Quelle is the German word for source and is used as a technical term by scholars who advocate source criticism. This approach to biblical texts was introduced briefly in an earlier post and the basic idea is a simple one. Its implications however are far from simple and raise a lot of questions. Source criticism assumes that behind many of the Hebrew Bible’s books there are previous documents or sources. This is neither controversial nor even surprising. Many biblical books even refer to their sources as we shall see in the next post. What can be more complex, and sometimes controversial, is the quest to recover these sources and what might be done with the results of such an exercise. In the Hebrew Bible the most famous example of source criticism is that applied to the torah/Pentateuch.
It was Julius Wellhausen (1844‒1918) who provided the first detailed hypothesis about the textual origins of the Pentateuch. He suggested that there had been four separate sources, or documents, which all originated centuries after the time of Moses, hence it became known as the documentary hypothesis. This is the first complication of source criticism: it challenges traditional views of authorship. The four-document hypothesis came to be generally accepted in the early twentieth century although like all scholarly proposals of this nature there are many rival variations on the theme. In its classic expression the four hypothesised sources were designated:
- J—a document which names God as Yahweh. The German for Yahweh is Jahweh hence the use of the letter J.
- E—a document which refers to God as Elohim.
- D—for essentially the book of Deuteronomy.
- P—for a document with a priestly outlook.
These four hypothesised documents were said to date from the mid-9th century BCE, mid-8th century BCE, mid-7th century BCE and around 500 BCE respectively. Despite its original popularity this model is no longer the consensus view. This is not to say that the idea of sources is wrong. Rather it is recognised that the use of sources and the subsequent editing processes will never be reliably recovered. To complicate matters further some of the features of the Hebrew Bible which were said to provide evidence supporting the fourfold documentary approach are quite possibly literary devices. For example the two accounts of creation are said by some source critics to be contradictory accounts. It is possible however that there is a deliberate theological point behind the two accounts—they are designed to be complementary since one conveys the story of creation from a transcendent perspective (1:1‒2:3) and the other from an immanent one (2:4‒25).
Robert Alter in his brilliant book The Art of Biblical Narrative  looks at type scenes and explores how similar events in a book are actually a reflection of literary artistry rather than an indication of a patchwork quilt of sources. He uses the conventions of Hollywood Westerns as a masterful illustration of how conventions can be misunderstood. In this way he shows just how wide of the mark some biblical source criticism is. His concerns it should be noted are not whether the events are true but simply squashing the hegemony of sources as the explanation of similar stories and narrative motifs.
From a stance of faith there is no sense in awaiting a final outcome of such critical work as this will never arrive. Instead the question must be faced: given that there are some complex editing processes and source texts behind the Pentateuch (as well as other parts of the Hebrew Bible), does this invalidate the possibility that we have Scripture, i.e. an authoritative religious text? If the Pentateuch is understood as Scripture, then even if some original texts could be recovered what would be done with them?
Reference / Further Reading
- Robert Alter, The Art of Biblical Narrative, New York: Basic Books, 1981.
The term novella is clearly a modern genre of literature, and yet this term is used by some scholars to refer to the books of Ruth, Jonah and Esther. The Joseph narrative (Genesis 37‒50), the narrative elements of the Book of Job (Job 1‒2 and 42:7‒17) and Daniel 1‒6 are also seen as being part of the same genre. Other writings which belong to the Apocrypha, such as Judith, Tobit and Susanna are also similar, see . Lawrence Mills  helpfully points out that these stories are united to some extent by ‘the theme of innocents abroad’. In this sense whether the term novella is appropriate or not, there is evidence in terms of content to suggest that they belong to the same category.
There is, however, more that unites these stories than just the lone ‘Jewish’ protagonist facing the problem of how to cope with diverse challenges posed by Gentiles. There is often a sense of parody to these stories. This is sometimes seen in the use of these stories, for example, the book of Esther is used during the Jewish feast of Purim in a manner that is closer to a pantomime performance than a period drama. More often than not, religious readings of these books tend to suppress what is very likely deliberate humour and exaggeration. In this post we don’t have time to explore this fully. Instead we will briefly consider the book of Jonah as an example. Various oddities in the story will be highlighted and in conclusion the significance of these strange narrative elements will be outlined.
If possible pause here and read the four short chapters of the Book of Jonah and jot down all the things that stand out as odd.
Here is a list of some of the strange things mentioned in Jonah:
- Jonah’s response at the start of the story seems nothing less than theatrical (Jonah 1:3).
- All the Gentiles seem very godly compared to Jonah. This includes the god-fearing sailors (Jonah 1:14) and the entire 120,000 population of Nineveh (Jonah 3:5).
- There is no getting away from the fact that someone being swallowed by a fish and surviving for three days and three nights is highly implausible (Jonah 1:17).
- The story indirectly implies that the fish coughs Jonah up near Nineveh, but this city is several hundred miles from the sea (Jonah 2:10‒3:2).
- Nineveh is said to be so large that it takes three days to walk across it (Jonah 3:3).
- Even the livestock wear sackcloth in the story (Jonah 3:5).
- The plant that shades Jonah grows with fairy-tale speed (Jonah 4:6) only to be matched by its rapid demise because of a very hungry caterpillar (Jonah 4:7).
