What are the inner workings of such an intricately crafted story that it devolves into so much gratuitous violence at the end? Haman’s racism follows imminently upon the heels of the king’s sexism. Indeed, the root of Haman’s wrath against Mordekhai and the Jews parallels the king’s fury against Vashti and the women. Both Vashti and Mordekhai refused to submit to degradation before authority. Disdain for and subordination of women are pre-conditions for the progression toward violent evils that threaten to prevail under the jester-king. One of the fundaments of feminism is that until we fix the basic gender dyad, there will be no resolution of other derivative inequalities, prejudices, and abuses—at personal, ethnic, national, and global levels. Core relationships between woman and man must embody mutual respect, dignity, and equality in our humanity. . . .
Y.L. Peretz rejected cultural universalism, seeing the world as composed of different nations, each with its own character. Liptzin comments that “Every people is seen by him as a chosen people…”; he saw his role as a Jewish writer to express “Jewish ideals…grounded in Jewish tradition and Jewish history.” This is Peretz lampoon of the popularity of Friedrich Schiller’s idealistic paean made famous as the lyrics to the climax of Beethoven’s Ninth Symphony. . . .
In 1785 Friedrich Schiller wrote his ‘An die Freude\ an ode ‘To Joy’, describing his ideal of an equal society united in joy and friendship. Numerous copies and adaptations attest to its popularity at the time. The slightly altered 1803 edition was set to music not only by Ludwig van Beethoven in his Ninth Symphony but also by other composers such as Franz Schubert and Pyotr Tchaikovsky. Hs. Ros. PL B-57 contains a Hebrew translation of the first edition of the ode (apparently rendered before the 1803 alteration), revealing that the spirit of the age even managed to reach the Jewish community in the Netherlands. Whereas the imagery of Schiller’s original is drawn from Greek mythology, the author of the שִׁיר לְשִׂמְחָה relies on the Bible as a source. In fact, he not only utilises Biblical imagery, but successfully avoids any allusion to Hellenistic ideas whatsoever. . . .
The Open Siddur Project is pleased to offer the world the first freely licensed Seder Megillat Esther. We would like to thank our contributors: the Jewish Publication Society for sharing an authoritative digital edition of their 1917 English Translation of the TaNaKh (The Holy Scriptures According to the Masoretic Text), Christopher Kimball and the Westminster Leningrad Codex digitzation project for an authoritative digital text of the TaNaKh. We would also like to thank Rabbi Rallis Wiesenthal for his contribution of the Siddur Bnei Ashkenaz, Shmueli Gonzales for his transcriptions of siddurim witnessing the Nusach Ha-Ari, and Aharon Varady, the editor of opensiddur.org and founder of the Open Siddur Project. If you have any free licensed resources representing other nuschaot and minhagim, please share them. . . .
For aspiring ba’al koreh (readers) of Megillat Esther studying its various styles of cantillation (Hebrew, ta’amei hamiqra or in Yiddish, trope), a fair number of recordings are popping up online, but only one so far is being shared with a free/libre, copyleft license thanks to Gabriel Seed, lead developer of zemirotdatabase.org. The audio file is free to redistribute and remix under the CC BY-SA 3.0 Unported license. We’re honored to share Gabriel’s recording of a zarqa table for Megillat Esther read in the Nusaḥ Ashkenaz style. Megillat Esther – Ta’amei Hamiqra: MP3 | OGG . . .
The following seven lessons by Rabbi Hillel Ḥayim Yisraeli-Lavery to help the student prepare for their reading of Megillat Esther. The nusaḥ taught is Israeli style Ashkenaz-Lithuanian. . . .
Tired of people who can’t tell their kiddish (blessings for the Sabbath) from their kaddish (prayer for the dead)? Well, it sets Samuel L. Jackson off too! But he found a way of making a bracha (blessing) and mourning the dead at the same time. Now I can’t vouch for the origins of his nusaḥ (custom) but it sounds very effective! Most people haven’t noticed, the only real part from the Bible is that last section, the first part is actually his own spiel: . . .
Because we cannot live on two planes, we are granted the opportunity to disguise our external features. We develop the capacity to know each others hearts and find even greater satisfaction in the exchange. Yet, too often, we act as if someone else — who looks remarkably like oneself — is going to provide the support for nonprofit organizations we deem are necessary for a decent life. We assume / hope / pray that someone “else” is doing our part. It’s their turn to make a critical contribution, even a small one, that gives relief, replaces a worn-out part, opens the door wide enough to make a difference. . . .