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Exodus is the name of the second book of the Old Testament as well as of the Torah (Pentateuch, Five Books of Moses). It means going out and was probably suggested by Exodus 19:1, where the Septuagint (LXX, the Greek translation of the Old Testament) uses exodou (Genitive: of the going out), which was also taken up by the Latin Vulgate as the name of the book Exodus. In Hebrew, this book is called šemot ("names"), following the tradition of naming biblical books by the first word, or one of the first, in the book’s opening; in this case, “These are the names of the sons of Israel” (Exodus 1:1).
Approach, Form, Style, Implied Reader
Canonical-Literary Approach. The approach taken in this article is a "canonical-literary" one. In other words, it regards the final, or canonical, text of the book to be a coherent literary unit. It studies this unit by way of literary analysis, using categories such as structure, form, character, plot, style, implied reader, and other literary aspects in search of the book's meaning(s). Since Exodus comes to us from the world of ancient Israel, however, historical, cultural, religious, legal, and other information regarding that world will often be required in the interpretive process. Further, the awareness that the present canonical text came into being through centuries of oral and written composition and transmission will also be kept in mind and will clarify some of the text's features. Form. Exodus is a complex book. Its framework is prose narrative. Into it are inserted: (1) One longer poetic text (the Song of the Sea, 15:1-18). (2) Two distinct law codes plus additional laws, the Ten Commandments, 20:1-17, and the Book of the Covenant, 20:22--23:33; the laws of Passover and Firstborn, 12--13; and the covenant renewal laws, 34:11-26. (3) A long account of Divine instruction to Moses for building the tabernacle (25--31). These inclusions, however, do not stand apart as separate blocks of material interrupting the flow of the narrative, but have been incorporated into it and are firmly anchored in it.
Narrative Style. The strictly narrative sections vary greatly in style. The stylistic variations become clear when we compare: (1) The terse, fast-moving vignettes of Pharaoh's oppression and Moses' early life (chs. 1--2). (2) The extensive dialogue between Moses and God (3:1--4:17). (3) The dramatic encounters between Moses (and Aaron) with Pharaoh (5--14). (4) The depressing sequence of rebellion scenes in the wilderness, always accompanied by God’s grace (15--17). (5) The relaxed and familial reunion scene with Jethro (18). (6) The awe-filled theophany at Mt. Sinai (19; 24), bracketing two law codes. (7) The staccato events of rebellion and reconciliation (32--34). (8) The detailed but enthusiastic account of tabernacle building by a chastened people (35--40). All these sections, to name but the major ones, thrust the reader up and down on a literary roller-coaster moving in variou direction snad at unpredictable speeds.
Implied Reader. Who is meant to be the reader of the final, canonical form of Exodus? The book itself does not make this explicit. There are various cues, however, that point to a person I have called the "repeat-reader." This repeat-reader stands in contrast to the "first-time-reader."
The first-time reader--sometimes called the "narratee" in literary theory--is an imaginary reader who knows the story only as far as he or she has read into the book of Exodus. Such a reader would run into repeated difficulties. He or she would be confused, for example, by terms and items assumed to be known before their proper introduction in the story (e.g. the "[ark of the] covenant," 16:34; or the "ephod," 25:7). Again, the first-time reader would be confused by an account of Israel's march through Edom and Canaan after the crossing of the sea (15:13-18), when Israel has only barely crossed the sea at that point in the story.
The repeat-reader, on the other hand, is someone who already "knows his/her Bible," i.e. someone who not only knows the story preceding Exodus (i.e. Genesis), but also the rest of Exodus, and much of Israel's later story. This reader has no problems of the kind just mentioned; he/she knows the ark of the covenant or the ephod as parts of the long tradition in which he/she stands. For this reader, the final author(s) can introduce various features before their logical time in the story. For example, Aaron can already put a jar of manna into the ark before its construction has been commanded and carried out (16:33-36). The advance of Israel into Canaan, to cite another example, can already be proclaimed just after Israel passed through the Red Sea (15:13-18).
Further, the repeat-reader understands the text more fully than the first-time reader. While the latter might perhaps think of the new Pharaoh's fears about Israel's growing numbers as legitimate political caution (1:8-10), the repeat-reader knows that an enemy will indeed come; that Israel will indeed join that enemy; and that Israel will indeed escape. This reader also knows that this enemy will be God, and that the new Pharaoh is embarking on a collision course with God here already, even though God has so far hardly been mentioned. The repeat-reader, standing in the worship tradition of his people, will also readily be in tune with the author when the latter blends historical experience with worship practice (e.g. in the Passover account, ch. 12; or in the theophany account, ch. 19). Readers will find the distinction between first-time reader and repeat reader helpful at various points where the text would otherwise make poor sense. [Narrative Technique]
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| —Waldemar Janzen |
