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. . . .

Qallir’s reshut for the Ṭal service on the first day of Pesaḥ. Also included is an acrostic English translation, as well as the catena of verses found in manuscripts but missing from most modern printings . . .

The works of the great paytan Yannai were, with the exception of a small handful of poems, almost completely lost until their rediscovery in the Cairo Geniza. This poem, an acrostic comparison of the days of Moses and Jeremiah, was written by Yannai to serve as part of the Musaf Ḳedushah on the first Shabbat after 17 Tammuz, on which the opening section of Jeremiah is recited. It bears structural and linguistic similarities to the later famous ḳinah Esh Tuqad. In its liturgical context, it was intended to introduce the final few verses of the Ḳedushah . Nowadays the custom of poetic inserts into the ḳedushah is nearly extinct, but the poem stands as a moving and powerful work nonetheless. . . .

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. . . .

Why is Ashrei such a beloved part of the service? Partially it is because of its alphabetical structure, making it perfect for communal reading. This translation attempts to preserve this in an English equivalence. . . .