As long as we are not chased from our words we have nothing to fear. As long as our utterances keep their sound we have a voice. As long as our words keep their sense we have a soul.
- Edmond Jabés, The Book of Questions
- Edmond Jabés, The Book of Questions
״נִיצּוּחַ״ וְ״נִיגּוּן״ — לֶעָתִיד לָבֹא. ״מַשְׂכִּיל״ — עַל יְדֵי תּוּרְגְּמָן. ״לְדָוִד מִזְמוֹר״ — מְלַמֵּד שֶׁשָּׁרְתָה עָלָיו שְׁכִינָה וְאַחַר כָּךְ אָמַר שִׁירָה. ״מִזְמוֹר לְדָוִד״ — מְלַמֵּד שֶׁאָמַר שִׁירָה וְאַחַר כָּךְ שָׁרְתָה עָלָיו שְׁכִינָה. לְלַמֶּדְךָ שֶׁאֵין הַשְּׁכִינָה שׁוֹרָה, לֹא מִתּוֹךְ עַצְלוּת וְלֹא מִתּוֹךְ עַצְבוּת וְלֹא מִתּוֹךְ שְׂחוֹק וְלֹא מִתּוֹךְ קַלּוּת רֹאשׁ וְלֹא מִתּוֹךְ דְּבָרִים בְּטֵלִים, אֶלָּא מִתּוֹךְ דְּבַר שִׂמְחָה שֶׁל מִצְוָה. שֶׁנֶּאֱמַר: ״וְעַתָּה קְחוּ לִי מְנַגֵּן וְהָיָה כְּנַגֵּן הַמְנַגֵּן וַתְּהִי עָלָיו יַד ה׳״.
The Gemara continues to discuss the book of Psalms. If a psalm begins with the terms nitzuaḥ or niggun, this indicates that its praise will be fulfilled in the future. Psalms that begin with the word maskil were delivered by means of a disseminator, a spokesman in a public address. The lecturer would speak softly, followed by a repetition of his discourse in the disseminator’s louder voice, so that everyone could hear. If a psalm begins: Of David a psalm, this teaches that the Divine Presence rested upon him first and afterward he recited the song. However, if a psalm opens with: A psalm of David, this teaches that he first recited the song, and afterward the Divine Presence rested upon him. The Gemara adds: Incidentally, this serves to teach you that the Divine Presence rests upon an individual neither from an atmosphere of sadness, nor from an atmosphere of laziness, nor from an atmosphere of laughter, nor from an atmosphere of frivolity, nor from an atmosphere of idle conversation, nor from an atmosphere of idle chatter, but rather from an atmosphere imbued with the joy of a mitzva. As it is stated with regard to Elisha, after he became angry at the king of Israel, his prophetic spirit left him until he requested: “But now bring me a minstrel; and it came to pass when the minstrel played, that the hand of the Lord came upon him” (II Kings 3:15).
לְטוֹבָה אָ֣ז יָֽשִׁיר־מֹשֶׁה֩ וּבְנֵ֙י יִשְׂרָאֵ֜ל. לְרָעָה וַיִּשָּׂא כָּל־הָ֣עֵדָ֔ה וַֽיִּתְּנ֖וּ אֶת־קוֹלָם֑.
Another example: For good, with regard to the song at the Red Sea after the Israelites were rescued from the Egyptians, it is stated: “Then sang Moses and the children of Israel this song unto the Lord, and spoke, saying: I will sing unto the Lord, for He is highly exalted; the horse and his rider He has thrown into the sea” (Exodus 15:1). They did not start singing of their own accord, but merely followed Moses’ lead. Yet for evil, after the spies delivered their report upon their return from Eretz Yisrael, the verse states: “And all the congregation lifted up their voice, and cried; and the people wept that night” (Numbers 14:1).
