Difference between revisions of "Literary Devices – Esther 2/0"
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<li><b> Esther versus the maidens</b> - First, note how the beginning of each half opposes its continuation, in other words, how deeply Esther differs from all of the other charming would-be-queens. The narrator devotes much detail to the numerous ways in which the girls could doll themselves up. Whereas the other women took advantage of the full range of possibilities at their disposal, Esther, the narrator reports, asked for nothing. The disparity between the portrait of “each girl’s turn” (v. 12) and Esther’s turn (v. 13) expresses fundamental conflict between the worlds and values of the respective characters.</li> | <li><b> Esther versus the maidens</b> - First, note how the beginning of each half opposes its continuation, in other words, how deeply Esther differs from all of the other charming would-be-queens. The narrator devotes much detail to the numerous ways in which the girls could doll themselves up. Whereas the other women took advantage of the full range of possibilities at their disposal, Esther, the narrator reports, asked for nothing. The disparity between the portrait of “each girl’s turn” (v. 12) and Esther’s turn (v. 13) expresses fundamental conflict between the worlds and values of the respective characters.</li> | ||
<li><b>Esther's success</b> – Esther’s passivity contrasts with her sudden and overwhelming success. The portrait of her success gains additional importance in light of the narrative structure: at fist, Esther finds favor in Hegai’s eyes (v. 9).  Even in v. 15, the narrator develops the events involving Esther by saying: “Esther won favor in the eyes of all who saw her.” Yet in the component that parallels Hegai’s attitude toward Esther, a new verb becomes integrated, quite surprising in the Shushanite context: “The king loved Esther more than all the other women” (v. 17). In light of the narrative’s portrait of the king, his sudden captivation by one of the women surprises the reader and, it seems, wins a point in Esther’s favor.</li> | <li><b>Esther's success</b> – Esther’s passivity contrasts with her sudden and overwhelming success. The portrait of her success gains additional importance in light of the narrative structure: at fist, Esther finds favor in Hegai’s eyes (v. 9).  Even in v. 15, the narrator develops the events involving Esther by saying: “Esther won favor in the eyes of all who saw her.” Yet in the component that parallels Hegai’s attitude toward Esther, a new verb becomes integrated, quite surprising in the Shushanite context: “The king loved Esther more than all the other women” (v. 17). In light of the narrative’s portrait of the king, his sudden captivation by one of the women surprises the reader and, it seems, wins a point in Esther’s favor.</li> | ||
