Search book by multi-Inventory points

Skip to navigation | Skip to main content | Skip to footer

Search by multiple inventory points or book comparison

Full Inventory point list:

44 books found

Judith (Detailed) (Researcher: Alexander Samely):

Selected Inventory point(s):

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

Full profile (Bibliography at the bottom):

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: There is a passage in direct speech which one might take to be an implied declaration of the text’s own existence and genre/purpose. In Judith 13:19 Uzziah addresses Judith with the words: “Your praise (var. hope) will never depart from the hearts of those who remember the power of God” (NRSV). Accordingly, the book which contains Judith's story could be understood here to be labelled, indirectly by the author of the book putting these words into Uzziah’s mouth, as a "remembering (Greek mnemoneuonton) of the power of God" (ischyn theou). (Cp. Tobit 12:20). There is also reference within the tale to an act of telling "all that she [Judith] had done", when Judith relates to Achior the events which the narrator has already narrated (14:8).

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: See 1.1.1 for a possible characterization of the purpose of the text.

1.1.3 The text uses expressions for characterizing itself as a bounded entity: the occurrence of "all" in Judith 14:8, implicitly aligning what Judith is telling Achior with what the narrator has told the addressee up to this point in the story, implies that "all" relevant events are in fact told in the text: "So Judith told (apengeilen) him in the presence of the people all that she had done (panta hosa en pepoiekuia*) from the the day she left until the moment she began speaking to them (hou elali autois)" (NRVS).

1.2 The text presents its internal sequence of sentences (or larger parts) as mirroring the objective relationships of components in the projected world (an objective order), or projects its subject matter as self-limiting (5.3.). See further under 4, 5.2–5 or 6: The narration concentrates in a fairly exclusive and exhaustive manner on a specific set of events, thereby indirectly signalling an acknowledgment of the text’s bounded existence (see 4.1). It is also rounded up by the report of the death of the heroine, followed by a “zooming out” to say that no-one threatened the Israelites for “many days after her death” (hemeras pollas) in 16:25 (see 2.5.1).

1.6 The approximate word count or other indication of comparative size is: c. 9,500 words, obtained by copying online Greek (http://www.sacred-texts.com/bib/poly/jdt001.htm) into a Word document and using word count.

Top of the Page

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), but suggests that its knowledge (or authority) is unlimited.

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, or nature (e.g. thoughts or private utterances of characters): The text appears to present an omniscient perspective in the narration. Certainly the governing voice does not thematize the source of knowledge, or limit the potential for knowledge/information. There is no tacit and consistent limitation of the information to one character’s point of view. Instead, the actions of characters (e.g. Nebuchadnezzar and Holophernes in Nineveh, and the inhabitants of Bethulia) are reported directly by the governing voice when they are still separated by time and place. The narrator is also present when Judith prays on her own (9:2–14), and knows what happpens long after she has died (16:25), etc.

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 personhood in general).

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-person perspective.

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: the Temple (ho naos), mentioned as razed to the ground (Jud. 5:18, NRSV; in direct speech); Jud. 4:3 mentions the rededication of the "house" = Temple (not in the Vulgate, see Moore, pp. 147–8); the time of day when the incense is offered in the house (oikos) of God in Jerusalem (Jud. 9:1); a return from "diasporas" is mentioned (Jud. 5:19, in direct speech; in the governing voice, Jud. 4:3, see reference to Moore above), and so is Joakim "the high priest" (ho hiereus ho megas, Jud. 15:8).

2.4.1.1 [for persons mentioned or presented in narrative usage; as characters; or topics: there appear to be no characters whose identity is simply taken for granted without any explanation; Nebuchadnezzar (king of the “Assyrians” (!)), Arphaxad and Holofernes, for example are given brief explanations of who they are when they are mentioned for the first time in Jud. 1:1 and 2:4, respectively. The "Israelites living in Judea" (Jud. 4:1) appear to be presupposed, but see 2.4.5.]

