The Moses Controversy: Who Really Wrote the First Five Books of the Bible?

Pattern’s of Evidence: The Moses Controversy

Premiers March 14, 16, 19, 2019.

A unique highlight of March is the premier of a new film, Pattern’s of Evidence: The Moses Controversy.  This film is produced by Thinking Man Films & Media and is a continuation of the personal journey of director Tim Mahoney as he continues to investigate whether the Torah is a reliable source of historical information.  In the film, Tim travels to Cambridge, Oxford, the Middle East, and across the United States to interview and document leading figures and key places involved in the discussion of biblical historicity.  Follow the link to watch the trailer and find out where the film will be shown in your area.  

Facsimile Editions Interview

On Sept. 21, 2018, Brian Rickett joined Michael and Linda Falter at the headquarters of Facsimile Editions in London, for dinner and an interview on their production of the Alba Bible and Catalan Mahzor facsimiles. Here’s a link to the interviews:

Crusader Complex at Acre/Akko, Israel

We have just toured the city of Acre/Akko, Israel

Ghosts still haunt the Knights Hospitaller complex in Akko; includes hall complex of six semi-joined halls, large hall, dungeon, refectory, and gothic church (watch to the end for the ghosts);

For more pics of the crusader complex, see here

Israel Exploration Videos, May 23, 2018

Videos Uploaded for May 23 include: Exploration of Megiddo Water System, Hippodrome Walk, 3,000 Year Old Megiddo Walkway, Crusader’s Arch, Roman Aquaduct, Haifa Coastline, and more

Facsimilia

To supplement our exhibits and research, MIKRA has acquired a number of manuscripts and facsimilia.  They arrived this week.  Here's a sample of what showed up: 

·        1378 (Printed 1731) Wycliffe New Testament

·        1522 Complutensian Polyglot Bible: 6 Volume Set

·        1535 Coverdale Bible

·        1536 William Tyndale Illustrated New Testament

·        1549 Matthew-Tyndale Bible

·        1560 Geneva Bible

·        1568 Bishops Illustrated Bible

·        1611 King James Bible

·        1769 Oxford Standardized 1611 King James Bible

·        1841 Hexapla Parallel New Testament

·        1684 Foxe’s Book of Martyrs

REVIEW of BIBLEWORKS 10; Part 2: Use in Artifact Exhibits

[This is the second installment of a multi-part review of BibleWorks 10.  Check back regularly for follow-up posts; see Part 1 below]

Introduction

Dozens of reviews of BibleWorks 10 have been published since it first appeared in 2017.  The following will highlight some of the ways that the resource is uniquely helpful for MIKRA personnel and volunteers in preparing and conducting exhibits as part of our goal of knowledge sharing (see “Knowledge”).  Over the past year and a half, MIKRA has conducted artifact exhibits in a variety of public and private venues, from California to the Carolinas, and places in between.  The most notable of our public exhibits have been in three state capitol facilities where readers of the present article may have had access to some of the artifacts that we have featured.  We have at least two more of these scheduled in 2018-2019 plus additional exhibits in governmental venues internationally. 

These events are essentially traveling museums where we variously display artifacts featuring, but not limited, to: Torah scrolls, codices, fragments, artifact facsimiles with inscriptional Hebrew, and digitized materials.  These displays are done for educational purposes in order to cultivate appreciation for the recognized historical, social, cultural, political, and religious contributions of exhibited items, and the communities that produced them.  Prior to the exhibits, MIKRA personnel work through the materials in order to showcase important features of the manuscripts (and other) as well as to work each item into a narrative that serves as the main theme for the exhibit. At the forefront of our minds is how best to honorably and respectfully display sensitive cultural, religious items in a guided tour, coordinated with scholarly talks, and that highlight the respective attributes of each item.  All of this is done in environments that tend to be highly nuanced.

The centerpiece of our exhibits thus far has been that of the Hebrew Old Testament, though we expect to feature more original language source materials for the New Testament in the future.  In either case, the foreign language component combined with the biblical text aspect of our exhibitions surfaces some unique challenges - challenges that BibleWorks 10 is uniquely suited to address. 

The following will highlight some of the challenges that arise for exhibitors and docents constructing and servicing our exhibits, and practical ways that BW 10 has helped in this process.  Although these are addressed in connection to manuscript exhibits, they are the kinds of things familiar to anyone who engages in manuscript studies, and our hope is to inspire those with interest in this area to explore new vistas of possibility for their research and work. 

Challenges

Part of our strategy is to utilize volunteer docents that have some background in biblical languages but who are not experts.  To prepare them, we use docent preparation materials such as that issued by the Smithsonian Institute in their Museum on Main Street exhibits. Volunteer docents that work with us are typically seminary or graduate students accompanied by MIKRA personnel and invited specialists.  They often have some facility in Biblical Hebrew, although it is not highly developed.  Moreover, none of the volunteers are likely to have had significant experience working with source materials.  This shows up in the form of three challenges.  First, they need help navigating the Hebrew text so they do not get lost in a maze of Hebrew material.  Second, in addition to lacking verse and chapter references, scrolls, manuscripts, and inscriptions lack vowels and accents, making word identification more difficult.  Third, unless they have extensive training or experience, they are unlikely  accustomed to the styles of calligraphic writing from the scrolls and manuscripts, or the free-form style of the DSS (Dead Sea Scroll) texts, or the paleo-Hebrew that occasionally shows up on some facsimiles, such as with the Ketef Hinnom, or relief reproductions that have been featured.

When developing the layout, we typically consider six basic categories for our line-up, and we work through these using BibleWorks as our main electronic aid whether dealing with the Old Testament, New Testament, or extra biblical materials, such as various pesharim. We look at: (1) standard formatting features unique to source materials (easily cross-referenced with BW Codex L; see below), (2) scribal features such as sofer marks (scribal marks), colophons, decorated, enlarged, compressed or elongated letters, tagin, supra-linear corrections, rolled pehs, puncta extrodinaria, etc., (3) cultural, historical contributions of items as related to pogroms, the holocaust, or other world events, (4) atypical formatting, (5) indications of scribal activities unique to the specific item, such as erasures, paste or cutout corrections, ruling features, re-inking, artistic components, and (6) material features unique to the specific items, including panel replacements, cracked letters, thinning of parchment, striations, veining, and more. 

The digitized Leningrad Codex of BW 10 serves as a reference guide against which many of these can be examined and catalogued.  However, we always check the manuscripts against BW Codex L for standard formatting, and for formatting anomalies. The standard formatting features of Massoretic (and late proto-Massoretic) texts correspond to theologically significant passages for both the Jewish and Christian traditions, so naturally those are that primary passages that we feature for our narratives.

Featured Formatting

Old Testament manuscripts since the time of the Massoretes have been produced according to standardized criteria.  Though they lack chapter and verse references, the OT materials have common features that we highlight due to their obvious visual appeal.  These differ somewhat between the Ashkenazi and Sephardi traditions, and occasionally from manuscript to manuscript, but they always contain uniformity in certain texts.  These include the majascules of the opening letter of Genesis (Genesis 1:1) and the Shema (Deuteronomy 6:4), the brick upon non-brick structures of The Song of the Sea (Exodus 15) and Song of Deborah (Judges 5), the double columns of the Song of Moses (Deuteronomy 32:1-43), the indentations of the Ten Commandments (Exodus 20:1-17; Deuteronomy 5:4-21), Priestly Blessing (Numbers 6:22-27), and curses of Ebal (Deuteronomy 27:15-26), the unique formatting of the names of the sons of Haman (Esther 9:5-14), and others depending on the manuscript and portions of text they contain. 

To highlight these features, our personnel double check the references in advance against the Leningrad Codex that comes standard with BibleWorks 10 in the preparation process.  Because scrolls have to be delicately unrolled to these select passages in advance, some amount of time has to be spent beforehand to allow for quick setup once on location.  BibleWorks is singularly adept at efficiently moving through Hebrew texts rapidly and serves as a tremendous navigational aid in this process. 

In order to familiarize themselves with the materials and passage(s) they are to present, MIKRA student researchers, as well as volunteer docents, can do a quick search of a Hebrew word or line of text in the search bar of BW and find their passage in the standard Westminster Leningrad Codex text (basic electronic text  of Codex L).  They can then open up the corresponding digitized photos of Codex L that comes with BW 10, match their passage, and then check the formatting for similarities with their manuscript. They can also read the text in standardized Hebrew script alongside the stylized script of their manuscript to work through the passage, as well as compare it to the translation of their choice.

Following the lead of the Smithsonian and others, we intentionally select non-specialists to work the exhibit, for both educational and practical reasons.  The result is that they need a guide that allows them to study the text of the item in advance, and to do quick checks of the text either immediately prior to or during the exhibit.  We always have a BW equipped laptop on hand at all exhibits in case something needs to be checked or changed last minute.  Any of our personnel or volunteers can access the software if needed, and get quick answers to any questions that may come up.

During the event, each docent is stationed at a displayed item for the duration of the day.  Prior to arriving, however, they typically have never seen the item they are to present in person.  To best prepare for this, each volunteer is individually matched to a particular item weeks in advance and assigned the task of becoming familiar with its material and textual specifics. If an exhibitor needs help working through the Hebrew grammar of a passage, BibleWorks serves as an ideal study tool.  The instant parsing and list of definitions that pops up by the mouse-over option gives immediate access to anything that is needed, whether in preparation, or potentially during the exhibit itself.

Conclusion

In conclusion, BibleWorks 10 is a special form of common grace.  Prior to gaining access to BW 10, we did all of the pre-event manuscript work by referencing a printed facsimile of Codex L alongside older software.  This was cumbersome, to say nothing of the $600-$900 price tag and virtually illegible Massorah Parva of the black and white facsimile.  Even now, docents without BW are limited to their standard BHS, which does not contain the traditional formatting of the Hebrew scrolls and manuscripts.  Not everyone needs or wants to see this, but for those who do, BibleWorks 10 is the option that makes the most sense. 

REVIEW of BIBLEWORKS 10; Part 1: A Personal Anecdote

[This is the first installment of a multi-part review of BibleWorks 10.  Check back regularly for follow-up posts]

Some months after BibleWorks 10 was released, I was conference hopping - participating in three separate conferences, in three states, over a period of just a few days, effectively living out of a suitcase.  For the last event on the east coast, I was planning on giving a talk on the Hebrew text of Genesis 1:26-28.  The argument considered the structural layout of the passage as seen in Hebrew manuscripts and scrolls and considered the visual impact it would have (and still has) on copyists, readers, and exegetes of the original language source texts.  Obviously, this is a perspective more readily available to those who have access to such resources.  So, for the talk, I was going to utilize a visual presentation showing the multi-line poetical structuring of the Hebrew passage, as well as compare the visual similarities and dissimilarities of the parashot of Genesis 1.  The presentation contained images of a Torah scroll as well as images of the Leningrad Codex (Codex L), which was previously only available via facsimile (photographed form; the original is housed in the National Library of Russia).

As I was going over my presentation in the hotel room prior to the talk, I realized that the photographic quality of my Codex L images was not clear enough to be useful when projected onto a screen.  I had personally taken the photos from the facsimile (photographed volume) I keep at the office, but the original volume’s images were done in black and white, and the clarity was fairly poor by current standards.  On my computer screen they looked fine, but when projected, they were illegible.  I was in jeopardy of having a partially botched presentation.  There was no way I could get to my facsimile.  I was moving too much to receive a package.  No one else could take the photos that I needed in exactly the way that I would need them.  I was in a pinch. 

As I was anxiously considering what options I might have, I remembered that BibleWorks had recently made Codex L available in BW 10.  I had not yet upgraded my software (woe to those who wait), but I needed those images quickly.  After thinking through the difficulty, I contacted BibleWorks representative Jim Barr and asked if he could send me a graphic from the color version of Codex L that comes standard with BW 10.  Without hesitation, he immediately made BW 10 available to me via download and I was able to stream the upgrade overnight from my hotel room before I had to check out.  I was able to insert the new higher resolution color images into my presentation just in time for my talk. 

In the facsimile form, the masorah magna is generally too blurry to be useful, at least for me.  In the BW10 digitized version, however, I can magnify the images to a size much larger while keeping the resolution high.  The result is that BW10 represents a huge advancement for those who want access to Codex L. 

As a final word on this installment of my BibleWorks 10 review, I want to emphasize one point; the generosity, accessibility, and excellence of all BibleWorks personnel with whom I have interacted over the years has always been consistent with the highest standards of Christian conduct.  I have actually become friends with Jim Barr through his fine work and look forward to seeing him at conferences and events in various places.  For BibleWorks, software has not merely been a business, but it has truly been a ministry. 

- R. Brian Rickett

Principal Researcher, The MIKRA Corp.

Fragments of Truth, a Short Review

Introduction

A few weeks ago I received an email from Dan Pritchett, Executive VP at Faithlife informing me of a new limited showing film ready to be released by his company.  Titled “Fragments of Truth,” the documentary provides an efficient, graphic explanation of the manuscript history of the New Testament.  Along the way, it engages the primary questions raised by serious NT critics.  This is reportedly Faithlife’s first effort at such a film and it was released in select theaters around the country, for one night only on April, 24th at 7:00 PM.  Dan’s team sent me a couple of tickets, and so my wife and I attended courtesy of Faithlife.  Here is a quick synopsis.  

Strengths

The film has a great many strengths.  The below are what we viewed as the top three highlights. 

