By Eric D. Reymond
This quantity explores the language and poetic constitution of the seven non-Masoretic poems preserved within the lifeless Sea Scroll classified 11Q5 or 11QPsa. It provides clean readings of the Hebrew poems, that have been final studied intensively virtually fifty years in the past, stressing their structural and conceptual coherence and incorporating insights received from the scholarship of contemporary a long time. each one bankruptcy addresses a unmarried poem and describes its poetic constitution, together with its use of parallelism and allusion to scripture, in addition to particular difficulties with regards to the poem s interpretation. additionally, the publication considers those poems in terms of what they exhibit in regards to the improvement of Hebrew poetry within the overdue moment Temple interval
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Additional info for New Idioms within Old: Poetry and Parallelism in the Non-Masoretic Poems of 11Q5
26. Sanders, DJD 4:81; idem, Dead Sea Psalms Scroll, 115; idem, “Non-Masoretic Psalms,” 189; Deutsch, “Sirach 51 Acrostic,” 401. 27. Skehan, “Acrostic Poem,” 388. SIRACH 51:13–30 (11Q5 XXI, 11–XXII, 1) 31 Although the Greek text contains the explicit mention of sophia, neither the Dead Sea Scroll text nor the Syriac translation mentions Wisdom. This absence is important, as it forms one of the motifs of the poem and perhaps reflects the need to continue to seek and pursue Wisdom. Sir 51:14 The fact that the poet seeks Wisdom only to have her come to him reflects the reciprocal nature of Wisdom, also expressed later in this same poem (v.
18c-f concerns a new subject, the sin of the audience. I illustrate these alternative divisions of the poem to point out that what Fokkelman presents as obvious and incontrovertible is, in fact, quite controvertible and in no way patently obvious. In short, I agree with those features that Fokkelman argues mark internal cohesion with a larger group of verses, but I disagree with the assertion that such 33. Fokkelman writes: “Strophe 14 is marked by the change to new linguistic forms. . God bursts into a chain of commands that occupies three times three cola” (Reading Biblical Poetry, 106).
18. Muraoka writes concerning the last passage, “What physical activity the phrase as a whole could possibly denote I leave to the reader’s imagination to work out” (“Sir. 51, 13–30,” 172). 19. See Sanders, DJD 4:84; idem, Dead Sea Psalms Scroll, 117. ”20 As will be explained below, the language of the poem contains indisputable sexual innuendo. My discussion of the poem’s structure seeks to put this sexual language and imagery in its context. The presentation of the poem below is based on the text from 11Q5.