Asla legarmeh

Betonungszeichen oder Akzent Unicodeblock Hebräisch
Zeichen	׀ ֨
Unicode	U+05C0 U+05A8
Azla legarmeh	אַזְלָא לְגַרְמֵ֨הּ׀‎‎‎‎

Asla legarmeh ׀ ֨(hebräisch אַזְלָא לְגַרְמֵ֨הּ׀^[1]) ist eine Trope (von jiddisch טראָפּ trop^[2]) in der jüdischen Liturgie und zählt zu den biblischen Satz-, Betonungs- und Kantillationszeichen Teamim, die im Tanach erscheinen.^[3] Asla Legarmeh zählt zu den Zeichen, die in den drei poetischen Büchern Ijob, Buch der Sprichwörter und im Buch der Psalmen gebraucht werden, und gehört deswegen zu den Ta'amei Sifrei Emet (טַעֲמֵי סִפְרֵי אֱמֶ"ת).

Beschreibung

Vorkommen

Asla Legarmeh ist ein disjunktiver Akzent, der in den drei poetischen Büchern Ijob, Buch der Sprichwörter und Buch der Psalmen vorkommt.^[4] Daher zählt dieses Betonungszeichen zu den Ta'amei Sifrei Emet. Ta'amei Sifrei Emet ist ein Akronym bestehend aus den Anfangsbuchstaben der drei Bücher, in denen die Trope vorkommt.

Entstehung

Das Symbol von Asla Legarmeh hat zwei Teile und besteht aus dem Symbol des Kadma ֨ und dem senkrechten Strich Paseq ׀ .

Verwendung

Es gibt disjunktive Akzente verschiedener Ebenen: Kaiser (disjunktiver Akzent der 1. Ebene), König (disjunktiver Akzent der 2. Ebene), Herzog (disjunktiver Akzent der 3. Ebene) und Graf (disjunktiver Akzent der 4. Ebene).^[5]

Der disjunktive Akzent Asla-Legarmeh erscheint als König (disjunktiver Akzent der 2. Ebene) und oft anstelle von Ole we-Jored. Asla-Legarmeh erscheint auch im Zusammenhang mit dem konjunktiven Akzent Zinnorit.^[6] Asla Legarmeh ist König, falls sein Betonungszeichen auf dem ersten Wort des gesamten Verses erscheint und anstelle von Ole we-Jored eingesetzt wird; andernfalls ist Asla Legarmeh ein Graf (disjunktiver Akzent der 4. Ebene), der letzte vor einem Herzog (disjunktiver Akzent der 3. Ebene).^[7]

Akzent	Zeichen	Rang	Position
Könige und Herzöge im poetischen System (disjunktive Akzente der 2. und 3. Ebene):
Ole we-Jored	Ole (U+05AB) ↱ Jored (U+05A5) ↓	König	Versanfang
Asla Legarmeh	Asla (U+05A8) ↑ Legarmeh (U+05C0) ←	König	statt Ole we-Jored
Revia mugrasch	Geresch Muqdam (U+059D) ↗ Revia (U+0597) ↑	König	nach Atnach
Schalschelet gedola	Schalschelet (U+0593) ↑ Legarmeh (U+05C0) ←	König	nach Atnach
Mahpach Legarmeh	Mahpach (U+05A4) ↓ Legarmeh (U+05C0) ←	König	nach Atnach
Dechi	Dechi (U+05AD) ↘	Herzog	vor Atnach oder dem König Revia
Mahpach Legarmeh	Mahpach (U+05A4) ↓ Legarmeh (U+05C0) ←	Herzog	statt Dechi
Zinnor	Zinor (U+05AE) ↖	Herzog	vor Ole we-Jored

Literatur

William Wickes, A treatise on the accentuation of the twenty-one so-called prose books of the Old Testament (1887)
William Wickes, A treatise on the accentuation of the three so-called poetical books on the Old Testament, Psalms, Proverbs, and Job, (1887)
Arthur Davis, The Hebrew accents of the twenty-one Books of the Bible (K"A Sefarim) with a new introduction (1900)
Francis L. Cohen: Cantillation. In: Isidore Singer (Hrsg.): The Jewish Encyclopedia. Volume III. KTAV Publishing House, New York 1901–1906, S. 542–548.
Solomon Rosowsky: The Cantillation of the Bible. The Five Books of Moses. The Reconstructionist Press, New York 1957.
James D. Price: Concordance of the Hebrew accents in the Hebrew Bible. (Vol. I). Concordance of the Hebrew Accents used in the Pentateuch. Edwin Mellon Press, Lewiston (New York) 1996, ISBN 0-7734-2395-8.
Joshua R. Jacobson: Chanting the Hebrew Bible. The art of cantillation. 1. Auflage. Jewish Publication Society, Philadelphia 2002, ISBN 0-8276-0693-1.
Joshua R. Jacobson: Chanting the Hebrew Bible. Student Edition. The Jewish Publication Society, Philadelphia 2005, ISBN 978-0-8276-0816-0 (online).

Einzelnachweise

↑ Joshua R. Jacobson: Chanting the Hebrew Bible. The art of cantillation. Jewish Publication Society. Philadelphia 2002. ISBN 0-8276-0693-1, S.407, 936
↑ Jacobson (2002), S. 3: Trop. «In Yiddish, the lingua franca of the Jews in Northern Europe […], these accents came to bei known as trop. The derivation of this word seems to be from the Greek tropos or Latin tropus ».
↑ Solomon Rosowsky: The Cantillation of the Bible. The Five Books of Moses. The Reconstructionist Press, New York 1957. : „Cantillation proceeds according to the special graphic signs–tropes or accents–attached to every word in the Bible.“ in Verbindung mit einer Fußnote zu tropes: „In this work we use the term trope (Greek tropos – turn) long accepted in Jewish practice.“
↑ Jacobson (2002), S. 407: the poetic books […] disjunctive accents
↑ Gesenius:«The division of the disjunctive accents into Imperatores, Reges, Duces, Comites,» (https://en.wikisource.org/wiki/Gesenius%27_Hebrew_Grammar/15._The_Accents)
↑ Jacobson (2002), S. 407:«Tsinnorit combines with mahapakh to form mehuppakh metsunnar, also a rare mark, variant of mahapakh that serves mainly azla legarmeh but appears also in the other contexts where mahapakh and illuy appear».
↑ Jacobson (2002), S. 407: «A verse may be divided into one, two or three stichs. A one-stich verse is divided by dehi, which looks like tifcha but is under the last letter of the word. In a two-stich verse, the first stich ends with atnach. In a three-stich verse, the first stich ends with oleh ve-yored, which looks like mahpach (above the word) followed by tifcha, on either the same word or two consecutive words, and the second stich ends with atnach. Major disjunctives within a stich are revia qaton (immediately before oleh ve-yored), revia gadol (elsewhere) and tzinnor (which looks like zarqa). The last stich may be divided by revia megurash, which looks like geresh combined with revia. Minor disjunctives are pazer gadol, shalshelet gedolah, azla legarmeh (looking like qadma) and mehuppach legarmeh (looking like mahpach): all of these except pazer are followed by a pesiq. Mehuppach without a pesiq sometimes occurs at the beginning of a stich.»

[1] Joshua R. Jacobson: Chanting the Hebrew Bible. The art of cantillation. Jewish Publication Society. Philadelphia 2002. ISBN 0-8276-0693-1, S.407, 936

[2] Jacobson (2002), S. 3: Trop. «In Yiddish, the lingua franca of the Jews in Northern Europe […], these accents came to bei known as trop. The derivation of this word seems to be from the Greek tropos or Latin tropus ».

[3] Solomon Rosowsky: The Cantillation of the Bible. The Five Books of Moses. The Reconstructionist Press, New York 1957. : „Cantillation proceeds according to the special graphic signs–tropes or accents–attached to every word in the Bible.“ in Verbindung mit einer Fußnote zu tropes: „In this work we use the term trope (Greek tropos – turn) long accepted in Jewish practice.“

[4] Jacobson (2002), S. 407: the poetic books […] disjunctive accents

[5] Gesenius:«The division of the disjunctive accents into Imperatores, Reges, Duces, Comites,» (https://en.wikisource.org/wiki/Gesenius%27_Hebrew_Grammar/15._The_Accents)

[6] Jacobson (2002), S. 407:«Tsinnorit combines with mahapakh to form mehuppakh metsunnar, also a rare mark, variant of mahapakh that serves mainly azla legarmeh but appears also in the other contexts where mahapakh and illuy appear».

[7] Jacobson (2002), S. 407: «A verse may be divided into one, two or three stichs. A one-stich verse is divided by dehi, which looks like tifcha but is under the last letter of the word. In a two-stich verse, the first stich ends with atnach. In a three-stich verse, the first stich ends with oleh ve-yored, which looks like mahpach (above the word) followed by tifcha, on either the same word or two consecutive words, and the second stich ends with atnach. Major disjunctives within a stich are revia qaton (immediately before oleh ve-yored), revia gadol (elsewhere) and tzinnor (which looks like zarqa). The last stich may be divided by revia megurash, which looks like geresh combined with revia. Minor disjunctives are pazer gadol, shalshelet gedolah, azla legarmeh (looking like qadma) and mehuppach legarmeh (looking like mahpach): all of these except pazer are followed by a pesiq. Mehuppach without a pesiq sometimes occurs at the beginning of a stich.»

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