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.

A work of Jewish astrology and magic containing recipes specific to the angelic rulers of each day of the week.

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.

A guide to the activities one might engage upon in every hour of the week corresponding with their ruling planet, numinous and cthonic power.

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

This is the Ribon ha-Olamim prayer contained within the concluding readings of the Qarbanot section as an introductory preface to the Morning prayers. In most siddurim in which the Karbanot are included, this prayer appears immediately after Ana b’Khoaḥ and before the rules of Midrash Halakhah taught by Rebbi Yishmael.

The 18th of Iyyar on which the 33rd day of the Omer coincides is a day of historical significance. On that day in the year 363, the Byzantine Roman emperor Julian in collaboration with Atiochian Jewry attempted to lay the foundations of the Third Temple in Jerusalem. For centuries afterward, the day was commemorated as a fast day. One primary source in rabbinic Judaism that references the day is Sefer Zerubavel. Given the relative obscurity of Sefer Zerubavel today, we thought that we could help remedy that on just the day it currently references in the rabbinic Jewish calendar: Lag ba-Omer — a day which otherwise lacks any liturgical reading. Below is the text of Sefer Zerubavel as found in Divrei Yeraḥmiel (according to the text transcribed and published as Sefer ha-Zikronot hu’ Divrey ha-Yamim le-Yerahme’el (ed. Eli Yassif; Tel Aviv: Tel Aviv University, 2001), pp. 427-435, set side-by-side with the English translation by the scholar John Reeves.

“Arkin” is one of two Aramaic piyyutim read by some Ashkenazi communities at the beginning of the Torah reading on the first day of Shavuot (the other being the Aqdamut). The piyyut makes reference to an important legend featuring Mosheh experiencing an ascent in which he must wrest the Torah from angelic entities that are averse to parting with it, or loathe to giving it up, to humanity. Introducing the piyyut she translated in Jewish Aramaic Poetry from Late Antiquity (Brill: 2018), Dr. Laura Lieber writes, “This [Shavuot] poem dramatizes neither the content of revelation, as other poems here do, nor the season of its giving, as the story of Ruth does. Instead, our poet imagines God’s summoning of Moses to the heavens to receive the Torah atop Mount Sinai. God’s voice is most prominent here, although the angels also speak; Moses, however, keeps silent, and the poet depicts him with anything but aggression and bravado. The poet crafts a scene that recreates the tension of the imagined encounter: God repeatedly reassures Moses, who fears angelic aggression, but the angels also express fear of Moses, who is here depicted as having horns, which God encourages Moses to use in self-defense.”

This is the early piyyut, “v-Yeètayu Kol l’Avdèkha,” as paraphrased in rhymed English verse by Israel Zangwill in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim vol. 2 (1904), pp. 154-155.

A very old tale told for the protection of pregnant women and their infant children as found in amulets from late Antiquity.

Healing prayers written on a pair of amulets for the recovery of a woman named Arsinoë

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 traditional Cochin Ḳaddish Shalem, based on siddurim published for the Cochin Jewish community by the Props brothers of Amsterdam.

An early variation of the Ḥatsi Qaddish as found in Seder Rav Amram as attested in Bodleian Library Ms. Opp. Add. Qu. 28.

An early variation of the Ḥatsi Qaddish as found in Seder Rav Amram as attested in British Library Or. 1067, fol. 12v.

An early variation of the Ḥatsi Qaddish as found in Seder Rav Amram as attested on fol. r of JTS MS 4074.

An interpretive translation of the Mourner’s Kaddish, by Rabbi Zalman Schachter-Shalomi, z”l.

This Kaddish was first published online at Jewish Renewal Chassidus by Gabbai Seth Fishman. Rabbi Oren Steinitz translated the kaddish on the 3rd yahrzeit after Reb Zalman’s passing.

The prescribed rabbinic blessing upon observing the meteorological phenomena of a rainbow, together with exceptional art inspired by early rabbinic midrash.