Mishnah Arakhin 2:3-4

Sugya Map

• Issue: The Mishnah enumerates various shiurim (fixed quantities or ranges) across diverse halakhic domains, primarily related to Temple service and ritual. The core question revolves around the source and nature of these numerical limitations – are they halakha l'Moshe miSinai, rabbinic decrees (gezera), practical necessities, or derivations from pesukim?
• Nafka Mina(s):
  • Temple Practice: Direct application of these minimums and maximums for the Avodah (e.g., number of musical instruments, trumpet blasts, Levites).
  • Halakhic Principles: Understanding the unique halakhic status of the Temple, particularly regarding shvut (rabbinic prohibitions on Shabbat/Yom Tov) in the context of shira (song/music).
  • Defining Instruments: The precise identification and characteristics of ancient musical instruments (e.g., nevel, kinor, chalil, avuv).
  • Musical Composition: Insights into the structure and elements of Temple music, including the role of minors and specific flourishes.
• Primary Sources:
  • Mishnah Arakhin 2:3-4
  • Mishnah Sukkah 5:5
  • Mishnah Tamid 7:3
  • Mishnah Bikkurim 3:3-4
  • Mishnah Ketubot 4:4
  • Tosefta Arakhin 1:6, 2:7
  • Yerushalmi Sukkah 5:6
  • Bavli Sukkah 51a, 54b
  • Rambam, Peirush haMishnayot, Arakhin 2:3
  • Tosafot Yom Tov, Arakhin 2:3:1-4
  • Mishnat Eretz Yisrael, Arakhin 2:3:1-17

Text Snapshot

The Mishnah Arakhin 2:3-4 presents a series of shiurim using the formula "אין פוחתין מ... ולא מוסיפין על..." (not fewer than... and not more than...).

Mishnah Arakhin 2:3

אֵין פּוֹחֲתִין מִסֶּלַע לְעֶרְכּוֹ, וְלֹא מוֹסִיפִין עַל חֲמִשִּׁים סֶלַע. כֵּיצַד? נָתַן סֶלַע וְהֶעֱשִׁיר, אֵינוֹ נוֹתֵן כְּלוּם. פָּחוּת מִסֶּלַע וְהֶעֱשִׁיר, נוֹתֵן חֲמִשִּׁים סֶלַע. הָיוּ בְיָדוֹ חֲמִשָּׁה סְלָעִים, רַבִּי מֵאִיר אוֹמֵר: אֵינוֹ נוֹתֵן אֶלָּא אֶחָד. וַחֲכָמִים אוֹמְרִים: נוֹתֵן אֶת כֻּלָּן. אֵין פּוֹחֲתִין מִסֶּלַע לְעֶרְכּוֹ, וְלֹא מוֹסִיפִין עַל חֲמִשִּׁים סֶלַע. אֵין פּוֹחֲתִין מִשִּׁבְעָה לְהֶקֵל עַל הַסָּפֵק, וְלֹא מוֹסִיפִין עַל שִׁבְעָה עָשָׂר. אֵין פּוֹחֲתִין מִשָּׁבוּעַ בִּנְגָעִים, וְלֹא מוֹסִיפִין עַל שְׁלֹשָׁה שָׁבוּעוֹת. אֵין פּוֹחֲתִין מֵאַרְבָּעָה חֳדָשִׁים גְּדוֹלִים בַּשָּׁנָה, וְלֹא נִרְאֶה לְהוֹסִיף עַל שְׁמוֹנָה. אֵין אוֹכְלִין אֶת שְׁתֵּי הַלֶּחֶם לֹא לִפְנֵי שֵׁנִי וְלֹא לְאַחַר שְׁלִישִׁי. לֶחֶם הַפָּנִים לֹא לִפְנֵי תְשִׁיעִי וְלֹא לְאַחַר אַחַד עָשָׂר. קָטָן אֵינוֹ נִימּוֹל לֹא לִפְנֵי שְׁמִינִי וְלֹא לְאַחַר שְׁנֵים עָשָׂר.

