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 Təʾəzazä Sänbät, or the Commandments of the Sabbath, is a unique and fascinatingly eclectic work, combining Enochic and aggadic material with an almost kabbalistic personification of Shabbat, and influence from Islamic and Christian texts. Attributed to Abba Ṣabra, a famed 15th-century convert to Judaism, it is a compilation of texts meant to be studied and considered on Shabbat, alongside unique and striking visualizations of divine cosmology, heaven and hell, and midrashim found nowhere else. . . .

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! . . .

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. . . .

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

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. . . .

Itti Bishlam is a sixteen-hundred year old Samaritan Aramaic poem attributed to the great Samaritan sage Marqeh son of Amram. In twelve stanzas it tells the story of the night of the tenth plague and the Exodus. Samaritans traditionally recite it on the night before the holidays, the Sabbaths before the holidays, and the evening before the first day of the first month (the Samaritan new year, fourteen days before Passover). Largely a half-alphabetical acrostic, the fifth stanza of Itti Bishlam begins with an īt (ḥeth) rather than the expected īy (her), understandable considering the loss of guttural distinctions in Samaritan phonology. (See the number of Jewish poems which confuse sin and samekh for a parallel occurrence.) Itti Bishlam is, interestingly enough, lacking polemic or sectarian content — it never calls upon the Samaritan holy mountain of Aargaarizem (Mt. Gerizim), nor does it include any context that contradicts the traditional Jewish interpretation of the paschal narrative. It is worthwhile for Jews to learn about and understand the liturgical practices of their sister religion, and this poem is a great place to start! . . .

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

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. . . .

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. . . .

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. . . .

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 end of the scroll of Ben Sira (Ecclesiasticus) reconstructed from Cairo Geniza fragments not contained within the Septuagint. . . .

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. . . .

The poem lauding the ancestors from Chapters 44 to 50 of Ben Sira (Ecclesiasticus) is considered by many scholars to be the original influence for the Yom Kippur Avodah service, and the paean to Shimon the Righteous bears a striking similarity to the beloved piyyut “Mar’eh Khohen.” This passage from Ben Sira, the great paean on the merit of the ancestors, takes the Hebrew text of one of the Cairo Geniza manuscripts — Bodleian MS Heb e62 — and versifies it according to the standard Septuagintal text, along with vocalization and cantillation per the standard Masoretic EMe”T system for poetic books. It could be read on Yom Kippur for the avodah service, or just studied as a fascinating piece of Jewish history. . . .

This letter, written in Imperial Aramaic in 419 BCE, is among the vast number of papyrus letters found in Elephantine, also known as Yeb. The Jewish (or more accurately, Judean) community of Yeb is a fascinating bit of history — a group of Judean mercenaries who settled in Egypt and built their own smaller temple! Although their origin was clearly Judean, and they referred to themselves as the ḥeila yehudaya = Judean garrison, their form of worship featured no Deuteronomic centralization, no discussion of the patriarchs, and questionable monotheism! Although the primary deity was YHW (note the difference in spelling), multiple other deities or hypostatized aspects of divinity were worshipped, and verbs for the word “God” are conjugated in the plural rather than the singular. This text is one of a series of letters written between the brothers Yedaniah and Ḥananiah. In this case, it is giving instructions for keeping the holiday of Pesaḥ. These instructions are interesting in their own right — the prohibition on beer could alternatively be read as a prohibition on any alcoholic drink, which would align with Karaite practice rather than rabbinic. But what’s even more interesting is what isn’t mentioned — the instructions given mention nothing whatsoever about the exodus from Egypt, or even God! The diktat to observe the holiday is accredited not to God or Moses, but to Darius, king of the Achaemenid Empire! This passage is a fascinating taste of a part of Judaism that we know very little about. Vocalization according to Tiberian norms and translation into English by the translator. . . .

In the communities of Morocco and Mumbai, the day after Yom Kippur was a holiday for priests known as Yom Simḥat Kohen. The origins of this practice can be found in Mishnah Yoma 7:4, where the high priest makes a festival for his loved ones after successfully completing the Yom Kippur rituals. In Mumbai, the practice (as recorded in Joseph Ezekiel Rajpurkar’s bilingual Hebrew/Marathi siddur) was to recite Psalms 85 on Yom Simḥat Kohen. The editor has included the text of Psalms 85, Rajpurkar’s Marathi translation, a new English translation, and a vocalized version of the Arabic tafsir of Rav Saadiah Gaon. . . .

Unlike Psalms 151, 154, and 155, the apocryphal psalms 152 and 153 were not found in the Judean Desert scrolls, but only in the Syriac psalter. It is thus somewhat uncertain if they were actually ever written in Hebrew or in Aramaic. But their language and content is in keeping with other late apocryphal psalms, so it seems very possible that they were of Hebrew origin. These reconstructed Hebrew texts are largely based on the work of Professor Emeritus Herrie (H. F.) van Rooy,[1] an expert in the Syriac psalter, also factoring in some input from the work of J. A. Sanders.[2] Psalms 152 and 153 are included together here because they are framed by the ascriptions as a pair — the former being David’s prayer before going against the wild beasts (see I Samuel 17:34-36), and the latter being David’s thanksgiving afterwards . . .

Shmini Atseret is a strange festival. In some ways part of Sukkot, in some ways its own thing, it occupies an equivocal place in the yearly cycle. But one thing that is completely true: Shmini Atseret is on Pi Day. Well, Pi Approximation Day — the twenty-second day of the seventh month. Inspired by my friend and math enthusiast Aryeh Baruch (may he have a long life), I’ve compiled this altered form of the haftarah for Shmini Atseret in the diaspora, including the description of King Solomon’s “molten sea,” as well as an Aramaic “reshut” poem with a numeral acrostic of the first few digits of pi. . . .