ื‘ืกืดื“

Kavanot: Heaven and Earth

Thoughts on Tanach and the Davening

The next perek of ืคืกื•ืงื™ ื“ื–ื™ืžืจื is based on the pasuk from ืืฉืจื™:
ืจืฆื•ืŸ ื™ืจืื™ื• ื™ืขืฉื”; ื•ืืช ืฉื•ืขืชื ื™ืฉืžืข ื•ื™ื•ืฉื™ืขื. But it doesnโ€™t seem to be about ื™ืจืื™ื•; it seems to be about the universe and how it praises ื”ืณ. It starts with ื”ืœืœื• ืืช ื”ืณ ืžืŸ ื”ืฉืžื™ื and turns at ืคืกื•ืง ื– to ื”ืœืœื• ืืช ื”ืณ ืžืŸ ื”ืืจืฅ, then summarizes in ืคืกื•ืง ื™ื’ with ื”ื•ื“ื• ืขืœ ืืจืฅ ื•ืฉืžื™ื. Itโ€™s not until the last pasuk that we get, somehow, to ื•ื™ืจื ืงืจืŸ ืœืขืžื• ืชื”ืœื” ืœื›ืœ ื—ืกื™ื“ื™ื•. We need to see how that all fits together.

The bulk of the perek is very symmetric between the ืฉืžื™ื and ืืจืฅ:


ื– ื”ืœืœื• ืืช ื”ืณ ืžืŸ ื”ืืจืฅ
ืชื ื™ื ื™ื ื•ื›ืœ ืชื”ืžื•ืชืƒ
ื— ืืฉ ื•ื‘ืจื“ ืฉืœื’ ื•ืงื™ื˜ื•ืจ;
ืจื•ื— ืกืขืจื” ืขืฉื” ื“ื‘ืจื•ืƒ
ื˜ ื”ื”ืจื™ื ื•ื›ืœ ื’ื‘ืขื•ืช;
ืขืฅ ืคืจื™ ื•ื›ืœ ืืจื–ื™ืืƒ
ื™ ื”ื—ื™ื” ื•ื›ืœ ื‘ื”ืžื”;
ืจืžืฉ ื•ืฆืคื•ืจ ื›ื ืฃืƒ
ื™ื ืžืœื›ื™ ืืจืฅ ื•ื›ืœ ืœืืžื™ื;
ืฉืจื™ื ื•ื›ืœ ืฉืคื˜ื™ ืืจืฅืƒ
ื™ื‘ ื‘ื—ื•ืจื™ื ื•ื’ื ื‘ืชื•ืœื•ืช;
ื–ืงื ื™ื ืขื ื ืขืจื™ืืƒ
ื™ื’ ื™ื”ืœืœื• ืืช ืฉื ื”ืณ
ื›ื™ ื ืฉื’ื‘ ืฉืžื• ืœื‘ื“ื•;

ื”ื•ื“ื• ืขืœ ืืจืฅ ื•ืฉืžื™ืืƒ

ืชื”ื™ืœื™ื ืคืจืง ืงืžื—

ื ื”ืœืœื•ื™ื”;
ื”ืœืœื• ืืช ื”ืณ ืžืŸ ื”ืฉืžื™ื;
ื”ืœืœื•ื”ื• ื‘ืžืจื•ืžื™ืืƒ
ื‘ ื”ืœืœื•ื”ื• ื›ืœ ืžืœืื›ื™ื•;
ื”ืœืœื•ื”ื• ื›ืœ ืฆื‘ืื•ืƒ
ื’ ื”ืœืœื•ื”ื• ืฉืžืฉ ื•ื™ืจื—;
ื”ืœืœื•ื”ื• ื›ืœ ื›ื•ื›ื‘ื™ ืื•ืจืƒ
ื“ ื”ืœืœื•ื”ื• ืฉืžื™ ื”ืฉืžื™ื;
ื•ื”ืžื™ื ืืฉืจ ืžืขืœ ื”ืฉืžื™ืืƒ




ื” ื™ื”ืœืœื• ืืช ืฉื ื”ืณ;
ื›ื™ ื”ื•ื ืฆื•ื” ื•ื ื‘ืจืื•ืƒ
ื• ื•ื™ืขืžื™ื“ื ืœืขื“ ืœืขื•ืœื; ื—ืง ื ืชืŸ ื•ืœื ื™ืขื‘ื•ืจืƒ

ืชื”ื™ืœื™ื ืคืจืง ืงืžื—

As Rabbi Baumol points out, laying out the perek like this to illustrate the parallelism actually highlights the asymmetry.

