Exodus 14.30-15.18 "Song of the Sea" (From Biblical Hebrew)

The dating of the Song of the Sea is a matter of some dispute. There is a widely held view that it is extremely old, on linguistic grounds. Indeed, the language of this song is more consistently archaic than any other coherent long passage of the Hebrew Bible. There is nonetheless a robust tradition of positing a relatively late (i.e. post-exilic) date for the Exodus 15. These all hinge on an ability to discount the archaisms as being intentional, the result of a late composer's (apparently uniquely successful) attempt to compose in an old style rather than an early composer using the language as it existed at the time.
The tendency for poetic language to tend toward, or preserve, archaic language more than prose does (e.g. Latin and Greek at every period, Old English, 18th Century English, French, Modern Welsh, Arabic, Modern Hebrew, Dutch, etc.) is so robustly attested cross-linguistically that it can be taken for granted as a commonplace of human linguistic behavior. Elaborations of this staggeringly banal fact have been used on the regular to try and argue a late date for all manner of apparently archaic compositions, and Exodus 15 is among their number, the most extensive case (and, for me, by far the most irritating) being the decades-long attempt of literary historians to argue for a late text of Beowulf.
Of course, there also exists the opposite tendency: arguing an early date for a text which on linguistic grounds cannot belong to that period. This involves claims that the text got partly modernized in transmission. There is general consensus on this matter regarding a lot of Old Irish poetry. Another Celtic case in point is the scholarship surrounding Y Gododdin, a Welsh poem which survives in a 13 century manuscript but is traditionally attributed to the 6th century Brythonic poet Aneirin. (Well, he is traditionally called a Welsh poet, but his stomping ground would actually lie in what is today Scotland.) The idea in this case is that the material was heavily modernized in transmission, leaving only portions of earlier language intact.

Literary attempts to project a late date onto a text in transparently early langauge always mean situating the text in an era which we know more about. This may be a large part of the appeal of such an approach. Thus for example Brenner's thesis that Ex. 15 was composed for the Passover feast during the Second Temple Period is father to his dismissal of all of the seeming archaisms as intentional stylistic options. But no other Biblical Hebrew poem really looks like this. We've no affirmative evidence that someone in the Second Temple period, trying to compose something new, would intentionally produce such a text with such a heavy and consistent freight of archaisms. All the archaic elements of Exodus 15 can be found individually in other — often late — poetic material but never with the same consistency and concentration in this fashion all together. If you knew nothing of the Song of the Sea, but knew the other poetic material of the Pentateuch as well as the more archaic of the psalms, you would never be able to use them as a model from which to derive the archaic style of Exodus 15 which just so happens to be supported by material in other Semitic languages. When late Biblical poets try to be archaic, they don't produce material that looks like this, and the most straightforward explanation is that they were either not able, or not inclined, to do so. Why should a late author of the Song of the Sea be so stylistically radical as to use archaic constructions in precisely the way that someone using an early form of Canaanite naturally would?

Anyway I think that the text really is an early poem, not a late poet's attempt to compose in an otherwise unattested archaic style. Here's a fun trick to try. If you run the sound-changes in reverse, you can get some sense of what it may have sounded like early on at some point in early Iron Age Judah. Given how speculative it is (relative chronology is one thing, but with absolute chronology?) I hesitate to call this a reconstruction of anything. The word would have to drop the prefix to describe it. It is definitely a construction. Of what, though, Dagon only knows.

As with all my translations of poetry from the Hebrew Bible, and poetry from early medieval Palestine, I am including audio recordings in Tiberian Hebrew. (Since I have gone and learned to read Hebrew in this fashion in order to produce an audio-companion for a book about this now-dead Hebrew liturgical dialect, and then lent my voice to a whole website about it, I figure I might as well get some use out of it.) I have included Exodus 14.30-31 in the text here, translated as as a small-font preface. The tail end of Ex. 14 forms the context in which Jewish readers since the Middle Ages have most commonly encountered Song, which is to say in prayer books, where it is grouped in with the Pesūqē deZimrā which may be said every day during the Šaḥarīt (Morning Prayer). Since I was including a Tiberian (i.e. medieval) reading, it seemed fitting to follow the siddurim and include Ex. 14:30-31 as a preface. Oh and here's an IPA transcription of the Tiberian Reading.

Here's a recording of me chanting the beginning (through 15:5) in Tiberian Hebrew, using the Temani Shira mode:

Here's a recording the whole text in a speaking voice

Song of the Sea
Exodus [14:30-15:1-18]
Translated by A.Z. Foreman

 And on that day did Yahweh deliver Israel from the hand of Egypt, and Israel see Egypt dead on the seashore. Israel saw what great handiwork Yahweh had wrought down on Egypt, and the people feared Yahweh, and trusted in Yahweh and in His slave Moses. 
 Then did Moses and the Israelites sing this song for Yahweh. They said:  

Sing1 for Yahweh for his coup of splendor:
Horse and horseman he hurled to the sea.
Yahweh is my strength and stave2 he became my salvation.
This god is mine whom I exalt,
god of my father  whom I extol:
Yahweh the war man3. Yahweh is his name.

Pharaoh's forces4 he flung to the sea
His pick of captains pitched in the Reed Sea.
The depths whelmed them over
They were downed in the deep like stone

Your right hand, Yahweh is majestic and right.
Your right hand, Yahweh, shatters enemies.
In ultimate splendor you felled those against You.
Fired forth your fury to combust them like straw.

At your nostrils' flare the waters heaped,
The waves like mounds stood up.
The deep congealed in the heart of the sea.

The enemy said "I'll pursue, I'll subdue
I will share out the spoils, my gullet will glut on them
I will draw my sword,  my hand despoil them."
But you blew forth your breath and sea whelmed them over.
They went like lead, down  in the mighty water.

Who is like you,  Yahweh among the gods?
Who is like you  awesome among the holy?
Awe-bringer  hymn-hearer
Wreaker of wonders!

You stretched your right hand  and earth gulped them under,
You guided in your kindness  that folk you redeemed,
In your strength led their road
To your holy abode.

Peoples heard  and as peoples quaked,
The dwellers of Plesheth throttled with anguish.
The chieftains of Edom panicked.
The sires of Moab   seized with shudders
The kings of Canaan   quailed and melted.
Down upon them fell every horror;
Your brawned arm loomed and they were like stone
As your people crossed over,  Lord Yahweh,
As the people you made your creation crossed over.

You brought them to plant them  on the mount you bequeathed,
The ground you deemed   your dwelling, Yahweh
The sanctum O Lord your hand founded.

All hail Lord Yahweh
King for all time.

1 - I have emended the opening with the verson from Ex. 15:21

2 - the character string יהויהי is probably best divided as יהו יהי.

