A retelling of the story found in Megillat Antiokhus as midrash aggadah. . . .

This digital edition of Midrash Ma’aseh Ḥanukkah was transcribed from the print edition published in Otzar Hamidrashim (I. D. Eisenstein, New York: Eisenstein Press, 5675/1915, p.189-190). With much gratitude to Anat Hochberg, this is the first translation of this midrash into English. . . .

Perhaps Megillat Antiokhus could be read a la Esther on Purim (the holiday with the most similarities), going to Eicha trope in the upsetting parts. A few notes: on the final mention of Bagris the Wicked I included a karnei-farah in the manner of the karnei-farah in Esther. I also included a merkha kefulah in the concluding section, which (according to David Weisberg’s “The Rare Accents of the Twenty-Eight Books”) represents aggadic midrash material. It also serves as a connection to the Chanukah haftarah, which is famously the only one that has a merkha kefulah. –Isaac Mayer . . .

Jews all over the world announce the new month on the Shabbat before it with a text known as “birkat ha-ḥodesh” or blessing the month. In many rites, such as the Western Sephardic and Moroccan rites, the fast days 17 Tammuz and 10 Tevet are also announced on the Shabbat before them with a text known as “hazkarat tsomot” or announcing fasts. But to my knowledge, only the Italian rite (and possibly the ancient Eretz Yisrael rite from which much of it derives) have a custom of announcing Pesaḥ on the Shabbat before it. This passage, the Announcement of Pesaḥ (Azcaràd Pesah in Italian traditional pronunciation) is recited on the Shabbat before Pesaḥ, commonly known as Shabbat haGadol (Sciabbàd Aggadòl), after the reading from the Torah. Citing the mystical hekhalot literature, it celebrates the sages who established the rules of the calendar. . . .

Many communities have a custom of announcing on the night of 9 Av the years since the destruction of the Temple. The Yemenite rite is unique in that it announces both the years since the destruction of the second, but also the years since the destruction of the first, in this poetic form recited after the conclusion of the evening kinnot. Why? Because the Yemenite community traced its origins back to the destruction of the first temple, claiming not to have returned under Ezra. Here the original Hebrew text is included along with a new translation and a transcription in the Yemenite pronunciation style. . . .

The book of Barukh (also, Baruch and Barouch) in its reconstructed Hebrew vorlage from verse 1:1 till 3:8. . . .

The text of the Betä ʾƎsəraʾel legend of the death of Moses, translated to Hebrew by Jacques Faïtlovitch, and vocalized, cantillated, and translated into English by Isaac Gantwerk Mayer. . . .

The Apostrophe to Zion is an alphabetical acrostic poem, directed at Zion in the second person. It has been found in multiple locations in Qumran, including the Great Psalms Scroll 11QPsa as well as another fragmentary scroll in 4Q88. It was considered a regular part of their psalmodic canon. . . .

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

This is the first of four apocryphal psalms from the Cairo Geniza, MS RNL Antonin 798, vocalized and cantillated per Masoretic norms, and translated anew. The origin of these psalms (found in a few pages of an incomplete manuscript) is unclear, with earlier scholars suggesting a medieval pious forgery and more recent scholars suggesting an origin in or contemporaneous with the Qumran community. (In any case, no sign of them has been found in the Qumran scrolls, although some aspects of the Hebrew may suggest a relationship there.) The first psalm found in this partial manuscript is an acrostic psalm. It is incomplete at the beginning, missing the letters alef and bet. It also shows evidence of the Galilean dialect in the confusion between hei and ḥet, a guttural merger also found in Qumran texts and in Samaritan Hebrew. It largely focuses on the covenant with David and his rule. . . .

This is the second of four apocryphal psalms from the Cairo Geniza, MS RNL Antonin 798, vocalized and cantillated per Masoretic norms, and translated anew. The origin of these psalms (found in a few pages of an incomplete manuscript) is unclear, with earlier scholars suggesting a medieval pious forgery and more recent scholars suggesting an origin in or contemporaneous with the Qumran community. (In any case, no sign of them has been found in the Qumran scrolls, although some aspects of the Hebrew may suggest a relationship there.) The second psalm found in this partial manuscript is preserved in its entirety and preserves an introductory schema found for the rest of the psalms here and likely missing from the first. Perhaps the text originally included psalms for each day in Iyyar! This psalm begins by invoking martyrdom, with the powerful image of a shephard killing his own flock. It then transitions into universalist-messianic language reminiscent of texts such as the second paragraph of Aleinu and the Rosh haShanah piyyut Va-ye’etayu, then discussing the beauty of the Torah before ending with a catena of blessings. . . .

The story of Shoshanah & the Elders, according to the text of Theodotion translated into Biblical Hebrew. . . .

This is the third of four apocryphal psalms from the Cairo Geniza, MS RNL Antonin 798, vocalized and cantillated per Masoretic norms, and translated anew. The origin of these psalms (found in a few pages of an incomplete manuscript) is unclear, with some suggesting a medieval pious forgery and others suggesting an origin in the Qumran community. (In any case, no sign of them has been found in the Qumran scrolls, although some aspects of the Hebrew may suggest a relationship there.) Preserved in its entirety, the third psalms in Antonin 798 largely focuses on reversal of fortune. It also appears to invoke the memory of Moshe, but not by name. . . .

The story of Bel and the Dragon according to the text of Theodotion, translated into biblical Hebrew. . . .

This is the third of four apocryphal psalms from the Cairo Geniza, MS RNL Antonin 798, vocalized and cantillated per Masoretic norms, and translated anew. The origin of these psalms (found in a few pages of an incomplete manuscript) is unclear, with some suggesting a medieval pious forgery and others suggesting an origin in the Qumran community. (In any case, no sign of them has been found in the Qumran scrolls, although some aspects of the Hebrew may suggest a relationship there.) Preserved in its entirety, the third psalms in Antonin 798 largely focuses on reversal of fortune. It also appears to invoke the memory of Moshe, but not by name. . . .

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. . . .

The Geshem prayer for Shmini Atzeret in the Maḥzor Aram Ṣoba has some things in common with other Geshem texts, but its most unique facets are twofold. First and most obviously, the extensive catena of verses from Torah, Neviim and Ketuvim that falls between the introductory announcement and the piyyutim themselves. And second, several Aramaic passages relatively rare in other texts, which seem to reflect an archaic form predating the adoption of Arabic as the spoken language of the Aleppo Jews. (These Aramaic passages are marked in green in the transcription.) As standard in Eastern practice, especially in the Maḥzor Aram Ṣoba (which shows a surprisingly modern reticence to interrupt the ‘amidah), this prayer is placed after the Torah service and before musaf begins. . . .

The text of the piyyut Ein Keloheinu from a 1483 Judeo-Italian translation of the siddur (British Library Or. 2443), along with a transcription into Italian script, a normative Italian modernization, and the Hebrew and English. . . .

The mantra-like piyyut “Ēin k-Ēlohēinu,” a praise of God’s attributes and uniqueness featuring incremental repetition, is found in siddurim as far back as the siddur of Rav Amram, and may date back to the Hekhalot literature. Many versions of it have been compiled in different languages, most famously Flory Jagoda (zç”l)’s Judezmo variant “Non como muestro Dyo.” Here the editor has compiled traditional Yiddish and Ladino translations, as well as developed new Aramaic and Arabic translations for this piyyut. The post-piyyut verses used in both the Ashkenazi and Sephardic rites have been included. . . .

The text of the prayer Nishmat Kol Ḥai in Hebrew with a Latin translation . . .