IT'S "FREE REIN"

Once again, I encountered the spelling "free reign" in a magazine. This is starting to happen a lot. NO. This is not correct. The correct spelling is free rein. Get it right or pay the price.

Easter

Make no mistake: if He rose at all
It was as His body;
If the cells’ dissolution did not reverse, the molecules
reknit, the amino acids rekindle,
The Church will fall.

It was not as the flowers
each soft Spring recurrent;
It was not as his Spirit, in the mouths and fuddled
eyes of His eleven Apostles;
it was as His Flesh: ours.

The same hinged thumbs and toes,
the same valved heart
that-pierced-died, withered, paused, and then
regathered out of enduring Might
new strength to enclose.

Let us not mock God with metaphor,
analogy, sidestepping transcendance;
making of the event a parable, a sign painted in the
faded credulity of earlier ages:
let us walk through the door.

The stone is rolled back, not papier-mache,
not a stone in a story,
but the vast rock of materiality that in the slow
grinding of time which will eclipse for each of us
the wide light of day.

And if we will have an angel at the tomb,
make it a real angel,
weighty with Max Planck’s quanta, vivid with hair,
opaque in the dawn light, robed in real linen
spun on a definite loom.

Let us not seek to make it less monstrous,
for our own convenience, our own sense of beauty,
lest, awakened in one unthinkable hour, we are
embarrassed by the miracle,
and crushed by remonstrance.
-JOHN UPDIKE

Dylan Quellenforschung

In advance of the new album, a track has been released from Bob Dylan's new album, "Beyond Here Lies Nothin'." It's a blues number that won't blow anyone's mind.

All the Dylanologists are saying, though, that it "sounds like 'Black Magic Woman'." That song, it will be remembered, was originally recorded by Fleetwood Mac, although the one everyone knows is the cover version by Santana.

However, in my opinion, the real template for the Dylan song is Otis Rush's "All Your Love," right down to the recurrent words "pretty baby." As with "Black Magic Woman," the more famous version is someone else's, in this case John Mayall's Bluesbreakers, with some absolutely scorching guitar licks from Eric Clapton. Give all of these a listen, and let me know what you think.

The Wheel in the Wind

In Ps. 83:14, God is enjoined to make the wicked ‏kglgl, which the KJV translates as "like a wheel" (similarly LXX and Vulgate). Although the word glgl does mean "wheel," it makes little sense in context, and exegetes have generally seen in the Hebrew a reference to some other round thing that the wicked could intelligibly be compared to. Since in this verse glgl is compared to qash, straw, driven before the wind, and in Isa. 17:13 to motz , chaff, whipped up by the storm, many take glgl in these two verses to be a reference to a plant, Gundelia tournefortii, which, when dry, forms a kind of tumbleweed. (It is also an extraordinarily ugly plant.)

Although HALOT, in giving this information, refers us in the first instance to Gustav Dalman's Arbeit und Sitte in Palästina (1928-42), Dalman got his information from Immanuel Löw's Die Flora der Juden (1924; still a great reference tool). And where did Löw get it from? From the great 12th century commentator Rashi, who made the identification more than 900 years ago.

Most modern translations reflect this insight, such as NIV "make them like tumbleweed" and JPS "make them like thistledown." But it is surprising how many translate as "like the whirling dust" (ASV, NAS, NRSV), which is less apt. Possibly these translators were under the influence of the older lexicon BDB, which interprets this glgl as "whirl (of dust or chaff), sim. of foes put to flight by God."

I first noticed all this while reading through the 16th century Aramaic lexicon, Meturgeman, by Elias Levita. Levita, as expected, understands the word as does Rashi, glossing it as ‏פרח עשב שהוא מתגלגל, a plant growth that rolls. The citation he gives from the Psalms Targum is ‏היך גלגלא דמתגלגל ואזיל ניח במודרון, understood as "like a glgl, that keeps on rolling, coming to rest on a slope."

