Young Israel of Westside Shiurim
ערבוב השטן
Ok, good to be back. So let's go through a few sagas of coming from Shoshana, there's so much to explore. Every year Shoshana kind of just happens upon us and there's a lot to focus on in terms of health is key of Shafer, the sagas of the key of Shafer, which Shafer represents. And it's kind of one of those mitzvah's where, fine, in a certain way, you're not sure exactly what to think about in the Shafer sound. It's a tough thing because you know there's half a row cup on us, you know there's a lot of kabala, you know there's a lot of spiritual things. We all go to the art school master, it brings out for Sadigone, the 10 reasons why he blows, you start reading them on the bottom of the page, it definitely gets your mind thinking, but it's difficult to actually come up with something concrete about what to feel, what to think about specifically in terms of the emotions during the Kia Shofar. I just want to preface a story from Abkhayan, I think it's a great story and it pretty much sums up what Frisker approach to Yiddishkite is all about and it's basically on the first kamari that we're going to discuss. I didn't even quote the Kumar problem, so I'll quote it the way the Kumar represents it and then we'll see the way, you know, the shorthand that it's on the paper here. The Kumar says in Russian, Shana, Tasein, "I'm right, but it's called lama tikin." He poses the question, he says, "Why do we blow the Shafer?" "Why do you blow the Shafer?" It's such a good question. Lama tikin. Imagine someone asking why you blow the Shofar. There's a lot of answers, a lot of things, a lot to discuss but the Kumar's response right away. The Kumar interrupts the question. The Kumar doesn't allow the question to develop. The Kumar says, "Lama tikin, why are you, you're asking me rhetorically. You're asking me why we blow the Shafer?" Three words. Rachmana amar tikum. God said to blow the Shofar. If God said to blow the Shofar then that's why you're blowing the Shofar. What sort of question is that? Lama tikin. Rachmana amar tikum. He said, "Tikumara then responds and that's where Source 1 picks up. Ela, lama tikin marin kashin, yayishin, hit tikin marin kashin, yayishin." Why do we blow the Shofar at two different points? Two different intervals on Rachishana. Why is it that we blow the Shafer at first the Kiyostimi-Yoo Shof which is done before the Amida before the Shrona S-ray and then later on throughout the Shrona S-ray, mountains of runners and trophies we're busy blowing again. So the Kumar revises the question. Originally the question was, "Lama tikin, why do we blow?" To that the Kumar is almost like upset at the question itself. Lama tikin. You're going to ask such a question. Rachmana amar tikum. God said to blow. Ela, the real meaning of the question was, "Lama tikin marin kashin, yayishin, yayishin, yayishin." Why do we have two different blows? So Rachaim said when there was somebody who was being about to kill in his shul, and there's always one of the things, you know, it's like it could be a great rav, you could know all the halacha, but at the end of the day if you don't know how to blow the Shofar, then you're at the mercy of about the can. Which is very interesting. Today you see for example, in the Kansidos, the world Kansidos is very important, and every rev is also about the can. Because that's part of the tension. In other words, everything you want to think about, don't want to give it over to somebody else. The rev himself doesn't, but traditionally it wasn't like that. Traditionally, you know, recline was only the mockery. As somebody else, someone, you know, a simple person, so to speak, was the person blowing the Shof, and he sees the guy, recline sees the guy's pausing, and it's making a recline nervous. Because whenever you see people pausing, it's haphsic, right? If you ever see like a briskard do a mitzvah, you could do it, learn all about it before. But when it gets up to actually go ahead and do the mitzvah, it's like go, just do it. And that's the approach. Like get it done, and it comes from like a certain trepidation, like to make sure the mitzvah is fulfilled properly. So recline sees the guy who's pausing, he's this, he's that, so he's getting, it's making a recline very nervous. So after it, he says to me, he says, "What were all these pauses in the middle of it?" He says, "You know, I'm thinking about this, and I'm thinking about that, and I'm thinking about the Shof, and all these things he's thinking about." And recline says to him, "You're supposed to think one thing when you blow the Shof, you know." "Rachmanah on my tick." And that's exactly like it takes out of the Gomara, that's it, don't overcomplicate it, sometimes you think too much, that itself is the it's a harm, right? "Rachmanah on my tick. It distracts you from the main point of it. The main point is God said to do this, and therefore we're doing it." That was a real crime's approach to it. But at the same time, I think we open up our minds a little bit, the way that text is presented in a Gomara. We'll realize here that actually a startling thing has taken place. Rachmanah has a question, "Lumbotaken, why do we blow?" The Gomara refuses to accept the question at face value, it cannot be that that's a good question, "Lumbotaken." Of course, we blow, Rachmanah on my tick. Now the Gomara has to revise the question. The revision of the question is, "Lumbotaken, you don't know how to do it, the real question that we want to know is why do we blow twice?" So anyone reading such a Gomara, such a text, realizes that there's something flawed in that, right? Why would Rachmanah just simply ask the question that he wants to know? Rachmanah says, "Lumbotaken, why blow?" But then, it's not really what he's asking, the Gomara, what do you mean, "Lumbotaken, Rachmanah on my tick. Well, really, what I mean to ask is, "Lumbotaken, Rachmanah on your tick, Rachmanah on your tick. Why does the Gomara present it like that?" So in terms of text, in terms of the way you present your question, you wouldn't ask your question, get a rebuttal to the way you ask your question, and then revise the way your question is asked. Just speak simply, why would Rachmanah ask his question and frame it, "Lumbotaken, it's if we blow?" So I'll try, throughout the sheer today, we'll come back to it at the end, but perhaps to give an understanding of why Rachmanah presents the text in such a way, it's a difficult point. Well, once we understand the revised question, let's start from there. Why do we blow the chauffeur twice? And whenever we see this lesson, I think it's a bit of a misconception, but tequios de meuche. Sometimes people think that it means that you could sit down during the tequios. Actually, you're not supposed