Adir Hu, a classic Pesaḥ song if ever there was one, is a part of Seder tables all over the planet. Its alphabetical list of God’s attributes, combined with its repeated pleas for a return to Jerusalem, make it a classic, to the point where the traditional German farewell greeting for Passover was not “chag sameach” or “gut yontef” but “bau gut” – build well. This interpretation, while not a direct translation by any means, has the same rhythmic pattern and alphabetical structure, giving a sense of the greatness of God.

Each day between the beginning of Passover and Shavuot gets counted, 49 days in all, 7 weeks of seven days. That makes the omer period a miniature version of the Shmitah and Yovel (Jubilee) cycle of 7 cycles of seven years. Just as that cycle is one of resetting society’s clock to align ourselves with freedom and with the needs of the land, this cycle too is a chance to align ourselves with the rhythms of spring and the spiritual freedom represented by the Torah.

When the spring (Aviv) season arrives, a blessing is traditionally said when one is in view of at least two flowering fruit trees. In the northern hemisphere, it can be said anytime through the end of the month of Nissan (though it can still be said in Iyar). For those who live in the southern hemisphere, the blessing can be said during the month of Tishrei.

“Pesach—The Feast of Freedom” is the thirty-second prayer found in ברכה ותהלה Blessing and Praise: A Book of Meditations and Prayers for Individual and Home Devotion (CCAR 1923), pp. 108-110.

“Israel’s Unity” is the twenty-eighth prayer found in ברכה ותהלה Blessing and Praise: A Book of Meditations and Prayers for Individual and Home Devotion (CCAR 1923), pp. 96-98.

A revolutionary socialist, Yiddish adaptation of Hallel by an unknown author (or authors) first appearing in newspaper editions of the Socialist Haggadah in 1894.

The African-American Christian spiritual adapted for a Pesaḥ song in Hebrew and English.

In Yemenite practice, directly after the four questions are recited the youngest literate person at the table reads a brief Judeo-Arabic passage, here transcribed per the Yemenite transliteration system (wherein gimel dagesh = j and qof = g) and translated into Arabic and Hebrew. Instructional notes say this passage is “for the benefit of women and toddlers,” the two main classes of people who would have not had access to Hebrew education at the time.

A series of fourteen short couplets describing the fourteen traditional stages of the Haggadah, written in Judeo-Italian and first published in the famous 1609 Venice Haggadah of Isaac Gershon. The Italian used in the Venice Haggadah lacks a lot of the most divergent aspects of the Judeo-Italian languages, sticking to a more mainline Tuscan grammatical norm, but there are enough obsolete, poetic, or dialectal forms that several footnotes have been included to explain them. Also included is an original English-language rhyming translation!

A series of ten short couplets describing the ten plagues afflicting the Egyptians in Egypt, written in Judeo-Italian and first published in the famous 1609 Venice Haggadah of Isaac Gershon. The Italian used in the Venice Haggadah lacks a lot of the most divergent aspects of the Judeo-Italian languages, sticking to a more mainline Tuscan grammatical norm, but there are enough obsolete, poetic, or dialectal forms that several footnotes have been included to explain them. Also included is an original English-language rhyming translation!

A German-language Lied, or art song, retelling Ḥad Gadya, by the great cantor (and father of an even greater composer) Isaac Offenbach. First published in his 1838 “Hagadah, oder Erzählung von Israels Auszug aus Egypten” in Cologne, along with sheet music of a setting for voice and piano, it is here typed in modernized German spelling.

A translation of Ḥad Gadya into Esperanto by Erin Piateski with a Hebraicization schema for Esperanto by Isaac Gantwerk Mayer. Piateski’s translation first appeared in her כוכב ירוק הגדה של פסח | Verda Stelo Hagado de Pesaĥo (2010).

Eḥad Mi Yodea has a place in Seder tables throughout Arda, and in many communities it was read in translation. This translation into Quenya is necessary for any good Lothlórien sedarim. But to be serious, Quenya was one of several languages developed by J.R.R. Tolkien. It serves as the sacred ancestral language of the Noldorin elves in the Middle-Earth legendarium. The editor here has developed this adaptation of the well-known seder table-song Eḥad Mi Yodea into Quenya, with thanks and credit to the experts at elfdict for their help. He has also transcribed it into a home-brewed transcription system into Hebrew script also used for his Min Yacincë translation of Ḥad Gadya.

A Judeo-Moroccan Arabic (Darija) adaptation of the Passover counting song Eḥad Mi Yodeaȝ, as found in Mahzor Moȝadé Hashem.

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. Counting up to 13, it is mostly written in Hebrew, but there are versions that can be found in many different languages. This translation is in the Judeo-Italian dialect of Siena, based on Geremia Mario Castelnuovo’s 1956 recording from Leo Levi’s collection of Judeo-Italian ethnomusicological recordings. A link to the original recording can be found here.

The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation.

Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. It is mostly written in Hebrew, counting up to 13, but there are versions that can be found in many different languages. This translation is in Bukhori, also known as Judeo-Tajik, as translated by the great Shimon ben Eliyahu Ḥakham (1843-1910), the chief rabbi of the Bukharan Jewish community in Jerusalem. His full translation of all liturgical additions in the month of Nisan for the Bukharan community can be found in חוקת הפסח Ḥuqat haPesaḥ (1904) – the source for this transcription on page 128-130 (see included). Shimon Ḥakham transcribed it into vocalized Hebrew script, which is included here alongside transliterations into Tajik Cyrillic and a Roman transcription.

This is a German translation of the first nine stanzas of the counting song popularly sung at the Passover seder, made by Paul Christian Kirchner in 1717.

The text of the popular counting song “Who Knows One?” in its original Hebrew, with a translation in Latin.

The text of the popular Passover song “Who Knows One?” in its original Hebrew and Yiddish, with a translation in English.