Literary Analysis of Psalm 7

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The Sages identified the ‘address’ / opening verse of Psalm 7, as King David who talks about King Saul: “A shiggayon of David, which he sang to the Lord concerning Cush the Benjamite.” (Psalm 7:1). King Saul’s line goes all the way to Jakob’s youngest son, Banjamin. The description ‘Cush’ mentioned only in this verse, nowhere else in the Bible. The Midrash Sifree explains that the meaning is Unique – King Saul who was a unique individual in character and deeds. (An opposite explanation given, is that ‘Cush’ means ‘different’ or ‘strange’. Unique in a negative sense. If that is so, ‘Shigayon’, the name of the instrument used for this Psalm describes the mischiefshigayon of King Saul rather than of King David)

Strange that David, after declaring in verse 1 that his Praisesong arises specifically out of his relationship with King Saul, should, in v. 2, use the plural form of “pursuers”. Perhaps he does not want to identify Saul as his sole adversary; perhaps he is referring both to Saul and his supporters; or perhaps he is exposing his own ambivalent feelings of self-blame and self-justification, feelings that colour the song he is composing. Even the opening verse reflects David’s mixed emotions — the song is labelled “Shiggayon”, suggesting a serious offense or mistake, though an unintentional one (Hebrew: שגגה). And it is clear that it is a mistake of David’s, not of Saul’s; indeed, it concerns David’s attitude or actions towards Saul: “A Shiggayon of David, which he sang to God, concerning Cush, a Benjaminite” (v. 1).

Verses 2 and 3 plead for refuge — not physical safety but, rather, refuge in God (v. 2: “in You I have taken refuge”). The plea turns, in verse 3, to dramatic urgency as the singer envisions his fate should his foe (now in the singular) overcome him. The similie is powerful and savage: “lest he, like a lion, rend my soul, and tearing it apart, with no-one to save me”. Surely the image of a lion, the king of beasts, has a physical immediancy — afterall, a lion’s intent is to devour his victim. But the singer fears not for his body but for his soul. Verse 6 emphasizes this fear even more fully: the fear that “the enemy” might “pursue my soul”, might “lay my honour in the dust”.
David deems himself deserving of such a horrific fate only “if” he has been guilty of wrong-doing (v. 4) or “if” he has “dealt evil to my ally or plundered my foe without cause” (v. 5) — if, in short, he has acted unjustly. His use of “if” in verses 4 and 5 is rhetorical. In stating his willingness to be punished for unrighteousness, he is, in fact, defending his own guiltlessness. He is declaring that he has committed no deed that would warrant him to be dishonoured.
His argument is that, since he is innocent of wrong-doing, he should be protected by God. He creates, in his arguments, a court of law. Pleading his own case, he acts as both the accused and the defense counsellor. The judge he appeals to is God. In his own defense, he not only depicts himself as falsely accused but, at the same time, he declares his accuser, his pursuer, to be the one who is guilty and unjust. Providing his pursuer with no defense, he makes certain that the judge will rule unequivocally in his own favour. Indeed God will become his champion, thwarting “the fury of my foes” (once again plural) with God’s own anger. God’s fury will enforce His judgement upon those who threaten His favoured one (v. 7). Though the judge is God, the accused appears to be convincing his own self as well as he argues his case.
Verse 8 is ambiguous. Two interpretations are possible, one the opposite of the other: A league of nations will gather about God and, presumably, do so in acceptance of God’s judgement. Or, the nations will side with the wicked and thereby oppose God and God’s favoured. Verse 9 appears to give validity to the latter interpretation in its assertion that God “will bring peoples to trial”.
Verse 9 is also the defendant’s final plea and summation: he asks God to judge him “for the personal righteousness and blamelessness that are mine”. So sure is he now of his own blamelessness, that he presents what is actually his own self-judgement as God’s verdict: “Let the evil of the wicked come to an end” (v. 10). Not only does he predict God’s anger against the wicked and His favour towards the righteous (v. 12), but he trusts that God will also act as both his, the singer-defendant’s,”refuge” and “shield”. That is, God will both shelter his soul and protect his body.
Verses 13-17 mark a change in emphasis in tone and perspective: the defendant, his case won, turns to berate his foe (now singular); taunting that his iniquities and lies (v. 15) will backfire and that all his plots — be they served by sword, bow and arrow, or the digging of pits — will harm and defeat only himself. The imagery is intensely physical: the foe will hatch iniquity by conceiving mischief and giving birth to lies. That the resultant birth is both unnatural and repellant is made even more apparent in verse 17: “His mischief will return back on his own head, and his lawlessness will descend upon his skull.” The head, afterall, is the receptacle of thought. The singer had feared for his own soul, at the beginning of his song; now his foe’s reasoning and viewpoint will be ravaged by his own wickedly conceived plots and actions.
The repetition of certain words in the song emphasizes the singer’s intent, acting as the dominant chords of a particular melodic theme. Thus verses 1 to 6 (the voicing of his plea) contain repeats of “soul” (v. 3, v. 6), “Adonai my God” (v. 2, v. 4), “save” (v. 2, v. 3) and “pursue” (v. 2, v. 6). Whereas verses 7 to 12 (the arguments as if in court) repeat the word “judge” and its varied forms (v. 7, v. 9, v.12), “righteousness” (v. 9, twice in v.10, v.11), and “heart” (v. 10, v. 11). And verses 13 to 17 (wickedness rebounding upon itself), “mischief” (v. 15, v. 17), “fortifies”(v. 13, v. 14), “return back” (v. 13, v. 17).
The final verse of the song is again an abrupt change from all the previous verses. The Praisesong’s resolution is of calm restored, a soaring acclamation of God, of God’s righteousness.

shigayon

 

 

 

 

Short Haggadah for Passover – Halifax 5774

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1) First night: Candle lighting time range: 6:34-7:40pm (marked **),
Begin “Kadesh” at nightfall, not before 8:43 pm (marked *).

2) Second night: Candle lighting and on, only after nightfall, not before 8:41 pm. (marked **).

à If not feasible, please contact the Rabbi for further instructions.

3) This ‘Tailored Hagadah’ is to be used, only for those who cannot observe the whole traditional service because of the late hour and/or other reasons.

 

è Raise the tray with the matzot and recite the following over it:

“This is the bread of affliction that our fathers ate in the land of Egypt. Whoever is hungry, let him come and eat; whoever is in need, let him come and conduct the Seder of Passover. This year [we are] here; next year in the land of Israel. This year [we are] slaves; next year [we will be] free people.”

  The song “VE-HEE  SHE-AMDA”   and/or the English version:

וְהִיא שֶׁעָמְדָה לַאֲבוֹתֵינוּ וְלָנוּ,
שֶׁלֹּא אֶחָד בִּלְבָד עָמַד עָלֵינוּ לְכַלּוֹתֵנוּ,
אֶלָּא שֶׁבְּכָל דּוֹר וָדוֹר עוֹמְדִים עָלֵינוּ לְכַלּוֹתֵנוּ
וְהַקָּדוֹשׁ בָּרוּךְ הוּא מַצִּילֵנוּ מִיָּדָם

This is the promise that stood by our fathers and us! For not just one alone has risen against us to destroy us, but in every generation they rise against us to destroy us; and the Holy One, blessed be He, saves us from their hand!

VE HEE SHE-AMDA tutorial:

è Suggestion: Serve the Gefillte fish with hot Chrain (Horseradish) , OR other hot dish. That will remind us, from what ‘low place’ did G-d saved us, both physical condition as slaves, and spiritual one as idol worshippers.

è The song ‘DAI  DA-YENOO’    and\or   the English segment:

אִלּוּ הוֹצִיאָנוּ מִמִּצְרַיִם וְלֹא עָשָׂה בָהֶם שְׁפָטִים, דַּיֵּינוּ.

אִלּוּ עָשָׂה בָהֶם שְׁפָטִים, וְלֹא עָשָׂה בֵאלֹהֵיהֶם, דַּיֵּינוּ.

אִלּוּ עָשָׂה בֵאלֹהֵיהֶם, וְלֹא הָרַג אֶת בְּכוֹרֵיהֶם, דַּיֵּינוּ.

אִלּוּ הָרַג אֶת בְּכוֹרֵיהֶם וְלֹא נָתַן לָנוּ אֶת מָמוֹנָם, דַּיֵּינוּ.

אִלּוּ נָתַן לָנוּ אֶת מָמוֹנָם וְלֹא קָרַע לָנוּ אֶת הַיָּם, דַּיֵּינוּ.

אִלּוּ קָרַע לָנוּ אֶת הַיָּם וְלֹא הֶעֱבִירָנוּ בְתוֹכוֹ בֶּחָרָבָה, דַּיֵּינוּ.

