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Dead Sea Scrolls Uncovered - The Preterist Archive

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them because of his Piety (here clearly 'Grace') and directed their foot to the Way.' This exactly<br />

parallels the exegesis of Hab. 2:4 in the Habakkuk Pesher: 'He saved them . . . because of their 'aural<br />

('suffering works') and their faith in the Righteous Teacher.' Both are eschatological, the second<br />

demonstrably so. <strong>The</strong> Habakkuk Pesher also makes this clear by the reference in the previous exegesis<br />

to Hab. 2:3: 'If it tarries, wait for it', which it applies to what is known in early Christianity as 'the<br />

delay of the Parousia', i.e. the delay of the 'End Time'.<br />

One should also note the xenophobia inherent in Lines 7-10, and the references again paralleling the<br />

Habakkuk Pesher, to 'peoples', 'Gentiles' and the fiery 'zeal' with which God would judge them, i.e.<br />

God is as 'zealous' as these presumable 'Zealots'. This is continued into Fragment 3, where, amid the<br />

language of 'works', 'atonement', 'Piety' and 'Glory', it is confirmed that God would comfort Jerusalem.<br />

Here the nationalist sentiments of the literature are once more completely apparent.<br />

Throughout the judgement material in Fragment 2, it is made clear that it is from foreign 'nations' and<br />

'peoples' that God would save 'the Poor', as 'He sets His Angel round about the sons of Israel' (12).<br />

<strong>The</strong>re are splendid poetic allusions here too, such as, being 'hidden in the shadow of His wings' from<br />

Psalms or those who 'walk in the Way of His heart' singing 'like flutes' (7 and 10). In the end, just as in<br />

the case of Jerusalem, they would be comforted.<br />

Line 2.6 reverses the Gospels' 'bride and bridegroom' imagery. Whereas in the Gospels this imagery<br />

usually ends up in the disqualification of both Israel and the Law, here it is used to bless 'the Torah and<br />

'the book of Your Laws' (3.12). Here, too, that 'Throne' imagery, so much a part of Merkahah<br />

Mysticism and later medieval Jewish poetry, is once again evoked (3.7). As with the War Scroll from<br />

Cave 1, there can be no doubting the militancy of these Hymns, nor their nationalism, their zeal for the<br />

Law and their xenophobia, which it is possible to think of as becoming inverted in Gentile Christianity<br />

as it has come down to us.

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