Yeshiva of Newark Podcast
Tzurba M'Rabanan-Episode 52-ומלאכים יחפיזון-Understanding the Mitzvah of Shofar
(upbeat music) You're listening to the Yeshivov New Work podcast. I'm your host and curator, Rabbi Abrum Kivaladidsh, and I hope you enjoy this episode. (upbeat music) - Obviously, Tyran Two Places tells us what that first day of t-shirt is. (speaks in foreign language) As you can see, and (speaks in foreign language) and (speaks in foreign language) The Rashi and Humish, not quoted here, mentions how (speaks in foreign language) our actual ideas and words that we develop and Hazal help us, of course, with the (speaks in foreign language) with the (speaks in foreign language) but the trua is melded with words. On a Shabbos, for example, where the takon is not a blow shelter. So all we have is that (speaks in foreign language) with those words. We don't have the (speaks in foreign language) but the zikrai, the zikrai in of the trua, the zikrai in of the trua. I would therefore say that zikrai in trua, that first introduction to Rashi Shana, has the trua, which as we know is a blast, a chauffeur blast. And we know that from (speaks in foreign language) talking about yoga is connected to some idea that we formulate, an idea of understanding what the chauffeur is, but also as the chauffeur is being blown, it's being placed in a setting of zero. And that, as Rashi points out, is the zikrai in of the (speaks in foreign language) the psukim of (speaks in foreign language) the psukim that are formed a (speaks in foreign language) a (speaks in foreign language) of the (speaks in foreign language) that we say during the (speaks in foreign language) So that has a name, as we're gonna see, called those are called the (speaks in foreign language) So that's the first thing that we really introduced to. (speaks in foreign language) doesn't takes out the word zikrai, and then we have (speaks in foreign language) as if we, the chauffeur itself, not necessarily with the davening that goes with it. Let me read to you from the zikrai, you know, in its entirety. So what is the reason behind the mid? So as you can see here, (speaks in foreign language) a person is a (speaks in foreign language) and it's a reality as much as we sort of believe we can achieve angelic and heights, heights beyond the limitations of our body and senses. That's who we are, it's who we are. Well, you saw your area with (speaks in foreign language) we don't really react to things. We need something to push us (speaks in foreign language) we need something that somehow gets us in the, let's say the mood or gets us into that state where we have somehow jumped. We're not in that just mentally inertia, but we need something to sort of like move us. So humans are, angels are different, but humans need a (speaks in foreign language) and then he says (speaks in foreign language) think about what people do, even when they're aware that they need to fight. Again, this is not a justification for excesses in war, but an explanation why it occurs. It's time of war, you know in the intelligent information that a war is happening and that you're going to have to do something unnatural and begin battling against another human being. So what do you do when you are about to go out to war? Yareo, you sort of yell, you sort of like scream at the top of your lungs. And of course you've seen this, when you see battle scenes, when you see people yelling, you see them of course, even when they're upset about anything, they somehow recognize they need some sort of external bodily sensation in order for them to, about to be engaged in something that is so deep and really antithetical to their normal lives, to actually become a killer. And therefore you need to actually yell to get yourself excited to do the (speaks in foreign language) and it's interesting that that's the imagery that the safe ranking that uses as to how the chauffeur works for us. (speaks in foreign language) This is the way it is at Rosh Hashanah, that it is the day that has been already established and known from way back. Now, what does that mean, mikheda, right? What does that mean? It's almost like Rosh Hashanah is a yomadir from the time of perhaps Audemarishone as Chazal tell us. But it's a day that has always been maybe a yomadir. Does he mean mikheda meaning, 'cause we know it doesn't say in the Torah anywhere that Rosh Hashanah's a yomadir, but it seems like the Seperahino believes that Rosh Hashanah is indeed a yomadir and that is something that was no way mikheda and is something that was known way in advance. It's something that somehow part of the whole world passes in front of God as sheep that are passing in front of the shepherd. There are the shepherds taking note of everyone or they in good shape or not, what's happening with them. And that's the whole planet, not just the Jews, not just Jewish New Year, right? It's actually kobalea, which means what? (speaking in foreign language) That God is involved in the actions of every single person, every single human being with the actions that they've done. That is what we have that intellectual knowledge of, that that is what is occurring. (speaking in foreign language) And we know that that is happening in somewhat real time, that this year's ledger is being examined and perhaps there's gonna be more weight to give in to our actions here as we approach the end of the year, I don't know, we would hope so, according to what many of our great ethicists and teachers have told us. But the point is on that day, do you have more suyas, right? (speaking in foreign language) In other words, you're not just gonna become al-Zaki, but you're going to be guilty and something is gonna happen based on these actions. There's going to be a consequence, whether it's (speaking in foreign language) whether it's gonna be death, (speaking in foreign language) or some other difficulty of that year. (speaking in foreign language) So since that's what's going on, and we are basically couch potatoes that want another potato chip and (speaking in foreign language) Right? So what we need to do is somehow, like the guy in the Civil War battle who screamed as he took his rifle and bayonet and ran at his enemy, we have to do something to sort of like, get our travel going. To do what, (speaking in foreign language) Because do you really want to be there like and have your ledger read, don't you want to beg God to have mercy on those sins? Knowing that God is a donor (speaking in foreign language) And you know that God has told us often, we see in the Torah that he allowed the Jews to live. We know that there is those 13 (speaking in foreign language) So we know that's who God is. And that actually, but it's to who? (speaking in foreign language) Not just to say the words, but to actually feel it and say, yes, I do want to change. I realize where I'm lacking. And I therefore am returning to you to the best thing I can be with all my heart. You want to be able to do that. (speaking in foreign language) (speaking in foreign language) And the anonymous author, (speaking in foreign language) is telling us that there's something about that sound that penetrates. There's something about that sound that hearing it does something, it energizes the heart of anyone who's listening. Even just the, the, the tikiyya sound. The tikiyya sound itself does it. The coach can call it through. I definitely the broken sound when we're calling it. That definitely can somehow cause a emotional reaction within you. (speaking in foreign language) And therefore that broken sound tells you something's going on. And the intelligence of the information that you have can now kick in the same way the soldier who is running realizes that yes, this is my screen tells me, even though I haven't even maybe even seen the enemy yet, that he does wait beyond the bush. And therefore I have got to be a soldier. I have got to be a pendant in this case, recognizing God as judging me in this way. (speaking in foreign language) Then he points out that even without the objective, sort of feeling that the, this does to you, the objective, the emotional movement, (speaking in foreign language) there's also a sort of idea that's implied. In other words, there's an intellectual layer to the emotional push that the broken sound has. Because the broken sound becomes a metaphor, he says. (speaking in foreign language) The same way you just heard a broken sound. So maybe you need to break something new. You have to break this fantasy about yourself that has allowed you to sort of stave off the idea that God is going to punish you and just indulge yourself, (speaking in foreign language) And maybe when you hear (speaking in foreign language) because what you're hearing is sounds that are also broken. (speaking in foreign language) So a broken sound should lead you to hear it, be affected by it because it is moving. And then you layer it with this break. I've got a break, it's broken. I've got to break something about me. I've got to shatter something about me, this thing that's allowing me to sort of act as if this isn't relevant to me and I can just do what I want. Now, why is that? Though this, again, all of this is very much tied into the core philosophy, you would say, of the same for (speaking in foreign language) He co-audom, every person, (speaking in foreign language) every human is this way based on what he sees and takes in with his senses and his eyes over all his love you show up. And what he hears, (speaking in foreign language) that creates a B-9 in your heart. We take in and process information in a varied way and everything that we take in and process affects our thinking. The Yavin Vidvarim and then your heart senses it and then you're able to articulate an idea that what this symbol means. The Heidelberg view, that's what Rabbi Udda says. The Rosh Hashanah, token Bishal Karim that you should use a ram horn, even though other horns would be a kosher instrument to generate the sound, we use the ram horn. Why? (speaking in foreign language) Because, again, not what you're gonna think or because it reminds you of the Ayo of Yitzchok. That's not necessarily so paramount. You hear the sound and you see it 'cause you're watching. You're not just looking in your sitter, you're actually looking at least in the beginning, something's happening and you're watching the person blowing and you hear and you see, you hear the sound and you see the sight coming through a bent item, an item that's bent, that's giving you a message. (speaking in foreign language) You need to bend, you need to assume a submissive attitude and that's the minigest all to use a bent item to use a chauffeur's bed. Now, again, we, many of our chauffeurs, they aren't necessarily like the large curly cues, but they definitely have a half moon bending aspect to it. Which somehow show you it isn't just a straight trumpet like a thing. So, at the midst of this to hear the chauffeur, the midst is not to blow the chauffeur. And therefore chauffeur Haagasul should talk about Yitzchok. We know who the Haagasul, you're not Yitzchok, you steal a little love, you're not Yitzchok because you're supposed to, this item is a stolen item and the shaking it or holding it or lifting it, which is the Kiyama Mitzvah came about to when I made it up. But here, the Mitzvah is to get it heard. So even the person who stole it is Makai in the Mitzvah. Shayna Mitzvah-lobishmi-asakal. The Mitzvah's for that sound to be heard. And it doesn't make a difference that you don't have to lift anything up. So it isn't. In other words, you could have understood things that the Mitzvah's Tiki Haagasul is. And just like I'm gonna, people say Kiddish for you, they're motsi-you and Kiddish, that the person blowing chauffeur is motsi everyone else. He's their shlyak. He's their shlyak to do belowing. Like saying Kiddish or the rabbinic mitzvah of Kriya Samigilah that he reads the Migilah and we listen. And it's as if we are saying it. Now, here there's no speech. Again, other than the Teus de Moemat that have words and Brukhos connected to it. But let's say before the that, the Teus de Miushav. You could say the person is being motsi-you in the Mitzvah by blowing. But the Ramam says, no, he doesn't even have to touch it. True, he does touch it 'cause that is the physical means of being able to blow. But he doesn't, (speaking in foreign language) Even if he, even though the person doesn't touch it or pick it up, it's not as if, okay, he's doing that for you. And the fact that this comes from the stolen chauffeur this ain't be cold, didn't get them. So the Ramam is trying to explain why the Brukhos should be this. (speaking in foreign language) The Ramam was asked about this in his Chubos and then over to Mitzriont for start. We called Egypt and they asked him the question. 