אִלּוּ הֶעֱבִירָנוּ בְתוֹכוֹ בֶּחָרָבָה וְלֹא שִׁקַּע צָרֵנוּ בְּתוֹכוֹ, דַּיֵּינוּ.

אִלּוּ שִׁקַּע צָרֵנוּ בְּתוֹכוֹ וְלֹא סִפֵּק צָרְכֵּנוּ בַּמִּדְבָּר אַרְבָּעִים שָׁנָה, דַּיֵּינוּ.

אִלּוּ סִפֵּק צָרְכֵּנוּ בַּמִּדְבָּר אַרְבָּעִים שָׁנָה ולֹא הֶאֱכִילָנוּ אֶת הַמָּן, דַּיֵּינוּ.

אִלּוּ הֶאֱכִילָנוּ אֶת הַמָּן וְלֹא נָתַן לָנוּ אֶת הַשַׁבָּת, דַּיֵּינוּ.

אִלּוּ נָתַן לָנוּ אֶת הַשַׁבָּת, וְלֹא קֵרְבָנוּ לִפְנֵי הַר סִינַי, דַּיֵּינוּ.

אִלּוּ קֵרְבָנוּ לִפְנֵי הַר סִינַי, וְלֹא נָתַן לָנוּ אֶת הַתּוֹרָה, דַּיֵּינוּ.

אִלּוּ נָתַן לָנוּ אֶת הַתּוֹרָה וְלֹא הִכְנִיסָנוּ לְאֶרֶץ יִשְׂרָאֵל, דַּיֵינוּ.

אִלּוּ הִכְנִיסָנוּ לְאֶרֶץ יִשְׂרָאֵל וְלֹא בָנָה לָנוּ אֶת בֵּית הַבְּחִירָה, דַּיֵּינוּ.

 

Thus how much more so should we be grateful to the Omnipresent One for the doubled and redoubled goodness that He has bestowed upon us; for He has brought us out of Egypt, and carried out judgments against them, and against their idols, and smote their first-born, and gave us their wealth, and split the sea for us, and took us through it on dry land, and drowned our oppressors in it, and supplied our needs in the desert for forty years, and fed us the manna, and gave us the Shabbat, and brought us before Mount Sinai, and gave us the Torah, and brought us into the land of Israel and built for us the Beit Habechirah to atone for all our sins.

DAYENU song tutorial:

Suggestion: Serve the Chicken soup with Kneidalach / Chopped liver  OR  Other dish (not the main one).

 

 

 

 

 

 

 

 

 

è ** Second night starts here at 8:41pm (1st night, skip to the next paragraph – ‘Kadesh’)

** Candle lighting & SheHeCheyanu

בָּרוּךְ אַתָּה יְיָ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, אֲשֶׁר קִדְּשָׁנוּ בְּמִצְוֹתָיו וְצִוָּנוּ לְהַדְלִיק נֵר שֶׁל יוֹם טוֹב
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM  ASHER  KI-DE-SHA-NU  BE-MITZVO-TAV  VE-TZI-VA-NU  LE-HAD-LIK  NER  SHEL  YOM TOV

בָּרוּךְ אַתָּה יְיָ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, שֶׁהֶחֱיָנוּ וְקִיְּמָנוּ וְהִגִּיעָנוּ לַזְּמַן הַזֶּה                    
BA-RUCH  A-TA  A-DO-NAI  E-LO-HAY-NU  ME-LECH   HA-O-LAM   SHE-HE-CHE-YA-NU   VE-KI-YE-MA-NU  VE-HIG-I-YA-NU  LAZ-MAN  HA-ZEH

à * First night starts here at 8:43pm
Kadesh – 1st cup (Declaring the beginning of the Pesach)

  1. בָּרוּךְ אַתָּה ה’ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם בּוֹרֵא פְּרִי הַגָפֶן
    BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM BO-RAY PE-RI HA-GA-FEN.
  2. Blessed are You, Adonai, Eloheinu, King of the universe, who has chosen us as your special nation from all other nations, and raised us above all tongues, and made us holy by giving us Mitzvot to do. And You, G-d, our Lord, have given us in love and festivals for happiness, feasts and festive seasons for rejoicing the day of this Feast of Matzot and this Festival of holy convocation, the time when we went free, a holy day that is a reminder that you took us out of Egypt. For You have chosen us and sanctified us from all the nations, and You have given us as a heritage Your holy Festivals, in happiness and joy. Baruch Ata Adonai, because you gave holiness to the Jewish people and Yom Tov
  1. בָּרוּךְ אַתָּה יְיָ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, שֶׁהֶחֱיָנוּ וְקִיְּמָנוּ וְהִגִּיעָנוּ לַזְּמַן הַזֶּה             
    BA-RUCH  A-TA  A-DO-NAI  E-LO-HAY-NU  ME-LECH   HA-O-LAM   SHE-HE-CHE-YA-NU   VE-KI-YE-MA-NU  VE-HIG-I-YA-NU  LAZ-MAN  HA-ZEH

(Drink the 1st cup of wine while seated, reclining on the left side as a sign of freedom.)

Urchatz – Washing Hands for the Vegetable

Seder conductor (or all): Pour water from a Natla (cup), twice on the right hand and twice on the left one – No blessing.

Karpas – Vegetable

Take a vegetable (Other than the Marror- usually celery, parsley or boiled potato). Dip in water with salt in it. Then recite the following blessing before you eat the vegetable:

בָּרוּךְ אַתָּה יְיָ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, בּוֹרֵא פְּרִי הָאֲדָמָה
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM BO-RAY PE-RI HA-A-DA-MAH.

Yachatz – Breaking the Middle Matzah

Take the middle Matzah and break it into two, one piece larger than the other. The larger piece is set aside to serve as Afikoman. The smaller piece is put back, between the two Matzot.

Maggid – Retelling the Passover Story

The second cup is filled

Song of ‘Ma Nishtana’ OR skip to the English version:

מַה נִּשְׁתַּנָּה הַלַּיְלָה הַזֶּה מִכָּל הַלֵּילוֹת?

שֶׁבְּכָל הַלֵּילוֹת אָנוּ אוֹכְלִין חָמֵץ וּמַצָּה,
הַלַּיְלָה הַזֶּה – כּוּלוֹ מַצָּה

שֶׁבְּכָל הַלֵּילוֹת אָנוּ אוֹכְלִין שְׁאָר יְרָקוֹת, –
הַלַּיְלָה הַזֶּה מָרוֹר

שֶׁבְּכָל הַלֵּילוֹת אֵין אָנוּ מַטְבִּילִין אֲפִלּוּ פַּעַם אֶחָת, – הַלַּיְלָה הַזֶּה שְׁתֵּי פְּעָמִים

שֶׁבְּכָל הַלֵּילוֹת אָנוּ אוֹכְלִין בֵּין יוֹשְׁבִין וּבֵין מְסֻבִּין, –
הַלַּיְלָה הַזֶּה כֻּלָנו מְסֻבִּין

What makes this night different from all [other] nights?On all nights we need not dip even once, on this night we do so twice!On all nights we eat Chametz or Matzah, and on this night only Matzah.On all nights we eat any kind of vegetables, and on this night Marror!On all nights we eat sitting upright or reclining, and on this night we all recline!

Classic MA NISHTANA tutorial:

עֲבָדִים הָיִינוּ, לְפַרְעֹה בְּמִצְרַיִם We were slaves to Pharaoh in Egypt, and the L-rd, our G-d, took us out from there with a strong hand and with an outstretched arm.

Blessed is the Omnipresent One, blessed be He! Blessed is He who gave the Torah to His people Israel, blessed be He!

מִתְּחִלָּה, עוֹבְדֵי עֲבוֹדָה זָרָה הָיוּ אֲבוֹתֵינוּ In the beginning our fathers served idols; but now the Omnipresent One has brought us close to His service

HaShem has done so many favors for us!

Rabban Gamliel used to say: Whoever does not discuss the following three things on Passover has not fulfilled his duty, namely:  Passover (the Passover-sacrifice), Matzah (the unleavened bread) and Marror (the bitter herbs).

Pesach – Why did our ancestors eat an offering called Pesach when the Beth-Mikdash still stood? – The word Pesach means ‘Passed-over’. So the Pesach offering reminds us of when HaShem went from house to house to kill the Egyptian firstborn (in the 10th plague), He passed over the Jewish homes.

Take the broken Matzah into your hand and say:
Matza – Why do we eat this Matza? – Because HaShem, the King of kings, showed us His glory and saved our ancestors by taking them from Egypt so quickly that there was no time for their dough to rise.

Take the Marror into your hand and say:
Marror – Why do we eat bitter vegetables? – Because the Egyptians made our ancestors’ lives bitter.

