Justin Jaron Lewis: Divine Gender Transformations in Rebbe Nahman of Bratslav.
Justin Jaron Lewis: Divine Gender Transformations in Rebbe Nahman of Bratslav.
——
As God has become female, the hidden has become identical with
the revealed and the inner has become equivalent to the outer. The
garment and the body are now the same. All this from the point of
view of the praying Jew enveloped by the Divine.
It is significant that R’ Nahman does not use Kabbalistic termino-
logy referring to the Shekhinah, the Divine Presence usually imaged
as female, in these passages.27 That is, he is not teaching that through
prayer we can connect with this more immanent aspect of the Divine.
Much more radically, we can enter inside the transcendent, hidden
Divine in intimate knowing.
This is conceptually impossible as long as the standard system of
gender polarities, with its inherent paradox of revelation/conceal-
ment, is maintained. In these remarkable passages, R’ Nahman ex-
plodes this system in order to allow for the possibility of unmediated
intimacy with the Divine.
Summary: the last portion of the tenth tale in Sipurei Maasiyot, »The
Burgher and the Pauper»
the empress, alone, tells the story, and then reveals herself as the
daughter. In short order, she settles everything and she and her bride-
groom are happily married and assume power.
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Institute, Jerusalem, 1983.
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Divine Gender Transformations in Rebbe Nahman of Bratslav 43
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Notes
1
See the major scholarly biography of Rebbe Nahman by Arthur Green, Tormented
Master, for a detailed account of his life and work.
2
This choice now has a parallel, however, in the evolution of the large and influential
Habad/Lubavitch sect since the death of their seventh rebbe in 1994.
3
See Green, Tormented Master, 45–46, 60–61, 145.
4
Seclusion, with its deprivation of stimulation from other human beings, can pro-
voke altered states of consciousness; see Wulff, Psychology of Religion, 61–82.
5
See Kaplan, Jewish Meditation, 92: »many people feel that it is one of the most
powerful of all the Jewish meditative techniques».
6
See Weiner, 9 ½ Mystics, 199.
7
Cf. Kaplan, Jewish Meditation, 98, on the dangers of hitbodedut as »self-therapy».
8
On hitbodedut in general and the practice of »making torah into prayer» specifically,
see Liqutei Moharan 2:25. According to R’ Nathan’s introduction to his compilation of
prayers based on this principle, Liqutei Tefilot, R’ Nahman often urged his followers to
turn his torah into prayer (Liqutei Tefilot, haqdamah).
9
Weiner, 9 ½ Mystics, 217, 225, citing Rabbi Adin Steinsaltz, who is closely associated
44 Justin Jaron Lewis
with Habad/Lubavitch Hasidism but has also published a retelling of stories of R’ Nah-
man, with a sympathetic and insightful commentary, Beggars and Prayers.
10
See Shaul Magid, »Associative Midrash», in Magid, God’s Voice from the Void, espe-
cially the section »The Hasidic Proem: From Midrash to Praxis», 37–43.
11
Handelman and Shulman, God Inside Out, 58.
12
Arnold Band notes in reference to »The King and the Emperor» in Sipurei
Ma’asiyot, »The basic plot of the story is familiar to anyone who has read romances from
the Hellenistic period onwards» (Nahman of Bratslav: The Tales, 289) and, similarly, that
»The Burgher and the Pauper», the second story discussed here, »utilizes a basic plot
found in romances of all nations» (311).
13
The most thorough theological reading of these tales is that of Marianne Schleicher
(University of Aarhus) in her Ph.D. thesis, A Theology of Redemption, 2003. Schleicher
draws on, and goes beyond, the major previous commentaries on the tales, both from
within and outside the Breslov tradition. Thus we have a Scandinavian context for the
study of R’ Nahman.
14
All translations in this article are my own.
15
This is a strong term, which could also be translated »craves» or »lusts for».
16
A new and significant contribution to the study of gender in R’ Nahman has been
made by Eliezer Shore in his doctoral dissertation, Letters of Desire, 2006.
17
Wolfson’s first major work in this area, Through a Speculum That Shines, has been
followed by Circle in the Square: Studies in the Use of Gender in Kabbalistic Symbolism
(1995), Language, Eros, Being: Kabbalistic Hermeneutics and Poetic Imagination (2005),
and many other books and articles.
18
Wolfson argues emphatically that this is true of R’ Nahman’s teachings, in »The
Cut That Binds: Time, Memory, and the Ascetic Impulse (Reflections on Bratslav Hasi-
dism)», in Magid, God’s Voice from the Void; see especially 134f.
19
Ora Wiskind-Elper has also commented evocatively on the second of these pas-
sages, in which »God Himself, receiving the shower of blessings from his People, becomes
God ‘Herself ’» (Tradition and Fantasy, 114).
20
Mark goes on to argue that Wolfson’s analysis of Jewish mystical experience as
focused on the phallic potency of the Divine simply does not apply to R’ Nahman’s mys-
ticism (Mark, Mistika V’Shiga’on Bitsirat R’ Nahman MiBreslav, 151.) This is not precisely
how I see things, as will become clear below.
21
See Mark, Mistika, 147ff; Abrams, HaGuf HaElohi HaNashi BaQabalah, 44f.
22
More technically we are speaking here about an inner, hidden dimension of God,
which in both everyday and Kabbalistic language is masculine. Liqutei Moharan 1:73
begins »…The Holy One Blessed Be He is [both] hidden and revealed» but as the teach-
ing proceeds it is referring to the hidden dimension; similarly, in the Zohar »The Holy
One Blessed Be He» (qudsha brikh hu) can mean »God» in a general way but also refers
specifically to the transcendent masculine sefirah Tif ’eret. In theosophic Kabbalah, the
revealed dimension of the Holy One Blessed Be He is in fact the Shekhinah, usually
imaged in the feminine.
23
Compare, for example, the list of associations with male and female in Kabbalah
worked out by Charles Mopsik (z»l), in which the female is associated with receptivity,
exteriority, and limitation in contrast to the corresponding »male» qualities. Mopsik, Le
sexe des âmes, 42f; English translation in Mopsik, Sex of the Soul, 17.
24
On some aspects of gender hierarchy and stereotyping in primarily non-Kabbalis-
tic Jewish thought, see Grossman, Pious and Rebellious, ch. 1, 8–32.
Divine Gender Transformations in Rebbe Nahman of Bratslav 45
25
Theosophic Kabbalah is distinguished by scholars from »ecstatic Kabbalah», espe-
cially associated with R’ Abraham Abulafia, which is more overtly experiential and avoids
sweeping claims to knowledge of the Divine. The terminology is Gershom Scholem’s,
see Major Trends in Jewish Mysticism 124. I owe the insights on concealment in this para-
graph to classes with Elliot Wolfson, at the University of Toronto, and his student David
Greenstein, at the Academy for Jewish Religion.
26
A key-word search of various Hasidic texts with the DBS »Torah Treasures» data-
base shows that the words »woman» (ishah) or »female» (neqevah/nuqba) and »receiving»
(meqabel) are associated frequently in other Hasidic sources but only in these two
passages in R’ Nahman’s oeuvre.
27
This is one way in which these teachings differ from a text with some similar
themes ascribed to R’ Phinehas of Koretz and discussed by Wolfson in »Crossing Gender
Boundaries» (Ostow, Ultimate Intimacy, 15; Hebrew text in Abrahams, HaGuf HaElohi
44, n. 42).
28
The identification of her bridegroom is especially interesting in this context, of
course. In »The Burgher and the Pauper», this is fairly straightforward. Kaplan, whose
commentary is based on Breslov sources, states that the bridegroom is »the soul of the
Messiah» (Rabbi Nahman’s Stories, 204); Steinsaltz (Beggars and Prayers, 39) writes that
he »is clearly the Messiah». These views follow the early Breslov commentary Rimzei
Ma’asiyot (printed at the end of Sipurei Ma’asiyot) and the »hints» offered by R’ Nahman
at the end of the tale itself. In »The King and the Emperor», matters are less clear. The
reference in Rimzei Ma’asiyot to yihud haqadosh ha’elyon suggests that the bridegroom is
the divine masculine (Tif ’eret or Ze’ir Anpin). Kaplan (57) at first identifies the bride-
groom in this tale as Ze’ir Anpin but then identifies this divine dimension with »the
souls of Israel». Then the bridegroom is identified straightforwardly as the people of
Israel, and it is this aspect of the interpretation which is followed throughout Kaplan’s
notes on the tale. Green considers the possibilities of the bridegroom as Israel, Messiah,
and/or R’ Nahman himself (Tormented Master, 354f ). See further the discussions of both
tales in Schleicher, A Theology of Redemption, where all available commentators’ views
are considered. If Israel is imaged here as masculine in relation to the divine feminine,
antecedents and implications of this gender dynamism deserve further study.
29
See Arnold Band, Nahman of Bratslav: The Tales, 291, 312f (summing up other com-
mentators; Band expresses skepticism about the basic premise of such »allegorical read-
ing»); Green, Tormented Master, 353 (on »The King and the Emperor»); Kaplan, Rabbi
Nahman’s Stories, 56, 204; Steinsaltz, Beggars and Prayers, 38 (on »The Burgher and the
Pauper»); Wiskind-Elper, Tradition and Fantasy, 108ff (on »The King and the Emperor»);
and Schleicher’s digest of the commentators in A Theology of Redemption.
30
In the text as we have it, though, this linguistic change does not happen. Through-
out the rest of the story, the emperor’s daughter remains grammatically feminine. I see
only one exception: at one point in the next section of the story the Hebrew text says
»he was going further from the robber» in reference to the emperor’s daughter. Shortly
thereafter a note says »the language is not exact, since sometimes she is referred to in the
masculine and sometimes in the feminine». The Yiddish version stays in the feminine
and does not have the note about inexact language. Nevertheless, the earlier note sug-
gests that R’ Nahman’s original oral telling of the story referred to her in the masculine
more consistently.
31
Doniger, Splitting the Difference, 260.
32
Howard Schwartz’s retelling of this tale introduces an episode in which the emperor’s
daughter »confessed that she was a woman» to the woman she is supposed to marry
(Elijah’s Violin, 244). There is no such claim of a true female identity in the original.
46 Justin Jaron Lewis
33
The narrative returns to the feminine gender to represent the point of view of
her suitors as they think about her, but then moves to the masculine again when she
confronts them as king, before concluding in the feminine as she resumes her identity
as a woman.
34
See the discussion in Schleicher, A Theology of Redemption.
35
Kaplan, Rabbi Nahman’s Stories,73.
36
Kaplan, 73, citing Zohar 1:232a. A more relevant passage in the Zohar might be
1:2a in which the Shekhinah »adorns Herself in masculine clothing in the presence of
every male in Israel» on the occasion of the pilgrimage festivals (Daniel Matt translation,
Zohar v. 1, 9). Wolfson discusses this important passage in »Crossing Gender Boundaries»
(Ostow, Ultimate Intimacy, 309ff ) and it is the subject of a powerful series of paint-
ings under the title »The Great Transformation» by the midrashic artist Denise Lilli-
man (Gananoque, Ontario). This Zoharic passage would certainly have been familiar
to R’ Nahman and its relationship to his tales deserves further study, but the dynamics
of meaning are quite different. The gist of Wolfson’s analysis of this Zohar passage and
thematically related texts is that, in a mental world where only the male is valued, the
female becomes male to reach a higher plane and ultimately to be incorporated into the
male. In R’ Nahman’s narratives, however, the emperor’s daughter uses the male role
to accomplish her own purposes, and sheds it when she has done so. At least in »The
Burgher and the Pauper», her status in the world of the story is lower in her male role
than in her female identity. Though at the end of each tale she is reunited with her male
partner, it does not appear that he absorbs or overshadows her. In »The Burgher and the
Pauper» the last words of the story indicate equality between them (»and they ruled over
the whole world»), whereas »The King and the Emperor» ends with her dominant voice,
inviting or commanding the bridegroom (who remains silent) to travel home with her.
37
Howard Schwartz, in retelling this tale, has evidently found the emperor’s daughter’s
murder of the king and deceit of his widow so disturbing that he has left them out. See
Schwartz, Elijah’s Violin, 243f.
38
»Now she becomes active, as we see when she kills [the king]. Thus, she takes on a
male aspect». Kaplan, Rabbi Nahman’s Stories, 73.
39
In discussing »The King and the Emperor», Tradition and Fantasy, 108f. Band is
thus mistaken in stating »The duplicity and ruthlessness of the emperor’s daughter are
difficult to reconcile with her figure as a representative of the Shekhinah» (Nahman of
Bratslav: The Tales, 290).
40
Samael plays a terrifying role in R’ Nahman’s eighth tale, »The Rabbi and his Son»,
while »the Devil» appears in the ninth tale, »The Wise Man and the Simpleton».
41
These interpretations fit well with identifying the bridegroom in »The King and
the Emperor» as the divine masculine and the bridegroom in »The Burgher and the
Pauper» as the Messiah, as discussed earlier; in either case the male identity assumed by
the emperor’s daughter is not that of her bridegroom.
42
In the well-known »tree» of the sefirot it would mean a reversal of the positions of
Malkhut and Tif ’eret.
43
Compare Marianne Schleicher’s article on »The King and the Emperor» in an
earlier issue of Nordisk Judaistik.
44
For example, in a later generation the Maharsham, Rabbi Shalom Mordecai ben
Moses Schwadron (1835–1911), a highly respected Galician decisor, investigates whether a
young man is permitted to dye his greying beard or whether it would violate this prohibi-
tion (Shut Maharsham 2:243, in Bar-Ilan database).
45
Wiskind-Elper, Tradition and Fantasy, 1.
Divine Gender Transformations in Rebbe Nahman of Bratslav 47
46
The introduction to Sipurei Ma’asiyot (7), contains a description of how R’ Nah-
man would use existing folktales in his storytelling: »He would also sometimes tell one
of the stories that people tell. But he would add a lot to [such stories], and rearrange and
correct the order, until the story was completely different from what people tell.» From
the content of the stories in Sipurei Ma’asiyot it is clear that the reference is not to hagio-
graphic Hasidic stories, but to wonder tales.
47
See »Tales from International Folklore» in Eli Yassif, The Hebrew Folktale,
265–282.
48
This is international folklore motif # K1837, »Disguise of woman in man’s clothes»
(see Thompson, Motif-Index,vol. 4, 440.) See also Arnold Band’s comments, quoted
above, on the ubiquity of the plot elements of these tails »in romances of all nations»
(Nahman of Bratslav: The Tales, 289, 311). For a thoughtful article on the gender implica-
tions of this motif in ballads in English, see Pauline Greenhill, »Neither A Man Nor A
Maid».
49
Translated in Downing, Russian Tales and Legends, 47–54.
50
Translated in Guterman, Russian Fairy Tales, 131–133, 229–234. It is not clear from
the text whether the Maiden Tsar or her companions are in male dress, but her title sug-
gests a male role. R’ Nahman lived in the Ukraine rather than Russia proper but there is,
of course, considerable cultural overlap. In this cultural milieu, the specifically Ukrainian
»Malanka» tradition of New Year celebration is also of interest regarding cross-dressing:
»A young man, known as Malanka, is dressed up as a woman, having on a skirt, a wimple
and a head-kerchief…» (Rudnyckyj, Ukrainian-Canadian Folklore, 11, describing tradi-
tions in the informant’s home village in West Ukraine). In a broader cultural context
compare also the Grimms’ tale of »The Fisherman and his Wife» (»Von dem Fischer un
syner Fru») where the wife becomes successively the king, the emperor, and the pope,
with no comment from the narrator as to the gender transposition.
51
Here the »authorized» Breslov commentaries are very helpful (Mykoff, Likutey
Moharan, in volumes 2 and 9). Cf. also the extended teaching of R’ Nahman’s disciple
R’ Nathan on the verse »a female shall surround a male» (Liqutei Halakhot, Hilkhot Rosh
Hodesh 5:22, 5:26–27) which he interprets as »behinat she’osin mehatorot tefilot» – »that we
make prayers out of [the Rebbe’s] teachings/Torah».
52
Eliezer Shore notes various discourses in which »Rabbi Nahman discusses a mysti-
cal state of total absorption into the Divine» (Letters of Desire, 71).
53
This is spelled out in several passages in the later Breslov book Hishtapkhut
HaNefesh (by Alter Tepliker, d. 1919), a tract on hitbodedut. For example: »‘The Eternal’
and ‘God’ (HaShem and Elohim) are the aspects of Ze’ir Anpin [masculine] and Malkhut
[feminine], the aspects of Torah and prayer, as is known…» (Hishtapkhut HaNefesh,
ma’amarim 5, s.v. ve’al ken omrim besof tefilat ne’ilah).
54
For example: »Speech (hadibur) is the aspect of the Shekhinah, as it is written [in
the Tiqunei HaZohar, in the passage Patah Eliyahu included in Hasidic editions of the
prayerbook] ‘Malkhut is the mouth’». Liqutei Moharan 1:37:6.