The Historical Evolution of Tekiat Shofar -From 9 to 100 kolot . Rabbi Yitzchak Breitowitz

we were talking last week I think about the overall structure of the rosashana musaf uh the malos the verses of kingship zos the verses of remembrance that God remembers the Good Deeds of our forefathers and Chau the various verses about chaur both connected to the chauffeur of Matan Torah and the chaur of the Final Redemption and the chauffeur of meaning chauffeur has uh all of these different all of these different components and I don't remember forgive me if I'm repeating something I I had uh there is a thought from Alo that the three sections of the musaf correspond to what he considered to be the three fundamental principles of yish wrote a book called and unlike the rambam who enunciated oh are we okay unlike rambam who enunciated 13 principles of Faith thank you ralo says there are only three fundamental principles of Faith the existence of gods the concept in one way or the other of a reward or punishment system for vice and virtue and the third is divine revelation of God's will uh through the Torah and the like so ralo says rosashana is the day of Coronation it is the day in which we reclaim Hashem or Rec coronate Hashem as M and on the day of Coronation we want to affirm the fundamental principles in that relationship so ralo writes malot is about recognizing that there's God God is my king God is my sovereign zon not canotes reward and Punishment because God remembering which is a metaphoric term means that there's a notion of a record of past deeds and misdeeds andau is connected to mat Torah where the chauffeur was blown so therefore the and chro correspond to what ralo considered to be the three that we are affirming on rosashana uh again as you know the rambam did it in 13 princip but ralo made the argument that many things that the ramb regarded as fundamentals or Roots he really considered to be anaim branches or derivative principles again let me give you a concrete example let's assume a person did believe that there's ultimate reward and punishment but denied physical Resurrection which is a you know it's not a position without logic meaning who cares about the body the main thing is the soul uh the soul there's gim and there's and who says there has to be physical Resurrection what is the status of such a Jew according to the rambam such a Jew is technically a heretic because he is denying an axiomatic dogma of Judaism called which is the 13th principle of Faith by the way fascinatingly enough the rambam himself was accused of not believing in physical resurrection and he had to write a letter in his defense it's so very very funny because the rambam is the one who enumerates physical Resurrection as a fundamental principle and there was some very very serious doubt whether he himself believed in it and I have to admit maybe I shouldn't be a little cynical uh even after reading his letter in which he States uh how much he believes in it I think one is left with a great deal of Doubt uh whether that's really the case so putting that aside at least according to the words of the rambam a denial of physical bodily Resurrection is a denial of a fundamental principle of Judaism according to R Alo is simply a corollary it is a derivative it is an aspect of a reward and Punishment system so even if I am ignorant or I disbelieve a certain aspect of the reward and Punishment system that does not qualify me in ralo's view as being heral or outside of the fold at most I would have a mistaken belief but mistaken beliefs are not heretical beliefs ralvo would consider to be an enough a branch rather than a root now again though what I'm saying is actually a fairly important Point some people will paraphrase ralo's work as if he says he didn't believe in physical resurrection that that's not really what's going on ralvo believes in everything that the ramban believes in it's really a matter of classification is it iar or is it enough so ralvo would admit if I deny physical Resurrection I am making a mistake but it's a non-h heretical mistake and that's important for aorus all of those different things let me give you a more radical example let's assume somebody believes in the corporality of God one believes that God has a body one believes that God has hands and feet and you know the old uh statement that you know God is not some old man with a long white beard sitting on a throne well in the Book of Daniel that's exactly how God is described God is described as a man with a long white beard sitting on a throne I mean that's a PK in in saer Danel Mish so the rambam explains and this is mainstream Judaism that these are prophetic images these are pictures these are metaphors they represent spiritual ideas so the Nim may have visualized physical representations of God but those were simply mechanisms by which they process certain messages this is the I would say it's the mainstream understanding of Judaism but there were people who took these descriptions very literally and they basically said God has or at least can have physicality in some ways one could argue that that's a very logical position it goes back to the old story of God's omnipotence and God's Infinity if God can do anything then why can't God have a body if he wants you telling me God can't have a body how could you say God can't that's the old genre of questions can God commit suicide you know all of those issues which are you know you know the old issue you if God can do everything can God kill himself uh if God can do everything can God make an object that's too heavy for him to move these are these are certain these are called omnipotence paradoxes it's a little branch of of philosophy that goes over these things um what's the joke the joke is uh God goes to a doctor and says you know lately I've been making objects I can't move he says am I am I less omnipotent or am I more omnipotent can't I can't can't figure it out but okay um anyway um sometimes I get uh you know I often get critical email but once in a while this was a critical email somebody sent me but he put in a good a good joke so I want to give him I'll give him credit credit for that yeah no right so so so let me just let me just remind you that you know when the ramban wrote the mor when the ramban wrote the guy to the perplexed it originally was written as a very long letter a book-sized letter to a student of his Yosef ibben aknin who was confused by the physical descriptions in the Torah such as hand of God eyes of God and the like and the morim it it branched out into all sorts of other things but the original purpose of the morim was to explain biblical physical descriptions of God as metaphors in fact of is essentially a dictionary of tanak in which the rambam goes through physical expressions and he shows what they mean metaphorically now let's imagine however that somebody took them literally so according to the ramban even if the person is Torah observance the person is from he would be an aporus he would be a heretic because he's ascribing bodily functions to God according to Rav Alo corporality of the Divine is a theological error to be sure but it is not a heretical error it is simply a misunderstanding of biblical verses and indeed let me point out on that particular Point even the rid right Ben David is the various serbic French Rabbi who constantly argues with the rambam if you look at the mishna Torah every few paragraphs you will see the rivid kind of criticizing the rambam sometimes in very strong terms sometimes the rivid will say uh if you don't have a good answer to your question why do you ask it or the rivid will say uh you wasted a lot of paper on this one uh but on this particular issue when the rambam says anyone who believes God has a body is a heretic and does not have a share in the world to come so the rivit says a lot of people better than him had that belief now again because they were misled by the literal meaning of biblical verses now again let me point out the rivid is not disagreeing with the r the rivid himself says those who give God a body are making a mistake they're he's not disagreeing but he's simply giving an excuse to those who have been misled by biblical language so as a result once again ralo would say the corpor the incorpor ity of God the lack of a physical body is not a fundamental principle of Judaism it is a belief but it's a non nonh heretical issue it's it's an an It is a branch not Anar so as I say so the rambam has 13 ralo breaks it down to three this is actually an important thing to know I mean I don't want to get into this so much but because sometimes there are people who are Torah observant Jews but they may have some trouble navigating uh the actual 13 principles of faith it is important to know that within the theological world of Judaism there are alternative formulations in fact many of you might be familiar with the very interesting somewhat controversial uh Professor Mark Shapiro uh who who is a an orthodox Jew actually is an orthodox Jew who has ordination uh he's a his specialty is kind of the intellectual history of Jewish movements in hak and in philosophy and he writes very very interesting books and also very interesting blog posts uh which later become books on the sporm blog which is uh one of theil my guilty pleasures and um he wrote a whole book uh showing under rambam's 13 principles of Faith showing how many traditional sources different with a lot of them and what's interesting about the book is he did not draw on academic research church he did not draw on those who reject Judaism his sources were exclusively drawn from the Reon him that all religious Jews accept Okay that's very important obviously you know if you're going outside Orthodoxy you can certainly find plenty of people who deny the 13 principles of Faith but he wasn't going there he wasn't trying to show that that would have been an obvious point he was showing within the received tradition of halakic Judaism that were many who differed on many many details and actually the most famous is actually ALU himself in this safer saer so I think it is important although we commonly talk about the 13 principles as the basis of Judaism but it is important at least for teachers to be aware of the alternative formulations because that way uh students could find a a home a a comfortable place where they could still be situated as Torah observance uh Torah observant okay as it may going back to rash the correspond to the [Music] three is the reward and Punishment system and reminds us of Matan Torah uh and therefore on the day of coronating the Almighty we affirm our mission statement to actualize and realize in our own lives these three fundamental principles of Faith the format as I said last week is the same in all three BR you have a p you have a poetic introduction you then have 10 verses 10 verses of kingship and the way it works is three Torah three which are all from three from Nim and the last verse is Torah those are theim and you so in Mal the took him deal with Hashem as King in zos they deal with Hashem remembering the good deeds of our forefathers and out they're dealing with mat T but mat T and because their chauffeur has many many symbols and after the 10 verses you have a you have a conclusion that has a and as you know we blow chofar after M after note after Chau we blow one of each sound which I'm going to develop a little bit now okay uh among and many they actually blow the chaur not only in the repetition of the amid but even in the silent amida it may be a little shocking the first time actually I've never heard I've never been at a service that did it but it is a little shocking I imagine the first time in the middle of a silent Schon all of a sudden you hear the chauffeur being blown and obviously people are in different places in the amida but the way it would work is the btoa is next to the kazen they kind of dve in together and when the kazen in the silent finishes malot he'll give a a thing and the btoo will will blow and then they'll continue with zon note and with Chau now that's interesting because if you do that you actually have much less to blow after uh the Amia and I'm going to go over that a little bit I want to talk about the idea that everybody knows a bottom line that we're supposed to sound the Chau foran rosashana 100 times now just to be sure you know how we count it the way we count it is tea counts as one sound sharim counts as one sound okay that's the way we're counting it even though it's ahim counts as one and Tra also counts as one you don't it's nine sounds but it counts as one so when we count 100 remember all toos are one every shim you know the whole shim three shim is one and nine truus are one okay that's how you count it now if you do that you wind up with hundreds now I want to explain how you get to this because his historically the Mitzvah of chaur has a very fascinating Evolution basically we started with nine and I want to show you where do you go how do you get from nine to 100 that's more than tfold increase okay here's the way nine [Music] works you have to blow a teia AA a tea three times so DOA if you would walk into a show let's say 2500 years ago you would hear tea trua tea tea tra tea tea trua tea that's it so the service would be much shorter in those days so stage one was and again the concept is what is tea teia is a straight unbroken sound trua is a sobbing sound a crying sound and as the balatan explains trua represents the Broken Heart of the person who is crying to God over their sins and seeking repentance and we come to God with a broken heart and in awareness of of our unworthiness but the balatan writes that broken heart has to be bracketed with joy and Sim over the privilege of serving God and therefore the tea connotes the notion of Joy the trua connotes the notion of Brokenness and therefore yes and rashash we come before God cognizant on one level of of our unworthiness and our desire to do chuva but if at the same time joyous and happy in the blessings of God and indeed the chuva process itself is very joyous because it gives you the chance to fix everything that's broken a great thing I remember you know um when I visited uh my my dear son in Baltimore Astic student go from all the way back so he has a puppy or he had a puppy then this was number of years ago and I had left a jacket on the chair and it was a low you know the jacket was hanging low so as puppies like to do uh puppy chw the thing was totally chewed off really it was kind of destroyed so in America you can't go to a Taylor and get things F they don't fix things you know you get a you get a new thing you throw it out so I figured okay I'll I'll take it back to erel I'll go to May sharim I'll go to a poor neighborhood and you know uh they fix things they mend things but even I was embarrassed was so badly damaged I was even embarrassed to ask the Taylor to F you know I got this thing here you probably can't fix it he says why can't I fix it of course I can fix it and he told me words and he WR anything that you can destroy you can fix now these are actually words from bre and that's the whole message of Chua that if you could mess up you can make it good you can make it good so shua is a paradoxical idea because we're crying and we're sobbing but we have that Joy okay but to go back to chaua and the balatan says that's why the trua which is the broken heart is bracketed by the tea so once againa you just got to do it three times tea tra tea three times that's stage one stage two yeah well well depend it depends what you mean by why if you're asking me how we know the reason we know three times is because in Rashana it says the word tra twice one in one in Pinas and then by y it also mentions and have so that's why we have three times now that's the source if you ask me why three times I'm not sure I know according to the Z it's very connected to abah Y and yob it's connected to each particular blast brings down a specialized connected to to the OS uh but that's a complicated cabalistic explanation but the source is as they say the two by rosashana and the one by yel okay and yovel is blown on yum Kipper besides the rosashana Mitzvah okay now stage two is a rule of the mishna we don't know exactly how old it was obviously it predated the mishna in which kazal wanted your tea TR to be connected to the malos and chos so you have to blow teia tra tea three times so kazal wanted to position it where you blow one one one tea tra tea after malos one teia tea after zos one te tra tea after chaurus again let me remind you at that stage there was no chauffeur blowing before MF at all at all there was no chauffeur blowing after mus at all there was no concept of a 100 colot at all all you did was nine in the earliest stage the nine was not even connected TOA in the Mish stage they connected it to as a way of calling out to Hashem to bring our now this of blowing Al that's this is what this is called blowing after the it was only a for the it was never a Tak for which means the following if I am ding at home or what whatever the reason would be I I you know did I don't go to show so I do say and I do have to hear the chauffer but I don't have to blow the chauffer or hear the chauffeur I'll is only a obligation it is not a obligation even if you blow in the silent that's only not I say this because I remember actually I once saw a man a very very fine fine fine man um who was ding for whatever reason mus after the congregation he was Ding and he actually had a chauffeur in his hand and as he got to Blue and but so again again very fine man a true stic but but this happened to be a mistake this is you don't do that you don't blow the chauffeur uh as a y okay so stage one is nine stage two is still nine but you do Mal okay we now come to stage three and stage three is our first Quantum Leap and this is the time of Rabbi aahu RAB AO is an Amora he is after the mishna RAB AO is a talmid of ran and made Tak and here is the background I had said this is where it gets a little confusing I had said that to orisa you have to blow a tea tra tea three types and a tra is a crying sound but the problem was there was a m among communities what type of crying sound a trer was was a truer of the Torah this is a little confusing what we call meaning groaning elongated groaning followed by whimpering or was the tra a sharim sound just cing or was it just whimpering okay this is a little confusing meaning the Tyra says you got to blow a truer but the trer of the Tyra took three different forms in some communities it was in some communities it was Shar in some communities it was TR what we call a trua which actually means at a time when you were doing nine what you would actually hear may depend on the community you were in in some communities I would hear teia sharim tra teia three times and that's it and that's it in other communities I would hear te te three times and that's it and in some communities I would hear tea tra tea three times and that's it that's before RAB AO RAB AO made it takana it's not clear what his authority was it's interesting he was not on the sanedrin but he made it takana that was accepted in clra that on the day of rosashana we don't want there to be differences among Jews we want there to be Unity they want we want there to be consistency we want every bait conent to do the same thing but we don't want to prefer one thing over another thing we don't want to say this is the right one and that's the wrong one so as a result we now have to do three of every combination so if Thea you would have had nine meaning tea tra tea three times R says each one of them has to be three so you have to blow teim tra tea so let's say after malas right after malas after Mal now again we're so used to the teas before mus that our mind automatically goes there remember there were no teas before mus we're only talking about in mus so after malas you're supposed to blow a tea tra tea once after zos a tra a teia tra tea once after chaar te true teia was after RAB Tak in which all three types of tros have to be incorporated what do you now have to do after MOS you blow te sharim tra te once te sharim tea once tea tra teia once that right and the same thing after zos and the same thing after churos and the abbreviation should be familiar hopefully most of you know this already te te is abbreviated tashat the tough is teia the shin is sharim the r is trua I why is the race trua tra begins with a tough answer very P because since teia begins with a tough in order to differenti the tea from the tra when it comes to the tra we use the second letter okay so tashat tashat is te te tat is tea te so after malos after this is stage three one tashat one tashat one tat after one one one afteron one one one after so now you have your major Quantum Leap you've now gone to 30 see how you get 30 because tashat counts as four tashat counts as three tarat counts as three so it's four 3 three that's 10 so it's 10 after malot 10 after zot 10 after the ramban actually says if you're thinking about this carefully the ramban says that's actually a miscount because if you're doing sharim tra because you're defining it as a trua the trua should not be counted as two it should be counted as one because essentially it's your definition of trua which means instead of 30 you actually should only have 27 but for purposes of our count we do count them as as 30 okay so this is stage three gone from nine to 30 okay this is the major movement now let me share with you a very fascinating chuva of Ravon Ravon was the last of the gonum around the year 1000s and many consider him to be the greatest of the gim he was the rebi of rabenu gam who was the rebi of the rebi of Rashi again if you go through kuat the Babylonian goon that had very very uh absolute authority over the Jewish communities rafon was the last the Babylonian communities were destroyed and then we reached the age of the reim in Europe in France and Germany later Poland Russia so rabeno gam is considered to be the first of the reim basically maybe REO gum's rebi might who's kind of an unknown figure but extremely important uh sir Leon goes by but whatever it is very enigmatic but rabeno gers was the first well-known re shown revon is the last of the gim uh and revon has an interesting TR where he raises the question before Rabbi AO different communities were blowing chauffeur different ways now how could that be uh this was a Mitzvah that Jewish people were practicing since the time of Moser raenu is it possible that 2third of Amo were making a mistake because if you have three variations and one is right and two are wrong that means whichever one is right 2third of the Jewish people are not doing the Mitzvah properly is that at all possible and how does such an uncertainty enter our religious life so ra say a very big Kish he actually says the T allows all three forms meaning the T says you got to have a crying sound and it left it to kilot to pick whatever crying sound they thought was appropriate so it's not an issue that some people were right and some people were wrong all variations were halachically acceptable rabi AO however wanted to abolish disunity on rosashana so he said we combine all the all the variations but it's not as people might assume that we had a Hal doubt what was the right one and Rabbi said let's resolve the doubt now the MS is raon of course great great Prestige the truth is the way the rambam describes rabos takana the rambam seems to say there was a bonafied there was a bonafied hak uncertainty that rabi AO wanted to resolve so you do have the question how did that uncertainty get introduced but of course uh that's a question with a lot of things consider it's filling uh Rashi Ram two absolutely different orders of Fillin in which each one says the other version is puzzle how did that start right so so apparently there were in the course of time uncertainties in the system the rambam understood that chaffeur would be the same if anything chauffeur might be more understandable because chauffeur is once a year you know filling was every was every day that's harder to understand in some ways Okay so we've gone now uh three stages we've gone from nine colotes not connected to musaf then we've gone to nine kot connected to the mus and then we've gone from 9 to 30 based on rebi a Tak and now you understand I hope you can understand why when you blow after malot you don't do three tashat you do one one of each because you have to have a tea TR once after malos once after zos once after chos and RAB Tak is that you got to have every V variety of TR that's why you got to do it different tashat not tashat tashat tashat that wouldn't make sense in that context okay stage four the introduction post mishna post mishna the introduction of teos before musaf and these are given a name uh they are called teos Deus sitting down to Kos M now all of us know that we stand up right so why are they called sitting down toos because since they're not connected to the you actually are allowed to sit down if you need to if someone has difficulty standing they're allowed to sit down for those teos de the teos in mus correspondingly acquire the [Music] name because they are part of the standing prayer of shon so teos came much later than teos in fact I don't believe they were called teos deum until teos deushi came in so then they got two names but um MV is stage number four why were teos deav introduced there are two reasons one is a pragmatic reason and one is more of a mystical reason the pragmatic reason was for the benefit of the elderly or the weak who would not be able to stay for a prolonged musaf service and if if if the only time the chauffer was blown was in the mus of DAV they would miss the precious Mitzvah of chaur so a Tako was made that will do a whole chauffer blowing before now that has to be 30 by definition meaning theoretically had if you took out RAB aoos deos would have been nine but by the time teos deos came on the scene you already had rabos takana so therefore the teos are going to be 30 but what's interesting is I'm sorry let me give the other reason I said there were two reasons so reason number one for is the Practical reason for people who could not stay from mus there is more of a mystical reason that the gar itself gives and that is the they confuse and confound the Satan now the gari does not explain what that means so a few words of explanation first of all keep in mind that in Biblical Hebrew Satan is not a proper noun it's not a name called Satan Satan is a job descriptionan means the accuser essentially the Satan is the district attorney the Satan is the prosecutor and the Satan is not unlike Christian theology or Christian mythology that talks about Satan as a fallen angel that Rebels against God and was thrown out of heaven and becomes the Antichrist right that's the whole idea there the war against God the Satan is a member of God's Heavenly Court Satan has a job remember again this is a metaphor but the image is God is Judge and there are defense attorneys and there are prosecutor Prosecuting attorneys and hasem has has to hear the case our and are the defens defense attorneys and the Satan's job is to be a prosecutor like in the Book of Job book of IV right Hashem says oh I is such a righteous person and the Satan says well he's not so righteous maybe he's righteous because uh he always gets a good deal from you let's start taking things away so the Satan is a prosecutor and and rashash like every other day of judgments his job is to make a case against us in various ways and the chauffeur one of the symbols of the chauffeur is it is a call to judgment now normally if you're a if you're a criminal defendant you want to delay your trial as much as possible you're always looking for delays but here we're blowing the chauffeur earlier than we have to before M it's as if we're eagerly asking asking Hashem we're ready for judgment we're ready to go to court the Satan gets a little confused gee why are they ready they must have some Mitzvah up their sleeve okay we don't really understand this process so well but this is the meaning of okay so again what are our stages so far we started with nine which were freestanding the nine would then move to that is as far as the mishna we then have Tak which was only in the mus originally that you go from 9 to 30 and stage number four is later in the gar after to now since the main Mitzvah of chaur is the actually even though we make the bra all the way at the beginning that is the source of the well-known which not everybody does agree with that you're not supposed to talk from the first BR of the chaar till after all of the blowings because all of them are the Mitzvah now one second now let me just raise a very simple question you will notice in the Mi we don't blow it in the same way as the in the we get 30 by blow three tashat which is 12 then three uh tashat which is nine and three tats which is nine meaning we don't blow tashat tashat tat and do that three times rather we blow three tashat three tashat three tats right not like the way we do it and and the answer is the answer is very simple in mus I got to have one of each because my is to blow a te TR te after MOS so I got to do all three variations here my is to blow te te three times and I got to do it in three ways but once I'm doing one way I finish that way and then I go on to the other way in other words I blow three tashat because maybe tra is tra I blow three tashat because maybe tra isim I blow three tats because maybe TR is tra in other words the idea of different types only applies when your is to do one of each after not when you're doing three of each you might as well finish what you started I'm sorry you want to say no it actually is not it actually is not because it's it's a separate a separate thing and that's why the order could be different Okay so how many chauffeur blowings do we have after stage four so we either have 60 or 90 depending on how you count if you follow the normal that in malot zot and chof you only blow in the repetition so you only have 60 because you had the 30 of MAV and the 30 of the so that's 60 if on the other hand you follow the and many of blowing in the repetition as well I'm sorry blowing in the in the silent as well you actually have 90 because you have 30 of 30 in the silent and 30 in the repetition so after stage four depending on what Min you followed in the sedot idea you either have 60 or 90 okay we now come to stage five stage five is the latest stage inat chaur and it is not even in the gamarra it is not even in the gamarra it is absolutely post hudic and although it is virtually Universal today not everybody agreed with it and that is a Min it is a Minag which became a din but it was a Min that we should hear the chaur 100 times on Ros may this is not in the gar at all but the the was the was the first jastra the or was in the generation before Rashi and he wrote a talmudic dictionary of difficult terms and because the was a in his definitions the Drew H conclusions from his the is considered to be a PO as well by virtue of his dictionary uh but the mentions the custom of 100 kot and this was picked up by many kilot not it was not Universal at the time although today I believe it is it is universal and the idea of the 100 colot was based on a teaching about the mother of cisra cisra was a Mite General who wanted to uh destroy and defeat is this was d'vorah fought against s's armies and yel heroic woman she killed sisra and in the shiras DOR the song of dorah peric of so dorah mentions how the mother of cisra was crying and sobbing for her child but not so much for the child but where's the jewelry he's going to bring where's the fancy clothing The Spoils of War and it says that she moaned or she cried 100 times so we blow the chaur a 100 times to counteract to defeat the hundred cries of cis's mother now what does that mean I mean sister's mother has not been alive for quite a few thousand years what is it that we have to count your man so here there's an idea that's a bit controversial and unfortunately irrelevant even today and that is the cries of a mother elicit Divine Mercy even when the child is a Russia and even when the mother is a Russia a mother's cries cannot be ignored a mother's cries elicit Mercy from God problem is the mercy would be bad for us now that she's emblematic of all of the rim who may cry over their children the Lisa a lot of the Palestinian terrorists don't cry they they glorify it but whatever it is so we blow the chauffeur a 100 times as if to say to God God look at our cries look at our SBS we want to I mean yes they're crying and they also have a certain claim for some mercy but if their if Mercy to them is going to be used in evil and destructive ways look at our CES so we have to still defeat that cry of the enemy so so you now have to go to 100 so how do you get 100 so now it's so now it depends if you follow the idea that you already have 90 by the time you finish mus you already have 90 by the time you finish mus all you need is 10 right so when a kabad minion or whatever it would be all you got to do is blow the chaar 10 times 10 times is very simple one tashat is four one tashat is three one tat is three that's it okay if however you're a regular askanazi you got you got uh much more of a job to do because you've only done 60 30 of MV and 30 of M so you have a shortfall of 40 so how do you get your 40 so again you blow three tashat after afterm of three tashat three tashat three tats that's 30 and that's done in the middle of Kadesh and then after Kadesh you blow one of each one tashat one Tash one tat and that will get you 100 you know I remember I don't know why it hit me then I mean I had been going to show before I came came to Nell but when I came to narell in as a ninth grader and daving in yias is at least there was very long I mean we didn't finish till like 4 o' I mean it was unbelievable and you know it's exhausting uh especially if you're younger if you're kid I mean kids have more energy for a lot of things but long doing they don't I mean uh you know a kid who can run around you on a baseball field or football field for like 6 hours you know you see how dead they are in shows just really really hard so finally mus was over finally mus was over like 3:30 A4 to 4 and then all of a sudden they start blowing the chauffeur again and I don't know I I mean I mean I must have had that last year the year before that as well but somehow I said what are they doing like they're starting over again or something they're doing mus again I wasn't sure what was going on but ashkenazim do have to blow 40 times now that's how you get 100 colos so it's a fascinating m because of all of these different layers you started with nine and you wound up with with 100 now the truth of the matter is in reality you actually hear the chauffer more than 100 times because most of the time the btoa has to repeat things in different ways so if that's the case you might hear chauffer 500 times depending on the btoa uh but 100 is it now there are two minhagim uh the standard minog is there is a mockery there is somebody who calls out teia trua tea and the way the Balto I guess the signal is that if he blew it to Kia that the mockery the rav usually did not consider acceptable the rav will not announce will not announce the next thing uh so he knows he has to correct it or sometimes he'll repeat the Kia again and the like but in some places because of the prohibition against hepi uh there is and certainly if you're doing it in the silent in the in the if you're doing in the silent there cannot be a mocking he can't denounce it so essentially he just points his finger he has his m in front of the Bala he puts his finger on tea and will not take off his finger to the next one until the proper sound is emitted yeah when say it you do not say say that that's correct you just blow the chauff for there is no mockery and you just listen and go on all of the things that we say by the chauffeur blowing is only in the repetition even even among the and heard ofes yes the reason why yeah the reason why it's in the middle of Kadesh is the following It's really because the am is not really finished till so even though our Min is not to do it in the silence but we want to at least bring it bring it into the a of the amida so we actually do it in the middle of the Kadesh so it's 30 in the middle of the Kadesh before tabel and then 10 10 afterwards and the very last one is tea REM of mashia and the like one final thing um a woman technically is strangely enough exempt from the Mitzvah the so far because it is a Time bound commandment and even though there are many exceptions to the rule schauffer is not one of the exceptions chauffeur is a rule that a woman is exempt and yet we do know that for hundreds and hundreds and hundreds of years it has been a Minag Isel that women try very much um to uh hear showa for if they come to sh they come to sh in fact one of the reasons for MOS was for women who couldn't stay for mus uh but most gilas whatever it is will arrange you know private or later chauffeur blowings for women as well so I just want to mention an interesting Hal that people are not always aware of that is let's imagine I'm a b TOA and I already was y I blew chauffer and show and now I'm blowing well could even be just blowing for my wife or blowing for women or the like who should make the bra on the tea so it's it is interesting that since if the man was already yot it is actually better for the woman to make the braa so she should make the bra and even the and then she can actually be the mcke if you have a m she can call out teia okay know that's up to how they want to work it out uh but it would be permitted for the woman to be the M now um if she can't make the bre whatever and the man could do it but but it is much better for the woman to make the braa so people should remember that and the woman does not have to hear 100 the woman hears 30 because once again just like is only a and a minion mayot is only a Min hug on a minion so anyone that is hearing chauffeur blowing outside of a their is nine which because Rab's upgrade is going to be 30 so uh the of everybody on rashash uh is to hear the chauffeur 30 times okay uh yeah I thought you could only be to somebody else theel o yeah so so here's the thing that only works the other way meaning to say a person with a lower level of obligation cannot be Moi a person with a higher level of obligation so that is why a woman could not blow chauffeur for a man however a man that has a of obligation could do it for a woman so a woman could blow CH for a woman and a woman could blow show for herself uh meaning let's say a woman knows how to blow Cher right no reason why she wouldn't uh a woman can absolutely blow chauffeur for herself and at least if you're ashkanazi she would make a because ashaz take the position whenever a woman does a mitv she makes a a br so a woman could be Moi women a woman could be Moi herself but a woman cannot blow Chau for for a man and the reason is it's not a a sex thing it's just a simple situation that you can only do a mitzvah for somebody if you are equal or greater obligation and a woman is not obligated so she could not say it for that that's why by the way from mitzvot in which men and women are equally obligated a woman could do it a woman can make kidish for a man because when it comes to Kish men and women are equal so any Mitzvah where men and women are equally obligated a woman can do it for a man but chauffeur happens to be one of those Mitzvah where a woman has a lower level of of obligation [Music]