This melody has the following background:
A story is told of a man named Shamil, a leader of assorted tribes that lived in Russia’s Caucasian Mountains over a century ago. The Russian army attacked these tribes, intending to deprive them of their freedom. Unable to vanquish the valiant warriors in battle, the Russian army leaders proposed a false peace treaty, and thus succeeded in getting them to lay down their arms. Immediately afterwards, the Russians lured the Caucasian leader, Shamil, away from his stronghold and imprisoned him.
Staring out of the window of his small narrow cell, Shamil reflected on his days of liberty in the past, In his current exile and helplessness, he bewailed his plight and yearned for his previous position of freedom and fortune. He consoled himself, however, with the knowledge that he would eventually be released from his imprisonment and return to his previous position with even more power and glory. It is the above thought that he expressed in this melancholy, yearning melody.
The Moral: The soul descends to this world from the heavens above, clothed in the earthly body of a human being. The soul's physical vestments here are really its prison cell, for it constantly longs for spiritual, heavenly fulfillments. The soul strives to free itself from the "exile" of the human body and its earthly pleasures by directing its physical being into the illuminated and living paths of Torah and Mitzvot.
This melody was taught by the Lubavitcher Rebbe, Rabbi Menachem Mendel Schneerson, of righteous memory, on Simchat Torah, 1958 (5719 ) in keeping with the Rebbe's tradition of teaching a new melody each year on Simchat Torah evening following the Hakofot.
The Lubavitcher Rebbe, Rabbi Menachem M. Schneerson
Cantor Moshe Teleshevsky
|
|
|
Please do not write your own imaginary version of well known history. Because it's part of my history, and I react when someboty changes it.
Ali Shamil was born in Ghimri (Dagistan) as a son of Avarian family. Altought Georgians and Avars have common linguistic relativity, Avars are not Georgians. Distinguished tribe like Chechens or Cherkes of same Caucasion region. Shamil was imam (Islamic leader) and sheik of Nakshibends and commander of Muslim Khazak armies. And this melody was not created by Shamil, this song is attached to his victories. This is a song of wars, loosing friends but at the and the victory, not sadness or for somebody who would sing in prison. Kazaks played and danced this and similar fast-pacing marches after sucessful attacks to Russian strongholds. My roots come from Shamil's family. Khazaks are not Georgians. And this is not a sadness song nor created by my grand uncle Ali Shamil.
|
The confusion by which Sheikh Shamil, a famous Chechen and regional hero, is remembered (by one person at least) as being Georgian, is of course an unfortunate display of ignorance that doesn't help break down barriers either.
|
It should not be so interesting that in the 19th century, one group of strict monotheists belonging to a mystical movement and belonging to a people oppressed by Tzarist Russia should find inspiration in the defiance displayed by a leader of another people oppressed by Tzarist Russia, who also happen to be strict monotheists belonging to a mystical movement. The resemblance goes beyond beards and big hats. Furthermore, the imagery of imprisonment of community leaders is one that Hassidic lore – particularly Chabad – is full of. If Muslims would get past their current hatred of Jewry, maybe they would see that for centuries both groups found much common ground and learned much from each other. But no, media in Muslim countries prefer to portray Jews as a second coming of the crusaders. Even in Dagestan? So be it.
|
|
|
 |
|
|
 |
Shamil
|
|
This soulful melody has a rich background involving a Chechen tribe leader named Shamil. (3:33) | |
|
|
|
|
|
|
|
| This stirring Chassidic melody in three sections
|
| |
|
| The melody with its moving, stimulating tones awaken even the most delicate threads of the soul
|
| |
|
| This is an exciting, joyous melody in two sections, generally sung on Simchat Torah
|
| |
|
| This melody is sung by the Chassidim at their festive occasions
|
| |
|
| This joyous melody, sung in three sections, is sung at happy occasions
|
| |
|
| This melody, is sung in three sections, reflecting the inner joy of the Soul
|
| |
|
| This heartfelt melody divided into three sections, begining with soft moving devotional tones
|
| |
|
| This is a joyful song in three sections, sung frequently at Chassidic gatherings
|
| |
|
| This moving melody, composed by early Chabad Chasssidim, accurately brings forth the message to contemplate one's repentance
|
| |
|
| This song is in four parts, sung with zeal at Chassidic gatherings
|
| |
|
| This melody was sung by the Chabad students is based mainly on emotion of the heart and the expression of the soul
|
| |
|
| This lively melody in three sections is sung at Chassidic gatherings and festive occasions
|
|
|
|
|
|
|
LOGIN
ASK THE RABBI
Play