המדרגה השניה היא - שימצא האדם כאילו ענין אחד חל עליו וכח אחר התחדש וישימהו לדבר וידבר בחכמות או בתשבחות או בדברי הזהרה מועילים או בענינים הנהגיים או אלוקיים וזה כולו בעת היקיצה והשתמש החושים על מנהגיהם - וזהו אשר יאמר עליו שהוא מדבר ב'רוח הקודש'. ובזה המין מ'רוח הקודש' חיבר דוד תלים וחיבר שלמה משלי וקוהלת ושיר השירים; וכן דניאל ואיוב ודברי הימים ושאר ה'כתובים' בזה המין מ'רוח הקודש' חוברו - ולזה יקראום 'כתובים' - רוצים לומר שהם 'כתובים ברוח הקודש'; ובבאור אמרו "מגילת אסתר ברוח הקודש נאמרה" ועל כיוצא ב'רוח הקודש' הזה אמר דוד "רוח יי דיבר בי ומלתו על לשוני" - רצונו לומר שהיא הביאתהו לדבר באלו הדברים. ומזה הכת היו 'שבעים זקנים' הנאמר עליהם "ויהי כנוח עליהם הרוח ויתנבאו ולא יספו"; וכן אלדד ומידד וכן כל 'כהן גדול הנשאל באורים ותומים' הוא מזה הכת - רצוני לומר שהוא כמו שזכרו 'שכינה שורה עליו ומדבר ברוח הקודש'. וכן יחזיאל בן זכריהו - מזה הכת והוא הנאמר עליו בדברי הימים "היתה עליו רוח יי בתוך הקהל ויאמר הקשיבו כל יהודה ויושבי ירושלם והמלך יהושפט כה אמר יי לכם וגו'". וכן זכריהו בן יהוידע הכהן - מזה הכת שהנה נאמר בו "ורוח אלוקים לבשה את זכריה בן יהוידע הכהן ויעמוד מעל לעם ויאמר להם כה אמר האלוקים". וכן עזריהו בן עודד אשר נאמר בו "ועזריהו בן עודד היתה עליו רוח אלוקים ויצא לפני אסא וגו'". וכן כל מי שבאהו כמו זה. ודע שבלעם גם כן מזה הכת היה בעת שהיה טוב - וזה הענין רוצה באמרו "וישם יי דבר בפי בלעם" - כאילו הוא אומר ש'ברוח יי ידבר'; ומזה הענין יאמר הוא על עצמו "שומע אמרי אל": וממה שצריך שנעורר עליו - שדוד ושלמה ודניאל הם מזה הכת ואינם מכת ישעיה וירמיה ונתן הנביא ואחיה השילוני וחבריהם שאלו - רצוני לומר דוד ושלמה ודניאל - אמנם דברו וזכרו מה שזכרו ב'רוח הקודש'. ואמנם מאמר דוד "אמר אלוקי ישראל לי דבר צור ישראל" - ענינו שהוא יעדו טוב על ידי נביא - אם נתן או זולתו - כמו "ויאמר יי לה" וכמו "ויאמר יי לשלמה יען אשר היתה זאת עמך ולא שמרת בריתי" אשר זה בלא ספק יעוד רע לו על ידי אחיה השילוני או זולתו. וכן אמרו בשלמה "בגבעון נהראה יי אל שלמה בחלום הלילה ויאמר אלוקים וגו'" - אין זה נבואה גמורה לא כמו "היה דבר יי אל אברם במחזה לאמר" ולא כמו "ויאמר אלוקים לישראל במראות הלילה" ולא כנבואת ישעיה וירמיה כי כל אחד מהם - אף על פי שבאתהו הנבואה 'בחלום' - הנבואה ההיא תודיעהו שהיא נבואה ושבאה לו הנבואה - ובזה הענין של שלמה אמר בסופו "ויקץ שלמה והנה חלום"; וכן בענין השני אמר בו "וירא יי אל שלמה שנית כאשר נראה אליו בגבעון" אשר התבאר שהוא 'חלום'. וזאת - מעלה למטה מהמעלה הנאמר עליה "בחלום אדבר בו" כי אשר יתנבאו 'בחלום' לא יקראוהו 'חלום' בשום פנים אחר הגיע הנבואה אליהם 'בחלום' אלא יפסקו לגמרי שהוא נבואה - כמו שאמר 'יעקב אבינו' כי כאשר התעורר מ'חלום הנבואה' ההוא לא אמר שזה 'חלום' אבל פסק ואמר "אכן יש יי במקום הזה וגו'" ואמר אל שדי נראה אלי בלוז בארץ כנען" ופסק שהוא נבואה. אמנם בשלמה אמר "ויקץ שלמה והנה חלום". וכן דניאל תמצאהו מתיר המאמר שהם חלומות - ואף על פי שהיה רואה בהם מלאך וישמע דבור - ויקראם חלומות ואפילו אחר דעתו מהם מה שידע - אמר "אדין לדניאל בחזוא די ליליא רזא גלי" ואמר עוד "באדין חלמא כתב וגו' חזה הוית בחזוי עם ליליא וגו' וחזוי ראשי יבהלונני" ואמר "ואשתומם על המראה ואין מבין" - ואין ספק שזאת מדרגה - למטה ממדרגת אשר נאמר בהם "בחלום אדבר בו"; ולזה הסכימה האומה לסדר 'ספר דניאל' מכלל 'כתובים' לא מן 'נביאים'. ולזה העירותיך שזה המין מן הנבואה אשר לדניאל ושלמה - אף על פי שראו בו 'מלאך בחלום' - לא מצאו בעצמם שהיא נבואה גמורה אבל 'חלום' יודיע באמיתת ענינים - והוא מכת מי שידבר ב'רוח הקודש'. וזאת היא המדרגה השנית. וכן בסדר 'כתבי הקודש' לא שמו הפרש בין משלי וקוהלת ודניאל ותילים ובין 'מגילת רות' או 'מגילת אסתר' - 'הכל ברוח הקודש נכתבו'. ואלו גם כן כולם יקראו נביאים בכלל:
