Ten Commandment Representations in Hebrew Manuscripts & Books: Artistic Approaches to Theological Issues in Judaism

Dan Rabinowitz

Today, the Ten Commandments or Decalogue[1] are among the most prominently featured symbols associated with Judaism. The Decalogue is represented by two tablets, generally connected and rounded at the top. This representation occupies a central place within synagogue architecture, often displayed on the exterior or interior of the edifices and frequently above the ark itself, which is regarded as the most sacred element within the building. However, it is noteworthy that these practices only began to emerge in the 16th century. The exact origins of this practice remain unclear, but it is likely that they were influenced by the Christian adoption of the Ten Commandment tablets in art as representative of Judaism. Some scholars suggest that this may not be an instance of benign cultural exchange but might have its roots in anti-semitic legislation, which mandated that Jews wear badges shaped like the Ten Commandments with rounded tops. This imposition may have influenced Jewish consciousness, potentially resulting in eventual self-association with this symbol.[2]

Historical evidence indicates that the ancient Jewish community used of other symbols such as the lulav, shofar, menorah, ark, scroll, and etrog, but not the luchos. The absence of the luchos is unsurprising when one considers the inherent difficulties of accurately replicating them. There is substantial ambiguity surrounding the exact proportions and shape of the tablets. Consequently, accurate reproductions were improbable, preventing their adoption as a common, recognizable symbol. Apart from the Israelites in the desert who witnessed the Sinai revelation, the tablets were not publicly displayed but remained housed within the ark. The fact that the luchos were kept in the ark and never removed suggests that they were intentionally not intended for public display.

In contrast to other Temple implements that are meticulously described, the details of the luchos are only generally mentioned as being made of stone and numbering two. This lack of elaboration has resulted in uncertainty even regarding the inscriptions on the stones and their shape. Today, it is widely accepted that each tablet contained five commandments and can be sourced to the Mekhilta DeRebi Yishmael, Yisro (Horovitz-Rabin, 233-234); however, according to the prevailing opinion in the Talmud Yerushalmi (Shekalim 6:1; Sotah 8:3), each tablet contained the entire Decalogue. Additionally, Rav Saadia Gaon asserted that one tablet recorded the version given in Exodus, while the other contained the version from Devarim.

It was not until the early rabbinic period that there was an explicit discussion regarding the shape of the luchos. The two Talmuds are inconsistent as to the exact dimensions and shape of the tablets (and both versions appear in midrashic literature). According to the TY, the tablets were rectangular, six tefachim in length and three in width. The TB describes them as square, six by six. Some attempt to reconcile the two Talmudic versions, there is clearly no consensus are single traditional regarding the shape.[3]

Beyond the challenges in determining and reproducing accurate divisions and shapes, there is a theological concern with their display. The Mishna records that the recitation of the Decalogue was part of the daily service in the Beis haMikdash. Evidence of this practice is found in the Nash Papyrus, dating between the second and first centuries BCE. In that document, the Ten Commandments appear before the Shema. Although the Nash Papyrus is likely either tefillin or a mezuzah, it seemingly confirms inclusion in the liturgy even outside of the Temple.[4] Nonetheless, the liturgical practice was abolished by Rabban Gamaliel II of Yavne. The rationale for the abolition was that some sect, the Minim, had elevated the Decalogue above the rest of the Torah, and the continued public recitation might imply acceptance of that position.[5] It is worth noting that even when the Decalogue was incorporated into the liturgy, there is no mention of it being displayed.

None of these sources mention the most common shape, tablets with rounded tops. According to one theory, this shape was borrowed from the Roman writing tablet, the diptych, which consisted of two tablets hinged together. Regardless of the original source, the rounded-topped tablets became the standard in Christian art from at least the 12th century. Since Jews adopted the luchos as a symbol much later, roughly in the fifteenth to sixteenth centuries, they chose the most commonly recognized version, which features rounded tops.[6] 

The earliest extant depiction of the luchos appears in the Dura Europos Synagogue fresco, where Moshe is holding a scroll. While Dura Europos does not settle the issue of the shape of the tablets, it does begin to reveal some details about how the luchos iconography has evolved over time to address what can be referred to as the “minim conundrum.” The conflict between the Torah recording God delivering just the Decalogue at Sinai, whereas Jews believe that the entire Torah was given at Sinai.

Illuminated Manuscripts and the Ten Commandments: Resolving the Issue of the Minim

Many manuscripts, including Haggadahs, prayer books, and Bibles, feature imagery related to the Decalogue episode. Beyond merely illustrating the text these illustrators intentionally depicted the scene to address and resolve the minim issue and link the delivery and reception of the Decalogue with the entirety of the Torah. For example, many Ashkenazic Haggadahs include the Decalogue scene, typically accompanying the Dayenu, although two include it later in the liturgy. [7] The earliest, known as the Birds Head (dating to the beginning of the 14th century), depicts two fingers emerging from the cloud, presenting two rounded-topped tablets to Moshe. Immediately below, Moshe appears again transferring the tablets, now five, to two figures, presumably Aaron and/or Yehoshua. The dual tablets have been converted into five, referencing the Five Books of the Torah.[8] The Birds Head Haggadah’s metamorphosis during the transmission process of the two tablets into five is the only example of this solution in any Jewish (or non-Jewish) manuscripts.[9]

