National Association of Professors of Hebrew
Abstract

Most English Bible translations render in ֶפֹש-ָהְלָאה Gen 19:9 with some variant of “Stand back!” However, a very few interpreters recommend a translation along the lines of “Come closer!” more in keeping with the typical gloss on נןש . A detailed study of the syntax and semantics of both נןש and הלאה, as well as constructions similar to ֶפֹש-ָהְלָאה demonstrates the strength of the minority suggestion.

Genesis 19:9 presents an interesting semantic conundrum. In this familiar scene, the men of Sodom have gathered outside of Lot’s house to demand that he bring out to them his two visitors. When Lot himself comes out instead and interposes himself between the rapacious mob and the closed door behind him, the narrator reports, “They said, inline graphic ! They said, ‘This one came to live as a stranger, and he keeps on playing the judge! Now we will do worse to you than to them.’ They pressed very hard against the man, against Lot, and they drew near to break down the door.” The curious phrase inline graphic rarely draws explicit comment from interpreters and translators, although it admits of two virtually opposite translations. Since inline graphic has the sense “to approach, to draw near,” and respected lexicographers regard inline graphic as an adverb meaning something like “yonder,” most translators and commentators render inline graphic using some variation on “Stand back!”1 A very few interpreters, however, have rendered inline graphic as something like “ Come closer!”2 They very fact that scholars have translated the phrase in precisely [End Page 95] opposite ways attracts sufficient interest to invite a more careful examination of this intriguing phrase.

1. The Semantics and Syntax of inline graphic

Because the verb inline graphic generally has the sense “to draw near, to approach,” some readers might consider it unusual to find a speaker using the verb to mean “move away.” Thus one line of argument in favor of translating inline graphic as “come here” concerns the semantics of the verb itself. In two separate studies, Lyn Bechtel has argued for translating inline graphic along these lines, but her two treatments differ somewhat from one another.

In a 1998 essay, Bechtel translated inline graphic as “Draw near!” In doing so, she appealed to the use of inline graphic in the judicial context of Deut 25:1. Bechtel contends that the mob’s use of the verb inline graphic invites readers to hear judicial overtones in the mob’s speech. In making this argument, however, Bechtel seems to have construed inline graphic as a statement made by the men of Sodom to each other; according to her, “The townsmen are to ‘draw near’ in judgment of Lot.” However, the grammar speaks against this idea. In saying “ inline graphic ,” the mob uses a masculine singular imperative, but in Gen 19:9 the mob speaks with one voice as “we,” using the first person plural form inline graphic (“we will do harm”), and the narrator describes the mob’s speech using plural verb forms (as inline graphic ‘they said’). It seems unlikely that in the midst of all these plurals, the mob would address itself (or the men of the mob each other) using a singular imperative rather than, say, a plural cohortative. inline graphic surely stands as a command that the crowd barks at Lot, not at itself.

Bechtel takes a different tack in a 1999 essay. Again invoking the mob’s use of inline graphic to view the scene judicially, and again cross-referencing Deut 25:1 and Isa 50:8, Bechtel this time translates inline graphic as “Present yourself.” The crowd thus demands that Lot present himself for judgment, as at the conclusion of a court case. Although Bechtel’s attempts to interpret this scene with a jurisprudential spin carry some prima facie plausibility, her interpretation really stands or falls with the adequacy of its treatment of inline graphic . [End Page 96]

The intriguing verb inline graphic appears 125 times in the Tanak, making it wellattested though not exceptionally common. In some verses, writers use both Qal and Niphal forms of inline graphic to refer to the same event, demonstrating clearly that no significant semantic difference obtains for inline graphic between these two binyanim. For example, Gen 33:7 reads, “Leah also drew near [ inline graphic , Qal] with her children, and they bowed down, and afterward Joseph drew near [ inline graphic , Niphal] with Rachel, and they bowed down.”3 The verb implies movement, “drawing near” toward some destination, but writers may indicate such destinations in various ways. When they specify the destination, biblical writers usually use the preposition inline graphic to mark it, but they can also use a variety of other prepositions, such as inline graphic , inline graphic , inline graphic , inline graphic , inline graphic , and inline graphic .4 In a handful of cases, the adverb inline graphic or the adverb inline graphic , both meaning “here,” appear alongside inline graphic . In about ten cases, the destination goes unspecified, but the purpose of the “drawing near,” usually indicated using inline graphic (or, once, inline graphic ), imply the direction of motion. Over forty appearances of the verb inline graphic lack any preposition or adverb marking the direction or purpose. In many of these instances, the clause that follows inline graphic opens with a wayyiqtol form potentially indicating purpose. Table 1 summarizes these data.

This information funds an assessment of Bechtel’s treatment of inline graphic in Gen 19:9. Bechtel bases her jurisprudential interpretation of the scene almost entirely on the appearance of inline graphic later in the verse. If one defines a “judicial context” quite loosely as one in which “judicial language,” broadly construed, appears, then inline graphic arguably appears in nine (other) “judicial contexts.” 5 Bechtel’s parade examples, Deut 25:1 and Isa 50:8, do not provide close conceptual or syntactical parallels to Gen 19:9. In Deut 25:1, two disputing parties “draw near for judgment” ( inline graphic ), appearing before [End Page 97] a third party who renders a judicial decision. Nothing of this kind happens in Gen 19:9, nor does the mob tell Lot to inline graphic . In Isa 50:8, the speaker invites any would-be-accusers to “approach me” ( inline graphic ) in the manner of a plaintiff accusing a defendant. Here too only the weakest of analogies obtains with Gen 19:9; the mob does not tell Lot to inline graphic , as though inviting Lot to sue them. None of the other occurrences of inline graphic in “judicial contexts” resemble Gen 19:9 any better than these conceptually, much less syntactically. Indeed, the fact that the mob self-professedly intends to “do harm” ( inline graphic ) suggests that “justice” lies far from their top priority.

Most importantly, however, Bechtel simply ignores the adverb inline graphic . If one accepts Bechtel’s claim that Gen 19:9 constitutes a “judicial context” that influences the sense of inline graphic therein, one must still take the adverb into account. In the nine other arguably judicial contexts where inline graphic appears, it either stands alongside inline graphic plus a term naming or evoking a recognized judiciary (twice: Exod 24:14; Deut 25:1), stands alongside inline graphic joined to a noun or pronoun naming the defendant (twice: Deut 25:9; Isa 50:8), or stands alone, without any preposition or adverb providing additional specification (the remaining five cases). Syntactically, none of these instances strongly resemble inline graphic in Gen 19:9. One must therefore judge Bechtel’s rendering of “present yourself”—based on the nuances of inline graphic in judicial contexts— as insufficiently warranted.

2. The Semantics and Syntax of inline graphic

David Gunn’s translation of inline graphic depends not on the nuances of inline graphic , but on the semantic function of inline graphic . Gunn himself does not go into much detail, but posits that “the Hebrew means not ‘draw back out of the way’ as most translations have it but ‘get close and them some more!’”6

Although Gunn does not document or otherwise attempt to justify his claim about the sense of inline graphic , his claim finds some measure of support in Gershon Brin’s study of the formulae inline graphic and inline graphic . Brin suggests that both the “positional” and “temporal” uses of these phrases “convey the idea of an unlimited continuation of the thing described.”7 Brin’s study deals mainly with the term inline graphic in phrases describing someone’s age, particularly in census texts, and he does not treat inline graphic constructions in detail. Brin himself cites inline graphic in Gen 19:9 as an example of a [End Page 98] typical positional use of inline graphic , translating the entire phrase as “stand back.”8 Yet Brin’s translation of inline graphic arguably fails to follow through on his conclusion that inline graphic formulae “convey the idea of an unlimited continuation of the thing described,” since the unlimited continuation of inline graphic would seem (at first glance, at least) to involve drawing ever nearer, not moving farther away. This reasoning seems to elucidate the substance of Gunn’s implicit argument.

Further examination of the actual uses of inline graphic , uncommon as they are, seems to confirm Brin’s general characterization of the adverb’s semantic value and, in so doing, lends support to Gunn’s understanding of inline graphic . In eleven of its sixteen occurrences in the Tanak, inline graphic appears in the construction [NP] inline graphic , where “NP” stands for a noun or noun phrase (the inline graphic usually stands prefixed to the noun rather than joined by maqqeph, but this makes no semantic difference). Five of those eleven instances involve temporal references, such as “from the eighth day inline graphic ” (Lev 22:27). Most English translations render inline graphic as “on,” “onward,” “forward,” or “thereafter” in these verses, acknowledging the basic dynamic that Brin says inline graphic denotes: continued movement in a specified direction. In its temporal usage, the directional aspect of inline graphic conforms to the linear flow of time. The phrases cited here never imply a backward recollection of past time, but always refer to a forward temporal trajectory.

