Podcasts about Kaddish

Whereas some Kaddishim end with "Da'amiran Be'alma Ve'imru Amen," others consist of additional prayers and conclude with "Oseh Shalom Bi'mromav…" Is the one reciting Kaddish required to take three steps back for "Oseh Shalom" at the end of Kaddish, as we do for "Oseh Shalom" at the end of the Amida? The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in his Od Yosef Hai, distinguished in this regard between the "Kaddish Titkabal" that the Hazzan recites following the repetition of the Amida, and other Kaddishim. For the Hazzan reciting "Kaddish Titkabal," the Ben Ish Hai writes, taking three steps back is required, because he needs to step back after repeating the Amida. When reciting the other Kaddishim, however, this is not necessary. The Ben Ish Hai cites this ruling in the name of earlier Poskim (Shalmeh Sibur, Mateh Yehuda). This is the view also of the Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939), who observed that this was the common practice, adding that this is consistent with the teachings of Kabbalah. Hacham Ovadia Yosef, however, disagreed, and ruled that it is proper to step back for "Oseh Shalom" at the end of every Kaddish. He refuted the Kaf Ha'haim's claim that Kabbalistic teaching does not require stepping back, noting that Rav Eliyahu Hamwe of Aleppo (1839-1915), a great Kabbalist, writes in his Peh Eliyahu that one must step back at the end of every Kaddish. Moreover, the Radbaz (Rav David Ben Zimra, Egypt, 1479-1573) maintained that one should take three steps back at the end of every Kaddish, and this is also the position of Maran, in Bet Yosef and Shulhan Aruch. Therefore, whenever one recites a Kaddish that ends with "Oseh Shalom," he should take three steps back. The proper procedure is to move the left foot back, then move the right foot behind the left foot, and then move the left foot next to the right foot. One then recites the words "Oseh Shalom Bi'mromav" while bowing to the left, "Hu Ya'aseh Shalom Alenu" while bowing to the right, and "Ve'al Kol Yisrael" while bowing frontward. He then stands upright for "Ve'imru Amen."

Our community's practice is to recite in Kaddish Titkabal the phrase "Kodam Abuna De'bi'shmaya Ve'ar'a" – asking that our prayers be accepted "before our Father who is in the heavens and the earth." Hacham Ovadia Yosef was of the opinion that this text is incorrect, as the word "Ve'ar'a" ("and the earth") does not belong. Several Rishonim omit this word from their text of the Kaddish, and, moreover, we cannot speak of G-d as our "Father on earth," as every person already has a father here on earth. Hashem is our Father in the heavens, in addition to our father here on earth. All Siddurim that bear a Haskama (letter of approval) by Hacham Ovadia omit the word "Ve'ar'a." Nevertheless, the custom among the communities in Aleppo, Syria was always to include the word "Ve'ar'a," and the work Yosef Haim justified the legitimacy of this text. Therefore, it is proper for Syrian Jews who follow the customs of Aleppo to add the word "Ve'ar'a." I am reminded of the time when, as a youngster, I became aware of Hacham Ovadia Yosef's ruling that the Beracha of "La'minim" in the Amida prayer should conclude with the words "U'machni'a Zedim," as opposed to the text which is customarily used in our community – "U'machni'a Minim." Hacham Ovadia advanced several compelling proofs to his ruling, and so I figured that this is the correct text. When I served as Hazzan in the synagogue, I recited "Zedim" in accordance with Hacham Ovadia's ruling. Hacham Baruch Ben-Haim approached me afterward and asked why I had changed the word from "Minim" to "Zedim," and I explained to him that I thought I should follow Hacham Ovadia's view. The Hacham reprimanded me, noting that notwithstanding Hacham Ovadia's ruling, it is improper to change the text that has been used in our community for generations. With regard to "Ve'ar'a," too, given the longstanding tradition among Syrian Jews to include this word in Kaddish, this is the custom that our community should follow. Summary: The custom in our community is to recite in Kaddish Titkabal the phrase "Kodam Abuna De'bi'shmaya Ve'ar'a," including the word "Ve'ar'a."

The Hazzan recites a special Kaddish after the Amida (or the repetition of the Amida) known as Kaddish Titkabal. Following the basic Kaddish text (which ends with "Da'amiran Be'alma"), the Hazzan adds a request that the congregation's prayers should be accepted along with those of the entire Jewish Nation: "Titkabal Selotana U'ba'utana Im Selot'hon U'ba'ut'hon De'chol Bet Yisrael…" The Hazzan mentions the prayers of the entire nation in fulfillment of the Gemara's teaching in Masechet Berachot (30a) that when a person prays, he should pray not as a lone individual, but rather as part of the entire nation. A person himself may not be worthy of having his prayers accepted, but when he joins with all Am Yisrael, he accesses the collective merit of the nation, including the merits of the great Sadikim, and this helps ensure the acceptance of his prayers. We therefore ask not only that G-d accept our prayers, but also that He accept the prayers of the entire Jewish Nation. We can perhaps gain further insight into the expression "Selotana U'ba'utana" – literally, "our prayers and our requests" – from the Targum Onkelos translation to a verse in Parashat Vayehi (Bereshit 48:22). Yaakob Abinu recalls how he seized the city of Shechem from his enemies "Be'harbi U'b'kashti" – "with my sword and with my bow." Targum Onkelos, interestingly enough, translates these words as "Bi'sloti U'b'ba'uti" – "with my prayer and with my request." It was clear to Yaakob that although he waged war, his success in vanquishing the enemy resulted not from his weapons, but rather from his prayers to G-d. It is also significant that Yaakob viewed Tefila as his "ammunition," as the weapons with which he defeated those who threatened him. Exploring Oneklos' translation more closely, the "sword" and the "bow" are used here as metaphors for two kinds of prayer – "Seloti" and "Ba'uti." The commentators explain that whereas a sword is used in close combat, when the enemy is right in front of the soldier, the bow is used to target enemies stationed at a distance. Correspondingly, then, "Selotana" and "Ba'utana refer to two different kinds of Tefila. Sometimes we pray like a sword – to address an immediate need, such in the case of an illness. Other times, however, we pray in the form of a bow – beseeching G-d to protect us from distant threat, from future dangers. When the Hazzan recites, "Titkabal Selotana U'ba'utana," he asks that all our prayers should be mercifully accepted – our prayers for our immediate needs, as well as our prayers for the future.

In the phrase in Kaddish "Yitbarach Ve'yishtabah Ve'yitpa'ar…" the word "Ve'yishtabah" begins a series of seven words that consist of six letters each, for a total of 42 letters. This phrase thus alludes to the special "Shem Mem-Bet" – the 42-letter Name of G-d, which has special significance. If we add the other three words of praise in Kaddish – "Yitgadal," "Ve'yitkadash," and "Yitbarach," we arrive at a total of ten expressions of praise, which parallel the ten utterances with which Hashem created the universe. These ten pronouncements later found expression in the declaration of the Ten Commandments at Mount Sinai. The people heard the first two commandments from G-d, whereas the other eight were told only to Moshe who then conveyed them to the people. Accordingly, the ten expressions of praise in Kaddish are separated into two series: the two expressions of "Yitgadal" and "Ve'yitkadash" at the beginning of Kaddish, and the eight expressions from "Yitbarach" through "Ve'yit'halal," which appear later. The Peri Hadash (Rav Hizkiya Da Silva, 1659-1698) writes that these ten expressions of praise correspond to the ten different terms that King David used in Tehillim when praising Hashem (e.g. Nisu'ah, Niggun, Shir, Mizmor).

When reciting in Kaddish the words "Le'ela Min Kol Birchata Ve'shirata," one should ensure to recite "Min Kol" as two words, as opposed to "Mi'kol." The "Yeheh Shemeh Rabba" response – which, according to our custom, continues through the word "De'alma" – must consist of 28 words, and if one recites "Mi'kol" instead of "Min Kol," he ends up with only 27 words. Rav Shmuel Vital (1598-1677) held a different view, asserting that the expression "Min Kol" is grammatically incorrect. He thus maintained that the proper text is "Mi'kol," and that the word "Ve'imru" after "Da'amiran Be'alma" counts as the 28 th word. The consensus opinion, however, is that the correct text is "Min Kol," as "Ve'imru" cannot count toward the required number of words. The custom among Ashkenazim is to substitute "Min Kol" with "Mi'kol" during the Aseret Yemeh Teshuba (Ten Days of Repentance), from Rosh Hashanah through Yom Kippur. They do so because their practice is to repeat the word "Le'ela" during this period, resulting in 29 words. The words "Min Kol" are thus replaced with "Mi'kol" to keep the total number at 28. They end up reciting, "Le'ela Le'ela Mi'kol Birchata…" Sepharadim, however, do not follow this custom. According to some Poskim, a Sepharadi who prays in an Ashkenazic Minyan during the Aseret Yemeh Teshuba should follow the Ashkenazic custom and recite "Le'ela Le'ela Mi'kol Birchata." Toward the end of the "Yeheh Shemeh Rabba" response, we mention the word "Tishbehata." Our custom is to pronounce this word "Tishbehata," and not "Tushbehata." The word after "Tishbehata" is "Nehemata," which means "consolation." The explanation is that G-d is in mourning, as it were, during the Jewish People's period of exile. He grieves, so-to-speak, over the fact that we lost the Bet Ha'mikdash, were driven from our homeland, and have been dispersed among the other nations. We therefore wish the Almighty "consolation" with the rebuilding of the Bet Ha'mikdash and our return to our land. Summary: When reciting in Kaddish the words "Le'ela Min Kol Birchata Ve'shirata," one should ensure to recite "Min Kol" as two words, as opposed to "Mi'kol." Ashkenazim have the custom to change this phrase during the Aseret Yemeh Teshuba (reciting "Le'ela Le'ela Mi'kol…"), but this is not the practice among Sepharadim. Our custom is to recite "Tishbehata," and not "Tushbehata."

Different customs exist regarding the phrase "Le'alam U'l'almeh Almaya" in the "Yeheh Shemeh Rabba" response to Kaddish. Some recite this phrase this way, whereas others omit the letter Vav from "U'l'almeh" and recite simply "Le'almeh." The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in his work Od Yosef Hai, writes that the word should be pronounced "Le'almeh," without the letter Vav at the beginning. He explains that the "Yeheh Shemeh Rabba" response is meant to consist of 28 letters, and if the Vav is included, this response consists of 29 letters. Therefore, the Vav must be omitted. This is the position also of the Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939). This argument assumes that the word "Shemeh" in "Yeheh Shemeh Rabba" is spelled with a Yod (Shin, Mem, Yod, Heh). In some Siddurim, this word is spelled without the letter Yod, thus allowing for the Vav to be included in "U'l'almeh" without exceeding 28 letters. It is true that, as discussed in a previous installment, the Mahzor Vitri understood the phrase "Yeheh Shemeh Rabba" as a prayer that the divine Name, which currently contains only the letters Yod and Heh, should become complete, and according to this reading, the word "Shemeh" is read as "Shem Yod-Heh" ("the Name of Yod-Heh"). However, as we saw, Halacha does not follow this opinion, and therefore it is acceptable to omit the letter Yod from the word "Shemeh." Moreover, Hacham Ovadia Yosef noted that Maran (author of the Shulhan Aruch), in Bet Yosef, clearly follows the opinion that the correct text is "U'l'almeh," and this is how the word appears in the texts of earlier Rabbis such as Rav Saadia Gaon, Rav Amram Gaon, the Rambam, and others. Hacham Ovadia asserts that in light of these sources, a Kabbalistic teaching involving the significance of the number 28 does not justify altering the text. By contrast, Rav Meir Mazuz (1945-2025), who was a renowned expert in grammar, maintained that the correct text is "Le'almeh." Rav Moshe Rahamim Shayo (contemporary), in his Mehkereh Aretz, writes that in the Bet Obed edition of the Siddur, which was used by the Jewish communities of Aleppo, Syria, the text reads "Le'almeh," without the letter Vav. This text also appears in the Siddur published by Rav Abraham Hamway, and this was the ruling of Rav Yeshayahu Dayan (1833-1903), head of Aleppo's Rabbinical court. There is also testimony that later, in the times of Aleppo's Chief Rabbi Moshe Mizrahi (1863-1955), Rav Mizrahi sharply reprimanded a member of the community who recited "U'l'almeh" instead of the "Le'almeh," which was the accepted custom in Aleppo. In the Kol Yaakob edition of the Siddur, which is used by many Syrian Jews, the word appears as "U'l'almeh," but this is a mistake, as the custom in Aleppo was clearly to say "Le'almeh." In practice, therefore, it is proper for members of the Syrian community to recite "Le'almeh," and not "U'l'almeh." Summary: In the "Yeheh Shemeh Rabba" response to Kaddish, the word "Le'almeh" appears this way in some editions of the Siddur, and in others, "U'l'almeh," with the letter Vav at the beginning. The text that should be followed by members of the Syrian community is "Le'almeh."

The Poskim address the question as to the proper pronunciation of the word "Shemeh" in the "Yeheh Shemeh Rabba" response to Kaddish – whether or not the Heh at the end of the word has a Dagesh (dot), which would turn it into a "Mapik Heh." Whereas a regular Heh at the end of the word is silent, a "Mapik Heh" is pronounced as an "H" sound. Does one pronounce the Heh at the end of "Shemeh" as a "Mapik Heh," or as a silent Heh? Some Poskim assert that this question hinges on the interpretation of the phrase "Yeheh Shemeh Rabba Mebarach." As discussed in an earlier installment in this series, the simple interpretation of this phrase is "May the great Name be blessed." The Mahzor Vitri, however, explained that in this response, we pray that the Name of G-d, which, in our current state of exile, has only two letters – Yod and Heh – should become "Rabba" – great. According to this reading, the word "Shemeh" actually means "Shem Yod-Heh" (the Name of Yod-Heh), in which case the Heh at the end of the word must be pronounced as a "Mapik Heh." According to the first understanding, however, the Heh is silent. If so, then since we accept the first reading, it would seem that we should say "Shemeh" with a silent Heh at the end. However, other Poskim disagree, and claim that according to both interpretations of "Yeheh Shemeh Rabba," the rules of Hebrew grammar dictate that the Heh at the end "Shemeh" receives a Dagesh. This is the view accepted by Hacham Ovadia Yosef. In practice, therefore, one should pronounce "Shemeh" with a "Mapik Heh" at the end, with an "H" sound. When responding "Yeheh Shemeh Rabba Mebarach," one must ensure to say "Mebarach" and not "Meborach." In Hebrew, the word for "blessed" is "Meborach," but in Aramaic – the language of the Kaddish text – the word is "Mebarach." Summary: When responding "Yeheh Shemeh Rabba Mebarach" to Kaddish, the word "Shemeh" should be pronounced with a "Mapik Heh" at the end – meaning, the Heh at the end of the word should be expressed with an "H" sound. One must ensure to say "Mebarach" and not "Meborach."

