Literary Devices – Bereshit 2-3/0

Literary Devices – Bereshit 2-3

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Chiastic Structure I

Structure

The story of Gan Eden can be construed as a chiasm,¹ in which the turning point is the sin of eating from the Tree of Knowledge:  

a) The placement of man in Gan Eden: וַיַּנִּחֵהוּ בְגַן עֵדֶן ‎ (2:15)

b) The naming of animals: וַיִּקְרָא הָאָדָם שֵׁמוֹת לְכׇל הַבְּהֵמָה  ‎(2:19-20)

c) The creation of Chavvah and her close relationship with Adam: וְדָבַק בְּאִשְׁתּוֹ וְהָיוּ לְבָשָׂר אֶחָד ‎(2:22-24)

d) The dialogue between the snake and Chavvah: וַיֹּאמֶר הַנָּחָשׁ אֶל הָאִשָּׁה ‎(3:2-5) 

e) The sin of eating from the tree: וַתִּקַּח מִפִּרְיוֹ וַתֹּאכַל ‎(3:6) 

d') The curse on the relationship between the snake and Chavvah and offspring: וְאֵיבָה אָשִׁית בֵּינְךָ וּבֵין הָאִשָּׁה ‎(3:14-15) 

c') The curse on the relationship between Adam and Chavvah: וְאֶל אִישֵׁךְ תְּשׁוּקָתֵךְ וְהוּא יִמְשׇׁל בָּךְ ‎(3:16) 

b') The naming of Chavvah: ‎וַיִּקְרָא הָאָדָם שֵׁם אִשְׁתּוֹ חַוָּה ‎(3:20)‎

a') The banishment from Gan Eden: וַיְשַׁלְּחֵהוּ י״י אֱלֹהִים מִגַּן עֵדֶן‎ (3:22-23).

Articles

• See Prof. Yonatan Grossman's Chiastic and Concentric Structures where he discusses the above structure, noting that it highlights how in the aftermath of sin, the status quo changes, and earlier relationships are reversed.

Chiastic Structure II

Within the larger narrative, the smaller unit which focuses on the punishment of each of the protagonists (Bereshit 3:9-19) is also set up in a chiastic structure:

a) Hashem confronts Adam, Adam blames Chavvah (verses 9-12)

b) Hashem confronts Chavvah, Chavvah blames snake (vs.13)

c) Hashem confronts and curses the snake (verses 14-15)

b') Hashem curses Chavvah (vs 16)

c') Hashem curses Adam (vs. 17-19)

Hashem’s confrontation of the man, woman, and snake might be presented in this manner to highlight how each figure tries to escape blame by pushing it onto the next, but, in the end, none escape and all reap the consequences of their deeds.

Key Words

Prevalent Words

• Tanakh Lab highlights that the words which occur most frequently in the unit are the names of the main characters: אלהים, אדם, אשה,‎² the verb "אכל" (eat),³ and the nouns "עץ" (tree) and "גן" (garden).⁴ This is somewhat expected as these form the basis of the plot.  One figure, though, is missing from the list, being mentioned only 5 times in the unit -- the snake. This might suggest that, despite his pivotal role, he is really just a secondary character in the story.⁵

Relative Prevalence

When looking at the relative frequency of the words in the unit, another keyword takes on significance.

• עֵירֹם (naked) – See Tanakh Lab that though the word only appears three times in the unit, it is 143 times more prevalent here than elsewhere in Tanakh.  This might suggest that one of the keys to understanding the story of the Tree of Knowledge lies in exploring this theme.

Articles

• For general discussion of the role of secondary characters in Tanakh, see Prof. Uriel Simon's דמויות משניות בתנ"ך.‎ [The article does not touch on snake specifically but gives insight into the various roles played by such characters and what they contribute to the text.]
• For exploration of the importance of the repetition of the root ערם in these chapters, see The Tree of Knowledge and the opinion of Ibn Ezra, Radak and Abarbanel there, who all suggest that the knowledge granted by the tree was sexual desire, which imparted new significance to the notion of nakedness.
• For an overview of the use of key words in the Biblical text, see Martin Buber’s דרכו של מקרא: עיונים בדפוסי-סגנון בתנ”ך.  For some online resources with discussion of the various functions and characteristics of key words and many examples, see The Multi-Purpose ‘Leading Word’ and the Problems of Its Usage and Leitwort by Professor Yonatan Grossman.

Wordplay

"עָרוּם" and "עֵירֹם"

• In his grammatical commentary, Ibn Ezra notes a wordplay between the similar sounding "עֵירֹם" (the keyword discussed above used to describe the unclothed state of Adam and Chavvah) and "עָרוּם" (clever), used to describe of the snake.

Articles

• See R. Zvi Ron's Wordplay in Genesis 2:25-3:1 for discussion of the phenomenon, questioning whether the wordplay is simply aesthetic or if it adds a deeper meaning to the narrative.⁶

Character Titles

י״י אֱלֹהִים (Hashem Elokim)

• Throughout this unit, Hashem is consistently referred to as "י״י אֱלֹהִים".‎⁷ This stands in contrast to Chapter 1, where He is referred to only as "אֱלֹהִים" and to Chapter 4 where the name "י״י" appears alone for the first time.

