The purpose of this article is to discuss some basic problems and methodological steps concerning the encounter between Hebrews and Greeks in the Classical period and its impact on the Hellenistic era. The relationship between the Old Testament and Ancient Greek literature will be examined on the basis of Genesis 2–3 and Alcibiades’s speech in Plato’s Symposium. The following considerations and models of interpretation can arise from the analysis of Alcibiades’s speech compared to M- and LXX-Genesis 2–3: Ancient Greek writers (...) were familiar with Old Testament oral or written traditions through improvised translations. They prepared the way for the LXX and, in their compositions, were in dispute with them although they do not make specific references to the Hebrews and their literature; Hebrew authors knew the works of Ancient Greek authors and used Greek philosophical terminology which they creatively adapted to Semitic models; Both models are possible. One should not rush to any decisions but examine each case individually, in the original language. (shrink)

In some cases discussed below, the present form of the Septuagint is not representative of how Ancient Greek Tragedies were received by the LXX translators, but of how Old Testament traditions in Greek form were received by the tragedians.

This article expands upon the range of options and methods of some of my earlier studies on Euripides and the Old Testament. These studies have sought to discover similar linguistic features and concepts in the texts of Euripides and the Old Testament, and to discuss how Euripidean tragedies can be read as Greek responses to Hebrew anthropological beliefs, more specifically as poetic-philosophical approaches to the anthropo-theological narratives of Genesis 2–4 and related biblical texts. These biblical texts probably transmitted through improvised (...) oral or written Greek translations preceding the Septuagint (LXX), reorganise and transform the meaning of Hebrew expressions. This article presents the basic problems and aspects of a cultural-critical and comparative analysis and illustrates them with shared motifs from Medea, one of the eight Euripidean tragedies named after a female protagonist, and the Old Testament, thus expanding the boundaries of the traditional historic-critical exegesis.Contribution: The article contributes to the investigation of the background of the Septuagint from a cultural critical perspective with special reference to the Euripidean tragedies. (shrink)