3 - The Pšiṭṭā gives a translation implying יהוה גיבור במלחמה which is also found in the Samaritan Pentateuch. The LXX has Κύριος συντρίβων πολέμους  "The Lord who shatters wars" which has been written about a great deal. There are three possibilities for the LXX. (a) it reflects — in translation — a radically pious intervention against the anthropomorphism of the MT version, (b) it reflects a slightly pious rendering of something like the Samaritan version (with the ב particle understood in the sense "against"), or (c) it reflects a variant which has left no trace elsewhere (and therefore the pious intervention lies not in the translation but its Vorlage). The real possibility of (c) should be kept in mind. Consider that while the Vulgate's "Dominus quasi vir pugnator, Omnipotens nomen eius" may reflect a Hebrew text according with the MT in the first half (though the "quasi" is either a bit of minor pious fudging or reflecting a Hebrew text with כאיש instead as in Isa 42:13), the following "Omnipotens nomen eius" seems utterly inexplicable as reflecting anything other than a Herbrew text containing שדי שמו, (which I think actually works nicer as poetry). More's the pity that we have no Qumran text for Exodus 15. In any case, evidently at some point a confusion crept into the tradition which yielded the Samaritan-type version for this line, whether or not it underlies the LXX. As איש מלחמה and גבור are commonly synonymous, conflation of two variants (יהוה איש מלחמה and יהוה גבור) seems like a plausible reason. גבור makes better sense metrically, but איש מלחמה seems to reflect the early anthropomorphism. Anyway, my translation doesn't care about literalism and so this is a bit moot on that score.

4 — metrically, if one were feeling speculative, one might wonder if מרכבת פרעה and פרעה וחיל are ancient variants which have been conflated. I went with the former. Of course, as always, my Tiberian Hebrew reading (meant to be a rendering of the text as it was known to the Tiberian Masoretes of the late first millennium) sticks to the Masoretic Text without any emendations.

The Original:

ויושע יהוה ביום ההוא את־ישראל מיד מצרים וירא ישראל את־מצרים מת על־שפת הים וירא ישראל את־היד הגדלה אשר עשה יהוה במצרים וייראו העם את־יהוה ויאמינו ביהוה ובמשה עבדו: אז ישיר־משה ובני־ישראל את־השירה הזאת ליהוה ויאמרו לאמר

שירו ליהוה   כי־גאה גאה
סוס ורכבו  רמה בים׃
עזי וזמרת יהוה  יהי־לי לישועה
זה אלי ואנוהו  אלהי אבי וארממנהו׃
יהוה איש מלחמה  יהוה שמו

מרכבת פרעה  ירה בים
מבחר שלשיו  טבעו בים־סוף׃
תהמת יכסימו  ירדו במצולת כמו־אבן׃

ימינך יהוה  נאדרי בכח
ימינך יהוה  תרעץ אויב׃
וברב גאונך  תהרס קמיך
תשלח חרנך  יאכלמו כקש׃
וברוח אפיך  נערמו מים
נצבו כמו־נד נזלים  קפאו תהמת בלב־ים׃

אמר אויב  ארדף אשיג
אחלק שלל תמלאמו נפשי
אריק חרבי  תורישמו ידי׃
נשפת ברוחך  כסמו ים
צללו כעופרת  במים אדירים׃
מי־כמכה  באלם יהוה
מי כמכה  נאדר בקדש
נורא תהלת  עשה פלא׃

נטית ימינך  תבלעמו ארץ׃
נחית בחסדך  עם־זו גאלת
נהלת בעזך  אל־נוה קדשך׃

שמעו עמים ירגזון
חיל אחז ישבי פלשת׃
אז נבהלו אלופי אדום
אילי מואב יאחזמו רעד
נמגו כל ישבי כנען׃
תפל עליהם  אימתה ופחד
בגדל זרועך  ידמו כאבן
עד־יעבר עמך יהוה  עד־יעבר עם־זו קנית׃
תבאמו ותטעמו  בהר נחלתך
מכון לשבתך  פעלת יהוה
מקדש אדני  כוננו ידיך׃
יהוה ימלך  לעלם ועד׃

Jules Boissière: The Buddha (From Occitan)

This translation originally appeared on Asymptote's blog as a Translation Tuesday feature

Born in 1863, Jules Boissière (Juli Boïssièra) spent his early years as a journalist, hobnobbing with the likes of Amouretti and Murras, and writing anemic verse with great virtuosity in two languages. In 1886 he changed careers, and headed for Hanoi, part of the recently consolidated territory of French Indo-China. He served in the 11th Alpine Infantry Battalion, and saw combat in some of the last few battles to conquer the Tonkinese countryside, before beginning his tenure in the French administrative corps in Saigon and Huế where he learned the language today known as Vietnamese, acquired at least a basic knowledge of Classical Chinese, and cultivated the fondness for opium for which he was to become notorious. He served a long post in Bình Định before returning to France to marry Thérèse Roumanille (Terèsa Romanilha), daughter of Joseph Roumanille the reactionary patriarch of the Provençal Félibre movement. Boissière returned to Tonkin with his wife in 1892, taking stewardship of the Revue Indochinoise. After another leave of absence in 1895, he was promoted to Vice-Resident 1st Class and died a painful intestinal death two years later.
Boissière wrote prolifically, but published little during his life. He is now best remembered for his collection of French Indo-Chinese short stories titled Fumeurs d'Opium "Opium Smokers". He also produced a sizable amount of poetry, both in French and in Occitan, a lot of which — particularly that from his later years — is extremely good. It is likely that some of his poetry remains unpublished. A posthumous collection of his Occitan verse Li Gabian "The Seagulls" was published in 1899 by his wife, who extracted the poems from among his manuscripts. Reading it, I have come across quite a few interesting pieces, the more so because generally "colonial exotic" themes are rare in Occitan literature of this period, which preoccupied itself mostly with its own soil. Like the stories in Fumeurs d'Opium, some of the poems deal with Chinese and Indo-Chinese themes. Interwoven with long odes of nostalgic yearning for his native country and rhapsodies to his fellow félibres, one finds things like an imaginative sonnet depicting a Chinese Princess reading Li Bai, or some lusciously lilting lines about stargazing from a boat gliding down the Mekong. Some are of a piece with some of the best of his French "oriental" poems. And then there are three or four poems where he goes Next Level, as in the one translated here, which caught me completely by surprise. It is like nothing at all that he wrote in French that I've seen. I was not expecting this. Not even a little bit.

The Buddha
By Jules Boissière
Translated by A.Z. Foreman

Our soldiers won then torched a domicile. 
The owner with his sons ran half a mile
Under gunfire. On the ancestors' altar
Not guarding the old creeds or their old shelter,
The Buddha gave the wolfish men a smile.

How many hours has it been since! Where now
Is that house? Where's the pudgy god whose brow
And smile are sign of fate's indifferent law?
When man beneath mute Heaven prays or cries
I see again that Buddha's ruddy jaw,
His moonlike face and his too tranquil eyes.