'Cause they knew that there was an Ashkenazic tradition to say a different Brukhos. To say, (speaking in foreign language) So the Ramam says, is a very big difference. (speaking in foreign language) The Mitzvah is not to blow, it's to hear the Mitzvah. In fact, the Ramam says that he's not sure if the Mitzvah is the way, 'cause we're gonna see Rabenotam understood it to be. If we'll read inside soon (speaking in foreign language) Maybe everybody should blow. (speaking in foreign language) Meaning you're not gonna say that I can sit in the soup, the soup for you, so even though it's true, there's a sound that is the product of the blowing, but if the Mitzvah is to blow, I can't fulfill who will for you. I can't sit in the soup for you. (speaking in foreign language) It can't work. The Ramam believes that if you have the conception of Rabenotam, that the Mitzvah is to blow the Schaeffer, then there's no way anyone could help you fulfill that Mitzvah. And also, let's say, the Ramam says (speaking in foreign language) Let's say a tokea that cannot hear. Now, is he a person who physically is unable to hear? That might be worse, but I've had someone who could hear, but what he did was for this blowing, he sticks in the most powerful earplugs. He was (speaking in foreign language) (speaking in foreign language) So which would turn out that a person who stops his ears and blows, even though the sound, again, the Ramam's assuming that Rabenotam or who would say all you do is have to blow, but you don't have to hear. I would assume that Rabenotam's opinion is that, yes, hearing it is sort of like what happens when you blow, but the nexus of the Mitzvah is blowing. But of course, if you don't end up hearing it, you're not, you don't say, but the Ramam says, maybe even if you don't hear it, you don't see him blow it. (speaking in foreign language) And the truth is, it's almost like the question about what is the Mitzvah of Sukkot? My Sukkah is the Mitzvah to build a Sukkah. That's what the Sukkim seem to say, right? That, right? It says (speaking in foreign language) Just make the holiday of Sukkos, right? So that gave rise to the idea that there is a Mitzvah and perhaps the essence of Mitzvah is to build the Sukkah that you end up sitting in. But the Mitzvah is to make the Sukkah. But he says, that's not true though. We know that's not true. The building of the Sukkah is only a Hersher Mitzvah to be Makayim the Mitzvah sitting in the Sukkah. True, you have to build it and have it to be able to fulfill it. But you would, for example, you would not make the brokah that. There's a question whether you make the Shaqiyonu that or not. Some say you should make the Shaqiyonu. Even before you have the Sukkah that is really to be Makayim the Mitzvah. But the key of only happens later. And that's the same thing with Shaqiyonu. And we have to blow in order to hear (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) What brokah do we make? We make (speaking in foreign language) And therefore our brokah is (speaking in foreign language) and not the brokah on (speaking in foreign language) quoting Rabbi Noutan. And I assume it's in the thesis as well. (speaking in foreign language) Meaning the mitzvah is not finished. The mitzvah is the blowing. That's the mitzvah. When it, again, blowing automatically leads to hearing. But that's the way the mitzvah needs to be fulfilled. And that's the way the mitzvah needs to be fulfilled. (speaking in foreign language) It doesn't quote the Ramban. But the ravior quotes to your Shaqiyonu. It says, "Okay, Shaqiyonu for (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) Even going earlier. (speaking in foreign language) Or maybe (speaking in foreign language) Like (speaking in foreign language) (speaking in foreign language) 'Cause it's the hearing and not the (speaking in foreign language) What's the proof? The proof is from a Mishnah. The Mishnah says that if you blow into a pit and there is an echo that is heard. So often the person who's blowing is not Yotse, because as the Mishnah, the explanation of the Mishnah is, because he's at the edge of the pit where he just sticks his mouth downward. And what comes back to him is the reverberated sound, not the sound of what he blew, but the people who are in the pit, not the ones around him who don't hear the echo, they could, they would be Yotse 'cause they are hearing the sound of the chauffeur. So that is the, it sounds like the rush agrees, although he knew about Ravenutam. It sounds like he agrees with the rambam and quotes the quote. Here is one of the proofs that is leveled against the sheet of the rambam and the bahag and the ravior, the Mishnah that says, (speaking in foreign language) Now, this is a Jew, a young child, 11-year-old boy, a 12-year-old boy, 12 and a half-year-old boy, and he's not Clive and Mitzis Minatilla, and he's a great baltokaya. The Mishnah says, (speaking in foreign language) Now, the question is, but you heard it, he blew it perfectly. Okay, he wasn't, he didn't have filled the Mitzvah. But why was it that the people listening didn't have filled the Mitzvah? The Mitzvah is to hear, then they heard the chauffeur. It was a perfect, then the blowings were exactly what we needed to hear. So, this, this was taken up by the Khazonish. And the Khazonish says, yes, the Mitzvah is to hear. But you have to hear the sound of a chauffeur of Mitzvah. (speaking in foreign language) When the cotton blows, even though he recognizes that it's Rosh Hashanah and everybody's counting on him, he is, he as an individual is not a Mitzvah person. And that cannot, that cannot be a fulfillment for him, even though he hears himself, because he's not able to fulfill a Mitzvah, because he's not, well, let's say this way, he could fulfill it, but he's not, it's not a 100% Mitzvah command that he is bound to do. So, even though he sort of maybe gets some sort of immature type of reward, it's not a key of a Mitzvah. Let's make it even clearer. Let's say the, the, the, the chauffeur or the Khayrish, who isn't Khayv in Mitzvah's at all. And as, as beautiful souls as they might be, we're not gonna assume that acts of Mitzvahs necessarily, you know, accrued to them. They don't necessarily have the sins and God doesn't blame them and God doesn't punish them in the same way, but you're not gonna say that there was a, the key of Mitzvah that was not. The Khayrish says it's almost like somebody didn't realize it was Rosh Hashanah and was blowing the chauffeur just in order to sound those notes. You heard that you wouldn't be, you wouldn't have fulfilled the Mitzvah. Not because of the idea of Kavana, but the idea is that that wasn't the blowing of a Mitzvah. It has to be a key of Mitzvah that you hear. And the Khayrish goes further and says, that's the reason why is, if you remember the Gamara, that we talked about two weeks ago in our sheer on Kavana, that Rebserah told his servant, his helper, to have him in mind. So the Khayrish says that if the person doesn't have you in mind, that he's not thinking to be most to you, so you, or let's say even, so and he doesn't know you're there, or he specifically tries to black you out. The person blowing like has something against one of the people in the show. And he's saying, I'm doing this, but I don't want this to be a Mitzvah for him. So even though the Mitzvah is to hear it and you heard and you were in trouble, but that guy can stop you from being Makhai and your Mitzvah. If he's Makhaben, he says he doesn't want this to work for you. So it's sort of complicated here, it's tangled. I heard it, he was doing it for everybody else. Well, not for you. And therefore, you did not hear the chauffeur of Mitzvah. That person had enough control over it, that it could be, look, I don't want this to be a Mitzvah for you, which is interesting because he's not being mowed to you in the blowing, but yet it has to be a tequila of a Mitzvah. And if he exercises you from that with his mind, you're not gonna be filled. So the Baltokaya, even according to the Ramba, has to have in mind and he has to be the type of person to want to be mowed that the Tkias de Muumad are the proper Tkias, Zikran Truwa. The Tkias de Mu Shump that aren't placed with an idea behind it. And yet we proceed our Kriya, our Tkias with those. And in fact, the women who perhaps cannot stay for the whole, for Shoshana Davening, and yet have wanted to take upon themselves a Mitzvah of hearing the chauffeur, many of them just come for those Tkias. And when you say, oh, we're gonna blow for the women later, we don't blow with the Tkias de Muumad. We blow the Tkias because, as we know, that there is a, we don't not sure what the Truwa is. So we have three versions of the Tkias de Muumad. Each version, of course, has a Tkia in front and Tkia afterwards. And since there are three places that the idea of Truwa has said, two about Rosh Hashanah, and one by Yovil, we do it three times. We have a tradition, a rabbinic Torshamapel tradition. Then one has to hear, three, the Truwa three times. Well, the Truwa three times would mean the Truwa with the Tkia before it. So that would be technically nine blasts. That would be the minimum, based on what the rabbis have developed from the toe itself. Well, nine times three are 27, and yet we say the first 30. The reason for that is that there is a suffix, what the Truwa is, is it what we call, is it what we call the Tkias de Muumad, or the Truwa, or a combination? Sound the Truwa. Shear Truwa, Kisholoshia Vovis. The true is three wimpers. Hm, other prices says, Shear Truwa, Kisholoshia, Tkias de Muumad, hm, not wimpers, but what? Those are called broken blasts. Hm, Amrabaya, Baha'u'llah body bleeding. There is a maklokus between the two brices, in the Mishnah and the brice. It says Yom Truwa, yes. What is the word Truwa made? Look in the onkylus, it says Yom Yivovah, hm. Now, where do we find Yivovah? Yivovah a day of crying, a day of whimpering, hm. A day of Yivovah. Where do we find Yivovah other than here? Exhib, Ayimah the Cistra. Cistra, the Melchop, the general, the Plisti general, his mother, Devorah, had a prophetic image, and she gave it to us in, in, choked him of what Cistra's mother was going through. (speaks in foreign language) There she was looking out the window. (speaks in foreign language) Oh, so here is that word, the Aramaic word used in sort of a Hebrew fashion, a Torah-sheb-exah fashion from Cistra Sheftevatiyah Vave. So we know that she's crying. She sort of gets it that he's late. Why isn't he here? He usually is here earlier. I thought he was gonna win. He's not, what's happening? I'm not seeing the rest of the troops either, but maybe my boy, the general, made it. So she starts breaking down emotionally. What was she doing? (speaks in foreign language) What was she doing? (speaks in foreign language) was that original moan. (speaks in foreign language) That's the shivari. (speaks in foreign language) That's the, when a person realizes the illness, (speaks in foreign language) Rashi says, (speaks in foreign language) that it's actually the whimper that occurs. Now, and Mr. Navura, based on this Gomorrah, says that really, a cryer does both too. It's not just a necessarily a maklokas, what was sister's mom doing? Because it's true that both happen. Both types of cries