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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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Acrostic signature —⟶ tag: Acrostic signature Sorted Chronologically (old to new). Sort most recent first? Israel Zangwill’s translation of Omnam Kén by Rabbi Yom Tov of York (Joigny), was first published albeit incomplete, as “Atonement Hymn” in Blind Children: Poems (1903), pp. 134-135. Introducing the piyyut, Zangwill notes, “The translation of this curiosity of literature preserves, without adding or subtracting a single word, the precise metre, rhyme-scheme, and alphabetical acrostic of the twelfth-century Hebrew original.” A year later, it was published complete, opposite Hebrew verse, in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim (Evening Service) (1904), p. 38. Categories: Tags: 20th century C.E., 57th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, English Jewry, פיוטים piyyuṭim, rhyming translation Contributor(s): This an an untitled piyyut by Eleazer of Worms, eulogizing his beloved wife Dulcea (Heb: דולצא, also, Dulcia and Dolce). The Hebrew text is derived from the transcription offered by Israel Kamelhar inRabbenu Eleazar mi-Germaiza, ha-Roqeah (Rzeazow, 1930), pp. 17-19. The translation and annotation come from Dr. Ivan G. Marcus from his article, “Mothers, Martyrs, and Moneymakers: Some Jewish Women in Medieval Europe” in Conservative Judaism, vol. 38(3), Spring 1986. “Nishmat Emunim” is the third reshut offered before Nishmat at the outset of the Zemirot (preceding Shaḥarit). It is the fifth reshut among the reshuyot in the Old Sefaradi Tiqun for Shabbat Ḥazon — the final shabbat before 9 Av. Categories: Tags: 12th century C.E., 50th century A.M., acrostic, Acrostic signature, phonetic acrostic translation, פיוטים piyyuṭim, רשויות reshuyot, rhyming translation, שבת חזון Shabbat Ḥazon Contributor(s): “Yom Nilḥamu Vi” is the reshut offered before the Barkhu preceding the Shaḥarit blessings before the Shema. It is the eighth reshut among the reshuyot in the Old Sefaradi Tiqun for Shabbat Ḥazon — the final shabbat before 9 Av. Categories: Tags: 12th century C.E., 50th century A.M., acrostic, Acrostic signature, phonetic acrostic translation, פיוטים piyyuṭim, רשויות reshuyot, rhyming translation, שבת חזון Shabbat Ḥazon Contributor(s): An ofan piyyuṭ for the second shabbat after Pesaḥ, as well as the Shabbat between Yom Kippur and Sukkot, recited in the minhag of Pehm and Bruna (Bohemia and Moravia). Signed with the name “Yaakov,” this ofan is of uncertain origin but has been attributed to R. Yaakov ben Meir, more well known as Rabbeinu Tam. Also included is Seligman Baer’s German translation, as well as an original English translation. Categories: Tags: Contributor(s): 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). 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): A pizmon recited on the Fast of Tevet in the tradition of nusaḥ Ashkenaz. 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). This meorah, by R. Avraham bar Shmuel of Speyer (the elder brother of R. Yehuda heḤasid and a great scholar in his own right) is recited on Shabbat Naso. This is usually after Shavuot, but sometimes (in 2025, for instance) it is before. This meorah is a poetic interpretation of the Priestly Blessing, and a plea for vengeance against the antisemitic nations. As a meorah, it is recited prior to the final line of the guf and the ḥatima of the Yotser Or blessing. An ahava piyyut for Shabbat Vayera, recited in the old Nusaḥ Polin (Eastern Ashkenazi) rite, written (according to Davidson) by R. Shmuel bar Avraham haLevi. Shmuel bar Avraham haLevi (1165-1216, according to Graetz) was a poet and scholar of the ibn Ḥasdai family of Barcelona, and the father of the noted Maimonidean translator Avraham bar Shmuel ibn Ḥasdai. This piyyuṭ takes God’s fateful instruction to Abraham — “Take, please, your son, your only one, whom you love,” and, in a shocking bit of poetic ḥutzpah, reframes it a request that God takes back Israel! 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): This is the first 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 yotser is an exultant heikhalot-tinged description of the midrash of seven heavens befitting the Shabbat before creation. Also included is the German text of Isaac Seligman Baer’s Avodat Yisrael translation, in modernized spelling. Categories: Tags: 11th century C.E., 49th century A.M., Acrostic signature, Alphabetic Acrostic, German translation, Minhag Polin, פיוטים piyyuṭim, יוצר אור yotser ohr, יוצרות yotsrot 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. 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): | ||
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