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Testament of Job (19/02/14) (Researcher: Maria Haralambakis):

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1.1 The text refers to itself as verbal entity (with implied or explicit boundaries).

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1.1 The text refers to itself as verbal entity (with implied or explicit boundaries).

1.1.1 The text refers to itself using a genre term, speech act term, verb or other term implying verbal constitution: The text acknowledges it is a text by self-referential components in the heading. The heading is different in all surviving Greek manuscripts, and even more different in the Slavonic. Nevertheless some self-referential components do exist. All three Greek manuscripts have the designation “Testament”. In mss P and V the term is διαθηκη (testament), in S it is διαταξης (instruction). In P and S there are two headings, as “testament” is followed by a generic description of utterance or text type: in P: βιβλος λογων (book of the words (of Job)), in S: βιβλος (book (of Job)). These two components are not integrated with or connected to each other. The relationship of each to the other is not made clear. Manuscript V does not have this second component, instead it expands on the characteristics of the protagonist : διαθηκη του αμεμπτου και πολυαθλου και μακαριου ιωβ ("Testament of the righteous and blessed Job who endured much"). In the Slavonic manuscripts the generic descriptions in the headings, different in each manuscript, are similar to those used for saints’ lives (Tale, Life and Deeds etc). None has an equivalent of “book,” nor of “testament”. Examples include: “Sixth of May, Life and Deeds of the Holy and Righteous Job, Bless (us) Father” (PŠ; similar titles in BG and MS), “Tale of the Righteous Job” (BP), “Month of May the sixth day, the Commemoration of the Righteous Job, Father Bless” (PB), “Story and Tale of Job who used to be called Jobab the Rich” (NS), “Tale of the rich Job, how he suffered from the envy of the devil” (ABAN 86). In the oldest surviving witness to the composition, a fourth century Coptic papyrus, there is a title both at the beginning and at the end of the text. The one at the beginning has been reconstructed and can be translated as “[the book of] Jobab, that is the ru[les of Job].” Possible alternative translations of the first noun are "testament" or "speech"; and of the second noun, "instruction". In this case the connection between the two components is explained (the book is the instruction (rules)). At the end of the narrative the title is restyled as “The book of Job with the testament”. Here a different relationship between the components is given: the book contains the testament.

1.1.3 The text uses expressions for characterizing itself as a bounded entity: At the beginning of the first chapter (1:4) Job explains to his children that he will tell them “all the things” that happened to him. This seems to apply to the whole section told by him, until the end of chapter 45.

1.1.4 The text introduces the governing voice, thereby indirectly marking its own boundedness: The first narrator, of 1:1-3, is not explicitly introduced, but it is possible to argue based on the explicit identification in 51:3 that this narrator is Nereos, Job's brother, who tells the story of Job's last days, his death and funeral (1:1-3 and chapters 46-53). Job is explicitly identified as first person narrator from 1:4 until the end of chapter 45, telling the story of (certain events of) his life. In other words, Job's story of his life is embedded within the framing narrative, narrated by his brother, of the story of Job's death.

1.1.5 Important text witnesses attest to a heading which is not integrated with the body of the text or with any introductory frame, implying one or more of the kinds of information under 1.1.1–4.

1.6 The approximate word count or other indication of comparative size is: 8,800 words. Obtained by pasting the Online Critical Pseudepigrapha text into a Word document and using the word count tool.

1.7 The text’s Inventory profile should be seen in the light of the following further information on completeness, thematic progression, aesthetic effects, etc.: Job addresses his children explicitly, reminding them on several occasions to "hear" (“gather round, my children” (1:2b), “so listen children” (1:6), “listen children and marvel” (6:1) and “listen then” (9:1)). From Nereos' self identification as narrator in 51:1 it can be deduced that he too was present from the beginning, listening to his brother's story and witnessing the subsequent events. Job’s story is thus presented as addressed to an audience consisting of his children and brother. Overview of Parts: Three main sections can be identified based on the change in narrator: I. Job’s brother Nereos (identified as the narrator of the whole text based on 51:1), sets the scene (1:1–1:2a); II. Job, as a character-bound narrator on his death-bed, retells the story of his life to his children (1:2b–45:5). This account contains different snap shots of Job’s life and a large part of it can be divided into two conflict stories: first the story of the conflict of Job and his wife with Satan (until 27:10), second the conflict between Job and the four visiting kings (28:1–44:1). Section II ends with direct instructions by Job to his children (chapter 45); III. Job’s brother Nereos tells the story of the end of Job’s life, including his death and burial (46:1–53:6). This section can be further divided thematically in a section narrating the end of Job’s life (46:1–51:3) and an account of the death and burial of Job (52:1–53:6). The database profile is based on this reading of the Testament of Job as one first person narrative within another first person narrative. It will be made explicit whether certain features apply to Nereos’ story (the framing narrative) or to Job’s story (the embedded narrative) or to both. Where sections would apply if one does not accept this reading (thus, when 1:1-4 is understood as the words of an anonymous narrator), the sections have been applied, and an explanation is given in square brackets.

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2.1 The information conveyed in the text defines the perspective of the governing voice in the following way:

2.1.2 The governing voice thematizes how it comes to know the text’s contents or its right to command obedience from the text’s addressee. Its perspective is presented as limited, referring either to evidence, or to personal experience (mere human knowledge).

2.1.2.3 The governing voice suggests its information or advice is based on his or her own experiences, or on other knowledge filtered by reflections on personal experience: Nereos tells the story as an eye-witness present on the last day of Job's life, hearing Job tell his story, and witnessing the events that followed it, both on that day (division of the inheritance, daughters receiving spiritual insight) and the next three days (Job's death and funeral). Job tells the story of his own life, thus relating his personal experience. A significant role is reserved for his spiritual insight, but it is not through supernatural mediation that he receives knowledge about the story he tells. Job as a narrator reports the speech by the angel, and speech and occasionally thought by other characters in the story.

2.2 A first-person voice imposes its perspective on all (or almost all) knowledge or norms conveyed in the text. If one accepts the view of the Testament of Job as a frame narrative, the whole text is presented as narrated by a first person narrator, namely Job's brother Nereos. Within this framing narrative, the naration by Job is embedded from 1:4 until the end of chapter 45. If one does not accept this view, the first couple of verses are presented by an anonymous narrator, followed by two first-person narrators, Job from 1:4 until the end of chapter 45 and his brother Nereos from chapter 45 until the end, chapter 53.

2.2.1 [The first-person governing voice is identified by an anonymous voice through a proper name or unique description: This point only applies if the suggestion to read the Testament of Job as a frame narrative of the story by Job embedded within the story by his brother is not accepted, because in that reading the opening lines are in light of 51:1 no longer anonymous. The opening of TJob is a very brief introduction consisting of only two sentences (1:1-4): "On the day on which, having fallen ill, he was completing his stewardship, he called his seven sons and three daughters, whose names are these .... And when he had called his ten children, he said".]

2.2.1.2 [The text is introduced as the first-person voice’s extended direct speech, having taken place on a unique narrative occasion: This applies if 1:1-4 is understood as an anonymous introduction. Job's speech at 1:4-45:4 is presented as a farewell address to his children, on the occasion of his imminent death.]

2.2.1.3 [The introduction of the first-person governing voice of the text has the following characteristics (also applies to self-identification 2.2.2):]

2.2.1.3.1 [It contextualizes the person, or the person together with a unique occasion of speaking: This applies if 1:1-4 is understood as an anonymous introduction. It contextualizes Job in the context of his children surrounding him, on the unique occasion of telling his life story as the end of his life is approaching.]

2.2.1.3.3 [It is found at the beginning of the text only: This applies if 1:1-4 is understood as an anonymous introduction.]

2.2.2 The first person voice identifies itself by name or uniquely identifying expression (once or repeatedly): Job, in addition to the "anonymous introduction" (if 1:1-4 is understood as an anonymous voice), or in addition to the introduction by his brother (if TJob is understood as a frame narrative) introduces himself to his audience, namely his children whom he has gathered around him. In this introduction he emphasises the quality of endurance, and mentions his pedigree (1:4-6). "I am your father Job who exhibites complete endurance [...] For I am of the sons of Esau and a brother of Nahor, and your mother is Dinah..." Nereos (in the suggested reading the voice of 1:1-4 and chapters 46-53) does not introduce himself the first time he speaks (thus leaving the possibility to interpret 1:1-4 and chapters 46-50 as an anonymous voice open), but identifies himself in 51:1-4, by name, in relation to Job and as a witness to the events that just took place. He also attributes to himself an act of writing, but the various Greek manuscripts disagree about what it was that Nereos wrote. According to P Nereos only wrote down the hymns of his nieces (“the whole book of the notations (signs) of the hymns of the three daughters of my brother”). V has the exact opposite as there Nereos penned “this book except for the hymns and the notation of the verse". In S Nereos simply wrote "the book". The Coptic also has Nereos state that he wrote "this whole book". The account in V, S, Copt present an interesting narrative device, to make the narrator claim authorship of the text. For an expanded version of this case study of textual variants in the TJob in Greek, Coptic and Slavonic, see Haralambakis 2012: 74-75.)

2.2.4 The number and gender of the first-person governing voice are as follows:

2.2.4.1 The first person singular is used: for both Job and Nereos.

2.2.4.4 The first person forms are marked for masculine gender.

2.3 [There is an unexplained switch of the grammatical person of the governing voice within the main body of the text: Whether this is from third to first person, from first to third person, or from first person to a different person depends on how the story is understood. In the understanding presented here (first person narrative by Job within a first person narrative by Nereos) the switches are not unexplained, so this point does not apply. If 1:1-4 is understood as an anonymous "third person" narrator, but Nereos as narrator from chapter 46 onwards, there are two switches: a switch from third person to first person in 1:4 and a switch from first person to a different first person at 46:1. If Nereos is understood as the narrator only from 51:1 there are three switches: a switch from third person to first person (Job) in 1:4; a switch back from first to third person in 46:1 and again from third to first person Nereos) in 51:1.]

2.4 The governing voice defines a horizon of knowledge as shared with the projected addressee by taking for granted the following linguistic usages or references (in selection):

2.4.1 Persons or unique objects referred to by proper name or by technical expression:

2.4.1.1 for persons mentioned or presented in narrative usage; as characters; or topics, for example: The names of Job's ten children are provided in 1:3 (which is here understood as the opening frame of the story told by Nereos, but could also be interpreted as an "anonymous voice" introducing Job and his story). In the introduction to his story, Job mentions his second wife, the mother of his second set of ten children (to whom he addresses his story), by name: "and your mother is Dinah, from whom I begot you". He also refers to himself as "from the sons of Esau" (1:6). Job's first wife, unnamed in the biblical Book of Job, but named Sitidos in TJob, features as a character in the story told by Job in chapters 21–27 (within the conflict story of Job and Satan) and 39–40 (within the conflict story of Job and his visitors). The four visitors (kings in TJob as in LXX Job) act as characters in the story, in chapters 28-44, they are named and introduced as kings. In the closing frame of the story told by Nereos, Job's three daughters Hemera, Kassia, Amaltheias-Keras (known from the Book of Job) act as characters (chapters 46–52).

2.4.1.3 for Gods/mythical figures/supernatural beings, etc., for example: Satan features as a prominent character in a significant part of the story told by Job, chapters 6 to 28.

2.4.1.4 for locations, for example: Job is presented as king of Egypt, and his city is Ausitis (28:8) (Ausitis is mentioned as Job's place of residence in the LXX; Uts in the Hebrew Bible (Book of Job 1:1)). One of Satan's disguises is as king of the Persians (17:1) and Eliphaz is the king of the Temanites (29:3). References to locations occur only within the story told by Job.

2.4.1.6 for documents, texts, books, etc. (identified through being referred to or quoted), for example: Some references to books are made both in the story told by Job and in the story told by Nereos. Beside the lament for Sitidos recorded in TJob chapter 25, the lament song for her by the poor of the city after she died is referred to as being recorded in the “Paraleipomena” (40:14). Job mentions towards the end of his story that "Elious, filled with Satan, uttered arrogant words against me, which are recorded in the Paraleipomena of Eliphaz” (41:7). Within the story told by Nereos books are referred to in the context of the angelic utterances of two of Job’s daughters: the “Hymns of Kassia” (49:3) and the “Prayers of Amaltheias-Keras” (50:3).

2.4.3 The text as a whole routinely employs the following language(s), knowledge of which is taken for granted: Greek.

2.4.4.4 Biblicizing language, such that the text may be assumed to project itself as having a link to texts today known as biblical (see 7): See Schaller (1980) for a list of sentences, phrases and words from TJob which also occur in LXX Book of Job. Since TJob "biblicizes" on the basis of a Greek rather than a Hebrew bible, 7.1.4 does not apply.

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4.1 The text narrates events which are strongly emplotted, making reference to interlocking happenings, characters, motivations, causes, times or locations.

4.1.2 All subordinate events are presented as preparing one crisis and its solution, or as addressing one unified timespan/location, or as telling the fate of one character or a group of characters.

4.1.2.2 The action pivots around one character or a small set of inter-connected characters: The Testament of Job, employing the narrative form of a story within a story, presents a collection of (more or less interconnected) stories about the character Job, also featuring a cast of secondary characters (his wife Sitidos, Satan, four visiting kings, his daughters).

4.1.3 The narrative provides a clear closure, or dwells on the closure: In the story told by Nereos there is a clear starting point (the last day of Job's life) and a clear closure with the description of the funeral of Job. Within the story told by Job the issue of closure is more complex, as "Job's story" consists of several substories, as well as some non-narrative material, such as poems and instructions. The story as a whole, presented as a farewell address to his children, has a closure in chapter 45 ("And now children, behold I am dying ... I shall divide all my possessions among you"). Regarding the two tales of conflict that make up the larger part of the stories Job tells his children, it can be said that the second (a conflict between Job and the other kings, chapters 28 to 44) has a clear closure with the resolution of the conflict and a celebration. The first conflict story, between Job and Satan, has a kind of closure in that Satan admits defeat; but the sentence "then Satan departed from me for three years" does not indicate a clear closure.

4.1.4 The narrative foregrounds apparently exact information on the absolute and relative timing of events: Within the story told by Nereos: the story starts on the last day of Job's life (the main event is Job's speech, followed by the events of chapters 46-52), "after three days" (52:1) he dies, the funeral apparently starts the same day, and again "after three days" (53:7) the widows and orphans stop preventing the burial of the body. The frame narrative thus takes place over seven days. The embedded story (the one told by Job) is for the most part (2:1-44:5) a flashback: on his last day he looks back on events from earlier in his life. The chronology is complicated (and the numbers do not seem to add up), but explicit information regarding the relative timing of events occur for example at 16:1 "and as I was doing this during the seven years after the angel had made the disclosure to me" (referring to Job's description of his lifestyle in chapters 9-15); 21:1 Job sat on the dung heap for forty-eight years in total (according to Greek manuscripts P and S; seven in V and in slavonic manuscripts); 22:1 "after eleven years" (according to mss P and S, "a long time" in V) of Sitidos' life as a servant, her rations are being reduced; 26:1 Job states that he (at that point in the narrative) has suffered diseases for seventeen years (according to P and S, seven in V and Slavonic); in 28:1 it is made explicit that the kings come to visit when Job has been afflicted by disease for twenty years (in P and S, "then" (no number) in V); 30:3 and 31:1, "for seven days" the kings sat at a distance , discussing Job's affairs, "and after the seven days" they decide to approach him; in 41:1 is it mentioned that "after twenty seven days" of arguing the kings were "about to arise and go to their own countries". That this chronology is a bit confused can be explained as a consequence of the situation created in the narrative: these stories are told by an old man (according to ms S Job was 248 years old when he died), many years after they took place (again according to ms S, 170 years later), it is to be expected that there is some confusion (this makes the narrative device more credible than if the numbers would add up).

4.2 The event sequence is projected as related to the sequence of text parts as follows:

4.2.2 There is use of prolepsis or analepsis: Nereos' story is told in sequence, but the story within that (told by Job) consists almost entirely of an extensive flashback (see also 4.1.4) as Job, who is now old and about to die, looks back on significant events of his life. Within this story there are smaller flashbacks, for example when Job, at that point poor and diseased, and his fellow kings do not recognise him, briefly looks back on events which occurred when he was still rich (28:5-6).

4.2.4 There are chronological gaps which are merely implied, or indicated but left vague: This occurs frequently in the story told by Job (see also 4.1.4 for some temporal indicators). For example, the description of his wealth and lifestyle in chapters 9 to 15 is presented as taking place for seven years after the angel had made his revelation and before Satan starts his attack (16:1) (for more on chapters 9-15 see also 4.12 and 8.1).

4.2.5 There are descriptions of repeated or habitual actions which have no unique point in the chronology: Within Job's description of his wealth and lifestyle in chapters 9 to 15, mention is made of what Job used to do in the time before Satan's attack, including descriptions of how he looked after the poor.

4.6 There are meta-narrative explanations occurring in the narrative (editorial comments by narrator): Within the story told by Job there are some editorial comments presented as direct address by Job to his children, e.g. 27:10 "now then, my children, you also must be patient in everything that happens to you, for patience is superior to everything".

4.9 There is prominent or sustained characterization of key figures in the narrative.

4.9.2 All characterization is achieved only through reporting the actions, speech or thoughts of the characters ("dramatic"): Thus Job is presented as exemplary (although not explicitly recommended as such, the reader need to draw this conclusion from the story) in his endurance and in his good deeds, such as helping the poor.

4.9.3 A figure is characterized by her or his moral or religious traits: Job is presented as exemplary in his endurance during the combat with Satan, and in his life style of distributing his wealth among the poor and helping those in need.

4.9.3.2 Moral/religious traits are not manifestly linked to the ethnicity and/or gender of the figure.

4.11 Supernatural characters appear in the narrative, whether introduced casually, or accounted for elaborately: Within the story told by Job: an angel, not named (but just called "the angel", at first described as "voice in a great light"; chapters 3-5) and Satan (chapters 6-28). Within the story told by Nereos: an angel (51:1-2) and "the one who sat in the great chariot" comes to collect Job's soul and fly with it to the east (52:8-11).

4.12 The narrative pace is slowed down or changed by the occasional or regular occurrence of extended descriptions: for example, there is extended description of Job's possessions in the form of a list in chapters 9-15.

4.13 The narrative pace is slowed down or changed by frequent or prominent quotation of speech, thought or text: This occurs frequently in the story told by Job.

4.13.1 The quotation constitutes a plot-driving event in its own right: It seems most of the quoted poems (hymns/laments) in the story told by Job both slow down the narrative and contribute to the development of the plot. For example, the lament about Sitidos in chapter 25 and the exchange of poems between the kings and Job in chapters 32 to 33. Another interesting example is the mirror story in chapter 24: Sitidos tells Job about the encounter with Satan disguised as bread seller, a story which Job, in different wording, has already told in chapter 23.

4.13.4 The quotation differs from the surrounding text in its form (e.g. poetry), style or language: In the case of the example of chapters 22:1-24:10, the double telling of the story of Sitidos' encounter with Satan, the style is different, which assists in the presentation of Sitidos as a character in the story. In the case of the other examples mentioned in 4.13.1, they are in poetry.

4.14 The identity or perspective of the governing voice changes between adjacent parts of what is manifestly the same narrative: The story told by Job (a first person narrator) is embedded within a story told by his brother Nereos (another first person narrator). The transitions occur in 1:4 and 46:1. The division of subject material between them is that Nereos tells of the last days of Job's life, which provides the occasion on which Job tells his children about certain events of his life.

4.14.1 [A first-person narrator is followed by a third-person narrator: This point applies if the text from 46:1 until the identification of Nereos as narrator in chapter 51 is understood as the account of a third person narrator. In which case, there is a transition from a first person narrator (Job) to an anonymous third person narrator in 46:1.]

4.14.2 [A third-person narrator is followed by a first-person narrator: This point applies if the text from 46:1 until the identification of Nereos as narrator in chapter 51 is understood as the account of a third person narrator. In which case, there are two transitions from an anonymous third person narrator to a first person narrator: in 1:4 (from third person to Job as first person narrator) and in chapter 51 (from third person to Nereos as first person narrator).]

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7.1 Narrative or thematic correspondences, or overlap of specific wording, occur between a non-biblical text and one or more biblical texts in a manner that is prominent or pervasive: The Testament of Job shares some material with the Book of Job (e.g. the name of the protagonist, some of the characters and aspects of the story of the prose frame of the Book of Job), but it is not necessary to understand this as prominent or pervasive correspondence. The Testament of Job tells its own story, rather than "retelling" the Book of Job; familiarity with the Book of Job is not necessary to understand the Testament of Job.

7.1.1 Characters correspond between the non-biblical narrative and the narrative of a biblical text or texts. The Testament of Job shares several characters with the Book of Job, such as: Job, his children, his wife (although in the Testament of Job there are two wives: Sitidos and Dinah), four visitors: Eliphas, Bildad, Sophar and Elihu/Elious.

7.1.1.1 Some or all main characters of the text correspond to main characters in a biblical partner text. Job is the main character of both the TJob and the biblical text.

7.1.1.1.1 A main character shared with a biblical partner text is also the first-person narrator of the text: This applies to the story told by Job. Nereos, the brother of Job does not feature in the Book of Job.

7.1.2 Chronology, physical setting or emplotment correspond between the non-biblical narrative and the narrative of a biblical text or texts. There is correspondence between the basic sequence of events between TJob and the prose frame of the Book of Job. In both cases, Job was wealthy and healthy, and through intervention of satan loses everything, but regains it at the end. However, at a deeper level the two texts are very different, especially in themes and motifs. For example, in TJob Job knows from the beginning why he is suffering, so that the dominant theme of the biblical text, why do the righteous suffer, is completely absent from TJob.

7.1.2.1 The narrative’s chronological and spatial framework, as well as certain events, are co-extensive with that of a biblical partner text, or with some extended part of it.

7.1.2.1.2 The narrative is told in more detail than that of a biblical partner text, or contains more components that slow down the narrative pace (4.6, 4.12 or 4.13). TJob is a much fuller narrative than the prose frame from the Book of Job, it contains considerably more detail and a more developed plot. Compared with the prose story of the Book of Job it contains mainly more components that slow down the narrative pace.

7.1.2.2 While the narrative covers the same chronological-spatial ground or plot as a biblical text, it lacks extended speeches found in that biblical text: The Testament of Job only draws upon (a few elements from) the prose frame of the Book of Job, the poetic speeches have been ignored. Job and his visitors engage in debate, but with totally different subject matters.

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8.1 Standard forms or contents formulated in set phrases, set sentence formats, or clauses in a standard syntactic connection.

8.1.11 List enumerating items by whole sentences/interpretation units: There is a list of Job's possessions enumerated by whole sentences from 9:2 to 14:1. Within the section, which enumerates the "the things which have been taken from" Job (9:1), the itemisation of Job's wealth is several times interrupted by narrative about Job's lifestyle (e.g. 9:7; 11:1-13:6), see also 4.2.5 "description of repeated or habitual actions". This passage functions as a way of slowing down the narrative pace, see 4.12.

