Category: Torah

Vayakhel: Great Source(s)

He made the laver out of copper, and its base out of copper, from the mirrors of the serving women (tzovot) who served at the entrance of the tabernacle. — Ex. 38:8

Miriam was a teacher of women. — Targum Micah 6:4

“Each of you is made in the image of God,” Miriam explained. “Your soul and your speech are like God’s, and your body is God’s dwelling place. Each of you embodies the Divine presence in a different way. When you look into your mirror, you see a woman, bu you also see the Divine image. If a man were to look into your mirror, he would see a man, but he would also see God. This is what the Torah means when it says: God created the adam in his own image, in the image of God he created him, male and female he created them. God is like the mirror: God remains the same, but reflects each of our images differently, men and women, young and old. This is why, when we study together, we can reveal different facets of the Torah to each other. Each of us is different reflection of the One.”

…They made a covenant with one another to return again and again to the door of the Tent of Meeting, to pray, to study and see the their faces in the basin made form their mirrors. And in that company Miriam was often heard to teach: On account of the one God’s many images is the Eternal called Adonai Tze’vaot, Lord of Hosts; and some say, Adonai Tzovot, God of the women who serve the Divine dwelling-place.
— Jill Hammer, “The Mirror”

This midrash can be found in All the Women Followed Her (see Source Materials for details) and in Sisters at Sinai.

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The “Opening the Book” series was originally presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group that for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.

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Ki Tisa: A Path to Follow

“Adonai, Adonai, el rachum v’chanun…” — Exodus/Shemot 34:6-7

The soul is part of God. And therefore when the soul calls out to God in prayer, part of God is, as it were, calling out to God’s own self. So, when our text says that God passed by Moses’ face, it means that Moses was overcome by reverence and filled with fear and love. And just this is the reason that the word “Adonai” is repeated. The first mentioning of “Adonai” is actually the aspect of God within Moses calling to its other, universal presence. Continue reading Ki Tisa: A Path to Follow

Ki Tisa: Something to Notice

Sections of this week’s portion figure prominently in Arguing with God: A Jewish Tradition, by Anson Laytner (Northvale, NJ: Jason Aronson, 1990).

Anson explores rabbinic use of Moses’ arguments (p.49ff). He describes liturgical use of verse 32:12 — “turn from Your fierce wrath, and repent the evil against Your people” — in an 11th Century CE piyut (liturgical poem) recited on Mondays and Thursdays as part of Tachanun [supplication] (p.122ff). In addition, he outlines the “complete law-court argument prayer” which Moses offers immediately after the Golden Calf incident, Exodus/Shemot 32:9-14:

Here is manifest an example of complete law-court argument prayer: an opening address (verse 11), a defense argument (verses 12a, 13), a plea (or petition) (verse 12b), and a divine response (indirect) (verse 14). But the threat of destruction is not ended. Although God relents of His plan (verse 14), He still requires further appeasement…(Exodus 32:30-35)

The second argument should be considered as a continuation of the first, although structurally each can stand alone. First of all, it pursues the same line of argumentation as does the first. Second, it provides the real conclusion to the story (that is God’s actual sentence and its execution [verses 33-35]). Third, Moses’ ultimatum, “erase me,” seems to be a direct response to God’s offer in verse 10 to make of Moses a great nation. Fourth, Moses’ recounting of the event, in Deuteronomy 9:26-29, blends the two arguments of the Exodus story into a single unit. Finally, both arguments are needed to save the people fully.

— Anson, p.10-11

Continue reading Ki Tisa: Something to Notice

Ki Tisa: Language and Translation

Exodus/Shemot 32:25, part of Moses’ confrontation with Aaron regarding the Golden Calf, contains two interesting words for which there are a range of translations. One is a hapax legomenon, a word that appears only once in the Tanakh; the other a common verb, with a root that encompasses three and half columns in my concordance:*

“Moses saw the people, that it was exposed [ki parua hu], for Aaron had exposed them [ki p’raoh aharon] to disgrace [l’shimtzah] among those who rise up against them.” — Stone*

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“Moses saw that the people were out of control [ki parua hu] — since Aaron had let them get out of control [ki p’raoh aharon] — so that they were a menace [l’shimtzah] to any who might oppose them.”

A menace. Others, “an object of derision.” — JPS/Plaut*

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“Now when Moses saw the people: that it had gotten-loose [ki parua hu],

for Aharon had let-it-loose [ki p’raoh aharon] for whispering among their foes [l’shimtzah].”

gotten-loose: The same verb (paro’a) was used in 5:4, where Pharoah complained about the Israelites. for whispering: A derisive kind of whispering. — Fox*

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“And Moses saw the people, that it was let loose [ki parua hu], for Aaron had let them loose [ki p’raoh aharon] as a shameful thing [l’shimtzah] to their adversaries.”

