Narrative Paper on Genesis 37
1. Delimitation of the Text
This episode recounts how Jacob’s preferential love towards Joseph, Joseph’s dreams,
and the brothers’ hatred towards Joseph contribute to Joseph’s being sold to Egypt. According
to dramatic criteria, I set the limits of the episode to Gen 37:1-36. It is easily delimited from
the previous and subsequent scenes based on characters. The previous text is the concluding
scene of Jocab Cycle, reporting the descendants of Esau. Gen 37:1 is the beginning of the
Joseph Cycle, and it is fitting for such a narrative, to begin with the name of its hero.
Likewise, the ending of this passage can be set according to a change in characters as the
following chapter is the story that happens between Judah and Tamer in which the hero
Joseph is off-stage.
2. Literary context
Gen 11:27-50:26 is a family story made up of three cycles: Abraham cycle (11:2725:18), Jacob cycle (25:19-35:29), and Joseph cycle (37:1-50:26). Each cycle begins with the
Hebrew word “toledot”, rendered as “genealogy” or “generations” in English. In terms of the
usage of toledot in Genesis, Barry (2008, 109) put it in this way: “Virtually every time that it
is found, it has a transitional function. It draws the preceding section to a conclusion while
introducing the next section.”1 There are eleven such formulas in Genesis and seven of them
can be found in these three cycles. One of them falls on Gen 37:2, and it reads: “This is his
(Jacob) family history. When Joseph was seventeen years old…” Here, the toledot formula
concludes the Jacob cycle and introduces the Joseph cycle. Meanwhile, it also indicates that
the Joseph Cycle is an extension of the Jacob story and Jacob would be a fairly important role
1
Barry L. Bandstra, Reading the Old Testament: An Introduction to the Hebrew Bible (Michigan: Hope
College, 2008), 109.
in the cycle, especially in the opening chapter. Such a broader context would help us better
understand its connection with the preceding chapter and the following chapter. The
preceding chapter reports the burial of Isaac by his two sons and the genealogy of Esau. Also,
there are significant connections between Genesis 37 and Genesis 38, both of which take
place in Canaan (cf. 37:2; 38:1). There are also some remarkable parallels between Genesis
37 and Genesis 38 in terms of motif and theme: the brothers’ rejection of Joseph in Genesis
37 and Genesis 38 demonstrates Judah’s rejection of his family; the use of garments to
deceive and to recognize. (cf. 37:32–33; 38:25–26). Furthermore, Judah’s prominence
(37:26–27) in this episode foreshadows his rise to prominence in the following chapter.
3. 1 Plot
Jacob’s favoritism provokes his sons’ hatred towards the beloved son and their
emotion escalate after Joseph reports his dreams. Driven by their outrage and jealousy, they
treat Joseph violently and then sell him to Egypt. Then they lead their father into thinking he
has been devoured by a beast. Losing his favorite son, Jacob mourns him openly and nobody
can console him.
The first four verses (vv. 1-4) are the exposition of this episode. At the very beginning
of the exposition (v. 1), the reader’s attention being taken off from Esau and back to Jacob,
provides the setting and the context for the Joseph Cycle. It mentions the family is still living
in the land of Cannan at the beginning of the Joseph Cycle. Then the next three verses (vv. 24) show a general picture of Jacob’s family and the different relations among the family
members. Joseph, his father’s favorite son, always bears bad reports about his brothers. What
is more, Jacob expresses his preferential love for his youngest son by giving him a special
tunic and thus the other brothers are jealous of him. The father’s favoritism gives rise to the
conflicts among his sons, which will affect much of the rest of the narrative.
The scene of Joseph’s dreams (vv. 5-11) is an inciting incident that further increases
the family tension described in the opening verses. Joseph recounts his two dreams, both of
which end with the picture of his brothers and even his parents “bowing down” (vv. 7, 10) to
him. Joseph’s dreams convey a message that he will enjoy privilege over his family someday,
which escalates the already existing conflict. The threefold hatred (vv. 4,5,8), culminating in
37:11, confirms the initial impression in the exposition that the narrative is about a
dysfunctional family.