 

In every generation a person is obligated to regard himself as if he had come out of Egypt, as it is said: “You shall tell your child on that day, it is because of this that the L-rd did for me when I left Egypt.”

The Holy One, blessed be He, redeemed not only our fathers from Egypt, but He redeemed also us with them, as it is said: “It was us that He brought out from there, so that He might bring us to give us the land that He swore to our fathers.  blessed be He, had not taken our fathers out of Egypt, then we, our children and our children’s children would have remained enslaved to Pharaoh in Egypt.

è  Song of ‘Hallel’ OR skip to the English version:

בְּצֵאת יִשְׂרָאֵל מִמִמִּצרַָים, בֵּית יַעֲקֹב מֵעַם לֹעֵז, הייתה יְהוּדָּה לְקָדְשׁוֹ, יִשְׂרָאֵל מַמְשְׁלוֹתָיו.
הַיָּם רָאָה וַיַָּנֹס, הַיַרְדֵּן יִסֹּב לְאָחוֹר. הֶהָרִים רָקְדוּ כְאֵילִים, גְּבַָעוֹת – כִּבְנֵי צֹאן.
מַה לְּךָ הַיָּם כִּי תָנוּס, הַיַּרְדֵן – תִּסֹּב לְאָחוֹר, הֶהָרִים – תִּרְקְדוּ כְאֵילִים, גְּבַָעוֹת – כִּבְנֵי צֹאן. מִלְּפְנֵי אָדוֹן חוּלִי אָרֶץ, מִלְּפְנֵי אֱלוֹהַ יַעֲקֹב. הַהֹפְכִי הַצּוּר אֲגַם מָיִם, חַלָּמִיש – לְמַעְיְנוֹ מָיִם.

When Israel went out of Egypt, the House of Jacob from a people of a foreign language, Judah became His holy one, Israel His dominion. The sea saw and fled, the Jordan turned backward. The mountains skipped like rams, the hills like young sheep. What is with you, O sea, that you flee; Jordan, that you turn backward? Mountains, why do you skip like rams; hills, like a pool of water, the flint-stone into a spring of water.

 

Cover the Matzah and raise the 2nd cup while reciting the two following blessings:

  1. Baruch Ata Adonai, Eloheinu Melech Ha Olam, who has redeemed us and redeemed our fathers from Egypt, and enabled us to attain this night to eat Matzah and Marror. So too, G-d, our G-d and G-d of our fathers, enable us to attain other holidays and festivals that will come to us in peace with happiness in the rebuilding of Your city, and with rejoicing in Your service in the Bet Hamikdash. Then we shall eat
    of the sacrifices and of the Passover-offerings of the Passover-offerings and of the sacrifices whose blood shall be sprinkled on the wall of Your altar for acceptance; and we shall thank You with a new song for our redemption and for the deliverance of our souls. Baruch Ata Adonai, Ga-al Israel.
  2. בָּרוּךְ אַתָּה ה’ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם בּוֹרֵא פְּרִי הַגָפֶן.
    BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM BO-RAY PE-RI HA-GA-FEN.

(Drink the 2nd cup of wine immediately, while seated and reclining on the left side)


Rachtzah – Washing hands before eating the Matza

Now the hands are washed with recital of the blessing for washing the hands.
ברוּךְ אַתָּה יְהוָה אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, אֲשֶׁר קִדְּשָׁנוּ בְּמִצְווֹתָיו, וְצִוָּנוּ עַל נְטִילַת יָדָיִם
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM  ASHER  KI-DE-SHA-NU  BE-MITZVO-TAV  VE-TZI-VA-NU  AL  NE-TI-LAT  YA-DA-YIM

Motzi Matza – Blessing over and Eating the Matzah

Take the Matzot in the order that they are lying on the tray – the broken piece between the two whole Matzot; hold them in your hand and recite the following blessing:

בָּרוּךְ אַתָּה יְהוָה אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, הַמּוֹצִיא לֶחֶם מִן הָאָרֶץ
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM  HA-MOZI  LE-CHEM  MIN  HA-A-RETZ

Do not break anything off the Matzot. First put down the third Matza (the bottom one), and recite the following blessing over the broken Matza and the top one.

בָּרוּךְ אַתָּה יְהוָה אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, אֲשֶׁר קִדְּשָׁנוּ בְּמִצְווֹתָיו, וְצִוָּנוּ עַל אֲכִילַת מַצָּה
BA-RUCH  A-TA  A-DO-NAI  E-LO-HAY-NU  ME-LECH  HA-O-LAM  A-SHER  KI-DE-SHA-NU  BE-MITZ-VO-TAV VE-TZI-VA-NU AL A-CHI-LAT MA-TZA.

Each person is given a piece of each of the top two Matzot. Eat them and another Third Matza (there must be extra Matzot at the table so that everyone can receive ‘a sustainable amount’ (third Matza), while leaning on the left side.

Marror – The bitter herbs

Take a piece of the Marror, dip it into the Charoset — but then shake off the Charoset that stuck to it, so that the bitter taste will not be neutralized. Recite the following blessing:

בָּרוּךְ אַתָּה ה’ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם, אֲשֶׁר קִדְּשָנוּ בְּמִצְוֹתָיו וְצִוָּנוּ עַל אֲכִילַת מָרוֹר
BA-RUCH  A-TA  A-DO-NAI  E-LO-HAY-NU  ME-LECH  HA-O-LAM  A-SHER  KI-DE-SHA-NU  BE-MITZ-VO-TAV VE-TZI-VA-NU AL A-CHI-LAT MA-ROR.

Now eat the Marror, without reclining.

Korech – The sandwich

– Take the third Matzah, and also a volume of one olive of the Chazeret – which is to be dipped into Charoset. Combine the two [like a sandwich],
– Now eat them together — in the reclining position.

Shulchan Orech – The main dish

Now eat and drink to your heart’s delight. It is permitted to drink wine between the second and third cups.

Tzafun – Afikoman

Each person is given a piece of the Afikoman, plus an additional Matza.
It should be eaten while leaning on the left side.
Take care not to eat or drink (only water allowed) after the Afikoman.

Barech – Birkat HaMazon

The third cup is poured now, and recite  Birkat Hamazon (Grace after the Meal) over it.

בָּרוְּך אַתָּה יְיָ אֱלהֵינוּ מֶלְֶך הָעוֹלָם הַזָּן אֶת הָעוֹלָם כֻּלּוֹ בְּטוּבוֹ בְּחֵן בְּחֶסֶד וּבְרַחֲמִים הוּא־נוֹתֵן לֶחֶם לְכָל־בָּשָׂר כִּי לְעוֹלָם חַסְדּוֹ: וּבְטוּבוֹ הַגָּדוֹל תָּמִיד לא־חָסֵר לָנוּ וְאַל יֶחְסַר־לָנוּ מָזוֹן לְעוֹלָם וָעֶד: בַּעֲבוּר שְׁמוֹ הַגָּדוֹל כִּי הוּא אֵל זָן וּמְפַרְנֵס לַכֹּל וּמֵטִיב לַכֹּל וּמֵכִין מָזוֹן     לְכָל־בְּרִיּוֹתָיו אֲשֶׁר בָּרָא:
בָּרוְּך אַתָּה יְיָ הַזָּן אֶת הַכֹּל.

נוֹדֶה לְָּך יְיָ אֱלהֵינוּ עַל שֶׁהִנְחַלְתָּ לַאֲבוֹתֵינוּ ולנו, אֶרֶץ חֶמְדָּה טוֹבָה וּרְחָבָה,כרת לנו ברית אהבה, למדתנו תורה, נבואה וחזון:

בָּרוְּך אַתָּה יְיָ עַל הָאָרֶץ וְעַל הַמָּזוֹן.

רַחֵם יְיָ אֱלהֵינוּ עַל יִשְׂרָאֵל עַמֶּך,וְעַל מַלְכוּת בֵּית דָּוִד מְשִׁיחֶךָ, בנה מקדשך במהרה בימינו, הרוח לנו מכל צרותינו, כנס נדחי ישראל.

