{"id":81413,"date":"2020-10-13T14:11:47","date_gmt":"2020-10-13T11:11:47","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=81413"},"modified":"2020-10-13T14:11:47","modified_gmt":"2020-10-13T11:11:47","slug":"imagine-a-performance","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/imagine-a-performance\/","title":{"rendered":"Imagine A Performance\u00a0"},"content":{"rendered":"
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The opening line of Psalm 22 identifies the poem as a psalm of David written \u201con <\/span>ayeleth ha-shahar<\/span><\/em>.\u201d JPS provides only a transliteration for these words, presumably because of the divergent views as to how the phrase – literally, \u201cthe doe of the morning\u201d \u2013\u00a0 might be translated as an organic whole. Some understand the phrase as a metaphor for a sense of divine support. Others read the term \u201c<\/span>ayeleth ha-shahar<\/span><\/em>\u201d midrashically as foreshadowing Esther\u2019s role in redeeming her people, or as reflecting David\u2019s salvation from his enemies. Some commentators understand the phrase more concretely to refer to the morning star, while others say it was the name of an ancient musical instrument. The Meiri shows that these last two renderings can be combined, suggesting that the sound of this instrument began on the low side and steadily rose, just as the morning light increases in its power and its reach as dawn gives way to streaming sunshine.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Imagine, then, a performance. A stage has been set up at the king\u2019s direction on the hill overlooking the site designated for a temple to be built by the prince, Solomon. Members of the audience move through early morning mists, finding seats even under the still-dark sky. The Levitical orchestra has been brought from Giv\u2019on for today\u2019s debut of a new work. As the conductor lifts the baton, the crowd applauds the entrance of today\u2019s stars: the lyricist\/composer\/vocalist\/monarch, and the soloist who picks up her <\/span>ayeleth ha-shahar<\/em> <\/span>and moves it into playing position. The crowd quiets; the piece begins.\u00a0<\/span><\/p>\n

The initial gloom of the words plays with the increasing optimism expressed in David\u2019s psalm. While the poet\u2019s existential loneliness is the first theme we hear (\u201cMy God, I cry by day \u2013 You answer not\u201d), the psalm then describes how deserving God is of celebration (\u201cBecause of You I offer praise\u201d). The listeners are invited to assume divine assistance in the face of danger. Frustratingly though, details of that assistance are not revealed. But then the audience understands. The king stops singing and picks up the lyre that the Talmud tells us he played. He and the <\/span>ayeleth<\/span><\/em>-ist <\/span><\/i>end the concert with a heart-plumbing duet, painting a picture in sound of the divine salvation that David\u2019s emotion-soaked memories prevent him from putting into words. The last notes fall as the sun\u2019s first rays reach over the horizon.<\/span><\/p>\n

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