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פיוטים piyyuṭim —⟶ tag: פיוטים piyyuṭim Sorted Chronologically (old to new). Sort most recent first? The piyyut, El Adon, in Hebrew with an interpretive “praying translation” by Rabbi Zalman Schachter-Shalom, z”l. Categories: Tags: acrostic, Alphabetic Acrostic, אל אדון el adon, Geonic prayers, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, heikhalot literature, interpretive translation, פיוטים piyyuṭim, יוצר אור yotser ohr Contributor(s): Amar Kiris l-Moshe, is a midrashic narrative of Moshe going to Adam to ask why he cursed humanity with death. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s “Jewish Palestinian Aramaic Poetry from Late Antiquity,” it is presented here vocalized with an original translation. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, Mosheh Rabbenu, mourning, Nusaḥ Erets Yisrael, פיוטים piyyuṭim, קינות Ḳinōt Contributor(s): The piyyut El Adon in its nusaḥ Ashkenaz variation set side-to-side with an acrostic alphabetic translation in English. Azalat Bekhita, is probably incomplete, extending only to ḥeth in known manuscripts. It features multiple people, places, and things important in Moshe’s life taking turns to eulogize him. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, Mosheh Rabbenu, mourning, Nusaḥ Erets Yisrael, פיוטים piyyuṭim, קינות Ḳinōt Contributor(s): Azalat Yokheved is part of a whole genre of midrashic works suggesting Yokheved lived to see her son die — a concept even found in the Ethiopian literature. With repeated refrains, it emphasizes the desperate search of a mother trying to find her son, retracing all her steps and desperately asking everyone she can. But just as Moshe’s journey to the Promised Land ends without a conclusion, so too Yokheved never finds her Moshe. It’s been translated preserving monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. This piyyut, “Ḥanaiah, Mishael, and Azariah,” was originally written to be recited as an introduction to the targum of the Second Commandment, the prohibition on worshiping other gods. It is a dispute-poem retelling the story of Ḥanaiah, Mishael, and Azariah, the three “holy children” of Daniel chapter 3 who would rather be thrown into an oven than worship an idol. It’s an intricate multi-part acrostic that I absolutely love. (I also am partially convinced it may be influenced by the apocryphal “Song of the Three Holy Children,” if not in context then in the idea of an extensive poem related to their story.) Since the original poem’s acrostic only goes halfway through the alphabet, the great Meir bar Isaac Nehorai of Orleans wrote a continuation that is also included here. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, Decalogue, פיוטים piyyuṭim, תרגום targum Contributor(s): Traditional Ashkenazi practice entailed the recitation of a large number of seliḥot piyyutim in every single one of the Yom Kippur ‘amidot. In many Ashkenazi communities today, these are (excepting Ma’ariv and Ne’ilah) skipped on account of time. But this has always felt like a great shame to me, because seliḥot are, in a sense, the theological and liturgical core of the Yom Kippur practice. So a while back I made a bunch of spreadsheets to compare all the attested Yom Kippur seliḥot rites as listed in Goldschmidt’s maḥzor, and designed an abbreviated cycle of seliḥot for Shaḥarit, Musaf, and Minḥah. Each cycle features two regular seliḥot, one ‘aqedah (a retelling of the binding of Isaac), and one pizmon (a final seliḥah with a repeated refrain, sung communally), for a total of four seliḥot and five repetitions of the thirteen attributes. This is the first result of this process, for Shaḥarit. Musaf and Minḥah selections will arrive eventually, albeit probably not this year. Categories: Tags: acrostic, phonetic alphabetic acrostic translation, alphabetic acrostic translation, phonetic acrostic translation, פיוטים piyyuṭim, פזמונים pizmonim, סליחות səliḥot Contributor(s): A penitential piyyut for the fast of the 17th of Tammuz. Categories: Tags: Contributor(s): A litany of mythical guests and creatures presenting at the Passover seder. Categories: Tags: eschaton, מה נאכל בסעודה הזו mah nokhal baseudah hazo, mythical feasts, פיוטים piyyuṭim, אושפיזתא Ushpizata, אושפיזין ushpizin, זמירות zemirot Contributor(s): This piyyut is signed “Elyaqim Ḥazaq.” Alas, we do not know who this Elyaqim was or even whether he was a rabbinic or Karaite Jew. The piyyut has been preserved for us in the Karaite cycle (Vilna printing press, 1852, Vol. IV, p. 135.) and there are several other piyyutim signed with his name. Categories: Tags: Contributor(s): This piyyuṭ, bearing the acrostic signature “Samuel,” is traditionally recited in the communities of Babylonia and India as a petiḥa, or opening poem, before the Song of the Sea. It is also sung on Shabbat Shira, the Sabbath where we read the Song of the Sea in public. This translation is an attempt to preserve the original meaning as well as the rhyme scheme and poetic form. This beautiful piyyut of unknown authorship is recited in most Sephardic, Mizrahi and Yemenite traditions on Tisha B’ab at Minḥah. In its stanzas, rich and replete with biblical references (as is particularly common in Sephardic Piyyut), God speaks to Jerusalem and promises to comfort her, and comfort and redeem her people. Based on the acrostic signature, this piyyut popularly sung at the Shabbat table, is attributed to an otherwise unknown paytan named Yehonatan. Categories: Tags: acrostic, Acrostic signature, פיוטים piyyuṭim, יום שבת קודש הוא Yom Shabbat Ḳodesh Hu, זמירות zemirot Contributor(s): This is a poetic Birkat haMazon for Pesaḥ, from the Cairo Geniza (CUL T-S H11.88 1v). Much thanks to the work of Dr. Avi Shmidman, whose 2009 doctoral thesis is the foundational work for poetic Birkat haMazon studies. He marks it as Piyyut 64, and his Hebrew-language commentary begins on page 394 of his work. I’ve included two translations of the poetic portions — one literal and one preserving the acrostic and rhyme scheme. Categories: Tags: acrostic, Alphabetic Acrostic, ברכת המזון birkat hamazon, Cairo Geniza, פיוטים piyyuṭim, rhyming translation Contributor(s): “Elimelekh G’la” is a Byzantine-era Western Aramaic poetic retelling of the Book of Ruth. It was probably originally used as part of the liturgy for Shavuot, perhaps as a poetic addition to the recitation of a Targumic interpretation of the Book of Ruth. (The verses from Ruth and Psalms appended to the coda of the piyyuṭ would suggest such a Sitz im Leben.) But in any case, it has a great acrostic structure and rhyme scheme, and ought to be preserved! Here is included a vocalized text, largely based on the unvocalized text compiled in Jewish Palestinian Aramaic Poetry from Late Antiquity (ed. Yahalom and Sakaloff, 1999) where it’s the tenth poem recorded. ‘ve added a rhyming poetic translation that preserves the Hebrew acrostic. Credit to Laura Suzanne Lieber’s literal translations of these poems (in Jewish Aramaic Poetry from Late Antiquity: Translations and Commentaries, 2018), which have served as a very helpful resource for the project. Categories: Tags: acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, Aramaic, Late Antiquity, פיוטים piyyuṭim, Ruth, תרגום targum, Western Aramaic Contributor(s): The full text of the alphabetic mesostic piyyut, Hayom, according to the Italian nusaḥ. Categories: Tags: alphabetic mesostic, היום תאמצנו Hayom T'amtsenu, Musaf Rosh Hashanah, Musaf Yom Kippur, פיוטים piyyuṭim Contributor(s): A Byzantine-era Aramaic piyyut for Purim, perhaps written as an introduction to the Megillah reading. It tells the narrative of the Jewish people from Abraham to the final redemption, focusing on the foes who sought to destroy us and their inevitable failure to do so. Uniquely among early-medieval poems, this one actively mentions the Romans (read: Christians) and Saracens (read: Muslims) and prays for their downfall in non-coded language. This translation loosely preserves the couplet rhyme scheme, as well as the alphabetical acrostic — perhaps with a phonetic punning reference to the name “Shlomo” at the end. The Minhag Polin (Eastern Ashkenazi) yotser (piyyut inserted into the beginning of the first blessing of the Shema service) for Shabbat haGadol, by the Sefaradi sage and paytan Joseph ibn Abitur. Translated with preserved acrostic and rhyme scheme. This piyyut juxtaposes the seven days of creation with the miracles of the Exodus as well as the promised future salvation in a three-by-three structure. Categories: Tags: acrostic, Acrostic signature, Alphabetic Acrostic, liberation from mitsrayim, Minhag Polin, פיוטים piyyuṭim, יוצר אור yotser ohr, יוצרות yotsrot Contributor(s): The poetic genre known as qerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar haḲalir’s Purim “Ḳrovetz“, a majestically interwoven piece of piyyut if ever there was one. But there are many other ḳerovot that have historically been recited, many of which were discovered in the Cairo Geniza. This set of ḳerovot, composed by the prolific Spanish paytan Yosef ibn Abitur, is meant to be included within the Shaḥarit amidah for Ta’anit Esther, the fast day before Purim. Consequently, it only goes up to the sixth blessing (the blessing for forgiveness) and concludes by leading directly into Seliḥot, which (before R. Yosef Karo’s standardization of the liturgy, and even now among some Western Ashkenazim) were inserted into the aforementioned blessing. In order to demonstrate this structure on a large scale, the editor here has compiled a full Shaḥarit repetition, nusaḥ Ashkenaz, incorporating the qerovot of Yosef ibn Abitur as well as the three seliḥot piyyutim of the Ashkenazi rite. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, Alphabetic Acrostic, עמידה amidah, Cairo Geniza, fasting, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, סליחות səliḥot Contributor(s): This prayer for captives, containing a piyyut followed by meaningful verses and a mi sheberakh, was transcribed by Dr. Yehoshua Granat from a manuscript produced in late medieval France, Ms. Barginsky 206 (fol. 67b) in the Braginsky Collection in Zurich, Switzerland, under the title “יש מקומות שנהגו לבקש רחמים על האסור בבית האסורים כדרך הזה” (“There are places where it was customary to ask for mercy for the imprisoned in this way”). Categories: Tags: Contributor(s): | ||
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