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Teruah, Sisera's Mother and Fanny Eaton

אמר אביי בהא ודאי פליגי דכתיב (במדבר כט, א) יום תרועה יהיה לכם ומתרגמינן יום יבבא יהא לכון וכתיב באימיה דסיסרא (שופטים ה, כח) בעד החלון נשקפה ותיבב אם סיסרא

מר סבר גנוחי גנח ומר סבר ילולי יליל

As it is written: “It is a day of sounding [terua] the shofarto you” (Numbers 29:1), and we translateIt is a day of yevava to you. Andis written about the mother of Sisera: “Through the window she looked forth and wailed [vateyabev], the mother of Sisera” (Judges 5:28).

(כא) וַתִּקַּ֣ח יָעֵ֣ל אֵֽשֶׁת־חֶ֠בֶר אֶת־יְתַ֨ד הָאֹ֜הֶל וַתָּ֧שֶׂם אֶת־הַמַּקֶּ֣בֶת בְּיָדָ֗הּ וַתָּב֤וֹא אֵלָיו֙ בַּלָּ֔אט וַתִּתְקַ֤ע אֶת־הַיָּתֵד֙ בְּרַקָּת֔וֹ וַתִּצְנַ֖ח בָּאָ֑רֶץ וְהֽוּא־נִרְדָּ֥ם וַיָּ֖עַף וַיָּמֹֽת׃

(21) Then Jael wife of Heber took a tent pin and grasped the mallet. When he was fast asleep from exhaustion, she approached him stealthily and drove the pin through his temple till it went down to the ground. Thus he died.

(כח) בְּעַד֩ הַחַלּ֨וֹן נִשְׁקְפָ֧ה וַתְּיַבֵּ֛ב אֵ֥ם סִֽיסְרָ֖א בְּעַ֣ד הָֽאֶשְׁנָ֑ב מַדּ֗וּעַ בֹּשֵׁ֤שׁ רִכְבּוֹ֙ לָב֔וֹא מַדּ֣וּעַ אֶֽחֱר֔וּ פַּעֲמֵ֖י מַרְכְּבוֹתָֽיו׃

(28) Through the window peered Sisera’s mother, Behind the lattice she whined: “Why is his chariot so long in coming? Why so late the clatter of his wheels?”

Mother of Sisera
Albert Joseph Moore, ARWS (1841-1893)
1866
Oil on canvas
25 x 36 cm.
Tullie House Museum and Art Gallery, Carlisle
Bequeathed by Emily and Gordon Bottomley
Jamaican-born Fanny Eaton modelled for this poignant painting, in which Moore captures the mother's anxiety when her son fails to return home. [Commentary continues below.]
Moore is not concerned with whether this was an act of treachery or courage. He only focuses on Sisera's mother's feelings when his absence is prolonged.
Fanny Eaton, with her dark, exotic looks, was the ideal model here, as she was for other members of the Pre-Raphaelite Brotherhood when depicting Biblical scenes. A good example is Simeon Solomon's moving The Mother of Moses
https://artuk.org/discover/stories/fanny-eaton-jamaican-pre-raphaelite-muse?gclid=CjwKCAjwkJj6BRA-EiwA0ZVPVi9mkJWQo8lM55qznxCn-wLfv6ZfivL34c1vmHqwRkEu0wtfIpcbERoCLUEQAvD_BwE#
Lydia Figes
Fanny Eaton (1835–1924), a Jamaican-born woman who came to London as an infant – shortly after the abolition of slavery in British colonies. Born 'Fanny Matilda Antwistle' in St Andrew, Jamaica, on 23rd June 1835, Eaton was the daughter of Matilda Foster, a former slave who had worked on the British-owned plantations. The young Fanny was recorded as 'mulatto', a pejorative and outdated term once used to describe someone of 'mixed race' – it is quite possible that she had a white European father, possibly the British soldier James Entwistle (or Antwistle). No substantial information about Eaton's father has yet been found.
Eaton and her mother left Jamaica for Britain sometime in the 1840s. The Atlantic Slave Trade had been abolished in 1807, but it was only in 1834 that slavery was abolished entirely in Britain's colonies. Despite new legislation, many enslaved individuals remained bound to their former masters as 'apprentices' for another six years, until further laws were passed to abolish the apprenticeship clause in 1838.
When she came of age, Fanny cohabitated with James Eaton, a horse-cab driver. They lived in London's Coram Fields and had ten children together between 1858 and 1879. Brian Eaton, the great-grandson of Fanny, claims they were never married as no certificate has ever been found. Quite possibly, an interracial marriage would have been frowned upon and discouraged by James' family.
When James died in his forties in 1881, his wife was left to raise and provide for all of their surviving children.
Rossetti
William Blake Richmond (1842–1921) The Slave
After 1867, Eaton virtually disappeared in Pre-Raphaelite paintings, which is peculiar. We know that a 'Miss Fanny Eaton' was recorded modelling at the Royal Academy between 1874 and 1879, but perhaps this could have been her daughter, also called 'Fanny Eaton'.
Following her later life through the censuses, in 1871 she and her family were living in Islington; by 1881 she was widowed, and living in Kensington as a needlewoman; and by 1891 she was a housekeeper in Hammersmith, living with several of her children (interestingly her daughter Miriam is listed as an artist's assistant). In 1901 she was a domestic cook on the Isle of Wight, and by 1911, now in her seventies, she was living back in Hammersmith with Julia, her daughter, and Julia's husband and two children.
Fanny Eaton died at the age of around 89 in 1924, most likely in the home of one of her children. According to Marsh, her final resting place is Margravine Cemetery in Hammersmith.
Moore was a close friend of Solomon's, and it is likely that he was introduced to Eaton through the artist.
Why her tears should be the model for the shofar sounds has long been a subject of speculation.She is the nurturer of Sisera’s wicked ways. Biblical commentators have focused on her gazing out the window. Does she get a glimpse of the future? According to one talmudic reference, she sees that her offspring will change their ways and become teachers of Torah. One tradition even links them to the line from which the great Rabbi Akiva arose. If the family of Sisera can change, some argue, there is the possibility for anyone. Hence, her story suits the holiday theme of repentance.
Rabbi Eliyahu Kitov, in The Book of our Heritage, has a different explanation.“When a mother laments over her son’s anguish, she experiences compassion for other mothers who likewise weep over their children’s death,” he writes. “Sisera’s mother, however, is different. She seeks consolation in a strange hope: ‘Are they not finding, are they not dividing the spoil? A maiden, two maidens to each man.’ Her son Sisera is presently inflicting death agonies upon Jewish captives and shattering the limbs of their infants. Such thoughts seem to assuage her grief. Can there be greater cruelty? Let the one hundred shofar sounds of compassion nullify every one of those outcries of brutality, except one. For even the most brutal of mothers is not devoid of mother’s compassion. This one lament of compassion the shofar does not seek to nullify.”

(א) וּבַחֹ֨דֶשׁ הַשְּׁבִיעִ֜י בְּאֶחָ֣ד לַחֹ֗דֶשׁ מִֽקְרָא־קֹ֙דֶשׁ֙ יִהְיֶ֣ה לָכֶ֔ם כָּל־מְלֶ֥אכֶת עֲבֹדָ֖ה לֹ֣א תַעֲשׂ֑וּ י֥וֹם תְּרוּעָ֖ה יִהְיֶ֥ה לָכֶֽם׃

(1) In the seventh month, on the first day of the month, you shall observe a sacred occasion: you shall not work at your occupations. You shall observe it as a day when the horn is sounded.

(כח) בְּעַד֩ הַחַלּ֨וֹן נִשְׁקְפָ֧ה וַתְּיַבֵּ֛ב אֵ֥ם סִֽיסְרָ֖א בְּעַ֣ד הָֽאֶשְׁנָ֑ב מַדּ֗וּעַ בֹּשֵׁ֤שׁ רִכְבּוֹ֙ לָב֔וֹא מַדּ֣וּעַ אֶֽחֱר֔וּ פַּעֲמֵ֖י מַרְכְּבוֹתָֽיו׃

(28) Through the window peered Sisera’s mother, Behind the lattice she whined: “Why is his chariot so long in coming? Why so late the clatter of his wheels?”

(1)יַבָּבָא, יַבָּבוּתָא, יַבַּבְתָּא f. (preced. art.) sounding an alarm, alarm. Targ. Num. XXIX, 1, quoted R. Hash. 33ᵇ. Targ. O. Num. X, 5 sq. יַבַּבְתָּא ed. Berl. (oth. ed. יבבא, Y. ed. יַבֶּבְתָּא). Y. ib. 10 יַבָּבוּ׳; a. fr.

(1)יְלֵל ch. same. Targ. Jer. XLVII, 2.
Af. - אַיְלֵיל, אֵילֵילsame. Targ. Ez. XXVII, 32. Targ. Is. XXIII, 1; a. e.
Pa. - יַלֵּילsame. Ib. XV, 4; a. e.—Lam. R. to I, 1שריית מְיַילְּלָא (חדא אתתא) רבתי she began to lament. R. Hash. 33ᵇ, sq. יַלּוּלֵי יַלֵּיל, v. גְּנַח I

אתקין רבי אבהו בקסרי תקיעה שלשה שברים תרועה תקיעה מה נפשך אי ילולי יליל לעביד תקיעה תרועה ותקיעה ואי גנוחי גנח לעביד תקיעה שלשה שברים ותקיעהמספקא ליה אי גנוחי גנח אי ילולי יליל מתקיף לה רב עוירא ודלמא ילולי הוה וקא מפסיק שלשה שברים בין תרועה לתקיעה דהדר עביד תקיעה תרועה ותקיעה מתקיף לה רבינא ודלמא גנוחי הוה וקא מפסקא תרועה בין שברים לתקיעה דהדר עביד תש"תאלא רבי אבהו מאי אתקין אי גנוחי גנח הא עבדיה אי ילולי יליל הא עבדיה מספקא ליה דלמא גנח וילילאי הכי ליעבד נמי איפכא תקיעה תרועה שלשה שברים ותקיעה דלמא יליל וגנח סתמא דמילתא כי מתרע באיניש מילתא ברישא גנח והדר יליל:

§ Rabbi Abbahu instituted in Caesarea the following order of sounding of the shofar: First a tekia, a simple uninterrupted sound; next three shevarim, broken sounds; followed by a terua, a series of short blasts; and, finally, another tekia. The Gemara asks: Whichever way you look at it, this is difficult. If, according to the opinion of Rabbi Abbahu, the sound the Torah calls a terua is a whimpering, i.e., short, consecutive sounds, one should perform tekia-terua-tekia set. And if he holds that a terua is moaning, i.e., longer, broken sounds, he should sound a set as follows: Tekia, followed by three shevarim, and then another tekia. Why include both a terua and a shevarim?The Gemara answers: Rabbi Abbahu was uncertain whether a terua means moaning or whimpering, and he therefore instituted that both types of sound should be included, to ensure that one fulfills his obligation. Rav Avira strongly objects to this: But perhaps a teruais whimpering, and the addition of three shevarim interrupts between the terua and the initial tekia, which disqualifies the entire set. The Gemara answers: That is why one then performs a tekia-terua-tekia set, to account for this possibility. Ravina strongly objects to this: But perhaps a teruais moaning, and the terua interrupts between the shevarim and the final tekia, once again disqualifying the entire set. The Gemara likewise answers: That is why one then performs a tekia-shevarim-tekia set, to cover this possibility as well.The Gemara asks: But if in any case one must perform the two sets of blasts, for what purpose did Rabbi Abbahu institute that one should perform a tekia-shevarim-terua-tekia set? If a teruais moaning, one already did it; if it is whimpering, one already did this, too. The Gemara answers: Rabbi Abbahu was uncertain, and he thought that perhaps a terua consists of moaning followed by whimpering. Consequently, all three sets are necessary.The Gemara asks: If so, let one perform the opposite set as well: Tekia, terua, three shevarim, tekia, as perhaps a terua consists of whimpering and then moaning. The Gemara answers: The normal way of things is that when a person experiences a bad event, he first moans and then whimpers, but not the reverse.

(א) כַּמָּה תְּקִיעוֹת חַיָּב אָדָם לִשְׁמֹעַ בְּרֹאשׁ הַשָּׁנָה. תֵּשַׁע תְּקִיעוֹת. לְפִי שֶׁנֶּאֱמַר תְּרוּעָה בְּיוֹבֵל וּבְרֹאשׁ הַשָּׁנָה שָׁלֹשׁ פְּעָמִים. וְכָל תְּרוּעָה פְּשׁוּטָה לְפָנֶיהָ וּפְשׁוּטָה לְאַחֲרֶיהָ. וּמִפִּי הַשְּׁמוּעָה לָמְדוּ שֶׁכָּל תְּרוּעוֹת שֶׁל חֹדֶשׁ הַשְּׁבִיעִי אֶחָד הֵן. בֵּין בְּרֹאשׁ הַשָּׁנָה בֵּין בְּיוֹם הַכִּפּוּרִים שֶׁל יוֹבֵל תֵּשַׁע תְּקִיעוֹת תּוֹקְעִין בְּכָל אֶחָד מִשְּׁנֵיהֶן. תְּקִיעָה וּתְרוּעָה וּתְקִיעָה. תְּקִיעָה וּתְרוּעָה וּתְקִיעָה. תְּקִיעָה וּתְרוּעָה וּתְקִיעָה:

(1) How many blasts is one obligated to hear on Rosh Hashanah? Nine blasts. Since it is stated, "teruah," with regards to the jubilee year and to Rosh Hashanah three times. And every teruah requires a simple blast (tekiah) before it and a simple blast after it. And from the oral tradition, they learned that all of the teruahs of the seventh month are the same: Whether on Rosh Hashanah, or whether on Yom Kippur of the Jubilee year, we blow nine blasts on both of them — tekiah, teruah, tekiah; tekiah, teruah, tekiah; tekiah, teruah, tekiah.

(ג) י"א ששיעור תקיע' כתרוע' ושיעור תרוע' כשלשה יבבות דהיינו ג' כוחות בעלמא כל שהוא והם נקראין טרומיטין ולפי"ז צריך ליזהר שלא יאריך בשבר כשלשה טרומיטין שאם כן יצא מכלל שבר ונעשה תקיעה ויש אומרים דאין לחוש אם האריך בשברים קצת ובלבד שלא יאריך יותר מדאי וכן נוהגין (מרדכי והג"א פי"ט) וצריך להאריך בתקיעה של תשר"ת יותר מבשל תש"ת ובשל תש"ת יותר מבשל תר"ת ומיהו אם מאריך הרבה בכל תקיעה אין לחוש שאין לה שיעור למעלה וכן בתרועה יכול להאריך בה כמו שירצה וכן אם מוסיף על ג' שברים ועושה ד' או יהוה אין לחוש וי"א ששיעור יבבא ג' טרומיטין ושיעור תרוע' כשלשה יבבות שהם ט' טרומיטין ושיעור תקיע' גם כן ט' טרומיטין כתרועה ולפי זה אין לחוש אם האריך קצת בשברים וצריך להאריך בתקיע' של תשר"ת כשיעור י"ב טרומיטין ומי שלא האריך בתקיעה כשיעור הזה והאריך בשברים לא קיים המצוה לא כמר ולא כמר:

(3) 3. There are those that say that the shiur (i.e. the length) Tekiah is like the Teruah and the shiur Teruah is 3 Yavovos that is 3 minimal puffs alone that is called Terumitin (third tones). And according to this, it is necessary not elongate with the Shever blast like 3 Terumitin, that if so the (blast) goes out of the category of Shever and becomes a Tekiah. Parentheses (Rema): There are those that say there isn’t to worry if one extends the Shevarim a bit provided one does not expand more than needed, so is we are accustomed [Mordechai and Hagaos Maiminos Chapter 19]<\i>. Also, it is necessary to elongate the Tekiah of TSR”T more than TS”T, and TS”T more than TR”T. However if one elongates much on app Tekiah blasts there isn’t to be concerned; since there is not a maximum shiur (length), so in the Teruah blasts one is able to elongate as they want. Same if one adds to the 3 Shevarim...

(א)סדר הראוי לתקיעת שופר ובו ט' סעיפים:כמה תקיעות חייב אדם לשמוע בראש השנה תשע לפי שנאמר תרועה ביובל ובר"ה ג"פ וכל תרועה פשוטה לפניה ופשוטה לאחריה ומפי השמועה למדו שכל תרועות של חודש השביעי אחד הן בין בר"ה בין ביוה"כ של יובל תשע תקיעות תוקעין בכל אחד משניהם תר"ת תר"ת תר"ת:

(1)The Proper Order of the Shofar Blasts and in it 9 paragraphs<\b>How many Tekiahs is one obligated to hear on Rosh HaShana? Nine. (This is) because it says "Teruah" by Yovel and Rosh HaShana three times. And every Teruah has a straight (blast) before it and a straight (blast) after it. And from tradition (the Sages) learned that all Teruahs of the seventh month, whether on Rosh HaShana or Yom HaKippurim of Yovel, (are) nine Tekiahs. We blow on each of them TR"T, TR"T TR"T.

