Piyyut

Under Pijjut (plural: Pijjutim, Hebrew פיוט ) destined for liturgical use seal is meant to be sung or recited in the synagogue service.

Name

The word is derived from the Greek ποιητής (German creator, poet ) ( German made ​​, artistically crafted ) or ποιητός. Originally Pijjutim were intended to limit the fixed prayer text to replace either, especially on holidays and Sabbaths, but also on weekdays. The task of Pijjut is the interpretation of Scripture and a declaration of holidays and customs.

History

On the Israeli researcher Ezra Fleischer, the now generally accepted Era classification of the history of Pijjutim returns:

Can already be found in the Talmud sections, whose style resembles a Pijjut. The first known Pajjtan ( Poet) was Josse ben Josse. He probably lived in the land of Israel in the 6th century. From this time on the poetic work flourished in Israel. Among the most important Pajjtanim include Jannaeus and Rabbi Elazar ha - Qallir. Innovations, which they introduced - and they were also recognized in later periods - the acrostic and the rhyme.

Starting with the 10th century to form new centers of poetry: In Europe Pijjutim were written, who drew directly from the tradition of the eretz - jisra'elischen Pijjut. In contrast, the poet of the Golden Age of Spanish Jewry went their own ways in their creations. Part of the Pijjutim, V.A. the " Slichot " and the " Qinot ", reflect the harsh living conditions of Jews in Italy and describe the experienced afflictions and persecutions. In this period the Pijjutim already no longer replace the fixed prayer text; they are woven into it. Pijjutim that were written in later centuries are no longer woven into the prayers, but be recited on other occasions, for example, as chanting at the Shabbat meals.

In the Early Middle Ages the Pijjut was then to superimpose almost become a fad and threatened the main prayers, since the respective Chasanim the Jewish communities, a kind of competition led and eager were always more artistic Pijjutim compose. The close connection between Chazzanut, that is the art of Vorbetens, and Pijjutim appears in some letters which have been preserved from the Geniza in Cairo. So the churches in medieval Egypt wished always to hear new hymns, this meant that the cantor their Pijjutim among themselves exchanged, they secretly wrote-off from colleagues and also led an international correspondence that lasted until Marseille.

Genres and forms

Pijjutim can be divided into groups corresponding to the locations in the prayer sequence to which they are intended for. This is the name Pijjutim which the Chasan speaks at the repetition of the Amidah, " Qerovot ", while those that we speak as blessings before the Shema be referred to as " Jotzerot ". " Slichot " are the Pijjutim, which are recited before and during the course of the 10 days between Rosh Hashanah and Yom Kippur and on public fast days. The " Qinot " are a special class for the 9th of Av, the day of remembrance for the destruction of the Jerusalem temple.

Exterior forms of Pijjut:

• Alphabetic acrostic
• Bible verse acrostic
• Name acrostic

A common form is the Namensakrostichon. Where are often the first letter of verses or lines, the first letter of the name of the poet.

Source

Translations

So far, there are few translations into German. A selection of Hebrew poetry of Dunash ben Labrat, Shmuel Nagid, Joseph ibn Caprel, Shlomo ibn Gabirol, Moses ibn Ezra, Joseph ibn tzaddik, Judah ha -Levi and Meir ha -Levi Abulafia presented last:

• Georg Bossong (ed.): The miracle of al -Andalus. The most beautiful poems of the Moorish Spain. Translated from the Arabic and Hebrew into German by Georg Bossong, with an afterword by Said. In: New Oriental Library. CH Beck, Munich 2005, ISBN 978-3-406-52906-1.