By Judah, Yehuda Halevi, Franz Rosenzweig
This can be the 1st e-book in English of Franz Rosenzweig's 1927 translation of and commentaries on ninety-two poems and hymns of the best medieval "singer of Zion," Yehuda Halevi (born circa 1080). Franz Rosenzweig (1886-1929) is well known as one of many maximum Jewish philosophers of the trendy interval and his superstar of Redemption is taken into account some of the most very important twentieth-century contributions to Jewish--and Christian--theology. Rosenzweig's unique and fantastic commentaries open a window into the ultimate advancements of his personal suggestion: his debates with Protestant theology, his reservations relating to sleek technology and tradition, and his revolutionary appreciation for the knowledge of the Jewish culture. they're a testomony not just to the profound imaginative and prescient of Judaism embedded within the poetry of Yehuda Halevi, yet to the ever brilliant and deepening sagacity of Franz Rosenzweig himself.
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Extra resources for Ninety-Two Poems and Hymns of Yehuda Halevi
Every Homeric hexameter thus has its own individual meter—a richness of which the metrics taught in school do not even dream, and which, by the way, is squandered in modern vocal music by the Wagnerian rules of accentuation with their onesided predominance of the recitative style. , Aulom, "world," is pronounced "Aulom" in Ashkenazic and ''Olam'' in Sephardic) and in the accentuation of the final syllable in Sephardic as opposed to the accentuation (in many cases) of the penultimate syllable in Ashkenazic.
In the opposite case—a feminine rhyme and an odd number of syllables at the line's end—the feminine rhyme can be salvaged by placing it such that a strongly accented syllable precedes it. What is this? 770–840. That is, he is quoted without any sense of real identification with him. Here, a quotation is by no means a decorative appendage; rather, it is the label that announces the impact of speech. Incidentally, a further circumstance that comes to the aid of a modern reader is that precisely the books of the Bible most likely to be known to an educated reader today—the Psalms, the prophet Isaiah, the Song of Solomon—were also the ones most likely to be quoted by the Hebrew poet.
I will let Rosenzweig conclude with his own words from a most remarkable letter, written to his mother on June 6th, 1929, just six months before his death on December 10th. Arjon Cohen of the University of Leiden for translating it. As an example of the complex, dualistic, problematic soul, he cited himself. How much he must have admired Yehuda Halevi, whose zest for life, documented in his secular poetry, did not keep him from pursuing his real purpose in life–a return to Zion. Even so, his life within Spanish Jewish culture, like Rosenzweig's within German Jewish culture, was complicated and problematic.