫בתחלה‪.‬‬

‫‪10‬‬

‫עד הביאתיו‪ c‬אל בית אמי‪ .‬זה מדור החצון‪ d‬הפתוח לרשות הרבים‪ .‬ואף שם לא רפיתיו עד‬ ‫הביאתיו אל חדר הורתי‪ .‬הוא חדר הפנימי מקום מוצנע למשכב דודים‪.‬‬ ‫)‪ (5‬השבעתי אתכם‪ .‬לפי שסיפרה להם תוקף האהבה אשר בינה לבין דודה‪ ,‬משבעת אותם‬ ‫שלא יקנאו בה‪.‬‬

‫‪15‬‬

‫)‪ (6‬מי זאת עולה‪ e‬מן המדבר‪ .‬עתה מספרת כי אותה לילה לנו יחדיו בחדר הורתה‪ .‬אך‬ ‫למחרתו שהוליכה דודה אל ארצו ואל ביתו‪ .‬כמו שא׳ לה למעלה ״קומי ולכי לך״ ]ב ‪.[13‬‬ ‫וכשהיתה הולכת בדרך והעולם רואין אותה היו תמהין ושואלין‪ :‬״מי זאת עולה מן המדבר״‪.‬‬ ‫מי אשה זאת שדומה כמי שעלתה מן המדבר ונתעפרו בגדיה וגופה המקוטרים מאבקת‬ ‫בשמים ]של[‪ f‬הרוכלים‪.‬‬ ‫]כתימרות עשן[‪ g.‬עולה למעלה אבק הקטרת והבשמים ומתמר למעלה כמו עשן העולה‬ ‫למעלה‪.‬‬

‫‪20‬‬

‫או פי׳ העולה מן המדבר‪ .‬כשהיתה הולכת אחר דודה דרך המדבר שהיה מוליכה מבית‬ ‫אמה אל ביתו ואל ארצו‪.‬‬

‫‪ a‬נה״מ‪ + :‬את‪ b .‬נה״מ‪ :‬הש ֹמרים‪ c .‬נה״מ‪ :‬שהביאתיו‪ d .‬נראה שהו״ו והנו״ן הסופית התחברו‬ ‫בכה״י לאות אחת עבה‪ e .‬נה״מ‪ :‬עֹלה‪ f .‬התוספת מסברה‪ g .‬התוספת מסברה‪.‬‬

Song of Songs, Chapter 3 1–2) Upon my bed at night I sought him whom my soul loves. Now she recounts that while in bed at night she regretted telling her lover to turn away from her and go on the cleft mountains. And I arose from my bed to seek my lover at night and I was not lazy because of the cold, because his love was driving me. 3) The guards found me. I was hiding from them, yet they still found me. Because they circulate through the city and it is impossible to hide from them. And I asked them, “did you see the one whom my heart loves?” And I did not mention his name to them because he was recognized and known to all. 4) I held him, and would not let him go. I did not loosen my hand’s grip on him at all because I was afraid that he would flee from me as he had done at the beginning. Until I brought him into my mother’s house. This is the outer quarter, which is open to the public domain. Even there I did not let go of him until I brought him to the chamber of her that conceived me, this is an innermost room, a secluded spot for lovemaking. 5) I adjure you. Since she told them how strong the love was between her and her lover, she adjures them not to be jealous of her. 6) Who is that coming up from the wilderness. Now she recounts that that night they slept together in her mother’s chamber, but the next day, her lover brought her to his land and his home, as he said to her above, “Arise and go away” [2:13]. And while she was walking on the road and everyone saw her they were wondering and asking “Who is that coming up from the wilderness,” who is that woman who seems like someone who came up from the wilderness and whose perfumed garments and body are dusted with the powder of the merchants’ spices. [Like columns of smoke]. The dust of the incense and the spices rises upwards and ascends upwards like smoke that rises upwards. Or, the meaning of the one coming up from the wilderness is: when she was going after her lover through the wilderness, when he was taking her from her mother’s home to his home and his land.

‫‪Part II. The Commentary‬‬

‫‪166‬‬

‫)‪ (7‬הנה מטתו שלשלמה‪ .‬עתה מספרת לריעותיה‪ .‬כשבאתה בבית דודה שלמה ראתה‬ ‫מעלת מטתו והיו ששים גבורים מסביב למטה‪.‬‬ ‫)‪ (8‬מפחד בלילות‪ .‬שהיה שלמה ירא פן יגזלוה פרשים ממנו שזה דרך החושקים שיש להם‬ ‫תמיד געגועים על אהובתם ויראים פן יחטפוה מהם‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫וא״ע פי׳ אחר שאמרה לדודה ״סוב דמה לך״ ]ב ‪ [17‬היתה שוכבת על מטתה ודומה לה‬ ‫בחלום שהיתה מבקשת דודה עד שמצאתו‪ .‬וכל הענין‪ .‬ולמחרתו יצתה מן העיר לבקשו‬ ‫במדבר‪ .‬וכשדודה ראה אותה הולכת יחידה במדבר אמ׳ ״מי זאת עולה״‪ .‬פלא גדול זה‪.‬‬ ‫שהרי שלמה המלך הוצרך לשמור אהובתו בששים גבור׳ וזאת הולכת לבדה מרוב אהבתה‬ ‫אותי‪ .‬ועוד כי שלמה המלך שאהובתו היתה אחת מבנות ירושלם לא נתרצתה לבא אליו‬ ‫עד שעשה לה אפריון יפה ועוד הוצרך לעשות לה כבוד ולהכריז על כל בנות ירושלם‬ ‫שיבאו לראותה‪ .‬והנה את רעיתי יפה יותר מאהובת שלמה ומאהבתך אותי את רודפת‬ ‫אחרי יחידה ואף כי לא בניתי לך אפריון ולא עשיתי לך שום כבוד‪.‬‬

‫)‪ (9‬אפריון‪ .‬כילה‪ .‬כמין כפה‪ .‬ארקוולוד בל׳‪.‬‬ ‫הלבנון‪ .‬עץ שמוציאין ממנו הלבונה ויש לו ריח טוב‪.‬‬ ‫‪15‬‬

‫)‪ (10‬עמודיו‪ .‬הן שני עמודים שאפריון נשען עליו‪ .‬כמו שכת׳ בשמשון ״הניחה לי‪ a‬והמישני‪b‬‬ ‫את העמודים‪ c‬אשר הבית נכון עליו״‪ ] d‬שופ׳ טז ‪.[26‬‬ ‫רפידתו זהב‪ .‬מוסב אל המלך שלמה כלו׳ שלמה עשה רפידתו זהב‪.‬‬ ‫רפידתו‪ .‬שטיחתו‪ .‬עניין שטיחת מטה‪.‬‬

‫‪ a‬נה״מ‪ :‬אותי‪ b .‬כך הקרי‪ .‬הכתיב‪ :‬והימשני‪ c .‬נה״מ‪ :‬העֻמדים‪ d .‬נה״מ‪ :‬עליהם‪.‬‬

Song of Songs, Chapter 3

167

7) There is the bed of Solomon. Now she tells her friends, when she came to her lover Solomon’s house she saw the virtue of his bed and there were sixty warriors around his bed. 8) Because of fear by night. Because Solomon was afraid that knights would steal her from him; this is the way of lovers, they are constantly longing for their beloved and afraid that someone might snatch her away. And Ibn Ezra interpreted: after she said to her lover “turn, be like …” [2:17] she lay on her bed and imagined in her dream that she was searching for her lover until she found him. And the whole matter. And the next day she left the city to search for him in the wilderness. And when her lover saw her walking alone in the wilderness, he said, “who is this rising?” [3:6]. This is a great wonder. King Solomon had to guard his beloved with sixty warriors, and this one is walking alone out of her great love for me. Furthermore, the beloved of King Solomon, who was one of the daughters of Jerusalem, did not accede to come to him until he made her a beautiful canopy, and further, he had to treat her with respect and to announce to all the women of Jerusalem that they should come to see her. And lo, you, my beloved, are more beautiful than Solomon’s beloved and out of your love for me you are chasing after me alone even though I did not make you a canopy and did not do anything in your honor. 9) ‫אפריון‬. A net, a sort of canopy. Arc volud in French.22 Lebanon. A tree from which frankincense is extracted and which has a pleasant fragrance. 10) Its pillars. These are two pillars that the canopy rests on. As it is written concerning Samson, “Let me be, so that I may feel the pillars on which the house rests” [Judg 16:26]. Its spread of gold. This refers to King Solomon, that is, Solomon made its spread of gold. ‫רפידתו‬. Its spread. It refers to a bedspread.

22

Old French: curved or vaulted arch (Table of Glosses, no. 10).

‫‪Part II. The Commentary‬‬

‫‪168‬‬

‫מרכבו‪ .‬בגד הפרוש על המטה‪ .‬ולפי שהיא למעלה | מבגדי המטה ורוכבת עליה ותולה כאן‬ ‫וכאן מצד המטה‪.‬‬

‫תוכו רצוף אהבה‪ .‬דבוק‪ .‬״רצפה עשו‪ a‬לחצר״ ]יחזקאל מ ‪ .[17‬אבניה דבוקות זו לזו‪.‬‬

‫‪5‬‬

‫רצוף אהבה‪ .‬מכל בנות ירושלם‪ .‬פי׳ תוכו של אפריון יש בו דיבוק וריצוף וחבור אהבה‬ ‫משלמה ואהובתו המדובקין ורצופין יחד באהבה רבה שביניהם יותר מכל בנות ירושלם‪.‬‬ ‫שאין אחת מכל בנות ירושלים הרצופה ומחוברת אל דודה באהבה כמו שלמה ודודתו‪.‬‬ ‫ע״א‪ .‬רצוף אהבה‪ .‬שרוף מגחלי אהבה כמו ״ובידו רצפה״ ]ישעיהו ו ‪ ,[6‬וכן ״עוגת‪ b‬רצפים״‬ ‫]מלכים א יט ‪ .[6‬והוא משל שהאהבה נמשלת לרשפי אש שלהבתיה‪.‬‬

‫‪10‬‬

‫ע״א‪ .‬כל בנות ירושלם אוהבות שלמה אהבה עזה כאש שנ׳ ״עלמות אהבוך״ ]א ‪ [3‬וכת׳‬ ‫״ועלמות אין מספר״ ]ו ‪ [8‬וכלן מתאוות לשבת תחת אותו אפריון אך איננו אוהב רק אותי‪c‬‬ ‫בלבד‪.‬‬ ‫)‪ (11‬צאנה וראנה‪ d.‬כך היו העלמות אומרות זו לזו‪ .‬ראנה כמה יפה ויקרה ומעולה העטרה‬ ‫שבראש שלמה שעטרתו‪ e‬אמו ביום חתונ׳ יותר מאותה שנתעטר בה יום שהומלך‪.‬‬

‫‪15‬‬

‫וביום שמח]ת[ לבו‪ .‬שמחה יתירה היתה לו ביום חתונתו מכלה יפה כזאת ממה שהיתה‬ ‫לו יום שנתעטר‪ .‬מליצת המק]רא[ שכתו׳ ״ביום חתונתו‪ f‬וביום ]שמחת[‪ g‬לבו״ מלמדינו‬ ‫שרוצה לומ׳ שעטרה אחרת היתה לו ונתעטר בה‪ .‬וכן פעם היה שמח אך מעלת אותה‬ ‫עטרה לא הגיעה לזאת‪ .‬ואותה שמחה לא הגיעה לזאת‪ .‬ולכך או׳ שמחת לבו‪ .‬ששמחה זו‬ ‫באת לו מן הלב‪ .‬וכן ״וה׳‪ h‬מענה בשמחת לבו״ ]קהלת ה ‪.[19‬‬

‫‪ a‬נה״מ‪ :‬ורצפה עשוי‪ b .‬נה״מ‪ֻ :‬ﬠגת‪ c .‬כה״י‪ :‬אותו‪ ,‬וכך שחזר גם מ׳‪ d .‬נה״מ‪ :‬צאינה וראינה‪ e .‬השי״ן‬ ‫כתובה מעל השורה‪ f .‬נה״מ‪ :‬חֻתנתו‪ g .‬הסופר השאיר כאן רווח ריק בתוך השורה‪ ,‬ויש להניח‬ ‫שהתקשה בקריאת המילה והתכוון לחזור אליה‪ h .‬נה״מ‪ :‬כי האלהים‪.‬‬

‫‪225r‬‬

Song of Songs, Chapter 3

169

‫מרכבו‬. A garment spread over the bed. Because it is above the bedclothes and rides on top of it and hangs on either side of the bed.

Its interior paved (‫ )רצוף‬with love. Attached. “And there was a pavement (‫ )רצפה‬laid out all around the court” [Ezek 40:17]. Its stones are attached to each other. Paved with love. More than all the daughters of Jerusalem. This means, the interior of the canopy contains the attached, bound, and joined love of Solomon and his beloved who are bound and joined together in the great love between them, more than all the daughters of Jerusalem, for there is not a single one of all the daughters of Jerusalem who is bound and joined to her lover with love like Solomon and his beloved. Another matter. ‫רצוף אהבה‬. Burnt by live coals of love, as in “in his hand is a live coal (‫)רצפה‬,” [Isa 6:6], and also “a cake baked on live coals” [1 Kgs 19:6]. And this is a metaphor, for love is compared to flashes of fire, a raging flame. Another matter. All the daughters of Jerusalem love Solomon with a love as strong as fire as it is said “the maidens love you” [1:3] and it is written “and maidens without number” [6:8] and all of them are craving to sit under that canopy but the only one he loves is me. 11) Come out. Look. Thus the maidens said to each other: Look how much more beautiful and precious and superior is the crown on Solomon’s head that his mother placed on his head on his wedding day, than the one he was crowned with on his coronation day. And on the day of the gladness of his heart. He had more joy on his wedding day from such a beautiful bride than he had on his coronation day. The biblical style (‫)מליצת המקרא‬, writing “on his wedding day and on the day of the gladness of his heart,” teaches us that he wishes to say that he had another crown and he wore it. Also, he once was happy, but the quality of that crown did not reach the quality of this one, and that joy did not reach this joy. Therefore he says “the gladness of his heart,” that this joy came to him from the heart. Similarly, “because God keeps him occupied with the gladness of his heart” [Eccl 5:19].

‫‪Part II. The Commentary‬‬

‫‪170‬‬

‫ע״א‪ .‬צאנה וראנה‪ a‬במלך שלמה‪ .‬שאין איש הגון ויפה בכל העולם כמוהו‪.‬‬ ‫ובעטרה שעט]רה[ לו אמו‪ .‬זו כלתו‪ .‬ש״אשת חיל עטרת בעלה״ ]משלי יב ‪ .[4‬וראו שאין‬ ‫כיופיה בעולם‪.‬‬

‫‪ a‬נה״מ‪ :‬צאינה וראינה בנות ציון‪.‬‬

Song of Songs, Chapter 3

171

Another matter. Come out, look at King Solomon. That there is no man as upright and handsome as he in all the world. And at the crown with which his mother crowned him. This is his bride, since “A good wife is the crown of her husband” [Prov 12:4]. And see that there is no beauty in the world like hers.

‫פרק ד )ד ‪–1‬ה ‪(1‬‬

‫‪5‬‬

‫)‪ (1‬הנך יפה רעיתי‪ .‬כשראה שלמה שכל הבנות והעלמות היו מקלסות רעיתו ומשבחות‬ ‫אותה הבין בלבו שבאמת אין כיופיה בעולם‪ .‬לפי שיש אשה שאינה יפה כל כך והיא נושאת‬ ‫חן בעיני אוהבה ונראית לו יפה‪ .‬אך בעיני אחרים אינה נראית יפה‪ .‬אבל את רעיתי מאחר‬ ‫שכל העולם מקלסות אותך בידוע שאת)ה(‪ a‬יפה‪ .‬וזה על דרך ״ותהי אסתר נשאת חן בעיני‬ ‫כל ראיה״ ]אסתר ב ‪.[15‬‬ ‫עיניך יונים‪ .‬כבר פי׳ שעיניה דומות לעיני יונים המצוין על אפיקי מים שעיניהם צלולין‪ ,‬וירש‬ ‫בל׳‪ ,‬ונוי הוא לאשה‪.‬‬

‫‪10‬‬

‫מבעד לצמתך‪ .‬הצעיף נקרא צמתך‪ .‬לפי שהוא ִנצמת אל פניה‪ .‬וכן ״גלי צמתך חשפי שובל״‪b‬‬ ‫]ישעיהו מז ‪ .[2‬ולכך א׳ לה כשפנייך מעוטפים ונצמתים בצעיף זולתי עיניך שאין דרך‬ ‫לכסותם ולא נראה מכל יפיך רק עיניך בלבד נודע לרואים אותם שאין אשה יפה כמותך‪.‬‬ ‫וכן או׳ לפנים ״לבבתיני באחד מעיניך״ ]ד ‪ [9‬שאחד מעיניך משיבין‪ c‬לבבי‪.‬‬ ‫מבעד לצמתך‪ַ .‬פ ְרִמי ָטא ִליאו ְרא‪ .‬כמו ״בעד החלון נשקפה״ ]שופטים ה ‪.[28‬‬

‫‪15‬‬

‫פי׳ א׳‪ .‬מבעד לצמ]תך[ שערך כעדר העזים‪ d.‬צמתך היא השבכה המצמצם השער שלא‬ ‫יזוז ממקומו‪ .‬ובעד אותה שבכה מבהיק שערה‪ .‬ודומה לשער עזים הרועים בהר הגלעד‬ ‫ששערם מבהיק מאד‪.‬‬

‫שגלשו‪ .‬שנמרטו‪ .‬שאין דרך לגזוז עזים רק למורטן‪.‬‬

‫‪ a‬ההשמטה מסברה‪ b .‬נה״מ‪ :‬ש ֹבל‪ c .‬ואולי צ״ל‪ :‬משיב; כך מ׳‪.‬‬ ‫השורה ומתחתיה כתובה המילה ״רחלים״ ומחוקה בקו רוחב‪.‬‬

‫‪ d‬המילה ״עזים״ כתובה מעל‬

Song of Songs, Chapter 4 (4:1–5:1) 1) Lo, You are beautiful, my beloved. When Solomon saw that all the girls and maidens were praising his beloved and lauding her he understood in his heart that truly her beauty is unique in the world. For there might be a woman who is not so beautiful, but she pleases her lover and appears beautiful to him, but does not appear beautiful in the eyes of others. But you, my beloved, since the whole world praises you, it is known that you are beautiful. This is like “Esther found favor in the eyes of all who saw her” [Esth 2:15]. Your eyes are doves. I already explained that her eyes were similar to the eyes of doves that are found beside streams of water, whose eyes are clear, vers in French,23 and this is a thing of beauty for a woman. From behind your veil. The veil is called ‫צמתך‬, because it adheres to her face. Similarly, “remove your veil, strip off your robe” [Isa 47:2]. Therefore he told her, when your face is covered and wrapped with a veil, except for your eyes, because there is no way to cover them, and nothing is seen of all your beauty except for your eyes, it is known to those that see them that there is no woman as beautiful as you. Similarly he says below, “You have heartened me with one of your eyes” [4:9], that one of your eyes restores my heart. ‫מבעד לצמתך‬. Parmi ta liure.24 Like “Through the window she peered” [Judg

5:28]. Another interpretation. ‫מבעד לצמתך שערך כעדר העזים‬. ‫ צמתך‬is the net that holds the hair together so that it does not move from its place. And through that net her hair shines. And it resembles the hair of goats that graze on Mount Gilead, whose hair is very shiny. ‫שגלשו‬. That were plucked, for there is no way to shear goats, only to pluck

them.

23 24

Old French: clear, bright, sparkling (Table of Glosses, no. 6). Old French: through your hairnet (Table of Glosses, no. 11).

‫‪Part II. The Commentary‬‬

‫‪5‬‬

‫‪10‬‬

‫‪174‬‬

‫פ״א‪ .‬צמתך היא הגריוא שבראש הנשים שהולך מן הפדחת עד העורף ונקרא צמת לפי‬ ‫שהשער נצמת מכאן ומכאן והגריוא באמצע כדרך מפולש‪ .‬וכן ״חשפי‪ a‬צמתך״ ]ישעיהו‬ ‫מז ‪ [2‬פי׳ חשפי‪ b‬דרך המפולש מן המים שבו‪ .‬ולכך א׳ לה ״מבעד לצמתך״ צדדי הגריוא‪,‬‬ ‫השער הנצמת מכאן ומכאן מבהיק ודק וצהוב ושחור כשער העזים שבהר הגלעד ששערם‬ ‫שחור‪ .‬ושער שחור נוי הוא שנ׳ ״שחורות‪ c‬כעורב״ ]ה ‪ ,[11‬וגם לאשה הוא נוי כמו שאמ׳‬ ‫המשורר ״על הדרך ושער ראשך אברך יוצר אור ובורא חשך״‪ d.‬ונודע שעזים בארץ ישר׳‬ ‫שחורות והכבשים לבנות‪ .‬כדאמ׳ בשבת ״מאי טע]מא[ מסגן עיזי בריש עדרא מעיקרא‬ ‫חשוכא והדר נהורה״‪e.‬‬ ‫)‪ (2‬שניך כעדר הקצובו]ת[‪ .‬פי׳ שניך לבנות וקצובות ושוות שאין אחת מהן גדולה‬ ‫מחברתה אך קצב אחת לכלנה כשני עדר הרחלים‪ .‬וכן לפנים ״שניך כעדר הרחלים״ ]ו‬ ‫‪ [6‬שכלם שוות‪.‬‬

‫שעלו מן הרחצה‪ .‬לאחר ששתו נתלבנו שניהם ונרחצו שניהם מן ירקרקות העשבים שאכלו‪.‬‬ ‫שכולן‪ f‬מתאימות‪ .‬שורה שלמעלה נעשו תאמים עם שורה שלמטה‪.‬‬ ‫ושכולה‪ g‬אין בהם‪ .‬אין בהם פגומה ושבורה‪.‬‬

‫חרות‪ d .‬המובאה‬ ‫‪ a‬נה״מ‪ :‬גלי‪ b .‬המילה ״חשפי״ כתובה בכתב קטן מעל השורה‪ c .‬נה״מ‪ :‬ש ֹ‬ ‫היא משירו של יהודה הלוי ״את עפרה צבית ארמון״‪ .‬הפסוק המקראי המצוטט בשיר הוא ישע׳ מה‬ ‫‪ e .7‬שבת עז ע״ב‪ .‬המובאה אינה מדויקת; היא נמסרת בקיצור‪ ,‬ובשינויים בכמה מילים ובסדרן‪ .‬עיין‬ ‫במבוא‪ ,‬ע׳ ‪ f .7‬נה״מ‪ :‬שֻכלם‪ g .‬נה״מ‪ :‬ושֻכלה‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

175

Another interpretation. ‫צמתך‬. This is the greve25 on the head of women that goes from the forehead to the nape of the neck and it is called ‫ צמת‬because the hair is held on either side and the greve is in the middle like an open road. Similarly “strip off ‫צמתך‬,” [Isa 47:2], which means strip off the open road the water that is on it. Therefore he said to her ‫ מבעד לצמתך‬the sides of the greve, the hair, which is held on either side, glistens and is thin and yellow and black like the hair of goats on Mount Gilead whose hair is black. And black hair is a thing of beauty as it says, “black like a raven” [5:11], and it is also a thing of beauty for a woman, as the poet said, “Over your splendor and the hair of your head I will bless: ‘He forms light and creates darkness.’”26 It is known that in the Land of Israel the goats are black and the sheep are white, as it is said in the [tractate] Shabbat, “What is the reason that goats go at the head of the flock? First the dark, then the light.”27 2) Your teeth are like a flock of ewes. This means, your teeth are white and uniform and even, with none being bigger than another, but they are all of one size like the teeth of a flock of ewes. Similarly below, “Your teeth are like a flock of ewes” [6:6], that are all even. That have come up from the washing. After they drank, their teeth became white, that is, their teeth were washed from the green color of the plants that they ate. They are all matching (‫)מתאימות‬. The upper row became twins (‫ )תאמים‬with the bottom row. And not one among them is bereaved. There is not one among them that is faulty or broken.

25 26 27

Old French: part, parting (of hair) (Table of Glosses, no. 12). See Isa 45:7; the author is citing Judah ha-Levi; see introduction, p. 25. [bShab 77b]. This is an abridged paraphrase of the original. See introduction, p. 7.

‫‪Part II. The Commentary‬‬

‫‪176‬‬

‫פ״א‪ .‬שניך לבנות כצמר העדר הקצובות‪ .‬פי׳ הנמסרות לרועה על פי מנין וקצבה מתוך‬ ‫חשיבות צמרן‪ .‬קצובו׳ טאילאי‪ .‬ומדמה לובן שניה ללובן הצמר על דרך ״הנותן‪ a‬שלג כצמר״‬ ‫]תהלים קמז ‪ .[16‬וכן ״אם יאדימו כתולע כצמר יהיו״ ]ישעיהו א ‪.[18‬‬

‫שעלו מן הרחצה‪ .‬שנתרחצו במים ונתלבן הצמר‪.‬‬ ‫‪5‬‬

‫)‪ (3‬כחוט השני שפתותיך‪ b.‬שפתיה דקות ולא עבות ופיה קטנה‪ .‬וכשהיא סוגרת פיה‬ ‫ושפתיה דבוקות זו לזו דומה שהוא חוט שני אדום צבוע בתולעת‪ .‬גרינא בל׳‪ .‬כמו שנ׳ ״אם‬ ‫יהיו חטאיכם כשני‪ c‬כשלג ילבינו״ ]ישעיהו א ‪ .[18‬וכן ״תולעת השני״ ] שמות כח ‪.[5‬‬ ‫ומדברך נאוה‪ .‬דבור היוצא מבין שפתיך‪ d‬נאה לך‪ .‬לפי שיש איש ואשה שאין נאה להם‬ ‫לדבר לפי שפותחים פיהם יותר מדי‪.‬‬

‫‪10‬‬

‫כפלח הרמון רקתך‪ .‬חצי רמון‪ .‬שהרמון נחלק לשנים‪ .‬והוא אדום‪ .‬כך רקתך הוא עוז הלחי‬ ‫הנקרא פומיל עגול ואדום‪.‬‬

‫מבעד לצמתך מבהיק אדום הלחי‪.‬‬ ‫ולפי פי׳ שני כחלוקת רמון שיש בו לובן מתוך אדמומית כך רקתך הן צדעייך מכאן ומכאן‬ ‫והלסתות מכאן ומכאן כנגד צמתך‪.‬‬ ‫‪15‬‬

‫)‪ (4‬כמגדל דוד‪ e‬צוארך‪ .‬זקוף וישר כמגדל דוד שהוא גבוה וזקוף וישר בלי עיוות ועיקול‪.‬‬

‫הנתן‪ b .‬נה״מ‪ :‬שפתתיך‪ c .‬נה״מ‪ :‬כשנים‪ d .‬כה״י‪ :‬שפתיה‪ e .‬נה״מ‪ :‬דויד‪.‬‬ ‫‪ a‬נה״מ‪ֹ :‬‬

Song of Songs, Chapter 4 (4:1–5:1)

177

Another interpretation: Your teeth are white like the wool of a flock of counted sheep, which means the ones that are submitted to the shepherd according to a count and a quota because of the value of their wool. ‫קצובות‬. Taillé.28 And he compares the whiteness of her teeth to the whiteness of wool, as in “He gives snow like wool” [Ps 147:16]; also, “and though they are red like crimson, they shall become like wool” [Isa 1:18]. That have come up from the washing. For they bathed in the water and the wool became white. 3) Your lips are like a crimson thread. Her lips are thin and not thick and her mouth is small. When she closes her mouth and her lips are pressed against each other it resembles a red scarlet thread dyed with crimson; graine in French.29 As it is said, “though your sins are like scarlet, they shall be like snow” [Isa 1:18] and “crimson yarn” [Exod 28:5]. And your speech is lovely. The speech that comes out from between your lips is becoming to you, since there are men and women for whom it is not becoming to speak because they open their mouths too much. Your cheek is like a piece of a pomegranate. A half of a pomegranate, [when] the pomegranate is divided into two, and it is red. Thus ‫ רקתך‬is the hard part of the cheek which is called pomel,30 round and red. Behind your veil glistens the redness of the cheek. And according to another interpretation, like the division of a pomegranate, which has whiteness from inside redness, such is your ‫רקה‬, these are your temples on both sides and the jaws on both sides against your veil. 4) Your neck is like the tower of David. Upright and straight like the tower of David, which is tall and upright and straight without any deformity or curve.

28 29 30

Old French: counted, tallied, reckoned; taillé could also mean “cut,” but the context calls for “counted.” (Table of Glosses, no. 13). Old French: scarlet (Table of Glosses, no. 14). Old French: cheekbone (Table of Glosses, no. 15).

