By Lillian R. Klein
The Triumph of Irony within the booklet of Judges specializes in the literary caliber of the ebook of Judges. Klein extrapolates the subject of irony within the e-book of Judges, looking to end up that it's the major structural aspect. She issues out how this literary machine provides to the final that means and tone of the e-book, and what it unearths in regards to the tradition of the time. Chronologically divided into sections, Klein explores the narrative and commentates at the literary homes throughout-plot, personality improvement, and determination, in addition to the most subject matter of irony.
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Extra resources for The Triumph of Irony in the Book of Judges (Bible and Literature Series)
Israel fights under divine guidance; the enemy is not only acting on its own ('kings ... fought') but is the object of the divine power ('the stars fought'). 24-30), which laud the non-Yahwist action of Jael. 24). Ironically, the Israelites honor JaeFs deceptive (and brutal) acts on her own initiative more than Deborah's honorable and ethical leadership under Yahweh's guidance. Joze KraSovec comments on the irony implicit in the antitheses of the scenes depicting Jael and Sisera's mother: a simple Bedouin woman (who acts 'in a most dishonorable manner') is contrasted with the mother of a mighty warrior, waiting in her palace and consulting with the wisest of her women about the delay in her son's return (1984:33).
10, the following generation does not even know Yahweh or his works. The distinction between 'saw' and 'knew' becomes more pointed at this point, where Yahweh is not 'known', and in Judg. 1-2, which drums on the verb 'know'. Biblical narrative style, usually remarkably condensed, repeats 'not know', 'might know' to emphasize the gap which had developed between this generation and that of Joshua, which 'saw'. Unseen, unknown, the 'works' of Yahweh are unmodified in this verse. Verse 10 develops from the Joshua passage to express what is implicit in v.
The song does not open with the heroes of the war, but with the 'leaders' of the peoples, 'kings' and 'potentates', on the one hand, and 'Yahweh'. The royalty are commanded (in the imperative) to 'listen' and 'give ear'; Yahweh is to be sung to. 3) moves from the kings, through the poet, to Yahweh; and although the poet is emphasized ('I, even I will sing; I will sing praise'), the end of the verse focuses on Yahweh. 4-5) presents a dramatic change of scene as Yahweh's cosmic power is celebrated with special emphasis on water imagery.