Megillot II. Class 7. Song of Songs 2

1. Welcome - Check-in - Opening Question


Last week, during our introductory class on Song of Songs, we discussed that Jewish commentators have looked at this biblical book through one or more of four lenses known collectively as PaRDeS ("orchard"):

  • Peshat - contextual meaning
  • Derash - communal meaning, connecting the book with the Torah and rabbinic (Talmudic and Midrashic) teachings
  • Remez - personal meaning, focusing on philosophical teachings and a yearning for personal perfection
  • Sod - mystical meaning

In the approach of Sod, the female figure in Song of Songs is often identified with Shechinah, a feminine aspect of God.

What do you think of the idea that God can have feminine and masculine aspects?

Dodi Li · Theodore Bikel Sings Songs Of Israel ℗ 1956 Elektra Records Lead Vocals: Theodore Bikel

Lyrics: Bible - Shir Hashirim 2:16, 3:6, 4:9, 4:16

Music: Nira Chen c. 1948

(Source: https://www.hebrewsongs.com/?song=dodili.)

2. Plan for this class


  • 3 Introduction to Chapters 2 and 3
  • 4 a) Text of Chapter 2 - b) our impressions - c) commentaries
  • 5 Chapter 2 in Jewish life - a) 'Dodi li va'ani lo' - b) 'The Sanctification of the Moon'
  • 6 a) Text of Chapter 3 - b) our impressions - c) commentaries
  • 7 Review - Next class

3. Introduction to Chapters 2 and 3


  • Chapter 2 - 17 verses
    • Plants, animals, and hills
    • Michael Fishbane: "Love in its Proper Time"
  • Chapter 3 - 11 verses
    • In the city
    • Michael Fishbane: "Inner Experience and Shared Joy"

Things to consider as we read Chapters 2 and 3

  • Consider the nature imagery in chapter 2
  • The mutual praises in 2:1-3. How do the plants mentioned here figure in the rest of chapter 2?
  • The vow ("I adjure you") in 2:7. It reappears in 3:5
  • When the lovers are together; when they are apart in chapter 2
  • Consider the city scenes in chapter 3
  • The situation in 3:1-5
  • The two beds (couch, palanquin) in 3:7-11
  • The role of mothers (3:4, 3:11).

4a. Text of Chapter 2


Lily of the Valley

By Ivar Leidus - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=118806658

(א) אֲנִי֙ חֲבַצֶּ֣לֶת הַשָּׁר֔וֹן שֽׁוֹשַׁנַּ֖ת הָעֲמָקִֽים׃

(ב) כְּשֽׁוֹשַׁנָּה֙ בֵּ֣ין הַחוֹחִ֔ים כֵּ֥ן רַעְיָתִ֖י בֵּ֥ין הַבָּנֽוֹת׃

(ג) כְּתַפּ֙וּחַ֙ בַּעֲצֵ֣י הַיַּ֔עַר כֵּ֥ן דּוֹדִ֖י בֵּ֣ין הַבָּנִ֑ים בְּצִלּוֹ֙ חִמַּ֣דְתִּי וְיָשַׁ֔בְתִּי וּפִרְי֖וֹ מָת֥וֹק לְחִכִּֽי׃

(ד) הֱבִיאַ֙נִי֙ אֶל־בֵּ֣ית הַיָּ֔יִן וְדִגְל֥וֹ עָלַ֖י אַהֲבָֽה׃

(ה) סַמְּכ֙וּנִי֙ בָּֽאֲשִׁישׁ֔וֹת רַפְּד֖וּנִי בַּתַּפּוּחִ֑ים כִּי־חוֹלַ֥ת אַהֲבָ֖ה אָֽנִי׃

(ו) שְׂמֹאלוֹ֙ תַּ֣חַת לְרֹאשִׁ֔י וִימִינ֖וֹ תְּחַבְּקֵֽנִי׃

(ז) הִשְׁבַּ֨עְתִּי אֶתְכֶ֜ם בְּנ֤וֹת יְרוּשָׁלַ֙͏ִם֙ בִּצְבָא֔וֹת א֖וֹ בְּאַיְל֣וֹת הַשָּׂדֶ֑ה אִם־תָּעִ֧ירוּ ׀ וְֽאִם־תְּע֥וֹרְר֛וּ אֶת־הָאַהֲבָ֖ה עַ֥ד שֶׁתֶּחְפָּֽץ׃ {ס}

(1) I am a rose [or “crocus” ] of Sharon,
A lily of the valleys.

