Lekha Dodi

לכה דודי / Lekha Dodi

A Hebrew song sung on Friday evenings to welcome the Sabbath as if greeting a bride, written about 500 years ago.

Words
Solomon Alkabetz
Music
traditional (hundreds of melodies)
Culture
Jewish communities; the Kabbalists of Safed
Language
Hebrew
Place
Safed, present-day Israel
Date
16th century
Type
Sacred
The words
Public domain (words by Solomon Alkabetz (16th century); melodies traditional)

The story

Lekha Dodi is a Hebrew liturgical song sung in the synagogue on Friday at dusk, usually at sundown, to welcome the Sabbath before the evening service. It is part of Kabbalat Shabbat, the service of welcoming the Sabbath. It was composed in the 16th century by Solomon Alkabetz, who was born in the Ottoman city of Thessaloniki and became a leading Kabbalist of Safed. As was common at the time, the poem is an acrostic: the first letters of its first eight stanzas spell the author's name. It is one of the latest Hebrew poems to be regularly accepted into the traditional liturgy.

Its refrain takes a phrase from the Song of Songs (7:12), which the Talmudic sage Rava (Abba ben Joseph bar Ḥama) read, in Tractate Eruvin 21b, as the people of Israel speaking to God. Alkabetz drew on the rabbinic reading of the Song of Songs, in which the maiden stands for the people of Israel and the lover for God, and on the books of the Prophets, which use the same image. The poem asks God to bring the great Sabbath of messianic deliverance.

The song carries its own customs. During the last verse the whole congregation rises and turns to the west, or to the door, and some leave the sanctuary; at the words greeting the bride they bow and turn back to the front, and traditional congregations face Jerusalem for the rest of the service. Practice varies: many Reform congregations leave out the verses about messianic redemption, Sephardic congregations of the Jerusalem and Aleppo rites leave out the verses that speak of suffering, and the Sephardic rite and Hasidic tradition use a different last section.

Few liturgical texts have been sung to so many tunes. Early in the 20th century Abraham Zevi Idelsohn recorded hundreds. Some Sephardic congregations chant it to an old Moorish melody far older than the text: old prayer books direct it to be sung to the tune of a composition of Judah Halevi, who died nearly five centuries before Alkabetz, a tune brought to the Land of Israel by refugees from Spain. In some old-style Ashkenazi synagogues the cantor chants the verses at length and the congregation answers with the refrain; in most Ashkenazi Orthodox synagogues everyone sings it together. Northern European congregations kept two older tunes for parts of the year: one for the Omer weeks between Passover and Shavuot, which has been compared to "Lillibullero" and to Mozart's Marriage of Figaro and resembles late 17th-century German folk song, and one for the Three Weeks before Tisha b'Av. A variant of the second was used by Benedetto Marcello in his setting of Psalm 19 (Venice, 1724) as an air of the German Jews, and the cantor Eduard Birnbaum traced it to a Polish folk song printed by Oskar Kolberg in 1857. Another old melody, sung in the City of London's synagogues, was used by Isaac Nathan for "She Walks in Beauty" in his setting of Byron's Hebrew Melodies (1815).

What it says

A mystical poem that welcomes the Sabbath as a bride, with the congregation and God going out together to meet her. Its stanzas move from the holiness of the Sabbath to a call for the restoration of Jerusalem and the people of Israel and the coming of messianic deliverance. The mood is joyful and expectant.

The words

לְכָה דוֹדִי לִקְרַאת כַּלָּהlekhah dodi liqrat kallahCome, my beloved, to meet the bride;

פְּנֵי שַׁבָּת נְקַבְּלָהpene shabbat neqabbelahlet us welcome the face of the Sabbath.

שָׁמוֹר וְזָכוֹר בְּדִבּוּר אֶחָדshamor vezakhor bedibbur ekhad"Keep" and "Remember" in a single utterance

הִשְׁמִיעָֽנוּ אֵל הַמְיֻחָדhishmianu el hameyukhadthe one God made us hear;

יְיָ אֶחָד וּשְׁמוֹ אֶחָדAdonai ekhad ushemo ekhadthe Lord is one and his name is one,

לְשֵׁם וּלְתִפְאֶֽרֶת וְלִתְהִלָּהleshem uletiferet velithillahfor renown and for glory and for praise.

