›I will solve my riddle to the music of the lyre‹ (Psalm 49:4). How ›Lyrical‹ is Hebrew Psalmody?

IF 0.6 0 LITERARY THEORY & CRITICISM Journal of Literary Theory Pub Date : 2017-03-16 DOI:10.1515/jlt-2017-0005
S. Gillingham
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引用次数: 1

Abstract

Abstract This paper discusses biblical poetry in relation to the ancient Greek-Latin tradition of lyric poetry. Since the Greek word »lyric« and the Hebrew word »psalterion« each have musical connotations, there must be some connection between biblical psalmody and lyric poetry. Indeed, the liturgical superscriptions of many psalms and the numerous hints to musical instruments and singing within them suggest that many texts were originally used for accompaniment to music and so could be seen as ›lyric poetry‹ in the strictest sense. There are, of course, key differences between ancient and biblical lyric poetry. Hebrew poems are formally marked not so much by metre or rhyme as by more general conventions of sonority and word-play, perhaps to facilitate memorisation. Furthermore, Hebrew poetry is particularly recognizable by its balanced expression of thought, a ›parallelism‹ which includes repeated or contrasting ideas and figurative language. This feature is also evident in some Hebrew prose: this ›blurring of the boundaries‹ between prose and poetry is another feature which distinguishes biblical poetry from ancient Greek or Latin lyric poetry. One other distinctive feature of psalmody is that, although rooted in the liturgy of the first Temple (950–587 BCE), and developing in the liturgy of the second Temple period, it continued to thrive even after the fall of the Temple in 70 CE. The liturgical use of the psalms resulted in its continual prominence throughout Jewish and Christian history; and because the essence of Hebrew poetry is more dependent on sense than sound this has also enabled a rich tradition of translation. So Hebrew psalmody is ›re-invented‹ through the several Greek, Latin, and Aramaic versions, as well as through the many languages of the early modern period, right up to the contemporary vernacular. In this sense psalmody is unusual: unlike ancient classical poetry it provides an ongoing and living tradition for a community of faith.
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›我将随着七弦琴的音乐解开我的谜语(诗篇49:4)。›抒情诗是希伯来语的诗篇吗?
本文论述了圣经诗歌与古希腊拉丁语抒情诗传统的关系。由于希腊语单词“抒情”和希伯来语单词“赞美诗”都有音乐含义,圣经赞美诗和抒情诗之间一定有一些联系。事实上,许多赞美诗的礼拜仪式铭文以及对乐器和其中歌唱的大量暗示表明,许多文本最初是用于音乐伴奏的,因此可以被视为›最严格意义上的抒情诗。当然,古代抒情诗和圣经抒情诗之间有着关键的区别。希伯来语诗歌的正式标记与其说是韵律,不如说是音调和文字游戏的一般惯例,也许是为了便于记忆。此外,希伯来语诗歌尤其以其平衡的思想表达而闻名,这种表达方式包括重复或对比的思想和比喻语言。这一特征在一些希伯来文散文中也很明显:这种›散文和诗歌之间界限的模糊是圣经诗歌与古希腊或拉丁抒情诗区别开来的另一个特征。诗篇的另一个显著特征是,尽管植根于第一圣殿(公元前950–587年)的礼拜仪式,并在第二圣殿时期的礼拜仪式中发展,但即使在公元70年圣殿倒塌后,它仍继续繁荣。圣诗在礼拜仪式上的使用使其在犹太和基督教历史上持续突出;由于希伯来语诗歌的本质更多地依赖于感觉而非声音,这也促成了丰富的翻译传统。因此,希伯来语诗歌是通过几种希腊语、拉丁语和阿拉姆语版本,以及现代早期的许多语言,直到当代白话文重新发明的。从这个意义上说,诗歌是不寻常的:与古代古典诗歌不同,它为信仰社区提供了一种持续的、活生生的传统。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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Journal of Literary Theory
Journal of Literary Theory LITERARY THEORY & CRITICISM-
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