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The Zohar is not one book, but a group of books. These books include scriptural interpretations as well as material on Theosophic theology, mythical cosmogony, mystical psychology, and what some would call Anthropology . ORIGIN According to Gershom Scholem , most of the Zohar was written in an exalted, eccentric style of Aramaic, the language that was spoken in Palestine during the first centuries of the modern era. The Zohar first appeared in Spain in the 13th century, and was published by a Jewish writer named Moses De Leon . Scholem, based on accounts from De Leon's contemporaries, and on evidence within the Zohar (Spanish ideoms and syntax, for example), concluded De Leon is the actual author. De Leon himself ascribed this work to a Rabbi of the second century, Simeon Ben Yohai . Jewish legend holds that during a time of Roman persecution, Rabbi Simeon hid in a cave for 13 years, studying the Torah with his son, Elazar {Link without Title} . During this time he is said to have been inspired by God to write the Zohar. The fact that the Zohar was found by one lone individual, Moses de Leon, and that it refers to historical events of the post-Talmudical period, caused the authenticity of the work to be questioned from the outset. A story tells that after the death of Moses de Leon, a rich man of Avila named Joseph offered Moses' widow (who had been left without any means of supporting herself) a large sum of money for the original from which her husband had made the copy. She confessed that her husband himself was the author of the work. She had asked him several times, she said, why he had chosen to credit his own teachings to another, and he had always answered that doctrines put into the mouth of the miracle-working Simeon Ben Yohai would be a rich source of profit. The story indicates that shortly after its appearance the work was believed by some to have been written by Moses de Leon. Acceptance of authenticity Over time, the general view in the Jewish community came to be one of acceptance of Moses de Leon's claims; the Zohar was held to be an authentic book of mysticism passed down from the Second Century , though certain small groups ( Baladi Yemenite, Andalusian (Western Sefardic) and some Italian communities) never accepted it as authentic. The Zohar spread among the Jews with remarkable swiftness. Scarcely fifty years had passed since its appearance in Spain before it was quoted by many Kabbalists , including the Italian mystical writer Menahem Recanati . Its authority was so well established in Spain in the 15th century that Joseph Ibn Shem-Tov drew from it arguments in his attacks against Maimonides . Even representatives of non-mysticism oriented Judaism began to regard it as a sacred book and to invoke its authority in the decision of some ritual questions. They were attracted by its 2:5), which means that there had not yet been beneficent action in heaven, because man had not yet been created to pray for it. The Zohar was quoted by Todros Abulafia , by Menahem Recanati, and even by Isaac Of Acco , in whose name the story of the confession of Moses de Leon's widow is related. Isaac evidently ignored the woman's alleged confession in favor of the testimony of Joseph Ben Todros and of Jacob, a pupil of Moses de Leon, both of whom assured him on oath that the work was not written by Moses. The only objection worthy of consideration by the believers in the authenticity of the Zohar was the lack of references to the work in Jewish literature; and to this they answered that Simeon Ben Yohai did not commit his teachings to writing, but transmitted them orally to his disciples, who in turn confided them to their disciples, and these to their successors, until finally the doctrines were embodied in the Zohar. As to the references in the book to historical events of the post-Talmudic period, it was not deemed surprising that Simeon ben Yohai should have foretold future happenings. Rejection of authenticity The first attack upon the accepted authorship of the Zohar was made by Elijah Delmedigo. Without expressing any opinion as to the real author of the work, he endeavored to show, in his ''Bechinat ha-Dat'' that it could not be attributed to Simeon ben Yohai. The objections were that: # If the Zohar was the work of Simeon ben Yohai, it would have been mentioned by the Talmud , as has been the case with other works of the Talmudic period; # The Zohar contains names of rabbis who lived at a later period than that of Simeon; # Were Simeon ben Yohai the father of the Kabbalah, knowing by divine revelation the hidden meaning of the precepts, his Decisions On Jewish Law would have been adopted by the Talmud; but this has not been done; # Were the Kabbalah a revealed doctrine, there would have been no divergence of opinion among the Kabbalists concerning the mystic interpretation of the precepts (''Bechinat ha-Dat'' ed. Vienna, 1833, p. 43). These arguments and others of the same kind were used by Leon of Modena in his ''Ari Nohem''. A work devoted to the criticism of the Zohar was written, ''Miṭpaḥat Sefarim,'' by Jacob Emden , who, waging war against the remaining adherents of the Sabbatai Zevi movement, endeavored to show that the book on which Zevi based his doctrines was a forgery. Emden demonstrates that the Zohar misquotes passages of Scripture; misunderstands the Talmud; contains some ritual observances which were ordained by later rabbinical authorities; mentions the crusades against the Muslims (who did not exist in the second century); uses the expression ''esnoga'', which is a Portuguese corruption of " Synagogue ,"; and gives a mystical explanation of the Hebrew vowel-points, which were not introduced until long after the Talmudic period. In the mid-20th century, the Jewish historian Gershom Scholem contended that de Leon himself was the most likely author of the Zohar. Among other things, Scholem noticed the Zohar's frequent errors in Aramaic grammar, its suspicious traces of Spanish words and sentence patterns, and its lack of knowledge of the Land Of Israel . This finding is still disputed by many within Orthodox Judaism , although not because of any scholarly proofs, rather because of tradition. Other Jewish scholars have also suggested the possibility that the Zohar was written by a group of people, including de Leon. This theory generally presents de Leon as having been the leader of a mystical school, whose collective effort resulted in the Zohar. Another theory as to the authorship of the Zohar is that it was transmitted like the Talmud before it was transcribed: as an oral tradition reapplied to changing conditions and eventually recorded. This view simultaneously believes that the Zohar was not written by Rav Shimon, but was a holy work because it consisted of his principles. Even if de Leon wrote the text, the entire contents of the book may not be fraudulent. Parts of it may be based on older works, and it was a common practice to ascribe the authorship of a document to an ancient rabbi in order to give the document more weight. It is possible that Moshe de Leon considered himself inspired to write this text. MYSTICISM "Woe unto the man," says Simeon ben Yohai, "who asserts that this Torah intends to relate only commonplace things and secular narratives; for if this were so, then in the present times likewise a Torah might be written with more attractive narratives. In truth, however, the matter is thus: The upper world and the lower are established upon one and the same principle; in the lower world is Israel, in the upper world are the angels. When the angels wish to descend to the lower world, they have to don earthly garments. If this be true of the angels, how much more so of the Torah, for whose sake, indeed, the world and the angels were alike created and exist. The world could simply not have endured to look upon it. Now the narratives of the Torah are its garments. He who thinks that these garments are the Torah itself deserves to perish and have no share in the world to come. Woe unto the fools who look no further when they see an elegant robe! More valuable than the garment is the body which carries it, and more valuable even than that is the soul which animates the body. Fools see only the garment of the Torah, the more intelligent see the body, the wise see the soul, its proper being; and in the Messianic time the 'upper soul' of the Torah will stand revealed." ''PARDES'' AND BIBLICAL EXEGESIS The Zohar assumes four kinds of Biblical exegesis: ''Peshat'' ("simple/literal meaning"), ''Remez'' ("hint/allusion"), ''Derash'' ("interpretative/anagogical), and ''Sod'' ("secret/mystic"). The initial letters of the words ''Peshat'', '''''R'''emez'', '''''D'''erash'', and '''''S'''od'' form together the word ''PaRDeS'' ("paradise/orchard"), which became the designation for the fourfold meaning of which the mystical sense is the highest part. The mystic allegorism is based by the Zohar on the principle that all visible things, the phenomena of nature included, have besides their exoteric reality an esoteric reality also, destined to instruct man in that which is invisible. This principle is the necessary corollary of the fundamental doctrine of the Zohar. The universe being, according to that doctrine, a gradation of emanations, it follows that the human mind may recognize in each effect the supreme mark, and thus ascend to the cause of all causes. This ascension, however, can only be made gradually, after the mind has attained four various stages of knowledge; namely: (1) the knowledge of the exterior aspect of things, or, as the Zohar calls it (ii. 36b), "the vision through the mirror that projects an indirect light"; (2) the knowledge of the essence of things, or "the vision through the mirror that projects a direct light"; (3) the knowledge through intuitive representation; and (4) the knowledge through love, since the Law reveals its secrets only to those who love it (ii. 99b). After the knowledge through love comes the ecstatic state which is applied to the most holy visions. To enter the state of ecstasy one had to remain motionless, with the head between the knees, absorbed in contemplation and murmuring prayers and hymns. There were seven ecstatic stages, each of which was marked by a vision of a different color. At each new stage the contemplative entered a heavenly hall (''hekal'') of a different hue, until he reached the seventh, which was colorless, and the appearance of which marked both the end of his contemplation and his lapse into unconsciousness. The Zohar gives the following illustration of an ecstatic state: "Once," says R. Simeon ben Yohai, "I was plunged in a contemplative ecstasy, and I beheld a sublime ray of a brilliant light which illumined 325 circles, and amid which something dark was bathing. Then the dark point, becoming bright, began to float toward the deep and sublime sea, where all the splendors were gathering. I then asked the meaning of this vision, and I was answered that it represented the forgiveness of sins." EFFECTS ON JUDAISM The Zohar was lauded by many rabbis because it opposed religious formalism, stimulated one's imagination and emotions, and for many people helped reinvigorate the experience of prayer. In many places prayer had become a mere external religious exercise, while prayer was supposed to be a means of transcending earthly affairs and placing oneself in union with God. The Zohar was censured by many rabbis because it propagated many superstitious beliefs, and produced a host of mystical dreamers, whose over-heated imaginations peopled the world with spirits, demons, and all kinds of good and bad influences. Many classical rabbis, especially Maimonides, viewed all such beliefs as a violation of Judaism principles of faith. Its mystic mode of explaining some commandments was applied by its commentators to all religious observances, and produced a strong tendency to substitute a mystic Judaism in the place of traditional rabbinic Judaism. Shabbat , the Jewish Sabbath, began to be looked upon as the embodiment of God in temporal life, and every ceremony performed on that day was considered to have an influence upon the superior world. Elements of the Zohar crept into the liturgy of the 16th and 17th centuries, and the religious poets not only used in their compositions the allegorism and symbolism of the Zohar, but even adopted its style, e.g. the use of erotic terminology to illustrate the relations between man and God. Thus, in the language of some Jewish poets, the beloved one's curls indicate the mysteries of the Deity; sensuous pleasures, and especially intoxication, typify the highest degree of divine love as ecstatic contemplation; while the wine-room represents merely the state through which the human qualities merge or are exalted into those of God. INFLUENCE ON CHRISTIAN MYSTICISM The enthusiasm felt for the Zohar was shared by many Christian scholars, such as Giovanni Pico Della Mirandola , Johann Reuchlin , Aegidius Of Viterbo , etc., all of whom believed that the book contained proofs of the truth of Christianity . They were led to this belief by the analogies existing between some of the teachings of the Zohar and certain Christian dogmas, such as the fall and redemption of man, and the dogma of the Trinity , which seems to be expressed in the Zohar in the following terms: "The Ancient of Days has three heads. He reveals himself in three archetypes, all three forming but one. He is thus symbolized by the number Three. They are revealed in one another. are: first, secret, hidden 'Wisdom'; above that the Holy Ancient One; and above Him the Unknowable One. None knows what He contains; He is above all conception. He is therefore called for man 'Non-Existing' [''Ayin'']" (Zohar, iii. 288b). This and other similar doctrines found in the Zohar are now known to be much older than Christianity; but the Christian scholars who were led by the similarity of these teachings to certain Christian dogmas deemed it their duty to propagate the Zohar. Shortly after the publication of the work (Mantua and Cremona, 1558) Joseph de Voisin translated extracts from it which deal with the soul. He was followed by many others. The disastrous effects of the Sabbatai Zevi messianic movement on the Jewish community dampened the enthusiasm that had been felt for the book in the Jewish community. However, the Zohar is still held in great reverence by many Orthodox Jews, especially the Hasidim (Hasidic Jews). APPENDICES AND ADDITIONS The Zohar is not considered complete without the addition of certain appendixes, which are often attributed either to the same author, or to some of his immediate disciples. These supplementary portions are almost always printed as part of the text with separate titles, or in separate columns. They are as follows:
To the larger appendixes are added the following fragments:
SEE ALSO EXTERNAL LINKS
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