Leviticus 13: Complexity and Simplicity

The other day I related the complexity of Leviticus 13 (which I had read, i.e., chanted, on the previous Shabbat) to the complexity of the human condition. In my mind, at the time, it was all complexity, complexity of complexities. In this complexity I found beauty. Now I see, at the same time, a logical and structural simplicity.

Leviticus 13, which forms part of the Torah portion Tazria, describes the diagnosis, treatment, and ritual purification of people with various skin disorders, which may or may not be “nega tzaraat,” or “the plague of [leprosy]” (it is commonly translated as “leprosy,” but we don’t know what the disease actually was).

As I discussed before, these verses present special challenges for the readers. Words and phrases repeat many times, but within different grammatical structures (and thus with different trope, or melody). It does not work to associate a phrase with a melody. You have to learn both trope and text in a different way.

Today we have our last cantillation class. We were supposed to bring some pedagogical materials that we use when teaching cantillation to others. (Most of the students are preparing to be cantors.) Since I have never taught anyone else how to leyn, I thought about how I might go about learning Tazria, if I were to do it again.

Then it came to me. In the earlier part of chapter 13, in many of the verses, the first part of the verse has to do with the symptoms and general diagnosis; the second, with the action or treatment (and sometimes the reason as well). The two parts are divided by a melodic phrase called etnachta, which indicates a pause analogous to our semicolon. (It appears under its corresponding syllable and looks somewhat like a curved caret.)

So there you have it: symptoms and diagnosis in the first half, and treatment or action in the second.

But you can break it down still further. Within the first half, the symptoms are sometimes grouped in phrases; these phrases are separated by a zakef katon, a trope that indicates something like a strong comma–not quite an etnachta, but closer than many of the other disjunctives, or melodic separators. (It appears above the syllable and looks like a colon.) In fact, sometimes this zakef katon separates specific symptoms from a more general diagnosis. In the second part of the verse, the zakef katon may separate two possible actions.

I am not doing justice to the topic of parsing; there’s much more to it than this, both within these verses and in general. I am just looking at a particular relation between structure and meaning. When you consider it in this way, everything falls into place–if not in this particular way, then in other ways.

Take, for example, Leviticus 13:2 (I have set the etnachta phrase in blue and the zakef katon phrases in green; the quoted text is courtesy of the Mechon Mamre website):

ב אָדָ֗ם כִּֽי־יִהְיֶ֤ה בְעוֹר־בְּשָׂרוֹ֙ שְׂאֵ֤ת אֽוֹ־סַפַּ֨חַת֙ א֣וֹ בַהֶ֔רֶת וְהָיָ֥ה בְעוֹר־בְּשָׂר֖וֹ לְנֶ֣גַע צָרָ֑עַת וְהוּבָא֙ אֶל־אַֽהֲרֹ֣ן הַכֹּהֵ֔ן א֛וֹ אֶל־אַחַ֥ד מִבָּנָ֖יו הַכֹּֽהֲנִֽים׃

“When a man shall have in the skin of his flesh a rising, or a scab, or a bright spot, and it become in the skin of his flesh the plague of leprosy, then he shall be brought unto Aaron the priest, or unto one of his sons the priests.”

Up through “bright spot,” you see a description of the symptoms; in the next phrase, the larger condition (the plague of leprosy); and after “leprosy,” the possible actions: bringing him to Aaron the priest (pause) or to one of his sons.

You can hear Hazzan (Cantor) Rob Menes of Congregation Beth Shalom read this verse. He announces the verse numbers in English as he goes along, so just listen for “two” (and continue listening after that, of course).

Of course this is not the pattern throughout; but once you see how it works, you can find other patterns too. Many Biblical verses have a kind of semantic symmetry; once you see the relation between the two main parts, you can see other relations as well.

If I were teaching this portion (to myself or anyone else), I would encourage the person to think in terms of the logical patterns and their meaning: in this case, in terms of symptoms, diagnosis, and subsequent treatment or action. We would start with this pattern and then find some of the others. We would parse a few verses systematically and completely, for the practice and understanding–but other verses we would view in terms of cadence, movement, symmetry, and meaning.

The portion still requires hours of practice (for me, at least), but it’s much easier when I not only see the smaller and larger structures at once but relate them to the narration.

