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tag: 7th century C.E. Sorted Chronologically (old to new). Sort most recent first? אָמַר אוֹיֵב | Amar Oyev (The Enemy Said) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. . . . Categories: 7th Day of Pesaḥ מַן־כְּוָתָךְ | Man K’vatakh (Who is Like You) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. . . . Categories: 7th Day of Pesaḥ 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.)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. . . . Categories: Tishah b'Av תָּנוּן שְׁבָחֵיהּ | Tanun Shvaḥeih (Tell the Praise) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis piyyut, Tanun Shvaḥeih (Tell the Praise), the eighth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of Exodus 15:18, the famous verse “Adonai yimlokh l-‘olam va-‘ed.” The English translation preserves the Hebrew acrostic of the Aramaic. . . . Categories: 7th Day of Pesaḥ עַד אָנָה בִּכְיָּה בְצִיּוֹן | Ad Ana Bikhya b’Tsiyon (How Long Will Crying Be In Zion), a qinah for Tishah b’Av (ca. 7th c.)‘Ad Ana Bikhya B’Tsiyon, is one of the oldest qinot of the cycle, dating to the period before rhyme schemes were the norm for Hebrew poetry. It describes the heavenly luminaries themselves as sympathizing with and lamenting for Israel. It goes through the entire zodiac, beginning with Ares and ending with Pisces. It is traditional to stand and recite the last few lines aloud before transitioning into the Ḳedusha d’Sidra. . . . Categories: Tishah b'Av Many communities recite a series of poems interwoven with the Amidah on Purim. These poems, known as the “krovets,” were written by Elazar b. Rabbi Kalir, the greatest of the early paytanim. But lesser known than the krovets for Purim are the krovets for Tisha b’Av, written as well by Elazar b. Rabbi Kalir. A fine example of Elazar’s intricate poetry, the krovets for Tisha b’Av is rife with Biblical citations, finally culminating with the prayer for Jerusalem. Each stanza begins with five tightly rhymed lines beginning with a constant א followed by a quintuple half-acrostic on the second letter, then a poetic volta on the word אֵיכָה, followed by a Biblical citation, a verse starting with the last word in the citation, a letter from Elazar’s name, and a final Biblical citation. The krovets for Tisha b’Av is meant to be part of the morning service, tied into the cantorial repetition for Tisha b’Av. . . . Categories: Tishah b'Av “Alelai Li” is a ḳinah recited on the morning of Tisha bAv. It was written by HaKalir around the 7th century. According to the Koren Mesorat HaRav Kinot, it is number 17 of 50. The title is the refrain of the poem and is an onomatopoeic whimper (try saying it aloud, focusing on the alliteration). It is difficult to translate the opening word “im” which means “if” or “should”. This is an allusion to Job 10:15, “If I have done evil, then woe unto me.” I have decided to translate the ḳinah not in the conditional tense (which would render “If these horrible things happened, then woe is me!”) but as a lament upon memory; however, the former would be a more accurate (if not more awkward in English) translation. Adding to the awkwardness of the poem’s language is the feminine conditional verb that each line has after the word “im”. I have maintained this strange verb tense and placement in my translation by using the English progressive tense. The ḳinah ends with a collection in lines in a different meter suggesting that the Holy One (and the paytan himself) is angered that the Jewish people announce their sufferings but not their transgressions. . . . Categories: Tishah b'Av אֲמַר קִירִיס לְמֹשֶׁה | Amar Kiris l-Mosheh, a lamentation on the death of Mosheh (SYAP 40, ca. 7th c.)Amar Kiris l-Moshe, is a midrashic narrative of Moshe going to Adam to ask why he cursed humanity with death. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s “Jewish Palestinian Aramaic Poetry from Late Antiquity,” it is presented here vocalized with an original translation. . . . Azalat Bekhita, is probably incomplete, extending only to ḥeth in known manuscripts. It features multiple people, places, and things important in Moshe’s life taking turns to eulogize him. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . . Azalat Yokheved is part of a whole genre of midrashic works suggesting Yokheved lived to see her son die — a concept even found in the Ethiopian literature. With repeated refrains, it emphasizes the desperate search of a mother trying to find her son, retracing all her steps and desperately asking everyone she can. But just as Moshe’s journey to the Promised Land ends without a conclusion, so too Yokheved never finds her Moshe. It’s been translated preserving monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . . אוֹמֶץ גְּבוּרוֹתֶיךָ | Omets G’vuratekha, a piyyut by Eleazar ben Qalir for the second night of Pesaḥ in its Latin translation by Johann Stephan Rittangel (1644)The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel. . . . Categories: Nirtsah | ||
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