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Book of Esther
Book of Esther
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A 13th–14th-century scroll of the Book of Esther from Fez, Morocco, held at the Musée du Quai Branly in Paris. Traditionally, a scroll of Esther is given only one roller, fixed to its lefthand side, rather than the two used for a Torah scroll.[1]

The Book of Esther (Hebrew: מְגִלַּת אֶסְתֵּר, romanizedMegillat Ester; Greek: Ἐσθήρ; Latin: Liber Esther), also known in Hebrew as "the Scroll" ("the Megillah"), is a book in the third section (Ketuvim, כְּתוּבִים "Writings") of the Hebrew Bible. It is one of the Five Scrolls (Megillot) in the Hebrew Bible and later became part of the Christian Old Testament. The book relates the story of a Jewish woman in Persia, born as Hadassah but known as Esther, who becomes queen of Persia and thwarts a genocide of her people.

The story takes place during the reign of King Ahasuerus in the First Persian Empire. Queen Vashti, the wife of King Ahasuerus, is banished from the court for disobeying the king's orders. A beauty pageant is held to find a new queen, and Esther, a young Jewish woman living in Persia, is chosen as the new queen. Esther's cousin Mordecai, who is a Jewish leader, discovers a plot to kill all of the Jews in the empire by Haman, one of the king's advisors. Mordecai urges Esther to use her position as queen to intervene and save their people. Esther reveals her Jewish identity to the king and begs for mercy for her people. She exposes Haman's plot and convinces the king to spare the Jews. The Jewish festival of Purim is established to celebrate the victory of the Jews of the First Persian Empire over their enemies, and Esther becomes a heroine of the Jewish people.

The books of Esther and Song of Songs are the only books in the Hebrew Bible that do not mention God explicitly.[2] Traditional Judaism views the absence of God's overt intervention in the story as an example of how God can work through seemingly coincidental events and the actions of individuals.[3]

The book is at the center of the Jewish festival of Purim and is read aloud twice from a handwritten scroll, usually in a synagogue, during the holiday: once in the evening and again the following morning. The distribution of charity to those in need and the exchange of gifts of foods are also practices observed on the holiday that are mandated in the book. Although traditionally seen as a historical document[4], according to biblical scholars, the narrative of Esther was written to provide an etiology for Purim's origin.[5]

Setting and structure

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Setting

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The biblical Book of Esther is set in the Persian capital of Susa (Shushan) in the third year of the reign of the Persian king Ahasuerus. The name Ahasuerus is equivalent to Xerxes[6] (both deriving from the Persian Khshayārsha),[7] and Ahasuerus is usually identified in modern sources as Xerxes I,[8][9] who ruled between 486 and 465 BCE,[6] as it is to this monarch that the events described in Esther are thought to fit the most closely.[7][10]

Assuming that Ahasuerus is indeed Xerxes I, the events described in Esther began around the years 483–482 BCE, and concluded in March 473 BCE.

Classical sources such as Josephus, the Jewish commentary Esther Rabbah and the Christian theologian Bar Hebraeus,[11] as well as the Greek Septuagint translation of Esther, instead identify Ahasuerus as either Artaxerxes I (reigned 465 to 424 BCE) or Artaxerxes II (reigned 404 to 358 BCE).[11]

On his accession, however, Artaxerxes II lost Egypt to pharaoh Amyrtaeus, after which it was no longer part of the Persian empire. In his Historia Scholastica Petrus Comestor identified Ahasuerus (Esther 1:1) as Artaxerxes III (358–338 BCE) who reconquered Egypt.[12]

Some traditional scholars identify Ahasuerus as Cambyses II due to alignment with traditional Jewish sources including Seder Olam Rabba[13].

Structure

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The Book of Esther consists of an introduction (or exposition) in chapters 1 and 2; the main action (complication and resolution) in chapters 3 to 9:19; and a conclusion in 9:20–10:3.[14]

The introduction of Book of Esther, hand written, part of Cairo Gniza, digital collections of Younes & Soraya Nazarian Library, University of Haifa

The plot is structured around banquets (Hebrew: מִשְׁתֶּה, romanizedmišˈte, plural מִשְׁתָּאוֹת mištāˈoṯ or מִשְׁתִּים mišˈtim), a word that occurs twenty times in Esther and only 24 times in the rest of the Hebrew bible. This is appropriate given that Esther describes the origin of a Jewish feast, the feast of Purim, but Purim itself is not the subject and no individual feast in the book is commemorated by Purim. The book's theme, rather, is the reversal of destiny through a sudden and unexpected turn of events: the Jews seem destined to be destroyed, but instead are saved. In literary criticism such a reversal is termed "peripety", and while on one level its use in Esther is simply a literary or aesthetic device, on another it is structural to the author's theme, suggesting that the power of God is at work behind human events.[15]

The book of Esther has more Akkadian and Aramaic loanwords than any other biblical work and the names of the key protagonists, Mordecai and Esther, for example, have been read as allusions to the gods Marduk and Ishtar, who, symbolizing respectively Babylonia and Assyria, were twin powers that brought about the fall of Susa, where the narrative of Esther is set and where the Elamite god Humban/Humman (compare Haman)[16] exercised divine sovereignty. Purim practices like eating “Haman's ears”, ear-shaped loaves of bread or pieces of pastry are similar to those in Near Eastern ritual celebrations of Ishtar's cosmic victory.[17] Likewise other elements in Purim customs such as making a racket with a ratchet, masquerading and drunkenness have all been adduced to propose that such a kind of pagan festival akin to rites associated with Ishtar of Nineveh, which shares these same features, lay behind the development of this story.[18]

Summary

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King Ahasuerus, ruler of the Persian Empire, holds a lavish 180-day banquet for his court and dignitaries from across the 127 provinces of his empire (Esther 1:1–4), and afterwards, a seven-day banquet for all inhabitants of the capital city, Shushan (1:5–9). On the seventh day of the latter banquet, Ahasuerus orders the queen, Vashti, to display her beauty before the guests by coming before them wearing her crown (1:10–11). She refuses, infuriating Ahasuerus, who, on the advice of his counselors, removes her from her position as an example to other women who might be emboldened to disobey their husbands (1:12–19). A decree follows that "every man should bear rule in his own house" (1:20–22).

Esther is crowned in this 1860 woodcut by Julius Schnorr von Carolsfeld

Ahasuerus then makes arrangements to choose a new queen from a selection of beautiful young women throughout the empire (2:1–4). Among these women is a Jewish orphan named Esther, who was raised by her cousin or uncle, Mordecai (2:5–7). She finds favour in the King's eyes and is crowned his new queen, but does not reveal her Jewish heritage (2:8–20). Shortly afterwards, Mordecai discovers a plot by two courtiers, Bigthan and Teresh, to assassinate Ahasuerus. The conspirators are apprehended and hanged, and Mordecai's service to the King is officially recorded (2:21–23).

Ahasuerus appoints Haman as his viceroy (3:1). Mordecai, who sits at the palace gates, falls into Haman's disfavour, as he refuses to bow down to him (3:2–5). Haman discovers that Mordecai refuses to bow on account of his being a Jew, and in revenge, plots to kill not just Mordecai but all the Jews in the empire (3:6). He obtains Ahasuerus' permission to execute this plan against payment of ten thousand talents of silver, and casts lots ("purim") to choose the date on which to do this – the thirteenth of the month of Adar (3:7–12). A royal decree is issued throughout the kingdom to slay all Jews on that date (3:13–15).

When Mordecai discovers the plan, he goes into mourning and implores Esther to intercede with the King (4:1–5). But she fears presenting herself to the King unsummoned, an offense punishable by death (4:6–12). Instead, she directs Mordecai to have all Jews fast for three days for her and vows to fast as well (4:15–16). On the third day, she goes to Ahasuerus, who stretches out his scepter to her to indicate that she should not be punished (5:1–2). She invites him to a feast in the company of Haman (5:3–5). During the feast, she asks them to attend a further feast the next evening (5:6–8). Meanwhile, Haman is again offended by Mordecai and, at his wife's suggestion, has a gallows built to hang him (5:9–14).

