# Dark Mirrors_ Azazel and Satanael in Early Jewish Demonology > Source: `Dark Mirrors_ Azazel and Satanael in Early Jewish Demonology.pdf` --- Published by State University of New York Press, Albany © 201 1 State University of New York All rights reserved Printed in the Uni ted States of America No part of this book may be used or reproduced in any manner whatsoever without written permiss ion. No part of this book may be stored in a retrieval system or transmitted in any form or by any means induding electronic, electrostatic, magnetic. tape, mechan ical, photocopying, recording, or otherwise without the prior permission in writ ing of the publisher. For infonnation, contact State Un iversity of New York Press, A lbany, NY www.sunypress.edu Production _by_ Kelli _\'!./._ LeRoux Marketing by Anne !vi. Valentine Library of Congress Cataloging-in-Publication Data O rlov, Andrei A. D(lrk mirrors : Azazd and Sat:anael in e(l~ ly jewish demonology/ Andrei A. O rlov. p. em. Includes bibliogr.lphical references and indt>x. ISBN 978-1-4384-3951-8 (hardcover : alk. paper) I. Jewish demonology. 2. Azazel (Jewish mytho logy) 3. Devi l. 4. Apocalypse of Abraham-Criticism, interpretation, etc. 5. Slavonic book of EnochC riticism, interpretation, etc. 6. Apocryphal books (Old Testament)Translations into Slavic-H istory and critkism. I. Tide. BM645.D45075 2011 2963' 16-dc22 2011007661 10 9 8 7 6 5 4 3 2 I **Contents** Preface Abbreviations Introduction Lighdess Shadows: Symmetry of Good and Evi l in Early Jewish Demonology Part 1: Azazel "The Likeness of Heaven": _Kavod_ of A zazel in the _Apocalypse_ _of_ _Abraham_ Esch atO logical Yom Kippur in the _Apocalypse_ _of Abraham:_ The Scapegoat Ritual The Garment of Azazel in the _Apocalypse_ _of Abraham_ Part II: Satanael ix xi 11 27 47 The Watchers of Satanael: The Fallen Angels Traditions in _2 (Slavonic)_ Enoch 85 Satan and dle Visionary: Apocalyptic Roles of the Adversary in the Temptation Narrative of the Gospel of Matthew 107 T he Flooded Arbore w ms: The Garden Traditions in the Slavonic Version of _3_ Baruch and the Book _of_ Giams 113 v ii viii Notes Bibliography Index Contents 127 179 197 **Preface** Along with unpublished studies d1is book contains several essays previously published in journals and collections inaccessible to many interested readers. The essays were originally published as follows: "The Flooded Arboretums: The Garden Traditions in the Slavonic Version of _3_ _Baruch_ and in the _Book_ _of_ Giants," _Catholic_ _Biblical Q11arterly_ 65 (2003): 184-201. "The Esch atological Yom Kippur in the _Apocalypse of Abraham:_ TI1e Scapegoat Ritual," _Symbola_ _Caelestis: Le_ _symbolisme liturgique_ _et paraliturgique dans_ _le_ _monde_ chretien (Scrinium V; eds. And rei Orlov and Basil Lourie; Piscataway: Gorgias Press, 2009), 79- 11 1. "The Watchers of Satanail: The Fallen Angels Traditions in 2 _(Slavonic)_ _Enoch,"_ in A. Orlov, _Divine Manifestations_ in _the Slavonic_ _Pseudepigmpha_ (Orientalia Judaica Christiana, 2; Piscataway: Gorgias Press, 2009), 237- 68. "'TI1e Likeness of Heaven': _Kavod_ of Azazel in the _Apocalypse_ _of Abraham,"_ _\Vith_ _Letters_ _of_ Light: _Studies_ in _the_ _Dead_ _Sea_ _Scrolls,_ _Early_ _] ewish_ _Apocalypticism,_ _Magic_ _and_ M)•sticism (Eksrasis: Religious Experience from Antiquity to the Middle Ages, 2; eds. Daphna Arbel and Andrei Orlov; Berlin/New York: De Gruyter, 2010), 232- 53. I wish to express my sincere gratitude to the Catholic Biblical Association of America, Gorgias Press and Walter de Gruyter Publishers for permission tO reproduce the essays. The fo rmat and d1e style of d1e original publications have been changed to comply wid1 the standards of the collection. Some alterations also have been made clue to printing errors or obvious errors of fact. Some footnotes have been omitted as they appeared in more than one essay. I would like ro express my appreciation to Phillip Anderas, Deirdre Dempsey, Basil Lourie, Oleg Makariev, Amy Ricluer, Kristine Ruffatto, and ix X Prefa ce Nikolai Seleznyov who read various parts of the manuscript and offered numerous helpful suggestions. _I_ am grateful to Art Resource, N.Y., for permission to use an iUustration from a fifteenth-century antiphonary from M useo dell'Opera del Duomo (Florence, Iraly) as the cover image. Sincere thanks are also due to Nancy Ellegare, Kelli Williams-LeRoux, and the editorial team of SUNY Press for their help, patience and professionalism duri ng preparation of the book for publication. AAWG AB ABAW AGAJU AI An Bib ANRW AOASH ArBib AsSeign AT ANT AThR ATJ AUSS BBET BBR BETL Bib _B]S_ BN BR **Abbreviations** Abhandlungen der Akademie der Wissenschaften zu Gottingen Anchor Bible Abhandlungen der Bayrischen Akademie der Wissenschaften Arbeiten zur Geschich te des antiken Judentums und des Urchristenrums Acta lranica Analecta biblica Aufstieg und Niedergang der Romischen Welt Acta Orientalia Academiae Scientiarum Hungaricae Aramaic Bible Assemblees du Seigneur Abhandlungen zut Theologie des Alten und Ne uen Testamems Anglican Theological Review Ashland Theological Journal Andrews University Seminary Studies Beirrage zur biblischen Exegese und Theologie Bulletin for Biblical Research Bibliotheca ephemerid-um theologicarum lovaniensium Biblica Brown Judaic Studies Biblische Notizen Biblical Resea rch xi xii BSac BSJS BSOAS BTB BVC BWANT BZ CBQ CBQMS Comm ConBNT CQR CRlNT csco CTQ DJD DSD DT EB EJL Ekstasis Erjb ETS EvQ EvT ExpTim FAT GCS HM HR Abbreviations Bibliotheca sacra Brill's Series in jewish S tudies Bulletin of the School of Oriental and African Studies Biblical Theology Bulletin Bible et vie chretienne Beitrlige zur Wissenschaft vom A lten und Neuen Testament Biblische Zeitschrift Catholic Biblical Quarterly Catholic Biblical Quarterly Monograph Series Communio Coniectanea neotestamemica or Coniectanea biblica: New Teswment Series Church Quarterly Review Compendia rerum iudaicarum ad Novum Testamentum Corpus Scriptorum Chrisrianorum Orienrali um Concordia Theological Quarterly Discoveries in the J udaean Desert Dead Sea Discoveries Deutsche Theologie Eichstlitter Beitrage. Schriftenreihe der Katholischen Universitlit Eichstatt Early Judaism and its Literature Ekstasis: Religious Experience from Antiquity to the Middle Ages Era nos J ahrbuch E1furrer Theologische Studien Evangelical Quarterly Evangelische Theologie Expository T1mes Forschungen zum Aleen Testament Griechischen christl ichen Schriftsteller der ersren J ahrhunderte Hallische Monographien History of Religion HSM HSS HTR HUCA HUCM IEJ lmm lnt )AAR JAOS JATS JBL )CPS JECS JHI JJS JJTP .JQR .JR JRS JRT JSHRZ JSJ JSJSS JSNT JSNTSup JSQ JSP JSPSS JSSSS Abbreviations xiii Harvard Semitic Monographs Harvard Semitic Studies Harvard Theological Review Hebrew Union College Annual Monographs of dle Hebrew Union College Is rae I Exploration Jo urnal Immanuel Interpretation Journal of the American Academy of Religion Journal of the American Oriental Society Journal of the Adventist Theological Society Journal of Biblical Literature Jewish and Christian Perspecti ves Series Journal of Early Christian Studies Journal of the History of Ideas Journal of Jewish Studies Journal of Jewish Thought and Philosophy Jewish Quarterly Review Journal of Religion Journal of Roman Studies Journal of Reformed Theology )udische Schriften aus hellenistisch-romischer Zeit Journal for the Study of Judaism in the Persian, Hellenistic and Roman Period Journal for me Study of Judaism in dle Persian, Hellenistic and Roman Period: Supplement Series Journal for the Study of the New Testament Journal for me Study of me New Testament: Supplement Series Jewish Studies Quarterly Journal for me Study of me Pseudepigrapha Journal for me Study of me Pseudepigrapha: Supplement Series Journal of Semitic Studies Supplement Series xiv JTS JU JZWL LCL LumVie NHS NovTSup NT NTAbh NTOA NTS NSBT OBS OTF PTS PVTG QD RB RechBib RelSoc ResQ RevQ RevScRel RHPR RSR SBLDS SBLSCS SBLSP SBT ScEccl SHR SJ SJLA Abbreviations Journal of Theological Studies Judemum und Umwelt )Udische Zeitschrift fur Wissenschaft und Leben Loeb Classical Library Lumiere et vie Nag Hammadi Studies Supplements to Novum Testamentum Novum Testamentum Neutestamentliche Abhandlungen Novum Testamentum et Orbis Antiquus New Testament Studies New Studies in Biblical Theology Osteneichische Biblische Studien Oriental Translation **Fund** Parristische Texte und Srudien Pseudepigrapha Yeteris Testamenti Graece Quaestiones disputatae Revue biblique Recherches bibliques Re ligion and Society Restora tion Quarterly Revue de Qumran Revue des sciences religieuses Revue d'histoire et de philosophie religieuses Recherches de science religieuse Society of Biblical Literature Dissertation Series Society of Biblical Literature Septuagint and Cognate Studies Society of Biblical Literature Seminar Papers Studies in Biblical Theology Sciences ecclesiastiques Studies in the History of Religions (supplement to Numen) Studia judaica Studies in Judaism in Late Antiquity XV SJT SNTSMS so SP SSEJC ST _ST D]_ StuciNeot SVTP TBN TCS TED TLZ TQ _TSA]_ TTPS TV TZ UBL vc VT WMANT WUNT WZKM YJS ZAW ZDPV ZM ZNW ZST Abbreviations Studies in Jungian Thought Society of New Testament Studies Monograph Series Symbolae Osloensis Studia Parristica Studies in Scripture in Early j udaism and Christianity Studia theologica Studies on the Texts of the Desert of Judah Studia neotestamentica Studia in Veteris Testamenti Pseudepigrapha Themes in Biblical Narrative Text-Critical Studies Translations of Early Documents Theologische Lite raturzeitung Theologische Quartalschrifr Texte und Studien zum antiken Judentum Texts and Translations. Pseuclepigrapha Series Texte unci Untersuchungen Theologische Zeitschri.ft Ugaritisch-Biblische Literatur Vigiliae christianae Vetus Testamentum Wissenschaftliche Monographien zum Alten unci Neuen Testament Wissenschaftliche Untersuchungen zum Neuen Testament Wiener Zeitschrift fur die Kunde des Morgenlandes Yale Judaica Series Zeitschrift fur die alttestamen tliche Wissenschaft Zeitschrift des cleutschen Palastina-Vereins Zr6dla i monografie Zeitschrift fUr die neucestamendiche Wissenschaft unci die Kunde der alteren Kirche Zeitschrift fUr systematische Theologie INTRODUCTION Lightless Shadows Symmetry of Good and Evil in Early Jewish Demonology In recent years there has been a renewed interest in the study of the symmetrical patterns found in earl y Jewish apocalyptic literature.' In this literantre protological and eschatological times seem to be understood as periods that mirror each other. One instance of this symmetry of procology and eschatology can be found in the early Jewish pseudepigraphon known to us as the Book _of Jubilees._ Scholars have previously noted that in the Book _of Jubilees_ _Endzeit_ appears to be mirroring _Urzeit._ One of the researchers remarks that _Jubilees_ affirms a rigorous tempo ral symmetry. All human history from creation to new creation is foreordained by God and inscribed in the heavenly tablets, which, in turn, are revealed through angelic mediation co Moses on Mt. Sinai, just as they were revealed co Enoch before him. In this presemation, histOrical patterns are adduced to confi rm divine providence over earthly events. A striking example of this is found in the correspondence between _Endzeit_ and _Urzeit._ In _jubilees,_ as in other apocalyptic literature, God intends the wo rld ultimately to conform tO his original intention for the creation. But _]ubi.lees_ goes even further by implying a nearl y complete recapitulation, that is that the _Endzeit_ or resto ration would almost exactly mirror the Urzeit or patriarchal period. [2 ] Another example of the te mporal symmetry of apocalyptic protology and eschatology is found in an early Jewish apocalyptic text known to us as _2 (Sia.vonic)_ _Enoch._ There the disintegration of the pri mordial aeon of light in the beginning of creation is symmetrically juxtaposed with the aeon's eschatological restoration at the end of time. According to the Slavonic 2 Dark Mirrors apocalypse, after me final judgmenr, when the spatial and temporal order will collapse, all the righteous of me world will be incorporated into a single luminous aeon. The description of this final aeon reveals some striking similarities with the features of the primordial aeon of light portrayed earlier as the foundation of the created order. [3 ] The eschatological restoration affects not only me peculiar order of me promlogical evenrs ma t become reinstated at me end of time but also the destiny of some primeval heroes who are predestined to assume new eschatological functions. One such character is the seventh anted il uvian patriarch Enoch, a central witness of the prorological corruption of the earth by the deeds of me Watchers who is also depicted in me Slavonic apocalypse as me first fruit of the escharological aeon of light. The presence of the important primordial witness at me pivotal apex of the _Endzeil_ does not appear ro be coincidental. In d•is temporal "symmetrical" perspective it is often understood that the protological figures, prominent in the _Urzeit,_ including Adam, Abel, Sed1, Enoch, Noah, Ab raham, Jacob, Joseph, Moses, and od1er primordial patriarchs and prophets, will become eschatological witnesses by ass uming various roles at the end of the time. Jewish apocalyptic writings therefore often offer a plethora of eschatological characters posing as conceptual "reincarnations" of familiar protological exemplars who explicitly and implicitly display me particular features of their primordial counterparts. Ch ristian apocalyptic materials are also cognizant of this typological symmetry of protological and escha tological heroes. Thus, early Christian writers often attempt to envision Jesus as the new Adam or me new Moses-me one who returns humankind to its original prelapsarian condition or brings a new covenan t. [4 ] The striking symmetry discernable in Jewish and Christian apocalyptic writings reveals many complex and often perplexing dimensions. Thus, me symmetrical perspective found in pseudepigraphical texts appears to shape not only the "horizontal," temporal, dyn amics but also me "vertical," spatial, dimension of dle apocalyptic worldview with its peculiar imagery of the heavenly and earth ly realms. Refl ecting on this spatial symmetry in d•e Book _of ]ttbi./ees_ and other early Jewish apocalyptic writings, James Scott observes mat mey affirm "not only a temporal symmetry between _Urzeit_ and Endzeit, but also, secondly, a special symmetry between heaven and earth."; These distinctive correspondences between th e earthly and heavenly rea li ties are well known. In the apocalyptic texts such correlations are especially evident in the peculiar parallelism between heavenly and earthly cultic settings that are often depicted as mirroring each othe r. In this worldview, me earmy sanctuaries, their sacerdotal content, and even dl eir cultic se rvants, are envisioned as the entities tha t are predestined to be faithful imitators of their celestial counterparts. In this peculiar perspective even the etiology of these sacerdotal rituals and settings is intimately connected with the Introd uction 3 stories of their origination after the patterns of the heavenly cultic proto types.6 Further, the authenticity and effectiveness of the earthly sacerdotal establishments are then portrayed as being constan tly tested on their faithful correspondence tO the ultimate heavenly patterns according to which they were initially formed. As Scott rightly observes, "(T)he goal of history . .. is th at the cultus will be 'on eartil as in heaven.'"; Indeed, in apocalyptic accounts visionaries are often depicted as either beholding or traveling to the heavenly versions of terrestrial sancruaries, especially in times wh en the earthly shrines become physically destroyed or poll uted and thus no longer able to fulfi ll th eir cultic responsibilities. [8 ] Yet the symmetrical correspondences between the heavenly and eartilly realms do not seem ro be reduced solely to the cultic dimension but appear to affect the whole fabric of the apocalyp tic enterprise, including the heart of its personal eschatology- the transformation of a _seer._ In this respect another crucial element that reaffirms the ex:istence of the spatial symmetry is tile concept of the heavenly counterpart of the apocalyptic visionary. The origin of this idea in Jewish lore can be traced to some pseudepigraphical writings of the late Second Temple period, including tile Book _of Jubilees_ where the angel of the presence [9 ] is envisioned as the heavenly counterpart of Moses. [10 ] Scholars have previously noted that Enochic materials are also cognizant of this tradition about the heavenly twin of the seer. Thus, the idea about the heavenly counterpart of the visionary appears tO be present in one of tile later booklets of _1 (_ _Ethiopic)_ Enoch-the _Booi<_ _of d1e_ _Similitudes._ It has been previously observed that the _Similitudes_ seem to entertain the idea of the heaven ly double of a visionary when it identifies Enoch with the Son of Man. [11 ] Students of Enochic traditions have long been puzzled by the idea th at the Son of Man, who in the previous chapters of the _Similiwdes_ is distinguished from Enoch, becomes suddenly identified wim tile patriarch in _1 Enoch_ 71. James VanclerKam suggests that this puzzle can be explained by the Jewish notion, attested in severa l ancient Jewish texts, tha t a creature of flesh and blood could have a heaven ly double or counterpart. [12 ] As an example, VanderKam points ro Jacob traditions [13 ] in which me patriarch 's "features are engraved on high." [14 ] It is sign ificant that in both Enochic and Jacobite traditions the theme of the heaven ly counterpart is often conflatecl with the imagery of the ange.ls of the presence-the feature that also reaffirms me spatial symmetry between the heavenly and earmly realms. Al though me main thrust of the spatial symmetry found in apocalyptic literature is often expressed through me formula "on earth as in heaven," the aforementioned spatial correspondence appears to influence not only tile 4 Dark Mirrors human, eanhly abode-the realm believed to be sustained by irs fa ithful mirroring of the celestial realities-but also the demonic quarters of the underworld that also strive to imitate for their own, nefarious purposes the features of the heavenly world. Jewish and Christian apocalyptic writings provide a plethora of illustrations for this often strange and perplexing parallelism of heavenly and infernal dimensions in which demonic creatures try to reflect and mirror not only d1e features of angelic characters but even d1e attributes of the deity himself. One of the important examples of th is paradoxa! correspondence between divine and demonic ligures can be found in the _Apocalypse_ _of_ _Abraham,_ where the antagonist of the story, the fallen angel Azazel, is portrayed as a possessor of his own "glory" or _kavod,_ the atuibme that is reserved almost exclusively for d1e depiction of the deity in apocalyptic accounts. The demon's possession of such an unusual theophan ic feature is not an isolated incident but part of the broader ideological tendency of the Slavonic apocalypse, which unveils the paradoxa! symmeny of the good and evil realms.•; Most striking example of this sy mmetry is found in chapter 23, where Abraham receives a vision of the protological scene portraying the demon's corruption of me protoplasts. In this disclosure the hero of me faith beholds Azazel si tuated in the midst of Adam and Eve under d1e Tree of Life. Scholars have previously suggested that A zazel may atte mpt here tO mimic the divine presence often represented in sacerdotal settings as the intertwined cherubic couple in the Holy of Holies by offering his ow n, now corrupted and demonic version of the sacred union. [16 ] As has been nmed above, the symmetry of _Urzeit_ and _Endzeit_ and the symmetrical correspondences of realms deeply affect the profiles of various characters of the stories, revealing the paradoxa! mirroring of protological and escha tological heroes as well as a remarkable parallelism between earthly and celestial counterparts. It has also been shown that even negative characters of the apocalyp tic srories are part of this mirroring dynamic. T hus, in Jewish and Christian apocalyptic materials prorological opponents, si milar to primordial patriarchs and prophets, often appear at the end of time in their new eschatological capacity. As our study has already demonstrated, the antagonists are also affected by the spatial dynamics of the apocalyptic story as mey try tO mimic me attributes of celestial beings. Yet the persuasive nature of the temporal and spatial symmetry found in the pseudepigraphical narratives also seems to be responsible for another type of symmetrical correlation d1at often manifests itself in the paradoxa[ mirroring of the roles and attributes of the protagonists and antagonists of apocalyptic stories. T his type of correspondence can be seen as a sort of inverse sy mmetry, where the antagonist or protagonist of the story literally Introduction 5 takes the place of his oppone nt by acquiring the peculiar attributes and conditions of his counterpart. It is well known that in Jew ish apocalyptic writings some exalted heroes, including protological patriarchs and prophets, are often depicted as traveling to the upper realms where they are granted knowledge of heavenly phenomena and a vision of the divine Ch ariot-dle pivotal visionary encounter laden with profound transformational opportunities that often leads to the metamorphosis of a seer into an angelic or even divine being. It is intriguing that in some apocalyptic accounts, this symbolism of transformation is applied not only _w_ the "heroes" of the apocalyptic stories but also their eschatological opponents who also undergo their own paradoxa! metamorphoses.H Moreover, in the course of these transforma tions, the peculiar attributes and offices of the protagonists or antagonists become mysteriously imitated in the newly acquired offices and roles of their respective opponents. Thus, for example, in the _Book_ _of_ _the_ _Watchers,_ the fallen angels, the fo rmer participants in the heavenly liturgy, are depicted as abandoning their place in heavenly worship and descending to ea rd1 ro assume the marital roles of humans, while th eir righteous h uman counterpart, the patriarch Enoch, ascends to heaven to become a sacerdotal servant in the heavenly Temple. The exchange between the hero and his negative counterpart(s) is clearly discernable here, as both parties are depicted as mirroring each other in their mutual exchange of offices, roles, attributes, and even wardrobes. The last feature of the transformation is particularly noteworthy since d•e theme of transferring the garment of the demoted angelic antagonist to an exalted human protagonist plays a very important role in jewish apocalyptic literature. T hus, for example, in Enochic literature the seventh antediluvian patriarch receives glorious angelic attire [18 ] while the fallen angels are donning the human ontological "garments." [19 ] In the Adamic lore one can also find this inverse symmetrical correspondence when one learns that the first humans received their unique status, manifested in d1e luminous garments, as a result of the demotion of an exalted angelic being who fell out of divine favor. In these traditions the protoplast takes the place, glory, and garments of the demoted angelic antagonist. One of the early examples of this tradition can be found in the _Primary_ Adam Boob, where the removal of Satan [10 ] from his special glorious place is placed in conceptual juxtaposition with the creation and exaltation of Adam. [21 ] Moreover, the demotion of the antagonist is accompanied not only by vacation of the exalted place, which is required for the apotheosis of a new hero, but also, and more importandy, by purification or catharsis. In this sacerdotal perspective the demoted ligures are often envisioned as cosmic scapegoats who take upon themselves the "soiled garments" of their 6 Dark Mirrors human opponents by carrying their sins into the remote abode of their exile. Scholars often see in such cathartic routines a reflection of one of the fundamental cultic dynamics manifested in the Yom Kippur ordinance where the en trance of the human celebrant intO the divine abode, represented by the Holy of Holies, is juxtaposed with the removal of human sins into the wilderness by means of dle scapegoat. This apocalyptic reinterpretation of the Yom Kippur imagery appears to play an important role in the symmetrical conceptual framework of the _Apocal)•pse_ _of Alrraham_ where the angel Yahoel informs Abraham that he will receive dle angelic garment of Azazel whi le the demon will take upon himself the "garment" of the patriarch's sins. In this inverse sy mmetrical framework, both parties are depicted as simultaneously exchanging each other's attributes since the transference of the celestial garmen t tO the patriarch coincides widl the angel's testimony dl at Abraham's sins are transferred to Azazet.2 [2 ] As has already been noted, a similar development is discemable in the demonological settings of the Adamic tradition where the protoplast's exaltation in the ange lic community mirrors Satan's demotion from celestial citizenship. [23 ] Our short excursus into symmetrical correspondences between the antagonists and protagonists of apocalyptic stories h as shown that these symmetrical correlations often revolve around two enigmatic figures who exercised formative influence on early Jewish demonology-the demoted angelic beings known tO us as Azazel and Satan.zt While in later Jewish and Christian materials the srories of both paradigmatic antagonists are often conflated and even confused, their respective origins can be traced to two distinctive and often competing my thologies of evil-Adamic and Enochic, one of which was tied to the mishap of Adam and Eve in the Garden of Eden and the o ther to the fall of angels in the antediluvian periodH Thus, Adamic tradition traces the source of evil to Satan's transgression and the fall of Adam and Eve in Eden, a trend that explains the reason for Satan's demo tion by his refusal to obey God's command to venerate the protoplast. In contrast, the ea rl y Enochic tradition bases its understanding of the origin of evil on the story of the fallen Watchers led by Azazel. It is also intriguing that while in the beginning of their conceptual journeys Azazel and Satan are posited as representatives of two distinctive and often rival trends tied to the distinctive etiologies of corruption, in later Jewish and C hristian demonological lore both antagonists are able to ente r each other's respective stories in new conceptual capacities. In these Introd uction 7 later traditions Satanael is often depicted as the leader of the fallen angels while his conceptual rival A.zazel is portrayed as a seducer of A.dam and Eve. The current collection of essays examines the symmetrical patterns of early Jewish demonology that are often manifested in the an tagonists' imitation of the attributes of various heavenly beings, including principal angels and even the deity himself. The study will pay special attention to the sacerdotal dimension of these demonological developments and show that the peculiar transformations of the adversaries often have a cultic significance as they become unfolded in the midst of the priestly and liturgical settings of the Jewish tradition, including the Yom Kippur ceremony. The second aspect of the study will include investigation of the mutual conceptual interactions between the Azazel and Satanael traditions in course of which the distinctive features or attributes of one antagonist become transferred to the character of d1e rival mythology of evil. The discussion treats the aforementioned issues in six essays, three of which are devoted to the figure of A.zazel and three others to the figure of Satanael, also known in the Slavonic pseudepigrapha under the name Saranail. This structure of the volume: provides an equal amount of attention to both demonological trends. The first essay of the collection, entitled "'The Likeness of Heaven': _Kavod_ of A.zazel in the _Apocalypse of_ Abralwn," explores one of Azazel's most enigmatic practices, his attempt ro imitate the divine manifestation situated between two cherubim in the Holy of Holies. TI1e study underlines the cultic aspect of this demonic transformation. Ald1ough the study mainl y focuses on the motifs found in the _Apocalypse_ _of Abraham,_ an early Jewish apocalyptic text preserved in Slavonic, it trea ts the Azazel tradition in its histOrical and interpretive complexity through a broad variety of Jewish materials. The second essay, "Eschatological Yom Kippur in d1e _Apocalypse_ _of_ _Abraham:_ The Scapegoat Ritual," continues to examine the sacerdotal dimension of the Azazel figure, namely his role as a celestial scapegoat. Already in the Bible the infamous scapegoat bearing the name Azazel is envisioned as an important sacerdotal servant on whom d1e heavy load of Israel's sins is bestowed during d1.e annual Yom Kippur ceremony. TI1e _Apocalypse_ _of Abraham,_ however, portrays Azazel not merely as a sacrificial animal but as a fallen angelic being who takes upon himself the burden of Abraham's sins, which allows the hero of the faith ro enter the celestial Holy of Holies. TI1e study suggests that the _Apocalypse of Abraham_ portrays an eschatological reenactment of the Yom Kippm ritua l. The third essay of the collection, entitled "The Garment of Azazel in the _Apocalypse_ _of Abraham,"_ probes further the cultic dimension of Jewish demonology by concentrating on the tradition of Azazel's angelic garmem, which in the _Apocalypse_ _of_ _Abraham_ is transferred to the patriarch. It 8 Da rk Mirrors appears that th is endowment of Abrah am with the celestial garment before his entrance into the celestial Holy of Holies betrays distinctive sacerdotal connections as it appears to be related to the tradit io ns about the attire the high priest wore upon his entrance in tO the Holy of Holies. T his essay also deals extensively with a pa:rallel tradition about Satan's angelic garment found in the _Primary_ _Adam_ _Books_ where Saran's garment of glory is also transferred to a human recipient. Analys is of this paralleled tradition provides an important conceptual bridge to the second part of the volume, which includes three essays dealing with the Satanael tradition. T he essays of the second part of the volume are organized to show the development of the Satanael lore in its histo rical perspective. T hus, one of these essays deals with 2 _Enoch,_ a text written before 70 CE, ano ther essay discusses the Satan tradition in the Gospel of Matthew written around 70 CE, and the final essay examines _3 Baruch_ wrine n in the second/third century CE. The fourth essay of the volume (the fi rst in the second section), entitled "The Watchers of Satanael: The Falle n Angels Traditions in 2 (Slavonic) Enoch," deals with the intriguing development inside the Satanael tradition in which this demonic character acquires several pecul iar roles of his conceptual rival Azazel, being now depicted as rhe leader of the fallen Watchers. This development shows the remarkable flu idity of the two mythologies of evil in which the features of one antagonist are often emulated by the main character of the rival trend. The fifth essay, "Satan and the Visionary: Apocalyptic Roles of the Adversary in the Temptation Narrative of the Gospel of Matthew," de als with Satan's unusual roles and actions duri ng his temptation of Jesus in the wilderness. The study shows that while tempting Jesus Satan assumes several pecul ia r roles of the transporting and interpreting angel (a psychopomp and an _angelus_ incerpres), the offices we ll known from Jewish apocalyptic stories. Moreover, Satan's reques t for veneration invokes so me features of the theophanic accounrs where such services are delivered exclusive ly either tO the deity or his anthropomorphic icon, the protoplast. The sixth essay, "The Flooded A rboretums: The Garden Traditions in d1e Slavonic Ve rsion of _3 Baruch_ and the _Book of Giants"_ again deals with the interaction between the two mythologies of evil in whicl1 some features of the fallen Watchers' demonological template are transferred to Satanae l. O ne can see that both parts of the volume are interconnected th rough the thorough exploration of the dialogue between the Satanael and Azazel traditions, the conceptual development th at played a crucial fo rmative role in shaping early Jewish demonology. Part I Azazel **"The** **Likeness** **of Heaven"** _Kavod_ of **Azazel** **in** **the** _Apocalypse_ _of Abraham_ Now observe a deep and holy mystery of faith, the symbolism of the male principle and the female principle of the universe ... there is the line where the male ~nd female principles join, forming together the rider on the serpent, and symbolized by A zaze l. _-Zohar_ 1.152b- 153a Introduction Chapter 14 of the _Apocalypse of Abraham,_ a Jewish pseudepigraphon wri tten in the first centuries CE, unveils an enigma tic tradition about the unusual power given tO the main an tagonist of the srory, the fallen angel Azazel. In the text, Abraham's celestial guide, the angel Yahoel, warns his human apprentice, the hero of the fa ith, that God endowed his chief eschatological opponent Azazel with a special will and with "heaviness" against those who answer him. The reference to the mysterious "heaviness" (Slav. T»roTa) given tO the demon has puzzled students of the Slavonic apocalypse for a long time. Ryszard Rubinkiewicz has previously suggested that the Slavonic term for "heaviness" (T~ron) in this passage from _Apoc._ _Ab._ 14:13 possibly serves as a technical term for rendering the Hebrew word _Kavod._ _[1 ]_ Rubinkiewicz has further proposed that the original text most likely had **11:::l:::l,** which has the sense of "gravity" but also "glory," and had the fo llowing rendering: "the Eternal One ... to him [Azazel] he gave the glory and power." According to Rubinkiewicz, th is ambiguity lays at the basis of the Slavonic translation of the verse _.z_ It is quite possible that, given the formative influences the Book of Ezekiel exercises on the _Apocalypse_ _of_ _Abraham,_ _[3 ]_ the authors of the text **11** 12 Da rk Mirrors might indeed have known the _Kavod_ technical terminology, wh ich plays such an important role in the great prophetic book. Yet the transference of this peculiar theopb.anic imagery to an ambiguous character in the story is qui te puzzling since the _Kavod_ symbolism represents a very distinctive attribute reserved in the Jewish biblical and pseudepigraphic traditions almost exclusively for celestial and translated agen ts to signal their divine status. Could this strange tradition about the glory of Azazel suggest that the authors of the Slavonic apocalypse sough t to envision the fallen angel as a kind of negative counterpart of the deity who enjoys his own "exalted" attributes that mimic and emulate divine attributes! A closer look at the pseudepigraphon reveals that such a dualistically symmetrical symbolism is not only confined to the description of the fallen angel and his unusual attributes. It also represents one of the main ideological tendencies of the Slavonic apocalypse. Several scholars have previously noted d1is peculiarity of the theological universe of the Slavonic apocalypse, which reveals the paradoxa! symmetry of the good and evil realms: the domains which, in the Abrahamic pseudepigraphon, seem depicted as emulating and mirroring each other. It h as been previously argued t hat the striking prevalence of such dualistic symmetrical patterns pennea ring the fabric of the _Apocalypse_ _of_ AbraiUiln can be seen as one of the most controversial and puzzling fea tures of the text. [4 ] It should be noted that the dualistic curren ts are present mostly in the second, apocalyptic portion of the text where the hero of the faith receives an enigmatic revelation from the deity about the unusual powers given to Azazel. Reflecti ng on these concepwal developments, Michael Stone draws attention ro the traditions found in chapters 20, 22, and 29, where the reference to Azazel's rule, wh ich he exercises jointly with God over the world, coincides "with the idea that God granted h im authori ty over the wicked."; Stone suggests that "these ideas are clearl y dualistic in nature." [6 ] john Collins explores anothe r cluster of peculiar depictions repeatedly found in the second part of the _Apocalypse,_ in wh ich humankind is divided into two parts, half on the right and half on the left, representing respectively the chosen people and the Gentiles. These portions of humanity are labeled in the text as the lot of God and the lot of Azazel. Collins argues that "the symmetrical division suggests a dualistic view of the world." [1 ] He fu rd1er observes th at "the nature and extent of this dualism constitute the most controversial problem in the _Apocalypse_ _of Abraham."_ _[8 ]_ Ryszard Rubinkiewicz, while denying the presence of "absolute" or "onrological" [9 ] dualism in the _Apocalypse_ _of Abraham,_ admits that the pseudepigraphon exhibits some dualistic tendencies in its ethical, spatial, and temporal dimensions. [10 ] "The Likeness of Heaven" 13 Yet, in contrast to Rubinkiewicz's opinion, George Box sees in these spatial and temporal dimensions the main signs of the "radical dualism" of the apocalypse. He maimains that ''che radical dualism of the Book comes Out not only in the sharp division of mankind in tO two hosts, which srands for Jewry and heathendom respectively, but also in the clea rl y defined contradistinction of two ages, the present Age of ungodliness and the future Age of righteousness."'' Another distinguished stude nt of d1e S lavonic text, Marc Philonenko, in his analysis of the sy mmetrical nature of the positions of Yahoel and Azazel, I! notes the peculiarity of the interaction between these two spirits, one good and one malevolent. He observes that their battle does not occur directly, but rather through the medium of a human be ing, Abraham. A braham is thus envisioned in the pseudepigrapho n as a place where the battle between two spiritual forces unfolds. [13 ] Philonenko sees in d1 is anthropological internalization a peculiar mold of the dualism that is also present in the Qumran materials, including the _lrutruction on the_ _Two_ _Spirits_ (lQS 3:13-4:26) where the Prince of Lights and the Angel of Darkness are fighting in d1e heart of ma n . 1 ~ The aforementioned scholarly suggestions about the dualistic tendencies of the apocalypse, which seems to envision a symmetrical correspondence between the divine and demonic realms, the worlds of God and of Azazel, are intriguing and deserve further investiga tion. The current study will attempt to explore some dualistic symmetrical patterns fo und in the Slavonic pseudepigraphon, concentrating mainly on the peculiar theophanic imagery surrounding the figure of the main antagonist of the text, the demon Azazel. The Inheritance of Azazel The traditions about the two eschatological lots or portions of humanity found in the second part of the text have captivated the imag ination of scholars for a long time. In these fascinating descriptions, students of the Abrahamic pseudepigraphon have often tried to discern possible connections with the dualistic developments found in some Qumran materials, where the imagery of the two escharological lots played a significant role. Indeed, in tl1e Dead Sea Scrolls one can fi nd a broad appropriation of the imagery of the two portions of humanity, which are often depicted there in striking opposition to each other in the final decisive battle. It has been frequently noted that the peculiar symbolism of the eschatological parties often takes the form of dualistic sy mmetrical counterparts, as these groups are repeatedly described in the Dead Sea Scrolls through metaphoric depictions involving the dichotomies of darkness and light, good and evil, election and rejection. 14 Dark Mirrors This dualistic "mirroring" is also often underscored by the symbolic pro files of the main leaders of the eschatological "lots," whose peculiar sobriquets often negatively or positively reflect, or even polemically deconstruct, the names of their respective escharological rivals: Melchizedek and Melchiresa<, the Prince of Ligh ts and the Angel of Darkness. The peculiar imagery of the eschatological portions of humanity is also manifested in the _Apocalypse of Abraham._ Graphic depictions of the two lots are widely dispersed in the second, apocalyptic, part of the pseudepigraphon. Scholars have previously noted that the peculiar conceptual elaborations th at surround these portrayals of the portions appear to be reminiscent not only of the eschatological reinterpretations and terminology found in the Qumran materialsY but also of the peculiar imagery of sacrificial lots prominent in the Yom Kippur ritual, [16 ] the ordinance described in detail in some biblical and rabbinic accoums.li Thus, it has been previously observed dlat the word _lot_ (Slav. 'laCTb) found in the Slavonic text appears to be connected to the Hebrew ?1U, a term prominent in some cultic descriptions found in biblical and rabbinic accounts, [18 ] as well as in the eschatological developments attested in the Qumran materials. [19 ] Similar _w_ the Qumran materials where d1e lots are linked to the fallen angelic figures or translated heroes (such as Belial or Melchizedek), in the _Apocalypse_ _of Abraham_ the portions of humanity are now tied to the main characters of the srory- the fallen angel AzazeF [0 ] and the translated patriarch Abraham. [21 ] It is also notewordly that in the _Apocalypse_ _of Abraham,_ similar to the Qumran materials, [21 ] the positive lor is designated sometimes as the lot of the deity-"my [God's] lor": And the Eternal Mighty One said to me, "Abraham, Abraham!" And I said, "Here am l!" And h e said, "Look from on high at the stars which are beneath you and count them for me and tell me their number!" And I said, "Would I be able? For I am [bm) a man." And he said ro me, "As the number of the stars and their host, so shall I make you r seed into a company of nations, se t apart for me in my lot with Azazel."Zl While the similarities of the _Apocalypse of Abraham_ wi th the Qumran materials were often noted and highlighted in previous scholarly studies, the differences in the descriptions of the eschatological lots and their respective leaders have often been neglected. Yet it is quite possible tha t the dualistic imagery of the eschatological portions might receive an even more radical form in the Slavonic apocalypse than in dle Dead Sea Scrolls. Indeed, it seems that the Slavonic pseudepigraphon attempts to transfer to the antagonist and to his lot some of the no tions and attributes that in "The Likeness of Heaven" 15 the Qumran materials remain reserved solely for the domain of the positive portion of humanity. One such notion includes the concept of "inheritance," the term that plays an important role both in the Dead Sea Scrolls and in the Slavonic apocalypse. Thus, the passage found in chapter 14 of the pseudepigraphon unve ils the fo llowing enigmatic tradition about the very special "inheri tance" given to the fallen angel AzazelY Since _your_ inherirance (AOCTOl!HHe TBoe) are those who are with you, with men born with the Hars and clouds. And their portion is _you_ (ux1,>KC •tacn. ecu Th.l). [25 ] The striking feature of this account is tha t in _Apoc._ _Ab._ 14:6 d1e concept of the eschatological "toe' or "portion" (Slav. •racn,)1 [6 ] of Azazel appears to be used inrercl1angeably with the notion of "inheritance" (Slav. AOCTOIDIHC). This terminological connection is intriguing since d1e two notions, "inheri tance" and "lot," are also used interchangeably in the Qumran passages that deal with the "lot" imagery. Thus, for example, 11Q 13 speaks about "inheritance" referring tO the portion of Melchizedek that will be victO rious in the eschatological ordeal: . .. and from the inheritance of Melchizedek, fo [r ... ] ... and they are the inhelita[nce of Melchize]dek, who will make them return. And the d(ay of aton)ement is the e(nd of] the tenm (ju) bilee in which awnement shall be made for all the sons of [light and) fo r the men [of] me lot of Mel[chi]zedek. [11 ] In lQS 3:13-4:26, in the fragment also known as the Instruction _on_ _the Ttvo_ _Spirits_ the imagery of inheritance is tied to the concept of the lot of the righteous: [T ]hey walk in wisdom or in fo lly. In agreement with man's _inheritance_ in the truth, he shall be righteous and so abhor injustice; and according to his share in the lot of injustice, he shall act wickedly in it, and so abhor the trum. [28 ] In 1 QS 11:7- 8 and CD 13: 11- 12 this concept of inheritance is once again connected with participation in the lot of light, also labeled in l QS as "the lot of the ho ly ones": [19 ] To those whom God h as selected he has given them as everlasting possession; and he has given them an inheritance in the lot of the holy ones. (lQS 11: 7-8).3° 16 Dark Mirrors And everyone who joins his congregation, he should examine, concerning his actions, his intelligence, his strength, his courage and his wealth; and they shall inscribe him in his place according to his inheritance in the lot of light. (CD-A 13: 11- 12). [31 ] In these last two texts the concept of "inheritance" appears ro be understood as the act of participation in the eschatological lot rendered through the formulae "inheritance in the lot" (Heb. **?iU::::i** 1n?m) .JZ The same idea seems tO be at work in the aforementioned passage from _Apoc. Ab._ 14:6 where "inheritance" is understood as participation in d1e lot of Azazel. Yet despite the similari ties, one striking difference between these texts is discernable: while in the Qumran materials the "inheritance" appears to be connected with the divine lot, in the _Apocalypse_ _of Abraham_ it is unambiguously tied tO the lot of Azazel. This transference of the notion of "inheritance"-the concept that plays such an importa nt role in the Qumran ideology-under the umbrella of the lot of Azazel in the A _poe._ _Ab.,_ is striking. It brings the dualistic ideology of the Jewish pseudepigraphon to an entirely new conceptual level in comparison with the dualistic developments found in the Dead Sea Scrolls. This new conceptual advancement appears also to have a strong influence on the profile of the main antagonist of the text, the fallen angel Azazel who, in comparison with the eschatOlogical opponents of the Dead Sea Scrolls, now becomes not just one of the characters in the gallery of many eschatological opponents but the adversary _par_ excellence. In this respect Lester Grabbe suggests that the _Apocalypse_ _of Abraham_ seems to be referring to d1e "basic arch-demon complex under d1e name of Azazel." JJ In his opinion, in the Slavonic apocalypse "Azazel is no longer just a leader among the fallen angels but the leader of the demons. Figures originally separate have now fallen together while the various names have become only different aliases of the one devil." [3] f Such mythological consolidation affecting the profile of the main escharological opponent advances the dualistic thrust of the Slavonic apocalypse and helps to secure Azazel's confrontational stand not only toward Yahoel and Abral1am but, more importantly, toward the deity. The Theophany of Azazel The second, apocalyptic, section of the Slavonic pseudepigraphon begins with a series of cryptic portrayals unve iling the Striking appearance and the spectacular offices of Abraham's celestial guide, the angel Yahoel. Yet in comparison with these disclosures about the great celestial being, the figure of another important character in the story, the main adversary of "The Likeness of Heaven" 17 the text, the fallen angel Azazel, is shrouded in a cluster of even more ambiguous and enigmatic descriptions. For unknown reasons, possibly viewing the arch-demon's figure as providing one of the conceptual clues ro understanding the mystery of the theo logical universe of the text, the authors of the pseudepigraphon appea r very reluctant tO unveil and clarify the exact status of their mysterious an tihero, instead offering to their readers the rich tapestry of arcane traditions embroidered with the most recondite imagery that can be found in the apocalypse. Yet despite the aura of co ncealment th at envelops the cryp tic profi le of the arch-demon, the cosmic significance of th is perplexing character peeps th rough various details of th e story. T hus, the very fi rs t lines of chapter 13, which introduce Azazel to the audience, appear to him at him as a figure with a very special autho rity. His bold descent on the sacrifices of the hero of the faith does not appear coincidental; the autho rs of the Slavonic apocalypse may want to signal to their readers that Azazel is not merely an abandoned, demoted creature, but rather an object of worship, veneration, and sacrificial devotion, who possibly possesses an exalted status and place tha t negatively replicate and mimic the authority and position of the de ity. Many previous studies have shown conceptual links between Azazel and Abraham,l; as well as parallels between Azazel and Yahoel. [36 ] Yet despite the significance of these co mparative studies, which have been able tO clarify conceptual symmetry between positive and negative protagonists of the stOry, scholars have often neglected anothe r portentous parallelism fou nd in dle text-that is, the correspondence in the roles and attributes between the deity and the demon. T he initial sign of this baffl ing dualistic symmetry appears already tO be hinted at in the depictions of dle esch atOlogical lots, where the portion of Azazel is exp licitly compared with the lot of the Almighty. Yet this juxtaposition between the fallen angel and the Divinity can be considered as rather schema tic. In this correspondence between the two portions of humanity, one belonging tO God and the other to the demon, one might see a merely metaphorical distinction th at does not inte nd tO fully match the status and the attributes of the deity with the condition of Azazel; rather, it simply hin ts at the demon's temporary role in the esch atological opposition. A closer analysis of the text, however, reveals that the co mparisons between God and Azazel have much broader co nceptual ramifica tions dl at appear tO transcend a purely metaphorical leve l, as the depictions of both characters unveil striking theophanic similarities. An important feature in th is respect is the peculiar imagery of the epiph anies of both characters unfolding in the special circumstances of the ir fiery realms. It is intriguing that in the tex t, where the theophanic manifestations of the deity are repeatedly portrayed as appearing in the midst of flames, the presence of Azazel is also conveyed through similar imagery. 