This week we're reading Parshad Vatranan. Parshad Vatranan always comes immediately after Tishabhah, which means that there are so many very big things that we always talk about. First of all, the Shiva de Nakham to begin, Nakhamu Nakhamu Ami, issues of the identity of the author of the second after you Shrayahu. We talked about a few weeks ago in another context. Of course, Vatranan itself carries really the only theological programmatic presentation in all of Khumash, which is the remembrance of mamadarsina in more critically than what happened, what you did not see. And as a backing for the prohibition against graven images, and it also includes the Kriya and Tishabhah, which we just read a couple of days ago, of the prophecy of going into exile and then Chuvah and being returned. And of course, the two most famous passages in Vatranan are Shrayi Suel and the Assarat Vibroad. And the Assarat Vibroad, as we talked about last year, two years ago, I don't know, sometime in the last millennium, is really the sort of founding piece of all of the Ummah mitzvot from the middle of Vatranan all the way until the beginning of Kita Voh, which is almost all of Vaim, Moshe presents the mitzvot, but Moshe presents the mitzvot in an order which Khazala decided is a significant order. And that's what we said, for instance, "Fila l'amanda, lo dari smukhum ha'la ta'a kula dari smukhum ha'amir mishta ta'ar." Even somebody who does not believe the juxtaposition and sequencing is significant in legal texts. In Shmoat, for instance, does, or for Yoda, does, in Dvarim, the reason seems to be because Vaim is not only an organized speech, but that the sequence of the mitzvot is presented is very deliberate. And the sequence of the mitzvot, I suggest for a couple of years ago, really follows the aseratadi brothe, and is sort of a fuller presentation of them. And so after the first aseratadi brothe, we then get a lot more details about how we're supposed to relate to God, loving God, fear, and God, et cetera, then a whole, long piece of all of what does all right, including the narrative about the aegel. And then in beginning of Reh, the emphasis on the place where God chooses his name to rest, which is an expansion on Lotissa, and then the whole calendar, expansion on Shabbat, et cetera, and then Shofthu, of course, which is all about the hierarchical authority structure in society, of Chuanim, and Shofthim, and Malachim, and Nvim, is an expansion of qibra vaim, and we talk about the rest. So I want to go back, actually, to the basics of that. Now the other piece, of course, which is very famous in Vatranan, ishmati Israel, which leads to an interesting, hallahic point made in the mishtat to be in the second parakabra Khon, what happens if this week you're practicing your laning, and you got up early in the morning, and your laning sushi, shmati Israel, al-gunayno, al-gunayno, al-gunayah, et cetera, et cetera, and then you turn around, and you know, you get busy, busy, and you miss the mankreach manah, where you upset kreach manah, and so then keep in the bow, keep in the bow for what did you have? So the mitzvah and makhabi just have a reading, it's an interesting discussion, but I want to take a look at the asaratadi broke, and asaratadi broke, they're very, very famous here. They're famous, not only because they're famous, but they're famous because they're not the same as the ones we're reading, shmote, and what you have in front of you is even though it's normally the custom when doing this, the ones are shmote on the right and divided on the left, because first and second, I wanted to start with wirrat, which is vareen, because that's the one on the right, and then on the left is the version in shmote, and all of the differences are marked, the green on the right side, red on the left side, and the differences fall really into several categories. Some are very, very fine differences, which may or may not be significant, and certainly are significant, or may not be significant if we were talking about, which is an extra vibe. So for instance, if you take a look at, in the first version, in the prohibition of a wirrat, it says, "Lotas Elahafesel Wirholtunah," what does that mean? "Lotas Elahafesel Wirholtunah," I'm sure I should write it in a while. How would you translate that? Do not make an image or a representation, right? How does it read in shmote, "Lotas Elahafeselkholtunah," which is very different, because "Pessel Wirholtunah" means there's two different things being prohibited. "Pesselkholtunah" means "Pessel's modifying tool," right? So even though it's a fine difference, it may actually be something significant. That same kind of fine difference shows up in the series of the second group, or the last group, which we typically show in an image, with that on the left hand side, which is low to your top, low to your top, low to your top, low to your top, low to your top, low to your top, low to your side. So there's no vibe there. So there's the presence of vibes on the go back and forth. That's one kind of difference. The other kind of difference is that in Dvarim, there was a phrase that's