The simple interpretation of the phrase "Yeheh Shemeh Rabba Mebarach" – which we respond to Kaddish – is "May the Great Name be blessed." Meaning, we declare that "Shemeh Rabba" – G-d's great Name – shall be blessed and glorified. Tosafot (Berachot 3a) cite this interpretation in the name of Rabbenu Yishak. However, Tosafot also bring a different interpretation of this phrase, in the name of the Mahzor Vitri, according to which this phrase actually consists of two separate proclamations. First, we declare that "Yeheh Shemeh Rabba" – that G-d's Name shall be great, or complete, and we then add that it should be blessed forever ("Mebarach Le'alam…"). The concept underlying this second explanation is that G-d's Name is "incomplete" in our nation's state of exile. G-d's complete Name consists of four letters – Yod, Heh, Vav and Heh – but when the Jewish People are in exile, His Name is compromised, consisting of only Yod and Heh. This is indicated by G-d's pronouncement after Beneh Yisrael's first battle against Amalek: "Ki Yad Al Kes Y-ah" (Shemot 17:16). As long as Amalek exists, Hashem's Name is only "Y-ah," missing the final two letters, Vav and Heh. For the same reason, G-d refers in this verse to His throne with the word "Kes," a shortened version of the word "Kiseh," indicating the incompletion of His reign, so-to-speak, due to the presence of evil in the world. The Maharsha (Rav Shmuel Eidels, 1555-1631) explains on this basis the verse in Tehillim (132:13) which we recite each morning, "KI Bahar Hashem Be'Sion, Iva Le'moshab Lo" (literally, "For G-d has chosen Zion, desiring it as His abode"). This means that when Hashem will choose to return to Zion, with the rebuilding of the Bet Ha'mikdash, then "Iva" – the letters Alef, Vav and Heh – will be restored to their rightful place ("Le'moshab"). The missing Alef of the word "Kiseh," and the Vav and Heh missing from Hashem's Name, will finally return. Similarly, we recite each morning after Shema, "Hu Kayam U'shemo Kayam Ve'chis'o Nachon" – "He exists, His Name exists, and His throne is firmly set in place." Rav Shlomo Amar explains this to mean that when "Hu Kayam" – the letters Heh and Vav will come back, then "Shemo Kayam" – Hashem's Name will again be complete, and "Ve'chis'o Nachon" – His throne will be complete, as well. This notion is alluded to also in the prayer added by Ashkenazim to Birkat Ha'mazon: "Ha'Rahaman Hu Yishlah Lanu Et Eliyahu Ha'nabi" – "The Compassionate One – He will send us Eliyahu the prophet." When Eliyahu comes, "Hu" – the letters Heh and Vav – will be restored. Another allusion to this concept appears in the final verse in Tehillim: "Kol Ha'neshama Tehalel Ya-ah" – "Every soul shall praise Y-ah." The word "He'neshama" ("the soul") can be punctuated differently such that it means "the desolation." This verse thus implies that in the current state of "desolation," in the absence of the Bet Ha'mikdash, we can praise only "Y-ah," as Hashem's Name remains incomplete. According to this second interpretation of "Yeheh Shemeh Rabba Mebarach," we are praying that "Shemeh" – a contraction of the words "Shem" and "Y-ah," referring to the incomplete Name – shall be made "Rabba," complete, and, additionally, His Name should be blessed ("Mebarach"). Incidentally, the word "Yitgadal" consists of five letters, and the word "Ve'yitkadash" consists of six letters. These two words thus represent the letters Heh and Vav, which, respectively, equal in Gematria 5 and 6. We pray through the recitation of these words that G-d's Name should be glorified through the restoration of the missing Vav and Heh. According to this second opinion, when reciting "Yeheh Shemeh Rabba Mebarach," one should pause slightly between the words "Shemeh" and "Rabba," as this is a prayer that the Name ("Shemeh") should become great ("Rabba"), and the word "Rabba" is thus not describing the word "Shemeh." The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) cites the Arizal as concurring with this view of the Mahzor Vitri. However, as Hacham Ovadia Yosef cites, Tosafot challenged this reading in light of the Gemara's comment (there in Berachot) that speaks of Jews proclaiming in the synagogue, "Yeheh Shemeh Ha'gadol Meborach" ("May His great Name be blessed") – which clearly indicates that we are declaring that the great Name shall be blessed, as Rabbenu Yishak explained. Moreover, Rav Yisrael Bitan notes that the Ben Ish Hai elsewhere brings Rabbenu Yishak's understanding, and ruled that one should therefore not pause between the words "Shemeh" and "Rabba." This is, indeed, the correct practice to follow. Summary: The accepted interpretation of "Yeheh Shemeh Rabba Mebarach" is "May the Great Name be blessed." One should recite these words without any pause in between the words "Shemeh" and "Rabba."

The Mishneh Torah was the Rambam's (Rabbi Moses ben Maimon) magnum opus, a work spanning hundreds of chapters and describing all of the laws mentioned in the Torah. To this day it is the only work that details all of Jewish observance, including those laws which are only applicable when the Holy Temple is in place. Participating in one of the annual study cycles of these laws (3 chapters/day, 1 chapter/day, or Sefer Hamitzvot) is a way we can play a small but essential part in rebuilding the final Temple.

The brothers reflect on the structure of Jewish mourning, the experience of saying Kaddish three times a day, and some of the strange, funny, and sometimes questionable moments that happen during Shiva. Along the way they explore the psychological wisdom built into the halachos of Aveilus, the strange transitional period of Aninus, and why communal prayer can become an unexpected tool for processing grief. They also share stories—from cryptozoology museums to Shiva pranks—and reflect on how humor and structure help people navigate difficult moments in life.

One who recites Kaddish must ensure while saying the phrase "Be'alma Di Bera" to pronounce "Di Bera" as two separate words. If one recites this phrase too quickly, he will end up saying, "Dibera," as one word, which is incorrect. He must be careful to recite two separate words – "Di" and "Bera." Different opinions exist regarding the pronunciation of the word "Chi'r'uteh" in the phrase "Be'alma Di Bera Chi'r'uteh," as according to some views, the letter Chaf has a Dagesh (dot), such that it should be pronounced "Ki'r'uteh." The debate hinges on how to read this phrase. The basic rule is that when any of the letters Bet, Gimmel, Dalet, Kaf, Peh or Tav appears at the beginning of the word, it receives a Dagesh. The exception to this rule is when the preceding word ends with an Alef, Heh, Vav or Yod, in which case the word does not receive a Dagesh. In the case of "Chi'r'uteh," then, it would seem that since the previous word ("Bera") ends with the letter Alef, the Chaf at the beginning of "Chi'r'uteh" should remain without a Dagesh, and thus be pronounced "Chi'r'uteh." Indeed, this is how the word is punctuated in many editions of the Siddur. However, Hacham Ovadia Yosef ruled that the more correct pronunciation is "Ki'r'uteh." He explained that although the previous word ends with an Alef, that word – "Bera" – is not connected to the word "Ki'r'uteh." The word "Ki'r'uteh" means "in accordance with His will," and Hacham Ovadia explained, based on a passage in Masechet Sofrim, that this word modifies not the immediately preceding words, but rather the beginning of Kaddish, when we pray for G-d's Name to be glorified. We pray that His Name should be sanctified and praised "Ki'r'uteh" – in fulfillment of His will. Hence, the word "Ki'r'uteh" stands separate and apart from the words "Di Bera," and so the Heh at the end of the word "Bera" does not affect the letter Chaf at the beginning of the word "Ki'r'uteh." We thus apply the standard rule that a Chaf at the beginning of a word receives a Dagesh, such that the word should be pronounced "Ki'r'uteh." Rav Meir Mazuz (1945-2025) disputed Hacham Ovadia's position. He noted that the Abudarham (Spain, 14 th century) interpreted "Di Bera Chi'r'uteh" to mean, "that He created in accordance with His will." According to this reading, the word "Chi'r'uteh" indeed modifies the immediately preceding words – "Di Bera," such that the letter Chaf should not receive a Dagesh. Rav Mazuz conceded, however, that the passage in Masechet Sofrim indeed implies that "Chi'r'uteh" modifies the earlier part of the sentence, and not the words "Di Bera." In practice, different customs exist. Tunisian communities pronounce the word "Ki'r'uteh," whereas the custom among the communities in Aleppo, Syria was to pronounce it "Chi'r'uteh." Rav Yisrael Bitan writes that Hacham Ovadia, despite preferring the pronunciation of "Ki'r'uteh," acknowledged that those who pronounce it "Chi'r'uteh" have a legitimate basis for this practice. Therefore, each community should follow its custom. Summary: One who recites Kaddish must ensure while saying the phrase "Be'alma Di Bera" to pronounce "Di Bera" as two separate words, and not as one word ("Dibera"). Different customs exist regarding the next word – "Chi'r'uteh," as some pronounce the word this way, and others pronounce it "Ki'r'uteh." Each community should follow its custom.

When one responds, "Amen Yeheh Shemeh Rabba" to Kaddish, he must ensure to pause between "Amen" and "Yeheh Shemeh Rabba." The word "Amen" is a response to the prayer that the Hazzan had just said – that G-d's Name should be glorified and praised throughout the world. The words "Yeheh Shemeh Rabba…" constitute a separate proclamation, and are not a direct continuation of the "Amen" response. Therefore, one must pause briefly after responding "Amen," before declaring, "Yeheh Shemeh Rabba…"

April 21 first The custom among many Ashkenazim is to pronounce the first two words of Kaddish as "Yitgadel Ve'yitkadesh." This follows the ruling of the Mishna Berura, who maintained that these words are Hebrew, not Aramaic, such that they should be pronounced "Yitgadel Ve'yitkadesh," with the Sereh vowel underneath the Dalet in both words. However, Rav Meir Mazuz (1945-2025) noted that in ancient sources, these words appear in the Aramaic form – "Yitgadal Ve'yitkadash," with a Patah vowel, and so this is the proper pronunciation. This is, indeed, the custom among Sepharadim. When reciting the word "Yitgadal," one must ensure to pronounce the Gimmel properly, and not as a Kuf, as though reciting "Yitkadal," a word that means something very different from "Yitgadal." Furthermore, one must make a point to pronounce the Dalet properly, so the word does not sound like "Yitkatal," with a Tav.

Hacham Ovadia Yosef ruled that when one recites Kaddish, it is proper for him to keep his feet together, just as we do when reciting the Amida and Nakdishach. The reason for this practice is to resemble the angels, who have but one leg. Certainly, one should not be walking about while reciting Kaddish. The Kav Ha'yashar (Rav Tzvi Hersh Kaidanover, Germany, d. 1712) writes that even those who are listening to Kaddish should keep their feet together in their seats. However, this was said only as a measure of extra piety, and not as an actual requirement. It is customary when reciting Kaddish to face toward Jerusalem, just as when reciting the Amida. Strictly speaking, however, this is not necessary. Therefore, when Kaddish is recited in a cemetery, and it is difficult to determine the direction of Jerusalem, one may face whichever direction he wishes.

The Shulhan Aruch writes that one who recites Kaddish should bow at five points during the recitation: the first word, "Yitgadal"; "Yeheh Shemeh Rabba"; "Yitbarach"; "Berich Hu"; "Ve'imru Amen" after "Da'amiran Be'alma." Some have the custom to bow also while reciting "Ve'imru Amen" before "Yeheh Shemeh Rabba." A number of Poskim, including Rav Haim Palachi (Turkey, 1788-1868) and the Kaf Ha'haim Sofer (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939), cite the Yad Aharon as ruling that one should now each time he says the word "Amen" during Kaddish. It is recorded (in the work Neveh Shalom) that this was the custom in Cairo, and this is the position taken by the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in Od Yosef Hai. By contrast, the Ish Masliah (Rav Masliah Mazuz, 1911-1971) claimed that this custom has no Halachic basis, and should not be followed. This is the opinion accepted by Hacham David Yosed, in Halacha Berura, writing that one should bow only at the five points mentioned by the Shulhan Aruch. In contrast to all these views, the Gaon of Vilna (Rav Eliyahu of Vilna, 1720-1797) ruled that one should not bow at all during Kaddish. The accepted custom among Sepharadim, however, is to bow at the five points mentioned by the Shulhan Aruch, and some bow also while reciting "Ve'imru Amen" before "Yeheh Shemeh Rabba," as mentioned. It is customary to turn to the sides when reciting the words "Be'hayechon U'b'yomechon." This is done as a sign of affection for the congregation, as these words express the wish that Hashem's Name should be glorified with the coming of Mashiah "in your lives and in your days" – during the lifetime of the members of the congregation. Summary: Different customs exist when it comes to bowing during the recitation of Kaddish. The accepted custom among Sepharadim is to bow at the five points mentioned by the Shulhan Aruch, and some bow also while reciting "Ve'imru Amen" before "Yeheh Shemeh Rabba."

How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.

It is well-known that one may not walk in front of somebody while he recites the Amida. Is it similarly forbidden to walk in front of somebody while he recites Kaddish? The Hida (Rav Haim Yosef David Azulai, 1724-1806), in his Birkeh Yosef, references a manuscript written by Rav Yaakob Molcho (Jerusalem, 17 th century) stating that it is forbidden to walk in front of somebody reciting Kaddish. This ruling is cited later approvingly by both the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) and Rav Yaakob Haim Sofer (Baghdad-Jerusalem, 1870-1939). The reason is that passing in front of the person can easily cause him to be distracted and lose concentration. Hacham Ovadia Yosef clarified that this applies only through the recitation of "Da'amiran Be'alma Ve'imru Amen." The rest of Kaddish was added later, and is thus treated more leniently. Hence, it is permissible to walk in front of somebody while he recites these additions. Unlike in the case of somebody reciting the Amida, it is permissible to sit within four Amot of somebody reciting Kaddish. The reason, as explained by Hacham Ovadia Yosef, is that one does not disrespect the recitation of Kaddish by sitting next to the person, since he responds to the Kaddish recitation. Halacha forbids sitting near a person reciting the Amida because this disrespects the recitation; in the case of Kaddish, however, one is actively participating by responding to the Kaddish, such that there is no display of disrespect, and so this is allowed. Summary: It is forbidden to walk in front of somebody while he recites the main body of Kaddish – from the beginning until "Da'amiran Be'alma Ve'imru Amen." One is allowed to sit near somebody who is reciting Kaddish.

Whereas Ashkenazic custom requires standing during Kaddish, the accepted practice among Sepharadim is to remain seated during Kaddish, unless one was standing when Kaddish began, in which case he must remain standing (until he completes his "Yeheh Shemeh Rabba" response). Hacham Ovadia Yosef ruled that if a Sepharadi wishes to follow the stringent practice of the Ashkenazim and stand for Kaddish, he should not do so, as this appears arrogant. Since the accepted Sephardic custom is to remain seated, and even the greatest Rabbis sit during Kaddish, making a point of standing gives the appearance of thinking that one is better than everyone else, and this is therefore inappropriate. Hacham Ovadia notes the ruling of the Kol Eliyahu that one who decides to stand during the Torah reading – when the commonly accepted custom is to sit – should be reprimanded for this display of arrogance. By the same token, it is inappropriate to break the accepted Sephardic practice by standing for Kaddish. The Sedeh Hemed (Rav Haim Hizkiya Medini, Hebron, 1834-1904) writes that his practice was to stand for Kaddish. The reason may have been that as a Rabbinic leader, he felt this was an appropriate stringency to accept. Regardless, as a general rule, this is discouraged. Summary: Sephardic practice is to remain seated during Kaddish, and it is improper for a Sepharadi to make a point of standing.

Sephardic custom allows one to remain seated during Kaddish, but if one was standing at the time when Kaddish began, then he must remain standing. If an elderly person, or Torah scholar, passed by a person as he was sitting during Kaddish, and he rose in that individual's honor, then he must remain standing (until he completes his response of "Da'amiran Be'alma"). Although he was sitting when Kaddish began, nevertheless, once he stood, he is not then permitted to sit down, just as if he had been standing when Kaddish began. The exception to this rule is where the person did not fully stand up to honor the Torah scholar, but momentarily lifted his body off his seat. A person who is himself a Torah scholar is not required to stand fully when another Torah scholar passes by, and may merely gesture by lifting himself very briefly from his seat. If this happened during Kaddish, then the Torah scholar does not need to stand for the rest of Kaddish.

Sephardic practice allows one to remain seated during Kaddish, but if one had been standing when Kaddish begins, then he must remain standing. If somebody sees his fellow about to sit down during Kaddish, then he should remind him of the Halachic requirement to remain standing. Sometimes a person enters the synagogue in the middle of the prayer service, and, seeing that people are sitting, he goes to sit down in his seat, not realizing that the Hazzan is reciting Kaddish. One who sees his fellow about to make this mistake should remind him that he must stand. However, Hacham Ovadia Yosef writes that if one fears that this might embarrass his fellow, then he should not say anything. There is a minority view among the Poskim – that of the Pekudat Elazar – that one is required to remain standing during Kaddish only if the entire synagogue is standing. According to this view, if one enters the synagogue in the middle of the Kaddish, and the congregation is sitting, then he is allowed to sit. Although Halacha does not follow this opinion, it may be relied upon to avoid the risk of making one's fellow uncomfortable by pointing out his mistake. Therefore, if one has reason to fear that the person who is mistakenly sitting might feel slightly embarrassed, it is better to remain silent and not say anything. Summary: If a person who had been standing before Kaddish begins sitting down after Kaddish began, his fellow should point out to him that Halacha requires him to remain standing, unless this would make him uncomfortable, in which case it is preferable to remain silent.

Ashkenazic custom requires standing during Kaddish, whereas Sephardic practice allows sitting during Kaddish (unless one had been standing before Kaddish began). Hacham Bension Abba Shaul (Jerusalem, 1924-1998) writes that if a Sepharadi is praying in an Ashkenazic Minyan, he must abide by the Ashkenazic custom and stand during Kaddish. If he remains seated, Hacham Bension writes, this would violate the prohibition of "Lo Titgodedu," which forbids following divergent religious practices in the same place. Hacham Bension makes an exception in a case where there are others in the Minyan sitting during Kaddish, such as elderly congregants who have difficulty standing and are thus permitted to sit during Kaddish even according to Ashkenazic practice. Since there are already some people sitting, a Sepharadi is permitted to sit, as well. Hacham Ovadia Yosef disagreed. He argued that the law of "Lo Titgodedu" does not apply when the divergent practices involve a Minhag (custom), as opposed to a strict Halachic obligation. It is thus not relevant to the issue of sitting or standing during Kaddish, and so a Sepharadi is allowed to sit during Kaddish in an Ashkenazic Minyan. Nevertheless, Hacham Ovadia added, if the Sepharadi has reason to suspect that sitting would cause tension and controversy – which we must always try to avoid – then he should certainly stand in the interest of maintaining peaceful relations among Jews. Summary: A Sepharadi praying in an Ashkenazic Minyan is allowed to sit during Kaddish, despite the fact that Ashkenazic custom requires standing. If, however, he suspects that sitting would cause tension and strife, then he should follow the local custom and stand.

Our practice follows the custom of the Arizal to remain sitting during Kaddish. Although Ashkenazim make a point of standing for Kaddish, Sephardic practice is to remain seated. The exception to this rule is the Kaddish recited before Barechu at the beginning of Arbit on Friday night, when many have the custom to stand. The Arizal taught that one should stand during this recitation of Barechu, as part of the extra Shabbat soul descends upon a person at this point. Therefore, since in any event one stands for Barechu, many have the custom to stand already during the Kaddish that precedes Barechu. As a general rule, however, Sephardic custom allows one to remain sitting for Kaddish. This applies only if a person was sitting before Kaddish began. If one was already standing when Kaddish starts, then he must remain standing. This was the practice of the Arizal. According to some Poskim, if one was standing when Kaddish began, then he must remain standing throughout the entire recitation of Kaddish. Others maintain that one must remain standing only until the Hazzan reaches "Da'amiran Be'alma Ve'imru Amen." Our custom follows a third opinion, that of the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) – that one may sit after he completes his "Yeheh Shemeh Rabba" response, which, according to our community's practice, ends with the words "Da'amiran Be'alma." Once a person completes his response, he may sit, even though the Hazzan has not yet reached "Da'amiran Be'alma." Some have the misconception that it is improper to sit before the Hazzan reaches "Da'amiran Be'alma," but in truth, one may sit once he reaches that point. On Friday night, the congregation stands during the recitation of Vayechulu and the Hazzan's recitation of "Me'en Sheba," which is then followed by Kaddish. In some synagogues, people rush to sit down after the Hazzan concludes "Me'en Sheba" (with the recitation of "Baruch Ata Hashem Mekadesh Ha'Shabbat"), before he begins Kaddish, so they would not have to remain standing during Kaddish. Some Hazzanim even pause before Kaddish to give the congregants the opportunity to sit before Kaddish. Hacham Ovadia Yosef writes that this is improper, as specifically rushing to sit down before Kaddish begins shows disrespect to Kaddish. He brings as an example a ruling of the Ma'amar Mordechai (Rav Mordechai Karmi, 1749-1825) regarding the situation of somebody standing next to a person who is about to begin the Amida. Halacha requires one to stand if the individual next to him is reciting the Amida, unless he was sitting before his neighbor began the Amida, in which case he may remain seated. The Ma'amar Mordechai writes that one who is standing and sees that the person next to him will soon begin the Amida should not rush to sit down so he would not need to remain standing. By the same token, Hacham Ovadia writes, it is inappropriate to specifically rush to sit down before Kaddish in order to avoid having to stand during Kaddish. During Arbit, one may remain seated during the recitation of the Kaddish that precedes the Amida. Since one is already seated during Hashkibenu, he may remain seated for Kaddish, and then stand for the Amida prayer. On days when Tahanunim are not recited after the Hazzan's repetition of the Amida, and only the brief "Yehi Shem" recitation precedes Kaddish, it is proper to remain standing for Kaddish. Some people mistakenly think that they may sit down for Kaddish – even though they had been standing before Kaddish began – if the Hazzan sings the Kaddish and thus prolongs its recitation. This is incorrect; one must remain standing even if the Hazzan sings the Kaddish. However, the Poskim write that if the Hazzan knows that people are standing, he should ensure not to prolong the recitation of Kaddish, in order not to overburden the congregation by making them remain standing for several minutes. This Halacha alerts us to the care that must be taken to avoid "Tirha De'sibura" – causing the congregation even minor inconvenience. If Hazzanim are discouraged from prolonging the Kaddish recitation by several minutes when people are standing, then this shows us the sensitivity that Halacha requires toward the congregation. In fact, a well-known Hazzan told me that when he led the service on the High Holidays in Hacham Ovadia Yosef's synagogue, and he wanted to sing a special melody for Birkat Kohanim that was traditionally sung in Jerusalem communities, Hacham Ovadia instructed him not to. He explained that it would be inconsiderate to overburden the congregation who are standing during Birkat Kohanim – especially on Yom Kippur, when the people are fasting – by prolonging this part of the service. Unfortunately, it has become common to sing a great deal at Huppa ceremonies, which causes a great deal of inconvenience to the guests, and this practice should be discouraged. Summary: Sephardic custom is to remain seated during Kaddish. If one was standing before Kaddish began, then he must remain standing until he completes his "Yeheh Shemeh Rabba" response, through "Da'amiran Be'alma," at which point he may sit, even if the Hazzan has not yet reached "Da'amiran Be'alma." A Hazzan who knows that people are standing for Kaddish should not prolong the Kaddish recitation. It is improper to rush to sit down before Kaddish to avoid having to remain standing.

When a person recites Kaddish, he says at several points, "Ve'imru Amen" ("And say: Amen"), urging the congregation to respond "Amen" to what he has recited. The question thus arises as to what to do when all the men in the Minyan need to recite Kaddish. If they all recite Kaddish, then, seemingly, they cannot say, "Ve'imru Amen," because there is nobody present whom they can invite to respond "Amen." Some Poskim rule that in this situation, one or two men should volunteer not to say Kaddish, so there will be people responding to Kaddish. Others, however, contend that the men may all recite Kaddish without concern. These Poskim point to the fact that we end the silent Amida prayer with "Oseh Shalom Bi'mromav… Ve'imru Amen" – saying, "Ve'imru Amen" even though there is nobody listening. According to the Kabbalists, when we say, "Ve'imru Amen" at the end of the silent Amida, we are speaking to the angels. This can be applied also to Kaddish. Therefore, even if there is nobody responding, it is still acceptable to recite, "Ve'imru Amen." This is the position of Rav Eliyahu Mani (Hebron, 1818-1899), cited by the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in his work Rav Pe'alim. However, in Ben Ish Hai (Parashat Vayehi), after mentioning this position of Rav Eliyahu Mani, the Ben Ish Hai writes that it is preferable to have at least one person refrain from reciting Kaddish so he can respond. The Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) added that it is best to have two people refrain, as the phrase "Ve'imru Amen" is formulated in the plural form, inviting more than one person to respond. This is, indeed, the final Halacha – that although it is acceptable for everyone in the Minyan to recite Kaddish, it is preferred that at least two people refrain from reciting Kaddish so they can respond to the others.

​1)       Shouldthe congregation be reading the Haftoroh along with the Reader? [1]2)       Unfortunately, this past Shabbos we didn't have a minyan. If we have a minyan this coming Shabbos, could we read Parshas Shkolim for Maftir? [2]3)       A child isn't obliged to give Machatzis haShekel before Purim. But if the father gave on his behalf, he must continue doing so “forever”. Is that ‘forever' taken literally?[3]4)       Does a large walk-in fridge need to ave a Mezuzah? [4]5)       It is customary that after Havdolo, we dip our fingers in the spilled wine and place the wet fingers over our eyes. Does this custom apply to women too?[5]6)       When reciting Kiddush Levono, if East doesn't face Yerusholayim which direction should one face?[6]  7)       The Chazan forgot to include Tiskabel in Kaddish afterthe Amidah. Can that be corrected later?[7]8)       When a left-handed person ties his shoelaces, should he tie the left shoe first?[8]9)       Tying the left shoelaces first, does that apply to women too?[9]10)   Feedback on Tefillin-knot for lefties:[10]11)   Feedback on volume of water in packed snow:[11]To sponsor a Shiur – to honour a specialoccasion - contact: dayan@lubavitchuk.com[1] ראה שוע"ר סי'רפד סי"א; שערי אפרים ש"ט סל"ג, הובא בביאור הלכה סי' רפד. ושלח ליהר"י פוזנר נ"י, שליח בשיקאגא, שאביו ז"ל סיפר לו שפעם אחת הכריזר' בעל חאסקינד ע"ה בשם כ"ק אדמו"ר מוהריי"צ נ"ע:הפטרהדארף מען הערן, ניט זאגן. זאגן די הפטרה איז א מנהג פון בורות. אויב יע זאגן איזשטילערהייט.הובאוהדברים בס' הליכות ומנהגי ש"ק (זליגסון) ע' צו. וראה שיחות קודש תשל"זאחש"פ סוס"ג; ארחות מנחם ע' נז; דברינו בארוכה בס' נתיבים בהלכה ומנהגסימן לב.[2] האריך בזה בשו"ת גנת וורדים או"ח כלל אסימן לה, ומסקנתו שאי אפשר להשלים אחרי שעבר יומו. ושאני פרשת השבוע, כי יש מקומותשמשלימים לקרות בתורה א' לג' שנים, לכן ניתן להשלים בשבת אחרת. משא"כ בפרשתהמועדות, דא"א להשלים אחר המועד. וה"ה לד' פרשיות.[3] ראה פיה"מלהרמב"ם שקלים פ"א מ"ג.[4] בס' שכל טוב (סי' רפו סל"ו) הביא דעות לכאןולכאן. ולחמודי דניאל דמחייב חדר קטן שהוא חלק מבית גדול, ה"ה לנדו"ד.[5] ראה שוע"ר סי' רצו ס"ה; אגרות קודשחי"ב ע' רכה-ו.[6] ראה פסקי תשובות סי'תכו אות טז; דברינו בסדר קידוש לבנה הע' 7..[7] ראה ס' שגיאות מי יבין ח"א סי' יט ס"ח.[8]  בס' דיני איטר פ"ב ס"ז כתבשיקשור של נעל ימין תחלה. [ושם כתב שאיטר-רגל יחבוש הנעל תחלה על רגלשמאלו].                                                                                                                                  [9] כן כתבו פסקי תשובותסי' ב סוף אות ה; דיני איטר שם.[10]  פסקי דינים מהגרז"ש דווארקיןבענייני סת"ם (אדר תשמ"ה) אות כא.[11]  במשקל: הכלי עם השלג העמוס: 905 גר.;מלא מים: 1936. היינו 47%. בנפח: השלג העמוס: 4 כוסות ועוד; מים: 10 כוסות. היינו44%. אכן יש להעיר מדין פת סופגנית ופת שיש בה חלל (עוקצין פ"ב מ"ח,הובא בשוע"ר סי' תפו ס"ב.​

