Thomas Brodie (Genesis As Dialogue) argues that “Genesis consists of twenty-six diptychs. Building on earlier insights that several Genesis texts action in pairs and that Genesis is somehow bifold or dialogical, this abstraction makes a basal observation: The absolute book is composed of diptychs—accounts which, like some paintings, abide of two genitalia or panels.”
He gives several examples: “There are . . . two panels of conception (1:1–2:24), two of basal sin (2:25–4:16), two genealogies (4:17–chap. 5), two genitalia to the flood adventure (6:1–9:1:17), two commutual histories about Noah’s sons (9: 18–chap. 10), and so on—to a absolute of twenty-six diptychs (six in chaps. 1–11, seven in the Abraham story, six in the antecedent Jacob story, and seven in the Joseph story). Genesis afresh avalanche into fifty-two panels—a clarification of the medieval analysis into fifty chapters” (xi-xii).
Twenty-six, you say? As in the gematria of YHWH?
After the bifold conception account, Brodie finds a bifold annual of the abatement – the banned bake-apple in the garden (2:25-3) and Cain’s annihilation of Abel (4:1-16). The two accounts are affiliated in assorted ways. They acquaint agnate stories, but forth a altered axis:
“Rather as the conception diptych (Gen. 1: 1–2:24) was adumbrative of the two basal types of conception narratives, so
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