The Steinsaltz Megillot

Megillot Translation and Commentary

Megillat Shir HaShirim

Commentary by
Rabbi Adin Even-Israel Steinsaltz

Koren Publishers Jerusalem

The Steinsaltz Megillot
The Song of Songs

Commentary by
Rabbi Adin Even-Israel Steinsaltz

Koren Publishers Jerusalem Ltd.

POB 4044, Jerusalem 91040, ISRAEL
POB 8531, New Milford, CT 06776, USA

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First edition 2019

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Executive Director, Steinsaltz Center Editor in Chief
Rabbi Meni Even-Israel Rabbi Jason Rappoport

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Introduction to The Steinsaltz Megillot
Scholars and lay readers alike are aware that writing a new commentary on the Bible requires assistance and blessings from Above,
as well as substantial effort from below. Two fundamental challenges stand before one who seeks to write a commentary on the
Bible: First, the aspiration to relate to the loftiest and holiest text and to explain it faithfully risks hubris. Second, a huge number
of commentaries on the Bible have been composed over the course of the past three thousand years by the greatest people in our
history. Who has the audacity to attempt to join this holy assembly or even grasp its coattails?
Sanction for undertaking this daunting task can be found in Rashi’s statement to his grandson Rashbam, himself the author
of an important commentary on the Torah. Rashbam reports Rashi to have said that if he had had the strength, he would have
written another commentary in accordance with the “plain meanings that are renewed every day” (Rashbam, Genesis 37:2).
In every generation and on each passing day, fresh light can be shed on the verses of the Bible and new perspectives can be
found. Not only are new answers offered to old questions, but in every era additional questions are raised by students of the Bible,
due to both the diversity of the personalities, and the differing interests and perspectives, of each era. Throughout the ages, the
great commentaries have discussed a wide range of different issues. To this day, thank God, there are many scholars and students
of the Bible raising unique questions and challenges that require attention, analysis, and investigation. All these illuminate the
eternal words of the Torah through a range of viewpoints and give rise to “plain meanings that are renewed every day.”
This commentary seeks to offer the reader the plain meaning of the text, the peshat. Ostensibly, this is the simplest level of
interpretation, but the elucidation of the plain meaning is actually the most difficult type of interpretation. Other kinds of
interpretation, based on allusion [remez], midrashic hermeneutics [derash], or esoteric, mystical traditions [sod], are free to forge
links between the text and the sources from which they draw and are not constrained by the language and concepts of the Bible.
In contrast, discovering the plain meaning of the text requires the interpreter to adhere closely to the literal meaning of the words
while paying attention to syntax and context.
Although this commentary includes references to many other commentaries, it is not an anthology. It was not intended to
provide a comprehensive array of interpretations from across the generations. The aim of the references is to show that a suggested
interpretation is based on earlier sources or discusses a similar question. Moreover, this work does not aspire to be revolutionary
or novel. Rather, it aims to present what might be called a “transparent” commentary, one whose explanations should go almost
unnoticed and serve only to give the reader and student the sense that there is no barrier between him or her and the text. The
aim is to let the Torah speak for itself, to allow the prophets to prophesy and the wise men to impart their wisdom. In order to
enable the “voice” of the verses to be heard, the annotations are brief, serving as a thin, barely perceptible screen rather than a
heavy, concealing coat of armor.
At Mount Sinai, the entire Jewish people heard “a great voice” (Deuteronomy 5:18), which the Sages interpret to mean a voice
that has never ceased (Targum Onkelos; Sanhedrin 17a). It is my hope that this project will help people hear the voice of the Torah
even in our busy, noisy world.

Rabbi Adin Even-Israel Steinsaltz

Introduction by the Hebrew Editors
The purpose of this commentary is to assist the contemporary reader by bridging the gaps in language, outlook, and culture
between us and the world of the Bible. As far as possible, it seeks to clarify ambiguities, elucidate problematic passages, and
remove obstacles to understanding while dealing with both explicit and implicit difficulties.
The commentary consists of several parts, which complement but are independent of one another. The literal translation of the
verses appears in boldface. Woven into the biblical text in non-bold typeface are brief explanatory comments and elaborations.
Below the text are notes that offer more elaborate discussion of topics that appear in the verses as well as insights into the general
context and scientific and historical realia that surround the biblical text.
The biblical text is divided into units based on subject matter, which do not always accord with the standard division into
chapters. Each unit is prefaced by a heading and a short introduction. This structure should not be viewed as a definitive partition
of the biblical text but as a suggestion, part of the commentary, for the reader’s convenience and orientation.
The commentary seeks to concisely clarify the language and context at the most basic level so as not to encumber the
reader. Consequently, it is not committed to a particular exegetical method and does not systematically defer to any particular
commentator. In cases where there are differing explanations of a passage, alternative explanations may be cited. In cases where
the halakhic tradition expounds a verse in a manner not consistent with the plain meaning, this will be noted and explained
briefly in the annotations themselves or by means of a reference, allowing the plain meaning of the text to be preserved while not
disregarding the interpretation of the Oral Law.
It must be stated that even when written without qualification, the interpretations offered are not meant to be seen as
authoritative. They are no more than suggestions, occasionally novel ones, which are compatible with the simple meaning of the
text and which speak to the average reader. There are no systematic exegetical considerations behind the decision to adopt any
particular interpretation.
Much thought and labor have been invested to ensure that the design of this work is as aesthetically pleasing and convenient
for the user as possible. This design is the fruit of an ongoing collaboration between the team at the Institute for Talmudic
Publications and Koren Publishers. Our thanks to Rabbi Meir Hanegbi, whose wisdom, conviviality, and efficiency contributed
greatly to the success of the project. Rabbi Hanokh Ben Arza, may his memory be for a blessing, was the father of the two editors
in chief of the Hebrew edition; his spirit and respect for the written word inspired them in their work.

The Editors
Introduction by the Translators
ON THE TRANSLATION OF THE MEGILLOT
The English translation of The Steinsaltz Megillot includes a completely new translation of the Bible based on Rabbi Adin Even-
Israel Steinsaltz’s Hebrew commentary. Translation is necessarily an act of interpretation. In general, we have done our best,
at Rabbi Steinsaltz’s behest, to stay as close as possible to the original Hebrew verses so that the English reader will encounter
the complexities of the text directly. In the course of translating, we have consulted other English translations, as well as relying
heavily upon Onkelos’ Aramaic translation and the classic medieval Jewish commentaries of the Torah: Rav Se’adya Gaon, Rashi,
Ibn Ezra, Ramban, and Rashbam. Our goal throughout has been to produce a translation that is true to the original Hebrew
text and commentary, yet at the same time is readable and accessible to a broad range of readers, from those who are familiar
with Hebrew and seek to deepen their understanding of the Torah to those who will gain access to the text only by reading it in
English. The commentary and notes are written in modern American English. In the spirit of the Hebrew edition, we have tried to
preserve the lofty register of the biblical text while providing a commentary that is relevant and inspiring to our own generation.
We hope that the Author of the Torah has aided us in achieving this goal.

THE LAYOUT OF THIS EDITION

On the left-hand side of each set of facing pages is the Hebrew text of the Bible with the traditional cantillation marks, meticulously
edited over decades by the team at Koren Publishers, Jerusalem. On the facing page, the Steinsaltz translation of the Bible appears
in boldface with the commentary interspersed between the words of the text in non-bold typeface. This enables the reader to
easily follow either the direct translation alone or the translation augmented by the elucidated text.
The notes at the foot of the page are divided into two categories. Discussion notes provide background material, internal
biblical parallels, alternative explanations, and a wealth of midrashic and philosophical ideas from Jewish commentaries over
the generations. Background notes provide linguistic, historical, archaeological, and scientific information that is relevant to
places, nations, flora and fauna, and other realia mentioned in the verses. Integrated into both the commentary and the notes are
pictures, maps, and other graphics to aid the reader in grasping the biblical text.
References and sources for the commentary appear as endnotes, while the references and sources for the notes are interspersed
throughout the notes themselves in parentheses. These references and sources, compiled by the Hebrew editors, include citations
of other verses in the Bible, commentary elsewhere in the Bible, insights of the rabbinic Sages in the Talmud and midrashim,
interpretations of the classical biblical commentaries, and citations of philosophical works and responsa by the early authorities
[rishonim].
The translation of the verses of the Megillot was undertaken by Rabbi Joshua Schreier and reviewed meticulously by Rabbi
Dr. Joshua Amaru. Many talented editors and translators participated in the translation of the commentary and notes as listed in
the credits. We thank Matthew Miller, Avishai Magence, and the devoted and gifted team at Koren Publishers. We are grateful
to Rabbi Meni Even-Israel, Executive Director of the Steinsaltz Center, whose wisdom and guidance have made this publication
possible. We also thank Rabbi Dr. Natan Slifkin of the Biblical Museum of Natural History in Beit Shemesh for his help in
identifying some animals and providing suitable images.
 Introduction by the Translators

TRANSLITERATION
In general, we have tried to keep transliteration to a minimum and have relied upon it only for proper nouns and in places where a
point of commentary relates to a Hebrew term. In the case of proper nouns, we have sought a middle ground between a rigorous
adherence to Hebrew phonology and the use of anglicized versions of names taken from earlier translations of the Bible. For
familiar names of both places and people, where encountering a transliteration would be jarring to many readers, we have used
the well-known anglicized versions, such as Canaan, Egypt, Abraham, and Moses. Otherwise, proper nouns are transliterated
according to the rules listed below. These transliterations offer the English reader an experience that is closer to that of the
Hebrew reader.
Of course, determining which names count as familiar and which are not is not an exact science; the policy has been to use the
anglicized names of familiar figures such as the names of prophets and books of the Bible, and some other well-known characters
and place-names. The transliteration scheme generally follows modern Israeli Hebrew pronunciation, but note the following
points:
•  For proper nouns no special characters are used to designate sounds that do not exist in English. For example, the name
‫יעזֶ ר‬
ֶ ‫ ֲא ִח‬will not be rendered Aĥiezer (with a diacritic for the letter ĥet that is used for the transliteration of Hebrew terms
that are not proper nouns) but rather Ahiezer. Consequently, the letter ‫ ח‬is rendered as h (like the letter ‫)ה‬.
•  The letter h, representing the Hebrew letter ‫ה‬, has been omitted at the end of a word unless its omission could lead to
mispronunciation. For example, ‫ שלה‬is written Shela, while ‫ נינוה‬is written Nineveh.
•  The soft letter ‫ כ‬is rendered as kh.
•  No distinction has been made between a letter containing a dagesh ĥazak (elsewhere represented by a double consonant)
and one without. For example, it is Hukat as opposed to Hukkat.
•  Apostrophes indicating glottal stops are employed only where a name could be mispronounced without them. For example,
it is Se’ir as opposed to Seir.
•  We have maintained a more technical transliteration scheme for citations, including the diacritic ĥ and consonant doubling
for cases of a dagesh. For example, in the citation Tanĥuma, Korah 5, Tanĥuma retains the diacritic ĥ, whereas Korah does not.
On behalf of the team of inspired and dedicated translators, editors, and copy editors with whom it has been a great privilege to
work, I express my hope that the decisions we have made have produced a translation that is faithful to the Hebrew, readable,
accessible, and useful to the reader.
Jason Rappoport
Editor in Chief
 ‫)‪Cantillation Marks (Trop‬‬
‫שמות הטעמים וסימניהם‬

‫סֹוף־פ ֽס ּו ק‬
‫ָּ‬ ‫  מ ְר ָכ֥א ִט ּ ְפ ָח ֭א‬
‫ֵ‬ ‫ח א ֻמ ָּנ ֣ח ֶא ְת נַ ְח ָּ ֑ת א‬
‫ֵמ ְר ָכ֥א ִט ּ ְפ ָ ֭‬ ‫אשכנזים‪:‬‬

‫  מ ָּנ֣ח ׀ ֻמ ָּנ֣ח ְר ֗ ִב ַיע‬

‫ֻ‬ ‫ף־ג ֕דֹול‬ ‫ַמ ְה ּ ַ ֤פ ְך ּ ַפ ׁ ְש ָט ֙א ֻמ ָּנ֣ח זָ ֵק ָ‬
‫ף־ק ָ֔טן   זָ ֵק ָ ּ‬

‫דֹולה‬
‫א־ג ָ‬‫יש ְ ּ‬ ‫֠ ְּ‬
‫  ת ִל ׁ ָ‬ ‫ַק ְד ָ֨מא דַּ ְר ָ ּג ֧א ְּת ִ ֛ביר ֻ מ ָּנ֣ח זַ ְר ָק ֘א ֻ מ ָּנ֣ח ֶס ֒‬
‫גֹול‬

‫  פ ֡זֵ ר‬
‫ָּ‬ ‫  ג ְר ׁ ַש ֞יִ ם‬ ‫  אזְ ָל ֜ ֶ ּ‬
‫א־ג ֶר ׁש ֵ ּ‬ ‫ַ‬ ‫  ק ְד ָ֨מא וְ ַאזְ ֜ ָלא‬
‫ַ‬ ‫א־ק ַט ָּנ ֩ה‬
‫יש ְ‬
‫ְּת ִל ׁ ָ‬

‫א־כ פ ּו ָל ֦ה‬
‫  מ ְר ָכ ְּ‬
‫ֵ‬ ‫י־פ ָ ֟ר ה‬
‫  ק ְר נֵ ּ ָ‬
‫ַ‬ ‫  ג ְל ַ ּג֯֯ל‬
‫ַּ‬ ‫  ש ְל ׁ ֶ ֓ש ֶל ת‬
‫ַׁ‬ ‫֚ יְ ִתיב‬

‫  סֹוף־פ ֽסוּק׃‬
‫ָּ‬ ‫‏‏‏‏‪ְ ‎‎‎‬‏‏לגַ ְר ֵמ ּה ׀‬

‫ר־ג ֡דֹול‬
‫   פ זֵ ָ ּ‬
‫ָּ‬ ‫גֹול ָת ֒א‬
‫  ס ְ‬‫ְ‬ ‫ר־הֹול ֣ ְך‬
‫ֵ‬ ‫ף־ש ֹופָ‬
‫  מ ַ ּק ׁ‬
‫ַ‬ ‫זַ ְר ָק ֘א‬ ‫ספרדים‪:‬‬

‫  פ ֵסק׀ ָ  ר ִ֗ב ַיע ׁ ְ‬

‫  שנֵי־גֵ ְר ׁ ִ֞שין‬ ‫֠ ַּת ְל ׁ ָשא ִּ  ת ְיל ׁ ָש ֩א ַ  אזְ ָל ֨ ֜‬
‫א־גֵ ִר ׁיש ּ ָ‬

‫ר־מ ֻה ּ ָפ֤ךְ‬
‫  שֹופָ ְ‬
‫ׁ‬ ‫  א ְתנַ ֑ח‬
‫ַ‬ ‫  ט ְר ָ ֭חא‬
‫ַ‬ ‫  מ ֲא ִ ֥ריךְ‬
‫ַ‬ ‫  ת ִ ֛ביר‬
‫ְּ‬ ‫דַּ ְר ָ ּג ֧א‬

‫  ש ְל ׁ ֶ֓ש ֶלת‬

‫ַׁ‬ ‫ף־ק ֔טֹן   זָ ֵקף־גָ ֕דֹול‬
‫י־ק ְד ִמ ֙ין   זָ ֵק ָ‬
‫  ת ֵר ַ֙‬
‫ְּ‬ ‫ַק ְד ָמ ֙א‬

‫  סֹוף־פ ֽסוּק׃‬
‫ָּ‬ ‫י־ט ֲע ֵ ֦מי ֚‬
‫  יְ ִתיב‬ ‫  ת ֵר ַ‬
‫ְּ‬ ‫נֵי־פ ָ ֟רה‬
‫  ק ְר ּ ָ‬
‫ַ‬ ‫ַ ּג ְל ַ ּג֯֯ל‬
The Song of Songs
 The Song of Songs | Introduction to The Song of Songs

The Song of Songs

INTRODUCTION TO THE SONG OF SONGS

The Song of Songs is a collection of love poetry. Despite the literary unity of the book and its themes, it is hard to discern a
coherent narrative running through it all. Between the obscure starting point of the book and its conclusion, which could point
toward marriage, there are elusive circles of mutual courtship and pursuit. Nevertheless, there is an overall harmony to the poems,
and despite the peaks and troughs in the relationship between the lovers who are the poems’ focus, there is no open conflict
between them. They occasionally become distanced from one another, but soon return and become close once again.
Other characters apart from the two lovers make brief appearances, but they do not participate in the main events, and are
marginal figures, who sometimes serve to provide a different perspective on the relationship between the principal couple.
The encounters depicted here are more intimate than the accepted manners of courtship in the ancient Jewish world. It is
certainly possible that the poems do not tell of real face-to-face meetings, but rather represent the lovers’ tender fantasies. The
dreamlike vagueness of the narrative throughout the book supports this suggestion.
The love between man and woman, which is the focus of the entire book, has been understood throughout the generations
as an allegory for the relationship between the people of Israel as a whole and the Holy One.1 The Song of Songs evokes a
relationship of intense longing and intimacy using very specific imagery. This representation of the love between God and His
people through metaphors of sexual love is far from unique in the Bible, and not at all foreign to Jewish tradition. In the Bible this
characterization is especially prevalent in the Prophets. Some of the prophets evoke a marital relationship, both as the ideal of the
covenant and as the model for the betrayal and jealousy felt by God when Israel sins.2 This imagery is often highly physical and
even erotic. Nevertheless, the tone of The Song of Songs differs from these metaphors.
Allegorical love poems that express religious devotion and a believer’s feeling for his god were not unusual in the ancient
Middle East. For example, ancient Sumerian poems have been discovered that are broadly similar in their themes to The Song of
Songs, and some of them were expressly designed for use in ritual ceremonies of worship. This fact serves to undermine the oft-
heard suggestion that the allegorical reading of The Song of Songs offered by the Sages is the anachronistic reaction of a prudish
culture shocked by its explicitness. It is rather an instance of an ancient and well-established phenomenon.
Notwithstanding the similarities between The Song of Songs and similar poems from other cultures, The Song of Songs is
neither generic nor universal. The images are well defined, detailed, and local. They refer to the Land of Israel, its scenery and
ways of life, with especial attention paid to Jerusalem and its environs. Although there is a certain continuity in the setting of
the characters and events described, the book does not provide a well-articulated representation of the characters and their
relationship as one finds typically in ancient Greek literature. Every so often, the characters shift and display different aspects
of themselves, and thus another feature of the poem is revealed, inviting more and more exegetical interpretations and further
investigations into hidden levels of meaning. Each detail remains vital and sensuous, and yet at the same time symbolic and
fundamental. Over the generations, The Song of Songs has become a timeless recounting of the love between the nation of Israel
and God.
It has been the custom since the Middle Ages to recite The Song of Songs on the festival of Passover, which always occurs in the
spring. This is the season of the events described in the book, and Passover also represents the springtime of Israel as a nation.3
Many communities also have the custom of reading The Song of Songs every week, just before the start of Shabbat.

2
 The Song of Songs | Chapter 1

The Song of Songs

At the simplest level, The Song of Songs is the poetic expression of the passion of two young lovers.
Song of the Young Woman It has always been understood as referring also to other sorts of love relationships. Beyond the
to Her Beloved allegorical reading of the Sages, in which The Song of Songs depicts the love between the Jewish
people and God, the entire book can be read as the portrayal of the love of an individual soul for its
THE SONG OF SONGS 1:1 Creator. Each level of interpretation, that of the collective Jewish people’s relationship with God and
that of the individual’s relationship with God, makes use of different symbols.

1 1 The song
4
of songs, D
the most special of poems, which is Solomon’s.D Solomon king of Israel is said to have composed a great number of
poems.

