Works
The Vilna Gaon was a voluminous author; there is hardly an ancient Hebrew book of any importance to which he did not write a commentary, or at least provide marginal glosses and notes, which were mostly dictated to his pupils. However, nothing of his was published in his lifetime. The "Gra" was very precise in the wording of his commentaries, because he maintained that he was obligated by Torah Law that only the "Torah shebichtav" (the written law) is permitted to be written down - the rest of "Torah shel ba'al peh" (oral law) cannot be, unless circumstances require. So the Vilna Gaon abided by this view of law by reducing his extensive explanations that are largely inscrutable to any but advanced talmudists. Glosses on the Babylonian Talmud and Shulchan Aruch are known as Bi'urei ha-Gra ("Elaboration by the Gra"). His running commentary on the Mishnah is titled Shenoth Eliyahu ("The Years of Elijah"). Various Kabbalistic works have commentaries in his name. His insights on the Pentateuch are titled Adereth Eliyahu ("The Splendor of Elijah"). Commentaries on the Proverbs and other books of the Tanakh were written later on in his life.
He also wrote on mathematics, being well versed in the works of Euclid and encouraging his pupil Rabbi Baruch of Shklov to translate the great mathematician's works into Hebrew. A mathematical work titled Ayil Meshulash ("A Ram in Three Parts", a reference to Abraham's "Covenant Between the Parts" in Genesis 15:9) is generally attributed to him.
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Famous quotes containing the word works:
“There is a great deal of self-denial and manliness in poor and middle-class houses, in town and country, that has not got into literature, and never will, but that keeps the earth sweet; that saves on superfluities, and spends on essentials; that goes rusty, and educates the boy; that sells the horse, but builds the school; works early and late, takes two looms in the factory, three looms, six looms, but pays off the mortgage on the paternal farm, and then goes back cheerfully to work again.”
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“The ancients of the ideal description, instead of trying to turn their impracticable chimeras, as does the modern dreamer, into social and political prodigies, deposited them in great works of art, which still live while states and constitutions have perished, bequeathing to posterity not shameful defects but triumphant successes.”
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“We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
—Clive Bell (1881–1962)