Mishnah Arakhin 2:4

אֵין פּוֹחֲתִין מֵעֶשְׂרִים וְאֶחָת תְּקִיעוֹת בַּמִּקְדָּשׁ, וְלֹא מוֹסִיפִין עַל אַרְבָּעִים וּשְׁמוֹנֶה. אֵין פּוֹחֲתִין מִשְּׁנֵי נְבָלִים, וְלֹא מוֹסִיפִין עַל שִׁשָּׁה. אֵין פּוֹחֲתִין מִשְּׁנֵי חֲלִילִים, וְלֹא מוֹסִיפִין עַל שְׁנֵים עָשָׂר. וּבִשְׁנֵים עָשָׂר יוֹם בַּשָּׁנָה הֶחָלִיל מַכֶּה לִפְנֵי הַמִּזְבֵּחַ: בְּשַׁחַר הַפֶּסַח, וּבְשַׁחַר הַפֶּסַח שֵׁנִי, וּבְיוֹם טוֹב הָרִאשׁוֹן שֶׁל פֶּסַח, וּבְיוֹם טוֹב שֶׁל עֲצֶרֶת, וּבִשְׁמוֹנָה יְמֵי הֶחָג. וְלֹא הָיוּ מַכִּין בַּחֲלִיל שֶׁל נְחוֹשֶׁת, אֶלָּא בַּחֲלִיל שֶׁל קָנֶה, מִפְּנֵי שֶׁקּוֹלוֹ עָרֵב. וְלֹא הָיוּ מְחַלְּקִין אֶלָּא בְּחָלִיל אֶחָד, מִפְּנֵי שֶׁהוּא מְחַלֵּק יָפֶה. עַבְדֵּי כֹהֲנִים הָיוּ, דִּבְרֵי רַבִּי מֵאִיר. רַבִּי יוֹסֵי אוֹמֵר: מִבֵּית פַּגָּרִים וּמִבֵּית צִיפּוֹרָה מֵאֶמָּאוּם, שֶׁהָיוּ מַשִּׂיאִין לַכְּהֻנָּה. רַבִּי חֲנִינָא בֶּן אַנְטִיגְנוֹס אוֹמֵר: לְוִיִּם הָיוּ. אֵין פּוֹחֲתִין מִשִּׁשָּׁה כְבָשִׂים מְבֻקָּרִים בְּלִשְׁכַּת הַטְּלָאִים, הַמַּסְפִּיקִים לְשַׁבָּת וְלִימֵי רֹאשׁ הַשָּׁנָה. וּמוֹסִיפִין עַל דְּבָרִים אֵלּוּ עַד אֵין סוֹף. אֵין פּוֹחֲתִין מִשְּׁתֵּי חֲצוֹצְרוֹת וְלֹא מִתִּשְׁעָה כְּנֹרוֹת. וּמוֹסִיפִין עַל דְּבָרִים אֵלּוּ עַד אֵין סוֹף. וְהַצִּלְצַל אֶחָד. אֵין פּוֹחֲתִין מִשְּׁנֵים עָשָׂר לְוִיִּם עוֹמְדִים עַל הַדּוּכָן, וּמוֹסִיפִין עַל דְּבָרִים אֵלּוּ עַד אֵין סוֹף. קָטָן נִכְנָס לַעֲזָרָה לַעֲבוֹדָה אֶלָּא בִּשְׁעַת שִׁירָה, וְלֹא הָיוּ מְנַגְּנִין בְּנֵבֶל וּבְכִנּוֹר, אֶלָּא בְּפֶה, לְשַׁוּוֹת טַעַם בַּנְּגִינָה. רַבִּי אֱלִיעֶזֶר בֶּן יַעֲקֹב אוֹמֵר: אֵינָן עוֹלִין לְמִנְיָן, וְאֵינָן עוֹלִין עַל הַדּוּכָן, אֶלָּא עוֹמְדִין עַל הָאָרֶץ וְרָאשֵׁיהֶן בֵּין יַרְכוֹת הַלְוִיִּם, וְנִקְרְאוּ צוֹעֲרֵי לְוִיִּם.

• Dikduk/Leshon Nuance:
  • The repeated formula "אין פוחתין מ... ולא מוסיפין על..." establishes a precise, bounded range. This suggests a halakha gedurah (fixed law) rather than mere custom.
  • "החליל מכה" (the flute strikes/plays): The verb 'מכה' (to strike/hit) is unusual for a wind instrument, typically used for percussion. This nuance will be explored by commentators.
  • "לשוות טעם בנגינה" (to give flavor to the music): A vivid, almost poetic description of the minors' role, highlighting their vocal contribution to the overall sound.
  • "מחליק" (M. 2:4): Interpreted as a musical flourish or conclusion, distinct from the main performance.
  • "צוערֵי לוים" (cadets of the Levites): A specific term for minor Levites participating in a limited capacity.
  • The debate over the origin of the Temple musicians ("עבדי כהנים", "מבית פגרים", "לוים היו") underscores the importance of purity of lineage for those serving in the Temple.

