Kat is about to tell Jen she would rather have her for a friend than an enemy when Angel accosts them, panting and red-faced. She throws slender arms around Jen and sobs into her shoulder. “Bless you, bless you,” she burbles.
~ ~ ~ | ~ ~ ~
17 — Psalms and proverbs
Thursday, 21 May
“If you were a Bible translator,” Sarai pitches without preface, “funded to translate just one book of the Hebrew Scriptures into a previously unwritten language, which book would you choose … Ms Tainui?”
“None,” snaps Hana. “There would be a greater need for other books — kids’ reading books, their own cultural stories, manuals on health, farming …”
“We get your drift,” Sarai interrupts, “and you have a valid point. Let me rephrase. If you were placed in solitary confinement for a month and could choose as your only entertainment one book of the Hebrew Scriptures, which would you choose … Ms Wakelin?”
“Job,” responds the Goth, with typical monosyllabic glumness.
“Ah, a woman with a taste for literature,” approves Sarai. “And what about you, Ms Tombs?”
“The Psalms,” answers Philippa. “Many New Testaments contain a Psalms addendum as they are considered the most inspiring section of the Old Testament.”
“And you agree the Psalms are inspiring?”
Philippa nods and Sarai turns her attention to Rochelle. “I was going to say Psalms,” Rochelle shares, then falters. “Do you want another choice?”
“I do. Something you, personally, find inspiring.”
Rochelle pauses briefly then offers, “Proverbs.”
“Good,” affirms Sarai. “Both Psalms and Proverbs contain passages that inspire. Throughout the ages many have found solace in the Psalms but …”
“Always a but,” Kat mutters to Jen.
“… others cringe at the vindictive petitions and violence projected onto Yahweh.” Sarai expounds her thoughts on Psalms for a good ten minutes before turning her attention to Proverbs. An increase in animation discloses her preference of the two.
“The Book of Proverbs contains accumulated folk wisdom. No, Ms Tombs,” Sarai addresses Philippa’s waving hand, “it is not the work of King Solomon, though it may well have had its genesis in his court as the work borrows theological concepts from neighbouring nations. Like much of the First Testament, this scroll received its final editing after the exile — sixth century BCE. What you need to bear in mind is that although it began as folk wisdom its final form is androcentric, directed at counselling young men. Dame Folly repeatedly presents as a trap for males. However, Dame Folly is balanced by Lady Wisdom. In Hebrew, the word wisdom is feminine.”
After discoursing her favourite wisdom passages Sarai moves to the final chapter. “In verses one to nine King Lemuel’s mother dispatches sound advice on justice and sobriety, advice neglected by Christendom in favour of the words that follow, a passage often read at weddings, funerals, and other services that permit male preachers to indulge their fantasies while believing they are extolling women. You know the extract as The Virtuous Woman — whose price is far above rubies. What you probably don’t know is its structure and purpose. It was written to teach men of substance what to look for in a wife. For ease of memorising, the checklist was constructed as an acrostic poem — each verse following the Hebrew alphabet in order.”
Sarai lets this information sink in before adding, “For next week compose for me a poem of 26 lines based on the English alphabet, extolling virtues you see as worthy in women of our time.”
The class does not receive this directive with enthusiasm. The one exception takes care not to let it show.
~ ~ ~ | ~ ~ ~
Sarai retires to her study and wonders why students bother to attend lectures. When she was young education was a passion. Women were realising tertiary education was as right for them as for young men. To prove it they worked hard and the men had to work harder. Now, she mulls, universities are bursting at the seams with more female students than male, but so few appear to actually enjoy knowledge. She sips a mug of cranberry tea and relaxes with her pen.
A Psalm of Sarai — Where is Wisdom?
The Proverbs suggest:
Tho’ Lady Wisdom can be found,
Dame Folly sits on every mound,
Calling, cajoling, laughing loud,
Her relish is to sway the crowd …
~ ~ ~ | ~ ~ ~
Darlene can’t wait to get stuck into Sarai’s assignment. Qualities befitting womankind — she makes a list, then fits her best picks to the alphabet. Letters with multiple qualities require thought, as do the gaps. What turns a list into a poem? She would like grand literary phrases to roll onto the paper — they don’t. Rhyme? Corny, she admits, but fun. She is sure Sarai does have a sense of humour. It’s not always obvious, but … Darlene opens a new file and taps at her keyboard.