That night, Ahasuerus cannot sleep and orders the court records be read to him (6:1). He is reminded that Mordecai interceded in the previous plot against his life and discovers that Mordecai never received any recognition (6:2–3). Just then, Haman appears to request the King's permission to hang Mordecai, but before he can make this request, Ahasuerus asks Haman what should be done for the man that the King wishes to honour (6:4–6). Assuming that the King is referring to Haman himself, Haman suggests that the man be dressed in the King's royal robes and crown and led around on the King's royal horse, while a herald calls: "See how the King honours a man he wishes to reward!" (6:7–9). To his surprise and horror, the King instructs Haman to do so to Mordecai (6:10–11).

Mordecai is honoured in this 1860 woodcut by Julius Schnorr von Carolsfeld

Immediately afterwards, Ahasuerus and Haman attend Esther's second banquet. The King promises to grant her any request, and she reveals that she is Jewish and that Haman is planning to exterminate her people, including herself (7:1–6). Overcome by rage, Ahasuerus leaves the room; meanwhile Haman stays behind and begs Esther for his life, falling upon her in desperation (7:7). The King comes back at this very moment and thinks Haman is sexually assaulting the queen; this makes him angrier and he orders Haman hanged on the very gallows that Haman had prepared for Mordecai (7:8–10).

Unable to annul a formal royal decree, the King instead adds to it, permitting the Jews to join and destroy any and all of those seeking to kill them (8:1–14).[19][20] On 13 Adar, Haman's ten sons and 500 other men are killed in Shushan (9:1–12). Upon hearing of this Esther requests it be repeated the next day, whereupon 300 more men are killed (9:13–15). In the other Persian provinces, 75,000 people are killed by the Jews, who are careful to take no plunder (9:16–17). Mordecai and Esther send letters throughout the provinces instituting an annual commemoration of the Jewish people's redemption, in a holiday called Purim (lots) (9:20–28). Ahasuerus remains very powerful and continues his reign, with Mordecai assuming a prominent position in his court (10:1–3).

Authorship and date

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Scroll of Esther (Megillah)

The Megillat Esther (Book of Esther) became the last of the 24 books of the Hebrew Bible to be canonized by the Sages of the Great Assembly. According to the Talmud, it was a redaction by the Great Assembly of an original text by Mordecai.[21] It is usually dated to the 4th century BCE.[22]

The Greek book of Esther, included in the Septuagint, is a retelling of the events of the Hebrew Book of Esther rather than a translation and records additional traditions which do not appear in the traditional Hebrew version, in particular the identification of Ahasuerus with Artaxerxes II and details of various letters. It is dated around the late 2nd to early 1st century BCE.[23][24] The Coptic and Ethiopic versions of Esther are translations of the Greek rather than the Hebrew Esther.

A Latin version of Esther was produced by Jerome for the Vulgate. It translates the Hebrew Esther but interpolates translations of the Greek Esther where the latter provides additional material. Predating the Vulgate, however, the Vetus Latina ("Old Latin") was apparently translated from a different Greek version not included in the Septuagint.[25]

Several Aramaic targumim of Esther were produced in the Middle Ages, of which three survive – the Targum Rishon ("First Targum" or 1TgEsth) and Targum Sheni ("Second Targum" or 2TgEsth)[26][27] dated c. 500–1000 CE,[28] which include additional legends relating to Purim,[26] and the Targum Shelishi ("Third Targum" or 3TgEsth), which Berliner and Goshen-Gottstein argued was the ur-Targum from which the others had been expanded, but which others consider only a late recension of the same. 3TgEsth is the most manuscript-stable of the three, and by far the most literal.[29][27]

Historicity

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The opening chapter of a hand-written scroll of the Book of Esther, with reader's Torah pointer

The apparent historical difficulties, the internal inconsistencies, the pronounced symmetry of themes and events, the plenitude of quoted dialogue, and the gross exaggeration in the reporting of numbers (involving time, money, and people) have led some to claim that Esther is a work of fiction, its vivid characters (except for Xerxes) being the product of the author's creative imagination.[30] There is no reference to known historical events in the story; a general consensus, though this consensus has been challenged,[31][32] has maintained that the narrative of Esther was invented in order to provide an etiology for Purim, and the name Ahasuerus is usually understood to refer to a fictionalized Xerxes I, who ruled the Achaemenid Empire between 486 and 465 BCE.[33] Longman, Dillard, and Jobes feel that the historical issues in the Book of Esther are not insurmountable; they can be resolved with some thought and effort. Longman and Dillard also feel that the book should be read as a historical narrative since the author presents it as history.[34][35]

Biblical scholar Michael Coogan further argues that the book contains specific details regarding certain subject matter (for example, Persian rule) which are historically inaccurate. For example, Coogan discusses an inaccuracy regarding the age of Esther's cousin (or, according to others, uncle) Mordecai.[36][37] In Esther 2:5–6, either Mordecai or his great-grandfather Kish is identified as having been exiled from Jerusalem to Babylon by King Nebuchadnezzar II in 597 BCE: "Mordecai son of Jair, the son of Shimei, the son of Kish, who had been carried into exile from Jerusalem by Nebuchadnezzar king of Babylon, among those taken captive with Jeconiah king of Judah". If this refers to Mordecai, he would have had to live over a century to have witnessed the events described in the Book of Esther.[36] However, the verse may be read as referring not to Mordecai's exile to Babylon, but to his great-grandfather Kish's exile.[38][39][40]

In her article "The Book of Esther and Ancient Storytelling", biblical scholar Adele Berlin discusses the reasoning behind scholarly concern about the historicity of Esther. Much of this debate relates to the importance of distinguishing history and fiction within biblical texts, as Berlin argues, in order to gain a more accurate understanding of the history of the Israelite people.[41] Berlin quotes a series of scholars who suggest that the author of Esther did not mean for the book to be considered as a historical writing, but intentionally wrote it to be a historical novella.[42] The genre of novellas under which Esther falls was common during both the Persian and Hellenistic periods to which scholars have dated the book of Esther (see for example the deuterocanonical Book of Judith).[36][41]

However, there are certain elements of the book of Esther that are historically accurate.[43] The story told in the book of Esther takes place during the rule of Ahasuerus, who amongst others has been identified as the 5th-century Persian king Xerxes I (reigned 486–465 BCE).[9] The author also displays an accurate knowledge of Persian customs and palaces.[39] "Levenson claims that it is 'best seen as a historical novella set within the Persian empire'".[44] The New Oxford Annotated Bible (2018) states "Esther is not a work of history but a historical novella, that is, a fictional story set within a historical framework."[45] Lloyd Llewellyn-Jones agrees (in 2023).[46] The International Standard Bible Encyclopedia (1939) offers a dissenting opinion, stating that "research has heaped up confirmation of the historical character of the book."[47] Baldwin (1984) sees the Book of Esther as true and historically accurate, quoting Robert Gordis: “There is nothing intrinsically impossible or improbable in the central incident when the accretions due to the storyteller's art are set aside.”[48]

In the mainstream academia, the consensus is that "the book is fictional, a kind of historical novella written to provide an etiology, a narrative explanation, for the Jewish festival of Purim."[49] According to Noss (1993), the historicity of the work is supported by the precision with which the author locates his story within time; the inclusion of the Persian names of the months is part of the author's case for historical authenticity.[50]

Historical reading

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The Feast of Esther (Feest van Esther, 1625) by Jan Lievens, North Carolina Museum of Art

Those arguing in favour of a historical reading of Esther most commonly identify Ahasuerus with Xerxes I (ruled 486–465 BCE),[9] although in the past it was often assumed that he was Artaxerxes II (ruled 405–359 BCE). The Hebrew Ahasuerus (ʔaḥašwērōš) is most likely derived from Persian Xšayārša, the origin of the Greek Xerxes. The Greek historian Herodotus wrote that Xerxes sought his harem after being defeated in the Greco-Persian Wars. He makes no reference to individual members of the harem except for a domineering Queen consort named Amestris, whose father, Otanes, was one of Xerxes's generals. (In contrast, the Greek historian Ctesias refers to a similar father-in-law/general figure named Onaphas.) Amestris has often been identified with Vashti, but this identification is problematic, as Amestris remained a powerful figure well into the reign of her son, Artaxerxes I, whereas Vashti is portrayed as dismissed in the early part of Xerxes's reign.[51] Alternative attempts have been made to identify her with Esther,[52] although Esther is an orphan whose father was a Jew named Abihail.