Six verses in the Tanak exhibit a geographical use of inline graphic in the construction [P] inline graphic , where “P” stands for a place name or geographically specific phrase. When such phrases concern personal motion, inline graphic rather clearly denotes moving along a trajectory already underway (1 Sam 10:3). In Num 32:19 and 1 Sam 20:22, 37—where this construction stands in direct discourse—speakers use this construction to verbally locate objects or places that lie beyond the addressee or point of reference along a trajectory away from the speaker, such that the addressee must follow that trajectory away from the speaker to locate the objects or reach the location envisioned. Curiously, the three instances where inline graphic is attached to inline graphic itself attest a similar sense. If one glosses inline graphic as “yonder,” as the standard lexicons suggest, then one might suspect that the construction [P] inline graphic would mean something like “from over there toward P,” but in fact the opposite case obtains. Amos 5:27 amply illustrates this point: inline graphic clearly does not mean that Amos thinks his Israelite audience will start out somewhere on the far side of Damascus (with respect to Bethel) and move [End Page 99] toward Damascus, but rather that his audience will begin from its own land and move in the direction of Damascus and then continue beyond that point. Thus, even the construction [P] inline graphic denotes movement in a trajectory away from the place designated. The very interesting fact that phrases constructed as [P] inline graphic have virtually the same semantic value as those constructed as [P] inline graphic suggests that the inline graphic affixed to inline graphic functions partitively, and the inline graphic affixed to the toponym functions ablatively, such that one could justly render inline graphic as “I will exile you to one of the places that is reached by going onward from Damascus.” A wooden substitution of “yonder” for inline graphic does not fit these circumstances, and this casts doubt on whether readers should regard inline graphic as having any absolute spatial sense at all.

Isaiah 18:2, 7 present a more complicated picture. Both verses describe a people as being inline graphic . English translations render inline graphic variously as “near and far” (NRSV), “far and away” (NJPS), “far and wide” (NIV), and so on. All of these renderings imply that inline graphic functions chiefly to denote distance. Structurally, though, inline graphic perfectly matches the other four occurrences of inline graphic [P] inline graphic , and its content differs only in the use of inline graphic instead of a place name or a noun phrase denoting a place. In the other such instances, however, inline graphic seems to denote continued motion rather than a specific position. One may thus plausibly suggest that inline graphic inline graphic bears the sense “from this [place] and onward” (or “outward”), in whatever direction and however far one might be going.

In sum, the majority of the Tanak’s uses of inline graphic commend the view that the word normally functions adverbially to extend a temporal or geographical trajectory along a particular path to some indeterminate extent. Thus far, Gunn’s glossing of inline graphic in Gen 19:9 as “get close and then some more” apparently stands on solid semantic ground with respect to the sense of inline graphic .

3. Parallel Constructions

Though Biblical Hebrew exhibits stable semantics and syntax, individual writers do employ creative variations (never mind simple grammatical mistakes). Therefore, one might do well to examine the closest verbal parallels to inline graphic before reaching a conclusion about the phrase’s sense in Gen 19:9. With regard to the use of the adverb inline graphic , Num 17:2 (16:37 in most [End Page 100] English versions) offers the closest parallel phrase, inline graphic .9 Among all sixteen biblical uses of inline graphic , only the phrases in Gen 19:9 and Num 17:2 lack the usual syntactical framework of prepositions and conjunctions that clarifies the adverbial function of inline graphic . English translations of Num 17:2 variously render the inline graphic in inline graphic as “far and wide” (NRSV), “abroad” (JPS, NASB), “some distance away” (NAB, NET, NIV), “far away” (HCSB; cf. NJB), and so on, apparently taking inline graphic as “yonder,” as in the usual translation of Gen 19:9. However, these translations seem to absolutize the spatial result of the more frequent inline graphic constructions rather than indicating the semantic function of inline graphic as appropriate to this particular passage. An outward trajectory already seems to inhere in the verb inline graphic ‘to scatter’ (an antonym of inline graphic ‘to gather’ as in Jer 31:10). In Num 17:2, then, the verb inline graphic indicates that the ashes will initially move away from the censers, and the adverb inline graphic indicates that the ashes will continue to follow that path until they come to rest.

With regard to the verb inline graphic , the closest parallels stand in the three examples of direct discourse where an imperative form of inline graphic , followed by an adverb, appears. In all three cases, an adverb meaning “here” follows an imperative form of inline graphic (specifically, inline graphic in Ruth 2:14 and 1 Sam 14:38, and inline graphic in Josh 3:9). While these instances cannot, of course, demonstrate that inline graphic in Gen 19:9 means anything like “get close and then some more,” neither do they give any support to the idea that characters speaking in biblical narrative might use an imperatival form of inline graphic to tell someone to move farther away from the speaker. Readers must resist the temptation to assume that inline graphic functions more or less as an antonym of inline graphic and inline graphic , for (as discussed above) such an inference would not really fit the attested sense of inline graphic .

