Prinzessin Sabbat | Princess Shabbat, by Heinrich Heine (1851)

Shared on: 7 December 2017 under the Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license

Categories: Se'udat Leil Shabbat, Se'udat Yom Shabbat, Se'udah haShlishit

Tags: 19th century C.E., 57th century A.M., Elysium, food, Gashmiut and Ruchniut, German orientalism, German romanticism, לכה דודי Lekhah Dodi, lycanthropy, Ode to Joy, Sabbath Queen, Sardonic poetry, שכינה Shekhinah

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Source (German)	Translation (English)
Prinzessin Sabbat	Princess Shabbat
In Arabiens Mährchenbuche Sehen wir verwünschte Prinzen, Die zu Zeiten ihre schöne Urgestalt zurückgewinnen:	In Arabia’s book of fable We behold enchanted princes Who at times their form recover, Fair as first they were created.
Das behaarte Ungeheuer Ist ein Königssohn geworden; Schmuckreich glänzend angekleidet, Auch verliebt die Flöte blasend.	The uncouth and shaggy monster Has again a king for father; Pipes his amorous ditties sweetly On the flute in jewelled raiment.
Doch die Zauberfrist zerrinnt, Und wir schauen plötzlich wieder Seine königliche Hoheit In ein Ungethüm verzottelt.	Yet the respite from enchantment Is but brief, and, without warning, Lo! we see his Royal Highness Shuffled back into a monster.
Einen Prinzen solchen Schicksals Singt mein Lied. Er ist geheißen Israel. Ihn hat verwandelt Hexenspruch in einen Hund.	Of a prince by fate thus treated Is my song. His name is Israel, And a witch’s spell has changed him To the likeness of a dog.
Hund mit hündischen Gedanken, Kötert er die ganze Woche Durch des Lebens Koth und Kehricht, Gassenbuben zum Gespötte.	As a dog, with dog’s ideas. All the week, a cur, he noses Through life’s filthy mire and sweepings, Butt of mocking city Arabs;
Aber jeden Freitag Abend, In der Dämmrungstunde, plötzlich Weicht der Zauber, und der Hund Wird aufs Neu’ ein menschlich Wesen.	But on every Friday evening, On a sudden, in the twilight, The enchantment weakens, ceases, And the dog once more is human.
Mensch mit menschlichen Gefühlen, Mit erhobnem Haupt und Herzen, Festlich, reinlich schier gekleidet, Tritt er in des Vaters Halle.	And his father’s halls he enters As a man, with man’s emotions, Head and heart alike uplifted, Clad in pure and festal raiment.
„Sei gegrüßt, geliebte Halle Meines königlichen Vaters! Zelte Jakob’s, Eure heil’gen Eingangspfosten küßt mein Mund!“	“Be ye greeted, halls beloved, Of my high and royal father! Lo! I kiss your holy mezuzot, Tents of Jacob, with my mouth!”
Durch das Haus geheimnißvoll Zieht ein Wispern und ein Weben, Und der unsichtbare Hausherr Athmet schaurig in der Stille.	Through the house there passes strangely A mysterious stir and whisper, And the hidden master’s breathing Shudders weirdly through the silence.
Stille! Nur der Seneschall (Vulgo Synagogendiener) Springt geschäftig auf und nieder, Um die Lampen anzuzünden.	Silence! save for one, the shammes (Vulgo: synagogue attendant) Springing up and down, and busy With the lamps that he is lighting.
Trostverheißend goldne Lichter, Wie sie glänzen, wie sie glimmern! Stolz aufflackern auch die Kerzen Auf der Brüstung des Almemors.	Golden lights of consolation, How they sparkle, how they glimmer! Proudly flame the candles also On the rails of the Almemor.
Vor dem Schreine, der die Thora Aufbewahret, und verhängt ist Mit der kostbar seidnen Decke, Die von Edelsteinen funkelt –	By the shrine wherein the Torah Is preserved, and which is curtained By a costly silken hanging, Whereon precious stones are gleaming.
Dort an seinem Betpultständer Steht schon der Gemeindesänger; Schmuckes Männchen, das sein schwarzes Mäntelchen kokett geachselt.	There, beside the desk already Stands the synagogue Ḥazzan. Small and spruce, his mantle black With an air coquettish shouldering;
Um die weiße Hand zu zeigen, Haspelt er am Halse, seltsam An die Schläf’ den Zeigefinger, An die Kehl’ den Daumen drückend.	And, to show how white his hand is. At his neck he works — forefinger Oddly pressed against his temple. And the thumb against his throat.
Trällert vor sich hin ganz leise, Bis er endlich lautaufjubelnd Seine Stimm’ erhebt und singt: Lecho Daudi Likras Kalle!	To himself he trills and murmurs, Till at last his voice he raises: Till he sings with joy resounding, “Lecho dodi likrath kallah!”
Lecho Daudi Likras Kalle – Komm’, Geliebter, deiner harret Schon die Braut, die dir entschleiert Ihr verschämtes Angesicht!	“Lecho dodi likrath kallah — Come, beloved one, the bride Waits already to uncover To thine eyes her blushing face!”
Dieses hübsche Hochzeitcarmen Ist gedichtet von dem großen, Hochberühmten Minnesinger Don Jehuda ben Halevy.	The composer of this poem. Of this pretty marriage song, Is the famous paytan, Don Jehuda ben Halevy.^[1] The composer of the popular piyyut for welcoming the Shabbat, “Lekha Dodi,” was actually Shlomo ha-Levi Alkabetz, also spelt Alqabitz, Alqabes; (Hebrew: שלמה אלקבץ) (ca. 1500 – 1576), a rabbi, kabbalist and poet perhaps best known for his composition of Lekha Dodi. While there are variations by other paytanim, Judah Halevi (ca. 1075 – 1141) was not one of them. –Aharon Varady
