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Spring
Books
Judith
and her story: popular, threatening, co-opted
JUDITH, SEXUAL WARRIOR: WOMEN AND POWER
IN WESTERN CULTURE By Margaret Stocker Yale University Press, 278
pages, $30 hardcover
THE WORD ACCORDING TO EVE: WOMEN AND THE BIBLE IN ANCIENT TIMES AND OUR
OWN By Cullen Murphy Houghton Mifflin, 302 pages, $24 hardcover
To order: 1-800-225-3362
WARRIOR, DANCER, SEDUCTRESS, QUEEN: WOMEN IN JUDGES AND BIBLICAL
ISRAEL By Susan Ackerman Doubleday, 352 pages, $36.95
hardcover By PAMELA
SCHAEFFER
It is one of the Bibles most
fascinating and puzzling tales. Judith, a beautiful wartime widow, is divinely
inspired to commit a spectacular murder. Observing that the men of her mythical
village of Bethulia are immobilized by fear, Judith conceives and carries out a
plot to decapitate Holofernes, leader of Nebuchadnezzars Assyrian army.
With seduction, deceit and savagery, a woman of prayer delivers the Israelites
from death.
Many, I find, do not know the apocryphal story, perhaps because,
with the exception of two optional readings stressing Judiths piety, it
is notably absent from the churchs lectionary. Though disappointing, the
omission is unsurprising. What pastor -- indeed, what theologian -- would
relish the task of explaining this radical departure from expected gender and
religious roles.
Beyond the church, though, the Book of Judith (regarded by
biblical scholars as folktale rather than history) has long fascinated the
Western world. As Margaret Stocker points out in Judith, Sexual Warrior,
the theme has remained for centuries more consistently popular and
influential than anyone now imagines. The catalog of representations
would fill many pages.
Representations of Judith have been ubiquitous in the arts:
There are literally thousands of them, Stocker writes. In
literature there are epics, plays, novels and poems. The storys
sensational aspects have been almost obsessively reproduced by numerous artists
in the visual and plastic media. It has also been filmed, set to music,
illustrated and lampooned. Unnervingly, it has even been consciously re-enacted
in real life. The Book of Judith has had a profound and lasting impact upon
Western culture.
Stockers book is one of three recent and noteworthy books on
women and the Bible. Published last fall, Cullen Murphys sympathetic
account of the work of contemporary women in biblical studies came first.
Journalism rather than scholarship, it serves as a readable introduction to the
field. Murphy, managing editor of The Atlantic Monthly who often writes
about religion, interweaves a report on nearly four decades of evolving
scholarship with profiles of the people who do it. As John Updike put it in a
New Yorker review, this is a book with forked topic: the ancient
women in the Bible and the modern women who are trying to study them.
Stockers work on Judith and Ackermans sometimes
repetitious account of a larger female cast, though clearly written, make more
demands on the reader.
Ackerman, using what she calls a history of religions
approach to biblical scholarship, compares tales of biblical women who
break out of stereotypical roles with similar accounts in other works of
ancient literature. She deals mostly with women in the Book of Judges but draws
in related accounts from other biblical books, including Judith.
As Stockers subtitle, Women and Power in Western
Culture, suggests, her aim is intellectual history rather than biblical
interpretation. She examines the multiple ways the image of Judith has been
portrayed, co-opted and suppressed, from the art of the Middle Ages through
contemporary Hollywood films, to serve a variety of social and religious ends.
Its a thoroughgoing account, long-awaited and much appreciated by this
reader. But, like a lot of academic books, it might have been packaged with a
warning sign: Difficult, winding road ahead, fraught with twists and turns,
requiring slow speed and painstaking attention.
Just as Judiths story does not lend itself to facile
interpretation, neither do the expressions of Judith in art. Historically,
Stocker notes, Judiths equivocal image has led a double life. Invoked by
Shakespeare (in, for instance, The Reign of King Edward the Third),
by Nathaniel Hawthorne (The Marble Faun), and by a host of authors in
between, Judith has personified both the physical beauty that provoked
vice and the virtue that defeated it.
