Thomas Bolin, «Rivalry and Resignation: Girard and Qoheleth on the Divine-Human Relationship», Vol. 86 (2005) 245-259
This article looks at the repeated gnomic phrase in the Book
of Qoheleth, "All is vanity and a chasing after wind" (NRSV) and reads it as a
disjunctive parallelism in which the terms lbh
and xwr denote mortality and the divine spirit,
respectively, thus showing the sense of the phrase to be, "All is mortal, but
strives for immortality". Using René Girard’s concept of mimetic rivalry
clarifies this reading of the proverb, and shows it to be a concise expression
of a major theme in the Book of Qoheleth, viz., the author’s thoughts on the
difference between humanity and God, understood as paradoxical relationship
based on both similarity and difference between humans and the divine. More
importantly, Girard helps to understand more deeply how and why Qoheleth views
human proximity with the divine as the cause of conflict and pain in human life.
Because this tension is also evident in numerous other biblical and
extra-biblical texts, caution must be exercised, in referring to the Book of
Ecclesiastes as a "radical" or "heterodox" writing.
The So-called Ostrich in the God Speeches 509
number of other ways, however, an oblique response to Job. The book
began with Job losing his oxen, donkeys, sheep, camels, house, and
children (Job 1,13-22). In the epilogue, all Job’s brothers and sisters
come to eat with him in his house (42,11). He again has seven sons and
three daughters (42,13), and lives long enough to see his children and
“children’s children†(42,16). The emphasis on home, food, and
offspring in the animal discourse form a literary connection with the
prologue of the book of Job. God responds to the loss of Job’s children
with questions about God’s care for the children of many animals that
are wild and fearsome to humans.
*
**
In conclusion, correctly identifying the µynnr as a sand grouse
clarifies the meaning of the Hebrew of the passage and its wider
literary connections. Sand grouse have distinctive, musical calls that
explain a name with an intensive plural ending whose root in the
context refers to a cry of joy. These musical calls combined with
strong, acrobatic flight also explain the expression “the wing of the
µynnr rejoices†(v. 13a). Sand grouse lay their eggs directly on arid,
dusty ground (v. 14). When a predator approaches, they forget their
own safety and risk being stepped on (v. 15) in order to draw the
predator away from the nest. If this fails, the chicks are “hardyâ€
enough to look after themselves “without her†(v. 16). The sudden,
noisy flight of adult sand grouse who have relied on their camouflage
until the last moment, could startle a horse. Moreover, some of their
alarm calls sound like laughter so that, when the sand grouse “soars on
high†it might seem to be “laughing at the horse†(v. 18).
Clearing away Western folk tales helps clarify the literary
relationship of the pericope to the rest of the animal discourse, the God
speeches, and the book of Job. The sand grouse pericope shares with
them an emphasis on home and young. The book of Job begins with
Job losing his children and ends with the restoration of community
and, although it could never replace the first one, a new family. God
responds to Job’s questions about the justice of the world with an
enigmatic portrayal of the sand grouse whose musical calls and strong
flight seem joyous, but who appears unkind and unwise as a parent.
Yet she risks her life to draw away predators and her young are hardy
and independent enough to survive on their own. Although they lack
the fearsome power of a horse, sand grouse may startle a horse. Their