A rhymed translation of Tsur Mishelo, a paralitugical Birkat haMazon. . . .

The earliest recorded prayer or piyyut providing an acrostic for the 42 letter divine name. . . .

A litany of angelic names recorded in Sefer HaQanah, whose initial letters spells out the 42 letter divine name as also found in Sefer haPeliah. . . .

A litany of angelic names recorded in Sefer haPeliah whose initial letters spells out the 42 letter divine name as also found (in variation) in Sefer HaQanah. . . .

Before potatoes entered the diet of Ashkenazi Jews, latkes were cheese pancakes, or cassola, as described in the poem “Even Boḥan” (Touchstone) by Rabbi Kalonymus b, Kalonymus ben Meir. . . .

A prayer by Kalonymus b. Kalonymus ben Meir that appears in his poem ספר אבן בוחן, יג Sefer Even Boḥan (§13), describing the author’s wish to have been born a Jewish woman. . . .

An original Hebrew translation of the popular medieval commercium song and graduation anthem “De Brevitate Vitæ,” more commonly known as “Gaudeamus Igitur.” First attested in 1287, this Latin poem is irrevocably associated with college life for academics all over the world. It has been translated into many languages, and this Hebrew edition can be added to the list. . . .

This is the remarkable and unique form of the prayer Elohai Neshamah as found in the Ets Ḥayyim, a compendium of law and tradition of the Jews of England completed in 1287 by Jacob Jehudah Ḥazzan of London (only three years before the expulsion of the Jews from England). . . .

Jacob b. Jehuda of London, the author of that valuable contribution to the literary side of Anglo-Jewish history, the Talmudical compendium Etz Chaim, so providentially rescued and preserved for us, never dreamt, when he noted down, in the year 1287, the Ritual and Agada of the Seder Nights according to English usage, that he was fixing a permanent picture of what was doomed to destruction, and was recording not a mere portion of the liturgy, but a page of Jewish history. Faithfully copying his great prototype, Maimonides, the English Chazan also embodied in his work the texts of the Recitations on the Seder Nights in the form customary among his countrymen, and appended the correlated rites according to Minhag England. . . .

In siddurim following the nusaḥ ha-ARI z”l, the Barekhu call to prayer is immediately preceded by a passage from the Zohar, Parshat Terumah, explaining the profound significance of the Maariv service. . . .

The nusaḥ of the Jews of England before the expulsion is witnessed in a single text written by Jacob Jehudah Hazzan of London in 1287. The text is currently held in the collection of the library of the University of Leipzig. We are grateful to the library for making available to us a scan of just pages in the work containing the seder tefilot — something unavailable to its first transcriber (to which our digital edition is indebted). In April 1962, the former chief rabbi of the British Empire Israel Brodie published his transcription through Mossad haRav Kook, writing “The Etz Hayyim is the most notable and certainly the most voluminous of the literary productions of mediaeval Anglo-Jewry which have survived. It was written in 1287, three years before the Expulsion. The author of whom very little is known, wrote this comprehensive code of religious law based on the Mishneh Torah of Maimonides, on the Sefer Mitzvot Gedolot of Moses of Coucy and of many other rabbinic authorities some of whom are otherwise unknown. Included among his authorities are Talmudists — some of renown, who flourished in England. The Etz Hayyim appears to have been regarded as an authoritative source of Jewish Law, judging by references to it contained in works which will be listed in my full introduction. Though it was not quoted as frequently as other works of a similar nature, it takes its place among the Rishonim. David Kauffman in the Jewish Quarterly Review, Vol. IV, pages 20—63, 550—561, and Vol. V pages 353—374 gave a detailed description and appraisal of the Etz Hayyim. The full publication of the work, will, I am sure, provide scholars with additional and varied data which will justify the labour and time involved in its preparation and editing.” . . .

A reading from the Zohar providing context for the first meal of Shabbat on Friday evening. . . .

A reading from the Zohar providing context for the second meal of Shabbat (the Saturday lunch meal). . . .

A translation in German and English of the ḳinnah “Sha’ali Serufah ba-Esh.” . . .

A reading from the Zohar providing context for the third meal of Shabbat (the Saturday afternoon meal, se’udah shlishit/shaleshudes). . . .

This is a complete poetic rhyming translation of Maoz Tsur with all six of its stanzas including a seventh, final stanza written by Isaac Gantwerk Mayer specifically for Yom ha-Atsmau’ut. . . .

A complete poetic translation (all six verses) of Maoz Tsur. As far as the editor knows this is the first translation of Maoz Tsur to both (a) cover all the verses relatively accurately and (b) preserve the strict ABAB-BBCCB rhyme scheme of the original. (Reb Zalman’s comes close but it goes ABAB-CCDDC instead). If it sounds violent, that’s because it *is* violent. Ḥanukkah is a holiday about actively fighting against assimilation and abuse. A lot of Maoz Tsur translations are censored, but it’s a powerful, loud, and even nationalist statement. . . .

A singing translation of the popular piyyut (devotional poem), “Maoz Tzur,” by Reb Zalman for Ḥanukkah. . . .

Ana is a poem for the first commandment, that discusses all that God did for the ancestors. . . .

A singable translation of Maoz Tsur by the great ḥakham Frederick de Sola Mendes, here transcribed from the Union Hymnal (CCAR 1914), hymn 190. The translation largely reflects the Hebrew, omitting two verses — the final (and according to some, last added) verse, and the fourth verse about Purim and Haman. . . .

Maoz Tsur as translated by Dr. Solomon Solis-Cohen, with Hebrew adapted in the first stanza by Joseph Herman Hertz, chief rabbi of the British Empire. . . .

A German translation of Maoz Tsur, by the early Reform rabbi Leopold Stein. This singable German translation was cited as an inspiration for Gustav Gottheil and Marcus Jastrow’s well-known English edition. In some communities in the German Empire, for instance the community of Beuthen (now Bytom, Poland), it was recited during the morning service on Ḥanukkah. It poetically translates the first five verses in their entirety, avoiding the controversial sixth verse (said by some to have been added post-facto, and rejected by the early Reform movement). . . .

This is an English translation of Maoz Tsur published by The Hebrew Standard for their 1893 Ḥanukkah issue (vol. 29, no. 12, New York, Friday, 8 December 1893 — 29 Kislev 5654). The Hebrew Standard was one of the biggest English-language Jewish papers in America around the turn of the twentieth century, generally taking a more traditionalist line than the Reform papers and a more moderate line than the leftist ones. This translation, simply titled “Chanukah”, unfortunately goes unattributed in the pages of The Hebrew Standard. The translation follows an ABABCCDD rhyme scheme (for those unfamiliar with rhyme scheme notation, this is the same rhyme scheme as “The Star-Spangled Banner“), unlike the Hebrew’s ABABBBccB. . . .

“Ar’a Raqda,” a piyyut read directly before the Ten Commandments in the Targum, uses wedding imagery and language from the Shir haShirim to paint Sinai as a ḥuppah. . . .

Essa Lameraḥoq by Aharon ben Yosef of Constantinople, with an English translation. . . .

This formula for recitation in the Sukkah at the conclusion of Sukkot (on the night of Shemini Atseret) is given in the name of Rabbi Meir of Rothenburg (1215-1293) and found in two sources: Siman 148 of the Teshuvot of Shimshon bar Tsadoq (a/k/a the Tashbets), and Siman 71.50 of the Sefer Kol Bo. . . .

“Af Oraḥ Mishpatekha” is an ofan, a type of piyyut recited as a part of the Ḳedushah d-Yotzer liturgy as an introduction to Ezekiel 3:12. Specifically, it is an ofan written by the Rokeaḥ, R. El’azar ben R. Yehuda of Worms, for the morning liturgy on Shabbat Ḥazon, the Shabbat before Tishah b’Av. It is here included along with an original translation and with cited verses marked. Also included is a series of images from a 1714 maḥzor printed in Frankfurt au Main that includes the piyyut. To note, the text included above is not exactly the same as that of the 1714 maḥzor, having been edited in accordance with Isaac Meiseles’s 1993 critical edition of the Rokeaḥ’s work. . . .

A piyyut and table song for Shabbat from 13th century Ashkenaz. . . .

“Even haRoshah” (the corner stone) is a seliḥah recited on the Fast of Tevet in the Ashkenazi nusaḥ minhag Polin. . . .

The text of the popular piyyut “Adir Bimlukhah” (a/k/a “Ki lo na’eh”) in Hebrew, with a Latin translation. . . .

A mourner’s ḳaddish in the event there is no quorum. . . .

“Gebet für den Regenten” was translated/adapted by Yehoshua Heshil Miro from the traditional prayer for the sovereign (“Hanoten Teshua”) and published in his anthology of teḥinot, בית יעקב (Beit Yaaqov) Allgemeines Gebetbuch für gebildete Frauen mosaischer Religion. It first appears in the 1833 edition, תחנות Teḥinot ein Gebetbuch für gebildete Frauenzimmer mosaischer Religion on pp. 66-67. In the 1835 edition, it appears as teḥinah №45 on pp. 75-76. In the 1842 edition, it appears as teḥinah №47 on pp. 78-79, with the name of Friedrich Wilhelm Ⅲ (1770-1840) replaced by Friedrich Wilhelm Ⅳ (1795-1861). The Hebrew liturgy from which Miro’s translation was derived was reconstructed from variations of Hanoten Teshua current in the 19th century at the time this prayer was published. . . .

