
A litany of mythical guests and creatures presenting at the Passover seder. . . .
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tagged: נרצה Nirtsah ![]() Shared on י״ח בניסן ה׳תשע״ט (2019-04-23) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on ח׳ באדר ב׳ ה׳תשע״ו (2016-03-17) — under the following terms: Categories: ![]() Tags: ![]() ![]() Making sense of Ḥad Gadya beyond its explicit meaning has long inspired commentary. For me, Ḥad Gadya expresses in its own beautiful and macabre way a particularly important idea in Judaism that has become obscure if not esoteric. While an animal’s life may today be purchased, ultimately, the forces of exploitation, predation, and destruction that dominate our world will be overturned. Singing Ḥad Gadya is thus particularly apropos for the night of Passover since, in the Jewish calendar, this one night, different from all other nights, is considered the most dangerous night of the year — it is the time in which the forces of darkness in the world are strongest. Why? It is on this night that the divine aspect of Mashḥit, the executioner, is explicitly invoked (albeit, only in the context of the divine acting as midwife and guardian/protector of her people), as explained in the midrash for Exodus 12:12 . . . ![]() Shared on י״ב בניסן ה׳תשע״ט (2019-04-16) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on י״ג בניסן ה׳תשע״ט (2019-04-17) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on י״ב בניסן ה׳תשע״ט (2019-04-16) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on ט׳ בסיון ה׳תשע״ט (2019-06-12) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on כ״ו בניסן ה׳תשע״ט (2019-04-30) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Shared on ל׳ בניסן ה׳תשע״ט (2019-05-04) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() Shared on א׳ באייר ה׳תשע״ט (2019-05-05) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . . ![]() Shared on י״ד בניסן ה׳תשע״ח (2018-03-29) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license Categories: ![]() Tags: ![]() ![]() Johann Stephan Rittangel (1606-1652) was a Christian Hebraist and Professor of Oriental Languages at the University of Königsberg (Prussia) from 1640 till his death. Born Jewish, he converted to Christianity (to Catholicism and afterward to Calvinism, and then Lutheranism). After making a translation of the Sefer Yetsirah into Latin in 1642, he made this translation of the Passover Haggadah. In the Haggadah, Rittangel included musical scores for two piyyutim popularly sung during the final course of the Passover seder: “Adir Hu” and “Ki Lo Na’eh.” . . . |
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