Acharei Mot-Kedoshim picks up the narrative of Leviticus following our brief tangent in Tazria-Metzora in which bodily impurity was discussed. We now get further discussion of how Aaron and his sons will prepare themselves for the responsibilities of the priesthood. We also have chapter eighteen, covering sexual improprieties. This chapter unfortunately has been used over the years to justify great prejudices against the LGBTQ+ community, and it is incumbent on all of us to read and and make sense of its messages, and to atone for wrongs perpetrated through misunderstanding its teachings. But that is not our key topic here...
Kedoshim is famous as the "Holiness Code," a set of moral instructions that are just as instructive in understand Israelite culture as the Ten Commandments-- perhaps even more so. We are told to be holy, because Adonai, our God, is holy. We may wonder how it is even possible for a mortal to even begin to strive toward the same degree of holiness as God. Perhaps an answer can be found in the way that the word that gives the portion its name, קדשים, is written. Ordinarily, in a Hebrew text without vowels, such as the Torah, the word would be written with a "vav" (ו) as its third letter: קדושים. A word written without a "vav" is still legible and understandable in context, yet it is known as "chaser," deficient or defective. When a chaser word appears in an unexpected place such as this, it invites examination: what does it come to teach us? It would seem to imply that humanity's striving toward holiness will always be a bit lacking. Nonetheless, we are still called to work in partnership with God to make ourselves, and this world, as holy as possible. "Just look to your soul/ and open your mind."
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.
Crystal Blue Persuasion- (Acharei Mot-Kedoshim- Leviticus 16:1-20:27)
Music and lyrics by Eddie Gray, Tommy James, and Mike Vale; performed by Tommy James and the Shondells. From the album "Crimson and Clover," Roulette, 1969.
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