Tag Archives: Book of Genesis

Rendsburg on Genesis and Gilgamesh: Misunderstanding and Misrepresenting the Documentary Hypothesis (Part 2)

[Author’s note: I wrote this back in 2014, but decided to put in on the back burner for a bit, setting the publication clock five years ahead. The post below, which auto-published yesterday, is not actually finished. I will soon submit a third part to this series, with a summation and conclusions. taw]

Hieronymus Bosch - Noah's Ark on Mount Ararat ...
Hieronymus Bosch – Noah’s Ark on Mount Ararat (obverse) – WGA2574 (Photo credit: Wikipedia)

Rendsburg’s thesis

As we discussed in part 1, Gary Rendsburg believes that we shouldn’t try to divide the Genesis flood story based on supposed source documents, namely the Yahwist (J) and the Priestly (P) sources. He writes:

If one reads the two stories as separate entities, one will find that elements of a whole story are missing from either the J or the P version. Only when read as a whole does Genesis 6-8 read as a complete story, and — here is the most important point I wish to make — not only as a complete story, but as a narrative paralleling perfectly the Babylonian flood story tradition recorded in Gilgameš Tablet XI, point by point, and in the same order. Perfectly, that is, after taking into account elements found in the biblical narrative but lacking in the Babylonian story, indicated by a minus sign in the right hand column of the accompanying chart — given the distinctively Israelite theological position inherent to Genesis 6-8 . . .  (Rendsburg, 2004, p. 115-116)

We’ll save Rendsburg’s chart for the end. For now, let’s examine his argument closely and see if it holds up under close scrutiny.

Essentially, Rendsburg is offering a counter-argument to the consensus view that the redactor of Genesis pulled together two sources (J and P), which most likely both came from the earlier Babylonian and Sumerian myths. Instead, he maintains that the author of Genesis appropriated the flood story directly from the Gilgamesh epic, adding only those theological elements peculiar to the Israelite religion. His argument depends on proving the coherence and unity of the Genesis story, combined with the “perfect” correspondence between the order of events in Genesis and in Tablet XI of the Gilgamesh epic.

In his audio course on the book of Genesis, Rendsburg says:

Materials, dimensions, and decks

Now note that not only are all these [story] elements present, one by one, as we work through the two stories that we are comparing here, but that they are also in the same order. Now, in certain cases, of course, there is no opportunity for a variation in the order. That is to say, you have to build the ark before the flood comes, and the flood has to come before it lands on a mountain top, and so on. But even where there is room for variation, the two stories proceed, element by element, in the same order.

Let me give you an example of that. In the Gilgamesh story the materials, the dimensions, and the decks are given in that order; in the biblical story the materials, the dimensions, and the decks are given in that order. And of course, you may say, “Well, that’s perfectly logical — how else would you else would you instruct somebody to build a vessel?” But nevertheless, it’s still noteworthy. (Rendsburg, 2006a, 7:38, emphasis mine)

I have to confess that even if Rendsburg is correct, I don’t find his argument persuasive. Consider the possibility that the J and P source material both (independently) borrowed from the story of Utnapishtim or, for that matter, from the earlier story of Atrahasis. We could reasonably assume that each story would generally follow the same sequence, and that the redactor would have little reason to deviate from that sequence.

We should note here that with his presentation of the evidence Rendsburg is in fact trying to prove two points: first, that the flood story in Genesis is secondary to the older flood myths of Mesopotamia, and second, that the order of events in Noah’s flood tale “perfectly” parallel the events as told by Untapishtim in the Gilgamesh epic. Moreover, he argues, that perfect correspondence falls by the wayside if we try to split the Genesis story into its source components.

With all of that in mind, let’s examine his first claim, viz. that the two stories relate “materials, dimensions, and decks” in that order.  Sure enough, in Genesis here’s the order:

Materials
6:14 Make for yourself an ark of gopher wood; you shall make the ark with rooms, and shall cover it inside and out with pitch

Dimensions
6:15 This is how you shall make it: the length of the ark three hundred cubits, its breadth fifty cubits, and its height thirty cubits.

Decks
6:16 You shall make a window for the ark, and finish it to a cubit from the top; and set the door of the ark in the side of it; you shall make it with lower, second, and third decks. (NASB)

Now let’s take a look at the story as told by Utnapishtim. Ea does not directly tell our hero that a flood is coming. Rather, he talks to a reed hut, which just happens to be Utnapishtim’s dwelling. That is to say, he whispers through the wall of the hut in order to pass on his instructions. Ea says:

24. Tear down (thy) house, build a ship!
25. Abandon (thy) possessions, seek (to save) life!
26. Disregard (thy) goods, and save (thy) life!
27. [Cause to] go up into the ship the seed of all living creatures.

(Heidel, 1949, p. 81)

We already see significant differences between the two stories. God tells Noah to collect materials to build an ark, literally a box (similar to the “chest” built by Deucalion). On the other hand, Ea indirectly tells Utnapishtim to dismantle his house and build a ship.

In what order does Ea provide his ship-building instructions?

28. The ship which thou shalt build,
29. Its measurements shall be (accurately) measured;
30. Its width and its length shall be equal.
31. Cover it [li]ke the subterranean waters.’

(Heidel, 1949, p. 81, emphasis mine)

Ea is already discussing the dimensions and characteristics of the boat, but he hasn’t yet mentioned anything about materials. (We would remind Dr. Rendsburg that width and length are what we call “dimensions.”) In line 31 we have a clue that the boat will differ from ordinary in that it needs to be covered, presumably to keep out the coming torrential rains. Of course, since his job will be to save all life, Untapishtim’s boat will naturally need to be rather large.

We might theorize that if Utnapishtim will be using materials from his torn-down dwelling, reeds will be involved. Far from forests, the people of ancient Mesopotamia built their houses and boats out of reeds. In cases where they did use wood (e.g., for seagoing vessels), it was probably only for the keel, spars, oars, and punting poles. (See Mäkelä, 2002, for details on ancient shipbuilding in Mesopotamia.) That said, some scholars have suggested that the “water-stoppers” mentioned in line 63 refer to wedge-shaped chunks of wood driven into the seams to prevent leaking.

In fact, we have no explicit evidence of wood as a building material in the Gilgamesh epic, but we do have clues in the earlier Babylonian flood story from which it is derived. On tablet III, lines 48-51 we find:

The carpenter [carried his axe],
The reed-worker [carried his stone],
[The rich man? carried] the pitch,
The poor man [brought the materials needed].

(Foster, 1995, p. 72)
[Note: Some reconstructed texts of the Gilgamesh epic insert the lines concerning the carpenter and reed-worker above line 54. However, it is not actually part of the received text.]

