SmallTalk: Haggadah Shel Pesach Siach Yitzchak (with Rabbi Isaac Rice)

Welcome to small talk by Sforam Chatter. I'm Nakhine Weinstein

On this episode of small talk I'm going to be joined once again

But I have a Isaac Rice who's the Robin and she has it in Yulid in the five towns and

This episode will be discussing the new edition of the God of Shopeys a sea a chishek which you please cook melts on the author of

Shopeys a Shabbos also the sea a chishek

Commentary and Fula in the East Asia-Stral Sitter may be well known to listeners from that and he also has a haggard a sea a chishek so this haggard was

edited and

By Rabbi Rice and published through Mossad a rough cook. So thank you Rabbi. So join me once again on the podcast

Thank you for having me

What can you tell listeners about this haggard a sea a chishek and the new edition?

The haggard a sea a chishek was printed by Rev. Malson

Around the turn of the 20th century 1905 1906 around then and since then it was never properly redone

There was just off-set type tagging that was done and then I think maybe 20 years ago there was a

Haggadah, Haggadah, Braha Shullam that had the grah along with this as well

But they didn't no corrections were made they just took the text and didn't change anything

I myself was looking for

A copy of this haggard for for my own use and I couldn't find them anywhere. It was out of print

Nothing was available and I guess selfishly I decided that I

Wanted to go through it and go through it carefully and that turns into me

Thinking that would be a beneficial to else for other people to have access this haggard that was not

Really around that much. It really is an incredible

Haggadah as hopefully we'll be able to talk about for a few minutes

But everything was re-times set a corrections a lot of the haggardah was out of order and the original printing and we had to reorder everything in the right way

We added all the marmokamos correct it mistaken marmokamos

Aros to explain places where things needed a bit of background explanation and

Went to Malsonov cook because they have a big interest in

Printing far from from the base managed to the grah. I think they've already done

The ganyada and it's a guy's a clever other have been as well

I thought it was a bit fit and they they agreed as well

Divershallah, I'm told the southern was the guy that was mentioned in others

I do want to point out though because I mentioned to you off air that I mentioned this to a couple of friends that are interested in

New editions of Svaram a particularly type of Svaram those editions of Svaram were

Bare you know, they were just literally

Reprints that was not you know new fans, but nothing else done to them whatsoever

So the assumption when this one came out and it's as if when we're recording it's not an America

Maybe we'll be maybe won't it's on a sort of cook website a presumably available in a show

But regardless this one when people wanted to oh must be the same thing they just retyped set

They didn't do anything that's not true because this one you edited. So this one is was actually

You know edited by you worked on by you and then published through most out of cook

So although it looks the same. There is an introduction here. There is meaning to hold us in the month your short introduction

Told us of the Machabra which we'll discuss briefly

There's also his introduction which we can talk about and you added the artist there of a Baron Lopianski as well as

Throughout the Agada's yet many corrections and you have there's footnotes mainly focusing on all the sources and corrections

But also some footnotes here there. So actually this is a real new edition newly edited. Okay, all right

Hopefully it's a real

It's a cover for the nifter in the sense that it's really being

Mechanical him and really something that will be a

Hatika wireless cabin

Absolutely, let's talk about his meltson. As you mentioned the Bamakhabra Shrista Shabbos is the

Morsosyeh Kitsukh in the Yashosidir

He is from Mipis Madrasheh, Shalagra, Tameedaya, Tameedaya Hagra, his father, his small meltson is known as the Evan Shlamer

That that's probably well known. So if you want to talk about him and his little bit of a biography about him

Sure

The we I didn't publish a biography in the introduction. I did actually try to get people who have expertise in

Me the Shodhayashan people who you know are very familiar with that historical time to write a new biography

Just wasn't meant to be so in the end I took the biography from to us. I'm a sir from Rovedo cats with permission of

Rovedo cats with son. I think it's the Rovedo Maladu Mem and

We took the introduction also added a lot from other sources and tried to fill in to give them more complete to a story

The basic biography is as follows. He was born in Sfluska in the mid 1800s

His father was the magnet of the city often the Evan Shlamer

You know collects all the teachings of the Ghra

His father was about khush of the Tavakham, you know Shamayam as well and from his father

He got a lot of the Darakh of the Ghra and really became his foundation and learning and unhugged through his life

Uh now Rizag Nelson was obviously too young to be counted amongst the early Talmud of Rizal Salantar

But he really became one of the more

influential later Talmud of Rizal Salantar and the Rua Khamasir

And he was a bakhur. He learned Talmud from Rizal Mem and he got smith from him when he was a late teenager

Connected him to the rest of his life and even I think he'd been lived together. He was a machanish him for a certain amount of time

And by the account he was there at Rizal as a bedside at the time of his Patira

After he got married he learned for a time in different columbe

He learned in the Nusselvalka Golal

He became the Dian of Kalm at a certain point and he would sell Svaram and I think Shmer Matsa

as well in order to

Make maintain a Parnassan

He Dom learned in the very summer in Kalm. He was close with the Altar in Kalm

Eventually went to Razim so he could take care of the Khimakh of his sons

He was uh the Bochain in the Khavitschheims, Yashiva

And he had by all accounts the most extraordinary bikias

You can look in the just look in the Haggadar the Ma'am of Kalmosee quote somewhere all over all Rizhaz all over Rizal him

Um and they say the shame Rizal that when Rizag Nelson was present

He didn't eat any other Svar

He had everything Halaf, Adal, Musar, Mahshava

Everything there um and uh they sent a name over of Cook

Of Cook said Ratsun, Yereya, Yasa

Um applies to uh applies to Rizag Malsin

That Shem does everything Shem listened to him and paid attention to his dawning

Um he spoke, wrote about Amuna and he used the scientific writings to show that you have to clarify Amuna as well

And he authored a minor called Svaisama

He's talking about the Wismukhazal and Torres Strait, a lot of essays as well

Um and at least Delvin and Amuna and um

Making sure the people understood in Karamuna

And uh talking about the importance of Shambas

And Midos Tovos, Ashman and Efech

Uh when he saw there was a laxity in Shmer Shambas

He wrote a whole safer uh called Ashorus Shambas

About Shambas is the removal of Kudusha

And the gravity of Khil Shambas

And he wrote the Safer Shisha Shambas, which was really a monumental work

That was used by uh many all the posts that were in the 20th century about the about the Lamentas Malachos

Um and he wrote a Safer called Duthe Khavirim about the influence of friends and neighbors and proper literature

Uh small Safer called Sainal Emishna

About to get people learning Mishnais

Whenever he saw there was an issue

He wrote a Safer and that was his thing

And probably most famously the Siyachitsak on the center

Um and the Hagad as well as that we'll talk about

He first published the ride with Tavandayam

Uh he published the addition of the Ramfals Darakh Hashem

I think his Hakhadum is the source of the famous Shum of Hashem the Gra

That Mishnais Shambas and Arksha were until the 11th chapter

A lot of Shum of Hashem the Gra and the Ramfals are there as well

Um and uh again you're a Shaman Tikranamidos

Uh even the Nanjus and Kel Vyudamas at Saddek

Who gave Brakhos

He eventually made his way to Ertsasrel

Um and he moved there together around the time he published the Havir

Got there as well

He lives in Mishalayam from Svaram for Parnasa

Uh taught in the Shia of the Saischayam

Uh but really probably one of the more tragic parts of his life is that his children

Uh did not stand the path of Tavandayamidos

Uh one son left Yerashkite and he brought the other Shum of Hashem

Hopefully uh thinking that they would remain from

If they went to Hashem and that did not happen as well with the second son

Um and he was actually very sharp very very sharp

He uh the stories and he told us

His son's friends

Not to play with his son

Because he was having a bad influence on them

I'll tell you the truth when they don't they use very sharp stories about him

Um a sign of hope to not want me to uh to publish uh those stories in the uh

In the biography they originally wanted me to uh to take them out

But I said uh it's important to keep them in because you if you go through the Havir

You'll see his his sharpness and his Mita

M.S. is his personality when he writes sharply he he he practice what he preached he uh

He very much uh lived his life this way and uh I think on the day before he passed away

He told the Akamoshah al-Ab that he wanted sort of a biography of his red b-ro satsal answer

But never came to be and he passed away in his sixties and he's buried on not unharazation

Okay, so let's focus on the Agada of all his farm

What style is the commentary?

