It always looked so weird to me, like, who not just read the Bible like a proper book instead of having all of those numbering?

I guess it’s because it makes easy to find some specific line? But that is from an academic perspective instead of something you would put in a faith book?

When did that started and why they put all the numbering?

  • flooppoolf@lemmy.world
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    1 year ago

    Took a humanities class on the development of religion. As another poster commented, the Bible is a collection of books and stories that can be found even on other religions and older texts. Given that this a collection of works dating back over thousands of years, my recollection is more of generalization that can point to what to look for rather than provide extreme specifics.

    Take the Odyssey, it can be compared to books in the Bible such as David and Goliath, the flood, etc. There is others such as the epic of Gilgamesh demonstrating the use of gods giving humans epic powers and fighting one eyed evil giants. The use of daemons converted into demons in the Bible. For example, It is said a daemon is someone of 2 genders in one body, similar to a hermaphrodie however one part was holy (iirc), and would serve to be a useful companion rather than an evil force against you.

    Now imagine you got all these motherfucking books everyone else made.

    I’ll title my small book: Ye Old Plagiarism

    One, the Greeks fucking hated writing in anything other than pentameter or stuff like that. Naturally poems and the like must have their lines numbered.

    Two, the Roman’s also hated writing normally, expect lines and wacky rhyming schemes.

    Three, the Bible is written and it ended up looking like this.

    • dustyData@lemmy.world
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      1 year ago

      On the point of pentameter and other ancient writing quirks. It’s because writing was expensive and not really that common. Ink, paper, quill. It all had to be painstakingly made by hand. Then all the training on reading and writing was a huge time investment as well. So it was relegated to the high classes. And slaves, they used slaves as scribes and basically as personal computers.

      So, most of culturally relevant works were actually poems. Lacking writing tools, long passages of texts are hard to memorize. But, poems in regular rhyme and accompanied by structured melodies are actually very easy to memorize. The Odyssey was one such a song.

      A master could teach his disciples the words and melody of extraordinarily long passages of information. Names, history, dates, myths, moral essays, by teaching the song. Performing the different passages several times allowed memorization and then they could perform this either for entertainment or for study and analysis via rethorical discussion. This oral tradition is how we have theater plays, stories and songs from 5 thousand years ago. We are pretty certain today that Homer didn’t wholly originally wrote the Illiad and the Odyssey. He belonged to this oral tradition and put it down into writing. Something that might have been seen as unnecessary at the time, for text was relegated to legal documents and treatises and court proceedings.

      EDIT: Here’s a practical demonstration. Write down the lyrics for Mr. Brightside. Chances are that you know them by heart.

      • flooppoolf@lemmy.world
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        1 year ago

        Beautifully put. It’s all about it being an astounding play (story/poem) that was meant to be seen by aristocratic wealth and written almost as an afterthought, giving us all these different interpretations. And there’s the instruction sets that are also added in, which in my opinion is what made religion the ugly thing it is today, controlling. Thankfully humanity kept storytelling, book and playwriting well and alive thousands of years into the future.

    • Lvxferre@lemmy.ml
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      1 year ago

      I apologise for the incoming off-topic… it’s just that you mentioned Latin works, I fucking love it.

      Two, the Roman’s also hated writing normally, expect lines and wacky rhyming schemes.

      It’s less that they “hated writing normally”, and more that texts were made for a specific purpose and target audience, and the ones written “normally” didn’t catch much attention. But they do exist - and we have surviving counter-examples, like

      • Caesar’s De Bello Gallico - he was being concise and clear. It’s a military report, not fancy pants poetry.
      • anything Cicero - he wrote a spaghetti, but he wasn’t writing something catchy-sounding so the masses would remember and follow it, it was mostly philosophy geared towards educated speakers. The content mattered more than the form.

      But not even for poetry the Romans used wacky rhyming schemes. Rhymes in Latin sound boring, because most words will end with a handful of sounds - it’s too easy to pick a word that rhymes with another. Instead they did some fancy stuff with the metrics, capitalising on short vs. long syllables to create aesthetic effects. I’ll exemplify it with one of my favourite poems. Bolded syllables are long, the others are short:

      Catullus V
      1. ··mus mea Les·bia, at·que a··mus (LLLS LSLS SLL)
      2. ··rēs·que se·num se··ri·ō·rum (LLLS SLSL SLL)
      3. om·nēs ū·ni·us aes·ti··mus as·sis! (LLLS LLSL LLL)
      4. ·lēs oc·ci·de·re_et re··re pos·sunt: (LLLS SLSL SLL)
      5. ·bīs cum se·mel oc·ci·dit bre·uis lūx, (LLLS LLSL SLL)
      6. nox est per·pe·tua ū·na dor·mi·en·da. (LLLS SLSL SLS)
      7. ·si·a mīl·le, dein·de cen·tum, (LLLS SLSL SLL)
      8. dein mīl·le_al·te·ra, dein se·cun·da cen·tum, (LLLS SLSL SLL)
      9. dein·de_ūs·que_al·te·ra mīl·le, dein·de cen·tum. (LLLS SLSL SLL)
      10. Dein, cum ·li·a mul·ta ·ce··mus, (LLLS SLSL SLL)
      11. con·tur··bi·mus il·la, sci·ā·mus, (LLLS LLSL SLL)
      12. aut quis ma·lus in·ui··re pos·sit, (LLLS LLSL SLL)
      13. cum tan·tum sci·at es·se ·si·ō·rum. (LLLS LLSL SLL)

      Translation, copypasted from Wikipedia:

      1. Let us live, my Lesbia, and let us love,
      2. and let us value all the rumors of
      3. more severe old men at only a penny!
      4. Suns are able to set and return:
      5. when once the short light has set for us
      6. one perpetual night must be slept by us.
      7. Give me a thousand kisses, then a hundred,
      8. then another thousand, then a second hundred,
      9. then immediately a thousand then a hundred.
      10. then, when we will have made many thousand kisses,
      11. we will throw them into confusion, lest we know,
      12. or lest anyone bad be able to envy
      13. when he knows there to be so many kisses.

      All verses have exactly 11 metric syllables, even if a few of them require you to elide an ⟨e⟩ before another vowel. Note the general pattern (L = long, S = short):

      • All verses start with LLLS (spondee, then trochee).
      • Most verses follow it with either SLSL (two iambs) or LLSL (spondee, then iamb).
      • Most verses end in SLL (iamb, then a “dangling” long).

      Why “most”? Because there are exceptions. And they’re likely there because the author was playing with the rhythm alongside what the “lyric I” is saying:

      • the first verse is trying to get Lesbia’s attention, so the middle uses SLSL (two trochees) because they sound faster and more playful.
      • the third verse ends with LLL (spondee+long). It’s like someone saying emphatically “screeeeww thooose guuuys”. It makes sense when you look at what the verse says - that the opinion of those old guys shouldn’t matter a single as/“penny”.
      • in the sixth verse, instead of a “dangling” long syllable, you got a short one. It ends abruptly - just like our lives, and that’s exactly what the verse talks about.

      You’ll also see this sort of attention to the metric foot in other Roman works, like the Aeneid; except that the effect that Virgil was seeking was completely different from Catullus above, it was more like a “shut up, I’m going to tell you something important and profound”. But still no rhymes.

      • flooppoolf@lemmy.world
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        1 year ago

        This is right on topic!!! I love you for knowing these things :)

        I think we read Cicero’s De Republica and I remember Louden speaking about the music of the spheres. It tore me up to think that thousands of years ago (despite being geocentric and not knowing about the vacuum of space) someone might’ve had the insight to know about the sounds of the early universe.

        Here is black hole making funny noises, not the ethereal sounds we were promised but nonetheless sound ooOoOo

        And I do remember Louden saying exactly that! That the narrator gave a sense of somber importance where the audience is expected to listen with great concern as we’re about to listen a great tale of a great man and what he did to anger the gods so.

        We drew many comparisons but I think I remember one being that the story opens like that in the Odyssey I think? Or maybe one of Eurepedes or Sophocles plays where they use muses and a chorus kind of as an “audience” of sorts to demonstrate the seriousness and invested interest of the public.

        I’m obviously not as well versed (pun intended) as you are but it was great to talk about this once again. I might give De Bello Gallico a read since it’s just a report, nothing with too much allegory, being I can’t ask my long deceased professor questions.

        Any preferred translations? All I have is Latimore translations for the texts I’ve mentioned hahahaha

        • Lvxferre@lemmy.ml
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          1 year ago

          Even tying sound with movement, on itself, is surprisingly insightful. If they thought that Earth didn’t make a sound because it was fixed, this means that they were aware that movement creates sound. (Later on we’d discover that sound is movement.)

          We drew many comparisons but I think I remember one being that the story opens like that in the Odyssey I think?

          I’m a bit clueless on Greek but I gave it a check, and it was the Odyssey indeed - the “lyric I” starts right off the bat asking the Muse about Odysseus. And since Virgil crafted the Aeneid as a continuation of the Odyssey, he most likely took a lot of the poetic resources from it, kind of like a fan game ripping off assets from the original.

          Note however that Ancient Greek poetry had another resource at hand, that Latin didn’t - tone. And the authors of the past used it quite a bit, so the poem had a melody by itself, by just reading it aloud. Like this:

          1. ἄν·δρα μοι ἔν·νε·πε, μοῦ·σα, πο·λύ·τρο·πον, ὃς μά·λα πολ·λὰ (H - - H - - L - - H - - L H - - L)
          2. πλάγχ·θη, ἐ·πεὶ Τροί·ης ἱε·ρὸν πτο·λίε·θρον ·περ·σεν (H - - L H - - L - H - H - -)

          Those are the two first verses of the Odyssey. Here H/bold = rising or high, L/italics = low or falling, and dash/unmarked = unstressed.

          Any preferred translations [for De Bello Gallico]? All I have is Latimore translations for the texts I’ve mentioned hahahaha

          I usually follow it in Portuguese (my L1), so I can’t help you much with that. That said I’d recommend you to avoid translations flowering the text too much (it goes against the “spirit” of the text), or insistently keeping Latin word order intact (e.g. “Gallia is wholly divided in parts three” or junk like this, it sounds awful in English).

          Or other readings you might think I’d enjoy? I think Odyssey was my absolute favorite, but I’m also a Golden Ass enjoyer of sorts as well.

          For the Odyssey the nearest in spirit that you’ll get in Latin would be the already mentioned Aeneid. Past that you’d probably need to either go back to Greek works (like Argonautica) or even modern languages (like Os Lusíadas, same “we’re out, to the unknown world, to do something great” vibe).

          Things like the Golden Ass are easier to find, though. Anything Plautus will give you a good laugh: Aulularia (The Pot of Gold), Miles Gloriosus (The Proud Soldier), Bacchides. Often there are “moral messages” in them but they’re mostly slapstick comedy.

          You might also like some of Catullus’ poems. The one from my example is well-behaved, but check poems 16, 39, 58 and 84 for some fun. 16 in special is quoted often due to the profanity.

          I often compare Martial’s Epigrams to the Roman version of shitposting.

        • flooppoolf@lemmy.world
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          1 year ago

          Or other readings you might think I’d enjoy? I think Odyssey was my absolute favorite, but I’m also a Golden Ass enjoyer of sorts as well.

    • flooppoolf@lemmy.world
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      1 year ago

      Another thing is, don’t look at what post biblical professors are saying. The guy from Bible Odyssey is focusing on why we continued that same stupid scheme from the Torah all the way to the KJV of the Bible. James Louden has books that focus on the similarities from the absolutely oldest pieces of text found (Sumerian Gilgamesh, The Odyssey, Iliad, etc) and can point you into the direction that you are looking for.