(2) The second degree is this: A person feels as if something came upon him, and as if he had received a new power that encourages him to speak. He treats of science, or composes hymns, exhorts his fellow-men, discusses political and theological problems; all this he does while awake, and in the full possession of his senses. Such a person is said to speak by the holy spirit. David composed the Psalms, and Solomon the Book of Proverbs, Ecclesiastes, and the Song of Solomon by this spirit; also Daniel, Job, Chronicles, and the rest of the Hagiographa were written in this holy spirit; therefore they are called ketubim (Writings, or Written), i.e., written by men inspired by the holy spirit. Our Sages mention this expressly concerning the Book of Esther. In reference to such holy spirit, David says: "The spirit of the Lord spoke in me, and his word is on my tongue" (2 Sam. 23:2); i.e., the spirit of the Lord caused him to utter these words. This class includes the seventy elders of whom it is said, "And it came to pass when the spirit rested upon them, that they prophesied, and did not cease" (Num. 11:25); also Eldad and Medad (ibid. ver. 26); furthermore, every high priest that inquired [of God] by the Urim and Tummim; on whom, as our Sages say, the divine glory rested, and who spoke by the holy spirit; Yahaziel, son of Zechariah, belongs likewise to this class. Comp. "The spirit of the Lord came upon him in the midst of the assembly, and he said, Listen, all Judah and inhabitants of Jerusalem, thus saith the Lord unto you," etc. (2 Chron. 20:14, 15); also Zechariah, son of Jehoiada the priest. Comp. "And he stood above the people and said unto them, Thus saith God" (ibid. 24:20); furthermore, Azariah, son of Oded; comp. "And Azariah, son of Oded, when the spirit of the Lord came upon him, went forth before Asa," etc. (ibid. 15:1, 2); and all who acted under similar circumstances. You must know that Balaam likewise belonged to this class, when he was good; this is indicated by the words, "And God put a word in the mouth of Balaam" (Num. 23:5), i.e., Balaam spoke by divine inspiration; he therefore says of himself, "Who heareth the words of God," etc. (ibid. 24:4) We must especially point out that David, Solomon, and Daniel belonged to this class, and not to the class of Isaiah, Jeremiah, Nathan the prophet, Elijah the Shilonite, and those like them. For David, Solomon, and Daniel spoke and wrote inspired by the holy spirit, and when David says, "The God of Israel spoke and said unto me, the rock of Israel" (2 Sam. 23:3), he meant to say that God promised him happiness through a prophet, through Nathan or another prophet. The phrase must here be interpreted in the same manner as in the following passages, "And God said to her" (Gen. 25:26); "And God said unto Solomon, Because this hath been in thy heart, and thou hast not kept my covenant," etc. (1 Kings 11:11). The latter passage undoubtedly contains a prophecy of Ahijah the Shilonite, or another prophet, who foretold Solomon that evil would befall him. The passage, "God appeared to Solomon at Gibeon in a dream by night, and God said" (ibid. 3:5), does not contain a real prophecy, such as is introduced by the words "The word of the Lord came to Abram in a vision, saying" (Gen. 15:1) or, "And God said to Israel in the visions of the night" (ibid. 46:2), or such as the prophecies of Isaiah and Jeremiah contain: in all these cases the prophets, though receiving the