31.7.08
19th Century: Lilith by Kenyan Cox
The painting entitled Lilith by Kenyan Cox is another 19th century depiction of the demon. Done in two panels, the top panel depicts a scene similar to the work of John Collier with the serpent wrapped around her, seemingly kissing a pale woman with presumably blonde hair. The second panel depicts the temptation of Adam and Eve as well as their expulsion from Eden, eerily similar to the painting done by Michelangelo on the ceiling of the Sistine Chapel. Here, Lilith and the snake are transformed into one, offering temptation.
25.7.08
19th Century: Lady Lilith by D.G. Rossetti
In addition to numerous poems about Lilith, D.G. Rossetti also produced two paintings entitled “Lady Lilith.” One piece is an oil painting, the other done in water colours. The painting depicts a pale woman in a floral setting, combing her blonde hair and staring at a mirror. There is almost an ethereal quality to her, and the floral surroundings are vaguely reminiscent of the Garden of Eden. In addition she is dressed in white, eluding a connotation of purity, which is a far cry from the depictions of Lilith that we’ve encountered so far. Compare to John Collier’s Lilith painting where she is nude with the snake wrapped around her.
20.7.08
Lilith – John Collier
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Art is another area that Lilith received prominence in, especially after the pre-Ralphite movement. The painting in question here is entitled Lilith and was done by John Collier. Like other paintings done of Lilith during the 19th century, namely the works of D.G. Rossetti, Lilith is portrayed as pale, blonde and beautiful. However, in this particular piece she is also nude, displaying her naked body with a snake tastefully wrapped around her body, covering her privates. The snake and the background suggests that this painting is set in the garden of Eden, but Lilith is the main focus. She is beautiful to be sure, but there is a sense of danger about her and she is a sensual and sexy woman. This a high contrast to D.G. Rossetti’s Lady Lilith painting where she is fully clothed and has am almost ethereal quality to her, sitting in her beauty and combing her hair.
9.7.08
19th Century: Adam, Lilith and Eve by R. Browning
Browning is another poet to write on the subject of Lilith, but his portrayal is very different from the works of Rossetti. His poem, Adam, Lilith and Eve is almost a positive version of Lilith.
Adam, Lilith and Eve
One day, it thundered and lightened.
Two women, fairly frightened,
Sank to their knees, transformed, transfixed,
At the feet of the man who sat betwixt;
And "Mercy!" cried each--"if I tell the truth
Of a passage in my youth!"
Said This: "Do you mind the morning
I met your love with scorning?
As the worst of the venom left my lips,
I thought, 'If, despite this lie. he strips
The mask from my soul with a kiss--I crawl
His slave,--soul, body, and all!'"
Said That: "We stood to be married;
The priest, or some one, tarried;
'If Paradise-door prove locked?' smiled you.
I thought, as I nodded, smiling too,
'Did one, that's away, arrive--nor late
Nor soon should unlock Hell's gate!'"
It ceased to lighten and thunder.
Up started both in wonder,
Looked round and saw that the sky was clear,
Then laughed "Confess you believed us, Dear!"
"I saw through the joke!" the man replied
They re-seated themselves beside.
It is interpreted that the woman who says “Do you mind the morning/I met your love with scorning?” is Lilith. If that is the case, Lilith is more of a trickster character than a malevolent woman. Her demands, whatever they were (perhaps the author is assuming a familiarity with the Lilith legend), were not heartfelt, they were to test his love! (“His slave – soul, body and all!” However, the validity of this statement can be contested due to the ending of the poem, as their statements might have simply been teasing, and if that is true, then Lilith’s motives can be presumed to be in line with the older thoughts.
Unlike Rossetti, there is also more of a focus on Lilith emotionally rather than physically and desires, making her more three dimensional than before.
Adam, Lilith and Eve
One day, it thundered and lightened.
Two women, fairly frightened,
Sank to their knees, transformed, transfixed,
At the feet of the man who sat betwixt;
And "Mercy!" cried each--"if I tell the truth
Of a passage in my youth!"
Said This: "Do you mind the morning
I met your love with scorning?
As the worst of the venom left my lips,
I thought, 'If, despite this lie. he strips
The mask from my soul with a kiss--I crawl
His slave,--soul, body, and all!'"
Said That: "We stood to be married;
The priest, or some one, tarried;
'If Paradise-door prove locked?' smiled you.
