By Jo Carruthers
This interdisciplinary statement levels from early midrashic interpretation to modern rewritings introducing interpretations of the single biblical publication let alone God.
- Unearths a wealth of missed rewritings encouraged by means of the story’s relevance to topics of nationhood, uprising, windfall, revenge, woman heroism, Jewish id, exile, genocide and ‘multiculturalism’
- Reveals some of the struggles and methods utilized by non secular commentators to make feel of this in simple terms biblical ebook that doesn't point out God
- Asks why Esther is underestimated by means of modern feminist students regardless of a protracted background of subversive rewritings
- Compares the main influential Jewish and Christian interpretations and interpreters
- Includes an advent to the book’s myriad representations in literature, song, and art
- Published within the reception-history sequence, Blackwell Bible Commentaries
Chapter 1 Esther 1:1–9 (pages 52–67):
Chapter 2 Esther 1:10–22 (pages 68–92):
Chapter three Esther 2:1–7 (pages 93–108):
Chapter four Esther 2:8–23 (pages 109–132):
Chapter five Esther three (pages 133–159):
Chapter 6 Esther 4:1–14 (pages 160–175):
Chapter 7 Esther 4:15–17 (pages 176–191):
Chapter eight Esther five (pages 192–220):
Chapter nine Esther 6 (pages 221–232):
Chapter 10 Esther 7 and eight (pages 233–253):
Chapter eleven Esther nine and 10 (pages 254–279):
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Extra info for Esther Through the Centuries
The Radiant Way plays with the notion of queenship and its relation to privilege: ‘Liz, Alix and Esther were not princesses. They were not beautiful, they were not rich. But they were young, and they had considerable wit. Their fate should, therefore, be in some sense at least exemplary: opportunity was certainly offered to them, they had choices, at eighteen the world opened for them and displayed its riches’ (: ). The Radiant Way is full of allusions to Bible stories. Liz, for example, tries to learn the Book of Job off by heart ().
Writers drawn to Vashti include John Bradshaw Kaye (), Zeto () and Tennyson (in ‘The Princess’, ). Modern dramas include those Summary of Works by William Tennant, Professor of Hebrew and Oriental Languages at St Mary’s College, St Andrews (), the Scottish Alexander Winton Buchan () and William Tidd Matson (). Four full-length studies of Esther by evangelicals appear across the nineteenth century: George Lawson, the Chair of Theology at the Association Secession (Burgher) Church of Scotland (), Alexander Carson, Minister at Tubbermore, a popular preacher who received two American honorary degrees (), Thomas M’Crie, Professor of Theology at the London College of the Presbyterian Church () and Alexander Symington ().
Following predictable lines of anti-Jewish, Christian rhetoric, Vashti’s refusal is equated with ‘the rejection and crucifixion of her Messiah’, and her exile corresponds to God swearing ‘in his wrath’ that the Jews ‘should never enter his rest’. A swathe of other connections are made. As Mordecai took in the orphan Esther, so Jesus brings Christians into the family of God; as Mordecai walks outside the harem, so the Spirit of God walks with his church. Mordecai’s depression of spirit and pity for his people ‘depict to us the incarnation, humiliation, exceedingly great love, and tender compassion, of the Son of God for his beloved church’ ().