Readings

Rambam, Peirush haMishnayot, Arakhin 2:3:1

Rambam offers crucial definitional clarity regarding the musical instruments. He states: "נבל כלי כדמות נאד... חליל הוא כלי מפורסם אצל הכל נקרא בערב מזמאר"י... אבוב הוא קנה של חליל ר"ל הקנה הדקה שבראשו" (Arakhin 2:3:1). He identifies the nevel as a skin-like instrument with strings, the chalil as a well-known instrument (Arabic: mizmari), and the avuv as the thin reed at the head of the chalil. His chiddush lies in clarifying that though distinct in common parlance, "אבוב וחלול דבר אחד" (Avuv and Chalil are one thing) in the Gemara. Furthermore, he distinguishes between "החלול הנזכר בכאן הוא חליל של קרבן שדוחה את השבת" (the Chalil mentioned here is a Chalil for the korban that overrides Shabbat) and "אבל חליל של בית השואבה אינו דוחה לא שבת ולא יו"ט" (but the Chalil of Beit haSho'eva does not override Shabbat or Yom Tov), as explained in Sukkah. This distinction is critical: it posits that the halakhic permissibility of playing the flute on Shabbat/Yom Tov is contingent on its direct connection to a korban for which shirah is mandated, not merely for general celebration.

Tosafot Yom Tov, Arakhin 2:3:1-4

Tosafot Yom Tov builds on the Mishnah's statements, engaging with the underlying lomdus.

On Musical Instruments and Shabbat (Arakhin 2:3:2)

Regarding "ובשנים עשר יום בשנה החליל מכה כו'", Tosafot Yom Tov explains why these specific days necessitate flute playing. He asserts that "באלו הימים גומרין את ההלל לפי שחלוקין בקרבנותיהן משא"כ ימי הפסח" (on these days Hallel is completed because their korbanot are distinct, unlike the days of Pesach). He then tackles the core kushya: how can the flute be played on Shabbat/Yom Tov, which are included in "שמונת ימי החג" (eight days of Sukkot), given the rabbinic prohibition of playing instruments (shvut)? He cites the Gemara (Sukkah 51a) which offers two primary resolutions:

1. "אין שבות במקדש" (there is no shvut in the Temple). This fundamental principle posits that rabbinic prohibitions of shvut do not apply within the Temple precinct when performing a mitzvah of Avodah.
2. Alternatively, citing the Yerushalmi (Sukkah 5:6), "ההיא ר' יוסי בר יהודה היא דס"ל עיקר שירה בכלי" (that refers to Rabbi Yosei bar Yehuda who holds that the primary song is with an instrument). If the instrument is ikar shirah, then it's not a mere shvut, but an essential part of the mitzvah, potentially overriding the shvut even if ein shvut b'Mikdash wasn't the sole reason. This is a significant chiddush: it provides the halakhic framework for understanding how instrumental music, generally prohibited on Shabbat/Yom Tov, could be an integral part of the Temple service, either through a general dispensation for the Temple or by elevating the instrument to the core of the shirah mitzvah.

On "מחליק" and "אבוב" (Arakhin 2:3:3-4)

Tosafot Yom Tov clarifies "מחליק" as "סיום השמעת קול הנעימה" (the conclusion of the melody's sound), differing slightly from Rashi's "שמחלק בין נעימה לנעימה" (that separates between one melody and another). He also notes that the Gemara implies "דחליל גופיה קרו אבוב" (that the flute itself is called avuv), aligning with Rambam's view.

Mishnat Eretz Yisrael, Arakhin 2:3:1-17

Mishnat Eretz Yisrael provides an encyclopedic commentary, integrating historical, archaeological, and textual analyses.

On Tekiot (Arakhin 2:3:1-14)

Regarding the "עשרים ואחת תקיעות" (twenty-one trumpet blasts), Mishnat Eretz Yisrael details their purpose (opening gates, Tamid offerings) by citing Mishnah Sukkah 5:5 and Tamid 3:7. His chiddush comes in discussing the machloket between R. Yehuda and Chachamim on the counting method (Tosefta Sukkah 4:10), not necessarily the total number. He extensively discusses the "שלוש להבטיל את העם מן המלאכה" and "שלוש להבדיל בין קודש לחול" on Erev Shabbat, bringing in Josephus and archaeological findings of the "מקום התקיעה" (place of the blast). Crucially, he contrasts the Mishnah's silence on a tekiah for havdalah at the end of Shabbat with Tosefta Chullin 1:26, which suggests an ancient custom of tekiah for havdalah. He posits that the Mishnah was perhaps "תוקנה לפי הנוהג המאוחר שאין תוקעים להבדלה" (redacted according to the later practice where they do not blow for Havdalah), implying an evolution of practice. This highlights a chiddush about the dynamic nature of halakha and minhag even within the Mishnah's formation, and the distinction between Temple-specific tekiah and community-wide signaling.