2.4.1.3 for Gods/mythical figures/supernatural beings, etc., for example: God is referred to as "Lord" (e.g., Jud. 4:13, kyrios), "the Lord their God" (Jud. 7:19), simply God (Jud. 8:8) or "God of Israel" (Jud. 10:1). The use of kyrios is presupposed in creating a narrative irony through ambiguity in Judith's question to Holofernes, "Who am I to refuse my lord=Lord?", Jud. 12:13, also Jud. 11:5; see 8.3.9. In direct speech quoted from a character's speech: "God (theos) of heaven" (Jud. 5:8), "Lord God of heaven" (kyrie ho theos tou ouranou; addressing God, Jud. 6:19), "O God, my God" (NRSV: ho theos ho theos ho emos; nearly identical with Septuagint Ps. 21:2 (22:2)); "Lord God of my ancestor Simeon" (Jud. 9:2), "most high God" (Jud. 13:18), "almighty Lord" (para to pantokratori kyrio, Jud. 15:10).

2.4.1.4 for locations, for example: a long list of place names is taken for granted in Jud. 1:7–10 and 1:12 (including Cilicia, Damascus, Lebanon, Antilebanon, Carmel, Gilead, Upper Galilee, the great plain of Esdraelon, Samaria, Jerusalem, Bethany, Chelous, Kadesh, Tahpanhes, Raamses, Goshen, Tanis, Memphis, Ethiopia, Ammon Moab, Judaea); a considerable number of additional locations are presupposed all throughout the text. There are "historical" problems with the geographical accuracy of a considerable number of these place names; for a possibly comical effect intended, see Wills, p. 135.

2.4.1.5 for times or calendar dates (specific to a language or culture), for example: in a list of special times at which Judith interrupts her fasting, the specific meaning of “Sabbath” is taken for granted (and so is the significance of the new moon), although these are enumerated alongside (kai) the more general, and thus explanatory, category “festivals and days of rejoicing of the house of Israel” (8:6, NRSV).

2.4.1.6 [for documents, texts, books, etc. (identified through being referred to or quoted): The non-applicability of this point may be worth stressing. There appears to be no specific reference to Scripture or any other text, either by name or by quoted wording. Biblical motifs of various types, and biblical narrative substance, are used consistently without the narrator or the characters speaking of the biblical text.]

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 Special linguistic usages occur pervasively or prominently:

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): There is much allusive use of biblical language, and also some imitation of the narrative style of the historical biblical books in the manner in which the chronology is handled. There are perhaps some aspects of a biblicizing “historiographic” style in the apparently precise localization of places, also perhaps in chronological references (but more explicit and exhaustive than most biblical narratives). There are occasional stylistic choices which are imitating biblical language (including parallelism, e.g. in 4:13, 6:4, and clearly in Judith’s hymn in ch. 16).

2.4.4.5 Other special linguistic usages: "kyrios" is used as proper name for God and may have a function in the way the narrative itself is told, see 2.4.1.3 and 8.3.9. In some scholars' opinion, the text shows signs of being in translational Greek; the presence of unidiomatic Greek usages appears to be explicable on the basis of Hebrew idioms and narrative syntax (e.g. repetitive paratactic kai constructions; see e.g. Moore, pp. 66 f.). There appear some Persian loanwords, e.g., Jud. 4:15, 5:2 and 13:6.

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: While this is not done explicitly, some turns of phrases or narrative components could be seen to "educate" an ignorant reader without appearing to do so. Thus shortly after the first mention in 4:2 God is specifically “introduced” (to Holofernes and thereby also the reader) in the speech of Achior as the “God of Heaven” (5:8) and “their God” (5:12) (see further, 2.4.1.3). This speech of Achior also “introduces” Israel by summarising their relevant history (the events before this narrative), in response to the character Holofernes’s question, "What people (laos) is this that lives in the hill-country?” (5:3, NRSV). This question also already singles them out as unique in its continuation, "And why have they alone, of all who live in the west, refused to come out and meet me?" (5:4, NRSV); they are also referred to as “sons of Israel” (e.g., 16:25) or "house" (oikos) of Israel (14:10).]

2.5 The text contains deictic or other expressions referring to the governing voice’s time or place, or place it after/before some key event:

2.5.1 as part of the words of the governing voice: There is at least one case of a temporal deixis pointing to the time of the governing voice, when Achior (including his descendants?) is said to have joined the house of Israel "remaining so to this day” (tes hemeras tautes, Jud. 14:10). The governing voice also places itself indirectly “many days” after the death of Judith in the final sentence of the text (16:25), whom the events as told locate specifically in a known biblical and post-exilic period just after the return from exile and the rededication of the Temple (4:3, a sentence not in the Vulgate; see Moore, 147 f.).

