Abstract
The introductory chapter mentions the work of B. Duhm on the book of Isaiah
and his arguments for the existence of four servant songs (Isa. 42.1-4; 49.1-6; 50.4-9;
and 52.13-53.12) within chs. 40-55. These chapters are now frequently referred to
Deutero-Isaiah (DI). Several works summarising proposals for the identity of the
servant in DI are discussed, and recent opinions disputing the distinctiveness of the
songs within their DI context are presented. The trend towards an interpretation of the
songs within DI is not unrelated to rhetorical criticism and a short overview of the work
of some scholars using this method in DI is provided. Several works in the last few
years have noted the rhetorical study of Isa. 52.13-53.12 (Isa. 53) offered by D. J. A.
Clines, I, He, We, and They. Clines' study is summarised and reactions to it are given.
It is suggested that his approach may provide a model for studying the other songs and a
starting point in order to obtain further insight into the possible identity of the servant
and the relationship between the songs and the wider DI context. The next chapter
provides and discusses a translation of the notoriously difficult Isa. 53. Chapter 3
presents an overview of rhetorical criticism, and Isa. 53 is then studied according to its
precepts. Clines had argued that the poem centres on the servant but it is proposed that
the poem also centres on the first person plural persona, Clines' we. His proposals
concerning the effect of the servant on the reader are modified. Definitions of empathy
are given and it is argued that the poem elicits empathy for both the servant and us. It is
then suggested that empathy informs other relationships described in the poem. In the
next two chapters it is proposed that empathy informs relationships depicted within 42.1 -
4 and 49.1-6 and that these poems too elicit empathy from the reader. In chapter 6 it is
argued that Isa. 50.4-11 can be interpreted as a poetic unit, one which similarly describes
relationships informed by empathy and elicits empathy. Chapter 7 argues that empathy
connects the songs with the wider DI context. In chapter 8, a study of first and third
person language related to the servant suggests that these are poems distinct within DI,
thereby creating a tension with the preceding chapter. It is further suggested that the
poems containing first person language may function like soliloquies and all of the
poems may particularly focus on empathy. Chapter 9 notes the trend towards the
identification of the servant as a metaphor and symbol, and suggests that this
terminology requires clarification. Definitions of both are presented. The next chapter
summarises recent ideas concerning the provenance of DI and argues that DI sought to
create the concept of Israel. It is also noted that Jacob/Israel, the 2mpl found throughout
DI and the servant of the songs are described with a host of metaphors. The task of
creation and the variety of metaphors are consistent with the creative function of
metaphors. The servant may be a symbolic vehicle within a metaphorical statement. In
the final chapter, it is argued that the songs evoke several metaphors in which the
servant is the vehicle, and the songs themselves function as artistic symbols whose
meaning is the very participation in them. Empathy thus encourages participation, exists
within participation and is one vital aspect of the meaning of the songs. Areas for
further research related to empathy are proposed.
