KMTT - the Torah Podcast
KMTT - Erev Shabbat Parshat Vayakhel-Pekudei
KMTT - Erev Shabbat program for Parshat Vayakhel-Pekudei, with guest Rav Moshe Taragin
This is KMTT, the Tower Podcast, and this is Ezra Beck, and today is Friday. Arab Shabbat, Yom Valve, Krav Bet Adar. And we're coming to the end of our 12th week since we started KMTT. For those of you, I'm sure there are a lot of you who have been here from the beginning. Don't know if when we started, you thought it would last this long. It's more or less gotten our own mechanism, the procedures, more or less gotten them down so they work, fairly consistently. I mean, now then we still have a little bit of a problem. But the way it's working now, I think KMTT will be up for many, many years. We've gotten some very gratifying responses from people, commuters, a couple of exercises. One person who walks his dog with KMTT thing. First, I thought maybe I should be insulted when I realized in the country. He used to just walk his dog. Now he's learning Torah, and Vakashim, the dog is having a good time too. And so, we plan to keep this program going after Pesach. After Pesach, we'll be starting another channel in KMTT, which will be in Hebrew. I assume that most people are commuting, commute twice, one's going, one's coming back. We're not going to be producing two separate English programs. At least not in the near future. That's beyond our capabilities. But if you can also enjoy a share in Hebrew, then we'll offer technical details somewhat later. In a few weeks, we'll get ready to set it up. But you'll have the possibility of getting two podcasts today. One in Hebrew, one in English. And if you have the time and you have the ability, then that will be an extra added benefit and bonus. From KMTT. Today is Ed of Shavat, Poshat Vayakal Pukuday, reading a double Pasha. Poshat Vayakal begins with, although most of the Pasha, obviously, is about the Miskan, the actual application. The actual building of what was described as plans in the previous two or three Pasha, actually. Tomah and Kitisa, and it's a little bit in Kitisa. And now, Vayakal Pukuday, the Pasha describes how it was actually done. But in the beginning, there is a short Pasha, a couple of sukem, which repeats the prohibition of doing milaha and shavat. In fact, it's exactly parallel to a very, very similar Pasha, which appeared just a few sukem earlier, in the previous Pasha. In our Pasha, it says, "Shaishit yamim te asse melaha, uwiyomes shaviyi yelacham kodesh, kolos sabon laha yumat." Six days, you should do melaha, six days, you may do, or you should do. Six days, you will do. Work, you will do melaha. And the seventh day, it will be holy for you. Anyone who does melaha, will be put to death. The punishment for shavat is death. Almost the exact same Pasha appears in the previous Pasha. In Periklam and Alif, you have a Pashaishit yamim yelacham kolos sabon laha yumat. Six days, you shall do. Work, melaha, or work shall be done, and more accurate translation, that you shall do, but work shall be done. In the seventh day, it will be shavat shavat on kodesh, melaha. Anyone who does melaha, who does work on that day, shall be put to death. So the question is, why is it repeating? Especially in such close books to be now. It's true to certain extent all of Pashaishit by Yaka'a's repetition of Pasha'a t'it sab'a. But not really, Pasha'a t'it sab'a said, "This is what you should do." And Pasha'a says, "This is what they did." So it's a good question as to why we need it to be told that in such detail, but it's not saying exactly the same thing. The fact that in both places, when God said, "Make a mishkhan," but "Don't be muhad al shavat." And then it says, "The Jews did the mishkhan," and Bocha said to them again, "Tobu muhad al shavat," that's totally unnecessary. This question was asked by a lot of people, it was asked by Ra'a Y11. Ra'a Y11 was known as the tzadika yumu shawni. Men who lived in Yushalayim, one of the rabbanim of the shub in Yushalayim, and was famous for his personality, his personality of the tzadika yumu shawni. It's a book called "Istadika yah," which consists of stories about the Ra'a Y11. Ra'a Y11 asked, "Why is it repeated?" To answer it, he asked a different question. Why does it say, "Sha'i sha'it yumu muhad al sha'it yumu muhad al sha'it yumu muhad al sha'it yumu muhad al sha'it yumu muhad al sha'it yumu muhad al sha'it yumu muhad al sha'it. You don't have to be told to do work in the six days. It should say, "You know, I do work on Shabbat." Why does it say, "Six days you can do work on Shabbat, you can't do work." So, provide your answer to the first question by reference to the second question. We're