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. . . .

The Italian Jewish community is one of the oldest continuous Jewish communities on the planet, dating back to the Roman empire at the latest.The Italian Jewish nusaḥ preserves several archaic practices that Ashkenazi and Sephardi rites no longer follow, many of which were found in gaonic siddurim and preserved only among the Italians. One fascinating custom of the Italian Jews is the recitation of what Ashkenazim and Sephardim call “Kol Nidrei” not in Aramaic, but in Hebrew, under the name “Kol N’darim.” This custom, also found among the Romaniotes of Greece, is elsewhere only found in the siddur of Rav Amram Gaon. The text included here is transcribed, niqqud and all, directly from a 1469 Italian-rite siddur found in the British Library. The scribe uses several non-standard vocalizations, which have been marked in editors’ notes. . . .

This is a pizmon for Shabbat Shirah (Parashat B’Shalaḥ) by an unknown author. The text is as transcribed from the pizmonim included in the siddur משמרת הקדש: קול שומר שבת Mishmeret haQodesh: Qol Shomer Shabbat (Pisa 1821), p. 117. . . .

This somewhat crude Purim song is sung in many variants in the Moroccan and Gibraltar Sephardic communities, often to the tune of the popular Purim hymn “Akh Ze Hayom Kiviti.” . . .

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. . . .

A Ladino translation of Brikh Shmei d’Marei Alma. . . .

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

This Purim song, popular among the Sephardic and Italki communities of Livorno, can be sung to the melody of “Akh, Zeh Hayom Kiviti.” Like a lot of Italian Purim content, a large portion of it is listing different desserts. . . .

The Prayer of Azariah and the Song of the Three Holy Children, one of the apocryphal Additions to Daniel, is an interpolation into the third chapter of the book of Daniel. The editor has here included a new vocalized and cantillated edition of the Aramaic text preserved in the 12th century Divrei Yeraḥmiel (Oxford Bodleian Heb d.11 transcribed by Rabbi Dr. Moses Gaster). The language of this passage is an odd synthesis of Targumic, pseudo-Biblical Aramaic, and even some Syriac forms, so the editor’s vocalization is aiming for a happy medium of all the possibilities. . . .

Daniel’s battle with the Dragon, one of the apocryphal Additions to Daniel, is affixed to the end of the book in the Septuagint. The editor has here included a new vocalized and cantillated edition of the Aramaic text preserved in the 12th century Divrei Yeraḥmiel (Oxford Bodleian Heb d.11 transcribed by Rabbi Dr. Moses Gaster). The language of this passage is an odd synthesis of Targumic, pseudo-Biblical Aramaic, and even some Syriac forms, so the editor’s vocalization is aiming for a happy medium of all the possibilities. (In several locations Divrei Yeraḥmiel uses incorrect Hebrew-specific forms, probably due to scribal error. These are here marked as a qere-ketiv split.) . . .

A “bikkur” piyyut traditionally added at the end of Hashkivenu for Shavˁuot in the Old French (and Maḥzor Vitry) and Romaniote rites. From the acrostic we know the author was named Yosef ben Yaˁakov. Other than that we know very little about this poem’s origin and age, although its structure fits with the early Ashkenazi piyyut oeuvre. . . .

A blessing before the recitation of psalms, used in the old Eretz Yisrael rite as found in the Cairo Geniza. Since its structure is similar to the blessing before the haftara which is often cantillated, I have taken the liberty of adding psalmodic cantillation to the text. . . .

The custom of reciting BaMeh Madliqin, the second chapter of Mishnah Shabbat, on Friday nights probably originated as an anti-Karaite polemic. While the Karaites were opposed to any use of fire on Shabbat, rabbinic Jews kindle lights before Shabbat, and the recitation of BaMeh Madliqin — the laws of Shabbat lights — emphasized this distinction. One of the best firsthand sources we have for this is the following introductory blessing from the Cairo Genizah (T-S NS 299.150 verso) for the recitation of BaMeh Madliqin, first published by Naftali Wieder in this article. This blessing emphasizes the continuity of the Torah both written and oral from Sinai to the sages and elders. . . .

This piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original. . . .

A prayer for those martyred in the First Crusade and Rhineland Massacres, and by extension, all subsequent pogroms up until and including the Holocaust. . . .

The traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat Sheqalim, alongside a new gender-neutral translation . . .

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. . . .

“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. . . .

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. . . .

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)‬. . . .

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. . . .

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. . . .

The Tabula Smaragdina, or the Emerald Tablet, is a cryptic and compact work, part of the Technical Hermetica — a genre of mystical and magical texts of great popularity in the medieval and renaissance era. Traditionally attributed to the legendary figure Hermes Trismegistus, it is considered a foundational text for Near Eastern and European alchemy. It is the ultimate source of the popular occultist expression “as above, so below,” although that specific expression doesn’t appear in the original Arabic text as found in the ninth-century Secret of Creation. . . .

This is a litanic Ḳiddush for a Rosh Ḥodesh meal, constructed based on the Ḳiddush for Rosh Ḥodesh in Jerusalem as described in Masekhet Soferim chapter 19:9, mostly following the GRA’s edition. Traditionally it would be done in the presence of twelve town elders and twelve scholars of ritual purity, but today we could adapt it to be recited at a festive meal for Rosh Ḥodesh in the presence of seven — the minyan count according to the traditional Western practice recorded elsewhere in Masekhet Soferim 10:7. . . .

In Yemenite Jewish children’s schools, this prayer of unknown authorship is said before the lesson in unison. The teacher conducts and the children sing together to a melody. The prayer is printed in tajjim (Yemenite trilingual Pentateuch codices) before the book of Leviticus, traditionally the starting point for a child’s education. The first twenty-two lines of the prayer are an alphabetical acrostic wherein each line spells out the entire letter in which it starts. For instance, the first line spells out Alef, Lamed, and Pe, which spells out the full name of the letter Alef. This is followed by three Biblical verses all starting with the word “Good,” a brief poem in Hebrew, and a concluding passage largely in Judeo-Arabic. Here the editor has included the original text, along with a non-gendered English translation and a transcription of the Judeo-Arabic text into Arabic script. . . .

The Words of Gad the Augur is a lost work mentioned in I Chronicles 29:29. It is also an apocryphal Hebrew work of fourteen chapters, attributed to the Jews of Cochin in India. Most famous for its unique verse for the letter נ (nūn) in its variant of Psalms 145, this text also features multiple unique midrashim, reworked Biblical texts, and Hebrew forms and names not found elsewhere. . . .

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! . . .

Azalat Yokheved is part of a whole genre of midrashic works suggesting Yokheved lived to see her son die — a concept even found in the Ethiopian literature. With repeated refrains, it emphasizes the desperate search of a mother trying to find her son, retracing all her steps and desperately asking everyone she can. But just as Moshe’s journey to the Promised Land ends without a conclusion, so too Yokheved never finds her Moshe. It’s been translated preserving monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Azalat Bekhita, is probably incomplete, extending only to ḥeth in known manuscripts. It features multiple people, places, and things important in Moshe’s life taking turns to eulogize him. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Amar Kiris l-Moshe, is a midrashic narrative of Moshe going to Adam to ask why he cursed humanity with death. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s “Jewish Palestinian Aramaic Poetry from Late Antiquity,” it is presented here vocalized with an original translation. . . .

This piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. . . .

This piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. . . .

‘Ad Ana Bikhya B’Tsiyon, is one of the oldest qinot of the cycle, dating to the period before rhyme schemes were the norm for Hebrew poetry. It describes the heavenly luminaries themselves as sympathizing with and lamenting for Israel. It goes through the entire zodiac, beginning with Ares and ending with Pisces. It is traditional to stand and recite the last few lines aloud before transitioning into the Ḳedusha d’Sidra. . . .

In many communities, the practice of Yaḥats, or breaking the matsah before maggid, is done with liturgical and ritual additions. The additions included here are one practice out of many variants as found in the practice of Djerba, the island off the coast of Tunisia. . . .

