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The Creation of Woman in the Bible

Megan Sauter — Sat, 07 Mar 2026 12:00:33 +0000

This 11th-century mosaic, which shows the scene of Jesus’ crucifixion, comes from the Church of the Dormition in Daphne, Greece. Early Christians found parallels between the Adam and Eve story and Jesus and the Church. In the mosaic, blood and water flow from Jesus’ pierced side in the direction of his mother, Mary. Early Christians believed that just as Eve was birthed from the side of Adam, so the Church was birthed from the side of Jesus.

The creation of woman in the Bible has been the topic of much debate in Biblical Archaeology Review. In “Was Eve Made from Adam’s Rib—or His Baculum?” from the September/October 2015 issue, Ziony Zevit makes a shocking claim about the Adam and Eve story in the Bible.

The Biblical text says that Eve was created from Adam’s tsela‘. Although tsela‘ has traditionally been translated as “rib,” Zevit argues that it is better translated as Adam’s os baculum. This controversial conversation continues in Mary Joan Winn Leith’s article “Creating Woman,” published in the March/April 2016 issue of Biblical Archaeology Review.

In her article, Leith examines the creation of woman in the Bible. She looks at the etiological and euphemistic support for Zevit’s interpretation, and she considers how this would have fit into ancient views of biology. Then Leith focuses on an interesting part of the Adam and Eve story in the Bible: the “punishment poem” in Genesis 3:14–19.

This poem occurs after Adam and Eve have eaten the forbidden fruit. Because of their disobedience, God curses them. As Leith explains, this curse takes positive relationships, including childbirth, and turns them negative:

[T]he “punishment poem” in Genesis 3:14–19 reverses to negative effect all the positive relationships that prevailed before the humans disobeyed God. Humans and God, man and woman, humans and animals, humans and the earth now become alienated from each other where before all was harmonious. The most famous negative effect of the human disobedience is the woman’s pain in childbirth. At least theoretically then, before the punishment, childbirth in Eden should have been painless. If the father-as-child-bearer principle is hovering in the background of the creation of the woman, then the difficult childbirth promised to the woman in Genesis 3:16 reverses the painless “birth” in Genesis 2, where not only does a man—rather than a woman—give birth, but thanks to the anaesthetic “deep sleep” (tardemah), the man suffers no pain.

Thus, the creation of woman in the Bible from man—the first birth, according to Leith—is painless, but, as the “punishment poem” illustrates, all subsequent births are painful. Further, not only was the first birth painless, but it was a man—not a woman—who shockingly gives birth, setting it apart from all others.

FREE ebook: Exploring Genesis: The Bible’s Ancient Traditions in Context Mesopotamian creation myths, Joseph’s relationship with Egyptian temple practices and 3 tales of Ur, the birthplace of Abraham.

Leith then examines Christian symbolism related to the Adam and Eve story in the Bible. Early Christians believed that Eve was created from Adam’s rib or side, and they found parallels between Adam’s side and Jesus’ side that was pierced during his crucifixion. John 19:34 records, “Instead, one of the soldiers pierced his (Jesus’) side with a spear, and at once blood and water came out.” Early Christians believed that the blood represented the holy Eucharist, and the water represented baptism—two sacraments given by Jesus to the Church. Therefore, the Church was birthed from the side of Jesus, just as Eve was birthed from Adam’s side.

This interpretation is illustrated well in an 11th-century mosaic from the Church of the Dormition in Daphne, Greece. In this mosaic, blood and water flow from the pierced side of Jesus in the direction of his mother, Mary. Leith explains that Mary is often referred to as the “new Eve” and “considered to personify the Church.” The birth of the Church is visually depicted by the blood and water (sacraments) flowing toward Mary (the Church). Adam also makes an appearance in this scene. Jesus’ blood drips onto Adam’s skull at the foot of the cross. This symbolizes 1 Corinthians 15:21–22: “For since death came through a human being (Adam), the resurrection of the dead has also come through a human being (Christ); for as all die in Adam, so all will be made alive in Christ.”

To learn more about the creation of woman in the Bible, read the full article by Mary Joan Winn Leith—“Creating Woman”—in the March/April 2016 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published on March 14, 2016.

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Was Eve Made from Adam’s Rib—or His Baculum?

Creating Woman

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Who Was the Wife of Cain?

BAS Staff — Sun, 01 Feb 2026 12:00:45 +0000

This illustration shows Adam and Eve in the Garden of Eden, where God gave them the command to “be fruitful and multiply” (Genesis 1:28). Photo: From Charles Foster, The Story of the Bible (1897).

While there are many examples of strong and inspiring men and women in Genesis, the book is also packed with stories of dysfunctional families, which is evidenced from the very beginning with the first family—Adam, Eve and their two children, Cain and Abel. In no short amount of time—just 16 verses after announcing the birth of Cain and Abel in Genesis 4—Cain has murdered his younger brother and is consequently exiled from the land. In theory, this would have dropped the world’s population from four down to three. The narrative continues in Genesis 4 with Cain settling in the land of Nod and having children with his wife. Who did Cain marry? Where did she come from? Are there other people outside of Eden? In the November/December 2013 issue of BAR, Mary Joan Winn Leith addresses these questions and explores the identity of the wife of Cain in “Who Did Cain Marry?”

Given that the wife of Cain is only mentioned once in the Old Testament, she would not be counted among the famous women in Genesis. Nevertheless, her identity is still worth investigating. Who did Cain marry? Mary Joan Winn Leith first explores the traditional Jewish and Christian answers that contend that the wife of Cain was another daughter of Adam and Eve. According to this reasoning, Cain would have married his sister—one of Abel’s twin sisters no less, according to the Genesis Rabbah.

Mary Joan Winn Leith explores the identity of the wife of Cain.

A different answer emerges when Leith turns from the traditional responses about the wife of Cain and delves into modern scholarship. Looking at recent work done by sociologists and anthropologists, she notes that when forming a group identity, we tend to define ourselves by how we differ from other groups. In the ancient Near East, sometimes those outside of a particular group or society were considered less “human” by those inside of the group. An important factor that contributes to this mindset is geography. People in the ancient Near East typically stayed close to home, which affected their perception of the world. Surely they knew that other groups of people—potential enemies or allies—existed far away, but if they never came into contact with these groups, what did they matter?

Mary Joan Winn Leith suggests that while the Israelite storyteller knew that other men and women in Genesis existed outside of Eden, they did not matter to him or factor into his account. He was concerned with Adam and Eve and their progeny—not those outside of this group.

Who did Cain marry? There are many answers. For Leith’s explanation of the identity of the wife of Cain—one of the often-overlooked women in Genesis—read her full Biblical Views column “Who Did Cain Marry?”

BAS Library Members: Read the full Biblical Views column “Who Did Cain Marry?” by Mary Joan Winn Leith in the November/December 2013 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published in 2013.

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Dealing with the Devil

Was Eve Made from Adam’s Rib—or His Baculum?

Eve and Adam

Cain & Abel

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The Adam and Eve Story: Eve Came From Where?

BAS Staff — Thu, 27 Nov 2025 12:00:25 +0000

“So the Lord God caused a deep sleep to fall upon the man, and he slept; then he took one of his ribs and closed up its place with flesh. And the rib that the Lord God had taken from the man he made into a woman and brought her to the man.”
—Genesis 2:21–22, NRSV

ADAM AND EVE IN THE BIBLE. This mosaic from the Cathedral of Monreale, Sicily, depicts the creation of woman in the Bible. Eve is shown emerging from Adam’s side. Most translations of the Adam and Eve story say that Eve was created from Adam’s rib, but Ziony Zevit contends that she was created from a very different part of Adam’s body.

According to the Bible’s creation account, after making the heavens and the earth, God created humankind. The Adam and Eve story in Genesis 2 states that God formed Adam out of the dust of the ground, and then Eve was created from one of Adam’s ribs. But was it really his rib?

The Hebrew word that is traditionally translated as “rib” is tsela‘. Ziony Zevit, Distinguished Professor of Biblical Literature and Northwest Semitic Languages at American Jewish University in Bel-Air, California, believes that this translation is wrong, as do many scholars. It was first translated as “rib” in the Septuagint, a Greek translation of the Hebrew Bible from the mid-third century B.C.E. However, a more careful reading of the Hebrew word for “rib” in the Adam and Eve story suggests that Eve was created from another, very different, part of Adam’s anatomy—his os baculum (penis bone).

Zevit carefully examines the account of the creation of woman in the Bible in his article “Was Eve Made from Adam’s Rib—or His Baculum?” which appears in the September/October 2015 issue of Biblical Archaeology Review.

Of the 40 appearances of tsela‘ in the Bible, the Adam and Eve story is the only place where it is translated as “rib.” Usually it means the side of something. Zevit explains the nuance of this word:

This Hebrew word occurs some 40 times in the Hebrew Bible, where it refers to the side of a building or of an altar or ark (Exodus 25:12; 26:20, 26; 1 Kings 6:34), a side-chamber (1 Kings 6:8; Ezekiel 41:6), or a branch of a mountain (2 Samuel 16:13). In each of these instances, it refers to something off-center, lateral to a main structure. The only place where tsela‘ might be construed as referring to a rib that branches off from the spinal cord is in Genesis 2:21–22.

According to Zevit, “rib” is the wrong translation for tsela‘ in the Adam and Eve story in the Bible. Zevit believes that tsela‘ should be translated as “a non-specific, general term,” such as one of Adam’s lateral limbs, in the Adam and Eve story. Thus, it refers to “limbs lateral to the vertical axis of an erect human body: hands, feet, or, in the case of males, the penis.”

