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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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2024 —⟶ Page 20 A Ge’ez translation of the popular Passover seder song, Ḥad Gadya. . . . Categories: Tags: 16th century C.E., 21st century C.E., 53rd century A.M., 58th century A.M., Aramaic, Beta Esrael, Ethiopian Jewry, Ethiopic translation, חד גדיא Ḥad Gadya, פיוטים piyyuṭim, predation, salvation, זמירות zemirot Contributor(s): An original version of Ḥad Gadya which has been fully Aramaicized, with all the Hebrew words removed and the verbs conjugated properly. . . . Categories: Tags: 16th century C.E., 21st century C.E., 53rd century A.M., 58th century A.M., Aramaic, חד גדיא Ḥad Gadya, פיוטים piyyuṭim, predation, salvation, זמירות zemirot Contributor(s): “Purim Kirtan” is a traditional Purim song of the Bene Israel community of Mumbai, India. Many thanks to our friends at the Jewish Language Project and to their team member Jacob Kohn for recording, transcribing, and translating the song as sung by Rivkah Moshe. . . . Categories: Tags: Contributor(s): A piyyuṭ sung by the Jews of Algiers on Shavu’ot and Simḥat Torah (and by some Moroccans for baqashot on Parashat Toldot). Yayin Tov Ratov is a love song from the perspective of God that uses a lot of language from Song of Songs. Wine and song, in this case, are both metaphors for the Torah. Of unknown origin, the acrostic spells out the name יצחק, although I can confirm that it wasn’t me who wrote it. . . . Categories: Tags: Acrostic signature, Algiers, בקשות Baqashot, love, Maghrebi Jewry, פיוטים piyyuṭim, פרשת תולדת parashat Toldot, Wine Contributor(s): This somewhat crude Purim song is sung in many variants in the Moroccan and Gibraltar Sephardic communities, often to the tune of the popular Purim hymn “Akh Ze Hayom Kiviti.” . . . Categories: Tags: Contributor(s): This is the remarkable and unique form of the prayer Elohai Neshamah as found in the Ets Ḥayyim, a compendium of law and tradition of the Jews of England completed in 1287 by Jacob Jehudah Ḥazzan of London (only three years before the expulsion of the Jews from England). . . . This is an English translation of Maoz Tsur published by The Hebrew Standard for their 1893 Ḥanukkah issue (vol. 29, no. 12, New York, Friday, 8 December 1893 — 29 Kislev 5654). The Hebrew Standard was one of the biggest English-language Jewish papers in America around the turn of the twentieth century, generally taking a more traditionalist line than the Reform papers and a more moderate line than the leftist ones. This translation, simply titled “Chanukah”, unfortunately goes unattributed in the pages of The Hebrew Standard. The translation follows an ABABCCDD rhyme scheme (for those unfamiliar with rhyme scheme notation, this is the same rhyme scheme as “The Star-Spangled Banner“), unlike the Hebrew’s ABABBBccB. . . . Categories: Tags: 13th century C.E., 51st century A.M., ABABCCDD, Acrostic signature, American Jewry of the United States, High Middle Ages, Mainz, מעוז צור Maoz Tsur, national anthems, Needing Attribution, Patriotic hymns, פיוטים piyyuṭim, rhyming translation Contributor(s): This Purim song, popular among the Sephardic and Italki communities of Livorno, can be sung to the melody of “Akh, Zeh Hayom Kiviti.” Like a lot of Italian Purim content, a large portion of it is listing different desserts. . . . Categories: Tags: Contributor(s): A medieval manuscript illustration of the aggadah that the Yam Suf was split in 12 discrete channels, one for each tribe, as reflected above by a 12-color rainbow . . . Categories: Tags: 12th century C.E., 50th century A.M., אז ישיר Az Yashir, קריעת ים סוף qriyat yam suf, safe passage, פרשת בשלח parashat B'shalaḥ, שבת שירה shabbat shirah, שירת הים Shirat haYam, Song of the Sea, the Rainbow Contributor(s): This piyyut, attributed to Menaḥem ben Aharon, is found in the Maḥzor Vitry, siman 465. It is a note-for-note structural parody of a beloved Pesaḥ maarava poem, Leil Shimurim. Israel Davidson, in his 1907 work “Parody in Jewish Literature,” writes, “The parodist apparently has no other aim than to dress a wine-song in the garb of a religious hymn. The burden of the song is that on Purim one must throw of all care and anxiety… But in order to make our happiness complete, we must remember the needy, and share our luxuries with those that are in want of them.” . . . Categories: Tags: 12th century C.E., 50th century A.M., מערבות maaravot, parody, פיוטים piyyuṭim, Purim parody, purimspiel Contributor(s): Shnei Zeitim, by Shlomo ibn Gabirol, was