Esther Overview Notes I. Esther A. Setting: Persian Empire (As With
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Learning to Trust God's Unseen Hand
Learning to Trust God’s Unseen Hand A Study of Esther Esther 9:119 Lesson #11: In times of defense, remember mercy. Introduction: Consider the interesting wording of the last stanza of the StarSpangled Banner: Oh! thus be it ever, when freemen shall stand Between their loved home and the war’s desolation! Blest with victory and peace, may the heav’n rescued land Praise the Power that hath made and preserved us a nation. Then conquer we must, when our cause it is just, And this be our motto: “In God is our trust.” And the starspangled banner in triumph shall wave O’er the land of the free and the home of the brave! A question that is raised here is this: by what do we gain or lose by invoking the name of God when it comes the fighting of a battle? Is it appropriate to invoke the name of God when going to war? While the answers to these questions are not easy, they are nonetheless worthy of inquiry. Too easily have we just associated God’s covenant relationship with the Jews as having the same legitimacy for America. In addressing this issue, we find that while God’s relationship with Israel is unique, there are moral focal points that we can be applied to any culture at any time, including how we are to defend ourselves from those who will attack us because of our faith. Verses 110 The author builds a chiastic structure into his presentation of the events pictured in 9:1–19. -
Prints and Johan Wittert Van Der Aa in the Rijksmuseum in Amsterdam.[7] Drawings, Inv
Esther before Ahasuerus ca. 1640–45 oil on panel Jan Adriaensz van Staveren 86.7 x 75.2 cm (Leiden 1613/14 – 1669 Leiden) signed in light paint along angel’s shield on armrest of king’s throne: “JOHANNES STAVEREN 1(6?)(??)” JvS-100 © 2021 The Leiden Collection Esther before Ahasuerus Page 2 of 9 How to cite Van Tuinen, Ilona. “Esther before Ahasuerus” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/esther-before-ahasuerus/ (accessed October 02, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Esther before Ahasuerus Page 3 of 9 During the Babylonian captivity of the Jews, the beautiful Jewish orphan Comparative Figures Esther, heroine of the Old Testament Book of Esther, won the heart of the austere Persian king Ahasuerus and became his wife (Esther 2:17). Esther had been raised by her cousin Mordecai, who made Esther swear that she would keep her Jewish identity a secret from her husband. However, when Ahasuerus appointed as his minister the anti-Semite Haman, who issued a decree to kill all Jews, Mordecai begged Esther to reveal her Jewish heritage to Ahasuerus and plead for the lives of her people. Esther agreed, saying to Mordecai: “I will go to the king, even though it is against the law. -
Esther Nelson, Stanford Calderwood General
ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR THE MISSION OF BOSTON LYRIC OPERA IS TO BUILD CURIOSITY, ENTHUSIASM AND SUPPORT FOR OPERA BY CREATING MUSICALLY AND THEATRICALLY COMPELLING PRODUCTIONS, EVENTS, AND EDUCATIONAL RESOURCES FOR THE BOSTON COMMUNITY AND BEYOND. B | BOSTON LYRIC OPERA OVERVIEW: ANNUAL REPORT 2017 WELCOME Dear Patrons, Art is often inspired by the idea of a journey. Boston Lyric Opera’s 40TH Anniversary Season was a journey from Season opener to Season closer, with surprising and enlightening stories along the way, lessons learned, and strengths found. Together with you, we embraced the unexpected, and our organization was left stronger as a result. Our first year of producing works in multiple theaters was thrilling and eye-opening. REPORT Operas were staged in several of Boston’s best houses and uniformly received blockbuster reviews. We made an asset of being nimble, seizing upon the opportunity CONTENTS of our Anniversary Season to create and celebrate opera across our community. Best of all, our journey brought us closer than ever to our audiences. Welcome 1 It’s no coincidence that the 2016/17 Season opened with Calixto Bieito’s renowned 2016/17 Season: By the Numbers 2 staging of Carmen, in co-production with San Francisco Opera. The strong-willed gypsy Leadership & Staff 3 woman and the itinerant community she adopted was a perfect metaphor for our first production on the road. Bringing opera back to the Boston Opera House was an iconic 40TH Anniversary Kickoff 4 moment. Not only did Carmen become the Company’s biggest-selling show ever, it also Carmen 6 ignited a buzz around the community that drew a younger, more diverse audience. -
Bible Grade 3 Esther Curriculum Review Sheets Teacher
