A Passover Haggadah Pt4

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Music
B’ruchot HaBaot, Debbie Friedman . . . . . . . .114 Motzi, Traditional Three Festival melody . . . . .130
Light These Lights, Debbie Friedman . . . . . . .114 Matzah, Traditional Three Festival melody . . .131
Hadlakat Nerot, Abraham W. Binder . . . . . . . .115 Maror, Traditional Three Festival melody . . . . .131
Shehecheyanu, Traditional melody . . . . . . . . .116 Shir HaMaalot, Yossele Rosenblatt . . . . . . . . .132
Kos Miryam, Gerald Cohen . . . . . . . . . . . . . . .116 Birkat HaMazon (short form)
Kos Miryam, Andrea Jill Higgins . . . . . . . . . . .117 Traditional melody . . . . . . . . . . . . . . . . . . . .132
Kos Miryam, Laura Berkson . . . . . . . . . . . . . .117
Eliyahu HaNavi & Miryam HaN’viah
Kadeish Ur’chatz, Babylonian melody . . . . . . .117
Folk melody. New text by Leila Gal Berner . .135
Kadeish Ur’chatz, Gerald Cohen . . . . . . . . . . .118
Yoseif Adonai (Psalm 115)
Kiddush, Traditional Three Festival melody . . .118
Charles Davidson . . . . . . . . . . . . . . . . . . . . .136
Karpas, Traditional Three Festival melody . . . .120
Hal’lu et Adonai Kol Goyim (Psalm 117)
Ha Lachma Anya, Y’didyah Admon . . . . . . . . .120
Sephardi melody . . . . . . . . . . . . . . . . . . . . . .137
Ha Lachma Anya, Charles Davidson . . . . . . . .121
Hodu (Psalm 118)
Mah Nishtanah, Ephraim Abileah . . . . . . . . . .122
Traditional Pesach melody . . . . . . . . . . . . . .137
Mah Nishtanah, Marshall Portnoy . . . . . . . . .122
Avadim Hayinu, Shalom Postolsky . . . . . . . . .123 Min HaMeitzar (Psalm 118)
Baruch HaMakom, Lisa Levine . . . . . . . . . . . .124 Baruch Chait . . . . . . . . . . . . . . . . . . . . . . . .138
V’Hi She-amdah, Chasidic melody . . . . . . . . .124 Od’cha (Psalm 118), Mordechai Purjes . . . . . .138
Dayeinu, Traditional melody . . . . . . . . . . . . . .125 Ana Adonai (Psalm 118)
B’chol Dor Vador Traditional Pesach melody . . . . . . . . . . . . . .139
Adapted from Chaim Parchi . . . . . . . . . . . . .125 S’firat HaOmer
B’chol Dor Vador, Debbie Friedman . . . . . . . .126 Based on traditional Akdamut motif . . . . . . .139
V’nomar L’fanav, Chasidic melody . . . . . . . . . .127 Ki Lo Na-eh, Folk song . . . . . . . . . . . . . . . . . .140
Hal’luyah (Psalm 113), Folk melody . . . . . . . .127 Ki Lo Na-eh, Moishe Oysher . . . . . . . . . . . . . .140
B’tzeit Yisrael (Psalm 114) Adir Hu, Traditional melody . . . . . . . . . . . . . .141
Y’didyah Admon . . . . . . . . . . . . . . . . . . . . . .128
Echad Mi Yodei-a, Israeli melody . . . . . . . . . .142
B’tzeit Yisrael (Psalm 114)
Chad Gadya, Traditional melody . . . . . . . . . . .142
Charles Davidson . . . . . . . . . . . . . . . . . . . . .129
Chad Gadya, Chava Alberstein . . . . . . . . . . . .143
B’tzeit Yisrael (Psalm 114)
Benedetto Marcello . . . . . . . . . . . . . . . . . . . .130 Chasal Sidur Pesach, Chasidic melody . . . . . .148
Borei P’ri Hagafen L’shanah HaBaah, Moshe Nathanson . . . . . . .149
Traditional Three Festival melody . . . . . . . . .130 Miriam’s Song, Debbie Friedman . . . . . . . . . .150
Copyright © 2002 by the Central
Conference of American Rabbis
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B’ruchot HaBaot Debbie Friedman
Light These Lights Debbie Friedman

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Hadlakat Nerot Abraham W. Binder

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Shehecheyanu Traditional melody
Kos Miryam Gerald Cohen

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Kos Miryam Andrea Jill Higgins
Kos Miryam Laura Berkson
Kadeish Ur’chatz Babylonian melody

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Kadeish Ur’chatz Gerald Cohen
Kiddush Traditional Three Festival melody

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Karpas Traditional Three Festival melody
Ha Lachma Anya Y’didyah Admon

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Ha Lachma Anya Charles Davidson

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Mah Nishtanah Ephraim Abileah
3. Sheb’chol haleilot ein anu matbilin afilu paam echat. 4. Sheb’chol haleilot anu ochlin bein yoshvin uvein m’subin.
Halailah hazeh, halailah hazeh sh’tei f’amim. Halailah hazeh, halailah hazeh kulanu m’subin.
Mah Nishtanah Marshall Portnoy

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Avadim Hayinu Shalom Postolsky

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Baruch HaMakom Lisa Levine
V’Hi She-amdah Chasidic melody

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Dayeinu Traditional melody
B’chol Dor Vador Adapted from Chaim Parchi

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B’chol Dor Vador Debbie Friedman

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V’nomar L’fanav Chasidic melody
Hal’luyah (Psalm 113) Folk melody

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B’tzeit Yisrael (Psalm 114) Y’didyah Admon
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.

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B’tzeit Yisrael (Psalm 114) Charles Davidson

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B’tzeit Yisrael (Psalm 114) Benedetto Marcello
2. Hayam raah vayanos haYardein yisov l’achor. 4. Milifnei Adon chuli aretz milifnei Eloha Yaakov.
Heharim rak’du ch’eilim g’vaot kiv’nei tzon. Hahofchi hatzur agam mayim chalamish l’ma-y’no mayim.
3. Mah l’cha hayam ki tanus haYardein tisov l’achor?

