Torah & Texts

Recommended for older teens and adults

The Wise Have Eyes

By Jacqueline Nicholls, Jewlia Eisenberg, and Sarah Lefton

This musical Kabbalah piece titled The Wise Have Eyes is an interpretation of a mystical tale from the Zohar known as The Parable of the Maiden (or Sava de-Mishpatim).

The Wise Have Eyes was created by Jacqueline Nicholls, Jewlia Eisenberg and Sarah Lefton in chavruta (חַבְרוּתָא “partnership”), a traditional approach to study in which partners analyze, discuss, and debate a shared text. San Francisco Bay Area-based singer and songwriter, Jewlia Eisenberg wrote the song and music you hear and London-based fine artist Jacqueline Nicholls drew and filmed the drawings. BimBam’s founder Sarah Lefton was the project’s producer.

This song and film were adapted from the Kabbalah’s foundational text, the Zohar II: 94b-95a – the section known as Sava de-Mishpatim, or Saba de-Mishpatim if you like. To read a beautiful translation of the source, visit (this excerpt), from Skylight Paths Publishing’s Zohar: Annotated & Explained translated and annotated by Daniel Chanan Matt and edited by Andrew Harvey.

The artists were each deeply challenged by this difficult text, taking it up with enthusiasm, wrestling with it, putting it aside and re-engaging together over several months. They did not agree about everything in the story – in the song, or in the art, and yet after this collaboration together they are each so proud of the extensive facets of meaning you’ll uncover in The Wise Have Eyes.

Artist Statements

Jewlia Eisenberg, Music, Lyrics, Vocal

The Wise Have Eyes is a particular take on the Parable of the Maiden from the Zohar. This parable has elements that are sensual and disturbing, groovy and grotesque. I set it to music in conversation with historical commentary and new readings I found compelling. I started this process in khevruta with Sarah Lefton and Jacqueline Nicholls. I read Sava de-Mishpatim, translated by Daniel C. Matt, and thoughtful essays by Daniel Abrams, Moshe Idel and Elliot Wolfson. As I moved from Zoharic fragment to song, I drew on moods, modes and textures from Sephardic women’s tunes of the Balkans, and worked with musicians and engineers who produced it with psychedelic éclat. But what brought me deepest into the text, and informed how I felt the music, was the work of Melila Hellner-Eshed.

Most previous commentary on the Parable of the Maiden has focused on the levels of PaRDeS, especially the pshat/sod relationship, and on male mastery of a female Torah. Melila Hellner-Eshed instead argues that the parable is about mutual arousal and awakening. The relationship between learner and text here is an erotic one between two subjects. Reading strategies are erotic play that awakens desire above and below, revealing mystic and Torah to each other.

I like this analysis because it is super hot, and there’s room for me in it. I mean, male mastery is cool, but not all the time for a thousand years, know what I’m saying? Does anyone even WANT to top that long? Anyway, Melila Hellner-Eshed’s reading lets us all change it up a little—maybe even change it up a lot. So in the end, my take on this parable emphasizes female subjectivity, female power, female voice, mystery, magic, mutuality…and a tactile, joyful sexuality.

We can’t ignore the misogyny in our tradition, sometimes in this very parable. It’s important to call out ugly content and nasty hermeneutics when we see them. But we can’t just stop there, not if we are working for the big redemption! The Zohar has to be part of that redemption—we need mystics on our team. And when we have the mystics together with the radicals, we will smash all supremacies. There will be a mighty freeing! And only then can we love our G-d.


Jewlia Eisenberg


Jacqueline Nicholls, Drawings & Film

It began with a reunion of old friends. Happy to see each other and eager to share thoughts and stories. The text twisted and changed. Riddles, fear, esoteric expositions about the nature of souls. But all within the shared conversation between friends. Themes and patterns emerged. Eyes that see and cry. Clothing that conceals and protects, but also hints to what lies beneath. And fear that what is being revealed is not going to be heard.

The mystical journey is one of coming closer, unveiling, following subtle hints and yearning for connection. And the threat of being lost and alone, abandoned before reaching the safety of the other. This is a journey of the individual soul, who craves knowledge and intimacy. Each soul has its own way of seeing, but knowledge (and Torah) is revealed in relationship, and the individual longing to be understood by an other.

I followed the textʼs basic narrative. The friends meet, engage with the old manʼs riddles, that reveal deeper truths about the nature of different types of soul and the relationship with Torah and God. In the drawings, the eyeball is the depiction of the soul, becoming jewelry that adorns the maiden, the female embodiment of Torah. And ascending and descending towards and away from God. The drawings end with a fleeting image of the two friends in closeness. But it is only fleeting.

These drawings are glimpsed at through fabric, echoing the multi-layered nature of Torah and the dance in the text between revealing and concealing. I chose simple rendering, just black pen and ink with wash. The water and fabrics give texture that hint to the textʼs darkness. The images evolved from sketches made during our shared learning and private reflection. Some drawings were too subtle and some were too overt. Itʼs a delicate balance of the erotic. How much to reveal and what to pull back. Trusting the other to understand what cannot be said.

And some things are difficult to talk about. Learning this text was disturbing and I struggled with much of the process. The Torah is characterised as a maiden in a tower, sending hints out and waiting for her lover to follow the trail, find her and seduce her. The text makes special mention that she has no eyes. She does not see, but she is seen. She does not search but seems passive. Rebbe Nachman of Bratslav turns this on its head. The maiden has no eyes because she does not see in a normal way of seeing. She sees beyond this world and reality.

Itʼs a sweet solution. Rebbe Nachman apparently taught the story of Saba Mishpatim when his daughter had an eye infection. The girl with no eyes prompted a retelling of the old manʼs riddles. For all the textʼs difficulties, I kept coming back to the compelling conversations and intriguing riddles. What does this all really mean…? And so I picked up my pen and tried to look beyond my usual way of seeing.

Jacqueline Nicholls


This piece was made possible by a gift from a blessed anonymous individual with a beautiful soul who believes in BimBam’s work and shared her love for mysticism with us two years ago. We promised her we’d make work about her two great loves, tehillim, or psalms, and kabbalah and we dedicate this effort and all our future forays in the mystical to her.
Thank you to everyone else who helped make this project a reality, including Amichai Lau-Lavie, Jeremiah Lockwood, Aindri Chakraborty, Yosh! Haraguchi of Faultline Studios and the staff at BimBam.


Both Jewlia Eisenberg and Jacqueline Nicholls created and found visuals to help inspire and construct The Wise Have Eyes. Click here for a playlist of music that Jewlia listened to while creating the song.

04 Process Image by Jacqueline Nicholls
04 Process Image by Jacqueline Nicholls



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