Jezebel ()
target="_blank" rel="nofollow"> "Jezebel" (US) and was the daughter of Ithobaal I of Tyre and the wife of Ahab, King of Israel, according to the Book of Kings of the Hebrew Bible (1 Kings 16, ).Elizabeth Knowles, "Jezebel", The Oxford Dictionary of Phrase and Fable, OUP 2006
In the biblical narrative, Jezebel replaced Yahwism with Baal and Asherah worship and was responsible for Naboth's death. This caused irreversible damage to the reputation of the Omride dynasty, who were already unpopular among the Israelites. For these offences, Jezebel was defenestrated and devoured by dogs, under Jehu's orders, which Elijah prophesied (2 Kings 9, ). In the New Testament Book of Revelation, the name Jezebel is contemptuously attributed to a prophetic woman of Thyatira, whom the author, through the voice of the risen Christ, accuses of leading her followers into fornication (idolatry). For refusing to repent, she is threatened with sexualized punishment ("thrown on a bed") and the death of her children.
Jezebel, an Anglicized form of the Hebrew name אִיזֶבֶל (ʾIzeḇel), is often interpreted as meaning “Where is the Lord?”—a phrase linked to Baal worship rituals. As queen, according to the Hebrew Bible, Jezebel promoted the worship of Baal and Asherah in Samaria, clashing with the followers of Yahweh, killing prophets, and challenging established religious norms. Notable events in her biblical narrative include her conflict with the prophet Elijah, the orchestrated execution of Naboth to secure a vineyard for Ahab, and her violent death at the hands of Jehu, fulfilling Elijah’s prophecy. Scholars debate the historicity of her story, noting inconsistencies and theological bias in the biblical accounts, though some evidence, such as royal seals and extrabiblical records, suggest she may have been a real political figure engaged in the complex religious and dynastic politics of her time.
Over centuries, Jezebel became a cultural symbol associated with false prophets, manipulative women, and sexual promiscuity. In Christian traditions, she was seen as leading others into idolatry and sin, and her image influenced medieval and modern perceptions of powerful or nonconforming women. The concept of the “Jezebel spirit” has emerged in some American Christian circles, portraying her as a influence in spiritual and political contexts. Jezebel has also permeated popular culture through literature, music, and film, often reinterpreted as a misunderstood or vilified figure, inspiring works ranging from Bette Davis’s 1938 film Jezebel to contemporary songs, novels, and feminist scholarship that challenge traditional portrayals of her character.
scholar Charles R. Krahmalkov proposed that Psalm 45 records the wedding ceremony of Ahab and Jezebel,Krahmalkov, Charles R. (2000), A Phoenician-Punic Grammar, page 2 but other scholars cast doubt on this association. This marriage was the culmination of the friendly relations existing between Israel and Phoenicia during Omri's reign, and possibly cemented important political designs of Ahab. Jezebel, like the foreign wives of Solomon, required facilities for carrying on her form of worship, so Ahab made a Baalist altar in the house of Baal, which he had built in Samaria. Geoffrey Bromiley points out that it was Phoenician practice to install a royal woman as a priestess of Astarte, thus she would have a more active role in temple and palace relations than was customary in the Hebrew monarchy.
As a result, Elijah invited Jezebel's prophets of Baal and Asherah to a challenge at Mount Carmel. The theologian Adam Clarke writing in the early 1800s argued that these prophets would have been royal chaplains and that the Baalist prophets had more jurisdiction over Samaria during Jezebel's reign than the Asherah prophets, who were always indigenous to Samaria. The challenge was to see which god, Yahweh or Baal, would burn a bull sacrifice on an altar. Jezebel's prophets failed to summon Baal in burning the bull sacrifice, despite their cries and cutting themselves. Elijah, however, succeeded when he summoned Yahweh, impressing the Israelites. He then ordered the people to seize and kill the prophets of Baal and Asherah at the Kishon River. In response, Jezebel vows to kill Elijah.Micah 6:16 Elijah fled to Mount Horeb, where he mourned the apostasy of Israel.