The prayer, haNoten Teshu’a, as adapted for King George III in 1810. . . .

The prayer for the government presented by Gershom Seixas at K.K. Shearith Israel on Thanksgiving Day 1789. . . .

The prayer for King George III in the English colonies before the Revolutionary War. . . .

Rabbi Jacob Judah Leon’s Prayer for King Charles II, from his 1675 booklet, was the first Jewish prayer in English for an English king (Mocatta Library, University College London). . . .

The text of Hanoten Teshua in its English translation as presented by Menasseh ben Israel to Oliver Cromwell in 1655. We have reconstructed the corresponding Hebrew from the S&P nusaḥ of the Jewish community in Amsterdam. . . .

A variation of the prayer Ribon ha-Olamim from the section of prayers preceding Psukei d’Zimrah/Zermirot. . . .

This seliḥah poem, written by R. Joseph of Chartres, commemorates the martyrdom of approximately 150 Jews in Clifford’s Tower, York, England, in the year 1190. A summary of the events of 1190, sometimes referred to as “the English Masada,” can be found here. Like many medieval Jewish poems about massacres, Elohim B’alunu carefully treads the line between assuming guilt and declaring innocence. This poem, interestingly enough, directly calls out the person seen by R. Joseph of Chartres as ultimately responsible — the crusader King Richard Ⅰ. Beloved in Christian memory, this radical zealot of a king has a much darker, more horrific reputation among Jewish and Muslim groups. . . .

This post is a storage container for facsimile editions and digital transcriptions of Maimonides’ Seder Tefillot (Order of Prayers) found at the end of his Sefer Ahava (Book of Love) in his Mishneh Torah. . . .

Aish Tukad is a ḳinah for Tishah b’Av, usually recited towards the conclusion of the set of dirges for the morning service (in Goldshmidt’s numbering, it is number 32 of our 46 Kinot). According to Goldshmidt’s introduction, the structure of this Piyyut is based on a Midrash in Eicha Zuta 19, where Moses’ praises for God and Israel are seen as parallel to Jeremiah’s laments, thus creating the concept of a comparison between the joy of the Exodus and the pain of the Temple’s destruction. . . .

A “praying translation” of the piyyut, Anim Zemirot. . . .

A translation of the piyyut, Anim Zemirot. . . .

The piyyut and popular shabbat table song, Ki Eshmera Shabbat, in Hebrew with a rhyming translation. . . .

This translation of “Ki Eshmera Shabbat” by Rabbi David Aaron de Sola of a piyyut by Avraham ibn Ezra was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . .

A rhyming translation of the pizmon for maariv on Yom Kippur. . . .

A medieval manuscript illustration of the aggadah that the Yam Suf was split in 12 discrete channels, one for each tribe, as reflected above by a 12-color rainbow . . .

Some Jewish communities, especially those in the region of the Four Lands, have a custom of fasting on the 20th of Sivan. This day has a full seliḥot service, commemorating a series of horrors that occurred on that day, most prominently the Chmielnicki (Khmielnetsky) massacres of 1648-49. But this poem was written for another horrific occurrence on 20 Sivan, the blood libel of Blois in 1171. This was the first time the accusation of ritual murder was ever made against the Jews of France, but it wasn’t the last. This seliḥah poem, written by Hillel ben Jacob of Bonn, starts with the dramatic accusation that God has abandoned the people Israel, continuing by listing those who died in myriad horrid ways, and ending with several citations from the apocalyptic final chapter of the book of Joel. . . .

A pizmon recited on the Fast of Tevet in the tradition of nusaḥ Ashkenaz. . . .

“Oy Meh Haya Lanu” is a ḳinah traditionally recited on the night of Tisha b’Av directly after the reading of Eikha. According to the Koren Mesorat HaRav Kinot, it is number 1 of 50. The title is the refrain of the poem, a reflective lament. This ḳinah is based on the fifth and final chapter of Eikha, taking the opening phrase of each line of the megillah as the first line of each couplet and poetically expanding the description for the second. This translation is an attempt to convey the vulgarity and horror of the paytan’s depiction of the destroyed Jerusalem in vernacular English. The ḳinah ends just as the megillah ends, with the four verses of pleas for redemption. . . .