{"id":725,"date":"2025-10-06T04:00:00","date_gmt":"2025-10-06T11:00:00","guid":{"rendered":"https:\/\/lamishna.com\/?p=725"},"modified":"2025-12-15T19:40:21","modified_gmt":"2025-12-16T02:40:21","slug":"midrash-rabba","status":"publish","type":"post","link":"https:\/\/lamishna.com\/es_es\/midrash-rabba\/","title":{"rendered":"Donde la Tor\u00e1 habla en par\u00e1bolas: el universo del Midrash Rabb\u00e1"},"content":{"rendered":"\n
\n

\u201cEl Midrash no explica la Tor\u00e1: la hace hablar.\u201d<\/strong>
\u2014 Emmanuel Levinas (fil\u00f3sofo franc\u00e9s de origen jud\u00edo)<\/em><\/p>\n<\/blockquote>\n\n\n\n

1) Qu\u00e9 es \u201cMidrash Rabb\u00e1\u201d<\/h1>\n\n\n\n

\u201cMidrash Rabb\u00e1\u201d no es una \u00fanica obra unitaria<\/strong>, sino un t\u00edtulo colectivo moderno-impreso<\/strong> para diez midrashim ag\u00e1dicos<\/strong>: cinco sobre la Tor\u00e1 (G\u00e9nesis, \u00c9xodo, Lev\u00edtico, N\u00fameros y Deuteronomio) y cinco sobre las Meguilot<\/em> (Cantar de los Cantares, Rut, Lamentaciones, Eclesiast\u00e9s y Ester). El r\u00f3tulo \u201cRabb\u00e1\/\u2018Rabbot\u2019\u201d (\u201cGrande\u201d) naci\u00f3 con G\u00e9nesis Rabb\u00e1<\/strong> y m\u00e1s tarde se extendi\u00f3 a otros; reci\u00e9n en la imprenta veneciana del siglo XVI se consolid\u00f3 el conjunto como \u201cMidrash Rabbot\u201d.<\/p>\n\n\n\n

Punto clave:<\/strong> son compilaciones independientes<\/strong>, de \u00e9pocas, estilos y prop\u00f3sitos distintos (entre tardo-antig\u00fcedad y alta\/plena Edad Media). No deben leerse como un \u201ccorpus cerrado\u201d homog\u00e9neo.<\/p>\n\n\n\n

2) Composici\u00f3n del conjunto (panorama por libro)<\/h1>\n\n\n\n

Pentateuco<\/h2>\n\n\n\n
    \n
  • G\u00c9NESIS RABB\u00c1 (Bereshit Rabb\u00e1)<\/strong>
    Fecha\/Lugar:<\/strong> Palestina tardo-romana, ca. siglos V inicios VI<\/strong> (aprox. 426\u2013500 d.C.).
    Rasgos:<\/strong> exeg\u00e9tico-continuo, verso a verso; hebreo mishnaico con arame\u00edsmos; abundant\u00edsima aggad\u00e1<\/em>. Edici\u00f3n cr\u00edtica cl\u00e1sica: Theodor\u2013Albeck<\/strong>, 1912\u20131936.<\/li>\n\n\n\n
  • \u00c9XODO RABB\u00c1 (Shemot Rabb\u00e1)<\/strong>
    Estructura compuesta<\/strong> (dos secciones de distinta mano y fecha) y fuerte dependencia de literatura Tanjuma-Yelammedenu<\/strong> (g\u00e9nero homil\u00e9tico medieval). Redacci\u00f3n final medieval<\/strong> (n\u00facleos m\u00e1s antiguos).<\/li>\n\n\n\n
  • LEV\u00cdTICO RABB\u00c1 (Vayikra Rabb\u00e1)<\/strong>
    Fecha\/Lugar:<\/strong> consenso actual: siglo V<\/strong> en la Tierra de Israel<\/strong> (aunque Zunz propuso m\u00e1s tarde). Homil\u00edas organizadas con pr\u00f3logos (peti\u1e25tot<\/em>)<\/strong> siguiendo la antigua ciclo trienal<\/strong>. Edici\u00f3n cr\u00edtica mayor: M. Margulies<\/strong>, 5 vols., 1953\u20131960<\/strong>.<\/li>\n\n\n\n
  • N\u00daMEROS RABB\u00c1 (Bamidbar Rabb\u00e1)<\/strong>
    Obra doble<\/strong>:
    \u2013 Parte I (caps. 1\u201314)<\/strong>: exeg\u00e9tica, probablemente m\u00e1s temprana.
    \u2013 Parte II (caps. 15\u2013 end)<\/strong>: casi id\u00e9ntica al Midrash Tanjuma<\/strong> en N\u00fam. 8\u201336; redacci\u00f3n alta\/plena medieval (s. XI\u2013XII)<\/strong>.<\/li>\n\n\n\n
  • DEUTERONOMIO RABB\u00c1 (Devarim Rabb\u00e1)<\/strong>
    Vinculado al g\u00e9nero Tanjuma<\/strong>; existen dos tradiciones<\/strong> llamadas \u201cDevarim Rabb\u00e1\u201d; la que circula en \u201cRabb\u00e1\u201d es homil\u00e9tica, de cierre medieval, con materiales anteriores.<\/li>\n<\/ul>\n\n\n\n

