time through this one, at another through that one, - that he might see her and feast his eyes on her. We have here two verbs from the fulness of Heb. synon. for one idea of seeing. השׁגּיח, from שׁגח, occurring only three times in the O.T., refers, in respect of the roots ש, שך, שק, to the idea of piercing or splitting (whence also שׁגּע, to be furious, properly pierced, percitum esse; cf. oestrus, sting of a gadfly = madness, Arab. transferred to hardiness = madness), and means fixing by reflexion and meditation; wherefore השׁגּחח in post-bibl. Heb. is the name for Divine Providence. הציץ, elsewhere to twinkle and to bloom, appears only here in the sense of seeing, and that of the quick darting forward of the glance of the eye, as blick glance and blitz lightning (blic) are one word; “he saw,” says Goethe in Werther, “the glance of the powder” (Weigand).[1]
The plurs. fenestrae and transennae are to be understood also as synechdoche totius pro parte, which is the same as the plur. of categ.; but with equal correctness we conceive of him as changing his standing place. חלּון is the window, as an opening in the wall, from חלל, perforare. חרכּים we combine most certainly (vid., Pro 12:27) with (Arab.) khark, fissura, so that the idea presents itself of the window broken through the wall, or as itself broken through; for the window in the country there consists for the most part of a pierced wooden frame of a transparent nature, - not (as one would erroneously conclude, from the most significant name of a window שׂבכה, now schubbâke, from שׂבך, to twist, to lattice, to close after the manner of our Venetian blinds) of rods or boards laid crosswise. הציץ accords with the looking out through the pierced places of such a window, for the glances of his eye are like the penetrating rays of light.
Verse 10
When now Shulamith continues: 10a My beloved answered and said to me, Arise, my love, my fair one, and go forth! the words show that this first scene is not immediately dramatic, but only mediately; for Shulamith speaks in monologue, though in a dramatic manner narrating an event which occurred between the commencement of their love-relation and her home-bringing.[2]
She does not relate it as a dream, and thus it is not one. Solomon
- ↑ In this sense: to look sharply toward, is הציץ (Talm.) - for Grätz alone a proof that the Song is of very recent date; but this word belongs, like סמדר, to the old Heb. still preserved in the Talm.
- ↑ Grätz misinterprets this in order by the supplement of similar ones to make the whole poem a chain of narrative which Shulamith declaims to the daughters of Jerusalem. Thereby it certainly ceases to be dramatic, but so much more tedious does it become by these interposed expressions, “I said,” “he said,” “the sons of my mother said.”