Name Date Esther Look at the underlined word to determine if the statement is true or True–False false. If the statement is true, write true in the blank. If the statement is false, write false in the blank. true 1. Haman wanted to kill Mordecai because Mordecai refused to bow down to him. false 2. Haman was rewarded for saving the king’s life. (Mordecai) true 3. Mordecai sent a message to Esther that she should ask the king to save the lives of the Jews. false 4. Mordecai, Esther, and their friends fasted ten days and nights. (three) true 5. Esther risked her life by going before the king when he had not sent for her. false 6. Esther invited the king and Haman to three banquets. (two) true 7. Haman had to lead Mordecai through the city and proclaim that he was being honored by the king. true 8. Although the name of God is not mentioned in the book of Esther, the book tells of God’s protection for His people. Discuss: Explain why the false answers are incorrect statements. Short Answer Read each question carefully, and write your answer in the blank. 1. How did Haman trick King Ahasuerus into sending out a decree to kill all the Jews? He pretended to be concerned about the entire kingdom and told the king that the kingdom would be better off without the Jews. over Copyright © mmxviii Pensacola Christian College • Not to be reproduced. Esther • Lesson 125 231 Esther • page 2 2. What should King Ahasuerus have done before allowing the decree to be sent out? Answers vary. -
Last Summer, the World's Top Software-Security Experts Were
A DeclarationLast summer, the world’s top software-security experts were of Cyber-War panicked by the discovery of a drone-like computer virus, radically different from and far more sophisticated than any they’d seen. The race was on to figure out its payload, its purpose, and who was behind it. As the world now knows, the Stuxnet worm appears to have attacked Iran’s nuclear program. And, as MICHAEL JOSEPH GROSS reports, while its source remains something of a mystery, Stuxnet is the new face of 21st-century war: invisible, anonymous, and devastating 152 VANITY FAIR PHOTOGRAPHS BY JONAS FREDWALL KARLSSON APRIL 2011 A DeclarationLast summer, the world’s top software-security experts were of Cyber-War panicked by the discovery of a drone-like computer virus, radically different from and far more sophisticated than any they’d seen. The race was on to figure out its payload, its purpose, and who was behind it. As the world now knows, the Stuxnet worm appears to have attacked Iran’s nuclear program. And, as MICHAEL JOSEPH GROSS reports, while its source remains something of a mystery, Stuxnet is the new face of 21st-century war: invisible, anonymous, and devastating GAME OF SHADOWS Eugene Kaspersky, co-founder and C.E.O. of Kaspersky Lab— a Moscow-based computer-security company and an early investigator of Stuxnet—photographed on the Bolshoy Moskvoretsky Bridge, FOR DETAILS, GO TO VF.COM/CREDITS near the Kremlin. APRIL 2011 153 “PERSON OF INTEREST” Computer-security researcher Frank Rieger, one of the !rst to study the Stuxnet worm closely, at Berlin’s Chaos computer Club. -
The Bible in Opera Trivia Quiz
The Bible in Opera Trivia Quiz With endless stories full of love, violence and drama, the Bible has often been a source of inspiration and subject matter for composers and librettists. Take our quiz to see how much you know about these Bible-inspired operas. Scroll down for the answer key. 1. Although Salome was a minor character in the Bible, Oscar Wilde found her character irresistible and greatly expanded on the original tale to craft his dramatic play, the basis for Strauss’ opera. In Salome , Jokanaan the prophet is based on which major biblical figure? a) St. Joseph b) St. John the Baptist c) St. John the Dwarf d) St. Julian 2. Samson and Delilah ( Samson et Dalila ) is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. In this Biblical tale, what is the source of Samson’s strength? a) His hair b) His love c) His sword d) His purity 3. Like Salome , Herodiade , by Jules Massenet, is an opera about the tale of John the Baptist, Salome, Herod, and Herodias. Although it opened years before Salome , it is considered to be much less of a success and, in fact, the Paris Opera House refused to stage the work. In Massenet’s opera, how does Salome die? a) She kills herself b) Herodias, her mother, kills her c) She dies accidentally d) Like in Strauss’ opera, Herod orders her death 4. Moses in Egypt is a three-act opera by Gioachino Rossini that premiered in 1818. -
PRACTICES in TEXTS and CONTEXTS by Kelly A. Whitcomb
