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tag: ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah Sorted Chronologically (old to new). Sort most recent first? This Chinese translation of an Ashkenazi nusaḥ for the alphabetic acrostic piyyut “El Adon,” is found on page 8 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). This Chinese translation of an Ashkenazi nusaḥ of the prayer “ha-Kol Yodukha,” is found on pages 7-11 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). An earlier form of the prayer known as Aleinu, as found in the esoteric Jewish literature of the first millennium CE. “Arkin” is one of two Aramaic piyyutim read by some Ashkenazi communities at the beginning of the Torah reading on the first day of Shavuot (the other being the Aqdamut). The piyyut makes reference to an important legend featuring Mosheh experiencing an ascent in which he must wrest the Torah from angelic entities that are averse to parting with it, or loathe to giving it up, to humanity. Introducing the piyyut she translated in Jewish Aramaic Poetry from Late Antiquity (Brill: 2018), Dr. Laura Lieber writes, “This [Shavuot] poem dramatizes neither the content of revelation, as other poems here do, nor the season of its giving, as the story of Ruth does. Instead, our poet imagines God’s summoning of Moses to the heavens to receive the Torah atop Mount Sinai. God’s voice is most prominent here, although the angels also speak; Moses, however, keeps silent, and the poet depicts him with anything but aggression and bravado. The poet crafts a scene that recreates the tension of the imagined encounter: God repeatedly reassures Moses, who fears angelic aggression, but the angels also express fear of Moses, who is here depicted as having horns, which God encourages Moses to use in self-defense.” Categories: Tags: acrostic, Alphabetic Acrostic, Angelic Nature, Angelification, Angels, Aramaic, Decalogue, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, mid-first millennium CE, Mosheh Rabbenu, פיוטים piyyuṭim, תרגום targum Contributor(s): The Yiddish translation of the Aramaic piyyut “Arkin” is appended to the first known printing of the Maaséh Aqdamut (Fürth 1694). The transcription is based on an earlier transcription of the Fürth 1694 printing published by Isaac Rivkind in “די היסטאָרישע אַלעגאָריע פון ר׳ מאיר שַ״ץ” (“The Historical Allegory of Rabbi Meir, shatz [Shaliaḥ Tsibur]”) the first chapter in Filologishe shriftn vol. 3 (1929), pp. 1-42. (This translation of the Aqdamut appears on pages/numbered columns 40-42.) Categories: Tags: acrostic, Alphabetic Acrostic, Angelic Nature, Angelification, Angels, Aramaic, ארכין Arkin, Decalogue, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, mid-first millennium CE, Mosheh Rabbenu, פיוטים piyyuṭim, תרגום targum, Yiddish translation Contributor(s): The critical text of Pereq Shirah prepared by Dr. Malachi Beit-Arié in 1967. Categories: 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 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. Categories: Hekhalot Writings, Erev Shabbat, Rosh Ḥodesh Readings, Morning Baqashot, Rosh haShanah la-Melakhim Readings, Rosh haShanah la-Behemah Readings, Rosh haShanah Readings, Tu biShvat Readings 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 Contributor(s): The complete qedushta cycle (colloquially called “yotzros,” although it is not technically yotzrot but rather qerovot) for Shabbat Sheqalim by Qallir, including all the catenae of verses and repeated refrains often skipped in Ashkenazi practice. Alphabetical texts are translated with alphabetical acrostics. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, עמידה amidah, four special parashot, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, שבת שקלים Shabbat Sh'qalim Contributor(s): The piyyut, El Adon, in Hebrew with an English translation. The piyyut, El Adon, in Hebrew with an interpretive “praying translation” by Rabbi Zalman Schachter-Shalom, z”l. Categories: Tags: acrostic, Alphabetic Acrostic, אל אדון el adon, Geonic prayers, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, heikhalot literature, interpretive translation, פיוטים piyyuṭim, יוצר אור yotser ohr Contributor(s): The piyyut El Adon in its nusaḥ Ashkenaz variation set side-to-side with an acrostic alphabetic translation in English. The poem, “Elijah” by Rosa Emma Salaman, was first published in the Occident 6:7, Kislev 5610, December 1849, p. 455-457. Categories: Tags: 19th century C.E., 57th century A.M., Angelic Nature, Angelification, Anglo Jewry, British Jewry, Derekh Hashem, Distress, אליהו הנביא Eliyahu haNavi, English Romanticism, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, Physical translation, Prayers as poems, Psychopomp, still small voice, the Chariot, Walking with the Divine Contributor(s): The poem, “Sandalphon,” as composed by Henry Wadsworth Longfellow (1807 – 1882) and completed January 18, 1858, first published in Birds of Passage (1858), section “Flight the First,” page 62. Categories: Tags: 19th century C.E., 57th century A.M., Angelic Nature, angelology, Angels, Coronation, Crown, English poetry, English Romanticism, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, Keter, קדושה Qedushah, romanticism, סנדלפון Sandalfon, Wheel, Wreath Contributor(s): The poem, “He of Prayer” as published in Henry Abarbanel’s English School and Family Reader (1883), p.14, where it is attributed to the newspaper The Jewish Times, a New York newspaper that circulated from 1869-1877. Categories: Tags: 19th century C.E., 57th century A.M., Angelic Nature, angelology, Angels, Coronation, Crown, English poetry, English Romanticism, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, Keter, קדושה Qedushah, romanticism, סנדלפון Sandalfon, Wheel, Wreath Contributor(s): A poem describing the ascent and death of the Tannaitic sage, Shimon ben Azzai. A prayer, inspired by Tefilat haDerekh and other traditional liturgical texts, for a Jew who, at some future point, would be about to go forth on a starship. Doesn’t include a chatimah so as not to be a brakhah levatalah, in the case that starships are (chas v’shalom) never invented. Categories: Tags: 24th century C.E., 62nd century A.M., ascent, בלי־מה bli-mah, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, Jacob's Ladder, Jews of Star Trek, Leonard Nimoy z"l, Leonard Nimoy Day (26 March), North America, sic itur ad astra, space travel, spaceship, spaceship Earth, starship, תפילת הדרך tefilat haderekh, the Chariot, traveling without moving, where no earthling has gone before Contributor(s): This “Prayer Before Seeking Healing in a Psychedelic Journey” by Zac Kamenetz was first published by the author to the Jewish Entheogenic Society group on Facebook, 1 December 2024. | ||
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