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  Contributor(s): Categories: Tags:“An infinity of amens” was written by Hanna Yerushalmi on 15 October 2023 in the aftermath of the massacres on Shemini Atseret 5784. . . .  Contributor(s):As I was in NYC, I first heard the news of the pogrom with which Hamas opened the war between Hallel and the Torah reading on Shemini Atseret. The beginnings of what is now the final stanza of this… I am unsure whether to refer to it as a qinah or a piyut first stirred in my soul during Tefillat Geshem, and the refrain of that stanza during Hakafot that evening. Prayer and song, no matter how joyous, has taken on a somber, cutting, desperate edge for me in this new world where the safety I had once taken for granted was revealed to be an illusion, which is reflected in taking from the phrases taken from the liturgy of the Yomim Nora’im. . . .  Contributor(s): Categories: Tags:This qinah purposely follows the structure of, and borrows phrases from, the text of Ma’oz Tzur. It was inspired by, of all things, a “Ruin a song by changing the first three words” Facebook post – someone had responded to it with “Ma’oz Tzarot…” and the rest all but wrote it itself. . . .  Contributor(s): Categories: Tags:Jews around the world fast on the day after Rosh haShanah to commemorate the murder of Gedalyahu son of Aḥiqam, the officer appointed over Judah who sought to make peace and rebuild before being murdered by a religious extremist and officially bringing an end to the first commonwealth era. The tragedy of Gedalyahu is not just that he was assassinated, but that he was assassinated by a Jew who was using religion (specifically his claim to the line of David) as an excuse. This narrative bears striking similarities to the murder of Prime Minister Yitzḥaq Rabin on 12 Marḥeshvan 5756. On account of this, some Jews have taken it upon themselves to memorialize Rabin on Tzom Gedalyahu as well. This piyyut could be added to the seliḥot for Tzom Gedalyahu, or part of a new seliḥot service for 12 Marḥeshvan. . . . אֶפְתַּח פִּי לְךָ אָדוֹן | Eftaḥ Pi L’kha Adōn, a seliḥah for Kristallnacht by Isaac Gantwerk Mayer Contributor(s): Categories: Tags:There’s a lot of controversy over Yom haShoah as a date. One of the key issues is this: traditionally, the ways Jews mourn communal tragedies is through establishing a fast day. It’s forbidden to fast during the month of Nisan. It’s hard to pick any specific date to commemorate a tragedy as enormous as the Shoah, but one which seems appropriate to me would be 16 Marḥeshvan, the anniversary of Kristallnacht, the November Pogrom. This piyyut is a seliḥah for Kristallnacht, to be recited on 16 Marḥeshvan (or 15 Marḥeshvan on years like 5782 where the sixteenth falls on a Thursday). . . . על אלה אנו בוכים | Al eleh anu bokhim (For these we weep), a lamentation for humanity’s destruction of habitat and species, by Rabbi David Seidenberg (neohasid.org) Contributor(s): Categories: Tags:A ḳinnah for humanity’s willful, negligent, and callous destruction of habitat and species known and unknown. . . . אֱלִי צִיּוֹן וְעָרֶיהָ | Eli Tsiyon v’Arehah — Coronavirus, by Daniel Olson & Rabbi Benjamin Goldberg (2020) Contributor(s): Categories: Tags:An adaptation of the kinnah, “Eli Tsiyon v’Ar’eha,” Composed for Tisha B’Av 5780 in light of the Covid-19 pandemic. . . . אֵלֶּה אֶזְכְּרָה, נוּסַח פִּיטְסְבּוּרְג | Eileh Ezkarah for Pittsburgh, by Rabbi Jonathan Perlman with Rabbi Tamar Elad-Appelbaum & Rabbi Martin Cohen (2019) Contributor(s): Tags:A ḳinah for the martyrs of the Tree of Life synagogue massacre in Boston in 2018. . . . אוֹי לַלֵב שֶׁאֵינָה שְׁבוּרָה | Woe to the Heart that is not Broken, a ḳinnah by Rabbi Dr. Aryeh Cohen (2019) Contributor(s): Tags:A ḳinnah composed in response to the agonizing and cruel United States immigration policy implemented under the presidency of Donald Trump. . . .  