As for the identity of Mordecai, the similar names Marduka and Marduku have been found as the name of officials in the Persian court in over thirty texts from the period of Xerxes I and his father Darius I, and may refer to up to four individuals, one of whom might be the model for the biblical Mordecai.

The "Old Greek" Septuagint version of Esther translates the name Ahasuerus as Artaxerxes,[53] a Greek name derived from the Persian Artaxšaθra. Josephus too relates that this was the name by which he was known to the Greeks, and the Midrashic text Esther Rabba also makes the identification. Bar Hebraeus identified Ahasuerus explicitly as Artaxerxes II; however, the names are not necessarily equivalent: Hebrew has a form of the name Artaxerxes distinct from Ahasuerus, and a direct Greek rendering of Ahasuerus is used by both Josephus and the Septuagint for occurrences of the name outside the Book of Esther. Instead, the Hebrew name Ahasuerus accords with an inscription of the time that notes that Artaxerxes II was named also Aršu, understood as a shortening of Aḫšiyaršu the Babylonian rendering of the Persian Xšayārša (Xerxes), through which the Hebrew ʔaḥašwērōš (Ahasuerus) is derived.[54] Ctesias related that Artaxerxes II was also called Arsicas which is understood as a similar shortening with the Persian suffix -ke that is applied to shortened names. Deinon related that Artaxerxes II was also called Oarses which is also understood to be derived from Xšayārša.[54]

Another view attempts to identify him instead with Artaxerxes I (ruled 465–424 BCE), whose Babylonian concubine, Kosmartydene, was the mother of his son Darius II (ruled 424–405 BCE). Jewish tradition relates that Esther was the mother of a King Darius and so some try to identify Ahasuerus with Artaxerxes I and Esther with Kosmartydene.

Based on the view that the Ahasuerus of the Book of Tobit is identical with that of the Book of Esther, some have also identified him as Nebuchadnezzar's ally Cyaxares (ruled 625–585 BCE). In certain manuscripts of Tobit, the former is called Achiachar, which, like the Greek Cyaxares, is thought to be derived from Persian Huwaxšaθra. Depending on the interpretation of Esther 2:5–6, Mordecai or his great-grandfather Kish was carried away from Jerusalem with Jeconiah by Nebuchadnezzar, in 597 BCE. The view that it was Mordecai would be consistent with the identification of Ahasuerus with Cyaxares. Identifications with other Persian monarchs have also been suggested.

Jacob Hoschander has argued that the name of Haman and that of his father Hamedatha are mentioned by Strabo as Omanus and Anadatus, worshipped with Anahita in the city of Zela. Hoschander suggests that Haman may, if the connection is correct, be a priestly title and not a proper name.[54] Strabo's names are unattested in Persian texts as gods; however the Talmud[55] and Josephus[56] interpret the description of courtiers bowing to Haman in Esther 3:2 as worship. (Other scholars assume "Omanus" refers to Vohu Mana.)[57][58][59]

In his Historia Scholastica Petrus Comestor identified Ahasuerus (Esther 1:1) as Artaxerxes III who reconquered Egypt.[12]

Interpretation

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In the Book of Esther, the Tetragrammaton does not appear, but some argue it is present, in hidden form, in four complex acrostics in Hebrew: the initial or last letters of four consecutive words, either forwards or backwards comprise YHWH. These letters were distinguished in at least three ancient Hebrew manuscripts in red.[60][note 1]

Christine Hayes contrasts the Book of Esther with apocalyptic writings, the Book of Daniel in particular: both Esther and Daniel depict an existential threat to the Jewish people, but while Daniel commands the Jews to wait faithfully for God to resolve the crisis, in Esther the crisis is resolved entirely through human action and national solidarity. God, in fact, is not mentioned, Esther is portrayed as assimilated to Persian culture, and Jewish identity in the book is an ethnic category rather than a religious one.[61]

This contrasts with traditional Jewish commentaries, such as the commentary of the Vilna Gaon, which states "But in every verse it discusses the great miracle. However, this miracle was in a hidden form, occurring through apparently natural processes, not like the Exodus from Egypt, which openly revealed the might of God."[62] This follows the approach of the Talmud,[63] which states that "(The Book of) Esther is referenced in the Torah in the verse 'And I shall surely hide (in Hebrew, 'haster astir,' related to 'Esther') My Face from them on that day.[64]

André Lacocque also sees the Book of Esther as being fundamentally theological and that its main message was to correct the mistakes of ancestors. These mistakes included being lenient against Amalekites and plundering goods, which King Saul was guilty of. Another message was that diasporic Jews were responsible for the welfare of their host community, who held unpredictable views about Jews. These views ranged from violent antisemitism to passionate philosemitism, where Jews are arbitrarily promoted to higher positions due to being 'sexy'. Lacocque compares this to Joseph's governance of Egypt in the Book of Genesis, which benefitted native Egyptians and Hebrew immigrants.[65]

Although marriages between Jews and Gentiles are not permitted in orthodox Judaism, even in case of Pikuach nefesh, Esther is not regarded as a sinner, because she remained passive, and risked her life to save that of the entire Jewish people.[66]

Azīz Pajand, a Persian Jew, published "Purim" in 1966, which offered an Iranophilic interpretation of the Book of Esther. Here, Haman was the Amalekite enemy of 'pure-blooded Iranians' and Jews. Thus, Purim became a holiday that celebrates salvation for all Iranians from the 'Hamanites'. He also emphasizes the role of Jewish-Persian cooperation in realizing the Book of Esther's denouement. Pajand justified his interpretation to dispel accusations that the Book of Esther was anti-Iranian and because he believed that Iranians were "travellers in the way of truth". In contrast, Haman violated the Zoroastrian ideal of “Good thoughts; Good words; and Good deeds”.[67] Lacocque likewise observes that the "enemies of the Jews" were never arbitrarily branded as Amalekites before being killed, in comparison to Haman and his sons, which discredits any motive of Jewish ultranationalism.[65]

Albert Barnes similarly argues that the philosemitic Persian establishment was perplexed at Haman's decree (Esther 3:15),[68] and that they were supportive of Esther's efforts against the "enemies of the Jews". The latter were mostly found "among the idolatrous people of the subject nations", whom the Persians did not care for.[69] The ones in Susa, however, consisted of Haman's faction, led by his ten sons,[70] and fugitives who believed they were free to kill the Jews once the latter's "privileges have expired", thus why they were killed the next day.[71] Matthew Poole sees the subsequent hanging of Haman's sons as a cruel Jewish and Persian custom that punishes offenders for 'abusing' the king.[72]

John Gill sees the conversion of Persian allies (Esther 8:17) as an example of 'conversion under duress' but does not discount alternative explanations. They include being impressed by the 'Divine Providence' working in the Jews' favor and seeking the favor of Esther and Mordecai, who gained immense power.[73] But ultimately, the Persian allies and Jews celebrated Purim together and taught their children to read the Book of Esther (Esther 9:27).[74]

According to Rabbi Mordechai Neugroschel, there is a code in the Book of Esther which lies in the names of Haman's 10 sons. Three of the Hebrew letters—a tav, a shin and a zayin—are written smaller than the rest, while a vav is written larger. The outsized vav—which represents the number six—corresponds to the sixth millennium of the world since creation, which, according to Jewish tradition, is the period between 1240 and 2240 CE. As for the tav, shin and zayin, their numerical values add up to 707. Put together, these letters refer to the Jewish year 5707, which corresponds to the secular 1946–1947. In his research, Neugroschel noticed that ten Nazi defendants in the Nuremberg Trials were executed by hanging on 16 October 1946, which was the date of the final judgement day of Judaism, Hoshana Rabbah. Additionally, Hermann Göring, an eleventh Nazi official sentenced to death, committed suicide, parallel to Haman's daughter in Tractate Megillah.[75][76]

Additions to Esther

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An additional six chapters appear interspersed in Esther in the Septuagint, an early Greek translation of the Bible. This was noted by Jerome in compiling the Latin Vulgate. Additionally, the Greek text contains many small changes in the meaning of the main text. Jerome recognized the former as additions not present in the Hebrew Text and placed them at the end of his Latin translation. This placement is used in Catholic Bible translations based primarily on the Vulgate, such as the Douay–Rheims Bible and the Knox Bible, with chapters numbered up to 16.[77] In contrast, the Nova Vulgata incorporates the additions to Esther directly into the narrative itself, as do most modern Catholic English translations based on the original Hebrew and Greek (e.g., Revised Standard Version Catholic Edition, New American Bible, New Revised Standard Version Catholic Edition). The numbering system for the additions therefore differs with each translation. The Nova Vulgata accounts for the additional verses by numbering them as extensions of the verses immediately following or preceding them (e.g., Esther 11:2–12 in the old Vulgate becomes Esther 1:1a–1k in the Nova Vulgata), while the NAB and its successor, the NABRE, assign letters of the alphabet as chapter headings for the additions (e.g., Esther 11:2–12:6 in the Vulgate becomes Esther A:1–17). The RSVCE and the NRSVCE place the additional material into the narrative, but retain the chapter and verse numbering of the old Vulgate.

