Today is Purim - Yay! It's the merriest day of the Jewish calendar :) Purim is the celebration based off of the events of the book of Esther, in which - facing annihilation in the Persian empire - the Jews survived and, to this day, celebrate.
One of the leitmotifs of the book is drinking and partying and that is also reflected in the holiday's celebrations. Around the turn of the fourth century, a couple of prominent Babylonian rabbis, Rabbi Zeira and Rabbah had a Purim meal together and they got so drunk that Rabbah, so the story goes, killed his friend; however, he prayed for him and he was revived. The following year, Rabbah suggested they get together again for the festive meal, to which his friend said, "Miracles don't happen every year." (Megillah 7b).
A few decades later, Rava declared - perhaps basing himself off of the earlier example of his rabbinic predecessors - "מיחייב איניש לבסומי בפוריא" - "A person is obliged to get drunk on Purim." One of the peculiarities of this statement is that while it's stated in somewhat of a formal halakhic fashion, it's in Aramaic (as opposed to a few lines later on the same page (Megillah 7b), where he states "סעודת פורים שאכלה בלילה לא יצא ידי חובתו").
What follows in the text of the Talmud then turns to Hebrew and may very well be a later addition: "עד דלא ידע בין ארור המן לברוך מרדכי" - "until one does not know between cursed is Haman and blessed is Mordechai." Typically, these two statements are read together as part of Rava's statement, but two problems present themselves: 1) The linguistic issue of switching from Aramaic to Hebrew & 2) Drinking on Purim is well and good, but to get so plastered to be unable to distinguish between extremes of morality is A LOT.
Even if one were to say the linguistic issue isn't that significant, since it could have been something changed in the oral transmission, how can one drink that much? Even when I'm so drunk on Purim that I'm throwing up, I can still distinguish between such matters.
Just some food for thought on this merry day :)
With the holiday of Purim coming up this weekend, one of the common practices associated with the holiday is dressing up in costume. It was never clear to me how this came about, although having read an article last year on the topic (see Herman Pollack, "An Historical Inquiry Concerning Purim Masquerade Attire," Proceedings of the World Congress on Jewish Studies 7 (1981): 217-235) helped me understand where it comes from. It is interesting to consider that "by the sixteenth century, the parsuf (פרצוף), as the Purim mask was called, had become popular in Italy, Germany, and Poland" (p. 217).
The mask - or rather - the Purim mask was what was first developed from "the carnival celebration," Pollack writes, "derived from the commedia dell'arte. The carnival, which was accompanied by processions and parades, was associated with the demonic and 'souls of the dead' (anime del morte)" (p. 232). He continues:
First, the mask was a means of mocking and ridiculing prestigious members of the community. Second, through their antics, the masked clowns and jesters contributed to the festival gaiety. Third, and as already suggested, the disguise enabled a person to assume "the role of another" by pretending to be someone else. Herein is a release and escape from being continuously the same person.
The masquerades, parades, and carnival festivities must have appealed to individuals of the Italian Jewish community, otherwise during the time of repression religious and civil authorities would not have required them to wear the "badge" so as to differentiate them from non-Jews. Leon da Modena, for example, was among those who would participate in a non-Jewish masquerade.
The commedia dell'arte was also called the "comedy of masks" in that masks were worn for "stock characters" given a "fixed role". Jewish comedy was influenced by social types portrayed by the mask in the commedia dell'arte. Among the personalities adopted and made part of the Purim celebration through the mask were the paltoniere, the "beggar"; the arlecchino, the "clown"; the capitano, the "blustering soldier"; the pantalone, the "pantaloon". (pp. 233-234)