Purim: Rav Shlomo Alkabetz Reveals Why There Was No Music at the Party of Achashverosh

this Torah class is brought to you by Torah anytime.com okay good morning to the here in Hills New York yeah this is already holding in a while and uh we have four more Mondays before pm and it's never too early just to speak about PM story so uh here we go uh we begin with the comments ofab sh kabit of course is the great p and the author of thei he was born in Salan turkey which is now Greece Greece but back then it wasn't I know and he was born in 1505 he was nft in SAS in 1584 a brother-in-law of the great rakha Cordo and in the year 1529 as a present to his future uh sh his future father-in-law he sent a gift a comment com on Milla s called and this commentary probably the most extensive commentary on the Milla was written by rabitz and is quoted by many after him not only as a a p on but even so for instance in his quotes some of the of Reby and asai yeah you know the Jews of salonica were so strong they were the ones GLW up a crator in did you know that I I saw that cror I didn't know that they're very strong M they were the on the first uh people who were in the port in h for also okay very interesting so the the Mani yeah that brings down a fascinating question on the Milla and that is he wants to know if you uh if you are in tune with some of the details of the M you'll notice that he was certainly trying to please um the participants of the party and certainly allow all the participants to enjoy and experience every type of pleasure so he was trying to satiate their sense of sight with beautiful tapestries also theisha in his commentary on the Milla the Milla sarum he says not only with tapestries but with Z that he set up he was trying to satisfy their sense of smell where there was all types of food and fragrant Aromas he was trying to satisfy their sense of hearing of excuse me of of taste with delicious F food he was trying to uh satisfy all of their senses however there is one item that is conspicuously absent from the party of a and that is nothing in the mill is described about any music being played at the party of uh a and the question is why after all you can't have a good party without music I mean who makes any type of party without music so it would seem rather strange and here he's trying to satisfy everyone and he doesn't have any music at the party every other sense whether it's R whether it's Ria whether it's uh mishos the thei says he had beautiful beds um very fine linen he had everything was experienced and why is there no music so interestingly the Mani is not the only one who asked this question actually if you look at number three the maram shi maram shi is known as one of the most um laser sharp concise comments on CHAS in fact the Mari has very much gone out of style because people like to learn ldos and andar and and kakas but really if you want to have the the deepest understanding just of the sh you need to know the they're very into the also inare VAR into the in fact recently wrote like four volume work on the so anyway at the end of that's one thing that is not famous for but he also wrote at the end of it's called um at the end of and he's also bothered by this question he says why was there no music at the sud he says like this one of the criteria of how a orchestrated this event was he wanted to do is now let's say somebody goes to a party they don't want to eat so they don't have to eat let's say someone they don't want to look they don't have to look but what are you going to do if there's music you're going to hear it again against your will and therefore music did not fit the criteria of's party you can't play music what if somebody doesn't want that kind of music or he says um he look at number three he says you're going have to hear it against your will or the says of course there was music it goes without saying there was music it was obvious there was music you can't have a party without music and therefore that's the one item that was left out because that is self understood and then the M says another reason why there's no music is since the party was where did not impose on anybody to do any a against their will in other words the food was ker everything was ker realized that to cause the Jews to stumble he has to get them to sin on their own so if he's going to play music that would be coercing them to violate the the you know why because the says that from the time of we took that we would not listen to music at a party and therefore if he would impose music on the people he would be forcing us to violate our own principles these are a few answers of but let us explore the answer of the look at number one on your sheet he wrote correct things he says on the third line you see how tried to please all the five senses until nothing was missing had a good meal after you finish you you you smell good sense says says he orchestrated that the should be in the courtyard there were certainly fragrant Aromas and next he certainly uh fixed and prepared beautiful tapestries different colors which would be very pleasing in the sunlight and he made very nice beds to satisfy the sense of touch so we have four out of the five senses but we're missing one what happened to the music next paragraph I heard from a old sage a wondrous reason why music was absent I will add to what I heard in an understandable way and that is the following what was A's purpose of making the suda he wanted to get us to sin he wanted to causes us to stumble says two lines you know is very good see only the best over here since we know that music ises why is music so sweet why do people like music if I ask you why do why is music enjoyable spiritual moves what is it you know why because before a person was created says when the was in sh you know what you hear in sh in sh all you he all day is singing and that experience that the has in sh is so programmed into the soul that every time the soul hears it it is elevated to a a different existence it's elevated to life before this measly world that is the connection that to music says know because we we were accustomed to it when we were upstairs says you you don't believe what I'm telling you anyone who does not deny the simple interpretation of the of will acknowledge the fact that upstairs in shamay what's taking place is Shir the Angels Above they open up their mouth with the with the beautiful sounds of their wings there are some people they like music so much that their soul is so elevated that you could hit them you could smack them you could they're in a different world they're in a different world it's like they're in a self-imposed coma they're in a trance some people fall asleep that's why I don't get insulted when people fall asleep on my she doesn't mean they don't like this sh mean it's it's so sweet to them it's like music to them that's I never get because the nees is uh contemplates the the body begins to rest in other words the is so excited and the body is so put at rest like a [Applause] corpse then the the says an unbelievable thing you have a little baby right what do you do L you sing a song to the baby what does the baby do falls asleep why why is the baby so comforted by music the answer is cuz the baby just was in Shay and he still has the music of shamay ringing in his ears so the baby is much more in tune with his previous connection to than a regular person as soon as the baby starts to hear music right the baby says h i remember the good old days but you sing music to an adult it's hard to remember so long ago it's hard to remember what you ate for breakfast let alone let alone what happened before you were born so he says like nursing young they will not sleep unless they hear hear the voice of song that's why people don't know you know they put on baby b baby b is not what they're playing in Shay right Baby Mo no they're singing in sh that you have to know what the right songs to sing when you sing to a baby he rests in his bed and their sleep is sweet why listen to these words the music of is still ringing in their ears is still stirring their souls because of the the small amount of time that elaps between now and when they when they were there he says like this or a sick person one who is is ill the physical Sensations are dulled and waned someone who is ill his K are weaker his K of Soul are stronger and therefore to him music is much more powerful and effective than for a young person for a healthy person therefore says the goal of was to get people to eat eat more and more and more and if somebody he's eating and all of a sudden you hear music the hamburger is going to drop whatever you're eating is going to drop you're not going to be focused on the food you're just going to be focused on the music and the music is going to interfere with the to get the people to eat and therefore this party was missing something it was missing music he says L somebody not eat right at a a Sy Symphony Orchestra they're not they're not nobody's walking around hot dogs here right nobody's selling nobody's selling food concessions popcorn there's no eating then CU if you're going to eat you can't appreciate the music ah so this is the answer ofz that the reason why there is no music music has a very powerful pull on the soul and will distract the participants from the intended purpose of the suda doesn't work what doesn't work with gave different answer M didn't give this answer right mam Shi said either there definitely was music or the Jews had swore they're not going to listen to it okay interestingly comes the lak Mas M Solomon and he is troubled by this answer of kabit and he's uh bothered by the fact that if A's intention was to get the Jewish people to sin you would think then that music would have been his most powerful weapon and his most powerful tool and his Arsenal to try to engender sin after all we all know that there are certain types of music that only elicit types of loose and and TAA and desire in fact certain beats and certain sounds are known and proven to be connected to certain types of desires that people have so if anything if's plan was to get CLA to sin in fact the migar is a commentary on on on M written by the he writes very clearly the entire intention of the sudo was to get cl to sin he writes look at number two on the PK um why is inviting all of these political um figures to his party so he writes that the purpose of the party and the reason why he invited all these officials because the whole purpose of the party was he only wanted to get us to sin and therefore he invited all the government officials of all the lands to get good advice and Good Counsel how to best persuade us to sin that's why he made a meal for seven days inviting and when the party was over and he saw his success he made additional parties for the people in shushan to uh to get them to sim more says in if you look in the third paragraph of number two why is Milla telling us about the Ambiance of the party it's to teach what A's plan was to try to incite sin he made them uh sit on buts he wanted them to sit on the sh he trying to and he made them with very nice colors to attract their attention because it wasn't just tapestries and curtains that were hanging but next to them says he situated zo so that once he drew the attention of the Jews through these nice ornaments they would look at the Z so ask Solomon if the whole purpose of the suda was to cause sin then it would seem that left out perhaps the most powerful tool to uh engender sin so say this brings us into a very interesting discussion this morning and that is yeah is there yes yeah is that yeah because it could warm you and you're you're something you sit on creates heat so even if it's not it can be yeah so especially if you sink in especially if it's kush yeah in fact the The Story Goes that when the stier was going to meet his potential kala right K's sister he was on a train but he didn't want to sit on the train cuz uh it was aat so he stood the whole time but unfortunately the first meeting with his potential kala it was not I mean it was it's good for sha B but he was not up for that date right oh boy things worked out okay anyway so this brings us into a very interesting discussion and that is understanding the concept of Music in Jewish thought and in our UMES in all of our our Jewish literature how do we understand the function and the Tas and the purpose of music and what music's effect is upon us we know all the way at the beginning of barous it says um in it says about what the early Generations from the descendants of that one of the generations he was the one who invented the kar the lur ugab the harp says these are types of instruments that music is a great wisdom is a great discipline in other words music is not just a talent but it's a it's a it's a body of knowledge didn't play he did but you see from this Ezra that the concept of music is it's a like chemistry biology physics music is considered a discipline of knowledge in fact there's an amazing ran the ran wrote a saer called sh and commenting in in the sh the ra writes on the the talks about different types of harps one place it says the harp had seven strings and one place it says the harp had eight strings and one place it said the harp had 10 strings so the says like this that the harp of the B mikdash was seven strings like the P says in and then continues but it says yeah the carp in the time of Messiah will be of eight strings that's why the concept of is associated with the number seven seven days of the week but the concept of is the number eight but the harp of will have 10 strings like we say on look look at these words says what were all these instruments doing in the why in the are we playing instruments says ra the instruments alluded to various Acquisitions of thought which are connected to the spirit says raan there is nothing more subtle there's nothing more fine in this world than music music is considered the most spiritual of all physical things fine there is nothing more dark there's nothing more subtle than music music is the most spiritual of the physical you can't put your finger on it you can't it's not tangible it's not quantifiable like the says in the he quotes the sound speech wind what's the meaning that that right now the the musical instrument has seven strings and eight strings and have 10 says ran right now in this world we recognize and we can understand seven spher of's existence seven manifestations and the these were alluded to in the b mikdash in the mishan in the man that had seveno also B alluded to this says ran when he says but we will comprehend an additional which is the eth and in comprehension of will be complete we will understand 10 SP so the musical instruments actually alluded to understandings of hasem in other words music is not just something you listen to or you get elevated from but in a way there's a certain and a certain comprehension which is only under stood through the medium of Music in fact of the V he writes in his he says that the V said all disciplines are needed to understand T right there's a concept that there are seven disciplines of they are all required to understand T fully um and knowing them is necessary to understanding the Torah and you know what they are you ready number one algebra number two M trigonometry maybe mathematics says the the go prays very much the IPL of of Music he would say that most secrets of the T and most reasoning of the T and most secrets of the and most secrets of you can't know if you don't understand music the girl would say most of the of the and the secrets of the and the secrets of tun you can't understand without knowing music and through the knowledge of music it is possible for a person to die if a person plummets the depth of music their soul could could become so attached to Hashem and the sweetness of it that they could actually leave this world but on the other hand you could be through the knowledge of music and he would say when M came down from you know what he brought with him not only did he bring Tyra he brought nunim down with him from at Mount Si in the in the Sinai Peninsula south of the Holy Land okay where where is uh this says all the other music that you hear today is just a distortion of the original brought down from har so an amazing thing by the way the r writes you know in toim many of the begin with the word many of them begin um many of them what are these Expressions what's the expression what's the expression he's going on the fourth peric of three types of Praise are employed you have and M means he was the conductor through the conductor the M it's not like just said a m he took a conductor and he needed a conductor not only to play the song but to bring out the idea of the m a conductor was needed the conductor delivered and administered to the singers that's why you don't find you find but not or it belonged to the conductor and it was delivered and administered to others under them says there's well there was a special CLE called Theus and through this CLE the sheer and the nigan said and each misar was connected to a different instrument in other words if you wanted to arouse a certain Hasa and a certain feeling and a certain understanding in the mismar different were needed you needed one type of instrument for one type of mizmar and one type of instrument for another type of M so you say huh I don't get it I don't have any understanding of why one M needs Aus and one needs a and one needs AIG the answer is because you have no understanding of the misar of that's why you have no understanding says Solomon that he heard from aak that if you don't understand why certain musical instruments is needed for a certain mmar that means you don't understand the mmar you can learn all the Pim and all the you are clueless in in terms of understanding to H say it's a in order to understand the connection in other words every misar is trying to bring out a different idea a different thought a different comprehension and therefore a different instrument was needed look at number 10 and this is where we start to delve into the subject zamu Mas you ever hear that expression inum zamu Mas now by the look of some musicians today you would think maskill is the furthest thing thing from their Z right traditionally people who are into music are often not into hasala hascal what I mean the uh the uh intellect side of it in other words often people associate the music with the Arts and the Arts are not usually associated with disciplines of the intellect you know people say either I'm a math brain or I'm an art brain I'm right brained or left right I'm a righty or a lefty but in we see no music comprehension say every intelligent person should sing not just f song music that arouses the heart music that gives intellect so the is introducing a new concept the concept is music offers thought music offers thought so this is the share are you ready let's CL and this is a thaton and this is something that he is delving into when we say that music music offers thought what does that mean does it offer thought that you never thought of before is music giving a person new ideas and new insights and new comprehension of things that they never thought of before or no music cannot teach a person any new wisdom all it could do is bring out ideas that you already have which means a person may have in their heart certain thoughts certain ideas let's say for example every person has in their heart buried deep downem the question is it's you're not really in touch with it we're not really feeling it so M what music will do is music has the capacity to access a deep buried thought and bring it out to the Forefront I do it on the other hand people have within them buried desire and what music will do is it will fish out and access improper feelings and bring that to the Forefront in other words the kakira is does music make you think thoughts you never had before or make you desire things you never desired before or does music merely bring to the Forefront what's already embedded in your heart what's there is an age old can you sing to Jewish words and to Holy words can you take so you say I hope so because you may not be familiar but k Ruba theba of the that we sing come from non-jewish sources yeah and the r is says Solomon that the songs that come from countries they sound Arabic they do and the songs that come from Poland and Germany sound like renissance music and and the songs and the songs of any country in the world our influence and I'm not going to get into which which countries and which kasos but there's no question that there's a there there's an effect of the the music of a certain location affects greatly the the songs that the Jews are singing in fact is to allow using the songs of of for Kad but it isings down in that can is it permitted he says um whether it's a waltz or a March or or or whatever songs there are they are greatly influ even the K even K why do Lane differently than Ash came down from with two types of laning why does one type of laning sound Middle Eastern and one type of laning sound European say could you sing the master is very lengthy and he says you're not allowed to and he brings the from the that he in the name of the that someone who has a beautiful voice should be careful not to sing now he never said not to sing songs of course you're not supposed to sing songs the question is should are you allowed to sing and the said from the you should be careful not to a general or is this like a church anything any non-jewish song any non-jewish song well the says that the that the um the did not quote the accurately why cuz maram D Lano writes that is why I composed most of my songs with Arabic tunes and says I see that many complain about the fact that in the shes or singing kades and kadha to non-jewish songs says what's the problem a there's no problem you're allowed to you're allowed to so sayson we see there's an age-old debate whether you are allowed to use non-jewish Tunes to Kadesh and kadus or you're not allowed to says the what's the what's the whether you could use a non-jewish tune or not it's totally on the that we were just the question is a tune music does it create new thoughts or does it merely bring out the thoughts that already in your mind if a song has the capacity to make you think ideas that you never thought of before then to use a non-jewish tune even to Jewish words because even though in your mind you're thinking kades kades kades but if that tune which was first associated with AAR or the ideas of is now ringing in your mind you're going to start thinking thoughts but if music doesn't have that capacity if a nigon does not have the ability to make a person think new ideas but all it does is it merely brings out from your heart the thoughts you already have so if you're thinking thinking in your mind kades kades kados then the music all it's going to do is make you feel those thoughts more powerfully it's not going to make you think thoughts you never had before well say Solomon is that we are M and if you don't think we're M then you are being a naive where the songs come from therefore sayson is traditionally for hundreds and hundreds of years the songs we sing in the sh were not created by sikim and even when they were where did they come from they were influenced by the climate and the environment is we allow such a thing that means means that we maintain that the power of anigan is it merely brings out from our hearts what's already what we're already thinking in other words it's not going to cause us to think it's not going to cause us to have feelings of it merely once it's put to Holy words it will make us feel those holy words more deeply in fact the rambam himself the ramam himself bemon the fact that at a or if somebody wants to sing an Arabic song of praise to hasem oh you can't do it it's Gish it's Gish it's Gish and if somebody wants to sing a Jewish song of nonsense with ridiculous words oh it's kadash says around they're a bunch of fools who cares who cares what the where the song comes from it's all a matter of the words if the words are nice and they're praising Hashem even if they're in Arabic it's a good thing to do but if the words make no sense the words are ridiculous the fact that they're WR they're Jewish quote unquote Jewish doesn't make a difference so we maintain B that music's ability is merely to bring out from our hearts what's already latent there but it will not engender new ideas that we never had before by the way interestingly Legend has it that the said that he's prepared to give up some of his to have a deeper understanding of the of music because he felt that with a deeper understanding of Music he'd be able to reach higher levels of and so forth and he was even prepared to give up some of his by the way there's a famous chuva that asked now I'm not going to say who and if you don't know who then you don't deserve to be told about a certain individual who is a great composer one of the greatest Jewish composers of all time and the uh unfortunately there were reports that anos not justos was L that that he uh did things which were inappropriate and what's reported in this chuva is what did he do he gathered Boys and Girls Together to dance together which is which is a big problem which is a problem which is user says the question is can we Now sing his music can we sing his music can we sing his songs or do we have to uh find other composers with other Tunes or um who we stick with the golden oldies after all says Raa this individual now the reports are that he's uh he's involved in inappropriate behavior say the six I don't see any problem singing his songs but now Ra was asked Are you allowed to sing the songs that he composed originally now I can't tell you which which album was before whether was before or after I can't tell you one thing I can tell you is that's good music right but what the question is can we sing his nunim says I don't see any is well why because he he composed it says ra yeah but now the report is that he's not acting appropriately ra invokes aish you imagine ra invokes aish why because in talks about the of and they're still called but what do you mean but there are that that that was the same who served 80 years and then became a say and yet they're still called wouldn't it be better to to erase so what do you want was ready there's no way to be but nobody's going to say that the music of this individual was that you have to sing as he marched down to the it's not but say fine we but why call wouldn't it be better not to give him that memory after all if he is right now if he's a the fact that it's still called means that since he was there's no problem remembering somebody who became a Rasha as long as you're remembering him from a time that he was a s ra argues the says that was not who became a saduki so maybe the reason why the ramam says that because the ramam would never can the fact that the are still called that the r is forced to say this is a different and maybe that shows that the ramam would say that you're not allowed to remember the things that a Rasha did even when he was ker that's why the ramam is was forced to say this was a different say it's not that that's why the r feels that that's not the same it's had other reasons why he doesn't want to say that's and therefore why make when we don't need to if the says you're allowed to remember the at a time from when he was a then the assumably presumably the Raman would agree and then rosha says like this it's to say that everybody agrees that you're allowed to maintain something that a Russ did from a time they were sadic why CU is a that a wrote you have to burn it but what if a good guy wrote a sa and then he became a man what do you do with the sa is you lay it you lay it but it's written by am in doesn't matter but he wrote it when he was a good guy so you say no but that what are you going to do with that he wrote has kha you can't burn it says is it why all to read it that means the is of remembering Arash is only remember what he did from the time he was a rash but to remember what he did before he was a rash that's M say and therefore in this situation all the nun all the albums that came out before these towards what about what about could they sing these there's no whatsoever says for someone to sing a of of someone who's considered a Russia if those nun were composed at a time that they they were aad says what about the nunum that were composed after somebody became a Russia saysa H it's not clear that you can't sing those nunim if the nunim are nice nunim and they're beautiful nunim and there's no by singing the and you're remembering a Ras he says it's the of of Russ is only on say forra he wrote that he wrote but let's say the Russ wrote he invented a machine let's say a guy who was a sadic and he became a Russ and he invented glass you can't wear glasses now or he invented technology there's no it's doubtful let's say let's say he wrote a book about how to uh write um script or how to how to uh plant plants in the winter you can't read the book just because he's a Russ the of is only on not onig is not Kad yeah but we use it for Kad yeah you use it for Kad you you also use shoes when you're ding kadha you're wearing shoes doesn't make your shoes K you also wipe your mouth with a tissue it doesn't make the tissue Kad even though you're cleaning your mouth when you say Kad a nigon is only a tool there's no Kad therefore that a that was composed by a Russ even after he became a Russia you could sing it but Andes they should be not to sing the Nim of someone who's a Russia if the nun were composed after they became a Russ but says this man that we're talking about who we're not saying who it is he's not a Russia he's not a ker he's a he's a m he's a mm in he's a m in the Tyra he's not a par either one thing that he did was and prz together Boys and Girls Together to dance it's AA and it's kalro and it's an is but it doesn't make him a Russia he is what's called and says not even a he's not everybody does a a he there's an to sing the now what are we going to do every guy who puts out a CD we're going to have to make a in his personal life does he speak at the table he's not an aid kadan he's not an aid kadan to get an aid kadan so we make him sure he's a kaser now all of a sudden every time I pop a CD into the car have to make sure the guy doesn't speak lar speaks that's his problem that he's going to go to geham now I can't sing his song so it says someone who's not a ker he's just an aaran in one inion even for B and even for B there's no in not to sing his n you know we we were we were we were stuck we were going to do it's like we were able to uh again I don't know not commenting on anybody's personal life what he did what he didn't to whatever he is I don't I don't have to judge anybody I'm just reading to you the cha but one thing you see from Raa one second is there Raa is saying that a nigan per se does not have any inherent K you could take a nigan even he says of a and you could sing it to K maybe shouldn't but there's nothing inherent about the this is the in other words maintained to take a niggan from a the niggan itself will maybe engender in your heart wrong feelings but is we do sing the from other and we allow it to enter the daving because we maintain that a per se is just a tool and it depends what you use it for all it does it it engenders and it brings out from your heart what's already there so says just back up a second yeah the was church music the tun the tune the tune okay I have I I could tell you A lot of nunim that very surprised where they go no but was he was okay interesting so R coming back to our question of why did not allow music at the sud sayon want says music is just a tool music does not does not engender in the heart new thoughts that you never would have thought there's no way if you have a good person and he hears I'm not talking about lyrics lyrics is a problem but just the tune the tune will merely bring out from your heart what you're already thinking so let's examine then what is deep down and embedded in the heart of a Jew so we know the rambam says that let's say an individual who um is compromizing uh their wife's security and health so under certain circumstances what do we do we force somebody to give a get until he says I want to right we we he hears a guy he's supposed to divorce his wife we say divorce wife no I don't want to you have to no if I have to then it's not a good gu so we smack him and we smack him and he says yeah i w i w I want but he doesn't want we forced him says the ra like this somebody who doesn't want to give a g the answer is he says a look at number 15 the round we're almost done we're almost done it's much earlier than we usually are right he says someone who doesn't want to divorce his wife he wants to be a believing Jew he really deep down wants to do all the he wants to distance himself from sin right really deep down in the heart of a Jew everybody wants to do the right thing Ro what's the only problem it's that has become strong but when we smack him we're not forcing him to give the G we're just beating down thear the real feelings of his heart of come out like the says our will is to do your your will we have or like rash brings right right the brings number four we force someone to bring a carb I would think no how do you force someone to do something knew that deep down in the heart of every are the feelings of the feelings of the true desire to do the will of things that interfere with our was afraid if he allow music I'm not done if he would allow music to be played to to be played at the suda it would counteract and contravene the whole purpose of the suda all of a sudden the Jews would hear music and the feelings of and would be brought to the Forefront and they would drop the whole suda and they would do CH and since the whole purpose of the sud was to get clly to sin he was afraid through the of music through the power of music it would engender CH and and that's why there was no music at the sud say one last cha here why am I doing this interesting cha also have a very personal connection to this cha the question is good old are you allowed they want to sing uh they want to sing their n sometimes in order to fit the the into the words they repeat words you're not allow are you oh so here we have it you heard it here first you're not allowed to do it are you is a allowed to repeat words no no the answer is no now the reason the answer is no by the the reason I'm bringing this because the chuva is asked from AR who was my great-grandfather he was the of so he he asked allowed to allowed to repeat words well ra says that that repeat words in the rabbis are not happy we're not pleased and it says what do you want from me already the cried out against this but what we do do whatever they want they don't listen to us say now there are three different categories there's when they repeat words but it means something for example in there's only one it's is going on all of them but like to repeat the on each one so it has meaning it's just not necessary so it says they're not allowed to do that but it's not considered a heck it's not considered a heick however if it has a false if by repeating it has a like they say sh shab and they stick in shabas after everything so there it actually has a false meaning because means that you should Rejoice from hashem's good and now when you say sh it implies from the good of shabus say and they have to go back to beginning they have to repeat the what if it just has no meaning at all so then says that's like somebody just stumbling in their words and they don't have to be so now the question is do you need to be so if they're just going back and repeating and they're just repeating and they're going in order that then even though you don't have to protest because you only have to protest someone says however if if it has a false meaning or it has a strange meaning then you should be this is something that um no meaning no meaning no meaning at all little to stick it I don't know it sounds like it's just like the over here is the words of the ran the ran says music has a spiritual power a spiritual pull and that is why did not utilize music at his sud you've just experienced another Torah class brought to you by Torah anytime.com