What about Lamech's "wound"?

by Schizm 53 Replies latest watchtower bible

  • Leolaia
    Leolaia
    That is the incident, but what I believe is weird about it is Noah's grown up sons act like and are treated like kids. Also its like a story that was just tagged on to the end of the flood. It seems soooo out of place at the end of the flood myth.

    Yep, this is the same observation made by many Bible scholars. Actually, it is the Flood story that seems out of place. The crucial fact is that the name nwch "Noah" is related to the word nchm "comfort". Now the obvious foreshadowing to the name occurs in Genesis 3:17, the curse on Adam, referring to the "toil" and "suffering" in agricultural work and the "sweat on your brow" it brings. Then, in Genesis 5:29, Lamech the father of Noah says when he names him:

    "Here is the one who will give us, in the midst of our toil and the laboring of our hands, a consolation derived from the ground that Yahweh cursed."

    So there is an obvious backward reference to Genesis 3:17. But the forward reference cannot be to the Flood (which certainly brought no such comfort), but to Noah's discovery of vine-culture, which brought comfort derived from the ground (Genesis 9:20-24). In this vein, also note Proverbs 31:6-7 which recommends "wine for the heart" and declares, "Let them drink and ... remember their misery no more ." The intervening Flood story breaks up the connection between the wine discovery in ch. 9 and the naming of Noah in ch. 5 and thus probably conflates an agricultural hero with the survivor of a cataclysmic Flood.

    Moreover, Genesis 9:20-24 introduces Noah in an entirely new character, as not only the discoverer of the vine but the first victim of its effects. Note that v. 20 calls him "Noah the husbandman " which implies the existence of traditions about his work in agriculture. In fact, there is an infamous problem in the position of this episode after the Flood story. In the Flood narrative, Noah's sons are married men who take their wives into the ark. Here, on the contrary, they are represented as minors living in the "tent" with their father; and the conduct of the youngest is conceived almost as an exhibition of juvenile immaturity. The generally accepted explanation, then, is that Genesis 9:20-27 belongs to a stratum of the Yahwist writer (J ) who knew nothing of the Flood. Note that in v. 24 the offender is the youngest son of Noah, and in v. 25 he is named Canaan, while Shem and Japheth are referred to as his brothers. It is true that in v. 22 the misdeed is attributed to "Ham the father of Canaan" but the words appear to harmonize the account with vs. 18-19 (of the Flood account), and the words leave unresolved the problem between v. 24 and v.25. Not only is there a problem with the position of this story after the Flood account, but it interrupts the connection between v. 19, which describe Ham, Shem, and Japheth as the fathers of humankind, and Genesis 10-11 which lay out how this happened. By all appearances, this story seems to be independent of the Flood narrative.

    The same could be said regarding the Cainite geneology in Genesis 4, which terminates in the three sons of Lamech. It has been generally noted that this geneology is a doublet of the Sethite geneology in ch. 5 (containing many of the same names in roughly the same order, terminating in the three sons of Noah, the son of Lamech). As the eponymous ancestor of the Kenites (cf. especially Numbers 24:21-22, which refers to the Kenites by the name of their ancestor Cain), Cain's nomadic line did not perish but remained in existence throughout Israelite history (Genesis 15:19; Judges 1:16, 4:11; 1 Samuel 14:6; Jeremiah 35:1-19). Their nomadism and lack of agriculture is related in Genesis 3:12-16, their specialty in metal-working is mentioned in 4:22, as well as their focus on music (4:21). The Cainite geneology in Genesis 4 is evidently from a Kenite source that viewed their ancestor as the founder of human civilization. There was thus no hint of a Flood wiping out human society in the Yahwist account that posits Cain as the ancestor of the Kenite portion of the Judean population.

