Hilchot Tefilla - Beth Hasho'eva

Mishna Sukka 5:1

הֶחָלִיל — חֲמִשָּׁה וְשִׁשָּׁה. זֶהוּ הֶחָלִיל שֶׁל בֵּית הַשּׁוֹאֵבָה, שֶׁאֵינוֹ דּוֹחֶה לֹא אֶת הַשַּׁבָּת וְלֹא אֶת יוֹם טוֹב.

MISHNA: The flute is played on the festival of Sukkot for five or six days. This is the flute of the Place of the Drawing of the Water, whose playing overrides neither Shabbat nor the Festival. Therefore, if the first Festival day occurred on Shabbat, they would play the flute for six days that year. However, if Shabbat coincided with one of the intermediate days of the Festival, they would play the flute for only five days.

מתני' החליל חמשה וששה - פעמים שהוא ששה ימים פעמים חמשה:

וזהו חליל - שהיו מחללין לרבות שמחה לבית השואבה:

בית השואבה - כל שמחה זו אינה אלא בשביל ניסוך המים כדמפרש ושאבתם מים בששון:

Why is the ceremony called Beth Hasho'eva - Place of Drawing Water?

(Water was drawn at Shilo'ach, not at the Temple)

גְּמָ׳ אִיתְּמַר: רַב יְהוּדָה וְרַב עֵינָא, חַד תָּנֵי: שׁוֹאֵבָה, וְחַד תָּנֵי: חֲשׁוּבָה. אָמַר מָר זוּטְרָא: מַאן דְּתָנֵי שׁוֹאֵבָה לָא מִשְׁתַּבַּשׁ, וּמַאן דְּתָנֵי חֲשׁוּבָה לָא מִשְׁתַּבַּשׁ. מַאן דְּתָנֵי שׁוֹאֵבָה לָא מִשְׁתַּבַּשׁ, דִּכְתִיב: ״וּשְׁאַבְתֶּם מַיִם בְּשָׂשׂוֹן״. וּמַאן דְּתָנֵי חֲשׁוּבָה לָא מִשְׁתַּבַּשׁ, דְּאָמַר רַב נַחְמָן: מִצְוָה חֲשׁוּבָה הִיא, וּבָאָה מִשֵּׁשֶׁת יְמֵי בְּרֵאשִׁית.

GEMARA: It was stated that Rav Yehuda and Rav Eina disagreed: One of them teaches that the celebration was called the Celebration of Drawing [sho’eva] and one of them teaches that it was called the significant [ḥashuva] celebration. Mar Zutra said: The one who taught sho’eva is not mistaken, and the one who taught ḥashuva is not mistaken. The one who taught sho’eva is not mistaken, as it is written: “And you shall draw [ushavtem] water with joy from the wells of salvation” (Isaiah 12:3), and its name reflects the fact that it is a celebration of the water libation. And the one who taught ḥashuva is not mistaken, as Rav Naḥman said: It is a significant mitzva and it originated from the six days of Creation.

חד תני שואבה. בירושלמי מפרש שמשם שואבים רוח הקודש שהשכינה שורה מתוך שמחה דכתיב "ויהי כנגן המנגן ותהי עליו רוח ה'"

אָמַר רַבָּה בַּר בַּר חָנָה אָמַר רַבִּי יוֹחָנָן: שִׁיתִין, מִשֵּׁשֶׁת יְמֵי בְּרֵאשִׁית נִבְרְאוּ... תָּנָא דְּבֵי רַבִּי יִשְׁמָעֵאל: ״בְּרֵאשִׁית״, אַל תִּיקְרֵי ״בְּרֵאשִׁית״, אֶלָּא ״בָּרָא שִׁית״.

§ Rabba bar bar Ḥana said that Rabbi Yoḥanan said: The drainpipes [shittin] built into the altar and extending beneath it were created from the six days of Creation, as it is stated: “The hidden of your thighs are like the links of a chain, the handiwork of a skilled workman” (Song of Songs 7:2). The Gemara interprets the verse homiletically: “The hidden of your thighs”; these are the drainpipes that are concealed within the altar; “are like the links of a chain [ḥala’im]”; they are hollow [meḥolalin] and descend to the depths; “the handiwork of a skilled workman”; this is the handiwork of the Holy One, Blessed be He. On a similar note, it was taught in the school of Rabbi Yishmael that it is written: “In the beginning [bereshit]” (Genesis 1:1); do not read it as: Bereshit, but rather as: Bara shit, meaning that God created the pipeline descending from the altar.

שיתין - חלל שתחת המזבח כנגד מקום הנסכים:

What is the status of Music in the Temple Ceremonies?

תָּנוּ רַבָּנַן: הֶחָלִיל דּוֹחֶה אֶת הַשַּׁבָּת, דִּבְרֵי רַבִּי יוֹסֵי בַּר יְהוּדָה. וַחֲכָמִים אוֹמְרִים: אַף יוֹם טוֹב אֵינוֹ דּוֹחֶה.

אָמַר רַב יוֹסֵף: מַחְלוֹקֶת בְּשִׁיר שֶׁל קׇרְבָּן, דְּרַבִּי יוֹסֵי סָבַר: עִיקַּר שִׁירָה בִּכְלִי, וַעֲבוֹדָה הִיא, וְדוֹחָה אֶת הַשַּׁבָּת. וְרַבָּנַן סָבְרִי: עִיקַּר שִׁירָה בַּפֶּה, וְלָאו עֲבוֹדָה הִיא, וְאֵינָהּ דּוֹחָה אֶת הַשַּׁבָּת. אֲבָל שִׁיר שֶׁל שׁוֹאֵבָה, דִּבְרֵי הַכֹּל שִׂמְחָה הִיא, וְאֵינָהּ דּוֹחָה אֶת הַשַּׁבָּת.

§ The Sages taught: The flute overrides Shabbat; this is the statement of Rabbi Yosei bar Yehuda. And the Rabbis say: It does not override even a Festival. Rav Yosef said: The dispute is with regard to the song that the Levites sang accompanying the daily offering. As Rabbi Yosei bar Yehuda holds that the primary essence of song is the accompaniment by musical instruments, and consequently these instruments are a component of the Temple service and override Shabbat. The Rabbis hold that the primary essence of song is singing with the mouth, and consequently the instruments are not a component of the service; they merely accompany the singing on occasion and therefore they do not override Shabbat. However, with regard to the song of the Drawing of the Water, everyone agrees that it is rejoicing and not a component of the Temple service; therefore it does not override Shabbat.

בשיר של קרבן - בחליל המכה לפני המזבח בשעת ניסוך (המים ו) היין לתמיד של שחר וניסוך היין לתמיד של בין הערבים שהלוים עומדין על דוכנם ואומרים שיר והחליל מכה לפניהם כדתנן במסכת ערכין (דף י.) בי"ב יום בשנה החליל מכה לפני המזבח ואין אומרים שיר על המזבח אלא על היין כדאמרינן התם ובאותו חליל נחלק רבי יוסי בר יהודה לומר שהוא דוחה:

עיקר שירה - שקרבן צבור טעון שיר מן התורה כדאמרינן במסכת ערכין (דף יא.) מכמה מקראות וסבר ר' יוסי עיקר השיר אינו אא"כ חליל מכה עם השיר וכן כנורות ונבלים הכל כמנין המפורש שם הלכך עבודה היא וכי היכי דתמיד דוחה שבת שיר שלו נמי דוחה שבת:

בפה - הלוים אומרים השיר דבר יום ביומו כגון "לה' הארץ ומלואה" (תהילים כ״ד:א׳) בראשון, "גדול ה' ומהולל" (שם מח) בשני, וכן כולם; ובשבת שאי אפשר לחליל אינו דוחה שאין כלי שיר המצוה

אבל שיר של שואבה - שהיה כל הלילה על מעלות היורדות מעזרת ישראל לעזרת נשים כדקתני במתני' והלוים בכנורות ובנבלים:

דברי הכל שמחה יתירה היא - ואינה מן התורה אלא לחבב את המצות ולא דחי שבת:

מֵיתִיבִי: שִׁיר שֶׁל שׁוֹאֵבָה דּוֹחֶה אֶת הַשַּׁבָּת, דִּבְרֵי רַבִּי יוֹסֵי בַּר יְהוּדָה. וַחֲכָמִים אוֹמְרִים: אַף יוֹם טוֹב אֵינוֹ דּוֹחֶה. תְּיוּבְתָּא דְּרַב יוֹסֵף! תְּיוּבְתָּא.

The Gemara raises an objection to the opinion of Rav Yosef that the dispute is with regard to the song that the Levites sang accompanying the daily offering: The song of the Drawing of the Water overrides Shabbat; this is the statement of Rabbi Yosei bar Yehuda. And the Rabbis say: It does not override even the Festival. Apparently, their dispute is with regard to the song of the Drawing of the Water. Say that this is a conclusive refutation of the opinion of Rav Yosef. The Gemara concludes: Indeed, it is a conclusive refutation.

לֵימָא בְּשִׁיר שֶׁל שׁוֹאֵבָה הוּא דִּפְלִיגִי, אֲבָל בְּשִׁיר שֶׁל קׇרְבָּן דִּבְרֵי הַכֹּל דּוֹחֶה אֶת הַשַּׁבָּת. לֵימָא תֶּיהְוֵי תְּיוּבְתָּא דְּרַב יוֹסֵף בְּתַרְתֵּי!

The Gemara suggests: Let us say, based on this baraita, that it is with regard to the song of the Drawing of the Water alone that they disagree; however, with regard to the song that the Levites sang accompanying the daily offering, everyone says that it overrides Shabbat. If so, let us say that this will be a conclusive refutation of the opinion of Rav Yosef on two counts. According to Rav Yosef, the dispute is with regard to the song of the Drawing of the Water, and not with regard to the song the Levites sang accompanying the daily offering. The above suggestion refutes both aspects of his opinion.

נימא תהוי תיובתא דרב יוסף - נמי בהא דאמר לעיל בשל קרבן פליגי והכא דייקינן דמודו רבנן ביה והויא תיובתא בתרתי בשל שואבה הוי תיובתיה מדרבי יוסי ובשל קרבן הוי תיובתיה מדרבנן:

וְהָא קָתָנֵי: זֶהוּ חָלִיל שֶׁל בֵּית הַשּׁוֹאֵבָה שֶׁאֵינוֹ דּוֹחֶה לֹא אֶת הַשַּׁבָּת וְלֹא אֶת יוֹם טוֹב: זֶהוּ דְּאֵינוֹ דּוֹחֶה, אֲבָל דְּקָרְבָּן דּוֹחֶה מַנִּי? אִי נֵימָא רַבִּי יוֹסֵי בַּר יְהוּדָה, הָאָמַר שִׁיר שֶׁל שׁוֹאֵבָה נָמֵי דּוֹחֶה! אֶלָּא לָאו, רַבָּנַן — וּתְיוּבְתָּא דְּרַב יוֹסֵף בְּתַרְתֵּי! תְּיוּבְתָּא.

The Gemara asks: But isn’t it taught in the mishna: This is the flute of the Place of the Drawing of the Water, which overrides neither Shabbat nor the Festival. By inference, this is the flute that does not override Shabbat; however, the flute that accompanies the daily offering overrides Shabbat. The Gemara asks: Who is the tanna of the mishna? If we say it is Rabbi Yosei bar Yehuda, didn’t he say that the song of the Drawing of the Water also overrides Shabbat? Rather, is it not the Rabbis, and say that this is a conclusive refutation of Rav Yosef on two counts. The Gemara concludes: Indeed, it is a conclusive refutation.

מַאי טַעְמָא דְּמַאן דְּאָמַר עִיקַּר שִׁירָה בִּכְלִי? דִּכְתִיב: ״וַיֹּאמֶר חִזְקִיָּהוּ לְהַעֲלוֹת הָעוֹלָה לְהַמִּזְבֵּחַ וּבְעֵת הֵחֵל הָעוֹלָה הֵחֵל שִׁיר ה׳ וְהַחֲצוֹצְרוֹת וְעַל יְדֵי כְּלֵי דָּוִיד מֶלֶךְ יִשְׂרָאֵל״.

The Gemara asks: What is the rationale for the opinion of the one who said: The primary essence of song is singing accompanied by musical instruments? The Gemara answers: It is as it is written: “And Hezekiah commanded to sacrifice the burnt-offering upon the altar. And when the burnt-offering began, the song of the Lord began also, and the trumpets, together with the instruments of David, king of Israel” (II Chronicles 29:27), indicating that the song of God that accompanies the offering is played by trumpets and other instruments.

