The voice of Jacob and the hands of Esau
November 16, 2012 § Leave a comment
The experience of losing my voice this week has had me thinking a lot about the power of speech. The ability to ‘have a voice’ – in the sense of being able to speak for ourselves – is indeed critical to our sense of self-worth.
In this week’s Torah portion, we hear the story of Rebekah’s ruse: Isaac is ready to give a blessing to one of his sons. The exclusive nature of the blessing would seem to indicate that it has some legal weight; perhaps Isaac is ready to retire from his role as head of the household. One presumes that he had been leading his family clan for some time; there is no mention of the transfer of power from Abraham to Isaac. Perhaps after the binding and near-sacrifice, Abraham was no longer interested in formal ceremonies. But Isaac was willing to engage in the custom of giving his sons a blessing as he retires. His son Jacob and his grandson Joseph will do the same when their turn comes.
Isaac had always favored Esau, his outdoorsman son, and he tells him to make a festive meal for just the two of them, and they’ll talk. Esau, however, is not a man of many words; he says one word in their brief exchange (the Hebrew word for ‘here I am’) and he leaves, ready to go into action. He is a powerful man and a skillful hunter. He speaks rarely, and in nearly every conversation he speaks of death. There is something about him that makes people tremble, a quality that puts others on their guard.
Rebecca is Isaac’s wife. She has no voice, at least when it comes to her husband. She speaks in whispers, of controversies and of plots. As we read, “Rebekah had been listening as Isaac spoke to his son Esau. When Esau had gone out into the open to hunt game to bring home, Rebekah said to her son Jacob, ‘I overheard your father speaking to your brother Esau, saying, ‘Bring me some game and prepare a dish for me to eat, that I may bless you, with the Lord’s approval, before I die.’ Now, my son, listen carefully as I instruct you.’”
Jacob, in turn, tries to tell mom why this is a Very Bad Idea, but when he does, he gives the wrong reason: he doesn’t say ‘Mom don’t try to use me to trick my father and my brother.’ Rather, he’s worried that they will get caught. Her irritation is evident in the text as she exerts her power over him in her response: “But his mother said to him, “Your curse, my son, be upon me! Just do as I say and go fetch them for me.”
Then there is the scene in which the son attempts the trick. Though the scene could certainly be played straight, there is an element of comedic farce: for example, exactly how hairy is this brother if they have to use sheepskin to mimic his arms and neck?
When Jacob comes in, more or less dressed as a sheep, his father Isaac asks who’s there:
[Jacob] went to his father and said, “Father.” And he said, “Yes, which of my sons are you?” Jacob said to his father, “I am Esau, your first-born; I have done as you told me. Pray sit up and eat of my game, that you may give me your innermost blessing.”
But Isaac is not convinced. He objects that Esau could not have made it back that soon:
Isaac said to his son, “How did you succeed so quickly, my son?” And he said, “Because the Lord your God granted me good fortune.”
That’s the first objection voiced. Now he’s sounding really suspicious:
Isaac said to Jacob, “Come closer that I may feel you, my son-whether you are really my son Esau or not.” So Jacob drew close to his father Isaac, who felt him and wondered. “The voice is the voice of Jacob, yet the hands are the hands of Esau.” He did not recognize him, because his hands were hairy like those of his brother Esau; and so he blessed him.
That’s the second objection voiced. Imagine what that scene would look like if it were hammed up with over-acting. Played broadly, it’s actually pretty funny to picture the old blind father patting down the sheepskin on Jacob’s neck thinking it’s really Isaac.
But he’s still not fully convinced:
He asked, “Are you really my son Esau?” And when he said, “I am,” he said, “Serve me and let me eat of my son’s game that I may give you my innermost blessing.” So he served him and he ate, and he brought him wine and he drank.
That’s the third objection voiced. But even after dinner he expresses his doubt:
Then his father Isaac said to him, “Come close and kiss me, my son”; and he went up and kissed him. And he smelled his clothes and he blessed him, saying, “Ah, the smell of my son is like the smell of the fields that the Lord has blessed.
That’s the fourth objection voiced. And again the farce: Just how stinky is Esau if he’s that distinctive in his smell? You could imagine the father sniffing Jacob deeply, making an exaggeratedly sour face and then declaring – oh yeah, that’s Esau all right!
Which of course makes you wonder: maybe the father knew all along?
Here is another question to consider: who is the villain, and who is the hero in this story? You can argue plausibly for any two. I have seen a variety of commentaries, and they don’t all agree as to who is right and who is wrong, nor do they agree as to the reasons why. It’s not so simple, is it?
If we look at this text through the lens of the Rabbinic literature, for example, we will notice that the rabbis treat the two boys as archetypes, with Jacob as the people of Israel and Esau the nation of Rome. From their perspective, Rome’s endless brutality more than justified the trickery. In their version, Jacob the hero is always right and Esau the villain is always wrong.
If we look at this narrative through the lens of family dynamics, we will notice that the preferential treatment Abraham showed for one of his boys appears here again in Isaac’s treatment of his two sons. And these family dynamics get repeated endlessly: Just as Jacob tricks his brother, so too will he be tricked a pair of sister-rivals. The lesson here is that we tend to recreate our family dramas, down to the small details, carrying them from generation to generation. In this reading, Rebecca and Isaac bear the blame for not being more self-aware. And there are no heroes.
If we look at the story through the lens of feminism, we will notice that Rebecca is hidden, unable to venture out, unable to speak for herself. She must rely on subterfuge and reside in shadows. Her use of trickery is an expression of her weakness in the face of the more powerful male. Here Isaac is the one who is wrong, the patriarchic villain, and Rebecca is the hero for getting what she wants even in a position of relative powerlessness.
The story has neither hero nor villain, just people behaving badly. You are the one who picks the hero, the one with whom you identify, and you are the one who chooses the villain.
But the story also hides a deeper pain, which is why it is so endlessly interesting to us. Why is it that this family can’t talk to each other? Why does Rebecca feel the need to manipulate her younger son in order to trick his father into giving him recognition? Why does the older son keep getting duped by his brother and his mother?
What happens in these situations – what drives folks to engage in these elaborate schemes – is the belief that they will not be heard.
I have used this example before, but it is apt: let’s say you are swindled and you take the guy to small claims court. You prepare your case, organize your papers, and practice your speeches. You are going to explain exactly how you were wronged. You are going to have your day in court. And when the day comes, before you even get to speak, the judge summarily rules in your favor without hearing the case. Would you feel satisfied with that result?
To a large extent, we would rather be heard, even if it means that we might lose our case.
We all want to be heard, on our own terms, in our own voice. So, in listening to this story – and to the stories you hear as you go into your week – ask yourself: who is not being heard? Seeking out that voice and the perspective that it represents might go a long way toward relieving unresolved pain. It’s not always possible, of course; just as I have lost my voice this week, others too can lose the ability to give voice to their perspective. But do try to listen. We all want to be heard, on our own terms, in our own voice.