The opening prayer of the Massachusetts State Senate on 24 March 1959, added to the record of the U.S. House of Representatives. . . .
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Contributor(s): United States Congressional Record and Joseph Rudavsky
Categories:  Purim, Opening Prayers for Legislative Bodies | Tags:  20th century C.E., 58th century A.M., Massachusetts, Massachusetts Senate, Lawrence, 86th Congress
Contributor(s): Aharon N. Varady (transcription), Estampado por Ǧ. Griffit (translation), David ben Yishai and the Masoretic Text
Categories: Book 1 (Psalms 1–41), Tehilim (Psalms), Purim, Ta'anit Esther | Tags: 19th century C.E., Psalms, Ladino Translation, Izmir, Ottoman Empire, 57th century A.M., Mizmor, Lamnatseaḥ, Ottoman Jewry, Psalms 22 
A Ladino translation of Psalms 22 first published in mid-19th century Izmir. . . . Contributor(s): United States Congressional Record and Seth H. Frisch
Categories: Purim, Opening Prayers for Legislative Bodies | Tags: teḥinot, 21st century C.E., 58th century A.M., English vernacular prayer, Esther, United States of America, 115th Congress, Prayers of Guest Chaplains, Senate 
The Opening Prayer given in the U.S. Senate on 27 February 2018. . . . Contributor(s): Aharon N. Varady (transcription) and Unknown Author(s)
Categories: Purim, Rosh Ḥodesh Adar (Alef and Bet) | Tags: 19th century C.E., tkhines, new moon, shabbat mevorkhim, teḥinot, 57th century A.M., paraliturgical teḥinot, Yiddish vernacular prayer, Bilhah, paraliturgical birkat haḥodesh, Pisces, Naphtali, Mazal Dagim, Mordekhai, Esther, Haman, Needing Transcription 
To the best of my ability, this is a faithful transcription of the תְּחִנָה לְשַׁבָּת מְבָרְכִים רֹאשׁ חוֺדֶשׁ אַדָר (“Tkhine for Shabbat Mevorkhim Rosh Ḥodesh Adar [II]”) which appeared in תחנות מקרא קודש (Teḥinot Miqra Qodesh, Widow and Brothers Romm, Vilna 1877). English translation adapted slightly from Techinas: A Voice from the Heart “As Only A Woman Can Pray” by Rivka Zakutinsky (Aura Press, 1992). –A.N. Varady . . . Contributor(s): Unknown Author(s) and Isaac Gantwerk Mayer
Categories: the Diaspora, Purim, Ta'anit Esther | Tags: 19th century C.E., United Kingdom, Britain, British Commonwealth, Queen Victoria, 57th century A.M., British Jewry, British Monarchy, Constitutional Monarchy, Queens, Needing Attribution 
“God Save the Queen” is an adaptation of “God Save the King,” a work by an unknown author, first circulated by periodicals in mid-18th century England. The author of the Hebrew translation is also unknown and was published in a pamphlet circulated by New Road (Whitechapel) Synagogue in 1892. We are grateful to the Jewish East End of Londonwebsite for providing the source image for the transcription of this work in the Public Domain. . . . Contributor(s): Aharon N. Varady (transcription) and Friedrich Schiller
Categories: Purim, Rosh Ḥodesh Adar (Alef and Bet) | Tags: romanticism, liberation, 56th century A.M., 18th Century C.E., Hebrew translation, Ḥasidic, Ode to Joy, Enlightenment, joy, Needing Translation 
In 1785 Friedrich Schiller wrote his ‘An die Freude an ode ‘To Joy’, describing his ideal of an equal society united in joy and friendship. Numerous copies and adaptations attest to its popularity at the time. The slightly altered 1803 edition was set to music not only by Ludwig van Beethoven in his Ninth Symphony but also by other composers such as Franz Schubert and Pyotr Tchaikovsky. Hs. Ros. PL B-57 contains a Hebrew translation of the first edition of the ode (apparently rendered before the 1803 alteration), revealing that the spirit of the age even managed to reach the Jewish community in the Netherlands. Whereas the imagery of Schiller’s original is drawn from Greek mythology, the author of the שִׁיר לְשִׂמְחָה relies on the Bible as a source. In fact, he not only utilises Biblical imagery, but successfully avoids any allusion to Hellenistic ideas whatsoever. . . . Contributor(s): Aharon N. Varady (transcription), Refoyl Finkl (translation) and Yitsḥok Leybush Peretz
Categories: Purim, Rosh Ḥodesh Adar (Alef and Bet) | Tags: 20th century C.E., lampoon, 57th century A.M., Yiddish songs, Ode to Joy, Jewish particularism, contrarianism 
Y.L. Peretz rejected cultural universalism, seeing the world as composed of different nations, each with its own character. Liptzin comments that “Every people is seen by him as a chosen people…”; he saw his role as a Jewish writer to express “Jewish ideals…grounded in Jewish tradition and Jewish history.” This is Peretz lampoon of the popularity of Friedrich Schiller’s idealistic paean made famous as the lyrics to the climax of Beethoven’s Ninth Symphony. . . . |
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