Ishmaelites, Midianites and Literary Criticism
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There are different approaches that one can use to understand the complexities of the Pentateuch. I have been thinking about two approaches in particular, source criticism and literary criticism, after reading James S. Diamond’s book Stringing the Pearls: How to Read the Weekly Torah Portion. Dr. Diamond teaches in the Program in Judaic Studies at Princeton University and this book grew out of his two-year intensive Tanakh course sponsored by the Hebrew College of Boston. Although the aim of the book is to introduce the Jewish reader to the Torah portions (there are 54 portions or parashyiot which are read throughout the year covering the entire Torah), it covers a whole range of topics making it a great introductory short book on the Torah from a Jewish perspective.
My intention in this post is to look at Diamond’s handling of Genesis 37, a text that he uses to illustrate how the narrative can be read using literary criticism. Part of my interest in literary criticism is my admiration for Robert Alter’s work in this area.
The title of the book comes from a midrash on Song of Songs 1:10: “… your neck [is comely] with a string of pearls.”
Rabbi Levi said in the name of Rabbi Hama son of Rabbi Hanina:
These are the portions of the Torah, which are strung together, and which draw upon each other, and which jump back and forth among each other, which resemble each other, and which share affinities with each other.
(Midrash Rabbah on Song of Songs 1:54)
Diamond gives us a general overview of source and literary criticism and how each one approaches the text in the Torah. Although source criticism can be quite technical, he points out that it is easier nowadays for lay people to understand it due, in great measure, to the work of Richard Elliot Friedman. In short, he says that source criticism “seeks to identify the different hands and voices that are visible and audible in the text. Source criticism builds on linguistic analysis but looks at larger literary issues such as style and point of view” (71).
Literary criticism on the other hand is attuned to the esthetic dimension of the text. “It seeks to illuminate the internal coherence of an individual narrative, of a poem, of a book, of the Pentateuch as a whole, even of the TANAKH as a whole” (72). He cites Gabriel Josipovici who contrasts the literary approach with source criticism:
It is not that the documentary hypothesis is necessarily wrong in substance; Genesis is clearly made up of a number of traditions which have been combined at different stages. But is not the task of the critic to try and come to grips with the final form as we have it, and to give the final editor or redactor the benefit of the doubt, rather than to delve behind his work to what was there before?” (72)
