By Wilfried Warning
This learn explores the vocabulary hired within the extant textual content of "Leviticus". the selected method of rhetorical research (with an emphasis upon terminological styles) exhibits a delicately composed textual content. the fundamental operating speculation that "Leviticus" has been artistically based round 37 divine speeches ("and the Lord spoke/sad to Moses (and Aaron)") with bankruptcy sixteen as its attainable structural and theological centre has been substantiated either at the microstructural and macrostructural degrees. The plethora of important micro- and macrostructural terminological styles indicates unique literary cohesiveness and for this reason single-handed authorship. those findings are of distinctive value concerning the so-called "P" and "H" passages, a "layer of priestly reworking", and, much more, the exegesis and theology of "Leviticus".
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Additional info for Literary Artistry in Leviticus (Biblical Interpretation Series)
79 Douglas, "Poetic Structure," 253. , 254-255. 78 of the Exodus with its "leitmotif 'holiness 5 " 81 does not figure at all. If it is true that "Leviticus seems to have a more obviously unified overall theme: how to protect the holiness of the house of God," 8 2 it is surprising that in Douglas's ring neither the distinct call for holiness (11:44; 20:8; 21:8, 15, 23; 22:9, 16, 32) nor the first reference to the Exodus—formulated like nowhere else in the Pentateuch—leave any marks. Douglas is quite correct in emphasizing the structural significance of the references to the Exodus but as is shown below, on the level of the extant text each reference to the Exodus has been ingeniously integrated in one of the most impressive macrostructural outlines of Leviticus.
The Priestly authors possessed considerable artistic skills a n d . . " 1 6 3 In closing this section on presenting the different stylistic means employed in Leviticus, it seems befitting to briefly explain the sequence according to which they are analyzed both on the micro- a n d macrostructural level. As it were, the structures based on the n u m b e r "seven" and the numerological structures "envelope 5 ' the chiastic structures. Subsequent to the numerical outlines follow the open-envelope and envelope structures, two types of compositional outlines in which the numerical position is likewise of significance.
J . Boda, l 4 e I think that even high-frequency words, technical terms, or c o m m o n words have been used in creating significant chiastic structures in Leviticus, structures based on keywords within a given literary unit, units which in Levitieus seem to be formed by distinct DS. Therefore we do not need to depend upon any subjective delimitations, but we are in the enviable position of having a clear-cut division based solely on the biblical text. 149 In a recent study on the literary structure of Lev 16, A.
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