Secrecy and Esoteric Writing in Kabbalistic Literature by Jonathan V. Dauber;

Author:Jonathan V. Dauber;
Language: eng
Format: epub
Publisher: Lightning Source Inc. (Tier 2)

Allusive Writing in Aggadot Commentary

The technique of dispersion is a rather technical one, but the technique that Ezra used most frequently is the less technical one of allusive writing. In fact, I would argue that both Aggadot Commentary and Song Commentary are written entirely in this style. In a few instances in his work, Ezra explicitly states that he is writing in a laconic, allusive style. One example is found in the introduction to Song Commentary, where he indicates that he will compose his exegesis of the Canticle “in a hinted fashion” (be-remez) (480). I will return to this passage in the next section. Another example is found in his first letter to Abraham, which he begins by stating that all of Abraham’s questions relate to the divine name. Yet, rather than offering a full exposition of this matter, Ezra writes that “since a person is not permitted to speak about this matter and multiply words, but must cover and conceal, I will answer you briefly” (Scholem, “Te‘udah” 26).59 Significantly, in Song Commentary, he defines Kabbalah as knowledge of the divine name (478; Brody 20).60 Thus, in a real sense, Kabbalah is essentially an esoteric matter that he is not willing to fully convey, even in an apparently private letter. Notably, Ezra’s approach here seems to be in accord with Isaac’s plea for Kabbalists not to be “lengthy in their exposition.”

Other examples in which Ezra explicitly states that he will employ allusive writing are found in Aggadot Commentary.61 I will consider one of them, in which he comments on a passage from B. Bava Batra 74b according to which Rav stated: “Everything that the Holy One, blessed be He, created in this world, He created male and female.” The Talmudic passage continues by noting that even the creatures Leviathan and Behemoth were created in male and female couples. Ezra’s comments on this passage are extant in two versions of Aggadot Commentary. After a very brief explanation, consisting of six words in one version of Aggadot Commentary and seven in the other, Ezra concludes: “This is the truth (Almalikh: this was stated) according to the path of Kabbalah, and it should not be stated at length” (ve-ein leha’arikh) (MS Vat. 441, 61a; Almalikh 17b). Compounding its cryptic nature is the likelihood that the text of the explanation is corrupt, and I have not been able to determine how Ezra understands the midrashic text.62

Ezra only states that he is using allusive writing in limited instances; but in practice, he employs this technique throughout his work. I will discuss Aggadot Commentary here and Song Commentary in the next section. As Tishby noted, Aggadot Commentary provides very little actual explanation. Rather, Ezra “assumed, with regard to most of the aggadot, that his readers would discover their mystical content without clarification or explanation” (Studies 31).63 Often, Ezra will simply quote a rabbinic aggadah, and the mere quotation is meant to alert the reader that it has a kabbalistic meaning.64 In a related fashion, throughout Aggadot

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