Symmetry is often used to convey harmonyโ€ฆSometimes, however, one point of contention in the midst of the symmetry โ€”in a sense, an asymmetryโ€”catalyzes a deeper understanding of the issue and reflects the major differences between two seemingly simlar ideas.

Rabbi Avi Baumol, The Poetry of Prayer: Tehillim in Tefillah, page 87

One obvious difference is that the ืืจืฅ half is longer. The ืฉืžื™ื half mixes the โ€œspiritualโ€ heavens (ืžืœืื›ื™ื•,โ€Ž ืฉืžื™ ื”ืฉืžื™ื) and the โ€œphysicalโ€ heavens (ืฉืžืฉ ื•ื™ืจื—,โ€Ž ื›ื•ื›ื‘ื™ ืื•ืจ). The ืืจืฅ half mixes the physics of the earth (ืชื”ืžื•ืช,โ€Ž ืืฉ ื•ื‘ืจื“,โ€Ž ื”ืจื™ื) with the biology (ืขืฅ ืคืจื™,โ€Ž ื‘ื”ืžื”). That much is parallel. Then it turns to human beings, who do not have any parallel in either the spiritual or physical heavens.

ืžืœื›ื™ ืืจืฅ ื•ื›ืœ ืœืืžื™ื
ืฉืจื™ื ื•ื›ืœ ืฉืคื˜ื™ ืืจืฅืƒ
The last letters spell out ืฆืœืžื™, ืฆืœืžื™, โ€My image, My imageโ€œ.

Leah-Perl Shollar, Illustrated Family Tehillim, Psalm 148

ื ืขืฉื” ืื“ื ื‘ืฆืœืžื ื•: ื”ืฆืœื ื”ืืœื•ืงื™ ื”ื•ื ื”ื‘ื—ื™ืจื”, ื‘ืœื™ ื˜ื‘ืข ืžื›ืจื™ื—, ืจืง ืžืจืฆื•ืŸ ื•ืฉื›ืœ ื—ืคืฉื™โ€ฆืื ื• ื™ื•ื“ืขื™ื ืฉื”ื‘ื—ื™ืจื” ื”ื—ื•ืคืฉื™ืช ื”ื•ื ืžืฆืžืฆื•ื ื”ืืœื•ืงื•ืช, ืฉื”ืฉื™ืดืช ืžื ื™ื— ืžืงื•ื ืœื‘ืจื•ืื™ื• ืœืขืฉื•ืช ื›ืคื™ ืžื” ืฉื™ื‘ื—ืจื•.

ืžืฉืš ื—ื›ืžื”, ื‘ืจืืฉื™ืช ื:ื›ื•

ื”ืื“ื ื”ืžืขืžื™ืง ืืช ื”ื›ืจืชื• ื‘ืฆืœื ืืœื•ืงื™ื ืฉื‘ื•, ื”ืจื™ ื”ื•ื ืžืขืžื™ืง ื‘ื“ืจืš ืžืžื™ืœื ืืช ืงื‘ืœืช ืขื•ืœ ืžืœื›ื•ืช ืฉืžื™ื ืฉืœื•. ื•ื”ืจื™ ืกื’ื•ืœืช ื”ื‘ื—ื™ืจื” ื”ื™ื ื”ื™ื ื”ืฆืœื ืืœื•ืงื™ื ืฉื‘ืื“ื. ื•ืื™ืŸ ืœืš ื”ืื“ืจืชื” ืฉืœ ื›ื— ืกื’ื•ืœืช ื”ื‘ื—ื™ืจื” ื›ืจืื™ื” ื–ื•โ€ฆ

ืคื—ื“ ื™ืฆื—ืง, ืจืืฉ ื”ืฉื ื” ื™ื:ื‘

That marks the difference between the ื”ืœืœื• ืืช ื”ืณ of both ืฉืžื™ื and the rest of ืืจืฅ. The created universe โ€œsingsโ€ the praises of ื”ืณ simply by existing. We do that as well; our bodies are miracles of creation that declare ื”ืณ's greatness. But we are capable of more.