Symbol of vengeance
She has been painted by numerous great artists: Cranach,
Botticelli, Goya, Caravaggio, de Bray and Klimt among them. She has appeared
throughout the ages in operas, plays, books and films. For the Renaissance
artist Artemisia Gentileschi, reportedly a victim of rape, Judith served to
symbolize female vengeance against male power.
In the Middle Ages, though, her image often served to invoke
piety. She was most often an icon of virtue, a model of submission to God.
Later, for 200 years of the Reformation and Renaissance, Judith
served a variety of ends. She was the good bad woman, according to Stocker, a
symbol for both sides in an ongoing debate over the nature and value of women.
She might be portrayed as a model of chastity, as in the medieval accounts, or
as avatar of Eve, an erotic temptress luridly warning of the dangers lurking in
bedchambers.
As Europe struggled through the rapid change that would
produce our modern ideas and our modern sense of individualism, contradictory
images of Judith became reflections of its trauma, Stocker writes.
One of the morals to be drawn from Judiths head-taking was that you
do not make an omelet without breaking eggs. And that, it seemed, was what the
great chef in the sky had in mind for Reformation Europe.
In an era of dizzying change, Judith could represent
simultaneously, both its terrors and its hopes, Stocker writes. A
prototype of female activism, Judith represented female favor in the eyes of
God. As femme fatale, she represented a serious threat to men and masculine
hegemony.
Judiths image proliferated on pottery in Reformation-era
Germany. Her divinely ordained overthrow of male power ratified the Protestant
assault on Catholic patriarchy. Then, in the Counter-Reformation, Jesuits
turned the tables and produced Judith ballets.
An icon of complex polemical freight, Judiths
image was harnessed to opposing political ends in France and England, too. For
Protestants, she was a negative symbol of Catholic resurgence under devoutly
Catholic Queen Mary I, insinuating the unnaturalness and cruelty of female
rule. Then when Marys successor Queen Elizabeth re-established the Church
of England and defeated King Philip IIs Spanish Armada, she was hailed in
a popular ballad as the Judith to Philips Holofernes.
Amid the endemic religious and political tyranny of the early
modern age, Judith continued to serve conflicting ends as a symbol of morally
justifiable homicide. Later, in the conformist Victorian era, Romantics evoked
her as a model of authenticity, a person capable of moving beyond socially
determined roles.
Freud, though, cast Judith as the deviant woman
obsessed with penis envy, providing fodder for the 20th-century battle against
the suffragists. Suffragists might well have harnessed Judith for their own
political ends had their leaders not been deeply suspicious of religions
patriarchal roots.
As Cullen Murphy points out in The Word According to Eve,
Elizabeth Cady Stanton wrote in 1895, in the introduction to her Womans
Bible, The Bible teaches that woman brought sin and death into the world,
that she precipitated the fall of the race, that ... she was to play the role
of a dependent on mans bounty ... Stantons interpretation
was not, of course, informed by challenges of late 20th-century biblical
scholars, nor as product of a largely Protestant world was she likely to have
been introduced to figures from the Apocrypha.
Ironically, the work of Freud, a Jew, and others of his era served
to undercut the power of Judith -- whose name means Jewess -- as a potential
model for Jewish resistance during the Holocaust. As a result, her iconic
significance was secularized and tamed.
In our value-neutral contemporary world, in Hollywood imagery and
the popular imagination, Judith, the Bibles heroic deliverer, becomes
Judith the Ripper, the female gunslinger of such films as
Fatal Attraction, Thelma and Louise, and
Shattered, the 1991 film whose psychotic female killer is named
Judith. Stocker argues that Judiths brutal beheading is also evoked by
Lorena Bobbitts assault on the genitals of the husband who raped her.
