Balancing Emotional and Rational Approaches
Jan 30, 1999 By Morton M. Leifman z”l | Commentary | Beshallah
This Shabbat celebrates music. Some communities have developed the lovely custom on Shabbat Shira of distributing special food for the birds, those providers of musical gifts to humanity. The Beshalah Torah reading contains the passionate hymn which our ancestors chanted after crossing the Sea of Reeds in safety and witnessing the destruction of their pursuing enemies. Our tradition is to stand during the reading of the hymn, for the leader to use special musical tropes during the chanting and for the congregation to join in the singing of a number of the verses. It is intended to be a dramatic performance. In some Hassidic communities the chanting was followed by a ritual dance to reenact symbolically the jumping into the waters of the sea and the emerging in safety. Thus, music and drama are used as an integral part of the emotional components of the religious experience.
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Midrash in the Prince of Egypt
Jan 9, 1999 By Ismar Schorsch | Commentary | Shemot
Jeffrey Katzenberg’s Prince of Egypt is a midrash on the exodus story, a specimen of reader participation in the recounting of ancient Israel’s foundation epic. While respecting the articulate contours of the biblical narrative, Mr. Katzenberg fills in the gaps with a distinctly contemporary sensibility. To my mind, the most imaginative and effective of these additions to the text is the relationship between Moses and the pharaoh of the exodus. They are portrayed as half-brothers and childhood friends. The film takes advantage of the Torah’s complete silence on Moses’s long years in the pharaoh’s palace to introduce a dramatic twist and humane subtext to the well-known cosmic contest between the God of the patriarchs and the gods of Egypt. It would have us imagine that in the royal domain Moses not only assimilated the mores of the Egyptian aristocracy, but also became the closest friend of Ramses, who was destined to be the next ruler of Egypt. The first quarter of the film is in fact devoted to the escapades of this carefree and destructive twosome, with Moses clearly the dominant figure.
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The Laws of Noah
Oct 24, 1998 By Ismar Schorsch | Commentary | Noah
As the story of No·ah opens, the Torah returns to the word “elohim” for “God:” “When God saw how corrupt the earth was… God said to No·ah… (Genesis 6:12-13).” And with few exceptions (Genesis 7:1,5, 16; 8:21), this remains the term for God throughout. It is the same noun used by the Torah in chapter one to depict the creation of the cosmos. Unlike the four letter personal name of God – YHVH – (rendered as “the Lord” in the Jewish Publication Society’s translation of the Bible), elohim is a plural form and a generic term for deity that can also serve to refer to pagan gods.
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Between Moses and Genesis
Oct 17, 1998 By Ismar Schorsch | Commentary | Bereishit
For the rabbis, the gap between the death of Moses at the end of the Torah and the creation of Adam and Eve at the beginning is bridged by divine compassion. The Torah closes as it opens, with an act of kindness, in order to establish the doing of good deeds (gemilut hasadim) as the supreme value of Judaism. Our exemplar is none other than God, who in each instance is moved by human plight.
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Nourishing the Soul
Sep 30, 1998 By Ismar Schorsch | Commentary | Yom Kippur
To fast for a day is not what makes Yom Kippur difficult for us. Fasting gets easier with age. The real challenge of Yom Kippur is to do without the distractions to which we are addicted. Ours is a society that abhors silence. We jog with earphones, run with music, fly with movies and even entertain company with the television droning in the background.
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Taking a Spiritual Inventory
Sep 21, 1998 By Ismar Schorsch | Commentary | Rosh Hashanah | Yom Kippur
The twentieth-century American artist Georgia O’Keeffe, known for her enlarged and stylized flower studies, once said: “Nobody sees a flower really – it is so small – we haven’t time, and to see takes time, like to have a friend takes time.” Whatever else our High Holy Days might be, they are surely about helping us sharpen our vision. If I had to reduce the drama and choreography, the prayer and music of this protracted season to a single, encompassing goal it would be to enable us to catch another glimpse of what has grown dim or to discover an insight beyond our ken. And because seeing afresh cannot be hurried, we slow down and withdraw, gradually diminishing the bombardment of distractions.
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Lovers of Books
Mar 11, 2000 By Ismar Schorsch | Commentary | Pekudei
In my office hangs a haunting painting (courtesy of the Jewish Museum) by the immigrant artist Moses Soyer. Done in 1934, the painting bears the name “The Lover of Books” and consists of a full length portrait of a smallish, elderly and shabbily dressed man with a large book under his left arm. It could well be a tribute to Soyer’s father who in Russia had been a maskil, a purveyor of Jewish and general culture in Hebrew. The bust on the bookcase in the background suggests a man of broad horizons, though quintessentially Jewish in appearance. The dark shades of the painting and the contrast between the sturdy tome and the fragile figure convey not only a sense of precariousness, but also the power of the book. Love of learning holds the key to the mystery of Jewish survival. What finer emblem could there be to the mission of the Seminary than Soyer’s evocative work!
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A Circle of Obligation
Mar 3, 2000 By Matthew Berkowitz | Commentary | Vayak-hel
In last week’s parasha, Ki Tissa, we heard of the Israelites’ ultimate act of disloyalty – the creation and worship of a Golden Calf. In contrast, this week’s parasha, Va–Yakhel, paints a portrait of absolute devotion. Only three chapters after the Golden Calf episode, the Israelites are now engaged in one of the greatest acts of worship: building a tabernacle which will house the Presence of God. This week’s loyalty stands in stark contrast to last week’s disloyalty. These two episodes, however, not only puzzle the reader with their disparity but serve to shed light on each other.
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