The double portion of Tazria-Metzora arguably presents some of the most challenging material for the contemporary reader of any portion(s) in the Torah. These portions delve into skin afflictions, the aftermath of childbirth, and other bodily issues that usually are not discussed publicly. Oftentimes, explorations of these portions will seek to read the text as metaphorical; for instance, many rabbis interpret Metzora as a portmanteau of "motzi shem ra," one who brings a bad name to another by gossiping about him or her. While such deflection from the straightforward reading of the text can be helpful in teaching other lessons, it may dissuade us from doing the hard work of actually grappling with the text as it stands. Similarly, to dismiss these passages as relics of a civilization who lacked a full understanding of biological processes is to unfairly apply cultural relativism to the Torah.
While the instructions given to one who gives birth, or is afflicted with tzara'at, or experiences one of the other conditions mentioned in theses portions may initially seem draconian and unfair, we can see that they are imposed with a sense of awe and reverence of the workings of the human body. There is, in the midst of all of these rules, an appreciation that the human body is capable of reproduction, of healing after injury or affliction, of being made whole again after illness. The ultimate message of these portions is perhaps one we need to hear more clearly during these days in which we are experiencing our own isolation for medical reasons: Your body is a wonderland, and it should be celebrated.
Please note, I do not own-- nor do I claim to own-- these songs. Copyrights are held by the various artists. I include them here for illustrative purposes. Your Body is a Wonderland- (Tazria-Metzora- Leviticus 12:1-15:33)
Music and lyrics by John Mayer; performed by John Mayer. From the album "Room for Squares," Columbia, 2001.
While I still believe in the original premise of the project- that music can provide a lens into the lessons and stories of our Torah portion, I simply haven't had the time or energy to keep the posts up-to-date. I hope you all are faring well in the age of COVID-19; I'm personally finding it difficult to adjust my routine in order to accomplish everything I hope to...
But enough excuses; let's combine the first three Parshiyot in Leviticus and then we'll be caught up, at least for the time being...
Leviticus is a sort of "instruction manual" for the priesthood. They're told how to offer sacrifices, how to minister to the people, how they are going to be ordained, and other things that will help them to function effectively and efficiently.
We begin in VaYikra with the listing of different sacrifices and Israelite may bring, and the procedure for offering them. Many Jews in the diaspora might ask themselves, why do we need to study this book (or at least this portion), since we no longer offer animal sacrifices, and most of us would have no true desire to return to that sort of system. One argument is that nowadays, we are called to read these passages metaphorically, to understand that since we cannot and do not make sacrifices in the manner prescribed by the Torah, we need to find other ways to make sacrifices-- other ways to give freely from our personal resources in order to show lovingkindness to others and show obedience to God. Indeed, we find in the words of the prophets that in their day, even though people continued to bring sacrifices to the Temple, many of them were just going through the motions, in which case, "It's no sacrifice at all..."
Please note, I do not own-- nor do I claim to own-- these songs. Copyrights are held by the various artists. I include them here for illustrative purposes. Sacrifice- (VaYikra- Leviticus 1:1-5:26)
Music and lyrics by Elton John and Bernie Taupin; performed by Elton John. From the album "Sleeping With The Past," MCA, 1989.
In Tzav, we read of the investiture of the priesthood. As we heard in Exodus when the priestly garments were first fabricated, there were many unique and important features of the priestly costume to help them understand the gravity of their work. Furthermore, during the anointing ceremony described in Tzav, blood of the sacrifice is placed upon the priest's ear, his thumb, and his toe. It is said that this reminded him to hear the needs of the people, to perform acts that would benefit the people, and to always be striving to move forward and meet the needs of the people. Ideally, no one would ever need to remind the priest of his awesome responsibility; he would already have internalized it: "I know, I know, I know, I know..."
Please note, I do not own-- nor do I claim to own-- these songs. Copyrights are held by the various artists. I include them here for illustrative purposes. Ain't No Sunshine- (Tzav- Leviticus 6:1-8:36)
Music and lyrics by Bill Withers; performed by Bill Withers. From the album "Just As I Am," Sussex, 1971.
Shemini begins on an unusual note. Nadav and Abihu, two priests who are sons of Aaron, appear to be performing their priestly duties when suddenly they are consumed by a fire from God. The plain text of the Torah does not seem to give a fully satisfactory answer for their deaths, so many midrasnhic explanations have arisen. One that particularly resonates with me says that Nadav and Abihu showed that they didn't have true faith in God to continue to capture the people's devotion and intention. They evidently thought that since the first sacrifices witnessed by the people had been moments of great spectacle, they needed to reproduce such a display every time a sacrifice was offered. According to this interpretation, it was this miscalculation that cost them their lives. Unwilling to be satisfied with the routine of the daily sacrifices, they went searching for some "Strange Magic."
Please note, I do not own-- nor do I claim to own-- these songs. Copyrights are held by the various artists. I include them here for illustrative purposes. Strange Magic- (Shemini- Leviticus 9:1-11:47)
Music and lyrics by Jeff Lynne; performed by ELO. From the album "Face the Music," Jet, 1975.