| − | <li><b>Esther's personal tragedy</b> – The unit’s structure and verbal texture also allude to Esther’s personal tragedy.  The narrator mentions Mordecai twice, thereby forming a sort of literary inclusio for the story of Esther in the royal courtyard. Note the verb that the narrator selects in each of these descriptions:לקח.  Mordechai adopted (<span style="color: #ff9900;">לקחה</span>) her as his own daughter.  The verb is soon repeated in the context of Esther's arrival at the palace: “Esther too was taken (<span style="color: #339966;">ותלקח</span>) into the king’s palace”.  Employment of the same verb points the reader’s attention to the hidden tension between these two “takings” and to the personal tragedy that Esther undergoes. </li> | + | <li><b>Esther's personal tragedy</b> – The unit’s structure and verbal texture also allude to Esther’s personal tragedy.  The narrator mentions Mordecai twice, thereby forming a sort of literary inclusio for the story of Esther in the royal courtyard. Note the verb that the narrator selects in each of these descriptions:לקח.  Mordechai adopted (<span style="color: #ff9900;">לקחה</span>) her as his own daughter.  The verb is soon repeated in the context of Esther's arrival at the palace: “Esther too was taken (<span style="color: #339966;">ותלקח</span>) into the king’s palace”.  Employment of the same verb points the reader’s attention to the hidden tension between these two “takings” and to the personal tragedy that Esther undergoes.</li> |
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<tr> | <tr> | ||
| − | <td style="text-align: center;"> אסתר נושאת חן בעיני הגי</td> | + | <td style="text-align: center;"> <span style="color: #008000;">אסתר נושאת חן בעיני הגי</span></td> |
<td>וַתִּיטַב הַנַּעֲרָה בְעֵינָיו <span style="color: #008000;">וַתִּשָּׂא חֶסֶד <b>לְפָנָיו</b></span></td> | <td>וַתִּיטַב הַנַּעֲרָה בְעֵינָיו <span style="color: #008000;">וַתִּשָּׂא חֶסֶד <b>לְפָנָיו</b></span></td> | ||
</tr> | </tr> | ||
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</multilang> | </multilang> | ||
<p> </p> | <p> </p> | ||
| − | <p> | + | <p>The likeness between the two stories is apparent and emphasizes that just as it would be difficult to present the story of Abram and Sarai as a successful Cinderella story, so Esther’s being taken to the king’s palace is more heartbreaking than happy. In essence, a comparison of the two stories shows the tragedy of Esther’s situation even more: after God protects Sarai, she leaves unhurt and returns to Abram’s arms; Esther remains in the Persian king’s palace for the rest of her life.</p> |
</page> | </page> | ||
</aht-xml> | </aht-xml> | ||
Version as of 14:55, 28 February 2015
Literary Devices – Esther 2
Literary Allusions
The description of Achashverosh's search for a wife contains allusions to several other stories:
- David's search for a virgin to keep him warm in his old age (Melakhim I 1:2-4)
- Yosef's gathering of food during the years of famine (Bereshit 41:34-35)
- The embalming of Yaakov (Bereshit 50:3)
EN/HEע/E
| אחשורוש ודוד מבקשים נערה יפה | |
| אסתר ב':ג'-ד', "ד | מלכים א' א':ב'-ד' |
| (ב) וַיֹּאמְרוּ נַעֲרֵי הַמֶּלֶךְ מְשָׁרְתָיו יְבַקְשׁוּ לַמֶּלֶךְ נְעָרוֹת בְּתוּלוֹת טוֹבוֹת מַרְאֶה. | (ב) וַיֹּאמְרוּ לוֹ עֲבָדָיו יְבַקְשׁוּ לַאדֹנִי הַמֶּלֶךְ נַעֲרָה בְתוּלָה וְעָמְדָה לִפְנֵי הַמֶּלֶךְ... |
| ג) וְיַפְקֵד הַמֶּלֶךְ פְּקִידִים בְּכָל מְדִינוֹת מַלְכוּתוֹ וְיִקְבְּצוּ אֶת כָּל נַעֲרָה בְתוּלָה טוֹבַת מַרְאֶה אֶל שׁוּשַׁן הַבִּירָה אֶל בֵּית הַנָּשִׁים... | ג) וַיְבַקְשׁוּ נַעֲרָה יָפָה בְּכֹל גְּבוּל יִשְׂרָאֵל וַיִּמְצְאוּ אֶת אֲבִישַׁג הַשּׁוּנַמִּית וַיָּבִאוּ אֹתָהּ לַמֶּלֶךְ. |
| (יד) בָּעֶרֶב הִיא בָאָה וּבַבֹּקֶר הִיא שָׁבָה אֶל בֵּית הַנָּשִׁים שֵׁנִי אֶל יַד שַׁעַשְׁגַז סְרִיס הַמֶּלֶךְ שֹׁמֵר הַפִּילַגְשִׁים לֹא תָבוֹא עוֹד אֶל הַמֶּלֶךְ כִּי אִם חָפֵץ בָּהּ הַמֶּלֶךְ וְנִקְרְאָה בְשֵׁם. | (ד) וְהַנַּעֲרָה יָפָה עַד מְאֹד וַתְּהִי לַמֶּלֶךְ סֹכֶנֶת וַתְּשָׁרְתֵהוּ וְהַמֶּלֶךְ לֹא יְדָעָהּ. |
EN/HEע/E
| אחשורוש ויוסף אוספים "אוכל" | |
| אסתר ב':ג'-ד' | בראשית מ"א:ל"ד-ל"ה, ל"ז |
| וְיַפְקֵד הַמֶּלֶךְ פְּקִידִים בְּכָל מְדִינוֹת מַלְכוּתוֹ וְיִקְבְּצוּ אֶת כָּל נַעֲרָה בְתוּלָה טוֹבַת מַרְאֶה... אֶל יַד הֵגֶא סְרִיס הַמֶּלֶךְ שֹׁמֵר הַנָּשִׁים ... וַיִּיטַב הַדָּבָר בְּעֵינֵי הַמֶּלֶךְ וַיַּעַשׂ כֵּן. | וְיַפְקֵד פְּקִדִים עַל הָאָרֶץ... וְיִקְבְּצוּ אֶת כָּל אֹכֶל הַשָּׁנִים הַטֹּבוֹת... וְיִצְבְּרוּ בָר תַּחַת יַד פַּרְעֹה אֹכֶל בֶּעָרִים וְשָׁמָרוּ.... וַיִּיטַב הַדָּבָר בְּעֵינֵי פַרְעֹה וּבְעֵינֵי כָּל עֲבָדָיו. |
EN/HEע/E
| הכנות הנערות וחניטת יעקב | |
| אסתר ב':י"ב | בראשית נ':ג' |
| וּבְהַגִּיעַ תֹּר נַעֲרָה וְנַעֲרָה לָבוֹא אֶל הַמֶּלֶךְ אֲחַשְׁוֵרוֹשׁ... כִּי כֵּן יִמְלְאוּ יְמֵי מְרוּקֵיהֶן שִׁשָּׁה חֳדָשִׁים בְּשֶׁמֶן הַמֹּר וְשִׁשָּׁה חֳדָשִׁים בַּבְּשָׂמִים וּבְתַמְרוּקֵי הַנָּשִׁים. | וַיִּמְלְאוּ לוֹ אַרְבָּעִים יוֹם כִּי כֵּן יִמְלְאוּ יְמֵי הַחֲנֻטִים וַיִּבְכּוּ אֹתוֹ מִצְרַיִם שִׁבְעִים יוֹם. |
In all three cases, the similarity in language and uniqueness1 of the phrases employed suggest that these are intentional allusions rather than coincidental parallels. As is often the case, though, it is the differences between the verses which reveal the author's message, a scathing critique of Achashverosh's attitude towards women:
- One woman or all – While King David searched for but one fitting woman (נַעֲרָה יָפָה), Achashverosh gathers unto him all the virgins of the kingdom (כָּל נַעֲרָה). While David does not have relations even with his one final choice (וְהַמֶּלֶךְ לֹא יְדָעָהּ), Achashverosh sleeps with all (בָּעֶרֶב הִיא בָאָה), only to later discard them to be untouched again for the rest of their lives.
- Women and wheat – Achashverosh appoints officers to gather all women to him, while Yosef does the same to collect wheat. The parallel leads to the inevitable conclusion that for Achashverosh, his women were mere food, there to satisfy a hungry appetite.
- Anointing versus embalming – The comparison of the women's preparations to the embalming of Yaakov's corpse suggests that, in Achashevrosh's eyes, these women were not living beings, but just bodies. All the time spent preparing for a potential wedding, was, for most of them, in reality preparation for a lifetime doomed to a harem, a funeral of sorts.
