[Pardes All Songs Hd 1080p
Addison Mauldin
In the first millennium, the Song was exclusively interpreted as a historical allegory, referring to the loving, covenantal relationship between God and the people Israel,[4] focusing on peak events in Jewish history such as the exodus, the revelation at Sinai, and the construction of the Tabernacle and the Jerusalem Temple. Entire works of translation (e.g., Targum Shir ha-shirim) and midrash (e.g., Shir ha-shirim Rabbah) were devoted to this mode of interpretation, with additional illustrations throughout rabbinic literature.
In its original context, the verse seems to convey an element of coyness on the part of the female lover, who is hiding from the man, perhaps playing hard to get. The male lover expresses his desire to hear her voice and see her beautiful countenance. The element of hiding in a lofty cranny conveys distance and unreachability.
The rabbis, however, pick up on a different motif. The dove is a vulnerable bird, prone to predation by birds of prey and other predators. This element of vulnerability, being caught between a rock and a hard place, recalls the situation of the Israelites escaping from Egypt and heading for a body of water with no escape in sight while being pursued by the Egyptians. The comparison is a poignant one and seems an appropriate metaphor. The conclusion stresses the salvatory effects of prayer and study, activities highly valued by the rabbis.
The Song is thus seen as a guidebook for attaining spiritual wisdom. The true meaning of the text is concealed in literary figures, and this concealed meaning is only available to the philosophically adept, thus, for a very small audience. The goal of the philosopher is to learn to love God with the mind alone, the human quality that is closest to the divine. This means that the eros of the Song is entirely spiritualized: Love of God is a refined intellectual love.
In this approach, rather than being a collection of songs devoted to human love, the Song of Songs is the sublimest expression of the love of the individual seeker for their God, exploring this relationship in every detail.[8]
The fact that the final gradation in the kabbalistic understanding of the divinity is feminine lends drama and excitement to the descriptions of the lovers and their lovemaking because Solomon is understood as the masculine element of the divine and his lover as the feminine element or the Shekhinah, the aspect of the divine that is closest to the people.[10]
In modern biblical scholarship, peshat exegesis reigns supreme and the fourfold pardes system is confined to the works of traditional rabbinic scholars. A recent exception is the extraordinary commentary of the scholar and theologian Michael Fishbane, in which he attempts to consistently exegete the text of the Song of Songs on the four classic levels of interpretation, adjusted to modern sensibilities:
Through this commentary, Fishbane hopes not only to help his readers understand the text better in its context, the goal of most modern exegetes, but also to enrich their religious and spiritual lives.[16]
The Song of Songs played a major role in this revival because of its ability to conjure up the beauty of the land of Israel in all its richness. Putting these resonant verses to music and creating dances to enhance them was an effective tool in inculcating these values in these early generations of pioneers and nascent Israelis.
The song sets a quiet contemplative mood, one that contributes to an atmosphere of what I might call secular spirituality, a mood that can be tapped into by a wide swathe of Israeli and Jewish society.[18]
The Jewish Renewal movement sprang up in the 70s and 80s of the 20th century, inspired by charismatic figures such as R. Zalman Schachter-Shalomi and Arthur Waskow. It sought to renew Judaism through an emphasis on spirituality and mysticism, incorporating insights from the Kabbalah, Hasidism, and Eastern religions.[19]
The moment has come. We rise in order to open to the blessings and challenges of this moment. The inner gesture of rising to this moment is absolutely necessary if we are to open to what life is offering.
The English part that I added to this verse, expresses both my commitment and a sense of vulnerability. I ask for a Divine reciprocity in this opening. With each repetition of the chant I strengthen my commitment to open, and also become more receptive to the Divine response (through the world) that is opening to me.
The Chasidic singer Motty Steinmetz sings verse צְאֶינָה וּרְאֶינָה Tseno Ureno (in heavy Ashkenazi pronunciation), backed by the Yedidim Choir, and performed in Yeshivah Ateres Shelomoh:
The example we have chosen for Sod, the mystical level of interpretation of the song is taken from a different world, that of the shtetl of Eastern Europe, before the disruption of traditional life by the incursion of modernity.
The most famous product of his research is the play The Dybbuk, which tells the story of a love affair between a young couple which was prevented from consummation, with tragic consequences. In 1937, Michał Waszyński produced a cinematic version of the play, incorporating important new elements.[23] The play and the movie have become classics, witnesses to a civilization that was destroyed by the Holocaust. The Song of Songs figures prominently in the film, symbolizing the power of love, both human and divine, operating on several levels.
Here the Song of Songs symbolizes the most powerful love of all, fusing human and divine love into an overwhelming force. The two lovers, Leah and Khonen, are united in death, recalling verse 8:6 of the Song:
We have looked at how the four modes of traditional Jewish interpretation of the Song of Songs have carried over into the world of Jewish song, evoking four expressions of love: between human lovers, between the people Israel and God, between the individual seeker and God, and between lovers overcome by an overwhelming, all-consuming passion, infused with mystical elements. As it has for centuries, the Song of Songs continues to be a wellspring of artistic creativity and religious inspiration for Jews of all persuasions, in Israel and around the world.[28]
[3] The Hebrew is from the Kaufmann Manuscript, as transcribed on AlHaTorah.com. The English is that of Leib Moscovitz, in The Oxford Annotated Mishnah, ed. Shaye J.D. Cohen, Robert Goldenberg, and Hayim Lapin (Oxford: Oxford University Press, 2022) 3.948, with slight adjustments.
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