Women of War, Women of Woe: Joshua and Judges through the Eyes of Nineteenth-Century Female Biblical Interpreters ed. by Marion Ann Taylor And Christiana De Groot

Abstract

Reviewed by: Women of War, Women of Woe: Joshua and Judges through the Eyes of Nineteenth-Century Female Biblical Interpreters ed. by Marion Ann Taylor And Christiana De Groot Brandon Grafius marion ann taylor and christiana de groot (eds.), Women of War, Women of Woe: Joshua and Judges through the Eyes of Nineteenth-Century Female Biblical Interpreters ( Grand Rapids: Eerdmans, 2016). Pp. x + 278. Paper $35. This anthology gathers together writings from nineteenth-century female authors on the books of Joshua and Judges, with an emphasis on female characters. The book is divided into eight sections, each covering a particular biblical character. In each of these sections, the writings of a number of authors are represented, with excerpts from their writings relating to the character in question. Each excerpt is preceded by a biographical introduction to the author as well as a brief synopsis of the important features of her interpretation. Some of these authors are quite well known (Elizabeth Cady Stanton, Harriet Beecher Stowe), while others are quite obscure. Though the opinions represented are quite diverse, an even wider range is found in the forms of the material. Some of the excerpts follow the format of traditional comments, but others take the form of dialogues between fathers and children, speeches intended for women's gatherings, poems, and even several acts from a play. All of this diversity contributes to the value of this collection. The first section covers Rahab, with the work of nine authors represented. As with all of the sections, the concerns of the authors vary but include the nature of Rahab's profession (sometimes discussed, sometimes glossed over in the works intended for younger audiences), and whether her lying and betrayal of her king to protect the Israelites were morally acceptable acts. The next section consists of five authors discussing Achsah, the daughter of Caleb. Although many of the authors are concerned with how the story relates to the property rights of nineteenth-century women, several seek to use Achsah as an example of the proper way to make requests in prayer. The next two sections cover Deborah and Jael. The section on Deborah features the writings of seven authors, while Jael's section includes the writings of twelve, the most of [End Page 536] any character in this volume. Many of the authors are concerned with how Deborah can serve as a role model for nineteenth-century women, but even within this framework there is a good deal of disagreement among the authors. Authors such as Grace Aguilar noted the description of Deborah as "wife of Lapidoth" and inferred that Deborah fulfilled her duties as "wife" in the private sphere while being a leader in the public sphere. Clara Balfour uses the poetry of the Song of Deborah to argue that women were as capable of writing poetry as men were. Elizabeth Baxter argues that Deborah drew too much attention to herself with her song of victory and wished she had been a better role model by showing more humility. The writings on Jael represent an even wider range of opinion, as the authors struggle with the violence of Jael's actions in conjunction with Deborah's naming of her as "most blessed of women." Eliza Steel and Harriet Beecher Stowe both justify Jael's actions by discussing Sisera's violence against women. Etty Woosnam suggests that Jael (along with Deborah) acted violently only because the men around them did not fulfill their duty as warriors. Elizabeth Cady Stanton feels no compulsion to defend Jael, stating that her "deception and cruelty" are "revolting under our code of morality" (p. 153). Jephthah's daughter also receives a significant amount of commentary. Caroline Howard Gilman's poem "Jephthah's Rash Vow" uses the story to dramatize the tragic consequences of women's subordination to men. Sarah Ewing Hall and Mary Schimmelpenninck both suggest that Jephthah's daughter was not literally sacrificed but was forced into a life of celibacy. As might be expected, Elizabeth Cady Stanton is hostile to both father and daughter, arguing that the daughter's submission is less "beautiful submission" than it is "pitiful and painful," and that she should have stood up for...