The Opening Poem The first poem expresses the intensity of new love, while hinting at other dimensions of the love relationship.
THE SONG OF SONGS 1:2–4

2 The poem opens without identifying its speaker, but its gram- and she takes hold of his hand and runs with him. However,
matical context, which addresses a male beloved, leaves no they do not run aimlessly: The king brought me to his private
doubt that these are the words of a young woman: May he kiss chambers. At this point, another layer is added to the poem,
me with the kisses of his mouth, as your loveB is better than as the woman discovers that her beloved is no ordinary man
wine. Alternatively: The wetness of your mouth is better than but the king himself. Although the beloved will sometimes be
wine.5 The speaker’s transition from employing third person described as a shepherd, perhaps the king prefers to appear as
pronouns to directly addressing her subject likely alludes to a a simple man rather than a ruler when courting his loved one.
process in which passionate fantasies feel more and more real, However, when they finally run together, the king takes her
eventually giving the impression that the beloved is present specifically to his palace chambers. Alternatively, in the eyes of
even if he is not. the woman, her beloved shepherd is a king, and she feels like a
3 The woman continues to praise her beloved: By the fragrance queen whose groom, the king, is leading her to his home.6 This
of your good oils, even your name is pleasant like poured oil motif does not seem typical of a love poem. It reveals another
[shemen turak],B and therefore, the young women love you. layer of meaning: The soul, which until now has wandered in
The young woman speaks not only of love for her partner and a the familiar outside world, finds itself inside the chamber of the
yearning for personal closeness to him, but also of her admira- beloved king. There let us exult and rejoice in you. We will
tion for him, noting that he is loved by all. recount your love, which is sweeter and more intoxicating
4 Draw me; after you we will run together. The verse portrays than wine. Rightly [meisharim] do they love you, or upright
a budding romance: The young man woos the young woman, individuals love you.

In the following few verses, the woman speaks to other figures, real or
An Address to the Daughters of Jerusalem metaphorical.
THE SONG OF SONGS 1:5–6

5 The woman declares: I am black but lovely,BD daughters of

Jerusalem. The city of Jerusalem serves as the backdrop for the
poem. I am black like the tents of the tribes of Kedar.B These
tents were made from the wool of the local goats, which were
typically black, like the curtains of Solomon,B which were
most splendid, and perhaps also black. The woman’s black and
beautiful appearance is illustrated by a pair of contrasting im-
ages: coarse wool and royal drapes. Tents in the wilderness

4
‫שיר השירים | פרק א‬

‫שיר השירים‬
::‫ֽי־טֹובים דּ ֶ ֹ֖דיךָ ִמּיָ ֽיִ ן‬ ִ֥ ‫יקֹות ּ ֔ ִפיה ּו ִּכ‬ ֣ ‫ יִ ׁ ּ ָש ֵ ֙קנִי֙ ִמ ּנ ׁ ְְִש‬::‫שר ִל ׁ ְְְשל ֹֽמֹה‬ ֥ ֶ ׁ ‫שיר ַה ׁ ּ ִש ִ ֖ירים ֲא‬ ִ֥ ׁ ‫א‬
‫ב‬ ‫א‬
ָ‫ ָָמ ׁ ְְְש ֵכ֖נִי ַ ֽא ֲח ֶ ֣ריך‬:: ָ‫ל־כ֖ן ֲע ָל ֥מֹות ֲא ֵה ֽבוּך‬ ֵּ ‫טֹובים ׁ ֶש ֶ֖מן ּתו ַ ּ֣רק ׁ ְְש ֶמ֑ךָ ַע‬ ִ֔ ָ‫יח ׁ ְְש ָמנֶ ֣יך‬ ֙ ַ ‫ְְל ֵ ֙ר‬ ‫ג‬
‫ד‬
‫יש ִ ֖רים‬ ָ ׁ ‫יך ִמ ַּ֔ייִ ן ֵ ֽמ‬
֙ ָ ‫נִש ְְמ ָח ֙ה ָּ֔ב ְְְך נַ זְְְ ִּכ ָ֤ירה ד ֶ ֹ֙ד‬ ׂ ְְְ ְְ‫יאנִי ַה ֶּ֜מ ֶל ְְְך ֲח ָד ָ ֗ריו נָ גִ ָ֤ילה ו‬
֨ ַ ‫נָ ֑רוּצָ ה ֱה ִב‬
‫יעֹות‬ ֖ ‫אוה ְְּבנ֖ ֹות יְְ ֽרו ׁ ָּש ָ ֑ל ִם ְְּכ ָָא ֳֳֽה ֵל֣י ֵק ָ ֔דר ִּכ ִֽיר‬ ֔ ָ ָ‫חֹורה ֲאנִי֙ וְְֽֽ נ‬
֤ ָ ‫    ש‬::
ְְ ׁ ָ‫ֲא ֵה ֽבוּך‬ ‫ה‬

BACKGROUND DISCUSSION
1:2 |  Your love [dodekha]: This word Kedar: In the Torah, Kedar is listed 1:1 |  The Song of songs: The Sages teach: All the Writings, or in
has two meanings: First, it is the plural as Ishmael’s second son (Genesis a different version, all the poems, are holy, but The Song of Songs
form of dod, “beloved,” as in the verse 25:13), and in the Prophets it refers is the holy of holies (Mishna Yadayim 3:5; see Shir HaShirim Rabba
“This is my beloved [dodi], and this is to a nomadic tribe, or group of tribes, 1:11). From a grammatical perspective, the phrase “song of songs”
my companion” (5:16). Second, it de- that raised cattle and camels and en- can be considered an expression of emphasis, like “slave of slaves”
notes lovemaking, based on a similar gaged in commerce (see Isaiah 42:11, (Genesis 9:25, and Ibn Ezra ad loc.). The title of the book also re-
Akkadian term, and this is the mean- 60:7; Jeremiah 49:28; Ezekiel 27:21). flects its dual nature: The Song of Songs is simultaneously a single
ing of dodekha in this verse (see also Assyrian records refer to the leaders prose poem or story and a compilation of individual poems each
verse 4, 4:10, 7:13; Proverbs 7:18). of Kedar and their wanderings in the relating its own partial narrative. Indeed, the transitions from one
1:3 |  Poured oil [shemen turak]: The region of the Syrian-Arabian desert. section to another are not always smooth and are likely to leave
word turak means poured or emptied. Pliny the Elder lists them together the reader seeking clarification.
Alternatively, it is related to tamruk, with the Nabateans as migrants and Which is Solomon’s: Solomon makes several appearances in
cosmetics (see Vilna Gaon). According settlers in Babylonia, present-day The Song of Songs, not only as its author but also as a character,
to this interpretation, shemen turak Jordan, and the Sinai Peninsula. albeit with a somewhat obscure role. He is sometimes portrayed
is perfumed oil. A similar term in Like the tents of Kedar, like the cur- as a third party independent of the lovers, sometimes as a kind of
Akkadian means a perfume or spice. tains of Solomon: The root kuf-dalet- custodian of the young woman, whom he presents to others. At
1:5 |  I am black, but lovely [nava]: reish means dark or black. The tribes other times, Solomon appears in the role of the beloved himself,
In Akkadian, nawru means sparkling, of Kedar were known by this name although several other verses indicate that the beloved is not a
shiny, and colorful. Indeed, a woman due to their dark clothing and tents. king but a shepherd. According to the allegory, the figure of King
whose skin was darkened as a result Against the background of the desert Solomon in The Song of Songs represents God (see, e.g., Shevuot
of guarding vineyards (see verse 6) rocks and light sands, the dark tents of 38b). But even without resorting to the allegory, it is clear that
might stand out among her friends. It Kedar could be seen from a great dis- the figure of Solomon is an amalgamation of a historical person
is worth noting the statement in the tance. The comparison of a woman to and a symbol. This is one of the many fluid and enigmatic aspects
Mishna (Nega’im 2:1) concerning the Solomon’s colorful woven curtains can of the book.
typical complexion of the Jewish peo- be understood by noting that royal 1:5 |  I am black, but lovely: This expression has been understood
ple in ancient times: “Rabbi Yishmael tents, as well as the Tent of Meeting in an apologetic light: Although I am dark or tanned, and I do
says: The children of Israel, may I be in the wilderness, had two layers: an not perfectly match your image of ideal beauty, I am neverthe-
an atonement for them! They are like outer one of a uniform color, made less beautiful. The perception of beauty expressed in the verse is
the box tree, neither black nor white, of goats’ wool, and an inner, multicol- typical of the ancient Middle East, where the inhabitants, particu-
but in between.” The color of the box ored one. larly the poorer ones who worked outside, were usually of a dark
tree, of the genus Buxus, is somewhere complexion, while paler skin tones were associated with the elites
between ivory and light brown. and were considered more beautiful.

5
 The Song of Songs | Chapter 1

The woman now addresses how a fair and modest daughter

of Jerusalem faced such exposure to the sun: The sons of my
mother were incensed at me; they placed me as guard of the
family vineyards,B to chase away any animals that attempted
to infiltrate. However, because of the task imposed upon me,
my own vineyard I did not guard. I too have a vineyard of
my own, but the members of my family who quarreled with
me cared only for their vineyards, while mine was left aban-
doned. This verse can be understood as the personal struggle of
a woman who wishes to extricate herself from the plight of her
perceived external ugliness, and to reveal her hidden beauty.
However, the verse can also be interpreted metaphorically as a
declaration by the Jewish people: Admittedly we are not clean
and pure as snow, but the blackness of our sins is not a natural
blemish, nor was it caused by circumstances of our own choos-
ing. As a nation, we have been forced to wander frequently.
Wanderings of the tribes of Kedar Because of the other nations, we were forced to fulfill various
6 Do not gaze at me disrespectfully,7 seeing that I am dark, for roles for the benefit of the world, to preserve their vineyards.
this is not my natural color; rather, the sun has tanned me.8 Therefore, we were left without the time or opportunity to pro-
tect our own vineyard.

The woman now turns to her beloved, who presumably was not present during her conversation
The Young Woman’s Declaration with the daughters of Jerusalem. Perhaps this is not a real exchange, but an expression of a
and the Beloved’s Response secret wish.
THE SONG OF SONGS 1:7–2:7

7 Tell me, you whom my soul loves, where do you herdD your 9 The lover briefly expresses his love for the woman, even more
flock? Where do you rest your flock at noon?B Why should emphatically than her expressions of affection for him: To
I be as one bound to the a mare in Pharaoh’s chariots I have likened you, my love.
flocks of your colleagues? Horses are generally considered beautiful creatures. A horse
Alternatively: Why should I harnessed to one of Pharaoh’s chariots would be perfect and
wrap myself up or veil myself adorned with decorations.10
for reasons of modesty, in
following the flocks of other
shepherds? If you tell me
where to find you, I will not Flock of sheep
be forced to wander in the
company of strangers.
8 For the first time, the lover’s response is heard: If you do not
know where I am, you, the fairest among women, go out in
the footsteps of the sheep and herd your kids. Apparently,
in addition to being a keeper of vineyards, the woman is also
a shepherdess. A young shepherdess would generally be given
a small flock of kids, while the larger flocks were shepherded
by men. The matriarch Rachel likely shepherded such a small
flock.9 You must seek me by the tents of the shepherds. The
beloved is unable to give the young woman an address where
she can find him. Rather, she must go out to seek him. Similarly, Horse pulling Pharaoh’s chariot, fresco, Abu Simbel, southern Egypt,
thirteenth century BCE
the final destination of the soul’s great journey, like that of
Israel’s travels in the wilderness, lies beyond the horizon.

6
‫שיר השירים | פרק א‬

֙‫ּ־בי ָ ׂש ֻ֙מנִי‬ִ֗ ‫ש ֲא ִנ֣י ׁ ְְש ַח ְְְר ֔ח ֶֹרת ׁ ֶש ׁ ּ ְְשזָ פַ ְְְ֖תנִי ַה ׁ ּ ָש ֶ֑מ ׁש ְְּבנֵ ֧י ִא ִּ ֣מי ִנ ֲֽחרו‬ֽ ֶ ׁ ֙‫ל־ת ְְְר ֻ ֙אנִי‬
ִּ ‫ ַא‬::‫ׁ ְְשל ֹֽמֹה‬ ‫ו‬

‫ ַה ִ ּג ָ֣ידה ִּ֗לי ׁ ֶש ָ ֽ֤א ֲה ָב ֙ה נַ פְְְ ׁ ֔ ִשי ֵא ָיכ֣ה‬::‫ת־ה ְְּכ ָר ִ֔מים ַּכ ְְְר ִ ֥מי ׁ ֶש ִּ ֖לי ֥ל ֹא נָ ָ ֽט ְְְר ִּתי‬ ַ ‫נֽ ֵֹט ָ ֣רה ֶא‬ ‫ז‬

‫ם־ל ֹא‬֤ ‫ ִא‬:: ָ‫ִת ְְְר ֶ֔עה ֵא ָיכ֖ה ַּת ְְְר ִּ ֣ביץ ַּ ֽב ָָּצ ֳֳֽה ָ ֑ריִ ם ׁ ַש ָּל ָמ֤ה ֶ ֽא ְְְהיֶ ֙ה ְְּכ ֣ע ְְֹט ָ֔יה ַע֖ל ֶע ְְְד ֵ ֥רי ֲח ֵב ֶ ֽריך‬ ‫ח‬

‫ת־ג ִדּי ַֹ֔תיִ ְְְך ַע֖ל ִמ ׁ ְְְש ְְּכנ֥ ֹות‬

ּ ְְ ‫י־ל ְְְך ְְּב ִע ְְְק ֵב֣י ַה ּ֗צֹאן ו ְְְּר ִעי֙ ֶא‬ ָ֞ ‫ָשים צְְֽֽ ִא‬ ֑ ִ ׁ ‫ֵ ֽת ְְד ִעי֙ ָ֔ל ְְְך ַהּיָ פָ ֖ה ַּב ּנ‬
‫ נָ או֤ ּו ְְל ָח ַ֙ייִ ְְְ ֙ך ַּב ּת ִ ֹ֔רים‬::‫יך ַר ְְְעיָ ִ ֽתי‬
ְְְ ‫ית‬
֖ ִ ‫    ל ֻ ֽס ָס ִתי֙ ְְּב ִר ְְְכ ֵב֣י פַ ְְְר ֔עֹה דִּ ִּמ‬::‫ים‬
ְְ ‫ָ ֽהר ִ ֹֽע‬ ‫ט‬
‫י‬
‫ד־ש ַ֤ה ֶּ֙מ ֶל ְְְ ֙ך ִּב ְְְמ ִס ּ֔בֹו‬
ֶ ׁ ‫ ַע‬::‫נְְקדּ֥ ֹות ַה ָּכ ֶֽסף‬ ֻ ‫ה־ל ְְְך ִ ֖עם‬ ָּ֔ ‫ֹורי זָ ָה ֙ב נַ ֲֽע ֶ ׂש‬ ֤ ֵ ‫ ּת‬::‫אר ְְְך ַּב ֲֽחרו ִּזֽים‬ ֖ ֵ ‫צַ ָ ּו‬ ‫יא‬
‫יב‬

10 Like the horse in Pharaoh’s a golden background, like white spots

chariot, your cheeks are on dark fur. Allegorically, the chariots
lovely and decorated with of Pharaoh recall Israel’s exodus from
rings, apparently large ear- Egypt, while the various ornaments
rings that rest on the cheeks; are reminiscent of the great wealth
your neck is decorated with taken from there by the children of
beads. Israel. This combination of gold and
11 You are worthy of even silver has been given many other in-
grander jewelry: We will Necklace, Egypt, seventh century terpretations, some of them mystical.
make you golden rings BCE 12 The young woman’s response again Gold earring, Italy,
with studs11 of silver.B Silver studs stand out prominently on expresses her desire to be close to her fourth century BCE

BACKGROUND DISCUSSION
1:6 |  Guard of the vineyards: The main work 1:7 |  Rest your flock at noon: A day of shep- 1:7 |  Where do you herd: This question is left
in a vineyard, namely the harvesting and stor- herding is generally divided into three stages: unanswered. The only response the woman
age of grapes, and the production of wine In the morning hours, the sheep graze in the receives is that she should continue looking. This
and raisins from the fruit, is performed over fields; during the noon hours, the flock rests in constant searching is an attribute of the soul
the course of a three- to five-month period. the shade and chews its cud; in the afternoon, and can also be metaphorically ascribed to the
During this time, the vineyard is vulnerable to the flock grazes again until close to sunset, heavenly bodies that are constantly orbiting. This
animals and to thieves who might take grapes before returning to its pen or shelter for the idea is echoed by the question attributed to the
without permission. To protect against these night. angels, in which they ask repeatedly: Where is the
threats, vineyard owners and their families 1:11 |  We will make you golden rings with place of His glory? (Musaf prayer for Shabbat and
would guard their vineyards. In many cases, studs of silver: It is possible that these silver festivals; see Ĥagiga 13b; Pirkei deRabbi Eliezer 4).
round, tall structures suitable as lookouts studs are to be integrated between golden This question appears in a different form as a re-
were built to house the guards. These struc- spherules, in order to enhance the visual ef- quest by Moses: “If I have found favor now in Your
tures were typically constructed from stones fect. The combination of gold and silver is a eyes, inform me, please, of Your ways…. Show me,
gathered from a clearing, with a booth erect- motif in other sources as well (see Proverbs please, Your glory” (Exodus 33:13–18). As with the
ed at the top of each of them. 25:11; Mishna Pesaĥim 5:5). request of the young woman, Moses appeals to
God: If You love me, then allow me to approach
You and to know You.

7
 The Song of Songs | Chapter 2

beloved: While the king was at his feast, my lavenderB emit- 17 The beams of our houses are made of cedars,B and our raf-
ted its fragrance. Among all ters are junipers.B Two aspects of the lovers’ relationship are
the fragrances at the king’s intertwined in this passage.
feast, the scent of my Alongside passionate love,
lavender is the most there is a motif of calm and
pro­nounced.12 the stability of home. When
13 A bundle of myrrhB is my the woman calls to her lover,
beloved to me, lying be- “Draw me; after you we will
tween my breasts. The run” (verse 4), the intention
young woman dreams: If Lavender is not to run and play aim-
only my beloved were like a lessly, as the same verse Greek juniper
bundle of myrrh hanging from my neck and resting in my concludes: “The king brought me to his chambers.” The blos-
bosom. soming love between them, which is expressed by the fresh bed
of the previous verse, is followed by the dream of sharing a
home. Their relationship must eventually be brought into a
stable framework. The young man and woman, though com-
pletely engulfed in a passionate love, still set as their goal a
shared home, symbolizing the nation of Israel in Egypt or in the
wilderness who, caught up in their romance with God, still
yearned to reach their homeland.
2 1 The young woman contin-
ues: I am as beautiful as a
daffodil of the Sharon,B a
Pendant with recep- Trees from which myrrh is extracted lily of the valleys.B
tacle for fragrant
herbs, Egypt, first 2 Her beloved confirms:
century BCE Indeed, like a lily among
the thorns, so is my love
14 A cluster of henna,B a fragrant plant whose fruit grows in among the girls. You stand Sea daffodil
clusters, my beloved is to me, in the vineyards of Ein Gedi, out among all the other girls,
where henna apparently grew. Perhaps the woman anticipates and you are different from
meeting her lover there. them. Furthermore, just as
one can enjoy the conspicu-
ous beauty of a lily, but it is
difficult to approach the
flower due to the thorns, so
too you are not easily acces-
sible. This depiction alludes Madonna lily
to the simultaneous intimacy
and distance present in their relationship, which can be under-
Cluster from a henna tree Date flowers stood at all levels of interpretation.
3 The young woman praises
15 As the pace of the exchange between the beloved and his lover her beloved: Like an apple
increases, the beloved speaks again: Behold, you are fair, my tree,B with its distinct aro-
love; behold, you are fair; your eyes are like doves. Doves ma,14 among the plain trees
are a symbol of beauty and grace; the comparison of the wom- of the forest, so is my be-
an’s eyes to doves is also indicative of perfection and tranquility, loved among the boys. In
which arouse the man’s love.13 addition to its scent, the
16 The young woman responds: Behold, you are fair, my be- apple tree possesses other Apple tree
loved, your company is pleasant too; indeed our bed is fresh. advantages: In its shade I delighted and I sat, and its fruit
She fantasizes of a shared home and bed. was sweet to my palate.