The basic meaning of the Hebew paru’a is “to unbind,” as in the unbinding or letting loose of long hair. The sense here is of loosing of all inhibitions in orgiastic frenzy.

The word translated as a “shameful thing,” shimtsah, appears only here and so its meaning is uncertain, though it seems to indicate something strongly negative. “To their adversaries” might conceivably be a euphanims for “themselves,” as the more common word for enemies is sometimes used as a euphemistic substitution in curses.– Alter*

Cassuto* notes use of the root pei-reish-ayin in Numbers/Bamidbar 6:5, e.g, which refers directly to hair, in this case of an individual who took Nazarite vows: “…he shall let the locks [pera’] of hair of his head grow long,’ that is to say, the Nazirite shall allow the hair of his to grow untended” (p.420).

None of the six translation/commentaries links pei-reish-ayin with the Sotah [suspected wife] (Numbers/Bamidbar 5) — in which the priest is to bare [para’] the wife’s head. All note similarities, however, between Moses’ actions regarding the Golden Calf and the priest’s instructions regarding the Sotah.

Cassuto also notes a comparison of this loose/exposed/out of control state with the stiff-necked characterization of verse 9, adding, “In these poetic expressions there is possibly to be heard an echo of the ancient epic poem to which we have alluded earlier” (p.421). Throughout his Exodus commentary, Cassuto refers to “an ancient heroic poem, an epos dating back to earliest times, that told at length of the story of the Egyptian bondage, of the liberation and of the wandering of the children of Israel in the wilderness” (p.2).

* Please see Source Materials for full citations and additional information.

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The “Opening the Book” series was originally presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group that for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.

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Tetzaveh: Something to Notice

Outside the Curtain

“You shall further instruct the Israelites to bring you clear oil of beaten olives for lighting, for kindling lamps regularly [ner tamid]. Aaron and his sons shall set them up in the Tent of Meeting, outside the curtain which is over the Pact, [to burn] from evening to morning before the LORD. It shall be a due from the Israelites for all time, throughout the ages.”
— Exodus/Shemot 27:20-21, JPS/Plaut*
[English bracketed words in the original]

Continue reading Tetzaveh: Something to Notice

Tetzaveh: A Path to Follow

A bell and a pomegranate: erotic poetry and bellman’s verses…

And you shall make on its hem pomegranates of indigo and purple and crimson, on its hem all around, and golden bells within them all around. A golden bell and a pomegranate [paamon zahav v’rimon], a golden bell and a pomegranate, on the hem of the robe all around [al shulei hamil saviv].

A golden bell and a pomegranate, a golden bell and a pomegranate. The sheer splendor of the ornamentation is evoked in poetic incantation through the repetition of the phrase. Judah Halevi, the great medieval Hebrew poet, echoes these words in a delicate, richly sensual love poem, registering an imaginative responsiveness to the sumptuous sensuality of the language here.
— Exodus/Shemot 28:33-34, Alter**

Alter doesn’t give a citation for the “delicate, richly sensual love poem,” its name or first line. (Alas, poor footnote, I knew him well!)*

It seems likely that Alter is referencing the poem T. Carmi, The Penguin Book of Hebrew Verse,** entitles “Song of Farewell” or “Why, O Fair One?”:

Mah lach, tz’viya, tim’n’i tzirayich
midor, tz’laav malui tzirayich
[Why, O fair one, do you withhold your envoys
from the lover whose heart is filled with pain of you?
…
lu acharei moti b’aznei yaaleh
kol pa’amon zahav alei shulayich
[Oh, after my death, let me still hear
the sound of the golden bells on the hem of your skirt]
–Judah Halevi, T. Carmi’s translation

This type of poem — using biblical imagery for human, sometimes erotic, themes — is quite different from Halevi’s religious poetry. One interesting path to follow is to read a few of Halevi’s poems — and those of his fellow medieval writers — with different subjects or aims. Consider the contrast between religious and secular uses of biblical language and images, described in Alter’s Canon and Creativity: Modern Writing and the Authority of Scripture.**


Double Canonicity

“Where Shall I Find You?” — one of Halevi’s religious works — references the Cherubim, for example, from the portion Terumah. This is meant to evoke God’s dwelling place and a longing for a relationship with the divine.

The poem above, on the other hand, uses imagery from the portion Tetzeveh, referencing priestly garb, but unabashedly describes human passion — “radical freedom of allusive play with the Bible” (Alter, p. 47).

Such free use of biblical language might seem blasphemous “from a doctrinal point of view,” Alter writes. “[B]ut the poet does it without compunction, for in his sense of the literary canonicity of the Bible, considerations of doctrine are suspended” (p.50). The Bible, in this view, is a “literary repository of the language of the culture” (p.48).

To read more about Hebrew poets’ varying use of biblical texts, see Canon and Creativity.

*The Bell’s Path

To follow another, somewhat diversionary, path, consider the trail of the bell itself, rather than that of the lush biblical description. Plaut** notes — in reference to Exodus/Shemot 28:34 — that bells were widely used to ward off evil. He cites James Frazer (Folklore in the Old Testament, 1919, and The Golden Bough, 1922), noting that the older work was “updated and republished in Gaster’s book.” This book, in turn —Myth, Legend and Custom in the Old Testament, by Theodor H. Gaster (NY: Harper and Row, 1969) — is listed fully in Plaut’s bibliography and cited by footnote and endnote (yeah!!).

(According to Frazer, as in the poem from Milton here quoted, bells had a prophylactic function, and hence the High Priest was to have a bell attached to his garments so that when he entered the sanctuary he would not die, 28:35)

…the bellman’s drowsy charm
To bless the doors from nightly harm. — John Milton***

What Plaut doesn’t say, but I find interesting, is that night watchmen in the 17th and 18th Centuries CE regaled their customers with rhymes designed to elicit gratuities at the Christmas holidays.

“The benediction which thus broke the stillness of the night was usually cast in a poetical form of such unparalleled atrocity that bellman’s verses have been proverbial ever since” (Frazer , p.456…through Google Books, you can read the entire chapter on “The Golden Bell,” and Frazer cites Lord Macaulay’s History of England, 1871, also available through Google, should you desire further details about bellman and their verses.)

Thus, this one pair of bible verses is associated with some of the best-loved and most reviled poetry ever.** Please see Source Materials for full citations and additional information on Torah translations and commentaries. Note: Tetzaveh is also transliterated Tetsaveh or T’tzavveh.

***Plaut doesn’t name Milton’s poem: Il Penseroso, 1633.

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The “Opening the Book” series is presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group that for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.
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Tetzaveh: Language and Translation

You shall further instruct the Israelites to bring you clear oil of beaten olives for lighting, for kindling lamps regularly [ner tamid]. Aaron and his sons shall set them up in the Tent of Meeting outside the curtain which is over the Pact, from evening to morning before the LORD. It shall be a due from the Israelites for all time, throughout the ages.

[Note:] Kindling lamps regularly. The lights were to be kindled on the lampstand previously described. The translation of [ner tamid] as “perpetual light” or “eternal light” is grammatically inaccurate and is also contradicted by verse 21. (The so-called ner tamid of the synagogue is of much later origin.) — Exodus/Shemot 27:20-21, JPS/Plaut* and commentary

Cassuto* says that tamid is “intrinsically capable of two interpretations: it can mean ‘continuously, without interruption’ — that is the lamps would never be extinguished, either by day or by night; or it can signify ‘regularly’ — that is, the lamps would burn every night; on no night would its light be wanting — as in the expression [olat tamid, ‘continual burnt offering’].” He concludes that the “second sense is more probable” from context.

In addition, Cassuto says that “ner [‘lamp’] is used here in a collective sense: ‘lamps’ or ‘candelabrum.’

For more on the ancient lamp(s), see, e.g., Wikipedia’s article.

Here’s a quick reference on the later, synagogue “ner tamid.” To the right is an example of a new photovoltaic “ner tamid,” designed to save energy; this one was installed at Jewish Reconstructionist Congregation, Evanston, IL.


*Please see Source Materials for complete commentary and Torah/translation citations. Note: Tetzaveh is also transliterated Tetsaveh or T’tzavveh.

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The “Opening the Book” series was originally presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group that for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.
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Tetzaveh: Great Source(s)

“And it [a robe hemmed with bells] shall be upon Aaron when he serves, so that its sound shall be heard when he comes into [v’nishma kolo b’bo-o] the sanctum before the Lord and when he goes out, that he shall not die.”
— Exodus/Shemot 28:31-38, Alter* translation [bracketed material added]

R. Simeon ben Yohai said: The man who enters his own house, or needless to say the house of his fellow man unexpectedly, the Holy One hates, and I too do not exactly love him.

Rav said: Do not enter your city nor even your own home unexpectedly [footnote: without informing your kin of your coming].

