Which Ten Commandments?

The Ten Commandments have been in the news quite a bit since the recent ruling of the Supreme Court of the United States. It has been noted by a number of news agencies — and the Supreme Court decision itself — that the Ten Commandments are actually listed in two places in the Hebrew Bible (Exodus 20 and Deuteronomy 5) with a number of variations, and — more significantly — that there are actually different enumerations of the Ten Commandments depending on which religious tradition you turn to (see, for instance, the article “Which faith’s Ten Commandments is court talking about, and does it matter?” or “The Commandment Mystery“). So while there are always Ten Commandments, you need to know what tradition someone is following if they confess to breaking number five as it may make the difference between whether of not you need to phone the police!

Part of the problem is that the Commandments are not numbered in the biblical text. The title “Ten Commandments” is derived by the reference to ‏עֲשֶׂ֖רֶת הַדְּבָרִֽים “ten words” in Exod 34:28 (see also Deut 4:13; 10:4). Thus, there have developed different ways of dividing the Commandments into ten. It is typically noted that there are three different enumerations of the Ten Commandments: (1) Modern Jewish, (2) Roman Catholic/Lutheran, and (3) Reformed and Evangelical Protestant/Eastern Orthodox.

Tradition 1
(Modern Jewish)
Tradition 2
(Roman Catholic, Lutheran)
Tradition 3
(Reform and Evangelical Protestant, Eastern Orthodox)
1 “I am the Lord…” “No other gods… idols” “No other Gods”
2 “No other gods… idols” “No wrongful use of the name” “Shall not make idols”
3 “No wrongful use of the name” “Observe Sabbath day” “No wrongful use of the name”
4 “Observe Sabbath day” “Honour father and mother” “Observe Sabbath day”
5 “Honour father and mother” “You shall not murder” “Honour father and mother”
6 “You shall not murder” “Nor shall you commit adultery” “You shall not murder”
7 “Nor shall you commit adultery” “Nor shall you steal” “Nor shall you commit adultery”
8 “Nor shall you steal” “Nor shall you bear false witness” “Nor shall you steal”
9 “Nor shall you bear false witness” “Nor shall you covet wife” “Nor shall you bear false witness”
10 “Nor shall you covet” “Nor shall you covet house” “Nor shall you covet”

What is typically not noted by these news stories is that these different enumerations all have their basis in Jewish tradition. In fact, all three divisions are displayed simultaneously by the cantillation of the Hebrew Masoretic text (see, for example, Exod 20:2 and Deut 5:6 in BHS where ‏‏ עֲבָדִֽ֑ים has both an atnach and a silluq).

  • Tradition 1. The first enumeration often noted is the contemporary Jewish division, which has the first verse “I am the Lord your God” as the first commandment, while the commands to “have no other gods” and “no idols” are combined to make the second commandment. This division is supported by the “upper accentuation” tradition, which treats each commandment as a complete verse. This division creates a nice pattern with five positive and five negative commandments.
  • Tradition 2. The second way of dividing the commandments is followed by the Roman Catholic and some Anglican and Lutheran churches. In this enumeration the commandments “have no other gods” and “no idols” form the first commandment, while the last two commandments are “do not covet wife” and “do not covet house, etc.” St. Augustine is often credited with this tradition (see his Quæstionum in Heptateuchum libri VII, Book II, Question lxxi), though it is supported by the Masoretic division of the pericope into open (ס) and closed (פ) paragraphs. The first sub-section occurs at Exod 20: 6 and Deut 5:10, encompassing the first two commandments, while the two laws concerning coveting are divided at Deut 5:21.
  • Tradition 3. The third and final tradition of dividing the commandments follows the “lower accentuation” of the text which divides the text into equal length verses. This tradition is arguably the oldest, being followed by Philo in his De Decalogo and Josephus, as well as the church fathers. Today it is followed by the Reformed Christian, Evangelical, and Greek Orthodox churches.

So while the different enumerations not only reflect differences among religious groups today, they also all go back to varying Jewish traditions in antiquity. So the question, “Which Ten Commandments?” is not as easy to answer as you may first think! No matter what enumeration you follow, the bigger issue revolves around whether or not it is desireable or even possible to observe them! But that issue requires another blog entry….

Note: The issue of the division of the Ten Commandments is far more complex than I was able to represent here. For more information, see the following excellent collection of essays: The Ten Commandments in History and Tradition (Ben-Zion Segal, ed.; Jerusalem: Magnes Press, 1990).

The Septuagint Psalm Superscriptions (Part 2) Personal Names and Notions of Authorship

There are a total of 37 places where the LXX Psalter has either additions (13x) or expansions (24x) to the superscripts in comparison to the MT Psalter. While these may be classified in a number of ways, I will discuss them under four headings: personal names; genre designations, liturgical notices, and situational ascriptions. This blog entry will focus on personal names. (Note: Chapter and verse references are to the MT with the LXX indicated in parentheses).

Personal Names in the LXX Psalm Superscriptions

In the MT many of the psalms have references to personal names in the superscripts (typically with the preposition ל l). Seventy three psalms contain David; others have Asaph (12x; Pss 50; 73–83); the sons of Korah (11x; Pss 42; 44-49; 84-85; 87-88); Solomon (Pss 72; 127); Ethan (Ps 89), Heman (Ps 88), Moses (Ps 90), and possibly Jeduthun (Pss 39; 62; 77). With rare exceptions, the construction lamed + name is rendered with an articular dative. This includes all of the Asaph psalms and virtually all of the Korahite psalms (there are two contested cases where υπεÏ? + genitive is used: Ps 46(45) and 47(46)). In connection with the David psalms, Pietersma has argued that the six places that Rahlfs uses a genitive in his lemma text should be read as datives. Of the two psalms with Solomon in their titles, one is translated by a dative (Ps 127(126)), while the other is rendered by εις Σαλωμων “for Solomon” (Ps 72(71)).

David in the Septuagint Psalter
In the LXX there are a number of instances where personal names are added, including Jeremiah and Ezekiel in Ps 65(64); Haggai and Zechariah in Ps 146(145); 147:1-11(146); 147:12-20(147); and 148. Most of the changes in personal names, however, relate to David, the “sweet psalmist of Israel.” In 13 cases the LXX adds a reference to David (Pss 33(32); 43(42); 71(70); 91(90); 93(92); 94(93); 95(94); 96(95); 97(96); 98(97); 99(98); 104(103); 137(136). (I should also note that there are two instances where references to David are omitted in the Greek tradition: Pss 122(121) and 124(123)). In all but one instance (Ps 98(97)), the LXX adds this association to psalms that are untitled in the MT. The question that immediately comes to mind are whether these additions reflect a different Hebrew text or are the product of transmission history. Unfortunately, it is difficult to gain any critical purchase on this question since Ï„á¿· Δαυιδ is the default rendering of לדוד. In three cases it is more than likely that the additions reflect a different Hebrew text, as there is textual evidence to support the variant reading, whether among a few Masoretic texts (43(42)), or among the DSS (e.g., 11QPsq has לדוד in Ps 33(32); and 11QPsa and 4QPse also have לדויד in Ps 104(103).

The remaining ten instances are more difficult to access. Al Pietersma, in his study “David in the Greek Psalms” (VT 30 (1980) 213-226), suggests that the Davidic references in Pss 71(70); 91(90); 93(92); 95(94); 96(95); and 97(96); may be called into question because other elements of the LXX superscripts are clearly secondary. While this is essentially a “guilty by association” argument, it’s the best we can do considering the evidence. This leaves four superscripts that add an association with David: Pss 94(93); 98(97); 99(98); and 137(136). It is almost impossible to make any determination with Ps 94(93), as the superscript is uncontested. As a royal psalm, it may be understandable why Ps 98(97) would attract a Davidic superscript, though this does not help explain Ps 99(98) (contra Pietersma). The only superscript where some judgment may be made is Ps 137(136). There is quite a bit of variation among the textual witnesses, with many of them including an ascription to Jeremiah, and some conflating the two and associating the psalm with David and Jeremiah. The textual rivalry between David and Jeremiah could be an indication that the psalm was originally untitled, as it is in the MT tradition and Qumran.

Jeremiah & Ezekiel in the Septuagint Psalter
As noted above, some Greek texts of Ps 137(136) include a reference to Jeremiah in their superscripts. The association with Jeremiah in the Greek tradition is perhaps understandable considering the psalm’s exilic setting, though according to biblical tradition Jeremiah never goes to Babylon. There is a tradition, however, that places Jeremiah in Babylon. In fact, 4Baruch 7:33-36 Ps 137(136):3-4 is actually put into the mouth of Jeremiah. The text reads as follows:

For I [Jeremiah] say to you that the whole time we have been here, they have oppressed us, saying “Sing us a song from the songs of Zion, the song of your God.” And we say to them, “How can we sing to you, being in a foreign land?”

While there is a possibility that the superscript led to 4Baruch making the association, it seems more plausible the other way around because 4Baruch has Jeremiah in Babylon, where singing the psalm makes sense. In addition, in 4Baruch there is no indication that Jeremiah is quoting Scripture.

The reference to Jeremiah in Ps 137(136) is not the only one found in the LXX Psalter. The prophets Jeremiah and Ezekiel are mentioned together in Ps 65(64). The full superscript reads as follows:

εἰς τὸ τέλος ψαλμὸς Ï„á¿· Δαυιδ ᾠδή ΙεÏ?εμιου καὶ Ιεζεκιηλ á¼?κ τοῦ λόγου τῆς παÏ?οικίας ὅτε ἔμελλον á¼?κποÏ?εύεσθαι
To the end. A psalm for David. A song. Of Jeremiah and Ezekiel from the account of the sojourning community, when they were about to go out.

The superscript is somewhat contested, though Rahlfs considered it OG. What is interesting about this superscript, is that like the previous example, there is a double association: a connection with David and with Jeremiah and Ezekiel. Unlike the previous example, it is not clear what triggered the association with Jeremiah and Ezekiel. Within the psalm itself there are no explicit connections with these prophets or the return from exile in general. The reference to “Zion” and the addition of “Jerusalem” in v. 2 may suggest this is one of the “songs of Zion” mentioned in Ps 137. While these (and others I won’t bore you with) readings of the Greek translation may provide some clues as to why the association was made, it is more certain that the association is due to an inner-Greek development rather than a different Hebrew parent text. This is almost certain due to the fact that the superscript employs the atypical conjunction ὅτε, and that the grammatical construction of the modal μελλω (“about to”) plus a complementary infinitive is never found elsewhere in the LXX Psalter, and thus is not congruent with the translator’s technique.

Haggai & Zechariah in the Septuagint Psalter
The final two individuals that we meet unexpectedly in the superscript of the LXX Psalter are the post-exilic prophets Haggai and Zechariah. Ps 146(145); 147:1-11(146); 147:12-20(147); and 148 all include Αλληλουια, Αγγαιου καὶ ΖαχαÏ?ιου “Hallelujah. Of Haggai and Zechariah” (or “A Hallelujah of…”). If you look beyond Rahlfs’ text, then Haggai and Zechariah also show up in Ps 149 and 150, as well as 111(110), 112(111), and even 138(137) and 139(138). Of courses, not all attestations are as strong textually, though it is interesting to note how the tradition surrounding Haggai and Zechariah grew.

How the association of Haggai and Zechariah with these psalms arose is a perplexing question. F. W. Mozley (The Psalter of the Church, Cambridge University Press, 1905, p. 188), conjectures that Haggai and Zechariah were compilers of a small collection of psalms from which these psalms were taken. While that may be the case, a more plausible solution may be to look in these psalms for connections to the post-exilic community. Both Martin Rösel (“Die Psalmüberschriften Des Septuaginta-Psalters,” in Der Septuaginta-Psalter, Herder, 2001, pp. 125-148) and Al Pietersma (“Exegesis and Liturgy in the Superscriptions of the Greek Psalter,” in X Congress of the IOSCS, Oslo 1998, Society of Biblical Literature, 2001, pp. 99-138) appeal to Psalm 147(146) as the text that triggered the initial association. Verse 2 in the LXX has an explicit reference to the return from exile. The texts read as follows:

οἰκοδομῶν ΙεÏ?ουσαλημ á½? κÏ?Ï?ιος καὶ Ï„á½°Ï‚ διασποÏ?á½°Ï‚ τοῦ ΙσÏ?αηλ á¼?πισυνάξει
The Lord is the one who (re)builds Jerusalem; and he will gather the dispersed [diaspora] of Israel

The translation of the Nif’al participle from נדח “drive away” by διασποÏ?α is atypical. Elsewhere the translator renders נדח by εξωθεω“to expelâ€? (5:11) or απωθεομαι “expel, banish” (62[61]:5). Rather than these more general terms, in the passage under question he employs a technical term for the exilic dispersion, διασποÏ?α. Perhaps significant, is the fact that this term also shows up in some witnesses in connection with Zechariah in the superscript to Ps 139(138). This reference to the exilic dispersion in Ps 147 may have spawned the initial association with two prominent figures of the return, Haggai and Zechariah, which then expanded to include other psalms. The fact that the names are in the genitive may suggest these superscripts are products of transmission history, as it is unclear what the Hebrew text could have read to produce such a translation (If the Hebrew was lamed + name, then you would expect an article in the Greek, and there is no precedent for a construction “the hallelujah of Haggai and Zechariah”).

Personal Names and Authorship

One question that comes up in examining the LXX superscripts is how the translator understood the notion of authorship. Interestingly, it appears to be the case that the Greek translator (one of the earliest biblical interpreters) did not see the personal names in the superscripts as an indication of authorship, as a genitive construction would be expected. For example, Didymus the Blind (a 4th century Alexandrian theologian) makes the distinction in the Tura Psalms commentary in connection with Psalm 24:

(Ψαλμος τω δαυιδ): εις τον δαυιδ ο ψαλμος λεγεται αλλο γαÏ? εστιν “του δαυιδ” ειναι και αλλο “τω δαυιδ” λεγεται, οταν η αυτος αυτον πεποιηκως η ψαλλων. “αυτω” δε λεγεται, οταν εις αυτον φεÏ?ηται.
The psalm says “to David,” for others are “of David” and others “to David.” It says “of David,” when he made/wrote it or sang [it]. But it says “to him” when it was brought to him.

So while the Old Greek translation does not seem to indicate authorship, the growing trend in later witnesses is to spell out authorship explicitly by using the genitive. This suggests that the emphasis on individual authorship grew with time.

The evidence from the Greek Psalter fits nicely with a theory of Burton Mack’s I came across a number of years ago in an article entitled, “Under the Shadow of Moses: Authorship and Authority in Hellenistic Judaism” (SBL Seminar Papers 21 (1982) 299-318). In this article Mack argues that the interest in individual authorship only developed as Israel interacted with Hellenism. In the same way that the Greeks had their famous individuals, so too Judaism began to emphasize their own: Moses and the Pentateuch, Solomon and wisdom literature, and — as is clear from the Greek Psalms — David and the Psalter. The growing Davidic connection in the LXX Psalter is also paralleled in 11QPsa, where the prose piece notes that David composed over 4000 psalms “by the spirit of prophecy.”

Kidman and DiCaprio: Twins Separated at Birth?

It’s Saturday night, I’m tired (I helped a friend move all day today), so I thought I would post a light-hearted blog about my visit to the local Rogers Video. As I was looking through the new releases (and being rather uninspired) I couldn’t help by notice the similar DVD covers of a couple movies on adjacent shelves. The movies were The Aviator (2004) staring Leonardo DiCaprio and Birth (2004) starring Nicole Kidman (I wonder how her Old Testament studies are progressing?). I haven’t seen either movie, though I automatically wondered if DiCaprio and Kidman were twins who were separated at birth. I showed one of the workers (are they called associates?) and he too was intrigued. Take a look for yourself — note especially the furled eyebrows:


As it turns out, they are (probably) not twins since Kidman was born in 1967 in Honolulu, while DiCaprio was born in Hollywood in 1974… unless of course there is a conspiracy and the Internet Movie Database is in on it! (As an aside, I think that Kidman should be cast for the next Star Trek movie! She would look rather good as a Vulcan: she has the eyebrows and the ears wouldn’t take much work!)

Film and Social Awareness (Two Films about Rwanda and Scared Sacred)

I have personally found film to be an effective medium to portray truthfully the horrors of war, violence, intolerance, and raise the audience’s awareness of various social justice issues. Perhaps more than written news reports, film can be used to evoke a meaningful response on the part of its audience. Note that I am not thinking of those voyeuristic movies that portray violence and/or war in a gratuitous manner or only to arouse. There have been many films that have had a significant impact on the way I perceived the world. Off the top of my head I think of righteous indignation I felt while watching Daniel Day Lewis in In the Name of the Father (1993), or the anger I felt watching Mississippi Burning (1988) or the series of anti-apartheid films of the late 1980s and early 90s such as A Dry White Season (1989) and Cry Freedom (1987). These films caused me to become more aware of the social problems in our world and instilled in me a desire to stay informed and be involved. This has typically taken the form of supporting human rights organizations like Amnesty International and world relief organizations like World Vision, as well as trying to instill in my students an awareness of social justice issues.

More recently, I watched two disturbing films on the genocide that occurred in Rwanda over a period of one-hundred days in 1994: Hotel Rwanda (2004) and the documentary on the same subject Shake Hands with the Devil: The Journey of Roméo Dallaire (2004). While I would highly recommend both of these films, I found them difficult to watch. The news footage of the genocide in Shake hands with the Devil is disturbing, as is their dramatic recreation in Hotel Rwanda. I have real difficultly comprehending how humans can treat each other with such brutality. Also disturbing (and is especially highlighted in Shake hands with the Devil) is how the actions and/or inaction of different nations — especially the old colonial powers — helped create the horrible situation in Rwanda. Rwanda is one occasion when I wished the international community would have intervened rather than sitting on their collective hands!

Hotel Rwanda: Don Cheadle as Paul Rusesabagina, a hotel manager who would go on to save hundreds of lives during the Rwanda genocide in 1994. Nick Nolte plays Canadian Lieutenant-General Roméo Dallaire.

Shake Hands with the Devil: Canadian Lieutenant-General Roméo Dallaire at the Bisesero National Resistance Memorial, Rwanda

Just last Sunday I went to NFB Film Club screening of a new documentary called Scared Sacred. This documentary chronicled the director’s five-year pilgrimage (of sorts) to the world’s “ground zeros” to explore how people found hope admist the darkest moments of human history. Velcrow Ripper (yes, that’s his real name) travels to the toxic wasteland of Bhopal, India; the minefields of Cambodia; war-torn Afghanistan; post-9/11 New York; Bosnia; Hiroshima; Israel and Palestine, among other places. While the film itself has some wonderful cinematography and is quite moving, it has a decidedly Eastern religious bias and is superficial at times. I also objected to some of the ways people in the film tried to justify tragedy by appealing to some higher purpose. That being said, it is a film worth watching if it screens in your neighbourhood.

The Septuagint Psalm Superscriptions (Part 1)

I have been meaning to blog on some of my research on the Psalm superscriptions since I presented a paper at the Canadian Society of Biblical Studies annual meeting earlier this spring (see my summaries of the conference here, here, and here).

This will be the first of five posts on the Septuagint Psalm superscriptions that I will do over the next little while.

Superscripts in the Hebrew Masoretic Tradition

In the Hebrew Masoretic (MT) Psalter, 117 out of 150 psalms are preceded by a superscription, containing four possible types of information:

  1. Personal names (most often with the preposition ‏לְ ). Seventy three psalms contain David; other have Asaph (Pss 50; 73; 83); the sons of Korah (Pss 42; 44-49; 84-85; 87-88); Solomon (Pss 72; 127); Ethan (Ps 89), Heman (Ps 88), Moses (Ps 90), and possibly Jeduthun (Pss 39; 62; 77).
  2. “Genre” classifications (not form-critical genres), including non-technical (e.g., ‏ מִזְמוֹר “psalm” and ‏ שִׁ֥יר “song”; etc.) and technical terms (e.g.,‏ מִכְתָּ֥ם miktam, ‏מַשְׂכִּ֥יל maskil).
  3. Liturgical directions, including the phrase ‏לַמְנַצֵּ֥חַ “to the leader” (NRSV; “for the director of music,” NIV); and other obscure terms denoting melodies, musical instruments, and/or cultic procedures.
  4. Situational ascriptions relating individual psalms to David’s life (Pss 3; 7; 18; 34; 51; 52; 54; 56; 57; 59; 60; 63; 142).

The superscriptions are most likely not original to the psalms, but were added piecemeal before the compilation of the book. Some suggest the liturgical instructions may have been originally subscripts (cf. Hab 3:1, 19). The personal names in the superscripts reflect an old tradition and some of them may even denote actual authorship or perhaps more likely patronage (however, as we will see in my next installment, their first interpreters, i.e., the Greek translators of the Hebrew Psalter, did not understand the personal names as indicating authorship). David’s multiple associations with the origin of psalmody in Israel is very likely ancient (2 Sam 22:1-51; 1 Chron 16:7-43); though it also grew with time (the cross-references to David’s life in some superscripts are likely midrashic comments based upon this growing tradition). The primary significance for the superscripts is the light they shed on the composition and use of the book of Psalms in ancient Israel.

Superscripts in the Greek Septuagint

When one compares the superscripts of the MT and the Septuagint (LXX) one soon discovers a bewildering variety of differences, both qualitative and quantitative. By quantitative I mean actual differences in the superscripts — whether expansions, additions, or deletions — and by qualitative I mean differences in meaning in the translation. What I want to concentrate on are the quantitative differences. That is, the deletions, expansions, and additions found in the LXX superscripts. And the primary question that I want to pursue is what is the nature of the differences. That is, do they reflect a different Hebrew Vorlage [original] or are they inner-Greek developments? But before we move on to this discussion, I want to make two general observations on the character of the superscripts in the LXX.

One of the first things that you observe when examining the superscripts is that it is apparent that the translator had some difficulties with them. Frankly put, he just didn’t know what he was translating some of the time! His method of dealing with the terms he didn’t recognize varied. At times he relied on etymological renderings. So for instance, the translation of [probably a type of song in Hebrew] in 13 superscriptions is consistently rendered as συνέσεως “understanding” or “be prudent.” This equivalency is based on relating the Hebrew to the verbal root σύνεσις, “understand.” Other times, the translator employed (partial) transcriptions such as the rendering of ‏עַֽל־מָחֲלַ֗ת ; (“according to Mahalath” in NRSV) in Pss 53 and 88 are rendered ὑπὲρ μαελεθ. Other times the translator employed educated guesswork, such as the regular translation of ‏מְנַצֵּ֥חַ (“leader” NRSV or “director” BDB) as τὸ τέλος some 55 times in the Psalter. Here the translator evidently related the Heb to the nominal נֵצַח “eminence, enduring, everlastingness, perpetuity” (BDB). Despite the uncertainty that the translator had with his Vorlage, once he decided on an equivalence, he stuck with it. The titles (and to a lesser extent the translation as a whole) are a good example of a very formal — even stilted — translation. For instance, ‏לַמְנַצֵּ֥חַ— always gives rise to εἰς τὸ τέλος‚ “to the end,” ל+personal object is rendered as an articular dative (with the sole exception of לשלמה in Ps 72(71) which features Εἰς Σαλωμων instead), and על + object produces ὑπὲÏ? + genitive.

Second, once you dig a bit deeper into the superscripts, you notice that there is significantly more textual instability surrounding them compared with the rest of the translation. From a text-critical point of view, most of the quantitative differences in the superscripts are contested. More precisely, of the 24 expansions found in the LXX, 19 are contested and only 5 are uncontested; while the additions fair better with 10 uncontested and only three contested. Of course, just because an addition is not contested textually does not mean that it should be considered OG. The LXX is replete with examples of clearly secondary readings that have full textual support (The most famous is Psalm 14(13):3, which includes the text of Romans 3:13-18. This clearly was triggered by the fact that Paul quotes a chain of OT texts beginning with Ps 14(13):3 and them moving without comment to Ps 5.10, 139.4, 9,28; Isa 59:7, 8; Ps 35.2). What this does suggest is that the superscripts were treated with a bit more flexibility. This is likely because they were not considered as having the same authority as the text of the psalms themselves, but instead reflected an ongoing exegetical and liturgical (re)readings of the psalms. This conclusion is borne out by my analysis of the quantitative differences in the titles (that we’ll get to shortly), but also by later scribal practices that made a distinction between the superscripts and the body of the psalm.

My next blog on this topic will look at the additions and expansions including personal names in the Septuagint Psalter — at which point we’ll take a look particularly at the notion of authorship.

U2 and Africa

I am a huge fan of the Irish rock band U2. I realize this confession may make me a pop-culture Philistine in some biblio-blogger’s eyes — at least compared to the regular postings on Mozart, Bach, etc. by Jim West, Joe Cathay, and Michael Pahl (among other blogging luminaries). Be that as it may, I can say without qualification that U2 is my favourite band (there are many in second place). From their very first album Boy (1980) to their latest release How To Dismantle An Atomic Bomb (2004), I like all of their music. I have even appreciated their transformations throughout the years, including their Achtung Baby/Pop/Zooropa phase (which, BTW, I thought was a brilliant exposé of the superficiality of popular culture). I regularly use music, lyrics, and videos from U2 songs in my lectures as well as my sermons. Songs such as “Wake Up Dead Man” (Pop 1997) and “Yahweh” (Atomic Bomb 2004) are great examples of modern laments, while “Stuck in a Moment You Can’t Get Out Of” and “Walk On” (both from All that You Can’t Leave Behind 2000) are great expressions of (Christian) hope.

Perhaps more than anything else, however, I have appreciated U2’s prophetic voice and their ability to raise people’s social consciousness through their music. Songs such as “Sunday, Bloody Sunday” (War 1983; my favourite version is in the 1988 Rattle and Hum film), “Bullet the Blue Sky” (The Joshua Tree 1987), and “Love And Peace Or Else” (Atomic Bomb 2004) all convey a message that the world needs to hear. More than that, however, is the fact that the band also consistently backs up their words with actions. What compelled me to blog on U2 was the news story that U2 is going to be donating over six million euros to help fight poverty in Africa. Well done, boys! (Hopefully their generosity will be a model for all of us, including our over-paid “celebrities”)

UPDATE: In mentioning the musical tastes of other biblio-bloggers, I failed to note Ed Cook’s posts on Bob Dylan. (I also like Bob Dylan, though here I am showing my age since I know him more from his Travelling Willbury’s days!

War and Qohelet

Is there a time for war? I would argue that the list of 14 antitheses in chapter three of Qohelet are not presented as things that are all good or proper. In fact, the list alternates between what is desirable (birth, healing, peace, etc.) and undesirable (death, killing, war, etc.). But the point of the entire list is to show the hebel ‏הֲבֵל or absurdity of human existence “under heaven.” All of these things happen outside of human control and because everything is determined, there is no profit in human toil. Verse 11 is the key to the interpretation of this passage. The first phrase emphasizes the fact that God determines the time for everything, ‏ אֶת־הַכֹּל עָשָׂ֖ה יָפֶה בְעִתּוֹ “He brings everything to pass precisely at his time” (Note that I took referent of the possessive pronoun on “time” as God). The rest of the verse highlights the absurdity of human existence: while there is a time for everything, only God knows the timing: God has “put ‏הָעֹלָם in their hearts, yet they cannot find out what God has done from the beginning to the end.” The times are set and there is nothing that we can do about it. This unpleasant conclusion is that God has played a trick on all of us. He has implanted in us an awareness that of our inability to know. Our only compensation is that we can enjoy the good time — though note that even here it is a gift controlled by God. I don’t think that this list can be used to justify any human actions, whether the decision to enter into a war or to go dancing.

I object to ever describing war as “just, right, and/or good.” Sadly, war is a much too frequent reality in this radically fallen world, but that doesn’t mean it is ever good. War is a manifestation of evil and no matter what noble reasons one may have for waging war, the evil of war will pervade all who participate. A prime example of this would be World War II. If any war could be deemed a “justifiable” war, I would think it would be the one. That being said, the war in the Asia-Pacific theatre ended up with the U.S. dropping atomic bombs on civilian targets — which I would find difficult to ever consider “just, right, and good.” Thus, while war is a reality and perhaps even necessary for a nation to engage in once all other options have been exhausted, it is never a “good” option. If this is “quibbling” forgive me; I believe it is an important distinction.

In Memory of Prof. Nahum M. Sarna (1923-2005)

It was with some sadness that I read the news of Nahum Sarna’s death today (23 June 2005) on the Biblical Studies email list. Professor Sarna was former Chair in the Department of Near Eastern and Judaic Studies and Dora Golding Professor of Biblical Studies at Brandeis University. He was the author of many excellent scholarly and more popular volumes on the Psalms, Genesis, and Exodus, as well as editor and contributor of the JSP Bible Commentary. In his lifetime he made an amazing contribution to biblical studies and his insightful analysis and commentary will be missed, though will live on in his publications and the many individuals who had the privilege of studying with him.

I personally really appreciated his work on the book of Psalms and Genesis.

Here is a brief bibliography of his more significant books:

  • Sarna, Nahum M. Studies in Biblical Interpretation. JPS Scholars of Distinction Series.
    Jewish Publication Society, 2000. [An excellent collection of nearly thirty essays by Prof. Sarna on Torah, the Psalms, Prophets and Writings, and Biblical History.]

  • Sarna, Nahum M. On the Book of Psalms: Exploring the Prayers of Ancient Israel.
    New Edition. Schocken, 1995. [A sensitive and rigorous exploration of the Psalter.]

  • Sarna, Nahum M. Exodus: The Traditional Hebrew Text with the New JPS Translation.
    JPS Torah Commentary. Jewish Publication Society, 1991. [An awesome commentary on the book of Exodus]

  • Sarna, Nahum M. Genesis: The Traditional Hebrew Text with the New JPS Translation.
    JPS Torah Commentary. Jewish Publication Society, 1989. [An awesome commentary on the book of Genesis]

  • Sarna, Nahum M. Understanding Genesis.
    New Edition. Schocken, 1970. [A great little volume on the book of Genesis.]

Jesus in the Spring Journal of Religion and Popular Culture

The Spring 2005 issue of the Journal of Religion and Popular Culture has now been posted, and is available online here. Of potential interest to Jesus movie buffs is an article by Tammie Kennedy entitled "(Re)Presenting Mary Magdalene: A Feminist Reading of The Last Temptation of Christ." There is also a review of Richard Walsh’s book Reading the Gospels in the Dark: Portrayals of Jesus in Film (Harrisburg, PA: Trinity Press International, 2003) by Robert Cooke.

Dines, Septuagint Reviewed in RBL

Jim West over at Biblical Theology Blog noted some of the Hebrew Bible books in the latest Review of Biblical Literature, though he missed noting a significant book on the Septuagint:

Jennifer Dines, The Septuagint (T & T Clark, 2004).
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Reviewed by Frank Shaw

This volume by Dines is the most recent introduction published on the LXX. It is geared to more advanced students than Jobes and Silva’s Invitation to the Seputagint and has the added advantage of being able to interact with their work as well as Fernendez Marcos’s The Septuagint in Context: Introduction to the Greek Version of the Bible.

For more discussion of these and other works on the Septuagint, see my Resources Relating to the LXX page.