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Geleneksel bir bakış açısıyla İsrailoğullarının Tevrat’taki ilk kadın peygamberi olan Miryam, Harun ve Musa’nın kız kardeşi olup Mısır’dan çıkışın önemli figürlerinden biridir. Ancak eleştirel ve farklı bakış açısından Miryam ile ilgili kutsal kitap ve midraşlardaki anlatılara bakıldığında onun üç farklı portreye sahip olduğu görülmektedir. İlk portre, sepet içinde suya bırakılan Musa’yı uzaktan seyreden ve ismi belirtilmeyen abladır. İkinci tasvirde o, Mısır’dan çıkış esnasında Harun’un kız kardeşi peygamber Miryam olarak betimlenmektedir. Bu tasvir daha yakından incelendiğinde Mısır’dan çıkışta dilinde ezgisi, elinde tefi ile dans ederek İsrailoğullarına liderlik eden Miryam’ın, peygamber olmaktan ziyade Mısır’dan izler taşıyan rahibe olmaya daha yakın durduğu görülmektedir. Nitekim Miryam’ı bir rahibe olarak görmek Cüzzamlı Miryam kıssasını daha anlaşılır kıldığı gibi onun fiziki kusurla cezalandırılması Mısır’daki bir rahibenin görevden uzaklaştırılmasıyla uyumluluk arz etmektedir. Rabbani literatür başta olmak üzere Yahudi geleneğinin Miryam algısı ise ona üçüncü bir portre kazandırmaktadır. Midraş literatürün Miryam portresi, ölümünden hemen önce Tevrat’ın ondan aldığı saygınlığı iade çerçevesinde olup, onu diğer önemli anneler arasında görmek üzerine kuruludur.
In a traditional perspective, Miriam, the first female prophet of the children of Israel in the Tevrat, is the sister of Harun and Moses and one of the important figures of the exit from Egypt. But from a critical and different point of view, when it comes to the sacred books and stories of Miryam, it seems that he has three different portraits. The first portrait is a sister who looked at Moses, who was left in the water in the seat, from a distance and his name was not mentioned. In the second picture, she is described as Harun's sister, the Prophet Miryam, when he left Egypt. When this image is more closely studied, it appears that Miryam, who leads the children of Israel by dancing in his hands with the tail, is closer to being a monk with traces from Egypt rather than a prophet. In fact, seeing Miriam as a monk makes the Cuzzamlı Miriam quotation more understandable as his punishment with physical defect is consistent with the removal of a priest in Egypt from office. The judgment of the Jewish tradition, the Lord’s literature, gives him a third portrait, and the judgment of the Jewish tradition gives him a third portrait. Miryam's portrait of Midraş literature is in the framework of returning the respect that Tevrat received from him just before his death, and is based on seeing him among other important mothers.
From a traditional point of view, Miryam, the first female prophet of the Israelites, is the sister of Aaron and Moses and one of the important figures of Exodus. However, from a critical and different point of view, when we study on the narratives in Tanakh and Midrash, it is seen that she has three different portraits. The first portrait is the unnamed sister who watched Moses, who was left into water in a basket, from afar. In the second depiction, she is depicted as Aaron's sister, the prophet Miryam, during Exodus. When this depiction is examined profoundly, Miryam, who leaded the Israelites by dancing with her tune in her language and with her tambourine, stood closer to being a nun with traces from Egypt rather than being a prophet. As a matter of fact, seeing Miryam as a nun has made the story of Miryam the leper understandable, and her punishment for physical defect is compatible with the dismissal of a nun in Egypt. The Miryam perception of the Jewish tradition, especially in the Rabbinic literature, has given her him a third portrait. The portrait of Miryam in the Midrashic literature is within the framework of the return of the dignity that the Torah received from her just before her death and is based on seeing her among other important mothers.
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