Friday, July 11, 2025/15 Tammuz, 5785

Friday, July 11, 2025/15 Tammuz, 5785

Parashat Balak Numbers 22:2−25:9 

Mah Tovu: One Blessing to Hold on To

Parashat Balak is not about a talking donkey. It is about a seeing donkey. Okay, a talking donkey who sees, and none less than God. But once the donkey leaves the stage, the theme of true vision continues throughout the parsha.

Balak king of Moab knows that the Israelites are approaching his territory on their way to the Land of Canaan. He can already anticipate them on the horizon and decides to hire a professional seer, Bilaam, to curse the Israelites and stop them. After some back and forth, Bilaam accepts the job. That’s when the donkey comes in. The donkey who sees God’s messenger blocking the way while Bilaam, the seer, is blind to God’s manifestations. Three times does the animal swerve from its path, three times does Bilaam hit it until God opens his eyes, has him see the angel, bow down – and lets him continue on his journey.

Like so many aspects of this parsha, this encounter is twisted and multi-layered. Why would God block the way just to then let Bilaam move on? What’s the point about making a mockery out of Bilaam, the alleged master-seer who can’t perceive what a donkey can, and still appear to him?

One answer is to reveal Bilaam’s dubious character and limited capacities as a prophet, as we discussed in Torah Study yesterday: Bilaam is a fake, a puppet at the mercy of God’s will and humor.

Another answer is that this episode serves as a teaser. It sets the stage for the unfolding of Bilaam’s mission: Three times does Balak lead Bilaam up to three different outlooks high up on three different mountain plateaus overlooking the desert plain. Three times does Balak offer sacrifices while Bilaam, supposed to curse the Israelites, instead blesses them three times with words that God puts into his mouth.

The narrative structure is tightly composed. Again, a series of three instances; again, Bilaam at the mercy of God’s humor and will. The three episodes on the mountain plateaus are described with identical language, and the dialogue between Balak and Bilaam remains largely the same as well.

Yet there is one significant difference.

The first two outlooks offer vistas only over a portion of the Israelites, not the entire people. In addition, Bilaam doesn’t even look at them, rather he goes “yonder”, “over there”, to some undefined spot facing away from the Israelites. Twice, in something like a blind trance, he summons his woo-woo energy, only for God to interfere with the hocus-pocus. Then, something else happens at the third attempt.

Again, they climb up; again, Balak offers sacrifices, but now, instead of looking away from the Israelites, Bilaam turns his face to the wilderness. This scene is highly dramatic, cinematographic. Imagine it on a movie screen! Bilaam on the mountain plateau, the wind blowing, and below in the desert plain he sees the entire people of Israel, tribe by tribe, tents waving.
That is when he utters his most famous blessing: (Numbers 24:1-5)
מַה־טֹּבוּ אֹהָלֶיךָ יַעֲקֹב מִשְׁכְּנֹתֶיךָ יִשְׂרָאֵל׃
How fair are your tents, O Jacob,
Your dwellings, O Israel!

The Ramban, the Catalonian medieval commentator says that during this third time, when Bilaam turned his face toward the wilderness, the spirit of God came over him and for once in his mediocre career, he spoke true prophecy. Because he truly saw the entire people below him, not just portions of them. He beheld visions of the Almighty, when his eyes were unveiled by God. (Numbers 24:16).

One interpretation might be that looking at someone truly and with an open spirit, can allow us to see their beauty and wish them well. The imperative that everyone is created b’tzelem Elohim, in the likeness of God, is so persuasive for a reason.

The rabbis of the Talmud however were less optimistic. They peeled away the p’shat, the plain layer of a “happy ending” — curses turned into blessings, period. In the last chapter of tractate Sanhedrin, with its discourses anticipating better, redemptive times for a people that by then had already experienced a lot of rejection, loss, and hatred, the rabbis consider that after all, most of Bilaam’s so-called blessings had reverted to being curses: What sounded positive in Torah times – a nation dwelling apart, a lion drinking the blood of its enemies – now felt more like negative attributes, held and used against them in rants about Jews being different or abstruse accusations of blood libel.