החל שיר ה' וחצוצרות ועל ידי כלי דויד - אלמא כלי דוד שיר ה' קרי ליה:

מַאי טַעְמָא דְּמַאן דְּאָמַר עִיקַּר שִׁירָה בַּפֶּה? דִּכְתִיב: ״וַיְהִי כְאֶחָד לַמְחַצְּצרִים וְלַמְשׁוֹרְרִים לְהַשְׁמִיעַ קוֹל אֶחָד״.

The Gemara asks: What is the rationale for the opinion of the one who said: The primary essence of song is singing with the mouth? The Gemara answers: It is as it is written: “And it came to pass, when the trumpeters and the singers were as one to make one sound” (II Chronicles 5:13). Since the verse does not mention any musical instrument played with the singing other than the trumpets, and the trumpets were not sounded as accompaniment for the singers, apparently the primary essence of song is singing with the mouth. The trumpets were sounded in order to accompany the sacrifice of the daily and additional offerings with the requisite sounds of tekia and terua.

למחצצרים ולמשוררים - והכא לא כתיב כלים וחצוצרות לאו כלי שיר נינהו שהן לתקיעות התמידין והמוספין:

The conclusion of Chapter 5 in the Mishna

בְּמוֹצָאֵי יוֹם טוֹב הָרִאשׁוֹן שֶׁל חָג, יָרְדוּ לְעֶזְרַת נָשִׁים, וּמְתַקְּנִין שָׁם תִּקּוּן גָּדוֹל. וּמְנוֹרוֹת שֶׁל זָהָב הָיוּ שָׁם, וְאַרְבָּעָה סְפָלִים שֶׁל זָהָב בְּרָאשֵׁיהֶן, וְאַרְבָּעָה סֻלָּמוֹת לְכָל אֶחָד וְאֶחָד, וְאַרְבָּעָה יְלָדִים מִפִּרְחֵי כְהֻנָּה וּבִידֵיהֶם כַּדִּים שֶׁל שֶׁמֶן שֶׁל מֵאָה וְעֶשְׂרִים לֹג, שֶׁהֵן מַטִּילִין לְכָל סֵפֶל וָסֵפֶל:
This was the sequence of events: At the conclusion of the first Festival day the priests and the Levites descended from the Israelites’ courtyard to the Women’s Courtyard, where they would introduce a significant repair, as the Gemara will explain. There were golden candelabra atop poles there in the courtyard. And there were four basins made of gold at the top of each candelabrum. And there were four ladders for each and every pole and there were four children from the priesthood trainees, and in their hands were pitchers with a capacity of 120 log of oil that they would pour into each and every basin.

At the conclusion of the first festival day of Sukkot they descended to the Women’s Court (Ezrat and they would make there a great enactment. As we learned in yesterday’s mishnah, they did not celebrate the Simchat Bet Hashoevah on either Shabbat or on the festival. They would not begin until after the first festival day was completed. The celebration would start with the people going into the “Women’s Court.” This was a section in the Temple into which both men and women could enter, but it was as far as women could go in the Temple. Hence it was called the “Women’s Court.” The mishnah says that they would make their a “great enactment” but does not explain what this was. The Talmud explains that they separated the men and women, putting the men below and the women up into the balcony so that they wouldn’t mix. The fear was that in the midst of such a raucous occasion the mixture of men and women together could lead to transgression. Hence they separated between the sexes. However, on normal occasions men and women seem to have been together in the Women’s Court.

מִבְּלָאֵי מִכְנְסֵי כֹהֲנִים וּמֵהֶמְיָנֵיהֶן מֵהֶן הָיוּ מַפְקִיעִין, וּבָהֶן הָיוּ מַדְלִיקִין, וְלֹא הָיְתָה חָצֵר בִּירוּשָׁלַיִם שֶׁאֵינָהּ מְאִירָה מֵאוֹר בֵּית הַשּׁוֹאֵבָה:
From the worn trousers of the priests and their belts they would loosen and tear strips to use as wicks, and with them they would light the candelabra. And the light from the candelabra was so bright that there was not a courtyard in Jerusalem that was not illuminated from the light of the Place of the Drawing of the Water.

