{"id":45,"date":"2022-11-08T22:00:56","date_gmt":"2022-11-08T22:00:56","guid":{"rendered":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/esther\/"},"modified":"2023-01-26T23:31:30","modified_gmt":"2023-01-26T23:31:30","slug":"esther","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/esther\/","title":{"raw":"Esther","rendered":"Esther"},"content":{"raw":"<div class=\"esther\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">In this chapter you will<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<ul>\r\n \t<li>discover the connection of the famous story of Queen Esther with the holiday Purim<\/li>\r\n \t<li>learn why and in what ways Esther\u2019s story has become the subject of such a varied array of instrumental works, oratorios, operas, plays, and movies<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nPurim is a Jewish holiday that has a largely comedic focus, and much music associated with the occasion is likewise far from serious. Yet the story that provides the inspiration for the holiday, the book of Esther in the Bible, has much more somber subject matter, and <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/heroes-and-heroines\/work\/esther\/\" target=\"_blank\" rel=\"noopener\">musical treatments thereof<\/a> have often reflected that. Some have wedded the two\u2014the festive holiday and the tale of genocide avoided. Add to this resonances with the composers\u2019 own time, as in the case of Darius Milhaud\u2019s <em>Esther de Carpentras<\/em> (which is about an effort to stage a performance of the story and a Catholic official\u2019s determination to use the occasion to try to get the Jewish community to renounce its faith and identity), and the musical exploration of the Esther story may prove extremely rich and multifaceted indeed.\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Aaron Avshalomov\u2019s <em>Four Biblical Tableaux<\/em> makes <a href=\"https:\/\/www.milkenarchive.org\/videos\/category\/music-videos\/aaron-avshalomovs-four-biblical-tableaux-i-queen-esthers-prayer\/\" target=\"_blank\" rel=\"noopener\">\u201cQueen Esther\u2019s Prayer\u201d<\/a> its first movement. <a href=\"https:\/\/forward.com\/culture\/117793\/a-modern-esther-returns\/\" target=\"_blank\" rel=\"noopener\">Benjamin Ivry\u2019s article in<\/a> <em><a href=\"https:\/\/forward.com\/culture\/117793\/a-modern-esther-returns\/\" target=\"_blank\" rel=\"noopener\">Forward<\/a> <\/em>about Hugo Weisgall\u2019s opera <em>Esther <\/em>reflects on its significance both in relation to the composer\u2019s own experience and, when performed more recently, in the wake of September 11, 2001. <a href=\"https:\/\/www.milkenarchive.org\/music\/albums\/view\/jewish-operas-volume-2\/\" target=\"_blank\" rel=\"noopener\">Neil W. Levin writes in his liner notes for a Milken Archive recording<\/a> of the work that Weisgall and librettist Charles Kondek took significant liberties with the biblical story. Yet the fact that we have different ancient versions of the book of Esther makes it hard to fault any modern librettist or composer for expansion or selectivity (compare <a href=\"https:\/\/www.bibliacatolica.com.br\/new-jerusalem-bible\/esther\/\" target=\"_blank\" rel=\"noopener\">the version in Catholic Bibles<\/a>, based on the expanded Greek version, with that in <a href=\"https:\/\/biblehub.com\/jps\/esther\/1.htm\" target=\"_blank\" rel=\"noopener\">Jewish<\/a> and <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Esther 1&amp;version=NIV\" target=\"_blank\" rel=\"noopener\">Protestant Bibles<\/a> to see what I mean). Also particularly striking is <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/symphony-midrash-esther\/\" target=\"_blank\" rel=\"noopener\">Jan Meyerowitz\u2019s symphony<\/a> <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/symphony-midrash-esther\/\" target=\"_blank\" rel=\"noopener\"><em>Midrash Esther<\/em><\/a>. Midrash is a traditional form of Jewish literature that often included retellings of biblical stories that expanded on dialogue, explored things left unsaid, and otherwise sought to fathom the depths of scriptural narratives in ways only accessible if one employs this sort of creative liberty. Musical treatments of biblical texts are by definition \u201cmidrashic\u201d in character, yet Meyerowitz stands out in explicitly acknowledging this and drawing attention to it.