Figure 1: Birds Head Haggadah, fol. 23r, Israel Museum

A similar rereading of the Giving of the Law occurs in the thirteenth-century Parma Machzor. Unlike the Birds Head, which transforms the two tablets into five in their delivery, the Parma Machzor, however, depicts God giving Moshe three tablets, presumably alluding to the three books of Tanakh, the entire corpus of the Torah.[10]

Figure 2: Parma Machzor (Biblioteca Palatina, MS Parm. 2887)

Beyond transforming the tablets into more than the two mentioned in the Torah, other forms of iconographical methods were used to address the minim issue. Writing material underwent significant changes throughout the centuries. It was initially etched onto stones, like the luchos, then papyrus (like the Nash), and eventually, using animal skins that are much more resilient than papyrus, it was transformed into scrolls. Finally, “the most revolutionary invention in the history of the book” – the codex – was created at the beginning of the Common Era and became commonplace by the third century CE.[11] The codex, which we recognize as a book today, consists of individual pages written on both sides and addresses the major limitations of the scroll: the difficulty of quickly moving from one section to another and the fact that only one side could be used. Christians were the first to adopt this form sometime in the third century CE. Jews, however, adopted the book or codex much later than most other cultures, likely only in the ninth century.[12] This is unsurprising, as the scroll was not merely a device for Jews, but was imbued with special holiness.

These two forms, the scroll and codex, were used to address the minim issue. In these instances, they assumed the role of the entire torah as contrasted with the tablets, recording just the Decalogue. Scrolls are substituted for the tablets in at least two Haggadahs from the late fifteenth century (c. 1470-1480): the Nuremberg II and the Yahuda.

Figure 3: Second Nuremberg Haggadah (Center for Jewish Art)

Figure 4: Yahuda Haggadah (Center for Jewish Art)

In both, Moshe holds up an open scroll with wooden poles in a manner familiar from the hagbah ceremony. Likewise, in the well-known illuminator Joel ben Simon’s c. 1470 Machzor, now referred to as the Rothschild Weill Machzor, Moshe lifts the scroll. In a later Haggadah, known as MS 1388 Paris (1583), Moshe is holding a partially open scroll, though it is not raised like the other examples.[13] 

Figure 5: Rothschild Weill Machzor (Center for Jewish Art)

A similar image appears in the Ulm Machzor, c. 1430; however, Moshe is receiving it directly from God, echoing the approach of the Parma Machzor that there was no transformation, rather the delivery itself was the entire Torah.

Figure 6: Second Darmstadt Haggadah 9v (Center for Jewish Art)

The codex is similarly employed to address the minim issue. In the Second Darmstadt Haggadah (here), Moshe appears at the top right, beneath the shofar. He is holding two connected rectilinear tablets, hinged at the bottom. A man, dressed differently than Moshe and likely Aaron or Yehoshua, appears at the bottom right holding two separate rectilinear tablets, which are clearly sourced from Moshe. Finally, a group of Israelites appears in the bottom center of the page. The leader is now holding a book. This transforms the tablets into a book or Torah. The connection between the tablets becomes clearer as the person holding the book points to Aaron/Yehoshua and the tablets, indicating that the book’s source is the tablets and ultimately what Moshe received directly from God. Therefore, collectively, the page illustrates the transmission and transformation of the Luchos, from the ten into the Torah – received from God by Moshe, which was then handed off to Aaron and finally to the Jewish people.

Figure 7: Detail Second Nuremberg Haggadah (Center for Jewish Art)

There is perhaps another example of the codex that addresses the minim issue. In the Laud Machzor, c. 1290, the illustration for the piyyut recited on Shavous, Adon Ammani, the upper register has an angel delivering two separate rectilinear tablet while on the right side the Israelites receive a single item with a loop at the bottom. Unlike the Birds Head or other manuscripts that has the transformation into the Torah during the transmission stage; here, the only item the Israelites received was this single item with the loop. What is this unusual single panel with a loop? It may be a a codex. Manuscripts and codices were originally kept in cabinets, armaria, but in the late 13^th and early 14^th centuries they were more commonly placed on desks, and the practice of chaining books to prevent theft began (see here). Perhaps the loop in the Laud Machzor is a ring of a chained codex and another provides another example of using the codex to address the minim issue.

Figure 8: Laud Machzor 127r (Bodleian Library, MS Laud Or. 321)

Hebrew Book Illustrations & Anti-Jewish Representations

Illustrations in printed books, however, do not appear to be concerned with solving the minim issue. To the contrary, some iconography in printed books can be read to diminish or even undermine not only the torah’s transmission but even the continued applicability and viability of the Decalogue. Printed illustrated Hebrew books depict either Moshe receiving or transmitting the tablets or simply Moshe and the tablets without context. Of the four printed mother Haggadahs that served as models for nearly all subsequent printed illustrated Haggadahs, only one, Amsterdam 1695, depicts ma’mad har sinai. Unlike the other illustrations in that edition, which are modeled after Mathis Merian’s Bible, this illustration was borrowed from other Amsterdam Hebrew prints. As we have previously discussed, while the engraver clearly used Merian as a model he deliberately altered the images to suit the Jewish text rather than their original Christian source. Merian’s imagery for ma’amad har Sinai was entirely at odds with the Jewish view, and therefore, the illustrator sought an alternative source. Merian only depicts the sin of the Golden Calf and not the delivery or transmission of the Decalogue/Torah. That aligns with Christian theology that focuses on the sins of the Jews, rather than the monumental and exceptional example of God speaking directly to the Jews and imparting his Torah.

Figure 9: Amsterdam Haggadah, 1695 (Center for Jewish Art)

The Amsterdam Haggadah used the imagery that first appears on the titlepage of the 1679 Amsterdam Humash and reused on many subsequent editions of the Humashim from Amsterdam and other cities. Here, the mountain is in the middle and Moshe is still on top, receiving the tablets. They are square, and one is held in each of his hands. The illustration does not depict Moshe delivering the Torah or tablets; therefore, it does not address the tension between the Decalogue and the torah. Nonetheless, arguably implicitly, the inclusion of the image on a title page of a Humash, obviates the need to include additional imagery for the minim issue – Moshe receiving the tablets is literally attached and is the precursor to the entire Torah.

Figure 10: Humash, Amsterdam, 1679 (Gross Family Collection)

While the Decalogue scene does not appear in the other mother Haggadahs, Moshe with the luchos is used as one of the border figures in the Venice 1609 Haggadah. Moshe is carrying two connected round-topped tablets and has a light emanating from his forehead. This illustration of Moshe and the luchos is among the most common title page illustrations in Hebrew books.

Figure 11: Title Page Shu”t Rashba, Hanau, 1610 (Gross Family Collecdtion)

It first appears adorning the titlepage of Shu”T Maharil, Hanau, 1610. However, that image was clearly borrowed from a non-Jewish source. Moshe has horns, with rounded topped tablets, and is flanked by Aaron wearing a bishop’s mitre and holding a censer.[14] There is another nuance to the image that may also specifically Chrisitan, and more important theologically than whether Moshe had horns or light emanating from his head. Unlike the Jewish sources discussed above, Moshe does not hold the tablets aloft. Rather, they are standing on the ground, his hand on top. This aligns with the Christian view of the Decalogue; after Jesus, it was relegated to a secondary role or was even superseded by the New Testament. The depiction in Shu”T Hashiv R’ Eliezer, published in 1749 in Neuwied, Germany, presents a particularly striking variation. In this volume, Moshe’s hand is shown flat, seemingly serving to drive down the tablets into the ground rather than grasping them, as seen in the Hanua prints. Additionally, unlike other works that either show some of the text on the tablets or leave them blank, Hashiv depicts the tablets filled with lines, effectively obscuring or erasing any text.

Figure 12: Shu”t Hashiv Reb Eliezer, Neuwied, 1748

The unique nature of Hashiv’s title page is amplified when compared with to similar title pages, one may have even served as the a model for Hashiv. Critically, that title page includes subtle yet significant modifications. For example, David Gans, a disciple of Maharal, in his work Sefer Nitzahon, published in Altdorf in 1644, created one of the most exquisite Hebrew title pages. It features a similar depiction of Moshe as seen in Hashiv, with his hand resting atop the tablets that include some lines, resembling Hashiv. However, these tablets prominently display the Hebrew “Aseres ha-Dibros,” clearly underscoring their importance.

Figure 13: Sefer Nitzhon, Altdorf, 1644

Another contrary example is Yefeh Anaf, by R. Shmuel Jaffe, Frankfurt a.d. Order, 1696, which depicts a Jewish Moshe with rays emanating from his head, holding round-topped tablets with the beginning of each directive in Hebrew.

Like the three manuscripts discussed above, there is another title page that features Moshe with a scroll instead of tablets. This title page, which appears in a number of different Amsterdam books, for example, Sefer Shenei Luchos ha-Bris, Amsterdam, 1698, Yad Yosef, Amsterdam, 1700, and Eshlei Ravrevei, Amsterdam, 1711, is an amalgamation of four biblical figures, each symbolizing one of the four crowns: Torah (Moshe), priesthood (Aaron), kingship (Dovid), and a good name (Shlomo).

Figure 14: Shnei Luchos ha-Bris, Amsterdam, 1698

A later Amsterdam edition of the Humash combines all three Amsterdam illustrations on the title page. The 1827 Amsterdam Humash features Carl Christian Fuchs’s engraved title page. At the top is the image of Moshe accepting the two square tablets. Moshe appears below on the left, holding round-topped tablets with lines representing the text, and in the center is a crown of Torah. Fuchs includes another Amsterdam illustration at the bottom of the page, this one from the 1695 Haggadah, which depicts the temple.

Figure 15: Humash, Amsterdam, 1827

There is another unique depiction of the tablets on an early 19th-century title page. In the third edition of Mendelsohn’s Humash, Fürth, 1801-1803, Moshe and Aaron flank the title page. However, Moshe, with rays, holds only his staff. In the central image, the ark of the covenant is present, and the two tablets, with rounded tops, are superimposed in the foreground.

Figure 16: Derech Selulah, Fürth, 1802 (Gross Family Collection)

One printed book, however, R. Yosef Ergas’ Shomer Emunim (Amsterdam, 1736), may be a unique example that specifically addresses the minim issue. This work, which discusses the legitimacy of Rabbinic Judaism, includes a representation within a circular design surrounded by laurel leaves at the center of the upper register. Initially, the figure appears to be Moshe holding the luchos. However, the accompanying legend identifies the figure as “Rabbenu ha-Kodesh,” Rabbi Yehudah ha-Nasi, the compiler of the Mishna and a key figure in rabbinic Judaism. This suggests that the Mishna – Rebi Yehuda’s text – is synonymous with the luchos.

