By Marc Chagall
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30); see Niditch, ‘Eroticism and Death’, pp. 43-49. 31. Judith van Gent and Gabriël M. C. Pastoor, ‘Die Zeit der Richter’, in Im Lichte Rembrandts: Das Alte Testament im Goldenen Zeitalter der niederländischen Kunst (ed. ), pp. 66-67. 32. Judith with the Head of Holofernes, like Jael, Deborah and Barak, is an after-thefact portrayal, so to speak. Judith appears without her sword, the counterpart to Jael’s domestic tools as weapons, which somewhat lessens her threatening aspect. She looks calmly and piously to heaven, and the grisly head appears almost out of place; indeed a later owner had the head altered into a pitcher.
410-31. ’, in Judges and Method: New Approaches in Biblical Studies (ed. Gale A. Yee; Minneapolis: Fortress Press, 1995), pp. 65-90. —Fragmented Women: Feminist (Sub)versions of Biblical Narratives (Valley Forge, PA: Trinity Press International; Sheffield: Sheffield Academic Press, 1993). —Plotted, Shot, and Painted: Cultural Representations of Biblical Women (Sheffield: Sheffield Academic Press, 1996). —Tragedy and Biblical Narrative: Arrows of the Almighty (Cambridge: Cambridge University Press, 1992).
Perhaps the reader is to understand that it was twenty years before the Israelites ‘cried out to Yahweh’, and only then did God inspire Deborah to act. 40. Another comparison with the prophet Samuel can serve to illustrate this point. In 1 Sam. 8-15 Saul waits for Samuel at Gilgal for seven days, as instructed, and then, because circumstances are desperate, makes a burnt offering. Samuel then appears and accuses Saul of not keeping the commandment of God. But in 1 Sam. 8 the instructions to go to Gilgal and wait for Samuel are Samuel’s, not God’s; see, further, J.