(2) Like a lily among thorns,
So is my darling among the maidens.


(3) Like an apple tree among trees of the forest,
So is my beloved among the youths.
I delight to sit in his shade,
And his fruit is sweet to my mouth.

(4) He brought me to the banquet room
And his banner of love was over me.

(5) “Sustain me with raisin cakes,
Refresh me with apples,
For I am faint with love.”

(6) His left hand was under my head,
His right arm embraced me.

(7) I adjure you, O maidens of Jerusalem,
By gazelles or by hinds of the field:
Do not wake or rouse
Love until it please!

Slender-horned Gazelle

By FisherQueen - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=3069202

(ח) ק֣וֹל דּוֹדִ֔י הִנֵּה־זֶ֖ה בָּ֑א מְדַלֵּג֙ עַל־הֶ֣הָרִ֔ים מְקַפֵּ֖ץ עַל־הַגְּבָעֽוֹת׃

(ט) דּוֹמֶ֤ה דוֹדִי֙ לִצְבִ֔י א֖וֹ לְעֹ֣פֶר הָֽאַיָּלִ֑ים הִנֵּה־זֶ֤ה עוֹמֵד֙ אַחַ֣ר כׇּתְלֵ֔נוּ מַשְׁגִּ֙יחַ֙ מִן־הַֽחַלֹּנ֔וֹת מֵצִ֖יץ מִן־הַחֲרַכִּֽים׃

(י) עָנָ֥ה דוֹדִ֖י וְאָ֣מַר לִ֑י ק֥וּמִי לָ֛ךְ רַעְיָתִ֥י יָפָתִ֖י וּלְכִי־לָֽךְ׃

(יא) כִּֽי־הִנֵּ֥ה הַסְּתָ֖ו 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}

(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 [or “singing”] 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!

(יד) יוֹנָתִ֞י בְּחַגְוֵ֣י הַסֶּ֗לַע בְּסֵ֙תֶר֙ הַמַּדְרֵגָ֔ה הַרְאִ֙ינִי֙ אֶת־מַרְאַ֔יִךְ הַשְׁמִיעִ֖נִי אֶת־קוֹלֵ֑ךְ כִּי־קוֹלֵ֥ךְ עָרֵ֖ב וּמַרְאֵ֥יךְ נָאוֶֽה׃ {ס}

(טו) אֶֽחֱזוּ־לָ֙נוּ֙ שֻֽׁעָלִ֔ים שֻׁעָלִ֥ים קְטַנִּ֖ים מְחַבְּלִ֣ים כְּרָמִ֑ים וּכְרָמֵ֖ינוּ סְמָדַֽר׃

(טז) דּוֹדִ֥י לִי֙ וַאֲנִ֣י ל֔וֹ הָרֹעֶ֖ה בַּשּׁוֹשַׁנִּֽים׃

(יז) עַ֤ד שֶׁיָּפ֙וּחַ֙ הַיּ֔וֹם וְנָ֖סוּ הַצְּלָלִ֑ים סֹב֩ דְּמֵה־לְךָ֨ דוֹדִ֜י לִצְבִ֗י א֛וֹ לְעֹ֥פֶר הָאַיָּלִ֖ים עַל־הָ֥רֵי בָֽתֶר׃ {ס}

(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)

Dodi li va'ani lo

My beloved is mine
And I am his

Ha-ro`eh ba-shoshanim
Who browses among the lilies.

(17) When the day blows gently
And the shadows flee,
Set out, my beloved,
Swift as a gazelle
Or a young stag,
For the hills of spices!

4b. Impressions - Discussion of "Things to Consider" (See 3. above)


4c. Commentaries


2:7 I adjure you, O maidens of Jerusalem, / By gazelles (tzeva'ot) or by hinds ('aylot) of the field...

This verse is echoed in 3:5, 5:8, and 8:4!

