THE DEPARTURE OF REBEKAH

Artist: Schopin ____________ Engraver: J. C. Armytage


 PRINT DATE: This engraving was printed in 1847.

PRINT SIZE: Overall print size is 9 x 12 inches, image size is 6 1/8 by 7 3/4 inches. 

PRINT CONDITION: Condition is excellent. Bright and clean. Blank on reverse. Paper is quality woven rag stock paper.

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 PRINT DESCRIPTION:    The second (after Sarah) of the matriarchs in the ancestor stories of Genesis, Rebekah is one of the most prominent women—in terms of her active role and her control of events—in the Hebrew Bible. The beautifully constructed narratives in Genesis 24–27 describe how she becomes Isaac’s wife, gives birth to twin sons after initial barrenness, and finally obtains the primary place in the lineage for her younger son, Jacob, who is destined to become ancestor of all Israel. Although problematic to some, her deception in manipulating Isaac for Jacob’s benefit contributes to her portrayal as an admirable and assertive woman. The story of the wooing of Rebekah unfolds in Genesis 24, the longest chapter in the Book of Genesis. A spouse for Isaac is to be obtained from his uncle Nahor’s family; the ensuing cousin marriage, with Rebekah and Isaac both members of the same kinship group, serves to emphasize the importance of their lineage. Abraham dispatches a trusted but unnamed servant to Mesopotamia, the land of his birth and where some of his family still resides, to find a wife for his son. Rebekah secures her role as wife-elect for Isaac by befriending the servant and his ten camels in the famous well scene, which has been called a type-scene—a narrative episode with certain expected motifs that appears at the critical juncture in the life of a hero. Indeed, the account of Rebekah at the well is the premier biblical example of such a scene. It ostensibly draws attention to Isaac, but, in his absence, reveals the beauty and especially the virtues of his wife-to-be. After the well incident, Rebekah brings the servant home, enters into the marriage arrangement, and sets off to meet her future husband. She seems to have some input into the marriage negotiations, or at least into the decision about her departure from her homeland and birth family (24:57–58). When she first sees Isaac in Gen 24:62–65, she dismounts from her camel and veils herself, a nonverbal act perhaps signaling her status as a soon-to-be betrothed woman as it does for elite women in ancient Assyria. That she dons the betrothal veil herself may also indicate her independence. Once she arrives in the promised land, she enters Isaac’s home (called “his mother Sarah’s tent,” 24:67). There she is “loved” (24:67) by her husband, the first woman in the Hebrew Bible for whom marital love is proclaimed. After twenty years of marriage, when Rebekah fails to become pregnant, Isaac prays to God, who grants the prayer that she may conceive. Another type-scene, that of the barren wife, thus enters the Rebekah story, calling attention to the special role of the children ultimately born to her. A divine oracle is addressed to her when she is pregnant; God proclaims that “two nations” are in her womb and will contend with each other (25:23). This oracle foreshadows the tensions that will characterize the relationship between her sons, Jacob and Esau, as figures in the Genesis narrative and as eponymous ancestors of Israel and Edom. In the next episode in the Rebekah story, Isaac passes her off as his sister. This narrative, similar in many ways to two such accounts about Sarah, at first seems to contribute little to the role or character of Rebekah. However, it does differentiate her in a significant way from Sarah; in one of the two wife-sister episodes in which she figures (Gen 12:13–14, 19), Sarah seems to have had sexual relations with Pharaoh to ensure the safety of her husband and their household, although this is not the case in the second wife-sister story involving Sarah (Gen 20: 1–8). Rebekah’s marital fidelity, in contrast, is never compromised (Gen 26:7–11). Her relationship with her husband is consistently monogamous, unlike the other matriarchs of Genesis: Sarah, who provides her husband with the slave wife Hagar and perhaps has extramarital sex with the pharaoh; and Rachel and Leah, who are co-wives and also provide slave wives to Jacob. The final scene in which Rebekah appears is another well-known biblical episode: Isaac blesses Jacob rather than Esau, the first to emerge from the womb and thus the expected recipient of the paternal blessing (Genesis 27). The designation of Jacob as heir to the ancestral lineage, which means he will be progenitor of all Israel, is orchestrated by Rebekah. She covers Jacob with animal skins so that when the vision-impaired Isaac touches Jacob, he thinks he is touching Esau, who is hairy (Gen 24:25). Isaac then gives his blessing to Jacob rather than first-born Esau. Through clever manipulation, whereby Isaac is deceived, she achieves her purpose and controls the family destiny. Moreover, in another ruse, she convinces Isaac to send Jacob to her family in Padan-Aram (in Mesopotamia) to preclude his marrying a Hittite woman when in fact she wants him to escape a vindictive Esau (Gen 27:41--46; 28:1–5). Rebekah will never see her beloved son again. i

A RARE ANTIQUE PRINT! VERY HARD TO FIND!