Answers to Quiz Questions and Other Comments, part 1
By Marc B. Shapiro
It is now time to announce the names of those who were able to answer the quiz questions I posed. The only two people to answer both questions correctly were Alex Heppenheimer and Yonason Rosman. I fortunately had two CDs so both of them received the prize.
Question no. 1 was: The word for turkey is תרנגול הדו. There is a dagesh in the dalet. Why? Bring a proof for your answer from Berakhot between page 34a and 38a.
Alex Heppenheimer emailed as follows: “The
dagesh represents a missing
nun in the word הדו. The Aramaic form, in
Berachot 36b, is הנדואי. (There is also similarly הנדויין in
Yoma 34b and ר’ יהודה הנדואה in
Kiddushin 22b.)”
This is correct. The name India (and thus also Hindu) originates with the Persians and Greeks for the land beyond the Indus River. You can see in the Aramaic terms referred to by Heppenheimer that the nun is part of the word. See also the Targum to Esther 1:1 where הדו is translated as .הנדיא Bava Batra 74b, Avodah Zarah 16a, and Bekhorot 37b have other forms of the word, all including the nun.[1] Berakhot 37b refers to נהמא דהנדקא, i.e., “Indian bread.” Targum Ps. Jonathan to Gen. 2:12 translates translates חוילה as הינדקי.
(As to why turkey was referred to by those in Spain, and later the rest of Europe, as “Indian fowl”, that is because when it was first brought back to Europe it was believed to be coming from the area around India, which is where Columbus himself thought that he had ended up.)
For those who are interested in grammatical matters like how the dagesh is used, let me recommend a new book, Adir Amrutzi’s Dikdukei Aviah (Tel Aviv, 2010). In speaking of nuns that drop off, on p. 13 he calls attention to Kiddushin 70a where the word אתרונגא appears. The nun in this word shows us that the plural of etrog is not etrogim, but etrugim, with a dagesh in the gimel and a kubutz under the resh. The singular word etrog should be written as אתרג (All this follows the pattern of tof-tupim [תף-תפים], dov-dubim [דב-דבים]. When the vav holam is in the word, the holam sound remains: חול-חולות, עוף-עופות).
Returning to India, the passage in Berakhot 36b reads: “The preserved ginger which comes from India (הנדואי) is permitted.” The problem is that when you look at Rashi, for his translation of הנדואי he writes: כושיים.
Cushi’im means “Ethiopians” (Translating “Cush” as “Ethiopia” does not imply that it corresponds to the borders of modern day Ethiopia. Some even prefer “Nubia” to Ethiopia”, as Ethiopians are Semitic while Nubians are “Hamitic” [and Cush was a son of Ham]. It perhaps also can refer generally to black Africa. This can explain
Pesahim 94a which states that Egypt is one sixtieth of Cush. Also, the Targum to II Chron. 21:16 translates כושים as אפריקאי.)
So where does Rashi get the idea that Cushites are Indians? Did he not know that הנדואי means India? In his commentary to Kiddushin 22b he writes as follows:
הנדואה: מארץ כושי כוש מתרגמינן הנדואה
We see the same identification by Rashi in
Yoma 81b.
[2] Since the book of Esther distinguishes between India (הדו) and Cush, and Rashi identifies הנדואה with Cush, one might be tempted to conclude that Rashi didn’t realize that הנדואה is the same as הדו. But is it possible that he wouldn’t know this?
And to confuse matters even more, in Avodah Zarah 16a, where הינדואה is mentioned, Rashi explains that it means ארץ הדו.
So not only do we have the problem of Rashi identifying הנדואה as Cush, but we also have the problem of consistency, because in one instance he identifies the place correctly. To add one more thing to the mix, in his commentary to Sukkah 36a Rashi states that Cush is further from the Land of Israel than it is from Babylonia. This means that Rashi thought that Cush is to the east of Babylonia. In other words, Rashi does not believe that Cush is Ethiopia.[3]
So where does Rashi get this notion? He actually gives us his source in his commentary to Yoma 34b, where he refers to the Targum to Jeremiah 13:23. This verse famously states: “Can the Cushi change his skin, or the leopard his spots?” If you look at the Targum on this verse Cushi is translates as .הנדואה In the Targum to Isaiah 11:11 Cush is also identified as India.
