Yeshiva of Newark Podcast
The Zohar on Suedas Erev Yom Kippur-Eating for Three-with Rav Nosson Glick
you're listening to the Yeshiva of Newark at IDT podcast. I'm your host and curator from Cape of Leveg, and I hope you enjoy this episode. Oh, and this is some of my best friends or capitalists. Let's call this the Yom Kippur edition, or the Yomaki Purim edition. Very close to Yom Kippur, but before Yom Kippur, of course, we have something which many Monia Mitzvahs actually consider a Mitzvah say, which is Ereven Kippur. It's a Machleikus, whether it's Mamish Mitzvah say or not. Clearly, it's Hanhokas Hazal and a Mitzvah, for sure, Dravonan, maybe even more, to eat an Ereven Kippur, to eat. It's brought out from Hazal, of course, from the Stiros and Sukhim, that says the Inuit happens on the Tisha-Baha'i dish. Stiqakas is a petition not by Sire, we say, "Mulamed, Shikou, Haʻoíclovishoíse, Bichinaint" gives you the Madrega of actually fasting the 9th and the 10th. And this is really, before we get to the Kabbalistic explanation. It's given the Rishonim and Pshat, I guess, sort of a run for their money, more than just preparing and getting your body ready for the long haul of the 25 hours of fasting, which I think Rashi says, "I'll be Pshat," right, because it shows that you're already involved in writing yourself, that's why Rashi explains it, that, "Look, you're eating and you're getting ready. Look how much Kippur's reality to you, that you're spending the day before thinking about how you're going to fast, so it's all part of the Haʻshar." I think that what speaks to most people on a simple level is one of the three reasons given by the great Rabena Yona, who says that it represents, in a way, the Simcha that Yom Kippur should have. In other words, Yom Kippur should really be a day of intense Simcha, and Simcha is generally manifested with Simcha, and Simcha is generally manifested with Akhila Vishtiya, and therefore, we can't do it on Yom Kippur, so our Yomt of Sudha, recognizing the great Simcha of Kapara Savonos, et cetera, we do on the ninth day. So really, in a way, the way Rabena Yona explains it, it really is a way to tap into the feeling and the reggesh of the great Khesa to what their Bunish Yom's doing for us, and how wonderful our lot is, that we can share it in a festive meal, and that is what we do on Aerofim Kippur. That's Rabena Yom and Shari Chuvah. I think the third approach, without, and I know you're going to really enlighten us. What the ariy is going to say is, no, what the ariy says is really more or less on that same scale. By the way, I'm suddenly overtaken by several reminiscences, one bar, or our mutual revere, who once pulled me aside and he said, "What do you think about this Vork?" He said that, "When you fast on Yom Kippur, that's Yino Hagguf and Simhas on the Shama." So therefore, when you eat on Aerofim Kippur, it's Yino Hagguf and Simhas on the Shama. So that's why it's, it's like you eat on Aerofim Kippur, it's like you fasted, I mean Kippur and, and Aerofim Kippur. So because to each other, another is he saying you're in a Shama hate me. In the Shama suffering, in the Shama suffering, when am I at the stuff food and I hate this? I guess in the Shama is anorexic, but, you know, so I told, I pulled her back and said that, you know, that doesn't seem at all plausible to me. Okay, that's not exactly what I said, but, but then he, but then he hit me with it and he said, "Well, you know who says it?" I said, "No." So the Shlokkodsh. Now, because I was, you know, he knew at the time it was something of an admirer of the, of the Shlokkodsh. I was learning a lot of that at the time. So that's kind of interesting. And I said, "Well, you know, maybe the Shlokkodsh said it, but that doesn't mean that I, that I understand it." Because I mean, what's, you know, what's the point of making a Shama suffer with food? Like, why is that, why is it, why is it, why is it, assuming that a Shama suffers when you eat food? You know, why is it even a positive thing? You know, you're manna the goof so that you could, so you could free the Shama, but, you know, why be manna the Shama? So the, so your, your goof can get all stuffed and full of food. You know, and I, I still, I still don't think I can make much sense out of it. However, I also heard from the Belzerebi. So, you know, Kaulkola, I'm rid of Him, I'm right. That, that the idea is that, is that if Akkodsh barakah would want us to suffer and be miserable and to, and to be masochistic and injure ourselves and punish ourselves, or to be mohapar for our various. So he would have had us eat just a little, you know, eat just regular, you're, you're, you're, you're a little bit an air, an air of him, Kipper, and then go into, you know, go into him, Kipper, mama's suffering and crutching and feeling, and feeling miserable. But the point that we eat on air, in fact, we eat on air, him, Kipper, means that we, that Akkodsh barakah is, is, is, us, on our bodies and ourselves. And he really doesn't want us to suffer. He really doesn't want us to be miserable. Let's see, you know, the, the kavana of, of not eating an him Kipper is, is not, is not, even though it's an Enoy, but it's not, it's not, to make yourself miserable, suffer for your sins. Okay. And, and, and therefore the haihaka that that is the trat is, that is that we're supposed to eat on air, him, Kipper, so we don't get overly damaged or overly beaten up by the, by the time. So that's, that's, you know, let me throw at, let me throw you one reshone and one, and I'll match you with another sita shireb it. Maybe even one of the sita shireb is that, that you might have introduced me to, I'm not sure if you did, but I definitely, you definitely introduced me to one aspect of this sita shireb, which I'll get to in