going close to the pasar, and within the KMTTT as well, we're going to start switching some of the shurim over to getting ready for pasar in the next two weeks that we have until pasar. It's a tous-fault and tous-fault and tous-fault in the beginning of tous-fault. Tous-fault asks, "Why is KMTTT treated with more severity than any other prohibition in the Torah?" He's referring to the fact that on KMTTT, you have not really a probability to eat it, but also you have the sur of ba'ir and ba'ir, you might say. You never have any KMTs in your house. Now other things which are sur, you'll have to have them in your house. You have to be careful not to eat them. Only KMTs does the Torah not only say, "Can't you eat it?" But you have to, like, get it out of your sight. So Tous-fault gives a psychological answer. He says, "Changats is an isur, which the whole year is mutin." You'll have to eat changats the whole year. And therefore, he has an expression, "Lobadil minay." A person is not separated. He hasn't put himself away. He hasn't put the changats away in his mind. And when it comes pasar, you're habituated to eat it. And therefore, it would be very difficult to have it in the house and not forget for a second and eat it. "Lobadil minay." You don't separate yourself from the chamats. And therefore, the Torah as sort of speaking extra precaution said, "Get it out of the house." But other things of them, if you see chaza, if you see something, you should know you never eat the whole year, you never eat it. So you don't have this problem. That's what Tous-fault says. Based on that, what you love and says is what the Torah is saying about Shabbat as well. [speaking in Hebrew] You're supposed to do it. In fact, he doesn't mention this. In fact, there's a [speaking in Hebrew] Just like there's a prohibition to do [speaking in Hebrew] There's a mitzvah to do [speaking in Hebrew] And then he made you a lot of do [speaking in Hebrew] [speaking in Hebrew] It requires extra precaution to prevent yourself from forgetting. And that's why the Torah repeats the Easter a second time. Because here, it's not like in chamats where they were actually [speaking in Hebrew] But there's another precaution. The Torah simply warns you once. And then again, why is the Torah warned you twice? So the Torah itself explains why it warns you twice. [speaking in Hebrew] Based on this part of [speaking in Hebrew] I think we can have a somewhat deep understanding. It wasn't a little [speaking in Hebrew] Some things are bad. The Torah is opposed to them. And things which are opposed. So a [speaking in Hebrew] A Jew who has a [speaking in Hebrew] Personality, he develops a natural aversion to them. When you see something which is us or you see, you see pork. So it's not just in your head that you against it. You have developed an instinctual repulsion or aversion to it. And it's not in your head anymore. It's not in your mind. It's not definitely not in your heart. But other things are not bad. Comments can say this is not bad. It's a good thing. I mean, bread is a major, a major, a [speaking in Hebrew] Object for many, many things. And Shabbat, you have to have bread. [speaking in Hebrew] There was [speaking in Hebrew] That was brought to God as a [speaking in Hebrew] Comments is not a bad thing. And therefore, one does not have a [speaking in Hebrew] Adversion or repulsion to the existence of bread. Nonetheless, on Pesach, it's a [speaking in Hebrew] Not only, I think, is it psychologically unlikely that a person could develop on Pesach and inversion for seven days. It's not even, there's no reason why you should. Even on Pesach, when you see a [speaking in Hebrew] You're not supposed to be disgusted. Because [speaking in Hebrew] It's a [speaking in Hebrew] It's a [speaking in Hebrew] That's a situation that's called [speaking in Hebrew] I think that's what the [speaking in Hebrew] Is explaining or what is brought to us about doing work as well. Work is a [speaking in Hebrew] But work is not a bad thing. We're not opposed to work. We don't think that leisure is itself a value. There's a Camara in Sanhedrin that says [speaking in Hebrew] Man is born to labor. A person who's just resting all the time is missing out on the point of what [speaking in Hebrew] is all about. And I think that in the [speaking in Hebrew] They might even be what the [speaking in Hebrew] [speaking in Hebrew] In order that Shabbat should be [speaking in Hebrew] It should be sanctified. It should be holy. Then you have to have [speaking in Hebrew] [speaking in Hebrew] Is created by our removing ourselves from something which is part of our lives, from work. You don't achieve dushar by not eating