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In the midrash, Rahab is named as one of the four most beautiful women the world has ever known, along with Sarah, Abigail, and Esther. In the Babylonian Talmud, Rahab was so beautiful that the very mention of her name could cause arousal (Megillah 15a). Rahab is said to have converted at the age of 50, after practising prostitution for 40 ...
Rahab (Hebrew: רַהַב, Modern: Rahav, Tiberian: Rahaḇ, "blusterer") is used in the Hebrew Bible to indicate pride or arrogance, a mystical sea monster, as an emblematic or poetic name for Egypt, [1] and for the sea. [2] Rahab (Hebrew: רָחָב, Rachav, "spacious place") is also one of the Hebrew words for the Abyss.
Midrash Rabba or Midrash Rabbah can refer to part of or the collective whole of specific aggadic midrashim on the books of the Torah and the Five Megillot, generally having the term "Rabbah" (רבה ), meaning "great," as part of their name. These midrashim are as follows: Genesis Rabbah; Exodus Rabbah
According to a Jewish Midrash, ... According to the Greek New Testament, [5] he is also the father-in-law of Rahab. He was an Israelite and a Judahite, ...
Exodus Rabbah is almost purely aggadic in character.. It contains 52 sections. It consists of two sections with different styles, dubbed "Exodus Rabbah I" (sections 1–14, covering Exodus chapters 1–10) and "Exodus Rabbah II" (sections 15–52), which were written separately and later joined.
In the appendix to the Friedmann edition, four homilies are printed from a manuscript, Nos. 1 and 2 of which have yelammedenus and proems. The midrash referred to here is a later, shorter midrash for the feast-days, designated as "New Pesikta," and frequently drawing upon the Pesikta Rabbati; it has been published by Jellinek. [3]
It is a midrash comprising a collection of ancient rabbinical homiletical interpretations of the Book of Genesis. It is an expository midrash to the first book of the Torah, assigned by tradition to the amora Hoshaiah Rabbah, who flourished in the third century in Roman-ruled Syria Palaestina.
Midrash is increasingly seen as a literary and cultural construction, responsive to literary means of analysis. [47] Frank Kermode has written that midrash is an imaginative way of "updating, enhancing, augmenting, explaining, and justifying the sacred text". Because the Tanakh came to be seen as unintelligible or even offensive, midrash could ...