Most of us are familiar with Yerushalayim shel Zahav (Jerusalem of Gold), the Israeli classic by Naomi Shemer. Composed in 1971, it has become associated with Yom Yerushalayim (Jerusalem Day) and is a second national anthem of sorts.

The phrase “Jerusalem of Gold”, predates the song by centuries and comes from a legend that appears in various versions in both the Jerusalem and Babylonian Talmuds concerning Rabbi Akiva and his wife. It is clear from these traditions that the Jerusalem of Gold was a special article of jewelry, variously known as a “city of gold,” a “crown of gold,” but also a “Jerusalem of gold.”

Rabbi Dr. Shalom Paul ^z”l. Professor of Bible at the Hebrew University, wrote a monograph in 1967, not long after the song became popular. He wrote:

In sum, Rabbinic sources clearly demonstrate that עיר של זהב was an expensive golden crown donned by prominent women, which accords very well with the uru kù·gi found in Queen Ahatmilku’s inventory. This very same crown, moreover, bore another name in Rabbinic literature: ירושלים דדהבה, “Jerusalem of gold,” since, according to the Rabbis, the term “city” referred to their city par excellence, Jerusalem. Thus, we read in b.Sabb. 59a, “What is meant by a ‘city of gold’? Rabbah bar Bar Hannah said in Rabbi Yohanan’s name: ‘A Jerusalem of Gold like (the one) Rabbi Aqiba made for his wife.” Moreover, by giving his wife such a crown, Rabbi Aqiba actually fulfilled a promise he had made to her in his early years, as it is stated in b. Ned. 50a: “He said to her, ‘If I could only afford it, I would attire you with a Jerusalem of gold.”

This legend is followed by others to the effect that when Rabbi Akiva did earn wealth, he made his wife this crown, which caused jealousy among his colleagues and their wives, particularly the Patriarch Rabban Gamliel. The Talmudic legends expand into legal discussions as to whether a woman may wear such a crown in public on Shabbat. Dr. Paul demonstrated the origins of such crowns and their popularity throughout the Ancient Near East. What made the Jerusalem crown special for us is the motif of Jerusalem that was on the crown. What was that? The walls of the city, as we continue to display them in Jewish art. Naomi Shemer, describing the writing of Yerushalayim Shel Zahav wrote:

“I found it very difficult to write the song, until I recalled the legend about Rabbi Akiva promising his wife Rachel a "city of gold," i.e. a piece of gold jewelry depicting Jerusalem. I chose Shuli Nathan to perform the song. She was a 20-year-old soldier-teacher, with a guitar and a voice like bells. The song was a hit ...” Shemer incorporated the legend into the song with the words: “But as I come to sing to you today, and to adorn crowns to you ...”

What is the connection —between the Ancient Near Eastern and Jewish traditions of making such crowns—to this week’s Torah reading Vayishlach? It comes from the last verse in the last paragraph of the seventh aliyah prior to the maftir: an obscure passage that rabbis never give sermons on. The Succession List of the Edomite Kings; perhaps an imitation of the Sumerian King List. The first verse reads: “These are the kings who reigned in the land of Edom before any king reigned over the Israelites.” A clearly out-of-place passage. The law of the king does not appear until Deuteronomy, and we know Saul to be the first king of Israel.

The last verse reads: “When Baal-hanan son of Achbor died, Hadar succeeded him as king; the name of his city was Pau, and his wife’s name was

מהיטבאל בת מטרד בת מי זהב, Mehetabel [from the goodness of God?] daughter of Matred [pursuer?] daughter of Me-zahab [waters of gold.]”

A legend comes from the Zohar. Me-zahab is part of a non-Israelite lineage, which makes the detailed rabbinic focus on her notable. The focus is on the names, particularly on the last one. "Me-zahab" is gold water, but can also be read מזהב from gold, referring to a goldsmith. The legend posits that the skill of working with gold, specifically, the making of crowns, was passed down from Me-zahab to her daughter Matred, and then to her granddaughter Mehetabel, who was known for "making women beautiful for their husbands." The skill ultimately comes from God, which is demonstrated by the granddaughter's name. The broader lesson derived from this obscure list of non-Jewish individuals is that goodness and beauty are not exclusive to the Jewish people and that one can learn wisdom and applicable life skills (even cosmetic ones) from all people.