8
‫שיר השירים | פרק ב‬

‫ ֶא ׁ ְְְש ּ֨כֹל ַה ּ֤כֹפֶ ר ׀ דּ ִֹודי֙ ִ֔לי ְְּב ַכ ְְְר ֵמ֖י‬::‫יָלין‬

ֽ ִ ‫ צְְ ֨רֹור ַה ּ֤מֹר ׀ דּ ִֹודי֙ ִ֔לי ֵּב֥ין ׁ ָש ַ ֖די‬::‫נִ ְְְרדִּ ֖ י נָ ַ ֥תן ֵר ֽיחֹו‬ ‫יג‬
‫יד‬
‫דֹודי֙ ַ ֣אף‬ ִ ‫ ִה ְְּנ ֨ ָך יָפֶ ֤ה‬::‫יֹונֽים‬ ִ ‫יניִ ְְְך‬ ֥ ַ ‫    ה ָּנ֤ ְְְך יָפָ ֙ה ַר ְְְעיָ ִ֔תי ִה ָ ּנ ְְְ֥ך יָפָ ֖ה ֵע‬::‫י‬
ִ ‫ֵע֥ין ֶ ּג ִֽד‬ ‫טו‬
‫טז‬
‫יטנ ּו‬
֖ ֵ ‫ ֲאנִי֙ ֲח ַב ֶּצ ֶ֣לת ָ ֽר ִה‬::‫רֹותים‬ ֽ ִ ‫רחיטנו ְְּב‬ ֖ ‫ ק ֹ֤רֹות ָּב ֵּ֙תינ ּ֙ו ֲא ָר ִ֔זים‬::‫שנ ּו ַ ֽר ֲענָ נָ ֽה‬ ֖ ׂ ֵ ‫ף־ע ְְְר‬
ַ ‫נָעים ַא‬ ִ֔ ‫יז‬
‫א‬ ‫ב‬
‫ּח‬
֙ ַ ‫ ְְּכ ַת ּ ֙פו‬::‫ֽחֹוחים ֵּכ֥ן ַר ְְְעיָ ִ ֖תי ֵּב֥ין ַה ָּבנֽ ֹות‬ ִ֔ ‫ֹוש ָּנ ֙ה ֵּב֣ין ַה‬ ַ ׁ ‫ ְְּכ ׁ ֽש‬::‫ֹוש ַּנ֖ת ָה ֲֽע ָמ ִ ֽקים‬ ַ ׁ ‫ַה ׁ ּ ָש ֔רֹון ׁ ֽש‬ ‫ב‬
‫ג‬

BACKGROUND
1:12 |  Lavender [nerd]: Later in The Song of fragrant, and the natural henna dye is extracted deal of nectar and emits a strong, pleasant
Songs (4:14), nerd appears in a list of fragrant from its roots. Other possible identifications of aroma. The ĥavatzelet of the Sharon has been
plants. As to its identity, there are two main the kofer include date palm flowers, known as previously identified as the Madonna lily, the
suggestions. The first identifies it as lavender, kufra in the Talmud; cloves and the camphor narcissus, or even the saffron crocus, but none
Lavandula angustifolia, that grows wild through- tree, neither of which grows in Israel; the cy- of these flowers is typically found in the Sharon.
out the Middle East and is a common feature of press, and early ripening grapes, which could Lily [shoshana] of the valleys: There are nu-
modern Israel’s landscape. Its flowers emit a conceivably have been grown in Ein Gedi. merous opinions with regard to the identity
familiar scent, and are arranged like stalks [shib- 1:17 |  Cedars: The cedar, genus Cedrus, is a of the shoshana. Based on a similar Akkadian
bolet] on their twigs, leading the Sages to refer large and beautiful conifer tree. The tree, which term, the shoshana is the flower known as the
to it as shibbolet nerd (see Karetot 6a). In Ancient can reach a height of 40 m, grows in elevated Madonna lily, Lilium candidum. Alternatively,
Greek, lavender is known as nardus. and cold regions, and is common in Lebanon. it is the water lily, or the blue lotus, Nymphaea
The second suggested identification is spike- Due to its strength and flexibility, cedar wood caerulea. The identification of the shoshana
nard, Nardostachys jatamansi, a plant that grows was particularly useful in the construction of as the Madonna lily fits the next verse, “a lily
in the Himalayan mountains. The leaves and root public structures and palaces. [shoshana] among the thorns,” since thorn
of the spikenard are the source of a valuable According to Egyptian and Assyrian records bushes are sometimes found near this plant.
fragrant oil whose aroma is similar to musk, and from the first and second millennia BCE, the for- Nevertheless, it is not a wild plant that grows in
whose scent is agreeable to some more than ests of Lebanon were a main source of building the valleys. By contrast, the water lily flourishes
others. According to this interpretation, the materials for large buildings and ships as well as in freshwater pools, or in marshes in lowlands or
term shibbolet nerd refers to hairs that cover the ritual boats, furniture, and coffins. Cedars were valleys. However, thorns do not grow around it.
underside of the spikenard’s stalk. imported from Lebanon for the construction Another possible identification of the
The Aramaic translations of the Bible, as well of both the First Temple (I Kings 5:20) and the shoshana is Rosa phoenicia, a prickly shrub with
as some researchers, suggest other identifica- Second Temple (Ezra 3:7). beautiful and fragrant white flowers that grows
tions for nerd, such as turmeric, the rose, or in Israel on the banks of valley streams, which
Moringa peregrine, which is found in desert oases Junipers [berotim]: Berotim, or beroshim, usu-
ally appear in the Bible alongside cedars, and fits both characterizations in the verses. It is also
in Israel. possible that the shoshana of the valleys and the
this tree also grows in the mountains of Lebanon
1:13 |  Myrrh [mor]: One of the most impor- (see II Kings 19:23; Ezekiel 27:5). The term shoshana among the thorns are different species.
tant spices in the ancient world, myrrh was berotim does not refer to the genus Cupressus, If so, then one may identify the shoshana of the
extracted from the resin of trees of the genus known in modern Hebrew as the berosh, but valleys as the lotus, which grows in the valleys,
Commiphora, native to Africa, southern Arabia, rather to the Greek juniper, Juniperus excelsa. and the shoshana among the thorns as the
and eastern India. Myrrh is mentioned in in- This tree is common in Lebanon and reaches a Madonna lily.
scriptions and manuscripts from the ancient height of 30 m. Yet another possibility is that shoshana is a
Orient and was used in cosmetics until modern general term for beautiful multi-petaled flowers.
times. Alternatively, mor has been identified 2:1 |  Daffodil [havatzelet]
∙ of the Sharon: The If so, the date palm could also be referred to as
with anpakinon, oil extracted from unripe olives Sharon is the coastal plain of Israel immediately a shoshana of the valleys due to the terrain in
(Shabbat 80b), used as a depilatory. According north of what is now the Tel Aviv area. An in- which it grows, its resemblance to a flower with
to the Rambam, mor is extracted from the scription on the sarcophagus of Eshmunazar II, splendid petals, and the fact that just above the
glands of musk deer (see Ramban, Exodus a Phoenician king of Sidon, as well as ancient ground it is surrounded with prickly shoots. This
30:23). Egyptian sources, refer to the region by this identification is also supported by the proto-
name. On the beaches of this region one can Ionic capital design found on columns in the
1:14 |  Henna [kofer]: Most researchers identify find the sea daffodil, Pancratium maritimum,
the kofer plant with the henna tree, Lawsonia area, which were called timorot, comparable to
from the Amaryllidaceae family. Its attractive tamar, the date (see I Kings 7:19, and commen-
inermis, which stands 1–6 m tall. Requiring a flowers are white and fragrant. The petals have
warm climate, it once grew on the terraces of tary ad loc.).
a diameter of roughly 10 cm, and it grows to a
the oasis of Ein Gedi. Its clusters of flowers are height of 60 cm. The mature flower has a great

9
 The Song of Songs | Chapter 2

4 He brought me to the wine house, a kind of tavern where the heart, the woman invokes animals that symbolize beauty
men would drink. It is not clear whether such a tavern would and love. This obscure language, which is repeated elsewhere in
serve women as well. Consequently, it seems that this phrase is The Song of Songs (3:5, 8:4), indicates that the young woman
an expression of the young woman’s wish that her lover would is confident that her relationship with her beloved will ulti-
allow her to accompany him wherever he goes. It is also pos- mately blossom, and so she requests that her love be allowed
sible that this wine house was the equivalent of a modern-day to advance at the appropriate pace. Her fantasies of constant
café. Alternatively, this term refers to a vineyard. And his gaze and public companionship, represented by the wine house, do
[diglo] upon me is love. Diglu in Akkadian indicates seeing not need to come to fruition immediately; on the contrary, she
or gazing. Alternatively, our love is his banner [degel]; he takes is worried that they might materialize prematurely. Still, she
pride in displaying to others the love that radiates from us.15 yearns for her beloved to reveal their mutual love before all at
5 Support me with raisin cakes,16 cushion me with a bed of ap- the appropriate time. Allegorically understood, the nation of
ples, for I am lovesick. In her weakness, the woman requests Israel wishes for God to reveal Himself and display before all
to be surrounded by fruit so as to create an aromatic, pleasant the nations His love and closeness to Israel.
environment.17 It is possible that she mentions raisin cakes [ash- It is noteworthy that one does not ordinarily take an oath
ishot] because of the reinforcement [ishush] that she requires. by gazelles or deer. In choosing these images, the woman
They were known by this name because they were considered evokes different names of God. In Hebrew, the word “gazelles”
to give strength to those who ate them. The raisin cakes and [tzeva’ot] alludes to one of God’s names: Lord of Hosts [Adonai
apples literarily parallel the wine house and the apple tree men- Tzeva’ot], while the term “deer of the field” [ayalot hasadeh] re-
tioned in the previous two verses. sembles another: God Almighty [El Shadai].
6 His left arm is under my head and his right embraces me. In
pining for her beloved, she imagines that she is lying close to
him.
7 I administer an oath to you, daughters of Jerusalem, who
are not active participants in the story but background charac-
ters surrounding the woman, by the gazelles,B and by the deer
of the field,B that you not awaken and not rouse love, until
it desires to awaken by itself. Do not stir the love from the out-
side; let it develop naturally. Since this oath involves matters of Gazelles Roe deer

Alongside declarations of mutual love and desire, the poem emphasizes the fluctuations of the developing
Entreaties and Rejections connection between the lovers. The need for patience with regard to matters of the heart is stressed as
THE SONG OF SONGS 2:8–3:5 well.

8 The sound of the footsteps of my beloved, behold he ap- Alternatively, come with me. The time has arrived for you to
proaches, leaping on the mountains, bounding on the hills venture forth on a journey and to progress to a higher plane.
toward me. 11 For, behold, the winter [setav], the rainy season, has passed;
9 My beloved is like a gazelle or a fawn, skipping speedily the rain is over and gone. Although in modern Hebrew setav
over the hills, in all its splendor; behold, he is already stand- means autumn, in this verse it refers to winter, and this is also
ing behind our wall. I can hear him behind the wall, and I its meaning in Aramaic.19 In fact, it is questionable whether
can sense his presence,18 watching from the windows, peer- the Land of Israel has an au-
ing at me through the cracks. Like the events of national tumn season at all, since its
redemption, an individual’s relationship with God is neither two principal seasons are a
linear nor orderly. The gazelle racing over the mountains is hot, dry summer and a rainy
alternately visible and hidden, as is the woman’s beloved as winter.20
he stands behind the wall, only visible through a crack in the 12 The blossoms have been
structure. The metaphor of the wall expresses varying stages seen in the land, the time of
of revelation and concealment. the nightingaleB has ar-
10 Drawing near, my beloved turned to me and spoke up, and he rived, and the characteristic
said to me: Get up, my love, my fair one, and go by yourself. sound of the turtledoveB is Almond blossom

10
‫שיר השירים | פרק ב‬

֙ ַ ‫ ֱה ִב‬::‫ַּב ֲֽעצֵ ֣י ַה ַּ֔י ַער ֵּכ֥ן דּ ִ ֹ֖ודי ֵּב֣ין ַה ָּבנִ ֑ים ְְּבצִ ּל ֹ֙ו ִח ַּ ֣מ ְְְד ִּתי וְְ יָ ׁ ֔ ַש ְְְב ִּתי וּפִ ְְְריֹ֖ו ָמ ֥תֹוק ְְל ִח ִּכֽי‬
֙‫יאנִי‬ ‫ד‬

‫ֽי־חֹול֥ת‬
ַ ‫ישֹות ַר ּ ְְפ ֖דוּנִי ַּב ַּת ּפו ִ ּ֑חים ִּכ‬ ֔ ׁ ‫ ַס ְְּמ ֙כוּנִי֙ ָּב ֲֽא ׁ ִש‬::‫ל־ב֣ית ַה ָּ֔ייִ ן וְְ ִדגְְְ ֥לֹו ָע ַל֖י ַ ֽא ֲה ָבֽה‬ ֵּ ‫ֶא‬ ‫ה‬

‫ ִה ׁ ְְְש ַּ֨ב ְְְע ִּתי ֶא ְְְת ֶ֜כם ְְּבנ֤ ֹות‬::‫ֽימינ֖ ֹו ְְּת ַח ְְּב ֵֽקנִי‬ ִ ‫ֹאשי ִו‬ ִ ֔ ׁ ‫ ְְ ׂשמֹאל ֹ֙ו ַּ ֣ת ַחת ְְלר‬::‫ַ ֽא ֲה ָב֖ה ָ ֽאנִי‬ ‫ו‬
‫ז‬
‫ת־ה ַ ֽא ֲה ָב֖ה‬ ָ ‫ם־ת ֽע ְְֹור ֛ר ּו ֶא‬ ָּ ‫יְְ ֽרו ׁ ָּש ֙ ַלִ ֙ם ִּבצְְְ ָב ֔אֹות ֖אֹו ְְּב ַא ֣יְְְלֹות ַה ּ ָשׂ ֶ ֑דה ִא‬
ְְּ ‫ם־ת ִע֧יר ּו ׀ וְְֽֽ ִא‬
‫ל־ה ָ֣ה ִ ֔רים ְְמ ַק ּ ֵפ֖ץ ַעל־‬ ֶ ‫ֹודי ִה ֵּנה־זֶ ֖ה ָּב֑א ְְמ ַד ֵּלג֙ ַע‬ ֔ ִ ּ‫    קֹול ד‬::‫ֽץ‬
֣ ‫ַע֥ד ׁ ֶש ֶּת ְְְח ּ ָפ‬ ‫ח‬

‫יח‬
֙ ַ ‫עֹומ ֙ד ַא ַ ֣חר ָָּכ ְְְת ֵ֔לנ ּו ַמ ׁ ְְְש ִ֙ ּג‬ֵ ‫דֹודי֙ ִלצְְְ ִ֔בי ֖אֹו ְְל ֣עֹפֶ ר ָה ַֽאּיָ ִל֑ים ִה ֵּנה־זֶ ֤ה‬ ִ ‫ֹומ֤ה‬ ֶ ּ‫ ד‬::‫ַה ְְ ּג ָב ֽעֹות‬ ‫ט‬

‫דֹודי וְְ ָ ֣א ַמר ִל֑י ֥קו ִּמי ָל ְְְ֛ך ַר ְְְעיָ ִ ֥תי יָ ֽפָ ִ ֖תי ו ְְְּל ִכי־־־‬ ֖ ִ ‫ ָענָ ֥ה‬::‫ן־ה ֲֽח ַר ִּכֽים‬ ַ ‫ן־ה ַ֣ח ּל ׇֹ֔נֹות ֵמצִ ֖יץ ִמ‬ ַ ‫ִמ‬ ‫י‬

‫ ַה ִּנ ָּצנִי ֙ם נִ ְְְר ֣א ּו ָב ָ ֔א ֶרץ ֵע֥ת ַהּזָ ִ ֖מיר‬::‫ֽי־ה ֵּנ֥ה ַה ְְּס ָ ֖תו ָע ָב֑ר ַה ֶ֕ ּג ׁ ֶשם ָח ַל֖ף ָה ַל ְְְ֥ך ֽלֹו‬ ִ ‫ ִּכ‬::‫ָל ְְְֽך‬ ‫יא‬
‫יב‬

BACKGROUND
2:3 |  Apple tree [tapuah]:
∙ The verse is almost are kosher, since they both chew the cud and 2:12 |  Nightingale [zamir]: This refers to the
certainly referring to one of the ancestors of the have cloven hoofs. The coat of the gazelle is common nightingale, Luscinia megarhynchos, a
modern-day apple tree, Malus domestica, a spe- light brown in color, while its belly and rump brown bird with a reddish tail. The nightingale
cies of deciduous fruit trees from the Rosaceae are white, making its short, black tail conspicu- measures roughly 15 cm in length and passes
family. The wild apple, Malus sieversii, with ous. Both males and females have straight horns through Israel on its migratory flight to Europe
its multicolored peel, grows in Kazakhstan. that grow throughout their lifetime. As part of from Africa, mainly during the Hebrew month of
The yellow and fragrant European crab apple, their mating ritual, the male chases the female Nisan, at the beginning of spring. Some remain
Malus sylvestris, grows throughout Europe. The for long distances until the latter accedes; hence in Israel throughout the summer. The nightin-
oriental apple, Malus orientalis, a hybrid pro- the phrase “until it desires” (see also 3:5). gale is named, in both Hebrew and English, for
duced from wild and crab apple strains, grows Deer of the field: These are generally identified its loud, sweet song [zemer], which is especially
in Turkey. All naturally occurring apple trees as the roe deer, Capreolus capreolus, and a mem- noticeable at night.
grow in forests or on the outskirts of forests, and ber of the family Cervidae. Like all deer, roe deer Turtledove [tor]: This is the European turtle-
produce beautiful, fragrant, whitish-pink flow- are kosher, since they chew the cud and have dove, Streptopelia turtur, a migratory bird from
ers. Some of them are also prickly. According to cloven hoofs. Originally indigenous to the Land the Columbidae family that flocks to Israel from
the Targum, the tapuaĥ is actually the etrog (see of Israel, this breed of deer disappeared from the Africa during the spring. During their migra-
Tosafot, Shabbat 88a). The apple tree appears area in the early twentieth century. Attempts tion, some of these birds continue northward,
later in The Song of Songs as a shady, aromatic have been made in recent years to restore the while others remain until the autumn migratory
location suitable for a lovers’ rendezvous (see breed to its natural habitat on Mount Carmel. season when they return south. The turtledove
7:9, 8:5). The roe deer grows to a length of 95–135 cm varies in color, ranging from gray to chestnut. It
2:7 |  Gazelles: The mountain gazelle, Gazella and a height of approximately 75 cm, weighing has bright patches on its neck, and its body is
gazella, is a swift, long-legged antelope of the on average 15–30 kg. As opposed to gazelles, approximately 28 cm long. During mating sea-
family Bovidae. Gazelles generally live in groups only the male roe deer have antlers, which re- son, the male turtledove emits a characteristic
and herds, and their activity can be best viewed grow annually. During mating season, the males cooing sound, which is the origin of its name in
at night, in the light of a full moon. They are seek out the females, who attract them to their Hebrew and Arabic, as well as in a number of
gentle, cautious creatures and, like all antelope, territories. European languages.