 

וּבְנֵה יְרוּשָׁלַיִם עִיר הַקֹּדֶשׁ בִּמְהֵרָה בְיָמֵינוּ:
 בָּרוְּך אַתָּה יְיָ בֹּנֵה בְרַחֲמָיו יְרוּשָׁלָיִם.    אָמֵן:

 בָּרוְּך אַתָּה יְיָ אֱֹלהֵינוּ מֶלְֶך הָעוֹלָם הָאֵל. אָבִינוּ מַלְכֵּנוּ. אַדִּירֵנוּ בּוֹרְאֵנוּ גּוֹאֲלֵנוּ יוֹצְרֵנוּ. קְדוֹשׁנוּ קְדוֹשׁ יַעֲקֹב רוֹעֵנוּ רוֹעֵה יִשְׂרָאֵל הַמֶּלְֶך הַטּוֹב וְהַמּטִיב לַכֹּל בְּכָל יוֹם וָיוֹם. הוּא הֵיטִיב. הוּא מֵטִיב. הוּא יֵיטִיב לָנוּ. הוּא גְּמָלָנוּ הוּא גּוֹמְלֵנוּ הוּא יִגְמְלֵנוּ לָעַד. לְחֵן וּלְחֶסֶד וּלְרַחֲמִים. וּלְרֶוַח הַצָּלָה וְהַצְלָחָה. בְּרָכָה וִישׁוּעָה. נֶחָמָה פַּרְנָסָה וְכַלְכָּלָה וְרַחֲמִים וְחַיִּים וְשׁלוֹם וְכָל טוֹב וּמִכָּל טוּב לְעוֹלָם אַל יְחַסְּרֵנוּ:

הרחמן, אֱלהֵינוּ וֵאלהֵי אֲבותֵינוּ. יַעֲלֶה וְיָבוא וְיַגִּיעַ. וְיֵרָאֶה וְיֵרָצֶה וְיִשָּׁמַע. וְיִפָּקֵד וְיִזָּכֵר זִכְרונֵנוּ וּפִקְדונֵנוּ וְזִכְרון אֲבותֵינוּ. וְזִכְרון מָשִׁיחַ בֶּן דָּוִד עַבְדֶּךָ. וְזִכְרון יְרוּשָׁלַיִם עִיר קָדְשֶׁךָ. וְזִכְרון כָּל עַמְּךָ בֵּית יִשרָאֵל. לְפָנֶיךָ. לִפְלֵיטָה לְטובָה. לְחֵן וּלְחֶסֶד וּלְרַחֲמִים. לְחַיִּים וּלְשָׁלום בְּיום: חַג הַמַּצּות: הַזֶּה. זָכְרֵנוּ ה’ אֱלהֵינוּ בּו לְטובָה. וּפָקְדֵנוּ בו לִבְרָכָה. וְהושִׁיעֵנוּ בו לְחַיִּים. וּבִדְבַר יְשׁוּעָה וְרַחֲמִים חוּס וְחָנֵּנוּ וְרַחֵם עָלֵינוּ וְהושִׁיעֵנוּ. כִּי אֵלֶיךָ עֵינֵינוּ. כִּי אֵל מֶלֶךְ חַנּוּן וְרַחוּם אָתָּה

 

ה’ עוז לְעַמּו יִתֵּן ה’ יְבָרֵךְ אֶת עַמּו בַשָׁלום:

 

Recite the blessing for the wine, and drink in reclining position:
בָּרוּךְ אַתָּה ה’ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם בּוֹרֵא פְּרִי הַגָפֶן
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM BO-RAY PE-RI HA-GA-FEN.

Hallel – Song of Praises

The fourth cup is poured.  The Song of Praises is recited over the cup of wine. In Hebrew: composed segments that are more familiar

Not to us, L-rd, not to us, but to Your Name give glory, for the sake of Your kindness and Your truth. Why should the nations say, “Where, now, is their G-d?” Our G-d is in heaven, whatever He desires, He does. Their idols are of silver and gold, the product of human hands: they have a mouth, but cannot speak; they have eyes, but cannot see; they have ears, but cannot hear; they have a nose, but cannot smell; their hands cannot feel; their feet cannot walk; they can make no sound with their throat. Like them should be their makers, everyone that trusts in them. Israel, trust in the L-rd! He is their help and their shield. House of Aaron, trust in the L-rd! He is their help and their shield. You who fear the L-rd, trust in the L-rd! He is their help and their shield.
The L-rd, mindful of us, will bless. He will bless the House of Israel; He will bless the House of Aaron; He will bless those who fear the L-rd, the small with the great. May the L-rd increase [blessing] upon you, upon you and upon your children. You are blessed unto the L-rd, the Maker of heaven and earth. The heavens are the heavens of the L-rd, but the earth He gave to the children of man. The dead do not praise G-d, nor do those that go down into the silence [of the grave]. But we will bless G-d, from now to eternity. Halleluyah Praise G-d.

ה’ זְכָרָנוּ יְבָרֵךְ,
יְבָרֵךְ אֶת בֵּית יִשְׂרָאֵל, יְבָרֵךְ אֶת בֵּית אַהֲרֹן:

יְבָרֵךְ יִרְאֵי ה’, הַקְּטַנִּים עִם הַגְּדֹלִים:

יֹסֵף ה’ עֲלֵיכֶם, עֲלֵיכֶם וְעַל בְּנֵיכֶם:                

בְּרוּכִים אַתֶּם לַה’, עֹשֵׂה שָׁמַיִם וָאָרֶץ:

הַשָּׁמַיִם, שָׁמַיִם לַה’, וְהָאָרֶץ נָתַן לִבְנֵי אָדָם:

לֹא הַמֵּתִים יְהַלְלוּ יָ-הּ, וְלֹא כָּל יוֹרְדֵי דוּמָה:

וַאֲנַחְנוּ נְבָרֵךְ יָ-הּ, מֵעַתָּה וְעַד עוֹלָם, הַלְלוּיָה

I love the L-rd, because He hears my voice, my prayers. For He turned His ear to me; all my days I will call [upon Him]. The pangs of death encompassed me, and the agonies of the grave came upon me, trouble and sorrow I encounter and I call u upon the Name of the L-rd: Please, L-rd, deliver my soul! The L-rd is gracious and just, our G-d is compassionate. The L-rd watches over the simpletons; I was brought low and He saved me. Return, my soul, to your rest, for the L-rd has dealt kindly with you. For You have delivered my soul from death, my eyes from tears, my foot from stumbling. I will walk before the L-rd in the lands of the living. I had faith even when I said, “I am greatly afflicted;” [even when] I said in my haste, “All men are deceitful.”
What can I repay the L-rd for all His kindness to me? I will raise the cup of salvation and call upon the Name of the L-rd. I will pay my vows to the L-rd in the presence of all His people. Precious in the eyes of the L-rd is the death of His pious ones. I thank you, L-rd, for I am Your servant. I am Your servant the son of Your handmaid, You have loosened my bonds. To You I will bring an offering of thanksgiving, and I will call upon the Name of the L-rd. I will pay my vows to the L-rd in the presence of all His people, in the courtyards of the House of the L-rd, in the midst of Jerusalem. Halleluyah Praise G-d.

 Praise the L-rd, all nations! Extol Him, all peoples! For His kindness was mighty over us, and the truth of the L-rd is everlasting. Halleluyah Praise G-d.

Hodu Lado-nai Ki Tov Ki Le-olam Has-do:
Yomar Na Yisrael, Ki Le-Olam Hasdo:
Yomru Na Beis Aharon, Ki Le-Olam Hasdo:
Yomru Na Yir-ai Adonay, Ki Le-Olam Hasdo:

הַלְלוּ אֶת ה’ כָּל גּוֹיִם, שַׁבְּחוּהוּ כָּל הָאֻמִּים: כִּי גָבַר עָלֵינוּ חַסְדּוֹ, וֶאֱמֶת ה’ לְעוֹלָם, הַלְלוּיָהּ:

 

 

הוֹדוּ לַה’ כִּי טוֹב, כִּי לְעוֹלָם חַסְדּוֹ:
יֹאמַר נָא יִשְׂרָאֵל, כִּי לְעוֹלָם חַסְדּוֹ:
יֹאמְרוּ נָא בֵית אַהֲרֹן, כִּי לְעוֹלָם חַסְדּוֹ:
יֹאמְרוּ נָא יִרְאֵי ה’, כִּי לְעוֹלָם חַסְדּוֹ:

 

Out of narrow confines I called to G-d; G-d answered me with abounding relief. The L-rd is with me, I will not fear what can man do to me? The L-rd is with me, through my helpers, and I can face my enemies. It is better to rely on the L-rd, than to trust in man. It is better to rely on the L-rd, than to trust in nobles. All nations surround me, but I cut them down in the Name of the L-rd. They surrounded me, they encompassed me, but I cut them down in the Name of the L-rd. They surrounded me like bees, yet they are extinguished like a fire of thorns; I cut them down in the Name of the L-rd. You [my foes] pushed me again and again to fall, but the L-rd helped me. G-d is my strength and song, and this has been my salvation. The sound of joyous song and salvation is in the tents of the righteous: “The right hand of the L-rd performs deeds of valor. The right hand of the L-rd is exalted; the right hand of the L-rd performs deeds of valor!” I shall not die, but I shall live and relate the deeds of G-d. G-d has chastised me, but He did not give me over to death. Open for me the gates of righteousness; I will enter them and give thanks to G-d. This is the gate of the L-rd, the righteous will enter it.I thank You for You have answered me, and You have been a help to me.
I thank You for You have answered me, and You have been a help to me.
The stone scorned by the builders has become the main cornerstone.
The stone scorned by the builders has become the main cornerstone.
This was indeed from the L-rd, it is wondrous in our eyes. This was indeed from the L-rd, it is wondrous in our eyes.
This day the L-rd has made, let us be glad and rejoice on it.
This day the L-rd has made, let us be glad and rejoice on it.

