The Jacob Saga

Chronology and Literary Analysis of the Jacob Saga

The story of Jacob covers a large amount of material in the Old Testament. It may be to highlight his importance. It may also be to aid in teaching a wilderness generation the truth of their beginnings. The Jacob saga starts with the one of the toledot - clauses that signal a division in the book of Genesis. “This is the genealogy of Isaac, Abraham’s son. Abraham begot Isaac. Isaac was forty years old when he took Rebekah as wife, the daughter of Bethuel the Syrian of Padan Aram, the sister of Laban the Syrian. Now Isaac pleaded with the LORD for his wife, because she was barren; and the LORD granted his plea, and Rebekah his wife conceived.” (Genesis 25:19-21). [1]Here we see Abraham begetting Isaac, the long awaited promised child. Abraham was to father a multitude of descendants, and already his firstborn is childless. The book of Genesis is presenting us with a good start of a story. “The problem of the barren matriarch will not go away.”[2]The obvious need and expectation is that Isaac will father a son and carry on the promised line. Isaac is 40 years old and only after 20 years of marriage does Rebekah conceive. The hearer of this story would harken back to Sarah’s turmoil of a barren womb, and would feel the anguish of this narrative. So much drama is a few verses.

“ Once we become aware of the distinctive elements of both biblical narrative style and biblical poetic style, we can appreciate with fresh eyes the rich literary artfulness of the Old Testament. Moreover, having knowledge of and appreciation for the literary style and conventions of the Bible may well facilitate a deeper engagement with the ethical and theological dimension of the text.”[3]So our chronology of Jacob starts here “ Isaac’s wife conceives” (verse 21), and is accompanied with sophisticated literary style – and this is often overlooked in the English language due to translation restraints.

Interesting Structure

In the book of Genesis, we see a literary arrangement of separate patriarchal narratives, rather large disparate units artistically organized: the Abraham cycle or material (Gen. 12-22), the Jacob material (Gen. 25-35), and the Joseph story or novella (Gen. 37-50). They all have an underlying palistrophe, or symmetric structure. This is also called chiasm, and it operates in a big and small way. We will look at the macro first.

All three of these structures work the same way

1. The story builds from its onset with a series of episodes in the life of the individual hero (the patriarch).

2. The story reaches a climax, or focal point, halfway through the narrative, on which everything turns.

3. The cycle (or story) concludes with another series of episodes, each of which matches, in reverse order, the episodes in the first half of the narrative. This shows chiastic structure: a-b-c-b’ (b prime) –a’ (a prime).

This overarching unity seems to be a deliberate literary move, guiding the reader theological conclusions.[4]The Jacob Narrative, more so than any other portion of Genesis, is constructed this way with its artful chiasm shown below.

The Jacob Cycle

A Oracle sought, struggle in childbirth, Jacob born (25: 19-34)

B Interlude: Rebekah in foreign palace, pact w/ foreigners (26:1-34)

C Jacob fears Esau and flees ( 27:1-28:9)

D Messengers (28:10-22)

E Arrival in Harran (29:1-30)

F Jacobs Wives are fertile (29:31- 30:24)

FOCAL PIONT: a) Rachel gives birth to Joseph

b) Jacob decides to return to Canaan

F’ Jacobs flocks are fertile (30:25-43)

E’ Flight from Harran (31:1-34)

D’ Messengers (32:1-32)

C’ Jacob returns and fears Esau (33:1-20)

B’ Interlude: Dinah in foreign palace, pact with foreigners (34:1-31)

A’ Oracle fulfilled, struggle in childbirth, Jacob becomes Israel (35:1-22)

The Jacob Cycle above (25:19-35:22) has matching episodes. In the two halves, for example, Jacob’s dream about the angels in chapter 28, (D in above example), and his encounter with an angel in chapter 32, (D prime), and after the focal point in 30:22-25, where Joseph is born and Jacob decides to return to Canaan, the themes and stories are repeated in reverse order. Lexical links or key words in D and D prime are present also. For example, the Hebrew word paga, is used in both 28:11 (came to) and 32:2 (met). The reader would be reminded of the earlier link word phonically or by sound. This would enhance the enjoyableness and strength of this literary masterpiece.

Like I pointed out earlier, we miss this beauty in our English Bibles. Wordplay as a literary device is used in the Jacob saga quite well as I will point out. Wordplay is a literary device, which plays off variant possible meanings of a word, or play off sound similarities. For example in verse 21 when Isaac pleaded with the Lord for a child, the Lord granted his plea. Arnold points out that this is the only place in the Bible that the verbal root ‘tr, “pray, plead, entreat,” is used in both the active and passive voices in such a deliberate word play: Isaac entreated.…. and Yahweh was entreated. They are linked phonically.

