To Grant Or Not To Grant: The Self-Characterization Of Moses In Deuteronomy 3:12–26 -- By: Daniel I. Block

Journal: Journal of the Evangelical Theological Society
Volume: JETS 67:1 (Mar 2024)
Article: To Grant Or Not To Grant: The Self-Characterization Of Moses In Deuteronomy 3:12–26
Author: Daniel I. Block


To Grant Or Not To Grant: The Self-Characterization Of Moses In Deuteronomy 3:12–26

Daniel I. Block*

*Daniel I. Block is Gunther H. Knoedler Professor Emeritus of Old Testament at Wheaton College.

Abstract: Many scholars treat the speeches in Deuteronomy as Persian-era pseudepigraphic compositions attributed to Moses to enhance their acceptance among readers and hearers. As part of a larger project this essay examines Moses’ self-portrayal in Deuteronomy 3:12–26. After brief observations on the narrator’s account of Moses’ allotment of the Transjordanian territories of the Amorite kings Sihon and Og in Numbers 21:21–35, this study focuses on Moses’ own recollections of that moment in Deuteronomy 3:12–21 and its sequel in 3:23–29. The results reinforce significant negative features that are observable earlier in this address (1:9–18; 1:22–25; and a critical refrain in 1:37; 3:26; 4:21). By casting a literary self-portrait incompatible with the increasing idealization of Moses in Israelite historical and literary traditions over time, they undermine theories of late pseudepigraphic composition of the first address (1:6–4:40).

Key words: Moses, characterization, pseudonymity, pseudepigraphy, composition of Deuteronomy, Transjordanian Israelite tribes, prayer

In a forthcoming publication I will argue that Moses’ self-characterization in the first of his four valedictory addresses in the book of Deuteronomy (1:6–4:40) exhibits a Vincent van Goghesque quality.1 In 1:6–3:29 and 4:21–22 the image of Moses is anything but flattering, and this portrayal casts serious doubt on theories of pseudepigraphy for his speeches in this book.2 Key texts engaged in development of the argument include 1:9–18, 1:22–25, and the triple occurrence of a critical theme (1:37; 3:26

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