prophecy in a prophetic dream, are told that it is a prophecy, and that they have received prophetic inspiration. But in the case of Solomon, the account concludes, "And Solomon awoke, and behold it was a dream" (1 Kings 3:15); and in the account of the second divine appearance, it is said, "And God appeared to Solomon a second time, as he appeared to him at Gibeon" (ibid. 9:2); it was evidently a dream. This kind of prophecy is a degree below that of which Scripture says, "In a dream I will speak to him" (Num. 12:6). When prophets are inspired in a dream, they by no means call this a dream, although the prophecy reached them in a dream, but declare it decidedly to be a prophecy. Thus Jacob, our father, when awaking from a prophetic dream, did not say it was a dream, but declared, "Surely there is the Lord in this place," etc. (Gen. 28:16); "God the Almighty appeared to me in Luz, in the land of Canaan" (ibid. 48:3), expressing thereby that it was a prophecy. But in reference to Solomon we read And Solomon awoke, and behold it was a dream" (1 Kings 3:15). Similarly Daniel declares that he had a dream; although he sees an angel and hears his word, he speaks of the event as of a dream: even when he had received the information [concerning the dreams of Nebukadnezzar], he speaks of it in the following manner--"Then was the secret revealed to Daniel in a night vision (Dan. 2:19). On other occasions it is said, "He wrote down the dream" "I saw in the visions by night," etc.; "And the visions of my head confused me" (Dan. 7:1, 2, 15); "I was surprised at the vision, and none noticed it" (ibid. 8:27). There is no doubt that this is one degree below that form of prophecy to which the words, "In a dream I will speak to him," are applied. For this reason the nation desired to place the book of Daniel among the Hagiographa, and not among the Prophets. I have, therefore, pointed out to you, that the prophecy revealed to Daniel and Solomon, although they saw an angel in the dream, was not considered by them as a perfect prophecy, but as a dream containing correct information. They belonged to the class of men that spoke, inspired by the ruaḥ ha-kodesh, "the holy spirit." Also in the order of the holy writings, no distinction is made between the books of Proverbs, Ecclesiastes, Daniel, Psalms, Ruth, and Esther; they are all written by divine inspiration. The authors of all these books are called prophets in the more general sense of the term.
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. אָמַר רַב יוֹסֵף: מְנָא אָמֵינָא דִּבְהָא פְּלִיגִי, דְּתַנְיָא: כְּלֵי שָׁרֵת שֶׁעֲשָׂאָן שֶׁל עֵץ, רַבִּי פּוֹסֵל וְרַבִּי יוֹסֵי בַּר יְהוּדָה מַכְשִׁיר. מַאי לָאו בְּהָא קָמִיפַּלְגִי, מַאן דְּמַכְשַׁיר סָבַר: עִיקַּר שִׁירָה בִּכְלִי, וְיָלְפִינַן מֵאַבּוּבָא דְמֹשֶׁה. וּמַאן דְּפָסֵיל סָבַר: עִיקַּר שִׁירָה בַּפֶּה, וְלָא יָלְפִינַן מֵאַבּוּבָא דְמֹשֶׁה. לָא, דְּכוּלֵּי עָלְמָא עִיקַּר שִׁירָה בִּכְלִי, וְהָכָא בְּדָנִין אֶפְשָׁר מִשֶּׁאִי אֶפְשָׁר קָמִיפַּלְגִי. מַאן דְּמַכְשַׁיר סָבַר: דָּנִין אֶפְשָׁר מִשֶּׁאִי אֶפְשָׁר, וּמַאן דְּפָסֵיל סָבַר: לָא דָּנִין אֶפְשָׁר מִשֶּׁאִי אֶפְשָׁר. וְאִיבָּעֵית אֵימָא: דְּכוּלֵּי עָלְמָא דְּעִיקַּר שִׁירָה בַּפֶּה, וְאֵין דָּנִין אֶפְשָׁר מִשֶּׁאִי אֶפְשָׁר, וְהָכָא בְּמֵילַף מְנוֹרָה בִּכְלָלֵי וּפְרָטֵי אוֹ בְּרִבּוּיֵי וּמִיעוּטֵי קָא מִיפַּלְגִי. רַבִּי דָּרֵישׁ כְּלָלֵי וּפְרָטֵי, רַבִּי יוֹסֵי בַּר יְהוּדָה דָּרֵישׁ רִיבּוּיֵי וּמִיעוּטֵי.
