This is a prayer for reading the news, composed at the request of Rabbi Ariana Katz of Hinenu (Baltimore, Maryland). It is written in Hebrew, English, and Yiddish. . . .

A tkhine written to return to an ancestral place for the first time — especially diaspora homes that hold lineages of rich life as well as histories of flight and genocide. . . .

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. . . .

A prayer in Hebrew to be said before a vaccination, with Yiddish and English translation. . . .

A prayer for a government when that government is causing pain through malicious policies. . . .

An article in the Yiddish Daily Forverts (Forward) on the activities of the Open Siddur Project and its founder, Aharon Varady. . . .

A prayer for a ritual of blessing of a bat mitsvah by her family. . . .

The pedagogical song “Hashem is Everywhere!” by Rabbi Yosef Goldstein (1928-2013) can be found in the context of his story, “Where is Hashem?,” the second track on his album מדות טובות Jewish Ethics Through Story and Song (Menorah Records 1972). In the instructions to reciting the lyrics, the singer points first to the six cardinal directions and lastly, by pointing inward towards one’s self. In so doing, one explicitly affirms the idea of the divine within ourselves and implicitly, in each other. . . .

Variations of the original three lines culminating with “…walk beside me…” first appear in high school yearbooks beginning in 1970. The earliest recorded mention we could find was in The Northern Light, the 1970 yearbook of North Attleboro High School, Massachusetts. In the Jewish world of the early to mid-1970s, a young Moshe Tanenbaum began transmitting the lines at Jewish summer camps. In 1979, as Uncle Moishy, Tanenbaum published a recording of the song under the title “v’Ohavta” (track A4 on The Adventures of Uncle Moishy and the Mitzvah Men, volume 2). . . .

The blessing for Tsar Nicholas II as given in the lines of the musical, Fiddler on the Roof. . . .

A bilingual Yiddish-English anthology of teḥinot containing 21 prayers compiled and translated by Rabbi Solomon Rubinstein soon after . . .

The Universal Declaration of Human Rights in English with its translations in Hebrew, Yiddish, and Ladino. . . .

The Yiddish resistance song, “Partisaner Lid” (The Partisan Song) was composed by Hirsh Glick in the Vilna Ghetto in 1943. . . .

A prayer for the welfare of the government in Yiddish from A Naye Shas Tkhine Rav Pninim (after 1933). . . .

Originally written by Aaron Zeitlin for the Yiddish play “Esterke” in 1940, ‘Dona Dona’ is a popular song the world over, having been adapted to many languages — often not preserving the original, deeply Jewish context. The gist of the original lyrics, which never state their metaphor outright, is: a calf is bound to a wagon being dragged to the slaughterhouse. It looks up and sees a swallow flying around. The farmer shouts at it, saying “it’s your own fault for being a calf and not a bird!” The implication being: the people telling the Jews it’s our own fault we’re persecuted are the ones driving the wagon. Gentiles will murder Jews, the song implies to us, and then say Jews are to blame because of how murderable our Jewish face is, so maybe we should get a less murderable and more goyish face. But the whole time they’re the one with the knife. Here included is the original Yiddish text (in the Ukrainish theatre dialect), as well as new translations into Ladino and Aramaic. . . .

The words of the prayer for Armistice Day 1938, “God Bless America” by Irving Berlin, in English and Yiddish. . . .

A brief explanation of the role of prayer in the Jewish Science movement of Rabbi Morris Lichtenstein and his wife Tehilla Lichtenstein, co-founders of the Society of Jewish Science, in Yiddish with an English translation. . . .

A bilingual Hebrew-Yiddish maḥzor for Yom Kippur, translated by ben-Uriyah and published by Star Publishing Company in 1927. . . .

This is a faithful transcription of the א תְּחִנָה פאר א שטיף מוטער (“A Tkhine for a Stepmother”) which first appeared in ש״ס תחנה חדשה (Shas Tkhine Ḥadasha), a collection of tkhines published by Ben-Zion Alfes in Vilna, 1922. . . .

“Tsaar Balei Ḥayyim” ([It is forbidden to cause] suffering to a living creature), source unknown. Many thanks to Tiferet Zimmern-Kahan for recording the niggun for the song and to Naftali Ejdelman and The Jewish Daily Forward for providing the lyrics. . . .

A revolutionary socialist, Yiddish adaptation of Hallel. . . .

“My America (Our New Hymn)” was written by Morris Rosenfeld and published by the Jewish Morning Journal sometime mid-April 1917. On April 2nd, the United States had entered the World War against Germany and its allies. In the xenophobic atmosphere of the United States during World War Ⅰ, Representative Isaac Siegel (1880-1947), R-NY, offered the hymn as evidence of the patriotism of America’s “foreign-born” Jewish immigrants. The poem in its English translation was added to the Congressional Record on 18 April 1917 in an extension of remarks. Xenophobia in the United States though did not ebb. Nearly a year later, on April 4, 1918, a German immigrant, Robert Prager, was lynched in Collinsville, Illinois. . . .

A song in Yiddish bemoaning the suffering brought about in an epidemic. . . .

A tkhine in the event of an epidemic. . . .

The author of this tkhine intended for women to begin their morning devotional reading of prayers by first accepting patriarchal dominion. Women compensate for their inherent weakness and gain their honor only through the established gender roles assigned to them. The placement of this tkhine at the beginning of the Shas Tkhine Rav Peninim, a popular collection of women’s tkhines published in 1916 (during the ascent of women’s suffrage in the U.S.), suggests that it was written as a prescriptive polemic to influence pious Jewish women to reject advancing feminist ideas. . . .

A popular collection of tkhines compiled from earlier collections by the Hebrew Publishing Company. . . .

A popular song for Ḥanukkah in Yiddish with English translation. . . .

“Women who Have Bad Luck with Children Should Recite this Tkhine” by an unknown author is a faithful transcription of the tkhine published in Rokhl m’vakoh al boneho (Rokhel Weeps for her Children), Vilna, 1910. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. If you can translate Yiddish, please help to translate it and share your translation with an Open Content license through this project. . . .

This is a faithful transcription of the תחנה פון ליכט בענטשין (“Tkhine for Lighting Candles [for Shabbes]”) as it appeared in the Vilna, 1869 edition. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. If you can scan an image of the page from the 1869 edition this was originally copied from, please share your scan with us. . . .

A prayer for a pregnant woman that she not suffer a miscarriage. . . .

This is a faithful transcription of the תְּחִנָּה מִגְדַּל הַשֵּׁן (“Tkhine for a Baby’s First Tooth”) which first appeared in ש״ס תחנה חדשה (Shas Tkhine Ḥaḥadasha), a collection of tkhines published by Ben-Zion Alfes in Vilna, 1922. . . .

A prayer for a pregnant woman whose childbirth is immanent. . . .

A prayer for a pregnant woman approaching her childbirth. . . .

“Tkine for a Mother Who Leads Her Child to Kheyder” by an unknown author is a faithful transcription of the tkhine published in Rokhl m’vakoh al boneho (Raḥel Weeps for her Children), Vilna, 1910. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. Please offer a translation of this tkhine in the comments. . . .

“Tkine for a Mother Who Leads Her Child to Kheyder” by an unknown author is a faithful transcription of the tkhine published in Rokhl m’vakoh al boneho (Raḥel Weeps for her Children), Vilna, 1910. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. Please offer a translation of this tkhine in the comments. . . .

“Tkhine for when a Woman Goes to Immerse in the Mikve” by an unknown author is a faithful transcription of the tkhine published in Rokhl m’vakoh al boneho (Raḥel Weeps for her Children), Vilna, 1910. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. If you can translate Yiddish, please help to translate it and share your translation with an Open Content license through this project. . . .

A compilation of Jewish women’s prayers in Yiddish published in Vilna in 1910, with prayers attributed to Rokhl Esther bat Aviḥayil, a Jewish woman living in Jerusalem. . . .

A popular collection of tkhines compiled from earlier collections by Ben-Tsiyon Alfes. . . .

Y.L. Peretz rejected cultural universalism, seeing the world as composed of different nations, each with its own character. Liptzin comments that “Every people is seen by him as a chosen people…”; he saw his role as a Jewish writer to express “Jewish ideals…grounded in Jewish tradition and Jewish history.” This is Peretz’s lampoon of the popularity of Friedrich Schiller’s idealistic paean made famous as the lyrics to the climax of Beethoven’s Ninth Symphony. . . .

This is Joseph Magil’s linear bilingual Hebrew-Yiddish siddur containing two volumes: the first for weekdays and the second for shabbat and festival days. The second volume appears immediately after the first volume ends on page 192, and uses its own separate pagination. . . .

“A Tkhine for a Kaleh before the Khupe” by an unknown author is a faithful transcription of the version published in Rokhl m’vakoh al boneho (Rokhel Weeps for her Children), Vilna, 1910. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. . . .

This is the poem “דיא זרשטע טבילה” by Morris Rosenfeld (1862-1923) written sometime before 1898. We have transcribed the poem as it was published in Rosenfeld’s collection of poems Gezamelṭe lieder (1906) pp. 167-168. The poem was romanized and translated into English by Leo Wiener and published under the title, “Die erste Twile (The First Bath of Ablution)” in Songs from the Ghetto (1898), pp. 52-55. A rhyming translation by Rose Pastor Stokes & Helena Frank under the title, “The First Bath of Ablution” was published in Songs of Labor and Other Poems (1914), pp. 72-73. . . .

This is the poem “פעלד־מעסטען” by Morris Rosenfeld (1862-1923) written before 1898. We have transcribed the poem as it was published in Rosenfeld’s collection of poems Gezamelṭe lieder (1906) pp. 135-136. The poem was romanized and translated into English by Leo Wiener and published under the title, “The Measuring of the Graves” in Songs from the Ghetto (1898), pp. 46-49. A rhyming translation by Rose Pastor Stokes & Helena Frank under the title, “Measuring of the Graves” was published in Songs of Labor and Other Poems (1914), pp. 70-71. If you know the date of the earliest publication of this prayer, please leave a comment or contact us. . . .

This is the poem “קידוש לבנה” by Morris Rosenfeld (1862-1923) written sometime before 1898. We have transcribed the poem as it was published in Rosenfeld’s collection of poems Gezamelṭe lieder (1906) pp. 141-143. The poem was romanized and translated into English by Leo Wiener and published under the title, “Kidesch⸗Lewone (The Moon-Prayer)” in Songs from the Ghetto (1898), pp. 48-53. . . .

“דיא חנוכה ליכט” by Morris Rosenfeld (1862-1923) p.132-134. It was translated from the Yiddish into English by Rose Pastor Stokes & Helena Frank and published under the title, “The Feast of Lights” in Songs of Labor and Other Poems (1914), p. 65-66. Another translation, by Helena Frank alone was published in Apples & Honey (ed. Nina Salaman 1921), p. 242-244. The German translation by Berthold Feiwel was published in Lieder des Ghetto (1902), p. 81-83, and illustrated by Efraim Moses Lilian. . . .

This tkhine offers a formula for providing relief to a very ill person, and as such, should only be used as a supplement to recommendations provided by an expert physician or nurse. The source of the tkhine is Tkhine of a Highly Respected Woman, Budapest, 1896; and transcribed from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. . . .

“America the Beautiful,” the patriotic hymn (1911 version) by Katharine Lee Bates (1859-1929) in its Yiddish translation by Berl Lapin (1889-1952). . . .

An authoritative edition of the Seder Teḥinot (Seyder Tkhines) from the esteemed Rödelheim publishing house. . . .

This is a full transcription of the 1919 edition of a Bundist haggadah in Yiddish, first written as a pedagogical and parodic text in 1886. . . .

This is the sonnet, “The New Collosus” (1883) by Emma Lazarus set side-by-side with its Yiddish translation by Rachel Kirsch Holtman. Lazarus famously penned her sonnet in response to the waves of Russian-Jewish refugees seeking refuge in the Unites States of America as a result of murderous Russian pogroms following the assassination of Tsar Alexander II in 1881. Her identification and revisioning of the Statue of Liberty as the Mother of Exiles points to the familiar Jewish identification of the Shekhinah (the Divine Presence, in its feminine aspect) with the light of the Jewish people in their Diaspora. . . .