added, but it's only added twice. And its addition raises a lot of eyebrows. And you'll see it in green. Shammur, do you want to show up like that? Kachot kachot kachot kachot kachot kachot. What does that mean? Keep shabbat for sanctity, to sanctify it. Kachot kachot kachot kachot, which means, has God commanded you, shouldn't that be referring to the whole thing? So either say that at the beginning or at the end, or say that in each one, but why pick out these two? And the second one is, if I didn't have that second one, I could, if I wanted to, lean on this forno as a beautiful kachot. Because you might think that shammur, shabbat, just means, sit on your hands and do anything. And then what's kachot, shabbat? So he says, based on the tradition that we first got the command of shabbat at Marah, and there it says, we had it by YA, shammur, shammur, shammur, lukhah, it's not just about sitting on your hands and doing nothing, it's about spending the day, which is now free from work, for spiritual and intellectual endeavors to grow in Torah. So that's the kachot, shammur, shammur, shammur, shammur, meaning not just as God had commanded you, but in the manner that God commanded you. I could say that. The only problem is, then it says the frick you would have name and I'd run out of steam there. So I don't know what that's about. The third is, is additions. So the first is Vabs. The second is this kachot, sivkhah. The third is additions that we have in the second, in the one event khanan. So for instance, in the command regarding shabbat, we are told not only to let our, our, we should not work, our sons, our daughters, our slaves, girls, and all of our animals. But in Dvarim, it also adds shocha bachamurah. Right? Why? And you have the same thing in the very bottom. In the last debare, it's the lhotith of abetre akhah, sadehu vivyah, sadehu was not mentioned in shmote. So we have these small additions. And of course, there's the most pronounced differences which are absolute differences. The most famous one being Shamurv is Ahor. In shmote, it's Ahor in Dvarim, it's Shamur. But what's far bigger than that is the entire reason for shabbat given. In shmote is creation. And the entire reason for shabbat given in Dvarim is, you'd see I'd be trying. So beautiful Ramban on that, that explains how the two together create an understanding. It's not just God created the world. He continues to be in charge of the world. And our Shmatt Shabbat testifies to that find. And by the way, that is Ahalacha, the kiddush. You're haiv to mention the kiddush in shmote. And that's why in kiddush, we say, Zheklemas saverishit. And Zheklemas saverishit. Right? We mentioned both. But the question is what are we to do with the debro? So the thing that's clear from the fact that there's red and green on this page is that the debro are not the same in Dvarim that they are in shmote. Alright? So what are we to do with that information? Do we say, possibility one, that the debro were really, and I'm going to use Shmote was a whore as the model, were really kind of multi-tract. So when Harsi Nai, God said Shmote is a whore in one breath. Like the guru says, Dvarim says, Dvarishit einath pei acholot sivish. Einath wasa niholot shmote. Something in no human being can perceive or express. Right? And based on the Pasuk in, in, in, in Tillam, Steim, Dvarim, Steim, Steim, Steim, Zushamati. And that it, and it, because it can't be written that way, so ensure that it writes one way and dorm writes the other way, you can't say that. You can say that for Shmote wasa hoor, you can't say that for the Vad. There is a Vavar, not a Vad. And you can't say it for Khashir Tzivkha, which doesn't make any sense. You can say it for the whole Shabad reason. You can say it simultaneously. God was saying the reason is, it's having time, the reason is very cheap. But you can't say it for these other things. It doesn't work. So it's a programmatic answer that's going to be comprehensive and cover everything. You can't say that the two versions of this are what were both said in our CNI and that Shmote represents one version and Dvarim represents the other version. The other thing is tempting to say, which I think the average guy on the street would say this. When the average guy on the street and say, open up to the book of Exodus 19, what does it say? Sorry, 20, Exodus 20, or say it says the Ten Commandments. It's not Ten Commandments, but you leave that alone. Open up to Deuteronomy 5. What do you find? Same thing. How come there's some differences? So what would the average guy on the street say? What would the guy on the street say? He would say that it's the first tablets and the second tablets. Right? That's what he thinks. But you can't say that. Why can't you say that? Because look at the bottom of page one. In source three, when Hashem commands Moshep to carve out stones, he says, this is for the second, the second, the quote, "Solah Hashem the quote of an incari-shonim," meaning, originally I carved them and I wrote them on a game to you. Now you're going to carve them. So Hashem says, I'm going to write it on the luchot and he