Tag Archive | midrash

The Palace is Either Lit Up or On Fire

We welcome our colleague and congregant, Rabbi Ted Lichtenfeld, as a guest blogger this week. He offered these powerful words on Parashat Lech L’cha this past Shabbat to honor the brit mitzvah of his child.

The Torah tells us nothing about Abraham’s personality or motivation. It
just begins his story by telling us of his family background and then that
God instructs him to move from the city of Ur in Mesopotamia to “a land
that I will show you.” We learn more about his character as the Torah goes
on, but pre-rabbinic legends and the Rabbinic midrash spend a good deal
of time explaining why God chose Abram. Abraham was the person who
discovered the one true God, setting the stage for Judaism, Christianity,
and Islam. The Midrash Rabbah on Genesis tells the following parable:

This is analogous to one who was passing from place to place, and
saw a palace all lit up. [Noting that such a beautiful illuminated palace
must have been built by somebody,] he said: ‘Is it possible that this
palace has no one in charge of it?’ The master of the palace looked
out at him and said: ‘I am the master of this palace.’ So, because
Abraham our patriarch was saying: ‘Is it possible that this world is
without someone in charge?’ The Holy One blessed be He looked at
him and said to him: ‘I am the master of the world.’

In this way, Abraham through intellectual investigation comes to believe in
what we call the teleological argument for the existence of God. A world of
such seeming order and wonder – like a many-roomed palace – could only
have come about through a Creator, and it must have a Master watching
over it.

But there is another way of translating this midrash. In this version the
Hebrew birah doleket means not “a palace all illuminated,” but rather, a
“palace completely on fire.” In this version, the traveler sees a building
completely on fire, thinks, “Well, someone must have built this thing.
Where the heck is he?!” By and by, the owner of the palace sticks his head
out and says, “I am the master of this palace.” The midrash now means
that Abraham sees the world as a dumpster fire. He thinks, “Where the
heck is the Creator of the world?! Has he completely stopped paying
attention?! And then Adonai reveals Himself as “the Master of the world.”

Without belaboring the point, the world as dumpster fire probably feels to
many of us like a not unreasonable analogy to the present moment.

The original meaning of the “palace on fire” story was probably more
comforting to the Rabbis than it is to us. In fact, the original idea was that
the world only looks like an out-of-control conflagration. In fact, all the
recent disasters that Abram knows about, like Noah’s flood, were a result of
a God who is completely in charge, and were a means of just punishment
of the wicked.

But our teacher Rabbi Abraham Joshua Heschel, z”l sees much more
complexity in all the bad that happens in the world. Heschel, ud mutzal
me-esh, a brand plucked from the fire, lost his whole family in the
Holocaust and was not one to sugarcoat the cruel reality of the world. In
fact, in God in Search of Man, he tells our midrash twice. Early on he tells
the “a palace filled with light” version and speaks of how our wonder at the
world can inspire faith in God. Chapters later, he tells the “palace on fire”
version, as an introduction to the section entitled, “The Problem of Evil.”
His summary of our midrash poignantly declares, “The world is in flames,
consumed by evil. Is it possible there is no one who cares?”

The idea that God cares, and even more important, that we as human
beings must, pervades Heschel’s discussion of evil. Writing ten years after
Auschwitz was liberated and the Germans surrendered, he worries that we
have become “callous to catastrophes” and that “our sense of horror is on
the wane.” (I think of Lewiston, where my reaction was both horror and the
thought, “Oh, another one.”) But even more worrisome to him, rather
prophetically, is the confusion of good and evil.

In this world it seems, the holy and the unholy do not exist apart, but
are mixed, interrelated, and confounded. It is a world where idols
may be rich in beauty, and where the worship of God may be tinged
with evil.

This seems truer than ever in a world where students rightly concerned
with fair treatment of the Palestinians descend into frightening
anti-Semitism. A world where an Israel which in the wake of horror must
rightly neutralize Hamas maintains a Jewish terrorist as national security
minister.