לִקְרַאת שַׁבָּת לְכוּ וְנֵלְכָהliqrat shabbat lekhu venelkhahTo meet the Sabbath come, let us go,

כִּי הִיא מְקוֹר הַבְּרָכָהki hi meqor habberakhahfor she is the source of blessing;

מֵרֹאשׁ מִקֶּֽדֶם נְסוּכָהmerosh miqqedem nesukhahfrom the beginning, from of old, she was set up [?];

סוֹף מַעֲשֶׂה בְּמַחֲשָׁבָה תְּחִלָּהsof maaseh bemakhashavah tekhillahlast in deed, first in thought.

מִקְדַּשׁ מֶֽלֶךְ עִיר מְלוּכָהmiqdash melekh ir melukhahSanctuary of the King, royal city,

קֽוּמִי צְאִי מִתּוֹךְ הַהֲפֵכָהqumi tsei mittokh hahafekhahrise, go out from the overthrow;

רַב לָךְ שֶֽׁבֶת בְּעֵֽמֶק הַבָּכָאrav lakh shevet beemeq habakhalong enough have you sat in the valley of weeping,

וְהוּא יַחֲמֹל עָלַֽיִךְ חֶמְלָהvehu yakhamol alayikh khemlahand he will have compassion on you.

הִתְנַעֲרִי מֵעָפָר קֽוּמִיhitnaari meafar qumiShake yourself from the dust, rise;

לִבְשִׁי בִּגְדֵי תִפְאַרְתֵּךְ עַמִּיlivshi bigde tifartekh ammiput on the garments of your glory, my people;

עַל יַד בֶּן יִשַׁי בֵּית הַלַּחְמִיal yad ben yishai bet hallakhmiby the hand of the son of Jesse the Bethlehemite

קׇרְבָה אֶל נַפְשִׁי גְּאָלָהּqorvah el nafshi gealahdraw near to my soul, redeem it.

הִתְעוֹרְרִי הִתְעוֹרְרִיhitoreri hitoreriRouse yourself, rouse yourself,

כִּי בָא אוֹרֵךְ קֽוּמִי אֽוֹרִיki va orekh qumi orifor your light has come; rise, shine;

עֽוּרִי עֽוּרִי שִׁיר דַּבֵּֽרִיuri uri shir dabberiawake, awake, utter a song;

כְּבוֹד יְיָ עָלַֽיִךְ נִגְלָהkevod Adonai alayikh niglahthe glory of the Lord is revealed upon you.

לֹא תֵבֹֽשִׁי וְלֹא תִכָּלְמִיlo tevoshi velo tikkalmiYou shall not be ashamed nor be disgraced;

מַה תִּשְׁתּוֹחֲחִי וּמַה תֶּהֱמִיmah tishtokhakhi umah tehemiwhy are you cast down, and why do you moan?

בָּךְ יֶחֱסוּ עֲנִיֵּי עַמִּיbakh yekhesu aniyye ammiIn you the poor of my people will take refuge,

וְנִבְנְתָה עִיר עַל תִּלָּהּvenivnetah ir al tillahand the city will be rebuilt on its mound.

וְהָיוּ לִמְשִׁסָּה שֹׁאסָֽיִךְvehayu limshissah shosayikhThose who plunder you shall become plunder,

וְרָחֲקוּ כׇּל מְבַלְּעָֽיִךְverakhaqu kol mevalleayikhand all who would swallow you shall be far away;

יָשִׂישׂ עָלַֽיִךְ אֱלֹהָֽיִךְyasis alayikh elohayikhyour God shall rejoice over you

כִּמְשׂוֹשׂ חָתָן עַל כַּלָּהkimsos khatan al kallahas a bridegroom rejoices over a bride.

יָמִין וּשְׂמֹאל תִּפְרֹֽצִיyamin usemol tifrotsiRight and left you shall spread out,

וְאֶת יְיָ תַּעֲרִֽיצִיveet Adonai taaritsiand the Lord you shall revere;

עַל יַד אִישׁ בֶּן פַּרְצִיal yad ish ben partsiby the hand of a man, a son of Perez,

וְנִשְׂמְחָה וְנָגִֽילָהvenismekhah venagilahand we shall rejoice and be glad.

