Rabbi Michael Leo Samuel

Purim has a “carnivalesque”  quality both in terms of its original narrative, as well as how the holiday is celebrated. Despite its joyous display of festivities and mardi gras, the holiday masks a very serious reality—the precarious nature of Jewish survival.

One of my favorite literary critics, the 20th century Russian literary critic Mikhail Bakhtin, defined the carnivalesque as a literary mode that subverts and liberates the  assumptions of the dominant style or atmosphere through humor, chaos, and paradox.

The carnivalesque vision is utopian in that it exposes the hierarchical distinctions of our social order as arbitrary, relative–a matter of social convention.  Hans Christian Andersen’s famous short story, The Emperor’s New Clothes, illustrates the carnivalesque spirit that ridicules monarchs who believe that their social position makes them inherently superior to the common person is altogether ridiculous–even illusory.

The experience of the carnival–with all the social niceties, hierarchies within a given social order, perceptions of truth, the concepts of reverence or piety and etiquettes–are profaned and overturned by normally suppressed voices and energies. A fool may suddenly appear wise, kings may transform into beggars, worlds of opposites co-mingle as if reality itself has turned upside down upon its head.

Many of Bahktin’s ideas can be seen in the story of how Esther and Mordechai thwarted a genocide that was being planned against the Jewish people.

In the book of Esther, the king’s penchant for partying, immediately displays to the reader a surreal world where the beautiful Queen Vashti is suddenly treated as  though she were a common stripper at a bachelor party.

Vashti’s transformation as a well-respected woman to someone who is banished from the kingdom is contrasted by an equally far-fetched scenario–Esther’s ascent to the royal throne. No sooner does Esther become queen, a deadly threat  emerges that threatens the people of Esther–Haman.

Haman’s rise to power is mysterious and rapid. No sooner had the Jews started to feel comfortable in their new Persian home, then suddenly–they are about to be annihilated by a foe who hates them for merely being religiously different.

As with Vashti and Esther, Haman’s ending is equally unpredictable as it is topsy-turvy. The man who obviously aspires to become king, ends up getting hung or impaled because of his hubris. Normalcy returns to the kingdom and the Jews live to see another day–and then some.

Even God undergoes a carnivalesque transformation in Esther. Far from being the revealed Deity of the Exodus, God is invisible throughout the Esther narrative. Yet, it is when God is most hidden, His Presence can still be felt through the downfall of the Jews’ archetypal enemy–Haman.

The biblical writer of Esther wished to convey the precariousness of  Jewish survival; the fact that the Jewish people survive its enemies  is providential; ultimately, the villains of history get their just deserts.