However, Levita's text differs from other Targum texts, which read ‏ולא ניח במודרון, "... and does not come to rest on a hillside." The second reading fits the context better, but the image as a whole is obscure to me. Does it mean the wind blows the weed without stopping, so that even when it comes to an obstacle it keeps on rolling? Or is it possible that the reference really is in this case to a wheel, so that we must understand it as "like a wheel that keeps on rolling and does not stop, down a slope"? The last translation is the one I gave in my Psalms Targum text; but now I am not sure. Anybody out there have any thoughts on the Aramaic?

New Dylan Album

Bob Dylan has a new record coming out. Sounds like it could be interesting; supposedly a rock record, but with lots of accordion on it. Is it zydeco? I doubt it. The name of it is Together Through Life.

As for the previous record, Modern Times, the always alert Scott Warmuth has some Chaucerian observations.

Speaking

I'll be speaking Monday at 5:15 pm at Catholic University on the topic "Recent Epigraphic Discoveries and their Bearing on the Origin of Christianity." The lecture is part of the Early Christian Seminar sponsored by the Center for the Study of Early Christianity and is open to the CUA community and invited guests. If any readers of "Ralph" are in the neighborhood and would like to come, let me know and I'll send you more info.

Song of the Week

Come on
Step up
Jump around
Step in
Get up
Stay up
Get down
Come on
Jump in
Move around
Come on
Step up
Get up
Way up
Get down
All right

Raphael Golb Arrest

Wow, this is a blockbuster that will have the community of Qumran scholars buzzing for months, if not longer. A vast quantity of relevant material has been collected by Bob Cargill here.

The sad thing about this scandal is not only the paranoia and vitriol on display in what was originally a scholarly dispute, but the tawdry and shoddy means used to propagate them. Incredible. The scholars who were the victims (particularly Cargill and Larry Schiffman) are to be congratulated for taking steps to bring this activity to an end, but it's a shame that their time had to be spent doing that instead of scholarship.

I'm just watching it all with disbelief from the sidelines. If I learn anything not available from other sources, I'll report it.

Linguistics Terms that Illustrate What They Mean

I see that I haven't blogged the ENTIRE month of February, which is a new record of some kind of futility (or possibly: commitment to work outside of cyberspace. Take your pick.).

To get the ball rolling again, I shall submit a list of terms from linguistics that illustrate what they mean. The late Herb Paper and I cooked these up years ago over lunch (although "haplogy" already existed as a joke among linguists).

HAPLOGY < haplology

DITTOTOGRAPHY < dittography

SYNCPE < syncope

APOCOP < apocope

'PHAERESIS < aphaeresis

NANSALIZANTION < nasalization

ANAPATYXIS < anaptyxis

Book Fans Bid Updike Adieu

Now John Updike is gone. Time was when I thought he was the greatest American writer of them all. I moved away from that, but I never read an Updike book that didn't have me shaking my head in wonder at his mastery of the language. Some of his phrases have stuck in my mind ever since I first encountered them: the hand in Couples that "showed cornute against the cruciform mullions." The Russian accent of a man trying to speak French who "sloshed in the galoshes of Russian zhushes" (from The Coup). In Roger's Version, the aftermath of intimacy when a man sees his ejaculate "glistening on her belly like an iota of lunar spit." He was a wordsmith without parallel.

He was also the last Barthian in an age when Protestantism either became evangelical or went liberal. My hat's off to him for that, even though I think it left him without sufficient resources to fight off secularism. But I loved it when he told an interviewer that, although he had doubts, he refused to make the "leap of unfaith." Hopefully, he now has his reward.

(BTW: I always thought that Updike wrote this sentence: "His breath smelled of (though no banquet would serve, because of the known redolence of onions, onions) onions." But on looking it up, I find that it was penned by Anthony Burgess. Live and learn.)

Richard John Neuhaus

Richard John Neuhaus has died. He was one of the great Christian voices in the US, from the 'sixties until now. His book The Naked Public Square (1984) played a big role in the formation of my thinking (such as it is) about Christian faith and public policy.

