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2023 —⟶ Page 22 This is Isaac Pinto’s English translation of Adon Olam from Prayers for Shabbath, Rosh-Hashanah, and [Yom] Kippur (1766), p. 29. The translation there appears without the Hebrew. The Hebrew text of the piyyut set side-by-side with the translation was transcribed from Rabbi David de Sola Pool’s Tefilot l’Rosh haShanah (1937). . . . Ḥakham Ishak Nieto’s translation of Adon Olam was first printed on page 197 of Orden de las Oraciones de Ros-ashanah y Kipur (1740), his maḥzor in Spanish translation for Rosh haShanah and Yom Kippur. The Hebrew text of the piyyut set side-by-side with the translation was transcribed from Rabbi David de Sola Pool’s Tefilot l’Rosh haShanah (1937). . . . בִּמְתֵי מִסְפָּר | BiM’tei Mispar, a seliḥah for Taanit Esther by Meshullam ben Ḳalonymus (11th c.)A reverse alphabetic acrostic seliḥah piyyut for Taanit Esther in Hebrew with English translation . . . Categories: Ta'anit Esther אָדָם בְּקוּם עָלֵֽינוּ | Adam B’qum ‘Alenu, a seliḥah for Taanit Esther by Menaḥem ben Makhir (ca. 11th c.)An alphabetic acrostic seliḥah piyyut for Taanit Esther in Hebrew with English translation . . . Categories: Ta'anit Esther אִזֵל מֹשֶׁה | Izel Mosheh (Arise, Moses) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis 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: 7th Day of Pesaḥ 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): Unknown, Isaac Gantwerk Mayer (transcription & naqdanut) and Isaac Gantwerk Mayer (translation) אֱלָהָא תַּקִּיפָא רַבָּא וְגִבָּרָא | Elaha Taqifa (Mighty God) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Yequtiel ben YosefThis 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. . . . Categories: 7th Day of Pesaḥ אֱלָהָא עָלַם | Elaha Alam (Ageless God) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)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: 7th Day of Pesaḥ אֲבוּנָן דְּבִשְׁמַיָּא וּבָרְיַן | Abunan D’biShmaya (Our Parent in Heaven) — a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)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: 7th Day of Pesaḥ אִילּוּ פּוּמֵּי נִימֵי | Ilu Pume Nima (If Our Mouths Were Thread) — an introductory a piyyut for the Seder Meturgeman of the 7th Day of Pesaḥ by Meir ben Isaac Nehorai of Orléans (ca. 11th c.)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: 7th Day of Pesaḥ קרובות לתענית אסתר | Ḳerovot for Taanit Esther by Yosef ibn Abitur (ca. 10th c.) with other seliḥot arranged by Isaac Gantwerk MayerThe poetic genre known as qerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar haḲalir’s Purim “Ḳrovetz“, a majestically interwoven piece of piyyut if ever there was one. But there are many other ḳerovot that have historically been recited, many of which were discovered in the Cairo Geniza. This set of ḳerovot, composed by the prolific Spanish paytan Yosef ibn Abitur, is meant to be included within the Shaḥarit amidah for Ta’anit Esther, the fast day before Purim. Consequently, it only goes up to the sixth blessing (the blessing for forgiveness) and concludes by leading directly into Seliḥot, which (before R. Yosef Karo’s standardization of the liturgy, and even now among some Western Ashkenazim) were inserted into the aforementioned blessing. In order to demonstrate this structure on a large scale, the editor here has compiled a full Shaḥarit repetition, nusaḥ Ashkenaz, incorporating the qerovot of Yosef ibn Abitur as well as the three seliḥot piyyutim of the Ashkenazi rite. . . . Categories: Ta'anit Esther אַתָּה הָאֵל עוֹשֵׂה פְלָאוֹת | Atah ha-El Oseh Fela’ot, a seliḥah for Taanit Esther by Shimon bar Isaac (ca. 10th c.)An alphabetic acrostic seliḥah piyyut for Taanit Esther in Hebrew with English translation . . . Categories: Ta'anit Esther “Elimelekh G’la” is a Byzantine-era Western Aramaic poetic retelling of the Book of Ruth. It was probably originally used as part of the liturgy for Shavuot, perhaps as a poetic addition to the recitation of a Targumic interpretation of the Book of Ruth. (The verses from Ruth and Psalms appended to the coda of the piyyuṭ would suggest such a Sitz im Leben.) But in any case, it has a great acrostic structure and rhyme scheme, and ought to be preserved! Here is included a vocalized text, largely based on the unvocalized text compiled in Jewish Palestinian Aramaic Poetry from Late Antiquity (ed. Yahalom and Sakaloff, 1999) where it’s the tenth poem recorded. ‘ve added a rhyming poetic translation that preserves the Hebrew acrostic. Credit to Laura Suzanne Lieber’s literal translations of these poems (in Jewish Aramaic Poetry from Late Antiquity: Translations and Commentaries, 2018), which have served as a very helpful resource for the project. . . . Categories: Shavuot “Aḥeinu” is the final prayer in a set of supplications recited on Mondays and Thursdays as the Torah scroll is being prepared to be returned to the Aron. The prayer is first found with variations in wording in the surviving manuscripts of the Seder Rav Amram Gaon (ca. 9th c.). . . . אֲשֶׁר בָּרָא יֵין עָסִיס | Asher Bara Yayin ‘Asis — a Poetic Extension of the Blessing over Wine for the Passover Seder (ca. 9th c.)The following piyyut seems to have been customarily used in some Babylonian communities as an extensive replacement for the “creator of the vine-fruit” opening of the kiddush. Rav Saadia Gaon forbade it for being an alteration of the talmudic