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Not even the parallelismus membrorum is an absolutely certain indication of ancient Hebrew poetry. This "parallelism" occurs in the portions of the Hebrew Bible that are at the same time marked frequently by the so-called dialectus poetica; it consists in a remarkable correspondence in the ideas expressed in two successive units (hemistiches, verses, strophes, or larger units); for example ...
Antithetic parallelism is a form of parallelism where the meaning of two or more excerpts of text are observed, although directly linked by providing the same meaning from differing perspectives. This type of parallelism is used in order to create repetition of meaning as a technique for cognitive reinforcement, thus more effectively ...
In Lecture 19 he sets out the classic statement of parallelism, which remains the most fundamental category for understanding Hebrew poetry. He identifies three forms of parallelism, the synonymous, antithetic and synthetic (i.e., balance only in the manner of expression without either synonymy or antithesis). This idea has been influential in ...
Parallelism as a rhetorical device is used in many languages and cultures around the world in poetry, epics, songs, written prose and speech, from the folk level to the professional. An entire issue of the journal Oral Tradition has been devoted to articles on parallelism in languages from all over. [ 3 ]
Hebrew poetry is poetry written in the Hebrew language. It encompasses such things as: Biblical poetry, the poetry found in the poetic books of the Hebrew Bible; Piyyut, religious Jewish liturgical poetry in Hebrew or Aramaic; Medieval Hebrew poetry written in Hebrew; Modern Hebrew poetry, poetry written after the revival of the Hebrew language
In Masoretic manuscripts (and some printed editions), Psalms, Proverbs and Job are presented in a special two-column form emphasizing the parallel stichs in the verses, which are a function of their poetry. Collectively, these three books are known as Sifrei Emet (Biblical Hebrew: סִפְרֵי אֶמֶת, romanized: sip̄rē ʾemeṯ, lit.
Traditional Arabic poetry was built on patterns of long and short syllables. Dunash's innovation came in drawing a parallel between the šəwâ (ə) and ḥāṭēp̄ (ĕ/ă/ŏ) and the Arabic short vowels (i/a/u), so as to create a new Hebrew meter. This meter formed the basis for all subsequent medieval Hebrew poetry.
This device of parallelism was first identified by the twelfth-century Jewish scholars Abraham Ibn Ezra and Joseph Kimhi, who referred to it as "kefel 'inyan be-millot shonot" ("doubling of the thought with other words"). [3] The term was next identified by Christian Schoettgen, who wrote "De Exergasia Sacra" ("From sacred exergasia") in 1733. [4]