Ta Shma

There is something hidden in the mishkan. A story of creation.Nehama Leibowitz, the great 20th century compiler of Torah commentary, calls our attention to a group of modern scholars who sensitized us to the use of repetition as a rhetorical device in the description of the building of the mishkan.  She cites a list of the greats: Buber, Rosenzweig, Benno Jacob, Cassuto, Meir Weiss, and others, who all highlight the way key phrases in our text echo an earlier story in the Torah—the earliest, in fact.

From one perspective, pregnancy is a miracle. But from another, pregnancy is a nightmare. In her essay that won the Ateret Zvi Prize in Hiddushei Torah, Rabbanit Leah Sarna argues that the Jewish tradition makes space for both of these stories about pregnancy. This presentation and conversation with Rabbi Tali Adler is from February 2024.

Is there meaning in a measurement?  Two great masters of midrashically-styled Torah commentary—both writing in 14th century Spain—will offer two very different interpretations of a particular form of measurement that appears frequently in this week’s Torah reading: the half.

Shabbat is described in the Talmud as a "good gift." But aren’t all gifts supposedly good? What makes Shabbat a gift that is uniquely positive in contrast to other gifts which do not receive this stamp of goodness? The Ohev Yisrael explores.Transcript and source sheet: https://mechonhadar.s3.amazonaws.com/mh_torah_source_sheets/WeissTisch5-5.pdf“Mitteler Rebbe,” "Ach L'elokim," and “Hu Elokeinu” from RAZA Kapelya (2023) by Chana Raskin. Produced by Joey Weisenberg and Chana Raskin for Hadar’s Rising Song Records

The person recovering from the biblical disease tzara'at has to bring, in addition to their offering, a piece of cedar wood and a piece of hyssop. The Ohev Yisrael tells us that these items are symbolic for the two character traits we need in order to do true teshuvah: pride and humility.Transcript and source sheet: https://mechonhadar.s3.amazonaws.com/mh_torah_source_sheets/WeissTisch5-4.pdf. “Mitteler Rebbe,” "Ach L'elokim," and “Keyli Ata” from RAZA Kapelya (2023) by Chana Raskin. Produced by Joey Weisenberg and Chana Raskin for Hadar’s Rising Song Records.

Parashat Ki Tissa makes repeated reference to God’s “face” when describing Moshe’s communication with God.  But what exactly did Moshe see when he looked into the face of God?  A comparison to Moshe’s own use of parallel imagery later in the Torah gives us a fuller sense of the visual experience of revelation.

According to the Ohev Yisrael, the Israelites preferred to live under physical oppression in Egypt than to live in a state of spiritual indebtedness to God. How could this be? What is this teaching us about spiritual labor? Transcript and source sheet: https://mechonhadar.s3.amazonaws.com/mh_torah_source_sheets/WeissTisch5-3.pdf. “Mitteler Rebbe,” "Ach L'elokim," and “Ki Anu Amecha” from RAZA Kapelya (2023) by Chana Raskin. Produced by Joey Weisenberg and Chana Raskin for Hadar’s Rising Song Records.

When kids ask big questions, how do you respond? Whether you are parent, educator, or just a curious person, you've probably asked yourself the same questions.This podcast doesn’t have all the answers, but it can give you language and frameworks to engage meaningfully with these questions. Every week, Rabbi Shai Held invites an expert guest to explore a big question: Who is God? Why did God create the world? Why do bad things happen? No pressure.  

The Talmud recognizes two very different forms of teshuvah (repentance): "teshuvah out of love" and "teshuvah out of fear." Both of these forms of teshuvah are sincere and “real” forms of teshuvah, though they come from very different places. The Ohev Yisrael helps us see that teshuvah out of love is a quest for excellence and true improvement, and that this is the model of what we should aspire to. Transcript and source sheet: https://mechonhadar.s3.amazonaws.com/mh_torah_source_sheets/WeissTisch5-2.pdf “Mitteler Rebbe,” "Ach L'elokim," and “Ki Anu Amecha” from RAZA Kapelya (2023) by Chana Raskin. Produced by Joey Weisenberg and Chana Raskin for Hadar’s Rising Song Records.  

One of the most dazzling of all the ornate garments worn by the Kohen Gadol, the High Priest, was the tzitz (ציץ), a tiara that that encircled the turban on his head, forming a sort of crown.  In the front, resting on his forehead, was a plate of gold sealed with a boldly proclaimed message: “Holy to the Eternal!”  But the intricate design of the tzitz was encoded with other, hidden messages that complicated its meaning.