§ 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. Rav Yosef said: From where do I say that they disagree about this matter? It is as it is taught in a baraita: With regard to Temple service vessels that one crafted of wood, Rabbi Yehuda HaNasi deems them unfit and Rabbi Yosei bar Yehuda deems them fit. What, is it not that they disagree with regard to this matter? The one who deems the wooden vessel fit holds that the primary essence of song is accompaniment by musical instruments, and we derive that sacred vessels may be crafted of wood from the wooden flute of Moses, which according to this opinion was a service vessel. And the one who deems the wooden vessel unfit holds that the primary essence of song is singing with the mouth, and therefore we do not derive any halakha relevant to service vessels from the wooden flute of Moses, as according to this opinion it was not a service vessel. The Gemara rejects this explanation of the baraita. No, that is not necessarily the matter that they dispute, as one could say that everyone agrees: The primary essence of song is singing accompanied by musical instruments. And here, it is with regard to whether one derives the possible from the impossible that they disagree. Can one establish a principle that applies in all cases based on a case with a unique aspect? The one who deems wooden service vessels fit holds that one derives the possible, i.e., Temple service vessels, from the impossible, i.e., the flute of Moses. Although there was no alternative to crafting the flute of Moses from wood, one may derive from this that sacred service vessels, even when the alternative to craft them from metal exists, may be crafted from wood. And the one who deems wooden service vessels unfit holds that one does not derive the possible from the impossible. And if you wish, say instead in rejection of Rav Yosef’s proof that everyone agrees that the primary essence of song is singing with the mouth, and one does not derive the possible from the impossible. And here, it is with regard to deriving the halakhot of the Temple candelabrum by means of the hermeneutic principle of generalizations and details or by means of the principle of amplifications and restrictions that they disagree. Rabbi Yehuda HaNasi interprets verses by means of the principle of generalizations and details, and Rabbi Yosei bar Yehuda interprets verses by means of the principle of amplifications and restrictions.
(א) וְאֵ֛לֶּה דִּבְרֵ֥י דָוִ֖ד הָאַחֲרֹנִ֑ים נְאֻ֧ם דָּוִ֣ד בֶּן־יִשַׁ֗י וּנְאֻ֤ם הַגֶּ֙בֶר֙ הֻ֣קַם עָ֔ל מְשִׁ֙יחַ֙ אֱלֹהֵ֣י יַעֲקֹ֔ב וּנְעִ֖ים זְמִר֥וֹת יִשְׂרָאֵֽל׃
(1) These are the last words of David:
The utterance of David son of Jesse,
The utterance of the man set on high,-b
The anointed of the God of Jacob,
The favorite of the songs of Israel:-c
The utterance of David son of Jesse,
The utterance of the man set on high,-b
The anointed of the God of Jacob,
The favorite of the songs of Israel:-c
(ג) ונעים זמירות ישראל. אין ישראל משוררים במקדש, אלא שירותיו וזמירותיו:
(3) Sweet songs for Yisroel. Yisroel does not sing any songs in the Beis Hamikdosh other then his [Dovid's] songs and hymns.
רב מתנה אמר מהכא (דברים כח, מז) תחת אשר לא עבדת את ה' אלהיך בשמחה ובטוב לבב איזו היא עבודה שבשמחה ובטוב לבב הוי אומר זה שירה ואימא דברי תורה דכתיב (תהלים יט, ט) פקודי ה' ישרים משמחי לב משמחי לב איקרי טוב לא איקרי
Rav Mattana said that the source for the requirement to accompany the Temple offerings with song is derived from here: “Because you did not serve the Lord your God with joyfulness, and with goodness of heart” (Deuteronomy 28:47). What is this service of God that is performed with joyfulness and with goodness of heart? You must say that this is song. The Gemara objects: But you can say that this service is studying the words of Torah, as it is written: “The precepts of the Lord are upright, rejoicing the heart” (Psalms 19:9). The Gemara explains: Torah is indeed called a matter that rejoices the heart, but it is not called “goodness.”
