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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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12th century C.E. —⟶ tag: 12th century C.E. Sorted Chronologically (old to new). Sort most recent first? This geulah piyyut, by R. Yehuda heḤasid, is, similar to the prior zulat, a response to the massacres of the First Crusade. It specifically focuses, in the way only a maverick like heḤasid could, on holding God to account for breach of covenant, and calls out both Christians and — on a much rarer theme — Muslims for their slaughter of Jews during the Crusades. As a geulah, it is recited right before concluding berakha of the Emet blessing and the Amidah. . . . This is the piyyut, עֵת שַׁעֲרֵי רָצוֹן (Eit Shaarei Ratson) by Rabbi Yehuda ben Shmuel ibn Abbas (12th century Aleppo, Syria (born in Fez, Morocco)). The English translation presented here is by Rabbi Stephen Belsky. . . . Categories: Tags: 12th century C.E., 50th century A.M., Acrostic signature, עקדת יצחק Akeidat Yitsḥaq, שופר shofar, shofar blowing Contributor(s): This translation by Rabbi David Aaron de Sola of “Elohim Yisadenu” by a paytan named Avraham (possibly Avraham ibn Ezra) was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . This piyyut, attributed to Menaḥem ben Aharon, is found in the Maḥzor Vitry, siman 465. It is a note-for-note structural parody of a beloved Pesaḥ maarava poem, Leil Shimurim. Israel Davidson, in his 1907 work “Parody in Jewish Literature,” writes, “The parodist apparently has no other aim than to dress a wine-song in the garb of a religious hymn. The burden of the song is that on Purim one must throw of all care and anxiety… But in order to make our happiness complete, we must remember the needy, and share our luxuries with those that are in want of them.” . . . Categories: Tags: 12th century C.E., 50th century A.M., מערבות maaravot, parody, פיוטים piyyuṭim, Purim parody, purimspiel Contributor(s): This pizmon was written by R. Shmuel ben Moshe Ha-Dayan of Aram Ṣoba (ca. 1150-1200) an Aleppine payṭan whose works were almost completely lost before being rediscovered in the Maḥzor Aram Ṣoba. It emphasizes the uneasy juxtaposition of the joy of Simḥat Torah with the tragedy of Moshe’s death. Originally it was probably recited before musaf, but perhaps for those who follow Ashkenazi customs a more appropriate location would be as an introduction to the Yizkor service on Shemini ‘Atseret — which for those who don’t keep second-day yontef is the same day. . . . Categories: Tags: 12th century C.E., 50th century A.M., Maḥzor Aram Tsoba, Minhag Aleppo Musta'arabi, Mosheh Rabbenu, mourning, פיוטים piyyuṭim, פזמונים pizmonim Contributor(s): The haftarah for the second day of Shavuot, Ḥabakkuk 2:20-3:19, interspersed with a cantillated text of the Targum Yonatan ben Uzziel. Since Targum Yonatan is a bit more drash-heavy than Targum Onkelos, it is translated separately as well. The haftarah reading includes the piyyut Yetsiv Pitgam, with an acrostic rhyming translation of the poem, with the second-to-last verse restored to its rightful place, as well as a concluding paragraph for the meturgeman to recite, as found in the Maḥzor Vitry. . . . Categories: Tags: 12th century C.E., 50th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Aramaic, הפטרות haftarot, פיוטים piyyuṭim, rhyming translation, תרגום targum, transtropilation, יציב פתגם Yetsiv Pitgam Contributor(s): “Oy Meh Haya Lanu” is a ḳinah traditionally recited on the night of Tisha b’Av directly after the reading of Eikha. According to the Koren Mesorat HaRav Kinot, it is number 1 of 50. The title is the refrain of the poem, a reflective lament. This ḳinah is based on the fifth and final chapter of Eikha, taking the opening phrase of each line of the megillah as the first line