Audio of me reading this poem in Occitan

The Original:

Though Boissière was a native speaker of Lengadocian Occitan, he like the rest of his generation wrote in Provençal Occitan, specifically the variety of Rhodanian Provençal which had been raised to literary status by Mistral and others among the Félibrige movement. I give the poem in original Roumanille-Mistralian orthography, copied directly from Li Gabian, and in the more recent  classicizing orthography. For all future Provençal texts in Roumanille-Mistralian orthography, I plan to include a parallel version in classical orthography.

Classical Orthography
Lo Boddha
Juli Boïssièra

Brulavan un ostau, nòstei soudards vincèires;
— Lo mèstre ambé sei fius peralin fugissiá
Sota la fusilhada; e sus l'autar dei rèires,
Luènh d'aparar l'ostau, l'autar e lei vièlhs crèires,
Ais òme' alobatits lo Boddha sorrisiá

Quant d'ora' an debanat desempèi! Monte es ara
L'ostau? Monte es lo Dièu poput de quau la cara
Sorrisenta retrais lo Sòrt indifferent?
— E sota lo cèu mut, quand l'òme prèga e crida,
Revese dau Boddha lei gauta' acolorida'
E sa fàcia de luna, e sei vistóns serens.
Original Orthography
Lou Bouddha
Juli Bouissiero

Brulavon un oustau nòsti soudard vincèire;
Lou mèstre emé si fiéu peralin fugissié
Souto la fusihado; e sus l’autar di rèire,
Liuen d’apara l’oustau, l’autar e li vièi crèire,
Is ome aloubati lou Bouddha sourrisié.

Quant d’ouro an debana desempèi! Mounte es aro
L’oustau? Mount es lou diéu poupu de quau la caro
Sourrisènto retrais lou sort indiferènt?
E souto lou cèu mut, quand l’ome prègo e crido,
Revese dóu Bouddha li gauto acoulourido,
E sa fàci de luno, e si vistoun seren.

Psalm 23 (From Biblical Hebrew)

Yahweh the Shepherd
Psalm 23
Translated by A.Z. Foreman

Yahweh shepherds me I want for naught.
He lets me lie down  in grassy meadows,
He guides me out  by quiet waters.
He brings my life back.  
He leads me straight on Justice's footpaths
For his name's sake. 
Though I tread  in the death-shadow vale
I dread no harm:  for you are with me.
Your shepherd's crook,  Your walking-staff...
These things are my solace.  
You lay out a table to feed me  in the face of my foes.
You moisten my head with ointment. My cup overflows.
Let naught but goodness and kindness  flock with me
All the days of my life 
And the House of Yahweh  be my abode
For many long days. 

Audio recording of me chanting the original in reconstructed Tiberian Hebrew pronunciation:

The Original:

יְהוָה רֹעִי, לֹא אֶחְסָר.
בִּנְאוֹת דֶּשֶׁא, יַרְבִּיצֵנִי;
עַל-מֵי מְנֻחוֹת יְנַהֲלֵנִי.
נַפְשִׁי יְשׁוֹבֵב;
יַנְחֵנִי בְמַעְגְּלֵי-צֶדֶק,
לְמַעַן שְׁמוֹ.
גַּם כִּי-אֵלֵךְ
בְּגֵיא צַלְמָוֶת,
לֹא-אִירָא רָע--
כִּי-אַתָּה עִמָּדִי;
שִׁבְטְךָ וּמִשְׁעַנְתֶּךָ,
הֵמָּה יְנַחֲמֻנִי.
תַּעֲרֹךְ לְפָנַי, שֻׁלְחָן--
נֶגֶד צֹרְרָי;
דִּשַּׁנְתָּ בַשֶּׁמֶן רֹאשִׁי,
כּוֹסִי רְוָיָה.
אַךְ, טוֹב וָחֶסֶד יִרְדְּפוּנִי
כָּל-יְמֵי חַיָּי;
וְשַׁבְתִּי בְּבֵית-יְהוָה,
לְאֹרֶךְ יָמִים.

Shmuel ben Hoshaˁna: "On Resurrection" (From Hebrew)

The payṭan Shmu'el ben Hoshaˁna (known also as Hashlishi "the Third", the ultimate rank he attained at the Yeshiva) was one of the central figures of the Eretz Israel Yeshiva in Jerusalem in the late tenth and early eleventh centuries, and a prolific author of Hebrew liturgical poetry. The Yotzer is a sequence of poems which adorn the benedictions associated with the morning reading of the Shemaˁ.

This brief piyyūṭ is an ahava, the fourth in such a sequence, introducing the second benediction before the Shemaˁ, dealing with God's love for Israel. (Whence Israel as the "beloved" of the final verse). Like many ahavot, it includes an alphabetic acrostic. In this case, though, the letters occur in reverse order, evoking the Resurrection's reversal of death at the end of days. It draws on the Bible heavily for its language, and the effect of its language (e.g. for the ending see Hosea 14:5).

My translation is fairly free and interpretative. For example, the Messiah is not directly mentioned in this poem by that title. Rather his coming is mentioned in oblique form "with (the) Nūn of (the verb) Yinnōn" which means more or less something like "when the Messiah's reign begins" or perhaps "when the Messiah is born" depending on which way you swing the mysticism. Yinnōn is an obscure verb occurring only once in the Hebrew Bible (Ps. 72:17). Some (see e.g. B. Sanhedrin 98b) took it to be the Messiah's name, and Yinnōn is frequently used as a byword for the Messiah in piyyūṭīm. The letter nūn wound up especially associated with the Messiah in this connection, in part on account of the fact that n-w-n was taken to be the verb's root.

The audio recording is chanted in a reconstruction of Tiberian Hebrew. Shmuel, being a member of the Palestinian Yeshiva (which had recently been moved to Jerusalem from Tiberias) would have been well positioned to know this pronunciation of Hebrew. (Although readers who could teach this pronunciation were to quickly become impossible to find outside of Palestine.) It is not hard to picture Shmuel using it in reading his own Yotzerot.

An Ahava on the Resurrection
Shmuel Ben Hoshaˁna
Translated by A.Z. Foreman

You turn man back to dust,
but will turn back in kind
with kindness that we hymn.
You will bind back his bones,
extend again his tendons,
defend and fend for him.
You will fit him with flesh, 
you will screen him with skin
at the Messiah's dawn.
Then will your beloved
blossom like the lily,
cast root like Lebanon.

Audio recording of me chanting the original in Tiberian Hebrew:

The original:

דַּכָּא תָּשֵׁב אֱנוֹשׁ וְתָשׁוּב תָּחֹן וְתַחֲנֹן.
גְּרָמִים תְּדַבֵּק, גִּידִים תִּמְתַּח, וְגָנוֹן תִּגְנֹן,
בָּשָׂר תַּעֲלֶה, וְהָעוֹר תַּקְרִים בְּנוּן יִנּוֹן.
אֲהוּבְךָ יִפְרַח כַּשּׁוֹשַׁנָּה, יַךְ שָׁרָשָׁיו כַּלְּבָנוֹן.