‫‪Part II. The Commentary‬‬

‫‪178‬‬

‫בנוי לתלפיות‪ .‬כלו׳ לכן אני ממשיל צוארך למגדל דוד ולא לשאר מגדלים לפי שאומנים‬ ‫טובים בנוהו והוא מלמד את‪ a‬המסתכל בו לבנות בנינים‪.‬‬

‫תלפיות‪ .‬מלשון ״מלפנו מבהמות ארץ״ ]איוב לה ‪ .[11‬וכן ״ואאלפך חכמה״ ]איוב לג ‪[33‬‬ ‫שפי׳ אלמד לך חכמה‪.‬‬ ‫‪5‬‬

‫או פי׳ בנוי לתלפיות‪ .‬אומנים גדולים המלמדים )המלמדים(‪ b‬לעולם מלאכת תכנית בנוהו‪.‬‬ ‫מישטרש בל׳‪ .‬ואל תתמה לשאול למה היו שם בבנינו כל כך אומנים‪ .‬כי ״אלף המגן תלוי‬ ‫עליו״‪ .‬כלו׳ אלף פרשים חייבים לשומרו כמו שאו׳‪ .‬מיל ְיי ַוֵלי ְרְש ְד ַג ְר ְדּא‪ .‬ומגינם ושלטיהם‬ ‫תלוין בו‪ .‬וכל אחד מהם הביא אומנו שם לבנותו‪ .‬ומאחר שהיו בו אלף אומנים מסברא הם‬ ‫דיקדקו מאד בבנינו ובנוהו בלי עיוות וקלקול‪.‬‬

‫‪10‬‬

‫ע״א‪ .‬תלפיות‪ .‬הם קירנלש‪ c‬ומגדלים קטנים שסביב החומה והן נוי ויופי למגדל כן צוארך‬ ‫ישר וזקוף לתלות בו ענקים ורבידים לנוי‪.‬‬

‫ע״א‪ .‬בענקים שבצוארה מצוירין מגיני הגבורים‪.‬‬ ‫או פי׳ כל אחד מן הגבורים | עשה תכשיט זהב בדמות ציור מגנו ונתנו לה לתלות בצוארה‬ ‫מאהבתו אותה‪.‬‬ ‫‪15‬‬

‫או פי׳ אלף פרשים תולים מגינם על צוארם‪ d‬בשביל אהבתה ועושין טֹ ְר ַנ ְימינט‪.‬‬ ‫עליו‪ .‬בשבילו‪.‬‬ ‫)‪ (5‬שני שדיך‪ .‬קטנות כשדי שני עפרים‪.‬‬

‫‪ a‬כה״י‪ :‬אל‪ b .‬דיטוגרפיה‪ c .‬מ׳‪ :‬קרינלש‪ ,‬ומעיר‪ d .‬מ׳‪ :‬צוארה‪.‬‬

‫‪225v‬‬

Song of Songs, Chapter 4 (4:1–5:1)

179

‫בנוי לתלפיות‬. That is to say, therefore I compare your neck to the tower of David and not to the rest of the towers because good artisans built it and it teaches those who look at it how to build buildings. ‫תלפיות‬. With the same meaning as “who teaches us more than the animals of the earth” [Job 35:11] and ‫ואאלפך חכמה‬, which means “and I will teach you

wisdom” [Job 33:33].31 Or the meaning of ‫ בנוי לתלפיות‬is: great artisans that teach the world the craft of design built it. Mestres32 in French. And do not ask in amazement why there were so many artisans involved in its construction, because “on it hang a thousand bucklers,” that is to say, a thousand knights are required to guard it, as they say, mil chevalers de garde,33 and their bucklers and shields are hanging from it, and each one brought his artisan there to build it, and since there were a thousand artisans, it makes sense that they were very precise in its construction and built it without any deformity or distortion. Another matter. ‫ תלפיות‬are cernels,34 little towers around the wall and they adorn and beautify the tower; similarly, your neck is straight and upright, suited for hanging from it necklaces and chokers for beauty. Another matter. On the necklaces on her neck are drawn the shields of the warriors. Or its meaning is, each of the warriors made a golden ornament in the shape of the coat of arms of his shield and gave it to her to hang on her neck out of his love for her. Or its meaning is, a thousand knights hang shields on their necks out of love for her and they make a torneiement.35 On it. For it. 5) Your two breasts. Are small like the breasts of two fawns. 31 32 33 34 35

I.e., the root ‫אל״ף‬. Old French: master craftsmen (Table of Glosses, no. 16). Old French: a thousand knights of guard (Table of Glosses, no. 17). Old French: battlements (Table of Glosses, no. 18). Old French: tournament (Table of Glosses, no. 19).

‫‪Part II. The Commentary‬‬

‫‪180‬‬

‫תאמי‪ a‬צביה‪ .‬דרך הצביה שיולדת תאמים אחד זכר ואחת נקבה‪ .‬ודימה שדיה לשדי הנקבה‬ ‫שהן קטנות ביותר‪.‬‬

‫‪5‬‬

‫‪10‬‬

‫הרועים בשושנים‪ .‬דרך השושנים הרגיל לאוכלן מצמתין גופו ולא ייעב לעולם‪ .‬לכך א׳‬ ‫שאותן תאמי צביה אינן אוכלין רק שושנים המצמת גופן ושדיהן ולא ייעבו ולא יהיו גסות‪.‬‬ ‫ולפי שהתאומים אחד זכר ואחת נקבה אומ׳ לשון זכר שני עפרים‪ ,‬וכן רועים בשושנים‪.‬‬ ‫וכן בכל מקום שיש זכר ונקבה כותב לשו׳ זכר כמו ״ויבאו האנשים על הנשים״ ]שמות לה‬ ‫‪ ,[22‬וכן ״לאה וילדיה וישתחוו״ ]בראשית לג ‪ ,[7‬וכן ״יוסף ורחל וישתחוו״ ]בראשית לג‬ ‫‪ ,[7‬ולא כת׳ ותשת]חוינה[ רק וישתחוו‪ .‬כמו שיאמר על שני זכרים‪ .‬וגם אם נפרש ״כשני‬ ‫עפרים״ שתיהן נקבות אין לתמוה שמדבר עליהן לשון זכר שכן מצינו ״וירפא אלהים את‬ ‫אבימלך ואת אשתו ואמהותיו‪ b‬וילדו״ ]בראשית כ ‪ [17‬ולא כת׳ ״ותלדן״ כמו ״ותלדן הצאן״‬ ‫]בראשית ל ‪ .[39‬וכן מצינו שמדבר על הזכר לשו׳ נקבה‪ .‬״הלהן תשברנה הלהן תעגנה עד‬ ‫אשר יגדלו הנערים״‪] c‬רות א ‪.[13‬‬

‫פ״א‪ .‬שני שדיך שוות כשני תאמי צביה ששוין ואין זה גדול מזה‪.‬‬

‫‪15‬‬

‫)‪ (6‬עד שיפוח היום‪ .‬לאחר שהביאה דודה אל ביתו ואפריונו ונשתהא עמה ימים או עשור‬ ‫נתאוה החתן ללכת אל הר המור ולטייל עם ריעיו והיא לא תלך עמו מפני הצנה‪ .‬אך כשיפוח‬ ‫היום יחזור אליה ויוליכנה עמו‪.‬‬ ‫)‪ (7‬כלך יפה רעיתי‪ .‬א׳ לה אל תחשוב]י[ בלבך שאני נפרד ממך לפי שאין את יפה או‬ ‫מצאתי מום בך אך כלך יפה ואין בך מום אך כשיפוח היום אחזור בשבילך‪.‬‬

‫התיו‪ c .‬נה״מ בשינוי הסדר וללא המילה ״הנערים״‪ ,‬כך‪ :‬״הלהן תשברנה‬ ‫‪ a‬נה״מ‪ :‬תאומי‪ b .‬נה״מ‪ :‬ואמ ֹ‬ ‫עד אשר יגדלו הלהן תעגנה״‪ .‬נראה בבירור שהסופר ציטט מן הזיכרון‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

181

Twins of a gazelle. It is the way of the gazelle to give birth to twins, one male, one female. And he compared her breasts to those of the female [twin], which are extremely small. That graze among the roses. It is the way of the roses that they shrink the body of whoever eats them regularly, so that they will never grow fat. Therefore he said that those twins of a gazelle eat nothing but roses, which shrink their bodies and their breasts and they will not get fat and be gross. And because one of the twins is male and one is female, he uses the masculine, two fawns (‫)עפרים‬, and similarly, “that graze (‫ )רועים‬among the roses.” Likewise, any place where there is masculine and feminine, he writes in the masculine, as in “So they came (‫)ויבאו‬, both men and women” [Exod 35:22], and “Leah and her children and they bowed down (‫[ ”)וישתחוו‬Gen 33:7], also “Joseph and Rachel and they bowed down” [Gen 33:7], and he did not write in the feminine [‫ ]ותשתחוונה‬but in the masculine [‫]וישתחוו‬, as he would say about two males. And even if we interpret “like two gazelles” as both being feminine, one need not wonder that he speaks about them in the masculine, since we find “and God healed Abimelech, his wife and female slaves so that they bore (‫ )וילדו‬children” [Gen 20:17] and he does not write ‫ ותלדן‬as in ‫ותלדן הצאן‬ (“and so the flocks produced young”) [Gen 30:39]. We also find that the feminine form is used for males: “would you wait for them [feminine form: ‫?]הלהן‬ Would you then refrain from marrying until the lads grow up?” [Ruth 1:13].36 Another interpretation. Your two breasts. Are equal in size like two gazelle twins, which are equal in size, neither one being bigger than the other. 6) Until the day breathes. After her lover brought her to his house and his palanquin and tarried with her a few days, the groom desired to go to the mountain of myrrh and to walk with his friends, but she would not go with him because of the cold. But when the day breathes, he would return to her and take her with him. 7) You are altogether beautiful, my beloved. He said to her, do not think in your heart that I am departing from you because you are not beautiful or that I found a blemish in you; rather, you are totally beautiful and there is no blemish in you; but when the day breathes, I will return for you.

36

The author’s citation of the text differs from that of the mt; obviously, he is citing from memory.

‫‪Part II. The Commentary‬‬

‫‪182‬‬

‫)‪ (8‬ואתי‪ a‬מלבנון כלה תבואי‪ .‬מאפריון שהוא מעצי הלבנון שבניתי לך תבואי לטייל עמי‬ ‫על ההרים‪.‬‬

‫תשורי מראש אמנה‪ .‬ושניר וחרמון‪ .‬וממעונות אריות שהם ההרים‪ .‬כמו ״ומהררי‪ b‬נמרים״‪,‬‬ ‫שאעמידך שם‪ .‬תשורי ותביטי כל סביבותיך‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫תשורי‪ .‬כמו ״אשורנו ולא קרוב״ ]במדבר כד ‪ [17‬וכן ״על דרך אשור״ ]הושע יג ‪.[7‬‬ ‫)‪ (9‬לבבתיני‪ c‬אחותי כלה‪ .‬א׳ לה אל תחשבי בלבך שלא נוכל לעלות אל הרי האריות‬ ‫והנמרים פן יטרפו אותנו‪ .‬אל תפחדי מהם כי לבבתיני‪ .‬כלו׳ נתת לי לב אמיץ בגבורים‬ ‫שבשביל אהבתך נתגברתי ונברא לי לב חדש שיש לי כח ללחום עם האריות והנמרים‬ ‫ולגרשם ממעונותם‪ .‬וכן דרך החושקים שעושים מלחמות ונצחונות בשביל אהבת‬ ‫חשוקתם‪.‬‬

‫לבבתיני‪ַ .‬אקוֹ ַר ַיש‪ d‬מ ִיא ִיּ‪.‬‬ ‫לבבתיני‪ .‬תצוד]י[ לבי ביפיך כמו ״ונפש יקרה תצוד״ ]משלי ו ‪e.[26‬‬

‫‪15‬‬

‫באחד מעיניך‪ .‬בהבטה אחת שאת מבטת בי באחד מעיניך נתוסף לבי וכחי‪ .‬וכן דרך‬ ‫החושקות שמביטות אל דודם בעין אחד דרך רמיזה וחבה‪ .‬או שמא ״אחד״ אינו מוסב‬ ‫אעיניך אלא פי׳ לבבתיני‪ .‬בהבטה אחד שתביטי בי בעיניך‪.‬‬ ‫או פי׳ באחד מעיניך‪ .‬באחד מענינים טובים שביך שאפי׳ לא היה בך רק ענין אחד הייתי‬ ‫אוהבך‪ .‬כל שכן שיש בך הרבה ענינים טובים‪.‬‬

‫‪ a‬נה״מ‪ :‬ואתי‪ b .‬נה״מ‪ :‬מהררי‪ c .‬נה״מ‪ :‬לבבִתני‪ d .‬היו״ד כתובה מעל המילה‪ e .‬שורה זו כולה‬ ‫כתובה בשולים ואין סימן בטקסט היכן מקומה‪ .‬קבעתי אותה בסוף הפירוש‪ ,‬לפני הדיבור המתחיל‬ ‫הבא‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

183

8) With me from Lebanon, my bride, you will come. From a palanquin made of trees of Lebanon that I built for you, you will come to walk with me on the mountains. Look from the peak of Amana, and Senir and Hermon, and from the dens of lions, which are the mountains, like “and from the mountains of leopards,” where I will let you stand. You will look and observe all around you. Look. Like “I look at him, but not nearby” [Num 24:17]; also “on the way I will look” [Hos 13:7]. 9) You have heartened me, my sister the bride. He said to her, do not think in your heart that we will not be able to go up to the mountains of the lions and the leopards, lest they prey on us; do not be afraid of them, because “you have heartened me,” that is to say, you have given me a brave heart among the warriors, so that for your love I have become strong and a new heart was created in me, for I have the strength to fight with lions and leopards and drive them out of their lairs. This is the way of lovers, who fight battles and win victories for the love of their beloved. ‫לבבתני‬. Acorajas mei.37 ‫לבבתני‬. You will snare my heart with your beauty, as in “she will snare a person of honor” [Prov 6:26].

With one of your eyes. With one look that you look at me with one of your eyes my heart and strength are increased. And this is the way of female lovers, who look at their lovers with one eye allusively and with affection. Or perhaps “one” does not refer to “your eyes” but explains “you have heartened me,” with one look that you look at me with your eyes. Or the meaning of “with one of your eyes” is with one of your good things, for even if you had only one thing, I would love you; all the more so since you have many good things.

37

Old French: You have encouraged me, given me heart (Table of Glosses, no. 20).

‫‪Part II. The Commentary‬‬

‫‪184‬‬

‫או פי׳ באחד ממראיך‪ .‬כמו ״ועינו כעין הבדלח״ ]במדבר יא ‪ .[7‬ואפי׳ כשאין אני רואה רק‬ ‫אחד מענקי צוארך אני מתגבר והולך‪ .‬לפי שכשאני רואה הענק אני זוכר יופי הצואר‪.‬‬

‫‪5‬‬

‫)‪ (10‬מה טובו דודיך‪ a‬מיין‪ .‬דודיך משמחים לבי יותר משתיית יין‪ .‬וכלפי‪ b‬שאמרה לו למעלה‬ ‫״טובו דודיך מיין״ ]א ‪ c[2‬אמר)ה(‪ d‬לה כך‪ .‬וכלפי שאמרה ״לריח שמניך טובים״ ]א ‪ [3‬אמר‬ ‫לה וריח שמניך ערבים עלי מכל בשמים והן שמנים שהיא סכה בהם כמו באסתר שכת׳ בה‬ ‫״ששה חדשים בשמן המור״‪] e‬אסתר ב ‪.[12‬‬

‫)‪ (11‬נופת‪ f‬תטפנה‪ .‬כשאני נושק שפתיך דומה לי כדבש ונופת וחלב נוטפים משפתיך‪.‬‬ ‫או פי׳ תטופנה‪ g‬לשו׳ דבור‪ .‬כמו ״והטף אל הדרום״‪] h‬יחזקאל כא ‪ .[2‬וכן ״והיה מטיף העם‬ ‫הזה״ ]מיכה ב ‪ .[11‬ולכך או׳ דבריך מתוקים וערבים כדבש וחלב‪.‬‬ ‫‪10‬‬

‫וריח שלמתיך כריח לבנון‪ .‬כריח לבונה‪ .‬על דרך ״כריח השדה אשר ברכו ה״ ]בראשית כז‬

‫‪.[27‬‬ ‫)‪ (12‬גן נעול אחותי‪ i‬כלה‪ .‬א׳ הדוד לכלתו‪ .‬יש לי גן שהוא נעול פן ירמסוהו רגלי אדם ובהמה‪.‬‬ ‫על דרך ״ויעזקהו ויסקלהו״ ]ישעיהו ה ‪ .[2‬וכן דרך החושק לעשות לו גן ירק אירביר בל׳‬ ‫לטייל בו‪.‬‬ ‫‪15‬‬

‫גל נעול‪ .‬נעול מוסב אל גן הנזכר למעלה‪ .‬כלו׳ אותו גן הנזכר למעלה שהוא נעול מחומה‬ ‫נשגבה עדיין יש גל נעול הסובב אותו ונועלו ומקיפו‪.‬‬

‫גל‪ .‬כמו ״גלות‪ j‬עליות״ ]יהושע טו ‪ [19‬שהוא תעלה‪k.‬‬

‫‪ c‬נה״מ‪ :‬טובים דדיך‬ ‫‪ b‬כה״י‪ :‬וכל‪ .‬השחזור בעקבות מ׳‪ ,‬לפי ההמשך‪.‬‬ ‫‪ a‬נה״מ‪ :‬טֹבו ד ֹדיך‪.‬‬ ‫‪ g‬נה״מ‪ :‬תטֹפנה‪,‬‬ ‫‪ f‬נה״מ‪ֹ :‬נפת‪.‬‬ ‫מר‪.‬‬ ‫מיין‪ d .‬הה״א הסופית מחוקה בכתב היד‪ e .‬נה״מ‪ :‬ה ֹ‬ ‫כמו לעיל‪ h .‬נה״מ‪ :‬דרום‪ i .‬נה״מ‪ :‬אחֹתי‪ j .‬נה״מ‪ֻ :‬גֹלת‪ k .‬בשולים‪ ,‬לרוחב השורה יש הערה‪ :‬״גל‪.‬‬ ‫שער‪ .‬טרוקו גלי״ ]ברכות כח ע״א[‪ ,‬כלומר‪ :‬נעלו שער‪ .‬הכתיבה דקה מאוד וקשה לקבוע אם כתב‬ ‫היד הוא של הסופר או של יד מאוחרת‪ .‬הפירוש עצמו לקוח מפירוש רש״י שם הוא מובא כפירוש‬ ‫שני‪ ,‬ואפשר שכבר שם הוא משני‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

185

Or it means with one of your appearances, as in “its appearance was like that of bdellium” [Num 11:7]. And even when I see only one of the necklaces of your neck, I get increasingly stronger, since when I see the necklace I remember the beauty of the neck. 10) How much better is your love than wine. Your love gladdens my heart more than the drinking of wine. And with regard to her saying to him above “your love is better than wine” [1:2] he said to her thus. And with regard to her saying “Your anointing oils are fragrant” [1:3], he said to her, the fragrance of your oils is more pleasant to me than any perfume and these are the oils that she anoints herself with, as with Esther, about whom it is written “six months with oil of myrrh” [Esth 2:12]. 11) They drip nectar. When I kiss your lips it seems to me as if honey and nectar and milk are dripping from your lips. Or ‫ תטפנה‬has the connotation of speech as in “preach against the south” [Ezek 21:2], and also “such a one would be the preacher for this people” [Mic 2:11]. Therefore he says, your words are sweet and pleasant like honey and milk. The scent of your garments is like the scent of Lebanon. Like the scent of frankincense. Similar to “like the scent of a field that the Lord has blessed” [Gen 27:27]. 12) A locked garden is my sister the bride. The lover said to his bride, I have a garden that is locked lest the feet of humans and animals trample it. Similar to “He dug it and cleared it of stones” [Isa 5:2]. And this is the way of the lover to make for himself an herb garden, erber in French,38 in which to stroll. ‫גל נעול‬. Locked refers to the garden, which is mentioned above. That is, that same garden mentioned above that is locked by a high wall, still has a locked moat which goes around it and encloses and surrounds it. ‫גל‬. Like ‫[ גלת עליות‬Josh 15:19] which is a canal.39

38 39

Old French: [herb] garden (Table of Glosses, no. 21). See note in the Hebrew text.

‫‪Part II. The Commentary‬‬

‫‪186‬‬

‫מעין חתום‪ .‬בתוך הגן יש מעין חתום שאין מימיה נעכרים ברגלי הבאים לשאוב מהם‪.‬‬ ‫הפך ״משקע המים‪ a‬תשתו ואת הנותרים ברגליכם תרפוסון״‪] b‬יחזקאל לד ‪ .[18‬ואותו מעין‬ ‫משקה עצים שבגן וטוב לטייל בגן זה חושק ודודתו כי מקום צנוע הוא‪.‬‬

‫‪5‬‬

‫)‪ (14–13‬שלחיך‪ .‬הן האילנות הצומחים פאורות‪ c‬וענפים ושרשיו‪ d‬מתפשטים למרחוק כמו‬ ‫״שלוחותיה‪ e‬נטשו עברו ים״ ]ישעיהו טז ‪ .[8‬״ועל יובל ישלח שרשיו״ ]ירמיהו יז ‪.[8‬‬ ‫פרדס‪ .‬כלומ׳ האילנות שבו הם מיני אילנות שבפרדס שהוא גן עדן שיש בו כל מיני אילנות‬ ‫ובשמים‪ ,‬שגדלים בו רמונים וכל שאר פרי מגדים וכפרים ונרדים‪.‬‬

‫ונרד‪ f.‬פ״פ בושם ששמו איספיק‪.‬‬

‫‪10‬‬

‫‪15‬‬

‫כרכום‪ g.‬זעפרן‪ .‬וקנה וקנמון וכל שאר בשמים הכל גדלים וצומחים בגני‪ .‬ולכך קראו פרדס‬ ‫שהוא מעין גן עדן ולא כשאר גנים שאין בשמים צומחין בו‪ .‬ולכך אמ׳ ״שלחיך״‪ .‬כלו׳ כל‬ ‫האילנות שבו נתתי לך לעשות בהם כטוב בעיניך‪.‬‬ ‫)‪ (15‬מעין גנים‪ .‬לאחר שפי׳ מיני האילנו׳ ובשמים חוזר לשטתו‪ h‬ומפרש ענין המעין הנזכר‬ ‫למעלה‪ .‬ואו׳ שאותו מעין שבגן הוא באר מים חיים נובעין תמיד ולא יכזבו מימיו‪ .‬ולפי שיש‬ ‫בגן זה הרבה עניני גנים אילנות ובשמים לכך או׳ ״מעין גנים ונוזלים מן לבנון״‪ .‬מקור נביעתו‬ ‫מתחת לעצי הלבונה הנזכר למעלה ]ג ‪.[9‬‬ ‫)‪ (16‬עורי צפון ובואי תימן‪ .‬נעשה כאילו מבקש לצפון ולתימן שיפיחו וינשבו בעצי הגן‬ ‫ועל ידי הרוח יפלו הבשמים והפירות במעיין ויזלו במים והמים יוליכו הבשמים והפירות‬ ‫למרחוק וידעו העולם מעלת גני שאין כמוהו בעולם‪ .‬וכן בעצי גן עדן הבשמים נופלים בנהר‬

‫‪ b‬נה״מ‪ :‬תרֹפש ֹוּן‪.‬‬ ‫‪ a‬נה״מ‪ :‬ומשקע מים‪.‬‬ ‫ומעיר‪ e .‬נה״מ‪ :‬שֻלחותיה‪ f .‬נה״מ‪ :‬נרד‪.‬‬ ‫הטי״ת כ״נו״‪ .‬אבל הטי״ת ברורה‪.‬‬

‫‪ d‬מ׳ גורס‪ :‬ושרשם‪,‬‬ ‫‪ c‬מ׳‪ :‬מתקן ל״פוארות״ ומעיר‪.‬‬ ‫‪ g‬נה״מ‪ :‬וכרכם‪ h .‬מ׳ קרא‪ :‬לשנותו‪ ,‬כלומר פירש את‬

Song of Songs, Chapter 4 (4:1–5:1)

187

A sealed spring. Inside the garden there is a sealed spring whose water is not polluted by the feet of those who come to draw from it. This is the opposite of: “When you drink of the settled waters, must you foul the rest with your feet?” [Ezek 34:18]. And that spring irrigates the trees of the garden and it is good for a lover and his beloved to stroll in such a garden because it is a secluded place. 13–14) Your branches (‫)שלחיך‬. These are the trees that grow branches and boughs and their roots spread out a great distance, like “their shoots (‫ )שלוחותיה‬once spread abroad and crossed over the sea” [Isa 16:8], “it sends out (‫ )ישלח‬its roots by the stream” [Jer 17:8]. ‫פרדס‬. Namely, the trees in it are the types of trees that are in a ‫פרדס‬, which is

a Garden of Eden, which has in it all types of trees and spices, in which grow pomegranates and all the other choicest fruits and henna and nard. And nard. Parḥon explained: a spice called espic.40 ‫כרכום‬. Saffron. And calamus and cinnamon and all the other spices, all grow and thrive in my garden. For this reason he called it ‫ פרדס‬because it is a kind

of a Garden of Eden and not like other gardens in which spices do not grow. Therefore he said ‫שלחיך‬, that is, all the trees that are in it I gave to you to do with them what you please. 15) A garden fountain. After he listed the types of trees and spices, he returns to his context and explains the matter of the spring mentioned above, and says that that spring in the garden is a well of living waters which are constantly flowing and never dry up. And since there are in this garden many items pertaining to gardens, trees, and spices, therefore he says “a garden fountain and flowing streams from Lebanon.” The source of its flow is from under the trees of frankincense mentioned above [3:9]. 16) Awake, O north, and come, O south. As if he were asking the north and south [winds] to breathe and blow among the trees of the garden and because of the wind the spices and fruits will fall into the spring and will flow in the water and the water will carry the spices and the fruits afar so that people will be aware of the virtue of my garden, that there is nothing like it in the world. Similarly, in the case of the trees of the Garden of Eden, 40

Old French: spike, aspic (Table of Glosses, no. 22); see Parḥon, ‫מחברת‬, 2:43a.

‫‪Part II. The Commentary‬‬

‫‪188‬‬

‫פרת והנהר מוליכם חוץ לגן‪ .‬לפי שרוח צפון נוח ואינו חזק אומ׳ עורי וחזקי‪ ,‬אבל רוח תימן‬ ‫חזק לכן אומ׳ בואי כמנהגך‪ .‬וכת׳ ״האומ]ר[‪ a‬לצפון תני ולתימן אל תכלאי״ ]ישעיהו מג ‪.[6‬‬

‫‪5‬‬

‫יבא דודי לגנו‪ .‬לפי שא׳ לה ״שלחיך״ ולא ״שלחי״ כלו׳ כל האילנות שבו נתתים לך לעשות‬ ‫כטוב בעיניך‪ ,‬לכך השיבה לו ״יבא דודי לגנו״ כי אינני ראויה שיהיה גן כזה שלי אך לך )לך(‪b‬‬ ‫הוא ראוי‪.‬‬ ‫ויאכל פרי מגדיו‪ .‬טרם יפלו כל הפירות והבשמים במים שבו ויוליכום המים חוץ לגן ויאכלום‬ ‫זרים ואתה לא תהנה מהן‪.‬‬

‫)ה ‪ (1‬והוא משיב לה‪ :‬באתי לגני‪ .‬כבר באתי לגני‪.‬‬ ‫ואריתי‪ c‬מורי‪ .‬לקטתי מורי ושאר בשמים שבו‪.‬‬ ‫‪10‬‬

‫יערי‪ .‬חלת‪ d‬הדבש‪ .‬כמו ״יערת‪ e‬הדבש״ ]שמואל א יד ‪.[27‬‬ ‫אכלו רעים ושתו‪ f‬ושכרו דודים‪ .‬כלו׳ אני רוצה שכל אותם שאוהבים עלמות יהנו מהם‪.‬‬ ‫שלפי שאני אוהב וחושק אני אוהב דודים וחושקים‪ .‬שכן מנהג החושקים שאוהבים כל‬ ‫החושק ]ים[ | כמותם ומחלקים להם מה שיש להם‪g.‬‬

‫אמר‪ b .‬אי אפשר לדעת אם החזרה היא שיבוש כתוצאה של דיטוגרפיה‪ ,‬או שהיא מכוונת‪,‬‬ ‫‪ a‬נה״מ‪ֹ :‬‬ ‫שכן ״לך״ הראשון כתובה בסוף השורה והשניה בתחילת השורה הבאה‪ c .‬נה״מ‪ :‬אריתי‪ d .‬השחזור‬ ‫בעקבות מ׳‪ e .‬נה״מ‪ :‬ביערת‪ f .‬נה״מ‪ :‬שתו‪ g .‬בשוליים התחתונים של הדף יש הערה ארוכה‪ ,‬אבל‬ ‫אין סימון למה היא מתחברת בגוף הטקסט‪ .‬לשון ההערה היא‪ :‬״אמרה הכלה‪ .‬יבוא דודי לגנו‪ .‬ולא‬ ‫ירחק ממני ללכת אל הר המור‪ .‬והוא השיב‪ .‬באתי לגני‪ .‬כלו׳ הריני כאילו באתי שם ולא אתרחק ללכת‬ ‫אל הר המור‪ .‬ולכך אמרה לריעותיה‪ .‬ירד דודי לגנו ]ו ‪ [2‬לשון באתי‪ ,‬כלו׳ אל תפחדי שאתרחק ממך‬ ‫כי תהיה ברורה שלא ארחק אך כאלו כבר באתי״‪ .‬לפי עניינה ההערה שייכת לדיבורים המתחילים‬ ‫״יבוא דודי לגנו״ ו״באתי לגני״ ולכן הבאתי אותה כאן‪ .‬כתב היד נראה ככתב ידו של הסופר שהעתיק‬ ‫את כל החיבור ועל כן אפשר להסביר את מקורה של ההערה בשתי דרכים‪ :‬או שהביאור מקורי‬ ‫לפירוש‪ ,‬והסופר השמיט אותו בטעות והשלים אותו בשוליים‪ .‬או שזו תוספת של הסופר‪ .‬לעניין‬ ‫זה מצטרפת גם הערת השוליים הבאה‪ ,‬שמקומה רחוק עוד יותר )ראו להלן(‪ .‬האפשרות השנייה‬ ‫נראית בעיני יותר‪ .‬בשוליים הצדדיים ובמחצית השנייה של הטור‪ ,‬במקום שאינו מתקשר לפסוקים‬ ‫הכתובים שם אלא לפסוק ה ‪ ,1‬יש הערת שוליים נוספת באותה רוח‪ :‬״כשראה הדוד שהיתה כלתו‬ ‫דואגת ומתגעגעת על אשר היה רוצה להתרחק ממנה ללכת אל הרי בתר ונכמרו רחמיו עליה ואמ׳ לה‬ ‫שילך אל גנו שהוא קרוב לה‪.‬״ מ׳ הביא את שתי ההערות יחד בהערת שוליים ולא התייחס למקורן‪.‬‬

‫‪226r‬‬

Song of Songs, Chapter 4 (4:1–5:1)

189

the spices fall into the Euphrates River and the river carries them outside the garden. Because the north wind is pleasant and not strong, he says to it, “Awake and be strong,” but the south wind is strong, therefore he says “come,” as is your habit. And it is written “who says to the north, ‘Give them up,’ and to the south, ‘Do not withhold’” [Isa 43:6]. Let my lover come to his garden. Since he said to her “your branches” and not “my branches,” namely, all the trees in it I have given to you to do with as you please, therefore she replied to him “let my lover come to his garden,” for I do not deserve that a garden like this should be mine, but for you it is suitable. And eat its choicest fruits. Before all the fruits and the spices fall into the water that is in it and the water carry them outside the garden and strangers eat them and you will not enjoy them. 5:1) And he answers her:41 I have come to my garden. I have already come to my garden. I gathered my myrrh. I gathered my myrrh and the other spices that are in it. My honeycomb. A honey cake, like “the honeycomb” [1 Sam 14:27]. Eat, friends, drink and be drunk, lovers. That is to say, I want all those who love maidens to enjoy them. Because I love and desire, I love lovers and desirers. For it is the way of lovers to love all those who love like them and they share with them what they have.42 41 42

The first verse of chapter 5 belongs to the previous Masoretic unit and was treated so by the author and so is included here at the end of chapter 4. On page 225v of the ms there is a note in the lower margin of the page. It is not clear who wrote it and where it should fit in, but this location seems to make the most sense. The note reads: “The bride said: Let my lover come to his garden, Let him not distance himself from me to go to the mountain of myrrh. And he replied: I have come to my garden, it is as if I arrived there and I will not distance myself to go to the mountain of myrrh. Therefore she said to her companions, ‘My lover has gone down to his garden’ [6:2], meaning I came, that is to say, do not fear that I will distance myself from you, you should be certain that I will not go far, but it is as if I have already come.” See the note on the Hebrew text. Another note is found on p. 225v in the left margin, and it reads: “When the lover saw that his bride was worried and full of longing because he wanted to go far away from her to go to the cleft mountains, he was filled with pity for her and he said to her that he would go to his garden which is close to her.” See further the note on the Hebrew text.

‫‪Part II. The Commentary‬‬

‫‪190‬‬

‫)‪ (12‬שטת א״ע‪ .‬הדוד המשיל דודתו לגן נעול מעין חתום שהיא בתולה ולא הוערה מקורה‬ ‫אך חתום הוא‪ .‬הפך ״מעין נרפס מקור‪ a‬משחת״ ]משלי כה ‪.[26‬‬

‫)‪ (14–13‬שלחיך‪ .‬לפי שהמשיל]ה[ לגן א׳ שלחיך פרדס רמונים‪ .‬גוף הכלה קורא שלחיך‪.‬‬ ‫‪5‬‬

‫מנים עם שאר מגדים וריחך טוב כריח‬ ‫כלו׳ את האילן שאני קורא גן ופרדס ואת מתוקה כר ֹ‬ ‫ראשי בשמים‪ .‬וכן למעלה קורא אותה שושנה וחבצלת‪ .‬והיא קוראה אותו צרור המור‬ ‫ואשכל הכפר‪.‬‬ ‫)‪ (15‬מעין גנים‪ .‬לפי שקרא)ה(‪ b‬אותה מעין חתום אמ׳ שמעין זה שבגן הוא באר מים חיים‬ ‫שמאריך חיים לשותה מהן על דרך עץ הדעת ועץ החיים‪ .‬שנותן דעת וחיים למי שאוכלו‪.‬‬

‫‪10‬‬

‫)‪ (16‬עורי צפון ובואי תימן‪ .‬כששמעה הכלה שדודה המשילה לגן ולאילן ולבשמים שצומחין‬ ‫בגן אמרה אני מפייסת לצפון ולתימן שיפיחו גני‪ .‬גופי‪ .‬יפיחו גופי‪ .‬שהאילן והגן הוא גוף‬ ‫הכלה‪ .‬שכך קראה דודה‪ .‬גן נעול‪.‬‬ ‫יבא דודי לגנו‪ .‬עוד אומרת יבא דודי לגן שלו‪ .‬לא לגן זה הנזכר שהוא גוף הכלה רק לגן שלו‬ ‫ויאכל פרי מגדיו וישמח עם חבריו‪ .‬ובהתנועע רוח הצפון והתפיח גני ויזלו בשמיו אז יבא‬ ‫דודי אלי‪.‬‬

‫‪15‬‬

‫)ה ‪ (1‬והוא משיב‪ .‬באתי לגני‪ .‬וכן היא אומרת‪ .‬״ירד דודי‪ c‬לגנו״ ]ו ‪.[2‬‬ ‫אריתי‪ .‬שתיתי‪ .‬כי אני שבע כל טוב‪ .‬אך אין לי חפץ רק בחשקך‪ .‬והדוד כאשר שתה והניח‬ ‫מחבריו לגנו פירש מקום והניחם שם‪.‬‬

‫‪ a‬נה״מ‪ :‬נרפש ֹ ומקור‪ b .‬ההשמטה לפי העניין‪ c .‬נה״מ‪ :‬״דודי ירד״‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

191

12) The method of Ibn Ezra: The lover compared his beloved to a locked garden and a sealed fountain, in that she is a virgin and her source has not been exposed, but is sealed. The opposite of “a muddied spring or a polluted fountain” [Prov 25:26]. 13–14) ‫שלחיך‬. Since he compared her to a garden, he said your branches are an orchard of pomegranates. He calls the body of the bride ‫שלחיך‬, that is to say, you are the tree that I call garden and orchard, and you are sweet like pomegranates with other choice fruits and your scent is good like the scent of choice spices. Similarly, above, he calls her rose and lily [2:1–2], and she calls him “a bag of myrrh” and “a cluster of henna” [1:13–14]. 15) A garden fountain. Since he called her a sealed fountain he said that this spring in the garden is a well of living water, which prolongs the life of the one who drinks from it, like the tree of knowledge and the tree of life which give knowledge and life to the one who eats from them. 16) Awake, O north and come, O south. When the bride heard that her lover compared her to a garden and to a tree and to spices that grow in the garden, she said, I am persuading the north and south winds to blow upon my garden, my body. Let them blow on my body, for the tree and the garden are the body of the bride; for that is what her lover called her, a locked garden. Let my lover come to his garden. She also says, let my lover come to the garden, which is his, not to the garden that was mentioned, which is the body of the bride, but to his garden and let him eat its choice fruits and rejoice with his friends. And when the north wind moves and blows in my garden and its spices flow, then let my lover come to me. 5:1) And he replies, I have come to my garden, and likewise she says, “My lover has gone down to his garden” [6:2]. ‫אריתי‬. I drank. For I am sated with all things good, but I desire nothing but your love. And the lover, after he drank and let some of his friends into his garden, set aside a place and left them there.

‫‪Part II. The Commentary‬‬

‫‪192‬‬

‫)‪ (13‬שלחיך‪ .‬פי׳ פ׳ כשאת פשוטה מבגדיך וערומה‪ .‬שאת כפרדס מלא רמנים ומגדים לענין‬ ‫דדים ושררך‪ a‬וקמטים של צואר ושל צדדים של אשה‪ .‬וכן שלחי]ך[ ״שלוחה אלי״ ]יחזקאל‬ ‫ב ‪ [9‬פי׳ פשוטה מבית יד שלה‪ .‬תרגו׳ ופשט ]ויקרא ו ‪ [4‬וישלח‪.‬‬

‫‪ a‬כה״י‪ :‬ושורך‪ .‬שחזרתי על פי ז ‪) 3‬שררך אגן הסהר(‪ .‬מ׳ שחזר‪ :‬ושורר‪.‬‬

Song of Songs, Chapter 4 (4:1–5:1)

193

13) ‫שלחיך‬. Parḥon explained: When you are stripped of your clothes and naked, you are like an orchard full of pomegranates and choice fruits;43 this refers to the breasts and the navel and the folds of the neck and the sides of a woman. Similarly, ‫שלחיך‬, “stretched out (‫ )שלוחה‬to me” [Ezek 2:9], which means stripped from her sleeve.44 The targum of ‫[ ופשט‬Lev 6:4] is ‫( וישלח‬he stripped off).

43 44

Parḥon, ‫מחברת‬, 2:69d. Parḥon, ‫מחברת‬, 2:69d.

‫פרק ה‬

‫‪5‬‬

‫)‪ (2‬אני ישנה‪ .‬מוסב אל האמור למעלה ״עד שיפוח היום אלך לי כו׳״ ]ד ‪ .[6‬והוא שדלה‬ ‫בדברים ואמר לה שלא היה נפרד ממנה בשביל מום שמצא בה רק לא הוליכה עמו בשביל‬ ‫הצנה‪ .‬וכשיפוח היום יחזור‪ a‬אליה ויוליכנה בגנו הנעול‪ .‬ועתה שראתה הסתו ]עבר[‪ b‬ולא‬ ‫שב דודה אליה היתה מתגעגעת עליו ועתה היא מספרת שכשהיתה ישנה על מטתה בלילה‬ ‫היה לבה ער כמו נים ולא נים‪ .‬דורויאילא‪ c‬בל׳‪ .‬לפי שלבה על דודה מתי יבא לביתו‪ .‬והנה‬ ‫קול דודי דופק‪ ,‬כלומ׳ דודי היה דופק על הדלת וגם היה משמיע קולו ואו׳ ״פתחי לי יונתי‬ ‫תמתי״ כאיש בהול ולהוט ליכנס שדופק באגרופו על הדלת וגם קורא פתחו לי‪.‬‬

‫דופק‪ .‬כמו ״מתדפקים על הדלת״ ]שופטים יט ‪ [22‬דפילגש בגבעה‪.‬‬

‫‪10‬‬

‫פ״א‪ .‬אני ישנה ולבי ער‪ .‬לבי הוא דודי שהוא לבי ונפשי‪ .‬מרוב אהבתו אותי הולך בלילות‬ ‫כבימים כמו שאו׳ ״שראשי נמלא טל קווצותי רסיסי לילה״‪.‬‬

‫‪15‬‬

‫)‪ (3‬פשטתי את כתנתי איככה אלבשנה‪ .‬מתוך שהיתה ישנה לא היתה יודעת בברור שזה‬ ‫דודה הדופק‪) .‬שאילו(‪ d‬לכך נתרשלה לקום ערומה ויחפה‪ e‬וללכת אל הפתח לראות מי הוא‬ ‫הדופק‪ .‬שאילו היתה יודעת בברור שדודה הוא לא היתה מתרשלת מלצאת אליו ערומה‬ ‫ויחפה כמו שעשתה לבסוף ולפיכך היה לה טורח ללבוש כתנתה ולטנף רגליה‪ .‬ולפיכך‬ ‫הקדימה לומ׳ אני ישנה להודיע לנו שאונס השינה גרמה לה שלא הכירתו‪.‬‬ ‫)‪5–4‬א( דודי שלח ידו מן החור‪ f.‬כשראיתי ששלח ידו מן החור להקיצני משנתי אז הבנתי‬ ‫והכרתי בודאי שדודי הוא‪ .‬ששום אדם לא היה יודע לעשות כן רק דודי שהיה נהוג לעשות‬

‫‪ a‬כה״י‪ :‬יחזיר‪ .‬גם מ׳ שחזר כך‪ b .‬התוספת על פי העניין‪ c .‬מ׳ שחזר‪ :‬דורמאילא‪ ,‬כלומר הניח שה‪-‬‬ ‫ו״ו‪ +‬יו״ד משקף מ״ם‪ d .‬המילה מיותרת‪ .‬נראה שהסופר דילג בקפיצת עין אל המשפט הבא ואחר‬ ‫כך חזר בו ולא מחק את המילה המיותרת‪ e .‬מעל המילה ״ויחפה״ יש סימן המפנה להערת שוליים‪,‬‬ ‫הממשיכה את הטקסט וכוללת תשע עשרה מילים שנשמטו בגלל הומויוטלווטון )ערומה ויחפה …‪.‬‬ ‫חר‪.‬‬ ‫ערומה ויחפה‪ (.‬הכנסתי את ההערה לגוף הטקסט‪ f .‬נה״מ‪ :‬ה ֹ‬

Song of Songs, Chapter 5 2) I am asleep. This refers to what was said above, “Until the day breathes, I will go, etc.” [4:6]. And he coaxed her with words and told her that he did not leave her because of a blemish that he found in her; rather he did not bring her with him because of the cold. And when the day breathes he will return to her and take her to his locked garden. And now that she has seen that the winter has passed and her lover has not returned to her, she was longing for him. And now she recounts that when she was sleeping on her bed at night, her heart was awake, as if sleeping but not sleeping, dorveille in French,45 because her heart went out to her lover, when would he come to his home. And lo, “a voice, my lover is knocking,” that is to say, my lover was knocking on the door and was raising his voice, saying, “Open to me, my dove, my perfect one,” as a man in a hurry, eager to enter, knocking with his fist on the door and also calling out, “open to me.” Knocking. Like “knocking at the door” [Judg 19:22] of the concubine of Gibeah. Another interpretation: I am asleep but my heart is awake. My heart is my lover, who is my heart and soul. Out of his great love for me, he walks in the night as in the day, as he says, “for my head is wet with dew, my locks with the drops of the night.” 3) I have put off my garment; how can I put it on again? Since she was sleeping she did not know for certain that it was her lover who was knocking. Therefore she was reluctant to rise naked and barefoot and go to the door to see who was knocking. For if she had known for sure that it was her lover she would not have been reluctant to go out to him, naked and barefoot, as she did in the end. Therefore it was a burden for her to put on her garment and soil her feet. Therefore she first said, “I am asleep” to tell us that the force of sleep caused her not to recognize him. 4–5a) My lover extended his hand through the hole. When I saw that he extended his hand through the hole to waken me from my sleep, then I understood and recognized for certain that it was my lover. For no other man would have known to do this except for my lover, who was accustomed to do

45

Old French: dozing, half asleep (Table of Glosses, no. 23).

‫‪Part II. The Commentary‬‬

‫‪196‬‬

‫כן‪ .‬אז המו מעי לו מרוב אהבתי אותו ונתחרטתי שנתרשלתי לפתוח לו‪ .‬ומיד קמתי ממטתי‬ ‫ולא לבשתי כתנתי רק רדיד כמו שמוכיח למטה שהיתה לבושה רדיד‪.‬‬

‫)‪5‬ב( וידי נטפו מור עובר‪ a.‬מן הסיכה שסכתי בלכתי במשכבי‪.‬‬ ‫עובר‪ .‬שריחו עובר ונודף למרחוק‪.‬‬ ‫‪5‬‬

‫או פי׳ עובר כמו ״עובר‪ b‬לסחר״ ]בראשית כג ‪.[16‬‬ ‫)‪ (6‬פתחתי אני לדודי‪ .‬מיד שידעתי והבנתי בברור שדודי הוא פתחתי לו‪.‬‬ ‫ודודי חמק עבר‪ .‬נחבא ונסתר ממני‪ .‬כמו ״עד מתי תתחמקין״ ]ירמיהו לא ‪ .[22‬וכן ״חמוקי‬ ‫ירכיך״ ]ז ‪.[2‬‬

‫‪10‬‬

‫נפשי יצאה בדברו‪ .‬כשהכרתי קולו ודבורו יצאה נפשי ורוחי ולא נותרה בי נשמה‪ .‬כמו‬ ‫״ונפש‪ c‬מי יצאה ממך״ ]איוב כו ‪ ,[4‬והוא כפל לשון על ״מעי המו עלי״‪] d‬פס׳ ‪.[4‬‬ ‫או פי׳ ונפשי יצאה בדברו‪ .‬אני בנפשי יצאתי לפתוח לו‪ .‬לא שלחתי אחת מאמהותי לפתוח‬ ‫לו אך אני בעצמי יצאתי כי הייתי להוטה ומהומה אליו‪.‬‬ ‫בקשתיו ולא מצאתיו‪ e.‬וחשבתי בלבי לפי שהיה לילה וחשכה לא מצאתיו‪ .‬ולכך קראתיו‬ ‫בקול רם וישמע קולי ועל כל זאת לא ענני‪.‬‬

‫‪15‬‬

‫)‪ (7‬מצאוני השומרים‪ .‬לפי ששמעו שהייתי קוראה וצועקת בלילה מצאוני והכוני ופצעוני‬ ‫שחשבוני משוגעת הצועקת בלילה‪ .‬שאין דרך אשה חכמה לעשות כך‪ .‬ועל כל זאת הלכתי‬ ‫עד החומות כי הייתי רוצה לבקשו חוץ לעיר‪ .‬ונשאו שומרי החומות את רדידי מעלי‪.‬‬

‫‪ a‬הדיבור המתחיל בנוי משני חלקי צלעות בנה״מ‪ ,‬שהוא כך‪ :‬וידי נטפו מור ואצבעותי מור עובר‪.‬‬ ‫‪ b‬נה״מ‪ :‬עֹבר‪ c .‬נה״מ‪ :‬ונשמת‪ d .‬נה״מ‪ :‬עליו‪ e .‬נה״מ‪ :‬בקשתיהו ולא מצאתיהו‪.‬‬

Song of Songs, Chapter 5

197

this. Then my bowels murmured for him out of my great love for him and I regretted that I was reluctant to open for him. I immediately arose from my bed and did not put on my robe, only a wrap, as it is proven below that she was wearing a wrap [v. 7]. 5b) My hands dripped flowing myrrh. From the anointing that I did when I went to bed. ‫עובר‬. Whose odor goes out and wafts afar.

Or the meaning of ‫ עובר‬is like ‫סחר‬ ֹ ‫“ עובר ל‬current among the merchants” [Gen 23:16]. 6) I opened for my lover. As soon as I knew and understood clearly that it was my lover, I opened for him. ‫ודודי חמק עבר‬. He hid and was concealed from me, as in “how long will you hide yourself?” [Jer 31:22] and “the hidden parts of your hips” [2:7].

My soul failed me when he spoke. When I recognized his voice and his speech my soul and spirit left me and no breath remained inside me, as in “whose breath issued from you” [Job 26:4], and this is a parallel expression to “my bowels murmured for him” [v. 4]. Or, the meaning of ‫ נפשׁי יצאה בדברו‬is: I myself went to open for him. I did not send one of my maidservants to open for him, but I myself went because I was eager and excited for him. I sought him, but did not find him. And I thought in my heart that I did not find him because it was nighttime and dark. Therefore I called him in a loud voice so that he would hear my voice, but still, he did not answer me. 7) The guards found me. Because they heard that I was calling out and shouting at night they found me and they beat me and wounded me, since they thought that I was a crazy woman shouting in the night. For it was not the way of a wise woman to act like this. Nevertheless, I went all the way to the walls, because I wanted to look for him outside the city. And the guards of the walls took away my wrap from me.

‫‪Part II. The Commentary‬‬

‫‪198‬‬

‫‪5‬‬

‫רדידי הוא מלבוש דק דק כעין טלית של פשתן ובאותו רדיד נתעטפה בו כשקמה ממטתה‬ ‫לפתוח לדודה‪ .‬שמתוך מהירותה אליו לא לבשה כתנתה אך נתעטפה באותו רדיד‬ ‫שמצאתו נכון ומזומן‪ .‬כדרך איש שקם ממטתו לפתוח הדלת שמתעטף בטלית ויוצא‪.‬‬ ‫ובישעיה ״הסדינים‪ a‬והצניפות והרדידים״ ]ישעיהו ג ‪ .[23‬ומכיון שמונהו עם סדין וצניף‬ ‫שהן מפשתן אף הוא מפשתן‪.‬‬

‫‪10‬‬

‫)‪ (8‬השבעתי אתכם בנות ירושלם‪ .‬למחרתו כשבאת אל ריעותיה השביעה אותן כך ולפי‬ ‫שפעמים אחרים השביען ״אם תעירו אם תעוררו וגו׳״ ]ג ‪ [3‬לכן אמרה להן עתה אין שבועה‬ ‫זו מענין שבועות אחרות שהשבעתי אתכן‪ .‬אך אני משבעת אתכן אם תמצאו דודי תדעו‬ ‫מה תגידו לו שחולת אהבה אני‪ .‬שבשביל אהבתו נפצעתי והוכתי‪ .‬שהכוני ופצעוני שומרי‬ ‫החומות כשהלכתי לבקשו ויודעת אני שיקח נקמה מהם‪.‬‬

‫‪15‬‬

‫)‪ (9‬וריעותיה בנות ירושלם משיבות‪ .‬מה דודך מדוד‪ .‬מה תועלת ומעלה יש בדודך יותר‬ ‫מבשאר דודים שאת מוכה ופצועה בשביל אהבתו‪ .‬ואין אנו רואות שאר עלמות מוכות‪b‬‬ ‫בשביל דודם כמותך‪ .‬ואם תאמרי לפי שאת יראה פן יגרשך ולכך את מחנפת אותו לסבול‬ ‫יסורים ופצעים בעבורו כדי שתשאי חן בעיניו הלא את היפה בנשים ולא יניחך‪ .‬ואם יגרשך‬ ‫תוכלי למצוא אוהב אחר מכל אשר תבחרי‪ .‬ומה דודך מדוד שככה השבעתנו‪ .‬שנגיד לו‬ ‫שאת מוכה וחולה בעבורו שינקום אותך‪ .‬מה גדולתו וחוזקו יותר משאר דודים שיוכל‬ ‫לנקמך מן המכים אותך‪.‬‬ ‫השבעתנו‪ .‬לשו׳ זכר‪ ,‬וכן כת׳ ״ותעשי הרעות ותוכל״ ]ירמיהו ג ‪ .[5‬וכן מצינו פסוק׳‬ ‫שתחלתם לשו׳ זכר וסופם לשו׳ נקבה‪ .‬״ואחבשה לי החמור וארכב עליה״ ]שמואל ב יט‬

‫‪ a‬נה״מ‪ :‬והסדינים‪ b .‬בקטע זה‪ ,‬ולאורך ‪ 15‬שורות מכאן ואילך יש בכתב היד תפר אלכסוני‪ .‬הכתיבה‬ ‫אינה יציבה ולפעמים יש דילוג על קטעי קלף‪ .‬מתיוס הוסיף במקום זה בסוף השורה את המילה‬ ‫״ופצועות״ אך לא נראה שיש מקום עבורה‪.‬‬

Song of Songs, Chapter 5

199

My wrap. This is a very fine garment like a linen shawl; it is the wrap that she wrapped herself with when she got up from her bed to open for her lover, since in her haste to reach him she did not put on her robe, but wrapped herself in that wrap which she found ready at hand, in the manner of a man who rises from his bed to open the door and wraps himself in a shawl and goes out. And in Isaiah, “the linen garments, the turbans, and the shawls” [Isa 3:23]. And since he lists it with garments and turbans which are made of linen, it also is of linen. 8) I adjure you, O daughters of Jerusalem. The next day, when she came to her friends, she made them swear in this way, and since on other occasions she adjured them “do not waken or arouse, etc.” [3:5] therefore she said to them now this oath is not like the other oaths I made you take. But I adjure you that if you find my lover that you should know what to say to him, that I am lovesick; that because of my love for him I was beaten and wounded; that the guards at the walls beat me and wounded me when I went to search for him; and I know he will take revenge on them. 9) And her friends, the daughters of Jerusalem, answer: How is your lover different from any other lover? What benefit and virtue does your lover have over other lovers, that you are beaten and wounded for the sake of his love. And we do not see other maidens beaten for the sake of their lover as you are. And if you say that you are afraid lest he reject you and therefore you are ingratiating yourself to him by suffering torments and wounds for his sake so that you might find favor in his eyes, are you not the most beautiful of women, and he will not forsake you. And if he should reject you, you will be able to find another lover of your choice. And “How is your lover different from any other lover, that you thus adjure us?” That we should say to him that you are beaten and sick for his sake so that he will take revenge for you. How are his greatness and strength greater than those of other lovers, which would enable him to take revenge on those that beat you? ‫השבעתנו‬. This is in the masculine, and similarly it is written, “but you have

done [fem.]46 evil things and you succeeded” [masc.]; [Jer 3:5]. And similarly we find verses that begin in the masculine and end in the feminine. “I will saddle a donkey [masc.] for me, so that I may ride on it [fem.]” [2 Sam 19:27]; 46

Since the masculine and feminine differences cannot be expressed in the translation, we added masc. and fem. in brackets after each word to help illustrate the exegete’s point.

‫‪Part II. The Commentary‬‬

‫‪200‬‬

‫‪ .[27‬״אתה ה׳‪ a‬דברת אל המקום הזה להכריתו לבלתי היות בו יושב למאדם ועד בהמה כי‬ ‫שוממות‪ b‬עולם תהיה״ ]ירמיהו נא ‪ .[62‬״אם חבל תחבל שלמ]ת[ רע]ך[ עד בא השמש‬ ‫תשיבנו לו״ ]שמות כב ‪ .[25‬״והנה יד שלוחה אלי והנה בו מגלת ספר״ ]יחזקאל ב ‪.[9‬‬

‫‪5‬‬

‫)‪ (10‬והיא משיבה להם על ראשון ראשון‪ .‬דודי צח ואדום‪ .‬ואין כיופיו בכל העולם ולכן אני‬ ‫אוהבו‪.‬‬

‫צח‪ .‬לבן‪ .‬שנ׳ ״צחו מחלב״ ]איכה ד ‪.[7‬‬ ‫אדום‪ .‬״עז‪ c‬פניו ישנא״ ]קהלת ח ‪ [1‬ויופי גדול הוא‪.‬‬ ‫ועל אשר שאלו לה במה כחו יותר משאר דודים היא משיבה | דגול מרבבה‪ .‬רבבה דגלים‬ ‫נמשכים אחריו כלו׳ יש לו רבבה פרשים בסיעתו ומוליכם בכל מקום שירצה‪.‬‬ ‫‪10‬‬

‫‪15‬‬

‫ע״א‪ .‬דגול מרבבה‪ .‬דגלו נכר בתוך רבבה דגלים‪ .‬וזה דרך הפרש טוב ומעולה שדגלו וכלי‬ ‫זינו נכרים בין דגלי חבריהם על ידי ציורן‪ .‬וכשהוא בין אסיפת פרשים במלחמה כלם יראים‬ ‫ממנו‪ .‬וכשרואים דגלו נודע שהוא ביניהם‪.‬‬ ‫)‪ (11‬ראשו כתם פז‪ .‬כל ]זה[‪ d‬מדברי הכלה‪ .‬שמא תאמרו הרי נמצאו פרשים הרבה טובים‬ ‫יפים ודגולים מרבבה לכך אומרת בראשו כתם פז שהוא מעוטר בעטרה של זהב ומלך הוא‪.‬‬ ‫ושמא תאמרו הוא מלך זקן ואיננו בעל כח וגבור‪ .‬או שמא ימות היום או למחר ואין נאה‬ ‫לעלמה לאהוב איש זקן‪ .‬לכך אומרת ״קווצותיו תלתלים שחורות כעורב״‪ e‬וסימן הוא שהוא‬ ‫נער וילד‪ .‬כמו ״הילדות והשחרות הבל״ ]קהלת יא ‪ .[10‬וגם הוא נוי גדול לאיש ששערו‬ ‫שחור ולחיו לבן‪.‬‬

‫‪ a‬נה״מ בהיפוך הסדר‪ :‬״ה׳ אתה״‪ b .‬נה״מ‪ִ :‬שממות‪ c .‬נה״מ‪ :‬ועֹז‪ d .‬ההשלמה בעקבות מ׳‪ e .‬נה״מ‪:‬‬ ‫חרות‪.‬‬ ‫ְקוּצותיו … ש ֹ‬

‫‪226v‬‬

Song of Songs, Chapter 5

201

“you, Lord, threatened to destroy this place [masc.] so that neither human beings nor animals shall live in it, and it [fem.] shall be desolate forever” [Jer 51:62]; “If you take your neighbor’s cloak [fem.] in pawn, you shall restore it [masc.] before the sun goes down” [Exod 22:25]; “I looked, and a hand [fem.] was stretched out to me, and a written scroll was in it [masc.]” [Ezek 2:9]. 10) And she answers their questions in sequence. My beloved is all radiant and ruddy. And his beauty is unmatched in the entire world and therefore I love him. ‫צח‬. White as it is said, “whiter than milk” [Lam 4:9].

Ruddy. “The hardness of one’s countenance is changed” [Eccl. 8:1] and this is a thing of great beauty. Since they asked her in what is his strength more than other lovers, she answers: ‫דגול מרבבה‬. Ten thousand banners follow after him, that is, he has ten thousand knights in his party and he leads them wherever he desires. Another matter. ‫דגול מרבבה‬. His banner is recognized among ten thousand banners. And this is the way of the good and superior knight that his banner and armor are distinguished from the banners of his fellows by their drawings. And when he is among a group of knights in battle everyone is afraid of him. And when they see his banner it is known that he is among them. 11) His head is the finest gold. All this is from the words of the bride. Lest you might say that there are many knights who are better and more handsome and more distinguished than ten thousand, therefore she says, on his head is the finest gold, that he is crowned with a gold crown and he is a king. And lest you say that he is an old king and is not mighty and valiant, or that he might die today or tomorrow and it is not proper for a maiden to love an old man, therefore she says: “his locks are wavy, black as a raven,” and this is a sign that he is a young man or a youth, as in “youth and black hair are fleeting” [Eccl 11:10]. Also it is a thing of great beauty for a man to have black hair and white cheeks.

