Carnal Isræl: Reading Sex in Talmudic Culture (4 page)

Read Carnal Isræl: Reading Sex in Talmudic Culture Online

Authors: Daniel Boyarin

Tags: #Religion, #Judaism, #General

 
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in Christians like Tertullian and Clement.
36
In the midrashic text, not only are Eve's ornaments a positive gift of God to the man but they are invested with the most positive sumbolism that the culture can muster. The "you" in the verse from Ezekiel is Israel herself, here identified with Eve, and the time in the Garden is referred to as a sort of honeymoon period of God's relations with Israel. Female ornamentsi.e., sexualityare thus represented in a manner almost identical to the way that they were depicted above in the story of Rabbi Akiva, as, for the Rabbis, the very symbol of their sancta, the exact antithesis of their value in Hellenic and Hellenistic Jewish cultures.
37
For the rabbinic text, female sexuality is the image of Jerusalem, while for Clement, it is the image of a snake.
In Tertullian, as in Jerome and many others in the Patristic tradition, Woman is identified with all that is artificial and merely decorative and thus counter to the purpose of God (Bloch 1987, 1112; see also Lichtenstein 1987):
That which He Himself has not produced is not pleasing to God, unless He was unable to order sheep to be born with purple and sky-blue fleeces! If He was able, then plainly He was unwilling: what God willed not, of course, ought not to be fashioned. Those things, then, are not the best by nature which are not from God, the Author of nature. Thus they are understood to be from the devil, from the corrupter of nature: for there is no other whose they can be, if they are not God's; because what are not God's must necessarily be His rival's.
(Tertullian 1989b, 17)
Familiar by now is the association of women's decorations with the devil. For Tertullian, indeed, the evil of women's adornment lies precisely in that it is inappropriate to the "ignominy of the first sin" (Tertullian 1989b, 14), that is, for her who is after all "the devil's gateway" (ibid.).
38
36. Tertullian seems aware of the contested nature of the topos, which he cites from the Enoch books and then remarks: "I am aware that the Scripture of Enoch, which has assigned this order (of action) to angels, is not received by some, because it is not admitted into the Jewish canon. . . . By the
Jews
it may now seem to have been rejected" (Tertullian 1989b, 1516).
37. Indeed, stimulated by a question of Froma Zeitlin's, I am led to speculate whether the number twenty-four for the jewels is not an allusion to the twenty-four books of the bible or to the jewels on the High Priest's breastplate, which were arrayed in rows of twelve, corresponding to the twelve tribes.
38. Cf. the similar remark of R. Yehoshua quoted above who (alone among the Rabbis) also relates aspects of women's dress to the "sin of Eve," however, paradoxically
(footnote continued on the next page)
 
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Most important for my argument is Tertullian's insistence that female ornamentation is the gift to women of the fallen angels:
For they, withal, who instituted them are assigned, under condemnation, to the penalty of deaththose angels, to wit, who rushed from heaven on the daughters of men; so that this ignominy also attaches to woman. . . . they conferred properly and as it were peculiarly upon women that instrumental mean of womanly ostentation, the radiances of jewels wherewith necklaces are variegated, and the circlets of gold wherewith the arms are compressed, and the medicaments of orchil with which wools are colored, and that black powder itself wherewith the eyelids and eyelashes are made prominent. What is the quality of these things may be declared meantime, even at this point, from the quality and condition of their teachers; in that sinners could never have either shown or supplied anything conducive to integrity.
(Tertullian 1989b, 1415)
I think that I am not unjustified in seeing in these fallen angels a powerful echo of the gods and goddesses who in Hesiod decorated Pandora as a trap for man. The discourse of contempt for women's adornments and their deceptive nature is, of course, endemic throughout Greek thought, but the specific narrative element of the jewelry as a deceptive gift from divine beings is particular, I think, to the Pandora story.
A similar but even more powerful reversal of values is shown in a parallel to the above midrashic text, in which we are told that God led Eve by the hand to Adam, to which can be compared the leading of Pandora to Epimetheus in the
Works and Days
version of the story. However, in the midrashic text, this is referred to as a proof of God's steadfast love for the human couple!, and "Happy is the citizen who has seen the king taking his [the citizen's] bride by the hand and leading her to his [the citizen's] house to him" (Tanhuma Buber Hayye Sarah), while in Hesiod, "when he had completed this sheer inescapable snare, Zeus Father had her led off as a gift to Epimetheus" (Frazer 1983, 9899). Once more, I think that the midrashic text is an allusion to the motif in the Pandora myth of the woman given to the man by the god as a trick, a trap, and a punishment. But in the midrashic text, the valence is explicitly reversed; God is not a trickster, and his activities are only benevolent. In the
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to explain why women do adorn themselves. The argument is just as obnoxious but nevertheless significant of the directly opposite roles that objectification of women play in the two cultures.
 
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