Contents

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These additions are:[78]

  • an opening prologue that describes a dream had by Mordecai, printed ahead of chapter 1 in RSVCE
  • the contents of the decree against the Jews, included within chapter 3 in RSVCE
  • an extension to the dialogue between Hathach and Mordecai, placed after 4:8 in RSVCE
  • prayers for God's intervention offered by Mordecai and by Esther, both in chapter in RSVCE
  • an expansion of the scene in which Esther appears before the king, with a mention of God's intervention, included in chapter 5 in RSVCE
  • a copy of the decree in favor of the Jews, added to chapter 8 in RSVCE
  • a passage in which Mordecai interprets his dream (from the prologue) in terms of the events that followed, added to chapter 10 in RSVCE
  • a colophon appended to the end of chapter 10, also referenced as 11:1, which reads:

In the fourth year of the reign of Ptolemy and Cleopatra, Dositheus, who said that he was a priest and a Levite, and his son Ptolemy brought to Egypt the preceding Letter about Purim, which they said was authentic and had been translated by Lysimachus son of Ptolemy, one of the residents of Jerusalem.

— (NRSV)

It is unclear to which version of Greek Esther this colophon refers, and who exactly are the figures mentioned in it.[79]

By the time the Greek version of Esther was written, the foreign power visible on the horizon as a future threat to Judah was the kingdom of Macedonia under Alexander the Great, who defeated the Persian empire about 150 years after the time of the story of Esther; the Septuagint version noticeably calls Haman a "Bougaion" (Ancient Greek: βουγαῖον), possibly in the Homeric sense of "bully" or "braggart",[80] whereas the Hebrew text describes him as an Agagite.

Canonicity

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The canonicity of these Greek additions has been a subject of scholarly disagreement practically since their first appearance in the Septuagint. – Martin Luther, being perhaps the most vocal Reformation-era critic of the work, considered even the original Hebrew version to be of very doubtful value.[81]

The Council of Basel–Ferrara–Florence confirmed its status as canonical between 1431 and 1445.[82]

The Council of Trent, the summation of the Counter-Reformation, reconfirmed the entire book,[83] both Hebrew text and Greek additions, as canonical. The Book of Esther is used twice in commonly used sections of the Catholic Lectionary.[84] In both cases, the text used is not only taken from a Greek addition. The readings also include the prayer of Mordecai, and nothing of Esther's own words is ever used.[clarification needed] The Eastern Orthodox Church uses the Septuagint version of Esther, as it does for all of the Old Testament.

In contrast, the additions are included in the Biblical apocrypha, usually printed in a separate section (if at all) in Protestant bibles. The additions, called "The rest of the Book of Esther", are specifically listed in the Thirty-Nine Articles, Article VI, of the Church of England as non-canonical, though "read for example of life and instruction of manners".[85]

Modern retelling

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Year Type Cast or creator Description
1511 Painting Michelangelo There are several paintings depicting Esther and her story, including The Punishment of Haman by Michelangelo, in a corner of the Sistine Chapel ceiling.[86]
1660 Painting Rembrandt van Rijn In 1660, Rembrandt van Rijn's painting of Esther's Banquet depicts how Esther approached the men at their level to make the request of erasing the decree.
1689 Poem Lucrezia Tornabuoni The Italian Renaissance poet Lucrezia Tornabuoni chose Esther as one of biblical figures on which she wrote poetry.[87]
1689 Stageplay Jean Baptiste Racine Jean Baptiste Racine wrote Esther, a tragedy, at the request of Louis XIV's wife, Françoise d'Aubigné, marquise de Maintenon.
1718 Stageplay Handel Handel wrote the oratorio Esther based on Racine's play.
1881 Poem Christina Rossetti The eighth poem of 14 in Rossetti's sonnet-of-sonnets sequence Monna Innominata portrays Esther as brave, beautiful, wise and witty, as 'subtle as a snake', and the woman who 'built her people's house that it should stand'.
1958 Book Gladys Malvern In 1958, a book entitled Behold Your Queen! was written by Gladys Malvern and illustrated by her sister, Corinne Malvern. It was chosen as a selection of the Junior Literary Guild.
1960 Stageplay Saunders Lewis The play entitled Esther (1960), written by Welsh dramatist Saunders Lewis, is a retelling of the story in Welsh.
1960 Movie Joan Collins A 1960 movie about the story, Esther and the King, starring Joan Collins.
1978 Miniseries Victoria Principal A 1978 miniseries entitled The Greatest Heroes of the Bible starred Victoria Principal as Esther, Robert Mandan as Xerxes, and Michael Ansara as Haman.
1979 TV movie Olivia Hussey A 1979 television film entitled The Thirteenth Day: The Story of Esther and aired on ABC-TV, starring Olivia Hussey as Esther, Tony Musante as King Ahasuerus, and Harris Yulin as Haman.
1981 Animation Superbook Episode 25 of the 1981 anime series Superbook involves this story
1983 Musical J. Edward Oliver,
Nick Munns
The 1983 musical entitled Swan Esther was written by J. Edward Oliver and Nick Munns and released as a concept album with Stephanie Lawrence and Denis Quilley. Swan Esther has been performed by the Young Vic, a national tour produced by Bill Kenwright and some amateur groups.
1986 Movie Amos Gitai Israeli film directed by Amos Gitai entitled Esther.
1987 Book Tomie dePaola Children's book titled Queen Esther written and illustrated by award-winning American author Tomie dePaola and published by HarperCollins.
1992 Animation Helen Slater In 1992, a 30-minute, fully animated video, twelfth in Hanna-Barbera's The Greatest Adventure series, titled Queen Esther features the voices of Helen Slater as Queen Esther, Dean Jones as King Ahasuerus, Werner Klemperer as Haman, and Ron Rifkin as Mordecai.[88][89]
1999 TV movie Louise Lombard TV movie from the Bible Collection that follows the biblical account very closely, Esther, starred Louise Lombard in the title role and F. Murray Abraham as Mordecai.[90]
2000 Animation VeggieTales VeggieTales released "Esther... The Girl Who Became Queen".
2005 Book Ginger Garrett Chosen: The Lost Diaries of Queen Esther by Ginger Garrett. 2005, NavPress.[importance?]
2006 Movie Tiffany Dupont,
Luke Goss
A movie about Esther and Ahasuerus, entitled One Night with the King, stars Tiffany Dupont and Luke Goss. It was based on the novel Hadassah: One Night with the King by Tommy Tenney and Mark Andrew Olsen.
?? ?? ?? Esther is one of the five heroines of the Order of the Eastern Star.[importance?]
2011 Song Maccabeats On March 8, 2011, the Maccabeats released a music video called "Purim Song".[91]
2012 Book J. T. Waldman In 2012, a graphic adaptation of the Book of Esther was illustrated by J. T. Waldman and appeared in volume one of The Graphic Canon, edited by Russ Kick and published by Seven Stories Press.
2013 Movie Jen Lilley The Book of Esther is a 2013 movie starring Jen Lilley as Queen Esther and Joel Smallbone as King Xerxes.[92]
2015 Book Angela Hunt Hunt, Angela "Esther: Royal Beauty" (A Dangerous Beauty Novel) (2015)
2016 Book Rebecca Kanner Kanner, Rebecca, "Esther" (2016)
2011 Book Joan Wolf Wolf, Joan,"A Reluctant Queen: The Love Story of Esther" (2011)
2011 Book Roseanna M. White White, Roseanna, M. "Jewel of Persia" (2011)
2020 Book Jill Eileen Smith Smith, Jill, Eileen."Star of Persia: Esther's Story" (2020)
2013 Book H.B. Moore H.B. Moore."Esther the Queen" (2013)
2014 Movie CJ Kramer "Megillas Lester", an animated comedy loosely based on the Book of Esther, where a boy named Daniel Lesterovich (a.k.a., "Lester") is knocked out and travels back in time to the story of the Megillah, and nearly changes history by accidentally saving Queen Vashti. (2014)[93]
2020 Book Elizabeth Mack Mack, Elizabeth. "The Queen of Persia" (2020)
2019 Book Diana Taylor Taylor, Diana, Wallis."Hadassah, Queen Esther of Persia" (2019)
2020 Stageplay Sight & Sound Theatres Sight & Sound Theatres produced "Queen Esther," a stage production (2020)[94][95]