11
 The Song of Songs | Chapter 3

heard in our land. These migratory birds pass through Israel troubles of both the individual and the collective. Although
during the spring, and are therefore a sign of winter’s end. they are not dangerous to humans, they can cause significant
damage to vineyards as the grapes begin to grow. Likewise,
even when the lovers’ romance begins to blossom, other trou-
bles lie ahead.
16 Although there are obstacles to our coming together, this is not
due to emotional distance: My beloved is mine, and I am his,
who herds among the lilies. Although my beloved shepherds
among the lilies, as I gather from his pleasant scent,21 he always
Common nightingale Turtledove remembers me, and I him; so the love between us will last. Even
when I must chase away the foxes that ruin the vineyard, and he
13 The fig tree formed its unripe figs. Unripe figs begin to form is occupied with important matters in his own world, there can
in early spring. And the blossoming vines have formed their be no doubting our bond.
budding, and emitted their 17 We cannot see each other until the day is great, until the sun
pleasant fragrance. These shines fully, or until the wind blows,22 and the shadows flee. In
buds appear as clusters of the meantime, turn around,
small white flowers. Get up, my beloved, and be like
my love, my fair one, and a gazelle or a young hart
go. Spring is the best time for on the cleft mountains,
walking in nature. mountains that are scored by
14 My dove, my love, who hides “The fig tree formed its unripe figs” ravines and valleys. Alongside
in the clefts of the rock, in the yearning for closeness,
the covert of the terrace: the partners give each other
Come out, and show me space. This point is often lost “Cleft mountain.” Mount Arbel
your appearance, let me between lovers. Not all times
hear your voice, for your are ripe for intense passion, and it is sometimes preferable to
voice is pleasant, and your allow one’s beloved to tend to his or her own matters. Here the
appearance is lovely. The Dove in the cleft of a rock young woman is confident in the strength of their bond; she is
time has come for you to re- certain that her beloved will return. Whether this verse refers
veal yourself. This can be understood as a call to the individual to historical events in the process of national redemption or to
soul or the nation of Israel to take action, as the time of redemp- the experiences of the individual’s soul, there are times of pas-
tion has arrived. According to the Sages’ allegorical reading, sion, revelation, and intimacy, and there are also times of calm,
these verses allude to Israel’s exodus from Egypt, which took concealment, and distance. In these moments of distance, the
place in the spring. According to the allegory of the individual couple is not truly separated from one another. Rather, their
soul’s yearning for God, these verses describe how the periods connection is toned down, demanding less of each of them.
of cold and darkness during which the soul was in hibernation Love requires moments of respite so that its intensity does not
are over, and have been replaced with light and life; it is there- become overwhelming.
fore time to rise and venture forth. 3 While the woman’s beloved runs over the hills, she remains
1
15 However, the path ahead is neither straight nor smooth: Catch at home, yearning for him: On my bed during the nights I
for us the foxes, those little foxes that ruin the vineyards,B sought the one whom my soul loves. In light of verse 4 below,
as our vineyards are already in bud, and the damage caused it seems her sleeping chambers are not in her parents’ house. I
by the foxes can be significant. The little foxes symbolize the sought him, but I did not find him. He was not close by. One
of the symbolic interpretations of this description is that the
soul seeks God at times of loneliness and difficulty, only to find
Him distant.
2 She takes action: I will rise now, and go about the city, in the
streets and in the squares. I will seek the one whom my soul
loves; perhaps he can be found in the city streets. However,
again, I sought him, but I did not find him.
Jackal Fox

12
‫שיר השירים | פרק ג‬

‫יה וְְ ַה ְְ ּגפָ ִנ֥ים ׀ ְְס ָמ ַ ֖דר נָ ְְ֣תנ ּו‬ ָ ‫ ַה ְְּת ֵאנָ ֙ה ָ ֽחנְְ ָ ֣טה פַ ֶ֔ ּג‬::ּ‫נִש ַ ֥מע ְְּב ַא ְְְרצֵ ֽנו‬ ְְְ ׁ ‫ִה ִ ּג ַ֑יע וְְ ֥קֹול ַה ּ֖תֹור‬ ‫יג‬

‫      יֹֽונָ ִ֞תי ְְּב ַחגְְְ וֵ ֣י ַה ֶּ֗ס ַלע ְְּב ֵ֙ס ֶת ֙ר ָל ְְְ֛ך‬::‫י־ל ְְְֽך‬ ָ ‫ֵ ֑ר ַיח ֥קו ִּמי ֛לכי ַר ְְְעיָ ִ ֥תי יָ ֽפָ ִ ֖תי ו ְְְּל ִכ‬ ‫יד‬

‫יך‬ ְְְ ‫ֽי־־־קֹול ְְְ֥ך ָע ֵ ֖רב ו ַּמ ְְְר ֵ ֥א‬

ֵ ‫־־־קֹול ְְְ֑ך ִּכ‬
ֵ ‫יענִי ֶאת‬ ֖ ִ ‫־־־מ ְְְר ַ ֔איִ ְְְך ַה ׁ ְְְש ִמ‬
ַ ‫ַה ַּמ ְְְד ֵר ָ֔גה ַה ְְְר ִ ֙אינִי֙ ֶאת‬
‫ּ־־לנ ּ֙ו ׁ ֽשו ָּע ִ֔לים ׁ ֻ ֽש ָע ִ ֥לים ְְק ַט ִּנ֖ים ְְמ ַח ְְּב ִ ֣לים ְְּכ ָר ִ ֑מים ו ְְְּכ ָר ֵ ֖מינ ּו‬ ָ ֙ ‫    א ֱחזו‬::‫ֽה‬
ֶֽ ֶ‫נָ או‬ ‫טו‬

‫ּח ַהּי֔ ֹום וְְ נָ ֖ס ּו ַה ְְּצ ָל ִל֑ים סֹ ֩ב‬ ֙ ַ ‫ ַע֤ד ׁ ֶשּיָ ֙פו‬::‫ֹוש ִּנֽים‬ ַ ׁ ‫ דּ ִ ֹ֥ודי ִלי֙ וַ ֲֽאנִ ֣י ֔לֹו ָ ֽהר ֶֹע֖ה ַּב ׁ ּ ֽש‬::‫ְְס ָמ ַ ֽדר‬ ‫טז‬
‫יז‬
‫       על־‬::‫ר‬ַ ‫ל־ה ֵרי ָב ֶֽת‬ ֥ ָ ‫דֹודי ִלצְְְ ִ֗בי ֛אֹו ְְל ֥עֹפֶ ר ָה ַֽאּיָ ִ ֖לים ַע‬ ֜ ִ ‫ה־ל ֨ ָך‬ ְְ ‫דְְּ ֵ ֽמ‬ ‫א‬ ‫ג‬
‫ ָא ֨קו ָּמה‬::‫אתיו‬ ֽ ִ ָ‫ִמ ׁ ְְְש ָּכ ִבי֙ ַּב ֵּל ֔ילֹות ִּב ַ ּ֕ק ׁ ְְְש ִּתי ֵ ֥את ׁ ֶש ָ ֽא ֲה ָב֖ה נַ פְְְ ׁ ִ ֑שי ִּב ַ ּק ׁ ְְְש ִּ ֖תיו וְְ ֥ל ֹא ְְמצ‬ ‫ב‬

‫֜ ָּנא וַ ֲֽא ֽס ְְֹוב ָב֣ה ָב ִ֗עיר ַּב ׁ ּ ְְשוָ ִקי ֙ם ו ָ ּ֣ב ְְרח ֹ֔בֹות ֲא ַב ְְְק ׁ ֕ ָשה ֵ ֥את ׁ ֶש ָ ֽא ֲה ָב֖ה נַ פְְְ ׁ ִ ֑שי ִּב ַ ּק ׁ ְְְש ִּ ֖תיו‬
::‫יתם‬ ֽ ֶ ‫ ְְמצָ ֙אוּנִי֙ ַה ׁ ּ ֣ש ְְֹמ ִ ֔רים ַה ּֽס ְְֹב ִ ֖בים ָּב ִע֑יר ֵ ֛את ׁ ֶש ָ ֽא ֲה ָב֥ה נַ פְְְ ׁ ִ ֖שי ְְר ִא‬::‫אתיו‬ ֽ ִ ָ‫וְְ ֥ל ֹא ְְמצ‬ ‫ג‬

‫אתי ֵ ֥את ׁ ֶש ָ ֽא ֲה ָב֖ה נַ פְְְ ׁ ִ ֑שי ֲא ַחזְְְ ִּתי ֙ו וְְ ֣ל ֹא ַא ְְְר ּ ֔ ֶפנּ ּו‬ ִ ‫ש ָע ַ ֣ב ְְְר ִּתי ֵמ ֶ֔הם ַע֣ד ׁ ֶש ָּמ ֔ ָצ‬ ֽ ֶ ׁ ‫ִּכ ְְְמ ַע ֙ט‬ ‫ד‬

‫ ִה ׁ ְְְש ַּ֨ב ְְְע ִּתי ֶא ְְְת ֶ֜כם ְְּבנ֤ ֹות יְְ ֽרו ׁ ָּש ֙ ַלִ ֙ם‬::‫ל־־־ח ֶ֖דר ֽה ָֹור ִ ֽתי‬ֶ ‫ל־־־ב֣ית ִא ִּ֔מי וְְ ֶא‬ ֵּ ‫יאתי ֙ו ֶא‬ ִ ‫ד־־־ש ֲ֤ה ֵב‬ֶ ׁ ‫ַע‬ ‫ה‬

3 The watchmen who patrol the city found me, and I asked its childhood. One’s parents’ house is the place of his initial
them: Have you seen the one whom my soul loves? It ap- development. Therefore, the relationship must be built there.
pears that they too had not seen her beloved. The appearance Symbolically, returning to the mother’s home represents the
of watchmen indicates that this takes place in an established Jewish people returning to their national homeland from their
city, probably Jerusalem, which contains not only marketplac- exile among the gentile nations, and in a spiritual sense, return-
es and streets but also a patrol. ing to God. The people of Israel implore God: Let us return to
4 Since the watchmen offer no help, she turns elsewhere. I had our original state.
almost passed them, when I found the one whom my soul 5 Once again, the woman issues her warning: I administer an
loves. After three desperate attempts to find her beloved, first oath to you, daughters of Jerusalem, by the gazelles, or by
at home, then in the streets, and finally after asking others, she the deer of the field, that you not awaken and not rouse
finds him. I grasped him and I would not release him until I love, until it desires to awaken by itself. As mentioned above
brought him to my mother’s house, and to the chamber of (2:7), love has a natural course of development, and it must
the one who conceived me. Unlike in other parts of the text, be allowed to intensify on its own at the appropriate pace.
where the house and bed represent erotic love (e.g., 1:4, 16), in Elsewhere, the poem contains expressions of great passion, but
this verse the home symbolizes emotional closeness and fam- this verse speaks of a contrasting idea: Let love develop on its
ily. In terms of the soul’s experience, the soul seeks the object own terms; do not fan its flames prematurely.
of its love in order to return to the emotional relationships of

BACKGROUND
2:15 |  Little foxes [shu’alim] that ruin the jackal is often found near populated areas, When these blossomed in the spring, and when
vineyards: The term shu’al likely refers to the where it takes advantage of the local agricul- the grapes ripened in the summer, jackals
red fox, Vulpes vulpes, which can be found in tural supply for food in the spring and summer. searching for food would be attracted to them
Israel and whose diet includes fruit. It can also In the ancient world, the hills of Jerusalem and (see commentary on 1:6; Judges 15:4).
refer to the golden jackal, Canis aureus. The Hebron were terraced mostly with vineyards.

13
 The Song of Songs | Chapter 3

This section opens with praise for the woman, envisioned coming out of the wilderness,
The Young Woman’s Appearance perhaps to meet her groom. It then moves on to a description of the magnificent canopy and
and Solomon’s Splendor crown of King Solomon. There is no definitive explanation as to why King Solomon appears at
this point. Perhaps the mysterious beloved is none other than Solomon himself, who until now
THE SONG OF SONGS 3:6–11 has been anonymously walking through the streets of Jerusalem, courting a young woman
unaware of his identity. Alternatively, King Solomon’s appearance is meant only to provide
background imagery for the story. In order to highlight the simplicity of the love between the Jerusalemite woman and her beloved and their modest
lives, the poem portrays Solomon as reigning majestically over the city, surrounded by guards. According to the Sages, the name Solomon in The Song
of Songs refers to the highest king, God Himself, who is constantly present in the backdrop of the narrative.

6 Who is this coming up from the wilderness like columns of

smoke, which are visible in the desert from afar? This is not
regular smoke, but perfumed with myrrh and frankincense,B
fragrant spices, and with all
the powders of the mer-
chant. Merchants used to
travel from place to place
peddling cosmetics and jew-
elry to women.

King in palanquin with canopy, illustration based on fresco,

Ancient Egypt

9 King Solomon made himself a grand canopy, or perhaps a

canopied bed, from the wood of Lebanon.
Frankincense “Like columns of smoke.” Smoke 10 He made its pillars of silver, its cushioning of gold, and its
from incense altar seat of valuable purple wool.B Solomon’s guards protect his
canopy against strangers approaching from the outside, but its
7 At this point, the story turns in a new direction. King Solomon, interior is inlaid with love, from the daughters of Jerusalem
who until now was mentioned only in the opening verse of the who came to King Solomon’s bed. This could refer to Solomon’s
book, appears as a character in the story, as a king among his many wives and concubines
people: Behold the bed of Solomon: There are sixty valiant (see 6:8).
menD forming one or several perimeters around it,B from the 11 Emerge, daughters of Zion,
valiant of Israel. who represent the surround-
8 All these valiant men are armed with a sword, trained in war; ing public, and gaze at King
each man, a sword on his thigh, from fear in the nights. Solomon,D at the crown
There are fears that prey even on great rulers such as Solomon, with which his mother
and the guards therefore surround his bed. Although they crowned him on the day of
primarily served as a guard of honor, these valiant men also his wedding,D and on the
protect Solomon from sudden attack in the night. day of the rejoicing of his
heart.B Gold garland crown, Greece,
320–300 BCE

DISCUSSION
3:7 |  Sixty valiant men: The number sixty has various allegorical explanations for this number. have been interpreted as an allusion to the sixty
symbolic significance. It appears later in the For example, the queens have been said to sym- letters in the priestly blessings (see Shir HaShirim
book as the number of queens, also apparently bolize the sixty tractates of the Talmud (see Shir Rabba 3:7).
of King Solomon (6:8; Rashbam). The Sages offer HaShirim Rabba 6:8), while the sixty valiant men

14
‫שיר השירים | פרק ג‬

‫־־־ה ַ ֽא ֲה ָב֖ה ַע֥ד‬ ָ ‫ם־־־ת ֽע ְְֹור ֛ר ּו ֶאת‬ ְְּ ‫ם־־־ת ִע֧יר ּו ׀ וְְֽֽ ִא‬ ָּ ‫ִּבצְְְ ָב ֔אֹות ֖אֹו ְְּב ַאיְְְ ֣לֹות ַה ּ ָשׂ ֶ ֑דה ִא‬
‫ן־־־ה ִּמ ְְְד ָּ֔בר ְְּכ ִ ֽת ְְימ ֖רֹות ָע ׁ ָש֑ן ְְמ ֻק ּ ֶ ֤ט ֶרת‬
ַ ‫         ִ ֣מי ז֗ ֹאת ע ָֹל ֙ה ִמ‬::‫ׁ ֶש ֶּת ְְְח ּ ָפֽץ‬ ‫ו‬

‫ ִה ֗ ֵּנה ִמ ּ ָטת ֹ֙ו ׁ ֶש ִּל ׁ ְְְשל ֹ֔מֹה ׁ ִש ׁ ּ ִ ֥שים ִ ּג ּב ִ ֹ֖רים ָס ִ ֣ביב ָל ּ֑ה‬::‫רֹוכֽל‬ ֵ ‫בֹונה ִמ ּ֖כֹל ַא ְְְב ַ ֥קת‬ ָ ֔ ‫מֹ ֙ר ו ְְְּל‬ ‫ז‬

‫֤יש ַח ְְְר ּב ֹ֙ו ַעל־־־יְְ ֵר ֔כֹו ִמ ּ ַפ ַ֖חד‬ ׁ ‫ ֻּכ ָּל ֙ם ֲא ֻ ֣חזֵ י ֶ֔ח ֶרב ְְמ ֻל ְְּמ ֵ ֖די ִמ ְְְל ָח ָמ֑ה ִא‬::‫ִמ ִ ּג ּב ֵ ֹ֖רי יִ ְְְ ׂש ָר ֵ ֽאל‬ ‫ח‬

‫ ַע ּמו ָּדי ֙ו‬::‫      א ּ ִפ ְְְריֹ֗ון ָע ָ ׂ֤שה ל ֹ֙ו ַה ֶּמ ֶ֣ל ְְְך ׁ ְְשל ֹ֔מֹה ֵ ֽמ ֲעצֵ ֖י ַה ְְּל ָבנֽ ֹון‬::‫ֹות‬
ַ ‫ַּב ֵּל ֽיל‬ ‫ט‬
‫י‬
::‫ָע ָ ׂ֣שה ֶ֔כ ֶסף ְְר ִפ ָֽיד ֣תֹו זָ ָ֔הב ֶמ ְְְר ָּכ ֖בֹו ַא ְְְר ָ ּג ָמ֑ן ּתֹוכ ֹ֙ו ָרצ֣ וּף ַ ֽא ֲה ָ֔בה ִמ ְְּבנ֖ ֹות יְְ ֽרו ׁ ָּש ָ ֽל ִם‬
ּ֤ ‫ש ִע ּ ְְט ָר‬
‫ה־לֹו ִא ּמ ֹ֙ו ְְּביֹ֣ום ֲח ֻת ָּנ ֔תֹו‬ ֽ ֶ ׁ ‫צְְ ֶא֧ינָ ה ׀ ֽ ּו ְְְר ֶ ֛אינָ ה ְְּבנ֥ ֹות צִ ּי֖ ֹון ַּב ֶּמ ֶ֣לךְְְ ׁ ְְשל ֹ֑מֹה ָּב ֲֽע ָט ָ ֗רה‬ ‫יא‬

BACKGROUND DISCUSSION
3:6 |  Perfumed with myrrh and frankin- 3:10 |  Purple wool [argaman]: Argaman 3:11 |  King Solomon [Shelomo]: If this is a reference
cense [levona]: Frankincense is a fragrant, is a general name for a reddish-purple to God, who is described as the One for whom peace
whitish-yellow resin derived from Boswellia dye produced from the spiny dye-murex, [shalom] is His, then this entire portrayal relates to Him.
sacra trees. Its name in Hebrew, levona, is Murex brandaris, a snail that lives in the The Sages explain that “the day of his wedding” refers to
probably due to its whitish [lavan] color. Mediterranean Sea. The liquid used for the giving of the Torah, and “the day of the rejoicing of
Frankincense grows in the southern part of preparing this dye was extracted from a se- his heart” refers to the building of the Temple. Solomon
the Arabian Peninsula, as well as in Somalia cretion of the snail found in minute quanti- is of course the king who oversaw the construction of the
and Ethiopia. In King Solomon’s time, it ties in its hypobranchial gland. Thus, many Temple (Mishna Ta’anit 4:8; see I Kings 6). The canopy is
was probably grown in the Jordan Valley. thousands of snails were required to dye a reminiscent of the Holy of Holies, the innermost and most
Frankincense, which produces a fragrant fabric. Ancient documents attest that wool intimate chamber in the Sanctuary (see Shir HaShirim
smoke when burned, was used as part of the dyed with this substance was forty times Rabba). This canopy is constructed from extremely
meal offerings in the Tabernacle in the wil- more expensive than wool dyed with other valuable materials, and it is filled with the love of the
derness, and in the Temple in Jerusalem (see colors (see, e.g., Daniel 5:7). Consequently, daughters of Jerusalem, which represents the connec-
Leviticus 2:1, and commentary ad loc.). With argaman was used mainly for priests, kings, tion between man below and God above. According to
regard to myrrh, see commentary on 1:13. and ministers. Due to its importance and this interpretation, these verses depict the appearance
3:7 |  The bed of Solomon: There are high price, its production was controlled, of the King in His glory over the course of history as a
sixty valiant men around it: In ancient and at times, free trade of the dye was Savior, and as the One who holds the future in His hand.
times the royal guard served both to guard prohibited. At the crown with which his mother crowned him on
a monarch or ruler in case of rebellion, and 3:11 |  At the crown with which his moth- the day of his wedding: The Talmud states that crowns
as a symbol of his importance. It seems that er crowned him on the day of his wed- were placed on the heads of the children of Israel in
King David also had a special guard, com- ding, and on the day of the rejoicing of honor of the giving of the Torah (Shabbat 88a). It was
prising two groups of thirty soldiers each his heart: In ancient times, it was custom- customary to place a crown on the heads of bridegrooms
(see I Chronicles 11, and Da’at Mikra ad loc.). ary in many cultures to adorn the heads on their wedding day, but this practice was suspended
During the tranquil period of Solomon’s of bridegrooms and brides with crowns. after the destruction of the Temple (see Mishna Sota
reign, these “valiant men” served primarily The crowns of bridegrooms were generally 9:14). In certain places there developed a custom to place
as an honor guard. Even today, it is still cus- made from expensive metals such as silver the crown of the Torah scroll on the head of the groom,
tomary for kings and rulers to maintain such and gold, but there were also wreaths of and the authorities discuss the appropriateness of this
an honor guard, such as the Household flowers and reeds. custom. See Shulĥan Arukh, Oraĥ Ĥayyim 154:10, where
Division of the British monarch. the ruling is that this custom should not be practiced.

15
 The Song of Songs | Chapter 4

The beloved now uses imagery from various landscapes to praise the beauty of his love. However,
The First Song of the Beloved toward the end of the passage he announces a temporary separation.
to the Young Woman
THE SONG OF SONGS 4:1–7

4 1 The beloved’s praise for the young woman’s beauty is not super- 4 Your neck is like the tower of David, long and upright, built
ficial; it first focuses on those parts of the body through which magnificently [talpiyot].
the personality finds expression: Behold, you are fair, my This tower of David is not
love; behold, you are fair; your eyes are graceful and calm- the construction known by
ing as a pair of doves;B they peer out from behind your braid, that name today, but another
which rests partly on your face. In the context of God’s song to tall tower in ancient
Israel, these dovelike eyes have been interpreted as an allusion Jerusalem that no longer
to the willingness to accept a burden without complaint, and stands. Here, the beloved
to go wherever one is sent. Your hair is like a flock of goats praises the posture of the
that stream down from the highlands of Gilad,B an area of bride, the nation of Israel.
pasture. The goats in this imagery are black, and more active The Sages explain this verse Pendant necklace in the shape
than sheep, evoking the way a young woman’s curly black locks as a reference to the Temple, of warriors’ shields, Iran, first
flow down her head. which stood on the hill [tel] millennium BCE
to which all mouths [piyot] turn in prayer. One thousand
bucklers are hung upon it, all the shields of the mighty.B The
mighty men in the fortress would hang their shields on the
tower as a show of strength. This tower on which a thousand
shields hung resembled the woman’s upright neck decorated
with many ornaments.
5 Your two breasts are like two fawns, twins of a gazelle.B
Pair of doves Flock of goats moving down a
The birth of twins is not a particularly common phenomenon
mountain among gazelles or deer.
When twin fawns stand
2 Your teeth are like a flock of ordered ewes that have come together, their black noses
up from being washed, when they are extremely white and stand out, which is especial-
clean. As the ewes emerge simultaneously from the water, the ly striking when they graze
entire herd is lined up like white teeth, that are all paired, and among the white lilies.
there is none missing among them. 6 In the meantime, until the
3 Your lips are like a scarletB thread, and your speech is lovely. day is great, or until the
Some people have beautiful hot wind blows, that is, un- Two fawns
mouths but as soon as they til noon, and the shadows flee, I will go to the mountain of
open them to speak, their myrrh, the mountain where myrrh grows, and to the hill of
charm fades. In your case, frankincense, where the air is fragrant and pleasant. The be-
however, your speech com- loved, who grazes his flock among the lilies and wanders in the
plements your physical beau- mountains, tells his love that he is leaving for a short while and
ty. Your temple [rakkatekh] will return home when the sun is at full strength.
is like a pomegranate slice 7 The beloved concludes his poem with a verse that echoes its
which is exposed behind Pomegranate slices beginning: All of you is fair, my love, and there is no blemish
your braid. The Sages ex- in you; you are perfect. When one is in love, one sees no flaw in
pound rakkatekh based on the word reik, empty. Even the empti- the object of one’s love. Even if certain blemishes or problems
est or most depraved member of Israel is like a pomegranate slice appear, one considers them no more than temporary stains and
containing numerous seeds, which represent good deeds. passing shadows, and the overall picture remains perfect. This
holds true even with regard to divine love.

16
‫שיר השירים | פרק ד‬

‫יֹונים ִמ ַּב ַ֖עד‬ ִ ֔ ְְְ‫        ה ֨ ָּנךְְְ יָפָ ֤ה ַר ְְְעיָ ִתי֙ ִה ָ ּ ֣נךְְְ ֔ ָיָפה ֵעינַ ֣יִ ך‬::‫ֹו‬
ִ ‫ו ְְְּביֹ֖ום ִ ׂש ְְְמ ַ ֥חת ִל ּֽב‬ ‫א‬ ‫ד‬
‫ש ָע ֖ל ּו‬ ֽ ֶ ׁ ‫ ׁ ִש ֙ ַּניִ ְְְ ֙ך ְְּכ ֵע ֶ֣דר ַה ְְּקצו ּ֔בֹות‬::‫ְְלצַ ָּמ ֵ ֑ת ְְְך ַ ׂש ְְְע ֵר ְְְ ֙ך ְְּכ ֵע ֶ֣דר ָה ִֽע ִּ֔זים ׁ ֶש ָ ּג ְְֽל ׁ ֖ש ּו ֵמ ַה֥ר ִ ּג ְְְל ָעֽד‬ ‫ב‬

ַ֔ ְְְ‫ ְְּכ ֤חוּט ַה ׁ ּ ָשנִי֙ ִ ׂשפ‬::‫ימֹות וְְ ׁ ַש ֻּכ ָל֖ה ֵ ֥אין ָּב ֶהֽם‬
ְְְ‫תֹותיִ ךְְְ ו ִּמ ְְְד ָּב ֵ ֖רך‬ ֔ ‫ן־ה ַֽר ְְְחצָ ֑ה ׁ ֶש ֻּכ ָּל ֙ם ַמ ְְְת ִא‬ ָ ‫ִמ‬ ‫ג‬

‫אר ְְְך ָּבנ֖ וּי ְְל ַת ְְְל ּ ִפּי֑ ֹות‬ ֔ ֵ ‫ ְְּכ ִמגְְְ דַּ ֤ל דָּ וִ י ֙ד צַ ָ ּו‬::‫נָ אוֶ ֑ה ְְּכפֶ ַ֤לח ָה ִֽר ּמֹו ֙ן ַר ָ ּק ֵ֔ת ְְְך ִמ ַּב ַ֖עד ְְלצַ ָּמ ֵ ֽת ְְְך‬ ‫ד‬

‫אֹומי צְְ ִבּיָ ֑ה‬ ֣ ֵ ‫ ׁ ְְשנֵ ֥י ׁ ָש ַ ֛דיִ ְְְך ִּכ ׁ ְְְשנֵ ֥י ֳֳעפָ ִ ֖רים ְְּת‬::‫ֶא ֶ֤לף ַה ָּמגֵ ֙ן ָּת ֣לוּי ָע ָ֔ליו ּ֖כֹל ׁ ִש ְְְל ֵ ֥טי ַה ִ ּג ּב ִ ֹֽרים‬ ‫ה‬

‫ל־־ה֣ר ַה ּ֔מֹור וְְ ֶאל־־־‬ ַ ‫ּח ַהּי֔ ֹום וְְ נָ ֖ס ּו ַה ְְּצ ָל ִל֑ים ֵא ֶ֤ל ְְְך ִלי֙ ֶא‬ ֙ ַ ‫ ַע֤ד ׁ ֶשּיָ ֙פו‬::‫ֹוש ִּנֽים‬ ַ ׁ ‫ָ ֽהר ִֹע֖ים ַּב ׁ ּ ֽש‬ ‫ו‬

‫        א ִּת֤י ִמ ְְּל ָבנֹו ֙ן‬::ִ ‫ ֻּכ ָּ ֤ל ְְְך יָפָ ֙ה ַר ְְְעיָ ִ֔תי ו ּ֖מוּם ֵ ֥אין ָּב ְְְֽך‬::‫ִ ּג ְְְב ַע֖ת ַה ְְּלבֹונָ ֽה‬ ‫ז‬
‫ח‬

In the second love poem, the beloved expresses deepening emotions. The young woman, who
The Beloved’s Second Poem was previously called his love, is now referred to as his bride, and he addresses her with increasing
THE SONG OF SONGS 4:8–11 frequency.

8 With me from Mount Lebanon, my bride, with me from Look from the peak of Amana,B from the peak of Senir and
Lebanon, come. Let us wander together in Lebanon and re- Hermon. Senir is another name for Mount Hermon, perhaps a
turn. Perhaps the beloved is approaching from northern Israel. specific side of the mountain. Look out from the dens of

BACKGROUND
4:1 |  Your eyes are doves: The rock dove, 4:3 |  Scarlet [shani]: A dye of bright red, pro- spanning from the Arabian Peninsula to central
Columba livia, which is common in Israel, nests duced from a scale insect known as a kermes. Asia, and was once very common in Jordan and
in terraced fields, near human residences, or in The dye is extracted from the creatures by dry- Syria. Between the ages of three and eight, when
rocky areas in the hills. Doves are monogamous ing them, crushing them, and then cooking a female black-tailed gazelle is at her most fer-
birds; they change mates only after the death of them. Besides its use in dying expensive fabrics, tile, she can bear twins (Azarya Alon, ed., Plants
their partner. The male and female are practi- this substance was used in the ritual for the and Animals of the Land of Israel: An Illustrated
cally identical in appearance, predominantly purification of lepers (Leviticus 14:4, 49) and of Encyclopedia. Ministry of Defense/Society for the
gray with black stripes. The verse may be allud- people who had come in contact with a dead Protection of Nature, 1983–1990 [Hebrew]).
ing to the color of the girl’s eyes. The domestic body (Numbers 19:6). In the description of the 4:8 |  From the peak of Amana: Since Amana
pigeon is a domesticated subspecies of the rock building of the Temple (II Chronicles 2:6, 13), the is listed alongside Senir and Hermon, which are
dove, and it resembles the latter in both behav- term karmil appears instead of shani, karmil be- in the southern Anti-Lebanon Mountains, it ap-
ior and appearance. Domestic pigeons are also ing the Hebrew name for the kermes insect (Rav pears that Amana is a peak in the same range,
monogamous. Se’adya Gaon; Rashi; Radak). near the source of the Amana River, which is
A flock of goats that stream down from the 4:4 |  All the shields of the mighty: Early neck- mentioned as one of the rivers of Damascus.
highlands of Gilad: The region known as Gilad laces were made from long, colorful beads that This river is generally identified with the Barada
extends from the Sea of Galilee to the Dead were threaded in rows. These would rest upon River, which cuts through the city. In Sumerian
Sea on the eastern side of the Jordan River. It the neck like shields hanging from a wall or documents, Amana is mentioned as Amanum,
is a hilly region, rich in water sources and veg- tower. and until the Roman era there was a waysta-
etation, and suitable for pasture (see Numbers 4:5 |  Twins of a gazelle: There are two types tion of this name. Amana has been identified
32:1). However, it is relatively unsuitable for of gazelle in Israel: the mountain gazelle, also with Mount Zabadani, which is northwest of
farming. The woman’s hair is compared to the known as the Levantine mountain gazelle, and Damascus and reaches a height of 1800 m.
sight of black goats streaming down a hill, black the dorcas gazelle. It is possible that the verse Amana’s forests and rocky cliffs are features
lines against the bright background of the high- is referring to another type of gazelle that lived of its impressive landscape. The Amana of this
lands of Gilad. in this region, the black-tailed gazelle, Gazella verse should not be confused with the Amanos
subgutturosa, which currently inhabits an area Mountains in southeastern Turkey.

17
 The Song of Songs | Chapter 4

lions, from the mountains of leopards.B These forested areas 9 You have charmed me, my sister,D my love, my bride; you
were largely uncultivated expanses in which lions and leopards have charmed me with my seeing even just one of your eyes,
roamed. The wild regions of Lebanon, with their array of preda- with even one bead of your necklace. Even the smallest
tors, serve as a contrasting background to the gentle bride, the glimpse of you moves me.
Jewish people, or the soul. 10 How fair is your loving, or the moistness of your mouth, my
sister, my bride. How much better is your loving than wine,
and the fragrance of your oils, even the simplest of them, is
more delightful than all spices.
11 Your lips drip nectar, my bride, honey and milk are under
your tongue, your taste is sweet and pleasant, and the scent of
your garments is like the scent of Lebanon, a rainy, fertile,
and forested region.
Mount Hermon Lebanon

In his third poem, the beloved praises the bride’s qualities of modesty and loyalty, and concludes
The Third Poem and the Bride’s with a wish. After the poem, the text briefly hints at unification between the lovers.
Invitation to Her Beloved
THE SONG OF SONGS 4:12–5:1

12 A locked garden is my
sister, my bride; a locked
fountainhead,23 a sealed
spring. Although your beau-
ty is arresting, it is not in the
public domain; it is designat-
ed for one man only. Cinnamon
13 Your branches,24 your ex-
Saffron crocus
ternal appearance, your
garments and coverings, are
like the pleasant sight of an
orchard of pomegranates,
with delicious fruit, and
they are scented like hennas Sealed spring
with lavenders, perfumes
(see 1:12, 14). You radiate
beauty from every angle. Frankincense tree Indian aloe tree
14 Your garments are scent-
ed like lavender and 16 Awake, north wind, and come, south wind; blow upon my
saffron,B lemongrass and garden, my bride, and its perfume will spread, or: The sap of
cinnamon,B with all trees of its perfumed trees will flow. Unlike many places in the Bible
frankincense; myrrh and “Orchard of pomegranates” that mention the covenant between God and Israel and its en-
aloes,B with all the finest spices.25 Of the eleven spices blend- suing obligations, this passage expresses the romantic aspect
ed into the incense used in the Temple, only four are specified of the covenant. This poem of love and praise is reminiscent
by name in the Torah. Almost all of the rest are taken from this of Jeremiah’s invocation of the nuptial love between God and
list. Israel in the wilderness.27 At the starting point in their shared
15 The singer returns to the image of the bride as a spring in a journey, there was a sense of confidence and mutual commit-
locked garden: She is a source of life, a garden spring, a well ment regarding the future, a faith that all would be well. The
of spring water, and flowing streams from Lebanon. The groom is moved by the perfect beauty and loyalty of the bride,
spring’s source is in the distant and fertile mountain peaks.26 and he waits for her lovely scent to spread across great distances.

18
‫שיר השירים | פרק ד‬

‫ֹאש ְְ ׂשנִי ֙ר וְְ ֶח ְְְר ֔מֹון ִמ ְְּמעֹנ֣ ֹות‬ ׁ ‫ֹאש ֲא ָמ ֗ ָנה ֵמ ֤ר‬ ׁ ‫ֹואי ָּת ׁ ֣שו ִּרי ׀ ֵמ ֣ר‬ ִ ‫ַּכ ָּ֔לה ִא ִּ ֖תי ִמ ְְּל ָבנ֣ ֹון ָּת ֑ב‬
‫באחד ֵ ֽמ ֵע ֔ ַיניִ ְְְך ְְּב ַא ַ ֥חד ֲענָ ֖ק‬ ֣ ֙‫ ִל ַּב ְְְב ִּ ֖תנִי ֲאח ִ ֹ֣תי ַכ ָּל֑ה ִל ַּב ְְְב ִּ֙תנִי‬::‫ֲא ָריֹ֔ות ֵמ ַה ְְֽר ֵ ֖רי נְְ ֵמ ִ ֽרים‬ ‫ט‬

‫ה־־־טֹב ּו ד ַ ֹ֙דיִ ְְְ ֙ך ִמ ַּ֔ייִ ן וְְ ֵ ֥ר ַיח ׁ ְְש ָמ ַנ֖יִ ְְְך ִמ ָָּכל־‬ ֤ ּ ‫ ַמה־־־ּיָ פ֥ ּו ד ַ ֹ֖דיִ ְְְך ֲאח ִ ֹ֣תי ַכ ָּל֑ה ַמ‬::‫ִמ ַּצ ְְ ּורֹנָ ֽיִ ְְְך‬ ‫י‬

‫תֹותיִ ְְְך ַּכ ָּל֑ה דְְּ ַב ׁ֤ש וְְ ָח ָל ֙ב ַּ ֣ת ַחת ְְל ׁש ֔ ֵֹונ ְְְך וְְ ֵ ֥ר ַיח ַ ׂש ְְְלמ ַ ֹ֖תיִ ְְְך‬
֖ ַ ְְְ‫ נ֛ ֹפֶ ת ִּת ּ ֥טֹפְְְ נָ ה ִ ׂשפ‬::‫ְְּב ָ ׂש ִ ֽמים‬ ‫יא‬

֙ ְְְ‫ ׁ ְְש ָל ַ֙חיִ ך‬::‫נָעוּל ַמ ְְְעיָ ֥ן ָח ֽתוּם‬ ֖ ‫נָעוּל ֲאח ִ ֹ֣תי ַכ ָּל֑ה ַ ּג֥ל‬ ֖ ‫        ג֥ן ׀‬::‫ֹון‬
ַּ ֽ‫ְְּכ ֵ ֥ר ַיח ְְל ָבנ‬ ‫יב‬
‫יג‬
‫ נֵ ֣ ְְְרדְְְּ ׀ וְְ ַכ ְְְר ּ֗כֹם ָקנֶ ֙ה וְְ ִק ָּנ ֔מֹון ִ ֖עם‬::‫ּ ַפ ְְְרדֵּ ֣ ס ִר ּמ ֔ ִֹונים ִ ֖עם ּ ְְפ ִ ֣רי ְְמגָ ִ ֑דים ְְּכפָ ִ ֖רים ִעם־־־נְְ ָר ִ ֽדים‬ ‫יד‬

‫ ַמ ְְְעיַ ֣ן ַ ּג ֔ ִּנים ְְּב ֵ ֖אר ַ ֣מיִ ם ַחּיִ ֑ים‬::‫אשי ְְב ָ ׂש ִ ֽמים‬ ֥ ֵ ׁ ‫ל־ר‬ָ ‫ל־־־עצֵ ֣י ְְלבֹונָ ֑ה ֚מֹר וַ ֲֽא ָה ֔לֹות ִ ֖עם ָָּכ‬ ֲ ‫ָָּכ‬ ‫טו‬

‫דֹודי֙ ְְלגַ ֔ ּנֹו‬ ִ ‫֥יחי גַ ִּנ֖י יִ ּזְְ ֣ל ּו ְְב ָ ׂש ָמ֑יו ֤יָבֹא‬ ִ ‫ימן ָה ִפ‬ ָ֔ ‫ֹואי ֵת‬
ִ ‫ ֤עו ִּרי צָ פֹו ֙ן ו ּ֣ב‬::‫ן־־־ל ָבנֽ ֹון‬ ְְ ‫וְְ נֽ ֹזְְ ִל֖ים ִמ‬ ‫טז‬

BACKGROUND DISCUSSION
From the mountains of leopards: This refers to the in the Far East. This hypothesis is supported by the 4:9 |  My sister: This term for
Arabian leopard, Panthera pardus nimr, one of the verse: “And the good cane [kaneh] from a distant land” a lover has been in use from
smallest leopards in the world. The Arabian leopard is (Jeremiah 6:20). The bark of this tree curls up when ancient times and can be found
a solitary predator, weighing 20–30 kg. It can be found dried and looks like a stick, the literal meaning of the also in modern Hebrew poetry.
in the mountains of the Judean Desert, and in the word kaneh. Others identify kaneh with a plant from Although the title is sometimes
Negev in the region of Mitzpe Ramon. the lemongrass genus, Cymbopogon, whose leaves used in a literal sense, as when
4:14 |  Saffron: Since ancient times, saffron has been contain aromatic oils. Yet another opinion identifies Abraham said of Sarah that she
obtained from the Crocus sativus flower. It is used kaneh as Acorus calamus, also called sweet flag, a plant was his sister (Genesis 20:2), it
mainly as a seasoning and coloring agent in food and of the Acoraceae family with fragrant roots (Zohar can also be indicative of a rela-
is still one of the world’s most expensive spices. Amar, Flora of the Bible. Jerusalem: Rubin Mass Ltd., tionship that is not familial. In
2012 [Hebrew], p. 181). various monarchies in the ancient
Lemongrass and cinnamon [kaneh vekinnamon]: Orient, the queen was sometimes
Some consider kaneh vekinnamon the name of a single Aloes [ahalot]: Ahal is generally identified with one
of the species of the tropical Indian aloe tree, genus called the king’s sister, whether
spice (Septuagint). Perhaps this spice was cinnamon or not she was actually his sister,
extracted from the inner bark of the tropical cinna- Aquilaria, from whose bark a potent and expensive
perfume is extracted. although on more than one oc-
mon tree, of the genus Cinnamomum, which grows casion this was indeed the case.

19
 The Song of Songs | Chapter 5

After all this praise by the beloved, the bride responds with a myrrh with my perfume;
brief, modest invitation: Let my beloved come to his garden I ate my honeycomb with
and eat his delicious fruits. The garden is not locked to you; my honey; I drank my wine
the fountain is open before you. with my milk. Eat, friends;
5 After the bride’s invitation, the beloved describes the satisfac-
1 drink, and make love. The
tion he found in his perfect bride: I came to my garden, filled image is of a romantic lovers’
with all types of goodness, my sister, my bride; I gathered my tryst.
Honeycomb
Now the woman relates her experiences. She opens with a story, perhaps only a dream,28 of
The Longing of the Young Woman a missed opportunity in which she failed to meet her beloved because of her hesitation to
THE SONG OF SONGS 5:2–6:3 open her door to him. Now, she is regretful and lonely, and she yearns for him.