So again, I ask, what is going on here? How could the Targum translate Cushi as “Indian”?
P. S. Alexander writes as follows: “It was a common view in ancient geography, shared by Ptolemy and probably also the author of the book of Jubilees . . . that Ethiopia was joined to India in the east. It is this idea that lies behind the [talmudic] statement that Cush and Hodu are adjacent.”[4] He also notes that the Indians dark skin was one reason for the identification. Furthermore, Alexander tell us, there was an ancient belief that there was a land connection between Ethiopia and India south of the Indian Ocean.
Since we have been speaking of India,[5] let me share with you what I found in R. Hayyim Hirschensohn’s Nimukei Rashi on Bamidbar (a copy of which I will give out to the winner of my next quiz[6]). On p. 81b he suggests that the revolt in India against English rule was a punishment of England for splitting the Land of Israel when it created Transjordan.
Returning to the quiz, my second question was: There is a rabbinic phrase that today is used to praise a Torah scholar, but in talmudic days was used in a negative fashion. What am I referring to?
Megillah 28b speaks of a צנא דמלא סיפרי . Today this expression is used to praise scholars. Yet if you look at the talmudic passage its meaning is the exact opposite. Rashi explains:
אינו אלא כסל שמילאוהו ספרים ואין מבין מה בתוכה אף שונה הלכות ולא שימש ת”ח ללמוד שיבינוהו טעמי משנה ופעמים שדברי משנה סותרין זה את זה וצריך לתרצה כגון הכא במאי עסקינן וכגון הא מני רבי פלוני היא וכגון חסורי מיחסרא אינו יודע מה שונה.
Rashi’s explanation should remind people of a phrase used by R. Bahya Ibn Paquda in
Hovot ha-Levavot 3:4. In its medieval Hebrew translation it became famous: חמור נושא ספרים. I first heard this expression in yeshiva. Only later did I realize that it came from R. Bahya, and only some time later did I learn that R. Bahya didn’t invent it. Rather, it originates in the Quran 62:5.
[7]
* * *
Since this post is not up to my normal length, let me make some more comments. At least one person thinks that my criticism of Artscroll regarding Kalir is unfair. If you recall, I originally criticized them for identifying Kalir as a tanna. In my last post I mentioned that in the first edition of the Artscroll Machzor this identification is rejected, and only in subsequent editions does the Machzor state that Kalir was a tanna. I also claimed that Artscroll knows the truth but in order to mollify its critics, changed what it originally wrote.
This, incidentally, is not the only time that I assume that Artscroll knows what it is writing is incorrect, but writes so anyway. I have a good example of this in the book I am currently working on, so I don’t want to give it away now. I already noted another example in Limits, where I call attention to the introduction to the Artscroll Chumash which states: “Rambam sets forth at much greater length the unanimously held view that every letter and word was given by God to Moses” (emphasis added). This statement, that the view of the Rambam is unanimously held, is false. Furthermore, Artscroll knows it is false, and in its commentary to Deut. 34:5 it mentions the talmudic view that the last verses were given to Joshua.[8]
Here is another example along these lines that I think readers will find interesting. It comes from the new Artscroll Midrash Rabbah, and was called to my attention by R. Avrohom Lieberman (who already called my attention to the Kalir change in the Machzor).
In explaining
Tikun Soferim, Artscroll’s note states that this “cannot, Heaven forbid” be taken literally. Yet the editors of Artscroll, who are learned men, know perfectly well that there are traditional sources that state precisely this (See
Limits, pp. 98ff). There is no question that the intent of the words “Heaven forbid” is to make the reader think that Artscroll’s perspective is unanimously held.
Since we are now on the subject of Artscroll (the most important and influential Orthodox publishing venture of all time), and lots of people want me to post more on this topic, let me give one final example.[9] It comes from Ecclesiastes, as I dealt with this book in the last series of posts. The upshot of what I and others have already pointed out is something everyone already knew, namely, that Artscroll has a religious agenda. Much like the New York Times’ agenda can be seen not only in the editorial page, but in the news reports as well, so too Artscroll’s agenda is seen not only in the “overviews,”[10] but in the selection of commentaries also. There is enough material for a very long and detailed article spelling all this out.
Eccl. 2:8 states: .עשיתי לי שרים ושרות
What does this mean? The simple explanation is that the author, traditionally Solomon, is telling us about all the wonderful things he amassed with which to enjoy himself, and among them are “men singers and women singers.” Artscroll translates the passage as “I provided myself with various musical instruments.” Now this might be an apologetic translation, but if so, it is not Artscroll that is to be too criticized, but the Talmud,
Gittin 68a, since according to Rashi this is how the Talmud explains the words.
[11] Artscroll is obviously within its rights to adopt this understanding, even if one assumes that this explanation is not in accord with the simple sense of the verse.
The problem comes with the next passage in the Artscroll commentary which states: “Rav Yosef Kara, Alshich, Metzudas Zion and others translate ‘singers.’” I will get to Kara and Alshich shortly, but let’s begin with Metzudat Tziyon, since this is easiest for most people to access as it appears in the Mikraot Gedolot. He writes as follows:
שרים: משוררים זכרים. ושרות: משוררות נקבות
So now I ask my fair-minded readers: Is Artscroll’s statement that Metzudat Tziyon translates שרים ושרות as “singers” accurate? I think the answer is clearly “no”. Metzudat Tziyon translates the words in question as “male singers and female singers,” and yet—don’t tell me you are surprised—in Artscroll this morphs into “singers”. Why would Artscroll fudge the translation? The answer is obvious. They don’t want people to think that Solomon would have listened to women singing. I am not sure why this is so problematic for them. After all, if Solomon engaged in idolatry (at least according to the biblical text’s simple meaning),, hearing women sing is not so far-fetched. In fact, in his comment on some other words in the verse, R. Jacob Lorberbaum
[12] writes as follows):
רמז על שעבר על לא ירבה נשים שהזהירה התורה
Lorberbaum, therefore, has no difficulty in seeing the verse as pointing to misdeeds of Solomon.
Let us now see what Kara and Alshich say on the verse, since they too were quoted by Artscroll. Kara’s commentary is printed in Otzar Tov, ed., Berliner and Hoffmann (Berlin, 1886-1887), p. 10: עשיתי לי שרים ושרות: תיקנתי לי זכרים ונקיבות לשורר לפניי
Alshich explains the verse to be referring to משוררים ומשוררות
So we see that the commentators Artscroll refers to are explicit that the meaning of the passage is “male and female singers.”
Among other sources that interpret this way are Kohelet Rabbati, ad loc:
שרים ושרות: זמרין וזמרתא
Yalkut Shimoni, Kohelet no. 968:
עשיתי לי שרים ושרות: משוררים זכרים ונקבות.
See also the Targum to Eccl. 2:8, where שרים ושרות is translated as .זמריא וזמריתא
R. Moses Almosnino, Yedei Moshe (Tel Aviv, 1986), Eccl. 2:8 (p. 58), even explains why the female singers were desirable, as they helped create a better harmony:
על כן אמר שהיו לו שרים ושרות שהם המשוררים והמשוררות, אנשים ונשים יחד, שבהתמזגם יהיו הקולות ערובות, שקול האשה דקה וקול האיש הוא קול יותר עב, ובהתמזגם יחד יצא השיר בנועם.
When the Jews returned from Babylonia to the Land of Israel in the days of Ezra and Nehemiah, the Bible (Ezra 2:65, Nehemiah 7:65) states explicitly that they came with משוררים ומשוררות, “male and female singers.”
As for how Solomon could listen to women sing, for those who feel the need to answer this question, perhaps Solomon agreed with those authorities who feel that there is no blanket prohibition on hearing a woman’s singing voice,[13] a viewpoint that has recently been resurrected by Rabbis Moshe Lichtenstein,[14] David Bigman[15] and Avraham Shammah.[16] According to this perspective, only singing that is sexually arousing is forbidden.[17] Let us not forget that the Talmud speaks of a woman’s voice. It is the post-Talmudic authorities who clarify that this refers to a singing voice, but does this mean any singing voice or only one that in the minds of normal men could be arousing?
R. Marc Angel agrees with the rabbis mentioned in the last paragraph. He writes: “When the prohibition of “kol ishah” is applied to all instances of women singing in the presence of men, this is a distortion of the intent of the halakha. . . . Men and women may sing in the presence of those of the other gender, as long as the songs are of a religious nature, or of a general cultural nature (e.g., opera, folk songs, lullabies).”[18]
R. Yonatan Rosenzweig doesn’t go so far as to permit one to attend a concert with a female singer, but he does say that since today many people are used to hearing recordings of women’s voices, that possibly it is even permissible to watch a woman singing on television.[19]
A number of years ago there were ads in New York Jewish papers for a concert by Neshama Carlebach. The ads stated that the concert was open for women, as well as for men for whom the singing was permissible. This was a very strange formulation. Knowing that R. Mordechai Tendler was Neshama’s posek, I asked him about this. He explained to me that the language originated with him and was based on the notion that the prohibition against kol ishah is not a blanket prohibition, but depends on whether the singing is sexually arousing. (This approach can be supported by the view found in some rishonim that kol ishah that is not sexually arousing is only forbidden during keriat shema. Otherwise, there is no prohibition.[20]) Therefore, men who are used to hear women sing and will not be aroused by Neshama are permitted to attend the concert, and this explains the strange language in the ads.[21] Tendler also told me that this view of kol ishah as being what we can call a “situational prohibition” rather than an absolute issur, was held by his grandfather, R. Moshe Feinstein.[22]
This opinion, that whether or not a woman’s singing voice is prohibited depends on how men will react to it, will no doubt strike some as “unorthodox.” This approach is definitely not as widely held today as in years past. Yet many people reading this post can recall a time when kol ishah, as a general prohibition, was simply not an issue for the Modern Orthodox, or even for many of the more right-wing Orthodox. This was no different than the situation in Germany, where pretty much all of the Orthodox, including members of Hirsch’s community, saw no problem in attending the opera.
If you went back to the 1960s, other than the hasidim and the tiny yeshiva world, it would be hard to find an Orthodox Jew in New York City who didn’t see the Broadway performance of “Fiddler on the Roof.” I would even assume that that there were some roshei yeshiva who saw it. Until the 1980s there was no problem with Modern Orthodox synagogues sponsoring trips to Broadway musicals. My own shul even put on a performance of “Fiddler on the Roof” in the early 1980s. That would be unimaginable today at almost all Orthodox shuls.[23] (Yet somehow YU is able to continue its long tradition of a fundraising night at the opera, and I have not heard of any attempt by the roshei yeshiva to end this practice.)
Until the 1980s, girls would also have solo singing roles in the musical productions put on by many Modern Orthodox yeshiva high schools and summer camps. (Was there a Modern Orthodox summer camp where girls did not sing?) Readers can correct me if I am wrong, but as far as I know, only Ramaz, Flatbush, and SAR still have girls singing solos.[24] The other schools that have girls sing have them do so in groups, or at least with one other girl.
To bring us back to the earlier era, where women singing was acceptable in the Modern Orthodox world, let me quote Rabbi Marc Angel:
I was raised in the Sephardic community of Seattle, Washington, and well remember our many family gatherings where
romances were sung. Jews of great piety sang right along with those of lesser piety. I do not remember anyone ever objecting to the singing of love songs by men and women. In the early 1980s, Haham Dr. Solomon Gaon, himself a Judeo-Spanish-speaking rabbi, taught classes in Sephardic folklore at my Congregation Shearith Israel in New York City. I well remember him singing love songs, enthusiastically and nostalgically. Both of us participated in a program of Sephardic culture sponsored by the Hebrew College of Boston. A female soloist sang a selection of
romances, after which Haham Gaon not only applauded loudly but rose to speak in praise of the singer for her beautiful rendition of the songs. Haham Gaon, who served as chief rabbi of the Spanish and Portuguese Congregations of England and as head of the Sephardic Studies Program of Yeshiva University in New York, was a very prominent Orthodox Sephardic rabbi and a man of impeccable piety.