Internal Structure I - Parallel Halves
The chapter can be viewed as composed of two parallel halves:
EN/HEע/E
| נערות שושן | (ב) וַיֹּאמְרוּ נַעֲרֵי הַמֶּלֶךְ מְשָׁרְתָיו יְבַקְשׁוּ לַמֶּלֶךְ נְעָרוֹת בְּתוּלוֹת טוֹבוֹת מַרְאֶה. (ג) וְיַפְקֵד הַמֶּלֶךְ פְּקִידִים בְּכָל מְדִינוֹת מַלְכוּתוֹ וְיִקְבְּצוּ אֶת כׇּל נַעֲרָה בְתוּלָה טוֹבַת מַרְאֶה אֶל שׁוּשַׁן הַבִּירָה אֶל בֵּית הַנָּשִׁים אֶל יַד הֵגֶא סְרִיס הַמֶּלֶךְ שֹׁמֵר הַנָּשִׁים וְנָתוֹן תַּמְרֻקֵיהֶן. | (יב) וּבְהַגִּיעַ תֹּר נַעֲרָה וְנַעֲרָה לָבוֹא אֶל הַמֶּלֶךְ אֲחַשְׁוֵרוֹשׁ מִקֵּץ הֱיוֹת לָהּ כְּדָת הַנָּשִׁים שְׁנֵים עָשָׂר חֹדֶשׁ כִּי כֵּן יִמְלְאוּ יְמֵי מְרוּקֵיהֶן שִׁשָּׁה חֳדָשִׁים בְּשֶׁמֶן הַמֹּר וְשִׁשָּׁה חֳדָשִׁים בַּבְּשָׂמִים וּבְתַמְרוּקֵי הַנָּשִׁים. |
| אסתר, הבת המאומצת | (ז) וַיְהִי אֹמֵן אֶת הֲדַסָּה הִיא אֶסְתֵּר בַּת דֹּדוֹ כִּי אֵין לָהּ אָב וָאֵם וְהַנַּעֲרָה יְפַת תֹּאַר וְטוֹבַת מַרְאֶה וּבְמוֹת אָבִיהָ וְאִמָּהּ לְקָחָהּ מׇרְדֳּכַי לוֹ לְבַת. | (טו) וּבְהַגִּיעַ תֹּר אֶסְתֵּר בַּת אֲבִיחַיִל דֹּד מׇרְדֳּכַי אֲשֶׁר לָקַח לוֹ לְבַת לָבוֹא אֶל הַמֶּלֶךְ לֹא בִקְשָׁה דָּבָר כִּי אִם אֶת אֲשֶׁר יֹאמַר הֵגַי סְרִיס הַמֶּלֶךְ שֹׁמֵר הַנָּשִׁים וַתְּהִי אֶסְתֵּר נֹשֵׂאת חֵן בְּעֵינֵי כׇּל רֹאֶיהָ. |
| לקיחת אסתר | (ח) וַיְהִי בְּהִשָּׁמַע דְּבַר הַמֶּלֶךְ וְדָתוֹ וּבְהִקָּבֵץ נְעָרוֹת רַבּוֹת אֶל שׁוּשַׁן הַבִּירָה אֶל יַד הֵגָי וַתִּלָּקַח אֶסְתֵּר אֶל בֵּית הַמֶּלֶךְ אֶל יַד הֵגַי שֹׁמֵר הַנָּשִׁים. | (טז) וַתִּלָּקַח אֶסְתֵּר אֶל הַמֶּלֶךְ אֲחַשְׁוֵרוֹשׁ אֶל בֵּית מַלְכוּתוֹ בַּחֹדֶשׁ הָעֲשִׂירִי הוּא חֹדֶשׁ טֵבֵת בִּשְׁנַת שֶׁבַע לְמַלְכוּתוֹ. |
| "נושאת חן וחסד" | (ט) וַתִּיטַב הַנַּעֲרָה בְעֵינָיו וַתִּשָּׂא חֶסֶד לְפָנָיו וַיְבַהֵל אֶת תַּמְרוּקֶיהָ וְאֶת מָנוֹתֶהָ לָתֵת לָהּ וְאֵת שֶׁבַע הַנְּעָרוֹת הָרְאֻיוֹת לָתֶת לָהּ מִבֵּית הַמֶּלֶךְ וַיְשַׁנֶּהָ וְאֶת נַעֲרוֹתֶיהָ לְטוֹב בֵּית הַנָּשִׁים. | (יז) וַיֶּאֱהַב הַמֶּלֶךְ אֶת אֶסְתֵּר מִכׇּל הַנָּשִׁים וַתִּשָּׂא חֵן וָחֶסֶד לְפָנָיו מִכׇּל הַבְּתוּלוֹת וַיָּשֶׂם כֶּתֶר מַלְכוּת בְּרֹאשָׁהּ וַיַּמְלִיכֶהָ תַּחַת וַשְׁתִּי... |
| "אֵין אֶסְתֵּר מַגֶּדֶת מוֹלַדְתָּהּ" | (י) לֹא הִגִּידָה אֶסְתֵּר אֶת עַמָּהּ וְאֶת מוֹלַדְתָּהּ כִּי מׇרְדֳּכַי צִוָּה עָלֶיהָ אֲשֶׁר לֹא תַגִּיד. (יא) וּבְכׇל יוֹם וָיוֹם מׇרְדֳּכַי מִתְהַלֵּךְ לִפְנֵי חֲצַר בֵּית הַנָּשִׁים לָדַעַת אֶת שְׁלוֹם אֶסְתֵּר וּמַה יֵּעָשֶׂה בָּהּ. | (יט) וּבְהִקָּבֵץ בְּתוּלוֹת שֵׁנִית וּמׇרְדֳּכַי יֹשֵׁב בְּשַׁעַר הַמֶּלֶךְ. (כ) אֵין אֶסְתֵּר מַגֶּדֶת מוֹלַדְתָּהּ וְאֶת עַמָּהּ כַּאֲשֶׁר צִוָּה עָלֶיהָ מׇרְדֳּכָי וְאֶת מַאֲמַר מׇרְדֳּכַי אֶסְתֵּר עֹשָׂה כַּאֲשֶׁר הָיְתָה בְאׇמְנָה אִתּוֹ. |
- Shushan’s maidens – The opening section of each half focuses on Shushan's maidens, not mentioning Esther at all. In the first half, the king’s young servants propose gathering young girls and letting them “be provided with cosmetics, whereas the parallel segment describes the idea in action – the gathering of the girls and a detailed description of the period spent on beautifying them.
