וַיֹּאמְר֞וּ אִ֣ישׁ אֶל־רֵעֵ֗הוּ לְכוּ֙ וְנַפִּ֣ילָה גֽוֹרָל֔וֹת וְנֵ֣דְעָ֔ה בְּשֶׁלְּמִ֛י הָרָעָ֥ה הַזֹּ֖את לָ֑נוּ וַיַּפִּ֨לוּ֙ גּֽוֹרָל֔וֹת וַיִּפֹּ֥ל הַגּוֹרָ֖ל עַל־יוֹנָֽה׃
7The sailors said to one another, “Come, let us cast lots, so that we may know on whose account this calamity has come upon us.” So they cast lots, and the lot fell on Jonah.
Hand colored stencil print on momigami by Sadao Watanabe (1968).
Image taken with permission from the SadaoHanga Catalogue where you can find many more images and information about Sadao Watanabe.
For other images of Sadao Watanabe art works in TIPs, see here.
The Greek and Hebrew that is translated as “casting” or “drawing lots” in English is often translated with a specific idiom, such as “to take out bamboo slips” — 掣 籤 chè qiān (in most Mandarin Chinese Bibles), “each to pick-up which is-written (i.e. small sticks inscribed with characters and used as slots)” (Batak Toba), a term for divination by means of reed stalks (Toraja-Sa’dan).
In some cases a cultural equivalent is not available, or it is felt to be unsuitable in this situation, e.g. in Ekari where “to spin acorns” has the connotation of gambling, one may have to state the fact without mentioning the means, e.g. “it came to him,” (source for this and all above: Reiling / Swellengrebel). In Shipibo-Conibo there was no equivalent for “casting lots” so the translation for Mark 15:24 is descriptive: “they shook little things to decide what each one should take” (source: Nida 1952, p. 47).
Other solutions include:
In North Alaskan Inupiatun a term for “gambling” is used. The same Inupiatun term is also used in Esther 3:7, “though there winning and losing is not in view, but rather choosing by chance” (source: Robert Bascom)
The stand-alone term that is translated “lots” in English is translated as “two pieces of potsherd” in Highland Totonac. (Source: Ronald D. Olson in Notes on Translation January, 1968, p. 15ff.)
Drawing by Ismar David from H. L. Ginsberg 1969. For other images of Ismar David drawings, see here.
Following is an image of the Jonah Sarcophagus or the 3rd quarter of the 3rd century, housed in the Museo Pio Cristiano (photographed by Richard Stracke , shared under Attribution-NonCommercial-ShareAlike license):
The textual version of the short story begins with God calling Jonah as a prophet to go east and preach repentance to the Gentiles of the great city of Nineveh (ancient Assyria; modern Mosul, Iraq). On the left the men load a boat, which Jonah has disobediently boarded to sail westward, away from Israel and away from God’s prophetic commandment (Jonah 1). Moving to the right, the men throw Jonah into the sea, in an attempt to quell the raging storm, which they (rightly) interpret has been caused by Jonah’s disobedience to his god. In this artistic version, he dives straight into the mouth of the great fish—portrayed here, as elsewhere, like a sea monster—and prays to God for salvation over three days and three nights (Jonah 2). He is then spit out onto shore and commanded again by God to preach repentance to Nineveh (Jonah 3). He does so but then becomes disgruntled when the Ninevites do repent and God does not enact his planned punishment. Despite having been saved himself, Jonah doesn’t think these others are deserving of God’s mercy. So God teaches him a final lesson (Jonah 4). While Jonah pouts alone outside of the city, God provides a large new plant to grow over Jonah, to protect him from the desert sun. This scene dominates the upper-right register, with Jonah reclining nude under bountiful shade, as if in a blessed afterlife. But as quickly as the plant grew, God sends a worm to destroy it, so that Jonah is again near death—first from a tempest-tossed ocean, and now from a sun-scorched desert. The story concludes with God delivering a prophetic sermon to his reluctant prophet: if Jonah is concerned over the life and death of just one plant that emerged and vanished so quickly, how much more should God be concerned with the fate of the thousands of lives in Nineveh, at that time the largest city in the known world?