There is every reason to think that this story is a literary fiction, based on these exaggerations and oddities. Rather than its fictional nature being a problem there is a clear intent at instruction and a challenge for self-reflection. For example, there seems to be a deliberate contrast between God-fearing Gentiles and a prophet who knows his Scriptures—Jonah’s prayer is a complex restatement of many verses from The Psalms—but he has no care for the Gentiles. There is also a theological tension between the mercy dealt out by God and the punishment desired by the Prophet. A final puzzle is that the audience of the book of Jonah would have known that Nineveh was destroyed utterly by the Babylonians centuries earlier.
The fact that this book might be a fiction or a satire of a real prophet (see 2 Kings 14:25) does not prevent it having religious value. On the contrary, it means that it functions much like a parable. The reader is challenged to think about the character of God and about their own character. Interestingly the broad teaching of the book of Jonah is broadly the same whether we see at a parable or as a serious historical account.
Reference / Further Reading
- Lawrence M. Wills, ‘The biblical short story’, pp.314-330, in The Cambridge Companion to the Hebrew Bible / Old Testament (eds: Stephen B. Chapman and Marvin A. Sweeney), New York: Cambridge University Press, 2016.
My first recollection of anything connected to the Hebrew Bible is watching the film The Ten Commandments. This was the 1956 version of the film although I was watching it around twenty years after its release. The director, Cecil B. DeMille, made two films with this name. The first film was a silent one released in 1923. Despite some commonality these two films are actually rather different to each other. The first film presented a relatively short account of the Exodus story in which, as its title suggests, the Ten Commandments are central. The narrative in which Moses is central is a prelude to a longer story concerning two brothers. The two brothers choose different paths in life. One chooses to live a life consistent with the Ten Commandments. The other brother pursues a life in which he breaks every commandment. The outcome comes as little surprise—Danny’s disdain for the commandments means that his sins eventually catch up with him, after a life of decadence.
The 1956 version is often termed a remake but it is a very different film. The newer film is wholly concerned with the life of Moses. This story is covered at length with the film having an epic running of time of 3 hours and 40 minutes, if the original intermission is included. Much of the later parts of the film are a straightforward, even faithful account of the life of Moses. The opening hour of the film fills in a lot of ‘the blanks’. From a cinematic point of view this is quite understandable. Modern sensibilities expect a film to be about the main protagonist, and not the titular Ten Commandments. Readers of the life of Moses in Exodus realise, because of the gaps in the story, that this is more than a story about Moses. Like much of the Hebrew Bible, silence often surrounds the questions we want to ask. This is arguably driven by a deliberate literary device rather than any authorial lack of information. The additions to DeMille’s film, to be fair make for a number of intriguing plot developments. The biggest departure concerns Moses falling for Nefretiri, who as a princess is expected to marry the next Pharaoh. The film also portrays Moses as a General. He defeats the Ethiopian army and the country then agrees an alliance with Egypt.
How would Cecil B. DeMille feel I wonder if he knew that in his effort to bring a key element of the biblical canon to life he had made other elements of the story achieve canonical status? The childhood of Moses is again a key feature of DreamWorks’ 1998 Prince of Egypt. Moses’ military prowess is central to Ridley Scott’s 2014 Exodus: Gods and Kings. By 2014 something has changed with regard to the basic commitment to the story however. Cecil B. DeMille wanted to celebrate the Ten Commandments, not only as a story but as a tenet of faith. Scott and presumably his studio are keen to explain the miraculous in terms of implausible coincidence. All this said, all of these retellings are in a sense legitimated by the original—the narrative terseness of the Hebrew Bible invites retelling—retelling is central to the very purpose of this story:
“Obey these instructions as a lasting ordinance for you and your descendants. When you enter the land that the Lord will give you as he promised, observe this ceremony. And when your children ask you, ‘What does this ceremony mean to you?’ then tell them, ‘It is the Passover sacrifice to the Lord, who passed over the houses of the Israelites in Egypt and spared our homes when he struck down the Egyptians.’”
Mark Roques, The Spy, the Rat and the Bed of Nails: Creative Ways of Talking about Christian Faith, Leeds: Thinking Faith 2017.
ISBN 978-0-9957572-0-2, 182pp., £8.99
Many books are available on Christian apologetics but very few focus on communicating faith. Mark Roques recognises this and encourages us to try something that we might just be able to do. His project is no intellectual programme to out-think militant atheism nor is it an unrealistically intensive evangelistic programme—this is human-centred and culture-centred storytelling. It focuses on the act of storytelling that people do every day, the need for narrative that Jesus shows to be the way that human beings communicate. Few people will ever be persuaded to undergo the paradigm shift to Christian faith on the basis of intellectual apologetics. The drip feed of new ways to look at reality that comes from storytelling, on the other hand, has a hope of penetrating the wall that modern Westerners build around themselves.
This book not only promotes a great way forward in how we can share our faith it does it in a highly engaging fashion. Despite being a short book it has a solid underpinning intellectual depth and rigour. This necessary background is however put over as engagingly as the stories Roques encourages us to share. The core call of this book is to see the culture we live in as a resource, a common language for us to use in creative dialogue with others. In this way James Bond can become an ally as we talk about our faith and show others they too have a faith, albeit in things other than Jesus. Roques knows that Bond won’t work for everyone and to this end the variety of ideas to inform our storytelling is remarkable. Who would have thought that Ivan the Terrible, Glenn Hoddle, Anna Nicole Smith and the Duke of Edinburgh would be such vital assets to our endeavours in personal evangelism?
The Spy, the Rat and the Bed of Nails can be purchased here: http://thinkfaith.net/realitybites/spy-rat-nails