In the essay I mentioned at the beginning of this newsletter, Meir Soloveichik meditates on the absence of the Ashkenazi prayer Un’taneh Tokef, with its dramatic refrain about “who shall live and who shall die,” from the Sephardi liturgy. Matt Austerklein makes a different contrast: between Un’taneh Tokef and the Catholic hymn “Dies irae,” whose title, “Days of Wrath” sounds a lot like Days of Awe. Indeed, the similarities between the words of both prayers led one scholar to argue (unconvincingly) for mutual influence. (The truth is rather that both were composed in a Byzantine milieu and likely drew on similar biblical themes.)
While Austerklein, a cantor, goes as far to borrow from the Mozart’s famous musical setting of “Dire irae” in his Requiem Mass when performing Un’taneh Tokef, he finds the differences between the two hymns more interesting than the similarities:
The High Holy Days are an annual apocalyptic rehearsal. . . . We don’t have to wait for the end-of-days to live with the raw truth and meaning of our last days on earth.
This is why Un’taneh Tokef begins with apocalypse and ends with perseverance: “repentance, prayer, and good deeds make the evil of the decree pass.” The evil does not cease to exist—it is that we recognize it from last year’s apocalypse, and that we can, and will, move forward.
But what is more is that we do not go it alone. The main character of the entire High Holy Days is God, Who sees us all of the truth and mess and yet loves us and keeps faith and presence with us.
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