a second. So here's the reshone. I think in the orchestra, he says, and I think he's quoting others, that it's actually more difficult to fast when you eat a lot the day before. In other words, your fasting actually becomes tougher because you have so much food in your system that it's coming up on you, right? And therefore, if you would eat moderately on air of him, Kipper, then, and not everything, then you would actually have an easier fast. So actually, what you eat is actually causes you a little bit of, because either you're, either you're still hungry or because of what you say, the, okay, I was saying before the effects of the food. So that's why by, it's actually becomes worse. The clitish approach is said by the Maureen Ayam, from Nachim Nachim of Chernobyl, who says that, we all know that throughout the year, one of the most difficult things for anyone to do is to eat with Shem Shamayim and to turn his akhiva into akhivas Bizbeach. Sadikim, of course, can do that. That's part of what makes him Sadikim. You know, the Ramhah already says this, but of course, this is one of the cornerstones of what it means to be connected to akhsadik, akhivas, as someone who's able to take food and be mallet, who can be mavarid in its oasis of anything and indicate what its purpose was as it becomes absorbed in his body and to his pure avota that will happen because of that. We, however, who aren't Sadikim, when we eat, especially when our desires get the best of us because it's so luscious or our frustration gets the best of us because we're so upset at the people around us, we just want to dig into that Ben and Jerry's or whatever it is or that chocolate bar, whatever it is. So when we're eating, it's sort of saying, "Now I feel better, that person is mean to me, but now I can eat." All those, you know, all those, you know, ugly and non-spiritual intents, which are not the purpose. However, he says, "When a kodesh bar who creates a mitzvah, the whole point of the mitzvah doesn't need kavana. The akhilabatim is the mitzvah." So no matter why you're eating, even though an air of him kippur, you aren't necessarily this malach waiting to emerge from your cocoon after the seven days of a series and made true of our late days, when it's true that you're so high. You're still basically the same grub, fair, that you were, but every time you eat, it's a mitzvah. You're makayim a mitzvah with that akhilabatim. Sadik does it normally because of his madrega. We all become, in a way, sadikim because every morsel that we take is akhiv to the mitzvah. It's a kiyyama mitzv, as I was saying, or in the introduction. And therefore, we're at some mallet, even if we don't have all the great kavanas. And then he takes it one step further and says, "With this way, we can be malle, the akhilas of the whole year." That's all the, again, as Yom Kippur and Rosh Hashanah represents this gau-gau that somehow represents this turn and can somehow not only push us towards the next year, but in the way, be the capper of everything we've done. So by this akhil, Anir of Yom Kippur, we are able to be malle, the akhilas of Aganciar, and all the the wayward morsels and frustrated cowards of food that became the calories and the spare tires and everything in our system. There, if you've kippur, we can actually somehow elevate that. That's what the Morinaim says. That's what I go all day. Yeah, and I do think I introduced it to Morinaim, because that was also one of my favorite books. And I think one of the things that you introduced me to, the mainstay Khasir is one of the ones that I understood better, perhaps, than the others. Yeah, and part of it is, part of what the Morinaim, the trick of the Morinaim, I think for other people listening who might want to have an entranceway, is that although there's quite a bit of repetition, in other words, in the shtick-loch, in other words, there's certain themes that he keeps on stressing. He doesn't do it in a way to make you feel like he's clubbing you to death with the same idea over and over again. There's enough originality in his applications of his major yasodos that you sort of appreciate, even though if someone reads the whole safer, one is going to see certain themes constantly returned to. And I think in that way, it's able to be, I think it's a good gateway book, as they say today, into the world of the Magid and the world of the Balshemth of, you know, in ways that I think... I agree. Again, the Khabatskris will tell you, you know, you've got to start with Tanya. And Tanya, you know, Tanya, you have to strap yourself in for the long haul, and it gives you pleasure throughout. The problem is that, you know, it sort of can leave you wanting unless you are completely totally in. I think the Morinayam is able to be... He wasn't trying to do this big comprehensive super essay, but I think there's enough there every week for you to be able to say over the vote and to live within English there, which became very important. And that is that by by being mistabic to a tzadik, everybody can participate in the tzadik Savoida. So the being, you know, so the being a makubal is something that like, you know, everybody can be a makubal. So, you know, everybody can be a makubal, because if you're not doing it personally, but you can have access to the emotional aspects of it or some of the experiential aspects of it by, you know, by being mistabic to tzadik and by partaking this kind of process. And I don't think that the Hasidim where we're actually muhaddish, any kind of, any kind of practices that hadn't happened previously. When people have been eating with the people have been eating and celebrating with tzadikim since, you know, for as long as we've been around, the only thing is the idea of opening up that room to accommodate many, many, many, many people, you know. But you know, the etsum, the etsum idea is that simply by making something into a mitzvah, you democratize, you open up the experience of of, let's say, being maulin et seitz, it's the people who otherwise don't have the ability to do that, because as you'd say, Mshukan in the entire wasakhila, so they can't even, they can't make that, they can't do that transformation. So yeah, so it's a very good example of what, of what the, what the giddish of being fasidic is, you know, you don't have to have, if you don't have to have, you know, kavanas airea or anything, if you can, if you can davan with mislavos, if you, you know, if you can wake up the energy in your toes to and move it up through your body and get your body excited and everything, and you're doing it, you know, you're doing that in the presence of a, of a, of itsadek who, since you're focused on, on that person, okay, so there's a certain, there's a certain, you're, you're plowing in a furrow, you're not just trying to, you know, make it up as you go along, you're not doing it on your own. And the fact that you're not doing it on your own is important, because if, you know, because you're doing it together, because you're doing it under the, you know, under the baton of somebody who, who knows what, you know, who knows what they're doing. So then you have a certain, you can have a certain sense of certainty that, right, and I would suggest jumping up and down and calling attention to yourself. I take that metaphor just one more step that even though, let's say you're, you know, you know, your role is, you're the guy that hits the symbols, let's say, in the, in the, in the orchestra, or you have a small part where you're supposed to do a little drum roll, right? You're not, you're not, you're not the violinist number one, right? And you're definitely not the, the, the conductor. But you can still be part of the music symphony and the notes are in front of you. I think in a similar way, the fact was that even the, you know, the, the meat and potatoes however, would be having the Cidiusus for him, and the ideas to learn about. So you'll say, like, you know, what's going on here? You know, if you're a Whitvock, if you're from the Goins world, you're saying this guy's not Roy, right? He's not Roy to, to be talking about, you know, about estrusphyras. He's not Roy to be talking about tikkunem. He's not Roy to be talking about zivugim. And yes, because you can't just have the, the, the audience, the people that you're trying to lead and change, and maybe eventually become somewhat on your level, you can't just leave them in this ignorant state where they're just awed by you, and they just say, oh, I don't know what the tikkun's doing. So I think the, the liner notes, although there's obviously layer upon layer of depth, really enhances the sense of connection. And as far as I'm and others, which people will tell you is not pure kabbalah, but is basically distilled, capitalistic ideas in a way that they inhabit drush, and they inhabit a number of my marikazal and tikkun. It gives everyone a sense of warmth that they can be by that hearth. They don't necessarily think that, oh, I learned to say for I'm a makubal. I learned to say for I'm now going on a high madrega. But this is definitely part of, you know, my, my normal consciousness in thinking about things includes these ideas. You know, it was interesting that in this way, it's sort of differs from the Ramachal, and what he was trying to do with, with Dara Khasham and even Dastunos. He was so miserly in terms of not letting the cat out of the bag, like he would construct this whole beautiful using his beautiful ivra to create almost like a, he's talking about Zerampan, isn't he? He's talking gear about Attic, he's talking about, right? But he clothed it in these two works, Dastunos and Dara Khasham, he clothed it in like a complete, you know, in terminology where, oh, I don't want to give people the, the, the, the kabbalistic language. And I think Svarim, like the Morinai, and others, the traditional slavery and others, which are very close to the opening into kabbalah, were, were, were, were very generous in terms of throwing out these, these ideas, whether it's beer, kleepa, whether it's even abbar, emo, which I know we've been talking about a lot. And I think having them swirling in your, in your vocabulary, at least, you know, infiltrating the ideas as much as those ideas were just, you know, beautiful in a sense Jewish. But I think they were, they were enriching the followers. And they weren't just, you know, schlepping them along. Like come along, you just got to go next to the tzadek. I hope I'm making my point in a way that's urgent. I think, I think, I think, to the, the dining room on Eriven Kipper after Minhok. And we were going to go, of course, afterwards, some people were going to get makkas, I remember. And I remember Mr. Alvich, this wonderful, you know, incredibly useful Hungarian Holocaust. He was somebody that was probably about a 10 year old coming out of the camps, right? I think so. And again, you know, we're talking about 1970, 70. It was a friend of my father. So, you know, Mr. Alvich, I remember he had, we all came in, and there was this, there was this dish on the table that was like popped, popped wheat. And like, it was like wheat kernels that have been popped and sugary. And they were, it was like the sweetest thing that you could ever taste. And he would, and we all came in there saying, no, we expected like, you know, some chicken soup and we'll just have some soup. And there was this sweetest thing. And it had like red cherries and like, Martino cherries and everything around it. And he said, this guy, this is the zeest guy from Yum Kippur, the zeest guy, you know, this is the sweetness and the beauty. And we were sort of like, you know, we're like these, you know, let me show you Shiba guys, say, you know, hey, we're not supposed to be having this candy like food now. And he had tapped into something he had tapped into that rebellion and even beyond that. I don't know if he picked up a city should save for in his life. But he understood that that that what's happening on Aravim Gipper is is is an incredible madrega that there's something going on. And that he, and I remember him, like yesterday, yes, he was telling him how we have to be so happy. And that's why he wanted to do he wanted the table to be adorned with sort of like, you know, it's sort of like, like, like, like, like, like, like, like an adolescent birthday party type of thing. And he wanted us to sort of like, you know, that process and why is eating essential for that. Right. So we have to go back to the, the original idea of Nasira. And like I said before, I don't know how accessible this idea is. But the best way to imagine it, if you're not, if you're not going to imagine you and your significant other undergoing, undergoing this, you know, you think about the letter of love and letter, hey, of Hashem's name. And you consider that at the beginning of the Nasira, they're fused back to back. And the, and the purpose of the Nasira is to saw through them and bring them to a position where they can face each other face to face and have and, and be Miss Yachim. Okay. And the, the purpose of the Nasira is to basically give the letter, hey, of Hashem's name, AKA, Malthus, a kind of independence. And when, when that happens, she, Malthus becomes suffused with a sense of being in existence, which is really, which is really the essence of Govurah. Govurah is, you know, it's Govurah, and it's also meet us at the end because it creates boundaries. It gives you a sense of being somebody being by yourself, being who you are, and not being fused with your, with your partner, or with your Shaira Shahrukhani, you know, it's a, in many, in many ways, it's a descent. It's a descent out of pure spirituality, of Azzilah's pure light of Azzilah, into, into being, into existence. And so therefore, it's also, therefore, it is also traumatic. And obviously, part of the, you know, part of the Yikod of Ottoman Ha'vah is human beings, or is the, or is the archetypes for all future human beings, is to, is to bring about the return of Punim upon him. Okay. And, you know, in the, in the Nasira, in the sawing processes, as it happens in the big parts of him. Okay. You're not so much talking about human experiences, you are talking about the cosmos, because there's two principles in the cosmos, there's potentiality and there's actuality. Okay. And Zairanpin is on the side of potential, Balthus is on the side of actuality. And when the two of them are fused back to back, so there's some sort of amorphous kind of spiritual truth where everything, you know, everything is one and every in reality is potential, potential is real and blah, and just goes around and around and around. And by the way, I, this is, this is directly out of Ravi Nakhman's after, you know, give a hand clap for Ravi Nakhman. And, and Ravi Nakhman was looking at the, at the possek, which symbolizes the Nasira in its epitomizes, what the Nasira is all about. Pasech, you know, you open up your hands, you spread them apart. That's, that's, that's a, that's a Nasira. And in fact, you shouldn't read it, you're there, this takes us from Tikkun, as well. You don't read it, you're there, you call it, you're there, because when you take Shiluv of Shem Ha'Vai and Shem Adnus, it comes out a name that begins with the letter Yud and ends with the letter Yud. Yud al-Fahil al-Gav Nun Ha'Yud, this one, is when you take, you know, you combine Yud ke'Vafk and al-Fahil al-Nun Yud. So, as Ani Rishan and Ani Akhran, so the Nasira comes to actually separate the Yudin and, and, and, and pull them apart. So there's a trauma when Malthus becomes, you know, falls into existence, so to speak, by the, through the Nasira. And at that point, you know, Zeir Anpun can't even see her, which is, which is why you say in Roshan Shranad, Zeir Anpun is Kaviyohla's sleep. Okay, and, and in the mean, in the meanwhile, Malthus is receiving the Malthus directly from, directly from, you know, from Ima. Okay, but that's not, that's not helping anything with the problem, that's actually making the problem worse, because the more she gets Malthus directly from Ima, the more, the more invested in her own existence, and therefore the more constrained and the, and the more meat to, to then you have over there, right? So the, ultimately the impact on, on us, how should we, how to figure into this picture, is that to, I mean, to, to some extent, our job is to, is to be on the side of Zeir Anpun, to stand outside of Malthus and look at it and, and see it for what it is. And of course, what we're seeing is ourselves, and Malthus reflects our own, our own shortcomings and our own, and our own failures to us, right? And it's also an image that we don't really want to look at, you know, and then we decide, if we decide to stay asleep, then we're not going to see it, we're going to, we're going to miss the whole, we're going to miss the whole then, because we're just not even going to be conscious of, of what's, of what's happening. And for most of people in the world who, you know, who don't have a lot of moral, moral self, self, that's the word that I'm looking for, don't have a lot of moral introspection, you know, people don't generally look at themselves objectively at all. They never stand outside of themselves, they never go through a kind of, of, of the seer process. And the, when we, when we do the Kia Shafer, we are, since we're staying awake, you know, the rampant is asleep, right? We're staying, we're staying awake. And we blow Shafer in order to mamshik, in order to bring down muyachin, take the muyachin out of Malchos, give them back to the rampant and bring them down through the rampant. So now, the rampant now has a, a new set of muyachin, which is capable of reaching some kind of, of resolution with, with, with Malchos as a, as a, as a separate, as, as embodying separateness and, and, and meet us within. Right. So there's a, there is, as the Mukubalam would say, it's, there's a mito, there's a sweetening going on over there, which by the way goes together with, with Rabbi, with Mr. Ovich's, I'm, I'm pretty sure there was some sort of alta hungarian Minhud to, to make that food for an, on air of Yom Kippur. It wouldn't have, it wouldn't have made it stom, you know. Um, no, I'm sure he got it from, from the Heim. So really, it turns out that, you know, the, the, when we talk about, um, the muyachin is not the muyachin of Malchos, which is our avatar. It's really the mochin, the new mochin of, which is more God, which is more the God power that's influencing the world. Right. I mean, there's, okay, there's, you know, above, above K. I mean, they're both God. So, so it's not the Haswishulam, you know, I understand. Right. But we are, but the, it's, what are these, what are these things, you know, what are these things expressed? What is the process? What is the process expressed? And the, and essentially, the, the process really always, always comes down to, comes down to this, you know, it's like anytime you do something, you have to become separate from what you're doing. Okay. I mean, I would, listen, I, I experienced this a lot as a Cypherstom, you know, you, you, you, you want to write a mazosa, you know, and you, and say, I'm going to, first, I go to that, make fan, I'm going to do you shame me, who it's, and I'm going to have components, and I'm going to, I'm going to write, it's going to be so beautiful on then, and, and, and, you know, but it's the second mazosa that I ever wrote. So by the time I'm finished with it, I'm looking at it, it's just got to stick the D of it, you know, right? But it is what it is. Okay. And on, on, on some level, I still have to recognize that it's a mazosa. It's a kosher mazosa. Maybe I wouldn't put it on the front door of a mansion, but, but, you know, but it needs to get used. I mean, there's, there's, there's, there's shame us in that mazosa, you know, so if it, if it looks for Kvetch, I'm not going to be able to sell it. So in Hachinami, but I still have to, you know, it's, it still has to have a function, has to have a value and have to do something with it. It's very difficult. And I think this is, this is something which I definitely learned from, from the Belzer every also. In any mazosa mitzvah, at the, you can be Muhavian gigantic things before the mitzvah, but at the, at the, at the moment of doing it, what ultimately matters is how the mitzvah is done. The fact, the fact that the mitzvah is done, and the fact that it's real outside of your own perception of it. Okay, you brought something into the world which stands apart from you. And, and therefore, there's that moment recognition or, or the desire not to recognize exactly how it came out and, and the, and the need to, and the need to ask Akodesh Baruch, who did this, I did the best I can, please, you know, accept, accept this mitzvah even though it wasn't, you know, Bishlamu's, you know, Bishlamu's Harui. And, which is really, which is really a way, you know, paradoxically to blunt your ego, because we always, you know, if you're so wrapped up in yourself, you say, well, that's a mitzvah. In other words, it's my judgment that I didn't do it right. And it's my judgment that I hold myself to this standard. The fact that you can let go of it and consider it significant, consider it powerful, is really an admission that it's God's will and power and ideas that run things, right? Well, you're also, you're also really opening up a true, you're opening up a tremendous most of art over here, which, which, you know, like, you know, somebody gives you a compliment, right? They said, you know, that was, you know, that was a wonderful drusher, you said, Rabbi, and, and, and I didn't plan to do, you know, I, you know, I don't deserve that, I don't deserve that praise. So please don't praise me. Don't say thank you, you know, I don't deserve it. It's not for me, you know, and, and so I'm thinking in terms of justifying myself in terms of being truthful to, you know, to what I really know, all that sort of stuff. But wait a second, think about the person giving you the compliment. Think about, you know, think about it from his point of view. He obviously got something out of it. You know, you thought it was a terrible drusher, right? You think you screwed up, but that person obviously got something out of it. Who am I to judge that the value that he got out of it wasn't the most important thing in the whole drusher? I mean, either, if it's a drusher, I could have kept it to myself, it would be more perfect, you know, but the fact that I, I said it, and this person got something out of it. So who am I, who am I to deny the compliment, you know, and, and so, so that, for me, anyway, that changed a lot of the stuff that I, I mean, today that I perceive as false modesty, that sometimes tell me to come engage and you're like, Oh, no, I'm a garnish. I'm nothing, you know, like, you know, I mean, who are you to say you're not, who are you to say you're nothing? Somebody got somebody got something out of it. You're an interaction with you. So honor that and say thank you for the compliment. Yeah, I would, you know, I go through something similar, Nelson, when I, you know, obviously we need, we need tech people to help edit this, these babies, but when I'm sitting here by my lonesome, listening and, and editing, and then re-listening after it's been posted. So, you know, I do something similar, even though many times I'm unhappy with the phraseology that I used, or, you know, exactly how it went and it wasn't exactly what I prepared, but being an editor of yourself allows you to step back and say, you know what, it wasn't so bad. And I can see somebody, I say to myself, if someone comes fresh and is listening to the conversation, listening to the ideas, what did they get from it? And is, could they, if they don't make Berja Satera, could they at least have some sort of inspiration? And that, like my wife will say you're so, my wife will say, you know, you're so caught up in yourself, you can, you have to listen to yourself all the time. And it actually is not an exercise, like, you know, like Ted Baxter in the old Mary Tyler Marshall had his whole, his dressing room, had 200 pictures of himself in various boats, right? And big picture here, you know, even when he went to sleep at night, he had, on his pajamas, the front of it was like his, his head, and the back of his pajamas was, was the back of his, was the back of his, the back of his head, his hair for the back. That's not what it is. Many times, modern technology allows us really to step out and be the observer in an objective way. And the way it actually becomes less egocentric when we're able to, when we're able to listen, be a critic, but the same time recognize that there's something there that, and recognize how God, not in this, you know, fake modesty way, I'm just God's agent. I just let the word of God speak through me. I'm just the agent of God. I am his vessel. But I think really to, to disconnect your own critical faculty, which can sometimes be your ego just smothering it, which again, I think is in many ways, the, the, the complementary idea of the Maureen I am about eating on Ereveum Kippur, right? Eating on Ereveum Kippur is, is also a way to, on one hand, to say, I'm being masaka in all my food, and all my feelers. And this is at least a mitzvah. But in some ways, there's a deeper message there, which is, you know, look, you're a human being. And you know, you think that even, even if you would have had kavanas, it would have meant so much. I mean, you think that even if you would have been the balmajraga, you would want to do where you would eat with every morsel and say, I'm doing this with shim shimmai, I'm free to go into my blood. So just eating enough that I can have the energy to be in Ereveum Kippur. Even that is, is an element of ego that you are putting on to your avota. So, so you have a way to step out of yourself in that way. But you know, the, so what's being that, since what we're doing here is we're, we're creating the antipode to, to potentiality, because ultimately the, the purpose is to bring these two things back together again and have a, and have a equal between these two, between these two sides of reality. So there has to be, there has to be physical substance being added, because the point is when you have this Ikhud, what's going to come out of it is reality. Reality is going to, is what we, is what we live in as that's the world that we inhabit. And that's also our physical bodies. So, so eating is actually a way of expanding the mouthfuls, you know, and expanding their unpen to, to, to some extent, so that there will be a material sense to this Ikhud, because what's going to come out of this Ikhud is a rectified kind of materiality, which hopefully will be able to draw from, you know, all your, all your long. So eating is actually integral, I mean, there's a big kasha, why is it time to do when you get to Yum Kippur, okay, presumably you would have to eat on Yum Kippur in order to fulfill the, in order to fulfill the process, because the final, the final stage of the, of the sewing through is when you saw through this element called Yisoyed and Malchos of Malchos, all right, except that here, that here's something, here's something interesting happens. You have to do the avoid of Yum Kippur of eating on air of Yum Kippur, because this final aspect of Yisoyed and Malchos of Malchos, okay, has a, has a parallel within Ima, within, within, within Bina, and once you're done sewing through all of the Malchos, so Malchos is going to rise up to Bina, and in Bina, she is going to ingest real food, real, by real food, meaning, meaning spiritual Shefah that is the inner essence of all of the external food that we've, that we've been pumping up Malchos with for all of, for all of us there is Yum Kippur, okay, and you know, the reason, basically, basically look like this, you know, you have to, you have to think of, you know, being in existence looks, looks miserable when you compare it to the original spiritual Akhtos of, of their Ampen and Malchos back-to-back, that's perfection, that's harmony, that's bliss, that's everything, then you get this, then you get this stuff, you know, this, this being, which seems to be constricted and restrained, and, and when it comes down to our level, it's already full of other eras, because the, you know, the, the constraint of existence kind of makes us blind to what's really true, but the way to, the part of the rectification of that is to, is to realize that, that no, there's a, there's a inner essence to that being that you don't necessarily know what it is yet, and, and that's the way that Akhada Jabbar, who sees it, so, you know, even beginning with Rosh Hashanah, we're, we're asking Akhada Jabbar, who, first of all, you're the king of this mess, okay, this might be a train wreck, but it's your train wreck, so you're the king, and we're, we're mumbling to you on ourselves and on, on this, and that means that means that this has a connection to you, because you're the creator, right, and, and then we ask you to remember this, then we ask you to take this, whatever it is, and make it into the basis for some sort of new g-ula, some new, new shan, and so we, you know, so that's Mahafiyya Sakhoinis and Shaifras, and by Yom Kippur, you complete that process because you actually take that stuff, that, that physical being, and you bring it up to a level of being as a true infinite light state, which is, which is like, you know, that's the chuv of Yom Kippur, so the, the vidoyam of Yom Kippur is like a way of doing the additional messira on the highest level, but in order to do it, you have to be there in a place where there is no material eating and drinking, because you're on level higher than that. The material eating and drinking is the air on, is the letter of oven, letter of hay of their, of Hashem's name, where they're down in their position, you know, and they're in their lower position, but when you, when you, when you lift that mouth was up to, up to be now, so then that becomes a different kind of eating, so it's not that you're not eating and drinking, and you're not miserable, I'm deeper, that's because I'm not the point. The point is to actually take in the true eating and drinking, which doesn't need a material component in order to express itself. Eating and training and all the other three, and all the other thing, yeah, all the other three goodies, the sikor, Niosa, and Tashwashamita are all part, they're all part, you're, it's actually occurring on a spiritual level. In other words, the denial in the physical is the denial of the physical is the proof spiritual is the proof of happening on the spiritual, right? And if you, and therefore, if you weren't, if you weren't going to create the vessel for that, okay, for that, for that Hashema, you know, for that seal, if you weren't going to create the vessel on air of Yom Kippur, then there's no way that you could have the inner essence of it on Yom Kippur itself. So therefore eating on Yom Kipp, on air of Yom Kippur is the same as fasting on Yom Kippur itself. So Kollumishakkul, which tries to very Yom Kippur, is Kihin Nakhshavk, is a mouth, and whatever the lotion is, you know, my little of Akosov Kilo, is... Hissan Acheba Siri. Hissan Acheba Siri. Okay. Right. So that, that kind of puts a... Or what a flip would be, Kollamisana, the aserik, he will also achieve a Siri, right? Nope, that would be, that would indeed be the flip side. Yes, right. Which would be because there's really an Acheba, and that Acheba is crucial. The Ahmazonos, it's getting Rechitza, Sicha, Shtiha, Acheba. The Koll isomahid warren. It's getting all those Harishonim, those other... The earlier ones are in this battle, and Yom Kippur, they're not there. And this gets into the very similar Medrashim al-Pinigla, that we're like Malochim, that we don't need it, we're on a high level, the sultan, it becomes our friend. So we don't even have a conception of these five pleasures, the five, it's conception. This is the incredible thing that I found. Rech besoyed Hevel. It's there, but it's there. We can sort of tap into it with what's coming out of our mouths, and the ideas tethered to the words in our maksa, what if they would be, Umehosil Hevel. So by our davening that we do on Yom Kippur, not so much the Vidui, but the five different phillos, that is a way for Rojo, or Malchus, to be really nizli. Therefore, we need to have the sivoi of the Hei Minuiam, because we can't have them be in the way, because Rojo is getting her muzom from the Hevel that of our Thillos. L'chang canneggdum, Thi Minu Hei Thillos be Oma Kippurim, cannegged Hei Dvarim, which turns out, really, that if we take the Rojaimi Tal's presentation from his Redby the Adri, I would assume. So it turns out that the Armariv davening is cannegged A'chilobeshtiyya, and this sort of gets into the similar to the Rakhoskayim, that you're probably still feeling that last meal, right? You're still tasting the... Whatever you're still burping up after, or the... Okay, Ravioli. Yeah, you're supposed to have the sense of those crepla, which I think is Miyocha Thairimkippur. That's the A'chilobeshtiyya. And then, what's interesting is that Shakhris davening is cannegged Rakhitsa, where I guess, in some ways, you're sort of feeling the the lack of Rakhitsa that you didn't do, the idea that it's the morning, and you know, like, your rojifates. It's interesting. Musif is Sicha, where... Or you start to smell, because you don't use any deodorant. Yeah, but it's also this idea of the shul gets a little bit, a little bit thick. I see the hano of Sicha, like, you know, peel me a gray patty. Like, it's like, the oils are on my body. Like, I have this picture of Peter Eustonov, like, or somebody, you know, this big, you know, this sort of like, corpulent fellow getting the oils poured on you. That's like the Sicha. My body is all in a way, you know, the Musif with its intensity and its length, and the avota, it's sort of like the Sicha. Like, it's, it's, it's almost like, I don't even have to open my mouth for it. I'm just absorbing it, like, through my pores. I'm just absorbing it to my pores. You don't have to... Right, but the way you imbibe it is so total. It's like, yes, you know, you're, we are going to put this oil all over you. Right, so that's somehow like the immersion of Musif, and then there's a Freudian thing that I could, that I could explain, but let's, we're probably running short on time. Yeah, yeah, and then Minhah, as we go on is Nihilasasando, which is in, in many ways, you know, people, even, I think, in Kisfay of, of, of other McCubble, and they talk about not shooting your wad