There was a time not long ago when aggadah – which, broadly speaking, refers to the non-legal passages in the Talmud – was largely ignored; students studying in yeshiva would run through these texts quickly, if at all, using almost all of their mental energy and time thinking through the halachic, or legal passages of the Gemara.
While that was likely a successful methodology for most Talmud students in the past, we have witnessed in the 20th and 21st centuries a renewed emphasis on aggadah; and given the fact that Talmud study is far more widespread today than it was in the past, along with an obvious thirst for greater spirituality and a deeper connection with God, this can only be considered a very positive development.
At the forefront of the study of aggadah today is my guest, Gila Fine; and she offers a fascinating, compelling, and perhaps controversial view of how we should look at aggadah. Gila said that we may be the first Jews since the days of Chazal who can truly relate to the radical spirit in the aggadah. In her words, “The rabbis were extremely radical… and then, as generally happens, they lose that radical edge; those subversive elements disappear. [Postmodernism] has allowed us to reconnect to a certain radical property of rabbinic storytelling that has gone underappreciated for most of Jewish history.”
We discussed how aggadah is a path to knowledge of God; the way that it gives space for outsiders and people who feel burned by Jewish law; the manner in which it is radical and subversive, and offers a chance for rabbinic self-critique; how aggadah is multivocal, allowing in different ideas and positions rather than one consistent voice, and not necessarily trying to resolve that inherent tension; the way that someone learning Talmud should develop an honest relationship with the text; the difference between the way that God is presented in the Bible versus a much lonelier portrayal in the aggadah; whether aggadah should be regarded as fiction and, if so, whether that undermines its authority; and much more.
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