Theophany As Type Scene

Theophany as type-scene
in the Hebrew Bible
N F Schmidt & P J Nel
Abstract
This paper investigates the literary nature of theophany in the

Hebrew Bible. As a religious phenomenon theophany is
distinguished from other phenomena of divine manifestations,
such as the epiphany, dreams and visions. Theophany is also
analysed in its reported form, which was used by authors to
describe it as a type-scene consisting of five elements: (0 the
background to the manifestation, (iO the manifestation of the
Reproduced by Sabinet Gateway under licence granted by the Publisher (dated 2009).
divine and the way the human recipient reacts to it, (iii) the
dialogue and content of the theophany report as the aim of the
divine manifestation, (iv) the element of intrigue which is
present in every theophany in some mysterious aspect of the
divine, and (v) the conclusion to the theophany type-scene.
The implications of these findings are applied to a number of
Hebrew texts to contribute to their interpretation.
1. INTRODUCI'ION: TIlE TIlEOPHANY CONFUSION
The word "theophany" literally means "a manifestation of God", The
Journal for Semitics, vol. 1112,2002, pp. 256·281 256

Theophany as type-scene in the Hebrew Bible 257
lexeme combines the Greek terms eEOC; ("God") and $CXVELCX I

("manifestation"). While translating theophany is unproblematic.
describing it as a religious phenomenon in its reported form in the
texts of the Hebrew Bible is a difficult task. In this process scholars
contradict one another in many respects. It would seem that there are
two causes for this "theophanic confusion". Firstly. a terminological
confusion besets the entire issue of the study of theophany - on the
one hand a plethora of terms are used to indicate one and the same
phenomenon. and on the other hand the same term is used to indicate
different phenomena.2 Secondly. the history of study on theophany
has been written from different perspectives. Scholars tend to use
(and misuse) the conclusions of others to suit their own arguments.
This confusion resulted in a wealth of theophany descriptions. while
no satisfactory definition of theophany exists.3 The role of theophany
in biblical literature and its impact on the structure of texts has not
been examined properly.
Also <jlO'.vEo9cLL or tPO'.Vf)VO'.L. from the verb <jlO'.LVUl - "to bring to

light", "make to appear", "disclose" (Liddell and Scott
1974:31S, 7S0). "Theophany" is translated as theophania
(Latin), theophanie (French) and Theophanie (German). The
term was originally employed in the Greek festival of Delphi,
during which the statues of Apollo and other gods was shown to
the people.
2
Theophany is regarded as synonymous to the epiphany,
apparition or self-revelation (Pax 19S5:20, Polak 1996:113), the
dream or vision (Gnuse 1998), or as an all-embracing term to
describe all modes of God's direct impartation of his will (Mann
1977:18).
Weiser (19S0), Pax (l9SS), Eliade {19S8, 1961}, Barr (1960),

Jeremias (1 96S}, Kingsbury (1967), Kuntz (t%7), Cross (1973),
Van Seters (197S), Mann (1 977} , Terrien (l978), Westermann
(1982) , Niehaus (199S) and Scriba (199S). The only South
African scholar who has provided a substantial exposition of the
theophany (in the Psalms) is Hunter (l987).
258 N F Schmidt & P J Nel
The problem lies therefore in regarding the theophany as a religious

phenomenon and as a referential model in its reported form in the
context of the Hebrew Bible. It is necessary to systematise
information from relevant texts in order to construct a true picture of
theophany. A referential framework may be useful for the
understanding of the structural components of the theophany and the
way in which narrative material was strategically employed by
authors. The approach to theophany as a religious entity is primarily
phenomenological, while the application of the theophanic model to
Hebrew texts is text-analytical and rhetorical in nature. This paper
uses a selection of typical theophany texts which correlate in
narrative strategy. The method excludes any unnecessary
complication of the issues on the table, because the selection is broad
enough to isolate structural elements in such texts.
2. THEOPHANY AS A DISTINCT RELIGIOUS

PHENOMENON
When theophany as a religious phenomenon is compared to other

phenomena from texts of the Hebrew Bible, its unique attributes and
qualities are emphasised, allowing us to identity theophanies from
which to discern a structure that can be applied to some texts. Nm
12:6-8 compares the various phenomena of manifestation:
"If there is a prophet among you, I the Lord make myself

known to him in a vision. I speak with him in a dream. Not so
with my servant Moses; he is entrusted with all my house.
With him I speak mouth to mouth, clearly, and not in dark
speech; and he beholds the form of the Lord" [RSV).
This text identifies two different phenomena of divine

manifestations: firstly, the unique significance of Moses as direct
("mouth to mouth") recipient of the divine word during theophanies.
God meets Moses "face to face" in Ex 33:18-23, where Moses sees
the divine form. Secondly, the vision and dream are characterised as
"dark speeches" or indirect ways of communication between God
and prophets. The difference between these means of manifestation
is obvious theophany, with its uniquely outward form of
manifestation as an actual appearance is different in nature to dreams
and visions. Theophanies are utterly real and concrete manifestations
or appearances of the divine, while the presence of God in dreams
and visions is more abstract and symbolic in nature. Dreams only
take place when somebody is asleep and therefore a passive recipient
during the di vine encounter.
The vision and the dream are described as identical events in biblical
literature (ct. Nm 22:8-21, Zc 1-8). The Greek word for vision
(6IjlL<;) is sometimes used for dreams as well (Gnuse 1998:469, ct.
Long 1984:455-6). This similarity can also be noticed in Ancient
Near Eastern literature, such as the Epoch of King Keret (KRT
Col.1:31-39, 3:150-155, cf. Gordon 1965:250-251, Gibson 1977:83,
86):
"Sleep overpowered him and he lay down, slumber

(overpowered him) and he curled up. And in his dream EI

came down, in his vision the father of mankind", ........ ,
"because EI in my dream has granted, the father of mankind in
my vision, the birth of a family to Keret ... Keret awoke, and it
was a dream, the servant of EI - and it was a visitation".4
It is also necessary to distinguish between theophany and epiphany.

Because both use the same elements and structures, some scholars
choose to disregard their differences. 5 Distinctions have been made
4
Ginsberg's translation of whdrt ("manifestation") as "a fantasy"
(1974:144) is incorrect.
Cf. Pax (1955:20-1), Jeremias (1965:2), Kingsbury (1967),

Kuntz (1967), Hunter (1987:125), Niehaus (1995), Polak
(1996:113).
by Eliade (1958: 10; 1961 :111-112), Westermann (1981 :98-101;