Phonetic transcription in Tiberian Hebrew:

dakkʰɔː tʰɔːʃeːv ʔɛnoːʃ vaθɔːʃuːv tʰɔːħoːn vaθaːħanoːn
gaʀɔːmiːm tʰaðabbeːq giːðiːm tʰimtʰaːħ vaʁɔːnoːn tʰiʁnoːn
bɔːsɔːr tʰaːʕalɛː vɔhɔːʕoːʀ tʰaqʀiːm banuːn jinnoːn
ʔahuːvχɔː jifʀaːħ kʰaʃʃoːʃannɔː jaːχ ʃɔːʀɔːʃɔːv kʰallavɔːnoːn

Uri Tzvi Greenberg: On A Night of Rain In Jerusalem (From Hebrew)

To comment properly on this nigh-untranslatable poem would require an essay of considerable length. Suffice it to say that one should remember that this was written before Israel gained control of East Jerusalem (and with it, the Old City.) 

On A Night of Rain in Jerusalem
By Uri Tzvi Greenberg
Requested by Daniel Harpaz  (thank you for your support)

The few trees in the yard moan like trees of a woodland,
River-laden, the loud deep thunderclouds reign.
The Angels of Peace guard my slumbering children
In the moan of the trees, and dark gathering of rain.

Out there: Jerusalem - city of Abraham's trial and glory
Where he bound his Son on a mount when time came.
The fire kindled at dawn still burns on the mountain.
The rains quench it not: the covenant's flame..

"Should God command me now as once He commanded
My Father of old, I will surely obey"
Sing my heart and my flesh in this night of rain
And Angels of Peace guard my children till day!

What can equal this glory, this miracle zeal
For Mount Moriah - alive from that ancient day on?
The covenant's blood sings in this father in prayer
Prepared for a Temple Mount offering at dawn. 

Out there: Jerusalem, and the moaning trees of God
Felled there by enemies in all generations. 
The river-laden clouds bear sunders of lightning
And thunder. These in this rainstruck night are my tidings
From the Almighty's Mouth till the end of generations.


Audio recording of me reading the original Hebrew:

The Original:

בְּלֵיל גֶּשָׁם בִּירוּשָׁלַיִם

עֲצֶי מְעַט בֶּחָצֵר הוֹמִים כַּעֲצֵי יַעַר,
כִּבְדֵי נְהָרוֹת עֲנָנִים מָרְעָמִים,
מַלְאֲכֵי הַשָּׁלוֹם לִמְרַאֲשׁוֹת יְלָדַי
בְּהֶמְיַת הָעֵצִים וְחַשְׁרַת הַגְּשָׁמִים

בַּחוּץ– יְרוּשָׁלַיִם: עִיר מַסַּת הוֹד הָאָב
וַעֲקֵדַת בְּנוֹ בְּאַחַד הֶהָרִים
הָאֵשׁ–מִשַּׁחֲרִית עוֹד דּוֹלֶקֶת בָּהָר
הַגְּשָׁמִים לֹא כִבּוּהָ: אֵשׁ בֵּין הַבְּתָרִים

אִם אֵל יְצַוֵּנִי כָּעֵת כְּשֶׁצִּוָּה"
לְאָבִי הַקַּדְמוֹן– אֲצַיֵּת בְּוַדַּאי"
רַן לִבִּי וּבְשָׂרִי בְּלֵיל הַגֶּשֶׁם הַזֶּה
וּמַלְאֲכֵי הַשָׁלוֹם לִמְרַאֲשׁוֹתֵי יְלָדַי

מַה מֵּהוֹד מַה מָּשָׁל לְזֶה רֶגֶשׁ פִּלְאִי
חַי מִקֶּדֶם שַׁחֲרִית עַד כָּעֵת אֶל הַר מֹר:
מִתְרוֹנֵן דַּם הַבְּרִית בְּגוּף אָב תְּפִלִּי
נָכוֹן לְקָרבַּן הַר הַבַּיִת עִם אוֹר!

בַּחוּץ  – יְרוּשָׁלַיִם...וְהֶמְיַת עֲצֵי יָהּ
שֶׁכְּרָתוּם הָאוֹיְבִים בָּהּ מִכָּל הַדּוֹרוֹת
עּנָנִים כִּבְדֵי נְהָרוֹת: בָּם בְּרָקִים
וּרְעָמִים, שֶׁהֵם לִי בְּלֵיל גֶשֶׁם – בְשׂוֹרוֹת
מִפִּי הַגְּבוּרָה עַד סוֹף הַדּוֹרוֹת

Psalm 117 (From Biblical Hebrew)

Psalm 117
Translated by A.Z. Foreman

Praise Yahweh, nations all
 Salute Him, peoples all
For His kindness overcomes us
 and Yahweh's truth is forever.
  Praise the Lord.

Audio recording of me chanting the original in reconstructed Tiberian Hebrew pronunciation:

The Original:
 הַלְלוּ אֶת-יְהוָה, כָּל-גּוֹיִם;    
שַׁבְּחוּהוּ, כָּל-הָאֻמִּים.
 כִּי גָבַר עָלֵינוּ, חַסְדּוֹ   
וֶאֱמֶת-יְהוָה לְעוֹלָם: 

Eisig Silberschlag: On Heathen Footsteps (From Hebrew)

On Heathen Footsteps
Eisig Silberschlag
Translated by A.Z. Foreman

Sun and wind and sea
And your body burning on sand,
Sun and wind and sea
And your body's wordless demand,
Sun and wind and sea
And your body in power of it all,
Sun and wind and sea—
Ah, a life without God, without thrall.

Audio recording of me reading the original Hebrew:

The Original:

בְּעִקְּבוֹת עַכּוּ״ם

שֶׁמֶשׁ וְרוּחַ וְיָם
וְגוּפֵךְ הַלּוֹהֵט עַל הַחוֹל,
שֶׁמֶשׁ וְרוּחַ וְיָם
וְגוּפֵךְ הַתּוֹבֵעַ בְּלִי קוֹל,
שֶׁמֶשׁ וְרוּחַ וְיָם
וְגוּפֵךְ הַחוֹלֵשׁ עַל הַכֹּל,
שֶׁמֶשׁ וְרוּחַ וְיָם —
הָהּ, חַיִּים בְּלִי אֵל וּבְלִי עֹל.

Eugenio Montale: Hitler Spring (From Italian)

Hitler Spring
By Eugenio Montale
Translated by A.Z. Foreman

Nor she to see whom the sun turns about..
— Dante (?) to Giovanni Quirini

The dense white cloud of moths whirls crazy around
the whitish lights and over the parapets,
spreading a blanket on the ground that crackles
like sprinkled sugar underfoot. Now coming summer frees
the nightfrosts held in lockdown of the dead
season's secret cellars and in the gardens
that climb down from Maiano to these sandpits.

A hellsent herald just flew over the avenue
to a war-whoop of goons. A gaping orchestral pit, firelit
and decked with swastikas, seized and gulped him down.
Windows are shuttered up, shabby and harmless
though even they are fitted with guns and war toys;
the butcher who laid berries on the snouts
of slaughtered baby goats has closed. The feast day
of killers meek and mild, still ignorant of blood, has turned
to a sick contra dance of shattered wings,
of shadow larvae on the sandbars, and
the water goes on eating at the shore
and nobody is blameless anymore.

So, all for nothing? And the Roman candles
at San Giovanni slowly whitening
the skyline, and the vows and long farewells
as binding as a baptism in dismal
wait for the horde (but a gem scored the air,
strewing your ice, the edges of your coasts,
with the angels of Tobias, the seven,
seed of the future) and the heliotropes
born of your hands — all of it burned away,
sucked dry by a pollen that shrieks like fire
and stings like hail on wind....

                                                 Oh the wounded spring
is still a festival if it can freeze
this death back into death. Look up again
Clizia: it is fate, it is the fate
of changed you keeping up your changeless love,
until the sightless sun you bear within you
is dazzled in the Other and consumed
in Him, for all. Perhaps the sirens, the bells
tolling to hail the monsters on this eve
of all hell breaking loose already blend
with the sound loosed from the heavens that descends
and conquers—with breath of a dawn that may break
for all, tomorrow, white but without wings
of horror, on scorched rockbeds of the south.

The Original:

La Primavera Hitleriana

                Né quella ch’a veder lo sol si gira…
                — Dante (?) a Giovanni Quirini

Folta la nuvola bianca delle falene impazzite
turbina intorno agli scialbi fanali e sulle spallette,
stende a terra una coltre su cui scricchia
come su zucchero il piede; l’estate imminente sprigiona
ora il gelo notturno che capiva
nelle cave segrete della stagione morta,
negli orti che da Maiano scavalcano a questi renai.

Da poco sul corso è passato a volo un messo infernale
tra un alalà di scherani, un golfo mistico acceso
e pavesato di croci a uncino l’ha preso e inghiottito,
si sono chiuse le vetrine, povere
e inoffensive benché armate anch’esse
di cannoni e giocattoli di guerra,
ha sprangato il beccaio che infiorava
di bacche il muso dei capretti uccisi,
la sagra dei miti carnefici che ancora ignorano il sangue
s’è tramutata in un sozzo trescone* d’ali schiantate,
di larve sulle golene, e l’acqua seguita a rodere
le sponde e più nessuno è incolpevole.

Tutto per nulla, dunque? – e le candele
romane, a San Giovanni, che sbiancavano lente
l’orizzonte, ed i pegni e i lunghi addii
forti come un battesimo nella lugubre attesa
dell’orda (ma una gemma rigò l’aria stillando
sui ghiacci e le riviere dei tuoi lidi
gli angeli di Tobia, i sette, la semina
dell’avvenire) e gli eliotropi nati
dalle tue mani – tutto arso e succhiato
da un polline che stride come il fuoco
e ha punte di sinibbio…
                                                Oh la piagata
primavera è pur festa se raggela
in morte questa morte! Guarda ancora
in alto, Clizia, è la tua sorte, tu
che il non mutato amor mutata serbi,
fino a che il cieco sole che in te porti
si abbacini nell’Altro e si distrugga
in Lui, per tutti. Forse le sirene, i rintocchi
che salutano i mostri nella sera
della loro tregenda, si confondono già
col suono che slegato dal cielo, scende, vince –
col respiro di un’alba che domani per tutti
si riaffacci, bianca ma senz’ali
di raccapriccio, ai greti arsi del sud…

T. Carmi: Awakening (From Hebrew)

By T. Carmi
Translated by A.Z. Foreman

Come pass your hand across my lips. 
For I am not accustomed to this light. 

Our love is batlike, beats about the dark. 
It does not miss its mark. Your face defines
My hands to me. What can I know by light? 
Rise, pass your hand across me.

My sleep (what time is it?) held your childhood in my arms.
It's ten o'clock between the sea and night,
Midnight between us, seven between the dawn-slit blinds.
Oh no, I'm not accustomed to this light

That comes to open up my eyes like cold 
Eyelets. On the gunsights' scales I'll weigh
My blind gaze and the terror of your clay.
Rise, pass your hand through me.

Face to face, will I still have a face?
Perhaps I'll speak. Perhaps I will stay quiet. 
Come pass your hand across my lips. 
For I am not accustomed to this light. 

Audio recording of me reading the original Hebrew:

The Original:

ט. כרמי

בּוֹאִי, הַעֲבִירִי אֶת יָדֵךְ עַל פִּי.
אֲנִי אֵינִי רָגִיל בָּאוֹר הַזֶּה.
עֲטַלֵּפִית אַהֲבָתֵנוּ, סְחוֹר וַאֲפֵלוֹת,
וְלֹא תַחֲטִיא. פָּנַיִךְ מַסְבִּירוֹת לִי
אֶת יָדַי. מָה אָבִין בָּאוֹר?
קוּמִי, הַעֲבִירִי אֶת יָדֵךְ עָלַי.
שְׁנָתִי (מָה הַשָּׁעָה?) חָבְקָה אֶת יַלְדוּתֵךְ.
עֶשֶֹר בֵּין יָם לְלַיְלָה, חֲצוֹת בֵּינִי
לְבֵינֵךְ, שֶׁבַע בֵּין חֲרַכֵּי־הַשַּׁחַר.
הוֹ לֹא, אֵינִי רָגִיל בָּאוֹר הַזֶּה
הַבָּא לִפְקֹחַ אֶת עֵינַי כַּחֲרִירִים
קָרִים. בְּמֹאזְנֵי־הַכַּוֶּנֶת אֶשְׁקֹל
אֶת עִוְרוֹנִי וּפַחַד־עֲפָרֵךְ.
קוּמִי, הַעֲבִירִי בִּי יָדֵךְ.
פָּנִים־אֶל־פָּנִים, הַאִם עוֹד יִהְיוּ לִי?
אֲנִי עָלוּל לִשְׁתֹּק, אוֹ לְדַבֵּר.
בּוֹאִי, הַעֲבִירִי אֶת יָדֵךְ עַל פִּי.
אֲנִי אֵינִי רָגִיל בָּאוֹר הַזֶּה.

Amir Gilboa: Isaac (From Modern Hebrew)

By Amir Gilboa
Translated by A.Z. Foreman

In early morning, the sun strolled out in the forest
Together with me and father,
My right hand in his left.

A knife like lightning flamed out through the wood,
And I was so scared of my eyes' terror, facing the blood on the leaves.

Father! Father! Come quick and save Isaac
And nobody will be missing at lunchtime.

It is I who am slaughtered, my son
And my blood is already all over the leaves.
And father's voice was stifled
And his face pale.

And I wanted to scream, writhing not to believe,
As I ripped my eyes open.
And I awoke.

And my right hand had run right out of blood.

Audio recording of me reading the original Hebrew:

The Original:

אמיר גלבע

לִפְנוֹת בֹּקֶר טִיְּלָה שֶמֶש בְּתוֹך הַיַעַר
יַחַד עִמִּי וְעִם אַבָּא
וִימִינִי בִּשְׂמֹאלוֹ.

כְּבָרָק לָהֲבָה מַאֲכֶלֶת בֵּין הָעֵצִים.
וַאֲנִי יָרֵא כָּל-כָּך אֶת פַּחַד עֵינַי מוּל דָּם עַל הֶעָלִים.
אַבָּא אַבָּא מַהֵר וְהַצִּילָה אֶת יִצְחָק
וְלֹא יֶחְסַר אִיש בִּסְעֻדַּת הַצָּהֳרַיִם.

זֶה אֲנִי הנִּשְׁחָט, בְּנִי,
וּכְבָר דָּמִי עַל הֶעָלִים.
וְאַבָּא נִסְתַּם קוֹלוֹ.
וּפָנָיו חִוְרִים.

וְרָצִיתִי לִצְעֹק, מְפַרְפֵּר לֹא לְהַאֲמִין
וְקוֹרֵעַ הָעֵינַיִם.

וְאָזְלַת-דָּם הָיְתָה יַד יָמִין

Habakkuk 1:1-4 "Why, God? Why?" (From Biblical Hebrew)

Just a little more Biblical poetry, this time from one of the Twelve "Minor" Prophets. The recording continues my habit of reading the Bible in a reconstruction of medieval Tiberian Hebrew phonology.

Audio recording of me chanting the original text in Tiberian Hebrew

"Why, God?"
Habakkuk 1:1-4
Translated by A.Z. Foreman

The message that came in a vision upon prophet Habakkuk:

 How long, Yahweh, shall I cry out
  and You not listen?
 I shriek OUTRAGE to You,
  and You do not deliver!
 Why do You show me horror,
  tolerate godawful things?
 Plunder and outrage are all before me
  combat and conflict all about.
 So the laws as taught are crippled,
  and justice comes out never.
 For the wicked are closing in on the good
  so justice comes out crooked.

The Original:

הַמַּשָּׂא֙ אֲשֶׁ֣ר חָזָ֔ה חֲבַקּ֖וּק הַנָּבִֽיא׃ 
עַד־אָ֧נָה יְהֹוָ֛ה שִׁוַּ֖עְתִּי וְלֹ֣א תִשְׁמָ֑ע 
אֶזְעַ֥ק אֵלֶ֛יךָ חָמָ֖ס וְלֹ֥א תוֹשִֽׁיעַ׃ 
לָ֣מָּה תַרְאֵ֤נִי אָ֙וֶן֙ וְעָמָ֣ל תַּבִּ֔יט 
וְשֹׁ֥ד וְחָמָ֖ס לְנֶגְדִּ֑י וַיְהִ֧י רִ֦יב וּמָד֖וֹן יִשָּֽׂא׃ 
עַל־כֵּן֙ תָּפ֣וּג תּוֹרָ֔ה וְלֹא־יֵצֵ֥א לָנֶ֖צַח מִשְׁפָּ֑ט 
כִּ֤י רָשָׁע֙ מַכְתִּ֣יר אֶת־הַצַּדִּ֔יק 
עַל־כֵּ֛ן יֵצֵ֥א מִשְׁפָּ֖ט מְעֻקָּֽל׃ 

Psalm 137 "By The Streams of Babylon" (From Biblical Hebrew)

Another Biblical one, and again I've included an audio recording of me reading the text in reconstructed Tiberian Hebrew pronunciation. I think I'll do that with all my Biblical Hebrew stuff from now on.

By the Streams of Babylon
Psalm 137
Translated by A.Z. Foreman

Audio recording of me chanting the original text using reconstructed Tiberian Hebrew pronunciation

By the streams of Babylon,
There we sat and oh did we weep
When we recalled our Zion.
There, on the branches of the poplars
We hung up our lyres.
For there our captors asked us to sing,
Our plunderers bade us rejoice:
"Sing us one of your Zionite songs!"

But how can we sing the song of Yahweh 

On foreign soil?
If I should forget you, O Jerusalem,
May my right hand fall paralyzed!
Let my tongue cleave up to my palate
If I do not recall you,
If I do not keep Jerusalem
At the peak of all my joys.

Recall, O Yahweh, the Edomites
On that day of Jerusalem, saying:
"Flatten it, flatten it
Down to the foundation"

O Daughter of Babylon!
Daughter destroyer!
Happy the man who deals in kind
With you as you dealt with us.
Happy the man who seizes and smashes
Your babies against the boulders.

The Original:

עַל נַהֲרוֹת, בָּבֶל
שָׁם יָשַׁבְנוּ, גַּם-בָּכִינוּ:
בְּזָכְרֵנוּ, אֶת-צִיּוֹן.
עַל-עֲרָבִים בְּתוֹכָהּ--
תָּלִינוּ, כִּנֹּרוֹתֵינוּ.
כִּי שָׁם שְׁאֵלוּנוּ שׁוֹבֵינוּ, דִּבְרֵי-שִׁיר
וְתוֹלָלֵינוּ שִׂמְחָה:
שִׁירוּ לָנוּ,
מִשִּׁיר צִיּוֹן.
אֵיךְ--נָשִׁיר אֶת-שִׁיר-יְהוָה:
עַל, אַדְמַת נֵכָר.
אִם-אֶשְׁכָּחֵךְ יְרוּשָׁלִָם
תִּשְׁכַּח יְמִינִי.
תִּדְבַּק-לְשׁוֹנִי, לְחִכִּי-
אִם-לֹא אֶזְכְּרֵכִי:
אִם-לֹא אַעֲלֶה, אֶת-יְרוּשָׁלִַם
עַל, רֹאשׁ שִׂמְחָתִי.
זְכֹר יְהוָה, לִבְנֵי אֱדוֹם--
אֵת, יוֹם יְרוּשָׁלִָם:
הָאֹמְרִים, עָרוּ עָרוּ
עַד, הַיְסוֹד בָּהּ.
אַשְׁרֵי שֶׁיְשַׁלֶּם-לָךְ
אֶת-גְּמוּלֵךְ, שֶׁגָּמַלְתְּ לָנוּ
אַשְׁרֵי, שֶׁיֹּאחֵז וְנִפֵּץ אֶת-עֹלָלַיִךְ

Song of Songs: [8:5-7] "The Seal of Love" (From Hebrew)

The Seal of Love
Song of Songs [8:5-7]
Translated by A.Z. Foreman

Audio recording of me chanting the original text using reconstructed Tiberian Hebrew pronunciation

(He speaks:)
Who is that coming up from the wildlands,
Her head on her lover's shoulder?

(She speaks:)
Beneath the apple tree I aroused you.
Beneath that tree I received you
There where your mother conceived you
Where your mother gave birth to you.
Bind me now as a seal on your heart,
As an amulet upon your arm.
For love is fierce as death,
But jealousy cruel as the grave.
Even its shards are the sparks of fire,
Of an almighty flame.
Whole oceans cannot put love out,
Nor any river sweep it away.
Any man who tried
To barter his live savings for love,
Would be paid in full with shame.

The Original:

מִי זֹאת, עֹלָה מִן-הַמִּדְבָּר,
מִתְרַפֶּקֶת, עַל-דּוֹדָהּ;

תַּחַת הַתַּפּוּחַ, עוֹרַרְתִּיךָ-
-שָׁמָּה חִבְּלַתְךָ אִמֶּךָ,
שָׁמָּה חִבְּלָה יְלָדַתְךָ.
שִׂימֵנִי כַחוֹתָם עַל-לִבֶּךָ,
כַּחוֹתָם עַל-זְרוֹעֶךָ-
כִּי-עַזָּה כַמָּוֶת אַהֲבָה,
קָשָׁה כִשְׁאוֹל קִנְאָה:
רְשָׁפֶיהָ-רִשְׁפֵּי אֵשׁ
מַיִם רַבִּים, לֹא יוּכְלוּ
לְכַבּוֹת אֶת-הָאַהֲבָה
, וּנְהָרוֹת, לֹא יִשְׁטְפוּהָ;
אִם-יִתֵּן אִישׁ
אֶת-כָּל-הוֹן בֵּיתוֹ, בָּאַהֲבָה
בּוֹז, יָבוּזוּ לוֹ

Aleksey Zhokhov: Arctic End (From Russian)

Aleksey Nikolayevich Zhokhov (1885-1915) was my first cousin thrice removed (my great grandfather's cousin). He was a Russian arctic explorer and cartographer who participated in the first polar expedition to navigate the entire Arctic coast from end to end. He discovered a small Siberian island which was posthumously named after him. He himself died on the expedition, and was buried in the Arctic. In this poem of his, the speaker imagines the lonely death of a wanderer in the Arctic. Aleksey was of course unaware that he himself would die such a death, and that this spookily prescient poem would be inscribed on a metal plaque over his grave.

Arctic End
By Aleksey Zhokhov
Translated by A.Z. Foreman

Under an icy clod of cold Taymyr
Where a snowfox, startled to a somber bark,
Alone speaks of the drear life of this world
A bleary poet rests in peace and dark.

Morning Aurora's beam will shine no gold
On the forgotten singer's lyre beneath these skies.
The grave is deep as Tuscarora's Rift,
Deep as one woman's dear, beloved eyes.

If only he could reverence them once more,
Gaze on them even from afar across this sweep,
Then death herself would not be so severe,
The bottom of the grave would not seem deep.

The Original:

Под глыбой льда холодного Таймыра,
Где лаем сумрачным испуганный песец
Один лишь говорит о тусклой жизни мира,
Найдет покой измученный певец.

Не кинет золотом луч утренней Авроры
На лиру чуткую забытого певца —
Могила глубока, как бездна Тускароры,
Как милой женщины любимые глаза.

Когда б он мог на них молиться снова,
Глядеть на них хотя б издалека,
Сама бы смерть была не так сурова
И не казалась бы могила глубока.

Imru' al-Qays: From the Muˁallaqa: The Thunderstorm (From Arabic)

A terrific thunderstorm rages over the mountains on the northern edge of the Najd. The scene is imagined over so vast an area that it must be poetic fiction. (As the medieval commentators note:  Sitār, Yaḏbul and Qaṭan cannot possibly all be seen from the same place.) 

From the Muˁallaqa: A Mountain Storm
Attributed to Imru' al-Qays
Translated by A.Z. Foreman

Friend, can you see the lightning? There: its flash
bolting like hands in a crownbright cloudheap, quick
to shed light on all things; there: like the lamps
of a hermit who has oiled each coily wick.
I sat to watch it with my friends, between
Ḍārij and Al-ˁUdhayb. Oh I gazed far
enough to see the storm raise its right arm
on Mount Qaṭan, and its left on Al-Sitār,
dumping its rainload hard around Kutayfa
and blowing flat the great Kanahbul trees.
Its shower bucked out over Mount Qanān
panicking all the whitefoot Ibices.
At Taymā' it left not one palm-trunk standing
nor rampart made of anything but rock,
Mount Thabīr in its water-onslaught stood
like a tribe's chieftain in a stripelined cloak.
Come dawn, the upper peaks of Al-Mujaymir
stood spindle-whirled with storm-debris all round,
the flood's bale flung on Al-Ghabīṭ like cloth-sacks
dropped by a Yemeni merchant to the ground.
Come morning, finches noised about the dales
as if blind drunk on pepper-fiery wine.
Come evening, raptors lay drowned at its edge
like squill-roots twisted into a freakish twine.

Audio recording in reconstructed Early Classical Arabic pronunciation

A more rhythmicized recitation

The Arabic of my audio recording is in what I choose to call "Early Classical Arabic" pronunciation. To put it grandiosely, it is a kind of Arabic that hasn't been heard for over a thousand years. To put it plainly, it is a speculative reconstruction of the kind of Arabic pronunciation the grammarian Sibawayh might have used, based on his description of Arabic speech-sounds, and augmented with some inference based on typology. The main differences from textbook Classical Arabic as it is taught and learned today are as follows:

The ج was /ɟ/ (not /dʒ/)
The ش was /ɕ/ (not /ʃ/) 
The ص was (for an indeterminate number of speakers including Sibawayh) an affricate /t͡sˤ/ rather than the fricative /sˁ/.  (For reasoning behind this reconstruction see this article by Ahmad Al-Jallad).
The ض was a pharyngealized lateral, probably /ɮˤ/ or /d͡ɮˤ/ (the modern /dˁ/ pronunciation is much more recent)
The ت and ك appear to have been quite strongly aspirated /kʰ tʰ/. 
In addition to the familiar three vowels /a: i: u:/ there existed /e:/ for many speakers (and, more marginally, /o:/ for some.) 
The vowel /a:/ was optionally raised to [e:] due to i-mutation under a complex of different circumstances, partially neutralizing the contrast between /a:/ and phonemic /e:/ and giving the realizations of /a:/ a range and distribution not commonly heard in modern elevated poetic recitations. 

Although I render ش as alveolo-palatal /ɕ/, full disclosure requires noting that another possibility would be a true palatal non-sibilant /ç/, which is what many (perhaps most) posit based on a strict interpretation of Sibawayhi's statement. Now, Sibawayhi, who doesn't get enough credit as a phonetician, could probably have distinguished palatal from alveolo-palatal articulation. But whether he would have cared to is a different question. Although he groups ي ش ج at the same place of articulation, it is only ش which causes assimilation of the definite article. Thus there was something about šīn that made it pattern, for assimilation purposes, with the coronals rather than the dorsals. The most straightforward interpretation would be that this is because šīn was indeed a sibilant. Sibilants as an articulatory class involve a centerline grooved tongue focusing the airstream such that it strikes the teeth. Whereas non-sibilant fricatives do not involve the teeth as a secondary articulator. Sibilants, probably because of the need to involve the teeth, are always coronal. Alveolo-palatal articulation sits uneasily in a no-man's land between the dorsal and coronals, and is as far back as you can go and still produce a sound that behaves acoustically and structurally like a sibilant. For /ç/ to function as a sibilant, it must thus have front articulation [ç̟], which (notational and theoretical games aside) makes it functionally /ɕ/. 

One phonologically interesting way in which Sibawayhi's Arabic was likely counterintuitive from the standpoint of many modern accents of the standard language, and doubly so for non-native Arabic speakers given how they tend to be taught, is that what we normally think of as voiced plain stops /b d ɟ/ and voiceless plain stops /t k/ did not — strictly speaking — have presence or absence of voicing per se as their distinguishing feature. In this, Sibawayh's Arabic would align with certain modern dialects like San'ani Arabic. (See Phonation and glottal states in Modern South Arabian and San’ani Arabic by Janet Watson and Barry Heselwood for this and more, including a good explanation of a crucial articulatory category in Sibawayh's description.) The chief featural distinction between the two sets was probably aspiration in the latter and non-aspiration (with adductive glottal tension) in the former. In a dialect like this, although /b d ɟ/ probably did not have fully specified voicing, much of the time this would be of little phonetic consequence since in most positions voicing would be triggered positionally. In post-pausal position, however, although /b d ɟ/ would trigger a glottal prephonation state, their actual voice-onset time would not necessarily be different from that of a voiceless non-aspirated stop. 

The Original:

أصَاحِ تَرَِى بَرْقاً أُرِيْكَ وَمِيضَـهُ
كَلَمْـعِ اليَدَيْنِ فِي حَبِيٍّ مُكَلَّـلِ
يُضِيءُ سَنَاهُ أَوْ مَصَابِيْحُ رَاهِـبٍ
أهَانَ السَّلِيْـطَ بِالذُّبَالِ المُفَتَّـلِ
قَعَدْتُ لَهُ وصُحْبَتِي بَيْنَ ضَـارِجٍ
وبَيْنَ العـُذَيْبِ بُعْدَمَا مُتَأَمَّـلِ
عَلَى قَطَنٍ بِالشَّيْمِ أَيْمَنُ صَوْبِـهِ
وَأَيْسَـرُهُ عَلَى السِّتَارِ فَيَذْبُـلِ
فَأَضْحَى يَسُحُّ المَاءَ حَوْلَ كُتَيْفَةٍ
يَكُبُّ عَلَى الأذْقَانِ دَوْحَ الكَنَهْبَلِ
ومَـرَّ عَلَى القَنَـانِ مِنْ نَفَيَانِـهِ
فَأَنْزَلَ مِنْهُ العُصْمَ مِنْ كُلِّ مَنْـزِلِ
وتَيْمَاءَ لَمْ يَتْرُكْ بِهَا جِذْعَ نَخْلَـةٍ
وَلاَ أٌجُماً إِلاَّ مَشِيْداً بِجِنْـدَلِ
كَأَنَّ ثَبِيْـراً فِي عَرَانِيْـنِ وَبْلِـهِ
كَبِيْـرُ أُنَاسٍ فِي بِجَـادٍ مُزَمَّـلِ
كَأَنَّ ذُرَى رَأْسِ المُجَيْمِرِ غُـدْوَةً
مِنَ السَّيْلِ وَالأَغثَاءِ فَلْكَةُ مِغْـزَلِ
وأَلْقَى بِصَحْـرَاءِ الغَبيْطِ بَعَاعَـهُ
نُزُوْلَ اليَمَانِي ذِي العِيَابِ المُحَمَّلِ
كَأَنَّ مَكَـاكِيَّ الجِـوَاءِ غُدَّبَـةً
صُبِحْنَ سُلافاً مِنْ رَحيقٍ مُفَلْفَـلِ
كَأَنَّ السِّبَـاعَ فِيْهِ غَرْقَى عَشِيَّـةً
بِأَرْجَائِهِ القُصْوَى أَنَابِيْشُ عُنْصُـلِ

Homeric Hymn to Ares (From Greek)

Hymn to Ares
(C. 2nd-4th century A.D.)
Translated by A.Z. Foreman

God-brawned Ares, gold-helmed driver
of the chariot in the stars.  Stout-spirit shieldman
bronzed in armor!  Bulwark of Olympus,
Guardian of cities  and spear-potent
Father of Victory, the fine dame at war!
Enemy-harrowing ally of Justice,
the righteous man's commander in chief,
scepter-master   of manly good
wheeling Your fireball  amid the wayfaring
planets' seven  paths through cosmic
air where Your firesteeds  forever bear You
over the thirdmost orbit immortal.

Hear me, bequeather of brave youth's bloom,
matchless ally  of mortalkind,
blaze a gentle beam from Your planet
straight into our life with strength of war
to finally beat the bite of cowardice
now and ever from out my skull.

Give my mind clout to crush the soul's
treacherous impulses, help me temper
the spirit-furies that spur me into
bloody mayhem, and make me brave
enough to keep within the kindly
laws of peace,  O Lord of War. 
Help me flee the fray of foul rancor,
and dodge the wraiths of a violent death.

The Original:

Ἆρες ὑπερμενέτα, βρισάρματε, χρυσεοπήληξ,
ὀβριμόθυμε, φέρασπι, πολισσόε, χαλκοκορυστά,
καρτερόχειρ, ἀμόγητε, δορισθενές, ἕρκος Ὀλύμπου,
Νίκης εὐπολέμοιο πάτερ, συναρωγὲ Θέμιστος,
ἀντιβίοισι τύραννε, δικαιοτάτων ἀγὲ φωτῶν,
ἠνορέης σκηπτοῦχε, πυραυγέα κύκλον ἑλίσσων
αἰθέρος ἑπταπόροις ἐνὶ τείρεσιν, ἔνθα σε πῶλοι
ζαφλεγέες τριτάτης ὑπὲρ ἄντυγος αἰὲν ἔχουσι:
κλῦθι, βροτῶν ἐπίκουρε, δοτὴρ εὐθαρσέος ἥβης,
πρηὺ καταστίλβων σέλας ὑψόθεν ἐς βιότητα
ἡμετέρην καὶ κάρτος ἀρήιον, ὥς κε δυναίμην
σεύασθαι κακότητα πικρὴν ἀπ᾽ ἐμοῖο καρήνου,
καὶ ψυχῆς ἀπατηλὸν ὑπογνάμψαι φρεσὶν ὁρμήν,
θυμοῦ αὖ μένος ὀξὺ κατισχέμεν, ὅς μ᾽ ἐρέθῃσι
φυλόπιδος κρυερῆς ἐπιβαινέμεν: ἀλλὰ σὺ θάρσος
δός, μάκαρ, εἰρήνης τε μένειν ἐν ἀπήμοσι θεσμοῖς
δυσμενέων προφυγόντα μόθον Κῆράς τε βιαίους.