Ea provides no more specifics on building the ship, although lines 50 through 53 are usually considered too fragmentary to translate. We do find out that pitch plays a role from line 54:

54. The child [brou]ght pitch,
55. (While) the strong brought [whatever else] was needful.

(Heidel, 1949, p. 82)

Utnapishtim then describes the measurements in greater detail:

56. On the fifth day [I] laid its framework.
57. One ikû [about an acre] was its floor space, one hundred and twenty cubits each was the height of its walls;
58. One hundred and twenty cubits measured each side of its decks.

(Heidel, 1949, p. 82)

So, what of Rendsburg’s claim that the two stories match perfectly when compare side by side? His first test case fails on the evidence. Ea does not follow the same pattern as God in Genesis. Indeed, we do not see references to “materials, dimensions, and decks . . . in that order.” Ea starts with a command to build a ship, and immediately starts talking about its dimensions (again, see lines 29 and 30).

As far as we can tell from the text, the god never talks about materials, presumably because Utnapishtim is building a known structure: a boat (albeit of unusual size). We do finally get references to “decks,” but not until line 58.

Wood, reeds, and pitch

Rendsburg desperately wants to find perfect correspondence — so much so that he insists on a rather unusual translation of Genesis 6:14. He writes in the course guide:

Note that all translations agree on two of the building materials for the ark: wood and pitch. The third item is the subject of some discussion, however. The consonants in the biblical text, namely, QNYM, can be read as either qinnim, “rooms, compartments” (thus the traditional rendering), or qanim, “reeds” (thus some recent translations). We favor the latter understanding, especially because reeds constitute the third building material in the Gilgamesh Epic flood narrative. (Rendsburg, 2006b, p. 16)

I won’t try to argue Hebrew with Rendsburg. I will only mention the following two points:

  1. The translation of the word in the text as “reeds” rather than “rooms” is exceedingly rare. No major translation in English uses it. In fact, other than the Everett Fox translation and commentary that Rendsburg cites, I know of no other translation that uses it.
  2. If we go with “compartments” (as the vast majority of translators do), we still have a viable parallel in the Gilgamesh epic, namely:

59. I ‘laid the shape’ of the outside (and) fashioned it [the ship]. 
60. Six (lower) decks I built into it,
61. (Thus) dividing (it) into seven (stories).
62. Its ground plan I divided into nine (sections).

(Heidel, 1949, p. 82, emphasis mine)

Hence, we have good reason to believe that the author of the P source inherited the tradition that the ship (or in his case, the ark) that saved all animal life had various sections or compartments.

Mountain landing, then birds

Where else might we find the perfect correspondence that Rendsburg craves? He continues (in his lecture):

Perhaps at the end is where we can see the room for some variation. That is to say, it might have been to send out the birds first, and then have the ark to land on a mountaintop. But no, in both stories the mountaintop landing occurs first, and then the birds are sent forth. (Rendsburg, 2006, 8:27)

In print, Rendsburg concedes the alternative order is improbable.

I agree that such an order of events is far less likely than the order which appears in the biblical narrative. but it is possible nonetheless. It is therefore pertinent to point out that Genesis 8 parallels the Babylonian flood story, with the mountain top landing preceding the sending forth of the birds. (Rendsburg, 2007, p. 117)

I would argue that it simply makes more narrative sense for the flood hero to realize they’ve come to a stop, wonder about where they might be and whether it’s safe to leave, and only then hit upon the idea of using the birds. In other words, the mountain landing causes Noah and Utnapishtim to send out the birds. Hermann Gunkel comments:

The following, lovingly presented scene (6b- 12, 13b) has the goal of portraying the exceedingly great wisdom of Noah. No one in the Ark knows where they are and how things look outside. No one dares open the door—great streams of water could surge in—or take off the roof—the rain could begin again. One can look out the window, but through it one sees only the heavens above. What shall one do? How shall one learn whether the earth is dry? In this difficult situation the clever Noah knows a means. If one cannot exit oneself, one can send the birds to reconnoiter. “It was an old nautical practice, indispensable in a time which did not know the compass, to bring birds along to be released on the high seas so that the direction to land could be determined by their flight” [quoting Hermann Usener in Die Sintfluthsagen] . . . (Gunkel, 1997, p. 64, emphasis mine)

Liberation, then sacrifice

We have saved for last what Rendsburg considers his strongest argument. Again, from his audio course:

And most importantly, I think the place for . . . the best possibility of variation is the very, very end of the story where it’s very possible that the flood hero — Noah or Utnapishtim — could have done the sacrifices before letting everybody go free. But no, in both stories all are set free, and then the sacrifices occur. So I repeat the statement here: Element by element the two stories — the Gilgamesh Epic, Tablet XI (the Babylonian flood tradition), and the biblical story with Noah as its hero in Genesis 6 through 8 — tell the tale one by one, element by element in the same order. (Rendsburg, 2006a, 8:45)

He really does think it’s his strongest argument. In his 2004 article he wrote:

I refer especially to the end of the story, where both Noah and Utnapishtim could have performed the sacrifices first. While all were still on the ark, and only later everyone free. But in both cases the order is first to set everyone free and then to perform the sacrifices. In Noah’s case, in fact, the order is counterintuitive. If he first set all the animals free and then performed the sacrifices, as the story now reads, one might ask. What happened? Did he call the pure animals back in order to sacrifice them? (Rendsburg, 2004, p. 117)

Obviously, the implication is clear: Noah set all the animals free, except for the handful which he intended to sacrifice. But my point is this: if the redactor had before him two stories, the supposed J account and the supposed P account, the former including the sacrifices and the latter including the hero’s setting everyone free, I would imagine that the redactor would have woven his story with these two elements in that order the sacrifices first, while the animals were still present, and then the setting of everyone free. But such is not the case. At the end of Genesis 8. Noah first sets the animals free and then performs the sacrifices.

 


Sources

Foster, Benjamin R.