One who recites Kaddish should do so loudly enough for the entire congregation to hear him. If, however, one is incapable of reciting Kaddish loudly, he may nevertheless recite Kaddish – as long as others in the congregation are reciting Kaddish loudly at the same time. This is the ruling of the Petah Ha'debir (Rav Haim Pontromoli, Turkey, d. 1873), and of the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in his Rav Pe'alim. The Ben Ish Hai adds that the practice in Bet El – a yeshiva of Kabbalists in Jerusalem – was that the Hazzan recited Kaddish aloud with the deep kabbalistic intentions, and those who did know these intentions recited Kaddish silently along with the Hazzan. This way, they could be considered to recite Kaddish with these deep intentions. Nevertheless, the Ben Ish Hai writes that as a general rule, congregants reciting Kaddish should do so in a loud voice. The Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939), by contrast, maintained that this practice is valid, though he added that the congregants who silently recite Kaddish should stand at a distance from the Hazzan, and that they should recite Kaddish loudly enough for two or three people near them to hear. By contrast, the Binyan Sion (Rav Yaakov Ettlinger, Germany, 1798-1871) ruled that one may not recite Kaddish silently. As for the final Halacha, one who cannot recite Kaddish loudly may recite it quietly, though he should try to ensure that at least two or three people near him can hear his recitation. Hacham Bension Abba Shaul (Jerusalem, 1924-1998) ruled similarly regarding the case where many people recite Kaddish, and because they do not recite it in unison, the recitation is chaotic and none of them can be heard. While this situation is, of course, undesirable, and the people reciting Kaddish should strive to do so in unison, nevertheless, if the recitation is chaotic, one is nevertheless permitted to recite Kaddish with the others, even though he will not be heard. Summary: One who recites Kaddish must do so in a loud voice, so that he can be heard by everyone in the synagogue. If one cannot recite Kaddish loudly, he may recite it quietly, though he should try to ensure that at least two or three people near him can hear his recitation.

When two or more people recite Kaddish together, they must make an effort to recite the words in unison, at the same pace. Otherwise, this causes a great deal of confusion for the congregants, who need to respond at various points during the Kaddish. If the people reciting Kaddish do not say the words in unison, and one reaches "Ve'imru Amen" (or "Berich Hu") before the other, to whom should the congregation respond? The Halachot Ketanot (Rav Yisrael Yaakob Hagiz, 1620-1674) writes that if the people reciting Kaddish reach "Ve'imru Amen" within one second of another, then the congregation may respond to whichever one they choose. This is based on the principle of "Toch Ke'deh Dibur," which allows us to ignore a period short enough to say the words "Shalom Alechem Rebbe," which is approximately one second. If two people say "Ve'imru Amen" within one second of one another, then they may be considered as having recited this together, simultaneously, and so one may respond to either. However, the Halachot Ketanot writes, if the two people say "Ve'imru Amen" more than a second apart, then the congregation answers "Amen" to them both. The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) rules accordingly, except that in his view, if the two people recite "Ve'imru Amen" more than a second apart, then the congregation should answer "Amen" to the one who recites it first. This applies only if the two people are reciting Kaddish together in the same Minyan. If, however, a person hears Kaddish from a different Minyan while Kaddish is being recited in his Minyan, then he responds only to the Kaddish recited in his Minyan. This situation arises very often at the Kotel, where different Minyanim pray in a relatively small area, and one is thus likely to hear other Minyanim while he prays with his Minyan. If he hears Kaddish recited in a different Minyan at the same time as Kaddish is being recited in his Minyan, he responds only to the Kaddish in his Minyan. If a person hears somebody else complete a Beracha just when he must respond to Kaddish, then he should respond to both the Kaddish and the Beracha, even if the Beracha ends within one second of the recitation of "Ve'imru Amen" in Kaddish. Since these are two separate recitations, one must answer "Amen" to both. If he must respond at the same time, he should say, "Amen Ve'amen," instead of "Amen Amen." This is the ruling of the Hesed La'alafim (Rav Eliezer Papo, 1785-1828). It sometimes happens that somebody arrives late for Shaharit, and he puts on his Tallit or Tefillin during the Kaddish Al Yisrael recited after "Rabbi Yishmael Omer…" The people near him might then need to respond to his Beracha over the Tallit and Tefillin at the same time they respond to Kaddish. In such a case, they should respond, "Amen Ve'amen." Summary: When two or more people recite Kaddish together, they must make an effort to recite it in unison. If it happens that one person recites Kaddish slower than the other, then the congregation must respond to both of them separately, unless the two people reach "Ve'imru Amen" within one second of each other, in which case the congregation responds to the person who said "Ve'imru Amen" first. If one hears Kaddish from a different Minyan at the same time as Kaddish is recited in his Minyan, he responds only to the Kaddish in his Minyan. If a person hears someone complete a Beracha just as he must respond to Kaddish, then he answers "Amen" to each one separately, even if they end within one second of one another, in which case he responds, "Amen Ve'amen."

When a person answers "Amen Yeheh Shemeh Rabba" to Kaddish, he is expressing his agreement to the prayer recited by the Hazzan, that G-d's Name should be glorified throughout the world. The question thus arises as to whether a person can respond "Amen Yeheh Shemeh Rabba" if he entered the synagogue after the congregation began responding. Must he have heard the beginning of Kaddish from the Hazzan in order to respond, or does it suffice that the congregation is responding at that time for him to join? Hacham Ovadia Yosef, based on the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) in Parashat Vayehi, writes that the person in this case may, in fact, join the congregation. As long as the congregation is still in the middle of the "Yeheh Shemeh Rabba" response, the person may respond together with them. The Poskim debate the question of whether the person in this case should begin his response with "Amen," or if he should omit "Amen" and begin with "Yeheh Shemeh Rabba." The Ben Ish Hai brings those who maintain that since the person did not hear the Hazzan's recitation of the beginning of Kaddish, he cannot answer "Amen," as this would constitute an "Amen Yetoma" (literally, "an orphan Amen") – an "Amen" that does not respond to anything, which is improper. Hacham Ovadia Yosef cited opinions that permit the person to begin with "Amen" if he can quickly think of the words of Kaddish to which he will be responding. However, Hacham Ovadia then brought the ruling of the Hida (Rav Haim Yosef David Azulai, 1724-1806) that if a person hears others answering "Amen" to a Beracha which he did not hear, he may not answer "Amen" with them even if he knows precisely which Beracha they are responding to. The Kaf Ha'haim (Rav Yaakob Haim Sofer, 1870-1939) agreed with this ruling. According to this opinion, one should not answer "Amen" to Kaddish if he did not hear the Hazzan, even if he can quickly think of the Hazzan's words in his mind. Hacham Ovadia thus concluded that it is preferable not to begin with "Amen" in this case, though he added that one who wishes to begin with "Amen" has a basis on which to rely. Hacham David Yosef, in Halacha Berura, noted that different views exist among the Poskim as to whether the rule of "Amen Yetoma" applies to one who responds to Kaddish. In light of this question, Hacham David ruled that one may, in fact, respond "Amen" to Kaddish even if he did not hear the Hazzan, as long as he can think the words in his mind. We generally follow the rulings of Hacham Ovadia, and so it is preferable in this case for the person to begin his response with "Yeheh Shemeh Rabba," omitting "Amen." This entire discussion applies only if the Hazzan had not yet begun "Yeheh Shemeh Rabba." If a person arrives after the Hazzan had begun "Yeheh Shemeh," then according to all opinions, he should not begin with "Amen." This situation is comparable to one who did not answer "Amen" to a blessing of the Amida during the Hazzan's repetition, until the Hazzan began the next Beracha. Once the Hazzan begins the next Beracha, one can no longer answer "Amen." By the same token, one cannot answer "Amen" to Kaddish once the Hazzan had proceeded with "Yeheh Shemeh Rabba." The Poskim debate the question of whether one answers "Amen" if he arrived in the synagogue during Kaddish just as the Hazzan recited, "Ve'imru Amen" ("And say: 'Amen'"). The Ben Ish Hai implies that the person cannot answer "Amen," even though he heard the Hazzan announce "Ve'imru Amen," since he did not hear the words to which the congregation now responds. By contrast, both the Kaf Ha'haim and Hacham David Yosef maintain that the person can answer "Amen" in such a case. The Hazzan must ensure not to repeat the word "Amen" before he begins "Yeheh Shemeh Rabba." After declaring, "Ve'imru Amen," and then pausing to allow the congregation to begin their response, he should proceed directly to "Yeheh Shemeh Rabba," and must not make the mistake of repeating the word "Amen." Summary: If a person arrived in the synagogue as the congregation was responding "Amen Yeheh Shemeh Rabba" to Kaddish, he may join in their response, unless the Hazzan had begun reciting "Yeheh Shemeh Rabba," in which case it is too late to respond. If the Hazzan had yet to begin "Yeheh Shemeh Rabba," the person joins the congregation's response but should preferably omit "Amen" and begin from "Yeheh Shemeh Rabba." If a person arrived just when the Hazzan recited "Ve'imru Amen," he may respond "Amen" with the congregation.

Kaddish is a prayer asking that Hashem's Name shall be recognized, revered and glorified throughout the world. When we answer to the Hazzan, "Amen, Yeheh Shemeh Rabba," we are essentially joining in this prayer, affirming that we, too, pray and yearn for the time when G-d's Name will be great. The Rabbis teach that during our period of exile, G-d's Name is "incomplete," as it were, consisting only of the first two letters – Yod and Heh. This is indicated in Hashem's pronouncement following the war against Amalek, "Ki Yad Al Kes Y-ah" (Shemot 17:16) – that as long as Amalek has yet to be defeated, and evil still exists in the world, G-d's Name is "Y-ah," consisting of only two letters. In the future, the Vav and the second Heh will be added to complete the Name. The Hazzan thus begins Kaddish with the words "Yitgadal Ve'yitkadash," which together consist of eleven letters – an allusion to the letters Vav and Heh, which have the combined number value of 11. "Yitgadal Ve'yitkadash Shemeh Rabba" is a prayer that G-d's Name shall be "completed" through its glorification among all peoples on earth. We therefore proclaim in our response to Kaddish, "Yeheh Shemeh Rabba" – that Hashem's Name shall be "Rabba," "large" and complete, with the arrival of Mashiah, when G-d's Name will be acknowledged and respected throughout the world. Because we respond to Kaddish so often – numerous times each day – we are prone to answering mindlessly, without paying attention to what we are saying. We should try, as much as possible, to concentrate on the meaning of the Hazzan's declaration, and on the meaning of our response – that we are praying for G-d's Name to be known and glorified throughout the world. Some have the custom when the Hazzan begins Kaddish to recite the verse, "Ve'ata Yigdal Na Koah Hashem…" (Bamidbar 14:17). However, the Arizal taught that this practice is incorrect. One should listen silently and attentively to the Hazzan's recitation, and then have in mind when responding that we are joining in his prayer for the glorification of the divine Name.

During Kaddish, the Hazzan must recite "Yeheh Shemeh Rabba" along with the congregation. The Mishna Berura writes that the Hazzan recites "Yeheh Shemeh Rabba" silently, and then raises his voice again when he reaches the word "Yitbarach." The work Az Nidberu (Rav Binyamin Zilber, 1916-2008) explains the Mishna Berura to mean that the Hazzan may recite "Yeheh Shemeh Rabba" silently if he so wishes, but he must then raise his voice beginning with the word "Yitbarach." This ruling, the Az Nidberu explains, is based on the Lebush (Rav Mordechai Yoffe, 1530-1612), who writes that when the congregation responds to Barechu by declaring, "Baruch Hashem Ha'meborach Le'olam Va'ed," the Hazzan also makes this declaration, and may do so silently if he so wishes. By the same token, the Hazzan may recite "Yeheh Shemeh Rabba" silently. It is unclear, however, why, according to this view, the Gemara's promise of reward for one who responds to "Yeheh Shemeh" with "all his strength" ("Be'chol Koho") does not apply to the Hazzan. We would assume that just as the members of the congregation are encouraged to respond "with all their strength," this should be true of the Hazzan, as well. The answer, as some have suggested, might be that the "Yeheh Shemeh Rabba" response is primarily for the congregation, and not for the Hazzan. The Hazzan joins only so that he does not exclude himself from the congregation. Therefore, it is not necessary for him to recite it loudly. However, there seems to be a different reason to require the Hazzan to recite "Yeheh Shemeh Rabba" aloud. The Shulhan Aruch (104:7) writes that if somebody hears Nakdishach or Kaddish while he recites the Amida, he should pause and listen attentively to the Hazzan, whereby he can be considered to have responded to Nakdishach and Kaddish. This ruling clearly assumes that the Hazzan recites the entire Kaddish – including "Yeheh Shemeh Rabba" – loudly, such that the congregants who are still reciting the Amida can listen and thereby fulfill the Misva of responding. It is possible that the Mishna Berura referred to a case where nobody in the congregation was still reciting the Amida, and for this reason, he wrote that the Hazzan does not need to recite "Yeheh Shemeh Rabba" out loud. Regardless, the accepted practice is that the Hazzan recites "Yeheh Shemeh Rabba" aloud, just like the rest of the Kaddish. In light of what we have seen, the Hazzan must have in mind when reciting Kaddish (and Nakdishach, for that matter) that his recitation should fulfill the obligation for those who are reciting the Amida and thus cannot respond. Those who wish to fulfill the Misva by listening to the Hazzan can do so only if both they and the Hazzan have this in mind, and it is therefore imperative that the Hazzan has in mind to fulfill the obligation for those who cannot respond. In fact, the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) writes that if a person reciting the Amida knows that the Hazzan is unaware of this Halacha, and does not have in mind for his Kaddish recitation to fulfill the obligation for those reciting the Amida, then there is no reason for this person to interrupt his Amida prayer to hear the Kaddish. Since the Hazzan does not have in mind for his recitation to fulfill the listeners' obligation, the listeners have no possibility of fulfilling their obligation, and they might as well just continue their Amida without pausing to hear the Hazzan's recitation of Kaddish. Hacham Ovadia Yosef concurred with this ruling. Summary: During Kaddish, the Hazzan recites "Yeheh Shemeh Rabba" together with the congregation. He should do so in a loud voice – like the rest of Kaddish – and should have in mind that those who are reciting the Amida, and thus cannot respond, will fulfill their obligation by listening to his recitation.

