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 Contributor(s): |
Aharon N. Varady (transcription) and Unknown Author(s)
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 Categories: |
Shabbat Məvorkhim, Rosh Ḥodesh Adar (אַדָר) Alef & Bet
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19th century C.E., תחינות tkhines, new moon, שבת מבורכים shabbat mevorkhim, תחינות teḥinot, 57th century A.M., paraliturgical teḥinot, Yiddish vernacular prayer, Bilhah, paraliturgical birkat haḥodesh, Pisces, Naphtali, Mazal Dagim, Mordekhai, Esther, Haman, Needing Transcription
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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 . . . |
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| Contributor(s): |
Aharon N. Varady (transcription) and Unknown Author(s)
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| Categories: |
Shabbat Məvorkhim, Rosh Ḥodesh Adar (אַדָר) Alef & Bet
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| Tags: |
19th century C.E., תחינות tkhines, new moon, שבת מבורכים shabbat mevorkhim, תחינות teḥinot, 57th century A.M., paraliturgical teḥinot, Yiddish vernacular prayer, Bilhah, In the merit of Moshe Rabbeinu, paraliturgical birkat haḥodesh, Pisces, Naphtali, Mazal Dagim
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To the best of my ability, this is a faithful transcription of the תְּחִנָה לְשַׁבָּת מְבָרְכִים רֹאשׁ חוֺדֶשׁ אַדָר רִאשׁוֹן (“Tkhine for Shabbat Mevorkhim Rosh Ḥodesh Adar I”) 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 . . . |
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| Contributor(s): |
Len Fellman (translation) and the Masoretic Text
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| Categories: |
Special Haftarot, Melakhim (Kings), Parashat Mishpatim, Parashat Vayaqhel, Rosh Ḥodesh Adar (אַדָר) Alef & Bet
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English Translation, 21st century C.E., 58th century A.M., Cantillized readings in English, transtropilation, הפטרות haftarot, שבת שקלים Shabbat Sh'qalim, four special parashot, pre-Purim
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The haftarah reading for Shabbat Shqalim preceding Rosh Ḥodesh Adar, in English translation, transtropilized. . . . |
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| Contributor(s): |
Aharon N. Varady (English translation), Refoyl Finkl (translation), Aharon N. Varady (transcription) and Yitsḥok Leybush Peretz
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National Brotherhood Week, Rosh Ḥodesh Adar (אַדָר) Alef & Bet
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20th century C.E., 57th century A.M., Yiddish songs, Ode to Joy, Sardonic poetry, Jewish particularism, contrarianism, satire
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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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| Contributor(s): |
Aharon N. Varady (transcription), Friedrich Schiller and Unknown Translator(s)
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| Categories: |
National Brotherhood Week, Rosh Ḥodesh Adar (אַדָר) Alef & Bet
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romanticism, liberation, 56th century A.M., 18th Century C.E., Hebrew translation, Ode to Joy, Enlightenment, euphoria, Needing Proofreading
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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. . . . |
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