And that the ultimate unification cannot occur until every single soul has become fully aware. Not until the wickedest person […]—seeks holiness instead, will the last part of the last person be realized.
What is my myth? What myth am I living? That would be in his criticism, his clarification of what he calls his individuation. In a sense, this later view of Jung and myth corresponds with reducing concepts to their prime states.
Kabbalah also reduces concepts to their prime states, as it expresses its connection to prime concepts through numbers and letters. The systems of numbers and letters involved in Kabbalah, as reflected in Lecha Dodi, lend ever more layers of symbolism to the inner workings of the-world-to-come as an everyday state-of-being.
It has no sound. Only the sound you make when you begin to make every sound. Open your mouth and begin to make a sound. That is Alef. The repairing of the universe. The last letter. Letters 21, 76 Kushner is articulating that no sound, Ein Sof, is realized in the first letter, from which all letters emerge. Because concerning all the sefirot, one can search out their reality from the depth of supernal wisdom. From there, it is possible to understand one thing from another.
However, concerning Ein Sof, there is no aspect anywhere to search or probe; nothing can be known of it, for it is hidden and concealed in the mystery of absolute nothingness. Therefore, forgetting pertains to the comprehension of this place.
So open your eyes and see this great, awesome secret. Happy is one whose eyes shine from this secret, in this world and the world that is coming! Matt, 62 The mythic activity of Hebrew writing also falls under the canopy of holy acts. Not only are Hebrew letters themselves induced with depths of meanings, but the physical act of writing is also wrapped in tradition and mystical significance.
Drob explains, referencing Elliott R. The scribe is instructed to wrap himself in a prayer shawl tallit and place the crown of the Torah on his head. Drob, Kabbalistic 65 Numerically, gematria shows its scientific correlation throughout Kabbalah and Lecha Dodi. According to Marie-Louise von Franz in C.
Jung: His Myth in Our Time, Jung also was generating interest in the symbolic strength of numbers, as she notes: Toward the end of his life, Jung planned to concentrate his research on the nature of natural numbers, in which he saw archetypal structures and a primordial, very primitive expression of the spirit, that is, of psychic dynamics.
He made notes of the individual mathematical characteristics of the first numbers but was unable to carry out his plan. Delving into the Hearth and Heart of Kabbalah. According to von Franz, this Book of Formation outlines Kabbalah from three distinct points of view while emphasizing in each the importance of letters and numbers.
This branch of Kabbalah reached its zenith in the writings of the Safed school in the 16th century, and the vast majority of published texts belong in this category. Meditative Kabbalah deals with the use of divine names, letter permutations, and similar methods to reach higher states of consciousness, and as such, comprises a kind of yoga. The third category of Kabbalah—the magical—is closely related to the meditative. It consists of various signs, incantations, and divine names, through which one can influence or alter natural events.
Such footprints offer assurance that inherent within the poem are the strengths needed for its continued expression that may endure throughout time, ever fresh, eternally rooted in its own present states of becoming.
If one were to take a turn and weave the essentials of pathways, gematria, and otiot, and merge these aspects into the fabric of shadow, sacrifice, and death, one might reveal redemptive patterns in Kabbalah. Kabbalistic 99; Jung, CW 14, p. Cohen notes that the Italian custom of reciting Lekha dodi from a manuscript, rather than from a printed Siddur, reflects an old tra- dition of writing Lekha dodi in manuscript form in order to distinguish it from the formal Friday night service.
Indeed, Cohen references a manuscript that dates back as far as and perhaps much earlier which supported this tra- dition. For more on this melody, see Kimelman, tbw tlbqo idod hkl, 31— See Davidson, rcoa, 2 : , no. See also Berliner, Mirxbn Mibtk, 1 : Therefore, although Moih rds remains the first Siddur with the modern selection of qabbalat shabbat psalms 95—99, 29 and Lekha dodi, this Siddur introduced a service with four Psalms.
It is also interesting to see that Psalm 92 appears in the qabbalat shabbat service and the ma2ariv service, indicating that people perhaps did not perform both services. This represents the first known manuscript of Lekha dodi. The poem looks to be the same as the one preserved in current editions, except for the verse lamwo Nimi which seems to have changed the word icorpt to something else, not immediately clear see JTS Reel 18, p.
The dating is clearly marked on p. This manuscript is referenced by Halamish, toghnh, Halamish toghnh, n. The subsequent history of the publication of Lekha dodi in siddurim is a long and colorful one.
See further Halamish, toghnh, It is odd that Yosef Karo, a close associate of Alkabetz, never mentions the poem. Kaunfer 8 those references, it is not clear to which Lekha dodi poem the kabbalist writer is referring.
Shlomo Shlomil, after he emigrated to the land of Israel in Kimelman points out that Dato was a student of Alkabetz, and therefore his Lekha dodi must have preceded the poems from — Thus, we cannot draw clear conclusions based on the publication dates of the poems. Basing themselves on literary evidence from within the poems, Eisenstein, A. Schechter, Zlotnik, Razhabi, and Kimelman all claim that the poems of Moih rds preceded that of Alkabetz.