2.5.2 [as part of the words of a quoted character, but with probable implications also for the governing voice: Some scholars take Judith’s reference to enemies who “intend to defile your sanctuary” (Jud. 9:8, NRSV) as evidence of a post-Maccabaean composition of the book of Judith. It is doubtful whether this is meant to be part of contribute to the self-positioning of the governing voice.]

2.7 The epistemic stance, knowledge horizon, moral stance and identity of the governing voice, and of the projected addressee, do not become thematic in the text.

Top of the Page

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: The text presents streamlined narrative with strong nexus of motivations and causes, locations and characters, creating an interconnected set of main characters and of interlocking events.

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 narrative strands. The narrative foregrounds a period of time as such, from the preparations for the destruction of Ectabana (which provide the background to Nebuchadnezzar’s threat to destroy the cities of the region between Syria and Egypt, 1:12) to the death of Judith. The tale spells out the interconnectedness of events. However, it also suggests that this interconnectedness is open-ended (explicitly so in the last sentence 16:25 which admits the possibility that there was later again a time when the Israelites were threatened). There is both an open-ended, or "historical" perspective on events and a biographical and person-centred perspective (see 4.1.2.2). But these two aspects do not really distribute themselves to the two parts of which scholars sometimes have suggested were originally independent of each other (chs. 1–7 versus chs. 8–16), although each could be said to predominate in one part. The narrative as a whole could be seen as showing how the public and "political" (and in that sense, historical) intrudes into the life of an individual and "private" person (Judith's status as a woman reinforces her non-public status). This intrusion, and the surprising inversion of power inequalities between the two, is expressed in the sequential continuity of the two sets of chapters (cf. Will, pp. 132–3; Craven), and promotes divine might and providence to an apparently important theme of the narrative.

4.1.2.2 The action pivots around one character or a small set of inter-connected characters: The tale suggests a specific set of events as having special intrinsic interest, perhaps as being astonishing (if never miraculous in a strict sense); it is in particular focused on an individual character’s actions and, to some extent, life. Judith’s life is presented as exemplary, and her actions take place at a crisis point of paradigmatic significance (with echoes of the heroes of the book of Judges, and Miriam). They are also, through the characters’ perceptions, presented as conforming to (well-deserved) divine providence: Judith did not do this on her own, although God is never depicted as acting directly. The providential meaning of narrated events is also hinted at as the reason for the existence of the text (see 1.1.1). The causation and motivation in the action is presented as "naturalistic”, while also being implicitly ascribed to divine provenance; the latter view, not expressed directly by the narrator, is amply reflected in the speech and prayers of the characters (e.g. Judith mentioning God’s “foreordained” things, or God foreseeing (prognosei), 9:6 (this and 11:19 are the only occurrences of this term in the Septuagint according to Moore, p. 192); “the Lord will deliver Israel by my hand”, Jud. 8:33.

4.1.3 The narrative provides a clear closure, or dwells on the closure: The closure is emphasized by Judith’s death being the end of the narrative, rounded up by a “zooming out” to say that no-one threatened the Israelites for “many days after her death” (hemeras pollas) in 16:25.

4.1.4 The narrative foregrounds apparently exact information on the absolute and relative timing of events: The narrative provides apparently exact information in these respects. There are many references to the relative distances of one event from another, e.g., “the next day” (7:1), “on the following day” (7:6), “on the fourth day” (12:10); “for three months...at the end of that time” (16:20–21). Some of them provide articulation points for the text parts of the narrative (which most of the chapter divisions appear to reflect). There are also, especially before the narration zooms in on the small scale of Judith’s actions, temporal orientation points in “absolute” or public terms, including the opening “In the twelfth year of the reign of Nebuchadnezzar…” (1:1), “in the seventeenth year of his reign” (1:13) and “in the eighteenth year” (2:1).

4.1.5 [The narrative foregrounds quantifiable non-temporal information: For this feature the text is actually ambiguous; apparently precise information (e.g. numbers) is occasionally combined with expressions of the marvellous (words such as immense, ample, vast, Jud. 2:17, 7:2, 7:18), and together with long lists (e.g., of vanquished localities; see also 8.1.10) illustrates the overwhelming strength of Nebuchadnezzar’s forces.