18 Dark Mirrors It has been previously noted that the imagery of fire plays an important conceptual role in the Slavonic apocalypse. [37 ] It is often envisioned there as the substance predestined to examine the authen ticity of things and to test their eternal status. _Apoc._ _Ab._ 7:2 relates that "the fire mocks with its flames the things that perish easily." [38 ] Both a nimate and inanimate characters of d1e story, including the infamous idols and their blasphemous makers, are depicted in the text as undergoing fiery probes-the ominous tests that often lead them into their final catasrrophic demise. Thus, by means of fire, the young hero of d1e faid1 "tests" d1e wooden stature of his fad1er, the idol Bar-Eshad1, which the flames turn into a pile of ashes. Further, the craftsmen of the idolatrous ligures themselves are not exempted from the fiery probes' scruti ny. The first haggadic section of the text concludes with the blazing ordeal during which the workshop of Terah is obliterated by fire sent by God. Later, in the second, apocalyptic, section of the work, the patriarch Abraham himself undergoes multiple fiery tests during his progress into the upper heaven. All these remarkable instances of the fiery annihilations of certain characters of the story, and miraculous survivals of others, do not appear coincidental. Scholars have previously noted that in the _Apocalypse of_ _Abraham,_ as in several other apocalyptic texts, including Daniel _3_ or Ezekiel 28, fire serves as the ul timate test for distinguishing inauthentic and idolatrous represen tations of the Divinity from its true COLmterparts. In accordance with this belief, which often envisions the endu rance of the "true" things in the flames, the very presence of the deity is repeatedly portrayed in the text as situated in the stream of fire. Thus, already in chapter 8, which marks a transition to the apocalyptic section of the work and narrates the patriarch's response to the divine call in the courtyard of Terah's house, the divine presence is depicted as "the voice of the Mighty One" coming down in a stream of fire. [39 ] This self-disclosure of God in the midst of the theophanic furnace becomes men a standard description adopted by the aumor(s) of the apocalypse to convey manifestations of the deity.f [0 ] In view of these peculiar theophanic tenets of the pseudepigraphon, it is intriguing tha t some eschatOlogical manifestations of Azazel, similar to d1e epiphanies of d1e deity, are depicted with fiery imagery. Although in chapter 13 the patriarch sees Azazel in the fo rm of an unclean bird, the apocalypse makes clear that this appearance does not reflect the true appearance of the demon, whose proper domain is designated several times in the text as situated in the subterranean realm. [41 ] What is striking is that in the antagonist's authentic abode, in the bell y of the earth, the domicile of the great demon is fashioned with the same peculiar visual markers as the abode of the deity- that is, as being situated in the midst of the theophanic furnace. Thus, in Yahoel's speech found in chapter 14, which reveals the true place of the chief antagonist, the arch-demon's abode is designated "The Likeness of Heaven" 19 as the furnace of the earthH Moreover, Azazel himself is portrayed as the "burning coal" or the "firebrand" of th is infernal kilnY T his depiction of Azazel glowing in the furnace of his own domain is intriguing. It evokes the peculiar memory of the fiery nature of the divine abode, which, in the _Apocalypse_ _of Abraham,_ is portrayed as the upper furnace. The fiery natu re of the heavenly plane is underlined multiple times in the text. It is notable that the seer's progress into the domain of the deity is portrayed as h is movement into the fie ry realm. Thus, in _Apoc. Ab._ 15 :3, the transition of the hero and his guiding angel through the border of the heavenly realm is portrayed as an entrance into fire: "[A]nd he carried me up to the edge of the fie ry flame. And we ascended like great winds to the h eaven which was fi xed on the expanses." [44 ] Then, in chapter 17, the readers again encounter this terrifying presence of the celestial fu rnace as the flames envelop the visionary and his celestial guide on their progress to the abode of the deity: And while he was still speaking, behold, a fire was co ming toward us round about, and a sound wa.s in the fi re like a sound of many waters, like a sound of the sea in its uproar. _(Apoc. Ab._ 17:1 ). [45 ] In 18:1, upon his en trance in to the celestial Holy of Ho lies, the visionary again passes another fie ry threshold: "[W]hile I was still reciting the song, the edge of the fire which was on the expanse rose up on high." [16 ] The fiery apotheosis reaches its pinnacle in chapter 18 where the patriarch sees the deity's heavenly throne roo m. T he re, in the utmost concealed d1eophanic locale, d1e seer beholds the very seat of the deity fashioned from the substance of fi re: "And as the fi re rose up, soaring higher, l saw under the fire a throne [made] of fire and the many-eyed Wheels" (Ajmc. _A_ _b._ 18:3).47 T his fiery nexus of the divine presence paradoxically parallels the fiery nature of the antagonist's subterranean abode. This striking imagery brings us back tO the Azazel tradition found in _Apoc. Ab._ 14:5 where, according to some scholars, the demonic presence is fashioned as the fi re of Hell. [48 ] This identification of Azazel's essence through the imagery of the subterranean flames is intriguing in view of the afo rementioned conceptual curre nts in which fire serves as a distinctive theoph anic medium, expressing the very presence of the deity. Similar co the deity who is depicted as d1e fire of heaven en throned on the seat of flames, the demon is portrayed as the fire of the unde rwodd. In th is respect it is also notewo rthy that, similar to the divine Voice, the main theophanic expression of the deity in the book, which is depicted as coming in a stream of fire, Azazel's aural expression is also conveyed through si milar fi ery symbolism. Th us, _Apoc._ _Ab._ 31:5 speaks about "d1e fire of Azazel's tongue" (Slav. oroHI, 513biKa A3a311JIOBa): 20 Dark Mirrors And those who _follo-wed_ _after_ _the_ _idol.s_ and after their murders will rot in the womb of the Evil One-the belly of AzaJel, and _they_ _will_ _be_ _burned by the fire_ _of Azazel's tongue_ (naJIHMI:I orHeM'b ll3h1Ka A3aJHJiona).49 It is also interesting that, like the fire of God that destroys the idols and idolaters alike in its flames, [50 ] the fire issuing from Azazel has power to destroy those who "follow after the idt)ls." Though it is not entirely clear in this context if the fi re of Azazel is d1e fire of God, since in _Apoc._ Ab. 31:3, the deity says that he has destined those who "mocked" him "to be food for the fire of hell, and ceaseless soaring in the air of the underground clepths." [51 ] The _Kavod_ of Azozel Our previous exploration of the features of the text's infamous antagonist showed that the authors of the apocalypse appear to envision Azazel as the one who possesses d1eophanic attributes that mimic the attributes of d1e deity. The impressive cluster of enigmatic traditions about the amibutes and offices of the fallen angel that closely resemble their divine counterparts reaches its new paradoxa[ shape in chapter 23, where the hero of the faith receives a vision of the prorological scene portraying the demon's corruption of the proroplasts. Before examining this puzzling scene, something must be said about the pecldiar arrangement of the patriarch's vision, during which the exalted hero of the faith literally gazes into the abyss from the heights of his most exalted position near the Throne of the deity. This enigmatic setting seems _w_ provide further support for rhe dualistic framework of the text with its repeated parallelism of the lower and upper realms. In the beginning of this mys terious vision, the deity orders the seer ro look beneath his fee t and "contemplate d1e creation." The apocalypse then portrays Abraham looking beneath the expanse at his feet and beholding what the text calls the "likeness of heaven." [52 ] This reference to the "likeness of heaven" (Slav. no}.lo6ne ne6a) [53 ] has baffled the imagination of many scholarsH because of the authors' decision to situate under the category of the "resemblance of heaven" the vision of the corrupted domain belonging _w_ Azazel: And I looked benead1 the expanse at my feet and I saw _the_ _likeness_ _of heaven_ (noAo6ne He6a) and what was therein. And [I saw) there the earth and its fruit:s, and its moving ones, and its spiritual ones, and its host of men and their spiritual im pieties, and their justifications, and "The Likeness of Heaven" the abyss and its torment, and its lower depths, and the perdition which is in it. And I saw there the sea and its isla nd, and its animals and its fishes, and Leviathan and his domain, and his lair, and his dens, and the world which lies upon him, and his motions and the destruction of the wo rld because of h im. _(Apoc. Ab._ 21:2-4). [55 ] 21 In this mysterious vision, which the patriarch receives from the highest heaven gazing down in ro the abyss, the reader enco unters another dazzling illustration of the dualistic vision of the _Apocalypse_ _of Abraham._ Yet the most puzzling disclosure in the cluster of these myste ri ous expositions about the "likeness of heaven" follows farther along in chapter 23, where the visionary beholds Azazel's appearance under the paradisal Tree. _Apoc._ _Ab._ 23:4- 11 unveils the following enigmatic tradition that draws on peculiar prorological imagery: And I looked at the picture, and my eyes ran to the side of the garden of Eden. And I saw the re a man very great in height and terrible in breadth, incomparable in aspect, entwined (c1,nneTu.taC51) with a woman who was also equal to the man in aspect and size. And they were standing under a tree of Eden, and the fruit of the tree was like the appearance of a bunch of grapes of the vine. And behind the tree was standing, as it we re, a serpent in form, but having hands and feet like a man, and wings on its shoulders: six on the right side and six on the left. And he was holding in his hands the grapes of the tree and feeding the two whom I saw en twined with each other. And I said, "Who are these two enttuined (c'hnneTu.taC51) with each other, or who is this between them, or wh at is the frui t wh ich they are eating, Mighty Eternal One?" And he said, "This is the reason of men, th is is Adam, and this is their desire on earth, this is Eve. And he who is in between them is the Impiety of the ir pursui ts for destruction, A zazel himself." [56 ] In this vision, which the patriarch receives while standing at the place of God's theophany near the divine Th rone, Abraham beholds Azazel's protological manifestation in the lower realm where the demon's presence is placed in the midst of the protoplasts. The depiction is also interesti ng in th at it renders the abode of Azazel through the primordial imagery of the Tree situated in the Garden of Eden. There are no doubts that the text offers to its audience the portrayal of the infamous Tree of the Knowledge of Good and Evil- the arboreal symbol of the protological corruption of the fi rst hu ma n couple. The peculiar 22 Da rk Mirrors features of the scene, and the reference to the "grapes of vine" as the fruit of the Tree, bring to memory the cluster of familiar motifs associated in the Jewish lore with the legendary paradisal plant. While some features of the scene look familiar, others are no r. One novel detail baffling the reader's imagination is the portrayal of Azazel. between the intertwined protoplasts under the Tree. This intriguing tradition has long puzzled students of the Slavonic apocalypse. A lthough the image ry of the intertwined protoplasts is known from Jewish and Christian lore about the se rpentine Eve,;; the depiction found in the _Apocalypse of Abraham_ appears to unve il some novel, perplexing symbolism. Some scholars have noted an erotic dimension in this portrayal suggesting that the demon and the intertwined protoplasts form here some SOrt of a _menage a trois._ _;_ _[8 ]_ What might be the theological significance of this ominous intercourse involving the demonic spirit and the human couple? Is it possible dlat, in th is scene depicting an enigmatic union of the arch-demon and the protoplasts, one might have not merely a scandalous illustra tion of the protological corruption of the first humans, but also the disclosure of one of the most mysterious and controversial epiphanies of Azazel? If it is indeed possible, then here, as in some biblical and pseudepigraph ic accounts, the erotic imagery and the symbolism of the conjugal union migh t be laden with theophanic significance. Moreover, if the epiphanic angle is indeed present in the prorological scene, d1e arboreal imagery also appears to contribute to dlis theological dimension. In this respect, the peculiar deta ils of Azazel's position between the protoplasts _under_ _tile_ _Tree_ might be invoking the memory of a peculiar theophanic trend related to another prominent plant of the Garden of Eden, the Tree of Life. In Jewish lore the Tree of Life often has a theophanic significance described as the very special arboreal abode of the deity. In these traditions God is depicted as resting on the cherub beneath the Tree of Life. These tradi tions are found in a number of apocalyptic and mystical accounts. T hus, for example, d1e Greek version; [9 ] of the _Life_ _of Adam and_ _Eve_ 22:3-4 connects the theophany of the deity with the Tree of Life: As God entered [the Garden,] the plants of Adam's portion flowered but all mine were bereft of flowers. And the throne of God was fixed where the Tree of Life was. [60 ] A similar tradition is also found in 2 En. 8:3-4 where the Tree of Life again is described as the abode of God: And in the midst (of them was) the tree of life, at that place where the Lord takes a res t when he goes into paradise. And "The Likeness of Heaven" that tree is indescribable for pleasantness and fine fragrance, and more beautiful than any (other) created thing that exists. And from every direction it has an appearance which is gold-looking and crimson, and with the form of fi re. And it covers the whole of Paradise. (2 En. 8:3-4, the longer recension) [6] [1 ] 23 The tradition of the Divinity dwelling on the cherub under the Tree of Life was not forgotten in later Jewish. mysticism where God's very presence, h is _Shekhinah,_ is portrayed as resting on a cherub beneath the Tree of Life. _3_ En. 5: l unveils the fo llowing tradition: R. Ishmael said: Metatron, Prince of the Divine Presence, said to me: From the day that the Holy One, blessed be he, banished the first man from the garden of Eden, the Shekhinah resided on a cherub beneath the tree of life [61 ] A striking feature of this account is that here, as in the classic Ezekelian accounts, the cherubic creatu re represents the "angelic furniture" th at functions as the seat of the deity. It is also intriguing that in the later Jewish mysticism it is not only the Tree of Life but also the Tree of the Knowledge of Good and Evil, that receives similar epiphan ic reinterpretation, being envisioned as the symmetrical theophanic locale with its own cherubic servants. Thus, for example, the _Book_ _of Zollar_ l.237a unveils the following enigmatic tradition about the symmetry of the upper and lower cherubim explicitly associating the former with the Tree of Sin and Corruption: Adam was punished for his sin, and brought death upon himself and all the world, and caused that tree in regard to which he sinned to be driven out along with him and his descendants for ever. It says further that God "placed the cherubim on the east of the garden of Eden"; these ·were the lower cherubim, for as there are cherubim above, so there are cherubim below, and _he_ _spread_ _this_ _tree_ _over_ _them._ _[63 ]_ This passage is striking since it bri ngs tO memory the Tree of Knowledge found in the Slavonic apocalypse, wh ich provided the shadow for the protological couple holding in their midst the presence of Azazel. lt is noteworthy that in the passage from the _Zohar_ the Tree of Knowledge is now unambiguously associated with the angelic servants, designated as the "lower cherubim." Keeping in mind this cryp tic tradition about the cherubic servants, it is now time to return to the protological scene found in the Slavonic 24 Dark Mirrors apocalypse. TI1e subtle allusions to the cherubic imagery might also be present in Azazel's epiphany in _Apoc._ _Ab._ 23 :4-ll, where he is depicted under the Tree of Knowledge in the midst of the protoplasts. What is intriguing in the description of Azazel here is that the presence of the evil spirit is manifested in the connubial union of the intertwined couple. It should be noted that the imagery of the intertwined primordial couple holding the presence of the sp iri tual agent is qui te unique in the Adamic lore. Yet it invokes the memory of another important theophanic tradition of the divine presence, where God's presence is portrayed through the imagery of the intertwined cherubic pair in the Holy of Holies. The treatise _Yoma_ of the Babylonian Talmud con tains two passages that offer striking, if not scandalous, descriptions of the intertwisted cherubim in the Holy of Holies. Thus, _b._ _Yoma_ 54a reads: R. Katrina said: Whenever Israel came up to the Festival, the curtain would be removed for them and the Cherubim were shown to them, whose bodies were intertwisted with one another, and they would be thus addressed: Look! You are beloved before God as the love between man and woman. [61 ] This obscure passage relates an erotic union of the cherubic angelic servants holding the presence of the deity. One might see here later rabbinic innovations, which are far distant, or maybe even completely divorced, from d1e early biblical tradition of d1e cherubim in the Holy of Holies. Still, scholars have previously noted that early biblical accounts already hint at the ambiguous "proximity" of the famous chembic pair. Rachel Elior notes that in some biblical materials "descriptions of them usually imply a posture characterized by reciprocity or contact: 'they faced each other,' [6] ; or also 'their wings touched each omer' [66 ] or were even joined [67 ] togemer." [68 ] While the early traditions about the cherubim found "both in the Bible and elsewhere, imply varying degrees of proximity and contact- later tradition was more explicit, clearly indicating the identity of the cherubim as a mythical symbolization of reproduction [69 ] and fe rtili ty, expressed in the form of intertwined male and female."i [0 ] In _b._ _Yoma_ 54b the tradition of the intertwisted cherubim is repeated again: Resh Lakish said: When me heathens entered me Temple and saw the Cherubim whose bodies were intertwisted wim one another, they carried them om and said: These Israelites, whose blessing is a blessing, and whose curse is a curse, occupy themselves with such th ings! And immediately they despised them, as it is said: "The Likeness of Heaven" All th at honored her, despised her, because they have seen her nakedness. [11 ] 25 Rachel Elior argues rhat the description of rhe intertwined cherubim found in rhe Talmud suggests "a cultic, mys tical representation of myths of _hieros gamos_ _,_ the sacred union or heavenly matrimony." [12 ] It is also apparent that this veiled imagery of the cherubic union has theophanic significance as it expresses in itself rhe manifestation of the divine presence-the feature especially evident in _b._ _Yoma_ 54a with its motifs of the removal of the curtain and the revelation of the cherubim on Yom Kippur. It is therefore clear rhat the tradition of the intertwined cherubim is envisioned here as a rheophanic symbol. In view of these developments, it is quite possible tha t this theophanic dimension of the conjugal union might be also negatively evoked in rhe depiction of the intertwined protoplasts in chapter 23 of d1.e _Apocalypse_ _of Abraham._ Could it be possible that the erotic ordeal of the protological couple holding in their midst rhe presence of Azazel somehow serves as a negative counterparr of the cherubic couple holding the divine presence in the Holy of Holies? Can Adam and Eve be understood here as the ''lower che rubim" overshadowed by rhe Tree of Knowledge, the Adamic tradition explicitly articulated in _Zolwr_ 1.237, and maybe already hin ted at in the _Apocalypse_ _of Abraham?_ Wh at is also fascinating in the ve iled description in chapter 23 is that the mysterious shape of Azazel situated under the Tree appears in itself to point to the unity of the cherubic couple, as his form combines some attributes of rhe two cherubim joined rogethern The passage says that the demon has twelve wings-six on rhe right side of his body and six on rhe left side: [74 ] And behind the tree was standing, as it were, a serpent in. form, but having hands and feet like a man, and wings on its shoulders: six on rhe right side and six on the leftY It is noteworthy that earlier in d1.e text, when Abraham sees the "Living Creatures of the Cherubim" in the heavenly Throne Room, he reports that each of rhem has six wings: And under the throne (I saw) four singing fiery Liv ing Creatures . . . and each one had six wings: from their shoulders, and from their loins. _(Apoc._ A.b. 18:3-6) [76 ] These baffling attributes of the demon are intriguing and, in view of the aforementioned theophanic traditions, it is possible th at Azazel here 26 Dark Mirrors attempts to mimic the divine presence represented by the cherubic couple in the Holy of Holies by oflering his own demonic version of the sacred matrimony_;; Here the Adversary, who according to the Slavonic apocalypse appears to have his own _Kavod,_ [18 ] given tO him by God, possibly intends co fashion h is own presence in a dualistic symmetrical correlation with the divine theophany d·tac takes place between two intertwined angelic creatures. Conclusion In conclusion of our study of the dualistic tendencies found in the _Apocalypse_ _of Abraham,_ we should say that the exact nature and possible sources of these conceptual developments remain shrouded in mystery. A number of studies have previously sough t co explicate the dualistic tenets found in the Slavonic translations of several pseudepigraph ical works, including the _Apocalypse_ _of_ _Abraham_ and _2 Enoch,_ through their alleged connections with the Bogomil movement, a dualistic sect that flourished in the Balkans in the late middle ages. These studies argued that the _Apocalypse_ _of Abmham_ might contain Bogomil dualistic interpolations. [79 ] Recent scholarsh ip, however, is increasingly skeptical of such radical proposals and generally finds li ttle or no connection between the aforemen tioned pseudepigrapha and the Bogomil movement. [80 ] Our research helps further question the validity of the "Bogomil hypothesis," noting the conceptual complexity of the dualistic tenets in dle Slavonic apocalypse and their reliance on auth entic Jewish traditions. The consistency and paramount significance of these developments for the overall conceptual framework of the pseudepigraphon suggests that they do not represent seconda1y additions and interpolations, bur rather embody the main theological tendency of rhe Slavonic pseudepigraphon. This peculiar ideological trend shows remarkable similarities to the Palestinian dualism reflected in the Dead Sea Scrolls and the dualistic cunents manifested in the later Jewish mystical literature. [81 ] In view of these prominent developments, it is quite possible that dle _Apocalypse_ _of Abraham_ in itself can represent an important conceptual bridge between the earl y Palesti nian dualistic currents found in the Qumran documents and their later rabbinic counterparts. Addi tional investigation of the dualistic profile of the text's chief an tagonist will further clarify the true extent and nature of these significant theological advancemen ts in the Slavonic apocalypse. **Eschatological Yom Kippur** **in** **the** _**Apocalypse**_ _**of Abraham**_ **The** Scapegoat **Ritual** [A)ncl as the priest casts lots below so the Priest casts lots above; and just as below one is left for the Holy One and one is thrust out to the wilderness, so above one remains with the Holy One, blessed be He, and one goes forth into the supernal wilderness. _-_ _Zohar_ lll.63a Introduction In the second part of the _Apocalypse_ _of Abraham_ its hero-the patriarch Abraham-encounters an angelic being appointed by God to be his celestial guide. This creature, named in the apocalypse as the angel Yahoel, baffles the seer's imagination with his enigmatic appearance. The text describes him as a composite pteromorphic being with a body shining like sapphire [1 ] and a face resembling chrysolite. [2 ] The wardrobe of the angel also appears