I thought, as I nodded, smiling too,
'Did one, that's away, arrive--nor late
Nor soon should unlock Hell's gate!'"
It ceased to lighten and thunder.
Up started both in wonder,
Looked round and saw that the sky was clear,
Then laughed "Confess you believed us, Dear!"
"I saw through the joke!" the man replied
They re-seated themselves beside.
It is interpreted that the woman who says “Do you mind the morning/I met your love with scorning?” is Lilith. If that is the case, Lilith is more of a trickster character than a malevolent woman. Her demands, whatever they were (perhaps the author is assuming a familiarity with the Lilith legend), were not heartfelt, they were to test his love! (“His slave – soul, body and all!” However, the validity of this statement can be contested due to the ending of the poem, as their statements might have simply been teasing, and if that is true, then Lilith’s motives can be presumed to be in line with the older thoughts.
Unlike Rossetti, there is also more of a focus on Lilith emotionally rather than physically and desires, making her more three dimensional than before.
4.7.08
19th Century - Eden's Bower by D.G. Rossetti
Another poem that Rossetti wrote about Lilith was “Eden’s Bower.” The poem is quite lengthy and I will not repeat it here, but it is a more vivid description of Lilith than what is described in Body’s Beauty.
Again, in the opening lines, it is repeated that Lilith is Adam’s first wife. Immediately, Rossetti portrays her as a malevolent force again, saying “With her was hell and with Eve was heaven.” In addition, here, the snake of the garden appeals to Lilith to be his lover, cementing her as an evil woman. In addition to this, she is also portrayed as a more dominating figure, with Rossetti calling her “Queen of Adam.”
There is also a theme of revenge in this particular work that is not found elsewhere, with Lilith appealing to the serpent for revenge on Adam. She takes the snake’s form and proceeds to cause the fall of man. It is not uncommon for the snake in the garden to become associated with Lilith, but it is Christians who first made the connection between the serpent in Eden and the Devil, not the Jewish tradition that Lilith rose out of.
Again, in the opening lines, it is repeated that Lilith is Adam’s first wife. Immediately, Rossetti portrays her as a malevolent force again, saying “With her was hell and with Eve was heaven.” In addition, here, the snake of the garden appeals to Lilith to be his lover, cementing her as an evil woman. In addition to this, she is also portrayed as a more dominating figure, with Rossetti calling her “Queen of Adam.”
There is also a theme of revenge in this particular work that is not found elsewhere, with Lilith appealing to the serpent for revenge on Adam. She takes the snake’s form and proceeds to cause the fall of man. It is not uncommon for the snake in the garden to become associated with Lilith, but it is Christians who first made the connection between the serpent in Eden and the Devil, not the Jewish tradition that Lilith rose out of.
3.7.08
19th Century: Body's Beauty
Dante Gabriel Rossetti is a bit of a fan boy for Lilith, all things considered. Not only did he paint the painting “Lady Lilith,” he also wrote several poems explicitly about her. The first one, “Body’s Beauty” was made to go with his “Lady Lilith” painting.
Mythologically speaking, the origin works well with what we have from Ben Sira and earlier sources. However, it is a short mention, found only in the first two lines. We are told that she was Adam’s wife, who came before Eve. However, beyond that, much of the poem is speculation, focusing on the sensuality of Lilith, the fact that she is beautiful, and that she is eternally youthful. It is also worth pointing out that despite highlighting all of these aspects of Lilith, she is portrayed primarily as a negative, evil force, seducing men. This puts the poem on the same level as the Talmud passages that describe her long hair and depict her as a malevolent force.
Body’s Beauty – Dante Gabriel Rossetti
Of Adam's first wife, Lilith, it is
told
(The witch he loved before the gift of
Eve,)
That, ere the snake's, her sweet tongue could
deceive,
And her enchanted hair was the first gold.
And still she sits,
young while the earth is old,
And, subtly of herself
contemplative,
Draws men to watch the bright web she can
weave,
Till heart and beauty and life are in its hold.
The rose
and poppy are her flowers; for where
Is he not found, O Lilith,
whom shed scent
And soft-shed kisses and soft sleep shall
snare?
Lo! as that youth's eyes burned at thine, so
went
Thy spell through him, and left his straight neck
bent
And round his heart one strangling golden hair.
