A Passover Tale

Exodus and the Crossing of the Red Sea wall painting
from the Dura-Europos Synagogue, Damascus, Syria, third century 

The Jewish spring holiday of Pesach, Passover, or the Feast of Unleavened Bread, begins on the 15th day of the month of Nisan, the first month in the Hebrew calendar's festival year, on the night of the full moon after the vernal equinox. This year, the eve of Pesach is celebrated on Monday, April 14.

A legend tells us that at the very moment the children of Israel went into the Red Sea, Mount Moriah began to move from its place, along with the altar for Isaac that had been built upon it. The whole scene had been arranged before the creation of the world. Isaac was bound and placed upon the altar, and Abraham raised his knife.

Far away, at the Red Sea, God said to Moses, “Moses, My children are in distress, the sea is blocking their path and the enemy is pursuing them, and you stand so long praying?” Moses asked God, “What should I be doing?” God said, “Raise your staff!” Moses lifted his staff, the waters of the Red Sea parted, and on Mount Moriah the voice of the angel went forth and said to Abraham, “Do not raise your hand against the boy, or do anything to him” (Gen. 22: 12).
(A midrash from Mekhilta de-Rabbi Ishmael)

The two events, the Parting of the Red Sea and the Binding of Isaac, do here not take place along the timeline of history, but are synchronistically juxtaposed.

In both cases, God tells his earthly representatives to raise the knife or staff:

In the one case, God asks Abraham to reaffirm their covenant by the sacrifice of the son. The actual deed of sacrifice to the gods is then exchanged for its symbolic representation, which is a significant stage in the process of civilization and acculturation.

 In the other case, God tells Moses to stop praying and raise his staff, to do the actual deed of parting, of dividing, of differentiating the sides, which is an essential act of consciousness (separating this from that, for instance to know good from evil).

Both take place simultaneously. The one does not follow the other, and one does not take place at the exclusion of the other. The sacrifice, not as a concrete deed but as a meaningful reaffirmation of the transcendent dimension, beyond the acts of the ego, enables depth and soulfulness. However, consciousness and the actual deeds of humans in the realm of ego-reality, are equally necessary, and required for the manifestation of the soul.

From the Haggadah of Arthur Szyk

The following are excerpts from the novella Requiem: A Tale of Exile and Return (also available in Hebrew as חזרה: סיפור של גלות ושיבה):

. . . .

Truth was, Shimeoni essentially agreed with Derrida on many points, such as his interpretation of Abraham’s covenant with God of circumcision.

The Divine Father’s archetypal scar inflicted by generations of fathers of the flesh on generations of consent-less Jewish boys seemed to Professor Shimeoni, as indeed to Derrida, to be a repetition-compulsion, rather than the profound internalization of memory.

He recalled Yosef Hayim Yerushalmi’s epic work Zakhor, wondering if the Jews don’t merely repeat the trauma when they cross the desert every Passover – outside of the Land of Israel even repeating the hegira a second night, perhaps to ensure that the Jews of the Diaspora do arrive to the Promised Land...

“Does not compulsive repetition constitute the dangerous engine of fundamentalism?” he wondered, “in contrast to an enlightened process of internalized memory, in order to liberate the trauma.” Is this not the very opposite of that monumental cultural transition when the knife is taken out of Abraham’s hand, turning the actual, concrete sacrifice of Isaac into the acculturated representation by his Binding, the akedah?

The knife need not actually cut, in order for man to humbly bow before the transcendent image of God. Shimeoni adhered to Einstein’s view of God, as when he says that the religious attitude is the knowledge and emotion “of a knowledge of the existence of something we cannot penetrate, of the manifestations of the profoundest reason and the most radiant beauty,” and when he expresses his belief in the God of Spinoza “who reveals himself in the orderly harmony of what exists, not in a God who concerns himself with the fates and actions of human beings.”

. . . .

Truly, he repeated to himself, the binding of Isaac signifies this striking cultural transition from literalness to symbolic representation.

God told Abraham there is no need for complete sacrifice, only a sacrifice of the complete (shalem), in order to be seen (yireh), to be recognized, to be named, to become completely human. He will suffice with sacrifice-by-proxy.

Rather than being trapped in the harsh reality of actual deed, reality can be transformed into images; rather than slaying the flesh of the son, the soul can expand by the creation of images that represent reality. By substituting the sacrificial animal for the actual son, the story of the akedah represents the separation of meaning from act, which is essential to culture and civilization.

But war is the destruction of representation and civilization, said Eli to himself, thereby arguing with Heraclitus that War is the Father of All. The tragedies on the battlefield are all too real and irreversible, and the essence of trauma of battle and war and Holocaust, is the loss of the representative symbol – all that remains is the hellish repetition of trauma.

. . . .

Nothing represents the loss of symbolization more than the survivor from hell who holds on to a dry slice of bread. In hell, there are no mirrors and no images, no images in the mirror, only the bare walls of suffocation. In the cruel reality of war, the knife is raised and the angels circle above, repeatedly descending, attempting to divert the hand that holds the knife from descending upon the son, until the angels have all gone, and the son is no longer bound but sacrificed, the knife ripping out the soul of life and Isaac laughs no more.

Happy Easter - Happy Passover!

Erel Shalit's books can be found at Amazon, Barnes and Noble, and at Fisher King Press.