ื‘ ื”ืฉืžื™ื ืžืกืคืจื™ื ื›ื‘ื•ื“ ืึพืœ; ื•ืžืขืฉื” ื™ื“ื™ื• ืžื’ื™ื“ ื”ืจืงื™ืขืƒ
โ€ฆื“ ืื™ืŸ ืืžืจ ื•ืื™ืŸ ื“ื‘ืจื™ื; ื‘ืœื™ ื ืฉืžืข ืงื•ืœืืƒ

ืชื”ื™ืœื™ื ืคืจืง ื™ื˜

ืืžืจื• ืจื‘ื•ืชื™ื ื• ื–ืดืœ (ื™ืœืงื•ื˜ ืฉืžืขื•ื ื™, ืกื•ืฃ ืชื”ืœื™ื) ืขืœ ื“ื•ื“ ื”ืžืœืš ืขืดื”, ื‘ืฉืขื” ืฉืกื™ื™ื ืกืคืจ ืชื”ืœื™ื ื–ื—ื” ื“ืขืชื• ืขืœื™ื•. ืืžืจ ืœืคื ื™ ื”ืงื“ื•ืฉ ื‘ืจื•ืš ื”ื•ื: ื™ืฉ ื‘ืจื™ืื” ืฉื‘ืจืืช ื‘ืขื•ืœืžืš ืฉืื•ืžืจืช ืฉื™ืจื•ืช ื•ืชืฉื‘ื—ื•ืช ื™ื•ืชืจ ืžืžื ื™? ื‘ืื•ืชื” ืฉืขื” ื ื–ื“ืžื ื” ืœื• ืฆืคืจื“ืข ืื—ืช ื•ืืžืจื” ืœื•: ื“ื•ื“! ืืœ ืชื–ื•ื— ื“ืขืชืš ืขืœื™ืš, ืฉืื ื™ ืื•ืžืจืช ืฉื™ืจื•ืช ื•ืชืฉื‘ื—ื•ืช ื™ื•ืชืจ ืžืžืš. ื•ืœื ืขื•ื“, ืืœื ื›ืœ ืฉื™ืจื” ืฉืื ื™ ืื•ืžืจืช ืžืžืฉืœืช ืขืœื™ื” ืฉืœืฉืช ืืœืคื™ื ืžืฉืœ ืฉื ืืžืจ (ืžืœื›ื™ื ื ื”:ื™ื‘-ื™ื’) ื•ึทื™ึฐื“ึทื‘ึตึผืจ ืฉึฐืืœึนืฉึถืืช ืึฒืœึธืคึดื™ื ืžึธืฉึธืืœ ื•ึทื™ึฐื”ึดื™ ืฉึดืื™ืจื•ึน ื—ึฒืžึดืฉึธึผืื” ื•ึธืึธืœึถืฃ.[ื•ึทื™ึฐื“ึทื‘ึตึผืจ ืขึทืœ ื”ึธืขึตืฆึดื™ื ืžึดืŸ ื”ึธืึถืจึถื– ืึฒืฉึถืืจ ื‘ึทึผืœึฐึผื‘ึธื ื•ึนืŸ ื•ึฐืขึทื“ ื”ึธืึตื–ื•ึนื‘ ืึฒืฉึถืืจ ื™ึนืฆึตื ื‘ึทึผืงึดึผื™ืจ ื•ึทื™ึฐื“ึทื‘ึตึผืจ ืขึทืœ ื”ึทื‘ึฐึผื”ึตืžึธื” ื•ึฐืขึทืœ ื”ึธืขื•ึนืฃ ื•ึฐืขึทืœ ื”ึธืจึถืžึถืฉื‚ ื•ึฐืขึทืœ ื”ึทื“ึธึผื’ึดื™ื]. ื•ืœื ืขื•ื“ ืืœื ืฉืื ื™ ืขื•ืกืงืช ื‘ืžืฆื•ื” ื’ื“ื•ืœื”, ื•ื–ื• ื”ื™ื ื”ืžืฆื•ื” ืฉืื ื™ ืขื•ืกืงืช ื‘ื”โ€”ื™ืฉ ื‘ืฉืคืช ื”ื™ื ืžื™ืŸ ืื—ื“ ืฉืื™ืŸ ืคืจื ืกืชื• ื›ื™ ืื ืžืŸ ื”ืžื™ื ื•ื‘ืฉืขื” ืฉื”ื•ื ืจืขื‘ ื ื•ื˜ืœื ื™ ื•ืื•ื›ืœื ื™ ืœืงื™ื™ื ืžื” ืฉื ืืžืจ (ืžืฉืœื™ ื›ื”:ื›ื-ื›ื‘) ืึดื ืจึธืขึตื‘ ืฉื‚ึนื ึทืึฒืšึธ ื”ึทืึฒื›ึดืœึตื”ื•ึผ ืœึธื—ึถื; ื•ึฐืึดื ืฆึธืžึตื ื”ึทืฉืึฐืงึตื”ื•ึผ ืžึธื™ึดืโ€ฆื•ึทื”ืณ ื™ึฐืฉืึทืœึผึถื ืœึธืšึฐ; ืืœ ืชืงืจื™ ื™ืฉืœื ืœืš ืืœื ื™ืฉืœื™ืžื”ื• ืœืš.