to sit down during the tequios, it's not supposed to be done. We know everybody stands up and sure. So why does the Gomara call it tequios de meuche? What does that mean? We blow the chauffeur when we are sitting. So most of the reason to understand that what it means is that, "Meuche" means the opposite of an amida. An amida means when I talk to Hashem standing in front of him, like, "Meuche" means not sitting as opposed to standing, but sitting in the sense that I'm not standing directly in front of Hashem. In the middle of Shmanah Asri, that's "Meuche" means, "Meuche" means blowing the chauffeur not in the context of Shmanah Asri. That's the key is to meuche. So we do that first, that's the first thirty kleilos. And then afterwards, throughout the Shmanah Asri, we blow the chauffeur for as well. The front of my noggin is it within the silent Shmanah Asri, only within the Phanah Asri shots. But either way, what it's trying to capture is that it's within tefema. Why do I do it then and do it then? Now, which way does the Gomara want us to do it, right? The Gomara says, "Why do I do it then and then?" Rather what? Which way is the question? What's the premise of the question? Which way do we rather see it? So most of the reason we show them understand that what the Gomara is bothered by is that it should only be done during the tequios de meuuma, during the Shmanah Asri. And the reason why the Gomara feels that that's the pastas is because the whole role of tequios is to be malle, the tefelos that we say in front of the bonus moment. This is really black and white in the Gomara, it's a very, you know, it's like difficult to learn about chauffeur without realizing so quickly how deep it is, like an example like this. Normally you talk to God. Talk to God. Very simple. Say the words. Say the verita. Those are words you articulate in front of the bonus moment. What is it that you're supposed to say? Cheers, the idea is that with the sounds of the Shafer, and you say that literally in the arrechessefusenu, right after you blow the shirt, arrechessefusenu yalu fauna hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai hai. What is that trying to say? Trying to say like this. Normally I talk to Ashhem and the words speak for themselves. And Rosh Hashanah, I want my words to come to the screen on through the sounds of the Shafer. So it's actually like a two pronged attack almost in the way we defend ourselves in front of the bonus alone. With words, with trying to come with our emotions from our hearts, putting it into words what I want Ashhem to hear from my mouth, but also I want it to be heard in the sound of the Shafer. So the sound of the Shafer carries the Tefilo, so to speak. I think that's probably the best way of capturing it. The sounds of the Shafer carry the Tefilo on Rosh Hashanah. That's an easy idea. I just said that Tefilo. I'm davening and I'm also hearing the Shafer, but somehow they connect with one another. Somehow it becomes that through the sounds of the Shafer that Tefilo's go up into Jamai. So because of that, the posture should be that you blow the Shafer during the Tefilo mud within the Shafer. If you take a look at Rosh Hashanah, Rosh Hashanah, Rosh Hashanah, Roshy, Roshy, Roshy, Roshy, Lamidimo. Roshy, whenever we're talking about the sets, the fact that we blow nine to Kiyas, Roshy always says we blow nine to Kiyas, one for Malchios, one set for Tefilo, and one set for Shafer's. Even though it seems to be really that though it goes almost like an add-on, right, with the Rapunan, they said to Daven, and then afterwards they're saying blow it at these intervals. But it sounds like from Roshy that really there's a concept of this, even on a Dharaisal level, that the blowing itself is in order to have the Tefilo go up in it, which is again a very, very big critters, but that is really, that's the basics. There's the one-on-ones of Shafer that it's Mala the Tefilo's on Rosh Hashanah. So that's what makes sense. We're going to do that. That's the primary Tshafir. The primary Tshafir is what we do second. The secondary thing is what we do first. It's very confusing. Well, we start off the Kia Shafer with a Shafer, and now I'm about to do the Mitzvah, we start doing the Mitzvah in something that's not the primary Mitzvah. We just blow the Shafer. 30 kielas before Muslim starts. That's like almost like a preface, but we begin the Mitzvah with the preface, and of course I have to make a brothel because I've started the Mitzvah, but the primary fulfillment of the Mitzvah of Kia Shafer only comes out throughout Muslim. It's a very peculiar thing, but we start the Mitzvah without doing it in an ideal way. Without the Tftila, then we go into the Shafer, and then we go ahead and perform the Mitzvah in the ideal way with the Tshafir. So that's what the Gamara's asking. The Gamara's saying, "Why are you doing it in such a peculiar fashion?" Just make a brothel right in the middle of the Shafer, the Shafer, the Shafer, the Shafer is right before you're going to blow the Shafer, and blow the Shafer during the Shafer. Why are we having the Tshafir to be used to be used to be done here at all? This is what the Gamara's bothered by. So the Gamara answers, "Kidei la Arveeth Hasalta," the point of what we're trying to do is my Arveeth Hasalta. So I want to talk about that word, my Arveeth, and today we're going to see you have a tube shot there. There's more, but we're going to say Rashi enticivists, and I think both Rashi enticivists have such an important message that relates to a person very strongly in terms of that avoid what they're trying to accomplish with the Shafer. So I hope this is not only going to be a text and an old Gamara, but something which is very, very relatable to what we're trying to accomplish. So the Arveeth Hasalta, what does the word "Arveeth" mean? What does the word mean? The Arveeth Hasalta is one of the hard words to translate because it means different things. So I think, you know, here's a good one. When you hear the word "Arve," what do you think "Arve" means to say "wild animals." Right? Of course, "Arve" does not mean "wild animals," but that's what it means, right? "Arve" is "wild animals." The answer is that "Arve" means to mix. Ear of of his mix. So when you think about the plague of wild animals, the Medrish brings us out is that it wasn't just that there was lions entering the city, where it's to be that there were lions entering the city. So then the Metrium could have called the greatest lion expert down and decided, you know, what's causing the lions and how do we deal with lions and so on and so forth. The issue was that it was a mixture of wild animals and the fact that there were all sorts of wild animals coming to the same time, so you can't deal with anything