It is I would say the most litzvisha, perish and agada that might have ever been printed

It is a mix of ramban, rambam, rambhal, ghrah, dhubna maggid

Longer pieces and mammaryment hashqaf and amuna

shorter pieces as well

He also collects there's a big liquid as well from godolay litzah, the ghrah, the khayad

Darshan and magidim of Lithuania as well

The main style, the main purpose of Agada is to teach amuna through sibrancy as of time

Which is the main midst of the night and he does it. He's very very

careful in what he chooses. We can talk about this a little bit more later on

Very careful and how he chooses it the way he writes it

The style is again of this basementish of the ghrah dhuramchal

It it's almost like a precursor uh to the style of

Revedavikon from chevrum, this mixture of rambhal and ghrah and

Bring them together

In one in one in one piece together

The dhashqaf of amuna all in one all in one location

Do you have any examples that you want to

Yeah, for sure um well again, there's the the hakadama the hakadama is a piece until itself

The minute we could talk about that afterwards

um

There are oh, let's see the the i think let's do the first piece the first piece on halaf mania

He says you know, this is the lachem that our obos aedmatryem

rashin aramban

Say that it's the bread the reminds us of the inoy the sorrows of the lachans

The mamash the meager of food they had to live on and by speaking of this lachemoni

We're also bechansic those people whose hearts feel better than they say no new

What's the simcha? We're still in gullas. What are we so happy over here?

By the l alsader so he says the truth is

Like the kuzari points out that the Indian of shams itself is that it's it's a matanatoga and without it

The poor Jew would never have a day of manucha or or clean clothing to wear and calvachomoranyantif and especially in lalpsah

When everyone mamash everyone scrubs and cleans and washes and prepares their homes to the highest degree and even

The only should be Charles giving all his needs

Talakoso's matsus whatever whatever else he needs for the sater and he sits you know, but say but the simcha

Because i'll say in the gammaran shams that any midst of that client shal accepts the simcha

We continue to do the simcha and that's exactly what happened with the mitzos of alpsah

Throughout the generations the Jewish people are most beneficient the sater properly

Belief shalame and even those people went into the army or sent far away in gullas try not to miss a little sater

And not like shabas he says which already he says he's writing he writes very

Contemporary about what's going on in the mid-bar people were already mahalbe gong at to collect you know man

So sushabas always has more nassianos he says, but we say halach mania we're pointing out the haşgacha of the voneshola

After more than three thousand years we're still eating the same mats are obosate the same mitzva the same taste of gula

And even someone who's hungry the whole year on that night

Also sits by seba and he joins the simcha and therefore we say

Because even the poorest Jew is given everything he needs for paysoft

And that is also part of the miracle the Jewish people in the hummus night that we all come back to al-Hal-Seder and for one night

Everyone has this opportunity to tap into that. So again, kuzari

Rambam rambam, you know bringing all these

You know pieces together to give a mahalach in the poshab shot of the sater through through armoona

Okay, now we can turn to the intro

Psychek el alas levar inin gollus msryam vamistayif misa

What's the it's a lengthy introduction. So what's the introduction about?

I thought the length you know people are we the people complain they get al-Hal-Gadah and then they're done with after the first days of case

And then they don't know to do over paysoft for the rest of the last six or seven days

So at least with this i got you can read the biography

I'll take you at least you know

A half of there something and then the Hgadama Hgadama should take a person at least for the rest of paysoft

It is a long mimer hangos msryam and this the introduction

Rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam rambam

Before because he felt there was a lot to say over here

And he goes through and rejects the number of the classical reasons

until he gives his own understanding about the purpose of Gullis and Gullis and Gullis

and Shrein.