See above, n. Schechter, Studies in Judaism, ; see above, n. Toledano assumes that this poem is that of Alkabetz see p. Even this date could refer to the Lekha dodi of Moih rds. See n. Abraham Schechter marshals the most powerful literary evidence to dem- onstrate that the Lekha dodi poem of Moih rds came first.
Or was the Ben Machir version, not quite as lovely as that of Alkabetz, an earlier attempt on which R. Shlomo ha-Levi then built his own poem? The extent to which the version in Moih rds employs broad subjects will be discussed below. However, A. Indeed, while Idelsohn criticizes the version in Moih rds for its copy- ing from the Bible, Herman P.
See also Kimelman, tbw tlbqo idod hkl, Halamish, hlbqh, chap. Kaunfer 10 that the Moih rds version places the words romwo rokz in the traditional order of the texts in the Talmud.
Why would Alkabetz in- clude a stanza which does not match the acrostic? This may be answered by the poetic form in which Alkabetz chose to work. See also b. Jacob Lauterbach [3 vols. This order also connects to Psalm 92, in the midrashic understanding.
Both were said to be dou- bled. Solomon Buber [Vilna: Romm, ] a. See also Daniel C. Matt, The Zohar 5 vols. Press, —10 1 : n. See Maimonides, hnwh lk tolipt rds in hrot hnwm 6 vols. But this could be a later inter- polation based on Lekha dodi? See further Kimelman, tbw tlbqo idod hkl, 39 n. For an ex- planation of why romw should precede rokz logically, see Kimelman, tbw tlbqo idod hkl, 38—39, where he identified romw with night therefore preceding rokz, which is day. Schechter, Lectures in Jewish Liturgy, While it is tempting to look to meter to judge the relative dating of the poems, the meter of these poems is not very clear.
But in fact, that calculation only works if one counts secondary stresses inconsistently. I thank Prof. Raymond Scheindlin for clarifying these points.
The mention of Molw in the final verse of Lekha dodi points to the sefirah of yesod Kimelman, tbw tlbqo idod hkl, In addition, Mordechai Jastrow established the practice in Worms, sometime between —66, that the con- gregation should only sing the final stanza, hleb trje Molwb iaob. In addition, Shlomo Zalman Geiger — , writing about the proper melody for Lekha dodi for his community of Frank- furt, noted that the final verse, hleb trje Molwb iaob, should be sung in a different melody from the stanzas preceding it.
In addition, Yosef Yozma Hahn Neurlengin d. Kaunfer 12 provide an account of their meaning. As we have demonstrated above, the stanzas in Moih rds actually represent two separate poems, one with six verses followed by a liturgical formula and a second with just one verse preserved. As such, we will number each of the stanzas according to this scheme. For a complete analysis of the refrain Lekha dodi, see Kimelman, tbw tlbqo idod hkl, chap. I do not claim to provide a full kabbalistic treatment of these verses, and hope this initial analysis opens the way for further examination.
He essen- tially argues that romw feminine aspect, night, bride, shekhinah, heh and rokz male aspect, day, groom, vav unite to form one, as is reported by the Zohar see Tiqqunei Zohar 6 : 21b. He explains the reordering of the words hlhtlo traptlo Mwl in our text, hlptl with sefirotic significance : Mw is shekhinah, trapt is tif1eret, and hlht is binah.
Therefore, the ordering of the words is sig- nificant : from lower realm to higher realm. For another example of the confusion between hliht and hlipt see the Qumran version of Psalm The phrase tbw twodq goes beyond the temporal understanding of Shabbat ; it was associated with the world to come, a time en- tirely of Shabbat.
In Midrash Yalqut Shim2oni, this connotation was connected to Psalm 92 as well, the psalm Lekha dodi happens to introduce.
God also brought the people Israel close to Mt. Sinai, as re- flected in the traditional understanding of the phrase Ktdobel onklm ontbrqo.
See further m. Tamid end and Kimelman, tbw tlbqo idod hkl, 79—80 esp. Judah of Worms, xqorl hlipth rodis iworip, eds. Moshe Hershler and Yehudah Hersh- ler 2 vols. Also Ezra Fleischer, hzingh tpoqtb Milarwi—Cra hlipt ighnmo hlipt Jerusalem : Magnes Press, 95, cites a text from the Geniza of the 2amidah for holidays: inis rh tobibs hbhab Mbrqto. Press, — It is interesting to note that other versions of the poem sub- stituted hnwm for tocm A.
Schechter, Lectures in Jewish Liturgy, 59 , however tocm is the clear ver- sion of the original text. Kaunfer 14 The phrase hlogs Me ontarqo references the well-known title of Israel.
For instance, the phrase Kl hdon is associated with dsx, according to the Zohar. God is 67 See, for instance, Ps : 4, Deut 7 : 6, 14 : 2, 26 : 18, Exod 19 : 5. Mircm taici irokdal ieb aho. This text is appropriate since the rec- itation of the poem was intended for the approach of night.
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