8.1.14 Prayer, doxology, valediction or blessing: Some of the Slavonic manuscripts have "father bless" in the title.

8.3 Forms with internal emplotment relationships, or character-centred small literary forms or motifs:

8.3.6 The narrative motif of humanized animals or animals as agents: once, in 40:11 when cattle cry over the death of Job’s wife.

8.3.7 The narrative motif of the fantastic, grotesque, or gross: frequent. For example, within the story told by Job: Job’s enormous wealth and generous alms giving (chapters 9–15); Satan’s description of his athletic combat with Job (27:3–8); Job’s suffering sitting on dung heap; putting worms back into his body (20:9–10); Sitidos’ hair being shaved off to obtain bread (23–25), etc. Within the story told by Nereos: the commotion at Job's funeral (preventing the body to be buried for three days can be interpreted as grotesque (53:6)).

8.3.8 A narrative motif that can be interpreted as humorous or ironic: frequent. The contrast between Job’s level of (spiritual) knowledge and the other characters’ concern with “the things of this world” expresses itself in various humorous/ironic episodes throughout the story. For example, the doormaid giving her own good bread to the beggar because she does not know it is Satan (chapter 7); Sofar suggesting that his doctors have a look at Job (28:12), etc. In addition to this, the development of the plot of the conflict story between Job and Satan can be perceived as humorous and/or ironic. Satan is the spiritual power, yet he tries to hide behind a human being (Job's wife), and has to admit defeat to a mere mortal (chapter 27).

8.4 Small poetic form:

8.4.1 Occurrence of a song, poetic piece, rhythmic unit: Several songs (hymns, laments) occur. Within the story told by Job: Lament about Sitidos' fate, by nonidentified characters, anonymous bystanders (25:1-8); Lament about Job by Elious/Eliphaz (textual issue) (32:1-12); Job's response in the form of a poem (33:2-9). Eliphas’ hymn about the condemnation of Elious (43:2-13). Within the story told by Nereos: a short funeral lament (song by Nereos, Job's sons, the poor, orphans and helpless), (53:2-3).

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11.1.2 Moral values or value judgments, including practical instructions on proper behaviour or self-preservation: This applies to the non-narrative sections of Job's farewell speech addressed to his children: 1:4-6 and 45:1-4; in the first of these sections the value of endurance is recommended, in the second three instructions on proper behaviour are given: "do not forget the Lord, do good to the poor, do not take wives for yourselves from foreigners."

11.2 The text is dominated by the reporting of emplotted events, whether or not in an overarching narrative format (4).

11.2.2 The reported events are not biblical, but are related to a biblical past/future: This applies to some extent to the story told by Job, as some events echo events that occur in the (prose frame of) the biblical Book of Job. For example, the rich man Job loses his wealth at the hands of Satan; and four people (friends/kings) come to visit him and there is an exchange of speech events. However, the relation to the biblical past is not very strong, and the story of the Testament of Job can be read and appreciated without knowing the biblical Book of Job.

11.2.3 The reported events have no strong links to biblical events: This applies to the story told by Nereos. The only elements that occur in the biblical Book of Job are the character Job, who had seven sons and three daughters, and the fact of the daughters' inheritance. The events told by Nereos (daughters receiving spiritual insight, Job's soul being collected in a chariot and flown to the East, widows and orphans preventing the burial of his body etc) do not occur in the biblical Book of Job.

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12.1 Sampling of genre labels applied to the text in secondary literature: The label "testament" is attested by two of the surviving Greek manuscripts (P and V; S has "instruction"); it is not attested by the Coptic or the Slavonic witnesses. In secondary literature on the "literary genre Testament" the Testament of Job is included as a representative of this "literary genre" (e.g. von Nordheim (1980, 1985), Collins (1984), Kugler (2001)). Throughout the history of scholarship on the Testament of Job the text has often been labelled as a Midrash (e.g. Kohler (1897), James (1897), C.C. Torrey (1945), Machinist (1997)). Sometimes the identification of the text as a Midrash is accompanied by a qualifying adjective: “hagiographic midrash” (Gorea 2007, 77), “Hellenistic Midrash” (Rahnenführer 1971, 68). Schaller combines the labels of testament and midrash in his suggestion of "Midrash in Testamentform" (1979, 313) Arguing against the understanding of TJob as a Midrash, Jacobs suggest to understand it instead as "an early example of Jewish martyr-literature" (1970, 1). Rahnenführer and Schaller, in addition to their understanding of TJob as a midrash, explain its function as "missionary literature" and "devotional/edifying literature" (Erbauungsliteratur) respectively. Berger labels TJob as a “conversion novel" (K. Berger, “Almosen für Israel; zum historischen Kontext der Paulinischen Kollekte,” NTS 23 (1977), 189).

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Bibliography:

Editions and manuscript facsimiles:

Coptic: The oldest witness to the text is a fourth century Coptic papyrus (in 55 fragments), P.Köln 3221. Greek: P Paris, Bibliothèque Nationale, Fonds grec 2658, folia 72r–92r, 11th Century. P2 Paris, Bibliothèque Nationale, Fonds grec 938, folia 172v–192v. James already mentioned that this 16th-century manuscript is a copy of P, which has been confirmed by Brock. V Rome, Vatican gr. 1238, folia 340v–349v, dated to 1195. S Messina, Sicily, San Salvatore 29, folia 35v–41v dates from 1307. Slavonic: BP – Belgrade, Library of the Patriarchate, number 219, 1381. The last few sentences are missing, but a paraphrase of the end of the story is added in a later hand as a marginal note. MS – Moscow, Russian State Library, collection of Sevastjanov, number 43, 15th century. This incomplete manuscript preserves the text until about chapter 34. Belgrade, National Library of Serbia, number 506, 15th Century; perished in 1941. PŠ – Prague, National Museum Library, IXH.21, inheritance of Šafarik, around 1500. BG – Belgrade, Museum of the Serbian Orthodox Church, collection of Radoslav Grujić, number 219, around 1550. PB – St Petersburg, Academy of Sciences, 13.4.10, copied by Grammatik Bajčo, collection of Sirku, 16th century. CM – Cetinje, Metropolitan Library, 17th century. NS – the edition by Stojan Novaković (“Apokrifna priča o Jovu,” Starine X (1878): 157–70) of the fragmentary manuscript 149, 17th century, National Library of Serbia, Belgrade, perished in 1941. ABAN 86 – Sofia, Archive of Bulgarian Academy of Science (ABAN), number 86, 17th–18th century; the text of the Testament of Job incomplete, the end is missing.

Translations:

Online text: Scott, Ian W., ed. "Testament of Job." Edition 1.0. No pages. In The Online Critical Pseudepigrapha. Edited by Ken M. Penner, David M. Miller, and Ian W. Scott. Atlanta: Society of Biblical Literature, 2006. Available from http://ocp.tyndale.ca/testament-of-job (accessed on 16/02/14).

Traditional text: Coptic: G. Schenke and G. Schenke Robinson, Der koptische Kölner Papyruskodex 3221, Teil I: Das Testament des Iob (Papyrologica Coloniensia vol. XXXIII, Paderborn: Ferdinant Schöningh, 2008 (Edition of the Coptic with German translation). Slavonic: J. Polivka, “Apokrifna priča o Jovu,” Starine XXIV (1891): 135–55. (Diplomatic edition, presenting the text of PŠ, with variants from MS and NS in the footnotes). T. Jovanović, Apokrifi Starozavetni, Prema Srpskim Prepisma (Beograd: Prosveta, 2005) (Serbian translation). M. Haralambakis, The Testament of Job: Text, Narrative and Reception History (Library of Second Temple Studies; London: Bloomsbury T&T Clark, 2012), contains an English translation of the Slavonic TJob, description of the Slavonic mss, discussion of variants, and two case studies (diplomatic edition of chapters 1-5 and the text of chapter 32 of four mss in a table). Greek (selection): Sebastian P. Brock, Testamentum Iobi (Leiden: Brill, 1967) (Diplomatic edition, presenting the text of Greek manuscript P with variants from S and V in the footnotes, no translation). M. R. James, “The Testament of Job,” in Apocrypha Anecdota 2 (ed. J. Armitage Robinson; Texts and Studies 5 (Cambridge: University Press, 1897), lxxii–cii, 104–37 (Edition of Greek manuscript P; with a study). K. Kohler, “The Testament of Job, an Essene Midrash on the Book of Job,” Semitic Studies in Memory of Rev. Dr. Alexander Kohut, (ed. G.A. Kohut; Berlin: S. Galvary & Co, 1897), 264–338 (edition of Greek manuscript V, with an English translation and a study). R. A. Kraft et.al. eds. The Testament of Job according to the SV Text (Missoula: Scholars’ Press, 1974) (eclectic edition of Greek manuscripts S and V, with an English translation in parallel columns). M. Philonenko, “Le Testament de Job,” Semitica 18 (1968), 1–75 (French translation, and study). B. Schaller, “Das Testament Hiobs,” JSHRZ Band III, Unterweisung in Lehrhafter Form (Gütersloh: G. Mohn, 1979) (German translation, and study). R. P Spittler, “The Testament of Job,” in J. H. Charlesworth (ed), The Old Testament Pseudepigrapha Volume 1 (New York: Doubleday, 1983), 829–68. R. Thornhill, “The Testament of Job,” in H.F.D. Sparks (ed), The Apocryphal Old Testament (Oxford: Clarendon, 1984), 617–48; H. W. Attridge, "Testament of Job", in L. H. Feldman, J. L. Kugel and L. H. Schiffman (eds.), Outside the Bible. Ancient Jewish Writings Related to Scripture, 3 vols. (Philadelphia: Jewish Publication Society/University of Nebraska Press, 2013), pp. 1872–1899; trans. from R. P. Spittler, "Testament of Job", in Charlesworth.