Heharim tirk’du ch’eilim g’vaot kiv’nei tzon?
Borei P’ri Hagafen Traditional Three Festival melody
Motzi Traditional Three Festival melody

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Matzah Traditional Three Festival melody
Maror Traditional Three Festival melody

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Shir HaMaalot Yossele Rosenblatt
Birkat HaMazon (short form) Traditional melody

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Eliyahu HaNavi & Miryam HaN’viah Folk melody. New text by Leila Gal Berner

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Yoseif Adonai (Psalm 115) Charles Davidson

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Hal’lu et Adonai Kol Goyim (Psalm 117) Sephardi melody
Hodu (Psalm 118) Traditional Pesach melody

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Min HaMeitzar (Psalm 118) Baruch Chait
Od’cha (Psalm 118) Mordechai Purjes

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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. 6. Anav bimluchah podeh kahalachah tzadikav yomru lo.
3. Zakai bimluchah chasin kahalachah tafs’rav yomru lo. 7. Kadosh bimluchah rachum kahalachah shinanav yomru lo.
4. Yachid bimluchah kabir kahalachah limudav yomru lo. 8. Takif bimluchah tomeich kahalachah t’mimav yomru lo.
5. Mosheil bimluchah nora kahalachah s’vivav yomru lo.
Ki Lo Na-eh Moishe Oysher

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5. Mosheil bimluchah nora kahalachah s’vivav yomru lo. 7. Kadosh bimluchah rachum kahalachah shinanav yomru lo.
6. Anav bimluchah podeh kahalachah tzadikav yomru lo. 8. Takif bimluchah tomeich kahalachah t’mimav yomru lo.
Adir Hu Traditional melody
2. Bachur hu, gadol hu, dagul hu . . . 4. Tahor hu, yachid hu, kabir hu, lamud hu, melech hu, norah hu,
3. Hadur hu, vatik hu, zakai hu, chasid hu . . . sagiv hu, izuz hu, podeh hu, tzaddik hu . . .
5. Kadosh hu, rachum hu, shadai hu, takif hu . . .

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Echad Mi Yodei-a Israeli melody
2. Sh’nayim mi yodei-a? Sh’nayim ani yodei-a: Sh’nei luchot 8. Sh’monah mi yodei-a? Sh’monah ani yodei-a: Sh’monah y’mei
hab’rit. Echad . . . milah. Shivah . . .
3. Sh’loshah mi yodei-a? Sh’loshah ani yodei-a: Sh’loshah avot. 9. Tishah mi yodei-a? Tishah ani yodei-a: Tishah yarchei leidah.
Sh’nei . . . Echad . . . Sh’monah . . .
4. Arba mi yodei-a? Arba ani yodei-a: Arba imahot. Sh’loshah . . . 10. Asarah mi yodei-a? Asarah ani yodei-a: Asarah dib’raya.
Sh’nei . . . Echad . . . Tishah . . .
5. Chamishah mi yodei-a? Chamishah ani yodei-a: Chamishah 11. Achad asar mi yodei-a? Achad asar ani yodei-a: Achad asar
chumshei Torah. Arba . . . kochvaya. Asarah . . .
6. Shishah mi yodei-a? Shishah ani yodei-a: Shishah sidrei mish- 12. Sh’neim asar mi yodei-a? Sh’neim asar ani yodei-a: Sh’neim
nah. Chamishah . . . asar shivtaya. Achad asar . . .
7. Shivah mi yodei-a? Shivah ani yodei-a: Shivah y’mei shabata. 13. Sh’loshah asar mi yodei-a? Sh’loshah asar ani yodei-a:
Shishah . . . Sh’loshah asar midaya. Sh’neim asar . . .
Chad Gadya Traditional melody

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4. Vaata chutra v’hikah l’chalba, d’nashach l’shunra, d’achal l’gadya, 8. Vaata hashocheit v’shachat l’tora, d’shata l’maya d’chavah l’nura,
dizvan aba . . . d’saraf l’chutra, d’hikah l’chalba, d’nashach l’shunra,
d’achal l’gadya, dizvan aba . . .
5. Vaata nurah v’saraf l’chutra, d’hikah l’chalbah 9. Vaata malach hamavet v’shachat lashocheit, d’shachat l’tora
d’nashach l’shunra, d’achal l’gadya, dizvan aba . . . d’shata l’maya, d’chavah l’nura d’saraf l’chutra, d’hikah l’chalba
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 . . .
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,
7. Vaata tora v’shata l’maya, d’chavah l’nura d’saraf l’chutra, d’hikah d’hikah l’chalba d’nashach l’shunra, d’achal l’gadya,
l’chalba d’nashach l’shunra, d’achal l’gadya, dizvan aba . . . dizvan aba . . .
Chad Gadya Chava Alberstein

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For two zuzim, my father bought that ate the kid And what makes you different?
an only kid, one only kid. that our father bought What has changed?
Our father bought a kid for two zuzim, for two zuzim. I’m changed.
says the Haggadah. I’m changed this year.
Then came the butcher who
Then came a cat and ate the kid, butchered the ox Because on all other nights,
that little white goat that father bought. that drank the water on all other nights
that quenched the fire I asked just the Four Questions.
Then came the dog and bit the cat
that burned the stick But on this night I have another one:
that ate the kid
that beat the dog Till when will this circle of terror go on?
that our father bought for two zuzim.
that bit the cat
The pursuer and the pursued
Then came the big stick that ate the kid
the beater and the beaten:
that beat the dog, the barking dog that our father bought
When will all the madness end?
that bit the cat for two zuzim.
that ate the kid And what makes you different?
Then the Angel of Death appeared
that our father bought What has changed?
to kill the butcher
for two zuzim. I’m changed.
who butchered the ox
I’m changed this year.
Then came the water to quench the fire that drank the water
that burned the stick that quenched the fire I was once a sheep, a happy kid.
that beat the dog that ran amok that burned the stick Today, I’m a tiger, a voracious wolf.
that bit the cat that beat the dog I was a dove.
that ate the kid that bit the cat I was a lamb.
that our father bought that ate the kid These days, I don’t know
for two zuzim. that our father bought who I am.
for two zuzim.
Then came the ox that drank the water For two zuzim, my father bought
that quenched the fire And how can you sing, “Chad Gadya” an only kid, one only kid.
that burned the stick when spring hasn’t arrived Our father bought a kid for two zuzim
that beat the dog or Passover come? And then we start all over again . . .
that bit the cat
Translated by Robert Eshmann
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Chasal Sidur Pesach Chasidic melody

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L’shanah HaBaah Moshe Nathanson

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Miriam’s Song Debbie Friedman

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Blessing after the Meal
Birkat HaMazon (long form)
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Notes
Epigraph Lights, 1997), 116–120.