The first day of Pesach, according to the Sages, is the day the world is judged for grain and dew. Because of this, many customs have developed tying it into the pomp of the High Holy Days. One custom preserved in many medieval maḥzorim is to extend the final blessing of the the Musaf “Tal” (Dew) service, including a Hayom piyyut, a piyyut form otherwise almost exclusively associated with the Yamim Noraim. This extended Sim Shalom berakha including piyyutim is presented here, largely based on the form compiled by Ernst Daniel Goldschmidt (zatsal). . . .

The Italian rite, unique among Jewish rites, has preserved up until very recently the custom recorded in the Talmud, Masekhet Tagnanith, for communally declared fast days. In this rite, sometimes referred to as the Twenty-Four Blessings, six more blessings are added to the liturgy — the Zikhronot and Shofrot portions more commonly recited on Rosh haShanah, and four different psalms, all interspaced with a poetic litany on behalf of the ancestors’ merit and shofar blasts. It’s a fascinatng service! . . .

The piyyut, Dayenu, in its Latin translation by Johann Stephan Rittangel. . . .

This qina is recited in the Spanish-Portuguese rite (as practiced in the Snoge in Amsterdam, the Bevis Marks Synagogue in London, and Shearith Israel in New York City among many other communities) at the conclusion of the recitation of qinot on the evening of the Ninth of Aḅ. Its refrain, taken from the Four Questions of the Passover liturgy, is reframed* as a reflection of the suffering of such a day, contrasting the celebration of salvation on Passover with the fear and desolation of the fast day. . . .

The alphabetic acrostic piyyut, Adir Hu, in its Latin translation by Johann Stephan Rittangel as found in his translation of the Pesaḥ seder haggadah, Liber Rituum Paschalium (1644). . . .

A quadrilingual text of U-N’taneh Tokef — Yiddish, Ladino, English, and Hebrew. . . .

This piyyut of unknown authorship is certainly ancient, showing the lack of a rhyme scheme characteristic of the REALLY old piyyutim (see also Aleinu or El Adon). It is still found in some Ashkenazi and Teman maḥzorim, with many different mostly minor variants (which have been combined together somewhat eclectically into one text here). It is presented here along with an English translation attempting to preserve the Hebrew acrostic. Originally it was recited before the Ashrei leading into musaf, but perhaps for those who follow Ashkenazi customs a more appropriate location would be as an introduction to the Yizkor service on Shmini ‘Atzeret — which for those who don’t keep second-day yontef is the same day. It could also be adapted as part of the liturgy for the seventh of Adar, although the final verse (the old Western rite berakha for finishing a full Torah cycle) would have to be elided. . . .

This Aramaic poem, written in the early Byzantine era by an unknown author, can be found in its entirety within the Targum Sheni for Esther 7:9. It features an argument between an assortment of trees over which one is required to bear the great dishonor of having to be the one to hold Haman. It’s also chock-full of anti-Christian polemic and references to Toledot Yeshu. . . .

This is an original Esperanto translation of Ein K’Eloheinu, with a transcription using my own original Hebraization schema. . . .

A unique Nusaḥ Erets Yisrael variant of the Qaddish found in the Cairo Geniza, most well known for including the names of the leading rabbis of the community in its text. . . .

A traditional Cochin Ḳaddish Shalem, based on siddurim published for the Cochin Jewish community by the Props brothers of Amsterdam. . . .

Chapter 1 of Pirqei Avot (Fundamental Principles [of Rabbinic Judaism]) with cantillation and English translation. . . .

Chapter 2 of Pirqei Avot (Fundamental Principles [of Rabbinic Judaism]) with cantillation and English translation. . . .

Chapter 3 of Pirqei Avot (Fundamental Principles [of Rabbinic Judaism]) with cantillation and English translation. . . .

Chapter 4 of Pirqei Avot (Fundamental Principles [of Rabbinic Judaism]) with cantillation and English translation. . . .