2 I am sleeping, but my heart is awake. In this semiconscious 6 I opened for my beloved; but while I had hesitated, my be-
state, something inside me alerted me: The sound of my be- loved had slipped away, was gone. My soul had departed
loved is knocking.D Despite with his speaking. When he turned to me before, my heart
my drowsiness, some part stopped due to my profound love and longing. Now he was
of me was alert, eagerly lis- nowhere to be found. I sought him, but I did not find him; I
tening for him. I could hear called him, but he did not answer me. The verse possibly de-
him calling out to me: Open scribes not an actual event, but a lover’s troubled dream brought
for me, my sister, my love, on by anxiety over a potential missed opportunity. Allegorically,
my faultless dove, my per- this episode refers to real missed opportunities for redemption,
fect beauty. There is a tone on both a national and a personal level. Historically and per-
of familiarity and closeness Dew sonally, complacency and other obstacles to salvation prevent
in these expressions of affection by the male protagonist. He the long-sought union with God from taking place.
continues: Open for me, for my head is filled with dew from 7 After searching for my beloved near the house to no avail, I
waiting outside at night; my locks are filled with the drops of went out into the streets. There the sentries patrolling in the
night, dew. I am wet, it is uncomfortable outdoors, and I seek city found me, and when they saw that I was wandering alone
shelter. at night they struck me, they wounded me; apparently, they
3 The woman says to herself: I have already taken off my tunic; considered me a loiterer deserving of punishment. The guards
how can I don it now? I have washed my feet before bed; how of the walls took my shawl from upon me. The guards of the
can I soil them by walking on the floor to open the door? She walls are not necessarily her enemies. Since they are charged
does not answer her beloved’s call. with preserving the public order, they punish the woman for
4 My beloved extended his hand through the holeD in the what they perceive as inappropriate behavior. Similarly, the in-
door.29 When he did so, my love welled up and my core [me’ay] dividual’s soul or the nation as a whole can react to a missed
was moved for him, my insides turned over from excitement. opportunity counterproductively. Plagued with visions of what
Although in modern Hebrew the term me’ayim refers specifi- might have been, it can attempt to seize the moment after it has
cally to the intestines, in the Bible it refers to the internal cavity passed, and in the process transgress boundaries. Such trans-
of one’s body, and by extension, to the heart and soul.30 gression always incurs punishment.
5 Despite my hesitations, 8 Here, it seems, the dream comes to an end. Now the woman
when I realized that my addresses her friends: I administer an oath to you, daughters
beloved was almost inside of Jerusalem; now, come to my aid: If you find my beloved,
I could no longer restrain what should you tell him? Tell him that I am lovesick.
myself: I arose to open for Previously she bid the daughters of Jerusalem to promise that
my beloved; my perfumed they would let the love awaken by itself (2:7, 3:5). Now, after the
hands were dripping with nocturnal episode, whether real or imagined, she no longer has
liquid myrrh, and my fin- Bolt on a door the strength to hide her feelings or to keep up appearances. She
gers with myrrh passing entreats the daughters of Jerusalem to reveal her powerful love
onto the handles of the latch. The scent of myrrh reached to her beloved.
outside.

20
‫שיר השירים | פרק ה‬

֙‫ם־ב ָ ׂש ִ֔מי ָא ַכ ְְְ֤ל ִּתי יַ ְְְע ִרי‬ ְְּ ‫מֹורי֙ ִע‬ ִ ‫֣אתי ְְלגַ ּנִי֮ ֲאח ִ ֹ֣תי ַכ ָּל ֒ה ָא ִ ֤ר ִיתי‬ ִ ‫ ָּב‬::‫ֹאכ֖ל ּ ְְפ ִ ֥רי ְְמגָ ָ ֽדיו‬ ַ ‫וְְ י‬ ‫א‬ ‫ה‬
‫    א ִנ֥י‬::‫ים‬ֲ ‫ם־ח ָל ִב֑י ִא ְְְכ ֣ל ּו ֵר ִ֔עים ׁ ְְש ֥ת ּו וְְ ׁ ִש ְְְכ ֖ר ּו דּ ִ ֹֽוד‬ ֲ ‫ִעם־דִּ ְְְב ׁ ֔ ִשי ׁ ָש ִ ֥ת ִיתי יֵ ינִ ֖י ִע‬ ‫ב‬

֙‫ֹאשי‬ ִ ׁ ‫י־לי ֲאח ִֹת֤י ַר ְְְעיָ ִתי֙ יֹֽונָ ִ ֣תי ַת ָּמ ִ֔תי ׁ ֶש ּר‬ ִ֞ ‫דֹופק ּ ִפ ְְְת ִח‬ ֵ ֗ ‫יְְ ׁ ֵשנָ ֖ה וְְ ִל ִּ ֣בי ֵע֑ר ֣קֹול ׀ דּ ִ ֹ֣ודי‬
‫ת־כ ָָּתנְְְ ִּ֔תי ֵא ָיכ ָ֖כה ֶא ְְְל ָּב ׁ ֶש ָּ֑נה ָר ַ ֥חצְְְ ִּתי‬ ֻּ ‫ ּ ָפ ׁ ֙ ַש ְְְט ִּתי֙ ֶא‬::‫ֽיְְְלה‬ָ ‫יסי ָל‬ֵ ‫ֹּותי ְְר ִ ֥ס‬ ֖ ַ ‫א־טל ְְקוֻ צ‬ ָ֔ ‫נִ ְְְמ ָל‬ ‫ג‬

‫ ַ ֥ק ְְְמ ִּתי ֲאנִ ֖י‬::‫ן־ה ֔חֹור ו ֵּמ ַע֖י ָה ֥מ ּו ָע ָלֽיו‬ ַ ‫ֹודי ׁ ָש ַל֤ח יָ ד ֹ֙ו ִמ‬ ֗ ִ ּ‫ ד‬::‫ת־רגְְְ ַל֖י ֵא ָיכ ָ֥כה ֲא ַט ְְּנפֵ ֽם‬ ַ ‫ֶא‬ ‫ד‬
‫ה‬
‫ ּ ָפ ַ ֤ת ְְְח ִּתי‬::‫נְְְעוּל‬ ֽ ‫ּ־מֹור וְְ ֶאצְְְ ְְּבע ַֹתי֙ ֣מֹור ע ֵֹ֔בר ַע֖ל ַּכ ּ ֥פֹות ַה ַּמ‬ ֗ ‫דֹודי וְְ יָ ַ ֣די נָ ְְֽטפו‬ ֑ ִ ‫ִלפְְְ ּ֣ת ַֹח ְְל‬ ‫ו‬

‫אתיה ּו‬ ִ֔ ָ‫דֹודי ָח ַ ֣מק ָע ָב֑ר נַ פְְְ ׁ ִשי֙ יָ ֽצְְ ָ ֣אה ְְב ַד ְְּב ֔רֹו ִּב ַ ּק ׁ ְְְש ִּ֙תיה ּ֙ו וְְ ֣ל ֹא ְְמצ‬ ֖ ִ ְְ‫דֹודי ו‬֔ ִ ‫ֲאנִי֙ ְְל‬
‫ ְְמצָ ֻ ֧אנִי ַה ׁ ּ ֽש ְְֹמ ִ ֛רים ַה ּֽס ְְֹב ִ ֥בים ָּב ִע֖יר ִה ּ֣כוּנִי פְְ צָ ֑עוּנִי נָ ְְ ֽׂש ֤א ּו ֶאת־‬::‫אתיו וְְ ֥ל ֹא ָענָ ֽנִי‬ ֖ ִ ‫ְְק ָר‬ ‫ז‬

‫ם־ת ְְְמצְְ א ּ֙ו ֶאת־־־‬ ִּ ‫ ִה ׁ ְְְש ַּב ְְְ֥ע ִּתי ֶא ְְְת ֶכ֖ם ְְּבנ֣ ֹות יְְ ֽרו ׁ ָּש ָ ֑ל ִם ִ ֽא‬::‫ְְר ִד ִידי֙ ֵ ֽמ ָע ַ֔לי ׁ ֽש ְְֹמ ֵ ֖רי ַ ֽהח ֹֽמֹות‬ ‫ח‬

ְְְ‫ֹודך‬
֣ ֵ ּ‫ָשים ַמה־ד‬ ֑ ִ ׁ ‫ֹודךְְְ ִמ ֔ ּדֹוד ַהּיָ פָ ֖ה ַּב ּנ‬ ֣ ֵ ּ‫ ַמה־־־ד‬::‫חֹול֥ת ַ ֽא ֲה ָב֖ה ָ ֽאנִי‬ ַ ‫ש‬ ֽ ֶ ׁ ‫ה־־־ת ִ ּג֣יד ּו ֔לֹו‬
ַּ ‫דּ ִ ֹ֔ודי ַמ‬ ‫ט‬

‫ֹּותי ֙ו‬ ָ ‫ֹאשֹו ֶּכ ֶ֣תם ּ ָפ֑ז ְְקוֻ צ‬ ֖ ׁ ‫ ר‬::‫ דּ ִ ֹ֥ודי צַ ֙ח וְְ ָא ֔דֹום דָּ ג֖ וּל ֵ ֽמ ְְר ָב ָבֽה‬::ּ‫ִמ ֔ ּדֹוד ׁ ֶש ָּכ ָ֖כה ִה ׁ ְְְש ַּב ְְְע ָּ ֽתנו‬ ‫י‬
‫יא‬

9 The women ask her: How is your beloved more than another public. Allegorically understood, the mysterious nature of the
beloved, O fairest of women? Who is your beloved? How can beloved represents the mysterious nature of God.
we recognize him? How is your beloved more special than 10 The young woman responds: The face of my beloved is clear
another beloved, that you administer an oath to us so? and ruddy, his skin is clean and white, and his cheeks are red
Notably, in The Song of Songs, the beloved is unknown. He ap- like a beautiful youth.31 This mixture of red and white is con-
pears intermittently and then vanishes, and no one can identify sistent with the image of an apple to which the beloved was
or locate him. In the background of the text hovers the ques- previously compared (2:3). My beloved is more eminent [da-
tion of how real the beloved actually is. For the time being, he gul] than ten thousand. Like a flag [degel], my beloved stands
has no formal relationship with the woman. They rarely meet, out from the masses, unique.
and at this stage of the story they are never seen together in 11 His head is impressively shaped as a work of the finest gold;32

DISCUSSION
5:2 |  I am sleeping…My beloved is knock- desire one another, but external circumstances or horizontal bolt, which was wedged into the
ing: On more than one occasion in history, the do not allow them to unite easily and they are doorpost, the lintel, or the doorstep, thus pre-
people of Israel were given a chance to redeem frequently left alone with their longings. The venting the door from being opened from the
themselves, but they slumbered, failing to beloved’s knocking awakens her love, but she is outside. The hole mentioned here probably
seize the moment. On the most fundamental too slow to act, and by the time she rises he has served as means of grasping the door in order to
level, and in the depths of the nation’s heart, it passed. In the wake of this vision, the woman is open or close it when unlocked. Although in the
is true that “I am my beloved’s, and my beloved left with strengthened passion and will, but an ancient world there were locking mechanisms,
is mine” (6:3; see also 2:16), I desire redemption opportunity has been missed. which required the insertion of a key through a
and a connection to God. But alas, I am lazy and 5:4 |  My beloved extended his hand through hole from the outside, such mechanisms have
slow to act. Throughout these love poems, with the hole: Locking a door from the inside was been found in the Land of Israel only from the
all their ups and downs, the lovers constantly performed in biblical times by means of a vertical Roman period.

21
 The Song of Songs | Chapter 6

his locks are curls, black as a raven. In ancient times, the hair
color of Israelites was typically black.33
12 His eyes are perfect, radiating beauty and calm, like doves
beside streams of water. This is a pastoral image of grace and
tranquility. A dove drinks
by sucking water34 into its
beak and directly into its
throat, making no swallow-
Aquamarine “Slab of ivory”
ing movement of its head. A
pair of doves drinking thus
appears to be in synchrony,
as they change neither their Dove beside water
stance nor their movements.
His dark eyes are set against the backdrop of his light skin as if
they are bathed in milk, well set like precious stones, neither
protruding nor sunken.35
13 His cheeks are like a bed of fragrant plants, growths of spice
mixtures. An Israelite of the time would not be clean-shaven,
and as the beloved is young, his beard is likely to be short, like Peridot Sapphire
small herbs growing in their beds. His lips are colored,36 or vel- reveals Himself, but we can see that He is perfect, and we can
vety and fragrant37 like lilies;B dripping with flowing, fragrant do nothing other than seek Him everywhere.
myrrh. 6 The daughters of Jerusalem respond in unison: Where did
1
14 His hands are built as rods of gold set with beryl [tarshish];B your beloved go, fairest of women? Where did your beloved
his belly is like a solid slab of ivory covered with sapphires.B turn? We will seek him with you.
15 His calves are pillars of marble, set on bases of fine gold. 2 The woman responds: My
The beloved is compared to a work of art. His appearance is beloved descended to
like the forested region of Lebanon, fertile and teeming with his garden, to the beds of
life, choice like the tall, impressive cedars that grow there. fragrant plants. She does
16 His palate is sweet and all of him is delightful. This is my not provide an exact loca-
beloved, and this is my companion, daughters of Jerusalem. tion, but she knows that he
The bride lovingly depicts her beloved as the epitome of beauty. is supposed to be in a place
In her eyes, all of his features are wonderful and perfect. Her of beauty and fragrance, to “Beds of fragrant plants”
descriptions do not provide her listeners with practical details herd his flock in the gar-
that might help them locate her beloved, but they illustrate her dens, and to gather lilies for himself.
feelings for him. Many allegorical interpretations have been of- 3 She concludes: I am my beloved’s, and my beloved is mine.
fered for these descriptions. The question: “How is your It is he who herds among the lilies. Though he is not currently
beloved more than another beloved”? (verse 9) has been posed with me, this does not mean he is avoiding me. I am certain that
to the nation of Israel for over two thousand years. The answer our love is real. For now, however, my beloved has descended to
to this question is: You may not be able to see Him until He his garden. Perhaps he will return to me with flowers.

The exchanges between the beloved and his love intensify in their passion with the
The Beloved and His Love Grow Closer rising intensity depicted by increasingly overt and bold imagery. The couple stand in
THE SONG OF SONGS 6:4–7:14 wonder at their mutual love. Although it has not been fully consummated, they have
full faith in its reality, despite temporary separations, sudden disappearances, and
delays.

4 The beloved himself speaks, though the object of his love is beauty played a role in its being chosen as the capital. You are
likely not present. You are fair, my love, like Tirtza,B a small lovely like Jerusalem39 and you are formidable like banners
city in the portion of Manasseh, which at one point served [nidgalot]. You stand out as a banner on display as it flutters
as the capital of the Kingdom of Israel.38 It is possible that its

22
‫שיר השירים | פרק ו‬

‫֣יקי ָמ֑יִ ם ֽר ֲֹחצֹות֙ ֶּב ָֽח ָ֔לב יֽ ׁ ְְֹש ֖בֹות‬ ֵ ִ‫ל־אפ‬

ֲ ‫ ֵע ֕ ָיניו ְְּכיֹונִ ֖ים ַע‬::‫ֽעֹורב‬ ֽ ֵ ‫ַּת ְְְל ַּת ִּ֔לים ׁ ְְשח ֹ֖רֹות ָּכ‬ ‫יב‬

‫ֹוש ֔ ִּנים נֽ ְְֹטפ֖ ֹות‬ ָ ְְְ‫ ְְל ָחיָ ֙ו ַּכ ֲֽערוּגַ ֣ת ַה ּ֔ב ֶ ֹׂשם ִמגְְְ דְְּ ֖לֹות ֶמ ְְְר ָק ִ ֑חים ִ ׂשפ‬::‫ל־מ ֵּלֽאת‬
ַ ׁ ‫תֹותי ֙ו ׁ ֽש‬ ִ ‫ַע‬ ‫יג‬

::‫ יָ ָדי ֙ו ְְ ּג ִל ֵיל֣י זָ ָ֔הב ְְמ ֻמ ָּל ִ ֖אים ַּב ַּת ְְְר ׁ ִ ֑ש ׁיש ֵמ ָעי ֙ו ֶע ׁ ֶ֣שת ׁ ֔ ֵשן ְְמ ֻע ֶּל֖פֶ ת ַס ּ ִפ ִ ֽירים‬::‫֥מֹור ע ֵֹבֽר‬ ‫יד‬

‫ ִח ּכ ֹ֙ו‬::‫ל־־־א ְְְדנֵי־־־פָ ֑ז ַמ ְְְר ֵ ֙אה ּ֙ו ַּכ ְְּל ָבנ֔ ֹון ָּב ֖חוּר ָּכ ֲֽא ָר ִזֽים‬ ַ ‫ׁש ָֹוקי ֙ו ַע ּ֣מו ֵּדי ׁ ֔ ֵש ׁש ְְמיֻ ָּס ִ ֖דים ַע‬ ‫טו‬
‫טז‬
‫ֹוד ְְְך ַהּיָ פָ ֖ה‬ ֔ ֵ ּ‫ ֚ ָאנָ ה ָה ַל ְְְ֣ך ד‬::‫דֹודי֙ וְְ זֶ ֣ה ֵר ִ֔עי ְְּבנ֖ ֹות יְְ ֽרו ׁ ָּש ָ ֽל ִם‬ ִ ‫ַ ֽמ ְְמ ַת ִּ֔קים וְְ ֻכ ּ֖לֹו ַ ֽמ ֲח ַמדִּ ֑ ים זֶ ֤ה‬ ‫א‬ ‫ו‬
֙‫ דּ ִֹודי֙ יָ ַ ֣רד ְְלגַ ֔ ּנֹו ַל ֲֽע ֻרג֖ ֹות ַה ּ֑ב ֶ ֹׂשם ִל ְְְרעֹות‬::‫שנּ ּו ִע ָּ ֽמ ְְְך‬ ֖ ֶ ׁ ‫דֹוד ְְְך וּנְְְ ַב ְְְק‬
֔ ֵ ‫ָשים ֚ ָאנָ ה ּ ָפנָ ֣ה‬ ֑ ִ ׁ ‫ַּב ּנ‬ ‫ב‬

ַ ׁ ‫ֽרֹוע֖ה ַּב ׁ ּ ֽש‬

::‫ֹוש ִּנֽים‬ ֶ ‫דֹודי ִ֔לי ָה‬ ֣ ִ ְְ‫דֹודי֙ ו‬ ִ ‫ ֲאנִ ֤י ְְל‬::‫ֹוש ִּנֽים‬ ַ ׁ ‫ַּב ַ ּג ֔ ִּנים וְְ ִל ְְְל ֖קֹט ׁ ֽש‬ ‫ג‬

‫ ָה ֵס ִּ֤בי ֵע ֙ ַיניִ ְְְ ֙ך ִמ ֶּנגְְְ דִּ ֔ י‬::‫֨ ָיָפה ַא ְְְּ֤ת ַר ְְְעיָ ִתי֙ ְְּכ ִת ְְְר ֔ ָצה נָ אוָ ֖ה ִּכ ֽירו ׁ ָּש ָ ֑ל ִם ֲאיֻ ָּמ֖ה ַּכ ִּנ ְְְד ָ ּג ֽלֹות‬ ‫ד‬
‫ה‬
‫ ׁ ִש ֙ ַּניִ ְְְ ֙ך ְְּכ ֵע ֶ֣דר ָה ְְֽר ֵח ִ֔לים‬::‫ן־ה ִ ּג ְְְל ָעֽד‬ ַ ‫יבנִי ַ ׂש ְְְע ֵר ְְְ ֙ך ְְּכ ֵע ֶ֣דר ָה ִֽע ִּ֔זים ׁ ֶש ָ ּג ְְֽל ׁ ֖ש ּו ִמ‬
֑ ֻ ‫ש ֵה֖ם ִה ְְְר ִה‬ ֶׁ֥ ‫ו‬

‫ ְְּכפֶ ַ֤לח ָה ִֽר ּמֹו ֙ן ַר ָ ּק ֵ֔ת ְְְך‬::‫ימֹות וְְ ׁ ַש ֻּכ ָל֖ה ֵ ֥אין ָּב ֶהֽם‬ ֔ ‫ן־ה ַר ְְְחצָ ֑ה ׁ ֶש ֻּכ ָּל ֙ם ַמ ְְְת ִא‬ ֽ ָ ‫ש ָע ֖ל ּו ִמ‬ ֶֽׁ ‫ז‬

high above. Alternatively, down your back, is like a flock of goats that has streamed
nidgalot refers to arrays of down from the Gilad.
decorated soldiers.40 6 Your teeth are like a flock of ewes that have come up from
5 Avert your eyes from me, being washed, that are all paired, and there is none missing
as they excite my arro- among them. Your teeth are perfect and beautiful.
gance, or passion,41 when 7 Your temple is like a pomegranate slice, round and beauti-
they gaze upon me. Your ful, behind your braid, or lock of hair, falling over your face
Tirtza Ravine
black, curly hair, flowing and sides.