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Which of these lateral limbs lacks a bone? Human males do not have a penis bone, but many mammals do. Zevit concludes that in the story of Adam and Eve in the Bible, the woman was created from the man’s baculum to explain why this appendage does not have a bone.

To see Ziony Zevit’s full explanation of the Adam and Eve story in the Bible, read his article “Was Eve Made from Adam’s Rib—or His Baculum?” in the September/October 2015 issue of BAR.

BAS Library Members: Read the full article “Was Eve Made from Adam’s Rib—or His Baculum?” by Ziony Zevit in the September/October 2015 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published on September 15, 2015.

All-Access members, read more in the BAS Library

Was Eve Made from Adam’s Rib—or His Baculum?

How Did Adam & Eve Make a Living?

Dealing with the Devil

From Eden to Ednah—Lilith in the Garden

Eve and Adam

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Should We Take Creation Stories in Genesis Literally?

Robin Ngo — Thu, 14 Aug 2025 11:00:44 +0000

What purpose did creation stories in Genesis serve? Were they Biblical myths? Pictured here is The Garden of Eden with the Fall of Man (c. 1617) by Flemish painters Peter Paul Rubens and Jan Brueghel the Elder.

Were the creation stories in Genesis meant to be taken literally?

Maybe not, says biblical scholar Shawna Dolansky in her Biblical Views column “The Multiple Truths of Myths” in the January/February 2016 issue of Biblical Archaeology Review.

Our world is very different from the world in which the Biblical authors lived over 2,000 years ago. The ancient world did not have Google, Wikipedia and smartphones—access to information on human history and scientific achievements developed over millennia at the touch of their fingertips.

Many scholars believe that the ancient Israelites had creation stories that were told and retold; these stories eventually reached the Biblical authors, who wrote them down in Genesis and other books of the Bible. Creation stories in Genesis were etiological, Shawna Dolansky and other Biblical scholars argue.¹ That is, the creation stories in Genesis served to provide answers to why the world was the way it was, such as why people wear clothes and why women experience pain during childbirth.

Creation stories in Genesis were among the many myths that were told in the ancient Near East. Today we may think of myths as beliefs that are not true, but as a literary genre, myths “are stories that convey and reinforce aspects of a culture’s worldview: many truths,” writes Dolansky. So to call something a myth—in this sense—does not necessarily imply that it is not true.

Scholars argue that Biblical myths arose within the context of other ancient Near Eastern myths that sought to explain the creation of the world. Alongside Biblical myths were Mesopotamian myths in which, depending on the account, the creator was Enlil, Mami or Marduk. In ancient Egyptian mythology, the creator of the world was Atum in one creation story and Ptah in another.

Shawna Dolansky

“Like other ancient peoples, the Israelites told multiple creation stories,” writes Shawna Dolansky in her Biblical Views column. “The Bible gives us three (and who knows how many others were recounted but not preserved?). Genesis 1 differs from Genesis 2–3, and both diverge from a third version alluded to elsewhere in the Bible, a myth of the primordial battle between God and the forces of chaos known as Leviathan (e.g., Psalm 74), Rahab (Psalm 89) or the dragon (Isaiah 27; 51). This battle that preceded creation has the Mesopotamian Enuma Elish as its closest analogue. In Enuma Elish, the god Marduk defeats the chaotic waters in the form of the dragon Tiamat and recycles her corpse to create the earth.”

In what other ways do Biblical myths parallel ancient Near Eastern myths? What can we learn about the world in which the ancient Israelites lived through the creation stories in Genesis? Learn more by reading the full Biblical Views column “The Multiple Truths of Myths” by Shawna Dolansky in the January/February 2016 issue of BAR.

BAS Library Members: Read the full Biblical Views column “The Multiple Truths of Myths” by Shawna Dolansky in the January/February 2016 issue of Biblical Archaeology Review.

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Notes

1. For example, see Ziony Zevit, “Was Eve Made from Adam’s Rib—or His Baculum?” BAR, September/October 2015; Mary Joan Winn Leith, “ReViews: Restoring Nudity,” BAR, May/June 2014.

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The Creation Story from Genesis

Creation Myths Breed Violence

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This Bible History Daily feature was originally published on January 31, 2016.

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The Origin of Sin and Death in the Bible

Megan Sauter — Tue, 12 Aug 2025 11:00:47 +0000

Primeval Murder. The Bible recounts that Cain murdered his brother Abel. Gustave Doré’s illustration shows the moment after this deed has been committed. In antiquity, some believed that this was the first sin in the Bible—and how sin and death entered the world. The Wisdom of Solomon is one text that expresses this view.

What is the origin of sin and death in the Bible? Who was the first sinner?

To answer the latter question, today people would probably debate whether Adam or Eve sinned first, but in antiquity, it was a different argument altogether. They debated whether Adam or Cain committed the first sin.

John Byron of Ashland Theological Seminary explores ancient interpretations of the origin of sin and death in the Bible in his Biblical Views column “Who Sinned First—Adam or Cain?” published in the July/August 2017 issue of Biblical Archaeology Review.

So, Who Sinned First in the Bible?

According to the Book of Genesis, Adam and Eve were the first humans. Cain was their first son, and Abel their second. The majority of Biblical interpreters—throughout the ages—have considered Adam and Eve’s disobedient act of eating the forbidden fruit (Genesis 3:6) as the first sin in the Bible—the moment sin and death entered the world. However, in antiquity, some believed that Cain’s murder of his brother Abel (Genesis 4:8) was the first sin; certainly, this was the first human death in the Bible. The apocryphal Wisdom of Solomon is one text that expresses this view.

Original Sin? This scene by Adolf Hult depicts Adam, Eve and the serpent in the Garden of Eden. Most would consider Adam and Eve’s disobedient act of eating the forbidden fruit as the first sin in the Bible—the moment sin and death came into the world.

The Wisdom of Solomon credits Cain’s unrighteousness as ushering in death—and the Biblical flood:

“Wisdom protected the first-formed father [Adam] of the world, when he alone had been created; she delivered him from his transgression and gave him strength to rule all things. But when an unrighteous man [Cain] departed from her [Wisdom] in his anger, he perished because in rage he killed his brother [Abel]. When the earth was flooded because of him, Wisdom again saved it, steering the righteous man [Noah] by a paltry piece of wood.” (Wisdom of Solomon 10:1–4)

John Byron explains that in the Wisdom of Solomon’s interpretation of Genesis, “neither mortality nor bad consequences resulted from Adam’s sin. Rather, Wisdom saved Adam, and his sin is glossed over.” It is Cain who rejects Wisdom, sins and ushers in death.

To learn more about the ancient interpretation of Cain as the first sinner in the Bible, read John Byron’s Biblical Views column “Who Sinned First—Adam or Cain?” in the July/August 2017 issue of Biblical Archaeology Review.

BAS Library Members: Read the full Biblical Views column “Who Sinned First—Adam or Cain?” by John Byron in the July/August 2017 issue of Biblical Archaeology Review.

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Biblical Views: Who Sinned First—Adam or Cain?

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A version of this post first appeared in Bible History Daily in July, 2017

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Lilith in the Bible and Mythology

Megan Sauter — Tue, 12 Aug 2025 11:00:17 +0000

C.S. Lewis’s character Jadis, the White Witch of Narnia, in his The Chronicles of Narnia novels is said to have descended from Lilith, Adam’s first wife. Pictured here is Tilda Swinton as Jadis, the White Witch of Narnia, in the film adaptation The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005).

C.S. Lewis, one of the most beloved authors of the 20th century, created a magical, fictional world called Narnia. The primary villain of the first book of this series, The Lion, the Witch, and the Wardrobe, is Jadis, the White Witch. Below is the character Edmund’s description of the White Witch when he first meets her:

A great lady, taller than any woman that Edmund had ever seen. She also was covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head. Her face was white—not merely pale, but white like snow or paper or icing-sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern.
(The Lion, the Witch, and the Wardrobe)

Jadis, the White Witch, is beautiful—and terrifying. Although she looks like a human, she is not. According to the character Mr. Beaver, the White Witch was descended from Lilith, Adam’s first wife, on one side and from giants on the other.

Who is Lilith? Is there any warrant for calling Lilith Adam’s first wife, or is this just the baseless chatter of woodland creatures? Are there appearances of Lilith in the Bible?

Dan Ben-Amos, Professor of Folklore and Asian and Middle Eastern Studies at the University of Pennsylvania, explores the figure of Lilith in the Bible and mythology in his article “From Eden to Ednah—Lilith in the Garden” in the May/June 2016 issue of Biblical Archaeology Review. His analysis shows that Lilith is an intriguing figure who has taken on many shapes over the millennia. From this, we see that Jadis, the White Witch, shares more than just lineage with her supposed ancestor.

Who is Lilith: Beauty or horror? English painter Dante Gabriel Rossetti’s Lady Lilith (1866–68; altered 1872–73) depicts Lilith, Adam’s first wife, as a beautiful woman. Who is Lilith? According to Rossetti’s interpretation, she was a beauty. Photo: Delaware Art Museum

Lilith is first mentioned in ancient Babylonian texts as a class of winged female demons that attacks pregnant women and infants. From Babylonia, the legend of “the lilith” spread to ancient Anatolia, Syria, Israel, Egypt and Greece. In this guise—as a wilderness demoness—she appears in Isaiah 34:14 among a list of nocturnal creatures who will haunt the destroyed Kingdom of Edom. This is her only mention in the Bible, but her legend continued to grow in ancient Judaism.

During the Middle Ages, Jewish sources began to claim her as Adam’s first—and terrifying—wife. How did Lilith evolve from being a wilderness demoness to Adam’s first wife?

Interestingly enough, this story begins at the beginning—in Genesis 1.