ืคืจืง ืฉื™ืจื”, ื”ืงื“ืžื”

ืฆืคืจื“ืข ืื•ืžืจืช: ื‘ืจื•ืš ืฉื ื›ื‘ื•ื“ ืžืœื›ื•ืชื• ืœืขื•ืœื ื•ืขื“.

ืคืจืง ืฉื™ืจื” ื“:ืœื“

Rabbi Natan Slifkin translates ืฆืคืจื“ืข ืื•ืžืจืช (and similar terms in ืคืจืง ืฉื™ืจื”) not as โ€œthe frog saysโ€, but as โ€œthe frog is sayingโ€.

Do frogs actually compose songs like men? The very concept is beyond our comprehension, yet the song of the frog is that which is sung by the heavenly angels! Indeed, frogs have no need to compose music and lyrics as we understand them. The most wonderful song a frog can sing is being itself.

Rabbi Avrohom Chaim Feuer, Artscroll Tehillim, introduction, p. xlix

ืžืงืฆื” ื”ืฉืžื™ื ืžื•ืฆืื• ื•ืชืงื•ืคืชื• ืขืœ ืงืฆื•ืชื; ื•ืื™ืŸ ื ืกืชืจ ืžื—ืžืชื•ืƒ

ืชื”ื™ืœื™ื ื™ื˜:ื–

For the sun, ืื™ืŸ ื ืกืชืจ ืžื—ืžืชื•, there is nothing hidden from it being the sun, from fulfilling its duty. It by definition obeys the laws of nature; it has no free will.

Me, Let Me Count the Ways ืฉ

The most wonderful service the frog can render is to faithfully live out its life, playing its role in the biological cycle, helping maintain the harmonious order of the world. When all parts of creation merge together in perfect order, this is itself the most impressive song of praise, extolling the magnificence of G-dโ€™s handiwork.

Rabbi Avrohom Chaim Feuer, Artscroll Tehillim, introduction, p. xlix

So the conclusion of the ืฉืžื™ื part is ื™ื”ืœืœื• ืืช ืฉื ื”ืณ; ื›ื™ ื”ื•ื ืฆื•ื” ื•ื ื‘ืจืื•ืƒ ื•ื™ืขืžื™ื“ื ืœืขื“ ืœืขื•ืœื; ื—ืง ื ืชืŸ ื•ืœื ื™ืขื‘ื•ืจ: The ืฉืžื™ื (and the first half of ืืจืฅ) follow immutable laws. Rav Hirsch points out that the punctuation of ื—ืง ื ืชืŸ is ื—ื‡ืงึพื ึธึืชึทึ—ืŸ, a single phrase. Read it not as โ€œHe gave the lawโ€, but as โ€œa given lawโ€ that cannot be violated.