Figure 17: Shomer Emunim, Amsterdam, 1736 (Moreshet Auctions)

This interpretation is further supported when compared to the title page model for Shomer Emunim, David Nieto’s Matteh Dan, Kuzari ha-Sheni, (London, 1724). This work also defends rabbinic Judaism and depicts the figure labeled “Rabbenu ha-Kodesh” encircled in the upper register, but he is holding a book with the inscription “Mishna.” The printers of Shomer Emunim modeled the title page on Matteh Dan, yet went further in visually equating the Mishna with the Decalogue.

Figure 18: Matte Dan, London, 1714 (Moreshet Auctions)

Except for the Amsterdam prints, title page illustrations consistently show round-topped tablets, unlike Hebrew manuscripts where tablet shapes vary. This likely stems from printing developing after Christian art standardized the round-topped representation. Table 1 summarizes twenty-two manuscripts depicting the tablets, with no consistent shape linked to a specific era or region. In one instance both rounded and rectilinear shapes in the same manuscript.[15] In the Sarajevo Haggadah, the tablets appear on two separate panels (panels 30 and 32): once when Moshe receives and conveys the Decalogue, and a second time in the scene depicting what may be the Tabernacle, Solomon’s Temple, or the Messianic Temple.[16] In the first instance, the tablets are rounded, while in the second, they are rectilinear. It is conceivable, though admittedly improbable, that the original designs were rounded and depicted in the first panel. However, in the second panel depicting the temple, when the decision was made to construct the ark with a square shape, the tops may have been removed to ensure a better fit.

The Ultimate Message of Har Sinai

One final manuscript illustration is notable not only for the shape or material of the tablets, but for the broader message it conveys. The entire nation was present at ma’amad Har Sinai, including men, women, and children. The Dresden Machzor, circa 1290, depicts Moshe receiving the tablets on the upper right of the panel. On the left side of the top register, Moshe delivers them to a kneeling woman, with no men depicted. This representation indicates that the Torah was given to and applies to everyone equally. The shape itself conveys a universal message. The luchos feature rounded tablets within a rectangular frame, symbolizing that everyone fits within Judaism’s broad parameters.

Figure 19: Dresden Machzor, c. 1290 (MS Dresd. A.46A, 202)

Table 1: Manuscripts & the Shape of the Tablets

	Square/Rectilinear	Rounded	Scroll
1.	Laud Machzor (Southern Germany, c. 1290, Bodleian, Laud Or. 321, fol. 127v)	Birds Head Haggadah (Southern Germany, c. 1300, Israel Museum, MS 180/57, fol. 23)	Nuremberg II Haggadah (1470-1480, Schocken Library, MS 24087)
2.	Rothschild Machzor (Florence, 1492, JTS, fol. 139)	Sarajevo Haggadah (Spain, 14th Century, Sarajevo Museum)	Yahuda Haggadah (mid 15th century, Israel Museum, MS 180/50)
3.	Tripartite Machzor (Southern Germany, c. 1320, British Library, MS. Add. 22413, f. 3r)	Parma Machzor (13th century, Western Ashkenaz, Parma, Biblioteca Palatina, MS Parm. 2887, fol. 101v)	Rothschild Weill Machzor (c. 1470, NLI, MS 804450, fol. 203)
4.	Schocken Bible (Southern Germany, c. 1300, Schocken Library, MS. 14840, fol. iv)	Dresden Machzor (1290, Mscr. Dresd. A.46.a, fol. 408)	MS 1388 Paris (1583, Bibliothèque Nat., MS 1338, fol. 14r)
5.	Regensburg Pentateuch (Regensburg?, c. 1300, Israel Museum, MS 180/52, fol. 154v)	Ulm-Treviso Siddur (1450-1453, Parma, Biblioteca Palatina, MS Parm. 2895, fol. 271)
6.	Sarajevo Haggadah (Spain, 14th Century, Sarajevo Museum)	Floersheim Haggadah (1502, Zurich, Floersheim Collection, fol. 15).
7.	First Leningrad Bible Egypt, (?) 929, fragment (Leningrad Public Library, MS II 17)
8.	Parma Bible (Parma, Biblioteca Palatina, MS Parm. 2710, fol. 3r)
9.	King’s Bible (Catalonia, Spain, 1384, MS King’s 1, f. 3v)
10.	Catalan Bible (Catalonia, Spain, third quarter of 14th century, MS Add. 15250, f. 3v)
11.	Harley Catalan Bible (Catalonia, Spain, c. 1350, MS Harley 1528, f. 8r)
12.	Darmstadt Haggadah II (Universitäts-und Landesbibliothek, Darmstadt, Cod. Or 28, fol. 9v)

Review of Rav Zvi Hirsch Grodzinsky’s Taharas Yisroel

By Shmuel Lubin

Shmuel Lubin is a doctoral candidate in biology and creator of “The Rishonim” podcast.

