Download Divine Scapegoats: Demonic Mimesis in Early Jewish Mysticism by Andrei A. Orlov PDF

By Andrei A. Orlov

Explores the paradoxical symmetry among the divine and demonic in early Jewish mystical texts.

Divine Scapegoats is a wide-ranging exploration of the parallels among the heavenly and the demonic in early Jewish apocalyptical bills. In those fabrics, antagonists usually replicate positive aspects of angelic figures, or even these of the Deity himself, an inverse correspondence that suggests a trust that the demonic realm is maintained through imitating divine truth. Andrei A. Orlov examines the sacerdotal, messianic, and creational facets of this mimetic imagery, focusing totally on texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. those works are a part of a truly distinct cluster of Jewish apocalyptic texts that express beneficial properties not just of the apocalyptic worldview but additionally of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual within the Apocalypse of Abraham, the divine gentle and darkness of 2 Enoch, and the similarity of mimetic motifs to later advancements within the Zohar are of specific value in Orlov’s attention.

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Extra resources for Divine Scapegoats: Demonic Mimesis in Early Jewish Mysticism

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And this one told the holy Michael that he should show him the secret name, that they might mention it in the oath, so that those who showed the sons of men everything which is secret trembled before that name and oath. 95 And these are the secrets of this oath . . and they are strong through his oath, and heaven was suspended before the world was created and for ever. And through it the earth was founded upon the water, and from the hidden (recesses) of the mountains come beautiful waters from the creation of the world and for ever.

Shabbat 9:350 connect the tradition of the crimson band to a passage from Isaiah that speaks about the forgiveness of the sins. Elsewhere, a connection was made between the scarlet thread and human sins, as Jewish lore often associated the color red with sin and white with forgiveness. 20a-b neatly summarizes this understanding of the color symbolism: Sin is red, as it says, “Though your sins be as scarlet”; man puts the sacrificial animal on fire, which is also red; the priest sprinkles the red blood round the altar, but the smoke ascending to heaven is white.

33 Although the description of the scapegoat ritual found in the Book of Leviticus does not mention the band of the cultic animal, later Jewish and Christian sources provide a plethora of references to this mysterious item. A number of mishnaic passages, including m. 34 For instance, m. 35 This passage portrays the high priest marking two chief cultic animals for the Yom Kippur ordinance by designating one as the goat for YHWH and another as the goat for Azazel, then placing the scapegoat in the direction of his exile, as mentioned previously.

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