 

 

אוֹדְךָ כִּי עֲנִיתָנִי, וַתְּהִי לִי לִישׁוּעָה:

אוֹדְךָ כִּי עֲנִיתָנִי, וַתְּהִי לִי לִישׁוּעָה:

אֶבֶן מָאֲסוּ הַבּוֹנִים, הָיְתָה לְרֹאשׁ פִּנָּה:

אֶבֶן מָאֲסוּ הַבּוֹנִים, הָיְתָה לְרֹאשׁ פִּנָּה:

מֵאֵת ה’ הָיְתָה זֹּאת, הִיא נִפְלָאת בְּעֵינֵינוּ:

מֵאֵת ה’ הָיְתָה זֹּאת, הִיא נִפְלָאת בְּעֵינֵינוּ:

זֶה הַיּוֹם עָשָׂה ה’, נָגִילָה וְנִשְׂמְחָה בוֹ:

זֶה הַיּוֹם עָשָׂה ה’, נָגִילָה וְנִשְׂמְחָה בוֹ:

O L-rd, please help us! O L-rd, please help us!
A-NA  ADONAY  HO-SHI-A  NA
A-NA  ADONAY  HO-SHI-A  NA

 

O L-rd, please grant us success! O L-rd, please grant us success!
A-NA  ADONAY  HA-TZLI-CHA  NA
A-NA  ADONAY  HA-TZLI-CHA  NA

אָנָּא ה’ הוֹשִׁיעָה נָּא:

אָנָּא ה’ הוֹשִׁיעָה נָּא:

אָנָּא ה’ הַצְלִיחָה נָא:

אָנָּא ה’ הַצְלִיחָה נָא:

Blessed is he who comes in the Name of the L-rd; we bless you from the House of the L-rd.
Blessed is he who comes in the Name of the L-rd; we bless you from the House of the L-rd.
The L-rd is Almighty, He gave us light; bind the festival-offering until [you bring it to] the horns of the altar.
The L-rd is Almighty, He gave us light; bind the festival-offering until [you bring it to] the horns of the altar.
You are my G-d and I will thank You; my G-d, I will exalt You.
You are my G-d and I will thank You; my G-d, I will exalt You.
Give thanks to the L-rd, for He is good, for His kindness is everlasting.
Give thanks to the L-rd, for He is good, for His kindness is everlasting.

 

 

בָּרוּךְ הַבָּא בְּשֵׁם ה’, בֵּרַכְנוּכֶם מִבֵּית ה’:

בָּרוּךְ הַבָּא בְּשֵׁם ה’ בֵּרַכְנוּכֶם מִבֵּית ה’:

אֵ-ל ה’ וַיָּאֶר לָנוּ, אִסְרוּ חַג בַּעֲבֹתִים, עַד קַרְנוֹת הַמִּזְבֵּחַ:

אֵ-ל ה’ וַיָּאֶר לָנוּ, אִסְרוּ חַג בַּעֲבֹתִים, עַד קַרְנוֹת הַמִּזְבֵּחַ:

אֵ-לִי אַתָּה וְאוֹדֶךָּ, אֱ-לֹהַי אֲרוֹמְמֶךָּ:

אֵ-לִי אַתָּה וְאוֹדֶךָּ, אֱ-לֹהַי אֲרוֹמְמֶךָּ:

אֵ-לִי אַתָּה וְאוֹדֶךָּ, אֱ-לֹהַי אֲרוֹמְמֶךָּ:

הוֹדוּ לה’ כִּי טוֹב, כִּי לְעוֹלָם חַסְדּוֹ:

הוֹדוּ לַה’ כִּי טוֹב, כִּי לְעוֹלָם חַסְדּוֹ:

 

 

And therefore may Your Name be praised forever, our King, the great and holy G-d and King in heaven and on earth. For to You, L-rd, our G-d and G-d of our fathers, forever befits song and praise, laud and hymn, strength and dominion, victory, greatness and might, glory, splendor, holiness and sovereignty; blessings and thanksgivings to Your great and holy Name; from the beginning to the end of the world You are Almighty G-d. Blessed are You, L-rd, Almighty G-d, King, great and extolled in praises, G-d of thanksgivings, L-rd of wonders, Creator of all souls, Master of all creatures, who takes pleasure in songs of praise; the only King, the Life of all worlds.

Recite the blessing for the wine of the forth cup, and drink in reclining position:
בָּרוּךְ אַתָּה ה’ אֱלֹהֵינוּ מֶלֶךְ הָעוֹלָם בּוֹרֵא פְּרִי הַגָפֶן
BA-RUCH A-TA A-DO-NAI E-LO-HAY-NU ME-LECH HA-O-LAM BO-RAY PE-RI HA-GA-FEN.
Concluding Blessing for the Wine:
Baruch Ata Adonai, Eloheinu, Melech Ha Olam for the vine and the fruit of the vine, for the produce of the field, and for the precious, good and spacious land which You have favored to give as an heritage to our fathers, to eat of its fruit and be satiated by its goodness. Have mercy, L-rd our G-d, on Israel Your people, on Jerusalem Your city, on Zion the abode of Your glory, on Your altar and on Your Temple. Rebuild Jerusalem, the holy city, speedily in our days, and bring us up into it, and make us rejoice in it, and we will bless You in holiness and purity (On Shabbat add: May it please You to strengthen us on this Shabbat day) and remember us for good on this day of the Festival of Matzot. For You, L-rd, are good and do good to all, and we thank You for the land and for the fruit of the vine. Baruch Ata Adonai, for the land and for the fruit of the vine.

Nirtza
Say:  Next year we will hopefully be alive and well in order to fulfill the laws of this exalted evening in their entirety. NEXT YEAR IN JERUSALEM!

HA TIKVA – SONG OF FAITH

כָּל עוֹד בַּלֵּבָב פְּנִימָה
נֶפֶשׁ יְהוּדִי הוֹמִיָּה
וּלְפַאֲתֵי מִזְרָח קָדִימָה
עַיִן לְצִיּוֹן צוֹפִיָּה

                עוֹד לֹא אָבְדָה תִּקְוָתֵנוּ
הַתִּקְוָה בַּת שְׁנוֹת אַלְפַּיִם
לִהְיוֹת עַם חָפְשִׁי בְּאַרְצֵנוּ
אֶרֶץ צִיּוֹן וִירוּשָׁלַיִם

Kol ode balevav
P’nimah –

Nefesh Yehudi homiyah

Ulfa’atey mizrach kadimah
Ayin l’tzion tzofiyah.

Ode lo avdah tikvatenu
Hatikvah bat shnot alpayim:

L’hiyot am chofshi b’artzenu –
Eretz Tzion v’Yerushalayim.

 

Happy Passover,

Amram Maccabi, Beth Israel Synagogue
מתוך הספר ‘סידור ליחיד ובשעת הדחק’

Psalm 83 – SING & LEARN – Nations who rebel against G-d, attack Israel

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Psalms 83 talk about nations whom attack the Israelites, in which is their way to rebel against Hashem. (attacking the Lord’s people who carry His word to the world). Steven and Marta Markus (Holocaust survivors) recalled and shared with us some stories of the Shoa.

