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Motyw miasta w Księdze Pieśni nad Pieśniami i jego targumiczna interpretacja
Baraniak, Marek (Wydawnictwo KUL, 2011)
The theme of the “city” in The Song of Songs is a marginal motif. However, it should be noted, that the phenomenon of urbanization characterized the historical transformation of the ancient society of Israel, and the term “the city” – Jerusalem – gained a significant place in Hebrew epic and also is present in poetry. The canonization process of the texts of the Hebrew Bible proceeding with the development of their interpretation has not only revealed and exacted the meaning, but also gave them a new significance by changing their function. Therefore, even the study of marginal plots and insignificant literary topics included in the biblical text may be important aid in attempting to reconstruct its genesis and history of interpretation. This analysis allows formulation of some suggestions – questions – concerning the origins of the Hebrew text of The Song of Songs and the history of its interpretation. Did the edition of some of the songs could occur in the preexilic period in Judea? Did the canonization and targumisation start in the late postexilic period?
Rozumieć i tłumaczyć tetragrammaton
Baraniak, Marek; Szmajdziński, Mariusz (Częstochowskie Wydawnictwo Archidiecezjalne „Regina Poloniae”, 2015)
The Hebrew theonym, YHWH (JHWH), written as the four consonants transliterated to Latin letters, is considered to be a proper name of the God used in the Hebrew Bible. Although it is not certain when the Tetragrammaton ceased to be pronounced in this form, ultimately, the lack of its use resulted in uncertainty over the tradition of vowel sounds in the name and hence in its meaning. The magic-letter theory developed by J.M. Hoffman accounts for the lack of etymological derivation for YHWH by specifically claiming that the Hebrews appreciated the value of their newly-found vowel letters [i.e. matres lectionis: waw, he, yod]. The Hebrew writers, by the connection between the name of God and the vowel letters, seem to tie the idea of heno/monotheism to their works. It must have been overlooked that the names had meaning, just as words do. When the Israelites saw the Tetragrammaton – YHWH, they saw it as a reference to their God. In some contexts, certain connotations of YHWH are essential to the meaning of the text, while in other contexts, YHWH should be transliterated as a sign. Elsewhere still, only the word “God” could be substituted without any loss of meaning. There is no conclusive early evidence that this form was ever pronounced “Yahweh”, but there is plenty of evidence for similar theophoric elements in proper names in the Hebrew Bible and in early Hebrew epigraphic, thus indicating that the Tetragrammaton YHWH had its own vocalized form which religious tradition has preserved. Similarly, the phonetic transcriptions of the Tetragrammaton presented in some Greek and Latin texts from the pre-Massoretic period, bear witness to pronunciation strictly associated with the letters of the Tetragrammaton (i.e. ’Ieuô, ’Iabe). In conclusion, it is possible to propose the understanding of the Tetragrammaton as the word for the sign describing God’s character, but not necessarily his proper name.