Picture and Story: On the Use of Visual Imagery in the Writing of Rabbi Nahman of Bratslav

Rabbi Nahman’s philosophical and literary work has generated great interest among artists in various fields over the course of the last few decades, an interest of such degree and power that it has no equal in the traditional Jewish world. In this article, I will discuss one element of Rabbi Nahman’s spiritual world that may explain to some degree the attraction of his work to painters and other artists who deal with visual arts, which is the important role of visions in his spiritual world and in his writings. I will also demonstrate how Rabbi Nahman uses the tools of visual imagery not only in his literary work but also in his philosophical work, as compiled in his two-volume book of sermons, Likutei Moharan (Collected Teachings of the Master), published in 1806 and 1811. I will then discuss the connection between the narrative and visual layers of Rabbi Nahman’s work and worldview.

Mystical Songs of Bratslav Hasidim: Opening Notes

One of the distinctive literary genres of Bratslav Hasidism is the shir yedidot (Song of Endearment), a mystical poem concerning the stature of the soul of R. Naḥman of Bratslav. These poems, still sung by Hasidim today, contain esoteric traditions that reveal the multiple voices within Bratslav Hasidism. This article traces the development of this form from the beginning of the nineteenth century until the present, and argues that changes in emphasis within these songs reflect shifts in Bratslav theology over the years. The study thus presents a more complex historical picture of Bratslav Hasidism, which has usually been seen as one monolithic unit.

Yiddish Literature 1864–1939

The most important writer of old Yiddish literature was Elijah Levita (a.k.a. Elye Bokher, 1469–1549), who adapted the Italian version of the chivalric romance Bevis of Hampton into a Yiddish version known as the Bovo-bukh (1541). The Hasidic movement produced Yiddish literature that is significant for religious and secular readers alike. The most prominent Hasidic Yiddish literature, Sefersipureymayses [The Book of Tales, 1815], was by the Hasidic leader Nahman of Bratslav (1772–1811). From the late 18th century onward the Haskalah or Jewish Enlightenment movement pushed for Jewish acculturation in Europe, pursued the promise of emancipation and equal rights, and promoted reform in Jewish education as well as the progress of Jews through the adoption of modern ‘useful’ professions. Modern Yiddish literature can be said to have been invented during the late 1880s by Sholem Aleichem.

Divine gender transformations in Rebbe Nahman of Bratslav

In several passages in the tales and teachings of Rebbe Nahman of Bratslav, the divine undergoes a process of gender transformation. “The holy one blessed be he”, becomes female, and the Shekhinah temporarily takes on a male persona. Characterizations of Hasidic thought as androcentric generally apply to R’ Nahman. There is an accepted hierarchy and polarization of gender which informs much of his oeuvre. This article argues, however, that in these particular passages R’ Nahman disrupts this hierarchy. Whereas Kabbalah and Hasidism normally view the feminine as an outer “garment” for the divine masculine, in these passages the devotee discovers the hidden inwardness of God, which turns out to be feminine. This radical imagery is nourishing for followers of R’ Nahman’s controversial brand of Hasidism. In particular, it provides a theological justification for their unexpectedly intimate encounters with the divine, as they engage in the meditative practice of personal, solitary prayer according to R’ Nahman’s directives.