From Distant Days: Myths, Tales, and Poetry of Ancient Mesopotamia, CDL Press, 1995

Gunkel, Hermann

Genesis [Translated and Interpreted by Hermann Gunkel], trans. Biddle, Mercer University Press, 1997 (English translation of 1910 edition)

Heidel, Alexander

The Gilgamesh Epic and Old Testament Parallels, The University of Chicago Press, 1949

Mäkelä, Tommi Tapani

Ships and Shipbuilding in Mesopotamia (PDF),” Texas A&M University Graduate Thesis, 2002

Rendsburg, Gary

“The Biblical Flood Story in Light of the Gilgameš Flood Account,” pp. 115-127, Gilgamesh and the World of Assyria, ed. Azize J., Weeks N., Peeters, 2007

“Genesis 6-8, The Flood Story (Lecture 7),” The Book of Genesis, The Great Courses, 2006a

“Lecture 7: Genesis 6-8, The Flood Story,” The Book of Genesis (Course Guide), The Great Courses, 2006b

Wellhausen, Julius

Prolegomena to the History of Israel, trans. Black and Menzies, Adam and Charles Black, 1885

The Sons of Jacob and the Sons of Heracles

We used to be taught that the first invasion of a Greek people into the Greek peninsula was the Dorian invasion. (Today that event appears to be generally regarded as mythical.) The Dorians of Greek myth were the Heracleidae, the descendants of Heracles, who undertook an “exodus” from the Peloponnesus and some generations later returned to reclaim and conquer their “promised land”. (Image from Wikimedia)

How reliable as historical records are the genealogies of patriarchs and the different tribes of Israel?

1977 saw the publication of Robert Wilson’s thesis, Genealogy and History in the Biblical World, a work that set the main framework for further studies of biblical genealogies. Wilson used two different studies of genealogies as a basis for comparing and understanding what the biblical ones were all about:

  1. Anthropological studies of oral tribal cultures, African and pre-Islamic Arabian;
  2. Amorite dynastic lists of Babylon and Assyria.

The genealogies found among African and Arab oral cultures were considered relevant because the biblical genealogies were believed to have derived from oral traditions. Wilson concluded that such genealogies preserved historical memories:

Although we have seen no anthropological evidence indicating that genealogies are created for the purpose of making a historical record, genealogies may nevertheless be considered historically accurate in the sense that they frequently express actual domestic, political relationships.7

7 Genealogy, p. 189

The use of oral traditions among current and recent tribal societies as a doorway into the biblical genealogies was rejected by John Van Seters who set out his reasons in several works. In In Search of History, for example, he wrote in response to Wilson’s Genealogy

It is, to my mind, highly questionable whether functional explanations of variations in genealogies based on anthropological analysis of oral societies can also apply to literary variations. Wilson does not examine the many contemporary literary genealogies in the Greek world.

(p. 48n)

If you took no notice of the title of this post then the predicate in the last sentence just alerted you to where this post is headed, at least if you are already aware of this blog’s interest in the relationship between the “Old Testament” and Greek literary culture (e.g. posts on books by Gmirkin, Wajdenbaum, Wesselius…). Expect in coming months another author to be added to those, Andrew Tobolowsky, author of The Sons of Jacob and the Sons of Herakles.

Andrew Tobolowsky

Tobolowsky points out that there is a significant structural difference between Babylonian and Assyrian royal genealogies on the one hand and those genealogies found in Genesis and the books of Chronicles on the other, is that the former are “linear”, that is, lists from father to son, while the latter are “segmented”, that is, following “multiple lines of descent, forming a kind of family tree.”

As Van Seters points out specifically about Wilson’s treatment:

On the one hand his Near Eastern linear genealogies, which derive from highly structured literate societies, bear very little resemblance to the segmented genealogies found in the book of Genesis. On the other hand, his discussion of the segmented genealogies and their comparison with Genesis is based upon anthropological studies of oral traditions in illiterate societies and this has created an artificial social and form-critical dichotomy.

Abraham Malamat, who generally embraces Wilson’s formulation, nevertheless adds:

Biblical genealogies represent a unique historical genre within the literature of the ancient Near East. I have here in mind not the so-called vertical lines of individuals such as the royal or priestly pedigree, which are common anywhere, but rather the ethnographical tables contained in the Book of Genesis… even more so… the ramified and wide-spread genealogies of the various Israelite tribes, assembled in the first nine chapters of 1 Chronicles. All these have no equal anywhere else in the ancient Near East.

As a result, as Van Seters pointed out and others have since confirmed, the better comparison with biblical genealogical discourse, especially as it is found in the book of Genesis, is neither the traditions of preliterate cultures nor linear king lists but the complex, literary genealogies that were particularly popular in the world of Greek myth.

(p. 4 — my highlighting)

Tobolowsky dates the creation of these biblical genealogies to the late Persian period. I suspect Russell Gmirkin whose books we have discussed here would suggest a later time, that of the Hellenistic era.


Tobolowsky, Andrew. 2017. The Sons of Jacob and the Sons of Herakles: The History of the Tribal System and the Organization of Biblical Identity. Tübingen: Mohr Siebeck.

Van Seters, John. 1983. In Search of History: Historiography in the Ancient World and the Origins of Biblical History. New Haven: Yale University Press.


 

Noah’s Birds and the Documentary Hypothesis

Noah, a few birds, and a mermaid

Neil recently posted about the Documentary Hypothesis, citing Thomas Brodie’s Genesis as Dialogue (2001), a book I enjoyed but in the end did not convince me to abandon the DH. While reading the post, one quotation caught my eye.

Nor do the two diverse types of bird (the raven and the dove, 8:6–12) mean two sources. In Tablet XI of the Epic of Gilgamesh, the Noah-like Utnapishtim sends out three diverse birds—a dove, a swallow, and a raven (Brichto, 1998, 114) — but that does not mean three sources. (Brodie 2001, p. 182)

This sort of overstatement, which comes with implicit eye-rolling and foot-tapping, plays well to the converted, but falls flat among the rest of us. Do DH adherents think there are two sources merely because there are two species of bird? Surprisingly, no.

Here are the arguments, briefly:

  1. Gen. 8:7 is self-contained.
    • Noah releases the raven.
    • The bird goes out and returns, back and forth, until —
    • “the water dried up from the earth.” The flood is over; the narrative restarts at 8:8, wherein water still covers the earth.
  2. The language in 8:7 is different from the language in 8:8.
    • Noah releases the dove from him.
    • The words translated as “earth” in this passage and in 8:7 are different.

read more »

Another look at the Documentary Hypothesis. An alternative proposal.

Were the first books of the “Old Testament” composed by “redactors” piecing together stories from different sources (that has long been the predominant view) or is it possible that they were composed by a single author or “school of authors”? The former is the documentary hypothesis. For a background on the documentary hypothesis refer to the post Who wrote the Bible? Rise of the Documentary Hypothesis. The topic has resurfaced with some recent posts (Plato and the Bible; Genesis to Kings, Authorship) that question the validity of the DH, proposing a “unitary authorship” of the Pentateuch and more. I am intrigued by the new alternative but have not yet sold my soul to it. I am not always overly enthusiastic about some of the arguments for a single authorship. So consider these posts as exploratory and informative. (But that’s what most of my posts are here, anyway.