RELIGIOUS AND COMMUNAL PRACTICES IN THREE TRADITIONS OF ESTHER: PRACTICES IN TEXTS AND CONTEXTS By Kelly A. Whitcomb Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Religion May 2013 Nashville, TN Approved: Douglas A. Knight Annalisa Azzoni Ted A. Smith Kathy L. Gaca Herbert Marbury Jack M. Sasson Copyright © Kelly A. Whitcomb All Rights Reserved To my late grandparents, Beverly D. Stewart, George T. Stewart, Edith L. Whitcomb and Wilson F. Whitcomb, who were unable to see me obtain my Ph.D. but who taught me life's most important lessons— Love one another and let kids be kids. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................................................................... vi LIST OF ABBREVIATIONS.......................................................................................... viii Chapter I. INTRODUCTION............................................................................................................1 Introduction..............................................................................................................1 Judeans and Jews .....................................................................................................3 Narrative Contexts and Socio-historical Contexts.................................................11 Methods and Approaches in This Study ................................................................13 Historical Criticism: -
Jmaddalena 14
James Maddalena Baritone (Updated February 2014. Please discard previous materials.) The renowned baritone James Maddalena commands a large and varied repertoire ranging from Monteverdi to contemporary opera. He first gained international recognition for his notable portrayal of the title role in the world premier of John Adams’ Nixon in China, directed by Peter Sellars with Houston Grand Opera followed by performances at Netherland Opera, the Edinburgh Festival, Brooklyn Academy of Music, Washington Opera, Frankfurt Opera, Australia’s Adelaide Festival, the Chatelet in Paris, English National Opera, the Greek National Opera and most recently for his debut with the Metropolitan Opera. His association with John Adams continued in two more recent roles: the Captain in Adams’s The Death of Klinghoffer, which premiered at the Théâtre de la Monnaie in Brussels and received performances at the Opera de Lyon, the Brooklyn Academy of Music, San Francisco Opera, and at the Vienna Festival prior to being recorded by Nonesuch under Kent Nagano; and Jack Hubbard in Doctor Atomic for San Francisco Opera. Mr. Maddalena has appeared with many other leading international opera companies: New York City Opera, San Francisco Opera, Atlanta Opera, Santa Fe Opera, Opera Theatre of St. Louis, Opera Boston, the Lyric Opera of Kansas City, Frankfurt Opera, and Glyndebourne Festival Opera, as well as with the Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, San Francisco Symphony, Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra of the Accademia di Santa Cecilia in Rome and the London Symphony Orchestra. He is a frequent collaborator with director Peter Sellars and sang major roles in Sellars’ stagings of the Mozart/Da Ponte operas (the Count in Le nozze di Figaro and Guglielmo in Così fan tutte), as well as his productions of operas by Haydn, Handel and John Adams. -
The Sacred in Opera December 2009
The Sacred in Opera December 2009 In This Issue In this newsletter, the SIO continues with the The SIO welcomes contributions from any NOA topic of staged oratorio, with interesting contributions members who have had experience producing, present- about the staging of the St. John and St. Matthew Pas- ing, performing, composing, or conducting sacred dra- sions from Dr. Mozelle Clark Sherman and from con- ma. Plans for the future include setting up an SIO blog. ductor Dr. Keith Clark. We are also pleased to mention Please send your articles and ideas directly to Ruth Dob- the performances of three sacred dramas recently pre- son, Chair of the Sacred in Opera project, at dobsonr@ sented in the US, Esther, by Hugo Weisgall, at New York pdx.edu. City Opera, Ruth, by Philip Hagemann, also presented in New York City, and Unfinished Sermons by Maurice Say- lor, premiered in Arlington, Virginia. In This Issue Our previous newsletters can be accessed on the NOA website under the Sacred in Opera initiative. Re- SIO Lifetime Achievement Award............................2 cent contributors to the newsletter are Allen Henderson, G. William Bugg, Carl Gerbrandt, Bruce Trinkley, and Su- san Boardman. Topics have included discussions about Staging Oratorio: Should Bach’s Passions Be Staged performances and production requirements of several Today?....................................................................3 operas, including Eve’s Odds (Bruce Trinkley and J. Ja- son Charnesky), Only a Miracle (Seymour Barab), The Shepherd’s Play, St. Nicholas, and Good King Wenceslas Staging Oratorio.....................................................6 (Richard James Shepherd), A Gift of Song and The Night of the Star (Mary Elizabeth Caldwell), The Greenfield Christ- mas Tree (Douglas Moore), The Christmas Rose (Frank Recent Performances Of Sacred Drama In The US : Bridge), and in the last issue, the staging of oratorio, Ruth.......................................................................8 with special emphasis on Mendelssohn’s Elijah. -