The creation of humans is described in Genesis 1 and in Genesis 2. The first account is fairly straightforward: “So God created humankind in his image, in the image of God he created them; male and female he created them” (Genesis 1:27). The second account describes how God formed man out of the dust of the ground and then creates woman from the man: “Then the Lord God formed man from the dust of the ground, and breathed into his nostrils the breath of life; and the man became a living being. … So the Lord God caused a deep sleep to fall upon the man, and he slept; then he took one of his ribs and closed up its place with flesh. And the rib that the Lord God had taken from the man he made into a woman and brought her to the man” (Genesis 2:7, 21–22).

In the post-Biblical period, some ancient Jewish scholars took the stance that Genesis 1:27 and Genesis 2:21–22 must describe two separate events, since it appears that woman is created differently in these accounts. In her Bible Review article “Lilith” in the October 2001 issue, Professor Janet Howe Gaines explains this reasoning: “Considering every word of the Bible to be accurate and sacred, commentators needed a midrash or story to explain the disparity in the creation narratives of Genesis 1 and 2. God creates woman twice—once with man, once from man’s rib—so there must have been two women. The Bible names the second woman Eve; Lilith was identified as the first in order to complete the story.” Accordingly, Genesis 1:27 describes the creation of Adam and an unnamed woman (Lilith); Genesis 2:7 gives more details of Adam’s creation; and Genesis 2:21–22 describes the creation of Eve from Adam.

Who is Lilith: Beauty or horror? This Aramaic incantation bowl depicts Lilith as a demoness. A text that mentions Lilith and other evil spirits is written on the inside of the bowl in spiral concentric circles. Incantation bowls were meant to both capture and repel evil spirits. Who is Lilith? According to this representation, which is more consistent with the appearance of “the lilith” in the Bible, she was a horror. Photo: Courtesy V. Klagsbald, Jerusalem

Lilith’s creation is recounted in The Tales of Ben Sira, an apocryphal work from the tenth century C.E. Dan Ben-Amos explains that although this is the first extant text that records the legend of Lilith, her story probably existed earlier:

[Lilith’s] story seems to hover at the edges of literacy with sporadic references. … [I]n the post-Biblical period, the sages identify the lilith several times, not by name, but as “the First Eve,” indicating that her full story was well known in oral tradition, yet barred from the canonized Biblical text. Finally, in the tenth century C.E. in Babylon, an anonymous writer, who was not bound by normative traditional principles and who included in his book some other sexually explicit tales, spelled out the lilith’s adventures in paradise.

The Tales of Ben Sira relates that God created Lilith from the earth, just as he had created Adam. They immediately began fighting because neither would submit to the other. Recognizing that Adam would not listen to her, Lilith “pronounced the Ineffable Name and flew away into the air” (The Tales of Ben Sira). The angels Snvi, Snsvi and Smnglof were sent to pursue Lilith, but when they reached her, she refused to return with them to the Garden of Eden. “‘Leave me!’ she said. ‘I was created only to cause sickness to infants. If the infant is male, I have dominion over him for eight days after his birth, and if female, for twenty days’” (The Tales of Ben Sira). As a compromise, she promised that whenever she saw the angels’ names or forms on amulets, she would leave the child alone. She also agreed that 100 of her children—demons—would die every day.

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Janet Howe Gaines expounds the severity of Lilith’s sin and its consequences as described in the The Tales of Ben Sira:

Lilith sins by impudently uttering the sacred syllables, thereby demonstrating to a medieval audience her unworthiness to reside in Paradise. So Lilith flies away, having gained power to do so by pronouncing God’s avowed name. Though made of the earth, she is not earthbound. Her dramatic departure reestablishes for a new generation Lilith’s supernatural character as a winged devil.

Gaines also explains Lilith’s hatred for human babies: “Ben Sira’s story suggests that Lilith is driven to kill babies in retaliation for Adam’s mistreatment and God’s insistence on slaying 100 of her progeny daily.”

To learn more about Biblical women with slighted traditions, take a look at the Bible History Daily feature Scandalous Women in the Bible, which includes articles on Lilith, Mary Magdalene and Jezebel.

The Lilith legend continued to grow and change over the following centuries, which is reflected in various artistic depictions of her. While some portrayed Lilith as a beautiful woman, others showed her in a more sinister light. Some even depicted her as the serpent in the Garden of Eden who convinced Eve to eat the forbidden fruit.

Jadis, the White Witch of Narnia, shares similarities with Lilith. Not only are both of them strong, terrifying women, but they also seem bent on destroying human life. Both wield dark magic and are immortal beings. As revealed in C.S. Lewis’s The Magician’s Nephew, Jadis gains immortality by eating a silver apple inside a walled garden in Narnia. This episode has some obvious connections to the account of the Garden of Eden in the Bible. Additionally, both pronounce an ineffable word and suffer dire consequences as a result. The Magician’s Nephew tells how Jadis—before she became the White Witch—pronounced the Deplorable Word, which killed every living thing in her world, Charn, except for herself. So great was her desire for power and her refusal to submit, she spoke the Deplorable Word—knowing full well that it would kill every living person and thing in her world—rather than surrender her claim to the throne of Charn. These examples demonstrate that the character Jadis bears both the blood and the character of her foremother Lilith.

From demoness to Adam’s first wife, Lilith is a terrifying force. To learn more about Lilith in the Bible and mythology, read Dan Ben-Amos’s full article—“From Eden to Ednah—Lilith in the Garden”—in the May/June 2016 issue of Biblical Archaeology Review.

BAS Library Members: Read the full article “From Eden to Ednah—Lilith in the Garden” by Dan Ben-Amos in the May/June 2016 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published on May 2, 2016.

All-Access members, read more in the BAS Library

From Eden to Ednah—Lilith in the Garden

Lilith

Giving Eve’s Daughters Their Due

Women in the Hebrew Bible

The Seductress of Qumran

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How the Serpent in the Garden Became Satan

Biblical Archaeology Society Staff — Tue, 15 Jul 2025 11:00:59 +0000

Introduced as “the most clever of all of the beasts of the field that YHWH God had made,” the serpent in the Garden of Eden is portrayed as just that: a serpent. Satan does not make an appearance in Genesis 2–3, for the simple reason that when the story was written, the concept of the devil had not yet been invented. Explaining the serpent in the Garden of Eden as Satan would have been as foreign a concept to the ancient authors of the text as referring to Ezekiel’s vision as a UFO (but Google “Ezekiel’s vision” now, and you’ll see that plenty of people today have made that connection!). In fact, while the word satan appears elsewhere in the Hebrew Bible/Old Testament, it is never a proper name; since there is no devil in ancient Israel’s worldview, there can’t yet have been a proper name for such a creature.

Depicted here are God the Father, cherubim, angels, Adam, Eve and the serpent in the Garden of Eden in Domenichino’s painting The Rebuke of Adam and Eve (1626). Photo: Patrons’ Permanent Fund, National Gallery of Art.

The noun satan, Hebrew for “adversary” or “accuser,” occurs nine times in the Hebrew Bible: five times to describe a human military, political or legal opponent, and four times with reference to a divine being. In Numbers 22, the prophet Balaam, hired to curse the Israelites, is stopped by a messenger from Israel’s God YHWH, described as “the satan” acting on God’s behalf. In Job, “the satan” is a member of God’s heavenly council—one of the divine beings, whose role in Job’s story is to be an “accuser,” a status acquired by people in ancient Israel and Mesopotamia for the purposes of particular legal proceedings.

In Job’s case, what’s on trial is God’s assertion that Job is completely “blameless and upright” vs. the satan’s contention that Job only behaves himself because God has rewarded him. God argues that Job is rewarded because he is good, and not good because he is rewarded. The satan challenges God to a wager that if everything is taken away from poor Job, he won’t be so good anymore, and God accepts. Though a perception of “the satan” as Satan would make this portrait of God easier to swallow, the story demonstrates otherwise; like Yahweh’s messenger in Numbers 22, this satan acts on YHWH’s instructions (and as a result of God’s braggadocio) and is not an independent force of evil.

In Zechariah 3, the prophet describes a vision of the high priest Joshua standing in a similar divine council, also functioning as a tribunal. Before him stand YHWH’s messenger and the satan, who is there to accuse him. This vision is Zechariah’s way of pronouncing YHWH’s approval of Joshua’s appointment to the high priesthood in the face of adversarial community members, represented by the satan. The messenger rebukes the satan and orders that Joshua’s dirty clothing be replaced, as he promises Joshua continuing access to the divine council. Once again, the satan is not Satan who we read about in the New Testament.

The word satan appears only once without “the” in front of it in the entire Hebrew Bible: in 1 Chronicles 21:1. Is it possible that we finally have Satan here portrayed? 1 Chronicles 21 parallels the story of David’s census in 2 Samuel 24, in which God orders David to “go number Israel and Judah” and then punishes king and kingdom for doing so. The Chronicler changes this story, as he does others, to portray the relationship between God and David as uncompromised; he writes that “a satan stood up against Israel and he provoked David to number Israel” (1 Chronicles 21:6–7; 27:24). Although it is possible to read “Satan” here instead of “a satan” (Hebrew uses neither uppercase letters, nor indefinite articles, e.g., “a”), nothing else in this story or in any texts for another 300 years indicates that the idea of an evil prince of darkness exists in the consciousness of the Israelites.

If there’s no Satan in the Hebrew Bible, how does the serpent in the garden become Satan?

