004 —ביאור

Veyikchu Eilecha Parah, etc.^[1]

According to what has been explained, the casting of cedar wood and hyssop, etc., is only a matter of drawing down from Zeir Anpin of Atzilus, to draw down wisdom and bittul (self-nullification) into the feminine waters, which is the ash, etc., as explained by the Ramaz and the Mikdash Melech in Parshas Chukas.

It can further be said that the casting of cedar wood, etc., also alludes to the refinement of the middos (emotional attributes) of the animal soul. See above on the verse "Zos Chukas HaTorah, etc." As it says in the Midrash Rabbah, Parshas Chukas, and in Tanchuma there: When a person elevates himself like a cedar, he is stricken with tzaraas (leprosy), but when he humbles himself like a hyssop, he is healed. (This is also brought in Yalkut, Parshas Metzora.)

This can be explained based on what the Ramaz writes in his commentary on the Zohar, Parshas Terumah (127b), regarding the planted trees that the Holy One, blessed be He, uprooted and replanted elsewhere, and these are called "Cedars of Lebanon." That is, the six emotional attributes of Zeir Anpin that were uprooted from the world of Tohu and fell into the world of Beriah, and afterwards were planted and rooted in the world of Tikkun. This is not like the Mikdash Melech, who explains there and in Parshas Pinchas (217b) differently. Similarly, in Sefer Emek HaMelech, Shaar 16, chapter 41, he also explains like the Ramaz.

According to this, there is also an aspect of cedar that requires refinement, meaning what fell in the shattering of the vessels from the world of Tohu. This is like our Sages said: A person should always be soft like a reed and not hard like a cedar. As explained elsewhere, in the world of Tohu, due to the intensity and overpowering of the middos, there was no inclusion of one attribute with its opposite. This is like someone who is hard like a cedar. In contrast, in Tikkun, the attributes were rectified to be in the form of lines and inclusion.

This is the meaning of "Cedars of Lebanon which He has planted"—they were rectified through the drawing down of wisdom, the power of bittul, and the middos. This is the idea of "Cedars of Lebanon"—which are the six attributes of Abba, etc.

Based on this, it can be said that this is the meaning of the casting of cedar wood and hyssop—because the hyssop represents humility, lowliness of spirit, and bittul, as does the scarlet wool, as it says: "Va'anochi tolaas velo ish" ("But I am a worm and not a man"). The cedar is combined with the hyssop by means of the scarlet wool and cast into the burning of the cow, meaning to refine the middos of Tohu, which are hard like a cedar, through the drawing down of bittul, etc. See the discourse beginning with "Hechalzu Me'itchem." This is so that they can be included in the aspect of "Cedars of Lebanon which He has planted"—which is the level of Tikkun.

Therefore, it is fitting that the casting of cedar wood and hyssop, etc., was specifically before it became ash, as brought in Yalkut, Parshas Chukas, and in the commentary of the RaShash on chapter 3 of Parah. This is because they are also among the aspects that require refinement, and they too become ash like the cow.

The language of the Zohar, Parshas Chukas: "Once it becomes ash, one must throw into it cedar wood and hyssop, etc."—thus, it must not be taken literally.

It can also be said that even the scarlet wool itself requires refinement, for there is also a worm on the side of impurity, as explained in Pri Etz Chaim, Shaar 5, chapter 3. Similarly, in Sefer HaGilgulim near its end (143d), it says regarding this: "If they are red like a worm, etc."

It is possible that this also refers to speech and letters of the side of impurity, such as lashon hara (evil speech), gossip, and idle words. This is like what Rashi writes at the beginning of Chumash Balak regarding Bilaam, whose power was in his mouth.

See also Zohar, Parshas Balak (201b and 299b), and above on Parshas Vayechi, the discourse beginning with "Asri LaGefen" regarding the donkey, and in Parshas Beshalach, the discourse beginning with "LeSusasi Berichvei, etc."

When these aspects of impurity are burned and only the ash remains, which is their root in holiness from the world of Tohu, then these aspects are drawn and revealed in the world of Tikkun in the aspect of "like a cedar in Lebanon, etc.," and "Tolaas Yaakov Mitei Yisrael" ("Worm of Jacob, men of Israel")^[2]—the holy mouth, etc.

When the cedar of Tohu is rectified in the aspect of Tikkun, it then possesses both advantages of Tohu and Tikkun together: the light is intense, and yet it is in a state of bittul and inclusion. This is like the concept of Akudim in one vessel, which is higher than the shattering, etc., as explained elsewhere, and in the discourse on "Vehenif HaKohen Osam Al Lechem HaBikkurim, etc."

Also, "erez" (cedar) in gematria equals Yitzchak, which is the aspect of gevurah (strength). Similarly, the scarlet wool is the aspect of gevurah—for to repel the spirit of impurity requires specifically the aspect of gevurah. As explained in the Zohar, Idra deNashah (131b), regarding the hairs of the beard, which are strong to subdue judgments. This is because they are drawn from the hidden wisdom that is clothed in the gevurah of Atik, etc. (All this can be said.) See also Zohar, Chukas (beginning of 181a).

Even though here it was explained that the casting of cedar wood, etc., is the drawing down from Zeir Anpin of Atzilus, and so it is explicitly in the Zohar, Parshas Metzora (53) and Parshas Chukas (120b).

It can be said that both aspects are hinted at. This is why they are not cast before the burning of the cow, nor after it becomes ash, but only when it splits. This is because the burning of the cow is only the refinement of the gevuros of Noga, and the living waters are only the higher drawing down from the hidden wisdom, etc.

However, the casting of cedar wood and hyssop, etc., is to refine these aspects in Noga, and through this refinement, there is also a drawing from the aspect of "Cedar in Lebanon" of Atzilus, as well as hyssop and scarlet wool. Therefore, they are cast into the cow after most of it has already been set aflame and it has split, before the burning is completed.

However, according to what is written elsewhere, it seems that the casting of cedar wood and hyssop, etc., is only the drawing down from the middos of holiness of Tikkun. So it is written in Iggeres HaKodesh, the discourse beginning with "Lamah Nismachah Parshas Miriam LeParshas Parah."

(See also more about the Red Heifer in Zohar, Parshas Vayikra 14a, Parshas Acharei 76a, Parshas Pinchas 243b, and in the addenda at the end of part one, section 25, 9b.)

Summary

This maamar teaches that the elements used in the Red Heifer ritual—cedar, hyssop, and scarlet wool—symbolize the refinement and transformation of one’s character traits. Through humility and self-nullification, the intense energies of chaos can be elevated and integrated into holiness, achieving true rectification.