B’ruchot HaBaot, Debbie Friedman . . . . . . . .

114
Light These Lights, Debbie Friedman . . . . . . .114
Hadlakat Nerot, Abraham W. Binder . . . . . . . .115
Shehecheyanu, Traditional melody . . . . . . . . .116
Kos Miryam, Gerald Cohen . . . . . . . . . . . . . . .116
Kos Miryam, Andrea Jill Higgins . . . . . . . . . . .117
Kos Miryam, Laura Berkson . . . . . . . . . . . . . .117
Kadeish Ur’chatz, Babylonian melody . . . . . . .117
Kadeish Ur’chatz, Gerald Cohen . . . . . . . . . . .118
Kiddush, Traditional Three Festival melody . . .118
Karpas, Traditional Three Festival melody . . . .120
Ha Lachma Anya, Y’didyah Admon . . . . . . . . .120
Ha Lachma Anya, Charles Davidson . . . . . . . .121
Mah Nishtanah, Ephraim Abileah . . . . . . . . . .122
Mah Nishtanah, Marshall Portnoy . . . . . . . . .122
Avadim Hayinu, Shalom Postolsky . . . . . . . . .123
Baruch HaMakom, Lisa Levine . . . . . . . . . . . .124
V’Hi She-amdah, Chasidic melody . . . . . . . . .124
Dayeinu, Traditional melody . . . . . . . . . . . . . .125
B’chol Dor Vador
Adapted from Chaim Parchi . . . . . . . . . . . . .125
B’chol Dor Vador, Debbie Friedman . . . . . . . .126
V’nomar L’fanav, Chasidic melody . . . . . . . . . .127
Hal’luyah (Psalm 113), Folk melody . . . . . . . .127
B’tzeit Yisrael (Psalm 114)
Y’didyah Admon . . . . . . . . . . . . . . . . . . . . . .128
B’tzeit Yisrael (Psalm 114)
Charles Davidson . . . . . . . . . . . . . . . . . . . . .129
B’tzeit Yisrael (Psalm 114)
Benedetto Marcello . . . . . . . . . . . . . . . . . . . .130
Borei P’ri Hagafen
Traditional Three Festival melody . . . . . . . . .130
Motzi, Traditional Three Festival melody . . . . .130
Matzah, Traditional Three Festival melody . . .131
Maror, Traditional Three Festival melody . . . . .131
Shir HaMaalot, Yossele Rosenblatt . . . . . . . . .132
Birkat HaMazon (short form)
Traditional melody . . . . . . . . . . . . . . . . . . . .132
Eliyahu HaNavi & Miryam HaN’viah
Folk melody. New text by Leila Gal Berner . .135
Yoseif Adonai (Psalm 115)
Charles Davidson . . . . . . . . . . . . . . . . . . . . .136
Hal’lu et Adonai Kol Goyim (Psalm 117)
Sephardi melody . . . . . . . . . . . . . . . . . . . . . .137
Hodu (Psalm 118)
Traditional Pesach melody . . . . . . . . . . . . . .137
Min HaMeitzar (Psalm 118)
Baruch Chait . . . . . . . . . . . . . . . . . . . . . . . .138
Od’cha (Psalm 118), Mordechai Purjes . . . . . .138
Ana Adonai (Psalm 118)
Traditional Pesach melody . . . . . . . . . . . . . .139
S’firat HaOmer
Based on traditional Akdamut motif . . . . . . .139
Ki Lo Na-eh, Folk song . . . . . . . . . . . . . . . . . .140
Ki Lo Na-eh, Moishe Oysher . . . . . . . . . . . . . .140
Adir Hu, Traditional melody . . . . . . . . . . . . . .141
Echad Mi Yodei-a, Israeli melody . . . . . . . . . .142
Chad Gadya, Traditional melody . . . . . . . . . . .142
Chad Gadya, Chava Alberstein . . . . . . . . . . . .143
Chasal Sidur Pesach, Chasidic melody . . . . . .148
L’shanah HaBaah, Moshe Nathanson . . . . . . .149
Miriam’s Song, Debbie Friedman . . . . . . . . . .150
113
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Conference of American Rabbis
Music
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114
B’ruchot HaBaot Debbie Friedman
Light These Lights Debbie Friedman
Copyright © 2002 by the Central
Conference of American Rabbis
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115
Copyright © 2002 by the Central
Conference of American Rabbis
Hadlakat Nerot Abraham W. Binder
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116
Shehecheyanu Traditional melody
Kos Miryam Gerald Cohen
Copyright © 2002 by the Central
Conference of American Rabbis
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117
Copyright © 2002 by the Central
Conference of American Rabbis
Kos Miryam Andrea Jill Higgins
Kos Miryam Laura Berkson
Kadeish Ur’chatz Babylonian melody
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118
Kadeish Ur’chatz Gerald Cohen
Kiddush Traditional Three Festival melody
Copyright © 2002 by the Central
Conference of American Rabbis
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119
Copyright © 2002 by the Central
Conference of American Rabbis
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120
Karpas Traditional Three Festival melody
Ha Lachma Anya Y’didyah Admon
Copyright © 2002 by the Central
Conference of American Rabbis
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121
Copyright © 2002 by the Central
Conference of American Rabbis
Ha Lachma Anya Charles Davidson
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Mah Nishtanah Ephraim Abileah
3. Sheb’chol haleilot ein anu matbilin afilu paam echat.
Halailah hazeh, halailah hazeh sh’tei f’amim.
4. Sheb’chol haleilot anu ochlin bein yoshvin uvein m’subin.
Halailah hazeh, halailah hazeh kulanu m’subin.
Mah Nishtanah Marshall Portnoy
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123
Copyright © 2002 by the Central
Conference of American Rabbis
Avadim Hayinu Shalom Postolsky
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124
Baruch HaMakom Lisa Levine
V’Hi She-amdah Chasidic melody
Copyright © 2002 by the Central
Conference of American Rabbis
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125
Copyright © 2002 by the Central
Conference of American Rabbis
Dayeinu Traditional melody
B’chol Dor Vador Adapted from Chaim Parchi
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126
B’chol Dor Vador Debbie Friedman
Copyright © 2002 by the Central
Conference of American Rabbis
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127
Copyright © 2002 by the Central
Conference of American Rabbis
V’nomar L’fanav Chasidic melody
Hal’luyah (Psalm 113) Folk melody
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Heharim rak’du ch’eilim g’vaot kiv’nei tzon.
Mah l’cha hayam ki tanus haYardein tisov l’achor.
Heharim tirk’du ch’eilim g’vaot kiv’nei tzon.
Milifnei Adon chuli aretz milifnei Eloha Yaakov.
Hahofchi hatzur agam mayim chalamish l’ma-y’no mayim.
128
B’tzeit Yisrael (Psalm 114) Y’didyah Admon
Copyright © 2002 by the Central
Conference of American Rabbis
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129
Copyright © 2002 by the Central
Conference of American Rabbis
B’tzeit Yisrael (Psalm 114) Charles Davidson
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130
B’tzeit Yisrael (Psalm 114) Benedetto Marcello
2. Hayam raah vayanos haYardein yisov l’achor.
Heharim rak’du ch’eilim g’vaot kiv’nei tzon.
3. Mah l’cha hayam ki tanus haYardein tisov l’achor?
Heharim tirk’du ch’eilim g’vaot kiv’nei tzon?
4. Milifnei Adon chuli aretz milifnei Eloha Yaakov.
Hahofchi hatzur agam mayim chalamish l’ma-y’no mayim.
Borei P’ri Hagafen Traditional Three Festival melody
Motzi Traditional Three Festival melody
Copyright © 2002 by the Central
Conference of American Rabbis
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131
Copyright © 2002 by the Central
Conference of American Rabbis
Matzah Traditional Three Festival melody
Maror Traditional Three Festival melody
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132
Shir HaMaalot Yossele Rosenblatt
Birkat HaMazon (short form) Traditional melody
Copyright © 2002 by the Central
Conference of American Rabbis
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133
Copyright © 2002 by the Central
Conference of American Rabbis
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134
Copyright © 2002 by the Central
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135
Copyright © 2002 by the Central
Conference of American Rabbis
Eliyahu HaNavi & Miryam HaN’viah Folk melody. New text by Leila Gal Berner
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136
Yoseif Adonai (Psalm 115) Charles Davidson
Copyright © 2002 by the Central
Conference of American Rabbis
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137
Copyright © 2002 by the Central
Conference of American Rabbis
Hal’lu et Adonai Kol Goyim (Psalm 117) Sephardi melody
Hodu (Psalm 118) Traditional Pesach melody
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138
Min HaMeitzar (Psalm 118) Baruch Chait
Od’cha (Psalm 118) Mordechai Purjes
Copyright © 2002 by the Central
Conference of American Rabbis
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139
Copyright © 2002 by the Central
Conference of American Rabbis
Ana Adonai (Psalm 118) Traditional Pesach melody
S’firat HaOmer Based on traditional Akdamut motif
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Ki Lo Na-eh Folk song
2. Dagul bimluchah hadur kahalachah vatikav yomru lo.
3. Zakai bimluchah chasin kahalachah tafs’rav yomru lo.
4. Yachid bimluchah kabir kahalachah limudav yomru lo.
5. Mosheil bimluchah nora kahalachah s’vivav yomru lo.
6. Anav bimluchah podeh kahalachah tzadikav yomru lo.
7. Kadosh bimluchah rachum kahalachah shinanav yomru lo.
8. Takif bimluchah tomeich kahalachah t’mimav yomru lo.
Ki Lo Na-eh Moishe Oysher
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4. Tahor hu, yachid hu, kabir hu, lamud hu, melech hu, norah hu,
sagiv hu, izuz hu, podeh hu, tzaddik hu . . .
5. Kadosh hu, rachum hu, shadai hu, takif hu . . .
141
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Adir Hu Traditional melody
5. Mosheil bimluchah nora kahalachah s’vivav yomru lo.
6. Anav bimluchah podeh kahalachah tzadikav yomru lo.
7. Kadosh bimluchah rachum kahalachah shinanav yomru lo.
8. Takif bimluchah tomeich kahalachah t’mimav yomru lo.
2. Bachur hu, gadol hu, dagul hu . . .
3. Hadur hu, vatik hu, zakai hu, chasid hu . . .
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142
Echad Mi Yodei-a Israeli melody
2. Sh’nayim mi yodei-a? Sh’nayim ani yodei-a: Sh’nei luchot
hab’rit. Echad . . .
3. Sh’loshah mi yodei-a? Sh’loshah ani yodei-a: Sh’loshah avot.
Sh’nei . . . Echad . . .
4. Arba mi yodei-a? Arba ani yodei-a: Arba imahot. Sh’loshah . . .
Sh’nei . . . Echad . . .
5. Chamishah mi yodei-a? Chamishah ani yodei-a: Chamishah
chumshei Torah. Arba . . .