If Judiths image has often been exploited for the wrong
ends, Stocker would like to see it reclaimed as an archetype for Christian
feminism, inspiring feminists to exercise their god-given right as political
activists and social revolutionaries (presumably rather than as perpetrators of
violence). The difficulties are obvious. First, like the suffragists, many
feminists have a problem with God, rendering the image less functional than it
might be, Stocker notes. Second, the stereotype of feminism that repulses men
and women alike is that of the angry, man-hating woman. While Judith was
neither, Stockers history shows that prospects for misinterpretation
abound.
Stocker thinks thats too bad. In a final analysis of the
symbol, she posits Judiths as the countercultural myth,
putting the lie to the dualistic assertion that women are nurturers by nature.
Judith is the clearest biblical sign for women of a new liberty,
rooted in authentic personality, Stocker asserts.
In contrast to Stockers book, The Word According to
Eve makes minimal intellectual demands. It serves as introduction to the
field of biblical scholarship by women, or a review for the spottily
informed.
Profiled here is the work of such scholars as Phyllis Trible of
Union Theological Seminary in New York, whose literary analyses of biblical
accounts of women often makes for delightful reading; of Carol Meyers whose
multidisciplinary research and archaeological expeditions, undertaken with her
husband, Eric Meyers, earned the couple a profile in People magazine; of
Tikva Frymer-Kensky, Assyriologist and Sumerologist whose study of ancient
goddesses undercuts what Murphy calls the wish-fulfilling
popularizations that proliferate in bookstores. Judith types come up for
analysis in a book titled Lethal Love by Mieke Bal, feminist literary
critic with a reputation that Murphy describes as formidable.
Murphy corrects the myth that female biblical scholars unanimously
assert that Jesus was a feminist. Figuring prominently on the yes
side of that debate is Leonard Swidler of Temple University. Among the skeptics
is Kathleen Corley. Swidler is the only male to get significant play in
Murphys book because of his direct influence on a number of female
biblical scholars. Corley is a member of the Jesus Seminar, a group of New
Testament scholars who vote at meetings on which words attributed to Jesus in
the gospels he is likely to have said.
Corley regards the presence of women in the Jesus movement as less
than revolutionary, though interesting and notable in
the context of his times. Many people are deeply disturbed by that
claim, she said.
Other sections in Murphys book are devoted to the likes of
Bernadette Brooten of Brandeis, Ross S. Kraemer, whose book Her Share of the
Blessings, explores the role of woman across Greco-Roman religions; Elaine
Pagels of Princeton, best known for her 1979 book The Gnostic Gospels;
Jane Schaberg, whose 1987 book The Illegitimacy of Jesus prompted some
major donors at her Catholic school, the University of Detroit-Mercy, to cancel
gifts; and two -- Elisabeth Schüssler Fiorenza of Harvard Divinity School
and Karen Jo Torjesen of Claremont, author of When Women Were Priests --
whose work, as Murphy puts it in his section on Torjesen, unfurls a
banner under which the committed can march.
The churchs resistance
Insight into the Catholic churchs resistance to the
womens movement, personified for some by the German Cardinal Joseph
Ratzinger of the Congregation for the Doctrine of the Faith, comes through
accounts of the way German scholars have reacted to some of the womens
work. For instance, Murphy reports that Karen King, professor at Harvard
Divinity School, proudly sent her book Images of the Feminine in
Gnosticism to her German mentor, Hans-Martin Schenke, only to learn years
later that he had utterly no interest in the subject and had passed
the book, unread, to his wife.
Even Swiss theologian Fr. Hans Küng, who teaches at the
University of Tübingen in Germany and has generally supported issues of
Catholic feminists, doesnt get completely off the hook. Brooten told
Murphy that Küng, an early target of the Vaticans attacks on
theologians under Pope John Paul II, had forbidden her to pursue work on
same-sex love among women in Christian antiquity while she was doing research
at his Institute for Ecumenical Research.
