Elazar haKalir’s qedushtah piyyut for the first day of Sukkot.

Qallir’s reshut for the Ṭal service on the first day of Pesaḥ. Also included is an acrostic English translation, as well as the catena of verses found in manuscripts but missing from most modern printings

The poetic genre known as ḳerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar biRabbi Qallir’s Purim “Qrovetz“, a majestically interwoven piece of piyyut if ever there was one. But there are many other ḳerovot that have historically been recited, and this one is by the same author! The weekday qerovot cycle for Ḥanukkah, retelling the story of the Greek oppression using intricate poetic language. Included within is a qedushtah that instructs us on some of the halakhic requirements for the Ḥanukkah lights.

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.

The qinah, Eikh T’naḥamuni Hevel, in Hebrew with an English translation.

Many communities recite a series of poems interwoven with the Amidah on Purim. These poems, known as the “krovets,” were written by Elazar b. Rabbi Kalir, the greatest of the early paytanim. But lesser known than the krovets for Purim are the krovets for Tisha b’Av, written as well by Elazar b. Rabbi Kalir. A fine example of Elazar’s intricate poetry, the krovets for Tisha b’Av is rife with Biblical citations, finally culminating with the prayer for Jerusalem. Each stanza begins with five tightly rhymed lines beginning with a constant א followed by a quintuple half-acrostic on the second letter, then a poetic volta on the word אֵיכָה, followed by a Biblical citation, a verse starting with the last word in the citation, a letter from Elazar’s name, and a final Biblical citation. The krovets for Tisha b’Av is meant to be part of the morning service, tied into the cantorial repetition for Tisha b’Av.

“Alelai Li” is a ḳinah recited on the morning of Tisha bAv. It was written by HaKalir around the 7th century. According to the Koren Mesorat HaRav Kinot, it is number 17 of 50. The title is the refrain of the poem and is an onomatopoeic whimper (try saying it aloud, focusing on the alliteration). It is difficult to translate the opening word “im” which means “if” or “should”. This is an allusion to Job 10:15, “If I have done evil, then woe unto me.” I have decided to translate the ḳinah not in the conditional tense (which would render “If these horrible things happened, then woe is me!”) but as a lament upon memory; however, the former would be a more accurate (if not more awkward in English) translation.

Adding to the awkwardness of the poem’s language is the feminine conditional verb that each line has after the word “im”. I have maintained this strange verb tense and placement in my translation by using the English progressive tense. The ḳinah ends with a collection in lines in a different meter suggesting that the Holy One (and the paytan himself) is angered that the Jewish people announce their sufferings but not their transgressions.

Az Bahalokh Yirmiyahu is a kinah, “based on Eikhah Rabati Petikhta 24, in which Jeremiah says to God: “I am like a father who prepared to take his only son to be married, and the son tragically died under the wedding canopy. Do you not feel any pain for me or for my son?” God responds: “Go and rouse Abraham, Isaac, Jacob and Moses from their graves, for they know how to cry…” (Daniel Goldschmidt, Seder Kinot le-Tisha b’Av, Jerusalem, 1972, 98).

This is the piyyut “Aɐpid Nézer Ayom” by Elazar ben Qalir with the English translation of Paltiel Birnbaum found in his Maḥzor haShalem l’Rosh Hashanah v’Yom Kippur (1951), pp. 223-226.

This is the piyyut “Kehoshata Elim (Savior of mighty ones…)” by Eleazar Kalir for the hoshanot on the second day of Sukkot, published in Adler and Davis’s Maḥzor for Sukkot, Avodat Ḥag ha-Sukkot (1908), pp. 144-145.

This is the piyyut “Az K’einei Avadim (As slaves, with eyes beseeching,…)” by an unknown paytan for the seventh circuit of the Hoshana Rabba service (on the seventh and final day of Sukkot), published in Adler and Davis’s Maḥzor for Sukkot, Avodat Ḥag ha-Sukkot (1908), pp. 183.

This is the piyyut “Az Haytah Ḥanayat Sukō (Of yore, abode His dwelling place,)” a qerovah piyyut by Elazar Kalir for the first day of Sukkot, published in Adler and Davis’s Maḥzor for Sukkot, Avodat Ḥag ha-Sukkot (1908), pp. 212.

This is the piyyut “Az K’einei Avadim (As slaves, with eyes beseeching,…)” by an unknown paytan for the seventh circuit of the Hoshana Rabba service (on the seventh and final day of Sukkot), published in Adler and Davis’s Maḥzor for Sukkot, Avodat Ḥag ha-Sukkot (1908), pp. 183.

This is the abridged rhyming English translation by Katie Magnus for the piyyut “Aɐpid Nézer Ayom” by Elazar ben Qalir. The translation is found in Hebert Adler and Arthur Davis’s Maḥzor Avodat Ohel Moed: Avodat Yom haZikaron (1907), pp. 102-103.

This is the piyyut, “Aamir Otekha Selah” by Elazar ben Qallir for Sukkot, as translated into rhyming English verse by Alice Montefiore Lucas, first published in her anthology of versified translations Songs of Zion by Hebrew Singers of Mediæval Times (1894). Her translation was later set opposite Qallir’s Hebrew text in Maḥzor Avodat Ohel Moed: Avodat Ḥag haSukkot (ed. Arthur Davis & Herbert Adler, 1908).

The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel.

This song is performed in honor of the Ḥatan Bereshit – the person who reads the first aliya of the torah, which begins Bereshit Bara. These words – Bereshit Bara – are repeated throughout the poem. The poem is similar in structure and meter to Kelil Yofi, which is performed in honor of the Hatan Torah, the person who reads the last aliya of the Torah, which begins Vaya’al Moshe.

The Təʾəzazä Sänbät, or the Commandments of the Sabbath, is a unique and fascinatingly eclectic work, combining Enochic and aggadic material with an almost kabbalistic personification of Shabbat, and influence from Islamic and Christian texts. Attributed to Abba Ṣabra, a famed 15th-century convert to Judaism, it is a compilation of texts meant to be studied and considered on Shabbat, alongside unique and striking visualizations of divine cosmology, heaven and hell, and midrashim found nowhere else.

An alphabetical acrostic piyyut celebrating the victory of Esther and Mordekhai over the forces of Haman.

In many communities, the practice of Yaḥats, or breaking the matsah before maggid, is done with liturgical and ritual additions. The additions included here are one practice out of many variants as found in the practice of Djerba, the island off the coast of Tunisia.

The first day of Pesach, according to the Sages, is the day the world is judged for grain and dew. Because of this, many customs have developed tying it into the pomp of the High Holy Days. One custom preserved in many medieval maḥzorim is to extend the final blessing of the the Musaf “Tal” (Dew) service, including a Hayom piyyut, a piyyut form otherwise almost exclusively associated with the Yamim Noraim. This extended Sim Shalom berakha including piyyutim is presented here, largely based on the form compiled by Ernst Daniel Goldschmidt (zatsal).

This qina is recited in the Spanish-Portuguese rite (as practiced in the Snoge in Amsterdam, the Bevis Marks Synagogue in London, and Shearith Israel in New York City among many other communities) at the conclusion of the recitation of qinot on the evening of the Ninth of Aḅ. Its refrain, taken from the Four Questions of the Passover liturgy, is reframed* as a reflection of the suffering of such a day, contrasting the celebration of salvation on Passover with the fear and desolation of the fast day.

The Italian rite, unique among Jewish rites, has preserved up until very recently the custom recorded in the Talmud, Masekhet Tagnanith, for communally declared fast days. In this rite, sometimes referred to as the Twenty-Four Blessings, six more blessings are added to the liturgy — the Zikhronot and Shofrot portions more commonly recited on Rosh haShanah, and four different psalms, all interspaced with a poetic litany on behalf of the ancestors’ merit and shofar blasts. It’s a fascinatng service!

This Western Yiddish alphabetical adaptation of Adir Hu is first found in the 1769 Selig Haggadah, under the name of “Baugesang” (meaning Building Song). It grew to be a beloved part of the Western Ashkenazi rite, to the point where the traditional German Jewish greeting after the Seder was “Bau gut,” or “build well!”

The alphabetic acrostic piyyut, Adir Hu, in its Latin translation by Johann Stephan Rittangel as found in his translation of the Pesaḥ seder haggadah, Liber Rituum Paschalium (1644).

The piyyut, Dayenu, in its Latin translation by Johann Stephan Rittangel.

Doyen has a place in Seder tables throughout Arda, and in many communities it was read in translation. This translation into Quenya is necessary for any good Lothlórien sedarim. But to be serious, Quenya was one of several languages developed by J.R.R. Tolkien. It serves as the sacred ancestral language of the Noldorin elves in the Middle-Earth legendarium. The editor here has, to the best of his ability, developed this adaptation of the litany of thanksgiving at the culmination of Maggie into Quenya, with thanks and credit to the experts at elfdict and in the Vinyë Lambengolmor Discord server for their help. He has also transcribed it into a home-brewed transcription system into Hebrew script also used for his Min Yacincë translation of Ḥad Gadya, as well as his Minë mamo ista? Translation of Eḥad Mi Yodea.

The works of the great paytan Yannai were, with the exception of a small handful of poems, almost completely lost until their rediscovery in the Cairo Geniza. This poem, an acrostic comparison of the days of Moses and Jeremiah, was written by Yannai to serve as part of the Musaf Ḳedushah on the first Shabbat after 17 Tammuz, on which the opening section of Jeremiah is recited. It bears structural and linguistic similarities to the later famous ḳinah Esh Tuqad. In its liturgical context, it was intended to introduce the final few verses of the Ḳedushah . Nowadays the custom of poetic inserts into the ḳedushah is nearly extinct, but the poem stands as a moving and powerful work nonetheless.

A quadrilingual text of U-N’taneh Tokef — Yiddish, Ladino, English, and Hebrew.

Talmudic and midrashic sources contain hymns of the creation usually based on homiletic expansions of metaphorical descriptions and personifications of the created world in the Bible. The explicitly homiletic background of some of the hymns in Perek Shira indicates a possible connection between the other hymns and Tannaitic and Amoraic homiletics, and suggests a hymnal index to well-known, but mostly unpreserved, homiletics. The origin of this work, the period of its composition and its significance may be deduced from literary parallels. A Tannaitic source in the tractate Hagiga of the Jerusalem (Hag. 2:1,77a—b) and Babylonian Talmud (Hag. 14b), in hymns of nature associated with apocalyptic visions and with the teaching of ma’aseh merkaba serves as a key to Perek Shira’s close spiritual relationship with this literature. Parallels to it can be found in apocalyptic literature, in mystic layers in Talmudic literature, in Jewish mystical prayers surviving in fourth-century Greek Christian composition, in Heikhalot literature, and in Merkaba mysticism. The affinity of Perek Shira with Heikhalot literature, which abounds in hymns, can be noted in the explicitly mystic introduction to the seven crowings of the cock — the only non-hymnal text in the collection — and the striking resemblance between the language of the additions and that of Shi’ur Koma and other examples of this literature. In Seder Rabba de-Bereshit, a Heikhalot tract, in conjunction with the description of ma’aseh bereshit, there is a clear parallel to Perek Shira’s praise of creation and to the structure of its hymns. The concept reflected in this source is based on a belief in the existence of angelic archetypes of created beings who mediate between God and His creation, and express their role through singing hymns. As the first interpretations of Perek Shira also bear witness to its mystic character and angelologic significance, it would appear to be a mystical chapter of Heikhalot literature, dating from late Tannaitic — early Amoraic period, or early Middle Ages.

A work of Jewish astrology and magic containing recipes specific to the angelic rulers of each day of the week.

This piyyut of unknown authorship is certainly ancient, showing the lack of a rhyme scheme characteristic of the REALLY old piyyutim (see also Aleinu or El Adon). It is still found in some Ashkenazi and Teman maḥzorim, with many different mostly minor variants (which have been combined together somewhat eclectically into one text here). It is presented here along with an English translation attempting to preserve the Hebrew acrostic. Originally it was recited before the Ashrei leading into musaf, but perhaps for those who follow Ashkenazi customs a more appropriate location would be as an introduction to the Yizkor service on Shmini ‘Atzeret — which for those who don’t keep second-day yontef is the same day. It could also be adapted as part of the liturgy for the seventh of Adar, although the final verse (the old Western rite berakha for finishing a full Torah cycle) would have to be elided.

This Aramaic poem, written in the early Byzantine era by an unknown author, can be found in its entirety within the Targum Sheni for Esther 7:9. It features an argument between an assortment of trees over which one is required to bear the great dishonor of having to be the one to hold Haman. It’s also chock-full of anti-Christian polemic and references to Toledot Yeshu.

This is an original Esperanto translation of Ein K’Eloheinu, with a transcription using my own original Hebraization schema.

This is a reconstruction of a sabbath liturgy for the Tefillah of the Amidah, at least in some variant of its public recitation, in Greek and preserved in an early Christian work, the Constitutiones Apostolorum (Apostolic Constitutions), a Christian work compiled around 380 CE in Syria. Several prayers derived from Jewish sources appear in the Apostolic Constitutions and they can be found grouped together and labeled “Greek” or “Hellenistic Syanagogal Works” in collections of apocrypha and pseudepigrapha. Because explicitly Christian references appeared to be added onto a pre-existing text with familiar Jewish or “Old Testament” themes and references, scholars in the late 19th century were already suggesting that as many as 16 of the prayers in the Apostolic Constitutions books 7 and 8 were derived from Jewish prayers. A more modern appraisal was made by Dr. Fiensy and published in Prayers Alleged to Be Jewish (Scholars Press 1985). Based on a careful analysis of the prayers, he concludes that the only prayers which can be identified as Jewish with certainty are those found in sections 33-38 of book 7.

This is the Ribon ha-Olamim prayer contained within the concluding readings of the Qarbanot section as an introductory preface to the Morning prayers. In most siddurim in which the Karbanot are included, this prayer appears immediately after Ana b’Khoaḥ and before the rules of Midrash Halakhah taught by Rebbi Yishmael.

The critical text of Pereq Shirah prepared by Dr. Malachi Beit-Arié in 1967.

The text and translation of an amulet bowl discussed in “‘Gabriel is on their Right’: Angelic Protection in Jewish Magic and Babylonian Lore” by Dan Levene, Dalia Marx, and Siam Bharyo in Studia Mesopotamica (Band 1: 2014) pp.185-198. The apotropaic ward found in the amulet bowl, SD 12, contains an “angels on all sides” formula similar to that appearing in the Jewish liturgy of the bedtime shema.

The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel.

The 18th of Iyyar on which the 33rd day of the Omer coincides is a day of historical significance. On that day in the year 363, the Byzantine Roman emperor Julian in collaboration with Atiochian Jewry attempted to lay the foundations of the Third Temple in Jerusalem. For centuries afterward, the day was commemorated as a fast day. One primary source in rabbinic Judaism that references the day is Sefer Zerubavel. Given the relative obscurity of Sefer Zerubavel today, we thought that we could help remedy that on just the day it currently references in the rabbinic Jewish calendar: Lag ba-Omer — a day which otherwise lacks any liturgical reading. Below is the text of Sefer Zerubavel as found in Divrei Yeraḥmiel (according to the text transcribed and published as Sefer ha-Zikronot hu’ Divrey ha-Yamim le-Yerahme’el (ed. Eli Yassif; Tel Aviv: Tel Aviv University, 2001), pp. 427-435, set side-by-side with the English translation by the scholar John Reeves.

This is the early piyyut, “v-Yeètayu Kol l’Avdèkha,” as paraphrased in rhymed English verse by Israel Zangwill in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim vol. 2 (1904), pp. 154-155.

A very old tale told for the protection of pregnant women and their infant children as found in amulets from late Antiquity.

Itti Bishlam is a sixteen-hundred year old Samaritan Aramaic poem attributed to the great Samaritan sage Marqeh son of Amram. In twelve stanzas it tells the story of the night of the tenth plague and the Exodus. Samaritans traditionally recite it on the night before the holidays, the Sabbaths before the holidays, and the evening before the first day of the first month (the Samaritan new year, fourteen days before Passover). Largely a half-alphabetical acrostic, the fifth stanza of Itti Bishlam begins with an īt (ḥeth) rather than the expected īy (her), understandable considering the loss of guttural distinctions in Samaritan phonology. (See the number of Jewish poems which confuse sin and samekh for a parallel occurrence.) Itti Bishlam is, interestingly enough, lacking polemic or sectarian content — it never calls upon the Samaritan holy mountain of Aargaarizem (Mt. Gerizim), nor does it include any context that contradicts the traditional Jewish interpretation of the paschal narrative. It is worthwhile for Jews to learn about and understand the liturgical practices of their sister religion, and this poem is a great place to start!

Healing prayers written on a pair of amulets for the recovery of a woman named Arsinoë

The color of beets, which never leaves our hands, symbolizes the teachings of the sages, which are still passed down. And the redness symbolizes the blood of the covenant, still there after all these years.

A unique Nusaḥ Erets Yisrael variant of the Qaddish found in the Cairo Geniza, most well known for including the names of the leading rabbis of the community in its text.

This Chinese translation of an Ashkenazi nusaḥ for the “Qaddish Shalem,” the full-ḳaddish is found on page 27 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo).

A traditional Cochin Ḳaddish Shalem, based on siddurim published for the Cochin Jewish community by the Props brothers of Amsterdam.

This Chinese translation of an Ashkenazi nusaḥ for the “Ḥatsi Qaddish,” the half-ḳaddish is found on page 4 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo).

An early variation of the Ḥatsi Qaddish as found in Seder Rav Amram as attested in Bodleian Library Ms. Opp. Add. Qu. 28.