In dem Liede wird gefeiert Die Vermählung Israels Mit der Frau Prinzessin Sabbath, Die man nennt die stille Fürstin.	It was writ by him in honour Of the wedding of Prince Israel And the gentle Princess Shabbat, Whom they call the silent princess.
Perl’ und Blume aller Schönheit Ist die Fürstin. Schöner war Nicht die Königin von Saba, Salomonis Busenfreundin,	Pearl and flower of all beauty Is the princess — not more lovely Was the famous Queen of Sheba, Bosom friend of Solomon,
Die, ein Blaustrumpf Aethiopiens, Durch Esprit brilliren wollte, Und mit ihren klugen Räthseln Auf die Länge fatigant ward.	Who, bas bleu of Ethiopia, Sought by wit to shine and dazzle. And became at length fatiguing With her very clever riddles.
Die Prinzessin Sabbath, welche Ja die personifizirte Ruhe ist, verabscheut alle Geisteskämpfe und Debatten.	Princess Shabbat, rest incarnate, Held in hearty detestation Every form of witty warfare And of intellectual combat.
Gleich fatal ist ihr die trampelnd Declamirende Passion, Jenes Pathos, das mit flatternd Aufgelöstem Haar einherstürmt.	She abhorred with equal loathing Loud declamatory passion — Pathos ranting round and storming With dishevelled hair and streaming.
Sittsam birgt die stille Fürstin In der Haube ihre Zöpfe; Blickt so sanft wie die Gazelle, Blüht so schlank wie eine Addas.	In her cap the silent princess Hides her modest, braided tresses, Like the meek gazelle she gazes. Blooms as slender as the myrtle.
Sie erlaubt dem Liebsten alles, Ausgenommen Tabakrauchen – „Liebster! rauchen ist verboten, Weil es heute Sabbath ist.	She denies her lover nothing Save the smoking of tobacco; “Dearest, smoking is forbidden, For today it is the Sabbath.
„Dafür aber heute Mittag Soll dir dampfen, zum Ersatz, Ein Gericht, das wahrhaft göttlich – Heute sollst du Schalet essen!”	“But at noon, as compensation. There shall steam for thee a dish That in very truth divine is — Thou shalt eat today of cholent!
Schalet, schöner Götterfunken, Tochter aus Elysium! Also klänge Schiller’s Hochlied, Hätt’ er Schalet je gekostet.	“Cholent, ray of light immortal! Cholent, daughter of Elysium!” So had Schiller’s song resounded, Had he ever tasted Cholent.
Schalet ist die Himmelspeise, Die der liebe Herrgott selber Einst den Moses kochen lehrte Auf dem Berge Sinai,	For this cholent is the very Food of heaven, which, on Sinai, God Himself instructed Moses In the secret of preparing,
Wo der Allerhöchste gleichfalls All die guten Glaubenslehren Und die heil’gen zehn Gebote Wetterleuchtend offenbarte.	At the time He also taught him And revealed in flames of lightning All the doctrines good and pious. And the holy Ten Commandments.
Schalet ist des wahren Gottes Koscheres Ambrosia, Wonnebrod des Paradieses, Und mit solcher Kost verglichen	Yes, this cholent’s pure ambrosia Of the true and only God: Paradisal bread of rapture; And, with such a food compared,
Ist nur eitel Teufelsdreck Das Ambrosia der falschen Heidengötter Griechenlands, Die verkappte Teufel waren.	The ambrosia of the pagan. False divinities of Greece, Who were devils ‘neath disguises, Is the merest devils’ offal.
Speist der Prinz von solcher Speise, Glänzt sein Auge wie verkläret, Und er knöpfet auf die Weste, Und er spricht mit sel’gem Lächeln:	When the prince enjoys the dainty. Glow his eyes as if transfigured, And his waistcoat he unbuttons; Smiling blissfully he murmurs,
„Hör’ ich nicht den Jordan rauschen? Sind das nicht die Brüßelbrunnen In dem Palmenthal von Beth-El, Wo gelagert die Kameele?	“Are not those the waves of Jordan That I hear — the flowing fountains In the palmy vale of Beth-El, Where the camels lie at rest?
„Hör ich nicht die Heerdenglöckchen? Sind das nicht die fetten Hämmel, Die vom Gileath-Gebirge Abendlich der Hirt herabtreibt?“	“Are not those the sheep-bells ringing Of the fat and thriving wethers That the shepherd drives at evening Down Mount Gilead from the pastures?”
Doch der schöne Tage verflittert; Wie mit langen Schattenbeinen Kommt geschritten der Verwünschung Böse Stund’ – es seufzt der Prinz.	But the lovely day flits onward, And with long, swift legs of shadow Comes the evil hour of magic — And the prince begins to sigh;
Ist ihm doch als griffen eiskalt Hexenfinger in sein Herze. Schon durchrieseln ihn die Schauer Hündischer Metamorphose.	Seems to feel the icy fingers Of a witch upon his heart; Shudders, fearful of the canine Metamorphosis that waits him.
Die Prinzessin reicht dem Prinzen Ihre güldne Nardenbüchse. Langsam riecht er – Will sich laben Noch einmal an Wohlgerüchen.	Then the princess hands her golden Box of spikenard to her lover, Who inhales it, fain to revel Once again in pleasant odours.
Es kredenzet die Prinzessin Auch den Abschiedstrunk dem Prinzen – Hastig trinkt er, und im Becher Bleiben wen’ge Tropfen nur.	And the princess tastes and offers Next the cup of parting also — And he drinks in haste, till only Drops a few are in the goblet.
Er besprengt damit den Tisch, Nimmt alsdann ein kleines Wachslicht, Und er tunkt es in die Nässe, Daß es knistert und erlischt.	These he sprinkles on the table. Then he takes a little wax-light, And he dips it in the moisture Till it crackles and is quenched.