See also

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Notes

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The Book of Esther (Hebrew: מְגִלַּת אֶסְתֵּר) is a concise narrative in the (Writings) division of the , classified among the Five Megillot (scrolls), that recounts the deliverance of the Jewish people in the Achaemenid Persian Empire from extermination through the actions of , a Jewish orphan elevated to queenship by King (likely ), and her cousin , who together expose the genocidal scheme of the king's vizier . The plot unfolds in , the Persian capital, amid court intrigues, with risking her life to petition the king for her people's survival, leading to 's execution and the Jews' authorization to defend themselves against attackers, resulting in the institution of the festival to annually commemorate the events. Unique among biblical texts, the book omits any direct reference to God or explicit religious practices, emphasizing instead themes of providence, reversal of fortunes, and ethnic survival through human agency and contingency. Included in the Jewish Tanakh and Christian canons—though the adds six chapters of prayers and expansions absent in the Hebrew version—its canonical status faced early Christian hesitations due to moral ambiguities, such as the sanctioned Jewish counter-violence, but was affirmed by councils like in 397 CE. While ancient sources like treated it as historical, contemporary scholarship, informed by archaeological and textual analysis, predominantly classifies it as a post-exilic historical or fiction composed between the 4th and 3rd centuries BCE, citing anachronisms (e.g., exaggerated imperial administration), absence of corroboration in Persian records, and literary motifs akin to ancient Near Eastern tales rather than verifiable chronicle. This assessment underscores the book's role less as empirical history than as didactic literature fostering and resilience in diaspora contexts.

Textual and Literary Framework

Narrative Summary

The Book of Esther opens in the third year of King Ahasuerus's reign over 127 provinces from to , with a lavish banquet in showcasing his opulence. When Queen Vashti refuses the king's command to display her beauty at the feast, she is deposed, prompting a search for a new queen among the empire's virgins. , a Jewish orphan raised by her cousin in , is selected after a year of beauty preparations and wins the king's favor, concealing her as advised by . Meanwhile, uncovers and reports an assassination plot against the king, earning unacknowledged honor. Haman, an promoted to , demands obeisance from all, but refuses due to his Jewish faith, inciting Haman's rage against the entire Jewish people. Haman persuades to issue an edict authorizing their destruction on a date determined by pur (lots), set for the thirteenth day of , with the king's seal ensuring irrevocability under Persian law. urges to intercede, reminding her of her position "for such a time as this"; after with the Jews, she risks death by approaching the king unbidden and secures audiences at banquets where she reveals Haman's plot and her heritage. The king orders Haman hanged on the gallows prepared for , promotes to Haman's position, and—unable to revoke the edict—issues a counter-decree allowing to defend themselves. On the appointed day, kill 75,000 enemies in self-defense across the provinces, including Haman's ten sons in , sparing women and children as per the decree. and institute , an annual festival commemorating deliverance with feasting, gifts, and charity, formalized in letters throughout the empire.

Structure and Literary Devices

The Book of Esther exhibits a symmetrical , a literary pattern common in ancient Near Eastern and biblical texts where elements mirror each other in inverted order around a central pivot, emphasizing thematic and amid apparent absence of direct intervention. This structure divides into two mirrored halves flanking a core episode in chapters 6–7, with the king's sleepless night and Haman's downfall serving as the axis that inverts prior threats into Jewish deliverance. Outlining the chiasm typically proceeds as follows: outer frames feature royal banquets (Esther 1:1–22 paralleling 9:1–32, showcasing the king's power and culminating in Jewish feasting); inner layers contrast Esther's elevation to queenship (2:1–18) with her and 's honor (8:1–2); 's foiled assassination plot (2:19–23) mirrors Haman's thwarted decree (8:3–17); and Haman's promotion and edict (3:1–15) reverse into his execution on the gallows intended for (7:10). Such symmetry underscores the novella's focus on cosmic , where human schemes fail against implicit providential order. Key literary devices amplify this framework through irony, repetition, and motif layering, creating dramatic tension without explicit theological language. Verbal and situational irony permeates the , as Haman's exalted status ("raised... to the highest position," Esther 3:1) foreshadows his humiliation, with the gallows he builds for (5:14) becoming his own instrument of death (7:10), a reversal echoed in the ' defensive victory over their enemies (9:1–2). Repetition of phrases like "the king and Haman" (e.g., 3:1; 5:5) heightens irony by juxtaposing the villain's temporary alliance with the king against his ultimate downfall, while scenes—occurring seven times—serve as structural pivots symbolizing feasting amid peril, from Vashti's deposition (1:3–8) to Purim's institution (9:17–19). in Hebrew names reinforces : (from hester, "hidden") conceals her identity until pivotal revelation (2:10; 7:3–4), and 's vigilance averts plots, contrasting 's . The deliberate omission of God's name—unique among biblical books—functions as a , implying through coincidences like the king's revealing 's service (6:1–3), inviting readers to infer transcendent agency from empirical reversals. These elements align the book with ancient Jewish novella traditions, employing third-person omniscient to build via delayed resolutions and character foils: Mordecai's faithfulness versus Haman's enmity, Esther's calculated boldness versus Vashti's defiance. Couplets and parallel clauses (e.g., decrees in chapters 3 and 8) create rhythmic intricacy, mirroring Persian bureaucratic style while subverting it through Jewish triumph, as evidenced in the edict's verbatim echoes with inverted outcomes (3:13 versus 8:11–12). This craftsmanship prioritizes thematic coherence over historical chronicle, using literary inversion to model resilience against existential threats.

Historical Setting and Context

Achaemenid Empire Background

The originated from the Persian Achaemenid clan and was formally established by (r. 550–530 BCE), who defeated and overthrew the Median king in 550 BCE, uniting and under centralized rule. rapidly expanded the domain through conquests, including circa 546 BCE and in 539 BCE, incorporating territories from to the and implementing policies of religious tolerance, such as restoring local temples and permitting the return of Jewish exiles from . His son, (r. 530–522 BCE), further extended control by conquering , , and in 525 BCE. Darius I (r. 522–486 BCE) stabilized and maximized the empire's extent, reaching from the Indus Valley and to , Macedonia, and , while reorganizing administration into approximately 23 satrapies as enumerated in his Bisitun Inscription. Satraps, typically appointed from Persian or , oversaw provincial taxation, military conscription, , and , transmitting to the royal treasury and maintaining local forces, all under imperial scrutiny via traveling inspectors dubbed the "king's eyes and ears." Darius standardized coinage with darics and as the for bureaucracy, while constructing as a ceremonial capital and the Royal Road—a 2,500-kilometer network—to expedite messengers, troops, and trade across diverse terrains. Susa served as the primary administrative hub, hosting the itinerant royal court amid grand palaces initiated by Darius, in contrast to Persepolis's role in ritual receptions of tributaries. The Book of Esther unfolds in this context under (r. 486–465 BCE), whose third-year banquet at aligns with archaeological records of imperial festivities, featuring a council of seven privy counselors and protocols like the golden scepter for audiences, as attested in Achaemenid reliefs and edicts. Multilingual decrees and subdivisions into 127 provinces beneath satrapies enabled effective rule over multicultural subjects, including populations integrated into the provincial fabric without compelled assimilation.