Our custom is to extend the "Yeheh Shemeh Rabba" response during Kaddish all the way to "Da'amiran Be'alma." It sometimes happens that the Hazzan does not recite "Yeheh Shemeh Rabba" slow enough to allow the congregation to complete their response before he recites "De'Kudsha Berich Hu." The congregation is meant to answer "Amen" to "De'Kudsha Berich Hu," and the question thus arises as to whether they may answer if they are still in the middle of their "Yeheh Shemeh Rabba" response, having yet to reach "Da'amiran Be'alma." The Arizal, in Sha'ar Ha'kavanot, implies that one should not respond to "De'Kudsha Berich Hu" if he is still in the middle of "Yeheh Shemeh Rabba." This is the ruling of the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in Rav Pe'alim. One could explain that the "Amen" response to "De'Kudsha Berich Hu" is less significant than the other "Amen" responses to Kaddish, as evidenced by the fact that not all customs require answering "Amen" at that point. This response therefore does not justify interrupting "Yeheh Shemeh Rabba." In truth, however, the Ben Ish Hai applied this ruling even if the Hazzan recites "Yeheh Shemeh Rabba" so fast that he reaches "Da'amiran Be'alma" before the congregation. In the Ben Ish Hai's view, even the "Amen" response to "Da'amiran Be'alma" does not justify interrupting "Yeheh Shemeh Rabba." This was the position also of Hacham Bension Abba Shaul (Jerusalem, 1924-1998). Hacham Ovadia Yosef, however, disagreed. He maintained that although one should not interrupt "Yeheh Shemeh Rabba" to respond to "De'kudsha Berich Hu," one should interrupt to respond to "Da'amiran Be'alma." Optimally, of course, the Hazzan should recite "Yeheh Shemeh Rabba" slowly, in order to allow the congregation to complete their response before the Hazzan reaches "De'Kudsha Berich Hu." The Ben Ish Hai laments the fact that he was hardly ever able to answer "Amen" to "De'Kudsha Berich Hu," because the Hazzanim in Baghdad recited "Yeheh Shemeh Rabba" too quickly. He repeatedly asked them to recite it more slowly, but they did not. The Hazzan should preferably pause before beginning "Yeheh Shemeh Rabba," and then recite it slowly, so that the congregation can finish their response in time to answer to "De"Kudsha Berich Hu." Summary: Hazzanim should recite "Yeheh Shemeh Rabba" in Kaddish slowly, to ensure that the congregation completes their response in time to answer "Amen" to "De"Kudsha Berich Hu." If one has yet to complete his "Yeheh Shemeh Rabba" response before the Hazzan reaches "De"Kudsha Berich Hu," he should not interrupt his response to answer "Amen." Regarding one who does not finish his "Yeheh Shemeh Rabba" response before the Hazzan reaches "Da'amiran Be'alma," different views exist among the Poskim as to whether he should interrupt his response to answer "Amen" at that point.

This transcript features a rabbi responding to diverse questions concerning Jewish law, communal standards, and spiritual life. He begins by debating whether winning a Torah scroll in a raffle fulfills the religious obligation to write one personally. The discussion then shifts to the permissibility of digital photo frames on the Sabbath and the complex history of the Manhattan eruv. Addressing broader theological concerns, the speaker explores divine providence as it relates to non-Jews and explains the spiritual advantages of praying in a formal synagogue rather than a home setting. He concludes with practical advice on maintaining religious focus amidst modern temptations and the protocol for handling interruptions during prayer.How do Rabbinic authorities apply ancient laws to modern technologies like digital screens?In what ways does communal environment influence the spiritual quality of religious practice?How does Jewish law navigate historical disputes regarding the definition of public spaces?Today • 2:02 AMwrite a podcast blurb for this audio with all the questions askedWelcome back to another weekly session of answering your questions, organized and arranged by Jonathan. In this episode, we explore a wide variety of halachic inquiries and philosophical reflections, ranging from modern technological challenges on Shabbat to the deep spiritual mechanics of repentance.This episode answers the following questions:• Does winning a Sefer Torah in a raffle fulfill the mitzvah? We provide a follow-up on whether winning a raffle qualifies as the mitzvah of writing a Sefer Torah, debating if it is more similar to inheriting one (which does not fulfill the mitzvah) or commissioning/buying one (which most hold does fulfill it).• Are digital photo frames and screens permitted on Shabbat? We discuss the use of screens in homes and shuls that display rotating photos, headlines, or sports scores, examining concerns like reading secular news on Shabbat and the halachic concept of Shevisas Kelim (resting of utensils).• What is the halachic status of the Manhattan Eruv? We dive into the complex history of the Manhattan Eruv, focusing on the debate over whether an area requires 600,000 residents to be considered a Reshus HaRabim (public domain) and Rav Moshe Feinstein's influential rulings on the matter.• How does God's influence (Hashgacha) affect non-Jews? Drawing on various opinions, we explore whether non-Jews are guided by general or individual providence and how they are judged based on their personal mission in society.• Is it preferable to daven in a shul if there is a house minyan on your block? We explain why davening in a shul is superior to a house minyan, citing reasons such as B'rov Am Hadras Melech (glory in a large crowd), the inherent sanctity of the building, and the presence of an Aron Kodesh.• How strictly should we follow the rule of Paska (not splitting verses)? We look at why we sometimes split verses in songs or Torah readings despite the general prohibition, noting that it is often permitted when there is no other viable option.• Does seeing the top of the Golden Dome require Keriah? We discuss whether seeing the dome on the Temple Mount from a distance—without seeing the base—obligates a person to tear their clothes in mourning for the Temple.• How do sins transform into merits through teshuva? We examine the profound concept that proper repentance can turn past transgressions into merits, including the idea that the drive to overcome sin can lead a person to a higher spiritual level than they would have otherwise reached.• Where should one light candles when staying in one hotel but eating in another? We address the logistics of lighting Shabbat and Chanukah candles for those away from home, determining whether the place of eating or the place of sleeping takes precedence.• What is the best way for teenagers to handle modern temptations? We share advice on avoiding temptation through filters and environment rather than just "fighting" it, while emphasizing the importance of not obsessing over past failures.• How should you signal someone to stop talking during sensitive parts of prayer? We offer practical tips for communicating the need for silence during Chazaras HaShatz or Kaddish without violating the prohibition against speaking.To understand the concept of avoiding obsession with sin, consider it like putting down a heavy load after crossing a puddle; if you keep rehashing your mistakes, you are still carrying the weight of the sin long after the moment has passed.Support this podcast at — https://redcircle.com/ten-minute-halacha/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Bet Yosef cites the famous kabbalist Rav Yosef Gikatilla (Spain, 13th century) as establishing that in the "Yeheh Shemeh Rabba" response to Kaddish, one must not make any interruption between the word "Almaya" and the next word, "Yitbarach." Although it appears that the word "Yitbarach" begins the next sentence, Rav Gikatilla taught that the word "Yitbarach" immediately follows "U'l'olmeh Almaya." Accordingly, the Shulhan Aruch ruled that when responding "Yeheh Shemeh Rabba," one must not stop at the word "Almaya," and should instead continue to "Yitbarach." On this basis, the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), in Od Yosef Hai, ruled that one must ensure not to pause at all between the words "Almaya" and "Yitbarach," even momentarily. However, the Siddur of the Rashash (Rav Shalom Sharabi, Yemen, 1720-1777) instructs that one should specifically make a pause between these words. The Od Yosef Hai writes that common custom does not follow this view, and instead follows the teaching of Rav Yosef Gikatilla. It appears from the Ben Ish Hai that if one asks for guidance, he should be told to make a pause, but those who have the custom not to pause should continue observing this practice. Elsewhere, the Ben Ish Hai writes that no pause should be made between these words, and this is also the implication of the Shulhan Aruch's ruling. Moreover, this is the universal practice among Sephardim, which should be observed. Summary: The prevalent custom among Sephardic communities when responding to Kaddish is to recite "Le'alam U'l'olmeh Almaya Yitbarach..." without any pause between "Almaya" and "Yitbarach."

Different views exist regarding the congregation's "Yeheh Shemeh Rabba" response during Kaddish. All agree that this response is associated with the number 28, but there is a disagreement as to how this association is to be expressed. The significance of this number in the context of the "Yeheh Shemeh Rabba" response is indicated by the Gemara, which speaks of the great rewards for reciting this response "Bechol Koho" – with all one's strength. The word "Koah" ("strength") in Gematria equals 28, and so we associate this response with the number 28. The Abudarham (Spain, 14 th century) maintained that the congregation should respond with 28 letters – "Yeheh Shemeh Rabba" through "Almaya." This response consists of seven words and 28 letters. Rav Yishak Abuhab (Spain, 14 th century), cited by the Bet Yosef, ruled that one should recite 28 words – from "Yeheh Shemeh Rabba" through "Da'amiran Be'alma." The Bet Yosef writes that the first view is incorrect, as one may not end the response after the word "Almaya." He brings a Midrash warning of grave punishment for those who make a separation between this word and the next word, "Yitbarach." This point is emphasized also by the great Kabbalist Rav Yosef Gikatilla (Spain, 13th century), who writes of the importance of not separating between these two words. Accordingly, the Shulhan Aruch writes that those who end their response with the word "Almaya" act incorrectly. The Magen Abraham (Rav Abraham Gombiner, Poland, 1635-1682) understood the Shulhan Aruch to mean that one should continue his response through the word "Be'alma," though the Magen Abraham himself maintained that one should respond only through "Almaya." Regardless, we generally follow the customs of the Arizal, who taught that one should respond through "Da'amiran Be'alma." There are some who respond through "De'Kudsha Berich Hu," but this practice has no halachic basis and is incorrect. Those who are accustomed to doing so should discontinue this practice. Among the Ashkenazim, many have the custom to respond only through "Almaya." This was the view of the Gaon of Vilna (1720-1797). He disputed the view that "Yitbarach" must be recited immediately after the word "Almaya," arguing that "Yitbarach" begins the next sentence. Nevertheless, some Ashkenazim add "Yitbarach" and conclude their response at that point. The Aruch Ha'shulhan (Rav Yechiel Michel Epstein, 1829-1908) observed that this was the prevalent practice among Lithuanian communities, despite the view of the Vilna Gaon. It is worth adding further insight into the connection between Kaddish and the number 28 – which, as mentioned, is the Gematria of the word "Koah." Rashi, in his opening comments to the Humash, writes that the Torah begins with the story of the world's creation in order to establish that the entire world belongs to G-d, as it is He who created it, and He thus had the authority to give Eretz Yisrael to the Jewish People. If the gentiles challenge our rights to our homeland – which they of course do, especially in our day and age – we must know that Hashem created the world and distributed it as He saw fit, and He decided to give us the Land of Israel. Rashi cites the verse in Tehillim (111:6), "Koah Ma'asav Higid Le'amo, La'tet Lahem Nahalat Goyim" – "He told His nation the power of His deeds, in order to give them the nations' territory." The story of G-d's "power," the creation of the world, is our response when nations challenge our right to the territory that we seized from the people of Canaan. Not coincidentally, the opening verse of the Torah ("Bereshit Bara Elokim…") consists of seven words and 28 letters – just like "Yeheh Shemeh Rabba…" – and Rashi links this verse to the verse "Koah Ma'asav Higid Le'amo," which begins with the word "Koah." Through our response to Kaddish, then, we access Hashem's unlimited power, expressed most strikingly through the act of creation, and this gives us the ability to withstand any challenge from our adversaries. It is worth noting in this context the famous Midrashic tradition that Moshe Rabbenu recited 515 prayers asking for the privilege of entering Eretz Yisrael (the numerical value of the word "Va'et'hanan"), and if he would have recited a 516 th prayer, Hashem would have had to grant his request. The commentaries explain that this 516 th prayer that Moshe would have recited was Kaddish, which begins with the words "Yitgadal Ve'yitkadash Shemeh Rabba." The first letters of these words (Yod, Vav, Shin, Resh) have a combined numerical value of 516 (10+6+300+200). This sheds additional light on the connection between Kaddish and Eretz Yisrael. When we recite and respond to Kaddish, we are asking that Hashem's Name should be glorified through our nation living in the land with the Bet Ha'mikdash under the reign of Mashiah, and this prayer has special power and significance. In light of this association between "Yeheh Shemeh Rabba" and the number 28, it is critically important to enunciate each word. If one responds too quickly, he might likely fail to pronounce the word "Min" in the phrase ("Le'ela Min Kol Birchata"), and will thus recite fewer than 28 words. The Poskim write that one should respond "Yeheh Shemeh Rabba" slowly and carefully, ensuring to properly pronounce each word. Summary: Our custom is to respond during Kaddish from "Yeheh Shemeh Rabba" through "Da'amiran Be'alma" – a total of 28 words. This number is very significant, and therefore one must ensure to respond slowly and properly pronounce all the words.