“Prinzessin Sabbat” by Heinrich Heine, in Romanzero III: Hebraeische Melodien, (“Princess Shabbat,” in Romanzero III, Hebrew Melodies.), 1851 was translated into English by Margaret Armour (1860-1943), The Works of Heinrich Heine vol. 12: Romancero: Book III, Last Poems (1905). I have replaced “schalet” (unchanged in Armour’s translation) with cholent and made other subtle changes (‘kiss your holy mezuzot’ instead of ‘kiss your holy door-posts,’ etc.). –Aharon Varady

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Notes

Notes
1	The composer of the popular piyyut for welcoming the Shabbat, “Lekha Dodi,” was actually Shlomo ha-Levi Alkabetz, also spelt Alqabitz, Alqabes; (Hebrew: שלמה אלקבץ) (ca. 1500 – 1576), a rabbi, kabbalist and poet perhaps best known for his composition of Lekha Dodi. While there are variations by other paytanim, Judah Halevi (ca. 1075 – 1141) was not one of them. –Aharon Varady

. Creative Commons Public Domain Dedication . 1.0 . Universal .

“Prinzessin Sabbat | Princess Shabbat, by Heinrich Heine (1851)” is shared through the Open Siddur Project with a Creative Commons Public Domain Dedication 1.0 Universal license.

Margaret Armour (translation)

Margaret Armour (b. Abercorn, West Lothian, Scotland, 10 September 1860; d. Edinburgh, 13 October 1943) was a poet, novelist and translator.

Heinrich Heine

Heinrich Ḥayyim Heine (13 December 1797 – 17 February 1856) was a German-Jewish poet, journalist, essayist, and literary critic. He is best known outside of Germany for his early lyric poetry, which was set to music in the form of Lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose are distinguished by their satirical wit and irony. Part of the Young Germany movement, his radical political views led to many of his works being banned by German authorities. Following the July Revolution in France, from 1831 onward, Heine spent his life as an Prussian expatriate in Paris. Heine railed against patriotic chauvinism, penning the following verse in his poem "Almansour" (1820): "Dort, wo man Bücher verbrennt, verbrennt man am Ende auch Menschen" (Where they burn books, they will ultimately also burn people). He was so detested by the Nazis that his gravesite was desecrated by exploding it with dynamite.

Aharon N. Varady (transcription)

Aharon Varady (M.A.J.Ed./JTSA Davidson) is a volunteer transcriber for the Open Siddur Project. If you find any mistakes in his transcriptions, please let him know. Shgiyot mi yavin; Ministarot naqeni שְׁגִיאוֹת מִי־יָבִין; מִנִּסְתָּרוֹת נַקֵּנִי "Who can know all one's flaws? From hidden errors, correct me" (Psalms 19:13). If you'd like to directly support his work, please consider donating via his Patreon account. (Varady also translates prayers and contributes his own original work besides serving as the primary shammes of the Open Siddur Project and its website, opensiddur.org.)

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ויהי נעם אדני אלהינו עלינו ומעשה ידינו כוננה עלינו ומעשה ידינו כוננהו "May the pleasantness of אדֹני our elo’ah be upon us; may our handiwork be established for us — our handiwork, may it be established." –Psalms 90:17

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