The second scene (vv. 12-14) is separated from the first one because there is a change
of characters. It centers on Jacob and Joseph apart from the other characters that listen to
Joseph’s dreams. It comprises Jacob’s decision to send Joseph to his brothers and Joseph’s
journey to looking for his brother. Then, it comes to a new scene (vv. 15-17) for it introduces
a new character to the stage, an anonymous man. This scene is about the anonymous man
who redirects Joseph to his brothers and closes with Joseph finding his brothers in Dothan.
These two scenes together can be considered as the first rising moment of the narrative. The
two scenes are showing how Joseph moves out of his father’s sight, a safe place towards a
potentially dangerous place where his brothers are pasturing.
What follows would be a new scene (vv. 18-22) because of a change of location and
characters. Scene four centers on the dialogue among his brothers who are taking their
father’s flocks for grazing in Dothan. As they see him far away, the brothers plot to kill him
while his eldest brother, Reuben tries to save him and restore him to their father. At this
moment, the reader is kept in suspense about what will happen next. Whose idea will be
carried out? Is there a third alternative? Thus, it is an exciting moment, only secondary to the
climax. And it is the second rising moment before the narrative reaches its climax.
A change of action brings a transition from Joseph’s completion of the search to his
brothers’ evil doing towards him. The episode reaches its peak in Scene Five (vv. 23-28). This
scene vividly depicts the brothers’ series of speed and rough actions against Joseph by
employing three verbs: stripped, took, threw (vv. 23, 24), end up with Joseph’s been cast into
the cistern. Then Judah proposes an alternative plan in the absence of Reuben, to sell Joseph
to the Ishmaelites and do not lay their hand against him since he is their flesh. The brothers
agree on his proposal, and this scene closes with Joseph’s being sold to Egypt.
The reappearance of Reuben marks a new scene, a fall moment of the aftermath of
Joseph’s banishment. In Scene Six (vv. 29-30), after Reuben discovered what has happened
during his absence, he tears his garment and mourns for Joseph. It discloses his deep affection
for Joseph and his father, corresponding with his previous plan to save Joseph and return to
his father.
With a change of location and action, the plot comes to its part of the resolution. In
Scene Seven (vv. 31-35), the brothers kill an animal to cover their crime by dipping with a
special tunic with the animal’s blood. After identifying the special tunic and recognizing
Joseph’s death, Jacob mourns his beloved sons openly and refuses any consoling.
Finally, it comes to the end of the episode (v. 36) that Joseph was sold to a courtier in
Egypt, and the brothers “successfully” get rid of him.
3.2 Repetition
The word “hated” is repeated three times (vv. 4, 5, 8) at the beginning of the episode.
The first “hated” implies that Jacob’s preferential love gives rise to the brothers’ hatred. And
it should be noted that Joseph’s first dream is framed by the other two “hated” (vv. 5, 8),
signaling his dream increases his brothers’ hatred. Besides, the unit of his second dream
closes with his brothers’ fury, an escalation of hatred. (v. 11) A dynamic picture of the poor
family relationship is described using “hated”, which sets in motion a series of events that
follow.
The word “love” is used twice at the exposition (vv. 3, 4) and the word “bow” occurs
three times in the inciting scene (vv. 7, 9, 10), both of which play a significant role in
understanding what is going on. Jacob’s preferential love and Joseph’s dreams of power over
his family are the root causes of the family breakdown.
3.3 Symbol
Jacob gives his favorite son a special tunic (v. 3), a symbol of his father’s love for
Joseph. The “special tunic” is explicitly mentioned eight times in this episode, two of which
fall on the climax (v. 23) while the remaining five occur in the resolution part when Jacob
receives the tunic. (vv. 31-33). Besides, the “special tunic” is implicitly referred to in v. 18
when his brothers see him from a distance and have enough time to make a conspiracy
against him. The narrator continually returns to the “special tunic” throughout the story as a
way of reminding the reader of the root cause of the family disaster, namely, Jacob’s
preferential love for Joseph.