So how do we face a world burning out of control? As much as the God of
Abraham may be the Guide, the sovereign of the world, what we do is much more important than what we believe about God’s justice. Torah is
the antidote. The mitzvah is the response. Heschel expands on this idea:

Neither the recognition of the peril nor faith in the redemptive power
of God is sufficient to solve the tragic predicament of the world. We
cannot stem the tide of evil by taking refuge in temples, by fervently
imploring the restrained omnipotence of God. The mitzvah, the
humble single act of serving God, of helping man, of cleansing the
self, is our way of dealing with the problem.

In this moment of disaster upon disaster, I wish I had a more expansive
answer. But I find hope in the fact that Judaism has endured through the
ages with a healthy understanding that the world is a palace that is
sometimes miraculous and beautifully illuminated and sometimes burning
down. May we respond by doing mitzvot, by shoring up the spirit of our
fellow Jews, by contributing to the welfare of all people. May our faith in the
one God of Abraham lead, however slowly and gradually, to a universal
belief in the oneness of all humanity.

Origin stories

I love origin stories.

I don’t care what the critics say. Give me Henry Cavill, Tom Welling or Christopher Reeve as Superman. Give me Christian Bale, Val Kilmer or David Mazouz as Batman. Give me Tom Holland, Andrew Garfield or Toby Maguire as Spiderman. Give me Richard Donner or Zack Snyder. Give me Tim Nolan or Christopher Nolan. Give me Sam Raimi or Jon Watts. Give me any of these actors and directors, so long as they are giving me an origin story, and I’m hooked.

And I don’t even mind if the origin stories they deliver are competing in details or factually different. So long as the origin story offers me an insight into what drives my hero‘s motor, I’m hooked. And I can go back for more, again and again.

I find myself far more sympathetic to a character when I know that character’s origin story. I want to understand their roots of insecurities, their foundations of confidence, their source of aspirations. The beauty of the origin stories for me is that the creative interpreters—the writers, actors and directors—are ultimately responsible for dictating how we understand what motivates our favorite characters to act. No choice can made, no action can be taken in the foreground without the origin story hanging in the background.

Adam and Eve, in the Book of Genesis, get two (!) origin stories juxtaposed against each other. I imagine the writer and director getting together to offer two different vantage points from which we can watch the story unfold.

Moses, in the Book of Exodus, is given a detailed origin story, one depicting the harrowing circumstances surrounding his birth, the fateful moment he asserts independence from his assigned station of royalty, and the transformative event that calls him to God’s service.

When it comes Noah and Abraham, —the father of the post-flood human race and the father of the Jewish people, respectively—however, the Torah gives us no origin story. Instead, we’ve relied on the artistic and creative storytelling abilities of rabbis through the centuries to propose the origin stories that would provide greater insight into, understanding of, and appreciation for these towering characters. These origin stories are collected in the body of literature we call The Midrash.

My issue with The Midrash is that, while we have attributed some of these proposed origin stories to great and authoritative voices from our past, we all too often rely on them as if they were written by God God-self or discovered in the text of the Torah. In so doing, we relinquish the opportunity to connect the origin stories of these characters with our own experiences. While at some point in my life I may have smashed my father’s idols on a metaphoric level, I would much rather relate to Abraham‘s story of hearing God‘s voice in his life in the context of my own experience.

It is said of the Torah that she has 70 faces. I prefer that one of those faces be a reflection of my own. In studying the stories of Noah and Abraham, I can wrestle with what it means to be sufficiently righteous in this world to merit saving. I can ponder what sacrifices I would be willing to make in order to perpetuate goodness in this world. I can picture children, parents and spouses struggling to discern God’s willing voice in this world.

In the absence of origin stories for Noah and Abraham, the Torah makes room for my own. This origin story is mine.

Rabbi Craig Scheff