Selected studies:

C. T. Begg, “Comparing characters: the book of Job and the Testament of Job,” in Book of Job (ed. W.A.M. Beuken; BBTL 114; Louvain: Leuven University Press, 1994), 435–45; J. J. Collins, “Structure and Meaning in the Testament of Job,” SBL Seminar Papers, vol 1, (Cambridge, Mass.: SBL, 1974), 35–52; I. Jacobs, “Literary Motifs in the Testament of Job,” JJS 21 (1970): 1–10; S. R. Garret, “The ‘weaker sex’ in the Testament of Job.” JBL 112 (1993): 55–70; W. Gruen III, “Seeking a Context for the Testament of Job,” JSP 18 (2009): 163–79; M. Gorea, Job, ses précurseurs et ses epigones ou comment faire du nouveau avec de l’ancien (Paris: de Boccard, 2007), 78–131; M. Haralambakis, “The Testament of Job: From Testament to Vita,” in E. Russell (ed.) in Spirituality in Late Byzantium: Essays Presenting New Research by International Scholars (Cambridge: Scholars Press, 2009), 55–96; M. Haralambakis, “‘I am not Afraid of Anybody, I am the Ruler of this Land’: the Portrayal of Job as Man in Charge in the Testament of Job”, in O. Creangă (ed.), Representations of Masculinity in the Hebrew Bible and Beyond (Sheffield: Phoenix Press, 2010), 127–145; M. Haralambakis, "The Fate of the Poetry and Prose in the Reception of Literature about Job," Scripta & E-Scripta 10–11 (2012): 203–26. M. Haralambakis, "The Testament of Job," in R. Chesnutt (ed.), Wiley-Blackwell Companion to Old Testament Apocrypha & Pseudepigrapha (forthcoming, 2014). M. A. Knibb and P. van der Horst (eds) Studies on the Testament of Job (Cambridge: University Press, 1989); R. A. Kugler, and R. L. Rohrbaugh, “On Women and Honor in the Testament of Job,” JSP 14 (2004), 43–62; M. C. Legaspi, “Job’s wives in the Testament of Job: A Note on the Synthesis of Two Traditions,” JBL 127 (2008): 71–79; P. Machinist, “Job’s Daughters and Their Inheritance in the Testament of Job and its Biblical Congeners” in The Echoes of Many Texts, Reflections on Jewish and Christian Traditions Essays in Honour of Lou H. Silberman (ed. William G. Dever and J. Edward Wright; Atlanta: Scholars Press, 1997), 67–80; E. von Nordheim, Die Lehre der Alten, - I, Das Testament als Literaturgattung im Judentum der Hellenistisch-Römischen Zeit and II, Das Testament als Literaturgattung im Alten Testament und im Alten Vorderen Orient (Leiden: Brill, 1980 and 1985); D. Rahnenführer, “Das Testament des Hiob und das Neue Testament”, ZNW 62 (1971): 68–93; B. Schaller, “Das Testament Hiobs und die Septuaginta-Übersetzung des Buches Hiob,” Biblica 61 (1980): 377–406; H.-M. Wahl, “Elihu, Frevler oder Frommer? Die Auslegung des Hiobbuches (Hi 32-37) durch ein Pseudepigraphon (Test Hi 41-43),” JSJ 25 (1994), 5–7; R. A. Kugler, “Testaments” in Justification and Variegated Nomism, vol 1 (ed. D.A. Carson, Peter T. O’Brien, Mark A. Seifrid, Tübingen: Mohr Siebeck, 2001), 189–213; J. J. Collins, “Testaments,” in Jewish Writings of the Second Temple Period (ed. Michael E. Stone; Assen: van Gorcum, 1984), 325–355.

