Was Mary Magdalene a prostitute? Photo: Private Collection/Bridgeman Art Library/Courtesy of IAP Fine Art.

Was Mary Magdalene a Prostitute?

Was Mary Magdalene a prostitute who repented or simply an influential female follower of Jesus? Mary from Magdala has popularly been saddled with an unfavorable reputation, but how did this notion come about? In From Saint to Sinner, Birger A. Pearson examines how Mary Magdalene’s notoriety emerged in the early Christian tradition. Pearson writes that later interpreters of the Gospels attempted to diminish her “by identifying her with other women mentioned in the Gospels, most notably the unnamed sinful woman who anoints Jesus’ feet with ointment and whose sins he forgives (Luke 7:36–50) and the unnamed woman taken in adultery (John 7:53–8:11).”

Read From Saint to Sinner by Birger A. Pearson as it originally appeared in Bible Review.

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Who was Jezebel? Image: Russell-Cotes Art Gallery and Museum, Bournemouth, UK/Bridgeman Art Library.

Who Was Jezebel? How Bad Was She?

Who was Jezebel? For over 2,000 years, Jezebel, Israel’s most accursed queen, has been condemned as a murderer, a temptress and an enemy of God. Who was Jezebel, really? Was she really that bad? In How Bad Was Jezebel? Janet Howe Gaines rereads the Biblical narrative from the vantage point of the Phoenician wife of King Ahab. As Gaines writes, “To attain a more positive assessment of Jezebel’s troubled reign and a deeper understanding of her role, we must evaluate the motives of the Biblical authors who condemn the queen.”

Read Janet Howe Gaines’s article How Bad Was Jezebel? as it originally appeared in Bible Review.

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Rahab the Harlot or just the inkeeper? Image: CCI/The Art Archive at Art Resource, NY.

Rahab the Harlot?

As described in the Book of Joshua, Rahab (a heroine nonetheless known as “Rahab the Harlot”) assisted two Israelite spies in escaping down the city wall of Jericho. Was Rahab a Biblical prostitute? While the Biblical text identifies her as a zônāh, a prostitute (Joshua 2:1), Josephus reports that she kept an inn. Anthony J. Frendo critically examines the textual evidence.

Read about Anthony J. Frendo’s conclusions on Rahab the Harlot.

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Who is Lilith? Courtesy of Richard Callner, Latham, NY.

Who Is Lilith?

Fertile mother, wilderness demon, sly seductress—the resilient character Lilith has been recast in many roles. Who is Lilith? As Janet Howe Gaines writes, “In most manifestations of her myth, Lilith represents chaos, seduction and ungodliness. Yet, in her every guise, Lilith has cast a spell on humankind.” Follow Lilith’s journey from Babylonian mythology, through the Bible, to medieval lore and modern literature in Lilith by Janet Howe Gaines.

Read Lilith by Janet Howe Gaines as the article originally appeared in Bible Review.

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What Does the Bible Say About Infertility?

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The post Scandalous Women in the Bible appeared first on Biblical Archaeology Society.

Israel’s most accursed queen carefully fixes a pink rose in her red locks in John Byam Liston Shaw’s “Jezebel” from 1896. Jezebel’s reputation as the most dangerous seductress in the Bible stems from her final appearance: her husband King Ahab is dead; her son has been murdered by Jehu. As Jehu’s chariot races toward the palace to kill Jezebel, she “painted her eyes with kohl and dressed her hair, and she looked out of the window” (2 Kings 9:30). Image: Russell-Cotes Art Gallery and Museum, Bournemouth, UK/Bridgeman Art Library.

For more than two thousand years, Jezebel has been saddled with a reputation as the bad girl of the Bible, the wickedest of women. This ancient queen has been denounced as a murderer, prostitute and enemy of God, and her name has been adopted for lingerie lines and World War II missiles alike. But just how depraved was Jezebel?

In recent years, scholars have tried to reclaim the shadowy female figures whose tales are often only partially told in the Bible. Rehabilitating Jezebel’s stained reputation is an arduous task, however, for she is a difficult woman to like. She is not a heroic fighter like Deborah, a devoted sister like Miriam or a cherished wife like Ruth. Jezebel cannot even be compared with the Bible’s other bad girls—Potiphar’s wife and Delilah—for no good comes from Jezebel’s deeds. These other women may be bad, but Jezebel is the worst.¹

Yet there is more to this complex ruler than the standard interpretation would allow. To attain a more positive assessment of Jezebel’s troubled reign and a deeper understanding of her role, we must evaluate the motives of the Biblical authors who condemn the queen. Furthermore, we must reread the narrative from the queen’s vantage point. As we piece together the world in which Jezebel lived, a fuller picture of this fascinating woman begins to emerge. The story is not a pretty one, and some—perhaps most—readers will remain disturbed by Jezebel’s actions. But her character might not be as dark as we are accustomed to thinking. Her evilness is not always as obvious, undisputed and unrivaled as the Biblical writer wants it to appear.

Ahab and Jezebel in the Bible

The story of Jezebel, the Phoenician wife of King Ahab of Israel, is recounted in several brief passages scattered throughout the Books of Kings. Scholars generally identify 1 and 2 Kings as part of the Deuteronomistic History, attributed either to a single author or to a group of authors and editors collectively known as the Deuteronomist. One of the main purposes of the entire Deuteronomistic History, which includes the seven books from Deuteronomy through 2 Kings, is to explain Israel’s fate in terms of its apostasy. As the Israelites settle into the Promised Land, establish a monarchy and separate into a northern and a southern kingdom after the reign of Solomon, God’s chosen people continually go astray. They sin against Yahweh in many ways, the worst of which is by worshiping alien deities. The first commandments from Sinai demand monotheism, but the people are attracted to foreign gods and goddesses. When Jezebel enters the scene in the ninth century B.C.E., she provides a perfect opportunity for the Bible writer to teach a moral lesson about the evil outcomes of idolatry, for she is a foreign idol worshiper who seems to be the power behind her husband. From the Deuteronomist’s viewpoint, Jezebel embodies everything that must be eliminated from Israel so that the purity of the cult of Yahweh will not be further contaminated.

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The legacy of Jezebel. “In the last days, the daughters of Jezebel shall rule over nations,” warns the scrawling inscription that surrounds the face of Jezebel in this 1993 painting by American folk artist Robert Roberg. The apocalyptic message seems to associate the Biblical queen with the “mother of whores and of abominations” who “rules over the kings of the earth” and who has committed fornication with them (Revelation 17:2, 5, 18).
Jezebel’s name appears once in the New Testament Book of Revelation, where it is attached to an unrepentant prophetess who has beguiled the people “to practice fornication and to eat food sacrificed to idols” (Revelation 2:20).
Yet the Book of Kings offers no hint of sexual impropriety on Queen Jezebel’s part, argues author Gaines. She is, if anything, a too-devoted wife, willing even to commit murder in order to help her husband maintain his authority as king. Image: Robert Roberg

As the Books of Kings recount, the princess Jezebel is brought to the northern kingdom of Israel to wed the newly crowned King Ahab, son of Omri (1 Kings 16:31). Her father is Ethbaal of Tyre, king of the Phoenicians, a group of Semites whose ancestors were Canaanites. Phoenicia consisted of a loose confederation of city-states, including the sophisticated maritime trade centers of Tyre and Sidon on the Mediterranean coast. The Bible writer’s antagonism stems primarily from Jezebel’s religion. The Phoenicians worshiped a swarm of gods and goddesses, chief among them Baal, the general term for “lord” given to the head fertility and agricultural god of the Canaanites. As king of Phoenicia, it is likely that Ethbaal was also a high priest or had other important religious duties. According to the first-century C.E. historian Josephus, who drew on a Greek translation of the now-lost Annals of Tyre, Ethbaal served as a priest of Astarte, the primary Phoenician goddess. Jezebel, as the king’s daughter, may have served as a priestess as she was growing up. In any case, she was certainly raised to honor the deities of her native land.

When Jezebel comes to Israel, she brings her foreign gods and goddesses—especially Baal and his consort Asherah (Canaanite Astarte, often translated in the Bible as “sacred post”)—with her. This seems to have an immediate effect on her new husband, for just as soon as the queen is introduced, we are told that Ahab builds a sanctuary for Baal in the very heart of Israel, within his capital city of Samaria: “He took as wife Jezebel daughter of King Ethbaal of the Phoenicians, and he went and served Baal and worshiped him. He erected an altar to Baal in the temple of Baal which he built in Samaria. Ahab also made a ‘sacred post’”^a (1 Kings 16:31–33).²

Jezebel does not accept Ahab’s God, Yahweh. Rather, she leads Ahab to tolerate Baal. This is why she is vilified by the Deuteronomist, whose goal is to stamp out polytheism. She represents a view of womanhood that is the opposite of the one extolled in characters such as Ruth the Moabite, who is also a foreigner. Ruth surrenders her identity and submerges herself in Israelite ways; she adopts the religious and social norms of the Israelites and is universally praised for her conversion to God. Jezebel steadfastly remains true to her own beliefs.

Jezebel’s marriage to Ahab was a political alliance. The union provided both peoples with military protection from powerful enemies as well as valuable trade routes: Israel gained access to the Phoenician ports; Phoenicia gained passage through Israel’s central hill country to Transjordan and especially to the King’s Highway, the heavily traveled inland route connecting the Gulf of Aqaba in the south with Damascus in the north. But although the marriage is sound foreign policy, it is intolerable to the Deuteronomist because of Jezebel’s idol worship.

The Bible does not comment on what the young Jezebel thinks about marrying Ahab and moving to Israel. Her feelings are of no interest to the Deuteronomist, nor are they germane to the story’s didactic purpose.

To learn more about Biblical women with slighted traditions, take a look at the Bible History Daily feature Scandalous Women in the Bible, which includes articles on Mary Magdalene and Lilith.

We are not told whether Ethbaal consults his daughter, if she departs Phoenicia with trepidation or enthusiasm, or what she expects from her role as ruler. Like other highborn daughters of her time, Jezebel is probably a pawn, packed off to the highest bidder.

Israel’s topography, customs and religion would certainly be very different from those of Jezebel’s native land. Instead of the lushness of the moist seacoast, she would find Israel to be an arid, desert nation.

Furthermore, the Torah shows the Israelites to be an ethnocentric, xenophobic people. In Biblical narratives, foreigners are sometimes unwelcome, and prejudice against intermarriage is seen since the day Abraham sought a woman from his own people to marry his son Isaac (Genesis 24:4). In contrast to the familiar gods and goddesses that Jezebel is accustomed to petitioning, Israel is home to a state religion featuring a lone, masculine deity. Perhaps Jezebel optimistically believes that she can encourage religious tolerance and give legitimacy to the worship habits of those Baalites who already reside in Israel. Perhaps Jezebel sees herself as an ambassador who could help unite the two lands and bring about cultural pluralism, regional peace and economic prosperity.

What spurs Jezebel to action is unknown and unknowable, but the motives of the Deuteronomist come through plainly in the text. Jezebel is a bold and impious interloper who has to be stopped. From her own point of view, however, she is no apostate. She remains loyal to her religious upbringing and is determined to maintain her cultural identity.

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The threat of Jezebel is so great that later in the same chapter, the mythic prophet Elijah summons the acolytes of Jezebel to a tournament on Mt. Carmel to determine which deity is supreme: God or Baal.

Whichever deity is capable of setting a sacrificial bull on fire will be the winner, the one true God. It is only then that we learn just how many followers of Jezebel’s gods and goddesses are near her at court. Elijah challenges them: “Now summon all Israel to join me at Mount Carmel, together with the four hundred and fifty prophets of Baal and the four hundred prophets of Asherah who eat at Jezebel’s table” (1 Kings 18:19). Whether the grand total of 850 is a symbolic or literal number, it is impressive.

Glass jewels and glitter adorn the veiled crown of Jezebel and twisted branches speckled with paint form the queen’s body in this sculpture by Bessie Harvey. Photo by Ron Lee, The Silver Factory/The Arnett Collection, Atlanta, GA

Detail of veiled crown of Jezebel (compare with photo of veiled crown of Jezebel). Photo by Ron Lee, The Silver Factory/The Arnett Collection, Atlanta, GA.

Yet their superior numbers can do nothing to ensure victory; nor can petitions to their god. The prophets of Baal “performed a hopping dance about the altar” and “kept raving” (1 Kings 18:26, 29) all day long in a vain attempt to rouse Baal. They even gash themselves with knives and whoop it up in a heightened emotional state, hoping to incite Baal to unleash a great fire. But Baal does not respond to the ecstatic ranting of Jezebel’s prophets. At the end of the day, it is Elijah’s single plea to God that is answered.

Learn about the excavations at Jezreel in “Jezreel Expedition 2016: You Don’t Have to Be an Archaeologist to Dig the Bible“ and “Jezreel Expedition Sheds New Light on Ahab and Jezebel’s City“.

Standing alone before Jezebel’s host of visionaries, Elijah cries out: “O Lord, God of Abraham, Isaac, and Israel! Let it be known today that You are God in Israel and that I am Your servant, and that I have done all these things at Your bidding. Answer me, O Lord, answer me, that this people may know that You, O Lord, are God; for You have turned their hearts backward” (1 Kings 18:36–37). At once, “fire from the Lord descended and consumed the burnt offering, the wood, the stones and the earth;…When they saw this, all the people flung themselves on their faces and cried out: ‘The Lord alone is God, the Lord alone is God!’” (1 Kings 18:38–39). Elijah’s solitary entreaty to Yahweh serves as a foil to the hours of appeals made by Baal’s followers.

Jezebel herself is absent during this all-male event. Nevertheless, her presence is felt and the Deuteronomist’s message is clear. Jezebel’s deities and the huge number of prophets loyal to her are powerless against the omnipotent Yahweh, who is proven by the tournament to be ruler of all the forces of nature.

Ironically, at the conclusion of the Carmel episode, Elijah proves capable of the same murderous inclinations that have previously characterized Jezebel, though it is only she that the Deuteronomist criticizes. After winning the Carmel contest, Elijah immediately orders the assembly to capture all of Jezebel’s prophets. Elijah emphatically declares: “Seize the prophets of Baal, let not a single one of them get away” (1 Kings 18:40). Elijah leads his 450 prisoners to the Wadi Kishon, where he slaughters them (1 Kings 18:40). Though they will never meet in person, Elijah and Jezebel are engaged in a hard-fought struggle for religious supremacy. Here Elijah reveals that he and Jezebel possess a similar religious fervor, though their loyalties differ greatly. They are also equally determined to eliminate one another’s followers, even if it means murdering them. The difference is that the Deuteronomist decries Jezebel’s killing of God’s servants (at 1 Kings 18:4) but now sanctions Elijah’s decision to massacre hundreds of Jezebel’s prophets. Indeed, once Elijah kills Jezebel’s prophets, God rewards him by sending a much-needed rain, ending a three-year drought in Israel. There is a definite double standard here. Murder seems to be accepted, even venerated, as long as it is done in the name of the right deity.

After Elijah’s triumph on Mt. Carmel, King Ahab returns home to give his queen the news that Baal is defeated, Yahweh is the undisputed master of the universe and Jezebel’s prophets are dead. Jezebel sends Elijah a menacing message, threatening to slaughter him just as he has slaughtered her prophets: “Thus and more may the gods do if by this time tomorrow I have not made you like one of them” (1 Kings 19:2). The Septuagint, a third- to second-century B.C.E. Greek translation of the Hebrew Bible, prefaces Jezebel’s threat with an additional insult to the prophet. Here Jezebel establishes herself as Elijah’s equal: “If you are Elijah, so I am Jezebel” (1 Kings 19:2^b).³ In both versions the queen’s meaning is unmistakable: Elijah should fear for his life.

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So frightened is Elijah by Jezebel’s threatening words that he flees to Mt. Horeb (Sinai). Despite what he has witnessed on Carmel, Elijah seems to falter in his faith that the Almighty will protect him. As a literary device, Elijah’s sojourn at Horeb gives the Deuteronomist an opportunity to imply parallels between the careers of Moses and Elijah, thus reinforcing Elijah’s exalted reputation. Nevertheless, the timing of Elijah’s flight south makes him look suspiciously like he is afraid of a mere woman.

Jezebel indeed shows herself as a person to be feared in the next episode. The story of Naboth, an Israelite who owns a plot of land adjacent to the royal palace in Jezreel, provides an excellent occasion for the Deuteronomist to propose that Jezebel is not only the foe of Israel’s God, but an enemy of the government.

In 1 Kings 21:2, Ahab requests that Naboth give him his vineyard: “Give me your vineyard, so that I may have it as a vegetable garden, since it is right next to my palace.” Ahab promises to pay Naboth for the land or to provide him with an even better vineyard. But at 1 Kings 21:3, Naboth refuses to sell or trade: “The Lord forbid that I should give up to you what I have inherited from my fathers!” The king whines and refuses to eat after Naboth’s rebuff: “Ahab went home dispirited and sullen because of the answer that Naboth the Jezreelite had given him…He lay down on his bed and turned away his face, and he would not eat” (1 Kings 21:4). Apparently perturbed by her husband’s political impotence and sulking demeanor, Jezebel steps in, proudly asserting: “Now is the time to show yourself king over Israel. Rise and eat something, and be cheerful; I will get the vineyard of Naboth the Jezreelite for you” (1 Kings 21:7).

Naboth is fully within his rights to hold onto his family plot. Israelite law and custom dictate that his family should maintain their land (nachalah) in perpetuity (Numbers 27:5–11). As a Torah-bound king of Israel, Ahab should understand Naboth’s legitimate desire to keep his inheritance. Jezebel, on the other hand, hails from Phoenicia, where a monarch’s whim is often tantamount to law.⁴ Having been raised in a land of absolute autocrats, where few dared to question a ruler’s wish or decree, Jezebel might naturally feel annoyance and frustration at Naboth’s resistance to his sovereign’s proposal. In this context, Jezebel’s reaction becomes more understandable, though perhaps no more admirable, for she behaves according to her upbringing and expectations regarding royal prerogative.

Elijah’s challenge of “the 450 prophets of Baal and the 400 prophets of Asherah who eat at Jezebel’s table” (1 Kings 18:19) is depicted in two scenes on the walls of the third-century C.E. synagogue at Dura-Europos in modern Syria. According to 1 Kings 18, Elijah proposed that both he and the prophets of Baal lay a single bull on an altar and then pray to their respective deities to ignite the sacrificial animal. Whichever deity responded would be deemed the more powerful and the one true God. In the painting shown here, the priests of Baal gather around their altar, crying out, “O, Baal, answer us,” but their sacrifice remains untouched. The small man standing inside the altar in this painting does not appear in the Biblical story, but rather in a later midrash. According to this midrash, when the prophets of Baal realized they would fail, a man named Hiel agreed to hide within the altar to ignite the heifer from below. The Israelite God foiled their plan by sending a snake to bite Hiel, who subsequently died. Image: E. Goodenough, Symbolism in the Dura Synogogue (Princeton Univ. Press)

Without Ahab’s direct knowledge, Jezebel writes letters to her townsmen, enlisting them in an elaborate ruse to frame the innocent Naboth. To ensure their compliance, she signs Ahab’s name and stamps the letters with the king’s seal. Jezebel encourages the townsmen to publicly (and falsely) accuse Naboth of blaspheming God and king. “Then take him out and stone him to death,” she commands (1 Kings 21:10). So Naboth is murdered, and the vineyard automatically escheats to the throne, as is customary when a person is found guilty of a serious crime. If Naboth has relatives, they are now in no position to protest the passing of their family land to Ahab.

Yet the details of Jezebel’s underhanded plot against Naboth do not always ring true. The Bible maintains that “the elders and nobles who lived in [Naboth’s] town…did as Jezebel had instructed them” (1 Kings 21:11). If the trickster queen is able to enlist the support of so many people, none of whom betrays her, to kill a man whom they have probably known all their lives and whom they realize is innocent, then she has astonishing power.

The fantastical tale of Naboth’s death—in which something could go wrong at any moment but somehow does not—stretches the reader’s credulity. If Jezebel were as hateful as the Deuteronomist claims, surely at least one nobleman in Jezreel would have refused to assist in the nefarious scheme. Surely one individual would have had the courage to expose the detestable deed and become the Deuteronomist’s hero by spoiling the plan.⁵

Shown here, Elijah and his followers have easily conjured up a blazing fire, which engulfs their white bull. Seeing the flames, the Israelites call out, “Yahweh alone is God, Yahweh alone is God” (1 Kings 18:39).
Jezebel herself is not present during the event. And yet Elijah’s contest is a direct challenge to the queen who has brought the worship of Baal to the forefront in Israel by inviting the pagan prophets to the palace (compare with painting of the priests of Baal). Image: The Jewish Mesuem, NY/Art Resource, NY.

Perhaps the Biblical compiler is using Jezebel as a scapegoat for his outrage at her influence over the king, meaning that she herself is being framed in the tale. Traditionally thought to be a narrative about how innocent Naboth is falsely accused, the story could instead be an exaggeration of fact, fabricated to demonstrate the Deuteronomist’s continued wrath against Jezebel.

As a result of this incident, Elijah reappears on the scene. First Yahweh tells Elijah how Ahab will die: “The word of the Lord came to Elijah the Tishbite: ‘Go down and confront King Ahab of Israel who [resides] in Samaria. He is now in Naboth’s vineyard; he has gone down there to take possession of it. Say to him, “Thus said the Lord: Would you murder and take possession? Thus said the Lord: In the very place where the dogs lapped up Naboth’s blood, the dogs will lap up your blood too”’” (1 Kings 21:17–19). But when Elijah confronts Ahab, the prophet predicts instead how the queen will die: “The dogs shall devour Jezebel in the field of Jezreel” (1 Kings 21:23).^c Poetic justice, as the Deuteronomist sees it, demands that Jezebel end up as dog food. Ashamed of what has happened and fearful of the future, Ahab humbles himself by assuming outward signs of mourning, fasting and donning sackcloth. Prayer accompanies fasting, whether the Bible explicitly says so or not, so we may assume that Ahab raises his penitential voice to a forgiving Yahweh. For once, Jezebel does not speak; her lack of repentance is implicit in her silence.

After the Death of Ahab: The Ill Repute of Jezebel in the Bible

When Jezebel’s name is mentioned again, the Bible writer makes his most alarming accusation against her. Ahab has died, as has the couple’s eldest son, who followed his father to the throne. Their second son, Joram, rules. But even though Israel has a sitting monarch, a servant of the prophet Elisha crowns Jehu, Joram’s military commander, king of Israel and commissions Jehu to eradicate the House of Ahab: “I anoint you king over the people of the Lord, over Israel. You shall strike down the House of Ahab your master; thus will I avenge on Jezebel the blood of My servants the prophets, and the blood of the other servants of the Lord” (2 Kings 9:6–7).

Four paleo-Hebrew letters—two just below the winged sun disk at center, two at bottom left and right—spell out the name YZBL, or Jezebel, on this seal. The Phoenician design, the dating of the seal to the ninth or early eighth century B.C.E. and, of course, the name, have led scholars to speculate that the Biblical queen may once have used this gray opal to seal her documents. In the Phoenician language, Jezebel’s name may have meant “Where is the Prince?” which was the cry of Baal’s subjects. But the spelling of the Phoenician name has been altered in the Hebrew Bible, perhaps in order to read as “Where is the excrement (zebel, manure)?”—a reference to Elijah’s prediction that “her carcass shall be like dung on the ground” (2 Kings 9:36). Collection Israel Museum/Photo Zev Radovan.

King Joram and General Jehu meet on the battlefield. Unaware that he is about to be usurped by his military commander, Joram calls out: “Is all well, Jehu?” Jehu responds: “How can all be well as long as your mother Jezebel carries on her countless harlotries and sorceries?” (2 Kings 9:22). Jehu then shoots an arrow through Joram’s heart and, in a moment of stinging irony, orders the body to be dumped on Naboth’s land.

From these words alone—uttered by the man who is about to kill Jezebel’s son—stems Jezebel’s long-standing reputation as a witch and a whore. The Bible occasionally connects harlotry and idol worship, as in Hosea 1:3, where the prophet is told to marry a “wife of whoredom,” who symbolically represents the people who “stray from following the Lord” (Hosea 1:3). Lusting after false “lords” can be seen as either adulterous or idolatrous. Yet throughout the millennia, Jezebel’s harlotry has not been identified as mere dolatry. Rather, she has been considered the slut of Samaria, the lecherous wife of a pouting potentate. The 1938 film Jezebel, starring Bette Davis as the destructive temptress who leads a man to his death, is evidence that this ancient judgment against Jezebel has been transmitted to this century. Nevertheless, the Bible never offers evidence that Jezebel is unfaithful to her husband while he is alive or loose in her morals after his death. In fact, she is always shown to be a loyal and helpful spouse, though her brand of assistance is deplored by the Deuteronomist. Jehu’s charge of harlotry is unsubstantiated, but it has stuck anyway and her reputation has been egregiously damaged by the allegation.

When Jezebel herself finally appears again in the pages of the Bible, it is for her death scene. Jehu, with the blood of Joram still on his hands, races his chariot into Jezreel to continue the insurrection by assassinating Jezebel. Ironically, this is her finest hour, though the Deuteronomist intends the queen to appear haughty and imperious to the end. Realizing that Jehu is on his way to kill her, Jezebel does not disguise herself and flee the city, as a more cowardly person might do. Instead, she calmly prepares for his arrival by performing three acts: “She painted her eyes with kohl and dressed her hair, and she looked out of the window” (2 Kings 9:30). The traditional interpretation is that Jezebel primps and coquettishly looks out the window in an effort to seduce Jehu, that she wishes to win his favor and become part of his harem in order to save her own life, such treachery indicating Jezebel’s dastardly betrayal of deceased family members. According to this reading, Jezebel sheds familial loyalty as easily as a snake sheds its skin in an attempt to ensure her continued pleasure and safety at court.

This ivory comes from Arslan Tash, in northern Syria. The most common motif found on Phoenician ivories, the woman at the window may represent the goddess Astarte (Biblical Asherah) looking out a palace window. Perhaps this widespread imagery influenced the Biblical author’s description of Jezebel, a follower of Astarte, looking out the palace window as Jehu approached (2 Kings 9:30). Photo: Erich Lessing

Ivory fragment discovered in Samaria (compare with photo of ivory from Arslan Tash). Photo: Israel Antiquities Authority.

Applying eye makeup (kohl) and brushing one’s hair are often connected to flirting in Hebraic thinking. Isaiah 3:16, Jeremiah 4:30, Ezekiel 23:40 and Proverbs 6:24–26 provide examples of women who bat their painted eyes to lure innocent men into adulterous beds. Black kohl is widely incorporated in Bible passages as a symbol of feminine deception and trickery, and its use to paint the area above and below the eyelids is generally considered part of a woman’s arsenal of artifice. In Jezebel’s case, however, the cosmetic is more than just an attempt to accentuate the eyes. Jezebel is donning the female version of armor as she prepares to do battle. She is a woman warrior, waging war in the only way a woman can. Whatever fear she may have of Jehu is camouflaged by her war paint.

Her grooming continues as she dresses her hair, symbol of a woman’s seductive power. When she dies, she wants to look her queenly best. She is in control here, choosing the manner in which her attacker will last see and remember her.

The third action Jezebel takes before Jehu arrives is to sit at her upper window. The Deuteronomist may be deliberately conjuring up images to associate Jezebel with other disfavored women. For example, contained within Deborah’s victory ode is the story of the unfortunate mother of the enemy general Sisera. Waiting at home, Sisera’s unnamed mother looks out the window for her son to return: “Through the window peered Sisera’s mother, behind the lattice she whined” (Judges 5:28). Her ladies-in-waiting express the hope that Sisera is detained because he is raping Israelite women and collecting booty (Judges 5:29–30). In truth, Sisera is already dead, his skull shattered by Jael and her tent peg (Judges 5:24–27). King David’s wife Michal also looks through her window, watching her husband dance around the Ark of the Covenant as it is triumphantly brought into Jerusalem, “and she despised him for it” (2 Samuel 6:16). Michal does not understand the people’s euphoria over the arrival of the Ark in David’s new capital; she can only feel anger that her husband is dancing about like one of the “riffraff” (2 Samuel 6:20). Generations later, Jezebel also appears at her window, conjuring up images of Sisera’s mother and Michal, two unpopular Biblical women.

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Sitting at her window, Jezebel is seemingly rendered powerless while the active patriarchal world functions beyond her reach.⁷ But a more sympathetic reading of the situation suggests that Jezebel has determined the superior angle from which she will be viewed by Jehu, thus giving the queen mastery of the situation.

Positioned at the balcony window, the queen does not remain silent as the usurper Jehu arrives into town. She taunts him by calling him Zimri, the name of the unscrupulous predecessor of Omri, Jezebel’s father-in-law. Zimri ruled Israel for only seven days after murdering the king (Elah) and usurping the throne. “Is all well, Zimri, murderer of your master?” Jezebel asks Jehu (2 Kings 9:31). Jezebel knows that all is not well, and her sarcastic, sharp-tongued insult of Jehu disproves any interpretation that she has dressed in her finest to seduce him. She has contempt for Jehu. Unlike many Biblical wives, who remain silent, Jezebel has a distinct voice, and she is unafraid to articulate her view of Jehu as a renegade and regicide.

To demonstrate his authority, Jehu orders Jezebel’s eunuchs to throw her out of the window: “They threw her down; and her blood spattered on the wall and on the horses, and they trampled her. Then [Jehu] went inside and ate and drank” (2 Kings 9:33–34). In this highly symbolic political action, the once mighty Jezebel is shoved out of her high station to the ground below. Her ejection from the window represents an eternal demotion from her proper place as one of the Bible’s most influential women.

Jezebel’s body is left in the street as Jehu celebrates his victory. Later, perhaps because the new monarch does not wish to begin his reign with such a disrespectful act against a woman, or perhaps because he realizes the danger in setting a precedent for ill treatment of a dead ruler’s remains, Jehu orders Jezebel’s burial: “Attend to that cursed woman and bury her, for she was a king’s daughter” (2 Kings 9:34). Jezebel is not to be remembered as a queen or even as the wife of a king. She is only the daughter of a foreign despot. This is intended as another blow by the Deuteronomist, an attempt to marginalize a formidable woman.

When the king’s men come to bury Jezebel, it is too late: “All they found of her were the skull, the feet, and the hands” (2 Kings 9:35). Jehu’s men inform the king that Elijah’s prophecies have been fulfilled: “It is just as the Lord spoke through His servant Elijah the Tishbite: The dogs shall devour the flesh of Jezebel in the field of Jezreel; and the carcass of Jezebel shall be like dung on the ground, in the field of Jezreel, so that none will be able to say: ‘This was Jezebel’” (2 Kings 9:36–37).

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How Bad Was Jezebel?

With its green hills, fecund grapevines and abundant flowers, the scene depicted in this early-17th-century silk embroidery would appear peaceful—if not for the gruesome detail at left, which shows a woman being pushed out the palace window to a pack of hungry dogs. According to 2 Kings 9, Jehu orders the palace eunuchs to throw Jezebel out a window. When he later commands his men to bury her, little remains: “All they found of her were the skull, the feet and the hands” (2 Kings 9:35). Jehu’s men inform the new king that Elijah’s prophecies have been fulfilled: The queen’s corpse has been devoured by dogs; her body is mutilated beyond recognition, so that “none will be able to say ‘This was Jezebel’” (2 Kings 9:37). Death of Jezebel/Holburne Museum, Bath, UK/Bridgeman Art Library

While the Biblical storyteller wants the final images of Jezebel to memorialize her as a brazen hussy, a sympathetic interpretation of her behavior has more credibility. When all a person has left in life is the way she faces her death, her final actions speak volumes about her character. Jezebel departs this earth every inch a queen. Now an aging grandmother, it is highly unlikely that she has libidinous designs on Jehu or even entertains the notion of becoming the young king’s paramour. As the daughter, wife, mother, mother-in-law and grandmother of kings, Jezebel would understand court politics well enough to realize that Jehu has far more to gain by killing her than by keeping her alive. Alive, the dowager queen could always serve as a rallying point for anyone unhappy with Jehu’s reign. The queen harbors no illusions about her chances of surviving Jehu’s bloody coup d’état.

How bad was Jezebel? The Deuteronomist uses every possible argument to make the case against her. When Ahab dies, the Deuteronomist is determined to show that “there never was anyone like Ahab, who committed himself to doing what was displeasing to the Lord, at the instigation of his wife Jezebel” (1 Kings 21:25). It is interesting that Ahab is not held responsible for his own actions.⁸ He goes astray because of a wicked woman. Someone has to bear the writer’s vituperation concerning Israel’s apostasy, and Jezebel is chosen for the job.
Every Biblical word condemns her: Jezebel is an outspoken woman in a time when females have little status and few rights; a foreigner in a xenophobic land; an idol worshiper in a place with a Yahweh-based, state-sponsored religion; a murderer and meddler in political affairs in a nation of strong patriarchs; a traitor in a country where no ruler is above the law; and a whore in the territory where the Ten Commandments originate.

Yet there is much to admire in this ancient queen. In a kinder analysis, Jezebel emerges as a fiery and determined person, with an intensity matched only by Elijah’s. She is true to her native religion and customs. She is even more loyal to her husband. Throughout her reign, she boldly exercises what power she has. And in the end, having lived her life on her own terms, Jezebel faces certain death with dignity.

“How Bad Was Jezebel?” by Janet Howe Gaines originally appeared in Bible Review, October 2000. The article was first republished in Bible History Daily in June 2010.

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Janet Howe Gaines is a specialist in the Bible as literature in the Department of English at the University of New Mexico. She published Music in the Old Bones: Jezebel Through the Ages (Southern Illinois Univ. Press).

Notes

a. Asherah is the Biblical name for Astarte, a Canaanite fertility goddess and consort of Baal. The term asherah, which appears at least 50 times in the Hebrew Bible (it is often translated as “sacred post”), is used to refer to three manifestations of this goddess: an image (probably a figurine) of the goddess (eg., 2 Kings 21:7); a tree (Deuteronomy 16:21); and a tree trunk, or sacred post (Deuteronomy 7:5, 12:3). See Ruth Hestrin, “Understanding Asherah—Exploring Semitic Iconography,” BAR, September/October 1991.

b. In the Septuagint, 1 and 2 Samuel and 1 and 2 Kings are all included in Kings, which therefore has four books, 1–4 Kings.

c. A similar statement is made by the unnamed prophet who anoints Jehu king of Israel in 2 Kings 9:10.

1. For a fuller treatment of Jezebel, see Janet Howe Gaines, Music in the Old Bones: Jezebel Through the Ages (Carbondale, IL: Southern Illinois Univ. Press, 1999).

2. All references to the Bible, unless otherwise noted, are to Tanakh: The Holy Scriptures: The New JPS Translation According to the Traditional Hebrew Text (Philadelphia: Jewish Publication Society, 1985).

3. The translation of the Greek text is my own. According to Sir Lancelot C.L. Brenton (The Septuagint with Apocrypha: Greek and English, 3rd ed. [Peabody, MA: Hendrickson, 1990], p. 478), the translation of the entire line is “And Jezabel sent to Eliu, and said, If thou art Eliu and I am Jezabel, God do so to me, and more also, if I do not make thy life by this time tomorrow as the life of one of them.”

4. For a discussion of Phoenician customs, see George Rawlinson, History of Phoenicia (London: Longmans, 1889).

5. As corroborating evidence, see the story of David’s plot to kill Uriah the Hittite in 2 Samuel 11:14–17. Like Jezebel, David writes letters that contain details of his scheme. David intends to enlist help from the entire regiment as confederates who are to “draw back from” Uriah, but Joab makes a shrewd and subtle change in the plan so that it is less likely to be discovered.

6. Eleanor Ferris Beach, “The Samaria Ivories, Marzeah, and Biblical Text,” Biblical Archaeologist 56:2 (1993), pp. 94–104.

7. For an excellent, detailed discussion of Biblical imagery concerning women seated at windows, see Nehama Aschkenasy, Woman at the Window (Detroit: Wayne State Univ. Press, 1998).

8. For a reassessment of Ahab’s character based on the archaeological remains of his building projects and extrabiblical texts, see Ephraim Stern, “The Many Masters of Dor, Part 2: How Bad Was Ahab?” BAR, March/April 1993.

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Related reading in Bible History Daily

Biblical Sidon—Jezebel’s Hometown

Scholars Debate “Jezebel” Seal

Jezreel Expedition Sheds New Light on Ahab and Jezebel’s City

Scandalous Women in the Bible

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Jezreel—Where Jezebel Was Thrown to the Dogs

Fit for a Queen: Jezebel’s Royal Seal

How Women Differed

First Lady Jezebel

Elijah and Jezebel

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C.S. Lewis’s character Jadis, the White Witch of Narnia, in his The Chronicles of Narnia novels is said to have descended from Lilith, Adam’s first wife. Pictured here is Tilda Swinton as Jadis, the White Witch of Narnia, in the film adaptation The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005).

C.S. Lewis, one of the most beloved authors of the 20th century, created a magical, fictional world called Narnia. The primary villain of the first book of this series, The Lion, the Witch, and the Wardrobe, is Jadis, the White Witch. Below is the character Edmund’s description of the White Witch when he first meets her:

A great lady, taller than any woman that Edmund had ever seen. She also was covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head. Her face was white—not merely pale, but white like snow or paper or icing-sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern.
(The Lion, the Witch, and the Wardrobe)

Jadis, the White Witch, is beautiful—and terrifying. Although she looks like a human, she is not. According to the character Mr. Beaver, the White Witch was descended from Lilith, Adam’s first wife, on one side and from giants on the other.

Who is Lilith? Is there any warrant for calling Lilith Adam’s first wife, or is this just the baseless chatter of woodland creatures? Are there appearances of Lilith in the Bible?

Dan Ben-Amos, Professor of Folklore and Asian and Middle Eastern Studies at the University of Pennsylvania, explores the figure of Lilith in the Bible and mythology in his article “From Eden to Ednah—Lilith in the Garden” in the May/June 2016 issue of Biblical Archaeology Review. His analysis shows that Lilith is an intriguing figure who has taken on many shapes over the millennia. From this, we see that Jadis, the White Witch, shares more than just lineage with her supposed ancestor.

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Who is Lilith: Beauty or horror? English painter Dante Gabriel Rossetti’s Lady Lilith (1866–68; altered 1872–73) depicts Lilith, Adam’s first wife, as a beautiful woman. Who is Lilith? According to Rossetti’s interpretation, she was a beauty. Photo: Delaware Art Museum

Lilith is first mentioned in ancient Babylonian texts as a class of winged female demons that attacks pregnant women and infants. From Babylonia, the legend of “the lilith” spread to ancient Anatolia, Syria, Israel, Egypt and Greece. In this guise—as a wilderness demoness—she appears in Isaiah 34:14 among a list of nocturnal creatures who will haunt the destroyed Kingdom of Edom. This is her only mention in the Bible, but her legend continued to grow in ancient Judaism.

During the Middle Ages, Jewish sources began to claim her as Adam’s first—and terrifying—wife. How did Lilith evolve from being a wilderness demoness to Adam’s first wife?

Interestingly enough, this story begins at the beginning—in Genesis 1.

The creation of humans is described in Genesis 1 and in Genesis 2. The first account is fairly straightforward: “So God created humankind in his image, in the image of God he created them; male and female he created them” (Genesis 1:27). The second account describes how God formed man out of the dust of the ground and then creates woman from the man: “Then the Lord God formed man from the dust of the ground, and breathed into his nostrils the breath of life; and the man became a living being. … So the Lord God caused a deep sleep to fall upon the man, and he slept; then he took one of his ribs and closed up its place with flesh. And the rib that the Lord God had taken from the man he made into a woman and brought her to the man” (Genesis 2:7, 21–22).

In the post-Biblical period, some ancient Jewish scholars took the stance that Genesis 1:27 and Genesis 2:21–22 must describe two separate events, since it appears that woman is created differently in these accounts. In her Bible Review article “Lilith” in the October 2001 issue, Professor Janet Howe Gaines explains this reasoning: “Considering every word of the Bible to be accurate and sacred, commentators needed a midrash or story to explain the disparity in the creation narratives of Genesis 1 and 2. God creates woman twice—once with man, once from man’s rib—so there must have been two women. The Bible names the second woman Eve; Lilith was identified as the first in order to complete the story.” Accordingly, Genesis 1:27 describes the creation of Adam and an unnamed woman (Lilith); Genesis 2:7 gives more details of Adam’s creation; and Genesis 2:21–22 describes the creation of Eve from Adam.

Who is Lilith: Beauty or horror? This Aramaic incantation bowl depicts Lilith as a demoness. A text that mentions Lilith and other evil spirits is written on the inside of the bowl in spiral concentric circles. Incantation bowls were meant to both capture and repel evil spirits. Who is Lilith? According to this representation, which is more consistent with the appearance of “the lilith” in the Bible, she was a horror. Photo: Courtesy V. Klagsbald, Jerusalem

Lilith’s creation is recounted in The Tales of Ben Sira, an apocryphal work from the tenth century C.E. Dan Ben-Amos explains that although this is the first extant text that records the legend of Lilith, her story probably existed earlier:

[Lilith’s] story seems to hover at the edges of literacy with sporadic references. … [I]n the post-Biblical period, the sages identify the lilith several times, not by name, but as “the First Eve,” indicating that her full story was well known in oral tradition, yet barred from the canonized Biblical text. Finally, in the tenth century C.E. in Babylon, an anonymous writer, who was not bound by normative traditional principles and who included in his book some other sexually explicit tales, spelled out the lilith’s adventures in paradise.

The Tales of Ben Sira relates that God created Lilith from the earth, just as he had created Adam. They immediately began fighting because neither would submit to the other. Recognizing that Adam would not listen to her, Lilith “pronounced the Ineffable Name and flew away into the air” (The Tales of Ben Sira). The angels Snvi, Snsvi and Smnglof were sent to pursue Lilith, but when they reached her, she refused to return with them to the Garden of Eden. “‘Leave me!’ she said. ‘I was created only to cause sickness to infants. If the infant is male, I have dominion over him for eight days after his birth, and if female, for twenty days’” (The Tales of Ben Sira). As a compromise, she promised that whenever she saw the angels’ names or forms on amulets, she would leave the child alone. She also agreed that 100 of her children—demons—would die every day.

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Lilith sins by impudently uttering the sacred syllables, thereby demonstrating to a medieval audience her unworthiness to reside in Paradise. So Lilith flies away, having gained power to do so by pronouncing God’s avowed name. Though made of the earth, she is not earthbound. Her dramatic departure reestablishes for a new generation Lilith’s supernatural character as a winged devil.

Gaines also explains Lilith’s hatred for human babies: “Ben Sira’s story suggests that Lilith is driven to kill babies in retaliation for Adam’s mistreatment and God’s insistence on slaying 100 of her progeny daily.”

To learn more about Biblical women with slighted traditions, take a look at the Bible History Daily feature Scandalous Women in the Bible, which includes articles on Lilith, Mary Magdalene and Jezebel.

The Lilith legend continued to grow and change over the following centuries, which is reflected in various artistic depictions of her. While some portrayed Lilith as a beautiful woman, others showed her in a more sinister light. Some even depicted her as the serpent in the Garden of Eden who convinced Eve to eat the forbidden fruit.

Jadis, the White Witch of Narnia, shares similarities with Lilith. Not only are both of them strong, terrifying women, but they also seem bent on destroying human life. Both wield dark magic and are immortal beings. As revealed in C.S. Lewis’s The Magician’s Nephew, Jadis gains immortality by eating a silver apple inside a walled garden in Narnia. This episode has some obvious connections to the account of the Garden of Eden in the Bible. Additionally, both pronounce an ineffable word and suffer dire consequences as a result. The Magician’s Nephew tells how Jadis—before she became the White Witch—pronounced the Deplorable Word, which killed every living thing in her world, Charn, except for herself. So great was her desire for power and her refusal to submit, she spoke the Deplorable Word—knowing full well that it would kill every living person and thing in her world—rather than surrender her claim to the throne of Charn. These examples demonstrate that the character Jadis bears both the blood and the character of her foremother Lilith.

From demoness to Adam’s first wife, Lilith is a terrifying force. To learn more about Lilith in the Bible and mythology, read Dan Ben-Amos’s full article—“From Eden to Ednah—Lilith in the Garden”—in the May/June 2016 issue of Biblical Archaeology Review.

BAS Library Members: Read the full article “From Eden to Ednah—Lilith in the Garden” by Dan Ben-Amos in the May/June 2016 issue of Biblical Archaeology Review.

Not a BAS Library or All-Access Member yet? Join today.

This Bible History Daily feature was originally published on May 2, 2016.

Related reading in Bible History Daily

Lilith

The Adam and Eve Story: Eve Came From Where?

The Creation of Woman in the Bible

All-Access members, read more in the BAS Library

From Eden to Ednah—Lilith in the Garden

Lilith

Giving Eve’s Daughters Their Due

Women in the Hebrew Bible

The Seductress of Qumran

The post Lilith in the Bible and Mythology appeared first on Biblical Archaeology Society.