once the most beloved song for Ḥanukkah. Though in recent years it has largely been replaced in popular consciousness by Maoz Tsur, in rites which preserve the customs of piyyut recitation within the Shema service it is still a beloved part of the holiday. The piyyut, a meorah — intended to introduce the ḥatimah for the Ahavah Rabbah blessing before the Shema, is included here with an original translation. Interestingly enough, Shnei Zeitim has an anti-Hasmonean focus, with emphasis on the importance of separation of powers between priest and king. For further discusson of this aspect, I’d recommend Yitzhak Szyf’s article on The Lehrhaus. . . . Categories: Tags: Contributor(s): The maaravot-cycle of piyyutim for the first night of Shavuot, by Joseph ben Samuel Bonfils. In normative maaravot fashion, it is one extended cycle with an overarching structure (the first words of each of the Ten Commandments) throughout the whole of the kriat shema, with additional piyyutim incorporated into the first blessing after the shema. . . . A “bikkur” piyyut traditionally added at the end of Hashkivenu for Shavˁuot in the Old French (and Maḥzor Vitry) and Romaniote rites. From the acrostic we know the author was named Yosef ben Yaˁakov. Other than that we know very little about this poem’s origin and age, although its structure fits with the early Ashkenazi piyyut oeuvre. . . . Categories: Tags: Contributor(s): The custom of reciting BaMeh Madliqin, the second chapter of Mishnah Shabbat, on Friday nights probably originated as an anti-Karaite polemic. While the Karaites were opposed to any use of fire on Shabbat, rabbinic Jews kindle lights before Shabbat, and the recitation of BaMeh Madliqin — the laws of Shabbat lights — emphasized this distinction. One of the best firsthand sources we have for this is the following introductory blessing from the Cairo Genizah (T-S NS 299.150 verso) for the recitation of BaMeh Madliqin, first published by Naftali Wieder in this article. This blessing emphasizes the continuity of the Torah both written and oral from Sinai to the sages and elders. . . . Categories: Tags: anti-karaite, במה מדליקין bameh madliqin, Cairo Geniza, candle lighting, geonic period, kindling, lamp lighting, oral torah, polemic Contributor(s): A blessing before the recitation of psalms, used in the old Eretz Yisrael rite as found in the Cairo Geniza. Since its structure is similar to the blessing before the haftara which is often cantillated, I have taken the liberty of adding psalmodic cantillation to the text. . . . Categories: Tags: Contributor(s): The prayers invoking the memory of the Aqeidat Yitsḥaq (Genesis 22:1-19) in the morning preparatory prayers in the liturgical custom of the Sefaradim. . . . Categories: Tags: Avraham Avinu, Children of Avraham, in the merit of our ancestors, Nusaḥ Sefaradi, self-sacrifice, יצחק Yitsḥaq Contributor(s): The prayers invoking the memory of the Aqeidat Yitsḥaq (Genesis 22:1-19) in the morning preparatory prayers in the liturgical custom of Ashkenaz. . . . Categories: Tags: Avraham Avinu, Children of Avraham, in the merit of our ancestors, Nusaḥ Ashkenaz, self-sacrifice, יצחק Yitsḥaq Contributor(s): A magen piyyut (recited as part of the first blessing of Shaḥarit) for the second day of Rosh haShanah by Rabbi Shimon bar Isaac “the Great” of Mainz. Here translated preserving the acrostic, slightly edited from its form as part of a day 2 service maḥzor designed by Isaac Gantwerk Mayer. . . . Categories: Tags: 10th century C.E., 48th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, מגן אבות magen avot, Nusaḥ Ashkenaz, פיוטים piyyuṭim Contributor(s): A rahit (a chain piyyut before the silluq) for the second day of Rosh haShanah, by R’ Shimon bar Isaac “the Great” of Mainz. Here translated preserving the acrostic, slightly edited from its form as part of a day 2 service maḥzor designed by Isaac Gantwerk Mayer. . . . A Byzantine-era Aramaic piyyut for Purim, perhaps written as an introduction to the Megillah reading. It tells the narrative of the Jewish people from Abraham to the final redemption, focusing on the foes who sought to destroy us and their inevitable failure to do so. Uniquely among early-medieval poems, this one actively mentions the Romans (read: Christians) and Saracens (read: Muslims) and prays for their downfall in non-coded language. This translation loosely preserves the couplet rhyme scheme, as well as the alphabetical acrostic — perhaps with a phonetic punning reference to the name “Shlomo” at the end. . . . | ||
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