Dear Chaverim,
We begin with Rabbi Rosenblatt’s Torah reflection on interruptions in the life of the Jewish people. This sets the context for Dr. Neiman’s eulogy for his brother, Scott Neiman z”l, concluding with a vision of the world to come.
Prelude: bearing the casket…
The Torah’s chapter Parshat Beha’alotecha is a story of interruptions. Its most noted interruption is an inverted pair of the letter nun in the Hebrew print. It is the only punctuation mark in the Torah. The nuns bracket the verse that is sung when the Ark is opened and the congregation is mobilized to hear the Torah.
This break in the calligraphy calls our attention to an interruption in the storyline of Moshe and the Jewish people. Here, just before Moshe fashions the trumpets that will mobilize the Children of Israel to perform the service in the Tabernacle, the action is interrupted by a group of individuals who are unable to bring the Passover offering because they became ritually disqualified when they came in contact with human remains.
The rabbis differ on whose remains these individuals attended to. Rabbi Yossi Haglili said these were the men charged with bearing Joseph’s remains from Egypt through the desert. Rabbi Akiva said they were Mishael and Elzafan – the senior members of the Levites – who Moshe instructed to remove the bodies of Nadav and Avihu – who had passed away on the opening day of the Temple service.
The dead cannot care for themselves. Passover is definitional to being Jewish. A second option must therefore be found for those who were to be excluded from the Passover service because they had attended to the dead. The Torah therefore gives those who were invalidated special permission to have a second Passover. This reinforces that we must not exclude those who serve the needs of the deceased.
This draws into focus a central tension of the process of mourning – i.e., the state of being separate and together at the same time. Before a funeral, the onen – one who is charged with caring for the body before burial – is separated from the rest of the community. Social engagement is minimized or eliminated. The onen’s life is limited to burial and mourning.
During this separation, a greater community connection occurs. Carrying Joseph’s casket connected his bearers to the oldest roots of their people and to the broader history and mission of the Children of Israel. They were involved in the ultimate act of connection because the mitzvah of burial is the mitzvah most directly related to respecting that each person was created in the image of Gd. We bury quickly because we don’t want the human reflection of the Divine image to be tarnished in the slightest.
In this respect there is hardly any other activity that binds an individual as much as this one to family, to Israel, or to G-d. In the case of Nadav and Avihu the verse says,
וַאֲחֵיכֶם כָּל בֵּית יִשְׂרָאֵל יִבְכּוּ אֶת הַשְּׂרֵפָה
Your brothers, the house of Israel, will weep over the loss.
The storyline and the placement of the nuns teaches us that each of these losses has its own trajectory, its own interruption of everyday life. When the narrative picks up after the interruption, the Children of Israel travel, moving together. To facilitate this, Moshe is commanded to fashion trumpets with which to mobilize the camp. While the Passover ritual may have taken place long after the deaths of those being shepherded to their final resting places, the trumpets brought their shepherds simultaneously back in time and to the present with the rest of the camp.
Eulogy: …three circles…
My brother Scott died in California just hours before the start of Shavuot. We spoke by phone the night before. He was being prepped for emergency heart surgery. He originally expected to be laid up with something less serious. He told me that he had given various people instructions on how to take care of his business interests and personal effects while he was recovering. However, in the preceding day he had come to understand that he was more likely to die than to survive the operation.
Scott was not successful in business by any monetary measure. His summary of the business arrangements, though detailed, was brief. It included the instructions, names, and contact information of six people. Over the next week I would come to speak with them – some for the first time ever.
Most of my final conversation with Scott was about his wish to get a proper burial. He sounded desperate. He had no formal Jewish education, but he knew that cremation, crypts, open caskets, autopsies, and embalming were out. He wanted me to see to this because I am the one knowledgeable of such things among his associates, friends, and family. I agreed, and he immediately had me designated as his next-of-kin.
Scott spent his last full day – his birthday – in surgery. He never regained consciousness. The following morning – Thursday – his surgeon called and told me that Scott had just been pronounced dead. I replied with the traditional, “Baruch Dayan ha-Emet.” The surgeon at first did not understand. However, as I started to explain, he remembered it because he was Jewish.
I then became an onen – one whose immediate relative has died and not yet been buried. I spent the rest of the day arranging my brother’s funeral and preparing for Shavuot. Aninut, the status of being an onen, is like sitting shiva, but with even more restrictions. For example, one is not allowed to bathe, make a bracha, or to say daily prayers. All efforts must focus on arranging burial as soon as possible. After burial, seven days of shiva begin. Shavuot, being a festival, added two days to the process.