[25]
R. Eliezer Berkovits wrote:
Nowadays, the singing of a woman is not fundamentally different from what the original Halakhah termed “her regular voice.” A woman’s voice, even when she is singing, is nothing unusual today, and it is no more distracting during the
Shema prayer than that of a man singing. Only in specific amorous situations as in the Song of Songs, may it have a sensual quality.
[26]
In Hirsch’s famous Schiller speech, delivered at his Frankfurt school, a note states that male and female students alternatively sang songs.
[27] As I pointed out in my own note to the speech, girls were permitted to sing at Hirsch’s school. Mordechai Breuer,
Modernity Within Tradition, p. 411 n. 11, calls attention to a report in
Jeschurun 18 (1885), p. 11, of a public function at the school at which a teenage girl sang in the presence of a crowded audience.
In Between the Yeshiva World and Modern Orthodoxy, p. 216, I quote Jacob Rosenheim who attempts to explain why Hirsch permitted girls to sing at public examinations in the higher grades (and I also note that this passage was censored in the Netzah translation). A halakhic justification of hearing unmarried girls sing was actually penned by R. Isaac Unna, the rav of Mannheim. The short responsum appears in his Shoalin ve-Dorshin no. 2.
Unna cites the
Ba’er Heitev thatקול פנויה מותר . In context, what this means is exactly what it says, namely, that unlike a married woman’s (singing) voice, which is always prohibited, the singing of an unmarried woman is permitted to be heard. When he says this is permitted, he means if it doesn’t cause sexual thoughts. (Moderate sensual thoughts would be permitted according to Maimonides, as I mention below.) If it does, then of course it is forbidden. But this prohibition is a general prohibition against arousing oneself sexually and has nothing to do with the prohibition of
kol ishah, which only refers to married women and is apparently based on the assumption that the voice of a married woman is
always sexually arousing.
[28]
In recent generations, poskim have all written that the פנויה referred to here is one who does not have the status of a Niddah, that is, a pre-pubescent girl. The first source to adopt this approach seems to be the eighteenth-century Peri Megadim, Orah Hayyim 75:3. As far as I can tell, none of the early poskim who discuss the matter even mention this point, and they all assume that פנויה mean an unmarried woman, of any age. This approach also continued among certain poskim even subsequent to the Peri Megadim.
See for example this page R. Jacob Pardo’s Apei Zutrei (Venice, 1797), Even ha-Ezer 21:8:
Pardo is very clear that פנויה means exactly what it says. He compares the halakhah of
kol ishah to that of hair covering, and just like only a married woman has to cover her hair, so too it is only a married woman’s voice that is prohibited, not the voice of a single woman. (As mentioned already, this would only be prohibited if it was sexually arousing.) As for extending the prohibition to unmarried women, he sees this as an excessive stringency and applies the rabbinic phrase
kol ha-mosif gorea, noting that the people will not listen to such a ruling and this will turn them into brazen sinners.
This is not to say that Pardo approves of listening to single women sing. He doesn’t, and applies to such singing the rabbinic phrase מוטב שיאכלו ישראל בשר תמותות כשרות, which comes from Kiddushin 22a and is stated with reference to something distasteful. It is distasteful, yet permitted nonetheless. Pardo’s careful distinction between what is preferred behavior and what the halakhah actually requires is seen in this comment as well, where he refers to Job. 31:1: “[I made a covenant with mine eyes;] how then should I look upon a maiden?”[29]
הן אמת דלבטל ההרהור יש להחמיר ע”ד ומה אתבונן על בתולה. אך אינו מן הראוי להשוותה לנשואה לאסור מפאת הדין.
Here is a page from R. Aaron ha-Levi, Mateh Aharon (Salonika, 1820), p. 260b, where we see some more interesting comments, including defending a rabbi who permitted listening to the voice of a single woman.
And finally, here is a page from R. Hayyim Kasar’s Shem Tov, a twentieth-century commentary on the Mishneh Torah, Hilkhot Issurei Biah 21:2. While Kasar is quite strict in forbidding a man to hear the voice of an ervah, even if he is not familiar with her, he is also clear that a penuyah means an unmarried woman and that there is no blanket prohibition on hearing her voice, just like there is no blanket prohibition on seeing the hair of an unmarried woman.
I would only add that this makes perfect sense according to Maimonides. If, as Maimonides says, one is permitted to look at an unmarried woman and enjoy her beauty,
[30] it stands to reason that one can listen to the singing of an unmarried woman and also enjoy it.
[31]
Returning to German Orthodoxy, Der Israelit was the newspaper of the German separatist community. Yet it seems to have had no problem highlighting an Orthodox female opera singer and stressing her commitment to Orthodoxy.[32] Mordechai Breuer called attention to this last point, and I assume that he didn’t have any knowledge of opera or he would have pointed out that the female singer referred to by the paper, Rosa Olitzka (1873-1949), was quite famous in her day. Here is a picture of her.
Right after telling us that Olitzka is the daughter of the hazan of the Berlin Adass Jisroel (i.e., R. Esriel Hildesheimer’s separatist community),
Der Israelit mentions her starring as Carmen in the London Opera production. One can find a good deal of material about Olitzka online,
[33] and can even purchase recordings of hers.
[34] Maybe a reader knows whether she remained observant in her later years.
Breuer also refers to the JüdischePresse’s review of the opera “Samson and Delilah”.[35] While Der Israelit was the paper of the Frankfurt Orthodox, Jüdische Presse was published by the Orthodox of Berlin.[36]
The view that kol ishah is not an absolute prohibition, but depends on whether or not the singing is sensual in nature, was also held by R. Joseph B. Soloveitchik, at least according to R. Aharon Rakeffet.[37] Rakeffet has also reported on a number of occasions that the Rav attended the opera in Berlin.[38] At the Maimonides School first Hanukkah Banquet in 1939, “the program included Betty Brooks, a prominent radio personality singing a variety of Jewish and English songs, Mabel Wingert, a dancer, and Frost and Helene, society dancers.”[39]
R. Ovadiah Yosef’s viewpoint on kol ishah is also worth noting, especially as it has undergone a change. In the first volume of Yabia Omer, published in 1954, R. Ovadiah deals with the following question (Orah Hayyim no. 6):
נשאלתי בדין קול זמר של אשה בגרמפון או ברדיו, אם יש בו משום קול באשה ערוה, וצריך להזהר שלא לשמעו בעת ק”ש ותפלה.
His formulation reflects the notion we have already seen, expressed by some rishonim, that the prohibition of kol ishah is a special prohibition related to shema (and prayer), rather than a general prohibition on hearing women sing (which if sexually arousing would be forbidden on other grounds.)
Here is how he formulates the question and answer in the table of contents:
קול זמר של אשה ברדיו וגרמפון, אין צריך להזהר מלשמעו בשעת ק”ש ותפלה, כשאינו מכיר את המשוררת, ואין בזה משום קול באשה ערוה
We see from here that there is no problem of
kol ishah when you are not familiar with the female singer. In other words, you can recite
shema and
tefillah while hearing this. Again, however, this is not related to the wider issue of sensual songs. If you are “turned on” by hearing a song even if you don’t know the singer, then it is forbidden at all times. But by the same token, since the prohibition of
kol ishah is exclusive to
shema and
tefillah, the implication is that a woman’s voice at other times is not prohibited if it doesn’t arouse sensual feelings.
Based on this understanding of R. Ovadiah’s responsum, I don’t think there is a contradiction between this teshuvah and R. Ovadiah’s well known love for the music of the Egyptian singing sensation Umm Kulthum.[40] Here is what Umm Kulthum looked like in her younger years.