This leads to a subject that might seem off-topic at first: “growth mindset.” In a group of previous posts, I questioned the assertion (now widely popularized) that people have either a “fixed mindset” (an assumption that their abilities are fixed) or a “growth mindset” (a belief that they can improve) and that a “growth mindset” is conducive to success, while a “fixed mindset” is not. I argue that we both have and need a mixture of mindsets.

After stumbling over this reading last Saturday, I was definitely not in “growth mindset.” I felt terrible. I thought it was the worst I had ever done (even though it was the longest and trickiest portion I had tried to learn in a short time). My disappointment was unreachable; people’s kind and encouraging words barely grazed my skin. But I had no doubt that I wanted to persist with cantillation. Also, I knew I wanted to figure out what went wrong. So as soon as the distress passed, I went back to the verses. That is when I saw the pattern.

Someone might say, “But with a total ‘growth mindset,’ you can skip over the distress altogether; that way, you’ll be more productive.” The distress has an important place, though; it comes from longing. When I am discouraged by my own performance (in the sense of carrying out a form), it’s because it matters to me to do well. The mattering carries me forward.

That brings out another possible meaning of the portion and the next one. Sarah Krinsky, a rabbinic fellow at B’nai Jeshurun, gave a magnificent D’var Torah (commentary, interpretation, sermon) on the purification process for the leprous person. Once the priest has pronounced him unclean, his clothes must be torn, he must let his hair loose, and he must cry, “Unclean, unclean” (Leviticus 13:45). On the one hand, this seems like humiliation; why should the person be forced to cast such stigma on himself? On the other, it can be taken as a statement of truth and a call for help and compassion. The person does not stay “unclean” forever.

My discouragement was much like a cry of “Unclean, unclean.” I knew I had not done well. By seeing and feeling this, without mitigation or immediate “positive thinking,” I could then proceed to do better.

I am glad for human complexity and structures of simplicity; I am grateful for cadence and mattering.

Note: I revised this piece in several stages after posting it. For much more on trope and how it works, I recommend Joshua Jacobson’s 965-page book Chanting the Hebrew Bible.

The Beauty of Leviticus 13

In my last post I criticized the careless application of the word “toxic” to human beings. The day I wrote it, I was invited to read (i.e., chant, leyn, cantillate)  a substantial part of the Torah portion Tazria (Leviticus 12-13) on April 29. Tazria first describes the purification process for women who have just given birth and then provides instructions that Aaron, his sons, and any priest must follow when examining and treating skin disorders. The latter part–contained in Chapter 13 of Leviticus–fascinates and moves me because of its intricacy, which (in my interpretation)  represents the intricacy of the human condition. The diagnoses are anything but careless.

The cantillation here poses challenges because of the verses’ grammatical complexity and the repetition of words and phrases. Normally, when preparing to read a portion, you can associate a particular phrase with its trope (melody); here you cannot, because each time the phrase comes up, the trope will be different. You must be entirely focused on the particularities and meaning of each verse. (I had more trouble with this portion than with any I have read before–but in its difficulty lies its beauty.)

Then there are the pronouns “hu” (masculine) and “hi” (feminine), which are so tricky that they elicited commentary from the medieval French rabbi and scholar Rashi (Shlomo Yitzchaki, 1040-1105). These pronouns refer not to the nouns just before them, the predicates, but rather to the subject of the verse or even the subject of the set of verses. The subject may not even be named explicitly in the verse; you have to understand what it is. So you hear both “nega tzaraat hu” (he/it is the plague of leprosy, where the pronoun refers to an earlier “nega”) and “nega tzaraat hi” (it is the plague of leprosy (or whatever the disease actually was), where “it” refers to “michvat-esh,” a feminine compound noun meaning “a burning by fire”). To make things trickier still, the two pronouns are almost always spelled identically in Torah; editions with vowel markings will have the “u” or “i” marks, but a scroll will not. (Elsewhere “hu” and “hi” have distinct spellings.)

This grammatical complexity reflects the complexity of the skin diagnoses. Some conditions are contagious (impure); some are not. Some have to be watched over time. Some conditions that look threatening begin to fade a few days later; others that seem to have faded may erupt again. Each case needs to be recognized for what it is. Here are verses 13:1-5 (courtesy of the Mechon Mamre website):

א  וַיְדַבֵּר יְהוָה, אֶל-מֹשֶׁה וְאֶל-אַהֲרֹן לֵאמֹר. 1 And the LORD spoke unto Moses and unto Aaron, saying:
ב  אָדָם, כִּי-יִהְיֶה בְעוֹר-בְּשָׂרוֹ שְׂאֵת אוֹ-סַפַּחַת אוֹ בַהֶרֶת, וְהָיָה בְעוֹר-בְּשָׂרוֹ, לְנֶגַע צָרָעַת–וְהוּבָא אֶל-אַהֲרֹן הַכֹּהֵן, אוֹ אֶל-אַחַד מִבָּנָיו הַכֹּהֲנִים 2 When a man shall have in the skin of his flesh a rising, or a scab, or a bright spot, and it become in the skin of his flesh the plague of leprosy, then he shall be brought unto Aaron the priest, or unto one of his sons the priests.
ג  וְרָאָה הַכֹּהֵן אֶת-הַנֶּגַע בְּעוֹר-הַבָּשָׂר וְשֵׂעָר בַּנֶּגַע הָפַךְ לָבָן, וּמַרְאֵה הַנֶּגַע עָמֹק מֵעוֹר בְּשָׂרוֹ–נֶגַע צָרַעַת, הוּא; וְרָאָהוּ הַכֹּהֵן, וְטִמֵּא אֹתוֹ 3 And the priest shall look upon the plague in the skin of the flesh; and if the hair in the plague be turned white, and the appearance of the plague be deeper than the skin of his flesh, it is the plague of leprosy; and the priest shall look on him, and pronounce him unclean.
ד  וְאִם-בַּהֶרֶת לְבָנָה הִוא בְּעוֹר בְּשָׂרוֹ, וְעָמֹק אֵין-מַרְאֶהָ מִן-הָעוֹר, וּשְׂעָרָה, לֹא-הָפַךְ לָבָן–וְהִסְגִּיר הַכֹּהֵן אֶת-הַנֶּגַע, שִׁבְעַת יָמִים 4 And if the bright spot be white in the skin of his flesh, and the appearance thereof be not deeper than the skin, and the hair thereof be not turned white, then the priest shall shut up him that hath the plague seven days.
ה  וְרָאָהוּ הַכֹּהֵן, בַּיּוֹם הַשְּׁבִיעִי, וְהִנֵּה הַנֶּגַע עָמַד בְּעֵינָיו, לֹא-פָשָׂה הַנֶּגַע בָּעוֹר–וְהִסְגִּירוֹ הַכֹּהֵן שִׁבְעַת יָמִים, שֵׁנִית 5 And the priest shall look on him the seventh day; and, behold, if the plague stay in its appearance, and the plague be not spread in the skin, then the priest shall shut him up seven days more.

This is just the beginning of a long and intricate set of instructions. First, the person with the skin disorder (a rising, scab, or bright spot) goes before the priest. Certain symptoms definitely indicate a plague; others require inspection over time. But look at all those independent and subordinate clauses! Take verse 3: “And the priest shall look upon the plague in the skin of the flesh; and if the hair in the plague be turned white, and the appearance of the plague be deeper than the skin of his flesh, it is the plague of leprosy; and the priest shall look on him, and pronounce him unclean.” The trope (which reflects the grammatical structure) is of course as intricate as the structure itself. You can hear Hazzan (Cantor) Rob Menes of Congregation Beth Shalom read these verses.

The beauty here is that only under extreme conditions is someone pronounced “impure”–and that person will then go through purification. While some of this may seem harsh and unpleasant, the whole point is to attend to each individual and to the community: to avoid isolating anyone unnecessarily or longer than necessary, to isolate those who really have the plague, and to purify them so that they can then come out of isolation.

Although this priestly ritual is long obsolete, it is not entirely different from a skin exam at the dermatologist’s office. It has other levels of meaning, though. To me this is a parable of human complexity and compassion; people have all sorts of problems and characteristics and should not be categorized crudely. If skin diagnosis is intricate and nuanced, how much more intricate and nuanced our judgments of each other can be! As with cantillation itself, the challenge is to hold the complexity.

Update: Yet there is simplicity here too! See my followup post.

The Trope of Esther

Rembrandt_EstherOn Purim (this Saturday and Sunday) I will be chanting Chapters 7 and 8 of Megillat Esther at a synagogue in Long Island. These are momentous chapters; Esther reveals to King Ahasuerus that Haman intends to destroy her people; at the king’s command, Haman is hanged on the very gallows that he prepared for Mordechai; then Esther entreats the king to reverse all Haman’s letters ordering the destruction of the Jews; the king orders letters to be written in his name, sealed with his ring, and sent out all over the land from India to Ethiopia; his order is executed; Mordechai goes forth in royal apparel; and all the Jews are joyous.

Purim is often known for its costumes and noisemakers, wine, food, and music–and rightly so. But underneath that, something serious is going on: the reading and hearing of the entire Scroll of Esther, at both the evening and the morning services. Every Jew (male and female, young and old) is required to hear the reading of Esther; the catch is that you can’t hear much, because of the noisemakers and general brouhaha. Every time Haman’s name is uttered, people are supposed to drown it out. The noise extends beyond the name. But that makes it all the more exciting to discover the text and melodies. They cry and rejoice below the festivities.

The Hebrew sacred texts have six distinct trope sets (codified by the tenth century, and probably much older), all with the same basic principles and symbols but distinct melodic phrases. These are: Torah trope, Haftarah trope, High Holiday trope, Esther trope, Festival trope (for the Song of Songs, Ruth, and Ecclesiastes), and Lamentations trope. Trope–the melodic system underlying the art of cantillation–brings out the structure, meaning, and beauty of the text.

I will give a brief sense of Esther trope through Chapter 8, verses 5 and 6. Verse 5 is in regular Esther trope; because of the sentence complexity, it is especially ornate. Verse 6 makes a diversion into Lamentations trope; it has a simple melody and a plaintive feel. (The Esther text has  many melodic diversions–some into Lamentations trope and some into special melodies.)

Biblical verses typically divide into two parts; from there, they subdivide into still smaller phrases. The first division is indicated by the trope called “etnachta,” which looks like a caret and comes with a pause. Further subdivisions and connections are marked by other melodies.

Here’s the Hebrew-English text of 8:5-6 as it appears in the Open Siddur Project (except that I have bolded and colored the word in each verse that contains the etnachta: “be’einav” in verse 5 and “et-ammi” in verse 6). This has both vowel and trope marks; the actual scroll has neither (the reader must learn the trope patterns beforehand).

הַ5 וַ֠תֹּאמֶר אִם־עַל־הַמֶּ֨לֶךְ ט֜וֹב וְאִם־מָצָ֧אתִי חֵ֣ן לְפָנָ֗יו וְכָשֵׁ֤ר הַדָּבָר֙ לִפְנֵ֣י הַמֶּ֔לֶךְ וְטוֹבָ֥ה אֲנִ֖י בְּעֵינָ֑יו יִכָּתֵ֞ב לְהָשִׁ֣יב אֶת־הַסְּפָרִ֗ים מַחֲשֶׁ֜בֶת הָמָ֤ן בֶּֽן־הַמְּדָ֙תָא֙ הָאֲגָגִ֔י אֲשֶׁ֣ר כָּתַ֗ב לְאַבֵּד֙ אֶת־הַיְּהוּדִ֔ים אֲשֶׁ֖ר בְּכָל־מְדִינ֥וֹת הַמֶּֽלֶךְ׃ 6 כִּ֠י אֵיכָכָ֤ה אוּכַל֙ וְֽרָאִ֔יתִי בָּרָעָ֖ה אֲשֶׁר־יִמְצָ֣א אֶת־עַמִּ֑י וְאֵֽיכָכָ֤ה אוּכַל֙ וְֽרָאִ֔יתִי בְּאָבְדַ֖ן מוֹלַדְתִּֽי׃

In the JPS translation, Esther 8:5 reads, “And [she] said, If it please the king, and if I have favour in his sight, and the thing seem right before the king, and I be pleasing in his eyes, let it be written to reverse the letters devised by Haman the son of Hammedatha the Agagite, which he wrote to destroy the Jews which are in all the king’s provinces.”

The long subordinate clause occupies the first part of the verse–and the main clause, the second. The etnachta, dividing the two parts, occurs at the phrase “in his eyes.” There are more subdivisions from there. Here is my recording of the verse; here’s verse 6. (I posted recordings of verses 5 and 6 only, to give a sense of the trope.)

Verse 6 (still Esther speaking) is simpler in structure; through its Lamentations trope and clear parallelism, it contrasts with verse 5. It translates, “For how can I endure to see the evil that shall come unto my people? or how can I endure to see the destruction of my kindred?” The verse’s symmetry holds sadness.

In Esther trope, the etnachta sounds different from the sof pasuk trope, the melody at the very end of the verse. In Lamentations trope, the two are nearly identical. You can hear this difference in verses 5 and 6. Lamentations trope feels in some ways like swinging on a swing, all alone, in the courtyard of a crumbled city; you feel the repetition and rhythm, but everything is bare.

These two verses hold complexity and simplicity; they combine art and soul into a cry. It is this combination that defines Esther for me; with all her cunning, she lives and speaks for her people and their survival. Her plea rolls the story to its conclusion.

There is much more to say about cantillation–but the discussion gets more technical (and beautiful) from here. Of course there is much more to say about Megillat Esther too. The best book I know  on trope is Joshua Jacobson’s 965-page Chanting the Hebrew Bible: The Complete Guide to the Art of Cantillation. I recommend it to anyone interested in the subject. Of course the best book to read on Esther is the Scroll itself. In that spirit, happy Purim and almost-spring!

 

Image credit: Rembrandt, Ahasuerus and Haman at the Feast of Esther (1660)

Note: I made some edits and additions to this piece after posting it.

Who Ever Said Listening Was Passive?

danny-practicing-torah-reading

One of my favorite scenes in A Serious Man is the one pictured above, about 25 minutes into the film, where Danny Gopnik (Aaron Wolff) is practicing his Torah portion with the help of a recording by Cantor Yossele Rosenblatt. He listens, imitates, listens again, imitates. That’s not how you’re supposed to learn your portion–you’re supposed to work with the text and trope–but this fits his character and allows us to hear the great cantor. But what gets me is how well he imitates. It’s transcendent. He picks up not only the melody, but the subtle textures, the ornamentation, the timing. (I have not found a video of this particular scene–but the bar mitzvah scene gives you an idea.) I was so intrigued by the excellence of this scene that I looked up the actor and learned that he is a cellist. In addition, this was his actual Torah portion when he became a bar mitzvah.

Here is a recording of him at age 15 playing Popper’s Hungarian Rhapsody. There’s a funny interview afterward, too. The point is not, “Wow, how amazing that he could play that at age 15,” but rather: This is serious musicianship. The little scene in A Serious Man is no fluke; there’s some exceptional listening in it.

Listening is the beleaguered art or skill; again and again I hear it described as “passive.” Egad! Listening is not passive. It’s some of the most active activity in action. It requires intense concentration and attention to subtlety. You must be alert to the structure, tones, rhythms, transitions, and those qualities that aren’t as easily specified, in the collection of sounds you take in. It takes practice, too; if you have never listened to a symphony from start to finish, you might not know what to  make of it, or  you might get restless; but if  you are used to it, you enter a welcoming country (unless the performance or piece is horrible).

In education discussion people often oppose “active learning” to “passive listening.” Such an opposition is not only false but destructive. Yes, students need opportunities to discuss their ideas in the classroom–but if they do not also learn to listen to a sustained piece or presentation, they will miss out on a great deal. It is in a lecture, for instance, that one can lay out an argument and draw attention to its less obvious details. Putting it together, and forming questions in the mind, a student becomes involved with the subject in a particular way. There’s a dialogue in listening; you make sense of what you hear, and you find your responses.

Now, some may say that music and lectures–and the kinds of listening that accompany them–are so different that they shouldn’t even be mentioned in the same discussion. I recognize their differences but also see a lot in common. In both cases, something is conveyed through sound, over an interval of time; its various parts come together in a whole. When you listen, you basically travel through it in time, exercising your memory and anticipation all along the way. Your reactions may be analytical, emotional, or both, but they will not be complete until you have listened to the whole piece, and even then they may be in formation. You carry away not only the content, but the sound, which can play in your mind for a long time afterward.

Yesterday I put this to the test. On Tuesday I revised the fourth chapter of my book, the chapter on listening–so yesterday I treated myself to a day of listening. In the morning I went to an open rehearsal of the New York Philharmonic; in the evening I attended a lecture by Christine Hayes, “Forging  Jewish Identity: Models and Middles in Jewish Sources.” In both of these, in different ways, I was absorbed in the details and the whole. After both, I walked away with sounds and thoughts.

The New York Philharmonic played Brahms’s Symphony No. 3 and Beethoven’s “Emperor” Concerto (with pianist Stephen Hough). Both of these I remembered from many listenings in the past; in addition, I remembered playing the Brahms in symphony in college. I had that distinct sense of it from the inside; not only that, but I remembered some of the places where we played it (we toured England and Wales in the spring). With both the Brahms and the Beethoven, I was alert to the interpretation–the many tiny differences from what I remembered, the dynamics, the dialogues between instruments.

As for the lecture, I immediately understood the three-part structure (Dr. Hayes discussed Jewish identity in terms of memory, covenant, and Qedushah, and went on from there to explore different historical responses to crisis.) Understanding the shape and motion of the lecture, I was able to enjoy and think about the details. When she read texts aloud in English, I would follow along in Hebrew, not only for the additional challenge, but for the sake of the Hebrew text itself. This allowed me to encounter, for the first time,  the wonderful line from Mishnah Sotah 7:8: “Fear not, Agrippas, you are our brother, you are our brother, you are our brother!”

אל תתיירא אגריפס אחינו אתה אחינו אתה אחינו אתה

I walked away not only with the lecture’s  ideas (and my slowly forming questions), but with these words.

In short, listening is not passive, simple, or easy. But just a little bit can add serious riches to a life, and the lack of it can lead to grief. (That’s a different subject for another time.) I end with one of my old poems, “Jackrabbit.”

Jackrabbit

This land has never been painted properly.
Mix clumps of juniper with moonbeam blue,
Throw in a bit of tooth, a bit of song,
to fill the silhouette with bite and tongue.

This is a real dirt road with imagined rocks,
senses, insensate dangers, destinations.
Headlights sweeping the long floor of the mind
pan a jackrabbit back and forth in time.

Caught in the blank emergency of beams,
he dodges his dilemma with a brisk
“what if, what if” that dances him to death.
He could not find a way out of the way.

Earlier that day I was on the phone,
missing all your relevant advice.
A wire had got caught up in my throat,
an answer-dodger. It distracted me.

It trembled so fast that it numbed my tongue.
It did this while you were trying to talk.
I couldn’t listen well because the dance
had blurred all trace of consonant and sense.

I think now that this may have been a crash
of my old givens against your offerings:
new junipers, or ways of seeing them,
new countries, or ways of getting there.

When I hung up, there was no wire or word.
The moon was gone, the road a long fur coat
on some unwitting wearer, blissed and hushed.
I forgot all about it until years later.

You had said: “You can go left or right.”
Take me straight! I shouted. Straight to the remedy.
Gallop like the nineteenth century
down to the police station or cemetery.

Striding answerless, a station incarnate,
a cop ticketed me for not listening.
Now I can bear the rabbits and the wires.
I inch through forks and roadkill, listening.

Note: I made a few little corrections to this piece after posting it.

A New Blog Name

greydayOn this beautiful grey-green morning (some of my favorite weather), as I was out walking, it occurred to me that I could rename the blog. The previous title  (Diana Senechal: On Education and Other Things) no longer fit. Then it came to me: Take Away the Takeaway, the title of my forthcoming book. This suits the spirit of the blog and allows flexibility.

The book is taking shape, by the way; I have written drafts of seven of the eleven chapters. I am moving along swiftly so that I can revise slowly later.

I am also taking a course in advanced cantillation; I love the subject, the practice, and the course. This is my second major commitment this year.

I have some additional time-bound projects: at the end of October, I will present two papers at the ALSCW Conference (one on Gogol’s “The Nose,” one on my translation of Tomas Venclova’s “Pestel Street“) and will lead a seminar as well. Also, I am writing many college recommendations for my former students.

So here it is: Take Away the Takeaway.