(א) שִׁ֥יר הַשִּׁירִ֖ים אֲשֶׁ֥ר לִשְׁלֹמֹֽה׃ (ב) יִשָּׁקֵ֙נִי֙ מִנְּשִׁיק֣וֹת פִּ֔יהוּ כִּֽי־טוֹבִ֥ים דֹּדֶ֖יךָ מִיָּֽיִן׃ (ג) לְרֵ֙יחַ֙ שְׁמָנֶ֣יךָ טוֹבִ֔ים שֶׁ֖מֶן תּוּרַ֣ק שְׁמֶ֑ךָ עַל־כֵּ֖ן עֲלָמ֥וֹת אֲהֵבֽוּךָ׃ (ד) מָשְׁכֵ֖נִי אַחֲרֶ֣יךָ נָּר֑וּצָה הֱבִיאַ֨נִי הַמֶּ֜לֶךְ חֲדָרָ֗יו נָגִ֤ילָה וְנִשְׂמְחָה֙ בָּ֔ךְ נַזְכִּ֤ירָה דֹדֶ֙יךָ֙ מִיַּ֔יִן מֵישָׁרִ֖ים אֲהֵבֽוּךָ׃ (ס)
(1) The Song of Songs, by Solomon. (2) Oh, give me of the kisses of your mouth, For your love is more delightful than wine. (3) Your ointments yield a sweet fragrance, Your name is like finest oil— Therefore do maidens love you. (4) Draw me after you, let us run! The king has brought me to his chambers. Let us delight and rejoice in your love, Savoring it more than wine— Like new wine they love you!
- What is happening in these first few verses?
- What does the very beginning of this book evoke for you?
(ח) ק֣וֹל דּוֹדִ֔י הִנֵּה־זֶ֖ה בָּ֑א מְדַלֵּג֙ עַל־הֶ֣הָרִ֔ים מְקַפֵּ֖ץ עַל־הַגְּבָעֽוֹת׃ (ט) דּוֹמֶ֤ה דוֹדִי֙ לִצְבִ֔י א֖וֹ לְעֹ֣פֶר הָֽאַיָּלִ֑ים הִנֵּה־זֶ֤ה עוֹמֵד֙ אַחַ֣ר כָּתְלֵ֔נוּ מַשְׁגִּ֙יחַ֙ מִן־הַֽחֲלֹּנ֔וֹת מֵצִ֖יץ מִן־הַֽחֲרַכִּֽים׃ (י) עָנָ֥ה דוֹדִ֖י וְאָ֣מַר לִ֑י ק֥וּמִי לָ֛ךְ רַעְיָתִ֥י יָפָתִ֖י וּלְכִי־לָֽךְ׃ (יא) כִּֽי־הִנֵּ֥ה הסתו [הַסְּתָ֖יו] עָבָ֑ר הַגֶּ֕שֶׁם חָלַ֖ף הָלַ֥ךְ לֽוֹ׃ (יב) הַנִּצָּנִים֙ נִרְא֣וּ בָאָ֔רֶץ עֵ֥ת הַזָּמִ֖יר הִגִּ֑יעַ וְק֥וֹל הַתּ֖וֹר נִשְׁמַ֥ע בְּאַרְצֵֽנוּ׃ (יג) הַתְּאֵנָה֙ חָֽנְטָ֣ה פַגֶּ֔יהָ וְהַגְּפָנִ֥ים ׀ סְמָדַ֖ר נָ֣תְנוּ רֵ֑יחַ ק֥וּמִי לכי [לָ֛ךְ] רַעְיָתִ֥י יָפָתִ֖י וּלְכִי־לָֽךְ׃ (ס) (יד) יוֹנָתִ֞י בְּחַגְוֵ֣י הַסֶּ֗לַע בְּסֵ֙תֶר֙ הַמַּדְרֵגָ֔ה הַרְאִ֙ינִי֙ אֶתּ־מַרְאַ֔יִךְ הַשְׁמִיעִ֖ינִי אֶת־קוֹלֵ֑ךְ כִּי־קוֹלֵ֥ךְ עָרֵ֖ב וּמַרְאֵ֥יךְ נָאוֶֽה׃ (ס) (טו) אֶֽחֱזוּ־לָ֙נוּ֙ שֽׁוּעָלִ֔ים שֽׁוּעָלִ֥ים קְטַנִּ֖ים מְחַבְּלִ֣ים כְּרָמִ֑ים וּכְרָמֵ֖ינוּ סְמָדַֽר׃ (טז) דּוֹדִ֥י לִי֙ וַאֲנִ֣י ל֔וֹ הָרֹעֶ֖ה בַּשּׁוֹשַׁנִּֽים׃
(8) Hark! My beloved! There he comes, Leaping over mountains, Bounding over hills. (9) My beloved is like a gazelle Or like a young stag. There he stands behind our wall, Gazing through the window, Peering through the lattice. (10) My beloved spoke thus to me, “Arise, my darling; My fair one, come away! (11) For now the winter is past, The rains are over and gone. (12) The blossoms have appeared in the land, The time of pruning has come; The song of the turtledove Is heard in our land. (13) The green figs form on the fig tree, The vines in blossom give off fragrance. Arise, my darling; My fair one, come away! (14) “O my dove, in the cranny of the rocks, Hidden by the cliff, Let me see your face, Let me hear your voice; For your voice is sweet And your face is comely.” (15) Catch us the foxes, The little foxes That ruin the vineyards— For our vineyard is in blossom. (16) My beloved is mine And I am his Who browses among the lilies.
- How would you describe the relationship between the two lovers?
- What is your favorite image or metaphor from this passage?
Rabbi Akiva said, "Nothing in the entire world is worthy but for that day on which The Song of Songs was given to Israel; for all the Scriptures are holy, but The Song of Songs is the Holy of Holies!"
Rabbi Akiva’s insight is essential. Shir Hashirim, a duet scored for two young lovers, each delighting in the other, longing for one another’s presence, is one of the central books of Tanach and the key that unlocks the rest. It is about love as the holy of holies of human life. It is about the love of Israel for God and God for Israel, and the fact that it is written as the story of two young and human lovers is also fundamental, for it tells us that to separate human and divine love and to allocate one to the body, the other to the soul, is a false distinction.
“And it is the custom to read Shir HaShirim on Shabbat of Chol HaMoed Pesach because it speaks of the redemption of our people from Egypt, as is written (Shir HaShirim 1:9), "With My mighty steeds who battled Pharaoh’s riders I revealed that you are My beloved.”"
For rabbinic Judaism, the Song of Songs is the record of an actual, concrete, visible occurrence in the historical life of the people Israel. When the rabbis read the Song of Songs they do not translate its "carnal" meaning into one or more "spiritual" senses they rather establish a concrete historical moment in which to contextualize it. It is a love-song, a love-dialogue to be specific, that was actually (or fictionally according to some views) uttered by a lover and a beloved at a moment of great intimacy, at an actual historical moment of erotic communion, when God allowed himself to be seen by Israel, either the crossing of the Red Sea or the revelation at Mount Sinai.