‫‪202‬‬

‫‪Part II. The Commentary‬‬

‫פ״א‪ .‬ראשו כתם פז‪ .‬שער ראשו מבהיק ככתם פז‪ .‬הוא קבוצת ועשת זהב שאוצרים המלכים‬ ‫באוצרותם‪ .‬כמו ״ישנה‪ a‬הכת]ם[ הטוב״ ]איכה ד ‪ ,[1‬וכן ״ולכתם אמרתי מבטחי״ ]איוב לא‬

‫‪.[24‬‬ ‫תלתלים‪ .‬תלוים‪ .‬פינדלוייש‪.‬‬ ‫‪5‬‬

‫ופ״פ כתם פז‪ .‬אבן טובה כמו ״כתם‪ b‬אופיר״ ]איוב כח ‪.[16‬‬ ‫תלתלים‪ .‬שער הרבה רצוף דלה על גבי חברתה‪ .‬ורבות׳ דרשו תלי תלים‪c.‬‬ ‫וא״ע אמ׳ ראשו עגול ככתם פז‪.‬‬

‫‪10‬‬

‫)‪ (12‬עיניו כיונים על אפיקי מים‪ .‬יונים המצויין על אפיקי מים עיניהן צלולין‪ .‬וירש בל׳‪ .‬לפי‬ ‫שתולדתם מן המים לכן דימה עיני דודה להם‪ .‬והוא השחור שבעין והוא נוי גדול‪ .‬והלובן‬ ‫שסביב לשחור לבן מאד ודומה כמו שנרחץ בחלב ונתלבן‪.‬‬ ‫יושבות‪ d‬על מלאת‪ .‬אינן מֻשקעין במצח יותר מדי ולא בולטין יותר מדי אלא מצומצמין‬ ‫וישבין בתוך גומא שלהן בצמצום וממלאים גומא שלהם כמו שממלאין גומא של טבעת‬ ‫זהב באבן יקרה שמושיבין בה‪ .‬שנ׳ ״אבני מלואים״‪] e‬שמות כה ‪.[7‬‬

‫‪15‬‬

‫)‪ (13‬לחיו כערו]גת[ הבשם מגדלות מרקחים‪ .‬הערוגה שזורעים בה הבשמים שמגדלים‬ ‫אותם לעשות מרקחים‪ .‬ליטואיירא‪ .‬הרבה מדקדקים לעשותה מרובעת וזורעים תוכה‬ ‫זרעוני בשמים בכונה ובצמצום שלא יצא אחד מהן חוץ מריבוע הערוגה‪ .‬כך שער זקנו‬ ‫של לחייו מכוונין בצמצום בלחייו מכאן ומכאן ואין הזקן מתפשט בצד אחת יותר מבצד‬ ‫אחרת‪.‬‬

‫‪ a‬נה״מ‪ :‬יש ֶנא‪.‬‬ ‫מֻלאים‪.‬‬

‫‪ b‬נה״מ ‪ :‬בכתם‪.‬‬

‫‪ c‬שהש״ר פרשה ה פסקה ז‪.‬‬

‫‪ d‬נה״מ‪ :‬י ֹשבות‪.‬‬

‫‪ e‬נה״מ‪ :‬ואבני‬

Song of Songs, Chapter 5

203

Another interpretation. His head is the finest gold. The hair of his head glistens like the finest gold. ‫ כתם‬is a bar of gold that kings store in their treasuries. Like “how the pure gold is changed” [Lam 4:1] and similarly, “or called fine gold (‫ )כתם‬my confidence” [Job 31:24]. ‫תלתלים‬. Suspended. Pendelois47

And Parḥon explained ‫כתם פז‬. A precious stone like “the ‫ כתם‬of Ophir” [Job 28:16].48 Locks. A lot of hair layered plait upon plait. And our sages explained, “piles upon piles.”49 And Ibn Ezra said, his head is round like the finest gold. 12) His eyes are like doves by watercourses. Doves that are found by watercourses have clear eyes, vers in French,50 because they were born from the water; therefore she compared the eyes of her lover to them. And this is the black part of the eye and it is a thing of great beauty. And the white part that surrounds the black is very white, and it is as if it had been bathed in milk and turned white. Fitly set. They are not sunk into the forehead too much and do not protrude too much, but are precisely fitted and sit exactly in their sockets and they fill their sockets the way that the mounting of a gold ring is filled with the precious stone that is set into it, as it is said “and gems to be set” [Exod 25:7]. 13) His cheeks are like a bed of spices, yielding fragrance. The bed in which one sows spices which are grown to make ointments. Letuaire.51 Many take care to make it square and sow in it spice seeds with intention and precision so that not one of them extends outside the square of the bed. Thus are the beard hairs of his cheeks precisely ordered on his cheeks on both sides and the beard does not spread on one side more than on the other.

47 48 49 50 51

Old French: suspended, hanging (Table of Glosses, no. 24). Parḥon, ‫ מחברת‬2:31d. Song of Songs Rabbah 5.7. Old French: clear, bright, sparkling (Table of Glosses, no. 6). Old French: electuary (medicinal syrup) (Table of Glosses, no. 25).

‫‪204‬‬

‫‪Part II. The Commentary‬‬

‫ע״א‪ .‬כערוגת הבשם‪ .‬שמכבשין אותה תמיד שלא יצמחו בה זרעים אחרים‪ .‬כך לחייו בלא‬ ‫שומא ומום‪.‬‬

‫או פי׳ לחיו נודפים ריח טוב כריח ערוגת הבשם‪ .‬כמו ״וריח אפך כתפוחים״ ]ז ‪.[9‬‬ ‫שפתותיו שושנים‪ .‬אדומות כשושנים‪ .‬ובענין זה קילס אותה ״כחוט השני שפתותיך״‪] a‬ד‬ ‫‪5‬‬

‫‪.[3‬‬ ‫נוטפות מור עובר‪ b.‬צנורות הנתזות מבין שפתיו נוד]פ[ות‪ c‬כשמן המר עובר‪ ,‬שריחו נודף‬ ‫למרחוק‪ .‬או פי׳ כמו ״עבר לסוחר״‪] d‬בראשית כג ‪ [16‬שעובר בכל מקום לסחורה ולא נמצא‬ ‫טוב ממנו‪.‬‬

‫‪10‬‬

‫)‪ (14‬ידיו גלילי זהב‪ .‬אצבעות ידיו עגולים וחלקים כמו אותן גלילים של זהב הן טבעות של‬ ‫זהב שמדקדק הצורף לעשות עגול וגלול‪ .‬לפי שרוצה למלאות גומא שלהן בתרשיש שהיא‬ ‫אבן יקרה‪ .‬שנ׳ ״תרשיש שהם״ ]שמות לט ‪.[13‬‬ ‫ויש מפר׳ ״ממולאים בתרשיש״ הן הצפורנים הלבנים כתרשיש וממלאים חקרי האצבעות‬ ‫ועומדין בהן כמלואת אבן בטבעת‪.‬‬

‫מעיו עשת שן‪ .‬לבן וחלק כלוח של פיל שהוא לבן‪.‬‬ ‫‪15‬‬

‫מעולפת‪ e‬ספירים‪ .‬הבטן דומה כאילו היה מעוטף בספירים שהן לבנים שנ׳ ״ותחת רגליו‬ ‫כמעשה לבנת הספיר״ ]שמות כד ‪.[10‬‬

‫וי״מ מעולפת ספירים‪ .‬הוא שער בית הערוה והוא נוי לגבר‪.‬‬ ‫והנכון‪ .‬מעולפת ספי]רים[ מוסב אל עשת שן‪ .‬פי׳ עשת שן לבנה וטובה שמתוך חשיבותה‬ ‫קובעין בה ספירים ואבנים טובות‪.‬‬

‫תתיך‪ b .‬נה״מ‪ֹ :‬נטפות … עֹבר‪.‬‬ ‫‪ a‬נה״מ‪ :‬שפ ֹ‬ ‫סחר‪ e .‬נה״מ‪ :‬מֻﬠלפת‪.‬‬ ‫ל ֹ‬

‫‪ c‬ההשלמה לפי ההקשר‪ .‬מ׳ שחזר‪ :‬שוות‪.‬‬

‫‪ d‬נה״מ‪:‬‬

Song of Songs, Chapter 5

205

Another matter. Like a bed of spices. That is pressed constantly so that other seeds will not grow in it. Thus are his cheeks without pimple and blemish. Or, it means that his cheeks emit a pleasant fragrance like the fragrance of a bed of spices, as in “the scent of your breath like apples” [7:9] His lips are roses. Red like roses. And in this manner he praised her, “Your lips are like a crimson thread” [4:3]. Dripping liquid myrrh. Channels which spray from his lips emit a fragrance like that of oil of flowing myrrh whose fragrance wafts afar. Or its meaning is like that of “passing among the merchants” [Gen 23:16], that passes in every place as merchandise and there is none better than it. 14) His hands are rods of gold. The fingers of his hands are round and smooth like those cylinders of gold, which are rings of gold, which the goldsmith is careful to make rounded and cylindrical because he wants to fill their mountings with ‫תרשיש‬, which is a precious stone, as it is said “‫”תרשיש שהם‬ [Exod 39:13]. And some explain set with ‫תרשיש‬, [these] are the fingernails, which are white like ‫ תרשיש‬and fill the depressions of the fingers and they sit in them like a stone setting in a ring. His belly a tablet of ivory. White and smooth like a tablet of elephant,52 which is white. Adorned with sapphires. The belly is as if wrapped in sapphires, which are white, as it is said, “under his feet there was something made out of white sapphire” [Exod 24:10]. Some explain Adorned with sapphires. The pubic hair, which is a thing of beauty for a man. And the correct [explanation] is that Adorned with sapphires refers to “tablet of ivory.” It means a white and valuable tablet of ivory which because of its worthiness is set with sapphires and precious stones.

52

I.e., ivory.

‫‪Part II. The Commentary‬‬

‫‪206‬‬

‫עשת‪ .‬פ״פ‪ .‬מגוהץ כשן‪ .‬וכן ״שמנו עשתו״ ]ירמיהו ה ‪ .[28‬נגהצו פניהם‪ .‬וכן ״עשות ברזל״‪a‬‬ ‫]יחז׳ כז ‪.[19‬‬ ‫)‪ (15‬שוקיו עמודי שש‪ .‬חלקים וחזקים כשש‪ .‬ומשחימ]ו[ת‪ b‬קצת כשש מחמת שיש בהם‬ ‫קצת שער‪ .‬ושבח הוא לאיש שיש שער בשוקיו‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫מיוסדים על אדני פז‪ .‬הם הרגלים שהשוקים נסמכים עליהם כעמודים על האדנים‪ .‬ודימה‬ ‫הרגלים לאדני פז לפי שכל מיני מתכות שבעולם נפחתים ונוקבים בהיותם תחת קרקע‬ ‫זולתי זהב‪ .‬כך רגליו לא יפחתו לעולם מרוב הילוך‪ .‬וזה על דרך ״פרסות סוסיו כצר נחשבו״‬ ‫]ישעיהו ה ‪.[28‬‬ ‫והנכון‪ .‬מיוסדים על אדני פז‪ .‬מיוסדים מוסב אעמודי שש‪ .‬פי׳ שש טוב ויקר שמתוך‬ ‫חשיבותו עושים ממנו עמודים ומן פז עושים יסוד‪.‬‬

‫מראהו כלבנון‪ .‬גבוה כעץ הלבנון‪.‬‬ ‫בחור כארזים‪ .‬כמו שעץ הלבנון נבחר וטוב משאר ארזים כך הוא נבחר וטוב משאר אנשים‬ ‫וגבוה‪ ,‬על דרך ״אשר כגבה ארזים גבהו״ ]עמוס ב ‪.[9‬‬

‫)‪ (16‬חכו ממתקים‪ .‬דבריו מתוקים וערבים וכן קילס אותה ״נפת תטפנה״ ]ד ‪.[11‬‬ ‫‪15‬‬

‫וכלו מחמדים‪ .‬לאחר שקילסה אותו בפרט‪ c‬חוזרת ומקלסת אותו בכלל‪ .‬ואומרת שכולו‬ ‫חמוד מראשו ועד רגליו‪.‬‬ ‫זה דודי וזה רעי‪ .‬אלו הם מעלותיו ולכן אני מתאוה אליו יותר משאר אנשים‪ .‬וכך השיבה‬ ‫לבנות ירושלם ששאלו לה מה דודך מדוד‪.‬‬

‫‪ a‬נה״מ‪ :‬ברזל עשות‪ b .‬ההשלמה מסברה‪ c .‬המילה נראית מתוקנת בכתב היד‪ .‬כלומר‪ ,‬תחילה כתב‬ ‫הסופר ״בכללו״ ואחר כך תיקן ככל האפשר ל״בפרט״‪.‬‬

Song of Songs, Chapter 5

207

‫עשת‬. Parḥon explains: pressed like ivory.53 Similarly “they have grown fat and sleek” [Jer 5:28], their faces were pressed; similarly “polished iron” [Ezek 27:19].

15) His legs are marble columns. Smooth and strong like marble. And they are slightly brownish like marble because they have some hair. It is praiseworthy for a man to have hair on his shins. Set upon bases of gold. These are the feet that the shins rest on like pillars on their bases. And he compared the feet to golden bases because all kinds of metals of the world become debased and pierced when they are under the ground except for gold. Similarly his feet will never wear out from too much walking. This is similar to “their horses’ hoofs are like flint” [Isa 5:28]. The correct [interpretation]: Set upon bases of gold. Set refers to marble pillars. It means a good and precious marble which because of its worthiness is used to make pillars and the gold is used to make the foundation. His appearance is like Lebanon. Tall as the tree of Lebanon. Choice as the cedars. Just as the tree of Lebanon is choice and better than the other cedars so is he choice and better than other men and he is tall, similar to “whose height was like the height of cedars” [Amos 2:9]. 16) His palate is sweets. His words are sweet and pleasant and so he praised her “your lips drip honey” [4:11]. And he is altogether desirable. After she praised him in detail, she praises him again in general terms and says, that he is altogether desirable, from head to toe. This is my lover and this is my friend. These are his virtues, and therefore I desire him more than other men. This is how she answered the daughters of Jerusalem who asked her “How is your lover different from any other lover?” [5:9].

53

Parḥon, ‫מחברת‬, 2:51d.

‫פרק ו‬

‫)‪ (1‬אנה הלך דודך‪ .‬לאחר ששמעו ריעותיה מעלותיו אמרו לה ״אנה הלך דודך ונבקשהו‪a‬‬ ‫עמך״‪ .‬כי ראוי הוא לבקשו ואנחנו מתאוות לראותכם יחד מאחר שהוא יפה באנשים וגם‬ ‫את יפה בנשים וזיווג יפה הוא‪.‬‬

‫‪5‬‬

‫)‪ (2‬והיא משיבה להם‪ .‬דודי ירד לגנו‪ .‬כי כשאמ׳ לי שילך אל הר המר בקשתי ממנו שלא‬ ‫ירחק ממני כל כך אך ילך לגנו שהוא קרוב אלי ואמרתי לו ״יבא דודי לגנו״ ]ד ‪ [16‬והוא‬ ‫אמר לי ״באתי לגני״‪] b‬ה ‪ [1‬ולא אתרחק ממך‪ .‬ולכך יודעת אני שירד לגנו‪.‬‬ ‫לרעות בגנים‪ .‬לחבר רעיו עמו שם‪ .‬כמו שאמ׳ למעל׳ שהיה מוליך רעיו שם בגנו‪ .‬שנ׳ ״אכלו‬ ‫רעים שתו ושכרו דודים״ ]ה ‪.[1‬‬

‫לרעות‪ .‬לשו׳ ריעות כמו ״ותרועת מלך בו״ ]במדבר כג ‪.[21‬‬ ‫‪10‬‬

‫‪15‬‬

‫)‪ (3‬אני לדודי‪ .‬כך משיבה לריעותיה שאמרו לה נבקשנו עמך והיא אומרת דעו שאינו נמצא‬ ‫רק לי‪ .‬כי הוא שלי ואיננו חפץ להגלות לשום בריה רק לי‪ .‬וכן אינני חפצה שיבקשהו שום‬ ‫אשה רק אני לבדי‪.‬‬ ‫)‪ (4‬יפה את רעיתי‪ .‬לאחר ששב דודה ושמע אשר הוכתה ונפצעה בשבילו נכמרו רחמיו‬ ‫עליה והתחיל לנחמה ולדבר על לבה ולומר אל תחשובי בלבך ששכחתיך מיום שנפרדתי‬ ‫ממך כי איככה אוכל לשכוח אשה יפה כמותך‪ .‬ומענין שקילסה אותו תחלה בפרט ושוב‬ ‫בכלל קילס אותה בכלל ובפרט‪.‬‬ ‫כתרצה‪ .‬עיר שהיתה מטרפולין של מלכים שנ׳ ״מלך תרצה אחד״ ]יהושע יב ‪ [24‬ובמלכים‬ ‫כת׳ ״מלך בעשא בתרצה״‪] c‬מלכים א טו ‪ .[33‬ומאחר שהיתה מטרפולין של מלכי׳ מסתמא‬ ‫עיר יפה היתה‪.‬‬

‫‪ a‬נה״מ‪ :‬ונבקשנו‪ b .‬בכה״י‪ :‬לגנו‪ ,‬וברור שזו טעות‪.‬‬ ‫אחיה על כל ישראל בתרצה‪.‬‬

‫‪ c‬המובאה מקוצרת‪ .‬בנה״מ‪ :‬מלך בעשא בן‬

Song of Songs, Chapter 6 1) Where has your lover gone? After her friends heard his virtues, they said to her: “Where has your lover gone that we may seek him with you?” For he is worth seeking and we are eager to see you together because he is the most handsome of men and you are the most beautiful of women and it is a beautiful match. 2) She replies to them: My beloved has gone down to his garden. For when he told me he would go to the myrrh mountain, I asked him not to go so far away from me, but that he go to his garden which is near me and I said to him “Let my lover come to his garden” [4:16], and he said to me “I have come into my garden” [5:1] and I will not distance myself from you. Therefore I know that he went down to his garden. ‫לרעות בגנים‬. To join his friends there, as he said above that he is bringing his

friends there to his garden, as it is said, “Eat, friends, drink and be drunk, lovers” [5:1]. ‫לרעות‬. This has the connotation of friendship, as in “the friendship of the king is in him.” [Num 23:21].

I am my lover’s. Thus she replies to her friends who said to her “that we may seek him with you” and she says: know that he is only available to me, for he is mine and does not wish to be revealed to any creature except to me. Furthermore I do not wish for any woman to seek him, only I alone. 4) You are beautiful, my love. After her lover returned and heard that she had been beaten and wounded on his account, his mercies were stirred for her and he began to comfort her and to speak to her tenderly, saying, do not think that I have forgotten you from the day that I departed from you, for how could I forget such a beautiful woman as you. And just as she praised him first in detail, then in general terms, he praised her in general and in detail. Like Tirzah. A city that was a metropolis of kings, as it is said “the king of Tirzah, one” [Josh 12:24] and in Kings it is written “Baasha became king in Tirzah” [1Kgs 15:33]. And since it was a royal metropolis, it stands to reason that it was a beautiful city.

‫‪Part II. The Commentary‬‬

‫‪210‬‬

‫נאוה כירושלם‪ .‬שאמור עליה ״כלילת יופי‪ a‬משוש לכל העמים״‪] b‬איכה ב ‪.[15‬‬ ‫נאוה‪ .‬אווננט‪ .‬ולפי שיש אשה יפה‪ c‬ואיננה נושאת חן‪ .‬אווננט‪ .‬ויש אשה נושאת חן ואיננה‬ ‫יפה לכך אמ׳ שהיא יפה )ונושאת(‪ d‬ונושאת חן בעיני כל ר ֹאיה‪.‬‬

‫‪5‬‬

‫איומה‪ e‬כנדגלות‪ .‬אימתה מוטלת על הבריות‪ .‬שלא תאמר מאחר שהיא יפה כל כך‬ ‫ידי הכל ממשמשות בה‪ .‬לכן אמ׳ שאימתה מוטלת על הבריות ונפחדים לגעת בה כמו‬ ‫שיראים להושיט יד בעיירות שחיילותיה מקיפין אותה ודגליהם בידיהם‪ .‬ולפי שאמרה‬ ‫״דגול מרבבה״ ]ה ‪ [10‬אמ׳ הוא איומה כנדגלות‪.‬‬

‫איומה‪ f.‬לשו׳ ״איום‪ g‬ונורא״ ]חבקוק א ‪.[7‬‬ ‫)‪ (5‬הסבי עיניך‪ .‬הטי עיניך מנגדי ואל תסתכלי בי‪.‬‬ ‫‪10‬‬

‫שהן הרהיבוני‪ h.‬פי׳ בראותי שאת מסתכלת בי לבי משתחץ‪ i‬ומתגייס עלי לפי שזכיתי‬ ‫לעפרה יפה כמותך‪.‬‬

‫הרהיבוני‪ j.‬עושין אותי רהב‪ְ .‬א ֵי ְנאוֹ ְר ֵגיֵלינט ֵמיאי‪.‬‬

‫‪15‬‬

‫ופ״פ‪ :‬הרהיבוני‪ .‬משלו בי ושלטו עלי‪ .‬וכן ״ירהבו הנער בזקן״ ]ישעיהו ג ‪ [5‬פי׳ ישלטו‪ .‬וכן‬ ‫״המחצבת רהב״ ]ישעיהו נא ‪ [9‬פרעה השליט‪ .‬וכן ״תרהיבני‪ k‬בנפשי עז״ ]תהלים קלח ‪.[3‬‬ ‫וכן ״ורהב רעך״‪] l‬משלי ו ‪ [3‬השליטהו עליך‪.‬‬

‫‪ c‬מעל מילה זו יש סימן קטן המפנה להשלמה שבשולים‪.‬‬ ‫‪ b‬נה״מ‪ :‬לכל הארץ‪.‬‬ ‫‪ a‬נה״מ‪ :‬י ֹפי‪.‬‬ ‫לשון ההערה בשולים היא‪ :‬״ואיננה נושאת חן‪ .‬אווננט‪ .‬ויש אשה נושאת חן ואיננה יפה‪ .‬לכך אמר‬ ‫שהיא יפה״‪ .‬המשפט שהושלם בשולים נשמט בגלל הומויוטלווטון )יפה … יפה( והכנסתי אותו לגוף‬ ‫‪ d‬כאן מסתיימת הערת השולים והמילה ״ונושאת״ מסומנת‬ ‫הטקסט‪ .‬ראו גם בהערה הבאה‪.‬‬ ‫בנקודות מעליה‪ .‬כלומר‪ ,‬היא משמשת כנקודת חיבור לאחר ההשלמה ויש להשמיטה‪ e .‬נה״מ‪:‬‬ ‫א ֻימה‪ f .‬נה״מ‪ :‬א ֻימה‪ g .‬נה״מ‪ :‬אי ֹם‪ h .‬נה״מ‪ :‬שהם הרהיֻבני‪ i .‬מ׳ קרא‪ :‬מסתמא‪ j .‬נה״מ‪:‬‬ ‫הרהיֻבני‪ k .‬נה״מ‪ :‬תרהבני‪ l .‬נה״מ‪ :‬רעיך‪.‬‬

‫‪227r‬‬

Song of Songs, Chapter 6

211

Comely as Jerusalem. About which it is said “the perfection of beauty, the joy of all the peoples” [Lam 2:15]. Comely. Avenant.54 And because there may be a woman who is beautiful but does not find favor, avenant, and there may be a woman who finds favor but is not beautiful, therefore he said she is beautiful and finds favor in the eyes of all who see her. Fearsome as an army with banners. She instills fear in people. Lest you might say that because she is so beautiful everyone has his hands on her, therefore he said that she instills fear in people and they are afraid to touch her as they are afraid to stretch out a hand in the towns which are surrounded by its armies with their banners in their hands. And since she said “his banner is recognized among ten thousand” [5:10] he said “fearsome as an army with banners.” Fearsome. As in “fearsome and dreadful they are” [Hab 1:7]. 5) Turn away your eyes from me. Direct your eyes away from me and do not look at me. For they make me arrogant. This means, when I see that you are looking at me, my heart becomes proud and arrogant, because I won such a beautiful fawn as you. ‫הרהיבוני‬. They make me proud. Enorgueillent mei.55

Parḥon explained: ‫הרהיבוני‬. They ruled over me and dominated me.56 Similarly, “The young shall bully the old” [Isa 3:5], which means dominate. Similarly “that cut Rahab in pieces” [Isa 51:9], the ruler Pharaoh. Similarly, “you made me bold with strength in my soul” [Ps 138:3]. Also ‫[ ורהב רעיך‬Prov 6:3], let him dominate you.

54 55 56

Old French: pleasing, fine, beautiful; cf. at 1:4 above (Table of Glosses, no. 2). Old French: they make me proud (Table of Glosses, no. 26). Parḥon, ‫מחברת‬, 2:62d.

‫‪Part II. The Commentary‬‬

‫‪212‬‬

‫)‪ (6‬כעדר הרחלים‪ .‬פי׳ למעלה‪ .‬מה שכת׳ ״שערך‪ a‬כעדר הקצובות״ ]ד ‪ [2‬פירושו עדר‬ ‫הרחלים הקצובות כמו שאו׳ כאן‪.‬‬

‫)‪ (7‬רקתך‪ .‬קצות המצח מכאן ומכאן‪.‬‬ ‫מבעד לצמתך‪ .‬שלובן רקתך מבהיק מבעד לצעיף שמעוטפת ממנה‪ .‬פרמי טא ליאורא‪.‬‬ ‫‪5‬‬

‫)‪ (9–8‬ששים המה מלכות‪ .‬ומכל מלכות שיש לי ומכל פלגשין ומכל עלמות שיש לי אינני‬ ‫אוהב רק אותך בלבד‪ .‬וזהו שאו׳ ״אחת היא יונתי״‪ .‬כמו שהיונה חביבה על בן זוגה ואיננו‬ ‫מבקש אחרת עמה כך את חביבה עלי מכל הנשים‪ .‬ולא כמו אחשורוש שכת׳ בו ״ויאהב‪b‬‬ ‫אסתר מכל הנשי]ם[״ ]אסתר ב ‪ [17‬ואעפ״כ שאר נשים בערב באות ובבקר שבות אך את‬ ‫אחת לי‪.‬‬

‫‪10‬‬

‫אחת היא לאמה‪ .‬שלא תאמר יש לה אחות אחרת שיפה כמוה שילדה אמה‪ .‬לכך אומ׳‬ ‫שמכל הבנות שילדה אמה אין יפה כמוה‪.‬‬ ‫ברה היא ליולדתה‪ .‬שלא תאמר שמא בבנות משפחתה יש אשה יפה כמותה‪ .‬לכך או׳‬ ‫ברה ליולדתה‪ .‬שבכל נשי משפחתה שיש בהם נשים יפות הרבה אין בהן ברה וצחה ונקייה‬ ‫כמוה‪.‬‬

‫‪15‬‬

‫ראוה בנות ויאשרוה‪ .‬בנות הן העלמות הנזכרו׳ למעלה‪ .‬אומרות אשרייך שזכית ליופי גדול‬ ‫כזה‪.‬‬ ‫מלכות ופילגשים ויהללוה‪ .‬הן המלכות והפילגשים הנזכרות למעלה‪ .‬אף הן עצמן לא היו‬ ‫מתקנאות בה אך היו מודות שהיא יפה מכלנה ויהללוה אל המלך ואומרות לו שהדין עמו‬ ‫שאוהב אותה יותר מכלנה‪ .‬כמו ״ויהללו אותה‪ c‬אל פרעה״ ]בראשית יב ‪.[15‬‬

‫אתה‪.‬‬ ‫‪ a‬נה״מ‪ :‬שניך; אין ספק שזה שיבוש‪ b .‬נה״מ‪ + :‬המלך את‪ c .‬נה״מ‪ֹ :‬‬

Song of Songs, Chapter 6

213

6) Like a flock of ewes. Its explanation is above. What is written above, “your hair57 is like a flock of ‫[ ”קצובות‬4:2], means the flock of ewes that are uniform, as it says here. 7) Your temple. The edges of the forehead on either side. Behind your veil. The whiteness of your temples glistens through the veil that wraps it around. Parmi ta liure.58 8–9) There are sixty queens. And of all the queens I have and all the concubines and all the maidens that I have, I love only you. And this is why he says “my dove is the only one.” Just as the dove is loved by her mate and he does not seek another in addition to her, so are you more loved by me than all the women, not like Ahasuerus about whom it is written “he loved Esther more than all the women” [Esth 2:17], and still the other women come in the evening and return in the morning; but you are unique to me. The only one of her mother. So that you should not say that she has another sister born to her mother as beautiful as she. Therefore he says that of all the girls that her mother gave birth to, there is none as beautiful as she. Pure to her that bore her. So that you should not say that perhaps among the women of her family there is a woman as beautiful as she. Therefore he says, “Pure to her that bore her,” that among all the women of her family among whom there are many beautiful women there is none that is pure, white, and clean like her. Maidens see and acclaim her. ‫ בנות‬are the maidens mentioned above. They say, you are fortunate to have been favored with such great beauty. Queens and concubines, and praise her. These are the queens and the concubines mentioned above. Even they themselves were not jealous of her but admitted that she is the most beautiful of them all and they praised her to the king and said to him that he is justified to love her more than all the others. This is similar to “they praised her to Pharaoh” [Gen 12:15].

57 58

ms has ‫שערך‬, your hair. It should be teeth. Old French: through your hairnet (Table of Glosses, no. 11).

‫‪Part II. The Commentary‬‬

‫‪214‬‬

‫ויאשרוה‪ ,‬ויהללוה‪ .‬לשון זכר הוא‪ .‬היה לו לומר ותאשרוה ותהללוה ולמעלה פי׳ הרבה‬ ‫מקראות שמדברות לשו׳ זכר על הנקבה‪ .‬וכת׳ בשמואל ״וכן יעשה שנה בשנה מדי עלותה‪a‬‬ ‫בבית ה׳״ ]שמואל א א ‪.[7‬‬

‫‪5‬‬

‫)‪ (10‬מי זאת הנשקפה כמו שחר‪ .‬כך אומרות המלכות והעלמות‪ .‬העולם מצפים וחומדים‬ ‫לראות יופיה שמתגבר תמיד והולך כמו שמצפים וחומדים אור הבקר שאורו הולך ומתגבר‬ ‫תמיד‪ .‬וזה על דרך ״מש ֹמרים לבקר שומרים‪ b‬לבקר״ ]תהלים קל ‪.[6‬‬ ‫ע״א‪ .‬מי זאת הנשקפה כמו שחר‪ .‬דרך אנשים ונשים כשקמים בשחר ממטתם פניהם‬ ‫מכסיפי׳ קצת מפני השינה ואינם יפים ואדומים כמו שהם בחצות היום שאכלו ושתו והטיבו‬ ‫לבבם‪ .‬אבל זאת‪ ,‬אפי׳ כששוקפים אותה ומביטים בה ]בשחר[‪ c‬כמו השחר עלה היא‪.‬‬

‫‪10‬‬

‫‪15‬‬

‫יפה כלבנה כשהיא מלאה והיא ברה כחמה כשהיא בכחה ובברירותה בתקופת תמוז‪.‬‬ ‫העולם אומ׳ ״בשחר בודקין נשים יפות״‪.‬‬ ‫)‪ (11‬אל גנת אגוז ירדתי‪ .‬עתה מספרת אל דודה מה אירע לה כשהלכה לבקשו ואומרת‬ ‫לו שירדה אל גנת אגוז שהיה ירק שלה גזוזה‪ .‬שכן מנהג העולם שקוצרים וגוזזים העשב‬ ‫והשחת כדי שיחזור וישגא מאוד‪ .‬וכן כת׳ ״אחר גזי המלך״ ]עמוס ז ‪ .[1‬וכן ״ירד כמטר על‬ ‫גז״ ]תהלים עב ‪.[6‬‬

‫לראות באבי הנחלים‪ d.‬לחלוחית הנחל‪.‬‬ ‫ע״א‪ .‬אבי הנחל הן פירות שבגן שנושרין בתוך המעין כמו שאמור למעלה ״יזלו בשמיו״ ]ד‬ ‫‪ [16‬והמים מוליכן‪.‬‬

‫‪ a‬נה״מ‪ :‬עֹלתה‪ b .‬נה״מ‪ :‬ש ֹמרים‪ c .‬התוספת מסברה‪ d .‬נה״מ‪ :‬הנחל‪ ,‬וכך מ׳‪.‬‬

Song of Songs, Chapter 6

215

Acclaim her, praise her. These verbs are in the masculine; he should have said ‫ ותהללוה‬,‫ותאשרוה‬. Above I explained many verses that use masculine gender for females.59 In Samuel it is written, “And as he did so year by year, when she went up to the house of the Lord” [1Sam 1:7]. 10) Who is she that looks forth like the dawn? This is what the queens and the maidens say. People are eagerly waiting to see her beauty which is constantly increasing, just as they eagerly await the morning light which steadily and constantly increases. This is similar to “more than they who watch for the morning, more than they who watch for the morning” [Ps 130:6]. Another matter. Who is she that looks forth like the dawn? It is the way of men and women that when they get up in the morning from their beds their faces are slightly pale from sleep and they are not beautiful and ruddy as they are at mid-day after they have eaten and drunk and satisfied themselves. But this one, even when one looks and gazes at her at dawn, she is like the rising dawn. Fair as the moon when it is full, and it is “clear as the sun” when it is at its strongest and clearest in the period of Tammuz. People say “at dawn one examines beautiful women.” 11) I went down to the mown garden (‫)גנת אגוז‬. Now she tells her lover what happened to her when she went looking for him, and she tells him that she went down to the mown garden, whose greenery was mowed down. For this is the custom of the world to reap and mow down the grass and the hay in order for it to flourish greatly again. Similarly, it is written “after the king’s mowings” [Amos 7:1]. Similarly, “May he come down like rain upon the mown grass” [Ps 72:6]. To look at the blossoms of the valley. The wetness of the valley. Another matter. ‫אבי הנחל‬. These are the fruits in the garden which fall into the spring, as it is said above, “Let its spices flow” [4:16], and the water carries them.