Yehuda Amichai, “Just As It Was,” Songs of Jerusalem and Myself, The Shulchan Aruch, compiled in the sixteenth century by Rabbi
(New York: Harper and Row), 30. Joseph Karo, teaches that the seder falls on the same day of the
Introduction week as Tisha B’Av, a day of mourning that commemorates the
Citations from the Central Conference of American Rabbis’ Hag- destruction of the ancient temple. Hard-boiled eggs, eaten by
gadot of 1908 (vi) and 1923 (viii). Herbert Bronstein edited A mourners as an affirmation of life, are eaten here to draw attention
Passover Haggadah (New York: Central Conference in 1974), 5. to the confluence of these two historic events. Shulchan Aruch
The title, ihpf
S¦ kF (Kol Dichfin), was suggested by Yaffa Weisman. 428:3, Rama 476:2, cited in Passover: Its Observance, Laws and Sig-
“The world will always have disputed questions . . .” Henry nificance. Finkelman, et al. (New York: Mesorah Publications, 1994),
Berkowitz, Intimate Glimpses of the Rabbi’s Career (Cincinnati: 52–3.
Hebrew Union College Press, 1921), 130. Thanks to Rachel Adler for On the orange, see Rebecca Alpert, Like Bread on the Seder Plate:
underscoring the imperative of including a range of divergent opin- Jewish Lesbians and the Transformation of Tradition (New York:
ions on many of these pages. Columbia University Press), 2–3. The reading included here is
Zohar III: 40b, translated by Harry Sperling and Maurice Simon adapted from a text by ALEPH: Alliance for Jewish Renewal. Lisa
(London, 1931–1934), cited by A. J. Heschel, “The Mystical Element Edwards and Yoel Kahn also contributed to this piece.
in Judaism,” in The Jews: Their Religion and Culture, edited by Louis Blessing the Season
Finkelstein (New York: Schocken, 1975), 170. Rabbi Zalman Schachter-Shalomi first brought this blessing to
“Soul of the world” was suggested as a translation of okIg¨v j © U r by my attention as included in the Haggadah of Rabbi Yosef Chayim of
Richard A. Block. Baghdad.
On the question of using grape juice or wine, the talmudic sage “Pear Tree” by Rachel Bluwstein, Shirat Rachel (Tel Aviv: Davar,
R. Judah taught that the cups for kiddush must “possess the taste 1966), 5.
and appearance of wine.” Tractate P’sachim 108b. Kabbalat Panim
For two discussions about the role of matzah in the seder, see Rabbi Huna’s open door is cited by Abraham Milgram, Jewish
Ruth Gruber Fredman, The Passover Seder (New York: New Ameri- Worship (Philadelphia: Jewish Publication Society, 1971), 311.
can Library, 1983), 91, and Tractate P’sachim 115a. Marjorie Agosin, The Alphabet in My Hands: A Writing Life, trans-
Aramaic interpretation of afikoman cited by Menachem Haco- lated by Nancy Abraham Hall (Piscataway, N.J.: Rutgers University
hen, The Passover Haggadah: Legends and Customs (New York: Press, 2000), 8.
Adama Books, 1987),19. Ruby Daniel and Barbara C. Johnson, Ruby of Cochin: An Indian
Different dipping traditions are included in Heinrich Guggen- Jewish Woman Remembers (Philadelphia: Jewish Publication Soci-
heimer’s The Scholar’s Haggadah (Northvale, N.J.: Jason Aaronson, ety, 1995), 158.
1995), 20–21. Adrienne Rich, “Prospective Immigrants Please Note.” Collected
On charoset, see Ruth S. Fagen, “Talmud Torah,” in Life Cycles: Early Poems, selected and edited by Barbara Charlesworth Gelpi
Jewish Women on Biblical Themes in Contemporary Life, edited by and Albert Gelpi (New York: W.W. Norton & Co., Inc. 1975), 21.
Debra Ornstein and Jane Rachel Litman (Woodstock, Vt.: Jewish Julius Lester. Lovesong: Becoming a Jew (New York: Henry Holt

156
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and Co., 1988), 172. Karpas

Candle Lighting The Song of Songs: Love Poems from the Bible. Translated by Mar-
Techine adapted by Nurit Levi Shein and the editor from a tradi- cia Falk. (New York: Harcourt, Brace, Jovanovich, 1977), 9.
tional Sephardi techine. The names of Bilhah and Zilpah have been Yachatz
added to the traditionally named “four matriarchs,” for they, too, This midrash on changing names, a commentary on Deuternomy
were mothers in Israel. Bilhah birthed Dan and Naphtali, and Zil- 26:5, appears in several sources. See Mihaly, p. 20. See also The Book
pah was the mother of Gad and Asher. Genesis 30:3–13. of Legends (Sefer Ha’Aggadah), 71.
Blessing the Children Sephardi custom from Hagadah Shel Pesach, Based on the
English blessing formulations by Nina Beth Cardin in The Tapes- Sephardic Rite, compiled and translated by Shelton J. Donnell (Los
try of Jewish Time: A Spiritual Guide to Life-Cycle Events (New York: Angeles, 1989). Kurdistani custom shared by Professor Yona Sabar
Behrman House, Inc, 2000), 259. with Reuven Firestone and Ruth Sohn.
Kos Miryam Ha Lachma Anya
See The Book of Legends (Sefer Ha’Aggadah): Legends from the Tal- “Until all people are free . . .,” adapted from Emma Lazarus, who
mud and Midrash, edited by Hayim Nahman Bialik and Yehoshua wrote, “Until we are all free, we are none of us free.” Epistle V, from
Hana Ravnitzky, translated by Wm. G. Braude (New York: Schocken Emma Lazarus: Selections from her Poetry and Prose, edited by
Books, 1992), 16, 76, 770. Morris U. Schappes (New York: Emma Lazarus Federation of Jew-
This Hebrew blessing appears in The Journey Continues: The ish Women’s Clubs, 1982).
Ma’yan Passover Haggadah (New York: Ma’yan, 2000), 30. Adapted from Ahad HaAm’s essay, “The Spiritual Revival,” trans-
Wallace Stevens, “The Idea of Order at Key West,” Collected Poet- lated by Leon Simon, editor, Selected Essays of Ahad Ha’am (Cleve-
ry and Prose (New York: Library of America, 1997), 105. land and Philadelphia: Meridian Books and Jewish Publication
Ira Steingroot, Keeping Passover (San Francisco: HarperSan- Society, 1962), 297–298.
Francisco, 1999), 76–77. Four Questions
Order of the Seder Jonathan Rosen elegantly cites this midrash about the angel’s fin-
Ben Kamin, Thinking Passover (New York: Dutton, 1997), 51. gerprint in The Talmud and the Internet: A Journey Between Worlds
(New York: Farrar, Straus and Giroux, 2000), 33.
Kadeish Don Isaac Abrabanel is cited by Marcus Lehmann, The Passover
Eugene Mihaly has assembled a comprehensive list of the interpre- Haggadah (London: Honigson Publishing Co., Ltd., 1969), 16.
tations of the four cups in “The Passover Haggadah as PaRaDiSe,” Bella Rosenfeld Chagall, Burning Lights (New York: Schocken
CCAR Journal 13:5 (April 1966), 19–20. Books, 1946), 220–222.
The Maharal of Prague (sixteenth century) connected each of the
cups to the four matriarchs. See Eliezer Kitov, Sefer HaToda’ah, Vol- Avadim Hayinu
ume II, (Jerusalem: Yeshurun, 1966) 104. English translation by Avivah Gottlieb Zornberg, 17–18.
Nathan Bulman as The Book of Our Heritage, Volume II. (New York: Ninety-two Poems and Hymns of Yehuda HaLevi with commentary
Feldheim Publishers, 1978), 271. by Franz Rosenzweig. Edited by Richard A. Cohen. Translated by
Avivah Gottlieb Zornberg, The Particulars of Rapture: Reflections Thomas Kovach, Eva Jospe, and Gily Gerda Schmidt. (Albany, N.Y.:
on Exodus (New York: Doubleday, 2001), 34. State University of New York, 2000), 124.
Anita Diamant, “NiSh’ma” from Sh’ma 31/579 (April 2001), 15. Irene Awret, Days of Honey: The Tunisian Boyhood of Rafael Uzan.
Eugene Borowitz, “Mentshhood,” Present Tense 15:6 (Sept./Oct. (New York: Schocken Books, 1984), 64.
1988). Julius Lester, To Be A Slave (New York: Dial Press, 1968), 28.
Yehuda Amichai, “Gods change, prayers are here to stay,” Open Two Rabbinic Tales
Closed Open, translated by Chana Bloch and Chana Kronfeld (New Martin Buber, Israel and the World: Essays in a Time of Crisis
York: Harcourt, Inc., 2000), 40. (New York: Schocken Books, 1976), 146.
Judith Plaskow, Standing Again at Sinai: Judaism from a Feminist

