vḥynṿt vshlvy htftḥṿtṿ shl gṿf hyṿtsr — "hyṿtsr hmrvʿ"
The first component of the classical yoṣer, as shaped in Palestine by the early Hebrew liturgical poets, usually presents the pattern of the so-called qiqlar. The qiqlar, originally created for the use of the Qilirian qedushta, has three-line stanzas, the regular course of which is interrupted after...
| Subtitles: | בחינות בשלבי התפתחותו של גוף היוצר — "היוצר המרבע" |
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| Main Author: | |
| Format: | Print Article |
| Language: | Hebrew |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
College
1980
|
| In: |
Hebrew Union College annual / Jewish Institute of Religion
Year: 1980, Volume: 51, Pages: 29-88 |
| Standardized Subjects / Keyword chains: | B
Poetry
/ Hebrew language
/ Genizah
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| RelBib Classification: | BH Judaism |
| Parallel Edition: | Electronic
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| Summary: | The first component of the classical yoṣer, as shaped in Palestine by the early Hebrew liturgical poets, usually presents the pattern of the so-called qiqlar. The qiqlar, originally created for the use of the Qilirian qedushta, has three-line stanzas, the regular course of which is interrupted after every third strophe by a choral intermezzo, called pizmon. This pattern is absolutely predominant in the Eastern yoṣer, both classical and postclassical. In the present article attention is called to the hitherto unmentioned fact that several Genizah manuscripts attest the existence of an alternative pattern in this part of the yoṣer. Those alternative texts are usually mentioned by a special term: murabbaʿ or yoṣer murabbaʿ, i.e. quatrain, or four-line yoṣer. Nearly 40 hitherto unknown piyyutim of this kind are published in this article. As indicated by their name, all of them present stanzas of four lines, but they differ from each other in a number of structural peculiarities. Generally, they occur as parts of larger series of different yoṣer components. They are meant for various liturgical occasions, such as ordinary shabbatot, special shabbatot and holidays. Very often they are copied in a curtailed form. An analysis of the extant murabbaʿim is given in the second part of this article. In the author's opinion the emergence of this pattern is rather late, as the form does not occur in early manuscripts and is never included in complete, genuine yoṣer compositions. Originally, the pattern seems to have been intended to replace the qiqlar as the only form of the first part of the yoṣer, but this experiment of the initiators did not succeed. Instead, the new form was added to the mixed program of liturgical poems compiled by later ḥazanim for the morning services of shabbatot and holidays. They were generally placed after the qiqlar-yoṣerot (some of them already used in an abridged form), closely preceding the ʾofanim. The secondary use of the murabbaʿim in the late Genizah manuscripts demonstrates the impressive stability of the classical forms in Eastern Hebrew poetry, even in the postclassical period. |
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| ISSN: | 0360-9049 |
| Contains: | Enthalten in: Hebrew Union College-Jewish Institute of Religion, Hebrew Union College annual / Jewish Institute of Religion
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