וְעַתָּ֗ה כִּתְב֤וּ לָכֶם֙ אֶת־הַשִּׁירָ֣ה הַזֹּ֔את וְלַמְּדָ֥הּ אֶת־בְּנֵי־יִשְׂרָאֵ֖ל שִׂימָ֣הּ בְּפִיהֶ֑ם לְמַ֨עַן תִּהְיֶה־לִּ֜י הַשִּׁירָ֥ה הַזֹּ֛את לְעֵ֖ד בִּבְנֵ֥י יִשְׂרָאֵֽל׃
Therefore, write down this poem and teach it to the people of Israel; put it in their mouths, in order that this poem may be My witness against the people of Israel.
אמר (רבא) אף על פי שהניחו לו אבותיו לאדם ספר תורה מצוה לכתוב משלו שנאמר (דברים לא, יט) ועתה כתבו לכם את השירה איתיביה אביי וכותב לו ספר תורה לשמו שלא יתנאה בשל אחרים מלך אין הדיוט לא
Rava says: With regard to the mitzva for every Jew to write himself a Torah scroll, even if a person’s ancestors left him a Torah scroll, it is a mitzva to write a scroll of one’s own, as it is stated: “Now, therefore, write for yourselves this song and teach it to the children of Israel” (Deuteronomy 31:19). Abaye raised an objection to him from a baraita concerning the king’s Torah scroll: And he writes himself a Torah scroll for his sake, so that he does not beautify himself with the Torah scroll of others. Read precisely, this indicates that a king, yes, he is included in the halakha not to have a scroll inherited from his ancestors suffice, but an ordinary person is not.
What, though – if we take the command to refer to the whole Torah and not just one chapter – is the significance of the word “song” (shira): “Now therefore write down for yourselves this song”? The word shira appears five times in this passage. It is clearly a key word. Why? On this, two nineteenth-century scholars offered striking explanations.
The Netziv (Rabbi Naftali Zvi Yehuda Berlin, 1816–1893, one of the great yeshiva heads of the nineteenth century) interprets it to mean that the whole Torah should be read as poetry, not prose; the word shira in Hebrew means both a song and a poem. To be sure, most of the Torah is written in prose, but the Netziv argued that it has two characteristics of poetry. First, it is allusive rather than explicit. It leaves unsaid more than is said. Secondly, like poetry, it hints at deeper reservoirs of meaning, sometimes by the use of an unusual word or sentence construction. Descriptive prose carries its meaning on the surface. The Torah, like poetry, does not.[1]
In this brilliant insight, the Netziv anticipates one of the great twentieth-century essays on biblical prose, Erich Auerbach’s “Odysseus’ Scar.”[2] Auerbach contrasts the narrative style of Genesis with that of Homer. Homer uses dazzlingly detailed descriptions so that each scene is set out pictorially as if bathed in sunlight. By contrast, biblical narrative is spare and understated. In the example Auerbach cites – the story of the binding of Isaac – we do not know what the main characters look like, what they are feeling, what they are wearing, what landscapes they are passing through.
The decisive points of the narrative alone are emphasised, what lies between is non-existent; time and place are undefined and call for interpretation; thoughts and feelings remain unexpressed, only suggested by the silence and the fragmentary speeches; the whole, permeated with the most unrelieved suspense and directed towards a single goal, remains mysterious and “fraught with background.”[3]
A completely different aspect is alluded to by Rabbi Yechiel Michel Epstein, author of the halachic code Aruch HaShulchan.[4] Epstein points out that the rabbinic literature is full of arguments, about which the Sages said: “These and those are the words of the living God.”[5] This, says Epstein, is one of the reasons the Torah is called “a song” – because a song becomes more beautiful when scored for many voices interwoven in complex harmonies.
I would suggest a third dimension. The 613th command is not simply about the Torah, but about the duty to make the Torah new in each generation. To make the Torah live anew, it is not enough to hand it on cognitively – as mere history and law. It must speak to us affectively, emotionally.
Judaism is a religion of words, and yet whenever the language of Judaism aspires to the spiritual it breaks into song, as if the words themselves sought escape from the gravitational pull of finite meanings. There is something about melody that intimates a reality beyond our grasp, what William Wordsworth called the sense sublime/Of something far more deeply interfused/Whose dwelling is the light of setting suns/And the round ocean and the living air.[6] Words are the language of the mind. Music is the language of the soul.