So itโ€™s very depressing. We can never be as good a human being as a frog can be a frog. We can never praise ื”ืณ as well as frogs can croak (in both senses of the word!). This is part of the symbolism of the spiritual ืฉืžื™ื; the expressions ืฉืžื™ ื”ืฉืžื™ื and ื”ืžื™ื ืืฉืจ ืžืขืœ ื”ืฉืžื™ื donโ€™t appear anywhere else in ืชื”ื™ืœื™ื.

ื• ื•ื™ืืžืจ ืืœืงื™ื ื™ื”ื™ ืจืงื™ืข ื‘ืชื•ืš ื”ืžื™ื ื•ื™ื”ื™ ืžื‘ื“ื™ืœ ื‘ื™ืŸ ืžื™ื ืœืžื™ืืƒ
ื– ื•ื™ืขืฉ ืืœืงื™ื ืืช ื”ืจืงื™ืข ื•ื™ื‘ื“ืœ ื‘ื™ืŸ ื”ืžื™ื ืืฉืจ ืžืชื—ืช ืœืจืงื™ืข ื•ื‘ื™ืŸ ื”ืžื™ื ืืฉืจ ืžืขืœ ืœืจืงื™ืข; ื•ื™ื”ื™ ื›ืŸืƒ

ื‘ืจืืฉื™ืช ืคืจืง ื

This really upset ืฉืžืขื•ืŸ ื‘ืŸ ื–ื•ืžื, a Tanna:

ื•ื™ืขืฉ ืืœืงื™ื ืืช ื”ืจืงื™ืข: ื–ื” ืื—ื“ ืžืŸ ื”ืžืงืจืื•ืช ืฉื”ืจืขื™ืฉ ื‘ืŸ ื–ื•ืžื ืืช ื”ืขื•ืœื, โ€ื•ื™ืขืฉโ€œ ืืชืžื”ื? ื•ื”ืœื•ื ื‘ืžืืžืจ ื”ืŸ, ื”ื•ื™ (ืชื”ืœื™ื ืœื’:ื•): ื‘ึดึผื“ึฐื‘ึทืจ ื”ืณ ืฉึธืืžึทื™ึดื ื ึทืขึฒืฉื‚ื•ึผ ื•ึผื‘ึฐืจื•ึผื—ึท ืคึดึผื™ื• ื›ึธึผืœ ืฆึฐื‘ึธืึธื!

ื‘ืจืืฉื™ืช ืจื‘ื” ื“:ื•

ืžืขืฉื” ื‘ืจืณ ื™ื”ื•ืฉืข ืฉื”ื™ื” ืžื”ืœืš ื‘ืืกืชืจื˜ื ื•ื”ื™ื” ื‘ืŸ ื–ื•ืžื ื‘ื ื›ื ื’ื“ื•. ื”ื’ื™ืข ืืฆืœื• ื•ืœื ื ืชืŸ ืœื• ืฉืœื•ื. ืืžืจ ืœื•: ืžืื™ืŸ ืœืื™ืŸ ื‘ืŸ ื–ื•ืžื? ืืžืจ ืœื•: ืฆื•ืคื” ื”ื™ื™ืชื™ ื‘ืžืขืฉื” ื‘ืจืืฉื™ืช ื•ืื™ืŸ ื‘ื™ืŸ ืžื™ื ื”ืขืœื™ื•ื ื™ื ืœืžื™ื ื”ืชื—ืชื•ื ื™ื ืืคื™ืœื• ื˜ืคื—, ืฉื ืืžืจ: โ€ื•ืจื•ื— ืืœืงื™ื ืžืจื—ืคืช ืขืœ ืคื ื™ ื”ืžื™ืโ€œ, ื•ืื•ืžืจ: โ€ื›ื ืฉืจ ื™ืขื™ืจ ืงื ื• ืขืœ ื’ื•ื–ืœื™ื• ื™ืจื—ืฃโ€œโ€”ืžื” ื ืฉืจ ื–ื” ื˜ืก ืขืœ ืงื ื• ื ื•ื’ืข ื•ืื™ื ื• ื ื•ื’ืข, ื›ืš ืื™ืŸ ื‘ื™ืŸ ืžื™ื ื”ืขืœื™ื•ื ื™ื ืœืžื™ื ื”ืชื—ืชื•ื ื™ื ืืคื™ืœื• ื˜ืคื—. ืืžืจ ืœื”ื ืจืณ ื™ื”ื•ืฉืข ืœืชืœืžื™ื“ื™ื•: ื›ื‘ืจ ื‘ืŸ ื–ื•ืžื ืžื‘ื—ื•ืฅ. ืœื ื”ื™ื• ื™ืžื™ื ืžื•ืขื˜ื™ื, ืขื“ ืฉื ืกืชืœืง ื‘ืŸ ื–ื•ืžื.