6. Shishah mi yodei-a? Shishah ani yodei-a: Shishah sidrei mish-
nah. Chamishah . . .
7. Shivah mi yodei-a? Shivah ani yodei-a: Shivah y’mei shabata.
Shishah . . .
8. Sh’monah mi yodei-a? Sh’monah ani yodei-a: Sh’monah y’mei
milah. Shivah . . .
9. Tishah mi yodei-a? Tishah ani yodei-a: Tishah yarchei leidah.
Sh’monah . . .
10. Asarah mi yodei-a? Asarah ani yodei-a: Asarah dib’raya.
Tishah . . .
11. Achad asar mi yodei-a? Achad asar ani yodei-a: Achad asar
kochvaya. Asarah . . .
12. Sh’neim asar mi yodei-a? Sh’neim asar ani yodei-a: Sh’neim
asar shivtaya. Achad asar . . .
13. Sh’loshah asar mi yodei-a? Sh’loshah asar ani yodei-a:
Sh’loshah asar midaya. Sh’neim asar . . .
Chad Gadya Traditional melody
Copyright © 2002 by the Central
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143
Copyright © 2002 by the Central
Conference of American Rabbis
4. Vaata chutra v’hikah l’chalba, d’nashach l’shunra, d’achal l’gadya,
dizvan aba . . .
5. Vaata nurah v’saraf l’chutra, d’hikah l’chalbah
d’nashach l’shunra, d’achal l’gadya, dizvan aba . . .
6. Vaata maya v’chavah l’nura, d’saraf l’chutra d’hikah l’chalba,
d’nashach l’shunra d’achal l’gadya, dizvan aba . . .
7. Vaata tora v’shata l’maya, d’chavah l’nura d’saraf l’chutra, d’hikah
l’chalba d’nashach l’shunra, d’achal l’gadya, dizvan aba . . .
8. Vaata hashocheit v’shachat l’tora, d’shata l’maya d’chavah l’nura,
d’saraf l’chutra, d’hikah l’chalba, d’nashach l’shunra,
d’achal l’gadya, dizvan aba . . .
9. Vaata malach hamavet v’shachat lashocheit, d’shachat l’tora
d’shata l’maya, d’chavah l’nura d’saraf l’chutra, d’hikah l’chalba
d’nashach l’shunra, d’achal l’gadya, dizvan aba . . .
10. Vaata hakadosh baruch hu, v’shachat l’malach hamavet,
d’shachat l’tora d’shata l’maya, d’chavah l’nura d’saraf l’chutra,
d’hikah l’chalba d’nashach l’shunra, d’achal l’gadya,
dizvan aba . . .
Chad Gadya Chava Alberstein
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Copyright © 2002 by the Central
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u ×_ n n¸ s ¬¸ e s_ × ·
: ¬_ c_ n ¬ × n¸ c ¬_ u ·
: :·¬ u c_ n 5 : :_ 5 u_ 5_ n u
:·¬_ n : +_ u¸ : u
×· 5 n ·:· 5_ × u ,· ( :_ n ¬ × ~_ ¬_ _ u u
. . . ׸ 5_ × +· 5 s (
u ×_ n ¬ × ·5· : · o · _ c_ n ·×¸ 5·
: ¬_ c_ n ¬ × n¸ c ¬_ u u
: :·¬ u c_ n 5 : :_ 5 u_ 5_ n u
~_ ¬_ u u :·¬_ n : +_ u¸ : u
×· 5 n ·:· 5_ × u · ( :_ n ¬ ×
. . . ׸ 5_ × +· 5 s (
o · _ c_ n ¬ × n_ ¬_ u · ¬·u_ n ׸ 5·
: ¬_ c_ n ¬ × n¸ c ¬_ u u ,u ×_ n ¬ × ·5· : u
5 : :_ 5 u_ 5_ n u
:·¬_ n : +_ u¸ : u
· ( :_ n ¬ × ~_ ¬_ u u
×· 5 n ·:· 5_ × u
. . . ׸ 5_ × +· 5 s (
¬·u_ n ¬ × u_ n_ u · u n·u_ n ׸ 5·
u ×_ n ¬ × ·5· : u ,o · _ c_ n ¬ × n_ ¬_ u u
5 : :_ 5 u_ 5_ n u ,: ¬_ c_ n ¬ × n¸ c ¬_ u u
· ( :_ n ¬ × ~_ ¬_ u u ,:·¬_ n : +_ u¸ : u
×· 5 n ·:· 5_ × u
u n·u_ n ¬ × :_ ¬_ n · ¬ ·_ c_ n +_ × :_ c ׸ 5·
o · _ c_ n ¬ × n_ ¬_ u u ,¬·u_ n ¬ × u_ n_ u u
: ¬_ c_ n ¬ × n¸ c ¬_ u u ,u ×_ n ¬ × ·5· : u
:·¬_ n : +_ u¸ : u ,5 : :_ 5 u_ 5_ n u
×· 5 n ·:· 5_ × u ,·( :_ n ¬ × ~_ ¬_ u u
. . . ׸ 5_ × +· 5 s (
n_ ¬_ u ¬_ × o·× ¬ e n_ c·
׸ · ( : (_ n
v· : n ×: (·v 5· 5_ ×
׸ 5 ×: n_ ¬ c·
n :_ ¬ u ·_ n n_ c ,+¸ : n :_ ¬ u ·_ n n_ c·
n¸ :_ u_ n · : · ¬· :_ ¬ u n · :_ ×
146
Copyright © 2002 by the Central
Conference of American Rabbis
· s·s · ¬ ¬ 5 ׸ 5_ × +· 5 s (
׸ · ( : (_ n ׸ · ( : (_ n
o· s·s · : u 5 · ( : ·:· 5_ × n¸ :_ ¬
n_ (¸ :_ n_ n ¬ ¬ e_ ¬ c +_ :
· ( :_ n ¬ × ~_ ¬_ u · :·¬_ n n ׸ 5
×· 5 n ·:· 5_ × u +¸ 5¸ : · ( : +_ u_ ¬ · ( :
:·¬_ n : +_ u¸ : · 5 : :_ n ׸ 5·
×· 5 n ·:· 5_ × u · ( :_ n ¬ × ~_ ¬_ u u
· s·s · ¬ ¬ 5 ׸ 5_ × +· 5 s (
׸ · ( : (_ n ׸ · ( : (_ n
:·(¸ : : ¬_ c _ v· c·n n \ c · × ·
:·¬ 5 n_ 5¸ : u 5 : :_ 5 u_ 5_ n u
:·¬_ n n ¬ × +_ u¸ : u 5 : :_ n
×· 5 n ·:· 5_ × u ,· ( :_ n ¬ × ~_ ¬_ u u
. . . ׸ 5_ × +· 5 s (
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For two zuzim, my father bought
an only kid, one only kid.
Our father bought a kid for two zuzim,
says the Haggadah.
Then came a cat and ate the kid,
that little white goat that father bought.
Then came the dog and bit the cat
that ate the kid
that our father bought for two zuzim.
Then came the big stick
that beat the dog, the barking dog
that bit the cat
that ate the kid
that our father bought
for two zuzim.
Then came the water to quench the fire
that burned the stick
that beat the dog that ran amok
that bit the cat
that ate the kid
that our father bought
for two zuzim.
Then came the ox that drank the water
that quenched the fire
that burned the stick
that beat the dog
that bit the cat
that ate the kid
that our father bought
for two zuzim.
Then came the butcher who
butchered the ox
that drank the water
that quenched the fire
that burned the stick
that beat the dog
that bit the cat
that ate the kid
that our father bought
for two zuzim.
Then the Angel of Death appeared
to kill the butcher
who butchered the ox
that drank the water
that quenched the fire
that burned the stick
that beat the dog
that bit the cat
that ate the kid
that our father bought
for two zuzim.
And how can you sing, “Chad Gadya”
when spring hasn’t arrived
or Passover come?
And what makes you different?
What has changed?
I’m changed.
I’m changed this year.
Because on all other nights,
on all other nights
I asked just the Four Questions.
But on this night I have another one:
Till when will this circle of terror go on?
The pursuer and the pursued
the beater and the beaten:
When will all the madness end?
And what makes you different?
What has changed?
I’m changed.
I’m changed this year.
I was once a sheep, a happy kid.
Today, I’m a tiger, a voracious wolf.
I was a dove.
I was a lamb.
These days, I don’t know
who I am.
For two zuzim, my father bought
an only kid, one only kid.
Our father bought a kid for two zuzim
And then we start all over again . . .
Translated by Robert Eshmann
147
Copyright © 2002 by the Central
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¬·:· :_ n-:¸ : 5 ,¬·:· :_ n-:¸ : 5 u
¬·· u·¬ v_ 5 ¬_ × ¬_ ¬ · ¬ :_ ×_ _ u
n¸ : × u (·v · : u · n \_ n n¸ : · _ :_ n
n_ c· ×_ n :¸ : v_ c + u_ c· · ·_ ¬_ c (_ v
n :·c· n :_ c ,~_ ( ¬ : · ~ (·¬
n \_ n ~·¬· u_ n ¬ c¸ :· · ·_ ¬_ c
n :_ ¬ u ·_ n n_ c ,+¸ : n :_ ¬ u ·_ n n_ c·
n¸ :_ u_ n · : · ¬· :_ ¬ u n · :_ ×
· :_ u · ( :· u 5 : o_ v _ e · ¬· ·_ n
~ ¬·u 5 × s· ¬ c¸ : · :_ × o··_ n ·
· 5 s · ¬· ·_ n ,n¸ :·· ¬¸ 5 : · ¬· ·_ n
· :_ × · c ¬_ v _ (·· · :· × o··_ n
· s·s · ¬ ¬ 5 ׸ 5_ × +· 5 s (
׸ · ( : (_ n ׸ · ( : (_ n
o· s·s · : u 5 · ( : ·:· 5_ × n¸ :_ ¬
n¸ :_ n ¬_ n c o· :· n ¬_ c 5·u
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148
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Chasal Sidur Pesach Chasidic melody
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149
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Conference of American Rabbis
L’shanah HaBaah Moshe Nathanson
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150
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Miriam’s Song Debbie Friedman
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.o· c : n : ·:· ·_ n +·· s ¬_ 5· u¬ × ·· 5·u 5 ¬·:_ v_ c_ n ¬· u
:· ( : n o ··:_ 5 ·¬ c× · s_ × n¸ : ¬ ·: :·u :· ·:· e ¬·n u × :_ c · s_ ×
.o· n c u ·:· ·_ n ·: _ c v ¬·u_ v_ : ·· :· ( : n .n : × o v ¬·u_ v_ : ··
n¸ v c ( 5 o· v ¬ \_ n .5 : :_ 5 o· ¬· c_ ×_ : ·: ¬· 5 u¬ × ·· n¸ 5· u
× 5¸ · × 5 v_ ¬ ¸ \_ n + u c × u : n :¸ 5· + : · +·:_ n .·¬ s ¬ · n¸ : ¬ 5
.··_ ¬ c :_ × × u : n¸ : ¬ 5
·+ ¬¸ 5 : ¬·¬ 5_ n · o· ¬ 5_ n
.o¸ :·v (_ v · n_ ¬_ v c +_ ¬ 5 c n·n· o u · n ·
.o¸ :·v (_ v · n_ ¬_ v c +_ ¬ 5 c n·n· o u · n ·
.·: u c ·: : _ :_ × u ·:· n: × + ¬¸ 5 : ,n_ ¬ 5 n_ n ¬·u ¬ 5
.·:· ·_ n ·5·u 5· ·: u c ·: : _ :_ × u ·:· n: × +·¬¸ 5
.·:· ·_ n ·5·u 5· ·: u c ·: : _ :_ × u ·:· n: × +·¬¸ 5
.·c u +·¬¸ 5· ×·n +·¬¸ 5
.o· c : n : ·:· ·_ n +·· s ¬_ 5· u¬ × ·· 5·u 5 ¬·:_ v_ c_ n ¬· u
:· ( : n o ··:_ 5 ·¬ c× · s_ × n¸ : ¬ ·: :·u :· ·:· e ¬·n u × :_ c · s_ ×
.o· n c u ·:· ·_ n ·: _ c v ¬·u_ v_ : ·· :· ( : n .n : × o v ¬·u_ v_ : ··
n¸ v c ( 5 o· v ¬ \_ n .5 : :_ 5 o· ¬· c_ ×_ : ·: ¬· 5 u¬ × ·· n¸ 5· u
× 5¸ · × 5 v_ ¬ ¸ \_ n + u c × u : n :¸ 5· + : · +·:_ n .·¬ s ¬ · n¸ : ¬ 5
.··_ ¬ c :_ × × u : n¸ : ¬ 5
·+ ¬¸ 5 : ¬·¬ 5_ n · o· ¬ 5_ n
.o¸ :·v (_ v · n_ ¬_ v c +_ ¬ 5 c n·n· o u · n ·
.o¸ :·v (_ v · n_ ¬_ v c +_ ¬ 5 c n·n· o u · n ·
.n¸ : u c ·: : _ :_ × u ·:· n: × + ¬¸ 5 : ,n_ ¬ 5 n_ n ¬·u ¬ 5
.·:· ·_ n n¸ 5·u 5· n¸ : u c ·: : _ :_ × u ·:· n: × n¸ :·¬ 5
.·:· ·_ n n¸ 5·u 5· n¸ : u c ·: : _ :_ × u ·:· n: × n¸ :·¬ 5
.n_ c u +·¬¸ 5· ×· n n¸ :·¬ 5
151
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Birkat HaMazon (long form)
Q¥ rŠ C
Bareich
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o¸ :·v_ n¬ × n¸ :¸ \_ n ,o¸ :·v_ n _ n· ¬ ·:· n: × ,n¸ · ¬_ × n¸ :·¬ 5
o n : ¬: ¬·: ×· n o· c_ n_ ¬ 5· ( ¬ n 5 + n 5 n¸ 5·u 5 ·: :
×: (· c_ ¬ :·(¸ :_ n n¸ 5·u 5· .n_ ( ¬_ n o¸ :·v : · : ¬_ u¸ 5:¸ : :
n_ c u ¬·5_ v_ 5 .( v¸ · o¸ :·v : +·s_ c ·: ¸ : ¬_ ¬ n · :_ × · ,·: ¸ : ¬_ ¬_ n
,: :_ : n¸ :· : c· : :_ : ¬ ¬ : ¬_ c c· n¸ :¸ s : × ×· n · : ,:·(¸ :_ n
¬_ × n¸ :·¬ 5 .n_ × ¬¸ 5 ¬ u_ × _ n· ¬·· ¬ 5 : : : +·s_ c n¸ 5· u c·
.: :_ n¬ × n¸ :¸ \_ n ,n¸ ·
·: ¬·c × :· ·:· ¬·5_ ×_ : ¬ : _ n : n u :_ v ·:· n: × n¸ · +¸ : n (·:
|·:· n: × n¸ ·) ·:· ¬× s·n u :_ v · ,n¸ 5_ n ¬· n¸ 5·u n_ ( c n x ¬ ×
·:· ¬· ( c· ·: 5¸ 5 : 5 ¬ c _ ¬_ n u + ¬· ¬ 5 :_ v · o · _ ¬ s c x ¬ × c
+·_¬n :_v· ,·:·¬(_c:u +¬_¬·¬ :_v· ,o·(¸5_v ¬·5c
¬_ :· :_ × :_ v · ,·:· ¬ : :·n u ( ¬ n¸ · + n o· ·_ n :_ v · ·:· ¬ v_ (·n u
o··:¸:5 ,(·c_¬ ·:_¬·× ¬¬ :¬_cc· n¸:¸s ¬_×_u +·s_c
.n¸ v_ u:¸ : 5· ¬ v:¸ : 5·
,+_ ¬·× o· : ¬¸ 5 c· ,+¸ : o· (·c ·: n :_ × ·:· n: × n¸ · : :_ n :_ v ·
,5·¬¸ :_ : .( v¸ · o¸ :·v : (· c_ ¬ ·_ n:¸ : · c 5 + c u +_ ¬¸ 5 ¬ ·
x ¬ _ ×_ n :_ v +· n: × n·n·¬ × _ ¬ :_ ¬ 5· ,_ ¬ v ¸ 5 _ u · _ ¬ :_ :_ × ·
:_ v · x ¬ _ ×_ n :_ v ,n¸ · ¬_ × n¸ :·¬ 5 .+¸ : +_ ¬ ¸ : ¬ u_ × n¸ 5 u_ n
.+·s_ c_ n
,+ ¬· v o · _ :_ u·¬ · :_ v · ,+ c_ v : ×_ ¬ u · :_ v ,·:· n: × n¸ · · c_ n_ ¬
,·:· v ¬ ·: c × · ·:· 5_ × ,·:· n: × ,+ (·5 : +_ : u c +·· s :_ v ·
n¸ · ·: ¸ : · n · ¬_ n · ,·:· n· · ¬_ n · ,·:· : : :_ : · ,·:· ¬ : ¬_ e ,·:· :·s
n¸ · ·:· :· ¬ s_ ¬ :_ × ,׸ : · ,·:· ¬·¬¸ s:¸ : c n_ ¬ n c ·:· n: ×
o¸ :·v_ n¬ × +¸ \_ n ,o¸ :·v_ n + : c ·:· n: × ,·· n_ ¬_ × +·¬¸ 5
on: +¬·: ×·n o·c_n_¬5· (¬n5 +n5 ·5·u5 ·::
×: (· c_ ¬ :·(¸ :_ n ·5·u 5· .·( ¬_ n o¸ :·v : · : ¬_ u¸ 5:¸ : :
·c u ¬·5_ v_ 5 .( v¸ · o¸ :·v : +·s_ c ·: ¸ : ¬_ ¬ n · :_ × · ,·: ¸ : ¬_ ¬_ n
+· : c· ,: :_ : 5· u c· : :_ : ¬ : ¬_ c c· +¸ s : × ×·n · : ,:·(¸ :_ n
+¸\_n ,·· n_¬_× +·¬¸5 .×_¬¸5 ¬u_× ··_¬··¬5 ::: +·s_c
.: :_ n¬ ×
·: ¬·c × :· ·:· ¬·5_ ×_ : _ ¬ : _ n : n u :_ v ·:· n: × ·· + : n (·:
|·:· n: × ··) ·: _ ¬× s·n u :_ v · ,n¸ 5_ n ¬· n¸ 5·u n_ ( c n x ¬ ×
·: _ ¬· ( c· ·: 5¸ 5 : 5 _ ¬ c _ ¬_ n u + ¬· ¬ 5 :_ v · o · _ ¬ s c x ¬ × c
+·¬n :_v· ,·:_¬(_c:u +¬_¬·¬ :_v· ,o·(¸5_v ¬·5c
¬_ :· :_ × :_ v · ,·: _ ¬ : :·n u ( ¬ n¸ · + n o· ·_ n :_ v · ·: _ ¬ v_ (·n u
o··:¸:5 ,(·c_¬ ·:_¬·× ¬:¬_cc· +¸s n_¬_×_u +·s_c
.n¸ v_ u:¸ : 5· ¬ v:¸ : 5·
,+_ ¬·× o· : ¬¸ 5 c· ,+¸ : o· (·c ·: n :_ × ·:· n: × ·· : :_ n :_ v ·
,5·¬¸ :_ : .( v¸ · o¸ :·v : (· c_ ¬ ·_ n:¸ : · c 5 + c u +_ ¬¸ 5 ¬ ·
x¬_×_n :_v +·n:× ·· ¬× _¬:_¬5· ,_¬v¸5_u· _¬:_:_×·
:_ v · x ¬ _ ×_ n :_ v ,·· n_ ¬_ × +·¬¸ 5 .+¸ : +_ ¬ ¸ : ¬ u_ × n¸ 5 u_ n
.+·s_ c_ n
,+ ¬· v o · _ :_ u·¬ · :_ v · ,+ c_ v : ×_ ¬ u · :_ v ,·:· n: × ·· o n_ ¬
,·: :·s ,·: v ¬ ·: c × · ·:· 5_ × ,·:· n: × ,+ (·5 : +_ : u c +·· s :_ v ·
·:·n:× ·· ·:¸: n·¬_n· ,·:n··¬_n· ,·::::_:· ,·:¬:¬_e
,·:·n:× ·· ·::·¬s__¬ :_× ,׸:· ,·:·¬·¬¸s:¸:c n_¬nc
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.o_ ¬_ ׸ · :_ n · (· : ×: · ,o_ (¸ · ¬_ u¸ 5 ¬ : ¬_ c · (· : ×: ,·:· n: ×
,n¸ 5_ n ¬_ n · n_ u·( ¬_ n ,n_ n·¬ e_ n ,n_ × : c_ n + (¸ · : o × · :
.( v¸ · o¸ :·v : o :¸ : : ×: · u·5 : ×: u
o·· ¬·sc5· +·_¬·sc5 ·:·n:× n¸· ·:·s·:_n_n· ·s¬)
:·(¸ : n s o·· · : .n \_ n u·(_ ¬_ n · :·(¸ :_ n ¬¸ 5_ u_ n · v· 5 u_ n
¬ · s c : n¸ 5_ n_ × 5 ·5 _ n· :¸ : · ·5¬¸ 5 u : ,+ · :¸ c : ×·n u·(_ ¬ ·
n_ ¬¸ s × n ¬ ×: u ,·:· n: × n¸ · ·: ¸ : · n· :_ n + :·s ¬ 5· + :·s ¬
¬_ c_ n : 5 ·:· n: × n¸ · ·:· × ¬_ n · .·: ¬_ n·: c o·· 5 n_ n¸ :_ × · +·:¸ · ·
×· n ¬_ × · : ,+ u (_ ¬ ¬· v o · _ :_ u·¬ · + · : 5 5· ,+ ¬· v +·· s
(.¬·c_ n :_ n ¬_ :_ v_ 5· ¬·v·u ·_ n ¬_ :_ v_ 5
¬ :¸ \ · · × 5¸ · · n :_ v · ·: ¬·c × · ·:· ¬·5_ × · n:× · ·:· n: ×
+ n : n¸ 5·u : ,+ · :¸ c : : ×_ ¬ u · ¬· 5 + c_ v:¸ : +·¬ : s · ·: :·¬ : s
.n \_ n ¬·s_ c_ n :_ n o·· 5 o·:_ u :· o· ·_ n : ,o· c_ n_ ¬ :· ( ¬ n :·
.n¸ :_ ¬ 5 : ·5 ·:· ( ¬¸ c· .n¸ 5·u : ·5 ·:· n: × n¸ · ·:· ¬ :¸ s
n_ ¬ n c 5 u ( ¬_ n ¬· v o · _ :_ u·¬ · · : 5· o· ·_ n : ·5 ·:· v· u·n ·
+ c_ × .o · ¸ :_ u·¬ · _ n· c_ n_ ¬ 5 n¸ :·5 ,n¸ · ¬_ × n¸ :·¬ 5 .·:· c¸ · 5
,·: ¬¸ : :_ c ,·: c × : ×_ n ,o¸ :·v_ n _ n· ¬ ·:· n: × n¸ · ¬_ × n¸ :·¬ 5
¬_ u·( ¬ ·: ¬_ u·( ¬ ,·: ¬ ¬ s·· ,·: ¬ :_ ×·: ,·: ¬ × ¬·5 ·: ¬_ ¬· (_ ×
n¸ 5· u c_ n · ,n¸ 5·u_ n n¸ : :_ c_ n .: ×_ ¬ u · ¬_ v·¬ ·: ¬_ v·¬ ,5 ¬_ v ·
×· n ,n¸ 5· u c ×· n ,n¸ 5· u n ×· n o··¸ · o··:¸ : 5 u ,: :_ :
·: : c : ¬ ×· n ,·: ¬ : c·: ×· n ,·: ¬ _ :_ c : ×· n .·: ¸ : 5· u ¬
n¸ :_ ¬ 5 n_ n¸ : s_ n · n¸ :¸ s_ n n · ¬ :· o· c_ n_ ¬ :· ( ¬ n :· + n : (_ v¸ :
.o_¬_׸·:_n ·(·: ×:· ,o_(¸· ¬_u¸5 ¬:¬_c ·(·: ×:
,n¸ 5_ n ¬_ n · n_ u·( ¬_ n ,n_ n·¬ e_ n ,n_ × : c_ n + (¸ · : o × · :
.( v¸ · o¸ :·v : o :¸ : : ×: · u·5 : ×: u
o·· ¬·sc5· +·¬·sc5 ·:·n:× ·· ·:s·:_n_n· ns¬)
:·(¸ : n s o·· · : .n \_ n u·(_ ¬_ n · :·(¸ :_ n ¬¸ 5_ u_ n · v· 5 u_ n
¬ · s c : n¸ 5_ n_ × 5 ·5 _ n· :¸ : · ·5¬¸ 5 u : ,+· :¸ c : ×·n u·(_ ¬ ·
n_ ¬¸ s × n ¬ ×: u ,·:· n: × ·· ·: ¸ : _ n· :_ n + :·s ¬ 5· + :·s ¬
¬_ c_ n : 5 ·:· n: × ·· ·: × ¬_ n · .·: ¬_ n·: c o·· 5 n_ n¸ :_ × · +·:¸ · ·
×·n n_ ¬_ × · : ,+ u (_ ¬ ¬· v o · _ :_ u·¬ · + · : 5 5· ,+ ¬· v +·· s
(.¬·c_ n :_ n :_ v _ 5· ¬·v·u ·_ n :_ v _ 5
¬ :¸ \ · · × 5¸ · · n :_ v · ·: ¬·c × · ·:· ¬·5_ × · n:× · ·:· n: ×
+ n : n¸ 5·u : ,+· :¸ c : : ×_ ¬ u · ¬· 5 + c_ v:¸ : +·¬ : s · ·: :·¬ : s
.n \_ n ¬·s_ c_ n :_ n o·· 5 o·:_ u :· o· ·_ n : ,o· c_ n_ ¬ :· ( ¬ n :·
.n¸:_¬5: ·5 ·:(¬¸c· .n¸5·u: ·5 ·:·n:× ·· ·:¬:¸s
n_ ¬ n c 5 u ( ¬_ n ¬· v o · _ :_ u·¬ · n : 5· o· ·_ n : ·5 ·: v· u·n ·
+ c_ × .o · ¸ :_ u·¬ · ··_ c_ n_ ¬ 5 n :·5 ,·· n_ ¬_ × +·¬¸ 5 .·:· c¸ · 5
,·: : :_ c ,·:· 5_ × : ×_ n ,o¸ :·v_ n + : c ·:· n: × ·· n_ ¬_ × +·¬¸ 5
u·(¬ ·:u·(¬ ,·:¬s·· ,·::_×·: ,·:׬·5 ·:¬·(_×
5·uc_n· ,5·u_n +:c_n .:×_¬u· nv·¬ ·:v·¬ ,5¬_v·
×·n ,5· u c ×·n ,5· u n ×·n o··¸ · o··:¸ : 5 u ,: :_ :
·::c:· ×·n ,·::c·: ×·n ,·:¸:_c: ×·n .·:¸: 5·u·
n¸ :_ ¬ 5 n_ n¸ : s_ n · n¸ :¸ s_ n n · ¬ :· o· c_ n_ ¬ :· ( ¬ n :· + n : (_ v¸ :
153
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o··_n· ,o·c_n_¬· ,n¸:¸::_:· n_¬¸:¬_e ,n_c_n: ,n¸v·u··
.·: ¬ ¬_ n ¬ :_ × 5·u:¸ : c· ,5·u:¸ : · ,o·:_ u ·
.( v¸ · o¸ :·v : ·:· :¸ v +·: c ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
.x ¬ _ ׸ 5· o · _ c_ u_ 5 +_ ¬¸ 5 ¬ ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
(_ v¸ : ·: ¸ 5 ¬_ × ¸ e ¬ ¬ · ,o· ¬·( ¬·( : n_ 5_ ¬ u ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
.o· c¸ :·v · c :·v :· (_ v¸ : ·: ¸ 5 ¬_ (_ n ¬ ¬ · ,o· n¸ s : n_ s : :·
.(·5¸ : 5 ·: ¬ : ¬_ c ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
·: ¬×¸ ·_ s :_ v c ·: : v ¬·5 u ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
:_ v · ,n \_ n ¬ · _ 5_ 5 n¸ 5 ¬ c n¸ :_ ¬ 5 ·: ¸ : n_ : u ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
.··¸ :¸ v ·: : _ :_ × u n s +_ n : u
,5·u_ : ¬·:¸ s ×· 5¸ :_ n ·n ¸ · : ׬ × ·: ¸ : n_ : u ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
.¬·c_ n : · ¬·v·u · ¬·5·u ¬·¬·u 5 ·: ¸ : ¬ u_ 5 ¬ ·
·c : ,·: ¸ : ¬ u_ ×:¸ :¬ × · ·: _ ¬·× + ¬¸ 5 ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
,n_ ¬_ u ·:· ¬·c × · 5 ¬_ v · · ¬_ n s · o_ n_ ¬ 5_ × ,·:· ¬·5_ × ·: ¬¸ 5 ¬ : u
·:¸ : : ·: _ ¬·× + ¬¸ 5 ¬ + : .: : ,: : c ,: :_ 5 : n_ ¬ · n_ × : ,n_ ¬ 5 ¬
.+ c_ × ¬_ c× : · ,n_ c : u n¸ :_ ¬ 5 5 .(_ n ·
¬ ¬ c u c : × n ¬ u ,¬·: s ·:· :¸ v | · o n· :_ v) ·( c_ : · o·¬_ c_ 5
,·: v u · · n: × c n_ ¬_ ( s· n¸ · ¬ × c n¸ :_ ¬ 5 ×_ u : · ,o·:_ u
.o_ (_ × · o· n: × · :· v 5 5·u : : u · + n ׸ s c : ·
o··_n· ,o·c_n_¬· ,n¸:¸::_:· n_¬¸:¬_e ,n_c_n: ,n¸v·u··
.·: ¬ ¬_ n · :_ × 5·u:¸ : c· ,5·u:¸ : · ,o·:_ u ·
.( v¸ · o¸ :·v : ·:· :¸ v +·: c · ×·n ,+_ c_ n_ ¬_ n
.x ¬ _ ׸ 5· o · _ c_ u_ 5 +_ ¬¸ 5 ¬ · ×·n ,+_ c_ n_ ¬_ n
(_ v¸ : ·: ¸ 5 ¬_ × ¸ e ¬ · · ,o· ¬·( ¬·( : n_ 5_ ¬ u · ×·n ,+_ c_ n_ ¬_ n
.o· c¸ :·v · c :·v :· (_ v¸ : ·: ¸ 5 ¬_ (_ n ¬ · · ,o· n¸ s : n_ s : :·
.(·5¸ : 5 ·: ¬ : ¬_ c · ×·n ,+_ c_ n_ ¬_ n
·: ¬×¸ ·_ s :_ v c ·: : v ¬·5 u · ×·n ,+_ c_ n_ ¬_ n
:_ v · ,n \_ n ¬ · _ 5_ 5 n¸ 5 ¬ c n¸ :_ ¬ 5 ·: ¸ : n_ : u · ×·n ,+_ c_ n_ ¬_ n
.··¸ :¸ v ·: : _ :_ × u n s +_ n : u
,5·u_ : ¬·:¸ s ×· 5¸ :_ n ·n ¸ · : ׬ × ·: ¸ : n_ : u · ×·n ,+_ c_ n_ ¬_ n
.¬·c_ n : · ¬·v·u · ¬·5·u ¬·¬·u 5 ·: ¸ :¬ u_ 5· ·
·c: ,·:¸: ¬u_×:¸:¬×· ·:_¬·× +¬¸5· ×·n ,+_c_n_¬_n
,n_ ¬_ u ·:· ¬·c × · 5 ¬_ v · · ¬_ n s · o_ n_ ¬ 5_ × ,·:· ¬·5_ × ·: ¬¸ 5 ¬ : u
·:¸ : : ·: _ ¬·× + ¬¸ 5 · + : .: : ,: : c ,: :_ 5 : n_ ¬ · n_ × : ,n_ ¬ 5 ¬
.+ c_ × ¬_ c× : · ,n_ c : u n¸ :_ ¬ 5 5 .(_ n ·
¬ ¬ c u c : × n ¬ u ,¬·: s ·:· :¸ v | · o n· :_ v) ·( c_ : · o·¬_ c_ 5
,·: v u · · n: × c n_ ¬_ ( s· ·· ¬ × c n¸ :_ ¬ 5 ×_ u : · ,o·:_ u
.o_ (_ × · o· n: × · :· v 5 5·u : : u · + n ׸ s c : ·
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· ·_ n : n_ n·: c· ¬¸ 5_ u ·: : u o·· ·: :· n :_ ¬ ×· n ,n¸ :_ c_ n_ ¬_ n)
(.o· c¸ :·v_ n
.5·u ·: : u o·· ·: :· n :_ ¬ ×· n ,n¸ :_ c_ n_ ¬_ n
:_ v · ·:· :¸ v ,o·:_ u n u_ v_ ¬ ×· n ,_ n· c·¬ c 5 o·:_ u n_ u v
.+ c_ × ·¬ c × · ,: ×_ ¬ u ·:¸ :
,+ (¸ ·¬ × _ n ¬·e .·( ¬_ n o¸ :·v : · : ,5·u · : n ¸ ·n·_ : ·(·n
,n·n·_ 5 n_ u 5 · ¬ u_ × ¬ 5 :_ n +·¬¸ 5 .+·s_ ¬ ·_ n :¸ : : _ v· 5 u_ c·
.·n_ u 5 c n·n· n¸ ·_ n ·
.o·:_ u_ 5 ·c_ v¬ × + ¬¸ 5 · n·n· ,+ ¬ · ·c_ v : s v n·n·
· ·_ n : n_ n·: c· ¬¸ 5_ u ·: : u o·· ·: :· n : · ×·n ,+_ c_ n_ ¬_ n)
(.o· c¸ :·v_ n
.5·u ·: : u o·· ·: :· n : · ×·n ,+_ c_ n_ ¬_ n
:_ v · ·:· :¸ v ,o·:_ u n u_ v · ×·n ,··_ c·¬ c 5 o·:_ u n u v
.+ c_ × ·¬ c × · ,: ×_ ¬ u ·:¸ :
,+ (¸ ·¬ × _ n ¬·e .·( ¬_ n o¸ :·v : · : ,5·u · : n ¸ ·n·_ : ·(·n
,n·n·_ 5 n_ u 5 · ¬ u_ × ¬ 5 :_ n +·¬¸ 5 .+·s_ ¬ ·_ n:¸ : : _ v· 5 u_ c·
.·n_ u 5 c n·n· n¸ ·_ n ·
.o·:_ u_ 5 ·c_ v¬ × + ¬¸ 5 · n·n· ,+ ¬ · ·c_ v : s v n·n·
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Notes
Epigraph
Yehuda Amichai, “Just As It Was,” Songs of Jerusalem and Myself,
(New York: Harper and Row), 30.
Introduction
Citations from the Central Conference of American Rabbis’ Hag-
gadot of 1908 (vi) and 1923 (viii). Herbert Bronstein edited A
Passover Haggadah (New York: Central Conference in 1974), 5.
The title, +· c : (:¸ : (Kol Dichfin), was suggested by Yaffa Weisman.
“The world will always have disputed questions . . .” Henry
Berkowitz, Intimate Glimpses of the Rabbi’s Career (Cincinnati:
Hebrew Union College Press, 1921), 130. Thanks to Rachel Adler for
underscoring the imperative of including a range of divergent opin-
ions on many of these pages.
Zohar III: 40b, translated by Harry Sperling and Maurice Simon
(London, 1931–1934), cited by A. J. Heschel, “The Mystical Element
in Judaism,” in The Jews: Their Religion and Culture, edited by Louis
Finkelstein (New York: Schocken, 1975), 170.
“Soul of the world” was suggested as a translation of o¸ :·v_ n _ n ·¬ by
Richard A. Block.
On the question of using grape juice or wine, the talmudic sage
R. Judah taught that the cups for kiddush must “possess the taste
and appearance of wine.” Tractate P’sachim 108b.
For two discussions about the role of matzah in the seder, see
Ruth Gruber Fredman, The Passover Seder (New York: New Ameri-
can Library, 1983), 91, and Tractate P’sachim 115a.
Aramaic interpretation of afikoman cited by Menachem Haco-
hen, The Passover Haggadah: Legends and Customs (New York:
Adama Books, 1987),19.
Different dipping traditions are included in Heinrich Guggen-
heimer’s The Scholar’s Haggadah (Northvale, N.J.: Jason Aaronson,
1995), 20–21.
On charoset, see Ruth S. Fagen, “Talmud Torah,” in Life Cycles:
Jewish Women on Biblical Themes in Contemporary Life, edited by
Debra Ornstein and Jane Rachel Litman (Woodstock, Vt.: Jewish
Lights, 1997), 116–120.
The Shulchan Aruch, compiled in the sixteenth century by Rabbi
Joseph Karo, teaches that the seder falls on the same day of the
week as Tisha B’Av, a day of mourning that commemorates the
destruction of the ancient temple. Hard-boiled eggs, eaten by
mourners as an affirmation of life, are eaten here to draw attention
to the confluence of these two historic events. Shulchan Aruch
428:3, Rama 476:2, cited in Passover: Its Observance, Laws and Sig-
nificance. Finkelman, et al. (New York: Mesorah Publications, 1994),
52–3.
On the orange, see Rebecca Alpert, Like Bread on the Seder Plate:
Jewish Lesbians and the Transformation of Tradition (New York:
Columbia University Press), 2–3. The reading included here is
adapted from a text by ALEPH: Alliance for Jewish Renewal. Lisa
Edwards and Yoel Kahn also contributed to this piece.
Blessing the Season
Rabbi Zalman Schachter-Shalomi first brought this blessing to
my attention as included in the Haggadah of Rabbi Yosef Chayim of
Baghdad.
“Pear Tree” by Rachel Bluwstein, Shirat Rachel (Tel Aviv: Davar,
1966), 5.
Kabbalat Panim
Rabbi Huna’s open door is cited by Abraham Milgram, Jewish
Worship (Philadelphia: Jewish Publication Society, 1971), 311.
Marjorie Agosin, The Alphabet in My Hands: A Writing Life, trans-
lated by Nancy Abraham Hall (Piscataway, N.J.: Rutgers University
Press, 2000), 8.
Ruby Daniel and Barbara C. Johnson, Ruby of Cochin: An Indian
Jewish Woman Remembers (Philadelphia: Jewish Publication Soci-
ety, 1995), 158.
Adrienne Rich, “Prospective Immigrants Please Note.” Collected
Early Poems, selected and edited by Barbara Charlesworth Gelpi
and Albert Gelpi (New York: W.W. Norton & Co., Inc. 1975), 21.
Julius Lester. Lovesong: Becoming a Jew (New York: Henry Holt
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and Co., 1988), 172.
Candle Lighting
Techine adapted by Nurit Levi Shein and the editor from a tradi-
tional Sephardi techine. The names of Bilhah and Zilpah have been
added to the traditionally named “four matriarchs,” for they, too,
were mothers in Israel. Bilhah birthed Dan and Naphtali, and Zil-
pah was the mother of Gad and Asher. Genesis 30:3–13.
Blessing the Children
English blessing formulations by Nina Beth Cardin in The Tapes-
try of Jewish Time: A Spiritual Guide to Life-Cycle Events (New York:
Behrman House, Inc, 2000), 259.
Kos Miryam
See The Book of Legends (Sefer Ha’Aggadah): Legends from the Tal-
mud and Midrash, edited by Hayim Nahman Bialik and Yehoshua
Hana Ravnitzky, translated by Wm. G. Braude (New York: Schocken
Books, 1992), 16, 76, 770.
This Hebrew blessing appears in The Journey Continues: The
Ma’yan Passover Haggadah (New York: Ma’yan, 2000), 30.
Wallace Stevens, “The Idea of Order at Key West,” Collected Poet-
ry and Prose (New York: Library of America, 1997), 105.
Ira Steingroot, Keeping Passover (San Francisco: HarperSan-
Francisco, 1999), 76–77.
Order of the Seder
Ben Kamin, Thinking Passover (New York: Dutton, 1997), 51.
Kadeish
Eugene Mihaly has assembled a comprehensive list of the interpre-
tations of the four cups in “The Passover Haggadah as PaRaDiSe,”
CCAR Journal 13:5 (April 1966), 19–20.
The Maharal of Prague (sixteenth century) connected each of the
cups to the four matriarchs. See Eliezer Kitov, Sefer HaToda’ah, Vol-
ume II, (Jerusalem: Yeshurun, 1966) 104. English translation by
Nathan Bulman as The Book of Our Heritage, Volume II. (New York:
Feldheim Publishers, 1978), 271.
Avivah Gottlieb Zornberg, The Particulars of Rapture: Reflections
on Exodus (New York: Doubleday, 2001), 34.
Anita Diamant, “NiSh’ma” from Sh’ma 31/579 (April 2001), 15.
Eugene Borowitz, “Mentshhood,” Present Tense 15:6 (Sept./Oct.
1988).
Yehuda Amichai, “Gods change, prayers are here to stay,” Open
Closed Open, translated by Chana Bloch and Chana Kronfeld (New
York: Harcourt, Inc., 2000), 40.
Karpas
The Song of Songs: Love Poems from the Bible. Translated by Mar-
cia Falk. (New York: Harcourt, Brace, Jovanovich, 1977), 9.
Yachatz
This midrash on changing names, a commentary on Deuternomy
26:5, appears in several sources. See Mihaly, p. 20. See also The Book
of Legends (Sefer Ha’Aggadah), 71.
Sephardi custom from Hagadah Shel Pesach, Based on the
Sephardic Rite, compiled and translated by Shelton J. Donnell (Los
Angeles, 1989). Kurdistani custom shared by Professor Yona Sabar
with Reuven Firestone and Ruth Sohn.
Ha Lachma Anya
“Until all people are free . . .,” adapted from Emma Lazarus, who
wrote, “Until we are all free, we are none of us free.” Epistle V, from
Emma Lazarus: Selections from her Poetry and Prose, edited by
Morris U. Schappes (New York: Emma Lazarus Federation of Jew-
ish Women’s Clubs, 1982).
Adapted from Ahad HaAm’s essay, “The Spiritual Revival,” trans-
lated by Leon Simon, editor, Selected Essays of Ahad Ha’am (Cleve-
land and Philadelphia: Meridian Books and Jewish Publication
Society, 1962), 297–298.
Four Questions
Jonathan Rosen elegantly cites this midrash about the angel’s fin-
gerprint in The Talmud and the Internet: A Journey Between Worlds
(New York: Farrar, Straus and Giroux, 2000), 33.
Don Isaac Abrabanel is cited by Marcus Lehmann, The Passover
Haggadah (London: Honigson Publishing Co., Ltd., 1969), 16.
Bella Rosenfeld Chagall, Burning Lights (New York: Schocken
Books, 1946), 220–222.