3.4 Motif
The “deception and recognition” is an especially important motif in the narrative of
Jacob’s family, including Jacob Cycle and Joseph Cycle. In this Chapter, it reports that the
brothers deceive Jacob into believing that Joseph’s been devoured by the beast through the
special tunic and Jacob did “recognize” it at the sight of the bloody tunic. Something similar
happens in the previous text that Jacob deceives his old and blind father into believing he is
the elder son Esau. The old father Isaac identifies Jacob as Esau through his hairy hands and
thus Jacob successfully gets the blessings persevered for the firstborn. The following chapter
is about Tamar, Judah’s daughter-in-law’s pretension to be a harlot and management to
deceive Judah to have a sexual relationship with her. Only after that does Judah recognize her
through his belongings: seal, cord, and staff. It can be perceived that this family is always in
an inharmonious state due to the deception among family members. Every family member is
involved in this tragic game of “deception and recognition” consciously or unconsciously,
which gives rise to most of the conflicts in this family. It seems there is never an end to it.
3.5 Gap
We identify the following as gaps in the chapter: the absence of God, the origin and
purpose of Joseph’s dream, Joseph’s emotion.
There is no indication of God throughout the whole chapter. Yet, God is choosing,
guiding, and talking with other patriarchs while in this family story, the lack of any direct
reference to God marks a gap. The clue may be found when the larger context is considered
that God’s presence is always of great importance in the world of Genesis. It could be
concluded that God is present but is concealed by the conflicts among the family members.
The origin and purpose of the dreams are not mentioned whereas the earlier dreams in
Genesis are an indication of divine revelation (Gen 20:3, 31:11). Besides, the earlier dreams
set the family free from some forms of bondage while Joseph’s dreams escalate the family
conflicts. Referring to the larger context, the conclusion still can be made that it is of divine
origin. Alternatively, Joseph’s successful interpretation of other dreams may contribute to
such a conclusion.
As for the inner world of Joseph, we are deprived of any knowledge about it. We may
expect to know how Joseph feels when he is given a special tunic and what Joseph has gone
through at the moment his brother cast him into the pit. And what about he is on his journey
to a strange country far away from his father and his family? Is he terrified or desperate?
Nevertheless, the narrator keeps silent on those details until it reaches the later part of
Joseph's cycle. When Joseph’s brothers go down to Egypt because of the famine, they are
kept in the guardhouse by the disguised Joseph. Before Joseph, they speak of what Joseph
was anguished and pleading with them many years ago. (Gen 42:21)
4. Character
Given the fact that a very short period of narrative time is covered by this chapter,
there is no dynamic character though two may be identified as main characters, and one of
which is also a round character. And the collective brothers can be identified as static and
round characters.
4.1 Joseph
Joseph is the main character in this episode whose centrality is suggested at the
beginning of the story and some information about him. Remarkably, quite a few details are
fall on the other characters’ reactions to him. We are told that Joseph is being loved by his
father and meanwhile, hated by his brothers. Undoubtedly, he is the object of the conflict in
the family. Though he is the hero of the episode, few details are given about his reactions and
feelings.
However, some of his characteristics still can be grasped through the indirect
information from the narrator. We are told that he brings his father bad reports about his
brothers. And according to Wenham (1987, 313), these reports are not true: “So it seems
likely that Joseph misrepresented his brothers to his father, his father believed him, and his
brothers hated him for his lies.”2 Moreover, in terms of the way Joseph describes his dream,
Wenham (Ibid., 314) put it in this way: “Joseph describes the dream in rhythmic, almost
choreographic language, regulated by verbs and with a recurrent hinneh (behold).”3 His use
of “hinneh” four times (vv. 7, 9) at the beginning of his reporting his dreams suggest one full
of himself without a thought for his jealous brother. Maybe, he even does not notice his
2
Gordon J. Wenham, Word Biblical Commentary: Genesis 16-50 (Michigan: Zondervan, 1987), 313.
3
Ibid., 314.
brothers’ hostility given he immerses himself in his father’s favoritism.
In a word, though Joseph is the hero of this episode, he is not depicted as a round
character because there is little information about his inner world and even his reactions to
other characters. Yet, we could sense that he is a boast boy, insensitive to others’ feelings
through the narrator’s indirect description.
