The Victory Song of Merneptah, Israel and the People of Palestine
This article discusses the nature of the association that can be established between the Merneptah stele and the later history of the region of Palestine and biblical Israel. This study examines aspects of the hymn’s rhetoric and literary metaphors, and discusses, among other things, the themes of M...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
Sage
2002
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| In: |
Journal for the study of the Old Testament
Year: 2002, Volume: 27, Issue: 1, Pages: 3-18 |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a This article discusses the nature of the association that can be established between the Merneptah stele and the later history of the region of Palestine and biblical Israel. This study examines aspects of the hymn’s rhetoric and literary metaphors, and discusses, among other things, the themes of Merneptah’s transcendent greatness and his mythic roles as savior of Memphis, universal mediator of divine grace and guardian of peace in terms of his divine ability to control destiny. In the hymn’s central movement, these stock tropes center on the theme of renewal. The final movement is not a song recounting Palestine’s conquest, but rather closes the hymn of victory over the Libyans with an idyllic portrayal of the ‘peace’, with which Merneptah has reestablished creation. His song of the nine bows celebrates the pharaoh’s universal patronage with illustrative reference to the region and towns of Palestine: Gaza, Ashkelon, Gezer and Yeno’am, which now belong to Egypt. Israel, metaphorically portrayed as the land of Hurru’s former husband, has been replaced by Merneptah’s patronage in a manner comparable to the well-known role that Yahweh plays in Hosea and Ezekiel as Jerusalem and Samaria’s Ba’al. Regionally, the geographical region referenced by the eponymic use of the name Israel in the stele corresponds with the Saul tradition’s Philistine area. | ||
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