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the Open Siddur Project ✍︎ פְּרוֹיֶּקט הַסִּדּוּר הַפָּתוּחַ
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חַד גַּדְיָא | Un Cabri: La Légende de l’Agneau, a French translation by Dom Pedro Ⅱ, emperor of Brazil (1891)  Contributor(s): Categories:This is “Had Gadiâ | Un Cabri: La Légende de l’Agneau (Poésie chaldaico-provençale, chantée a la table de famille les soirs de Paques),” a translation of Ḥad Gadya into French by Dom Pedro Ⅱ (1825-1891), emperor of Brazil, as published in Poésies hébraïco-provençales du rituel israélite comtadin traduites et transcriptes par S. M. D. Pedro Ⅱ, de Alcântara, empereur du Brésil (1891), pp. 45-59. A note on the last page indicates the translation was made in Vichy, France on 30 July 1891. . . . מֵײרֶע הוֹבְּרִיטְסוֹס | חַד גַּדְיָא | Mēre Hobritsos — a Judeo-Valyrian Translation of Ḥad Gadya by Isaac Gantwerk Mayer Contributor(s): Categories:This is the translation of Ḥad Gadya into Judeo-Valyrian with a Hebraicization schema for Valyrian by Isaac Gantwerk Mayer. . . . חַד גַּדְיָא | | וַא תַרְגְחָמְאֶא | wa’ targhHom’e’ — a tlhIngan Hol adaptation of Ḥad Gadya by Isaac Gantwerk Mayer Contributor(s): Categories:Ḥad Gadya has a place in Seder tables throughout the Jewish quadrant, and in many communities it was read in translation. This adaptation into tlhIngan Hol is very useful for when your universal translator is malfunctioning at a Seder on Qo’noS. Okay, but to be serious for a moment, while the many connections between the canon of Star Trek and the Jewish community are well known, one of the lesser-known ones is that the inventor of tlhIngan Hol (the Klingon language), Marc Okrand, is Jewish, and a substantial number of Klingon terms come from Hebrew or Yiddish. In honor of that connection, the editor has developed this adaptation of the well-known seder table-song Ḥad Gadya into tlhIngan Hol, as well as a home-brewed transcription system into Hebrew script called pIluy. The wildlife has also been adapted, so instead of a goat the story begins with one little targ. (Sure, they might LOOK like pigs, but who knows if they chew cud or not!) . . . חַד גַּדְיָא | | מִן יַקִינְקֶי | Min Yacincë — a Judeo-Quenya translation of Ḥad Gadya by Isaac Gantwerk Mayer Contributor(s): Categories:Ḥad Gadya 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 Ḥad Gadya into Quenya, as well as a home-brewed transcription system into Hebrew script included here (PDF | ODT). This translation uses several fan-made terms, such as cuimacir for “butcher” and luhtya- for “extinguish”, as well as one original neologism, yacincë for “kid-goat.” . . . בַּשָּׁנָה הַבָּאָה | baShanah haBa’ah (Next Year), an elegy by Ehud Manor for his brother killed during the War of Attrition (1968) Contributor(s): Categories:“baShanah haBa’ah” (Next Year) by Ehud Manor written in 1968 in memory of his brother Yehudah. . . .  Contributor(s): Categories:This adaptation of Ḥad Gadya was written by CenozoicSynapsid and included in their Lord of the Rings fan fiction, “All Who Are Hungry” (Archive of Our Own 2019). . . . אדיר הוא | Awesome One: an Alphabetical English Interpretation of the piyyut Adir Hu, by Isaac Gantwerk Mayer Contributor(s): Categories: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. . . .  Contributor(s): Categories: Tags:The African-American Christian spiritual adapted for a Pesaḥ song in Hebrew and English. . . . סֵדֶר סְפִירַת הָעֹמֶר | Seder Sefirat ha-Omer :: the Order of Counting the Omer between Pesaḥ and Shavuot Contributor(s): Categories: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. . . . ארתי תיקהני | חַד גַּדְיָא | ერთი თიკანი | Erti tiḳani :: a Čveneburuli translation of Ḥad Gadya by Tamari Lomtadze & Reuven Enoch Contributor(s): Categories:A Čveneburuli (Judeo-Georgian) translation of the popular Passover song, Ḥad Gadya. . . . קְי ווֹלְירַה קְי אְינטְינדְירַה | אֶחָד מִי יוֹדֵעַ | Che volera, che entendera — a Judeo-Sienese translation of Eḥad Mi Yodea Contributor(s): Categories: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. . . . קיו סציאַס אונו? | אֶחָד מִי יוֹדֵעַ | Kiu Scias Unu? — an Esperanto translation of Eḥad Mi Yodéa by Erin Piateski (2010) Contributor(s): Categories: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). . . . אונו קאַפּרידאָ | חַד גַּדְיָא | Unu Kaprido — an Esperanto Translation of Ḥad Gadya by Erin Piateski (2010) Contributor(s): Categories: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). . . .  Contributor(s): Categories:“Orah hee” was composed by Rabbi Jill Hammer in 2008 and first published at Tel Shemesh in romanized Hebrew and English translation. . . .  Contributor(s): Categories:A Judezmo/Ladino translation of the popular Passover song, Ḥad Gadya. . . . אֵנַה קַצִיקִי | חַד גַּדְיָא | Ένα κατσίκι | Éna katsíki :: a Yevanic translation of Ḥad Gadya by Isaac Gantwerk Mayer Contributor(s): Categories:A Yevanic (Judeo-Greek) translation of the popular Passover song, Ḥad Gadya. . . . Contributor(s): Categories:A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . . Contributor(s): Categories:A Judeo-Arabic translation of the popular Passover song, Ḥad Gadya. . . . ואחד ג’די | أغنية لعيد الفصح اليهودي | חַד גַּדְיָא | Waaḥid Jady :: Ḥad Gadya in Arabic translation (Syrian Damascus variation) Contributor(s): Categories:An Arabic translation of Ḥad Gadya in its Syrian Jewish Damascus variation. . . . Contributor(s): Categories:The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . .  Contributor(s): Categories:A litany of mythical guests and creatures presenting at the Passover seder. . . . לה מרסֵיֶיז | La Marseillaise, by Claude Joseph Rouget de Lisle (1792); Hebrew translation by Efrayim Dror (ca. 1940) Contributor(s):“La Marseillaise” is the national anthem of France. This Hebrew translation was made by Efrayim Dror for the Free French Army (Forces Françaises Libres) and its many Jewish volunteers during the early years of World War II. The translation was published in 1951. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled “Chant de guerre pour l’Armée du Rhin” (“War Song for the Army of the Rhine”). The French National Convention adopted it as the Republic’s anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. After the fall of Napoleon in 1815 “La Marseilles” was banned and it became the anthem of the French left. The Government brought back the iconic anthem in an attempt to motivate the French people during the Franco-Prussian War. During the nineteenth and early twentieth centuries, “La Marseillaise” was recognized as the anthem of the international revolutionary movement; as such, it was adopted by the Paris Commune in 1871, albeit with new lyrics under the title “La marseillaise de la Commune.” Eight years later, in 1879, it was restored as France’s national anthem. On Simḥat Torah (18–19 October) 1973, the Lubavitcher Rebbe adapted the melody to the Jewish prayer “Ha’aderet v’ha’emuna”. In ḤaBaD, the melody is believed to convey the idea of a “spiritual French revolution” – in that Torah should be spread around the world as an advent to the messianic era. . . . בִּיר אוּלָק | חַד גַּדְיָא | Бир Улакъ | Bir Ulaq :: a Qrımçah tılyı (Krymchak) translation of Ḥad Gadya by Rabbi Nisim haLevy Tsahtsir (1904) Contributor(s): Categories:A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . . הָאִינְטֶרְנַצְיוֹנָל | the Internationale, by Eugène Pottier (1871); Hebrew translation by Avraham Shlonsky (1921) Contributor(s): Categories:The Chanson Internationale (‘International Song’) was originally written in 1871 by Eugène Pottier, a French public transportation worker, member of the International Workingmen’s Association (The First International), and activist of the Paris Commune. He wrote it to pay tribute to the commune violently destroyed that year. The song became the official anthem of The Second International, of the Comintem, and between 1921 and 1944 also of the Soviet Union. Most socialist and communist parties adopted it as their anthem during the last decades of the 19th century and throughout the 20th century, adapting it in local languages (Russian, Yiddish, etc.) to their particular ideological framework. The anthem was first translated into Hebrew by Avraham Shlonsky in 1921. . . . אֶחָד מִי יוֹדֵעַ | Якумин кӣ медонад | Yakumin Ki Medonad :: a Bukhori (Judeo-Tajik) Translation of Eḥad Mi Yodea by Rabbi Shimon ben Eliyahu Hakham (1904) Contributor(s): Categories: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. . . . יַכֵּי בּוּזְגָאלַה | חַד גַּדְיָא | Йаке бузғола | Yake Buzghola :: a Judeo-Tajik Translation of Ḥad Gadya by Rabbi Shimon ben Eliyahu Hakham (1904) Contributor(s): Categories:A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . . בּױגעזאנג | Baugesang (Building Song): an alphabetical Yiddish adaptation of the piyyut Adir Hu (1769) Contributor(s): Categories:This Western Yiddish alphabetical adaptation of Adir Hu is first found in the 1769 Selig Haggadah, under the name of “Baugesang” (meaning Building Song). It grew to be a beloved part of the Western Ashkenazi rite, to the point where the traditional German Jewish greeting after the Seder was “Bau gut,” or “build well!” . . . אָז רוֹב נִסִּים | Az Rov Nissim, a piyyut by Yanai for the first night of Pesaḥ in its Latin translation by Johann Stephan Rittangel (1644) Contributor(s): Categories:The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel. . . . אַדִּיר הוּא | Adir Hu, the acrostic piyyut in its Latin translation by Johann Stephan Rittangel (1644) Contributor(s): Categories:The alphabetic acrostic piyyut, Adir Hu, in its Latin translation by Johann Stephan Rittangel as found in his translation of the Pesaḥ seder haggadah, Liber Rituum Paschalium (1644). . . . אוֹמֶץ גְּבוּרוֹתֶיךָ | Omets G’vuratekha, a piyyut by Eleazar ben Qalir for the second night of Pesaḥ in its Latin translation by Johann Stephan Rittangel (1644) Contributor(s): Categories:The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel. . . . אֶחָד מִי יוֹדֵעַ | Unum (est &) quis scit? | Eḥad Mi Yode’a, a Latin translation of the counting song by Johann Stephan Rittangel (1644) Contributor(s): Categories:The text of the popular counting song “Who Knows One?” in its original Hebrew, with a translation in Latin. . . . אַדִּיר בִּמְלוּכָה | Adir Bimlukhah, a Latin translation of the piyyut by Johann Stephan Rittangel (1644) Contributor(s): Categories:The text of the popular piyyut “Adir Bimlukhah” (a/k/a “Ki lo na’eh”) in Hebrew, with a Latin translation. . . . Contributor(s): Categories:A Latin translation of the popular Passover song, Ḥad Gadya. . . .  Contributor(s): Categories:A (kosher-for-Passover) prayer for redemption from exile. . . . Contributor(s): Categories:Making sense of Ḥad Gadya beyond its explicit meaning has long inspired commentary. For me, Ḥad Gadya expresses in its own beautiful and macabre way a particularly important idea in Judaism that has become obscure if not esoteric. While an animal’s life may today be purchased, ultimately, the forces of exploitation, predation, and destruction that dominate our world will be overturned. Singing Ḥad Gadya is thus particularly apropos for the night of Passover since, in the Jewish calendar, this one night, different from all other nights, is considered the most dangerous night of the year — it is the time in which the forces of darkness in the world are strongest. Why? It is on this night that the divine aspect of Mashḥit, the executioner, is explicitly invoked (albeit, only in the context of the divine acting as midwife and guardian/protector of her people), as explained in the midrash for Exodus 12:12 . . . |
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