- Esther, the adopted daughter – After describing all of the girls, the narrator shifts to a discussion of Esther and her special relationship to Mordechai. This is appropriate in the first half, the exposition of the characters. The repetition of this information in the description of Esther’s turn, in the parallel segment of the second half, surprises the reader. The repeated expression “who had adopted her as his own daughter” especially emphasizes the relationship between Esther and her cousin.
- The taking of Esther - The next stage, in both halves, describes the taking of Esther. In the first half, Esther is taken under the supervision of Hegai and in the second half, she comes even nearer the king, being taken to his royal palace.
- Finding favor –The reactions of the men who Esther encounters are similar: Esther wins the favor of each. Note the development hinted at here: in the first half, Esther “won the favor” of Hegai, whereas in the second half, she “won the grace and favor” of the king. Moreover, the king “loves” Esther; the narrator uses a verb that conveys particularly strong emotion
- Hiding of nationality – The big surprise of this scene arises at the end of each half, with the repetition of the description of Esther’s relationship to Mordecai. In the first half, Esther refuses to divulge her nationality because of Mordechai’s demands, and even in the second half – after Esther’s election as queen – Esther continues obeying Mordechai. Here, the narrator emphasizes their connection in a most obvious manner: “as she had done when she was under his tutelage”
The literary structure of this representation intimates several messages hidden under the formal narrative surface:
- Esther versus the maidens - First, note how the beginning of each half opposes its continuation, in other words, how deeply Esther differs from all of the other charming would-be-queens. The narrator devotes much detail to the numerous ways in which the girls could doll themselves up. Whereas the other women took advantage of the full range of possibilities at their disposal, Esther, the narrator reports, asked for nothing. The disparity between the portrait of “each girl’s turn” (v. 12) and Esther’s turn (v. 13) expresses fundamental conflict between the worlds and values of the respective characters.
- Esther's success – Esther’s passivity contrasts with her sudden and overwhelming success. The portrait of her success gains additional importance in light of the narrative structure: at fist, Esther finds favor in Hegai’s eyes (v. 9). Even in v. 15, the narrator develops the events involving Esther by saying: “Esther won favor in the eyes of all who saw her.” Yet in the component that parallels Hegai’s attitude toward Esther, a new verb becomes integrated, quite surprising in the Shushanite context: “The king loved Esther more than all the other women” (v. 17). In light of the narrative’s portrait of the king, his sudden captivation by one of the women surprises the reader and, it seems, wins a point in Esther’s favor.
- Esther's personal tragedy – The unit’s structure and verbal texture also allude to Esther’s personal tragedy. The narrator mentions Mordecai twice, thereby forming a sort of literary inclusio for the story of Esther in the royal courtyard. Note the verb that the narrator selects in each of these descriptions:לקח. Mordechai adopted (לקחה) her as his own daughter. The verb is soon repeated in the context of Esther's arrival at the palace: “Esther too was taken (ותלקח) into the king’s palace”. Employment of the same verb points the reader’s attention to the hidden tension between these two “takings” and to the personal tragedy that Esther undergoes.
