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Hatikvah (Hebrew: הַתִּקְוָה, romanized: hattiqvā, ; lit. ' The Hope ') is the national anthem of the State of Israel.Part of 19th-century Jewish poetry, the theme of the Romantic composition reflects the 2,000-year-old desire of the Jewish people to return to the Land of Israel in order to reclaim it as a free and sovereign nation-state.
The Song of the Sea (Hebrew: שירת הים, Shirat HaYam; also known as Az Yashir Moshe and Song of Moses, or Mi Chamocha) is a poem that appears in the Book of Exodus of the Hebrew Bible, at Exodus 15:1–18. It is followed in verses 20 and 21 by a much shorter song sung by Miriam and the other women.
Israel ben Eliezer [a] (c. 1700 [1] –1760 [2]), known as the Baal Shem Tov (/ ˌ b ɑː l ˈ ʃ ɛ m ˌ t ʊ v, ˌ t ʊ f /; [3] Hebrew: בעל שם טוב) or BeShT (בעש"ט), was a Jewish mystic and healer who is regarded as the founder of Hasidic Judaism. A baal shem tov is a "Master of the Good Name," that is, one able to work miracles ...
"Am Yisrael Chai" [a] is a Jewish solidarity anthem and a widely used expression of Jewish peoplehood and an affirmation of the continuity of the Jewish people. The phrase gained popularity during the Student Struggle for Soviet Jewry, when Jewish songwriter Shlomo Carlebach composed the song for the movement's 1965 solidarity rally in New York City.
"Chad Gadya" ("One Kid" 'i.e., baby goat]) is an Aramaic song describing the consuming of each entity by the next, from a goat, through a cat, dog, a stick, fire, water, an ox, a butcher, and the angel of death, all the way up to God. Many think it metaphorically tells the history of the Jews from their beginning to the future Messianic time.
The author draws from the rabbinic interpretation of the Song of Songs, suggested as linguistically originating in the 3rd century BCE, in which the maiden is seen as a metaphor for an ancient Jewish population residing within Israel's biblical limits, and the lover (dod) is a metaphor for God, and from Nevi'im, which uses the same metaphor. [6]
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In this connection mention may be made of the alternating song of the seraphim in the Temple, when called upon by Isaiah (comp. Isa. vi.). The measure must have varied according to the character of the song; and it is not improbable that it changed even in the same song. Without doubt the striking of the cymbals marked the measure.