The Art of the Taught Word: D’var Torah

At the request of some of my rabbinic students at AJU, I have written a short guide for giving a 'D'var Torah.' While written specifically for those pursuing a career in the rabbinate, I thought others might be interested as well. Enjoy!!

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The Art of the Taught Word: D’var Torah

R. Yehuda Hausman

A D’var Torah stands on three things: (1) Question, (2) Answer, (3) Application.

(1) A D’var Torah begins with a Question on a particular text.  The text may have a linguistic peculiarity, such as repetitious language, unusual grammar, word choice, or a lacuna of information.  

For example: ‘In Deuteronomy 15.11, the Torah describes the commandment to give charity: “…You shall open, open up your hand to your brother, to your poor, to your destitute in your land.”

This verse seems rather repetitious: Why does the Torah state the word “open” twice?

Alternatively:  What is the difference between “your poor” and “your destitute”? Or, why is the word “your” repeatedly emphasized?'

 Sometimes, a text seems difficult to understand morally, theologically, or on a basic human level. Example: ‘In Parashat Matot—Num. 31—God commands Moshe to wage war against the Midianites.  But wait, wasn’t Moshe’s wife, Tziporah, a Midianite—how could Moshe execute vengeance against his wife’s people? How could God have asked this of Moshe?’

(2) Once the question is succinctly posed, and correct tension wrought, one may proceed to step two and loosen the arrow of resolution at your overwrought and anxious audience (hopefully).  Traditionally, an initial answer should not be one of one’s own creation.  Thus a Rashi, Ibn-Ezra, Midrash, Talmudic passage, or Hasidic teaching are brought to resolve a challenge.

For example: ‘Rashi suggest that the words” Open, Open” are repeated  in order to teach us that it is sometimes necessary to give to the same person twice or even multiple times.’ (Comment on Deut. 15.8)

In recent years, it has become more acceptable to offer one’s own drash or chidush right from the start. (I blame R. Shlomo Carlebach for starting this trend.) Some rabbis and teachers do this often; some never do it at all. In deference to tradition, I believe one should at least begin with an answer from Chazal, and then proceed to one’s own Chidush on the text. Often, if one searches a bit (and it's particularly good), one will find a Chazal who says as much. “You know you are on the right path, if you meet friends along the way.”

(3) The last and most creative part of the Dvar Torah is the message or application. It is here that we seize the given answer and attempt to impress it upon the hearts of our congregants and students.... It is also here that we give direction, guidance, get everyone to go to the Israel Fair or some such, and occasionally solicit money.

Warning! It is also here that a Rabbi must decide how broad or narrow the message ought to be, especially if dealing with a longer drasha for Shabbat morning. Too narrow, one risks leaving people out. Too broad, and the D’var Torah suddenly becomes about everything and therefore nothing all.

Let us apply the Rashi somewhat broadly, just to see our options:

‘When confronted with tragedy, we often find it in our hearts to do what is right. After Hurricane Katrina, we opened our pocket-books and wrote a check to the Red Cross.  After the wild-fires in San Diego, we donated clothing and blankets to the victims. But after that first initial act of compassion, how many of us wrote a second check or made a second donation? There are still people without homes. There are still people in terrible need! Thus Rashi reminds us that…

Alternatively, let’s say one were raising money for the building campaign:

I know that the Shul Dinner was only a month or so ago. But as you know, our wonderful synagogue is growing. Thank God, our membership is up…and a week doesn’t pass without another Simchat Bat or Brit Milah…. And we need more space….  And while it is difficult to give more, especially as many of us already give generously…this is an investment in our future. Yaddayaddayadda…

But if you try to combine the above into one drasha, you will have shot both feet, dug your own grave, sat shiva, and  worse yet, caused services to finish ten minutes late, thus creating a stampede for cholent, which will now be gone by the time you get there.

Some General Advice

1. When it comes to the conclusion, “Don’t circle the airport, land the plane.” Rabbi Avi Weiss

2. Nearly everything will be forgiven, so long as the Sermon is short.

3. If you forget to pay a Shiva visit—as far as that family is concerned—you will never give a good D’var Torah. If you make an unexpected Shiva call or visit to a hospital, your sermons might be favorably compared to the silver-tongued monologues of Katharine Hepburn and Anthony Hopkins.

4.  When you cite a verse or Chazal, it’s helpful to quote the English first, then Hebrew. (Also, there's NO NEED to state Chapter and Verse all the time!!! No one will look up, “Numbers, Chapter Fifteen, Verse 27  though 29”!!! Instead,  “Towards the end of this morning’s parashah,…”)

5. Eye-contact. If you use a written text, practice the speech 5-10 times, thus your eyes won’t be stapled to the page.

6. Practice. Practice. Practice.

7.  This is the hardest part, as it is the most intuitive and least objective component. A D’var Torah is not, strictly speaking, a literary venture with a small oral component. (Think back to a bad poetry reading.) There is a lot more to write besides words. One can write emotions into the script. One can craft pauses and caesuras on the page (pregnant or otherwise).  One can practice facial expressions. Like a composer, one can dictate the cadence, pace, and volume of one’s voice....



You can see this being done well in "The King's Speech" when actor Colin Firth as King George VI is set to deliver his first, most important radio broadcast about the start of World War II without the infamous stutter that has plagued him throughout the film. Before him during his broadcast, he has a sheet of paper with the speech itself in black print and red marks all over the page reminding him when to change the cadence, pace, and volume of his voice.

As such, try to use parentheticals to convey the unspoken. [Take deep breaths.] [With excitement] [Long pause] [With Sadness] [Relax J] Alternatively, hand-write stage directions above the words.