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Perspective (San Francisco: Harper & Row, 1990), 29–31. mentary on Torah, edited by Emily H. Feigenson (New York: Women
Four Children of Reform Judaism, 1998), 70.
Rachel Adler, “I’ve Had Nothing Yet So I Can’t Take More,” “B’farech” midrash suggested by Rachel Firestone.
Moment 8 (Sept. 1983), 26. Zornberg, 31–32 and 41.
Laura Geller, “Encountering the Divine Presence,” Four Centuries Sharona Ben-Tov, “Miriam Under the Sand,” During Ceasefire
of Jewish Women’s Spirituality, edited by Ellen M. Umansky and (New York: Harper & Row, 1985), 94.
Dianne Ashton (Boston: Beacon Press, 1992), 246. “Our ancestors were redeemed . . .” Sotah 11b.
Jerusalem Talmud Pesachim 10:4. See also Noam Zion and David “The rabbis named . . . ,” Midrash Rabbah, Shemot 26, translated
Dishon, “The Four Children,” in The Leader’s Guide to the Family by S.M.Lehrman (London: Soncino Press, 1951), 34.
Participation Haggadah, A Different Night (Jerusalem: Shalom Hart- Judith Schmidt, “Why Did I Make Your Heart Harden?” Living
man Institute, 1997), 55–57, and Fred O. Francis, “The Baraita of Text: The Journal of Contemporary Midrash, 4 (Winter 1998), 19.
the Four Sons,” Journal of the American Academy of Religion, XLII:2 Eleanor Wilner, “Miriam’s Song,” Telling and Remembering: A Cen-
(June 1974), 280–297. tury of American Jewish Poetry, edited by Steven J. Rubin (Boston:
In Beyond the Text (Bloomington, Ind.: Indiana University Press, Beacon Press, 1997), 329–331.
1987), 135, Professor Lawrence A. Hoffman writes, “. . . the instruc- Plagues
tions about genut and shevach are just that: instructions; they are Midrash Tanhuma citation suggested by Isaac Klein, “No Man
not descriptions. Hence the notion that by these words the Mishnah Saw His Brother,” in Spiritual Legacies: Holiday Sermons, edited by
describes a second-century characterization of the Exodus is mis- Morton A. Wallack (New York: Ktav, 1981), 152.
taken. The message of today’s sacred myth is that the essence of the Irene Awret, 65.
holy people Israel is to move from degradation to dignity, and that Alexander M. Schindler, unpublished address to an environ-
this recurrent motif of Jewish history, first encountered in the for- mental conference, March 9/10, 1992.
mative Egyptian slavery-to-freedom event, is ever after repeated Dayeinu
until the latest example, our own time.” Elie Wiesel, A Passover Haggadah (New York: Simon & Schuster,
Audre Lorde, “For Each of You,” Undersong (New York: Quality 1993), 63.
Paperback Book Club, 1993), 82. The first seven verses of Dayenu follow custom. Verses 8–13 were
Marc Margolius, “Start with shame, end with praise,” from a ser- inspired by an English version composed by Rabbi Irving Greenberg
mon delivered at Zion Baptist Church, Jan. 21, 2001, printed in Kol and included in A Different Night, 109.
Ha’am (Congregation Beth Am Israel, Penn Valley, Pa.: March 2001) Alternative Dayeinu, Martin Luther King, Jr., “Where Do We Go
13. From Here?” Annual report delivered at the Eleventh Convention of
V’Hi She-amdah the Southern Christian Leadership Conference, Aug. 16, 1967,
Maurice N. Eisendrath, “Dare to Be Free,” from a sermon deliv- Atlanta Ga.
ered in Toronto in 1931, Can Faith Survive? (New York: McGraw- Pesach, Matzah, Maror
Hill Book Co., 1964), 110–111. Rachel Adler, p. 26.
Sifrei on enemies cited by Nehama Leibowitz, Studies in Bamid-
bar, translated by Aryeh Newman, (Jerusalem: The World Zionist B’chol Dor Vador
Organization, 1980), 90–91. Leo Baeck, This People Israel. Translated by Albert H. Friedlander.
Alexander M. Schindler, unpublished d’var Torah delivered at a (New York: Holt, Rinehart and Winston, 1964).
meeting of the United Jewish Appeal, December 1992. Amichai, “I wasn’t one of the six million: And what is my life
“A Passover Melody,” adapted from Yaffa Eliach, Hasidic Tales of span?” Open Closed Open, 6.
the Holocaust (New York: Random House, 1982), 77–78. Hallel
Neitzei V’nilmad “When Israel Came Out of Egypt,” translated by David Rosen-
Laura Geller, 247. berg. Chosen Days: Celebrating Jewish Festivals in Poetry and Art
Ruth H. Sohn, Beginning the Journey: Toward a Women’s Com- (Garden City, New York: Doubleday & Co., 1980) 152–153.

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Second Cup of Beruriah,” Tikkun 3:6 (Nov./Dec. 1988), 31.