occur. Let's say again, you discover the illness. The illness hits you. The sharp pain. The news from the doctor. So what happens? (speaks in foreign language) (speaks in foreign language) They are short, but they're somewhat longer. (speaks in foreign language) That's called (speaks in foreign language) And if you think about it, (speaks in foreign language) sister's mom or anyone who starts to cry when things start to come apart. It's that beginning. And that's called (speaks in foreign language) Or you actually, it evolves into others. That just becomes (speaks in foreign language) (speaks in foreign language) Short sounds, one after the other. That's the true one. So really, and that's really the opinion of why we do both. Because there are two aspects of a cry. One is that first shattering realization that things have changed. And (speaks in foreign language) Okay, that's your (speaks in foreign language) And then as it starts to dawn on you, that it's really true. So that it becomes even worse. So that it becomes (speaks in foreign language) (speaks in foreign language) There's your (speaks in foreign language) So, maybe it's both, okay. Now, let's leave alone the question of how, well, it's, we weren't sure. So we blow all three sides. We blow, (speaks in foreign language) We blow true one. That's called (speaks in foreign language) called true one. Because the race is the second letter in true one. (speaks in foreign language) And there's (speaks in foreign language) And if you have (speaks in foreign language) (speaks in foreign language) You get 30 because (speaks in foreign language) like two, so then 27 becomes 28, 29, 30. That's your 30 (speaks in foreign language) Early on (speaks in foreign language) And Eric's his role. He said, what's happening here? We've changed our (speaks in foreign language) We just don't blow this part of (speaks in foreign language) We have this whole convocation of blowing. What's happened? It's almost like my (speaks in foreign language) is replaced (speaks in foreign language) Right? It's like the Korea at night of the (speaks in foreign language) is more important than the Korea during the day. Yeah, did you come to the show for blowing, right? That's that special thing that we do before (speaks in foreign language) before (speaks in foreign language) Why? That was (speaks in foreign language) What was the answer? (speaks in foreign language) That's the way it should have been done. From zickering through onward, the original ancient tradition was to insert it as part of the Albany. Perhaps even seeing Tkia show for itself as an aspect of the Albany. And that is exactly what the Ramban says. People have quoted this Ramban to explain how is it that we end up blowing more than the amount of sounds that are necessary. We know there's a Mitzvah in the Torah not to add to the Torah, not supposed to add to the Mitzvah. Not supposed to sit in the Sukhah more than seven days because we do (speaks in foreign language) based on spake of the oma, but let's say in Eric's Israel, somebody who sits in the Sukhah necessarily, (speaks in foreign language) takes more than the usual amount that would mean he takes a Sabra pair with that. That's a symbol of modern Israel. He would be over and have a refer doing that. Why is it that we blow more than we need to? So the Ramban says, and this is used by the Ramban says that the Tkia really isn't always just to fulfill the Mitzvah Tkia Shofar, it has become subsumed in a way as a way to be missfalo to God. The Shofar represents a alternate elevated perhaps way of praising and appealing to God that works in tandem with the Tfilas that we do. Now, what's weird is, is that originally, we got two for the price of one. We had the Mitzvah and the rabbis understood from the Sukhum of Zirum-Trua that the Mitzvah should be one that is connected to things in your mind and your brain, that you're articulating in certain words and certain ideas that we know where Shoshan is about. And therefore they solidified it as part of the Davening, as part of what we do that in the Ashkenazi custom, as part of the Hazar-Soshaz. But what happened in the times seemingly of in the times of the Mitzvah and by the time of the early on the row and they were wondering why he's in that we're doing this, why did we sort of like disconnect it from that beautiful setting and turn it into this, okay, we're doing this even before them. (speaking in foreign language) The problem was was that we were still worried about the sultan making his case. 'Cause remember, we're here being judged in front of God and God's looking over the ledger. We're trying to be inspired. We're trying to come up with a super type of Davening. And so I'm not saying you call that Davening, those guys are not, oh, he's not concentrated. He's not concentrated. Come on, come on, come on. You believe these guys, they're phonies, they're phakers. Okay, yeah, okay, come on. All right, yeah, okay. So yeah, the last couple of days they've been this way. So during the Tfilah, it's like there was an energy from the pushback of sultan, which is sort of like the real reality of sort of like, you know, the more empirical reality, what's really going on behind us, not the better parts of our nature and soul that we're trying to somehow gather and insert within ourselves. The sultan is there saying, come on. And that was happening, at least the worry was, that would be Bashar's Tfilah. So what we do is we blow beforehand. So he isn't bothering us during the happening. So it's almost like, here, throw him this gift. Throw him this and, okay, here's where he's gonna say, "Hey, come on, you know." But then he's finished. Again, it's almost like the sultan like is going to watch the ball game afterwards. Like, okay, okay, I got another appointment somewhere else. But that's the idea. The idea is is that we sort of, we sort of like, make a big deal out of the blowing before Davening. And okay, but at least he's not gonna get us later. So that's where he's gonna sort of, he's sort of going to make his case. But you know what? The real stuff is best, it's later to come. And when that real stuff happens. Yep, that's where we're gonna really Davenwell and it'll blow the chauffeur. And somehow the sultan's gonna be reading the paper then or doing something else. (speaks in foreign language) Some say, what does the gomoramine? (speaks in foreign language) (speaks in foreign language) It isn't just, okay, that's not, this is where he was bugging us and he's not gonna bug us later or. There's something about that first blowing that somehow knocks him for a loop. (speaks in foreign language) (speaks in foreign language) That we know that in the future, the power of death and things that bring death which is the objective weakness limitations of reality. That sort of like bring death will be swallowed. Those things that cause us to be limited and stumble and fall, the sultan in other words, they're going away. And the sultan, agent that he is realizes that his job is only temporary. He is an angel of God. He is a power that's from God and his sort of self understanding recognizes that his time is only during a certain period. And there is a period that's ushered in by the Messianic Age where his wings are cut because the H.R.O. is sort of like collapses. All beautiful era begins and that's the post-it that says (speaks in foreign language) (speaks in foreign language) You talk about Schaeffer Godol. Oh, that's gonna be that great sound. (speaks in foreign language) When he hears it that first time, which means the first time before most of the way that he's explaining this, you're shouting. (speaks in foreign language) I don't know what's going on. What's happening? Is this the end? Is this now Messianic's time? (speaks in foreign language) It's what's happening. I mean, this is the adversity of creation of the world and the world really shouldn't have had autumn sinning and it really maybe should have been like just the period of total sublime, wonderful greatness of humanity. Is that what's happening? Is it finally happening? (speaks in foreign language) And then when the second one, he says, "Okay, that's it. (speaks in foreign language) Okay, definitely. This is it. This is certainly the time that I'm finished." So Mirces from his arm, they've been there for, he's not doing his job. And even though that's not really what's going on, somehow the chauffeur is able to do that. So after the first 30 are done, and before the, you start the Shimone S-ray and Musaf and have the next, well, 30 or perhaps if you're going to blow in hazardous shots, and the silage monaster will have 60, and you'll have by the end of a hazardous shot, you'll have 90, where the hardware comes from is another issue, which I don't think we're gonna talk about tonight. But the blowing between the Tkias of Miushav and Muhuma, the Ramban says that the person who blows should not talk. One of the Rishonim goes even further and says that if, if the person who blows did talk, he needs to make a new brogue again. Rabbanu Simcha. Usually that's Rabbanu Simcha victory, the student of Rashi. He seems to have this idea that it's almost like these two mitzvahs go together, these two blowings go together. And by talking, you need to now start over again and make a new brogue. The author goes to Muhuma himself, says that's very strange. It must be that he just means in each section, meaning if, in other words, if you didn't finish the first 30, then you have to go back and make a new brogue. But in between the first 30 and the second 60, it's perhaps wrong, it's wrong to talk. And even the listeners shouldn't talk. But you don't have to make a new brogue. The fact that it's wrong to talk, 'cause Rashi's student said, was echoed by the Rif. And the Rif found, and the Chuvas are going in, this statement, that it's not like, we have to make a new brogue by Till, and if you talk in between one and the other. But it has been structured now since the early time of the Amarayan as one bit swab that goes together. And therefore, one should not talk the go and infap. And the Rif said that. And Rave no Simcha says that. Because yeah, all right, if you talk, we're not gonna make you make a new brogue, but really do not speak. Do not talk in between these two. In fact, don't talk until all the two of us are fitched. If you do, okay, you don't do that. Now, what sort of things are you, are you allowed to say anything? Are you allowed to say anything? Well, the Ramar quoting the crema-saddeshian student, the who saw from his read, this great Ashkenau's poster that we throw is still is, Ramar is still is quoting where we throw is still in. Says that, okay, anything to do with the Tkius itself, that's not called the Habsen. Now, it shouldn't be just empty talk. But even empty talk, okay, you don't have to show Vidoy and Tillos to say. In fact, they were, if you look in the Sidurum, they're printed in the, in what you do even before most of, between each side. So, Rabbiak of Leibervum writing Halocho for the sitter that he was asked to, despite the fact that the sitter itself was printed, said, those Tillos have an incredible pedigree, but they should not really be said, because we see from the Rishonim that one should not talk. Now, in between those first 30 and the next 60 or four, or the next 60 or the next 70, I get it. But within what's called this first 30, even between the Tashat, to the Tarat, to the Tashat, I know it's printed there, but you shouldn't say it. So, even though it's in the moxer, think it there, think it in your hand, that's a good idea. Or, if you really feel we need to say it, don't say it yet. Wait until the first 30 or over then, you could maybe say it, if you will. Then we should work quotes this Darakai, but in a footnote, he quotes Rebecca Vanden, who says, you could be medical. And the truth is, Rebecca Vanden was very aware of the capitalistic tradition, tradition that Hama Vaidya quotes from the Rishon, that people did actually say, and whisper to themselves the vidli, between the