Anticipating his arrival, Jezebel put on make-up and a formal wig with adornments and looked out of a window and taunted him. Bromiley says that it should be looked at less as an attempt at seduction and more as the public defiance of the queen mother, invested with the authority of the royal house and cult to confront a rebellious commander. In his two-volume Guide to the Bible (1967 and 1969), Isaac Asimov describes Jezebel's last act: dressing in all her finery, make-up, and jewelry, as deliberately symbolic, indicating her dignity, royal status, and determination to go out of this life as a queen.
Jehu, however, remained unfazed and ordered Jezebel's eunuch servants to Defenestration. Her blood splattered on the wall and horses, and Jehu's horse trampled her corpse. He entered the palace where, after he ate and drank, ordered Jezebel's body to be taken for burial. However, only her skull, her feet, and the palms of her hands remained—her flesh had been eaten by stray dogs, just as the prophet Elijah had prophesied.See also jwa.org/encyclopedia/article/jezebel-midrash-and-aggadah
According to Dr J. Bimson, of Trinity College, Bristol 1 and 2 Kings are not "a straightforward history but a history which contains its own theological commentary". He points to verses like that show the author of Kings was drawing on other earlier sources. IVP New Bible Commentary (21st Century Edition), p. 335 The book mixes the annals of history with legends, folktales, miracle stories and "fictional constructions", and presentation of earlier sources is heavily edited to fit the Deuteronomist agenda. Janet Howe Gaines likewise finds the narratives implausible, especially the narrative of Naboth being betrayed by an entire Israelite town. But Christian Frevel argues that the biblical narrative subtly alludes to the Omrides' historical role in introducing Yahwism to Judah, which was obfuscated by anti-Omride Judeans. For example, Ahab gave his children theophoric names during his years of expansion in the northern territories and Judah. Other scholars propose that the Baal worshipped by Ahab and Jezebel was the "YHWH of Samaria", which was opposed as Yahwist heresy by the Judean priests,Edward Lipiński "Studia z dziejów i kultury starożytnego Bliskiego Wschodu" Nomos Press, 2013, but some disagree based on archaeological evidence and extrabiblical records on Jezebel's upbringing.Merrill F. Unger, Unger's Bible Dictionary (Chicago: Moody Press, 1977) 327. Brian R. Doak believes the narratives are historically plausible because of the historicity of Omri and Ahab, evidence for widespread paganism among Israelites, international marriages for political purposes and competition between religious professionals during periods of "political unrest or social change". In addition, other contemporary sources, including sources written by Phoenicians, face similar issues in terms of being unverified by third-party sources.
A seal from the 9th century BCE, discovered in 1964, has a partially damaged inscription of "YodhZayinLamedh" which could have once read, "belonging to Jezebel". However, there are some issues with this theory. Whereas on the seal it appears the inscription begins with the letter yodh, Jezebel's name starts with an aleph, which is lacking on the seal; furthermore, the possessive lamedh which would translate to the predicate "belonging to ..." is also missing from the seal. However, it is entirely possible these letters simply could have been located where the seal is now damaged. The seal includes motifs associated with both Egyptian and Israelite royalty, such as the Uraeus cobra, which is commonly found on pharaonic artifacts, and symbols such as the winged sun and ankh, which are found on numerous other Israelite royal seals from the 8th century BCE and onwards. Regardless, scholars do not agree on whether the seal is evidence for the historicity of the biblical character. Some scholars have said that the size and intricacy of the seal could mean it was used by royalty. If the seal truly represents Jezebel, then she most likely represented 'Anat as queen, who was the wife of the Ugaritic Baal. This aligns with Phoenician royal tradition.
