אָז כְּאֵרַֽשְׂתָּ | Az kÉrasta, a zulat piyyut for Shabbat haGadol by Rabbi Yosef Bonfils

Contributor(s):

Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation) and Joseph ben Samuel Bonfils

Shared on:

26 March 2026 under the Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license

Categories:

Shabbat haGadol, Shaḥarit l'Shabbat ul'Yom Tov

Tags:

11th century C.E., 49th century A.M., acrostic, Acrostic signature, Alphabetic Acrostic, liberation from mitsrayim, Minhag Polin, יוצרות yotsrot, זולת zulat

A zulat (piyyut inserted into the blessing after the Shema) used in the Minhag Polin (Eastern Ashkenaz) rite for Shabbat hGadol, by R. Joseph Bonfils. This poem is a narrative of a debate between Pharaoh and the sons of Amram on whether the people Israel are engaged to God or not.

Source (Hebrew)	Source (English)
אָז כְּאֵרַֽשְׂתָּ בְּתוּלָה בְּמֹֽהַר וְקִדּוּשִׁים בְּאֶֽרֶץ פַּתְרוֹס הׇגְרָרָה בֵּין־קְדֵשִׁים בְּהַגִּֽיעַ זְמַן חֻפָּה בָּרִאשׁוֹן לֶחֳדָשִׁים בַּעֲדָהּ שַׁתָּה שַׁדְכָנִים יְשָׁרִים וּקְדוֹשִׁים׃	As You engaged the virgin^[1] Israel with dowry and betrothal long ago, Although, in Upper Egypt, she was tossed from gigolo to gigolo, By the first month, at the onset of the wedding-chamber time, Benefiting her, You set intermediaries^[2] Moses and Aaron holy and prime.
גָּֽשׁוּ אִי כַפְתּוֹר כְּהׇפְקְדוּ יְדִידִים גַּם־הִרְצוּ דְבָרִים לְמִסְתּוֹלֵל וּגְדוּדִים דְּעוּ כִּי־עַלְמָה בְּבָתֵּיכֶם שׁוֹדְדִים דְּרוּשָׁה לְנִשּׂוּאִין וְעִתָּהּ עֵת דֹּדִים׃	Going to Damietta,^[3] A town on the northern coast of Egypt. The traditional rabbinic interpretation of Kaphtor, dating back to the Targum Jerusalem. where the beloved were accounted for, Giving a talk the arrogant one^[4] Pharaoh and his toadies what for: “Do you know, you despoilers, that girl in your home hither? Destined is she to wed, and the time of love is with her!
הַמֶּֽלֶךְ הַקָּדוֹשׁ כְּמוֹ קִדְּשָׁהּ בַּחֲתֻנָּה הַרְבֵּה סִבְלוֹנוֹת שִׁגֵּר לָהּ בְּמַתָּנָה וְנִשְׁבַּע־לָהּ לְהַכְנִיסָהּ כְּשֶׁתַּעֲמֹד בְּאֵיתָנָהּ וּמֵאָז וְעַד־עַתָּה לְדוֹדָהּ הִמְתִּינָה׃	Engaged, as it were, to the holy King^[5] While the translator normally translates God’s pronouns as They/Them, the conversational portion of the poem allegorizes the relationship between God and Israel as that of a groom and bride, so in that context is is translated as He/Him. to be wed; Endowments abounding He granted as gifts on her head, Whereas He swore to bring her in if she stayed true — Waited has she for her Love from then till now through!
זְדוֹן לִבְּכֶם הִשִּׁיאֲכֶם הַמַּלְכָּה לִכְבּוֹשׁ זְמַנָּהּ לְהַעֲבִיר וּלְעַכְּבָהּ עַד־בּוֹשׁ חֽוּשׁוּ־נָא וְהֵחָלְצוּ מַכָּתָהּ לַחֲבוֹשׁ חָתָן פֶּן־יַעֲבֹר נָקָם יַֽעַט לִלְבֹּשׁ׃	Zenithal pride has brought you to subjugate the queen Zodiacal passing, to delay her, to demean! Hurry, thus, prepare to bandage her wounds Her Husband, vengeance-clad, is coming to you soon!
טָף אֱוִיל וְהֵשִׁיב דִּבְרֵי מִרְמָה טוֹבַת־חֵן שֶׁאֲמַרְתֶּם מְצָאתִֽיהָ עֲרֻמָּה יְרוּדָה עַד־עָפָר פְּרוּעָה וּפְרוּמָה יָדֶֽיהָ אֲסוּרוֹת אֲבָל חֲכָמָה בְעׇרְמָה׃	Trickled back the fool, answering with deceit: “Hey, kid. Talking about this pretty one? I found her bare-naked. In the dust she had fallen, unkempt and wild, In bindings were here hands, but she cunningly beguiled.
