religions Article

Metaphors in the Wisdom Literature of the Hebrew Bible and Contemporary Art Bálint Károly Zabán Kisszántó Ungarische Reformierte Kirche, No. 116, Jud. Bihor, 417077 Santaul Mic, Romania; [email protected] or [email protected]; Tel.: +44-786-763-4279; +40-742-224-108 Academic Editors: Katharine J. Dell and Arthur J. Keefer Received: 30 April 2016; Accepted: 25 July 2016; Published: 29 August 2016

Abstract: Biblical wisdom literature is a treasure-trove of powerful metaphors. This article presents a sample of these metaphors and their significant impact on contemporary artwork. The impact is characterized by both appropriation and adaptation, similitude and analogy, respectively. The highlighted metaphors are not merely catalogued but, more or less, analyzed with regard to relevant contemporary artwork. This augments the importance of contemporary biblical literacy analysis and uses it as one of the tools by which it is possible to gauge the impact and interaction, in this case, of the metaphor-world of the wisdom tradition on contemporary art. More importantly, however, this study underscores the relevance of these metaphors for biblical exegesis, hermeneutics, and theology. The analysis of the reception of these metaphors in contemporary artworks undergirds and informs the process of interpretation. The reception of these metaphors in their contemporary art contexts is best understood within the framework of imagery and imagistic language. Metaphor, as a subset of imagery and imagistic language, is foundational for the examined wisdom books, Proverbs, Job, and Qoheleth, and for the relevant contemporary artwork, alike. Moreover, metaphor also constitutes a bridge between the ancient and contemporary context. With this backdrop in mind, this article argues for the necessity of exploring the connections between these wisdom books, metaphor studies, and contemporary artwork. Keywords: metaphor; wisdom; contemporary; art; image; imagery; literature; theology

1. Introduction The purpose of the current article is to discover some of the ways in which the metaphors of the wisdom literature of the Hebrew Bible have been plied in contemporary art. The three building blocks of the treatment are summarily alluded to here. First, the elaboration of the purpose, per se, is prefaced by a brief presentation of the history of scholarship pertaining to the hermeneutics of the wisdom literature. As it is shown, the history of scholarship, in its hermeneutical aims, tends to emphasize the presence and relevance of metaphors within the wisdom literature. This section stresses the necessity of exploring the metaphor-world of the wisdom literature in convergence with other topics or textual, linguistic, semantic, pragmatic, and theological interests, etc. This necessity also pertains to the impact on contemporary biblical literacy. Second, the interaction of the metaphor-world of the wisdom literature and contemporary art is investigated in a separate section. In terms of metaphors considered, the investigation focuses chiefly on three wisdom books found in the Hebrew Bible, namely the book of Proverbs, Job, and Qoheleth. Third, the article concludes with a brief analysis of the consequences of the interaction of metaphors within the wisdom literature and contemporary art.

Religions 2016, 7, 106; doi:10.3390/rel7090106

www.mdpi.com/journal/religions

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History of Wisdom Scholarship and Metaphors Quid est veritas? The question still persists with regard to a whole range of subject matter, some of which include the definition of wisdom in the context of the Hebrew Bible, the definition of metaphors in general, and in biblical scholarship, and, not in the least, the definition of contemporary art. Even if the definitive truth cannot be formulated with regard to the triumvirate of the aforementioned items, verifiable truth claims can certainly be pronounced. For quite a long period, the wisdom literature of the Hebrew Bible was overshadowed by an understandably intense preoccupation with the law and the prophetic corpus respectively. Moreover, at one point some scholars even asserted that the wisdom literature is a Fremdkörper, that is, a strange corpus in the Hebrew Bible [1]. Nevertheless, partly as a result of a two-fold process, a more worthwhile interest in the wisdom literature commenced following the impact of Gerhard Von Rad’s book Weisheit in Israel [2]. This two-fold process was marked, on one hand, by the publication of a few major and novel interpretations of the wisdom literature and, on the other hand, by a mushrooming of specific studies dedicated to the examination and appreciation of the poetry of the Hebrew Bible. This latter aspect was perhaps partly influenced by the form criticism and beyond stage, marked by the emergence of rhetorical criticism. Consequently, scholarship became interested in investigating the abovementioned salient features, one of which is metaphor. During the time that biblical scholarship focused on employing other beneficial methods in the hermeneutical process of biblical texts, such as historical, literary, transmission historical, redaction historical, form, and traditio-historical criticism, various truth claims and facts about the metaphors were somewhat marginalised. Currently, fresh theories with respect to the definition of metaphors in general, spurred by the scholarship of the past few decades, offer sundry truth claims. These truth claims do not settle all of the issues revolving around the definition and function of metaphors. Nonetheless, they highlight the avenues into areas which have been somewhat unexplored territories before. The various theories of metaphor with their cascading effect had a major impact on biblical studies. It was perhaps the arrival of the form criticism and beyond stage that properly heralded the ascendancy of the interest in metaphors and poetics, in biblical narrative and poetry alike [3]. This stage in biblical academics resulted in the creation of the exegetical, respectively hermeneutical, method designated as rhetorical criticism. This method, with a specific focus on the rhetorics of Hebrew Bible texts, impinged on scholarship to discover the literary beauties inherent in these texts. Rhetorics, poetical devices, and literary art in biblical texts have become salient features of the hermeneutical enterprise. Scholars also advanced additional methods and approaches, which were roughly in line with the aims and outworkings of the aforementioned rhetorical criticism. One such method is rhetorical analysis, which is to be differentiated from rhetorical criticism [4]. At present, the study of metaphors and the methodological and exegetical application of various metaphor theories on biblical texts is an ever-growing research area. This process has already generated studies concerned with the narrative and poetry of the Hebrew Bible. Moreover, since a significant part of Hebrew Bible poetry is also classified as wisdom literature, this surge in mutual influence and cooperation constitutes a stimulating period for wisdom literature and metaphor study alike. Nonetheless, the abovementioned application ought to converge with other topics and textual, linguistic, semantic, pragmatic, and theological interests, etc. This step is necessary to avoid the trap of metaphormania [5], which would make this application an autotelic enterprise. Apart from the books of Proverbs, Job, and Qoheleth, wisdom, as a genre element in Hebrew Bible texts, is not restricted to these three books. Moreover, at one stage it was thought to crop up almost everywhere in the Hebrew Bible, resulting in a sophiamania. This tendency had to be curbed by the development of a criteria system as an aid in the process of determining the influence of wisdom upon not strictly sapiential texts [6]. Still, it may be possible to make note of the overarching presence of the wisdom genre in the Hebrew Bible, the LXX and apocryphal texts without falling into the trap of sophiamania. Therefore, this inquest recognizes the presence of similar metaphors in the wisdom

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texts and/or wisdom-like fragments of other books of the Hebrew Bible and the LXX. It also makes references to apocryphal wisdom books, such as Sirach. Some academics defined the book of Proverbs as containing early or traditional wisdom. This proverbial wisdom propagates a cause-and-effect relationship, Tun-Ergehen Zusammenhang, according to which good things befall the good and bad things befall the bad. When such a linkage ceased to operate consistently and harmoniously, it thrust the audience into a conundrum. This conundrum is then explored in the books of Job and Qoheleth. Job and Qoheleth, along with their metaphors, should be read in conjunction with Proverbs. Moreover, Job and Qoheleth partly operate as a canonical corrective to an overreading of Proverbs [7]. Therefore, the metaphors in Proverbs may be viewed as somewhat more confident in their tone. Robert Alter remarked that “in Proverbs, didactic points are frequently made through sharp thrusts of wit in the metaphors” [8]. In places even Proverbs hints at the imperfection of this sin-tainted world. The son might be enticed by sinners, who lie in wait for blood (1:8–19), or by the Strange Woman, who lures him into promiscuity (2:16–19; 5:1–6). The son might desert the wife of his youth and elope with a more arousing woman (5:15–20). There might be no guidance for a nation (11:14), or there might be a cruel man who hurts himself (11:17b). A marriage might suffer, when one has to live with a quarrelsome spouse (21:9, 19). In Job and Qoheleth, these, and even graver, imperfections of human existence become a sourer reality and personal experience. While Proverbs is the handbook preparing partly for success and partly for existential struggle, Job and Qoheleth are immersed in existential struggle. 2. Metaphors in the Wisdom Literature of the Hebrew Bible and Contemporary Art A correlation between metaphors and artwork may be established through the terms imagery and image. Moreover, these key terms also provide a framework within which this correlation may be explored. Still, as B. A. Strawn highlights, both key terms are notoriously slippery in the realm of literature. In poetic theory they appear in so many contexts that W. Mitchell thinks that “‘it may well be impossible to provide any rational systematic account of their usage’” [9]. As opposed to being a deterrent, this is rather a confirmation of the relevance and ubiquity of imagery. According to a social psychologist: “‘We live on images’” ([9], p. 306). Nonetheless, the complexity in interpreting poetry in general, metaphors and artwork orbit around understanding imagery. Therefore, the key term imagery may be analysed with regard to texts, but also in connection to artwork ([9], p. 306). At this point, what is of greater interest here is that imagery is a complex phenomenon and can be subdivided into particular categories. There are several theories which explain how images function and, correlatively, how best to interpret them. Many scholars, e.g., Louis Alonso-Schökel, purport that imagery operates chiefly as a means of comparison. According to W. Watson: “The essence of imagery is the juxtaposition of two different levels of meaning.” ([9], p. 307). Oliver claims that: “Imagery means, generally the representation of one thing by another thing,” and poetic language overall is “the language of one thing compared to another thing.” ([9], p. 307). Resemblance may be identified between these descriptions of imagery and the way metaphor works if only because metaphor is a subset of imagery. Metaphor studies can also offer valuable knowledge concerning the interpretation of imagery. “Similarities are also seen, however, between imagery as fundamentally comparison—with reference to metaphor especially, including both the like and the unlike (see Ricoeur)—and how some scholars have characterized the nature of Hebrew parallelism.” ([9], p. 307). Furthermore, A. Berlin claims that parallelism itself is like metaphor and, thus, imagery, and vice versa [10]. Sensitivity to juxtaposition and comparison and interpreting them properly is vital for an acceptable understanding of imagery. Since metaphor is a subset of imagistic language, its realm is the perfect place to examine interpretation ([9], p. 307). Such keywords as like, unlike, juxtaposition, and comparison have been circulated here to allude to the understanding of image, imagery, and metaphor. These, and other terms, are also important

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in the process of defining metaphor on its own and, vis-à-vis, artwork. Other keywords may be mentioned, which are related to various metaphor definition theories. A Hungarian scholar, Piroska Kocsány, formulated, summarily, perhaps one of the most incisive critiques of these metaphor theories. Apparently, “the concept of metaphor in the history of rhetorics, through turnings and twistings, seems to be returning to the Aristotelian point of departure. The most important stops of this story, may be schematically presented as follows: (a) (b) (c) (d)

The metaphor in antiquity: from transference/transposition to brief similitude. The metaphor as substitution/replacement: the pitfall of structuralism. The metaphor as interaction: the snare of metaphorical revelation. The metaphor as concept-transference/transposition: the detour of conceptual metaphor.” [11].

This latter concept reverts to the foundation of similitude, analogy, to the topic of establishing the common marks/signs. Irma Szikszainé Nagy noted that, through these remarks, Kocsány also formulated the directives of further research: “The uniqueness and surprisingness of metaphors can be explained only through an approach, which interprets metaphors as a semiotic process, as a dynamic mark/sign and strives in the jointness of the object, respectively image/picture element to deal with the purpose and weight of similitude and analogy” ([11], p. 443). Hereby, the aim is to underscore the oscillation of metaphor definition, regarding itself and regarding artwork. The purpose is also to show that the trail of metaphor definition seems to be returning to the Aristotelian point of departure, which is similitude and analogy [12]. In consequence, the examples given in the succeeding chapters operate on the lines of the keywords similitude and analogy. The interaction of the metaphor-world of the Bible in general and of its wisdom literature in particular with classical art, has been amply explored [13,14]. The relationship between classical and contemporary art and whether there is or is not a philosophical and ideological continuity between the two, has also been subjected to intense debate1 . While this latter issue is still pending, it is undeniable that the metaphor-world of the Bible, in general, and of the wisdom tradition makes its impact on contemporary art and performs an interaction with it. The tool of biblical literacy is used here to investigate this impact and interaction. The interest of this tool lies not merely in the listing of metaphors found in the wisdom literature and then being mentioned or (re)used in contemporary art. The tool has also vested interest in determining the impact of this reference and usage and in examining possible changes made to these metaphors in their novel, contemporary art contexts. Therefore, the metaphors found in the three major wisdom books, that is Proverbs, Job, and Qoheleth, are presented at the same time as their reference and usage in contemporary art contexts. Obviously, the understanding of what is contemporary will always be in flux, anchored in the present with a starting date that moves forward. Moreover, the works the Contemporary Art Society, bought in 1910, in the year it was established by the critique Roger Fry, can hardly be labelled as contemporary [17]. Therefore, the dates of the contemporary artworks alluded to here, might slightly extend to the period prior to 1910. The lion’s share of the examples, which is not exhaustive by all means, includes mainly fine art and literature illustrations and one sitcom example, generally called contemporary. The method used in the selection of the examples was motivated mainly by two reasons. First, to bring a couple of examples of wisdom metaphors related mainly to fine art and belles lettres

1

See further Francis A. Schaeffer [15] and also his Art and the Bible [16].

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illustrations. Second, to foreground examples which, in some shape or form, are significant in the writer’s historical and cultural context. Obviously, other examples could be mentioned. 2.1. Metaphors in Proverbs and Contemporary Art