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_1.1. The text refers to itself as verbal entity (with implied or explicit boundaries).
__1.1.1. The text refers to itself using a genre term, speech act term, verb or other term implying verbal constitution:
__1.1.2. The text speaks of itself as dealing with an overall theme (subject matter) or purpose, or as consisting of coordinated parts making a whole
__1.1.3. The text uses expressions for characterizing itself as a bounded entity. (PROMPT: "all", "beginning", "some" referring to subject-matter in
__1.1.4. The text introduces the governing voice, thereby indirectly marking its own boundedness.
___1.1.4.1. The text has a superscription concerning “to whom” it is addressed or for whose use it is.
__1.1.5. Important text witnesses attest to a heading which is not integrated with the body of the text or with any introductory frame, implying one
_1.2. The text presents its internal sequence of sentences (or larger parts) as mirroring the objective relationships of components in the project
_1.3. The text overall is shaped by a poetic or rhetorical-communicative pattern that is self-bounding (see further section 3).
_1.4. The text signals its parts or boundaries only by implicit contrast or by some other implicit signal (1.1./2 do not apply):
__1.4.1. A contrasting theme appears at the beginning or at what turns out to be a boundary/end point in the text.
__1.4.2. A sentence/small unit with a contrasting form from those used in the co-text appears at the beginning or at what turns out to be a boundary/
__1.4.3. A lemmatic commentary which otherwise exhibits gaps in its coverage of the base text begins and ends by treating the first and last segment
_1.5. The text presents a certain homogeneousness of form and/or contents, without claiming or projecting boundedness, and without being unified b
__1.5.1. There is a limited inventory of small forms which recur in a linear juxtaposition of units (e.g. 5.8).
__1.5.2. The ways in which smaller units hang together or follow on from each other (section 9) are repeated again and again.
__1.5.3. The themes which are verbalized together within the text are projected as interrelated objectively, albeit not in their textual sequence.
_1.6. The approximate word count or other indication of comparative size is:
_1.7. The text’s Inventory profile should be seen in the light of the following further information on completeness, thematic progression, aesthet
_2.1. The information conveyed in the text defines the perspective of the governing voice in the following way:
__2.1.1. The text does not thematize how the governing voice comes to know the text’s contents (or its right to command obedience from the addressee)
___2.1.1.1. In narrative, the governing voice’s perspective tacitly is that of someone “present” at all events equally, regardless of their time, place,
___2.1.1.2. The text is not narrative but the governing voice refers to utterances on the basis of unexplained knowledge of speech events of diverse per
___2.1.1.3. The text’s governing voice speaks from the perspective of unmediated access to all levels and parts of some projected reality.
___2.1.1.4. The text’s governing voice speaks from the perspective of unlimited authority in commanding the addressee’s obedience.
__2.1.2. The governing voice thematizes how it comes to know the text’s contents or its right to command obedience from the text’s addressee. Its per
___2.1.2.1. The governing voice presents or discusses norms whose commanding force is unlimited, but speaks from a perspective clearly distinguished fro
___2.1.2.2. The governing voice appeals to the projected addressee for a particular action, projecting limited knowledge or authority.
___2.1.2.3. The governing voice suggests its information or advice is based on his or her own experiences, or on other knowledge filtered by reflections
__2.1.3. Knowledge or authority of the text is presented as exceeding what the persona projected by the governing voice would ordinarily be able to a
__2.1.4. The governing voice explicitly acknowledges that something mentioned in the text cannot be adequately expressed or conveyed.
__2.1.5. The information in the text is characterized as secret or as (made) known exclusively to the persona projected by the governing voice.
__2.1.6. The governing voice explicitly claims unlimited knowledge or authority.
__2.1.7. The governing voice (whether first or third person) is anonymous, that is, is not presented as tied to a specific personal identity (or to p
__2.1.8. The governing voice speaks at no point in the first person (except for any 2.2.4.3) and all persons/objects are mentioned from a third-perso
__2.1.9. An anonymous voice repeatedly reports the direct speech of a character whose speeches account for the bulk of the text (but not continuously
_2.2. A first-person voice imposes its perspective on all (or almost all) knowledge or norms conveyed in the text.
__2.2.1. The first-person governing voice is identified by an anonymous voice through a proper name or unique description. Points 2.2.1.1–3 are devot
___2.2.1.1. The anonymous voice presents the first-person utterance as a situation-unspecific “text”, not as uttered in a unique situation of the past.
___2.2.1.2. The text is introduced as the first-person voice’s extended direct speech, having taken place on a unique narrative occasion.
___2.2.1.3. The introduction of the first-person governing voice of the text has the following characteristics (also applies to self-identification 2.2.
____2.2.1.3.1. It contextualizes the person, or the person together with a unique occasion of speaking.
____2.2.1.3.2. It consists of minimal or merely formal information (e.g. name and genre/generic contents).
____2.2.1.3.3. It is found at the beginning of the text only.
____2.2.1.3.4. It is found at the end of the text only.
____2.2.1.3.5. It is found both at the beginning and at the end of the text.
__2.2.2. The first person voice identifies itself by name or uniquely identifying expression (once or repeatedly).
___2.2.2.1. The voice identifies itself by way of a “signature”, as at the beginning or end of a text projecting itself as letter, or other text with a
__2.2.3. The first-person governing voice is not identified by name or unique identifier, but speaks of himself/herself in the first person at least
__2.2.4. The number and gender of the first-person governing voice are as follows:
___2.2.4.1. The first person singular is used.
___2.2.4.2. The first person plural is used.
___2.2.4.3. The first person is used but represents a generic “I” (“we”) of discourse and discussion, not the projection of a specific persona.
___2.2.4.4. The first person forms are marked for gender. [SPECIFY WHICH GENDER]
__2.2.5. The first-person governing voice refers to herself/himself also in third person grammatical constructions.
_2.3. There is an unexplained switch of the grammatical person of the governing voice within the main body of the text, [from third to first perso
_2.4. The governing voice defines a horizon of knowledge as shared with the projected addressee by taking for granted the following linguistic usa
__2.4.1. Persons or unique objects referred to by proper name or by technical expression:
___2.4.1.1. for persons mentioned or presented in narrative usage; as characters; or topics, for example:
___2.4.1.2. for persons quoted with direct speech in a non-narrative co-text, for example:
___2.4.1.3. for Gods/mythical figures/supernatural beings, etc., for example:
___2.4.1.4. for locations, for example:
___2.4.1.5. for times or calendar dates (specific to a language or culture), for example:
___2.4.1.6. for documents, texts, books, etc. (identified through being referred to or quoted), for example:
__2.4.2. circumlocutions, names or descriptions employed as “code” names.
__2.4.3. The text as a whole routinely employs the following language(s), knowledge of which is taken for granted:
___2.4.3.1. Additional language(s) taken for granted in quoted speech or certain parts of the text are:
__2.4.4. Special linguistic usages occur pervasively or prominently:
___2.4.4.1. Technical expressions for a particular subject matter.
___2.4.4.2. Technical expressions for presenting disputes/dialectic exchanges.
___2.4.4.3. Technical expressions for the meta-linguistic presentation of another text (see 6.9.4).
___2.4.4.4. Biblicizing language, such that the text may be assumed to project itself as having a link to texts today known as biblical (see 7.1.4.1).
___2.4.4.5. Other special linguistic usages: [FOR ORIENTATION: normative force through use of the indicative in the Mishnah; repeated or prominent use o
__2.4.5. The meaning of some linguistic usage or reference is addressed explicitly, marking it as not being part of the shared horizon of knowledge:
_2.5. The text contains deictic or other expressions referring to the governing voice’s time or place, or placing it after/before some key event:
__2.5.1. as part of the words of the governing voice.
__2.5.2. as part of the words of a quoted character, but with probable implications also for the governing voice.
_2.6. The text presents itself as speaking to certain persons, groups or entities, explicitly projecting a certain image of its addressee.
__2.6.1. The governing voice uses apostrophe, second-person grammatical forms or first-person exclusive or inclusive “we”.
___2.6.1.1. An audience is identified as the intended receiver of a text projecting itself as a letter.
__2.6.2. The projected addressee is characterized as having a certain moral or epistemic stance, or as standing in contrast to another group’s moral
__2.6.3. The governing voice uses verbs of epistemic or moral exhortation or employs focus markers.
__2.6.4. The governing voice directs questions at the projected addressee which are marked as rhetorical or as suggesting the audience assume a parti
__2.6.5. The governing voice employs exclamatory or declamatory modes of speech (cf. 8.1.13).
_2.7. The epistemic stance, knowledge horizon, moral stance and identity of the governing voice, and of the projected addressee, do not become the
_3.1. The text’s functional parts are sequenced as communicative stages for engaging the projected addressee's attention or goodwill.
__3.1.1. The text as a whole is a prayer of petition with the communicative sequence: praise of God/confession of sins/appeal for forgiveness[+/- ant
__3.1.2. The text as a whole treats a biblical passage and/or theme by (1) an approach to that passage/theme from an unrelated verse (Petichah) – (2)
__3.1.3. The text as a whole treats a biblical passage/theme by sequencing units of Bible interpretation in such a way as to create (and resolve or l
__3.1.4. Some functional parts occur more than once with different contents, and are merely juxtaposed to each other. See also 9.8.
_3.2. The text is bounded by a formal, communicative or poetic (poetic-thematic) formation, constituting a single piece.
_3.3. The text bears resemblance in length and theme to a biblical prayer, song, lament or psalm, and is thereby recognizable as constituting a si
_3.4. The text constitutes one piece in a sequence of pieces that only show themselves as separate from each other by their contrast in adjacency
_3.5. The language of a text whose boundaries are determined by poetic formation or by contrast in adjacency (3.3–4 applies) exhibits poetic forma
__3.5.1. There is pervasive use of rhyme and/or metre.
__3.5.2. There is pervasive use of parallelism.
__3.5.3. There is pervasive use of other features that can be interpreted as defining poetic formation, such as heightened or figurative language, re
_3.6. The language of a text whose boundaries are not determined by poetic formation or by contrast in adjacency (3.2–4 does not apply) exhibits p
__3.6.1. There is pervasive use of rhyme and/or metre.
__3.6.2. There is pervasive use of parallelism.
__3.6.3. There is pervasive use of other features that can be interpreted as defining poetic formation, such as heightened or figurative language, re
_4.1. The text narrates events which are strongly emplotted, making reference to interlocking happenings, characters, motivations, causes, times o
__4.1.1. The text narrates a complex series of events not presented as leading towards only one crisis and solution, nor as contributing to only one
__4.1.2. All subordinate events are presented as preparing one crisis and its solution, or as addressing one unified timespan/location, or as telling
___4.1.2.1. The narrative builds up one central narrative tension as having special intrinsic interest, or unites in some other way a number of narrativ
___4.1.2.2. The action pivots around one character or a small set of inter-connected characters.
___4.1.2.3. The narrative emphasizes personal, private or domestic aspects of lives.
__4.1.3. The narrative provides a clear closure, or dwells on the closure.
__4.1.4. The narrative foregrounds apparently exact information on the absolute and relative timing of events.
__4.1.5. The narrative foregrounds quantifiable non-temporal information.
_4.2. The event sequence is projected as related to the sequence of text parts as follows:
__4.2.1. The report sequence mirrors the projected chronological sequence of events mostly or wholly, not precluding 4.2.2–5.
__4.2.2. There is use of prolepsis or analepsis.
__4.2.3. There are chronological gaps which are explicitly managed or signposted.
__4.2.4. There are chronological gaps which are merely implied, or indicated but left vague.
__4.2.5. There are descriptions of repeated or habitual actions which have no unique point in the chronology.
_4.3. The text presents several sets of internally complex episodes with no explicit or manifest causal or motivational nexus between them. Where
__4.3.1. The episodes have a common main character, or several characters of approximately equal narrative prominence, who is the subject of the acti
__4.3.2. The episodes are linked by a common witness character who is peripheral to some or much of the action told, but through whose perceptions al
_4.4. The narrative tells the story of the creation or reception of a separate text which is presented verbatim within the narrative framework, or
_4.5. The narrative progression is schematic and not mediated through the interlinking of specific events, while the events are not described in d
__4.5.1. The schematic telling of events is presented as conforming to an explicit overarching schema of chronology/periodization.
_4.6. There are meta-narrative explanations occurring in the narrative (editorial comments by narrator).
_4.7. Within a thematic (non-narrative) framework the text contains extensive telling of continuous and detailed events.
__4.7.1. This narrative material is explicitly subservient to and integrated into a thematic discourse or thematic description (see under 5).
__4.7.2. This narrative material is explicitly subservient to and integrated into the lemmatic treatment of another text (see under 6).
_4.8. The text provides scene-setting information, other than the introduction of an I-narration.
__4.8.1. There is an explicit introduction of the chronological and/or spatial setting of the action.
__4.8.2. There is an explicit introduction of the main character(s).
_4.9. There is prominent or sustained characterization of key figures in the narrative.
__4.9.1. There is editorial comment on the qualities of a character from a third-person narrator.
___4.9.1.1. There is self-characterization of a first-person governing voice, or first-person characterization of other characters.
__4.9.2. All characterization is achieved only through reporting the actions, speech or thoughts of the characters ("dramatic").
__4.9.3. A figure is characterized by her or his moral or religious traits.
___4.9.3.1. Moral/religious traits are manifestly linked to the ethnicity and/or gender of the figure.
___4.9.3.2. Moral/religious traits are not manifestly linked to the ethnicity and/or gender of the figure.
__4.9.4. A figure is characterized by her or his intellectual gifts or understanding.
__4.9.5. A figure is characterized by physical prowess or beauty, or their opposites.
_4.10. A character’s relations to her/his community are foregrounded, including any two-fold social environment (e.g. a diaspora setting).