“Now Isaac pleaded with the LORD for his wife, because she was barren; and the LORD granted his plea, and Rebekah his wife conceived. But the children struggled together within her; and she said, “If all is well, why am I like this?|” So she went to inquire of the LORD. And the LORD said to her: “Two nations are in your womb, Two peoples shall be separated from your body; One people shall be stronger than the other, And the older shall serve the younger.” So when her days were fulfilled for her to give birth, indeed there weretwins in her womb. And the first came out red. He was like a hairy garment all over; so they called his name Esau. Afterward his brother came out, and his hand took hold of Esau’s heel; so his name was called Jacob. Isaac wassixty years old when she bore them.” (Genesis 25:21– 26). At breathtaking speed, the text moves through barrenness, answered prayer, conception, and troubled pregnancy. Rebekah feels she cannot survive this pregnancy and prays herself to the Lord. God has good and bad news for her: Rebekah has two nations are within her but there will be conflict. Yes, she will have twins, but the younger will prevail over the older – Jacob will prevail over Esau. This is a theme in Genesis and will reoccur in the Biblical record- in fact it is the story of the nation of Israel in general, and the hearers would relate.

Jacob and Esau

The wordplay with these two names is complex but most scholars agree on the descriptions. Esau’s description as “red and hairy” (“red”: admoni; 25:25) connects him in the readers mind to Edom (“red”), one of Israel’s enemies. Seir, “hairy”, is a pun on Seir, Edomite territory (Gen. 32:3). He appears animal- like, brutish. He is introduced through physical features rather than action; there is little subtlety.

Jacob, taking ahold of Esau’s heel at birth, is seen by action. This action makes him seem appear subtler, less easy to read. He is “grasping” by nature. His name, “one who supplants” portends that he raises himself up by pulling others down. Is this appropriate for Israel’s (the nation) ancestor? Our story is getting better. Hebrew literature was not boring. The reader was expected to pick up on these features and questions arising from the text.

When the boys grew up, Esau was a skilled hunter, an outdoorsman and Jacob was a homebody. Isaac loves Esau because of his hunting prowess, but Rebekah favors Jacob. This family dynamic is presented in one short verse leaving the reader to ask questions about the parent’s motives. People can relate to these feelings. In the craft of ‘form criticism’, where scholars search out the genre or form of the text they are reading, taking notice of what the writer tells us is very important. Thoughts (and to some extent, moods) are conveyed by means of language.[5] This literary analysis observes the effect of description, names, and authorial remarks. It also wonders about motive and dialogue. We will see a unique descriptivedialogue in the conclusion our first scene of the life of Jacob.

“So the boys grew. And Esau was a skillful hunter, a man of the field; but Jacob was a mild man, dwelling in tents. And Isaac loved Esau because he ate of his game, but Rebekah loved Jacob.

Now Jacob cooked a stew; and Esau came in from the field, and he was weary. And Esau said to Jacob, “Please feed me with that same red stew, for I amweary.” Therefore his name was called Edom.

But Jacob said, “Sell me your birthright as of this day.”

And Esau said, “Look, I am about to die; so what is this birthright to me?”

Then Jacob said, “Swear to me as of this day.”

So he swore to him, and sold his birthright to Jacob. And Jacob gave Esau bread and stew of lentils; then he ate and drank, arose, and went his way. Thus Esau despised his birthright.” (Genesis 25:27– 34).

It is interesting that Rodger Dalman suggests that Moses included this incident to show that Israel should exercise some authority over Edom who they shared borders during the wilderness sojourn and when in the land, and with whom they had many power struggles with. Esau’s descendants were an important part of the Edomite population.[6]Besides the teaching vehicle for Israel’s education, we also see artful wordplay used by this Hebrew writer. “And Esau said to Jacob, “Please feed me with that same red stew, for I am weary. ” Therefore his name was called Edom.” (vs.30). Here Esau shows no complexity- he is speaks plain and simple. But the Hebrew sentence of his words shows something else: animal like manners. “Let me chow down some of that red stew, this red stuff.” Asked as an uncouth and abrasive request. The wordplay is on the Hebrew ‘red stew’– adomwith Esau’s alternative name edom. The cunning and wiser Jacob swiftly moves to strike a deal a shortsighted Esau. The shrewd and calculating Jacob gets Esau, the thoughtless and course one, to give up the right of the firstborn, which was the privilege of receiving a double portion of inheritance (Duet. 21:15-17). The closing clause, “Esau despised his birthright,” solidifies Jacob and Esau’s appropriate birth names.

Two Motifs

Gary A. Rendsburg notes that two motifs dominate the book of Genesis.[7]The first is the barren woman, and the second, the younger son. We see both in the Jacob saga. He states that the first reason is literary – these motifs represent the abnormal in life.

1. “ In the ordinary course of life, women have children and the oldest sons inherit from their father (the technical term for this is primogeniture).

2. But such quotidian material does not make for great literature. Storytelling is based on the abnormal or extraordinary in life.

3. Thus, these two motifs of the barren woman and younger son carry the story forward, generation after generation.

The second reason is theological.

1. Women in the Bible are used to represent Israel, based on the portrayal of the lowly. The barren woman is part of that general picture.

2. The same is true of the younger son, who is another literary figure of the lowly and, thus, once more represents Israel.

