From Print to Pixel: Digital Editions of the Talmud Bavli

Ezra Brand

Ezra Brand is an independent researcher who resides in Tel Aviv. He has an MA from Revel Graduate School at Yeshiva University in Medieval Jewish History, and has studied in the Talmud Department of Bar-Ilan University. He has contributed a number of times previously to the Seforim Blog (tag), and a selection of his research can be found at his Substack blog. His most recent major work is a “Guide to Online Resources for Scholarly Jewish Study and Research”. He is currently working on an overview of names and naming in early Jewish literature. He can be reached at ezrabrand@gmail.com; any and all feedback is greatly appreciated.

Intro – the tzurat hadaf[1]

It is a surprising fact that despite incredible advancements in technology, the layout of the Talmud has remained the same for centuries. The Bomberg edition from the 16th century, a groundbreaking achievement, still sets the standard. Yoel Finkelman writes in his recent, impressive overview of the layout of the printed Talmudic page:[2] “What is remarkable about the Gemara’s mise-en-page (the term for tzurat ha-daf in the academy) is not its invention, but its staying power as the normative way to produce texts of the Talmud.”[3] Finkelman then delves into the “history of the tzurat ha-daf of the Gemara.”

For an illustration of the lengths to which traditional publishers have gone to preserve the traditional tzurat hadaf, even in the 21st century, see Elli Fischer and Shai Secunda’s 2012 review article of the then-just-released “Artscroll Digital Library Schottenstein Talmud (English) App”, for the iPad:[4]

Since this elucidation is significantly longer than (and, in fact, already includes the actual text of) the Hebrew/Aramaic original, each Vilna page ends up being reproduced two to five times for every English page (a grey bar shows the reader which segment of the Vilna corresponds to the facing elucidation). This decision, both brilliant and perverse, added well over 10,000 pages, bringing the entire series to 73 volumes. The perversity of adding 10,000 apparently superfluous pages is obvious, but the brilliance of the decision was that it always kept the “original” page before the reader.

The digital daf

At the outset, Finkelman (in the above-mentioned article) highlights that the material manifestation of the written word can be broadly attributed to three factors: 1) The technological and material resources that are utilized to create and disseminate texts, 2) The economic and market forces that influence the demand for knowledge and education, and 3) The cultural perceptions of the role and function of language.[5] The ongoing decline in printing costs during the 20th and 21st centuries, coupled with the increasing accessibility of education, have led to significant advancements in all these factors.[6]

The advent of the internet has opened up entirely new avenues for publishing and designing the daf. Furthermore, for the very first time, readers have the opportunity to customize their reading experience, tailoring it to their unique preferences.

One popular author writes:[7]

“After more than a thousand years as the world’s most important form of written record, the book as we know it faces an unknown future. Just as paper superseded parchment, movable type put scribes out of a job, and the codex, or paged book, overtook the papyrus scroll, so computers and electronic books threaten the very existence of the physical book.”

However, one could plausibly say that the claim of the death of books has been greatly exaggerated. Physical books continue to be highly popular, and their sale has only continued to grow. And Orthodox Jews have yet an additional incentive to continue to buy physical books, as they can’t use ebooks on Shabbat and Chag. Regardless, there’s no question that we are in the middle of a decades-long revolution in how we have the ability to consume text, if one so chooses.

Despite the vast technological advancements that have revolutionized publishing, the digital daf is a peculiar return to pre-printing press methods in at least one regard: nowadays, the Talmud can be studied in isolation, without the surrounding commentaries. Most of the layouts that will be examined below diverge from the traditional tzurat hadaf that has been preserved for more than four centuries. In this way, they resemble the medieval Talmudic manuscripts, which include only the Talmud itself (sometimes accompanied by Rashi’s commentary).[8]

Let’s turn our attention to another aspect that Finkelman highlights: the groundbreaking nature of implementing a universal pagination system. Bomberg himself astutely utilized pagination and indexing as a key selling point.[9] Similarly, one of the numerous revolutionary features of digital editions such as Sefaria and Al-HaTorah is the capacity to reference not only the daf and amud, but also the section number. (I’ll explain the specific details of this later in this piece.) One can cite using section number, and hyperlink directly to that section. Every amud has around 10-15 sections, so this narrowing down is considerable. Even without reference to a specific section, checking a reference is far easier in a digital edition: with a simple “control + f”, one can search for a word from the quote. Gone are the frustrating days of scanning a giant wall of text in an amud to find a quote.

What will be discussed in this review

My focus here will be on modern editions that are available open-access digitally, online.[10] Therefore, I won’t review modern print editions.[11] I will also not review digital editions that, in my opinion, are inferior in every way to the editions discussed here.[12] And I won’t discuss editions targeted towards beginner students.[13]

As one of the resources exclusively pertains to Kiddushin (Katz’s Mahberot Menahmiyot), my sample will be from Tractate Kiddushin, specifically Kid. 2b, which solely features the Gemara without the Mishnah. Images will only be of Gemara, Rashi, and Tosafot, meaning that, I will exclude the surrounding glosses (Mesoret HaShas, etc). I will not be discussing supplementary texts and commentaries, and hyperlinks to outside sources that each has.[14] I will be discussing different customization and viewing options.

Another caveat: This piece is focused on layout, and so it will not discuss the textual accuracy of the editions.[15]

An interesting element of modern editions is the typography; specifically the choices of font. However, this will not be discussed here.[16]

Outline

Intro – the tzurat hadaf 1
The digital daf 2
What will be discussed in this review 4
Outline 5
Tzurat hadaf AND customizable 6
Mercava 6
Shitufta 7
Static PDF 9
Mahberot Menahmiyot (=MM) 9
Gemara Sedura HaMeir 10
Talmud HaIgud – Society for the Interpretation of the Talmud (האיגוד לפרשנות התלמוד) 12
Digital, not customizable 14
Wikisource 14
Pirkei Talmud Me’utzavim – R’ Dan Be’eri 15
Talmud Or Meir 18
Dicta 19
Digital and customizable 20
Sefaria 20
Al-Hatorah 22
Speculation on the future 24
Concluding Thought 27

Tzurat hadaf AND customizable

Mercava

At present, Mercava contains only Tractate Berachot. It includes a menu option that enables users to toggle punctuation and nikud. It is also worth noting that Mercava is presently in beta version, as stated explicitly by the page header. Many of the menu options are grayed out or non-functional, resulting in a suboptimal user experience. Often, it seems that two features cannot be employed simultaneously, without any discernible explanation.

Shitufta

Quite basic. It has section splits, which are the same as those of Sefaria and Al-Hatorah.[17] Like them, it enables linking to a specific section. However, it diverges from the section numbering in Sefaria and Al-Hatorah by commencing from 0 instead of 1, resulting in all section numbers in Shitufta being one less from those of Sefaria and Al-Hatorah.

Static PDF

Mahberot Menahmiyot (=MM)[18]

By Prof. Menachem Katz.

Image of Talmud text, from p. 3, line # 7:

MM is a static PDF. It divides every sentence into a separate line, as opposed to splitting into larger blocks of sections. The lines are numbered. It offers complete punctuation, without nikud.[19] MM displays citations for biblical verses, Mishnah, and Tosefta, as well as additional features discussed in the introduction.

Gemara Sedura HaMeir [20]

With punctuation, and split by line.

Talmud HaIgud – Society for the Interpretation of the Talmud (האיגוד לפרשנות התלמוד) [21]

The text is split into lines and numbered, similar to MM. Due to the nature of the work, the primary purpose of the Talmudic text in the Talmud HaIgud is not for its own sake, but to serve as a basis for subsequent commentary.

Digital, not customizable

Wikisource[22]

The crowd-sourced Wikisource is a sister-project of Wikipedia. It is replete with hyperlinks to primary sources, and to external secondary sources. Like MM, the text contains punctuation but not nikud. Instead of using numbered sections (like Sefaria and Al-Hatorah) or lines (like MM), the text is divided into unnumbered paragraphs. Moreover, these paragraphs are longer than those found in Sefaria and Al-Hatorah.

Pirkei Talmud Me’utzavim – R’ Dan Be’eri[23] [24]

Available as downloaded Word docs, from the Da’at website, for a few chapters. I consider this to be not customizable.[25] Has nikud, punctuation, and is split into numbered lines.

Talmud Or Meir

Has nikud, punctuation, and is split into numbered lines. While there are technically some customization options available, they are limited in scope.[26]

Dicta

Dicta has a suite of powerful tools, which combined could make for an incredible studying experience. These include automated tools for nikud and for Biblical sources.[27] Unfortunately, at this time it appears that the only way to view a passage of Talmud is via search results. There, a link is offered to the page in Sefaria. There is a section called Library, with powerful tools for reading rabbinic works, but only 300 works are currently offered there.[28]

Here’s a screenshot, of what appears after searching the first words of Kidushin 2b (“אי נמי שדות בכסף יקנו”), opening the first result, and scrolling to 2b:

Digital and customizable

Sefaria[29]

Image of customization options:

Splits into numbered sections. In our example, there are 15 sections. The default Hebrew doesn’t split these into paragraphs, but there is an option to split into paragraphs. Many tractates have nikud, some have punctuation. Our example page doesn’t have punctuation, even though it shows that option. Sefaria gives the option to remove nikud. As mentioned, as with Shitufta and Al-Hatorah, one can hyperlink to a specific section.

Al-Hatorah[30]

The section numbers in circles on the right side of the page are hyperlinked, which is a convenient feature. In the example page we are looking at, there is no nikud, unlike Sefaria. However, there is a period after each section, which provides a slight advantage over Sefaria‘s lack of punctuation, as it helps to break up the passages when viewing with no section breaks.

While Al-Hatorah also includes hyperlinked sections, it does not explicitly label which section is which, unlike Sefaria. Therefore, finding a specific section requires trial and error. As with Shitufta and Sefaria, it is possible to hyperlink to a particular section in Al-Hatorah.

One notable difference is that Al-Hatorah does not expand acronyms, as Sefaria does. For instance, מ“ט is not expanded to מאי טעמא, and אב“א is not expanded to איבעית אימא.

Speculation on the future

Secunda and Fischer, in the faraway land of 2012 (cited at the beginning of this piece), envision a future Talmud app:

“First of all, it would be a virtually borderless intertextual web. Talmudic passages that shed light upon one another would be linked in intricate overlapping networks. Passages citing earlier texts—biblical verses, the Mishnah, other rabbinic texts, the apocrypha—would be hyperlinked to the collection in which the cited text originally appears. Passages would also link to later commentaries, super-commentaries, relevant excerpts from legal codes and responsa, manuscript variants, monographs, homiletic interpretations, and, indeed, translations and elucidations. Discussions of Akkadian medicine would call forth images of Babylonian tablets. People, places, historical events, concepts, practices, and all sorts of other realia mentioned in the text would link to relevant explanatory pages, pictures, recordings, and video clips. […] [T]wo new Jewish text websites, themercava.com and sefaria.org, offer promising platforms for crowd-sourced translation, commentary, and discussion of the Bavli and other Jewish texts. […]”[31]

While some aspects of this idealistic vision have been realized, many others have not, at least not yet. Moreover, it remains unclear whether a more crowdsourced and social-media-oriented approach, (suggested in an un-cited part of Secunda and Fischer’s article), would even be desirable. In retrospect, the year 2012 was marked by somewhat utopian thinking, with Wikipedia and Facebook having recently achieved great success in spreading knowledge and connecting people worldwide. It seemed only natural to aspire to something similar in the realm of literature. However, today, with greater awareness of the unpredictable dynamics of such systems (such as misinformation), it is far from clear that such a goal is attainable or even desirable.

In my view, Sefaria, Al-Hatorah, and Dicta are the most promising candidates for realizing the immersive and highly hyperlinked experience envisioned by Fischer and Secunda. Once this is achieved, the resulting research tools are likely to be extremely powerful as well. However, the idea of leveraging comparative sources, as described by the authors, still seems quite far off, particularly with the current set of available tools.

Regarding the social and chavruta aspect discussed by Fischer and Secunda, a new possibility has emerged that was not even envisioned a year ago: an artificial intelligence-powered chavruta. I recently experimented with ChatGPT by providing it with the first paragraph of Kidushin 2b.[32]

As usual, ChatGPT demonstrated impressive coherence and confidence. However, it provided laughably incorrect interpretations. In fact, in some cases, it provided interpretations that were the exact opposite of the correct one.

I conducted a comparable test by inputting a paragraph of Ramban’s commentary on that sugya, requesting an explanation from ChatGPT. To my surprise, ChatGPT provided a reasonably good rephrasing in English. Although some of it was correct and some of it was incorrect, even the incorrect part was not entirely off. However, ChatGPT still requires further yeshiva study before being able to serve as a teacher.[33]

Given the rapid advancements in artificial intelligence and large language models, it appears highly likely that AI will continue to improve its ability to interpret the Talmud, along with all other sources, including digitized manuscripts. It may not be long before we turn to AI to obtain the ultimate p’shat in the Talmud.[34] Furthermore, there is a possibility that AI could eventually bring comparative sources to bear, as previously mentioned.

To update the speculative future envisioned by Fischer and Secunda, my ideal Talmud study experience would be an app with a GPT plug-in acting as a virtual chavruta/Rebbe, to interpret text and answer questions. In fact, something like this is already being tested by Khan Academy.[35]

With current tools, it will even be possible to create a virtual shiur.[36] In the future, it could even be live and interactive, happening in real time.

Another interesting idea that is ripe to be explored is visualization of the Talmudic text. This was put to the test by Yael Jaffe, in a 2015 Columbia dissertation.[37] Jaffe writes in her abstract (bolding is mine):

“This study investigates the effect of access to a visual outline of the text structure of a Talmudic passage on comprehension of that passage. A system for defining the text structure of Talmudic passages was designed by merging and simplifying earlier text structure systems described for Talmudic passages, following principles taken from research on text structure. Comprehension of two passages were compared for students who did traditional reading of a Talmudic passage (the passages had punctuation added, and a list of difficult words and their meanings was appended) (the control condition), and students who read the passage with these same materials as well as with an outline of the text structure of that passage (the experimental condition) […]

The results provide evidence that awareness of the text structure of a Talmudic passage helps readers when the passage is concrete and somewhat well organized. ”[38]

It is interesting to note that Jaffe’s control group had punctuation added. There is, in fact, no good reason why the punctuation should not be added to all the standard Vilna-Romm editions. This is something that I did as a matter of course in my gemaras in my yeshiva days, and I presume that I was not the only one.[39]

Concluding Thought

Will there ever be a single Talmud application to rule them all, similar to how the Bomberg layout remained the standard for 500 years, and continues to do so? Such a scenario is improbable and perhaps even unwanted in today’s rapidly changing and complex digital landscape. It would suggest a lack of progress. We may have to wait for the arrival of the Messiah or, at the very least, the AI singularity to provide the ultimate Talmud super-app.

[1] This piece was written as part of preparation for the workshop “Editions of Classical Jewish Literature in the Digital Era”, to be held at University of Haifa, June 18-20, 2023, at which I’ll be presenting. I want to express my gratitude to Menachem Katz for his efforts in organizing that workshop, and for inviting me to speak there. I’d also like to thank Eliezer Brodt for his helpful comments on an earlier draft of this piece. I would also like to thank my father, my brother, and S. Licht for reviewing, making suggestions, and helping clarify in conversation some of the ideas discussed.
[2]  Finkelman, ”From Bomberg to the Beit Midrash: A Cultural and Material History of Talmudic Page Layout”, Tradition (Winter 2023), Issue 55.1, p. 14. I’d like to thank Eliezer Brodt for bringing this article to my attention.
[3] Immediately before, he writes (my bolding): “[T]he famous and ubiquitous tzurat ha-daf (page layout) of the Gemara was never exclusively by Talmudists for Talmudists. It was a common practice for producing non-Jewish European glossed texts in manuscript and later print from the high middle-ages though the sixteenth century. Some copyists and later printers of the Gemara—whether those printers were Jews or not—adopted it from contemporary Christian textual production.” This point is also made by Michele Chesner, in her interview on the Seforim Chatter podcast: “With Michelle Chesner discussing old books, Seforim, and more” (April 29, 2020).
[4] “Brave New Bavli: Talmud in the Age of the iPad”, Jewish Review of Books (Fall 2012). Archived here.
[5] Finkelman, pp. 16-17.
[6] Relatedly, I have heard the theory a few times from Prof. Meir Bar-Ilan that the writing down of the Talmud may have occurred due to the spread of the Chinese invention of paper to the West in the early medieval period. For some work on when the Mishnah and Talmud were first written, with previous scholarship cited, see: Yaakov Elman, “Orality and the Redaction of the Babylonian Talmud”, Oral Tradition, 14/1 (1999): 52-99 ; Shamma Friedman, “The Transmission of the Talmud and the Computer Age”, in Sharon Liberman Mintz and Gabriel M. Goldstein, eds., Printing the Talmud: From Bomberg to Schottenstein (2005), pp. 143-154 (esp. pp. 146-148) ;

יעקב זוסמן, “‘תורה שבעל פה‘ פשוטה כמשמעה: כוחו של קוצו של יו“ד“, מחקרי תלמוד ג, א (תשס“ה), עמ‘ 209-384 (נדפס שוב כספר ב– 2019) ; נחמן דנציג, “מתלמוד על פה לתלמוד בכתב: על דרך מסירת התלמוד הבבלי ולימודו בימי הביניים“, בר–אילן ל–לא (תשס“ו), עמ‘ 49-112.

[7] Keith Houston, The Book: A Cover-to-Cover Exploration of the Most Powerful Object of Our Time (2016), introduction (available via Amazon Kindle sample). He adds in a footnote: “It is worth introducing “codex” as a technical term: it means specifically a paged book, as opposed to a papyrus scroll, clay tablet, or any of the myriad other forms the book has taken over the millennia.”
[8] Recently pointed out by Ari Zivotofsky in a Seforim Blog post (“The Longest Masechta is …”, March 31, 2023): “[I]t is worth noting that ambiguity regarding sizes of masechtot only arose when commentaries began to be put on the same page as the text of the gemara. In other words, until the era of the printing press there was no ambiguity as to which masechta was the longest.” See also Finkelman, pp. 18-19 ; Friedman, “Printing”, p. 148. The early Soncino editions also only contained the Gemara and Rashi, see Finkelman, pp. 22-24. And see the recent statement of Yehuda Galinsky (bolding is mine): “The end of the thirteenth century witnessed a discernable growth in the composition of glossed works in Ashkenaz. It was from this time onwards that authors penned influential talmudic and halakhic works from France and Germany with the intention that they be accompanied by a supplementary gloss, which was to be copied alongside the text […] Instead, we find stand-alone commentaries that were copied separately from the text it was interpreting. In contrast to the well-known layout of the printed Talmud page, the writings of Rashi and Tosafot were written and usually copied as stand-alone commentaries and not as actual glosses to be copied on the same page.” (Judah Galinsky, “The Original Layout of the Semak”, Diné Israel, Volume 37 (2023), pp. 1*-26*, pp. 1-2.) A commenter to Zivotofsky’s blogpost pointed out that there is a print edition that contains only the Talmud (with supplementary indexes). It was printed 25 years ago. Here’s bibliographic info according to the National Library of Israel catalog entry:

תלמוד בבלי: כולל כל המשנה והמסכתות הקטנות : נערכו, סודרו והודפסו מחדש בכרך אחד, עם חלוקה לפסקאות, איזכורים מהמקרא, מלווים בשבעה מפתחות בסגנון אנציקלופדי, כולל מפתח ערכים אלפבתי, בעריכת צבי ה‘ פרייזלר … הרב שמואל הבלין … הרב חנוך הבלין (1998).

As an aside, Finkelman states (p. 18) that “The earliest [Talmudic manuscripts] are Geniza fragments from the ninth century”. However, see Friedman, pp. 147-148, that the earliest Talmudic manuscript is a scroll that can be dated to the 7th century.
[9] Finkelman, pp. 25-28. See also the interesting point by Finkelman, p. 41 (based on Jordan Penkower), that Bomberg was also the one to establish the standard method of citation for Tanach in the Jewish world: “In his first Mikraot Gedolot, Bomberg made a significant addition by adding chapter numbers and (in the second edition) verse numbers, features with little Jewish precedent which were based on thirteenth-century Catholic developments.”
[10] See my recent “Guide to Online Resources for Scholarly Jewish Study and Research – 2022”, where I discuss many of the resources discussed in this piece with more breadth. There I also discuss many of the resources excluded from this review for the reasons enumerated further. Bar-Ilan Responsa Project’s Talmud is online, but is not open-access. Bar-Ilan Responsa Project’s Talmud is linked from Yeshiva.org.il’s Talmud pages, top right of page. (See on Yeshiva.org.il in a later footnote.) That version of Bar-Ilan Responsa Project’s Talmud has punctuation, but no nikud, and is not split into sections/paragraphs, and is inferior in every way than the editions discussed here.

For the same reason (not open-access), I have not reviewed any editions on Otzar HaHochma, or other digital libraries which require a subscription.
[11] Such as Vagshal, Oz VeHadar, Shas Vilna HeChadash, Gemara Sedura. See image here of layout of Gemara Sedura. (See Shimon Steinmetz’s interesting piece here on self-censorship in the Vagshal edition: “Vagshal’s revision of the history of the Vilna Talmud, or, One of the most egregious examples of censorship I have ever seen”.) The best completely static tzurat hadaf edition that I could find available online as open-access is the Moznaim edition, available at Daf-yomi and HebrewBooks. It is a PDF, simply re-typeset. There are also printed editions with punctuation, such as Steinsaltz-Koren; Oz VeHadar; and Tuvia’s. See these news articles from 2016 on Oz VeHadar’s (ongoing?) Talmud edition with nikud and punctuation: here and here. And see the National Library of Israel (=NLI) catalog entry here. See also the NLI catalog entry on Yosef Amar’s 1980 Talmud edition (17 vols.) with nikud based on Yemenite pronunciation, here. And see NLI catalog entries of Koren’s (ongoing?) Talmud edition with nikud and punctuation: Sanhedrin (2014) ; Bava Metzia (2015) ; Sukkah (2016) ; Bava Batra (2017) ; Kidushin (2018).
[12] So I won’t discuss the following: Kodesh.snunit ; Mechon Mamre ; Daf-yomi.com > “Text”. Daf-yomi.com’s “Chavruta commentary” and “tzurat hadaf” are indeed worthwhile. See previous note on Daf-yomi.com’s Moznaim tzurat hadaf edition. The Friedberg Project website Hachi Garsinan technically has a few digital editions of Talmud on their website, but they are all for the purpose of presenting the manuscript variants. So I won’t be reviewing that, since this piece is focused on layout and UX/UI, and in that regard, the edition is sub-par. (Again, this is not necessarily a critique, as this isn’t the point of those editions.) As I say further, in this piece I will not discuss the editions’ textual accuracy. For this reason, I also won’t discuss The Academy of the Hebrew Language’s Ma’agarim edition. Tashma.jewishoffice.co.il’s Talmud shows promise, but for now seems to be inferior in every way than the editions discussed here. The website Yeshiva.org.il (פרשני – ויקישיבה) has the Chavruta commentary of the Talmud. However, as mentioned, the original PDFs of Chavruta commentary are available on the Daf-yomi.com website, so in my opinion it’s clearly best to use that. There’s no advantage to the text version (except for the ability to copy-paste). Yeshiva.org.il’s Chavruta is fully editable, wiki-style. But I see that as a negative, as you don’t know what you’ll be getting.
[13] Such as Gemara Brura and The People’s Talmud. See more at R’ Josh Waxman’s blogpost, “Some excellent Talmud projects out there” (March 5, 2020).
[14] For example, Sefaria and Al-Hatorah have the Steinsaltz translation and commentary, and Wikisource has extensive links to other resources.
[15] Many of the textual elements of the Vilna-Romm edition have been superseded by better editions (though many are still incomplete). Some examples:

תלמוד: דקדוקי סופרים (השלם); הכי גרסינן

רש“י: מהדורות פרופ‘ אהרן אהרנד

תוספות ; תוספות ישנים; רבינו חננאל : מהדורות רב קוק

עין משפט: עינים למשפט של ר‘ יצחק אריאלי (כל שבעה כרכים זמינים בהיברובוקס, לדוגמא, כאן)

מסורת הש“ס: דקדוקי סופרים השלם; תלמוד האיגוד

רי“ף: מהדורת שבט

[16] For now, see Yakov Mayer in his recent ground-breaking book on the first edition of Talmud Yerushalmi (which was also printed by Bomberg’s press), who cites previous studies on typefaces used by Bomberg: Yakov Z. Mayer, Editio Princeps: The 1523 Venice Edition of the Palestinian Talmud and the Beginning of Hebrew Printing (2022, Hebrew).

See also the recent book by Simon Garfield, Just My Type: A Book About Fonts (2011 ) for a fascinating, well-written, popular overview of typesetting and fonts. On medieval handwriting styles of Hebrew, see the monumental 3-volume series, under Malachi Beit-Aryeh’s editorship (each area is a different volume):

מפעל הפליאוגראפיה העברית, אסופות כתבים עבריים מימי–הביניים (1987-2017)

On second temple era styles, see the various works by Ada Yardeni, especially:

עדה ירדני‘ ספר הכתב העברי: תולדות, יסודות, סגנונות, עיצוב (1991).

[17] It is unclear to me who first made these section splits. It’s a question I’d be quite interested in knowing the answer to.
[18] Links to all of parts of MM:

1. אקדמות למהדורה של התלמוד הבבלי – מסכת קידושין – מחברות מנחמיות

2. מסכת קידושין ב ע“א – יד ע“ב

3. מסכת קידושין יד ע“ב – כה ע“ב

4. מסכת קידושין כה ע“ב – כט ע“א

5. מסכת קידושין כט ע“א – מא ע“א

6. מסכת קידושין מא ע“א – נח ע“ב

7. מסכת קידושין נח ע“ב – סט ע“א

8. מסכת קידושין סט ע“א – פב ע“ב

Compare Katz’s similar work on Yerushalmi (which also includes textual variant apparatus, and short commentary, unlike his work on Bavli), available at his Academia.edu site: “פסחן ומצתן של נשים Women on Passover and Matzah”.
[19] I personally prefer this style (punctuation, without nikud). See my discussion later.
[20] Tractate Sukka, p. 2 (ב). Not to be confused with Gemara Sedura (no HaMeir). Currently available online: Tractate Sukka (2013, here) and Tractate Avoda Zara (2015, here). See more on the project here.
[21] From the latest volume available online:

נתנאל בעדני, סנהדרין פרק חמישי (תשע“ב), עמ‘ 4.

See more on the project here.
[22] See more on the project here.
[23] See also some of R’ Be’eri’s other editions, available on Da’at website, here and here. On R’ Be’eri, see the Hebrew Wikipedia entry on him: דן בארי – ויקיפדיה
[24] Screenshot of downloaded Word document.
[25] To explain: Even though everything in the Word doc can be customized, this isn’t built into the website. Any of the editions in this “Digital” section can be pasted into a Word document and customized.
[26] Notably, the text itself is actually an image, which makes copying it impossible.
[27] Dicta was started by Prof. Moshe Koppel of Bar-Ilan University. He has contributed to Seforim Blog.
[28] As of 15-Apr-23.
[29] See more on the project here.
[30] See more on the project here.
[31] Compare also, at length, Friedman, “Printing”, pp. 150-154 ; Shai Secunda, “Resources for the Critical Study of Rabbinic Literature in the Twenty-First Century” in Compendia Rerum Iudaicarum ad Novum Testamentum (CRINT) 16, Christine Hayes (ed.), (2022), pp. 621-632.
[32] On 15-Apr-23, at https://chat.openai.com/.
[33] I should point out that I did not have access to GPT-4, which is the latest version of GPT. So I could not test whether GPT-4 is more capable at interpreting Talmud. For a discussion of some sources of the Yeshivish dialect of English possibly used as datasets for training ChatGPT-4, see my “From the Shtetl to the Chatbot: Some contemporary sources of Yeshivish content, in light of ChatGPT-4”.
[34] For some preliminary algorithmic research on the Talmud, see, for example, Satlow M., Sperling M. (2017). “Naming Rabbis: A Digital List”; Satlow M., Sperling M. (2020), “The Rabbinic Citation Network”; Satlow M., Sperling M. (2020). “The Rabbinic citation network”, AJS Review ; Zhitomirsky-Geffet M., Prebor G. (2019), “SageBook: toward a cross-generational social network for the Jewish sages’ prosopography”, Digital Scholarship in the Humanities, 34(3), pp. 676–695 ; “A graph database of scholastic relationships in the Babylonian Talmud”, Digital Scholarship in the Humanities, Volume 36, Issue Supplement_2, October 2021, Pages ii277–ii289, https://doi.org/10.1093/llc/fqab015, Published: 22 February 2021. See also Shira Shmidman, “Self-Evident Questions and Their Role in Talmudic Dialectic”, AJS Review (2023), p. 128: “Recently, I analyzed talmudic questions (that open with the phrase baʿei or beʿah minei) and discovered that by charting the questions by the generation in which they were asked, one can identify chronological trends of question asking in the Babylonian Talmud.”
[35] See Sal Khan, “Harnessing GPT-4 so that all students benefit. A nonprofit approach for equal access”, Khan Academy Blog (March 14, 2023). See especially this description: “Khanmigo [=the AI tool] engages students in back-and-forth conversation peppered with questions. It’s like a virtual Socrates, guiding students through their educational journey. Like any great tutor, Khanmigo encourages productive struggle in a supportive and engaging way.” For fun, I asked ChatGPT for a clever name for an AI chavruta/Rebbe. It gave me ten options. One of them is a great one (ChavrutAI), while three of them were hilarious ( AIvrumi; AIsh Torah; RoboRabbi). RoboRabbi could provide many of the intellectual aspects of being a rabbi: psak, eitza, questions in learning, and divrei torah.
[36] With tools like ChatGPT (content), ElevenAI (voice), D-ID (video), one can create any style of shiur. See my “Heimish High-Tech: Video in Yeshivish dialect using Generative artificial intelligence”. For training sources for the Yeshivish dialect, see my article: “From the Shtetl to the Chatbot: Some contemporary sources of Yeshivish content, in light of ChatGPT-4”.
[37] Jaffe, The Relevance of Text Structure Strategy Instruction for Talmud Study: The Effects of Reading a Talmudic Passage with a Road-Map of its Text Structure (2015). See especially ibid. Appendix E (pp. 103-104).
[38] On visualizations, see also this article, and the bibliography cited there:

יעקב אמיד, “עיצוב ייצוגים גרפיים של דיון תלמודי: תחום דעת מתחדש בהכשרת מורים להוראת תלמוד“

See also the lengthy intro of Menachem Katz to his Mahberot Menahmiyot (discussed earlier), with relevant bibliography. One good existing resource for outlines and charts for Talmud is Daf Yomi Advancement Forum – Kollel Iyun HaDaf. See Josh Waxman, “Some excellent Talmud projects out there” (cited earlier), #2. A fascinating related project is that of R’ Dr. Michael Avraham on mapping out the logic of the Talmudic sugya, using the tools and notation of modern logic. See his massive series Studies in Talmudic Logic, currently at 15 volumes. Note the surprising claim made in the abstract of vol. 14 of the series (Andrew Schumann, ed., Philosophy and History of Talmudic Logic, bolding is mine): “The Talmud introduces a specific logical hermeneutics, completely different from the Ancient Greek logic. This hermeneutics first appeared within the Babylonian legal tradition established by the Sumerians and Akkadians to interpret the first legal codes in the world and to deduce trial decisions from the codes by logical inference rules. The purpose of this book is (i) to examine the Talmudic hermeneutics from the point of view of its meaning for contemporary philosophy and logic as well as (ii) to evaluate the genesis of Talmudic hermeneutics which began with the Sumerian/Akkadian legal tradition. The logical hermeneutics of the Talmud is a part of the Oral Torah that was well expressed by the Tannaim, the first Judaic commentators of the Bible, for inferring Judaic laws from the Holy Book.”
[39] My suggestion for breaking the tzurat hadaf into sections: the pilcrow (¶). On the pilcrow, see the entertaining popular book, Shady Characters: The Secret Life of Punctuation, Symbols, and Other Typographical Marks (2013) by Keith Houston, chapter 1. (Available from Amazon for free as a Kindle sample.)

In Praise of the Soncino Talmud
By David S Farkas*

Not long ago one of our local schools hosted a Giveaway day in its library, making many of the older seforim in its considerable collection free to a good home. As expected, the local citizenry plundered and pillaged, carrying off large numbers of books, many still in quite good condition. I was only able to attend towards the end, “after the last of the gleaners had gone.”[1] Only a few scattered Siddurim and Chumashim were left, when I spotted a box in a corner of the room, filled with small red volumes. Close inspection revealed that the books were none other than the Soncino Talmud, a complete set. My heart sank a little to see this classic work, neglected and abandoned. I felt, in a small way, as though I had seen the tongue of Chutzpith the Translator lying in the dust.[2]

The Soncino Press sees no press at all these days, it seems. Its groundbreaking complete English translation of the Talmud has almost entirely been supplanted by Artscroll’s Schottenstein edition. Indeed, studying with the latter presents a very much different type of engagement with the Gemara, and Artscroll has undoubtedly done a master job of it. Yet for all of its depth and analysis, Soncino to this day brings to the table things that Artscroll does not. What follows, then, is not an attempt to sing the praises of one at the expense of the other, but only to point out some of the unique features of the now-neglected Soncino, and to suggest some of its alleged flaws may have been greatly exaggerated.[3]

To begin with, the canard so many of us heard in our yeshiva days – that Soncino was edited by less than fully-religious Jews – is a terrible misimpression that, to the best of my knowledge, seems to be based purely on the evidence that it was edited by a man named Isidore. Yet Rabbi Yechezkel Epstein (as he is in fact identified, in Hebrew, on the opposite front-page of most volumes) was very much an observant Jew, who attended the Pressburg Yeshivah founded by the Chasam Sofer, and was said to know Shas by heart. The project began with Seder Nezikin in 1935 with a heartfelt prayer to Almighty God, capped with the traditional phrase יה”ר מלפני ה’ כשם שעזרתני לסיים סדר נזיקין, כן תעזרני להתחיל סדרים אחרים ולסיימם.  It concluded in 1948, as printed in Seder Kodshim, with a heartfelt תם ונשלם שבח לבורא עולם, and the traditional Hadran written out nearly in full. We can certainly say of Soncino, if we may modify R. Yosi’s summation of Kelim, “Happy art thou, Soncino – thou began in purity, and finished in purity.”[4]

Moreover, a review of the individual contributors to each volume – a list that, to my knowledge, has never before been assembled – reveals that each and every one of them were strictly orthodox, and not identified with any other stream of Judaism.[5]

The entire series is written in the best of the King’s English. Somewhat amusingly, this itself has sometimes been offered as a reason not to use the Soncino, as though students today are incapable of understanding proper English. It is true that the series occasionally uses words no longer current (such as “dam” for a mother bird or animal, or “usufruct”.) It also actually translates Biblical or Talmudic concepts, rather than simply transliterating them, a device that has become popular today. Still, the language is eminently readable to anyone devoting to it the proper attention, and it is precisely the insistence upon proper translations that sometimes leads to a better grasp of the text.[6]

Turning to more substantive matters, one key item that jumps out is the brevity of the work. In its most compact English-only edition, the entire set – and that includes all sixty tractates, plus a full-length Index volume – comes in at a trim eighteen volumes. Even with the facing Hebrew page, the set numbers no more than 30 or 35 volumes, depending on the edition.[7] Artscroll, by contrast, which incudes only those tractates with Bavli (plus Shekalim, Eduyos, and Midos) comes in at a jaw-dropping, new-bookshelves-requiring, 73 volumes.[8]

And there is something to be said for concision. At times, when I have encountered a difficulty in the (original) text, checking with Artscroll has only made things more difficult. The Artscroll method is generally to translate or paraphrase the entirety of Rashi, and doing so in English sometimes leaves the reader confused. By contrast, Soncino tends to collapse the entirety of every question and answer into one or two lines. Keeping things short and to the point, I have found, often leads to better understanding of the basic give and take of the Gemara.

This brevity is especially important – and here is a key distinction between the two translations – for those who can learn the Gemara in the original, but either lack the time or the patience to do so. Artscroll effectively prevents the user from doing anything on his own. The text is spoon-fed to the user, and because of the interlinear format, the reader never gets entirely away from the English. Though one can go to the full Hebrew text, the Hebrew woven into the English also means users can – and do – simply use the translation.  It is quite often tedious and time consuming to read, in part because the sentences are broken up every few words, and in part because of the copious long and involved footnotes. Soncino, on the other hand, rather than leading the reader by the hand, simply gives him a head start. Quickly perusing a few English-only paragraphs provides the reader with an overview of the upcoming sugya, and allows him to go back into the regular text and then read everything on his own. In essence, it requires the reader to still go back to the traditional Hebrew text, especially if he wants to fully understand the discussion.

That, of course, might well be considered a flaw, rather than a feature. As noted by R. Gil Student, the Soncino does have “limited value in helping one understand the “sugya” (progression of ideas at large).”[9] Artscroll does an excellent job of laying out for the reader where the passage is heading, and identifying what the Gemara intends to accomplish with each step of the discussion. Soncino does none of this, expecting the student to do this on his own. In some volumes, however, the text is broken up into shorter paragraphs, which on their own help the astute reader realize the Gemara’s direction.

Footnotes help, too.  Soncino very often paraphrases Rashi, only without calling attention to the fact. Moreover, it also regularly cites traditional commentators. As noted in the Introduction, these include, in addition to Rashi, “the Tosafists, Asheri, Alfasi, Maimonides, Maharsha, the glosses of BaH, Rashal, Strashun, the Wilna Gaon, etc.” I have also seen cited Rishonim like Rabbeinu Chananel or Ritva, and Achronim like R. Yaakov Emden and R. Tzvi Hirsch Chajes. Of course, and again, in no way does it approach the information provided by Artscroll. Readers with questions will often find them addressed in the lengthy notes of Artscroll, and will even more frequently encounter issues they had never considered. For sheer depth of analysis, Artscroll stands alone. Still, it is a mistake to think that Soncino gives the reader only the bare Gemara by itself.

Yet Soncino also provides information often absent from Artscroll. As the Chief Editor wrote, while he did not attempt to secure uniformity among the several authors – more on that in a moment – he himself added footnotes in brackets containing matters of historical and geographical interest. (To be sure, R. Epstein also added in many pshat based comments, though both functions noticeably decline in frequency as the series progresses into Kodshim.)

Citations to journals like the Jewish Quarterly Review or other German-language periodicals abound. Where parallels to the Gemara exist in Josephus or Apocrypha like Ben Sira, we are informed.  Likewise, parallels in Greek and Roman sources are also frequently noted.[10] Most place names are identified via Obermeyer’s 1929 geographical guide to Talmudic Babylon. Textural variants from the Septuagint are sometimes noted. Herford is also cited on anything that relates to Christianity, though, it may be said, Soncino displays somewhat of an obsession on this topic, and often perceives statements of the sages to be a disguised polemic, with very little justification.[11]

Each of the six Sedarim has its own introduction. The introductions to each of the individual volumes contain very useful summaries of the topic of each chapter, an important feature for learning the Talmud (and quite helpful for review), where the forest can easily be lost sight of. An appendix to Gittin gives what I believe to still be the best short summation of the Talmudic-era medicine described in the 7^th chapter of that Masechta, as well as a similar lengthy passage in Avoda Zara. In one of the volumes (Eruvin) diagrams are gamely used, though the technology of the time did not permit anything much more than rudimentary line drawing and shading. Similarly, the anatomical skeleton of an ox is presented in Chulin.

I noted above that the editor did not seek to achieve uniformity of style, and the uneven quality shows. Some volumes are simply better than others. In one or two cases the translation can only be called wooden, and the notes do little more than add an emphatic “Surely not!” after obviously rhetorical questions. Happily, though, in most cases the individuality of the authors accrues to the benefit of the overall translation, providing different perspectives and viewpoints. Thus, for example, the translations of Chulin and Menachos done by Eli Cashdan, a European-born Talmid Chacham of note, are particularly lucid and clear. The translation to Moed Kattan by Dayan Lazarus preserves the poetry of the original in the elegies of the third chapter by translating them into English poetry, in the classic British style of Israel Zangwill and Nina Salaman,[12] The work to the first half of Kesubos by Samuel Daiches, the only barrister at law to participate in the series (though also an ordained rabbi), is particularly rich with citations to both Roman Cannon law and English jurisprudence.[13] And a number of these highly-educated authors find parallels in Talmudic sayings to classics of literature. [14]

In short, there is much to say in favor of the Soncino Talmud. It contains many gems of scholarship and interpretation, some of them not found, to my knowledge, in any other sources. If it is not perfect – no translation ever is – it is far better than it is often given credit for. The Soncino Talmud was, and fill forever remain, a landmark of Torah literature. To echo (via paraphrase) the words of Dr. Shnayer Leiman in these pages a number of years ago, said in connection with a different classic series thought to be out of date: “Hold on to your Soncino Talmuds! Public libraries and private collectors will do well to retain them and keep them precisely on the same shelves they have now occupied these many years.”[15]

Note from the Seforim Blog editors: Prof. Saul Lieberman refers to “responsible English translations of rabbinic texts (like those of Soncino Press)” at the end of his classic poison-pen review of Jacob Neusner’s acumen as a talmudic translator. See Lieberman, Saul. “A Tragedy or a Comedy?” Journal of the American Oriental Society, vol. 104, no. 2, 1984, pp. 315–319.

* Mr. Farkas received his rabbinic ordination from Ner Israel Rabbinical College in 1999. He lives with his family in Cleveland, Ohio, where he serves as Senior Corporate Counsel for a large energy company.   

[1] See Peah 8:1, Bava Metzia 21b

[2] See Chulin 142b.

[3] I have used the device of contrasting with Artscroll to highlight certain aspects of the Soncino. It should be self-understood that these points of preference are in no way intended to derogate that outstanding work, which enjoys deserved worldwide popularity. In the same vein, I use Artscroll as a contrast simply because of its wide-spread use, and not from any intent to disregard the also excellent Koren and Steinsaltz editions.

[4] The foreword and epilogue to the set – what we might today call הסכמות – contain similar sentiment. They are cited, along with brief comments on the Soncino series, in Words, Meaning, and Spirit: The Talmud in Translation (A. Mintz, Torah U’Maddah Journal 1995).

[5] The Complete list of Contributors to the Gemara include the following Rabbis, Doctors, and Misters, in alphabetical order: I. Abraham (Chagigah); Eli Cashdan (Menachos, Chulin); Abraham Cohen (Sotah, Avoda Zara); Samuel Daiches (Kesubos); H. Freedman (Sabbath, Pesachim, Nedarim, Kiddushin, Bava Metzia, Sanhedrin, Zevachim); M. Ginsberg (Betzah); L. Jung (Yoma, Arachin); E. W. Kirzner (Bava Kama); B. D. Klein (Nazir); L. Miller (Bechoros, Temurah); I. Porusch (Kerisos, Meilah); J. Rabinowitz (Taanis)  Jacob Shachter (Sanhedrin) H. M. Lazarus (Moed Kattan, Makkos); A. E. Silverstone (Shevuous);  Maurice Simon (Brachos, Eruvin, Rosh Hashana, Megilah, Gittin, Bava Basra, Bechoros, Tamid); and Israel Slotki (Sukah, Yevamos, Horayos, Bava Basra, Nidah).

The additional Mishnayos were translated by the aforementioned Israel Slotki, and Rabbis/Dcotors H. Bornstein, Phillip Cohen, Isidore Fishman, J. Israelstam, S. M. Lerhrman, and M. H. Segal.

Biographical data is available for many of these figures in Encyclopedia Judaica or Wikipedia. Information can also be found in the Jewish Communities and Records of the United Kingdom database, by clicking on the “rabbinic profiles” tab. (Available here: https://www.jewishgen.org/jcr-uk/Profiles) Note that all the figures listed here are found in the section designated for Orthodox Ministers & Cantors.

I am grateful to Dr. Marc Shapiro, who provided me with very interesting information on some of these men, and who also referred me to Rabbi Benjamin Elton, of the Great Synagogue in Australia, who likewise did the same. R. Elton, in turn, referred me to Professor David Newman, who sent me some photographs of some of the contributors – looking very rabbinic indeed.

[6] This is particularly true for the realia of the Gemara. See for example Pesachim 37a, סריקין מצויירין  which Soncino translates as “Syrian cakes”, but Artscroll transliterates as “decorated Sirikin”; Yoma 38a נחושת קלוניתא which to Soncino is Corinthian Bronze, but to Artscroll, “refined copper.”; In Moed Kattan 27a, in the context of items a mourner may sit upon, such as the chair or ground, אודייני גדולה is listed and translated by Artscroll simply as a “large mortar”, with no additional comment. Soncino translates it as “a large bench for water jugs”, footnoting to the Roman Uranariun and showing the term in parallel passages as אורנריי. Many such examples can be cited.

[7] For more on these different editions see Words, A. Mintz, Id., at fn. 49.

[8] Though this set too, now looks small, compared to the complete Hebrew-language Mesivta edition – a stupendous 136 volumes.

[9] “Tackling the Talmud: One Daf at a Time” (Jewish Action, Fall 2012)

[10] See for example Nazir 4b, showing parallels to the story described therein to the tale of Narcissus found in Ovid.

[11] See, for example, the Commentary to Sukkah 5a, Nedarim 38a and 64b. (I hasten to add, as someone once observed, “Just because you’re paranoid doesn’t mean they aren’t after you.” I myself recently wrote, of a Mishna in Beitzah, that it too, contained a hitherto unnoticed reference to Christianity. See my article Of Fish and Fishermen: An Unknown Christian Passage in the Talmud (Tradition 52:3 2020).)

[12] See also his nifty rendering of the phrase found there on 9b בת שיתין כבת שית לקל טבלא רהטא : “As sixty as six: the sound of a timbrel makes her nimble.”

[13] See there, for example, 17b and 20a.

[14] See Chagigah 13b, in connection with Sandalphon, referencing Longfellow’s similarly named poem; Avoda Zara 4a, comparing R. Chanina’s advice to pray for the government for without it men would swallow each other alive to a phrase in Shakespeare’s Coriolanus.

[15] The New Encyclopedia Judaica: Some Preliminary Observations. (Shnayer Leiman, Seforim Blog, June 5, 2007)

An “Artscroll” ™ Illustration in the Vilna Shas–Masechet Shabbat 98b

By Eli Genauer

לזכר נשמת אבי מורי ר׳ יעקב קאפל בר׳ משה יהודה הלוי גענויער ז״ל. היארצייט שלו י״ד סיון.

For those studying Daf Yomi this week, there is a unique diagram that appears on Shabbat 98b. In the Vilna Shas one can see a closeup “picture” of one of the boards of the Mishkan (“קרש“) which would make Artscroll proud.[1] While one might be familiar with diagrams that appear in the Talmud, those diagrams illustrate comments in the rishonim, mainly Rashi. Most of these are called out specifically by Rashi: “kazeh” “like this.” Artscroll, however, includes their own illustrations beyond those from any of the rishonim. Yet, they were not the first publishers of the Talmud to do so. Indeed, this diagram on page 98b is a much earlier example of a publisher electing to incorporate their own diagrams into the text.

Diagrams in Printed Editions of the Talmud

The use of diagrams is attested to in numerous manuscripts. These diagrams appear in Rashi, Tosefot and even were used by the Geonim.

When manuscripts gave way to printing in the late 1400’s and early 1500’s, those diagrams were excluded in the early printed editions of the Shas. When Daniel Bomberg published the first complete edition of the Shas in the early 1500s, he did not include the actual diagrams, but instead left a space for the book’s owner to pencil in the relevant diagrams (how they would know what the diagram looked like is left unanswered).

Finally starting with 1697, (the Berman Shas of Frankfurt on der Oder) did diagrams start to reappear in the empty spaces (mostly in Eruvin and Sukkah).

What was the source of those diagrams in the Berman Shas and in ones that were printed soon after in the early 1700’s? There were three sources, the Maharshal, Maharsha, and Mahram of Lublin.

This is the Shaar Blatt from the Frankfurt on der Oder 1697 edition:

The Maharshal is the key point person when it comes to diagrams. He had the 2^nd edition of the Bomberg Shas (printed circa 1528) and made his notations there. He recognized the importance of the Shas being printed but also the dangers that lay in the fact that if there was a mistake, it would find its way into thousands of hands. He lived at a time when there were still manuscripts around, and he made his corrections based on those manuscripts and also his own logic. Since he had the status of an Adam Gadol, his own logic carried much weight. Originally, he did not set out to write a book with his corrections. Like the Ba’ch, he just made the corrections in his own Gemara. After he died though, his sons printed Sefarim which reflected his notes.[2] Therefore, if in the late 1600’s or early 1700’s you were printing a Shas, and you looked at a previous edition and in Rashi it said “Kazeh” and there was a space, you would look at the Chochmas Shlomo. If he had added a diagram, you would place that diagram in the empty space and feel comfortable that it had good Yichus. There were times that there wasn’t an empty space that the Chochmas Shlomo shows a diagram, and in that case, the printers usually added it.

The 1715 Amsterdam Edition of the Talmud

A complete edition of the Talmud was first published in Amsterdam in the 1640s by Immanuel Benveniste. In the 17^th and 18^th centuries Amsterdam was counted among the most important cities for the printing of Hebrew books and there were many well-known publishers that followed Benveniste and they printed many important works yet none of them attempted to reprinting the Talmud. Only some sixty years later did Amsterdam see a Talmud come off its presses. This one, that began in 1714, was never completed.

R. Judah Aryeh Loeb ben Joseph Samuel of Cracow appealed to Samuel ben Solomon Marsheses and Raphael ben Joshua de Palasios prominent members of the Amsterdam Sephardic community and asked them to print a new edition of the Talmud. Neither had ever published a book. In 1710, Loeb unsuccessfully sought to publish an edition of the Talmud in Frankurt. Now, in Amsterdam he sought to try again. Marcheses and Palasios formed a printing house specifically to print a “fine and accurate edition,” in an environment that “the workers would not be hurried so that they could work with care, reducing errors, and under the supervision of … the dayyan of the Ashkenaz Rabbinic Court of Amsterdam who would help establish the correct text.”[3] An emissary was sent to visit various Jewish communities to collect subscribers and reduce the burden of the significant printing costs. Relevant to diagrams, the emissary came bearing a gift, the Amsterdam 1710 edition of R. Jacob ben Samuel Bunim Koppelman of Brisk’s (1555-94) Omek Halakahah (first printed in 1510), a book that includes many diagrams to explain difficult passages of the Talmud.[4]

The first volume, Berakhot, was published in 1714[5] and the editors note the sources for their text and likely for the diagrams as well.

1. Chochmas Shlomo

2. Chochmas Manoach

3. Chidushei Halachos of the Maharsha

4. Maharam Lublin

5. Sifrei Hashas of Yosef Shmuel ben Zvi – seemingly these were concentrated on Zeraim, Kodshim and Taharos

The volume on Meseches Shabbos was published in 1715 and the top 4 appear in the Hakdamah:

The Source and Purpose of the Diagram in Shabbos 98b

The Gemara in Masechet Shabbat on Daf 98a and b deals with the laws of carrying and discussing some of the details of the boards (“קרשים“) which made up the walls of the Mishkan.[6] These board were comprised of a complex system designed to keep each board straight and provide sufficient support for the entire structure of the Mishkan. Indeed, if one examines modern editions of the Talmud, there is an illustration that appears on the page. But where did it come from and more importantly what is its purpose? As we will show, the first edition to incorporate this diagram was the 1715 Amsterdam edition of the Talmud.

This is how it appears in the 1715 edition.

This image was reprinted in the Vilna Shas in a slightly clearer format although with the same detail and is a bit easier to analyze.

The picture primarily shows that there were three rods (“בריחים”) that connected one board to the next. The rods on the top and bottom went through outer rings, but the rod in the middle went through the width of the board.( “עובי הקרש“) It also shows the sockets on the bottom (“אדנים“) and the grooves (“ידות“) inserted in them which provided stability to the boards as they stood.

As discussed above, manuscripts of Gemarot though generally do not contain pictures, and a check on the invaluable website “Hachi Garsinan” shows that no manuscript of these pages has a picture to illustrate what a board looked like.[7] One might expect Rashi in his description of some of the statements of the Gemara to state his opinion and then write “כזה” (“ like this” ) Then we could expect to find an illustration in any of the number of Rashi manuscripts we have, and we could expect that this illustration (or an empty space for it) would appear in subsequent printed editions. Here we have none.[8]

The most relevant Rashi appears to his comments regarding how the boards stood miraculously.[9] But It does not discuss the fact that the middle rod went through the thickness of the board, but rather the miraculous nature of how the rod bent as it turned the corner. Another potential relevant Rashi explains the statement “the Sages taught, the bottoms of the beams (kerashim) were grooved and the sockets were hollow.” This deals with a completely different aspect of the beams which is how they were shaped on the bottom (and only according to Rabbi Nechemya). Thus, it is unsurprising that the manuscripts of Rashi do not include this diagram.

It was only in the 1715 edition does this illustration first appear. Yet, in the case of the picture of the keresh on Shabbos 98b, we do not find this picture in any of the sources identified by the Amsterdam publishers, not the Maharshal, Chochmas Manoach, Chidushei Halachos of Maharsha, or in Maharam Lublin.

First, we must identify what the diagram is attempting to illustrate. Rather than the more common form of diagrams, this one is not an illustration tied to one of the rishonim, rather it is illustrating two statements of the Gemara, one in the middle of the Daf and one at the very bottom. This, despite the fact that the diagram appears close to Rashi’s commentary on the page, seemingly tying it to his commentary.

Instead, the illustration is the independent product of the Amsterdam publishers and intended to elucidate the text of the Gemara, what did the board system look like. The Mesivta edition of Oz Vehadar also understands that this picture illustrates the words והבריח התיכון בתוך הקרשים. They indicate that Tziyur 6 which except for the detail on the bottom looks very similar to the one in the Vilna Shas, illustrates that statement.

In truth, the main part of the picture showing the middle rod going through the width of the board is not at all aligned with a comment of Rashi. Understanding that it just tries to give a picture of the “קרש” will make it easier to understand for people who study this page. This illustration is designed to explicate the text of the Talmud itself and was the entirely the idea of the publishers of the Amsterdam Talmud.

Why did the editors of the Amsterdam 1715 Shas insert a picture like this? Perhaps they were inspired by diagrams that appeared in a book called Omek Halacha by Jacob ben Simcha Bunim Koppelman which had just been reprinted in Amsterdam in 1710 and was even used in the fundraising campaign for this edition of the Talmud.[10] It has a picture of the grooves that fit into the sockets that is associated with the second aspect of this picture.

Yet, the Amsterdam publishers did not reprint the Omek Halakha’s crude diagram. Like the text and the other aspects of this edition, they included a much clearer and more detailed diagram that is infinitely more helpful in understanding the complicated text. Adding such a picture to a Daf of Gemara was a revolutionary act at that time and once added, it became part of Tzurat HaDaf that we have until today.

“ושאלתי לו קטן שהולך בדרך לא טובה כגון משכב זכר ועובר על לאו לא תגנוב אם מותר ללמדו תורה ואמר הן”

“And I asked [R. Isserlein] a student who sin, with sins such as homosexuality or stealing should they be taught Torah? Answer, Yes.”

Since we are on the topic of the Leket Yosher it is also worthwhile to point out some of the other interesting observations related to the Leket Yosher. Perhaps the most important fact to come from the Leket Yosher is that the assumption, first espoused by the Taz and expanded upon by others, that the Terumat HaDeshen was not the product of actual questions and answers and instead R. Isserlein made up the questions himself and therefore, according to some, the Terumat HaDeshen is not authoritative. As R. Freimann demonstrates, however, this is incorrect. Instead, actual events as recorded in the Leket Yosher can be matched with teshuvot in the Terumat HaDeshen thus demonstrating that the questions in Terumat HaDeshen were based upon actual events and were not fabricated.[5]

Perversely, the criticism of the Terumat HaDeshen was turned on its head and applied to the Leket Yosher. Specifically, the Sanzer Rebbi in his Divrei Yatziv (E.A. 39), claims that one cannot rely upon the Leket Yosher as it records actual events and one cannot decide halakha from events. This is inapposite of those who complain that the Terumat HaDeshen is not reliable because the questions do not relate to real events. It appears that the position of the Sanzer Rebbi has not been accepted as R. Moshe Feinstein (which is especially noteworthy in light of his general disapproval of newly discovered works), R. Ovadiah Yosef, Daayan Weiss, R. Shlomo Zalman Auerbach and many others all cite with approval the Leket Yosher. Moreover, the Sanzer Rebbi himself is at least five other places[6] in Divrei Yatziv cites with approval the Leket Yosher. In only one other instance does he couch his citation of the Leket Yosher (E.A. 78) with a disclaimer “that is is unclear whether the Leket Yosher is reliable.”

Other interesting comments in the Leket Yosher include: R. Yosef, in 1456, records that he saw Halley’s Comet [7] (vol. 2, pp. 17-8), R. Isserlein used to tell Torah riddles on the first days of Pesach and Shavous and Purim (vol. 1, pp. 103-4), R. Isserlein’s daughter-in-law, Redel, studied Torah (vol. 2, p. 37), and the restriction against walking behind a woman is no longer applicable (id.).

Notes: