Talmudic and midrashic sources contain hymns of the creation usually based on homiletic expansions of metaphorical descriptions and personifications of the created world in the Bible. The explicitly homiletic background of some of the hymns in Perek Shira indicates a possible connection between the other hymns and Tannaitic and Amoraic homiletics, and suggests a hymnal index to well-known, but mostly unpreserved, homiletics. The origin of this work, the period of its composition and its significance may be deduced from literary parallels. A Tannaitic source in the tractate Hagiga of the Jerusalem (Hag. 2:1,77a—b) and Babylonian Talmud (Hag. 14b), in hymns of nature associated with apocalyptic visions and with the teaching of ma’aseh merkaba serves as a key to Perek Shira’s close spiritual relationship with this literature. Parallels to it can be found in apocalyptic literature, in mystic layers in Talmudic literature, in Jewish mystical prayers surviving in fourth-century Greek Christian composition, in Heikhalot literature, and in Merkaba mysticism. The affinity of Perek Shira with Heikhalot literature, which abounds in hymns, can be noted in the explicitly mystic introduction to the seven crowings of the cock — the only non-hymnal text in the collection — and the striking resemblance between the language of the additions and that of Shi’ur Koma and other examples of this literature. In Seder Rabba de-Bereshit, a Heikhalot tract, in conjunction with the description of ma’aseh bereshit, there is a clear parallel to Perek Shira’s praise of creation and to the structure of its hymns. The concept reflected in this source is based on a belief in the existence of angelic archetypes of created beings who mediate between God and His creation, and express their role through singing hymns. As the first interpretations of Perek Shira also bear witness to its mystic character and angelologic significance, it would appear to be a mystical chapter of Heikhalot literature, dating from late Tannaitic — early Amoraic period, or early Middle Ages. . . . Tags: 43rd century A.M., 5th century C.E., animals, birds, cosmological, creeping creatures, Early Ammoraic, Early Middle Ages, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, heikhalot literature, hymns of creation, Late Tannaitic, Openers This translation of “Adonai boker e’erokh lekha” by Rabbi David Aaron de Sola of a piyyut by an unknown paytan was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . The reshut for praying at dawn, in Hebrew with English translation. . . . This translation by Rabbi David de Aaron de Sola of “Lema’ankha v’lo lanu” by an unknown paytan was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim. . . . The reshut for praying at dawn, in Hebrew with English translation. . . . The reshut for praying at dawn, in Hebrew with English translation. . . . A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim translated by Rabbi David Aaron de Sola. . . . Ḥakham Ishak Nieto’s translation of Adon Olam was first printed on page 197 of Orden de las Oraciones de Ros-ashanah y Kipur (1740), his maḥzor in Spanish translation for Rosh haShanah and Yom Kippur. The Hebrew text of the piyyut set side-by-side with the translation was transcribed from Rabbi David de Sola Pool’s Tefilot l’Rosh haShanah (1937). . . . A paraliturgical adaptation of the piyyut Adon Olam by an early leader of the Reform movement. . . . Adon Olam is a piyyut that became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the 12 line version familiar to Sepharadi congregations. (There are also fifteen and sixteen line variants found in Sepharadi siddurim. The Ashkenazi version has ten lines.) The rhyming translation here by David de Aaron de Sola was transcribed from his prayerbook Seder haTefilot vol. 1 (1836), p. 122. . . . Adon Olam is a piyyut that became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the 10 line version familiar to Ashkenazi congregations. (There are also twelve, fifteen, and sixteen line variants found in Sepharadi siddurim.) The rhyming translation here by George Borrow was shared in his tales in The Bible in Spain (1843), p. 222. (The text in the 1913 edition on page 546 is a bit easier to read.) . . . A rhyming English translation of Adon Olam by Rosa Emma Salaman. . . . Tags: 11th century C.E., 49th century A.M., ABCB rhyming scheme, אדון עולם Adon Olam, cosmological, free translation, חתימות ḥatimot (concluding prayers), interpretive translation, Nusaḥ Sefaradi, Openers, פיוטים piyyutim, rhyming translation The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . . Adon Olam is a piyyut that became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the 12 line version familiar to Sepharadi congregations. (There are also fifteen and sixteen line variants found in Sepharadi siddurim. The Ashkenazi version has ten lines.) The rhyming translation here by Jacob Waley was transcribed from the prayerbook of his daughter Julia M. Cohen’s The Children’s Psalm-Book (1907), pp. 298-299. . . . An English translation of an abridged arrangement of the piyyut, Adon