כְּנַסְתִּֽיהָ בְּהֵיכָלִי כְּעֵין פַּרְתְּמִים וּפֶחָה כִּלְכַּלְתִּֽיהָ בְּרַעֲבוֹן פֶּן־נַפְשָׁהּ נָפֵחָה לְעֵת חֲזוֹתִי כִּי־גָדְלָה מִשְׁפָּחָה לְקַחְתִּֽיהָ בְּעַד־כַּסְפִּי הֱיוֹת־לִי לְשִׁפְחָה׃	Conveyed to my palace, like some pasha or patrician, Cared for her, I did, lest she pass on from that hungry condition. Learning that she came from a good family Led me to buy her with my money to be a slavegirl for me.”
מַה־יִּקָּחֲךָ לִבְּךָ תֹּאֲנִים בַּהֲשִׁיבָךְ מָֽוֶת קְרָאַתְכֶם כִּכְלוֹת כׇּל־תְּנוּבָךְ נֻצַּלְתֶּם בְּחׇכְמָתָהּ וּפִֽיךָ עָנָה־בָךְ נָדַֽרְתָּ בִּרְצוֹנְךָ לְהוֹרִישָׁהּ כׇּל־טוּבָךְ׃	“My, how your heart comes up with such excuses! Mortality came calling: ‘Fresh out, your produce is!’ Naught but her wisdom saved you — your mouth said it! Note you willingly swore: all your good, she would get it!
סֵֽפֶר מַתָּנָה הׇפְרַע־לָהּ בִּנְחִיצָה סֹב הַיְצֵא כַלָּה מֵאַרְצְךָ חֽוּצָה עֲמָלָהּ תְּשַׁלֵּם אִם־תִּשְׁמַע לְעֵצָה עַד לֹא־תִּתְחַבַּל בְּכָלָה וְנֶחֱרָצָה׃	So pay her back quickly the deed of the gift; Set the bride to turn free from your land, and be swift! Observe this advice: pay her back for her toil, Or else, you are doomed to utter ruin and spoil!”
פִּשְׁפַּֽשְׁתִּי בְּבֵית גְּנָזַי פִּנְקָסִים וּסְפָרִים פֶּן־אֶמְצָא הֶחָתָן שָׁאַתֶּם מְסַפְּרִים צָבָא הֲיֵשׁ־לוֹ וַעֲיָרִים וּכְפָרִים צִפִּֽיתִי וָאַֽיִן שְׁעוּ־לָכֶם עֳפָרִים׃	“Perusing my treasuries, ledgers, and books, Pray, is this Groom you speak of where I look? Chance that He has an army, or cities or towns. Checked, nothing there. Get away, you fawns, you clowns!”
קָצַֽפְתָּ בְּנִבְלוּת־פֶּה וּקְלוֹנְךָ נִתְגַּלָּה קְדוֹשֵֽׁנוּ רַב־חֵילוֹ וּמְפֹאָר בַּעֲגֻלָּה רִיב כְּהִתְגַּלַּע נוֹדַע לְמִי הַסְּגֻלָּה רִדְתְּךָ לְסוֹף בְּעַצְמְךָ לְהִשְׁתַּחֲוֹת לְרַגְלָהּ׃	“Querolous arrogant words, but your evil is shown. Quite a force has our Holy One, in the circle well known! Right when battle breaks out, we’ll see whose is the treasure. Reduced you will be to bowing at her feet for good measure!”
שֹֽׁרֶשׁ נָחָשׁ בְּשׇׁמְעוֹ מַאֲמַר פֵּרוּשָׁם שָׁב וְהִתְעַבֵּר וְצִוָּה חוּצָה לְגׇרְשָׁם תִּכְבַּד הָעֲבוֹדָה עֲלֵי כַלָּה כְּהֻרְשָׁם תְּאוֹמִים סִפְּרוּ מַעֲשֶׂה לַהוֹלֵךְ בְּרֹאשָׁם׃	Sure enough, when the snake-root heard that harsh declaration, Shouted he, turning round, “Kick them out! Insubordination!” Then he harshened the labor of the bride as he decreed. The twins told the matter to the One in the Lead.
יָרַד וְהִתְאִיר חֲנִית מַסָּע וְשִׁרְיָה וַיִּשְׁלַח חִצָּיו לַהֲפוֹךְ עִיר וְקִרְיָה סִבְּבוּם עֲשָׂרָה עֵדִים בְּמַכָּה טְרִיָּה פָּֽצוּ צְאִי כַלָּה עֲנֵפָה וּפֹרִיָּה׃	Just then, They^[6] Here, the translation returns to the gender-neutral pronouns. came down with spear, club, and armor, Overturning with arrows the cities of those who dared harm her. Surrounding them with ten witnesses, grievously scouring, Exclaimed they: “Go out, bride, branching and flowering!
בִּמְחוֹל מְשַׂחֲקִים אָז־יָצְתָה אֲהוּבָה נוֹהֶֽגֶת לִרְקָמוֹת עִם־כַּסְפָּהּ וּזְהָבָהּ שׁוֹדְדִים בַּחֲזוֹתָם בָּעֲרָה בָם לֶהָבָה מִהֲרוּ לִרְדּוֹף כִּי־שָׁבְתָה מַדְהֵבָה׃	Playing and dancing, out the beloved strolled, Holding embroidery wrought with her silver and gold. Saw the despoilers and within them burned flame,^[7] Of greed Mustering up fast to pursue the sitting gold-laden dame.
וַיִּגְעַר בְּיַם־סוּף וַיִּדְרְכוּ בְנַעֲלָם אוֹיְבִים הִטְבִּֽיעַ וְהִמְצִיאָם כְּפִי־פׇעֳלָם לָכֵן שׁוֹרְרוּ יְדִידִים לְמֶֽלֶךְ נֶעֱלָם עוֹזֵר אֲבוֹתֵֽינוּ אַתָּה הוּא מֵעוֹלָם׃	Elaqueated was the Reed Sea so they dry-shod crossed, Soaked were the enemies, by their just deserts they were lost Now the beloved composed song to the Sovereign untold Our ancestors’ help are You since of old!

