The custom that refused to die (Yitro, Covenant & Conversation)

There’s an enthralling story about the Ten Commandments and the role they played in Jewish worship and the synagogue.
It begins with a little-known fact. There was a time when there were not three paragraphs in the prayer we call the Shema, but four. The Mishnah in Tamid (5:1) tells us that in Temple times the officiating priests would first recite the Ten Commandments and then the three paragraphs of the Shema.
We have several pieces of independent evidence for this. The first consists of four papyrus fragments acquired in Egypt in 1898 by the then secretary of the Society of Biblical Archaeology, W.L. Nash. Pieced together and located today in the Cambridge University Library, they are known as the Nash Papyrus. Dating from the second century BCE, they contain a version of the Ten Commandments, immediately followed by the Shema. Almost certainly the papyrus was used for prayer in a synagogue in Egypt before the birth of Christianity, at a time when the custom was to include all four paragraphs.
Tefillin from the Second Temple period, discovered in the Qumran caves along with the Dead Sea Scrolls, contained the Ten Commandments. Indeed a lengthy section of the halachic Midrash on Deuteronomy, the Sifri, is dedicated to proving that we should not include the Ten Commandments in the tefillin, which suggests that there were some Jews who did so, and the rabbis needed to be able to show that they were wrong.
We also have evidence from both the Babylonian Talmud (Bavli, Brachot 12a) and the Jerusalem Talmud (Yerushalmi Brachot 1:8) that there were communities in Israel and Babylon who sought to introduce the Ten Commandments into the prayers, and that the rabbis had to issue a ruling against doing so. There is even documentary evidence that the Jewish community in Fostat, near Cairo, kept a special scroll in the Ark called the Sefer al-Shir, which they took out after the conclusion of daily prayers and read from it the Ten Commandments.[1]
So the custom of including the Ten Commandments as part of the Shema was once widespread, but from a certain point in time it was systematically opposed by the Sages. Why did they object to it? Both the Babylonian and Jerusalem Talmud say it was because of the “claim of the sectarians.”
Jewish sectarians – some identify them as a group of early Christians but there is no compelling evidence for this – argued that only the Ten Commandments were binding, because only they were received by the Israelites directly from God at Mount Sinai. The others were received through Moses, and this sect, or perhaps several of them, held that they did not come from God. They were Moses’ own invention, and therefore not binding.
There is a Midrash that gives us an idea of what the sectarians were saying. It places in the mouth of Korach and his followers, who rebelled against Moses, these words:
The whole congregation is holy. Are you [Moses and Aaron] the only ones who are holy? All of us were sanctified at Sinai . . . and when the Ten Commandments were given, there was no mention of challah or terumah or tithes or tzitzit. You made this all up yourself (Yalkut Shimoni Korach 752).
So the rabbis were opposed to any custom that would give special prominence to the Ten Commandments since the sectarians were pointing to such customs as proof that even Orthodox Jews treated them differently from the other commands. By removing them from the prayer book, the rabbis hoped to silence such claims.
But the story does not end there. So special were the Ten Commandments to Jews that they found their way back. Rabbi Jacob ben Asher, author of the Tur (14th century) suggested that one should say them privately. Rabbi Joseph Karo argues that the ban only applies to reciting the Ten Commandments publicly during the service, so they could be said privately after the service. That is where you find them today in most siddurim – immediately after the morning service. Rabbi Shlomo Luria had the custom of reading the Ten Commandments at the beginning of prayer, before the start of Pesukei de-Zimra, the Verses of Praise.
That was not the end of the argument. Given that we do not say the Ten Commandments during public prayer, should we none the less give them special honour when we read them from the Torah, whether on Shavuot or in the weeks of Parshat Yitro and Vaetchanan? Should we stand when they are being read?
Maimonides (the Rambam) found himself involved in a controversy over this question. Someone wrote him a letter telling the following story. He was a member of a synagogue where originally the custom was to stand during the reading of the Ten Commandments. Then a rabbi came and ruled otherwise, saying that it was wrong to stand for the same reason as it was forbidden to say the Ten Commandments during public prayer. It could be used by sectarians, heretics and others to claim that even the Jews themselves held that the Ten Commandments were more important than the other 603. So the community stopped standing. Years later another rabbi came, this time from a community where the custom was to stand for the Ten Commandments. The new rabbi stood and told the congregation to do likewise. Some did. Some did not, since their previous rabbi had ruled against. Who was right?
Maimonides had no doubt. It was the previous rabbi, the one who had told them not to stand, who was in the right. His reasoning was correct also. Exactly the logic that barred it from the daily prayers should be applied to the reading of the Torah. It should be given no special prominence. The community should stay sitting. Thus ruled Maimonides, the greatest rabbi of the Middle Ages. However, sometimes even great rabbis have difficulty persuading communities to change. Then, as now, most communities – even those in Maimonides’ Egypt – stood while the Ten Commandments were being read.
So despite strong attempts by the Sages, in the time of the Mishnah, Gemara, and later in the age of Maimonides, to ban any custom that gave special dignity to the Ten Commandments, whether as prayer or as biblical reading, Jews kept finding ways of doing so. They brought it back into daily prayer by saying it privately and outside the mandatory service, and they continued to stand while it was being read from the Torah despite Maimonides’ ruling that they should not.
“Leave Israel alone,” said Hillel, “for even if they are not prophets, they are still the children of prophets.”
Ordinary Jews had a passion for the Ten Commandments. They were the distilled essence of Judaism. They were heard directly by the people from the mouth of God Himself. They were the basis of the covenant they made with God at Mount Sinai, calling on them to become a kingdom of priests and a holy nation. Twice in the Torah they are described as the covenant itself:
Then the Lord said to Moses, “Write down these words, for in accordance with these words I have made a covenant with you and with Israel.” Moses was there with the Lord forty days and forty nights without eating bread or drinking water. And he wrote on the tablets the words of the covenant – the Ten Commandments (Ex 34:27-28).
Then the Lord spoke to you out of the fire. You heard the sound of words but saw no form; there was only a voice. He declared to you His covenant, the Ten Commandments, which He commanded you to follow and then wrote them on two stone tablets (Deut. 4:12-13).
That is why they were originally said immediately prior to the Shema, and why despite their removal from the prayers Jews continued to say them – because their recital constituted a daily renewal of the covenant with God. That too is why Jews insisted on standing when they were being read from the Torah, because when they were being given, the Israelites “stood at the foot of the mountain” (Ex. 19:17). The Midrash says about the reading of the Ten Commandments on Shavuot:
The Holy One blessed be He said to the Israelites: My children, read this passage every year and I will account it to you as if you were standing before Mount Sinai and receiving the Torah (Pesikta de-Rav Kahana 12, ed. Mandelbaum, p. 204).
Jews kept searching for ways of recreating that scene, by standing when they listened to it from the Torah and by saying it privately after the end of the morning prayers. Despite the fact that they knew their acts could be misconstrued by heretics, they were too attached to that great epiphany – the only time in history God spoke to an entire people – to treat it like any other passage in the Torah. The honour given to the Ten Commandments was the custom that refused to die.
[1] Jacob Mann, The Jews in Egypt and in Palestine under the Fāṭimid caliphs, 1920, volume I, p. 221.
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- How might the experience of receiving these laws as a group have affected Bnai Yisrael?
- How do you think the people felt when they heard God’s voice? Why did it make such a lasting impression?
- What does the Shema debate tell us about the relationship between written Torah and the Oral Tradition?
Music, Language of the Soul
For the first time since their departure from Egypt, the Israelites do something together. They sing.
“Then Moses and the children of Israel sang this song to the Lord. (Exodus 15:1)
Rashi, explaining the view of Rabbi Nehemiah in the Talmud[1] that they spontaneously sang the song together, says that the Holy Spirit rested on them and miraculously the same words came into their minds at the same time. In recollection of that moment, tradition has named this week Shabbat Shirah, the Sabbath of Song.
What is the place of song in Judaism?
There is an inner connection between music and the spirit. When language aspires to the transcendent and the soul longs to break free of the gravitational pull of the earth, it modulates into song. Music, said Arnold Bennett is “a language which the soul alone understands but which the soul can never translate.” It is, in Richter’s words “the poetry of the air.” Tolstoy called it “the shorthand of emotion.” Goethe said, “Religious worship cannot do without music. It is one of the foremost means to work upon man with an effect of marvel.”
Words are the language of the mind. Music is the language of the soul. So when we seek to express or evoke emotion we turn to melody. Deborah sang after Israel’s victory over the forces of Sisera (Judges 5). Hannah sang when she had a child (I Sam. 2). When Saul was depressed, David would play for him and his spirit would be restored (1 Sam. 16). David himself was known as the “sweet singer of Israel” (II Sam. 23:1). Elisha called for a harpist to play so that the prophetic spirit could rest upon him (II Kings 3:15). The Levites sang in the Temple. Every day, in Judaism, we preface our morning prayers with Pesukei de-Zimra, the ‘Verses of Song’ with their magnificent crescendo,Psalm 150, in which instruments and the human voice combine to sing God’s praises.
Mystics go further and speak of the song of the universe, what Pythagoras called ‘the music of the spheres.’ This is what Psalm means, when it says:
The heavens declare the glory of God; the skies proclaim the work of His hands . . . There is no speech, there are no words, where their voice is not heard. Their music[2] carries throughout the earth, their words to the end of the world. (Psalm 19)
Beneath the silence, audible only to the inner ear, creation sings to its Creator.
So, when we pray, we do not read: we sing. When we engage with sacred texts, we do not recite: we chant. Every text and every time has, in Judaism, its own specific melody. There are different tunes for Shacharit, Mincha, and Maariv, the morning, afternoon, and evening prayers. There are different melodies and moods for the prayers for a weekday, Shabbat, the three pilgrimage festivals, Pesach, Shavuot, and Succot (which have much musically in common but also tunes distinctive to each), and for the Yamim Noraim, Rosh Hashanah and Yom Kippur.
There are different tunes for different texts. There is one kind of cantillation for Torah, another for the Haftara from the prophetic books, and yet another for Ketuvim, the Writings, especially the five Megillot. There is a particular chant for studying the texts of the written Torah, for studying Mishnah and Gemara. So by music alone we can tell what kind of day it is, and what kind of text is being used. There is a map of holy words, and it is written in melodies and songs.
Music has extraordinary power to evoke emotion. The Kol Nidrei prayer with which Yom Kippur begins is not really a prayer at all. It is a dry legal formula for the annulment of vows. There can be little doubt that it is its ancient, haunting melody that has given it its hold over the Jewish imagination. It is hard to hear those notes and not feel that you are in the presence of God on the Day of Judgment, standing in the company of Jews of all places and times as they pleaded with heaven for forgiveness. It is the holy of holies of the Jewish soul. (Lehavdil, Beethoven came close to it in the opening notes of the sixth movement of the C Sharp Minor Quartet op. 131, his most sublime and spiritual work).
Nor can you sit on Tisha b’Av reading Eichah, the Book of Lamentations, with its own unique cantillation, and not feel the tears of Jews through the ages as they suffered for their faith and wept as they remembered what they had lost, the pain as fresh as it was the day the Temple was destroyed. Words without music are like a body without a soul.
For many years I was privileged to be part of a mission of song (together with the Shabbaton Choir and singers Rabbi Lionel Rosenfeld and chazzanim Shimon Craimer and Jonny Turgel) We journeyed to Israel to sing to victims of terror, as well as to people in hospitals, community centres, and food kitchens. We sang for – and with – the injured, the bereaved, the sick and the broken hearted. We danced with people in wheelchairs. One boy who had been blinded and lost half of his family in a suicide bombing, sang a duet with the youngest member of the choir, reducing the nurses and his fellow patients to tears. Such moments are epiphanies, redeeming a fragment of humanity and hope from the random cruelties of fate.
