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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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פיוטים piyyuṭim —⟶ tag: פיוטים piyyuṭim 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 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): 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). . . . The piyyut and popular shabbat table song, Ki Eshmera Shabbat, in Hebrew with a rhyming translation. . . . 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. . . . 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): A piyyut and table song for Shabbat from 13th century Ashkenaz. . . . “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. . . . 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): “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 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): 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 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. . . . Ana is a poem for the first commandment, that discusses all that God did for the ancestors. . . . 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): | ||
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