59

See 4:5.

‫‪Part II. The Commentary‬‬

‫‪216‬‬

‫לראות הפרחה הגפן שבגן והרמונים שבו‪ .‬שנ׳ ״פרדס רמונים״ ]ד ‪ .[13‬והייתי סבורה למצוא‬ ‫אותך שם לפי שמנהגך ללכת ולטייל שם וגם אתה אמרת לי כשנפרדת ממני שתלך שם‪.‬‬ ‫שנ׳ ״גן נעול״ ]ד ‪ [12‬וכת׳ ״באתי לגני״ ]ה ‪ .[1‬ולכך הלכתי שם לראות הפרחה הגפן‪ ,‬שאילו‬ ‫כן אז הייתי מוצאך שם בברור‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫)‪ (12‬לא ידעתי נפשי שמתני‪ .‬כשלא מצאתיך שם לא ידעתי אנה אמצאך ואנה אבקשך‪.‬‬ ‫אך ״נפשי שמתני״‪ .‬נפשי ורצוני השיאני לצאת אל מרכבות עמי נדיב‪ ,‬הן מרכבות המלך‬ ‫ועמו וחיילותיו שהולכים בנדבתם וברצונם עם המלך ללחום מלחמותיו‪ .‬כמו ״עמך נדבות‪a‬‬ ‫ביום חילך״ ]תהלים קי ‪ .[3‬שפירו׳ עמך מתנדבים ברצונם ובלא הכרחה וְכִפ ַייה‪ b‬ללכת עמך‬ ‫ביום שתצטרך לאסוף חילך כשתלך למלחמה‪.‬‬ ‫שמתני‪ .‬לשו׳ הסתה‪ .‬כמו ״על פי אבשלום היתה שומה״ ]שמואל ב יג ‪ [32‬פי׳ הסתה‪.‬‬ ‫עמי נדיב‪ .‬יו״ד יתירה‪ .‬כמו ״גנובתי‪ c‬יום״ ]בראשית לא ‪.[39‬‬ ‫ע״א‪ .‬לא ידעתי נפשי שמתני‪ .‬מאחר שלא מצאתיך שם אתה דודי שאתה נפשי ולבי אתה‬ ‫גרמת לי שהייתי שוממה‪ .‬דוממת ושוממת‪ ,‬כמו ״ואשתומם על המראה״ ]דניאל ח ‪,[27‬‬ ‫״ואשב‪ d‬שבעת ימים משמים״ ]יחזקאל ג ‪.[15‬‬

‫‪ a‬נה״מ‪ :‬נדבֹת‪ b .‬נראה שהסופר עצמו תיקן את המילה הזאת‪ .‬תחילה כתב ״הכפירה״ ואחר כך‬ ‫העביר קו על הרי״ש וניקד‪ ,‬וסימן פתח תחת היו״ד‪ c .‬נה״מ‪ :‬ג ֻנבתי‪ d .‬נה״מ‪ + :‬שם‪.‬‬

Song of Songs, Chapter 6

217

To see whether the vines had budded in the garden, and the pomegranates in it, as it is said, “an orchard of pomegranates” [4:13]. And I had figured to find you there because it is your custom to go and stroll there. And you also told me when you departed from me that you would go there, as it is said “a garden locked” [4:12] and it is written “I have come into my garden” [5:1]. Therefore I went there to see whether the vines had budded, for if they had, I would have certainly found you there. 12) Before I was aware, my soul set me. When I did not find you there I did not know where I would find you or where I would look for you. But my soul set me, my soul and my desire enticed me to go out to the chariots of ‫עמי־נדיב‬, these are the king’s chariots and his people and armies that go voluntarily and willingly with the king to fight his wars. Like “Your people come forward willingly on your day of battle” [Ps 110:3], which means your people volunteer willingly without compulsion or coercion to go with you on the day that you will have to gather your army when you go out to battle. ‫שמתני‬. It has the connotation of incitement, as in ‫כי על פי אבשלום היתה שומה‬ (2Sam 13:32), which means incitement. ‫עמי־נדיב‬. An extra yod, as in ‫[ גנובתי יום‬Gen 31:39].

Another matter. Before I was aware, my soul set me. Since I did not find you there, you my lover, who are my soul and my heart, you caused me to be dismayed, dumbfounded and dismayed, as in “But I was dismayed by the vision” [Dan 8:27] and “I sat there among them, dismayed, for seven days” [Ezek 3:15].

‫פרק ז‬

‫)‪ (1‬שובי שובי הֻשלמית‪ a.‬כשהייתי הולכת לבקשך היו הבחורים אומרים לי את השולמית‬ ‫אהובת שלומה שקראוה על שם דודה‪.‬‬

‫‪5‬‬

‫או פי׳ השולמי]ת[‪ .‬שלימה מכל מום‪ .‬שובי אלינו ונחזה יפיך‪ .‬ואני השיבותים‪ .‬מה תחזו‬ ‫בשולמית יותר מבנשים אחרות שמחוללות במחנים‪ .‬הריני כאחת מהן‪ .‬ולפי שרוצה‬ ‫לדחותם השיבה כך‪ .‬ענין דיחוי‪ .‬מצינו בפילגש בגבעה שבנות ישר׳ מחול]ל[ות ברגלים‪.‬‬ ‫וא״ע מפ׳‪ .‬הם אמרו לי שובי שובי ונראה אותך פעם אחרת‪ ,‬והיא משיבה להם מה תחזו בי‬ ‫ותצעקו אחרי ושמתם אותי כמחולת מחנים ההולכת וסובבת תמיד‪.‬‬

‫)‪ (2‬והם משיבים‪ .‬מה יפו פעמיך‪ .‬ועל ידי פסיעותיך אנו מבינים שבת נדיב את‪.‬‬

‫‪10‬‬

‫חמוקי ירכיך כמו חלאים‪ .‬מחבואי ירכיך שזה מן השוקים עד הבטן‪ .‬שהוא מקום הנסתר‬ ‫ונחבא‪ .‬כמו ״חמק עבר״ ]ה ‪ ,[6‬וכן ״עד מתי תתחמקין״ ]ירמיהו לא ‪ [22‬שפירו׳ עד מתי‬ ‫תסתתרי ותתחבאי‪.‬‬

‫כמו חלאים‪ .‬תכשיטים‪ .‬לשו׳ ״נזמה וחליתה״ ]הושע ב ‪.[15‬‬

‫‪15‬‬

‫ופ״פ חמוקי ירכ׳‪ .‬עגול ירכיך וסובב שלהן‪ .‬וכן ״עד מתי תתחמקין״ ]ירמיהו לא ‪ [22‬פי׳ עד‬ ‫מתי תסבבי אנה ואנה בעיר לבקש לך מנאפים כמו זונה‪ .‬וזהו שאו׳ ״נקבה תסובב גבר״‬ ‫]ירמיהו לא ‪ .[22‬ובישע׳ כת׳ ״קחי כנור סבי עיר זונה נשכחה״ ]ישעיהו כג ‪ .[16‬ולפירו׳ זה‬ ‫נפ׳ חלאים הוא תכשיט עגול מאד‪.‬‬

‫‪ a‬נה״מ‪ :‬השולמית‪.‬‬

Song of Songs, Chapter 7 1) Turn, turn, O Shulammite. When I went to search for you, the youths said to me, You are the Shulammite, the beloved of Solomon, for they called her after her lover. Or, the meaning of Shulammite is perfect, without blemish. Turn to us so that we may see your beauty. And I replied to them, What do you see in the Shulammite more than in other women who dance in the two camps?60 I am just like one of them. She replied thus because she wanted to reject them. This is a matter of rejection. We find in the incident of the concubine of Gibeah that the Israelite women dance at the pilgrimage festivals.61 Ibn Ezra explains: they say, turn, turn, so that we can see you again, and she replies to them, what do you see in me and why do you shout after me and you turn me into a ‫ מחניים‬dancer who keeps going around? 2) They reply: How beautiful are your feet. By your steps we know that you are a daughter of nobles. Your rounded thighs are like jewels. The concealed parts of your thighs, from the shins to the belly, which is a concealed and hidden place, like “he had hidden himself (‫ )חמק‬and was gone” [5:6], and likewise ‫[ עד מתי תתחמקין‬Jer 31:22] which means, how long will you conceal yourself and be hidden? Like jewels. Jewelry, as in “her ring and jewelry” [Hos 2:15]. And Parḥon explained ‫חמוקי ירכיך‬, the rounds of your thighs and what is around them.62 Similarly, “how long will you go about?” [Jer 31:22], which means how long will you wander from place to place in the city like a harlot to find for yourself fornicators. This is what he says, “a woman courts a man” [ibid.]. And in Isaiah it is written, “Take a harp, go about the city, you forgotten harlot” [Isa 23:16]. According to this interpretation we can explain “jewels” as a very round piece of jewelry.

60 61 62

The meaning of ‫ מחניים‬is not certain. See Judg 21:21, 23. Parḥon, ‫מחברת‬, 2:21d.

‫‪Part II. The Commentary‬‬

‫‪220‬‬

‫מעשה ידי אמן‪ .‬שעשאו אומן בקי‪.‬‬ ‫)‪ (3‬שררך אגן הסהר‪ .‬טיבורך לבן ומאיר כמו הלבנה המאירה כשהיא במלואה ועגולה כאגן‬ ‫הוא כלי של זהב או נחשת ממורט‪ .‬ולפי שהלבנה כשהיא מלאה עגולה ודומה לגבו של אגן‬ ‫לפיכך א׳ אגן הסהר‪.‬‬ ‫‪5‬‬

‫אל יחסר המזג‪ .‬שלא תאמ׳ מאחר שמדמה השורר ללבנה ולגבו של אגן כיעור הוא זה‪.‬‬ ‫שאם כן השורר בולט לחוץ כמו שהלבנה בולטת וכמו גבו של אגן שבולט והוא ניוול גדול‬ ‫כשהטבור בולט שנ׳ ״לא כרת שרך״ ]יחזקאל טז ‪ .[4‬לכן א׳ ״אל יחסר המזג״‪ ,‬כלומר מקום‬ ‫הטבור שקוע ומקבל מזג של יין והוא יופי טבור חלול ושקוע‪ .‬ולפי שיש בני אדם שטבורם |‬ ‫שקועים וחלולים ואעפ״כ כשהן כפופים‪ a‬טבורם בולט לפיכך א׳ אל יחסר המזג‪.‬‬

‫‪10‬‬

‫בטנך ערמת חטין‪ b.‬א״ע פי׳ עבה מלמטה קצת ונוי הוא לאשה‪.‬‬ ‫פ״א‪ .‬כשם שמגרגיר אחת של חטה יוצא שבולת מלאה חטין כך יצאו מבטנך בנים הרבה‪.‬‬ ‫סוגה בשושנים‪ .‬כלו׳ בנים יפים מאד כשושנים‪ .‬וכשהם עומדי׳ סביבך כמו שאת גדורה‬ ‫בשושנים‪ .‬על דרך ״בניך שתילי‪ c‬זתי]ם[ סביב לשלחנך״ ]תהלים קכח ‪.[3‬‬

‫‪15‬‬

‫ע״א‪ .‬המשילה לערימת חטי׳ שהן חטים נקיים וברורים ואין עפר מעורב בהן ומתוך חשיבותן‬ ‫של אותן חטין עשו לה גדר של שושנים ולא של עצים ואבנים פן יתערב בה עפר או קסמין‬ ‫וכן יוצאי מעיך בלי דופי ומום‪.‬‬

‫‪ a‬כה״י‪ :‬כעופים‪ ,‬ונראה טעות‪ .‬גם מ׳ שחזר כך‪ b .‬נה״מ‪ :‬חטים‪ c .‬נה״מ‪ :‬כשתילי‪.‬‬

‫‪227v‬‬

Song of Songs, Chapter 7

221

Made by a craftsman. It was made by an expert craftsman. 3) Your navel is the bowl of the moon. Your navel is white and shining, like the moon, which shines when it is at its fullest, and it is round like a bowl, which is a vessel of gold or beaten copper. Since the moon, when it is full is round and resembles the back of a bowl, therefore he said “the bowl of the moon.” That never lacks mixed wine. So that you should not say that since he compares the navel to the moon and to the back of a bowl that this is something ugly. For if so the navel protrudes to the outside like the moon protrudes, and like the back of a bowl that protrudes, and it is very ugly when the navel protrudes, as it is said “your navel cord was not cut” [Ezek 16:4]. Therefore he said “that never lacks mixed wine,” that is, the place of the navel is sunken and can receive mixed wine and a hollow sunken navel is a thing of beauty. And since there are people whose navels are depressed and hollow and nevertheless when they bend over their navel protrudes, therefore he said “that never lacks mixed wine.” Your belly is a heap of wheat. Ibn Ezra interpreted, slightly thicker below and this is a thing of beauty for a woman. Another interpretation: Just as from one grain of wheat an ear develops which is full of grains of wheat, similarly many children will emerge from your belly. Hedged about with roses. That is to say, very handsome children, like roses.63 And when they stand around you, it is as if you are hedged about by roses. This is similar to “your children like olive plants around your table” [Ps 128:3]. Another matter: He compared her to a heap of wheat grains which are clean and clear, with no earth mixed with them and because of the value of those wheat grains they made for them a hedge of roses rather than of wood and stones lest there be mingled with them dirt or slivers of wood. Similarly, your offspring that come out of your womb are without blemish or defect.

63

See above, p. 153 at 2:1.

‫‪Part II. The Commentary‬‬

‫‪222‬‬

‫ע״א‪ .‬סוגה‪ .‬כמו ״כספך היה לסיגים״ ]ישעיהו א ‪ .[22‬כלו׳ זרע הגרוע והפסולת הצומח בין‬ ‫החטין הן שושנים ולא חוח ובאשה‪.‬‬ ‫)‪ (5‬צוארך‪ .‬לבן כמגדל השן‪ .‬בעמוס כת׳ ״וספו‪ a‬בתי השן״ ]עמוס ג ‪ [15‬ובענין שלמה כת׳‬ ‫״ויעש המלך כסא שן״ ]מלכים א י ‪ .[18‬ובאחאב ״ואת בית‪ b‬השן אשר בנה״ ]מלכים א כב‬ ‫‪5‬‬

‫‪.[39‬‬ ‫עיניך ברכות‪ .‬מבהיקין וצלולין‪ .‬וירש בל׳‪ .‬ודומות למימי ברכות של עיר חשבון שמימיה‬ ‫צלולין מאד‪.‬‬

‫על שער בת רבים‪ .‬שהן צלולין יותר משאר מימי ברכות אשר שם‪.‬‬ ‫פ״א‪ .‬בריכות‪ c.‬דומים לברכה של יונים שעיניהם יפים וצלולין‪.‬‬ ‫‪10‬‬

‫אפך כמגדל הלבנו]ן[‪ .‬חוטמך זקוף וישר ולא שקוע‪ ,‬כמגדל הלבנון שהוא ישר בלי עיקום‬ ‫ועקול באותו צד שהוא נוטה וצופה פני דמשק‪ .‬ששם דקדקו הבונים לבנותו בקו הבנין‪ .‬כי‬ ‫מגדלים הרבה היו שם וזה נאה מכלם‪.‬‬

‫וי״מ ריח אפך כלבונה‪ .‬כמו‪ d‬״וריח אפך כתפוחים״ ]ז ‪.[9‬‬

‫‪15‬‬

‫וי״מ אפך הוא המצח שהוא עקר הדרת הפנים‪ .‬ואחר קילוס העינים קילס המצח שהוא‬ ‫למעלה מהן ולא האף שהוא למטה‪ .‬ועוד כי אין נוי בחוטם זקוף‪.‬‬ ‫)‪ (6‬ראשך עליך ככרמל‪ .‬מראשך ולמעלה את גבוה מכל הנשים‪ .‬כמו שהר הכרמל גבוה‬ ‫מכל ההרים אשר סביבותיו‪ ,‬שנ׳ ״כתבור בהרים וככרמל בים יבא״‪] e‬ירמיהו מו ‪.[18‬‬

‫‪ a‬נה״מ‪ :‬ואבדו‪ .‬המשך הפסוק הוא‪ :‬וספו בתים רבים‪ b .‬נה״מ‪ :‬ובית‪ c .‬נה״מ‪ :‬ברכות‪ d .‬כה״י‪ :‬וי״א‪.‬‬ ‫השחזור בעקבות מ׳‪ e .‬נה״מ‪ :‬יבוא‪.‬‬

Song of Songs, Chapter 7

223

Another matter: ‫סוגה‬. As in “Your silver has become dross” [Isa 1:22], that is to say, [even] the defective seeds and the waste (‫ )פסולת‬that grows between the wheat are roses, not thorns or rotten matter. 5) Your neck is white like an ivory tower. In Amos it is written “and the houses of ivory shall perish” [Amos 3:15]. And concerning Solomon it is written “the king made a throne of ivory” [1Kgs 10:18]. And concerning Ahab, “and the ivory house that he built” [1Kgs 22:39]. Your eyes are pools. Glistening and clear. Vers in French.64 And they resemble the water of the pools of the city of Heshbon whose water is very clear. By the gate of Bath-rabbim. Which is clearer than the water of the other pools that are there. Another interpretation. Pools. Similar to a pool of doves whose eyes are beautiful and clear. Your nose like the Lebanon tower. Your nose is upright and straight and not sunken, like the tower of Lebanon which is straight without distortion or curve on the side where it inclines and faces Damascus. For there the builders took pains to build it with a plumb line. For there were many towers there, but this is the most beautiful of them all. There are those who interpret that the scent of your nose is like frankincense, like “the scent of your nose is like apples” [7:9]. And there are those who interpret ‫ אפך‬as the forehead which is the essential part of the glory of the face. And after praising the eyes, he praised the forehead which is above them and not the nose which is below. Also, there is nothing beautiful about a straight nose. 6) Your head upon you like Carmel. From your head and above you are taller than all the women, just as Mount Carmel is higher than all the mountains around it, as it is said, “surely like Tabor among the mountains, and like Carmel by the sea, so shall he come” [Jer 46:18].

64

Old French: clear, bright, sparkling (Table of Glosses, no. 6).

‫‪Part II. The Commentary‬‬

‫‪224‬‬

‫ופ״פ‪ .‬כרמל‪ .‬תולעת שני‪.‬‬ ‫וי״מ כרמל‪ .‬היא הבקעה הזרועה כמו ״כרמל‪ a‬ליער יחשב״ ]ישעיהו כט ‪ .[17‬וכמו שהבקעה‬ ‫הזרועה יפה מקרקע הבורה אשר סביבותיה כך ראשך יפה מכל הנשים אשר סביבך‪.‬‬

‫ודלת ראשך‪ .‬זה קליעת שערה ְט ֵרייְצא בל׳‪ .‬כמו ״הדלה על גבי כרמו של חברו״ ] [‪.‬‬ ‫‪5‬‬

‫מלך אסור ברהטים‪ .‬המלך מתאוה להיות אסור וקשור ברהטים זה קליעת השער‪ .‬ונקרא‬ ‫רהטים לפי שהשער ארוך ומקיף הראש פעמים ושלש ודומה כאילו רץ סביב הראש‪.‬‬

‫ופ״פ‪ .‬רהטים‪ .‬תלתלי ראשה הדומה לרהטים הם מזחילות המים‪.‬‬

‫‪10‬‬

‫והנכון‪ .‬רהטים‪ .‬מקום החולות שעל הים‪ .‬וזוטו של ים בא פעמים ביום בבקר ובערב‪ .‬ורץ על‬ ‫אותו מקום שהחול שם וחוזר ושב אל הים במרוצה‪ .‬ולאחר ששב המים אל הים ונתגל מקום‬ ‫החול יש בחול שורות שורות כבושות ועקומות‪ .‬ודימה להם השיער‪ .‬לפי שהוא קרישפא‪.‬‬ ‫והוא נוי גדול‪ .‬ולפי שהים רץ שם תדיר נקרא רהטים ובל׳ נקרא ְג ֵרי ְוְש‪.‬‬ ‫)‪ (7‬מה יפית ומה נעמת‪ .‬לאחר שקילסוה בפרט‪ b‬קילסוה בכלל ואומרת‪ c‬שהיא יפה‬ ‫ונעימה‪ .‬נעימה בדברים ובמעשים‪d.‬‬

‫אהבה בתענוגים‪ .‬האוהב אותה מתענג באהבתה כאילו אוכל כל מעדני העולם‪.‬‬

‫‪ a‬נה״מ‪ :‬והכרמל‪ b .‬לפני מילה זו כתובה המילה ״בכלל״ ומחוקה בקו אלכסוני‪ c .‬מ׳ שחזר‪ :‬ואומרות‪,‬‬ ‫ואולי צ״ל‪ :‬ואומרים‪ d .‬כה״י‪ :‬ובדברים‪ .‬השחזור בעקבות מ׳‪.‬‬

Song of Songs, Chapter 7

225

And Parḥon explained: Carmel. Scarlet.65 And some interpret Carmel, this is the sown field as in the “fruitful field will be regarded as a forest” [Isa 29:17]. And just as the sown field is more beautiful than the fallow land that surrounds it, thus is your head more beautiful than that of all the women who are around you. The locks of your head. This is the plaiting of her hair. Trece in French,66 as in “he trellised on top of the orchard of his neighbor.”67 A king is held captive in the tresses. The king desires to be held captive and tied up in the ‫רהטים‬, that is the plaited hair. And it is called ‫ רהטים‬because the hair is long and encircles the head two or three times and it is as if it is running around the head. And Parḥon explained: ‫רהטים‬. The curls of her head, which are like ‫רהטים‬, which are water channels.68 And the correct [interpretation] is: ‫רהטים‬, the place of the sands by the sea. And the high tide occurs twice during the day, morning and evening. It runs to the place where the sand is and it returns speedily to the sea. And after the water returns to the sea and the place of the sand is revealed, there are row upon row in the sand, pressed and crooked. And he compared the hair to them, because it is crespe.69 And this is a thing of great beauty. And because the sea runs there regularly it is called ‫רהטים‬, and in French it is called greves.70 7) How fair and pleasant you are. After they praised her in detail, they praised her in general, saying that she is beautiful and pleasant; pleasant in words and deeds. Love with rapture. The one who loves her delights in her love as if he were eating all the delicacies of the world. 65 66 67 68 69 70

See Parḥon, ‫מחברת‬, 2:32a. Old French: tress, plait of hair (Table of Glosses, no. 27). Source undetermined; cf. Mishnah Sukkah 1:4; see Introduction, p. 7. Parḥon, ‫מחברת‬, 2:62d. Old French: curly (Table of Glosses, no. 28). Old French: wavy rows (from the context) (Table of Glosses, no. 29).

‫‪Part II. The Commentary‬‬

‫‪226‬‬

‫)‪ (8‬דמתה לתמר‪ .‬כלפי שאמרה לו ״בחור כארזים״ ]ה ‪ [15‬אמרו לה שקומתה ישרה וזקופה‬ ‫כתמר שאין לו ענפים רק בראשו והוא עץ זקוף וישר‪.‬‬

‫‪5‬‬

‫שדייך כאשכלות‪ a.‬מתאוין לשכב בין שדיה כמו שתאבים לאכול אשכל של ענבי׳ כמו‬ ‫שנ׳ במיכה ״אין אשכל לאכל‪ b‬בכורה אותה נפשי״ ]מיכה ז ‪ ,[1‬ובישע׳‪ c‬״כבכורה בתאנה‬ ‫בראשיתה״ ]הושע ט ‪.[10‬‬ ‫)‪ (9‬אמרתי אעלה בתמר‪ .‬כך היו כל אחד ואחד הבחורים אומ׳ לה ״אמרתי אעלה״ כלו׳‬ ‫תאבתי ואמרתי בלבי‪ d‬לעלות בתמר לפי שהמשילה לתמר למעלה ותאבתי לאחוז בענפיו‬ ‫ולהתענג בשדייך כאשכולות ולהריח ריח אפך שמריח כתפוחים‪.‬‬

‫)‪ (11–10‬וחכך כיין הטוב‪ .‬כך אמרו לה הבחורים‪.‬‬ ‫‪10‬‬

‫חכך‪ .‬דבריך מתוקים כיין הטוב שהוא מתוק ונעים‪ .‬ההולך בידידות ובמישור מתוך מתיקותו‬ ‫ויורד בתוך הבטן ואינו מתעכב בגרון כמו שעושה אותו יין שנקרא ַא ְרא‪ .‬והמשיל דבריה‬ ‫ליין הטוב היורד דרך מישור מן הפה אל הגרון‪ .‬ולשון מישרים נופל אצל יין שנ׳ ״נזכירה‬ ‫דודיך מיין מישרים אהבוך״ ]א ‪ .[4‬ובמשלי כת׳ ״אל תרא יין כי יתאדם כי יתן בכוס עינו‬ ‫יתהלך‪ e‬למישרים״‪] f‬משלי כג ‪.[31‬‬

‫‪15‬‬

‫דובב שפתי ישנים‪ .‬תוקף אהבתך גורמת שאף כשאנו ישנים שפתינו מדובבות בך‪.‬‬ ‫וא״ע פי׳ הולך לדודי‪ .‬כל אחד מהם אומרים שילך לידידותי ולאהבתי למישרים‪.‬‬ ‫דודי‪ .‬כמו ״שם אתן את דודי לך״ ]ז ‪ .[13‬פי׳ אהבתי‪ .‬ואני עניתים ״אני לדודי״‪.‬‬

‫‪ a‬נה״מ‪ :‬ושדיך לאשכלות‪ b .‬נה״מ‪ :‬אשכול לאכול‪ c .‬המובאה היא מהושע ולא מישעיה‪ ,‬ומ׳ תיקן‬ ‫כאן‪ d .‬בשולי הדף יש הערה דהויה מאוד‪ .‬לשונה‪ :‬״וכן ׳ויאמרו כל העם לרגום אתם׳ ]במדבר יד‬ ‫‪ [10‬פי׳ חשבו‪.‬״ כיוון שאין כל סימן בתוך השורה המפנה להערה נראה שזו תוספת אבל היות והכתב‬ ‫דהוי קשה להעריך אם היא מידי הסופר של כה״י או מיד אחרת‪ .‬גם מ׳ השאיר אותה בהערה ולא‬ ‫שילב אותה בתוך הטקסט‪ e .‬בכה״י ״ותהלך״‪ ,‬ונראה שהיו״ד התארכה מעבר למידה‪ .‬גם מ׳ שחזר‬ ‫כך‪ f .‬נה״מ‪ :‬במישרים‪.‬‬

Song of Songs, Chapter 7

227

8) Like a palm tree. With regard to her calling him “choice as the cedars” [5:15] they told her that her stature is straight and upright like a palm which has no branches except at the top and it is an upright and straight tree. Your breasts are like clusters. [Men] crave to lie between her breasts like they crave to eat a cluster of grapes as it is said in Micah “There is not a cluster to eat, not a ripe fig I could desire” [Mic 7:1], and in Hosea71 “Like the first fig to ripen on a fig tree” [Hos 9:10]. 9) I said, I will climb the palm tree. Thus each of the young men said to her, “I said I will climb,” that is to say, I desired and thought to myself72 to climb the palm tree, because he compared her above to a palm tree, and I desired to take hold of its branches and to take pleasure in your breasts, which are like clusters, and to smell the odor of your nose which smells like apples. 10–11) And your palate like good wine. So the youths said to her. Your palate. Your words are sweet like good wine which is sweet and pleasant, which goes down pleasantly and smoothly because of its sweetness and goes down to the stomach and does not linger in the throat as does the wine that is called are.73 And he compared her words to good wine which goes smoothly from the mouth to the throat. And the phrase ‫ מישרים‬is used with reference to wine, as it is said, “we will extol your love; they love you more than smoothflowing wine (‫[ ”)מיין מישרים‬1:4]. And in Proverbs it is written “Do not look at wine when it is red, when it sparkles in the cup and goes down smoothly (‫[ ”)למישרים‬Prov 23:31]. Causing the lips of those that are asleep to speak. The strength of your love causes our lips to speak of you even when we are asleep. And Ibn Ezra explained: It goes down for my beloved. Each one of them says that he will go straight (‫ )למישרים‬with love and affection for me. ‫דודי‬. As in “there I will give my love to you” [7:13]. This means my love. And I answered them: “I am my lover’s.” 71 72 73

In the ms, wrongly: Isaiah. In the margin there is a comment in faint lettering: “similarly, ‘all the congregation said to stone them’ [Num 14:10], which means they thought.” See note in Hebrew text. Old French: dry (Table of Glosses, no. 1).