Internal Structure II - Chiasm
One can alternatively view the chapter as a chiasm, where the chapter has an a-b-c-b-a structure:
EN/HEע/E
| חיפוש תחליף לושתי | וְהַנַּעֲרָה אֲשֶׁר תִּיטַב בְּעֵינֵי הַמֶּלֶךְ תִּמְלֹךְ תַּחַת וַשְׁתִּי |
| לקיחת אסתר לבית המלך | וַתִּלָּקַח אֶסְתֵּר אֶל בֵּית הַמֶּלֶךְ אֶל יַד הֵגַי שֹׁמֵר הַנָּשִׁים |
| אסתר נושאת חן בעיני הגי | וַתִּיטַב הַנַּעֲרָה בְעֵינָיו וַתִּשָּׂא חֶסֶד לְפָנָיו |
| אופן כניסת כל נערה ונערה אל המלך | וּבְהַגִּיעַ תֹּר נַעֲרָה וְנַעֲרָה לָבוֹא אֶל הַמֶּלֶךְ אֲחַשְׁוֵרוֹשׁ ... אֵת כָּל אֲשֶׁר תֹּאמַר יִנָּתֵן לָהּ לָבוֹא עִמָּהּ |
| הכניסה אל המלך | בָּעֶרֶב הִיא בָאָה וּבַבֹּקֶר הִיא שָׁבָה |
| אופן כניסת אסתר אל המלך | וּבְהַגִּיעַ תֹּר אֶסְתֵּר בַּת אֲבִיחַיִל דֹּד מָרְדֳּכַי אֲשֶׁר לָקַח לוֹ לְבַת לָבוֹא אֶל הַמֶּלֶךְ לֹא בִקְשָׁה דָּבָר |
| אסתר נשאת חן בעיני כל ראיה | וַתְּהִי אֶסְתֵּר נֹשֵׂאת חֵן בְּעֵינֵי כָּל רֹאֶיהָ |
| לקיחת אסתר לבית המלך | וַתִּלָּקַח אֶסְתֵּר אֶל הַמֶּלֶךְ אֲחַשְׁוֵרוֹשׁ אֶל בֵּית מַלְכוּתוֹ |
| מציאת התחליף לושתי | וַיֶּאֱהַב הַמֶּלֶךְ אֶת אֶסְתֵּר מִכָּל הַנָּשִׁים וַתִּשָּׂא חֵן וָחֶסֶד לְפָנָיו מִכָּל הַבְּתוּלֹת ... וַיַּמְלִיכֶהָ תַּחַת וַשְׁתִּי |
The story of the choosing of a new queen is built upon a chiastic structure which serves to highlight how Esther surpassed expectations in becoming Queen, differentiating herself from the other contestants.
- From pleasure to love – While the king looked to replace Vashti with "one who would please him", in the end he "loves Esther." Esther thus moves from under the supervision of Hegai, closer to the king.
- Gracing all – At first, Esther only finds favor in the eyes of Hegai, by the second half of the story she graces all who see her.
- Esther versus Persian maidens – The structure also highlights the vast gap between Esther and the other maidens. Most of the women, immersed in the superficiality of Persian culture, take advantage of the spices and make up at their disposal, immersing themselves for months. Esther, though, does not ask for anything.
Parallel Stories
Esther’s personal tragedy stands out in the comparison between this scene and a similar story in Genesis, the taking of Sarah:
EN/HEע/E
| לקיחת אסתר לבית המלך (אסתר ב') | לקיחת שרי לבית פרעה (בראשית י"ב) | |
| קשרי משפחה בין בעל ואישה | וַיְהִי אֹמֵן אֶת הֲדַסָּה הִיא אֶסְתֵּר בַּת דֹּדוֹ כִּי אֵין לָהּ אָב וָאֵם... (ב:ז) | וַיִּקַּח אַבְרָם וְנָחוֹר לָהֶם נָשִׁים שֵׁם אֵשֶׁת אַבְרָם שָׂרָי (יא:כט) |
| משפחה אשר גולה מארצה | אֲשֶׁר הׇגְלָה מִירוּשָׁלַיִם עִם הַגֹּלָה אֲשֶׁר הׇגְלְתָה עִם יְכׇנְיָה מֶלֶךְ יְהוּדָה (ב:ו) | וַיֵּרֶד אַבְרָם מִצְרַיְמָה לָגוּר שָׁם (יב:יא) |
| תיאור האשה כיפת מראה | וְהַנַּעֲרָה יְפַת תֹּאַר וְטוֹבַת מַרְאֶה (ב:ז) | וַיֹּאמֶר אֶל שָׂרַי אִשְׁתּוֹ הִנֵּה נָא יָדַעְתִּי כִּי אִשָּׁה יְפַת מַרְאֶה אָתְּ. (יב:יא) |
| משרתי המלך מעודדים אולו לקחת לו אישה | וַיֹּאמְרוּ נַעֲרֵי הַמֶּלֶךְ מְשָׁרְתָיו יְבַקְשׁוּ לַמֶּלֶךְ נְעָרוֹת בְּתוּלוֹת טוֹבוֹת מַרְאֶה (ב:ב) | וַיִּרְאוּ אֹתָהּ שָׂרֵי פַרְעֹה וַיְהַלְלוּ אֹתָהּ אֶל פַּרְעֹה (יב:טו) |
| בקשה מאת האישה לבל תחשוף את זהותה | לֹא הִגִּידָה אֶסְתֵּר אֶת עַמָּהּ וְאֶת מוֹלַדְתָּהּ כִּי מׇרְדֳּכַי צִוָּה עָלֶיהָ אֲשֶׁר לֹא תַגִּיד (ב:י) | אִמְרִי נָא אֲחֹתִי אָתְּ (יב:יג) |
