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On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature.” Metatron 1 (1) Dugan, Elena. n.d. “On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature.” Metatron 1 (1). ARTICLES On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature Elena Dugan 1 1 Princeton University Keywords: genre, qumran, dead sea scrolls, early jewish literature, categorization Metatron Vol. 1, Issue 1, 2021 Molly Zahn’s paper introduces multiple variables by which we might speak about the literary affinities and tendencies of our xts,te without privileging one supercategory. This allows us to reimagine our archive with great texture and depth, and to resist the urge to think of categories as conversation closers. I took Zahn’s reminder that “groupings are choices, and alternative groupings are both possible and desirable” to emphasize the multifaceted nature of literature during this period, and the inability of any single classification scheme to account for the entirety of our corpus. Using literary qualities as variables rather than categories allows us to redescribe hybridity in our archive, and perhaps, reimagine some of our Qumran manuscripts. Using literary qualities as variables rather than categories allows us to reimagine and redescribe hybridity in our archive. The use of taxonomic-style categories can imply a kind of closure of inquiry, or elimination of alternate possibilities. So, an apple is a fruit, which means to the casual grocery-store shopper that it is not a vegetable. But the flummoxed shopper might be faced with a tomato, both a fruit and a vegetable. Categories might promise to order complex systems, but ultimately cannot reduce diversity without remainder. But, variables, as I interpret Zahn to propose, represent descriptors of difference that do not end the process of exploration. We now have the theoretical tools to handle metaphorical ‘tomatoes’–entities for which multiple classifications are operative. Speaking in terms of ancient Jewish literature, and Zahn’s proposal, we might think of texts which contain both law and prophecy, or first and third person voicing, or the rewriting of one source alongside another source, or ‘sectarian’ alongside ostensibly non-sectarian material. This newly describable hybridity can teach us about ancient understandings of coherence. To use a phrase by Annette Yoshiko Reed, we can now discover ancient practices of “constructing continuity” when we’re equipped with the variables proposed by Zahn (Reed 2017). One thing that I want to bring into the conversation is some material evidence for ancient ‘groupings,’ possibly hidden from view because of the field’s legacy of imagining literary categories in a certain way and editing scrolls accordingly.1 I will present a few places in which scholars have, on literary grounds, created multiple manuscripts out of fragments that could, materially, be sorted into 1 I will use ‘manuscripts’ and ‘scrolls’ interchangeably. On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature a single manuscript. The idea of a work in Second Temple Judaism is complicated by the reality that many of our works are constructed—fragments from Qumran are joined into manuscripts according to certain material, but often literary, considerations. But, if we reimagine the ways that literature might be taxonomized—with groupings, and alternative groupings—we might find ourselves confronted with new works. Speaking to Variable 1, Literary Form: A key example is 4QSe (4Q259), a manuscript of a work known as the Community Rule, or Serekh ha-Yahad, which (among other things) provides a series of social and religious regulations meant to help structure the life and practice of an ancient Jewish group. Text from 4QSe resembles and occasionally overlaps with text belonging to other manuscripts also classified as manuscripts of the Community Rule, like 1QS. The initial editor of 4QSe, J.T. Milik, recognized that the fragments now sorted into 4QSe (4Q259) belonged with fragments now sorted into another manuscript called 4QOtot (4Q319).2 In his reconstruction, they represented different columns in the same scroll. It is also advanced by the publishers of these fragments in the DJD volumes that they were written by the same scribal hand, and based on this and other material factors, belonged to the same scroll. 3 Nevertheless, the fragments were assigned to two different manuscripts, as 4QSe was subsequently published in a different DJD volume, and assigned a different number, than 4QOtot. The grounds for this assignment of the fragments to two manuscripts, or the date at which such assignment was undertaken after Milik’s initial treatment, are not always entirely clear.4 But at least part of the editorial decision might lie in literary factors, as 4QSe is a recognizable ‘serekh’ text, whereas 4Q319 better resembles Qumran’s calendrical and mishmarot texts. I want here to reflect on how the boundaries of manuscripts guide our conception of literary works. It is not necessarily the case that one manuscript houses one, and only one, literary work. Some manuscripts, like 11QPsalms, lend themselves readily to thinking about a scroll as a collection, a gathering-site of literary entities, and it is reasonable to suggest that manuscripts at Qumran contained multiple works identifiable as such to ancient readers. In some cases, vacats or spacing might be used to indicate the end of an identifiable work 2 See his treatment of the fragments under the labels 4Q260 and 4Q260B (though these numbers would be later changed), in Milik (1976), 60–61. 3 See Alexander and Vermes (1998), 150; Ben-Dov (2001), 195–96. Emanuel Tov cautions, though it is unclear on what grounds, that “the evidence is unclear, and it is possible that 4QSe and 4QOtot belonged to the same composition, or alternatively that 4QOtot was not included in the same scroll,” in Scribal Practices and Approaches Reflected ni the Texts Found in the Judean Desert (2009), 23. The works are nevertheless treated together in recent scholarship by, among others, Robert Kugler and James Nati. See Kugler (2010), 215–28; Nati (Forthcoming). 4 I am grateful to Eibert Tigchelaar for discussing the history of the editing of these fragments with me, in a private communication of October 17, 2020. Metatron 2 On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature and beginning of another.5 If 4QSe-4QOtot is one such manuscript (though we do not have the transition point between the ‘two’ preserved), the separate numerical classifications granted to its fragments would signal literary hybridity of a kind, though not their material separability. And so, even though a manuscript need not house a single work or literary entity only, perceived literary hybridity has nevertheless resulted in the creation of multiple manuscripts. For another way to think about it, although the editing of separate manuscripts or giving of separate numbers (e.g. 4Q259 & 4Q319) does not necessitate a corresponding hypothesis of separate works, in practice it often prompts the modern reader of the Scrolls to think in such a manner. A sense of a boundary line is signaled in the editing of these fragments separately. What remains to be reclaimed is the extent to which these fragments studied together represent evidence for the crossing of boundary-lines, and material practices of constructing continuity. We are here confronted with a production in which serekh-style and calendrical text were constructed into a continuous whole. At some point in the editing of these fragments, observable hybridity led to the editing of separate manuscripts. If the fragments are reunited, we can learn about one instance of constructed continuity within Zahn’s first ariabv le. Speaking to Variable 2, Voicing: Another illustrative example comes from the manuscript history of 1 Enoch. The initial editor, J.T. Milik once again, identified the same scribal hand behind 4Q207 (a fragment of the work known as the Book of Dreams) and fragments belonging to a copy of of Aramaic Levi (4QAramaic Levid, or 4Q214).6 In other instances, Milik used the same scribal hand as a key principle in the creation of manuscripts. For example, Milik edited the manuscript known as 4Q204, in which he gathered fragments corresponding to four different literary works: the Enochic Book of the Watchers, Book of Dreams, and Book of Noah (these three all eventually collected together in the Ethiopic collection now called 1 Enoch), alongside a work he called the Book of Giants. Outside of Qumran, the Book of Giants is never found in a collection with the aforementioned Enochic works—there is no external precedent by which to imagine a literary work bounded in such a way. Instead, material consonance (the same hand, similar layout and spacing) met Milik’s own understanding of consonance in content, to create his understanding of an Enoch compilation manuscript comprising the Book of Giants alongside the other Enochic works.7 Other scholars, working after Milik, treated the fragments belonging to the Book of Giants under the heading of a separate manuscript numbered 4Q203, and have not always 5 See, for instance, the use of several blank lines to separate Genesis from Exodus in 4QGen-Exoda, 4QpaleoGen-Exodl, 4Q[Gen]-Exodb, and other examples discussed in Tov (2009), 154-155. Note also the forthcoming work of Andrew Perrin on the use of vacats to demarcate separate works in the Qumran Daniel materials, in the Journal of Theological Studies. 6 Milik originally labeled this Levi manuscript as 4QTestLevib, but it has since been re-labeled. In Milik (1976), 5. 7 Milik (1976), 178. Note that Milik nevertheless assigns the fragments into two manuscripts: 4QEnc (4Q204) and 4QEnGiantsa (4Q203). Metatron 3 On Making Manuscripts, Genre, and the Boundaries of Ancient Jewish Literature shared Milik’s opinion that 4Q203 and 4Q204 belong to the same manuscript.8 Nevertheless, from Milik on down, there has been a boundary line drawn between the Book of Giants and the other Enoch works, even though material judgments concerning the scribal hand might encourage sorting their fragments together.
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