Prayer’s Light in Wartime’s Darkness

Since the horrific events of October 7 and the subsequent war, a large chorus of voices have turned to the heavens, hoping to deal with their pain and confusion by praying to a higher power. This has been a typical Jewish response to war since biblical times, and continues into the modern age. Let’s explore some of these powerful wartime prayers, and find out where they truly come from.

Chief Rabbi of the IDF Shlomo Goren in Sinai reciting prayers for the IDF soldiers, 1970, Eitan Haber, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

Israel is at war. How does that sentence make you feel? What is your response?

Some people feel anger at this, an anger that spurs them forward as they spend time volunteering, sharing content online about the conflict, and donating money to various Israeli causes.

Military rabbi (Feldrabbiner) Dr. Balaban with a group of Jewish soldiers in Lublin, 1914-17, Central Archives for the History of the Jewish People, the National Library of Israel

Conversely, some people feel helpless or mournful, not knowing quite what to do with the difficult emotions that this war raises for them.

And at the same time, many people, when trying to deal with this turmoil, simply turn to a higher power – asking “why”, begging “please”, saying “help”.

Soldiers being blessed by a rabbi before going off to war, 1914-18, Germany, the National Library of Israel

During this time, there is of course not just one valid response, but the response that is perhaps often left unacknowledged, and sometimes seemingly adverse to outside commentary, comes from that last group of people – those who are, right now, grappling with, or turning to, their faith.

The Jewish Agency for Israel and the Sephardi Chief Rabbi Shlomo Amar urge Jews to say a specially composed prayer on Passover 2007 for Israeli soldiers held captive since the Lebanon War, The Australian Jewish News (Sydney), April 6, 2007, the Historical Jewish Press Collection at the National Library of Israel

This war, unfortunately, does not mark the first time in history that so many Jews have been massacred, and with each tragic slaughter of the Jewish people, a large chorus of voices turns to the heavens. Often the words which leave the mouths of these Jews during times of distress such as these are pre-prescribed: they come from a prayer book, are read in order and adhere to rituals which were determined long before our lifetime.

Poster advertising an emergency day of fasting and prayer to end the Holocaust, called by the Chief Rabbinate of Palestine and the Union of Orthodox Rabbis of American and Canada, 1945, the National Library of Israel

But these are not the only prayers that count. Spontaneous words from the heart have almost always had a place in Judaism, a fact that is somewhat surprising given the ostensible rigidity of the religion, and the structures upon which it relies.

But nonetheless, we can see that this is undeniably the case. Once upon a time, as told in the Book of Samuel, a biblical woman named Hannah stood at the entrance to the Tabernacle at Shiloh, rocking silently back and forth and muttering to herself, as tears welled in her eyes. The Jews around her assumed that she was a drunkard and looked unkindly upon her. However, what was really occurring was a silent but supremely powerful turning-point within the Jewish religion. Hannah was saying a silent prayer – without a prayer book, without a quorum of men, without prescribed words. Just a woman praying silently from the heart.

Group of soldiers and rabbi at Passover service 5678 (28 March 1918) in Italy, Central Archives for the History of the Jewish People, the National Library of Israel

Since then, the idea of making up and reciting personal prayers has gained legitimacy, but while Hannah’s prayers focused on her childlessness, the concept of personal prayer really took off and became common within Judaism in the context of war.

King David is famous in Jewish tradition for having been an astute warrior and conqueror. Many of the Psalms that appear in the Bible are traditionally attributed to King David, and there is even a belief that he composed some of these hymns for his troops to use in prayer during war. For example, Psalms 20: 8-10 reads:

“These trust in chariots and these in horses, but we-we mention the name of the Lord our G-d. They kneel and fall, but we rise and gain strength. O Lord, save [us]; may the King answer us on the day we call.”

The Chief Rabbi of the British Empire composed a prayer for the protection of Jewish soldiers to be read in synagogues every Sabbath during the Boer War in South Africa, 1899, the National Library of Israel

Another famous and even earlier biblical example of prayer entering Jewish liturgy during times of war is the story of how the biblical forefather Jacob prepared for his reunification with his estranged brother Esau. Jacob is warned that his brother is approaching, accompanied by 400 men. Fearing for his life, he decides to compose a prayer for salvation. Jacob’s prayer (Genesis 32: 10-13) echoes the words of the prayer we know today as Ha-Gomel, which is recited whenever a soldier returns from war, to this very day.

This practice of authoring prayers in response to war exists in the modern age as well, such as prayers composed for Jewish soldiers during World War I.

Chief Rabbi of the IDF Shlomo Goren in Sinai reciting prayers for the IDF soldiers, 1970, Eitan Haber, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

We have many famous examples from the Holocaust of prayers being written to suit the spiritual needs of the suffering congregations and individuals during that time of great trauma. Jewish author and poet Alexander Kimel, for example, created a set of prayers for the victims of the Holocaust after surviving the ordeal himself. These prayers are now usually read as part of the Yahrzeit service on the High Holy Days, but many of the Jews reading his words do not know just quite how recently these prayers were actually composed.

Group of Jewish soldiers and their rabbi in Purgstall, 1917, Central Archives for the History of the Jewish People, the National Library of Israel

Similarly, most synagogues around the world recite the Mi Sheberach prayer for the safety of Jewish soldiers each week on the Sabbath. To the casual listener, this classic prose might sound hundreds of years old, but that couldn’t be further from the truth! While the original Mi Sheberach blessing for the recovery of sick Jews dates back to the 12th century, it was only adapted for use when praying for Jewish soldiers by the former Chief Rabbi of the IDF, Rabbi Shlomo Goren, in 1956, while Israeli troops were fighting in the Sinai Campaign.

Military rabbi blesses and gives sermon to Jewish soldiers in Austria, 1914-18, Heeresgeschichtliches Museum, Central Archives for the History of the Jewish People, the National Library of Israel

In 2006, during the Second Lebanon War, the eminent Rav Ariel Bar Tzadok wrote a prayer for the welfare of the state of Israel, using sources from Sefer Shoreshei HaShemot. Again, these prayers were adopted by the nation, and synagogues were soon full of people fervently repeating Ariel Bar Tzadok’s words in the hope that they would bring success in battle.

Then, in 2014, during Operation Protective Edge, Rabbi Dr. Nathan Lopes Cardozo was compelled to write the “Prayer on Behalf of the Jewish Soldiers Going into Battle” whose profound meaning touched many Jewish hearts around the world and became a constant daily chant for lots of Jews in various global congregations.

Newspaper article explaining new High Holy Day prayers written for Israeli soldiers fighting in the War of Independence, the Sydney Jewish News, 25 November 1949, the Historical Jewish Press Collection at the National Library of Israel

And even now, Rabbi Yitzchak Yosef, the Sephardi Chief Rabbi of Israel, and a man steeped in tradition, has requested that all Jewish congregations say his newly-written “Prayer for the Success of Am Yisrael” every day until the end of this current dreadful war. This novel prayer has become the new-normal in many synagogues around Israel, who pledge to read it aloud each day until the end of the war in Gaza.

President Chaim Herzog, Prime Minister Yitzhak Shamir, the Ashkenazi and Sephardi Chief Rabbis and others at a service in Jerusalem to offer prayers for the well-being of Jewish troops fighting in the Gulf, 1991, David Mizrachi, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

So, while some people think of Jewish prayer as something stagnant or pre-prescribed, it is clear to see that this is very much not the case, especially during times of war. In fact, much of the war-time liturgy that so many Jews rely on for comfort, was composed in the recent past by modern Jews who felt just as much longing for safety, success and peace as we do today.

The Abridged Prayer Book for Jews in the Army and Navy of the United States, 1917. In addition to the expected material, it includes specially composed prayers for war, a “Prayer for the Government,” national anthems, “America”, “The Star-Spangled Banner” and “Hail, Columbia,” plus a calendar for 1917-1920, Jewish Welfare Board by Jewish Publication Society of America, the National Library of Israel

For those who utilize prayer to connect to the current war in Israel, it may come as some comfort to know that the words that many believe to hold so much power do not need to have been written over 2000 years ago. They can be as heartfelt as the inner feelings of parents missing their children, rabbis guiding their communities, and individuals standing on the precipice of uncertainty, unsure of how to look at the world around them, who instead look up to the sky and open their mouths to see what words fall out.

And who knows which of the prayers from today’s wars will end up etched on the pages of prayer books used by our great grandchildren for generations to come.

The Art of a Child’s Hope

Amidst the horrors of war, it is common for children to find some solace through artistic endeavors. But in an astounding discovery, we’ve also now seen that there is a clear connection between the art made by children during the Holocaust and the art created by the children witnessing the current war in Israel and Gaza. Why is this the case, and what can it teach us about the experiences of children witnessing the slaughter of their people, 80 years apart?

Since the horrific events of October 7, and the subsequent weeks of terror, loss, and mourning, many are asking themselves how on earth the people of Israel will ever be able to find the strength to rebuild. With so much sadness, so much pain and grief, it sometimes seems impossible that there could be any hope left.

2023 – Jewish Middle School of Nashville, 3rd grade, USA, Words Can Make a Difference, National Library of Israel           1929 – Jiri Metzl, Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

As Israel keeps fighting, however, there exists a chorus of small but persistent voices pervading the darkness: voices that belong to little children, asking in their innocent tones for us to please keep going. For them.