Avadim Hayinu
Avivah Gottlieb Zornberg, 17–18.
Ninety-two Poems and Hymns of Yehuda HaLevi with commentary
by Franz Rosenzweig. Edited by Richard A. Cohen. Translated by
Thomas Kovach, Eva Jospe, and Gily Gerda Schmidt. (Albany, N.Y.:
State University of New York, 2000), 124.
Irene Awret, Days of Honey: The Tunisian Boyhood of Rafael Uzan.
(New York: Schocken Books, 1984), 64.
Julius Lester, To Be A Slave (New York: Dial Press, 1968), 28.
Two Rabbinic Tales
Martin Buber, Israel and the World: Essays in a Time of Crisis
(New York: Schocken Books, 1976), 146.
Judith Plaskow, Standing Again at Sinai: Judaism from a Feminist
157
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158
Perspective (San Francisco: Harper & Row, 1990), 29–31.
Four Children
Rachel Adler, “I’ve Had Nothing Yet So I Can’t Take More,”
Moment 8 (Sept. 1983), 26.
Laura Geller, “Encountering the Divine Presence,” Four Centuries
of Jewish Women’s Spirituality, edited by Ellen M. Umansky and
Dianne Ashton (Boston: Beacon Press, 1992), 246.
Jerusalem Talmud Pesachim10:4. See also Noam Zion and David
Dishon, “The Four Children,” in The Leader’s Guide to the Family
Participation Haggadah, A Different Night (Jerusalem: Shalom Hart-
man Institute, 1997), 55–57, and Fred O. Francis, “The Baraita of
the Four Sons,” Journal of the American Academy of Religion, XLII:2
(June 1974), 280–297.
In Beyond the Text (Bloomington, Ind.: Indiana University Press,
1987), 135, Professor Lawrence A. Hoffman writes, “. . . the instruc-
tions about genut and shevach are just that: instructions; they are
not descriptions. Hence the notion that by these words the Mishnah
describes a second-century characterization of the Exodus is mis-
taken. The message of today’s sacred myth is that the essence of the
holy people Israel is to move from degradation to dignity, and that
this recurrent motif of Jewish history, first encountered in the for-
mative Egyptian slavery-to-freedom event, is ever after repeated
until the latest example, our own time.”
Audre Lorde, “For Each of You,” Undersong (New York: Quality
Paperback Book Club, 1993), 82.
Marc Margolius, “Start with shame, end with praise,” from a ser-
mon delivered at Zion Baptist Church, Jan. 21, 2001, printed in Kol
Ha’am(Congregation Beth Am Israel, Penn Valley, Pa.: March 2001)
13.
V’Hi She-amdah
Maurice N. Eisendrath, “Dare to Be Free,” from a sermon deliv-
ered in Toronto in 1931, Can Faith Survive? (New York: McGraw-
Hill Book Co., 1964), 110–111.
Sifrei on enemies cited by Nehama Leibowitz, Studies in Bamid-
bar, translated by Aryeh Newman, (Jerusalem: The World Zionist
Organization, 1980), 90–91.
Alexander M. Schindler, unpublished d’var Torah delivered at a
meeting of the United Jewish Appeal, December 1992.
“A Passover Melody,” adapted from Yaffa Eliach, Hasidic Tales of
the Holocaust (New York: Random House, 1982), 77–78.
Neitzei V’nilmad
Laura Geller, 247.
Ruth H. Sohn, Beginning the Journey: Toward a Women’s Com-
mentary on Torah, edited by Emily H. Feigenson (New York: Women
of Reform Judaism, 1998), 70.
“B’farech” midrash suggested by Rachel Firestone.
Zornberg, 31–32 and 41.
Sharona Ben-Tov, “Miriam Under the Sand,” During Ceasefire
(New York: Harper & Row, 1985), 94.
“Our ancestors were redeemed . . .” Sotah 11b.
“The rabbis named . . . ,” Midrash Rabbah, Shemot 26, translated
by S.M.Lehrman (London: Soncino Press, 1951), 34.
Judith Schmidt, “Why Did I Make Your Heart Harden?” Living
Text: The Journal of Contemporary Midrash, 4 (Winter 1998), 19.
Eleanor Wilner, “Miriam’s Song,” Telling and Remembering: A Cen-
tury of American Jewish Poetry, edited by Steven J. Rubin (Boston:
Beacon Press, 1997), 329–331.
Plagues
Midrash Tanhuma citation suggested by Isaac Klein, “No Man
Saw His Brother,” in Spiritual Legacies: Holiday Sermons, edited by
Morton A. Wallack (New York: Ktav, 1981), 152.
Irene Awret, 65.
Alexander M. Schindler, unpublished address to an environ-
mental conference, March 9/10, 1992.
Dayeinu
Elie Wiesel, A Passover Haggadah (New York: Simon & Schuster,
1993), 63.
The first seven verses of Dayenu follow custom. Verses 8–13 were
inspired by an English version composed by Rabbi Irving Greenberg
and included in A Different Night, 109.
Alternative Dayeinu, Martin Luther King, Jr., “Where Do We Go
From Here?” Annual report delivered at the Eleventh Convention of
the Southern Christian Leadership Conference, Aug. 16, 1967,
Atlanta Ga.
Pesach, Matzah, Maror
Rachel Adler, p. 26.
B’chol Dor Vador
Leo Baeck, This People Israel. Translated by Albert H. Friedlander.
(New York: Holt, Rinehart and Winston, 1964).
Amichai, “I wasn’t one of the six million: And what is my life
span?” Open Closed Open, 6.
Hallel
“When Israel Came Out of Egypt,” translated by David Rosen-
berg. Chosen Days: Celebrating Jewish Festivals in Poetry and Art
(Garden City, New York: Doubleday & Co., 1980) 152–153.
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Second Cup
Samuel Halkin, “Poem—1959,” translated from the Yiddish by
Edwin Honig from A Treasury of Yiddish Poetry, edited by Irving
Howe and Eliezer Greenberg (New York: Schocken Books, 1976),
187.
Hillel Sandwich
The Talmud reports a discussion among scholars about eating the
maror that was resolved by eating a piece of the paschal lamb, a
piece of matzah, and some maror together without a blessing, fol-
lowing in the tradition of Hillel. Pesachim 115a.
Tzafun
Moroccan custom cited by Menachem Hacohen, 18–19.
Nina Beth Cardin, Tears of Sorrow, Seeds of Hope: A Jewish Spiri-
tual Companion for Infertility and Pregnancy Loss (Woodstock, Vt.:
Jewish Lights Publishing, 1999), 63–4.
Birkat HaMazon
“Saying grace is an act of the greatest importance . . .” Emmanuel
Levinas, adapted from Nine Talmudic Readings, translated and with
an introduction by Annette Aronowicz (Bloomington: Indiana Uni-
versity Press, 1994), 133.
“True service . . . ,” after Lily Montague, Club Letter #33, in Lily
Montague: Sermons, Addresses, Letters and Prayers, edited by Ellen
Umansky (New York: Edwin Mellon Press, 1985), 90.
Kos Eliyahu
“As the old make way for the young,” based on Leviticus
26:10–11: .o : :·¬ 5 · :¸ : u c · ¬_ ¬¸ : · ·×· s·¬ u_ (_ n · : e c +_ u¸ · ·-“When the old
make way for the new, I will dwell among you.”
“May the blessing of Elijah be upon this home.” From a neo-Ara-
maic hymn recited as part of the Havdalah liturgy. Yona Sabar, edi-
tor, The Folk Literature of Kurdistani Jews (New Haven: Yale Univer-
sity Press, 1982) 68–70.
Ellen Flax, “Nish’ma,” Sh’ma, Passover 1999 (29:560), p. 7.
“Give up anger . . .” grew out of powerful and passionate discus-
sions with Bill Cohen and other participants in the UAHC Kallah in
Colorado Springs, Col., August 2000.
Beruriah translation based on Rachel Adler, “The Virgin in the
Brothel and Other Anomalies: Character and Context in the Legacy
of Beruriah,” Tikkun 3:6 (Nov./Dec. 1988), 31.
Martin Buber, 239.
Interview with Susan Bendor in Uncertain Travelers: Conversa-
tions with Jewish Women Immigrants to America, edited by Marjorie
Agosin (Hanover, N.H.: Brandeis University Press, 1999), 83.
Alan Shapiro, “On The Eve of the Warsaw Uprising,” Telling and
Remembering: A Century of American Jewish Poetry, 441–2.
Norman J. Cohen, Self, Struggle, and Change: Family Conflict Sto-
ries in Genesis and Their Healing Insights for Our Lives. (Woodstock,
Vt.: Jewish Lights Publishing, 1995), 156–7.
Primo Levi, “Passover” in A Night of Questions: A Passover Hag-
gadah, edited by Joy Levitt and Michael Strassfeld (Elkins Park, Pa.:
Jewish Reconstructionist Press, 2000), 142.
“Miryam HaN’viah” by Leila Gal Berner, in Or Chadash: Shabbat
Morning Siddur (Philadelphia: P’nai Or Fellowship, 1987). Inspired
by collaboration with Arthur Waskow.
Hallel
Nurit Levi Shein, composed for this Haggadah.
Feiga Izrailevna Kogan, “God,” translated by Carole B. Balin in To
Reveal Our Hearts: Jewish Women Writers in Tsarist Russia (Cincin-
nati: Hebrew Union College Press, 2000), 148–9.
Nirtzah
Yehuda Amichai, “Jewish Travel: Change Is God and Death is His
Prophet,” Open Closed Open, 117.
Hannah Senesh, “To Caesarea,” Hannah Senesh: Her Life and
Diaries (New York: Schocken Books, 1973), 250.
“Letter from the front,” adapted from two letters dated March
1975, Self Portrait of a Hero: The Letters of Jonathan Netanyahu (New
York: Ballantine Books, 1980), 264–6.
Songs
Ehad Mi Yodea. The stars in Joseph’s dream appear in Genesis
37:9. The thirteen attributes of God are enumerated in Exodus
34:6–7.
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Contributors
Sue Levi Elwell directs the Pennsylvania Council of the Union of Amer-
ican Hebrew Congregations. As the founding director of the Los Ange-
les Jewish Feminist Center and subsequently the first rabbinic director
of Ma’yan, the Jewish Women’s Project of the JCC of New York’s Upper
West Side, she helped develop innovative Haggadot that welcomed
many back to the seder table. She has served as a congregational rabbi
and college teacher, and edited Lesbian Rabbis: The First Generation
(New Brunswick, N.J.: Rutgers University Press, 2001).
Ruth Weisberg works primarily in painting, drawing, and large-scale
installations. She is Dean of Fine Arts at the University of Southern
California. Her art has been exhibited in seventy solo and 160 group
exhibitions, and is included in more than fifty major museum and uni-
versity collections across America and in Europe. In 2001, she was
named Doctor of Humane Letters, honoris causa, by the Hebrew Union
College–Jewish Institute of Religion. Other honors include the College
Art Association’s Distinguished Teaching of Art Award, a Senior
Research Fulbright Fellowship, and the University of Michigan’s Dis-
tinguished Alumni/ae Award. The drawings for The Open Door will be
exhibited at the Cincinnati and New York campuses of the Hebrew
Union College–Jewish Institute of Religion, the Spertus Museum in
Chicago, and the Skirball Museum and Cultural Center in Los Angeles
during 2002–03.
Josée Wolff is the director of the UAHC Department of Synagogue
Music. A graduate of the Royal Conservatory in The Hague, The
Netherlands, and of the School of Sacred Music, Hebrew Union Col-
lege–Jewish Institute of Religion, she became the first woman from the
European continent to be invested as a cantor. Cantor Wolff, who has
served as a congregational cantor, is co-author of The Art of Torah Can-
tillation (New York: UAHC Press, 2000).
Ephraim Abileah (Niswizski) (1881–1953) was a Russian-born com-
poser, choirmaster and teacher of music theory and composition in
Warsaw and Vienna before making aliyah to Haifa in 1923.
Don Isaac Abrabanel (1437–1508), statesman, philosopher, and biblical
exegete, advocated for Jewish interests in Portugal and Italy and inte-
grated Renaissance thought into his prolific Jewish scholarship.
Rachel Adler, a winner of the National Jewish Book Award, teaches
liturgy, rabbinics, and gender studies at the Hebrew Union College–
Jewish Institute of Religion and the University of Southern California.
Y’didyah (Gorochov) Admon (1894–1985) was an Israeli composer
known for creating works rooted in the cantillation of the Bible and in
Chasidic and Oriental Jewish song.
Marjorie Agosin, a prolific writer and editor, grew up in Chile. She
teaches Spanish at Wellesley College in Massachusetts.
Chava Alberstein is an internationally acclaimed Israeli songwriter and
performer who has made nearly 50 recordings in Hebrew, Yiddish, and
English.
Yehuda Amichai (1924–2000) was one of modern Israel’s most notable
poets. He was born in Germany and immigrated to Israel in 1936. His
work has been translated into thirty-three languages.
Irene Awret is a contemporary Israeli artist and writer.
Leo Baeck (1873–1956) was a German rabbi and religious thinker and
a leader of Progressive Judaism who survived Theresienstadt. He
taught a new generation of rabbis at the Hebrew Union College in
Cincinnati that the essence of Judaism is a tension between “mystery”
and “command.”
Susan Blum Bendor, a native of Hungary, is an associate professor at
the Wurzweiler School of Social Work, Yeshiva University. She chairs
the Social Action Committee of Temple Isaiah in Great Neck, N.Y.
Sharona Ben-Tov, a long-time resident of Israel and recipient of a
National Endowment for the Arts Fellowship in Poetry, is a professor
of creative writing at Bowling Green State University in Bowling
Green, Ohio.
Laura Berkson is a composer, educator, and recording artist who serves
as cantorial soloist at Temple B’nai Jeshurun in Des Moines, Iowa.
Leila Gal Berner serves as co-rabbi of congregation Bet Mishpachah in
Washington, DC, and teaches at The George Washington University.
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Abraham W. Binder (1895–1966) began his professional career in Jew-
ish music in 1922, when he was appointed music director at the Free
Synagogue in New York City. His composition style was ground-
breaking in molding ancient melodies with a modern flavor.
Rachel Bluwstein (1890–1931) immigrated to Palestine from Russia as
a young woman. She was one of the first modern Hebrew poets to
write in a conversational style.
Eugene Borowitz, who developed a covenant theology, is Emeritus Dis-
tinguished Professor of Education and Religious Thought at the
Hebrew Union College–Jewish Institute of Religion.
Martin Buber (1878–1965) Viennese-born philosopher and theologian,
was a Zionist thinker and leader and a scholar of Chasidism. His phi-
losophy of the essential dialogue between two beings as an opening to
God (“I” and “thou”) has provided a language for creating and main-
taining relationships of mutual respect in communities across the
globe.
Nina Beth Cardin, one of the first women to be ordained by the Jewish
Theological Seminary, is a prolific writer, editor, and translator who
directs the Department of Jewish Life at the Jewish Community Center
in Owings Mills, Md.
Bella Rosenfeld Chagall (1895–1944), an artist and native of Vitebsk,
Belarus, was Marc Chagall’s model and muse.
Baruch Chait was a founder of “Rabbis’ Sons” in the 1960s. He is now
the director of a yeshiva in Israel, where he makes his home.
Gerald Cohen, composer of both concert and liturgical works, is cantor
of Shaarei Tikvah Congregation in Scarsdale, N.Y., and serves on the
faculty of the Cantors Institute of the Jewish Theological Seminary.
Norman Cohen, professor of Midrash at the Hebrew Union College–
Jewish Institute of Religion, serves as the seminary’s Provost.
Ruby Daniel was born in India in 1912 and now makes her home on
Kibbutz Neot Mordecai in the Upper Galilee, Israel.
Charles Davidson is a teacher and composer of liturgical music. He
serves on the faculty of the H.L. Miller Cantorial School at the Jewish
Theological Seminary and as cantor of Congregation Adath Jeshurun
in Elkins Park, Pa.
Anita Diamant is an acclaimed American writer of fiction and non-fic-
tion books on Jewish topics.
Maurice N. Eisendrath, (1902–1973) was a powerful rabbi and orator.
Under his leadership (1943–1973), the Union of American Hebrew
Congregations established the House of Living Judaism in New York
City and the Religious Action Center in Washington, D.C.
Ellen Flax is a writer and rabbi who serves as the spiritual leader of
Chavurah Beth Chai in Northern Westchester, N.Y.
Debbie Friedman is a singer, songwriter and performer who has pio-
neered the development of contemporary American Jewish music.
Since the release of her first album in 1972, her unique and accessible
compositions have become part of the musical repertoire of syna-
gogues, schools, camps, and community centers across the world.
Laura Geller, one of the first women to be ordained, serves as senior
rabbi of Temple Emanuel of Beverly Hills.
Ahad HaAm (Asher Hirsch Ginsberg) (1856–1927) was a Zionist writer
and thinker and leader of the Hibbat Zion movement in Odessa.
Judah HaLevi (1075?–1141) was a Spanish physician, Hebrew poet,
and philospher.
Shmuel Halkin (1888–1960) was a Soviet Yiddish poet and playwright.
Andrea Jill Higgins studied under the mentorship of the late French
composer Darius Milhaud and serves as the director of music for Tem-
ple Solel in Paradise Valley, Ariz.
Ben Kamin is senior rabbi of Congregation Beth Israel in San Diego.
He is a columnist and writer.
Martin Luther King, Jr. (1929–1968) was a visionary African-American
civil rights leader, preacher, and winner of the Nobel Peace Prize.
Feiga Izrailevna Kogan (1891–1974) was a symbolist poet and a
founder of the Moscow-based Habimah, the forerunner of the Nation-
al Theater of Israel.
Julius Lester, author of more than thirty books, is a professor of Judaic
studies at the University of Massachusetts. For ten years, he served as
lay leader of Beth El Synagogue in St. Johnsbury, Vt.
Primo Levi (1919–1987) was an Italian scientist, novelist, poet, and
essayist. His life after Auschwitz was a study of survival and despair.
Emmanuel Levinas (1906–1996) was a French-Jewish philosopher and
scholar.
Lisa Levine served congregations in Dallas and Des Moines before
becoming the cantor of The Temple, Congregation B’nai Jehudah in
Kansas City, Mo.
Audre Lorde (1934–1992) was a twentieth-century African-American
poet, activist, and feminist visionary.
Maimonides (Moses ben Maimon, the Rambam) (1135–1204) served
the Spanish Jewish community as rabbinic authority and physician.
His codification of Jewish law, his biblical commentaries, and his
161
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philosophic works establish the Rambam as one of the most illustrious
and intellectually influential figures in Jewish history.
Benedetto Marcello (1686–1739) was an Italian composer who notated
melodies from the Italian Jewish community.
Marc J. Margolius, contemporary American rabbi, serves Congregation
Beth Am Israel in Penn Valley, Pa.
Lily Montague (1873–1963) was a British-Jewish magistrate and a
founder of the World Union for Progressive Judaism.
Moshe Nathanson (1899–1981), who began his career as a boy choir
singer in Jerusalem, served as cantor and music teacher for the Jewish
Reconstructionist Foundation, the New York congregation of Rabbi
Mordecai Kaplan, founder of Reconstuctionism.
Lt. Col. Jonathan Netanyahu (1946–1976) was killed while command-
ing the Israel Defense Forces’ rescue operation at the Entebbe Airport
in Uganda.
Moishe Oysher (1907–1958) was a renowned cantor and performer of
Yiddish music who performed on Broadway in The Jazz Singer.
Chaim Parchi, who was born in Yemen, is a composer, choreographer,
artist, teacher, and performer who makes his home in Florida.
Judith Plaskow, one of the leading Jewish theologians of our time,
teaches at Manhattan College.
Marshall Portnoy, composer and author, serves as the cantor of Main
Line Reform Temple in Wynnewood, Pa.
Shalom Postolksy (1898–1949) immigrated to Palestine from Poland
and was among the early creators of a new Israeli musical style.
Adrienne Rich is an award-winning poet, essayist, and social critic.
Jonathan Rosen, a writer of essays and acclaimed fiction, created and
edited the Arts and Letters section of the Forward.
David Rosenberg is a contemporary American poet.
Yossele Rosenblatt (1882–1933) was a cantor, composer, and preemi-
nent figure of the golden age of the cantorate.
Alexander M. Schindler (1925–2000) was a Reform rabbi and president
of the Union of American Hebrew Congregations (1973–1996). A pas-
sionate advocate for expanding the tent of Reform Judaism to embrace
Jews-by-choice and to fully recognize the contributions of women, he
championed the full inclusion of lesbian and gay Jews and their fami-
lies into Reform Jewish life.
Judith Schmidt is a clinical psychologist and writer who co-founded
the Center for Intentional Living in New York City.
Hannah Senesh (1921–1944) immigrated to Palestine from Hungary
and returned to rescue others from the Holocaust. She was captured,
tortured, and executed by the Hungarian police.
Alan Shapiro teaches writing at the University of North Carolina at
Chapel Hill.
Nurit Levi Shein, an Israeli native, directs a community health-care
agency in Philadelphia.
Ruth H. Sohn is a rabbi who teaches Jewish studies at Milken Com-
munity High School in Los Angeles.
Ira Steingroot writes about jazz and Judaica and manages Cody’s
Books in Berkeley, Calif.
Wallace Stevens (1879–1955) was a Pulitzer Prize–winning American
poet.
Elie Wiesel is a Hungarian-born writer, Holocaust survivor, and winner
of the Nobel Peace Prize.