Here I cite but one scholar’s criticism of the DH and proposal for the Flood Story in Genesis being composed from scratch as a single narrative. That is, the narrative is not a patched quilt of priestly and Yahwist sources after all. Here is Thomas Brodie’s take on the story (quoted words are in dark azure; the rest is my summary and comment.)

The deluge account contains much repetition and variation, and so some researchers have suggested that it is composed from two sources — J and P . . . .

(Brodie, 181)

Some of the examples of the repetition and variation:

  • Sometimes Yhwh, other times Elohim, are used for God. The sections with Yhwh have been attributed to the J source, Elohim sections to the P source.
  • At one time we read that two of each kind of animal was brought into the ark; later we read there were seven pairs of clean animals but only two of each unclean. The former has been attributed to the P source; the latter to J.
  • We first learn of forty days and nights of rain; later of the flood cresting after 150 days. J, then P.
  • The command for Noah to enter the ark is duplicated: 6:18–20 (P) and 7:1–3 (J).
  • Twice we read of Noah and his family entering the ark: 7:7 (J) and 7:13 (P).
  • Twice we read of God’s promise to never again destroy the earth: 8:21 (J) and 9:11 (P)

Brodie’s faults the documentary hypothesis as being based on contradictory arguments:

The final product is not an unimaginative collection of material drawn from distinct sources, but an artful unified composition arranged chiastically around the central affirmation in 8:1 that “God remembered Noah.”

This explanation, however, contains radical problems, problems that are both general and specific.

In general: the explanation is not coherent. It implies two opposite procedures — mechanical juxtapositioning (regardless of overlap or divergence) and artistic unifying. One procedure is slavish, the other imaginative. Behind these procedures are two opposite attitudes — scrupulosity and freedom. The contradiction in the explanation is far deeper than the contradictions in the text.

More specifically, the theory is not supported by the details. There are several problems (see esp. Ska, 1994; 1996, 259–260):

1. The purported J story is seriously incomplete. It contains no account of making the ark or leaving it. Such lack of completeness is not explained by a desire to avoid repetition. The author had no problem with repetition as such; some minor details occur twice.

2. The so-called “double” entry to the ark (7:7–9, 13–16) does not require two sources. The doubled text is part of a single coherent repetitive style — similar to the repetitiveness of Genesis 17 (17:23–27). Essentially the same is true of other so-called doublets: they are part of a coherent repetitive style. Repetition is a basic feature of narrative, especially of biblical narrative (Alter, 1981, 88–113). Repetition results from various techniques (Niccacci, 1994). The issue then is not whether there is repetition but whether it is possible to discern the repetition’s variation or purpose. The two commands about entering the ark (6:18–20; 7:1–3), for instance, have several variations of context and content, but they are sufficiently similar to build something important: the sense — amid a collapsing world — of momentum and continuity. Nor do the two diverse types of bird (the raven and the dove, 8:6–12) mean two sources. In Tablet XI of the Epic of Gilgamesh, the Noah-like Utnapishtim sends out three diverse birds—a dove, a swallow, and a raven (Brichto, 1998, 114) — but that does not mean three sources.

3. The language of some purported J material, especially as regards order and sacrifice, would normally be reckoned as late or priestly.

For these and other reasons, scholars such as Blenkinsopp (1992, 77–78) and Ska (1996, 259) have moved to the idea of a single (priestly) account, which was later retouched. In other words, rather than dividing the text fairly evenly in two, they attribute most of it to a single author and reserve just a small percentage to an editor.

So some scholars are finding the different pieces fit better as if the story was composed as a single unit from the start. Brodie lists other indicators of what he believes is a unitary narrative: read more »

Why the Sun, Moon, Stars Were Created So Late in the Week

One of the oddities for us moderns of the Genesis creation account is that the sun, moon and stars are not created until the fourth day of the week even though light was created on the first day and vegetation on the third.

How can light exist without the sun? That’s our first thought. (If you are like me you long ago trained yourself to read that God did not actually create the sun and moon and stars on the fourth day but only moved the clouds and mist aside so that they appeared to a non-existent observer on earth for the first time. But that’s not what the story says.)

So what was going through the mind of the author of Genesis 1 when he set out the following detailed sequence:

. . . Earth was without form, and void; and darkness was on the face of the deep. . . .

Then . . . there was light. . . . and God divided the light from the darkness.

Then . . . God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament . . . And God called the firmament Heaven. . . .

Then God said, “Let the waters under the heavens be gathered together into one place, and let the dry land appear” . . . . And God called the dry land Earth, and the gathering together of the waters He called Seas. . . .

And the earth brought forth grass, the herb, and the tree  . . .

Then God made two great lights: the greater light to rule the day, and the lesser light to rule the night. He made the stars also. God set them in the firmament of the heavens to give light on the earth, and to rule over the day and over the night, and to divide the light from the darkness. . . .

  • Darkness, then light,
  • then the vault or sky to separate the waters above from those below,
  • then the separation of the land and seas, with the land being covered with greenery,
  • then the sun, moon and stars to separate the seasons and years, periods of time generally, and mark significant events.

Our first instinct is to compare the Babylonian creation epic, the Enuma elish, in which the solar deity, Marduk, cuts in two the sea monster, Tiamat, so he can put one half of her body above to become the heaven and the other half below, the earth. But despite similarities it’s not quite the fit for Genesis. In the Babylonian myth the sun, moon and stars are created before there is any sign of the earth and its vegetation.

But if we move west to the Greeks we do find creation accounts that more closely match Genesis 1.

For example, Hesiod’s Theogony, lines 116-132

At the first Chaos came to be, but next wide bosomed Earth. . . . From Chaos came forth . . . black Night; but of Night were born . . . Day . . . . And Earth first bare starry Heaven, equal to herself, to cover her on every side, and to be an ever-sure abiding-place for the blessed gods. And she brought forth long Hills, graceful haunts of the goddess-Nymphs who dwell amongst the glens of the hills. She bare also the fruitless deep with his raging swell . . . .

Out of chaos we have night followed by day, and the earth appears to simultaneously give birth to the starry heaven and the wooded hills and valleys separated from the sea.

Relief representing Anaximander (Roma, Museo Nazionale Romano). Probably Roman copy of an earlier Greek original. (Wikimedia)

But then we come to the philosophers attempting to arrive at a more “scientific” or “natural” explanation. Here what we know of the cosmogony of Anaximander of Miletus is of particular interest.

We begin with all the elements — fire (hot), air (cold), earth (dry), water (wet) — in chaotic confusion. An infinite power that encompassed all set in motion the chaos and began the process of separating each of the elements, the hot from the cold, the earth from the water, followed by a more orderly combination and arrangement of these elements.

As the chaos turned the lighter elements increasingly flew to the outer limits while the heavier ones move to the centre. Hence the fiery elements were on the circumference with the earth in the centre.

Picture a sphere or shell of a fiery element surrounding the air around the earth, “like bark on a tree”.

So hot is separated from the cold. And heavier still, towards the centre of this great turning mass of elements coming to find their “natural places” we have the earth and oceans.

The Hot moves out to the circumference and becomes incandescent, forming a spherical sheath of visible fire, enclosing the cold moist core of the nucleus. In place of ‘the Cold’ we now hear of ‘the air (mist) encompassing the earth’. Presumably the core is still humid throughout — a dark cold mist enveloping a somewhat denser watery mass at the centre.

The process then goes on as follows: as the cold core differentiates further, the second pair of primary opposites, Wet and Dry, become distinct. The watery mass of earth is partly dried by the heavenly fire. Dry land becomes distinct from water, and the seas shrink into their beds. At this point the Hot, already differentiated into fire, acts as cause, evaporating some of the moisture and drying the earth. So, finally, the four popular elements have come to fill their appointed regions. The next stage is the formation of the heavenly bodies. (Cornford, pp. 163f)

That “spherical sheath of fire” replaces the firmament in Anaximander’s system. The fiery shell around the air and earth itself began to break up into separated hoops.

When this (sphere of flame) was tom off and enclosed in certain rings, the sun, moon, and stars came into existence.

The heavenly bodies came into being as (each) a ring of fire, separated off from the fire in the world and enclosed by mist (‘air’). There are breathing-holes, like the holes in a flute, at which the heavenly bodies are seen. Hence eclipses occur when these breathing-holes are blocked; and the moon appears now to wax and now to wane according as the passages are open or blocked.

The separation of Dry Land from Ocean is followed by the formation of the sun, moon and stars — just like the Bible says!

What we are seeing in Genesis (as in Greek ideas) is the increasing separation of the elements followed by their more orderly relationship with one another as they find their natural places and settle into the proper mixes or blending of their respective forms.

Subsequent Greek philosophers restored the firmament that Anaximander had displaced. Is one meant to imagine, biblically, the firmament providing holes to let the waters above fall down as rain from time to time and also peak holes to see portions of the fiery hoops in the form of the sun, moon and stars?

Scholars back in the 1950s who published the above view that the author of Genesis 1 was influenced by Greek views of origins justified their proposal by pointing out that the “priestly account” of the Genesis creation was composed after the Babylonian captivity and more likely in the Persian era. This chronology removed any difficulty in Genesis being influenced by Greek ideas.

–o–

I am wondering if I first read of the above explanation in more recently published either by Russell Gmirkin or Philippe Wajdenbaum or another and have momentarily forgotten the references. If so I do apologize for not acknowledging them in this post. As far as I am presently aware I learned of the above explanations by reading an article and related references by C. F. Whitley (see below).

(There are a number of other interesting connections between the Greek ideas and details in Genesis 1 but they will have to wait till I find more time to get on top of some of the slightly difficult readings first.)

 


Burnet, J. (1920). Early Greek philosophy (3rd ed.). London, A. and C. Black. Retrieved from http://archive.org/details/burnetgreek00burnrich

Cornford, F. M. (1952). Principium Sapientiae. The origins of Greek philosophical thought. Cambridge University Press.

Whitley, C. F. (1958). “The Pattern of Creation in Genesis, Chapter 1.” Journal of Near Eastern Studies, 17(1), 32–40. Retrieved from http://www.jstor.org/stable/542501


On Not Reading the Bible Too Seriously — As Its Authors Intended

https://commons.wikimedia.org/wiki/File:Beit_alfa02.jpg

My reflections on reading the story of Abraham setting out to sacrifice Isaac as a children’s story brought to mind a more mature understanding of the Bible’s narratives discussed by in The Mythic Past: Biblical Archaeology and the Myth of Israel by Thomas L. Thompson. (The same book is published under the title The Bible in history : How Writers Create a Past, so don’t be fooled and buy both books like I did!)

Most Christians and Jews do read the story of the “Binding of Isaac” or Akedah as it’s more technically called correctly, though perhaps not always realising it. What I mean is that most readers do not really take it literally with all its psychological horror. Most readers, correctly at the story level and as the narrator evidently intended, admire Abraham for his faithfulness and obedience. The problem, the horror, descends only when we treat it as literal history and a genuine account of a real God, and give our minds over to that same God.

Here are some of Thomas L. Thompson’s more realistic explanation of the story. By realistic I mean reading it the way the narrator presented it and no more.

The first reference comes as a comparison with the story of Saul who fails God’s test by sparing the lives of the cattle after killing the enemy soldiers. read more »

Rendsburg on Genesis and Gilgamesh: Misunderstanding and Misrepresenting the Documentary Hypothesis (Part 1)

Landscape with Noah's Thank Offering (painting...
Landscape with Noah’s Thank Offering (painting circa 1803 by Joseph Anton Koch) (Photo credit: Wikipedia)

Doubting the Documentary Hypothesis

Back in October of last year I mentioned that I wanted at some point in the future to take a more detailed look at Gary Rendsburg’s audio course on Genesis, with special emphasis on the Documentary Hypothesis (DH). As you recall, Rendsburg doubts many of the claims advanced by DH scholars, especially Julius Wellhausen.

While he would grant the existence of another tradition behind the book of Leviticus (i.e., the Priestly or P source), as well as behind the book of Deuteronomy (i.e., the Deuteronomist, D), Rendsburg rejects the idea of trying to separate sources in the book of Genesis. He prefers to understand the text as a unified whole.

As with many DH-doubters, Rendsburg reserves a special level of skepticism (if not outright disdain) for the notion that two separate sources comprise the story of the Great Flood (Gen. 6-9). In his 2004 article, “The Biblical Flood Story in the Light of the Gilgameš Flood Account” (in the pricey Gilgameš and the World of Assyria), Rendsburg insists that we cannot split the story into the supposed P and J (i.e., Jahwist or Yahwist) sources, because:

If one reads the two stories as separate entities, one will find that elements of a whole story are missing from either the J or the P version. Only when read as a whole does Genesis 6-8 read as a complete story, and — here is the most important point I wish to make — not only as a complete story, but as a narrative paralleling perfectly the Babylonian flood story tradition recorded in Gilgameš Tablet XI, point by point, and in the same order. (Rendsburg, 2004, p. 115)

He finds the very idea worthy of derision.

That is to say, according to the dominant view of biblical scholars, we are supposed to believe that two separate authors wrote two separate accounts of Noah and the flood, and that neither of them included all the elements found in the Gilgameš Epic, but that when the two were interwoven by the redactor, voilà, the story paralleled the Gilgameš flood story point-by-point, feature-by-feature, element-by-element. (Rendsburg, 2004, p. 116, emphasis mine)

Rendsburg unwittingly provides an object lesson in how conservative scholars habitually misunderstand and misrepresent the DH. In this and subsequent posts we’ll look at his thesis, as he put it, point by point.

Two sources: separate and complete?

Prof. Rendsburg makes the common mistake of assuming Wellhausen believed that the flood story in Genesis could be separated into two complete sources. But, in fact, he said no such thing.

read more »

Castration of Ouranos and the Drunkenness of Noah

cronos-003This post complements my previous one about the Ham “seeing his father’s nakedness” story developing in three stages:

  1. Originally the story was an adaption of the myths of the youngest son castrating his father (the motive: to maintain an inheritance)
  2. Then it was more delicately shifted to a story of illicit sex
  3. And finally most bashfully of all the story left readers wondering if all Ham did was “have a look”.

Philippe Wajdenbaum (whose book, Argonauts of the Desert: Structural Analysis of the Hebrew Bible, I have discussed a few times before) gives a more detailed comparison between the Ham-Noah narrative and the Greek myth.

Recall that a number of scholars — Wajdenbaum among them — argue that Genesis was written relatively late, even as late as the second century by which time the Greeks had spread throughout the Near East. Such a late date opens a window for another perspective on how the story found its way into the Bible.

First recap the Genesis narrative — Genesis 9:20-27 (KJV)

20 And Noah began to be a farmer, and he planted a vineyard. 21 Then he drank of the wine and was drunk, and became uncovered in his tent. 22 And Ham, the father of Canaan, saw the nakedness of his father, and told his two brothers outside. 23 But Shem and Japheth took a garment, laid it on both their shoulders, and went backward and covered the nakedness of their father. Their faces were turned away, and they did not see their father’s nakedness.

24 So Noah awoke from his wine, and knew what his younger son had done to him. 25 Then he said:

Cursed be Canaan;
A servant of servants
He shall be to his brethren.”

26 And he said:

“Blessed be the Lord,
The God of Shem,
And may Canaan be his servant.
27 May God enlarge Japheth,
And may he dwell in the tents of Shem;
And may Canaan be his servant.”

Japheth is to be enlarged. That is, expanded — even into the tents of Shem. Hence the argument that this prophecy reflects a time after Alexander the Great’s conquests and the Hellenization of the Near East.

Greeks migrated everywhere -- the dark green and more. Map from http://www.atlasofworldhistory.com/
Greeks migrated everywhere — the dark green and more. Map from http://www.atlasofworldhistory.com/

Now we have more justification to compare the Greek myth as found in Hesiod’s Theogony. (I suspect Avigdor Shinan and Yair Zakovitch, our authors discussed in the previous post, were less enthusiastic about the comparison with the Greek version of the myth if they embrace a more traditional date for Genesis.)

Here is Hesiod’s account of the birth of the youngest son who was destined to castrate his father, Uranus (Heaven), and his older brother Iapetus:

read more »

What Did Ham Do to Noah?

Ksenophontov_noahNow for something light. It comes from a book by two professors at the Hebrew University of Jerusalem, Avigdor Shinan and Yair Zakovitch, titled From Gods to God: How the Hebrew Bible Debunked, Suppressed, or Changed Ancient Myths & Legends, published 2004 by the Jewish Publication Society. Chapter 14 explores the curious episode that led a hungover Noah to curse Canaan, the fourth son of Ham.

We know the story in all its vagueness. After the flood Noah became the first in the new world order to plant a vineyard, to make wine, and to get blind drunk. We read that while drunk the good saint

was uncovered in his tent. And Ham, the father of Canaan, saw the nakedness of his father, and told his two brethren without.

And Shem and Japheth took a garment, and laid it upon both their shoulders, and went backward, and covered the nakedness of their father; and their faces were backward, and they saw not their father’s nakedness. (Gen. 9:22-23)

So we are being told that there is something so terrible about seeing one’s father naked that it needs to be recorded in the Bible for all posterity to read.

But look at the punishment that follows:

And Noah awoke from his wine, and knew what his younger son had done unto him.

And he said, Cursed be Ham Canaan; a servant of servants shall he be unto his brethren. . . . (9:24-25)

I added and crossed out Ham there to draw attention to the bizarre detail that it was not Ham, Noah’s younger son who saw him naked, who is cursed, but Ham’s son. And not just any son, but his fourth son:

And the sons of Ham: Cush, and Mizraim, and Phut, and Canaan. (Gen. 10:6)

The mystery thickens.

Now many of us savvy sophisticates know that when the Bible speaks of “seeing the nakedness” of someone it is euphemism for having sex. Leviticus 20:17 leaves no doubt:

If a man takes his sister, his father’s daughter or his mother’s daughter, and sees her nakedness and she sees his nakedness, it is a wicked thing. And they shall be cut off in the sight of their people. He has uncovered his sister’s nakedness. He shall bear his guilt.

So this makes a bit more sense than Ham merely peeping at his naked father. Noah did, after all, know what Ham had “done unto him”. That’s a bit stronger than having a peek.

But that still doesn’t explain everything. Why did Noah curse Canaan, Ham’s fourth son?

read more »

Rendsburg on Genesis and Gilgamesh: How Our Focus on the Bible Can Distort Our View of the Past

“The Book of Genesis”

An angel prevents the sacrifice of Isaac. Abra...
An angel prevents the sacrifice of Isaac. Abraham and Isaac, Rembrandt, 1634 (Photo credit: Wikipedia)

Recently, Gary Rendsburg’s audio course on Genesis became available at The Great Courses web site for just $29.95, and I couldn’t resist. In future posts, I would like to review this series of lectures more completely, but for now, let me just say that it’s pretty good — especially with respect to internal literary analysis — but it does have some serious problems.

Professor Rendsburg, a self-confessed maximalist who believes Abraham was a historical figure and rejects the Documentary Hypothesis (DH), does acknowledge that many of his positions are not currently the consensus viewpoints, but he does an inadequate job of presenting other viewpoints. I don’t criticize him for holding contrary opinions. After all, this is Vridar. But if a lecturer is going to discuss minimalism or the DH, then he or she should at least present them fully and correctly.

Through a glass, darkly

As I said, I want to take a more detailed look at Rendsburg’s course in the future, with special emphasis on the DH. However, this post is about something else altogether: namely, the way scholars steeped in either the Old Testament (or Hebrew Bible, if you prefer) or the New Testament seem to have a limited, if not skewed, understanding of the surrounding contemporaneous world.

We should, of course, err on the side of forgiveness, say, when a New Testament scholar expresses surprise on discovering that for many decades people have theorized that Shakespeare didn’t write the plays or the sonnets. Sure, you thought everybody knew that, but it isn’t his bailiwick. And if that same NT scholar thinks the DH can be proved by comparing variations of the divine name in the Psalms, well even there we could make excuses (but I won’t), since the OT is also not his within his realm of expertise.

However, we cannot countenance the lack of knowledge when it comes to the surrounding cultures of the subject matter that an academic claims to know on a professional, scholarly level. If you assert that you know how the ancient Hebrews or Israelites compared to their neighbors, then you’d better understand those other cultures as well as possible.

Immortality: The “ultimate quest”?

Specifically, how much emphasis did the religions of the Ancient Near East place on the attainment of eternal life? According to Rendsburg:

read more »

The Literary Artistry of Genesis

alterRobert Alter opens his book, The Art of Biblical Narrative (winner of the National Jewish Book Award for Jewish Thought), with a fascinating analysis of a small vignette that for most of us appears to interrupt the larger story of Joseph.

He takes the Hebrew texts of the Jewish bible and subjects them to the kind of critical analysis one might apply to Shakespeare or Proust. He tries to show, on the whole with success, that the astonishing literary effects often achieved by the Authors of the Bible are the results of art and not of artlessness. — J. M. Cameron, New York Review of Books, cover blurb.

So here we are, reading the book of Genesis and enjoying its familiar series of tales, and nearing the climactic final chapters we come to the story of Joseph. Joseph the young lad is given his famous coat of many colours; he’s then sold by his jealous brothers into slavery. But then just as we want to know what happens next we are diverted by a seedy chapter that has given us the word “onanism”. The chapter goes on to relate the patriarch Judah’s misdeeds, his daughter-in-law acting as a prostitute and the birth of his grandchildren. We then return to the Joseph drama with Joseph being taken to Egypt as a slave where he is purchased by Potiphar.

Why did the Genesis author break the Joseph story like that? (Or for those who are more discriminating with their sources, Why did the author of the J document break up the Joseph story like this?)

Robert Alter begins with the few verses preceding the Onan and Judah story. I have used much of Alter’s translation because he maintains the Hebrew word order and meanings that are significant for his argument.

Joseph’s brothers sold him into slavery then stained his tunic in goat’s blood to deceive their father.

32 They had the ornamented tunic, and they bring it to their father, and say, `This have we found; recognize, we pray thee, whether it [is] thy son‘s coat or not?’

33 And he recognized it, and saith, `My son’s tunic!

an evil beast hath devoured him;
torn — torn is Joseph!’

34 And Jacob rendeth his raiment, and putteth sackcloth on his loins, and becometh a mourner for his son many days,

35 and all his sons and all his daughters rise to comfort him, and he refuseth to comfort himself, and saith, `For — I go down unto my son, to Sheol, mourning,’

and his father weepeth for him 36 and the Medanites sold him

unto Egypt, to Potiphar, a courtier of Pharaoh, his chief steward . . .

The phrases highlighted in bold are the focus of Alter’s argument. read more »

Making of a Mythicist, Act 3, Scene 2 (Discovering the Crucial Bridge) — With a Note on “Parallelomania”

Continuing Thomas Brodie’s Beyond the Quest for the Historical Jesus: Memoir of a Discovery

This post follows on from my earlier one on Chapter 8 where Brodie is beginning to appreciate the nature of the literary artistry of the biblical books.

Chapter 9

The Third Revolution Deepens: 1992-1995

.

Reminder: This series is skipping over many of the personal details related to Thomas Brodie’s intellectual odyssey. It also needs to be kept in mind that generally, this book does not present Brodie’s detailed arguments but rather traces how his understanding of the nature and origins of the Biblical literature emerged.

If a Jesus narrative were based on the Elijah-Elisha story (see “That Is An Important Thesis“) one had to ask why. Would not the story of Moses or David have been more appropriate as a model? This question perplexed Brodie until his further studies on Genesis opened up a new awareness of the nature of the biblical literature. But let’s digress a moment to consider an objection that has on some theologian’s blogsites recently been flung at Brodie’s arguments since he has claimed they lead to a “mythicist” conclusion.

Parallelomania: the facts

“Parallelomania” has once again been flung as a dismissive epithet by a number of theologians and religion scholars at Christ myth arguments in general and Thomas Brodie’s arguments in particular, so it is worth taking a moment to revisit the article that introduced the notorious notion of “Parallelomania”. It can be read on this Vridar.org page; I have taken excerpts from it in the following discussion.

Samuel Sandmel
Samuel Sandmel

I don’t think James McGrath has ever had the time to read that article that he invites others to read. If he had, he would know that its author (Samuel Sandmel) points out that by “parallelomania” he means plucking passages from the vast array of, say, rabbinical literature or from a work of Philo’s out of their broader contexts and using them (thus decontextualized) to claim they have some direct relevance to similar-sounding passages in the New Testament. That is not what Brodie is doing. Sandmel even explains that the sort of detailed analysis done by Brodie to explore questions of literary indebtedness is indeed justified and is not to be confused with something else that he is addressing.

The key word in my essay is extravagance. I am not denying that literary parallels and literary influence, in the form of source and derivation, exist. I am not seeking to discourage the study of these parallels, but, especially in the case of the Qumran documents, to encourage them. . . . .

An important consideration is the difference between an abstract position on the one hand and the specific application on the other. . . . . it is in the detailed study rather than in the abstract statement that there can emerge persuasive bases for judgment. . . . . The issue for the student is not the abstraction but the specific. Detailed study is the criterion, and the detailed study ought to respect the context and not be limited to juxtaposing mere excerpts. Two passages may sound the same in splendid isolation from their context, but when seen in context reflect difference rather than similarity.

Note the problem with taking excerpts from a corpus of literature and using them as parallels with something else. This results in

confusing a scrutiny of excerpts with a genuine comprehension of the tone, texture, and import of a literature.

In Brodie’s analyses, on the other hand, it is as much the tone, texture, and import of the respective documents that are being analysed as the individual words and phrases.

One of the greatest sins of “parallelomania” is

the excessive piling up of . . . passages. Nowhere else in scholarly literature is quantity so confused for quality . . . . The mere abundance of so-called parallels is its own distortion . . . .