Ode to a Good Woman
A good woman who can find? She is far more precious than gems,
Beauty is her being; from inner self the richness stems.
Compassion is her companion; carefully she addresses wrongs,
Deep delight is her desire; for mutuality she longs …
~ ~ ~ | ~ ~ ~
‘Psalm to Sophia’ writes Sarai,
Sophia is my companion, I have no want.
We lie down in green pastures …
Sarai’s pen hovers over a possible amen. The mind controlling it decides against the embellishment. Don’t get carried away, dearie. Enjoyable as poetic writing is, you can’t honestly affirm this statement at this moment in time. You may have believed it once but it’s not how things are in the reality of One-Soul.
She gives a wry chuckle and fossicks for her hidden box of Turkish Delight.
~ ~ ~ | ~ ~ ~
Philippa, Rochelle, Hana, Iris and the Goth huddle over coffee in the Alibi. That Philippa has an agenda is clear; what she wants of them is not.
“Thanks for coming,” she opens, knowledgeable in the arts of meetings. “I appreciate that your time is valuable.” The Goth rolls her eyes, the others are gratified — being a student these days requires noses kept to the grindstone. They sip and listen. Philippa doesn’t ask them if they like Sarai, personally she can’t stand the pretentious woman and her disgraceful teaching methods. Her cool arrogance belittles dear-held beliefs. But Philippa knows some students warm to the old woman’s idiosyncrasies.
“I am concerned,” she says with earnest dignity, “that we are not being taught what the course outline led us to expect.” Rochelle looks if she is about to speak and Philippa hurries on. “This course comes under religious studies and is supposedly Bible-based. My expectation was it would deepen my understanding and appreciation of the Bible. A Bible-based course should be a faith course led by a Christian. Do you think Sarai is a Christian?” Glances and shrugs are exchanged along with “hard to tell” and “probably not”. Philippa looks straight at Rochelle. “Is being a Christian important to you?”
“Yes, yes very important,” declares Rochelle.
“Are you sometimes disturbed by things Sarai says?”
“Well, yes I am … but she is always interesting.”
“Being interesting is not what it’s all about. There is no disputing Sarai can talk, but she is hopelessly old-fashioned, it’s all talk, she never uses a PowerPoint presentation, just the OHP occasionally. What century is the woman living in!”
“She does use the odd visual aid to good effect,” supplies the Goth.
“Disgusting aids,” returns Philippa with feeling, and recovers herself. “What she teaches is the issue. If she is teaching untruths she needs to be called to account.”
“I don’t like the rubbish fuckin’ Sarai spews,” drawls the best groomed member of the group. Philippa is surprised to receive support from Iris Wong. In class she never speaks unless directly confronted, and out of class she appears ‘worldly’, not to put too fine a point on it. “As I see it,” Iris seems to
enjoy the audience, “religion has its place in the scheme of things. It shouldn’t be mixed with politics, or life for that matter. Certainly not my life,” her eyelashes direct to her cleavage. “But the world can’t get by without fucking religion. It’s the basic element of all cultures. I decided I should know something about Christianity and I haven’t learnt a damn thing.” She raises a pencilled eyebrow at Hana.
“I’m only doing it because I saw it as an easy option,” divulges Hana when other eyes swivel in her direction. “I thought I would remember stuff from the wretched Sunday School I was forced to go to as a kid. If Sarai stuck to regular Bible stuff it would be a lot easier to get a decent pass mark.”
Question-mark eyes roll to the Goth. “I took the course to bug my parents. They’re atheists – free-thinkers they call themselves. I can’t afford not to live with them,” she explains defensively. “Mostly I ignore them but occasionally I get dragged into a conversation. Sarai hasn’t provided me with any suitably convincing Christian theories.”