| לקיחת האשה לארמון | וַתִּלָּקַח אֶסְתֵּר אֶל בֵּית הַמֶּלֶךְ (ב:ח) | תֻּקַּח הָאִשָּׁה בֵּית פַּרְעֹה (יב:טו) |
| המלך משפיע מתנות על האיש | וּמׇרְדֳּכַי יָצָא מִלִּפְנֵי הַמֶּלֶךְ בִּלְבוּשׁ מַלְכוּת תְּכֵלֶת וָחוּר וַעֲטֶרֶת זָהָב גְּדוֹלָה וְתַכְרִיךְ בּוּץ וְאַרְגָּמָן (ח:טו) | וּלְאַבְרָם הֵיטִיב בַּעֲבוּרָהּ וַיְהִי לוֹ צֹאן וּבָקָר וַחֲמֹרִים וַעֲבָדִים וּשְׁפָחֹת וַאֲתֹנֹת וּגְמַלִּים (יב:טז) |
| המלך מגלה את הקשר בין האיש ואישה | וּמׇרְדֳּכַי בָּא לִפְנֵי הַמֶּלֶךְ כִּי הִגִּידָה אֶסְתֵּר מַה הוּא לָהּ. (ח:א) | וַיֹּאמֶר מַה זֹּאת עָשִׂיתָ לִּי לָמָּה לֹא הִגַּדְתָּ לִּי כִּי אִשְׁתְּךָ הִוא.(יב:יח) |
| Taking of Esther to Achashverosh' Palace: Esther 2 | Taking of Sarai to Paroh's Palace: Bereshit 12 | |
| Family relations between husband and wife | He was foster father to Hadassah—that is, Esther— his uncle’s daughter... and when her father and mother died, Mordecai adopted her as his own daughter (2:7) | Abram and Nahor took to themselves wives, the name of Abram’s wife being Sarai (11:29). |
| A family exiled from its land | Who had been exiled from Jerusalem in the group that was carried into exile along with King Jeconiah of Judah (2:6) | Abram went down to Egypt to sojourn there (12:10) |
| Description of the woman as beautiful | The maiden was shapely and beautiful (יפת תאר וטובת מראה) and when her father and mother died, Mordechai adopted her as his own daughter (2:7) | I know what a beautiful woman (יפת מראה) you are (12:11) |
| The king’s servants encourage him to take a wife | The king’s servants who attended him said, “Let beautiful young virgins be sought out for Your Majesty” (2:2) | Paroh’s courtiers saw her and praised her to Paroh (12:15) |
| Man’s request of the woman not to reveal her identity or connection to him | Esther did not reveal her people or her kindred, for Mordechai had told her not to reveal it (2:10) | Please say that you are my sister (12:13) |
| Taking of the woman to the king’s palace | Esther too was taken into the king’s palace (2:8) | ...the woman was taken into Pharaoh’s palace (12:15) |
| The king bestows wealth on the man who dissociates himself from the woman | Mordechai left the king’s presence in royal robes of blue and white, with a magnifient crown of gold and a mantle of fie linen and purple wool (8:15) | And because of her, it went well with Abram; he acquired sheep, oxen, asses, male and female slaves, sheasses, and camels 12:16) |
| At the end of the story, the king engages in dialogue with the man | Mordechai presented himself to the king (8:1) | Paroh sent for Abram and said . . . (12:18) |
| The king discovers the hidden connection between the man and the woman | for Esther had revealed (הגידה) how he was related to her (8:1) | Why did you not tell me (הגדת לי) that she was your wife? (12:18) |
The likeness between the two stories is apparent and emphasizes that just as it would be difficult to present the story of Abram and Sarai as a successful Cinderella story, so Esther’s being taken to the king’s palace is more heartbreaking than happy. In essence, a comparison of the two stories shows the tragedy of Esther’s situation even more: after God protects Sarai, she leaves unhurt and returns to Abram’s arms; Esther remains in the Persian king’s palace for the rest of her life.