<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Musical treatments of the story are not limited to Jewish composers. <a href=\"https:\/\/www.youtube.com\/watch?v=MBHc9Cd-by0\" target=\"_blank\" rel=\"noopener\">Handel\u2019s oratorio<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=MBHc9Cd-by0\" target=\"_blank\" rel=\"noopener\">Esther<\/a> represents the first English oratorio, and his choice to set this particular text deserves further exploration beyond what we can give it here. There is also incidental music composed by Danish composer C. F. E. Horneman. American composer William Bradbury\u2019s treatment in <em>Esther, the Beautiful Queen<\/em>, with libretto by Chauncey Marvin Cady, incorporates other texts from Scripture and also alludes to a number of hymns. The published score included an excerpt from the first-century Jewish historian <a href=\"https:\/\/www.myjewishlearning.com\/article\/josephuss-version-of-esther\/\" target=\"_blank\" rel=\"noopener\">Flavius Josephus\u2019s expansion on the biblical narrative<\/a>. Musicologist Juanita Karpf writes on this subject,<\/p>\r\n<p style=\"padding-left: 40px;\">Although most of the work\u2019s lyrics consist of paraphrased excerpts from the Book of Esther, Cady also inserted his own verses along with passages from Isaiah, Jeremiah, Lamentations, and the Psalms. Bradbury appended another well-known version of the Esther narrative to the score\u2014the essay \u201cConcerning Esther, and Mordecai, and Haman,\u201d written by the first-century historian Josephus. Some 6,700 words in length, this essay was often printed in programs distributed at performances of Esther. While Bradbury did not set any portion of Josephus\u2019s narrative to music, he considered its inclusion in concert programs and in his score to be important enough to justify the considerable expense of additional paper and printing: \u201cJosephus\u2019 account of Esther is so full and complete, that it will very much enhance the interest of the piece.\u201d[footnote]Juanita Karpf, \u201c<a href=\"https:\/\/www.jstor.org\/stable\/10.5406\/americanmusic.29.1.0001\" target=\"_blank\" rel=\"noopener\">If It\u2019s in the Bible, It Can\u2019t Be Opera: William Bradbury\u2019s Esther, the Beautiful Queen, in Defiance of Genre,<\/a>\u201d <em>American Music<\/em> 29, no. 1 (2011): 4.[\/footnote]<\/p>\r\nSince <a href=\"http:\/\/www.josephus.org\/Esther.htm\" target=\"_blank\" rel=\"noopener\">Josephus\u2019s retelling<\/a> (in his <em><a href=\"https:\/\/penelope.uchicago.edu\/josephus\/ant-11.html\" target=\"_blank\" rel=\"noopener\">Jewish Antiquities<\/a><\/em><a href=\"https:\/\/penelope.uchicago.edu\/josephus\/ant-11.html\" target=\"_blank\" rel=\"noopener\"><em> 11.6<\/em><\/a>) is itself a form of midrash, that returns our musical exploration of the story of Esther here to where it began. The intersecting resonances among multiple biblical texts, retellings of the Bible, a holiday connected with the story, and musical interpretation of the story containing echoes of multiple musical works, potentially accompanied by a printed program, all come together in this way to illustrate well the nature of what scholars following Julia Kristeva have called <em>intertextuality.<\/em>[footnote]Julia Kristeva, <em>Desire in Language: A Semiotic Approach to Literature and Art<\/em> (New York: Columbia University Press, 1980), 36\u201337.[\/footnote] A text is not and can never be sealed off as an isolated entity unto itself. This is true of musical \u201ctexts\u201d (whether written or performed and heard) every bit as much as literary ones (whether written or spoken and heard).[footnote]Also of interest is Victoria Bond\u2019s work <a href=\"https:\/\/www.victoriabond.com\/artist.php?view=prog&amp;rid=1948\" target=\"_blank\" rel=\"noopener\"><em>Sacred Sisters<\/em><\/a>, which provides a musical exploration of the characters of Ruth, <a href=\"https:\/\/soundcloud.com\/welltone\/sacred-sisters-i-esther\" target=\"_blank\" rel=\"noopener\">Esther<\/a>, and Judith.[\/footnote]\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">For Further Reading<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Karpf, Juanita. \u201cIf It\u2019s in the Bible, It Can\u2019t Be Opera: William Bradbury\u2019s Esther, the Beautiful Queen, in Defiance of Genre.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">American Music<\/em><\/span> 29, no. 1 (2011): 1\u201334.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">\u2014\u2014\u2014. \u201cPopulism with Religious Restraint: William B. Bradbury\u2019s Esther, the Beautiful Queen.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Popular Music Society<\/em><\/span> 23, no. 1 (1999): 1\u201329.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Kilgannon, Corey. \u201cPurim! The Musical.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">New York Times<\/em><\/span>, March 18, 2016. <a href=\"https:\/\/www.nytimes.com\/2016\/03\/20\/nyregion\/purim-the-musical.html\" target=\"_blank\" rel=\"noopener\"><span style=\"border: none windowtext 0pt; padding: 0;\"><span class=\"import-url\">https:\/\/www.nytimes.com\/2016\/03\/20\/nyregion\/purim-the-musical.html<\/span><\/span><\/a>.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Kneebone, Emily. \u201cDilemmas of the Diaspora: The Esther Narrative in Josephus Antiquities 11.184\u2013296.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Ramus<\/em><\/span> 36, no. 1 (2007): 51\u201377.<\/p>\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Walker, Jennifer. \u201cDarius Milhaud, Esther De Carpentras, and the French Interwar Identity Crisis.\u201d MA thesis, University of North Carolina at Chapel Hill, 2015.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n&nbsp;\r\n<div><\/div>\r\n<\/div>","rendered":"<div class=\"esther\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">In this chapter you will<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<ul>\n<li>discover the connection of the famous story of Queen Esther with the holiday Purim<\/li>\n<li>learn why and in what ways Esther\u2019s story has become the subject of such a varied array of instrumental works, oratorios, operas, plays, and movies<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>Purim is a Jewish holiday that has a largely comedic focus, and much music associated with the occasion is likewise far from serious. Yet the story that provides the inspiration for the holiday, the book of Esther in the Bible, has much more somber subject matter, and <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/heroes-and-heroines\/work\/esther\/\" target=\"_blank\" rel=\"noopener\">musical treatments thereof<\/a> have often reflected that. Some have wedded the two\u2014the festive holiday and the tale of genocide avoided. Add to this resonances with the composers\u2019 own time, as in the case of Darius Milhaud\u2019s <em>Esther de Carpentras<\/em> (which is about an effort to stage a performance of the story and a Catholic official\u2019s determination to use the occasion to try to get the Jewish community to renounce its faith and identity), and the musical exploration of the Esther story may prove extremely rich and multifaceted indeed.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Aaron Avshalomov\u2019s <em>Four Biblical Tableaux<\/em> makes <a href=\"https:\/\/www.milkenarchive.org\/videos\/category\/music-videos\/aaron-avshalomovs-four-biblical-tableaux-i-queen-esthers-prayer\/\" target=\"_blank\" rel=\"noopener\">\u201cQueen Esther\u2019s Prayer\u201d<\/a> its first movement. <a href=\"https:\/\/forward.com\/culture\/117793\/a-modern-esther-returns\/\" target=\"_blank\" rel=\"noopener\">Benjamin Ivry\u2019s article in<\/a> <em><a href=\"https:\/\/forward.com\/culture\/117793\/a-modern-esther-returns\/\" target=\"_blank\" rel=\"noopener\">Forward<\/a> <\/em>about Hugo Weisgall\u2019s opera <em>Esther <\/em>reflects on its significance both in relation to the composer\u2019s own experience and, when performed more recently, in the wake of September 11, 2001. <a href=\"https:\/\/www.milkenarchive.org\/music\/albums\/view\/jewish-operas-volume-2\/\" target=\"_blank\" rel=\"noopener\">Neil W. Levin writes in his liner notes for a Milken Archive recording<\/a> of the work that Weisgall and librettist Charles Kondek took significant liberties with the biblical story. Yet the fact that we have different ancient versions of the book of Esther makes it hard to fault any modern librettist or composer for expansion or selectivity (compare <a href=\"https:\/\/www.bibliacatolica.com.br\/new-jerusalem-bible\/esther\/\" target=\"_blank\" rel=\"noopener\">the version in Catholic Bibles<\/a>, based on the expanded Greek version, with that in <a href=\"https:\/\/biblehub.com\/jps\/esther\/1.htm\" target=\"_blank\" rel=\"noopener\">Jewish<\/a> and <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Esther 1&amp;version=NIV\" target=\"_blank\" rel=\"noopener\">Protestant Bibles<\/a> to see what I mean). Also particularly striking is <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/symphony-midrash-esther\/\" target=\"_blank\" rel=\"noopener\">Jan Meyerowitz\u2019s symphony<\/a> <a href=\"https:\/\/www.milkenarchive.org\/music\/volumes\/view\/symphonic-visions\/work\/symphony-midrash-esther\/\" target=\"_blank\" rel=\"noopener\"><em>Midrash Esther<\/em><\/a>. Midrash is a traditional form of Jewish literature that often included retellings of biblical stories that expanded on dialogue, explored things left unsaid, and otherwise sought to fathom the depths of scriptural narratives in ways only accessible if one employs this sort of creative liberty. Musical treatments of biblical texts are by definition \u201cmidrashic\u201d in character, yet Meyerowitz stands out in explicitly acknowledging this and drawing attention to it.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Musical treatments of the story are not limited to Jewish composers. <a href=\"https:\/\/www.youtube.com\/watch?v=MBHc9Cd-by0\" target=\"_blank\" rel=\"noopener\">Handel\u2019s oratorio<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=MBHc9Cd-by0\" target=\"_blank\" rel=\"noopener\">Esther<\/a> represents the first English oratorio, and his choice to set this particular text deserves further exploration beyond what we can give it here. There is also incidental music composed by Danish composer C. F. E. Horneman. American composer William Bradbury\u2019s treatment in <em>Esther, the Beautiful Queen<\/em>, with libretto by Chauncey Marvin Cady, incorporates other texts from Scripture and also alludes to a number of hymns. The published score included an excerpt from the first-century Jewish historian <a href=\"https:\/\/www.myjewishlearning.com\/article\/josephuss-version-of-esther\/\" target=\"_blank\" rel=\"noopener\">Flavius Josephus\u2019s expansion on the biblical narrative<\/a>. Musicologist Juanita Karpf writes on this subject,<\/p>\n<p style=\"padding-left: 40px;\">Although most of the work\u2019s lyrics consist of paraphrased excerpts from the Book of Esther, Cady also inserted his own verses along with passages from Isaiah, Jeremiah, Lamentations, and the Psalms. Bradbury appended another well-known version of the Esther narrative to the score\u2014the essay \u201cConcerning Esther, and Mordecai, and Haman,\u201d written by the first-century historian Josephus. Some 6,700 words in length, this essay was often printed in programs distributed at performances of Esther. While Bradbury did not set any portion of Josephus\u2019s narrative to music, he considered its inclusion in concert programs and in his score to be important enough to justify the considerable expense of additional paper and printing: \u201cJosephus\u2019 account of Esther is so full and complete, that it will very much enhance the interest of the piece.\u201d<a class=\"footnote\" title=\"Juanita Karpf, \u201cIf It\u2019s in the Bible, It Can\u2019t Be Opera: William Bradbury\u2019s Esther, the Beautiful Queen, in Defiance of Genre,\u201d American Music 29, no. 1 (2011): 4.\" id=\"return-footnote-45-1\" href=\"#footnote-45-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<p>Since <a href=\"http:\/\/www.josephus.org\/Esther.htm\" target=\"_blank\" rel=\"noopener\">Josephus\u2019s retelling<\/a> (in his <em><a href=\"https:\/\/penelope.uchicago.edu\/josephus\/ant-11.html\" target=\"_blank\" rel=\"noopener\">Jewish Antiquities<\/a><\/em><a href=\"https:\/\/penelope.uchicago.edu\/josephus\/ant-11.html\" target=\"_blank\" rel=\"noopener\"><em> 11.6<\/em><\/a>) is itself a form of midrash, that returns our musical exploration of the story of Esther here to where it began. The intersecting resonances among multiple biblical texts, retellings of the Bible, a holiday connected with the story, and musical interpretation of the story containing echoes of multiple musical works, potentially accompanied by a printed program, all come together in this way to illustrate well the nature of what scholars following Julia Kristeva have called <em>intertextuality.<\/em><a class=\"footnote\" title=\"Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art (New York: Columbia University Press, 1980), 36\u201337.