formula, but his successor Rav Hai Gaon permitted it for its cherished status. No communities today have preserved a custom of reciting it, but in 1947 Naphtali Wieder (zçl) published a text he found in the Cairo Geniza, which is replicated and translated below. Daniel Goldschmidt (zçl) suggests that it may be in it of itself a compilation of two different rites. The conjunction point is marked below with a black line. . . . Categories: Ḳadesh אֵל לִבִּי פְּתַח | El Libbi Păthaḥ — a Prayer of Yemenite Jewish Children Before Study, translated by Isaac Gantwerk MayerIn Yemenite Jewish children’s schools, this prayer of unknown authorship is said before the lesson in unison. The teacher conducts and the children sing together to a melody. The prayer is printed in tajjim (Yemenite trilingual Pentateuch codices) before the book of Leviticus, traditionally the starting point for a child’s education. The first twenty-two lines of the prayer are an alphabetical acrostic wherein each line spells out the entire letter in which it starts. For instance, the first line spells out Alef, Lamed, and Pe, which spells out the full name of the letter Alef. This is followed by three Biblical verses all starting with the word “Good,” a brief poem in Hebrew, and a concluding passage largely in Judeo-Arabic. Here the editor has included the original text, along with a non-gendered English translation and a transcription of the Judeo-Arabic text into Arabic script. . . . Categories: Learning, Study, and School Tags: Aleph-Bet, Alphabetic Acrostic, children's education, education, Judeo-Arabic, nusaḥ baladi, otiyot, Pedagogical songs, Prayers before Torah Study, Yemenite Jewry Contributor(s): Unknown, Isaac Gantwerk Mayer (transcription & naqdanut) and Isaac Gantwerk Mayer (translation) 💬 ספר תולדות ישו, לפי נוסח שטרסבורג | The Book of the Generations of Yeshu, according to the Strasbourg Variant, cantillated and vocalized by Isaac Gantwerk MayerOne of many variants of this notorious work, the Sefer Toldot Yeshu is an irreverent retelling? a bitter deconstruction? a mocking parody? of the Christian narrative of the birth, life, and death of Jesus of Nazareth. Taking its general structure from the gospels, it coöpts and alters it to make the main character look like a petty, vindictive sorcerer, his disciples into either sectarian liars or loyal rabbinic plants, and his followers into easily duped fools. Toldot Yeshu was a very popular work in medieval times, and you can tell — this sort of a text was certainly written by someone whose primary relationship with Christians was fear. It’s the bitter invective of an oppressed people without power for themselves, the dirty laundry that two thousand years of murder leaves behind. It’s also, just, like unspeakably, hilariously crude. Have a garlicky Nittel, everyone! . . . Tags: combating anti-Jewish oppression, entering magical territory, geonic period, Jewish-Christian relations, קלנדס Ḳalends, mytho-historical chronicles, particularism and universalism, polemic, סטרנורא Saturnalia Contributor(s): Unknown, Isaac Gantwerk Mayer (transcription & naqdanut) and Isaac Gantwerk Mayer (translation) אֵל אָדוֹן (אשכנז) | El Adōn, a piyyut attributed to the Yordei Merkavah (alphabetic acrostic translation by Rabbi Sam Seicol)The piyyut El Adon in its nusaḥ Ashkenaz variation set side-to-side with an acrostic alphabetic translation in English. . . . מַן־כְּוָתָךְ | Man K’vatakh (Who is Like You) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis 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: 7th Day of Pesaḥ 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): Unknown, Isaac Gantwerk Mayer (transcription & naqdanut) and Isaac Gantwerk Mayer (translation) אָמַר אוֹיֵב | Amar Oyev (The Enemy Said) — a piyyut for the Seder Meturgeman of the 7th Day of PesaḥThis 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: 7th Day of Pesaḥ 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): Unknown, Isaac Gantwerk Mayer (transcription & naqdanut) and Isaac Gantwerk Mayer (translation) אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ | Oy Na Lanu Ki Ḥatanu (Woe alas unto us, for we have sinned), a ḳinah possibly by Elazar ben Killir (ca. 7th c.)This anonymously authored ḳinah (קינה, song of “lamentation”) begins with the line “אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ” (oy na lanu ki ḥatanu, “Woe—alas—unto us, for we have sinned”). Although the ancient Roman Jewish historian Flavius Josephus blames the Roman Empire for the destruction of the Jewish Temple in Jerusalem in 70 CE—and Roman art even celebrates the Roman capture of the Temple’s candelabrum—this ḳinah suggests that the destruction of Jerusalem was, at least partially, the result of Jewish discord. The ḳinah, which was long part of the Romanian prayer service for Tish’ah b’Av, appears in few other traditional prayerbooks for Tish’ah b’Av. It seems that the author of this ḳinah was El’azar ben Kallir (ca. 570–640 CE), who composed approximately half of the kinot most commonly inserted into contemporary Tish’ah b’Av prayerbooks that include the 40-odd most common kinot (קינות, plural of ḳinah) Jews sang throughout Europe during much of the early modern period. The author did not sign their name but left us with an alphabetical acrostic listing of often-concrete reasons to mourn today. . . . Categories: Tishah b'Av | ||
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