Singing Women

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So far, I’ve seen little hints scattered through the text of women who seem to have once been far more important than the credit they are given in the book that has survived down to me. I summarized what I’ve noticed in my post on Judges 13, in the discussion of Samson’s unnamed mother:

There have been several times that I’ve sensed hints of older stories, stories that seem to have been about priestesses or perhaps even goddesses. God telling Sarah about Isaac, Sarah bedding with the kings of two nations (Pharaoh and Abimelech), Rebekah bedding with a third kingMiriam’s song of praiseZipporah’s circumcision of her sonDeborah’s song, etc. Here, we have another that I would put in the same category – though she is given no name, it is clear that it is through her that God wishes to communicate with Manoah’s family. I suspect that the latter portion of the chapter, where he switches to speaking directly to Manoah, may have been a later edit, because coming the second time to Manoah’s wife while she is alone just seems far too deliberate to me.

The Duet, by Sir Frank Dicksee

The Duet, by Sir Frank Dicksee

Most interesting of all – at least to me – is that we have had three “songs” so far in the text, and that all three have been sung by women. I’ve already mentioned Miriam’s song in Exodus 15 and Deborah’s in Judges 5, and now we can add Hannah’s song in 1 Samuel 2. And though our sample size is still quite small, I’ve been drumming up a few ideas about these songs that I’d like to throw out into the void of the internet.

Deborah’s song, though ostensibly sung by her, is clearly more about her. In Miriam and Hannah’s case, however, the two women seem to be given the voice of the nation – it falls to them to praise God and to express the people’s hope for the future. In Miriam’s case, she expresses the people’s (ideal) trust that God was leading them toward a land in which they could be planted (Exodus 15:16-18), a concern for obvious reasons at the time. Hannah also uses her look to the future to address present concerns; all through Judges, we were reminded that “there was no king in Israel; every man did what was right in his own eyes” (Judges 21:25). So Hannah’s pressing concern is that rule be established, and that those who succeeded in a time of such higgeldy-piggeldy morals would soon find themselves at a disadvantage, and that there should be a king (1 Sam. 2:10).

So as we saw with Sarah and Rebekah, it seems that women are seen to be performing the roles of high priestess, in the later cases legitimizing monarchies, and in these cases interceding with God.

Which leaves us with three possibilities, that I can see. (1) My pattern-finding brain is finding patterns where they don’t exist, (2) these songs serve a literary purpose that was, at least at one time, seen to be feminine, or (3) these stories are remnants from cultic tradition in which women played a more central role.

Judges: What is a judge?

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It couldn’t be clearer from the text that “judge” is not being used in the ‘arbitration of law’ sense, at least not purely. Certainly, it’s more Judge Dredd than Judge McLachlin. Since the use of the term is far from clear, I thought I’d take a little time to talk about what the word actually means in the context of this book.

I found it helpful to think of the judges as falling into three separate categories:

Legal Judges lack detail, their function is not explained. The only hint we get is a reference to Deborah doing her judging thing while seated under a palm tree (Judges 4:4-5). This sounds very much like a “keeper of the law” sort of role, where an individual is arbitrating for a community. Deborah (Judges 4-5) certainly fits this model. Tola (Judges 10:1-2), Jair (Judges 10:3-5), Ibzan (Judges 12:8-10), Elon (Judges 12:11-12), and Abdon (Judges 12:13-15) may as well – if only because no details of heroic feats are listed. This leads me to guess that perhaps these names are actual records of judges, keepers of the law. Their names could be a fragment of an actual historical record of real people.

Military Leaders perform great deeds of nationalistic importance. These “judges” lead armies to kill Israel’s enemies. I include Othniel (Judges 3:7-11) and Jephthah (Judges 10-12) in this category.

Folk Heroes also perform great deeds, but theirs are more personal. Rather than commanding an army to achieve victory, these guys personally take up arms (or, rather, oxgoads or donkey jawbones) to beat the ever-loving-crap out of their enemies. While they may be said to deliver Israel, where their motives are recorded, they are generally very personal. Samson (Judges 13-16) is the perfect example – not only does he never deliver Israel from its oppressors, his motives throughout his narrative all come down to 1) get laid, and 2) get revenge. Abimelech (Judges 9) is an implied judge who is motivated by little more than gaining power. Ehud (Judges 3:12-30) delivers Israel, but does so by personally stabbing the Baddie head honcho and then escaping through a toilet chute. Shamgar (Judges 3:31) just kills a bunch of Philistines with an oxgoad, his motives unspecified. I’d also include Gideon (Judges 6-8) in this category; he may lead an army, but it’s a very small one and his victory comes through trickery rather than military might. His story also hints that his motive is personal revenge.

So, as my study Bible puts it, the term may have began as a title of keepers of the law, but “would then later have been extended loosely to military heroes of the same period” (p.308).

Claude Mariottini goes into a bit more detail on his blog, speaking about the term in relation specifically to Deborah and how she fits in with the other characters of the book.

Further Categories

And just because I’m a categorizer, I tried sorting the judges a few different ways:

Gideon and Jephthah’s stories both come with lengthy lectures about how the Israelites are terrible and God is just so mad. Deborah, Othniel, Ehud, and Samson get shorter references to how bad the Israelites are. Tola, Jair, Ibzan, Elon, Abdon, and Shamgar get little or no mention of the “falling into sin” narrative. (Neither does Abimelech, but his story seems to be a continuation of Gideon’s.)

The following judges are entered by the Spirit of the Lord: Othniel (Judges 3:10), Jephthah (Judges 11:29), Gideon (Judges 6:34), and Samson (Judges 13:25, 14:6, 14:19, 15:14).

It may be worth noting that none of the characters I sorted as Legal Judges are entered by the Spirit of the Lord, and only Deborah’s story includes the “Israelites are terrible” formula. The notion of holy possession seems tied entirely with feats of military/personal strength, not with wisdom (if anything, the opposite is true since Jephthah makes is awful vow while possessed and Samson gets possessed more than anyone).

Judges 4-5: On the dangers of camping equipment

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Judges 4 and Judges 5 retell essentially the same story – that of our only female judge, Deborah. The story in Judge 4 is told in prose form, while the story in Judge 5 is a song/poem supposedly sung by two of the principle characters as a summary of the events that have recently transpired. In that sense, it’s quite like Miriam’s song in Exodus 15.

Since the two cover much of the same ground, I will be following the Judges 4 account and only reference Judges 5 as interests me at the relevant points in the story.

The story takes up after Ehud’s death (skipping over poor Shamgar and his ox-goad), when God sells the people into the hands of King Jabin of the Canaanites. King Jabin, as I am certain you recall, was killed by Joshua in Josh. 11:10-11.

But not so fast, contradiction thumpers! Claude Mariottini has an alternative explanation:

In Joshua 11:1-14 Jabin appears as the king of Hazor who formed a confederacy of Canaanite kings to fight against Joshua and the people of Israel. In Judges 4:2, Jabin appears as a king of Canaan whose kingdom was in Hazor. For this reason, scholars believe that Jabin was a throne name for the kings of Hazor.

Or, of course, it’s possible that the author(s) of Joshua simply ascribed to him all the heroic conquest-related deeds that they’d heard of, which included some that had originally been told of local heroes, called ‘judges’ in this book.

This King Jabin has been oppressing the Israelites for 20 years with the help of his commander, Sisera. It is Sisera who plays the part of arch-nemesis to our intrepid heroes in these chapters, and he is certainly a worthy opponent. We are told that Sisera had nine hundred iron chariots! Nine hundred! Iron chariots, if you’ll remember from Judges 1:19, are the super weapon that even an army with God on its side can’t stand against.

The Song of Deborah is a little less clear on the aggressor-victim dichotomy, perhaps having been spared, by virtue of its poetic flow, the editing hand that has been making all these heroic stories conform to the ‘a) the people sin, b) God leaves them, c) God takes pity, d) a judge rises, e) the judge brings peace, f) it all starts again’ narrative pattern.

And so we are told of God marching out, causing the mountains to quake before him. And we’re told of the caravans ceasing in the days of Shamgar (yes, he does get a mention in Judges 5, though the preceding chapter seems never to have heard of him), implying perhaps that it was the Israelites who were raiding caravans.

It’s not clear and, frankly, the language is so awkward that I had trouble following it. It’s Collins who clued me in that there might be a difference between the two accounts:

According to Judges 4, the Lord delivered Israel into the hand of King Jabin of Hazor. One might assume, then, that Jabin was the oppressor. The song in chapter 5, however, gives a different impression, as it boasts that the Israelites were successfully plundering the caravan routes. The battle that ensued was not a war of liberation but simply a clash between two groups that had competing economic interests. (A Short Introduction to the Hebrew Bible, p. 110)

Enter Deborah

We are told of Deborah, Ephraimite prophetess and the wife of Lappidoth. We are told that she was “judging Israel at that time” (Judges 4:4) from under a palm between Ramah and Bethel, where the people would come to her for judgement.

I noted as I was reading that the situation looks just like a government seating, in which a leader (a king, chief, or elder) would hear petitions and arbitrate. But it struck me that this was being done under a palm tree – not in a courthouse, or a divan, or even at the city gates.

It changed the tone, and the image I got was less “sanctioned official of the law” and more “wise woman in the woods who has popular authority but not legal authority.” Claude Mariottini seems to agree:

Since Deborah would not have fit into the traditional social and legal structures of Israel and since she could not act as a judge at the city gate, she probably performed her role at another place and in another setting: under a palm tree.

It’s strange, both that she is unique as a female judge and that she seems to be operating outside of the normal social structure. In the words of God himself:

Verily, I have never divined what it was about the ancient Jews’ rigidly patriarchal polygamous society that made it so hard for its female chattel to succeed therein; Especially since women were regarded as clean, uncursed, and fit to appear in public nearly three-quarters of the time. (The Last Testament, Javerbaum. p.120)

Deborah summons Barak, a military leader. Whatever her seat under the palm tree may suggest, her ability to muster Israel’s armies certainly does give her an aura of formally recognized authority.

When she summons Barak son of Abinoam, of the tribe of Naphtali, she tells him in the prose version to gather together soldiers from Naphtali and Zebulun.

In the verse, she has him summon Ephraim, Benjamin, Machir (apparently another name for Manasseh), Zebulun, Issachar, and Naphtali. The Transjordan tribes, Reuben and Gilead (apparently another name for Gad), and the coastal tribes of Dan and Asher refused to come. Judah, Simeon, and Levi get no mention at all.

And then there’s Meroz. According to Collins:

The song singles out the otherwise unknown Meroz to be cursed, because its inhabitants did not come to the aid of the Lord. The song suggests that there was an alliance of tribes who worshipped YHWH. There was some obligation of mutual defense, but there are no sanctions against the tribes that did not show up, with the exception of Meroz (which may not have been a tribe at all). The alliance did not extend to all twelve tribes. The omission of Judah is significant. The bond between Judah and the northern tribes was weak, and this eventually led to the separation of the two kingdoms after the death of Solomon.

Judah is included in the Blessing of Moses in Deuteronomy 33, but there Simeon is missing. It would seem that the number twelve was not as stable in the premonarchic period as is often supposed. (A Short Introduction to the Hebrew Bible, p.104)

As long as you follow

When given his instructions, Barak is unsure. He says: “If you will go with me, I will go; but if you will not go with me, I will not go” (Judges 4:8).

According to Claude Mariottini, all of this has to do with the belief that God is with Deborah:

Barak was so convinced that Deborah was sent by God that he refused to go into battle without her presence, since her presence with the army would insure the presence of God with Israel and victory against the enemies.

In response, Deborah agrees to go, but she tells Barak that “the road on which you are going will not lead to your glory, for the Lord will sell Sisera into the hand of a woman” (Judges 4:9). This, according to Mariottini, is so unthinkable that it would constitute proof that God really was involved in the victory.

It’s strange, because my impression when reading was the tonal opposite of what Mariottini sees. In my mind, Barak’s request that Deborah come along was a challenge – he was essentially challenging her legitimacy as a leader when, as a woman, she would not even be going into battle. She rebukes him, not only agreeing to go into battle, but then also taking away (by virtue of her connections with the Big Office) his glory in the endeavour, putting the victory into female hands.