2023 – Renascenca school, 5th grade, Brazil, Words Can Make a Difference, National Library of Israel (includes a wish for peace in Portuguese)                                    1942 – Sketch of a Child’s Hand, Frantisek Brozan, aged 10, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

There are few people born in Israel who did not have a childhood punctuated by one of the country’s many wars or intifadas, so the now-grownup adults know that despite all the many challenges facing us right now, we need to stay strong for our children. Many of them will grow up with memories of this war, and it is our job to make sure that those memories are of a strong nation, one who can rise through the ashes, not only to succeed on the battlefield but also, ever so slowly, to rebuild as a people and find a way to rekindle the hope.

2023 – Eden Fitoussi, Henri Schilli, 2nd grade, France, Words Can Make a Difference, National Library of Israel           1944 – Josef Novak, aged 13, from Children’s Drawings From the Concentration Camp of Terezin, 1978, State Jewish Museum in Prague, the National Library of Israel

Amidst the horrors of war, it is common for children to find some solace and a means of expressing their feelings through artistic endeavors. For little brains with big thoughts, their emotions can’t always be expressed adequately in words, but their creativity can serve as a form of therapy, providing a safe haven whereby they can process complex emotions, understand the strange and ever-changing world around them, and, as a byproduct, leave behind a poignant testimony to their resilience which even adults can draw strength from.

2023 – Yael Benarrouch, Yabne Schili, 1st grade, France, Words Can Make a Difference, National Library of Israel           1942 – Dancing Children, Helena Schanzerova, aged 9, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

We know that children have a remarkable capacity to adapt to their surroundings, even in the most horrific of circumstances. In times of war and fear, one way of doing this is by using art as a tool to cope with their emotions, escape from the harsh realities around them, and channel their inner thoughts into something more tangible. The emotional catharsis of expressing their fear, anger, and sadness in a non-verbal manner often aids in gaining a sense of control over their feelings.

2023 – Alma Primary School N20, 3rd-6th grade, UK, Words Can Make a Difference, National Library of Israel                               1928 – To The Station, Petr Ginz, the Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

One of the most poignant examples of children using art to cope with the destruction that lay around them was the art created by Jewish children during the Holocaust. Despite the unimaginable horrors that they endured, many of these children found solace through artistic expression. To this day, we are still finding pictures drawn by children from within the walls of the concentration camps and ghettos, and continue to document these images as vital Holocaust records. The children’s art continues to serve as a testament to the young human spirit’s ability to endure and transcend suffering, or at least make sense of their anguish, in ways that adults are often unable to do.

2023 – Zac Green, Yavneh College, 8th grade, UK, Words Can Make a Difference, National Library of Israel                                   1940s – Smiling Man In Camp Uniform, located in bunker cell 12, block 11 of Auschwitz, from Last Traces – the Lost Art of Auschwitz, 1989, Joseph P. Czarnecki, Atheneum, National Library of Israel

In Auschwitz and Warsaw, Treblinka and Vilna, in fact all across Eastern Europe, Jewish children in the 1930s and 40s turned to art as a means of survival. Drawing and painting memoirs of happier times, or their dreams for the future, offered them a glimmer of hope and a way to maintain their humanity in the face of the most dehumanizing conditions.

2023 – Gabs, Yavneh College, 9th grade, UK, Words Can Make a Difference, National Library of Israel                   1943 – Nazi Threatening a Jew, Jiri Beutler, aged 11, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

Through their art, some of these children also depicted the atrocities that they witnessed. They drew scenes of deportations, crowded barracks, and Nazi brutality – innocent young people simply copying the scenes that they saw all around them and thus making sense of what was happening, and in doing so, leaving behind witness to the injustices that they faced.

2023 – Aaron Meimoun, Yabne Schili, 1st grade, France Words Can Make a Difference, National Library of Israel            1931 – Liliana Franklova, the Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

But interestingly, so much of the art created by Jewish children during the Holocaust also provides glimpses into their innocence, as they portrayed scenes of camaraderie, smiles from the people around them, their favorite animals and flowers, and simple moments of daily life. As much as the darker artistic material shows us how traumatizing this experience was for the children, it is often their scenes of naivety which strike us harder. What hurts so much is seeing the way that these children remembered and documented the world as it used to be for them and probably how they hoped it still could be, combined with the hindsight that these children had no idea of what lay in wait for them.

2023 – Naor Berros, Yabne Schili, 1st grade, France, Words Can Make a Difference, National Library of Israel                              1944 – Margit Koretzova, aged 11, from Children’s Drawings From the Concentration Camp of Terezin, 1978, State Jewish Museum in Prague, the National Library of Israel

Today, children have more access to information and knowledge of current affairs than ever before. As more young people have their own digital devices and social media accounts, it’s hard to shield our youth from what is happening around them. A never-ending stream of information, video footage and propaganda is being released from nearly every media source straight into our devices, and as a result, the youngsters of Israel and Jewish children around the world are more aware of the atrocities occurring than ever before.

2023 – Ambar Jones, Comunidad Judia de Nordelta, 8th grade, Argentina, Words Can Make a Difference, National Library of Israel                                                        1944 – Queue for Food, Liana Franklova, aged 13, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

But creative activities offer children a temporary escape from the traumatic events that they may be experiencing or witnessing. Art allows them to focus on something encouraging and constructive, if only for a brief moment. And more importantly, art empowers these children to take control of their own narratives. In this time of chaos, it allows them to create a world that they are in charge of, making decisions about what exists on their page and in exactly what form, and thus shaping their own imaginative realities. A sense of control when otherwise they would have none.

2023 – leah, Alma Primary School N20, 3rd-6th grade, UK, Words Can Make a Difference, National Library of Israel           1931 – Vera Lowyova, the Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

With this in mind, shortly after the war broke out last month, the National Library of Israel launched a special initiative for students worldwide. We reached out to educators with the message that “We are inviting your students to share letters and drawings to Israeli soldiers and families that our team will print and send out.”

2023 – Yael Rendelstein, Alonim School, Modi’in, Israel, Words Can Make a Difference, National Library of Israel               1943 – Figures of Little Girls, Jana Hellerova, aged 5, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel
2023 – leah, Alma Primary School N20, 3rd-6th grade, UK, Words Can Make a Difference, National Library of Israel           1931 – Vera Lowyova, the Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

It is a meaningful way to show support and raise people’s spirits in these difficult times. These, like the many letters and pictures made by children in previous wars, will also be preserved in the NLI collections.

2023 – Benyamin Ouahba, Yabne Schili, 2nd grade France, Words Can Make a Difference, National Library of Israel                                                        1942 – Leaves of a Tree, Milan Biennenfeld, aged 12, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

The results of this new project have been astounding to see, as we continue to receive hundreds of images which provide glimpses into the minds of the young Jewish children who are just trying to cope with the realities of this war, the way we all are.

2023 – Natalia Intiwasi, Spanish Immersion School, Kindergarten, USA, Words Can Make a Difference, National Library of Israel                                                 1931 – Kitty Brunnerova, the Jewish Museum of Prague, from We Are Children Just the Same, Marie Rut Krizkova, Kurt Jiri Kotouc, and Zdenek Ornest, 1995, the Jewish Publication Society, the National Library of Israel

They’ve also shown us that as the world progresses at break-neck speed, the minds of children will forever be young. In looking at these images we can see clear connections between the art made by children during the Holocaust and the art created by the children witnessing the current war in Israel and Gaza.

2023 – Alona, Colegio Columbo Hebreo Primary School, Columbia, Words Can Make a Difference, National Library of Israel                                       1943 – Ghetto Guard, Alfred Weisskopf, aged 11, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

This is perhaps to be somewhat expected: children often employ universally understood symbolism in their art to represent certain figures, ideologies, and the impact of war on their lives. Through these symbols and drawings, they are able to explore and interpret the radical events occurring around them. Thus, it may be only natural for the images of the children who have borne witness to the slaughtering of their people to be similar, despite being created decades apart.

2023 – Yael Rendelstein, Alonim School, Modi’in, Israel, Words Can Make a Difference, National Library of Israel               1943 – Figures of Little Girls, Jana Hellerova, aged 5, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

Most of the children whose pictures are included in this article did not survive the Holocaust, but their art did. It now serves as a poignant historical record, offering exceptional insights into the minds of children during that time, and leaving behind invaluable artistic testimonies of the Holocaust for future generations.

2023 – Mika Friedman, Farmland Elementary School, 1st grade, USA, Words Can Make a Difference, National Library of Israel                                                                    1943 – Passover Seder, Doris Weiser, aged 11, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

As the National Library of Israel continues to collect the art of the Jewish children experiencing the current war in Israel, we simultaneously create a new set of records, soon to be historic, which will always serve as a reminder of what young Jewish children lived through in the year 2023.

2023 – Evelina Matvienco, Kishinev ORT Hertzl Technology Lyceum, Moldova, Words Can Make a Difference, National Library of Israel                                          1944 – Karel Sattler, aged 12, from Children’s Drawings From the Concentration Camp of Terezin, 1978, State Jewish Museum in Prague, the National Library of Israel

We hope and pray that Israel will return to peace soon, but we know that for a long time even after this war ends, the question will remain of how to rebuild a country which has lost so much. As our children turn to us for answers on how to keep going, we may also find ourselves turning to them. As we look towards their small but hopeful faces and see the power of their yearning for peace, maybe these images will enable us to put one foot in front of another, one foot in front of another, until it becomes natural to do so once again.

2023 – Gustave Leven, Ecole Alliance, 1st grade, France Words Can Make a Difference, National Library of Israel                                         1941 – Guard With a Stick, Sona Spitzova, aged 10, from I Never Saw Another Butterfly, Hana Volavkova, United States Holocaust Memorial Museum, Schocken Books, National Library of Israel

 

If you know a child who would like to share a piece of art or a letter with the NLI and our brave IDF soldiers, please follow the link: https://educationnli.involve.me/words-make-difference

The Mysterious Case of Joseph G. Weiss’s Hasidic Library

Prof. Joseph G. Weiss was one of the 20th century's leading scholars of Hasidism. Following Weiss's tragic death in 1969, his mentor Gershom Scholem selected 250 books from his former student's personal collection to be brought to the National Library in Jerusalem. Yet something happened along the way. To this day it's not clear what became of many of these books...

Joseph G. Weiss, photo from the Joseph George Weiss Archive at the National Library of Israel

Prof. Joseph G. Weiss (1918-1969), was one of the foremost students of Prof. Gershom Scholem. He would go  on to direct the Institute of Jewish Studies at University College London and edit its “Journal of Jewish Studies”. Weiss left behind a scholarly oeuvre which, although sometimes debated and criticized, is without a doubt the forerunner of modern Hasidic studies. He was ahead of his time, and that perhaps explains the current reawakening of fascination with his work.

Weiss’s untimely and tragic death and the publication of his correspondence with Gershom Scholem a decade ago have also contributed to the great interest both in Weiss the scholar, and in Weiss the man.

I would like to offer some brief observations regarding the Hasidic books that were held in Weiss’s personal library, and their mysterious fate. After Weiss’s death in 1969, his widow Erna decided to sell his Judaica collection through the agencies of Weiss’s friend and colleague at University College London, Prof. Chimen Abramsky, who also worked as a book dealer. Prof. Jacob Taubes of the Judaica Institute of the Berlin Free University, Scholem’s student (and later nemesis), and an early friend of Weiss, purchased the collection for his institute. However, when the books arrived in Berlin, he noticed that many of the most important volumes were missing. It seems that Weiss, in his will, had given permission to his mentor Scholem to have first choice of the books that he wanted for the collection of the Jewish National and University Library in Jerusalem, and needless to say, Scholem had selected the best. Taubes in response angrily cancelled the agreement and returned the remainder of the collection to London, where they were subsequently auctioned.

Extensive correspondence exists in the archives of the National Library of Israel regarding the transfer of “250 books” (“mostly on Hasidism”) from Weiss’s library, that arrived in Jerusalem in February 1970. Some of the correspondence is in the Joseph Weiss archives, and some in non-catalogued folders of donor information. Some of the letters, mostly between Erna Weiss and Dr. I. Adler, who was then the Library’s Director, mention a list of the 250 books, which I have sadly not been able to locate.

“Two hundred and fifty volumes pertaining to…Chassidut”

 

Here we see correspondence between Erna Weiss and the Dr. Adler, then Director of the JNUL, regarding the shipping of 250 books (mostly on Hasidism) from Weiss’s estate to the Library. In Erna’s response she refers to a list of the books which was needed for legal purposes. This is the list that I am still searching for.

“I have had to draw up a list of the books”

 

“The valuable library of your late husband…has arrived safely”

 

Shortly after their arrival, the reception of the volumes was noted in the Library’s inventory, which specifically lists Noam Elimelech and Ohr HaMeir, apparently as the only two which the Library did not previously hold. I am still searching for these two volumes.

Noam Elimelech and Ohr HaMair in the Library inventory

 

Approximately one hundred of the volumes were in Hebrew and some 150 in other languages. Some of them contained marginalia in Weiss’s handwriting. By February 1970, the Library reported to Erna Weiss that the volumes had all arrived and in May wrote explicitly that the three special volumes that she had handpicked for Scholem’s personal collection had all been located. The three are Sipurei Maasiot, Yosher Divrei Emet and Ketonet Pasim. In Sipurei Maasiot, the most heavily annotated of the three, Weiss had the book rebound with a blank page for notes next to each page of text, a method that he probably learned from Scholem.

Sipurei Maasiot

 

The other two volumes that Erna Weiss had sent for Scholem himself, were two upon which Weiss had published articles, Yosher Divrei Emet and Ketonet Pasim.

Yosher Divrei Emet

 

Ketonet Pasim

 

Strangely, these books are not located in the Scholem Collection, but rather in the Rare Book Division. All were copied onto one microfilm and later scanned, and are available here.

The microfilm of the three volumes

 

 In total there are currently some eight Hasidic books with Weiss’s annotations in the Rare Book Division, and others in the Scholem Collection.

Eight books with Weiss marginalia

 

Some, such as Ketonet Passim, and Haim V’Hesed of R. Haim of Amdor, Weiss had previously published articles on. The other volumes with (less extensive) notes that have been located are, Noam Elimelech,

Meor V’Shamesh,

Lekutei Maharil,

Ahavat Dudim,

and Hayim V’Hesed by R. Haim of Amdor.

 

A handwritten English note dated 21.12.75 and preserved at the National Library, describes a visit by “Mrs. Erna Weiss, accompanied by Prof Y. [Isaiah] Tishby…and her son [the poet Amos Weisz], came in to inquire what had become of her husband’s collection – mainly ‘Hassidut’ – sent 1970 via London…. apparently, the collection was to be kept intact… (Prof. G. Scholem also took an active role)”. In a second note from a few days later we learn that “Prof. P. [Peretz] Tishby, Chief librarian…telephoned to inform me that most of the collection, as well as relevant correspondence and inventory of the collection is in the Dept. of Manuscripts and Archives – no need to search further”.

“No need to search further”

 

On the other hand, Jonatan Meir has written that, “Due to Scholem’s intervention some 250 volumes arrived in Jerusalem, yet a large portion of them mysteriously disappeared”. Sadly, this indeed seems to be the case. In retrospect, it is well known that Scholem’s desperate attempts to preserve the life of his beloved student, ultimately failed. More surprising is that the preservation of Weiss’s library also fell short of Scholem’s usual efficiency. For the world of Hasidic research, this is a double tragedy.

 

This article is dedicated to the memory of Weiss’s student, Prof. Ada Rapoport-Albert, z”l, who first encouraged me to look into the fate of Weiss’s books at the National Library of Israel.

 

For Further Reading:

 

Works of Weiss

Joseph Weiss, unpublished Hebrew dissertation on Dialectical Torah and Faith in R. Nahman of Breslov, can be viewed here

Joseph Weiss, Circles of Discussion: A Collection of Discourses and Customs of R. Nahman of Breslov, Tel-Aviv 1947.

Joseph Weiss, Studies in Braslav Hassidism (Hebrew, Mendel Piekarz, ed.), Jerusalem 1974.

Joseph Weiss, Studies in Eastern European Jewish Mysticism and Hasidism, London and Portland (David Goldstein, ed.), 1985, 1997.

Joseph Weiss, Likutim, (Hebrew, Avinoam Stillman and Yosef Sweig, eds.), Jerusalem 2019.

 

Works on Weiss 

Daniel Abrams, “The Becoming of the Hasidic Book”: An Unpublished Article by Joseph Weiss, Study, Edition and English Translation, in Kabbalah: Journal for the Study of Jewish Mystical Texts vol. 28 (2012), pp. 7-34.

Joseph Dan, Joseph Weiss Today, in Studies in Eastern European Jewish Mysticism and Hasidism, pp. ix-xx.

Jacob Katz, Joseph G. Weiss: A Personal Appraisal, in (Ada Rapoport-Albert, ed.), Hasidism Reappraised, London and Portland 1996, pp. 3-9.

Esther Liebes, On Joseph Weiss [Hebrew], in (David Assaf and Esther Liebes, ed.), The Latest Phase: Essays on Hasidism by Gershom Scholem, Jerusalem 2008, pp. 313-315.

Shaul Magid, The Correspondence of Gershom Scholem and Joseph Weiss, Between Zionism and Friendship, in The Jewish Quarterly Review (summer 2017) 423-440.

Jonatan Meir, Tiqqun ha-Paradox: Josegh G. Weiss, Gershom Scholem, and the Lost Dissertation on R. Nahman of Bratslav [Hebrew], in Mahshevet Yisrael 4 (2023), pp. 151-206.

Jerry Z. Muller, Professor of Apocalypse: The Many Lives of Jacob Taubes, Princeton and London, 2022, pp. 322-323.

Muki Tzur, Introduction, in (Muki Tzur, ed.), Joseph Weiss: Love Letters to Channa Senesh [Hebrew], Tel-Aviv 1996, pp. 5-19.

Sara Ora Heller Wilensky, A Portrait of Friendship: The Correspondence of Gershom Scholem and Joseph Weiss 1949-1957 [Hebrew], in Proceedings of the Tenth World Congress of Jewish Studies, 3:2 (Jewish Thought and Literature), Jerusalem 1990, pp. 57-64.

Sara Ora Heller Wilensky, Joseph Weiss: Letters to Ora, in (Ada Rapoport-Albert, ed.), Hasidism Reappraised, London and Portland 1996, pp 10-41,

Noam Zadoff, On Joseph Weiss and Gershom Scholem: Introductory Words, in (Noam Zadoff, ed.), Gershom Scholem and Joseph Weiss: Correspondence 1948-1964, Jerusalem 2012, [Hebrew], pp. 10-32.

What a Load of Kreplach!

Kreplach are small dumplings made with minced meat, chopped vegetables, and often a layer of cabbage leaf… and no one likes them! So why do we eat these little dumplings each Sukkot? Where did the tradition come from? And is it really important enough to ruin our chicken soup for?

Kreplach in chicken soup, DMCA, Pxfuel

I remember standing in the kitchen as the smell of boiled cabbage made me gag into the chullent pot, watching my mother roll minced meat in her hands and chop vegetables until she cried. She said it was the onions, but I think it was the long hours of ordering around her 8 children, trying in vain to organize us into teams to either peel potatoes, or help our father build the sukkah.

Since the raising of our stubborn wooden sukkah would come with copious swear words and much cursing, and I was the youngest of the children, my job was always safely tucked away from the violence of the tent poles and into the relatively safe home of the sharp knives and boiling pots of the kitchen. This is why I have such strong memories of the kreplach-making process. While Passover was welcomed with smells of cinnamon from the sweet charoset, and Purim was filled with poppy-seeded hamantaschen biscuits, the ceremonial food of Sukkot was always the kreplach dumplings.

In case your ancestors don’t hail from the shtetls of Eastern Europe, I will enlighten you: kreplach are small dumplings made with minced meat, chopped vegetables, and often a layer of cabbage leaf. Each Jewish mother swears that her way is the only real way to make kreplach – less meat, more meat, cabbage on the inside, cabbage on the outside – but the truth is, even prepared according to meticulous tradition, they never taste all that great. Many people will cook them in the chicken soup broth, whereby they inevitably fall apart and make the soup lumpy and strange. But tradition is tradition!

Woman serving kreplach on Sukkot, 1904, Karte aus dem Tomor – Kalender der Sana-Gesellschaft, Josef and Margit Hoffman Judaica Postcard Collection, the Folklore Research Center, the Mendel Institute of Jewish Studies, the Hebrew University, the National Library of Israel

So why is this a Sukkot tradition? Sukkot is the Jewish festival which arrives less than a week after the High Holy Days, and celebrates the Jews’ faith in G-d. For the week-long festival, Jews build walled huts with roofs made from natural materials, and dwell in these temporary living places. Most practicing Jews eat all of their meals in this hut, and many sleep inside them too. During Sukkot, it is also customary to buy a citron, a palm frond, some myrtle, and willow branches and shake them together in a prescribed manner. The tent symbolizes how Jews are willing to leave their comfortable homes and place their faith in the sustenance of G-d alone, while the shaken salad represents the bringing together of all different types of peoples. Each custom of this holiday is dripping with meaning, and Sukkot comes with many mystical practices and traditions which are carried out with care and joy.

But why the kreplach?! As with most things in Judaism, the answer depends on who you ask.

Kreplach in chicken soup, DMCA, Pxfuel

One reason is a particularly kabbalistic reason. In Kabbalah, it is often believed that the food we eat has a direct impact on our mindset. Instead of the idiom “you are what you eat,” Kabbalah subscribes to the more prophetic “you will be what you eat”. As such, we must eat food which manifests our desired outcomes at appropriate points in the year. On Hoshana Raba, the final day of Sukkot, our fate for the next year is said to be sealed and closed by G-d. Sukkot is part of a triad of festivals known by the terror-evoking name “the Days of Judgement”, and kreplach represent the type of judgement that we would like to receive: full of meat and onions.

In all seriousness, according to Jewish mystical tradition, meat is a food which is said to evoke G-d’s might and power. As a food source, it gives life by energizing us, but it also takes away life (namely the life of poor Curly the Cow), thus meat represents this strong and powerful hand of G-d. Bread, on the other hand, is the most innocent of foods, so long as you don’t have a particular affinity with the plight of wheat. Bread sustains life even in the most desperate of situations, and was a lifeline for the biblical Jews in the desert, hence it represents G-d’s kind and forgiving nature.

The first known instance of “creplech” in an American recipe book, 1901 (p. 70/108), The Settlement Cook Book, compiled by Mrs. Simon Kander, assisted by Mrs. Nathan Hamburger, Mrs. Henry Schoenfeld, Mrs. I. D. Adler, Settlement Cook Book Company, Milwaukee, the National Library of Israel

Taking these ideas together, we eat kreplach on Sukkot to symbolize that G-d’s harsh judgements of us (the meat) should be shrouded in His kindness (the dough). We wish for G-d’s mercy to cover His might and therefore judge us favorably. Moreover, we eat the kreplach in the hope that when we go before G-d’s judgement, He overlooks our most human trait of containing both good and bad like the meat, and sees only our purity and goodness, as characterized by the bread. In fact, a special prayer is even added on Sukkot to ask that G-d’s mercy should overcome His wrath and that He should see our purity, not our tainted personalities.

Children eating kreplach with chicken soup, 1990, Photographer: Danny Lev, the Dan Hadani Collection, the Pritzker Family National Photography Collection, the National Library of Israel

There is, however, another deep idea about kreplach, because even dumplings have meaning in Judaism. Kreplach look like little buns, and it’s only when they are bitten into by an unsuspecting bread-seeker that the hidden meat is revealed. Kreplach are secretive little foods, which makes them apt to eat on what is sometimes called the “hidden holiday” of Hoshana Rabbah, the final day of Sukkot.

Jewish children at camp eating in the sukkah, 1969, the Pritzker Family National Photography Collection, the National Library of Israel

The last day of Sukkot, Hoshana Rabbah, is a bit of a mystery. The day’s meaning is not stated in the Torah, and its practices which range from the slightly abnormal (the congregation paving seven circles around the synagogue while chanting and singing) to the outright bizarre (headless shadows and the bashing of willow branches against the ground until the synagogue looks more like a jungle than a place of prayer) are not explained at all in the Torah. If Hoshana Rabbah isn’t a big enough enigma already, it is certainly made more so by the fact that it’s official culinary sponsor is kreplach.

Triangular kreplach, Slovenčina: Gazdovské pirohy, Peter Zelizňák, Wikimedia Commons

Some attribute kreplach’s significance at Sukkot to their shape. Kreplach are usually formed into three-sided parcels, which are said to represent the three pilgrimage festivals of Sukkot, Pesach and Shavuot. I can already hear you asking “but then why do we only eat them on only one of these pilgrimage festivals if they’re meant to represent all three?” The reason is mainly a practical one. On Passover, when any leavened bread will get you hastily kicked out of the kosher kitchen, it is not the time for a dough-based appetizer. And Shavuot, the other of the three pilgrimage festivals, is a holiday that marks the very start of the wheat harvest. Back in the day, it was fairly difficult to prepare kreplach when your main ingredient was still in the ground! So, of all the three festivals, Sukkot, which marks the end of the wheat harvest, was the only one on which it was both practical and appropriate to make wheat-based foods. After all, wheat is now in abundance! Thus, Jews make the food of the three pilgrimage festivals on this date.

All that being said, many dispute that we eat kreplach due to any of these mystical or traditional reasons. Of course, these meanings add significance to the practice, but they simply may not lend the food it’s true origin story. So, if it’s not due to the holiness of the dumpling, why do we spend so many hours folding the parcels and ruining our chicken soup?

Kreplach marketed by Osem as meat-filled ravioli,   Otto Wallish, Eri Wallish Collection, the National Library of Israel

Well, one reason is that in the Middle Ages, dumplings were an especially popular food all over Eastern Europe. In Polish they’re called pierogi, in Ukrainian they’re called Varenyky, and in Russian they’re called Pelmeni. In many Eastern European cultures, these dumplings were eaten as a festive food on holidays such as Christmas. In fact the very word pierogi, used in much of medieval Europe, comes from the word “pir” which is proto-Slavic for “festivity”.

Because it was common practice to eat dumplings on holy days, the local Jews did it too! The Ashkenazim simply called them kreplach, from the Yiddish words krepp (rounded dough) and lach (little). It was not due to some esoteric teaching that the Jews ate these dumplings, but simply because common practice at the time was to eat dumplings at festivities.

In a time when meat was a rarity and much more prized than today, families would have to make meat stretch to many hungry mouths during big festive meals. And portioning it out into dough parcels was a great way of doing that! Never was this truer than at Sukkot! After a full season of High Holidays, the Jews of old, much like the Jews of today, looked at their wallets with despair. In lieu of buying new ingredients, they had to use what was left over from the previous Tishrei festive meals. Namely, challah dough and scraps of meat. And what can you make with challah dough and scraps of meat? Yes, that’s right! Kreplach!

Men eating kreplach in the sukkah, Photographer: Lev Utevzkiy in the court yard of the Leningrad synagogue, 1988, the Leonid Nevzlin Center for Russian and East European Jewry, the Hebrew University of Jerusalem, Institute of Jewish Studies St. Petersburg, the Pritzker Family National Photography Collection, the National Library of Israel

Even the custom of boiling them in the chicken soup rather than cooking them in oil was a novel way to save money on cooking supplies. So the tradition caught on – Jews would take wheat, which was abundant at this point in the agricultural year, and grind up the last of their leftover meat, and stick it in their bubbling pots.

This is not to say that kreplach have no meaning. Firstly, the great Rabbis teach that “minhag Yisrael Torah hi” – which means that tradition and custom are no less the word of Torah than biblical laws are. Further, significance is brought to traditional Jewish foods from the fact that our culture has been making kreplach for centuries – this in and of itself is a lineage to pass down. As with most things in life, it’s the thought that counts. If you eat the kreplach with the ideas of compassionate judgement in your mind, or commemorate the hidden nature of the festival through this food, who can tell you that you’re wrong? Meaning is man-made, after all!

The first known written mention of “creplich” outside of Eastern Europe, London, 1892, Children of the Ghetto A Study of a Peculiar People, Israel Zangwill p. 116/61, Detroit, Wayne State University Press, the National Library of Israel

Now I’m all grown up and no longer living with my mother, or her huge cooking pots. In fact, with my own daughter on the way, I must decide which Jewish traditions I wish to pass down to her like my mother before me. I had always thought that maybe I would spare her the cabbage-rich stench of the kreplach tradition, but after all this contemplation, I don’t think I will!