Eleanor Wilner, an award-winning poet, teaches in the master-of-arts
degree program for writers at Warren Wilson College in Asheville, N.C.
Avivah Gottlieb Zornberg is a British-born, Jerusalem-based scholar
and teacher of Torah who brings the insights of literature and psychol-
ogy to her interpretation of classical Jewish texts.
Copyright © 2002 by the Central
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Every effort has been made to ascertain the owners of copy-
rights for the selections used in this volume and to obtain permis-
sion to reprint copyrighted passages. For the use of the passages
indicated, the Central Conference of American Rabbis expresses its
gratitude to those whose names appear below. The conference will
be pleased, in subsequent editions, to correct any inadvertent errors
or omissions that may be pointed out.
Acum House: “Ha Lachma Anya” and “Psalm 114” © by
Y’didyah Admon. “Chad Gadya” © by Chava Alberstein. “Avadim
Hayinu” © by Shalom Postolsky. Reprinted with permission of
Acum House, Israel.
Rachel Adler: “I’ve had nothing yet, so I can’t take more,” from
Moment Magazine © 1983 Rachel Adler. Reprinted with permission
of the author.
The Balkin Agency: Excerpt from Israel and the World by Martin
Buber ©1976 Syracuse University Press. Reprinted with permission
of the Balkin Agency, agent for the estate of Martin Buber.
Behrman House: English blessing formulations by Nina Beth
Cardin from The Tapestry of Jewish Time: A Spiritual Guide to Life-
Cycle Events © 2000 (Behrman House). “Kadeish Ur’chatz” from The
Gateway to Jewish Song by Judith Eisenstein © (Behrman House).
“L’shanah Habaah” by Moshe Nathanson from The New Jewish
Songster by H. Coopersmith © (Behrman House).
Susan Bendor: Excerpt from interview, p. 83, from Uncertain
Travelers: Conversations with Jewish Immigrants to America by Mar-
jorie Agosin © 1999 (Brandeis University Press), reprinted with per-
mission of Susan Bendor and the University Press of New England.
Laura Berkson: “Kos Miryam” © 2001 Laura Berkson. Reprint-
ed with permission.
Leila Gal Berner: “Miryam HaN’viah” © 1987. Reprinted with
permission of Leila Gal Berner.
Rachel Bluwstein: “Pear Tree” from Shirat Rachel. © 1966 by
Davar.
Cantors Assembly: “Od’cha (Psalm 118)” from Zamru Lo © Can-
tors Assembly. Reprinted with permission.
Gerald Cohen: “Kadeish Ur’chatz” and “Ali Ve’er Enu La / Kos
Miriam” © 2001 Gerald Cohen. Reprinted with permission.
Charles Davidson: “Ha Lachma Anya,” “Psalm 114,” and “Psalm
115—Chorus” © 2001 Charles Davidson. Reprinted with permission.
Doubleday, Inc.: Excerpt from The Particulars of Rapture: Reflec-
tions on Exodus by Avivah Gottlieb Zornberg © 2001 Doubleday, a
division of Random House, Inc. Reprinted with permission of the
publisher.
Edwin Mellen Press: “Club Letter #33” from Lily Mantagu: Ser-
mons, Addresses, Letters and Prayers edited by Ellen M. Umansky ©
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Faber & Faber: “Passover” by Primo Levi from Collected Poems
© 1988 Faber & Faber, Inc.
Marcia Lee Falk: Excerpt from The Song of Songs: Love Poems
from the Bible by Marcia Falk, published by Harcourt, Brace and Co.
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Farrar, Straus & Giroux: Excerpt from The Talmud and the Inter-
net: A Journey Between Two Worlds by Jonathan Rosen © 2000
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Laura Geller: “Encountering the Divine Presence” by Laura
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one of the six million: And what is my life span?”, “Jewish Travel:
Change is God and Death is His Prophet,” from Open Closed Open ©
2000 Yehuda Amichai. English translation © 2000 Chana Bloch and
Chana Kronfeld, reprinted with permission of Harcourt, Inc.
HarperCollins Publishers: Excerpt from “Just As It Was,” from
Songs of Jerusalem and Myself, Yehuda Amichai © 1973 Yehuda
Amichai. English translation © 1973 Harold Schimmel. Reprinted
with permission of HarperCollins Publishers, Inc. “Miriam Under
163
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the Sand,” from During Ceasefire by Sharona Ben-Tov © 1985
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Steingroot © 1995 Ira Steingroot. Reprinted with permission of
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Hebrew Union College Press: “God” from the archives of Feiga
Israilevna Kogan (1891–1974), selected and translated by Carole B.
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Henry Holt & Co., LLC.: Excerpt from This People Israel by Leo
Baeck © 1964 by Union of American Hebrew Congregations.
Reprinted with permission by Henry Holt & Co., LLC. “Poem—
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Irving Howe and Elizabeth Greenberg, © 1976 (Henry Holt & Co.,
LLC.).
Andrea Jill Higgins: “Kos Miryam” © 2001 Andrea Jill Higgins.
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Indiana University Press: Excerpt from Nine Talmudic Readings
by Emmanuel Levinas © 1994 Indiana University Press. Reprinted
with permission of the publisher. Excerpt from Beyond the Text by
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with permission of the publisher.
Jewish Lights Publishing: Excerpt from Tears of Sorrow, Seeds of
Hope by Nina Beth Cardin © 1999 (Woodstock, Vt.: Jewish Lights
Publishing). $19.95 + $3.50 s/h. Order by mail or call 800-962-4544
or online at www.jewishlights.com. Permission granted by Jewish
Lights Publishing, P.O. Box 237, Woodstock, Vt. 05091. Excerpt
from Self, Struggle & Change © 1995 Norman J. Cohen (Woodstock,
Vt.: Jewish Lights Publishing). $19.95 + $3.50 s/h. Order by mail or
call 800-962-4544 or online at www.jewishlights.com. Permission
granted by Jewish Lights Publishing, P.O. Box 237, Woodstock, Vt.
05091.
Jewish Publication Society: “The Spiritual Revival” by Ahad
HaAm (Asher Hirsch Ginsberg) from Selected Essays of Ahad HaAm,
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the Covenant by Eugene B. Borowitz © 1991 by the Jewish Publica-
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by Ruby Daniel and Barbara C. Johnson, © 1995 by the Jewish Pub-
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Alfred A. Knopf, Inc.: “The Idea of Order at Key West” by Wal-
lace Stevens, from The Collected Poems of Wallace Stevens, © 1954
Wallace Stevens. Used by permission of Alfred A. Knopf, a division
of Random House, Inc.
Kol Ishah: “Hebrew Blessing for Kos Miryam” © 1990 Kol
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Emma Lazarus Federation of Jewish Women’s Clubs: “Epistle
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York, N.Y.
Lisa Levine: “Baruch Hamakom” © 2000 Lisa Levine, ASCAP.
Reprinted with permission.
Mark J. Margolius: Excerpt from “Start with Shame, End with
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McGraw-Hill Cos.: “Dare to be Free,” from Can Faith Survive?
by Maurice Eisendrath © 1964 The McGraw-Hill Cos. Reprinted
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Cela Netanyahu: “Letter from the Front” by Jonathan
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Netanyahu © 1980 (Random House, Inc.).
W.W. Norton & Co., Inc.: “For Each of You” © 1973 Audre
Lorde, from Undersong: Chosen Poems Old and New by Audre Lorde.
Used by permission of W.W. Norton & Co.
“Prospective Immigrants Please Note” © 1993, 1967, 1963,
Adrienne Rich, from Collected Early Poems: 1950–1970 by Adrienne
Rich. Used with permission of the author and W.W. Norton & Co.,
Inc.
Moishe Oysher: “Ki Lo Naeh” © Moishe Oysher.
Oxford University Press: “A Passover Melody” by Yaffa Eliach,
from Hasidic Tales of the Holocaust by Yaffa Eliach © 1982 (Oxford
University Press).
Chaim Parchi: “B’chol Dor Vador” © Chaim Parchi. Reprinted
with permission.
Marshall Portnoy: “Mah Nishtanah” © 2001 Marshall Portnoy.
Reprinted with permission.
Penguin Putnam, Inc.: Excerpt from Thinking Passover by Ben
Kamin © 1997 (Penguin Putnam Inc.). Excerpt from To Be A Slave
by Julius Lester © 1968 (Penguin Putnam).
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David Rosenberg: “When Israel Came Out of Egypt,” from Cho-
sen Days: Celebrating Jewish Festivals in Poetry and Art by David
Rosenberg © 1980 (Random House, Inc.).
Rutgers University Press: Excerpt from The Alphabet In My
Hands: A Writing Life by Marjorie Agosin © 2000. Reprinted with
permission of Rutgers University Press.
Sh’ma: “NiSh’ma” by Anita Diamant © 2001. Reprinted with
permission of Sh’ma 31/581. “NiSh’ma” by Ellen Flax © 1999.
Judith Schmidt: “Why Did I Make Your Heart Harden?” © 1998
Judith Schmidt. Used with permission.
Schocken Books: Excerpts from Days of Honey: The Tunisian
Boyhood of Rafael Uzan by Irene Awret © 1984 Irene Awret. Used
with permission of Schocken Books, a division of Random House,
Inc. Excerpt from Hannah Senesh: Her Life and Diary by Hannah
Senesh, translated by Marta Cohn, © 1971 Nigel Marsh. Used with
permission of Schocken Books, a division of Random House, Inc.
Nurit Levi Shein: Selection from Hallel © 2001. Reprinted with
permission.
Simon & Schuster, Inc.: Excerpt from A Passover Haggadah by
Elie Wiesel © 1993 (Simon & Schuster, Inc.).
Sounds Write Productions: “B’ruchot HaBaot,” “B’chol Dor
Vador,” “Light These Lights,” and “Miriam’s Song” © Debbie Fried-
man. Reprinted with permission of Sounds Write Productions.
SUNY Press: “Servants of Time” “The Spheres of Heaven Saw”
by Yehudah Halevi, from Ninety-Two Poems and Hymns of Yehuda
Halevi by Franz Rosenzweig. Reprinted with permission of the State
University of New York Press © 1999, State University of New York.
All rights reserved.
Transcontinental Music: “Candle Lighting Blessing” by Abra-
ham W. Binder © Transcontinental Music. Used with permission of
the publisher.
University of Chicago Press: “On the Eve of the Warsaw Upris-
ing,” from The Courtesy by Alan Shapiro © 1989 (University of
Chicago Press).
Eleanor Wilner: “Miriam’s Song,” from Sarah’s Choice by
Eleanor Wilner ©1989 (University of Chicago Press). Reprinted with
permission of Eleanor Wilner.
Women of Reform Judaism: Commentary by Ruth Sohn,
excerpted from Beginning the Journey: Toward a Women’s Commen-
tary on Torah © 1998 Women of Reform Judaism, the Federation of
Temple Sisterhoods. Reprinted with permission of Women of
Reform Judaism.
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