Ḥad Gadya has a place in Seder tables throughout the Jewish world, and in many communities it was read in translation. Probably not this one though, seeing as it was written over a millenium after Akkadian became extinct. But in my opinion there ought to be a representation of the East Semitic language family in the canon of Ḥad Gadya translations. Also included is a transcript of the Akkadian text into Hebrew script, since Judeo-Cuneiform doesn’t exist… yet. Eh, Aramaic script was invented in the places Akkadian was spoken anyway, it’s fine. A hearty thanks to Dr. Janine Wende at the University of Leipzig for proofreading and editing the Akkadian translation! . . .

A Ge’ez translation of the popular Passover seder song, Ḥad Gadya. . . .

Ḥad Gadya has a place in Seder tables throughout the Jewish world, and in many communities it was read in translation. This Middle Egyptian translation was almost certainly the one that Moshe Rabbeinu himself sang at his seder table that fateful night in Egypt! …Not really. Ḥad Gadya postdates Middle Egyptian as a written language by about three millennia. But it’s fun and Pesaḥ-appropriate to sing this song in the language of that dagnabbed Pharaoh himself. Also included is a transcript of the text into Hebrew script, since Judeo-Hieroglyphics don’t exist… yet. Eh, the alphabet was adapted from hieroglyphics from the start. It’s fine. You could even say it’s an improvement. For reading out loud I’ve also included the standard Egyptological pronunciation system. If you’re stuck in a time machine be careful, it’s an artificial convention that should not be mistaken for how Egyptian was pronounced at the time. But personally I think “Tutenkhamen” is easier to say than *Təwā́təʾ-ʿā́nəkh-ʾamā́nəʾ, so sue me. . . .

An original version of Ḥad Gadya which has been fully Aramaicized, with all the Hebrew words removed and the verbs conjugated properly. . . .

Ana is a poem for the first commandment, that discusses all that God did for the ancestors. . . .

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

“Ar’a Raqda,” a piyyut read directly before the Ten Commandments in the Targum, uses wedding imagery and language from the Shir haShirim to paint Sinai as a ḥuppah. . . .

The haftarah for the second day of Shavuot, Ḥabakkuk 2:20-3:19, interspersed with a cantillated text of the Targum Yonatan ben Uzziel. Since Targum Yonatan is a bit more drash-heavy than Targum Onkelos, it is translated separately as well. The haftarah reading includes the piyyut Yetsiv Pitgam, with an acrostic rhyming translation of the poem, with the second-to-last verse restored to its rightful place, as well as a concluding paragraph for the meturgeman to recite, as found in the Maḥzor Vitry. . . .

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.) . . .

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. . . .

This piyyut, Elaha Taqifa (Mighty God), the third in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the concluding verse of the second aliyah (third on Shabbat). The translation preserves the alphabetical acrostic, as well as the authorial tag — Jequtiel son of Joseph. . . .

This piyyut, Elaha Alam (Ageless God), the fourth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the Song of the Sea proper as an introduction to the targum of the text. . . .

This piyyut, Abunan D’biShmaya (Our Parent in Heaven), the second in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the fifth verse of the first aliyah (or second verse of the second aliyah on Shabbat). . . .

This piyyut, Ilu Pume Nima (If Our Mouths Were Thread), the first in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the first aliyah, as an introduction or ‘reshut’ to the seder meturgeman as a whole. . . .

The piyyut read as an introduction to the Decalogue during the Torah reading on Shavuot. . . .

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. . . .

This piyyut, “Ḥanaiah, Mishael, and Azariah,” was originally written to be recited as an introduction to the targum of the Second Commandment, the prohibition on worshiping other gods. It is a dispute-poem retelling the story of Ḥanaiah, Mishael, and Azariah, the three “holy children” of Daniel chapter 3 who would rather be thrown into an oven than worship an idol. It’s an intricate multi-part acrostic that I absolutely love. (I also am partially convinced it may be influenced by the apocryphal “Song of the Three Holy Children,” if not in context then in the idea of an extensive poem related to their story.) Since the original poem’s acrostic only goes halfway through the alphabet, the great Meir bar Isaac Nehorai of Orleans wrote a continuation that is also included here. . . .

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. . . .