Proverbs 7 in MT and LXX: Form and Content
Proverbs 7 in MT and LXX: Form and Content
Proverbs 7 in MT and LXX: Form and Content
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166<br />
Tova Forti <strong>and</strong> Zipora Talshir<br />
Verse 27<br />
<br />
!. <br />
<br />
* ( *<br />
<br />
c b a *<br />
> *# *"H<br />
b’ c’ a’ *<br />
+ 1 * %"(1 +#%<br />
The severe consequences of the dangerous liaison with another man’s wife<br />
are similarly pictured <strong>in</strong> Prov 2:18–19 @ ( <br />
((@ “for her house s<strong>in</strong>ks down to death,<br />
<strong>and</strong> her paths to the shades; none who go to her come back nor do they<br />
rega<strong>in</strong> the paths of life.” The author goes as far as the underworld to depict<br />
the disaster that will befall a man who becomes <strong>in</strong>volved with another<br />
man’s wife. The translator follows suit.<br />
***<br />
The translator clothed Prov 7 <strong>in</strong> new garb, but the contribution he made to<br />
its content <strong>and</strong> message is m<strong>in</strong>or. We have seen him striv<strong>in</strong>g for suitable<br />
equivalents <strong>and</strong> forms. Occasionally he added a word or two, creat<strong>in</strong>g<br />
parallelisms of his own where his Vorlage was satisfied with rhythmical<br />
balance, while at other times he condensed the parallels found <strong>in</strong> his<br />
Vorlage, ma<strong>in</strong>ly by fus<strong>in</strong>g redundant elements. He reproduced the<br />
synonymous parallelism, characteristic of the <strong>in</strong>troduction <strong>and</strong> the<br />
conclusion, but, as the parallelism became more elaborate <strong>and</strong> more<br />
dependent on rhythm <strong>and</strong> balance, he departed from it, creat<strong>in</strong>g a<br />
somewhat more narrative-like style. He sometimes repa<strong>in</strong>ted the contents<br />
of his Vorlage with colors borrowed from his own milieu, but this, too, was<br />
triggered by the problems he encountered <strong>in</strong> the Hebrew text, such as the<br />
enigmatic & replaced by . His ma<strong>in</strong> contribution was the change of<br />
scene, when he presented the woman—rather than the wisdom-teacher—as<br />
look<strong>in</strong>g through her w<strong>in</strong>dow. He may have misread his Vorlage, or changed<br />
it deliberately, <strong>in</strong>fluenced by the common <strong>in</strong>ter-cultural motif of the woman<br />
at the w<strong>in</strong>dow. However, he did not imbue this woman with an image that<br />
she did not have <strong>in</strong> the Vorlage. The creative translator of <strong>Proverbs</strong> is surely<br />
active <strong>in</strong> ch. 7 <strong>in</strong> multifarious ways—aesthetically <strong>and</strong> culturally, but his