3. Only through God’s intervention in these individuals’ lives, sometimes through direct means, though more typically through subtle and indirect means, do these lowly prosper; that is to say, barren woman conceive and give birth, and younger sons rise to the top. Thus it is with Israel – that only through God’s presence in Israel’s collective destiny does the nation prosper.”

Wisdom for God’s People

These points may have the reason that Moses chose to include the motifs in the book of Genesis. These are also a great way to preach and teach today! With God all things are possible. He can lift you up and give your life purpose- even when your past has worked against you. As we conclude with the remainder of Jacob’s timeline, we see this come true.

From Jacob to Israel

I would follow Victor P. Hamilton on his approach to preaching the Jacob story: from Genesis 27:1 – 45 there is the need for transformation. It was bad enough exploiting and stealing the birthright from Esau. But then to deliberately deceive an aged and weak father and to say that God helped him (vs. 20) is to stoop very low.

Genesis 28:10- 32:21 shows us Jacob’s preparation for transformation. Here we find Jacob alone. Aloneness or silence has always been a good spiritual discipline. His deceitful ways are crashing in on him. He is a Bethel. God confronts him in a dream. When Jacob awakes, he was afraid (Gen. 28:17). He is afraid of God, afraid of Laban (vs.31: 31), and afraid of Esau (32:7,11). It is fear spawned by a guilty conscience[8], similar to Adam in the garden –“I heard the sound of you in the garden and I was afraid.” (Gen. 3:10).

Transformation is seen in Genesis 32:22-32. Here Jacob wrestles with God in the form of a man. He has a spiritual awakening. Hamilton points out that Jacob has a “consciousness of weakness” – “ And Jacob’s thigh was put out of joint as he wrestled with him” (Gen 32:25b). We also see a “hunger for God”: “I will not let you go unless you bless me” (vs. 26). We finally see a “confession of unworthiness” : “what is your name?’ and he said ‘Jacob” (27). His problem was his nature. It was not only who he was but what he was. Who wins this match? God. But Jacob gets the benefit. He gets a new name and character. “And He said, “Your name shall no longer be called Jacob, but Israel; for you have struggled with God and with men, and have prevailed.””

(Genesis 32:28). He gets a new power: “ you have prevailed” (vs. 28b). A new blessing “and there he blessed him” (29b). He also reconciles with Esau and the two go their own ways amicably. His transformation works out in everyday life. He was indeed a “prince with God”.

BIBLIOGRAPHY

Books

Alter, Robert. The Five Books of Moses: A Translation and Commentary. New York: W.W. Norton & Company, Inc., 2004.

Brueggemann, Walter., and Tod Linafelt, An Introduction to the Old Testament: The Canon and Christian Imagination, 2nd ed. Louisville, Kentucky: Westminster John Knox Press, 2003.

New King James Version (NKJV). Oxford University Press, Inc., 2002.

Rendsburg, Gary A. The Redaction of Genesis. Winona Lake, Indiana: Eisenbrauns, 1986.

Rodgers, Thomas. Panorama of the Old Testament. Newburgh, Indiana: Trinity Press Publishing, 2012.

Sakenfeld, Katharine Doob, General ed. The New Interpreter’s Dictionary of The Bible, Vol. 1 and Vol. 3. Nashville : Abingdon Press, 2006.

Schultz, Samuel J. The Old Testament Speaks. New York, NY: Harper & Row Publishers, 1960.

Wenham, Gordon J. Genesis 1-15, Word Biblical Commentary, Vol. 1.

Dallas, Texas: Word, Inc. 1991.

Other Sources

Rendsburg , Gary A. “The Book of Genesis”, Lecture notes from CD 6. The Teaching Company, 2006.

[1] Unless otherwise indicated all Bible references in this paper are to the New King James Version (Oxford University Press, Inc., 2002). [2]Bill T. Arnold, Genesis. (New York, NY: Cambridge University Press, 2009), 231. Most of this papers content stems from this commentary as directed from the study guide. [3] Walter Brueggemann and Tod Linafelt, An Introduction to the Old Testament: The Canon and Christian Imagination, 2nd ed. (Louisville, Kentucky: Westminster John Knox Press, 2003), 17. [4] Gary A. Rendsburg, The Redaction of Genesis (Winona Lake, Indiana: Eisenbrauns, 1986), 1-106. [5] Martin J. Buss, “Form Criticism, OT”. The New Interpreter’s Dictionary of The Bible, Vol. 2, General ed. Katharine Doob Sakenfeld (Nashville: Abingdon Press 2007),486. [6]Rodger Dalman, Yahweh’s Song: A Handbook For Understanding Old Testament Historical Theology. (2007), 84-85. http://tolc.trinitysem.edu/file.php/2533/Handouts_and_Manuscript_Resources/Yahwehs_Song_10th_ed_OT_courses.pdf [7]Gary A. Rendsburg , “The Book of Genesis”, Lecture notes from CD 14. The Teaching Company, 2006 [8]Victor P. Hamilton, Handbook on the Pentateuch. (Grand Rapids, MI: Baker Academic, 1982, 2005),112.