As I mentioned in yesterday’s newsletter, there is a widespread practice of reading the book of Ecclesiastes in synagogue on the Sabbath that falls during the seven-day holiday of Sukkot, which begins this evening. Wendy Zierler examines this book through the lens of the celebrated Hebrew poet Leah Goldberg’s 1954 “Shirei Sof ha-Derekh,” (“Songs of the End of the Road”). To Zierler, this tripartite poem must be read as a midrash [rabbinic exegesis] on Ecclesiastes; its old man (zaken) is meant to parallel the speaker in the biblical book, who, according to tradition, is an elderly King Solomon:
Instead of expatiating on the futility of life, [Goldberg’s] zaken takes the opportunity of his old age to sit by the side of the roadway, to look back, and around, and listen. And in this pose, he hears the voice, wisdom, and questions of a (femininely gendered) bird who reminds him about the various stages of his thinking, and how, in middle age, he became convinced that “there was nothing new under the sun.” But now, in looking at the sun of his life setting, the bird teaches the zaken that he should recognize that every day under the sun is precious as if it were his last, that every new day presents new opportunities. The feminine bird described as m’zameret (singing)—which thus might be seen as standing in for the voice of the m’shoreret (female poet)—argues against each of the discrete masculine viewpoints, and suggests another way.
Inspired by the wisdom of the songbird, the third poem in the cycle—which I read as the poet’s rejoinder to the last two verses of Ecclesiastes—is a prayer rather than an admonition. It is a prayer for the ability to pray.
More about: Ecclesiastes, Hebrew poetry, Israeli literature, Leah Goldberg