The chapter ends with the verse we sang (Psalm 83:19): Let them know that You-Your name alone is the Lord, Most High over all the earth

Literary Analysis of Psalm 6

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begging photo Click here to read “Psalm Six – Translation of the Song”

Verse 1 of Song 6 declares it has been composed to be accompanied by an 8-stringed lute. This declaration is immediately followed by a series of 7 commands which the singer directs to God:
v. 2 — “do not rebuke me”
— “do not chastise me”
v. 3 — “favour me”
— “heal me”
v. 5 — “return”
— “release  my soul”
— “deliver me”
In fact, the entire song is based on groupings or numbers: thus, verses 2, 3 and 5 form a unit, as noted above, while verse 4 interrupts to describe the fear and panic that the singer feels and gives voice to in his use of verbs of command — “until when”, he asks God, must he endure such anguish (v. 4). But verse 4 also completes verse 3, for verse 3 speaks of the singer’s body — his bones — as shuddering with terror; verse 4 adds that his soul too endures horrifying despair. Similarly, verse 5, in calling upon God to deliver the singer from his torments, echoes verse 3, which pleads with God to heal him. It is as though verses 2 to 5 play upon three  2-note chords: verses 3 and 5 both ask for mercy and healing; verses 3 and 4 describe the terror that afflicts both the singer’s body and soul; verse 2 completes and answers verse 5, as the singer’s dread of God’s anger (v. 2) is tempered by his recognition of God’s compassion (v. 5).
Verse 6 – “For in death there no mention of You; in Sheol who will praise You?” — is a jarring exclamation that separates the unit of verses 2 to 5 from the remainder of the song, thereby breaking the song in two. Nonetheless, verse 6 is the centre and most essential part of Song 6. To explain why, it is necessary to seemingly digress: the number 8, in Jewish thought, consists of 7 + 1 — 7 numbers the days of creation and 7-sidedness the shape of all creation (north, south, east, west, centre, top or beginning, and bottom or end); while 1 names that which is beyond nature. Though the idea that God is One, the Shema, is central to Judaism, nonetheless God cannot be defined as being beyond nature; for although God cannot be confined by or wholly contained in the natural world, nonetheless God is its creator.  The number 8 — or, more accurately, 7 + 1 — makes up the structure of the first half of the song, verses 1 to 6: the musical instrument, playing accompaniment to the song and its words, is 8-stringed ( v. 1); the 7 verbs of command that the singer issues to God, out of his desperate need for solace and tranquility, are completed by the one verse that stands apart, verse 6. And it is this verse that describes the Sheol, the abyss — that which is beyond nature — that imagines a metaphor, that is, for the state after death.
The Sheol is envisioned by the singer as a state of silence, in which God is neither mentioned nor praised. The simplest interpretation of the singer’s startling interjection of the Sheol into the mid-point of his song is that he is frantically seeking deliverance here and now, in his present life, and cannot wait til later, til death, a state which is covered in silence. The verses following verse 6, however, suggest that the Sheol may be a metaphor for the singer’s own inner state; for his own abyss, that is, of despair and terror. For verses 7 and 8 declare his vexation with — his anger at and sorrow over — his own groans and tears. It is as if he is turning from his own emptiness, from his own self-created Sheol.
The foes who are first and suddenly mentioned in verse 8, but again in verses 9 and 11, though real and actual enough, may also act as metaphors, if, indeed, he is depicting his own inner abyss: his enemies will be cast out, once God answers and heals him. In other words, his terror and self-weariness, his self-pity and despair, all these wretched emotions are the foes that have assaulted him and that he, through God’s help, will overcome.
But whether or not the Sheol of verse 6 is within the speaker, or whether or not it is a state beyond mortal life, a state beyond nature, or whether or not it functions as a description of both the singer’s inner abyss and the abyss that faces all mortals after death, certainly its impact on the song is to utterly change its direction: the second half of the song, verses 7 to 11, reflects an altered mood in the singer and a startlingly different response. Within verse 6, within that reflection upon silence, something changes within the singer; something he does not explain; something, then, that occurs in silence. And it is out of that silence that he is able to form his resolve and recover his strength: he turns from his grieving (v. 7 and 8) and confronts his foes (v. 9), sure that God has heard his pleas and that God will answer his prayer (v. 10). The past tense of “has heard”, coupled with the future “will take [receive]”, confirm that he, in the present, has the comfort of God’s presence. Verse 11 declares his ringing confirmation, sounding the closing chords of his song: it will be his enemies who will now be terror-stricken and fearful, and no longer he. The declaration answers his question in verse 4 — “until when?”  His own answer: “in an instant” (v. 11).

The movement in the song appears to be the singer’s as he shudders with terror, drenching his bed with his tears. Yet, in effect, it is he who is stationary; movement following about him: his enemies retreating, God drawing near. The verb “return” of verse 5 – his plea to God – and its corresponding opposite, “turn away” of verse 9 – his warning to his enemies – chart the revolution. In its midst is the song’s one constant – the singer’s voice, ascending to his listening God. Certain of deliverance, he envisions the time when his enemies “will turn back” (v. 11) – they, relegated to the past; he, turned toward the future.

(On a regular day, Ashkenazik recite Psalm 6 twice a day, in the part of Tachanun.)

begging photo Click here to read “Psalm Six – Translation of the Song”

Photo by Pixeltik

Psalm 80 – SING & LEARN – Israel, grapevine

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Our recording to Tehillim 80 ‘s song did not work so well, and so the below recording is the only option I’ve found in Youtube… Here are the words of verses 15-16 in any case:
אֱלֹהִים צְבָאוֹת שׁוּב נָא הַבֵּט מִשָּׁמַיִם וּרְאֵה וּפְקֹד גֶּפֶן זֹאת. וְכַנָּה אֲשֶׁר נָטְעָה יְמִינֶךָ וְעַל בֵּן אִמַּצְתָּה לָּךְ
http://www.youtube.com/watch?v=kFuCJNr7N5I
The despair inspiring Asaph to compose Song 80 is clear in the opening verses; verses 2 to 4 voice the singer’s pleas to God in a series of commands:
v. 2: “give ear”; “appear”
v. 3: “bestir Your might and go forward”
v. 4: “Bring us back”; “make Your countenance shine”
The plea in verse 4 becomes a refrain, occuring again in v. 8 and v. 20. With each repetition, the singer adds another metaphor for God:
v. 4 calls to “Elohim”
v. 8 to “Elohim Sevaot” [God of hosts or legions]
v. 20 to “Adonai Elohim”
As the singer’s pleas intensify in both passion and desperation, so too his form of addressing God itself intensifies.
The people Israel are, in turn, also given 3 names, each also a metaphor: as the Rabbi pointed out in Sunday’s discussion group, “Shoshana” of v. 1, derives from the flower, the rose, and is one of the Biblical images that describes the people Israel; and the “hosts” (or “legions”), who are under God’s command, is another; the third image, central to verses 9 to 17, is the metaphor of the grapevine.

The image of the vine is one of the key metaphors in the song: verses 9 to 12 describe the fruitfulness of the grapevine (the people Israel) and the tender care the vine received from its gardener, God, so that it spread upwards, from the land to the cedar trees to the mountains. Its roots plunged deep into the soil and its branches extended even to the rivers and seas. But this image of fertility, of growth and plentitude, turns to one of ravage and waste in verses 12 to 17. Echoing the image in verse 6, of the people being fed and watered by only their own tears, by the God who should, could, might have offered them deliverance, so too does the grapevine cease to thrive. God who cultivated the vine now becomes its agent of its destruction. The supports of fence or wall, which gave strength to the vine, are shattered; its fruit is plucked by passerbys who took no part in tending it and are, accordingly, undeserving of its sustenance. Human pillagers are succeeded by beasts — field animals feed on the vine and the forest boars uproot it. The natural world, that had sustained the vine and its grapes, now turns upon it. That the force behind the destruction is God’s, verse 12 makes clear, as the singer calls upon God to “have regard for this vine” — that is, both to see and to care for it.

That the metaphor of the uprooted vine has a definite historical basis –that the metaphor is, in fact, describing actual events– is given validity in verse 3 in its listing of “Ephraim, Benjamin, and Menasseh”: Benjamin, son of Rachel and Jacob; Ephraim and Menasseh, two of Rachel and Jacob’s grandsons from their other, older son, Joseph. Because of Joseph, the Israelites came to Egypt. As Asaph sings his song of anguish, the people, who had been led by Moses out of Egypt, are now vanquished, their city destroyed; the descendants of Rachel and Jacob, in exile.
The metaphors in the song combine and connect. Verse 2 calls upon the “Shepherd of Israel” who “lead[s] Joseph like a flock”. It was Joseph’s father, Jacob, who had first called God his “Shepherd” (Genesis 48: 14-15). Now the flock of Jacob and Joseph is in dissarray; the shepherd who had protected them is no longer shielding them from the predators of the forest or the field (v. 13); their guardian, their commander — God of hosts– has not shielded them from their enemies; nor has the gardener protected the vine.
Just like a song whose melodies play upon each other, so Asaph’s song of words intermingles the metaphors of the vine and the gardener, the shepherd and his flock, and the commander and his legion. The verbs of motion running through the song — “go forward”, “come back”, “bring back”, “turn back” — compose a pattern that threads throughout the song and that connects the metaphors one to the other, beginning with v. 3  –“go forward to our deliverance”–  into v. 4 — “Bring us back, O God”; continuing as a refrain in verses 6 and 20 — and echoing in v. 15, as the singer pleads, “O God of hosts, come back, look down from heaven and see….” These verbs of motion are appropriate for a people –be they imaged as a flock, a vine, or a legion– who are in exile and whose own ultimate direction is uncertain.
The metaphors, combining with and connecting to one another, all rise out of the singer’s despair. For behind his grief at the oppression of his people, is his terrifying perception that their suffering has actually been deliberately provoked by God:
“You have fed them tears as bread, gave
                  them for drink a threefold measure of
                  tears.
                “You set us at conflict with our neighbours;
                  our enemies pour forth scorn.” (Verses 6 and 7)
Indeed, the very light of God that he, Asaph, is pleading for, has an aspect as destructive as it is beneficent. Repeatedly the refrain asks God, “make Your countenance shine that we may be delivered”. Yet it is this same countence that “fume[s] at the prayer of Your people” (v. 5), as though God’s anger were a kind of smoke from an intense fire, a smoke that obscures the people’s sufferings from God’s sight. And just as the beneficial aspect of God’s countenance is revealed when God plants the vine in “cleared space” (v. 10) — the land, ready for seeding, reflects the creativity of the light shining from God — so too that same light can scorch and burn. Verse 17 is shocking, horrifying:
” It [the grapevine] is burned by fire like refuse, from the
                  blast of Your countenance they perish.”The song’s close voices the singer’s response to his dual vision. Verses 18 to 20 not only form the structural resolution to the song, but they also declare the singer’s resolve: he will proclaim and affirm the Covenant the people Israel have vowed to and with God, the people “You have taken as Your own” (v. 18). Thus he reminds God of the obligation God has incurred, and he repledges Israel’s:
“Thus we will not turn away from You, let
us live, that we may invoke Your name.”
He pleads not for Israel’s triumph but that the people survive in order to praise their Deliverer. The refrain that ends the song now calls upon Adonai Elohim — upon the unknowable God to Whom the people Israel is eternally pledged.

Psalm 79 – SING & LEARN – While sent to exile, Levites prayed for the return to Israel, so G-D’s honor will be restored

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The introductory phrase states that this song was written by the Levite Asaph. But the first section of Song 79 — verses 1 to 4 — itself makes clear that it was not King David who composed it. First, and most obvious, it is a lament for the destruction of the Temple, built by David’s son, Solomon. And second, it lacks the beauty and delicacy of the imagery King David favoured; instead, these opening verses graphically describe the horrific events, not only shocking the listener, but also suggesting an immediancy of response as if the song had been composed immediately upon the massacre of the Israelites and the smashing of the Temple into rubble.
The second section — verses 5 to 12 — voices the singer’s response to the devastation. His call to God to avenge His people — verses 5, 6, (7), 10, 11, 12 — is interrupted — verses 8 and 9 — by his call for God’s help. His justification for his beseeching is that it is God who has been attacked. Verse 1 names “Your estate”, “Your holy Temple”, and verse 2, “Your servants” and “Your faithful”. The repeated use of the possesive pronoun “Your” emphasizes that the Israelites are God’s own. (Verse 12 declares this explicitly: “the disgrace which they [the marauders] have heaped on You”.)  In fact, since all of the universe is God’s, the imagery of both sections of the song names the four elements believed, til modern times, to be the basis of created being: air (“the fowl of the heavens”, v. 3); earth (“the wild beasts of the earth”, v. 2); water (the spilling of “blood like water”, v. 3); fire (“will Your zeal blaze like fire”, v. 5).
Thus, although the song easily divides into sections, in tone and in content, the sections nonetheless share common images, though in somewhat different a form: in the first section, the elements of air, earth, and water — all of which can function as symbols of creative, nourishing forces — are described solely as agents of destruction; both the heavens and the earth are the habitations of the savage (the heavens, of vultures; the earth, of wild beasts). That humankind can be no less savage is evident in verse 3, in the description of the marauders who “spilled forth blood like water”. Water too acts as destructively as air and water, as it becomes a simile for the spilt blood. However, the element fire, occuring in verse 5, the beginning of the song’s second section, retains both its destructive and creative qualities. As a simile for God’s zeal, it is as purifying as it is ravaging.
Other connecting images are the two words “disgrace” and “neighbours” that end both sections (v. 4 and v. 12). The words are in fact opposites, in that “neighbour” connotes helpfulness and hospitality. The most vivid and striking link between the two sections must, however, be the way that the actual happening — the giving, by the marauders, of the corpses to the vultures and wild beasts “for their consumption”, v. 2 — is transformed into a metaphor — “for they have consumed Jacob”, v. 7.  And so, the actual spilt blood, described in verse 3 and again in verse 10, is, in verse 6, used as a metaphor, as the singer pleads with God to “spill forth Your rage”. A similar translation of the actual into the abstract occurs with the singer’s use of the verb “to come”: verse 1 describes the nations who have “come” to defile God’s Temple and holy city; verse 11 prays that the groans of the Israelites might “come before You”.
Verse 13, ending the song, forms its third section. The space between verses 12 and 13 acts like a pause, a silence in which a dramatic change takes place in the singer. Seemingly purged of his rage and his desire for revenge, he instead reaches an inner peace, a resolution:  his comparison of God’s people to “the sheep of Your flock” sharply contrasts with the wild beasts of the opening verses. He affirms that future generations will glorify and praise God, a promise that carries with it the prophetic declaration, “the people Israel lives”.

Literary Analysis of Psalm 5

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rejoice photoThe opening verse of Song 5 declares that it is “for the leader; for the nechilot. The English translation is straight-forward: the song has been composed to be sung by the leader of the Temple musicians (the exact meaning of nechilot has been lost; flutes is a common editorial suggestion). The Hebrew, however, hints at another interpretation: the leader is God, Who is the conductor, afterall, of the entire orchestra of being.
                 The song is built upon a series of synonyms. Thus:
              — v. 2: my words
              — v. 3: my cry
              — v. 4: my voice
              — v. 7: speak lies
              — v. 10: mouth, throat, tongue
              — v. 12: sing
The references, as listed, clearly all pertain to speech; their culmination is song. Appropriately enough, since the singer begins his song with a plea to God, “Give heed to my words” (v. 2).
The references in verses 7 and 10, however, are harsh interruptions to the words of praise sung by the singer and by the troupe of the righteous.
                  Accordingly, another series of synonyms is strung throughout the song, which identify the characteristics of the wicked:
              — v. 5: wickedness, evil
              — v. 6: wanton men, evil doers
              — v. 7: those who speak lies; bloodthirsty or deceitful
              — v. 10: “For there is no sincerity in his mouth;
                             their innards — destruction; their throat
                             is an open grave; they make their tongue
                             slippery.“
             — v. 11: plentiful crimes
The song ends with yet another group of synonyms, as the singer proclaims his belief that God will give refuge to the righteous. Clustered into verse 12: rejoice; sing in jubilation; exult. Thus:
               “But let all who take refuge in You rejoice;
                 may they ever sing in jubilation
                 as You shelter them; and let those who
                 love Your name exult in You.”
The song, then, in its entirety, is composed of a careful building up of images of speech (the singer as he pleads for himself and for the righteous) and of hearing (God as the listener and judge).
              The first line of verse 11 brings out clearly both the idea of speech and of judgement and of the connection between the two: “Hold them guilty, O God; let them fall by their own counsels”. The verse transforms the song dramatically: the song consequently becomes a court of law in which the singer asks God to pronounce a sentence of “guilty” upon the wicked. “Give ear to my words” — the opening of the song — thereby gains an added dimension. The singer is cousel; the wicked, the accused; God, the judge. (There is no defender of the wicked.)
               The singer-counsel asks of God for no judgement but that of “guilty”. He, counsellor for both himself and the righteous, advocates only absolute judgements: the wicked must be condemned without mercy:
                                             “.”
The reason for the jarring interruption of verses 7 and 10, to the singer’s string of synonyms for speech, is thereby explained: the wicked use their words, their voice — that which connects the
 righteous to God — for purposes of destruction alone. Thus they sever all connection of themselves to God. Rebelling against God, their crime is that of treason (v. 11). Their allegiance is solely to death. The imagery is physical and graphic: their lies and false counsel slip on their tongues to reach deep within their innards so that their throats open into “an open grave” (v. 10). In the grave there is no song, no joy, no praise.
                  The singer thereby pleads his case: the wicked are to be cast out; the righteous to be sheltered and blessed. The image of the singer, asleep, ended Song 4.  Song 5 begins “in the morning” (v. 4)- a symbol of renewal and hope, and ends with [, and ends with his certainty that his voice has been heard. He “waits” (v. 4) for God to hear his cry, but with the surety of favour (v. 13).
 rejoice photo

Photo by marfis75

Literary Analysis of Psalm 4

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shine photo  Click here to read “Psalm Four – Translation of the Song”

On first reading, Psalm 4 seems disjointed, as though several melodies were being sung, one after the other. The one common chord throughout, however, is the constancy of the singer’s faith in God.

