Greetings PioneerSchmioneer,
It is unclear to me what you mean by the statement “Krüger is correct.” Do you mean that Krüger is correct with his hypothesis that “the link between creation and Sabbath in Gen 2:2–3, Exod 20:11, and Exod 31:17b belongs to one or more late ... redactional layer(s) of the Pentateuch,” or my assertion that “Krüger, like every other scholar who assumes a symmetrical arrangement of eight works, is wrong”?
I have no argument to make on the first of these. As I said, I will leave it to others to argue about that. However, if, as Krüger says, the link between creation and Sabbath is a secondary addition to P made by a redactor, then it speaks against your stated position that “the first chapter of Genesis is a cosmological religious lesson that works as a forword to the Torah, designed to teach Jews to observe the Sabbath in imitation of God” because the Sabbath would not have been a feature of the Hexaemeron originally if Krüger is correct. Now Genesis 1 may have come to serve the purpose you state after the text had been redacted, but that would not actually reflect the original intent of the author of Genesis 1.
If, however, you are saying that Krüger is correct with respect to his utilization of a symmetrical arrangement of eight creative acts, then I must respectfully disagree. Your position either means that you have not read my paper or you disagree with it. If the latter, I would certainly like to hear the reason why my thesis is in error. While the arguments for my position are stated in my paper, let me note some of the problems that accompany the symmetrical arrangement of eight creative acts here using Krüger’s statements as an example.
God’s works on the first and on the fourth day refer to light and time (day and night, months and years).
Ok, but what are the first and fifth creative acts concretely? What kind of relationship does the author intend in the proposed parallel here? Light and time is vaguely stated, yes, but what is the exact nature of that relationship?
On days two and three the basic dimensions of space – sky, dry land, and sea – are created, which are filled with living beings on the corresponding days five and six.
Here I must similarly ask, what are the second
and sixth creative acts concretely? What is the exact nature
of their relationship in the proposed parallel here? What are the
third/fourth and seventh/eighth creative acts concretely?
What is the exact nature of their relationship in the proposed
parallel here? He speaks of space and filling. Is one then to understand the relationship between the creative acts of days one and four above as one where light (day 1) is the "space" which luminaries (day 4) "fill"?
Also, see how Krüger combines days two-three and five-six together rather than discuss days two and five, three and six individually? This glosses over the fact that the seas are actually created on day three, not day two, while the inhabitants of the sea are created on day five, not on day six as an actual correspondence would necessitate. Interpreters try to get around this by saying that since the firmament is said to divide the waters on day two, the text’s mere mention of waters can justify the parallel to the creation of sea creatures on day five. One could just as easily pair day five with day one with such an argument. Thus the parallel only holds by ignoring what the text actually states and logic.
Day three parallels day six in having two creative works of God instead of only one.
Yet again, what are the third-fourth and fifth-sixth creative acts concretely? What is the exact nature of their relationship assumed in the proposed parallel here?
At the and [sic!] of day three the earth brings forth plants and trees bearing fruit, which are allocated to animals and humans as their food at the end of day six.
Note how Krüger speaks vaguely of “animals and humans” who are allocated vegetation for food “at the end of day six”? The statement is true enough, but the symmetrical arrangement actually assumes that the parallel is between vegetation (day 3) and land animals and humans (day 6). This is contrary to the text which specifically includes “the flying creatures of the heavens” (Gen 1:30) in the provision of food who were created on day five. So here too, the parallel imposed by a symmetrical arrangement must ignore what the text actually says and logic.
Finally, since we have been asking about the exact nature of the relationships in the proposed parallels all along, how do the all the answers from above relate to the series of days in the first and second triads? That is, what are the exact categories which the author uses in each of the triad divisions? Now I have read many presentations of the symmetrical arrangement with no two ever being quite the same. This is why I must constantly ask about what exactly are the eight creative works, how exactly their symmetrical arrangement evidences parallelism and the logical bases for the two categories of days. This is perhaps an indicator in itself that the symmetrical arrangement is on shaky ground. Westermann, like many others, recognizes the problem, but ultimately throws his hands up in defeat,
One of the first difficulties to which scholars drew attention in the course of the exegesis of Gen 1 was that the number of the works of creation did not agree with the number of days. Eight works are distributed over six days, with two on each of the third and sixth days. The many attempts to solve the problem are recorded in W.H. Schmidt’s survey, pp. 9–20. The general opinion today is that “the framework of the seven days belongs to a later stage in the history of the text.” ... A systematization of the succession of the works of creation is already there in the numbering of the days; and this is something completely different from the succession of the works of creation determined by the object actually created.
All attempts to bring the works of creation into a systematic order must be given up. There was never any intention of doing this... [T]he arrangement can be explained much better by the confluence of many strands of traditions and motifs from a variety of earlier creation stories. This too is the source of much of the unevenness in the narrative.
— Claus Westermann, Genesis 1–11: A Commentary, trans. John J. Scullion (Minneapolis, Minn.: Augsburg, 1987), 88–9.
On the other hand, my thesis shows that Westermann's pessimism was premature by explicating the author’s use of a different narrative structure which is unencumbered by the problems that are evident in the symmetrical arrangements found in scholarship. Correspondences are more numerous, clear and concrete in the arrangement I propose. This arrangement also agrees with the most ancient interpreters of the text such as the author of Jubilees who were of course native speakers of Hebrew. If you are looking for still other examples of problems with the proposed parallels in the symmetrical arrangement of the days such as I noted above, I suggest Edward J. Young, “The Days of Genesis First Article,” Westminster Theological Journal 25.1 (1962): 26–31. I would very much like to hear how “cadence” can account for these glaring logical problems in the symmetrical arrangement as well as how scholars who recognize these problems like I do are in error. In the meantime, I will reaffirm my position: Krüger, like every other scholar who assumes a symmetrical arrangement of eight works, is wrong. Simple as.
Note: In my previous post I mixed up the source cited. The correct citation of Krüger's article is Thomas Krüger, “Genesis 1:1–2:3 and the Development of the Pentateuch” in The Pentateuch: International Perspectives on Current Research, eds. Thomas B. Dozeman, Konrad Schmid and Baruch J. Schwartz (Tübingen: Mohr Siebeck, 2011), 130–1.