    The anecdote about the Nephilim in ch. 6 also likely knew nothing about the Flood at least in its original form, as the Nephilim were later described as living in the Promised Land in Numbers 13:33 (from the same J source as Genesis 6:4), and the words 'chry-kn "and even afterwards" in 6:4 intrude into the text as a paranthetical gloss tacked on to harmonize with the subsequent reference in Numbers. The story of Nimrod in ch. 10 (also from J) also may relate to the Nephilim anecdote, as it concerns a gbr "mighty one" who was of "renown" (such that a "saying" was quoted in the text about him). The Nimrod story literarily is foreshadowed by 6:4, and this link also ignores the existence of an intervening Flood.

    I'll check up one some of the stuff on the Cainite Lamech in the morning, as it relates to the Kenite tribes.

  • greendawn
    greendawn

    We shouldn't read much in the ancient stories mentioned in Genesis since they could be distorted after having been transmitted over many generations, even orally during times when there was no writing.

    If Moses wrote Genesis he did so 2500 (or 4000 according to the translation of the seventy)years after Adam so how on earth could he have, back in his days, accurate records on those distant early times? Should be taken with a pinch of salt like the very long life times of early humans.

  • Leolaia
    Leolaia

    About the "Song of Lamech" in Genesis 4:23-24, it is hard to make much of it because it is so laconic. It is interesting however how it fits in its present context. Lamech is presented as declaring his boast to his two wives, who are the mothers of (1) the inventor of metallurgy, Tubal-Cain, or "Tubal the metalsmith", and (2) the inventor of musical instruments, Jubal (4:21-22). Just as the name tbl-qyn reflects the son's profession, so does ywbl reflect the musical ywbl "ram's horn blown to mark the Jubilee". Moreover, the name Zillah is likely related to either tsltswl "cymbal" or tsltsl "to make a tinkling sound". It is thus striking that Lamech then sings a refrain (reflecting the musical conotations of Jubal and Zillah) about murdering a man (evoking Tubal-Cain's ltsh "sharpening" of objects of copper and iron). The other son, Jabal, tended herds, which was the profession of Abel, and the two names are quite similar (hbl "Abel" vs. ybl "Jabal"); the act of murder that Lamech commits also likens him to Cain, and v. 24 directly alludes to Cain's curse. The language also evokes qyn "Cain" in several other ways: Jabal is associated with mqnh "cattle" in v. 20 (cf. qnh in v. 1) and Tubal-Cain has qyn as an element of his name.

    Incidentally, what is known about the Kenites is that they were a nomadic tribe from the mineral-rich Sinai and Arabah area (cf. Exodus 3:1, Judges 1:16), likely specializing in metalurgy, animal husbandry (cf. Exodus 3:1), and music, who settled in Judah and became absorbed into the general population except for the clan of the Rechabites, who retained the nomadic lifestyle and dwelled outside Judean cities (Jeremiah 35:1-19 ), who exactly as in Cain's curse could not "build houses, sow seed, plant vineyards" and who were commanded by their ancestor Jonadab, "You must live in tents all your lives, so that you may live long on the soil to which you are alien" (Jeremiah 35:7). Compare with the curse in Genesis 4:12: "When you till the ground it shall no longer yield you any of its produce. You shall be a fugitive and a wander over the earth", as well as the description of Cain's descendent Jabal as "the ancestor of tent-dwellers" (v. 20).

    As for the "wound" that Lamech experiences, it is interesting that there is no narrative to go along with the song. Probably the song is a fragment from a larger Kenite tradition now lost. It is attractive to link the wound to the metal instruments then fashioned by Tubal-Cain, tho this is not at all explicit. The fact that Lamech had been wounded by the man he killed is interesting, because unlike the case of Cain, Lamech's act of murder may have been in self-defense. But what is most interesting is the way the Song departs from the lex talionis of Exodus 21:23-27. There we read that one is to give "life for a life, eye for an eye, tooth for a tooth, hand for hand, foot for foot, burning for burning, wound (pts' ) for wound, welt (chbwrh) for welt". Genesis 4:23, interestingly, uses these two same words in the same order: "Truly I have killed a man for wounding (l-pts'y) me, a youth for hitting (l-chbrty) me". God's promise to Cain seemingly demanded a life for a life, but the retribution of intensified sevenfold: "Anyone who kills Cain, vengeance shall be taken on him sevenfold" (4:15). It is unclear whether this means that God would demand six others to die in addition to Cain's killer, or whether "seven" is only a metaphor for full divine punishment. But Lamech interestingly goes much further beyond the principle of lex talionis. There he kills someone wounding and hitting him. The phrasing in Exodus 21:25 would suggest that the youth should have been only wounded or received a welt in return. The hyperbole of "seventy times seven" vengeance that Lamech demands for his own death also far outweighs what God had already promised to Cain. Yet Cain killed Abel without Abel even injuring him, or acting untoward to him at all.