because it's all an overwhelming sense of wild animals because of the fact that they are mixed. That's the root of what an ear of of his root. It means to be a mixture. So you find it in telemudic terms that an "Arve" means to be a guarantor. So when someone is trying to take out a loam and the malva doesn't want to trust him on it, so he gets a guarantor. So why does a guarantor call it an "Arve"? So the child is because he's overlapping within the loam. He's not the recipient of the loam, but he's mixing it. That's exactly what he's doing, right? He's mixing into the loam. So he's an "Arve." He's getting with ear to the loam despite the fact that he's not borrowing the money. So the word "Arve" means to mix. So what does this mean? To mix the salt. So I think we'll capture the depth of this as we go along, but for now let's just say to mix him up, right? That's the way we say it in English. To mix somebody up. What does that mean? To mix somebody up to confuse them. The "Arve" of a sataan is a way of saying confusion, but the root of it is mixture. We'll come back to that again and again today. But the idea is we're trying to create a confusion of the mind, a mix up. A mix up within what the sataan is thinking. Now sataan has many different names, right? The kumar itself tells us, "Don't get so particular about sataan, it's a hara, a mastin." It's all one and the same. Sometimes you find different terms exactly, but you can relate to this if you want to use the word, you know, synonymous. You want to say it, call it yes or hara, you want to call it some bad malachum, call it what you'd like. Don't perceive it, you know, something more than it has to be. The bad forces that we're dealing with, and the bad forces that we're dealing with when we talk about "Arve" of a sataan, think about it as the prosecutor. That's usually the typical way what the kumar says, the kathagar, and on Russia Shauna is the person who's bringing all of the bad things that we've got in front of the abundance of them. And that can be also to be ourselves, right? That doesn't have to be just to relate this in a second, I think it's important. Sometimes you think about it like, you know, like an outside, like no lawyer in a room, but to a certain degree, I'm sorry to describe this, that we should look at the sataan within. In other words, you should look at it as if you yourself, in a moment of truth, would say the truth, right? And that's what we really would say. The autopoicing call on them by. But when you talk to your voters, when you're looking at you, you're not hiding it after all is said and done. You're not, you cannot hide it. You're talking to your voters alone. So when you think about him, Russia Shauna, standing on the other hand of Malach, in a court room, you're your own adversary. You're also your own defender, right? It's kind of like one in the scene, but we're very complex. There's a lot of mix-up here. So what we're trying to do, mix up the sataan, what's so ironic about that, to a certain degree according to its understanding, is that there's a certain confusion that we're trying to create within ourselves. That's the point I'm trying to develop, is that don't look at this harvest sataan, like a very childish thing, you know, like you're going to play a game with the outside force, with the lawyer, trip him up, you know, make him spill his coffee on the way into the courtroom, he's flustered and then he can't open his mouth. There might be that way. Don't get me wrong, that is a nice simplicity to it, but Russia is understanding it on a much deeper level. That the armpit of a sataan means a true sense of confusion, a true mix-up, mix-up from within as well. So let's discuss this. What is this armpit of a sataan? So we have a fundamental here, Rashi, in place of this, and they give us completely different two different angles on the ami. Rashi says, "Kadil armpit, zok rashi, choloyastin, he should not prosecute, kishiyishma yisrael makhaba vinas emitsu, when the sataan hears yisrael being makhaba vinamitsu, how do we translate the word makhaba, not an easy word, cherish, love, connect to anything that like, you know, not just doing because you're supposed to, a little bit more than that, you're makhaba vinamitsu. So when he sees or hears that yisrael is being makhaba vinamitsu, misasmin dvaru. So his words are silence. What's the trap? He sees that we're blowing the shafer when we don't need to blow the shafer, essentially that's the point. We're blowing it to me, you show up before this one, S-Ray, we're not just doing the mitzvah for what the mitzvah warrants, but we're doing it first and then again. So when he hears that, so then suddenly he's silent. That closes him down. So what does that mean? Why does he get closed down? Because he sees that we're doing such a good job. So maybe the simple idea here is, is that he lays down in defeat. In other words, sometimes you see an enemy and you're trying to fight them, and when they seem beatable, so then you fight back, but when they seem invincible and they seem to be playing the best game, so then it's kind of like you give up, there's a sense of despair. So the sultan is going to despair from seeing evil when he sees how much we love doing the mitzvah of Shreyfus. We do extra where Makabe the mitzvah, and therefore that silence is him. Okay, good. Simple shot. But it can be a lot deeper than that because if you think about it, sometimes it also works the exact opposite. You know what happens when you see your enemy fighting so hard? What do you do? Sometimes you fight harder. Far harder. For example, give me an example of this. According to a summary showing in the Rabban, the Torah tells us that how to do different approaches in this mitzvah. According to the Rabban, when you're fighting a war against an enemy, the Torah prescribes that you should not surround them on all four sides. You should only surround them on three sides, but you should always leave a four-side open for them. Why should you leave a four-side open for your enemy? Make peace. Leave them completely and make sure that you'll conquer them. Why is there a din? The Torah is telling you in doing warfare that you should make sure to leave an open side. Zok the Rabban, because if you completely surround your enemy, they're going to fight back stronger and you might end up losing. Whereas if you leave them with an open and they feel they're okay, they don't fight as strong. And then you can win. So it's actually like, you know, reverse, backwards, ironing kicks in. By leaving the four-side open, you actually might do a better job, so put that into a spiritual thing here. If you come at the side, and you show them your best card first, and you're doing the mitzvah before you need to, and you're doing the