or partaking of something to which you have a moral or intellectual version. But because [speaking in Hebrew] is what the world is all about, if [speaking in Hebrew] If work is done for you for the six days, then on the seventh day when you stop [speaking in Hebrew] It will be [speaking in Hebrew] And precisely because you have a positive attitude towards the need to work, to create, to do things, to build things, to contribute to the world. Not to be your [speaking in Hebrew] Not to sit and do nothing. So then you take that personality and you apply it on Shabbat by stopping. You're stopping something which is important. You stop in order to create an island of sanctity which is nourished from the work you did during the six days. Because I've created things in the six days, that's why I can enjoy what I've created on this day. Just like God, only made Shabbat because he worked for six days. So too, you make Shabbat because you've worked for six days. Someone who has a low bundle, meaning attitude, a positive attitude towards the work he's done. So on Shabbat, indeed it's [speaking in Hebrew] It has [speaking in Hebrew] We have a guest. I'll guest today for the Air of Shabbat program. Give us a [speaking in Hebrew] It's [speaking in Hebrew] One of the [speaking in Hebrew] And I've tried again. We'll give us now a talk. [speaking in Hebrew] [speaking in Hebrew] As well as [speaking in Hebrew] Details of various fabrics, materials, as well as the cadence of vessels, the various ritual elements which both adorned the [speaking in Hebrew] as well as enabled various forms of ceremony of sacrifice. They're a very colorful array of different shapes and contours, of different utensils. But one of the most fascinating utensils, one of the most fascinating vessels describes in [speaking in Hebrew] Back towards the end, is the cure. The cure is a wash basin, which is situated the boundary between the world of the mundane and the world of the sacred. Right at the boundary, as the [speaking in Hebrew] enters the [speaking in Hebrew] on a daily basis, he purifies himself from the affairs of the world and attempts both in physical sense, as well as in a figurative sense, to reach an expanded level of religious consciousness, mirrored by physical purity. The cure was fashioned from the Hoshas, from copper. And the poster describes the source of this copper. The deadly copper was not as available, was not as ubiquitous in the desert as perhaps the gold and the silver were. And everywhere the Torah is compelled to describe the source of the copper, which was donated, to fashion not only the cure, the wash basin, but also the kano, the pedestal, the foundation upon which the basin was situated. [speaking in Hebrew] The cure was constructed from copper. Copper, which was delivered from the [speaking in Hebrew] which attended the old mode. Very, very intriguing source to the copper of the cure. The word [speaking in Hebrew] which is taken from the root of [speaking in Hebrew] is assumed by many commentators to refer to ancient forms of mirrors, before a glass was actually glazed or mirrored. Highly buffed or highly polished copper would serve, functionally as a mirror. So ultimately, the cure was fashioned from copper, which had previously served as mirrors. Maros. Where did these mirrors come from? Who donated the mirrors? They even as are described, a group of very, very pious, very, very motivated women, who foreswore any future need for mirrors. They decided upon the occasion of the construction of the Mishkan that mirrors were no longer necessary. Personal beauty, personal adornment, vanity, attempts to attract the other sects no longer necessary in an age, in an era, of higher religious consciousness, of serving [speaking in Hebrew] in the Mishkan. So this sect or this group of women, as they have been as refers to [speaking in Hebrew] deprive themselves of the artificial attractions of this world. The dedicated, their copper, which had previously served them as mirrors, came the hymn serif, "Oh, the hycyapos." They no longer saw any need to adorn themselves to apply makeup. However, every day, instead of applying makeup, and perhaps during the time it would have taken them to prepare themselves, the whole yom, bow, will passach, oh, homoate. They attended the oh, homoate, l'hispaulil, to spend their time praying, l'ishmoir de vermitzvos, the study Torah, and mitzvos. And this is the meaning, ashert savu passach, oh, homoate, literally an army of what one could call, quote unquote, "nuns." Women who had, who sought a higher level of religious experience, depriving themselves willingly of their mirrors, utilizing the time instead for greater and