העמידה לימות החל עם טעמי המקרא‎ | Weekday Amidah and Kaddish with Ta’amei haMiqra (cantillation), by Isaac Gantwerk Mayer (Nusaḥ Ashkenaz)

The full Weekday Amidah (or Eighteen Blessings), according to Nusach Ashkenaz with optional additions for egalitarian rites or for within Israel, fully marked with ta’amei miqra (also known as cantillation marks or trope). Ta’amei miqra originally marked grammar and divisions in any Hebrew sentences, and older Hebrew manuscripts such as those from the Cairo Geniza often show ta’amei miqra on all sorts of texts, not just the Biblical texts we associate them with today. This text has the Eighteen Blessings (which number nineteen) of the weekday Amidah, and is suitable to use as a text for any standard weekday service. Note: this does not include any of the pre- or post-Amidah texts, such as Ashrei, Kriyat Shema, Tachanun, or Aleinu. It also doesn’t include additions for festivals, fast days, or the Days of Repentance. Those may be coming in the future, though! . . .

מדרש מעשה חנוכּה | Midrash Ma’aseh Ḥanukkah, another Ḥanukkah story

This digital edition of Midrash Ma’aseh Ḥanukkah was transcribed from the print edition published in Otzar Hamidrashim (I. D. Eisenstein, New York: Eisenstein Press, 5675/1915, p.189-190). With much gratitude to Anat Hochberg, this is the first translation of this midrash into English. . . .

פֶּרֶק שִׁירָה | Pereq Shirah (Chapter of Song), a litany of verses pronounced in the voice of the creatures and works of Creation

Talmudic and midrashic sources contain hymns of the creation usually based on homiletic expansions of metaphorical descriptions and personifications of the created world in the Bible. The explicitly homiletic background of some of the hymns in Perek Shira indicates a possible connection between the other hymns and Tannaitic and Amoraic homiletics, and suggests a hymnal index to well-known, but mostly unpreserved, homiletics. The origin of this work, the period of its composition and its significance may be deduced from literary parallels. A Tannaitic source in the tractate Hagiga of the Jerusalem (Hag. 2:1,77a—b) and Babylonian Talmud (Hag. 14b), in hymns of nature associated with apocalyptic visions and with the teaching of ma’aseh merkaba serves as a key to Perek Shira’s close spiritual relationship with this literature. Parallels to it can be found in apocalyptic literature, in mystic layers in Talmudic literature, in Jewish mystical prayers surviving in fourth-century Greek Christian composition, in Heikhalot literature, and in Merkaba mysticism. The affinity of Perek Shira with Heikhalot literature, which abounds in hymns, can be noted in the explicitly mystic introduction to the seven crowings of the cock — the only non-hymnal text in the collection — and the striking resemblance between the language of the additions and that of Shi’ur Koma and other examples of this literature. In Seder Rabba de-Bereshit, a Heikhalot tract, in conjunction with the description of ma’aseh bereshit, there is a clear parallel to Perek Shira’s praise of creation and to the structure of its hymns. The concept reflected in this source is based on a belief in the existence of angelic archetypes of created beings who mediate between God and His creation, and express their role through singing hymns. As the first interpretations of Perek Shira also bear witness to its mystic character and angelologic significance, it would appear to be a mystical chapter of Heikhalot literature, dating from late Tannaitic — early Amoraic period, or early Middle Ages. . . .


בסיעתא דארעא