The decisive points of the narrative alone are emphasized, what lies between is non-existent; time and place are undefined and call for interpretation; thoughts and feelings remain unexpressed, are only suggested by the silence and the fragmentary speeches; the whole, permeated with the most unrelieved suspense and directed toward a single goal . . . remains mysterious and “fraught with background.”
A completely different aspect is alluded to by R. Yechiel Michal Epstein, author of the halachic code Aruch HaShulchan (Choshen Mishpat, introduction). Rav Epstein points out that the rabbinic literature is full of arguments, about which the sages said: “These and those are the words of the living G-d.” This, he says, is one of the reasons the Torah is called “a song” – because a song becomes more beautiful when scored for many voices interwoven in complex harmonies.
I would suggest a third dimension. The 613th command is not simply about the Torah, but about the duty to make the Torah new in each generation. To make the Torah live anew, it is not enough to hand it on cognitively – as mere history and law. It must speak to us affectively, emotionally.
Judaism is a religion of words, and yet whenever the language of Judaism aspires to the spiritual it breaks into song, as if the words themselves sought escape from the gravitational pull of finite meanings. There is something about melody that intimates a reality beyond our grasp, what William Wordsworth called the “sense sublime / Of something far more deeply interfused / Whose dwelling is the light of setting suns / And the round ocean and the living air.” Words are the language of the mind. Music is the language of the soul.
Music is central to the Judaic experience. We do not pray; we daven, meaning we sing the words we direct toward heaven. Nor do we read the Torah; instead we chant the weekly portion, each word with its own cantillation. Even rabbinical texts are never merely studied; we chant them with the particular sing-song known to all students of Talmud. Each time and text has its specific melodies. The same prayer may be sung to half-a-dozen different tunes depending on whether it is part of the morning, afternoon or evening service, and whether the day is a weekday, a Sabbath, a festival or one of the High Holy Days. There are different cantillations for biblical readings, depending on whether the text comes from the Mosaic books, the prophetic literature, or the Ketuvim, ‘the writings.’ Music is the map of the Jewish spirit, and each spiritual experience has its own distinctive melodic tonality.
The 613th command – to make the Torah new in every generation – symbolizes the fact that though the Torah was given once, it must be received many times, as each of us, through our study and practice, strives to recapture the pristine voice heard at Mount Sinai. That requires emotion, not just intellect. It means treating Torah not just as words read, but also as a melody sung. The Torah is G-d’s libretto, and we, the Jewish people, are His choir, the performers of His choral symphony. And though, when Jews speak they often argue, when they sing, they sing in harmony, as the Israelites did at the Red Sea, because music is the language of the soul, and at the level of the soul Jews enter the unity of the Divine which transcends the oppositions of lower worlds. The Torah is G-d’s song, and we collectively are its singers.
About the Author: Rabbi Lord Jonathan Sacks, former chief rabbi of the British Commonwealth, is the author of many books of Jewish thought, most recently The Great Partnership: Science, Religion, and the Search for Meaning.
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