ר‘ צבי הירש גראדזענסקי טהרת ישראל, הלכות נדה, לראשונה מכתב יד, ע“י מכון תפארת צבי, [נדפס ע“י מכון עלה זית], תקסח עמודים

The publication of a new sefer on Hilchos Niddah is not necessarily cause for celebration in the often-saturated world of halachic literature.[1] But when such a publication is based on an early 20th century manuscript from the American heartland, it at least merits a glance; if the author happens to also have a rather famous rabbinic last name, talmidei chachamim may take interest even without knowing anything about the sefer’s content. All this can be said about Sefer Taharas Yisrael on the laws of Niddah, written by Rav Zvi Hirsch Grodzinsky zt”l. Born c. 1857 in Lithuania, where he learned be-chavrusa with his more famous second-cousin, Rav Chaim Ozer Grodzinsky zt”l, he then spent most of his adult life serving as the chief rabbi of Omaha, Nebraska for almost 60 years (1891-1947). [2] As intriguing as his biography is, once one begins studying Rav Grodzinsky’s Sefer Taharas Yisrael, such details quickly fade into insignificance, washed away by a torrent of Torah brilliance. This review will therefore focus first on judging the newly published work for what it is: a book on the laws of Hilchos Niddah (Family Purity).

Photo of Rabbi Zvi Hirsch Grodzinsky from approximately the time he arrived in America. (From Rosenbaum and Wakschlag, 1994)

Probably the most succinct way to describe the style of the Sefer Taharas Yisrael is to say that it does for Hilchos Niddah what R. Avraham Bornstein’s (the “Sochatchover”) Eglei Tal does for Hilchos Shabbos: it is a book of halacha that also provides the background for the laws through detailed conceptual analysis of its sources. In the center of the page is the halacha, which is usually a direct quotation from Shulchan Aruch, Rama, or similarly standard halachic works. This main text is flanked by two sets of notes: “Mekoros,” or citations, and “Biurim,” elaborations.

Because the main body of the text is often an exact citation from a standard halachic authority such as the Shulchan Aruch or Rama, sometimes these formulations do not precisely reflect the halachic consensus as Rav Grodzinsky understands it. Despite its name, therefore, the “Mekoros” section not only provides citations for the main text, but also serves more generally as ‘footnotes’, including brief but important clarifications or qualifications of the cited halacha. Together, this allows for the Sefer Taharas Yisrael to be useful as a work of practical guidance, like so many other summary works on Hilchos Niddah available today, but at the same maintain the voice of the classic authorities such as the Shulchan Aruch.

The vast majority of the sefer’s text, however, is comprised of the Biurim, wherein Rav Grodzinsky engages in classical rabbinic interpretation of halachic texts, analyzing their language and logic, raising questions, proposing interpretations, and refining his (and his readers’) understanding of the earlier textual sources. These sources used in the Biurim focus primarily on the Gemara and Rishonim, as well as the major poskim throughout the generations both “on the page” of the Shulchan Aruch and in other classic (and sometimes not-so-classic) works of She’eilos u-Teshuvos and halacha. Despite his remote location, especially relative to the Torah centers of Europe and America, Rav Grodzinsky amassed an extraordinary library of seforim, as attested to by the roughly 200 books of She’eilos u-Teshuvos that he lists in the introductory pages of the reference work that he published during his lifetime, “Likutei Zvi.”

Part of Rav Grodzinsky’s library which was housed by Otzar ha-Poskim in Jerusalem. (From Rosenbaum and Wakschlag, 1994)

Nevertheless, in Sefer Taharas Yisrael, Rav Grodzinsky focuses more narrowly on the classical commentaries printed in now-standard editions of the Gemara, Rambam, Tur and Shulchan Aruch.[3] Of course, not all of these were always so “standard”; for example, Rav Grodzinsky makes use of the Tosafos ha-Rosh that had been “newly printed on the side of the Gemara” (p. 42), referring to the now ubiquitous Vilna Shas published by Mrs. Deborah Romm and her sons during Rav Grodzinsky’s lifetime (while he was still living in Eastern Europe).

A few other observations are worth noting about Rav Grodzinsky’s use of sources. Although he does reference the responsa literature, aside from references to the Noda BiYehudah and Chasam Sofer, the total number of those citations is probably only a few dozen (which is certainly impressive, but does not reflect the more extraordinary breadth of his reference work, Likutei Zvi). Rav Grodzinsky also quotes heavily from both the Chochmas Adam of R. Avraham Danzig, and from the Shulchan Aruch “HaRav” of R. Shneur Zalman of Liadi, whom Rav Grodzinsky invariably – and uniquely – cites as the “the Rav, the Gaon, the Chassid.” These seforim have become standard works of halacha that are frequently cited in the literature of the past century, but in several places, Rav Grodzinsky also quotes from another book of halacha that is rarely if ever cited today, the “Ikkarei ha-Dat” of R. Daniel Tirani (18th century Italy), which is noteworthy for also including what would be considered “medical” information along with the halacha (see p. 38).