Only the blessing of the beautiful tents of Jacob, the fair dwelling places of Israel, that one blessing spoken as true, divinely inspired prophecy, was never reverted, Rabbi Abbah bar Kahana argued. While the Talmudic sage couldn’t know about the devastation of synagogues in centuries to come, the Temple had already been destroyed. His understanding of this blessing as everlasting must have another layer to it: Maybe it is the one that is hardest to revert because it primarily depends on us: Even when we are singled-out and slandered, we can do our part to preserve our beautiful tents from the inside. Fighting antisemitic tropes can feel like fighting windmills. But being part of making our tents beautiful is something productive, gratifying, comforting. Something ongoing. Aleinu – it is on us to show up for and in the place where we can truly see the beauty of our entire community.

Mah tovu, and Shabbat Shalom!
Rabbi Julia Knobloch
rabbiknobloch@bethelsp.org

Hadas Cootware

Torah School Coordinator

Hadas Cootware has been teaching Hebrew and Jewish Studies for over a decade, joining our Temple Beth El Community in 2018. Born and raised in Israel with Hebrew as her native language, she previously served as a combat soldier and operations officer in the IDF. Drawing on her studies in acting and psychology, she published a children’s book in Hebrew, The Marshmallow Story, which focuses on delayed gratification. Outside of teaching, she is the proud mother of her son, Henry, and loves to travel.

Ilan Davidson

Cantor

Cantor Ilan Davidson has been pleasing audiences with his singing since before he could read. At age five, he began singing with his Cantor, Philip Moddel, and hasn’t shut up since. At ten, he made his Operatic debut with the Fullerton Civic Light Opera’s production of Bizet’s Carmen, as a street urchin. Since then, he has performed roles in opera and musical theatre, performing, directing, and producing world-class productions.

Among his many accomplishments, Cantor Davidson is also known as a contemporary Jewish songwriter and performer, having delighted audiences all over the world, including Israel and Lithuania with the soulful sounds of his music. His recordings, Stained Glass (1995) and In A Hanukkah Mood (2007) are collections of original and covered songs by himself and many contemporary Jewish artists. His most recent recording, God Is In This Place (2020), is a collection of original liturgical pieces for the Friday night Shabbat Service, commissioned and written in honor of his 25th Anniversary as the Cantor of Temple Beth El.

Cantor Davidson left the stage and in 1995 joined the Temple Beth El family, in San Pedro, where, in his nearly 30 years of service, he has brought many new programs and much enthusiasm to all he does. Coming from a long line of Cantors, it must have been Besheret for Cantor Davidson, although talented in all areas of musical performance, to finally settle down into his career as Hazzan for Temple Beth El in San Pedro, California. In 2007, Cantor Davidson founded a new foundation, KindredSPIRITS, producing an annual world humanitarian aid event. KindredSPIRITS premiered on June 5, 2008 at Walt Disney Concert Hall, adding that prestigious concert hall to the ever growing list of venues around the world, where Davidson has performed. During the 10 years of humanitarian events, Global KindredSPIRITS, Inc., as an official 501©3, raised awareness and close to $500,000 for its beneficiaries over the decade.
As a past president of the South Coast Interfaith Council, Ilan fought for tolerance and understanding of ALL faiths in a difficult climate. For the past 7 years, Cantor Davidson has been service as an LA County Commissioner, representing the 4th District on the Human Relations Commission, where he currently serves as President. Whether it is raising his voice for justice, Hazzanut, Pop, Opera, Musical Theatre, or folk music, Cantor Ilan Davidson shares his soul and genuine love in every note.

When asked about his finest accomplishment, Cantor Ilan invariably responds, “After all the great concerts, services, and roles, my finest role in life is that of husband to my beautiful wife, Jodi, and daddy to my gorgeous daughters, Jordan and Zoe.”

Office: (310) 833-2467 Ext. 106

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