mitzvah, you're doing the mitzvah, so maybe the opposite, maybe that's closing off your enemy from the four-side, maybe that's boxing them in, feeling them a bit better, bring up the worst, dark secrets of what you've done over this past year in front of Hashem to push back harder. Why is this suddenly a mitzvah, just because he sees how much we're being makave in the mitzvah? So let's say over what the Ha'flah says, the Ha'flah, the rabbi looks, I'm sorry for it. Let's say over his Tarah, and we'll give a bit of a different spin on it. The Ha'flah says we have an idea in Teshuvah, a very powerful point, it's based upon the Camara in Source 3, a Camara in Yuma, that there's two ways that a person can do Teshuvah. Teshuvah can be inspired from two different things. Teshuvah can be inspired from Yira, and it can be inspired from Mahab. Teshuvah means you're nervous about the reality and what Hashem is going to do to you if you don't live there. Everything that we do wrong justifies Hashem punishing us, right? If we do something wrong, we're not supposed to do that, Hashem to punish us. So Tshuvah Mihira says I'm nervous of that, or a bit of a deeper level, I'm intimidated of the Rebonus Suleim, afraid, or by the Rebonus Suleim, that's also Tshuvah Mihira. So when that happens, Hashem pardoned us. But the way that he pardons us, the sin doesn't go away, it's not like absolved just completely, but what happens is, Is that Hashem views it as if it was a mistake. The things that we do willingly, Hashem views as if they were done just by Shogic. In other words, circumstantially is the way that our sins will be described as mistakes that we make or is not willful rebellion against Yira. However, there's another level of Teshuvah, which is called Teshuvah Mihira. Teshuvah Mihira means that a person wants to, he loves the Rebonus Suleim, he craves the connection, he wants to feel that he can give back, and he feels bad about the fact that he's not been doing that, in order to restore that relationship, so he loves it to Shogic. It's coming from a place of love, where he wants to feel close to Rebonus Suleim, but that happens, says the Gomara, Zidaynes Nasser's low-kiss-kiss-kiss, powerful idea. The wrong things that we have done wrong become merits for us, so it's as if you look back at Yira Varez, and every idea of what you have done actually becomes like a scar. You get credited in Shulai important. How do we understand that? It's just on a basic level, obviously, such a difficult idea, but it seems that everyone understands, in life, not everything is so linear, you're not walking directly in a straight line, and a lot of times, the things that you do wrong end up being steps that help point you in the right direction, so even without it necessarily being a rock-bottom experience, but just moving along in life like a human being, anything that you experience is a learning experience, and as long as you have an open mind that you're able to be honest with yourself and repent when you do wrong, so then nothing is too scary to face, so you can face your real mistakes, be honest and open with them, and then return, and then you look at them and say no, that was ended up being, obviously, you don't plan it out that way, but in retrospect, now we can see the mistakes that we've made and somehow bring us to a better place, so this is dangerous, that's what the kus kliyas, that's what the kmarah says, so the past like this, we could, there are two ways to go into Shre'fer and Russia show, so that's not fun, you can go in and you gotta do the mitzvah, so you do the mitzvah, fine, you don't see tremendous love from a yid, rachman on my ticket, right, that's all it is, God said love, you don't see the love of Kha'i's show, you don't see teshuva maya hawa in the way that they're trying to repent, so then the son says let me fight back, you know, the more I can lay out, even if the guy is doing teshuva, but I don't see it, I don't see it so strong, so I should keep on talking, and even if Hashem does Michael him, at least there'll still be like mistakes that the person made, but then he sees that we're doing teshuva maya hawa, he sees that what we create more than anything else is the love of Hashem, he wants, we want the connection, we want the teshuva maya hawa, so then he keeps silent, why does he keep silent, because any words that he uses, not only are they not going to work, but to the contrary, any words that the son opens up, end up being as close for us, it's absolutely fascinating, he starts saying one thing, look at what this guy did, look at this, look at that, but when we're doing teshuva maya hawa, every single mistake that we made ends up being kesus, so why would he open his mouth, at least better to keep silent, at least don't build more sceles, that's the job, we're trying to show the bonus a little neshuva maya hawa, teshuva maya hawa, this is the source of showing that this is coming from a place of love, and this is an incredible, I mean it's like a great hawa, what the hawa is saying, that it's going to bring about, it's going to bring, if it's the kesus, for teshuva maya hawa, that we're doing the mitzvah, we show that we love it, and therefore the son's going to keep silent, because teshuva maya hawa makes everything close, so anything he says is actually going to end up being a mare for us, it's a nice hawa, it's a beautiful hawa, but it shows us his Derek, in our understanding of what are we trying to do before teshuva, and I think this is something where we certainly, certainly, certainly can get lost on rashashana, and it's important to think about it, when you go to rashashana teshuva, it's serious, and it's serious because it should be serious, not advocating for anything but a serious teshuva on rashashana, my point is, is that why would we get serious, what does it bring, what brings us to a place of seriousness on rashashana, it's usually fear, it's awe, it's intimidation, it's because we're afraid of what my next year will look like, and justifiably so, we absolutely should have a sense of fear on rashashana, when you think about it, when it's not a token of the saying, when you think about your life, when you think about who you're responsible for, you think about your goals, your vision, you think about all that together, and you think about what's happening in shamayam, so who wouldn't be afraid, right, we should be afraid, and therefore, when we think in the sounds of a chauffeur on rashashana, just automatically the associations that we have, with the sounds of the chauffeur, should be fear, as the ramam tells us, that's one of the very reasons why we blow the shafer, the shafer is meant to inspire us, but how all the lo yacharadu, when you not tremble, as if when you hear the sounds of the