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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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2023 —⟶ April 🡄 (Previous month) :: 📅 March 2023 📅 May 2023 :: (Next month) 🡆 📅 Resources published in April 2023 Sorted Chronologically (old to new). Sort most recent first? This untitled “evening mediation,” a bedtime prayer, was written by Dinah Julia Levi née Emanuel and included by her daughter, Annie Josephine Levi, in her anthology of teḥinot in English, Meditations of the Heart (1900), pp. 74-75. Categories: Tags: Contributor(s): The poem “Unsung Heroism” was written by Annie Josephine Levi and published in her anthology of teḥinot in English, Meditations of the Heart (1900), page 141. Meditation of the Heart: A Book of Private Devotion for Young and Old (1900) is a collection of teḥinot in English, selected, arranged, and written by Annie Josephine Levi. The introduction was written by the Rabbi Gustav Gottheil. We know very little else about Levi save that she contributed short stories, poems, and essays to periodicals and was active from 1895-1905. (If you know more about her, please contact us.) “A Child’s Prayer on its Birthday” was written by Frederick de Sola Mendes and published in the anthology, The Jewish Home Prayer-Book (1887), page 130. “A Child’s Prayer on its Parent’s Birthday” was written by Frederick de Sola Mendes and published in the anthology, The Jewish Home Prayer-Book (1887), pages 130-131. A prayerbook containing prayers for private and family use in the home, in vernacular English, expanding upon a prayerbook intended for the same purpose but in German by Benjamin Szold and Marcus Jastrow. This is Rabbi Benjamin Szold’s הגיון לב (Higayon Lev) Israelitisches Gebetbuch für die Häusliche Andacht, “second completely revised edition” edited by Rabbi Marcus Jastrow (1875). This work was subsequently translated into English by Benjamin Szold’s daughter, Henrietta Szold, and her manuscript used as the draft for the Jewish Ministers’ Association’s Jewish Home Prayer-Book (1887). “On the Following Inscription Fronting the New Synagogue: ‘Know Before Whom Thou Standest'” was published in Secular and Religious Works of Penina Moïse, With Brief Sketch of Her Life (Council of Jewish Women, Charleston Section, 1911), pp. 275-276. Categories: Tags: 19th century C.E., 57th century A.M., etiquette, exhortation, דע לפני מי אתה עומד Know Before Whom You Stand, Synagogues Contributor(s): “On Beholding the New Synagogue, 1840” was published in Secular and Religious Works of Penina Moïse, With Brief Sketch of Her Life (Council of Jewish Women, Charleston Section, 1911), pp. 269-270. Categories: Tags: 19th century C.E., 57th century A.M., dedications and consecrations, synagogue consecration, Synagogues Contributor(s): This is a version of the Invocation of Baraqon, a spell found in the Key of Solomon (Clavicula Solomonis) and its Hebrew translations (Mafteaḥ Shlomo). This particular variation is as found on the folios 70a-70b of a manuscript republished as ספר מפתח שלמה Sepher Maphteaḥ Shelomo (Book of the Key of Solomon): An exact facsimile of an original book of magic in Hebrew (1914) with a partial transcription translated into English by Rabbi Sir Hermann Gollancz. Claudia Rohrbacher-Stricker writes that Gollancz had located the manuscript in the collection of his father, Samuel H. Gollancz. The manuscript itself dated from around 1700 in Amsterdam, in a Sefardic script. Gershom Scholem was able to prove the Arabic origin of the Baraqon operation in “Some Sources of Jewish-Arabic Demonology,” Journal of Jewish Studies, vol. 16 (1965), p. 6. Categories: Tags: 18th century C.E., 55th century A.M., Baraqon, circle drawing, entering magical territory, Mafteah Shlomo Contributor(s): Ḥad Gadya has a place in Seder tables throughout the Jewish world, and in many communities it was read in translation. This Middle Egyptian translation was almost certainly the one that Moshe Rabbeinu himself sang at his seder table that fateful night in Egypt! …Not really. Ḥad Gadya postdates Middle Egyptian as a written language by about three millennia. But it’s fun and Pesaḥ-appropriate to sing this song in the language of that dagnabbed Pharaoh himself. Also included is a transcript of the text into Hebrew script, since Judeo-Hieroglyphics don’t exist… yet. Eh, the alphabet was adapted from hieroglyphics from the start. It’s fine. You could even say it’s an improvement. For reading out loud I’ve also included the standard Egyptological pronunciation system. If you’re stuck in a time machine be careful, it’s an artificial convention that should not be mistaken for how Egyptian was pronounced at the time. But personally I think “Tutenkhamen” is easier to say than *Təwā́təʾ-ʿā́nəkh-ʾamā́nəʾ, so sue me. Categories: Tags: 21st century C.E., 58th century A.M., alternate timeline, Aramaic, Egyptian, חד גדיא Ḥad Gadya, Late Bronze Age, Middle Egyptian, נרצה Nirtsah, פיוטים piyyuṭim, predation, salvation, זמירות zemirot Contributor(s): This is a complete poetic rhyming translation of Maoz Tsur with all six of its stanzas including a seventh, final stanza written by Isaac Gantwerk Mayer specifically for Yom ha-Atsmau’ut. Categories: Tags: 13th century C.E., 21st century C.E., 51st century A.M., 58th century A.M., Acrostic signature, High Middle Ages, Mainz, מעוז צור Maoz Tsur, פיוטים piyyuṭim, rhyming translation Contributor(s): This piyyut, Elaha Taqifa (Mighty God), the third in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the concluding verse of the second aliyah (third on Shabbat). The translation preserves the alphabetical acrostic, as well as the authorial tag — Jequtiel son of Joseph. This piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): This piyyut, Abunan D’biShmaya (Our Parent in Heaven), the second in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the fifth verse of the first aliyah (or second verse of the second aliyah on Shabbat). Categories: Tags: 11th century C.E., 49th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): This piyyut, Elaha Alam (Ageless God), the fourth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the Song of the Sea proper as an introduction to the targum of the text. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): This piyyut, Ilu Pume Nima (If Our Mouths Were Thread), the first in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the first aliyah, as an introduction or ‘reshut’ to the seder meturgeman as a whole. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): This piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): This piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, פיוטים piyyuṭim, שירת הים Shirat haYam, תרגום targum Contributor(s): | ||
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