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Verse 19
The subject, 19a, set forth as a theme courts love for her who is to be loved, for she presents herself as lovely. איּלת is the female of the stag, which may derive its name איּל from the weapon-power of its horns, and יעלה (from יעל, Arab. w'al, to climb), that of the wild-goat (יעל); and thus properly, not the gazelle, which is called צבי on account of its elegance, but the chamois. These animals are commonly used in Semitic poetry as figures of female beauty on account of the delicate beauty of their limbs and their sprightly black eyes. אהבים signifies always sensual love, and is interchanged in this erotic meaning (Pro 7:18) with דּודים. In 19b the predicate follows the subject. The ''Graec. Venet.'' translates as if the word were דודיה, and the Syr. as if it were דרכיה, but Aquila rightly translates τίτθοι αὐτῆς. As τίτθος is derived (vid., Curtius, Griech. Etymologie, Nr. 307) from dhâ, to suck (causative, with anu, to put to sucking), so דּד, שׁד, תּד, Arab. thady (commonly in dual thadjein), from שׁדה, Arab. thdy, rigare, after which also the verb ירוּוּך is chosen: she may plentifully give thee to drink; figuratively equivalent to, refresh or (what the Aram. רוּי precisely means) fascinate thee, satisfy thee with love. דּדּים also is an erotic word, which besides in this place is found only in Ezekiel (Eze 23:3, Eze 23:8, Eze 23:21). The lxx obliterates the strong sensual colouring of this line. In 19c it changes תּשׁגּה into תשׂגה, πολλοστὸς ἔσῃ, perhaps also because the former appeared to be too sensual. Moses ha-Darshan (in Rashi) proposes to explain it after the Arab. sjy, to cover, to cast over, to come over anything (III = עסק, to employ oneself with something): engage thyself with her love, i.e., be always devoted to her in love. And Immanuel himself, the author of a Hebrew Divan expatiating with unparalleled freedom in erotic representations, remarks, while he rightly understands תשׁגה of the fascination of love: קורא התמדת חשׁקו אפילו באשׁתו שׁגגה, he calls the husband's continual caressing of the wife an error. But this moral side-glance lies here at a distance from the poet. He speaks here of a morally permissible love-ecstasy, or rather, since תמיד excludes that which is extraordinary, of an intensity of love connected with the feeling of superabundant happiness. שׁגה properly signifies to err from the way, therefore figuratively, with ב of a matter, like