The obituaries will probably focus on his Catholic years, and probably rightly. But I don't want to forget a few things he did in his Lutheran days, either. One of them was to help convene the group that later issued the "Hartford Declaration: A Theological Affirmation." Its concerns are still valid today. Among the signatories, besides Neuhaus, were Peter Berger, Richard Mouw, Avery Dulles, Ralph McInerny, Lew Smedes, Robert Wilken, William Sloane Coffin, Stanley Hauerwas, and others — a veritable Who's Who of orthodox Christian theology in America.

Another was his book Time Toward Home (1975, now out of print), which rehabilitated the idea of American history and religion as a possible avenue of God's grace.

It was not long after TIme Toward Home came out that Neuhaus gave the Payton Lectures at Fuller Seminary while I was a student, and I met him briefly. I asked him some kind of convoluted question about resurrection and Pannenberg's theology, which he turned into some kind of sense and gave a thoughtful answer to. But in general he did not suffer fools gladly. He was an important advocate for the church, and we'll not see his like again. Recquiescat in pace.

Fifth Annual Ralphies

Oh yeah, the Ralphies. Even more than last year, I have been out of touch with popular culture. In fact, since around August, when we moved to the DC area, I've been busy in the academic life and haven't bought a CD, gone to a movie, or read a ... no, actually, I've read plenty of books, so never mind that. I've also watched some TV. But generally I feel like I've been away.

And I haven't been blogging that much, either, and I've paid the price for that, in that very few people stop by here anymore. Such is life. But despite it all, I shall award Ralphies, as I do every year, for my own sake, if not for yours.

BEST MOVIE: As I say, I haven't seen a movie since the summer. I never got to see The Dark Knight (unlike every other living human) or Journey to the Center of the Earth 3-D, which I really wanted to see. In fact, all I remember going to see was WALL*E and Hellboy II, both of them excellent. Since WALL*E is the politically correct choice in this politically correct year, I shall award the Ralphie to ... Hellboy II.

BEST RECORD: Uhhh .... I really haven't been listening to much music lately. Did I even buy a CD this year? If I did, I can't remember what it was. But I hereby choose to define "record" quite loosely, so I award the Ralphie to a melancholy song I downloaded that went to the top of my iTunes playlist: Pull of the Pint, by Bill Coleman.

BEST BOOK (FICTION): I had a couple of good reads this year. During the whole move (which was not a moving experience, if you get me), I beguiled the time by reading Stephen King's Dark Tower sequence, which I would recommend only if you are a big King fan already. Otherwise, skip it. I also enjoyed The Tin Roof Blowdown, by James Lee Burke. But I give the Ralphie to a book that I actually read last December too late for the 4th Ralphies: The Brief Wondrous Life of Oscar Wao, by Junot Diaz. Highly recommended.

BEST BOOK (NONFICTION): I've read a ton of non-fiction lately, but mainly in connection with my work, and none of those books are of recent vintage. I will award the Ralphie to a non-academic work, though, that gave me much to think about: James Martin's My Life with the Saints.

BEST TV SHOW: Lost is, and will continue to be, the TV show for me, and the 4th season was as great as ever. But it was cut short by the writers' strike and somehow it feels like the Ralphie should go to something that is around more. The Office is just not worth watching anymore, and The Simpsons is far gone from its glory days. I award the Ralphie this year to House, which is compulsively watchable, fun, thought-provoking, and on practically 5 nights a week in syndication. Can't beat that.

That's all, folks! Have a fantabulous Christmas and an ecstatic New Year! See you next year!

Post SBL 2008

I haven't had time till just now to comment on the SBL 2008 in Boston; nor have I much to say this time around. I greatly enjoyed the various meals and meetings I had with friends and students, both planned and unplanned (especially the McGreevy's pub hilarity), but overall I'd have to say this meeting lacked some luster. Maybe it was the absence of the AAR, which made everything seem smaller, especially the book exhibits; maybe it was the unseasonably cold weather; maybe it was the chastened mood of an academy feeling the economic pinch; maybe it was just me. But Boston 2008 didn't knock my socks off.

I greatly enjoyed several papers, especially those of David Everson, Edward Goldman, Joe Zias, and my colleague Andrew Gross. My own paper, after being finished months ago, felt stale and unpolished to me, and I'm sorry I didn't do a better job of composition and execution. Hopefully it came off better to others than it seemed to me.

The nicest moment for me came when Sam Greengus told me at the Hebrew Union College luncheon, "We will always consider you a ben bayit." Thank you, and a blessing on HUC and its outstanding graduate studies program.

As for the new Zinjirli inscription, I may add a few updates to the post dealing with it; but in general I thought Prof. Pardee did an excellent job and he is to be thanked for putting this interesting inscription in front of the scholarly world so rapidly. The full philological treatment of the inscription will be published in BASOR within a year's time.

The New Zinjirli Inscription

The new Zinjirli inscription is featured in a New York Times article, along with a good (but not quite clear enough) picture. I can make out a few phrases, but the resolution is not great enough for my eyes to transliterate the whole thing.

The picture features a man, probably Kittamuwa, the sponsor of the stele, sitting with a TV remote in one hand and a turkey drumstick in the other. Just kidding! I surmise that he is actually holding a pomegranate and some other foodstuff.

A partial translation from Dennis Pardee, with whatever bits of Samalian I can glean:

I Kuttamuwa, servant of [the king] Panamuwa (אנכ כתמו עבד פנמו), am the one who oversaw the production of this stele for myself while still living. I placed it (ושמת ותה) in an eternal chamber [?] and established a feast (חגג) at this chamber (יד זנ): a bull for [the god] Hadad (שור להדד), a ram for [the god] Shamash (יבל לשמש) and a ram for my soul that is in this stele (ויבל לנבשי זי
בנצב זנ).

Interesting to note is another occurrence of the definite object marker wt. The inscription may also throw light on the occurrence of ybl in the notoriously obscure line 21 in the Panamuwa inscription, which now seems to require interpretation as referring to sacrifice.

A few other phrases are readable; but why not wait for Pardee's definite treatment this weekend? I'm looking forward to it.

UPDATE (11/30/08): Pardee's presentation in Boston was a thorough and competent survey of the inscription. The word for "chamber" is syr or syd, not yd. I will deal with other aspects of the inscription at another time. I will further note that the text will no doubt inaugurate a discussion concerning aspects of the West Semitic cult of the dead due to the expression "my soul that is in this stele." As one scholar noted in Boston, this has to be connected to the use of the term nephesh for tombs at a much later time. It is also possible that the Kuttamuwa stele may have some relation to the so-called baityloi, also known from a later period, which were considered to house spirits or other numina; Philo of Byblos called them lithoi empsychoi, "stones with souls." Let the games begin.

A Note on Sirach 42:18b

(Tristan, this post is for you.)

The Hebrew text of Ben Sira (Ecclesiasticus ) 42:18b, from the Masada manuscript, says of God ‏יׄביט אתיות עולם, "he sees from of old the things that are to come" (NRSV). The word אתיות is everywhere taken to be the feminine plural participle of the verb ‏אתי, "to come." This is a reasonable supposition since that form does occur in the Hebrew Bible, in Is 41:23; 44:7; 45:11. On the other hand, in the next verse a different word, ‏נהיות, is used for future events.

Nevertheless it occurred to me while reading the text with a seminar class today that an alternative understanding of the word might be "letters," understood as "elements." In post-Biblical Hebrew the word ‏אות "sign, letter" has two plural forms: ‏אותות when the meaning is "signs, miracles" and אתיות when the meaning is "letters."

If God is said to "see the letters of the world," what could that possibly mean? It might mean the same as the expression τὰ στοιχεῖα τοῦ κόσμου, "the elements of the world" used in Paul's letters; στοιχεῖα means not only "elements," but also "letters." It is possible that Hebrew "letters" could also mean "elements," and that Ben Sira's expression refers to the four elements, the building blocks of creation.

But also possible — if this reading is accepted — is the idea that the 'otiyyot `olam are the "eternal letters," the 22 letters of the Hebrew alphabet through which, according to later tradition, the world was created. This idea plays a role in the later Sepher Yezirah and in the thought of Kabbalah. I doubt that Ben Sira had a fully developed Kabbalistic concept in mind, but the intersection in meaning of Greek stoicheion and Hebrew 'ot may have worked on his strongly Torah-centric theology to influence his expression in this one verse, which in turn influenced or foreshadowed later developments.

Orthography of the High Priest Sarcophagus

Jim Davila has directed us to the discovery of an inscription on a sarcophagus dating from the Second Temple period, which reads ‏בן הכהן הגדול, "son of the High Priest."

I will leave the historical analysis to others who are better qualified. What interests me are the orthographical minutiae. The main two words, kohen and gadol, both give the opportunity for the use of matres lectionis (consonants used as vowel letters). However, only one word has a mater, ‏גדול. This is consistent with the vast majority of its occurrences in the Masoretic Text of the Hebrew Bible.

The spelling of the other word, ‏כהן, without a mater, is also consistent with its spelling in the Masoretic Text, where it never appears with a mater. Not very interesting, I know. However, in the Dead Sea Scrolls, the largest collection of Second Temple Hebrew texts that we have, the word appears with a mater in the majority of cases (‏כוהן), as does ‏גדול. This is true for both words even of the biblical texts.

The Mishnah has the same orthography as the Masoretic text, but for the expression "High Priest," it uses the phrase without the definite article: ‏כהן גדול. The same is true of the Hasmonean coins, but this may be for reasons of space.

So of the three ancient forms of this title (Masoretic tradition, Qumran, Mishnaic/numismatic), the sarcophagus is aligned with the Masoretic tradition. As far as I know, this has no historical implications. I just think it's interesting.

The Jesus Bowl: Another Crock

Well, this is all over the place. Once again, it does not seem to be as big a deal as everyone is saying.

(1) The bowl pretty clearly reads δια χρηστοu, "through Chrestos," not "Christ." Chrestos is a personal name, as well as an adjective meaning "decent" or "useful."

(2) If the bowl is dated from the 2nd century BCE to the early 1st century CE, it cannot in any case refer to Jesus Christ. The epithet Christ was not added to the name of Jesus of Nazareth until after the crucifixion, in the 30's of the first century. And Jesus of Nazareth did not exist in the 2nd or 1st century BCE (unless he was an infant in the closing years of the 1st century BCE, as seems probable).

Not visible in the photo are the words supposed to be "the magician": O GOISTAIS. I don't recognize this form; I know the word γοητής or γόης which can mean magician. I have no idea what GOISTAIS is supposed to be.

In short, this big story is something of a muddle. Perhaps some experts on Greek paleography and lexicography could weigh in. In the meantime, don't get too excited.

BIBLIOGRAPHY: Magic and Magicians in the Greco-Roman World, by Matthew Dickie (Routledge, 2003).

Jailer, Gaoler ... Goaler?

I was playing a little hooky yesterday from class preparation and reading a bit of Anthony Trollope's Barchester Towers. I came across the phrase "king, judge, or goaler." ("The temporal king, judge, or goaler, can work but on the body.") My first thought was that "goaler" was a typo for "gaoler," the British equivalent of "jailer," and I so emended the text in my mind.

My second thought was that maybe the reference was to some other function, and that perhaps I had been too hasty. So I looked in the online OED. Lo and behold, the spelling "goaler" was listed as one of the spelling variants of JAILOR, JAILER, GAOLER. A little more research via Google Print turned up a great many occurrences of the spelling GOALER with the meaning, and presumably the pronunciation of, "jailer." It goes back at least as far as variant readings in Shakespeare's Folios and seems to expire sometime in the late 19th century; Trollope was using a spelling that was on the way out.