They’re a bunch of philistines! Philippa knows she doesn’t have time to allow herself to be appalled. Rochelle is the only genuine Christian among them — she must get her on-side. “My worry is that some people come to a Bible course in good faith with an earnest desire to deepen religious understanding. Confronted by Sarai they risk having their faith irrevocably damaged. This shouldn’t be allowed, should it?” Her eyes bore into Rochelle’s. Rochelle is quick in adding condemnation to this possibility.
“We agree then, Sarai does nothing to support Christianity.” Philippa would like to add, and her teaching is old-fashioned, disturbing, and wrong, but knows unanimity is the best place to end such a discussion. She can report to her father that a significant number of students are dissatisfied with Sarai’s teaching.
~ ~ ~ | ~ ~ ~
18 — Song of Songs
Tuesday, 26 May
“Prophets and poets attempt to address the most elusive human experiences — birth, death, hope, peace, joy and love. To do so both rely on metaphor,” begins Sarai and waits until all eyes are focused in the direction of her rose-pink kaftan. “The most elusive of all human experiences is love. The language of love is bewitching. It may vacillate from the ambiguous to the explicit. This is certainly true of the Song of Songs — which English Bibles name the Song of Solomon. In Hebrew it is Song of Songs or The Song Comprised of Songs. The attribution to Solomon is a normal editorial ploy of the time, not unlike the modern custom of using celebrity sponsors to enhance a product. The appropriateness of choice lies in King Solomon being attracted to many foreign women.”
“Go Solly!” stage-whispers Steve.
“The work may have been written by a member, or members, of Solomon’s court. While some scholars see this as credible authorship, others feel it is more likely to have been written at a later time, when racial purity was a greater issue. Regardless of date this little book is the most surprising of all biblical literature. Throughout the book lovers are rhapsodising the parts of the body explored during intercourse. But to view The Song simply as erotica does it an injustice. Does anyone have any theories as to why this work was included in Holy Writ?”
Philippa raises a confident hand. “It idealises the Hebrew love of God, and from a Christian perspective can be viewed as Christ’s love for his church.”
“Many parsons have advocated this position, presumably without actually reading the work. Not only is there no mention of Yahweh, there is no suggestion of any deities or any forms of religious practice. Less inhibited preachers have concluded The Song to be a celebration of human sexuality. But this narrow position fails to appreciate the social and ideological significance of the work. It is more politically liberating than is readily apparent to modern minds. Again we are encountering protest literature; sophisticated protest literature. Why does it appear in the sacred canon?” Sarai allows her comments partial digesting before playing her trump card.
“The major protagonist in The Song is a woman. A black woman, a Shulammite. Hers is the only unmediated female voice in Scripture. Women such as Ruth and Esther voice thoughts through a narrator but here we have a woman delivering direct personal thoughts through soliloquies and love songs. Nowhere else do we have imaginings and yearnings so vividly presented. As The Song is part of the Canon it contributes to religious insight, and does so by sharing intimate feelings. The text counters some notions on beauty and culture, insisting on the right to choose love regardless of cultural norms.”
Rochelle wriggles in her seat.
“Do you want to comment, Ms Finley?”
“It isn’t only a woman speaking, is it? There are many voices.”
Sarai smiles. “Quite so! The presence of multiple voices gives the poetry increased drama and provides for the introduction of different themes. The poet assumes her audience needs to be persuaded of the suitability of this couple’s love. Beneath the surface a debate is played out. The shift in speakers allows for differing individual perspectives using the device of a chorus. The Daughters of Jerusalem vary between being sceptical to supportive and celebratory. They serve to goad, inquire, and provoke but are secondary to the private dialogue of the woman and her lover. The lovers speak of nature — animals, flowers, and birds. The modern reader is likely to miss some of the analogies. Consider for example, the little foxes that play in the vineyards, chapter two verse 15, and the dance before two armies at the end of chapter six.”