says, I'm going to write it on the luchot and he says, the words that were on the first, which means the second, the first of the exact same words. So you can't come and answer and say, well, the one in Vaitranan is the second luchot. It's not true. And it would be very weird for the second luchot, by the way, or any luchot, to say, "Solah Hashem the quote of an incari-shonim," because it's self-referential. Doesn't make any sense. After all, what are the luchot themselves? What are they called? They're called luchot haidut, also. luchot haidut, why are they luchot haidut? Because they are the classical souvenir. You were in Harsina, you heard God speak and here's a physical representation of what you heard. You did not hear God say, "Solah Hashem the quote of an incari-shonim," right? And you didn't either hear the vibe, or you did hear the vibe. It was either vibe or not a vibe. That you can't do. There's a harvest some more, maybe, but you can't. So you can't make that work. So what are we to make of this? Yeah, Jason. One, going back to the previous thing, when you say that Hashem said that Harsina weren't at the same time that not just that we could replicate, but we heard it. So how could you hear something that you can't? I don't know, I'm saying that's one suggestion that's been. But if you read these together as one unit, on one sense and on the other know that they were 40 years apart of their behavior. Alright, so I'd like to take both what Jason seemed to suggest, and Mike seems to suggest, and use that. And we've done this before. We've done it in the context of the changed orientation towards miktashim, where there's supposed to be one miktash or multiple miktashim, and another kid, and other sort of things, about taking a look at what may have changed over the course of time, such that what it says in Shmoat, isn't going to the same size as Vareem, not because, and this is by the way, a critical beginning of a response to some of the fundamental arguments posed by the critics, posed by Dr. Mancher hypothesis, is if you take a look in Vareem, you will see, perhaps, a different orientation towards worship than you see in Paikra. Yeah, but that's not because the Deuteronomist and the priestly code, the priestly code is written, et cetera, et cetera, I'm not going to go into it. But rather, P&D. But rather, because maybe things change between mama and our senai, and we're mostly about to depart and have them go in, it's a whole new generation. So let's start by looking at that, and we're going to see some fundamental things, I copied way too much here over the beginning of Vareem, but I did it for a reason. If you notice, I identified ten of the differences, there's about two or three more, but I thought the number ten was kind of cool, so I used that, just to go over them. The general question is, why are these debroats different than the ones in Shmoat, which are the ones we originally heard, right? And how do we account for the kashire tzivcha, but only in Shabbat and kiburah vayim? Here you have pestle kotunah, pestle vikotunah, right? Shabbat and sha'more was achore, and then there's shor vakhamore in Shabbat, and then there's this extra thing also that your slave is saying we should rest like you in Vareem, right? The whole different reason for Shabbat, right? And therefore, instead of al-Kain Be'rah, it's al-Kain tzivcha, which is a different difference, right? The minutab lah is added in the context of honoring parents, and if, and you want to look, and here I want to show you when we go into an answer, take a look at the last debare. And by the way, the last debare, the question we did this a few years ago, is what are the Azerotha debroat? Meaning, what's debare number one? I know Lauren Sanders likes to think he knows what it is, but what's debare number one? Okay, what's debare number two? Maybe, but if you look at the text in front of you, you have a massaratic text, which means you're seeing a par-shah. And the first par-shah is "anachih and lo y'allah," in other words, "I am God, insha'am, nor the gods, ye for me" is all one debare, which is why many count, that isn't one, lo t'isah is two, shabbat is three, kibirah ve'im is four, lo t'ir tzah is five, which by the way, he throws that whole midrashik, nantamidrashik, it's sudamidrashik thing, that the first five re'anab luamakum, second five re'anab luamakum, etc., etc., that's unaccurate. Oh, because take a look at it, lo tachmord bit re'anab, and then lo tachmord and in both of the versions, lo tachmord and its sister, lo titha ve'ah, are broken into two. Either way, you have ten things, and I know you have ten things, because Moshe refers to as sera tat debareim, so it is ten utterances, not ten mitzvot, it's ten utterances, but how do you divide them up? So, okay, fine, we have that. However, you'll notice that in the last debare, or last debroad, however you want to look at it, take a look at it on the left hand side in schmord. Lo tachmord bit re'anab luamakum, do not covet the house of your friend, your fellow, lo tachmord et shit re'anab luamakum, hey, your friend's wife, vera dor wa la togashor wa