The textual version of the story ends, like many prophetic oracles of the Old Testament, with a question. The question hangs in the air for ancient listeners and modern readers, opening up to reflection and discussion about the tension between justice and mercy, about God’s commitment to a chosen people while offering salvation to others, and about the persistent self-centered ways of even God’s chosen messengers. The earliest Christian textual interpreters seized on two aspects of the story. First, as represented by the Gospel of Luke, Jesus interprets “the sign of Jonah” for his generation to be a call toward repentance (Luke 11:29-32). Just as he began his ministry with, “Repent, for the Kingdom of God is at hand,” along with John’s baptismal ritual to enact such repentance, so, too, does he connect his preaching to the universalism of Jonah’s mission. Luke thus emphasizes chapters 3 and 4 of Jonah, but Matthew’s version of Jesus’ teaching draws from the action of chapter 2. Just as Jonah was in the belly of the great fish for three days, “so will the Son of Man be in the heart of the earth three days and three nights” (Matt 12:40). Matthew includes the same teaching of repentance as Luke but also adds the unique interpretation of Jonah’s “death” and “resurrection” as a foreshadowing of Jesus’ own. This second idea comes to dominate the subsequent reception history. Then, when the apostle Paul describes immersion baptism as a ritualized participation in death and resurrection (Rom 6:3-4), the resources are all present to close the loop on the Jonah cycle. The story of Jonah therefore portrays (for Christians) the necessity of repentance, the salvific role of immersion in water as a death and resurrection, and the universal message of the God of Israel for all people, whether Jews or Gentiles. No matter how wayward a son of Israel has been, no matter how wicked a king of the Gentiles has been, God’s mercy is available and boundless.
The artist of the sarcophagus surrounds the Jonah cycle with other stories to reinforce these meanings for the viewer. Looking closely at the water, between the sea monster and the reclining Jonah, one can see an inset Noah. Depicted in the “Jack-in-the-box” style typical of this era, Noah emerges from the ark to find the dove messenger returning with an olive branch (Gen 8:11), signifying the end of the flood and the salvation of those in the ark.- Early Christian artists often juxtapose various stories of salvation near or through water. One might even read the fisherman on the lower right, whose line casts near to where Jonah comes on shore, as a symbol of Jesus’ first metaphor for preaching and discipleship: “Come, follow me,” Jesus said to Simon Peter and Andrew while they were fishing, “and I will make you fishers of men” (Matt 5:19).
The upper left features Jesus’ raising of Lazarus, a “sign” performed in the Gospel of John that bears obvious connection to the “sign of Jonah” in the Gospel of Matthew. The center of the upper register shows two scenes that are open to multiple interpretations. One possibility is from the Old Testament: here depicts Moses drawing “water from the rock” to satisfy the thirst of the Israelites wandering the wilderness during the exodus (Exod 17 / Num 20); to its right might then be the rebellion of Israelites against Moses (perhaps Num 16).
Another possibility involves a different “water from the rock” miracle, that of Peter summoning a spring of water with which to baptize his repentant jailers. This is a non-canonical story about Peter’s life, but one apparently in very wide circulation, as there are at least 225 examples of it preserved from early Christian art. The scene to its right would thus be the arrest of Peter, another non-canonical but widely depicted story. Either option signifies God’s miraculous provision for salvation through water, whether through thirst-quenching or a new covenant with God. The upper right shows a shepherd guiding sheep out of a mausoleum-like structure, and this calls to mind various biblical images of a shepherd and flock as salvation from death: the “Lord is my shepherd” (Psalm 23), the parables of the lost sheep (Luke 15 / Matt 18), and the “good shepherd” and “gate” for the sheep (John 10), among others. Whoever “enters the gate” of death through Jesus will be saved, say the Gospel of John and the Jonah sarcophagus in unison. Both Jews and Gentiles will be “one flock” with “one shepherd” (John 10:16).
With these details in mind, we can zoom back out to see the big picture one final time. If you allow your eyes to be guided by the overall flow of the shapes and lines, you will see a curved arc of descent and ascent. Begin above the sail of the boat, where there stands in the sky what looks like a person peering through a circular portal in the heavens. In fact, this is the Roman sky god Caelus, who is often pictured this way during the Roman imperial era, with a billowing garment over his head. This personification of the sky or heaven (hence the word “celestial”) was adopted frequently in early Christian art as a way to communicate heavenly realms to the viewer (see also Figure 5.6 below). Some Roman writers even identified the God of Israel (as a sky god) with the Roman god Caelus, so we might imagine him here as a symbol of divine command over the drama below U His gaze looks down along the line of the sail and follows the halyard directly into the snout of the beast. The arc flattens at the center of the sarcophagus and then bends upward through the right-facing snout, upward along the reclining Jonah’s left arm, then his right arm, and above to the plant of his blessed afterlife. From its tiny details to its overall form, this artistic masterwork conjures a treasury of biblical stories and frames the hoped-for arc of salvation from death.