From the worn-out pants and belts of the priests they made wicks and with them they kindled the lamps. The wicks that they used to light the candles were not made from any old ordinary material. They used the worn-out pants and belts the priests, which they wore in their Temple service. This teaches us that once something has been used for one mitzvah it is fitting that it should be used in another mitzvah as well.

חֲסִידִים וְאַנְשֵׁי מַעֲשֶׂה הָיוּ מְרַקְּדִים לִפְנֵיהֶם בַּאֲבוּקוֹת שֶׁל אוֹר שֶׁבִּידֵיהֶן, וְאוֹמְרִים לִפְנֵיהֶן דִּבְרֵי שִׁירוֹת וְתִשְׁבָּחוֹת. וְהַלְוִיִּם בְּכִנּוֹרוֹת וּבִנְבָלִים וּבִמְצִלְתַּיִם וּבַחֲצוֹצְרוֹת וּבִכְלֵי שִׁיר בְּלֹא מִסְפָּר, עַל חֲמֵשׁ עֶשְׂרֵה מַעֲלוֹת הַיּוֹרְדוֹת מֵעֶזְרַת יִשְׂרָאֵל לְעֶזְרַת נָשִׁים, כְּנֶגֶד חֲמִשָּׁה עָשָׂר שִׁיר הַמַּעֲלוֹת שֶׁבַּתְּהִלִּים, שֶׁעֲלֵיהֶן לְוִיִּים עוֹמְדִין בִּכְלֵי שִׁיר וְאוֹמְרִים שִׁירָה. וְעָמְדוּ שְׁנֵי כֹהֲנִים בַּשַּׁעַר הָעֶלְיוֹן שֶׁיּוֹרֵד מֵעֶזְרַת יִשְׂרָאֵל לְעֶזְרַת נָשִׁים, וּשְׁתֵּי חֲצוֹצְרוֹת בִּידֵיהֶן. קָרָא הַגֶּבֶר, תָּקְעוּ וְהֵרִיעוּ וְתָקָעוּ. הִגִּיעוּ לְמַעְלָה עֲשִׂירִית, תָּקְעוּ וְהֵרִיעוּ וְתָקָעוּ. הִגִּיעוּ לָעֲזָרָה, תָּקְעוּ וְהֵרִיעוּ וְתָקָעוּ. הָיוּ תוֹקְעִין וְהוֹלְכִין, עַד שֶׁמַּגִּיעִין לַשַּׁעַר הַיּוֹצֵא מִזְרָח. הִגִּיעוּ לַשַּׁעַר הַיּוֹצֵא מִמִּזְרָח, הָפְכוּ פְנֵיהֶן לַמַּעֲרָב, וְאָמְרוּ, אֲבוֹתֵינוּ שֶׁהָיוּ בַמָּקוֹם הַזֶּה אֲחוֹרֵיהֶם אֶל הֵיכַל ה' וּפְנֵיהֶם קֵדְמָה, וְהֵמָּה מִשְׁתַּחֲוִים קֵדְמָה לַשָּׁמֶשׁ, וְאָנוּ לְיָהּ עֵינֵינוּ. רַבִּי יְהוּדָה אוֹמֵר, הָיוּ שׁוֹנִין וְאוֹמְרִין, אָנוּ לְיָהּ, וּלְיָהּ עֵינֵינוּ:

The pious and the men of action would dance before the people who attended the celebration, with flaming torches that they would juggle in their hands, and they would say before them passages of song and praise to God. And the Levites would play on lyres, harps, cymbals, and trumpets, and countless other musical instruments. The musicians would stand on the fifteen stairs that descend from the Israelites’ courtyard to the Women’s Courtyard, corresponding to the fifteen Songs of the Ascents in Psalms, i.e., chapters 120–134, and upon which the Levites stand with musical instruments and recite their song. And this was the ceremony of the Water Libation: Two priests stood at the Upper Gate that descends from the Israelites’ courtyard to the Women’s Courtyard, with two trumpets in their hands. When the rooster crowed at dawn, they sounded a tekia, and sounded a terua, and sounded a tekia. When they who would draw the water reached the tenth stair the trumpeters sounded a tekia, and sounded a terua, and sounded a tekia, to indicate that the time to draw water from the Siloam pool had arrived. When they reached the Women’s Courtyard with the basins of water in their hands, the trumpeters sounded a tekia, and sounded a terua, and sounded a tekia. When they reached the ground of the Women’s Courtyard, the trumpeters sounded a tekia, and sounded a terua, and sounded a tekia. They continued sounding the trumpets until they reached the gate through which one exits to the east, from the Women’s Courtyard to the eastern slope of the Temple Mount. When they reached the gate through which one exits to the east, they turned from facing east to facing west, toward the Holy of Holies, and said: Our ancestors who were in this place during the First Temple period who did not conduct themselves appropriately, stood “with their backs toward the Sanctuary of the Lord, and their faces toward the east; and they worshipped the sun toward the east” (Ezekiel 8:16), and we, our eyes are to God. Rabbi Yehuda says that they would repeat and say: We are to God, and our eyes are to God.

Men of piety and good deeds used to dance before them with lighted torches in their hands, and they would sing songs and praises. After having lit the menorah, the party kicks off with dancing, singing and the playing of musical instruments. The first participants mentioned are the “Hasidim” or the men of piety and men whom are known for their good deeds. This group’s participation is unusual and noteworthy for these were men chosen based on their deeds and not on their lineage. In my opinion this was indeed one of the functions of the Simchat Bet Hashoevah, to give a greater role to those who are not of the priestly or Levitical clans. It is these people whose dancing, songs and praise would probably have stood out the most. This dancing and singing took place in the Court of the Women.

And Levites with innumerable harps, lyres, cymbals and trumpets and other musical instruments stood upon the fifteen steps leading down from the Court of the Israelites to the Court of the Women, corresponding to the fifteen songs of ascents in the Psalms, and it was on these [steps] that the Levites stood with their musical instruments and sang their songs. The second group is the Levites who would arrange themselves on the fifteen steps leading up from the Court of the Women to the Court of the Israelites. The mishnah notes that these fifteen steps correlate with the fifteen Psalms which begin “A Song of Ascents (Shir Hamaalot)” (Psalms 120-134). One can only imagine how beautiful, indeed sublime, their music must have been.

Two priests stood by the upper gate which leads down from the Court of the Israelites to the Court of the Women, with two trumpets in their hands. When the cock crowed they sounded a teki'ah [drawn-out blast], a teru'ah [staccato note] and again a teki'ah. When they reached the tenth step they sounded a teki'ah, a teru'ah and again a teki'ah. When they reached the Court [of the Women] they sounded a teki'ah, a teru'ah and again a teki'ah. They would sound their trumpets and proceed until they reached the gate which leads out to the east. The third group involved is the priests. The priests begin the ceremony standing above everyone else, up in the Court of the Israelites. When the cock crows at the crack of dawn they begin a process of descending and blowing shofar blasts at set stages. Eventually this leads them down through the women’s court and out to the eastern gate.

When they reached the gate which leads out to the east, they turned their faces from east to west and said, “Our fathers who were in this place ‘their backs were toward the Temple of the Lord, and their faces toward the east, and they worshipped the sun toward the east’, but as for us, our eyes are turned to the Lord.” Rabbi Judah said: they used to repeat [the last words] and say “We are the Lord’s and our eyes are turned to the Lord.” When they get to the eastern gate they are facing the sun. They turn around so that their backs are to the sun and use this opportunity to profess their faith in God and their denial of the worship of the sun. They quote from Ezekiel 8:16 in order to highlight that the sin of sun-worship is not just something that “others” or Greeks were engaged in, but something that Israelites themselves were accused of by Ezekiel. It seems to me likely that there is also a polemic here against other contemporary Jewish groups who had a solar calendar. A calendar based on the sun and actual worship of the sun could probably have been associated. Certainly it would make sense that the Pharisees/rabbis would claim that their rivals, the Essenes and perhaps the Sadducees, were not just basing their calendar on the sun but were worshipping the sun as well. We have already seen on a number of occasions that Sukkot was a holiday full of strife between the various sects of ancient Judaism. The mishnah ends its procession at this point, but it is quite clear that it was not actually over at this moment but that from the eastern gate they would make their way down to the Shiloah spring in order to draw water for the water-libation.