luamarau, so basically slaves and animals, wa hausho le'ah, or anything else he owns. Okay, now look in re'anab. First of all, velot aganab luamakum, velotachmord et shit re'anab luamakum, where does it start with? The wife, instead of the house. Why? And then, velot tach ve'as, which switch the term, see about why? Be'at re'anab luamakum, so that's fine, sadal, and then the sadal is thrown in. The rest is all the same. So, there's two issues here, which is, besides the switch, the variant of titave'a, which is a synonym for tachmord, sort of, is et re'anab luamakum being flipped, and the addition of sadal. So, what's going on? So, it's critical to understand that Moshera Be'anu is talking to Benaisal. It's actually gonna all tie quickly once we get to principle. Who's Moshera Be'an talking to and say if it's varying? It's one speech, it's a consolidated speech that's happening over the course of maybe a month, maybe five weeks, because the drawing starts on Moshera's schwatt, what we call schwatt, and according to the addition, Moshera dying on Zion of Darce, it's five weeks. So, it's all one speech. Who's the audience of the speech? The audience. Exactly. The new generation. This new generation was born in the desert or else raised in the desert. Maybe they're born and metrying, but they're very young when they left. Raised in the desert. Parents are all dead, which means the generation that was adults in Artsy and I are gone, with the exception of Yeshua, Kalev, Mosher himself. He's not gonna go across. It's a whole new generation. Now, a whole new generation is one piece of the puzzle, but that's not everything. To say a whole new generation sounds like, Benaisal left, they come into the bar, they're supposed to count a conquer, but God made him say Ra's, and they all died out, and the generation came in, and that's not true. There's way more that happened. It's not just that it's a new generation. It's true, but it's totally insufficient. There's way more information, way more stuff that has happened. So, let's think about what's happened. Benaisal left between. First of all, think about it. Who are they? Benaisal and Harsina, who are they? They're slaves. They're slaves. Grew up as slaves. They're fully Egyptian. They got Egyptian names. They got Egyptian identity. Some of the most famous names that we know, like Aharon, Miriam, and Mosheh, Pinahas. These are all Egyptian names. They have the Egyptian identity. I'm not saying that they themselves, Egyptian culture, but look, that's who they're coming from. That's why God asked to warn them to avoid Miriam, and come on, say, "It's a time we'll toss them," because that's what they're familiar with. And so, that's who they are, parenthetically. And this is a critical thing for understanding of the end. What is the key word in defining Egypt in the context of the narrative of yet, Miriam? The key word is the word "by" it. When God took us out of Miriam, where you take us from? Beitavadim. Who is the big king in Miriam? Paro. What does "paro" mean in Egyptian? Big house. Beitgadol. That's what "paro" means. The whole thing of Egypt is a "by" it. How do we get out of Miriam? We bring the Qur'an Pesach into the "by" it and salivate the vote. By the way, what's a "by" it in that context? It's not just right. It's family. It's not just a bit physical building. It's a household. It's a household. Okay? Now, who are we talking to in Miriam? Who is what we're talking to in Miriam? A generation that only knows about Miriam, what they heard from their parents. They didn't experience personally. If they did, they were very little. So, Miriam is not a real thing for them. But there's something else that's going on that we forget about. Who else is this generation? Besides the generation, it doesn't know Miriam firsthand. It's a generation that knows what firsthand. Victory, war, conquest, settlement, cities. We forget that perhaps the most monumental event of the 40th year was "Sihon and Og" because it changed everything. There's a group of people who are all about potential. And then, suddenly, it's about actualization. They've conquered land. They've beat the king. They've taken land. It's been distributed to them. Ruben here, God there, Hatsim and Ashed there. You get particular cities. There's a battle plan in place. You're going to build cities to protect the wives and children, and you're going to have a rotation of guys on furlough who are going to protect them. The other guys are going to win the vanguard. Everything has changed. And that's why he did this whole long piece, which essentially summarized that. So now let's look back at the Assaratadi vote and see what's happening. But now it's just one other quick introduction. In the piece that we talked about last year, the Assaratadi vote becomes sort of the fundamental starting point for the rest of the Uma meets vote. The idea was that Moshe-Rabenu is the teacher par excellence. He's taking the meets vote that we're given at RC&I, and he's giving them actualizations, applications that are appropriate for this generation. I think he's doing the same thing with Hatsim-Rabenu. Which is what