__4.10.1. A main character is portrayed as being integrated in one societal environment but as in conflict with a second environment.
__4.10.2. A main character is portrayed as being integrated in two different societal environments.
__4.10.3. A main character is portrayed as being integrated in her/his single societal environment.
__4.10.4. A main character is portrayed as in conflict with his/her environment (or as being an “Other”), whether the environment is single or doubled
_4.11. Supernatural characters appear in the narrative, whether introduced casually, or accounted for elaborately.
_4.12. The narrative pace is slowed down or changed by the occasional or regular occurrence of extended descriptions.
__4.12.1. There is extended description of one or more static objects.
___4.12.1.1. There is extended description is of a heavenly object, e.g. God’s throne, chariot, etc.
__4.12.2. There is extended description of the outward appearance of persons or other animated beings.
__4.12.3. There is extended description of the physical or architectural setting/landscape.
_4.13. The narrative pace is slowed down or changed by frequent or prominent quotation of speech, thought or text.
__4.13.1. The quotation constitutes a plot-driving event in its own right.
___4.13.1.1. The quotation divulges earlier events which the governing voice had left out of its own account of the earlier period.
___4.13.1.2. The narrative action largely or partly consists of a report on (long) speeches exchanged between characters.
__4.13.2. Quoted speech/thought provides a comment on the events (4.13.1 does not apply).
__4.13.3. Quoted wording is presented as a message (written or oral) sent from one character to another.
__4.13.4. The quotation differs from the surrounding text in its form (e.g. poetry), style or language.
_4.14. The identity or perspective of the governing voice changes between adjacent parts of what is manifestly the same narrative.
__4.14.1. A first-person narrator is followed by a third-person narrator.
__4.14.2. A third-person narrator is followed by a first-person narrator.
__4.14.3. The change coincides with other features which could be seen as motivating (or diachronically accounting for) it.
___4.14.3.1. A shift in the setting of the action which modifies the epistemic perspective but does not disrupt the effective narrative continuity (nor n
___4.14.3.2. a prominent change of (literary) form, style or language.
___4.14.3.3. a narrative and/or formal discontinuity which is disruptive of text unity.
_4.15. There are imbalances in the level of detail provided between adjacent parts of a continuous narrative, in the absence of narrative developme
__4.15.1. This coincides with the occurrence of unique literary forms, more detail for narrative contents absent from a biblical partner text (see 7.1
_5.1. The bulk of the text is constituted by thematic discourse/description, albeit presented as speech/wording quoted from a narrative setting:
__5.1.1. The discursive or descriptive treatment of themes is presented as one character’s continuous speech or wording in a unique narrative situati
___5.1.1.1. The quotation forms a substantial continuous part of the overall text, but not its bulk, as there is also extended narration concerning its
__5.1.2. The discursive or descriptive treatment of themes is presented as constituted by speeches uttered on separate but mutually emplotted occasio
___5.1.2.1. The separate speeches in sequence constitute a juxtaposition of themes/propositions (see further 5.7).
___5.1.2.2. The separate speeches in sequence constitute the overall treatment of one theme by a constant principle of differentiation (see further 5.2-
_5.2. The sequence of themes in the discursive or descriptive text suggests an objective order constituted by dividing a larger topic by a constan
__5.2.1. This suggestion includes all substantive parts of the text (other than any frames), or deviations are made explicit.
___5.2.1.1. Later passages refer to preceding themes in order to add detail.
__5.2.2. This suggestion includes only a continuous substantial part of the text, not the whole.
_5.3. The text’s discursive/descriptive treatment of its subject matter can be understood as assembling precisely those sub-topics of an overall t
__5.3.1. The sub-topics, if seen in this manner, represent a unifying theme for the whole text.
__5.3.2. The sub-topics, if seen in this manner, only account for a continuous substantial part of the text.
_5.4. The text’s sequence of sub-topics suggests a progression from the more general to the more specific, or vice versa if accompanied by explana
__5.4.1. The progression embraces all substantive parts of the text; or, any extra themes are explained.
__5.4.2. The progression occurs only in a continuous substantial part of the text.
_5.5. The text’s sequence of sub-topics (discursive or narrative) mirrors a temporal or spatial order, but without narrative emplotment between th
__5.5.1. This order includes all parts of the text (excepting any frames), as follows:
___5.5.1.1. A temporal order provides the sequence for norms or normative information.
____5.5.1.1.1. Additionally, the temporal order corresponds to a sequence of actions which is in itself, as a sequence, normative.
___5.5.1.2. A temporal order provides the sequence for non-normative (and non-narrative) information.
___5.5.1.3. A spatial or geographical order provides the sequence for the text’s themes (including any normative themes).
____5.5.1.3.1. Additionally, the themes so ordered are distinguished from one another by spatial or geographic expressions.
___5.5.1.4. An order of units of meaning in another text (from words to whole books) provides the sequence for the text’s themes (including any normativ
__5.5.2. This order defines only a continuous substantial part of the text, as follows:
___5.5.2.1. A temporal order provides the sequence for a continuous text part thematizing norms or normative information.
____5.5.2.1.1. Additionally, the temporal order corresponds to a sequence of actions which is in itself, as a sequence, normative.
___5.5.2.2. A temporal order provides the sequence for continuous non-normative (and non-narrative) information in part of the text.
___5.5.2.3. A spatial or geographical order provides the sequence for the text’s themes (including any normative themes) in a continuous part of the tex
____5.5.2.3.1. Additionally, the themes so ordered are distinguished from one another by spatial or geographic expressions.
___5.5.2.4. An order of units of meaning in another text (from words to whole books) provides the sequence for a continuous substantial part of the text
_5.6. The text pervasively provides explicit links between successive sub-topics, without at the same time mirroring an objective order as in 5.2–
__5.6.1. The text constitutes a conceptual inquiry into the accuracy or validity of universal claims regarding facts or norms.
___5.6.1.1. The inquiry pervasively or prominently proceeds by juxtaposing and discussing mutually exclusive claims, or alternative (or hypothetical) wo
____5.6.1.1.1. Some or most of the units so opposed to each other are ascribed (whether verbatim or not) to real, imaginary or hypostasized speakers.
_5.7. Adjacent text parts constituting themes are merely juxtaposed or weakly conjoined, while there is no indication of an overall objective rela
__5.7.1. Some measure of objective interrelatedness of all/almost all themes in the text is capable of expression by way of a summarizing term or phr
__5.7.2. Some measure of objective interrelatedness of all/almost all themes in the text is capable of expression, but only through use of a summariz
__5.7.3. The text’s thematic profile emerges from juxtaposed larger blocks of text which are all (or almost all) defined by an internal structuring s
__5.7.4. There is an enumeration of topics at the beginning of the text which relates to the thematic units constituting the bulk of the text as foll
___5.7.4.1. One of the enumerated topics corresponds to a possible summary theme of the bulk of the text (cp. 5.7.1/2), so that there is a single step “
___5.7.4.2. The enumerated topics distinguish themes that could work as sub-divisions of the contents of the bulk of the text (cp. 5.7/2), but no struct
__5.7.5. There is no objective interrelatedness of all/almost all themes in the text capable of expression in such a way that the summarizing term or
__5.7.6. The juxtaposed thematic units are concerned with universal claims to accuracy/validity and thereby tacitly project an objective interrelated
_5.8. The bulk of the text consists of small forms and patterns drawn from a limited set of formats for thematic articulation or for discussion (f
_5.9. The text’s governing voice projects the accuracy or validity of its statements as:
__5.9.1. Being taken for granted or being self-evident.
__5.9.2. Admitting discussion or disagreement, or the need for argument and evidence in principle.
__5.9.3. Pervasively in need of support by arguments, or open to discussion.
__5.9.4. The following argument types occur:
___5.9.4.1. Conceptual arguments as well as arguments from the quoted wording of another text (not necessarily in equal measure).
___5.9.4.2. Predominantly or exclusively conceptual arguments (e.g. inferences, analogies, or references to evidence).
___5.9.4.3. Predominantly or exclusively arguments from the quoted wording of another text (e.g. paraphrases, interpretation units, proof-texts).
_5.10. The governing voice ascribes statements about the text’s thematic substance pervasively or prominently to speaker characters as utterances.
__5.10.1. Isolated utterances (or dialogues) are presented without a unifying emplotment, but tacitly presuppose a unified grid of story/history.
___5.10.1.1. The persons, groups or generic figures indicated as speakers tend to be only minimally identified or contextualized.
__5.10.2. The text’s governing voice presents the speech of characters mostly in the exclusive function of disagreeing/agreeing with, or providing the
__5.10.3. The governing voice quotes a character with a direct speech of such length that it constitutes a significant proportion of the text overall.
__5.10.4. Hypothetical speech is routinely or prominently put into the mouth of hypostasized or generic characters.
__5.10.5. The reported wording is projected as a text, with the quoted character identified as its “author”.
_5.11. The text mentions no unique individuals as characters, or mentions them only in frame positions.
_5.12. The text thematizes the meaning of historical or narrative events and summarizes, alludes to or refers to events as evidence, but does not c
_6.1. The text’s most basic thematic progression consists of alternations of (a) quotations from a base text in their original sequence, and (b) s
__6.1.1. Most or many statements are dependent reformulations (paraphrases) of the quotations, or meta-linguistic observations on them.
__6.1.2. Some or many statements are presented in such a manner that it is ambiguous whether they reformulate the perceived meaning of the quotation
__6.1.3. Quotation-comment units pervasively or prominently contain meta-linguistic expressions.
__6.1.4. Quotation-comment units tend to be merely juxtaposed, while the units have internal cohesion and formal independence from each other.
__6.1.5. Only base text segments in their lemmatic sequence are quoted and receive a statement.
__6.1.6. The text also contains quotation-comment units which relate: (i) to texts other than the base text, and/or (ii) to the base text but not in
___6.1.6.1. Such units play a prominent part or make up the majority of quotation-statement units in the text.
__6.1.7. The text offers only one statement per quoted base text segment (comment or non-comment), or explains instances of more than one statement.
_6.2. Found alongside comment statements (6.1.1), a considerable proportion of quotation-attached statements are presented as hermeneutically inde
__6.2.1. Non-comment statements regularly or prominently attract their own hermeneutically dependent comment statements or dedicated discussion.
___6.2.1.1. Such discussions of non-comment statements can effectively take the place of, or indirectly constitute, any otherwise lacking direct discuss
__6.2.2. Non-comment statements can occur as multiples, and constitute extended stretches of text with their own order, homogeneousness or thematic c
__6.2.3. Non-comment statements occur prominently towards the end of the text or towards the end of a lemmatic division of the text.
__6.2.4. Most or all non-comment statements are presented as speech by named characters and groups, or from anonymous sources.
__6.2.5. Most or all non-comment statements are presented as quotations from other texts.
_6.3. Comment statements are frequently or prominently supported by another base text-like quotation.
__6.3.1. Such supporting text quotations regularly or prominently attract their own comment statements in turn.
_6.4. The lemmatic progression is constituted simultaneously as a thematic integration or is fused with some other principle of order.
__6.4.1. There is a manifestly unifying thematic focus to the commentary as a whole, or thematic diversity is addressed.
__6.4.2. The text pervasively provides explicit links between successive quotation-comment units, does not formally separate the units from each othe
__6.4.3. The segment size varies so as to mirror the size of literary Gestalts in the base text.
__6.4.4. The commentary text has a division into parts which accentuates a division of the base text into larger parts than the segments receiving le
__6.4.5. The lemmatic progression is fused with a secondary order principle, creating also the integrity of (a) a narrative, (b) a thematic discourse
__6.4.6. A “negative” thematic focus is created by consistent avoidance of a theme suggested (to the modern scholar) by the base text.
_6.5. There is a manifest constancy of the hermeneutic approach, or an explicit account of hermeneutic approaches.
_6.6. The extent of the base text segment is evident as follows:
__6.6.1. There is a regular distance in the base text from the beginning of one quotation to the beginning of the next quotation:
___6.6.1.1. With all base text verbal matter quoted from one to the other.
____6.6.1.1.1. With initial wording given only, while comment statements may target also the unquoted verbal matter in between quotation beginnings.
__6.6.2. There is no regular distance in the base text from the beginning of one quotation to the beginning of the next quotation.
___6.6.2.1. With the extent of the quoted verbal matter coinciding with the limits of the verbal matter targeted by comment statements.
__6.6.3. The size of segments (as under 6.6.1/2) tends to be, or to include:
___6.6.3.1. A sentence.
___6.6.3.2. Less than a sentence.
___6.6.3.3. More than a sentence.
___6.6.3.4. Two different sizes for adjacent interpretations of the same piece of base text.
___6.6.3.5. The size of some unit other than the sentence (Masoretic verse, proverb).
__6.6.4. The segments (as under 6.6.1/2) provide coverage of the base text as follows:
___6.6.4.1. There is no complete coverage of the base text.
____6.6.4.1.1. Base text not covered is contiguous.
____6.6.4.1.2. Base text not covered may have appeared less important or less problematical.
_____6.6.4.1.2.1. The text does not project complete lemmatic coverage as its overarching theme (6.2 or 6.6.2 apply, or there are many smaller “gaps” in the c
____6.6.4.1.3. No manifest pattern accounts for the base text not covered.
____6.6.4.1.4. Incomplete lemmatic coverage is explicitly addressed.
___6.6.4.2. There is complete coverage of the base text.
__6.6.5. There is explanation of the nature and length of base text segments or quotations.
__6.6.6. The quoted base text segment may already have appeared earlier in the text, as part of a copy of a larger section (or the whole) of the base
_6.7. There occur multiple comment statements for the same quoted base text segment:
__6.7.1. Interpreting the same expression within the same base text segment.
__6.7.2. Interpreting different expressions within the same base text segment.
__6.7.3. The multiple comment statements are set off from each other by being:
___6.7.3.1. Separated by a repeated quotation of the base text segment or parts of it.
___6.7.3.2. Introduced by terms of transition.
___6.7.3.3. Assigned to different speaking voices, including the governing voice.
___6.7.3.4. Marked explicitly as constituting disagreement.
___6.7.3.5. Set off only by being linguistically or logically discontinuous with the interpretation immediately preceding.
_6.8. Comment or non-comment statements are prominently or frequently presented as quotations of speech acts by individuals, groups or by anonymou
__6.8.1. Quoted comment or non-comment statements regularly or prominently are themselves treated to explanations or supplementations.
__6.8.2. Comment or non-comment statements are frequently or prominently presented as speech acts outside any connecting narrative framework, but in
___6.8.2.1. This grid tacitly or explicitly links quoted characters to each other as commentators on the base text.
___6.8.2.2. This grid tacitly or explicitly links quoted characters to the origins of the base text.
___6.8.2.3. The presupposed narrative/historical links between speakers, or between speakers and base text, are used to clarify the meaning of their quo
_6.9. The text distinguishes the level of the base text quotations from the level of the statements, whether comments or non-comments, as follows:
__6.9.1. The nature of the statements or of the lemmatic order is verbalized.
__6.9.2. Base text quotations have no quotation formula, but tend to be found at the beginning of a new textual unit, marked by the appearance of an
__6.9.3. The sequence of components within interpretation units is: 1. quotation from base text – 2. comment statement – 3. supporting base-text like
___6.9.3.1. This sequence is changed, or the base text quotation doubled, for any Petichah-like units.
__6.9.4. The text employs terms/formulae, signals of transition, hermeneutic techniques, or separation markers, including the following:
___6.9.4.1. Specialized terminology separating quotation from comment.
___6.9.4.2. Speech reports introducing the statement, used as separator.
___6.9.4.3. Other signals of the transition between quotation and comment: [].
___6.9.4.4. Tacit juxtapositions of components, which cannot be read as being continuous on the same level with each other.
___6.9.4.5. Expressions of a hermeneutic operation.
___6.9.4.6. Intermediary rephrasings of the lemma leading to the comment statement (see also 6.10.3).
___6.9.4.7. Verbal links or overlapping wording between adjacent quotation-comment units, using contiguous base text segments.
_6.10. Comment statements reveal hermeneutic attitudes towards the base text as follows:
__6.10.1. Comment statements tend to speak directly, in object-language, about the base text’s themes.
___6.10.1.1. The perspective of any first-person speaker character of the base text segment may be reproduced in the comment statement.
__6.10.2. Comment statements tend to speak about the quotation only as a verbal entity, i.e. be exclusively meta-linguistic.
__6.10.3. Exclusively meta-linguistic comment statements are found alongside more frequent object language comments, or are used as intermediary rephr
__6.10.4. The text implies or explicates a hermeneutic stance concerning the accuracy of the base text:
___6.10.4.1. The base text wording is tacitly or explicitly treated under the assumption that it may be inaccurate/insincere/invalid.
___6.10.4.2. The base text wording is tacitly or explicitly treated under the assumption that it cannot be inaccurate/insincere/invalid.
_6.11. Within the lemmatic arrangement, extended sections of text have their own principle of progression which suspends the lemmatic progression:
__6.11.1. The base text quotation becomes the starting point of a set of local thematic shifts involving further quotations plus explanation/supplemen
__6.11.2. There is limited but sustained thematic, narrative or lemmatic continuity (with or without further quotations), as follows:
___6.11.2.1. Another text, or a different part of the base text, is treated thematically or lemmatically as relevant to the base text quotation.
___6.11.2.2. A different base text is treated lemmatically and as independent of the base text quotation.
___6.11.2.3. A thematic order, thematic inquiry or reflection is sustained (e.g. of the type 5.6.1).
___6.11.2.4. A narrative order is sustained.
___6.11.2.5. Some extra-thematic principle of order is sustained (see 9.11).
__6.11.3. Non-comment statements (6.2) can occur in the following positions:
___6.11.3.1. After one or more initial quotation-comment unit with manifest or explicit hermeneutic dependency (6.1.1/3).
___6.11.3.2. Immediately succeeding the base text quotation (with later units exhibiting hermeneutic dependency on the quotation).
____6.11.3.2.1. There are cases where a non-comment statement constitutes the only treatment of the base text quotation.
_6.12. There are marked imbalances in the distribution or positioning of base text quotation-statement units at certain strategic points in a 6.1 t
__6.12.1. Higher density is found at the beginning of the base text, or the beginning of the commentary/rendering text.
__6.12.2. Higher density is found at the end of the base text, or the end of the commentary/rendering text.
__6.12.3. Higher density is found at some other defined or strategic text position of the base text, the commentary or the rendering text.
__6.12.4. The imbalance coincides with other changes:
___6.12.4.1. The occurrence of literary forms which are rare or unique for the text.
___6.12.4.2. The recurrence of units from elsewhere in the text.
___6.12.4.3. The absence of the comment component from quotations of other texts (not the base text).
___6.12.4.4. A change in the pattern of coverage of the base text by quoted segments.
_6.13. The text constitutes a complete and sequential representation, in another language and in object-oriented perspective, of the perceived mean
__6.13.1. The statements of the text are displayed in manuscripts as alternating in mere juxtaposition with segments of verbal matter from the base te
__6.13.2. The text’s governing voice is almost always identical with, or a consistent extension of, the persona projected by the governing voice of th
__6.13.3. The text tends to use the sentence structure of the base text to accommodate any additional or modified object information.
__6.13.4. The text creates new syntactic structures within which the words of the base text can be recognized.
__6.13.5. The text places sentences which have no corresponding wording in the base text at all alongside sentences which do.
__6.13.6. The text also thematizes its base text or some part of it as a verbal entity, e.g. by quoting its wording.
___6.13.6.1. Such meta-linguistic components are verbally integrated into the text’s narrative or thematic continuity, so that no lemmatic structuring of
___6.13.6.2. The positioning of any base text quotations does not disrupt or undermine the text’s narrative or thematic progression.
_7.1. Narrative or thematic correspondences, or overlap of specific wording, occur between a non-biblical text and one or more biblical texts in a
__7.1.1. Characters correspond between the non-biblical narrative and the narrative of a biblical text or texts.
___7.1.1.1. Some or all main characters of the text correspond to main characters in a biblical partner text.
____7.1.1.1.1. A main character shared with a biblical partner text is also the first-person narrator of the text.
___7.1.1.2. The text’s main character is a minor character in Scripture.
____7.1.1.2.1. That character is also the first-person narrator of the text.
___7.1.1.3. Only minor character(s) of the text correspond to character(s) in a biblical text(s), whether minor or major.
___7.1.1.4. The first-person narrator of the text is a non-biblical character.
__7.1.2. Chronology, physical setting or emplotment correspond between the non-biblical narrative and the narrative of a biblical text or texts:
___7.1.2.1. The narrative’s chronological and spatial framework, as well as certain events, are co-extensive with that of a biblical partner text, or wi
____7.1.2.1.1. The text tends to narrate the story through events described in approximately the same amount of detail as a biblical partner text.
____7.1.2.1.2. The narrative is told in more detail than that of a biblical partner text, or contains more components that slow down the narrative pace (4.
____7.1.2.1.3. The text tends to narrate the story through events described in less detail or through fewer events than a biblical partner text.
____7.1.2.1.4. Some of the narrative’s sub-plots or episodes, mostly corresponding to those of a biblical text, differ from each other in the amount of det
_____7.1.2.1.4.1. Among the sub-plots or episodes with more detail are some or all of the ones that have no biblical counterpart.
___7.1.2.2. While the narrative covers the same chronological-spatial ground or plot as a biblical text, it lacks extended speeches found in that biblic
___7.1.2.3. The narrative is located at a particular point (“niche”) in a chronological-spatial framework also known from a biblical text, but there is
__7.1.3. There is prominent use of explicit quotations of biblical wording, whether in non-narrative or in narrative (but not in biblical commentary,
__7.1.4. The text shares features of language with the Hebrew Bible, or exhibits tacit overlap with specific biblical wording, whether narrative or n
___7.1.4.1. There are pervasive biblical linguistic features (vocabulary, morphology or syntax) or a pervasive use of unspecific biblical language, such
___7.1.4.2. The text contains prominently, but not necessarily frequently, the wording of specific biblical passages such as whole sentences or unique b
____7.1.4.2.1. The tacit overlap of specific wording extends regularly to whole sentences or to extensive sentence groupings, found alongside sentences or
___7.1.4.3. The tacit overlap of wording takes place across language boundaries, with respect to the current language of the text (this point does not a
__7.1.5. The projected persona of the governing voice of the text, whether a narrative or not, is also known from a biblical text, or the governing v
___7.1.5.1. The projected first-person persona of the governing voice is also a character in a biblical text.
____7.1.5.1.1. The persona appears to be linked to a character as it specifically appears in the biblical text, not merely as it might be known from diffus
___7.1.5.2. The projected first-person persona of the governing voice is presented as identical with, or as an extension of, the persona of the governin
___7.1.5.3. The epistemic stance of the governing voice (narrative or not, first person or not) can be interpreted as falling into the same generic cate
____7.1.5.3.1. The conveyance of personally received verbal or visual revelation: prophecy model.
____7.1.5.3.2. The omniscient narration, as in Genesis-Joshua; or unrestricted knowledge of a described reality, similar to Genesis 1.
____7.1.5.3.3. The plea to God of human prayer or supplication, as in Psalms.
____7.1.5.3.4. The conveyance of wisdom on the basis of personal experience or learning, as in Proverbs, Qohelet.
__7.1.6. The range of themes in the non-narrative text is wholly or nearly contained within the specific range of themes found also in a biblical tex
__7.1.7. The sequence of themes in (at least) substantial parts of the non-narrative text is tacitly isomorphic with the sequence of themes in a bibl
__7.1.8. The non-narrative text pervasively or prominently presupposes the narrative fabric of biblical events/reported speech, beyond the contents o
___7.1.8.1. The text presupposing biblical narrative fabric has a thematic structure of discourse or description.
___7.1.8.2. The text presupposing biblical narrative fabric is a lemmatic sequential commentary on some part of the Hebrew Bible.
__7.1.9. While sharing the basic narrative-chronological framework of biblical texts, the narrative also mentions characters or events which presuppo
_7.2. Narrative or thematic correspondences, or overlap of specific wording, occur between the non-biblical text under discussion and other non-bi
__7.2.1. There is a correspondence of characters (which may include the persona projected as the governing voice of the current text).
___7.2.1.1. This also constitutes a correspondence with a biblical text (7.1.1).
__7.2.2. The overall chronological and spatial framework of the narrative, as well as certain events, are substantially or prominently co-extensive w
___7.2.2.1. The narrative is located at a particular point (“niche”) in a chronological-spatial framework also known from another non-biblical text, but
___7.2.2.2. This co-extension also constitutes a co-extension with a biblical text; or, this “niche” relationship also constitutes a “niche” relationshi
__7.2.3. There are explicit quotations or instances of explicitly marked expressive use of wording from a non-biblical partner text.
__7.2.4. The wording or specific theme of self-contained thematic units is occasionally identical to those of another non-biblical text (or part-text
___7.2.4.1. Such overlapping units are found in text types which differ from each other in their thematic arrangement.
___7.2.4.2. It is common for such overlapping units to be marked as the speech of a character or as anonymous quoted speech in one or both of the non-bi
___7.2.4.3. Such self-contained overlapping units occur within what is, by other structural signals, manifestly the same text.
__7.2.5. There are prominent single allusions to specific wording found in a non-biblical partner text.
__7.2.6. There is extensive tacit overlap with the wording of a non-biblical partner text, whether in narrative or in non-narrative texts.
___7.2.6.1. The text presents statements as anonymous which are also anonymous in a partner text.
___7.2.6.2. The text assigns to a character statements which are anonymous in a partner text.
____7.2.6.2.1. The character thus quoted is also the person traditionally identified as the redactor or tradent of the anonymous parts of a partner text.
___7.2.6.3. The text presents statements as anonymous which are assigned to a character in a partner text.
___7.2.6.4. The extensive wording overlap takes place across language boundaries.
___7.2.6.5. The extensive wording overlap takes place in a thematic environment or in a cotext different from that of the wording in the partner text.
___7.2.6.6. The 7.2.6. wording overlaps also constitute wording overlaps with a biblical text.
__7.2.7. The projected first-person persona of the governing voice of the text, whether narrative or not, is also known from another non-biblical tex
___7.2.7.1. The projected first-person persona is identical with a character in another non-biblical text.
____7.2.7.1.1. The persona appears to be linked to that character as it specifically appears in the other text, not merely as it might be known from diffus
___7.2.7.2. The projected first-person persona is presented as identical with or as an extension of the persona of the governing voice of another non-bi
___7.2.7.3. The 7.2.7. overlap also constitutes an overlap with a biblical text.
__7.2.8. The range of themes in the non-narrative text is wholly or nearly contained within the specific range of themes found also in another non-bi
__7.2.9. The sequence of themes in (at least) substantial parts of the non-narrative text is tacitly isomorphic with the sequence of themes in anothe
___7.2.9.1. Shared themes occur largely or entirely in the same sequence, albeit separated by other themes. [DELETE OR KEEP: These themes may be support
___7.2.9.2. Characteristic thematic or formal groupings of sentences (e.g. 9.3, 9.4, 9.4.4/5) occur approximately at the “same” point (as defined, for e
_8.1. Standard forms or contents formulated in set phrases, set sentence formats, or clauses in a standard syntactic connection.
