In a Yom Kippur afternoon (minhah) liturgical poem (piyyut) about Abraham, the artist of the 13th century Leipzig Mahzor chooses a scene of Abraham standing up to Nimrod and God saving him from death by fire.
The stories of Enosh, Noah, Nimrod, the Tower of Babel, and the marriage of the “sons of God” to human women (Genesis 4–11) all feature the Leitwort החל “began,” signaling an attempt to be more than just human.
Genesis describes Nimrod as a great hunter before YHWH and a powerful king. In late Second Temple writings, Nimrod is connected to the Tower of Babel and seen as a rebel against God. This negative view of Nimrod persisted through the centuries in the writings of the Church Fathers, and was further expanded in rabbinic midrash and medieval Islamic literature.
In the Torah, Nimrod and Esau are hunters, Isaac enjoys game, and the legal collections take it for granted that hunting for food is common and permissible. Once Judaism decided that even wild animals must be ritually slaughtered, the Jewish attitude towards hunting took a sharp negative turn.
Nimrod’s bio begins in the 23rd century B.C.E. with King Sargon of Akkad and his grandson Naram-Sin.
Clothing functions both as a marker of distinction and as the source of undoing in the Joseph story. A midrash suggests that Joseph’s coat is the same garment made from the sloughed skin of the serpent that God gave to Adam and Eve, which was then worn by Nimrod, Esau, and Jacob. Another midrash claims it to be the (future) High Priest’s tunic.
The historical association of Abraham and Nimrod with Zoroaster, the founder of Zoroastrianism
