A series of ten short couplets describing the ten plagues afflicting the Egyptians in Egypt, written in Judeo-Italian and first published in the famous 1609 Venice Haggadah of Isaac Gershon. The Italian used in the Venice Haggadah lacks a lot of the most divergent aspects of the Judeo-Italian languages, sticking to a more mainline Tuscan grammatical norm, but there are enough obsolete, poetic, or dialectal forms that several footnotes have been included to explain them. Also included is an original English-language rhyming translation! . . .

A series of fourteen short couplets describing the fourteen traditional stages of the Haggadah, written in Judeo-Italian and first published in the famous 1609 Venice Haggadah of Isaac Gershon. The Italian used in the Venice Haggadah lacks a lot of the most divergent aspects of the Judeo-Italian languages, sticking to a more mainline Tuscan grammatical norm, but there are enough obsolete, poetic, or dialectal forms that several footnotes have been included to explain them. Also included is an original English-language rhyming translation! . . .

This seliḥah, “Moshel ba-Elyonim Atah Yadata,” was written by Rabbi Mosheh ben Yeshayah Menaḥem Bachrach during an epidemic. It is included in the Seliḥot of Posen, Krakow, Prague, Worms, and Alsace. The text here was transcribed from the Siddur Kol Bo, vol. 3 (1923), p. 33. . . .

The Megillat Saragossa (also known as the Megillat Syracusa) in Hebrew and English, named after the tale of rescue and reversal of fortune in the cultural memory of some Sepharadi communities, to be read on the 17th of Shəvat. . . .

Presenting the full, somewhat short text of the Megillah of Sebastiano, telling the story of a great miracle that occurred to the Jewish community of Morocco on 1 Elul 5338, or August 4 1578 CE. On that day, King Sebastian of Portugal attempted to conquer Alcácer Quibir in North Africa — and inevitably to force the inquisition on the Jews of Morocco. But he was turned back at the last moment, protecting Moroccan independence for several more centuries. This scroll is traditionally recited in Jewish communities in the Maghreb to celebrate the repulsion of the Portuguese. . . .

This is a Mi Khamokha piyyut by Yisrael Najara for Shabbat Ḥanukkah retelling Megilat Antiokhos in a lengthy fourfold acrostic with each stanza ending in בוֹ. . . .

After the recitation of Shir haShirim — which, in some circles, is recited every Friday night — the kabbalists instituted a yehi ratzon, a petition to be recited in the merit of what was just read. In many communities, this petition is recited using the same melodies as the recitation of the scroll itself. As an extension of this custom, here I’ve added cantillation marks to the yehi ratzon after Shir haShirim. Included also is a recitation of the text following said cantillation marks. . . .

According to Joseph Judah Chorny’s On the Caucasian Jews, this acrostic piyyuṭ was customarily used as an epithalion before a wedding. He writes, “Before morning light, the bride is led to the groom’s house accompanied by many women and men, all carrying lit wax candles in their hands, and singing this song along the way.” Variants of this piyyut are found throughout the greater Sephardic world, generally in an abbreviated and slightly altered form. In Syria it is sung during the haqafot for Simḥat Torah, while in Livorno Sephardic practice (and subsequently in most Eastern Sephardic maḥzorim) it is a Shavu’ot piyyut. . . .

In many eastern Sephardic and Mizraḥi communities, there is a custom that a poetic “ketubah,” or marriage-contract, is recited before the Torah service on Shavuot. This custom, based on the midrashic idea that the Torah is the ketubah for the marriage between the bride Israel and the groom God, is beloved by the ḳabbalists. By far the most commonly used Shavuot ketubah is that of the great paytan and meḳubal Yisrael ben Moshe Najara, who wrote the following some time in the sixteenth century. This is a new translation of Najara’s poem. . . .

“Bore ‘Ad Anah” is a ḳinah recited in a number of Sephardic communities on Tishah b’Av (or in some cases on Shabbat Hazon, the Shabbat preceding Tishah b’Av), particularly in the Spanish-Portuguese and North African traditions. The author is unknown, but his name is likely Binyamin based on the acrostic made up of the first letters of the verses. In the kinah, the Children of Israel are compared to a wandering dove caught in a trap by predators, crying out its father, God. The ḳinah was likely written as a poignant response to the Spanish Inquisition, appropriate to Tishah b’Av since the expulsion of the Jews from Spain occurred on the 9th of Av in the year 1492. The version presented here was likely censored, as many manuscripts have the fifth verse presented in the following manner directly calling out their Catholic oppressors,” יועצים עליה עצות היא אנושה זרים העובדים אלילים שלושה אם ובן ורוח כי אין להם בושה גדול ממכאובי.” “They counsel against her and she languishes, the strangers who worship three idols, father, son and spirit, for they have no shame and great is my suffering.” . . .

Behold, a full text of the Megillah of Fustat, telling a story of a great miracle that happened in 1524 CE (5284 AM). . . .

A Judeo-Moroccan Arabic (Darija) adaptation of the Passover counting song Eḥad Mi Yodeaȝ, as found in Mahzor Moȝadé Hashem. . . .

The Seder ha-Tamid, a Provençal (Nusaḥ Comtat Venaissin) siddur published in Avignon in 1766, has liturgical additions for an amazing five different local festivals — one for Avignon, and two each for Carpentras and Cavaillon. Here’s a series of piyyutim for the fifteenth of Kislev in Carpentras. On 15 Kislev 5273 (24 November 1512 Julian), a troop of armed men entered the Jewish quarter in Carpentras. While we don’t know much else beyond that, we do know that this was a terrifying enough occurrence to the Jews of Carpentras that when the armed men left, a holiday was declared with multiple piyyutim and a full recitation of Hallel. . . .

A translation of Ḥad Gadya into Esperanto by Erin Piateski with a Hebraicization schema for Esperanto by Isaac Gantwerk Mayer. Piateski’s translation first appeared in her כוכב ירוק הגדה של פסח | Verda Stelo Hagado de Pesaĥo (2010). . . .

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. Counting up to 13, it is mostly written in Hebrew, but there are versions that can be found in many different languages. This translation is in the Judeo-Italian dialect of Siena, based on Geremia Mario Castelnuovo’s 1956 recording from Leo Levi’s collection of Judeo-Italian ethnomusicological recordings. A link to the original recording can be found here. . . .

The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . .

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. It is mostly written in Hebrew, counting up to 13, but there are versions that can be found in many different languages. This translation is in Bukhori, also known as Judeo-Tajik, as translated by the great Shimon ben Eliyahu Ḥakham (1843-1910), the chief rabbi of the Bukharan Jewish community in Jerusalem. His full translation of all liturgical additions in the month of Nisan for the Bukharan community can be found in חוקת הפסח Ḥuqat haPesaḥ (1904) – the source for this transcription on page 128-130 (see included). Shimon Ḥakham transcribed it into vocalized Hebrew script, which is included here alongside transliterations into Tajik Cyrillic and a Roman transcription. . . .

A translation of Ḥad Gadya into Esperanto by Erin Piateski with a Hebraicization schema for Esperanto by Isaac Gantwerk Mayer. Piateski’s translation first appeared in her כוכב ירוק הגדה של פסח | Verda Stelo Hagado de Pesaĥo (2010). . . .

A Judezmo/Ladino translation of the popular Passover song, Ḥad Gadya. . . .

A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . .