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By F. Rohrlich

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A further point worth noting is that in both cases the pursuers assume that the spies are (or have been) in this particular house. " And the woman said to them, "They have gone . . "), where the directness and specificity of the pursuers' question (there is no explanatory preamble) and the manner of the woman's reply (she makes no attempt to deny that she has seen the spies) are not such as we might have expected were the narrator thinking of this as a random enquiry. Now this knowledge on the part of the pursuers makes good sense in the Rahab story where the men go first to the woman's house: from the context it is clear that they are seen there and that this is reported to the king with the inference being drawn that they are spies (only the inference is given explicit expression in the actual narrative).

But what can this mean? The Old Testament abounds in this kind of "historical" story and though our story of King David is undoubtedly more extensive and has a more complex plot than most (though compare the stories of Joseph and his family, Ruth, and Esther) these are differences of degree and not of kind. (Tolstoy's War and Peace is no less a novel than Steinbeck's Of Mice and Men). Nor is this kind of "historical" story absent from ancient Near Eastern literature in general (cf. for example, in Egypt, some of the stories in Petrie's collection of Egyptian tales [1895 ], including the tale of Sinuhe; also ANET, pp.

If the addressee were to give the wrong answer to the parable (for example, if David had said to Nathan, "Well, I'm sorry for the poor man, but there may be more to this than meets the eye — take the case to the local examining magistrate") the parable would have been ludicrously pointless. That is to say, it is only the story of effective deception by parable that bears repeating. My point then is this. Wherever else parables may occur (in wisdom literature, 42 The Story of King David prophetic oracles or elsewhere) these particular ones are thoroughly at home in their narrative setting.

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