Julian Ungar-Sargon

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Daf Ditty

A wide-ranging commentary on the daily page of Talmud.

The Jewish Bride c. 1665–1669 Rembrandt Van Rijn

The painting became known as the 'Jewish Bride' in the early nineteenth century after the Amsterdam art collector, Van der Hoop, identified the subject of the painting as a Jewish father hanging a necklace around his daughter's neck on her wedding day. Today, no one sees this man has the woman's father anymore. It is clearly a couple, although who they are is not clear. The faces appear to be portraits, but the clothes are unusual for the time. Perhaps they were contemporaries of Rembrandt's who posed as characters from the Bible.

Kiddushin 3: אִשָּׁה נָמֵי מִקַּנְיָא בַּחֲלִיפִין

jyungar August 16, 2023

For the source text click/tap here: Kiddushin 3

To download, click/tap here: PDF

Much of the first two dapim of the Gemara in Massekhet Kiddushin deal with technical questions of language that are not the usual topics of discussion in the Gemara. In explanation of this odd dialogue, Rav Sherira Ga’on, as well as many of the rishonim explain that these pages are not part of the original Gemara , rather they are a later addition from the time of the savora’im – the sages who followed the amora’im of the Gemara – or, perhaps the early ge’onim.

The Gemara explains that according to Rav Huna, who maintains that Chupah is a valid form of Kidushin, the reason why the Mishnah mentions the number "three" when it lists the ways in which a woman becomes betrothed is that it seeks to exclude a fourth possible form of Kidushin, that of Chalifin. Chalifin may not be used for Kidushin because a Kinyan Chalifin may be performed with an object worth less than a Perutah, and a woman does not consent to become betrothed if she receives an object worth less than a Perutah.

We explore the Halacha of Kimyan through chalifin.

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Julian Ungar-Sargon

This is Julian Ungar-Sargon's personal website. It contains poems, essays, and podcasts for the spiritual seeker and interdisciplinary aficionado.​