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The earliest known portrayals of Yahweh as the principal deity to whom "one owed the powers of blessing the land" appear in the teachings of the prophet Elijah in the 9th century BCE. This form of worship was likely well established by the time of the prophet Hosea in the 8th century BCE, in reference to disputes between Yahweh and Baal. [78]
Brian P. Irwin argues that "Baal" in northern Israelite traditions is a form of Yahweh that was rejected as foreign by the prophets. In southern Israelite traditions, "Baal" was a god that was worshipped in Jerusalem. His worshippers saw him as compatible or identical with Yahweh and honored him with human sacrifices and fragrant meal offerings.
Worship of Baal and Yahweh coexisted in the early period of Israel's history, but they were considered irreconcilable after the 9th century BCE, following the efforts of King Ahab and his queen Jezebel to elevate Baal to the status of national god, [41] although the cult of Baal did continue for some time. [42]
The references to Samaria, capital of the Kingdom of Israel (Samaria), and to Teman suggest that Yahweh had a temple in Samaria, while raising questions about the relationship between Yahweh and Qos, the national god of Edom. [48] Such questions had previously been raised due to the Tanakh's apparent reluctance to name the deity.
The main characters of the Baal Cycle are as follows: [3] Baal, the storm god and protagonist, whose abode is on the Syrian mountain Mount Zaphon; Yam, the sea god and primary antagonist of Baal in the first two tablets of the Baal Cycle; Mot, the underworld god and primary antagonist of Baal in the last two tablets; Anat, sister and major ally ...
Furthermore, a myth focused on him, the Song of the Sea, deals with similar themes as the Yam section of the Baal Cycle. [215] Its central theme is the conflict between a weather god, Teššub, and the sea god. [216] The performance of the Song of the Sea was linked to the ritual role of Mount Saphon, referred to as Ḫazzi in this context. [215]
Hine Ma Tov continues to be a popular hymn for several Israeli folk dances and is a common song sung by school children and Jewish and Israeli scouting groups. It has been recorded by artists as diverse as Theodore Bikel, The Weavers, Dalida, Meir Finkelstein, Ishtar, the Miami Boys Choir, Joshua Aaron, the Abayudaya of Uganda and the dub group Adonai and I.
The Early History of God: Yahweh and Other Deities in Ancient Israel [1] is a book on the history of ancient Israelite religion by Mark S. Smith, Skirball Professor of Bible and Ancient Near Eastern Studies at New York University. The revised 2002 edition contains revisions to the original 1990 edition in light of intervening archaeological ...