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. Continue Reading