Among Rav Grodzinsky’s many sources are also non-halachic texts, such as the Midrash Vayikra Rabbah or R. Eliyahu Mizrachi’s supercommentary to Rashi on the Torah. Another noteworthy reference is Rav Grodzinsky’s discussion of a comment by the “Besamim Rosh,” (p. 215) attributed to R. Asher b. Yechiel (“the Rosh”) but now widely accepted to have been forged by Saul Berlin.[4] This is especially interesting because among Rav Grodzinsky’s unpublished manuscripts is an expansive 11-volume work on the (authentic) responsa of R. Asher b. Yechiel. Given his expertise in the works of this particular medieval authority, it would be very valuable to know whether (or to what extent) he believed that positions expressed in the Besamim Rosh fit with other known statements of the Rosh. In an important responsum on the topic of annulling a marriage, published by Rav Grodzinsky at the end of his commentary to Maseches Berachos (published in 1923), he briefly mentions a “sevara meshubeshes” [distorted reasoning] quoted in the name of the Besamim Rosh, and says that the book was not available to him at the time. In Sefer Taharas Yisrael though, Rav Grodzinsky raises no objections to the book per se.[5]

Sometimes the “Biurim” are merely quotes from earlier compendiums, such as the Beis Yosef, or summaries of some of the major discussions of later commentaries such as the Chavos Daas and Sidrei Taharah (and those who have read through extensive comments of the Sidrei Taharah will acknowledge that extracting the main points from his lengthy pilpulim is itself a great service). In what may be the most difficult topic of Hilchos Niddah, Rav Grodzinsky excuses himself for deviating from his usual brevity to enumerate the various rabbinic positions and their halachic consequences for the benefit of someone struggling through the dense halachic details in question (p. 114-117).

Usually, though, Rav Grodzinsky goes far beyond mere quotations or summaries of earlier commentaries. Whether he is discussing the Gemara, the Rishonim, the Shulchan Aruch, or later commentators, Rav Grodzinsky’s novel elaborations upon these sources of the halacha are extraordinary in their clarity, profundity, and creativity. Most of these biurim are brief, consisting of a single question-and-answer, an additional proof to the position cited in the main text, or the like, but written in a lucid style that stands in stark contrast to other ‘short’ halachic commentaries such as the Shach and Taz.

The vast majority of Rav Grodzinsky’s novel contributions are in explicating a single, very precise detail of a halachic discussion. He does not engage in the type of high-level conceptual categorization (inventing ‘lomdishe chakiras’) that is common in contemporary yeshiva study.[6] Instead, his approach involves a close examination of the original sources, on occasion proposing alternative readings or explanations to resolve questions or demonstrate proofs to the halacha in the Gemara, Rishonim and early Acharonim.

Rav Grodzinsky’s creativity is especially evident in defending positions of Rishonim (and sometimes Acharonim) from the challenges of later commentators. As he writes (p. 257 and 343), “it is a mitzvah to resolve the words of the Beis Yosef from whose waters we drink constantly.” This tendency is not at all limited to R. Yosef Caro who, as the author of the Beis Yosef and Shulchan Aruch, is one of the main pillars of halachic decision-making. Rav Grodzinsky writes similarly regarding the authors of Knesses Yechezkel (R. Yechezkel Katzenellenbogen, p. 68-69), the Perisha (R. Yehoshua Falk Katz, p. 260), the Panim Meiros (R. Meir Poznan/Eisenstadt, p. 318), and many others. In fact, Rav Grodzinsky appears to be especially motivated to defend opinions that are rejected as erroneous by the majority of other commentators, saving them from potential dishonor.

As Eliezer Brodt discussed in his review of Sefer Beis ha-Yayin, Rav Grodzinsky is at times willing to attribute difficult passages to printers’ errors, but is wary of making such suggestions too frequently.[7] However, he sometimes solves difficult positions of Rishonim or explains why groups of Rishonim will disagree with each other by noting that they likely had different versions of the Gemara’s text.[8] In a similar vein, Rav Grodzinsky is adept at demonstrating how a dispute among Rishonim or Acharonim is dependent upon a dispute found in the Gemara (or at least earlier sources; e.g. on p. 185). He is particularly sensitive to rabbinic authors of differing opinions and has a keen eye towards finding a “le-shitaso,” explaining how deciding one particular halacha is dependent upon understanding a different halacha. He applies this method to many Amoraim, Rishonim, and Acharonim. These types of explanations demonstrate how Rav Grodzinsky was deeply attuned not just to nuances of the Talmudic sources, but also to the specific personalities behind each opinion voiced by the various commentators and authorities. Relatedly, Rav Grodzinsky will sometimes remark upon the general tendency or style of a Rishon, noting, for instance, “it is surprising to me that the Rosh did not mention that the position of the Tosafists diverges [from his own view] and dispute their words, as is his custom in every place” (p. 211).

Within the context of halachic discussion, Rav Grodzinsky is not averse to suggesting fresh and often creative interpretations of the Gemara that appear to be at odds with the major commentaries. Usually, his reinterpretations of primary sources are in response to some problem raised by the commentators, but this is not always the case. To take one relatively simple example, the Gemara (Niddah 9b) states:

וכמה עונה אמר ריש לקיש משום רבי יהודה נשיאה עונה בינונית שלשים יום ורבא אמר רב חסדא עשרים יום ולא פליגי מר קחשיב ימי טומאה וימי טהרה ומר לא חשיב ימי טומאה.

And how long is a typical cycle? Reish Lakish says in the name of Rabbi Yehuda Nesia: the average cycle is thirty days. And Rava says that Rav Ḥisda says: It is twenty days. [The Gemara clarifies:] And they do not disagree. One counts [i.e., includes] days of impurity and days of purity. And the other does not count the days of impurity [i.e., the seven days of niddah plus the three days of possible ziva sightings]

The Gemara is fairly explicit in saying that the two rabbis cited as opining upon the average woman’s cycle do not disagree with each other. Yet, Rav Grodzinsky (p. 130) believes that the Gemara would not have expressed their opinions in different ways if their positions were truly identical, and so he suggests that they do, in fact, disagree, but the Gemara simply means that they both hold that the average cycle is approximately 30 days, not that their opinions vary so widely as to differ by ten whole days.