4.2 Jacob
As it is discussed above, Jacob is another main character other than Joseph. His
preferential love is depicted in detail. He gives a special tunic for Joseph and his name was
shifted to Israel in the presence of Joseph. This special tunic, a physical reminder of his
preferential, appears from the beginning of the plot till the end, indicating the significant
symbol behind this tunic. That is his favoritism, which sets off a chain of tensions and
conflict among his sons. What is worse, he is insensible to the growing intensity of conflict in
his family. Finally, Joseph is sold, and Jacob is deceived to believed he has been devoured by
the beast. At this point, Jacob’s sadness is described in a detailed way (v. 34) with three verbs:
“rent”, “put”, and “mourned.” Moreover, the narrator also reports the Jacob’s long mourning
elaborately that is long and inconsolable, including Jacob’s word and actions. Finally, the
narrator adds his comment to Jacob’s long mourning.
In a word, Jacob is round character for it contains detailed information of his emotion,
words, and actions, from which we know his personality.
4.3 Collective brothers
The brothers, presenting from a collective point of view, are the most transparent
characters in this episode as there are quite a few detailed descriptions of their words, actions,
and emotions. We are told that they “saw” (v. 4) their father’s favoritism. Then, with this
observation, the narrator discloses their inner world for us, they “hate” (vv. 4, 5, 8) and then
“furious” (v. 11) at Joseph. To this end, all this hostility embodies in action that they could
not speak peace with him. Eventually, when the opportunity comes, they plot to kill him in
seconds and cover up their crime.
Obviously, they are active doers but without progressing because of their same
emotions and actions to their father’s favoritism. Therefore, they are round characters but
static.
4.4 God
God himself is mentioned by neither narrator nor character. God is absent in this
episode. Nevertheless, we ought to be reminded of how Genesis portrays God is at work in
the family beyond human plans and actions. Within a closer reading, we may discover the
divine will behind Joseph’s dreams since Genesis features God as central, speaking directly to
the dreamers. A further examination may enable us to notice the unexpected turn of the events.
God is responsible for the interventions of the sudden appearance of the unnamed man and
Ishmaelites. Apart from these relatively obvious details, the timing of his absence may
indicate a mysterious hand at work. For it is strange that it is in the absence of Reuben that
the Ishmaelites come, and Joseph is sold. Reuben’s absence makes it possible for the sale of
Joseph to Egypt. Moreover, the mysterious power hinted at beneath the words and actions of
the characters, the act of unsuspecting Jacob sending Joseph to his estranged brothers,
Reuben’s and Judah’s plans that spare Joseph’s life.
They reveal Jacob’s family’s tendency to destroy itself and God’s interventions to
save the family from their conflict and disaster. It highlights human plans and actions to show
God at work in and through this family, indicating that the end of Genesis 37 may not be the
final word on the state of Jacob’s family.
5. Narrator’s comments
The chapter begins and closes with references to land, an inclusio. The narrator
repeats the word “land” twice in the opening verse, reminding the reader of one of the main
motifs in Genesis, the patriarchal promise of land. The land may play a crucial role in this
story as it has done in Genesis 1-36. Besides, at the end of the episode, another land (Egypt)
is mentioned (v. 36). In between, it describes how Joseph is banished from his native land to a
foreign land. And at this desperate point, promises to Abraham and Joseph’s dreams remind
the reader that this is not the end of the story. The narrator skillfully uses the device of
inclusio to remind us of the bigger context of this chapter.
Besides, the narrator also employs the physical settings to establish a dangerous
atmosphere for the development. The hostility of Joseph’s brothers is actively portrayed by
the details of the setting: the remoteness of the region and the nearness of the route traveled
by trading caravans. Wenham (Ibid., 315) remarks in this way concerning this setting: “this
short scene keeps us in suspense by delaying the confrontation of Joseph with his brothers
and by heightening our awareness of the danger he faces so far removed from his father
Jacob.”4
Apart from structure and setting, other literary devices are also deployed by the
narrator. The narrator expresses his emotion by using different forms of address by the
characters. For example, the narrator switches from the name Jacob to Israel where Joseph is
present (vv. 3, 13). The use of the name “Israel” in this episode seems to accentuate the
significance of Jacob’s favoritism and his sending Joseph to his brothers for the plot and the
purpose of the story. Both uses prove fatal for Joseph and lead to his being sold to Egypt. The
same conclusion can be drawn in terms of the choice of Israel in place of Jacob in the
remaining part of Joseph Cycle (Gen 46:29, 30; 48:2, 8, 11, 14, 20, 21; 44:20). Another
4
Ibid., 315.
instance is the way that Reuben addresses Joseph by the time he found Joseph missing.