Tkios. Hama Vaidya quoting the Rishon, from Haim Vittau. Shariah Yoonovic-Lizvados, the Lakhash-based Tkios show for demusion. Of course, he said it, but he said it so quietly, that even he couldn't hear it. Now, what the Arizal tried to defend himself was, maybe Rishoshone is not a day to do vidli. Rishoshone is not a day to actually say all your sins. That's what the Zowar says. That's a freedom kipper, but Rishoshone you're not supposed to. You're supposed to think about them, but the Arizal would actually imagine what sort of sins he had. It's hard to even imagine someone on his level and what the level of sin that the great Rishok, Luria would have, but people knew that's what he was saying. So, the Arizal explained to the others that the Zowar is only talking about raising your voice, but when it's so quiet, then you can't even hear yourself own up to your shortcomings and admit and regret that I'm very interested you've done. The Soto is somehow off his game because something's happening. This is where the Soto as we saw is getting a punch. He's thinking it's over. And then, your vidli, he says, the Arizal said, Bond, not as part of Davening, part of prayer, recognizing God's greatness and praying for the restoration of our vesauverty and of a spirit of holiness and pushing towards completeness, but actually a personal vidli that you're going to do in those 30 colos before Musa. The vidli that you say in the middle can connect to the chauffeur sound and be part of that, clamped together with the chauffeur. That you're hearing from someone else, but that can be in a wrap together. That's what the Arizal says. So, hakamavadya, considering the tradition that he comes from, says, look, I can't say that that should be a problem. But the Mr. Burro recognizes that there was a pushback against that. What could be the debate? Well, the debate could be the following, that it goes back to a question which I sort of have not really dealt with, which is, how could it be that we didn't know what the blowing of the chauffeur was? I think we actually didn't know. We weren't sure, they were blowing chauffeur for since the time of most sure of anything. They weren't sure what sounds to make. The Ramam says they didn't know, they knew at one time, true as who amour a bit of an estápic l'unupo, sapphek fíoir achaan and the rova goleus. They weren't sure. And we don't know. But fío k'unu o usinák gole. So therefore, what we do is, we actually take care of all three possibilities. So it turns out, or into the Ramam, that when you blow the foremost of, and let's say you do, the first thing you do is tash, let's say you do tashrat first. You do tashrat and then tashat and then tahrat. You're not sure if what you did is what the Torah says. I said the brocha, then I blew, and I blew the trua as a shwaram trua, as the complete cry package. Then I blew afterwards just to be the first cry, the shwaram cry, the oi, oi, oi. Then I did the whimper. One of them was right. But then I did feedly in the middle. I said, "Till him in the middle." Maybe I talked in the middle. According to the Ramam, it's a problem. Because between the brocha and the fulfillment of the mitzvah, you just said other stuff. Rehailon, however, 200 years before the Ramam says, that this, that many people think from the simple reading of the Gomorrah Badrabavol, that there was a special takkana they made in Caesarea to take care of all three possibilities. He says, "That can't be the shot." He says, "Altrashvukinovt will be mayor of a vosophic badrabraza." Because that means that when our badrabavol lived, things that developed to a point that nobody was 100% sure what was Tkia chauffeur, and therefore these three customs arose, and we decided to do all three, which means there was an essential doubt as to how to fulfill this mitzvah. That's not true. (speaking in foreign language) Everybody had their own sense of crying. They all knew the trua meant the evolver. They knew that it meant some sort of break, crime. And crying was three different things. In some communities, they did the trua, the end of the crime. Some of them, they did the initial cry. (speaking in foreign language) Some did the combination, perhaps. That wasn't really done so much before above both. But Ravi says, "This was a mitzvah you could fulfill either way." Even the communities that were everybody fulfilled it, as long as it could be interpreted as a cry, no matter how the sound was. But the problem was, people who were reporting, like people from the legacy media, who were reporting about what was going on, they said, "Oh, who could stop being here? "Oh, here they do it this way. "Oh, here they do it that way. "Oh, you have different sects in Judaism. "We have those initial cryers, "and then we have the intense weepers. "We have the cry and the weep, the cryers and the wimpers, "the two groups of Judaism. "But the truth was, "the kakambim among them," Ravi says, said, "Yeah, that works. "Yeah, that works. "We happen to do it this way, but that's also good." Sort of a low said, "You know what? "Let's try to do it that we all do one thing. "Let's hereby announce, we're gonna, "hereby stick the flag down and say, "Look, we want everybody to do it this way. "Everybody's gonna do it this way. "We're gonna take all everybody, "just sort of like, you know, we're gonna do it "because all of them and all of them are good. "They're all true. "But we know we're not gonna get you to stop. "We're not gonna get you to act like them. "But it's coming to a point that people think "that there's two branches of Judaism now." A little Yibeneum Dovarshel and Youtos, New Yorka, we don't want the head Youtos, saying, "There's a caluca." So, this now is perhaps explaining the difference. If you learn like the Rambam, so think something, but don't speak during the first 30. I definitely don't talk or say anything as the first nine are being said for the first 10, the first 12, 12, nine, nine. But that's gonna be 30 if you speak or say something in a way that's like breaking