The dating of Proverbs is a complex enterprise and nowadays few scholars attempt to deal with this subject. Nonetheless, there is a scholarly consensus regarding the presence of traditional Religions 2016, 7, 106 Religions 2016, 7, 106 5 of 14 ns 2016, 7, 106 5 of 14 ons 2016, 7, 106 5 ofgenre 14 wisdom in Proverbs. This is foundational for understanding the wisdom of the Hebrew Bible. Concomitantly, the wisdom and the metaphors employed by it may be adumbrated severalwisdom is ground categories, in namely, namely,is wisdom is grounded inof the fear of wisdom the Lord, wisdom is preoccupied with ories, categories, namely, grounded fear of the Lord, wisdom is preoccupied with gories, namely, wisdom wisdom is in the fear the Lord, is preoccupied with categories, namely, wisdom is grounded in the fear of the Lord, wisdom is preoccupied with discerning discerning the order that the Lord has bu the the order thathas thebuilt Lordinto hascreation, built into creation, etc. The of themay metaphors may be rning discerning the Lord creation, etc. The majority majority ofmajority the metaphors may be spotted, erning theorder order that that Lord etc. The the metaphors be and/or mapped on the the the order that the Lord has built into creation, etc. of The majority of the metaphors maygrouped, be spotted, spotted,and/or grouped, and/or basis of these22..categories2. 2 ed, mapped onmapped themapped basison these categories ted,grouped, grouped, and/or mapped ofthe these grouped, and/or on thecategories basis of these categories . 2.1.1. Fine Art: Tivadar Csontváry Koszt 2.1.1. Fine Art: Tivadar Csontváry Kosztka’s The Lonely Cedar andtoto Pilgrimage 1.Fine FineArt: Art:Tivadar Tivadar Csontváry Lonely and the Csontváry Kosztka’s Lonely Cedar Cedar and Pilgrimage Pilgrimage theCedars Cedars ofthe Cedarstoofthe Lebanon 2.1.1. Fine Art: TivadarThe Csontváry Kosztka’s The Lonely Cedar andtoof Pilgrimage CedarsPaintings of Lebanon Paintings Lebanon Paintings nonPaintings Paintings non One may start with two paintings One with may start with paintings the Hungarian avant-garde painter Tivadar Csontváry One may may start start with two two paintings the Hungarian avant-garde painter Csontváry Onepaintings maytwo start with twoby paintings by the Hungarian avant-garde painter Tivadarentitled Csontváry Kosztka, The Lonely Cedar and P One by Hungarian avant-garde painter Tivadar Tivadar Csontváry Kosztka, entitled The Lonely Cedar and to Pilgrimage toof Cedars of Lebanon [19]. Albeit theAlbeit authenticity ztka, entitled The Lonely Cedar the Lebanon Albeit authenticity of athe supposed precursor Kosztka, entitled The Lonely Cedar and Pilgrimage to[19]. the Cedars Lebanon [19]. authenticity of of these paintin tka, entitled The Lonely Cedar and Pilgrimage the Cedars Cedars ofthe Lebanon [19]. Albeitofthe the authenticity of a supposed precursor of these paintings, The Tree of Life, is under scrutiny, both aforementioned works (re)use, amongst supposed precursor of these paintings, The Tree of Life, is under scrutiny, both aforementioned a supposed The Treescrutiny, of Life, isboth under scrutiny, both aforementioned works other metaphor supposed precursor of these precursor of these paintings, of Life, is under aforementioned represents the universe [20]. The tree of works (re)use, amongst other metaphors, theof metaphor of the Tree of Tree Life, which ks(re)use, (re)use, amongst other metaphors, the chiefly metaphor the Tree which of Life (re)use, amongst other metaphors, chiefly the metaphor of the Tree of Life, TreeofofLife Life represents ks amongst other metaphors, chiefly metaphor of the Tree of ofLife, Life, which Tree ofwhich Life Tree of context Proverbsofas reflected by th esentsrepresents the universe universe [20]. The tree tree of The life, aa of metaphor, be encountered ininthe the universe [20]. tree metaphor, be in wisdom the universe [20]. Theas tree oflife, life,as asaacan metaphor, can bealso alsoencountered encountered inthe thecontext wisdom esents the [20]. The of life, as metaphor, can be also alsocan encountered thewisdom wisdom δένδρον ζωῆς in ext of Proverbs as reflected by the equivalent expression tree of life, ‫ם‬ ‫י‬ ִ ‫יּ‬ ‫ח‬ ַ ‫ֵץ‬ ‫ע‬ , in the BHS, context of Proverbs as reflected by the equivalent expression tree of life, ‫ם‬ ‫י‬ ִ ‫יּ‬ ‫ח‬ ַ ‫ֵץ‬ ‫ע‬ , in the BHS, δένδρον Proverbs as reflected by the equivalent expression in the the LXX (ξύλον ζωῆς ext of Proverbs as reflected by the equivalent expression tree oftree life,of life, ‫עֵץ ַחיִּים‬, in the BHS, [21]. In a more recent δρον ζωῆς in the LXX (ξύλον ζωῆς inin3:18) in the Tg (c.f. 3:18; 11:30; 13:12; 15:4) ζωῆςin inthe theLXX LXX(ξύλον ζωῆςin 3:18)and and‫דחיי‬ ‫אילנאדחיי‬ ‫אילנא‬in the (c.f. 3:18; 11:30; 13:12; 15:4)[21]. [21].InInaamore recent study of this bibl ρον ζωῆς 3:18) and ‫דחיי‬ ‫אילנא‬ inin the TgTg (c.f. 11:30; 13:12; 15:4) LXX ( (ξύλονζωῆς 3:18) and the Tg (c.f. 3:18; 13:12; 15:4) scholarly view: Inaa more more recent study of this biblical metaphor, Karolien Vermeulen reappraised the earlier morerecent recentstudy studyof ofthis this biblical metaphor, Karolien Vermeulen reappraised the earlier scholarly In study of this biblical metaphor, Karolien Vermeulen reappraised the earlier biblical metaphor, Karolien Vermeulen reappraised the earlier scholarly view: olarly view: view: arly view: “…, the tree of life introduced in P “ . . . , the tree of life introduced in Prov 3:18 as a metaphor explicitly connects itself with tree of life as represen the model “…,the thetree tree of life life introduced introduced in Prov Prov 3:18inas aa metaphor connects itself with “…, the tree ofmodel life introduced 3:18 as aexplicitly metaphor explicitly connects itselfan with “…, of in asProv metaphor explicitly itself withwith the tree of 3:18 life as represented in Genesisconnects 2–3 and in general ancient, mainly mainly Mesopotamian concept of the model modelthe treemodel of life lifetree as represented represented in 2–3 and in 2–3 general with an of life as represented in Genesis andgiving in general with an ancient, the tree of as in Genesis Genesis 2–3 and general with anancient, ancient, Mesopotamian concept of sacred treesinand life plants. mainlyMesopotamian Mesopotamian concept of of sacred sacred and giving The new tree and its predecesso mainly Mesopotamian concepttrees of sacred trees andplants. life giving plants. mainly concept trees and life life giving plants. The new tree and its predecessors are bound by thematic and verbal parallels. The stories stories merge wisdom/knowledge The new new tree tree and its predecessors are bound by thematic and verbal parallels. The Theand newits tree and its predecessors are bound by thematic and verbal parallels. The The predecessors are bound by thematic and verbal parallels. The merge wisdom/knowledge and immortality. storiesmerge merge wisdom/knowledge and immortality. The tree of metaphor in Proverbs s stories merge wisdom/knowledge and immortality. stories wisdom/knowledge and immortality. The tree of metaphor in Proverbs stands for a blend of things covering longevity, health, and wisdom. immortality The tree ofThe metaphor in Proverbsinstands for astands blend of things covering longevity, health, tree of metaphor Proverbs for a blend of things covering longevity, health, immortality and wisdom. The tree of metaphor in Proverbs stands for a blend of things covering longevity, health, Whereas previous research favou immortality and wisdom. and wisdom. immortalityimmortality and wisdom. Whereas previous research favoured a unidirectional, demythologized reading of the the…tree of life is a c metaphor, Whereas previous research favoured a.favoured unidirectional, demythologized reading of the metaphor, the . . tree of life is a complex and inclusive image. It draws on a strong Whereas previous research a unidirectional, demythologized reading of the Whereas previous research favoured a unidirectional, demythologized reading of the mythological symbol and incorpor metaphor, the…tree mythological of life is a complex inclusive It draws adraws strong symbol and incorporates its connotations final the…tree life is aand complex andimage. inclusive image.on Itin onmessage. a strongIt deals morewith than a tree of life; it deals wi metaphor, metaphor, the…tree of life is aofcomplex and inclusive image. It draws on athe strong mythological symbol and incorporates its connotations in the final message. It deals with more than a tree of life; it deals with the tree of life.” [22]. mythological symbol and incorporates its connotations in the final message. It deals with mythological symbol and incorporates its connotations in the final message. It deals with The mythological aspect of the more than a treethan of life; it deals with the tree of life.” [22].of life.” [22]. a tree of life; it deals with the tree more than amore tree of life; deals with the tree of [22]. metaphor may be compared with Csontváry’s mythological allusions. In The Lonely C Theitmythological aspect of life.” the biblical mythological The mythological aspect of the biblical metaphor may be compared with Csontváry’s relationship of Hungarians with cultures The mythological aspect of the biblical metaphor may be compared with Csontváry’s The Lonely Csontváry’s ideas about thewith genesis, Urreligion and relationship of The mythologicalallusions. aspect ofIn the biblicalCedar, metaphor may be compared Csontváry’s hological allusions. In The Lonely Cedar, Csontváry’s ideas about the genesis, Urreligion and Tree of Life as a symbol of the universe mythological allusions. In The Lonely Cedar, ideas about theUrreligion genesis, Urreligion andTree of Life as with cultures from theCsontváry’s East areabout amalgamated with the Urmythologie of the hological allusions.Hungarians In The Lonely Cedar, Csontváry’s ideas the genesis, and tionship of Hungarians with cultures from the East are amalgamated with the Urmythologie of the exclaimed that divine Providence would relationship of Hungarians with cultures from the East are amalgamated with the Urmythologie of the a symbol of the universe, respectively with the ars poetica of the artist. Csontváry exclaimed that onship of Hungarians with cultures from the East are amalgamated with the Urmythologie of the of Life as a symbol of the universe, respectively with the ars poetica of the artist. Csontváry thousand year old cedar from the Mount Life divine as of a symbol of thewould universe, respectively with the ars poetica of Csontváry the five artist. Providence not let him rest spurred him paint this or Csontváry six-thousand year old of Life Tree as aofsymbol the universe, respectively with the and ars poetica of thetoartist. aimed that divine Providence would not let him rest and spurred him to paint this five or six- of the painting are not autotelic, but for exclaimed divine letand him restvisit and him to five paint this six-painting are cedar from Providence the Mount Lebanon, his tospurred the Land. Theor symbolics of the imed that divinethat Providence would notofwould let himnot restduring spurred him to Holy paint this six-five or usand year old cedar from the Mount of Lebanon, during his visit to the Holy Land. The symbolics noted that this cedar brandishes one of it thousand year old cedar from the Mount of Lebanon, during his visit to the Holy Land. The symbolics not autotelic, but formulate a message to the society of his time. Csontváry also noted that this cedar sand year old cedar from the Mount of Lebanon, during his visit to the Holy Land. The symbolics he painting are not autotelic, but formulate a message to the society of his time. Csontváry also about the cataclysmic end of humanity of theare painting are notbut autotelic, but aformulate atomessage tothe the society ofCsontváry his time.visions Csontváry brandishes one of its branches as a sword against Apocalyptic the cataclysmic edpainting not autotelic, message the society ofworld. his time. also aboutalso that this cedar brandishes one offormulate its branches as a sword against the world. Apocalyptic visions contemporaries. The magic of reviving i noted thatbrandishes this brandishes one of itsas branches as a sword the world. visions The magic endcedar of humanity were topics which occurred inthe theagainst works Apocalyptic of many ofApocalyptic his contemporaries. d that this cedar one of its branches a sword against world. visions ut the cataclysmic end of humanity were topics which occurred in the works of many of his light and, so far unseen, totality of colo about the cataclysmic end ofpainting humanity were topics whichinoccurred in the works many of unseen, his of reviving in this is reified by occurred the colour-dynamics, shades of light so far totality temporaries. the cataclysmic end of topics which the works of many ofofand, his The magic of humanity reviving inwere this painting is reified by the colour-dynamics, shades of created such a perfect system of col contemporaries. The magic of reviving in message this painting is the reified byCsontváry the colour-dynamics, shades of system of of colours. For expressing the of the painting, created such a perfect emporaries. The magic of reviving in this painting is reified by colour-dynamics, shades of t and, so far unseen, totality of colours. For expressing the message of the painting, Csontváry understanding of the highest creating an light so far unseen, totality of colours. For expressing the message of theCsontváry painting, Csontváry and,such so faraand, unseen, expressing message the gazer painting, In the Pilgrimage to the Cedars of Leba ted perfect totality system of ofcolours. colour, For form and line,thewhich bidsofthe towards the created such system a perfect of colour, and line, which bids the gazer towards the ed such a ofperfect of system colour, form and form line, erstanding the highest creating and creative Power [23]. which bids the gazer towards the with the twin tree-trunk is surrounded 2 understanding of the highest creating and creative Power [23]. rstanding of the highest and creative Power For acreating more taxonomical enumeration of as theametaphors in Prov 1–9, seeThe further [18]. ceremony [24]. Some animals also featur In the Pilgrimage to the Cedars ofcomplete Lebanon the cedar also [23]. occurs symbol of the artist. cedar In the Pilgrimage to the Cedars of Lebanon the cedar also occurs as a symbol of the artist. thetwin Pilgrimage to the is Cedars of Lebanon cedar also occurs as rites a symbol the artist. The cedar BHScedar the equivalent expression is ‫רז אַ דִּ יר‬ hInthe tree-trunk surrounded bythe humans enacting the of anofancient festivity or The with the twin tree-trunk is surrounded by humans enacting the rites of an ancient festivity or the twin tree-trunk is surrounded by humans enacting the rites of an ancient festivity or the mountain height of Israel (Ezek 17:23 mony [24]. Some animals also feature in the painting, which might recall the majestic cedar (in the ceremony [24]. Some animals also feature in the painting, which might recall the majestic cedar (in the mony [24]. Some animals also feature in the painting, which might recall the majestic cedar (in the the equivalent expression is ‫אֶ ֶרז אַ דִּ יר‬, in the LXX is κέδρον μεγάλην and ‫ ארזָא ָר ָמא‬in the Tg) on kinds of birds. BHSheight the equivalent expression is ‫יר‬the ִ‫אַ דּ‬BHS/LXX ‫אֶ ֶרז‬, in the LXX is κέδρον μεγάλην ‫ ָמא‬the ‫ָא ָר‬many ‫ ארז‬on in the Tg) on Furthermore, Vermeulen’s aboveme the equivalent expression is ‫דִּ יר‬17:23 ַ‫אֶ ֶרז א‬in , inthe LXX is κέδρον μεγάλην and ‫מא‬which ָ ‫זָא ָר‬and ‫אר‬shelters in Tg) mountain of Israel (Ezek and 17:22 in the Tg), the mountain height of Israel (Ezek 17:23 in the BHS/LXX and 17:22 in the Tg), which shelters many Life, with its emphasis on wisdom, k mountain height of Israel (Ezek 17:23 in the BHS/LXX and 17:22 in the Tg), which shelters many ds of birds. kinds of birds. Romváry’s comments regarding the sym sFurthermore, of birds. Vermeulen’s abovementioned interpretation of the biblical metaphor of the Tree of

exclaimed not let let him him rest rest and and spurred spurred him him to to paint paint this thisfive fiveor orsixsixthat divine divine Providence would not exclaimed that thousand year old cedar from the Mount of Lebanon, during his visit to the Holy Land. The symbolics thousand year old cedar Lebanon, during his visit to the Holy Land. The symbolics of formulate aa message message to to the the society society of of his his time. time.Csontváry Csontváryalso also the painting painting are are not not autotelic, but formulate of the noted branches as as aa sword swordagainst againstthe theworld. world.Apocalyptic Apocalypticvisions visions that this this cedar cedar brandishes brandishes one of its branches noted that about the were topics topics which which occurred occurred in in the the works works of of many many of his the cataclysmic cataclysmic end of humanity were Religions about 2016, 7, 106 6 ofof 14 his contemporaries. The magic of reviving in this painting is reified by the colour-dynamics, shades of contemporaries. The magic this painting is reified by the colour-dynamics, shades of light For expressing expressing the the message message of of the the painting, painting,Csontváry Csontváry and, so so far far unseen, unseen, totality of colours. For light and, such perfect form and line, line, which whichofbids bids the gazer gazer towards the colour,created form and line,aawhich the gazer towards the and understanding the highest creating and the such perfectbids created system of colour, form the towards creative Power Power [23]. [23]. of the the highest highest creating and creative understanding creativeunderstanding Power [23]. of In to the Cedars of Lebanon as aa symbol symbol ofartist. the artist. artist. The cedar In the the Pilgrimage Pilgrimage the cedar also occurs as of the cedar In the Pilgrimage to the Cedars of Lebanon the cedar also occurs as a symbol of the TheThe cedar thetree-trunk twin tree-trunk tree-trunk with the twin by humans humans enacting the rites rites ofancient an ancient ancient festivity or with is surrounded by enacting the of an festivity with the twin is surrounded by humans enacting the rites of an festivity or or [24]. Some Some animals which might ceremony feature the painting, majestic cedar (in ceremony [24]. animals thepainting, painting,which might recall the majestic cedar (inthe the ceremony [24]. Some animals alsoalso feature in in the mightrecall recallthe the majestic cedar the equivalent equivalent expression expression is BHS the in in the BHS the equivalent in the the LXX LXX is is κέδρον κέδρον μεγάλην μεγάληνand and ‫ארזזָאָא ָרָר ָמ ָמאא‬ ‫ אר‬in inthe theTg) Tg)on on (in the BHS expression is ‫אֶ ֶרז אַ דִּ יר‬,, in the LXX is and Tg) the mountain height of Israel (Ezek 17:23 in the BHS/LXX and 17:22 in the Tg), which shelters many the the BHS/LXX 17:22 in Tg), the Tg), which shelters many on the mountain height of Israel (Ezek 17:23 in the BHS/LXX andand 17:22 in the which shelters many of birds. kinds kinds of birds. kinds of birds. Furthermore, Vermeulen’s abovementioned interpretation the metaphor of Furthermore, Vermeulen’s abovementioned interpretation ofbiblical thebiblical biblical metaphor ofthe theTree Tree Furthermore, Vermeulen’s abovementioned interpretation of theof metaphor of the Tree of ofof with its its emphasis emphasis on wisdom, knowledge, Life, and immortality, resonates well with Ferenc Life, with knowledge, and immortality, resonates well with Ferenc Life, with its emphasis on wisdom, knowledge, and immortality, resonates well with Ferenc Romváry’s Romváry’s of the Pilgrimage to ofofLebanon ReligionsRomváry’s 2016,7, 7,106 106 comments regarding the symbols of14 14 Religions 2016, 66of symbols to ofthe theCedars Pilgrimage to the the Cedars Cedars Lebanonpainting: painting: comments regarding the symbols of the Pilgrimage of Lebanon painting:

“[Thecedar cedarisis isa]a] a]tree treeof oflife. life.In Inaddition addition to to this this itit is is also also an an ancient ancient source...An eagle is is “[The cedar tree of life. In addition eagle “[The ancient source...An 222 For aa more more complete complete taxonomical taxonomical enumeration enumeration of of the the metaphors metaphors in in Prov 1–9, see further [18]. For in Prov Prov1–9, 1–9,see seefurther further[18]. [18]. perchedon onthe thetree treeon onthe theleft, left,[which [whichis] is]the thesymbol symbol of of wisdom, wisdom, knowledge knowledge and of the the perched on the tree on the left, [which is] the symbol perched knowledge and of spirit”([25], ([25],p.p. p.132). 132). spirit” ([25], 132). spirit” Next,two twoadditional additionalexamples examplesof ofmetaphors metaphorsare areexamined examinedin ingreater greaterdetail. detail.These Theseare areembedded embedded Next, two additional examples of metaphors are examined in greater detail. These are embedded Next, intheir theirHebrew HebrewBible Bibleand andcontemporary contemporary art art contexts contexts respectively. respectively.The Thefirst firstone, one, the the knife knife to to the the throat, throat, in their Hebrew Bible and contemporary art contexts The first one, the knife in respectively. to the throat, is a visual metaphor for appetite curbing or endangering one’s life by demonstrating a large appetite. is a visual metaphor for appetite curbing or endangering one’s life by demonstrating a large appetite. is a visual metaphor for appetite curbing or endangering one’s life by demonstrating a large appetite. Thesecond secondexample examplepresents presentstwo twoextended, extended,ontological ontologicalmetaphors metaphorsconcerning concerningthe theparadoxical paradoxicalwise wise The second example presents two extended, ontological metaphors concerning the paradoxical wise The and the paradoxical fool. and the paradoxical fool. and the paradoxical fool. 2.1.2. The The Knife Knife to to the theThroat ThroatMetaphor Metaphor 2.1.2. Throat Metaphor 2.1.2. Proverbs 23:1–11 23:1–11 echoes echoes an an ancient ancientwisdom wisdomtext, text,the theTeaching Teachingofof ofAmenemope. Amenemope. Admonitions Admonitions Proverbs 23:1–11 echoes an ancient wisdom text, the Teaching Amenemope. Admonitions Proverbs concerning table manners are on display in other ancient wisdom texts, like the Instruction toKagemni, Kagemni, concerning table table manners manners are are on on display display in other ancient wisdom texts, like the Instruction to concerning theInstruction Instructionof ofPtahhotep Ptahhotepand andthe theabovementioned abovementionedAmenemope. Amenemope.Elaborate Elaboratedirections directionsconcerning concerning the Instruction of Ptahhotep and the abovementioned Amenemope. Elaborate directions concerning the table manners are also dealt with in the apocryphal Jewish wisdom book Sirach (31:12–32:13). This table manners are also dealt with in the apocryphal Jewish wisdom book Sirach (31:12–32:13). table manners are also dealt with in the apocryphal Jewish wisdom book Sirach (31:12–32:13). This This was was well-known topic in wisdom wisdom tradition. Apparently, the conclusions tobe bedrawn drawnregarding regardingthe the aa well-known in tradition. Apparently, conclusions be drawn regarding the awas well-known topictopic in wisdom tradition. Apparently, thethe conclusions toto social status status of diner are somewhat speculative. InIn verse 1, it it makes makes little difference whether the social verse 1, little difference whether the social of the the diner dinerare aresomewhat somewhatspeculative. speculative.In verse 1, it makes little difference whether caveat is to toisconsider consider the food food or the the proprietor. Probably bothboth are envisioned envisioned in the the injunction. The caveat is the or Probably both are in The the caveat to consider the food or proprietor. the proprietor. Probably are envisioned ininjunction. the injunction. proprietor may be seen seen as probing probing the visitant (see further 23:3). In verse 2, the visual visual metaphor metaphor of of proprietor may be as the visitant (see of The proprietor may be seen as probing the visitant (seefurther further23:3). 23:3).In Inverse verse2, 2,the the knife to the throat (the equivalent expression in the BHS is ‫ע‬ ‫ְֹל‬ ‫בּ‬ ‫ִין‬ ‫כּ‬ ַ‫שׂ‬ and in the Tg is ‫בלועך‬ ‫סכינא‬ ‫ֶךׇ‬ the knife to the throat (the equivalent expression in the BHS is ‫ע‬ ‫ְֹל‬ ‫בּ‬ ‫ִין‬ ‫כּ‬ ַ‫שׂ‬ and in the Tg is ‫בלועך‬ ‫סכינא‬ ‫ֶךׇ‬ the knife to the throat (the equivalent expression in the BHS is and in the Tg is ))) has been decoded in at least two ways: curb the appetite, or endanger one’s life by gluttony. The first has been been decoded decoded in in at at least least two two ways: ways: curb curb the the appetite, appetite, or or endanger endanger one’s one’s life life by by gluttony. gluttony. The The first first has interpretation seems seems more more plausible. plausible. In In verse verse 3, 3, the the deceptive deceptive food food is isambiguous; ambiguous; it may point pointto tothe the interpretation seems more plausible. deceptive is ambiguous; itit may may point to the interpretation In verse 3, the food unpleasant effects of gobbling, or signal the fact that the victual is not promotive to good health. unpleasant effects of gobbling, or signal the fact that the victual is not promotive to good health. unpleasant effects of gobbling, or signal the fact that the victual is not promotive to good health. Nevertheless,itititmore morelikely likelyalludes alludesto tothe thewily wilycharacter characterof ofthe theproprietor, proprietor,who whois istesting testingthe thecharacter character Nevertheless, more likely alludes to the wily character of the who is testing the character Nevertheless, proprietor, of the visitant. Hence, the victual can be deemed deceptive because it does not serve the aim ofhealth health of the visitant. Hence, the victual can be deemed deceptive because it does not serve the aim of health of the visitant. Hence, the victual can be deemed deceptive because it does not serve the aim of or taste, but is employed for private intent by the proprietor [26]. This visual metaphor of the knife to or taste, but is employed for private intent by the proprietor [26]. This visual metaphor of the knife to or taste, but is employed for private intent by the proprietor [26]. This visual metaphor of the knife to thethroat throatisis isrecommended recommendedasas asaaanecessity necessity by the sages to foil the temptations inviting the wise to join join the throat recommended necessity by the sages foil the temptations inviting wise to the by the sages toto foil the temptations inviting thethe wise to join in in ruthless gluttonies. in ruthless gluttonies. ruthless gluttonies. Ashort shortepisode episodein inThe TheSimpsons Simpsonsfeatures features a dream dream of Homer’s that he is the the legendary Solomon, A short episode in The Simpsons features Homer’s that legendary Solomon, A a adream ofof Homer’s that hehe is is the legendary Solomon, in in the the royal court with the means to exercise justice. He isasked askedtoto tosettle settlean anargument argumentbetween betweenLenny Lenny in royal court with means exercise justice. He asked settle an argument between Lenny the royal court with thethe means toto exercise justice. He isis and Carl, Carl, who who both bothassert assertownership ownership of ofaaapie. pie. In In the the original original story story (1 (1Kings Kings3:16–28), 3:16–28), two twofemale female and Carl, who both assert ownership of pie. In the original story (1 Kings 3:16–28), two female and prostitutesassert asserttheir theirownership ownershipover overan aninfant. infant. Solomon Solomon demands demands aaablade, blade,pronouncing pronouncing that thatthe the prostitutes assert their ownership over an infant. Solomon demands blade, pronouncing that the prostitutes live infant must be sliced in two, with each woman receiving half the child. The maternal instincts of live infant must be sliced in two, with each woman receiving half the child. The maternal instincts of live infant must be sliced in two, with each woman receiving half the child. The maternal instincts the biological mother become manifest as she intercedes for the infant’s survival. The decision the biological mother become manifest as she intercedes for the infant’s survival. The decision is of the biological mother become manifest as she intercedes for the infant’s survival. The decision isis interpretedas asbuttressing buttressingSolomon’s Solomon’swisdom. wisdom. interpreted as buttressing Solomon’s wisdom. interpreted In The Simpson’s version, the baby isreplaced replacedby byaaapie. pie.As Asopposed opposedto toSolomon, Solomon,Homer’s Homer’sdecision decision In The Simpson’s version, the baby is replaced by pie. As to Solomon, Homer’s decision In The Simpson’s version, the baby is opposed is governed by ruthless gluttony: is governed governed by by ruthless ruthless gluttony: gluttony: is “The pie shall be cut in two, two, and each man shall receive…death. I’ll eat eat the pie.” ([27], p. “The pie shall each man shall receive…death. pie.” ([27], p. “The pie shall bebe cutcut in in two, andand each man shall receive . . . death. I’ll I’ll eat the the pie.” ([27], p. 158). 158). 158). The Simpsons Simpsons parody parody eradicates eradicates the the women women altogether altogether from from the the scene scene and and supplants supplants them them with with The male figures. figures. By By this this the the object object of of Homer’s Homer’s craving, craving, the the pie, pie, is is made made central, central, thereby thereby stressing stressing the the male satirical effect effect of of Homer’s Homer’s gluttony gluttony hampering hampering his his capability capability to to make make wise wise judgments. judgments. As As opposed opposed to to satirical the visual visual metaphor metaphor of of the the knife knife to to the the throat throat in in Prov Prov 23:1–3, 23:1–3, here here one one encounters encounters the the visual visual metaphor metaphor the

Religions 2016, 7, 106

7 of 14

The Simpsons parody eradicates the women altogether from the scene and supplants them with male figures. By this the object of Homer’s craving, the pie, is made central, thereby stressing the satirical effect of Homer’s gluttony hampering his capability to make wise judgments. As opposed to the visual metaphor of the knife to the throat in Prov 23:1–3, here one encounters the visual metaphor of the knife to the pie, with no child to die, just a pie to be gobbled up in haste. While the first metaphor is designed to foil the temptations of ruthless gluttony from empowering one, the second metaphor is contrived to lure one into wallowing in it. This is no proof to the fact that the author of the sitcom made any deliberate use of this particular wisdom metaphor. Nevertheless, it might be feasible to suggest that the irony in both metaphors and their discourse-contexts allows for a possible analogy between the ancient text and the modern sitcom. In Prov 23:1–3 the metaphor and its discourse-context suggests Religions 2016, 7, 106 7of of Religions 2016, 7, 106 Religions 2016, 7, 106 7of 14 Religions 2016, 7, 106 7of of 14 Religions 2016, 7, 106possibility of the wise becoming unwise, unless the knife is applied to the7777of 71414 ofIn 14The Simpsons Religions 2016, 7, 106 of 14 Religions 2016, 7, 106 714 of Religions 2016, 7, 106 14 eligions 2016, 7, 106 the 14 throat. the wise has already become unwise by giving way to gluttony. Is the Israelite paragon of wisdom, for the wise to become unwise? In both contexts metaphor and irony alike may function atactic tactic ininfor for the wise to become unwise? In both contexts metaphor and irony alike may function as aaas tactic in for the wise to become unwise? In both contexts metaphor and irony alike may function as atactic in for the wise to become unwise? In both contexts metaphor and irony alike may function as atactic in for the wise to become unwise? In both contexts metaphor and irony alike may function as ain tactic in the wise to or the wise to become unwise? In both contexts metaphor and irony alike may function as in for the wise to become unwise? In both contexts and irony alike may function atactic tactic for the wise to become unwise? In both contexts metaphor and irony alike may function as in or the wise to become unwise? In both contexts metaphor and irony alike may function as aaas tactic Solomon, always presented like ametaphor wise or sometimes like an unwise? Is it possible ageneral general strategy to suggest something more or other than what is expressed [28]. In spite of the strategy to suggest something more or other than what is expressed [28]. In spite of the strategy to suggest something more or other than what expressed [28]. In spite of ageneral strategy to suggest something more or other than what is expressed [28]. In spite of the a general strategy to suggest something more or other than what is expressed [28]. In spite of aaaageneral general strategy to suggest something more or other than what is expressed [28]. In spite of the ageneral general strategy to suggest something more or other than what is expressed [28]. In spite of thethe in a general general strategy to suggest something more or other than what isis expressed [28]. In spite of the strategy to suggest something more or other than what is expressed [28]. In spite of the become unwise? In both contexts metaphor and irony alike may function as athe tactic ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. ostensible effort to conceal meaning, irony is a means of revelatory language. stensible effort to strategy conceal meaning, is a means of or revelatory language. to suggestirony something more other than what is expressed [28]. In spite of the ostensible effort to conceal meaning, irony is ajudgments means of revelatory language. “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative “It reveals by asking the reader to make judgments and decisions about the relative value of stated and intended meanings, drawing the reader into its vision of truth, so value of stated and intended meanings, drawing the reader into its vision of truth, so value of stated and intended meanings, drawing the reader into its vision of truth, so value of stated and intended meanings, drawing the reader into its vision of truth, so value of stated and intended meanings, drawing the reader into its vision of truth, value of stated and intended meanings, drawing the reader into its vision of truth, so value of stated and intended meanings, drawing the reader into its vision of truth, soso value of stated and intended meanings, drawing the reader into its vision of truth, value of stated and meanings, the reader into its vision of truth,about soso “Itintended reveals by asking thedrawing reader to make judgments and decisions the relative value that when the reader finally understands, he or she becomes amember member of the that when the reader finally understands, he or she becomes of the that when the reader finally understands, he or she becomes of the that when the reader finally understands, he or she becomes amember member of the that when the reader finally understands, he or she becomes amember member of that when the reader finally understands, he or she becomes of the that when the reader finally understands, he or she becomes amember of thethe that when the reader finally understands, he or she becomes member of the that when the reader finally understands, he or she becomes aaaaamember of the of stated and intended meanings, drawing the reader into its vision of truth, so that when community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, constituted by those who also followed the author’s community that shares that vision, by who also followed the the reader finally constituted understands, hethose or she becomes a member ofauthor’s the community that shares lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], p. xiii). lead.” ([29], xiii). lead.” ([29], p.p.xiii). that vision, constituted by those who also followed the author’s lead.” ([29], p. xiii).

2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and Wise, 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and .1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical Wise, and 2.1.3. Belles Lettres: Friedrich Dürrenmatt’s Die Physiker, the Möbius Strip, the Paradoxical the Paradoxical Fool the Paradoxical Fool the Paradoxical Fool the Paradoxical Fool the Paradoxical Fool he Paradoxical Fool the Paradoxical Fool the Paradoxical Fool he Paradoxical Fool and the Paradoxical Fool

With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, the interface of theological intentionality With regard to Solomon, the icon of Israelite wisdom, interface of theological intentionality With regard to Solomon, the icon of the Israelite wisdom, the interface ofintentionality theological intentionality and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what the and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what the and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what the and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what the and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what and ironic articulation of the Hebrew Bible narratives related to him and, I would add, what the ironic articulation of the Hebrew narratives related to him and, I to would add, what thethe andand ironic articulation ofthe theHebrew Hebrew Bible narratives related him and, would add, what the nd ironic articulation Bible narratives related totohim and, I Iwould add, what the andofironic articulation ofBible the Hebrew Bible narratives related him and, I would add, what the wisdom tradition attributes to him in Proverbs, is seminal. The intricate complexities of the texts inin in of the texts wisdom tradition attributes to him in Proverbs, is seminal. The intricate complexities of the texts in wisdom tradition attributes to him in Proverbs, seminal. The intricate complexities of the texts in wisdom tradition attributes to him in Proverbs, is The intricate complexities of the texts in wisdom tradition attributes to him in Proverbs, is The intricate complexities of the texts wisdom tradition attributes to him in Proverbs, is seminal. The intricate complexities of the texts in wisdom tradition attributes to him in Proverbs, isseminal. seminal. The intricate complexities of the texts wisdom tradition attributes to him in Proverbs, isis seminal. The intricate complexities of the texts in wisdom tradition attributes to him in Proverbs, is seminal. The intricate complexities of the texts in wisdom tradition attributes to him inseminal. Proverbs, is seminal. The intricate complexities question propose, first, aparadoxical, paradoxical, then ironical Solomon, whose picture is tainted in places with question propose, first, then ironical Solomon, whose picture is tainted in places with question propose, first, aparadoxical, then ironical Solomon, whose picture tainted in places with question propose, first, aparadoxical, then Solomon, whose picture is in places with question propose, apropose, paradoxical, then ironical Solomon, whose picture is tainted in places question propose, first, then ironical Solomon, whose picture is tainted in places with question propose, first, aparadoxical, paradoxical, then ironical Solomon, whose picture istainted tainted in places with question propose, first, aparadoxical, paradoxical, then ironical Solomon, whose picture isis tainted in places with uestion propose, first, aaafirst, then ironical Solomon, whose picture is tainted in places with in question first, aironical paradoxical, then ironical Solomon, whose picture is with tainted in places aproclivity proclivity of living on the verge of becoming afool. fool. As much as wisdom was areality reality in Solomon’s proclivity of living on the verge of becoming fool. As much as wisdom was reality in Solomon’s aproclivity of living on the verge of becoming afool. As much as wisdom was areality in Solomon’s aproclivity of living on the verge of becoming athe As much as wisdom was areality in Solomon’s a proclivity of living on the verge of becoming aAs fool. As much as wisdom was a reality in Solomon’s aaaproclivity of living on verge of becoming As much as wisdom was in Solomon’s aproclivity proclivity of living on the verge of becoming afool. fool. As much as wisdom was areality reality in Solomon’s of living on the verge of becoming fool. As much as wisdom was in Solomon’s of living on the verge of becoming aaaafool. much as wisdom aaaareality in Solomon’s with athe proclivity of living on verge of becoming awas fool. As much as wisdom was a reality in personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here ersonality and demeanour, so too was the reality of lapsing into foolishness. It is suggested here Solomon’s personality and demeanour, so too was the reality of lapsing into foolishness. It is suggested that, especially Proverbs, in some instances of metaphor display, impinges on showcasing the that, especially Proverbs, in some instances of metaphor display, impinges on showcasing the that, especially Proverbs, in some instances of metaphor display, impinges on showcasing the that, especially Proverbs, in some instances of metaphor display, impinges on showcasing the that, especially Proverbs, insome some instances ofmetaphor metaphor display, impinges on showcasing the hat, especially Proverbs, in some instances of metaphor display, impinges on showcasing the that, especially Proverbs, in instances of display, impinges on showcasing theshowcasing that, especially Proverbs, in some instances of metaphor display, impinges on showcasing the hat, especially Proverbs, in some instances of metaphor display, on showcasing the here that, especially Proverbs, in some instances ofimpinges metaphor display, impinges on the paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into aradoxical nature of the wise and of the fools. While the wise in some cases can easily lapse into paradoxical nature of the wise and of the fools. While the wise in some cases can easily foolishness, equally fools might resort to dangling and flaunting aluxurious luxurious proverb from their foolishness, equally fools might resort to dangling and flaunting from their foolishness, equally fools might resort to dangling and flaunting luxurious proverb from their foolishness, equally fools might resort to dangling and flaunting aluxurious proverb from their foolishness, equally fools might resort to dangling and flaunting a luxurious proverb from theirtheir mouths. oolishness, equally fools might resort to dangling and flaunting luxurious proverb from their foolishness, equally fools might resort to dangling and flaunting aluxurious luxurious proverb from their foolishness, equally fools might resort to dangling and flaunting proverb from their oolishness, equally fools might resort to dangling and flaunting aaaaaluxurious proverb from their foolishness, equally fools might resort to dangling and flaunting aproverb luxurious proverb from mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This This section mouths. To corroborate this point, Proverbs 25:26–28 – 26:1–12 may be adduced as an example. This mouths. To corroborate point, Proverbs 25:26–28 – 26:1–12 may be adduced asexample. an example. This mouths. Tocorroborate corroborate thisthis point, Proverbs 25:26–28 –26:1–12 26:1–12 adduced asan an example. This mouths. To this point, Proverbs 25:26–28 –25:26–28 may bebeadduced To corroborate this point, Proverbs –may 26:1–12 may beasadduced as anThis example. section may be viewed apericope pericope if the conceptual target domain, the topic of the wise gambling section may be viewed as aaas conceptual target domain, the topic of the wise gambling section may be viewed as apericope the conceptual target domain, the topic of the wise gambling section may be viewed as apericope ifthe conceptual target domain, the topic of the wise gambling section may be viewed as a pericope if the target domain, the topic of the wise gambling ection may be viewed as the conceptual target domain, the topic of the wise gambling section may be viewed apericope pericope ifthe the conceptual target domain, the topic of the wise gambling section may be viewed as pericope the conceptual target domain, the topic of the wise gambling ection may be viewed as aaas pericope the conceptual domain, the topic of the wise gambling may be viewed as ifif aififif pericope ifconceptual the target conceptual target domain, the topic of the wise gambling away away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given away his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged wisdom is given way his wisdom (25:26–28; 26:4), respectively the fool masquerading his alleged his wisdom is wisdom given his wisdom (25:26–28; 26:4), respectively the fool masquerading alleged is given priority priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the priority (26:1, 7–9). The pericope unleashes an avalanche of similes which, in turn, contribute to the riority (26:1, 7–9). The pericope unleashes an avalanche of similes in turn, contribute to the (26:1, 7–9). The pericope unleashes an avalanche ofwhich, similes which, in turn, contribute tothe the edification edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The edification of two extended metaphors, one concerned with the wise, and the other with the fool. The dification of two extended metaphors, one concerned with the wise, and the other with the fool. The of two extended metaphors, one concerned with the wise, and the other with the fool. The edification edification process is linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew edification process is linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew edification process linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew edification process is indicated by the Hebrew lexical marker for similes, like (Hebrew edification process is indicated by the Hebrew lexical marker for similes, like (Hebrew edification process is linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew edification process islinguistically linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew edification process isis linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew dification process is linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew process islinguistically linguistically indicated by the Hebrew lexical marker for similes, like (Hebrew preposition preposition subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ ).A A deliberatelypreposition subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ A deliberatelypreposition ;‫ְכ‬Greek subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ A deliberatelypreposition ְ Greek ;Greek subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ ).A deliberatelypreposition ‫ ;; ְכ‬Greek subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ ). A deliberately- metaphor preposition subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ deliberatelypreposition ‫;ְכ‬Greek ;Greek Greek subordinating conjunction ὣσπερ; preposition ‫היק‬ ).A A deliberatelypreposition ;‫כ‬Greek subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ ).).A deliberatelyreposition ‫ ְ;כ; ְכ; ְכ ְכ ְכ‬Greek subordinating conjunction ὣσπερ; Aramaic preposition ‫היק‬ ).).). deliberatelyGreek subordinating conjunction ;Aramaic Aramaic preposition ). A deliberately-used used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor beyond one used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor used metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor sed metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor may be indicated by lexical markers, such as like, by the extension of the metaphor beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond one phrase or clause and the use of extended comparisons, respectively, analogies [30]. Here, beyond onephrase phrase clause andthe the useof ofextended extended comparisons, respectively, analogies [30].Here, Here, eyond one ororclause use comparisons, respectively, analogies [30]. phrase or and clause and the use of extended comparisons, respectively, analogies [30]. Here, the two the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example he two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example the two extended metaphors are ontological, of the aspect identifying kind [31]. A popular example he two extended metaphors are ontological, of the aspect identifying kind [31]. A popular extended metaphors are ontological, of the aspect identifying kind [31]. A example popular example of such an of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. Paradoxical of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. of such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. such an ontological metaphor is, “The ugly side of his personality emerges under pressure” etc. fof such an ontological metaphor is, “The side of his personality emerges under pressure” etc. ontological metaphor is,ugly “The ugly side of his personality emerges under pressure” etc. Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors Paradoxical aspects in the personality of the wise are identified through the ontological metaphors aradoxical aspects in the personality of the wise are identified through the ontological metaphors aspects in the personality of the wise are identified through the ontological metaphors muddied spring muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken muddied spring (BHS ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken (BHS in 25:26a), polluted fountain (BHS in 25:26a), city broken into (25:28; BHS into (25:28; BHS ‫ִיר‬ ;LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ), and [city] without nto (25:28; BHS ‫ְרוּ‬ ‫ְרוּפּצפּ‬ ‫ִיר‬ ‫עע‬ LXX πόλις τὰ τείχη καταβεβλημένη; ‫דתריעא‬ ‫קרתא‬ [city] without into (25:28; BHS ‫ָהצ‬ ‫ְרוָּהפּ‬ ‫ִיר‬ ;;‫ע‬ LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ), and [city] without into (25:28; BHS ‫ָה‬ ‫צ‬ ‫ִירפּ‬ ;‫ע‬LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ),and [city] without into (25:28; BHS ‫ִירפּצ‬ ‫ִיר‬ ‫ע‬LXX ;πόλις LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ), and [city] without nto (25:28; BHS ‫ְרוּ‬ ‫ִירע‬ τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ and [city] without into (25:28; BHS ‫ְרוָּה‬ ‫ְרוּעפּ‬ ;LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ),and and [city] without into (25:28; BHS ‫ָה‬ ‫ְרוּ‬ ;‫ע‬LXX LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ), and [city] without nto (25:28; BHS ‫ָהָהָה‬ ‫צצָהצצ‬ ‫ְרוּ‬ ‫ְרוּפּצפּ‬ ‫ִיר‬ ;;‫ִירפּ;ע‬ LXX πόλις τὰ τείχη καταβεβλημένη; Tg ‫דתריעא‬ ‫קרתא‬ ),),),), and [city] without ;Tg Tg and [city] without walls (25:28; BHS ‫חוָֹה‬ ‫חוֹ ָמ‬ ‫חוֹ‬ ‫ין‬ ֵ‫א‬LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ). Paradoxical aspects walls (25:28; BHS ֵ‫חוֹאֵ;א‬ ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ aspects walls (25:28; BHS ‫מ‬ ‫ין‬ ;LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ Paradoxical aspects walls (25:28; BHS ‫חוֹה‬ ‫מ‬ ָ ‫חוֹה‬ ֵ‫א‬LXX ;LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ).Paradoxical aspects walls (25:28; BHS ‫יןה‬ ‫ין‬LXX ֵ‫א‬LXX ;ἀτείχιστος LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ). Paradoxical aspects walls (25:28; ‫ין‬ ;;;ֵ‫יןא‬ ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ).). Paradoxical aspects walls (25:28; BHS ‫ין ָמ‬ ‫חוֹ‬ ֵ‫;א‬LXX ;LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ).Paradoxical Paradoxical aspects walls (25:28; BHS ‫מ ָמ ָהמ ָמה‬ ָ ‫חוֹ‬ ‫חוֹ‬ ‫מין‬ ;LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ).). Paradoxical aspects walls (25:28; BHS ‫ההה‬BHS ֵ‫יןאֵ ָא‬ [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ Paradoxical aspects walls (25:28; BHS [unfortified]; Tg ). aspects in the demeanour in the demeanour of the fool are identified through ontological metaphors by means ofof ofcertain items in the demeanour of the fool are identified through ontological metaphors by means of in the demeanour of the fool are identified through ontological metaphors by means of in the demeanour of the fool are identified through ontological metaphors by means of in the demeanour of the fool are identified through ontological metaphors by means n the demeanour of the fool are identified through ontological metaphors by means of in the demeanour of the fool are identified through ontological metaphors by means in the demeanour of the fool are identified through ontological metaphors by means of n the demeanour of the fool are identified through ontological metaphors by means of of the fool are identified through ontological metaphors by means of metaphoricizing metaphoricizing certain items bestowed (26:1, 8), entrusted (26:6, 10), or misused by the fool. The metaphoricizing certain items bestowed (26:1, 8), entrusted (26:6, 10), or misused by the fool. The metaphoricizing certain items bestowed (26:1, 8), entrusted (26:6, 10), or misused by the fool. The metaphoricizing certain bestowed (26:1, entrusted (26:6, 10), or misused the fool. the metaphoricizing certain items bestowed (26:1, 8), entrusted (26:6, 10), or misused by fool. metaphoricizing certain items bestowed (26:1, 8), entrusted (26:6, 10), or misused by the fool. The certain items bestowed 8), entrusted 10), or misused by the metaphoricizing certain items bestowed 8), (26:6, 10), or misused by the fool. The metaphoricizingcertain certain items bestowed (26:1,8), 8), entrusted (26:6, 10),or ormisused misused by theitem fool.misused The The metaphoricizing items bestowed (26:1, entrusted 10), the fool. The bestowed (26:1, 8), entrusted (26:6, 10), or(26:6, misused by the fool.by The by the fool is item misused by the fool aproverb. proverb. The proverb misused in the mouth of the fool is signalled by the item misused by the fool is proverb. The proverb misused in the mouth of the fool is signalled by the item misused by fool is ais The proverb misused in the mouth of the fool is signalled by the The item misused by the is proverb. The proverb signalled by misused by the fool proverb. The proverb misused in the mouth of the fool issignalled the tem misused by the fool is aais proverb. The proverb misused in the mouth of the fool is signalled by the The item misused by the fool is aaaproverb. The proverb misused in the mouth of the fool issignalled by item misused by the fool ais proverb. The proverb misused in the mouth of the fool isthe by the item misused by the fool is aproverb. proverb. The proverb misused in the mouth of the fool is signalled by the em misused by the fool is afool The proverb misused in the mouth of the fool is signalled by the athe proverb. The proverb misused in the mouth of the fool is signalled by metaphor’s uselessly dangling metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ the metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ the metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ metaphor’s uselessly dangling legs (26:7; BHS ‫ִם‬ ‫י‬ ‫ק‬ ַ ‫ו‬ ֺ ‫שׁ‬ ‫ליוּ‬ ‫דּ‬ ), respectively ascending thorn (26:9a; BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ metaphor’s uselessly dangling legs (26:7; BHS ‫)דּליוּ שׁוֺ ַקיִם‬, respectively ascending thorn (26:9a; BHS ‫ָעלָה‬ ֺ‫;ו‬LXX ;ַ ‫ָה‬ φύονται; Tg ‫סליק‬ ‫כובא‬ ).Is Is Solomon wise awise fool? is ahe afoolish foolish ‫ ַח;ח; ַ;חוֺח‬LXX LXX ἂκανθαι φύονται; Tg ‫סליק‬ ‫כובא‬ Is Solomon wise or aaor fool? Or is he wise fool or aaor foolish ַ‫וחו‬BHS ;‫ח‬ ἂκανθαι φύονται; Tg ‫סליק‬ ‫כובא‬ Solomon wise or afool? fool? Or he awise wise fool or afoolish ‫חָה‬LXX ‫ ָע‬ἂκανθαι ַ ֺ‫ו‬ἂκανθαι ֺ‫;חחו‬ἂκανθαι ;LXX LXX ἂκανθαι φύονται; Tg ‫סליק‬ ‫כובא‬ Is Solomon orOr ais fool? Or hefool aor wise or ‫ח‬ ;‫ָע‬ἂκανθαι LXX φύονται; Tg ‫סליק‬ ‫כובא‬ ).‫כובא‬ Is Solomon wise or aOr fool? Or ais wise fool or a foolish ‫חוֺחֺחֺח‬ ‫חו‬BHS φύονται; Tg ‫סליק‬ ‫כובא‬ Is Solomon wise or Or is he aais fool ‫לל‬ἂκανθαι ‫ח ַח‬ἂκανθαι ἂκανθαι φύονται; Tg ‫סליק‬ ).).Is Solomon or ais fool? Or is he aor wise fool or ֺ‫ו‬LXX ‫ח‬LXX ;ֺ‫ו‬LXX φύονται; Tg ‫סליק‬ ‫כובא‬ ). Is Solomon wise awise fool? Or isahe he awise wise fool afool foolish φύονται; Tg ‫סליק‬ ‫כובא‬ Is Solomon wise or fool? Or he awise wise fool or foolish φύονται; Tg ‫סליק‬ ‫כובא‬ ).).).).). Is Solomon wise or aaor fool? is he fool aaor foolish Is the wise person acrystal crystal spring amuddied spring, an unpolluted apolluted sage? Is the wise person crystal clean spring or aaspring muddied spring, an unpolluted or aaor polluted fountain? sage? the wise person acrystal clean spring or amuddied an unpolluted or apolluted foolish sage? Is the wise crystal clean spring or aspring, muddied spring, anunpolluted unpolluted or afountain? polluted sage? Is the wise person a crystal clean spring or a muddied spring, an unpolluted or a polluted fountain? age? Is the wise person clean spring or spring, an unpolluted or fountain? aasage? foolish Is the wise person aaclean crystal clean or aspring, muddied spring, an or afountain? polluted sage? Issage? the wise person aperson crystal clean spring or amuddied muddied spring, an unpolluted apolluted polluted fountain? sage? IsIs the wise person crystal clean spring or muddied an unpolluted or polluted fountain? age? Is the wise person aaaacrystal clean spring or aaor muddied spring, an unpolluted or aaor polluted fountain? Does the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with Does the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with Does the fool become wise by simply flaunting some proverbs from his mouth? one dealing with fountain? Does thebecome fool become wise by simply flaunting some proverbs from his mouth? Is one Does the fool wise by simply flaunting some proverbs from his mouth? Is one dealing with Does the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with fountain? Does the fool become wise by simply flaunting some proverbs from his mouth? Is one Does the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with Does the fool become wise by simply flaunting some proverbs from his mouth? IsIs one dealing with Does the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with aparadoxical, Möbius strip-like wise and/or aparadoxical, Möbius strip-like fool? Is wisdom an paradoxical, Möbius strip-like wise and/or paradoxical, Möbius strip-like fool? Is wisdom an paradoxical, Möbius strip-like wise and/or paradoxical, Möbius strip-like fool? wisdom an dealing withMöbius aMöbius paradoxical, Möbius strip-like wise and/or aMöbius paradoxical, Möbius strip-like fool? Isanan a paradoxical, Möbius strip-like wise and/or aand/or paradoxical, Möbius strip-like fool? Is wisdom aaaadealing paradoxical, strip-like wise and/or paradoxical, strip-like fool? Is wisdom an with aMöbius paradoxical, Möbius strip-like aMöbius paradoxical, Möbius strip-like fool? Is aparadoxical, paradoxical, Möbius strip-like wise and/or aparadoxical, paradoxical, Möbius strip-like fool? Is wisdom strip-like wise and/or Möbius strip-like fool? IsIswisdom wisdom an paradoxical, strip-like wise and/or aaaaawise paradoxical, strip-like fool? Is an

sdoxical aspects in the personality of the wise are identified through the ontological metaphors  in the personality of the wise are identified through the ontological metaphors muddied spring muddied spring (BHS ָ‫רפּ‬25:26a), ִ‫נ‬  ‫מַ ﬠְ יָן‬  in 25:26a),  (BHS ‫ַמ ְעיָן נִרפָּשׂ‬  ‫שׂ‬in polluted fou cal aspects in the personality of the wise are identified through the ontological metaphors  S ‫ָשׂ‬ ‫פּ‬ ‫ִר‬ ‫נ‬ ‫ָן‬ ‫י‬ ‫ע‬ ְ ‫מ‬ ַ in 25:26a), polluted fountain (BHS ‫ָת‬ ‫ח‬ ְ‫ָשׁ‬ ‫מ‬ ‫וֹר‬ ‫ָק‬ ‫מ‬ in 25:26a), city broken into (25:28; BHS  ָ‫פְּ רוּצ‬  πόλις ‫;ﬠִ יר‬ LXX πόλις τὰ τε into (25:28; BHS ‫ ;העִיר פְּרוּצָה‬LXX τὰ τείχη καταβε pring (BHS   ‫ רפָּ שׂ‬ ִ‫נ‬ ‫רפָּיָןשׂ‬ ְ‫מַ ﬠ‬  ‫מָת ְשׁחָ ת‬ ָ‫שׁח‬ ‫וֹר‬   in 25:26a), city broken  died spring (BHS ִ‫נ‬  ‫ָן‬in 25:26a), polluted fountain (BHS  ‫מַ ﬠְ י‬  in 25:26a), polluted fountain (BHS  ְ ‫מָק‬ ָ‫וֹרמ‬ ‫מָ ק‬  in 25:26a), city broken  ‫רוּצָ ;העִיר פְּרוּ‬ LXX πόλις τείχη καταβεβλημένη; Tg ‫דתריעא דתריעא‬  ‫קרתא‬ ), and [city] without walls (25:28; ָ‫חוֹמ‬ ἀτείχιστος ‫;אֵ ין‬  LXX ἀτείχιστος  walls (25:28; BHS [unfortified BHS ‫;אֵ ין חוֹ ָמה‬  ‫ה‬LXX 8; BHS  ְ‫פּ‬ ‫יר ה‬ ִ‫;ﬠ‬ LXX πόλις τὰ τείχη καταβεβλημένη; Tg  ‫קרתאקרתא‬ ), and [city] without  (25:28; BHS  ָ‫רוּצ‬ ְ‫פּ‬  ‫יר‬τὰ ִ‫;ﬠ‬ LXX πόλις τὰ τείχη καταβεβλημένη; Tg  ‫דתריעא‬  ), and [city] without  ָs (25:28; BHS ‫מ‬ ‫אֵ ין חוֹ‬ ;‫ה‬LXX ἀτείχιστος [unfortified]; Tg ‫שׁורהא‬ ‫לה‬ ‫אית‬ ‫ולא‬ ). Paradoxical aspects in  the  demeanour  of  the  fool  are  iden in the demeanour of the fool are identified thr ָ‫חוֹמ‬   ‫יןה‬ ֵ‫א‬ ;   LXX ἀτείχιστος [unfortified]; Tg  ‫שׁורהא‬  ‫לה‬  ‫אית‬  ‫ולא‬ ). Paradoxical aspects  28; BHS ָ‫חוֹמ‬  ‫;אֵ ין‬  LXX ἀτείχιστος [unfortified]; Tg  ‫שׁורהא‬  ‫לה‬  ‫אית‬  ‫)ולא‬. Paradoxical aspects  remeanour  of the fool are identified through ontological metaphors by means of metaphoricizing certain items bestowedbestowed  (26:1, 8), (2e certain items  of  the  are  identified  through  ontological  metaphors  by  by  means  of  of  metaphoricizing  he  demeanour  of  fool  the  fool  are  identified  through  ontological  metaphors  means  Religions 2016, 7, 106 8 of 14 ertain bestowed (26:1, 8), entrusted (26:6, 10), or misused by by  thethe fool.  fool. The item misused by the fool is a proverb. The proverb m icizing items certain items  bestowed  (26:1,  8),  entrusted (26:6, 10),  or  misused  The  aphoricizing  certain items  bestowed  (26:1,  8),  entrusted (26:6, 10),  or  misused  by  the fool.  The  item misused by the fool is a proverb. The pr uselessly dangling legs (26:7; BHS ‫ַקיִם‬ by the fool is a proverb. The proverb misused in the mouth of the fool is signalled by the metaphor’s  misused by the fool is a proverb. The proverb misused in the mouth of the fool is signalled by the  used by the fool is a proverb. The proverb misused in the mouth of the fool is signalled by the  metaphor’s uselessly dangling legs (26:7; BHS BHS ‫ָה‬ ‫ל‬ ‫ע‬ ָ ‫ח‬ ַ ‫ו‬ ֺ ‫ח‬ ; LXX Is aphor’s uselessly dangling legs (26:7; BHS  ‫ם‬ ִ‫י‬ ַ‫ק‬ ֹ‫שׁו‬  ‫ליוּ‬ ‫דּ‬ ),   respectively ascending thorn (26:9a; BHS  ‫ָה‬ ‫ל‬ ָ‫ﬠ‬  elessly dangling legs ’s uselessly dangling legs (26:7; BHS  ‫)דּדּליוּ‬,), respectively respectively ascending thorn (26:9a; BHS  ‫ﬠָ לָה‬  ַ‫;;חוֹ ח‬ LXX ἂκανθαι φύονται; Tg  ‫סליק‬ ‫כובא‬ ‫)כובא‬.). Is legs(26:7; (26:7;BHS BHS‫שׁוֹשׁקַוֺיִ ַקםיִם‬ ‫ליוּ‬ respectively ascending ascending thorn thorn (26:9a; (26:9a; BHS LXX ἂκανθαι φύονται;; Tg ‫סליק‬ LXX ἂκανθαι φύονται; Tg  ‫כובא‬ ). Is Solomon wise or a fool? Or is he a wise fool or a foolish  a foolish sage? Issage? the wiseIsperson a crystal clean spring ἂκανθαι φύονται; Tg  ‫כובא‬ ἂκανθαι φύονται; Tg Tg‫סליק‬  ‫סליקסליק‬  ‫)כובא‬. Is Solomon wise or a fool? Or is he a wise fool or a foolish  ). IsIs Solomon wise or or a fool? Or isOr he is a wise or fool sage? Is the wise person a crystal clean sprin ). Solomon wise a fool? he afool wise or a foolish the wise fountain? Does the fool become wise he wise person a crystal clean spring or a muddied spring, an unpolluted or a polluted fountain?  e? Is the wise person a crystal clean spring or a muddied spring, an unpolluted or a polluted fountain?  wise person a crystal clean spring or a muddied spring, an unpolluted or a polluted Does the fool become wise by simply flaun person a crystal clean spring or a muddied spring, an unpolluted or a polluted fountain? Does the fool by simply flaun s the fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with  dealing with a paradoxical, Möbius strip-like wise an fool become wise by simply flaunting some proverbs from his mouth? Is one dealing with  fool become wisebecome by simply proverbs his mouth? one Is one dealing a  paradoxical,  Möbius  strip‐like  wise  and/ wiseflaunting by simplysome flaunting somefrom proverbs from hisIsmouth? with a paradoxical, radoxical,  Möbius  strip‐like  wise  and/or  a  paradoxical,  Möbius  strip‐like  fool?  Is  wisdom  an  wisdom an illusion in Solomon, the Wise? xical,  Möbius  strip‐like  wise  and/or  a  paradoxical,  Möbius  strip‐like  fool?  Is  wisdom  adoxical, Möbius strip-like wise and/or a paradoxical, Möbius strip-like fool? Is illusion in Solomon, the Wise?  Möbius strip-like wise and/or a paradoxical, Möbius strip-like fool? Isan  wisdom an illusion in Solomon, ion in Solomon, the Wise?  Friedrich Dürrenmatt, the son of a Swiss Protestan n Solomon, the Wise?  in Solomon, the Wise? Friedrich Dürrenmatt, the son of a Swis the Wise? Friedrich Dürrenmatt, the son of a Swiss Protestant (Reformed) pastor, in his satirical drama Die  Physiker (1961) sets the story in the drawing room of Le drich Dürrenmatt, the son of a Swiss Protestant (Reformed) pastor, in his satirical drama Die  enmatt, the son of a Swiss Protestant (Reformed) his satirical drama(Reformed) Die Physiker (1961) sets the story in the drawing  Friedrich Dürrenmatt, thepastor, son of in a Swiss Protestant pastor, in his satirical drama iker (1961) sets the story in the drawing room of Les Cerisiers sanatorium. The third physicist, and  the protagonist of the play, is Johann Wilhelm 1961) sets the story in the drawing room of Les Cerisiers sanatorium. The third physicist, and  the story in the drawing room(1961) of Les Cerisiers sanatorium. The third physicist, the  protagonist  the  play,  is  Johann Möbi Wilh Die Physiker sets the story in the drawing room of Les and Cerisiers sanatorium. The third of  physicist, protagonist  of  the  play,  is  Johann  Wilhelm  Möbius.  This  physicist  seemingly  suffers  from  the  delusion that King Solomon appears to him in visions, gonist  of  the  play,  is Wilhelm Johann  Wilhelm  Möbius.  This  physicist  seemingly  suffers  from  the  the play, is Johann Möbius. This physicist seemingly suffers from the delusion that King Solomon appears to him  and the protagonist of the play, is Johann Wilhelm Möbius. This physicist seemingly suffers from sion that King Solomon appears to him in visions, disclosing secrets of the physical world. Albeit  Möbius, unlike the other two patients, Herbert Geo hat King Solomon appears to him in visions, disclosing secrets of the physical world. Albeit  Solomon appears to him in visions, disclosing secrets of the physical world. Albeit Möbius,  the world. other  two  patients,  He the delusion that King Solomon appears to him in visions, disclosing secrets of theunlike  physical bius,  unlike other  the  other  two  patients,  Herbert  Georg  Butler,  Einstein,  Ernst  Heinrich  Ernesti, alias Newton, does not believe himself to be a f two  patients,  Herbert  Georg  Butler,  alias alias  Einstein,  and and  Ernst  Heinrich  eunlike  otherthe  two patients, Herbert Georg Butler, alias Einstein, and Ernst Heinrich Ernesti, alias Newton, does not believe hims Albeit Möbius, unlike the other two patients, Herbert Georg Butler, alias Einstein, and Ernst Heinrich esti, alias Newton, does not believe himself to be a famous scientist. Dürrenmatt evidently named  the character after the 19th century German mat ias Newton, does not believe himself to be a famous scientist. Dürrenmatt evidently named  on, does not believe himself to be a famous scientist. Dürrenmatt evidently named the  character  after  the  19th  century  Ge Ernesti, alias Newton, does not believe himself to be a famous scientist. He  Dürrenmatt evidently named character  after  the  19th  century  German  mathematician  August  Ferdinand  Möbius.  discovered what is called the Möbius strip, a looped, acter  19th  century  German  mathematician  August  Ferdinand  Möbius.  He  Religions 2016, 7, 106 8 of Religions 2016, 7, 106 8 of 14 14 rovered what is called the Möbius strip, a looped, ribbon‐like shape, whose apparently opposite  the after  19th the  century German mathematician August Ferdinand Möbius. He discovered what is called the Möbius strip, Religions 2016, 7, 106 8 of 14 the character after the 19th century German mathematician August Ferdinand Möbius. He discovered d what is called the Möbius strip, a looped, ribbon‐like shape, whose apparently opposite  called the Möbiuswhat strip, looped, shape, whose apparently opposite is acalled the ribbon-like Möbius strip, a looped, ribbon-like shape, whose apparently opposite surfaces form surfaces form only one side. This becomes the interpretive key surfaces form only one side. This becomes the interpretive key for for the the paradoxical paradoxical play: play: the the two two sides sides surfaces side. This becomes the interpretive key for the paradoxical play: the two only oneform side. only This one becomes the interpretive key for the paradoxical play: the two sides turn out sides to be turn out to be an illusion; the lovers are also the killers, the two mentally ill, the spies, the seemingly turn out to be an illusion; the lovers are also the killers, the two mentally ill, the spies, the seemingly turn out to be an illusion; the lovers are also the killers, the two mentally ill, the spies, the seemingly an illusion; the lovers are also the killers, the two mentally ill, the spies, the seemingly mentally ill mentally mentally ill ill Möbius, Möbius, the the inventor, inventor, the the healer healer doctor doctor psychiatrist psychiatrist Mathilde Mathilde von von Zahnd, Zahnd, aaa power power maniac, maniac, mentally ill Möbius, the inventor, the healer doctor psychiatrist Mathilde von Zahnd, power maniac, Möbius, the inventor, the healer doctor psychiatrist Mathilde von Zahnd, a power maniac, who also who also claims King Solomon to be speaking to her. who also claims King Solomon to be speaking to her. who also claims King to Solomon to be to speaking to her. claims King Solomon be speaking her. As As much much as as Proverbs Proverbs is is more more confident confident about about what what it it means means to to be be wise wise and and uses uses bolder bolder As much Proverbs is more confident what it means to be wise and uses bolder As much asasProverbs is more confident aboutabout what it means to be wise and uses bolder metaphors metaphors metaphors to to express express that, that, in in places, places, one one is is surprised surprised by by the the lucidity lucidity with with which which the the paradox paradox and and the the metaphors to express that, in places, one is surprised by the lucidity with the paradox and the to express that, in places, one is surprised by the lucidity with which thewhich paradox and the ensuing ensuing irony gush forth in the metaphors of the target domain. ensuing irony gush forth in the metaphors of the target domain. ensuing irony gush forth in the metaphors of the target domain. irony gush forth in the metaphors of the target domain. 2.2. 2.2. Metaphors Metaphors in in Job Job and and Contemporary Contemporary Art Art 2.2. Metaphors in Job and Contemporary Art Many Many scholars, scholars, both both Jewish Jewish and and Christian, Christian, have have applauded applauded the the book for for its its finest finest details details of of Many scholars, both Jewish and Christian, have applauded the book for its finest have applauded the book book details of craftsmanship, craftsmanship, in in which which metaphor-rainfalls metaphor-rainfalls are are showered showered upon upon the the ancient and modern reader alike. craftsmanship, in which metaphor-rainfalls are showered upon the ancient and modern reader alike. the ancient ancient and andmodern modernreader readeralike. alike. In the following some ontological metaphors for suffering/pain are listed from this rich wisdom textIn the following some ontological metaphors for suffering/pain are listed from this rich wisdom textIn the forfor suffering/pain are are listed fromfrom this rich textthe following followingsome someontological ontologicalmetaphors metaphors suffering/pain listed this wisdom rich wisdom granary. The final example is a metaphor for wholesome food. granary. The The The finalfinal example is aa metaphor metaphor for wholesome wholesome food. granary. final example is for food. text-granary. example is a metaphor for wholesome food. 2.2.1. 2.2.1. Metaphors for Suffering Suffering Metaphors for 2.2.1. for Suffering The The ontological for suffering suffering are are the the most most important important ones, ones, which which are are adopted adopted and and ontological metaphors metaphors for The metaphors for suffering are the most important ones, which are adopted and adapted the book of A conversation entitled, The ‘Book of Job’ in from the book of Job in contemporary art. The ‘Book in the adapted from Job in contemporary art. A conversation entitled, of Job’ from the book of contemporary conversation entitled, The ‘Book in the the Modern Age, aired in October 2013 on On Point radio between Tom Ashbrook, Mark Larrimore, and Modern Age, Age, aired ininOctober October 2013 onon OnOn Point radio between Tom Ashbrook, Mark Larrimore, and Age, aired airedin October2013 2013 Point radio between Tom Ashbrook, Mark Larrimore, Modern on On Point radio between Tom Ashbrook, Mark Larrimore, and Greg Epstein points to the contemporary interest that the storyline and its metaphors still enjoy. Greg Epstein points to the contemporary interest that the storyline and its metaphors still enjoy. and Greg Epstein points to the contemporary interest that the storyline and its metaphors still enjoy. Greg Epstein points to the contemporary interest that the storyline and its metaphors still enjoy. Francis Gruber’s Gruber’s Job Fine Fine Art: Art: Francis Job Painting Painting Fine Art: Francis Gruber’s Job Painting metaphors The The hard hard and and endless endless Jobian Jobian struggle struggle and and its its accompanying accompanying metaphors metaphors for for suffering suffering were were The hard and endless Jobian struggle and its accompanying metaphors for suffering were in style of French Miserabilism. The painting immortalized Francis Gruber’s Job painting (1944), in the style of French Miserabilism. The painting immortalized in in Francis Francis Gruber’s Gruber’s Job Job painting painting (1944), (1944), in in the the style of French Miserabilism. Miserabilism. The painting immortalized exhibited Salon d’Automne is a symbol of downtrodden people and is an allegory survival exhibited in Salon d’Automne is a symbol of downtrodden people and is an of the survival of in Salon d’Automne is a symbol of downtrodden people and is an allegory ofof thethe survival of exhibited in Salon d’Automne is a symbol of downtrodden people and is an allegory allegory of the survival of of hope during the occupation. The paper with the inscription at which Gruber’s Job is looking is hope during the occupation. The paper with the inscription at which Gruber’s Job is looking is taken hope during the occupation. The paper with the inscription at which Gruber’s Job is looking is taken hope during the occupation. The paper with the inscription at which Gruber’s Job is looking is taken taken from Job 23:2. The paper is on the ground. Job with a head tilted towards the ground gazes at from from Job Job 23:2. 23:2. The The paper paper is is on on the the ground. ground. Job Job with with aaa head head tilted tilted towards towards the the ground ground gazes gazes at at the the from Job 23:2. The paper is on the ground. Job with head tilted towards the ground gazes at the the inscription: inscription: inscription: inscription:

Maintenant encore, ma plainte révolte, et ma main mes Maintenantencore, encore, ma plainte est une révolte, et pourtant pourtant ma comprime main comprime comprime mes Maintenant ma plainte est est uneune révolte, et pourtant ma main mes soupirs Maintenant encore, ma plainte est une révolte, et pourtant ma main comprime mes soupirs (Bible d’Ostervald 1881) [32]. soupirs (Bible d’Ostervald 1881) [32]. (Bible d’Ostervald 1881) [32]. soupirs (Bible d’Ostervald 1881) [32]. The The BHS BHS of of Job Job 23:2 23:2 qualifies qualifies the the hand hand of of Job Job as becoming heavy whereas the LXX LXX inserts inserts The BHS of Job 23:2 qualifies the hand of Job as becoming heavy ‫)יׇיׇיׇדִדִדִייי ׇ ׇ ׇכּכּכּבבבְדְָדְָדָהה‬,),), whereas whereas the LXX inserts Job as as becoming becoming heavy heavy ((((‫ה‬ whereas the the masculine singular possessive pronoun his (αὐτου), in reference to God. Thus, in the LXX version, the masculine masculine singular singular possessive possessive pronoun pronoun his his (αὐτου), in reference reference to to God. God. Thus, Thus, in the LXX version, the ((αὐτου), ), in Thus, in in the the LXX LXX version, version, the heavy hand metaphor (ή χεὶρ αὐτου βαρεια γέγονεν) alludes to God being heavy-handed with Job. the heavy hand metaphor (ή χεὶρ αὐτου βαρεια γέγονεν) alludes to God being heavy-handed with Job. the heavy hand metaphor ((ή χεὶρ αὐτου βαρεια γέγονεν)) alludes to God being being heavy-handed heavy-handed with with Job. Job. Fine Fine Art: Art: Gyula Gyula Kardos’ Kardos’ The The God God Fearing Fearing Job Job Painting Painting Fine Art: Gyula Kardos’ The God Fearing Job Painting On On Gyula Gyula Kardos’ Kardos’ The The God-fearing God-fearing Job Job (1900) (1900) painting, painting, Job Job longingly longingly gazes gazes upwards upwards with with his his left left On Gyula Kardos’ The God-fearing Job (1900) painting, Job longingly gazes upwards with his left hand used to support himself and his right hand touching the ground but not clenched into a fist. hand used used to to support support himself himself and and his his right right hand hand touching touching the the ground ground but but not not clenched clenched into into aa fist. fist. hand The palm of the hand is open, awaiting remission [33]. The palm of the hand is open, awaiting remission [33]. The palm of the hand is open, awaiting remission [33]. Fine Fine Art: Art: Sándor Sándor Návay’s Návay’s Job Job Statue Statue Fine Art: Sándor Návay’s Job Statue

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Fine Art: Gyula Kardos’ The God Fearing Job Painting On Gyula Kardos’ The God-fearing Job (1900) painting, Job longingly gazes upwards with his left hand used to support himself and his right hand touching the ground but not clenched into a fist. The palm of the hand is open, awaiting remission [33]. Fine Art: Sándor Návay’s Job Statue Sándor Návay, in his 2003 bronze statue of Job, portrayed Job as a metaphor of a mere bundle of pain. The writhing of the body parts is also evocative of the spiritual convulsion. Nevertheless, Job’s gaze is not searching for the humus but for heaven [33]. Fine Art: Further Portrayals of the Jobian Ontological Metaphors for Suffering Austrian artist Hans Fronius, member of an old Protestant (Lutheran) German-Saxon aristocratic family in Transylvania, produced twelve charcoal sketches, thus perpetuating Job’s fate as one of the main ontological metaphors for suffering. The Jobian ontological metaphor for suffering was also enshrined in Willy Jaeckel’s thirteen lithographies, Helmuth Uhrig’s pen and ink drawings, and also in William Blake’s engravings [34]. Belles Lettres: G. K. Chesterton’s The Man Who Was Thursday Metaphysical Thriller G. K. Chesterton, in his novel The Man Who Was Thursday, creates a London suburb, Saffron Park. The suburb is intended in many ways to be reminiscent of Job’s life in the early chapters of the biblical book. Chesterton writes about the suburb: “The place was not only pleasant, but perfect.” ([35], p. 7). Towards the end of the novel, the European anarchist council is debunked. The leader Gabriel Syme, alias Sunday, an undercover policeman, is a force of good. Still, he is unable to answer the question as to why he has caused so much trouble and pain to the other undercover detectives, who were also members of the council. Gregory Lucian, alias Thursday, the main protagonist and the only true anarchist, challenges the good council. His reasoning is that the council members as rulers have not really suffered like Gregory or their other subjects. Thus, their power is illegitimate. Syme argues that he also inflicted terror on the other members of the council. The dream comes to a closure when Sunday is asked whether he has ever suffered. His final words quote Jesus’ question posed to the Sons of Thunder, James and John: “Can ye drink of the cup that I drink of?” (KJV; Mark 10:38–39). Who will drink the Jobian cup of suffering or that of Jesus? This metaphysical thriller, based largely on the book of Job, is a useful guide for reading Job for further theological and cultural insights ([36], pp. 133, 138; [37,38]). 2.2.2. The Metaphor for Wholesome Food and András Visky’s Juliet Monodrama The freshest prisoner of the Joban angst and suffering is Juliet (2006). András Visky’s monodrama, entitled Juliet—Conversation about Love, which was on stage at the Sacred Playground Theatre Project, Edinburgh Fringe Festival 2013, directed by Robin Witt, presents the tragic family story of the author. The author’s father is a Protestant (Reformed) minister who leaves Hungary after the Second World War in order to serve as a clergyman in Northern Transylvania, which, at the closure of the conflict, was annexed from Hungary by Romania. The 1956 revolution in Hungary had its repercussions in neighbouring Romania as well. As part of the communist reprisals, the father Ferenc Visky, amongst many, is sentenced for twenty-two years. A short while hence, the mother Juliet, the protagonist of the monodrama is taken captive with her seven children to the Gulag at the Danube delta. In inhumane conditions with her children, not knowing whether the husband is alive or dead, Juliet repels the

ofthe theauthor. author.The Theauthor’s author’sfather fatherisisaaProtestant Protestant(Reformed) (Reformed)minister ministerwho wholeaves leavesHungary Hungaryafter after yyof Second World War in order to serve as a clergyman in Northern Transylvania, which, at the Second World War in order to serve as a clergyman in Northern Transylvania, which, at the ureof ofthe theconflict, conflict,was wasannexed annexedfrom fromHungary Hungaryby byRomania. Romania.The The1956 1956revolution revolutionin inHungary Hungaryhad had ure repercussions in neighbouring neighbouring Romania Romania as as well. well. As As part part of of the the communist communist reprisals, reprisals, the the father father epercussions in enc Visky, amongst amongst many, many, isis sentenced sentenced for for twenty-two twenty-two years. years. A A short short while while hence, hence, the the mother mother nc Visky, Religions 2016, 7, 106 10 of 14 et,the theprotagonist protagonistof ofthe themonodrama monodramaisistaken takencaptive captivewith withher herseven sevenchildren childrento tothe theGulag Gulagat atthe the et, nube delta.In Ininhumane inhumaneconditions conditionswith withher herchildren, children,not notknowing knowingwhether whetherthe thehusband husbandisisalive alive ube delta. dead, Juliet repels the reality by which God views her as one reacting the role of Job. Three times ead, Juliet repels the reality by which views herone as reacting one reacting theof role Job. Three reality by which GodGod views her as the role Job.ofThree times times she repeats the exclamation repeatsthe theexclamation exclamation that “Iam am notA AJOB.” JOB.”the After theexclamation exclamation shereiterates reiterates twice“I that: “I understand a word repeats “I After the she that: that “Ithat am not A not JOB.” After exclamation she reiterates twice twice that: do “I not not understand a word from this entire Job, not a single word.” [39]. Umpteen times she draws not understand a word fromentire this entire Job,a not a single word.” Umpteen she draws from this Job, not single word.” [39]. [39]. Umpteen timestimes she draws parallels between her life allelsbetween betweenher herand lifeand and that ofJob. Job. She hasseven seven children, Job had seven sons. She tempted allels life of children, seven sons. isistempted thatthat of Job. SheShe hashas seven children, JobJob hadhad seven sons. SheShe is tempted by a communist lawyer, acommunist communistlawyer, lawyer, who paid her visit atthe the Gulag, to denounce her husband and divorcehim. him.Job is also tempted by who paid aavisit Gulag, denounce her husband and divorce him. who paid herher a visit at at the Gulag, toto denounce her husband and divorce is alsotempted temptedby byhis hiswife wifeto tocurse curseGod Godand andturn turnhis hisback backon onHim. Him.She She has deadly illness, angina s also his his back on Him. Shehas hasaaadeadly deadlyillness, illness,angina angina pectoris. Job is struck oris.Job Jobisisstruck struckwith with loathsome sores (2:7; BHS ‫;;;שְׁשְׁחחִין‬LXX LXX ἓλκειπονηρῷ; πονηρῷ;;Tg Tg ‫בישׁא‬ ‫שׁיחנה בישׁא‬ ‫)שׁיחנה‬.).She She bemoans the day she oris. withloathsome loathsomesores sores(2:7; (2:7;BHS BHS‫ִין ָרָרעע‬ LXXἓλκει Tg moans theday dayshe sheleft left the city of her birth Budapest, meets the Woman of Death and wishes to bebe dead. Job laments oans the the city of her birth Budapest, meets the Woman of Death and wishes to be left the city of her birth Budapest, meets the Woman of Death and wishes to d. Job laments the day of his birth. During Juliet’s almost Augustinian soliloquy, she is taken twice d. Job laments the day of his During Juliet’s almost Augustinian soliloquy, she isshe taken twice twice to the mortuary. the day ofbirth. his birth. During Juliet’s almost Augustinian soliloquy, is taken he mortuary. mortuary. In In both both instances sheshe revived byby thethe wholesome food ofofhoney honey and lukewarm he instances she isis revived by the wholesome food of In both instances is revived wholesome food honeyand andlukewarm lukewarm milk: k: k: “I woke to “Iwoke woketo to “I My firstborn’s shakes and slaps, Myfirstborn’s firstborn’sshakes shakesand andslaps, slaps, My My eyelids he pulls upwards. Myeyelids eyelidshe hepulls pullsupwards. upwards. My A twelve year old Jesus gazed at me. A twelve year old Jesus gazedat atme. me. A twelve year old Jesus gazed I did not hear what he uttered to me. I did not hear what he uttered to me. I did not hear He what he uttered to me. clamped my nose, he gripped it, he gripped it . . . Heclamped clampedmy mynose, nose,he hegripped grippedit, it, hegripped gripped it… He What are you he doing, you,it… you’re throttling me . . . What are you doing, you, you’re throttling me…! What are you doing, you, you’re throttling!Air! me…! Air! Air!Air! Air! Air! My mouth cleft open a rive, My teeth betwixt he put a blade, a knife, With his other hand honey and lukewarm milk Dribbles he into me.Honey and milk... And I plunged back into the unconscious peace.” ([39], p. 36). The metaphor of wholesome, reviving food, as in honey and curd, occurs in Zophar’s speech against the wicked in Job 20. The food is still the dominant imagery in verse 17. Nonetheless, there is a new development, for here it is not the poisonous victual that the evildoer eats, as in the preceding verses (20:14, 16) but the wholesome food that he will never eat because he has died of his eating. He will not savour quintessential food, that is oil, honey, and cream, which are the regular symbols of plenitude in the land of Canaan. In biblical times, honey is typically wild honey (Judg 14:8; 1 Sam 14:25–26) or a thick grape or date syrup. Cream or curds is not butter but a fermented milk product, nowadays called leben, and similar to yoghurt. This was concocted by churning fresh milk in a goatskin holding the remainder of clots from the previous supply. In Isa 7:14 curds and honey are probably an elementary diet, but more often milk and honey are a symbol of abundance, especially if the land is flowing with them (Exod 3:8, 17; 13:5; 33:3; Lev 20:24). In the Baal myth, a passage has El dreaming that Baal has come back to life and the earth’s fertility is reignited. He sees that “the heavens rained oil, the ravines (nh.l, like lx;n: here) ran with honey” ([34], p. S. 490). Juliet’s second time in the mortuary is again distinguished by an internal dialogue-brawl with God. The moment of awakening is again caused by her feeling the clamped-nose effect. “He [the child] clamps my nose, as if he would punish. Knife-blade. Honey and milk. What did He tell you? That I should not flee from Him—to Him. Whither from Him? Well, to death—to Him. But He does not want to accept me. Well spoken! Very well spoken! Heed His Words, and return.” ([39], pp. 58–59).

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In both scenes at the mortuary the internal dialogue-brawl with God is connected with a desire to die, with children desperate to revive their mother functioning as the element of deus ex machina of the monodrama and finally the metaphor for wholesome food, namely honey and milk. 2.3. Metaphors in Qoheleth and Contemporary Art The Babylonian Epic of Gilgamesh and the Egyptian Dispute Over Suicide alike deliberated about life’s conundrums. Qoheleth seems to have surpassed both works in terms of the piteousness and profundity with which he presents these conundrums. Qoheleth, the one who assembles, managed to convene a collection of some of the most perplexing issues of humanity regarding life, death, happiness, vanity (or enigma), time, etc. “It is endlessly quoted, often out of context, and provides a great reservoir of metaphors and images for people to draw on.” ([36], p. 188). Religions 2016, 7, 106

the conceptual metaphor for ephemerality, vanity, enigmatical, 11ofofis 14hebel, 11of ofthat 14 11 14 11 14 and ontological metaphors in Qoh 1:4–7 are surveyed with regard to their impact on contemporary art. The Conceptual M 2.3.1. 2.3.1. TheConceptual Conceptual Metaphor forEnigmatical theEnigmatical Enigmatical 2.3.1. TheConceptual Conceptual Metaphor forthe the Enigmatical 2.3.1. The Metaphor for the 2.3.1. The Metaphor for Belles Lettres: Robe 2.3.1. The Conceptual Metaphor for the Enigmatical Belles Lettres: Robert Bridges, T. Eliot, A. M.Klein Klein Poems Belles Lettres: Robert Bridges, T.S. S.T. Eliot, A.M. M. Klein Poems Belles Lettres: Robert Bridges, S.S.Eliot, A. M. Poems Belles Lettres: Robert Bridges, T. Eliot, A. Klein Poems This conceptual m Belles Lettres: Robert Bridges, T. S. Eliot, A. M. Klein Poems This conceptual metaphor may begrouped grouped fivehermeneutical hermeneutical reading-stages. Thefinal final oneapplies to contempora ThisThis conceptual metaphor maymay be grouped grouped in five five hermeneutical reading-stages. The The final one one conceptual metaphor be ininhermeneutical five reading-stages. This conceptual metaphor may be in reading-stages. The final one applies contemporary art, which ischaracterized characterized by rediscovery Renaissance readings ([40], applies to contemporary contemporary art, which which characterized by aaby rediscovery of Renaissance Renaissance readings ([40], applies totoThis contemporary art, which ismay rediscovery ofofRenaissance readings applies to art, isis characterized by rediscovery of readings ([40], conceptual metaphor be grouped inaafive hermeneutical reading-stages. The([40], finalp.one 140). Vanitas vanitat p. 140). Vanitas vanitatum, et omnia vanitas (2:2b) is the opening and probably the most popular p. 140). Vanitas vanitatum, et omnia vanitas (2:2b) is the opening and probably the most popular p. 140). Vanitas vanitatum, etart, omnia vanitas (2:2b) is opening the thereadings most popular p. 140). Vanitas vanitatum, et omnia vanitas is the and and probably the most popular applies to contemporary which is(2:2b) characterized by aopening rediscovery ofprobably Renaissance ([40], p.conceptual 140). metaphor conceptual metaphor for ephemerality. Vanitas category symbolic works art. In Incontemporary art, vani conceptual metaphor for ephemerality. ephemerality. Vanitas also a category category of symbolic works of art. art. In conceptual metaphor for ephemerality. Vanitas isis opening also aa category ofof symbolic works ofof art. conceptual metaphor for Vanitas isis aalso symbolic of In Vanitas vanitatum, et omnia vanitas (2:2b) is also the andof probably theworks most popular conceptual contemporary art, vanitas alsopreponderates preponderates Dali’s illustration Qoheleth. Theportrait portraitof art, contemporary art,vanitas vanitas alsoalso preponderates inSalvador Salvador Dali’s illustration of Qoheleth. The portrait contemporary art, ininSalvador Dali’s illustration ofofQoheleth. The contemporary art, also preponderates Dali’s illustration of Qoheleth. portrait metaphor forvanitas ephemerality. Vanitas in is also aSalvador category of symbolic works of art.The In contemporary Qoheleth from the a Qoheleth from theartist’s artist’s 1969 illuminated Bible facing the overture the book, asQoheleth found of Qoheleth Qoheleth fromalso thepreponderates artist’s 19691969 illuminated Bible facing the overture overture of the the book, as found found in ininQoh ofofQoheleth from the illuminated Bible isisfacing the overture ofofbook, the book, as found of from the artist’s 1969 illuminated Bible isisillustration facing the of as in vanitas in Salvador Dali’s of Qoheleth. The portrait of from1:1–3. Qoh 1:1–3. QohQoh 1:1–3. 1:1–3. Qoh 1:1–3. the artist’s 1969 illuminated Bible is facing the overture of the book, as found in Qoh 1:1–3. This conceptual m This conceptual metaphor is based on the Hebrew word hebel (BHS ‫ֶל‬ ‫ב‬ ‫ח‬ ֶ ; LXX ματαιότης; Tg ThisThis conceptual metaphor is based on the Hebrew word hebel (BHS ‫ֶל‬ ‫ב‬ ‫ח‬ ֶ ; LXX ματαιότης; Tg conceptual metaphor is based on the Hebrew word hebel (BHS ‫ֶל‬ ‫ב‬ ‫ח‬ ֶ ; LXX ματαιότης; Tg This conceptual metaphor is based on the Hebrew word hebel (BHS ‫ֶל‬ ‫ב‬ ‫ח‬ ֶ ; LXX ματαιότης; Tg This conceptual metaphor is based on the Hebrew word hebel (BHS ; LXX ; Tg ‫)הבלו‬, which is intentio which intentionally positioned inverse this verse and atclosure the closure ofbook, the book, 12:8, forms aninclusio. The translatio ‫)הבלו‬,‫הבלו‬ ),‫הבלו‬ which intentionally positioned in this this verse and at the closure ofof the book, inin12:8, 12:8, forms an ),), which intentionally positioned inthis this verse and at the closure of the book, inin12:8, forms an ‫הבלו‬ which isis intentionally positioned in and at the of the in forms an which isisis intentionally positioned in verse and at the closure the book, 12:8, forms an inclusio. inclusio. The translation of the word may be vanity, useless, absurd, transience, meaningless, or probably inclusio. The translation of the word may be vanity, useless, absurd, transience, meaningless, or probably inclusio. The translation of the word may be vanity, useless, absurd, transience, meaningless, or probably inclusio. The translation of the word may be vanity, useless, absurd, transience, meaningless, or probably rather enigmatic ([36], p The translation of the word may be vanity, useless, absurd, transience, meaningless, or probably rather rather enigmatic ([36], 194). The complexity the rendering revolves around deciphering whether rather enigmatic ([36], p.194). 194). The complexity ofthe the rendering revolves around deciphering whether rather enigmatic ([36], p.p. 194). The complexity ofof the rendering revolves around deciphering whether rather enigmatic ([36], p. The complexity of rendering revolves around deciphering whether one enigmatic ([36], p. 194). The complexity of the rendering revolves around deciphering whether one cancan ascertain a ker oneascertain can ascertain a kernel to its employment in Qoheleth. The term has negative connotations but its onecan can ascertain a kernel to its employment in Qoheleth. The term has negative connotations but its one can ascertain a kernel to its employment in Qoheleth. The term has negative connotations but its one a kernel to its employment in Qoheleth. The term has negative connotations but its central ascertain a kernel to its employment in Qoheleth. The term has negative connotations but its central meaning is spe central meaning isspecifically specifically foregrounded by the phrase that regularly escorts namely striving central meaning specifically foregrounded byby the phrase that regularly escorts it, namely namely striving central meaning is foregrounded by the phrase that regularly escorts it,it, namely striving central meaning isis specifically foregrounded by the phrase that regularly escorts it, striving forthe the wind (1:14; 2:11, meaning is specifically foregrounded the phrase that regularly escorts it, namely striving for forwind the wind (1:14; 2:11, 17, 26;6; 6:9;BHS BHS ‫וּררוּרוּ ַח‬ ְ ; ;LXX LXX προαίρεσις πνεύματος). This does notmean for the the wind (1:14; 2:11, 17,17, 26; 4:4, 6;4:4, 6:9; BHS ‫עוּת רוּ‬ ‫וּר‬ LXX προαίρεσις πνεύματος). ThisThis doesdoes notmean for the wind (1:14; 2:11, 17, 26; 4:4, 6;6;BHS 6:9; ‫עוּת ַח‬ ‫וּר‬ ְ ‫וּר‬ προαίρεσις πνεύματος). not for (1:14; 2:11, 17, 26; 4:4, ‫רוּ ַח ַח‬ ְ ְ‫עוּת‬ ;‫עוּת‬ προαίρεσις πνεύματος). This does not wind (1:14; 2:11, 26; 4:4, 6;6:9; 6:9; BHS ;; LXX LXX ). This does not that that the wind is mean that thewind unreal but that onecannot cannot clasp itininhands one’s hands ([36], 194). Nevertheless, mean thatthe the wind unreal but that one cannot clasp it in in one’s hands ([36], p. 194). 194). Nevertheless, mean that the isisunreal but that one it one’s hands p.p. 194). Nevertheless, mean that the wind isisunreal unreal but that one cannot clasp it one’s hands ([36], p. Nevertheless, most artists interpreted wind iswind but that one cannot clasp itclasp in one’s ([36], p.([36], 194). Nevertheless, most artists most artists interpreted the hebel conceptual metaphor and its auxiliary themes as witnesses to only mostmost artists interpreted the hebel conceptual metaphor and its auxiliary themes as witnesses to only artists interpreted the hebel conceptual metaphor and its auxiliary themes as witnesses to only most artists interpreted the hebel conceptual metaphor and its auxiliary themes as witnesses to only the gloomy side of hum interpreted the hebel conceptual metaphor and its auxiliary themes as witnesses to only the gloomy thegloomy gloomy side human existence. thegloomy gloomy side of human existence. the ofofhuman existence. the side of human existence. The vanitas metap side ofside human existence. Thevanitas vanitas metaphor can be seen (re)emerging in some 20th century poetry. In his applauded The The vanitas metaphor can be seen (re)emerging in some 20th century poetry. In his applauded metaphor can be seen (re)emerging in some 20th century poetry. In his applauded The vanitas metaphor can be seen (re)emerging in some 20th century poetry. In his applauded The Testament of Beauty The vanitas metaphor can be seen (re)emerging in some 20th century poetry. In his applauded TheTestament Testament Beauty (1929), Robert Bridges proffers Qoheleth-like stanza that is asdismal dismal asany any TheTestament Testament Beauty (1929), Robert Bridges proffers Qoheleth-like stanza that asis dismal asdismal any The ofofBeauty (1929), Robert Bridges proffers aaQoheleth-like stanza that as as The ofofBeauty (1929), Robert Bridges proffers aaproffers Qoheleth-like stanza that isis as dismal as any The Testament of Beauty (1929), Robert Bridges a Qoheleth-like stanza that is as asvanitas any adaptation ([40] vanitas adaptation ([40], p. 136). T. S. Eliot also embarked upon involving more comprehensively the vanitas adaptation ([40], p. 136). T. S. Eliot also embarked upon involving more comprehensively the vanitas adaptation ([40], p. 136). T. S. Eliot also embarked upon involving more comprehensively the vanitas adaptation ([40], p. 136). T. S. Eliot also embarked upon involving more comprehensively the vanitas vanitas adaptation ([40], p. 136). T. S. Eliot also embarked upon involving more comprehensively the metaphor, as ex vanitas metaphor, asexemplified exemplified Dry Salvages, (1941) thethe Four Quartets (1943) ([40], 137). InIn vanitas metaphor, as exemplified exemplified inDry Dry Salvages, (1941) of the Four Quartets (1943) ([40], p. 137). In vanitas metaphor, as ininSalvages, Dry Salvages, IIII(1941) ofofFour the Four Quartets (1943) ([40], p.p.p. 137). In vanitas metaphor, as in IIII (1941) the Quartets (1943) ([40], p. 137). In hishis Koheleth (c.1944), Ca vanitas metaphor, as exemplified in Dry Salvages, IIof (1941) of Four Quartets (1943) ([40], 137). hisKoheleth Koheleth (c.1944), Canadian poet A. M. Klein, representative ofMontreal theMontreal Montreal group poets the1920s his Koheleth Koheleth (c.1944), Canadian poetpoet A. M. Klein, representative of the the Montreal group of poets poets in the the his (c.1944), Canadian A. M. representative of the group ofofpoets poets ininthe the his (c.1944), Canadian poet A. M. Klein, representative of group of in 1920s and 1930s, ackno Koheleth (c.1944), Canadian poet A. M.Klein, Klein, representative of the Montreal group of in 1920s and1930s, 1930s, acknowledged little beyond Qoheleth’s most gloomy metaphors and themes ([40], 1920s andand 1930s, acknowledged little beyond Qoheleth’s most gloomy metaphors andand themes ([40], 1920s and 1930s, acknowledged little beyond Qoheleth’s most gloomy metaphors and themes ([40], 1920s and 1930s, acknowledged little beyond Qoheleth’s most gloomy metaphors and themes ([40], p.71). 71). Nonetheless, heb acknowledged little beyond Qoheleth’s most gloomy metaphors themes ([40], p. 71). Nonetheless, hebel was not the only (re)adapted metaphor from Qoheleth. p.71). 71). Nonetheless, hebel was not the only (re)adapted metaphor from Qoheleth. p.p.Nonetheless, 71). Nonetheless, hebel was not the only (re)adapted metaphor from Qoheleth. p. hebel was not the only (re)adapted metaphor from Qoheleth. Nonetheless, hebel was not the only (re)adapted metaphor from Qoheleth. 2.3.2. Belles Lettres: Ern 2.3.2. Belles Lettres: Ernest Hemingway’s Fiesta Novel andOntological the Ontological Metaphors Qoh 1:4–71:4–7 2.3.2. Belles Lettres: Ernest Hemingway’s Fiesta Novel and the Ontological Metaphors inQoh Qoh 1:4–7 2.3.2. Belles Lettres: Ernest Hemingway’s Fiesta Novel and the Metaphors ininQoh 2.3.2. Belles Lettres: Ernest Hemingway’s Fiesta Novel and the Metaphors in 1:4–7 2.3.2. Belles Lettres: Ernest Hemingway’s Fiesta Novel andOntological the Ontological Metaphors in 1:4–7 Qoh The major themes Themajor major themes Ernest Hemingway’s TheAlso SunSun AlsoAlso Rises (1926), orFiesta, Fiesta, asitas itwas was published Themajor major themes ofthemes Ernest Hemingway’s TheSun Sun Also Rises (1926), or Fiesta, asFiesta, was published The themes ofofErnest Hemingway’s The Sun Also Rises (1926), or published The themes of Ernest Hemingway’s The Rises (1926), or Fiesta, ititas was published The major of Ernest Hemingway’s The Rises (1926), oras it was published in in Britain, appear in i Britain, appear its epigraphs. Thefirst first is areference reference toexpression the expression Lost Generation, in Britain, Britain, appear in its its two epigraphs. TheThe first is aaisis reference totothe the expression LostLost Generation, ininBritain, appear inin its epigraphs. first to the expression Generation, in appear in two epigraphs. The first is reference to Lost Generation, Britain, appear in itstwo two epigraphs. a areference the expression Generation, broached broached by Gertrude broached byGertrude Gertrude Stein intimating thepost-war post-war generation; theother other epigraph isaaquotation quotation broached byGertrude Gertrude SteinStein intimating the post-war post-war generation; the other other epigraph quotation broached by intimating the generation; the epigraph is broached by Gertrude Stein intimating the epigraph isis aa quotation by Stein intimating the generation; from the the King James V from from theKing King James Version Qoh 1:4–7. Apparently, Hemingway explained hisMax editor MaxPerkins fromfrom the King King James Version ofQoh Qoh 1:4–7. Apparently, Hemingway explained to his his editor Max the James Version ofof1:4–7. Qoh 1:4–7. Apparently, Hemingway explained totoeditor his editor Max from the Version of Qoh 1:4–7. Apparently, Hemingway explained Max James Version of Apparently, Hemingway explained to to his editor Perkins that that the book w Perkins that the book was not so much about generation being lostthat butthat that the earth abideth forever.Hemingway reckoned Perkins that the book was not so much about generation being lost but that the earth abideth forever. Perkins the book not so much aageneration being lost but the earth abideth forever. Perkins that the book was not so much about aa generation being lost the earth abideth forever. thethat book was notwas so much about aabout generation being lost butbut that the earth abideth forever. Hemingway Hemingway reckoned that thecharacters characters Fiesta may have been battered but were not lost [41].Rightly Hemingway reckoned that the characters in Fiesta Fiesta may have been battered but were not lost [41]. Hemingway reckoned the inin Fiesta may have been battered but were not lost [41]. Hemingway reckoned the characters in may have been battered were not [41]. reckoned thatthat thethat characters in Fiesta may have been battered butbut were not lostlost [41]. Rightly so, so, Qoh 1:4 av Rightly so,Qoh Qoh 1:4avows avows the ephemeral ephemeral character humanity, against thebackground background theperpetual earth. The c Rightly so, Qoh Qoh 1:4 avows avows the ephemeral ephemeral character of humanity, humanity, against the background background of the the Rightly so, 1:4 the character ofof humanity, against the ofof the Rightly so, 1:4 the character of against the of perpetual earth. Theconstant constant repetition, thecoming coming andgoing, going, brought out themetaphors metaphors perpetual earth. The The constant repetition, the coming coming and and going, brought out in in the metaphors of ofofverses 4–7. The imag perpetual earth. repetition, the isisbrought out ininmetaphors the perpetual earth. The constant repetition, the and going, isis brought out the of verses 4–7. The image generation stands for repetition, repetition, ongoing and relentless, alwaysmonotonous, and this verses 4–7.4–7. The The image of generation generation stands for for repetition, ongoing and and relentless, always verses image ofof generation stands ongoing relentless, always verses 4–7. The image of stands for repetition, ongoing and relentless, always monotonous, andthis this reinforced bysucceeding thesucceeding succeeding examples. Themetaphors metaphors Qoh 1:4-7 areontological, since the s monotonous, and and this reinforced by the the succeeding examples. The The metaphors in Qoh Qoh 1:4-71:4-7 are are monotonous, isisreinforced by the examples. ininQoh monotonous, and this isis reinforced by examples. The metaphors in 1:4-7 are ontological, since thestructural structural term forrelationships kinrelationships relationships generation (1:4a; BHS ‫; ;דּודּוֺר‬LXX LXX γενεὰ; Tg‫ )דרא‬and the terms rela ontological, sincesince the structural structural termterm for kin kin relationships generation (1:4a; BHSBHS γενεὰ; Tg Tg ontological, the for kin generation (1:4a; ‫ֺר‬LXX γενεὰ; ontological, since the term for generation (1:4a; BHS ‫ ;;דּדּווֺרֺר‬LXX γενεὰ; Tg In7,7,the Religions 2016, 106following, Religions 2016,2016, 106 Religions 106 Religions 2016, 7,7, 106

The major themes of Ernest Hemingway’s The Sun Also Ri The major themes of Ernest Hemingway’s The Sun Also R The major themes of Ernest Hemingway’s The Sun Also Ris The major themes of Ernest Hemingway’s The Sun Also Ri The major themes of Ernest Hemingway’s The Sun Also The major themes of Ernest Hemingway’s The Sun Also R The major themes of Ernest Hemingway’s The Sun Also Rise in Britain, appear in its two epigraphs. The first is a refere in Britain, appear in its two epigraphs. The first is a refere est Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published f Ernest Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published in Britain, appear in its two epigraphs. The first is a referen nest Ernest Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published rnest Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published in Britain, appear in its two epigraphs. The first is a referen inBritain, Britain, appear initstwo itstwo two epigraphs. The first arefere refe appear epigraphs. The first f Ernest Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published  appear ininits epigraphs. The first is isaisareferen nest Hemingway’s The Sun Also Rises (1926), or Fiesta, as it was published ininBritain, broached by Gertrude Stein intimating the post-war generat broached by Gertrude Stein intimating the post-war genera epigraphs. The first is reference to expression Lost Generation, epigraphs. The first areference toto expression Lost Generation, two epigraphs. The first aa reference reference the expression Lost Generation, broached by Gertrude Stein intimating the post-war generati otwo wo epigraphs. The first the expression Lost Generation, broached by Gertrude Stein intimating the post-war generati broached by Gertrude Stein intimating the post-war gener broached by Gertrude Stein intimating the post-war genera  wo two  epigraphs.  The  first  is  reference  to the the  expression  Lost  Generation,  broached by Gertrude Stein intimating the post-war generatio o epigraphs. The first isisaaisais reference totothe the expression Lost Generation, from the King James Version of Qoh 1:4–7. Apparently, Hem from the King James Version of Qoh 1:4–7. Apparently, He intimating the post-war generation; the other epigraph is quotation intimating the post-war generation; the other epigraph aquotation quotation from the King James Version of Qoh 1:4–7. Apparently, Hem ein intimating the post-war generation; the other epigraph aquotation ntein intimating the post-war generation; the other epigraph from the King James Version of Qoh 1:4–7. Apparently, Hem from the King James Version of Qoh 1:4–7. Apparently, H from the King James Version of Qoh 1:4–7. Apparently, He from the King James Version of Qoh 1:4–7. Apparently, Hem tein  intimating the  post‐war generation;  the  other  epigraph is a quotation  intimating the post-war generation; the other epigraph isisaaisais quotation Perkins that the book was not so much about a generation bei Perkins that the book was not so much about a generation be n of Qoh 1:4–7. Apparently, Hemingway explained to his editor Max rsion of Qoh 1:4–7. Apparently, Hemingway explained to his editor Max Perkins that the book was not so much about a generation bein sion of Qoh 1:4–7. Apparently, Hemingway explained to his editor Max on of Qoh 1:4–7. Apparently, Hemingway explained to his editor Max Perkins that the book was not so much about bein Perkins that the book was not so much about ageneration generation Perkins that the book was not so much about ageneration beb ersion  of  Qoh  1:4–7.  Apparently,  Hemingway  explained  to editor his  editor  Perkins that the book was not so much about aageneration bein n of Qoh 1:4–7. Apparently, Hemingway explained to his MaxMax  Religions 2016, 7, 106 12 of 14 Hemingway reckoned that the characters in Fiesta may hav Hemingway reckoned that the characters in Fiesta may hav tstnot so about aa ageneration being lost but that the earth abideth forever. not much about ageneration generation being lost but that the earth abideth forever. Hemingway reckoned that the characters in Fiesta may have ot soso much about ageneration being lost but that the earth abideth forever. not somuch much about being lost but that the earth abideth forever. Hemingway reckoned that the characters in Fiesta may have Hemingway reckoned that the characters in Fiesta may ha Hemingway reckoned that the characters in Fiesta may hav as not so much about a generation being lost but that the earth abideth forever.  Hemingway reckoned that the characters in Fiesta may have so much about generation being lost but that the earth abideth forever. Rightly so, Qoh 1:4 avows the ephemeral character of hum Rightly so, Qoh 1:4 avows the ephemeral character of hum he characters in Fiesta may have been battered but were not lost [41]. hat the characters in Fiesta may have been battered but were not lost [41]. Rightly so, Qoh 1:4 avows the ephemeral character of huma the at the characters in Fiesta may have been battered but were not lost [41]. the characters in Fiesta may have been battered but were not lost [41]. Rightly so, Qoh 1:4 avows the ephemeral character of hum Rightly so, Qoh 1:4 avows the ephemeral character of hu Rightlyso,so,Qoh Qoh1:41:4avows avowsthe theephemeral ephemeralcharacter characterofofhuma hum hat  the  characters  in  Fiesta  battered  but  were  not  lost  Rightly he characters in Fiesta maymay  havehave  beenbeen  battered but were not lost [41].[41].  perpetual earth. The constant repetition, the coming and goin perpetual earth. The constant repetition, the coming and goi the ephemeral character against the background of ws the ephemeral character of humanity, against the background of the perpetual earth. The constant repetition, the coming and going ws the ephemeral character of humanity, against the background of the the ephemeral character ofhumanity, humanity, against the background the perpetual earth. The constant repetition, the coming and goin perpetual earth. The constant repetition, the coming and go perpetual earth. The constant repetition, the coming and goin ws  the  ephemeral  character  of  humanity,  against  the  background  of  the  perpetual The constant repetition, the coming and going Qoh 1:4 of avows the ephemeral character of humanity, against the earth. background of the perpetual earth. the ephemeral character of humanity, against the background ofofthe the verses 4–7. The image of generation stands for repetiti verses 4–7. The image ofgeneration generation stands for repetit nt repetition, the coming and going, is out in metaphors of stant nstant repetition, the coming and going, isbrought brought out the metaphors of verses 4–7. The image of generation stands for repetitio tant repetition, the coming and going, isbrought out inin the metaphors ant repetition, the coming and going, out inthe the metaphors verses 4–7. The image of generation stands for repetitio verses 4–7. The image of generation stands for repet verses 4–7. The image of generation stands for repetit nstant  repetition,  the  coming and  going, is brought  out in  the  metaphors  of  verses 4–7. The image of stands for repetitio The constant repetition, the coming and going, is brought out in the metaphors of verses 4–7. The image nt repetition, the coming and going, isisbrought brought out in the metaphors ofofof monotonous, and this is reinforced by the succeeding exam monotonous, and this is reinforced by the succeeding exam generation stands for repetition, and relentless, of generation stands for repetition, ongoing and relentless, always monotonous, and this isis reinforced by the succeeding examp generation stands for repetition, ongoing and relentless, always f of generation stands for repetition, ongoing and relentless, always monotonous, and this reinforced by the succeeding examp monotonous, and this is reinforced by the succeeding exa monotonous, and this is reinforced by the succeeding exam of  generation  stands  for  repetition,  ongoing  and  relentless,  always  monotonous, and this is reinforced by the succeeding examp of generation standsongoing for repetition, ongoing andalways relentless, always monotonous, and this is reinforced generation stands for repetition, ongoing and relentless, always ontological, since the structural term for kin relationships ge ontological, since the structural term for kin relationships ge nforced by the succeeding examples. The metaphors in Qoh 1:4-7 are reinforced by the succeeding examples. The metaphors in Qoh 1:4-7 are reinforced by the examples. metaphors in 1:4-7 ontological, since the structural term for kin relationships gen einforced bythe thesucceeding succeeding examples. TheThe metaphors Qoh 1:4-7 areare ontological, since the structural term for kin relationships gen ontological, since the structural term for kin relationships ontological, since the structural term for kin relationships ge ontological, since the structural term for kin relationships gene s  reinforced  by  the  succeeding  examples.  The  metaphors  in  Qoh Qoh  1:4‐7  are  bysucceeding the succeeding examples. The metaphors in Qoh 1:4-7 are ontological, since the structural term for nforced by examples. The metaphors ininQoh 1:4-7 are ‫דרא‬ ))and and the terms relating to the natural phenomena, such ‫דרא‬ )and the terms relating to the natural phenomena, such ural term for kin relationships generation (1:4a; BHS ‫רוֺרדּ;;ֺרודּדֺּרווֺרֺר‬LXX γενεὰ; Tg uctural uctural term for kin relationships generation (1:4a; BHS ‫;;; ;דּ‬ LXX γενεὰ; Tg  LXX γενεὰ; Tg ‫דרא‬ the terms relating to the natural phenomena, such as ctural term for kin relationships generation (1:4a; BHS LXX γενεὰ; tural term for kin relationships generation (1:4a; BHS ;‫דּוֹודּ‬ LXX γενεὰ; Tg ‫דרא‬ the terms relating to the natural phenomena, such aa ‫דרא‬ phenomena, such ‫דרא‬ and the terms relating to the natural phenomena, such uctural term for kin relationships generation (1:4a; BHS  ‫דרא‬ )))and the terms relating to the natural phenomena, such as ural term for kin relationships generation (1:4a; BHS LXX γενεὰ; Tg kin relationships generation (1:4a; BHS LXX ;Tg Tg )and and the terms relating to the natural Tg ‫ֶשׁ‬ ‫מ‬ ֶ‫שׁ‬ ), wind (1:6b; BHS ‫ח‬ ַ ‫רוּ‬ ; LXX πνεῦμα; Tg ‫רוח‬ ), streams Tg ‫ֶשׁ‬ ‫מ‬ ֶ‫שׁ‬ ), wind (1:6b; BHS ‫ח‬ ַ ‫רוּ‬ ; LXX πνεῦμα; Tg ‫רוח‬ ), stream o the natural phenomena, such as the sun (1:5a; BHS ‫שׁ‬ ‫מ‬ ֶ ֶ‫שּׁ‬ ; LXX ἣλιος; ng to the natural phenomena, such as the sun (1:5a; BHS ‫שׁ‬ ‫מ‬ ֶ ֶ‫שּׁ‬ ; LXX ἣλιος; Tg ‫ֶשׁ‬ ‫מ‬ ֶ‫שׁ‬ ), wind (1:6b; BHS ‫ח‬ ַ ‫רוּ‬ ; LXX πνεῦμα; Tg ‫רוח‬ ), streams to ng to the natural phenomena, such as the sun (1:5a; BHS ‫שׁ‬ ‫מ‬ ֶ ֶ‫שּׁ‬ ; LXX ἣλιος; to the natural phenomena, such as the sun (1:5a; BHS ‫שׁ‬ ‫מ‬ ֶ ֶ‫שּׁ‬ ; LXX ἣλιος; Tg ‫ֶשׁ‬ ‫מ‬ ֶ‫שׁ‬ ), wind (1:6b; BHS ‫ח‬ ַ ‫רוּ‬ ; LXX πνεῦμα; Tg ‫רוח‬ ), streams Tg ‫)מ‬,),wind ֶ‫)שׁ‬,wind wind (1:6b; BHS ‫רוּ‬ ; LXX πνεῦμα; ),stream strea ‫)מ‬,ֶ‫שׁ‬ (1:6b; BHS ‫רוּ ַח‬ ;LXX LXX πνεῦμα; ‫רוח‬ ),streams ing to the natural phenomena, such as the sun (1:5a; BHS  ֶ‫ ;שֶּׁ מ‬LXX ; LXX ἣλιος;  ‫ֶשׁשֶֶׁשׁמֶשׁ‬ (1:6b; BHS ‫רוּ ַח‬ ;‫ ַח‬LXX πνεῦμα; ‫רוח‬ ),‫רוח‬ o the natural phenomena, suchsuch as the sun sun (1:5a; BHSBHS ‫ ;שֶּׁ ֶמשׁ‬LXX ἣλιος; Tg phenomena, as the (1:5a; ;Tg Tg (1:6b; BHS ; TgTgTg ‫נחליא‬ and sea (1:7a; BHS LXX θάλασσα; Tg ‫אוקיאנוס‬ ))are are ‫נחליא‬ ).and and sea (1:7a; BHS θάλασσα; Tg ‫אוקיאנוס‬ )are are πνεῦμα; Tg ‫רוח‬ ), (1:7a; BHS ‫ִים‬ ‫ִיםלל‬ ‫ִיםלָ ָחח‬ ְ‫ ָלחנְּ ;;ל ָחנְּנּ‬LXX χείμαρροι; HS ַ LXX ‫רוּ‬ LXX πνεῦμα; Tg ), streams (1:7a; BHS LXX χείμαρροι; Tg ‫;;יׇּ‬LXX ‫נחליא‬ sea (1:7a; BHS θάλασσα; Tg ‫אוקיאנוס‬ sp S‫רוּ‬ ‫רוּח ;ַ;ח‬ ; ;; LXX πνεῦμα; ‫רוח‬ ),streams (1:7a; BHS ;ְ‫;;נְּנּ‬ LXX χείμαρροι; ‫רוּ ַח‬ ;ַ‫רוּח‬ LXX πνεῦμα; TgTg ‫רוח‬ ),streams (1:7a; BHS ;LXX χείμαρροι; TgTg ‫נחליא‬ sea (1:7a; BHS θάλασσα; ‫אוקיאנוס‬ ss ‫נחליא‬ ).and and sea (1:7a; BHS ; LXX θάλασσα; Tg ‫אוקיאנוס‬ ) ar ‫יׇּ‬LXX ‫נחליא‬ sea (1:7a; θάλασσα; Tg ‫אוקיאנוס‬ are HS  LXX  πνεῦμα;  Tg  ), streams streams  (1:7a;  BHS  ‫ים‬ ִ‫חָ ָנְּחל‬LXX LXX  χείμαρροι;  Tg  ‫נחליא‬ and sea (1:7a; BHS ‫יׇּ;יׇּ;םיׇּ;םיׇּםםםם‬LXX θάλασσα; Tg ‫אוקיאנוס‬ )))are sp ‫רוּח‬ LXX πνεῦμα; Tg ‫רוח‬ BHS ‫ִיםִים‬ χείμαρροι; Tg Tg ),‫רוח‬ streams (1:7a; ; Tg ).).).).). and (1:7a; BHS ;‫ם;יׇּ‬LXX LXX ;Tg of ontological metaphors, the personification is not a solit of ontological metaphors, the personification is not a soli θάλασσα; Tg ‫אוקיאנוס‬ ) are specified as being a person. In the case SS  ‫יׇׇּםם‬LXX LXX θάλασσα; Tg ‫אוקיאנוס‬ ) are specified as being a person. In the case of ontological metaphors, the personification is not a solita ;‫ם‬ ;‫;יׇּיּ‬LXX θάλασσα; Tg ‫אוקיאנוס‬ ) are specified as being a person. In the case ;LXX θάλασσα; Tg ‫אוקיאנוס‬ ) are specified as being a person. In the case ‫יׇּ‬LXX of ontological metaphors, the personification is not a solita of ontological metaphors, the personification is not a so ontological metaphors, thepersonification personification nota asolita soli ; LXX θάλασσα; Tg  ) are specified as being a person. In the case  ofof ontological metaphors, θάλασσα; TgTg‫) )אוקיאנוס‬are specified are specifiedas asbeing being aa person. person. In In the case of ontological metaphors, thethe personification is is isnot personifications vary in terms of the aspects of people that ar personifications vary in terms of the aspects of people that he personification is aa asolitary unified common procedure. The s, rs, the personification is not aa  solitary unified common procedure. The personifications vary in terms of the aspects of people that are ,the the personification issolitary asolitary solitary unified common procedure. The personification not unified common procedure. The personifications vary in terms of the aspects of people that ar personifications vary in terms of aspects of people that personifications vary in terms of the aspects of people that aa rs,  the  personification  is not not  solitary  unified  common  procedure.  The  personifications vary in terms of the aspects of people that are he personification isisanot not solitary unified common procedure. The not unified common procedure. The personifications vary in terms of the aspects ofthe people description of the sun’s journey is in lively contrast with Ps 19 description of the sun’s journey is in lively contrast with Ps 19 ms of aspects of that are selected. For instance, 55 5the terms ofthe the aspects ofare people that are selected. For instance, in verse 5the the description of the sun’s journey isis in lively contrast with Ps 19, erms ofthe aspects ofpeople people that are selected. For instance, inverse verse 5the ms aspects ofpeople that are selected. For instance, inverse description of the sun’s journey in lively contrast with Ps 19 description of the sun’s journey is in lively contrast with Ps description of the sun’s journey is in lively contrast with Ps 19 terms of the aspects of people that are selected. For instance, in verse 5 the  description the sun’s journey is in lively contrast with Ps 19, ms ofofthe the aspects ofthat people that are selected. For instance, in verse the selected. For instance, in verse 5 in the description of the sun’sof journey is in lively contrast with Michael V. Fox even deems that there is no contrast here betwe Michael V. Fox even deems that there is no contrast here betw ney is in lively contrast with Ps 19, where it is compared to a warrior etc. ourney is in lively contrast with Ps 19, where it is compared to a warrior etc. Michael V. Fox even deems that there is no contrast here betwee urney is in lively contrast with Ps 19, where it is compared to a warrior etc. rney is in lively contrast with Ps 19, where it is compared to a warrior etc. Michael V. Fox even deems that there is no contrast here betwe Michael V. Fox even deems that there is no contrast here bet Michael V. Fox even deems that there no contrast here betw Fox even deems that there is is no contrast here betwee ourney is in lively contrast with Ps 19, where it is compared to a warrior etc.  ney is in lively contrast Ps it 19,iswhere it is compared to etc. a warrior etc.V.Michael Ps 19,with where compared to a warrior Michael Fox evenV.deems that there is no contrast here the permanence of the earth. To this end he interprets earth the permanence of the earth. To this end he interprets earth hat there is here between the evanescence of and ms there is no contrast here between the evanescence of generations and ms that there iscontrast no contrast here between the evanescence of generations and the permanence of the earth. To this end he interprets earth s that that there no contrast here between the evanescence generations and the permanence of the earth. To this end he interprets earth the permanence of the earth. To this end he interprets eara the permanence of the earth. To this end he interprets earth ms that there is no contrast here between the evanescence of generations and  the permanence of the earth. this end he interprets earth hat there isisno no contrast here between the evanescence ofofgenerations generations and between the evanescence of generations and the permanence of the earth. To this end heTo interprets earth possibility. Still, to reconnect with Hemingway’s aforemen possibility. Still, toreconnect reconnect with Hemingway’s aforeme ..rth. this end he interprets earth as humanity [42]. This is aaisais arth. earth. To this end he interprets earth as meaning [42]. This aa  possibility. Still, to reconnect with Hemingway’s aforemen this end interprets earth as meaning humanity [42]. This apossibility. h.To ToTo this end interprets earth meaning humanity [42]. This Still, to reconnect with Hemingway’s aforemen possibility. Still, to reconnect with Hemingway’s aforem possibility. Still, to reconnect with Hemingway’s aforeme earth.  To  this  end  he  interprets  earth  as  meaning  humanity  [42].  This  is  possibility. Still, to with Hemingway’s aforement To this end hehehe interprets earth asasmeaning meaning humanity [42]. This isisto as meaning humanity [42]. This ishumanity a possibility. Still, reconnect with Hemingway’s aforementioned humanity also has many reasons for which to abide, for apar humanity also has many reasons for which to abide, for apa ct Hemingway’s aforementioned the earth abides and onnect with Hemingway’s aforementioned opinion, the earth abides and humanity also has many reasons for which to abide, for apart nnect with Hemingway’s aforementioned opinion, the earth abides and nect with Hemingway’s aforementioned opinion, the earth abides and humanity also has many reasons for which to abide, for apar humanity also has many reasons for which to abide, for ap humanity also has many reasons for which to abide, for apa onnect  with  Hemingway’s  aforementioned  opinion,  the  earth  abides  and  humanity has many reasons for which to abide, for apart ct with with Hemingway’s aforementioned opinion, the earth abides and opinion, the earth abidesopinion, and humanity also has many reasons foralso which to abide, for apart from Him enjoyment (Qoh 2:25 ESV)? This also coincides with Hemi enjoyment (Qoh 2:25 ESV)? This also coincides with Hem sons for which to abide, for apart from Him who can eat or can have yy reasons for which to abide, for apart from Him who can eat or who can have  reasons for which toabide, abide, for apart from Him who can eat orwho who can have enjoyment (Qoh 2:25 ESV)? This also coincides with Hemin reasons for which toabide, for apart from Him who can eat orwho can have easons for which for apart from Him who can eat orwho can have enjoyment (Qoh 2:25 ESV)? This also coincides with Hemi enjoyment (Qoh 2:25 ESV)? This also coincides with Hem enjoyment (Qoh 2:25 ESV)? This also coincides with Hem enjoyment (Qoh 2:25 ESV)? This also coincides with Hemin sons for which toto abide, for apart from Him who can eat or who can have who can eat or who can have enjoyment (Qoh 2:25 ESV)? This also coincides with Hemingway’s further conversations in the Fiesta: conversations in the Fiesta: This also coincides Hemingway’s further hints in one of the This also coincides with Hemingway’s further hints in one of the conversations in the Fiesta: V)? This also coincides Hemingway’s further hints one the ?V)? This also coincides with Hemingway’s further hints one the conversations in the Fiesta: conversations in the Fiesta: conversations in the Fiesta: V)?  This  also  coincides  with  Hemingway’s  further  hints  in  one  of  the  conversations in the Fiesta: This also coincides with Hemingway’s further hints ininin one ofofof the hintswith inwith one of the conversations in the Fiesta: a: ta: :ta:  “‘Gentlemen,’ he said, and unwrapped a drumstick from a piece of newspaper. ‘I reverse the order. For Bryan’s sake. As a tribute to the Great Commoner. First the chicken; then the egg.’ ‘Wonder what day God created the chicken?’ ‘Oh,’ said Bill, sucking the drumstick, ‘how should we know? We should not question. Our stay on earth is not for long. Let us rejoice and believe and give thanks.’ ‘Eat an egg.’ Bill gestured with the drumstick in one hand and the bottle of wine in the other. ‘Let us rejoice in our blessings. Let us utilize the fowls of the air. Let us utilize the product of the vine. Will you utilize a little, brother?’ ‘After you, brother.’ Bill took a long drink. ‘Utilize a little, brother,’ he handed me the bottle. ‘Let us not doubt, brother. Let us not pry into the holy mysteries of the hencoop with simian fingers. Let us accept on faith...” ([43]). 3. Conclusions It is suggested that the scrutiny of wisdom literature metaphors should not lapse into either sophiamania or metaphormania but should be linked with other topics, such as linguistic, semantic, pragmatic, and theological aspects, etc. It is intimated that Proverbs depicts a more nuanced picture concerning the wisdom that it presents. Proverbs is not a scanty do ut des wisdom-book. Similarly to Job and Qoheleth, it also precipitates some of the misfortunes and struggles of life. Here, a somewhat more balanced nexus is advocated between the wisdom categories in Proverbs, Job, and Qoheleth. New metaphor connections are also signalled and expanded. This is the first instance that the relevant visual metaphor from Proverbs is connected to The Simpsons. Two new ontological metaphors are discovered in Prov 25:26–28 – 26:1–12 and examined for the first time in relation to Friedrich Dürrenmatt’s Die Physiker. The hand becoming heavy metaphor in Job 23:2 is examined with reference to Francis Gruber’s Job painting. It is highlighted that the metaphor in the LXX version of the text is applied to God, as opposed to Job. Thus, in this version of the metaphor, God’s hands become heavy upon Job. The metaphor for wholesome food, honey, and curd, in Job 20:17 is scrutinized in convergence with a similar metaphor in András Visky’s Juliet. In Qoh 1:4–7 ontological metaphors are signalled and related to their usage in Ernest Hemingway’s Fiesta. In these ontological metaphors the relevant personifications are also accentuated.

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As shown, there is an intrinsic relationship between the metaphors and other aspects of the wisdom literature and contemporary art. This relationship underscores the artistic ingenuity, too, with which metaphors are adopted, adapted, further developed and even altered. At times the metaphors are quoted and used out of context. Still, with the help of the tool of biblical literacy it is possible to gauge the continuous germination of usage within contemporary art of various metaphors found in the wisdom literature. This might also mean that the wider society is in contact with the wisdom corpus of the Hebrew Bible and that the metaphors and other aspects found in it are still masterly enough to inspire and influence 21st century audiences. Finally, biblical scholarship in its exegetical, hermeneutical, and theological enterprises, might also benefit from paying close attention to the usage of wisdom metaphors in contemporary art contexts. Conflicts of Interest: The author declares no conflict of interest.

Abbreviations BHS Ezek LXX Prov Qoh Sir

Biblia Hebraica Stuttgartensia Ezekiel Septuagint Proverbs Qoheleth Sirach

References and Notes 1. 2. 3. 4. 5.

6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Franz-Josef Steiert. Die Weisheit Israels—ein Fremdkörper im Alten Testament? Eine Untersuchung zum Buch der Sprüche auf dem Hintergrund der ägyptischen Weisheitslehren. Freiburg: Herder, 1990. Gerhard Von Rad. Weisheit in Israel. Neukirchen-Vluyn: Neukirchener, 1970. James Muilenburg. “Form Criticism and Beyond.” In Beyond Form Criticism: Essays in Old Testament Literary Criticism. Edited by Paul R. House. SBTS 2. Winona Lake: Eisenbrauns, 1992, pp. 49–69. Roland Meynet. Rhetorical Analysis: An Introduction to Biblical Rhetoric. JSOTSup 256. Sheffield: Sheffield Academic Press, 1998. Pierre van Hecke, and Joode de Joode. “Metaphormania and Metaphorology: Identifying Metaphor in Biblical Literature.” Paper presented at Society of Biblical Literature—Annual Meeting, Baltimore, MD, USA, 23–26 November 2013. James L. Crenshaw. “Method in Determining Wisdom Influence upon ‘Historical’ Literature.” JBL 88 (1969): 129–42. [CrossRef] Tremper Longman, III. Proverbs. Grand Rapids: Baker Academic, 2006, p. 62. Robert Alter. The Book of Psalms: A Translation with Commentary. New York: Norton, 2007, p. xxiv. Brent A. Strawn. “Imagery.” In Dictionary of the Old Testament Wisdom, Poetry & Writings. Edited by Tremper Longman, III and Peter Enns. CCBS. Nottingham: Inter-Varsity Press, 2008, p. 306. Adele Berlin. “On Reading Biblical Poetry: The Role of Metaphor.” In Congress Volume: Cambridge 1995. Edited by J. A. Emerton. Leiden: Brill, 1997, pp. 27–28. Szikszainé Nagy Irma. Magyar Stilisztika. Osiris Tankönyvek. Budapest: Osiris Kiadó, 2007, pp. 442–43. Bálint Károly Zabán. “Metaphor Theories and the Function of Metaphors in the Book of Proverbs.” Paper presented at European Association of Biblical Studies—Annual Meeting, Cordoba, Spain, 12–15 July 2015. Hans-Georg Geyer. “Kunst III. Kunst und christlicher Glaube.” In Religion in Geschichte und Gegenwart. Edited by Kurt Galling. Tübingen: J. C. B. Mohr (Paul Siebeck), 1986, pp. 161–65. Jelle Wytzes. “Kunst.” In Christelijke Encyclopedie. Edited by Frederik Willem Grosheide and Gerrit Pieter van Itterzon. Kampen: J. H. Kok N.V., 1959, pp. 341–44. Francis A. Schaeffer. The God Who Is There. Downers Grove: InterVarsity Press, 1968. Francis A. Schaeffer. Art and the Bible. Downers Grove: InterVarsity Press, 1973. Wikipedia. “Contemporary art.” Available online: https://en.wikipedia.org/wiki/Contemporary_art (accessed on 29 March 2016).

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