Reuben uses “the boy” to address his supposedly dead brother, conveying a sense of
sympathy and sadness.
Furthermore, the narrator also uses the formula quotation to hint at some important
points hidden in one’s speech. As it is observed by M. Shiloh (1989, 43), “The phrase ‘and he
said’ is occasionally repeated, even though the same character continues speaking. When this
is the case the narrator is hinting that there has been a break in the character’s words.” 5 We
find such a repeated quotation formula when Reuben tries to save Joseph from his brothers
with an alternative suggestion (vv. 21-22). The taking the repetition of “Reuben said” signals
that Reuben paused to wait for a positive response that never comes. Along with his
suggestion is the narrator’s comment that his motive is to save him. A sharp contrast in terms
of the attitude towards Joseph is provided between Reuben and the other brothers.
6. Reflection
Favoritism has always played an important role in Jacob’s family, as a result of which,
the young Jacob is forced to leave his beloved mother and family. Now, a similar tragedy
happens again because the aged Jacob is still blind to the impact of his favoritism despite that
he has suffered a lot from his parents’ favoritism. It reminds me of a line in the bible which
says: “…but punishing children and grandchildren to the third and fourth generation for their
fathers’ wickedness!” (Ex 34: 7d) Now, I am aware that it is not God who keeps us in trouble
or the consequences of our faults, but it is our unawareness of the hurt resulting from our sins.
What shocks me at the end of the story is God who spares no effort to lead the dysfunctional
family back to track. God is accompanying this family silently rather than punishing it for its
deception and immorality.
M. Shiloh, Sefer Korngreen (Tel Aviv, 1963), quoted in Shimon Bar-Efrat, “Narrative Art in the Bible”
(Sheffield: Academic Press, 1989), 43.
5
The most insight I gained from this chapter is the always presence of God. At first
glance, God seems absent. And a second or third reading may allow us to recognize God’s
presence in Joseph’s dreams. And this is a common spiritual state for most Christians,
including me. We are merely aware of God in some dramatic and significant events in our life
where God’s presence is obvious. And in between these rare miraculous moments, God is
oblivious to us. However, this chapter reveals a God who is keeping working with His people
silently and gently. He is so involved in family affairs that his trajectory can be traced in
every single moment. At this point, I greatly agree with what the professor has said in his
revelation class. He never uses “intervention” to describe God’s work or presence in this
world because, for him, our God is so engaged in our lives, penetrating every moment of our
lives. In addition, I have another insight based on the same point. Maybe God makes his
presence more apparent in some great saints or some mystics, as He did for Abraham and
Jacob. While for us, ordinary people, God is also present but in a more subtle way, as He did
for Joseph. No matter how different the forms it may seem to be, God is working hard in
everyone’s life. And in the end, both Abraham and Jacob as well as Joseph are saints, fully
experiencing God’s love throughout their whole life.
Lastly, the end of this chapter leaves us with the impression that there is no hope in
Joseph and his family. However, our mighty God is still working with this family in their
desperate situations. In our lives, sometimes things seem to go astray so far away, giving us
an illusion that God is also unable to figure out the problems. But, with this inspiring and
encouraging story, we can continue to entrust ourselves to God.
Bibliograph
Bandstra, Barry L. Reading the Old Testament: An Introduction to the Hebrew Bible.
Michigan: Hope College, 2008.
Shiloh, M. Sefer Korngreen. Tel Aviv 1963. Quoted in Shimon Bar-Efrat, “Narrative Art in
the Bible,” Sheffield: Academic Press, 1989.
Wenham, Gordon J. Word Biblical Commentary: Genesis 16-50. Michigan: Zondervan, 1987.