Samuel Halkin, “Poem—1959,” translated from the Yiddish by Martin Buber, 239.
Edwin Honig from A Treasury of Yiddish Poetry, edited by Irving Interview with Susan Bendor in Uncertain Travelers: Conversa-
Howe and Eliezer Greenberg (New York: Schocken Books, 1976), tions with Jewish Women Immigrants to America, edited by Marjorie
187. Agosin (Hanover, N.H.: Brandeis University Press, 1999), 83.
Hillel Sandwich Alan Shapiro, “On The Eve of the Warsaw Uprising,” Telling and
The Talmud reports a discussion among scholars about eating the Remembering: A Century of American Jewish Poetry, 441–2.
maror that was resolved by eating a piece of the paschal lamb, a Norman J. Cohen, Self, Struggle, and Change: Family Conflict Sto-
piece of matzah, and some maror together without a blessing, fol- ries in Genesis and Their Healing Insights for Our Lives. (Woodstock,
lowing in the tradition of Hillel. Pesachim 115a. Vt.: Jewish Lights Publishing, 1995), 156–7.
Primo Levi, “Passover” in A Night of Questions: A Passover Hag-
Tzafun gadah, edited by Joy Levitt and Michael Strassfeld (Elkins Park, Pa.:
Moroccan custom cited by Menachem Hacohen, 18–19. Jewish Reconstructionist Press, 2000), 142.
Nina Beth Cardin, Tears of Sorrow, Seeds of Hope: A Jewish Spiri- “Miryam HaN’viah” by Leila Gal Berner, in Or Chadash: Shabbat
tual Companion for Infertility and Pregnancy Loss (Woodstock, Vt.: Morning Siddur (Philadelphia: P’nai Or Fellowship, 1987). Inspired
Jewish Lights Publishing, 1999), 63–4. by collaboration with Arthur Waskow.
Birkat HaMazon Hallel
“Saying grace is an act of the greatest importance . . .” Emmanuel Nurit Levi Shein, composed for this Haggadah.
Levinas, adapted from Nine Talmudic Readings, translated and with Feiga Izrailevna Kogan, “God,” translated by Carole B. Balin in To
an introduction by Annette Aronowicz (Bloomington: Indiana Uni- Reveal Our Hearts: Jewish Women Writers in Tsarist Russia (Cincin-
versity Press, 1994), 133. nati: Hebrew Union College Press, 2000), 148–9.
“True service . . . ,” after Lily Montague, Club Letter #33, in Lily
Montague: Sermons, Addresses, Letters and Prayers, edited by Ellen Nirtzah
Umansky (New York: Edwin Mellon Press, 1985), 90. Yehuda Amichai, “Jewish Travel: Change Is God and Death is His
Prophet,” Open Closed Open, 117.
Kos Eliyahu Hannah Senesh, “To Caesarea,” Hannah Senesh: Her Life and
“As the old make way for the young,” based on Leviticus Diaries (New York: Schocken Books, 1973), 250.
26:10–11: /off
I,C h°bF J
§ n
¦ h¦T,
© b² u± UthmIT J¨sj
¨ h¯bP
n
¦ i¨Jh² u± “When the old “Letter from the front,” adapted from two letters dated March
make way for the new, I will dwell among you.” 1975, Self Portrait of a Hero: The Letters of Jonathan Netanyahu (New
“May the blessing of Elijah be upon this home.” From a neo-Ara- York: Ballantine Books, 1980), 264–6.
maic hymn recited as part of the Havdalah liturgy. Yona Sabar, edi-
tor, The Folk Literature of Kurdistani Jews (New Haven: Yale Univer- Songs
sity Press, 1982) 68–70. Ehad Mi Yodea. The stars in Joseph’s dream appear in Genesis
Ellen Flax, “Nish’ma,” Sh’ma, Passover 1999 (29:560), p. 7. 37:9. The thirteen attributes of God are enumerated in Exodus
“Give up anger . . .” grew out of powerful and passionate discus- 34:6–7.
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

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Contributors
Sue Levi Elwell directs the Pennsylvania Council of the Union of Amer- grated Renaissance thought into his prolific Jewish scholarship.
ican Hebrew Congregations. As the founding director of the Los Ange-
Rachel Adler, a winner of the National Jewish Book Award, teaches
les Jewish Feminist Center and subsequently the first rabbinic director
liturgy, rabbinics, and gender studies at the Hebrew Union College–
of Ma’yan, the Jewish Women’s Project of the JCC of New York’s Upper
Jewish Institute of Religion and the University of Southern California.
West Side, she helped develop innovative Haggadot that welcomed
many back to the seder table. She has served as a congregational rabbi Y’didyah (Gorochov) Admon (1894–1985) was an Israeli composer
and college teacher, and edited Lesbian Rabbis: The First Generation known for creating works rooted in the cantillation of the Bible and in
(New Brunswick, N.J.: Rutgers University Press, 2001). Chasidic and Oriental Jewish song.
Ruth Weisberg works primarily in painting, drawing, and large-scale Marjorie Agosin, a prolific writer and editor, grew up in Chile. She
installations. She is Dean of Fine Arts at the University of Southern teaches Spanish at Wellesley College in Massachusetts.
California. Her art has been exhibited in seventy solo and 160 group Chava Alberstein is an internationally acclaimed Israeli songwriter and
exhibitions, and is included in more than fifty major museum and uni- performer who has made nearly 50 recordings in Hebrew, Yiddish, and
versity collections across America and in Europe. In 2001, she was English.
named Doctor of Humane Letters, honoris causa, by the Hebrew Union
College–Jewish Institute of Religion. Other honors include the College Yehuda Amichai (1924–2000) was one of modern Israel’s most notable
Art Association’s Distinguished Teaching of Art Award, a Senior poets. He was born in Germany and immigrated to Israel in 1936. His
Research Fulbright Fellowship, and the University of Michigan’s Dis- work has been translated into thirty-three languages.
tinguished Alumni/ae Award. The drawings for The Open Door will be Irene Awret is a contemporary Israeli artist and writer.
exhibited at the Cincinnati and New York campuses of the Hebrew
Union College–Jewish Institute of Religion, the Spertus Museum in Leo Baeck (1873–1956) was a German rabbi and religious thinker and
Chicago, and the Skirball Museum and Cultural Center in Los Angeles a leader of Progressive Judaism who survived Theresienstadt. He
during 2002–03. taught a new generation of rabbis at the Hebrew Union College in
Cincinnati that the essence of Judaism is a tension between “mystery”
Josée Wolff is the director of the UAHC Department of Synagogue and “command.”
Music. A graduate of the Royal Conservatory in The Hague, The
Netherlands, and of the School of Sacred Music, Hebrew Union Col- Susan Blum Bendor, a native of Hungary, is an associate professor at
lege–Jewish Institute of Religion, she became the first woman from the the Wurzweiler School of Social Work, Yeshiva University. She chairs
European continent to be invested as a cantor. Cantor Wolff, who has the Social Action Committee of Temple Isaiah in Great Neck, N.Y.
served as a congregational cantor, is co-author of The Art of Torah Can- Sharona Ben-Tov, a long-time resident of Israel and recipient of a
tillation (New York: UAHC Press, 2000). National Endowment for the Arts Fellowship in Poetry, is a professor
of creative writing at Bowling Green State University in Bowling
Green, Ohio.
Ephraim Abileah (Niswizski) (1881–1953) was a Russian-born com-
poser, choirmaster and teacher of music theory and composition in Laura Berkson is a composer, educator, and recording artist who serves
Warsaw and Vienna before making aliyah to Haifa in 1923. as cantorial soloist at Temple B’nai Jeshurun in Des Moines, Iowa.
Don Isaac Abrabanel (1437–1508), statesman, philosopher, and biblical Leila Gal Berner serves as co-rabbi of congregation Bet Mishpachah in
exegete, advocated for Jewish interests in Portugal and Italy and inte- Washington, DC, and teaches at The George Washington University.