    Cinco Meguilot<\/h2>\n\n\n\n
      \n
    • CANTAR DE LOS CANTARES RABB\u00c1 (Shir ha-Shirim Rabb\u00e1 \/ Aggadat \u1e24azita<\/em>)<\/strong>
      Compilaci\u00f3n palestina antigua (tann\u00e1\u2013amoraica) le\u00edda aleg\u00f3ricamente (D-Israel). Citada por Rashi; sirvi\u00f3 de fuente a Pesiqta Rabbati<\/em>.<\/li>\n\n\n\n
    • RUT RABB\u00c1<\/strong>
      Esp\u00edritu palestino; bebe de Yerushalmi, G\u00e9nesis Rabb\u00e1, Lev\u00edtico Rabb\u00e1 y Eij\u00e1 Rabbat\u00ed<\/em>. Primera edici\u00f3n impresa: Pesaro, 1519<\/strong>; el t\u00edtulo \u201cRabb\u00e1\u201d se impone en impresos venecianos posteriores.<\/li>\n\n\n\n
    • LAMENTACIONES RABB\u00c1 (Eij\u00e1 Rabbat\u00ed)<\/strong>
      Entre los midrashim m\u00e1s antiguos<\/strong>, con 36 pr\u00f3logos consecutivos<\/strong> y abundante material sobre la destrucci\u00f3n del Templo; judeo-palestino, con pr\u00e9stamos griegos.<\/li>\n\n\n\n
    • ECLESIAST\u00c9S RABB\u00c1 (Kohelet Rabb\u00e1)<\/strong>
      Comentario verso a verso; tradici\u00f3n compilatoria compleja (materiales del s. IV en Galilea; redacciones posteriores).<\/li>\n\n\n\n
    • ESTER RABB\u00c1<\/strong>
      Dos obras fusionadas<\/strong>:
      \u2013 Ester Rabb\u00e1 I<\/strong> (m\u00e1s antigua, ca. s. VI, Palestina, exeg\u00e9tica).
      \u2013 Ester Rabb\u00e1 II<\/strong> (m\u00e1s tard\u00eda, ca. s. XI, narrativa expansiva).
      Fusi\u00f3n s. XII\u2013XIII<\/strong>.<\/li>\n<\/ul>\n\n\n\n
      \n

      \u201cDonde termina la historia, comienza la interpretaci\u00f3n.\u201d<\/strong>
      \u2014 Rab\u00ed Yehuda ben Shimon, seg\u00fan tradici\u00f3n midr\u00e1shica medieval<\/em><\/p>\n<\/blockquote>\n\n\n\n

