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- Collected Works of Poe, Volume II (Webster's Thesaurus Edition) - PDF Free Download
- PUBLISHERS’ NOTE TO THE ENGLISH EDITION
- Hardy and the Erotic
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Second, what is at stake with allegoresis is the preservation of a reactionary view of the world, the veritable antipode of the poem's socioreligious ideal. Midrashic and Kabbalistic reading corresponds to another kind of claim, the claim of revealing what medieval exegetes were to call the sod, the secret theosophical meaning of the text, not its p sat e.
These approaches do not attempt to throw a veil of modesty over literal expressions they deem offensive, and the approach been given, the Canticle would have been enough as a guide for the world" AgadShir, ed. Schechter, 1 8 9 6 , p. Allegoresis is the term used by Boyarin to characterize the "allegorical reading of the Philonic-Origenal type" Intertextuality and the Reading of Midrash, p. See also this declaration of Bruns, "[A]llegory i s.
Allegory presupposes a cultural situation in which the literal interpretation of a text would be as incomprehensible as a literal translation of it" "Midrash and Allegory," p. For instance, in a hymn by Isaac Luria sixteenth century for the Friday evening meal, it is said that, " H e r [the Sabbath's] husband embraces her in her foundation [sex], gives her fulfillment, squeezes his strength.
Thus, the Song of Songs is understood as referring to an inner divine dialogue between God and his Shekhinah.
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In that sense, we are beyond allegory and reaching to " a mystical symbol expressing something that transcends all i m a g e s. Already in the Talmudic period, "disciples of sages" performed marital intercourse on Friday night cf. Ketub 62b at a time when Sabbath-the-bride is introduced. The difference between the Midrashic and the allegorical is clear. The former acknowledges that there are several levels of understanding of the sacred text, any given level not being in conflict with another level but complementing it.
By contrast, as stated above, exegetical allegory claims that its reading is the only one possible. In other words, while allegoresis is not helpful because it distorts the text that it alleges to explain, the discovery of a mystical meaning grounded in the plain sense of the text simply acknowledges the plurivocity of meaning of the Canticle. Rabbi Aqiba's passionate defense of the Song of Songs was made in the name of its sod meaning, in which he saw the profoundest mystery revealed to humanity or the Holy of Holies of all Scriptures.
Now, if a text, so to speak, "hides and reveals" such a sod, all other levels of understanding of that text, including the p sat plain , may not and cannot be used in a profane way, for the different levels correspond to each other. In other words, in the plain meaning the secret e.
Scholem, Major Trends in Jewish Mysticism, p.
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Hence, in what follows, the references to the allegorical school of interpretation are to be understood as applying to an exegetical method, not to the mystical reading of the Song of Songs. Let us note in passing another allegorical reading of the Song that seems to show how anything becomes possible according to that method: Stadelman Love and Politics sees in the Canticle a covert political pamphlet expressing in a language purposely cryptic for Persians in ca. Judean hopes for the restoration of the Davidic dynasty. To anticipate one of the conclusions of this essay, let it be said from the outset that there is indeed a bridge between the naturalist reading of the Canticle and its mystical reading: both readings are dealing with different levels of understanding.
N o bridge, however, exists between the naturalist approach and allegorical exegesis because they compete for the same bank of the river. Excursus: Origen's Reading of Song of Songs Christian allegoresis starts with the old Alexandrian school and particularly with Origen born in In the prologue to his Commentary on Song of Songs written ca. She is the soul made after His image or the C h u r c h.
Origen, interestingly enough, sees a parallel between the Song and Greek books on love, "some of them even written in a dialogue style. Along the same line, he speculates that it is called the most beautiful song because it used to be "sung of old by prophets or by the angels. In Origen's 2 1. Furthermore, says Landy, Aqiba's condemnation of trilling the Song in taverns "may well not imply a rejection of its literal meaning, but the vulgarization of its essential mysticism" Paradoxes of Paradise, p. Or, as Banon writes, "Il faut, par une dialectique descendante, lester le pshat des dcouvertes des autres niveaux et lire enfin le texte dans sa littralit" La lecture infinie, p.
For a handy translation in English of the text under consideration, excerpts of which are quoted in what precedes, we refer the reader to Greer, Origen, pp. Urbach states that the rabbinic exegesis of the Song of Songs deeply influenced Origen's approach. Plain Sense, Allegory, and Midrash As I indicated earlier, the problem I want to tackle in this study is hermeneutical. M y opting for the naturalist reading of the Song of Songs is nothing novel in the field of scholarship.
But less customary is the exploration of the problem as to what there is within the p sat of the text that "hides and reveals" its sod? The problem, differently formulated, is whether there is in the Song of Songs a surplus of meaning that allows it to be read mystically. This issue looks all the more paradoxical as the Canticle is areligious in its expression and, therefore, would hardly seem conducive to a mystical and theosophical understanding, let alone to Rabbi Aqiba's considere. Its patent praise of the erotic seems refractory to an ethical or theological interpretation.