Notes

Notes
1	Israel
2	Moses and Aaron
3	A town on the northern coast of Egypt. The traditional rabbinic interpretation of Kaphtor, dating back to the Targum Jerusalem.
4	Pharaoh
5	While the translator normally translates God’s pronouns as They/Them, the conversational portion of the poem allegorizes the relationship between God and Israel as that of a groom and bride, so in that context is is translated as He/Him.
6	Here, the translation returns to the gender-neutral pronouns.
7	Of greed

Isaac Gantwerk Mayer (transcription & naqdanut)

From a family of musicians, Isaac Gantwerk Mayer believes that creative art is one of the most powerful ways to get in touch with the divine. He composes music and poetry in Hebrew and English. (He also translates and authors his own original works.) Isaac runs a Jewish music transcription service, which will transcribe and set any Jewish music in any language, recorded or written. Contact his service on Facebook or via his music blog.

Isaac Gantwerk Mayer (translation)

From a family of musicians, Isaac Gantwerk Mayer believes that creative art is one of the most powerful ways to get in touch with the divine. He composes music and poetry in Hebrew and English. (He also authors his own original works and transcribes Hebrew and Aramaic text, adding niqqud and t'amim as needed.) Isaac runs a Jewish music transcription service, which will transcribe and set any Jewish music in any language, recorded or written. Contact his service on Facebook or via his music blog.

Joseph ben Samuel Bonfils

Joseph ben Samuel Bonfils (fl. middle of the 11th c.) was a French rabbi, Talmudist, Bible commentator, and payyeṭan. He is also known by the Hebrew name Tov Elem, a Hebrew translation from the French name "Bonfils." Of his life nothing is known but that he came from Narbonne, and was rabbi of Limoges in the province of Anjou. The ability and activity of Bonfils are best judged from his contributions to the poetry of the synagogue, no less than sixty-two of his piyyuṭim occupying prominent places in the French, German, and Polish liturgies. (Joseph Bonfils must not be confused, as he is by Azulai, with another scholar of the same name, who lived in 1200 and corresponded with Simḥah of Speyer (Responsa of Meïr ben Baruch of Rothenburg. ed. Cremona, No. 148).)

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ויהי נעם אדני אלהינו עלינו ומעשה ידינו כוננה עלינו ומעשה ידינו כוננהו׃ (תהלים צ:יז) · "May the pleasantness of אדֹני our elo’ah be upon us; may our handiwork be established for us — our handiwork, may it be established." (Psalms 90:17)

אָז כְּאֵרַֽשְׂתָּ | Az kÉrasta, a zulat piyyut for Shabbat haGadol by Rabbi Yosef Bonfils

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