One of many variants of this notorious work, the Sefer Toldot Yeshu is an irreverent retelling? a bitter deconstruction? a mocking parody? of the Christian narrative of the birth, life, and death of Jesus of Nazareth. Taking its general structure from the gospels, it coöpts and alters it to make the main character look like a petty, vindictive sorcerer, his disciples into either sectarian liars or loyal rabbinic plants, and his followers into easily duped fools. Toldot Yeshu was a very popular work in medieval times, and you can tell — this sort of a text was certainly written by someone whose primary relationship with Christians was fear. It’s the bitter invective of an oppressed people without power for themselves, the dirty laundry that two thousand years of murder leaves behind. It’s also, just, like unspeakably, hilariously crude. Have a garlicky Nittel, everyone!

The story of Yiftaḥ, or Jephthah, is read as the haftara for Parashat Ḥuqqat. However, in most practices the end of the story is not read. This is probably because it is horrific — because of Yiftaḥ’s foolish vow, he sacrifices his own daughter! Unlike the story of Isaac, there is no angel, no last-minute salvation. The knife falls, the girl dies. That would be bad enough, but the daughter of Yiftaḥ isn’t even named in the text! The text of Biblical Antiquities, traditionally albeit incorrectly attributed to Philo of Alexandria, is one of the more interesting and under-studied deuterocanonical works. Almost certainly written in Hebrew but preserved in its entirety only in Latin, it is an example of the genre of “rewritten Bible,” a proto-midrashic genre also found in texts such as Jubilees. It is the earliest source for a substantial number of legends that became part of the midrashic canon — from Abraham’s casting into the furnace to Dinah’s marriage to Job. And it has a unique tendency to elaborate on the stories of women in the Bible. In the case of Yiftaḥ’s daughter, Biblical Antiquities gives her three things she deserves: agency, a song, and a name. Agency, because she is a willing participant in the process of sacrifice, encouraging her father to go through with it and leaving the sages speechless. A song, because she laments the fact she will die a virgin. And a name — in the Latin text, Seila. In the Hebrew, Sheila, “asked for.”

Additional early rabbinic and other sources supplementing the story of the Martyrdom of Isaiah, with attention to Isaiah being granted sanctuary in a tree.

The following is a cnatillated Hebrew translation of the Martyrdom of Isaiah, the Jewish core of the work — 1:1—3:12 and 5. Also included is the corresponding Geʽez text, and the preserved fragments of the Greek text when available. When proper names are mentioned in the text attested in Greek, the translation follows the Greek.

A reading from Jubilees (Sefer haYovelim) 6:15-22, including the text of the Mäṣḥäf Ḳədus (the Ge’ez translation of Jubilees) and original cantillated Hebrew and gender-neutral English translations, for Shavuot. Jubilees is considered to be the earliest source connecting Shavuot with the Sinaitic covenant, and emphasizes the latter as a fulfillment of the Noaḥide covenant (in the narrative of Noaḥ) that had only been maintained through the lineage of Abraham.

A mytho-historical chronicle of the story of humanity and Israel up until the Maccabean revolt depicted as a fable through a dream vision of Ḥanokh.