Articles

• For discussion of the different usages of Hashem's names in the opening chapters of Bereshit, see Bereshit 1–2.

Relationship Epithets

Tanakh is artful in the way it refers to people in relation to each other. Use the Tanakh Lab to trace when Adam and Chavvah are referred to in relationship to each other, and when alone. [Open the Tanakh Lab and click on the word "הָאִשָּׁה" in verse 1, and then on the word "לְאִישָׁהּ" in verse 6 to see all occurrences of each root.]

• In the opening of the story of the sin of the Tree of Knowledge in Chapter 3, Adam is identified as Chavvah’s husband (3:6) and Chavvah as Adam’s wife (3:8). 
• When they are confronted by Hashem, by contrast, Adam refers to Chavvah simply as “הָאִשָּׁה,” the woman, not mentioning any relationship to himself.
• Hashem again refers to Adam as Chavvah’s husband (3:15) and Chavvah as Adam’s wife (3:17) in the context of the curses.

This mechanism perhaps reflects the psychological reality that people often turn against each other in blame during a time of crisis, even if they were partners until that point.  Hashem’s language reminds Adam and Chavvah of their relationship despite their attempts to cast blame on each other.  

Allusion

• Adam’s curse in Bereshit 3:19 (“For you are dust and to dust you will return”) refers back to man’s creation in 2:7 (Hashem, God, formed the man from the dust of the ground ), highlighting the depths to which man has sunk so shortly after his creation by Hashem. 

Parallelism

Parallelism is a literary structure in which adjacent phrases parallel each other.8 Sometimes the purpose is to lend poetic formality to language, as in the curses meted out to Adam, Chavvah, and the snake:

Examples

• Curse to the snake – וְאֵיבָה אָשִׁית בֵּינְךָ וּבֵין הָאִשָּׁה / וּבֵין זַרְעֲךָ וּבֵין זַרְעָהּ / הוּא יְשׁוּפְךָ רֹאשׁ / וְאַתָּה תְּשׁוּפֶנּוּ עָקֵב (Bereshit 3:15)
• Curse to Chavvah – הַרְבָּה אַרְבֶּה עִצְּבוֹנֵךְ וְהֵרֹנֵךְ / בְּעֶצֶב תֵּלְדִי בָנִים / וְאֶל אִישֵׁךְ תְּשׁוּקָתֵךְ / וְהוּא יִמְשׇׁל בָּךְ  (Bereshit 3:16)
• Curse to Adam – אֲרוּרָה הָאֲדָמָה בַּעֲבוּרֶךָ / בְּעִצָּבוֹן תֹּאכְלֶנָּה כֹּל יְמֵי חַיֶּיךָ / וְקוֹץ וְדַרְדַּר תַּצְמִיחַ לָךְ  / וְאָכַלְתָּ אֶת עֵשֶׂב הַשָּׂדֶה (Bereshit 3:17-18)

Articles

• For more information about the nature of Biblical parallelism, see Prof. Mayer I. Gruber’s article The Meaning of Biblical Parallelism: A Biblical Perspective and Prof. Adele Berlin’s Grammatical Aspects of Biblical Parallelism.⁸

¹ Chiastic structure is characterized by repetitive symmetry, in which narrative elements follow an A-B-C-B-A structure, in order to identify the beginning and end of a narrative unit as well as its climax or turning-point.

² Elohim appears 24 times, Adam 23 times and "אשה"‎ 17‎‎ ‎ times.

³ The root appears 21 times.

⁴ The word "עץ" appears 17 times and the word "גן" appears 13 times.

⁵ It should be noted, however, that relative to the mention of snakes throughout Tanakh, the snake is mentioned significantly more times here than elsewhere (77 times more).  Nonetheless, compared to how many times each of the other protagonists are mentioned within the narrative, he is mentioned considerably less (5 times compared to 17-24 times).

⁶ The following articles contain general discussion of wordplay in the Biblical text:

• See Wordplay in Biblical Hebrew: An Eclectic Collection, by Gary A. Rendsburg, for exploration of various forms of Biblical wordplays.
• See Wordplay in Ancient Near Eastern Texts, by Scott B. Noegel, for a book-length treatment of the range of permutations of wordplays in Tanakh and in other Ancient Near Eastern texts.
• See How Translation Obscured the Music and Wordplay of the Bible, by Robert Alter, for an interesting account of Dr. Alter’s efforts to capture the wordplays of the Bible in translation.

⁷ To see this clearly, open the Tanakh Lab, click on the phrase " י״י אֱלֹהִים" and from the drop-down, choose "Highlight Instances".

⁸ Other resources include Prof. Robert Alter’s The Art of Biblical Poetry pp. 3-61, Prof. Adele Berlin’s The Dynamics of Biblical Parallelism, and Prof. James Kugel’s The Idea of Biblical Poetry: Parallelism and Its History.