Notwithstanding his frequently bold and creative suggestions, Rav Grodzinsky is very hesitant to utilize those innovations in practice. Instead, he writes, “I will permit the audacity of boldly writing what has come into my net [arhiv be-nafshi oz lichtov mah she-alah be-metzudasi], but I am writing only for the purposes of study and not le-halacha, considering only as a student considers before his master” (p. 20), or “for even if this [novel explanation] answers many questions, it is against many Rishonim and Acharonim who are so much greater than I” (p. 389). When it comes to the practical implementation of halacha, Rav Grodzinsky’s humility prevents him from issuing a pesak that is against what he views as the mainstream position of the earlier poskim.[9] His determination of this “mainstream” is complex; Rav Grodzinsky does not appear to be working within a rule-based system such that, for example, if there is a dispute between the Shach and Taz he would always decide in favor of the Shach.[10] Instead, Rav Grodzinsky takes all the commentaries into consideration and appears to decide according to his considered majority, but many times both opinions will appear in the main body of the halacha in the center of the page, as yesh omrim [some say] one way or the other.

Even without consciously pushing the boundaries of pesak halacha, however, sometimes Rav Grodzinsky’s assessment of the halachic consensus is nevertheless important where later or contemporary rabbinic authorities continue to dispute certain halachos. Hilchos Niddah may be a “well-trodden path” (much more so than, for example, the laws of yayin nesech, the subject of Rav Grodzinsky’s book published in 2011), but there are numerous issues where contemporary poskim differ, and Rav Grodzinsky can thus serve as an important source for deciding halacha. To take just one example out of many, Rav Grodzinsky believes that there is no reason to follow the stricter opinion of the Or Zaru’a in considering a veses [expected period] to last for 24 (instead of 12) hours.[11]

Most of Rav Grodzinsky’s responsa remain unpublished, but from the few that are available it is clear that he did not shy away from tackling even the most complex of modern issues. In an undated manuscript that was probably written around 1941, for example, Rav Grodzinsky wrote what may be the first full-length discussion of the halachic implications of artificial insemination.[12] Some of Rav Grodzinsky’s previously published works also include fascinating asides or observations pertaining to his role and experiences as a rabbi in early twentieth century America.[13] However, there is almost no topic in Sefer Taharas Yisrael that was not discussed in the older, classical works of halacha. As far as I could tell, there is no hint to the fact that the sefer was written in 20th century Nebraska instead of 18th century Prague, even though there are many instances where one would think that the different American context might have an impact upon halacha. Perhaps this is because Sefer Taharas Yisrael was written earlier in Rav Grodzinsky’s lifetime, or maybe he simply wanted to maintain its classical style without discussing new questions in this context.

If Sefer Taharas Yisrael were published in pre-war Eastern Europe, it would have undoubtedly been popular among rabbinic students who recognized Rav Grodzinsky as a fantastic talmid chacham.[14] In (nearly) all of his writings, Rav Grodzinsky’s intended audience was certainly his rabbinic colleagues in Europe and Israel (then British Palestine), not his own congregants in the city of Omaha, Nebraska. In terms of his vast Torah knowledge, Rav Grodzinsky must have been worlds away from his neighbors and community. It is hard to imagine what he knew or thought about the city of Omaha when he was 33 years old, living in Vilna, when he accepted the invitation to become its rabbi in 1891. By the time Rav Grodzinsky arrived, there were (at least) two main Orthodox synagogues – a “Litvishe Shul” (Congregation B’nai Israel, founded 1883) and a “Russishe Shul” (Chevra B’nai Israel Adas Russia, founded 1884), with a third Hungarian Shul dedicated a few years after. As Omaha’s Orthodox rabbi, Rav Grodzinsky gave weekly sermons, led daily Mishnah studies, counseled congregants, answered halachic questions, and supervised kosher slaughter, but it seems inevitable that a great chasm would have existed between him and his community. He refused to speak English, even to his children, and seems to have avoided participating in the committees and social obligations that were becoming typical of American rabbis (although he did participate in the founding of Agudas ha-Rabbanim in 1902).

The majority of even Rav Grodzinsky’s most devoted congregants who may have purchased their rabbi’s books as a mark of respect could probably hardly read them, and his neighbors surely had little appreciation of the talmudic genius living among them. The salary provided by the shuls of Omaha, initially a modest honorarium of $25 per month from each synagogue, was hardly enough to make ends meet. When the two larger Omaha shuls hired Rabbi Yechiel Michel Charlop in 1923 (who stayed for two years before moving to the Bronx), he was offered an annual salary of $3,500. Meanwhile, Rav Grodzinsky at the time earned about $200-400 and was forced to supplement his income by providing various other functions such as selling Matzah for Passover and traveling annually to Sacramento, California to certify kosher wines. A few decades after his death, nobody in the community even remembered where he was buried.[15]

Instead, Rav Grodzinsky poured unimaginably superhuman efforts into producing scholarly Torah writings. His first book, “Mikveh Yisrael,” a commentary on the laws of ritual baths, appeared in 1898 with the approbation of his rebbe R. Yitzchak Elchonon Spektor zt”l. Starting in 1896, he contributed numerous articles to respected Torah journals, engaging in scholarly debates on a wide range of halachic issues with the rabbis of Europe, Israel, and elsewhere in America. The vast majority of Rav Grodzinsky’s prolific output, however, remained in manuscript form at the time of his death (at about 90) in 1947. Shortly afterwards, his personal library and unpublished writings were shipped off to the Otzar ha-Poskim institute in Jerusalem, as per his instructions prior to his passing.

A newspaper article from 1945 reported that Rav Grodzinsky (then at the age of about 87) was “planning the publication of additional works in the field of Rabbinics,”[16] but the word “planning” is a woefully inadequate description of the amount of effort and care that Rav Grodzinsky put into preparing his writings for publication. Many seforim aficionados will be aware of R. Akiva Eiger’s directions to his sons that they should publish his responsa using large clear lettering on the finest paper available. Rabbi Zvi Hirsch Grodzinsky went quite a bit further, taking an unusual, perhaps even unique step towards ensuring that his halachic works would be published as beautifully as he imagined them to be: with his clear handwriting, he would copy over his ready-to-publish manuscript into bound notebooks in the precise page layout that he intended for it to be printed, with the main halacha in the center flanked by citations on one side and elaborations on the other.

Despite the incredible lengths Rav Grodzinsky went to in preparing his manuscripts, they languished in their boxes (and were even tied up in their original ropes) for many decades before any of these previously unpublished works were actually printed. The saga of their publication is the subject of a 2015 Mishpacha magazine article[17] with additional updates included in the Introduction sections of more recent publications. In 2011, R. Shalom Jacob zt”l published Rav Grodzinsky’s work on Yayin Nesech, and a few years later published a collection of his writings on the holidays under the title Mo’adei Zvi vol. 1 (2016). This newly published work, Sefer Taharas Yisrael on Hilchos Niddah, the third in the series of Rav Grodzinsky’s works published from manuscripts, marks a bittersweet occasion, coinciding with the first yahrzeit of R. Shalom Jacob, whose dedicated efforts in publishing Rav Grodzinsky’s seforim have been continued by Rabbi Myron Wakschlag through Machon Tiferes Zvi, a nonprofit organization dedicated to publishing Rav Grodzinsky’s works. This new volume includes tributes to R. Shalom Jacob by Rabbi Yisroel Dovid Schlesinger of Monsey, by R. Shalom’s father, and by R. Shalom’s friend and partner-in-publication, Rabbi Wakschlag.

The publishers have lived up to Rav Grodzinsky’s high expectations admirably; Sefer Taharas Yisrael is handsomely bound, typeset in large lettering, and with the sections clearly laid out and formatted according to the author’s handwritten notebooks (even if maintaining the exact pagination would have been impractical, if not impossible). As expected for a work of this size and complexity, it is not entirely without typographical errors, although these rarely impede understanding.[18]

Particularly helpful is the Source Index, which contributes to making Sefer Taharas Yisrael more user-friendly for someone studying either Maseches Niddah or Shulchan Aruch (although Rav Grodzinsky’s own sefer does mostly follow the organization of the Tur). Without this index, the sefer would be much more difficult to be studied by someone following a classic yeshiva or kollel curriculum. However, it should be noted that the index, while useful, is not entirely comprehensive, especially for sources beyond the Gemara and Shulchan Aruch commentaries. For instance, there is no reference to “Ra’ah” (R. Ahron ha-Levi of Lunel) or his work, Bedek ha-Bayis despite being quoted several times.[19] However, as it currently stands the index is already 49 pages long(!), and these minor deficiencies do not substantially detract from its overall utility (and certainly do not impinge upon the quality of the sefer as a whole).

There is no question in my mind that this work will be an invaluable resource for anyone engaged in serious study of Hilchos Niddah, as Rav Grodzinsky’s scholarship deserves a place on the shelf of every kollel beis medrash. Hopefully, this publication will serve as a catalyst for the financing of more publications from Rav Grodzinsky’s writings; a list of manuscripts being considered for future publication and other information about this project can be found on the publisher’s website. Aside from the benefit that this serves “le-hagdil Torah u-le-ha’adirah,” publication of his responsa and sermons in particular will likely provide fascinating insights into the rabbinic engagement with new technologies and social realities of early 20th century America.

Moreover, the quality and depth of Sefer Taharas Yisrael should further solidify Rav Grodzinsky’s place among the gedolim of his generation, and the sefer is a fitting tribute to this giant who was largely under-appreciated by his own congregants of Omaha, Nebraska. In the commentary to Maseches Berachos that Rav Grodzinsky published in his lifetime, he explained the rabbinic ‘blessing’ that “you should see your world in your life, your end in the World to Come, and your hope will be for generations” (Berachos 17a):

“That you should be recognized and desired in people’s eyes in this world… that is “your end in the World to Come,” and “your hope,” meaning, your hope that your lips will speak from the grave through others speaking your sayings in this world, as the Gemara says in Yevamos (97a), “will be for generations,” meaning, for many generations after you, people will continue to cite your teachings in this world. (Milei de-Berachos p. 187)

May this blessing be applied posthumously to Rav Grodzinsky as fulfilled through the further study and publication of his works.

For sample pages of this work Email Eliezerbrodt@gmail.com