Mythologically speaking, the origin works well with what we have from Ben Sira and earlier sources. However, it is a short mention, found only in the first two lines. We are told that she was Adam’s wife, who came before Eve. However, beyond that, much of the poem is speculation, focusing on the sensuality of Lilith, the fact that she is beautiful, and that she is eternally youthful. It is also worth pointing out that despite highlighting all of these aspects of Lilith, she is portrayed primarily as a negative, evil force, seducing men. This puts the poem on the same level as the Talmud passages that describe her long hair and depict her as a malevolent force.
2.6.08
19th Century - Lilith by George MacDonald
Returning to the 19th century, today's focus rests on the novel Lilith by George MacDonald. I will confess it was a book that I did not enjoy much and would not read if not writing this thesis, but it is important.
The story of Lilith focuses on the story of the main character Mr. Vane travels through a mirror into another land. This land is mystical and medieval, ruled over by a princess who turns out to be Lilith. In this world also exist a spieces of children who never grow old and simply turn into giants, called the Little Ones. The key to allowing the Little Ones to grow old is literally in the hand of Lilith. In her hand, which is clenched tight, is water needed for the Little Ones to grow. In order to get her to release the water, which is impossible for her to do because the hand has grown fused shut, her hand is severed and she subsquently passes on.
Most of the book is focuses on the significane maintained by the character Mr. Raven, who turns out to be the Biblical Adam, and the house he maintains where the dead lie in endless sleep until the apocalypse. However, as per the purpose of this blog, the connections to the mythological Lilith are more important.
Although the novel is named after her, Lilith does not appear until half way through the text. Her name is first said on page 204 as Adam explains to Mr Vane why she is a villian in the text. According to him, "her first thought was power; she counted it slavery to be with me and bear children for Him" and that after had spilled her own blood, she was made queen of Hell by a force known as the Shadow (204). He also calls her the, "vilest of God's creatures." (205) The creation story of Lilith as explained in Ben Sira is used and played straight, although the escape to the dead sea is replaced with her becoming queen of Hell.
There is very little mythological connection from here on out. On page 282 Lilith is described as talking in a primitive language the narrator doesn't understand, implying her old age and on page 297 she can be heard talking about God and expressing sadness that she failed Him. However, both are very much minimally related to the mythology.
The story of Lilith focuses on the story of the main character Mr. Vane travels through a mirror into another land. This land is mystical and medieval, ruled over by a princess who turns out to be Lilith. In this world also exist a spieces of children who never grow old and simply turn into giants, called the Little Ones. The key to allowing the Little Ones to grow old is literally in the hand of Lilith. In her hand, which is clenched tight, is water needed for the Little Ones to grow. In order to get her to release the water, which is impossible for her to do because the hand has grown fused shut, her hand is severed and she subsquently passes on.
Most of the book is focuses on the significane maintained by the character Mr. Raven, who turns out to be the Biblical Adam, and the house he maintains where the dead lie in endless sleep until the apocalypse. However, as per the purpose of this blog, the connections to the mythological Lilith are more important.
Although the novel is named after her, Lilith does not appear until half way through the text. Her name is first said on page 204 as Adam explains to Mr Vane why she is a villian in the text. According to him, "her first thought was power; she counted it slavery to be with me and bear children for Him" and that after had spilled her own blood, she was made queen of Hell by a force known as the Shadow (204). He also calls her the, "vilest of God's creatures." (205) The creation story of Lilith as explained in Ben Sira is used and played straight, although the escape to the dead sea is replaced with her becoming queen of Hell.
There is very little mythological connection from here on out. On page 282 Lilith is described as talking in a primitive language the narrator doesn't understand, implying her old age and on page 297 she can be heard talking about God and expressing sadness that she failed Him. However, both are very much minimally related to the mythology.
27.5.08
20th Century: Back to Methuselah
So we are jumping back in time a little bit today and focusing on the play "Back to Methuselah" written in 1921. The play itself divides into five acts, the first act focusing on Adam and Eve, acts 2 through 4 focusing on humanity and it's psychological evolution and the fifth act ending with a reflection by biblical characters on the other arcs. Overall themes include humanity eliminiating suffering, cruelness etc. from the human condition and transcending matter and into something else.
Lilith is an overarching figure, but she stays off stage for much of the play. Act 1 demonstrates that she is the creator figure of Adam and Eve and Eden, not a God figure. She is a maternal figure for certain, but is not the first wife of Adam or anything remotely relating to the mythology that has preceeded her. Indeed, really not any aspect of the Lilith mythology appears in the Lilith character in the play. She is far removed from the first wife of Adam, mother of demons etc. rather she is an insightful, intelligent creator figure.
Very little research seems to have been done about Lilith herself in this play, perhaps only borrowing the name for the sake of a good name.
Lilith is an overarching figure, but she stays off stage for much of the play. Act 1 demonstrates that she is the creator figure of Adam and Eve and Eden, not a God figure. She is a maternal figure for certain, but is not the first wife of Adam or anything remotely relating to the mythology that has preceeded her. Indeed, really not any aspect of the Lilith mythology appears in the Lilith character in the play. She is far removed from the first wife of Adam, mother of demons etc. rather she is an insightful, intelligent creator figure.
Very little research seems to have been done about Lilith herself in this play, perhaps only borrowing the name for the sake of a good name.
21.5.08
20th Century Media - Lilith: A Metamorphosis
Forgive me for jumping around chronologically. As it is summer I do not have easy access to my materials and sources and am dependent on a friend of mine who attends Princeton University to deliver me my research material.
As this blog has established in the past, the main goal of this thesis is to discover and explore the connections of media featuring Lilith to the mythology that surrounds her, primarily that of the Alphabet of Ben Sira. As we saw in the quotations from Faust, these connections were fairly limited. However, today's document Lilith: A Metamorphosis shows a strong, will researched understanding of Lilith and her story.
Lilith: A Metamorphosis is a short novella written by Dagmar Nick, originally published in German. The English edition totals 47 pages with German text on the left pages and English on the right, making it a fairly short story over all, perhaps 25 pages or so. The story is told from the point of view of Lilith herself, explaining how she came to be transformed into a snake from a beautiful woman by means of being in contact with Adam.
Here, the ties to Ben Sira and other myths about Lilith are strong. Lilith stumbles across Adam by chance, although Adam calls her "[his] creature" (7), assuming that is the other person that the Voice has promised him. (The Voice, of course, being God.) Lilith comes and goes as she pleases, but always finds herself returning to Adam for some unknown reason. It's an effective means of demonstrating the idea of Lilith as Adam's first wife, although it removes the idea of a simultaneous creation for them both. Rather, the book suggests that there are other humans that live outside of Eden and that Adam is a sort of special project for the Voice.
Another strong tie to the earlier mythology is Lilith's other act ivies. Adam gives Lilith her name because "[she] is a woman of the night; therefore you are called Lilith. Whenever you come, it is night, and whenever you are unexpectedly up and away it is also night. Lilith" (19). In addition to connecting Lilith with the night there is also this passage.
As this blog has established in the past, the main goal of this thesis is to discover and explore the connections of media featuring Lilith to the mythology that surrounds her, primarily that of the Alphabet of Ben Sira. As we saw in the quotations from Faust, these connections were fairly limited. However, today's document Lilith: A Metamorphosis shows a strong, will researched understanding of Lilith and her story.
Lilith: A Metamorphosis is a short novella written by Dagmar Nick, originally published in German. The English edition totals 47 pages with German text on the left pages and English on the right, making it a fairly short story over all, perhaps 25 pages or so. The story is told from the point of view of Lilith herself, explaining how she came to be transformed into a snake from a beautiful woman by means of being in contact with Adam.
Here, the ties to Ben Sira and other myths about Lilith are strong. Lilith stumbles across Adam by chance, although Adam calls her "[his] creature" (7), assuming that is the other person that the Voice has promised him. (The Voice, of course, being God.) Lilith comes and goes as she pleases, but always finds herself returning to Adam for some unknown reason. It's an effective means of demonstrating the idea of Lilith as Adam's first wife, although it removes the idea of a simultaneous creation for them both. Rather, the book suggests that there are other humans that live outside of Eden and that Adam is a sort of special project for the Voice.
Another strong tie to the earlier mythology is Lilith's other act ivies. Adam gives Lilith her name because "[she] is a woman of the night; therefore you are called Lilith. Whenever you come, it is night, and whenever you are unexpectedly up and away it is also night. Lilith" (19). In addition to connecting Lilith with the night there is also this passage.
"Nonetheless, I was still surprised that all of a sudden he had named me so, because the children I frightened and the men I annoyed in my land also took me for a nocturnal creature and called me Lilu, which sounds quite similar. They also call a screech owl, or what they imagine to be a desert kobold, Lilu. I don't know what I had in common with a screech owl other than its tenderness covered by a featherlight gown." (19)
So, here, we see a number of connections to the mythology. Children being frightened, men being annoyed - perhaps a connection to nocturnal emissions, and perhaps most importantly the screech owl connection, which is often another word used in the passage from Isaiah that Lilith is very commonly associated with.
The story itself has little more connection to the mythological Lilith beyond these pages, but the story is still immensely well done. Lilith is very believable, endearing figure and because of an accident where a tree limb accidentally falls on Eve as Eve tries to pull Lilith out of the Tee of Knowledge, is turned into a snake. Moreover, there is real research done into this, as Lilith describes in the passage quoted from page 19, making it an effective means of demonstrating a combination between creative lisence and retaining original mythology.
Works cited:
Nick, Dagmar. Lilith: Eine Metamorphose. Trans. Maren and David Partenheimer. Missouri: Thomas jefferson University Press 1995.
10.5.08
Romantic Lit - Goethe's Faust
The first time that we see Lilith used as a literary character, rather than a figure of religious mythology used within text, is in Goethe's Faust. The mention here is intensely breif, but it is still noteworthy.
Translation by Martin Greenburg, 1992.
So, what do we make of this first apperance? She is called "pretty witch," with keeps in line with the ancient tradition of her being beautiful woman but deadly. Note that the idea that she is Adam's first wife is consistant with Ben Sira. In addition, the idea of her hair being a part of the mythology, as mentioned in Erubin 100b. (See earlier entries.) The focus here seems to be on her ability to seduce and the fact that it makes her a demonic character.
Overall, she is used as an extremely minor character who only briefly appears on Walpugris Nacht, but in terms of the history of her development this is key. She is a demonic figure, certaintly, but the mythology from Ben Sira and earlier corrosponds almost exactly to Ben Sira and the Talmud,
Faust: Who's that there?
Mephisto: Take a good look.
Lilith.
Faust: Lilith? Who is that?
Mephisto: Adam's wife, his
first.
Beware of her.
Her beauty's one boast is her dangerous hair.
Then Lilith winds it tight around young men
She doesn't soon let go of them again.
(4206–4211)
Faust: A lovely dream I dreamt one day
I saw a green-leaved apple tree,
Two apples swayed upon a stem,
So tempting! I climbed up for them.
The Pretty Witch: Ever since the
days of Eden
Apples have been man's desire.
How overjoyed I am to think, sir,
Apples grow, too, in my garden.
(4216 – 4223)
Translation by Martin Greenburg, 1992.
So, what do we make of this first apperance? She is called "pretty witch," with keeps in line with the ancient tradition of her being beautiful woman but deadly. Note that the idea that she is Adam's first wife is consistant with Ben Sira. In addition, the idea of her hair being a part of the mythology, as mentioned in Erubin 100b. (See earlier entries.) The focus here seems to be on her ability to seduce and the fact that it makes her a demonic character.
Overall, she is used as an extremely minor character who only briefly appears on Walpugris Nacht, but in terms of the history of her development this is key. She is a demonic figure, certaintly, but the mythology from Ben Sira and earlier corrosponds almost exactly to Ben Sira and the Talmud,
16.4.08
Origin: Alphabet of Ben Sira
Having now examined the Bible and Talmud, we arrive at the Alphabet of Ben Sira which holds perhaps the quinessential story of Lilith. The text is dated between the 8th and 10th centuries of the common era and tells several stories in the form of aggadah with some elements of midrash in the text. There is a bit of a frame narrative two it: the biblical Ben Sira is in the court of Neubacanazzar (please ignore spelling mistakes regarding that name!) and as the text progresses Ben Sira relays various folk tales to the king. What follows is from the book Rabbinic Fantasies: Imaginative Narratives in Hebrew Literature and their translation of the relevent portion of the Alphabet of Ben Sira.
This text is the defining story of Lilith and includes several elements from the earlier texts examined in this blog. Her association with children, emphasized in the Talmud (Niddah 24b) is explained in full here. It also seems to corroborate with the information from Erubin 18b with the idea of demons and Lilith's demonic children.