One of the points during Kaddish when the congregation answers "Amen" is after "Shemeh De'Kudsha Berich Hu." Ashkenazic custom, however, is not to recite "Amen" at that point, and to recite "Berich Hu" instead of "Amen." Rav Moshe Feinstein (1895-1986) rules that according to the Ashkenazic custom, a person who hears Kaddish while reciting Pesukeh De'zimra should not respond "Berich Hu." Although he may answer "Amen" to Kaddish, he may not answer "Berich Hu," as this does not qualify as an obligatory response that warrants interrupting Pesukeh De'zimra. This position was taken also by Rav Shlomo Zalman Auerbach (Jerusalem, 1910-1995). Rav Yaakov Kamenetsky (1891-1986) and Rav Chaim Kanievsky (1928-2022) went even further, ruling that Ashkenazim should preferably not answer "Berich Hu" to the Hasi-Kaddish recited before the Amida prayer during Arbit. Interruptions are not permitted during Arbit from Barechu through the Amida prayer, though "Amen" responses are allowed. According to the aforementioned Poskim, the response of "Berich Hu" is not significant enough to warrant an interruption before the Amida, and so the congregation should not respond "Berich Hu." Rav Moshe Feinstein, however, maintained that the "Berich Hu" response is allowed at that point.

The Kaddish - After Keriat Ha-Torah by Rabbi Avi Harari

Our practice is to answer "Amen" five times to the Hasi Kaddish: after "Shemeh Rabba," after "Ve'yasmah Purkaneh Vi'ykareb Meshiheh," after "U'bi'zman Karib Ve'imru Amen," after "De'Kudsha Berich Hu," and after "Da'amiran Be'alma Ve'imru Amen." These responses follow the teaching of the Arizal, and of Maran (author of the Shulhan Aruch) in Maggid Mesharim – the record of the lessons he was taught by the angel who came to learn Torah with him. When we answer "Amen," we are expressing our wish that the words in the Kaddish should be fulfilled, namely, that Hashem's Name should be glorified throughout the world. Interestingly, the Shulhan Aruch makes no mention of the first two "Amen" responses, after "Shemeh Rabba" and "Vi'ykareb Meshiheh." The Rambam mentions the first, but not the second. Both the Rambam and the Shulhan Aruch state that "Amen" should be recited after the word "Yitbarach." Regardless, the widespread practice follows the Arizal's teaching, to say "Amen" at the five points listed earlier. The custom among many Ashkenazic communities is to omit entirely from Kaddish the phrase "Ve'yasmah Purkaneh Vi'ykareb Meshiheh." Hacham Bension Abba Shaul (Jerusalem, 1924-1998) writes that if a Sepharadi is reciting Kaddish in an Ashkenazic congregation, he should recite the Sephardic version of Kaddish, unless this might create discord and make people upset. If he is concerned that the people might be displeased by his recitation of the Sephardic text of Kaddish, then in the interest of maintaining peace he should recite the Ashkenazic version of Kaddish. If he recites Kaddish together with Ashkenazic members of the congregation, then he should recite the Ashkenazic version of Kaddish, as he would otherwise cause confusion, given that the congregation is not accustomed to hearing "Ve'yasmah Purkaneh Vi'ykareb Meshiheh." If, however, it can be assumed that the congregation is familiar with the Sephardic text of Kaddish, then the Sepharadi should recite the Sephardic text. This is, indeed, the prevalent practice today in Israel, where most communities are familiar with both versions of Kaddish.

Often, on Shabbat and Yamim Tobim, the Hazzan sings the Kaddish in a melodious tune, and in some synagogues, the congregation joins the Hazzan's singing. The Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) writes that this is improper. The Kaddish is only for the Hazzan to recite; the congregation must listen silently and respond, without joining in the Hazzan's recitation.

The final Kaddish recited in the prayer service (either Kaddish Al Yisrael, or Kaddish Yeheh Shelama) is customarily recited by mourners. If there are no mourners, then the Kaddish is usually recited by somebody whose mother or father had passed away, Heaven forbid. It sometimes happens, however, that there is nobody in attendance to say Kaddish – no mourners, and nobody who had lost a parent. What should be done in this situation? I recall hearing Rabbi Max Maslaton teach that Kaddish is part of the prayer service, and it must therefore not be skipped, just like no other part of the prayer service may be skipped. Beyond the benefit the Kaddish recitation brings to the soul of a departed parent, it also is intrinsically significant as an important part of the Tefila. Therefore, Rabbi Maslaton said that somebody who is not prepared to recite the final Kaddish should not serve as Hazzan, because if there is nobody in the congregation to recite the final Kaddish, then the Hazzan should recite it. In practice, however, there are many people who feel uneasy about reciting Kaddish if both their parents are alive. I recall as a student in Magen David, where I would often serve as Hazzan, Hacham Baruch Ben-Haim told me to ask my father if he allowed me to recite the final Kaddish. I did, and my father did not permit it. This feeling is quite common, and one whose parents do not feel comfortable with him reciting this Kaddish should not do so. Inherently, however, there is no concern whatsoever about this Kaddish recitation bringing "bad luck" or posing any sort of danger to the parents. Therefore, unless the Hazzan's parents have strong feelings about the matter, he should recite the final Kaddish if nobody in the congregation does.

The Shulhan Aruch writes that one should "run" to hear and respond to Kaddish. If one has the opportunity to hear the recitation of Kaddish, he should enthusiastically seize the opportunity. Sometimes, people are in a rush to leave the synagogue early, and they forfeit opportunities to hear Kaddish. Responding to Kaddish is a precious Misva, and so one should eagerly seize opportunities to do so. If a person is in a place where two different Minyanim are occurring simultaneously – such as at the Kotel in Jerusalem – and he hears one Minyan reciting Kaddish, and another Minyan reciting Nakdishach, then he should respond "Yeheh Shemeh Rabba" at the expense of responding to Nakdishach. However, this applies only if the person does not need to fulfill his Nakdishach obligation at that time – meaning, he already recited that prayer, or he will be reciting that prayer in a Minyan later. But if a person is praying with a Minyan, and as the Hazzan reaches Nakdishach he hears Kaddish from a different Minyan, then he should respond to Nakdishach in the Minyan in which he is participating at that time. In this instance, his current prayer service takes precedence over the Kaddish being recited in a different Minyan. If a person began responding "Yeheh Shemeh Rabba" to Kaddish, and at that moment he hears Nakdishach, then he should end his response after "Almaya Yitbarach" so he can respond to Nakdishach Normally, our custom is to extend our response of "Yeheh Shemeh Rabba" through "Be'alma." In this case, however, in the interest of being able to respond to Nakdishach, one should end his response with "Almaya Yitbarach." If one hears Kaddish while listening to Nakdishach, he should respond to Nakdishach as usual without interrupting to respond to Kaddish. If a person finds himself near two Minyanim, one of which is about to recite Kaddish Titkabal (the Kaddish recited after the Amida) and the other is about to recite Nakdishach, then he should join the Minyan that is about to recite Nakdishach. The reason is, quite simply, that the Minyan which is now starting Nakdishach will recite Kaddish Titkabal after the repetition of the Amida. Therefore, by going to that Minyan, one has the opportunity to hear both Nakdishach and Kaddish Titkabal. This is the ruling of the Mishna Berura. The Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) adds that this applies even if one must pass by the Minyan reciting Kaddish to get to the Minyan reciting Nakdishach. Whereas normally it is improper to pass by a Misva opportunity, in this instance it is preferable to go to the further Minyan for the reason discussed.

The Gemara in Masechet Shabbat (119) speaks of the great merit earned by responding "Yeheh Shemeh Rabba" to Kaddish, stating that responding "with all one's strength" has the ability to annul harsh decrees issued against a person. The conventional understanding of this teaching is that it refers to responding with Kavana (concentration), with full attention and emotion. However, Tosafot cite an explanation that the Gemara speaks here of responding in a loud voice. Accordingly, the Shulhan Aruch writes that one should respond to Kaddish both with Kavana, and in a loud voice. Although it is proper to respond to Kaddish out loud, one must ensure not to turn his response into a spectacle. The purpose of Kaddish is to bring glory to Hashem – not to bring glory to oneself. Therefore, if one responds to Kaddish in a manner that brings attention to himself, this undermines the entire purpose of this prayer. Generally speaking, it is improper when responding to the Hazzan's prayer to do so more loudly than the Hazzan. The verse in Tehillim (34:4) states, "Gadelu L'Hashem Iti" – "Give praise to G-d with me," implying that the leader and the congregation should pray together, at the same volume, without trying to drown out each other. Accordingly, when responding to Kaddish, one should ensure not to respond in a louder voice than the Hazzan (or of whoever it is who recites Kaddish). Interestingly, Rav Shlomo Zalman Auerbach (Jerusalem, 1910-1995) maintained that this Halacha does not apply to the response of "Yeheh Shemeh Rabba." He contended that "Yeheh Shemeh Rabba" is not a response to the Hazzan, but rather an independent declaration. Therefore, one may recite "Yeheh Shemeh Rabba" even more loudly than the Hazzan. The accepted Halacha, however, does not follow this view, and instead treats "Yeheh Shemeh Rabba" as a response, which must therefore not be declared in a louder voice than the Hazzan's. Accordingly, the Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) writes that the Hazzan or person reciting Kaddish should ensure to say Kaddish loudly, so that the congregation can answer out loud without answering more loudly than him. Summary: One should respond to Kaddish with concentration and in a loud voice, though one should not respond more loudly than the Hazzan (or other person reciting Kaddish). Therefore, one who recites Kaddish should do so loudly, so that the congregation can respond loudly but not more loudly than his recitation.

The Gemara in Masechet Shabbat (119) teaches that responding "Yeheh Shemeh Rabba" to Kaddish "with all one's strength" has the power to annul harsh decrees. According to some versions of this passage, even if a decree of seventy years of suffering was issued against a person, he can have the decree repealed by answering "Yeheh Shemeh Rabba" with all his "strength." The common understanding of this expression – "with all one's strength" – is that it refers to full Kavana (concentration). Answering to Kaddish with concentration, focusing on the meaning of the words, has the power to annul harsh decrees. People often look for effective "Segulot," especially when they are dealing with some kind of problem or crisis, or when they have an important court case or business deal. Unfortunately, they generally overlook what might be the most obvious and most well-documented "Segula" of all – responding to Kaddish with full concentration. No matter what harsh punishment has been decreed against a person, he has the opportunity to have it annulled by responding to Kaddish properly. People who talk during Kaddish need to remember that they can gain far more by concentrating during Kaddish than they do with any conversation they have with their fellow. The "return on investment" for properly concentrating during Kaddish is far greater than we could ever imagine. The Yeser Ha'ra (evil inclination), knowing the great benefits of concentrating on Kaddish, lures a person to disregard Kaddish, and to engage in conversation instead of listening and responding properly. But speaking during Kaddish – even words of Torah! – is strictly forbidden by Halacha, and by doing so, one forfeits the immense rewards that this special prayer offers, and becomes liable to punishment, Heaven forbid. The Bet Yosef brings the story of Rabbi Hama who saw Eliyahu Ha'nabi leading thousands of camels loaded with "anger and wrath," and Eliyahu said that all this anger is for those who engage in conversation during the recitation of Kaddish. And the Kaf Ha'haim (Rav Yaakob Haim Sofer, Baghdad-Jerusalem, 1870-1939) cites the Mateh Moshe as relating that a certain Torah scholar had a student who died young, and the student appeared to him in a dream, with an unseemly mark on his forehead. The student explained that this mark was his punishment for speaking during Kaddish. One should not fold his Tallit or Tefillin, or engage in other activity, during the recitation of Kaddish, so that he can fully concentrate on the words. This applies to all the Kaddish recitations – the Kaddishim recited during the prayer service, the Kaddish recited after Torah learning, the Kaddish recited at an Arayat, and so on. Rav Yisrael Bitan cites an opinion that this applies only when one responds, "Yeheh Shemeh Rabba," though Rav Bitan disagrees, and maintains that this is forbidden even while listening to Kaddish. He adds, however, that this is forbidden only through "Da'amiran Be'alma," which is the essential Kaddish. During the remainder of Kaddish, which is a later addition to Kaddish, it is permissible to engage in other activities. If someone fell behind during the prayers, and needs to complete the previous prayer during Kaddish, he should do so only after "Da'amiran Be'alma." Until that point, he should remain silent and respond to the Kaddish. Rav Bitan cites this ruling from the Mishna Berura.

Just as it is improper to intentionally create a situation that requires an additional Beracha, it is similarly improper to intentionally create a situation requiring an additional recitation of Kaddish. For example, on the night of Hoshana Rabba, when it is customary to recite Tehillim, the group should not make unnecessary interruptions so that extra Kaddishim could be recited. Kaddish Yeheh Shelama is recited after the reading of Torah She'bi'chtab (Tanach), but it is improper to unnecessarily interrupt for the purpose of adding extra Kaddishim. Likewise, Kaddish is recited only at the designated points in the prayer service, and after a session learning, but not after other prayers or ceremonies. This is discussed already by the Rambam, in one of his published responsa. Kaddish is customarily recited after a Berit Mila only because we recite a chapter of Tehillim as part of the ceremony. Otherwise, Kaddish should not be recited. Kaddish is not recited after a Huppa, after a Pidyon Ha'ben, or after other ceremonies. If a Torah class was taught immediately before Arbit, and the class was followed by Kaddish Al Yisrael, then the Hazzan should begin Arbit with "Ve'hu Rahum," rather than with Hasi Kaddish, since Kaddish Al Yisrael was just recited. This is the ruling of Hacham David Yosef, in Halacha Berura, and this was the practice followed each day by his father, Hacham Ovadia Yosef. Rav Yisrael Bitan notes that seemingly, it should be acceptable to recite the Hasi Kaddish before Arbit in this case, since both Kaddish recitations are legitimately necessitated – the first because of the Torah class, and the second as the introduction to Arbit. Evidently, Rav Bitan writes, Hacham Ovadia felt that since the congregation begins Arbit immediately after Kaddish Al Yisrael, this Kaddish serves both purposes – concluding the Torah class, and introducing Arbit. Rav Bitan adds that this was the opinion also of Rav Mordechai Sharabi (Yemen-Jerusalem, 1908-1983) and Hacham Bension Abba Shaul (Jerusalem, 1924-1998). It must be emphasized, however, that if an interruption was made following the Kaddish Al Yisrael before Arbit, then the Hasi Kaddish should be recited before Arbit as usual. The Kaddish is omitted only if the congregation begins Arbit immediately after the recitation of Kaddish Al Yisrael. A similar situation arises on Friday night, in synagogues where the Rabbi speaks just before Arbit. Rav Meir Mazuz (1945-2025) writes that in such a case, Kaddish Al Yisrael should not be recited after the Rabbi's address, and the Hazzan should proceed to Hasi-Kaddish and Barechu. If the congregation insists on reciting Kaddish Al Yisrael after the Rabbi's talk. Rav Mazuz adds, then the service should be rearranged such that a different portion of the service requiring Kaddish – such as Lechu Neranena and Shir Hashirim – is recited after the Kaddish Al Yisrael, so the Hazzan can then recite Hasi-Kaddish before Barechu.

