the infinite Godhead, and the purpose of creation is to correct it.
The initial stage in the emergence of existence is described by the Lurianic myth as a negative one: the withdrawal of the infinite divine ein sof from a certain “place” in order to bring about “empty space” in which the process of creation could proceed. The Lurianic mystics called this process zimzum (constriction), a term taken from talmudic literature indicating the constriction of the shekhinah in the space between the images of the angels on the holy ark in the temple in Jerusalem. Here, however, it is not constriction into a space but withdrawal from a space, creating what Luria called, in Aramaic, tehiru (emptiness). Into this empty region a line of divine light began to shine, gradually taking the shape of the structure of the divine emanations, the sefirot .
Luria made use of a concept developed a generation before him by Moses Cordovero, who attempted to explain the individuality and functional differences between the divine emanations. The question he addressed was: if the sefirot are divine, how can they be different from each other? There cannot be differentiation within divine perfection. His response was: the sefirot are to be conceived like vessels ( kelim ); the essence within them is pure divine light, while the vessels are “made” of somewhat courser divine light, which gives them “shapes,” expressing their individuality and specific functions. This is reminiscent of the Aristotelian concept of the matter and form of which everything is made; yet Aristotle ascribed a higher spiritual 74
M O D E R N T I M E S I I : S A F E D A N D T H E L U R I A N I C K A B B A L A H
position to form compared to matter, whereas Cordovero did the opposite. For him, the inner essence was more elevated than the surrounding shape of the vessels.
When the “straight line” of divine light poured into the tehiru , the “empty space,” it began to draw circles and shapes, bringing “vessels” into existence, and then pouring the pure divine essence into them. At this point, a great catastrophe occurred: the vessels could not contain the immense flow of divine light, and the seven lower ones broke, their shards falling down and the inner essence ascending and returning to its source. This is called in Lurianic terminology “the breaking of the vessels” ( shevirat ha-kelim ), expressing the concept that the initial attempt by the Godhead to establish the system of emanated divine powers failed, resulting in a state of destruction and crisis within the divine realm.
The meaning of the shevirah is the most esoteric subject in Lurianic teachings, discussed only in very few passages in the writings of the disciples, and even these few texts present different conceptions. It is a paradox that can be very destructive for religious thought: the supreme divine power undertook an endeavor, and failed to carry it out. Such a catastrophe, at the foundation of existence, has to be explained. The analysis presented by Scholem and Tishby is most profound and mythic in character. According to it, when the initial phase, the zimzum, was carried out, the empty space was not really empty. It is like when a container is emptied of water; the inside of the container is still wet, with water clinging to its sides. Some divine light remained in the tehiru , and this residue, called by the Lurianists, in Aramaic, reshimu (impression) included in it some elements of difference and “otherness” that previously were scattered within the infinite Godhead. This was the real purpose of the zimzum : to concentrate and discharge these potentially different entities away from the Godhead, thus achieving uniformity and perfection for the rest. This task has been ac-complished successfully in the process of the zimzum . This can be seen as a cathartic process within the eternal ein sof .
75
K A B B A L A H
The second stage, the pouring of divine light into the
The initial stage in the emergence of existence is described by the Lurianic myth as a negative one: the withdrawal of the infinite divine ein sof from a certain “place” in order to bring about “empty space” in which the process of creation could proceed. The Lurianic mystics called this process zimzum (constriction), a term taken from talmudic literature indicating the constriction of the shekhinah in the space between the images of the angels on the holy ark in the temple in Jerusalem. Here, however, it is not constriction into a space but withdrawal from a space, creating what Luria called, in Aramaic, tehiru (emptiness). Into this empty region a line of divine light began to shine, gradually taking the shape of the structure of the divine emanations, the sefirot .
Luria made use of a concept developed a generation before him by Moses Cordovero, who attempted to explain the individuality and functional differences between the divine emanations. The question he addressed was: if the sefirot are divine, how can they be different from each other? There cannot be differentiation within divine perfection. His response was: the sefirot are to be conceived like vessels ( kelim ); the essence within them is pure divine light, while the vessels are “made” of somewhat courser divine light, which gives them “shapes,” expressing their individuality and specific functions. This is reminiscent of the Aristotelian concept of the matter and form of which everything is made; yet Aristotle ascribed a higher spiritual 74
M O D E R N T I M E S I I : S A F E D A N D T H E L U R I A N I C K A B B A L A H
position to form compared to matter, whereas Cordovero did the opposite. For him, the inner essence was more elevated than the surrounding shape of the vessels.
When the “straight line” of divine light poured into the tehiru , the “empty space,” it began to draw circles and shapes, bringing “vessels” into existence, and then pouring the pure divine essence into them. At this point, a great catastrophe occurred: the vessels could not contain the immense flow of divine light, and the seven lower ones broke, their shards falling down and the inner essence ascending and returning to its source. This is called in Lurianic terminology “the breaking of the vessels” ( shevirat ha-kelim ), expressing the concept that the initial attempt by the Godhead to establish the system of emanated divine powers failed, resulting in a state of destruction and crisis within the divine realm.
The meaning of the shevirah is the most esoteric subject in Lurianic teachings, discussed only in very few passages in the writings of the disciples, and even these few texts present different conceptions. It is a paradox that can be very destructive for religious thought: the supreme divine power undertook an endeavor, and failed to carry it out. Such a catastrophe, at the foundation of existence, has to be explained. The analysis presented by Scholem and Tishby is most profound and mythic in character. According to it, when the initial phase, the zimzum, was carried out, the empty space was not really empty. It is like when a container is emptied of water; the inside of the container is still wet, with water clinging to its sides. Some divine light remained in the tehiru , and this residue, called by the Lurianists, in Aramaic, reshimu (impression) included in it some elements of difference and “otherness” that previously were scattered within the infinite Godhead. This was the real purpose of the zimzum : to concentrate and discharge these potentially different entities away from the Godhead, thus achieving uniformity and perfection for the rest. This task has been ac-complished successfully in the process of the zimzum . This can be seen as a cathartic process within the eternal ein sof .
75
K A B B A L A H
The second stage, the pouring of divine light into the
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