  • Schizm
    Schizm

    Hello Leolaia,

    About the "Song of Lamech" in Genesis 4:23-24, it is hard to make much of it because it is so laconic.

    The idea that Lamech's words were the lyrics to a "song" is a bunch of nonsense in my opinion. It's highly improbable that someone who had just taken a life would feel like singing about it.

    Moreover, the name Zillah is likely related to either tsltswl "cymbal" or tsltsl "to make a tinkling sound".

    The references that I've consulted do not agree with what you're suggesting. They say that her name means "shadow; shelter," or "shade"--words which appear to convey the idea of that which is pleasant. The "shade" of a tree or the "shadow" which it casts can be a luscious sight for a tired worker of a field during summer, because it offers "shelter" from the hot sun. Zillah's parents must have given her that name because it was appropriate. It must have described something about her--lilkely that she was pleasant to behold = an unusually pretty child. When grown she would have become an exceptionally "beautiful" woman.

    Insofar as Lamech's other wife, Adah, her name is said to mean "Jehovah Has Decked" [the nameholder]," or "ornament or morning". All of these suggest a pleasing, attractive appearance. Therefore, Adah's name reveals that from birth she herself had been gifted with fine physical features.

    So it appears that Lamech had acquired, not one, but two very attractive and covetable wives. Physical attractiveness appears to be a significant factor in Lamech choosing to have "two" wives.

    But does our knowing this about Lamech's wives provide a clue towards helping us to understand what led to his becoming a murderer? I think so, and I'll explain further in my next post. In the meantime though I welcome your comments and/or criticism.

    .

  • gumby
    gumby

    Schizm.....Lamechs wound represented the sin he commited when he slept with his daughters after he passed out after an allnighter in his grape vinyard. Jehovah then turned both daughters into damn pillars of salt and put Lamechs name in the book of Hebrews as a man of renown faith...........................................wait.................oh shitsky....that was Lot, never mind.

    Gumalzheimer

  • IP_SEC
    IP_SEC
    oh shitsky....that was Lot, never mind.

    No wonder your church of Gumbie didnt last.

  • Leolaia
    Leolaia
    The idea that Lamech's words were the lyrics to a "song" is a bunch of nonsense in my opinion. It's highly improbable that someone who had just taken a life would feel like singing about it.

    It is referred to a "song" in the critical literature (i.e. Gunkel, Procksh, Freedman, Westermann, Skinner, Wenham, etc.), because it is a poetic composition of the same form (of similar metrical structure, of short length of one or two verses, rhyme, also by having archaic parallelism) as the "Song of Miriam" in Exodus 15:21, the song in 1 Samuel 18:7, the Song of Samson in Judges 15:16, and so forth. The poem contains three distichs, of double tetrameter in the first distich and two trimeters in the next two distichs; Stuart has suggested that the archaic pronunciation would have yielded a meter of 9:9/7:7/7:7. Of course, the artistry of the poem is not at all obvious in the English translation, where it could easily be mistaken for just an ordinary utterance. Is it "highly improbable" for someone who had just taken a life to compose a nice little poem about it? We are dealing with a literary composition, not a verbatim transcript of what a real-life person said in an actual situation. Moreover, the song in Judges 15:16 is quite similar; after killing a bunch of people, Samson sings: "With a donkey's jawbone I have made donkeys of them, with a donkey's jawbone I have killed a thousand men." Within the context of the story, Samson sure felt like singing about murdering people; it is a boast he is making, after all. Critical scholars have also generally approached the Song of Lamech as a bragging boast of blood vengeance, similar to those of the Bedouin tradition. Montgomery has supported this with evidence from Arabic parallels, particularly of the hija. Lamech states that he can kill for mere "blows" and "hits", and terrific vengeance would be cast down on whoever dares to kill him. The purpose of J for including the narrative may be to demonstrate one way in which the "striving of man's heart was always wicked" (6:5), and for the purpose of the redactor it supports the idea that the world was "full of violence" (6:11, 13).