Through the centuries, the name Jezebel came to be associated with false prophets. By the early 20th century, it was also associated with fallen or abandoned women. By the 1950s and 1960s, the figures of Jezebel in 1 and 2 Kings and the Jezebel of Revelation began to be conflated and became "a trope for women". In Christian lore, a comparison to Jezebel suggested that a person was a paganism or an apostasy masquerading as a servant of God. By manipulation and seduction, she misled the saints of God into sins of idolatry and sexual immorality., Ch. 2, vs. 20-23. In particular, Christians associated Jezebel with promiscuity and the usurpation of male authority. The cosmetics which Jezebel applied before her death also led some Christians to associate makeup with vice, although, as Isaac Asimov points out in his Guide to the Bible, such cosmetics—used on ceremonial occasions by royalty and priestesses—could be interpreted as the desire of a proud woman to meet her last moments in a manner and attire becoming a Queen. In the Middle Ages, the chronicler Matthew Paris criticised Isabella of Angoulême, the queen consort of John, King of England, by writing that she was "more Jezebel than Isabel".Nicholas Vincent 'John's Jezebel' 1999 The Jezebel stereotype is an oppressive image and was used as a justification for sexual assault and sexual servitude during the eras of colonization and slavery in the United States. In modern usage, the name of Jezebel is sometimes used as a synonym for sexually promiscuous or controlling women.
In feminist interpretations and Bible scholarship, Jezebel is re-examined and, for example, seen as unfairly framed or her story altered, or as a resource for womanist theology.
Gene Loves Jezebel are a British rock band formed in the early 1980s by twin brothers Michael Aston and Jay Aston, initially associated with gothic rock and post-punk.
The American gospel vocal group Golden Gate Quartet released a single called "Jezebel" in 1941 which narrates the story of Jezebel.
Frankie Laine recorded "Jezebel" (1951), written by Wayne Shanklin, which became a hit song. Frankie Laine's hits in the years 1947-1952. The song begins:
Paulette Goddard starred as Jezebel in the film Sins of Jezebel (1953).
Claude Demetrius refers to Jezebel in the fourth verse of the No. 1 hit single, Hard Headed Woman released as a single (1958) by Elvis Presley.
The Faces 1971 song "Stay with Me" includes the line, "I hear you're a mean old Jezebel".
David Byrne and Brian Eno's 1981 album My Life in the Bush of Ghosts includes the song "The Jezebel Spirit", featuring clips of the exorcism of a Jezebel spirit.
In Margaret Atwood's The Handmaid's Tale (1985) and its Hulu adaptation, Jezebel's is the name of a brothel where women are forced to work as prostitutes for the totalitarian and theocratic Republic of Gilead.
Sade's 1985 album Promise includes the track "Jezebel", written by Sade Adu.
The Natalie Merchant song "Jezebel" was released on the 10,000 Maniacs 1992 album Our Time in Eden and later performed acoustically on the 1993 live album MTV Unplugged (10,000 Maniacs album).
The 1995 KMFDM song "Juke Joint Jezebel" is the band's most well-known song with around three million copies sold.
In 2000, the Puerto Ricans Pop singers Ricky Martin released his song, "Jezabel" sic, on his sixth studio album, Sound Loaded. The song is about a character who seduces famous men and then sells the story to paparazzi.
The underground rapper Dizzee Rascal in his 2003 album boy in da corner features a song named "Jezebel".
The popular historian Lesley Hazleton wrote a revisionist account, Jezebel: The Untold Story of the Bible's Harlot Queen (2004), presenting Jezebel as a sophisticated queen engaged in mortal combat with the fundamentalist prophet Elijah.
Iron & Wine included a song "Jezebel" on his 2005 EP Woman King. It contains many references to the biblical Jezebel, in particular the dogs associated with her death.
The Jezabels is an Australian indie rock band founded in 2007. The band's name is based on the biblical character, whom one band member describes as "misunderstood or misrepresented" and "an example of how women are really wrongly presented".
The 2019 Kanye West song "Closed on Sunday" closes with the line 'Jezebel don't even stand a chance'
The Kid Harpoon 2022 song "Little Freak" released by Harry Styles includes the line, "Little freak, Jezebel".
Finland sent a song by the name "Jezebel" to the Eurovision Song Contest 2022.
In the 2023 Barbie Movie, the Will Ferrell calls Barbie a "Jezebel" while trying to force her back into her toy box.
Attempted kidnapping
Naboth
Death
Historicity
Cultural symbol
Jezebel spirit
In popular culture
In literature
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