After Shavuot – Sunday – I flew to Los Angeles and spent the next four days cloistered in a hotel room making funeral arrangements. It was not easy. Monday was Memorial Day in the US. Many offices were closed for the long weekend. To accommodate the annual flood of people visiting the graves of dead veterans, non-Jewish cemeteries postpone funerals until the following week. This, in turn, creates a backlog of applications to register deaths and get permits for burials. The net effect was that Scott’s death certificate did not get signed and registered until Wednesday morning. We buried him that afternoon.
On Thursday I came home to Vancouver and started sitting shiva. There is logic and a tragic beauty to shiva. By design, it has some inconvenience for each mourner. I can easily sit on a low stool, not trim my nails, stay at home, and cover the mirrors for a week. However, I find not being able to listen to or play music to be a personal hardship. This restriction applies to aninut, shiva, and shloshim – the month following the death of an immediate relative.
On the Shabbat of my shiva I was ten days into the period of restrictions, facing four more weeks of it. A musician friend from shul and I reflected on how it seemed unfair that the rabbis made music off limits. After all, some music is evocative perfectly in keeping with the spirit of mourning.
My friend gave as an example of such music the Adagietto movement from Gustav Mahler’s Symphony #5. The symphony is in the key of C-sharp Minor – which has been described as a key ‘most melancholy’, ‘a sigh’, ‘a lamentation’. It is a popular selection for music compilations for the most devoted and most casual of classical music listeners alike. It comes as no surprise that before my friend cited that piece, it was the first thing that came to my mind, too.
I grew up buying and listening to classical music records, based on things I heard on the radio – i.e., what was popular. However, I became existentially connected to it when I was 18 and heard someone in my fraternity playing the second movement of Mahler’s Symphony No. 1 in D-major on a good stereo system. It was one of the first days of spring in Boston – when the season was right for open windows.
Hearing the second movement opened a window for me to something that had always been there, but that I had not experienced so vividly before. It was universal, transcendent, so I stopped what I was doing to take it in. Then, the third movement turned out to be even more soulful. It is a funeral procession, with folk melodies, borrowing heavily from the sounds of the shtetl. This movement has been described as Mahler’s most characteristically Jewish composition. It has notes of klezmer, and Hassidic and Yiddish nigunim. Hearing it felt like coming home.
Gustav Mahler was a complicated man. Born Jewish, but assimilated and ‘unaffiliated’. He converted to Catholicism to advance his career after completing his first three symphonies. His music explored universal themes of life and death, borrowing motifs from folk songs and poems – i.e., what was popular in 19th century European culture. However, the soul of his work was grounded in his Jewish roots. He channeled spirits that he likely did not even know were part of him. His latent Jewishness became a gift to Western culture.
Scott Neiman was a complicated man. He lived his life in three separate, barely overlapping circles: immediate family; a dozen acquaintances from a flea market where he had a concession that sold things of interest to survivalists; and a handful of other friends. While there was some commonality in things they told me, Scott’s friends, his business associates, and his family had radically different takes on his life. These circles were completely independent. At great effort, Scott kept them that way until the end.
So it was that these three circles first converged at his funeral in the foothills of the San Fernando Mountains, at Sholom Memorial Park. In comparing stories about how he lived his life, what stood out was how he maintained Jewish values in business and personal relationships. Though he did not study halacha, he lived by such imperatives as treating workers with dignity and respect, helping the stranger, and “when you sell anything to your neighbor or buy anything from your neighbor, you shall not deceive one another.” In the end, he insisted on a proper Jewish burial. In doing so, he gave everyone he left behind an opportunity to do the ultimate mitzvah. His latent Jewishness became a gift to our larger circle of family, friends, associates, and medical staff.
Coda: …sehr behaglich
Following the conversation with my friend in shul, and putting these thoughts together, I know what I am going to listen to first when shloshim ends. It will be the final movement of Mahler’s Symphony #4 in G-major. It is adapted from the tone poem “Das Himmlische Leben” (“The Heavenly Life”). In it, a soft, transcendent voice sings “sehr behaglich” – “very comfortable.” It is the voice of the angel who welcomes one’s soul to their home in heaven.
Shabbat Shalom,
Dr. Terry Neiman with Rabbi Rosenblatt