בּֽוֹאִי בְשָׁלוֹם עֲטֶֽרֶת בַּעְלָהּboi veshalom ateret balahCome in peace, crown of her husband,

גַּם בְּשִׂמְחָה וּבְצָהֳלָהgam besimkhah uvetsaholahwith joy and with gladness too,

תּוֹךְ אֱמוּנֵי עַם סְגֻלָּהtokh emune am segullahamong the faithful of the treasured people;

בּֽוֹאִי כַלָּה בּֽוֹאִי כַלָּהboi khallah boi khallahcome, O bride; come, O bride;

בּֽוֹאִי כַלָּה שַׁבָּת מַלְכְּתָא.boi khallah shabbat malketacome, O bride, Sabbath queen.

Original: Solomon Alkabetz (16th century). Text from Wikisource; public domain.

The romanization is the Institute’s own (SBL general-purpose).

The English is the Institute’s own translation, made from the original for this page.

Notes on the translation (6)
  • The divine name is written יְיָ, an abbreviation read "Adonai" ("the Lord"); it is romanized as it is said.
  • line 2.1: the two forms of the Sabbath commandment, "Keep" (Deuteronomy 5:12) and "Remember" (Exodus 20:8), said by tradition to have been spoken at once.
  • line 3.3: 'nesukhah' echoes Proverbs 8:23 (Wisdom 'set up' or 'anointed' from of old); the sense is disputed.
  • line 5.3 and 9.3: the son of Jesse (David) and the son of Perez (David's ancestor) stand for the Messiah.
  • line 10.5: 'malketa', 'queen', is Aramaic.
  • line 10.4-5: written כַלָּה without dagesh after a vowel, hence khallah.

Listen

On YouTube, from the channel Azi Schwartz. Pressing play loads YouTube’s player. Watch on YouTube

What it inspired

  • Psalm 19, in Estro Poetico-Armonico (Benedetto Marcello) 1724a Lekha Dodi melody used, as an air of the German Jews
  • She Walks in Beauty, in Hebrew Melodies (Isaac Nathan, words by Lord Byron) 1815a London Lekha Dodi melody used

What it drew on

  • Song of Songs 7:12phrase of the refrain
  • Tractate Eruvin 21b (Rava's interpretation)reading of the Song of Songs as Israel speaking to God
  • Melody of a composition by Judah Halevimelody used by some Sephardic congregations
  • Wezm ja Kontusz, Wezm (Polish folk song)source of the Three Weeks melody, as traced by Eduard Birnbaum

People, places and events

Solomon AlkabetzAbba ben Joseph bar Ḥama (Rava)Judah HaleviAbraham Zevi IdelsohnBenedetto MarcelloEduard BirnbaumOskar KolbergIsaac NathanLord ByronThessalonikiSafedJerusalemVeniceLondonKabbalat Shabbat

Sources

  • Wikipedia, "Lekha Dodi", https://en.wikipedia.org/wiki/Lekha_Dodi
  • Isidore Singer et al. (eds.), The Jewish Encyclopedia, "Lekah Dodi", 1901–1906
  • Lawrence A. Hoffman (ed.), Kabbalat Shabbat: Welcoming Shabbat in the Synagogue, 2004
  • Reuven Kimelman, The Mystical Meaning of 'Lekha Dodi' and 'Kabbalat Shabbat', 2003
  • Oskar Kolberg, Piesni Ludu Polskiego, 1857
Cite this page
APA
The Epoch Institute. (2026). Lekha Dodi. In Songs in History. https://the-epoch-institute.org/songs/lekha-dodi
MLA
“Lekha Dodi.” Songs in History, The Epoch Institute, 2026, https://the-epoch-institute.org/songs/lekha-dodi. Accessed .
Chicago
The Epoch Institute. “Lekha Dodi.” Songs in History. 2026. https://the-epoch-institute.org/songs/lekha-dodi.
Harvard
The Epoch Institute (2026) ‘Lekha Dodi’, Songs in History. Available at: https://the-epoch-institute.org/songs/lekha-dodi (Accessed: ).

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