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By Martin Ravndal Hauge

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Additional resources for The Descent from the Mountain: Narrative Patterns in Exodus 19-40 (JSOT Supplement)

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32-34, see esp. Moberly, At the Mountain of God, pp. 108-109. 59. g. Nicholson 'The Covenant Ritual'; Childs, Book of Exodus, pp. 499502; Durham, Exodus, pp. 340-43. 60. g. O. Eissfeldt, Hexateuch-Synopse: Die Erzdhlung der fiinf Bucher Mose und des Buches Josua mit dem Anfange des Richterbuches in ihre vier Quellen zerlegt und in deutscher Ubersetzung dargeboten samt einer in Einleitung und Ammerkungen gegebenenen Begrundung (Darmstadt: Wissenschaftliche Buchgesellschaft, 1962), p. 147, on a narrative sequence in vv.

50. While the theophany and visio motifs of Lev. 1-2 and Num. 15-23 indicate that also the climax reached in ch. 40 can be climaxed by other stories as the reader moves on. 44 The Descent from the Mountain of superior and subordinate episodes. The pattern of four episodes, for sake of convenience labelled 'theophanic episodes' due to the significance of the theophany motifs, seems to be important for the composition. 3. 3-18 The first visio scene in Exod. 18-21 is centred around the people's reaction when the theophanic manifestation is experienced.

Childs, Book of Exodus, pp. 558-59, contrast Brichto, The Worship of the Golden Calf, pp. 8-9. 57. W. Coats (Rebellion in the Wilderness: The Murmuring Motif in the Wilderness Traditions of the Old Testament [Nashville: Abingdon Press, 1968], pp. 184-91) on the Golden Calf episode as part of the 'murmuring tradition'. See, further Childs, Book of Exodus, p. 260, and Van Seters, The Life of Moses, p. 290. 1. The Outlines of a Story 47 However improper and disturbing they may be, the people's reactions correspond to the divine intentions confided to Moses in the parallel scene on the mountain and results in a 'building story' that contrasts with the narrative in chs.

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