Toni Craven's dissertation entitled "Artistry and Faith in the Book of J u d i t h "6 6, approaches Judith in a different way to Alonso-Schokel.
He proceeds through the Book discussing composition, irony, and characters, but she divides it into 'compositional units' and performs a 'compositional a n a l y s i s ' 6 7 . §He describes her w o r k 6 8 ;
"The primary focus of this study is the story itself. It is a "close
reading", of a literary/rhetorical kind, of the "structure" of the Book of Judith. When I use the word "structure" I have in mind something akin to a narrative x-ray of the architectural skeleton or compositional pattern that undergirds the story."
In this search for the 'architectural pattern' she has been particularly influenced by Robert Lowth and James Muilenburg, and has used their work to enable her to define a compositional unit and to discuss its relation to other units within the text as a whole. She focuses upon instances of repetition, and it is these repetitions which have led her to her conclusions.
hxtgrnal dgsisn
The external design is the pattern or composition of the Book as a complete text. For Craven, Judith consists of two parts which are
unavoidably j o i n e d 6 9 by means of repetitions or correspondences^O.
66 T. Craven, Artistry and Faith in the Book of Tudith (Society of Biblical Literature Dissertation Series 1980)
67 'Compositional units' and 'compositional analysis' are Craven's own terms which she uses to describe her methodology.
68 Craven, Artistrv and Faith (1980), p. 20
69 Craven, Artistrv and Faith (1980), Alonso-Schokel,'Narrative Structures in the Book of Judith', and Gros Louis,'Narrative Art in the Book of Judith', all see both parts of Judith as essential for the complete narrative. Gros Louis claims that the themes of fear and military power versus God’s power are present in both halves
The first part consists of chapters 1-7 and the second of chapters 8-16. Examples of these correspondences in clu d e^ l;
The first act of each leading character i.e. Nebuchadnezzar and Judith, is to send for others (1:7; 8:10).
At a gathering they have called, both characters claim to have a plan, which they will execute through their hand (2:2,12; 8:10,33,34). A period of three days precedes the plan (2:21; 12:10).
Fear and trembling fall on the respective groups (2:28; 15:2).
The narrative devices for implementing the plans are similar: fear and terror (2:28; 4:2; 7:4) because of ravaging (2:23-27), and marvelling (10:7, 14, 19, 23) because of beauty and wisdom (8:7-8).
The conditional faith of the Israelites is contrasted with the unconditional faith of Judith(cf 7:24f; 8:1 Of).
Holofemes and Judith are sexual opposites and employ different weapons; Judith uses beauty and wisdom, Holofemes uses military might.
Declarations of honesty to Holofemes are both true and false (5:5; 11:5). The power of Nebuchadnezzar is contrasted with that o f Y a w e h 7 2 .
Encounters with Holofemes change Achior's group membership (6:5,9; 14:6,10).
A period of thirty-four days is significant (7:20; 15:11).
The conclusions to each part describe the enemy in distress (7:4; 14:19).
She com m ents73;
of the Book, and that the two dances (Jdt.3:7; 15:12-13) form an ironic parallel between the parts.
70 Craven lists four types of correspondence: expressed identities, expressed antitheses, implied antitheses, and artificial identities. See Artistrv and Faith (1980), pp.53- 56 for clarification.
71 Ibid pp.53-56
72 For Craven the contest between Yahweh and Nebuchadnezzar is the central theme of the whole Book.
"The kind of literary balance evidenced in the many correspondences between the halves of the book suggests the hand of a highly skilled writer who meant the subject of this story to be told in two parts. It is important to understand that Part I with a tag ending describing the surrender of Bethulia, would be a tragic but complete story. Similarly, Part II, with a brief introduction explaining the reasons for Judith's summoning of the officials of Bethulia would be a triumphant, equally complete story. But alone neither Part 1 nor Part II tells the same story that is told in the Book of Judith."
Architectural Components of Part I
Craven divides both parts into compositional units, dividing the first part (chapts.1-7) as follow s:74
Introduction to Nebuchadnezzar and his campaign against Arphaxad (1:1-16) Nebuchadnezzar commissions Holofemes to take vengeance on the
disobedient vassal nations (2:1-13) Development
A The campaign against the disobedient nations; the people surrender (2:14-3:10) B Israel hears and is "greatly terrified"; Joakim orders war
preparations (4:1-15) C Holofemes talks with Achior; Achior is expelled from the Assyrian
camp (5:1-6:11) C* Achior is received into Bethulia; he talks with the people of Israel
(6:12-21)
B* Holofemes orders war preparations; Israel sees and is "greatly
terrified" (7:1-5) A* The campaign against Bethulia; the people want to surrender (7:6-
32) Each unit in this threefold chiastic pattern is defined by a geographical shift and by an alternation between Assyria and Israel.
Architectural Components of Part II
The second part of the Book is dominated by the character of
J u d i t h 7 5 . Its threefold chiastic pattem is broken by a centrepiece
(10:11-13:10a) in which Judith overpowers Holofemes and thus the central theme of the identity of the true god is r e s o l v e d . 7 6
A Introduction to Judith (8:1-8)
B Judith plans to save Israel (8:9-10:9a)
C Judith and her maid leave Bethulia (10:9b-10) D Judith overcomes Holofemes (10:11-13:10a)
C* Judith and her maid retum to Bethulia (13:1 Ob-11)
B* Judith plans the destruction of Israel's enemy (13:12-16:20) A* Conclusion about Judith (16:21-25)
Conclusion
Craven can conclude^?:
75 Once Craven has discussed the architectural composition of the Book, she turns her attention to how the character of Judith might have influenced the
contemporary Jewish readers. Although the Book is humorous, its serious
message of the relationship between tradition and convention is not to be missed. See also T. Craven,'Tradition and Convention in the Book of Judith*, in M.A. Tolbert (ed.). The Bible and Feminist Hermeneutics (Senieia 28, 1983), pp.49-61. 76 Craven, Artistrv and Faith (1980), pp.62-63
"Repetition is the major organizational feature of this narrative.
Formal symmetries occur between the two halves of the story as well as within each of the two parts of the book. These inventive repetitions function to define the limits of each half of the story and to fix the relationship of these two parts as that of one whole, the Book of Judith."