The rhetorical power of literary conventions : Artistic means of persuasion in Biblical discourse

The rhetorical power of literary conventions: Artistic means of persuasion in Biblical discourse This article traces the impact o f reality on the development o f communication skills, and the manner in which these skills are in turn refined and by repetition develop into literary conventions. Furthermore, the influence which literary convention then exerts on social attitudes and on the development o f new literary conventions are traced. This article is a literary study, though all examples are from or related to the Hebrew Bible (Old Testament).


Introduction
The act o f communication involves the sender and the receiver o f a specific message.Both sender and receiver are important and active constituents o f the act o f communication, w hether the latter is a verbal (oral or written) or a physical (non-verbal) act.
All acts o f communication require a system o f reference shared by the com municator and the communicatee.In a verbal act o f communication it is natural to assume that the two communicating parties speak and/or understand the same language, i.e. that they share common linguistic references.This is equally important in acts o f non-verbal communication, though the importance o f a non-verbal common reference system to effective communication has often been underestimated.
These cultural reference systems are determined by reality: vocabulary develops in accordance to need, and concepts develop with repetition o f the same experiences.In other w ords, people who live in a land where it snows develop a great number o f terms to describe snowflakes and different ways o f snowing.Similarly, the concept o f "fishing", together with the development o f its skills and tradition, evolved in societies who live near bodies o f water.It would be safe to assume that neither terminology relating to snow nor fishing skills would be formed and developed in societies who live in deserts.
Indeed studies show that the development o f all Semitic languages from the Proto-Semitic is a good example o f this phenomenon (Blau, 1980).

W ords as cultural signposts
The need for the reader to know the language in which an author tells a story requires no illustration.
Yet the need o f the reader to share or at least to be aw are o f the cultural references o f the author is often underestimated.B arthes' concept o f "the death o f the author" is a good illustration o f the trend towards dismissing or diminishing the author's importance.
If literature is, how ever, accepted as an act o f communication which involves both story-teller and audience, the cultural references o f both parties have to be taken into consideration.(In the term story-teller I include both w riter and orator, as well as their respective media, the written and the oral text.)Let us take for example the word "G od" and the literature which dealt with divine powers in ancient times.
When ancient M esopotam ian story-tellers told stories about their gods, these gods were described in a manner that w as entirely different from the one used for the ancient Egyptian gods, and also from the description o f the Israelites' God.Reality shaped the w ay in which people conceptualized their gods.Thus, even if the same vocabulary w as used, the meanings and qualities which the w ord "G od" held for the different tellers, as understood by their respective audiences, w ere different.
Nature in M esopotam ia w as unpredictable: the rivers often flooded the valley and unexpectedly w iped out various cities.The M esopotam ians consequently envisaged their gods as erratic beings.Natural phenom ena in Egypt, by contrast, were more predictable, and people there developed a sense o f security and trust in life which m anifested itself in the w ay they described their gods (Pritchards, 1969:3-49).Historical events that seemed fair caused the ancient Israelites to look tow ards their God as a supreme pow er o f justice.The biblical narrative o f the Deluge, which is almost identical to the M esopotam ian version in its description o f the ark, the animals and the length o f the flood, as well as in many other details, differs sharply in its description o f the deities and their qualities.This difference in attitude tow ards the gods reflects the world view o f these two societies; thus the Israelites record that: The emphasis here lies on the element o f justice: things are not done at whim, not even at G od's whim.M oreover, once judgm ent is passed, God does not inter vene, and is mostly removed from the situation.
The same basic story w as known and reiterated among the civilizations dwelling in M esopotam ia.From Sumeria w e have a tablet which presents the reason for the flood as lying with the gods: (P ritc h a rd s , 1 9 6 9 :4 4 ) (lin e s 1 5 5-58).
A more detailed account is preserved in the Akkadian myth o f Gilgamesh.This story, which is part o f the narrative which traces G ilgam esh's quest for immortality, is represented in four separate versions.Two o f these, the Hittite and the Hurrian, exist only in fragments.Substantial portions o f the narrative are to be found in the Assyrian version as well as in the old Babylonian version in which we are told: ( T a b le t X I, lin e s 9 6 -1 0 2 , 1 1 3 -1 1 7 ; se e P ritc h a rd s , 1 9 6 9 :8 9 -9 7 ).
Although these civilizations conceived o f and depicted their deities differently, they used the same nominative term: "G od" .
Thus it can be seen that when readers want to understand what a writer meant w hen he or she wrote a certain text, they must seek to familiarize themselves with the w riter's cultural frame o f reference.When readers have no knowledge o f such a frame, they create a new story.
In order to reach out and communicate clearly, the author should thus hold linguistic and cultural systems o f reference in common with his or her audience.
The well-know n Israeli author Amalia K ahana-K annon refuses to allow any o f her books to be translated from Hebrew into other languages, because she claims that only H ebrew-speaking readers, and preferably those resident in Israel, can understand her writings correctly.She argues strongly against the read er's right to create his or her own text from her work, claiming that such a right defies the notion o f bona fid e communication on her side while in the process o f writing.She maintains that if the story is presented in another language, which is loaded with other cultural references, then it is no longer her book.
Accepting the natural development and the fundamental importance o f the verbal and non-verbal aspects o f communication as a basic axiom, this article deals with a more refined com ponent o f communication, which is developed through repetition and which makes its appearance in literary texts -the literary convention.
From a communication angle, literary conventions should be placed betw een the verbal and non-verbal signs, that is, between w ords and their cultural milieu.

