This is a macaronic poem for Yom Meturgeman. Macaronic poetry is poetry in multiple languages at once. In this case, the languages reflected are Hebrew, Aramaic, Judeo-Arabic, Yiddish, Ladino, and English, with a repeated Hebrew refrain. Each language is meant to rhyme with the colloquial Hebrew as it would be read — i.e. though the Yiddish doesn’t rhyme with the modern Hebrew pronunciation, it rhymes with the traditional Ashkenazi one. . . .

An original Judeo-Arabic adaptation of the song “Oy Khanike” (derived from the Yiddish poem of the same name by Mordkhe Rivesman) also known in English as “Oh Ḥanukkah” or in Hebrew as “Y’mei ha-Ḥanukka.” With thanks to Mazen Haddad for his help with the Arabic! Some notes: 1) Case endings and nunation, which would (in colloquial dialects) often be skipped or dropped, are transcribed in brackets. 2) The word “sufnāj” is a Moroccan Arabic dialectal word which is the agent noun for sfenj, a traditional type of North African doughnut. . . .

Join us in creating a faithful digital transcription of the Siddur Farḥi (Hillel Farḥi, 1917), a nusaḥ sepharadi, minhag Egypt siddur. After transcription and proofreading, this new digital edition will be shared under a Creative Commons Zero (CC0) Public Domain dedication. The edition will then be encoded in TEI XML and archived in the Open Siddur database, a libre Open Access liturgy database. We are grateful to Alain Farḥi for imaging this Public Domain work and providing a digital copy for this effort. . . .

The project page for the transcription and translation of the Seder al-Tawḥid for Rosh Ḥodesh Nissan. . . .

This is a variation of Mipi El in Hebrew with a Judeo-Arabic translation found in the Seder al-Tawḥid for Rosh Ḥodesh Nissan, compiled by Mosheh Asher ibn Shmuel in 1887 in Alexandria. . . .

An Arabic translation of Ḥad Gadya in its Syrian Jewish Damascus variation. . . .

The Tabula Smaragdina, or the Emerald Tablet, is a cryptic and compact work, part of the Technical Hermetica — a genre of mystical and magical texts of great popularity in the medieval and renaissance era. Traditionally attributed to the legendary figure Hermes Trismegistus, it is considered a foundational text for Near Eastern and European alchemy. It is the ultimate source of the popular occultist expression “as above, so below,” although that specific expression doesn’t appear in the original Arabic text as found in the ninth-century Secret of Creation. . . .

The mantra-like piyyut “Ēin k-Ēlohēinu,” a praise of God’s attributes and uniqueness featuring incremental repetition, is found in siddurim as far back as the siddur of Rav Amram, and may date back to the Hekhalot literature. Many versions of it have been compiled in different languages, most famously Flory Jagoda (zç”l)’s Judezmo variant “Non como muestro Dyo.” Here the editor has compiled traditional Yiddish and Ladino translations, as well as developed new Aramaic and Arabic translations for this piyyut. The post-piyyut verses used in both the Ashkenazi and Sephardic rites have been included. . . .