Winged spirits tumble across the night sky in New York artist Richard Callner’s “Lovers: Birth of Lilith” (1964), now in a private collection. According to medieval Jewish tradition, Lilith was Adam’s first wife, before Eve. When Adam insisted she play a subservient role, Lilith grew wings and flew away from Eden. Artist Callner identifies the large figure (right of center) as Lilith. Lilith’s character was not created out of whole cloth, however; the medieval authors drew on ancient legends of the winged lilītu—a seductive, murderous demoness known from Babylonian mythology. In recent years, Lilith has undergone another transformation as modern feminists retell her story. In the accompanying article, Janet Howe Gaines traces the evolution of Lilith. Image: Courtesy of Richard Callner, Latham, NY.

For 4,000 years Lilith has wandered the earth, figuring in the mythic imaginations of writers, artists and poets. Her dark origins lie in Babylonian demonology, where amulets and incantations were used to counter the sinister powers of this winged spirit who preyed on pregnant women and infants. Lilith next migrated to the world of the ancient Hittites, Egyptians, Israelites and Greeks. She makes a solitary appearance in the Bible, as a wilderness demon shunned by the prophet Isaiah. In the Middle Ages she reappears in Jewish sources as the dreadful first wife of Adam.

In the Renaissance, Michelangelo portrayed Lilith as a half-woman, half-serpent, coiled around the Tree of Knowledge. Later, her beauty would captivate the English poet Dante Gabriel Rossetti. “Her enchanted hair,” he wrote, “was the first gold.”¹ Irish novelist James Joyce cast her as the “patron of abortions.”²

Modern feminists celebrate her bold struggle for independence from Adam. Her name appears as the title of a Jewish women’s magazine and a national literacy program. An annual music festival that donates its profits to battered women’s shelters and breast cancer research institutes is called the Lilith Fair.

In most manifestations of her myth, Lilith represents chaos, seduction and ungodliness. Yet, in her every guise, Lilith has cast a spell on humankind.

The ancient name “Lilith” derives from a Sumerian word for female demons or wind spirits—the lilītu and the related ardat lilǐ. The lilītu dwells in desert lands and open country spaces and is especially dangerous to pregnant women and infants. Her breasts are filled with poison, not milk. The ardat lilī is a sexually frustrated and infertile female who behaves aggressively toward young men.

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The earliest surviving mention of Lilith’s name appears in Gilgamesh and the Huluppu-Tree, a Sumerian epic poem found on a tablet at Ur and dating from approximately 2000 B.C.E. The mighty ruler Gilgamesh is the world’s first literary hero; he boldly slays monsters and vainly searches for the secret to eternal life.^a In one episode, “after heaven and earth had separated and man had been created,”³ Gilgamesh rushes to assist Inanna, goddess of erotic love and war. In her garden near the Euphrates River, Inanna lovingly tends a willow (huluppu) tree, the wood of which she hopes to fashion into a throne and bed for herself. Inanna’s plans are nearly thwarted, however, when a dastardly triumvirate possesses the tree. One of the villains is Lilith: “Inanna, to her chagrin, found herself unable to realize her hopes. For in the meantime a dragon had set up its nest at the base of the tree, the Zu-bird had placed his young in its crown, and in its midst the demoness Lilith had built her house.” Wearing heavy armor, brave Gilgamesh kills the dragon, causing the Zu-bird to fly to the mountains and a terrified Lilith to flee “to the desert.”

Lilith? In the 1930s, scholars identified the voluptuous woman on this terracotta plaque (called the Burney Relief) as the Babylonian demoness Lilith. Today, the figure is generally identified as the goddess of love and war, known as Inanna to the Sumerians and Ishtar to the later Akkadians. (Both characters are featured in the poem Gilgamesh and the Huluppu-Tree, quoted on this page.) The woman wears a horned crown and has the wings and feet of a bird. She is flanked by owls (associated with Lilith) and stands on the backs of two lions (symbols of Inanna). According to Mesopotamian myths, the demoness Lilith (lilītu or ardat lilǐ) flew at night, seducing men and killing pregnant women and babies. This night creature makes one appearance in the Bible, in Isaiah 34, which enumerates the fierce denizens of the desert wilderness: hyenas, goat-demons and “the lilith” (Isaiah 34:14). (In the King James Version, “lilith” is translated “screech owl”—apparently alluding to the demon’s night flights in search of prey.) Image: From The Great Mother.

Originating about the same time as the Gilgamesh epic is a terracotta plaque, known as the Burney Relief, that some scholars have identified as the first known pictorial representation of Lilith. (More recently, scholars have identified the figure as Inanna.) The Babylonian relief shows her as a beautiful, naked sylph with bird wings, taloned feet and hair contained under a cap decorated with several pairs of horns. She stands atop two lions and between two owls, apparently bending them to her will. Lilith’s association with the owl—a predatory and nocturnal bird—bespeaks a connection to flight and night terrors.

In early incantations against Lilith, she travels on demon wings, a conventional mode of transportation for underworld residents. Dating from the seventh or eighth century B.C.E. is a limestone wall plaque, discovered in Arslan Tash, Syria, in 1933, which contains a horrific mention of Lilith. The tablet probably hung in the house of a pregnant woman and served as an amulet against Lilith, who was believed to be lurking at the door and figuratively blocking the light. One translation reads: “O you who fly in (the) darkened room(s), / Be off with you this instant, this instant, Lilith. / Thief, breaker of bones.”⁴ Presumably, if Lilith saw her name written on the plaque, she would fear recognition and quickly depart. The plaque thus offered protection from Lilith’s evil intentions toward a mother or child. At critical junctures in a woman’s life—such as menarche, marriage, the loss of virginity or childbirth—ancient peoples thought supernatural forces were at work. To explain the high rate of infant mortality, for example, a demon goddess was held responsible. Lilith stories and amulets probably helped generations of people cope with their fear.

Over time, people throughout the Near East became increasingly familiar with the myth of Lilith. In the Bible, she is mentioned only once, in Isaiah 34. The Book of Isaiah is a compendium of Hebrew prophecy spanning many years; the book’s first 39 chapters, frequently referred to as “First Isaiah,” can be assigned to the time when the prophet lived (approximately 742–701 B.C.E.). Throughout the Book of Isaiah, the prophet encourages God’s people to avoid entanglements with foreigners who worship alien deities. In Chapter 34, a sword-wielding Yahweh seeks vengeance on the infidel Edomites, perennial outsiders and foes of the ancient Israelites. According to this powerful apocalyptic poem, Edom will become a chaotic, desert land where the soil is infertile and wild animals roam: “Wildcats shall meet hyenas, / Goat-demons shall greet each other; / There too the lilith shall repose / And find herself a resting place” (Isaiah 34:14).⁵ The Lilith demon was apparently so well known to Isaiah’s audience that no explanation of her identity was necessary.

The evil Lilith is depicted on this ceramic bowl from Mesopotamia. The Aramaic incantation inscribed on the bowl was intended to protect a man named Quqai and his family from assorted demons. The spell begins: “Removed and chased are the curses and incantations from Quqai son of Gushnai, and Abi daughter of Nanai and from their children.” Although Lilith’s name does not appear, she may be identified by comparison with images of her on other bowls, where she is shown with her arms raised aggressively and her skin spotted like a leopard’s. Dating to about 600 C.E., this bowl from Harvard University’s Semitic Museum attests to the longevity of Lilith’s reputation in Mesopotamia as a seducer of men and murderer of children. Image: Courtesy of the Semitic Musuem, Harvard University.

The Isaiah passage lacks specifics in describing Lilith, but it locates her in desolate places. The Bible verse thus links Lilith directly to the demon of the Gilgamesh epic who flees “to the desert.” The wilderness traditionally symbolizes mental and physical barrenness; it is a place where creativity and life itself are easily extinguished. Lilith, the feminine opposite of masculine order, is banished from fertile territory and exiled to barren wasteland.

English translators of Isaiah 34:14 sometimes lack confidence in their readers’ knowledge of Babylonian demonology. The King James Bible’s prose rendition of the poem translates “the lilith” as “the screech owl,” recalling the ominous bird-like qualities of the Babylonian she-demon. The Revised Standard Version picks up on her nocturnal habits and tags her “the night hag” instead of “the lilith,” while the 1917 Jewish Publication Society’s Holy Scriptures calls her “the night-monster.”⁶ The Hebrew text and its best translations employ the word “lilith” in the Isaiah passage, but other versions are true to her ancient image as a bird, night creature and beldam (hag).

While Lilith is not mentioned again in the Bible, she does resurface in the Dead Sea Scrolls found at Qumran. The Qumran sect was engrossed with demonology, and Lilith appears in the Song for a Sage, a hymn possibly used in exorcisms: “And I, the Sage, sound the majesty of His beauty to terrify and confound all the spirits of destroying angels and the bastard spirits, the demons, Lilith. . ., and those that strike suddenly, to lead astray the spirit of understanding, and to make desolate their heart.”⁷ The Qumran community was surely familiar with the Isaiah passage, and the Bible’s sketchy characterization of Lilith is echoed by this liturgical Dead Sea Scroll. (Lilith may also appear in a second Dead Sea Scroll. See the following article in this issue.)

Centuries after the Dead Sea Scrolls were written, learned rabbis completed the Babylonian Talmud (final editing circa 500 to 600 C.E.), and female demons journeyed into scholarly Jewish inquiries. The Talmud (the name comes from a Hebrew word meaning “study”) is a compendium of legal discussions, tales of great rabbis and meditations on Bible passages. Talmudic references to Lilith are few, but they provide a glimpse of what intellectuals thought about her. The Talmud’s Lilith recalls older Babylonian images, for she has “long hair” (Erubin 100b) and wings (Niddah 24b).⁸ The Talmud’s image of Lilith also reinforces older impressions of her as a succubus, a demon in female form who had sex with men while the men were sleeping. Unwholesome sexual practices are linked to Lilith as she powerfully embodies the demon-lover myth.

One talmudic reference claims that people should not sleep alone at night, lest Lilith slay them (Shabbath 151b). During the 130-year period between the death of Abel and the birth of Seth, the Talmud reports, a distraught Adam separates himself from Eve. During this time he becomes the father of “ghosts and male demons and female [or night] demons” (Erubin 18b). And those who try to construct the Tower of Babel are turned into “apes, spirits, devils and night-demons” (Sanhedrin 109a). The female night demon is Lilith.

About the time the Talmud was completed, people living in the Jewish colony of Nippur, Babylonia, also knew of Lilith. Her image has been unearthed on numerous ceramic bowls known as incantation bowls for the Aramaic spells inscribed on them. If the Talmud demonstrates what scholars thought about Lilith, the incantation bowls, dating from approximately 600 C.E., show what average citizens believed. One bowl now on display at Harvard University’s Semitic Museum reads, “Thou Lilith. . .Hag and Snatcher, I adjure you by the Strong One of Abraham, by the Rock of Isaac, by the Shaddai of Jacob. . .to turn away from this Rashnoi. . .and from Geyonai her husband. . .Your divorce and writ and letter of separation. . .sent through holy angels. . .Amen, Amen, Selah, Halleluyah!”⁹ The inscription is meant to offer a woman named Rashnoi protection from Lilith. According to popular folklore, demons not only killed human infants, they would also produce depraved offspring by attaching themselves to human beings and copulating at night. Therefore, on this particular bowl a Jewish writ of divorce expels the demons from the home of Rashnoi.

Until the seventh century C.E., Lilith was known as a dangerous embodiment of dark, feminine powers. In the Middle Ages, however, the Babylonian she-demon took on new and even more sinister characteristics. Sometime prior to the year 1000, The Alphabet of Ben Sira was introduced to medieval Jewry. The Alphabet, an anonymous text, contains 22 episodes, corresponding to the 22 letters of the Hebrew alphabet. The fifth episode includes a Lilith who was to tantalize and terrify the population for generations to come. To some extent, The Alphabet of Ben Sira shows a familiar Lilith: She is destructive, she can fly and she has a penchant for sex. Yet this tale adds a new twist: She is Adam’s first wife, before Eve, who boldly leaves Eden because she is treated as man’s inferior.

To learn more about Biblical women with slighted traditions, take a look at the Bible History Daily feature Scandalous Women in the Bible, which includes articles on Mary Magdalene and Jezebel.

The Alphabet’s narrative about Lilith is framed within a tale of King Nebuchadnezzar of Babylon. The king’s young son is ill, and a courtier named Ben Sira is commanded to cure the boy. Invoking the name of God, Ben Sira inscribes an amulet with the names of three healing angels. Then he relates a story of how these angels travel around the world to subdue evil spirits, such as Lilith, who cause illness and death. Ben Sira cites the Bible passage indicating that after creating Adam, God realizes that it is not good for man to be alone (Genesis 2:18). In Ben Sira’s fanciful additions to the biblical tale, the Almighty then fashions another person from the earth, a female called Lilith. Soon the human couple begins to fight, but neither one really hears the other. Lilith refuses to lie underneath Adam during sex, but he insists that the bottom is her rightful place. He apparently believes that Lilith should submissively perform wifely duties. Lilith, on the other hand, is attempting to rule over no one. She is simply asserting her personal freedom. Lilith states, “We are equal because we are both created from the earth.”¹⁰

The validity of Lilith’s argument is more apparent in Hebrew, where the words for man (Adam) and “earth” come from the same root, adm (nst) (adam [nst] = Adam; adamah [vnst] = earth). Since Lilith and Adam are formed of the same substance, they are alike in importance.

Eve, meet Lilith. Lilith—depicted with a woman’s face and a serpentine body—assaults Adam and Eve beneath the Tree of Knowledge in Hugo van der Goes’s “Fall of Adam and Eve” (c. 1470), from the Kunsthistorisches Museum, in Vienna. According to medieval Jewish apocryphal tradition, which attempts to reconcile the two Creation stories presented in Genesis, Lilith was Adam’s first wife. In Genesis 1:27, God creates man and woman simultaneously from the earth. In Genesis 2:7, however, Adam is created by himself from the earth; Eve is produced later, from Adam’s rib (Genesis 2:21–22). In Jewish legend, the name Lilith was attached to the woman who was created at the same time as Adam. Image: Erich Lessing/Art Resource, NY.

The struggle continues until Lilith becomes so frustrated with Adam’s stubbornness and arrogance that she brazenly pronounces the Tetragrammaton, the ineffable name of the Lord. God’s name (YHWH), translated as “Lord God” in most Bibles and roughly equivalent to the term “Yahweh,” has long been considered so holy that it is unspeakable. During the days of the Jerusalem Temple, only the High Priest said the word out loud, and then only once a year, on the Day of Atonement. In Jewish theology and practice, there is still mystery and majesty attached to God’s special name. The Tetragrammaton is considered “the name that comprises all” (Zohar 19a).¹¹ In the Bible’s burning bush episode of Exodus 3, God explains the meaning of the divine name as “I am what I am,” or “I will be what I will be,” a kind of formula for YHWH (vuvh), associated with the Hebrew root “to be.” The whole of the Torah is thought to be contained within the holy name. In The Alphabet, Lilith sins by impudently uttering the sacred syllables, thereby demonstrating to a medieval audience her unworthiness to reside in Paradise. So Lilith flies away, having gained power to do so by pronouncing God’s avowed name. Though made of the earth, she is not earthbound. Her dramatic departure reestablishes for a new generation Lilith’s supernatural character as a winged devil.

In the Gilgamesh and Isaiah episodes, Lilith flees to desert spaces. In The Alphabet of Ben Sira her destination is the Red Sea, site of historic and symbolic importance to the Jewish people. Just as the ancient Israelites achieve freedom from Pharaoh at the Red Sea, so Lilith gains independence from Adam by going there. But even though Lilith is the one who leaves, it is she who feels rejected and angry.

The Almighty tells Adam that if Lilith fails to return, 100 of her children must die each day. Apparently, Lilith is not only a child-murdering witch but also an amazingly fertile mother. In this way, she helps maintain the world’s balance between good and evil.

Three angels are sent in search of Lilith. When they find her at the Red Sea, she refuses to return to Eden, claiming that she was created to devour children. Ben Sira’s story suggests that Lilith is driven to kill babies in retaliation for Adam’s mistreatment and God’s insistence on slaying 100 of her progeny daily.

“Bind Lilith in chains!” reads a warning in Hebrew on this 18th- or 19th-century C.E. amulet from the Israel Museum intended to protect an infant from the demoness. The image of Lilith appears at center. The small circles that outline her body represent a chain. The divine name is written in code (called atbash) down her chest. (The letters yhwh appear instead as mzpz.) Beneath this is a prayer: “Protect this boy who is a newborn from all harm and evil. Amen.” Surrounding the central image are abbreviated quotations from Numbers 6:22–27 (“The Lord bless you and keep you. . .”) and Psalm 121 (“I lift up my eyes to the hills. . .”). According to the apocryphal Alphabet of Ben Sira, Lilith herself promised she would harm no child who wore an amulet bearing her name. Image: Israel Museum, Jerusalem.

To prevent the three angels from drowning her in the Red Sea, Lilith swears in the name of God that she will not harm any infant who wears an amulet bearing her name. Ironically, by forging an agreement with God and the angels, Lilith demonstrates that she is not totally separated from the divine.

Lilith’s relationship with Adam is a different matter. Their conflict is one of patriarchal authority versus matriarchal desire for emancipation, and the warring couple cannot reconcile. They represent the archetypal battle of the sexes. Neither attempts to solve their dispute or to reach some kind of compromise where they take turns being on top (literally and figuratively). Man cannot cope with woman’s desire for freedom, and woman will settle for nothing less. In the end, they both lose.

Why did the The Alphabet’s unnamed author produce this tragedy? What compelled the author to theorize that Adam had a mate before Eve? The answer may be found in the Bible’s two Creation stories. In Genesis 1 living things appear in a specific order; plants, then animals, then finally man and woman are made simultaneously on the sixth day: “Male and female He created them” (Genesis 1:27). In this version of human origins, man and woman (“humankind” in the New Revised Standard Version) are created together and appear to be equal. In Genesis 2, however, man is created first, followed by plants, then animals and finally woman. She comes last because in the array of wild beasts and birds that God had created, “no fitting helper was found” (Genesis 2:20). The Lord therefore casts a deep sleep upon Adam and returns to work, forming woman from Adam’s rib. God presents woman to Adam, who approves of her and names her Eve. One traditional interpretation of this second Creation story (which scholars identify as the older of the two accounts) is that woman is made to please man and is subordinate to him.^b

Considering every word of the Bible to be accurate and sacred, commentators needed a midrash or story to explain the disparity in the Creation narratives of Genesis 1 and 2. God creates woman twice—once with man, once from man’s rib—so there must have been two women. The Bible names the second woman Eve; Lilith was identified as the first in order to complete the story.

Another plausible theory about the creation of this Lilith story, however, is that Ben Sira’s tale is in its entirety a deliberately satiric piece that mocks the Bible, the Talmud and other rabbinic exegeses. Indeed, The Alphabet’s language is often coarse and its tone irreverent, exposing the hypocrisies of biblical heroes such as Jeremiah and offering “serious” discussions of vulgar matters such as masturbation, flatulence and copulation by animals.¹² In this context, the story of Lilith might have been parody that never represented true rabbinic thought. It may have served as lewd entertainment for rabbinic students and the public, but it was largely unacknowledged by serious scholars of the time.

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Whether the writer of The Alphabet intended to produce earnest midrash or irreligious burlesque, the treatise proclaims Lilith unfit to serve as Adam’s helper. While medieval readers might have laughed at the story’s bawdiness, at the end of this risqué tale, Lilith’s desire for liberation is thwarted by male-dominated society. For this reason, of all the Lilith myths, her portrayal in The Alphabet of Ben Sira is today the most trumpeted, despite the distinct possibility that its author was spoofing sacred texts all along.

Dressed in a polka-dot bikini and high-heeled pumps, Lilith hurls lightning bolts at Adam, in Texas artist Allison Merriweather’s colorful “Lilith” (1999), from the artist’s collection. Today, feminists celebrate Lilith for insisting on being treated as Adam’s equal. In repicturing Lilith as a modern woman, they draw heavily on the medieval Alphabet of Ben Sira, where Lilith tells Adam: “We are equal because we are both created from the earth.” But the author of The Alphabet might actually have intended his tale to be interpreted as satire. Indeed, the book is rife with dirty jokes, praise for hypocrites and biting sarcasm. And the pious character Ben Sira, who retells Lilith’s story in The Alphabet, is identified as the product of an incestuous relationship between the prophet Jeremiah and his daughter. Image: Courtesy of Allison Merriweather.

The next milestone in Lilith’s journey lies in the Zohar, which elaborates on the earlier account of Lilith’s birth in Eden. The Zohar (meaning “Splendor”) is the Hebrew title for a fundamental kabbalistic tome, first compiled in Spain by Moses de Leon (1250–1305), using earlier sources. To the Kabbalists (members of the late medieval school of mystical thought), the Zohar’s mystical and allegorical interpretations of the Torah are considered sacred. The Lilith of the Zohar depends on a rereading of Genesis 1:27 (“And God created man in His image, in the image of God He created him; male and female He created them”), and the interpretation of this passage in the Talmud. Based on the shift of pronouns from “He created him” to the plural “He created them,” in Genesis 1:27, the Talmud suggests that the first human being was a single, androgynous creature, with two distinct halves: “At first it was the intention that two [male and female] should be created but ultimately only one was created” (Erubin 18a). Centuries later the Zohar elaborates that the male and female were soon separated. The female portion of the human being was attached on the side, so God placed Adam in a deep slumber and “sawed her off from him and adorned her like a bride and brought her to him.” This detached portion is “the original Lilith, who was with him [Adam] and who conceived from him” (Zohar 34b). Another passage indicates that as soon as Eve is created and Lilith sees her rival clinging to Adam, Lilith flies away.

The Zohar, like the earlier treatments of Lilith, sees her as a temptress of innocent men, breeder of evil spirits and carrier of disease: “She wanders about at night time, vexing the sons of men and causing them to defile themselves [emit seed]” (Zohar 19b). The passage goes on to say that she hovers over her unsuspecting victims, inspires their lust, conceives their children and then infects them with disease. Adam is one of her victims, for he fathers “many spirits and demons, through the force of the impurity which he had absorbed” from Lilith. The promiscuity of Lilith will continue until the day God destroys all evil spirits. Lilith even attempts to seduce King Solomon. She comes in the guise of the Queen of Sheba, but when the Israelite king spies her hairy legs, he realizes she is a beastly impostor.

At several points, the Zohar breaks away from the traditional presentation of the divine personality as exclusively male and discusses a female side to God, called the Shekhinah. (The Shekhinah, whose name means “the Divine Presence” in Hebrew, also appears in the Talmud.) In the Zohar, the lust that Lilith instills in men sends the Shekhinah into exile. If the Shekhinah is Israel’s mother, then Lilith is the mother of Israel’s apostasy. Lilith is even accused of tearing apart the Tetragrammaton, the sacred name of the Lord (YHWH).

The Zohar’s final innovation concerning the Lilith myth is to partner her with the male personification of evil, named either Samael or Asmodeus. He is associated with Satan, the serpent and the leader of fallen angels. Lilith and Samael form an unholy alliance (Zohar 23b, 55a) and embody the dark, negative sphere of the depraved. In one of the many stories of Samael and Lilith, God is concerned that the couple will produce a huge demonic brood and overwhelm the earth with evil. Samael is therefore castrated, and Lilith satisfies her passions by dallying with other men and causing their nocturnal emissions, which she then uses to become pregnant.¹³

While Lilith appears in the Zohar and many anonymous folktales throughout Europe, over the centuries she has attracted the attention of some of Europe’s best-known artists and writers. Germany’s Johann Goethe (1749–1832) refers to Lilith in Faust, and English Victorian poet Robert Browning (1812–1889) penned “Adam, Lilith and Eve,” another testament to the she-demon’s enduring power. The Pre-Raphaelite poet and painter Dante Gabriel Rossetti (1828–1882) imaginatively describes a pact between Lilith and the Bible’s serpent. A scheming and spiteful Lilith convinces her former lover, the snake, to loan her a reptilian shape. Disguised as a snake Lilith returns to Eden, convinces Eve and Adam to sin by eating the forbidden fruit, and causes God great sorrow.¹⁴ Rossetti maintains that “not a drop of her blood was human” but that Lilith nevertheless had the form of a beautiful woman, as can be seen in his painting entitled “Lady Lilith,” begun in 1864 (see the sidebar to this article).

In the 1950s C.S. Lewis invoked Lilith’s image in The Chronicles of Narnia by creating the White Witch, one of the most sinister characters in this imaginary world. As the daughter of Lilith, the White Witch is determined to kill the sons of Adam and the daughters of Eve. She imposes a perpetual freeze on Narnia so that it is always winter but never Christmas. In an apocalyptic tale of good overcoming evil, Aslan—creator and king of Narnia—kills the White Witch and ends her cruel reign.

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A feminist parable by Judith Plaskow Goldenberg typifies the new view of Lilith. At first Goldenberg’s fanciful tale follows the basic Ben Sira plot line: Lilith dislikes being subservient to Adam, so she flees Paradise and her absence inspires God to create Eve. But in Goldenberg’s retelling, the exiled Lilith is lonely and tries to re-enter the garden. Adam does everything he can to keep her out, inventing wildly untrue stories about how Lilith threatens pregnant women and newborns. One day Eve sees Lilith on the other side of the garden wall and realizes that Lilith is a woman like herself. Swinging on the branch of an apple tree, a curious Eve catapults herself over Eden’s walls where she finds Lilith waiting. As the two women talk, they realize they have much in common, “till the bond of sisterhood grew between them.”¹⁵ The budding friendship between Lilith and Eve puzzles and frightens both man and deity.

Soon after Goldenberg’s prose piece, Pamela Hadas produced a 12-part poem that examines Lilith’s dilemma from the female vantage point (see the sidebar to this article). Titled “The Passion of Lilith,” the poem explores the she-demon’s feelings in the first person by beginning with the question “What had the likes of me / to do with the likes of Adam?”¹⁶ The first two people are cast as opposites who do not understand one another and cannot learn to appreciate each other’s strengths. Lilith regards herself as an example of God’s “after-whim / or black humor.”

Hadas’s Lilith complains that she feels superfluous because she cannot yield to the dull, artless and monotonous restrictions of Paradise. The female misfit flees the scene and tries to satisfy her maternal instincts by approaching women in childbirth and newborn babies, to their detriment, of course. Hadas’s feminist perspective is most apparent at the poem’s conclusion, however, when Lilith sees her life of pain as qualifying her for sainthood. Having been created from God’s breath, Lilith asks “old bald God” to marry her, to breathe her in again. When the Lord refuses, she is hurt, angry and left with few options, except to travel the world alone.

Lilith’s peregrinations continue today. This winged night creature is, in effect, the only “surviving” she-demon from the Babylonian empire, for she is reborn each time her character is reinterpreted. The retellings of the myth of Lilith reflect each generation’s views of the feminine role. As we grow and change with the millennia, Lilith survives because she is the archetype for the changing role of woman.

“Lilith” by Janet Howe Gaines appeared in the October 2001 issue of Bible Review. The article was first republished in Bible History Daily in September 2012.

Janet Howe Gaines is a specialist in the Bible as literature in the Department of English at the University of New Mexico. Her published works include  Music in the Old Bones: Jezebel Through the Ages (Southern Illinois Univ. Press) and Forgiveness in a Wounded World: Jonah’s Dilemma (Society of Biblical Literature).

Related reading in Bible History Daily

Scandalous Women in the Bible

How Bad Was Jezebel?

Lilith in the Bible and Mythology

The Adam and Eve Story: Eve Came From Where?

The Creation of Woman in the Bible

5 Ways Women Participated in the Early Church

Deborah in the Bible

Tabitha in the Bible

Eleazar in the Bible

Martha: A Remarkable Disciple

Judith: A Remarkable Heroine

Anna in the Bible

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Notes

a. See Tzvi Abusch, “Gilgamesh: Hero, King, God and Striving Man,” Archaeology Odyssey, July/August 2000.

b. But see David R. Freedman, “Woman, a Power Equal to Man,” BAR, January/February 1983.

1. Dante Gabriel Rossetti, “Body’s Beauty,” in The House of Life: A Sonnet-Sequence (Cambridge, MA: Harvard Univ. Press, 1928), p. 183.

2. James Joyce, Ulysses, chap. 14, “Oxen of the Sun.”

3. All Gilgamesh quotations are from Samuel N. Kramer, Gilgamesh and the Huluppu-Tree: A Reconstructed Sumerian Text, The Oriental Institute of the University of Chicago Assyriological Studies 10 (Chicago: Univ. of Chicago, 1938).

4. Translated by Theodor H. Gaster in Siegmund Hurwitz, Lilith—The First Eve (Einsiedeln, Switzerland: Daimon, 1992), p. 66. Another translation does not mention Lilith’s name and reads, “Be off, terrifying ones, terrors of my night.”

5. Unless otherwise indicated, all Bible quotes are from TANAKH: The Holy Scriptures (Philadelphia: Jewish Publication Society, 1985).

6. These items may arise from Lilith’s association with darkness. Some translators and commentators have mistaken the etymology of Lilith’s name. Lilith, lylyt [tylyl], was not derived from the Hebrew word for night, lylh [hlyl], as they supposed. Instead, Lilith’s name originated in her depiction as a mythic Mesopotamian fiend and foe of Gilgamesh.

7. 4Q510. See Joseph M. Baumgarten, “On the Nature of the Seductress in 4Q184,” Revue de Qumran 15 (1991–1992), pp. 133–143.

8. All talmudic references are to The Babylonian Talmud, trans. Isidore Epstein, 17 vols. (London: Soncino, 1948).

9. Raphael Patai, The Hebrew Goddess, 3rd enlarged ed. (Detroit: Wayne State, 1990), p. 226.

10. The translation is my own. The full Hebrew text of The Alphabet of Ben Sira is found in Ozar Midrashim: A Library of Two Hundred Minor Midrashim (New York: J.D. Eisenstein, 1915), vol. 1, pp. 35–49.