The worldview of Jewish readers of Genesis 2–3 profoundly changed in the centuries since the story was first written. After the canon of the Hebrew Bible closed,¹ beliefs in angels, demons and a final apocalyptic battle arose in a divided and turbulent Jewish community. In light of this impending end, many turned to a renewed understanding of the beginning, and the Garden of Eden was re-read—and re-written—to reflect the changing ideas of a changed world. Two separate things happened and then merged: Satan became the proper name of the devil, a supernatural power now seen to oppose God as the leader of demons and the forces of evil; and the serpent in the Garden of Eden came to be identified with him. While we begin to see the first idea occurring in texts two centuries before the New Testament, the second won’t happen until later; the serpent in the Garden is not identified with Satan anywhere in the Hebrew Bible or New Testament.

The concept of the devil begins to appear in second and first centuries B.C.E. Jewish texts. In 1 Enoch, the “angel” who “led Eve astray” and “showed the weapons of death to the children of men” was called Gadreel (not Satan). Around the same time, the Wisdom of Solomon taught that “through the devil’s envy death entered the world, and those who are on his side suffer it.” Though this may very well be the earliest reference to Eden’s serpent as the devil, in neither text, nor in any document we have until after the New Testament, is satan clearly understood as the serpent in Eden. At Qumran, though, Satan is the leader of the forces of darkness; his power is said to threaten humanity, and it was believed that salvation would bring the absence of Satan and evil.

By the first century C.E., Satan is adopted into the nascent Christian movement, as ruler over a kingdom of darkness, an opponent and deceiver of Jesus (Mark 1:13), prince of the devils and opposing force to God (Luke 11:15–19; Matthew 12:24–27; Mark 3:22–23:26); Jesus’ ministry puts a temporary end to Satan’s reign (Luke 10:18) and the conversion of the gentiles leads them from Satan to God (Acts 26:18). Most famously, Satan endangers the Christian communities but will fall in Christ’s final act of salvation, described in detail in the book of Revelation.

But curiously, although the author of Revelation describes Satan as “the ancient serpent” (Revelation 12:9; 20:2), there is no clear link anywhere in the Bible between Satan and the serpent in the garden. The ancient Near Eastern combat myth motif, exemplified in the battle between Marduk and Tiamat in Enuma Elish and Baal and Yam/Mot in ancient Canaan, typically depicted the bad guy as a serpent. The characterization of Leviathan in Isaiah 27 reflects such myths nicely:

On that day YHWH will punish
With his hard and big and strong sword
Leviathan the fleeing serpent,
Leviathan the twisted serpent,
And he will kill the dragon that is in the sea.

So the reference in Revelation 12:9 to Satan as “the ancient serpent” probably reflects mythical monsters like Leviathan rather than the clever, legged, talking creature in Eden.

In the New Testament, Satan and his demons have the power to enter and possess people; this is what is said to have happened to Judas (Luke 22:3; John 13:27; cf. Mark 5:12–13; Luke 8:30–32). But when Paul re-tells the story of Adam and Eve, he places the blame on the humans (Romans 5:18; cf. 1 Corinthians 15:21–22) and not on fallen angels, or on the serpent as Satan. Still, the conflation begged to be made, and it will seem natural for later Christian authors—Justin Martyr, Tertullian, Cyprian, Irenaeus and Augustine, for example—to assume Satan’s association with Eden’s talking snake. Most famously, in the 17th century, John Milton elaborates Satan’s role in the Garden poetically, in great detail in Paradise Lost. But this connection is not forged anywhere in the Bible.

Shawna Dolansky is Adjunct Research Professor and Instructor in the program in Religion at the College of Humanities, Carleton University in Ottawa, Ontario. She coauthored the well-known The Bible Now (Oxford Univ. Press, 2011) with Richard Friedman.

Notes

1. The book of Daniel was the latest book to be included in the Hebrew Bible/Old Testament and dates to about 162 B.C.E.

This Bible History Daily feature was originally published on April 8, 2016.

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Satan’s Throne

How Did Adam & Eve Make a Living?

Dealing with the Devil

From Eden to Ednah—Lilith in the Garden

Was Eve Made from Adam’s Rib—or His Baculum?

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What Happened to Cain in the Bible?

Megan Sauter — Sat, 05 Jul 2025 11:00:11 +0000

DID LAMECH KILL CAIN? How did Cain die? This 12th-century column capital from the Cathedral of Saint-Lazre in France depicts Lamech hunting with his son Tubal-Cain. They accidentally shoot and kill Cain, mistaking him for a wild animal. Photo: Cathedral Museum of St. Lazare, Autun, Burgundy, France/The Bridgeman Art Library.

What happened to Cain in the Bible? In the Book of Genesis, we are told about Cain’s birth, his violent act of fratricide and his subsequent exile. We learn that he married and had descendants, but the Bible is strangely mute about his death.

How did Cain die? If he did not die naturally, who killed Cain? In the Bible, do we have any clues? John Byron, professor of New Testament at Ashland Theological Seminary, tackles these questions in his Biblical Views column “Did Cain Get Away with Murder?” which appears in the May/June 2014 issue of BAR.

Byron explains that ancient interpreters were not afraid to change the story of Cain in the Bible to fit with their sense of justice, ensuring that he was adequately punished for killing his brother Abel. One of the most popular interpretations credits Lamech—Cain’s great, great grandson—with killing Cain.
Lamech admits to having killed a man in Genesis 4:23–24. Ancient interpreters believed that this passage sheds light on who killed Cain in the Bible, and they identified the man Lamech killed in verse 23 with Cain.

How and why did Lamech kill Cain? According to the Lamech legend—which was based on Genesis 4 but which evolved over the centuries—Lamech accidentally killed Cain while he was hunting with his son Tubal-Cain. In the legend, Lamech is a blind but skilled hunter, and Tubal-Cain accompanies him to direct his bow and arrow. Hearing a noise in the bushes, they shoot what they think is a wild animal. Upon investigation, though, they discover that Lamech’s arrow has killed Cain.

In this version of events, how did Cain die? Like an animal. Justice is served.

However, the Lamech legend is just one of the ways ancient interpreters sought to answer the question: How did Cain die? Did Cain die in the flood? Did he die naturally? Did Lamech kill Cain? If Lamech did not, then was there someone else who killed Cain? In the Bible, we will not find a definitive answer.

To find out more about the Lamech legend and other interpretations that seek to explain what happened to Cain in the Bible, read the full Biblical Views column by John Byron, professor of New Testament at Ashland Theological Seminary, in the May/June 2014 issue of BAR.

Subscribers: Read the full Biblical Views column “Did Cain Get Away with Murder?” by John Byron, professor of New Testament at Ashland Theological Seminary in the May/June 2014 issue of Biblical Archaeology Review.

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This Bible History Daily feature was originally published on April 28, 2014.

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Cain & Abel

Was Cain Angry or Depressed?

How Job Fulfills God’s Word to Cain

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Lilith

Janet Howe Gaines — Thu, 03 Jul 2025 11:00:46 +0000

Read Janet Howe Gaines’s article “Lilith” as it originally appeared in Bible Review, October 2001.—Ed.

Winged spirits tumble across the night sky in New York artist Richard Callner’s “Lovers: Birth of Lilith” (1964), now in a private collection. According to medieval Jewish tradition, Lilith was Adam’s first wife, before Eve. When Adam insisted she play a subservient role, Lilith grew wings and flew away from Eden. Artist Callner identifies the large figure (right of center) as Lilith. Lilith’s character was not created out of whole cloth, however; the medieval authors drew on ancient legends of the winged lilītu—a seductive, murderous demoness known from Babylonian mythology. In recent years, Lilith has undergone another transformation as modern feminists retell her story. In the accompanying article, Janet Howe Gaines traces the evolution of Lilith. Image: Courtesy of Richard Callner, Latham, NY.

For 4,000 years Lilith has wandered the earth, figuring in the mythic imaginations of writers, artists and poets. Her dark origins lie in Babylonian demonology, where amulets and incantations were used to counter the sinister powers of this winged spirit who preyed on pregnant women and infants. Lilith next migrated to the world of the ancient Hittites, Egyptians, Israelites and Greeks. She makes a solitary appearance in the Bible, as a wilderness demon shunned by the prophet Isaiah. In the Middle Ages she reappears in Jewish sources as the dreadful first wife of Adam.

In the Renaissance, Michelangelo portrayed Lilith as a half-woman, half-serpent, coiled around the Tree of Knowledge. Later, her beauty would captivate the English poet Dante Gabriel Rossetti. “Her enchanted hair,” he wrote, “was the first gold.”¹ Irish novelist James Joyce cast her as the “patron of abortions.”²

Modern feminists celebrate her bold struggle for independence from Adam. Her name appears as the title of a Jewish women’s magazine and a national literacy program. An annual music festival that donates its profits to battered women’s shelters and breast cancer research institutes is called the Lilith Fair.

In most manifestations of her myth, Lilith represents chaos, seduction and ungodliness. Yet, in her every guise, Lilith has cast a spell on humankind.

The ancient name “Lilith” derives from a Sumerian word for female demons or wind spirits—the lilītu and the related ardat lilǐ. The lilītu dwells in desert lands and open country spaces and is especially dangerous to pregnant women and infants. Her breasts are filled with poison, not milk. The ardat lilī is a sexually frustrated and infertile female who behaves aggressively toward young men.