deeper spiritual experience. And certainly the Evan Ezra's read on this copper, and these women, is a very, very understandable and logical read. The thoughts that a mirror, which were previously used in order to apply makeup, artificially create greater beauty, to attract men, such mirrors should be employed for the key art, to the very utensil, for the very vessel, which was meant to purify, which was meant to cleanse a human being from the flaws, from the blemishes of the mundane world in order to allow entry into a higher realm. Evidently the only copper, the only mirrors which were appropriate were the copper of women who willingly disengaged from the vanity of this world. Ironically, Roshi cites a metrage, which provides a diametrically opposite view of the source of these, of this copper. Roshi writes that the mirrors were not donated by women who, for sure, make up physical beauty aesthetics, but specifically by women who celebrated and who went in the test, had heroically performed, and heroically committed themselves to the future of Amisol under duress, specifically through their mirrors. Roshi writes, "Beanossi, thrill, women, how you be odd on myrels, mirrors, chirros behind which were used to chahain miscostos when they would apply their make-up each morning, the Afosan low ikvulmi lihavilinidvasa miskon, and even those mirrors were donated to the construction of the miskon, and, initially, Moshe Urbano was a guest. Zaha'i amo'is, Moshe Bohan. Moshe was repulsed by the notion of utilizing these mirrors, the tools of the Itzohara, to utilize those mirrors in the miskon, to utilize that copper, and specifically to employ that copper as a vessel to purify men, by Amo'is, Moshe Bohan. Moshe was disgusted by the prospect. Vibneshasuyimli Itzohara, mirrors the tools of the Itzohara of evil inclination, the vessels, the material of vanity, of pride, of aesthetics, of sexual attraction, of artificiality, to incorporate them in the miskon, to utilize them as tools and vessels to purify men. Moshe, initially, refused to accept this donation. Amo'is, Moshe Bohan, to accept those mirrors, not the mirrors of women who are no longer interested in personal beauty, but the mirrors of these women. Kieleu Hakurishbar, who told Moshe, Ka'viva Nalai Minhakol. These mirrors are more precious to me than any other materials that have been donated to the miskon. Sha'ol Yaddam, Hamidu Hanashim, S'avals, Rabals, Pimitrayan, for these mirrors were crucial, crucial elements in sustaining Jewish family life, maintaining Jewish vision under the duress of slavery, under the horror of bondage. Then Maros Hats'avos, the mirrors were not of women who would congregate each morning outside of the miskon, for swearing their interest in personal beauty and personal hygiene, but they were the mirrors of women. When employed, personal beauty and miskra'im in order to produce an army of Jews who left Miskra'im, Maros Hats'avos. Kish'ahayu Balanya Yayam Babodas Para has the men, were throttled as the men, were stymied, with the backbreaking labor in Miskra'im, losing their interest in life and losing their vision and for future, for redemption. Ha'ulill Ha'ulill Ha'ulill Ha'ulill Ha'ulill and Makhal Amishda, their wives, were offered temporary, soccer, temporary, reprieve, would bring them food. Before they would visit their husbands in the work field, Kholakas Roa Atzma in Balabamara, they would use the mirrors to improve their appearance. When we talk Kholakas, and through this, MÃvios Le Balanli, they Taifa, they would attract their husbands sexually. When Miss Abroz, the Aldosha, ends, they would become impregnated. In this entire Sangha, this heroic scenario is described and the Pasakar is encoded in the Pasakans, shear a shear in power of fests. Ta'chas Ha'atapuach Arartifa. Under the apple tree, I have awakened you. Women awakened, and resuscitated, the lost redemptive vision of their suffering husbands. In Akrashibar, who targeted these mirrors, and informed Mosha, Elun Ha'Vivin Alai Mihal, these mirrors, with all their connotations, with the matter in which they facilitate personal beauty, in which they facilitate the attraction between sexes, in which they facilitate sexual arousal, and Elun Ha'Vivin Alai Mihal, because they produce, these mirrors produce, the Tvos, Rabos, the Nizrayim, the multitudes of Jews in Nizrayim, even under the conditions which the Jews were facing. To diametrically oppose opinions, as to the source of these, this copper tr, to diametrically oppose opinions as to how we view our world, and how we view the traits, which Akrashibarho endowed us with. The greatest, greatest success of the Itzahara is in convincing us that we possess