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Shekhinah, the Virgin Mary, and the Song of Songs: Reflections on a Kabbalistic Symbol in Its Historical Context

In a book published several years ago entitled Keter: The Crown of God in Early Jewish Mysticism,1. Keter: The Crown of God in Early Jewish Mysticism. (Henceforth: Keter) Princeton: Princeton University Press, 1997. I tried to make a modest contribution to the ongoing discussion of Kabbalistic symbols and their origins. There I traced the evolution of a single but key symbol from its place in rabbinic aggadah and early Jewish esotericism to its fixed role in the Kabbalistic symbol system of the High Middle Ages. Here I would like to repeat that process with regard to another major symbolic element of Kabbalah, considering broadly the role of the female within the godhead, particularly under the twin rubrics of shekhinah, the indwelling Presence, and kenesset yisra'el, the hypostatized “Community of Israel.” The positing of a female aspect within the divine self has to be seen against the background of the entire tradition of Jewish imaging of God, going back to the Bible and the early rabbis. Specifically, however, I plan to show that the unequivocal feminization of shekhinah in the Kabbalah of the thirteenth century is a Jewish response to and adaptation of the revival of devotion to Mary in the twelfth century Western church.