L iterary convention
Literary conventions evolve from life experiences which are forged into a literary form and which then infiltrate the verbal communication system to an extent where they becom e more powerful than the original individual w ords or story (Reisenberger, 1989:21-24).
The rhetorical power o f literary conventions: Artistic means o fp ersu a sio n ...
These conventions have greater rhetorical pow er than specific words.Thus they become a very influential means o f persuasion, which through repetition becomes part o f the accepted system o f reference.Later literary w orks draw upon them and reiterate them.
Sixty years ago W alter Arend noted in his study o f H om er's epics (Alter, 1981:51) that the poet includes certain fixed situations in his narrative.These situations appear according to a set order o f motifs.For example, the sections dealing with the arrival, the message, the voyage, the assembly, the oracle and so on.Each consists o f a given situation followed by a chain o f similar events occurring in a similar sequence.Arend named this pattern the "Type-Scene" .
The * The identifiable, somewhat mundane or trivial subjects shared by the teller and his audience.
The G reek audience were familiar with the settings, the formalities and ceremonies which appear in H om er's narratives.They w ere accustomed to certain traditions and expected to find them in the stories they read.Homer, because he was a member o f the society for which he w rote and probably enjoyed the same traditions, complied with the expectations o f his audience by recording their habits in his stories.
For W alter Arend, who w as an outsider to the Homeric system o f cultural reference, the Type-Scenes on the other hand becam e com ponents o f ancient narrative, to be examined and analysed by academic research.
The recognition o f Type-Scenes in the Bible w as slightly ham pered by the fact that the Bible is only a small remnant o f a vast literary corpus, that it is sparse in detail and that it is a collection o f non-homogeneous multifarious books which differ sharply in content and style and were put under one cover for the sole reason that they share a religious message.
Furthermore, the fact that for centuries the Bible has been viewed as the manifestation o f divine revelation has hindered literary analysis p e r se.
The scarcity o f details also explains why w e find literary conventions in the Bible rather than the longer, more detailed Type-Scenes which appear in the Homeric epics.
Initially, when stories w ere found in the Bible that w ere similar to one another, scholars attributed this repetition either to a duplication o f sources (i.e. the Documentary H ypothesis),1 to the "Primitive" character o f the text,2 to a kind o f literary " stuttering" on the author's part, or to a recurrent stammer in the process o f transmission, whether written or oral3 .
N ow adays it is recognized that m odest "Type-Scenes", i.e. literary conventions, do appear in the Bible.Robert Alter maintains that every literary convention comprises a hidden contract between the story-teller and his or her audience, and that the way in which this contract is carried out or manipulated therefore constitutes an important part o f the audience's reading pleasure (Alter, 1981:47 62).
Alter uses as example the m odem convention o f W estern films.He claims that audiences in the next century, who will not share the cultural references o f our contemporary audiences (who have seen many W esterns), may try to understand each o f these movies by itself and thus miss the pleasure which the original audience drew from aspects o f convention in the film specifically.This pleasure arises at times from the fulfilment o f expectations, and at times from unexpected twists in the narrative and visual flow.Various levels o f com edy, ranging from straight forward fun to more serious satire, can be raised by deviating from the expected format, and the inclusion or omission o f certain sections from the expected sequence can be as effective as explicit details.4 The rhetorical power o f literary conventions: Artistic means ofpersuasion ...

L iterary conventions as cultural signposts
The literary convention follows a sequence o f clearly recognizable events.This sequence is determined by the life experience o f the audience, and in turn determines the audience's expectations o f the story.The expectations o f the audience, rather than the imagination o f the writer, generally dictate the outcome o f the story (Reisenberger, 1989:22-4).
In order to illustrate the impact o f reality and cultural reference systems on the formation o f biblical convention, as well as the ways in which existing conventions played a role in stating their antitheses as new conventions, one such convention will be analysed: The birth o f a hero to a barren woman.
Furthermore, as the convention o f the barren woman who gave birth to a hero becam e rooted in folk literature and the years o f waiting and yearning for a child becam e glorified, an anti-convention developed: The insignificant person who was born to a woman who conceived easily.
Procreation, although o f utmost importance to the survival o f the clan, was attained with much pain, as is already indicated by the early w ords o f the Lord to Eve: " I will greatly multiply the suffering o f thy conception" (Genesis 3:16).Considering this, it is o f no w onder that ancient culture glorified conception and childbirth.
Emanuel Ben Gurion w rites that " ... mythology and ancient religious legends do not stop at glorifying national heroes' lives, but instead go on to add wondrous details to their childhood and even elaborate miracles which preceded their conception and birth" (Ben Gurion, 1949:54).(M y translation -ATR.)

The birth o f a hero to a barren woman
This convention is based on the importance o f procreation to the survival o f the clan.G reat pressure w as placed upon women to grant their husbands an heir.Conception w as seen as the main purpose o f w om en's existence (Patai, 1959).
Unfortunately poor hygienic conditions and lack o f medical assistance often resulted in infertility.Despite popular belief, biblical women had few children (Otwell, 1977).As conception was considered the most important event in a w om an's life, pregnancy bestow ed great importance upon the future m other and upon every new-born to be.The longer the period o f waiting for conception, the more intense the resultant yearning, and in turn, the greater the expectations from the newborn became.This w as the reality for the biblical audience, which then dictated the conventions utilized by the author.
Sarah, Rabekah, Rachel, Sam son's mother, Sam uel's mother, as well as the Shunammite are all described as barren women who w aited long and prayed for a childS.W e are told that after G o d 's intervention they all gave birth to children who becam e leaders o f the nation.The reader's expectations o f these children to become national heroes is so great that even when the Bible for instance tells nothing about w hat befell the son o f the Shunammite, com mentators have felt obliged to com plete the story.6For example, both the Talmud and other rabbinical sources claim that the Shunammite w as the sister-in-law o f Iddo the prophet and that her long-awaited son is the prophet H abakkuk 7 The readership's expectation that the son would grow up to be a national leader not only influenced the Rabbis in the creation o f a prestigious family tree, but also clouded their historical judgem ent (biblical chronology renders their suggestion impossible by m ore than a hundred years).

The insignificant person born to a woman who conceived easily
The fact that there existed such great expectations o f a child w hose conception w as delayed gave rise to a related anti-convention.If a child w as easily conceived, there was no time to build a sense o f yearning for him, and no time to w eave dreams about his great future, something which in turn diminished expectations o f him.
This new convention is an antithesis to the convention o f the birth o f a national hero to a barren mother, and it is basically the reverse o f the original convention (Reisenberger, 1989:75-81).
In the Bible every barren woman who struggles to conceive and w ho when succeeding gives birth to a national hero has a counterpart: a woman who conceives easily.The counterpart is, as is to be expected, usually o f lesser importance, and in addition her children (who have been conceived easily) grow up to be o f little significance.W ithout going into detailed case studies o f the lives o f these babies (as these are to be found in the Bible, in the chapters mentioned above), it is important to note that the biblical accounts mention the ease with which they were conceived, and that even when mentioned by name, they are not counted amongst the nation's leaders.
In the same way that reality dictated the audience expectations and gave rise to literary conventions, these conventions became imbued so strongly in the minds o f readers that it dictated their expectations o f national heroes.W hen in some biblical accounts there is no mention o f a "period o f waiting before conception", possibly resulting in an impression that pregnancy occurred with ease, some Rabbis took it upon themselves to create legends o f difficult conception so as to avoid an impression o f worthlessness in particular heroes (Hasida, 1988:172).
These Rabbis complied with reader's expectations by saying that both Joshua and D avid's mothers had difficulty in conceiving and delivering their sons.These fantastic gynaecological details have no basis in Biblical records; they were consciously constructed, lest a semblance o f w orthlessness should tarnish the glory o f M oses' successor Joshua or that o f the mighty king David9 .The need for such a claim to exist attests to the influence o f audience expectations on the literary discourse employed.