On Nevallim, Kinnorot, and Chalilim (Arakhin 2:3:15-17)

Mishnat Eretz Yisrael delves into the nature of the instruments. He notes the debate on nevel and kinor – are they distinct or related? Citing Tosefta Arakhin 2:7 and Yerushalmi Sukkah 5:6, he explains that "היא נבל היא כינור נימין יתירות בין זה לזה" (it is a nevel, it is a kinor, with extra strings between them), and that nevel might have had coarser strings (M. Kinnim 3:6). This is a chiddush on the organology of Temple instruments, suggesting a family of string instruments with variations rather than strictly discrete types. For chalilim, he notes the "מכה" verb and identifies the chalil with the Roman aulos (a double flute), connecting the Mishnah's description to broader ancient Mediterranean culture. This provides a chiddush of cultural context, grounding the Temple's musical practices in the wider ancient world.

Friction

The Kushya: Shvut vs. Avodah

The most potent kushya arises from the Mishnah's statement: "וּבִשְׁנֵים עָשָׂר יוֹם בַּשָּׁנָה הֶחָלִיל מַכֶּה לִפְנֵי הַמִּזְבֵּחַ" (Mishnah Arakhin 2:4). These twelve days include "שמונת ימי החג" (the eight days of Sukkot), which invariably include at least one Shabbat, and often Yom Tov. The question practically screams from the page: How can instrumental music, a clear shvut (rabbinic prohibition) on Shabbat and Yom Tov, be performed in the Temple? The Gemara establishes that playing musical instruments is prohibited on Shabbat and Yom Tov due to gezera lest one repair the instrument (shema yetaken kli shir) (Beitzah 36b; Eruvin 102b). This Mishnah appears to blatantly contradict this fundamental halakha.

The Terutz: Ein Shvut b'Mikdash and Ikar Shirah b'Keli

The Gemara (Sukkah 51a) and subsequently Rishonim and Acharonim (like Tosafot Yom Tov, Arakhin 2:3:2) offer compelling resolutions, effectively forming a two-pronged terutz:

1. "אין שבות במקדש" (There is no shvut in the Temple): This is the most widely accepted and fundamental principle. The Gemara explicitly states that rabbinic prohibitions that fall under the category of shvut do not apply within the Temple precincts when they are necessary for the performance of a mitzvah of Avodah (Temple service). The rationale is that the sanctity and imperative of the Avodah override these lesser, rabbinic restrictions. Playing the flute, as part of the shirah accompanying the korbanot, is considered an integral component of the Avodah. Therefore, even if it would be shvut outside the Temple, it is permitted inside. This principle underscores the unique halakhic ecosystem of the Mikdash, where the divine command for sacrificial service took precedence over standard rabbinic fences.

2. "עיקר שירה בכלי" (The primary song is with an instrument): The Yerushalmi (Sukkah 5:6, cited by Tosafot Yom Tov, Arakhin 2:3:2) offers an alternative or complementary approach, attributed to Rabbi Yosei bar Yehuda. According to this view, the essence of the shirah (song) required for the korbanot is achieved specifically through instrumental music. If the instrument is not merely an accompaniment but the ikar (primary) element of the shirah, then playing it is not a mere shvut but a mitzvah d'Oraita (biblical commandment) or an essential takanah (rabbinic enactment) that is so integral to the Avodah that it is permitted. This elevates the playing of the flute from a shvut to a mitzvah requirement, thus rendering the gezera inapplicable. While the Bavli generally concludes that ikar shirah b'peh (primary song is with the mouth) (Eruvin 13b), the Yerushalmi's view provides a strong basis for the flute's permissibility on Shabbat within the Temple according to its proponents.

These terutzim collectively resolve the friction, demonstrating the depth of halakhic reasoning that accounts for apparent contradictions by appealing to foundational principles unique to the Temple or by re-evaluating the nature of the mitzvah itself.

Intertext

Tanakh: Psalms 150:3-5

הַלְלוּהוּ בְּתֵקַע שׁוֹפָר; הַלְלוּהוּ בְּנֵבֶל וְכִנּוֹר. הַלְלוּהוּ בְתֹף וּמָחוֹל; הַלְלוּהוּ בְּמִנִּים וְעוּגָב. הַלְלוּהוּ בְצִלְצְלֵי שָׁמַע; הַלְלוּהוּ בְּצִלְצְלֵי תְרוּעָה. Praise Him with the blast of the shofar; praise Him with the nevel and kinor. Praise Him with drum and dance; praise Him with stringed instruments and flute. Praise Him with clanging cymbals; praise Him with resounding cymbals.

This passage from Tehillim serves as a biblical backdrop, underscoring the centrality of diverse musical instruments in divine praise. The Mishnah's detailed enumeration of nevalim, kinorot, chalilim, and tziltzal (M. Arakhin 2:4) is a practical manifestation of this biblical imperative to use a variety of instruments in the Mikdash. It shows that the specific shiurim are not arbitrary but rather a precise implementation of a broad religious mandate, refined into a structured Avodah.

Talmud Bavli Sukkah 51a

The Gemara in Sukkah 51a directly grapples with our Mishnah concerning the flute playing on Shabbat during Sukkot. It states:

"החליל מכה בח' ימי החג... והאמר רב יהודה אמר שמואל: אין מנגנין בכלי שיר ביום טוב, ואין צריך לומר בשבת, גזירה שמא יתקן כלי שיר! אמר רב יוסף: אין שבות במקדש. אמר אביי: בשלמא לרב יוסף, דאמר אין שבות במקדש, שפיר. אלא לרב נחמן, דאמר יש שבות במקדש, מאי איכא למימר?" (The flute plays on the eight days of the festival... But Rav Yehuda said in the name of Shmuel: One may not play musical instruments on Yom Tov, and certainly not on Shabbat, as a rabbinic decree lest one repair the musical instrument! Rav Yosef said: There is no shvut in the Temple. Abaye said: It is well according to Rav Yosef, who says there is no shvut in the Temple. But according to Rav Nachman, who says there is shvut in the Temple, what is there to say?)

This sugya is the quintessential intertext for understanding the kushya and terutz discussed above. It lays out the gezera against playing instruments on Shabbat/Yom Tov and then introduces the principle of ein shvut b'Mikdash. The debate between Rav Yosef and Rav Nachman (who holds yesh shvut b'Mikdash) highlights the profound halakhic tension and the specific nature of the Temple's exemptions. Ultimately, the Gemara concludes that for the chalil on Sukkot, it's permitted because it's a mitzvah to play it, and there's a machloket whether shirah is primarily by instrument or voice, resolving that even if shirah is primarily by voice, the chalil is permitted due to ein shvut b'Mikdash. This text thus provides the primary halakhic framework for our Mishnah's seemingly contradictory practice.

Psak/Practice

The shiurim delineated in Mishnah Arakhin 2:3-4 are primarily descriptive of Temple practices and, as such, do not directly translate into pesak for contemporary synagogue or personal ritual. However, the underlying principles have profound implications for meta-psak heuristics:

1. The Principle of Ein Shvut b'Mikdash: This is a cornerstone of understanding the unique halakhic environment of the Temple. While instrumental music is prohibited on Shabbat and Yom Tov outside the Temple due to shvut, the Avodah in the Mikdash was exempted. This principle teaches that when a mitzvah d'Oraita (biblical commandment) is at stake, especially one central to the national cult like the korbanot, rabbinic prohibitions of shvut may be suspended. This heuristic is crucial for interpreting other Temple-era halakhot that seem to contradict general rabbinic strictures.
2. The Significance of Shiurim in Halakha: The Mishnah's meticulous enumeration of minimums and maximums underscores the precision and structure inherent in Halakha. Even for seemingly aesthetic aspects like musical arrangements, there were defined boundaries. This teaches us that Hiddur Mitzvah (beautifying a mitzvah) and proper performance often involve adherence to specific numerical and qualitative criteria, even if their source is not explicitly biblical.
3. The Nature of Shirah: The debate over ikar shirah b'keli vs. b'peh has echoes in modern discussions about music in tefillah. While the prevailing psak follows the view that ikar shirah b'peh (Eruvin 13b), the acknowledgement of instrumental music as an essential component of shirah in the Temple provides a rich historical context for the role of music in Jewish liturgy and ritual.

In practice, while we don't count trumpets or lyres, the Mishnah reinforces that religious performance is not haphazard but a carefully orchestrated act, with specific parameters designed to enhance its spiritual efficacy and aesthetic beauty.

Takeaway

Mishnah Arakhin 2:3-4, a seemingly disparate list of numerical parameters, profoundly illuminates the meticulous structure and unique halakhic landscape of the Beit Hamikdash, particularly the intricate role of music in its sacred service. It showcases how the imperative of Avodah could transcend general rabbinic shvut, allowing instrumental music on Shabbat and Yom Tov, thereby emphasizing the distinct sanctity and demands of the Temple.