certain traits, which are evil, and other traits, which are productive and positive. For every trait, which Akrashibarho endowed man possesses unlimited potential, and every trait can be employed productively, heroically, religiously, and every trait in excess, in distortion, can be abused, can be exploited, to serve the interests of Haith and of sin. And the question is how we utilize and how we employ. And Moshe Rabain, perhaps, for fleeting moments, viewed mirrors and the aesthetic connotations, the function of mirrors in that negative light. Akrashibarho reminded him that none of these traits should be seen as positive or negative, as holy and as impious, but each trait should be seen as a kernel, which Akrashibarho plants within the human heart, to be employed constructively, or Haith sushalam, with the ability to be abused or perverted. The mission in Haith also reminds us that this world is a prozdhar, is an entranceway. Haith's game, the prozdhar, prepare yourself in the entranceway, and in order that you should achieve passage into the palace, the real ultimate realm of human experience, the eternal realm, the afterlife, the next world. It reminds us in a very caustic and strident manner, not to invest too deeply, not to embrace too willingly, the fleeting experiences of our world, the momentary pleasures, the human traits with which we negotiate our own experience in this transient realm. But too harsh an application of Ha'zal's adage can lead to a complete renunciation, a complete repudiation of any value within the human realm around us, of any value within the human heart within us. Do you show me in the end of Masakh's kiddushin demands that when a person ascends to heaven for his ultimate reckoning, for his ultimate judgment, ossid, adam, litain, ding, vakhashbone, a person will have to apply or provide an accounting. What will the questions be? What will we be judged upon? So the Kumar and Shab has offered us several options, not options, but several questions which we will face, challenges which we will have to answer. Did we study terrorists efficiently? Did we act ethically? Did we invest efficiently in raising and rearing a family? Were we anticipating redemption and participating in redemption? What level of Yuresh Almighty did we achieve? The normal usual suspects, the expected questions. But do you show me in the end of Masakh's kiddushin asserts that we'll have to answer an additional question. Ussid, adam, litain, ding, vakhashbone, al-Kolmah, shara, aina, velo, al-Kalmi, meno. For everything which our eyes beheld and we did not eat from or consume, not, of course, in a literal sense, but every opportunity in this world which we do not take full advantage of, which we do not explore fully for its religious potential, for its religious meaning. Did we study the world sufficiently? Were we sufficiently sensitive to the religious horizons, which serve as a gloss to the world around us? If we hold up this Yureshami in the Saffas kiddushin to their forementioned Mishnah and Uvel, they seemed to be contradictory. To be completely incongruous, completely irreconcilable. On the one hand, we should view our world with suspicion, in a dismissive manner, as a fleeting false reality, which should, in no way, benefit from our investment or our interest. Yet, be shown the Yureshami in kiddushin, that goes a completely different attitude, that our world is lightened with religious opportunity, with the opportunity to see, to grasp, the gaze that I couldn't sparkle, not just through the world around us, but through the emotions which serve as the fabric of our reality, allowing us to understand ourselves and ultimately I couldn't sparkle, in a deeper and more profound fashion. How are we to reconcile the Yureshami in kiddushin, with the Mishnah and Uvel? How are we to reconcile the opinion of Rashi? Rashi's opinion towards sexual attraction, with the evidenteser's opinion. Obviously, the key is the elusive balance. To balance, to remind ourselves as often as we can, not to indulge excessively in the world around us, in the world within us, but to commit ourselves to the vision of our world, of merely an entranceway, which we prepare for the ultimate experience in the palace, but not to deny, not to stifle, not to expunge the basic traits, or certainly not to villainize, or demonize, traits which our country of powerful empowered us with, emotions which is their bonus element in doubt us with, not just to negotiate our way through this world, but to deepen our experience, to attain a deeper sense of self-awareness, and of emotional experience, and thereby serve him more profoundly and more resonantly. A similar pattern emerges