Typology in Esther 1
TYPOLOGY IN ESTHER 1. The Basic Background PURIM- FEAST OF DICE The word "Purim" means "dice." It was wicked Haman who used dice to set a date for the extermination of the Jews from the Persian Empire on the thirteenth of Adar. God delivered the Jews from the destruction of the plot. Purim is one of three feasts celebrating deliverance. 1. Hanukkah—Feast of the deliverance of Judaism. 2. Purim—The deliverance of the Jews is celebrated. 3. Passover—Deliverance from the slavery of Egypt and the Death Angel. Isaiah 54:17—No weapon that is formed against thee shall prosper; and every tongue that shall rise against thee in judgment thou shalt condemn. This is the heritage of the servants of the Lord, and their righteousness is of me, saith the Lord. 2. THE PURPOSE OF THE BOOK God shows His provision for His people. PROVIDENCE IS THE HAND OF GOD IN THE GLOVE OF HISTORY. God's hand is seen in.... Creation—the existence of the universe. Preservation—the continuance of the universe. (Colossians 1:16, 17) Providence—The Progress & Development of the Universe. (Psalm 135:6-10) Romans 8:28—And we know that all things work together for good to them that love God, to them who are the called according to his purpose. God has a way of having the right person, in the right place, at the right time. 3. WHERE IS GOD?- Aleph Tau 110 times. Strength of Covenant. Messiah’s mark and presence as He relates to people in judgement to bless and curse. -
Or Politics Matters the Book of Esther
1 Esther is not Yester… or Politics Matters The Book of Esther: A New Interpretation Robert Case Faith Presbyterian Church, Tacoma, WA 2017 Introduction “Lawrence of Arabia Overture” “Lawrence of Arabia Overture” was writing in l962 by Maurice Jarre for the Oscar winning movie, Lawrence of Arabia starring: Peter O'Toole, Anthony Quinn, Omar Shariff, Alec Guiness, Anthony Quail, Jack Hawkins and directed By David Lean. Considered by some critics to be the greatest movie ever made, The movie is a 1962 epic historical drama film based on the life of T. E. Lawrence. The film was nominated for ten Oscars in 1963; it won seven. The film depicts Lawrence's experiences in the Arabian Peninsula during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence's emotional struggles with the personal violence inherent in war, his own identity, and his divided allegiance between his native Britain and its army and his new-found comrades within the Arabian desert tribes. In 1991, Lawrence of Arabia was deemed "culturally, historically, or aesthetically significant" and selected for preservation in the United States Library of Congress National Film Registry. The overture is played by the London Philharmonic Orchestra. Maurice Jarre wrote all the music for Lawrence and won his first Oscar. His second collaboration with David Lean on Doctor Zhivago in 1965 earned him another Oscar. He collaborated with Lean again on Ryan's Daughter in 1970 and A Passage to India in 1984 for which he received his third Academy Award. -
17-Esther-Nets.Pdf
17-Est-NETS-4.qxd 11/10/2009 10:27 PM Page 424 ESTHER TO THE READER EDITION OF GREEK TEXT The NETS version of Esther is based on the full critical edition prepared by Robert Hanhart (Septuaginta: Vetus Testamentum Graecum Auctoritate Academiae Scientiarum Gottingensis editum VIII.3: Esther [Göttingen: Vandenhoeck & Ruprecht, 1966]). THE TWO GREEK VERSIONS Esther is one of three books in the Hebrew canon to have survived in two distinct Greek versions. The Göttingen critical edition of Esther prints both Greek texts. The “Septuagint” (Old Greek = OG) version is printed on the top half of the page with the siglum o´. The second Greek version is known as the Alpha- text (AT) and is printed on the bottom of the page with the siglum L, because at the time of its printing, this Greek version was thought to be Lucianic. It is not known with certainty which of the two Greek ver- sions is the older or if one text is a revision of the other. Recent scholarship has challenged the traditional view that the o´ text of Esther was the first Greek translation made of the Hebrew and that the AT was a later revision of it. The o´ text carries a colophon, which, if historically reliable, would allow for three pos- sible dates for the origin of the translation: 114/13 BCE, 78/77 BCE, or 48 BCE. Scholars disagree on which is most likely. Both Greek versions have been translated for NETS. The NRSV translates the o´ text into English with the title “Esther: The Greek Version Containing the Additional Chapters” and includes it within the Apocryphal/Deuterocanonical Books.