chauffeur, that's literally what it's meant to do, but when there's such an emphasis on fear, and this is what we're just like, I suppose, is bringing it out, it's actually sometimes can push you away from finding the emotional love, and it's a very interesting thing, I have to relate to the rebunar shalalam on two dimensions, I am supposed to look at rebunar shalalam as the one I fear, but I'm also somehow supposed to look at the rebunar shalalam as the one that I love, but the more dominant fear is, on a specific time and context, it's difficult to bring out the emotion of love as well, and therefore, before we go talk, let me lift the amela, before we're going to talk to Hashem, before we view ourselves as standing and talking, what we're trying to focus on is love, we're trying to focus on relationship, we're trying to focus on peace, just forget about everything I need to happen for me this year, how much this, and broch on here and here that I need, what do I want, just be purely and solely in terms of my relationship with Hashem, and that's a very different question, it's a very different question, what am I grateful for Hashem to, what do I feel like I owe back to Hashem, not anything I need, not you know like just simple ava, without overthinking what ava is, just thinking in those sort of sort of sort of perspective, that's what the Ha'flah is saying, that's the Indian of the keyest in the issue, because that shows, now that's exactly what the santan is, that plays the truth in my ava, so it frames everything, it throws mahavevis amitzis, so it's a fascinating approach of the Ha'flah, in terms of why the santan would be quiet and the emphasis of the ha'vah that which comes before the year, now let me take this just a little bit of a step, let me say deeper, but it's a little bit of a digression from what the Ha'flah is saying, what are the sounds of the Shreifor comfort, right, so we know there's so much mahavevis, I'm only sharing like again, I don't want to call it the tip of an iceberg, but it's one of, there's one of many, there's so much to discuss, if I want to share one, this comes from a medrich, you can see it in source 6, Baikwaraba, it's also with a percage reviliazer, what made the sounds of the Shreifor, the sounds that we have, the tikiyah, the true tikiyah, perhaps the tikiyah, what are these sounds come from, so the medrich tells us that they come from saura email, and this is, you know, sometimes it's an uncomfortable conversation a little bit, but saura's role in the Akita is not clearly defined, she's not in the text, she's not in the narrative, no one asked her, it seems disrespectful to her mother, to her mother, so on and so forth, and these are great questions about saura's role in the Akita, the medrich fills in where saura comes about, but I think there's a few lines in the medrich which sometimes go missing in the way we learn about it, I think usually we learn that saura was told in the news that Akita and she dies, that's usually what we hear, that's usually the story that we hear, the medrich, if you take a look inside, it actually shows us that the sautan needed to inform saura about it, and why do the sautan want to inform saura, let's understand, the sautan obviously trying to stop the Akita, stop the sclus Akita, the power of the Akita, what's the power of that Akita, I'll do anything that Hashem tells me to do, right, no matter what Hashem tells me to do, I must, that's the idea, afters, I must serve God, do you think that it's out of love and that's a scenario, hard to know, but it's certainly I must serve God, whatever God tells me to do, I must sacrifice, I must go with extra mile, if God tells me to do it, even this extreme sense of an Akita, but in that case, in that scenario, the son sees it all developing, he says, how am I going to bring it out, how am I going to mess this up, and his last resort is that he feels he's going to go to saura, because he wants what he goes to saura, one of two things probably, one is that either saura will be very upset about it happening, so it will counter the fact that avram was so willing to do it, the fact that saura would be so upset by counter the sclus, father versus mother, or maybe even on a deeper level, maybe you can make avram regret shucking his son gets back, in other words, if it gets into this fight at home, and saura wasn't behind it, and then it ends whatever they have, so then maybe that can pull away from the great sclus of the Akita, so that's like his last card that he wants to play, this last resort, is to go to saura, tell her about it, take her by shock, remember avram, it didn't, didn't, didn't consult with her, so he has that opportunity, he has that window, he's going to go to saura, and tell her about the sclus, tell her about the Akita and what's going on, so, so, so what happens is, if you see the whole thing, but oyster shaw are the very line, and you could take a look at every line, but just focus on the end of the measures, but oyster shaw are at the very end, so of course shisha, coit list, can I get shisha to cues, it says that there are six sounds, six cries, that saura makes, there's a thing about what six are, but they represent, says the measures, can I get the shisha coit list, can I get the six sounds of the shreif, to know again, leave her out, leave out the number six, why does it say six, oh, let me draw you a particular, bless her, says three, says over here six, but uncle bought him, there are different sounds that she makes, cries, and that is what brings about the, the sounds of the shreif, so, if you think about what's the source of the sounds, that the source of the sounds are the source of a mother crying, that is the sounds of the shreif, which you know many have noted this, rest your shot is really a woman's holiday on so many levels, different reasons, but this is one of them, it's the cry of a mother is what defines the cry of the chauffeur, so what does that mean to us, that it's the cry of saura i mane, which is the source of the shreif, so let's try to understand a little bit better, what did these cries mean, what did they cry, so she didn't, what do you mean, avram was crying, avram was doing the myths with the sim class, reason why demon lomitzas, so do her tears represent that she's on the same page, yes, no, on the one hand maybe you say her crying is no good, on the other hand now we see it's the source of the sounds of the shreif, the very sounds of the shreifers, the sounds that saura makes when she hears about the akeda, so the chad and the touch in this is his fault, saura's tears, she was not upset, it's not she was upset, she didn't say no, she didn't say I disagree, that's not what it is, she didn't have that reaction, and that's the reason it is of itself it's as