About the Author
Yael S. Feldman is an Israeli-born American scholar and academic known for her work in comparative literature and feminist Hebrew literary criticism. She is the Abraham I. Katsh Professor of Hebrew Culture and Education in the Judaic Studies Department at New York University, and an Affiliated Professor of Comparative Literature and Gender Studies. She is also a Fellow of the American Academy for Jewish Research, and a Visiting Fellow at Wolfson College, Cambridge. Feldman has lectured and published internationally, and served as editor of both general and academic journals.
Glory and Agony: Isaac's Sacrifice and National Narrative
Glory and Agony is the first history of the shifting attitudes toward national sacrifice in Hebrew culture over the last century. Its point of departure is Zionism's preoccupation with its haunting "primal scene" of sacrifice— the near-sacrifice of Isaac, as evidenced in wide-ranging sources from the domains of literature, art, psychology, philosophy, and politics.
By placing these sources in conversation with twentieth-century thinking on human sacrifice, violence, and martyrdom, this study draws a complex picture that provides multiple insights into the genesis of national sacrifice. Glory and Agony traces the birth of national sacrifice out of the ruins of religious martyrdom, exposing the sacred underside of Western secularism in Israel as elsewhere.
"Feldman's study stands as a role model for investigations of biblical tropes in modern literatures. Indeed her book may be the crowning study of the binding of Isaac. One thing is certain—its readers are unlikely to ever again encounter any kind of sacrificial narrative without harking back to Feldman's observations."
—Yael Halevi-wise, Shofar: An Interdisciplinary Journal of Jewish Studies
"An extremely important contribution: I know of no other study of the akedah—the Sacrifice of Isaac—that compares to this superb multidisciplinary investigation."
—Galili Shahar, Cathedra: Journal for the Study of Land-of-Israel
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“Ultimately,” says Benedict Anderson, national 'fraternity' made it possible, for so many millions of people, “not so much to kill, as willingly to die” (Imagined Communities, 7). Over half a century earlier, a fictional Palestinian Jew similarly declared on the eve of his volunteering to the British Army in WWI: “You don't understand me: I am going to die…not to kill”.
Sentiments of this sort abound in my study, Glory and Agony: Isaac's Sacrifice and National Narrative (2010), which traces the fluctuating attitudes to the desire/duty/requirement and obligation to die for the motherland in Hebrew discourses of the 20th century. However, the language and imagery in which these sentiments are often couched reveal that they were not fuelled solely by the national comradeship or 'fraternity' of the “imagined communities” argued for by Anderson.
Rather, the willingness to die for one's country, be it a fatherland or motherland, seems to derive from a much older human 'habit' or 'reflex'— the universal need to secure one's well-being by appeasing the gods, or their human representatives (Nietzsche, Genealogy, 61). This appeasement began as a gift giving, or—at times of special duress (Robertson Smith, Lectures, 361)—by giving up life itself, whether of oneself or of one's loved ones (Hubert & Mauss, Sacrifice,100; Strenski, Contesting, 166).
Like other national movements and the secular at large (Naveh, Crown of Thorns; Marvin and Ingle, Blood Sacrifice; Strenski, Contesting; Asad, Formations; Rushdie, Shalimar), Jewish nationalism seems to have been unable to invent a new, un-sacred, language, a “language of irreligion,” in Rushdie's words. Nor has it managed to separate itself from the arch vehicle of the sacred—the trope of 'blood sacrifice,' of dying on the nation's altar, namely, one's motherland.
The young pioneers in early-20th-century Jewish Palestine, for example, were quite unambiguous in their desire to lay down their lives for the moledet ['matria,' motherland]. “Oh my country, my dear motherland! To you I sacrifice, giving you my meagre powers as a gift,” writes Y. Schneerson, a member of the Jewish Palestinian NILI Gang, in 1917, as he actively assists the British in liberating the land from the yoke of the oppressive Ottoman regime.
A year later, as a Jewish Legion was being organized within His Majesty's Army for the same purpose, the organizers encouraged the volunteers by linking the ubiquitous old-new figure of the modern military hero as a blood sacrifice with the ancient story of the first biblical murder: “We must be ready to shed our blood on the altar of our hope [so that] our blood will cry out of the earth to all the nations.”
Three decades later, however, a momentous shift in paradigm took place. A new image entered the national conversation. The generalized talk about blood sacrifice, symbolized early on by the blood of Abel, the first innocent victim of murder (Genesis 4), was replaced, rather ironically—by the archetypal story of an aborted human sacrifice, the so-called Sacrifice of Isaac (Genesis 22).
Thus in the 1949 Passover Haggada of Kibbutz Na'an, put together as the 1948 Israeli War of Liberation was drawing to a close, we find not only “heroism and blood” but also “the bliss/glory of the Binding of Isaac [ha-akedah, in Hebrew; lit., The Binding] and the agony of sacrifice.” Clearly, the harrowing cost in human life paid for the war intensified the realization that in national sacrifice, elation and grief, glory and agony, are forever bound together.
Nevertheless, from this moment on Israeli fallen soldiers have more often than not been symbolized by the biblical Isaac—paradoxically the survivor of that paradigmatic divinely decreed yet last-minute aborted human sacrifice. This paradoxical re-writing raises a curious question: How and why did a story interpreted for millennia as advancing a divine prohibition of human sacrifice, appropriately named in Hebrew a 'binding' rather than a 'sacrifice,' become a trope not only for a fully enacted sacrifice but for military death in battle? And why was Isaac, a rather 'pale' biblical persona and certainly the least heroic among the patriarchs, selected to stand for the modern national fallen warrior?
To phrase the question differently: When, in fact, did the so-called secularization of Isaac's story begin, and what was the psycho-ethical implication of this choice?
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