__8.1.1. Conditional norm or hypothetical legal case:
__8.1.2. Unconditional norm:
__8.1.3. Sentence with theme anticipated to the beginning and repeated in a pronoun or by ellipsis:
__8.1.4. Unit of a biblical quotation together with a hermeneutically dependent formulation; midrashic unit:
___8.1.4.1. The expressive use of unmarked biblical wording whose function in the text’s discourse is enhanced or achieved by it being recognised as com
__8.1.5. Simile used in hermeneutic function:
__8.1.6. Speech report:
___8.1.6.1. The reported speech is elliptic and depends on surrounding text not marked as reported speech.
__8.1.7. Sentence referring to a behaviour or norm as customary, using the term minhag, its verbal root or a clearly similar term:
__8.1.8. Reason clause:
__8.1.9. The a fortiori argument:
__8.1.10. List sentence enumerating items by words or phrases:
__8.1.11. List enumerating items by whole sentences/interpretation units:
__8.1.12. Explicit claim that in a particular formulation other information in the immediate co-text is being summarized or generalized:
__8.1.13. Declamatory sentence, confession, proclamation or affirmation:
__8.1.14. Prayer, doxology, valediction or blessing:
__8.1.15. Wish sentence:
__8.1.16. Descriptive sentence of a static (ocular) structure or "scientific" descriptive sentence:
__8.1.17. Report sentence of a singular event in the past which is not part of a narrative unit, nor of a mashal:
__8.1.18. Sentence making a prediction of a future event:
__8.1.19. Prediction of reward or punishment of behaviour in a “wisdom” or similar formulation:
__8.1.20. Recommendation of a particular behaviour or statement of an ideal type of person in a “wisdom” or similar formulation:
__8.1.21. Statement describing a reality (nature, creation, human nature) in a “wisdom” or similar formulation:
__8.1.22. Statement praising Torah in a “wisdom” or similar formulation:
_8.2. Non-narrative small literary forms that impose on their components a standard functional relationship to each other, while grammar and synta
__8.2.1. Dispute unit:
__8.2.2. Self-contained question-answer unit in anonymous discourse:
__8.2.3. Self-contained question-answer unit in discourse concerning the meaning of an earlier word/words in the same text.
___8.2.3.1. Self-contained question-answer unit which, since there is tacit overlap with a partner text (7.2), may relate to the meaning of a statement
__8.2.4. A clause or phrase which links two statements/themes explicitly as being similar:
__8.2.5. The summary exposition, in a number of sentences, of theological ideas.
__8.2.6. A Petichah or Petichah-like unit, which uses the wording of a general biblical verse to introduce by way of a hermeneutic link the main them
__8.2.7. A Semikhah or Semikhah-like unit, addressing how the co-text preceding a given biblical verse relates to that verse.
__8.2.8. An “Inyan” part in a rabbinic homily, understood as a limited lemmatic sequence of midrashic units on one or more verses introduced by a pre
__8.2.9. A Chatimah or Chatimah-like unit, which leads from a biblical verse earlier treated as part of the “Inyan” of a rabbinic homily, to another
__8.2.10. A Yelammedenu unit, an initially halakhic question-answer unit usually expanded by further discussion which opens a rabbinic homily or a lit
_8.3. Forms with internal emplotment relationships, or character-centred small literary forms or motifs:
__8.3.1. A ma'aseh or pared-down narrative of a unique event with normative-probative function:
__8.3.2. A mashal or other minimal (two-stage) narrative employed to model the emplotment of a biblical or other event:
__8.3.3. A narrative unit which is not integrated into a larger chronological framework constituted by the co-text:
__8.3.4. A narrative unit which is schematic or presents unspecific characters (other than 8.3.2):
__8.3.5. A narrative unit incorporating direct speech/dialogue devoted to an explicit hermeneutic engagement with quotations from the base text or so
__8.3.6. The narrative motif of humanized animals or animals as agents:
__8.3.7. The narrative motif of the fantastic, grotesque, or gross:
__8.3.8. A narrative motif that can be interpreted as humorous or ironic:
__8.3.9. Use of a gap of knowledge between what a character knows and what the governing voice has already told, including one character telling a li
__8.3.10. Narrative use of humour by way of a character’s speech:
_8.4. Small poetic form:
__8.4.1. Occurrence of a song, poetic piece, rhythmic unit:
_9.1. An extended portion or substantial proportion of the thematic text (or thematic part of a non-thematic text) projects its selection and sequ
__9.1.1. By dividing a larger topic by a constant principle (or set of principles) of subordination/coordination.
__9.1.2. By assembling precisely those sub-topics of an overall theme that would result if that overall theme were to be exhaustively defined or divi
__9.1.3. By progressing from the more general to the more specific, or vice versa if accompanied by explanation.
__9.1.4. By mirroring a temporal or spatial order, or the order of units of meaning in a pre-existing text.
_9.2. In one or more extended passages, making up a substantial portion of the text, a series of situations is created from one hypothetical legal
__9.2.1. Two distinct parameters of the situation are paired with their opposites or negations, to produce a series of four situations.
_9.3. An extended passage consists in the elaboration one by one of the items of an initial list, making each list item the topic of one or more s
_9.4. For an extended passage there is a juxtaposition of thematic units (sentences or groups of sentences) capable of being interpreted in the fo
__9.4.1. As thematic cluster: the sentence themes of an extended passage have a stronger homogeneity/family resemblance with each other than with the
__9.4.2. As contrastive thematic block: the text juxtaposes two extended thematic blocks tacitly projecting a contrast and/or analogy between them.
__9.4.3. Repetitions as markers of architecture: there is a repetition of words marking out as coordinated passages that deal with contrastive sub-to
__9.4.4. In an extended passage, thematic homogeneousness is created by recurrence of the same reason clause appended to norms which are adjacent or
__9.4.5. In an extended passage, thematic homogeneousness is created by recurrence of the same normative predicate or apodosis in hypothetical legal
_9.5. In a number of extended dialectical passages, the governing voice differentiates between the topics/propositions of two or more initial them
__9.5.1. The governing voice performs this differentiation largely by quoting further voices, or by speaking on behalf of the initially quoted voices
__9.5.2. The governing voice of a lemmatic commentary determines the precise themes of quotations from the base text, by progressively adducing furth
__9.5.3. Within a sustained dialectical discourse on the meaning of a quoted segment, the grammatically or thematically complete quotation is only re
_9.6. An extended portion or substantial proportion of the text continuously explicates local thematic transitions, by means of:
__9.6.1. Use of conjunctions.
__9.6.2. Use of announcement of themes for text parts, full-sentence headings or summaries.
__9.6.3. Use of explicit reference to the textual position or sequence of information, articulating the passage as having coordinated parts.
__9.6.4. Use of discourse deixis (e.g., “below”, “following”) which indicate parts, or of cross-references.
__9.6.5. Use of ordinal or cardinal numbers to designate themes in text sequence (e.g., “first generation”).
__9.6.6. Use of questions to articulate parts within a passage or functioning as headings.
_9.7. The text as a whole continuously explicates local thematic transitions, while at the same time also projecting an objective or communicative
_9.8. The text has a tendency to juxtapose immediately thematic units which fulfill the same literary, evidential, hermeneutic or narrative functi
__9.8.1. There is more than one quotation-comment unit or midrashic unit for the same lemma.
__9.8.2. There is more than one biblical quotation supporting the same statement within a single midrashic unit.
__9.8.3. There is more than one Petichah or Petichah-like unit for the same rabbinic homily (3.1. applies).
__9.8.4. There is more than one Petichah or Petichah-like unit in continuous text but outside a rabbinic homily structure (3.1. does not apply).
__9.8.5. There is more than one mashal (parable) for the same thematic or hermeneutic point.
__9.8.6. There is more than one reason clause supporting a statement.
__9.8.7. There is more than one version of a reported dispute.
__9.8.8. There is more than one version of the same ma’aseh (narrative precedent report).
__9.8.9. There is more than one version of events within the same narrative account.
__9.8.10. There is more than one narrative or report presenting (near-) identical events but different characters.
__9.8.11. There is more than one version of a named rabbi’s utterance.
__9.8.12. There is an alternative name attached to a statement quoted as a character's speech.
__9.8.13. There is some acknowledgement of the equivalence/alternative status of adjacent thematic units under 9.8.1-12.
_9.9. There are passages of three or more successive thematic units whose relationship is defined as follows: There is a clear thematic continuity
__9.9.1. The second unit has a formal pattern which may then continue for one or more new, subsequent themes.
__9.9.2. The second unit has a quoted character named also as the speaker for one or more new, subsequent themes.
__9.9.3. The second unit mentions a type of object which is then treated with respect to a new thematic framework (or frameworks) in subsequent sente
__9.9.4. The second unit has a reason clause which is then used for one or more further thematic units(s) concerning a different halakhic topic/diffe
_9.10. The text’s narrative account is occasionally circular in that it leads from an action to its motivation/purpose, then back to reporting the
_9.11. An extended part of the thematic text (or a part-text in the sense of section 10) is structured by an extra-thematic principle of order, as
__9.11.1. The implied chronology of speaker characters.
__9.11.2. An alphabetical or alphanumerical sequence (not if a 3.2 text).
__9.11.3. The sequence of text sections of Scripture.
__9.11.4. The sequence of days of a calendar/festival calendar.
__9.11.5. The implied chronology of the composition of text parts of a text, as seen by the voice governing the whole text.
__9.11.6. The increasing or decreasing size of part-texts.
__9.11.7. A fixed performative sequence of speech acts.
__9.11.8. The ascending or descending quantitative value of numbers provides the sequence for themes in part of the text, with or without any explicit
_9.12. Important manuscripts divide the text explicitly into parts by the use of single words or incomplete sentences which constitute sub-headings
__9.12.1. This division involves the use of meta-textual terms.
__9.12.2. This terminology is supplemented by the use of sequential numbering, or there is numbering of text sections which are not named at all.
_9.13. Physical evidence from antiquity potentially shows non-verbal signals indicating (an interpretation of) the text’s thematic division.
_9.14. There is sporadic use of mnemonic indications of text contents and sequence at the beginning or end of passages, consisting of sequences of
_10.1. The work consists of the juxtaposition of large constituent part-texts, each of which has its own thematic, lemmatic or narrative structure
__10.1.1. The part-texts are of the same kind, i.e., all narrative, all thematic or all lemmatic.
___10.1.1.1. The part-texts juxtaposed are all thematic-discursive or thematic-descriptive, dealing with substantially the same kind of subject matter.
___10.1.1.2. The part-texts juxtaposed are all thematic-discursive or thematic-descriptive, dealing with substantially diverse kinds of subject matter.
____10.1.1.2.1. Their sequential relationship suggests that they complement each other, at least weakly.
___10.1.1.3. The part-texts juxtaposed are all lemmatic.
___10.1.1.4. The part-texts juxtaposed are all narrative.
___10.1.1.5. There are significant ambiguities as to where one part-text ends and the next begins (in their textual sequence).
___10.1.1.6. Any manifest differentiation of adjacent part-texts is partly due to their mirroring of divisions within a base text or a partner text.
__10.1.2. The work juxtaposes one narrative and one thematic part-text. [SPECIFY IF MORE THAN ONE, AND SPECIFY SEQUENCE]
___10.1.2.1. Their sequential relationship suggests that they complement each other, at least weakly (e.g., as “biography –utterances”).
__10.1.3. The work juxtaposes one narrative and one lemmatic part-text. [SPECIFY IF MORE THAN ONE, AND SPECIFY SEQUENCE]
___10.1.3.1. Their sequential relationship suggests that they complement each other, at least weakly.
__10.1.4. The work juxtaposes one lemmatic and one thematic part-text. [SPECIFY IF MORE THAN ONE, AND SPECIFY SEQUENCE]
___10.1.4.1. Their sequential relationship suggests that they complement each other, at least weakly.
__10.1.5. There is important transmission evidence indicating that the sequencing or division of part-texts within the overall aggregate varied.
_10.2. The work consists of the juxtaposition of part-texts which are constituted by poetic or communicative-rhetorical formation, so that one of t
__10.2.1. The work juxtaposes poems, psalms, songs, etc. as part-texts (3.2, 3.3 or 3.4 applies to each part-text).
___10.2.1.1. The boundaries of some or all of the individual pieces are defined by their inherent formal characteristics, i.e., by point 3.2.
___10.2.1.2. Some or all part-texts only show themselves as separate from each other by their contrast in adjacency, i.e. by point 3.4.
___10.2.1.3. There are cases of ambiguity concerning where one part-text ends and the next begins, if read in their textual sequence; but regardless of w
___10.2.1.4. The themes of individual part-texts are predominantly homogeneous across the whole aggregate work.
___10.2.1.5. The themes of individual part-texts are significantly disparate across the whole aggregate work.
___10.2.1.6. A manifest theme or message emerges from the togetherness and/or the sequential order of the part-texts.
___10.2.1.7. The formal characteristics of individual pieces are predominantly homogeneous across the whole aggregate text.
___10.2.1.8. The formal characteristics of individual pieces are significantly diverse across the whole aggregate work.
__10.2.2. The work juxtaposes rabbinic homilies as part-texts, according to an extra-thematic principle of order (see also 9.11). Point 3.1.2 or 3.1.3
__10.2.3. There is important transmission evidence indicating that the sequencing or division of part-texts within the overall aggregate varied.
_11.1. The non-narrative text projects its thematic concern as being mainly one or more of the following:
__11.1.1. Description of a reality, including a physical reality.
__11.1.2. Moral values or value judgments, including practical instructions on proper behaviour or self-preservation.
__11.1.3. Law, commandments or norms of behaviour.
__11.1.4. A discourse on or inquiry into a field of knowledge, with self-referential treatment of the limits, sources or nature of knowledge.
__11.1.5. The meaning of another text.
__11.1.6. Reports of the speech of named characters.
__11.1.7. Future events or future reward and punishment.
_11.2. The text is dominated by the reporting of emplotted events, whether or not in an overarching narrative format (4).
__11.2.1. The reported events are those of a biblical past, or of a biblically foretold future.
__11.2.2. The reported events are not biblical, but are related to a biblical past/future.
__11.2.3. The reported events have no strong links to biblical events.
_11.3. The text is directly or indirectly addressed to God. Its specific contents are self-reflective regarding the governing voice, thematic in a
_12.1. Sampling of genre labels applied to the text in secondary literature: