According to the poetry of the Midrash Tanḥuma, Bereshit 1:1, the words of the Torah were inscribed “black fire on white fire.” For many years, I’ve wanted to look deeply into the black fire and visualize the full spectrum of the Torah’s sources, hidden within the black fire but revealed through a critical analysis of its layers of redaction. Below, I’ve set the text of the first Torah portion in the annual Torah reading cycle, using color-coding to distinguish the stratigraphic layers forming the composition of the Masoretic text according to the Supplementary Hypothesis presented by Tsemaḥ Yoreh in his Kernel to Canon series of books (2013-2017) and his website, the Sources of Biblical Narrative. As Dr. Yoreh explains,

The Supplementary Hypothesis asserts that the Pentateuch was composed by several different writers. This reflects an overwhelming academic consensus on Biblical authorship, even among scholars who do not subscribe to the Supplementary Hypothesis in particular.[….] According to the Supplementary Hypothesis, Biblical narrative is layered. No editor took a blowtorch to the parts of the Bible he disagreed with and destroyed them; if he had, we would not find these repetitions and contradictions. Instead, Biblical narrative began with a coherent, foundational bedrock, which over time accreted more and more storylines. Unlike geological processes, though, this process of addition was deliberate. What happened if one author disagreed with his predecessor’s storyline or worldview? He did not simply take an axe to the narrative; instead, he attempted to bury his predecessor’s point of view by repeating his own over and over again, thus skewing our understanding of the story in new ways. Every generation of readers sees the world differently, and thus every generation of writers seeks to adapt their predecessors’ cultural heritage to their own situation. We are not meant simply to dismiss earlier stories; rather, the intention of later writers is to transform our understanding of those stories via their additions.

Legend

⬛ Most of the book of Deuteronomy (sefer Devarim) is considered the composite of three layers of redaction, ‘D1,’ ‘D2,’ and ‘Dp.’ Together, these layers (commonly referred to as the ‘Deuteronomist’) are thought to have formed by a complex process that reached probably from the 7th century BCE to the early 5th. This strata is primarily responsible for incorporating the law code of Deuteronomy into the Pentateuch. D1, as it is called, also adds a layer of redaction concerned with theodicy in the books of Joshua-Kings. D1 appears here in BLACK text.

⬛ This strata, called D2, shares a particularly non-Judean perspective following the split between the north (Ephraim/Yisrael) and the south (Yehudah) after the reign of Shlomo haMelekh, a perspective that was ignored by D1 (and successive authors). In Deuteronomy, D2 adds hortatory (sermons) to D1’s narrative introduction at the beginning of Deuteronomy (the focus of which is the observation of the commandments and divine justice), and otherwise supplements D1’s work. (A few verses in Parashat Bo in the book of Exodus are also attributed to D2.) D2 appears here in RUST-BROWN text.

⬛ This strata is thought to have been composed in the late 8th or early 7th century BCE in the southern Kingdom of Judah. This layer, commonly known as ‘J’, is indicated with a BLUE text. This is the first appearance of J in sefer Devarim. The previous appearance of J in the Pentateuch occurs in parashat Balaq in the book of Numbers.

Parashat Vayelekh (Deuteronomy 31:1-30) in the annual Torah reading cycle is the ninth parashah in Sefer Devarim. It is preceded by parashat Nitsavim (Deuteronomy 29:9-30:20). Parashat Haazinu (Deuteronomy 32:1-52), follows it.