The earliest surviving mention of Lilith’s name appears in Gilgamesh and the Huluppu-Tree, a Sumerian epic poem found on a tablet at Ur and dating from approximately 2000 B.C.E. The mighty ruler Gilgamesh is the world’s first literary hero; he boldly slays monsters and vainly searches for the secret to eternal life.^a In one episode, “after heaven and earth had separated and man had been created,”³ Gilgamesh rushes to assist Inanna, goddess of erotic love and war. In her garden near the Euphrates River, Inanna lovingly tends a willow (huluppu) tree, the wood of which she hopes to fashion into a throne and bed for herself. Inanna’s plans are nearly thwarted, however, when a dastardly triumvirate possesses the tree. One of the villains is Lilith: “Inanna, to her chagrin, found herself unable to realize her hopes. For in the meantime a dragon had set up its nest at the base of the tree, the Zu-bird had placed his young in its crown, and in its midst the demoness Lilith had built her house.” Wearing heavy armor, brave Gilgamesh kills the dragon, causing the Zu-bird to fly to the mountains and a terrified Lilith to flee “to the desert.”

Lilith? In the 1930s, scholars identified the voluptuous woman on this terracotta plaque (called the Burney Relief) as the Babylonian demoness Lilith. Today, the figure is generally identified as the goddess of love and war, known as Inanna to the Sumerians and Ishtar to the later Akkadians. (Both characters are featured in the poem Gilgamesh and the Huluppu-Tree, quoted on this page.) The woman wears a horned crown and has the wings and feet of a bird. She is flanked by owls (associated with Lilith) and stands on the backs of two lions (symbols of Inanna). According to Mesopotamian myths, the demoness Lilith (lilītu or ardat lilǐ) flew at night, seducing men and killing pregnant women and babies. This night creature makes one appearance in the Bible, in Isaiah 34, which enumerates the fierce denizens of the desert wilderness: hyenas, goat-demons and “the lilith” (Isaiah 34:14). (In the King James Version, “lilith” is translated “screech owl”—apparently alluding to the demon’s night flights in search of prey.) Image: From The Great Mother.

Originating about the same time as the Gilgamesh epic is a terracotta plaque, known as the Burney Relief, that some scholars have identified as the first known pictorial representation of Lilith. (More recently, scholars have identified the figure as Inanna.) The Babylonian relief shows her as a beautiful, naked sylph with bird wings, taloned feet and hair contained under a cap decorated with several pairs of horns. She stands atop two lions and between two owls, apparently bending them to her will. Lilith’s association with the owl—a predatory and nocturnal bird—bespeaks a connection to flight and night terrors.

In early incantations against Lilith, she travels on demon wings, a conventional mode of transportation for underworld residents. Dating from the seventh or eighth century B.C.E. is a limestone wall plaque, discovered in Arslan Tash, Syria, in 1933, which contains a horrific mention of Lilith. The tablet probably hung in the house of a pregnant woman and served as an amulet against Lilith, who was believed to be lurking at the door and figuratively blocking the light. One translation reads: “O you who fly in (the) darkened room(s), / Be off with you this instant, this instant, Lilith. / Thief, breaker of bones.”⁴ Presumably, if Lilith saw her name written on the plaque, she would fear recognition and quickly depart. The plaque thus offered protection from Lilith’s evil intentions toward a mother or child. At critical junctures in a woman’s life—such as menarche, marriage, the loss of virginity or childbirth—ancient peoples thought supernatural forces were at work. To explain the high rate of infant mortality, for example, a demon goddess was held responsible. Lilith stories and amulets probably helped generations of people cope with their fear.

Over time, people throughout the Near East became increasingly familiar with the myth of Lilith. In the Bible, she is mentioned only once, in Isaiah 34. The Book of Isaiah is a compendium of Hebrew prophecy spanning many years; the book’s first 39 chapters, frequently referred to as “First Isaiah,” can be assigned to the time when the prophet lived (approximately 742–701 B.C.E.). Throughout the Book of Isaiah, the prophet encourages God’s people to avoid entanglements with foreigners who worship alien deities. In Chapter 34, a sword-wielding Yahweh seeks vengeance on the infidel Edomites, perennial outsiders and foes of the ancient Israelites. According to this powerful apocalyptic poem, Edom will become a chaotic, desert land where the soil is infertile and wild animals roam: “Wildcats shall meet hyenas, / Goat-demons shall greet each other; / There too the lilith shall repose / And find herself a resting place” (Isaiah 34:14).⁵ The Lilith demon was apparently so well known to Isaiah’s audience that no explanation of her identity was necessary.

The evil Lilith is depicted on this ceramic bowl from Mesopotamia. The Aramaic incantation inscribed on the bowl was intended to protect a man named Quqai and his family from assorted demons. The spell begins: “Removed and chased are the curses and incantations from Quqai son of Gushnai, and Abi daughter of Nanai and from their children.” Although Lilith’s name does not appear, she may be identified by comparison with images of her on other bowls, where she is shown with her arms raised aggressively and her skin spotted like a leopard’s. Dating to about 600 C.E., this bowl from Harvard University’s Semitic Museum attests to the longevity of Lilith’s reputation in Mesopotamia as a seducer of men and murderer of children. Image: Courtesy of the Semitic Musuem, Harvard University.

The Isaiah passage lacks specifics in describing Lilith, but it locates her in desolate places. The Bible verse thus links Lilith directly to the demon of the Gilgamesh epic who flees “to the desert.” The wilderness traditionally symbolizes mental and physical barrenness; it is a place where creativity and life itself are easily extinguished. Lilith, the feminine opposite of masculine order, is banished from fertile territory and exiled to barren wasteland.

English translators of Isaiah 34:14 sometimes lack confidence in their readers’ knowledge of Babylonian demonology. The King James Bible’s prose rendition of the poem translates “the lilith” as “the screech owl,” recalling the ominous bird-like qualities of the Babylonian she-demon. The Revised Standard Version picks up on her nocturnal habits and tags her “the night hag” instead of “the lilith,” while the 1917 Jewish Publication Society’s Holy Scriptures calls her “the night-monster.”⁶ The Hebrew text and its best translations employ the word “lilith” in the Isaiah passage, but other versions are true to her ancient image as a bird, night creature and beldam (hag).

While Lilith is not mentioned again in the Bible, she does resurface in the Dead Sea Scrolls found at Qumran. The Qumran sect was engrossed with demonology, and Lilith appears in the Song for a Sage, a hymn possibly used in exorcisms: “And I, the Sage, sound the majesty of His beauty to terrify and confound all the spirits of destroying angels and the bastard spirits, the demons, Lilith. . ., and those that strike suddenly, to lead astray the spirit of understanding, and to make desolate their heart.”⁷ The Qumran community was surely familiar with the Isaiah passage, and the Bible’s sketchy characterization of Lilith is echoed by this liturgical Dead Sea Scroll. (Lilith may also appear in a second Dead Sea Scroll. See the following article in this issue.)

Centuries after the Dead Sea Scrolls were written, learned rabbis completed the Babylonian Talmud (final editing circa 500 to 600 C.E.), and female demons journeyed into scholarly Jewish inquiries. The Talmud (the name comes from a Hebrew word meaning “study”) is a compendium of legal discussions, tales of great rabbis and meditations on Bible passages. Talmudic references to Lilith are few, but they provide a glimpse of what intellectuals thought about her. The Talmud’s Lilith recalls older Babylonian images, for she has “long hair” (Erubin 100b) and wings (Niddah 24b).⁸ The Talmud’s image of Lilith also reinforces older impressions of her as a succubus, a demon in female form who had sex with men while the men were sleeping. Unwholesome sexual practices are linked to Lilith as she powerfully embodies the demon-lover myth.

One talmudic reference claims that people should not sleep alone at night, lest Lilith slay them (Shabbath 151b). During the 130-year period between the death of Abel and the birth of Seth, the Talmud reports, a distraught Adam separates himself from Eve. During this time he becomes the father of “ghosts and male demons and female [or night] demons” (Erubin 18b). And those who try to construct the Tower of Babel are turned into “apes, spirits, devils and night-demons” (Sanhedrin 109a). The female night demon is Lilith.

About the time the Talmud was completed, people living in the Jewish colony of Nippur, Babylonia, also knew of Lilith. Her image has been unearthed on numerous ceramic bowls known as incantation bowls for the Aramaic spells inscribed on them. If the Talmud demonstrates what scholars thought about Lilith, the incantation bowls, dating from approximately 600 C.E., show what average citizens believed. One bowl now on display at Harvard University’s Semitic Museum reads, “Thou Lilith. . .Hag and Snatcher, I adjure you by the Strong One of Abraham, by the Rock of Isaac, by the Shaddai of Jacob. . .to turn away from this Rashnoi. . .and from Geyonai her husband. . .Your divorce and writ and letter of separation. . .sent through holy angels. . .Amen, Amen, Selah, Halleluyah!”⁹ The inscription is meant to offer a woman named Rashnoi protection from Lilith. According to popular folklore, demons not only killed human infants, they would also produce depraved offspring by attaching themselves to human beings and copulating at night. Therefore, on this particular bowl a Jewish writ of divorce expels the demons from the home of Rashnoi.

Until the seventh century C.E., Lilith was known as a dangerous embodiment of dark, feminine powers. In the Middle Ages, however, the Babylonian she-demon took on new and even more sinister characteristics. Sometime prior to the year 1000, The Alphabet of Ben Sira was introduced to medieval Jewry. The Alphabet, an anonymous text, contains 22 episodes, corresponding to the 22 letters of the Hebrew alphabet. The fifth episode includes a Lilith who was to tantalize and terrify the population for generations to come. To some extent, The Alphabet of Ben Sira shows a familiar Lilith: She is destructive, she can fly and she has a penchant for sex. Yet this tale adds a new twist: She is Adam’s first wife, before Eve, who boldly leaves Eden because she is treated as man’s inferior.

To learn more about Biblical women with slighted traditions, take a look at the Bible History Daily feature Scandalous Women in the Bible, which includes articles on Mary Magdalene and Jezebel.

