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BLESSED IS THE FRUIT. MAY THE LORD OPEN - WITH SONG

First fruit are brought to the Holy Temple accompanied by song, but what genre of music? * It seems odd to describe a song that is captivating, full of emotional allure, yet ultimately ignored in favor of its most superficial veneer, its sensual component. * On the first reading of Parshas Savo.

by MoshiachAI

The Torah instructs: "You shall take some of every first fruit of the soil, which you harvest from the land that God, your Lord, is giving you, and you shall put it in a basket and go to the place where God, your Lord, will choose to establish His name" (Deuteronomy 26:1-2). This Mitzvah serves as a pilgrimage and a tangible expression of gratitude to God. Participants journey to Jerusalem, carrying their first fruits to offer through the Kohanim.


This pilgrimage is a collective endeavor, not just an individual act. Entire communities march together, overcoming social and geographical barriers, united in a common purpose. Upon reaching the Temple, the tactile aspect of the Mitzvah comes to fruition. Baskets of fruit are lifted high, imbued with greater meaning as they are accompanied by the Levites' song. In this setting, simple fruits become symbols of divine gratitude and communal unity, setting the stage for deeper exploration into the spiritual dimensions of this Mitzvah.


THE POWER OF PROCLAMATION

As participants offer their first fruits at the Holy Temple, a declaration rings out: "My father was a fugitive Aramean. He went down to Egypt with meager numbers and sojourned there; but there he became a great and very populous nation" (Deuteronomy 26:5). This vocalization goes beyond mere thanks; it recounts a transformative journey—from vulnerability to salvation, from exile to flourishing—all culminating in profound gratitude.


Rashi, drawing on the Talmudic tractate Sotah 32a, elucidates the term "וענית" ("you shall then recite"). He points out that this isn't just reading aloud—it means to elevate your voice. In doing so, the vocalization infuses the environment with an added dimension of sanctity, filling the Temple with a resonant call that reverberates through both the physical and the spiritual realms.


A SENSUAL SONG?

The Yerushalmi Talmud provides further insight into the mitzva of Bikkurim by exploring its musical accompaniment: "וְשִׁיר. נֶאֱמַר כָּאן שִׁיר וְנֶאֱמַר לְהַלָּן וְהִנְּךָ לָהֶם כְּשִׁיר עֲגָבִים" ("And song. Song is mentioned here and it is said there [Ez. 33:32]: 'Behold, you are for them like an erotic song'").


It seems odd though to quote this verse in Ezekiel, which is patently negative, describing a song that is captivating, full of emotional allure, yet ultimately ignored in favor of its most superficial veneer, the full quote reading: "To them you are just a singer of bawdy songs (עגָבִים), who has a sweet voice and plays skillfully; they hear your words, but will not obey them."


Along these lines, Maimonides, the classic codifier of Jewish law, issues a stern warning in Mishneh Torah, Laws of Forbidden Relationships 22:21, cautioning against words of "עֲגָבִים" as precursors to sin: "Therefore, it is fitting for a person to suppress his inclinations... Similarly, one should behave to distance oneself from laughter, drunkenness, and erotic talk, for these lead to great sins."


On the one hand, "agavim" enriches and enlivens the Bikkurim ritual; on the other, it's an explicit red flag in Maimonides' code of Jewish conduct. This tension suggests a need for careful, ethically mindful engagement, not only in ritual but also in everyday Jewish life, lest we slip into dangerous moral territory.


By linking "sensual songs" with the Bikkurim ritual, the Talmud Yerushalmi may be suggesting the Temple's capacity to elevate even worldly drives into pure expression of the divine. Here, human desires and artistic expressions find a higher calling, transforming from the mundane to the holy. The insight offers a powerful lesson: spirituality isn't confined to religious acts or asceticism. Rather, the opportunity for sacred engagement exists in all aspects of human life, awaiting the right context for elevation.


The Bikkurim ritual provides a glimpse into a more profound future: the Messianic era. In this prophesied time, when "the spirit of impurity will be vanquished from the earth," the Temple's extraordinary holiness will become pervasive, and the perception of "sensual songs" will be entirely uplifted. No longer a duality to be managed, these songs will become a fully integrated expression of joy, woven into both the emotional and spiritual fabric of life.


In summary, the Bikkurim ritual and the Temple offer not just a practice, but a vision of a future where holiness pervades all aspects of life, dissolving the usual boundaries between the emotional and the spiritual.

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