The Slaying of Abel in Apocryphal Tradition

The account of Abel’s slaying in Genesis represents one of those moments where the desire for more detail is frustrated utterly by Scripture’s silence. How did Cain murder his brother? Where did he learn to kill? What did he do with the body? And so on and so forth in this manner, without recourse to satisfactory answers from the primary sources.

Much like Nature, however, ancient and medieval scriptural commentators abhorred a vacuum; wherever lacunae existed in the biblical narratives, many were more than happy to fill the gaps with clever conjecture, rationalistic explanations, and apocrypha sourced from a variety of traditions. Perhaps the grandest example of this taste for a veritably encyclopedic concatenation of biblical trivia is what Bernard Bischoff economically called Das Bibelwerk (or the Reference Bible), the massive eight-century Irish biblical commentary bearing the Latin title Pauca problesmata de enigmatibus ex tomis canonicis (“Little Questions on Obscurities from Canonical Books”). Unsurprisingly, then, there arose in both the early Jewish and Christian textual communities a number of traditions dealing with the precise method of Abel’s murder.

The neck or head, for example, is identified in a number of early Jewish sources, including the Genesis Rabbah, as the anatomical locus of Abel’s murder. Similarly, the Babylonian Talmud explains how Cain, unfamiliar with the mechanics of death, effectively unleashes a flurry of wild blows until he finds the sweet spot of the neck. The neck and its vital organs are further implicated in the act of strangulation or suffocation, a method alternatively suggested both in Ambrosiaster’s Quaestiones Ueteris et Noui Testamenti CXXVII and the Reference Bible.

Cain strangling Abel. Ivory panel from Salerno Cathedral, c. 1084, now in the Louvre.

Tucked away in a quirky little sermon on tithing dating from at least the eighth century (a copy of which survives in British Library, MS Royal 5. E. XIII, ff. 9r-11r ), we also find the jarring explanation that Cain both suffocated and decapitated Abel with the jawbone of an ass, perhaps even implying that he used animal’s remaining teeth to saw off his brother’s head. Yikes! In fact the earliest literary source to specify the jawbone of an ass as Cain’s murder weapon is a comment on Genesis IV. 8 found in glosses originating from the Canterbury school of Theodore and Hadrian in the seventh century.

Cain striking Abel with a jaw-bone. The “Taymouth Hours.” British Library, MS Yates-Thompson 13, f. 28r, s. xiv (2/4).

Among others, J. E. Cross and T. D. Hill have also noted the presence of this tradition both in the later Old English prose dialogue Solomon and Saturn, as well as in the mid twelfth-century Irish Lebor Gabála Érenn, where the jawbone is said to be that of a camel.

Cain striking Abel with a jaw-bone (of a camel? ass?). The “Huth Psalter.” British Library, MS Additional 38116, f. 9r, s. xiii ex.

The extra-scriptural tradition that Cain used a jaw-bone (whether that of an ass, camel, or otherwise) to slay his brother may ultimately derive, as M. Shapiro and A. A. Barb have suggested, from his designation as a tiller of the ground. In trying to account for the murder-weapon, early literal-minded commentators may have sought an instrument germane to Cain’s agrarian occupation, such as a scythe.

Cain killing Abel with a scythe. Bible historiale. British Library, MS Harley 4381, f. 10r, 1403-1404.

Such an implement would not, of course, have been made from metal, since the forging of metal tools only began generations later with Tubal-Cain, as any early biblical scholar worth his salt would have remembered. In the absence of metallurgical science, then, a scythe or sickle would have been made of animal bone, perhaps even a jawbone (or so the argument goes). As it happens, excavations of Near Eastern palaeolithic settlements have discovered just this sort of object, animal jawbones inset with flint blades as a replacement for the original teeth.

That his agrarian occupation did encourage other creative conjectures, however, is clear enough from the statement, found in the eighth or ninth-century Vita Anstrudis, that Cain killed his brother with a hoe; or from Benzo of Alba’s Ad Heinricum Imperatorem Libri VII where, this time, Cain is said to have used a shovel.

Cain cleaving Abel’s head with a shovel. The “Psalter of St. Louis.” Bibliothèque nationale, Lat. 10525, f. 2r, 1270-1274.

Yet by far the most macabre explanation comes to us from the thirteenth-century Joca monachorum (“Monks’ Jokes”) dialogue. There, in response to the question how Cain decapitated his brother, the interrogator is told matter of factly that, since he didn’t have a sword, Cain used his teeth, and then buried Abel twelve feet deep. One of the very earliest sources to allude to this outrageously primal method of killing is the apocryphal Latin Life of Adam and Eve (or the Apocalypse of Moses in the Greek version), a collection of texts largely considered to be Jewish in origin and dating to the first century AD. Here Eve is said to have dreamt of Abel’s murder, seeing in her vision Cain mercilessly drinking up every drop of his brother’s blood and vomiting it forth upon the earth. A striking depiction of this scene can be found in the so-called “Alba Bible” from Maqueda, Spain (c. 1430).

Some such source as this must also lie behind the account given in the Zohar (a thirteenth century collection of esoteric and Kabbalistic scriptural exegesis), where Cain is said to have bit his brother like a serpent because he did not know how to separate body and soul.

It is worth pointing out as well that the Book of Enoch, an apocryphal Jewish text dating from around the third to first century BC, describes the antediluvian giants of Genesis 6 as cannibalistic monsters who drank the blood of their own race. These very giants, according to the tradition preserved in both the Irish Reference Bible and the Old English poem Beowulf, among others sources, had sprung directly from the murderous seed of Cain. The Book of Enoch, or at least a fragment of its Latin translation, was also definitely known in Anglo-Saxon England by the tenth century at the latest, and it is perhaps this very bit of apocryphal lore that the Beowulf poet had in mind when describing the monstrous kin of Cain, among whom the blood-drinking horror of the marches—Grendel—numbered.

While certainly not exhaustive, the above little discussion will have shown, if nothing else, how wonderfully (or frightfully) imaginative and diverse apocryphal tradition could be in the face of Scripture’s silence. For questions remained, and answers were demanded—and when every detail, no matter how seemingly trivial, potentially held deep symbolic significance, such silence was indeed unacceptable. Luckily, there existed a robust inheritance of extra-biblical sources and authorities to satisfy even the most inquisitive of minds.

Christopher Scheirer

PhD Candidate
Medieval Institute
University of Notre Dame

Further Reading:

Bischoff, Bernard and Michael Lapidge, eds., Biblical Commentaries from the Canterbury School of Theodore and Hadrian (Cambridge, 1994), p. 499.

Barb, A. A., “Cain’s Murder-Weapon and Samson’s Jawbone of an Ass,” Journal of the Warburg and Courtauld Institutes 35 (1972), pp. 386-87.

Cross, J. E., “Cain’s Jawbone: Earlier Allusions” in KM 80: A Birthday Album for Kenneth Muir, Tuesday, 5 May, 1987, ed. A. Kettle (Liverpool, 1987), p. 33.

Cross, J. E. and T. D. Hill., The Prose Solomon and Saturn and Adrian and Ritheus (Toronto, 1982).

Henderson, G., “Cain’s Jaw-Bone,” Journal of the Warburg and Courtauld Institutes 24.1/2 (1961), pp. 108-114.

Mellinkoff, Ruth, “Cain’s Monstrous Progeny in Beowulf: Part I, Noachic Tradition,” Anglo-Saxon England 8 (1979), pp. 143-162.

Orchard, Andy, Pride and Prodigies: Studies in the Monsters of the Beowulf-Manuscript (Toronto, 1995), pp. 58-85.

Shapiro, M. “‘Cain’s Jaw-bone That Did the First Murder’,” The Art Bulletin 24.3 (1942). Pp 205-212.

W. Suchier, ed. Das mittellateinsche Gespräch Adrian und Epictitus: nebst verwandten Texten (Joca Monachorum) (Tübingen, 1955), no. 23, p. 124.

Genesis Rabbah: The Judaic Commentary to the Book of Genesis. A New American Translation, trans. J. Neusner (Atlanta, 1985), p. 248.

Sanhedrin, ed. I. Epstein, trans. Jacob Shachter, 2 vols. (London, 1935), I, 37b, p. 237.

Vita Anstrudis Abbatissae Laudunensis V, 25-26, ed. W. Levison, MGH: Scriptorum Rerum Merovingicarum 6 (Hannover, 1913), p. 68: “Semper enim pars malorum infesta est parti piorum, ex quo Cain fregit sarculo guttur fraternum.”

Fantastic Beasts and Where to Find Them in Medieval Bestiaries

Dragon and a lion. British Library manuscript Royal 10 E IV f. 80v circa 1275-1325.

Basilisks and dragons and phoenixes, oh my! These fantastic beasts are not creatures you’re likely to see on your next holiday, but in the Middle Ages, they commonly appeared in bestiaries alongside real animals like eagles, lions, badgers and elephants. These magical animals have not faded from the literary imagination and appear frequently in popular culture, like in the Harry Potter series by J. K. Rowling. In Fantastic Beasts and Where to Find Them, Rowling’s contemporary bestiary, the fictional author Newt Scamander writes:

Astounding though it may seem to many wizards, Muggles [non-magical folk] have not always been ignorant of the magical and monstrous creatures that we have worked so long and hard to hide. A glance through Muggle art and literature of the Middle Ages reveals that many of the creatures they now believe to be imaginary were then known to be real. The dragon, the griffin, the unicorn, the phoenix, the centaur—these and more are represented in Muggle works of that period, though usually with almost comical inexactitude. (xiv)

Perhaps our medieval counterparts were onto something. While Rowling’s descriptions may not be any more accurate than those of medieval artists, they share some notable similarities, with a few creative innovations.