Key Figures and Persian Customs

The central figure of King Ahasuerus is identified by scholars with , who ruled the from 486 to 465 BCE, as evidenced by the narrative's alignment with his reign's timeline, including a period of feasting before military preparations akin to his Greek campaigns. , son of Darius I, governed from and , with archaeological reliefs confirming his royal imagery and administrative reach over 127 provinces, matching the book's description. , a Jewish orphan raised by her cousin , becomes queen after winning a royal contest; while no direct epigraphic evidence confirms her existence, the story's setting reflects Jewish communities in Persia post-exile. , depicted as a gate official who uncovers an assassination plot, shares a name with Marduka figures in Babylonian administrative texts from ' era, though linkage remains speculative without conclusive proof. Haman, elevated as and identified as an —evoking Amalekite enmity from biblical tradition (1 Samuel 15)—drives the genocidal decree against due to Mordecai's refusal to bow; no historical counterpart exists in Persian records, suggesting a literary device symbolizing perennial foes rather than a verifiable official. Queen Vashti, deposed for defying a command to display herself at a banquet, precedes ; some propose identification with , Xerxes' known consort notorious for cruelty, but narrative discrepancies, such as Vashti's replacement, undermine direct equivalence. Persian customs in the narrative align with Achaemenid practices documented by , including the royal system where beautiful virgins from the empire were gathered for the king's selection, as seen in Esther's year-long preparation and audition process. Lavish banquets, such as the 180-day imperial feast and subsequent seven-day event in , reflect documented Persian symposia emphasizing wine, hierarchy, and excess, with noting decisions deliberated inebriated then ratified sober to ensure gravity. The use of (lots) to determine the extermination date echoes practices, while edicts sealed with the king's ring—portrayed as irrevocable—mirror the Achaemenid emphasis on the permanence of royal decrees to maintain administrative stability, though historical flexibility existed in enforcement. Couriers on swift horses disseminated orders across satrapies, consistent with the empire's relay system for rapid communication, as inscribed in Persian inscriptions and Greek accounts.

Composition and Origins

Authorship Attributions

The Book of Esther contains no explicit claim of authorship within its text, making it one of the anonymous works in the Hebrew Bible. Traditional Jewish sources, such as the Babylonian Talmud (Bava Batra 15a), attribute the composition to the Anshei Knesset HaGedolah (Men of the Great Assembly), a legendary assembly of 120 sages credited with finalizing several prophetic books and establishing aspects of Jewish liturgy during the early Second Temple period. Some rabbinic traditions, including those recorded by medieval commentators like Rashi, suggest an initial draft by Mordecai and Esther themselves, later refined or canonized by this assembly, though these claims rely on interpretive midrash rather than textual or historical evidence. In modern biblical scholarship, the consensus holds that the remains unidentified, with no compelling internal or external evidence supporting traditional attributions. Scholars infer the writer was likely a Jewish or descendant familiar with Persian administrative practices and royal etiquette, given the narrative's detailed depiction of Achaemenid court life, but this remains speculative. Proposals linking the book to figures like or are dismissed by most analysts due to chronological mismatches and stylistic differences from their attributed works. Conservative researchers emphasize the lack of prophetic self-identification, aligning the book with post-exilic historical narratives rather than claims, while acknowledging that does not undermine its status in Jewish and Christian traditions. These views prioritize linguistic and historical analysis over unsubstantiated tradition, noting the absence of any manuscript colophons or ancient attributions beyond talmudic lore.

Dating and Linguistic Analysis

The Book of Esther is composed in Late Biblical Hebrew (LBH), characterized by grammatical and lexical features distinct from Classical Biblical Hebrew (CBH), including increased use of qatal verbs in narrative sequences traditionally dominated by wayyiqtol forms, expanded yiqtol usage for past actions, and specific syntactic constructions such as periphrastic perfects. These traits align Esther with other post-exilic texts like Ezra-Nehemiah and Chronicles, supporting a composition after the Babylonian exile in the 6th century BCE. Lexically, the book exhibits diachronic shifts, such as the preference for מַלְכוּת over מַמְלָכָה for "kingdom," a marker of LBH found in later strata of the Hebrew Bible. A defining linguistic hallmark is the presence of approximately 30 Persian loanwords, reflecting direct cultural and administrative contact during the Achaemenid Empire (c. 550–330 BCE). Examples include דָּת (dāt, "decree" or "law," from Old Persian dāta-, appearing 10 times), פִּתְגָם (piṯgām, "edict," from Old Persian paṯi-gāma-, used twice), and אֲחַשְׁדַּרְפַּן (ʾaḥašdarpan, "satrap," akin to Old Persian xšaθrapāvan-). These terms, some "need-borrowed" for administrative concepts (e.g., גְּנַז (gənaz, "treasury")) and others "prestige-borrowed" for exotic flavor (e.g., כַּרְפַּס (karpas, "fine white cloth" or "cotton")), indicate composition when Persian influence was prominent in Yehud, rather than in the Hellenistic era when Greek loans would predominate. Aramaic influences appear minimally, limited to loanwords without pervasive syntax, further distinguishing Esther from earlier or later corpora. Scholarly dating leverages these linguistic data alongside historical allusions, placing composition in the late Persian period, likely 5th to early BCE, post-dating the purported events under (Ahasuerus, r. 486–465 BCE). Proponents of this view cite the authenticity of Persianisms and absence of Greek elements or Maccabean-era motifs as evidence against Hellenistic origins (c. 3rd–2nd century BCE). Some analyses, however, detect a blend of earlier and later affinities, suggesting possible redactional layers or conservative style, though the core LBH profile resists pre-exilic dating. Hellenistic datings (e.g., BCE) rely on perceived anachronisms or thematic parallels to Greek novellas but falter against the empirical weight of unhellenized , which diminishes post-Achaemenid.

Historicity Evaluation

Supporting Archaeological and Textual Evidence

The Book of Esther demonstrates detailed knowledge of Achaemenid Persian administrative practices, including the use of satraps, couriers, and provincial governance structures, which align with records from the empire. For instance, the narrative's depiction of royal edicts sealed with the king's ring and disseminated via swift messengers corresponds to Persepolis fortification tablets documenting similar imperial communication systems during Xerxes I's reign (486–465 BCE). Archaeological excavations at , the primary setting of the book, have uncovered palace foundations and artifacts matching the described opulent architecture, such as halls and treasury complexes built under Darius I and expanded by . These include plaques and glazed brick decorations evocative of the lavish banquets in Esther 1, with the site's destruction layers post-dating the events around 435 BCE but preserving strata consistent with Achaemenid occupation. The name parallels "Marduka" or "Matataka," attested in over 30 Persepolis treasury tablets from 492–485 BCE, referring to officials handling shipments in the empire's , suggesting a plausible Babylonian-Jewish name form integrated into Persian service. Similarly, the book's 30 personal names and 12 Persian loanwords, such as "pardes" (park) and "pitgam" (decree), appear in contemporaneous Elamite and administrative texts, indicating linguistic authenticity rather than later invention. Court protocols in Esther, including the queen's required summons to approach the king under penalty of death (Esther 4:11), reflect Achaemenid etiquette documented in Greek sources like Ctesias and archaeological inferences from royal reliefs, where uninvited access symbolized disloyalty. Beauty regimens in Esther 2:12, involving oils and myrrh over six months, align with excavated alabaster cosmetic vessels inscribed for Xerxes' palace at Susa, underscoring material cultural fidelity. Scholar Edwin Yamauchi notes that such precise details of Persian customs, absent in overtly fictional works, support the text's rootedness in fifth-century BCE realities, even absent direct epigraphic mentions of protagonists. The absence of overt anachronisms, combined with the narrative's independence from biased Greek historiographical tropes (e.g., Herodotus's exaggerations), positions Esther as a viable source for Achaemenid social dynamics, including roles and selections, corroborated by Persepolis personnel records. Reliefs of at and Naqsh-e-Rustam further validate the king's portrayal as a builder and administrator, with the empire's 127 provinces (Esther 1:1) approximating the satrapal divisions in Darius's inscriptions. These elements collectively evince empirical grounding over novelistic fabrication.