Among those critiquing Murphys work is Susan Ackerman, who
complained in the October 1998 issue of Bible Review that Murphys
report last August in U.S. News and World Report had been weighted in
favor of New Testament scholars and failed to reflect the diversity of Hebrew
Bible scholarship. The report summarized his book.
Murphy, though, passes quickly over critiques of feminist work.
Agendas of one sort or another almost always drive scholarship, he
writes in The Word According to Eve. But agendas can also get out
of hand. He takes issue, though, with the notion that the work is a
passing phase.
The influence of women will only grow, both in conventional
channels and in unconventional ones, he writes. Something similar
to the impetus that produced the house-church in early Christianity is
operating once again in gatherings of Christian and Jewish women.
Ackermans book is a useful companion to the other two for
two reasons: It is a work of biblical scholarship by a woman, and it explores
the relationship of women and power in the Bible. Its publication by mainstream
Doubleday, rather than by an academic house, is worth noting for a trend it
signals. Publishers Weekly has noted that mainstream publishing houses,
spurred by strong sales of religion titles, are seeking books by scholars in
the field.
The biblical book Judges at first glance seems to be a book
about men, Ackerman writes, about mens cunning strategies
that confounded their enemies. But powerful women get their turn. Among
them are Deborah, a military commander; Jael, her cohort, that most
blessed of women, who kills the Canaanite commander, Sisera, by driving a
tent peg through his temple; the woman of Thebez who kills the royal pretender
Abimelech by dropping a stone on his head from the tower where he has
imprisoned her; and Delilah, Samsons mistress who robs him of his
strength by cutting his hair.
What Ackerman sets out to explore is how such stories in Judges
and other parts of the Bible square with the religious imagination of ancient
Israel and the religious practices of the Israelites. What are the
religious beliefs, she asks, that motivated the biblical writers to
craft their portraits of Judges women in the ways that they
did?
Among her findings are strong parallels between some images of
powerful women in the Hebrew Bible and the mythology surrounding the Canaanite
warrior goddess Anat, about which the Bible is silent. Anat was an erotic
assassin, a female military hero like Jael and Judith, who befriended, then
attacked a military commander as he ate and drank in his tent.
Close to sources
By sticking closely to the original sources of her images,
Ackerman reveals their ambivalence. She concludes that there is no easy
categorizing of Judges: It is neither a handbook of patriarchy nor a
celebration of matriarchy; it can neither be condemned as a remorseless
portrait of unrelenting misogyny nor be heralded as an archaic precursor of
20th century feminism.
The collected wisdom of the three books discussed here suggests
that counsels against fundamentalist interpretations of the Bible must apply
not only to those who reject biblical criticism but to those who rely on it.
The Bible fails as proof-text in the gender battles, whether summoned by
misogynists or conservatives (of either gender) hoping to keep women in their
place or by angry feminists impatient to right the historic wrongs.
Rather, the Bible reflects the complexity of the lives we lead, of the lives
humans have always led.
Within its pages multiple roles apply, even in androcentric
worlds. Yet, Stockers work and Ackermans imply that it is those
countercultural women who learn to use power within the systems they hope to
change -- rather than those who rail against it -- who are most likely to
achieve the equality they seek.
More analysis is needed. Undoubtedly feminist biblical work will
continue to shed new light on the tales of these nonconforming women. But the
moral ambiguity inherent in the stories suggests a need for extending, in
theological context, the themes psychotherapist Rollo May took up in his 1972
book, Power and Innocence: A Search for the Sources of Violence. How,
for instance, do the actions of the heroic women of the Hebrew Bible and the
Apocrypha square with the New Testaments instruction to turn the other
cheek, with the churchs tradition of just war, with the psychology of men
and women? The stage is set for wider discussion, informed by biblical studies,
theology and social sciences, of the relationships among gender and power,
violence and liberation.
Pamela Schaeffer is NCR special projects editor.
National Catholic Reporter, February 5,
1999
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