Some additional points relating to the poetic aspects and expressions of the piyut:
1. It immediately brings into focus, on the very first two lines, the two main themes of the day – creation and judgement.
2. The word הרת also brings to mind the words רתת ,הרס and הס – the latter as in וה’ בהיכל קדשו הס מפניו כל ה א ר ץ in חבקוק ב – all of which serve alliteratively to impress upon our mind the awe and dread of the day.
3. The repetition of the word אִ ם, אִ ם, אִ ם brings to mind cries of אֵ ם, אֵ ם, אֵ ם – mother, mother; and together with רחמנו and כ ר ח ם (in addition of course to the lead-in הרת) representing רֶ חֶ ם, give voice to maternal instincts of רחמים .
4. Most wonderfully, if you read the poem with the pronunciation and meter of ancient Hebrew, the way it would have likely been chanted by early congregations, you’ll notice that the meter of the verse lilts and lulls quite rhythmically and evenly until hitting the word תלויות , at which point the meter is chopped off, sounding at an uneven kilter and creating a break in the meter flow, almost as if hitting a cliff – and then the original meter returns for the rest of the poem through the ending. Now, once you notice this, read and listen again even more closely, and you’ll hear a similar, but smaller and less prominent break, at the words כעבדים אם אם כבנים .
5. Lovers of ancient piyut will no doubt know that many piyutim (and even parts of Tanach) were written with geometric configurations, with parts of the poem setting off or mirroring other parts in structural patterns. היום הרת is no exception, and is entirely marvelous:
היום הרת עולם איום קדוש
היום יעמיד במשפט ותוציא לאור משפטנו
כל יצורי עולמים עד שתחננו
אם כבנים אם כעבדים עינינו לך תלויות
אם כבנים ואם כעבדים
רחמנו כרחם אב על בנים
The top line at both ends represents the awesome day. (Notice the juxtaposition of the very similar words ה י ו ם and א י ו ם – there are also old versions of the piyut that read ה י ו ם קדוש – see המנהיג and שבלי הלקט). We descend and enter into the poem with the awareness of the day’s awesome moment, and then the poem itself impresses upon us G-d’s and day’s awesome holiness, and we leave with that impression imprinted upon us.
The second line on both sides is the concept of justice, descending into and standing facing justice, and then emerging with justice.
The third line represents G-d’s free-flowing grace, in creation and in granting us today his goodness.
The fourth line presents the tension and uncertainty of אם כבנים אם כעבדים on the one hand, and עינינו לך תלויות on the other (Note also above the second explanation above of אם כבנים אם כעבדים, עינינו לך תלויות – we are also תלוי as to whether a בן or an עבד).
The fifth line is the juxtaposition of sons and slaves, a central theme of the entire poem.
And finally, the sixth line fills with the central role of G-d’s mercy.
6. An alternative configuration of the middle section into a precise mirror image is:
אם כעבדים ואם כעבדים Lastly, עינינו לך תלויות, ותוציא לאור משפטנו: At the time of creation, just prior to יצירת עולם , creation is hanging (תולה ארץ על בלימה), and G-d exists alone, and then G-d brings forth אור. This parallels “our eyes are תולה to You, until You bring forth like אור our judgement...” (I admit this one is a stretch!)
So many ideas and layers of meaning, and so much beauty – all in only 32 words!