The 613th command, to make the Torah new in every generation, symbolises the fact that though the Torah was given once, it must be received many times, as each of us, through our study and practice, strives to recapture the pristine voice heard at Mount Sinai. That requires emotion, not just intellect. It means treating Torah not just as words read, but also as a melody sung. The Torah is God’s libretto, and we, the Jewish people, are His choir, the performers of His choral symphony. And though when Jews speak they often argue, when they sing, they sing in harmony, as the Israelites did at the Red Sea, because music is the language of the soul, and at the level of the soul Jews enter the unity of the Divine which transcends the oppositions of lower worlds.
The Torah is God’s song, and we collectively are its singers.
- Rabbi Jonathan Sacks
The Netziv (Rabbi Naftali Zvi Yehuda Berlin, 1816–1893, one of the great yeshiva heads of the nineteenth century) interprets it to mean that the whole Torah should be read as poetry, not prose; the word shira in Hebrew means both a song and a poem. To be sure, most of the Torah is written in prose, but the Netziv argued that it has two characteristics of poetry. First, it is allusive rather than explicit. It leaves unsaid more than is said. Secondly, like poetry, it hints at deeper reservoirs of meaning, sometimes by the use of an unusual word or sentence construction. Descriptive prose carries its meaning on the surface. The Torah, like poetry, does not.[1]
In this brilliant insight, the Netziv anticipates one of the great twentieth-century essays on biblical prose, Erich Auerbach’s “Odysseus’ Scar.”[2] Auerbach contrasts the narrative style of Genesis with that of Homer. Homer uses dazzlingly detailed descriptions so that each scene is set out pictorially as if bathed in sunlight. By contrast, biblical narrative is spare and understated. In the example Auerbach cites – the story of the binding of Isaac – we do not know what the main characters look like, what they are feeling, what they are wearing, what landscapes they are passing through.
The decisive points of the narrative alone are emphasised, what lies between is non-existent; time and place are undefined and call for interpretation; thoughts and feelings remain unexpressed, only suggested by the silence and the fragmentary speeches; the whole, permeated with the most unrelieved suspense and directed towards a single goal, remains mysterious and “fraught with background.”[3]
A completely different aspect is alluded to by Rabbi Yechiel Michel Epstein, author of the halachic code Aruch HaShulchan.[4] Epstein points out that the rabbinic literature is full of arguments, about which the Sages said: “These and those are the words of the living God.”[5] This, says Epstein, is one of the reasons the Torah is called “a song” – because a song becomes more beautiful when scored for many voices interwoven in complex harmonies.
I would suggest a third dimension. The 613th command is not simply about the Torah, but about the duty to make the Torah new in each generation. To make the Torah live anew, it is not enough to hand it on cognitively – as mere history and law. It must speak to us affectively, emotionally.
Judaism is a religion of words, and yet whenever the language of Judaism aspires to the spiritual it breaks into song, as if the words themselves sought escape from the gravitational pull of finite meanings. There is something about melody that intimates a reality beyond our grasp, what William Wordsworth called the sense sublime/Of something far more deeply interfused/Whose dwelling is the light of setting suns/And the round ocean and the living air.[6] Words are the language of the mind. Music is the language of the soul.
The 613th command, to make the Torah new in every generation, symbolises the fact that though the Torah was given once, it must be received many times, as each of us, through our study and practice, strives to recapture the pristine voice heard at Mount Sinai. That requires emotion, not just intellect. It means treating Torah not just as words read, but also as a melody sung. The Torah is God’s libretto, and we, the Jewish people, are His choir, the performers of His choral symphony. And though when Jews speak they often argue, when they sing, they sing in harmony, as the Israelites did at the Red Sea, because music is the language of the soul, and at the level of the soul Jews enter the unity of the Divine which transcends the oppositions of lower worlds.
The Torah is God’s song, and we collectively are its singers.
- Rabbi Jonathan Sacks
הַיּוֹשֶׁ֣בֶת בַּגַּנִּ֗ים חֲבֵרִ֛ים מַקְשִׁיבִ֥ים לְקוֹלֵ֖ךְ הַשְׁמִיעִֽנִי׃
O you who linger in the garden,
A lover is listening;
Let me hear your voice.
A lover is listening;
Let me hear your voice.