This is a Birkat ha-Mazon in the Ashkenazi nusaḥ incorporating a reconstruction of a liturgy for a Birkat haMazon for Shavuot witnessed in the Cairo Geniza fragment T-S H6.37 (page 4, recto and verso)‬. Visit here, for a transcription and translation of the former (without the full Birkat ha-Mazon). . . .

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.” . . .

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

One of the most prominent martyrs in the Chmielnicki massacres of 1648–1649 was the kabbalist and sage Yəḥiel Mikhel ben Eliezer ha-Kohen, known to posterity as the Martyr of Nemiryv. This unique poetic El Malei Raḥamim was said in his honor, and communities that fast on 20 Sivan still recite it to this day. . . .

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 variation of Mipi El in Hebrew with a Judeo-Arabic translation found in the Seder al-Tawḥid for Rosh Ḥodesh Nissan, compiled by Mosheh Asher ibn Shmuel in 1887 in Alexandria. . . .

The most well-known 42 letter divine name acrostic piyyut. . . .

The earliest recorded prayer or piyyut providing an acrostic for the 42 letter divine name. . . .

A litany of angelic names recorded in Sefer HaQanah, whose initial letters spells out the 42 letter divine name as also found in Sefer haPeliah. . . .

A litany of angelic names recorded in Sefer haPeliah whose initial letters spells out the 42 letter divine name as also found (in variation) in Sefer HaQanah. . . .

The text of the popular piyyut “Adir Bimlukhah” (a/k/a “Ki lo na’eh”) in Hebrew, with a Latin translation. . . .

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

A “bikkur” piyyut traditionally added at the end of Hashkivenu for Shavˁuot in the Old French (and Maḥzor Vitry) and Romaniote rites. From the acrostic we know the author was named Yosef ben Yaˁakov. Other than that we know very little about this poem’s origin and age, although its structure fits with the early Ashkenazi piyyut oeuvre. . . .

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. . . .

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

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. . . .

A poetic Birkat haMazon text for the breakfast after Yom Kippur found in British Library MS Or. 9772 D. All the opening words of the alphabetical acrostic are from Psalms 111. . . .

This is a reconstruction of a liturgy for a Birkat haMazon for Ḥanukkah witnessed in multiple Cairo Geniza manuscripts, including Cambridge, CUL: T-S H4.13; T-S H6.37; T-S 8H10.14; T-S NS 328.56; T-S NS 328.61; T-S AS 101.293; New York, JTS: ENA 2885.7; Oxford: MS heb. e.71/27 – MS heb. e.71/32; St. Peterburg: Yevr. III B 135. . . .

A Birkat haMazon for Shavuot presenting an alphabetic acrostic from a manuscript preserved in the Cairo Geniza. . . .