Numerous sources emphasize the great importance and value of answering to Kaddish. In Masechet Berachot (6b), the Gemara teaches that when Hashem comes into the synagogue and sees that there are fewer than ten men present, "Miyad Hu Ko'es" – He immediately becomes angry. The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) raised the question of why the Gemara adds the word "Miyad" – "immediately." What is added by telling us that G-d's anger is aroused instantly? The Ben Ish Hai answers by suggesting that "Miyad Hu Ko'es" means that Hashem grows angry because of "Yad" – the letters Yod and Dalet. The letter Yod equals 10, alluding to the minimum of ten Kaddishim which one should hear and respond to each day, and Dalet equals 4 – referring to the four recitations of Nakdishach which a person should hear and respond to each day. When people do not come to the Minyan, Hashem becomes angry – even though the people can pray privately, because they cannot respond to Kaddish or Nakdishach. The Gemara in Masechet Sota (49a) states that although the world's condition has been worsening progressively since the Bet Ha'mikdash was destroyed, it is sustained in the merit of the "Yeheh Shemeh Rabba" response to Kaddish, and of the recitation of the Kidusha De'sidra (a section of the U'ba Le'sion prayer). Moreover, the Gemara in Masechet Shabbat (119b, according to one version of the text) teaches that if a person was deemed worthy of seventy years of suffering, he can have the decree rescinded in the merit of responding "Yeheh Shemeh Rabba" with all his strength. The Gemara further states that the merit of this response can bring a person atonement even for the sin of idolatry. Another passage there in the Gemara teaches that if a person responds "Yeheh Shemeh Rabba" with all his strength, the gates of Gan Eden are opened for him. Similarly, the Sefer Hasidim (Rabbenu Yehuda Ha'hasid, Germany, 1150-1217) writes that one who regularly responds "Amen" in this world earns the privilege of doing so also in the world to come. This is alluded to in the verse in Tehillim (89:53), "Baruch Hashem Le'olam Amen Ve'amen" ("Blessed is G-d forever, Amen and Amen"). The phrase "Amen Ve'amen" alludes to the response of "Amen" both in this world and the next. Another important source is the Gemara's teaching in Masechet Berachot (3a) that when Jews gather in the synagogue and declare, "Yeheh Shemeh Rabba," Hashem exclaims, "Fortunate is the king whose subjects praise him this way!" The Bet Yosef cites the Zohar as explaining that Kaddish is recited in Aramaic, instead of Hebrew, because it has the unique power to oppose the Kelipot ("shells," the harmful spiritual forces). We use the inferior language, Aramaic, so we can attack the Kelipot in their language, as it were, and this has the effect of eliminating the forces of evil from the world. Tosafot (Shabbat 119b) cite a story from the Midrash about Rabbi Yishmael Kohen Gadol, who was shown how the dreadful punishments that are decreed upon Beneh Yisrael are avoided in the merit of the response of "Yeheh Shemeh Rabba." And the Zohar states that the sign of a great Torah scholar is if he fervently looks for opportunities to respond to Kaddish. If a person rushes out of the synagogue before the final Kaddish, then even if he is a scholar, he cannot be considered a true Talmid Hacham. The Gaon of Vilna (1720-1797) writes that those who answer "Yeheh Shemeh Rabba" will be spared the suffering from the upheavals that will occur before the arrival of Mashiah. The Mishna Berura cites a passage from the Midrash describing Hashem's reaction when Jews assemble to learn Torah and then recite Kaddish – He turns to angels and exclaims, "See how My children praise me!" Importantly, however, Rav Moshe Zakuta (1625-1697) writes that one must respond "Amen" with Kavana (concentration). If a person answers mindlessly, without paying attention, then he is included, Heaven forbid, in G-d's warning, "U'bozai Yekalu" – that those who disgrace Him will be shamed (Shemuel I 2:30). It is told that Rav Mordechai Gifter (1915-2001), the esteemed Rosh Yeshiva of Telz in Cleveland, once traveled with eight students to Toronto for a wedding. They were altogether nine men, and thus could not form a Minyan, but they assumed that they would have time upon arriving in Toronto to join a Minyan for Minha. As it happened, however, the plane made an emergency landing in some small town between Cleveland and Toronto. The group needed to recite Minha there, despite not having a Minyan. To their astonishment, a worker in the airport approached them as they were starting to pray and informed them that he was Jewish and wished to join them. He could not even read Hebrew, but he told the group that he wanted to recite Kaddish, and he needed their help. They made a Minyan, and helped him recite Kaddish. Afterward, Rav Gifter spoke to him and asked why he, a Jew without any religious background, wished to pray and recite Kaddish. The man explained that his father passed away several days earlier. The night before he met this group in the airport, his father came to him in a dream and told him he needed him to recite Kaddish for him. The man asked his father how he could recite Kaddish, as he lived in a town without a Jewish community. "Don't' worry," his father said, "tomorrow I'll send you a Minyan so you can recite Kaddish." This story demonstrates how everything happens for a purpose, and that nothing is random – but additionally, it teaches us the importance of Kaddish, and the great benefit it brings to the soul of the deceased when the children recite Kaddish.

The Bet Yosef cites the Shiboleh Ha'leket (Rav Sidkiya Ha'rofeh, Italy, 13 th century) as establishing that one should hear at least seven Kaddish recitations each day. This is inferred from the verse in Tehillim (119:164), "Sheba Ba'yom Hilalticha" – "I have praised You seven times each day." By contrast, the Arizal maintained that one should hear at least twelve daily Kaddish recitations. Our customary prayer service is arranged in such a way that a total of thirteen Kaddishim are recited. In the morning, "Kaddish Al Yisrael" is recited before Hodu, "Hasi Kaddish" is recited after Yishtabah, another "Hasi Kaddish" is recited after the Hazzan's repetition of the Amida, "Kaddish Titkabal" is recited after "U'ba Le'sion," another Kaddish is recited after the daily Shir Shel Yom, and then "Kaddish Al Yisrael" is recited before Alenu, for a total of six Kaddishim. At Minha, another three Kaddishim are recited – the "Hasi Kaddish" before the Amida, the "Kaddish Titkabal" following the repetition of the Amida, and another Kaddish after La'menase'ah Bi'nginot, before Alenu. An additional four Kaddishim are recited at Arbit, bringing the total to thirteen: before Barechu, before the Amida, after the Amida, and before Alenu. These thirteen Kaddishim correspond to the thirteen attributes of divine mercy. In some communities, Kaddish is not recited after La'menase'ah Bi'nginot at Minha, such that they recite a total of twelve Kaddishim, following the teaching of the Arizal. In Ashkenazic communities, Kaddish is recited also after Alenu. This custom is followed in some Moroccan and Tunisian communities, as well. The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) cites the Arizal as explaining how the various Kaddish recitations serve to facilitate our transition between the different spiritual realms. We cannot proceed immediately from our current realm – the realm of Asiya – to the highest realm, the realm of Asilut, where we stand before G-d and pray the Amida. We need to ascend incrementally, and it is through the Kaddish recitation that we advance from one realm to the next. The first "jump" occurs with the "Kaddish Al Yisrael" before Hodu, which elevates us to the realm of Yesira. The Kaddish after Yishtabah then lifts us to the realm of Beri'a. As no interruption is permitted during the section of "Yoser Or" until after the Amida, we ascend to the highest realm, Asilut, for the Amida prayer without a Kaddish. We then "descend" back to the realm of Beri'a with the "Hasi Kaddish" recited after the Amida, and then to Yesira with the Kaddish after U'ba Le'sion. Finally, the Kaddish following the Shir Shel Yom brings us back down to the realm of Asiya.

Welcome back to another weekly session of answering your questions, organized and arranged by Jonathan. In this episode, we explore a wide variety of halachic inquiries and philosophical reflections, ranging from modern technological challenges on Shabbat to the deep spiritual mechanics of repentance. **This episode answers the following questions:***  **Does winning a Sefer Torah in a raffle fulfill the mitzvah?** We provide a follow-up on whether winning a raffle qualifies as the mitzvah of writing a Sefer Torah, debating if it is more similar to inheriting one (which does not fulfill the mitzvah) or commissioning/buying one (which most hold does fulfill it).*  **Are digital photo frames and screens permitted on Shabbat?** We discuss the use of screens in homes and shuls that display rotating photos, headlines, or sports scores, examining concerns like reading secular news on Shabbat and the halachic concept of *Shevisas Kelim* (resting of utensils).*  **What is the halachic status of the Manhattan Eruv?** We dive into the complex history of the Manhattan Eruv, focusing on the debate over whether an area requires 600,000 residents to be considered a *Reshus HaRabim* (public domain) and Rav Moshe Feinstein's influential rulings on the matter.*  **How does God's influence (*Hashgacha*) affect non-Jews?** Drawing on various opinions, we explore whether non-Jews are guided by general or individual providence and how they are judged based on their personal mission in society.*  **Is it preferable to daven in a shul if there is a house minyan on your block?** We explain why **davening in a shul is superior** to a house minyan, citing reasons such as *B'rov Am Hadras Melech* (glory in a large crowd), the inherent sanctity of the building, and the presence of an *Aron Kodesh*.*  **How strictly should we follow the rule of *Paska* (not splitting verses)?** We look at why we sometimes split verses in songs or Torah readings despite the general prohibition, noting that it is often permitted when there is no other viable option.*  **Does seeing the top of the Golden Dome require *Keriah*?** We discuss whether seeing the dome on the Temple Mount from a distance—without seeing the base—obligates a person to tear their clothes in mourning for the Temple.*  **How do sins transform into merits through *teshuva*?** We examine the profound concept that **proper repentance can turn past transgressions into merits**, including the idea that the drive to overcome sin can lead a person to a higher spiritual level than they would have otherwise reached.*  **Where should one light candles when staying in one hotel but eating in another?** We address the logistics of lighting Shabbat and Chanukah candles for those away from home, determining whether the place of eating or the place of sleeping takes precedence.*  **What is the best way for teenagers to handle modern temptations?** We share advice on **avoiding temptation through filters and environment** rather than just "fighting" it, while emphasizing the importance of not obsessing over past failures.*  **How should you signal someone to stop talking during sensitive parts of prayer?** We offer practical tips for communicating the need for silence during *Chazaras HaShatz* or *Kaddish* without violating the prohibition against speaking.To understand the concept of **avoiding obsession with sin**, consider it like **putting down a heavy load after crossing a puddle**; if you keep rehashing your mistakes, you are still carrying the weight of the sin long after the moment has passed.Support this podcast at — https://redcircle.com/ten-minute-halacha/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

There are several different kinds of Kaddish, the first of which is commonly known as "Hasi Kaddish" – "half-Kaddish." The term "Hasi Kaddish" is actually a misnomer, as the text of this Kaddish is in fact the complete original text, composed either by the Ansheh Kenesset Ha'gedola (Men of the Great Assembly) at the beginning of the Second Commonwealth, or several generations later, by the Tanna'im. The prayers added to the other Kaddish texts were introduced later, during the period of the Geonim or the period of the Rishonim. These other texts are known to us as "Kaddish Titkabal," "Kaddish Yeheh Shelama," and "Kaddish Al Yisrael" (which is also referred to as "Kaddish De'Rabbanan"). "Kaddish Titkabal" includes a request that our prayers be answered, and it is recited after the Amida prayer, and after Shelihot. "Kaddish Yeheh Shelama" is said after the recitation of a text of Torah She'bi'chtab (Tanach), such as following an Arayat. Finally, "Kaddish Al Yisrael" is recited after a session of studying Torah She'be'al Peh (the oral Torah), such as Mishna or Gemara. This text contains a prayer for the wellbeing of the Torah scholars and their students (which is why this Kaddish is also known as "Kaddish De'Rabbanan" – the Rabbis' Kaddish). We recite this Kaddish in the morning after the Korbanot section, which includes the Mishnayot of "Ezehu Mekoman" and the Berayta of Rabbi Yishmael. It is recited again at the end of the prayer service, following the recitation of the Ketoret text which includes passages from the Gemara. This final "Kaddish Al Yisrael" after the Ketoret is known as "Kaddish Yatom" – the mourner's Kaddish, as it is recited by those in mourning for a parent. The Arizal taught that the recitation of this Kaddish by a mourner has the ability to extricate the parent from Gehinnom and bring him or her to Gan Eden. These final three Kaddish texts conclude with a prayer for peace and material blessings. The Rabbis explain that we first pray that "Yitgadal Ve'yitkadash Shemeh Rabba" – that G-d's Name should be glorified and become known throughout the world, before proceeding to ask for our personal needs. This is based on the concept that we must first pray for G-d's sake, so-to-speak, for the glory of His Name, and in this merit our personal requests will be granted. The Tur (Rabbenu Yaakob Ben Asher, Germany-Spain, 1269-1343) brings a teaching of the Midrash that if a person includes in his prayers the plea that Hashem should act for the sake of His Name ("Aseh Lema'an Shemecha, Aseh Lema'an Yeminecha…"), then he will be given the merit to greet the Shechina. We should pray not only for our own benefit, but also for the sake of the glorification of G-d's Name. This notion is alluded to in the first four words of Kaddish – "Yitgadal Ve'yitkadash Shemeh Rabba." These words begin with the letters Yod, Vav, Shin and Resh, which have the combined numerical value of 516. The Sages teach that Moshe Rabbenu prayed 515 times for the privilege of entering the Land of Israel, whereupon G-d commanded him to stop praying. Some commentators explain that Moshe was told to stop because if he had recited a 516 th prayer, then his prayer would have been accepted (and it was decreed that Moshe must not go into the land). Moshe prayed solely for the purpose of "Yitgadal Ve'yitkadash Shemeh Rabba," for the sake of the glorification of the divine Name, and not for his personal benefit, and his prayer therefore would have deserved to be accepted. When our intentions are sincere, when we pray for our needs so we can succeed in our mission in the world, the mission of bringing honor to the Almighty, then we are worthy of having our prayers answered.