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: The sequence of event reports largely mirrors the chronological sequence of projected events as envisaged. In addition to the event sequences established as textual order through the absolute and relative time indications, there is much further linear linkage between sentences in their event sequence, with or without the use of “and” (kai) and through phrases such as “Now in those days Judith heard about these things” (8:1; similar also e.g. 10:18, 15:1), or “When Judith had stopped crying out to the God of Israel" (10:1), “When evening came” (13:1), etc. (all NRSV). There is also a conspicuous passage of explicit synchrony, when the time of the day at which Judith prays is aligned with the evening incense offering in the Jerusalem Temple (Jud. 9:1). In the first chapter, the pace of the events is measured in years of Nebuchadnezzar’s reign, and later this switches to a day-by-day account which is explicitly managed as such. That difference in the narrative pace between chapter 1 and the bulk of the text, is reversed again at 16:21–24, which sums up the rest of Judith’s life. These changes in pace clearly have a framing function for the main narrative whose level of detail is higher and fairly constant.

4.2.2 There is use of prolepsis or analepsis: occasionally, e.g. Jud. 4:3, Jud. 8:3–6 and Jud. 12:16 (analepsis); there appears to be no prolepsis in the narrator’s voice.

4.6 There are meta-narrative explanations occurring in the narrative (editorial comments by narrator): There are a few instances of an evaluative stance taken by the narrator and ascribed to the implied audience by referring to the “desecration” of the Temple in 4:3 (contrast with 3:8; but see 2.4.1 for transmission detail); there is also a report of Joakim standing "before the Lord” (4:14), committing the narrator to the accuracy of this way of putting things; in Jud. 8:8, Judith is said to have "feared God with great devotion" (NRSV).

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: There is framing of the narration at the beginning which is however not marked as such, by the summary account of the events which led to Nebuchadnezzar’s threat to the Western countries (ch. 1).

4.8.2 There is an explicit introduction of the main character(s): There is an explicit introduction of the main character Judith which does not however take place at the beginning of the text, but at Jud. 8:1–8.

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: e.g., Jud. 8:8: “No one spoke ill of her, for she feared God with great devotion" (NRSV; hoti ephobeito ton theon sphodra). The same word sphodra, "very much", is used when Achior's conversion is reported, 14:10.

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: Some of Judith’s moral or religious character traits are clearly gendered (chaste, devoted to her husband as a mourning and fasting widow, does not remarry, etc.); they are also ethnically situated (she performs an act of “national” liberation), but the latter is presented in somewhat universal terms. Other character traits are not gendered, or may even have contradicted culturally prevalent gender stereotyping, including her wisdom, constancy of will, moral and physical courage – all depicted as being superior to those of the men in her environment – as well as her physical prowess (see 4.9.5). She appears not to be contrasted to other women; those hardly figure, except her maid.

4.9.4 A figure is characterized by her or his intellectual gifts or understanding: Through her actions and speech Judith is clearly shown to be of superior wisdom (sophia, 11:20), cunning (“by the deceit [apates] of my lips”, 9:10) and intelligent.

4.9.5 A figure is characterized by physical prowess or beauty, or their opposites: Judith’s physical beauty is explicitly mentioned several times by the narrator and characters, including the desire it induces in men (Jud. 12:16) which plays a plot-driving role; and physical prowess is displayed in her actions, e.g., as she "struck his neck twice with all her strength (ischys)" (Jud. 13:8) after asking God for strength in a brief prayer beforehand (krataioson me).

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: Judith is shown to be integrated into the values and practices of her Israelite community to an extent that makes her stand out (somewhat like Tobit, cp. Tob. 1), together with her wealth (also like Tobit, and Job in TJob); her exemplary fortitude, piety and resourcefulness leads to conflict with others in the community (Jud. 8:11) and to her taking charge. Together with this community, she is in conflict with an external enemy who has travelled from afar and who is also in conflict with some of Israel’s immediate neighbours; she is thus not in immediate, foregrounded, conflict with the local non-Jewish environment (although they help Holofernes, 7:18). This lack of a foregrounded conflict with the non-Israelite surroundings chimes with the figure of the Ammonite Achior who, albeit as an individual only, speaks extremely respectfully of Israel and eventually converts.