    The references that I've consulted do not agree with what you're suggesting. They say that her name means "shadow; shelter," or "shade"

    Both are equally possible; the suggestion of reduplicated tsltsl as the root of tslh is accepted by Cassuto and Westermann, and considered by Wenham. Earlier exegetes (such as Sayce, Cheyne, Skinner) preferred tsl "shade" as the root, and supported this by deriving 'dh "Adah" from a root meaning "Dawn" (cf. Arabic ghadin "dawn"), thus making Zillah and Adah a natural pair. This suggestion however has been largely rejected.

    So it appears that Lamech had acquired, not one, but two very attractive and covetable wives. Physical attractiveness appears to be a significant factor in Lamech choosing to have "two" wives.

    You have an interesting suggestion here, plausible on its face that the heroic narrative behind the fragment of the Song of Lamech (i.e. in the broader tradition) pertained to Lamech murdering a young man for trying to lure away his wives, or something along those lines. Certainly possible, but unfortunately all traces of the narrative context of the Song of Lamech have long since been lost. However, your approach of trying to "fill in the gaps" of the story by picking up clues from the names of the characters is a time-honored midrashic technique in the Mishnah and pseudepigrapha.

  • Schizm
    Schizm
    So it appears that Lamech had acquired, not one, but two very attractive and covetable wives. Physical attractiveness appears to be a significant factor in Lamech choosing to have "two" wives.

    You have an interesting suggestion here, plausible on its face that the heroic narrative behind the fragment of the Song of Lamech (i.e. in the broader tradition) pertained to Lamech murdering a young man for trying to lure away his wives, or something along those lines.

    It wasn't my intention to suggest that the young man had been killed for having coveted one of Lamech's wives. In using the word "covetable" I meant to simply say that before they became Lamech's wives the two women were of such extraoridinary beauty that they would've naturally been the desire of just about any man seeking a wife. But, yes, in a quest to understand this short narrative, it would be only reasonable to consider the possibility that the young man might have been killed for having messed around with one of Lamech's wives ("plowed with his heifer," to borrow Samson's way of expressing it). There have indeed been many murders committed for that very reason. However, I think the narrative does in fact contain the necessary clue that points to the ACTUAL reason for which Lamech killed the young man, a clue that rules out any possibility that the young man had messed with Lamech's wives. I'll discuss what that "clue" is in my upcoming posts.

    .

  • gumby
    gumby
    I'll discuss what that "clue" is in my upcoming posts.

    *Gumby gets butterflys in his stomach from the anticipation and calls his whole family about the upcoming threads. Entire family postpones all plans to accomodate time for Schizms threads*

    Gumby

  • Schizm
    Schizm

    I'm wondering if there are any people who have a real interest in the subject of this thread. Before I continue on with my own personal thoughts about the subject (and I have indeed given a lot of thought to it) It would be nice to know that there are at least a few people who are interested, or at least curious, about solving the mystery of this Biblical account.

    Any of you who are current members of this board and who are interested, please alert me to the fact that you are interested. Also, any of you lurkers out there who have an interest in this subject, perhaps it's now the time for you to register so that you can post a message here in order to let me know that you're interested, and to also participate in the thread if you wish. If I find that there is nobody at all that is interested, then I'll cease from any further discussion myself. Of course you, Gumby, don't count.

    .

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