Aside from the correlations with previous information we are finally given a definitive history of who Lilith was and what she's like. It's the first time the idea that she's the first wife of Adam is confirmed and moreover it shows that she is an immensely independent woman. Many feminists have read this story and have identified Lilith as a prototypical feminist, adopting her as a symbol of feminism. Obviously this was not always the case, but reasons for this are their own study.
From here on out most literary texts draw on this story of Lilith to tell their own versions of the character. That is the main purpose of this blog, although it may derail from time to time.
Next: Goethe and Lilith
Soon afterward the young son of the king took ill, Said Nebuchadnezzar, "Heal my
son. If you don't, I will kill you." Ben Sira immediately sat down and wrote an
amulet with the Holy Name, and he inscribed on it the angels in charge of
medicine by their names, forms and images, and by their wings, hands, and feet.
Nebuchadnezzar looked at the amulet. "Who are these?"
"The
angles who are in charge of medicine: Snvi, Snsvi, and Smnglof. After God
created Adam, who was alone, He said, 'It is not good for man to be alone' (Gen.
2:18). He then created a woman for Adam, from the earth, as He had created Adam
himself, and called her Lilith. Adam and Lilith began to fight. She said, 'I
will not lie below,' and he said, 'I will not lie beneath you, but only on top.
For you are fit only to be in the bottom position, while am to be in the
superior one.' Lilith responded, 'We are equal to each other inasmuch as we were
both created from the earth.' But they would not listen to one another. When
Lilith saw this, she pronounced the Ineffable Name and flew away into the air.
Adam stood in prayer before his Creator: 'Sovereign of the universe!' he said,
'the woman you gave me has run away.' At once, the Holy One, blessed be He, sent
these three angles to bring her back.
"Said the Holy One to
Adam, 'If she agrees to come back, fine. If not she must permit one hundred of
her children to die every day.' The angels left God and pursued Lilith, whom
they overtook in the midst of the sea, in the mighty waters wherein the
Egyptians were destined to drown. They told her God's word, but she did not wish
to return. The angels said, 'We shall drown you in the sea.'
"'Leave me!' she said. 'I was created only to cause sickness to infants. If the
infant is male, I have dominion over him for eight days after his birth, and if
female, for twenty days.'
"When the angels heard Lilith's
words, they insisted she go back. But she swore to them by the name of the
living and eternal God: 'Whenever I see you or your names or your forms in an
amulet, I will have no power over that infant.' She also agreed to have one
hundred of her children die every day. Accordingly, every day one hundred demons
perish, and for the same reason, we write the angels' names on the amulets of
young children. When Lilith sees their names, she remembers her oath, and the
child recovers."
This text is the defining story of Lilith and includes several elements from the earlier texts examined in this blog. Her association with children, emphasized in the Talmud (Niddah 24b) is explained in full here. It also seems to corroborate with the information from Erubin 18b with the idea of demons and Lilith's demonic children.
Aside from the correlations with previous information we are finally given a definitive history of who Lilith was and what she's like. It's the first time the idea that she's the first wife of Adam is confirmed and moreover it shows that she is an immensely independent woman. Many feminists have read this story and have identified Lilith as a prototypical feminist, adopting her as a symbol of feminism. Obviously this was not always the case, but reasons for this are their own study.
From here on out most literary texts draw on this story of Lilith to tell their own versions of the character. That is the main purpose of this blog, although it may derail from time to time.
Next: Goethe and Lilith
13.4.08
Origins: Talmud
Lilith is mentioned several times in the Talmud.
"Rab Judah citing Samuel ruled: If an abortion had the likeness of Lilith its
mother is unclean by reason of the birth, for it is a child but it has wings." -Niddah 24b
This is a very short mention, but it suggests several things. It enforces the idea that Lilith has wings, which becomes a very important part of her later mythology, especially with the Alphabet of Ben Sira. It also associates Lilith with demonic children or perhaps a birth defect, enforcing the idea that she holds some sort of power over newborn children.
"[Expounding upon the curses of womanhood] In a Baraitha it was taught: She
grows long hair like Lilith, sits when making water like a beast, and serves as
a bolster for her husband.” -Erubin 100b
This passage occurs over a discussion of marriatial commitment and the idea of polyandry. Lilith has often been associated with having many lovers, and this seems to reinforce that idea. It also places an emphasis on Lilith's long hair, which is also a defining feature of Lilith in later mythology.