1982:25-26) and Cross (1973:147-169):
Epiphany Theophany
Eliade:
Manifestation of divine Manifestation of divine presence
power
Westermann:
1. God coming/going forth 1. God appearing to mankind
from
2. Cosmic trembling and i 2. To mediate/call/commission
disturbances someone
3. Divine intervention 3. To establish a holy place of the
for/against Israel cult
Cross:
March of the Divine Warrior Coming of the Divine Warrior
(Baal) to battle, bearing his (EI) from battle to his temple on
weapons of wrath his mountain
Epiphany is the manifestation of divine power; theophany is the

manifestation of divine presence. The purpose of epiphany is the
saving or punishing of human beings; theophany is directed towards
communication between the divine and mankind. While the
recipients of an epiphany experience divine power, those of a
theophany see the divine appearance. Theophany contains elements
of the epiphany; the epiphany excludes elements of the theophany.
Theophany can thus be described as "a. visible and audible

manifestation of the divine in the natural sphere, of a temporary
nature and at a specific place, initiated by the divine and resulting in
human dread and awe, with the purpose of communication between
the divine and mankind, which causes a lasting effect in the personal
and communal life of the recipient and in the cosmos" (Schmidt
2002:52).
3. NARRATIVE STRUCTURE OF THE THEOPHANY
From this descriptive definition of the theophany as a religious

phenomenon we can now proceed to the way in which the process of
theojanieschilderung was reported in the Hebrew Bible. Biblical
authors and redactors were as concerned with how they said
something as with what they said. Previous studies on the structure
of theophanies scrutinised one element of the theophany, but
neglected the consideration of the literary pattern of theophanic
disclosure as a whole. The various preconceived ideas on the
definition of the theophany in the Hebrew Bible produced divergent
structures, which may be classified into three categories of
theophany as (i) a literary genre, (ij) an Ancient Near Eastern
tradition in Israel's history, and (iii) part and parcel of the call
narratives.
3.1 Theophany as a literary genre in the Hebrew Bible
Jeremias (1965:15, 168) described the Hebrew theophany as a

Gattung with its original form in Jg 5:4-5. This specific theophany

genre consists of two parts: the coming of Yahweh from somewhere
to a specific place (the Ursache which originated in the context of
ancient Israel), and the tumult in nature because of God's coming
(the Wirkung which was adopted from Israel's Ancient Near Eastern
neighbours). According to Jeremias (1965:93-101), this genre
originated in descriptions of Yahweh's holy war as divine warrior.
Cross 0973:155-156) elaborated on two descriptions of Yahweh as

the divine warrior. Borrowed from Canaanite literature by the people
of Israel, this meant the march of the divine warrior into battle
carrying his terrible weapons of destruction, and the return of the
divine warrior from battle to his temple on his mountain. Underlying
both types he discerned an archaic mythic pattern for the theophany
consisting of four elements (1973: 162-163):
0) The divine warrior goes forth to battle against chaos (e.g. Yam,
Leviathan, Mot)
(ii) Nature convolutes, writhes and languishes when the warrior
unleashes his wrath
(iii) The warrior returns to assume kingship enthroned among the
gods on his mountain
Ov) The divine warrior makes himself heard from his temple and
nature responds again: heavens fertilise the earth, animals writhe in
giving birth, men whirl in festive glee.
Kuntz analysed narrative texts in the Old Testament which contain

theophanies. Having establishing guidelines for a theophanic
structure from Gn 26:23-25, he produced a flexible Gattung for
theophanies in the Old Testament texts consisting of ten parts (cf.
Kuntz 1967:60). These fonn-critical exponents have done much
groundwork for a scientific interpretation of the theophany texts of
the Hebrew Bible. However, they tend to be very rigid in the analysis
of texts according to strict subjective qualifications. Texts not suited
to adjustment to a preconditioned Gattung were either discarded as
being of a secondary nature, or regarded as a later development of
the prototype of the genre.
3.2 Theophany as an Ancient Near Eastern tradition in

Israelite history
While the fonn-critics related the theophany to the context of

Yahweh's holy war, those who followed the tradition-historical
method identified the festivals in the cult of ancient Israel as the Sitz
im Leben of the theophany (cf. Weiser 1950). The tradition of the
theophany was grounded in Ex19-34 and later re-enacted in the cult
during the dialogue between God and believers. The biblical
tradition probably emanated from an ancient fonn of hymnic
theophanic accounts in the Ancient Near East. The descriptions of
the march of Yahweh in Jg 5:4-5, Dt 33:2, Ps 68:8-9 and Hb 3:3-4
can be traced back to the cult of the sun as manifestation of the gods
in Egypt, while manifestations in nature are based on the advent of

the Canaanite storm god Baal. In the ongoing process of revitalising
Israel's theophanic tradition, theophanies of Yahweh as divine
warrior were historicised and personalised, as a continuous (but no
longer seasonal) tradition from the Second Millennium BC up to
Hellenistic and Roman times (cf. Kingsbury 1967:205).
Van Seters (1975:261-262) provided a sixfold basis for this "ancient

story of theophany" according to the structure of Gn 15, Ex 3, Jg 6
and 13: (i) a general situation of distress, (in the dramatic appearance
of the messenger of Yahweh at a specific time and place, (iii) the
appearance is a response to a situation of need where a commission
is desired, (iv) the commission of the recipient is often followed by a
protest of weakness. (v) a confirmation of the promised deliverance
followed by a sign or disclosure of God, and (vi) the deliverance is
carried out in the rest of the story.
3.3 Theophany as part and parcel of the call narratives

in the Hebrew Bible
Habel (1965:298, 305) identifies the Hebrew call narrative as a genre

which developed from the early accounts of Ex 3 and Jg 6 into a
common literary form which authors used in later accounts of the
calling of leaders (cf. Jr 1:4-10, Is 6:1-13 and Ezel-2). As part of the
call narrative, the theophany does not function on its own but as the
embodiment of divine communication with the person called. It
could be replaced with other phenomena in later texts. The vision
took its place in the later texts relating the call of Isaiah and Ezekiel.
As genre, the call narrative has an underlying structure with six
broad literary features: 0) the divine manifestation in times of crisis
and in the midst of normal routine activities, (ii) the introductory
word from God to the prophet, (iii) the leader receives a commission
from the deity, (iv) the leader baulks at the commission, (v) the
leader is reassured that Yahweh is with him, (vi) a sign is provided to
the leader that he is called by the divine (Habel 1965:317, d. Long

1984:259).
The value of the theophany as part of the call schema of leaders in

Ancient Israel lies in the fact that the phenomenon is not removed
from its textual context, as is often the case with the genre- and
tradition-approaches. However, the problem with the theophany as
part of the call-narrative is that we find theophanies in the Hebrew
Bible which cannot adequately be described as call scenes (d. Gn 3,
Ex 34, Nm 12, as well as Job 38-42). A possible structure and
context for the theophany in some Hebrew texts can be explained by
another, more recent approach in biblical science.
3.4 Theophanyas a literary type-scene in the Hebrew Bible
Robert Alter is in all probability the first scholar to apply the type-
scene to biblical literature. The type-scene is defined as the "the
marking of a crucial juncture in the life of the protagonist by
following a fixed sequence of familiar motifs" (Alter and Kermode
1987:672). Alter (1981:47-49) explains the type-scene as a tacit
agreement between the artist and his audience, which can be

identified as the ordering of a literary work of art according to a grid
of conventions. These conventions have previously been identified
by form-critics as the recurring regularities of a pattern rather than
the manifold variations of literary convention. 6 What is important in
the biblical type-scene is not so much its schema of convention, but
what is done in each individual's application of the schema to give it
a sudden tilt of innovation or even to refashion it radically for
imaginative purposes. Rather than describing theophany as a genre,
tradition, or even as part of the call narrative, this study interprets it
6
Alter (1981:51) identifies 8 type-scenes in the Old Testament:
0) annunciation. (ij) birth of a hero from a barren mother. (iii)
encounter with a future wife. (iv) epiphany in the field. (v)
initiatory trial, (vi) danger in the desert. (vii) discovery of a well,
(viii) testament of a dying hero.
as a type-scene with a certain supra-textual matrix (cf. Polak

1996:116-117 and Sands 1975:45-49).7
From the definition of theophany its characteristics as a religious

phenomenon have been demonstrated. Its structure is now explained
in its reported form in some Hebrew texts. We propose a type-scene
of theophany, consisting of the following elements:
i. Background. Information on turmoil, chaos, and the presence of
evil is reported, which both precedes and leads to the manifestation
of the deity. The manifestation should be seen in the light of both the
divine initiative (that Yahweh is manifested) and the situation
portrayed in the background (why Yahweh is manifested).
ii. Manifestation. The manifestation of the divine in the earthly
sphere takes place by means of phenomena such as a cloud, fire,
wind, thunder, silence, etc. This brings about a human reaction as a
response to the mysten'um tremendum et jascinans (cf. Otto 1959).
iii. Dialogue. Communication takes place between the deity and
man, as to the purpose of the theophany. The style usually comes in a
question-answer format, with the content of the divine words
exceeding that of the human recipient.
iv. Intrigue. This forms part of the plot of every theophany.

Specific events take place during the divine manifestation and
communication that are left unanswered and unexplained by the
author as part of the unique and mysterious aspect of every
theophany.
v. Conclusion. The last part of the type-scene is provided by the
narrator, who either tells us that Yahweh left the scene, or that the
recipient responded in a certain manner to fulfil his calling after the
theophany event. The type-scene forms part of larger textual units,
but may be studied separately as a substantial unit within the whole.
7
In doing so, we utilise the structure of Alter's type-scene of the
"epiphany in the field" without endorsing its typification as
"epiphany", to describe a type-scene of the theophany as a
unique form of divine manifestation to the human recipient.
4. UlERARY INIERPREfAll0N OF 1HEOPHANIC

'fYPE..SCENEi
The type-scene will now be applied to Hebrew texts which have been
identified as theophanies according to the definition of the religious
phenomenon.
4.1 Exodus 3-4 (theophany and the divine name)
The divine manifestation to the lone shepherd in Ex 3:1-4:17 has

been described as the locus classicus of the Old Testament
theophany (d. Kuntz 1967:139).
1. Background God hears the lamentation of the Israelite

slaves in Egypt (2:23-5)
Moses leads the flock of his father-in-law to
the area of Horeb (3:1)
2. Manifestation Moses is attracted to the mystery of a burning
bush
The angel of Yahweh appears in the burning
bush
Yahweh orders Moses to remove his shoes
Moses hides his face in his mantle (3:2-6)
3. Dialogue Yahweh calls Moses to free his people from
Egypt
Moses' objections are countered by Yahweh
four times (3:7-4:17)
4. Intrigue The relation between Yahweh and the God of
the patriarchs (3:14)
5. Conclusion Moses returns to Egypt (4:18)
i. Background. During the absence of God the Israelites were

enslaved by the pharaoh, an embodiment of evil. But God was never
really absent, as 2:23-5 describes the divine conduct of hearing,
remembering, seeing, and knowing his people (d. 3:7-8). Moses
drove the flock of Jethro into the desert to the mountain of God, and
encounters God.
ii. Manifestation. Yahweh is manifested by his angel in the burning
bush (3:2). Moses proceeds to investigate this wonder. As God calls
on him, he responds in three ways: he declares in an act of self-
presentation, "Here am I". He removes his shoes under divine
orders.s He covers his face with his mantle. These three responses
are a complete reaction to the divine mysterium tremendum et
jascinans in terms of the theophany.
iii. Dialogue. The hieros logos is extended because of Moses' doubt.
Yahweh commissions Moses to free Israel, but he declines the offer.
He advances four objections: he is not up to the task, he is ignorant
of the divine name, his people are unbelieving and he lacks
eloquence. Each time Yahweh brushes his objections aside.
iv. Intrigue. The mysterious presence of Yahweh and the revelation
of the divine name have led to many interpretations of Ex 3:14.9
Elohim of the forefathers is indeed Yahweh of the covenant, who is
here described in terms of his active presence. Ex 3:14 illustrates the
close and essential relationship between God's Person and his Name.
The revelation of the Name is necessary for Moses to relate his
encounter with Yahweh to that of Israel's patriarchs with Elohim.

v. Conclusion. As Moses leaves for Egypt the event of the divine
saving of the Hebrew people from Egypt gains momentum. Yahweh
will free them in the light of his twofold promise to Abraham of a
great nation possessing their own soil (cf. Gn 12:1-7). Ex 3-4
foreshadows the later fiery theophany at SinailHoreb in Ex 19-34.
s Kuntz (1967:144) and Niehaus (1995:188) interpret the removal

of Moses' sandals as an act of recognition of the holiness and
sovereignty of Yahweh who has drawn near. The interpretation
of this divine order by Janzen (1997:28) as an act of divine
hospitality which Moses gladly accepts seems to be incorrect in
the context of the theophanic type-scene.
9
Terrien (1978:116) provides three translations of this part of Ex
3:14: (1) "I am who 1 am", (2) "I shall be who 1 shall be", or (3)
"I cause to be whatever 1 cause to be".
The structure of this theophany is also a stylistic example of the

theophanies to Joshua and Gideon.
4.2 Numbers 22~24 (theophany and oracle)
This text illustrates the various forms of manifestation of the deity in

the Hebrew Bible.
1. Background Israel arrives in the land of Moab

Moab summons Balaam to curse Israel
God initially prohibits but then allows Balaam
to go (Nm 22:1-20)
2. Manifestation The angel of Yahweh stands in the way of
Balaam's donkey
The donkey realisel' danger and speaks to
Balaam about the angel
Balaam falls on his face in front of the angel
(22:21-31)
3. Dialogue The angel confronts Balaam's prophetic
objectives
Balaam bows according to the aim of Yahweh

(22:32-5)
4. Intrigue The different kinds of divine revelation in Nm
22-24
5. Conclusion Balaam meets Balak in Moab (23:36-41)
Balaam's oracles in favour of Israel (Nm
23:1-24:25)
i. Background. Balak summons Balaam to curse Israel. Balaam first

rejects and then accepts the proposals of Balak because of directive
dreams he received from God. The note in 22:21 that Balaam
prepared his donkey to depart, prepares us for the encounter with the
angel that would follow after his conversation with the donkey.
ii. Manifestation. The angel stands in the way, so as to obstruct both
Balaam and his donkey. In 22:21-35 he acts as a TtfW ("adversary")
to grant Balaam awareness of the manifestation of Yahweh. After

Balaam sees the angel he bows down as an appropriate reaction.
Balak and Balaam are symbols of fatuousness and obstinacy; their
conduct is accentuated by the behaviour of the donkey. The
proverbial ass is normally associated with similar characteristics, but
here exhibits more spiritual insight than the prophet.
iii. Dialogue. The words of the angel of Yahweh prepare Balaam for
the correct prophetic oracle to be pronounced by him on Israel. The
dialogue is continued in the different oracles that Balaam pronounces
on Israel under the influence of the Spirit of Yahweh (cf. 24:2). An
ironic twist is the fact that Yahweh employs a Near Eastern diviner
to provide a vision of Israel's future, not Moses who had seen Him
face to face.
iv. Intrigue. Numbers 22-24 exhibits four manifestations of the
deity in the world of the Bible: firstly, God appeared twice to Balaam
at night in dream-visions (22:9,20). In these nocturnal revelations the
general Ancient Near Eastern divine name of Elohim instead of
Yahweh, the covenantal divine name of the God of Israel, is used.
Secondly, Yahweh is manifested in the theophany of the angel and
the donkey. The remarkable extent to which this event is described
establishes it as superior to the other forms of manifestation.

