tagged: 11th century C.E.

 

הַמַּבְדִּיל בֵּין קֹדֶשׁ לְחֹל | Hamavdil Ben Ḳodesh l’Ḥol, a piyyut by Yitsḥaq ben Yehudah ibn Ghayyat (rhymed translation by Alice Lucas, 1898)

A rhymed translation of the piyyut sung following the Havdallah ritual. . . .

אֲדוֹן עוֹלָם (אשכנז)‏ | Adōn Olam, translated by Alice Lucas (1894)

The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . .

אֲדוֹן עוֹלָם (אשכנז)‏ | Adōn Olam, translated by Ben Zion Bokser (1957)

The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . .

אֲדוֹן עוֹלָם (אשכנז)‏ | Adōn Olam (United Synagogue of America, 1927)

The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . .

אֲדוֹן עוֹלָם (אשכנז)‏ | Adōn Olam (Rabbinical Assembly & United Synagogue of America, 1946)

The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . .

אֲדוֹן עוֹלָם | Adōn Olam, translated by Rabbi Marcus Jastrow after the abridged arrangement of Rabbi Benjamin Szold (1873)

An English translation of an abridged arrangement of the piyyut, Adon Olam. . . .

מִי כָמֽוֹךָ וְאֵין כָּמֽוֹךָ | Mi Khamokha v’Ein Kamokha, a retelling of Megillat Esther in a piyyut for Shabbat Zakhor by Yehudah ben Shmuel haLevi (ca. 11th c.)

The poem Mi Khamokha v-Ein Khamokha, an epic retelling of the book of Esther in verse, was written for Shabbat Zakhor, the Shabbat before Purim, by the great paytan Yehuda ben Shmuel haLevi. It was originally written as a “geulah,” meant to be inserted into the prayer after the Shema in place of the verse beginning with “A new song…” But later Sephardic poskim ruled that it was forbidden to insert piyyutim into the Shema blessings, so in the communities that recite it today it is generally either read after the Full Kaddish as an introduction to the Torah service, or (for instance, in most Spanish and Portuguese communities) within the verse “Kol atzmotai tomarna” in the Nishmat prayer. Wherever you include it in your service, it’s a beautiful and intricately rhymed piyyut, and surprisingly easy to understand at that. It is presented here in a gender-neutral translation with all the Biblical verses cited, alongside a new translation that preserves the fourfold acrostic, two alphabetical and two authorial. –Isaac Gantwerk Mayer . . .

אָב הָרַחֲמִים שׁוֹכֵן מְרוֹמִים | Av haRaḥamim Shokhein Meromim, a prayer for the martyred during the First Crusade & Rhineland massacres

A prayer for those martyred in the First Crusade and Rhineland Massacres, and by extension, all subsequent pogroms up until and including the Holocaust. . . .

אַקְדָמוּת מִילִין | Aḳdamut Milin, a preface to the Targum for the Shavuot Torah Reading, attributed to Meir ben Isaac Nehorai of Orléans (ca. 11th c.)

An Aramaic piyyut composed as an introduction to the reading of the Targum for the Torah reading on Shavuot. . . .

מימיני מיכאל | “Mikhael is on my right,” an apotropaic invocation of angelic protection in the Bedtime Shema from the Maḥzor Vitry (ca. 11th c.)

An “angels on all sides” formula included with the Bedtime Shema service in the Maḥzor Vitry. . . .

כָּל־בְּרוּאֵי | Kol B’ru-ei, a piyyut by Shlomo ibn Gabirol (ca. 11th c.)

A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim. . . .

אֲדוֹן עוֹלָם | Adōn Olam, interpretive translation by Rabbi Zalman Schachter-Shalomi

Rabbi Zalman Schachter-Shalomi’s interpretive “praying translation” of the piyyut, Adon Olam. . . .

אֶזְכְּרָה מָצוֹק | Ezkerah Matsōk (“I remember the distress”), a seliḥah for the Fast of Tevet attributed to Joseph ben Samuel Bonfils (11th c.)

“Ezkera Matsok” (I remember the distress) is a seliḥah in alphabetic acrostic recited on the Fast of Tevet in the Ashkenazi nusaḥ minhag Polin. . . .

אודך כי אנפת בי | Odekha Ki Anafta Bi, a Yotser (Hymn) for Ḥanukkah by Yosef bar Shlomo of Carcassone (ca. 11th cent.)

Odecha ki anafta bi (I give thanks to you although you were angry with me) was composed by Joseph ben Solomon of Carcassonne, who is dated to the first half of the eleventh century. This elegant and abstruse poem tells an epic tale of the Jews’ resistance to the decrees of Antiochus IV and includes accounts of both the Hasmonean bride and Judith. It bears a considerable resemblance to texts 4 and 12 of the Hanukkah midrashim[ref]See Grintz, Sefer Yehudit, pp. 205, 207–08[/ref] and this is evidence for the circulation of the joint Hasmonean daughter-Judith tales in the eleventh century, even if the surviving manuscripts of these stories are from a later date.” (Deborah Levine Gera, “The Jewish Textual Traditions” in The Sword of Judith: Judith Studies Across the Disciplines (2010).) . . .

יוֹם שַׁבָּתוֹן | Yom Shabbaton, a Shabbat song by Yehudah haLevi (interpretive translation by Rabbi Zalman Schachter-Shalomi)

An interpretive translation of Yehudah haLevi’s shabbat song, “Yom Shabbaton.” . . .

אֲדוֹן עוֹלָם (ספרד)‏ | Adon Olam, rhyming translation by Rabbi David de Sola Pool (1937)

A rhyming translation in English to the popular piyyut, Adon Olam. . . .

אֲדוֹן עוֹלָם (ספרד)‏ | Adon Olam, rhyming translation by Rosa Emma Salaman (1855)

A rhyming English translation of Adon Olam by Rosa Emma Salaman. . . .

קרובות לראש שנה לאילנות | Ḳerovot for Tu biShvat, by Yehudah ben R’ Hillel haLevi (ca. 11th c.)

Ḳerovot for Tu biShvat, a celebration of Divine verdancy, which namedrops a stunning array of flora from throughout the land of Israel. . . .

התפילות של מרדכי ואסתר | the Prayers of Mordekhai and Esther, from Divrei haYamim l’Yeraḥmiel (ca. 11-12th c.)

The dream and prayer of Mordecai, and the prayer of Esther, as copied in the medieval pseudo-historical Chronicle of Yeraḥmiel. . . .

סליחה מר׳ יצחק אבן גיאת | Seliḥah by Yitsḥaq ben Yehudah Ibn Ghayyat (ca. 11th century) translated by Reb Zalman Schachter-Shalomi z”l

The following love poem is one of the Selihot recited between Rosh Hashanah and Yom Kippur. Ibn Gayat (1038 – 1089) was not timid about using the most intimate symbols in asking God to become reconciled with us. . . .