‫‪Part II. The Commentary‬‬

‫‪228‬‬

‫ע״א‪ .‬הם אמרו ״וחכך כיין הטוב״ והיא משיבה ״הולך לדודי למישרי]ם[״‪ ,‬פי׳ ודאי כשאני‬ ‫מדברת מישרים ונאמנות עם דודי אז נחשב חכי כיין הטוב אך לא אעשה לו עולה כמו‬ ‫שאתם רוצים שאדבר עמכם‪.‬‬

‫הולך‪ .‬כמו ״ולשונם תהלך בארץ״ ]תהלים עג ‪.[9‬‬ ‫‪5‬‬

‫ע״א‪ .‬אע״פ שכל אחד מהם אמר לי שהיה הולך עם דודי במישרים בשלום ובנאמנות ולא‬ ‫היה מדבר עמי בשביל שום כפריות רק כדי לחזות יפיי אפי׳ הכי היה דומה לי דבורם כאילו‬ ‫הייתי שומע׳ שפתי מתים הישנים השוכבים תחת קרקע מדובבות כי אני לדודי‪.‬‬ ‫מישרים‪ .‬כמו ״ובת מלך הנגב תבא‪ a‬אל מלך הצפון לעשות מישרים״ ]דניאל יא ‪ [6‬פי׳‬ ‫לעשות שלום ביניהם‪.‬‬

‫‪10‬‬

‫)‪ (12‬לכה דודי נצא‪ .‬עתה כשמצאה דודה אמרה לו נצא השדה לטייל שם‪.‬‬ ‫נלינה בכפרים‪ .‬לינות הרבה עד שתנוח כי נתעייפת מן כלי זיינך שנשאת במרכבות עמי‬ ‫נדיב‪.‬‬

‫כפרים‪ .‬מין בשם‪ .‬כמו ״כפרים עם נרדים״ ]ד ‪ .[13‬וכן ״אשכל הכפר״ ]א ‪.[14‬‬

‫‪15‬‬

‫)‪ (13‬נראה אם פרחה הגפן‪ .‬ענין זה אמרה למעלה‪ .‬״לראות באיבי הנחל אם פרחה הגפן״‪b‬‬ ‫]ו ‪ [11‬שאז הגיע עת דודים‪ .‬וכן למעלה ״וכרמינו סמדר״ ]ב ‪.[15‬‬ ‫הנצו הרמונים‪ .‬כל מינין אילו צומחין בגן הנזכר למעלה הנקרא פרדס‪.‬‬ ‫שם אתן את דודי‪ c‬לך‪ .‬דודי‪ .‬אהבתי‪ .‬שאעשה כל רצונך‪.‬‬ ‫)‪ (14‬הדודאים‪ .‬הן דודאי תאנים‪ .‬כמו שנ׳ ״ה ְרַא ִני‪ d‬ה׳ והנה שני דודאי‪ e‬תאנים״ ]ירמיהו כד‬

‫‪.[1‬‬

‫‪ a‬נה״מ‪ :‬תבוא‪ b .‬נה״מ‪ :‬לראות באבי הנחל לראות הפרחה הגפן‪ c .‬נה״מ‪ :‬ד ֹדי‪ d .‬המילה תוקנה‬ ‫על ידי הסופר‪ .‬תחילה כתב ״ראיתי״ ואחר כך תיקן וניקד‪ e .‬המילה כתובה עם מ״ם סופית בסופה‪,‬‬ ‫אבל הסופר תיקן על ידי העברת קו על אות זו‪.‬‬

Song of Songs, Chapter 7

229

Another matter: They said your palate is like good wine, and she replies “it goes straight to my lover,” which means, certainly, when I speak straightly and faithfully with my lover, then my palate is considered to be like good wine, but I will not do him wrong, as you wish, that is by speaking with you. ‫הולך‬. As in “their tongues roam the earth” [Ps 73:9].

Another matter: Even though every one of them said to me that he treated my lover with honesty [‫]במישרים‬, good will, and trust and would not speak with vulgarity, but only to see my beauty, even so their talk seemed to me as if I were hearing the moving lips of the dead, who are asleep and lie under the ground, because “I am for my lover.” ‫מישׁרים‬. As in “and the daughter of the king of the South will come to the king of the North to carry out a peaceful arrangement (‫[ ”)לעשות מישרים‬Dan 11:6], which means to make peace between them.

12) Come, my lover, let us go out. Now that she has found her lover she says to him, let us go to the country to stroll there. Let us spend the night among the henna shrubs. Many nights, until you are rested, because you have tired yourself out with the armor that you carried in the chariots of Ammi-nadiv. Henna shrubs. A kind of spice. As in “henna with nard” [4:13] and also “a cluster of henna blossoms” [1:14]. 13) Let us see if the vine has flowered. She mentioned this matter above, “To see the blossoms of the valley; to see whether the vines had budded” [6:11], for then the time for love had arrived. Similarly, above, “for our vineyards have nascent fruit” [2:15]. If the pomegranates are in bloom. All of these species grow in the garden mentioned above which is called ‫פרדס‬. There I will give my love to you. ‫דודי‬. My love, that I will do all you desire. 14) ‫הדודאים‬. These are baskets of figs, as it is said, “The Lord showed me two baskets of figs” [Jer 24:1].

‫‪Part II. The Commentary‬‬

‫‪230‬‬

‫ע״א‪ .‬הדודאים‪ .‬לשון ידידות ואהבה‪ ,‬כלו׳ כל הדברים המאהיבים והמעוררים אהבה כבר‬ ‫נתנו ריח‪ .‬ומה הן הדברים המעוררים אהבה‪ .‬הן חנטת האילנות ופריחת הבשמים‪ .‬כמו שנ׳‬ ‫למעל׳ ״הנצנים נראו בארץ ועת הזמיר הגיע קומי לך רעיתי ולכי לך״‪] a.‬ב ‪[13–14‬‬

‫הדוּדאים‪ .‬כמו הדוֹדאים‪ .‬בהרבה מקומות מתחלף חולם בשורק‪.‬‬ ‫‪5‬‬

‫‪10‬‬

‫ועל פתחינו כל מגדים‪ .‬אמרה לו אל תחשב בלבך שלא תלך בכרמים על הספק שמא‬ ‫עדיין לא הנצו ולא פתח הסמדר‪ .‬הרי אנו רואים בני אדם שנושאים בפני פתחינו כל מגדים‬ ‫ופירות‪ .‬ואם תאמר הם פירות של אשתקד ולא חדשים של שנה זאת‪ .‬הרי אנו רואים |‬ ‫שנושאים פירות חדשים של שנה זאת עם הישנים‪.‬‬ ‫דודי צפנתי לך‪ .‬צפנתי פירות חדשים וישנים להראותם לך‪ .‬שתדע שהגיע עת לטייל‬ ‫בכרמים‪.‬‬ ‫ע״א‪ .‬דודי‪ .‬אהבתי‪ .‬צפנתי לתתה לך בכרמים כמו שנ׳ למעלה ״דו ַדי אתן לך״ ]פס׳ ‪ .[13‬וכאן‬ ‫כת׳ דו ִדי שכוונתה לומר עיקר אהבתי הן בתולי‪.‬‬

‫‪ a‬המובאה אינה ציטט מדויק‪ ,‬אלא מחברת חלקי פסוקים מפסוק ‪ 13‬ומפסוק ‪ 14‬בהשמטת מילים‪.‬‬

‫‪228r‬‬

Song of Songs, Chapter 7

231

Another matter. ‫הדודאים‬. This has the connotation of affection and love, that is to say, all of the things that cause feelings of love and stir up love have already given forth fragrance. And what are the things that stir up love, these are the budding of the trees and the blooming of the spices, as it is said above, “The blossoms have appeared in the land, the time of singing has come; arise, my love, and go” [2:12–13]. ‫הדוּדאים‬. Like ‫הדוֹדאים‬. In many places ḥolam is replaced by shuruq.

At our doors are all choice fruits. She said to him, Do not think to yourself not to go to the vineyards because you doubt that they have bloomed or that the nascent fruit has appeared. For we see people carrying all choice delicacies and fruits past our doors. And if you should say that they are last year’s fruits and not new ones from this year, we see that they are carrying new fruits from this year along with the old. My lover, I have kept them hidden for you. I have kept hidden new fruits and old to show them to you, so that you should know that the time has come to stroll in the vineyards. Another matter: ‫דודי‬. My love. I hid it to give it to you in the vineyards, as it is said above, “I will give my love [pl.] to you” [v. 13]. And here it is written ‫[ דו ִדי‬sing.] for it is her intention to say—the essence of my love, that is, my hymen.

‫פרק ח‬

‫)‪ (1‬מי יתנך כאח לי‪ .‬לשון בקשה‪ .‬כמו ״מי‪ a‬יתן כל עם ה׳ נביאים״ ]במדבר יא ‪.[29‬‬ ‫כאח לי‪ .‬שיהיו העולם סבורים שאתה אחי‪.‬‬

‫‪5‬‬

‫‪10‬‬

‫יונק שדי אמי‪ .‬כלומ׳ שיסברו שאתה אחי מן האם‪ .‬שחיבתם גדולה ועזה מאחים מן האב‪.‬‬ ‫שנ׳ ״כי יסיתך אחיך בן אמך״ ]דב׳ יג ‪ .[7‬וכת׳ ״תשב באחיך תדבר בבן אמך תתן דופי״‬ ‫]תהלים נ ‪ [20‬ולא יסברו שאתה דודי‪ .‬שאם יסברו שאתה אחי לא הייתי צריכה לבקש‬ ‫ממך ללכת בשדות ובכרמים להתעלס שם באהבים‪ .‬כי בחוץ בפני כל העולם אשקך ולא‬ ‫יבוזו אותי הרואים‪ .‬לומר קלת דעת היא שנושקת האיש בחוץ‪ .‬אך יאמרו שמחמת קורבה‬ ‫אני מנשקת אותך‪.‬‬ ‫או פי׳ כאח לי‪ .‬שהיתה יונק שדי אמי‪ .‬כלומ׳ אמי היתה מנקת שלך וינקת שדיה כשהייתה‬ ‫קטן ויאמרו העולם שמחמת אותה קורבה שאני ואתה ינקנו משדי אמי אני מחבבך‪.‬‬

‫)‪ (2‬אביאך בית אמי‪ .‬בפרהסיא‪.‬‬ ‫תלמדני‪ .‬משפט החושקים ועינין הידידות איך אעשה דבר שיהיה לך לנחת רוח‪.‬‬

‫‪15‬‬

‫)‪ (4–3‬שמאלו תחת )ל(ראשי‪ b.‬עתה חוזרת לדבר עם ריעותיה כמו שמוכיח פסוק‬ ‫שלאחריו ״השבעתי אתכם״ ומספרת להם‪ .‬כששמע דודי שהייתי מבקשת )לעולם(‪c‬‬ ‫שיסברו העולם שהוא אחי אז הבין דודי שאהבה עזה אהבתיו‪ .‬והמו מעיו עלי לרחמני ושם‬ ‫שמאלו תחת ראשי ממש שלא היה שום דבר חוצץ בין ראשי לשמאלו‪ .‬ולא כמו שעשה‬ ‫בראשונה ]ב ‪ [6‬ששם ידו תחת לראשי דמשמע הלשון תחת הכסת שתחת ראשי ולא‬ ‫תחת ראשי ממש‪ .‬ולכך השבעתי אתכם שלא תביאו שנאה בינינו‪.‬‬

‫‪ a‬נה״מ‪ :‬ומי‪ b .‬נה״מ‪ :‬ראשי‪ .‬היות וכל עניינו של הביאור הוא שאין כאן למ״ד‪ ,‬נראה שהלמ״ד היא‬ ‫שיבוש‪ c .‬הסופר סימן על המילה הזאת קווים אלכסוניים דקים שהם סימני מחיקה‪.‬‬

Song of Songs, Chapter 8 1) O that you were like a brother to me. This is an expression of wishing, as “Would that all the Lord’s people were prophets” [Num 11:29]. Like a brother to me. That everyone would think that you are my brother. Who nursed at my mother’s breast. That is to say, that they would think that you are my brother from the same mother, for their love is stronger than that of siblings from the same father, as it is said, “If your brother, your own mother’s son entices you” [Deut 13:7], and it is written, “You sit and speak against your brother; you slander your own mother’s child” [Ps 50:20], and they will not think that you are my lover. For if they would think that you were my brother, I would not have needed to ask you to go to the fields and the vineyards to make love there. For in the open, before everyone I could kiss you and those that saw would not scorn me, by saying she is frivolous for she kisses a man in the open, but they would say that I kiss you because of our kinship. Or the meaning of like a brother to me is that you nursed at my mother’s breast. That is to say, my mother was your nursemaid and you nursed from her breasts when you were little, and people will say that because of that closeness—that you and I nursed from my mother’s breasts—I love you. 2) I would bring you to the house of my mother. Openly. That you may teach me the practice of lovers and the matter of lovemaking, how I might do something which would give you pleasure. 3–4) His left hand is under my head. Now she goes back to talk with her friends as the following verse proves, “I adjure you,” and she tells them, when my lover heard that I wished that everyone would think that he was my brother, he understood that I loved him mightily, and his heart stirred for me, to have compassion for me, and he put his left hand right under my head, so that there was nothing separating my head from his left hand, not like he did the first time [2:6] when he put his hand under my head, where the language implies that it was under the pillow under my head and not right under my head. Therefore I adjure you not to bring hatred between us.

‫‪Part II. The Commentary‬‬

‫‪234‬‬

‫)‪ (5‬מי זאת עולה‪ a‬מן המדבר‪ .‬עתה מדברת אל דודה ואומרת‪ .‬מי ראה מעולם אשה שתלך‬ ‫במדברות לבקש דודה כמו שעשיתי כשלא מצאתיך בגן אגוז כמו שאמור למעלה בקשתיך‬ ‫במדברות‪ .‬וכשמצאתיך עליתי עמך מן המדבר‪ .‬ועתה אני מתרפקת ומתחברת אליך כי‬ ‫יראה אני פן תפרד ממני‪ .‬וכן כת׳ למעלה ״אחזתיו ולא ארפנו״ ]ג ‪.[4‬‬ ‫‪5‬‬

‫תחת התפוח‪ .‬שמצאתיך ישן במדבר תחת עץ התפוח עוררתיך ושדלתיך בדברים לבא אלי‪.‬‬ ‫שם‪ b‬חבלתך אמך‪ .‬רגיל אתה לשבת ולישן תחת עץ התפוח שהוא תולדה שלך לפי שתחת‬ ‫התפוח חבלתך אמך וילדה אותך‪ .‬כמו ״חבליהן‪ c‬תשלחנה״ ]איוב לט ‪ .[3‬ולמעל׳ המשילה‬ ‫אותו לתפוח שנ׳ ״כתפוח בעצי היער״ ]ב ‪.[3‬‬

‫‪10‬‬

‫‪15‬‬

‫‪20‬‬

‫)‪ (7–6‬שימני כחותם על לבך‪ .‬מאחר שראית כל התלאות שמצאתי בשבילך היה לך להשים‬ ‫אותי כחותם על לבך ולא תנתקני משם‪ .‬הפך ״אם יהיה כניהו‪ d‬חותם על יד ימיני‪ e‬משם‬ ‫ֵאְתֵק ֶנךּ‪f‬״ ]ירמיהו כב ‪ .[24‬והחותם הוא חבור ודיבוק‪ .‬וזהו שאו׳ למעלה ״שמאלו תחת‬ ‫לראשי וימינו תחב]קני[״ ]ב ‪ .[6‬כשהם שוכבי׳ בענין זה אז שוכב לבה על לבו‪ .‬והיא חתומה‬ ‫ודבוקה על לבו‪ .‬וכ]ש[שמאלו‪ g‬תחת ראשה אז היא חתומה על זרועו‪ .‬והזרוע בכל מקום‬ ‫שמאל‪ .‬שנ׳ ״נשבע בימינו ובזרוע קדשו״‪] h‬ישעיהו סב ‪.[8‬‬ ‫כי עזה כמות אהבה‪ .‬מנהג העולם כשהאהבה מתישנת תמיד הולכת ונחלשת‪ .‬אך אהבתינו‬ ‫מתגברת והולכת תמיד‪ .‬כמו המות‪ .‬מכיון שמתחלת לבא מתגברת תמיד‪.‬‬ ‫קשה כשאול קנאה‪ .‬ולכך אומרת האהבה שאני אוהבת אותך קשה כשאול‪ .‬גהינם‪ .‬שאש‬ ‫שבה הם רשפי אש שלהבתיה‪ .‬דכת׳ ״גם‪ i‬ערוך מאתמול תפת]ה[‪ j‬מדורתה‪ k‬אש ועצים‬ ‫הרבה נשמת ה׳ כנחל גפרית בערה בה״ ]ישעיהו ל ‪ .[33‬ומים רבים לא יוכלו לכבות אותו‬ ‫אש כי אש לא נופח הוא‪ .‬כן לא יוכלו מים רבים לכבות האהבה‪.‬‬

‫‪ a‬נה״מ‪ :‬עֹלה‪ b .‬נה״מ‪ :‬שמה‪ c .‬נה״מ‪ :‬חבליהם‪ d .‬נה״מ‪ + :‬בן יהויקים מלך יהודה‪ e .‬נה״מ‪+ :‬‬ ‫כי‪ f .‬נה״מ‪ֶ :‬אְתֶּק ְנָךּ‪ g .‬ההשלמה מסברה; כך גם מ׳‪ h .‬נה״מ‪ֻ :‬ﬠזו‪ i .‬נה״מ‪ :‬כי‪ j .‬נה״מ‪ + :‬גם הוא‬ ‫למלך הוכן‪ k .‬נה״מ‪ :‬מ ֻדרתה‪.‬‬

Song of Songs, Chapter 8

235

5) Who is that coming up from the wilderness. Now she speaks to her lover and says, who ever saw a woman who would go out to the wilderness to seek her lover as I did; when I did not find you in the mown garden, as it is said above, I sought you in the wilderness. And when I found you, I went up with you from the wilderness. Now I am leaning upon you and joining myself to you, because I am afraid that you might leave me. Similarly, it is written above, “I held him and would not let him go” [3:4]. Under the apple tree. When I found you sleeping in the wilderness under an apple tree, I aroused you and coaxed you with words to come to me. It was there your mother conceived you. You are accustomed to sit and sleep under the apple tree, which is your birth place, because your mother conceived and gave birth to you under the apple tree, as in “they sent off their offspring” [Job 39:3]. Above she compared him to an apple tree: “Like an apple tree among the trees of the forest” [2:3]. 6–7) Set me as a seal upon your heart. Because you saw all the troubles I encountered for your sake you should have set me as a seal upon your heart and not cut me off from it. This is the opposite of “even if [King] Coniah were a seal on my right hand, from there I would tear you off” [Jer 22:24]. And the seal is connection and cleavage. And this is what he says above, “His left hand was under my head, his right arm embraced me” [2:6]. When they lie in this position, her heart lies on top of his heart and she is sealed and attached to his heart. And when his left hand is under her head then she is sealed upon his arm. And arm is always the left, as it is said, “[The Lord] has sworn by his right hand and by his holy arm” [Isa 62:8]. For love is strong as death. It is the custom of the world that as love gets old it always becomes weaker. But our love is growing steadily stronger, like death. Once it starts it always grows stronger. Jealousy is as severe as Sheol. Therefore she says, the love I have for you is as severe as Sheol, Gehinnom, whose fire is flashes of fire, the flame of the Lord, as it is written, “The Topheth has long been ready for him; his firepit … with plenty of fire and firewood, and with the breath of the Lord burning in it like a stream of sulfur” [Isa 30:33]. And many waters cannot extinguish that fire because it is an unfanned fire. Similarly, many waters cannot extinguish love.

‫‪Part II. The Commentary‬‬

‫‪236‬‬

‫או שמא רשפיה רשפי אש מוסב אל אהבה‪ .‬ואומ׳ כי האהבה רשפי אש שלהבתיה ולא ניתן‬ ‫ליכבות ולישטף על ידי מים ונהרות‪.‬‬ ‫ואם‪ a‬יתן איש‪ b‬כל הון ביתו‪ .‬כדי לבטל אהבתינו לא יועיל לו‪ .‬אך העולם יבזוהו על שבזבז‬ ‫ממונו בחנם‪.‬‬ ‫‪5‬‬

‫)‪ (8‬אחות לנו קטנה‪ .‬כך אמרו אחיה‪ .‬יש לנו אחות ילדה ושדים אין לה כי קטנה היא בשנים‬ ‫ולא נכונו שדיה‪ .‬הפך ״שדים נכונו ושערך צמח״ ]יחזקאל טז ‪.[7‬‬ ‫אך מה נעשה לאחותנו ביום שידובר בה‪ c.‬לשדכה לדודה‪ .‬כי יראים פן תהיה נבעלת‪ .‬כי‬ ‫היתה רועה ורגילה בין הרועים שמא נתעוללו בה‪.‬‬

‫)‪ (9‬אם חומה היא‪ .‬בתולה וסגורה כחומה‪.‬‬ ‫‪10‬‬

‫נבנה עליה טירת כסף‪ .‬נרבה לתת לה תכשיטין של כסף וזהב ותקר ותתקשט בהן ויהיו‬ ‫עליה טירות טירות כמו ״ומבשלות עשו לטירות״‪] d‬יחזקאל מו ‪ [23‬פי׳ ִשטות של בנין‪.‬‬

‫ואם דלת היא‪ .‬בעולה ופתוחה כדלת‪.‬‬ ‫נצור עליה לוח ארז‪ .‬נסגור עליה בית של לווחין וקרשים של ארז ונשימנה בתוכה פן תצא‬ ‫ותהיה מסוגרת בה פן תצא‪ .‬רקלושא‪.‬‬ ‫‪15‬‬

‫נצור‪ .‬נסגור‪ .‬כמו ״ונצורות‪ e‬ולא ידעתם״ ]ישעיהו מח ‪.[6‬‬ ‫)‪ (10‬והיא משיבה אני חומה‪ .‬בתולה וסגורה כחומה‪ .‬ואפי׳ אם היו שדי גדולות כמגדלות‬ ‫אל תחושו לזה כי בתולה אני‪.‬‬

‫חתנו … שי ֻדבר‪ d .‬נה״מ‪ :‬ומבשלות עשוי מתחת‬ ‫‪ a‬נה״מ‪ :‬אם‪ b .‬נה״מ‪ + :‬את‪ c .‬נה״מ‪ :‬מה נעשה לא ֹ‬ ‫הטירות‪ e .‬נה״מ‪ :‬ונֻצרות‪.‬‬

Song of Songs, Chapter 8

237

Or perhaps its flashes are flashes of fire refers to love, and he says that love is flashes of fire, the flame of the Lord and it cannot be extinguished or washed away by water and rivers. If a man offered all his wealth, in order to undo our love, he would not succeed and people would scorn him for wasting his money for nothing. 8) We have a little sister. Thus said her brothers: We have a child sister, who has no breasts because she is little in years and her breasts have not formed, which is the opposite of “your breasts were formed, and your hair had grown” [Ezek 16:7]. But what shall we do for our sister, on the day when she is spoken for? To match her with her lover, because they were worried that she might have had intercourse with someone; because she was a shepherd and accustomed to being among the shepherds, perhaps they had abused her. 9) If she is a wall. A virgin and enclosed like a wall. We will build upon her a row of silver. We will give her many pieces of jewelry of silver and gold and she will be honored and adorned by them and they will be in rows and rows upon her, as in “with hearths made at the bottom of the rows” [Ezek 46:23], which means rows of building stones. But if she is a door. Not a virgin and open like a door. We will enclose her with boards of cedar. We will enclose her with a house of boards and planks of cedar and we will put her inside it lest she go out; and she would be shut away inside it lest she go out. Recluse.74 ‫נצור‬. We will close, as in “and the closed things (‫ )ונצורות‬you did not know” [Isa 48:6].

10) She answers: I am a wall. A virgin, closed as a wall, and even if my breasts were as big as towers, do not worry about this, for I am a virgin.

74

Old French: shut away (Table of Glosses, no. 30).

‫‪Part II. The Commentary‬‬

‫‪238‬‬

‫או פי׳ ושדי כמגדלות‪ .‬כאבן המגדל‪ .‬ובכך תוכלו להבין שלא נעשו ולא נמעכו בידי אדם‪.‬‬ ‫הפך ״ שמה עשו שדיהם שמה מעכו דדי בתוליהן״‪] a‬יחז׳קאל כג ‪.[3‬‬ ‫כמגדלות‪ .‬דרך הבונים לבנות המגדל מאבן קשה כדי שלא תפחת על ידי הדיק שמכה בה‪:‬‬ ‫)‪ (11‬כרם היה לשלמה בבעל המון‪ .‬ממשיל אהובתו לכרמו‪.‬‬ ‫‪5‬‬

‫נתן כרמו לנוטרים‪ b.‬למחצה ולשליש כמנהג המקום והם היו מרויחין‪.‬‬ ‫איש יביא בפיריו‪ c‬אלף כסף‪ .‬איש אחד בא לשלמה ואמ׳ לו שיתן לו בכל שנה ושנה אלף‬ ‫בשביל הכרם‪ .‬ושיגזלנה לנוטרים וימסרנה לו‪ .‬וכששמעו הנוטרים כך אמרו לשלמה‪.‬‬ ‫)‪ (12‬כרמי שלי לפני‪ .‬פי׳ הכרם שהיתה לפני ושטרחתי בה אל תגזלנה ממני אך תהיה לפני‬ ‫כמו שהיא עתה‪.‬‬

‫‪10‬‬

‫האלף לך שלמה‪ .‬אמרו לו אנחנו נתן לך בכל שנה אלף כסף כמו שרצה אותו איש לתת לך‪.‬‬ ‫ואנחנו נרויח בכל שנה מאתים‪ .‬וטוב שתישאר בידינו‪ .‬כן את רעיתי שאת נמשלת לכרם‬ ‫שנ׳ ״ושדיך לאשכלות הגפן״ ]ז ‪ d[9–8‬וכת׳ ״אשתך כגפן פוריה״‪] e‬תהל׳ קכח ‪ .[3‬כמה‬ ‫ימים טרחתי בך ונטרתי פריך שלא יעוללו בך אחרים ועכשיו רוצים אחרים לגזלך ממני‬ ‫שאמרו לך ״שובי השולמית״ ]ז ‪ .[1‬אך אני מבקשך שלא תניחני בשבילם‪.‬‬

‫‪15‬‬

‫)‪ (13‬היושבת בגנים‪ .‬את רעיתי היושבת בגנים‪.‬‬ ‫חברים מקשיבים לקולך‪ .‬ומצפים שתאמרי להם שתרצי ללכת עמהם אך אני מבקשך‬ ‫שתשמיעני קולך ותאמרי לי שתלכי עמי ולא עמהם‪.‬‬

‫‪ a‬נה״מ בהיפוך הסדר ובשינויים קלים‪ :‬״שמה מעכו שדיהן ושם עשו דדי בתוליהן״‪ b .‬נה״מ‪ :‬נתן את‬ ‫הכרם לֹנטרים‪ c .‬נה״מ‪ :‬יִבא בפריו‪ d .‬המובאה היא תערובת משני פסוקים‪ :‬ז ‪ :8‬״ושדיך לאשכלות״;‬ ‫ז ‪ 9‬״שדיך כאשכלות הגפן״‪ e .‬נה״מ‪ֹ :‬פ ִריה‪.‬‬

Song of Songs, Chapter 8

239

Or, its meaning is: My breasts are like towers. Like the stone of a tower, and from this you can understand that they were not squeezed or crushed by human hands, the opposite of “There their breasts were squeezed, and there their virgin nipples were crushed” [Ezek 23:3]. Like towers. It is the way of builders to build towers from hard stone, so that they will not be reduced by the battering rams that strike them. 11) Solomon had a vineyard at Baal-hamon. He compares his beloved to his vineyard. He entrusted the vineyard to keepers. For a half or a third [of the yield], as is the custom of the place, and they made a profit. A man was to bring for its fruit a thousand pieces of silver. A man came to Solomon and told him that each year he would give him a thousand for the vineyard, and that he [i.e., Solomon] should steal it from the keepers and give it to him. And when the keepers heard, this is what they said to Solomon. 12) My vineyard, my very own, is for myself. This means, the vineyard which was for myself and which I toiled over, do not steal it from me; rather, it should be mine, as it is now. You may have the thousand, O Solomon. They said to him, we will give you every year a thousand pieces of silver, just like what that man wanted to give you. And we will make a profit each year of two hundred. And it is good that it stay in our hands. So are you, my beloved, for you are compared to a vineyard, as it is said, “your breasts are like clusters of grapes” [7:8–9] and it is written, “your wife will be like a fruitful vine” [Ps 128:3]. Many days I toiled over you and I guarded your fruit to prevent others from picking it, and now others want to steal you from me, since they said to you, “Return, O Shulammite.” But I ask you not to leave me for them. 13) You who dwells in the gardens. You, my beloved, the dweller in the gardens. Friends are listening for your voice. And are waiting for you to tell them that you wish to go with them, but I ask you that you let me hear your voice and tell me that you will go with me and not with them.

‫‪240‬‬

‫‪Part II. The Commentary‬‬

‫)‪ (14‬והיא משיבה ברח דודי‪ .‬אם אתה רוצה שאניחם בשבילך‪ a‬ברח מהנה ותלך אל הר‬ ‫המור ואלך עמך ושם אתן את דודי לך‪.‬‬

‫ע״א )‪ (11‬נתן הכרם לנוטרים‪ b.‬השכיר נוטרים לשמור פרי שבכרמו לצרכו ולצורך דודתו‪.‬‬

‫‪5‬‬

‫איש יביא בפריו אלף כסף‪ .‬איש אחד בא לשלמה ורצה לתת בפריו אלף כסף בעבור הפרי‪.‬‬ ‫והוא השיב לו‪.‬‬ ‫)‪ (12‬כרמי שלי לפני‪ .‬אינני רוצה למכור פריו כי אני ורעיתי נאכל | אותו וחברי כמו שנ׳‬ ‫למעלה ״שתו ושכרו דודים״ ]ה ‪ .[1‬והוא אמר לו האלף לך שלמה ועוד אוסיף לתת לך‬ ‫מאתים כסף שנתת מכיסך לנוטרים אותו ולא רצה שלמ׳ כי כל דעתו היה שיטייל בו הוא‬ ‫ורעייתו ורעיו ויאכל פריו שנ׳ ״יבא דודי לגנו ויאכל פרי מגדיו״ ]ד ‪.[16‬‬

‫‪10‬‬

‫)‪ (13‬היושבת בגנים‪ .‬כשבא לגנו הוא ורעיתו וחבריו אמר לה‪ :‬את רעיתי האוהבת לשבת‬ ‫בגנים חברים מקשיבים לקולך‪ .‬פי׳ חב ַרי שהבאתי הנה בגן לטייל עמנו מקשיבי׳ לקולך‬ ‫שתשוררי להם כי קולך ערב‪.‬‬

‫השמיעני‪ c.‬אם אין רצונך לשיר בשבילם תשירי בעבורי והשמעני קולך‪.‬‬

‫‪15‬‬

‫)‪ (14‬והיא משיבה ברח דודי‪ .‬אם תרצה‪ d‬שאשיר לך ברח לך מהנה ולך אל הר המור ואני‬ ‫אלך עמך ואשורר לך אך בכאן לא אשורר בפני חבריך פן יחשבוני כפרוצה‪.‬‬

‫נשלם פי׳ שיר השירים אשר העתקתי מכתיבת יד הרב ר׳ מנחם בן רבנו בנימן נ״ע‪.‬‬

‫‪ a‬כה״י‪ :‬שאניחך בשבילם‪ ,‬וברור שזה שיבוש‪.‬‬ ‫השמיעיני‪ d .‬כה״י‪ :‬תרצי‬

‫‪ b‬נה״מ‪ :‬נתן את הכרם לֹנטרים‪.‬‬

‫‪ c‬נה״מ‪:‬‬

‫‪228v‬‬

Song of Songs, Chapter 8

241

14) And she answers: Take flight, my lover. If you wish that I leave them for you, flee from here and go to the mountain of myrrh and I will go with you and there I will give my love to you. Another matter: 11) He entrusted the vineyard to keepers. He hired keepers to guard the fruit in his vineyard for his use and for the use of his beloved. A man was to bring for its fruit a thousand pieces of silver. A man came to Solomon and wanted to give for its fruit a thousand pieces of silver. And he answered him: 12) My vineyard, my very own, is before me. I do not want to sell its fruit because I and my beloved and my friends will eat it as it is said above “Drink and get drunk, lovers” [5:1]. And he said to him, “You may have the thousand, O Solomon,” and in addition I will give you two hundred pieces of silver, which you gave from your pocket to its keepers. But Solomon refused because his whole idea was for him and his beloved and his friends to stroll in it and to eat its fruit, as it is said, “Let my lover come to his garden and eat its choicest fruits” [4:16]. 13) You who dwells in the gardens. When he came to his garden, he and his beloved and his friends, he said to her: You, my beloved, who loves to sit in the gardens, “friends are listening for your voice.” This means, my friends, whom I brought here to the garden to stroll with us, are listening for your voice, so that you may sing to them, because your voice is pleasant. Let me hear. If you have no desire to sing for them, sing for me and let me hear your voice. 14) And she answers: Take flight, my lover. If you wish that I sing for you, flee from here and go to the mountain of myrrh and I will go with you and will sing for you, but here I will not sing in front of your friends, lest they think that I am a harlot. This completes the commentary on the Song of Songs that I copied from the manuscript of the rabbi R. Menahem son of R. Benjamin, may he [or his soul] rest in paradise.

Bibliography In the bibliography, Hebrew titles are given in Hebrew script and in translation; in the notes, only in translation. For Hebrew books, English titles are given in brackets. If the title appears in the book, it is written in italics. If we have translated it, it is rendered in Roman in sentence style format.

Primary Abraham ben Azriel. ‫[ ספר ערוגת הבשם כולל פירושים לפיוטים‬Arugat habosem] [The spice garden: commentaries on the piyyutim]. Ed. Ephraim E. Urbach. 4 vols. Jerusalem: Meqitsei Nirdamim, 1939–1963. Aharon ben Yosi, ha-Kohen. ‫ פירוש לחמישה חומשי תורה‬:‫[ ספר הג״ן‬Sefer ha-Gan: commentary of the Torah]. Ed. J. Mitchell Orlian. Jerusalem: Mosad ha-Rav Kook, 2009. Baalei ha-Tosafot. In Gelis, Yaʿaqov, ed. ‫ אוצר פירושי בעלי התוספות‬,‫[ ספר תוספות השלם‬The complete Tosafot]. 14 vols. to date. Jerusalem: Mifʿal Tosafot ha-Shalem, 1982–2014. Dunash ben Labrat, Kritik des Dunasch ben Labrat über einzelne Stellen aus Saadia’s arabischer Übersetzung des a.t. [‫]ספר תשובות דונש הלוי בן לברט על רבי סעדיה גאון‬. Ed. Robert Schröter. Breslau, 1866. Reprint, Jerusalem, 1966. Dunash ben Labrat. Tešubot de Dunaš ben Labrat. Ed. Angel Saenz-Badillos. Granada; Universidad de Granada, 1980. Le glossaire de Leipzig. Ed. Menahem Banitt. 4 vols. [3 vols. + Introduction] Jerusalem: Académie nationale des sciences et des lettres d’Israël, 1995–2005. Ibn Ezra, Abraham. ‫[ פירוש שיר השירים לרבי אברהם בן מאיר אבן עזרא הספרדי‬Abraham ibn Ezra’s Commentary on the Canticles]. Ed. H.J. Mathews. Oxford, 1874. Ibn Ezra, Moses. ‫[ שירי החול‬The secular poems]. Ed. Heinrich Brody. 2 vols. Berlin; Jerusalem: Schocken, 1935–1941. Ibn Ezra, Moses. ‫[ שירת ישראל‬The poetry of Israel]. Trans. with introduction Ben-Zion Halper. Leipzig: Stiebel, 1924. Reprint, Jerusalem: Matsḥaf, 1967. Ibn Janah, Jonah. ‫[ ספר הרקמה‬The book of embroidery]. Ed. Michael Wilensky. 2nd ed. with additional notes, ed. David Tene, Zeev Ben-Hayyim. 2 vols. Jerusalem: Academy of the Hebrew Language, 1964. Ibn Janah, Jonah. ‫[ ספר השורשים‬The book of roots]. Trans. Judah Ibn Tibbon. Ed. Wilhelm Bacher. Berlin: Meqitsei Nirdamim, 1896. Reprint, Amsterdam: Philo Press, 1968. Ibn Parḥon, Solomon. ‫[ מחברת הערוך להחכם ר׳ שלמה ב״ר אברהם אבן פרחון‬Maḥberet heʿarukh]. Ed. S.G. Stern. 2 vols. Pressburg, 1844. Reprint, Jerusalem: Makor, 1970. Judah ben Samuel, ha-Levi. ‫ והוא ספר כולל כל שירי יהודה בן שמואל הלוי‬:‫[ דיואן‬Diwan … all

244

bibliography

the poetry of Judah ha-Levi]. Ed. Heinrich Brody. 4 vols. Berlin: Meqitsei Nirdamim, 1901–1930. Reprint, with new introduction and indexes. Ed. A.M. Habermann. Westmead, Farnborough, Hants.: Gregg International, 1971. Menahem ben Saruq. Mahberet. Ed. Angel Saenz-Badillos. Granada: Universidad de Granada, 1986. Midrash zuta. ‫ איכה וקהלת על פי כתב יד מאוצר הספרים של‬,‫ רות‬,‫ על שיר השירים‬:‫מדרש זוטא‬ .‫[ די ראססי בפארמה‬Midrasch Suta]. Ed. Salomon Buber. Berlin: Meqitsei Nirdamim, 1894. Miqraʾot Gedolot: Ezekiel. ‫ יחזקאל‬:‫[ מקראות גדולות הכתר‬Mikraʾot Gedolot ‘Haketer’: Ezekiel]. Ed. Menachem Cohen. Ramat-Gan: Bar-Ilan University, 2000. Miqraʾot Gedolot: Five Scrolls. ‫ חמש מגילות‬:‫[ מקראות גדולות הכתר‬Mikraʾot Gedolot ‘Haketer’: The Five Scrolls]. Ed. Menachem Cohen. Ramat-Gan: Bar-Ilan University, 2012. Oxford Anonymous [commentary on the Song of Songs]. In Dukes, Leopold. “‫העתקות‬ ‫[ ”מפירוש על שיר השירים ממחבר לא נודע שמו‬Excerpts from a commentary on the Song of Songs by an anonymous author]. Jeschurun (ed. Kobak) 4(1864): 88–94 [Heb. Section] Oxford Anonymous [commentary on the Song of Songs]. In Mathews, H.J. “‫פירוש שיר‬ ‫“ = ”השירים לא נודע מחברו‬Anonymous Commentary on the Song of Songs.” In ‫תהלה‬ ‫ קבוצת מאמרים בחכמת ישראל לכבוד … מו״ה משה שטיינשניידר ביום בואו לגבורות‬,‫למשה‬ [Festschrift zum achtzigsten geburtstage Moritz Steinschneider’s], 164–185; 238–240 (non-Hebrew section). Leipzig, 1896. Reprint: Jerusalem: Makor, 1970. Prague Anonymous [commentary on the Song of Songs]. In ‫ עם תרגום סורי‬:‫חמש מגלות‬ ‫המכונה פשיטא … ]עם[ פירוש המקרא על המגלות‬. [Die fünf Megilloth nebst dem syrischen Thargum genannt Peschito]. Ed. Adolph Hübsch. Prague, 1866. Reprint, [Israel, 1970]. Prague Anonymous [commentary on the Song of Songs]. In Japhet, Sara. “‫פירוש אנונימי‬ ‫ מבוא ומהדורה ביקורתית‬:(‫[ ”לשיר השירים בכתב יד פראג )חומש איגר‬The Anonymous commentary on the Song of Songs in Ms. Prague: A Critical Edition and Introduction]. In ‫ אסופת מחקרים בפרשנות במקרא‬:‫[ ליישב פשוטו של מקרא‬To Settle the Plain Meaning of the Verse: Studies in Biblical Exegesis], ed. Sara Japhet and Eran Viezel, 206–247. Jerusalem: Mosad Bialik, 2011. Qimhi, David. ‫[ ספר השרשים‬Rabbi David Kimchis Radicum Liber]. Ed. Jo. H.R. Biesenthal and F. Lebrecht. Berlin, 1847. Reprint, Jerusalem, 1967. Qimhi, David. ‫[ ספר מכלול‬The book of completeness]. Ed. Isaac Rittenberg. Lyck, 1862. Reprint, Jerusalem, 1966. Rashi. In Rosenthal, Judah. “‫[ ”פירוש רש״י על שיר השירים‬Rashi’s Commentary on the Song of Songs]. In the Samuel K. Mirsky Jubilee Volume, ed. Simon Bernstein and Gershon A. Churgin, 130–188. New York: Jubilee Committee, 1958. Samuel ben Meir. ‫[ פירוש התורה אשר כתב רשב״ם‬The Torah commentary of Rashbam]. Ed. David Rosin. Breslau: S. Schottlender, 1882.

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Samuel ben Meir. ‫[ פרוש התורה‬Commentary on the Torah]. Ed. Martin Lockshin. 2 vols. Jerusalem: Horev, 2009. Samuel ben Meir. [‫[ פירוש רבי שמואל בן מאיר )רשב״ם( לקהלת‬The Commentary of R. Samuel ben Meir Rashbam on Qoheleth]. Ed. Sara Japhet and Robert B. Salters. Jerusalem: Magnes Press, 1985. Samuel ben Meir. The Commentary of R. Samuel ben Meir Rashbam on Qoheleth. Translated and edited by Sara Japhet and Robert B. Salters. Jerusalem: Magnes Press, 1985. Samuel ben Meir. Rabbi Samuel ben Meir’s Commentary on Genesis: An Annotated Translation. Trans. M.I. Lockshin. Lewiston, n.y.: Edwin Mellen Press, 1989. Samuel ben Meir. ‫פירוש ר׳ שמואל בן מאיר )רשב״ם( לספר איוב‬. [The Commentary of Rabbi Samuel ben Meir (Rashbam) on the Book of Job]. Ed. Sara Japhet. Jerusalem: Magnes Press, 2000. Samuel ben Meir. ‫[ פירוש ר׳ שמואל בן מאיר )רשב״ם( לשיר השירים‬The Commentary of Rabbi Samuel ben Meir (Rashbam) on the Song of Songs]. Ed. Sara Japhet. Jerusalem: World Union of Jewish Studies, 2008. Thomas. The Romance of Horn by Thomas. Ed. M.K. Pope. Oxford: Anglo-Norman Text Society, 1955. Thomas of Kent. The Anglo-Norman ‘Alexander’, ‘Le Roman de toute Chevalerie.’ Ed. B. Foster with the assistance of I. Short. 2 vols. London: Anglo-Norman Text Society, 1976–1977.

Secondary Alster, Baruch “‫[ ”אהבה אנושית וזיקתה לאהבה רוחנית בפרשנות היהודית לשיר השירים‬Human love and its relationship to spiritual love in Jewish exegesis on the Song of Songs]. PhD diss., Bar-Ilan University, Ramat-Gan, Israel, 2006. Assis, Eliyahu. ‫ קריאה חדשה בשיר השירים‬:‫[ אהבת עולם אהבתיך‬Infinity of Love in the Song of Songs: a Literary Analysis]. Tel-Aviv: Yediʿot Aḥaronot: Sifrei Ḥemed, 2009. Avishur, Yitzhak. “‫[ ”לזיקה הסגנונית בין שיר השירים וספרות אוגרית‬On the Stylistic Connection between the Song of Songs and Ugaritic Literature]. Beth Mikra 19 (1974): 508–525 Bahar, Shlomo. “‫ מוטיב ארוטי וציון היכר מעמדי‬:‫[ ”הבושם בשיר השירים‬Perfume in the Song of Songs: An Erotic Motive and Sign of Social Class]. Shnaton 15 (2005): 329–352. Banitt, Menahem. Rashi, Interpreter of the Biblical Letter. Tel Aviv: Chaim Rosenberg School of Jewish Studies, Tel Aviv University, 1985. Beit-Arié, Malachi. Catalogue of the Hebrew Manuscripts in the Bodleian Library: Supplement of Addenda and Corrigenda to vol. i (A. Neubauer’s Catalogue). Oxford: Clarendon Press, 1994.

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Ben-Yehuda, Eliezer. ‫[ מילון הלשון העברית הישנה והחדשה‬Complete Dictionary of Ancient and Modern Hebrew]. 17 vols. Jerusalem/Berlin: Langenscheidt, 1908–1947. Bernat, J. David. “Biblical Wasf s beyond Song of Songs.” Journal for the Study of the Old Testament 28.3 (2004): 327–349 Black, Fiona C. “Beauty or the Beast: The Grotesque Body in the Song of Songs.” Biblical Interpretation 8 (2000): 300–323. Brenner, Athalya. “Aromatics and Perfumes in the Song of Songs.” Journal for the Study of the Old Testament 25 (1983): 75–81. Brody, Heinrich. In Zeitschrift für hebräische Bibliographie 1 (1896): 43. Budde, Karl. “Das Hohelied.” In Budde, Karl, Alfred Bertholet, and G. Wildeboer. Die fünf Megillot: Das Hohelied, das Buch Ruth, die Klagelieder, der Prediger, das Buch Esther. Kurzer Hand-Commentar zum Alten Testament, 17. Tübingen: Mohr, 1898. Catane, Moché. ‫ המלים הצרפתיות שבפירושי רש״י על התנ״ך‬:‫[ אוצר הלעזים‬Recueil des gloses] [Treasury of Rashi’s foreign words: the French words in Rashi’s biblical commentaries]. Jerusalem: Gitler, 1990. Charlap, Luba. ‫ מסורת וחידוש‬:‫[ תורת הלשון של אברהם אבן־עזרא‬Rabbi Abraham Ibn-Ezra’s Linguistic System]. Beer-Sheva: Ben-Gurion University Press, 1999. Even-Shoshan, Avraham. ‫המילון החדש‬. [The new dictionary]. 5 vols. Jerusalem: Qiryat Sefer, 1997. Even-Shoshan, Avraham. ‫[ קונקורדנציה חדשה לתורה נביאים וכתובים‬A New Concordance of the Bible]. Jerusalem: Qiryat Sefer, 1988. Exum, J. Cheryl. The Song of Songs: A Commentary. Old Testament Library. Louisville, Ky.: Westminster John Knox, 2005. Fox, Michael V. The Song of Songs and Ancient Egyptian Love Songs. Madison, Wisc.: University of Wisconsin Press, 1985. Ginsburg, Christian David. The Song of Songs, Translated from the Original Hebrew with a Commentary, Historical and Critical. London: Longman, 1857. Godefroy, Frédéric. Dictionnaire de l’ancienne langue française. 10 vols. Paris, 1881–1902. Golb, Norman. The Jews in Medieval Normandy: A Social and Intellectual History. New York: Cambridge University Press, 1998. Goldenberg, David. The Curse of Ham: Race and Slavery in Early Judaism, Christianity and Islam. Princeton: Princeton University Press, 2003. Greenberg, Joseph C. Foreign Words in the Bible Commentary of Rashi. 2nd ed. Jerusalem: J. Greenberg, 1992. Harris, Robert A., Discerning Parallelism: A Study in Northern French Medieval Jewish Biblical Exegesis. Brown Judaic Studies, no. 341. Providence, r.i.: Brown University, 2004. Herder, Johann Gottfried. Salomos Lieder der Liebe. Leipzig, 1778. Hindley, Alan, Frederick W. Langley, and Brian J. Levy. Old French-English Dictionary. Cambridge: Cambridge University Press, 2000.

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Japhet, Sara. ‫[ פירוש ר׳ שמואל בן מאיר )רשב״ם( לספר איוב‬The Commentary of Rabbi Samuel ben Meir (Rashbam) on the Book of Job]. Jerusalem: Magnes Press, 2000. Japhet, Sara. ‫[ פירוש ר׳ שמואל בן מאיר )רשב״ם( לשיר השירים‬The Commentary of Rabbi Samuel ben Meir (Rashbam) on the Song of Songs]. Jerusalem: World Union of Jewish Studies, 2008. Japhet, Sara. ‫ אסופת מחקרים בפרשנות המקרא‬:‫[ דור דור ופרשניו‬Collected Studies in Biblical Exegesis]. Jerusalem: Mosad Bialik, 2008. Japhet, Sara, “‘Lebanon’ in the Transition from Derash to Peshat: Sources, Etymology and Meaning (With Special Attention to the Song of Songs).” In Emanuel: Studies in Hebrew Bible, Septuagint and Dead Sea Scrolls in Honor of Emanuel Tov, ed. Shalom Paul [et al.], 707–724. Leiden: Brill, 2003. Japhet, Sara. ‫ אטימולוגיה ומשמעות )בתשומת לב מיוחדת‬,‫ מקורות‬:‫”לבנון במעבר מדרש לפשט‬ 102–85 ‫ עמ׳‬,‫ דור דור ופרשניו‬,“(‫[ לשיר השירים‬Hebrew version of preceding item]. Japhet, Sara. “Rashi’s Commentary on the Song of Songs: The Revolution of the Peshat and its Aftermath,” In Mein Haus wird ein Bethaus für alle Völker gennant werden ( Jes 56,7): Judentum seit der Zeit des Zweiten Tempels in Geschichte, Literatur und Kult; Festschrift für Thomas Willi, ed. J. Männchen, T. Reiprich, 199–219. Neukirchen: Neukirchener Verlag, 2007. Japhet, Sara. “‫ לדמותם של רש״י וממשיכי דרכו כפרשני הפשט‬:‫”פשוטו של מקרא בשיר השירים‬ [Rashi’s Commentary on the Song of Songs: the Revolution of the Peshat and its Aftermath]. In Rashi, the Man and his Work, ed. Avraham Grossman and Sara Japhet, 2:205–226. Jerusalem: Merkaz Zalman Shazar le-toldot Yiśraʾel, 2008. Also in her ‫דור‬ ‫דור ופרשניו‬, 135–156 [Hebrew version of the preceding English article]. Japhet, Sara. “‫[ ”תיאורי הגוף ודימויי היופי בפרשנות הפשט לשיר השירים בימי הביניים‬Descriptions of the Body and Images of Beauty in the Medieval Peshat Exegesis of the Song of Songs]. In Word Fitly Spoken: Studies in Mediaeval Exegesis of the Hebrew Bible and the Qurʼān, Presented to Haggai Ben-Shammai, ed. Meir M. Bar-Asher et al., 133–162. Jerusalem: Ben-Zvi Institute, 2007. Also in her ‫דור דור ופרשניו‬, 55– 84. Japhet, Sara. ““The Lovers’ Way”: Cultural Symbiosis in a Medieval Commentary on the Song of Songs.” In Birkat Shalom: Studies in the Bible, Ancient Near Eastern Literature, and Postbiblical Judaism Presented to Shalom M. Paul on the Occasion of His Seventieth Birthday. 2 vols. Edited by Chaim Cohen et al., 2:863–880. Winona Lake, in: Eisenbrauns, 2008. Japhet, Sara. ‫ דור‬,“‫ סימביוזה תרבותית בפירוש אנונימי לשיר השירים מימי הביניים‬:‘‫” ’דרך החושקים‬ 327–313 ‫ עמ׳‬,‫[ דור ופרשניו‬Hebrew version of preceding item]. Japhet, Sara. “Did Rashbam Know the Vulgate Latin Translation of the Song of Songs?” Textus 24 (2009): 263–285. Japhet, Sara. ‫ עמ׳‬,‫”האם הכיר רשב״ם את תרגום הוולגטה לשיר השירים?“ דור דור ופרשניו‬ 309–294 [Hebrew version of preceding item].

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Japhet, Sara. “The Description Poems in Ancient Jewish Sources and in the Jewish Exegesis of the Song of Songs.” In A Critical Engagement: Essays on the Hebrew Bible in Honour of J. Cheryl Exum, ed. D.J.A. Clines and Ellen van Wolde, 216–229. Sheffield: Sheffield Phoenix Press, 2011. Japhet, Sara, and Eran Viezel, eds. ‫ אסופת מאמרים בפרשנות המקרא‬:‘‫’ליישב פשוטו של מקרא‬ [‘To Settle the Plain Meaning of the Verse’: Studies in Biblical Exegesis]. Jerusalem: Mosad Bialik, 2011. Japhet, Sara, and Robert B. Salters. ‫[ פירוש רבי שמואל בן מאיר )רשב״ם( לקהלת‬The Commentary of R. Samuel ben Meir Rashbam on Qoheleth]. Jerusalem: Magnes Press, 1985. Japhet, Sara, and Robert B. Salters. The Commentary of R. Samuel ben Meir Rashbam on Qoheleth. Jerusalem: Magnes Press, 1985. [English and Hebrew] Kamin, Sarah. ‫ פשוטו של מקרא ומדרשו של מקרא‬:‫[ רש״י‬Rashi’s Exegetical Categorization in Respect to the Distinction between Peshat and Derash]. Jerusalem: Magnes Press, 1986. Kiwitt, Marc. “Judeo-French.” Jewish Language Research Website, http://www.jewish -languages.org/judeo-french.html. Lambert, Meyer and Louis Brandin. Glossaire hébreu-français du xiiie siècle. Paris: E. Leroux, 1905. Reprint, Genève: Slatkine, 1977. Levin, Israel. ‫ הסוגים השונים של שירת החול העברית בספרד‬:‫[ מעיל תשבץ‬Embroidered Coat: The Various Types of Hebrew Secular Poetry in Spain]. 3 vols. Tel-Aviv: Tel-Aviv University, Institute for the Study of Hebrew Literature; Hakibbutz Hameuchad, 1995. Lockshin, M.I. Rabbi Samuel ben Meir’s Commentary on Genesis: An Annotated Translation. Lewiston, n.y.: Edwin Mellen Press, 1989. Neubauer, Adolph. Catalogue of the Hebrew Manuscripts in the Bodleian Library. Oxford: Clarendon Press, 1886. Pagis, Dan. ‫[ שירת החול ותורת השיר למשה אבן עזרא ובני דורו‬Secular Poetry and Poetic Theory: Moses Ibn Ezra and his Contemporaries]. Jerusalem; Mosad Bialik, 1970. Pagis, Dan. ‫ ספרד ואיטליה‬:‫[ חידוש ומסורת בשירת החול העברית‬Change and Tradition in the Secular Poetry: Spain and Italy]. Jerusalem: Keter, 1976. Pope, Marvin. H. Song of Songs. Anchor Bible, 7c. New York: Doubleday, 1977. Poznanski, Samuel A., “‫[ ”מבוא‬Introduction]. In Eliezer of Beaugency. ‫פירוש על יחזקאל‬ ‫[ ותרי עשר לרבי אליעזר מבלגנצי‬The commentary on Ezekiel and the Minor Prophets by Eliezer of Beaugency]. Warsaw: Meqitsei Nirdamim, 1913. Rosen, Tova. Unveiling Eve: Reading Eve in Medieval Hebrew Literature. Philadelphia: University of Pennsylvania Press, 2003. Rosen, Tova. ‫ קריאה מגדרית בספרות העברית בימי הביניים‬:‫[ ציד הצבייה‬Hunting Gazelles: Reading Gender in Medieval Hebrew Literature]. Tel-Aviv: Tel-Aviv University, 2006. Revised and expanded version of Unveiling Eve. Salfeld, Siegmund. Das Hohelied Salomo’s bei den jüdischen Erklärer des Mittelalters. Berlin, 1879.

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Scheindlin, Raymond P. Wine, Women, & Death: Medieval Hebrew Poems on the Good Life. Philadelphia: Jewish Publication Society, 1986. Schirmann, Jefim, ed. ‫[ השירה העברית בספרד ובפרובאנס‬Hebrew Poetry in Spain and Provence]. 2nd ed. 2 vols in 4. Jerusalem-Tel Aviv: Mosad Bialik, 1960. Schwarzwald, Ora (Rodrigue) and Michael Sokoloff. ‫[ מילון למונחי בלשנות ודקדוק‬A Hebrew Dictionary of Linguistics and Philology]. Ramat-Gan: Rekhes, 1992. Simon, Uriel. “‫[ ”פרשני ספרד‬The Spanish exegetes]. In ‫ פרקי מבוא‬:‫פרשנות המקרא היהודית‬ [ Jewish Bible Exegesis: An Introduction]. Ed. Moshe Greenberg, 47–60. Jerusalem: Mosad Bialik, 1983. Soloveitchik, Haym. ‫ פרק בתולדות ההלכה באשכנז‬:‫ יין נסך‬:‫[ היין בימי הביניים‬Wine in Ashkenaz in the Middle Ages: Yeyn nesekh, a Study in the History of Halakhah]. Jerusalem: Merkaz Zalman Shazar le-Toldot Yiśraʾel, 2008. Soloveitchik, Haym. ‫ על גלגולה של הלכה בעולם המעשה‬:‫ סחר ביינם של גויים‬:‫[ יינם‬Principles and Pressures: Jewish Trade in Gentile Wine in the Middle Ages]. Tel-Aviv: Alma; Am Oved, 2003. Soulen, Richard N. “The Wasf of the Song of Songs and Hermeneutic.” Journal of Biblical Literature 86 (1967): 183–189. Tobler, Adolf and Erhard Lommatzsch. Altfranzösisches Wörterbuch. 11 vols. Berlin: Weidmann (v. 1–2); Stuttgart: Wiesbaden, 1925 [i.e. 1915]–1989. Urbach, Ephraim E. ‫ שיטתם‬,‫ חיבוריהם‬,‫ תולדותיהם‬,‫[ בעלי התוספות‬The Tosaphists: Their History, Works and Methods]. 4th ed. Jerusalem: Mosad Bialik, 1981. Walfish, Barry Dov. “The Two Commentaries of Abraham Ibn Ezra on the Book of Esther.” Jewish Quarterly Review n.s. 79 (1989): 323–343. Walfish, Barry Dov. “‫[ ”ביבליוגרפיה מוערת של הפרשנות היהודית על שיר השירים מימי הביניים‬An Annotated Bibliography of Medieval Jewish Commentaries on the Song of Songs]. In ‫ ספר זיכרון לשרה קמין‬,‫[ המקרא בראי מפרשיו‬The Bible in the Light of its Interpreters: Sarah Kamin Memorial Volume], ed. Sara Japhet, 518–571. Jerusalem: Magnes Press, 1994. Watson, Wilfred G.E. Classical Hebrew Poetry: A Guide to its Techniques. Sheffield: jsot Press, 1984. Weiss, Raphael. “‫[ ”שילובי אותיות במקרא‬On Ligatures in the Bible] In his :‫מחקרי מקרא‬ ‫[ בחינות נוסח ולשון‬Studies in the Text and Language of the Bible], 3–19. Jerusalem: Magnes Press, 1981. Zakovitch, Yair. ‫[ שיר השירים עם מבוא ופירוש‬The Song of Songs, With Introduction and Commentary]. ‫מקרא לישראל‬. Tel-Aviv: Am Oved; Jerusalem: Magnes Press, 1992. Zakovitch, Yair. Das Hohelied. Trans. Dafna Mach. Freiburg.Br.: Herder, 2004.