\" id=\"return-footnote-45-2\" href=\"#footnote-45-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a> A text is not and can never be sealed off as an isolated entity unto itself. This is true of musical \u201ctexts\u201d (whether written or performed and heard) every bit as much as literary ones (whether written or spoken and heard).<a class=\"footnote\" title=\"Also of interest is Victoria Bond\u2019s work Sacred Sisters, which provides a musical exploration of the characters of Ruth, Esther, and Judith.\" id=\"return-footnote-45-3\" href=\"#footnote-45-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">For Further Reading<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Karpf, Juanita. \u201cIf It\u2019s in the Bible, It Can\u2019t Be Opera: William Bradbury\u2019s Esther, the Beautiful Queen, in Defiance of Genre.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">American Music<\/em><\/span> 29, no. 1 (2011): 1\u201334.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">\u2014\u2014\u2014. \u201cPopulism with Religious Restraint: William B. Bradbury\u2019s Esther, the Beautiful Queen.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Popular Music Society<\/em><\/span> 23, no. 1 (1999): 1\u201329.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Kilgannon, Corey. \u201cPurim! The Musical.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">New York Times<\/em><\/span>, March 18, 2016. <a href=\"https:\/\/www.nytimes.com\/2016\/03\/20\/nyregion\/purim-the-musical.html\" target=\"_blank\" rel=\"noopener\"><span style=\"border: none windowtext 0pt; padding: 0;\"><span class=\"import-url\">https:\/\/www.nytimes.com\/2016\/03\/20\/nyregion\/purim-the-musical.html<\/span><\/span><\/a>.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Kneebone, Emily. \u201cDilemmas of the Diaspora: The Esther Narrative in Josephus Antiquities 11.184\u2013296.\u201d <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Ramus<\/em><\/span> 36, no. 1 (2007): 51\u201377.<\/p>\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Walker, Jennifer. \u201cDarius Milhaud, Esther De Carpentras, and the French Interwar Identity Crisis.\u201d MA thesis, University of North Carolina at Chapel Hill, 2015.<\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<div><\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-45-1\">Juanita Karpf, \u201c<a href=\"https:\/\/www.jstor.org\/stable\/10.5406\/americanmusic.29.1.0001\" target=\"_blank\" rel=\"noopener\">If It\u2019s in the Bible, It Can\u2019t Be Opera: William Bradbury\u2019s Esther, the Beautiful Queen, in Defiance of Genre,<\/a>\u201d <em>American Music<\/em> 29, no. 1 (2011): 4. <a href=\"#return-footnote-45-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-45-2\">Julia Kristeva, <em>Desire in Language: A Semiotic Approach to Literature and Art<\/em> (New York: Columbia University Press, 1980), 36\u201337. <a href=\"#return-footnote-45-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-45-3\">Also of interest is Victoria Bond\u2019s work <a href=\"https:\/\/www.victoriabond.com\/artist.php?view=prog&amp;rid=1948\" target=\"_blank\" rel=\"noopener\"><em>Sacred Sisters<\/em><\/a>, which provides a musical exploration of the characters of Ruth, <a href=\"https:\/\/soundcloud.com\/welltone\/sacred-sisters-i-esther\" target=\"_blank\" rel=\"noopener\">Esther<\/a>, and Judith. <a href=\"#return-footnote-45-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><\/ol><\/div>","protected":false},"author":3,"menu_order":9,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"part":110,"_links":{"self":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/45"}],"collection":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":14,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/45\/revisions"}],"predecessor-version":[{"id":915,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/45\/revisions\/915"}],"part":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/parts\/110"}],"metadata":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/45\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/media?parent=45"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapter-type?post=45"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/contributor?post=45"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/license?post=45"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}