Skeptical Arguments and Rebuttals

Skeptics of the Book of Esther's primarily argue that the lacks corroboration in extrabiblical sources, including Persian administrative records from the Achaemenid period, which document officials, taxes, and military campaigns but omit any reference to figures like , , , or the alleged against . This silence is notable given the empire's bureaucratic habits, as evidenced by the tablets, which detail personnel and provincial matters without mentioning the events described. Additionally, the text contains linguistic features classified as Late , including vocabulary and syntax akin to Ezra-Nehemiah, but interspersed with Persian loanwords and possible Greek influences (e.g., terms like paradeisos for and symposion for ), which some attribute to a Hellenistic-era composition rather than a fifth-century BCE Persian setting. elements, such as a Jewish rising to queenship without requirements in a Zoroastrian-influenced , Vashti's public defiance of royal protocol without in known Achaemenid customs, and the improbability of a reversible empire-wide , further suggest fictional embellishment or novelistic genre over strict history. These critiques, prominent since the late nineteenth century, lead most contemporary biblical scholars to view the book as a historical intended to etiologize the festival amid post-exilic experiences, rather than verbatim chronicle. Rebuttals emphasize that the absence of direct attestation in Persian records does not disprove the events, as Achaemenid archives focused on fiscal and logistical data, rarely preserving harem intrigues or minority ethnic plots, much like how omits similar court-level details despite chronicling (identified as via Esther 2:16 correlating with his 483 BCE campaign). Archaeological alignments, including the excavated palace layout matching the text's descriptions of banquets and throne rooms, and the presence of a "Marduka" (variant of ) in fortification tablets as a minor official, provide circumstantial support without necessitating invention. Linguistic analyses indicate the Hebrew aligns with post-exilic developments expected in a Persian-period text composed by Judean exiles, with apparent Greek terms explainable as later scribal updates or shared Indo-European roots rather than post-Achaemenid anachronisms; the narrative's fidelity to verified customs, like the king's seven advisors (Esther 1:14 paralleling Darius I's council) and provincial satrapies, outweighs implausibilities attributable to stylized . Defenders argue that often stems from a priori dismissal of biblical sources in academic circles, yet the book's integration into Jewish tradition and absence of contradictory evidence permit a quasi-historical core, where factual kernel—such as ethnic tensions under Xerxes—underlies dramatic expansion for theological purposes.

Theological Themes and Interpretations

Providence in a Godless Narrative

The Book of Esther stands out in the as the sole canonical text that omits any explicit reference to , , or overt miracles, presenting a driven by human actions, royal decrees, and apparent chance events. This deliberate absence, noted in the Masoretic Text's 167 verses, contrasts with the version, which adds pious elements like Mordecai's dream and Esther's invoking divine aid. Jewish rabbinic tradition interprets this "godless" structure as exemplifying hester panim (the hiding of God's face), a concept of concealed divine intervention suited to the Jewish exile in Persia, where overt miracles were withheld to emphasize reliance on human agency within providential bounds. The (e.g., Megillah 13a) expands on this by allegorizing coincidences—such as Vashti's banishment enabling Esther's queenship (Esther 1–2), Mordecai's incidental overhearing of an assassination plot (2:21–23), and Ahasuerus's prompting the reading of chronicles that honors (6:1–3)—as orchestrated reversals underscoring providence over pagan notions of fate or randomness. These "hidden miracles," as articulated in midrashic literature like Abba Guryon, portray God's sovereignty manifesting through ironic twists, such as Haman's gallows intended for becoming his own execution site (7:10), thereby thwarting without supernatural spectacle. 's exhortation to in 4:14—"relief and deliverance will rise for the from another place"—implies an unspoken divine contingency, reinforcing that individual inaction cannot thwart ultimate preservation. Rabbinic sources contrast this with Amalekite ideology (embodied by , an descendant), which attributes events to chance, affirming Jewish theology's commitment to purposeful guidance amid vulnerability. Christian interpreters, including , view the text as "wonders without a ," illustrating God's providential rule in secular-like settings, where operates via ordinary to protect His people and advance redemptive purposes. This aligns with broader theological emphasis on invisible orchestration, as in 4:14's foreshadowing of deliverance "for such a time as this," encouraging trust in divine fidelity during perceived silence. Such readings prioritize the narrative's causal chain—'s fasting call (4:16), the revelations (5–7), and Purim's (9:20–32)—as evidence of teleological design, countering secular dismissals by highlighting improbably aligned contingencies that empirically preserved Jewish survival circa 473 BCE under .

Jewish Identity, Survival, and Ethics

The Book of Esther portrays in the Persian as a tension between concealment for personal safety and assertive revelation during existential threats. obeys Mordecai's directive to hide her Jewish origins upon entering the royal (Esther 2:10, 20), reflecting a pragmatic strategy to navigate assimilation in a court while preserving ethnic ties through private obedience. In contrast, Mordecai's persistent refusal to prostrate before (Esther 3:2-4) embodies unyielding fidelity to monotheistic principles, rejecting even at the cost of provoking enmity, which underscores identity rooted in covenantal distinctiveness rather than . This duality—fluidity in 's role as queen and constancy in Mordecai's resistance—suggests a composite Jewish self-understanding adaptable to pressures without erasure of heritage. Survival emerges through communal solidarity and shrewd political agency, absent explicit divine aid. Mordecai rallies the Jewish community via messengers for collective fasting and mourning (Esther 4:1-3), fostering unity that counters isolation in and enables coordinated response to Haman's genocidal decree. Esther leverages her proximity to power, risking death by uninvited approach to the king (Esther 4:11, 16; 5:1-2), and orchestrates Haman's downfall through calculated banquets that expose his plot (Esther 7:1-6). These tactics— to the crown demonstrated by foiling an (Esther 2:21-23) combined with insider manipulation—model endurance via influence within host structures, prioritizing group preservation over withdrawal or . The ensuing edict permits Jews to arm and counterattack aggressors across 127 provinces, resulting in the slaying of 75,000 foes on the 13th of (Esther 8:11; 9:5-16), framed as necessary retaliation that averts annihilation and secures future autonomy. Ethical dimensions reveal ambiguities in pursuing survival, balancing , assimilation, and against absolutist ideals. Esther's to the king and presumed adherence to court customs, potentially including impure foods, pose dilemmas of ritual compromise for communal benefit, yet her eventual identity disclosure prioritizes kin loyalty (Esther 4:13-14). Mordecai's defiance invites collective peril, raising questions of individual principle versus group , while the narrative's endorsement of preemptive killings—including women, children, and non-combatants (Esther 8:11; 9:6, 12-15)—provokes debate over vengeance's , with Esther's request for a second day of slaughter in (Esther 9:13) amplifying proportionality concerns. Scholars interpret these as realist imperatives in a despotic context, where cunning and force sustain identity amid , though the absence of or restraint highlights a consequentialist ethic subordinating personal to ethnic continuity. The book's ironic tone, devoid of God's name, implies human responsibility drives ethical navigation, validating adaptive measures that ensure viability without idealistic purity.

Major Controversies in Moral Readings

The depiction of in the Book of Esther, particularly in chapter 9 where kill approximately 75,000 of their enemies—including women and children—has sparked significant ethical among interpreters. This event follows Ahasuerus's decree allowing to defend themselves against Haman's planned , resulting in defensive assemblies across the on the 13th and 14th of , with an additional day in at Esther's request. Traditional readings frame this as justified against imminent threats, noting that the text specifies the victims as aggressors who attacked first and that refrained from plunder, aligning with biblical norms for warfare under existential peril. However, critics argue the scale and inclusion of non-combatants suggest disproportionate revenge rather than pure defense, raising questions about moral proportionality in the absence of explicit divine sanction. Early Christian evaluators, such as those referenced in historical commentaries, objected to the book's inclusion in the canon partly on moral grounds, viewing the narrative's ethnic retribution and lack of overt piety as incompatible with New Testament ethics of forgiveness and non-violence. In Jewish tradition, rabbinic sources mitigate this by emphasizing the defensive context and interpreting the killings as preemptive against proven conspirators, with Midrashim portraying enemies as voluntary attackers aligned with Haman. Yet modern ethical critiques, including those likening it to cycles of vengeance, contend it endorses collective punishment, potentially normalizing ethnic violence under the guise of survival. Scholars counter that ancient Near Eastern royal decrees, like Ahasuerus's, reflect realistic legal reversals where prior edicts could not be nullified, framing the response as causally necessary to avert slaughter rather than gratuitous. Esther's role amplifies moral scrutiny, as her strategic use of proximity to the king—implying seduction or leverage through beauty—to secure favors challenges ideals of virtuous agency. Some analyses question her , citing the risk of compromising Jewish law via assimilation and the extension of via her second-day request, which led to 300 more deaths in . Defenders highlight her courage and fidelity to Mordecai's counsel, portraying actions as in a godless court where survival demanded human initiative over miraculous intervention. These tensions underscore broader controversies in moral readings: whether the book promotes realism about power dynamics and tribal loyalty or implicitly endorses , with interpreters divided on reconciling its triumphant tone—culminating in Purim's institution—with the raw causality of retribution in a fallen world.