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Abraham W. Binder (1895–1966) began his professional career in Jew- Ellen Flax is a writer and rabbi who serves as the spiritual leader of
ish music in 1922, when he was appointed music director at the Free Chavurah Beth Chai in Northern Westchester, N.Y.
Synagogue in New York City. His composition style was ground-
Debbie Friedman is a singer, songwriter and performer who has pio-
breaking in molding ancient melodies with a modern flavor.
neered the development of contemporary American Jewish music.
Rachel Bluwstein (1890–1931) immigrated to Palestine from Russia as Since the release of her first album in 1972, her unique and accessible
a young woman. She was one of the first modern Hebrew poets to compositions have become part of the musical repertoire of syna-
write in a conversational style. gogues, schools, camps, and community centers across the world.
Eugene Borowitz, who developed a covenant theology, is Emeritus Dis- Laura Geller, one of the first women to be ordained, serves as senior
tinguished Professor of Education and Religious Thought at the rabbi of Temple Emanuel of Beverly Hills.
Hebrew Union College–Jewish Institute of Religion.
Ahad HaAm (Asher Hirsch Ginsberg) (1856–1927) was a Zionist writer
Martin Buber (1878–1965) Viennese-born philosopher and theologian, and thinker and leader of the Hibbat Zion movement in Odessa.
was a Zionist thinker and leader and a scholar of Chasidism. His phi-
Judah HaLevi (1075?–1141) was a Spanish physician, Hebrew poet,
losophy of the essential dialogue between two beings as an opening to
and philospher.
God (“I” and “thou”) has provided a language for creating and main-
taining relationships of mutual respect in communities across the Shmuel Halkin (1888–1960) was a Soviet Yiddish poet and playwright.
globe. Andrea Jill Higgins studied under the mentorship of the late French
Nina Beth Cardin, one of the first women to be ordained by the Jewish composer Darius Milhaud and serves as the director of music for Tem-
Theological Seminary, is a prolific writer, editor, and translator who ple Solel in Paradise Valley, Ariz.
directs the Department of Jewish Life at the Jewish Community Center Ben Kamin is senior rabbi of Congregation Beth Israel in San Diego.
in Owings Mills, Md. He is a columnist and writer.
Bella Rosenfeld Chagall (1895–1944), an artist and native of Vitebsk, Martin Luther King, Jr. (1929–1968) was a visionary African-American
Belarus, was Marc Chagall’s model and muse. civil rights leader, preacher, and winner of the Nobel Peace Prize.
Baruch Chait was a founder of “Rabbis’ Sons” in the 1960s. He is now Feiga Izrailevna Kogan (1891–1974) was a symbolist poet and a
the director of a yeshiva in Israel, where he makes his home. founder of the Moscow-based Habimah, the forerunner of the Nation-
Gerald Cohen, composer of both concert and liturgical works, is cantor al Theater of Israel.
of Shaarei Tikvah Congregation in Scarsdale, N.Y., and serves on the Julius Lester, author of more than thirty books, is a professor of Judaic
faculty of the Cantors Institute of the Jewish Theological Seminary. studies at the University of Massachusetts. For ten years, he served as
Norman Cohen, professor of Midrash at the Hebrew Union College– lay leader of Beth El Synagogue in St. Johnsbury, Vt.
Jewish Institute of Religion, serves as the seminary’s Provost. Primo Levi (1919–1987) was an Italian scientist, novelist, poet, and
Ruby Daniel was born in India in 1912 and now makes her home on essayist. His life after Auschwitz was a study of survival and despair.
Kibbutz Neot Mordecai in the Upper Galilee, Israel. Emmanuel Levinas (1906–1996) was a French-Jewish philosopher and
Charles Davidson is a teacher and composer of liturgical music. He scholar.
serves on the faculty of the H.L. Miller Cantorial School at the Jewish Lisa Levine served congregations in Dallas and Des Moines before
Theological Seminary and as cantor of Congregation Adath Jeshurun becoming the cantor of The Temple, Congregation B’nai Jehudah in
in Elkins Park, Pa. Kansas City, Mo.
Anita Diamant is an acclaimed American writer of fiction and non-fic- Audre Lorde (1934–1992) was a twentieth-century African-American
tion books on Jewish topics. poet, activist, and feminist visionary.
Maurice N. Eisendrath, (1902–1973) was a powerful rabbi and orator. Maimonides (Moses ben Maimon, the Rambam) (1135–1204) served
Under his leadership (1943–1973), the Union of American Hebrew the Spanish Jewish community as rabbinic authority and physician.
Congregations established the House of Living Judaism in New York His codification of Jewish law, his biblical commentaries, and his
City and the Religious Action Center in Washington, D.C.

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philosophic works establish the Rambam as one of the most illustrious Yossele Rosenblatt (1882–1933) was a cantor, composer, and preemi-
and intellectually influential figures in Jewish history. nent figure of the golden age of the cantorate.
Benedetto Marcello (1686–1739) was an Italian composer who notated Alexander M. Schindler (1925–2000) was a Reform rabbi and president
melodies from the Italian Jewish community. of the Union of American Hebrew Congregations (1973–1996). A pas-
sionate advocate for expanding the tent of Reform Judaism to embrace
Marc J. Margolius, contemporary American rabbi, serves Congregation
Jews-by-choice and to fully recognize the contributions of women, he
Beth Am Israel in Penn Valley, Pa.
championed the full inclusion of lesbian and gay Jews and their fami-
Lily Montague (1873–1963) was a British-Jewish magistrate and a lies into Reform Jewish life.
founder of the World Union for Progressive Judaism.
Judith Schmidt is a clinical psychologist and writer who co-founded
Moshe Nathanson (1899–1981), who began his career as a boy choir the Center for Intentional Living in New York City.
singer in Jerusalem, served as cantor and music teacher for the Jewish
Hannah Senesh (1921–1944) immigrated to Palestine from Hungary
Reconstructionist Foundation, the New York congregation of Rabbi
and returned to rescue others from the Holocaust. She was captured,
Mordecai Kaplan, founder of Reconstuctionism.
tortured, and executed by the Hungarian police.
Lt. Col. Jonathan Netanyahu (1946–1976) was killed while command-
Alan Shapiro teaches writing at the University of North Carolina at
ing the Israel Defense Forces’ rescue operation at the Entebbe Airport
Chapel Hill.
in Uganda.
Nurit Levi Shein, an Israeli native, directs a community health-care
Moishe Oysher (1907–1958) was a renowned cantor and performer of
agency in Philadelphia.
Yiddish music who performed on Broadway in The Jazz Singer.
Ruth H. Sohn is a rabbi who teaches Jewish studies at Milken Com-
Chaim Parchi, who was born in Yemen, is a composer, choreographer,
munity High School in Los Angeles.
artist, teacher, and performer who makes his home in Florida.
Ira Steingroot writes about jazz and Judaica and manages Cody’s
Judith Plaskow, one of the leading Jewish theologians of our time,
Books in Berkeley, Calif.
teaches at Manhattan College.
Wallace Stevens (1879–1955) was a Pulitzer Prize–winning American
Marshall Portnoy, composer and author, serves as the cantor of Main
poet.
Line Reform Temple in Wynnewood, Pa.
Elie Wiesel is a Hungarian-born writer, Holocaust survivor, and winner
Shalom Postolksy (1898–1949) immigrated to Palestine from Poland
of the Nobel Peace Prize.
and was among the early creators of a new Israeli musical style.
Eleanor Wilner, an award-winning poet, teaches in the master-of-arts
Adrienne Rich is an award-winning poet, essayist, and social critic.
degree program for writers at Warren Wilson College in Asheville, N.C.
Jonathan Rosen, a writer of essays and acclaimed fiction, created and
Avivah Gottlieb Zornberg is a British-born, Jerusalem-based scholar
edited the Arts and Letters section of the Forward.
and teacher of Torah who brings the insights of literature and psychol-
David Rosenberg is a contemporary American poet. ogy to her interpretation of classical Jewish texts.

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Acknowledgments
Every effort has been made to ascertain the owners of copy- Cantors Assembly: “Od’cha (Psalm 118)” from Zamru Lo © Can-
rights for the selections used in this volume and to obtain permis- tors Assembly. Reprinted with permission.
sion to reprint copyrighted passages. For the use of the passages Gerald Cohen: “Kadeish Ur’chatz” and “Ali Ve’er Enu La / Kos
indicated, the Central Conference of American Rabbis expresses its Miriam” © 2001 Gerald Cohen. Reprinted with permission.
gratitude to those whose names appear below. The conference will Charles Davidson: “Ha Lachma Anya,” “Psalm 114,” and “Psalm
be pleased, in subsequent editions, to correct any inadvertent errors 115—Chorus” © 2001 Charles Davidson. Reprinted with permission.
or omissions that may be pointed out. Doubleday, Inc.: Excerpt from The Particulars of Rapture: Reflec-
tions on Exodus by Avivah Gottlieb Zornberg © 2001 Doubleday, a
Acum House: “Ha Lachma Anya” and “Psalm 114” © by
division of Random House, Inc. Reprinted with permission of the
Y’didyah Admon. “Chad Gadya” © by Chava Alberstein. “Avadim
publisher.
Hayinu” © by Shalom Postolsky. Reprinted with permission of
Edwin Mellen Press: “Club Letter #33” from Lily Mantagu: Ser-
Acum House, Israel.
mons, Addresses, Letters and Prayers edited by Ellen M. Umansky ©
Rachel Adler: “I’ve had nothing yet, so I can’t take more,” from
1985 The Edwin Mellen Press. Reprinted with permission of the
Moment Magazine © 1983 Rachel Adler. Reprinted with permission
publisher.
of the author.
Faber & Faber: “Passover” by Primo Levi from Collected Poems
The Balkin Agency: Excerpt from Israel and the World by Martin
© 1988 Faber & Faber, Inc.
Buber ©1976 Syracuse University Press. Reprinted with permission
Marcia Lee Falk: Excerpt from The Song of Songs: Love Poems
of the Balkin Agency, agent for the estate of Martin Buber.
from the Bible by Marcia Falk, published by Harcourt, Brace and Co.
Behrman House: English blessing formulations by Nina Beth
© 1977.
Cardin from The Tapestry of Jewish Time: A Spiritual Guide to Life-
Farrar, Straus & Giroux: Excerpt from The Talmud and the Inter-
Cycle Events © 2000 (Behrman House). “Kadeish Ur’chatz” from The
net: A Journey Between Two Worlds by Jonathan Rosen © 2000
Gateway to Jewish Song by Judith Eisenstein © (Behrman House).
Farrar, Straus and Giroux.
“L’shanah Habaah” by Moshe Nathanson from The New Jewish
Laura Geller: “Encountering the Divine Presence” by Laura
Songster by H. Coopersmith © (Behrman House).
Geller, from Four Centuries of Jewish Women’s Spirituality, edited by
Susan Bendor: Excerpt from interview, p. 83, from Uncertain
Ellen M. Umansky and Dianne Ashton © 1992 (Beacon Press).
Travelers: Conversations with Jewish Immigrants to America by Mar-
Harcourt, Inc.: “Gods change, prayers are here to stay,” “I wasn’t
jorie Agosin © 1999 (Brandeis University Press), reprinted with per-
one of the six million: And what is my life span?”, “Jewish Travel:
mission of Susan Bendor and the University Press of New England.
Change is God and Death is His Prophet,” from Open Closed Open ©
Laura Berkson: “Kos Miryam” © 2001 Laura Berkson. Reprint-
2000 Yehuda Amichai. English translation © 2000 Chana Bloch and
ed with permission.
Chana Kronfeld, reprinted with permission of Harcourt, Inc.
Leila Gal Berner: “Miryam HaN’viah” © 1987. Reprinted with
HarperCollins Publishers: Excerpt from “Just As It Was,” from
permission of Leila Gal Berner.
Songs of Jerusalem and Myself, Yehuda Amichai © 1973 Yehuda
Rachel Bluwstein: “Pear Tree” from Shirat Rachel. © 1966 by
Amichai. English translation © 1973 Harold Schimmel. Reprinted
Davar.
with permission of HarperCollins Publishers, Inc. “Miriam Under

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the Sand,” from During Ceasefire by Sharona Ben-Tov © 1985 by Ruby Daniel and Barbara C. Johnson, © 1995 by the Jewish Pub-
Sharona Ben-Tov. Reprinted with permission of HarperCollins Pub- lication Society. Reprinted with permission of the publisher.
lishers, Inc. Excerpt from Standing Again at Sinai by Judith Alfred A. Knopf, Inc.: “The Idea of Order at Key West” by Wal-
Plaskow © 1990 Judith Plaskow. Reprinted with permission of lace Stevens, from The Collected Poems of Wallace Stevens, © 1954
HarperCollins Publishers, Inc. Excerpt from Keeping Passover by Ira Wallace Stevens. Used by permission of Alfred A. Knopf, a division
Steingroot © 1995 Ira Steingroot. Reprinted with permission of of Random House, Inc.
HarperCollins Publishers, Inc. Kol Ishah: “Hebrew Blessing for Kos Miryam” © 1990 Kol
Hebrew Union College Press: “God” from the archives of Feiga Ishah. Reprinted with permission of Kol Ishah.
Israilevna Kogan (1891–1974), selected and translated by Carole B. Emma Lazarus Federation of Jewish Women’s Clubs: “Epistle
Balin in To Reveal Our Hearts: Jewish Women Writers in Tsarist Rus- V” by Emma Lazarus from Emma Lazarus: Selections from Her Poet-
sia, Cincinnati: Hebrew Union College Press, © 2000. Reprinted ry and Prose, edited by Morris U. Schappes © 1982 (Emma Lazarus
with permission of the publisher. Federation of Jewish Women’s Clubs, American Jewish Archives).
Henry Holt & Co., LLC.: Excerpt from This People Israel by Leo Julius Lester: Excerpt from Lovesong: Becoming A Jew © 1988
Baeck © 1964 by Union of American Hebrew Congregations. Julius Lester. Reprinted with permission of Arcade Publishing, New
Reprinted with permission by Henry Holt & Co., LLC. “Poem— York, N.Y.
1959” by Samuel Halkin.from A Treasury of Yiddish Poetry, edited by Lisa Levine: “Baruch Hamakom” © 2000 Lisa Levine, ASCAP.
Irving Howe and Elizabeth Greenberg, © 1976 (Henry Holt & Co., Reprinted with permission.
LLC.). Mark J. Margolius: Excerpt from “Start with Shame, End with
Andrea Jill Higgins: “Kos Miryam” © 2001 Andrea Jill Higgins. Praise” © 2001 Marc J. Margolius. Reprinted with permission.
Reprinted with permission. McGraw-Hill Cos.: “Dare to be Free,” from Can Faith Survive?
Indiana University Press: Excerpt from Nine Talmudic Readings by Maurice Eisendrath © 1964 The McGraw-Hill Cos. Reprinted
by Emmanuel Levinas © 1994 Indiana University Press. Reprinted with permission of the publisher.
with permission of the publisher. Excerpt from Beyond the Text by Cela Netanyahu: “Letter from the Front” by Jonathan
Lawrence A. Hoffman ©1987 Indiana University Press. Reprinted Netanyahu, from Self Portrait of a Hero: The Letters of Jonathan
with permission of the publisher. Netanyahu © 1980 (Random House, Inc.).
Jewish Lights Publishing: Excerpt from Tears of Sorrow, Seeds of W.W. Norton & Co., Inc.: “For Each of You” © 1973 Audre
Hope by Nina Beth Cardin © 1999 (Woodstock, Vt.: Jewish Lights Lorde, from Undersong: Chosen Poems Old and New by Audre Lorde.
Publishing). $19.95 + $3.50 s/h. Order by mail or call 800-962-4544 Used by permission of W.W. Norton & Co.
or online at www.jewishlights.com. Permission granted by Jewish “Prospective Immigrants Please Note” © 1993, 1967, 1963,
Lights Publishing, P.O. Box 237, Woodstock, Vt. 05091. Excerpt Adrienne Rich, from Collected Early Poems: 1950–1970 by Adrienne
from Self, Struggle & Change © 1995 Norman J. Cohen (Woodstock, Rich. Used with permission of the author and W.W. Norton & Co.,
Vt.: Jewish Lights Publishing). $19.95 + $3.50 s/h. Order by mail or Inc.
call 800-962-4544 or online at www.jewishlights.com. Permission Moishe Oysher: “Ki Lo Naeh” © Moishe Oysher.
granted by Jewish Lights Publishing, P.O. Box 237, Woodstock, Vt. Oxford University Press: “A Passover Melody” by Yaffa Eliach,
05091. from Hasidic Tales of the Holocaust by Yaffa Eliach © 1982 (Oxford
Jewish Publication Society: “The Spiritual Revival” by Ahad University Press).
HaAm (Asher Hirsch Ginsberg) from Selected Essays of Ahad HaAm, Chaim Parchi: “B’chol Dor Vador” © Chaim Parchi. Reprinted
edited by Leon Simon, ©1962 by the Jewish Publication Society. with permission.
Reprinted by permission of the publisher. Excerpt from Renewing Marshall Portnoy: “Mah Nishtanah” © 2001 Marshall Portnoy.
the Covenant by Eugene B. Borowitz © 1991 by the Jewish Publica- Reprinted with permission.
tion Society. Reprinted with permission of the publisher. Excerpt Penguin Putnam, Inc.: Excerpt from Thinking Passover by Ben
from Ruby of Cochin: An Indian Jewish Woman Remembers, edited 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- Sounds Write Productions: “B’ruchot HaBaot,” “B’chol Dor
sen Days: Celebrating Jewish Festivals in Poetry and Art by David Vador,” “Light These Lights,” and “Miriam’s Song” © Debbie Fried-
Rosenberg © 1980 (Random House, Inc.). man. Reprinted with permission of Sounds Write Productions.
Rutgers University Press: Excerpt from The Alphabet In My SUNY Press: “Servants of Time” “The Spheres of Heaven Saw”
by Yehudah Halevi, from Ninety-Two Poems and Hymns of Yehuda
Hands: A Writing Life by Marjorie Agosin © 2000. Reprinted with
Halevi by Franz Rosenzweig. Reprinted with permission of the State
permission of Rutgers University Press.
University of New York Press © 1999, State University of New York.
Sh’ma: “NiSh’ma” by Anita Diamant © 2001. Reprinted with All rights reserved.
permission of Sh’ma 31/581. “NiSh’ma” by Ellen Flax © 1999. Transcontinental Music: “Candle Lighting Blessing” by Abra-
Judith Schmidt: “Why Did I Make Your Heart Harden?” © 1998 ham W. Binder © Transcontinental Music. Used with permission of
Judith Schmidt. Used with permission. the publisher.
Schocken Books: Excerpts from Days of Honey: The Tunisian University of Chicago Press: “On the Eve of the Warsaw Upris-
Boyhood of Rafael Uzan by Irene Awret © 1984 Irene Awret. Used ing,” from The Courtesy by Alan Shapiro © 1989 (University of
with permission of Schocken Books, a division of Random House, Chicago Press).
Inc. Excerpt from Hannah Senesh: Her Life and Diary by Hannah Eleanor Wilner: “Miriam’s Song,” from Sarah’s Choice by
Eleanor Wilner ©1989 (University of Chicago Press). Reprinted with
Senesh, translated by Marta Cohn, © 1971 Nigel Marsh. Used with
permission of Eleanor Wilner.
permission of Schocken Books, a division of Random House, Inc.
Women of Reform Judaism: Commentary by Ruth Sohn,
Nurit Levi Shein: Selection from Hallel © 2001. Reprinted with excerpted from Beginning the Journey: Toward a Women’s Commen-
permission. tary on Torah © 1998 Women of Reform Judaism, the Federation of
Simon & Schuster, Inc.: Excerpt from A Passover Haggadah by Temple Sisterhoods. Reprinted with permission of Women of
Elie Wiesel © 1993 (Simon & Schuster, Inc.). Reform Judaism.

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A Passover Haggadah Pt4

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B’ruchot HaBaot Debbie Friedman

Light These Lights Debbie Friedman

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Hadlakat Nerot Abraham W. Binder

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Shehecheyanu Traditional melody

Kos Miryam Gerald Cohen

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Kos Miryam Andrea Jill Higgins

Kos Miryam Laura Berkson

Kadeish Ur’chatz Babylonian melody

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Kadeish Ur’chatz Gerald Cohen

Kiddush Traditional Three Festival melody

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Karpas Traditional Three Festival melody

Ha Lachma Anya Y’didyah Admon

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Ha Lachma Anya Charles Davidson

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Mah Nishtanah Ephraim Abileah

Mah Nishtanah Marshall Portnoy

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Avadim Hayinu Shalom Postolsky

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Baruch HaMakom Lisa Levine

V’Hi She-amdah Chasidic melody

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Dayeinu Traditional melody

B’chol Dor Vador Adapted from Chaim Parchi

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B’chol Dor Vador Debbie Friedman

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V’nomar L’fanav Chasidic melody

Hal’luyah (Psalm 113) Folk melody

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B’tzeit Yisrael (Psalm 114) Y’didyah Admon

Heharim rak’du ch’eilim g’vaot kiv’nei tzon.

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B’tzeit Yisrael (Psalm 114) Charles Davidson

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B’tzeit Yisrael (Psalm 114) Benedetto Marcello

3. Mah l’cha hayam ki tanus haYardein tisov l’achor?

Borei P’ri Hagafen Traditional Three Festival melody

Motzi Traditional Three Festival melody

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Matzah Traditional Three Festival melody

Maror Traditional Three Festival melody

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Shir HaMaalot Yossele Rosenblatt

Birkat HaMazon (short form) Traditional melody

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Yoseif Adonai (Psalm 115) Charles Davidson

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Hal’lu et Adonai Kol Goyim (Psalm 117) Sephardi melody

Hodu (Psalm 118) Traditional Pesach melody

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