T'OMIM: Tanakh Observable Matches of Intertextual Mimesis

David Smiley has archived his T'OMIM: Tanakh Observable Matches of Intertextual Mimesis database on Zenodo. He provided the following description via Agade:

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A new dataset is now available that may be of interest to anyone working on inner-biblical allusion, synoptic parallels, or intertextuality more broadly. T'OMIM (תאומים, "twins" in Hebrew) is an open-access collection of labeled parallel passages in the Hebrew Bible, hosted on Zenodo.

Scholars have been cataloging parallelism and intertextual relationships since antiquity. But none of that accumulated work has existed until now in a structured, machine-readable format. T'OMIM was built to fill that gap.

The dataset pairs two corpora of known parallels. The first contains 554 narrative verse pairs drawn from the Chronicles synoptic tradition. The second contains 256 poetic half-verse pairs identified in the biblical parallelism literature. Both corpora are available at two levels of granularity: verse-level paired texts with source citations, and word-level tokens that carry the full ETCBC morphological annotation (part of speech, verbal stem, gender, number, person, lexeme, English gloss, and syntactic structure). Every word in every parallel passage is fully parsed.

For those working computationally, the word-level data can feed directly into natural language processing workflows. For scholars approaching these texts without a programming background, the verse-level files are structured as simple tabular data and can be opened in Excel or any spreadsheet application. Each row is a pair of passages, with columns for the source reference, the text, and the scholarly citation from which the parallel was drawn.

“Love in Lines: Syntax, Metre, and Stanza in Akkadian Love Literature” - Daniele Borkowski (University College London)

Daniele Borkowski (University College London) just delivered a fascinating online lecture regarding “Love in Lines: Syntax, Metre, and Stanza in Akkadian Love Literature.” His presentation focused on the poetics of the compositions, which has many parallels with biblical Hebrew poetry. I include my summary notes here of things that seem particularly relevant for comparative study of the poetry of the Bible.

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Summary of the Poetics of Akkadian Love Poetry of the 2nd Millennium:

• The standard Akkadian verse (he called them lines) has four stresses divided by a caesura that distinguishes two lines (he called them stichoi). Prepositions are not generally factored into the stress-count. The 2/2 pattern is the most common and comprises about 40% of the verses. Next common is 2/1 (about 20%) and 1/2 (about 10%). These three metrical patterns with four or three stressed syllables account for about 70% of verses. He has not yet studied whether any of these metrical patterns apply consistently across full compositions.
• Clausula accadica: This principle says Akkadian lines should end in a trochee (stressed followed by unstressed syllable); about 71% follow this rule, a consistency which supports the existence of meter in the corpus.
• About 70% of the time there is one syntactic clause per line (his stich, I think).
• About 75% paratactic clauses vs. 25% hypotactic; compositions usually have a mix, rather than consistently one style.
• In paratactical constructions, the verbs are often put at the beginning and end of the verse (sim. chiasm).
• He frequently sees patterns in the semantic relationships between lines (stichoi within a verse; e.g., parallelism), including reiteration, contrast, elaboration, et al.
• A substantial proportion of tablets from the 2nd millennium (8/32) draw horizontal lines (usually plus blank space) to indicate stanza breaks. The number of verses per stanza varies both within compositions, but the most common is around 5-6 verses per stanza. Most commonly, these indicate changes of speaker.
• The graphic distinction between different lines (stichoi) is standard practice from the 1st millennium onward, but rare in the 2nd millennium. Most commonly, each verse is written on a single row with a blank space/caesura in the middle separating the lines (stichoi), such that the tablet looks like it is laid out in two columns. One Neo-Babylonian tablet actually further differentiates each accentual unit within each line. Sometimes scribes misdivide the lines within a verse.