close, but she cries, she cries when avram does not cry, what is the meaning of the cries of saura, it means that despite the fact that it may be required, maybe justified, maybe what ashram wanted, it's very hard, it's very hard and it's painful and you're allowed to cry about that, because it represents compassion, compassion means, despite the fact that ashram may say that this has to happen, this is really tough for somebody, obviously, and therefore I cry over that fact, sometimes even if things are supposed to be a certain way, and god said they should be a certain way, that doesn't mean we can't cry over them, that doesn't mean it's not painful, it doesn't mean it's not a lot of emotion in it, so what it represents is me, the saura actually, and me, the saura actually, in the fullest extent, is not as irah didim, that's the reason it's so important, it's not that she says this is wrong for happening, it's not that she's playa, it's not that she says no, this is wrong, stop, how could it be, how could there be such a god, that's not what she says, that's the reason it's as close, it's as close that she accepts it but with tears, but with saying how could this happen to my son, I feel horrible for my son for this, so it's a very very subtle thing, but that's precisely the way we want ashram to feel about us, we're not trying to say, ashram honestly I didn't sin, we're not trying to say, ashram it's not justified to have this punishment, so on and so forth, but ultimately what we're going for is me the sauracha man, in the sense that maybe it's right and then it's justified, but it's really tough, it's really tough to accept that there is then and accept the punishment and accept what should or should not be justified for me in my life or in the world, and ultimately what we want is the me the sauracha man to win, and that's the reason why saura's tears define the sound of the chauffeur, the sound of the chauffeur is going to be defined by the cry of a mother, the cry of a mother in rachamim, specifically even when the me that's hadin of avram said this is what should be, and if it should be then I'm going to be reason why I came in the midst, I'm going to wake up early in the morning, I'm going to do this with the same smile, the same way I would put on to feel it, that's an ideal, that's a beautiful, that's what didn't justify, if you're really honestly cool logical with everything that approaches you in life, maybe that's an avram sort of perspective, but saura's perspective is an acceptance of din, but we're knowing how to cry over it, and that's exactly what we want with rasha shana, I wonder just putting this back a little bit to where we started, we discussed how in rasha shana specifically we talked asham through words and with the chauffeur, both of them, they're worked together, the chauffeur carries our words, it's a little bit like that, our words are din, our words are what should be said, sometimes you need to say what needs to be said, but the cry is the compassion, the self compassion, compassion for ourselves, what we're trying to say, how we cry over our own state and want better, something better for ourselves, not because I deserve it, not because I can put in words, because I want that, because I want to cry over exactly that point, and that's precisely why in rasha shana it's so vital that we put it in words, A, but B, they were also able to put it in crowds, in tears, so we can think about saura in that moment, but we also think about avram, it's like you think about that, okay, different two different points, so if you go back to this and you think about the chauffeur now, this is, I think where it's not a contradiction to what the ha'thal said, but it's just, it's a different perspective a little bit, is that think about what the chauffeur, what does the sun think about when he hears the chauffeur, when he thinks of the chauffeur, he says like this, listen, my plan was to bring the whole thing down by going to saura, that was my plan, I was going to bring it all down, I was going to get her upset about it, it's going to create contention between an urna avram and any good that avram would accomplish, saura would take away, that was his last plan, lamisa what ends up happening, he goes to saura, saura makes these tears and accepts it but cries, and those tears now inspire the sounds of the chauffeur, so when the sultan hears the sounds of the chauffeur, what does he realize, that me and me, all my accusations, all my schemes, all my plans, my last resort, the thing that I thought, that is finally going to save me, ends up messing me up, the sound of the chauffeur is the futility of the prosecutor, it's the fact that when I try, my last thing that I was relying on ends up biting me, I'd rather not have gone to saura to begin with, at least if I didn't go to saura, there wouldn't be a chauffeur, but now that I went to saura, and my plan backfires, and now there's a chauffeur because of the fact that I attempted to get her to pull it all away, now the sultan sounds the chauffeur, the sultan says that's it, I don't believe so much of my ability, all of his deepest in security, so to speak, as a prosecutor come out, they emerge, because when the sound of the chauffeur is there, he reshows him, yeah, I made that sound of the chauffeur, with my plan going over to saura, those tears brought it about, so that's why it's masked in a stavara, it literally silenced him, he says, this is worthless, I don't want to do this, and what does that mean? Again, let's go back to that red sultan, because we don't want to look at this just as a childish thing, it's not about silencing some outside lawyer, but what it represents is the way we feel about our selves, and it's so important to feel that, that when I can see in myself, yeah, I've done all this wrong, I've done that wrong, and justifiably, I would say I'm up in front of God and be my worst prosecutor, it's like sometimes in a court case, when the criminal themselves ends up being through an admission, ends up being the worst prosecutor possible, which is, which happens a lot of times, that's the tactic, that's also in front of the bonus lawyer, but to see yourself with a sense of compassion, to see yourself with a sense of compassion for self and understanding in a greater sense of rahmim, so then that understands, that's exactly what it is, that's what the sound of the chauffeur represents, so that's what machado this ha mitzvah, let's be spoke about so much from toshua me haava, which the hafla introduced us to, the sound of the chauffeur, which we realized, emanates from saura, y meinu, and her koillas, the last thing the sultan tried to do, which backfired, when you come only within and cool, you think everything's going to work out, but actually if you think about a haava and compassion of a mother and ends up backfired, and that is specifically what we are trying to do, to blow the shafer before we get to our words, that is the mahalich of Sheetah's rahmim, now let's go forward to the Sheetah of taisus and source for it, taisus has a completely different approach to why we blow the chauffeur and what we're trying to mix up the saatah, taisus tells us, based upon in your shaamim, peers for ark, these are your shaamim, you feel a haava, so you can see it by your way, you can talk about chauffeur god, so there's a connection between the chauffeur hagato, the great sound of the chauffeur, which will herald the mashiach, and which will also then bring about be la haava, so the eternity there's not going to be death, and the sense of not having death, you know, it's all of it, it's all, you know, put it all together, basically there's going to be an end of the etahirah, an end of the saatah, an end of a prosecutor, an end of his job, an end of his mission, with the coming of mashiach, which is, which we hear from the sound of the shaifur, that's going to be the end of the saatah, so when he hears the sound of the shaifur, he says to himself, uh oh, kachamakoshipura, zimnakhah, the baal, the baal, the baal, what does that mean, he's all, he's in his state of confusion, oh no, maybe that's the sound of mashiach, and if that's the sound of mashiach, then I'm over, it's over for me, because that's my death, so he sees his own downfall connected to the sound of the shaifur, because the sound of the shaifur also relates to the coming of mashiach, and therefore it confuses him, it makes him nervous about his stability, now, so just to clarify, it's got nothing to do with mahadimous amitzvos, it's just literally a tactic, just throw him off and say, okay, maybe I need to run right now, maybe this is the beginning of my death, maybe this is the sound of the great shaifur, and I, I better run for my life, but again, it's hard to get this out of a childish perspective, or a flanera, y'all have the lindere rights, and source five, which is the obvious question, he says, didn't he learn last year, not to be afraid, right, which is like, are we allowed to ask that question, in other words, what does that mean, he gets thrown off, oh, there's a sound of a shaifur, which is the sound of mashiach, and therefore he irritates it, and he's nervous, what's going to happen, well, you heard last year you hear the mashiach, he probably learns that this is what the Jews do, right, they blow the shaifur on Rosh Hashanah, it's got nothing to do with mashiach on me, mashiach is not coming, he can feel very confident about it, and it's just the Jews doing their old shaifur, again, why is he so afraid, why, well, what's the Indian over here, so Rosh Hashanah really says it himself, but to put it into different words here, and this is the key, I think it's important to relate, when you go to shaifur's, I find it personally frustrating a little bit, on Rosh Hashanah, the shaifur section, to be honest with you, I found it a little bit frustrating, what am I even frustrating, Rosh Hashanah, you know, you have so much to talk to, I'm about so much you want to say, and you get to shaifur's, it's like, first you gotta go back to our seanah, ata niglese, abouta niglese, go back to mata, tell you, go back to our seanah, you talk about the beautiful sounds of the shaifur, our seanah, okay, that way that's not relating here, that's not hitting me Rosh Hashanah, and then from there, you go to the way you sing in front of our shaifur, right, the hallukas with the ten instruments and all that, that happens with the shaifur, okay, that's not hitting home, and then you get to the great sound of mashiach, that everything is going to come through the sound of the shaifur, but you know what's really missing right there, the whole thing, me, myself, right now, right, everything that you want the shaifur to be about, the shaifur's section, everything from there, as you're going in the kabal and everything that the shaifur should be about in the nuts of the shaifur's section, you just don't get it, it's all about the history, our seanah, the way that we use it as a medium to praise our sean, and then about the comic woman shaif, so it actually turns out, I think it's an important point to notice, how much we actually doubt them from a shaif specifically on Rosh Hashanah, it is interesting, but why, and what is that all about? So I think, I think this is the key, it really speaks for itself, it really does speak for itself, it's just that as a person, and human beings that we are on Rosh Hashanah, again, it's a very similar thing, we can get very caught up in our little bubble, and we get caught up in our bubble because we're focusing on our narrow personal lives, that's exactly it, right, when I'm thinking about Rosh Hashanah, what's in my mind? Well, I'm thinking about that kid, oh man, a little anxiety about what's going to happen to him this year in school, and what's going to be with there, where should I live, is there Israel, what should, you know, all these thoughts that we have in our minds on Rosh Hashanah, what we're thinking about from Roshan, it's very, very hard to see yourself in a bigger picture, it really is, but the reality is that we think about our obdas in front of him, we have an emotional oleum, it's important to play a much longer game, everything in Yiddishkaite is about the bigger game, everything's always like that, you know, I think the best example of that in front of our eyes is Yakovovinu meets Rafal, and the first thing he's thinking about, he's crying, when he meets Rafal, why is Yakov crying when he meets Rafal, because he sees the fact that they're not going to be buried together, she's going to die on the road, she's going to be buried there, so he starts crying, so it's like an amazing thing, he's played out the flashes of their entire lifetime and death in eternity, and what Rosho represents way beyond any forging of their relationship, this is literally the first time that they have met, so the idea of that is, is that a regular just compare it contrast, you know, with the way you see relationships in the world, you normally meet somebody, they're not playing a long game, they're playing a very, very short game, before you let any sense of your guard down, before anything happens, it's a very, very short game, with Yakov, it's mamish the opposite, as long as you know that this is what it's supposed to be, and you'll have that confidence in the Ashgoth, but the runners alone, so then everything, yeah, it's about me, of course it is, and of course I want a nice life, and of course I want this life that I'm having a beautiful relationship with, of course, of course, but it's