Olam. . . . This is Yosef Naḥmuli’s Greek translation of Adon Olam from his bilingual Hebrew-Greek everyday siddur, Καθημεριναι Προσευχαι (Corfu 1885), p. 6-9. . . . The Seder Tefilat Kol Peh was printed in 1891 in Vienna, and features a full Ladino translation of the entire siddur. The Ladino translation here is found on the left side of pagespread №145. Along with a full transcription of the Ladino text, Isaac Gantwerk Mayer has also prepared a full romanization of the Ladino. . . . The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . . Adon Olam is a piyyut that became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the 10 line version familiar to Ashkenazi congregations. (There are also twelve, fifteen, and sixteen line variants found in Sepharadi siddurim.) The rhyming translation here by Israel Zangwill was transcribed from the Jewish Quarterly Review vol. 13 (January 1901), p. 321. . . . The paraliturgical adaptation and expansion of “Adaun Aulom” by Lise Tarlau can be found in Rabbi Max Grunwald’s anthology of Jewish women’s prayer, Beruria: Gebet- und Andachtsbuch für jüdische Frauen und Mädchen (1907), pages 93-94. I have set the stanzas or verses from Adon Olam in their original Hebrew side-by-side with Lise Tarlau’s adapted text (according to the arrangement that seems closest to me) so that their proximity may illuminate her inspiration. . . . Adon Olam is a piyyut that became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the 10 line version familiar to Ashkenazi congregations. (There are also twelve, fifteen, and sixteen line variants found in Sepharadi siddurim.) The rhyming translation here by Jessie Ethel Sampter was transcribed from Joseph Friedlander and George Alexander Kohut’s The standard book of Jewish verse (1917), p. 394. . . . A rhyming translation in English to the popular piyyut, Adon Olam. . . . This is Artur Carlos de Barros Bastos’s Portuguese translation of Adon Olam from his prayer-pamphlet, Oração Matinal de Shabbath (1939), p. 52-53. I have set the translation side-by-side with the Hebrew text from which it was derived. . . . The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . . The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . . Rabbi Zalman Schachter-Shalomi’s interpretive “praying translation” of the piyyut, Adon Olam. . . . The piyyut, Adon Olam, in its expanded fifteen line variation, in Hebrew with English translation. . . . A rhyming English translation of the piyyut Adonai Negdekha kol Ta’avati. . . . A popular piyyut for all occasions by Avraham ibn Ezra. . . . The piyyut, Agadelkha, in Hebrew with an English translation. . . . Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, אגדלך Agadelkha, cosmological, קדיש ḳaddish, פיוטים piyyutim, רשות reshut, ספר יצירה Sefer Yetsirah, זמירות zemirot The philosophical-creed-as-piyyut, Yigdal, in Hebrew with an English translation. . . . This is the philosophical-creed-as-piyyut, Yigdal, by Daniel ben Judah Dayyan. Yigdal means “Magnify [O Living God]” and is based on the 13 Articles of Faith formulated by Maimonides (1135-1204). Daniel ben Judah spent eight years improving his piyyut, completing Yigdal in 1404. This was not the only metrical presentment of the 13 Articles of Faith; but it has outlived all others, whether in Hebrew or in the vernacular. The rhymed English translation by Jacob Waley (1818-1873) was published posthumously by his daughter, Julia Matilda Cohen, in The children’s Psalm-book, a selection of Psalms with explanatory comments, together with a prayer-book for home use in Jewish families (1907), pp. 300-303. . . . The philosophical-creed-as-piyyut, Yigdal, in Hebrew with an English translation. . . . This is the philosophical-creed-as-piyyut, Yigdal, by Daniel ben Judah Dayyan. Yigdal means “Magnify [O Living God]” and is based on the 13 Articles of Faith formulated by Maimonides (1135-1204). Daniel ben Judah spent eight years improving his piyyut, completing Yigdal in 1404. This was not the only metrical presentment of the 13 Articles of Faith; but it has outlived all others, whether in Hebrew or in the vernacular. The English translation here by Israel Zangwill was transcribed from Arthur Davis & Herbert Adler’s מַחֲזוֹר עֲבֹדַת אֹהֶל מוֹעֵד: עֲבֹדַת חַג הַכִּפּוּרִים Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim Part II: Morning Service (1904), p. 2. . . . The philosophical-creed-as-piyyut, Yigdal, in Hebrew with an English translation. . . . The philosophical-creed-as-piyyut, Yigdal, in Hebrew with an English translation. . . . The doxological piyyut, Yigdal, in Hebrew with a German translation. . . . The philosophical-creed-as-piyyut, Yigdal, in Hebrew with a creative English translation. . . . “Odeh La-Él” sings to the waking soul, calling on it to return to the service of the Divine. . . . “Odeh La-Él” sings to the waking soul, calling on it to return to the service of the Divine. . . . A piyyut of divine-closeness by Yisrael Najara. . . . The piyyut, Yedid Nefesh, in Hebrew with an English translation. . . . |
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