And he says, the Indian of Y. Cli, so I had to go down to Mithraim, it was discussed by

Kazal in the farch of many ways.

And he says that there's the question of Avram's Bamaida, that the rush says the Pustin

tells this, because Avram said, you know, what's going to happen?

I got to know.

And that's where he was punished.

So there he then rejects that, because how could the children suffer because of the

question of their father?

And he talks about the view of the Sparno and the Medrushna that Gullis came because of

the sins of Cli's from Mithraim.

And he goes on to reject that as well.

And the Safer Misa Hashem, which he quotes a number of times, sort of, I think, Ravashkanazi,

he quotes a number of times as well, that it was actually a basura tovah to Avram.

It was actually, it was a good thing.

Gullis is a good thing, and this is Avram's deepest ruts on, that Hashem's presence be revealed

to his children.

And he gives a muster approach.

It was Hachana to prepare them for Kabbalah, Satohra, to teach them humility, like the

Balakadah says in the Shlah.

And then he ends, and he kind of settles around the reason of the al-Sheikh and the Mukubalim

that it was to purify from the Zuhama of the Khaitat of the Marishon.

And early generations, humanity was too coarse to have Gilushrinah and the Gullis served

as a Korhab Barazel to separate the Gull from the dress.

And he concludes that they all come down to the essentially basic idea.

The essential purpose of Gullis was the purification and the preparation of Matatohra, the form,

the length, the harshness, the timing, that was shaped by the choices and the shortcomings

of the nation.

And it goes on to give a just a beautiful mimer on the purpose of Gullis, or so to take

out of Gullis, to try him, and also in general, every Gullis unto itself.

You mentioned that Raralapianci gave Shurim, and in this haggar that you have haggaris,

and some of the notes there from Raralapianci, each note that's from a baron is noted at

the beginning, that it's from a baron.

The other notes and the footnotes are from you.

But where did these footnotes from Raralapianci come from?

Raralapianci gave Shurim on this Haqdamba, I think, a number of times.

And I transcribed his comment, not his translation of reading it, but his comments, what he had

to add to it.

And then Raralapianci looked over the aros and gave us okay that they reflected his intention

properly.

And it was being supposed to be able to participate in extra harbatsas as hard to have his comments

to really, you know, Raralapianci style, which he takes off in ideas that seem to be,

you know, now contemporary inherently, and he shows them how they fit in a contemporary

way in a practical, meaningful way for anybody who's learning that text.

Any other examples, interesting points that you want to mention for the listener?

Yeah, I would say the issue on the title page, not the title page on the side of Cook,

but the original title page that we put there, and also we tried to put the, as we kept

in size well, the red ink cover from the original print.

I really originally wanted to have a exact copy of the red ink on the cover, but that

was not, that was not meant to be, but we have the red ink cover from the original

print.

So if you look in the Haktama there, so he actually notes that the Haganah is three

parution woven into one.

Hashtay Hashem, which is talking about Hashem does Hashem, by the taste of time in every

generation.

Mahose Amuna, where a person can find a strength in knowing that Hashem is with them and doesn't

abandon us in Gula Salaman that the Gula of Kutstrayim continues for all generations.

And all three of those titles are titles in the Haganah to let you know that this is

a section of the other one of those three things.

But again, they're all woven around the ultimate theme of Amuna and seeing Amuna through the

story of Hitsy Asim Chayim.

It is really the Haganah, it is really a lycheele form of telling the story of Amuna and Hitsy Asim

Chayim.

It's not about a personal Gula or, you know, Pops psychology or it's not about different

ideas about Hoshkafe, it really sticks to the mitzahs of Lel Sayder.

I'll tell you how exact he is in his parish.

I originally thought that maybe I should take the pieces to supplement the pieces of

Halel from the C.S. It's like Siddhar and add them here where he didn't say anything.

And then when I went to those pieces and I went through them carefully, I realized that

no, he was very particular.

Every single piece that he chose on Halel, even Bencheng, was carefully orchestrated and

written for his theme of Gula, Chastey Hashem, Amuna for Lel Sayder.

And if you look at the pieces in the Siyach Hitsy Asim Chayim, so you'll see, they had nothing

to do with this theme.

They're talking about something else.

It doesn't fit the theme of Lel Sayder and therefore, obviously, he did not include

it because there are times in the Haggata where he does cite things he says in the Siddhar.

He was aware of his Siddhar and his Haggata.

So that indication of what he chooses to put in, by non-including pieces of Halel from

the Siddhar, and having other people, as well, shows how careful Ravitsa Gamelisin was,

in his approach in every single piece being balanced and chosen before the Lel Sayder.

And again, he writes very sharp and certain areas, I'll note, his piece by the Russia is

a very, very sharp piece about the struggles of the time.

Now, that actually was originally printed under a pseudonym in Hapellis.

I discovered this when I was living in the Marimo Combos.

This was published in a pseudonym in a, in a, in a, in a, in a, in a Torah, you know,

Newspaper in Artsundan, which, lying wherever it was, and he deals with a lot of the contemporaries.

It's an extremely contemporary Haggata about struggles with that moon of challenges and

it means to be a gullus, and he quotes in all different types of sources and all different

types of places really to bring that, that less than home in the best, in the best possible

way.

But you mentioned Halel, because it's interesting.

There's one piece on Halel in the Haggata, that's an interesting piece.

We talk about the gear, and he talks about stories that he heard.

It's actually.

Yes, that's it.

It's a typical piece.

There's a lot.

He's in a lot of interesting stories.

He has stories from the sandsofer and he's all interesting things that he's heard that

he felt connect stories about Zarin, Russia, and things and miracles that happened, very,

very interesting things.

So we tried to go back to the original Alarm of Combos to correct, you know, mistakes

and, you know, have the full text and all the things that we thought were important.

Who do you say this Haggata is meant for?

I'm not going to sit here and say that Haggata is for everybody, as some people would

want to say, it's not for everybody.

You definitely need to have a background, you know, in learning, you have to be able to

go through, you know, understand, you know, back and had a read, not a simple, not necessarily

a simple Hebrew.

It, like I said in the beginning, it is, again, do I think anybody can bend it from

the Torah for sure, but it is, it is a real litus of Haggata, meaning if a litfac was

going to, you know, design a personal Haggata and on Zarin, it would be, it would be this

Haggata from the sources he chooses how he develops the Degrees Torah, Ammonia, it's

the Triumph.

There's no Vartlach really building up a real, really, a Torah Dic and Ammonia Dic approach

to the Triumph and Ammonia and Google.

All right, I guess I should learn the Haggata then if it's meant for litfac.

So the Haggata is almost out of Cook's website, it should be available in this role.

And maybe it'll be available in America, if it's available and I find that before, I'll

try to put in the show notes, but hopefully it will be, but if not, it'll be available

down the road and after pay sign.

Yeah, I have two or three copies left myself, so if anybody wants to, if I have anything

else, anything else left, I'm happy to, to, to, to, to, to give, or give what I have.

Right, they can kind of thank you, I can purchase it and, and whatever.

Yeah.

One final question, I guess, as an, as an aside, this one you published it through

most out of Cook, was that because, I think you, you mentioned at the beginning, but

just to reiterate, you decided because this goes well with their catalog of base

measure, shall I grow?

Correct.

So when you're looking to publish Haggata, you want somebody to take it.

And I thought it would be a relatively easy sell for them because it was on their base

measure.

And they have wide appeal.

They publish and distribute everywhere, so that's why I went with most out of Cook.

Okay.

Well, thank you, Robert Rice, for joining me once again.

Thank you so much.