Biblical Narrative and the Death of the Rhapsode (Indiana by Professor Robert S. Kawashima

By Professor Robert S. Kawashima

Trained via literary thought and Homeric scholarship in addition to biblical reports, Biblical Narrative and the dying of the Rhapsode sheds new gentle at the Hebrew Bible and, extra commonly, at the probabilities of narrative shape. Robert S. Kawashima compares the narratives of the Hebrew Bible with Homeric and Ugaritic epic which will account for the "novelty" of biblical prose narrative. lengthy sooner than Herodotus or Homer, Israelite writers practiced an cutting edge narrative paintings, which expected the trendy novelist's craft. even though their paintings is undeniably associated with the linguistic culture of the Ugaritic narrative poems, there are major modifications among the our bodies of labor. Kawashima perspectives biblical narrative because the results of a particularly written verbal artwork that we should always counterpose to the oral-traditional paintings of epic. past this strictly historic thesis, the examine has theoretical implications for the learn of narrative, literature, and oral tradition.Indiana stories in Biblical Literature -- Herbert Marks, basic Editor

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All of these supplementary details, however trivial, serve a single end. They actualize, they help to convey the reconstruction on which the historian has decided. Again, they are functional, and not at all fancifully creative” (“Israelite Historian,” 396). Nonetheless, while the writer may stay within the bounds of what he deems historical fact, to “actualize” and “convey” a historical “reconstruction” is, I suggest, to exercise, albeit on a limited scale, the imaginative impulse of ¤ction. For, close as this prose writer sticks to his source, the poem has nothing to say about motive, character, and dialogue.

20 Biblical Narrative and the Death of the Rhapsode Without the story to prop it up, much of the song’s underlying fabula would be lost. In an instructive contrast, the story stands quite well on its own, the song merely providing an effective but unnecessary complement. 14 In addition to this observation of genre, however, one must also consider the logical structure of the poem, which presupposes a great deal of knowledge. That modern readers often harmonize the two accounts, speci¤cally using the story to ¤ll in the song’s gaps, only con¤rms this judgment.

He justi¤es this attack and reinforces the emergent relationship between Sisera and Jael by devising the blanket scene. At the same time, he further develops the motif of milk. 47 In any case, I think one can see how even the story’s innovations may have sprouted from seeds already planted in the song. Finally, I wish to consider the conclusion of the story over against that of the song. The song ends, of course, with a brilliantly effective scene in which Sisera’s mother sits by the window, anxiously awaiting her son’s return (5:28–30).

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