Eyes flick under raised brows and the few students who carry Bibles do hurried checks. “The reference to ‘milk and honey’ under your tongue does not merely mean the exchanged kisses are sweet. Throughout the Hebrew Scriptures milk and honey placed together are euphemisms for the male and female sexual fluids. Yes, even when used in relation to ‘a land flowing with milk and honey’. The writer is conveying that the plenty and joy of such a land will be realised in the full expression of physical love.” Sarai pauses, and reads disbelief on the faces of the pious. “It is a strange thing indeed that traditional religion takes such a repressive attitude to sex when their sacred texts are loaded with sexual overtones. ‘Milk and honey’ literally means ‘goats milk and date juice’, used as euphemisms for intercourse in the same way as feet, place of grounding, is a euphemism for genitals.
“This Hebrew scroll is about smitten lovers talking openly of their burning desire for each other. However, their lovemaking is clandestine. The text hints at different ethnic backgrounds involving class and colour, but emphasises that their love is a good and wonderful thing. The Song gives permission to enjoy sex, to delight in sensuality. It is a direct contrast to the sin concept perpetuated in that First Garden. Post Eden punishment has no place here. This garden of delight welcomes joyous sexual fulfilment for its own sake. Procreation doesn’t get a mention.”
From where she sits Kat can see Philippa’s body language screaming outrage. It is all Kat can do not to laugh out loud.
“The Song advocates balance in relationships, urging mutuality between the partners and liberation from stereotypes. It stands in marked contrast to pornographic literature. Pornography promotes sensation without feeling. The Song promotes sensuality experienced with mutual fulfilment. Its enduring message is that a woman in touch with wholesome sensuality is a woman empowered.”
~ ~ ~ | ~ ~ ~
In Sarai’s study the three friends sip tea with an air of conviviality. “You gave us plenty to think about today,” chuckles Jen. “Rochelle looked totally bemused.”
“I’d never heard of The Song,” confesses Kat with no shame. “But I’m looking forward to reading it. Even Steve might feel inclined to try some Bible reading.”
“It’s still a mystery why such a work was included in the Canon,” muses Jen.
Sarai delivers a penetrating look. “Not really, Jen. It is a classic example of the work of the Wisdom Keepers. Wise women have worked their magic throughout history and pre-history, preserving what is important. You may have heard reference to ‘Wisd
om Circles’? These were local groups of female thinkers, crones who found ways to keep the Deep Wisdom circulating. Attributing authorship to an important male was a clever strategy.
“Brilliant,” agrees Kat.
“The circle is a universal symbol for unity and wholeness.”
“I thought the circle was a symbol for God, without beginning and without end?” interrupts Jen.
“True, it is used this way, but it has wider application. Regardless of our ethnic background we all have ancestors who sat around a fire together — drumming, singing, playing, dancing, telling stories, praying, grieving together, and solving the problems of everyday life. The memory of this connection to the circle is in our bodies, in our psyches. This memory is not restricted to women. One of Britain’s most enduring stories is the Celtic myth of King Arthur and his Round Table. The knights took an oath to serve not only the other table members, but the kingdom as a whole. Their covenant promised a humane safety net for even the most vulnerable members of society. The United States Constitution was based on the model of the Iroquois Confederacy, a system of separate tribal councils that met as a ‘grand council’ every five years with the responsibility for the welfare of the whole. What most people don’t know is the members of the tribal councils were chosen by the ‘council of matrons’, the oldest women of the tribe, who met in a circle.
“Wisdom Circles still exist, all over the world, as local, Spirit-inspired, spontaneously created projects, dedicated to serving the highest good and expanding consciousness by uplifting the individual through gatherings in a sacred space. But despite projecting unity and wholeness a circle is a limited thing, a discrete object, each belonging to a defined period. Greater than ‘wisdom circles’ is the ‘wisdom spiral’. It is purely female in nature and unites the feminine wisdom of the ages in a continuous line. In present times the line has become very thin … It must not be broken!” Sarai utters this last sentence with such passion both Jen and Kate shudder. The action is involuntary and unnerving. Sarai appears transfixed, absent. As if in another dimension, thinks Jen. Eventually Sarai’s eyes refocus. “Well, my dears, I have much to do.”
League of Lilith, The: A thriller with soul Page 22