Index of Primary Sources Bible Genesis 2:24 12:15 15:17 16:4 20:17 23:16 27:27 29:17 30:32 30:39 31:39 33:7 49:22

92 213 106, 141 77 104, 105, 106, 181 205 185 87n61 147 106, 181 109, 217 104, 105, 181 78

Exodus 2:17 15:2 15:5 18:26 20:24 22:25 24:10 25:7 28:5 35:22 39:13

143 109n31 109 109 101, 102, 103n20, 135 104, 105 (2 ×), 201 205 203 177 104, 105, 181 205

Leviticus 2:9 6:4 19:33 20:18

77 6, 77, 193 39, 149 75n39

Numbers 1–2 11:7 11:29 14:10 23:21 24:17

10, 118 39, 149, 185 233 227n71 98, 120, 209 183

Deuteronomy 13:7

233

22:23 27:14

105 30, 159

Joshua 12:24 15:19

209 185

Judges 5:28 16:19 16:26 19:22 21:21 21:23

173 30, 159 167 195 219n60 219n60

1 Samuel 1:7 6:4 6:19 14:27 28:16

104, 105, 215 24 (2×) 141 189 157

2 Samuel 1:23 2:18 13:32 19:27

151 157 217 104, 105 (2×), 199

1 Kings 2:15 8:66 10:18 10:28–29 10:28 14:3 15:33 19:6 22:28 22:39

24 64, 123, 137 223 145 62, 66 147 209 169 24 (2×) 223

Isaiah 1:18 1:29

177 24 (3×), 100, 101, 101n11, 103n20, 135

251

index of primary sources 3:5 3:23 5:2 5:11 5:28 6:6 14:8 16:8 22:17 22:19 23:16 29:17 30:33 31:3 33:2 33:12 38:5 42:20 43:6 45:7 47:2 48:6 51:9 60:7 62:8 63:18–19 63:19 Jeremiah 3:5 3:6 5:28 8:7 17:8 22:14–15 22:24 24:1 31:22 43:12 46:16 46:18 51:62 Ezekiel 2:9

211 199 185 137 207 69 151 187 19, 143 24, 100, 101n11, 102, 103n20, 135 219 225 235 145 24 (3 ×), 101, 101n11, 102, 103n20, 135 (2 ×) 100 101n11 24 (2 ×), 101n11 189 25, 174d, 175n25 173, 175 237 211 141 235 101 100, 102, 103n20, 135

100n7, 104, 105, 199 101n11 207 159 187 151 235 229 197, 219 (2 ×) 143 39, 149 223 104, 105, 201

77, 104, 105, 193, 201

3:15 16:4 16:7 16:8 18:7 21:2 23:3 23:17 27:19 27:24 27:34 31:10 34:18 40:17 46:23 47:10

217 221 237 90n65, 92n71 39, 149 28, 185 239 90n66 207 24, 107, 108, 145 101n11 100n7 72, 187 169 237 149

Hosea 2:15 9:10 12:5 13:7 14:7–8

219 227 101n11 183 19

Amos 2:9 3:15 4:7 7:1

87, 207 223 100, 101, 103n20, 135 215

Micah 1:2 2:11 7:1 7:4 7:15 7:19

24 28, 185 227 24, 101, 103n20, 135 101n11 24 (2×), 100, 101n11, 102, 103n20, 135

Habakkuk 2:17

101n11, 151

Zephaniah 2:12 3:1

24 (2×), 101, 103n20 39, 149

Zechariah 4:5

101n11

252 Malachi 2:15 2:35 Psalms 20:6 22:18 50:20 72:6 73:9 81:17 104:15 110:3 128:3 130:6 138:3 141:6 147:16 Proverbs 6:3 6:26 7:18 10:12 12:4 14:3 23:31 25:26 Job 17:10 17:13 22:20 26:4 28:7 28:16 31:24 31:40 33:33 35:11 39:3 Song of Songs 1:1 1:2–2:3 1:2

index of primary sources

24, 101, 101n11, 103n20, 135 101

118 141 233 215 229 100n7 124 121, 217 221, 239 215 211 151 177

211 183 28n58, 90n65 157 171 109 35, 139, 227 75, 191

1:3

1:4

1:5–6 1:5 1:6 1:7 1:8 1:9 1:10 1:11 1:12–13 1:12 1:13 1:14 1:15–2:1 1:15

24 (3 ×), 100, 101n11, 102, 103n20, 135 155 100, 101n11, 102, 103n20, 135 197 141 6 203 153 33, 36, 179 36, 179 235

1:16 1:17 2:1–3 2:1–2 2:1 2:2 2:3

27n53, 61 54–55 8, 17, 24, 41, 46, 49, 52–

2:7

2:4–3:11 2:4–7 2:4 2:5 2:6

2:8

53n24, 63n30, 90n65, 91n67, 93, 98–99, 122, 123, 185 8–9, 44, 49, 63n30, 68n36, 81, 124, 124n10, 169, 185 14, 35–36, 53n24, 61, 65, 90n65, 91n67, 111, 122, 123, 227 53n24, 64n30, 67, 68n36, 84 17, 18, 61, 85, 111, 112 17, 41, 85 18, 20, 43, 53n24, 63 13, 51, 54n24 18, 53n24, 64n30, 66, 67, 82n50, 85 6, 26, 41, 53n24, 66, 107, 108, 112, 122n5 53n24, 81, 83 53n24, 61–62, 68, 125 15–16, 18, 27, 51, 61, 124n10 14, 112, 124n10, 125 51, 124n10 (2×), 125, 229 6, 19 9–10, 13, 18, 26, 27n51, 39–40, 44, 51, 53n24, 63n30, 64n30, 68n36, 78, 98, 112, 153 27n51, 42, 54n24, 92 44, 98 6, 53n24, 78, 82n50 52, 68, 75 (2×), 191 19, 27, 64n30, 112, 126 64n30 46, 51, 64n30, 87, 126, 235 55–56 91 17n27, 46, 53n24, 63, 92, 112, 118, 122 42, 107, 126 27n51 (2×), 46, 49, 90, 90n65, 91, 233, 235 17n27, 27n53, 46, 63n30, 92, 197 46, 53n24

253

index of primary sources 2:9 2:10 2:11 2:12 2:13 2:14 2:15 2:16 2:17 3:1–2 3:1 3:4 3:5 3:6 3:7–8 3:7 3:8–9 3:8 3:9 3:10–11 3:10 3:11 4:1–5:1 4:1–11 4:1–5 4:1

4:2 4:3 4:4 4:5 4:6 4:7 4:8 4:9 4:10

27, 27n51 (2 ×), 42, 43, 63, 63n30, 94, 95 17n27, 27n51, 29–30, 42, 95 50 63n30, 113 46, 49, 92, 165 53n24, 63n30, 91n68 46, 50, 63n30, 229 44, 46, 51, 53n24, 143 27, 46, 53n24, 62, 120, 167 46 17n27, 53n24 46, 50, 90n65, 91, 114, 235 199 46, 49, 53n24 (2 ×), 124n10 (3 ×), 125, 167 27n53 53n24, 61 (2 ×) 62 27n51, 42, 94 17n27, 19, 49, 61, 73, 113, 125, 187 62 61, 63n30, 91–92, 155 27n53, 53n24, 61, 79 56–57 68, 72 83n53 7, 25, 27n53, 44, 47, 51, 53n24, 64n30, 69, 78, 81– 82, 82n50, 87, 112, 113, 114 17n27 (2 ×), 52, 64n30, 69, 84, 114 (2 ×), 213 17n27 (3 ×), 44, 64n30, 70, 82, 83, 84, 205 36, 63n30, 70, 115, 121, 123 17n27, 27, 42, 71, 88, 103, 106 47, 50, 119, 120, 124n10 (3×), 195 82n50 19, 78, 115, 122, 125 27n51 (3 ×), 42, 51, 53n24, 78, 94, 95, 173 49, 53n24, 71, 78, 90n65,

4:11

4:12–5:1 4:12–15 4:12

4:13–14 4:13

4:14 4:15 4:16

4:16b–5:1 5:1

5:2–6:3 5:2 5:4 5:5 5:6 5:7 5:8 5:9 5:10–17 5:10 5:11 5:12 5:13 5:14–15 5:14 5:15 5:16

91n67, 122, 124, 124n10 (2×), 137 17n27 (2×), 19 (2×), 28, 64n30, 71, 93, 124n10, 125, 207 68, 71, 92n70 74n38 27n51 (2×), 43, 52, 53n24, 63n30, 72, 75, 116, 122, 217 52, 68, 73, 75 (2×), 93 6, 18, 51, 63n30, 72, 77, 89n64, 124n10 (2×), 149, 217, 229 116, 124n10 (4×), 126 (2×) 19 (2×), 49, 73, 75–76, 125 52, 53n24, 73, 74, 75, 76, 77, 124n10, 209, 215, 241 72 14, 27, 27n51 (5×), 43, 51, 54n24, 74, 76, 77, 90n65, 91n67, 94, 98, 120, 123 (2×), 124n10 (2×), 209, 217, 241 57 47, 50, 53n24, 94, 116 80, 197 124n10 (2×) 80, 219 17n27, 43, 197 53n24 23, 53n24 (2×), 78, 104, 105, 207 83n53 17n27, 43, 54n24, 82, 82n50, 83, 119, 211 6–7, 17n27, 53n24, 82 (2×), 84, 116, 175 17n27, 39, 40, 51, 82, 86– 87, 112, 149 17n27, 84, 116, 124n10 (5×), 126 88 17n27, 23, 82, 84 64n30, 82, 87, 89 17n27, 23, 53n24

254 Song of Songs (cont.) 6:1 78, 53n24, 82n50 6:2 27n53, 54n24, 77, 98, 120, 124n10, 191 6:3 51, 53n24, 143 6:4–8:2 57–58 6:4 44, 47, 53n24, 82, 82n50, 111 6:5–7 83n53 6:5 17n27, 27, 82n50, 116 6:6 52, 175 6:7 113 6:8–9 62, 82n50 6:8 137, 169 6:9 23, 52, 104, 106, 124n10 6:10 43, 44, 53n24, 82, 82n50, 83 6:11 10–12, 17n27 (2 ×), 43, 47, 52, 53n24, 98, 229 6:12 17n27, 109, 121 6:14 124n10 7:1 14, 17n27, 47, 53n24, 78, 82n50 7:2–6 83n53 7:2–4 88 7:2 17n27 (2 ×), 54n24, 89 7:3 53n24, 63n30, 82, 84, 89 7:4 27 7:5 17n27 (2 ×), 20, 84, 87, 112, 122n5 7:6 7, 17n27 (2 ×), 26, 27n53, 61, 64n30, 68n36, 82, 87, 98, 117, 151 7:7 82n50, 93 (2 ×) 7:8–9 45, 239 7:8 53n24, 88, 93 7:9 19, 50, 53n24, 63n30, 125, 126, 205, 223 7:10–11 53n24, 54n24, 111 7:10 14, 28n58, 63n30, 64n30, 65, 91, 123 (2 ×), 139 7:11 35–36, 47, 53n24 7:12 17n27, 47, 53n24, 121 7:13 50 (2 ×), 90n65, 91, 93, 227 7:14 17n27, 50, 54n24, 91, 93 (2 ×), 98 8:1 93 8:2 27n51, 92, 123 (2 ×)

index of primary sources 8:3–4 8:5–7 8:5 8:6–7 8:6 8:8–10 8:8 8:9 8:10 8:11–14 8:11–12 8:11 8:12–13 8:12 8:13 8:14

Ruth 1:13 2:8 4:4

54n24, 58 58 17n27, 50–51, 54n24, 63n30 92 49, 90, 95, 155 59 54n24 117 43, 88, 122n5 59, 69n37 45, 61 54n24, 64n30 95 51, 54n24 (2×), 64n30, 120 54n24, 120 27, 48, 54n24, 93, 124n10 (2×)

104, 105 (2×), 106, 181 109 24, 101, 101n11, 103n20, 135

Lamentations 2:15 4:1 4:9

211 203 201

Ecclesiastes 5:19 7:1 8:1 11:10

169 18, 68n36, 124, 137 82, 201 201

Esther 2:12 2:15 2:17

124, 137, 185 173 213

Daniel 8:27 11:6

217 229

Nehemiah 7:3

101, 103n20, 135

255

index of primary sources Rabbinic Literature Targum Onkelos Lev 6:14 Mishnah Bava Metsiaʿ 2.1 Sukkah 1.4 Tosefta Sanhedrin 12.10 Babylonian Talmud Berakhot 8b 28a 57b Shabbat 77b Taʿanit 24a Sanhedrin 101a

6

6, 144, 145 7

96n74

8n3 184k 6, 152, 153 7, 174e, 175

Midrashim Exodus Rabbah 49.2 84n56 Song of Songs Rabbah 1.22 (vs. 1:3) 9n5 1.35 (vs. 1:5) 85n57 1.63 (vs. 1:15) 9 4.3 (vs. 4:1) 86 5.7 (vs. 5:11) 202c, 203n48 6.17 (vs. 6:11) 10 Ecclesiastes Rabbah 7.41 9 Shir ha-shirim Zuta (ed. Buber) Song 1:2 (p. 8) 8 1:3 (p. 9) 9 1:5 (p. 11) 84n56 Pesiqta de-Rav Kahana 34a 8 Yalqut Shimʿoni 2.982 84n56, 85n57

86n59, 87n61 96n74

Medieval Jewish Literature Abraham ben Azriel ʿArugat ha-bośem 19 Aharon ben Yosi Sefer ha-Gan

78n41

Baʿalei ha-Tosafot

78n41

Dunash ben Labrat 101, 105, 106, 109, 101n11 Florence Anonymous on Song of Songs 6:11 10–11 Glossaire de Leipzig 4:1 (‫)מבעד לצמתך‬ 4:4 (‫)תלפיות‬ 4:9 (‫)לבבתני‬ 5:10 (‫)דגול‬

111 113n45 38n16, 115n48 115n49 112n42

6:4 (‫)כנדגלות‬ 7:6 (‫)דלת ראשך‬ Ibn Ezra, Abraham Song of Songs 1:1 1:2 1:3 1:4 1:9–10 1:15 2:7 3:7–8 3:8–9 3:11 4:1 4:3 4:4

112n42 117n52

27n53 28n58, 99 9 65, 66 67 9, 26, 39, 40 27n53 27n53 62 27n53 27n53 17n27 37n15

256

index of primary sources

Song of Songs (cont.) 4:12–15 6:2 6:12 7:6 7:7 7:13 8:5 8:10

74n38 27n53 109 27n53 93 91n68 17n27 38n6, 88

Ibn Ezra, Moses Shirat Yiśraʾel

28n58

Ibn Janaḥ, Jonah Sefer ha-Riqmah Sefer ha-Shorashim Ibn Parḥon Maḥberet he-ʿarukh

28, 38–43, 101–102, 105, 109 40n17

6, 7, 28, 77, 89, 89– 90n64, 97, 102, 105, 106, 107, 147n9, 151n16, 187n39, 193nn42– 43, 203n47, 207n52, 211n55, 219n61, 225nn64,67

Menaḥem ben Saruq Maḥberet 28, 37 Menahem ben Simeon Ezek 27:24 108 Song 1:10 108 Prague Anonymous on Song of Songs 5:14 23 5:16 23 6:9 23 8:10 88 Qimḥi, David Ezek 27:24 Song 1:10

108 108

Rashbam (Samuel ben Meir) Genesis 29:17 87n61 49:22 78 Exodus 15:2 109 Numbers 11:7 40n17 Job 13:2 79 Ecclesiastes 1:2 79n43 Song of Songs 1:2 8, 18, 98–99 1:5 18 1:7 19 1:14 18 1:15–2:1 19 2:4 17n27 2:7 17n27 2:10 17n27, 30 2:14 91n68 3:1 17n27 3:9 17n27 4:1 79 4:2 17n27 4:3 17n27 (2×) 4:4 37n15, 38n16 4:5 17n27 4:11 17n27 (2×) 4:12–15 74n38 5:13 17n27, 5:13, 127 5:14 17n27 6:11 17n27 6:5 17n27 7:1 17n27 7:2 17n27 (2×) 7:5 17n27 7:6 17n27 (2×), 87 7:12 17n27 8:5 17n27 Rashi Genesis 31:39 Song of Songs 1:2 1:3 1:5

109 8 9 17

257

index of primary sources 1:6 1:9 1:14 1:15 1:17 2:7 2:10 4:2 4:3 4:4 4:5 4:12–15

17 18 18 9 98n5 17n27 17n27, 30 17n27 17n27 37n15 17n27 74n38

5:7 5:10 5:11 5:12 5:16 6:5 6:11 6:12 7:2 7:5 7:14 8:5

17n27 17n27 17n27 17n27 17n27 17n27 17n27 17n27, 109 17n27 17n27 17n27 17n27

‫‪Index of Hebrew Roots, Words, and Expressions‬‬ ‫אגוז ‪98 ,11–10‬‬ ‫אה״ב ‪90‬הערה‪65‬‬ ‫אמ״ר ‪53 ,30‬‬ ‫אפריון ‪113‬‬ ‫ארוז‪ ,‬ארוזים ‪108–107 ,24‬‬ ‫אש״ש‪ ,‬אשישות ‪107‬‬ ‫בני קדר ‪26‬‬ ‫בק״ש ‪53‬‬ ‫גז״ז ‪98 ,11–10‬‬ ‫גל ‪122‬‬ ‫גן ‪116 ,76 ,74‬‬ ‫דב״ק ‪92‬‬ ‫דב״ר ‪53‬‬ ‫דג״ל‪ ,‬דגול‪ ,‬נדגלות ‪119–118 ,112 ,9‬‬ ‫דוד‪ ,‬דודים‪ ,‬דודיך ‪93 ,91–90 ,65 ,50‬‬ ‫משכב דודים ‪90‬הערה‪66‬‬ ‫דודאים ‪109–108 ,98 ,50‬‬ ‫דלה‪ ,‬דלת ‪117 ,7‬‬ ‫דמ״ה ‪64–63‬‬ ‫דרך ‪43–41‬‬ ‫הרהיבוני ראו רה״ב‬ ‫השבעתנו ראו שב״ע‬ ‫השי״ב ‪53‬‬ ‫זמיר ‪113‬‬ ‫חבצלת ‪112‬‬ ‫חב״ר ‪92‬‬ ‫חר״ז‪ ,‬חרוזים‪ ,‬מחרוזות ‪108–107 ,26 ,6‬‬ ‫חש״ק‪ ,‬חשק‪ ,‬חושקים ‪94 ,27–26‬‬ ‫דרך החושקים ‪43 ,42 ,27‬‬ ‫טוב‪ ,‬טובים ‪123‬‬ ‫טי״ל‪ ,‬טיול ‪23–22‬‬ ‫יונה‪ ,‬יונים ‪98 ,39‬‬ ‫כפ״ל ‪81–80‬‬ ‫כפל לשון ‪81–80‬‬ ‫כתם‪ ,‬כתם פז ‪6‬‬ ‫לבבתני ‪115‬‬ ‫לרעות ראו רע״ה‬ ‫מור ‪112 ,14‬‬ ‫מחרוזות ראו חר״ז‬

‫מישרים ‪123 ,66–65 ,36–35 ,14‬‬ ‫מליצה‪ ,‬מליצת המקרא ‪80–79‬‬ ‫מנהג ‪45–43 ,41‬‬ ‫מנהגו של עולם ‪45–41‬‬ ‫מצילות ‪112 ,66‬‬ ‫מרקחים ‪116‬‬ ‫מש״ל ‪68 ,64–63‬הערה‪36‬‬ ‫נאוה ‪111‬‬ ‫נדגלות ראו דג״ל‬ ‫נט״ף‪ ,‬תטפנה ‪128 ,7‬‬ ‫נרד ‪116‬‬ ‫סוסתי ‪85 ,67 ,66 ,29 ,18‬‬ ‫סמדר ‪50‬‬ ‫ספ״ר ‪53‬‬ ‫עין‪ ,‬עיניים‪ ,‬עינייך ‪112 ,40–39‬‬ ‫עופר‪ ,‬עפרה ‪147 ,28–27‬הערה‪10‬‬ ‫עטיה ‪29 ,19–18‬‬ ‫עמי־נדיב ‪121 ,109‬‬ ‫ענ״ה ‪53 ,30‬‬ ‫פרדס ‪126 ,73 ,50‬‬ ‫צמתך ‪114 ,113 ,86 ,69 ,51 ,25 ,7‬‬ ‫קדרים‪ ,‬בני קדר ‪26‬‬ ‫קל״ס ‪53‬‬ ‫קצובות ‪114 ,69 ,52‬‬ ‫רה״ב‪ ,‬הרהיבוני ‪116‬‬ ‫רהיט‪ ,‬רהטים ‪225 ,117 ,98‬‬ ‫רע״ה‪ ,‬לרעות‪ ,‬תרועת ‪120 ,98‬‬ ‫רקה‪ ,‬רקות ‪70‬‬ ‫שא״ל ‪53‬‬ ‫שב״ע‪ ,‬השבעתנו ‪104‬‬ ‫של״ח‪ ,‬שלחיך ‪77 ,75 ,73–72 ,52 ,6‬‬ ‫שושנה‪ ,‬שושנים ‪84 ,71‬‬ ‫שני ‪114‬‬ ‫תורים ‪67‬הערה‪35‬‬ ‫תטפנה ראו נט״ף‬ ‫תלפיות ‪179 ,121 ,115 ,69 ,38–36‬‬ ‫תלתלים ‪116 ,7‬‬ ‫תרועת ראו רע״ה‬

Index of Modern Authors Alster, Baruch 10n10 Assis, Eliyahu 66n32 Avishur, Yitshak 78n40 Bahar, Shlomo 124n9 Banitt, Menahem 11nn36–37 Beit-Arié, Malachi 129 Ben-Yehuda, Eliezer 27n52 Bernat, J. David 83n52 Black, Fiona C. 83n52 Brandin, Louis 111n40, 113n44, 114n46, 115n49, 116n50 Brenner, Athalya 124n9 Brody, Heinrich 3, 25, 174d Budde, Karl 83n52

Lambert, Meyer 111n42, 113n46, 114n48, 115n51, 116n52 Langley, Frederick W. 111n38 Levin, Israel 123n7 Levy, Brian J. 111n38 Lommatzsch, Erhard 116n51 Lockshin, Martin 87n61 Mathews, H.J. 3, 5, 12n14–15, 16, 25, 33, 87n61, 129, 130–131, 134h, 136af, 138e, 140ade, 142bdeg, 148afh, 154a, 156b, 158d, 160bf, 168c, 172c, 178cd, 186cdh, 188dg, 192a, 194ac, 200d, 204c, 210i, 214d, 220a, 222d, 224cd, 226cd, 234e Neubauer, Adolph

Catane, Moché

50, 114n47

Dukes, Leopold

3, 15

Even-Shoshan, Avraham Exum, J. Cheryl 48n22 Fox, Michael V.

10n7, 30n60

48n22

Ginsburg, Christian David 3 Godefroy, Frédéric 111n39, 116n51 Golb, Norman 11n35 Goldenberg, David 86n58 Greenberg, Joseph C. 50, 114n47 Harris, Robert A. 34, 80n45 Herder, Johann Gottfried 48n22 Hindley, Alan 111n38 Japhet, Sara 4, 5n14, 14n20, 16n26, 19n31, 20n32, 21n35, 22n36, 39, 26n50, 27n51, 29n59, 33n9, 38n16, 41n19, 45n21, 48n22, 60n27, 61n28, 64n31, 67n33, 78n41, 79n42, 80n45, 81n47, 107n24, 109n31 Kamin, Sarah 80n44 Kiwitt, Marc 110n34 Kobak, Aaron 15

129

Pagis, Dan 26n48, 28n58 Pope, Marvin H. 83n51 Poznanski, Samuel A. 4, 5, 16n26, 20n32, 21n33, 25, 41n19, 118n1 Rosen, Tova 84n54 Rosenthal, Judah 114n47,50 Rosin, David 87n61 Salfeld, Siegmund 3, 5n14, 24n43, 25, 118n1, 128n15 Salters, Robert 107n24 Scheindlin, Raymond P. 124n7 Schirmann, Jefim 26n48 Schwarzwald, Ora 11n12 Simon, Uriel 13n18 Sokoloff, Michael 11n12 Soloveitchik, Haym 124n8 Soulen, Richard N. 83n52 Tobler, Alfred

116n51

Urbach, Ephraim E.

26n49

Walfish, Barry Dov 4, 13n18, 32 Watson, Wilfrid G.E. 78n40 Weiss, Raphael 100nn7,8,9 Zakovitch, Yair

48n22, 67n33, 124n9

Subject Index Added letters to words 109–110 Aqiva, on Song of Songs 96n74 Arabic love poetry 39 Arabs 26 Banners, of knights 118–122 Beard of lover, like spice garden 127 Beauty 25, 38n16, 39, 59–60, 67, 81–90 of black hair 82 of blackness 84–85 of breasts 70–71, 88 of cheeks 81 of eyes 82–86 of male body 88–89 of male body hair 82, 89 navels 82, 89 of pubic hair 82, 89 of redness 84 of skin color 84 of tallness 87 of teeth 87 of whiteness 84 of woman’s hair 82 of women 81–82 Bellies of the lovers 88–89 Beloved, compared to locked garden 74–76 Benei Qedar, see Qedarites Biblical style 79–80 Black hair, beauty of 82 Blackness 67 and beauty 84–85 and ugliness 85 Body hair on a man, beauty of 82, 89 Breasts, beauty of 70–71, 87–88 compared to towers 88 Cheeks beauty of 81 of lover, like a garden 126–127 of maiden 70 Chivalry 118–122 Competition among knights 38, 121–122 Context 40 Courtship 95 Daily life 122–127 Doves 39–40, 51, 86

Dunash ben Labrat

101, 105

Eliezer of Beaugency 20n32 Eyes 39–40, 51 beauty of 82, 86 Figurative language 63–78 Fortress architecture 122 Fragrance 125 Frankincense 49, 125 Friends, of the lover 120 Garden 71, 72, 73–77 as metaphor for woman’s body 72 as place for lovers 72–73 locked 74–76 of Eden 72, 126 purpose of 92n72 see also Beloved; Beard of lover; Cheeks; Locked garden Hair, beauty of 82 Hayyuj, Judah 97 Henna 125 Hymen 91 Ibn Aqnin, Joseph 128 Ibn Ezra, Abraham 5, 13–16, 21, 26, 27, 33n7, 35–36, 55n26, 61n28, 62, 67, 72, 88, 98, 109, 130 method of 71–72, 74, 75 on breasts 88 on maiden of the Song 22 on wine 123 See also Index of Primary Sources Ibn Ezra, Moses 28n55 Ibn Janaḥ, Jonah 10, 101–102, 103, 105, 109 Sefer ha-Shorashim 34 Sefer ha-Riqmah 25 See also Index of Primary Sources Ibn Parḥon, Maḥberet he-ʿarukh 5, 6, 7, 12– 13, 15, 25, 34, 72, 102–103, 110, 130 See also Index of Primary Sources Influences on the author 29, 128 of French milieu 95–96 Isaiah of Trani 32

261

subject index Joseph Bekhor Shor 20n32 Judah ha-Levi 15, 25, 26, 28n55, 175n25 Kisses, kissing 28, 93 compared to wine 64 Knights 36, 37, 43 and their banners 118–122 doing battle 121 Latin language and literature 29 Lebanon 49 Letter substitutions 107–108 Lexicography, Biblical 34 Lips 83–84 Locked garden, beloved as 74–76 Love poetry, French 29, 31 Love poetry, of Spanish Jews 25–29 Love, lovemaking 90–96 Lover in Song 59–63 as a knight 118–122 as perfection of beauty 82 as shepherd 63 as Solomon 21–22, 45, 61–62 friends of 120 identity of 21–22 Lovers’ discourse, the Song as 52–53 Lovers’ gestures 95 Lovesickness, of maiden 91 Maḥberet (Menahem ben Saruq) see Menaḥem ben Saruq Maḥberet he-ʿarukh (Ibn Parḥon) see Ibn Parḥon Maiden of the Song identity 21–22, 59–63 modesty of 60 passion for lover 60–61 Male beauty, features of 88–89 Masculine and feminine, irregularities in usage 103–107 Menahem ben Binyamin 129 Menahem ben Saruq 10, 34, 101 Metaphors 64 Military milieu of the commentary 121 Mount Carmel, height of 87 Multivalency of Scripture 34–35 Myrrh 125 Nakedness

88–89

Nard 126 Navels beauty of 82, 89 ugliness of 82 Neck of maiden 70 Northern French background of commentary 118–128 Northern French Peshat School 128 Old French Glosses 110–117 Oxford Manuscript of commentary 130

129–

Parallel expression 80–81 Perfumes 124–127 Peshat, peshuto shel Miqra 32–45 Pleasure-walking in the Song 22–23 Poetry, addressed to one’s love 30 Prague Anonymous 20–24, 32, 33n7, 86, 88, 128 on breasts 88 on maiden of the Song 22 on Solomonic authorship of the Song 22n37 see also Index of Primary Sources Pubic hair, beauty of 82, 88 Qara, Joseph 5n16 Qedarites 26 Qimhi, David 5n14, 24–25, 128 Qimhi, Joseph 128 Rabbeinu Tam 26 Rashbam 5, 18–20, 21, 28, 33n7, 61n28, 67, 78–79, 85, 86, 88, 127, 128 polemic vs. 79, 80 Song of Songs commentary of 54n25 See also index of Primary Sources Rashi 5, 16–18, 21, 28, 33n7, 61n28, 67, 80n44, 85, 86, 88, 98, 109, 110, 128, 184k See also Index of Primary Sources Realia 41 Red, redness, beauty of 83–84 Repetition (rhetorical method) 78–79 Restlessness of male lovers 94 Rhetorical devices 63–78 Roses 71, 84 effect on fawns 88 Rosin, David 16

262 Saadia ben Joseph Gaon 28n58, 100n9, 101, 105 Saffron 126 Saliva 28 Samuel ben Meir see Rashbam Sealed Fountain, as metaphor for maiden 75 Secular interpretation of the Song 128 Shemuʾel, the copyist 129 Shulammite 60 Similes 64 Singing 30 Skin color, beauty of 84 Solomon, King 8, 59, 60, 79, 94–95, 169, 171 as author of Song of Songs 21, 22 as the lover, in Song of Songs 21–22, 45, 61–62 bed of 91–92 crown of 79–80, 169 mother of 79 Song of Songs allegorical interpretation of 32, 33, 90 authorship of 21, 45 characters of 59–63 literary units of 54–59 Spanish culture 128 Spanish Hebrew poetry 90 influence of 95, 123–124 on love 127 Spices, spice garden 124–127 Staircase parallelism 78, 79 Substitutions in biblical language 102 Switching persons in one literary unit 98– 103

subject index Tallness, as beautiful feature 87 Teeth beauty of 84 of maiden 69 Tournaments 37, 38 Tower of David 177, 179 Towers 38, 121–122 building method for 88n63 Tree of knowledge 75 Tree of life 75 Troubadors 29, 30 Trouveres 29, 30 Turrets 38 Ugliness and beauty 85 of blackness 85 of navels 82 Veil 86 Vowel substitution 108–109 Vulgate, exegete’s possible knowledge of Wasf 83 Way of lovers 30 Way of the world 33, 41–45, 88n63 White, whiteness, beauty of 84 Wine, wine-drinking 35, 64–66, 122–124 Wine songs 123 Women, beauty of 81, 82 Yefet ben Eli 5, 15–16, 62, 125 Yod, added to a word 109–110

29

Facsimiles of the Oxford Manuscript All images with kind permission of the Bodleian Libraries, University of Oxford.

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Bodleian Library, ms Opp. 625, fol. 227r

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figure 10 Bodleian Library, ms Opp. 625, fol. 227v

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Bodleian Library, ms Opp. 625, fol. 228r

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figure 12 Bodleian Library, ms Opp. 625, fol. 228v