![the Open Siddur Project [logo]](https://opensiddur.org/wp-content/uploads/2018/09/Open-Siddur-Project-Logo-2016.svg){kind=logo} the Open Siddur Project ✍︎ פְּרוֹיֶקְט הַסִּדּוּר הַפָּתוּחַ
a community-grown, libre Open Access archive of Jewish prayer and liturgical resources
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 Contributor(s):The critical text of Pereq Shirah prepared by Dr. Malachi Beit-Arié in 1967. . . . אָז רוֹב נִסִּים | Az Rov Nissim, a piyyut by Yanai for the first night of Pesaḥ in its Latin translation by Johann Stephan Rittangel (1644) Contributor(s):The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel. . . . אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ | Oy Na Lanu Ki Ḥatanu (Woe alas unto us, for we have sinned), a ḳinah possibly by Elazar ben Killir (ca. 7th c.) Contributor(s):This anonymously authored ḳinah (קינה, song of “lamentation”) begins with the line “אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ” (oy na lanu ki ḥatanu, “Woe—alas—unto us, for we have sinned”). Although the ancient Roman Jewish historian Flavius Josephus blames the Roman Empire for the destruction of the Jewish Temple in Jerusalem in 70 CE—and Roman art even celebrates the Roman capture of the Temple’s candelabrum—this ḳinah suggests that the destruction of Jerusalem was, at least partially, the result of Jewish discord. The ḳinah, which was long part of the Romanian prayer service for Tish’ah b’Av, appears in few other traditional prayerbooks for Tish’ah b’Av. It seems that the author of this ḳinah was El’azar ben Kallir (ca. 570–640 CE), who composed approximately half of the kinot most commonly inserted into contemporary Tish’ah b’Av prayerbooks that include the 40-odd most common kinot (קינות, plural of ḳinah) Jews sang throughout Europe during much of the early modern period. The author did not sign their name but left us with an alphabetical acrostic listing of often-concrete reasons to mourn today. . . . אַזְכִּֽירָה יָמִים עִם יָמִים | Azkira Yamim Im Yamim, a piyyut for the First Shabbat of Admonition by Rabbi Yannai (ca. early 6th c.) Contributor(s):The works of the great paytan Yannai were, with the exception of a small handful of poems, almost completely lost until their rediscovery in the Cairo Geniza. This poem, an acrostic comparison of the days of Moses and Jeremiah, was written by Yannai to serve as part of the Musaf Ḳedushah on the first Shabbat after 17 Tammuz, on which the opening section of Jeremiah is recited. It bears structural and linguistic similarities to the later famous ḳinah Esh Tuqad. In its liturgical context, it was intended to introduce the final few verses of the Ḳedushah . Nowadays the custom of poetic inserts into the ḳedushah is nearly extinct, but the poem stands as a moving and powerful work nonetheless. . . . 📖 פֶּרֶק שִׁירָה | Pereq Shirah, a litany of verses spoken by the creatures & works of Creation (after the arrangement of Natan Slifkin) Contributor(s):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. . . . Contributor(s):A guide to the activities one might engage upon in every hour of the week corresponding with their ruling planet, numinous and cthonic power. . . . |
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