Piyyut

The history, structure, poetic style, and intertextual biblical and rabbinic sources that inspired the best-known liturgical piyyut recited on Rosh Hashanah and Yom Kippur.

The seventh part of the qedushta for the ancient triennial Torah reading וַיְהִי בַּחֲצִי הַלַּיְלָה, “It Came to Pass at Midnight,” was preserved in the Haggadah. This is the only poem of Yannai’s (ca. 5th/6th cent. C.E.) to be retained in the liturgy.

Arguably, the highlight of the prayer service on Yom Kippur is the Seder Avodah, a type of piyyut (liturgical hymn) that poetically reenacts in every detail the ritual service performed by the high priest on Yom Kippur in the Jerusalem Temple. But why do these poems begin with the creation story?

Malchuyot is a prayer for the coming of God’s exclusive kingship over Israel. In contrast, the psalm of the shofar (Ps 47) offers an alternative approach, to stop waiting for God’s eschatological intervention and start building rapport with other religious groups, all of whom are the “Am Elohei Avraham,” the retinue of the God of Abraham.

Maʿoz Tzur is an intense anti-Christian text reflecting the mood and experience of Ashkenazi Jews during the Crusades, when dozens of Jewish communities were slaughtered in the name of the cross.

Yose ben Yose’s 4^th century CE piyyut for the shofarot service, and its creative use of the Song of Songs.

What kind of king?