 

Verse 2 begins with the singer’s plea to God to answer him. The verses that follow, 3 to 6, are the singer’s answer to those who mock him (v. 3) and his instructions to the devout (v. 4, 5, 6). Thus the song is, on more careful reading, actually consistent, and voices the singer’s growth from lament and despair to confidence and certainty, as he affirms his trust in God. The last two verses, 8 and 9, culminate in his joy and his sense of complete safety as he lies down to sleep (and is thereby physically so vulnerable to attack). He acts out, in these last two verses, his instructions, in verses 4 to 6, to the faithful –- that they should lie still, in utter calmness, in their beds, entrusting their safety to God.

 

Two repetitions – one, a word; the other, a phrase—connect the Psalm, ensuring its wholeness: the word, “righteousness”, first forms part of the phrase, “God of my righteousness” in verse 2, and occurs again in verse 6’s “sacrifices of righteousness”; the phrase, “secure trust’” in verse 6’s counselling of the faithful, echoes in verse 9 as the singer affirms God’s care of him.  The two repetitions are the key to the song, as though two chords sounding its theme of affirmation.

 

However, the song does present several problems in interpretation, in that four of the nine verses imply two equally valid possibilities. The first double-meaning phrase is in verse 2, “God of my righteousness”: The pronoun “my” gives a power and complexity to the phrase, which itself can mean that the singer’s God is one of righteousness, or that God is the source of and the inspiration for the singer’s own righteousness. Neither reading contradicts but, in fact, reinforces the meaning of the other.

Verse 8 similarly poses two ideas: “You have given gladness to my heart, from the time [when] their grain and their wine was bountiful.”  The pronoun “their” disallows the reading that the singer’s joy began with the procurement of food and wine; were that the case, no pronoun would have been necessary, or, if so, it would have been the personal “my”. Accordingly, the singer is contrasting his own joyfulness with that of his foes, either to declare that his joy is independent of theirs — indeed, existing despite their bounty they enjoy —  or  to assert that his is a spiritual joy; his foes’, a mere physical satiety.

Verse 7, “Miraculously lift up upon us the light of Your face, Adonai”, seems a straight-forward plea to God to show mercy.  But this verse as well offers two readings, one much more nuanced and complex than the other. The simple declaration is that God will shine light on the faithful, by favouring them or even by enlarging their understanding (an affirmation of the singer’s  declaration in verse 2 that God has “expanded’ him). More beneficent, however, is the implication that the light shone by God will illuminate the faces of the faithful so that they are not only enlightened, both physically and spiritually, but that their very countenances become reflections of God’s.

Verse 2 presents a problem in translation from Hebrew to English, stemming from the different connotations inherent in each language. Thus it is obviously a problem that does not exist in the original Hebrew but one that English readers should be aware of: “Whenever [I am] in distress, you have expanded me. “ In the English, God enlarges the singer; that is, gives him the strength  to endure distress. The Hebrew adds a connotation of actual restriction, of physical danger, to the singer’s imperilment. “Distress”, in Hebrew – בַּ֖צָּר  — has as its root, “narrow”— צַר. The description in Hebrew, then, is of the singer’s being freed from any sense of being closed in, of being isolated. The physical element inherent in the Hebrew makes vivid the contrast between expansion and restriction, between enlargement and confinement; “distress” and “expanded” act as opposite states.

 

The last verse of the song resolves any ambiguities or conflicts. The singer fears neither distress nor foes’ enmity. Alone, confined in his bed, he is not isolated. On the contrary. The singer is safe and at peace;

 

With wholeness I will both lie down and sleep, for You, Adonai,

in solitude, in secure trust, will set me down.                     (v. 9)

shine photo

Psalm 71 – SING & LEARN (continues Psalm 70)

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I think this is the most classic performance of what we sang:
http://www.youtube.com/watch?v=YsxP6ohwBR0
and this one is the best… 🙂
http://www.youtube.com/watch?v=kBO9vQSuiHY
Song 71 acts as the completion of Song 70; thus, the two songs themselves pair. Rather than the introductory verse customary in most of the songs, the first verse of Song 71 resounds the prevalent note of Song 70 of rescue, and its jarring discord, disgrace. This theme — of God’s rescue of the singer from the disgrace his foes would inflict on him–  flows throughout Song 71; righteousness, deliverance, refuge act as notes voicing the melody of Song 70 repeatedly in 71. Its verses continue the doublings. Thus:
              — verse 2: “save me and rescue me”
              — verse 3: “my rock and my fortress”
              — verse 4: “the hand of the wicked” and “the grip of the unjust and the violent [a pairing within a pairing]”
               — verse 5: “my hope” and “my reliance”
               — verse 6: “in utero” and “womb”
               — verse 7: “exemplar” and “refuge”
               — verse 8: “praise” and “glorification”
               — verse 9: “old age” and “strength ends”
               — verse 10: “speak” and “take counsel”
               — verse 11: “pursue and catch”
               — verse 12: “do not be far” and “hasten”
               — verse 13: “reproach and shame”
Verses 1 to 13, the verses of supplication, complete the first section of the song. Their partner and contrast are verses 14 to 24, the verses of praise. “Righteousness”, sounded first in verse 2, is voiced four times (verses 13, 16, 19, 24), acting as a repeated chord.
               Two striking themes recur: in the first section of the song, in verse 9, the singer pleads with God not to cast him off in his old age; a plea re-iterated in verse 18, where the singer’s “hoary old age” is contrasted by God’s “strength” and his mortality by the presence of God in the lives of future generations. Thus the singer’s mortality is transcended by his very praises of God, for these praises will achieve immortality. (Interestingly, this transcendence occurs in verse 18, the word for the number 18 also being the Hebrew word for “life”.)
              The jarring phrase in verse 20, “[God] having shown me much harm and trouble” — and here the doubling adds to the jarring effect– is mitigated by the fact that, as Rabbi Maccabi pointed out in Sunday’s discussion, the verb used is “to show” and not “to cause”: that is, God did not inflict harm and trouble upon the singer, but, rather, used his distress to bring him closer to God.
             The second compelling theme in Song 71 is its word-sounded melody:
          — verse 6: “I sing your praises”
          — verse 8: “Let my mouth be full” ( echoed in verse 15)
          — verse 22 to 24: these verses not only sing God’s praises but declare the singer’s purpose, the inspiration that composes his songs —
             22: “Then I will acclaim You … with the lyre… I will sing a hymn to You with a harp”
             23: “My lips shall be jubilant, as I sing hymns to You”
             24: “My tongue as well shall recite Your righteousness”
With song, word, harp and lyre, the composer of the Praisesongs will affirm God’s righteousness and faithfulness;his melodies of praise will deflect disgrace and harm and his songs will reach “all who are to come”.

Literary Analysis of Psalm 70 (and 71)

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Both songs, 70 and 71, are built on doublings; that is, on the pairings of words similar in meaning and connotation. Pairing of words is a common note in many, if not most, of the Praisesongs. But, in these two, it is the dominant chord. Song 70 pairs words not only within its individual verses but also from one verse to another. Thus: in verse 2, the singer asks God “to aid me, hasten”; verse 3, he hopes his foes will “be disgraced and abashed”; verse 4, his foes taunt him, “Aha, aha!”; verse 5, the singer gives, to those who seek God, the blessing, “May they be glad and rejoice in You”. The effect is as if two voices were sounding the same note, one after the other. The doubling is itself doubled, repeated, as a word in one verse re-appears in a later verse. Thus: –“hasten”, in verses 2 and 6 –“aid”, verses 2 and 6 –“seek”, verses 3 and 5 –” disgrace”/”disgraced”, verses 3 and 4 –“back”, verses 3 and 4, and echoed in verse 4 in “retreat” This repetition of words, from one verse to another, becomes the singer’s means of transforming his enemies’ assault of him into God’s protection of him. In this way, the poet’s wish in verse 3 –“may they fall back in shame, those who desire my injury”– becomes, in verse 6, “O God, do not hold back [Your protection of me]”. The intent of the words themselves transforms from malevolent to beneficial. The song closes with two powerful pairings, “I am lowly and needy” and “You are my aid and my rescuer”. Moreover, one pair is the opposite of the other: the attributes of the singer, lowly and needy, are inversions of God’s, who aids and rescues. And it is God’s protection –“do not hold back”– that ensures the singer’s foes will “fall back in shame” (verse 3) and “retreat in disgrace” (verse 4). The singer thereby transcends his own lowliness, and the words he sings change their shape: his enemies retreat but God, for the singer, never will.

 

Psalm 70 continues with Psalm 71, here