But furthermore, the areligiosity of the Song of Songs does not remain on neutral ground, for, as I show in the body of this study, the author of the Canticle produced not just a secular love song but, more embarrassingly, a defiant, irreverent, subversive discourse, which at times constitutes a satirical pastiche of prophetic metaphors and similes. Thus, whereas with any other biblical text the passage from one level of understanding to the next poses each time a grave hermeneutical problem, as regards the Canticle the issue is much aggravated at both ends, so to speak.
For, as we saw above, the vexing problem of its literary Gattung renders the question of its interpretation difficult at the extreme, and the stakes as defined by Rabbi Aqiba among others are the highest possible! In other words, the text under consideration may be nontheological and areligious, but the traditional 2 3.
See Urbach, "The Homiletical Interpretations. In fact, no other biblical book is more "unbiblical" Carol Meyers , and no other interpretive reading is more sacred Rabbi Aqiba. That combination of opposites is unique. It constitutes the challenge par excellence to the hermeneut. The question of legitimacy arises from the outset.
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Was it legitimate to include the Song into the c a n o n? Is it legitimate to interpret the Canticle Midrashically? And if legitimate, does it bar the road to a critical-historical reading?
Text conveys more than one meaning. Text is plurivocal, innerly dialogical. To reduce the Song's meaning to the allegorical is unwarranted. To read it as exclusively naturalistic is another aspect of the same mistake. However, the hermeneut raises, at the minimum, the problem of the relationship between one reading and the other and, at the maximum, whether one of the two is at all legitimate.
The difficulty is compounded by the presence of still another traditional approach to the Canticle, namely the Midrashic. We have already distinguished between the mystical and the allegorical. Rabbi Aqiba's reading does not shun the plain meaning of the text, as does allegory Origen, for instance.
PUBLISHERS’ NOTE TO THE ENGLISH EDITION
But at this point, we must proceed further and stress with Daniel Boyarin that "[tlhe direction of Origen's reading is from the concrete to the abstract, while the direction of midrash is from abstract to c o n c r e t e. We ought to be able to furnish a fitting interpretation. In the Midrash, on the contrary, the interpretation is not allegorical, that is, relating signifier to signified, for it relates signifier to 2 4. Boyarin, Intertextuality and the Reading of Midrash, p. Allegory and Midrash belong to opposite anthropologies and cosmologies. In Israel's anthropology and cosmology, the truth supreme is not the ideal or the intelligible but belongs to "emotion and sentiment rather than proposition and argument," as says J a c o b Neusner.
Holy of Holies of biblical kerygma. Having clarified the incompatibleness of allegory and Midrash, we now turn to the issue of whether the Midrashic and the historical-critical readings of the Canticle can coexist. I find an astute statement by Neusner most helpful. It is read phrase by phrase, or, at most, verse by verse.
In that way, the received poem is taken out of its original context, which is treated as inconsequential. Such a Midrashic reading is not just possible; it is illuminating. Suffice it to read CantR and to let oneself be guided by Neusner or Boyarin, That also on that score the Canticle is part of the canon was self-evident to Rabbi Aqiba, "for the entire age is not so worthy as the day on which the Song of Songs was given to Israel" its tower of control. The rationale for such a consideration of the Canticle-as-Midrashof-Exodus provides by ricochet the solution to our other problem 2 7.
See Boyarin, Intertextuality and the Reading of Midrash, p. It is true, adds Boyarin, that such a Midrashic reading was later replaced by allegoresis, and already during the Midrashic age by someone like Philo. Neusner, Israel's Love Affair with God, p. Boyarin, Intertextuality and the Reading of Midrash. For what actually stirs Rabbi Aqiba's enthusiasm is that "for our sages, the starting point of all love is love of God for Israel, love of Israel for God, and from there, their work commences.
Hardy and the Erotic
God-Israel mutual love invites us in return to reflect upon the love between the Canticle's human lovers. In doing so, we will not take the Song apart and deal with discrete decontextualized bits and pieces, as the Midrashic explanation proceeds to do. Indeed, keeping in mind that the foundation of all love is the mutual love of God and people, we shall turn our attention to its reflected image in the love of the Song's protagonists as we find it shining in the poem as a whole. The task of the modern hermeneut will not be easy, precisely to the extent that the Midrashic kerygma is carried by a vehicle so refractory to any theological or religious interpretation.
In the course of this inquiry, I will show that absence is but camouflaged and subversive presence. The poet protests; she writes a manifesto purportedly devoid of religious jargon. We dare not forget it when the Midrash and the allegorical interpretation transform it into an apologue. Thus we find ourselves on a tight rope, caught between opposites.