The Alphabet’s narrative about Lilith is framed within a tale of King Nebuchadnezzar of Babylon. The king’s young son is ill, and a courtier named Ben Sira is commanded to cure the boy. Invoking the name of God, Ben Sira inscribes an amulet with the names of three healing angels. Then he relates a story of how these angels travel around the world to subdue evil spirits, such as Lilith, who cause illness and death. Ben Sira cites the Bible passage indicating that after creating Adam, God realizes that it is not good for man to be alone (Genesis 2:18). In Ben Sira’s fanciful additions to the biblical tale, the Almighty then fashions another person from the earth, a female called Lilith. Soon the human couple begins to fight, but neither one really hears the other. Lilith refuses to lie underneath Adam during sex, but he insists that the bottom is her rightful place. He apparently believes that Lilith should submissively perform wifely duties. Lilith, on the other hand, is attempting to rule over no one. She is simply asserting her personal freedom. Lilith states, “We are equal because we are both created from the earth.”¹⁰

The validity of Lilith’s argument is more apparent in Hebrew, where the words for man (Adam) and “earth” come from the same root, adm (nst) (adam [nst] = Adam; adamah [vnst] = earth). Since Lilith and Adam are formed of the same substance, they are alike in importance.

Eve, meet Lilith. Lilith—depicted with a woman’s face and a serpentine body—assaults Adam and Eve beneath the Tree of Knowledge in Hugo van der Goes’s “Fall of Adam and Eve” (c. 1470), from the Kunsthistorisches Museum, in Vienna. According to medieval Jewish apocryphal tradition, which attempts to reconcile the two Creation stories presented in Genesis, Lilith was Adam’s first wife. In Genesis 1:27, God creates man and woman simultaneously from the earth. In Genesis 2:7, however, Adam is created by himself from the earth; Eve is produced later, from Adam’s rib (Genesis 2:21–22). In Jewish legend, the name Lilith was attached to the woman who was created at the same time as Adam. Image: Erich Lessing/Art Resource, NY.

The struggle continues until Lilith becomes so frustrated with Adam’s stubbornness and arrogance that she brazenly pronounces the Tetragrammaton, the ineffable name of the Lord. God’s name (YHWH), translated as “Lord God” in most Bibles and roughly equivalent to the term “Yahweh,” has long been considered so holy that it is unspeakable. During the days of the Jerusalem Temple, only the High Priest said the word out loud, and then only once a year, on the Day of Atonement. In Jewish theology and practice, there is still mystery and majesty attached to God’s special name. The Tetragrammaton is considered “the name that comprises all” (Zohar 19a).¹¹ In the Bible’s burning bush episode of Exodus 3, God explains the meaning of the divine name as “I am what I am,” or “I will be what I will be,” a kind of formula for YHWH (vuvh), associated with the Hebrew root “to be.” The whole of the Torah is thought to be contained within the holy name. In The Alphabet, Lilith sins by impudently uttering the sacred syllables, thereby demonstrating to a medieval audience her unworthiness to reside in Paradise. So Lilith flies away, having gained power to do so by pronouncing God’s avowed name. Though made of the earth, she is not earthbound. Her dramatic departure reestablishes for a new generation Lilith’s supernatural character as a winged devil.

In the Gilgamesh and Isaiah episodes, Lilith flees to desert spaces. In The Alphabet of Ben Sira her destination is the Red Sea, site of historic and symbolic importance to the Jewish people. Just as the ancient Israelites achieve freedom from Pharaoh at the Red Sea, so Lilith gains independence from Adam by going there. But even though Lilith is the one who leaves, it is she who feels rejected and angry.

The Almighty tells Adam that if Lilith fails to return, 100 of her children must die each day. Apparently, Lilith is not only a child-murdering witch but also an amazingly fertile mother. In this way, she helps maintain the world’s balance between good and evil.

Three angels are sent in search of Lilith. When they find her at the Red Sea, she refuses to return to Eden, claiming that she was created to devour children. Ben Sira’s story suggests that Lilith is driven to kill babies in retaliation for Adam’s mistreatment and God’s insistence on slaying 100 of her progeny daily.

“Bind Lilith in chains!” reads a warning in Hebrew on this 18th- or 19th-century C.E. amulet from the Israel Museum intended to protect an infant from the demoness. The image of Lilith appears at center. The small circles that outline her body represent a chain. The divine name is written in code (called atbash) down her chest. (The letters yhwh appear instead as mzpz.) Beneath this is a prayer: “Protect this boy who is a newborn from all harm and evil. Amen.” Surrounding the central image are abbreviated quotations from Numbers 6:22–27 (“The Lord bless you and keep you. . .”) and Psalm 121 (“I lift up my eyes to the hills. . .”). According to the apocryphal Alphabet of Ben Sira, Lilith herself promised she would harm no child who wore an amulet bearing her name. Image: Israel Museum, Jerusalem.

To prevent the three angels from drowning her in the Red Sea, Lilith swears in the name of God that she will not harm any infant who wears an amulet bearing her name. Ironically, by forging an agreement with God and the angels, Lilith demonstrates that she is not totally separated from the divine.

Lilith’s relationship with Adam is a different matter. Their conflict is one of patriarchal authority versus matriarchal desire for emancipation, and the warring couple cannot reconcile. They represent the archetypal battle of the sexes. Neither attempts to solve their dispute or to reach some kind of compromise where they take turns being on top (literally and figuratively). Man cannot cope with woman’s desire for freedom, and woman will settle for nothing less. In the end, they both lose.

Why did the The Alphabet’s unnamed author produce this tragedy? What compelled the author to theorize that Adam had a mate before Eve? The answer may be found in the Bible’s two Creation stories. In Genesis 1 living things appear in a specific order; plants, then animals, then finally man and woman are made simultaneously on the sixth day: “Male and female He created them” (Genesis 1:27). In this version of human origins, man and woman (“humankind” in the New Revised Standard Version) are created together and appear to be equal. In Genesis 2, however, man is created first, followed by plants, then animals and finally woman. She comes last because in the array of wild beasts and birds that God had created, “no fitting helper was found” (Genesis 2:20). The Lord therefore casts a deep sleep upon Adam and returns to work, forming woman from Adam’s rib. God presents woman to Adam, who approves of her and names her Eve. One traditional interpretation of this second Creation story (which scholars identify as the older of the two accounts) is that woman is made to please man and is subordinate to him.^b

Considering every word of the Bible to be accurate and sacred, commentators needed a midrash or story to explain the disparity in the Creation narratives of Genesis 1 and 2. God creates woman twice—once with man, once from man’s rib—so there must have been two women. The Bible names the second woman Eve; Lilith was identified as the first in order to complete the story.

Another plausible theory about the creation of this Lilith story, however, is that Ben Sira’s tale is in its entirety a deliberately satiric piece that mocks the Bible, the Talmud and other rabbinic exegeses. Indeed, The Alphabet’s language is often coarse and its tone irreverent, exposing the hypocrisies of biblical heroes such as Jeremiah and offering “serious” discussions of vulgar matters such as masturbation, flatulence and copulation by animals.¹² In this context, the story of Lilith might have been parody that never represented true rabbinic thought. It may have served as lewd entertainment for rabbinic students and the public, but it was largely unacknowledged by serious scholars of the time.

Whether the writer of The Alphabet intended to produce earnest midrash or irreligious burlesque, the treatise proclaims Lilith unfit to serve as Adam’s helper. While medieval readers might have laughed at the story’s bawdiness, at the end of this risqué tale, Lilith’s desire for liberation is thwarted by male-dominated society. For this reason, of all the Lilith myths, her portrayal in The Alphabet of Ben Sira is today the most trumpeted, despite the distinct possibility that its author was spoofing sacred texts all along.

Dressed in a polka-dot bikini and high-heeled pumps, Lilith hurls lightning bolts at Adam, in Texas artist Allison Merriweather’s colorful “Lilith” (1999), from the artist’s collection. Today, feminists celebrate Lilith for insisting on being treated as Adam’s equal. In repicturing Lilith as a modern woman, they draw heavily on the medieval Alphabet of Ben Sira, where Lilith tells Adam: “We are equal because we are both created from the earth.” But the author of The Alphabet might actually have intended his tale to be interpreted as satire. Indeed, the book is rife with dirty jokes, praise for hypocrites and biting sarcasm. And the pious character Ben Sira, who retells Lilith’s story in The Alphabet, is identified as the product of an incestuous relationship between the prophet Jeremiah and his daughter. Image: Courtesy of Allison Merriweather.

The next milestone in Lilith’s journey lies in the Zohar, which elaborates on the earlier account of Lilith’s birth in Eden. The Zohar (meaning “Splendor”) is the Hebrew title for a fundamental kabbalistic tome, first compiled in Spain by Moses de Leon (1250–1305), using earlier sources. To the Kabbalists (members of the late medieval school of mystical thought), the Zohar’s mystical and allegorical interpretations of the Torah are considered sacred. The Lilith of the Zohar depends on a rereading of Genesis 1:27 (“And God created man in His image, in the image of God He created him; male and female He created them”), and the interpretation of this passage in the Talmud. Based on the shift of pronouns from “He created him” to the plural “He created them,” in Genesis 1:27, the Talmud suggests that the first human being was a single, androgynous creature, with two distinct halves: “At first it was the intention that two [male and female] should be created but ultimately only one was created” (Erubin 18a). Centuries later the Zohar elaborates that the male and female were soon separated. The female portion of the human being was attached on the side, so God placed Adam in a deep slumber and “sawed her off from him and adorned her like a bride and brought her to him.” This detached portion is “the original Lilith, who was with him [Adam] and who conceived from him” (Zohar 34b). Another passage indicates that as soon as Eve is created and Lilith sees her rival clinging to Adam, Lilith flies away.