you guys kind of hinted to. It's the same thing with Hatsim-Rabenu. Let's take a look at it. First of all, we're coming from Egypt. In Egypt, iconography is rampant. The notion of symbols and images having inherent significance is rife. And therefore what does Hatsim say in her T'Nai? Lothas seh lechak pessal vihotunah. The pessal itself is a problem. We're coming to QAnon, where overwhelmingly the iconography, I believe, is that which is representative of things of nature, things around. And therefore what shifts, pessal qotunah. That wa mova missi reflects the difference of a generation in the difference of two cultures. Pessal qotunah. We'll get to the bigger ones. Now we start with Shabbat and RC&I. Who are we at RC&I? We're a bunch of slaves that got out. Who are we now at the border about to cross in? We're slave owners. Who are slaves? Some of them need to get any girls. Some of the other people who've conquered, suddenly we, the war was turned. We're a slave owner. So now as a hoor to a wa shabbat likat show, you've got to remember on your own. Now let's show more. You've got to keep an eye on what happens around you. What's the qashir tzivqah? I'd like to suggest that the qashir tzivqah is not that God at some other point told you about shabbat. But did God told you in the Torah, in safer vai yikra, about how concerned you have to be with the less fortunate? The gear. And then that expands into the atombia. But the gear has special rights because he's disenfranchised. That's the qashir tzivqah. So shamor means you've got to keep an eye on what happens in shabbat. Strange. Strange. Strange. But it then plays out to everybody who's disenfranchised. In other words, we start with that. The fact that you yourself know what it's like to be disenfranchised. Now, when you are in the position of being in the center, you've got to have special concern for those people who themselves are disenfranchised. And you've got to make sure that therefore the emphasis here becomes la mani nafesh, a mani nafesh, which is added in la mani nafesh. So your slave should rest like you do. Which of course is a flip on me trying. But that's not something you could say to the generation just like me trying because they don't have slaves. They themselves aren't just coming from slavery. And by the way, why the addition of shah wah muhah? Because suddenly, this is the people who have shah wah muh. Now by the way, what animals did the people after you tried to have? Zone. Why bad zone? Because what's the zone for? For eating. For eating. What's the shah wah muhr for? Plowing and working. Why would they sell shah wah muhr? But now they have shah wah muhr wah muhr in the enemy's hand. They're about to inherit. They already have some land. So therefore, shah wah muhr becomes a piece of the puzzle. But it's a whole different piece. It's not just fah wah muhr by the general sense. You can't let your worker go take your cow and plow the field with your clown. That's what shah wahr is. Shah wahr is keeping a larger iron and what's going on, on the plantation. It's not just what you yourself do, Zahor. It's a shah wahr. And the kashir tziv hahr is referring back to not kashir tziv hah wah kashir tziv hah wah kashir tziv hah wahr how you treat other people, who are less fortunate. And that's why the reason for shah wahr is all different. The reason for shah wahr is now is, don't forget that a shah wahm took the enemy's right. By the way, you don't have to tell that to the jury. They just got out. They just got out. Don't forget that a shah took the enemy's right. He took the enemy's right. And you're a slave. And therefore, you have to demonstrate a sensitivity to slaves. Not now it's my turn to be on top of Laffa. I understand how difficult it is. And therefore I have to demonstrate that kind of sensitivity. And you get to keep it out of aim. Let's think about this. Who are the parents of the generation that stood at our scene at night? Huh? The parents of the generation that stood at our scene at night. Who are they? They're heroes. They're heroes. I'm here at our scene at night. My parents died in me trying. They somehow kept our national identity alive in spite of all the slavery. They died of slaves and they somehow kept us going. So keep it out of aim's a little bit easy. Please don't understand. Now it's a generation that's standing at the border about the cross. Who are their parents? People who died in the desert because they sinned. It'd be a little easier to say, keep it out of aim, aim, aim. It's not so much. That's what the Khashir Zifqah comes in. Here the Khashir Zifqah is very different. Khashir Zifqah means it's not just the instinctive feeling you have for your parents. It's also a command. It doesn't go back to you sitting and judging and saying, "Well, my parents really, you know, one of the most weird moments I had during Shivol, and I sat here with my mom a couple of years ago, was I'm sure everybody here, as I know a lot of people here from the Khashir Zifqah, you sometimes have those weird conversations, especially when somebody comes in an odd hour and it's just the two of you, and it sits