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A s her name denotes, Na amah, the sister of Tubal-cain, was ‘pleasant’ and so was Na omi, the mother-in-law of Ruth. In the case of Na omi, the connection between her personality and her name was established in the biblical narrative itself (Ruth 1:20): (‘She said to them “Call me no longer Na omi [i.e. Pleasant], call me Mara [i.e. Bitter], for the Almighty has dealt bitterly with me” ’).1 The particulars, however, about Na amah were introduced only in post-biblical exegesis. Na amah’s appeal consisted in that she was both physically attractive and musical. The notion of her physical beauty has been discussed by Pearson, who ingeniously identified her with Norea, an intriguing female figure that appears in Gnostic texts from Nag Hammadi, in Mandaean and Manichaean literature, and in Christian heresiological writings (Irenaeus, Epiphanius and Philaster):2 the proper name ‘Norea’ and alternative forms have all been convincingly traced back to Ωρα α (‘beautiful’), a Greek translation of ‘Na amah’.3 Once ‘the sons of God’ and ‘the daughters of men’ of

Ostriches into Sirens: Towards an Understanding of a Septuagint Crux