This is a Mi Khamokha piyyut by Yisrael Najara for Shabbat Ḥanukkah retelling Megilat Antiokhos in a lengthy fourfold acrostic with each stanza ending in בוֹ. . . .

A zemer for shabbat, with English translation. . . .

A crucial intention to align one’s davvenen practice with the command to love one’s fellow as oneself per Leviticus 19:18, as recorded in Minhagei ha-Arizal–Petura d’Abba, p.3b by Ḥayyim Vital. . . .

According to Joseph Judah Chorny’s On the Caucasian Jews, this acrostic piyyuṭ was customarily used as an epithalion before a wedding. He writes, “Before morning light, the bride is led to the groom’s house accompanied by many women and men, all carrying lit wax candles in their hands, and singing this song along the way.” Variants of this piyyut are found throughout the greater Sephardic world, generally in an abbreviated and slightly altered form. In Syria it is sung during the haqafot for Simḥat Torah, while in Livorno Sephardic practice (and subsequently in most Eastern Sephardic maḥzorim) it is a Shavu’ot piyyut. . . .

The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Len Fellman. . . .

A piyyut in Judeo-Greek for introducing the Decalogue. . . .

The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Reb Zalman. . . .

The popular piyyut, Yedid Nefesh, in Hebrew with English translation. . . .

A variation of the piyyut “Yedid Nefesh” in Hebrew with English translation. . . .

A variation of the piyyut “Yedid Nefesh” in Hebrew with English translation. . . .

A variation of the piyyut, Yedid Nefesh, in Hebrew with a creative English translation. . . .

The piyyut, Yedid Nefesh, in Hebrew with an English translation. . . .

Rabbi Zalman Schachter-Shalomi, z”l, included his translation of Rabbi Yitsḥak Luria’s prayer “Hareni Moḥel” (I hereby forgive) in his Siddur Tehillat Hashem Yidaber Pi (2009). To the best of my ability, I have set his translation side-by-side with a transcription of the vocalized text of the prayer. The prayer by the ARI z”l was first published in Ḥayim Vital’s Pri Ets Ḥayyim, Shaar Kriyat Shema al Hamitah, Pereq 2 (פרי עץ חיים, שער קריאת שמע שעל המיטה, פרק ב), and based on the statement of Reish Lakish in the Bavli Pesachim 66b and the practice of Mar Zutra attested in the Bavli Megillah 28a . . .

An interpretive translation in English of the shabbes hymn Yom Zeh l’Yisrael. . . .

A translation of the piyyut Yom Zeh l’Yisrael. . . .

A piyyut by the ARI for the day of Shabbat in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . .

An abridged rhymed translation of the piyyut Yom Zeh l’Yisrael. . . .

The Friday evening shabbat piyyut, Atqinu Seudata, in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . .

This translation of “Yom Zeh l’Yisrael” by Rabbi David Aaron de Sola of a piyyut by Rabbi Yitsḥaq Luria was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . .

A piyyut by the ARI for the afternoon of Shabbat in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . .

Ribon Kol Ha-Olamim is a teḥinah (supplication) for entering the Shabbat that can be found in many siddurim following after the custom of the school of Rabbi Yitsḥak Luria. In his Ha-Siddur Ha-Shalem, Paltiel (Philip) Birnbaum includes it, commenting as follows: “Ribon kol Ha’Olamim is attributed to Rabbi Joseph of Rashkow, Posen, who lived towards the end of the eighteenth century. The adjectives in the first paragraph are in alphabetic order.” This can’t be correct however as a copy of Ribon Kol Ha-Olamim can be seen in the siddur Tikunei Shabbat from 1614 (see below for source images). Google Books attributes Tikunei Shabbat to Rabbi Yitsḥak Luria (1534-1572), which is the attribution we have followed, although as a posthumously published work we wonder whether it might be more properly attributed to “the School of Rabbi Isaac Luria.” Please comment below if you know of another attribution. The English translation is that of Paltiel (Philip) Birnbaum, with some minor changes that I have made to divine names and appelations.– Aharon Varady . . .

A traditional prayer before studying classic texts of ḳabbalah, by a celebrated ḳabbalist of the 16th century, in pointed Hebrew with an English translation. . . .

The piyyut, yah Ribon Olam, in Hebrew with an English translation. . . .

The piyyut, Yah Ribon, in Aramaic with an English translation. . . .

The piyyut, Yah Ribon, in Aramaic with an English translation. . . .

The piyyut, yah Ribon Olam, in Hebrew with a rhyming English translation. . . .

This translation by Rabbi David Aaron de Sola of “Yah Ribon” by Rabbi Yisrael Najara was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . .

A piyyut of divine-closeness by Yisrael Najara. . . .

In many eastern Sephardic and Mizraḥi communities, there is a custom that a poetic “ketubah,” or marriage-contract, is recited before the Torah service on Shavuot. This custom, based on the midrashic idea that the Torah is the ketubah for the marriage between the bride Israel and the groom God, is beloved by the ḳabbalists. By far the most commonly used Shavuot ketubah is that of the great paytan and meḳubal Yisrael ben Moshe Najara, who wrote the following some time in the sixteenth century. This is a new translation of Najara’s poem. . . .

A pizmon and table song sung on Shabbat and on Lag ba-Omer with English translation. . . .

“Odeh La-Él” sings to the waking soul, calling on it to return to the service of the Divine. . . .

This translation of the piyyut for Shabbat by Shlomo Al-Qabets can be found in HaAvodah SheBaLev – the Service of the Heart (Kehilat Kol HaNeshama, Jerusalem, 2007). . . .

A (kosher-for-Passover) prayer for redemption from exile. . . .

“Odeh La-Él” sings to the waking soul, calling on it to return to the service of the Divine. . . .

“Bore ‘Ad Anah” is a ḳinah recited in a number of Sephardic communities on Tishah b’Av (or in some cases on Shabbat Hazon, the Shabbat preceding Tishah b’Av), particularly in the Spanish-Portuguese and North African traditions. The author is unknown, but his name is likely Binyamin based on the acrostic made up of the first letters of the verses. In the kinah, the Children of Israel are compared to a wandering dove caught in a trap by predators, crying out its father, God. The ḳinah was likely written as a poignant response to the Spanish Inquisition, appropriate to Tishah b’Av since the expulsion of the Jews from Spain occurred on the 9th of Av in the year 1492. The version presented here was likely censored, as many manuscripts have the fifth verse presented in the following manner directly calling out their Catholic oppressors,” יועצים עליה עצות היא אנושה זרים העובדים אלילים שלושה אם ובן ורוח כי אין להם בושה גדול ממכאובי.” “They counsel against her and she languishes, the strangers who worship three idols, father, son and spirit, for they have no shame and great is my suffering.” . . .

Modeh Ani first appeared as an addendum in Seder ha-Yom (1599) by Moshe ibn Makhir of Safed. A slightly different formula offers a deep insight into who and what has returned to one’s self upon waking. . . .

Modeh Ani, in Hebrew with English translation by Rabbi Zalman Schachter-Shalomi. . . .

Chapter three of Rabbi Mosheh Cordovero’s Tomer Devorah, concerning the relationship between Wisdom and Empathy and its expression in the humane treatment of all living creatures. . . .

Behold, a full text of the Megillah of Fustat, telling a story of a great miracle that happened in 1524 CE (5284 AM). . . .

A Judeo-Moroccan Arabic (Darija) adaptation of the Passover counting song Eḥad Mi Yodeaȝ, as found in Mahzor Moȝadé Hashem. . . .

The Seder ha-Tamid, a Provençal (Nusaḥ Comtat Venaissin) siddur published in Avignon in 1766, has liturgical additions for an amazing five different local festivals — one for Avignon, and two each for Carpentras and Cavaillon. Here’s a series of piyyutim for the fifteenth of Kislev in Carpentras. On 15 Kislev 5273 (24 November 1512 Julian), a troop of armed men entered the Jewish quarter in Carpentras. While we don’t know much else beyond that, we do know that this was a terrifying enough occurrence to the Jews of Carpentras that when the armed men left, a holiday was declared with multiple piyyutim and a full recitation of Hallel. . . .

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. Counting up to 13, it is mostly written in Hebrew, but there are versions that can be found in many different languages. This translation is in the Judeo-Italian dialect of Siena, based on Geremia Mario Castelnuovo’s 1956 recording from Leo Levi’s collection of Judeo-Italian ethnomusicological recordings. A link to the original recording can be found here. . . .

A translation of Ḥad Gadya into Esperanto by Erin Piateski with a Hebraicization schema for Esperanto by Isaac Gantwerk Mayer. Piateski’s translation first appeared in her כוכב ירוק הגדה של פסח | Verda Stelo Hagado de Pesaĥo (2010). . . .

The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . .

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. It is mostly written in Hebrew, counting up to 13, but there are versions that can be found in many different languages. This translation is in Bukhori, also known as Judeo-Tajik, as translated by the great Shimon ben Eliyahu Ḥakham (1843-1910), the chief rabbi of the Bukharan Jewish community in Jerusalem. His full translation of all liturgical additions in the month of Nisan for the Bukharan community can be found in חוקת הפסח Ḥuqat haPesaḥ (1904) – the source for this transcription on page 128-130 (see included). Shimon Ḥakham transcribed it into vocalized Hebrew script, which is included here alongside transliterations into Tajik Cyrillic and a Roman transcription. . . .

The text of the popular counting song “Who Knows One?” in its original Hebrew, with a translation in Latin. . . .

The text of the popular Passover song “Who Knows One?” in its original Hebrew and Yiddish, with a translation in English. . . .

This adaptation of Ḥad Gadya was written by CenozoicSynapsid and included in their Lord of the Rings fan fiction, “All Who Are Hungry” (Archive of Our Own 2019). . . .

Ḥad Gadya has a place in Seder tables throughout the Jewish quadrant, and in many communities it was read in translation. This adaptation into tlhIngan Hol is very useful for when your universal translator is malfunctioning at a Seder on Qo’noS. Okay, but to be serious for a moment, while the many connections between the canon of Star Trek and the Jewish community are well known, one of the lesser-known ones is that the inventor of tlhIngan Hol (the Klingon language), Marc Okrand, is Jewish, and a substantial number of Klingon terms come from Hebrew or Yiddish. In honor of that connection, the editor has developed this adaptation of the well-known seder table-song Ḥad Gadya into tlhIngan Hol, as well as a home-brewed transcription system into Hebrew script called pIluy. The wildlife has also been adapted, so instead of a goat the story begins with one little targ. (Sure, they might LOOK like pigs, but who knows if they chew cud or not!) . . .

A revolutionary socialist, Yiddish adaptation of Ḥad Gadya. . . .