While R. Yohanan was about to go in to inquire about the welfare of R. Hanina, he would first clear his throat in keeping with “And his voice shall be heard when he goeth in [v’nishma kolo b’bo-o] ” (Exod. 28:35)
— Bialik & Ravnitsky, Sefer Ha-Aggadah* (citation to Lev Rabbah 21:8)

Alter notes: “In the ancient Near East, the inner sanctum was a dangerous place. Any misstep or involuntary trespass of the sacred paraphernalia could bring death…The sound of the ringing golden bells on Aaron’s hem goes before him as he enters the sanctum, serving an apotropaic function to shield him from harm in this zone of danger.”

Cassuto* says: “…shall be heard… for it is unseemly to enter the royal palace suddenly; propriety demands that the entry should be preceded by an announcement, and the priest should be careful not to go into the sanctuary irreverently. And likewise when he comes out, as he prostrates himself before departing, the sound of the bells, together with the act of prostration, will constitute a kind of parting blessing on leaving the sanctuary. Lest he die for not showing due reverence for the shrine.”

* See Source Materials for full citations. Note: Tetzaveh is also transliterated Tetsaveh or T’tzavveh.

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The “Opening the Book” series was originally presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group which for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.
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Terumah: Great Source(s)

Notes on Terumah from study partners, a rabbi and a playwright —

LK —

For a religious culture obsessed with prohibiting (and obliterating) any graven image, how curious that winged golden statues be set above the ark. Even more fascinating is the statement that not from inside the Ark nor even from above it, but instead between the statues will God speak. this “in between” the two cherubim, two statues, two graven images, is the locus of the voice. As Martin Buber taught us, God is uniquely present in the space in between. And, as Kabbalists imagined, the Shekhina, the feminine, indwelling presence of God, resides between the cherubim.

Neither from one cherub nor the other, but from the space created between them — when they confront each other — issues the revelation. Only relationship can imitate life and growth and revelation. And relationship can be created only when one ego realizes that there is another ego of equal importance. It can only be discovered in the presence of another. You simply cannot get there alone, there must always be someone else; it takes two to tango.

Perhaps that is why the prohibition against idolatry does not apply here. Truth be told, we are all only lifeless graven images until we face another and, in so doing, bring our selves and the other to life. And from between that meeting the divine voice issues.

DM–

The Ark of the Covenant and Ezekiel’s wheel could both be called fantasy. But the second is a vision, and the first is a divine instruction. To say an instruction is beyond our understanding is not to say it is impossible of execution.

We say “I do not understand” of the natural world cheerfully, and endeavor to better understand ourselves and call it “science.”

To be dismissive of “natural” evidence is called “ignorance.” To dismiss the divine is called “sophistication.”

–Lawrence Kushner and David Mamet

While reading Five Cities of Refuge: Weekly Reflections on Genesis, Exodus, Leviticus, Numbers, and Deuteronomy (NY: Schocken Books, 2003), the deepest, most interesting spot to inhabit is often, much as Kushner notes above, “between” the offerings of these study partners. Several reviews note differences in the styles of the co-authors. Stan C. Denman of Baylor University notes, in [contemporary review — can no longer (2019) find working link] that Kushner’s insights “often innovative and unconventional, stay within accessible distance from the text of study,” while Mamet’s sometimes seem more tangential, “against the grain of conventional erudition, often with favorable results.”

Denman also discusses a tendency in this book to focus on “‘we Jews’ and the particularities of Jewish ‘victimization,'” a practice the reviewer believes will turn-off non-Jewish readers. In my reading, however, the “victimization” tendency appears almost exclusively in the comments of Mamet: God introduced the name “YHVH,” he tells us at one point, e.g., because “El Shaddai” was too Jewish. Kushner, on the other hand, (simply) reads the bible as a conversation between God and “Israel,” with any reader expected to take spiritual and ethical lessons from their position as part of that collective noun. And so, between — between their religious and more secular writing, between the particular and the universal, between them — we are privileged to witness relationship… the only place, Kushner says above, where the divine dwells.

Five Cities of Refuge is available in hardcover or ebook. At $21.00, this might not be at the top of everyone’s “must-purchase” list, but I recommend checking it out, if you’re able.

See Source Materials for more information/links on this title and others.

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The “Opening the Book” series was originally presented in cooperation with the independent, cross-community Jewish Study Center and with Kol Isha, an open group that for many years pursued spirituality from a woman’s perspective at Temple Micah (Reform). “A Song Every Day” is an independent blog, however, and all views, mistakes, etc. are the author’s.

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