Classical Hebrew Composition

In Ancient Hebrew Periodization and the Language of the Book of Jeremiah, Aaron Hornkohl defends the diachronic approach to Biblical Hebrew and the linguistic dating of biblical texts. Applying the standard methodologies to the Masoretic version of the biblical book of Jeremiah, he seeks to date the work on the basis of its linguistic profile, determining that, though composite, Jeremiah is likely a product of the transitional time between the First and Second Temple Periods. Hornkohl also contributes to unraveling Jeremiah’s complicated literary development, arguing on the basis of language that its 'short edition', as reflected in the book’s Old Greek translation, predates that 'supplementary material' preserved in the Masoretic edition but unparalleled in the Greek. Nevertheless, he concludes that neither is written in Late Biblical Hebrew proper.

In spite of debatable issues, such as metre, we now know enough about classical Hebrew poetry to be able to understand how it was composed. This large-scale manual, rich in detail, exegesis and bibliography, provides guidelines for the analysis and appreciation of Hebrew verse. Topics include oral poetry, metre, parallelism and forms of the strophe and stanza. Sound patterns and imagery are also discussed. A lengthy chapter sets out a whole range of other poetic devices and the book closes with a set of worked examples of Hebrew poetry. Throughout, other ancient Semitic verse has been used for comparison and the principles of modern literary criticism have been applied.

Invitation to Biblical Hebrew Syntax offers advanced Bible students, seminarians, and graduate students who want to learn biblical Hebrew an in-depth, carefully organized approach. The book is divided into three main parts: syntax, compositions, and accents; it also includes glossaries, a key to exercises, and indexes. By emphasizing composition and recitation, this book provides a classical and effective methodology for studying Hebrew grammar. --

Formal and thematic devices demonstrate that Hebrew poetry is composed of a consistent pattern of cantos (stanzas) and strophes. The formal devices include quantitative balance on the level of cantos in terms of the number of verselines, verbal repetitions and transition markers.

Most of the papers in this volume originated as presentations at the conference Biblical Hebrew and Rabbinic Hebrew: New Perspectives in Philology and Linguistics, which was held at the University of Cambridge, 8–10th July, 2019. The aim of the conference was to build bridges between various strands of research in the field of Hebrew language studies that rarely meet, namely philologists working on Biblical Hebrew, philologists working on Rabbinic Hebrew and theoretical linguists. This volume is the published outcome of this initiative. It contains peer-reviewed papers in the fields of Biblical and Rabbinic Hebrew that advance the field by the philological investigation of primary sources and the application of cutting-edge linguistic theory. These include contributions by established scholars and by students and early career researchers.

"Research on the function and semantics of the verbal system in Hebrew (and Semitics in general) has been in constant ferment since McFall’s 1982 work The Enigma of the Hebrew Verbal System. Elizabeth Robar's analysis provides the best solution to this point, combining cognitive linguistics, cross-linguistics, diachronic and synchronic analysis. Her solution is brilliant, innovative, and supremely satisfying in interpreting all the data with great explanatory power. Let us hope this research will be quickly implemented in grammars of Hebrew." Peter J. Gentry, Donald L. Williams Professor of Old Testament Interpretation, The Southern Baptist Theological Seminary, Louisville, KY. In The Verb and the Paragraph in Biblical Hebrew, Elizabeth Robar employs cognitive linguistics to unravel the notorious grammatical quandary in biblical Hebrew: explaining the waw consecutive, as well as other poorly understood verbal forms (e.g. with paragogic suffixes). She explains that languages must communicate the shape of thought units: including the prototypical paragraph, with its beginning, middle and ending; and its message. She demonstrates how the waw consecutive is both simpler and more nuanced than often argued. It neither foregrounds nor is a preterite, but it enables highly embedded textual structures. She also shows how allegedly anomalous forms may be used for thematic purposes, guiding the reader to the author’s intended interpretation for the text as it stands.