If R. Ovadiah’s responsum in
Yabia Omer intended a blanket prohibition on hearing the voice of a woman you are familiar with, rather than just confining this prohibition to
shema and
tefillah, then we would be confronted with a tremendous contradiction between the responsum and how R. Ovadiah lived his own life. It is not like R. Ovadiah wrote something in his responsum and did something else in his private life where people couldn’t see. His love of Umm Kulthum’s music was something everyone knew about, and he listened to it in the company of others. Clearly, therefore, his responsum which prohibits listening to the singing of one you are familiar with only applies during
shema and
tefillah. At other times, it is only prohibited if one is sexually aroused by the music, and since R. Ovadiah was not, he was permitted to listen to Umm Kulthum. Rabbi J. David Bleich is therefore incorrect when he summarizes R. Ovadiah’s responsum as follows: “Rabbi Yosef concurs in this ruling but adds that it is forbidden to listen to a female vocalist who is known to the listener even if the woman in question is known to him only through photographs.”
[41] (I hope no one attempts to argue that R. Ovadiah didn’t know what Umm Kulthum looked like. She was only the most prominent celebrity in Egypt, with her picture everywhere.)
I was also informed by R. Avraham Yosef that his father, R. Ovadiah, later retracted his ruling in this responsum that if you are familiar with the singer that you can’t hear her voice in shema and tefillah. I later saw that R. Ovadiah himself states as much in Yabia Omer, vol. 9 no. 108:43:
ומה שכתבתי שם שאם ראה אותה בתמונה ג”כ, אסור, אינו מוכרח, שיש לומר . . . “ביודעה ומכירה”, זהו רק כשראה אותה בחיים חיותה במלא קומתה
If you hear her voice while you are saying shema or reciting blessings, R. Ovadiah advises וירכז מחשבתו לכוין בברכותיוR. Ovadiah’s words בחיים חיותה במלא קומתה might be taken to imply that even if you know the woman from television, there still is no prohibition of kol ishah.
R. Avraham Yosef states that while it is permitted to hear a woman sing even if you know what she looks like, it is not permitted to attend a live performance or even watch on television. R. Avraham assumes that alllive and television performances are prohibited, not only those that could be sexually arousing.[42] It also needs to be stated that despite how I interpreted R. Ovadiah, that female singing is only prohibited if it is sensual music, the upshot of what R. Ovadiah states throughout his writings is that by definition a live female singer is sexually arousing and thus prohibited. Although I think the evidence shows that R. Ovadiah agrees that theoretically kol ishah is only forbidden if it leads to <>hirhurim >, in practice he assumes that <>alllive female singing falls into this category. (I wonder, however, if he would also forbid the live singing of a very old woman, which would in no way be sensual.)
I found another interesting passage regarding kol ishah in the Meshivat Nefesh of R. Yohanan Luria (16th century). On p. 144, after explaining how the women of the desert could sing in front of the men (Ex. 15:21), he writes:
ומזה הטעם ראוי למחות לנשים המשוררות לכלות לפני האנשים רק הבתולות שמותרים בזה כדי לחבב הבחורים לקפוץ עליהם לשם אישות.
He makes the same point on the previous page, and concludes (p. 143):
רק הבתולות ראוי להם שיחבבו עצמם על הבריות לקפוץ אחריהם
What it means is that while married women can’t sing in front of men, unmarried women are permitted to do so in order to attract the attention of the young men, similar to what they did in Temple days when they would dance before the eligible bachelors.
Some might be wondering, how was this permitted since married men will also hear the women sing, and being that they are not in the “market” for a wife, what permission is there for them to listen to and be physically attracted to the young women? I think the answer is obvious, that those men who would have had improper thoughts were not supposed to listen to the women, just as I presume they were not supposed to watch the single women dance in Temple days. Yet the Sages did not ban this dancing because of what some men might be thinking, and similarly, Luria permits the singing by single women and is not concerned that some married men might also be listening. The logic behind Luria’s position is that young men looking for brides are supposed to be attracted to young women. The latter dress up nicely so that the men look at them, they put on makeup for this purpose, and yes, they sing in front of the men, all in order to make themselves attractive.
Here is the title page of Luria’s sefer.
I already mentioned the opera, so before concluding I refer you to S.’s post
here.
He points to an early eighteenth-century communal decree in Altona-Hamburg-Wandsbek forbidding attendance at the opera, except for on Hanukkah and Purim when it was permitted. The text is also found in Simhah Assaf, Ha-Onshin Aharei Hatimat ha-Talmud, p. 116.
Finally, I would like to point to a very interesting source that as far as I know has never been mentioned in any of the many halakhic articles dealing with kol ishah. I refer to R. Joseph Hayyim’s Imrei Binah, ch. 3, no. 79. Here is the page.
For those who are unclear as to what he means, he explains it himself in his book Ateret Tiferet im Pelaot Rabot. Here is the title page of the book, which for some reason is not on hebrewbooks.org or Otzar ha-Hokhmah. The text that appears in Imrei Binah also appears in this book, and R. Joseph Hayyim’s explanation is found on p. 116 (no. 202).
According to R. Joseph Hayyim, if the singing of an individual woman is accompanied by instruments, meaning that there are “many voices”, then it is permissible. This is an incredible
limud zekhut, because pretty much every singer today is accompanied by music.
[43]
[22] It seems to me that Tendler’s description of R. Moshe’s opinion is contradicted by
Iggerot Moshe, Orah Hayyim 1, no. 26, Orah Hayyim 4, no. 15.
[23] For a contemporary example of an Orthodox synagogue allowing women to sing, see
here.
[24] See e.g.,
here,
here,
here and
here.
[25] Foundations of Sephardic Spirituality (Woodstock, VT, 2006), p. 186.
[26] Jewish Women in Time and Torah (Hoboken, 1990), p. 62. Berkovits also understood the matter of women’s hair covering in the same fashion, and did not regard it as an obligation in contemporary times (heard from Berkovits’ son, Prof. Avraham Berkovits).
Since he cites a verse from the book of Job, it appears that looking דרך זנות is only a rabbinic prohibition.
[30] Commentary on
Sanhedrin 7:4. What this means is that one can look at a possible future wife and appreciate her beauty, for after all, one is supposed to be attracted to her. As we have seen already, in
Hilkhot Issurei Biah 21:3, Maimonides adds a caveat. He states that is forbidden to look at an unmarried woman דרך זנות. What this means is that while one can look at and admire the beauty of a single woman (what I earlier referred to as “moderate sensual thought), one cannot leer at her, i.e., with lascivious intent.
[31] When Maimonides speaks of enjoying an unmarried woman’s beauty, I am certain that he is speaking of a Jewish woman, whom you can marry.
[32] Breuer,
Modernity Within Tradition, p. 150. See
Der Israelit, April 5, 1894, p. 503. See my post
here, where I deal with the unsubstantiated rumor that Hirsch attended the opera. I quote from Prof. Breuer’s email to me where he writes: “When I went to the opera as a boy of 13-14 years my father [Isaac Breuer] did not express his dissatisfaction.”
[36] Since I am speaking about German Orthodoxy, let me use this opportunity to correct something I wrote. In
Between the Yeshiva World and Modern Orthodoxy, p. 53, I record the recollection of Judith Grunfeld, “daughter of a learned German rabbi,” that she had never heard of a prohibition against women singing in front of men until she went to Poland (where she taught at the Beth Jacob school). Dr. Yitzchok Levine pointed out to me that Grunfeld’s father, while living in Germany, was actually Hungarian.
[37] Listen to his shiur from Feb. 8, 2010, available
here, beginning at 48:20. Rakefet also quotes R. Aharon Lichtenstein that the Rav held that in modern times there is no obligation for married women to cover their hair. Listen to the shiur just mentioned beginning at 62 minutes. I will return to this point in a future post when I deal with R. Michael Broyde’s article on the topic.