"R. Hanina said: One may not sleep in a house alone [in a lonely house], and
whoever sleeps in a house alone is seized by Lilith.” -Shabbath 151b
Now here is a very important aspect of the stories associated with Lilith: she uses the nocturnal emissions of men in order to spawn her demonic offspring. This is the first mention of such an idea and is monumental to her mythological development. Moreover, this indicates that such an attribute had already been assocaited with her when the Talmud was composed, suggesting that this tradition, as well as the others that have already been mentioned, had a long established tradition already.
The information given here is absolutely tantalizing and is the first real myth of Lilith that doesn't work off of assumed knowledge about Lilith. It places an emphasis on the idea that Lilith had demonic children with Adam, although she is never actually mentioned. However, it is safe to assume that this is indeed her, as there is no other figure in Jewish lore that would match the description and have the ability to bare such demonic children.
So, what, overall, can we learn about Lilith from the Talmud? We know that she's a villianous character and is associated with sex, sexuality and children. It seems that several portions of her common mythology were already in play as well. She is associated with children in a negative manner, she "siezes" men at night which suggests the later nocturnal emission stories and that she has wings. Much of the information is assumed prior knowledge. While this does not help to indicate the stories circulating about Lilith at the time the Talmud was being written, it does show that there was a strong belief in her and that there were tales of her circulating.
Next: The quintesential Lilith story
"Rab Judah citing Samuel ruled: If an abortion had the likeness of Lilith its
mother is unclean by reason of the birth, for it is a child but it has wings." -Niddah 24b
This is a very short mention, but it suggests several things. It enforces the idea that Lilith has wings, which becomes a very important part of her later mythology, especially with the Alphabet of Ben Sira. It also associates Lilith with demonic children or perhaps a birth defect, enforcing the idea that she holds some sort of power over newborn children.
"[Expounding upon the curses of womanhood] In a Baraitha it was taught: She
grows long hair like Lilith, sits when making water like a beast, and serves as
a bolster for her husband.” -Erubin 100b
This passage occurs over a discussion of marriatial commitment and the idea of polyandry. Lilith has often been associated with having many lovers, and this seems to reinforce that idea. It also places an emphasis on Lilith's long hair, which is also a defining feature of Lilith in later mythology.
"R. Hanina said: One may not sleep in a house alone [in a lonely house], and
whoever sleeps in a house alone is seized by Lilith.” -Shabbath 151b
Now here is a very important aspect of the stories associated with Lilith: she uses the nocturnal emissions of men in order to spawn her demonic offspring. This is the first mention of such an idea and is monumental to her mythological development. Moreover, this indicates that such an attribute had already been assocaited with her when the Talmud was composed, suggesting that this tradition, as well as the others that have already been mentioned, had a long established tradition already.
"R. Jeremiah b. Eleazar further stated: In all those years [130 years after his
expulsion from the Garden of Eden] during which Adam was under the ban he begot
ghosts and male demons and female demons [or night demons], for it is said in
Scripture, And Adam lived a hundred and thirty years and begot a son in own
likeness, after his own image, from which it follows that until that time he did
not beget after his own image…When he saw that through him death was ordained as punishment he spent a hundred and thirty years in fasting, severed connection
with his wife for a hundred and thirty years, and wore clothes of fig on his
body for a hundred and thirty years. – That statement [of R. Jeremiah] was made
in reference to the semen which he emitted accidentally.” -Erubin 18b
The information given here is absolutely tantalizing and is the first real myth of Lilith that doesn't work off of assumed knowledge about Lilith. It places an emphasis on the idea that Lilith had demonic children with Adam, although she is never actually mentioned. However, it is safe to assume that this is indeed her, as there is no other figure in Jewish lore that would match the description and have the ability to bare such demonic children.
So, what, overall, can we learn about Lilith from the Talmud? We know that she's a villianous character and is associated with sex, sexuality and children. It seems that several portions of her common mythology were already in play as well. She is associated with children in a negative manner, she "siezes" men at night which suggests the later nocturnal emission stories and that she has wings. Much of the information is assumed prior knowledge. While this does not help to indicate the stories circulating about Lilith at the time the Talmud was being written, it does show that there was a strong belief in her and that there were tales of her circulating.
Next: The quintesential Lilith story
10.4.08
Origins: Isaiah 34:14
The first and only mention of Lilith in canonical scripture is found in Isaiah 34:14 which reads as follows:
The term "Lilith" is not always translated as "Lilith." The original text reads as "lilitu" which does not seem to have a concrete translation. In Isaac Asimov's guide to the Bible, he notes that "lilitu" is a loan word from Babylonian which eventually came to be known as "night." Other translations replace "Lilith" with "screech owl" or "night hag," and in the case of the Latin Vulgate the word becomes "lamia." Lamia, as it turns out, is a Greek mythological figure who eventually becamse a child killer. This echoes the story of Lilith and in later mythology, the two became associated and occasionally synonymous with each other.
Converging mythologies aside, what does the only canonical mention of Lilith in scripture indicate? In the context of chapter 34, Isaiah is primarily focused on the oncoming judgement of the Lord. The animals listed before Lilith as well as Lilith herself are said to inherit a desolate Earth after divine judgement. Lilith is cast out of the holy land and the grace of God, a clear sign of rejection.
This information suggests that there was some sort of mythology behind Lilith when Isaiah was written, but what that story is has been omitted from the text. Perhaps the writer assumed the audience knew the story of Lilith and there was no need for elaboration. What we can glean from this mention though is that she was viewed as a negative figure from a very early point.
Next: Talmudic mentions
Wildcats shall meet with
hyenas,
goat-demons shall call to each other;
there too Lilith shall
repose,
and find a place to rest.-Isaiah 34:14, New Revised Standard
The term "Lilith" is not always translated as "Lilith." The original text reads as "lilitu" which does not seem to have a concrete translation. In Isaac Asimov's guide to the Bible, he notes that "lilitu" is a loan word from Babylonian which eventually came to be known as "night." Other translations replace "Lilith" with "screech owl" or "night hag," and in the case of the Latin Vulgate the word becomes "lamia." Lamia, as it turns out, is a Greek mythological figure who eventually becamse a child killer. This echoes the story of Lilith and in later mythology, the two became associated and occasionally synonymous with each other.
Converging mythologies aside, what does the only canonical mention of Lilith in scripture indicate? In the context of chapter 34, Isaiah is primarily focused on the oncoming judgement of the Lord. The animals listed before Lilith as well as Lilith herself are said to inherit a desolate Earth after divine judgement. Lilith is cast out of the holy land and the grace of God, a clear sign of rejection.
This information suggests that there was some sort of mythology behind Lilith when Isaiah was written, but what that story is has been omitted from the text. Perhaps the writer assumed the audience knew the story of Lilith and there was no need for elaboration. What we can glean from this mention though is that she was viewed as a negative figure from a very early point.
Next: Talmudic mentions
Introduction
Welcome. This is a blog decidated to my senior thesis concerning the mythological history of Lilith in comparison to the fictional literature using Lilith as a character since the Romantic period. It is generally focuses on literary items, but will also include some paintings and any audio or film portrays of Lilith as well.
Why Lilith?
Lilith is an intriguing figure who has undergone a startling transformation since her inital conception. For an immensely long time she was considered to be a demonic figure, acting as a temptress, succubus and child killer. However, she is now usually associated with feminist ideals and has garnered quite a modern following, especially in feminist Judaism. This is no easy task to follow and is not the focus of my thesis, but I do consider it to be a big factor in chosing the topic. What I find most interesting is comparing how literary and audio/visual works portray her when you look at the mythology they are derriving from.
This blog endevours to be updated once a week with research information, including documents from primary sources. It will be updated on Fridays.
Why Lilith?
Lilith is an intriguing figure who has undergone a startling transformation since her inital conception. For an immensely long time she was considered to be a demonic figure, acting as a temptress, succubus and child killer. However, she is now usually associated with feminist ideals and has garnered quite a modern following, especially in feminist Judaism. This is no easy task to follow and is not the focus of my thesis, but I do consider it to be a big factor in chosing the topic. What I find most interesting is comparing how literary and audio/visual works portray her when you look at the mythology they are derriving from.
This blog endevours to be updated once a week with research information, including documents from primary sources. It will be updated on Fridays.
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