BACKGROUND
5:13 |  His lips are lilies [shoshanim]: The iden- translations regarding the identity and color of northeast of Shekhem. This city controlled the
tity of the shoshana is unclear (see commentary tarshish. Nowadays, it is commonly accepted to roads leading from Shekhem to the crossings of
on 2:1). If this description refers to the color of identify tarshish with peridot or with the bluish- the Jordan River near Adam and to Beit She’an.
his lips, then the shoshana must be red (see green variety of beryl known as aquamarine. Archaeological discoveries in the area reflect
Alsheikh). If so, it likely refers to the rose and not Some have noted a similarity between the word the biblical accounts of Tirtza. Nearby, there is a
the white Madonna lily. However, it is possible tarshish and the Akkadian word for red, rususu. large spring, Ein el-Far’a.
that the verse intends to describe the shape or Sapphire: A blue variety of the extremely hard The city was protected by ravines on three
feel of the beloved’s lips, rather than their color, mineral corundum, the sapphire is valued as a sides. The beautiful, green, and water-rich
in which case the shoshana can still be identi- precious stone for jewelry. Corundum can also environment surrounding Tirtza, along with
fied as the Madonna lily. appear in other colors. The red variety is called its strategic location, justified its choice as the
5:14 |  Beryl [tarshish]: Tarshish is one of the ruby. capital city of the Kingdom of Israel. During a
precious stones set into the breast piece of the rebellion it was destroyed, and the more fortified
6:4 |  Tirtza: Tirtza was an important city in city of Samaria was selected in its stead.
High Priest (Exodus 28:20). Various opinions are the territory of the tribe of Manasseh, identi-
offered in rabbinic literature and the Aramaic fied with Tel el-Far’a, approximately 10 km

23
 The Song of Songs | Chapter 7

8 They are sixty queens, wives of King Solomon, and eighty 12 I am utterly amazed by the experience, as if I do not know my
concubines, and around him there are also young women own soul in this surreal state that resembles a dream. It has set
without number. Perhaps this is a poem composed about or me, I feel as though I have been set on chariots of my noble
by King Solomon, presumably in his youth.42 [nadiv] people, as if he has taken me upon his chariot among
9 Despite Solomon’s many women, unique is my faultless dove; his soldiers. Some suggest that the phrase ami nadiv, my noble
she stands above them all. Unique to her mother, there is no people, is an allusion to Aminadav father of Nahshon, the
woman like her; she is pure to the one who bore her. Girls see prince of Judah.
her and laud her, queens and concubines see her and praise 7 1 This part of the song evokes the dancing young women, calling
her. to the most beautiful among them: Return, return, turn
10 The beloved continues to praise his bride: Who is she who ap- around, or rejoin our dancing, the Shulamite. This is probably
pears in the distance, glowing like the dawn, fair like the not a person’s name, but an appellation for a perfect [mush-
moon, pure and shining like the sun? The initial light of dawn lemet], beautiful girl, the bride of the beloved. Return, return,
is very gentle; the light of the moon is not strong, but it is pleas- and we will gaze upon you. And a response: Why will you
ant and clear; the sun that eventually shines forth is the gaze at the Shulamite like a dance of two companies of danc-
brightest of all.43 She is formidable like banners. ers? Why do you look at the Shulamite in this circle of dancers?
Although the Shulamite appears together with all the other
girls, she stands out. Allegorically understood, the Shulamite
could be a metaphor for Israel among the nations or for the soul
that shines out from the body.
2 The Shulamite’s beauty is
now described in detail, from
her toes to her head: How
fair are your steps,47 or your
feet,48 in sandals, daugh-
ter of a nobleman. Your
rounded thighs are like or-
Necklace of gold links, Egypt,
naments, the handiwork of Roman period
B
a master craftsman, perfect
as a work of art.
Dawn 3 Your navel is a moon-
shaped goblet, or bowl.
11 Here the narrator could be either the beloved or his love, but it May it not lack mixed wine.
is probably the latter:44 I have gone down to the nut garden to Your belly is round, smooth,
look at the budding [ibbei] of the vale,45 the fresh fruits or and symmetrical, like a
plants of the valley. Perhaps the word aviv, spring, is derived pile of wheat in a granary,
from ibbei, as spring is the season of regrowth and vitality.46 I hedged with lilies. This last Pile of threshed wheat
have gone to see whether the vine has blossomed and the expression is an image of carefully guarded beauty.49
pomegranates are in bloom. This takes place in spring, when 4 Your two breasts are like two fawns, twins of a gazelle. This
people generally venture down to gardens and streams to see simile relies on both the fawns’ physical shape and their aes-
the blossoming plants. Many commentaries explain this image thetic beauty.
of initial growth as representing the exodus from Egypt. 5 Your neck is upright, white, and beautiful, like an ivory
tower; your eyes are like the pools in Heshbon,B by the
gate of Bat Rabim. Heshbon was an ancient city located on
the eastern side of the Jordan River that served as a political
and commercial center even before Israel entered the land of
Canaan. It is possible that Heshbon boasted two large pools
Unripe nuts Unripe dates “Pomegranates are in near its city gates, perhaps in a public square where many peo-
bloom” ple [rabim] would gather.50 The imagery evokes large, deep, and
tranquil eyes. Your nose,D or your forehead, is like the tower
of Lebanon overlooking Damascus in the distance.51

24
‫שיר השירים | פרק ז‬

::‫ֽילגְְְ ׁ ִ ֑שים וַ ֲֽע ָל ֖מֹות ֵ ֥אין ִמ ְְְס ּ ָפֽר‬ ַ ‫ ׁ ִש ׁ ּ ִ ֥שים ֵ֙ה ָּמ ֙ה ְְמ ָל ֔כֹות ו ׁ ְְְּשמֹנִ ֖ים ּ ִפ‬::‫ִמ ַּב ַ֖עד ְְלצַ ָּמ ֵ ֽת ְְְך‬ ‫ח‬

֙‫ֹול ְְְד ָּ ֑ת ּה ָר ֤או ָּה ָבנֹות‬ ַ ֽ‫ַא ַ ֥חת ִהי ֙א יֽ ֹונָ ִ ֣תי ַת ָּמ ִ֔תי ַא ַ ֥חת ִהי ֙א ְְל ִא ָּ֔מ ּה ָּב ָ ֥רה ִ ֖היא ְְלי‬ ‫ט‬

‫מֹו־ש ַ֑חר‬ ָ ׁ ‫    מי־ז֥ ֹאת ַה ּנ ׁ ְְְִש ָקפָ ֖ה ְְּכ‬:: ִ ַ ‫וַ ֽיְְְ ַא ׁ ּ ְְש ֔רו ָּה ְְמ ָל ֥כֹות ו ִּפ‬
‫ֽילגְְְ ׁ ִ ֖שים וַ ֽיְְְ ַה ְְֽל ֽלו ָּה‬ ‫י‬

‫ל־־־ג ַּנ ֤ת ֱאגֹו ֙ז יָ ַ ֔ר ְְְד ִּתי ִל ְְְר ֖אֹות ְְּב ִא ֵּב֣י‬ ּ ִ ‫ ֶא‬::‫יָפָ ֣ה ַכ ְְּל ָב ֗ ָנה ָּב ָר ֙ה ַּכ ַֽח ָּ֔מה ֲאיֻ ָּמ֖ה ַּכ ִּנ ְְְד ָ ּג ֽלֹות‬ ‫יא‬

‫ ֣ל ֹא יָ ַ ֔ד ְְְע ִּתי נַ פְְְ ׁ ִ ֣שי ָ ׂש ַ֔מ ְְְתנִי ַמ ְְְר ְְּכ ֖בֹות‬::‫ַה ָּנ ַ֑חל ִל ְְְראֹות֙ ֲהפָ ְְֽר ָ ֣חה ַה ֶ֔ ּגפֶ ן ֵהנֵ ֖צ ּו ָה ִֽר ּמ ִֹנֽים‬ ‫יב‬

‫ה־ת ֱחז ּ֙ו ַּב ׁ ּ ֣שו ַּל ִּ֔מית‬ ֽ ֶּ ‫ה־ב ְְְ֑ך ַ ֽמ‬ ָּ ֶ‫ ׁ ֤שו ִּבי ׁ ֙שו ִּבי֙ ַה ׁ ּ ֣שו ַּל ִּ֔מית ׁ ֥שו ִּבי ׁ ֖שו ִּבי וְְ נֶ ֱֽחז‬::‫ַע ִּ ֥מי נָ ִ ֽדיב‬ ‫א‬ ‫ז‬
‫ ַמה־ּיָ פ֧ ּו פְְ ָע ַ ֛מיִ ְְְך ַּב ּנ ְְָע ִל֖ים ַּבת־נָ ִ ֑דיב ַח ּמו ֵ ּ֣קי יְְ ֵר ַ֔כיִ ְְְך ְְּכ ֣מֹו ֲח ָל ִ ֔אים‬::‫ֽמ ֲחנָ ֽ ִים‬ ֽ ַּ ‫ִּכ ְְְמח ַֹל֖ת ַה‬ ‫ב‬

‫ ׁ ָָש ְְְר ֵר ְְְ ֙ך ַא ַ ּג֣ן ַה ַּ֔ס ַהר ַאל־יֶ ְְְח ַס֖ר ַה ָּמ֑זֶ ג ִּב ְְְטנֵ ְְְ ֙ך ֲע ֵר ַ ֣מת ִח ּ ִ֔טים סוּגָ ֖ה‬::‫שה יְְ ֵ ֥די ָָא ָּ ֽמן‬ ֖ ׂ ֵ ‫ַ ֽמ ֲע‬ ‫ג‬

‫אר ְְְך ְְּכ ִמגְְְ דַּ ֣ ל ַה ׁ ּ ֵש֑ן ֵע ֜ ַיניִ ְְְך‬ ַ ׁ ‫ַּב ׁ ּ ֽש‬
֖ ֵ ‫ צַ ָ ּו‬::‫ ׁ ְְשנֵ ֥י ׁ ָש ַ ֛דיִ ְְְך ִּכ ׁ ְְְשנֵ ֥י ֳֳעפָ ִ ֖רים ָָּ ֽת ֳֳא ֵ ֥מי צְְ ִבּיָ ֽה‬::‫ֹוש ִּנֽים‬ ‫ד‬
‫ה‬
::‫ת־ר ִּ֔בים ַא ּ ֵפ ְְְ ֙ך ְְּכ ִמגְְְ דַּ ֣ ל ַה ְְּל ָבנ֔ ֹון צֹופֶ ֖ה ּ ְְפנֵ ֥י ַד ָּ ֽמ ֶ ׂשק‬ ַ ‫ל־ש ַע ֙ר ַּב‬ ַ ֙ ׁ ‫ְְּב ֵר ֣כֹות ְְּב ֶח ׁ ְְְש ּ֗בֹון ַע‬

BACKGROUND DISCUSSION
7:2 |  Your rounded thighs are like orna- generally identified with Tel Hesban, which is 7:5 |  Your nose [apekh]: Rashi notes that a large
ments [hala’im],
∙ the handiwork of a mas- located on the ancient King’s Highway, on the nose is not considered a sign of beauty, and he
ter craftsman: The word ĥelya, or ĥali, ap- highlands above the Madaba Plains, about 20 therefore maintains that the word apekh here refers
parently refers to a round ornament. The ĥali km southwest of Rabat Amon, or present-day to the forehead, since the face as a whole can be
is also mentioned alongside earrings in the Amman. According to Josephus, control of referred to as apayim. Others maintain that apekh
book of Proverbs (25:2). Some associate this Heshbon changed hands during various wars, indeed refers to her nose, as in verse 9 that follows,
term with the word ĥuliya, a term used by and was under Jewish control during the and explain that the comparison between the young
the Sages to denote a link in a chain or bead Hasmonean period. It can be inferred from woman’s nose and the tower of Lebanon refers to its
(Rashi). Alternatively, ĥali may be related to a this verse that the people of Israel were famil- renowned beauty and straightness, not its size (see
similar Akkadian word that means loins. If so, iar with this city (see also Ramban, Numbers Ibn Ezra; Rav Yosef Kara; Rav Yeshaya of Trani).
the beloved is praising the figure of his love as 32:38). Although the surrounding region was
suitable for birthing children. fertile, the city was located on the edge of the
7:5 |  Heshbon: Heshbon was an important desert. It was therefore necessary to channel
city located on the border between the terri- the water that flowed through nearby ravines
tories of Gad and Reuben (Joshua 13:17). It is in the winter, and to store it in pools.

25
 The Song of Songs | Chapter 7

6 Your head is elegantly set upon you like the first phrase, “Your palate is like fine wine,” is addressed to
the Carmel. This could also be a reference the female lover, then this latter phrase must be an interjection
to the woman’s curly hair, since Mount as the young woman completes her beloved’s sentence. The
Carmel has lush vegetation. And the locks man continues: Your palate is like fine wine, moving the lips
of your head of the sleeping so that they speak.55
are carefully 11 The woman responds: I am my beloved’s, or I yearn for my
arranged like beloved, and his desire is toward me.
soft strands of 12 Come, my beloved, let us go out alone to the field; let us stay
purple wool, the night in the villages. These are not necessarily actual
displayed in “King bound in plans. They may simply be fantasies that convey the depth of
magnificent the tresses.” Tas­ her emotion and passion.
seled head­dress,
arrangements 13 Let us arise early to the vineyards; let us see whether the
Mount Carmel Troy, Bronze Age
due to the vine has blossomed, the grape bud has sprouted.56 Let us see
wool’s rarity and price.52 A king, the beloved, is bound in the whether the pomegranates
tresses.BD have bloomed.B This scene
7 The previous description of the bride, which was the most takes place during the spring,
intimate so far, is now followed by expressions of the mutual when the flowers of the
adoration between the lovers: How fair you are and how pomegranate tree appear,
pleasant you are, love in its delights. Love waxes and wanes, undoubtedly a beautiful
and includes, alongside dreams and aspirations, also heartache. sight. There, in the tranquil
However, love in its delights is consummated love, in which joy and beautiful vineyard, I will “The grape bud has sprouted.” Tiny
grapes visible between stamens
is fully realized. give my love to you. These
8 The beloved’s poem of intimacy: This, your stature, is likened descriptions of springtime can also be understood as an allu-
to a tall, beautiful date palm, and your breasts are likened to sion to the exodus from Egypt, as Passover is always in the
round clusters of dates that hang at its sides. spring. There is a special obligation to remember the exodus,
9 The image of the date palm which was itself the springtime blossoming of Israel into a na-
continues: I said to myself: I tion, during the month in which all of nature blossoms and the
will ascend the date palm, promise of the future beckons.
I will grasp its branches;53 14 After a while, the mandrakes have emitted fragrance.B
and please may your breasts Mandrakes do not emit their pleasant fragrance in the spring.
be like clusters of the vine, Rather, they ripen approxi-
and the fragrance of your mately one and a half months
nose pleasant like apples. Date palms later, at the time of the wheat
harvest. Therefore, a consid-
erable time must have passed
since the invitation of the
previous verse. And at our
entrance are the scents of
all types of delicacies, both Mandrakes
new, which have sprouted
recently, and old. All of this sweetness, new and old, I have
hidden them away for you, my beloved. At this point, the
Date palm branches “Clusters of the vine”
courtship that has been developing throughout the entire story
reaches its conclusion. The love between the beloved and his
10 Your palate, the taste of your kisses, is like fine wine that goes bride is depicted here at its apex, when the beloved describes
pleasantly with my lovemaking [dodi], or that goes pleas- his love as utterly beautiful and graceful, and she responds by
antly into my mouth.54 Another possible interpretation is that noting that all of nature is ripe for the consummation of their
the word dodi here means “my beloved,” a reference to the male love, and that she waits only for him.
lover. If so, this phrase is recited by the bride. However, since

26
‫שיר השירים | פרק ח‬

֙‫ ַמה־־־ּיָ פִ ית‬::‫ֹאש ְְְך ָּכ ַֽא ְְְר ָ ּג ָמ֑ן ֶמ ֶ֖ל ְְְך ָא ֥סוּר ָּב ְְֽר ָה ִ ֽטים‬ ֖ ֵ ׁ ‫ֹאש ְְְך ָע ֙ ַליִ ְְְ ֙ך ַּכ ַּכ ְְְר ֶ֔מל וְְ ַד ַּל֥ת ר‬
ֵׁ֤ ‫ר‬ ‫ו‬
‫ז‬
::‫ֹומ ֵת ְְְ ֙ך דָּ ֽ ְְמ ָ ֣תה ְְל ָת ָ֔מר וְְ ׁ ָש ַ ֖דיִ ְְְך ְְל ַא ׁ ְְְש ּכ ֹֽלֹות‬ ָ ‫ ז֤ ֹאת ֽק‬::‫ה־נ ַָ֔ע ְְְמ ְְְּת ַ ֽא ֲה ָב֖ה ַּב ַּ ֽת ֲענו ִּגֽים‬ ּ ‫ו ַּמ‬ ‫ח‬

‫ָא ַ֙מ ְְְר ִּתי֙ ֶ ֽא ֱע ֶל֣ה ְְב ָת ָ֔מר ֽא ֲֹחזָ ֖ה ְְּב ַסנְְְ ִס ָּנ ֑יו וְְ ִי ְְְֽהיוּ־נָ ֤א ׁ ָש ַ ֙דיִ ְְְ ֙ך ְְּכ ֶא ׁ ְְְש ְְּכ ֣לֹות ַה ֶ֔ ּגפֶ ן וְְ ֵ ֥ר ַיח‬ ‫ט‬

‫ ֲא ִנ֣י‬::‫יש ִ ֑רים דּ ֵֹוב֖ב ִ ׂשפְְְ ֵ ֥תי יְְ ׁ ֵש ִנֽים‬ ָ ׁ ‫דֹודי ְְל ֵ ֽמ‬
֖ ִ ‫הֹול֥ךְְְ ְְל‬ ֵ ‫ וְְ ִח ֵּ֕כךְְְ ְְּכיֵ ֥ין ַה ּ ֛טֹוב‬::‫ַא ּ ֵפ֖ךְְְ ַּכ ַּת ּפו ִ ּֽחים‬ ‫י‬
‫יא‬
‫ימ ֙ה ַל ְְּכ ָר ִ֔מים‬ ָ ‫נַש ִּ֙כ‬
ְְְ ׁ ::‫נָל֖ינָ ה ַּב ְְּכפָ ִ ֽרים‬ ִ ‫דֹודי֙ נֵצֵ ֣א ַה ּ ָשׂ ֶ ֔דה‬ ִ ‫ ְְל ָכ ֤ה‬::‫דֹודי וְְ ָע ַל֖י ְְּת ׁ ֽשו ָּק ֽתֹו‬ ֔ ִ ‫ְְל‬ ‫יב‬
‫יג‬
::‫שם ֶא ֵּ ֥תן ֶאת־־־דּ ַ ֹ֖די ָל ְְְֽך‬ ֛ ָ ׁ ‫ם־־־פ ְְֽר ָח֤ה ַה ֶ֙ ּגפֶ ֙ן ּ ִפ ַּ ֣תח ַה ְְּס ָמ ַ ֔דר ֵהנֵ ֖צ ּו ָה ִֽר ּמֹונִ ֑ים‬ ָ ּ ‫נִ ְְְר ֶ ֞אה ִא‬
‫ל־־מגָ ִ ֔דים ֲח ָד ׁ ִ ֖שים ַ ּגם־־יְְ ׁ ָשנִ ֑ים דּ ִ ֹ֖ודי צָ פַ ֥נְְְ ִּתי‬ ְְ ‫ל־־פ ָת ֵ֙חינ ּ֙ו ָָּכ‬ ְְ ּ ‫ּ־־ר ַיח וְְ ַע‬
֗ ֵ ‫ַהדּֽ ו ָּד ִ ֣אים נָ ְְֽתנו‬ ‫יד‬

::‫ֹא־יָבז ּו ִ ֽלי‬
֥ ֻ ‫ש ְְק ֔ ָך ַ ּג֖ם ֽל‬ ֣ ָ ּ ׁ ‫ ִמ֤י יִ ֶּתנְְְ ָ ֙ך ְְּכ ָ ֣אח ִ֔לי יֹונֵ ֖ק ׁ ְְש ֵ ֣די ִא ִּ ֑מי ֶ ֽא ְְְמצָ ֲֽאךָ ֤ ַבח ּו ֙ץ ֶא‬::‫ָל ְְְֽך‬ ‫א‬ ‫ח‬

In this last section, though the poem remains the same poem and the love the same love, one
Toward a Permanent Covenant can discern a new element. At the conclusion of The Song of Songs the reader finds premonitions
THE SONG OF SONGS 8:1–14 of significant changes in the relationship between the beloved and his love. The previous
descriptions of a vague, open-ended love gradually transition to a more functional, almost legal
form. This section also includes certain insights on the nature of love, and the accompanying emotion of jealousy.

8 1 Until this point, the poem described a love bounded neither the breasts of my mother. I would find you outside; I would
by space nor by time, with the lovers seemingly everywhere kiss you, yet they would not despise me. Kissing a brother in
and nowhere at once. In the following verses, the woman ex- public is not considered an undignified act. The young woman
presses her desire to strengthen and stabilize her bond with her yearns to openly display her love for her beloved in such a natu-
beloved: If only you were like a brother to me, who sucked ral manner.

BACKGROUND DISCUSSION
7:6 |  A king [melekh] bound in the tresses blossoming of the vine and pomegranate. At this 7:6 |  King bound in the tresses [melekh
[barehatim]: Some suggest that the word melekh stage, one can observe the shedding of the joined, asur barehatim]: Despite his power,
in this context does not mean king at all but is de- closed petals of the grape bud, as the stamen and wealth, and freedom, the king is capti-
rived from the Akkadian term malu, which means pistils are released for pollination. vated by her hair (see Ibn Ezra). Some
an uncombed lock of hair. A similar Greek word, 7:14 |  The mandrakes have emitted fragrance: explain that the tresses, rehatim, are not
mallu, refers to a curl of wool or hair. If this is cor- The mandrake, Mandragora autumnalis, which the bride’s hair but the ribbons and fine
rect, then the word rehatim should be understood grows in Israel, ripens during the wheat harvest. chains decorating it, which were now
as the beams of a loom, such that the entire phrase It possesses a bright orange color and emits a tied around the king’s head, according to
means: Her hair is naturally arranged like weaving pungent fragrance. The mandrake grows through- the ancient custom for a bridegroom to
on the beams of a loom. out the winter surrounded by purple flowers in a tie his bride’s hair decorations around his
7:13 |  The vine has blossomed, the grape rosette of leaves close to the ground. The fruit is own head. It is also possible to translate
bud has sprouted, the pomegranates have edible; however, its leaves, roots, and seeds are the verse as follows: And the locks of your
bloomed: After the start of the spring season, poisonous. In folklore, the mandrake is considered head are like purple wool of the king,
when the flowers of the field bloom, and the night- to have medicinal properties, and to be a remedy bound in ribbons.
ingale and turtledove have appeared (see 2:12), for infertility.
springtime reaches its peak, culminating in the

27
 The Song of Songs | Chapter 8

2 I would lead you unabashedly, I would bring you to my but the only thing in the world that matters. This feeling is as
mother’s house, who teaches me;57 there I would give harsh, absolute, and uncompromising as the grave. Its sparks,
you from the spiced wine to drink, from the juice of my the sparks of love, are the sparks of fire, which can burn and
pomegranate. even destroy a person. Love is a great conflagration.
3 Another fantasy: His left arm is under my head, and his right 7 If love is true, much water cannot extinguish the fire of that
embraces me intimately. love, and rivers cannot wash it away; even if a man were to
4 Nevertheless, I administer an oath to you, daughters of give all the wealth of his house for the purchase of love, he
Jerusalem: For what do you awaken and for what do you would be scorned.D By means of gestures, gifts, and displays of
rouse love, until it desiresD to awaken by itself? Let the love emotion, one can acquire a certain level of friendship, but not
develop at its own pace. love.
5 This verse is spoken by a third party, depicting the relationship 8 Now, relatives of the lovers begin to openly discuss their rela-
from a more stable, objective perspective: Who is that coming tionship. The brothers of the young woman speak first: We
up from the wilderness, leaning upon her beloved?58 Is it not have a little sister, and she has no breasts, she is too young
the woman, who says to her beloved: Under the apple tree I and insufficiently developed. Therefore, what shall we do for
met you and I roused you from your slumber; or, I roused your our sister on the day that she will be spoken for concerning
love for me. There your mother conceived you; there she marriage? Since she is not yet ready for marriage, what shall we
who bore you conceived. The word ĥibela, translated here as do when the proposal arrives? How long can we delay it?
“conceived,” could also mean “suffered birth pangs.” The shade 9 As long as the little sister was simply playing outside, singing
of the apple tree is the beloved’s place of origin, and it is there and dancing, the brothers did not take much notice of her
that he now encounters his love. Previously, the woman sought behavior. Now, however, they begin
to bring her beloved into her mother’s house; now, she arrives to appraise her character: If she is a
from an unknown wilder- wall, guarded and modest, we will
ness, drawn to the place build upon her a silver parapet,B we
where her beloved was will decorate her with conspicuous
formed. Though she does jewelry. And if she is a door, which
not meet his parents, she can be open and unguarded, we will
makes reference to them. affix on her cedar panels to protect
Understood allegorically, her.59
Headdress with parapet
this verse refers to the soul’s 10 The young woman responds: First, on statuette, Rome,
quest to rise above the mun- Apple tree I am a wall, not a door, and second, second century CE
dane, and to find God in its my breasts are like the towers. I
own source and origin. have breasts; you have merely failed to notice how much I have
6 The woman asks of her beloved: Set me as a seal upon your grown. Then, in this state, I was in his eyes, the eyes of the
heart, as a seal upon your arm.B Let me be like your seal, a beloved, who is perhaps not immediately present, as one who
personal item unique to you. This is another symbol of the in- finds peace. My beloved already knows that I have found my
creasing permanence of their bond. So powerful is the woman’s peace with my choice of him. You should have no misgivings
devotion that she wishes to relinquish her independent ex-
istence altogether, preferring to attach herself to her beloved
as a seal. There is, however, another side to this, as love is as
intense as death. Alongside the delights of love, there is also
a dark side. Just as death swallows everything and cannot be
deferred, so too the feelings of love are so overpowering as to
be inescapable. Furthermore, jealousy is as cruel as the grave.
This refers to the demand for exclusive possession of the object
of one’s love. Such jealousy is a profound emotion that is dif-
ficult to bear. Understood allegorically, the jealousy that is built
into love for God, who demands complete devotion, is very dif-
ficult for other peoples to comprehend. To the nation of Israel,
the relationship with God is not only its most important bond, “I am a wall”

28
‫שיר השירים | פרק ח‬

‫ ְְ ׂשמֹאל ֹ֙ו‬::‫ל־ב֥ית ִא ִּ ֖מי ְְּת ַל ְְּמ ֵ ֑דנִי ַא ׁ ְְְש ְְק ָ ֙ך ִמּיַ ֣יִ ן ָה ֶ ֔ר ַקח ֵ ֽמ ֲע ִ ֖סיס ִר ּמ ִֹנֽי‬ ֵּ ‫ֶאנְְְ ָהֽגְְ ֗ ָך ֲא ִ ֽב ֲיאךָ ֛ ֶא‬ ‫ב‬
‫ג‬
‫ה־ת ִע֧יר ּו ׀ ֽ ּו ַמה־‬ ָּ ‫ ִה ׁ ְְְש ַּב ְְְ֥ע ִּתי ֶא ְְְת ֶכ֖ם ְְּבנ֣ ֹות יְְ ֽרו ׁ ָּש ָ ֑ל ִם ַמ‬::‫ֽימינ֖ ֹו ְְּת ַח ְְּב ֵֽקנִי‬ ִ ‫ֹאשי ִו‬ ִ ֔ ׁ ‫ַּ ֣ת ַחת ר‬ ‫ד‬

‫ן־ה ִּמ ְְְד ָּ֔בר‬

ַ ‫        מי ז֗ ֹאת ע ָֹל ֙ה ִמ‬::‫ֽץ‬
ִ֣ ‫ת־ה ַ ֽא ֲה ָב֖ה ַע֥ד ׁ ֶש ֶּת ְְְח ּ ָפ‬ ָ ‫ְְּת ֽע ְְֹר ֛ר ּו ֶא‬ ‫ה‬

‫ּח ֽע ַֹור ְְְר ִּ֔תיךָ ֚ ׁ ָש ָּמה ִח ְְּב ַל ְְְ֣תךָ ִא ֶּ֔מךָ ׁ ָש ָּ֖מה ִח ְְּב ָל֥ה‬ ֙ ַ ‫ֹוד ּה ַּ ֤ת ַחת ַה ַּת ּ ֙פו‬ ֑ ָ ּ‫ִמ ְְְת ַר ּ ֶפ ֶ֖קת ַעל־ד‬
‫ֽי־־־עּזָ ֤ה ַכ ָּ֙מוֶ ת֙ ַ ֽא ֲה ָ֔בה‬ַ ‫רֹועךָ ִּכ‬ ֶ֔ ְְ‫ֽחֹות ֙ם ַעל־־־ז‬ ָ ‫ל־־־ל ֶּ֗בךָ ַּכ‬ ִ ‫ֽחֹותם ַע‬ ָ֜ ‫ימנִי ַכ‬ ֵ֨ ‫ ִ ׂש‬:: ָ‫יְְ ָל ַ ֽד ְְְתך‬ ‫ו‬

‫ ַ ֣מיִ ם ַר ִּ֗בים ֤ל ֹא יֽ ו ְְּכל ּ֙ו ְְל ַכ ּ֣בֹות‬::‫יה ִר ׁ ְְְש ּ ֕ ֵפי ֵ ֖א ׁש ׁ ַש ְְְל ֶה ֶֽב ְְְתיָ ֽה‬ ָ ‫שה ִכ ׁ ְְְש ֖אֹול ִקנְְְ ָא֑ה ְְר ׁ ָש ֕ ֶפ‬ ֥ ָ ׁ ‫ָק‬ ‫ז‬

‫ל־הֹון ֵּבית ֹ֙ו ָּב ַ ֽא ֲה ָ֔בה ּ֖בֹוז‬ ֤ ‫ת־כ‬ ָָּ ‫ת־ה ַ ֽא ֲה ָ֔בה וּנְְְ ָה ֖רֹות ֣ל ֹא יִ ׁ ְְְש ְְטפ֑ ו ָּה ִאם־יִ ֵּ֨תן ִ ֜א ׁיש ֶא‬ ָ ‫ֶא‬
‫חֹותנ ּו‬
ֵ֔ ‫ה־נ ֲֽע ֶ ׂש ֙ה ַל ֲֽא‬ ּ ַ ‫     א ֥חֹות ֙ ָלנ ּ֙ו ְְק ַט ֔ ָּנה וְְ ׁ ָש ַ ֖דיִ ם ֵ ֣אין ָל ּ֑ה ַ ֽמ‬::‫ֹו‬ ָ ‫֥יָבוּז ּו ֽל‬ ‫ח‬

‫֖יה ִ ֣ט ַירת ָּכ ֶ֑סף וְְ ִאם־דֶּ ֣ ֶלת ִ֔היא נָצ֥ וּר‬ ָ ‫ם־חֹומ֣ה ִ֔היא נִ ְְְבנֶ ֥ה ָע ֶל‬ ָ ‫ ִא‬::‫ר־ב ּֽה‬
ָּ ‫ַּבּי֖ ֹום ׁ ֶשּיְְ ֻד ַּב‬ ‫ט‬

::‫֥יתי ְְב ֵעינָ ֖יו ְְּכ ֽמֹוצְְ ֵ ֥את ׁ ָש ֽלֹום‬ ִ ‫חֹומה וְְ ׁ ָש ַ ֖די ַּכ ִּמגְְְ דָּ ֑לֹות ָ ֛אז ָה ִי‬ ָ֔ ‫ ֲא ִנ֣י‬::‫֖יה ֥לו ַּח ָ ֽא ֶרז‬ ָ ‫ָע ֶל‬ ‫י‬

BACKGROUND DISCUSSION
8:6 |  Set me as a seal upon your heart, as a seal upon your 8:4 |  For what do you rouse love, to involve themselves in the situation,
arm: The seal was a valuable personal accessory, used mainly until it desires: This phrase is repeated which is solely between the woman and
for signing and confirming contracts or statutes. It was used pri- throughout the book. Even when the her beloved.
marily by men, and was framed within a ring that was worn on love is mutual and clear, it cannot be en- 8:7 |  If a man were to give all the
one’s finger, or hung around one’s neck. The seal would be sunk hanced by artificial means, by external wealth of his house for love, he
and rolled in a soft substance, such as wax or clay, which would displays, or through the participation of would be scorned: Sometimes it seems
later harden, retaining the design that was imprinted on it. gossiping strangers. To goad emotion that anything can be bought, so long as
8:9 |  Silver parapet [tira]: In both the Bible and the Mishna, from the outside can even disturb or one finds the right price. However, no
a tira refers to a low fence or parapet that surrounds a defined delay the fruition of love. Furthermore, matter how great one’s fortune, love
area (see Genesis 25:16; Ezekiel 46:23; Mishna Kelim 3:5). Later, the request to not rouse love prema- cannot be purchased. When it appears
the word tira came to mean a palace and fortress, as in modern turely displays a confidence that the that a person has succeeded in buying
Hebrew. It is possible that this silver tira is actually a crown- love is real and strong, and not to be love, in practice he has acquired no
like ornament, like the “city of gold” mentioned in the Mishna anxious or fretted about. Therefore, the more than a person’s body. Furthermore,
(Shabbat 6:1; Eduyyot 2:7; Kelim 11:8). daughters of Jerusalem are told not love cannot be relinquished or sold.

29
 The Song of Songs | Chapter 8

about my relationship. I am ready physically, emotionally, and that “the day of his wedding” (3:11) refers to the giving of the
morally to be married. Torah, and “the day of the rejoicing of his heart” refers to the
11 An anonymous third party provides background for the con- building of the Temple (see commentary on 3:11). Of course,
tinuation of the woman’s speech: King Solomon had a there was love between God and Israel before these events, but
vineyard at Baal Hamon.B He gave the vineyard to the their relationship was not cemented in a formal covenant. The
guards, to take care of it. Each would bring, earn in exchange giving of the Torah was the wedding of Israel to God, as it was
for its fruit, a sizable income at that moment that a binding relationship was established.
of one thousand pieces of Likewise, when God dwelled among the nation of Israel with
silver. The vineyard symbol- the building of the Temple, it was as if the bride and groom had
izes a woman, specifically the created a new, shared household. On every level of interpreta-
female protagonist of the tion, the same questions are posed: Who is the bride? Is she
poem, and Solomon is her worthy? Is she ready for marriage or must she wait a few more
guardian, the closest thing to years? And on every level of interpretation, a permanent rela-
a paternal figure, who has ap- Vineyard tionship consists of agreements and commitments, and carries
pointed the brothers to look with it a price. The great King Solomon clearly does not require
after their sister. These guards of the vineyard receive a hand- more money. Still, in order to finalize the agreement, the bride
some payment for fruits of the vineyard. Allegorically, the must relinquish part of her inheritance and give her vineyard as
nation of Israel is the vineyard. When it fulfills its divine pur- a dowry.
pose, its profits are distributed among the nations, if they only 13 Throughout this dialogue, the beloved was not present. Now,
know to appreciate the vineyard and show responsibility for it. he addresses his bride-to-be: You, the one who dwells in the
12 Now, the young woman, who considers herself mature, decides gardens, whose companions listen to your voice, as you
for herself the fate of her vineyard: My vineyard is before me, proved when you spoke to the brothers: Let me hear it. I wish
and I intend to give it to my beloved; I intend to marry him. to meet you and listen to your sweet voice myself.
As part of the arrangement, the profits from the vineyard will 14 She responds: Indeed, the consummation of our relationship is
be distributed: The thousand is for you, Solomon, the cus- nearer than ever, but its time has not yet arrived. In the mean-
todian, and two hundred will be given for those who guard time, flee, my beloved, and be like a gazelle or a young deer
its fruit. Now, when the couple wishes to establish their bond on the mountains of spices. You are assured of my love; I am
in marriage, they erect boundaries. Allegorically speaking, the yours. Now leap on the hills and enjoy their fragrance, for I
bride is the individual soul or the Jewish people that yearns and know that you will return.
seeks to be married to God. In this context, the Sages expound

BACKGROUND
8:11 |  Baal Hamon: No place of this name has fortune [hamon] (see Ecclesiastes 5:9). Some produces quality vines even today. According to
been identified. Perhaps Baal Hamon is not the suggest that this is Baal Hermon, located on the Targum and Rashi, Baal Hamon is Jerusalem,
name of a place, but a phrase referring to the the slopes of the Hermon (see Judges 3:3). where masses [hamon] of people gathered, es-
work by a contractor for the owner [baal] of a This is a fertile and well-watered area, and it pecially on Passover, the spring festival.

30
‫שיר השירים | פרק ח‬

‫יָבא ְְּבפִ ְְְריֹ֖ו ֶ ֥א ֶלף‬‫ת־ה ֶ ּכ ֶ֖רם ַל ּֽנ ְְֹט ִ ֑רים ִ ֛א ׁיש ִ ֥‬

‫ֶּ ֣כ ֶרם ָהיָ ֤ה ִל ׁ ְְְשלֹמֹ ֙ה ְְּב ַב ַ֣על ָה ֔מֹון נָ ַ ֥תן ֶא ַ‬ ‫יא‬

‫ּיֹוש ֶ֣בת‬
‫ת־פ ְְְריֹֽו‪ַ ::‬ה ׁ ֶ‬
‫אתיִ ם ְְלנֽ ְְֹט ִ ֥רים ֶא ּ ִ‬ ‫ָּכ ֶֽסף‪ַּ ::‬כ ְְְר ִ ֥מי ׁ ֶש ִּל֖י ְְלפָ נָ ֑י ָה ֶא ֶ֤לף ְְל ָ ֙ך ׁ ְְשל ֹ֔מֹה ו ָּמ ַ ֖‬ ‫יב‬
‫יג‬
‫ה־לךָ ֤ ִלצְְְ ִבי֙ ֚אֹו‬ ‫ֹודי ֽ ּו ְְְד ֵ ֽמ ְְ‬
‫יענִי‪ְְּ ::‬ב ַ ֣רח ׀ דּ ִ ֗‬ ‫קֹול ְְְ֖ך ַה ׁ ְְְש ִמ ִ ֽ‬
‫יבים ְְל ֵ‬ ‫ַּב ַ ּג ֗ ִּנים ֲח ֵב ִ ֛רים ַמ ְְְק ׁ ִש ִ ֥‬ ‫יד‬

‫ְְל ֣עֹפֶ ר ָה ַֽאּיָ ִ֔לים ַע֖ל ָה ֵ ֥רי ְְב ָ ׂש ִ ֽמים‪::‬‬

‫‪31‬‬
 Notes
1. See Shevuot 35b; Shir HaShirim Rabba 1:11. 31. See Rashi.
2. See, e.g., Isaiah 50:1, 54:4–12; Jeremiah 2:2; Ezekiel 16. 32. See Daniel 5:10, and the commentaries ad loc.
3. See Soferim 14. 33. See Leviticus 13:31.
4. See I Kings 5:12, and commentary ad loc. 34. See Mishna Para 9:3.
5. See Rashi; Ibn Ezra. 35. See Rashi.
6. See Rashbam here and 3:7. 36. See Alsheikh.
7. See I Samuel 6:19. 37. See Ibn Ezra.
8. See Ibn Ezra. 38. See Ibn Ezra; Ralbag; I Kings 15:33.
9. See Genesis 29:2–11. 39. See, e.g., Psalms 48:3; Lamentations 2:15; Kiddushin 49b.
10. See, e.g., Judges 8:21; Ibn Ezra, Esther 6:8, and commentary ad loc. 40. See Rashbam; Ibn Ezra.
11. See Ralbag; Radak, I Chronicles 17:20. 41. See Rashi; Rashbam; Rav Yeshaya of Trani.
12. See Ibn Ezra. 42. See Rashbam.
13. See Shir HaShirim Rabba. 43. See Rashi; Alsheikh; Shir HaShirim Rabba.
14. See Lekaĥ Tov. 44. See Rav Yeshaya of Trani.
15. See Malbim. 45. See Ramban, Job 8:12.
16. See commentary on II Samuel 6:19. 46. See Ibn Ezra; Rashbam, Exodus 12:13.
17. See Rashi. 47. Rashbam; Ramban, Exodus 25:12.
18. See Alsheikh. 48. Rav Yeshaya of Trani.
19. See Rashi; Onkelos, Genesis 8:22; Targum, Jeremiah 36:22. 49. See Rashi; Ibn Ezra.
20. See commentary on Genesis 8:22. 50. See Rashbam.
21. See Rav Yeshaya of Trani. 51. See Rashi.
22. See Metzudat David; Metzudat Tzion. 52. See Rashi; Ibn Ezra.
23. See Joshua 15:19. 53. See Rashi; Malbim; Da’at Mikra.
24. See Ibn Ezra; Rav Yosef Kara. 54. See Rav Yosef Kara, 1:2.
25. See Rashbam, Exodus 30:23. 55. See Rashi; Ibn Ezra.
26. See Alsheikh. 56. See Ramban, Leviticus 19:20.
27. Jeremiah 2:2. 57. See Ibn Ezra.
28. See Ibn Ezra. 58. See Rashi.
29. See Rashi; Rav Yosef Kara; Rav Yeshaya of Trani. 59. See Rashi.
30. See Psalms 22:15; Ruth 1:11.
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