וְעָשִׂ֥יתָ מְנֹרַ֖ת זָהָ֣ב טָהֹ֑ור מִקְשָׁ֞ה תֵּעָשֶׂ֤ה הַמְּנֹורָה֙ יְרֵכָ֣הּ וְקָנָ֔הּ גְּבִיעֶ֛יהָ כַּפְתֹּרֶ֥יהָ וּפְרָחֶ֖יהָ מִמֶּ֥נָּה יִהְיֽוּ׃ (Exodus 25:31)
And you shall make a lampstand of pure gold—of hammered work the lampstand shall be made—its base and its shaft, its cups, its knobs, and its blossoms shall be from it.
Introduction: Crafted in Unity
This divine instruction from Exodus 25:31 describes the making of the golden menorah, not merely as a collection of parts, but as a unified, divinely ordained work of art. Hidden within this brief instruction is an elegant demonstration of Hebrew’s syntactic subtlety—particularly the interplay of appositional structure and the passive Niphal imperfect verb תֵּעָשֶׂ֤ה. The verse also illustrates the use of poetic parallelism to amplify the idea of unity through morphology.
The Passive Imperfect: תֵּעָשֶׂ֤ה
At the center of the verse is the form תֵּעָשֶׂ֤ה, a Niphal imperfect 3rd feminine singular verb from the root ע־שׂ־ה (“to do, make”). The Niphal here indicates a divine passive—not that someone is making it, but that it “shall be made.”
Parsing Table: תֵּעָשֶׂ֤ה
| Form | Stem | Tense | Gender / Number | Voice | Translation |
|---|---|---|---|---|---|
| תֵּעָשֶׂ֤ה | Niphal | Imperfect | Feminine Singular | Passive | “shall be made” |
Appositional Flow: Syntax in the Menorah’s Description
After the divine command and the verb תֵּעָשֶׂ֤ה, we have a cascade of components: יְרֵכָ֣הּ וְקָנָ֔הּ גְּבִיעֶ֛יהָ כַּפְתֹּרֶ֥יהָ וּפְרָחֶ֖יהָ. These are not complete clauses but a syntactic chain of noun phrases in apposition, each describing a part of the menorah.
The entire segment functions semantically and grammatically as one tightly bound unit: the parts are not independent but belong inherently to the menorah. Hebrew expresses this holism with possessive suffixes and without conjunctions between every item—tight linkage, not loose enumeration.
Lexical Cohesion: All from It—מִמֶּ֥נָּה יִהְיֽוּ
The phrase מִמֶּ֥נָּה יִהְיֽוּ (“they shall be from it”) seals the conceptual unity. The use of מִן (“from”) plus the 3fs pronominal suffix reinforces the idea that every feature of the menorah must emerge from a single source, not be attached separately.
This echoes the earlier term מִקְשָׁ֞ה (“hammered/forged in one piece”), which belongs to the noun root ק־שׁ־ה (“to hammer, beat”). The menorah is not just assembled, it is born from itself, highlighting theological themes of divine craftsmanship and indivisible holiness.
Masoretic Cadence and Emphasis
The Masoretes mark מִקְשָׁ֞ה with a prominent tipḥa, signaling a strong accentual pause that transitions to the passive verb תֵּעָשֶׂ֤ה. This pacing enhances the impression that what follows is explanatory and essential, not optional.
Each noun suffix is linked rhythmically, guiding the ear and mind to imagine the menorah as an organically growing unit. The artistry of the menorah is mirrored in the artistry of the Hebrew syntax.
Forged Theology: Form Reflects Holiness
The syntactic emphasis on oneness is not just aesthetic—it’s theological. The menorah represents divine presence, and it must be unified in material and design. Hebrew’s use of:
- A passive divine verb form
- Appositional noun chains
- Internal possession suffixes
- A closing unifying clause
—all converge to declare that holiness is not constructed in parts, but radiates from wholeness. In this single verse, the grammar proclaims that sanctity must be unified, complete, and flowing from the sacred itself.