The Zohar, like the earlier treatments of Lilith, sees her as a temptress of innocent men, breeder of evil spirits and carrier of disease: “She wanders about at night time, vexing the sons of men and causing them to defile themselves [emit seed]” (Zohar 19b). The passage goes on to say that she hovers over her unsuspecting victims, inspires their lust, conceives their children and then infects them with disease. Adam is one of her victims, for he fathers “many spirits and demons, through the force of the impurity which he had absorbed” from Lilith. The promiscuity of Lilith will continue until the day God destroys all evil spirits. Lilith even attempts to seduce King Solomon. She comes in the guise of the Queen of Sheba, but when the Israelite king spies her hairy legs, he realizes she is a beastly impostor.

At several points, the Zohar breaks away from the traditional presentation of the divine personality as exclusively male and discusses a female side to God, called the Shekhinah. (The Shekhinah, whose name means “the Divine Presence” in Hebrew, also appears in the Talmud.) In the Zohar, the lust that Lilith instills in men sends the Shekhinah into exile. If the Shekhinah is Israel’s mother, then Lilith is the mother of Israel’s apostasy. Lilith is even accused of tearing apart the Tetragrammaton, the sacred name of the Lord (YHWH).

The Zohar’s final innovation concerning the Lilith myth is to partner her with the male personification of evil, named either Samael or Asmodeus. He is associated with Satan, the serpent and the leader of fallen angels. Lilith and Samael form an unholy alliance (Zohar 23b, 55a) and embody the dark, negative sphere of the depraved. In one of the many stories of Samael and Lilith, God is concerned that the couple will produce a huge demonic brood and overwhelm the earth with evil. Samael is therefore castrated, and Lilith satisfies her passions by dallying with other men and causing their nocturnal emissions, which she then uses to become pregnant.¹³

While Lilith appears in the Zohar and many anonymous folktales throughout Europe, over the centuries she has attracted the attention of some of Europe’s best-known artists and writers. Germany’s Johann Goethe (1749–1832) refers to Lilith in Faust, and English Victorian poet Robert Browning (1812–1889) penned “Adam, Lilith and Eve,” another testament to the she-demon’s enduring power. The Pre-Raphaelite poet and painter Dante Gabriel Rossetti (1828–1882) imaginatively describes a pact between Lilith and the Bible’s serpent. A scheming and spiteful Lilith convinces her former lover, the snake, to loan her a reptilian shape. Disguised as a snake Lilith returns to Eden, convinces Eve and Adam to sin by eating the forbidden fruit, and causes God great sorrow.¹⁴ Rossetti maintains that “not a drop of her blood was human” but that Lilith nevertheless had the form of a beautiful woman, as can be seen in his painting entitled “Lady Lilith,” begun in 1864 (see the sidebar to this article).

In the 1950s C.S. Lewis invoked Lilith’s image in The Chronicles of Narnia by creating the White Witch, one of the most sinister characters in this imaginary world. As the daughter of Lilith, the White Witch is determined to kill the sons of Adam and the daughters of Eve. She imposes a perpetual freeze on Narnia so that it is always winter but never Christmas. In an apocalyptic tale of good overcoming evil, Aslan—creator and king of Narnia—kills the White Witch and ends her cruel reign.

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Today the tradition of Lilith has enjoyed a resurgence, due mainly to the feminist movement of the late 20th century. Renewed interest in Lilith has led modern writers to invent ever more stories. Ignoring or explaining away Lilith’s unsavory traits, feminists have focused instead upon Lilith’s independence and desire for autonomy.

A feminist parable by Judith Plaskow Goldenberg typifies the new view of Lilith. At first Goldenberg’s fanciful tale follows the basic Ben Sira plot line: Lilith dislikes being subservient to Adam, so she flees Paradise and her absence inspires God to create Eve. But in Goldenberg’s retelling, the exiled Lilith is lonely and tries to re-enter the garden. Adam does everything he can to keep her out, inventing wildly untrue stories about how Lilith threatens pregnant women and newborns. One day Eve sees Lilith on the other side of the garden wall and realizes that Lilith is a woman like herself. Swinging on the branch of an apple tree, a curious Eve catapults herself over Eden’s walls where she finds Lilith waiting. As the two women talk, they realize they have much in common, “till the bond of sisterhood grew between them.”¹⁵ The budding friendship between Lilith and Eve puzzles and frightens both man and deity.

Soon after Goldenberg’s prose piece, Pamela Hadas produced a 12-part poem that examines Lilith’s dilemma from the female vantage point (see the sidebar to this article). Titled “The Passion of Lilith,” the poem explores the she-demon’s feelings in the first person by beginning with the question “What had the likes of me / to do with the likes of Adam?”¹⁶ The first two people are cast as opposites who do not understand one another and cannot learn to appreciate each other’s strengths. Lilith regards herself as an example of God’s “after-whim / or black humor.”

Hadas’s Lilith complains that she feels superfluous because she cannot yield to the dull, artless and monotonous restrictions of Paradise. The female misfit flees the scene and tries to satisfy her maternal instincts by approaching women in childbirth and newborn babies, to their detriment, of course. Hadas’s feminist perspective is most apparent at the poem’s conclusion, however, when Lilith sees her life of pain as qualifying her for sainthood. Having been created from God’s breath, Lilith asks “old bald God” to marry her, to breathe her in again. When the Lord refuses, she is hurt, angry and left with few options, except to travel the world alone.

Lilith’s peregrinations continue today. This winged night creature is, in effect, the only “surviving” she-demon from the Babylonian empire, for she is reborn each time her character is reinterpreted. The retellings of the myth of Lilith reflect each generation’s views of the feminine role. As we grow and change with the millennia, Lilith survives because she is the archetype for the changing role of woman.

“Lilith” by Janet Howe Gaines appeared in the October 2001 issue of Bible Review. The article was first republished in Bible History Daily in September 2012.

Janet Howe Gaines is a specialist in the Bible as literature in the Department of English at the University of New Mexico. Her published works include Music in the Old Bones: Jezebel Through the Ages (Southern Illinois Univ. Press) and Forgiveness in a Wounded World: Jonah’s Dilemma (Society of Biblical Literature).

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Notes

a. See Tzvi Abusch, “Gilgamesh: Hero, King, God and Striving Man,” Archaeology Odyssey, July/August 2000.

b. But see David R. Freedman, “Woman, a Power Equal to Man,” BAR, January/February 1983.

1. Dante Gabriel Rossetti, “Body’s Beauty,” in The House of Life: A Sonnet-Sequence (Cambridge, MA: Harvard Univ. Press, 1928), p. 183.

2. James Joyce, Ulysses, chap. 14, “Oxen of the Sun.”

3. All Gilgamesh quotations are from Samuel N. Kramer, Gilgamesh and the Huluppu-Tree: A Reconstructed Sumerian Text, The Oriental Institute of the University of Chicago Assyriological Studies 10 (Chicago: Univ. of Chicago, 1938).

4. Translated by Theodor H. Gaster in Siegmund Hurwitz, Lilith—The First Eve (Einsiedeln, Switzerland: Daimon, 1992), p. 66. Another translation does not mention Lilith’s name and reads, “Be off, terrifying ones, terrors of my night.”

5. Unless otherwise indicated, all Bible quotes are from TANAKH: The Holy Scriptures (Philadelphia: Jewish Publication Society, 1985).

6. These items may arise from Lilith’s association with darkness. Some translators and commentators have mistaken the etymology of Lilith’s name. Lilith, lylyt [tylyl], was not derived from the Hebrew word for night, lylh [hlyl], as they supposed. Instead, Lilith’s name originated in her depiction as a mythic Mesopotamian fiend and foe of Gilgamesh.

7. 4Q510. See Joseph M. Baumgarten, “On the Nature of the Seductress in 4Q184,” Revue de Qumran 15 (1991–1992), pp. 133–143.

8. All talmudic references are to The Babylonian Talmud, trans. Isidore Epstein, 17 vols. (London: Soncino, 1948).

9. Raphael Patai, The Hebrew Goddess, 3rd enlarged ed. (Detroit: Wayne State, 1990), p. 226.

10. The translation is my own. The full Hebrew text of The Alphabet of Ben Sira is found in Ozar Midrashim: A Library of Two Hundred Minor Midrashim (New York: J.D. Eisenstein, 1915), vol. 1, pp. 35–49.

11. All references to the Zohar are to the edition translated by Harry Sperling and Maurice Simon, 2nd ed. (London: Soncino, 1984), vol. 1.

12. David Stern and Mark Jay Mirsky, eds., Rabbinic Fantasies (Philadelphia: Jewish Publication Society, 1990).

13. Joseph Adler, “Lilith,” Midstream 45:5 (July/August 1999), p. 6.

14. Rossetti, “Eden Bower,” in Poems (Leipzig: Bernhard Tauchnitz, 1873), pp. 31–41.

15. Judith Plaskow Goldenberg, “Epilogue: The Coming of Lilith,” in Religion and Sexism, ed. Rosemary Radford Ruether (New York: Simon and Schuster, 1974), pp. 341–343.

16. Pamela White Hadas, “The Passion of Lilith,” in In Light of Genesis (Philadelphia: Jewish Publication Society, 1980), pp. 2–19.

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The Origins of “The Cherry Tree Carol”

Biblical Archaeology Society Staff — Tue, 03 Dec 2024 12:00:47 +0000

JOSEPH was an old man,
And an old man was he,
When he wedded Mary
In the land of Galilee.
Joseph and Mary walk’d
Through an orchard good,
Where was cherries and berries
So red as any blood.
O then bespoke Mary,
So meek and so mild,
‘Pluck me one cherry, Joseph,
For I am with child.’