in a really off the wall. That had a guy come, and I asked him, because we're just an humble bear, like how he dealt with, you know, when his parents died, said it with the 11 months, "You know, we all say Khaddish for 12 months. Why don't we say Khaddish for 12 months?" Because Rashad is judged for 12 months, the administration said, "Hey, Driner, we don't want to judge our parents to be Rashad." So, we say Khaddish for 11 months, and we're very mach-beat. The last day of the 11th month, that's it, and I've no Khaddish, and I know people have a York site. They'll still take that day, or they're still in the middle overlapping, they'll still take that day off. The guy said, "No, I actually said Khaddish for 12 months, and I'm looking at this guy like it's off the wall." He says, "No, because my parents weren't that religious." I said, "Yeah, yeah, yeah." "How could you possibly think that about your parents? So bizarre." But you can understand, that the generation is standing it, and I vote more of, could look at their parents saying, "You know, you guys were really condemning us to die in the desert. My brother, who turned it around on you, he said, "But that leads us to the next piece." Well, one second, one second, yeah, that leads to the next piece. It's because what does the same Kiburah vam in Shmoat, "Lamayana rihun yomaha." You have a long life. Why will Kiburah vam give you a long life? It's actually fairly obvious, if your kids see you honoring your parents, then what's going to happen? They'll honor you, and you'll have a long life. They'll take care of you. But you know what, they could take care of you, and it could be really rotten. So the kashetsif-hah ramps it up. It's not just enough, just to do the action, and therefore what's added in. "Lamayana rihun yomaha" or "Lamayana-itav-lakh." If your kids see that you're honoring your parents, or even right now your parents' memory, even though they may have gone astray, not only are they going to mean sure a long life for you, but that's good. Long life is going to be a good long life, right, of good quality. One last thing, and I'll take the question. So at the very end, there's what to say about all the vah, but at the very end, "in shmote" - what's the word "bait re'achami"? We're coming out of Egypt. So what's "bait re'achah"? "In friends household." What does your friends' household include? "Isto" - "so lovedo" - "show row," right? His wife is animals possessions, right? His wife is slaves as animals in possessions. Very simple. What does "bait" mean to the generation here? He means a house. They've already been told about houses they're going to come to. "Bhatim tovim wa shavela vanita" - something about how a "bait" is a house, not just a family. So now, "bait" is not general, it's specific. So now what's the really the first thing that a person covets? "Isto shavela" - "man's wife." So therefore it starts with "Lotahmona-it-re'achah" because in Farim, now "bait" becomes a real house. The people are going to have real houses, not just flimsy little tents in the desert. So it says, "Lotahmona-it-re'achah" - "Lotahmona-it-re'achah" - "Lotahmona-it-re'achah" - "Lotahmona-it-re'achah" It's an interesting thing because we're just "Lotahmona-it-re'achah" show up later on. In Ra'ay, when the Torah says, "When you are distant" - because "A'kurashbaru" - "in enlarges your border" and gives you lots of land, and you lust after meat, you're allowed to eat that kind of meat, you don't have to bring a corboard. The word "ta'avah" comes in that context again. So it's with material growth. "Lotahmona-it-re'achah" - "bait-re'achah" here now means his actual house. Why is Sadayu thrown in here? Because this is a generation that actually has fields. This is a generation for whom these things are very real. It's not just in one day I'm going to get, "I actually have fields right now, and you have fields, and you want my field." And so the difference that we see coursing through here is, if you look at whom in Israel are standing at the foot of our sea night, there are very different people than their children 40 years later standing in our boat in the lab, not just because they're a different generation, not just because their kids grew up outside of me trying, but also because of all the things they've gone through, and the way that they relate both to a household, to parents, to slaves, everything has changed dramatically. And as a result of that, the Sadayu said that he brought our present to this way now. So they've run, notice, are not 'emended' because we show them. They are 'amended', critical difference. 'emended' means we change the text. Why should we not change it with text? We haven't certainly run schmuck, we know what they are. What's one should I mean of doing here? 'amending', in other words, 'along with Zakhor', there's still 'shamor', 'along with 'pessa-luh-luh-luh-luh-luh-nuh', there's also 'pessa-luh-luh-nuh', right? In other words, nothing has been taken away, but things have been sharpened and put into a better relief in order so that they become much more of a direct message towards the generations coming in.