Contributor(s): Categories: Tags:I wrote this a few days after the Boston Marathon bombing. It arose out of a meditation service which I led at my synagogue. The doors to our sanctuary were open, so we had the sounds of the nearby wetland in our ears, and I invited the meditators to join me in cultivating compassion and sending it toward Boston. The line “My heart is in the east and I am in the west” is adapted from the medieval Spanish poet Judah haLevi. . . .  Contributor(s): Categories: Tags:A ḳinah (lamentation) for Israeli Prime Minister Yitzḥak Rabin, assassinated on 4 November 1995, the yahrzeit of which is י״א בְּמַרחֶשְׁוָן (11 Marḥeshvan). . . .  Contributor(s): Categories:“A Memory’s fire burns within me still” was adapted by Andrew Meit from Gabriel Seed’s translation of the kinah, Aish Tukad b’kirbi (“A Fire Shall Burn Within Me”). . . .  Contributor(s): Categories: Tags:“Kinah Lekhurban Gan Eden” was written by Richard Kaplan and first published as the fourth track to his album Life of the Worlds: Journeys in Jewish Sacred Music (2003). This work is under the copyright stewardship of the estate of Richard Kaplan and was republished here at the request of Barak Gale who made a recording of the song with the permission of Richard Kaplan while he was alive. . . .  Contributor(s): Categories: Tags:A ḳinnah composed by a concentration camp survivor. . . . בַּשָּׁנָה הַבָּאָה | baShanah haBa’ah (Next Year), an elegy by Ehud Manor for his brother killed during the War of Attrition (1968) Contributor(s): Categories: Tags:“baShanah haBa’ah” (Next Year) by Ehud Manor written in 1968 in memory of his brother Yehudah. . . .  Contributor(s): Categories: Tags:Emancipation, elegies, קינות Ḳinnot, Assassination of Abraham Lincoln, civil rights, 57th century A.M., Memorial prayers, Abraham Lincoln, assassination, 19th century C.E., American Jewry of the United States, United States, Prayers for leaders, acrostic, Presidents Day, Slaveholders' Rebellion (1861-1865) Exalted are you Lincoln. Who is like you! You were highly respected among Kings and Princes. All that you accomplished you did with a humble spirit. You are singular and cannot be compared to anyone else. Who among the great are like Lincoln? Who can be praised like you? . . .  Contributor(s): Categories: Tags:“Brich aus in lauten Klagen” by Heinrich Heine was preserved in a letter he wrote to his friend Moses Moser dated 25 October 1824. The poem is included in Heinrich Heine’s Letters on The Rabbi of Bacharach, the manuscript of which only survived in a fragment, the rest having been lost, according to Heine, in a fire. The English translation here by Nina Salaman was transcribed from her anthology, Apples & Honey (1921) where it appears under the title of “Martyr-Song,” published at an earlier date in The Jewish Chronicle. . . . מעשה מיץ | Maaseh Metz, a qinah after a crowd panic and deadly crush in the synagogue over Shavuot in Metz (1714) Contributor(s): Categories:This qinah, a variation of Maaseh Metz, was written by an unknown author and copied by Glikl of Hameln into her memoirs. The text appearing here was made from that transcribed and published in Chava Turniansky’s critical edition, Glikl: Memoirs (1691-1719) (Shazar 2006), pp. 596-597, and Sara Friedman’s English translation of that edition, edited by Turniansky (Brandeis University Press 2019), pp. 306-307. . . .  Contributor(s): Categories: Tags:A kinah/elegy for those massacred in the Chmielnicki massacres of 1648–1649 composed by a possible eyewitness to the tragedy. . . . שַׁאֲלִי שְׂרוּפָה בָּאֵשׁ | Sha’ali Serufah ba-Esh (Question, Burnt in the Fire), a Ḳinah for Tishah b’Av, translated by Gershom Scholem Contributor(s): Categories:A translation in German and English of the ḳinnah “Sha’ali Serufah ba-Esh.” . . . וְאָהִימָה מִיָּמִים יָמִימָה | v’Ahimah Miyamim Yamimah: I Will Wail for All Time (translated by Hillary and Daniel Chorny) Contributor(s): Categories:“V’ahimah Miyamim Yamimah” is a ḳinah that recounts the tragic tale of the children of Rabbi Yishmael as told in the Babylonian Talmud (Gittin 58a). The handsome brother and fair sister were separated and sold into slavery during the conquest of Jerusalem. Their respective masters, not knowing the two were siblings, paired them with the intent of creating beautiful offspring. In their shared cell, the two wept all night until morning, when they recognized one another. They cried on each other’s necks until their souls departed from their bodies. The narrator of our story laments their terrible fate, ending each verse with a haunting refrain: “And so I will wail for all time.” . . .  