O then bespoke Joseph
With words so unkind,
‘Let him pluck thee a cherry
That brought thee with child.’
Then bow’d down the highest tree
Unto our Lady’s hand:
Then she said, ‘See, Joseph,
I have cherries at command!’
‘O eat your cherries, Mary,
O eat your cherries now;
O eat your cherries, Mary,
That grow upon the bough.’

—The Cherry Tree Carol (c. 1500)

Ever since I first discovered it in college, the “Cherry Tree Carol” has been one of my favorites. Its surprisingly risqué story line shines an unexpected light on the familiar Christmas Journey to Bethlehem from Luke 2:4–5: Joseph walking alongside the donkey and Mary, very pregnant, perched on its back. Creatively building on gospel narrative, the song fills in the gaps of the brief Nativity stories in Matthew and Luke. How endearing and wholly human, that Joseph might have had trouble fully coming to terms with his wife’s mysterious pregnancy despite the angel’s reassurances (“…do not be afraid to take Mary as your wife, for the child conceived in her is from the Holy Spirit”) in Matthew 1:20! Mary and Joseph in the cherry orchard recalls, of course, Adam and Eve in the Garden of Eden. There, trouble with fruit led to big trouble for humanity, trouble that the baby in Mary’s womb will set right. In this somewhat feminist counter-story, a man is put in his place by a woman—with God’s full cooperation!

Mosaic of the Journey to Bethlehem from the Chora Church in Istanbul.

A visit to YouTube will yield an assortment of lovely performances, including a version discovered in Appalachia. While the Cherry Tree Carol blooms in cyberspace, however, its roots go deep and wide: from medieval England back to the 12th-century Crusader kingdoms and ultimately to early Christian communities of the Middle East who worshipped in Syriac, a liturgical (religious) form of Aramaic, the language of Jesus. Adherents of Syriac Christianity include a range of different denominations, but they have lived in the Middle East for 2,000 years.

Today, facing the twin threats of ISIS and the Syrian civil war, the future of these ancient communities is in doubt. The beleaguered Syrian city of Aleppo in particular (see the Google city map) is home to many churches, from Syriac-speaking to Evangelical, whose congregations may never recover. Syriac Christianity, in particular, has generally flown under the radar of mainstream scholarship, although this is beginning to change. It now appears that the Cherry Tree Carol’s distinctive take on Joseph’s outspokenness at Mary’s pregnancy can be traced back to a unique feature of Syriac liturgy, one still operative in churches (if they survive) today, the dialogue hymn.

Churches in Aleppo, Syria

Like many carols, the “original” version of the Cherry Tree Carol comes from the Middle Ages. It appears in a set of Bible-based “Mystery Plays,” known today as the “N-Town Plays,” that were performed in the English Midlands around 1500. The Middle Ages may be the quintessential Christmas setting (yule logs, holly and ivy, wassailing!), but the inspiration for the magical fruit tree and Joseph’s bitterness is even older. Scholars generally identify the carol’s prototype in a ninth-century bestseller, the “Gospel of Pseudo-Matthew,” in which a date palm bows to Mary. This story, however, is set after Jesus is born, during the Flight to Egypt, and it is the infant Jesus who commands the tree to “bend thy branches and refresh my mother with thy fruit” when Mary grows faint. Variations on the miraculous fruit tree motif appear in a wide variety of sources, from Greek mythology to the Qur’an’s account of Mary and the birth of Jesus in Sura 19.22–25. On the other hand, nowhere in “Pseudo-Matthew” does Joseph utter a harsh word to Mary, not even when he finds Mary pregnant; Mary’s virgin companions, not Mary, face Joseph’s interrogation until the angel shows up to calm him down.

The most striking aspect of the Cherry Tree Carol is that Joseph is so disrespectful to the Virgin Mary. In the N-Town “Nativity” play, Joseph is quick to apologize, and the play passes on to its main subject, the birth of Jesus. Joseph’s bad attitude, however, is the sole topic of another N-Town play, “Joseph’s Doubt,” that was performed right after the “Annunciation” and before the “Nativity.” The play seems to have been popular; the two other leading medieval mystery play cycles, the York Mystery plays and the Wakefield Plays, also include versions. “Joseph’s Doubt” devotes 135 astonishing lines to back-and-forth between a distressed and angry Joseph and his increasingly anguished wife. Joseph’s scorn is unrelenting: “God’s child? You lie! God never played thus with a maiden! … All men will despise me and say, ‘Old cuckold,’ thy bow is bent.” Hearing of the angel’s visit to Mary, Joseph scoffs, “An angel? Alas for shame. You sin by blaming it on an angel … it was some boy began this game.” Helpless, Mary prays to God and the angel appears to set Joseph straight, at which point he apologizes abjectly, “I realize now I have acted amiss; I know I was never worthy to be your husband. I shall amend my ways and follow your example from now on, and serve you hand and foot.”

FREE ebook: The First Christmas: The Story of Jesus’ Birth in History and Tradition. Download now.

In the Bible, faced with Mary’s interesting condition, “Joseph, being a righteous man and unwilling to expose her to public disgrace, planned to dismiss her quietly” (Matthew 1:19). No histrionics here. Joseph is rather more upset in the second-century apocryphal “Infancy Gospel of James”: “[H]e smote his face, and cast himself down upon the ground on sackcloth and wept bitterly,” demanding of Mary, “‘Why have you done this? … Why have you humbled your soul?’ But she wept bitterly, saying, ‘I am pure and I know not a man.’” Around the fifth century, however, this story line expanded into a full-fledged drama in the form of a Syriac Christian dialogue hymn sung in church by twin choirs—one singing the part of Joseph; the other, Mary—as part of the Christmas liturgy. One published version runs to well over 100 lines of dialogue. Joseph’s words often recall the later medieval “Joseph’s Doubt” plays, but in this Syriac drama, Mary holds her own and does not falter. She even proves herself an adept Biblical scholar: “You have gone astray, Joseph; take and read for yourself in Isaiah it is written all about me, how a virgin shall bear fruit.”¹

A recently restored mosaic of an angel at the Church of the Nativity in Bethlehem. Photo: Nasser Nasser, Associated Press.

How did a Syriac drama find its way to the medieval English Midlands? The likely answer is with Crusaders returning from the Holy Land in the 12th and 13th centuries. During the Crusades, relations between Western (“Latin”) Christians and Middle Eastern Christians began badly. After the conquest of Jerusalem in 1099, the Crusaders (the “Latins”) considered the indigenous Christians (Syriac and Orthodox) to be citizens of secondary status—no better in their eyes than Muslims or Jews. This view evolved as the Latins came to know the various indigenous Christian groups, particularly those from northern Syria whose leaders took care to make their interests known to the new rulers. Much productive interaction occurred between Latin, Orthodox (“Greek”) and Syriac Christians (with Muslims, too, but that is another story). Art historian Lucy-Ann Hunt has described the Crusaders’ growing “concern with language, rites, and customs” of the indigenous Christians and “sympathetic reception and transmission of eastern works of art.”²

How appropriate, since this is a Christmas blog, that some of the best evidence for cooperation between Crusaders and local Christians comes from the Church of the Nativity in Bethlehem! The Church was famously founded in the fourth century by Constantine and his mother Helena, but the existing wall mosaics and some of the barely visible column frescoes date to the 12th century. This is when the Byzantine Emperor Manuel Comnenos forged an alliance with King Amalric of Jerusalem and sponsored a new decorative program in the Church of the Nativity.

Interestingly, trilingual (Latin, Greek, Syriac) inscriptions in the church attest to both Byzantine-trained and local Christian artists. Furthermore, as Hunt notes, “While the Orthodox and Latin were the predominant communities, the ‘Monophysites’ [i.e., local Christians] were also represented at the Church of the Nativity.”³ These days, Crusaders have a deservedly clouded reputation, but perhaps for one brief shining moment at Christmas in the Church of the Nativity they acquitted themselves as one would wish with open ears and hearts. I like to imagine “Latin” Crusaders hearing the Syriac Joseph and Mary dialogue performed at Christmas in the Church of the Nativity. Captivated by the hymn, they adopted and adapted it to become part of the developing English Mystery play tradition, a tradition we can thank for the Cherry Tree Carol.

Interested in learning about the birth of Jesus? Learn more about the history of Christmas and the date of Jesus’ birth in the free eBook The First Christmas: The Story of Jesus’ Birth in History and Tradition.

Mary Joan Winn Leith is chair of the department of religious studies at Stonehill College in Easton, Massachusetts. At Stonehill, she teaches courses on the Bible and the religion, history and culture of the Ancient Near East and Greece. In addition, she offers a popular course on the Virgin Mary. Leith is a regular Biblical Views columnist for Biblical Archaeology Review.

Notes

1. Sebastian Brock, “A Dialogue Between Joseph and Mary From the Christian Orient,” Logos: Cylchgrawn Diwinyddol Cymru (The Welsh Theological Review) 1.3 (1992), pp. 4–11.

2. Lucy-Ann Hunt, “Art and Colonialism: The Mosaics of the Church of the Nativity in Bethlehem (1169) and the Problem of ‘Crusader Art,’” Dumbarton Oaks Papers 45 (1991), p. 72.
3. Hunt, “Art and Colonialism,” p. 77.

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The Creation of Woman in the Bible

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The Adam and Eve Story: Eve Came From Where?

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Should We Take Creation Stories in Genesis Literally?

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Lilith in the Bible and Mythology

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How the Serpent in the Garden Became Satan

If there’s no Satan in the Hebrew Bible, how does the serpent in the garden become Satan?

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Lilith

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The Origins of “The Cherry Tree Carol”

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Further reading

N-Town Plays

Qur’an