It was the “the road on which you are going” phrasing that framed it for me, I think. What could that refer to, if not to Barak’s questioning of God/Deborah’s will in the matter, and his imposition of conditions upon his obedience to God/Deborah’s command?

Either way, they head off with their army (whatever its tribal composition), and Sisera takes the bait. In the Judges 5 version, a storm causes the Kishon river to sweep away Sisera’s army (presumably miring those terrifying iron chariots).

Seeing the tide of battle and river turn against him, Sisera jumps down from his chariot and runs off on foot.

In Jael’s tent

We are told of Heber the Kenite. Here, again, we are told that the Kenites are descended from Moses’s father-in-law (here called Hobab, which agrees with Num. 10:29. He is called Reuel in Exod. 2:18-21, and Jethro in Exod. 3:1, 4:18, 18:1, and 18:5). This matches their stated origin in Judges 1:16, though it creates problems in light of their clearly pre-dating Hobab (as they were mentioned in Gen. 15:18-21).

Jael and Sisera, by Artemisia Gentileschi

Jael and Sisera, by Artemisia Gentileschi

This Heber has separated from the rest of the Kenites and settled near Kedesh, where the battle is taking place. We are told, also, that there was peace between Heber and King Jabin, so when Sisera saw their camp, he must have thought that he would find asylum.

Instead of meeting Heber, however, he met Heber’s wife, Jael. She invites him into her tent and, in the Judges 4 version, hides him under a rug.

Before long, Sisera asks her for a drink of water, and she brings him milk instead (in both version of the story). In the poetic version, she also brings him “curds in a lordly bowl” (Judges 5:25). Sisera then asks her to stand guard at the door and to tell anyone who asks that she is alone.

In Judges 4, Sisera is exhausted (presumably from his battle and subsequent flight from such), and he falls asleep. Jael takes the opportunity to jam a tent peg into his skull with a hammer so hard that the peg comes out the other side and is driven into the ground. Even more badass, she apparently does it while he is awake in the Judges 5:27 account.

Having murdered Sisera, Jael goes out to meet Barak and shows him the body. For this, she is the “most blessed of women” (Judges 5:24), and fulfils Deborah’s earlier prophecy.

There are a few difficulties with Jael’s story. For one thing, I’m pretty sure that murdering their military commander qualifies as a violation of a peace agreement. Not only that, but she murdered a guest in her home – something that seems rather clearly to be a huge no-no in her cultural milieu. It seems that she opportunistically chose to back the winners. None of this is addressed in the text, she is simply lauded for her actions. It’s hard to wonder how this could be, except that her actions benefit Israel.

Claude Mariottini takes a different view:

However, Sisera’s action was a violation of Ancient Near Eastern traditions. Sisera’s action was a violation of Heber’s family and dishonored Jael by entering her tent. As a man, Sisera should had approached Heber and not his wife.

[…]

From the perspective of the writer of Judges, Jael’s action was justified. Since Sisera had already violated Jael’s honor, Jael’s act could be seen as a vindication of her honor. The killing of Sisera was one way by which she eliminated the threat to her clan and avenged the violation of her tent.

Sisera’s mother

The final portion of the story is mentioned only in the Judges 5 poetic version: We get Sisera’s mother fretting that her son still hasn’t returned, but comforting herself by imagining that he must be busy dividing the spoils – and, she thinks, “a maiden or two for every man” (Judges 5:30).

It’s rather horrendous that a woman is thinking so callously of the abuse and rape that she imagines others of her gender must presently be subjected to. Of course, in the poem, I suppose it’s meant to be funny – while she imagines her son nailing some captive women, it is in fact a woman who is nailing him.

The poem ends with her thinking about all the lovely spoils that her son will be bringing back for her.

Final notes

Claude Mariottini pointed out something interesting: that the only two women we’ve seen called prophets so far – Deborah and Miriam – both have songs. Deborah’s is, of course, in Judges 5, and Miriam’s is in Exodus 15.

I notice, also, that both songs seem to be quite a bit older than texts surrounding them, and that both appear to be somewhat fragmentary. It’s interesting to consider that perhaps Canaanite culture was once far more female-friendly, and that the strongly patriarchal elements came later. Perhaps.

I should also mention that Claude Mariottini (who has clearly been a huge help to me in my reading of these two chapters!) has a post about the use of the term “judge” in this book – what it does mean, what it doesn’t mean, and what it may mean. If I tried to explain it here, I’d only be quoting the whole thing, so I’ll link to it instead.

Lastly, Jeremy Myers has a post up on Till He Comes that asks whether the Song of Deborah in Judges 5 might not be sexually suggestive. He uses a translation that is quite different from mine, but largely focuses on the juxtaposition between Jael “penetrating” Sisera (with a phallic tent peg) and Sisera’s mother guessing that he must be running late because he’s so busy “penetrating” all those lovely captive ladies.

Genesis 35: The Death of Rachel and Isaac, the Birth of Benjamin, and Incest

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This is one of those chapters where the authors really want to move on to the next interesting episode, but feel the need to cover a few plot points first. Due to lack of interest, they plough through at an inappropriate speed.

God tells Jacob (who is still being called Jacob for some reason, despite having been renamed in Genesis 32) to go to Bethel and to make an altar to God there. So Jacob instructs his household to “put away the foreign gods that are among you, and purify yourselves” (Gen. 35:2). This raises the question of how many gods are supposed to exist. I realize that the word “gods” in this context probably refers to idols, but there’s no indication that they are false idols. It seems far more consistent with the text to interpret God as the tribal god of Jacob’s people, one of many gods. Certainly, his frequent reference to a heavenly “we” would suggest this interpretation.

So they take all their gods, as well as their earrings (earrings, according to my study bible, being magical amulets that belonged to foreign idolatry), and bury them under a tree.

Jacob had previously been concerned that the Canaanites would be pretty angry given his sons’ slaughter of the Shechemites, so God causes a “terror”to fall upon the cities along their path (Gen. 35:5). Does that make God the original terrorist?

In case, Jacob arrives at Luz – which is called Luz (although there is a note in the text saying that, by Luz, they actually mean Bethel) here, despite being called Bethel earlier in this chapter (Gen. 35:1) and having renamed it Bethel in Genesis 28:19. This is all in addition to the fact that it was simply called Bethel in Genesis 12:8 and 13:3. There is a little note in the text indicating that, by Luz, they actually mean Bethel. So why not just call it Bethel? This, folks, is why you should always get a proofreader when starting a religion!

None of this really matters anyway because Jacob renames the place again to Elbethel (Gen. 35:7).

While they were there, we’re told that Rebekah’s nurse, Deborah, died.

Renamed… again

God appears to Jacob again and says: “Your name is Jacob; no longer shall your name be called Jacob, but Israel shall be your name” (Genesis 35:10). Perhaps God felt the need to do this because the name didn’t really stick the first time.

God goes into his whole benediction again, telling Jacob that he shall be the father of nations and kings, and he shall have all the land that’s been given to Abraham and Isaac. To commemorate the occasion, Jacob (yes, he’s still being called Jacob) decides to call the place Bethel.

No, really. I couldn’t make this up if I tried.

Rachel dies

The Death of Rachel by Francesco Furini

The Death of Rachel by Francesco Furini

The household gets back on the road when Rachel goes into labour. The labour is hard, but she’s able to name her baby Benoni, or Son of my sorrow. “But his father called his name Benjamin” (Gen. 35:18), or Son of the right hand or Son of the South.

Now, okay, granted that Benjamin is a good deal chipper than Benoni. I’ll definitely let Jacob have that. But when your wife dies giving birth to your child and, with her dying breath, tells you what to name him, proper decorum dictates that you keep that name. Seriously.

And the way the episode is presented, with Rachel naming the baby literally with her dying breath, “but his father called his name Benjamin.” Just like that. Abrupt, and totally without consideration for his wife’s (his favourite wife) wishes.

Jacob, who suddenly switches back to being called Israel, moves on both literally and figuratively.

Oh, also, Reuben totally sleeps with his step-mom Bilhah and Israel hears about it. BAM!

We’re given another list of Jacob’s wives and kids, with Benjamin included. Then Isaac dies and Esau and Jacob (back to Jacob) bury him.

The end.