Criticism
Literary critics have focused on the relationship between the Judah story in chapter 38, and the Joseph story in chapters 37 and 39. Victor Hamilton notes some “intentional literary parallels” between the chapters, such as the exhortation to “identify” (38:25-26 and 37:32-33). Emerton regards the connections as evidence for including chapter 38 in the J corpus, and suggests that the J writer dovetailed the Joseph and Judah traditions. Derek Kidner points out that the insertion of chapter 38 “creates suspense for the reader ,” but Robert Alter goes further and suggests it is a result of the “brilliant splicing of sources by a literary artist.” He notes that the same verb “identify” will play “a crucial thematic role in the dénouement of the Joseph story when he confronts his brothers in Egypt, he recognizing them, they failing to recognize him." Similarly, J. P. Fokkelman notes that the "extra attention" for Judah in chapter 38, "sets him up for his major role as the brothers' spokesman in Genesis 44."
J. A. Emerton notes that it is “widely agreed” that the story of Judah and Tamar “reflects a period after the settlement of the Israelites in Canaan.” He also suggests the possibility that it contains “aetiological motifs concerned with the eponymous ancestors of the clans of Judah.” Emerton notes that Dillman and Noth considered the account of the deaths of Er and Onan to “reflect the dying out of two clans of Judah bearing their names, or at least of their failure to maintain a separate existence.” However, this view was “trenchantly criticized” by Thomas L. Thompson.
Read more about this topic: Judah (biblical Person)
Famous quotes containing the word criticism:
“Like speaks to like only; labor to labor, philosophy to philosophy, criticism to criticism, poetry to poetry. Literature speaks how much still to the past, how little to the future, how much to the East, how little to the West.”
—Henry David Thoreau (1817–1862)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)