Poetry

To enhance the sounds of the text for their audience, biblical authors plumbed the depths of the Hebrew lexis for alliterative rare words, some of which appear only once in the Bible.

A woman raped in the field is not punished for adultery, seemingly because rape is like murder (Deuteronomy 22:26). This odd analogy is the result of a misunderstanding of the verse’s use of a rhetorical device, parallelism with alternation.

Self-affliction and fasting heightens awareness of our bodies; at the same time, it helps us to transcend our immanent selves. This tension was embraced by the 6th century poet Yannai in his qerova, who beseaches God to forgive Israel both out of pity for their wretchedness and on account of their resemblance to angels.

Moses, on his last day, recites two poems—the Song of Moses and Blessing of Moses (Deut 32, 33). In this spirit, the eighth century Tiberian Pinchas Hakohen poetically describes Moses excusing his sins and offering alternatives to his death.

Three descriptive poems in the Song of Songs wrestle with the experience of being in the beloved’s presence. In each case, the woman’s body is described using layered landscape imagery and complex, overlapping angles of vision. These poems ask us to consider what it means to see.

A burnt offering, must be whole (תמים), after which it is dismembered (נתוח) and offered to YHWH. In the wake of the loss of my parents, I have come to appreciate how this process mirrors the creation story and life.

The Song of Deborah in Judges 5 is similar to both Arabic qaṣīdā poetry and ancient Egyptian epic poetry. How should we categorize it? Is it like the former, and composed orally by a bard, or like the latter, and composed by a royal scribe?

Aaron ben Joseph (ca. 1250–1320), a Karaite exegete from Constantinople, wrote poetry for each Torah reading. His poem for Moses’ blessing of the tribes, in conjunction with his prose commentary, Sēfer ha-miḇḥār, offer a glimpse into the world of Byzantine Karaite biblical interpretation.

The story of the Akedah appears to present Abraham’s actions in a uniformly positive light. However, Isaac’s absence at the end of the story, and Sarah’s death immediately afterwards, suggested to some traditional and modern commentators a criticism of Abraham.

A fresh look at the legislation in Parashat Kedoshim: Are we reading the legal details wrong? 

A new analysis of compositional layers suggests that God responds to Korah’s rebellion with patience and beauty—until someone changed the ending.

Three philosophical approaches to the historicity of the Exodus.

With a Close Look at Its Biblical Sources

Traditional and critical perspectives on the ending of the Torah.

A Taunt So Cruel It Will Freeze an Enemy’s Blood

“Let him kiss me with the kisses of his mouth, for your love is better than wine” (Song 1:2). The Song of Songs opens with this sudden shift in person, an ungrammatical syntactic substitution called enallage. How common is this literary device, and why is it used?

Reading Shir HaShirim in Its Original Sense

When Balaam and Balak were Independent Characters

The Song of Deborah (Judges 5) is often seen as an ancient text, perhaps one of the oldest in the Tanach, but analysis of its language and contents suggests that it is a later Deuteronomistic composition.

The practice of studying older texts and composing new ones based on them goes all the way back to the Bible itself. The haftarot from the second part of the Book of Isaiah that we read for the next seven shabbatot are an outstanding example of this practice.

Deuteronomy 32 imagines God as a father, an eyelid, an eagle, a nursing mother, and a protective rock. Why so many metaphors?

The verdant tree and the desert shrub: Jeremiah’s wisdom psalm (17:5-8) uses this arboreal simile in poetic parallelism to offer a poignant message: A person who trusts in God will still confront challenges.