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: there is a brief list of the contents of Holofernes’s tent (Jud. 15:11).

4.12.2 There is extended description of the outward appearance of persons or other animated beings: there is a fairly detailed description of Judith’s dress in Jud. 10:3–4.

4.12.3 There is extended description of the physical or architectural setting/landscape: descriptions of the geographical locations (e.g. 2:21–28) and to some extend landscape (7:1–4) in which actions takes place; a detailed description of Ectabana’s walls is made all the more prominent by coming at a point in the narrative where events are otherwise told in summary (1:2–4).

4.13 The narrative pace is slowed down or changed by frequent or prominent quotation of speech, thought or text: this includes quoted monologue/prayer (Jud. 9:2–14), and quoted dialogue.

4.13.1 The quotation constitutes a plot-driving event in its own right: These occurrences of speech are mostly exceptionally well integrated into the action; there are a number of plot-driving, yet very long, speeches, e.g., Nebuchadnezzar’s speech to Holofernes, Jud. 2:5–13, Achior’s speech to Holofernes, Jud. 5:5–22; Judith’s speech to the elders, Jud. 8:11–27; her speech to Holofernes, Jud. 11:5–19.

4.13.1.2 The narrative action largely or partly consists of a report on (long) speeches exchanged between characters: see 4.13.1.

4.13.2 Quoted speech/thought provides a comment on the events (4.13.1 does not apply): in addition to speeches which drive the plot, there are others which provide a kind of analysis of events: Judith’s prayer Jud. 9:2–14, and her hymn, Jud. 16:2–17 (which is placed at approximately the same point in the overall narrative structure as Tobit’s “thanksgiving” in Tobit 13).

4.13.4 The quotation differs from the surrounding text in its form (e.g. poetry), style or language: Judith’s hymn Jud. 16:2–17 contrasts with the surrounding text by its poetic form and language, with clear echoes of Miriam’s song in Ex. 15.

Top of the Page

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.

7.1.1 Characters correspond between the non-biblical narrative and the narrative of a biblical text or texts.

7.1.1.3 Only minor character(s) of the text correspond to character(s) in a biblical text(s), whether minor or major: Nebuchadnezzar appears in Judith not as a main character, but is an important background character, often referred to in direct speech by other characters. However, there are some important tensions between the text’s account and the biblical narration. The book of Judith calls Nebuchadnezzar ruler of the Assyrians (not the Babylonians) in 1:1 and several times later; locates his residence in Nineveh, “the great city” (cp. Jonah 1:1), when Nineveh was destroyed before Nebuchadnezzar acceded (in 612 BCE); the text envisages an assault from him on Jewish settlements after the return of the exiles (Jud. 4:3), while the chronology of Jer. 32:1 puts his reign into the pre-exilic period (the year of Judith’s opening verse being BCE 593). See 7.1.2.

7.1.2 Chronology, physical setting or emplotment correspond between the non-biblical narrative and the narrative of a biblical text or texts: The text locates itself within a wider narrative-chronological (or “historical”) framework which is also found in a biblical narrative, namely the period after the return from the Babylonian exile; and it appears to occupy the same narrative space as the biblical text, with some important overlap with the biblical cast of characters, in particular Nebuchadnezzar. However, this causes tensions with biblical information, which are to some extent paralleled in the book of Tobit. Some of the inaccuracies or anachronisms (e.g. use of “Persia” in 1:7) of Judith are so fundamental that some modern scholars interpret them to be deliberate signals of the fictitious and perhaps of the ironical nature of the text (e.g. Moore, pp. 79, 124).

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 no overlap in the narrative substance: For the wider biblical narrative, however, knowledge is presupposed by the narrator or the characters, and there are also parallels which perhaps were meant to be recognized by the addressee. There are explicit references to biblical figures (e.g., as precedents) or events (e.g., Jud. 8:26–7/9:3), such as Abraham, Isaac, Jacob as examples of how God tests man, Jud. 8:27, with the exhortation to “remember” them; invocation of Simeon as ancestor and allusion to the rape of Dinah (Gen 34), in Jud. 9:3. In a sense Judith’s deed is presented as a reversal of Dinah’s violation (using Judith’s sexual attraction in the process). Her song of triumph (ch. 16:2–17) and the manner in which it is performed with other women (Jud. 15:12 ff.) recalls Miriam and the women in Ex. 15. There is a tension with the wording of Deut. 23:4 in the fact that Achior is an Ammonite (Jud. 5:5; 13:10) yet allowed to convert. (Some scholars surmise that this precluded Judith’s inclusion in the rabbinic canon of the Hebrew Bible; yet, even from a potentially much narrower rabbinic point of view, see the discussion in mYad 4:4. See S. D. J. Cohen, The Beginnings of Jewishness. Boundaries, Varieties, Uncertainties [Berkeley, CA: University of California Press, 1999] pp. 251–2 and passim. Cf. Moore, pp. 235–6.) There are also explicit references to biblical norms or normative practices in Jud. 8:9 (list of holy days) and Jud. 11:12–13 (list of consecrated foods). Cp. with this the catalogue of priestly dues in Tob. 1:6–8.

7.1.4 The text shares features of language with the Hebrew Bible, or exhibits tacit overlap with specific biblical wording, whether narrative or not.

7.1.4.1 There are pervasive biblical linguistic features (vocabulary, morphology or syntax) or a pervasive use of unspecific biblical language, such as generic biblical phrases or single words: There is some allusive use of biblical language and some expressive use of biblical wording. There is also some imitation of the narrative style of the historical biblical books in the manner in which the chronology is handled.

7.1.4.2 The text contains prominently, but not necessarily frequently, the wording of specific biblical passages such as whole sentences or unique biblical phrases, used in a tacit manner. See also 8.1.4.1: There are instances of expressive use of wording perhaps intended as being recognised as coming from Scripture, in direct speech of characters, i.e., the near-quotations of Psalm 22:2 (in the LXX 21:2 version) in Judith’s prayer 9:4; and of Ruth 1:16 in 11:23. Both of these and perhaps others are employed curiously out of context, or introducing a level of irony (as when Holofernes uses the words of Ruth 1:16 without awareness, as well as with ironic inversion: “Your God shall be my God”).

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 voice assumes an epistemic stance similar to that of a biblical text.

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 category as one of the following stances also adopted in biblical texts:

7.1.5.3.2 The omniscient narration, as in Genesis-Joshua; or unrestricted knowledge of a described reality, similar to Genesis 1: see points under 2.1.

7.2 [Narrative or thematic correspondences, or overlap of specific wording, occur between the non-biblical text under discussion and other non-biblical texts in a manner that is prominent or pervasive: Although there are some narrative and thematic parallels to other non-biblical books, perhaps most notably Tobit, there appear to be no substantial features of Judith which constitute strong correspondences or overlap with specific wording with other non-biblical books.]

Top of the Page

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

8.1.8 Reason clause: occasional, e.g. Jud. 4:7, 5:19, 8:8.

8.1.9 [The a fortiori argument: once only, in direct speech as rhetorical question, Jud. 8:14.]

8.1.10 List sentence enumerating items by words or phrases: Enumerative sentences (list sentences) with descriptive contents appear frequently; constituting a stylistic characteristic of a kind of “fact-packed” story-telling. The two adjacent lists in Jud. 1:6 and 1:7 which set the tone (after what is already a list-like structure in the description of the walls of Ectabana in 1:2–3). The lists are mostly, but not exclusively, concerned with topography; other topics are military ranks and divisions (Jud. 2:14–15), and equipment (Jud. 2:16–17, 2:19); see also 4.12.1. Enumeration can also be used in direct speech to rhetorical effect, as in Jud. 3:3 and very clearly in 4:10 as a kind of repetition.

8.1.13 [Declamatory sentence, confession, proclamation or affirmation: There is what the governing voice calls an exomologesis (confession, profession) in chapter 16, but those sentences are in the voice of Judith.]

8.1.14 [Prayer, doxology, valediction or blessing: These occur frequently, but only as one of the characters’ quoted speech, with Jud. 9:2–14 furnishing an extended example. This piece, called “calling on” (boao) by the narrator (10:1), expresses a number of key theological topics in the manner of some synagogue prayers, while specifically fitting the situation of Judith (e.g., Jud. 9:12).]

