TANAKH SOURCES:
- This comes right after the Sin of the Golden Calf? How does it affect how you read this passage?
TALMUD SOURCES:
- Why would this detail about Moshe appear in this sequence of Exodus?
THE TAKEAWAY: PROJECTION OF THE FAILURE OF DIVINE INTIMACY
Avivah Gottlieb Zornberg, The Particulars of Rapture, pg. 407
The Talmud fleshes out the irony of the time frame, figuring the people's betrayal as erotic treachery:
'Said Ulla: Shameless is the bride who plays the harlot while still under her wedding canopy. Said R. Mari the son of Samuel's daughter: What verse refers to this? "While the king still sat at his banquet, my spikenard gave forth its fragrance" (Song of Songs 1:12). Said Rav: Yet His love was still with us, for "gave forth" is written, not "made offensive."' (B. Shabbat 88b)
The outrage of infidelity is limned in a grotesque fantasy of synchronicity. The bride is still under her wedding canopy: morally, the midrashist's voice rises to a scream. The spatial image of the wedding canopy conveys an even more bizarre temporal image. At the very moment of commitment to her husband, she surrealistically 'plays the harlot' with her lover. The image puts the reader under great strain: the inconceivable scenario conveys the inconceivable secret of the Golden Calf.
(יז) וַיֹּ֤אמֶר יְהֹוָה֙ אֶל־מֹשֶׁ֔ה גַּ֣ם אֶת־הַדָּבָ֥ר הַזֶּ֛ה אֲשֶׁ֥ר דִּבַּ֖רְתָּ אֶֽעֱשֶׂ֑ה כִּֽי־מָצָ֤אתָ חֵן֙ בְּעֵינַ֔י וָאֵדָעֲךָ֖ בְּשֵֽׁם׃ (יח) וַיֹּאמַ֑ר הַרְאֵ֥נִי נָ֖א אֶת־כְּבֹדֶֽךָ׃ (יט) וַיֹּ֗אמֶר אֲנִ֨י אַעֲבִ֤יר כׇּל־טוּבִי֙ עַל־פָּנֶ֔יךָ וְקָרָ֧אתִֽי בְשֵׁ֛ם יְהֹוָ֖ה לְפָנֶ֑יךָ וְחַנֹּתִי֙ אֶת־אֲשֶׁ֣ר אָחֹ֔ן וְרִחַמְתִּ֖י אֶת־אֲשֶׁ֥ר אֲרַחֵֽם׃ (כ) וַיֹּ֕אמֶר לֹ֥א תוּכַ֖ל לִרְאֹ֣ת אֶת־פָּנָ֑י כִּ֛י לֹֽא־יִרְאַ֥נִי הָאָדָ֖ם וָחָֽי׃ (כא) וַיֹּ֣אמֶר יְהֹוָ֔ה הִנֵּ֥ה מָק֖וֹם אִתִּ֑י וְנִצַּבְתָּ֖ עַל־הַצּֽוּר׃ (כב) וְהָיָה֙ בַּעֲבֹ֣ר כְּבֹדִ֔י וְשַׂמְתִּ֖יךָ בְּנִקְרַ֣ת הַצּ֑וּר וְשַׂכֹּתִ֥י כַפִּ֛י עָלֶ֖יךָ עַד־עׇבְרִֽי׃
- How is divine intimacy done differently here?