Granted then the venerable pedigree of the spelling "goaler," does that make it any less of an error? Judging from the etymology of the word, the combination OA cannot be anything but a confused orthography for the more correct AO — and yet it was surprisingly popular and widespread.

From this I draw this lesson for textual studies, that it is necessary to distinguish between the proper ("correct") reading and the "correct" etymology. GOALER is the correct reading in Trollope, although the orthography is a poor representation (therefore "incorrect") of the pronunciation and the etymology of the word in general (which is why, no doubt, such a spelling gradually vanished in the presence of competing spellings).

Qal or Niph'al?

In response to a student's question, I was led to look up the parsing of the form ‏יֵחַת in HALOT — the Hebrew and Aramaic Lexicon of the Old Testament, now the standard lexicon for Biblical Hebrew (a revision of the older Koehler-Baumgartner lexicon). I was surprised to see that all of the forms of that type (the imperfect of the root ‏חתת) were taken to be from the Niph'al stem.

If you look at the same forms in BDB (Brown-Driver-Briggs), they are parsed, correctly in my opinion, as from the Qal stem. Now purely from the standpoint of morphology, either parsing is possible. Due to the accidents of accidence (so to speak) the same vocalization would be used in either case.

Nevertheless, if HALOT is correct, we would have the strange arrangement whereby the perfects of the root are in the Qal and the imperfects are in Niph'al (there are a few in Piel and Hiphil but they don't concern us). It is more sensible (and more economical) to assume that both perfect and imperfect forms are parsed as the Qal.

This assumption is strengthened when one notes that חתת is a stative verb, not an active verb (look at Jer. 50:2, for example), and the underlying Qal vocalization *yiqtal is standard for stative verbs. With geminate verbs, the vocalization יֵחַת is exactly what would be predicted. I have no idea why HALOT opted for the Niph'al in this case.

I don't suppose that anyone really thinks that HALOT is infallible, do they? If you do, then stop.

BIBLIOGRAPHY: Among many grammatical treatments, see Waltke & O'Connor, An Introduction to Biblical Hebrew Syntax, §22.3j (p. 369).

RIP DFW

Writer David Foster Wallace is dead. I will miss him.

All the newspapers are calling him "postmodern," which is true in kind of a chronological way, but he really didn't fit that whole ironic life-is-just-a-game-without-rules mold of the postmodern. More than any other modern writer (not that I know that much about modern writing), he tried to meld a contemporary sensibility with a commitment to values, or at least value-seeking, that is universal.

This old interview at Salon, after Infinite Jest came out, has a lot of insights. Some excerpts:

There's something particularly sad about [living in America today], something that doesn't have very much to do with physical circumstances, or the economy, or any of the stuff that gets talked about in the news. It's more like a stomach-level sadness. I see it in myself and my friends in different ways. It manifests itself as a kind of lostness. Whether it's unique to our generation I really don't know.

... I get the feeling that a lot of us, privileged Americans, as we enter our early 30s, have to find a way to put away childish things and confront stuff about spirituality and values. Probably the AA model isn't the only way to do it, but it seems to me to be one of the more vigorous.

... The idea that something so simple and, really, so aesthetically uninteresting [as not lying] -- which for me meant you pass over it for the interesting, complex stuff -- can actually be nourishing in a way that arch, meta, ironic, pomo stuff can't, that seems to me to be important. That seems to me like something our generation needs to feel.

There are certain contemporary writers or artists that one feels like are companions for the journey, and this is different than liking the old writers who are great and nourishing but dead long ago. They (the companions) make one feel not alone. And now DFW has gone, and we're a bit more alone than we were.

One last thing: his essays in books like Consider the Lobster and A Supposedly Fun Thing I'll Never Do Again, are just incredibly funny. His description of the McCain 2000 campaign in Lobster (as well as his evisceration of John Updike in the same) just have to be read. Honor a great writer and go read 'em.