Compare Proverbs 5:19

אַיֶּ֥לֶת אֲהָבִ֗ים וְֽיַ֫עֲלַת־חֵ֥ן דַּ֭דֶּיהָ יְרַוֻּ֣ךָ בְכׇל־עֵ֑ת בְּ֝אַהֲבָתָ֗הּ תִּשְׁגֶּ֥ה תָמִֽיד׃

A loving doe ('ayelet), a graceful mountain goat.
Let her breasts satisfy you at all times;
Be infatuated with love of her always.

M. Fishbane: "the terms [gazelles tzevao't / hinds 'aylot]...evoke a counterpoint with (oaths customarily taken in the name of?) "the Lord of hosts" (hosts=tzeva'ot) or the Almighty God ('el shaddai).

ArtScroll Chumash, Shir HaShirim

The introduction to the ArtScroll translation of Song of Songs indicates that this biblical translation is distinct from other ArtScroll translations. It strives to reflect Rashi's (11th c.) derash commentary throughout. That is expressed well in the translation of 2.7:

7 [ (ISRAEL) TURNS TO THE NATIONS:] I adjure you, O nations who are destined to ascend to Jerusalem - for if you violate your oath you will become as defenseless as gazelles or hinds of the field — if you dare provoke God to hate me or disturb His love for me while He still desires it.

5 Chapter 2 in Jewish life


5a. The song 'Dodi li va'ani lo' - see link toward the top of this source sheet.

The lyric of this Israeli song consist of selections from the following verses from Song of Songs:

(טז) דּוֹדִ֥י לִי֙ וַאֲנִ֣י ל֔וֹ הָרֹעֶ֖ה בַּשּׁוֹשַׁנִּֽים׃
(16) My beloved is mine
And I am his
Who browses among the lilies.

(ו) מִ֣י זֹ֗את עֹלָה֙ מִן־הַמִּדְבָּ֔ר כְּתִֽימְר֖וֹת עָשָׁ֑ן מְקֻטֶּ֤רֶת מֹר֙ וּלְבוֹנָ֔ה מִכֹּ֖ל אַבְקַ֥ת רוֹכֵֽל׃

(6) Who is she that comes up from the desert
Like columns of smoke,
In clouds of myrrh and frankincense,
Of all the powders of the merchant?

(ט) לִבַּבְתִּ֖נִי אֲחֹתִ֣י כַלָּ֑ה לִבַּבְתִּ֙נִי֙ (באחד) [בְּאַחַ֣ת] מֵעֵינַ֔יִךְ בְּאַחַ֥ד עֲנָ֖ק מִצַּוְּרֹנָֽיִךְ׃

(9) You have captured my heart,
My own [Lit. “sister” ] my bride,
You have captured my heart
With one [glance] of your eyes,
With one coil of your necklace.

(טז) ע֤וּרִי צָפוֹן֙ וּב֣וֹאִי תֵימָ֔ן הָפִ֥יחִי גַנִּ֖י יִזְּל֣וּ בְשָׂמָ֑יו יָבֹ֤א דוֹדִי֙ לְגַנּ֔וֹ וְיֹאכַ֖ל פְּרִ֥י מְגָדָֽיו׃

(16) Awake, O north wind,
Come, O south wind!
Blow upon my garden,
That its perfume may spread.
Let my beloved come to his garden
And enjoy its luscious fruits!

5b. The Sanctification of the New Moon (Kiddush HaLevanah or Kiddush Levanah)


Our chapter leaves its impression on an unusual Jewish ritual. The presence of verses from Song of Songs in the liturgy (prayer text) for Kiddush Levanah sheds light on the way many Jews have read the Song.

Illustration of the Blessing over the New Moon, Prayer Book from Fürth, Bavaria (Germany), 1738

By The National Library of Israel

https://www.nli.org.il/he/manuscripts/NNL_ALEPH000041067/NLI#$FL10345887, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=120914475

וא"ר אחא בר חנינא א"ר אסי א"ר יוחנן כל המברך על החדש בזמנו כאילו מקבל פני שכינה כתיב הכא (שמות יב, ב) החדש הזה וכתיב התם (שמות טו, ב) זה אלי ואנוהו תנא דבי רבי ישמעאל אילמלא (לא) זכו ישראל אלא להקביל פני אביהן שבשמים כל חדש וחדש דיים אמר אביי הלכך נימרינהו מעומד

... Rabbi Yoḥanan says: With regard to anyone who blesses the new month in its proper time, it is as if he greets the Face of the Divine Presence.

Alluding to this, it is written here concerning the sanctification of the new month: “This month shall be for you the beginning of months” (Exodus 12:2), and it is written there, where the Jewish people encountered the Divine Presence at the splitting of the sea: “This is my God and I will glorify Him” (Exodus 15:2). ...

(יב) (ג"פ:) דָּוִד מֶלֶךְ יִשְׂרָאֵל חַי וְקַיָּם:

David, king of Israel, lives and endures.

Translation from Koren Sacks Siddur p. 716

(טו) (ג"פ:) סִמָּן טוֹב וּמַזָּל טוֹב יְהֵא לָנוּ וּלְכָל יִשְׂרָאֵל אָמֵן:

[Siman Tov uMazal Tov ye'hei lanu u-le-chol Yisrael. Amen

May it be a good sign and a good omen for us and all Israel. Amen.]

Translation from Koren Sacks Siddur p. 716

(ח) ק֣וֹל דּוֹדִ֔י הִנֵּה־זֶ֖ה בָּ֑א מְדַלֵּג֙ עַל־הֶ֣הָרִ֔ים מְקַפֵּ֖ץ עַל־הַגְּבָעֽוֹת׃ (ט) דּוֹמֶ֤ה דוֹדִי֙ לִצְבִ֔י א֖וֹ לְעֹ֣פֶר הָֽאַיָּלִ֑ים הִנֵּה־זֶ֤ה עוֹמֵד֙ אַחַ֣ר כׇּתְלֵ֔נוּ מַשְׁגִּ֙יחַ֙ מִן־הַֽחַלֹּנ֔וֹת מֵצִ֖יץ מִן־הַחֲרַכִּֽים׃

These verses are often recited immediately following 'Siman Tov uMazal Tov" in the Kiddush Levanah ceremony.

(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.

6a. Text of Chapter 3


(א) עַל־מִשְׁכָּבִי֙ בַּלֵּיל֔וֹת בִּקַּ֕שְׁתִּי אֵ֥ת שֶֽׁאָהֲבָ֖ה נַפְשִׁ֑י בִּקַּשְׁתִּ֖יו וְלֹ֥א מְצָאתִֽיו׃

(ב) אָק֨וּמָה נָּ֜א וַאֲסוֹבְבָ֣ה בָעִ֗יר בַּשְּׁוָקִים֙ וּבָ֣רְחֹב֔וֹת אֲבַקְשָׁ֕ה אֵ֥ת שֶֽׁאָהֲבָ֖ה נַפְשִׁ֑י בִּקַּשְׁתִּ֖יו וְלֹ֥א מְצָאתִֽיו׃

(ג) מְצָא֙וּנִי֙ הַשֹּׁ֣מְרִ֔ים הַסֹּבְבִ֖ים בָּעִ֑יר אֵ֛ת שֶֽׁאָהֲבָ֥ה נַפְשִׁ֖י רְאִיתֶֽם׃

(ד) כִּמְעַט֙ שֶׁעָבַ֣רְתִּי מֵהֶ֔ם עַ֣ד שֶׁמָּצָ֔אתִי אֵ֥ת שֶֽׁאָהֲבָ֖ה נַפְשִׁ֑י אֲחַזְתִּיו֙ וְלֹ֣א אַרְפֶּ֔נּוּ עַד־שֶׁ֤הֲבֵיאתִיו֙ אֶל־בֵּ֣ית אִמִּ֔י וְאֶל־חֶ֖דֶר הוֹרָתִֽי׃

(ה) הִשְׁבַּ֨עְתִּי אֶתְכֶ֜ם בְּנ֤וֹת יְרוּשָׁלַ֙͏ִם֙ בִּצְבָא֔וֹת א֖וֹ בְּאַיְל֣וֹת הַשָּׂדֶ֑ה אִם־תָּעִ֧ירוּ ׀ וְֽאִם־תְּע֥וֹרְר֛וּ אֶת־הָאַהֲבָ֖ה עַ֥ד שֶׁתֶּחְפָּֽץ׃ {ס}

(1) Upon my couch at night
I sought the one I love—
I sought, but found him not.

(2) “I must rise and roam the town,
Through the streets and through the squares;
I must seek the one I love.”
I sought but found him not.

(3) I met the watchmen
Who patrol the town.
“Have you seen the one I love?”

(4) Scarcely had I passed them
When I found the one I love.
I held him fast, I would not let him go
Till I brought him to my mother’s house,
To the chamber of her who conceived me

(5) I adjure you, O maidens of Jerusalem,
By gazelles or by hinds of the field:
Do not wake or rouse
Love until it please!

(ו) מִ֣י זֹ֗את עֹלָה֙ מִן־הַמִּדְבָּ֔ר כְּתִֽימְר֖וֹת עָשָׁ֑ן מְקֻטֶּ֤רֶת מֹר֙ וּלְבוֹנָ֔ה מִכֹּ֖ל אַבְקַ֥ת רוֹכֵֽל׃

(ז) הִנֵּ֗ה מִטָּתוֹ֙ שֶׁלִּשְׁלֹמֹ֔ה שִׁשִּׁ֥ים גִּבֹּרִ֖ים סָבִ֣יב לָ֑הּ מִגִּבֹּרֵ֖י יִשְׂרָאֵֽל׃

(ח) כֻּלָּם֙ אֲחֻ֣זֵי חֶ֔רֶב מְלֻמְּדֵ֖י מִלְחָמָ֑ה אִ֤ישׁ חַרְבּוֹ֙ עַל־יְרֵכ֔וֹ מִפַּ֖חַד בַּלֵּילֽוֹת׃ {ס}

(ט) אַפִּרְי֗וֹן עָ֤שָׂה לוֹ֙ הַמֶּ֣לֶךְ שְׁלֹמֹ֔ה מֵעֲצֵ֖י הַלְּבָנֽוֹן׃

(י) עַמּוּדָיו֙ עָ֣שָׂה כֶ֔סֶף רְפִידָת֣וֹ זָהָ֔ב מֶרְכָּב֖וֹ אַרְגָּמָ֑ן תּוֹכוֹ֙ רָצ֣וּף אַהֲבָ֔ה מִבְּנ֖וֹת יְרוּשָׁלָֽ͏ִם׃

(יא) צְאֶ֧נָה ׀ וּֽרְאֶ֛ינָה בְּנ֥וֹת צִיּ֖וֹן בַּמֶּ֣לֶךְ שְׁלֹמֹ֑ה בָּעֲטָרָ֗ה שֶׁעִטְּרָה־לּ֤וֹ אִמּוֹ֙ בְּי֣וֹם חֲתֻנָּת֔וֹ וּבְי֖וֹם שִׂמְחַ֥ת לִבּֽוֹ׃ {ס}

(6) Who is she that comes up from the desert
Like columns of smoke,
In clouds of myrrh and frankincense,
Of all the powders of the merchant?

(7) There is Solomon’s couch,
Encircled by sixty warriors
Of the warriors of Israel,

(8) All of them trained in warfare,
Skilled in battle,
Each with sword on thigh
Because of terror by night.

(9) King Solomon made him a palanquin
Of wood from Lebanon.

(10) He made its posts of silver,
Its back of gold,
Its seat of purple wool.
Within, it was decked with love
By the maidens of Jerusalem.

(11) O maidens of Zion, go forth
And gaze upon King Solomon
Wearing the crown that his mother
Gave him on his wedding day,
On his day of bliss.

6b. Impressions of Chapter 3


6c. Commentaries on Chapter 3


3:1 "Upon my couch at night..."

NJPS Translation, Note a.

I.e., in a dream

3:2. “I must rise and roam”

M. Fishbane:

The depiction conveys the realism of an actual event (Rid - Rabbi Isaac di Trani). We are left to wonder how much is dream, how much waking fantasy (Rabbi Immanuel of Rome), and how much is actual occurrence (Rashbam - Rabbi Shmuel ben Meir; Prague Manuscript).

3:6 “Who is she [that comes forth from the desert…]?”

Elsie Stern, Jewish Study Bible

The feminine form of the pronoun (she) probably refers to Solomon’s couch.

3:11 "O maidens of Zion, go forth / And gaze upon King Solomon..."

Adin Steinsaltz, Steinsaltz Ketuvim, Koren

If this [King Solomon/Melech Shelomoh] is a reference to God, who is described as the One for whom peace [shalom] is His, then this entire portrayal relates to Him....

The canopy is reminiscent of the Holy of Holies, the innermost and most intimate chamber in the Sanctuary (see Shir HaShirim Rabba). This canopy is constructed from extremely valuable materials, and it is filled with the love of the daughters of Jerusalem, which represents the connection between man below and God above.

According to this interpretation, these verses depict the appearance of the King in His glory over the course of history as a Savior, and as the One who holds the future in His hand.

[3:11 "Wearing the crown that his mother / Gave him on his wedding day..."]

Elsie Stern, Jewish Study Bible

Grooms wore crowns in the Second Temple period, though after the destruction of the Second Temple, the practice was abolished as a sign of mourning.

[See Mishnah Ta'anit and Shir Hashirim Rabbah, below.]

(ח) אָמַר רַבָּן שִׁמְעוֹן בֶּן גַּמְלִיאֵל, לֹא הָיוּ יָמִים טוֹבִים לְיִשְׂרָאֵל כַּחֲמִשָּׁה עָשָׂר בְּאָב וּכְיוֹם הַכִּפּוּרִים, שֶׁבָּהֶן בְּנוֹת יְרוּשָׁלַיִם יוֹצְאוֹת בִּכְלֵי לָבָן שְׁאוּלִין, שֶׁלֹּא לְבַיֵּשׁ אֶת מִי שֶׁאֵין לוֹ. כָּל הַכֵּלִים טְעוּנִין טְבִילָה. וּבְנוֹת יְרוּשָׁלַיִם יוֹצְאוֹת וְחוֹלוֹת בַּכְּרָמִים. וּמֶה הָיוּ אוֹמְרוֹת, בָּחוּר, שָׂא נָא עֵינֶיךָ וּרְאֵה, מָה אַתָּה בוֹרֵר לָךְ. אַל תִּתֵּן עֵינֶיךָ בַנּוֹי, תֵּן עֵינֶיךָ בַמִּשְׁפָּחָה. שֶׁקֶר הַחֵן וְהֶבֶל הַיֹּפִי, אִשָּׁה יִרְאַת ה' הִיא תִתְהַלָּל (משלי לא). וְאוֹמֵר, תְּנוּ לָהּ מִפְּרִי יָדֶיהָ, וִיהַלְלוּהָ בַשְּׁעָרִים מַעֲשֶׂיהָ. וְכֵן הוּא אוֹמֵר, צְאֶינָה וּרְאֶינָה בְּנוֹת צִיּוֹן בַּמֶּלֶךְ שְׁלֹמֹה בָּעֲטָרָה שֶׁעִטְּרָה לּוֹ אִמּוֹ בְּיוֹם חֲתֻנָּתוֹ וּבְיוֹם שִׂמְחַת לִבּוֹ (שיר השירים ג). בְּיוֹם חֲתֻנָּתוֹ, זֶה מַתַּן תּוֹרָה. וּבְיוֹם שִׂמְחַת לִבּוֹ, זֶה בִּנְיַן בֵּית הַמִּקְדָּשׁ, שֶׁיִּבָּנֶה בִמְהֵרָה בְיָמֵינוּ. אָמֵן:

The rabbinic tractate Ta'anit (Fast Day) teaches about fasts in response to drought or in commemoration of the destruction of the Temple. The final teaching in the rabbinic tractate suddenly shifts to discussing love and...Song of Songs!

(8) Rabban Shimon ben Gamliel said: There were no days as joyous for the Jewish people as the fifteenth of Av and as Yom Kippur, as on them the daughters of Jerusalem would go out in white clothes, which each woman borrowed from another. Why were they borrowed? They did this so as not to embarrass one who did not have her own white garments. ...

And the daughters of Jerusalem would go out and dance in the vineyards. ...

And similarly, it says in another verse: “Go forth, daughters of Zion, and gaze upon King Solomon, upon the crown with which his mother crowned him on the day of his wedding, and on the day of the gladness of his heart” (Song of Songs 3:11). This verse is explained as an allusion to special days: “On the day of his wedding”; this is the giving of the Torah through the second set of tablets on Yom Kippur. The name King Solomon in this context, which also means king of peace, is interpreted as a reference to God. “And on the day of the gladness of his heart”; this is the building of the Temple, may it be rebuilt speedily in our days.

בָּעֲטָרָה שֶׁעִטְּרָה לוֹ אִמּוֹ, אָמַר רַבִּי יוֹחָנָן, שָׁאַל רַבִּי שִׁמְעוֹן בֶּן יוֹחָאי אֶת רַבִּי אֶלְעָזָר בְּרַבִּי יוֹסֵי, אָמַר לוֹ אֶפְשָׁר שֶׁשָּׁמַעְתָּ מֵאָבִיךָ מַהוּ בָּעֲטָרָה שֶׁעִטְּרָה לוֹ אִמּוֹ, אָמַר לוֹ הֵן, אָמַר לוֹ הֵיאַךְ, אָמַר לוֹ לְמֶלֶךְ שֶׁהָיְתָה לוֹ בַּת יְחִידָה וְהָיָה מְחַבְּבָהּ יוֹתֵר מִדַּאי וְהָיָה קוֹרֵא אוֹתָהּ בִּתִּי, וְלֹא זָז מֵחַבְּבָהּ עַד שֶׁקָּרָא אוֹתָהּ אֲחוֹתִי, וְלֹא זָז מֵחַבְּבָהּ עַד שֶׁקָּרָא אוֹתָהּ אִמִּי. כָּךְ הָיָה מְחַבֵּב יוֹתֵר מִדַּאי הַקָּדוֹשׁ בָּרוּךְ הוּא לְיִשְׂרָאֵל, וּקְרָאָן בִּתִּי, הֲדָא הוּא דִכְתִיב (תהלים מה, יא): שִׁמְעִי בַת וּרְאִי, וְלֹא זָז מֵחַבְּבָן עַד שֶׁקְּרָאָן אֲחוֹתִי, שֶׁנֶּאֱמַר (שיר השירים ה, ב): פִּתְחִי לִי אֲחֹתִי רַעְיָתִי. וְלֹא זָז מֵחַבְּבָן עַד שֶׁקְּרָאָן אִמִּי, שֶׁנֶּאֱמַר (ישעיה נא, ד): הַקְשִׁיבוּ אֵלַי עַמִּי וּלְאוּמִּי אֵלַי הַאֲזִינוּ, וּלְאִמִּי כְּתִיב, ...

“At the crown with which his mother crowned him,” Rabbi Yoḥanan said: Rabbi Shimon ben Yoḥai asked Rabbi Elazar ben Rabbi Yosei, he said to him: ‘Have you possibly heard from your father what is: “At the crown with which his mother crowned him”?’ He said to him: ‘Yes.’ He said to him: ‘What?’ He said to him: ‘[It is analogous] to a king who had an only daughter and he loved her exceedingly much and would call her: My daughter. He did not stop loving her until he called her: My sister. He did not stop loving her until he called her: My mother. So too, the Holy One blessed be He loved Israel exceedingly much, and called them My daughter; that is what is written: “Hear, My daughter, and see” (Psalms 45:11); He did not stop loving them until He called them My sister, as it is stated: “Open for me, my sister, my lover” (Song of Songs 5:2); He did not stop loving them until he called them My mother, as it is stated: “Heed Me My people, listen to Me My nation [uleumi]” (Isaiah 51:4), My mother [ule’imi] is written.’ ...

7. Summary and Upcoming Classes


  • At next week's class (Monday, November 27 - Megillot II Class 8; Song of Songs session #3) we will explore chapters 4 and 5.
  • Monday, December 4 - Class 9, Song of Songs session #4 - chapters 6 and 7
  • Monday, December 11 - Class 10, Song of Songs session #5 - chapter 8

Happy Thanksgiving!

PS. Thank you to students for drawing connections between chapter 2 and these popular songs:

  • The Supremes "You Can't Hurry Love" https://youtu.be/ovoBi3pXD_A
  • John Denver "Annie's Song" https://youtu.be/C21G2OkHEYo