I ran across this the other day while I was reading about the Genesis creation account on wikipedia. I thought it was an interesting take on the two creation accounts, so I figure I'd share.
The dual perspective theory
Biblical scholar Pamela Tamarkin Reis (2001) proposes that Genesis 1 and 2 can be seen as either one story from two perspectives or two separate stories. Both are appropriate. She draws the parallel with the ancient story-telling technique of telling the same sequence of events through the eyes of several different people. This method is best known from its use by Kurosawa in the movie Rashomon. One can make sense of that movie either as four different stories or as four people having four different realistic narratives of the same story.
Ms. Reis analyzes Genesis 1 as God's narrative and Genesis 2 as man's narrative. In Genesis 1, the style of narration is very orderly and logical, proceeding from basics like heaven and earth, through plants and animals to man and woman. And everything is "good" or "very good." Ms. Reis suggests that the story-teller has a bit of whimsy in noting how perfect everything is from God's view.
In contrast, in Genesis 2, man tells the story from his own self-centered perspective. Man is created first, and there are a few flaws. For example, Man is alone, without a woman (in contrast to Genesis 1, where the two were created simultaneously). Where Genesis 1 repeats the phrase "heaven and earth" several times, Genesis 2 uses "earth and heaven." Moreover, Genesis 2 contains a notice that "there was no one to till the ground." The implication that the ground must be tilled contrasts with the completeness implied in Genesis 1.
Even the words used in Genesis 1 suggest serenity, the godly plane of existence. For example, in Genesis 1, the word for God is Elohim, the generic and distant God, while God's name in Genesis 2 is the personal and sacred YHWH Elohim, the Lord of Gods. Even the verb of making is different in the two narratives; in the first narrative the verb is the Hebrew "arb" which means "create from nothing," something that only God can do. In contrast, the verb in the second narrative means "make;" God "made earth and heaven." Furthermore, Man and Woman are both formed from pre-existing matter, in contrast to their creation ex nihilo in the first chapter. This brings God's act within the range of human experience. There are also details about where to find gold and lapis lazuli--but only in the second narrative.
Ms. Reis argues that Genesis 1 and 2 make sense either way, just as for Kurosawa's Rashomon. They make sense as two different stories. Or they make sense as two narratives of the same story from different personal perspectives: that of God and that of man.
The dual perspective theory
Biblical scholar Pamela Tamarkin Reis (2001) proposes that Genesis 1 and 2 can be seen as either one story from two perspectives or two separate stories. Both are appropriate. She draws the parallel with the ancient story-telling technique of telling the same sequence of events through the eyes of several different people. This method is best known from its use by Kurosawa in the movie Rashomon. One can make sense of that movie either as four different stories or as four people having four different realistic narratives of the same story.
Ms. Reis analyzes Genesis 1 as God's narrative and Genesis 2 as man's narrative. In Genesis 1, the style of narration is very orderly and logical, proceeding from basics like heaven and earth, through plants and animals to man and woman. And everything is "good" or "very good." Ms. Reis suggests that the story-teller has a bit of whimsy in noting how perfect everything is from God's view.
In contrast, in Genesis 2, man tells the story from his own self-centered perspective. Man is created first, and there are a few flaws. For example, Man is alone, without a woman (in contrast to Genesis 1, where the two were created simultaneously). Where Genesis 1 repeats the phrase "heaven and earth" several times, Genesis 2 uses "earth and heaven." Moreover, Genesis 2 contains a notice that "there was no one to till the ground." The implication that the ground must be tilled contrasts with the completeness implied in Genesis 1.
Even the words used in Genesis 1 suggest serenity, the godly plane of existence. For example, in Genesis 1, the word for God is Elohim, the generic and distant God, while God's name in Genesis 2 is the personal and sacred YHWH Elohim, the Lord of Gods. Even the verb of making is different in the two narratives; in the first narrative the verb is the Hebrew "arb" which means "create from nothing," something that only God can do. In contrast, the verb in the second narrative means "make;" God "made earth and heaven." Furthermore, Man and Woman are both formed from pre-existing matter, in contrast to their creation ex nihilo in the first chapter. This brings God's act within the range of human experience. There are also details about where to find gold and lapis lazuli--but only in the second narrative.
Ms. Reis argues that Genesis 1 and 2 make sense either way, just as for Kurosawa's Rashomon. They make sense as two different stories. Or they make sense as two narratives of the same story from different personal perspectives: that of God and that of man.