This is a vocalized transcription and translation of the World War Ⅱ era song, “Shir haGe’ulah (Song of Redemption)” from the source images shared in A Tribute to Rabbi Mordechai Meir Hakohen Bryski v”g Bryski (Rabbi Mordechai A. Katz, 2017), pp. 19-20. The song is also known by its incipit, “Heḥayyeinu El.” . . .

This is an untitled prayer offered in the Evening Service for the Sabbath from the Union Prayer Book Newly Revised (CCAR 1924), pp. 68-69, as a reading between the Shema and the Amidah. As a prayer for protection it fits as a paraliturgical haskivenu, and in New York City, it makes sense in the context of the terrifying news of mass-murder, rape, and genocide being reported from Ukraine at the time. (Find Nokhem Shtif’s “פּאָגראָמען אין אוקראַיִנע : די צײַט פֿון דער פֿרײַװיליקער אַרמײ (The Pogroms in Ukraine: the Period of the Volunteer Army)” (1923) offered in Yiddish and in English translation at In Geveb.) The Ukrainian context of this prayer is further underscored in that the prayer is not found in the 1918 revised Union Prayer Book, but in the later 1924 edition. It may have been unique to Congregation Emanu-El in New York City, who compiled this version of the Union Prayer Book for radio listeners joining their service. . . .

The Masoretic Hebrew text of Proverbs 30:10-31, the alphabetic acrostic “Eshet Ḥayil,” with a German translation by Franz Rosenzweig. . . .

The popular adjuration of the angels of peace and ministering angels, Shalom Aleikhem, in Hebrew with a German translation by Franz Rosenzweig. . . .

This is a faithful transcription of the תחנה פון ליכט בענטשין (“Tkhine for Lighting Candles [for Shabbes]”) as it appeared in the Vilna, 1869 edition. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women’s Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. If you can scan an image of the page from the 1869 edition this was originally copied from, please share your scan with us. . . .

The sephardic folk-song “Kuando el rey Nimrod” in Ladino with English translation. . . .

Master of all realms! You hear from all worlds. You look with love and grace upon all of your creations for whose sake you created Your world. Seize and fulfill the pure request from Your servant who comes before You after a full week, having shown her heart is full and her mood somber. The beloved Shabbes koidesh is already going away, and with our Shabbes, our rest has also disappeared. A new week comes up to meet us, against us, Master of the universe. We are people who know, just like You know, the heavy and difficult life of Your people Yisruel: their bitter mood, how difficulty and bitterly each Jew acquires his meager piece of bread through worry and heartache, the fear and hardship with which each Jew scrapes together his seemingly hopeless living. . . .

A popular piyyut for Simḥat Torah (4th hakkafah) originally composed as a piyyut for Shavuot and often referred to by its incipit, “Mipi El.” . . .

This is a transcript and translation of the Maariv service for Shabbat evening in the Old Persian rite, as recorded in MS Adler 23 ENA (https://hebrewbooks.org/20923) in the JTS Library. The Old Persian rite shows some fascinating unique linguistic features. The first thing that immediately strikes one is its tendency towards poetic extensions and doublings, even in texts (such as the Avot blessing) where most other rites are almost completely uniform. It also shows some nonstandard vocalizations that appear to be influenced by the Babylonian system of vocalization. In modern Persian communities the standard rite is a variation of the Sephardic rite used throught the Mizraḥi world, but this older rite with its unique facets deserves to be preserved as well. This is part 1 of a planned series of transcripts and translations from MS Adler 23 ENA. . . .

Elijah began saying: Lord of the worlds You Who are One and not just a number You are the highest of the highest most hidden of the undisclosed no thought scheme grasps You at all. . . .

A “praying translation” of the piyyut, Anim Zemirot. . . .

The piyyut, Adon Olam, in its expanded fifteen line variation, in Hebrew with English translation. . . .

A rhyming translation in English to the popular piyyut, Adon Olam. . . .

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. . . .

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

The piyyut, El Adon, in Hebrew with an interpretive “praying translation” by Rabbi Zalman Schachter-Shalom, z”l. . . .

The piyyut, El Adon, in Hebrew with an English translation. . . .

Talmudic and midrashic sources contain hymns of the creation usually based on homiletic expansions of metaphorical descriptions and personifications of the created world in the Bible. The explicitly homiletic background of some of the hymns in Perek Shira indicates a possible connection between the other hymns and Tannaitic and Amoraic homiletics, and suggests a hymnal index to well-known, but mostly unpreserved, homiletics. The origin of this work, the period of its composition and its significance may be deduced from literary parallels. A Tannaitic source in the tractate Hagiga of the Jerusalem (Hag. 2:1,77a—b) and Babylonian Talmud (Hag. 14b), in hymns of nature associated with apocalyptic visions and with the teaching of ma’aseh merkaba serves as a key to Perek Shira’s close spiritual relationship with this literature. Parallels to it can be found in apocalyptic literature, in mystic layers in Talmudic literature, in Jewish mystical prayers surviving in fourth-century Greek Christian composition, in Heikhalot literature, and in Merkaba mysticism. The affinity of Perek Shira with Heikhalot literature, which abounds in hymns, can be noted in the explicitly mystic introduction to the seven crowings of the cock — the only non-hymnal text in the collection — and the striking resemblance between the language of the additions and that of Shi’ur Koma and other examples of this literature. In Seder Rabba de-Bereshit, a Heikhalot tract, in conjunction with the description of ma’aseh bereshit, there is a clear parallel to Perek Shira’s praise of creation and to the structure of its hymns. The concept reflected in this source is based on a belief in the existence of angelic archetypes of created beings who mediate between God and His creation, and express their role through singing hymns. As the first interpretations of Perek Shira also bear witness to its mystic character and angelologic significance, it would appear to be a mystical chapter of Heikhalot literature, dating from late Tannaitic — early Amoraic period, or early Middle Ages. . . .

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

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