Esther: The Outer Narrative and the Hidden Reading (Siphrut: Literature and Theology of the Hebrew Scriptures)

Using narrative devices such as allusions and free associations, multivalent expressions, and irony, the author of Esther wrote a story that is about a Jewish woman, Esther, during the time of the Persian exile of Yehudites, and the Persian king, Ahasuerus, who was in power at the time. At various junctures, the author also used secret writing, or we could say that he conveys mixed messages: one is a surface message, but another, often conflicting message lies beneath the surface. For instance, the outer portrayal of the king as one of the main protagonists is an ironic strategy used by the author to highlight the king's impotent, indecisive, “antihero” status. He may wield authority—as symbolized by his twice-delegated signet ring—but he remains powerless. Among all the concealments in the story, the concealment of God stands out as the most prominent and influential example.A growing number of scholars regard the book of Esther as a “comic diversion,” the function and intention of which are to entertain the reader. However, Grossman is more convinced by Mikhail Bakhtin's approach, and he labels his application of this approach to the reading of Esther as “theological carnivalesque.” Bakhtin viewed the carnival (or the carnivalesque genre) as a challenge by the masses to the governing establishment and to accepted social conventions. He described the carnival as an eruption of ever-present but suppressed popular sentiments. The connection between the story of Esther and Bakhtin's characterization of the carnivalesque in narrative is evident especially in the book of Esther's use of the motifs of “reversal” and “transformation.” For example, the young girl Esther is transformed from an exiled Jewess into a queen in one of the turnabouts that characterize the narrative. Many more examples are provided in this analysis of one of the Bible's most fascinating books. Front Cover......Page 1 Front Matter......Page 2 Series Page......Page 3 Title Page......Page 4 Copyright Page......Page 5 Contents......Page 6 Preface......Page 8 On the Hidden Reading of Biblical Narratives......Page 10 The Artistic Structure of the Book of Esther......Page 21 Historical Setting......Page 25 Where Should the Narrative Begin?......Page 34 Who Is the Protagonist of Esther?......Page 36 The Kingdom of Ahasuerus (1:1)......Page 47 Ahasuerus’s Feasts: Generous King or Arrogant King? (1:2–8)......Page 48 “In Addition, Queen Vashti Gave a Banquet for Women” (1:9–12)......Page 54 The King’s Judgment: Responsible or Ridiculous Rule? (1:13–22)......Page 57 The Treatment of Women (2:1–20)......Page 66 Presentation of Mordecai and Esther......Page 76 “When the Virgins Were Assembled a Second Time” (2:19–20)......Page 84 The Attempted Rebellion against the King (Esther 2:21–23)......Page 86 Chapter 5: “Some Time Afterward”: The Promotion of Haman (Esther 3:1–6......Page 90 Haman, Son of Hamedatha, the Agagite (3:1)......Page 91 “And Placed His Seat above All the Officers Who Were with Him” (3:1)......Page 92 “Mordecai Would Not Kneel or Bow Low” (3:2)......Page 94 Mordecai as Vashti (and Haman as Ahasuerus)......Page 100 Chapter 6: The Casting of the Lot......Page 102 Chapter 7: Did the King Know of Haman's Decree? (Esther 3:8–11......Page 107 Mordecai Tells Esther (4:7–8)......Page 110 Esther Tells Ahasuerus (7:3–4)......Page 111 The King, Haman, and the “City of Shushan” (3:15)......Page 118 Without Clothes (4:1)......Page 120 Hathach’s Disappearance (4:1–15)......Page 124 Chapter 9: Esther’s Plan (Esther 5:1–8)......Page 133 Chapter 10: The Gallows (Esther 5:9–14)......Page 141 In the Morning......Page 150 In the Street......Page 153 Haman’s Return Home (6:12)......Page 158 Haman at Home with His Advisers (6:13)......Page 161 Chapter 13: Esther’s Second Party (Esther 6:14–7:10)......Page 165 “Haman’s Face Was Covered” (7:8)......Page 173 “Also Harbonah Is Remembered for Good”......Page 175 Mordecai’s True Reward......Page 179 Haman’s Estate......Page 181 Esther’s Plea to the King......Page 182 Chapter 15: Mordecai’s Letters (Esther 8:9–16)......Page 188 Chapter 16: “Not One Good Thing Was Lacking”......Page 194 Indiscriminate Slaughter?......Page 197 Martin Luther Adopts an Extreme Manner of Speaking......Page 198 Chapter 17: Stages of the Festival’s Acceptance (Esther 9:15–32)......Page 203 Chapter 18: The Greatness of the King and the Greatness of Mordecai (Esther 10)......Page 217 The Joseph Narratives and the Book of Esther......Page 219 “All His Mighty and Powerful Acts Are Recorded” (10:2)......Page 222 “Dynamic Analogies” in the Book of Esther......Page 227 Changeover and Reversal......Page 241 From “Literary Carnivalesque” Genre to “Theological Carnivalesque” Genre......Page 242 Attitude toward Women......Page 249 Attitude toward Honor......Page 250 Attitude toward Exile......Page 251 Attitude toward God......Page 252 The Uniqueness of the Book of Esther......Page 253 Index of Authors......Page 256 Index of Scripture......Page 260 Using narrative devices such as allusions and free associations, multivalent expressions, and irony, the author of Esther wrote a story that is about a Jewish woman, Esther, during the time of the Persian exile of Yehudites, and the Persian king, Ahasuerus, who was in power at the time. At various junctures, the author also used secret writing, or we could say that he conveys mixed one is a surface message, but another, often conflicting message lies beneath the surface. For instance, the outer portrayal of the king as one of the main protagonists is an ironic strategy used by the author to highlight the kings impotent, indecisive, antihero status. He may wield authorityas symbolized by his twice-delegated signet ringbut he remains powerless. Among all the concealments in the story, the concealment of God stands out as the most prominent and influential example. A growing number of scholars regard the book of Esther as a comic diversion, the function and intention of which are to entertain the reader. However, Grossman is more convinced by Mikhail Bakhtins approach, and he labels his application of this approach to the reading of Esther as theological carnivalesque. Bakhtin viewed the carnival (or the carnivalesque genre) as a challenge by the masses to the governing establishment and to accepted social conventions. He described the carnival as an eruption of ever-present but suppressed popular sentiments. The connection between the story of Esther and Bakhtins characterization of the carnivalesque in narrative is evident especially in the book of Esthers use of the motifs of reversal and transformation. For example, the young girl Esther is transformed from an exiled Jewess into a queen in one of the turnabouts that characterize the narrative. Many more examples are provided in this analysis of one of the Bibles most fascinating books.