of each couplet and poetically expanding the description for the second. This translation is an attempt to convey the vulgarity and horror of the paytan’s depiction of the destroyed Jerusalem in vernacular English. The ḳinah ends just as the megillah ends, with the four verses of pleas for redemption. . . . Categories: Tags: Contributor(s): A pizmon recited on the Fast of Tevet in the tradition of nusaḥ Ashkenaz. . . . A medieval manuscript illustration of the aggadah that the Yam Suf was split in 12 discrete channels, one for each tribe, as reflected above by a 12-color rainbow . . . Categories: Tags: 12th century C.E., 50th century A.M., אז ישיר Az Yashir, קריעת ים סוף qriyat yam suf, safe passage, פרשת בשלח parashat B'shalaḥ, שבת שירה shabbat shirah, שירת הים Shirat haYam, Song of the Sea, the Rainbow Contributor(s): Some Jewish communities, especially those in the region of the Four Lands, have a custom of fasting on the 20th of Sivan. This day has a full seliḥot service, commemorating a series of horrors that occurred on that day, most prominently the Chmielnicki (Khmielnetsky) massacres of 1648-49. But this poem was written for another horrific occurrence on 20 Sivan, the blood libel of Blois in 1171. This was the first time the accusation of ritual murder was ever made against the Jews of France, but it wasn’t the last. This seliḥah poem, written by Hillel ben Jacob of Bonn, starts with the dramatic accusation that God has abandoned the people Israel, continuing by listing those who died in myriad horrid ways, and ending with several citations from the apocalyptic final chapter of the book of Joel. . . . Categories: Tags: 12th century C.E., 50th century A.M., acrostic, Alphabetic Acrostic, Blois Incident of 1171, קינות Ḳinōt, סליחות səliḥot Contributor(s): This translation of “Ki Eshmera Shabbat” by Rabbi David Aaron de Sola of a piyyut by Avraham ibn Ezra was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . A rhyming translation of the pizmon for maariv on Yom Kippur. . . . Categories: Tags: Contributor(s): The piyyut and popular shabbat table song, Ki Eshmera Shabbat, in Hebrew with a rhyming translation. . . . A translation of the piyyut, Anim Zemirot. . . . Aish Tukad is a ḳinah for Tishah b’Av, usually recited towards the conclusion of the set of dirges for the morning service (in Goldshmidt’s numbering, it is number 32 of our 46 Kinot). According to Goldshmidt’s introduction, the structure of this Piyyut is based on a Midrash in Eicha Zuta 19, where Moses’ praises for God and Israel are seen as parallel to Jeremiah’s laments, thus creating the concept of a comparison between the joy of the Exodus and the pain of the Temple’s destruction. . . . A “praying translation” of the piyyut, Anim Zemirot. . . . This is the shir ha-yiḥud l’yom shabbat (hymn of unity for day of shabbat), as translated by Herbert Adler and published in the maḥzor for Rosh ha-Shanah by Arthur Davis & Herbert Adler (1907). . . . Categories: Tags: Contributor(s): This is the shir ha-yiḥud l’yom shishi (hymn of unity for the sixth day), as translated by Herbert Adler and published in the maḥzor for Rosh ha-Shanah by Arthur Davis & Herbert Adler (1907). . . . Categories: Tags: Contributor(s): This is the shir ha-yiḥud l’yom ḥamishi (hymn of unity for the fifth day), as translated by Herbert Adler and published in the maḥzor for Rosh ha-Shanah by Arthur Davis & Herbert Adler (1907). . . . Categories: Tags: 12th century C.E., 50th century A.M., neo-Aristotelian Judaism, פיוטים piyyuṭim, שיר היחוד Shir haYiḥud, via negativa Contributor(s): This is the shir ha-yiḥud l’yom revi’i (hymn of unity for the fourth day), as translated by Nina Salaman and published in the maḥzor for Rosh ha-Shanah by Arthur Davis and Herbert Adler (1907). . . . | ||
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