1.      Cinematography.  The most immediate observation that we made was in connection to the cinematography.  It was simply excellent.  It was engaging, and purposeful, and complimented the story line and various arguments well.  It seemed obvious to me that the film was produced by experts in digital media.  Indeed, Faithlife is the parent company of Logos Bible Software.  They are well known for excelling in the area of electronic media.  Their work here may have set a new standard in terms of clear, strategic, effective use of digital and traditional media in service to a well-conceived story line on this kind of subject.  

2.      Personalities and Locations.  The contributors to the film were almost all well-known scholars in the field of NT and related studies.  The locations were also familiar, and were the most important, interesting, and attractive historical and academic environments for the subject matter.  I felt like I was back on the streets of Oxford and visiting the Weston library.  The structures and images were beautiful.  I found myself pointing out familiar places to my wife, such as the Radcliffe Camera and oft featured Hertford College Bridge (though these two were mere architectural eye candy as far as the story line was concerned).   

Of particular interest to me were the personalities selected for the interviews.  Not all scholars are interesting and efficient communicators.  Getting experts who can say exactly what needs to be said in a way that is engaging and accessible to a 21st century non-specialist is, in my opinion, akin to capturing lightning in a bottle.  This speaks to a combination of careful selection of experts, skillful/artistic story line development, and editing out non-pertinent data.  It would not at all be surprising to me if I heard that each 7 hours of interview time yielded 30 seconds to a few minutes’ worth of quality material. I say this because I recently gave 7 hours of interview in two separate locations for the production of a similar, forthcoming movie related to the Old Testament.  This process awakened me to how much is involved with this sort of thing.  I have no idea how much will make the final cut, but probably not a lot if edited as carefully as has been done for this movie.  This leads to the below observation.  

3.      Efficiency & Effectiveness of Argumentation.  One of the most difficult things in getting a script and story line right, especially when complex or technical arguments are involved, is in knowing what to leave out.  In my view, the careful selection and storyline development for this film has exceeded what I have observed in many secular efforts.  I have no doubt that a team of experts worked tirelessly to make sure the argumentation was crystal clear.  The development of the film toward a defined conclusion was interesting, efficient, and compelling.

Limiters

No effort can be completely free of limiters.  The below seeks to mention a couple of points where some viewers might struggle a bit.

1.      Mid-level argumentation.  For the uninitiated, the film and its story line will probably feel like jumping into the middle of a conversation that has been going on for a long time.  My assessment  is that the film will be ideal for college students curious about the subject matter, those disturbed by critical arguments and in need of serious answers, Bible institute level classes, and generally any lay people who have already had an introduction to the concepts discussed.  The film will also be helpful to more advanced students or scholars who can benefit from efficient presentation of facts. 

2.      Data Overload.  A second area where some viewers will struggle is in relation to the rapidity of some of the information.  Occasionally, the presentation of details such as dates, specialized terminology, personal names, and other technical material came just a little too fast.  I predict that the majority of viewers will need to watch the film multiple times to get it, but then again, I suppose that’s what the study guide anticipates.  I suspect that the makers of the film are so accustomed to the content that some of them may disagree with me claiming that they accounted for this concern and worked hard to address it in advance.  I would agree with them that they have excelled, but some of the viewers will still struggle. 

3.      Extra-biblical Literature.  In the Q & A section in the end, Dr. Evans compared the manuscript evidence of the NT to that of other ancient literature.  This is a common approach used by NT scholars to show the uniqueness of the New Testament.  My wife remarked that the issue is so important that it should have been featured in the body of the film, since most may not stick around to watch the Q & A.  I agree with her.  So, our view is that the extra-biblical literary comparisons would have best served the motif of the film by being moved from the Q & A to the main portion of the film.  One might aver, though, claiming that nothing of interest would then be left for the Q & A.  

Conclusion

In conclusion, I would award the movie Fragments of Truth 4.8 out of 5 stars.  It was a success and will be useful far beyond the initial theatre showing.  Even more, my firm belief is that this film is one that needed to be produced.  The questions that it addressed and successfully answered are very important and pressing questions that needed precisely this kind of response.   It may be that only Faithlife could have done it this well. I can see MIKRA working the film or portions of the film into some of our future exhibits, especially when we feature New Testament manuscripts.  I look forward to seeing how this develops going forward. 

-         R. Brian Rickett, Principal Researcher, The MIKRA Research Laboratory 

• Founder and CEO, The MIKRA Corporation, LLC       
• Director, The Artifact Foundation
• Professor of Biblical Studies, The BMA Theological Seminary
• Old Testament Faculty Associate, The Master’s Seminary

In addition to working with original language biblical scrolls and manuscripts, Prof. Rickett has taught biblical and theological research languages, as well New Testament, Old Testament, and other courses for 19 years.