By David Wolpe
Of all of the figures within the Bible, David arguably could be the so much confusing and enigmatic. He was once many stuff: a warrior who subdued Goliath and the Philistines; a king who united a state; a poet who created attractive, delicate verse; a devoted servant of God who proposed the nice Temple and based the Messianic line; a schemer, deceiver, and adulterer who freely indulged his very human appetites.
David Wolpe, whom Newsweek referred to as “the so much influential rabbi in America,” takes a clean examine biblical David in an try and locate coherence in his likely contradictory activities and impulses. the writer questions why David holds such an exalted position in heritage and legend, after which proceeds to solve his complicated personality in keeping with details present in the e-book of Samuel and later literature. What emerges is an interesting portrait of a good individual who, regardless of his many flaws, was once actually cherished through God.
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Additional resources for David: The Divided Heart (Jewish Lives)
203-204) and others derive from the Akkadian dagalu, 'gaze', 'look', the sense 'marvellous sights' ('frightening as visions' in Marcia Falk's poetic translation [The Song of Songs], p. 66), which seems weak as the supposed climax of the verse. As with 'constellations', there is a plethora of variations. Pope, The Song of Songs, pp. 561-62, has ventured the most spectacular interpretation of this ever-fecund word; simply from this root-meaning 'gaze' he translates 'trophies', developing an elaborate comparison with the terrible trophies of the goddess Anat, staggering under the heads and hands of her victims, and the adornments of other grisly deities, who combine the attributes of Beauty and Terror.
15. NEB, KJV, with most commentators. The denominative of LBB may also mean 'to give heart, to encourage'. The generally accepted meaning is the one that suits the context: the eyes are liable to captivate/ravish the heart. By the same token, a ravishing gaze is liable to quicken the heart. The opposed meanings are thus not altogether exclusive. 16. Edward Bullough, 'Psychical Distance as a Factor in Art and an Aesthetic Principle', in idem, Aesthetics: Lectures and Essays (London: Bowes & Bowes, 1957), pp.
169-71; and the further discussion in M. Blanchot, 'La question litteraire', in Le livre a venir (Paris: Gallimard, 1959), pp. 99-107. 1. Beauty and the Enigma 55 strained by society and its laws, representing an irresponsible freedom; both mingle polarities of fear and romantic desire. This symmetrical opposition to the daughters of Jerusalem, as well as their syntagmatic coupling as images for the Woman, establishes a hidden link, parallel to the transformation of the Woman from rural outsider to leader of the circle of the daughters of Jerusalem and royal mistress.