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Hilchot Tefilla - Shirat Hayam as a Literary Text
The Shirat Hayam is the midpoint of Sefer Shemot; it mirrors the beginning of Shemot
The Song of God as Triumphant King
- A poem is neccesary at this point in the story, to provide emotional exultation and a needed break before the next phase of Israel's yourney. It sets off the Egypt traditions from those of Sinai and the wilderness, and brings to a spectacular close the saga of liberation
- The Exodus has revolved around who shall be king: God or Pharaoh and who shall be served. This is no longer an issue. The victorious God can now be acclaimed as king
[Everett Fox]
(יט)כִּ֣י בָא֩ ס֨וּס פַּרְעֹ֜ה בְּרִכְבּ֤וֹ וּבְפָרָשָׁיו֙ בַּיָּ֔ם וַיָּ֧שֶׁב ה׳ עֲלֵהֶ֖ם אֶת־מֵ֣י הַיָּ֑ם וּבְנֵ֧י יִשְׂרָאֵ֛ל הָלְכ֥וּ בַיַּבָּשָׁ֖ה בְּת֥וֹךְ הַיָּֽם׃ {פ}(כ)וַתִּקַּח֩ מִרְיָ֨ם הַנְּבִיאָ֜ה אֲח֧וֹת אַהֲרֹ֛ן אֶת־הַתֹּ֖ף בְּיָדָ֑הּ וַתֵּצֶ֤אןָ כׇֽל־הַנָּשִׁים֙ אַחֲרֶ֔יהָ בְּתֻפִּ֖ים וּבִמְחֹלֹֽת׃
(19) For the horses of Pharaoh, with his chariots and riders, went into the sea; and ה׳ turned back on them the waters of the sea; but the Israelites marched on dry ground in the midst of the sea.(20) Then Miriam the prophet, Aaron’s sister, picked up a hand-drum, and all the women went out after her in dance with hand-drums.
These verses following the Shira, indeed mirror back the beginning of Sefer Shemot:
וַיְצַ֣ו פַּרְעֹ֔ה לְכׇל־עַמּ֖וֹ לֵאמֹ֑ר כׇּל־הַבֵּ֣ן הַיִּלּ֗וֹד הַיְאֹ֙רָה֙ תַּשְׁלִיכֻ֔הוּ וְכׇל־הַבַּ֖ת תְּחַיּֽוּן׃ {פ}
Then Pharaoh charged all his people, saying, “Every boy that is born you shall throw into the Nile, but let every girl live.”
(ג) וְלֹא־יָכְלָ֣ה עוֹד֮ הַצְּפִינוֹ֒ וַתִּֽקַּֽח־לוֹ֙ תֵּ֣בַת גֹּ֔מֶא וַתַּחְמְרָ֥הֿ בַחֵמָ֖ר וּבַזָּ֑פֶת וַתָּ֤שֶׂם בָּהּ֙ אֶת־הַיֶּ֔לֶד וַתָּ֥שֶׂם בַּסּ֖וּף עַל־שְׂפַ֥ת הַיְאֹֽר׃(ד)וַתֵּתַצַּ֥ב אֲחֹת֖וֹ מֵרָחֹ֑ק לְדֵעָ֕ה מַה־יֵּעָשֶׂ֖ה לֽוֹ׃
(3) When she could hide him no longer, she got a wicker basket for him and caulked it with bitumen and pitch. She put the child into it and placed it among the reeds by the bank of the Nile.(4) And his sister stationed herself at a distance, to learn what would befall him.
The Shirat Hayam is also a foreshadowing of the future
מקדש ה׳ כוננו ידיך. כאמרו "וְעָ֥שׂוּ לִ֖י מִקְדָּ֑שׁ... כְּכֹ֗ל אֲשֶׁ֤ר אֲנִי֙ מַרְאֶ֣ה אוֹתְךָ֔" [שמות כ״ה:ח]
מקדש ה׳ כוננו ידיך, a veiled reference to the sanctuary which G’d would instruct the Jewish people to build for His Presence in Exodus 25,8-9. [G’d’s stating the sizes, furnishings, and materials this Sanctuary would be made of makes it equivalent to He Himself having constructed it. Ed.] Also David, in Chronicles I 28,19 spoke about his having received the details of the blueprint of the Temple to be built by his son Solomon from G’d, proving that G’d Himself considered this as His permanent residence on earth.
The Text and Structure of the Shira
(א) אָ֣ז יָשִֽׁיר־מֹשֶׁה֩ וּבְנֵ֨י יִשְׂרָאֵ֜ל אֶת־הַשִּׁירָ֤ה הַזֹּאת֙ לַֽה׳ וַיֹּאמְר֖וּ לֵאמֹ֑ר אָשִׁ֤ירָה לַֽה׳ כִּֽי־גָאֹ֣ה גָּאָ֔ה ס֥וּס וְרֹכְב֖וֹ רָמָ֥ה בַיָּֽם׃ (ב)עׇזִּ֤י וְזִמְרָת֙ יָ֔הּ וַֽיְהִי־לִ֖י לִֽישׁוּעָ֑ה זֶ֤ה אֵלִי֙ וְאַנְוֵ֔הוּ אֱלֹקֵ֥י אָבִ֖י וַאֲרֹמְמֶֽנְהוּ׃ (ג) ה׳ אִ֣ישׁ מִלְחָמָ֑ה ה׳ שְׁמֽוֹ׃ (ד) מַרְכְּבֹ֥ת פַּרְעֹ֛ה וְחֵיל֖וֹ יָרָ֣ה בַיָּ֑ם וּמִבְחַ֥ר שָֽׁלִשָׁ֖יו טֻבְּע֥וּ בְיַם־סֽוּף׃ (ה) תְּהֹמֹ֖ת יְכַסְיֻ֑מוּ יָרְד֥וּ בִמְצוֹלֹ֖ת כְּמוֹ־אָֽבֶן׃ (ו) יְמִֽינְךָ֣ ה׳ נֶאְדָּרִ֖י בַּכֹּ֑חַ יְמִֽינְךָ֥ ה׳ תִּרְעַ֥ץ אוֹיֵֽב׃
(ז) וּבְרֹ֥ב גְּאוֹנְךָ֖ תַּהֲרֹ֣ס קָמֶ֑יךָ תְּשַׁלַּח֙ חֲרֹ֣נְךָ֔ יֹאכְלֵ֖מוֹ כַּקַּֽשׁ׃ (ח) וּבְר֤וּחַ אַפֶּ֙יךָ֙ נֶ֣עֶרְמוּ מַ֔יִם נִצְּב֥וּ כְמוֹ־נֵ֖ד נֹזְלִ֑ים קָֽפְא֥וּ תְהֹמֹ֖ת בְּלֶב־יָֽם׃ (ט) אָמַ֥ר אוֹיֵ֛ב אֶרְדֹּ֥ף אַשִּׂ֖יג אֲחַלֵּ֣ק שָׁלָ֑ל תִּמְלָאֵ֣מוֹ נַפְשִׁ֔י אָרִ֣יק חַרְבִּ֔י תּוֹרִישֵׁ֖מוֹ יָדִֽי׃ (י) נָשַׁ֥פְתָּ בְרוּחֲךָ֖ כִּסָּ֣מוֹ יָ֑ם צָֽלְלוּ֙ כַּֽעוֹפֶ֔רֶת בְּמַ֖יִם אַדִּירִֽים׃ (יא) מִֽי־כָמֹ֤כָה בָּֽאֵלִם֙ ה׳ מִ֥י כָּמֹ֖כָה נֶאְדָּ֣ר בַּקֹּ֑דֶשׁ נוֹרָ֥א תְהִלֹּ֖ת עֹ֥שֵׂה פֶֽלֶא׃
(יב) נָטִ֙יתָ֙ יְמִ֣ינְךָ֔ תִּבְלָעֵ֖מוֹ אָֽרֶץ׃ (יג) נָחִ֥יתָ בְחַסְדְּךָ֖ עַם־ז֣וּ גָּאָ֑לְתָּ נֵהַ֥לְתָּ בְעׇזְּךָ֖ אֶל־נְוֵ֥ה קׇדְשֶֽׁךָ׃ (יד) שָֽׁמְע֥וּ עַמִּ֖ים יִרְגָּז֑וּן חִ֣יל אָחַ֔ז יֹשְׁבֵ֖י פְּלָֽשֶׁת׃ (טו) אָ֤ז נִבְהֲלוּ֙ אַלּוּפֵ֣י אֱד֔וֹם אֵילֵ֣י מוֹאָ֔ב יֹֽאחֲזֵ֖מוֹ רָ֑עַד נָמֹ֕גוּ כֹּ֖ל יֹשְׁבֵ֥י כְנָֽעַן׃ (טז) תִּפֹּ֨ל עֲלֵיהֶ֤ם אֵימָ֙תָה֙ וָפַ֔חַד בִּגְדֹ֥ל זְרוֹעֲךָ֖ יִדְּמ֣וּ כָּאָ֑בֶן עַד־יַעֲבֹ֤ר עַמְּךָ֙ ה׳ עַֽד־יַעֲבֹ֖ר עַם־ז֥וּ קָנִֽיתָ׃ (יז) תְּבִאֵ֗מוֹ וְתִטָּעֵ֙מוֹ֙ בְּהַ֣ר נַחֲלָֽתְךָ֔ מָכ֧וֹן לְשִׁבְתְּךָ֛ פָּעַ֖לְתָּ ה׳ מִקְּדָ֕שׁ אדושם כּוֹנְנ֥וּ יָדֶֽיךָ׃ (יח)ה׳ ׀ יִמְלֹ֖ךְ לְעֹלָ֥ם וָעֶֽד׃
(1) Then Moses and the Israelites sang this song to ה׳. They said:
I will sing to ה׳, for He has triumphed gloriously;
Horse and driver He has hurled into the sea.(2) ה׳ is my strength and might;
He is become my deliverance.
This is my God and I will enshrine Him;
The God of my father’s [house], and I will exalt Him.(3) ה׳, the Warrior—
ה׳ is His name!(4) Pharaoh’s chariots and his army
He has cast into the sea;
And the pick of his officers
Are drowned in the Sea of Reeds.(5) The deeps covered them;
They went down into the depths like a stone.(6) Your right hand, ה׳, glorious in power,
Your right hand, ה׳, shatters the foe!(7) In Your great triumph You break Your opponents;
You send forth Your fury, it consumes them like straw.(8) At the blast of Your nostrils the waters piled up,
The floods stood straight like a wall;
The deeps froze in the heart of the sea.(9) The foe said,
“I will pursue, I will overtake,
I will divide the spoil;
My desire shall have its fill of them.
I will bare my sword—
My hand shall subdue them.”(10) You made Your wind blow, the sea covered them;
They sank like lead in the majestic waters.(11) Who is like You, ה׳, among the celestials;
Who is like You, majestic in holiness,
Awesome in splendor, working wonders!(12) You put out Your right hand,
The earth swallowed them.(13) In Your love You lead the people You redeemed;
In Your strength You guide them to Your holy abode.(14) The peoples hear, they tremble;
Agony grips the dwellers in Philistia.(15) Now are the clans of Edom dismayed;
The tribes of Moab—trembling grips them;
All the dwellers in Canaan are aghast.(16) Terror and dread descend upon them;
Through the might of Your arm they are still as stone—
Till Your people cross over, ה׳,
Till Your people cross whom You have ransomed.(17) You will bring them and plant them in Your own mountain,
The place You made to dwell in, ה׳,
The sanctuary, O my lord, which Your hands established.(18) ה׳ will reign for ever and ever!(19) For the horses of Pharaoh, with his chariots and riders, went into the sea; and ה׳ turned back on them the waters of the sea; but the Israelites marched on dry ground in the midst of the sea.(20) Then Miriam the prophet, Aaron’s sister, picked up a hand-drum, and all the women went out after her in dance with hand-drums.(21) And Miriam chanted for them:
Sing to ה׳, for He has triumphed gloriously;
Horse and driver He has hurled into the sea.(22) Then Moses caused Israel to set out from the Sea of Reeds. They went on into the wilderness of Shur; they traveled three days in the wilderness and found no water.(23) They came to Marah, but they could not drink the water of Marah because it was bitter; that is why it was named Marah. (24) And the people grumbled against Moses, saying, “What shall we drink?”(25) So he cried out to ה׳, and ה׳ showed him a piece of wood; he threw it into the water and the water became sweet. There [God] made for them a fixed rule; there they were put to the test.(26) [God] said, “If you will heed your God ה׳ diligently, doing what is upright in God’s sight, giving ear to God’s commandments and keeping all God’s laws, then I will not bring upon you any of the diseases that I brought upon the Egyptians, for I ה׳ am your healer.”(27) And they came to Elim, where there were twelve springs of water and seventy palm trees; and they encamped there beside the water.
Double meanings. גאה can refer both to high water (Yech. 47:5) and to glorious acts/grandeur. זמרה can refer both to song and to strength (Ber. 43:11) -- God who is the source of Moshe's power is at the same time the theme of his song.
The Song of the Sea consists of three clearly marked strophes. Near the end of each strophe one finds the comparison "like a stone" or "like lead" followed by lines celebrating God's triumphal supremacy. The first strophe (vv 1-6) offers a summary version of the victory at the sea. The second strophe (vv 7-11) goes in more concrete terms: there is dialogue for the pursueing Egyptians, and a more particular account of how God's ר֤וּחַ heaped up the waters in a wall and then sent them back to engulf the Egyptians. The third strophe (vv 12-18) offers a conclusion: God's guidance of Israel to the promised land and the Temple Mount and the terrified reaction of its inhabitants and neighbors.
The noun גְּאוֹן derived from גאה aligns the beginning of the second strophe with the beginning of the first strophe.
The Shira features many verbs indicating rising and falling. Egypt descends - from shore to sea to underworld - while Israel ascends - from slavery, Egypt and the sea to secure habitation on God's mountain. Also sound effects are important: רָמָ֥ה בַיָּֽם stands against its opposites וַאֲרֹמְמֶֽנְהוּ and וּבְנֵ֣י יִשְׂרָאֵ֔ל יֹצְאִ֖ים בְּיָ֥ד רָמָֽה.
The triumphant final verses of the second strophe (מִֽי־כָמֹ֤כָה) and of the third strophe (ה׳ יִמְלֹ֖ךְ) function as communal responses in the beracha following Shema, both in the morning and the evening.
[Robert Alter, Jeffrey Tigay, William Propp, Umberto Cassuto]
The Shira invokes the imagery of how God as King of the Universe overcame the forces of Chaos during Creation. The Shira is therefore a cosmic event
The destruction of the Leviathan,
The Holy Bible with Illustrations by Gustave Doré (1866)
(יב) וֵ֭אלֹקִים מַלְכִּ֣י מִקֶּ֑דֶם פֹּעֵ֥ל יְ֝שׁוּע֗וֹת בְּקֶ֣רֶב הָאָֽרֶץ׃(יג) אַתָּ֤ה פוֹרַ֣רְתָּ בְעׇזְּךָ֣ יָ֑ם שִׁבַּ֖רְתָּ רָאשֵׁ֥י תַ֝נִּינִ֗ים עַל־הַמָּֽיִם׃(יד) אַתָּ֣ה רִ֭צַּצְתָּ רָאשֵׁ֣י לִוְיָתָ֑ן תִּתְּנֶ֥נּוּ מַ֝אֲכָ֗ל לְעָ֣ם לְצִיִּֽים׃(טו) אַתָּ֣ה בָ֭קַעְתָּ מַעְיָ֣ן וָנָ֑חַל אַתָּ֥ה ה֝וֹבַ֗שְׁתָּ נַהֲר֥וֹת אֵיתָֽן׃
(12) O God, my King from of old,
who brings deliverance throughout the land;(13) it was You who drove back the sea with Your might,
who smashed the heads of the monsters in the waters;(14) it was You who crushed the heads of Leviathan,
who left him as food for the denizens of the desert;-c(15) it was You who released springs and torrents,
who made mighty rivers run dry;
(ט) ה׳ ׀ אֱלֹ֘קֵ֤י צְבָא֗וֹת מִֽי־כָמ֖וֹךָֽ חֲסִ֥ין ׀ יָ֑הּ וֶ֝אֱמ֥וּנָתְךָ֗ סְבִיבוֹתֶֽיךָ׃(י) אַתָּ֣ה מ֭וֹשֵׁל בְּגֵא֣וּת הַיָּ֑ם בְּשׂ֥וֹא גַ֝לָּ֗יו אַתָּ֥ה תְשַׁבְּחֵֽם׃
(9) O LORD, God of hosts,
who is mighty like You, O LORD?
Your faithfulness surrounds You;(10) You rule the swelling of the sea;
when its waves surge, You still them.
The poetic Vocabulary of the Shira
רמה בים: רמה לשון ארמית, תרגום מלת השליך, ואין לה מקום אלא במליצת השיר, נושקי רומי קשת (תהלים ק"ד כ"ט), וכן הרבה מלות ארמיות מיוחדות למליצת השיר, כגון אנוש במקום אדם, אָתָה במקום בוא, מלה במקום דבר, קדם במקום עולם, וזה מפני שמליצת השיר אוהבת להשתמש במלות בלתי מורגלות בפי ההמון, ובמלות עתיקות וזרות (כדרך שבל' איטלקי המשוררים בוחרים להם מלות רומיות או איטלקיות נושנות) כי מיעוט ההרגל בהן יוסי להן נעימות וחן
Psalm 118 - The final Psalm of Halleel
As we will explore below, this Halleel psalm is in quite a few surprising ways linked to the Shirat Hayam that we just studied.
The psalm consists of the sections Hodu, Min Hametsar, Anna and Baruch Haba. That these sections nonetheless together form one poem, can be seen as the psalm starts with exactly the same verse as with which it ends at the conclusion of Baruch Haba: הוֹד֣וּ לַה׳ כִּי־ט֑וֹב כִּ֖י לְעוֹלָ֣ם חַסְדּֽוֹ. This structure is known as Inclusio (בעברית: חתימה מעין הפתיחה), a literary technique that places a similar word or phrase at both the beginning and end of a section. Also known as known as an envelope structure, this literary technique is often employed in Sefer Tehilim (for example, the final 5 psalms all start and end with הַֽלְלוּיָהּ)
The psalm seems to describe a scene or ceremony in the Temple, where one of the kohanim starts praising God with הוֹד֣וּ לַה׳ כִּי־ט֑וֹב. The ordinary Jews present respond with כִּ֖י לְעוֹלָ֣ם חַסְדּֽוֹ, highlighting the חסד of God, his loyaly and loving kindness. Then all the other kohanim (בֵֽית־אַהֲרֹ֑ן) join in proclaiming כִּ֖י לְעוֹלָ֣ם חַסְדּֽוֹ, and finally the יִרְאֵ֣י ה join in as well. According to Rashi, the יִרְאֵ֣י ה were gerim, but they very well may have been non-Jews who were literally afraid of God, such as vividly described in the third strophe of the Shirat Hayam (נָמֹ֕גוּ כֹּ֖ל יֹשְׁבֵ֥י כְנָֽעַן).
The poem next starts describing a personal story of someone who has been saved from a deep crisis, an example of the חסד of God. The word for distress, מֵּצַר, literally means a narrow place, and invokes the connotations of בְּצֵ֣את יִ֭שְׂרָאֵל מִמִּצְרָ֑יִם said earlier in Halleel. This connection with יציאת מצרים is amplified with a literal quotation of Shirat Hayam in verse 14: עׇזִּ֣י וְזִמְרָ֣ת יָ֑הּ וַֽיְהִי־לִ֝֗י לִישׁוּעָֽה. The speaker in the poem seems to express that only praise in-line with the Shirat Hayam would be appropriate to thank God for saving him from a similarly dreadful situation. The connection is further developed by the triple occurrence of יְמִ֥ין in the psalm [יְמִ֥ין ה׳ עֹ֣שָׂה חָֽיִל׃ יְמִ֣ין ה׳ רוֹמֵמָ֑ה יְמִ֥ין ה׳ עֹ֣שָׂה חָֽיִל], which corresponds with the three occurrences of יְמִֽינְךָ֣ in the Shirat Hayam
Notice how the poet repeatedly and frantically mentions how he was surrounded by enemies
כׇּל־גּוֹיִ֥ם סְבָב֑וּנִי בְּשֵׁ֥ם ה׳ כִּ֣י אֲמִילַֽם׃ סַבּ֥וּנִי גַם־סְבָב֑וּנִי בְּשֵׁ֥ם ה׳ כִּ֣י אֲמִילַֽם׃ סַבּ֤וּנִי כִדְבוֹרִ֗ים דֹּ֭עֲכוּ כְּאֵ֣שׁ קוֹצִ֑ים בְּשֵׁ֥ם ה׳ כִּ֣י אֲמִילַֽם׃
this links back to וַיַּסֵּ֨ב אֱלֹקִ֧ים ׀ אֶת־הָעָ֛ם דֶּ֥רֶךְ הַמִּדְבָּ֖ר יַם־ס֑וּף in Shemot 13:18 just prior to the Shirat Hayam; here it was God who had engineered the confrontation with the Egyptian army at the sea, by turning the people round.
The final strophe of Shirat Hayam described how the ultimate praise of God can only be expressed in the temple [תְּבִאֵ֗מוֹ וְתִטָּעֵ֙מוֹ֙ בְּהַ֣ר נַחֲלָֽתְךָ֔]. In parallel, the end of psalm 118 describes how the poet sets out on a journey to the Temple [פִּתְחוּ־לִ֥י שַׁעֲרֵי־צֶ֑דֶק], as he deeply felt that the most appropriate way to praise God is to publicly tell the story of one's delivery there. [R. David Silber]
Yehuda Eisenberg describes with great literary insight how this ending of psalm 118 can be read as a dialogue
מזמור קי"ח מתחיל תיאור שירתם של ישראל, בית אהרון ויראי ה׳. לאחר שירת תודה על ההצלה מן הגויים המקיפים אותו כדבורים, מגיע עולה הרגל לשערי המקדש, ושם הוא קורא:
- פתחו לי שערי צדק, אבא בם, אודה י-ה.
והכוהנים עונים לו:
- זה השער לה׳, צדיקים יבואו בו.
ועולה הרגל, השומע מה חמור התנאי, ומיהם הזכאים לעלות לבית ה׳, מתוודה ואומר:
- "אודך כי עניתני, ותהי לי לישועה. אבן מאסו הבונים היתה לראש פנה".
כל הצלתי היתה בגללך, אילו בגלל עצמי והישגי הייתי נדון - כי אז היו מואסים בי הכול. והשומעים עונים לעולה הרגל המתלונן על פחיתות עצמו:
- "מאת ה׳ היתה זאת, היא נפלאת בעינינו. זה היום עשה ה׳ נגילה ונשמחה בו".
ושוב קוראים הלוויים:
- "ברוך הבא בשם ה׳, ברכנוכם מבית ה'".
כבר ביטלו הלוויים את התנאי הכבד 'צדיקים יבואו בו' והם מזמינים את עולה הרגל להיכנס ולהביא את קרבנו.
- "אל ה׳ ויאר לנו, אסרו חג בעבתים עד קרנות המזבח".
ה׳ יאיר לנו פניו. ואתם, עולי הרגל, קישרו את הקרבן לקרנות המזבח, להביאו לקרבן. ועולה הרגל, ששמע כי רצוי הוא ומוזמן הוא להיכנס למקדש, קורא בשמחה:
- "אלי אתה ואודך, א-להי ארוממך. הודו לה׳ כי טוב, כי לעולם חסדו".
When we compare Psalm 118 with Psalm 116, we realize that these two Halleel psalms are parallel to each other and that they describe the same experience in different terms. The deep crisis was in fact a near-dead experience (אֲפָפ֤וּנִי ׀ חֶבְלֵי־מָ֗וֶת וּמְצָרֵ֣י שְׁא֣וֹל מְצָא֑וּנִי צָרָ֖ה וְיָג֣וֹן אֶמְצָֽא). Note that אֲפָפוּנִי means exactly the same thing as סְבָבוּנִי, and also here the word מצר and it’s variant צרה appears. We now better understand the meaning of the verse in Ps 118:18: יַסֹּ֣ר יִסְּרַ֣נִּי יָּ֑הּ וְ֝לַמָּ֗וֶת לֹ֣א נְתָנָֽנִי
Also in Psalm 116 the conclusion is that appropriate thanksgiving can only be done publicly in the Temple:
נְ֭דָרַי לַה׳ אֲשַׁלֵּ֑ם נֶגְדָה־נָּ֝֗א לְכׇל־עַמּֽוֹ׃
בְּחַצְר֤וֹת ׀ בֵּ֤ית ה׳ בְּֽת֘וֹכֵ֤כִי יְֽרוּשָׁלָ֗͏ִם הַֽלְלוּ־יָֽהּ
There is no adequate return that can be offered to God (מָה־אָשִׁ֥יב לַה) but at least one can participate in the ritual of thanksgiving and do so publicly.