Canonical Development and Variants

Path to Jewish and Christian Canons

The Book of Esther was incorporated into the Jewish canon as one of the Five Megillot within the (Writings), a process reflecting broader Second Temple-era recognition rather than a singular formal decree. , such as the Babylonian (tractate Megillah 7a), documents debates over its canonicity, citing concerns including the omission of God's name, lack of or Temple references, and the establishment of —a not explicitly mandated in the —as potentially problematic for scriptural authority. Despite these objections, its status was affirmed due to the book's internal command to observe (Esther 9:20–32) and the festival's entrenched observance among Jewish communities by the , providing empirical evidence of communal acceptance. By the late first century CE, Flavius enumerated Esther among the 22 sacred books of the Jewish scriptures in (1.8), indicating its established place in the Hebrew canon prior to the destruction of the Second Temple in 70 CE. In early Christianity, the book entered the Old Testament canon primarily through the Septuagint (LXX), the Greek translation used by Hellenistic Jews and first-century Christians, which appended six major additions—including Mordecai's dream, prayers, and edicts—to address perceived deficiencies in piety absent in the Hebrew Masoretic Text. Several Eastern Church Fathers expressed reservations or outright exclusion, such as Melito of Sardis (c. 170 CE), who omitted it from his canonical list, and Athanasius, Gregory of Nazianzus, and Theodore of Mopsuestia, who similarly questioned its inspirational status due to its secular tone and ethnic focus. Western traditions proved more receptive; Jerome included a translation in the Vulgate (c. 405 CE), and regional councils like Hippo (393 CE) and Carthage (397 CE) affirmed its place alongside other Jewish scriptures, viewing it as typological of divine providence amid apparent absence. Protestant reformers in the sixteenth century retained the Hebrew version without LXX additions, aligning with the Jewish canon, while Catholic and Orthodox traditions preserved the expanded Septuagint form, designating the additions as deuterocanonical. This divergent path underscores ongoing interpretive tensions but confirms Esther's enduring canonical role across major Christian confessions by the fourth century CE.

Septuagint Additions and Their Role

The (LXX) version of the Book of Esther includes six major additions, totaling 107 verses, that are absent from the Hebrew (MT). These passages, conventionally designated as Additions A through F, were composed in Greek and inserted at strategic points in the narrative to augment its theological depth and dramatic structure. Addition A precedes MT 1:1 and recounts Mordecai's apocalyptic dream foretelling the ' peril and deliverance through symbolic imagery of a river and two dragons. Addition B follows MT 3:13, presenting a formal royal edict from Artaxerxes authorizing the extermination of the , drafted in ornate Hellenistic style. Additions C and D, inserted after MT 4:17, feature the prayers of Mordecai and Esther respectively, invoking God's covenantal faithfulness and expressing for assimilation into Persian customs. Addition E, after MT 8:12, counters with Artaxerxes' counter-decree permitting Jewish , mirroring B's bureaucratic tone. Addition F concludes the book, interpreting Mordecai's dream as fulfilled in the events, with Esther and Mordecai receiving divine honors. These additions serve to rectify perceived deficiencies in the MT Esther, particularly its omission of God's name and explicit piety, by incorporating over 50 direct references to theos () and framing the story within a framework of divine intervention. The prayers in C and D emphasize and ethical self-criticism, transforming Esther's approach to the king from mere strategy into a pious act reliant on and divine aid, thus aligning the narrative more closely with other biblical models of . The dream framework in A and F underscores providential orchestration, portraying historical events as apocalyptic fulfillment rather than mere coincidence. The edicts in B and E enhance realism by providing pseudo-official documents, potentially countering Hellenistic about the story's veracity, though their florid Greek style indicates composition for dramatic effect rather than authenticity. In terms of canonical role, the additions facilitated the LXX Esther's in early Christian communities, where the MT version faced criticism for its and potential endorsement of vengeance without theological grounding; noted their utility in harmonizing Esther with other Scriptures. Dated variably from the 2nd century BCE to 1st century CE, likely by the translator or contemporaries, they reflect Hellenistic Jewish efforts to theologize the text for audiences, influencing its deuterocanonical status in Catholic and Orthodox traditions while remaining extracanonical in Protestant and Jewish canons. Their integration into the perpetuated their transmission, though textual variants in LXX manuscripts reveal ongoing editorial fluidity.

Cultural and Religious Impact

Establishment of Purim

The establishment of is described in the Book of Esther, chapter 9, verses 20–22, where , having recorded the events of the ' victory over their adversaries on the 13th of , dispatched letters to all across the 127 provinces of Ahasuerus's realm. These missives instructed the observance of the 14th of (the 15th in the citadel of ) as annual days of feasting, joy, reciprocal gift-giving (), and charitable donations to the poor (matanot la'evyonim), explicitly to commemorate the reversal of their mourning into gladness and deliverance from destruction. The text portrays this as a binding custom originating from the protagonists' initiative to perpetuate the memory of divine favor amid persecution, without direct invocation of God, emphasizing communal resilience and reciprocity. Subsequently, in verses 29–32, Queen , identified as the daughter of , issued a confirmatory alongside , reinforcing the regulations with full authority and ensuring their inscription in the royal annals of Persia. This second letter addressed the fasting and lamentation practices linked to the original crisis, integrating them into the holiday's framework while mandating perpetual adherence for all , near and far. The narrative frames these actions as legally enforceable within the Persian administrative system, leveraging the king's prior authorization to counter Haman's edict, thereby institutionalizing as a counter-festival to potential . No archaeological artifacts directly attest to these specific letters, but the account aligns with known Achaemenid practices of provincial correspondence and record-keeping. Scholarly analysis posits that while the biblical text dates the events to the reign of (likely , circa 486–465 BCE), Purim's formal observance as a distinct may have crystallized later, with the earliest non-biblical references emerging in the Hellenistic era, such as in 15:36, which alludes to Purim-related sacrifices and distributions around 161 BCE. Some researchers argue the Book of Esther functions as an etiological narrative retroactively furnishing a historical basis for an pre-existing spring festival, possibly adapted from Persian or Babylonian customs among , to legitimize and propagate its rituals amid pressures. This view contrasts with traditional interpretations attributing unmediated origins to the Persian-period events, highlighting the narrative's role in fostering Jewish unity without temple-centric rites. By the Second Temple period, Purim had gained traction, though unevenly, evolving into a mandated observance codified in later like the (Megillah tractate), which prescribes public readings of the Megillah on the 's eve and day.

Adaptations and Modern Relevance

The Book of Esther has influenced adaptations in theater, music, , and film, often emphasizing themes of courage, intrigue, and deliverance. Jean Racine's 1689 play , written for performance by students at Madame de Maintenon's school at Saint-Cyr, adapts the biblical story into a five-act highlighting moral instruction and through human agency. George Frideric Handel's (HWV 50), initially composed in 1718 as a dramatic work and revised into a full oratorio in 1732 for public performance in , draws from Racine's and biblical text, featuring choruses that underscore communal triumph over adversity. In modern literature, novels such as Rebecca Kanner's Esther (2015) reimagine the protagonist's early life and psychological motivations, portraying her as navigating palace politics while concealing her . Film adaptations include (2006), directed by Michael O. Sajbel, which dramatizes Esther's selection as queen and her intervention against Haman's decree, starring as King . The 2013 The Book of Esther, directed by , focuses on Mordecai's role and Esther's moral dilemma, receiving mixed reviews for its production values but praise for fidelity to the narrative's redemptive arc. Contemporary relevance of the Book of Esther lies in its depiction of life under foreign rule, offering a model for minority resilience without explicit divine intervention, which scholars interpret as reflecting Persian-era strategies for cultural survival. The story's portrayal of a thwarted , with as an archetypal antisemite, parallels historical threats like , informing modern discussions on preemptive self-defense and ethnic solidarity. In secular contexts, Esther's hidden identity and strategic assimilation resonate with cosmopolitan Jewish experiences in pluralistic societies, where overt religious practice may conflict with integration. Historians generally regard the book as a form of composed in the , yet its enduring adaptations affirm its utility in addressing timeless issues of power, loyalty, and providence amid uncertainty.

References

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