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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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tag: 13th century C.E. Sorted Chronologically (old to new). Sort most recent first? This is a portion of the tenth gate from ספר תחכמוני Sefer Taḥkemoni of Yehudah Al-Harizi (ca. 1179-1235), narrated by The Farmer. The transcription and English translation was made by Isaac Gantwerk Mayer. Isaac adds, “While Israel Davidson in Parody in Jewish Literature (1907) considered this satire, the imagery of a rooster so desperate not to be killed and eaten that he is begging humans to kill and eat his children instead is horrifying.” This is the third piyyuṭ in a yotsrot cycle for the Shabbat before Rosh haShanah, according to Minhag Polin (as traditionally practiced in the Ashkenazi communities of northeastern Germany and Poland), all written by a Rabbi Yitzḥak ben Moshe haLevi according to the authorial acrostic. Zunz identifies the author as Rabbi Isaac ben Moses of Mainz, who died in the Gzerot Tatno of 1096. Fraenkel disputes this and suggests Rabbi Isaac ben Moses of Vienna (a/k/a the Or Zarua), of the Ḥasidei Ashkenaz, who died in around 1270. This zulat piyyuṭ, citing Psalms 119 repeatedly, begs for divine justice, invoking martyrs’ memories (and perhaps endorsing Fraenkel’s suggestion that its authorship must postdate the Gzerot Tatno!). Categories: Tags: 13th century C.E., 51st century A.M., Acrostic signature, Alphabetic Acrostic, German translation, Minhag Polin, פיוטים piyyuṭim, יוצר אור yotser ohr, זולת zulat Contributor(s): This is the second piyyuṭ in a yotsrot cycle for the Shabbat before Rosh haShanah, according to Minhag Polin (as traditionally practiced in the Ashkenazi communities of northeastern Germany and Poland), all written by a Rabbi Yitzḥak ben Moshe haLevi according to the authorial acrostic. Zunz identifies the author as Rabbi Isaac ben Moses of Mainz, who died in the Gzerot Tatno of 1096. Fraenkel disputes this and suggests Rabbi Isaac ben Moses of Vienna (a/k/a the Or Zarua), of the Ḥasidei Ashkenaz, who died in around 1270. The ofan is an invocation to the listener to repent, calling upon specific angels by name. Also included is the German text of Isaac Seligman Baer’s Avodat Yisrael translation, in modernized spelling. Categories: Tags: 13th century C.E., 51st century A.M., Acrostic signature, Alphabetic Acrostic, German translation, Minhag Polin, ofanim, פיוטים piyyuṭim, יוצר אור yotser ohr Contributor(s): A mourner’s ḳaddish in the event there is no quorum. The text of the popular piyyut “Adir Bimlukhah” (a/k/a “Ki lo na’eh”) in Hebrew, with a Latin translation. Categories: Tags: 13th century C.E., 51st century A.M., acrostic, אדיר במלוכה Adir Bimlukhah, Alphabetic Acrostic, Latin translation, פיוטים piyyuṭim, זמירות zemirot Contributor(s): “Even haRoshah” (the corner stone) is a seliḥah recited on the Fast of Tevet in the Ashkenazi nusaḥ minhag Polin. Categories: Tags: Contributor(s): “Af Oraḥ Mishpatekha” is an ofan, a type of piyyut recited as a part of the Ḳedushah d-Yotzer liturgy as an introduction to Ezekiel 3:12. Specifically, it is an ofan written by the Rokeaḥ, R. El’azar ben R. Yehuda of Worms, for the morning liturgy on Shabbat Ḥazon, the Shabbat before Tishah b’Av. It is here included along with an original translation and with cited verses marked. Also included is a series of images from a 1714 maḥzor printed in Frankfurt au Main that includes the piyyut. To note, the text included above is not exactly the same as that of the 1714 maḥzor, having been edited in accordance with Isaac Meiseles’s 1993 critical edition of the Rokeaḥ’s work. A piyyut and table song for Shabbat from 13th century Ashkenaz. “Wenn man die Gesetzrolle aus der heiligen Lade nimmt” was translated/adapted from the prayer “Brikh Shmeih d’Marei Alma” (Zohar II 206a) by Yehoshua Heshil Miro and published in his anthology of teḥinot, בית יעקב (Beit Yaaqov) Allgemeines Gebetbuch für gebildete Frauen mosaicher Religion. The translation appears in the 1829 edition, תחנות Teḥinot ein Gebetbuch für gebildete Frauenzimmer mosaicher Religion as teḥinah №15 on pp. 19-20. In the 1835 and 1842 editions, it also appears as teḥinah №15 on pp. 22-23. “Ar’a Raqda,” a piyyut read directly before the Ten Commandments in the Targum, uses wedding