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Dead Sea Scrolls Uncovered - The Preterist Archive

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<strong>The</strong> surviving portions of the Qumran version of the work, presented here, will doubtless fuel the<br />

debate still further. Column 2 preserves the Hebrew form of the Greek Testament of Naphtali 1:9, 11-<br />

12, along with previously unknown details. Column 4 does not parallel any portion of the Greek, and<br />

has an eschatological thrust not found in the Greek Testament of Naphtali.<br />

<strong>The</strong> text, as reconstructed from two separate fragments - and again the reconstruction is not certain -<br />

follows the pattern of the Testament of Amram. Here, a more or less straightforward historical<br />

narrative is followed by an eschatological presentation of the most intense nature. In fact, this one<br />

develops, even in the portion which is extant, into outright Messianism, so that this text, like several<br />

others above, could be added to Chapter 1. <strong>The</strong> prosaic narrative of Column 2 is followed by the<br />

ecstatic visionary recital in Column 4.<br />

Only Lines 1-5 in Column 2 parallel Greek Naphtali text 1:9-12. <strong>The</strong> latter then returns to a rather<br />

humdrum admonition, while the present text develops as below. We have inserted the name Rotheos<br />

from the Greek text for Bilhah's father in Line 7 for purposes of exposition and not because it actually<br />

appears in the Hebrew text. <strong>The</strong> name itself may have been a comparatively late invention without a<br />

Hebrew original, but some name probably does appear in the original.<br />

Here one encounters the usual Messianic vocabulary of 'the Pit' (CD,vi.3-9), Hassidav ('His Pious<br />

Ones'), 'Knowledge', 'Righteousness', 'Truth', and that predestination implicit in recitals like this in, for<br />

instance, the Damascus Document and throughout the already published Qumran Hymns. Here in 4.8,<br />

the actions of 'the Righteous' (those 'saved' at the end of time) are known or prepared 'before ever they<br />

were created' (see CD,iv.4-7 on 'the sons of Zadok' and IQH,ix.33-35). Both Paul and James are<br />

familiar with this sort of language, and early church literature preserves the tradition that James 'was<br />

consecrated ('Holy') from his mother's womb' (E.H. 2.23.4). For his part, Paul is familiar with the<br />

vocabulary of 'the Service of Righteousness', applying it in the passage from 2 Cor. 11-12 we have<br />

already noted above to his opponents among the 'Hebrew' 'archapostles', whom he calls Satan's<br />

'servants' and 'dishonest workmen disguised as apostles of Christ'.<br />

In addition to noting 'the Ways of God' in 4.6, language we shall encounter in the Mystery of<br />

Existence text in Chapter 7, the text also draws attention to 'His mighty works'. <strong>The</strong>se 'works' or<br />

'mighty wonders of God' are to a certain extent delineated in the War Scroll. Recast in the New<br />

Testament as curings, raisings, speaking in tongues, exorcisms, and the like, at Qumran, in keeping<br />

with its more apocalyptic and yet this-wordly approach, they are the battles and final eschatological<br />

actions that God has undertaken or will undertake on behalf of his chosen ones, those He 'loves'.<br />

<strong>The</strong> text very definitely looks forward to the Messianic era, and in doing so, in 4.4ff., turns more and<br />

more ecstatic. This material is not paralleled in the extant Greek version, which turns, as noted, more<br />

prosaic at this point. In the first place the text introduces in 4.1 another new expression, 'the Elect of<br />

Righteousness', paralleled in Hymns, ii. 13 in a section referring to 'the Way', 'zeal' and 'marvellous<br />

Mysteries'. Except for the use of the term 'Wicked" or 'Evil', the era of which is now past, the text is<br />

strictly positive. With the arrival of 'the time of Righteousness', 'the era of Peace' has come, when 'the<br />

Laws of Truth' and 'the Ways of God' will be observed to 'all Eternity' (4.4-5).<br />

Connected with this one gets the evocation of the ubiquitous 'Throne' imagery encountered throughout

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