ืชื•ืกืคืชื ืžืกื›ืช ื—ื’ื™ื’ื” (ืœื™ื‘ืจืžืŸ) ื‘:ื•

ื’ ืืจื‘ืขื” ื ื›ื ืกื• ืœืคืจื“ืก: ื‘ืŸ ืขื–ื™ื™ ื•ื‘ืŸ ื–ื•ืžื ืื—ืจ ื•ืจืณ ืขืงื™ื‘ืโ€ฆื‘ืŸ ืขื–ื™ื™ ื”ืฆื™ืฅ ื•ืžืชโ€ฆื‘ืŸ ื–ื•ืžื ื”ืฆื™ืฅ ื•ื ืคื’ืขโ€ฆืืœื™ืฉืข ื”ืฆื™ืฅ ื•ืงื™ืฆืฅ ื‘ื ื˜ื™ืขื•ืชโ€ฆ

ื“ ืจืณ ืขืงื™ื‘ื” ืขืœื” ื‘ืฉืœื•ื ื•ื™ืจื“ ื‘ืฉืœื•ืโ€ฆ

ื”โ€ฆื•ืขื•ื“ ืžึธืฉืึฐืœื•ึผ ืžืฉืœ: ืœืžื” ื”ื“ื‘ืจ ื“ื•ืžื”? ืœืื™ืกืชืจื˜ื ื”ืขื•ื‘ืจืช ื‘ื™ืŸ ืฉื ื™ ื“ืจื›ื™ื: ืื—ื“ ืฉืœ ืื•ึผืจ ื•ืื—ื“ ืฉืœ ืฉืœื’. ื”ื™ื˜ื” ืœึฐื›ึธืŸโ€”ื ื›ื•ื” ื‘ึผึธืื•ึผืจ. ื”ื™ื˜ื” ืœื›ืŸโ€”ื ื›ื•ื” ื‘ืฉืœื’. ืžื” ืขืœื™ื• ืขืœ ืื“ื? ืœื”ืœืš ื‘ืืžืฆืข, ื•ื‘ืœื‘ื“ ืฉืœื ื™ื”ื ื ื•ื˜ื” ืœื ืœึฐื›ึธืŸ ื•ืœื ืœึฐื›ึธืŸ.

ืชื•ืกืคืชื ืžืกื›ืช ื—ื’ื™ื’ื” (ืœื™ื‘ืจืžืŸ) ืคืจืง ื‘

ื‘ืŸ ื–ื•ืžื, contemplating ืžืขืฉื” ื‘ืจืืฉื™ืช, identifies the ืžื™ื ื”ืขืœื™ื•ื ื™ื with ืจื•ื— ืืœืงื™ื that hovers over the ืžื™ื ื”ืชื—ืชื•ื ื™ื, separated by the ืจืงื™ืข that is only a handsbreadth thick. The ืจื•ื— ืืœืงื™ื, which everywhere else in ืชื ืดืš means โ€œdivine inspirationโ€, what we call ืจื•ื— ื”ืงื•ื“ืฉ, is so close he could touch it. But he canโ€™t reach it, and it drives him mad.

The ื”ืžื™ื ืืฉืจ ืžืขืœ ื”ืฉืžื™ื reminds us of our spiritual limitations.

