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59 pages 1 hour read

Alice Hoffman

The Dovekeepers

Fiction | Novel | Adult | Published in 2011

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Symbols & Motifs

Lions

Lions are an important symbol and motif in the novel. They are linked with Yael and represent survival and resilience. Yael is born in Av, the month corresponding to July-August, the sign of which is the lion. Yael’s red hair is often compared to a lion’s mane, and Yael also often dreams of a lion. In the ancient Jewish religion, lions are a symbol of nobility and strength. However, in the novel, Yael also associates the lion with violence and ferocity. Yael believes lions are linked with her destiny, which is why she takes Ben Simon’s scars from a lion In a gladiatorial arena as a sign that he is her lion. When she falls in love with Ben Simon, she compares it to placing her head in the lion’s mouth; she also names her son Arieh, which is Hebrew for lion.

However, the true meaning of the text’s lion symbolism is foreshadowed when Yael faces a leopard in the desert. She scares away the animal without causing it harm and feels a solidarity with it. This, as well as Yael’s kinship with other creatures, shows that Yael herself is the lion. Shirah too foreshadows this reading when she calls Yael a “lioness,” ostensibly because of Yael’s red hair. The lion’s true significance becomes clear when the Romans bring along a chained and malnourished lion to the foothills of Masada. What the lion symbolizes is any caged and imperiled free creature, whether it be the Jewish people chafing under Roman rule, or women struggling with societal prejudices.

When Yael sets the lion free, she accepts her own destiny as a lion. Like the lion running away to freedom in the desert, Yael too will have to struggle and survive constantly and find her own path. This is also the destiny of her people.

Doves and Dovekeepers

Doves symbolize peace, nurture, and divinity in the novel, and also form a key motif. The novel draws its dove symbolism from Biblical and other ancient traditions. In the Bible, doves symbolize purity and serve as God’s messenger, such as in the story of Noah when a dove carries an olive leaf as a divine signal that the flood has receded from the earth (Genesis 8: 6-12). In other traditions, the dove is linked with the fertility goddess Ashtoreth, often referenced in the novel. This association with the goddess renders the women who tend the dovecotes—the titular “dovekeepers”—carriers of this feminine divine force.

Doves in the novel are often seen as prophetic: For instance, Shirah divines the future using the bones of doves. She performs the darkest magic she can by sacrificing a dove, since slaughtering a dove for magic is taboo. When Yael, Revka, and the children are awaiting their deaths in the kitchens, Yael sees doves flying at night. The unusual phenomenon is a sign that she must survive. Yael tells Revka they have “no time for death” and must flee (481). While the doves are flying because Shirah has released them from the dovecotes, Yael reads their flight as an omen for the safe flight of her group.

Water, Rain, and Rivers

The text’s water symbolism gains special meaning in the context of its desert setting. Since Masada is located in an arid region at the edge of a desert, water is a divine grace because of its life-giving properties. When it rains in Masada after Shirah’s summoning, Revka notes that the rain has every color in it. The rain is so powerful an ingredient that it completes the charm Shirah has prepared for Revka’s grandsons, restoring speech to them. Thus, water becomes a symbol of healing and renewal.

Shirah is also closely associated with water. Shirah’s mother tells her early on that her element is water. Shirah has a vision of a large fish in the Nile, and from that point on, is drawn to water bodies, such as the well at Jerusalem and the cistern at Masada. This affiliation emphasizes her own magical, life-giving qualities. Since water saves Yael and the others during the siege when she hides in Shirah’s cistern, it is protective like a mother.

In the end, Yael chooses to settle in Alexandria, a fertile land on the banks of a river because she has aligned herself with Shirah and her feminine power. Yael and Yonah float a candle on a lotus pad in the Nile to symbolize their union with their mothers and their stories, flowing continuously, like a river.

Biblical Imagery and Judaism

Biblical allusions and other religious references predominate in the novel, forming an important motif. The motif illustrates the theme of The Interplay Between Faith, Destiny, and Free Will.

People in the novel often understand their reality with the help of religious references. For instance, when Aziza notes that Sa’adallos, Nahara’s father, was a morally gray character, she says he is both malachim (the thousand angels of light) and mazzikin (demons uncontrolled by God) combined. When characters feel they are in mortal peril, they think the angel of death, Malach-ha-Mavet, is at hand. Revka describes Yoav’s self-destructive tendencies as him goading the Malach-ha-Mavet: “Take me if you can” (161).

Other ancient and Biblical references include, but are not limited to, the Book of Life, the book in which God records the name of everyone destined for Heaven, and the "World-to-Come.” The World-to-Come, a phrase frequently used in the novel, refers to an unexplained, future world, which all the righteous—even non-Jewish people who live by the laws of Noah—will inherit. For the people of the novel, the World-to-Come is not just an abstract concept, but a strong part of their reality and belief system. Faith in the World-to-Come makes their sorrows in this world bearable.

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