8.2 Non-narrative small literary forms that impose on their components a standard functional relationship to each other, while grammar and syntax may vary:

8.2.5 The summary exposition, in a number of sentences, of theological ideas: occasional, albeit in the mouth of the characters rather than the narrator: among them this extended passage: “For you have done these things and those that went before and those that followed. You have designed the things that are now, and those that are to come. What you had in mind has happened; the things you decided on presented themselves and said, ‘Here we are’. For all your was are prepared in advance, and your judgment is with foreknowledge” (Jud. 9:5–6, NRSV); also Jud. 9:11–12.

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

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 lie to another, which is transparent to the reader: There is a considerable number of ironic uses of an epistemic gap between the knowledge of a character and the knowledge of the projected addressee, in particular in the things Holofernes says (“who are you...to prophesy among us”, Jud. 6:2) or is told by Judith (including a double meaning for kyrios, in the “my lord” of Jud. 11:5; see Moore, pp. 78–85). This also includes an “ironic” use of the projected addressee's recognition of the words by Holofernes “Your God shall be my God” (Jud. 11:23) as a biblical echo (Ruth 1:16), when Holofernes cannot be construed as being aware of that (see 7.1.4.2). In her conversations with Holofernes, Judith constantly employs lies transparent to the projected addressee (and thematised as such by Judith herself, in Jud. 9:10).

8.3.10 Narrative use of humour by way of a character’s speech: The speech of the Assyrians in Jud. 10:19 is likely to be meant to have a humorous effect.

8.4 [Small poetic form:]

8.4.1 [Occurrence of a song, poetic piece, rhythmic unit: This is on the level of a character's speech only. Judith’s poetic speech is called by the narrator an exomologesis (lit. “confession”) and ainesis (“praising, praise”, also used in NT; Moore: “thanksgiving”) in 16:1 [= 15:14]); within the piece it is called a “psalm”, “praise” (ainon, tale, praise; tale of praise) and “new hymn” (hymnon kainon, 16:13); see Rakel, pp. 160 ff.).]

Top of the Page

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.

Top of the Page

12.1 Sampling of genre labels applied to the text in secondary literature: (Jewish) novel, novel with "self-mocking historisizing pretensions" (Wills, p. 134).

Top of the Page

Bibliography:

Editions:

Judith is part of the Septuagint; see, e.g. ed. Rahlfs; also: R. Hanhart, Text und Textgeschichte des Buches Judith (Göttingen: Vanenhoeck & Ruprecht, 1979); Morton S. Enslin and S. Zeitlin, The Book of Judith (Greek text with an English translation, commentary and critical notes by Morton S. Enslin; edited with a general introduction and appendices by Solomon Zeitlin) (Leiden: E.J. Brill for Dropsie University, Philadelphia, 1972).

Translations:

B. M. Metzger and R. E. Murphy (eds.), The New Oxford Annotated Apocrypha: The Apocryphal/Deuterocanonical Books of the Old Testament. New Revised Standard Version (New York: Oxford University Press, 1991 and other modern Bible translations covering the Apocrypha; Enslin and Zeitlin above. ; B. Halpern-Amaru, "Judith", in L. H. Feldman, J. L. Kugel and L. H. Schiffman (eds.), Outside the Bible. Ancient Jewish Writings Related to Scripture (Philadelphia: Jewish Publication Society/University of Nebraska Press, 2013), pp. 2590–2630 - translation from the New Revised Standard Version.

Selected Studies and Commentaries:

C. A. Moore, The Anchor Bible: Judith. A New Translation with Introduction and Commentary (Garden City, New York: Doubleday, 1985); articles Amy-Jill Levine and Mark Stephen Caponigro in A. Bach (ed.), Women in the Hebrew Bible: A Reader (London: Routledge, 1999); C. Rakel, Judit: Über Schönheit, Macht und Widerstand im Krieg. Eine feministsich-intertextuelle Lektüre (Berlin and New York: de Gruyter, 2003). L. M. Wills, The Jewish Novel in the Ancient World (Ithaca, NY: Cornell University Press, 1995). B. Otzen, Tobit and Judith (Sheffield: Sheffield Academic Press, 2002). T. Craven, Artistry and Faith in the Book of Judith (Chico, CA: Scholars Press, 1983). On medieval Hebrew versions, see A. Dubarle, Judith: Formes et sens des diverses Traditions (Rome: Institut biblique pontifical, 1966).

Top of the Page

_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: