Antiquitopia

In Exod. 33:20, the LORD famously tells Moses, "you cannot see my face; for man shall not see me and live." Moses then is allowed to see God's backside (v. 23). One might compare Exod. 3:6 where Moses is afraid to look at God. Recently I was asked if I would write up a little piece on seeing God in late antique Judaism. It is quite a broad topic, and, of course, should I take up the task I will be looking at some of the Hekhalot texts. But my mind also began buzzing about something else--I wonder how Rabbinic literature, particularly the Targumim and the Midrashim, handle these passages of seeing God and living or not living. That is, even though we have this passage of God telling Moses no one can see the LORD's face and live (although perhaps God's backside), there are plenty of passages where people do see God's face and live--even Moses himself. God says he speaks to Moses face-to-face in Num. 12:8 (as opposed to everyone else to whom he speaks in dr...

I just started reading Judah Goldin's Song at the Sea , and he gives some advice to student readers of his text regarding his tendencies of biblical quotations: A suggestion to students. Whenever a biblical verse is quoted, and all the more when only part of the verse is quoted, the biblical text should be consulted, for the context (verses before and after) will prove more revealing than any commentator's paraphrase. (Goldin, Song at the Sea , xii) I think this is true for ancient and modern commentators and interpreters alike.

So, I am currently working on my Songs of the Sabbath Sacrifice chapter, and anyone who has read the Songs might be struck by how the Songs take aspects of theophanies and descriptions of the temple and the throne/chariot from a wide variety of sources and bring them together. Ezekiel has long been recognized as a formidable influence, but I have been arguing that Exodus 25-30, while often recognized as an influence, is just as formidable if not more so than Ezekiel in terms of imagery, precise language, and partially for the structure of the latter half of the Songs--and even responsible for the idea of seeing the heavenly sanctuary on the Sabbath. Nonetheless, this organization, imagery, and language is enriched from a large variety of sources. The question then becomes: what does this synthesis mean? I came to my own conclusion long ago, but in my current reading I found my sentiments echoed by Philip Alexander: The author(s) of the Sabbath Songs assumed that Moses, Ezekiel, Da...