Beethoven wrote over the manuscript of the third movement of his A Minor Quartet the words Neue Kraft fühlend, “Feeling new strength.” That is what you can sense in those hospital wards. You understand what King David meant when he sang to God the words: “You turned my grief into dance; You removed my sackcloth and clothed me with joy, that my heart may sing to You and not be silent.” United in song, you feel the strength of the human spirit no terror can destroy.
In his book, Musicophilia, the neurologist and writer Oliver Sacks (no relative, alas) tells the poignant story of Clive Wearing, an eminent musicologist who was struck by a devastating brain infection. The result was acute amnesia. He was unable to remember anything for more than a few seconds. As his wife Deborah put it, ‘It was as if every waking moment was the first waking moment.’
Unable to thread experiences together, he was caught in an endless present that had no connection with anything that had gone before. One day his wife found him holding a chocolate in one hand and repeatedly covering and uncovering it with the other hand, saying each time, ‘Look, it’s new.’ ‘It’s the same chocolate’, she said. ‘No’, he replied, ‘Look. It’s changed.’ He had no ability to hold onto his memories at all. He lost his past. In a moment of self-awareness he said about himself, ‘I haven’t heard anything, seen anything, touched anything, smelled anything. It’s like being dead.’
Two things broke through his isolation. One was his love for his wife. The other was music. He could still sing, play the organ, and conduct a choir with all his old skill and verve. What was it about music, Oliver Sacks asked, that enabled him, while playing or conducting, to overcome his amnesia? He suggests that when we ‘remember’ a melody, we recall one note at a time, yet each note relates to the whole. He quotes the philosopher of music, Victor Zuckerkandl, who wrote, ‘Hearing a melody is hearing, having heard, and being about to hear, all at once. Every melody declares to us that the past can be there without being remembered, the future without being foreknown.’ Music is a form of sensed continuity that can sometimes break through the most overpowering disconnections in our experience of time.
Faith is more like music than like science. Science analyses, music integrates. And as music connects note to note, so faith connects episode to episode, life to life, age to age in a timeless melody that breaks into time. God is the composer and librettist. We are each called on to be voices in the choir, singers of God’s song. Faith teaches us to hear the music beneath the noise.
So music is a signal of transcendence. The philosopher and musician Roger Scruton writes that it is “an encounter with the pure subject, released from the world of objects, and moving in obedience to the laws of freedom alone.” He quotes Rilke:
Words still go softly out towards the unsayable
And music, always new, from palpitating stones
Builds in useless space its godly home.
The history of the Jewish spirit is written in its songs. The words do not change, but each generation needs its own melodies.
Our generation needs new songs so that we too can sing joyously to God as our ancestors did at that moment of transfiguration when they crossed the Red Sea and emerged, the other side, free at last. When the soul sings, the spirit soars.
[1]Sotah 30b
[2] Kavam, literally “their line,” possibly meaning the reverberating string of a musical instrument.
- Is there a song that you feel a deep emotional or spiritual connection to?
- What are other sensory experiences in Judaism that also help us connect to God?
- If you could write a song about another moment in the Torah (one that does not yet have a song), which moment would you choose, and what would that tune sound like?
With thanks to the Schimmel Family for their generous sponsorship of Covenant & Conversation, dedicated in loving memory of Harry (Chaim) Schimmel.
“I have loved the Torah of R’ Chaim Schimmel ever since I first encountered it. It strives to be not just about truth on the surface but also its connection to a deeper truth beneath. Together with Anna, his remarkable wife of 60 years, they built a life dedicated to love of family, community, and Torah. An extraordinary couple who have moved me beyond measure by the example of their lives.” — Rabbi Sacks