early in Tarsundhalya. Undoubtedly, the Mishkran could not have been constructed without creativity, personal expression, implementation of personal talent, for all of their rakha kaudesh, for all of the divine assistance, it is undeniable that Bexalel, Halyaz and their team, were highly skilled craftsmen, highly skilled artisans, architects, were able to capture a kurajibara whose blueprints and implement it in a house, in a shelter, crafted by human hands. Tarsundhalya's vayakila-pupuday displays the greatest expression of personal talent, of artistic expression, in the history of mankind, or certainly the greatest channeling of that artistic expression, for religious purpose. And don't tell us, if you mind Shabbos, as well as the matters in Parsas vayakila, that even our kurajibara still builds these artisans with divine inspiration. Mille also, kafmasle, kurajibara who delivered unique intuition and capability. Vayamale also, ruach elo kim, a kurajibara who delivered special talent to these artisans, aim mimalim elo kafam. A kurajibara will only deliver these talents and these traits to an individual who has first conditioned his heart and conditioned his mind, to not only accept a kurajibara whose delivery is about to exploit it productively, to implement it, and to express it. So the salalim al-halya of individuals were prior to their expression, prior to their work, prior to their masterpiece, prior to their being inspired by a kurajibara whose vision, a study had worked, a train had prepared for this great moment. And great it is to build a house for a kurajibara who, to build a majestic house, a majestic temple, a splendor, a beauty, a fragality, ornate vessels and utensils. A kurajibara desires the expression of personal creativity, a personal intuition, a flair of artistic expression. And he desires it from the salalim al-halya of in their work, and in a different sense he desires it of us. He desires us to build our own base on mikdash, our own mikdash, our own mikdash, our own religious temple, to serve him and to improve our world and to improve the religious state of our world. By locating our unique talent, our innate opportunities and capabilities, developing them and expressing them. But of course, at some point, if unchecked, if unfettered, creativity lapses into narcissism, narcissism. It becomes a fulfillment of self rather than a mission towards the divine, towards the religious call. What is to protect us? What is to prevent our creativity, our spontaneous expression from lapsing or deviating into self-deification, narcissistic, self-aggrandizement? Well, part of the way in which I've got a sparkly check, the expression of our creativity, and the perversion of our creativity, is by reminding us before the mishkon is constructed, before our creativity is expressed, reminding us of the great mitzvah of Shabbos. (speaks in foreign language) (speaks in foreign language) (speaks in foreign language) (speaks in foreign language) (speaks in foreign language) (speaks in foreign language) The notion of Shabbos has already been iterated at least four times in safer shimles. Khazal informed us that in Mara, a few weeks before Harsini, one of the mitzvahs, which we were challenged toward as a sort of preparation toward the great moment that Harsini wanted the mitzvahs for Shabbos. Subsequently, as the man was delivered, we were tried and tested, would we collect from Shabbos? And to a degree, we failed that trial. Of course, Shabbos is incorporated within our Sarasa Dibros. (speaks in foreign language) (speaks in foreign language) And then finally, in Parshas-Kithisa, the laws of Shabbos were stated. (speaks in foreign language) Four times the laws of Shabbos has been delivered. In that light, this iteration of Shabbos in the beginning of Parshas-Vayakil seems absolutely redundant. It seems absolutely superfluous. Rashi, citing Khazal already notes, the queer, the seemingly inexplicable mention of Shabbos here at a fifth time. Rashi mentions the statement of Khazal on a technical term. As though we generate enthusiasm towards constructing the Mishkan, we must take care and take caution not to construct, not to erect the Mishkan on Shabbos. I believe that beyond this literal interpretation of the iteration of Shabbos before the Malacca from Mishkan, there is perhaps a more symbolic reason for including the laws of Shabbos before the Mishkan. And before its construction is about to be launched. (speaks in foreign language) created the world in six days. (speaks in foreign language) Naturally, his creations should have spiraled infinitely. Naturally, his creations should not have been limited to six days. But the creation of a Khazbar who should still be unfurling, should still be emerging. If a Khazbar who's creative experience would be unlimited, as is his nature, then there'd be no room, no opportunity. For human creation, for human creativity, let alone human existence. If the floor that I sit on, the chair that I'm currently sitting on, would still be unfolding and emerging, then perhaps in a minute, it would no longer be a chair, but it would be a liquid. The oxygen I breathe would constantly be morphing, would constantly be transitioning into some other substance. The laws of gravity and the physics of biology and of chemistry would be in a constant state of flux. The world would possess no predictability. Man would have absolutely no capacity to organize his world, to study his world, to improve it, to discover, to invent. In short, man would have no place in certainly human creativity and industry with absolutely no meaning, in a constantly dynamically changing world. After six days of creation, a Khurajbar who unnaturally withdrew himself, known in Kabbalah as the "Saud Haqinfum", the secret of a Khurajbar who's withdrawal. He unnaturally ceased his creation. He unnaturally rested. It was not expected it was not typical of a Khurajbar to cease creation, but he ceased his creation in order to allow man to live, to create and to perfect his world. In many cultures, fire, the symbol of human creativity, of industry, of cognition, fire, delivers heat, heat is used to manufacture, fire delivers light, to irradiate, to illuminate our world, fire, in a symbolic sense of light or light bulb, the spirit of discovery, of ideas. In many cultures, man steals fire from the gods. Prometheus strips the gods of fire, and is of course eternally bound to Iraq, bound to a boulder as his punishment. You shall may in the sake of stalking me mind of, that after our Khurajbar who ceased his own creation and rested on Jabbas, thereby culminating his process, he delivers fire to man, or must they Shabbos. And in the delivery of fire lies the symbolic passing of the baton. So our Khurajbar who to man, I have completed my creative process, I now desire that you create in my wake, that you create within my world, both perfecting, refining, and redeeming my intentionally imperfect creation. Khurajbar who delivers fire to man or must they Shabbos, in order to launch the era of human creativity. Shabbos is a constant reminder of the boundaries and the terms of human creativity. Each Shabbos, as we resist from work, we remind ourselves that our work in our industry, our accomplishments, and our achievements are only possible because of a Khurajbar who is unnatural withdrawal to the dawn of creation. Shesh S. Yumim Thas Amalaha, Parshas Mayakal writes. Parshas Mayakal does not merely describe the commandments to exist from work on Shabbos, but first it encourages us to be creative, to produce, to employ our talents. Shesh S. Yumim Thas Amalaha, Khurajbar who desires our work, our contribution, our toil. Walk in the model of a Khurajbar who's six days of creation and subsequent withdrawal, kalausev Amalaha Yuma. It is for this reason that the laws of Shabbos serve as a preface, before the launch of the construction of the mission. It is for this reason that the only Milachah which is forbidden on Shabbos, which is specifically mentioned in the Torah of all the 39 Milachos, 38 of them are inferred. 38 of them are implicit rather than stated. The only Milachah which is stated explicitly, the only forbidden form of industry which is stated explicitly is the Milachah of Ashe, or Civariu Ashe, the Home of Raseh. Because Ashe represents, connotes, the epitome of human creation and human creativity in human industry. And the only place in the Torah where the Milachah of Ashe is explicitly mentioned, which is in Parshas Fayyaka, right before human creativity is unleashed, right before the construction of the Mishkan commences, right before Bizalel and Ahalya begin their great work expressing personal flair, personal style, the laws of Shabbos are restated, the terms and the conditions, the historic framework of human creativity is outlined, and the iconic experience of fire serves as the fulcrum for this message. Low Civaru Ashe, the Home of Raseh. Withdraw from industry. Withdraw from fire. Withdraw from human creativity. Remember, Hakurish Bhark was unnatural withdrawal, his own symptoms, and employ that historic moment as a corrective and a potential check upon the abuses of unbridled human creativity. Do not kindle a fire on Shabbos. Do not flame the forges of the factory of the blacksmith. But after Shabbos has completed, after the message has been internalized, after the checks and balances have been established, by Yomor Moshel, called Ashe Siral, Zaz Dovarashe R. Civaru Ashem Lemarukahu, Myshem Tumalashem, begin the Mishkan, begin the process of personal expression, begin to change your world, build a religious temple, a religious fortress, a religious palace in the literal sense, build a Mishkan in a figurative sense, build a life, a religious tower with depth, personality, individual expression, profound avotas ashem, as long as all that creativity occurs in the shadow of Shabbos. As long as all of Bitzalel's art and expression, talent, and imagination occurs within the shadow of Akhosh Baraku's presence, as his name itself indicates, Bitzalel, Bitzalel in the shadow of Akhosh Baraku, as long as it occurs within that framework, then it is desirable, constructive, and deepens and enriches of Otashem, rather than threatens it. Parsha Svayakal provides two studies in the expression of very powerful human traits, traits which can be perverted, traits which in excess can be addicting or addictive, but traits which are so powerful intentionally endowed within our heart, within our consciousness, within our psyche, in order to deepen our own life and ultimately serve as the engine for greater and deeper, more intense levels of avotashem. Moshe Rabeno was horrified, initially by the prospect of including icons of human vanity and human sexuality in the Mishkan, let alone the key art, and ultimately I shouldn't remind them able to have even, because the mirrors, because physical attraction, spousal relationship, attraction between sexes has its place, has its role, redeemed on these roles, produced armies of Jews under unimaginable conditions of horror and of suffering, they will have even a life. These mirrors, nothing mirrors of the celibate women of the so-called sect of nuns who foreswore any future interest in their own personal appearance, but the mirrors of the women in the triumph who utilized a Kurdish bar who's God-given beauty and attracted their husbands and rescued armies from the pits of Egypt. The Celo and his team were endowed with creativity, who inspired the inspiration, complimented, their own interests, their own curiosity, their own development, their own years of experience. A Kurdish bar who desires the expression of their art, of their design, of their imagination, as long as it is recognized within the limits and boundaries of a Kurdish bar who's unnatural withdrawal of Shabbos, a Kurdish bar who's intentional, intentional creation of an incomplete world so that the talent he endowed us with can create and perfect it, as long as it does not digress or devolve into self-deification, into self-interest, as long as it serves to deepen the human spirit to enhance the religious experience, as long as we have that constant reminder of [speaking in foreign language] [speaking in foreign language] Shabbos is a moment for reflection, of inflection. Do you remember the source of our creativity? As long as those values are in order, Bill Vovey and Mishkan Evna, a person built within his heart, deep, passionate, colorful, imaginative, spirited temple talk of Shabbahu and utilizes the entire range and gamut of a Kurdish bar who's talent, a talented Kurdish bar who endowed him with to serve and to obey. And that's it for today's program. [speaking in foreign language] We'll be back next week on Monday, the share of Rabbi Akan. The share has been in the [speaking in foreign language] and for the next two weeks, it will be in the [speaking in foreign language] of connected to the seder of Pesach. We will, a little bit next week and more the week after we'll be converting more and more of this U.M. to be part of our preparation for Pesach according to the dictator, [speaking in foreign language] that 30 days, the two day opening were 14 days or 30 days, we passed in 30, so came to the [speaking in foreign language] but 30 days before Pesach, one should begin to prepare oneself, holically, to Pesach by reviewing the [speaking in foreign language] and the other laws and mental preparation, getting ready for Pesach, one doesn't simply fall onto a [speaking in foreign language] but one gets ready. Starting next week on Monday, Rabbi Akan's share will be about [speaking in foreign language] of Pesach, and in the rest of the week and more the week after that, all the [speaking in foreign language] will move over, or many of the [speaking in foreign language] will move over to be [speaking in foreign language] until then, [speaking in foreign language] you've been listening to [speaking in foreign language] and this has been as a [speaking in foreign language] [speaking in foreign language] Shalom. [BLANK_AUDIO]