4. Contextual Considerations

The typical biblical uses of both inline graphic and inline graphic support the minority translation of inline graphic as “come here” a bit better than the traditional translation, “stand back.” Before drawing a conclusion from this data, however, readers would do well to examine the phrase in its immediate context to see whether that context demands one translation or the other. [End Page 101]

By the moment when the mob tells Lot to “ inline graphic ,” the narrator has drawn for readers a picture of Lot standing outside of his house, facing the crowd, with the door closed behind him. The verb inline graphic frames the verse. At the beginning of the verse, the mob tells Lot to “ inline graphic ”; at the end of the verse, the narrator informs readers that the men of Sodom “drew near to break down the door” ( inline graphic ). Syntactically, the use of inline graphic in Gen 19:9b fits the reasonably well-attested pattern in which inline graphic is followed by the preposition inline graphic attached to a noun or infinitive verb that reveals the purpose of the motion denoted by inline graphic , and in so doing implicitly supplies also the direction of that motion. In this case, Gen 19:9b indicates that the crowd wants to break down or breach the door of Lot’s house. If Lot himself stands between the crowd and the door, then translating inline graphic as “stand back” makes good contextual sense: the mob wants him out of the way so that it might more easily invade his home.

Yet the other element of purpose in Gen 19:9b complicates this apparently straightforward reading, as the mob announces its intention to “do more harm to you [Lot] than to them [the visitors].” If the mob intends to harm Lot in some way, then it seems counterproductive to tell him to “stand back” out of the way. In this case, “come closer and then some more” would seem to fit the context better: the mob wants Lot to get closer so they can inflict physical harm upon him.

The immediate narrative context, therefore, seems to point in both directions. “Stand back” makes better sense if one emphasizes the crowd’s narrated action at the end of the verse, while “come closer” makes better sense if one emphasizes the crowd’s stated intention immediately following their command of “ inline graphic .” One could perhaps try to reconcile this tension by explaining that “we will do more harm to you than to them” does not contemplate harm against Lot’s person, but rather against his household. But this explanation strains against the narrative facts. The mob appears to have intended physical harm to Lot’s houseguests, so readers most naturally assume that they now state their intention to treat Lot himself more savagely. Moreover, the crowd’s anger flares in response to Lot’s offer of his daughters in place of his houseguests, though the daughters would provide exactly the opportunity to inflict harm on Lot’s household instead of on Lot himself. No easy way to escape this contextual dilemma presents itself. The mob states one intention—to harm Lot—and acts on a different purpose—to break down the door. Depending on which of these actions one emphasizes, each of the two proposed senses of inline graphic in its turn better fits the passage in which the enigmatic command stands. [End Page 102]

5. Conclusions

How, then, ought inline graphic be translated in Gen 19:9? The attested patterns in the syntax of inline graphic suggest that the direction of the motion implied in inline graphic is usually specified by a phrase explicitly stating the destination or purpose of the act of “approaching.” The closest parallels to the mob’s inline graphic are inline graphic and inline graphic , but these parallels simply push attention back to the function of inline graphic . The translation “yonder” offered in the lexicons seems to “freeze” the typical spatial result of moving inline graphic , as if the adverb connoted a static position some distance away rather than continued movement along a trajectory defined by collocated words and phrases.

In sum, while Bechtel’s proposal of a judicial sense for inline graphic in Gen 19:9 flounders on her inattention to the adverb inline graphic , Gunn’s proposal to read inline graphic as “come closer and then some more” does seem to line up rather well with both the usual sense of inline graphic and the usual adverbial function of inline graphic . Although the case is not airtight, those few interpreters who regard inline graphic in Gen 19:9 not as “Stand back!” but rather as “Come here!” do stand on solid syntactical and semantic ground.

Table 1. Syntax of
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Table 1.

Syntax of inline graphic

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Table 2. Typical Constructions with
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Table 2.

Typical Constructions with inline graphic

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Christopher Heard
Pepperdine University

Footnotes

1. For inline graphic as “yonder,” see F. Brown, S. R. Driver, and C. A. Briggs, A Hebrew and English Lexicon of the Old Testament (Oxford: Clarendon, 1907); W. L. Holladay, A Concise Hebrew and Aramaic Lexicon of the Old Testament (Grand Rapids, Mich.: Eerdmans, 1988); B. K. Waltke and M. O’Connor, An Introduction to Biblical Hebrew Syntax (Winona Lake, Ind.: Eisenbrauns, 1990), §172.b. For inline graphic as “stand back,” see ASV, AV, CEV, HCSB, JPS, NASB, NET, NIV, NLT, NRSV; R. Alter, Genesis: Translation and Commentary (New York: Norton, 1996), p. 86; V. P. Hamilton, The Book of Genesis: Chapters 18–50 (NICOT; Grand Rapids, Mich.: Eerdmans, 1995), p. 29; J. Skinner, A Critical and Exegetical Commentary on Genesis (2nd ed.; ICC; Edinburgh: T&T Clark, 1930), p. 307 n. 9; E. A. Speiser, Genesis: A New Translation with Introduction and Commentary (AB 1; New York: Doubleday, 1964), p. 136; C. Westermann, Genesis 12–36 (trans. J. J. Scullion; Minneapolis: Augsburg, 1985), p. 295. Alter, Skinner, Speiser, and Westermann simply render the phrase without comment. Hamilton merely claims that inline graphic “permits the translation ‘stand back!’” without further comment on the function of inline graphic . Hamilton does cite Gershon Brin, “The Formulae ‘from … and Onward/Upward’ ( inline graphic ),” JBL 99 (1980): 161–171; Brin’s article is helpful, but limited, as discussed in the present study.

2. So D. M. Gunn, “Narrative Criticism,” in To Each Its Own Meaning: Biblical Criticisms and Their Application (2nd ed.; ed. S. L. McKenzie and S. R. Haynes; Louisville, Ky.: Westminster John Knox, 1999), p. 216 and L. Bechtel in two different studies, “A Feminist Reading of Genesis 19.1–11,” in Genesis (A Feminist Companion to the Bible, Second Series; ed. A. Brenner; Sheffield: Sheffield Academic Press, 1998), pp. 124–125 and L. Bechtel, “Boundary Issues in Genesis 19.1–38,” in Escaping Eden: New Feminist Perspectives on the Bible (ed. H. C. Washington, S. L. Graham, and P. Thimmes; New York: New York University Press, 1999), p. 33. The sense “come here” was also proposed by E. König in his Die Genesis (Gutersloh, 1925), according to R. I. Lettelier, Day in Mamre, Night in Sodom: Abraham and Lot in Genesis 18 and 19 (Leiden: Brill, 1995), p. 151 n. 271.

3. See also Exod 24:2, “Moses drew near [ inline graphic , Niphal] to inline graphic alone, but [the people] did not draw near [ inline graphic , Qal],” and Jer 30:21, “I will bring him near and he will approach [ inline graphic , Niphal] me, for otherwise, who would dare to approach [ inline graphic , Qal] me, declares inline graphic .” These comments presuppose the accuracy of the masoretic vocalization of inline graphic in the seventeen instances where it appears to stand in the Niphal form. In every instance, the Niphal forms attested in the MT—third person masculine singular perfect (8), third person feminine singular perfect (1), third person common plural perfect (5), second person masculine plural perfect (2); and masculine plural participle (1)—would be indistinguishable from the corresponding Qal forms in an unpointed text. Using the masoretic vocalizations, inline graphic is never attested in the Qal perfect or the Niphal imperfect. According to P. A. Siebesma, The Function of the Niph’al in Biblical Hebrew (Assen and Maastricht: Van Gorcum, 1991), p. 90, this use of Niphal in the perfect and Qal in the imperfect is a pattern with this verb and others ( inline graphic and inline graphic , to name but two). In this, Siebesma follows M. Lambert, “L’emploi du Nifal en Hébreu,” REJ 41 (1900); unfortunately, I was unable to obtain a copy of Lambert’s article while preparing this study.

4. In all three cases where inline graphic marks the destination (Num 4:19; 1 Sam 9:18; 30:21), and in one case where inline graphic appears (Ezek 44:13), some manuscript evidence suggests that copyists may have written these letters accidentally, distorting an original inline graphic . Such evidence does not exist for the other case using inline graphic (Ezek 9:6).

5. Gen 18:23; Exod 24:14; Deut 25:1, 9; Isa 41:1, 21; 45:21; 50:8; Amos 6:3.

6. D. M. Gunn, “Narrative Criticism,” p. 216.

7. G. Brin, “The Formulae,” p. 161.

8. G. Brin, “The Formulae,” p. 161.

9. The BHS apparatus offers inline graphic as a speculative emendation, with no manuscript support; K. Elliger and W. Rudolph, eds., Biblia Hebraica Stuttgartensia (Stuttgart: Deutsche Bibelgesellschaft, 1983).

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