{"id":71604,"date":"2020-04-02T11:11:36","date_gmt":"2020-04-02T09:11:36","guid":{"rendered":"https:\/\/www.iemj.org\/trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya\/"},"modified":"2024-04-17T16:27:50","modified_gmt":"2024-04-17T14:27:50","slug":"trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya\/","title":{"rendered":"Tres canciones de Pesaj: Adir hou, E\u2019had mi  yod\u00e9a y \u2018Had gadya."},"content":{"rendered":"<p>Desde el siglo XV al menos, es el uso terminar el S\u00e9der, la cena de la noche de <a href=\"https:\/\/www.iemj.org\/es\/pessah-1ere-partie\/\" target=\"_blank\" rel=\"noopener\">Pesaj<\/a>, por tres cantos interpretados a la vez en hebreo (o en arameo) y en la judeo-lengua propia a cada pa\u00eds (yiddish, judeo-\u00e1rabe, judeo-espa\u00f1ol&#8230;).<\/p>\n<p>Estas canciones de car\u00e1cter popular y de forma enumerativa o acumulativa, celebran la soberan\u00eda y la bondad de Dios.<\/p>\n<p><!--more--><\/p>\n<p>Como lo destacan Freddy Rapha\u00ebl y Robert Weyl, en su art\u00edculo <em>Regards nouveaux sur les Juifs d\u2019Alsace<\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_1');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_1');\" ><sup id=\"footnote_plugin_tooltip_71604_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_1\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, <em>Regards nouveaux sur les Juifs d\u2019Alsace<\/em>, Ed. des derni\u00e8res nouvelles d\u2019Alsace, Strasbourg, 1980, 311 p.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, parece \u00abinutil buscar las fuentes precisas de estos cantos, que se matriculan necesariamente en el movimiento cultural de la poblaciones entre las cuales las comunidades jud\u00edas establecidas. Hemos relacionado, con justa raz\u00f3n, el <em>Had Gadja<\/em>, el canto del cabrito, con cantos enumerativos alemanes y franceses del siglo XII y XIII.\u00a0\u00ab<br \/>Seg\u00fan L\u00e9opold Zunz <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_2');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_2');\" ><sup id=\"footnote_plugin_tooltip_71604_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_2\" class=\"footnote_tooltip\">Leopold Zunz, Die gottesdienstlichen Vortr\u00e4ge der Juden, Berlin, 1832, p. 126.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, mencionado en el art\u00edculo de Freddy Raphael y Robert Weyl habr\u00edan sido introducidos en el relato asquenaz\u00ed de la Pascua a partir del siglo XVI, antes de propagarse en el conjunto de las comunidades jud\u00edas.<\/p>\n<p><strong>ADIR HOU<\/strong><br \/>Seg\u00fan Freddy Rapha\u00ebl y Robert Weyl\u00a0 <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_3');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_3');\" ><sup id=\"footnote_plugin_tooltip_71604_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_3\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, op. cit.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>:\u00a0\u00ab<em>Adir Hou<\/em> es un himno hebreo compuesto de manera que las letras aparezcan acr\u00f3stico. Lo encontramos ya, en su versi\u00f3n judeo-alem\u00e1n, en un manuscrito del siglo XV<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_4');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_4');\" ><sup id=\"footnote_plugin_tooltip_71604_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_4\" class=\"footnote_tooltip\">Yosef &#8216;Hayim Yerushalmi, Haggadah and History, Planche 37, Philadelphia, 1975<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Este canto fue imprimido para la primera vez al final de la Hagad\u00e1 de Praga en 1526, y despu\u00e9s en la de Mantua, fue utilizado en la edici\u00f3n judeo-italiana de Hagad\u00e1 publicada en Venecia en 1609. Los jud\u00edos de Avi\u00f1\u00f3n cantan este himno durante cada fiesta importante, sin establecer un v\u00ednculo privilegiado con la Pascua. (\u2026)\u00bb<\/p>\n<p><em>1. Dios Todopoderoso, reconstruye Tu Templo r\u00e1pidamente y pronto, todav\u00eda hoy en d\u00eda, s\u00ed, muy r\u00e1pidamente; Reconstruye, reconstruye, reconstruye Tu Templo.<br \/>2. Dios misericordioso, Dios grande, Dios humilde, Reconstruye tu templo, R\u00e1pido y pronto<br \/>3. Dios de las alturas, Dios digno de respeto, Dios lleno de dulzura y gracia, Reconstruye&#8230;<br \/>4. Dios de innumerables virtudes, Dios jud\u00edo, reconstruye&#8230;<br \/>5. Dios lleno de fuerza y vida, Dios todopoderoso, Dios renombrado, Dios de bondad, Dios eterno, reconstruye&#8230;<br \/>6. Dios temible, Dios de amor, Dios majestuoso, Dios rico, Reconstruye&#8230;<br \/>7. Dios hermoso, Dios cercano, Reconstruye&#8230;<br \/>8. Tu solo eres nuestro Dios, \u00fanico en su g\u00e9nero, reconstruye Tu Templo r\u00e1pidamente, muy r\u00e1pidamente y pronto, todav\u00eda hoy en d\u00eda, s\u00ed, muy r\u00e1pidamente; Reconstruye, reconstruye, reconstruye Tu Templo.<br \/><\/em><\/p>\n<p><strong>E\u2019HAD MI YODEA &#8211; Canto de nombres<\/strong><br \/>Seg\u00fan\u00a0Freddy Rapha\u00ebl y Robert Weyl<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_5');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_5');\" ><sup id=\"footnote_plugin_tooltip_71604_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_5\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, op. cit.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> :<\/p>\n<p>\u00abEl poema <em>E\u2019had mi yod\u00e9a<\/em>\u00a0esta escrito en hebreo y contiene algunas palabras arameos. Un manuscrito de 1406 se\u00f1ala que lo encontr\u00e1bamos escrito sobre un pergamino en la sinagoga de Rabbi Eleazar ben Kalonymos de Worms. Este \u00faltimo naci\u00f3 en Maguncia sobre 1176 y falleci\u00f3 en Worms en 1238; fue un talmudista y un cabalista eminente. Una de sus obras m\u00e1s importantes, intitulado <em>Ha-Roqea\u2019h<\/em>, es a la vez una obra <em>hala\u2019hique<\/em>\u00a0(de decisorio) y una obra \u00e9tica.\u00a0\u00ab<\/p>\n<p><em>1. Uno, s\u00e9 lo que es uno. \u00danico es nuestro Dios, El que vive y El que ronda sobre la tierra y en los cielos.<br \/>2. Dos, ah\u00ed esta lo que es m\u00e1s; s\u00e9 lo que es dos: dos son las tablas de la Ley. \u00danico es nuestro Dios&#8230;<br \/><\/em><\/p>\n<p>Y as\u00ed sucesivamente hasta:<\/p>\n<p><em>13. <\/em><em>Trece, ah\u00ed est\u00e1 lo que es m\u00e1s; s\u00e9 lo que es trece. \u00abTrece, est\u00e1n los atributos (divinos); doce, los tributos de Israel; once los sue\u00f1os (de Jos\u00e9); diez, los mandamientos; nueve, los meses del embarazo, ocho, la circuncisi\u00f3n; siete, la celebraci\u00f3n del sabbat; s\u00e9is, los \u00f3rdenes de la Mishn\u00e1; cinco, los Libros de la Tor\u00e1; cuatro, las madres; tres, los patriarcas; dos tablas de la Ley. \u00danico es nuestro Dios, El que vive y El que ronda sobre la tierra y en los cielos.<\/em><\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/es\/ehad-mi-yodea-une-chanson-de-pessah\/\"><img decoding=\"async\" class=\" alignleft  wp-image-9088\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/01\/playlist.jpg\" alt=\"playlist.jpg\" width=\"70\" height=\"51\" align=\"left\" \/><\/a><a href=\"https:\/\/www.iemj.org\/es\/ehad-mi-yodea-une-chanson-de-pessah\/\" target=\"_blank\" rel=\"noopener\">Escuchar la lista de reproducci\u00f3n {E\u2019had mi yod\u00e9a} cantado en las diferentes tradiciones jud\u00edas.<\/a><\/p>\n<p>\u00a0<\/p>\n<p><strong>&#8216;HAD GADYA \u2013 una canci\u00f3n del cabrito<\/strong><br \/>Ultima de los tres canciones del S\u00e9der de P\u00e9saj, segun Freddy Rapha\u00ebl y Robert<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_6');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_6');\" ><sup id=\"footnote_plugin_tooltip_71604_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_6\" class=\"footnote_tooltip\">Ibid., idem.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> : <em>\u00abEl <\/em>\u2019<em>Had Gadya<\/em>, la canci\u00f3n del cabrito, no ha sido integrado en la edici\u00f3n imprimida de la Hagad\u00e1 de Praga antes 1590, y no figura en la edici\u00f3n anterior de 1526.<\/p>\n<p><em>Un cabrito, un cabrito,<br \/>Que mi padre hab\u00eda comprado;<br \/>Para dos pesos un cabrito, un cabrito, (Estribillo)<br \/><\/em><\/p>\n<p><em>Y lleg\u00f3 el gato,<\/em><br \/><em>Que comi\u00f3 el cabrito,<\/em><br \/><em>Que mi padre hab\u00eda comprado;<\/em><br \/><em>Para dos pesos un cabrito, Un cabrito,<\/em><\/p>\n<p><em>Y lleg\u00f3 el perro,<br \/>Que mordi\u00f3 el gato,<br \/>Que comi\u00f3 el cabrito,<br \/>Que mi padre hab\u00eda comprado&#8230;<br \/><\/em><\/p>\n<p>La novena estrofa, que es la \u00faltima, recapitula el conjunto de las estrofas:<\/p>\n<p><em>Y lleg\u00f3 el Buen Dios, que mat\u00f3 el \u00e1ngel de la muerte, que hab\u00eda matado el \u00absacrificador\u00bb que hab\u00eda matado el buey, que hab\u00eda bebido el agua, que hab\u00eda apagado el fuego, que hab\u00eda quemado el bast\u00f3n, que hab\u00eda golpeado el perro, que hab\u00eda mordido el gato, que hab\u00eda comido el cabrito, que mi padre hab\u00eda comprado; para dos pesos un cabrito, un cabrito.<\/em><\/p>\n<p>Como para\u00a0<em>E\u2019had mi yod\u00e9a<\/em>, el manuscrito de 1406 antes citado afirma que este texto adornado la sinagoga de Rabbi El\u00e9azar ben Jehuda ben Kalonymos de Worms. El estudio de una Hagad\u00e1 asquenaz\u00ed de la colecci\u00f3n Sereni, que data del siglo XV y que contiene a la vez la versi\u00f3n aramea y la versi\u00f3n judeo-alem\u00e1n del\u00a0\u2019<em>Had gadja<\/em>, permite a Ch. Szmeruk\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_7');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_7');\" ><sup id=\"footnote_plugin_tooltip_71604_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_7\" class=\"footnote_tooltip\">In W. Weinrich, The Field of Yddisch, New York, 1954, pp. 214-218.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>afirmar que al final de este siglo, el canto del cabrito estaba integrado en el relato pascual. E.D. Goldschmidt menciona la toma de posici\u00f3n del Gaon \u2019Hida (Haym Joseph David Azoulay), cabalista y hala\u2019khiste (decisionario) de Jerusal\u00e9n, que los jud\u00edos del Imperio Otomano y de Italia consideraban al siglo XVIII como el erudito m\u00e1s eminente de la \u00e9poca. Fustiga a uno de sus disc\u00edpulos quien se burla de los jud\u00edos asquenaz\u00edes quien recitan el \u2019Had gadja; el alega la ense\u00f1anza del (Rabbi Isaac Louria de Safed) para celebrar la sabidur\u00eda profunda de estos poemas; recuerda que los \u00abgigantes\u00bb de la Tor\u00e1, hacen de esto, en cada generaci\u00f3n, la basa de innumerables comentarios.<\/p>\n<p>Aunque el tema de \u2019<em>Had Gadja<\/em>\u00a0sea utilizado en diversos leyendas del folclor occidental y oriental, de la Cabilia hasta Siam y en India, parece que tiene como origen un canto popular alem\u00e1n, <em>Der Bauer schickt den Jockel aus<\/em>: el maestro manda su sirviente cortar avena, pero \u00e9l prefiere quedar en casa; el maestro manda despu\u00e9s el perro para que muerde el sirviente, el bast\u00f3n para que golpee el perro, el fuego para que queme el bast\u00f3n, el agua para que apague el fuego, el buey para que beba el agua, el carnicero para que mate el buey,&#8230; Intervendr\u00e1n aun un ave de rapi\u00f1a, una bruja, un verdugo y un medico&#8230;<\/p>\n<p>En Suiza, el canto correspondiente conta la historia del ingenuo que mandamos recolectar peras:\u00a0<em>Joggeli sott go Birreli sch\u00fcttle<\/em>. K. Kohler <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_8');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_8');\" ><sup id=\"footnote_plugin_tooltip_71604_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_8\" class=\"footnote_tooltip\">K. Kohler, Sage und Sang im Spiel J\u00fcdischen Lebens, in Zeitschrift f\u00fcr die Geschichte der Juden in Deutschland, T.3, Braunschweig, 1889, pp. 234-241.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>menciona un canto alsaciano basado en un modelo an\u00e1logo:\u00a0<em>S\u2019schemol e Frau g\u2019sinn. Die hat e Schnirrchele g\u2019hat<\/em>: hab\u00eda una vez una mujer quien tenia un lech\u00f3n que se volvi\u00f3 la victima del perro; este, a su turno, fue la del bast\u00f3n, el bast\u00f3n del fuego, el fuego del agua, el agua de la vaca, la vaca del carnicero, y este \u00faltimo fue el verdugo.<\/p>\n<p>A partir del valle del Rin, el canto del cabrito se extendi\u00f3 en su versi\u00f3n aramea plagada de palabras hebreos, en Venecia y en \u00c1msterdam; en el sur de Francia, lo traducimos en provenzal, en languedociano y en gasc\u00f3n <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_9');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_9');\" ><sup id=\"footnote_plugin_tooltip_71604_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_9\" class=\"footnote_tooltip\">G. Paris, in Romania, t. 1 n\u00b0 4, octobre 1872, p. 223.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> ; en \u00c1frica del Norte, mientras que las familias originarias de Espa\u00f1a lo cantan en ladino, los jud\u00edos de los pueblos y de oasis pre-saharianos lo recitan en \u00e1rabe.<\/p>\n<p><em>La versi\u00f3n en judeo-espa\u00f1ol: Un kavretiko, Ke me Io merk\u00f3 mi padre, por dos aspros <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_10');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_10');\" ><sup id=\"footnote_plugin_tooltip_71604_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_10\" class=\"footnote_tooltip\">&#8216;aspron <\/em><span class=\"Y2IQFc\" lang=\"es\">significa \u00abcentavo\u00bb en griego (de &#8216;aspros, blanco)<\/span><em>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, por dos levanim <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_11');\" onkeypress=\"footnote_moveToReference_71604_1('footnote_plugin_reference_71604_1_11');\" ><sup id=\"footnote_plugin_tooltip_71604_1_11\" class=\"footnote_plugin_tooltip_text\">[11]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71604_1_11\" class=\"footnote_tooltip\">\u00ablaban, lebanim\u00bb <\/em><span class=\"Y2IQFc\" lang=\"es\">en hebreo significa: monedas blancas de plata<\/span><em>.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71604_1_11').tooltip({ tip: '#footnote_plugin_tooltip_text_71604_1_11', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/em>&#8230; \u00a0esta cantada tan en Estambul y Sal\u00f3nica como en los jud\u00edos sefard\u00edes de Los \u00c1ngeles.\u00a0\u00ab<\/p>\n<p><a href=\"https:\/\/www.iemj.org\/es\/had-gadya-une-chanson-de-pessah\/\" target=\"_blank\" rel=\"noopener\">Escuchar la lista de reproducci\u00f3n <em>Had gadya<\/em> cantado en las diferentes tradiciones jud\u00edas.<\/a><a href=\"https:\/\/www.iemj.org\/es\/had-gadya-une-chanson-de-pessah\/\"><img decoding=\"async\" class=\" alignleft  wp-image-9088\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/01\/playlist.jpg\" alt=\"playlist.jpg\" width=\"70\" height=\"50\" align=\"left\" \/><\/a><\/p>\n<p>\u00a0<\/p>\n<p><a href=\"http:\/\/judaisme.sdv.fr\/traditio\/pessah\/3chants\/3chants.htm\" target=\"_blank\" rel=\"noopener\">Consultar el articulo en linea\u00a0<em>Trois chants du S\u00e9der des Juifs d\u2019Alsace de Freddy Rapha\u00ebl et Robert Weyl (Tres cantos del S\u00e9der de los jud\u00edos de Alsacia de Freddy Rapha\u00ebl y Robert Weyl)<\/em><\/a><\/p>\n<div id=\"KnM9nf\">\u00a0<\/div>\n<div class=\"oSioSc\">\n<div id=\"tw-target\">\n<div id=\"kAz1tf\" class=\"g9WsWb\">\n<div id=\"tw-target-text-container\" class=\"tw-ta-container F0azHf tw-nfl\" tabindex=\"0\">\n<p id=\"tw-target-text\" class=\"tw-data-text tw-text-large tw-ta\" dir=\"ltr\" data-placeholder=\"Traduction\"><span class=\"Y2IQFc\" lang=\"es\">Mire dos videos de Had Gadya a continuaci\u00f3n, uno en yiddish, el segundo en ladino.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/gN9og7hRuek\" width=\"350\" height=\"285\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe> <iframe src=\"https:\/\/www.youtube.com\/embed\/fluCEV4EUcc\" width=\"350\" height=\"285\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\"><\/div><\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_71604_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_71604_1();\">[<a id=\"footnote_reference_container_collapse_button_71604_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_71604_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_1');\"><a id=\"footnote_plugin_reference_71604_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">Freddy Raphael et Robert Weyl, <em>Regards nouveaux sur les Juifs d\u2019Alsace<\/em>, Ed. des derni\u00e8res nouvelles d\u2019Alsace, Strasbourg, 1980, 311 p.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_2');\"><a id=\"footnote_plugin_reference_71604_1_2\" class=\"footnote_backlink\">2<\/a><\/th> <td class=\"footnote_plugin_text\">Leopold Zunz, Die gottesdienstlichen Vortr\u00e4ge der Juden, Berlin, 1832, p. 126.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi\" ><a id=\"footnote_plugin_reference_71604_1_3\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_3');\">3<\/a> <a id=\"footnote_plugin_reference_71604_1_5\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_5');\">5<\/a><\/th> <td class=\"footnote_plugin_text\">Freddy Raphael et Robert Weyl, op. cit.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_4');\"><a id=\"footnote_plugin_reference_71604_1_4\" class=\"footnote_backlink\">4<\/a><\/th> <td class=\"footnote_plugin_text\">Yosef &#8216;Hayim Yerushalmi, Haggadah and History, Planche 37, Philadelphia, 1975<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_6');\"><a id=\"footnote_plugin_reference_71604_1_6\" class=\"footnote_backlink\">6<\/a><\/th> <td class=\"footnote_plugin_text\">Ibid., idem.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_7');\"><a id=\"footnote_plugin_reference_71604_1_7\" class=\"footnote_backlink\">7<\/a><\/th> <td class=\"footnote_plugin_text\">In W. Weinrich, The Field of Yddisch, New York, 1954, pp. 214-218.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_8');\"><a id=\"footnote_plugin_reference_71604_1_8\" class=\"footnote_backlink\">8<\/a><\/th> <td class=\"footnote_plugin_text\">K. Kohler, Sage und Sang im Spiel J\u00fcdischen Lebens, in Zeitschrift f\u00fcr die Geschichte der Juden in Deutschland, T.3, Braunschweig, 1889, pp. 234-241.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_9');\"><a id=\"footnote_plugin_reference_71604_1_9\" class=\"footnote_backlink\">9<\/a><\/th> <td class=\"footnote_plugin_text\">G. Paris, in Romania, t. 1 n\u00b0 4, octobre 1872, p. 223.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_10');\"><a id=\"footnote_plugin_reference_71604_1_10\" class=\"footnote_backlink\">10<\/a><\/th> <td class=\"footnote_plugin_text\">&#8216;aspron <\/em><span class=\"Y2IQFc\" lang=\"es\">significa \u00abcentavo\u00bb en griego (de &#8216;aspros, blanco)<\/span><em>.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71604_1('footnote_plugin_tooltip_71604_1_11');\"><a id=\"footnote_plugin_reference_71604_1_11\" class=\"footnote_backlink\">11<\/a><\/th> <td class=\"footnote_plugin_text\">\u00ablaban, lebanim\u00bb <\/em><span class=\"Y2IQFc\" lang=\"es\">en hebreo significa: monedas blancas de plata<\/span><em>.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_71604_1() { jQuery('#footnote_references_container_71604_1').show(); jQuery('#footnote_reference_container_collapse_button_71604_1').text('\u2212'); } function footnote_collapse_reference_container_71604_1() { jQuery('#footnote_references_container_71604_1').hide(); jQuery('#footnote_reference_container_collapse_button_71604_1').text('+'); } function footnote_expand_collapse_reference_container_71604_1() { if (jQuery('#footnote_references_container_71604_1').is(':hidden')) { footnote_expand_reference_container_71604_1(); } else { footnote_collapse_reference_container_71604_1(); } } function footnote_moveToReference_71604_1(p_str_TargetID) { footnote_expand_reference_container_71604_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ 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