      3) G\u00e9neros y t\u00e9cnicas literarias<\/h1>\n\n\n\n
        \n
      • Exeg\u00e9tico continuo<\/strong> (p. ej., G\u00e9nesis Rabb\u00e1, partes de \u00c9xodo\/N\u00fameros): comenta vers\u00edculo a vers\u00edculo, yuxtapone voces rab\u00ednicas, integra filolog\u00eda popular y aggad\u00e1<\/em>.<\/li>\n\n\n\n
      • Homil\u00e9tico (Tanjuma-Yelammedenu)<\/strong>: organizaci\u00f3n por per\u00edcopas de lectura; pr\u00f3logos (peti\u1e25tot<\/em>)<\/strong> que enlazan un vers\u00edculo for\u00e1neo con la parash\u00e1 del d\u00eda; f\u00f3rmulas de apertura \u201cYelammedenu rabbenu\u2026<\/em>\u201d. Esto marca Lev\u00edtico Rabb\u00e1<\/strong> y buena parte de \u00c9xodo\/Deuteronomio\/N\u00fameros Rabb\u00e1<\/strong>.<\/li>\n<\/ul>\n\n\n\n

        4) Lengua, fuentes y milieux<\/h1>\n\n\n\n
          \n
        • Hebreo mishnaico<\/strong> con arama\u00edsmos; en obras antiguas aparecen helenismos<\/strong> (p.ej., Eij\u00e1 Rabbat\u00ed<\/em>).<\/li>\n\n\n\n
        • Fuentes internas<\/strong>: Yerushalmi, otros midrashim palestinos (p.ej., Pesiqta de-Rav Kahana<\/em>), tradici\u00f3n tann\u00e1-amoraica<\/em>; en secciones medievales, uso\/absorci\u00f3n de Tanjuma<\/strong>.<\/li>\n\n\n\n
        • Contexto<\/strong>: Palestina tardoantigua (G\u00e9nesis y Lev\u00edtico Rabb\u00e1) con di\u00e1logos cr\u00edticos frente a Roma; etapas medievales en Europa\/Provenza-Catalu\u00f1a (consolidaci\u00f3n \u201cRabbot\u201d).<\/li>\n<\/ul>\n\n\n\n

          5) Transmisi\u00f3n: manuscritos, primeras impresiones y ediciones cr\u00edticas<\/h1>\n\n\n\n
            \n
          • Manuscritos clave (G\u00e9nesis Rabb\u00e1):<\/strong> Brit. Mus. Add. 27169; Vaticano 30 y 60, entre otros; base de la edici\u00f3n Theodor\u2013Albeck<\/strong>.<\/li>\n\n\n\n
          • Editio princeps (Pentateuco):<\/strong> Constantinopla, 1512<\/strong>, hito pero con inexactitudes.<\/li>\n\n\n\n
          • Primera impresi\u00f3n conjunta Pentateuco + Meguilot:<\/strong> Venecia, 1545<\/strong> (imprenta veneciana; consolidaci\u00f3n del r\u00f3tulo \u201cMidrash Rabbot\u201d).<\/li>\n\n\n\n
          • Meguilot (ed. princeps):<\/strong> Pesaro, 1519<\/strong> (Ruth, etc.).<\/li>\n\n\n\n
          • Ediciones cr\u00edticas modernas destacadas:<\/strong>
            \u2013 G\u00e9nesis Rabb\u00e1<\/strong>: Theodor\u2013Albeck<\/strong>, 1912\u20131936.
            \u2013 Lev\u00edtico Rabb\u00e1<\/strong>: Mordechai Margulies<\/strong>, 1953\u20131960.<\/li>\n<\/ul>\n\n\n\n
            \n

            \u201cEn cada generaci\u00f3n, el Midrash vuelve a escribirse, porque el hombre sigue preguntando.\u201d<\/strong>
            \u2014 Martin Buber<\/em><\/p>\n<\/blockquote>\n\n\n\n

            6) Contenidos y ejemplos tem\u00e1ticos<\/h1>\n\n\n\n
              \n
            • Teolog\u00eda e historia<\/strong>: creaci\u00f3n, patriarcas, exilios, Templo, relaci\u00f3n Dios-Israel (p. ej., Cantar Rabb\u00e1<\/strong> en clave aleg\u00f3rica).<\/li>\n\n\n\n
            • Predicaci\u00f3n y liturgia<\/strong>: peti\u1e25tot<\/em> m\u00faltiples en Eij\u00e1 Rabbat\u00ed<\/strong> (36 seguidas), indicio de uso sinagogal en ayunos y Tish\u00e1 BeAv.<\/li>\n\n\n\n
            • M\u00e9todos<\/strong>: etimolog\u00edas midr\u00e1shicas, par\u00e1bolas, proverbios, citas encadenadas; integraci\u00f3n de materiales hagiogr\u00e1ficos y folklore rab\u00ednico. (Visi\u00f3n general acad\u00e9mica).<\/li>\n<\/ul>\n\n\n\n

              7) Cronolog\u00eda orientativa (consenso acad\u00e9mico actual)<\/h1>\n\n\n\n
                \n
              • Antiguos (s. V\u2013VI, Palestina):<\/strong> G\u00e9nesis Rabb\u00e1<\/strong>, Lev\u00edtico Rabb\u00e1<\/strong>, Lamentaciones Rabb\u00e1<\/strong>, capas antiguas de Cantar<\/strong> y Ester Rabb\u00e1 I<\/strong>.<\/li>\n\n\n\n
              • Intermedios\/mixtos:<\/strong> Ruth Rabb\u00e1<\/strong>, Eclesiast\u00e9s Rabb\u00e1<\/strong> (tradici\u00f3n antigua con redacciones ulteriores).<\/li>\n\n\n\n
              • Medievales o de cierre medieval:<\/strong> \u00c9xodo Rabb\u00e1<\/strong> (compuesto), N\u00fameros Rabb\u00e1<\/strong> (Parte II ~ Tanjuma), Deuteronomio Rabb\u00e1<\/strong> (Tanjuma).<\/li>\n<\/ul>\n\n\n\n

                8) C\u00f3mo leerlos hoy (uso acad\u00e9mico y pedag\u00f3gico)<\/h1>\n\n\n\n
                  \n
                • Filol\u00f3gicamente:<\/strong> siempre con ediciones cr\u00edticas<\/strong> y aparatos de variantes<\/strong> (Theodor\u2013Albeck; Margulies para Vayikra Rabb\u00e1).<\/li>\n\n\n\n
                • Comparativamente:<\/strong> cotejar Tanjuma-Yelammedenu<\/strong> en \u00c9xodo\/N\u00fameros\/Deuteronomio para distinguir capas y pr\u00e9stamos.<\/li>\n\n\n\n
                • Contextualmente:<\/strong> ubicar homil\u00edas en ciclos lit\u00fargicos (trienal\/festivo) y en pol\u00e9micas tardo-romanas (p.ej., cr\u00edtica a legalidad romana en Lev\u00edtico Rabb\u00e1).<\/li>\n\n\n\n
                • Acceso digital (texto y traducciones\/\u00edndices):<\/strong> Sefaria<\/strong> ofrece los diez \u201cRabb\u00e1\u201d con notas introductorias \u00fatiles para fecha, estructura y bibliograf\u00eda.<\/li>\n<\/ul>\n\n\n\n
                  \n

                  \u201cInterpretar es un modo de rezar.\u201d<\/strong>
                  \u2014 Abraham Joshua Heschel<\/em><\/p>\n<\/blockquote>\n\n\n\n

                  9) Errores comunes que conviene evitar<\/h1>\n\n\n\n
                    \n
                  1. Tratar \u201cMidrash Rabb\u00e1\u201d como obra \u00fanica<\/strong>: no lo es.<\/li>\n\n\n\n
                  2. Suponer que todo es tardo-antiguo<\/strong>: varias secciones son medievales<\/strong> con fuerte impronta Tanjuma<\/strong>.<\/li>\n\n\n\n
                  3. Citar sin edici\u00f3n cr\u00edtica: p.ej., G\u00e9nesis Rabb\u00e1<\/strong> debe consultarse con Theodor\u2013Albeck<\/strong>; Lev\u00edtico Rabb\u00e1<\/strong> con Margulies<\/strong>.<\/li>\n<\/ol>\n\n\n\n
                    \n

                    \u201cQuien se sienta ante el Midrash, se sienta ante el coraz\u00f3n del juda\u00edsmo.\u201d<\/strong>
                    \u2014 Rab\u00ed Adin Steinsaltz<\/em><\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

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