So now what? David would still have all of usโ€”young and old, male and femaleโ€”praise ื”ืณ. Whatโ€™s the point? David concludes: ื™ื”ืœืœื• ืืช ืฉื ื”ืณ ื›ื™ ื ืฉื’ื‘ ืฉืžื• ืœื‘ื“ื•. I would read that as โ€œEven though G-d is uniquely exaltedโ€ and ื”ื•ื“ื• ืขืœ ืืจืฅ ื•ืฉืžื™ืโ€”the heavens and earth reflect His glory. ื”ืณ apparently has no need for our ื”ืœืœื•ื™ื”. But ื”ืณ still wants us to praise Him. Thatโ€™s all ื”ืณ wants from us; that is exactly what ื”ืณ wants from us. Rabbi Baumol cites the ืคื™ื•ื˜ from ื™ื•ื ื›ื™ืคื•ืจ:

ืึฒืฉึถืืจ ืึตื™ืžึธืชึถืšึธ
ื‘ึฐึผืึถืจึฐืึถืœึตึผื™ ืึนืžึถืŸ ื‘ึฐึผืึทื‘ึดึผื™ืจึตื™ ืึนืžึถืฅ
ื‘ึดึผื‘ึฐืœื•ึผืœึตื™ ืงึถืจึทื— ื‘ึดึผื‘ึฐื“ื•ึผื“ึตื™ ืงึถื“ึทื—
ื•ึผืžื•ึนืจึธืึฒืšึธ ืขึฒืœึตื™ื”ึถื.

ื•ึฐืึธื‘ึดื™ืชึธ ืชึฐื”ึดืœึธึผื”
ืžึดื’ึฐึผืœื•ึผืžึตื™ ื’ื•ึผืฉื ืžึดื’ึธึผืจึตื™ ื’ึทื™ึฐื
ืžึดื“ึฐึผืœื•ึผืœึตื™ ืคึนืขึทืœ ืžึดื“ึทึผืœึตึผื™ ืžึทืขึทืฉื‚
ื•ึฐื”ึดื™ื ืชึฐื”ึดืœึธึผืชึถืšึธ.

ืืฉืจ ืื™ืžืชืš, ืคื™ื•ื˜ ืœืžื•ืกืฃ ืฉืœ ื™ื•ื ื”ื›ื™ืคื•ืจื™ื

[B]ecause of our free will, our capacity to yield to our desire and our capacity to rise above our frailty, we are rewarded by G-d, Who desires to hear our praise, the praise of lowly humans.

Rabbi Avi Baumol, The Poetry of Prayer: Tehillim in Tefillah, page 85

Why? If our goal is to praise ื”ืณ for ืคืจื ืกื”, why canโ€™t we do it froggy-style, and just be? Because if thatโ€™s the way we relate to ื”ืงื‘ืดื”, then we are missing the whole point of creation, and none of ื”ืฉืžื™ื ืžืกืคืจื™ื ื›ื‘ื•ื“ ืึพืœ matters.

ื›ื” ืืžืจ ื”ืณ ืื ืœื ื‘ืจื™ืชื™ ื™ื•ืžื ื•ืœื™ืœื” ื—ืงื•ืช ืฉืžื™ื ื•ืืจืฅ ืœื ืฉืžืชื™ืƒ

ื™ืจืžื™ื”ื• ืœื’:ื›ื”

ื•ื”ืืžืจ ืจื‘ื™ ืืœืขื–ืจ: ืื™ืœืžืœื ืชื•ืจื” ืœื ื ืชืงื™ื™ืžื• ืฉืžื™ื ื•ืืจืฅ, ืฉื ืืžืจ: โ€ืื ืœื ื‘ืจื™ืชื™ ื™ื•ืžื ื•ืœื™ืœื” ื—ืงื•ืช ืฉืžื™ื ื•ืืจืฅ ืœื ืฉืžืชื™โ€œ.