Basilisk:

Image from British Library manuscript Harley 4751 f. 59 circa 1225-1250. Harley 4751 and Bodley 764 are sister manuscripts with very similar illustrations.

Oxford, Bodley MS 764: “The basilisk’s name in Greek (regulus) means little king, because he is the king of creeping things. Those who see him flee, because his scent will kill them. And he will kill a man simply by looking at him…The basilisk is half-a-foot long, with white spots” (Barber 184).

The basilisk is one of the most fearsome mythical creatures found in medieval bestiaries. Rowling’s description incorporates many of the elements common in most medieval descriptions of the basilisk. She retains the scarlet plume (often depicted as a crown in medieval art) and has made the snake green and longer (50 feet). Most versions differ in their descriptions of the size of the snake, but death by sight is an important part of the myth. The scent of the snake appears in some versions but not others.

Phoenix:

Image from British Library manuscript Harley 4751 f. 45 circa 1225-1250 depicting a phoenix burning on a pyre.

There are two versions of the phoenix myth, both of which appear in Bodley MS 764.

Bodley 764: The phoenix, “lives for 500 years, and when it feels itself growing old, it collects twigs from aromatic plants and builds itself a pyre, on which it sits and spreads its wings to the rays of sun, setting itself on fire. When it has been consumed a new bird arises the next day out of the ashes” (Barber 141).

Bodley 764: “When [the phoenix] knows that the end of its life is approaching, it builds a chrysalis of frankincense and myrrh and other spices, and when it is about to expire it goes into the chrysalis and dies. From its flesh a worm emerges, which gradually grows up” (Barber 142).

Rowling’s phoenix is fire-colored and it has a fairly similar description to those of most bestiaries and that found in the Old English poem “The Phoenix” (a translation/ adaptation of Lactantius’ Latin poem “De Ave Phoenice”). There are multiple versions of how the regeneration happens and its duration, the more common of which involves the pyre. The illustrations often do not depict the phoenix in red and gold, but the immense age and regeneration through fire are quintessential elements of the phoenix myth.

Dragon:

Image from British Library manuscript Harley 3244 f. 59 circa 1237-1275 depicting an orange fire-breathing dragon with two pairs of wings.

Bodley 764: “The dragon is larger than all the rest of the serpents and than all other animals in the world…It has a crest, a small mouth and narrow nostrils, through which it breathes, and it puts out its tongue. It’s strength is not in its teeth, but its tail, and it harms more by blows than by force of impact” (Barber 183).

Rowling’s dragons vary by breed, of which she identifies ten. Most of her dragons are fire-breathing and they resemble the dragons usually depicted in contemporary art, film, and literature. Dragon illustrations vary greatly in their portrayal of size, color and characteristics. One of the most famous Old English stories about dragons appears in Beowulf, in which the dragon is slayed. J. R. R. Tolkien famously pays homage to this dragon tale in The Hobbit.

Rowling has crafted an engaging narrative incorporating elements found in medieval bestiaries into her descriptions. She has transformed some of the creatures for plot purposes, but their original origins are very much recognizable. I now leave you with a bit of advice, should you ever encounter a rogue dragon on your travels.

Draco dormiens nunquam titillandus.

(Never tickle a sleeping dragon.)

Maria Fahs
MA Candidate
Department of English
University of Notre Dame

This post is part of an ongoing series on Medieval Animals and their Literary Afterlives.

Sources:

Barber, Richard W., trans. Bestiary Being an English Version of the Bodleian Library, Oxford M. S. Bodley 764 with All the Original Miniatures Reproduced in Facsimile. Woodbridge: Boydell, 1993. Print.

Beowulf: A New Verse Translation. Trans. Seamus Heaney. New York: Norton, 2000. Print.

Cook, Albert Stanburrough (ed.). The Old English Elene, Phoenix, and Physiologus. New Haven: Yale University Press, 1919.

Detailed Record for Harley 3244.” British Library. British Library, Web. 07 Dec. 2014.

Detailed Record for Harley 4751.” British Library. British Library, Web. 07 Dec. 2014.

Detailed Record for Royal 10 E IV.” British Library. British Library, Web. 07 Dec. 2014.

Newt Scamander. Fantastic Beasts & Where to Find Them. New York, NY: Arthur A. Levine Books, 2001. Print.

Tolkein, J.R.R. The Hobbit. New York: Houghton Mifflin Company, 1973. Print.