Following is a contemporary Coptic Orthodox icon of Jonah.
Orthodox Icons are not drawings or creations of imagination. They are in fact writings of things not of this world. Icons can represent our Lord Jesus Christ, the Virgin Mary, and the Saints. They can also represent the Holy Trinity, Angels, the Heavenly hosts, and even events. Orthodox icons, unlike Western pictures, change the perspective and form of the image so that it is not naturalistic. This is done so that we can look beyond appearances of the world, and instead look to the spiritual truth of the holy person or event. (Source )
In Spanish Sign Language it is translated with a sign that depicts “swallow (by a large fish).” (Source: Steve Parkhurst)
“Jonah” in Spanish Sign Language, source: Sociedad Bíblica de España
In Swiss-German Sign Language it is translated with the sign for “stubbornness.”
“Jonah” in Swiss-German Sign Language, source: DSGS-Lexikon biblischer Begriffe , © CGG Schweiz
For more information on translations of proper names with sign language see Sign Language Bible Translations Have Something to Say to Hearing Christians .
The inclusive “we” specifically includes the addressee (“you and I and possibly others”), while the exclusive “we” specifically excludes the addressee (“he/she/they and I, but not you”). This grammatical distinction is called “clusivity.” While Semitic languages such as Hebrew or most Indo-European languages such as Greek or English do not make that distinction, translators of languages with that distinction have to make a choice every time they encounter “we” or a form thereof (in English: “we,” “our,” or “us”).
For this verse, the Jarai and the Adamawa Fulfulde translation both use the inclusive pronoun, including everyone on board.
The following is a representation of the book of Jonah in Southern Altai by Bair Turulov with traditional throat singing:
See this explanation by Bronwen Cleaver.
See also Psalm 23 in Southern Altai throat singing and Psalm 90 in Southern Altai throat singing.
Following are a number of back-translations as well as a sample translation for translators of Jonah 1:7:
“At last” (New English Bible) implies an interval of time between verses 6 and 7, but this is not necessary to the narrative. In any event, the scene shifts from the hold, where Jonah was lying, to the sailors on deck. Prayer had so far achieved nothing; perhaps if they could find out who was to blame for the storm, some other remedy might be found. New English Bible and Bible in Basic English follow King James Version in a rather literalistic use of the word “come.” But the Hebrew word is merely an introductory signal to indicate that a suggestion is being put forward (compare 2 Kgs 5.5 King James Version). Often languages use other expressions, such as “Look!” to introduce a proposal for action. Jerusalem Bible with “come on” is certainly more idiomatic than New English Bible.
Because of the shift of location and at least some period of time involved in the transition between verses 6 and 7, it may be important to introduce verse 7 by “Then the sailors said” or “Later, after Jonah had joined them on deck, the sailors said.”
Let’s draw lots. Every culture has its own method of determining who is to be held responsible in a situation such as this; for example, tossing a coin (Winding Quest “let’s toss up”), or drawing straws from a bundle. Jonah’s name was drawn implies a situation where names were written on pieces of wood.
The techniques of divination differ very widely, and therefore expressions related to such methods may be quite diverse; for example, “throw the stones,” “drop the pieces of wood,” or “scatter the feathers.” In some instances the appropriate expression would be “Let us consult the spirits” or “Let us ask the gods.”
In any event, it was believed (compare Prov 16.33) that God, or the gods, would be able to control the “luck of the draw” in such a way as to indicate who is to blame. This represents a somewhat uncommon way of saying in Hebrew “on whose account,” by using a shortened form of the relative particle. The superstitious outlook of the sailors is implied by New English Bible‘s reference to “this bad luck.”
Who is to blame may be rendered in some languages as a causative, for example, “who has caused us to be in such danger” or “who has caused us to almost die.”
The verb did in the clause They did so is a typical substitute verb; that is to say, it substitutes for a verb expression such as draw lots. In other languages, however, it may be necessary to repeat the verb; for example, “they consulted the gods.”
In place of Jonah’s name was drawn, a more typical expression may be “the stick pointed to Jonah,” or “the stone was Jonah’s” (referring to techniques of divination), or “Jonah was named,” or possibly “they learned that it was Jonah.”
Quoted with permission from Clark, David J. et al. A Handbook on the Book of Jonah. (UBS Helps for Translators). New York: UBS, 1978, 1982, 1993. For this and other handbooks for translators see here .
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