An interpretive translation of Yehudah haLevi’s shabbat song, “Yom Shabbaton.” . . .

The poem Mi Khamokha v-Ein Khamokha, an epic retelling of the book of Esther in verse, was written for Shabbat Zakhor, the Shabbat before Purim, by the great paytan Yehuda ben Shmuel haLevi. It was originally written as a “geulah,” meant to be inserted into the prayer after the Shema in place of the verse beginning with “A new song…” But later Sephardic poskim ruled that it was forbidden to insert piyyutim into the Shema blessings, so in the communities that recite it today it is generally either read after the Full Kaddish as an introduction to the Torah service, or (for instance, in most Spanish and Portuguese communities) within the verse “Kol atzmotai tomarna” in the Nishmat prayer. Wherever you include it in your service, it’s a beautiful and intricately rhymed piyyut, and surprisingly easy to understand at that. It is presented here in a gender-neutral translation with all the Biblical verses cited, alongside a new translation that preserves the fourfold acrostic, two alphabetical and two authorial. –Isaac Gantwerk Mayer . . .

The prayers invoking the memory of the Aqeidat Yitsḥaq (Genesis 22:1-19) in the morning preparatory prayers in the liturgical custom of the Sefaradim. . . .

The prayers invoking the memory of the Aqeidat Yitsḥaq (Genesis 22:1-19) in the morning preparatory prayers in the liturgical custom of Ashkenaz. . . .

A Karaite song for the Day of Atonement (Yom Kippur). . . .

The 7th of Adar is the traditional date for the yahrzeit of Mosheh Rabbeinu and it is also remembered as the day of his birth 120 years earlier. This variation of of the piyyut, Tsa’aqah Yokheved, popularly sung on 7 Adar, is first attested in a 1712 Sepharadi mahzor published in Amsterdam, as transcribed above with some minor changes with the contemporary audio recording of the Iraqi nusaḥ made by משה חבושה (Moshe Ḥavusha). (The piyyut appear without niqqud.) An older version (perhaps the original version), attributed in the Maagarim database to Shmuel Shlomo and dated before 1050 CE, is attested in two manuscripts: “London, British Library 699” and “Berlin, Staatsbibliothek, Ham. 288”. Ibn Ezra (1089-1167) quotes a stanza from the version we have presented here (“וכבד אמי אחרי התנחמי”) indicating that this version may be at least as old. . . .

This anonymous ofan, also recited on the second day of Shavuot in some communities, uses alliteration to describe the many hosts of angels descending upon Sinai in awe and reverence as the Torah was given. The translation preserves the alliteration over the alphabet, seeing as the ofan in this form doesn’t include the entire alphabet either. As an ofan, it is recited within the Ḳedusha d-Yotser, between the verses of Isaiah and Ezekiel (included here). The ofan is recited on the second day of Shavuot in some communities. . . .

This yotser, by the great eleventh-century payṭan R. Binyamin bar Zeraḥ, goes through the entire alphabet with which the Torah was written, giving midrashic and mystical interpretations of each letter. As a yotser, it is recited immediately after the petiḥah of the Yotser Or blessing. . . .

The ancient Land of Israel rite was most well-known for its three-and-a-half-year Torah-reading cycle, but until recently very little was known about the haftarot recited alongside this cycle. Through studies of piyyuṭim and midrashim lists of opening verses to the hafṭarot were reconstructed, but an opening verse does not a full hafṭara make. All that changed when the St. Petersburg Manuscript, MS. EVR II B 42, was rediscovered by Prof. Ezra Shevat and publicized in this blog post. This manuscript, which had been lumped in as just another of the many codices haphazardly gathered by Abraham Firkovich, actually records what may be our most complete record of the hafṭarot of the ancient Land of Israel rite, at least as kept in one community. . . .

An alphabetic acrostic seliḥah piyyut for Taanit Esther in Hebrew with English translation . . .

The ancient Land of Israel rite was most well-known for its three-and-a-half-year Torah-reading cycle, but it had its own unique aspects for festivals and special Sabbaths as well. Recorded in this manuscript is what may be our most complete record of the hafṭarot of the ancient Land of Israel rite, at least in one community. Some, but not all, of the hafṭarot for festivals and special Sabbaths are the same as those found in the Babylonian practice, but all of them are substantially shorter, with some as short as three verses. It seems the Babylonian prohibition on hafṭarot shorter than twenty-one verses was not taken into account in the West! . . .

