flirt? In the temple?

What is that mysterious instrument called Reduel or Adderbals that was part of the repertoire of the Second Temple? Is it an instrument consisting of a system of windpipe, pipes, water basin and containers invented in the third century BC in Alexandria and popularized in the first century AD?

The president of the Sanhedrin, Rabbi Shimon ben Gamliel, testifies in the Tofsa (Arakhin 1 Yad) that "the radal were not in the temple, because it mixes the voice and spoils the pleasantness." In the Babylonian Talmud, the words are mentioned by name and a Babylonian sage clarifies the definition of the instrument as "tabla gorgadna" (Arakhin 10 p. 2) - we were a big drum, "because its voice is deep (Chal Aba) and mixes the pleasantness. Even there it is said that "he was not in the temple". It is interesting, by the way, that in some versions the word "no" was deleted, when the instruction was - "the raduli was in the temple".

The Jerusalem Talmud explains the Toseftai term from the name of Rabbi Shimon ben Lakish as follows: "An organ is an ardbals. Let Rabbi Shimon ben Gamaliel - there were no ardbals in Jerusalem because it stinks of pleasantness" (Sukkah chapter 221 page 246 p. 68). There are scholars who believe that It is a flute or an oboe, and some believe that it is a water oboe, when the name of the instrument ("Hardouls", "Hardouls", or "Ardbalis" - "Ardbalis") is derived from the Greek - "Odraulos", "Odralis" and refers to a musical instrument invented by Ctesibius of Alexandria (54-XNUMX BC) and enjoyed a renewed flourishing during the reign of the Roman Nero (XNUMX-XNUMX AD). The instrument consisted of a system of windpipe, pipes, water basin and containers, from which very special sounds were produced Yes, it is similar, the Mishna tells about an automatic device, a complicated and complex mechanism that is connected to the temple, from a parallel source, it is told about the gate of Niknor that was brought from Alexandria, and the Greek Pausanias testifies to An ingenious automatic device located in the Jerusalem temple.

It is not impossible to assume that a minor who made "mechanics for the sink (in the temple), so that there will be no Nefslin in the night" (Yoma 30) was influenced by the Alexandrian inventions, or even helped by Alexandrian experts who were well-known when it comes to mechanical mechanisms.

Moreover, the Tosefta, after telling about the "Hardaulim" from the mouth of Rabbi Shimon ben Gamaliel, expands on a number of cases involving certain instruments that were used in the temple, such as "a bell in the temple, made of copper... and was damaged. The sages sent and brought an omanin from Alexandria, Egypt, who repaired it , and his voice was not evening as it was" (Thos. Arakhin 2:3).

In the Parashat Hazakat Omeni Alexandria and Amenia, the Bariata gives the following story: "Tano Rabbanan: An oboe was in the temple. It was part. It was thin. It was of Cana and of water Moses was. His covering was and his voice was as dark as it was" (Arakhin 10, p. 2). And it is known that Agrippa II saw to the completion of the temple building, especially with regard to the architectural decorations and the various gold coatings on the walls and columns.

Similar, it seems, the words of the Rashbagh that appear in the sources, in a careful wording, imply that an attempt was probably made (perhaps intended to please the Emperor Nero), but without much success, to integrate the organ into the system of musical instruments in the Temple. However, the sounds that emanated from it They threatened to "swallow" the sounds of the violins and harps (about its powerful sounds can be learned from sources - Tosefta Arakhin 1 14; Babylonian Talmud, Arkhin 10 p. 2 and more) and so the plan was shelved. It should be noted that nowadays, although the organ has been perfected, its sounds can fill the space of a huge church or a spacious concert hall.

Although such a plan was shelved, there is reason to assume that an attempt was indeed made to integrate the organ into the temple musical system, and above we saw that they wanted to cover the oboe, made of reed, with gold and its voice was damaged, "and there was no evening as it was" - according to the sources.

Let's present this matter in front of one of the musical instructions in the Archin Mishnah, the one that deals with "hydraulis" and the damaged temple instruments, in this language: "And he did not strike with a copper pipe, but with a reed pipe, because its sound is Arabic" (Archin 2:3). In other words, an attempt was made to hit a "copper flute", but without much success. More than that, the box concerning the guarantee of the voice is also repeated in the two cases above - the hydraulics, the flute or the oboe and the bell that were in the temple, and there are probably no coincidences here.

On the same subject: musical rake