Thirdly, God met Balaam during sacrifices which preceded his
oracles (23:1,14,29). Fourthly, the Spirit of God descends on Balaam
to produce another prophetic oracle in 24:2 under direct divine
inspiration.
v. Conclusion. The plans of Balak to bring down a divine curse
upon Israel under the influence of Balaam, have failed miserably.
Instead, Balaam pronounces a divine blessing on the enemies of
Balak at the behest of God. In the conclusion of the type-scene, the
author mentions that Balak and Balaam exited the scene to return to
their homes (24:25).
4.3 Exodus 19-34 (three theophanies and one mountain).
The Sinai complex consists of three theophany type-scenes, Le. Ex

19-23, 24-31, 32-34. All three theophanies are related in successive
stages to the establishment and renewal of the covenant between
Yahweh and Israel - the first is concerned with the commandments
of the covenant, the second focuses on communion with Yahweh in
the covenant, and the third on the renewal of the covenant after
Israel's apostasy.
4.3.1 Exodus 19-23
The first theophany is linked with the issuing of the commandments

emanating from the covenant between Yahweh and Israel.
1. Background Israel arrives in the wilderness at the mountain

of Sinai (19:1-2)
Moses is entrusted with orders of purification
for Israel 09:3-15)
2. Manifestation Yahweh is manifested on Sinai in storm

elements
Israel shudders as Moses ascends the mountain
09:16-20)
3. Dialogue Commandments of Yahweh's covenant with
Israel (20: 1-23:33)
Communication between Moses and Yahweh
{19:21-24}
4. Intrigue Different elements of the divine manifestation
(19:16-19)
5. Conclusion Moses descends from Sinai to promulgate
Yahweh's orders (19:25)
L Background. When Israel arrives at Sinai the people are informed

by Yahweh, through Moses, to prepare themselves cultically for the
theophany and the revelation of God's will.
ii. Manifestation. Yahweh descends onto the mountain and is

manifested through the elements of thunder, lightning, cloud, the
blast of a trumpet, smoke, fire and earthquake. In reaction to this
manifestation, both nature and Israel tremble. The people request
Moses to act as mediator between them and Yahweh.
iii. Dialogue. Moses proceeds to act as mediator of Yahweh's
principles for the covenant with Israel. Some conversation takes
place between Yahweh and Moses, but this is overshadowed by the
content of the book of the covenant, which is narrated by God to
Moses, who has to teach it to the Israelites (cf. Ex 20-23).
iv. Intrigue. Gowan (1994:28) calls Ex 19 the classic theophany of
the Old Testament, because it combines the different phenomena of
divine manifestation in thunder, lightning, cloud, trumpet-sound,
earthquake, smoke and fire. Van Seters (1994:250) combines all the
natural elements in the pillar of cloud which previously led Israel to
Sinai. The theophany seems to be of a cultic nature.
v. Conclusion. Moses descends from the mountain to proclaim
God's book of the covenant to the people of Israel (d. Ex 19:25).
Now that they know the will of Yahweh, the next step to the actual
making of that covenant can be taken.
4.3.2 Exodus 24-31
While the preparations for the covenant were being made in the
initial theophany, Ex 24-31 portrays a second theophany as the
consummation of the covenant in terms of a communal meal
between Yahweh and the leaders of Israel.
1. Background Orders to purify Israel's seventy leaders for a

covenant meeting
Four priests and seventy elders ascend Sinai
(24:1-9)
2. Manifestation The party sees God's presence
A covenantal meal takes place (24: 10-11)
Moses alone ascends Sinai again (24: 12-18)
3. Dialogue Cui tic instructions: acts and objects to be

implemented (25:1-31:17)
4. Intrigue The cultic objects as symbols of the divine
presence
5. Conclusion Moses descends Sinai with the tables of
testimony (31:18)
i. Background. Moses is told by Yahweh to ritually prepare the

seventy leaders for a covenental meal with Him on Sinai. The people
at the foot of the mountain offer sacrifices to Yahweh after they have
listened to the commandments of the covenant.
ii. Mamfestation. Ex 24:9-11 relates how the seventy leaders and
four priests ascend Sinai to partake in the divine presence in a
communal meal of the covenant. Moses is told once again to ascend
the mountain, where he remains for forty days. During this time
Yahweh speaks to Moses from the cloud, which acts to
accommodate both the presence and concealment of the divine (cf.
Ex 24:15-18).
iii. Dialogue. Moses receives orders on the establishment of cultic
objects such as the ark and the tabernacle, with its furniture, objects,
sacrifices and acts (cf. Ex 25-30.

iv. Intrigue. The continued presence of Yahweh amongst Israel
necessitates the making of a covenant. To adhere to the cultic laws of
Yahweh, Israel is provided with a plan to build the cult wherein
divine manifestation can happen in a more permanent manner (cf.
24:16-18). The description of the tabernacle is an architectural
representation of the experiences of Moses involving the divine glory
on Sinai. As the cloud of divine presence previously descended on
Sinai, so it will in future descend on the tent and tabernacle.
v. Conclusion. After the forty days have elapsed, Moses descends
the mountain, taking with him the two tablets on which the
commandments of Yahweh were written (31:18).
IVIle-scerle in the Hebrew Bible 273
4.3.3 Exodus 32-34
The third type-scene narrates how the Israelites were unwilling to

wait for their mediator for forty days. They persuade Aaron to
establish a Canaanite form of the worship of Baal. This amounts to a
breach of the covenant which they had entered into with Yahweh.
After the people of Israel are punished, the covenant is re-
established.
1. Background The Israelites commit apostasy by trying to

mediate God (32:1-6)
Yahweh's anger with Israel is interceded for
by Moses (32:7-14)
Moses and God punish the Israelites (32: 15-
35)
2. Manifestation Divine presence manifested on the tent of
meeting (33:1-23)
Yahweh's glory is manifested to Moses on
Sinai (34:1-8)
Moses worships Yahweh (34:8)

The face of Moses also temporarily reflects
Yahweh's glory (34:29ff)
3. Dialogue Yahweh orders Moses to prepare Israel for a
renewal of the covenant
Another set of the decalogue is provided
(34:9-28)
4. Intrigue The permanent presence of Yahweh in the
tabernacle (33:7-11).
5. Conclusion Moses returns to Israel to convey Yahweh's
orders (34:29-35)
i. Background. The covenant that was envisaged and executed

during the first two theophanies is endangered when Israel
misunderstands Yahweh's manifestation in terms of the Canaanite
religion of Baal. The scene of the golden calf shows how Israel
prefers the permanent presence of an artefact god with a mediator