(ד) שִׁעוּר תְּרוּעָה כִּשְׁתֵּי תְּקִיעוֹת. שִׁעוּר שְׁלֹשָׁה שְׁבָרִים כִּתְרוּעָה. הֲרֵי שֶׁתָּקַע וְהֵרִיעַ וְתָקַע תְּקִיעָה אֲרֻכָּה וּמָשַׁךְ בָּהּ כִּשְׁתַּיִם בָּרִאשׁוֹנָה. אֵין אוֹמְרִין תֵּחָשֵׁב כִּשְׁתֵּי תְּקִיעוֹת וְיָרִיעַ אַחֲרֶיהָ וְיַחֲזֹר וְיִתְקַע. אֶלָּא אֲפִלּוּ מָשַׁךְ בָּהּ כָּל הַיּוֹם אֵינָהּ אֶלָּא תְּקִיעָה אַחַת וְחוֹזֵר וְתוֹקֵעַ וּמֵרִיעַ וְתוֹקֵעַ שָׁלֹשׁ פְּעָמִים:

(4) The [requisite] measure of a teruah is like two tekiahs. The [requisite] measure of three shevarim is like a teruah. See that if one sounded a tekiah and a teruah and sounded a long tekiah like two of the first, we do not say [that] it is considered like two tekiahs and that he can [continue the order and] sound a teruah after it and then a tekiah. Rather even if he dragged out the sound of the tekiah the whole day, it is only one tekiah; so he must go back and sound [another] tekiah [before] he sounds a teruah and a tekiah [to complete the] three times.

תָּקַע (b. h.; cmp. תָּקַל) [to bring into contact, knock, insert,] 1)to drive a peg in, put up a tent; to fasten. Yalk. Cant. 981 הלואי יִתְקַע תורתי בלבנו וכ׳ Oh that he would drive his law into our heart as in former days. Ex. R. s. 117 Caleb is named Tekoa (I Chr. II, 24), שת׳ לבו לאביו וכ׳ because he fastened his heart on his father in heaven. Yeb. 109ᵇתּוֹקֵעַ עצמו לדבר הלכה he who nails himself to the matter of the law, i.e. confines himself to study, and is remiss in practical conduct; ואיבעית אימא תוקע … בדיינא וכ׳ or I may explain, ‘he who nails himself to the matter of the law’ refers to a judge before whom a case comes, and he having learned a certain hălakhah decides by analogy, while there is a greater scholar than he whom he fails to consult; a. e.—Part. pass. תָּקוּעַ lodged, placed. B. Mets. 85ᵇאצל מי אתה ת׳ next to whom art thou placed (in heaven)? Y. Sot. IX, 23ᶜ והסכין ת׳ בלבו with the knife sticking in his heart; a. e. —2) (cmp. רָעַע) to shout, esp. to blow (a horn). B. Kam. 18ᵇתרנגול … ות׳ בו ושברו if a cock put his head into a glass vessel and crowed into it, and broke it; Kidd. 24ᵇ. Ib.ת׳ באזנו וכ׳ if one blew on a horn into a person’s ear, and made him deaf; a. e.—Esp. a) to blow the Shofar at services; b) to sound the plain note(תְּקִיעָה). R. Hash. III, 5בר"ה תּוֹקְעִין בשל זכרים on New Year’s day they blow on a ram’s horn. Ib. 7התוקע לתוך הבור וכ׳ if one blows (the Shofar) into a pit &c. Ib. IV, 1יום טוב … תוקעים וכ׳ when New Year fell on a Sabbath, they blew in the Temple, but not in the country. Ib. 8 אין מעכבין … מלִתְקוֹעַ we do not prevent children from blowing the Shofar (on the Sabbath). Ib. 9 תוקע ומריע ותוקע, v. רוּעַ I. Taan. II, 5תִּקְעיּ הכהנים תָּקְעוּ וכ׳ (the reader said,) sound the T’ḳiʿah, you priests, and they did so, (upon which he said,) He who has answered &c.; a. v. fr.—[ 3)to slap with the back of the hand. B. Kam. VIII, 6 (90ᵃ) התוקע לחבירו he who slaps his neighbor on the ear; oth. opin. who shouts into his neighbor’s ear.]
Hif. - הִתְקִיעַto cause to blow. R. Hash. IV, 7השני מַתְקִיעַ the second reader orders the blowing of the Shofar.
Nif. - נִתְקַע1)to be driven in, be inserted. Yeb. 54ᵃונ׳ and his membrum was inserted. —2)to be lodged. Taan. 24ᵃ אוי לו לדור שנ׳ בכך Ms. M. (ed. שכן נ׳) woe to the generation that is placed in such a (bad) position.