Contributor(s): Categories:One of the most well-known of the kinot (liturgical poems for mourning), Eli Tsiyon v’Areha is an alphabetical acrostic describing the destruction of Jerusalem. It is recited towards the conclusion of ḳinot, due to the hopeful note in the comparison of Zion to a woman about to give birth, thought by many to be a messianic reference. The author of the work is unknown. . . . אֵשׁ תּוּקַד בְּקִרְבִּי | Aish Tuqad b’Qirbi: A Fire Shall Burn Within Me, translated by Gabriel Seed Contributor(s): Categories: Tags:Aish Tukad is a ḳinah for Tishah b’Av, usually recited towards the conclusion of the set of dirges for the morning service (in Goldshmidt’s numbering, it is number 32 of our 46 Kinot). According to Goldshmidt’s introduction, the structure of this Piyyut is based on a Midrash in Eicha Zuta 19, where Moses’ praises for God and Israel are seen as parallel to Jeremiah’s laments, thus creating the concept of a comparison between the joy of the Exodus and the pain of the Temple’s destruction. . . .  Contributor(s): Categories:This qina is recited in the Spanish-Portuguese rite (as practiced in the Snoge in Amsterdam, the Bevis Marks Synagogue in London, and Shearith Israel in New York City among many other communities) at the conclusion of the recitation of qinot on the evening of the Ninth of Aḅ. Its refrain, taken from the Four Questions of the Passover liturgy, is reframed* as a reflection of the suffering of such a day, contrasting the celebration of salvation on Passover with the fear and desolation of the fast day. . . . בּוֹרֵא עַד אָנָּה | Borei Ad Anah (“Creator! How long”), a ḳinah after the Spanish Expulsion (ca. 16th c.) Contributor(s): Categories: Tags:“Bore ‘Ad Anah” is a ḳinah recited in a number of Sephardic communities on Tishah b’Av (or in some cases on Shabbat Hazon, the Shabbat preceding Tishah b’Av), particularly in the Spanish-Portuguese and North African traditions. The author is unknown, but his name is likely Binyamin based on the acrostic made up of the first letters of the verses. In the kinah, the Children of Israel are compared to a wandering dove caught in a trap by predators, crying out its father, God. The ḳinah was likely written as a poignant response to the Spanish Inquisition, appropriate to Tishah b’Av since the expulsion of the Jews from Spain occurred on the 9th of Av in the year 1492. The version presented here was likely censored, as many manuscripts have the fifth verse presented in the following manner directly calling out their Catholic oppressors,” יועצים עליה עצות היא אנושה זרים העובדים אלילים שלושה אם ובן ורוח כי אין להם בושה גדול ממכאובי.” “They counsel against her and she languishes, the strangers who worship three idols, father, son and spirit, for they have no shame and great is my suffering.” . . . אֱלֹהִים בְּעָלֽוּנוּ | Elohim B’alunu — a seliḥah on the York massacre of 1190 by Joseph ben Asher of Chartres (trans. Isaac Gantwerk Mayer) Contributor(s): Categories: Tags:This seliḥah poem, written by R. Joseph of Chartres, commemorates the martyrdom of approximately 150 Jews in Clifford’s Tower, York, England, in the year 1190. A summary of the events of 1190, sometimes referred to as “the English Masada,” can be found here. Like many medieval Jewish poems about massacres, Elohim B’alunu carefully treads the line between assuming guilt and declaring innocence. This poem, interestingly enough, directly calls out the person seen by R. Joseph of Chartres as ultimately responsible — the crusader King Richard Ⅰ. Beloved in Christian memory, this radical zealot of a king has a much darker, more horrific reputation among Jewish and Muslim groups. . . . אֱמוּנֵי שְׁלוּמֵי יִשְׂרָאֵל | Emunei Shlumei Yisrael — a seliḥah witnessing the Blois incident of 1171 by Hillel ben Yaaqov of Bonn Contributor(s): Categories: Tags:Some Jewish communities, especially those in the region of the Four Lands, have a custom of fasting on the 20th of Sivan. This day has a full seliḥot service, commemorating a series of horrors that occurred on that day, most prominently the Chmielnicki (Khmielnetsky) massacres of 1648-49. But this poem was written for another horrific occurrence on 20 Sivan, the blood libel of Blois in 1171. This was the first time the accusation of ritual murder was ever made against the Jews of France, but it wasn’t the last. This seliḥah poem, written by Hillel ben Jacob of Bonn, starts with the dramatic accusation that God has abandoned the people Israel, continuing by listing those who died in myriad horrid ways, and ending with several citations from the apocalyptic final chapter of the book of Joel. . . . אוֹי מֶה הָיָה לָנוּ | Oy Meh Haya Lanu (Oy What Has Happened to Us), by Barukh ben Shmuel of Mainz (ca. 12th c.) Contributor(s): Categories:“Oy Meh Haya Lanu” is a ḳinah traditionally recited on the night of Tisha b’Av directly after the reading of Eikha. According to the Koren Mesorat HaRav Kinot, it is number 1 of 50. The title is the refrain of the poem, a reflective lament. This ḳinah is based on the fifth and final chapter of Eikha, taking the opening phrase of each line of the megillah as the first line of each couplet and poetically expanding the description for the second. This translation is an attempt to convey the vulgarity and horror of the paytan’s depiction of the destroyed Jerusalem in vernacular English. The ḳinah ends just as the megillah ends, with the four verses of pleas for redemption. . . . בַּחֹֽדֶשׁ הָֽרְבִיעִי | baḤodesh haRevi’i (In the fourth month), a ḳinah for the 17th of Tamuz attributed to Solomon ibn Gabirol (ca. 11th c.) Contributor(s): Categories:The seliḥah with its English translation as found in Siddur Siftei Tsadiqim (The Form of Prayers) vol. 6: Seder haTefilot laTaaniyot (ed. Isaac Leeser 1838) p.107-109. . . . אבלה נפשי | Avlah Nafshi (My soul mourns), a seliḥah for Tsom Gedalyah attributed to Rav Saadia Gaon (10th c.) Contributor(s): Categories: Tags:A seliḥah for the Fast of Gedalyah, attributed to Rav Saadia Gaon. . . .  Contributor(s): Categories:“Alelai Li” is a ḳinah recited on the morning of Tisha bAv. It was written by HaKalir around the 7th century. According to the Koren Mesorat HaRav Kinot, it is number 17 of 50. The title is the refrain of the poem and is an onomatopoeic whimper (try saying it aloud, focusing on the alliteration). It is difficult to translate the opening word “im” which means “if” or “should”. This is an allusion to Job 10:15, “If I have done evil, then woe unto me.” I have decided to translate the ḳinah not in the conditional tense (which would render “If these horrible things happened, then woe is me!”) but as a lament upon memory; however, the former would be a more accurate (if not more awkward in English) translation. Adding to the awkwardness of the poem’s language is the feminine conditional verb that each line has after the word “im”. I have maintained this strange verb tense and placement in my translation by using the English progressive tense. The ḳinah ends with a collection in lines in a different meter suggesting that the Holy One (and the paytan himself) is angered that the Jewish people announce their sufferings but not their transgressions. . . .  Contributor(s): Categories: Tags:Many communities recite a series of poems interwoven with the Amidah on Purim. These poems, known as the “krovets,” were written by Elazar b. Rabbi Kalir, the greatest of the early paytanim. But lesser known than the krovets for Purim are the krovets for Tisha b’Av, written as well by Elazar b. Rabbi Kalir. A fine example of Elazar’s intricate poetry, the krovets for Tisha b’Av is rife with Biblical citations, finally culminating with the prayer for Jerusalem. Each stanza begins with five tightly rhymed lines beginning with a constant א followed by a quintuple half-acrostic on the second letter, then a poetic volta on the word אֵיכָה, followed by a Biblical citation, a verse starting with the last word in the citation, a letter from Elazar’s name, and a final Biblical citation. The krovets for Tisha b’Av is meant to be part of the morning service, tied into the cantorial repetition for Tisha b’Av. . . . עַד אָנָה בִּכְיָּה בְצִיּוֹן | Ad Ana Bikhya b’Tsiyon (How Long Will Crying Be In Zion), a qinah for Tishah b’Av (ca. 7th c.) Contributor(s): Categories: Tags:‘Ad Ana Bikhya B’Tsiyon, is one of the oldest qinot of the cycle, dating to the period before rhyme schemes were the norm for Hebrew poetry. It describes the heavenly luminaries themselves as sympathizing with and lamenting for Israel. It goes through the entire zodiac, beginning with Ares and ending with Pisces. It is traditional to stand and recite the last few lines aloud before transitioning into the Ḳedusha d’Sidra. . . . אֵיךְ תְּנַחֲמוּנִי הֶבֶל | Eikh T’naḥamuni Hevel, a ḳinnah by Elazar ben Killir ca. 7th c. (trans. Jonah Rank) Contributor(s): Categories: Tags:The qinah, Eikh T’naḥamuni Hevel, in Hebrew with an English translation. . . . אז בהלוך ירמיהו | Az Bahalokh Yirmiyahu: Then As Jeremiah Went, by Elazar ben Killir circa 7th century CE (translated by Gabriel Seed) Contributor(s): Categories:Az Bahalokh Yirmiyahu is a kinah, “based on Eikhah Rabati Petikhta 24, in which Jeremiah says to God: “I am like a father who prepared to take his only son to be married, and the son tragically died under the wedding canopy. Do you not feel any pain for me or for my son?” God responds: “Go and rouse Abraham, Isaac, Jacob and Moses from their graves, for they know how to cry…” (Daniel Goldschmidt, Seder Kinot le-Tisha b’Av, Jerusalem, 1972, 98). . . . אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ | Oy Na Lanu Ki Ḥatanu (Woe alas unto us, for we have sinned), a ḳinah possibly by Elazar ben Killir (ca. 7th c.) Contributor(s): Categories:This anonymously authored ḳinah (קינה, song of “lamentation”) begins with the line “אוֹי נָא לָֽנוּ כִּי חָטָֽאנוּ” (oy na lanu ki ḥatanu, “Woe—alas—unto us, for we have sinned”). Although the ancient Roman Jewish historian Flavius Josephus blames the Roman Empire for the destruction of the Jewish Temple in Jerusalem in 70 CE—and Roman art even celebrates the Roman capture of the Temple’s candelabrum—this ḳinah suggests that the destruction of Jerusalem was, at least partially, the result of Jewish discord. The ḳinah, which was long part of the Romanian prayer service for Tish’ah b’Av, appears in few other traditional prayerbooks for Tish’ah b’Av. It seems that the author of this ḳinah was El’azar ben Kallir (ca. 570–640 CE), who composed approximately half of the kinot most commonly inserted into contemporary Tish’ah b’Av prayerbooks that include the 40-odd most common kinot (קינות, plural of ḳinah) Jews sang throughout Europe during much of the early modern period. The author did not sign their name but left us with an alphabetical acrostic listing of often-concrete reasons to mourn today. . . . אַזְכִּֽירָה יָמִים עִם יָמִים | Azkira Yamim Im Yamim, a piyyut for the First Shabbat of Admonition by Rabbi Yannai (ca. early 6th c.) Contributor(s): Categories: Tags:Cairo Geniza, Mourning this Broken World, First Shabbat of Admonition, Shabbatot of Admonition, Three Weeks of Mourning, 6th century C.E., 43rd century A.M., Yetsiat Mitsrayim, חורבן Ḥurban, Siege of Jerusalem (597 BCE), Siege of Jerusalem (70 CE), alphabetic mesostic, פיוטים piyyutim, Acrostic translation, קינות Ḳinnot The works of the great paytan Yannai were, with the exception of a small handful of poems, almost completely lost until their rediscovery in the Cairo Geniza. This poem, an acrostic comparison of the days of Moses and Jeremiah, was written by Yannai to serve as part of the Musaf Ḳedushah on the first Shabbat after 17 Tammuz, on which the opening section of Jeremiah is recited. It bears structural and linguistic similarities to the later famous ḳinah Esh Tuqad. In its liturgical context, it was intended to introduce the final few verses of the Ḳedushah . Nowadays the custom of poetic inserts into the ḳedushah is nearly extinct, but the poem stands as a moving and powerful work nonetheless. . . . |