11. All references to the Zohar are to the edition translated by Harry Sperling and Maurice Simon, 2nd ed. (London: Soncino, 1984), vol. 1.

12. David Stern and Mark Jay Mirsky, eds., Rabbinic Fantasies (Philadelphia: Jewish Publication Society, 1990).

13. Joseph Adler, “Lilith,” Midstream 45:5 (July/August 1999), p. 6.

14. Rossetti, “Eden Bower,” in Poems (Leipzig: Bernhard Tauchnitz, 1873), pp. 31–41.

15. Judith Plaskow Goldenberg, “Epilogue: The Coming of Lilith,” in Religion and Sexism, ed. Rosemary Radford Ruether (New York: Simon and Schuster, 1974), pp. 341–343.

16. Pamela White Hadas, “The Passion of Lilith,” in In Light of Genesis (Philadelphia: Jewish Publication Society, 1980), pp. 2–19.

The post Lilith appeared first on Biblical Archaeology Society.

In the 15th-century painting Healing of the Cripple and Raising of Tabith, Masolino da Panicale depicts the most famous scene of Tabitha in the Bible: the miraculous prayer of Peter that brings Tabitha back from the dead.

Luke, the writer of Luke-Acts, tells the story of Tabitha, a disciple brought back to life after prayer from the apostle Peter. After she is washed and laid out in an upper room, Peter takes her hand and commands her to get up (Acts 9:36-42).

In seven verses, Luke presents Tabitha as much loved, and the miracle of her return to life leads many to believe (v. 42). Luke’s terse account contains praise, humor, honor, sadness, joy and insights on the faith of the early church. Tabitha is so beloved and so essential to the life of her believing community in Joppa, a port city near the heart of modern Tel Aviv, that others cannot imagine life without her. Tabitha simply cannot stay dead. Her faithful community will not permit it!

Throughout Luke’s story, Tabitha remains silent. Luke speaks for her. In what could be considered a humorous touch, her only living actions are opening her eyes, seeing Peter, sitting up, being helped up by him, and being presented alive to the believers and widows (vv. 40-41).

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Luke Honors Tabitha in the Bible

By silencing her, Luke honors her. Others give her accolades and loudly mourn her death (v. 39). Perhaps the best and truest praise one receives comes extemporaneously from others. This certainly applies to the treatment of Tabitha in the Bible.

Luke introduces her with a double name: Tabitha and Dorcas (v. 36). The Aramaic and Greek mean gazelle. Perhaps the doubling shows her ministry to Jewish and Hellenistic believers, something noted earlier in Acts 6:1 and emphasized from chapter 10 on; if so, the placement of Tabitha’s story serves as a transition in the fulfillment of Jesus’ command to his disciples to “be my witnesses in Jerusalem, and in all Judea and Samaria, and to the ends of the earth” (Acts 1:8). Perhaps her name indicates a woman of energy, grace, beauty and quick movements.

Robin Gallaher Branch has written several other Bible History Daily-exclusive character studies. Read Judith: A Remarkable Heroine, Barnabas: An Encouraging Early Church Leader and Anna in the Bible.

Luke praises her as a disciple (mathetria) who was always doing good and helping the poor (Acts 9:36); her specific designation as disciple proves that Jesus had female disciples. In fact, there are three places where the words disciple or disciples include women: Acts 9:1-2, 36; 18:24-26b.

Luke indicates that Tabitha took God’s commands about society’s most vulnerable seriously. (“Do not oppress the widow or the fatherless, the alien or the poor.” Zechariah 7:10. See also Deuteronomy 24:17, 20-21; Ezekiel 22:7; James 1:27.) Looking after the marginalized is one of God’s characteristics, too, for God is shown in Psalm 146:8-9 as lifting up those bowed down, watching over the alien and sustaining the fatherless and widow.

Luke is generally quite selective with his praise, heightening the value of the accolades given to Tabitha in the Bible. In addition to Tabitha, Luke-Acts commends a few other notable characters. Consider these examples: Luke describes Zechariah and Elizabeth as upright in the sight of God (Luke 1:6), Joseph as a good and upright man from Arimathea (Luke 23:50-51) and Barnabas as a good man and full of the Holy Spirit and faith (Acts 11:24).

Acts 9 highlights Luke’s characteristic writing style with its balance of opposites. Luke pairs Tabitha’s story of dying and being brought back to life with that of Aeneas, who is healed by Peter after being bedridden for eight years (vv. 32-35). Neither Tabitha nor Aeneas seeks a miracle. While visiting Lydda, Peter sees Aeneas and says, “Aeneas, Jesus Christ heals you” (v. 34); concerning Tabitha’s death, the disciples of Joppa urge Peter to “please come at once!” (v. 38). Acts 9:1-31 tells of Saul’s conversion and verses 32-43 close and balance the chapter with stories about Peter; like Peter, Saul becomes a great apostle of the faith. Seen another way, Acts 9 contains a man’s miraculous conversion and a woman’s miraculous restoration to life.

For more than two thousand years, Jezebel has been saddled with a reputation as the bad girl of the Bible, the wickedest of women. But just how depraved was Jezebel, really? Read Janet Howe Gaines’s article How Bad Was Jezebel? for free in Bible History Daily.

Ministry Focus

Luke’s account of Tabitha focuses on her ministry (to use a modern term) to two groups: the poor and widows. In Biblical times, the designation widow meant a woman whose husband was dead and who had no means of financial support; therefore, she needed both protection and physical, legal and financial assistance.* In other words, a widow is a woman with constant needs, and being a widow was virtually synonymous with being poor. If enfeebled, who will glean for the widows and how will they eat? If they lose their houses in order to pay their debts, where will they live? (In Mark 12:40, Jesus condemns teachers of the law specifically for devouring widows’ houses.) If they lack shelter and regular sustenance, they likely will fall ill. Who then will care for them? As they age, who will listen to them?

In a parable about helping the needy, Jesus contrasts the life-saving actions of a Samaritan with the bypassing indifference of a priest and Levite (Luke 10:25-37). Unlike these members of the established priesthood who ignored the man beaten by bandits, Tabitha purposefully sought out the poor and widows and actively looked to see how she could help meet their needs. In the first century, when female activities generally centered on daily survival for themselves and their families, Tabitha engaged the needs of her community. Her lifestyle showed that love is an active verb intent on doing good for others.

Luke concentrates on one specific part of Tabitha’s ministry: making robes and clothing for the widows. Evidently she dressed these widows fashionably, for as she lies washed and prepared for burial, they tearfully display her work to Peter with obvious pride (v. 39). These women were her friends.

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Tabitha’s lifestyle contrasts admirably with the characterization of the good wife from Proverbs 31:10-31. Both display phenomenal energy. Both extend help willingly to the poor (Acts 9:36; Prov. 31:20). Both are proficient in needlework (Acts 9:39; Prov. 31:13, 19, 21,-22, 24, 25). Both seek to do good and undertake their activities within the context of faith (Acts 9:36; Prov. 31:12, 30). The lives of both women show they were “doers,” each putting feet to her faith.

Luke’s succinct description and the outpouring of grief at her death showed how greatly the believing community and widows loved Tabitha (v. 39)—a strong indication that Tabitha herself thoroughly enjoyed her work and loved these people in return.

Silences

As always when reading the Biblical text, consider its silences. What does Luke leave out? Tabitha may have been a widow herself, for Luke omits any mention of her husband or family. Additionally, Tabitha may have been independently wealthy, for the home where she is laid out awaiting burial is presumably her home and has an upper room (Acts 9:39). Evidently she offered her hospitality with flair, for the disciples and widows congregate around her. Perhaps Tabitha chose to use her wealth to aid the poor and the widows (v. 36).

Luke’s description of Tabitha makes it easy to imagine her home as welcoming, open and full of people. Luke indicates that Tabitha’s home functioned as a community center for believers. Tabitha may well have presided over a house church in her home. Quite likely her home became a drop off point for donations as she served as a reliable conduit for goods and services for believers and the wider Joppa citizenry. Tabitha is one of many New Testament women who, once converted to the new faith, set about building a community.

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Joppa’s Believing Community

In contrast to the long illness of Aeneas (v. 33), Luke presents Tabitha’s sickness and death as sudden (v. 37). Luke then shifts the narrative from Tabitha to Joppa’s believing community, which mirrors Tabitha’s lifestyle of action. It too puts feet to its faith.

Upon hearing of Tabitha’s death and Peter’s sojourn in Lydda (v. 32), members of the Joppa community immediately send two men to fetch him, hoping for a miracle.

Since Lydda was 25 miles northwest of Jerusalem and a day’s journey by foot from Joppa, it is possible that Tabitha was dead a total three days before her resuscitation. The messengers say, “Please come at once,” (me okneses); the use of the subjunctive indicates a formal request and carries a sense of respect. Peter drops everything and accompanies the messengers back to Joppa (vv. 38-39). He finds the widows grieving loudly in the upper room with the body (v. 39). Not only do the widows mourn Tabitha’s loss; they have valid concerns for their own lives, now that their protector is dead.

The widows’ mourning reciprocates the love Tabitha extended to them. Arguably she met more than their clothing needs. Her hospitality and generosity probably gave them food, sanctuary, a home, a warm heart and a listening ear. Modern research shows that talking not only is crucial to health but adds to longevity. Tabitha’s outreaching kindness undoubtedly saved lives.

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The Miracle of Tabitha in the Bible

Luke records the miracle simply. It seems to happen quickly. Peter clears the upper room, perhaps because he’s distracted by the widows’ noisy grief (v. 40)! Alone with the dead body, he gets down on his knees, prays, and turns to the dead woman. Speaking to her he says, “Tabitha, get up” (v. 40). And she does!

Peter calls in the believers and widows and gives her back to them, alive. One can imagine the plethora of emotions—joy, wonder, amazement, awe, thanksgiving and even doubt—as everybody crowds in the upper room to confirm for themselves that Tabitha really is healed and alive!

Luke concludes Tabitha’s story with more silences, muzzling both Tabitha and Peter. Peter says nothing about the miracle and Tabitha says nothing about what it’s like being dead. Instead, Luke sums up the reactions of all concerned by stating a fact—her return to life became known all over Joppa—and its result—that many people believed in the Lord because of it (v. 42).

Luke then carries on with Peter’s visit to the centurion Cornelius’ home in Caesarea (Acts 10) but remains silent about Tabitha’s life. However, Luke’s silence again compliments her, for it acknowledges the obvious. We already know her character. We know what happens. This remarkable woman simply carries on doing good for the poor and serving her friends, the widows, by making them stylish robes.

Robin Gallaher Branch is professor of Biblical studies at Victory University (formerly Crichton College) in Memphis, Tennessee, and Extraordinary Associate Professor in the Faculty of Theology at North-West University in Potchefstroom, South Africa. She received her Ph.D. in Hebrew Studies from the University of Texas in Austin in 2000. She was awarded a Fulbright Fellowship for the 2002–2003 academic year to the Faculty of Theology at North-West University. Her most recent book is Jereboam’s Wife: The Enduring Contributions of the Old Testament’s Least-Known Women (Hendrickson, 2009).

Notes

* In the Bible, widowhood often serves as a textual marker to alert savvy readers of moments of significance. For more, read Robin Gallaher Branch, “Biblical Views: Groveling Grannies or Teaching Tools” as it appeared in the January/February 2013 issue of Biblical Archaeology Review.

Bibliography

Darrell L Bock, Acts: Baker Exegetical Commentary on the New Testament. (Grand Rapids: Baker Academic, 2007).

John Calvin, John 12-21. Acts 1-13. (Peabody: Hendrickson Publishers, 1993).

Stephen B. Clark, Stephen, Man and Woman in Christ: An Examination of the Roles of Men and Women in Light of Scripture and the Social Sciences. . (Ann Arbor: Servant Books, 1980).

Chalmer E. Faw, Acts. (Scottdale: Herald Press, 1993).

Beverly Roberts Gaventa, Acts. (Nashville: Abingdon Press, 2003).

M. A. Getty-Sullivan, Women in the New Testament. (Collegeville: The Liturgical Press, 2001).

Susanne Heine, Women in Early Christianity: Are the Feminist Scholars Right? John Bowden, trans. (London: SCM Press, Ltd., 1987).

Josephus. The Works of Josephus Complete and Unabridged. Wiliam Whiston, trans. (Peabody: Hendrickson Publishers, 1987).

Craig S. Keener, Miracles: The Credibility of the New Testament Accounts. Volume 1. (Grand Rapids: Baker Books, 2011).

I. Howard Marshall, New Testament Theology: Many Witnesses, One Gospel. (Downers Grove: InterVarsity Press, 2004).

C. Myers, T. Crave, & R. S. Kraemer, eds. Women in Scripture: A Dictionary of Named and Unnamed Women in the HebrewBible, the Apocryphal/Deuterocanonical Books, and the New Testament. (Grand Rapids: William B. Eerdmans Publishing Company, 2000).

Kerry Patterson, Joseph Grenny, Ron McMillan, & Al Sitzler, Crucial Conversations: Tools for Talking When Stakes are High. (New York: McGraw-Hill, 2002).

Jaroslav Pelican, Acts. (Grand Rapids: Brazos Press, 2005).

Elisabeth Fiorenza, In Memory of Her: A Feminist Theological Reconstruction of Christian Origins. (New York: Crossroads, 1983).

“Widow.” Encyclopaedia Judaica Volume 16 UR-Z Supplementary Entries. (Jerusalem: Keter Publishing House, 1972). 16:487-496.

This Bible History Daily feature was originally published in May 2013.

Related reading in Bible History Daily

Widows in the Bible

Women in the Bible

The Hidden History of Jerusalem’s Upper Room

5 Ways Women Participated in the Early Church

Lydia and Tabitha in the Bible

Anna in the Bible

Is the Gospel of Luke a Greco-Roman Biography?

All-Access members, read more in the BAS Library

Biblical Views: Biblical Widows—Groveling Grannies or Teaching Tools?

A Widow’s Plea

Understanding the Woman in the Window

Biblical Views: Tabitha and Lydia—Models of Early Christian Women Leaders

The post Tabitha in the Bible appeared first on Biblical Archaeology Society.

The fateful encounter between Judah and his daughter-in-law Tamar is depicted in this 17th-century painting by Dutch artist Gerbrand van den Eeckhout. In most translations of the story of Judah and Tamar (Genesis 38), Tamar is described as a cult prostitute. As Edward Lipiński argues, however, there is nothing in the story of Judah and Tamar to suggest sacred prostitution was involved. While temple prostitutes were part of Canaanite Ashtoreth worship, they were not a feature of Israelite religion.

Sacred prostitution was common throughout the ancient world and was particularly associated with Ashtoreth worship, one of the chief Canaanite goddesses. While many scholars have assumed sacred prostitution was practiced in ancient Israel, too, the BAR article “Cult Prostitution in Ancient Israel?” by Edward Lipiński reveals that neither the Bible nor archaeology provides any clear evidence that Israelite religion incorporated the sexual rites of Ashtoreth worship.

Some Biblical scholars, for example, have interpreted the story of Judah and Tamar as a case of sacred prostitution. According to Genesis 38, the unsuspecting Judah mistook his daughter-in-law Tamar for a veiled “prostitute” (Hebrew zonah). For her services, Judah promised Tamar a sheep and gave her his seal as assurance the debt would be honored. When Judah’s friend returned to redeem the pledge, he asked in a nearby village where he could find the qedeshah (a Hebrew word most Bibles translate as “cult prostitute”). As Lipiński argues, however, there is nothing in the story of Judah and Tamar to suggest sacred prostitution was involved; rather, it seems that zonah and qedeshah were synonyms and that the latter has simply been misinterpreted by translators.

Qedeshah likely originally referred to “consecrated maidens” who were employed in Canaanite and later Phoenician temples devoted to Ashtoreth worship. As such, the Biblical writers came to associate the fertility rites of Ashtoreth worship with sacred prostitution, and the word qedeshah, therefore, came to be used as a pejorative term for “prostitute.”

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Indeed, archaeology has shown that Ashtoreth worship and associated rites of sacred prostitution were common throughout the ancient Mediterranean. At the Etruscan site of Pyrgi, excavators identified a temple dedicated to Ashtoreth that featured at least 17 small rooms that may have served as quarters for temple prostitutes.

Similarly, at the site of Dura-Europos on the Euphrates, archaeologists uncovered a temple dedicated to Atargatis, the Aramaic goddess of love. Fronting the entrance to the temple were nearly a dozen small rooms, many with low benches. Although the rooms were used primarily for sacred meals, they may also have been reserved for the sexual services of women jailed in the temple for adultery. Such a situation prevailed at the temple of Apollo at Bulla Regia, where a woman was found buried with an inscription reading: “Adulteress. Prostitute. Seize (me), because I fled from Bulla Regia.”

Sacred prostitution, therefore, existed in much of the ancient world and reflected the ritual practices of Ashtoreth worship. In ancient Israel, however, sacred prostitution was simply a synonym for harlotry. Modern translations often unfortunately give another impression.

Not a BAS Library or All-Access Member yet? Join today.

Related reading in Bible History Daily

Was Mary Magdalene Wife of Jesus? Was Mary Magdalene a Prostitute?

Scandalous Women in the Bible

Paul and Sacred Prostitution in Corinth

5 Ways Women Participated in the Early Church

All-Access members, read more in the BAS Library

Cult Prostitution in Ancient Israel?

Classical Corner: Paul, Prostitutes, and the Cult of Aphrodite in Corinth

How to Find a Brothel in Pompeii

How Mary Magdalene Became a Whore

This Bible History Daily feature was originally published on January 24, 2014.

The post Sacred Prostitution in the Story of Judah and Tamar appeared first on Biblical Archaeology Society.

View of our main excavation area on Tel ‘Ein Jezreel above the Spring of Jezreel. Photo: Courtesy of the Jezreel Expedition.

The fifth season of the Jezreel Expedition sponsored by the University of Haifa and the University of Evansville, Indiana, began on May 29, 2016, as an international team of scholars and students came together with the common purpose of revealing the history of Jezreel. Mentioned more than 30 times in the Hebrew Bible, Jezreel, famous for the story of Naboth and his vineyard, was possibly Ahab and Jezebel’s second home and the setting for the dramatic events described in 1 Kings 21 and 2 Kings 9.

The site of Jezreel is large and rich, which is not surprising considering its strategic position at the narrowest spot in the Jezreel Valley, opposite the Biblical town of Shunam and halfway between Megiddo and Bet Shean. Jezreel also sits at the junction of the international highway known as the Via Maris—the Biblical Way of the Sea—and the north-south Way of the Patriarchs that winds from Jezreel south through the central highlands to Samaria and on to Jerusalem. Previous excavations at Tel Jezreel—actually a foothill of the Gilboa Mountain range rather than a proper tel—in the 1990s revealed a fortified rectangular enclosure believed by the excavators to have been built by Ahab in the ninth century B.C.E. The current Jezreel Expedition team is exploring greater Jezreel, which includes areas to the west, north and east of Tel Jezreel, in order to investigate the nature of settlement from the late Neolithic period through the 20th century C.E.

During an initial survey season in 2012 and three excavation seasons since, the team has explored the previously-unexcavated site just above the Spring of Jezreel (‘Ein Jezreel) and found evidence of intensive Early Bronze Age occupation as well as Iron Age and Roman/Byzantine remains. Survey and excavation in other parts of greater Jezreel revealed a Middle Bronze Age shaft tomb with bronze jewelry and Egyptian scaraboid seals, a rock-cut winery in use from the Iron Age through the early Roman period, and a network of roads that connected various parts of the site during the Roman, Medieval and Ottoman periods. Despite Jezreel’s prominence on the landscape and in the historical record, much remains to be learned of the site’s 7,000-year-old history of occupation, including the nature of the Israelite settlement on Tel Jezreel and its relationship to Tel ‘Ein Jezreel to its north.

Have you ever wondered what it’s like to volunteer on an archaeological dig? I Volunteered For This?! Life on an Archaeological Dig is a free eBook that gives you the lowdown on what to expect from life at a dig site. You’ll be glad to have this informative, amusing and sometimes touching collection of articles by archaeological dig volunteers.

Robin La Rosa Hannig digs Jezreel during the first week of the 2016 Jezreel field season. Photo: Courtesy of the Jezreel Expedition.

In addition to the core group of undergraduate students and alumni of the University of Evansville (UE) are graduate students, faculty and enthusiasts from varied backgrounds who are joining the team for two or four weeks this season. Robin La Rosa Hannig, who is pursuing a Master of Arts in Theological Studies degree from Jezreel Expedition consortium institution Moravian Theological Seminary in Bethlehem, PA, decided to join the team for two weeks in 2015 to further explore her longstanding interest in Biblical studies, history and archaeology. During this time, she was able to better imagine the context of the Biblical stories and learn about the different peoples who occupied the area over time through the discoveries she herself made in the dirt. Like many dig participants, Robin “caught the bug” and decided to return with a group of students from Moravian and Wesley Theological Seminary this year for the entire four-week season.

Lindsay Langstaff hard at work during the first week of the 2016 Jezreel field season. Photo: Courtesy of the Jezreel Expedition.

Lindsay Langstaff, who is pursuing a Bachelor of Science degree in Global Business/Spanish from the University of Evansville, joins eight UE archaeology majors who are taking part in the 2016 season. In addition to giving her an understanding of and appreciation for the importance of archaeology, Lindsay is broadening her horizons through this immersive experience on a traditional Israeli kibbutz that happens to be home to several successful businesses. As Robin, Lindsay and our other valued team members can attest, you don’t have to be an archaeologist to dig the Bible; all you need is the willingness to get dirty (and a bit sore), the ability to work with a diverse international team and, of course, a sense of enthusiasm and adventure.
We look forward to reporting on our discoveries to Bible History Daily readers during the remainder of our field season, which ends June 24. We also post daily reports and photos to our Facebook page.

The Jezreel Expedition is a Register of Professional Archaeologists (RPA) approved and American Schools of Oriental Research (ASOR) affiliated project co-directed by Norma Franklin of the University of Haifa and Jennie Ebeling of the University of Evansville. Consortium members include Chapman University, Moravian Theological Seminary, University of Arizona, Vanderbilt University, Villanova University and Wesley Theological Seminary. We thank Sheila Bishop of the Foundation for Biblical Archaeology, Anchor Industries, Inc. of Evansville, IN, and many other donors for their generous contributions to the project. The Jezreel team stays on Kibbutz Yizre’el adjacent to the site during excavation seasons and we are most grateful to our hosts for their warm hospitality.

For more on the 2016 Jezreel Expedition, read “It Takes More Than Moving Dirt to Dig the Bible” and “Jezreel Through Time.”

Jennie Ebeling is Associate Professor of Archaeology at the University of Evansville and Co-director of the Jezreel Expedition. Her research interests include ancient food and drink technology, women in Canaan and ancient Israel, and religion and cult in the Bronze and Iron Age Levant.

Norma Franklin is a Research Associate at the Zinman Institute of Archaeology at the University of Haifa and Co-director of the Jezreel Expedition. Her research has focused on the three key cities of the Northern Kingdom of Israel: Samaria, Megiddo and Jezreel.

Related reading in Bible History Daily:

Jezreel Expedition Sheds New Light on Ahab and Jezebel’s City
Norma Franklin and Jennie Ebeling describe the use of survey archaeology and advanced LiDAR mapping on the Jezreel Expedition

How Bad Was Jezebel? by Janet Howe Gaines

Digs 2016: Passport to the Biblical World by Robin Ngo

The post Jezreel Expedition 2016: You Don’t Have to Be an Archaeologist to Dig the Bible appeared first on Biblical Archaeology Society.

The Jezreel Expedition uses survey archaeology and advanced LiDAR mapping (LiDAR-generated model of site pictured) to better understand the occupational history of Tel Jezreel and its surroundings. Image: Courtesy of the Jezreel Expedition.

Decades ago, archaeologists David Ussishkin and John Woodhead excavated the low mound of Tel Jezreel in northern Israel, a site that, according to the Bible, was once a mighty Israelite fortress where the infamous Queen Jezebel was thrown to the dogs (2 Kings 9:30–37).*

While the excavation results were exciting, the directors of the current Jezreel Expedition, Norma Franklin and Jennie Ebeling, are using survey archaeology and advanced LiDAR mapping to learn even more about the Biblical city. Indeed, as the Jezreel Expedition has found, there is much more to Jezreel than just the fortified hilltop site. “Greater Jezreel” includes a nearby spring that was the lifeblood of the city, as well as a sloping agricultural terrace that extends north of the tell and overlooks the spring.

What was the connection between the spring and terrace, on the one hand, and the Biblical fortress, on the other? To answer this question, the Jezreel Expedition recently scanned nearly 3 square miles of greater Jezreel with LiDAR mapping (Light Detection and Ranging) technology. LiDAR mapping produces high-resolution digital elevation data that, in turn, allows archaeologists to detect micro changes in topography and thereby discover natural and manmade features otherwise hidden by dense vegetation and undergrowth.

Interested in the latest archaeological technology? Researchers at the UCSD’s Calit2 laboratory recently released the free BAS eBook Cyber-Archaeology in the Holy Land — The Future of the Past, featuring the latest research on GPS, Light Detection and Ranging Laser Scanning, unmanned aerial drones, 3D artifact scans, CAVE visualization environments and much more.

With new LiDAR mapping data in hand and armed with handheld GPS units, cameras and chalkboards, the keen-eyed student surveyors of the Jezreel Expedition then explored areas of greater Jezreel using pedestrian survey archaeology. They focused especially on the north-facing slope that runs down from the tell to the alluvial terrace and the area immediately overlooking the spring of Jezreel. In just a few weeks of survey archaeology, the Jezreel Expedition discovered 361 features, including 60 tombs, 57 agricultural installations, 21 ancient quarries, scores of walls and nearly 100 cisterns.

Recording one of the 36 rock-cut trough tombs. Photo: Courtesy of the Jezreel Expedition.

The tombs discovered with survey archaeology will help the Jezreel Expedition understand the limits of the settlement in different periods, since burials were always located outside the settlement area. The agricultural installations ranged from small cup marks to large oil and wine presses, including one that may belong to the time of Naboth’s orchard, which King Ahab coveted and for which Jezebel had Naboth framed and executed (1 Kings 21).

The expedition’s survey archaeology revealed Jezreel to be much larger than previously thought. Franklin and Ebeling, who will continue their work this summer, believe one intriguing area of further investigation will be the terrace, particularly the area overlooking the spring. LiDAR mapping revealed prominent building remains just below the surface that are not visible on the ground because of the area’s dense overgrowth.

To learn more about the Jezreel Expedition and LiDAR mapping, read the full Archaeological Views column “Returning to Jezreel” by Norma Franklin and Jennie Ebeling in the May/June 2013 issue of Biblical Archaeology Review.

Not a BAS Library member yet? Join the BAS Library today.

This Bible History Daily feature was originally published on May 7, 2013.

Notes:

*David Ussishkin, “Jezreel—Where Jezebel Was Thrown to the Dogs,” Biblical Archaeology Review, July/August 2010.

Further reading in Bible History Daily:

Naboth’s Vineyard Unearthed at Tel Jezreel?

Jezreel Expedition 2016: You Don’t Have to Be an Archaeologist to Dig the Bible

How Bad Was Jezebel? by Janet Howe Gaines

Digs 2016: Passport to the Biblical World by Robin Ngo

Archaeological Technology: Free Resources for the 21st-Century Archaeologist

The post Jezreel Expedition Sheds New Light on Ahab and Jezebel’s City appeared first on Biblical Archaeology Society.

In our November/December 2010 issue, we published a letter from Professor Boyd Seevers concerning what Israelite chariots looked like in the Assyrian period in response to an article in our July/August 2010 issue by David Ussishkin titled “Jezreel—Where Jezebel Was Thrown to the Dogs.” Professor Ussishkin’s response to Professor Seevers arrived too late for publication with Professor Seevers’s letter, so we present them both here.
 

Ussishkin Should Have Checked with Ussishkin

I very much enjoyed David Ussishkin’s “Jezreel: Where Jezebel Was Thrown to the Dogs” (BAR 36:04). However, he says that we know precious little about Israelite chariots at the time that Ahab and Jezebel apparently used Jezreel as a royal chariot center (mid-ninth century B.C.E.). Dr. Ussishkin writes, “Unfortunately, we have no archaeological evidence of Israelite chariots. They probably looked much like the Assyrian chariots of the time.”

But we do have archaeological evidence of Judahite chariots from the late eighth century B.C.E. The Assyrian king Sennacherib carved beautiful reliefs in his palace at Nineveh that include at least one chariot from Judah. Sennacherib conquered the Judahite stronghold of Lachish in 701 B.C.E., and his artists portrayed a Judahite chariot among the spoils (pictured at right). It was probably the Judahite governor’s ceremonial chariot rather than a typical Judahite war chariot; note its close similarity to Sennacherib’s ceremonial chariot (pictured below).

Did the Judahites make or buy chariots like the Assyrians? Or did the Assyrian artists simply portray the Judahite chariot in the style they knew so well? We cannot answer these questions, but we can appreciate this one clear picture of a Judahite chariot from the period of Assyrian domination.
Interested readers can find beautiful portrayals of this Judahite chariot in Figs. 69 and 90 in The Conquest of Lachish by Sennacherib, by, of all people, David Ussishkin (Tel Aviv: Tel Aviv University, 1982).

Boyd Seevers
Professor of Old Testament Studies
Northwestern College
St. Paul, Minnesota
 

 
For more than two thousand years, Jezebel has been saddled with a reputation as the bad girl of the Bible, the wickedest of women. But just how depraved was Jezebel, really? Read Janet Howe Gaines’s article How Bad Was Jezebel? for free in Bible History Daily.
 

Ussishkin Reply to Seevers

We are grateful to Professor Boyd Seevers for drawing our attention to the beautiful Judean chariot shown in detail in the Lachish relief. For three reasons I preferred to compare Ahab’s war chariots to those of Shalmaneser III king of Assyria rather than to the chariot from Lachish: First, the chariot portrayed in the Lachish relief was a ceremonial chariot and not a war chariot. Second, this was a Judean rather than Israelite chariot. And, third and most important, the Lachish chariot is more than 150 years later in date than the reign of Ahab. As we know from the Assyrian reliefs the Assyrian chariots were drastically changed during this period. For instance, the chariot car became heavier, hence the wheels in the chariots of Ahab’s time have each six spokes, while those of Sennachrib’s time are more massive and have each eight spokes.

Professor David Ussishkin
Institute of Archaeology
Tel Aviv University
Tel Aviv, Israel
 

 
BAS Library members: Read Ussishkin, David. “Jezreel—Where Jezebel Was Thrown to the Dogs” as it appeared in Biblical Archaeology Review, Jul/Aug 2010, 32-42, 75-76.

The post Israelite Chariots in the Assyrian Period appeared first on Biblical Archaeology Society.

© The Israel Museum, Jerusalem/Courtesy Israel Antiquities Authority
Belonging to a queen? Elaborately decorated with symbols and letters, this stone seal undoubtedly belonged to a member of the upper class. The seal was part of a private collection that was donated to the Israel Department of Antiquities in the early 1960s. Its unusually large size (it is 1.25 inches long), and common Egypto-Phoenician symbols of royalty and divinity strongly suggest that it belonged to a king or queen.

Of all the thousands of exemplars with Hebrew inscriptions, however, only about 35 belong to women. This paucity nevertheless demonstrates two things. First, some women did indeed possess and use personal seals. Second, this was true of only very few women. Ancient Israel, like its neighbors, was a patriarchal society. Women possessing seals clearly belonged to the upper classes.

On two seals the female owner is described as a “daughter of the king.” Set off against 24 attestations of a “son of the king,” this once again demonstrates that women had a harder time attaining a position of influence than men, even if they were princesses.

The seal bears four letters (YZBL) interspersed around the images. Although scholars have long recognized the similarity of the inscription to the name Jezebel, they have usually refrained from making a connection to the infamous Queen Jezebel, Phoenician wife of the Israelite king Ahab. With the reconstruction of two additional letters (L’) in the damaged area at the top, however, author Marjo Korpel argues that the inscription originally read L’YZBL, or “(belonging) to Jezebel” and was in fact the personal seal of the Biblical queen.

Jezebel, though a woman, plays a major role— but backstage. Her influence on her husband, King Ahab, was enormous. As the Biblical text puts it: “There was none who sold himself to do what was evil in the sight of the Lord like Ahab, whom Jezebel his wife incited” (1 Kings 21:25). She never gave up her Phoenician religion, nor her devotion to Baal. Ahab sinned not only by taking a worshiper of Baal for his wife, but, at her urging he, too worshiped Baal (1 Kings 16:31). No doubt this strong Biblical criticism is colored by later Deuteronomistic theology, but it stands to reason that Jezebel did deserve her reputation somehow.

Jezebel went even further. She began killing off the prophets of the Lord (1 Kings 18:4). Apparently a hundred were saved when they were hidden in two caves by Obadiah. At that point the prophet Elijah confronts the king, who responds to Elijah with the famous line “Is that you, you troubler of Israel?” (1 Kings 18:17).

Elijah then sets up a contest on Mount Carmel: 450 prophets of Baal and 400 prophets of Asherah who sup at Jezebel’s table (1 Kings 18:19) face Elijah alone. A bull is placed on Baal’s altar, but try as they may, even gashing themselves with knives, the prophets of Baal can produce no fire. Then Elijah orders water to be poured on his meal offering to the Lord. Elijah beseeches the Lord and fire descends from heaven consuming the meal offering and even the water (1 Kings 18:23–38).
 

 
Read Janet Howe Gaines’s article “How Bad Was Jezebel?” online for free as it appeared in Bible Review.
 

 
In another episode, Ahab decides to enlarge his palace complex by acquiring the adjacent vineyard owned by Naboth. However, Naboth refuses to sell— at any price. Disappointed and depressed, Ahab tells Jezebel about it. “I will give you the vineyard of Naboth the Jezreelite,” she tells him (1 Kings 21:7). She acts in Ahab’s name, even using the king’s seal rather than her own. She arranges for Naboth to be falsely accused, and he is stoned to death. When Jezebel learns that the deed has been done, she urges Ahab: “Arise, take possession of the vineyard of Naboth the Jezreelite which he refused to give you for money” (1 Kings 21:15).

Elijah passes judgment in the name of the Lord: As with Ahab, whose blood dogs will lap up, so with Jezebel: Dogs will devour her in Jezreel (1Kings 21:19–23).

Jezebel’s life indeed ends badly. When Elisha (Elijah’s successor) anoints Jehu as Ahab’s successor, Jehu is instructed to wipe out Ahab’s line: “That I may avenge on Jezebel the blood of my servants the prophets” (2 Kings 9:7).

When Jehu arrives in Jezreel, where Ahab has a royal residence, Jezebel prepares to greet him. She “paints her eyes with kohl and dresses her hair” and appears at an upper window, apparently hoping to seduce Jehu (2 Kings 9:30). Instead, Jezebel is thrown down from the window. “Her blood splattered on the wall and on the horses, and they trampled on her” (2 Kings 9:33).

Jehu orders her to be buried. “So they went to bury her; but all they found of her were her skull, the feet and the hands. They came back and reported to [Jehu]. And he said, ‘It is just as the Lord spoke through his servant Elijah the Tishbite: The dogs shall devour the flesh of Jezebel in the field of Jezreel; and the carcass of Jezebel shall be like dung on the ground'” (2 Kings 9:35–37).

The seal I want to deal with here comes from a private collection, and we don’t know where or when it was found. In some American and Israeli circles, this alone would condemn it to oblivion. Indeed, these critics would ban publication of such an item. This, in my view, is nonsense. Yes, we must be cautious in assessing the authenticity of unprovenanced finds, but we cannot condemn the whole lot simply because they are unprovenanced. As Professor Othmar Keel recently pointed out, even in the highly praised Corpus of West Semitic Stamp Seals published by Nahman Avigad and Benjamin Sass (Jerusalem, 1997), only 10 percent of the seals discussed come from professional excavations.a

© The Israel Museum, Jerusalem
“SET ME AS A SEAL UPON YOUR HEART.” Thousands of ancient seals have been found throughout Israel and the Near East. They are usually carved out of limestone or semi-precious stone, but some are made of bone, glass, bronze or silver. Many seals were set in signet rings. Usually inscribed with the owner’s name, seals were used in the ancient world to identify, authenticate and protect the contents of documents and vessels.

The small number of female names on these seals indicates that very few women owned seals, and those women were probably royalty or of a high social status. In the photo, the Jezebel seal appears prominently at the center of this collection of seals from the Israel Museum.

Despite the fact that the seal bears an inscription YZBL (יזבל), which spells Jezebel in Hebrew, as Avigad recognized, he nevertheless concluded that there was “no basis for identifying the owner of our seal with this famous lady [Queen Jezebel], although,” as Avigad recognized, “they may have been contemporaries, and the seal seems worthy of a queen. Moreover, Jezebel is a rare Phoenician name.

Later, the reading “Jezebel” and the possible identification of the seal as Queen Jezebel’s was rejected because the spelling of the name on the seal is different from the spelling of the name in the Bible. On the seal, as noted, it is spelled YZBL; in the Bible, it is spelled ‘YZBL (‘יזבל),b where ‘ represents, by scholarly convention, the Hebrew letter aleph (א), a guttural with a throat-clearing sound.2

I believe I have an answer to this problem.

As Avigad notes, this is a very fancy seal. It is large, as these things go (1.25 inches from top to bottom). It is filled with the common Egyptian symbols that were often used in Phoenicia at this time.c At the top is a crouching winged sphinx with a woman’s face and (part of) a female Isis/Hathor crown. The body of the sphinx is a lioness (cf. Ezekiel 19), clearly appropriate for the seal of a queen. To the left is an Egyptian ankh, the sign of life. A line then divides these symbols from a lower register. Below the line is a winged disk (which, incidentally, also appears on many Hebrew l’melekh handles). Below this is an Egyptian-style falcon. On either side of the falcon is a uraeus, the cobra most commonly seen on the headdresses of Egyptian royalty and divinities. Each of these snakes faces outward. The serpent-like symbol beneath the falcon is actually a lotus, which refers to regeneration but also is a typical female symbol generally connected to women, but especially royal women. The densely filled space reflects the horror vacui (“fear” of empty space) that is typical.

© Russell-Cotes Art Gallery And Museum, Bournemouth, UK/The Bridgeman Art Library
INCITED BY “JEZEBEL HIS WIFE,” King Ahab covets the vineyard of Naboth the Jezreelite in this 1879 oil on canvas by English painter Thomas Matthews Rooke. Jezebel plotted to have Naboth killed so that Ahab could take the vineyard as his own (1 Kings 21). When the deed was done, the prophet Elijah reproached Ahab with the famous line, “Have you killed, and also taken possession?” (1 Kings 21:19).

Actually, this is not as peculiar as it might seem at first. We have many seals where the lettering identifying the owner is distributed around an elaborate decoration in a way that matches the Jezebel seal perfectly.

But what about the critical missing aleph at the beginning of the spelling of the name Jezebel in Hebrew? Actually, there are two letters that we would expect to find in a seal like this. In addition to the aleph, we would expect an L, or lamed, preceding the name, as, for example, in the l’melekh handles. The lamed means “to” and is often translated “(belonging) to.” In short, the lamed indicates ownership and appears on almost all seals before a name.

So we should expect two additional letters before the four letters that actually appear on this seal— a lamed and then an aleph. Though theoretically any letter of the alphabet could fill the space of the second letter, only an aleph produces an acceptable name for such an elaborate seal.

There is one damaged part of this seal— at the very top. It is just large enough for the two missing letters: lamed and aleph. In my view, the broken-off part of the seal originally contained these two letters.3

In short, the name Jezebel appears exactly as it should: L’YZBL, or “Belonging to Jezebel.”

There are additional reasons to believe that this Jezebel is the queen who figures so prominently in the Bible.

Of course, the seal does not contain her father’s name or the addition “queen.” The unusually large size alone, however, suggests a very wealthy, influential person. The winged sphinx, winged sun disk and especially the falcon are well-known symbols of royalty in Egypt. The female Isis/Hathor crown on the winged sphinx (symbol for the king) suggests the owner to be female. The graceful Egypto-Phoenician style points to someone who apparently loved this type of art, a circumstance tallying with the fact that Jezebel was a Phoenician princess (1 Kings 16:31).

© The Israel Museum, Jerusalem
MIRROR IMAGE. Because most seals were pressed into wet pottery or into small blobs of clay used to secure scrolls— serving much like a signature— symbols and letters were often carved in reverse. When stamped into the clay, the seal images and inscription would appear correctly. This photo of the Jezebel seal and its impression, or bulla, show the seal in reverse and in proper stance.

The double uraeus (cobra) at the bottom is a typical symbol of queens with prominent roles in religion and politics from the 18th Egyptian dynasty onward. Especially the Egyption queen Tiye seems to have functioned as a model for later queens. Often she is represented wearing the Isis/Hathor crown or the crown with double uraei. So, independent of the name of the owner, the iconography definitely suggests a queen. Although other individuals used the same symbols to indicate their closeness to the throne, no other seal uses them all.

Another, slightly more complex argument suggests that this is Queen Jezebel’s seal: Her name is a quote from the Baal myth. Jezebel means “Where is his Highness (=Baal)?” The name of Jezebel was suitable for a princess like the daughter of the Phoenician king Ethbaal because it identified her with the goddess ‘Anat (the Canaanite parallel of the Egyptian goddess Isis/Hathor), the beloved of Baal. It is this goddess who is addressed by the highest god, Ilu, in the above quote from the Baal myth. As Avigad recognized, the name Jezebel was rare in Phoenicia. It is probable that only princesses (who would eventually become queens) were named Jezebel.

In the Ugaritic Baal ritual, the queen represented ‘Anat, who had to revive her beloved husband Baal. Similarly the pharaoh at his death was identified with Osiris, and it was Isis who had to restore him to life with the help of her sister Nephtys. These two goddesses were often represented as uraei. By including the two cobras, the ankh symbol and the horned sundisk on her seal, Jezebel wanted to characterize herself as the revitalizing force behind the throne.

From her Phoenician point of view, she had every right to aspire to such a (semi-)divine status. Similar ideas are found in Phoenician inscriptions. The Phoenician king is called “consort of Astarte,” ‘Anat’s twin-sister. In an Aramaic inscription, a queen describes herself as the wife of the god Bel (Baal). According to Ezekiel 28:2, 9 the king of Tyre imagined himself a god. It is well known that in Israel, too, the divine nature of kingship was sometimes recognized (e.g., Psalm 2:6f., 45:7 [Hebrew verse 8], 110).

The seal attests to her aspiration for a divine status, and this may well have been what sparked the ire of the Biblical descriptions of her.

Finally, the form of the letters on the signet, especially the Y, is Phoenician or imitates Phoenician writing.4 The L also appears to be ancient Phoenician.
In short, I believe it is very likely that we have here the seal of the famous Queen Jezebel.

For further details, see Marjo C.A. Korpel, “Seals of Jezebel and Other Women in Authority,” Journal for Semitics 15 (2006), p.349 (www.sasnes.org.za/SASNES_Journal_for_Semitics.htm. PDF available from www.otw-site.eu/en/news-en.php). A revised scholarly version of the article will appear in Ugarit-Forschungen 38 (2006), publication 2008, titled “Queen Jezebel’s Seal.”
 

Notes

1. Vol. 14, p.274.

2. In fact, this is interesting with regard to the authenticity of the seal: It would be unbelievable that a forger made an authentic looking seal but spelled Queen Jezebel’s name wrongly, or spelled it correctly but deliberately destroyed the upper part of the seal.

3. Lawrence Mykytiuk suggested an aleph was chipped off, but he doubted any identification with Queen Jezebel. Lawrence J. Mykytiuk, Identifying Biblical Persons in Northwest Semitic Inscriptions of 1200–539 B.C.E. (Atlanta: Society for Biblical Literature, 2004), p.216.

4. André Lemaire, “Divinitées égyptiennes dans l’onomastique phénicienne,” in C. Bonnet et al., eds., Studia Phoenicia, vol. 4: Religio Phoenicia, Namur: Société des études Classiques, 97.

a. In an interview with BAR, July/August 2005. Also experts like André Lemaire and Frank Moore Cross have criticized the over-cautious Puritanism of the moment. See “Update— Finds or Fakes,” BAR, September/October 2005, especially Cross, “Statement on Inscribed Artifacts without Provenience.”

b. The letters on the seal are in the paleo-Hebrew script used before the Babylonian exile.

c. See Frank Moore Cross, “King Hezekiah’s Seal Bears Phoenician Imagery,” BAR, March/April 1999, and Meir Lubetski, “King Hezekiah’s Seal Revisited,” BAR, July/August 2001.
 

 
Marjo C.A. Korpel (“Jezebel’s Royal Seal,”) is associate professor of Old Testament at Utrecht University in the Netherlands. Her research includes Ugaritic language and religion, as well as text delimitation in ancient Bible manuscripts. She is currently preparing monographs onthe books of Ruth, Esther and Isaiah 40–55.

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