I recently posted chapter 7 of Brodie’s book to demonstrate that Brodie does not make his case by a mere piling up of matching words or ideas. The structure, the theme, the context, the motivation — these are all part of Brodie’s argument.

Finally, the crowning sin of parallelomania is one that I not too long ago identified in the work of historian Michael Grant about Jesus. I’ll first quote Sandmel:

On the one hand, they quote the rabbinic literature endlessly to clarify the NT. Yet even where Jesus and the rabbis seem to say identically the same thing, Strack-Billerbeck manage to demonstrate that what Jesus said was finer and better. . . . . Why, I must ask, pile up the alleged parallels, if the end result is to show a forced, artificial, and untenable distinction even within the admitted parallels?

Grant followed many theologians who insist that though the golden rule was known in some form among the rabbis (and in other civilizations), Jesus expressed it better than anyone else.

Sandmel’s article on “parallelomania” is actually an endorsement of the sort of work being done by scholars who work seriously on literary analysis of texts and a warning against the sins found too often among the mainstream scholars. Unfortunately some theologians, McGrath included in his Burial of Jesus, are on record as saying that literary analysis has no place in the work of historical inquiry. On the contrary, without literary analysis the historian has no way of knowing how to interpret literary documents.

It is that very detailed study that Sandmel said is necessary, and the study of the context, both immediate context and the wider cultural context of literary practices of the day, that Brodie is undertaking. He is not plucking passages out of context from disparate sources and making an abstract claim that they can be read as a “parallel” to, and by implication source of, what we read in the gospels. (Such “extravagance” is the characteristic fault of “astrotheology”, but not of the scholarly work of Brodie and MacDonald.)

This is not the same as saying that MacDonald’s and Brodie’s arguments are necessarily correct. They still need to be studied and engaged with. There may be alternative explanations for some of the data they have addressed and believe points to literary borrowing. But it is not particularly scholarly to simply reject an argument one does not like by dismissing it with a pejorative label.

Now back to Beyond the Quest read more »

Saving the Infallibility of the Bible from the Natural Sciences — Use and Abuse of the Bible, Part 2

Continuing from Part 1 of this series. . . .

The traditional use of the Bible

The central point of the previous post was that the Bible came to be viewed as having a singular message that buttressed a comprehensive an entire world view. That is, one’s larger view of the world was believed to rest on biblical authority.

Nineham gives “an example of how such a feeling arose”:

If the Bible spoke of angels, and these were interpreted in what then seemed the only way possible, as a group of hypostases, or entities, then it could easily seem as if the existence of the chain itself was a part of the biblical revelation, or at any rate an indisputable deduction from it. (p. 62)

The challenges of the natural sciences

As we all know, Copernicus and Galileo were the first to challenge seriously the Biblical view of the place of earth amidst the heavens. In the nineteenth century geology and evolutionary biology struck blows at the Bible’s creation narrative. The church’s reactions we also know well:

[I]t is instructive to notice the extent to which, both in the sixteenth and nineteenth centuries, the immediate and passionate reaction of the Church was to try to defend the statements of the Bible in every sphere. (p. 63)

John Keble, 1792-1866.
John Keble, 1792-1866. (Photo credit: Wikipedia)

John Keble of the nineteenth century has left a useful trivia quote:

When God made the stones he made the fossils in them. (Presumably in order to test the faith of nineteenth century scientists!)

But the Bishop Wilberforces and Philip Henry Grosses could not win. It became increasingly clear, however slowly in some quarters, that flat denial of what the natural sciences had to come to understand was not going to prevail.

The early chapters of Genesis were at stake. The Bible was supposed to be authored by God and incapable of untruths.

Introducing the “true myth” read more »

The Genesis Creation Story and its Third Century Hellenistic Source?

Tiamat on a Babylonian cylinder seal Nederland...
Tiamat on a Babylonian cylinder seal Nederlands: Tiamat (Photo credit: Wikipedia)

The influences of Mesopotamian creation stories in Genesis are clear. But how those stories came to be re-written for the Bible is less clear. Russell E. Gmirkin sets out two possibilities in Berossus and Genesis, Manetho and Exodus: Hellenistic Histories and the Date of the Pentateuch:

The traditional Documentary Hypothesis view:

Around 1400 BCE the well-known Babylonian Epic of Creation, Enûm Elish, the Epic of Gilgamesh and other stories found their way through Syria and into the Levant where the Canaanites preserved them as oral traditions for centuries until the Israelites learned of them. Then around the tenth or ninth centuries these Israelites incorporated some of those myths into an early version of Genesis (known as J in the Documentary Hypothesis).

About four centuries later, around the fifth century, the authors of that layer of the Bible known as P took quite independently orally preserved overlapping Mesopotamian legends and used them to add additional details from those myths that had been preserved by the Jews orally throughout to the J stories.

Now one remarkable aspect of this scenario (accounting for the Mesopotamian legends underlying Genesis 1-11) that has been pointed out by Russell Gmirkin is that though they had been preserved orally for centuries by the Canaanites, in Genesis they are completely free from any evidence of Canaanite accretions. This should be a worry, says Gmirkin, because Canaanite influences are found throughout the rest of the Bible.

Gmirkin suggests that this traditional model of how the Babylonian legends came to be adapted in the Genesis narrative is strained, so he proposes an alternative.

The author/s of Genesis 1-11 borrowed directly from the early third century (278 BCE) Babyloniaca of the Babylonian priest Berossus. The sources for this work show that Berossus himself drew upon the Babylonian epics of Creation and Gilgamesh, and Gmirkin argues that some of his additions and interpretations found their way into Genesis. Moreover, the Epic of Creation that resonates in Genesis, the Enûm Elish, was quite unlike other Babylonian creation myths:

  • the standard Babylonian myth of creation (e.g. Atrahasis Epic, Enki and Ninmeh) began with earth, not with waters;
  • Enûm Elish was specifically associated with the cult of Marduk, localized in Babylon — its purpose was to explain why the Babylonian patron god, Marduk, had been promoted over the other gods.

Note also:

  • during the late Babylonian period and Seleucid times, the Enûm Elish likely increased in significance, but was still only recited in Babylon’s New Year Festival;
  • Berossus was himself a priest of Bel-Marduk in Babylon at this period. For Berossus, the Enûm Elish would have been the definitive creation epic.

The Enûm Elish was very likely unknown beyond the region of Babylonia until Berossus himself drew attention to its narrative for his wider Greek audience. Gmirkin believes the simplest explanation for the Enûm Elish’s traces in Genesis is that they were relayed through Berossus’s Babyloniaca.

Here is a table comparing the details of the Genesis Creation with those found in the Babylonian Creation Epic and in Berossus’s third-century work: read more »