not only that, it's something actually, it's just a piece of something that much bigger, so Yakovov sees everything that's going to happen, he's seeing generation, he's seeing future, and it's important that on russia jhana, we see ourselves in that light as well, and that's precisely what the shafer does, that's what the shafer is meant to do for us, and this is what the Ivan Vasothan is, when I'm standing there russia jhana, I'm not just talking to Hashem about my life, and I'm not just talking to Hashem about what's going to happen to me, in a certain regard that is absolutely selfish, the shortest game that we can possibly pay, like, think about it, let's talk about it this year, yeah, and what's going to be next year, next year we'll talk about it next year, what a short game, can you imagine, imagine your career, you go to your boss, you want to talk about your future, it says every year, once a year you'll talk about it, at a certain point, that's great, and you're probably very, very, after being that position you have a lot of gratitude for the fact that he even engages in that conversation once a year, but at a certain point you say, I don't know what age it is, but you say, I don't want to live this on a year to your contract, I want a bigger picture here, there's a bigger picture, this is my career, so that's pretty much essentially, what you think about it, with Russia, China, what Treifers is trying to say to us, I don't want to live a year to your contract, I think you have a bunch of shalom, this is a much bigger game, this is a game, the Shafer, which began out in a glace, out in a glace, out in a glace, out in a glace, out in a glace, out in a glace, out in a glace, which means that we're part of the tire, which means that I was there, my nishama was there, and I've seen that years and years before that, my existence in a body was every year, there's a much bigger picture here, there's a story about a base of miktosh in the way the Shafer was used, there's a connection to me in that, and there's a connection to the coming of mashiach, so when is that, when is that, how is that, I don't know, I don't have the answers, but I see myself believing in that reality, I see myself as a part of that story, the same story that started our senai, which ends in the coming of mashiach, it's that story is me, that is what the Shafer says to us, it's the same medium as the Shafer, it's the same tools, the Shafer, the scores of that gaita, isn't just that we have something special that goes, but that it puts into all these pieces that we have in life, I think it's absolutely vital to put that perspective in when you go and rush a shot, I did it, that's the confusion, going back to this, his confusion isn't okay, I'm gonna die when mashiach comes, maybe mashiach is coming right now, again good perspective, but a little bit childish to a certain degree, deeper, a little bit deeper is that he sees that we're part of a much bigger game, when you're part of a much bigger game it scares the sultan, the sultan attacks on the short, the son attacks in the present, when he's part of something much bigger it's much harder to bring it down, when he's a yid, he's not only standing there for himself and his small year that he's just lived, but he's lived the whole thing and there's a bigger picture and there's a couple of us and you know, some kids and this and that and things that are coming mashiach, it's much harder to fight back against that and that's the confusion, that's the confusion he's trying to create, that's the shot, that's the mahalaf of taisus, so I think the main thing, the main takeaway, rashi, taisus, so many different things going on here, but the main point is to go back to that word, Ayurved means to shake it up, to mix it up, mix up the sultan means, mix it yourself, I'll pay it for a second, rashiashana, you think you have a calm, cool, collected, itis, I'm supposed to do that, I need to do this, shake it up, shake it up means mix that up, mix it confusion within oneself, think about things that we're not usually cognizant or not usually thinking of deliberately, sometimes they're uncomfortable, think about the bigger picture, think about where we come from, think about the lover, three bonus luma, according to rashi, think about the coming mushy aqua, according to taisus, and put yourself in that, that's the avi vahas sultan, and within that, that's the idea, the idea is that we feel incredible, it's a completely different feeling of connection to your boners for a little bit, such an aviada, so we should be zaika to have a total year of avaas sultan, with the tikou, tikou, tikiyya, send me your shirt, oh, I didn't close, we got a close right, so why did bitzlek say luma tiken, bitzlek said, again, that was the part, luma tiken, the remark I'm very upset about bitzlek, luma tiken, rachiman, all my tikou, so bitzlek said, no, luma tiken jinyu, I may be never talking to you, gave the avi vahas sultan, so why didn't he just ask the question the way he was supposed to originally, and try it like this, really, after you learn this whole thing, you go back and say luma tiken, it's really the answer to luma tiken, it really is, of course it's qachman al maticu, of course it's because God said you have to, but really it's luma tiken, it really does fit into the question of luma tiken, of course, and I'm saying this, not makhilah's qavad rakhaim, I don't mean anything he said was wrong, of course, bottom line is, you go to do a mitzvah, God said, do I have to, but when you relate to these concepts and you revise your question and you come and you understand that we put into practice so much more than what God said we have to do, when you look at that, it's almost like you can't imagine anything else but ashem sitting in shimaim and smiling at the nakhas of what we've achieved, I said blow, just think about blow, go blow, rakhana on our tikou, that's all I wanted from you, you came along with these minhage which are so incredibly profound, deep chu, let me out, out of it, with eva vas sultan, with the coming of mashyah, putting yourself in a bigger picture, good, the musogun, you're incredible, incredibly deep, incredibly profound, the abhish just sits there and he says luma tiken, why did I tell, tell klai, he's told to blow the shafer, look at that, look at that, that's what ended up happening, so what there's almost as if our minhage we've developed in the shafer have revised the meaning of shafer itself, the amendment of the question of luma tiken is ourselves, we have changed, the dominance, the role of the shafer, which is the beauty and what we've able to achieve with our minhage and what we're striving for, we should be saying that again with the true eva vas sultan, and beautiful as I did for all of us.