Numerous different theories have been advanced to explain why the Kaddish prayer was written in Aramaic, and not in Hebrew. One reason given is based on the tradition that angels do not understand Aramaic. Kaddish is such a precious and valuable prayer that the angels would feel envious if they heard us recite it and they understood its meaning. This prayer was therefore composed in a language which the angels cannot understand. The Mahzor Vitri (Rabbenu Simha of Vitri, France, d. 1105) questioned this explanation, noting that there are many other beautiful and precious prayers which we recite that were written in Hebrew, without any concern that the angels might become envious. (We might also question how angels, which are perfect beings, can experience jealousy, a human flaw. Perhaps, envy over spiritual achievements is a laudable quality, and this feeling can be experienced by angels.) A second theory is that Kaddish is written in Aramaic as a reminder of the Babylonian exile. We emphasize to Hashem that He destroyed the Bet Ha'mikdash and drove us into a foreign land, where we spoke a foreign language, and we hope that this will lead Hashem to regret His decision and bring us back. If the angels understood this prayer, they would respond by pointing out our misdeeds, arguing that we are unworthy of redemption, and so we recite Kaddish in a language which the angels do not understand. Another reason given is that many of the people who would attend Torah classes were simple laymen who did not understand Hebrew. Therefore, the Kaddish recited after Torah classes was written in Aramaic for their benefit, so they would understand this prayer. It seems that according to this reason, the other Kaddish recitations were modeled after the Kaddish recited after Torah classes. The Maharam Me'Rotenberg (c. 1215-1293) suggested that we recite Kaddish in Aramaic to express our grief over the destruction of the Bet Ha'mikdash. Just as a mourner changes out of his fine garments and wears simple clothing as an expression of mourning, we, too, change the language from Hebrew, the sacred tongue, to the inferior Aramaic, as an expression of anguish. (Incidentally, some sources explain similarly why we begin the Haggadah at the Seder in Aramaic, reciting "Ha Lahma Anya." As we sit down to the Seder, we are cognizant of the fact that we are meant to celebrate this occasion in Jerusalem, with the Korban Pesach. We therefore begin the Seder in a foreign language, expressing our grief that we observe Pesach in exile.) Rabbi Binyamin Ben Abraham (Italy, 13 th century), as cited by his brother, the Shiboleh Ha'leket (Rabbi Sidkiya Ha'rofeh), suggested that the gentile authorities at a certain point forbade the Jews from reciting Kaddish. The Jews therefore began reciting it in Aramaic, so the authorities would not realize that they were reciting this prayer. The Kolbo (anonymous work from the period of the Rishonim) offered two explanations, one assuming that Aramaic was widely known at the time of Kaddish's composition, and one assuming that it was not. If it was widely known, he writes, then Kaddish may have been written in this language specifically for the purpose of spreading its message far and wide, to demonstrate to the entire world, including the gentiles, our belief in our ultimate redemption, when Hashem's Name will be glorified throughout the world. Conversely, if Aramaic was not widely known, then perhaps it is recited in Aramaic because the angels might otherwise understand the prayer and thus prosecute against us. The Kaddish speaks of the time of the future redemption, and at that time, the righteous will be granted a greater position of stature than the angels. Since we human beings must struggle against our evil inclination to faithfully observe G-d, those who succeed and serve G-d properly deserve far more reward than the angels, who are created perfect, without sinful impulses. If the angels would understand the Kaddish, which speaks of the time of the final redemption, they might proceed to prosecute against us to ensure that the righteous would not be given a more distinguished position in the future. Kaddish is therefore recited in Aramaic, a language which the angels do not understand.

The Aruch Ha'shulhan (Rav Yechiel Michel Epstein, 1829-1908) writes that the text of the Kaddish prayer was likely written by the Ansheh Kenesset Ha'gedola ("Men of the Great Assembly") during the first years of the Second Commonwealth. This prayer expresses the wish that G-d's Name should be glorified and become known throughout the world. The destruction of the first Bet Ha'mikdash marked a grave Hilul Hashem – desecration of G-d's Name – and so when Jews returned to their land and began rebuilding the Temple, the Rabbis composed this special prayer that the glory of G-d's Name should be restored. The Yalkut Yosef (Hebrew edition) notes that this theory might be supported by the Gemara's comment (Berachot 33a) that our prayers and blessings were written by the Ansheh Kenesset Ha'gedola. However, as noted by Rav Yisrael Bitan, the Gemara did not specifically mention Kaddish, and thus this proof is not conclusive. In any event, this is the opinion followed also by Rav Shlomo of Worms (Germany, d. 1096), in his Siddur. He explains that after seventy years in Babylonian exile, the Jews' primary language was Aramaic, instead of Hebrew, and for this reason the Kaddish text was written in Aramaic. A different view is presented by the Orhot Haim (Rav Aharon of Lunel, late 13 th -early 14 th century), who maintained that the Kaddish text was written several generations later, by the Tanna'im. The unique significance of the Kaddish prayer, and its precious value, is clearly expressed in several passages in the Gemara. In Masechet Berachot (3a), the Gemara tells that Rabbi Yossi was once traveling and stopped to pray in one of the ruins of Jerusalem. While he was there, he heard a voice weeping and lamenting, "Woe unto the children because of whose iniquities I destroyed My home, burned My sanctuary, and exiled them among the nations." Afterward, he was informed by Eliyahu the Prophet that this cry is sounded three times each day. However, Eliyahu added, when Jews assemble in synagogues and study halls and pronounce in Kaddish, "Yeheh Shemeh," the Almighty "nods His head," so-to-speak, and regrets having driven the Jewish People into exile. The Kaddish recitation thus arouses G-d's love and compassion, and brings the final redemption closer. Moreover, the Gemara teaches in Masechet Shabbat (119b) that if one answers "Yeheh Shemeh Rabba" with all his might, harsh decrees that were issued against him are rescinded. And the Gemara states in Masechet Sota (49a) that since the destruction of the Bet Ha'mikdash, the world's condition has been increasingly worsening, yet the world survives in the merit of "Kiddusha De'sidra" and the Kaddish recited after Torah study. ("Kiddusha De'sidra" refers to the section known to us as "U'ba Le'sion," when we cite several verses followed by their Aramaic translation.) Rav Amram Gaon (9 th century) tells that Rabbi Yishmael was once shown by an angel the horrific tragedies that were decreed to befall the Jewish People. The angel explained that new decrees are issued against the Jews every day, but these decrees are left unfulfilled in the merit of the Jews' recitation of "Yeheh Shemeh Rabba." There was once a member of our community who suffered a stroke, and the family, who heard of the great power of Kaddish to annul harsh decrees, brought a Minyan to the rehabilitation center. They prayed there with the patient, ensuring to have special Kavana (concentration) when responding "Yeheh Shemeh Rabba." The patient quickly recovered, returned to work, and lived for many years – a clear demonstration of the special power of Kaddish.

Normally, a person who hears Kaddish or Nakdishach may respond even if he hears from a distance, and is not present with the Minyan. There are, however, exceptions to this rule. The Shulhan Aruch writes that a person standing outside a synagogue may respond to Kaddish or Nakdishach, but then adds that according to some opinions, this is not allowed if there is "Tinuf" (filth, such as a trash can), or a non-Jew, in between him and the congregation. At first glance, it appears that the Shulhan Aruch here cites two different opinions, and according to the first opinion, one may respond even if there is "Tinuf" or a non-Jew in between him and the Minyan. If so, then we follow the general rule that the Shulhan Aruch accepts the first opinion when he brings two different views, and thus one may may respond regardless of what is between him and the congregation. Hacham Ovadia Yosef, however, understands the Shulhan Aruch as clarifying his initial statement, and not as citing a dissenting view. Therefore, one may not, in fact, respond to Kaddish or Nakdishach if there is either "Tinuf" or a gentile in between him and the Minyan. The word used by the Shulhan Aruch in this context is "Akum," an acrostic that refers either to an idol – "Avodat Kochabim U'mazalot" – or to an idolater – "Obed Kochabim U'mazalot." The Magen Abraham (Rav Avraham Gombiner, Poland, 1635-1682) understood that the acrostic "Akum" in this context refers to an idol, and not to a gentile. According to this reading, a non-Jew does not interrupt between a Minyan and a person listening from a distance, and he may respond. However, Hacham Ovadia notes that in earlier editions of the Shulhan Aruch, the word used in this passage was not "Akum," but rather "Goy." It is clear that the word was changed as a result of censorship, as Jewish communities needed to avoid giving the impression of looking disdainfully upon their non-Jewish neighbors, and so texts that might be misunderstood as such were occasionally emended. Hence, the Magen Abraham's reading is incorrect, and even the presence of a non-Jew in between a person and the Minyan creates an interruption, preventing him from responding. Since the Shulhan Aruch used the word "Goy" – "gentile" – and not "Obed Kochabim" – "idolater," this Halacha applies to all gentiles, even to those who do not worship idols. The Rambam famously ruled that Muslims are not considered idol-worshippers, since they believe in a single Deity who created the world. For the purposes of this Halacha, however, the non-Jew's religious beliefs are irrelevant, and his presence is considered an obstruction regarding the ability to respond to Kaddish and Nakdishach. The Magen Abraham and Mishna Berura asserted that the Rama (Rav Moshe Isserles, Cracow, 1530-1572) disputed this entire Halacha, and maintained that the presence of filth or of a gentile does not affect the ability to respond to Kaddish or Nakdishach. Nevertheless, Sephardic practice follows the Shulhan Aruch's ruling. It must be noted that this entire discussion refers to the case of a person who is not inside together with the Minyan, and there is a gentile in between him and the Minyan. In such a case, the presence of the Shechina needs to extend from the Minyan to the person standing at a distance, and this extension can be obstructed. A gentile's presence inside the Minyan, however, has no effect whatsoever. If, for example, a political figure is visiting the synagogue, or a congregant has a non-Jewish aide helping him in the synagogue, it is certainly permissible for everyone to respond to all the prayers, even if the non-Jew stands in between a person and the Hazzan. Although there is an opinion among the Poskim that is stringent in this regard, the consensus follows the lenient position. One example where this problem arises was noted by the Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909), who describes how it was common in Baghdad for merchants to display their wares in the hallways of synagogues. If a person was in the hallway of such a synagogue, he needed to ensure that the non-Jewish merchant was not standing in between him and the sanctuary. Another situation where this could arise is an airport. If ten men find an area to pray, and someone joins their Minyan from a distance, he may not answer unless he ensures that no gentiles come in between him and the Minyan. This could arise also when a person hosts a catered event in his home, and a Minyan is formed in the living room. If someone wishes to participate in the Minyan from the kitchen, he must ensure that non-Jewish workers are not standing in between him and the Minyan. Some Poskim place a very significant limitation on this entire Halacha, maintaining that it applies only if the person can see the "Tinuf" or the non-Jew in between him and the Minyan. But if, for example, a person lives near a synagogue, and he hears the prayers through the window, then he may respond even if there is "Tinuf" or a gentile in between. This is the view taken by the Gaon of Vilna (1720-1797) and by Rav Shlomo Zurafa (Algeria, 1785-1859). Although others seem to disagree with this ruling, it is accepted as Halacha by Hacham Ovadia Yosef, in Yehaveh Da'at, and by his son, Hacham David Yosef, in Halacha Berura. This Halacha becomes relevant in the case of a person who hears a live broadcast of a prayer service. Some congregations arrange a livestream of the Tefila for the benefit of those who are unable to attend due to health reasons, or for those in remote areas without a Minyan. The accepted Halacha is that although one cannot fulfill his obligation to recite a text – such as the reading of Megilat Ester on Purim – by listening via telephone or some other communication system, one can respond to Berachot, Kaddish and Nakdishach if he hears the recitation through a live broadcast. Quite obviously, there is "Tinuf" and gentiles in between the individual listening to a broadcast and the synagogue miles away where the prayers are being recited. Nevertheless, Hacham Ovadia ruled that one may respond, in light of the aforementioned ruling that everything in between may be disregarded if it cannot be seen. A Minyan may be formed even though non-Jews live in the same building, above the Minyan. Hacham Ovadia writes that there is no source whatsoever for the notion that the presence of gentiles above a Minyan obstructs the prayers from ascending to the heavens. Therefore, it is entirely permissible to pray on a ground floor even though gentiles are present above the Minyan. Summary: If a person hears Kaddish or Nakdishach from outside the area where the Minyan takes place, he may respond, unless there is "Tinuf" (filth) or a non-Jew in between him and the Minyan. If, however, the "Tinuf" or the gentile cannot be seen – such as if a person hears a Minyan from a window in his home – then he may respond. Therefore, a person who hears a Minyan via livestream may respond. A gentile's presence in the synagogue, or in the area where the Minyan is held, has no effect, and everyone in the room may respond.

If a person happens to be in the vicinity of a prayer service, and he hears Kaddish, Barechu or Nakdishach, is he required to answer? The Ben Ish Hai (Rav Yosef Haim of Baghdad, 1833-1909) seems to indicate that one who hears these parts of the service is required to respond, even if he is in a different room and not part of the Minyan. By contrast, several other Poskim, including Hacham Bension Abba Shaul (Jerusalem, 1924-1998), maintained that although one is permitted to respond in such a case, this is not obligatory. Rav Shmuel Wosner (1913-2015), in Shebet Ha'levi, writes that if a person is learning Torah near a Minyan, and responding to Kaddish and the other prayers would disrupt his study, then he does not need to respond. Thus, although it is certainly worthwhile to respond to Kaddish, Barechu and Nakdishach, as each response fulfills a Misva and is very significant, this is not obligatory, and one does not need to interrupt his Torah learning for this purpose.