between the bruja that you heard and the kakima, the mitzvah. But if you say, like, we're high gone, then, okay, I said V, do we? But I definitely fulfilled it. My first nine were the fulfillment, or the first 12 were the fulfillment. Because each one is good. The Takano was to do them all, but not that one, they were always all good. So there was never a suffix as far as that goes. And therefore, you would be able to say things, especially if those things can inspire you. Arts is a bris. I'm not sure which city in Texas. Maybe he didn't wanna tell you which one, but it comes from texts. What did the Rob say? He said, "Dear Rabbis, Texas, you is a..." He didn't address your sweet version, Shauna. He says, "If I speak before the tequila." He's like, like right after Kriya Satora and Haftarra. People aren't showing up yet. Everybody's showing up later. They all know what to come. Come for the show for blowing. So, I need that introduction, he says. My people, they aren't so worth an ox, or maybe they are, but they're not so active, they need to hear a message. That drushes the time that I could speak to them and really connect. And maybe I could get them deeper involved in their Judaism. So, it sounds like he was talking about sort of a cure of community, a community that the people, oh, what time to show for blowing, and now will be in time to give them a speech about really change and really think about what it means to be a Jew. So, maybe even though that's not the custom, could I give the drasha before Musa? Yeah, after the first 30, before we start in the knee in Musa, they answered him, the rabbis of Aaron Stemveder, it's a strong, that there is a room to allow this. And in fact, if you rabbi think that this is the way you're gonna reach these people, and this is the way to get them to do Chubo, to have a Kavana, to strengthen them. But you should explain why, because some of them might know that that's not the custom. They might know that generally the rabbi does not speak. He speaks before the first 30. So, you should emphasize to them, because if you talk, they're gonna think, oh yeah, the rabbi talked, I guess we can talk. So, explain why. And this is what we believe, the reason why it's a lab. First of all, the idea that you can't speak between the two, there are, the riff does quote the gonim that it's user, 'cause it's all like one big mitzvah. But the ron feels that, wait, even if the riff is right, then we're in the middle of doing a mitzvah, a blowing chauffeur. Even in the middle of doing a mitzvah, you can talk. Right? Even during Medico's comments, maybe you shouldn't talk before you start the search, but during the search, you're allowed to talk. It doesn't cancel. And no one's gonna say, oh, you shouldn't be talking. The only reason why the postcom, the rush says, you shouldn't talk, is because you have to concentrate on what you're doing, and make sure that you're searching properly. But the fact that you're going through an activity of mitzvah, in this case, blowing chauffeur in two different ways, the ron says, I'm not sure if the riff is right. Now, he quotes a big gon, so I agree with him, okay, so don't talk unnecessarily, but I don't think that it's user to talk. I don't think that this is something that you would have to give a person mooser for talking. So, it's a moclocus, we showed it. Over here, you've got a real purpose for talking, so there are we shown them that are on your side. Also, as it's clear from the Ramov, and we saw it in the Mr. Brewer, that you are allowed to talk about something that has to do with the peer show for itself. Where's the chauffeur, is it missing? You don't have to just necessarily use hand signals. So, if your speech is going to give them more Kavana in their davening, it's going to give them, crack them, the story will break their hearts. They'll open them up to Dutruva in the way that you do on Rosh Hashanah, then that could be as if you're talking about like saying the page numbers and telling them where the davening is. The speech could be that. And, as they point out, so many things are done as part of Musa. For example, there's people who sing along with the Khazan. There's people sing along the beautiful, even though they sing along with passages in the moclocus that are really meant to be for the Khazan himself. And yet, nobody says, oh, stop that, you should be doing that. And the reason it is is because it's considered inspiring. Even though, oh, you're not supposed to be talking, isn't that a break? Aren't you being mapsic between that original brothel that you made originally way back? And then they mentioned an interesting sock that Rabbi Ram Dovid of Buttraach gave, that if somebody is weak and hungry and he needs to eat normally, we don't eat before we finish a mitzvah. But this person needs to eat with the long davening of Rosh Hashanah. So when should he eat? So we know in Yeshivas, the custom is to make Yiddish before Tkisho, where people go out and they eat and they have a bunch of cake and spoon and everything, which is weird because you're really not supposed to eat before you do a mitzvah. So the pachacharov said, you know, when you should eat, you should eat between the Tkish before moussef and before moussef and then before you start moussef. That would be the place to eat. And when there was the cower of a demic in posing and everybody needed to eat, Rafi Vayger said, when was the time to eat? Not before Tkisho, but in between the Tkish to meoshev seems to moment. So for sure, he says that it makes sense, these were upon him's head, that if this would be a spot, that if the drush, it can't be given early to give the drush of that. (upbeat music) - Thank you so much for listening to this episode. I hope you liked what you heard. If you did, please take a moment to share this, or any of the many episodes available on our platform with friends in order to help grow our community. Until next time, Shalom. (upbeat music) (upbeat music) (upbeat music) (upbeat music) (upbeat music) (upbeat music)