out on Minhah, they talk about this idea and the safer you're so cherished by the way to, you know, they say you got to be Nizar on Minhah, but be careful that you don't want to die at Minhah because you might, you know, do too much. So there's always this sort of like pulling back at Minhah. You read the part of the Arias. So to me, that's like Nihilasasando in a way, because as we know, because the sandal is restricting yourself, right? The sandal is the, is the body that encloses the soul and the soul needs to move in its, in its pattern wherever it's going. But the sandal is, is, you know, that's your Nihilasasando, right? You're restricting yourself in a way coming back, the partial Arias, et cetera. And then Nihilas is Tashmashamita, which is, which is, which is, which is, yeah, which is in a sense, although we talk about Shmini Atzerus being this man for the Zebug. But in a certain sense, that is the, the, and let me say, there is, I don't really, I don't really understand this, by the way, but there is, there is a very important Zebug that happens by, by Nihilas and I could extemperate about it. What I would say is that you reach that moment where it's bigger and different than the physical that precedes it. The Tashmashamita, which leads to a, a, a, a fantasy release of, of, of endorphins to a point of some state of bliss, that's what happens, you know, again, Nihila comes to that moment where you have not just the, the physical, I love you, God, I love you, God, and we're connected and, and, and you mean so much to me, which is, again, part of the foreplay, so to speak, but it's also that incredible, the, the incredible. And the idea of, of, of, of what your mind is filled with, and that, of course, is that, that, which is bigger than anything that happened from beforehand, it's almost like that moment where, where, when you come out of it, you look at your, your physical reality and say, wow, look where I got, I don't even even know how I got to that place. And then I think that, that I think is what happens, uh, by one of my favorite axes to grind, and that is, uh, Rabbi Saib, please have Rachmanos on the saddest, most unhappy Tfilah of the entire year. Marv. Marv. Marv. What's the M. Kiffer? Sure. Okay. It's a mitzvah's Kriyashmah. It's a mitzvah's Tfilah. Nebuch is no worse than any other, than any other davening, but she is like the eternal orphan of, uh, of the, of the liturgical year. So, you know, you can, if you've been without food for, for 25 hours, as well, you know, you can add on another 20 minutes, right? The more a new man has the side of the house. Well, you know, it's my, like, a strong davening. Yeah. Like us, Robin Schmull and, and, and the eighth paroch of Yuma, whether we're Makai of a person to, you know, do whether, you know, what we do with that Marv. Some say, you know, the, the, the na'ilah covers it, if you take a look over there. So, so it doesn't cover, it doesn't cover Kriyashmah. Right. Right. But you see, even there, that there was a sense that I don't know if I can muster up the Shmanah astray that's necessary. Maybe this one davening is going to, is going to, is going to, is going to be mochi both, but you're correct. I, I, I actually give everything. And I'll tell you the truth, Nelson, without chest thumping, I find, I don't find myself saying, I got to get out of here. I got to, I keep the talison proudly with the kittle. And I say, yeah, this is the proof that, that the, that Yuma Kipper meant something. Well, let me, let me top you with one little thing. And it's always good to be able to, without this, I read, I had another Mahalach in the Tfilas, that each Tfilas can egg it, the, the starting from Chachris, when the Koyan Godot is Nihnaz, the Fnebel with Nihm. So the Koyan Godot was Nihnaz with Nhebel with Nihm. The first time he's Nihnaz, is for Ktoyaras. That's when he, that's the first entrance into the Kriyashakdosham, that Chachris, making the Keshe. Then there's the Damhapar, Damhapar, which is a lot of blood, right, that bull, that bullach, that's Musaf. Then you have the Damasoyir, which is Kenege Tumas Miktosh Viktoshov, which is, which that's what's metar. The Damasoyir is, is for Tumas Miktosh Viktoshov, that's what it's for. And that is, obviously, a metaphor for all the things we talked about in terms of Minhach, the, the, the, the, the Arayis and everything, that's all, the Makshavas rose, that's Tumas Miktosh Viktoshov, that's the Damasoyir. And the last one is, it's us Kafumacht. Going according, and it's only learned out from the Droschus and the Sira and the Psukim, that we learn out that the Ka'yungaro goes in to get the Ka'fumachtah. That's in the Ila. Right. Because, it's all avoid, although, you know, like, what kind of avoid is it? Like, it's like straightening up after you, after you've done what, you know, done what you needed to do. That's the riot that it was there. In other words, you could just say, I enter into this fantasy world that's going to disappear. I have to take out the Ka'fumachtah. That means I'm bringing something back out from it. I'm bringing the Ka'fumachtah out. That's my niknas. My na'il is to go in and, and, and, and, and, and feel that the Uvas that I've used, all Yumkippra, and to say, yes, I got them. And I'm coming out with them. And I think that was the talk. And the way you show that is by the very first thing you do, despite the fact you say vuhu rahum, you know, you have to complain and say that you're already talking about this. But that, that, that shows you to make it real. So on that note, however, let's, let's, let's make it real. Thanks for joining us for another episode from the YouTube Have New Work at IDT podcast. Be sure to subscribe on your favorite podcast app so you don't miss a single episode. [BLANK_AUDIO]