ืคืกื—ื™ื ืกื—,ื‘

Now, Rashi doesnโ€™t think this fits the ืคืฉื˜:

ืื ืœื ื‘ืจื™ืชื™ ื•ื’ื•ืณ: ืื™ ืืคืฉืจ ืฉืœื ื™ืชืงื™ื™ื ื”ื‘ืจื™ืช ืฉื›ืจืชื™ ืœื™ื•ื ื•ืœื™ืœื” ืœื”ื™ื•ืช ื‘ืขืชื ื•ืื™ ืืคืฉืจ ืœื—ื•ืงื•ืช ืฉืžื™ื ื•ืืจืฅ ืœื™ื‘ื˜ืœ ื›ืืœื• ืœื ืฉืžืชื™ืโ€ฆื•ืจื‘ื•ืชื™ื ื• ื“ืจืฉื•ื”ื• ืœืขื ื™ืŸ ื‘ืจื™ืช ื”ืชื•ืจื”, ืœืœืžื•ื“ ืžื›ืืŸ ืฉื‘ืฉื‘ื™ืœ ื”ืชื•ืจื” ื ื‘ืจืื• ืฉืžื™ื ื•ืืจืฅ. ืืš ืื™ืŸ ื”ืžื“ืจืฉ ืžื™ื•ืฉื‘ ืขืœ ืกื“ืจ ื”ืžืงืจืื•ืช.

ืจืฉืดื™, ื™ืจืžื™ื”ื• ืœื’:ื›ื”

But a few psukim before, Yirmiyahu makes exactly the same point, with very similar language:

ื›ื” ืืžืจ ื”ืณ ืื ืชืคืจื• ืืช ื‘ืจื™ืชื™ ื”ื™ื•ื ื•ืืช ื‘ืจื™ืชื™ ื”ืœื™ืœื”; ื•ืœื‘ืœืชื™ ื”ื™ื•ืช ื™ื•ืžื ื•ืœื™ืœื” ื‘ืขืชืืƒ

ื™ืจืžื™ื”ื• ืœื’:ื›

So I think that is the message of the last pasuk:

ื•ื™ืจื ืงืจืŸ ืœืขืžื• ืชื”ืœื” ืœื›ืœ ื—ืกื™ื“ื™ื•
ืœื‘ื ื™ ื™ืฉืจืืœ ืขื ืงืจื‘ื•;
ื”ืœืœื•ื™ื”ืƒ

ืชื”ื™ืœื™ื ืงืžื—:ื™ื“

ื‘ื ื™ ื™ืฉืจืืœ became ืขื ืงืจื‘ื• when ืงืจื‘ื ื• ืœืคื ื™ ื”ืจ ืกื™ื ื™, and so bring ืชื”ืœื” ืœื›ืœ ื—ืกื™ื“ื™ื•, the ability to praise ื”ืณ to all the righteous.

ืฉื™ืจื™ื ืงืจืŸ ืœืขืžื•, ืฉื™ืฉืจืืœ ื”ืชืจื•ืžืžื• ืžืŸ ื”ืขื•ืœื ื”ืฉืคืœ ืœืขืœื•ืช ื‘ื”ืจ ื”ืณ ื•ื”ื ืขืœื• ื‘ื”ืจ ื”ืงื“ืฉ ืืœ ืจืืฉ ื”ืกื•ืœื ื•ื ื’ืฉื• ืืœ ื”ืณ, ื•ื‘ื–ื” ืชื”ืœื” ืœื›ืœ ื—ืกื™ื“ื™ื•, ืฉื”ื—ืกื™ื“ื™ื ืฉื”ื ื™ืชืงืจื‘ื• ื‘ืขืœื•ืชื ื‘ืžืขืœื•ืช ืขื“ ื”ืณ ื™ื”ืœืœื•โ€ฆืขื“ ืฉืชื”ืœืช ื”ื—ืกื™ื“ื™ื ืชืขืœื” ืขื ื”ืชื”ืœื” ื”ืจืืฉื•ื ื” ืฉืคืชื— ื‘ื” ื”ืœืœื•ื”ื• ื‘ืžืจื•ืžื™ื, ื›ื™ ื’ื ื”ื ื™ืขืœื• ืœืžืจื•ื ื•ื”ื ืขื ืงืจื•ื‘ื•.

ืžืœื‘ื™ืดื, ืชื”ื™ืœื™ื ืงืžื—:ื™ื“

The symphony of the universe is meaningless without our chorus of ืชื•ืจื”, ืขื‘ื•ื“ื”, ื•ื’ืžื™ืœื•ืช ื”ื—ืกื“ื™ื.