who translates their requests in cultic terms. The punishment of
Israel is ironic: they are forced to drink water mixed with the ashes
of the image's remains, which permeates their bodies and heightens
the proximity of the idol to absurdity (cf. Polak 1996).
ii. Manifestation. Ex 32-4 shows that Moses has become an
indispensable mediator of the deity to Israel. Moses requests an
unconcealed manifestation of the deity, to which Yahweh responds
negatively (33:21-23). Yet, during the manifestation the divine glory
is passed on to the face of Moses (34:29-35).
iii. Dialogue. The conversation between Yahweh and Moses is
described in stages during this theophany. Initially he intercedes for
the Israelites whom Yahweh wants to destroy because of their
apostasy (32:7-14). Then Moses persuades Yahweh not to remove
his presence from the people of Israel. but to remain with them on
the journey (33:12-17). In the final conversation of this type-scene,
the ten commandments are rewritten by Yahweh and made known to
Moses for the sake of Israel's covenant with God (34:1-27).
iv. Intrigue. The tent of meeting would henceforth mediate the
presence of the divine in terms of the cloud that once descended onto
it. It becomes the place where Israel can seek God. The fact that the
glory of Yahweh descended on the tent as the pillar of cloud which
previously guided Israel through the wilderness and descended on
Sinai makes one type of the glory theophany identical with the others
at Sinai.
v. Conclusion. After Moses had conveyed the divine commandments
to the people of Israel, the covenant is re-established. In the rest of
the book of Exodus (Ex 35-40), the instructions of Yahweh on the
cult of Israel are obeyed.
4.4 1 Kings 19 (alternative theophany)
In this theophany the way in which God chooses to manifest Himself

is to be regarded as an integral part of the message He wishes to
communicate.
1. Background Elijah fled from Jezebel to Horeb, assisted by

an angel (19:1-11)
2. Manifestation A series of manifestations, after which he
covers his face (19:12-13)
3. Dialogue Elijah is re-commissioned as prophet (19: 14-
18)
4. Intrigue Changes in the form of the theophany (19: 12)
5. Conclusion Elijah obeys the orders of Yahweh (19:19-21)
i. Background. In the epiphanic Kulturkampj on Mount Carmel, 850

prophets of the Canaanite god Baal are massacred at the command of
EJijah. Jezebel, the queen of Israel and foJ]ower of Baal, sends a
message of retribution to Elijah, who flees to Horeb. In his situation
and journey an angel strengthens him.
ii. Manifestation. In 19:11-12 God descends on the mountain of
Horeb in a series of divine manifestations. Scholars disagree on the
relation between the elements of storm, earthquake, fire and the
i1~j i1~~'7 ?;i'.10 Some regard the elements of the storm, earthquake
and fire merely as harbingers of Yahweh's coming, because only at
the "sound of a light whisper" Elijah wrapped his face in his mantle
and stood at the entrance of the cave to meet God. According to
Gowan (1994:35). theophanic language never claimed that God was
in the wind, earthquake, fire or the "thin sound of silence". Lust
(1975:114-115) agrees that the threefold pattern should read that
Yahweh was "'not yet' in the storm nor in the earthquake or in the
fire", because these cosmic signs precede and announce God's
coming. Yahweh's voice is heard as a roaring thunder at the end of a
series of cosmic events. As a result, EJijah first fled into the cave
10
This phrase is variously translated as a "sound of sheer silence"
(NSRV). "gentle whisper" (NIV). "soft whisper of a voice"
(TEV). "low murmuring sound" (NEB). "sound of a gentle
breeze" (JB). "sound of a light whisper" (Montgomery).
"stillness. and then a small whisper" (Sandmel). as well as a
"voice of gentle stillness" (cf. Kuntz 1967:152),
and came out while covering his face in the presence of Yahweh. By
wrapping his face Elijah indicates his apprehension of the divine
presence.
iii. Dialogue. Elijah desires to be released from his prophetic office,
but Yahweh insists that he continues the commission which consists
of three commands. The exhausted prophet is re-commissioned by
the deity in a completely overwhelming intervention. He is
empowered for the re-establishment of a covenant between Yahweh
and Israel by means of subversive military action and prophecy, in
Israel and abroad.
iv. Intrigue. What is the implication of the change in the way the
divine manifestation took place in lKings 19:11-12? Scholars have
proposed three interrelated interpretations: (1) the storm theophany
is left behind to distinguish between Yahweh and Baal; (2)
theophany is replaced with the prophetic vision; and (3) the Mosaic
theophany is reinterpreted in 1 Kg 19 as a development of the event.
The first interpretation of the change of the theophany relates it to
the fact that the adherents of the Yahwistic faith, to distinguish
Yahweh from the Canaanite Baal, gradually abandoned the storm
theophany. According to Fensham (1980:232), the main theme in 1
Kings 17-19 is the contest between Yahweh and Baal. In 1 Kg

19: 11-12 Yahweh is no longer identi fied (like Baal-Melkart) in
manifestations such as the storm, earthquake, wind or fire, but in the
silence following in the wake thereof. In the new encounter Yahweh
becomes distinct from Baal. The storm theophany is discharged in
favour of other forms of divine manifestation. Proponents of the
second interpretation think that the theophany is replaced with the
prophetic vision as the future form of the manifestation of the deity.
In a re-evaluation of Yahweh's powerful presence in nature,
manifestation becomes a symbol of divine spirituality and intimacy.
Revelation is changed to events in ordinary life, no longer happening
only in the spectacular manifestations of nature (ct. Nelson
1987:125-126). Gray relates 1 Kings 19 to Exodus 33 to describe
this theophany as "intelligible communication". Elijah expected an
intervention, as was anticipated in the traditional liturgy of the cult,
but it turns out to be "an intelligible revelation to find God's
direction in the ordinary course of daily life and to communicate it

regularly and constructively" (Gray 1980:410-411). The theophany
is replaced by the prophetic vision. The third interpretation regards 1
Kings 19 as a reinterpretation and development of the Mosaic
theophanies. 1 Kings 19 refers back to the theophanies of Exodus 3-4
and 19-34. Elijah becomes a Moses redivivus, in the sense that he
receives from Yahweh a similar commission and deliberately
attempts to revitalise the Mosaic tradition in his day. His journey is
similar to that of Moses in terms of time (40 days and nights), place
(Horeb/Sinai) and theophanic description. Yet, in the case of Elijah
we find an important reversal of the traditional theophany to Moses:
Moses requests to see the divine glory, while God prepares Elijah for
this purpose. Moses is denied a view on the deity, while Elijah is
invited to an interview. Moses asks for the help of Yahweh, while
Elijah complains of its lack. Moses' boldness is contrasted to
Elijah's reverence. 1 Kings 19 presents the more sophisticated mode
of a new theophany meeting. Wiirthwein (1994:151-152) interprets
this theophany as a cultic event, during which silence presented the
divine manifestation and presence in the cult of Israel.
v. Conclusion. Elijah leaves Horeb to fulfil his threefold prophetic
duty. After he has bestowed his prophetic task on Elisha, he is taken

up to heaven (d. 2 Kings 2).
5. SUMMARY
In this study the theophany as religious phenomenon was identified

in some texts of the Hebrew Bible, and then transformed into a
narrative type-scene that schematises the reporting of such an event.
The register or constitutive aspects are fairly stable but may vary in
exposition in specific instances. Our investigation has offered
sufficient comparable proof to use the theophany as a type-scene
schema or pattern. This theophany type-scene consists of the
following elements: 0) Background (ii) Manifestation (iii) Dialogue
(iv) Intrigue (v) Conclusion. By applying a religious phenomenon
(i.e. the theophany) to biblical texts. this paper shows that religious
phenomena might have determined the compositional structures of
Hebrew passages.
BIBLIOGRAPHY
Alter. R 1981. The art of biblical narrative. New York: Basic Books.
Alter. R & Kermode, F (eds) 1987. The literary guide to the Bible.
Cambridge: Belknap.
Anderson. G Wet al (eds) 1960. Supplements to Vetus Testamentum.

Volume VII. Leiden: Brill.
Baumgartner. W et al (eds) 1950. Festschrift for Alfred Bertholet.

Tubingen: JCB Mohr.
Barr. J 1960. Theophany and anthropomorphism in the Old

Testament. in Anderson 1960:31-38.
Cross. FM 1973. Canaanite myth and Hebrew epic. Essays in the

history of religion in Israel. Cambridge: Harvard University
Press.
Eliade, M 1958. Patterns in comparative religion. London: Sheed

and Ward.
Eliade, M 1961. The sacred and the profane: the nature of religion.
Evanston: Harper & Row.
Fensham, F C 1980. A few observations on the polarisation between

Yahweh and Baal in 1 Kings 17-19, ZA W 92/2:227 -236.
Gibson, J C L 1977. Canaanite myths and legends. Edinburgh: T&T

Clark.
Ginsberg, H L 1974. Ugaritic myths, epics, and legends, in Pritchard

1974:129-155.
Gnuse, R 1998. A reconstruction of the form-critical structure in 1

Samuel 3, ZA W94/3:379-390.
Gordon, C H 1965. Ugaritic Textbook. Rome: Pontificial Biblical

Institute.
Gowan, D E 1994. Theology in Exodus. Louisville: John Knox.
Gray, J 1980.1 & II Kings. A commentary. London: SCM.
Habel, N C 1965. The form and signifi~ance of the call narratives,

ZA W 77:297-323.
Hunter, J H 1987. Theophany in the psalms. A study of selected

theophany passages. Stellenbosch: Unpublished doctoral
thesis.
Janzen, J G 1997. Exodus. Louisville: John Knox.
Jeremias, J J 1965. Theophanie. Die Geschichte einer AlttestamentJichen

GaJtung. Neukirchen-Vluyn: Neukirchener Verlag.
Kingsbury, E C 1967. The theophany topos and the mountain of

God,JBL 86:205-210.
Kuntz, J K 1967. The self-revelation of God. Philadelphia:

Westminster.
Liddell, H G & Scott, R 1974. Greek-English Lexicon. Oxford:

Claredon.
Long, B 0 1984. I Kings with an introduction to historical literature.

Grand Rapids: Eerdmans.
Lust, J 1975. A gentle breeze or a roaring thunderous sound?, VT

25:110-115.
Mann, T W 1977. Divine presence and guidance in Israelite traditions:

the typology of exaltation. Baltimore: John Hopkins.
Nelson, R D 1987. First and Second Kings. Atlanta: John Knox.
Niehaus, J J 1995. God at Sinai. Covenant and theophany in the

Bible and Ancient Near East. Carlisle: Paternoster.
Otto, R 1959. The idea of the holy. London: Penguin.
Pax, E 1955. Errupal/wx: Ein religionsgeschichtlicher Beitrag zur

biblischen Theologie. Munchen: Karl Zink Verlag.
Polak, F 1996. Theophany and Mediator. The unfolding of a theme

in the Book of Exodus, in Vervenne 1996:113-147.
Pritchard, J B (ed) 1974 Ancient Near Eastern Texts relating to the

Old Testament. Princeton: University Press.
Sands, P C 1975. Literary genius of the Old Testament. Folcroft:

Library Editions.
Schmidt, N F 2002. Theophany and the Divine Discourses of Job.

Bloemfontein: Unpublished MA dissertation.
Scriba, A 1995. Die Geschichte des Motivkomplexes Theophanie.

Gottingen: Vandenhoeck & Ruprecht.
in the Hebrew Bible 281
Terrien. S 1978. The Elusive Presence. San Francisco: Harper &

Row.
Van Seters, J 1975. Abraham in history and tradition. New Haven:

Yale University Press.
Van Seters, J 1994. The life of Moses. The Yahwist as historian in

Exodus - Numbers. Louisville: John Knox.
Vervenne, M (ed) 1996. Studies in the Book of Exodus. Redaction-

Reception-Interpretation. Leuven: Peeters.
Weiser, A 1950. Zur Frage nach der Beziehungen der Psalmen zum
Kult: Die Darstellung der Theophanie in die Psalmen und im
Festkult, in Baumgartner 1950:513-531.
Westermann, C 1981. Praise and Lament in the Psalms. Atlanta:

John Knox.
Westermann, C 1982. Elements of Old Testament Theology. Atlanta:

John Knox.
Wiirthwein, E 1994. Studien zum Deuteronomistischen Geschichtswerk.

Berlin: De Gruyter.
Rev N F Schmidt & Prof P J Nel

Department of Near Eastern Studies
University of the Free State
POBox 339
BLOEMFONTEIN 9300
SOUTH AFRICA
282 Errata
EDITOR'S NOTE
The Editor regrets the publication errors that occurred in the article
by P J Botha VSem 11 (1):64-82). These errors are rectified below.
1. The textual strategy and social background of Psalm

64 as key to its interpretation (P J Botha), JSEM 11
(1):64-82.
The Hebrew text omitted from the article is reproduced below:
:"" "7;)T7;) nll7;), 1 To the conductor. A Psalm of

David.
A 1 "'i' O'il'N-Y7;)tv 2 Listen, 0 God, to my voice in

'"'tv::J my trouble;
"n 'In ::J"N ,n!J7;) protect my life from the dread

of the enemy
2 "07;) , l" non 3 Hide me from the counsel of

0' Y' 7;) the wicked.
pN "Y!J ntvl'7;) from the multitude of the

evildoers.
B 3 ::J,n:J mtv ,tvN 4 who whet their tongues like

Ol'tv, swords.
'7;) ,::J, OlM ,:J" who aim bitter words like

arrows.
Errata 283
4 C.I'I C".I'IOI.:I:l m,', 5 to shoot from ambush at the

innocent;
'N'" N" 'il" CN.I'I!l suddenly and without fear

they shoot at him.
5 37' ':11 'I.:I'-'PTTT' 6 They hold fast to their evil

purpose;
C'llij1l1.:1 111.:1"" "!l0' they talk to conceal their

traps.
'1.:I'-ilN" '1.:1 "I.:IN thinking. "Who will notice

them?"
6 1)1.:1.1'1 .I'I"37-'lli!ln' 7 They devise crimes: "We

lli!lnl.:l lli!ln have made the perfect plan."
PI.:I 37 :I" lli' N :I'P' For a man's bosom and heart

are cunningly deep
II C 7 m C'il?N c," 8 But God will shoot His arrow

at them;
c.n,::ll.:l "il C'N.I'I!l suddenly they are hit.
S Cl'lli, ,m,'lli::l" 9 Their own tongue will bring

them to ruin;
284 Errata
C:J ilN'-'7:) '''In' all who see them, will shake

their heads.
D 9 C'N-'7:) 'N'''' 10 Everyone will stand in awe
C'iI'N 'liD "'l" and will proclaim the work of

God,
''':>lViI 'illVlIO' understanding what he does.
10 mil':J i"'X MOlV' 11 The righteous will rejoice in

,:J ilom YHWH and shelter in him,
:J'-"lV'-'::> ,''mn', and all the upright in heart

will feel proud.
Errata 285
2. Verbless clauses containing personal pronouns in

Qumran Hebrew (J A Naude), JSEM 11 (1):126-168.
Lines were omitted from the following tree diagrams of the

above article.
2.1 Example (47) (JSem 11 0):147)
(47) DP
A
e D'
DP
mbnh pr
2.2 Example (48) fJSem 11 (1):148)

(48) DP
A
hw' D'
DP
mbnh pr
286 Errata
2.3 Example (49) (JSem 11 (1):148)
(49)
TOPP
A
TOP'
A
TOP AGRSP
A
AGRS'
A
DP
A
hw' N'
DP
mbnh pr
Errata 287
2.4 Example (50) (incorrectly labelled (52),JSem 11 (1):150
(50)
TOPP
,II\.
hW'i TOP'
,II\.
TOP AGRSP
,II\.
Ii AGRS'
,II\.
DP
,II\.
Ii N'
DP
mbnh 'pr
288 Errata
2.5 Example (51) (incorrectly labelled (52), JSem 11 0):151)
(51)
TOPP
A
hw'; TOP'
A
TOP AGRSP
A
ti AGRS'
A
mbnh 'prj DP
ti N'
DP
2.6 The reference to "(52)(a)" (JSem 11 0):152) should read

"(53)(a)".
Errata 289
2.7 Example (56) (JSem 11 (1):155)
(56)
DP
A
el N'
A
hy' DP
2.8 Example (57) (JSem 11 (1):155-156)
(57)
DP
A
hqryh N'
A
hy' DP
yrwslm
290 Errata
2.9 Example (58) USem 11 (1):156-157)
(58)
TOPP
A
TOP'
A
TOP AGRSP
A
AGRS'
A
AGRSPESP
A
AGRSPES'
A
DP
A
hqryh N'
A
hy' DP
yrwslm
Errata 291
2.10 Example (59) (.JSem 11 (1):157-158)
(59)
TOPP
A
hqryhi TOP'
A
TOP AGRSP
A
t,. AGRS'
A
AGRSPESP
A
AGRSPES'
A
DP
A
t,. N'
A
hy' DP
yrws[m
292 Errata
2.11 Example (60) (JSem 11 (1):159)
(60)
TOPP
A
hqryh; TOP'
A
TOP AGRSP
A
ti AGRS'
A
hy'/ AGRSPESP
A
AGRSPES'
A
t} DP
Guidelines for authors 293
GUIDELINES FOR AUTHORSIRIGLYNE VIR OUTEURS
1. PREPARATION OF THE MANUSCRIPTI

VOORBEREIDING VAN DIE MANUSKRIP
Manuscripts must be typed on A4 paper in 1112 or double spacing.

Make use of the block paragraph method. Twice the space between
lines should be left between paragraphs. If your manuscript is typed
on a word processor, you should use MSWord. A printed copy
should accompany manuscripts on disks. If time allows galley proofs
for final proofreading will be submitted to the author with the
proviso that no major alterations or additions should be made at that
stage.
Die manuskrip moet in I1h of dubbelspasicring op A4-grootte papier

getik word. Gebruik die blokparagraafmetode en laat tussen
paragrawe dubbel die spasie wat tussen reels gelaat word. Indien u u
manuskrip op 'n woordewerker voorberei, moet u verkieslik van
MSWord gebruik maak. Manuskripte op disket moet van 'n

gedrukte kopie vergesel wees. Indien die tyd dit toelaat sal
bladproewe vir finale proeflees aan die outer voorgele word met dien
verstande dat geen substantHHe wysigings op daardie stadium
gemaak mag word nie.
2. HEADINGSIOPSKRIFfE
The main heading must be in capital letters. Number all headings

according to the decimal system:
1. FIRST LEVEL
1.1 Second level
1.1.1 Third level
1.1.1.1 Fourth level
294 Riglyne vir outeurs
Die eerstevlakopskrif moet in hoofletters wees. Nommer al die

opskrifte volgens die desimale nommerstelsel:
1 EERSTEVLAK
1.1 Twedevlak
1.1.1 Derdevlak
1.1.1.1 Vierdevlak
3. SPELLING/SPELLING
Follow the spelling of The Oxford English dictionary (OED).
Volg die spelling van die Handwoordeboek van die Afrilcaanse Tool
(HAT).
4. TRANSLITERATIONITRANSLITERASIE
Hebrew, Aramaic, Syriac, Arabic and Greek may be written in the

original provided that fonts used are submitted with the electronic
version of the article. Ugaritic, Akkadian, Sumerian, Egyptian and
Coptic must be transcribed. The transliteration system of CAD or
AHw may be followed for Akkadian.
Hebreeus, Aramees, Siries, Arabies en Grieks kan in hulle

oorspronklike skrifvorm geskryf word solank die relevante fonte die
artikel vergesel. Ugarities, Akkadies, Sumeries, Egipties en Kopties
moet getranskribeer word. Die transkripsiesisteem van CAD of AHw
kan vir Akkadies gevolg word.
5. ITALICS/KURSIVERING
Words or phrases to be italicised must be underlined, unless you

italicise them yourself.
Woorde of frases wat gekursiveer moet word, moet onderstreep

word, tensy u dit self gekursiveer het.
6. ABBREVIATIONS/AFKORTINGS
For the abbreviations for Biblical books, the Apocrypha,

Pseudepigrapha and Dead Sea Scrolls, consult Alexander, P H,
Kutsko, J F, Ernest, J D, Decker-Lucke. SA. & Petersen, D L, 1999.
The SBL handbook of style for ancient Near Eastern. Biblical, and
early Christian studies. Peabody: Hendrickson Publishers. For
abbreviations relating to series. journals and other titles, consult
Schwertner. Siegfried 1974. IntemaJionales Abkiirzungs-veneichnis fiir
Theologie und Grenzgebiet/Intemational glossary of abbreviations for
theology and related subjects. Berlin-New York: Walter de Gruyter.
References to Josephus must specify the particular composition of

Josephus. book (in Roman numerals), chapter and paragraph. or
subsection within a paragraph. If paragraphs and subsections are
cited the latter must be indicated in parenthesis. The following
example reflects the above details, plus the required punctuation:
Josephus Ant. II. 7:3 (175), 5 (184).
Vir die afkortings vir Bybelboeke, die apokriewe. pseudepigrawe en

Dooie See tekste raadpleeg: Alexander, P H, Kutsko, J F, Ernest, J
D. Decker-Lucke. S A, & Petersen. D L. 1999. The SBL handbook of
style for ancient Near Eastern, Biblical, and early Christian studies.
Peabody: Hendrickson Publishers. Vir afkortings aangaande reekse,
tydskrifte en ander titels raadleeg Schwertner, Siegfried 1974.
Intemationale Abkiirzungs-verzeichnis fiir The%gie und
GrenzgebietJInternational glossary of abbreviations for theology and related
subjects. Berlin-New York: Walter de Gruyter. Verwysings na Josephus
moet die volgende insluit: die spesifieke komposisie, hoek (in Romeinse
syfers), hoofstuk en paragraaf, of subseksie in 'n paragraaf. Indien daar na
paragrawe en subseksies verwys word, moet die laasgenoemde tussen hakies
aangedui word, byvoorbeeld:Josephus Ant. II. 7:3 (175),5 (184). Let op
dat die kcrrekte punktuasie gebruik word.
7. SUMMARY/OPSOMMING
An article must be preceded by an English summary ("Abstract")

not exceeding 150 words.
'n Artikel moet deur 'n opsomming ("Abstract") van hoogtens 150
woorde in Engels voorafgegaan word.
8. REFERENCESILITERATUURVERWYSING
The augmented Harvard system of reference must be followed.

Only the author, date of publication and page number are given
in the text, e.g. Craigie (1983:14) or (Craigie 1983:14).

Dictionary entries in the text must be listed as follows: KBL3
s. v. '1'1, or CAD S, s. v. semeru, or more fully: CAD S, s. v.
semeru 2 a) 1'. Complete bibliographical data on the sources to
which reference is made in the text must be listed at the end of
the article, under the heading "Bibliography" as follows:
Author, Initials Date. Title. Place of publication: Publisher.
Die gewysigde Harvard verwysingstegniek moet gevolg word. Slegs

die outeur, die datum van publikasie en die bladsynommer word in
die teks aangegee, byvoorbeeld: Craigie (1983:14) of (Craigie
1983:14). Woordeboekinskrywings in die teks moet soos volg
gedoen word: KBL 3 s. v. 1Y), of CAD S, s. v. semeru, of vollediger:
CAD S, s. v. semeru 2 a) 1'. Die volledige bibliografiese gegewens
van die bronne waama in die teks verwys is, word in 'n Iys aan die
einde van die artikel onder die opskrif "Bibliografie" gegee en wei
soos volg:
Outeur, Voorletters Datum. Tite!' Uitgawe. Plek van uitgawe:

Uitgewer.
Examples/Voorbeelde
8.1 One authorlEen outeur
Craigie, Peter C 1983. Ugarit and the Old Testament. Grand Rapids:
Eerdmans.
8.2 Two authorSiTwee outeurs
Cross, F M jr & Freedman, D N 1952. Early Hebrew orthography.

New Haven: American Oriental Society.
8.3 Three authorslDrie outeurs

Abou-Assaf, A, Bordreuil, P & Millard, A R 1982. La statue de Tell

Fekherye et son inscription bilingue assyro-aram eene. Paris:
Editions recherche sur les civilisations.
8.4 CompiiationsIV ersamelwerke
Dever, William G 1985. Syro-Palestinian and Biblical archaeology,

in Knight and Tucker 1985:31-74. The detailed information about
Knight & Tucker is given separately: Knight, D A & Tucker G M
(eds) 1985. The Hebrew Bible and its modem interpreters.
Philadelphia: Fortress Press.
Dever, William G 1985. Syro-Palestinian and Biblical archaeology,

in Knight and Tucker 1985:31-74. Die volledige gegewens oor
Knight and Tucker word afsonderlik gegee: Knight, D A & Tucker
G M (eds) 1985. The Hebrew Bible and its modem interpreters.

Philadelphia: Fortress Press.
8.5 Journal articleJTydskrifartikel
Greenfield, J C 1978. The dialects of early Aramaic. JNES 37:93 99.

w
8.6 Title as authortritel as outeur
The New English Bible 1970. Oxford: University Press.
8.7 Series/Reeks
Dietrich, M, Loretz, 0 & Sanmartin, J 1976. Die keilalphabetischen

Texte aus Ugarit. AOAT 24/1. Neukirchen-Vluyn: Neukirchener
Verlag.
If more than one publication by an author has appeared in the same

year, they should be indicated by means of the letters of the alphabet,
e.g. De Moor 1984a, De Moor 1984b, etc. Series and journals must
be abbreviated according to Schwertner's list.
Indien meer as een werk van diselfde outeur in dieselfde jaar

verskyn het, word hulle met behulp van die alfabetletters onderskei,
byvoorbeeld: De Moor 1984a, De Moor 1984b, ens. Reekse en
tydskriftitels moet vol gens die Jys van Schwertner afgekort word.
9. Peer review of articlesIBeoordeling van artikels
All articles published in this journal are subject to peer review

of at least two referees. The identities of author and referee are
not disclosed in this process.
Alle artikels wat in die tydskrif gepubliseer word, word deur

ten minste twee beoordeelaars geevalueer. Die identiteit van
die outeur en beoordeelaar word gedurende die proses
weerhou.

Theophany As Type Scene

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Theophany As Type Scene

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Theophany as type-scene

in the Hebrew Bible

N F Schmidt & P J Nel

This paper investigates the literary nature of theophany in the

1. INTRODUCI'ION: TIlE TIlEOPHANY CONFUSION

The word "theophany" literally means "a manifestation of God", The

Journal for Semitics, vol. 1112,2002, pp. 256·281 256

lexeme combines the Greek terms eEOC; ("God") and $CXVELCX I

Also <jlO'.vEo9cLL or tPO'.Vf)VO'.L. from the verb <jlO'.LVUl - "to bring to

Weiser (19S0), Pax (l9SS), Eliade {19S8, 1961}, Barr (1960),

The problem lies therefore in regarding the theophany as a religious

2. THEOPHANY AS A DISTINCT RELIGIOUS

When theophany as a religious phenomenon is compared to other

"If there is a prophet among you, I the Lord make myself

This text identifies two different phenomena of divine

"Sleep overpowered him and he lay down, slumber

(overpowered him) and he curled up. And in his dream EI

It is also necessary to distinguish between theophany and epiphany.

Cf. Pax (1955:20-1), Jeremias (1965:2), Kingsbury (1967),

by Eliade (1958: 10; 1961 :111-112), Westermann (1981 :98-101;

Epiphany is the manifestation of divine power; theophany is the

Theophany can thus be described as "a. visible and audible

3. NARRATIVE STRUCTURE OF THE THEOPHANY

From this descriptive definition of the theophany as a religious

3.1 Theophany as a literary genre in the Hebrew Bible

Jeremias (1965:15, 168) described the Hebrew theophany as a

Gattung with its original form in Jg 5:4-5. This specific theophany

Cross 0973:155-156) elaborated on two descriptions of Yahweh as

Kuntz analysed narrative texts in the Old Testament which contain

the prototype of the genre.

3.2 Theophany as an Ancient Near Eastern tradition in

While the fonn-critics related the theophany to the context of

in Egypt, while manifestations in nature are based on the advent of

Van Seters (1975:261-262) provided a sixfold basis for this "ancient

3.3 Theophany as part and parcel of the call narratives

Habel (1965:298, 305) identifies the Hebrew call narrative as a genre

the leader that he is called by the divine (Habel 1965:317, d. Long

The value of the theophany as part of the call schema of leaders in

3.4 Theophanyas a literary type-scene in the Hebrew Bible

agreement between the artist and his audience, which can be

as a type-scene with a certain supra-textual matrix (cf. Polak

From the definition of theophany its characteristics as a religious

iv. Intrigue. This forms part of the plot of every theophany.

4. UlERARY INIERPREfAll0N OF 1HEOPHANIC

4.1 Exodus 3-4 (theophany and the divine name)

The divine manifestation to the lone shepherd in Ex 3:1-4:17 has

1. Background God hears the lamentation of the Israelite

i. Background. During the absence of God the Israelites were

encounter with Yahweh to that of Israel's patriarchs with Elohim.

s Kuntz (1967:144) and Niehaus (1995:188) interpret the removal

The structure of this theophany is also a stylistic example of the

4.2 Numbers 22~24 (theophany and oracle)

This text illustrates the various forms of manifestation of the deity in

1. Background Israel arrives in the land of Moab

Balaam bows according to the aim of Yahweh

i. Background. Balak summons Balaam to curse Israel. Balaam first

to grant Balaam awareness of the manifestation of Yahweh. After

establishes it as superior to the other forms of manifestation.

4.3 Exodus 19-34 (three theophanies and one mountain).