imagery and language from the Shir haShirim to paint Sinai as a ḥuppah. A Ladino translation of Brikh Shmei d’Marei Alma. This formula for recitation in the Sukkah at the conclusion of Sukkot (on the night of Shemini Atseret) is given in the name of Rabbi Meir of Rothenburg (1215-1293) and found in two sources: Siman 148 of the Teshuvot of Shimshon bar Tsadoq (a/k/a the Tashbets), and Siman 71.50 of the Sefer Kol Bo. Categories: Tags: 13th century C.E., 51st century A.M., anti-predatory, חסידי אשכנז Ḥasidei Ashkenaz, leviathan, עולם הבא Olam Haba, רשויות reshuyot, Universal Peace Contributor(s): Essa Lameraḥoq by Aharon ben Yosef of Constantinople, with an English translation. This is an English translation of Maoz Tsur published by The Hebrew Standard for their 1893 Ḥanukkah issue (vol. 29, no. 12, New York, Friday, 8 December 1893 — 29 Kislev 5654). The Hebrew Standard was one of the biggest English-language Jewish papers in America around the turn of the twentieth century, generally taking a more traditionalist line than the Reform papers and a more moderate line than the leftist ones. This translation, simply titled “Chanukah”, unfortunately goes unattributed in the pages of The Hebrew Standard. The translation follows an ABABCCDD rhyme scheme (for those unfamiliar with rhyme scheme notation, this is the same rhyme scheme as “The Star-Spangled Banner“), unlike the Hebrew’s ABABBBccB. Categories: Tags: 13th century C.E., 51st century A.M., ABABCCDD, Acrostic signature, American Jewry of the United States, High Middle Ages, Mainz, מעוז צור Maoz Tsur, national anthems, Needing Attribution, Patriotic hymns, פיוטים piyyuṭim, rhyming translation Contributor(s): A German translation of Maoz Tsur, by the early Reform rabbi Leopold Stein. This singable German translation was cited as an inspiration for Gustav Gottheil and Marcus Jastrow’s well-known English edition. In some communities in the German Empire, for instance the community of Beuthen (now Bytom, Poland), it was recited during the morning service on Ḥanukkah. It poetically translates the first five verses in their entirety, avoiding the controversial sixth verse (said by some to have been added post-facto, and rejected by the early Reform movement). Categories: Tags: 13th century C.E., 51st century A.M., Acrostic signature, German language, German Reform Movement, German-speaking Jewry, German vernacular prayer, מעוז צור Maoz Tsur, פיוטים piyyuṭim, Spanish-Portuguese Contributor(s): A singable translation of Maoz Tsur by the great ḥakham Frederick de Sola Mendes, here transcribed from the Union Hymnal (CCAR 1914), hymn 190. The translation largely reflects the Hebrew, omitting two verses — the final (and according to some, last added) verse, and the fourth verse about Purim and Haman. Maoz Tsur as translated by Dr. Solomon Solis-Cohen, with Hebrew adapted in the first stanza by Joseph Herman Hertz, chief rabbi of the British Empire. A singing translation of the popular piyyut (devotional poem), “Maoz Tzur,” by Reb Zalman for Ḥanukkah. Categories: Tags: 13th century C.E., 51st century A.M., Acrostic signature, High Middle Ages, Mainz, מעוז צור Maoz Tsur, פיוטים piyyuṭim Contributor(s): This is a complete poetic rhyming translation of Maoz Tsur with all six of its stanzas including a seventh, final stanza written by Isaac Gantwerk Mayer specifically for Yom ha-Atsmau’ut. Categories: Tags: 13th century C.E., 21st century C.E., 51st century A.M., 58th century A.M., Acrostic signature, High Middle Ages, Mainz, מעוז צור Maoz Tsur, פיוטים piyyuṭim, rhyming translation Contributor(s): A complete poetic translation (all six verses) of Maoz Tsur. As far as the editor knows this is the first translation of Maoz Tsur to both (a) cover all the verses relatively accurately and (b) preserve the strict ABAB-BBCCB rhyme scheme of the original. (Reb Zalman’s comes close but it goes ABAB-CCDDC instead). If it sounds violent, that’s because it *is* violent. Ḥanukkah is a holiday about actively fighting against assimilation and abuse. A lot of Maoz Tsur translations are censored, but it’s a powerful, loud, and even nationalist statement. Categories: Tags: 13th century C.E., 51st century A.M., Acrostic signature, High Middle Ages, Mainz, מעוז צור Maoz Tsur, פיוטים piyyuṭim, rhyming translation Contributor(s): | ||
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