T o sum m arize
Life experience is crystallized within literary discourse, which by means o f repetition turns into literary convention.
8 Genesis 16:4, 25:1, 30:4-5, 9-10, 36:2-6; I Samuel 1:2, 6. 9 Zohar 8, side 1,7; as well as in ''Yalkut Hamakin", for Psalms 118:28. Koers 61(2) 1996:203-212 The rhetorical power o f literary conventions: Artistic means o f persuasion ... N o a h w a s a j u s t, p e rfe c t m a n in h is g e n e ra tio n ... A n d th e e a rth w a s c o rru p t b e fo re G o d ; a n d th e e a rth w a s fille d w ith v io le n c e .A n d G o d lo o k e d u p o n th e e a rth , a n d b e h o ld , it w a s c o rru p t, f o r all fle s h h a d c o r ru p te d h is w a y u p o n th e e a rth .A n d G o d sa id u n to N o ah , 'T h e e n d o f a ll fle s h is c o m e b e fo re m e ; f o r th e e a rth is fille d w ith v io le n c e th ro u g h th e m , a n d 1 w ill d e s tro y th e m w ith th e e a rth ...' (G e n e s is 6 :9 b , 11-13).
B y o u r ... a flo o d [w ill sw e e p ] o v e r th e c u lt c e n tre s, T o d e s tro y th e s e e d o f m a n k in d . .., [ T h is i]s th e d e c is io n , th e w o rd o f th e a s s e m b ly [ o f th e g o d s]

U
tn a p is h tim sa id to h im , to G ilg a m e sh : I w ill re v e a l to th e e , G ilg a m e s h , a h id d e n m a tte r A n d a s e c re t o f th e g o d s w ill I tell thee: S h u rip p a k -a c ity w h ic h th o u k n o w e s t, [a n d ] w h ic h o n th e E u p h ra te s ' [b an k s] is s itu a te -T h a t c ity w a s a n c ie n t, (a s w e re ) th e g o d s w ith in it, W h e n th e ir h e a r t le d th e g re a t E g o d s to p r o d u c e th e flo o d .[T h e re ] w e re A n u , th e ir fa th e r, V a lia n t E n lil, th e ir c o u n s e llo r, N in u rta , th e ir a s s is ta n t, F .nnuge, th e ir irrig a to r. N in u g ik u -E a w a s a ls o p r e s e n t w ith th em ... ( T a b le t X I, lin e s 8 -1 9 ) ... W ith th e firs t g lo w o f d aw n , A b la c k c lo u d ro se u p fro m th e h o rizo n .In sid e A d a d th u n d e rs, W h ile S h u lla t a n d H a n is h g o in fro n t, M o v in g a s h e r a ld s o v e r h ills a n d plain .Koers 61(2) 1996:203-212 E rra g a l te a r s o u t th e p o sts ; F o rth c o m e s N in u tr a a n d c a u s e s th e d ik e s to fo llo w T h e g o d s w e re f rig h te n e d b y th e d e lu g e , A n d sh rin k in g b a c k , th e y a s c e n d e d to h e a v e n o f A nu. T h e g o d s c o w e r e d lik e d o g s C r o u c h e d a g a in s t th e o u te r w all.Is h ta r c rie d o u t lik e a w o m a n in tra v a il ...
G reek Type-Scenes are easy to detect because o f tw o specific literary characteristics which are typical o f the Homeric epos: * The abundance o f descriptive detail, down to minute details o f clothing and actions.
In csscncc the Documentary Hypothesis views the Bible not as a unitary literary creation but rather as a collection o f different documents Therefore, when different narratives include similar events which follow a similar sequence, they were accepted as parts o f different documents which had not been edited properly These counterparts are very conveniently juxtaposed with the barren women: H agar and Keturah are the secondary wives o f Abraham and are literary counterparts o f Sarah, A braham 's beloved wife.Similarly, Bilhah and Zilpah, After Sarah, the beloved barren wife o f Abraham, has given birth to Isaac ne becom es a father o f the future Israelite nation.Hagar, one o f the other two wives, on the other hand conceives quickly.Her son Ishmael is sent away and although he receives a blessing to become a father o f a nation, God still emphasizes that " ... in Isaac shall [Abraham's] seed be called" (Genesis 21:12b).