A magen piyyut (recited as part of the first blessing of Shaḥarit) for the second day of Rosh haShanah by Rabbi Shimon bar Isaac “the Great” of Mainz. Here translated preserving the acrostic, slightly edited from its form as part of a day 2 service maḥzor designed by Isaac Gantwerk Mayer. . . .

An ofan (a yotser piyyut for the qedushah) on the Shabbat upon which Parashat Matot-Mas’ei is read, by the paytan Rav Shemu’el HaShelishi. . . .

A rahit (a chain piyyut before the silluq) for the second day of Rosh haShanah, by R’ Shimon bar Isaac “the Great” of Mainz. Here translated preserving the acrostic, slightly edited from its form as part of a day 2 service maḥzor designed by Isaac Gantwerk Mayer. . . .

A millennium-old tradition, recorded by Rav Sherira Gaon in 10th-century Iraq. He would always have three cooked foods on the seder plate. The egg, a product of the birds of the sky, a sign of renewal and rebirth, represented Moses, the law, the heavens, and the revelational aspects of faith. The shankbone, a product of the animals of the field, a commemoration of the original Pesaḥ sacrifice, represented Aaron, the priesthood, the earth, and the ritual aspects of faith. And the fish, representing the constant flowing nature of water, represented Miriam, prophecy, the waters, and the spiritual aspects of faith. . . .

The popular piyyut, D’ror Yiqra, in Hebrew with English translation. . . .

The Shimmush Tehillim is a medieval work providing prescriptive theurgical associations for Psalms and verses from Psalms. It has been historically attributed to Rav Hai Gaon (939-1038 CE) but any definitive statement of authorship is lacking. The suggestion that portions of the Shimush Tehillim were authored during the late Geonic period in Iraq isn’t implausible. We also know that Hai Gaon was knowledgeable of Hekhalot writings that should at least be considered part of the same thought world as the Shimmush Tehillim. Writings found in the Shimush Tehillim have been found in manuscripts dating from the 12th century. This digital transcription of Shimush Tehillim derives from Elias Klein Békéscsaba’s 1936 compilation. This edition should not be considered a critical text, as earlier editions certainly exist. Not all of the Psalms are identified as having a particular theurgical use. . . .

A seliḥah for the Fast of Gedalyah, attributed to Rav Saadia Gaon. . . .

The popular table song for Shabbat. . . .

A Byzantine-era Aramaic piyyut for Purim, perhaps written as an introduction to the Megillah reading. It tells the narrative of the Jewish people from Abraham to the final redemption, focusing on the foes who sought to destroy us and their inevitable failure to do so. Uniquely among early-medieval poems, this one actively mentions the Romans (read: Christians) and Saracens (read: Muslims) and prays for their downfall in non-coded language. This translation loosely preserves the couplet rhyme scheme, as well as the alphabetical acrostic — perhaps with a phonetic punning reference to the name “Shlomo” at the end. . . .

This translation was prepared by Shir Yaakov Feinstein-Feit in loving memory of his sister, Laurie Feit, z”l, (1961-2017). “Midrash HaGadol or The Great Midrash (Hebrew: מדרש הגדול) is an anonymous late (14th century) compilation of aggadic midrashim on the Pentateuch taken from the two Talmuds and earlier Midrashim of Yemenite provenance. In addition, it borrows quotations from the Targums, and Maimonides[2] and Kabbalistic writings (Oesterley & Box 1920), and in this aspect is unique among the various midrashic collections. This important work—the largest of the midrashic collections—came to popular attention only relatively recently (late 19th century) through the efforts of Jacob Saphir, Solomon Schecter, and David Zvi Hoffman. In addition to containing midrashic material that is not found elsewhere, such as the Mekhilta of Rabbi Shimon bar Yochai, the Midrash HaGadol contains what are considered to be more correct versions of previously known Talmudic and Midrashic passages.” (via wikipedia) . . .

The full text of the alphabetic mesostic piyyut, Hayom, according to the Italian nusaḥ. . . .

“Elimelekh G’la” is a Byzantine-era Western Aramaic poetic retelling of the Book of Ruth. It was probably originally used as part of the liturgy for Shavuot, perhaps as a poetic addition to the recitation of a Targumic interpretation of the Book of Ruth. (The verses from Ruth and Psalms appended to the coda of the piyyuṭ would suggest such a Sitz im Leben.) But in any case, it has a great acrostic structure and rhyme scheme, and ought to be preserved! Here is included a vocalized text, largely based on the unvocalized text compiled in Jewish Palestinian Aramaic Poetry from Late Antiquity (ed. Yahalom and Sakaloff, 1999) where it’s the tenth poem recorded. ‘ve added a rhyming poetic translation that preserves the Hebrew acrostic. Credit to Laura Suzanne Lieber’s literal translations of these poems (in Jewish Aramaic Poetry from Late Antiquity: Translations and Commentaries, 2018), which have served as a very helpful resource for the project. . . .

A poetic Birkat haMazon text for the breakfast after Yom Kippur found in British Library MS Or. 9772 D. All the opening words of the alphabetical acrostic are from Psalms 111. . . .

“Aḥeinu” is the final prayer in a set of supplications recited on Mondays and Thursdays as the Torah scroll is being prepared to be returned to the Aron. The prayer is first found with variations in wording in the surviving manuscripts of the Seder Rav Amram Gaon (ca. 9th c.). . . .

A birkat haMazon found in the collection of Cairo Geniza fragments at the University of Cambridge library. . . .

This is a vocalized reconstruction, arrangement and translation of the Haggadah according to the ancient Land of Israel rite, based on multiple manuscripts from the Cairo Geniza, including Halper 211 and T-S H2.152, with additional input from the Italian rite and customs recorded by Rav Saadia Gaon. It is translated in gender-neutral Hebrew. . . .

This is a reconstruction of a liturgy for a Birkat haMazon for Ḥanukkah witnessed in multiple Cairo Geniza manuscripts, including Cambridge, CUL: T-S H4.13; T-S H6.37; T-S 8H10.14; T-S NS 328.56; T-S NS 328.61; T-S AS 101.293; New York, JTS: ENA 2885.7; Oxford: MS heb. e.71/27 – MS heb. e.71/32; St. Peterburg: Yevr. III B 135. . . .

A Birkat haMazon for Shavuot presenting an alphabetic acrostic from a manuscript preserved in the Cairo Geniza. . . .

This is a reconstruction of a liturgy for a Birkat haMazon for Purim witnessed in the Cairo Geniza fragment T-S H6.37 (page 1, recto and verso)‬. . . .

The following piyyut seems to have been customarily used in some Babylonian communities as an extensive replacement for the “creator of the vine-fruit” opening of the kiddush. Rav Saadia Gaon forbade it for being an alteration of the talmudic formula, but his successor Rav Hai Gaon permitted it for its cherished status. No communities today have preserved a custom of reciting it, but in 1947 Naphtali Wieder (zçl) published a text he found in the Cairo Geniza, which is replicated and translated below. Daniel Goldschmidt (zçl) suggests that it may be in it of itself a compilation of two different rites. The conjunction point is marked below with a black line. . . .

This is a poetic Birkat haMazon for Pesaḥ, from the Cairo Geniza (CUL T-S H11.88 1v). Much thanks to the work of Dr. Avi Shmidman, whose 2009 doctoral thesis is the foundational work for poetic Birkat haMazon studies. He marks it as Piyyut 64, and his Hebrew-language commentary begins on page 394 of his work. I’ve included two translations of the poetic portions — one literal and one preserving the acrostic and rhyme scheme. . . .

Rav Saadia Gaon lists three additions to the Seder Pesaḥ which he considers not necessary, but acceptable. This is the first, a poetic version of the Kiddush. Interestingly enough, it is still recited in many Yemenite communities, which are in general less likely to incorporate poetic sections to their liturgy. Here it is recorded and translated into English according to two nusḥaot — that recorded in the siddur of Rav Saadia (marked in blue), and that recorded in modern Yemenite texts (marked in red). In cases where only the spelling differs rather than the meaning, the editor generally went with Rav Saadia as the older variant. . . .

Rav Saadia Gaon lists three additions to the Seder Pesaḥ which he considers not necessary, but acceptable. This is the third, a poetic insert of the blessing of redemption known as Ata Ga’alta. In the form of an alphabetical acrostic, this poem is still recited in many eastern communities including the Babylonians, Persians, and Yemenites, and was a feature of the the old Kaifeng rite. Here it is recorded and translated into English according to the nusaḥ of Saadia Gaon, with notes in several locations for additional phrases used in some customs. . . .

A well-wishing prayer for couples on their wedding day found in the Seder Rav Amram Gaon. . . .

The opening letter of Rav Amram to a community in Spain from his 9th century order of prayer (Seder Rav Amram Gaon). . . .

An apotropaic prayer of protection for traveling at night containing an “angels on all sides” formula. . . .

A ritual for changing a name of a sick person. This text is recorded in abridged form in Rabbeinu Yeruḥam’s 14th-century work “Sefer Toldot Adam v-Ḥava,” but is almost certainly substantially older than that considering he credits it to the Geonim. Rabbeinu Yeruḥam doesn’t include the text in its entirety, assuming familiarity with the “מְצָלְאִין אֲנַֽחְנָא” opening to prayers. This text is not, to my knowledge, commonly used in any modern rites, but I found a 15th-century Italian siddur here with a prayer that begins with the same formula in full. . . .

“V’ahimah Miyamim Yamimah” is a ḳinah that recounts the tragic tale of the children of Rabbi Yishmael as told in the Babylonian Talmud (Gittin 58a). The handsome brother and fair sister were separated and sold into slavery during the conquest of Jerusalem. Their respective masters, not knowing the two were siblings, paired them with the intent of creating beautiful offspring. In their shared cell, the two wept all night until morning, when they recognized one another. They cried on each other’s necks until their souls departed from their bodies. The narrator of our story laments their terrible fate, ending each verse with a haunting refrain: “And so I will wail for all time.” . . .

Based on the acrostic signature, this piyyut popularly sung at the Shabbat table, is attributed to an otherwise unknown paytan named Yehonatan. . . .

This prayer appears on page 11-12 of Hayyim Obadya’s Seder Akhilat haSimanim for 5781. It is a variant of the prayer, “Eloheinu Shebashamayim,” a supplication read in the sephardic tradition during seliḥot. This version contains twenty-five lines as found in Sefer Selihot haShalem, Hazon Ovadia, p.48-51/. Other variations have fifty or more lines. . . .

This beautiful piyyut of unknown authorship is recited in most Sephardic, Mizrahi and Yemenite traditions on Tisha B’ab at Minḥah. In its stanzas, rich and replete with biblical references (as is particularly common in Sephardic Piyyut), God speaks to Jerusalem and promises to comfort her, and comfort and redeem her people. . . .

A prayer for unveiling a tombstone, according to the custom of the Jews of Pressburg. . . .

The ancient Jewish community of Djerba, an island off the coast of southern Tunisia, has many unique customs and practices. Among them is that during the Maggid, after the citation of Joshua 24:2-4 and before the paragraph beginning “Praise the One who keep faith with the people Israel,” an extensive work in Judeo-Tunisian Arabic is recited, telling the well-known story of Abraham’s realization of divine unity and his ordeal in the oven of fire. Here is a transcript of that text, vocalized according to the original manuscripts, transcribed, and translated into English and modern Hebrew. . . .

In many eastern communities, including the communities of Aleppo and Yemen as well as the haggadah of Ḥakham Ovadia Yosef, this text is added to the extrapolation of the First Fruits declaration found in the Pesaḥ Maggid. Specifically, it is found after the citation of Exodus 12:12, specifically within or after the passage concluding “…who is Me and there is no other.” . . .

In many Eastern rites, as well as in the writings of R. Avraham ben haRambam, it is customary to add this brief midrash to Dayenu, after the verse that ends “but had not given us their wealth, dayenu.” Here it is translated into English, including some notes for certain locations where the Yemenite nusaḥ differs from others. . . .

Emunim ʿIrkhu Shevaḥ is a brief piyyut recited in North African communities in Rabban Gamliel’s list, between Pesaḥ and Maror. It spells out “Aaron the Priest” as an alphabetical acrostic, but it is uncertain whether this is an authorial signature or a mystical reference to the Biblical figure. . . .

A zemirah for havdallah by an otherwise unknown rabbinic payyetan known only by his signature acrostic. . . .

This piyyuṭ, bearing the acrostic signature “Samuel,” is traditionally recited in the communities of Babylonia and India as a petiḥa, or opening poem, before the Song of the Sea. It is also sung on Shabbat Shira, the Sabbath where we read the Song of the Sea in public. This translation is an attempt to preserve the original meaning as well as the rhyme scheme and poetic form. . . .

The order of seliḥot for the day after Rosh haShanah, which is Tsom Gedalyah – the fast of Gedalyah. . . .