2022/5782

In this week’s Parashah, Parashat Nasso, the Pasuk mentions that anyone who was “מבֶּ֨ן שְׁלֹשִׁ֤ים שָׁנָה֙ ,וָמַ֔עְלָה וְעַ֖ד בֶּן־חֲמִשִּׁ֣ים שָׁנָ֑ה כׇּל־הַבָּ֗א לַעֲבֹ֨ד עֲבֹדַ֧ת עֲבֹדָ֛ה וַעֲבֹדַ֥ת מַשָּׂ֖א בְּאֹ֥הֶל מוֹעֵֽד׃,” “from thirty years of age until fifty, who comes to perform the work of service and work that took place in the Ohel Moed [was counted]” (BeMidbar 4:47). Rashi (ibid. s.v. עבודת עבודה) brings down the Gemara Eiruchin (11a) which states that the work of service was the singing that was performed by the Levi’im after the sacrificial services, accompanied by cymbals and harps.

The Midrash Rabbah (BeMidbar 6:10) takes this Gemara further and quotes an argument between the Chachamim and Rabi Meir on whether or not the singing is essential to the Korban. The Chachamim say that it is not essential; Rabi Meir says that it is quite necessary. 

The Gemara then asks: Where does the source for the Levi’im to sing Shirah come from? The Beraitta quoted from the Gemara brings down a Pasuk from Nasso which says: “וְלִבְנֵ֥י קְהָ֖ת לֹ֣א נָתָ֑ן כִּֽי־עֲבֹדַ֤ת הַקֹּ֙דֶשׁ֙ עֲלֵהֶ֔ם בַּכָּתֵ֖ף יִשָּֽׂאוּ,” “to the sons of Kehat he did not give any (wagons); since the sacred service was upon them, on the shoulder they would carry” (ibid. 7:9). The Gemara asks: Why does the Pasuk have to specify that they are carrying if it already mentions their shoulder?

The Gemara answers that “יִשָּֽׂאוּ” (carrying) is none other than Lashon Shirah, an expression for singing. Other examples of Lashon Shirah include: a Pasuk in Tehillim: “שְֽׂאוּ־זִ֭מְרָה וּתְנוּ־תֹ֑ף כִּנּ֖וֹר נָעִ֣ים עִם־נָֽבֶל,” “raise up a song and sound the drum” (81:3), and one in Yishayahu: “הֵ֛מָּה יִשְׂא֥וּ קוֹלָ֖ם יָרֹ֑נּוּ בִּגְא֣וֹן יְהֹוָ֔ה צָהֲל֖וּ מִיָּֽם,” “they will raise their voices they will sing” (24:14).

According to our Midrash, the second part of the phrase “בַּכָּתֵ֖ף יִשָּֽׂאוּ” means they would raise their voices in song to Hashem, as opposed to the literal translation (on the shoulder they would carry). It refers not to the task of carrying the Keilim, but to providing music after the bringing of Korbanot. If so, how does the first part (“on the shoulder”) fit into the Pasuk?

Some explain that the Midrash actually intended to split up the Pasuk and attach the first part to different words. Some say this refers to two types of service: the sacred service being upon their shoulder, and that they shall raise their voices in praise during the Korbanot. 

The Sefat Emet keeps the phrase intact. Later in Tanach, we brought the Aron back from the Pelishtim on a wagon drawn by two cows. During this historical event something extraordinary took place: “the cows sang along the way” (Shmuel 6:12). The Gemara in Avodah Zarah (24b) presents two opinions as to how the cows sang. Rabi Yochanan quotes Rabi Meir to say that the cows recited a song to Hashem. Rav Zutra Bar Tovia, quoting Rav, argues that the cows turned their faces directly toward the Aron, and then recited a song to Hashem. The Aron was on such a holy level that it was able to elevate these lowly cows transporting it to sing songs of praise to their creator! For the family of Kehat, carrying the Aron had a similar impact. It opened up a new spiritual world of insight for them and raised their singing to another level. 

In this light, the words “בַּכָּתֵ֖ף יִשָּֽׂאוּ” can be seen as one point: by means of the shoulder, or by bearing the Aron on their shoulders, they would sing songs that would have never been sung otherwise. 

Imrei Emet, however, takes a different approach. He cites a beautiful statement found in Chovot HaLevavot. After describing the importance of constantly keeping Hashem’s greatness in your mind, the author promises great rewards for those who succeed in doing so. “Such a person will reach the highest level of the righteous and will then be able to see without eyes, hear without ears, speak without a tongue, etc.” (Sha’ar Cheshbon HaNefesh 3:10). We can all understand that a Tzaddik is blessed with a kind of divine inspiration causing him to see and hear things beyond his normal senses. What, however, is speaking without a tongue? 

Answers the Imrei Emet, this is the power of singing a voiceless song to Hashem. It is the ability to sanctify Hashem’s name indirectly, by going about one's daily activities in such a selfless, sensitive, spirited way, with such inner contentment and joy, that anyone who observes him can sense the power of Hashem’s presence and the power of his world. 

The sons of Kehat, bearers of the Aron, were Tzaddikim of this caliber. About Hashem would say “בַּכָּתֵ֖ף יִשָּֽׂאוּ.” With the shoulder, with the act of carrying their holy burden, they shall rise up in song and offer a wordless tribute to Hashem an anthem to the beauty of working in his service. Every joyous step they took with the Aron on their shoulders was another note in a living melody, another line of lyric verse in praise of their creator. 

Returning to the Gemara in Avodah Zarah, one could suggest that maybe they were coming to teach us that there are two types of Shirot: one as a result of a direct account of seeing Hashem, and just our natural ability to praise him. Maybe the Sefat Emet, and the Imrei Emet are giving us two different ways to sing to Hashem in our lives. May we all be able to combine these different styles of singing and bear our own holy Aron on our shoulders while doing so.