wondrous. Dressed in purple garments, he wears a turban reminiscent of "dle bow in the clouds." [3 ] Ab raham also sees a golden staff in the righ t hand of his celesti al companion. Scholars have previously noted the sacerdotal significance of the angel's attire. [4 ] Thus, Martha Himmelfarb argues th at Yahoel's "wardrobe has strong priestly associations. The linen band around his head reca lls Aaron's headdress; of fine linen (Exod 28:39)." [6 ] Other details of the angel's appearance also reveal his connections with the pries tl y office. Himmelfarb reminds us that the purple of Yahoel's robe betrays connections to one of the colors of the high priestly garments of Exodus 28 [7 ] The angel's golden staff also seems to have a sacerdotal meaning, invoking the memory of Aaron's rod which 27 28 Dark Mirrors miraculously sp routed in the wilderness after Korah's rebe llion "to indicate the choice of Aaron and his descendants as priests (Num 17: 16-26)." [8 ] Himmelfarb also brings attention to the rainbow-like appearance of Yahoel's turban, which, in her opinion, "brings together the two central color schemes employed elsewhere in che description of God as high priest, whiteness and the multicolored glow." [9 ] Indeed, the tradition about "the rainbow in the cloud" associated with the headgear of the highest ranking sacerdotal servant is known from several texts, including the description of the high priest Simon in the Wisdom of Jesus ben Sira 50:7. [10 ] Lacer rabbinic traditions [11 ] describe the high priest's front-plate (f'!:t), which he wore on his foreheadn Made of gold and inscribed with the divine Name, the plate shone like a rainbow.'3 The priestly affi liations of Abraham's celestial guide are not coincidental. He appears in the crucial juncture of lhe story at wh ich the young hero of tile faith has just left his father's destroyed sanctuary, which had been polluted by idolatrous worship, and is now called by God "to set a pure sacrifice" before the deity. In mis respect Yahoel appears to be envisioned in the text not merely as an _angelus_ interp1·es whose role is tO guide a visionary on his heavenly journey, but as a priesdy figure initiating an apprentice into celestial sacerdotal praxis. Scholars have previously reflected on the peculiar cul tic routine that surrOLmds the relationship between Abraham and his celestial guide as he explains tO the seer how tO prepare the sacrifices, deliver praise tO the deity, and enter the heavenly Throne room. Indeed, the intensity of these sacerdotal instructions and preparations hin ts at the importance of priestly praxis for the overall conceptual framework of the text. It also appears that in the _Apocalypse of Abraham,_ as in many other Jewish accounts, including I Enoch 14 and the _Teswme11t_ _of Levi_ 8, the entra nce of a seer into the celestial realm reveals the cultic dimension and is envisioned as a visitation of the heavenly Temple. Thus, scholars have previously noted that the authors of the _Apocalypse_ _of Abraham_ seem to view heaven as a temple. [14 ] This emphasis on the links of priestly praxis with the heavenly sanctuary [15 ] does not appear coincident al in such a text as the _Apocalypse_ _of_ _Abraham,_ which was written in a very special period of Jewish history. It was a time when, faced wi th a wide array of challenges revolving around the loss of the terrestrial sanctuary, the authors of the Jewish apocalyp tic writings were seeking various theological alternmives for preserving and perpetuating traditional priestly practices. The _Apocalypse_ _of Abraham_ is drawing on one such option connected with the idea of the celestial sanctuary represented by the divine Chariot when it offers the story of the young hero of the faith who travels from the destroyed terrestrial shrine polluted by idols tO the heavenly Temple. Eschatological Yom Kippur 29 Indeed, priestly concerns permeate not only the second apocalyptic section of the text, which deals with the patriarch's transition into the heavenly realm, but the fabric of the entire pseudepigraphonl [6 ] It has also been previously noted that besides Yahoel, whom the tex t envisions as the heavenly high priest _par_ _excellence,_ the _Apocalypse_ _of_ Abraham offers an extensive roster of other priestly characters, including "fallen" priests culpable tor perverting true worship and polluting heaven ly and terrestrial shrines. Thus, Daniel Harlow observes that besides the two "positive" priestly servants represented by the high priest Yahoel and h is priestly apprentice Abraham, the _Apocal.ypse of Abraham_ also offers a gallery of negative priestly figures, including the "idolatrous priests" Terah and Nahor [17 ] as well as the "fallen priest" Azazel. ' [8 ] Harlow's observation is sound and one can safely assume that all the major characters of the Slavonic apocalypse have priestly affiliations. All these details demonstrate the importance of priestly praxis in the conceptual framework of the Slavonic apocalypse, a work written at a time overshadowed by the challenging quest for priestly and liturgical options that could compensate for the loss of the terrestrial sanctuary. Wh ile identifying the priestly settings of the _Apocalypse_ _of Abraham_ does not pose sign ificant difficulties, understanding the relationship between these sacerdotal rituals and initiations and a particular cultic setting or festival is more challenging. To what kind of Jewish festival might the order of Abraham's sac rifices and initiations be related? Several possibilities have been entertained. Ryszard Rubinkiewicz suggests dlat the priestly initiations of Abraham could be connected with the feast of _Sluwuot_ or Pentecost, which commemorates the giving of the Torah on Mount Sinai. [19 ] To support this hypothesis, Rubinkiewicz appeals to certain "Mosaic" details of Abraham's priestly initiation, including references to the seer's forty-day fast and the naming of the place of the patriarch's sacrifices as Horeb. Whi le these hints of a _Shavuot_ setring are valid, given the aforementioned complexity of the sacerdotal universe of the Slavonic apocalypse, it is possible that the priestly traditions found in the text are not limited to only one particular setting or festival but possibly reflect connections with several events of the liturgical yea r. Thus, some orl1er symbolic features of the Slavonic apocalypse, including the figure of the main antagonist of the story, Azazel, as well as pervasive usage of the terminology of two lots, suggest that the imagery of the distinctive rites taking place on the Day of Atonement might play a significant role in the authors' theological woddview. This chapter examines the peculiar priestly traditions found in the _Apocalypse of Abraham_ that might reflect a Yom Kippur liturgical setting. The study will also try tO show that some portions of the second, apocalyptic part 30 Dark Mirrors of the pseudepigraphon can be seen as a reenactment of the Yom Kippur ritual, one of the most enigmatic cultic ceremonies of the Jewish tradition. Mosaic Background of Abraham's Priestly Initiations a nd the Day of Atonement C hapters 9-12 describe the beginning t)f Abraham's priestly initiation, during which Yahoel teaches the young hero of the faith how tO prepare sacrifices in order to enter the presence of the deity. Scholars ha ve previously observed that some details of this initiation recall the story of another remarkable visionary of the Jewish tradition-the son of Amram, the seer who was privileged ro receive a very special revelation on Mount Sinai. As was already mentioned, the liturgical setting of Abraham's priestly initiation might be related to the Festival of Weeks-Sha~mot or Pentecost. [20 ] This feast celebrates Moses's reception of revelation at Mount Sinai and is also known in Jewish tradition as the Festival of the Giving of Our Torah. Indeed, as many scholars have already noted, some motifs found in the _Apocal.ypse_ _of Abraham_ appear to reflect the peculiar deta ils surrounding the reception of the Torah on S inai by the great Israelite prophet. One of the distinctive hints here for establishing the connection with the Mosaic traditions is the theme of Abraham's forty-day fast. This motif is fi rst introduced in _Apoc._ _Ab._ 9:7, where God orders Abraham to hold a strict fast for forty days.Z [1 ] It is noteworthy that, as in the Mosaic traditions, so in the Slavonic apocalypse this fast coincides with the promise of a divine revelation on a high mountain: But for forty days abstain from every food which issues from fire, and from the drinking of wine, and from ano inting [yourse lf] with oil. And then yo u shall set out for me the sacrifice which I have commanded you, in the place which I shall show you on a high mounrain.2 [2 ] The theme of the forty-day fast on the mountain receives an even more distinctly "Mosaic" shape in chapter 12, where it coincides with anod1er cluster of Mosaic traditions, including the reference to Horeb (a name for Sinai in some biblical passages) and information about the nourishment of a seer through the vision of a celestial being: And we went, the two of us alone rogether, forty days and nights. And I ate no bread and drank no wate r, because [my] food was tO see the angel who was with me, and his speech with me was my drink. And we came to the glorious God's mountains-Hereb Y Eschatological Yom Kippur 31 Scholars often see in th is passage an allusion to Exodus 34:28, [24 ] wh ich repom th at Moses was with God fony clays and forty nights on Mount Sinai without eating bread or drinking water. [25 ] The reference _w_ alternative nourish ment through the vision of a celesti al being again evokes the cluster of interpretive traditions associated in Second Temple [26 ] and rabbinic literature [27 ] with the figure of Moses. Although the biblical accounts of Moses's and Elijah's theophanic experiences often "mirror" each other by sharing similar imagery, [28 ] David Halperin argues that in the _Apocal)•pse_ _of Abraham_ Mosaic traditions have greater formative value than traditions about Elijah. He notes that when the angel tells Abraham that he will see God "come suaight towards us" (chapter 16), this reminds us that God "passes by" both Moses and Elijah (Exod 33:22; 34:6; I Kgs 19:1 1- 12). But it is only Moses who is told in this connection dlat "you cannot see my face" and "my face shall not be seen" (33:20, 23), just as the angel goes on to tell Abraham that God "Himself thou shalt not see." Moses, not Elijah, "bowed down upon the earth and prostrated himself" when God passed (34:8)-which explains Abraham's frustrated urge to do the sa me thing (chapter 17). [29 ] Previous studies have convincingly demonstrated the imporrance of Mosaic typology for the authors of the _Apocalypse of Abraham,_ who decided to transfer several im portant Mosaic motifs into Abraham's story. Yet, despite scholars' thorough attention to the Mosaic background of the swry, one vital detail appears to have escaped their notice: Moses's forty-day fast occurred immediately after h is fight with idolatry and his destruction of the Golden Calf, when he returned to Sinai again to receive a second set of tablets from the deity. It is intriguing that in the _Apocalypse_ _of Abraham,_ as in the Exodus account, the fo rty-day fast follows the hero's battle wi th idolatry. One can see a certain parallelism between the stories of the two visionaries. Like Moses who burns the Golden Calf (Exod 32) and then fasts (Exod 34), Abraham too is desc ribed earlier in the text as burning the idol of his father, a figurine bearing the name Bar-Eshath. [30 ] It is important that in both cases the transition tO the initiatOry purifying fast occurs immediately after the accounts dealing with idolatry and the demotion of idols. The tradition of the hero's fast that occurs after his fight with an idolatrous statue betrays distinctly priestly concerns and appears important for discerning the sacerdotal background of Abraham's srory and its possible connections widl Day of Atonement traditions. Yet the main question remains open: How can a Yom Kippur setting be reconciled with the Mosaic details of Abraham's initiation, given that these details point unambiguously to the 32 Da rk Mirrors cluster of motif~ associated with the _Shavuot_ festival which celebrates Moses's reception of the Tablets of the Law? It is intriguing that later rabbinic writers identify the day on which Moses received the tablets of the law for a second rime with ano ther Jewish festival, the Day of AtOnement. T hus _b._ _Baba_ _Barra_ 12la records dle following tradition: One well understands why the Day of Atonement [should be such a festive occasion for it is) a day of pardon and fo rgiveness. [And it is also) a day on which the second Tables were given. [31 ] An almost identical tradition is found in _b._ _Taanit_ JOb: R. S imeon b. Gamaliel said: There never were in Israel greater days of joy than the fifteenth of Ab and the Day of Atonement. I can understand the Day of Atonement, because it is a day of forgiveness and pardon and on it the second Tables of the Law we re given. [32 ] It appears that this cluster of traditions about the "day of pardon and forgiveness" draws on biblical traditions similar to the one found in Exodus 32:30, where, after the idolatry of the Golden Calf, Moses te lls the people th at he will go to the Lord asking for atOnement of their sin. Several midrashic passages make even more explicit this connection between the repentance of the Israelites after the idolatry of the Golden Calf in Exodus 33 and the establishment of Yom Kippur. ln these materials the Israelites' repentance serves as the formative starting point for observance of the Day of Atonement. Thus, _Eliyyahu_ _Rabbah_ I 7 reads: Wh.en Israel were in the wilderness, they befouled themselves with their misdeeds, but then they bestirred themselves and repented in privacy, as is said, Whenever Moses went our ro the Tent, all dle people would rise and stand, each at dle entrance of his tent, and gaze after Moses **.** And when Moses entered the tent, the pillar of cloud would descend and stand at the entrance of the Tent .... When all the people saw dle pillar of cloud poised at the entrance of the Tent, all the people would rise and bow low, each at the entrance of his tent (Exod 33:8, _9,_ 10), thus intimating tha t they repented, each one in the privacy of h is tent. Therefore His compassion flooded up and He gave to them, tO their children, and to their children's children ro Eschatological Yom Kippur the end of all generations the Day of Atonement as a means of securing His pardon Y 33 It is notewo rthy that this passage from _Eliyyahu_ _Rabbah_ invokes the memory of the familiar events found in Exodus 33 that occurred immediately after the Golden Calf episode. [34 ] The midrash ic evidence indicates that the rabbinic tradition attemp ts repeatedly to place the institution of Yom Kippur's aton ing rites into the framework of the tradi tions surrounding Moses's reception of the seco nd set of the Tablets of the Law. A passage found in Piri12 This identification of the positive lot wi d1 the lot of God is also present in the Qumran materials. [13 ] While the parallels between rhe imagery of the lots found in the _Apocalypse of Abraham_ and in Qumran. materials have often attracted scholars' attention, they have often failed to discern the pronounced similarities with the rabbinic developments. Yet the intriguing details in the descriptions of the lots in the Slavonic apocalypse seem _w_ point to close connections with later rabbinic reinterpretations of Yom Kippur imagery found in the Mishnah and the Talmud. A captivating parallel here involves the spatial arrangement of the lots on the left and right sides, fo und both in the Slavonic apocalypse and in rabbinic materials. A passage found in _Apoc._ _Ab._ 22 portrays two portions of humanity arranged according to the two lots and situated on the left and righ t sides: And he said to me, "These who are on the left side are a multitude of tribes who we re before and who are destined tO be after you: some for judgment and justice, and others for revenge and perdition at the end of the age. Those on the righ t side of the picture are the people set apart for me of the people [that are] with Azazel. These are the ones I have destined to be born of you and ro be called my people." [14 ] In _Apoc. Ab._ 27:1- 2 and 29:11, this division of the two lots arranged on the left and right is repeated again: And I looked and saw, and behold, the picture swayed, and a heathen people went out from its left side and they captured those who were on the right side: the men, women, and children. And some they slaughtered and others they held with them. (Apoc. _Ab._ 27:1- 2) 42 Da rk Mirrors And th at you saw going out from d1e left side of the picture and those worsh iping him, this [means mat] many of rlle heathen will hope in him. _(Apoc_ _. Ab._ 29:11) It should be noted d1at while in the Qumran materials rlle spatial arrangement of the lots on the left and right sides does nor play any important theological role, such a distinction receives its paramount ClJtic significance in the rabbinic descriptions of rlle Yom Kippur custom of the selection of rlle goats. n In rllis respect it is intriguing tha t the spatial arrangement of the lots on d1e left and the right sides in the _Apocalypse_ _of Abraham_ is reminiscent of the descriptions found in rlle mishnaic treatise _Yoma_ _,_ where the ritual selection of two goats-one for YHWH and the oilier for Azazel-also operates wirll rlle symbolism of the left and right sides. Thus in m. _Yoma_ 4 :1 the following tradition is found: He shook the casket and took up the two lots. On one was written "For d1e Lord," and on the oilier was written "For Azazel." The prefect was on his right and d1e chief of his farller's house on his left. If the lot bearing the Name came up in his right hand the Prefect would say to him, "My lord High Priest, raise thy righ t hand"; and if it came up in his left hand the chief of the fa ther's house would say tO him, "My lord High Priest, raise thy left hand." He put them on d1e two he-goats and said "A sin-offering ro the Lord." [16 ] Al though rlle passage from Mishnah does not openly identify rlle right side wid1 rlle divine lot, as does the Slavonic apocalypse, d1e Babylonian Talmud makes this connection explicit. Thus _b._ _Yoma_ 39a reads: Our Rabbis taught: T hroughout the forty years that Simeon the Righteous ministered, d1e lot ["For the Lord"] would always co me up in the righ t hand; from th at rime on, it would co me up now in the righ t hand, now in the left. And [during the same time) the crimson-colored strap would become white. From that time on it would at times become white, at others not.l [7 ] This imagery of the selection of the goats in rabbinic materials, in which the scapegoat is placed on the left and the goat fat the Lord on the righ t, recalls the spatial arrangement of the lots in rlle Slavonic apocalypse where the divine lot is similarly situated on the right side and rlle lot of A z.azel on the left side. [18 ] Eschatologic al Yom Kippur Reenactment of the Yom Kippur Festival in the Apocalypse of Abra ham : The Scapegoat Ritual The High Priest and Azazel 43 As in rhe Enochic tradition where the profiles of both protagonists [19 ] and antagonists [80 ] often reveal their cultic affi liations, in the Slavonic apocalypse too both Azazel and Abraham are envisioned as priestly figures. As has already been mentioned, this sacerdotal vision permeates rhe fabric of the entire pseudepigraphon, in which all main characters are endowed with cultic roles. The most spectacular cultic attributes are, of course, given to Yahoel, who is presented in rhe text as the heavenly high priest and the celestial choirmaster. The repeated instructions about sacri ficial ri tes and proper liturgical procedures that he conveys to h is human apprentice, Ab raham, reveal Yahoel as the most distinguished sacerdotal figure of the story. It is possible that, in his role as instructor and revealer of cultic mysteries, Yahoel discloses his teachings to the patriarch not only in speech but also th rough direct participation in priestly praxis. One such instance may be seen in chapters 13 and 14 of rhe Slavonic apocalypse, where Yahoel appears tO perform one of the central ordinances of the Yom Kippur aton ing ceremony, in which impurity is transferred onto Azazel and the scapegoat is dispatched into the wilderness. Thus, in _Apoc. Ab._ 13:7- 14, the following arcane encounter between rhe high priest Yahoel and the scape·goat Azazel can be found: "Reproach is on you, Azazel! Since Abraham's portion is in heaven, and yours is on earth, since you have chosen it and desired it tO be the dwelling place of your impurity. T herefore the Eternal Lord, the Mighty One, has made you a dweller on earth. And because of you [there is) the wholly-evil spirit of the lie, and because of you [there are) wrath and trials on the generations of impious men. Since the Eternal Mighty God did not send the righ teous, in their bodies, to be in your hand, in order to affirm through them the righteous life and dle destruction of impiety .... Hear, adviser! Be shamed by me, since you have been appointed to tempt not _w_ all the righteous! Depart from this man! You can not deceive **him,** because he is rhe enemy of you and of dlose who fo llow you and who love wh at you desire. For behold, rhe garment which in heaven was formerl y yours has been set aside for him, and the corruption which was on him has gone over tO you." [81 ] 44 Dark Mirrors In view of the cultic affi liations of Yahoel, it is possible th at his address to the scapegoat has a ritual significance, since it appears to be reminiscent of some of the actions of the high priest on Yom Kippur. TI1.e first thing that draws attention is that Yahoel's speech contains a command of departure: "Depart from this man!" Crispin Fletcher-Louis has noted a possible connection between this command found in _Apoc._ _Ab._ 13:12 and the dispatching formula given to the scapegoat in m. _Yoma_ 6:4: "Take our sins and go forth ." [8] 2 Scholars have also pointed out that some technical terminology found in chapter 13 appears to be connected with Yom Kippur terminology. Daniel Stokl draws attention to the expression about "sending" thi ngs to Azazel in _Apoc._ _Ab._ 13:10, [83 ] which Alexander Kulik traces to the Greek term &.n:o01:£A./,oo or Hebrew n '/(0. [84 ] Stokl proposes that this terminology "might allude tO the sending out of the scapegoat." [85 ] The phrase "dwelling place of your im purity" is also noteworthy since it alludes to the "purgation" function of the scapegoat ceremony, the rite that centered on removing the impurity heaped on the sacrificial animal ro the "dwelling" place of the demon in the wi lderness. The putting of reproach and shame on Azazel in _Apoc._ _Ab._ 13:7 and 13:11 may also relate to the ritual curses bestowed upon the scapegoat. Another imponan t detail of Yahoel's speech is the angel's mention that the co rruption of the fo refather of the Israelite nation is transferred now ro Azaze L Reflecting on th is utterance of rhe great angel, Robert Helm sees its connection to the Yom Kippur settings by proposing that "the transference of Abraham's co rruption to Azazel may be a veiled reference to the scapegoa t rite." [86 ] Similarly, Lester Grabbe also argues that d1.e phrasing in the statement th at "Abraham 's corruption h as 'gone over ro' Azazel suggest[s] an act of atonement." [81 ] It is also possible tha t the high priest Yahoel is performing here the so-called "transference function"- the crucial part of the scapegoat ritualwhen the h igh priest conveys d1.e sins of Israel onto the head of the goat d1rough confession and the laying-on of hands. [88 ] Abraham and the Scapegoat It is quite clear that in the _Apocalypse_ _of Abraham,_ Yahoel functions as a senior priest explaining and demonstrating rituals to a junior sacerdotal servant-Abraham. [89 ] This parallelism between the instructions of the master and the actions of the appremice is manifested already in the beginning of the apocalyptic section of the text, where the patriarch fa ithfully follows Eschatological Yom Kippur 45 the orders of his angelic guide about the preparation of the sacrifices. In this stunning passage, the visionary acquires a glorious robe- an event tied to a whole array of subtle allusions to the actions and attributes of the high priest. The ves tment's glo rious na ture invokes the memory of the first humans' garments, and a series of other prorological markers reinforce this connection. One such hint may be th.e olive branch, wh ich possibly refers CI)'Ptically both to a menorah and to rhe Tree of Life, and thus provides an important conceptual bridge that helps to unify the narrative's protological and sacerdotal dimensions. In 2 En. 22, the visionary's reception of the glorious garment again appears alongside a cluster of cultic and protological motifs. 2 En. 22:9 depicts Enoch's anival into the deity's abode. This entrance into the divine presence necessitates an adjustment in Enoch's wardrobe. Then the archangel Michael extracts Enoch from his clothes and anoints him with delightful oil. This oil is "greater than the greatest light and its ointment is like sweet dew, and the fragrance [like] myrrh; and it is like rays of the glittering sun." [56 ] This anointing transforms the patriarch, whose garments of skin are The Garme nt of Azazel 63 replaced by the luminous garment of an immortal angelic being, one of the glorious ones. As in the _Testament of Levi,_ the unity of the story's sacerdotal and protological dimensions is secured through. the pivotal arboreal symbol: thus, it appears that that the oil used in Enoch's anointing comes from the Tree of Life, which in _2_ En. 8:3-4 is depicted with a sim ilar symbolism: [T]he tree [of life] is indescribable for pleasantness and tine fragrance, and more beautiful than any (od1er) created ming that exists. And from every direction it has an appearance which is gold-looking and crimson, and wid1 the form of tire Y The shoner recension refers to a second olive tree, near the first, which is "flowing with oil continually." [58 ] Here, as in the _Teswment_ _of_ Levi, the adepc's initiation and re-dressing coincides wid1 h is anointing, which tries to unify several theological dimensions, sacerdotal as we ll as protological. In this respect, Enoch's investiture with celestial garments and anointing with shining oil represents not only his priestly ini tiation, but the restOration of fallen humanity. The _Primary_ _Adam_ _Bool and from their loins _(Apoc._ _Ab._ 1 8:3-6).~ The Garment of Azazel 71 Another intriguing detail of th e accoum fo und in the Primary _Adam_ _Books_ is that, dudng the first and second temptations of the protoplasts, Satan's ange lic shape is described as lum inous in nature. The first temptation underlines the fact that the Deceiver came "with radiance." Eve's second temptation refers again tO Satan's splendid attire; this detail may hint at the fact that the assumption of angelic form is understood as wearing a garment, and this attire might parallel the fi rst hu mans' luminous vestments. This understanding of luminous angelic form as "garment" is especially evident in the Georgian version of the second temptation, which openly refers tO the Adversary's angelic form as his clothes or h is "garment": When the twelve days of his weeping were completed, the devil trembled and changed his shape and his clothes by his artful deceit. He went close to Eve, on the Tigris river, and stood beside the bank. He was weeping and had his fa lse tears dripping (trickli ng) down on his garment and from his garment down to the ground. T hen he told Eve, "Come our of that water (where you are) and srop your tribulations, fo r God has hearkened to you r penitence and to Adam your husband." [81 ] Satan's Theriomorphic Garment The scene of the first temptation and seduction of the protOplast without doubt represents one of the most intense conceptual crossroads manifesting the transformational capacities of the antagonist. Hence, it is little surprise that, similarly to Satan's first dissembling in angelic garments-which took place for d1e first t ime during d1e seduction of d1e proroplasts- the transition to an animal garment is also found here. Primary _Adam Books_ 44 has Satan abandoning his angelic manifestation and entering the animal form of a serpenf [5 ] in order to deceive the protoplasts. Yet Satan's new idemity is not entirely unambiguous, since pseudepigraphic and rabbinic accounts often provide various interpretations of the serpent's gender. Some of these sources seem to unde rstand the serpent as an androgynous creature, whose ski n God later used to create the "garments" of both Adam and Eve. The tradition of clothing the first humans in the "attire" of d1e serpent is especially intriguing in light of Satan's acquisition of the same garments in the _Primary_ _Adam_ _BooiQ~ Stone observes that in the Primm'Y _Adam_ _Books,_ Satan says to the serpent, according to the Greek, "be my vessel and I will speak through your mouth words to deceive them." The word "vessel" seems to imply the idea of possession . ... Satan is identical for all practical purposes with the serpent; Satan enters or possesses the serpent and speaks through its mouth; the serpent is Satan's instrument or toot.9 [1 ] Scone discerns a similar development in the _Pirke_ _de_ _Rabbi_ Eliezer 13, where Samael "rides" the serpent as a camel. [98 ] He notes that the chapter 13 opens with the theme of angelic jealousy of Adam and Adam's superiori ty tO the angels in h is ability tO name d1e animals. The fall of the archangel Samael is described, toged1er with h is host. He found the serpent, and "its likeness was like a sort of camel and he mounted it and rode it." This relationship is likened to that of a horse and a rider (cf. Exod 15:1, 21). [99 ] _Zolutr_ 1.35b, attesting a sim ilar tradition, also understands Samael/Satan as the "rider" of the serpent: R. Isaac said: "Th is is the evil tempter." R. Judah said that it means literally a serpent. TI1ey consulted R. Simeon, and he said to them: "Both are correct. It was Samael, and he appeared on a serpent, for the ideal form of the serpent is the Satan. We have learnt d1at at that moment Samael came down from heaven riding on this serpent, and all creatures saw his fo rm and fled before h im.'' [1][00 ] The same mystical compendium depicts Azazel as a rider on d1e serpent: Now observe a deep and holy mystery of faith, the symbolism of the male principle and the female principle of the universe. In the former are comprised all holinesses and objects of faith, and all life, all freedom, all goodness, all ill uminations emerge from thence; all blessings, all benevolent dews, all graces and The Garment of Azazel 77 kindnesses-all d1ese are generated from that side, which is called the South. Contrariwise, from the side of the Norrh there issue a variety of grades, extending downwards, to the world below. This is the region of the dross of gold, which comes from the side of impurity and loathsomeness and which forms a link between the upper and ned1er regions; and d1ere is the line where the male and female principles join, forming together the rider on the serpent, and symbolized by Azazel _(Zohar_ l.l52b-153a). [1][01 ] TI1is description strikingly recalls the portrayal of Azazel's corruption of the protoplasts in _Apoc._ _Ab._ 23:4-11, which situates the arch-demon beneath the Tree of Knowledge in the midst of the intertwined protological couple. T hus, it seems chat Saran's transition from celestial to "serpen t-like" form is nor a novelty pioneered by the authors of the Adamic booklets, bur rather an improvisation on a theme with ancient roots in Enochic tradition. Azazel's The riomorphism: From Sacrificial Animal to Fallen Angel The story of Satan's transformation from animal into angel (and vice ve rsa) in the _Primary_ _Adam_ _Books_ leads us naturally to certain developments in one of the earl iest Enochic booklets, viz., the _Book_ _of the_ _Wlatchers,_ wh ich may constitute the initial conceptual background co the Adamic antagonist's peculiar transformation. Nor did the _Apocalypse_ _of Abraham_ escape these seminal influences. It has been noted that the sacerdotal context of the Yom Kippur festival seems to affect the chief antagonist's complex profile in the Slavonic apocalypse. In this text, all usions co Yom Kippur seem co have been reshaped deeply by the Enochic apocalyptic reinterpretation of the scapegoat ritual; its antagonist, the scapegoat Azazel, is envisioned not as a sacrificial animal but as a demoted heavenly being. ln the _Book_ _of the_ _Watchers,_ the scapegoat rite receives an angelological reinterpretation; it merges the peculiar dynamic of the sacrificial ritual with the swry of its main antagonist, the fallen angel Asael. _1_ En. 10:4-7 brings us to the very heart of this conceptual developmen t: And further the Lord said _w_ Raphael: "Bind Azazel by his hands and his feet, and throw him into the darkness. And sp li t open the desert which is in Duclael, and throw him there. And throw on him jagged and sharp stones, and cover him with darkness; and let him stay there for ever, and cover his face, that he may nor see light, and that on the great day of judgment he may 78 Dark Mirrors be hurled into the fi re. And rescore the earth wh ich the angels have ruined, and announce the restoration of the earth, for 1 shall restore the earch." [102 ] Scholars have previously pointed to the fact th at several details in the account of Asael's punishment are reminiscent of dle scapegoat ritua l. Lester Grabbe's research outlines the specific parallels between the Asael narrative in _1_ _Enoch_ and the wording of Leviticus 16, which include: I. me similarity of dle names Asael and Azazel; 2. me punishment in the desert; 3. me placing of sin on Asael/Azazel; 4. the resultant healing of the land. [10][3 ] It is important to note that Asael's transfo rma tion into an animal is not li mi ted solely to the _Book_ _of the_ _Wmchen._ The same imagery also occupies an im portant place in the Animal _Apocalypse,_ wh ich depicts the fall of the Watchers as the mutation of stars into animals.'()! In mis Enoch ic booklet, the theriomorphism of the former angels is juxtaposed with the angelomorphism of Noah [1][05 ] and Moses, [106 ] whose bodies undergo an inverse refashioning that transforms them from "animals" into "humans." In the peculiar symbolic code of th is apocal·yptic work, this imagery signals the fact that Noah and Moses have thus acquired angelic bodies. The Garment of Darkness In me aforementioned passage about the binding of Asael dur ing the sacrificial ritual in the desert (in I _En_ 10) we find an intriguing tradition about clothing the demon wim darkness: And dHow on him jagged and sharp stones, and cover him with darkness; and let him stay there for ever, and cover his face, that he may not see light, and that on me great day of judgment he may be hurled into the fire. [101 ] The antagonist's covering with darkness is a pertinent motif for our investigation, as it may represent a conceptual correlative to the hero's clothing with light. Asael's covering wim darkness appear to be a sort of counterpart to dle garment of light which Enoch receives in heaven. This ominous attire deprives its wearer of receiving the divine light-the source of life for all God's creatures. The Garment of Azazel 79 T hat it is the face of the de mon which is thus clothed with darkness may recall a series of transformational moti fs involving, respectively, God's Panim and the _panim_ of the visionary. This termino logy is quite well known in Jewish apocalyptic literature. lt does not merely designate the protagonist's or deity's visage _per_ _se,_ but symbolizes their complete covering with luminous attire. The Impure Bird TI1e Enochic demonological template factors significantly in the _Apocalypse_ _of Abraham,_ which envisions Azazel, like the Enochic antagon ist, as a fallen angelic being. Indeed, the Azazel narrative of this later apocalypse reflects several peculiar details from the Enochic myth of the fallen angels as described in the _Book_ _of che_ _Wacchers._ _[11]_ _l8_ Thus, Rysza rd Rubinkiewicz has argued that the au thor of the _Apocalypse_ _of_ _Abraham_ follows the tradition of _I_ En. 1-36. The chief of the fallen angels is Azazel, who rules the stars and most men. It is not difficu lt to find here the tradition of Gen 6:1-4 developed according to the tradition of _l_ _Enoch._ Azazel is the head of the angels who plotted against the Lo rd and who impregnated the daughters of men. These angels are compared ro the stars. Azazel revealed the secrets of heaven and is banished to the desert. Abraham, as Enoch, receives the power to drive away Satan. A ll these connections show that the author of the _Apocalypse_ _of Abraham_ drew upon the tradition of _1 Enoch._ _[11]_ _1.1_ ln the Slavonic apocalypse, as in the Enochic and Qu mran materials, Azazel is clearly no longer a sacrificial animal, but an angelic being. Already in his firs t appearance at _Apoc._ _Ab._ 13:3-4, [1][10 ] the text depicts Azazel as an unclean or impure bird (Slav. nnma He'lJrCTall). ln the pteromorphic angelological code of the _Apocalypse of Abraham,_ wh ich portrays Yahoel with the body of a griffin, Azazel's bird-like appearance signals his possession of an angelic form . This angelic shape appears to be compromised and "soiled," which renders it impure. It is not entirely clear, in this context, if the term "impure bird" signifies the antagonist's compromised angelic status absolutely, or rather the impropriety of his wearing the angelic garment in the cu rrent moment. In th is respect, the reference to the "impurity" of Azazel's angelic form recalls the aforementioned tradition in the _Life of_ Adam _and_ _Eve,_ where the antagonist wears an angelic garment inappropriately. T he situations in which the antagonists appear in questionable angelic attire are very similar; fo r in both cases they atte mpt ro deceive the stories' protagonists. Like Satan, who attempts to deceive and corrupt the primordial couple, Azazel too attempts 80 Dark Mirrors to deceive the hero of the faith and persuade him not to enter heaven. Conclusion It is now time to return to the motif of the special celestial garment found in the _Apocalypse_ _of Abralutm,_ and the significance of this theme for the sacerdotal framework of the Slavonic pseudepigraphon. It is no accident that the promise of a mysterious garment to Abraham occurs in the very chapters of the apocalypse that represent the text's sacerdotal nexus- the conceptual crux that intends to bring its readers into the heart of the apocalyptic Yom Kippur ritual. ln _Apoc._ _Ab._ 13 and 14, Abraham's celestial guide, Yahoel, appears to petform one of the central ordinances of the atoning ceremony, by means of which impurity is transferred to Azazel and dispatched into the wilderness. Consider, for example, Yahoel's arcane address to Azazel at _Apoc. Ab._ 13:7-14: Reproach is on you, Azazel! Since Abraham's portion is in heaven, and yours is on earth, since you have chosen it and desired it to be the dwelling place of your impurity. Therefore the Eternal Lord, the Mighty One, has made you a dweller on earth. And because of you [there is] the wholly-evil spirit of the lie, and because of you [there are] wrath and trials on the generations of impious men. Since the Eternal Mighty God did not _send_ the tighteous, in their bodies, to be in your hand, in order to affirm through them the righteous life and the destruction of impiety .. .. Hear, adviser! Be shamed by me, since you have been appointed to tempt not to all the righteous! Depart from this man! You cannot deceive him, because he is the enemy of you and of those who follow you and who love what you desire. For behold, the garment which in heaven was forme rly yours has been set aside for him, and the corruption which was on h im has gone over to you.' [11 ] This address- which the celestial cultic servant of the highest rank delivers to the demoted angel who bears the name of the scapegoat-is ritually significant, because it appears to reflect some of the actions of the high priest on Yom Kippur. [112 ] For this reason, the phrase "dwelling place of your impurity" is especially intriguing. It alludes to the purgative function of the scapegoat ceremony, which centered on the removal of the impurity bestowed on the sacrificial animal to the "dwelling" place of the demon in the desert. The corruption of Abraham, the forefather of the Israelite The Garment of Azazel 81 nation, is now transferred to Azaze l. [113 ] And Yahoel appears to perform the so-called "transference function" when the celebrant passes Israel's sins onto the scapegoat's head. This, it seems, may also explain why Yahoel's speech contains a command of departure _(Apoc._ _Ab._ 13:12: "Depart from this man!") rather like the dispatch-formula given to the scapegoat in m. _Yoma_ 6:4: "Take our sins and go forth." [1][14 ] In this climatic point of the apocalyptic Yom Kippur ceremony, Abraham's infamous opponent, stripped of h is lofty celestial clothes, takes on a new, now sacrificial role in the principal purifying ordinance of the Jewish tradition by ass uming the office of the cosmic scapegoat who is predestined to carry the celebrant's impurity into the netherworld. This mysterious burden of the ambiguous sacrificial agent, dispatching its ominous "gift" not co the divine but tO the demonic realm has puzzled generations of interpreters who often wondered if d1is oblation was a sacrificial portion tO the Od1er Side. Thus, in the _Book of Zohar_ and some later Jewish mystical writings d1e scapegoat was often understood as "the principal offering that is des tined in its entirety for 'the Other Side."' [11] ' ln light of these later traditions it is not entirely impossible tha t in the dualistic framework of the Slavonic apocalypse where the antagonist's abode imitates the realm of the deity one can have such peculiar understanding of the scapegoat's functions. But this is a subject of another lengthy investigation. Part II Satanael **The** **Watchers of Satanael** The Fallen Angels Traditions in _2 (Slavonic) Enoch_ [T]hey became servanrs of Satan and led astrtly those who dwell upon the dry ground. _-_ _1_ En. 54:6 These are rhe Watchers _(Grigori),_ who turned as ide from th<' Lord, 200 myriads, together with their prince Satanail. -2 En 18:3 Introduction The first part of _2_ Enoch, a jewish pseu.depigraphon written in the fi rst century CE, deals with the heavenly ascent of the sevend1 antediluvian hero carried by his angelic psychopomps to the abode of the deity. Slowly progressing through the heavens while receiving deta iled explanations of their content from his angelic interpreters, in one of d1em, the patriarch encounters the group of d1e fallen angels whom the authors of the apocalypse designate as the Grigori (Watchers).' The deta iled report of the group's transgression given in chapter 18 of the text, which menrions the ange lic descent on Mount Hermon, leading to subsequent corruption of humanity and procreation of the race of the Giants, invokes the memory of the peculiar features well known from d1e classic descriptions of the fall of d1e infamous celestial rebels given in the _Bool<_ _of the_ \'(!archers. Th is early Enochic booklet unveils the misdeeds of the two hu ndred Watchers led by their leaders Shemihazah and Asael. What is striking, however, in d1e description given in the Slavonic apocalypse is that in con trast to the classic Enoch ic account, the leadership over the fallen Watchers is ascribed not tO Shemiha2ah or Asael, but instead tO SatanaeJ.l 85 86 Dark Mirrors This reference to the figure of the neg _I_ ~&t~ev a.i}t ) the visionary reality, fulfilling thus the traditional functions of the interpreting angels in Jewish apocalyptic and mystical accounts. Scholars previously noted the terminological similarities between the temptation narrative and Deuteronomy 34: l-4, [8 ] where God serves as an _angelus_ _interpres_ cludng Moses's vision on Mount Nebo showing (~oetl;ev) the prophet the promised land and giving him an explanation of it.• Enochic Descent Traditions It is also interesting that in one of the temptations Satan makes Jesus "stand up" on the pinnacle of the Temple. According ro the _Pesiqta Rabbaci,_ when d1e Messiah reveals hi mself he will come and stand on the roof of the Temple. [10 ] The installation of Jesus by Satan on the highest point of rhe Sanctuary is intriguing and appears to be reminiscent of the installations of some visionaries in Jewish apocalyp tic accounts. In these accounts the ange lic guides often help seers get installed in the ranks of the _sar_ _happanim,_ the celestial office that is characterized by the function of standing before the heavenly Temple represented by the divine _Panim._ One such peculiar installation is described in _2 Enoch_ where Uriel (Yrevoil) makes d1e seventh antediluvian patriarch stand in the celestial Temple represented by the liturgical settings of the Divine Face. I previously explored this apocalyptic idiom of standing tracing its roots to the Mosaic biblical accounts where God makes Moses stand up on the mountain before his Face. [11 ] It has already been mentioned that the au thors of the temptation account seem ro exhibit familiarity wid1 the ascent traditions. It is not completely impossible that in Satan's suggestion to Jesus throw himself down we might have a sort of allusion also to the descent traditions similar to the ones reflected in the Enochic writings, where the ministering angels, called the Watchers, decided to abandon their ministerial duties in the heavenly Temple and descend to earth. In the biblical version of this srory reflected in Genesis 6, this protological myth of the angelic descent is conveyed through the imagery of the sons of God. [12 ] Can Satan's address to Jesus as the Son of God be a reflection of some terminological affinities with the Septuagint rendering of Genesis 6? Another terminological parallel that can be considered is the connection between the Watchers' status as d1e 110 Dark Mirrors standing angels in the Heavenly Temple and Jesus' standing on d1e summit of the Temple. The Venera tion Motif The third part of the temptation story in Matthew takes place on the mountain. Several scholars previously noted that d1e mountain here might be an allusion ro d1e place of the divine presence and dominion. Here, however, strangely enough, it becomes d1e exalted place from wh ich Satan asks Jesus to venerate him. In the Enochic and Mosaic tradi tions d1e high mountain often serves as one of the technical designations of the _Kavod._ Thus, fo r example, _1_ Enoch 25:3 identifies d1e high mountain as a location of the Throne of GodY In d1e _Exagoge._ of Ezekiel the Tragedian, Moses is identified with the _Kavod_ on the mountain. [14 ] If Matthew indeed has in mind the mountain of d1e _Kavod,_ in Satan's ability ro show Jesus all the kingdoms of the wo rld and their splendor we might have a possible reference to the celestial curtain _Pargod_ (, 1Ji:l), the sacred veil of the divine Face, which in _3_ _Enoch_ 45 is described as an en tity d1at literally "shows" all generations and all kingdoms simultaneously in the same dme. [15 ] In _3 Enoch_ 45:1- 4 one can lind the fo llowing tradition about the _Pargod:_ R. Ishmael said: Metatron said to me: Come and I will show you the curtain of the Omnipresent One which is sp read before the Holy One, blessed be he, and on which are printed all the generations of the world and their deeds, whether done or to be done, till the last generation .. . the kings of Judah and their generations, their deeds and their acts; the kings of Israel and their gene rations, their deeds and their acts; the kings of the gentiles and their generations, their deeds and their acts. [16 ] Saran's suggestion to Jesus that he prostrate himself before his tempter seems also connected with some apocalyptic and mystical traditions. Scholars previously noted that the derails of the depiction of the last temptation of Jesus seem to allude to some details found in the account of Adam's elevation and his veneration by angels found in various versions of the _Life_ _of Adam_ _and_ _Eve._ The _Primary_ _Adam_ _Books_ depict God's creation of Adam in his image. The archangel Michael brough t the first human and had him bow down before God's face. God then commanded all the angels to bow down Satan and the Visionary **111** to Adam. All the angels agreed to venerate the protoplast except Satan (and his angels); d1e latter refused to bow down before Adam because the first human was younger d1an Satan was. It is significant that in the Gospel of Matthew the tempter asks Jesus to prostrate himself (literally "falling down") (nwrov) before Satan. Matthew seems more close to the Adamic tradition than Luke since in Luke necrrov . IS l11lSSll1g. Satan's request for veneration can be part of the authors' Adam Christology: Satan, who lost his celestial status by refusing to venerate the First Adam, is now attempting to reverse the situation by asking the Last Adam to bow down. [17 ] lt is also important to note that while in early Adamic accounts God encourages veneration of the protoplast, in the later rabbinic stories he opposes this veneration. [18 ] Alan Segal demonstrated that these later rabbinic stories of opposition to the angelic veneration of Adam were part of the "two powers in heaven" controversy. It is possible that the details of the temptation narrative found in Matthew and Luke might anticipate these later rabbinic developments. These details might represent one of the early specimens of the "two powers in heaven" debate. In this respect it is noteworthy that in Matthew and Luke, Jesus categorically opposes any possibility of veneration of anyone except God. Negative Transformation Although scholars previously noticed that Satan's request for veneration alludes to the story of the angelic veneration of the protoplast, they often missed the visionary and transformational aspects of this account. Even in Adam's aforementioned veneration, the motif of the veneration of the protoplast is implicitly linked to the tradition of veneration of the divine glory, since Adam serves there as sort of representation or replica of the divine anthropomorphic extent. The _Kavod_ imagery thus appears to be present already in the _P1imary_ _Adam_ _Books_ where God asks angels to venerate not simply Adam, but the image of God. The veneration by the angelic hosts suggests that Adam is identified there with Kavod- the traditional object of angelic veneration in apocalyptic accounts. Satan's request for veneration seems also connected with the traditions of vision and transformation. What is important here is that Satan requests veneration for himself while standing on the mountain, the location that was interpreted by scholars as a reference to the place of the divine presence. The motif of Satan on the mountain appears to constitute here a sort of 112 Dark Mirrors the counterpart of the divine habitation. Could it be that Satan positions himself here as a sort of the second power or, more precisely, as the negative counterpart of _Kavod?_ In Jewish apocalyptic writing the motif of the prostration before the divine _Kavod_ often represents one of the preparatory stages for the transformation of a seer into a celestial being, or even his identification with the divine extent. [19 ] In the course of this initiation a visionary often acquires the nature of the object of his veneration, including the luminosity that underlines his identification with the radiant manifestation of the divine form. In the context of these traditions it is possible that in the temptation narrative one can find a similar transformational motif. One can encounter here an example of negative transformational mysticism: by forcing Jesus to bow down, the tempter wants the seer to become identified with Satan's form, in exact opposition to the visionaries of Jewish apocalyptic writings who through their prostration before the divine Face become identified with the divine _Kavod._ ##### **The Flooded Arboretums** The Garden Traditions in the Slavonic Version of _3 Baruch_ and the _Book of Giants_ Listen, Baruch. In the first place, the tree was the vine, but secondly, the tree (is) sinful desire which Satanael spread over Eve and Adam, and because of this God has cursed the vine because Satanael had planted it. -3 _Bar._ 4:8 Introduction TI1e apocalypse known as 3 _Bar·uch_ depicts a celestial tour during which an angelic guide leads a visionary through five heavens, revealing to him the wonders of the upper realm. Scholars have noted that some details of this heavenly journey resonate with the visionary accounts found in Enochic materials.' Despite the similarities, the aud1or of 3 _Baruch_ seems to avoid making direct references to the motifs and d1emes associated with Enochic tradition. In the regard, Richard Bauckham comments: "It is remarkable that 3 _Baruch,_ which throughout chapters 2- 5 is preoccupied with the stories of Gen 2-11, makes no reference to the Watchers." [2 ] He suggests, further, that d1e author of this apocalypse "is perhaps engaged in a polemical rejection of d1e Enoch traditions, so d1at as well as substituting Baruch for Enoch he also substitutes the human builders for the angelic Watchers. Instead of deriving evil on earth from the fall of the Watchers, he emphasizes its origin in the Garden of Eden." [3 ] In response to this observation, Martha Himmelfarb agrees that various textual features of 3 _Baruch_ reveal a polemic against the Enochic literature. [4 ] These observations are intriguing and deserve furd1er investigation. Even a brief look at the apocalypse shows that despite a conspicuous coloring of the Adamic interpretation of the origin of evil, the details of 3 _Baruch's_ descriptions of the garden expose the motifs and d1emes linked to another prominent story in which the source of evil is traced to the myth of the Watchers/Giants. 113 11 4 Da rk Mirrors This chapter will investigate the accoum of paradise found in chapter 4 of _3 Baruch_ and its possible connection with Enochic and Noachic traditions. The Paradise Traditions of the Slavonic Version of 3 Baruch _3 Baruch_ became firs t known in its Slavonic version; and only later were the Greek manuscripts of the book uncovered. [6 ] Despite the availability of the Greek evidence, scholars noted that in some parts of the pseudepigraphon the Slavonic text seems to preserve more original materiaL Harry Gaylord's newly assembled Slavonic sources show several areas where Slavonic appears to be closer ro the original.1 One of such areas concerns the fourth chapter of the text. Gaylord observes that the overall structure and comem of chapter 4 in Slavonic seem closer to the original [8 ] than the extant Greek version, whicl1 in this part "has suffered the most at the hands of Christian scribes." [9 ] Chapter 4 of the Slavonic version contains several important details that are missing from the Greek version, including the srory of the angels planting the garden. Our investigation of chapter 4 will deal with the Slavonic version and will be supplemented by the Greek version. In _3_ _Bar._ 4 the reader finds Barucl1 in the middle of his heavenly journey. The angelic guide continues tO show him celesti al wonders. In the beginn ing of the chapter, Baruch sees a serpem on a stone mountain who "eats eard1 like grass." Then, in 4:6, Baruch asks h is angelus interpres to show him the tree that deceived Adam. In response to this request, Baruch hears the story about the planting and destruction of the heavenly garden. In the Slavonic version, d1e story has the following form: And the angel said to me "When God made the garden and commanded Michael to gather two hundred thousand' [0 ] md three angels so that they could plan t the garden, Michael planted the olive and Gabriel, d1e apple; Uriel, [11 ] the nut; Raphael, the melon; and Satanael, [12 ] d1e vine. For at first h is name in former times was Satanael, and similarly all the angels plan ted the various uees." [13 ] And again l Baruch said to the angel, "Lord, show me the tree through which d1e setpent deceived Eve and Adam." And d1e angel said to me, "Listen, Baruch. In the first place, the tree was the vine, but secondly, the tree (is) sinful desire which Satanael spread over Eve md Adam, and because of this God has cursed the vine because Satanael had planted it, and by that he deceived d1e protoplast Adam and Eve." And l Baruch said to the angel, "Lord, if God has cursed the vine and its seed, then how can it be of use now?" And the angel said to The Flooded Arboretums 115 me, "Rightly yo u ask me. When God made d1e Flood upon rhe earth, he drowned every firstl ing, and he destroyed 104 thousand giants, and the water rose above the highest mountains 20 cubits above the mountains, and the water entered in ro the garden, (and tool< _all d1at was_ blooming), '~ bringing our one shoot from rhe vine as God withdrew the waters. And there was dry land, and Noah went out from the ark and found the vine lying on the ground, and did not recognize it having only heard about it and irs form. He thought ro h imself, saying, "This is truly the vine which Saranael planted in d1e middle of the garden, by which he deceived Eve and Adam; because of this God cursed it and its seed. So if 1 plant it, then will God not be angry with me?" And he knelt down on (his) knees and fasted 40 days. Praying and crying, he said, "Lord, if I plant this, what will happen?" And the Lord send the angel Sarasael; he declared to him, "Rise, Noah, and plant the vine, and alter its name, and change it for the better." (3 _Bar._ 4:7-15)." The depiction conveys several rare traditions about the garden of which two are especially important for this investigation: the angels planting the garden and the flooding of this garden by the waters of the Deluge. Both of these traditions are preserved only in rhis pseudepigraphon. There are, however, some early materials rhar seem to allude to the same rare traditions about the garden's planting the garden and flooding. One of these sources includes the fragments of the _Book of Giants._ The Garden Traditions in the Book of Giants TI1e composition known as the _Bool< of Giants_ exists only in a very fragmentary form preserved in jewish and Manichean sources, including the Aramaic fragments of the Bool< _of Giants_ found at Qumran, [16 ] the fragments of the Manichean _Book ofGiancs,_ _[11 ]_ and the later Jewish text kn own as the Midrash _of Shemhazai_ _and_ _Az.ael._ [18 ] In these materials associated with the _Book of Giants,_ we find the themes of the planting and the destroying of a garden. The Aramaic fragment of the Book _of Gianrs_ from Q umran ( 4QS30) and the Midrash _of Shemhazai_ _and_ _Azael_ depict a dream in which the giant Hahyah, the son of the watcher Shemihazah, sees a certain garden planted and then destroyed. 4Q530 lines 3- 12 read: Then two of them dreamed dreams, and the sleep of their eyes and come to[ ... ]their dreams. And he said in the assembly of 11 6 Da rk Mirrors [his frien]ds, the Nephilin, [ ... in] my dream; 1 have seen in this night [ . .. ] gardeners and they were watering[ . . . ] numerous roo[ts] issued from their trunk [ ... ] _I_ watched until rongues of fi re from [ ... ] all the water and the fire burned in all [ ... ] Here is the end of the dream. [19 ] The fragment seems to depict certain gardeners planting or sustaining a garden by watering its numerous "roots." It also poruays the destmction of the same garden by water and fi re. The description of both events is very fragmentary and many features of the swry appear _w_ be missing in 4Q530. Both motifs seem better preserved in the _Midraslt_ _of Shemhazai and_ _Azael,_ which provides addi tional important details. It refers direc tly to the planting of the garden by using the Hebrew verb .!)tj): One night the sons of Shemhaza i, Hiwwa and Hiyya,2° saw (visions) in dream, and both of them saw dreams. One saw the great stone spread over the earth .... The other (son) saw a garden, _planted_ (.!)1tjJ) [11 ] whole with (many) kinds of trees and (many) kinds of precious swnes. And an angel (was seen by him) descending from the firmament with an axe in his hand, and he was cutting down all the trees, so that there remained only one tree containing three branches. When they awoke from their sleep they arose in confusion, and, going to their father, they related to him the dreams. He said to them: "The Holy One is about to bring a flood upon the world, and to destroy it, so that there will remain but one man and his three sons." [22 ] Besides 4QS30 and the _Midrash_ _of Shemhazai_ and _Azael,_ the Hahyah/ Hiyya dream is also mentioned in the Middle Persian Kaw§n fragment _j_ of the Manichean _Book_ _of Giants_ published by Walter Bruno Henning. ·n .e evidence, however, is very terse and ambiguous,B containing only one line: "Nariman [24 ] saw a gar[den full of] trees in rows. Two hundred ... came out, d1e trees ... _. "_ _[15 ]_ Henning suggests that this fragment should be interpreted in light of another Middle Persian fragment, _D_ (M 625c), which links the Watchers wid1 the trees: [O]utside ... and ... left ... read the dream we have seen. Thereupon Enoch thus ... and the uees that come out, those are the Egregoro i, and the giants that came out of the women. And ... over ... pulled out .. . over . . . .2 [6 ] The Flooded Arboretums 117 Several important details in the above mentioned descriptions from Jewish and Manichean sources should be clarified. The first concerns the subjects planting the garden. 4Q530 refers to the gardeners watering numerous roots issued from their trunk. Who are these gardeners? J6zef Milik was first to identify the gardeners as angelic beings. He argued that the gardeners are "guardian angels" or "bailiffs of the world-garden" and are matched by the shepherds in the _Book of Dreams_ in _1 En._ 89:59 and 90:1 _Y_ Loren Stuckenbruck agrees that the gardeners might be angelic beings, but notes that there is reason to question whether the gardeners are meant to represent good angelic beings. [28 ] He suggests that in light of 4Q530 line 8 the ultimate outcome of the gardeners' work seems to be the production of "great shoots" from the root source, which, in Stuckenbruck's opinion, signifies "the birth of the giants from the women." [29 ] He further argues that the "watering" activity is a metaphor for impregnation and the gardeners, in fact, represent fallen angelic beings, the Watchers. [30 ] John Reeves had earlier suggested that the gardeners might represent the Watchers prior to their apostasy. [31 ] He notes that the image of the gardeners "watering" the garden may allude to the initial educational mission of the Watchers, who according to _]ub._ 4:15 were originally sent by God to earth to instruct humans in moral conduct. [32 ] The second detail of the description concerns the imagery of the trees. It seems that the trees symbolize not the vegetation, but the inhabitants of the garden: angelic, human, or composite creatures. Arboreal metaphors are often used in Enochic tradition to describe the Watchers and the Giants (cf. CD 2:17- 19). Another important detail is found in the Midrash _of Shemhazai_ _and_ _Azael,_ in which the destruction of the garden is associated with the flood and Noah's escape from it. 4Q530 linelO also seems to allude to the flood, since Hahyah's dream mentions the destruction of the garden by fire and _water._ A short Qumran fragment, 6Q8, also provides evidence for the connection of Hahyah's dream with Noah's escape. Florentino Garda Martinez observes that the reference to Noah and his sons in the _Midrash_ _of Shemhazai_ _and_ _Azael_ has its equivalent in 6Q8 line 2, [33 ] which speaks of three shoots preserved from the flood so as to signify the escape of Noah and his three sons. [34 ] John Reeves [35 ] offers the following reconstruction of the dream based on the two fragments: [36 ] Hahyah beholds in his vision a grove of trees carefully attended by gardeners. This tranquil scene is interrupted by the sudden appearance (or transformation?) of two hundred figures within this garden. The result of this invasion was the production of 118 Dark Mirrors "great" shoots sprouting up from the roots of the trees. While Hahyah viewed this scene, emissaries from Heaven arrived and ravaged the garden with water and fire, leaving only one tree bearing three branches as the sole survivor of the destruction. [37 ] A comparison of this description from the _Book of Giants_ with the story found in the Slavonic version of _3_ _Bar._ 4 shows that both accounts seem to have three similar events that follow one anod1er in the same sequence: the planting of the garden, the desuuction of the garden, and the escape of one tree from the destruction. These intriguing similarities call for a more through investigation of the parallels between the garden traditions found in the _3 Bar._ 4 and the _Book_ _of Giants._ The Angelic Planting of the Garden (3 Baruch 4:7-8) The motif of angels planting the garden is uniquely preserved only in the Slavonic version of _3 Baruch._ _[38 ]_ In the text, d1e tale about d1e planting comes from the moud1 of Baruch's angelic guide. From him d1e visionary leams that God commanded Michael to gather two hundred thousand and three angels in order to plant the garden. The story further relates that Michael, Gabriel, Uriel, Raphael, and Satanael planted five trees. Other angels also planted "various trees." Several features in d1e story of d1e planting found in _3_ _Bar._ 4:7-8 seem to resonate with the account found in the _Book of Giants._ These details include the following significant points: 1. _3 Bar._ 4:7 mentions two hundred d1ousand and d1ree angels planting d1e garden; 2. the fallen angel Satanael also takes part in d1e plantation of the "trees"·, 3. according to d1e story, Satanael plants the bad tree- the tree of deception; 4. d1e tree is described as a sinful desire d1at the fallen angel had for humans; 5. _3 Bar._ 4:7 mentions the planting of five types of trees in the garden. 1. The first feature of _3_ _Bar._ 4 that recalls the _Book_ _of Giants_ is the number of angelic hosts involved in planting the garden. _3_ _Bar._ 4:7 states The Flooded Arboretums 119 th at God commanded MichaeP [9 ] to gather two hundred thousand and three angels in order to plant the garden. The numeral two h undred thousand and three, reserved here for the number of angelic hosts, gives a clue to the reader intO seeing the angelic "gardeners" described in _3 Bar._ 4:7 as somehow related to the fallen Watchers, who in the Bool< _of Giants_ "planted" gigantic "trees" on dle earth through their iniquities. [40 ] In early Enochic accounts, the numeral "two hundred" often refers to the number of the Watchers descending on Mount Hermon [41 ] Some later Enochic accounts, however, tend to exaggerate the number of the fallen Watchers, depicting them as two hundred thousand or two hundred myriads. For example, in the longer recension 2 _En._ 18:3, the angelic guides give Enoch the fo llowing infonnation about the Watchers: "These are the _Gregori_ (Watchers), who tumed aside from the Lord, 200 _myriads,_ together wi th their prince Satanaii."H It is noteworthy that in _3_ _Baruch_ 4, similar to 2 _Enoch_ 18, the tradition about the two hundred myriads of ange lic beings is creatively conflated with dle name of SatanaiiY 2. In _3_ _Bar._ 4:7-8, one of the angel ic creatures planting the garden along with the four principal angels (Michael, Gabriel, Uriel, and Raphael) is the fallen angel Satanael. The description of Satanael as the gardener is puzzling. The pseudepigraphical texts usua ll y follow the biblical account [44 ] that claims that the garden was plamed by God (Gen 2:8). [4] ; This motif of the fallen "planter" might, therefore, parallel the Boo/, _of Giants_ _,_ where the fallen angels are also depicted as gardeners. _3._ In 3 _Baruch_ and in the Book _of Giants,_ the "planting of trees/tree" is part of the angelic plot to corrupt the human race. In the _Book of Giants,_ the "gardeners" represented by fa llen angelic beings, "plant" bad "trees"the wicked offspring dlat, through their enormous appetites, brought many disasters to the anted iluvian generation. In _3_ Bar. 4, the "gardener," the fallen angel Satanael, also plants a tree designed to cause the fall and degradation of the human race. In _3_ _Baruch,_ the vine tree eventually becomes the tool through which Adam and Eve were deceived and corrupted. 4. The account in 3 _BanJ.ch_ con nects dle tree planted by Satanael with the "sinft1l desire" spread by this fallen angel over the fi rst humans. In 4:8, the _angelus_ _interpres_ te lls Baruch that "in the first place, the tree was the vine, but secondly, the tree (is) sinful des ire~ [6 ] which Satanael sp read over Adam and Eve." [4] i This referen.ce ro the "sinful desire" of the fallen angel over humans is intriguing since it alludes to the terminology fo und in Enochic tradition. Thus _1 En._ 6 says that the Watchers had sinful desire for human creatures. [48 ] The _Midrash_ _of Shemhazai_ _and_ _Az.ael_ also uses the term "evil desire" or "evil inclination" (Heb. Viii 1:!:::' ) in reference to the relationships between the descended Watchers and the "daughters of man": 120 Dark Mirrors Forthwith the Holy One allowed the _evil inclination_ (l71 i1 1::t,) to rule over them, as soon as they descended. When they beheld the daughters of man that they were beautiful, they began to corrupt themselves with them, as it is said, "When the sons of God saw the daughters of man," they could not restrain their inclination. [49 ] In the story from the _Midrash of Shemhazai and Azael,_ the evil desire of the Watchers over humans seems to come as consequence of the Watchers' disrespect for humanity in general and the first human creature in particular. ;o It is intriguing that some Russian manuscripts of _3 Baruch_ contain the passage about Satanael's refusal to venerate Adam, [51 ] which recalls the account found in the Midrash 1- 4. [52 ] Harry Gaylord, however, does not include this account in his English translation of the Slavonic version of 3 _Baruch_ in OTP, considering it to be a later interpolation. 5. Finally, 3 _Bar._ 4:7 refers to five kinds of trees. The text says that the olive tree was planted by Michael, the apple by Gabriel, the nut by Uriel, the melon by Raphael, and the vine by Satanael. Although the number of the principal angels seems unusual, the reference to the "five trees" excites interest in light of a passage found among the fragments of the Manichean _Book of Giants_ published by Henning. This fragment, similar to 3 _Baruch_ 4:7, also operated with the notion of the "five trees": "evil-intentioned ... from where ... he came. The Misguided fail to recognize the five elements, [d1e five kinds of] trees, d1e five (kinds of) animals" (frg. h). [53 ] In both Enochic and Adamic accounts, the flooded garden is depicted as a place where the drama of the primeval evil unfolds. lt has been already mentioned in our study that Enochic and Adamic traditions often compete with each other, offering different explanations of the origin of evil in d1e world. Despite apparent differences in these two mythologies of evil, they share many common details that reveal a persistent and strenuous polemic between the two traditions. The description in 3 _Bar._ 4 of the flooded garden as the arena of the primordial heavenly rebellion involving angelic beings of d1e highest status brings the two traditions closer together. The Flood in the Garden (3 Baruch 4: 1 0-11) In 3 _Baruch_ 4:8, the angel tells the visionary about d1e evil role d1e vine u·ee played in Satanael's deception of Adam and Eve. According to d1e story, God, as a result of this deception, cursed the vine and its seed. Upon hearing this story, Baruch asked the angel why, despite God's curse, the vine can still exist. The angel told Baruch about the flood in the heavenly garden. The Flooded Arboretums 121 The story recounts that God first caused the flood upon the earth, which led to the drowning of "every firstling," including 104,000 giants. TI1en the water rose above the highest mountains and flooded d1e heavenly garden. As God withdrew d1e water, "all that was blooming" was destroyed except for one shoot from the vine. When the land appeared from the water, Noah went out from his ark and discovered the vine lying on the ground. Several points of this flood story resemble the account found in the Book _of Giants,_ including the following details: 1. In _3 Bar._ 4:10 and in the Book _of Giants,_ d1e flooding of the garden is paralleled to d1e flood on d1e earth. 2. In both traditions d1e destruction of all vegetation (in _3_ _Baruch-"all_ that was blooming") [54 ] in the garden "mirrors" the destruction of all flesh and the giants on earth. 3. In both traditions the surviving "plant" from the flooded garden is paralleled to the escape of Noah from the flood. 1. Later rabbinic materials sometimes operate with the notion of two gardens: the celestial garden of Eden and the terrestrial garden. In _3_ _En._ 5:5-6 we learn d1at before the generation of Enosh had sinned, God's _Shekhinah_ freely traveled from one garden to the other: When the Holy One, blessed be he, went out and in from the garden to Eden, and from Eden to the garden, from the garden to heaven, and from heaven to the garden of Eden, all gazed at the bright image of Shekhinah and were unharmed- until the coming of the generation of Enosh, who was d1e chief of all the idolaters in the world. [55 ] The story of the garden in _3 Bar._ 4 might represent an early tradition about the two gardens, since in this apocalypse the garden becomes the locus of celestial and terrestrial events at the same time. In the story of the flood in _3 Bar._ 4:10- 11, the events taking place in heaven and on earth are depicted as if they mirror each other: the destruction of "all flesh," including the giants on earth, mirrors the destruction of "all that was blooming" in the heavenly garden. Both accounts also mention survivors, the patriarch Noah from the flooded eard1 and one plant from d1e flooded heavenly garden. This parallelism resembles the one in the Book _of Giants,_ where the dream(s) about the destroyed "vegetation" of the garden and the single preserved shoot symbolized the drowned giants and Noah's miraculous escape. 122 Dark Mirrors 2. As we mentioned above, in the Enochic traditions the fallen angels and their offspring are often depicted through arboreal imagery. CD 2:17-19 refers to the giants as tall cedars. 5 [6 ] The _Book of Giants_ supports this tendency: in the Manichean fragments of this composition, the Watchers are unambiguously associated with the treesn T he _Midrash_ _of_ _Shemhazai_ and _Azael_ also seems to take dle vegetation of the garden as a symbol of the Watchers/Gian ts group. This correspondence is made not directly but through parallelism. In the _Midrash,_ Shemhazai's statement about the flood on earth follows immediately after Hiyya's dream about the destruction of the trees. The two events seem to "m irror" each other in such a way th at the first depicts the second symbolically. _3 Bar._ 4:10 follows the same pattern, portraying the destruction of "all flesh" and the giants on earth and the destruction of"all that was blooming" in the heavenly garden as two "mirroring" processes taking place in the celestial and terrestrial realms. The sim ilarities between the descriptions in 3 _Bar._ 4 and those of the _Book_ _of Giants_ seem not to be coinc idental. In addition, the description of "all flesh" in 3 _Bar._ 4:10 includes a direct reference tO the drowned giants. [58 ] 3. The next is the identification of Noah with dle "escaped plant." In the _Midrash_ _of'_ _Shemhazai_ _and_ _Azael,_ the giant Hiyya beholds in his dream one tree with three branches that survived the destruction of the garden. The text states that "an angel (was seen by him) descending from the firmament with an axe in h is hand, and he was cutting down all trees, so dlat there remained only one tree containing three branches." [59 ] A verse later, the sto ry switches to Noah [60 ] and his three sons: [61 ] "He (Shemhazai) said to them (Hiwwa and Hiyya): 'The Holy One is about to bring a flood upon the world, and tO destroy it, so that there will remain but one man and his three sons."' [62 ] In the Midrash IOb- Ila, the reference to Noah and h is three sons enduring the Flood follows immediately after the symbolic depiction of the tree with three branches surviving the destruction. A lthough the _Midrash_ does not directly identify the tree with Noah, it makes the identification obvious by correlating these two descriptions. The same correlation is seen in _3_ _Bar._ 4:10b-ll, where the reference to Noah and his escape follows immediately after the statement about the preserved shoot: "(A]nd the water entered into the garden, (and took all that was blooming), bringing out one shoot from the vine as God withdrew the waters. And there was dry land, and Noah went out from the ark." [63 ] It is important, however, that the escaped "tree," which in the Book _of Giancs_ was associated with the righteous remnant, becomes associated in _3 Baruch_ with the evil deception. This difference might point tO the polemical character of 3 Baruch's appropriation of Enochic imagery. The Flooded Arboretums 123 The Noachic Narrative (3 Baruch 4: 11-1 5) _3_ _Bar._ 4:11-1.5 deals with Noah's story. It depicts the patriarch after his debarkation seeing the shoot of vine lying on the ground. Noah hesitates tO plant the vine, knowing the fatal role this plant had in deceiving Adam and Eve. Puzzled, Noah decides to ask the Lord in prayer if he can plant the vine. The Lord sends dle angel Sarasael, who delivers to Noah the following command: "Rise, Noah, and plant the vine, and alter its name and change it for the berter." [64 ] Sarasael's address to Noah is important for establishing the connection between _3_ _Baruch_ 4 and the broader Enochic/ Noachic traditions. It reveals that the author of _3_ _Baruch_ was familiar not only with the details of Noah's escape from the flood that are found in the extant materials of the _Book_ _of Giants_ but with the peculiar derails of Noah's srory in the _Book_ _of the_ _Watchers_ and in the traditions associated with the _Book_ _of Noah._ The Greek and Ethiopic versions of 1 En. I 0:1-3 attest dlat God commissioned Sariel to info rm Noah about the approaching Flood. [6] ; This story might possibly par'allel Sarasael's [66 ] revelation to Noah in _3_ _Bar._ 4:15, but Sariel's revelation in _1_ En. 10:1- 3 does not contain any information about the plant. It may be, however, that the "original" reading of _1_ En. 10:3 survived in its entirety not in the Ethiopic text of _1_ _Enoch_ but in the text preserved by Syncellus, [67 ] which corresponds closely to the Aramaic evidence. [68 ] In the passage found in Syncellus, God commissioned Sariel tO tell Noah not only about his escape from the flood but also about a _plant:_ "And now instruct the righteous one what to do, and the son of Lamech, that he may save his life and escape fo r all time; and from him a plant shall be planted and established for all genemtions for ever." [69 ] Although "a plant" in this revelation can be taken as a symbolic reference to the restored humanity1° or Noah h imself, who is described in _1_ En. 10:16 as the "plant of righteousness and tnlth," some rex ts associated with Enochic traditions reveal that besides "planting" justice and righteousness, Noah was involved literally in the planting of the vine. Thus, _]ub._ 7: 1, for example, says that "during dle seventh week, in its first year, in this jubilee Noah planted a vine at the mountain (whose name was Lubar, one of the mountains of Ararat) on which the ark had come to rest. It produced fruit in the fourth yea r."il Here, just as in 3 _Bar._ 4:13-15, d1e planting of the vine is associated with Noah's debarkation. Noah's story as found in _3_ _Bar._ 4:1 1- 16 gives additional support to the hypothesis about the existence of the materials associated with the _Book_ _of_ _Noah._ Florentino Garda Martinez's pioneering research [72 ] demonstrates that the materials of the _Book_ _of Noah_ are closely associated wi th the 124 Da rk Mirrors Enoch ic/Noachic traditions found in _l_ _Enoch,_ _Jub.,_ the Qumran materials, and SyncellusY In _3_ Bar. 4 several traditions associated with the _Book_ _of_ _Noah_ appear to be intimately interconnected, which might point to their possible common origin in the _Book of Noah._ For example, in _3 Bar._ 4: 15- 17, Sarasael tells Noah about the dange rs of the vine. The angel tells him that d1e plant still retains its evil. This re\•elation about the plant and the evil it possesses recalls ano ther passage possibly associated wi th the _Book_ _of_ _Noah,_ namely, the tradition about the angelic revelation to Noah recorded in _Jttb_ _._ 10:1- 14, wh ich h as it d1at Noah was taught by angels about the plan ts and evil spirits. [14 ] Conclusion The foregoing analysis has demonstrated a number of intriguing parallels between the theme of the garden in _3 Bar._ 4 and similar traditions associated with me materials of the _Book_ _of_ Giants. [15 ] In both accounts, the garden is depicted as the place of the primordial heavenly rebellion involving angelic being(s). A lthough _3_ _Bar._ 4 is written from the Adamic perspective, d1 is account demonstrates several details that are absent in "traditional" Adamic accounts bm can be found in the Enochic lore. This suggests that the author of _3 Bawch_ might be involved in anti-Enochic polemics borrowing and rewriting Enochic motifs and themes from the Ada mic perspective. Therefore, the narrative of the planting and the destruction of the garden in _3_ _Baruch_ seems to represent the locus of intense debates involving substantial rew riting of the "original" Enochic/Noachic motifs and themes. T he details of the Enochic Watchers/Giants srory appear to be rearranged [76 ] and transferred to new characters of the Adamic sto ry, including Samael/ Satanael and the serpent. [71 ] The author of _3 Baruch_ seems to be engaged in anti-Enochic polemics, not only with the traditions associated with the _Book of Giants_ bur also with the Enochic motifs and themes found .in the _Book of the_ _Watchers,_ the _Booi<_ _of Jubilees,_ and Syncellus. It appears that even the theme of d1e flooding of the heavenly garden represents an anti-Enochic motif. _jubilees_ 4 depicts Enoch as the one who was translated ro the garden of Eden. _]ub._ 4:23 further claims d1at because of Enoch "the flood water did not come on any of the land of Eden because he was placed there as a sign and _w_ testify against all people in order to tell all the deeds of history until the day of judgment." [78 ] A substantial pan of _3 Bar._ 4 is occupied by the Noachic account and the Noachic tradition found in _3 Bar._ 4 is closely connected with the fragments of the _Book of Noah_ found in 1 _Enoch,_ _Jubilees,_ the Qumran fragments, and Syncellus. It appears, however, th at the Noachic materials found in _3_ _Bar._ **The** Flooded Arboretums 125 4 have also undergone the "Adamic" revisions. Harry Gaylord observes th at "a strong typological relation is set up between Adam and Noah, who discovers a piece of the vine through. which Adam and Eve sinned washed om of the garden by the receding floodwaters." [19 ] **Notes** Introduction I. On the temporal and spatial symme.try in the Jewish apocalyptic literature, see J. M. Scott, On _Earth_ _a.<_ in _Heaven:_ _The_ _Rescoracion_ _of Sacred_ _Time and_ _Sacred_ Space in _the_ _Book_ _ofl_ _ubilees_ (JSJSS, 91; Leiden: Brill, 2005), 212-19. 2. _Scott, On_ _Ecn·th_ _as_ in _Heaven,_ 212. In his other book james Scott noted that "the juxtaposition of _U,-zeit_ and E11dz_cit- the beginn ing of the nations and their cataclysmic end-occurs not on ly in Jubilees S-9 itself, but also in Dan. 12: 1 and the War Rule." ). M. Scott, _Oeogra{>hy_ i11 _Early_ _judaism_ and _Christianity: The_ _Book_ _of_ ./~inceton _Sym{)osium_ on _.Judaism and_ Christian Origins ( ed. J. H. C harlesworth; Minneapolis: Fortre.ss, 1992), 182-83; M. Knibb, "Messian ism in the Pseudepigrapha in the Light of the Scrolls," DSD 2 (1995): 177- 80; J. Fossum, _The_ _Image of the_ _Invisible_ God: _Essays on rhe_ Influence _of Jewish_ Mysticism on _Early ChTistology_ (NTOA, 30; Fribourg: Universir.iirsverlag h eiburg Sch we iz; Goctingen: Vanderhoeck und Ruprecht, 1995, 144- 45; C. H. T. Fletcher-Louis, _Luke-Acts: Angels,_ _Chrisrology_ _and Soteriology_ (WUNT, 2.94; Tubingen: Mohr/Siebeck, 1997), 15 1; A. _Orlov,_ "The Face as the Heavenly Counterpart of the Visionary in the Slavonic Ladder of Jacob," in _Of_ Se>ibes _and Sages:_ _Early_ _./etvish_ lnterpreta!ion _and_ Transmission _of_ Scripture (2 vo ls.; eel. C. A. Evans; SSEJC, 9; London: T & T Clark, 2004), 2.59- 76. 12. VanderKam, "Righteou.s One, Mess iah, Chosen One, and Son of Man in I Enoch 37- 71," 182-83. 13. One of the specimens of this tradition can be found in the _Prayer of.loseph_ and in the targumic elaborations of the stOry of the patriarch Jacob that depict his heavenly identity as his "image" engraved on the Throne of Glory. The traditions abOtlt the heavenly "image" of Jacob are present in several 1:a.rgumic texts, including _Tg._ _Ps_ _.-]., Tg._ Ncof., and _Frg._ _Tg._ Thus, for example, in _Tg._ Ps.-.1. to Gen 28:12 the following description can be found: "He [J acob) had a dream, and behold, a ladder was fixed in the earth with its tOp reaching toward thh_ _of_ Adam (B loomingron: Ind iana Universit)' Press, 2002); idem," 'Be You a Lyre for Me': Identity or Manipulation in Eden," _T he_ _Exegetical_ _Encounter_ between./cws _and Christians_ in Late _Antiquity_ (ed. E. Grypeou and **H.** Spurling; JC PS, '1 8; Le iden: Brill, 2009}, 87-99. 21. T he Latin Vita tells the following story;" '0 Adam, all my enmity, jealousy, and resencmenc is cowa rd~ you, since on account of you l was expe lled and alienated from my glory, which l had in heaven in the midst of the angels. Then the Lord God grew angry wi th me and sent me forth with my angels from our glory. On account of you we were expelled from our dwelling into this world and cast out upon the earth. Immediately we were in grief, since we had been despoiled of so much glory, and we grieved to see you in such a great happiness of delights.' " A _Synopsis_ _of_ _the_ _Books_ _of .A.dctm_ _and_ _Eve._ _Second Revised_ _Edition_ (ed. G. A. Anderson and M. E. Stone; **EJL,** 17; A tlanta: Scholars, 1999}, 15- ISE. 22. "For behold, the garment which in heaven was formerly yours has been set aside for him, :md the corruption which was on him has gone over to you" (Apoc. _Ab._ 13:7- 14). A. Kulik, Rerroverting Slavonic _Pseudepigraplta:_ _Toward_ the OriginaL _of_ _the Apocalypse_ _of Abraham_ (TCS, 3; A tlanta: Scholars, 2004), 20. 23. Targumic t!"adition might also reflect this situation of the transference of the attributes and conditions benveen the proroplast(s) and their prom log ical opponent(s} when it says that God d othed Adam and Eve with the luminous garments of their Seducer. In _Tg._ _Ps_ _.-]._ on Gen 3:21 the following tradition can be found: "And the Lord God made gamtents _of glory_ for Adam and for his wife from the skin which the serpent had cast off (to be worn) on the skin of their (g<'rments of} fmgernuils of which they had been stripped, and he clothed them." _Targum_ _Pseudo-Jonathan:_ Genesis (tr. M. Maher, M.S.C.; A rBib, IB; Collegeville: Liturgical Press, 1992}, 29. 24. On early Jewish demonology, see W. M. A lexander, _Demonic_ _Possession_ in the _New_ Testament: Its _Historical,_ _Medical and Theological_ Aspects (Grand Rapids: Baker, 1980}; P. S. A lexander, "The Demonology of the Dead Sea Scrolls," in _The_ _Dend_ _Sea Scrolls aft·er_ _Fifty_ _Years_ _:_ A Com{)rehemive Asses>~nent (2 vols.; ed. P. W. Flint and J. C. VanderKam; Leiden: Brill, 1999), 2.33 1- 53 ; C. Auffarth and L. T. Stuckenbruck (eels.), _The_ _Fall_ _of_ _the Angels_ (TBN, 6; Le iden: Brill, 2004}; B. J. Bamberger, _Fallen_ _Angels:_ _Soldiers_ _of Saran's Realm_ (Philadelphia: Jewish Publication Society, 19.52); G. A. Barton, "TI)e Or igin of the Names of Angels and Demons in the Extra-Canonical ApoctJHaS1) has been prepared for you by the Eternal One." Kulik, _Retrovercing Slavonic_ _Pseudepigrapha,_ 18; Philonenko-Sayar and Philonenko, L' _Apoca.lypse_ _d' Abraham,_ 60. 22. This identification of the positive lot with the lot of God is also present in the Qumran materials. Cf. 1QM 13:5-6: "For they are the lot of darkness but the lot of God is for [everlast]ing light." _The_ _Dead_ _Sea_ _Scrolls_ _Study_ _Edition_ (2 vols.; ed. F. Garcia Martinez and E. Tigchelaar; Leiden: Brill, 1997), 135. 23. _Apoc._ _Ab._ 20: 1- 5. Kulik, _Retroverting Slavonic_ _Pseudepigrapha,_ 25. 24. On the Azazel traditions, see Blair, _De-Demonising the_ _Old Testament:_ _An_ _Investigation_ _of Azazel,_ _Lilith,_ _Debe-r,_ _Qeteb_ _and_ _Reshef in_ _the_ _Hebrew_ _Bible,_ 55-63; J. De Roo, "Was the Goat for Azazel Destined for the Wrath of God?" _Bib_ 81 (2000): 233-41; W. Fauth, "Auf den Spuren des biblischen Azazel (Lev 16): Einige Residuen der Gestalt oder des Namens in jlldisch-aramaischen, griechischen, koptischen, athiopischen, sydschen und mandaischen Texten," ZAW 110 (1998): 514-34; C. L. Feinberg, "The Scapegoat of Leviticus Sixteen," _BSac_ 115 (I 958): 320-31; M. Gorg, "Beobachtungen nun sogenannten Azazel-Ritus," BN 33 (1986): 10-16; Grabbe, ''The Scapegoat Tradition: A Study in Early Jewish Interpretation," 165-79; Helm, "Azazel in Early Jewish Literature," 217-226; B. Janowski, _Sulme als_ _Heilgeschehen:_ _Studien zur_ _Suhnetheologie_ _der Priesterchrift und der Wurzel_ KPR im _Alten Orient und im_ Alten _Testment_ (WMANT, 55; Neukirchen-Yluyn: Neukirchener Verlag, 1982); idem, "Azazel," in _Dictionary_ _of Deities_ _and_ _Demons_ _in_ _the_ _Bible_ ( ed. K. van der Toorn et al.; Leiden: Brill, 1995), 240-48. B. Jurgens, Heiligkeit _und Versohnung:_ _Leviticus_ _16_ _in_ _seinem_ _Literarischen_ _Koncext_ (New York: Herder, 2001); H. M. Kllmmel, "Ersatzkonig und Sllndenbock," ZAW 80 (1986): 289- 318; R. D. Levy, _The Symbolism of the Azazel_ _Goat_ (Bethesda: International Scholars Publication, 1998); 0 . Loretz, _Lebe·rschau,_ _Sundenbock_ _,_ _Asasel_ _in_ _Ugarit_ _und_ _Israel:_ _Leberschau_ _und_ _Jahwestatue_ _in_ _Psalm_ 27, _Leberschau_ in _Psalm 74_ (UBL, 3; Altenberge: CIS-Verlag, 1985); J. Maclean, "Barabbas, the Scapegoat Ritual, and the Development of the Passion Narmtive," HTR 100 (2007): 309-34; Molenberg, "A Study of the Roles of Shemihaza and Asael in 1 Enoch 6-11," 136-46; J. Milgrom, _Studies_ _in Cultic Theology_ _and Te1minology_ (SJLA, 36; Leiden: Brill, 1983); D. Rudman, "A Note on the Azazel-goat Ritual," _ZAW_ 116 (2004): 396-401; W. H. Shea, "Azazel in the Pseudepigrapha," _JATS_ 13 (2002): 1-9; Swkl Ben Ezca, "Yom Kippur in the Apocalyptic Imaginaire and the Roots of Jesus' High Priesmood," 349-66; idem, "The Biblical Yom Ki ppur, the Jewish Fast of the Day of Atonement and me Church Fathers," 493- 502; idem, _The_ _Impact_ _of Yom_ _Kippur_ on _Early Christianity:_ _The_ _Day_ _of Atonement from_ _Second_ _Temple Judaism_ _to the_ _Fifth Century;_ A Strobel, "Das jerusalemische Sllndenbock-ritual. Topographische und landeskundische Erwagungen zur Oberlieferungsgeschichte von Lev. 16,10,21£," ZDPV 103 (1987): 141-68; H. Tawil, "oc._ Ab. 14:5 "Say tO him, 'May you be the fire brand of the furnace of the earth! (maB'bHelo nell\H 3CMHWI).'" Kulik, _Retroverting Slavonic_ _Pserulepigrapha,_ 21; Philonenko-Sayar and Philonenko, _L'A[Joca.ly[Jse_ _d'Abraharn,_ 68. 44. Kulik, Retmvercing _Slavonic_ _Pse·udepigrapha,_ 22. 45. Ibid. 46. Ibid., 23. 47. Ibid., 24. See also _A{Joc._ _Ab._ 18:13: "And above the Wheels there was the throne which I had seen. And it was covered with fire and the fire encircled it round about, and an indescribable light surrounded the fiery people." Kulik, _Recroverting_ _Slavonic_ _Pseudepigrapha,_ 24. 48. Box and Lmdsman, _The Apocalypse_ _of Abraham,_ xxvi. 49. Kulik, Recroverting _Slavonic_ _Pswdepigrapha,_ 35; Rubinkiewicz, _L'Apocalypse_ _d' Abraham_ en ·vieux _slave,_ 202. 50. Cf. _Apoc ._ _.Ab._ 31 :Z-3 "And I shall burn with lire those who mocked them ruling over them in this age and l shall commit those who have covered me with mockery to the reproach of the coming age." Kulik, _Recroverting_ Skwonic _Psew.le[>igrapha,_ 35. 51. Ibid. 52. Ibid., 26. 53. Philonenko-Sayar and Philonenko, L' _Apocaly{Jse_ d' _.Abraham,_ 84. 54. Cf., for example, Horace Lunt's comment in Rubinkiewicz, _The Apocalypse_ _of Abrahcun_ _,_ l .699. _55._ Kulik, Retroverting _Slav011ic_ _Pseudepigraplta,_ 26. 56. Ibid., 27; Philonenko-Sayar and Philonenko, L' _Apocalypse d'Abraham,_ 88. 57. On the traditions of the serperHine Eve in Jewish and C hristian literature, see S. M inov, '"Serpentine' Eve in Syriac Christim1 Literature of Late Antiquity," in _Wlich_ Letters _of Light:_ _Scudies_ in the _Dead_ _Sea_ _Scrolls,_ _Early_ _jewish Apocalypricisrn,_ _Magic_ _and Mysticism_ (Ekstasis, 2; ed. D. A rbel and A . Orlov; Berlin/New York: De G ruyter, 2010), 92-114. 58. T hus, for example, reflecting on the imagery found in _.Apoc ._ _.Ab._ 23:4-11, Daniel Harlow suggests that "the three of them appear in a _menage a t>·ois._ the man and woman entwined in an erotic. embrace, the fallen angel in serpentine guise feeding them grapes." Harlow, "Idolatry and .Alterity: lsrael and the Nations in the _Apocalypse of Abraham,"_ 320. _59._ On various versions of the _Life of Adam and_ _Eve,_ see M. E. Stone, A History _of the_ _Literature_ _of Adam_ and _Eve_ (E] L, 3; Atlanta: Scholars, 1992); M. de jonge and). Tromp, _The_ Life _of Adam_ and Eve (Sheffield: Sheffie ld Academic Press, 1997). 60. A _Synopsis_ _of_ the _Books_ _of_ _Adam and Eve,_ 62E. The Armenian and Georgian versions of LAE 22:4 also support this tnlclition: "He set up his throne clos[e] to the Tree of Life" (Armenian); "and thrones were set up near the Tree of Life" (Georgian). A _SynO{Jsis_ _of che_ Booiha_ (2 vols.; ed. j. H. Charlesworth; New York: Doubleday, 1983-85), J.ll4. 62. P. Alexander, "3 (Hebrew Apocalypse of) Enoch," _The_ _Old_ _Testament_ _Pseudepigrapha_ (2 vols.; ed. _J._ H. Charlesworth; New York: Doubleday, 1983-85), 1.259. 138 Notes to "The Likeness of Heaven" 63. _The_ _Zohar_ (5 vols.; ed. H. Sperling and M. Simon; London and New York: Soncino, 1933), 2.355. 64. _The Babylonian Talmud_ (ed. L Epstein; London: Soncino, 1935- 1952), 3.255. 65. Exod 37:9. 66. 1 Kgs 6:27; Ezek 1:9. 67. 2 Chr 3:12. 68. R. Elior, _The Three Temples_ _: On_ rl1e _Emergence of Jewish Mysticism_ (Oxford: T he Littman Library of Jewish C ivilization, 2004), 67. 69. In later Jewish mysticism the imagery of the cherubim in the Ho ly of Holies was interpreted as the conjugal union between male and female. Thus, in _Zohar_ IIL59b the following tradition can be found: "R. Simeon was on t he point of going to visit R. Pinchas ben )air, along with his son R. Eleaza r. When he saw them he exclaimed: 'A song of ascents; Behold how good and how pleasant it is for brethren to dwell togeth er in unity'" (Ps CXXXIII, 1). 'The expression "in unity," he said, refers to the Cherubim. When their faces were turned to one another, it was well with the world- "how good and how pleasant," but when the male turned his face from the female, it was ill with the worl d. Now, too, l see th at you are come because the male is not ab iding with the female. If you have come only for this, return, because I see that on this day face will once more be turned to face.'" Sperling and Simon, _The_ _Zohar,_ 5.4 1. Another passage from _Zohar_ IIL59a also tells about the conj ugal un ion of the cherubim: 'Then the priest used to hear their vo ice in the sanctuary, and he put the incense in its place with all devotion in o rder that all might be blessed. R. Jose said: The word 'equity' _(mesharim,_ li t. equities) in the above quoted verse indicates that the cherubim were male and female. R. Isaac said: From this we learn that where there is no union of male and female men are not worthy to behold the divine presence." Sperling and Simon, _The_ _Zohar,_ 5.4 L 70. Elior, _The_ _Three_ _Temples:_ On _the_ _Emergence_ _of Jewish_ _Mysticism,_ 67. 71. _The_ _Babylonian_ _Talmud_ (ed. L Epstein; London: Soncino, 1935- 1952), 3.257. _Zohar_ IIL67a, which describes the actions of the high priest on Yo m Kippur, also attests to the same tradition when it portrays the "wrestle" of the cherubim in the Holy of Ho lies who are "beating their wings together" The passage then describes the high priest entering the Holy of Ho lies bringing the incense that "pacifies" or "reconciles" the "wrestling" of the angelic creatures. Sperling and Simon, _The_ _Zohar,_ 5.60. See also: _Zohar_ L23la: "Now at sunset, the Cherubim which stood in that place used to strike their wings together and spread them out, and when the sound of the beating of their wings was heard above, those angels who chanted hymns in the night began to sing, in order that the glory of God might ascend from below on high. The striking of the Cherubim's wings itself intoned the psalm, 'Behold, bless ye the Lord, all ye servants of the Lord . . . lift up your hands to the sanctuary, etc.' {Ps. CXXXIII). T his was the signal for the heavenly angels to commence." Sperling and S imon, _The_ _Zohar,_ 2.340. 72. Elior, _The_ _Three_ _Temples,_ 158. In relation to this union of the ange lic creatures in the Holy of Holies, Elior further noticed that "the grammatical relationship between the Hebrew words for the Holy of _Holies-_ _lwdesh hakodashim-_ _and_ for betrothal-kidushin-suggests an ancient common ground of heavenly and earthly union." Elior, _The_ _Three_ _Temples,_ 158. Notes to "The Likeness of Heaven" 139 73. Similar tO the "Living Creat-ures of the Cherubim" the demon is also portrayed as a composite being which combines zoomorphic and human features-the body of a serpem with hands and feet like a man. 74. Cf. _Pirke_ de _Rabbi_ _Eliezer_ 13: "Sammael was the great prince in heaven; the _Hayyot_ had four wings and the Seraphim had six wings, and Sammael had twelve wings." Pirke _de_ _Rabbi_ Eliezer (2nd ed.; tr. G. Friedlander; New York: Hermon Press, 1965}, 92. Cf. also Georgian LAE 12:1 "My [Satan's] wings were more numerous than those of the C herubim, and I concealed myself under them." A _Synopsis of_ _the_ _Books_ _of Adam and_ Eve, 15- 15E. 75. Kulik, _Rerroverting S/a.vcmic_ _Pse·udepigrapha,_ 27. 76. Ibid., 24. 77. This imagery of Azazel posited between Adam and Eve might serve also as a profound an thropological symbol that possibly signifies the division of the protoplast. Azazel might be envisioned here as rhe primordial knife separating androgynous proto-humse_ _of_ _Abraham,_ see also: Box and Landsman, _The Apocalypse_ _of Ahmham,_ xxix- xxx; M. Dean-Orting, _Heavenl.y ]oumeys:_ A _Study of the_ _Motif_ in Hellenistic _Jewish. Literature_ (JU, 8; Frankfurt •l m Main: Peter Lang, 1984}, 251-53 ; I. G ruenwald, _AJ>ocalyf>tic_ _and_ _Merlle_ _Period:_ _Apocryf>ha,_ _Pseudef>igrapha,_ Qumran _Sectarian_ \XIritings, _Philo,_ _joseph«.<,_ .383-441, esp. 418; G. Sc.holem, _Major_ Trends in _./ewish Mysticism_ (New York: Schocken, 1961}, 52, 57- 6 1, 72; idem, _jewish_ _Gnoscicism, Merlwbah_ _Myscicism, and Talmudic_ Tradition (New York: The Jewish Theo log ical Seminary, 1965}, 23-24; idem, _Kabbalah_ (New York: Quadr.lngle, 1974}, 18. **140** Notes to Eschatological Yom Kippur Eschatological Yom Kippur in **the** Apoca lypse of Abraham l. Slav. cancj:JMp'b. Philonenko-Sayar and Philonenko, _I:_ _Apocalypse d' Abraham,_ 60. 2. Slav. xpycoJIHTb. Philonenko-Sayar and Philonenko, L' _Apocalypse_ _d' Abraham,_ 60. 3. "(A)nd a turban (KHJJ;apb) on his head like the appearance of the bow in the clouds." Kulik, Recroverting _Slavonic_ _Psew:lepigrapha.,_ 19; Philonenko-Sayar and Philonenko, _L:Apocal)'pse d'Abraham,_ 60. 4. Thus, Daniel Harlow observes that "Yahoel's clothing ... indicates that he is the heavenly high priest: he wears a 'turban on his head like the appearance of the bow in the clouds,' his garments are purple, and he has a golden staff in his hand (11:2). These elements evoke the wardrobe and accoutrement of Aaron (Exod 28; Num 17)." Harlow, "Idolatry and A lterity: Israel and the Nations in the _Apocal)'pse_ _of Abraham,"_ 313- 14. 5. Jacob Milgrom observes that the high priest's head covering was a turban (t"l!l)~Q ) and not **t'11l):::lJQ,** the simpler headdresses of the ordinary priests (Exod 28:39- 40). J. Milgrom, _Leviticus_ _1- 16:_ A _New_ _Translation_ _with_ _Introduction_ _and_ _Commentary_ (AB, 3; New York: Doubleday, 1991), 1016. 6. M. H immelfarb, _Ascent to_ _Heaven_ _in Jewish and Christian Apocal)'pses_ (New York/Oxford: Oxford University Press, 1993), 62. 7. Ibid. 8. Ibid. Yahoel's role as a heavenly high priest is also hinted at later in the text _(Apoc. Ab._ 10:9) through his liturgical office as choirmaster of the living Creatures, which is reminiscent of the liturgical office of Enoch-Metatron in the Merkabah tradition. Cf. A. Orlov, "Celestial Choir-Master: The Liturgical Role of Enoch-Metatron in 2 _Enoch_ and the Merkabah Tradition," _JSP_ 14.1 (2004): 3-24. 9. Himmelfarb, _Ascent_ _co_ _Heaven_ _in_ _Jewish_ _and Christian_ _Apocal)'pses,_ 62. 10. "Greatest of his brothers and the beauty of his people was Simeon the son of Johanan the priest ... how honorable was he as he gazed forth from the tent, and when he went forth from the house of the curtain; like a star of light from among clouds, and like the full moon in the days of festival; and like the sun shining resplendently on the king's Temple, and like the rainbow which appears in the cloud." C. N. R. Hayward, _The Jewish Temple:_ A _Non-Biblical Sourcebook_ (London: Routledge, 1996), 41-42. **11.** One of the extensive descriptions of Y' ~ is found i..n the _Book_ _of Zohar,_ which describes its unusual luminosity: "[Rabbi Simeon] began quoting: 'And they made the plate of the holy crown of pure gold, [and wrote upon it a writing, like the engravings of a signet: Holy to the Lord)' (Exod 39:30). Why was [this plate) called Y' ~ ? It means 'being seen, to be looked at.' Since it was there to be seen by people, it was called Y' ~ . Whoever looked upon th is plate was recognized by it. The letters of the holy name were inscribed and engraved upon this plate, and if d1e person who stood in front of it was righteous, the letters inscribed in the gold would stand out from bottom to top and would shine out from the engravings, and illuminate the person's face." _Zohar_ 11.217b. I. Tishby, _The_ _Wisdom_ _of the_ _Zohar._ _An_ Notes to Eschatological Yom Kippur 141 _Anthology_ _of Texts_ (3 vols.; London: The Littman Library of Jewish Civilization, 1989), 3.920- 21. 12. Exod 39:30-31 "They made the rosette of the holy diadem of pure gold, and wrote on it an insc ription, like the engraving of a signet, 'Holy to the Lord.' They tied to it a blue cord, to fasten it on the turban above." 13. _b. Yoma_ 37a. 14. In this respect Himmelfarb observes that "the heaven of the _Apocalypse_ _of Abraham_ is clearly a temple. Abraham sacrifices in order to ascend to heaven, then ascends by means of the sacrifice, and joins in the heavenly liturgy to protect himself during the ascent .... The depiction of heaven as a temple confirms the importance of d1e eard1ly temple. The prominence of the heavenly liturgy lends importance to the liturgy of words on earth, which at the time of ilie apocalypse provided a substitute for sacrifice, a substitute that in the apocalypse's view was to be temporary." Himmelfarb, _Ascent to_ _Heaven_ in _jewish_ _and Christian_ _Apocalypses,_ 66. 15. On heavenly Temple traditions see M. Barker, _The_ _Gate_ _of_ Heaven: _The_ _History_ _and_ _Symbolism_ _of the_ _Temple_ in _]e,·usalem_ (London: SPCK, 1991); G. K. Beale, _The Temple_ _and_ _the_ _Church's_ _Mission_ (NSBT, 17; Downer Grove: lntervarsity Press, 2004); J. J. Collins, "A Throne in the Heavens: Apotheosis in Pre-Christian Judaism," in _Death, Ecstasy,_ _and_ _Other_ _\.Vorldly_ _Journeys_ (ed. J. ). Collins and M. Fishbane; Albany: State University of New York Press, 1995), 43-57; A. DeConick, "Heavenly Temple Traditions and Valentinian Worship: A Case for First-Century Christology in the Second Century," in _The Jewish_ _Roots of Christological_ Monodteism: _Papm_ _from_ _the_ _St._ _Andrews_ _Conference on_ _dte_ _Historical_ Origins _of_ _the_ _\.Vorship_ _of_ _Jesus_ (ed. C. C. Newman, J. R. Davila, G. S. Lewis; JSJSS, 63; Leiden: Brill, 1999), 308- 41; B. Ego, "Im _Himmel_ wie _auf Erden"_ (WUNT, 2.34; Tubingen: Mohr/Siebeck, 1989); R. Elior, "From Earthly Temple to Heavenly Shrines: Prayer and Sacred Song in the Hekhalot Literature and its Relation to Temple Traditions," _]SQ_ 4 ( 1997): 217-67; idem, _The Three_ _Temples:_ On _the_ _Emergence_ _of jewish_ M)•sticism (Oxford: T he Littman Library of Jewish Civilization, 2004); C. H. T. Fletcher-Lewis, _AU_ _the_ _Glory of Adam:_ _Liturgical_ _Anthropology_ in _the_ _Dead Sea SeroUs_ (STDJ, 42; Leiden: Brill, 2002); I. Gruenwald, _Apocalyptic and_ _Merkavah_ Mysticism (AGAJU, 14; Leiden: Brill 1980); Halperin, _Faces_ _of_ _dte_ _Chariot:_ _Early_ _Jewish_ _Response_ _to_ _Ezekiel's_ _Vision;_ idem, "Heavenly Ascension in Ancient Judaism: TI1e Nature of the Experience," SBLSP 26 (1987): 218-31; R. G. I-lamerton-Kelly, "The Temple and the Origins of Jewish Apocalyptic," _VT_ 20 (1970): 1-15; R. Hayward, _The Jewish Temple:_ A _Non-Biblical_ _Sourcebook_ (London: Routledge, 1996); M. Himmelfarb, "The Practice of Ascent in the Ancient Mediterranean World," in _Death,_ _Ecstasy,_ _and_ _Other_ _Worldly_ _Journeys,_ 123- 37; idem, _Ascent_ _to_ _Heaven_ in _Jewish_ _and_ _Christian_ _Apocalypses;_ idem, "From Prophecy to Apocalypse: The Book of the Watchers and Tours of Heaven," in _Jewish_ _Spirituality:_ From _the Bible Through the Middle_ _Ages_ (ed. A. Green; New York: Crossroad, 1986), 145- 65; idem, "Apocalyptic Ascent and the Heavenly Temple," 210- 17; C. R. Koester, _The Dwelling of God: The Tabernacle_ in _the Old Testament,_ _Intertestamental_ _Jewish_ _Literature and_ _the_ _New Testament_ (CBQMS, 22; Washington: Catholic Biblical Association of America, 1989); J. D. Levenson, "The Temple and the World," JR 64 (1984): 275-98; idem, Sinai and Zion (San Francisco: Harper and Row, 1985), 111-84; idem, "The Jerusalem Temple in Devotional and Visionary Experience," in _Jewish_ 142 Notes to Eschatological Yom Kippur _Spirituality:_ FTOm _the_ _Bible Through_ tl~e Middle _Ages,_ 32-59; G. W. MacRae, "Heavenly Temple and Eschatology in the Letter co the Hebrews," _Semeia_ 12 ( 1978}: 179- 99; A. J. McNicol, "The Heavenly Sanctuary in Judaism: A Model for Tracing the Origin of the Apocalypse," _JRS_ 13 (1987}: 66-94; C. R. A. Morray-Jones, 'The Temple Within: The Embodied Divine Image and Its Worship in the Dead Sea Scrolls and Other Jewish and Christian Sources," SBLSP 37 (1998}: 400-31; idem, "Transformational Mysticism in the Apocalyptic-Merkabah Tradition," _JJS_ 43 (1992): 1- 31; R. Patai, _Man_ _and Temple_ _in_ Ancient _Jewish_ _Myth_ _and_ _Ritual_ (New York: KTAV, 1967); C. Rowland, _The_ _Open_ _Heaven:_ A _Study_ _of Apocalyptic_ _in Judaism_ _and_ _Early_ _Christianity_ (London: SPCK, 1982); idem, 'The Visions of God in Apocalyptic Literatu re," _]SJ_ 10 (1979}: 137-54; A. F. Segal, "Heavenly Ascent in Hellenistic Judaism, Early Christianity and Their Environment," _ANRW_ 2.23.2 (1980): 1333-94. 16. Thus, for example, Harlow views the whole structure of the work as the composition which includes five sacerdotal seeps or "movements": "Abraham's separation from false worship (chaps. 1-8); Abraham's preparation for true worship (chaps. 9- 14); Abraham's ascent for true worship (chaps. 15- 18); Abraham's vision of false worship (19:1-29:13); and his vision of true worship restored (29:14-31:12)." Harlow, "Idolatry and Alterity: Israel and the Nations in the _Apocalypse of Abraham,"_ 305- 306. 17. Alexander Kulik argues that the description of the sacrificial services of Terah's family found in the first chapter of the _Apocalypse of Abraham_ "precisely follows the order of the Second Temple daily morning tamid service as it is described in the Mishna: first, priests cast lots _(Yoma_ 2, 1-4; _Tamid_ 1, 1-2; cf. also Luke 1:9), then they sacrifice in front of the sanctuary _(Tamid_ 1-5), finishing their service inside _(Tamid_ 6)." Kulik, _Retroq,-e1·ting_ _Slavonic_ _Pseudepigrapha,_ 86. 18. Harlow's research helps to clarify the priestly status of Azazel by drawing on the structural parallelism between the high priestly profile of Yahoel in chs. 10-11 and Azazel's priestly profile in chs. 13-14. Harlow, "Idolatry and Altericy: Israel and the Nations in the _Apocalypse_ _of Ab7·aham,"_ 310. 19. Rubinkiewicz, _L'Apocalypse_ _d'Abraham_ _en vieux slave,_ 58-60. 20. Ibid., 60. 21. David Halperin notes the Mosaic flavor of this passage, observing that "in preparation, Abraham must abstain from meat, wine, and oil _(Apocalypse_ _of_ _Abmham,_ ch. 9). The immediate source of this last detail seems to be Dan 10:3. But, significantly, it recalls the abstentions of Moses and Elijah (Exod 34:28; Deut 9:9, 18; I Kgs 19:7- 8); for like Moses and Elijah, Abraham is to have his experience on 'the Mount of God, the glorious Horeb.'" D. Halperin, _The Faces of the Chariot._ _Early_ _Jewish_ _Responses_ _to_ _Ezekiel's Vision_ _(TSA],_ 16; Tubingen: Mohr/Siebeck, 1988), 105. 22. Kulik, _Retroverting Slavonic_ _Pseudepigrapha,_ 17. 23. Ibid., 19. 24. Daniel Harlow observes that "the patriarch's fasting 'for forty days and nights' marks one of several places in the apocalypse where the author models Abraham's experience on Moses's (Exod 34:28).'" Harlow, "Idolatry and Alterity: Israel and the Nations in the _Apocalypse_ _of Abraham,"_ 312. 25. Martha Himmelfarb observes that "the account in the _Apocalypse_ _of_ _Abraham_ implicitly compares Abraham's ascent to Moses' experience at Sinai. Thus, Notes to Eschatological Yom Kippur 143 for example, Abraham performs the sacrifice described in Gen 15 at MOLmt Horeb (the name for Mount Sinai in some biblical sources) after fort)' days of fasting in the wilderness. The exegetical occasion for the association of Gen 15 and Exod 19-20 is the manifestation of the presence of God in smoke and fire in both passages." Himmelfarb, Ascent _to Heaven_ in _Jewish and Christian Apocalypses,_ 62. For the Mosaic background of the patriarch's actions in chapter twelve see also N. L. Calven, _Abraham_ _Traditions_ in _Middle_ _Jewish_ _Literature:_ _Implications_ _for_ _the_ _Interpretation_ _of_ _Galatians_ _and_ _Romans_ (PhD diss.; Sheffield University, 1993). Calvert observes that "the similarity between Abraham's actions in chapter twelve and those of Moses are striking. He first travels to the mountain Horeb, known also in the Old Testament as Mt. Sinai, which is called 'God's mountain, glorious Horeb' in the _Apocalypse_ _of_ _Abraham_ 12:3. Like Moses when he receives the law, Abraham spends forty days and nights on the mountain. Abraham is said neither to eat bread nor to drink water because his food 'was to see angel who was with me, and his discourse with me was my drink.' _(Apoc._ _Ab._ 12: 1-2). Philo reflects a Jewish tradition of Moses's time on the mount, saying that Moses neglected all meat and drink for forty days, because he had more excellent food than that in the contemplations with which he was inspired from heaven _(De_ _Vita_ _Moses_ 11.69). Because Mt. Horeb and Mt. Sinai are names for the same mountain, Abraham receives his revelation from God in the same place that Moses received God's commandments. Finally, as the Lord 'was like a devouring fire on the top of the mountain' in the Exodus account, so the fire on top of Mt. Horeb burns the sacrifices over which Abraham and the angel ascend to heaven where God also appears as fire." Calvert, _Abraham Traditions_ in _Middle Jewish_ _Literature:_ _Implications_ _for_ _the Interpretation_ _of Galatians_ _and_ _Romans,_ 274. 26. Box notes the connection of this idea of alternative noll(ishment with the Mosaic tradition fou nd in Philo. He observes that "there is a close parallel to our text in Philo, _Life_ _of Moses,_ Ill. 1, where it is said of Moses in the Mount: 'he neglected all meat and drink for forty days together, evidently because he had more excellent food than th at in those contemplations with which he was inspired from above from heaven.'" Box and Landsman, _Apocalypse_ _of Abraham,_ 50. 27. David Halperin elaborates this tradition of the unusual nourishment of the patriarch and its connection to Moses's feeding on the _Shekhinah_ attested in some later rabbinic accounts. He notes that "Moses also discovered that the divine presence is itself nourishment enough. That is why Exod 24:11 says that Moses and his companions beheld God, and ate and drank. This means, one rabbi explained, that the sight of God was food and drink for them; for Scripture also says, 'In the light of the King's face there is life.' .. . We may assu me that the au thor of the _Apocalypse of Abmham_ had such midrashim in mind when he wrote that 'my food was to see the angel who was with me, and his speech- that was my drink.'" Halperin, _The_ _Faces_ _of the Chariot,_ 111 . 28. Christopher Begg observes d1at "making Mt. Horeb _(Apoc. Ab._ 12:3) the site of this incident (contrast _Jubilees,_ where it takes place at Hebron) serves to associate Abraham with the figures of Moses and Elijah, both of whom received divine communications at that site." Begg, "Rereading of the 'Animal Rite' of Genesis 15 in Early Jewish Narratives," 44. 29. Halperin, _The Faces_ _of the Chariot,_ 110. **144** Notes to Eschatological Yom Kippur 30. On the Bar-Eshath episode see A Orlov, "'The Gods of My Father Terah': Abraham the Iconoclast and the Polemics with the Divine Body Traditions in the _Apocalypse_ _of Abraham,"_ _]SP_ 18.1 (2008): 33- 53; idem, "Arboreal Metaphors and Polemics with the Divine Body Traditions in the _Apocalypse_ _of Abraham,"_ HTR 102 (2009 ): 439- 5 **L** 3 L _T_ _he_ _Babylonian_ _Talmud._ _Baba_ _Bathra_ (ed. **L** Epstein; London: Soncino, 1938), 498. 32. _The Babylonian Talmud._ _Taanith_ (ed. **L** Epstein; London: Soncino, 1938), 161. 33. _Tanna_ _Debe_ _Eliyyahu:_ _The_ Lore _of the_ _School_ _of Elijah_ (tr. W. G. Braude and **L** J. Kapstein; Philadelphia: Jewish Publication Society of America, 1981), 190. 34. As can be seen, some midrashic materials try to connect the es tablishment of the Day of Atonement festival with repentance of the Israelites after the idolatry of the Golden Calf. Later Jewish mysticism deepens this connection even further when it interprets the scapegoat ritual in light of the Golden Calf traditions. Thus, some Jewish texts connect the Golden Calf episode with the beginning of the enigmatic practice of assigning a share to "the other side" in sacrificial rituaL Isaiah Tishby refers to the tradition found in the _Book of Zohar_ according to which "one of the consequences of Israel's sin with the Golden Calf was that 'the other side' was assigned a share in the sacrificial rituaL" Ttshby, _The_ Wisdom _of the_ _Zohar,_ 89 1. _Zohar_ IL242b tells that "from that day the only thing they could do was to give a portion of everything to ' the other side' through the mystery of the sacrifices, the libation, and the whole-offerings." Tishby, _The_ Wisdom _of the_ _Zolun·,_ 891. In the dualistic framework of the Zoharic tradition, the goat that is dispatched to Azazel comes to be understood as "the principal offering that is destined in its entirety for 'the other side."' Tish by, _The_ Wisdom _of the_ _Zohar,_ 821. Ttshby notes that "in many passages [of the _Zohar)_ this is described, following a late midrash, as a bribe that is offered to SamaeL T he _Zohar_ quotes a number of parables to explain this matter of the bribe. One describes how a king wish es to rejoice with his son or his friends at a special meaL In order that the happy occasion should not be spoiled by the presence of ill-wishers and quarrelsome men, he orders a separate meal to be prepared for them. According to this parable the purpose of sending a goat to Azazel is to remove _sitra_ _ahra_ from the 'family circle' of Israel and the Holy One, blessed be He, on the Day of Atonement." Ttshby, _The Wisdom_ _of the_ _Zohar,_ 892. These references to the later jewish dualism connected with the Yom Kippur ritual are not completely irrelevant in light of the dualistic imagery of the two lots found in the _Apocalypse of Abraham._ Students of the Slavonic apocalypse often try to interpret the dualistic developments found in the pseudepigraphon as later interpolations by the Bogomils. Yet, as we will see further in this investigation, the dualistic understanding of the Yom Kippur traditions found in the _Apocalypse_ _of Abraham_ and the _Zohar_ can be traced to the Second Temple traditions fou nd in the Dead Sea Scrolls, where the imagery of the two lots was put in a dualistic eschatological framework. 35. Friedlander, _Pirke_ _de_ _Rabbi_ _Elieze7·,_ 364. 36. Ibid., 362. 37. _Tanna_ _Debe_ _Eliyyahu,_ 385. 38. For the common anti-anth ropomorphic tendencies of the _Apoca.lypse_ _of Abraham_ and the _Testament_ _of Abraham,_ see Orlov, " 'The Gods of My Father Notes to Eschatological Yom Kippur 145 Terah': Abn1.ham the Jconoclast and the Polemics with the Divine Body Tr~di tions in the _Apocalypse of_ Abraham," 33-53; idem, "Praxis of the Vo ice: The Divine Name Traditions in the _Apocalypse_ _of .A.I;n-aham," )BL_ 127 (2008): 53-70. 39. For the expansion of Abraham's story in the _Book_ _of Jubilees,_ Josephus, Philo, and the later rabbinic materials (Gene,~ i.s _Rabhah_ 38:1.3, _Tamw_ Debe _Eliyyahu_ 2:25, Seder _Eliyyahu Rabbah_ 33), see: Box and Landsman, _The At)ocalypse of A bmltam,_ 88- 94; Rubinkiewicz, _L'Apocalypse d'Abraham_ en _vieux slave,_ 4.3-49. 40. In this respect the authors of t he Slavonic pseudepigraphon appear to he bound by the formative tradition manifested i.n the biblical accotmt of Abraham's sacrifices found in Gen 15. Thus, Box notes that "the apocalyptic part of the book is based upon the story of Abraham's sacri fices and tntnce, as described in Gen. xv." Box and Landsman, _Tlte Apocalypse_ _of Abraham,_ xxiv. **41.** Knihh, The _Ethiopic_ _Bool<_ _of_ Enoch, 2.87- 88. 42. R. H. C harles, _The_ _Bool<_ _of Enoch_ (Oxford: C larendon, 1893}; D. Dimant, _The_ Fallen Angels in _the_ _Dead Sea Scrolls_ and _the_ _Related Apocrypha and_ _Pse1.igrapha,_ 21. 92. Philonenko-Sayar and Philonenko, _L'.A.pocalypse_ _d'Aln-aham,_ 68. 93. Ibid., 68. 94. Philonenko-Sayar and Philonenko, _L'At>ocalypse_ _d'Abraham,_ 68. 95. Lev 16:22: "T he goat shall be ar on itself all their iniquities to a barren region; and the goat shall be set free in the wilderness." 96. lvlilgrom, _Leviticus_ J- 16, 1045. 97. Kulik, _Apocalypse_ _of Abraham._ _Towards_ _che_ _Lose Original,_ 90. 98. Sti.ikl, _The lmpacr.ofYom Kit>fm.r_ on _Early Chrisrianicy: The Day of Atonemenc_ _from_ Second _Temple_ ./r.u:laism _t.o_ _the_ _Fifch_ Century, 94. 99. Harlow notes that "Yahoel teaches Abraham a kind of exorcistic spell to drive Azazel away." Harlow, "Idolatry and Alterity: Israel and the Nations in the _Apocalypse_ _of Aln·aham,"_ 3 15. 100. In this respect Jacob Milgrom reminds us that in the beginning, before becoming an annual festival, Yom Kippur was understood as an "emergency rite'' for purgation of the sus, Symbol,_ _Allegorie_ _bei_ den ostlichen Vii!em and _ihren_ Parallelen im _Mittelalter_ (ed. M. Sch midt; EB, 4; Regensbufg: Friedrich Pustet, 1982), 11-40;. A. D. DeConick and j. Fossum, "Stripped before God: A New Interpretation of Logion 37 in the Gospel of Thomas," VC 45 (1991): 123-50 at 141 ; N. A. Dah l and D. Hellholm, "Garment-Metaphors: T he Old and the New Human Being," in _Antiquity and Humanity:_ _Essays_ _on Ancient_ _Religion_ _and Philosophy:_ Presented _to_ _Hans_ Dieter Betz on _l1is_ 70"' _Birthday_ (ed. A. Yarbro Collins and M. M. Mitchell; Tiibingen: Mohr/Sie.beck, 2001), 139-58; A. Goshen-Gottstcin, "The Body as Image of God in Rabbink Literature," HTR 87 (1994): 171- 95; B. Murmelstein, "Adam, ein Beitrag zur Messias lehre," _\X!ZKM_ 35 (1928): 242-75 ar 255; N. Rubin and A. Kosman, "The Clothing of the Primordial Adam as a Symbol of Apocalyptic Time in the Midrashic Sources," HTR 90 (1997): 155-74; J. Z. S mith, ''The Garments of Shame,'' HR 5 (I 965/!966): 217- 38. 10. Aaron, "Shedd ing Light on God's Body," 303. 11. Cf., for example, Ezek I; Ps 10 1:1; Job 40:10. 12. Brock, "Clothing M<'wphors as a Means of Theological Expression in Syriac Tradition," **14.** 13. The Qumran materials appear to be aware of the motif of the glorious condition of Adam. Thus, several rexts invoke the rradition of the glory of the protoplast: JQS 4:15 22- 23: "For those God has chosen for an everlasting covenant and to them sha ll belong a ll the glory of Adam (Cl1~ **1 1J::J)."** IQH 4:9 15; "giving them as a legacy a ll the glory of Adam (C'1~ **1 1J::J)."** CD-A 3:20 ''Those who remained steadfast in it will acquire eternal life, and all the glory of Adam (Cl1~ **1 1JJ)** is for them." _The Dead Sea ScrolLs_ _Study_ Edirion, 78-79, 148-49,554-55. 14. A _Synot>sis of r.he_ _Boolsis of rhe_ _Books_ _of Adam and_ _Eve,_ 12E. O n the Armenian version of the _Primary_ Adam BooiJizapcKu_ _npe!JOOb_ _u 6eJieJJCKU_ (COcpH5!: IlpH.[(BOpHa IJetCHUHa_ _npe:J_ _XIII_ _e._ (ed. L Bozhilov 160 Notes to The The Watchers of Satanael et al.; Coqm}l: B'bJirapcKM ITMcaTen, 1987), 150-56; D. Petkanova, "Cnono Ja JI'b:liigraf>htt_ (ed. ]. C . Reeves; E] L, 6; Atlanta: Scholars, 1994), 185. 16. _)._ VanderKam, _Enoch:_ A _Man for_ _AU_ Generations (Columbia: South C arolina, 1995 ), 159. 162 Notes to The The Watchers of Satanael 17. The longer recension of _2_ En. 18:4 reads: "And they broke the promise on the shoulder of Mount Ermon." Andersen, "2 Enoch," 1.132. 18. " ... identity [of the imprisoned angels) as rebellious Watchers is further underscored by the petition they press upon Enoch." Reeves, "Jewish Pseudepigrapha in Manichaean Literature: The Influence of the Enochic Library," 185. 19. This connection was also mentioned by Robert Henry Charles who noticed that "the angels ask Enoch to intercede for them, as in _1_ En. xiii.4," _The_ _Apocrypha and Pseudepigrapha of_ the _Old_ Testament (2 vols.; ed. R. H. Charles; Oxford: Clarendon, 1913), 2.433, note 4. 20. "And they asked me to write out for them the record of a petition that they might receive forgiveness and to take the record of their petition up to the Lord in heaven." Knibb, _The_ _Ethiopic_ _Book_ _of Enoch,_ 2.93. 2 L "And then I wrote out the record of their petition and their supplication in regard to their spidts and the deeds of each one of them, and in regard to what they asked, (namely) that they should obtain absolution and forbearance. And I went and sat down by the waters of Dan in Dan which is south-west of Hermon and I read out the record of their petition until I fe ll asleep." Knibb, _The_ _Ethiopic_ _Book_ _of Enoch,_ 2.93- 94. 22. Soko lov, "MaTepHanbi 11 JaMeTKH no cTapHHHOH cnaBHHCKoii nwrepa-rype," 16. 23. George Nickelsburg notices that the division of the fallen angels into two gro ups is also reminiscent of some early Enochic developments attested already in _1_ _Enoch._ He observes that "in his description of the rebel angels the seer distinguishes between two groups, as does _1_ _Enoch.:_ the _egregoroi_ ('watchers'), who sinned with the women (2 En. 18); and their 'brethren' (18:7), called 'apostates' (chap. 7), who may correspond to the angels as revealers." G. W. E. Nickelsburg, _jewish_ _Literature_ _Between_ _the_ _Bible_ _and_ _the_ _Mishnah_ (2nd ed.; Minneapolis: Fortress, 2005), 222. 24. Sokolov, "MaTepRaJibl R JaMeTKR no cTapHHHOH cnaBHHCKOH mYTepaType," 6. 25. Ibid., 16. 26. "their prince = Satanail, xviii, 3," _The_ _Apocrypha_ _and_ _Pseuclepigrapha_ _of_ _the_ _Old_ _Testament,_ 2.433, note 3. 27. Orlov, _The_ _Enoch-Metatron Tradition,_ 221- 22. 28. The motif of the prostration of angelic beings, including the Watchers, before the seventh anted iluvian hero is unknown in the early Enochic circle reflected in _1 Enoch._ A possible reference to another tradition of prostration- the theme of the Giants bowing down before the patriarch-might be reflected in the _Book_ _of_ _Giants_ [4Q203 _Frag._ 4:6): "they bowed down and wept in front [of Enoch ... ]." _The_ _Dead_ _Sea_ _Scrolls_ _Study_ Edition, 409. Although the passage is extant in a very fragmentary form and the name of Enoch is not mentioned, Jozef Tadeusz Milik, Siegbert U hlig, and Florentino Garda Martinez have suggested th at the figure before whom the Giants prostrate themselves is none other than Enoch himself. For the discussion of this tradition see L Stuckenbruck, _The_ _Book_ _of Giants_ _from_ _Qumran:_ _Texts,_ _Translation,_ _and Commentary_ (TSAJ, 63; Tubingen: Mohr/Siebeck, 1997), 75- 76. 29. The account of Adam's elevation and his veneration by angels is found in Armenian, Georgian, and Latin versions of the _Life of Adam_ _and_ _Eve_ 13- 15. Notes to The The Watchers of Satanael 163 30. The Slavonic version of 3 Bar. 4; _Gospel_ _of_ _Bartholomew_ 4, Coptic _Enthronement_ _of Michael,_ _Cave_ _of Treasures_ 2:10- 24, and _Qur'an_ 2:31-39, 7:11- 18, 15:31- 48, 17:61-65, 18:50, 20: 116-123, 38:71-85. 31. Annette Reed suggested that the tradition about Uzza, Azza, and Azael is "reflecting direct knowledge of the account of the fall of the angels in _1_ _En._ 6-11." v Reed, "From Asael and Semihazah to Uzzah, Azzah, and Azael: 3 Enoch 5 (§§7-8) and Jewish Reception-History of 1 Enoch," 110. 32. On the tradition of the veneration of humanity in rabbinic literature see A. Altmann, "The Gnostic Background of the Rabbinic Adam Legends," _]QR_ 35 (1945): 371- 91; B. Bare, "La taille cosmique d'Adam dans La litterature juive rabbinique des trois premiers siecles apres J.-C.," _RSR_ 49 (1975): 173-85; _]._ Fossum, "The Adorable Adam of the Mystics and the Rebuttals of the Rabbis," _Geschichte-Trad.ition-Reflexion. Festschrift fur_ _Martin Hengel_ _zum_ 70. _Geburtstag_ (2 vols; eels. H. Cancik, H. Lichtenberger, and P. Schafer; Tubingen: Mohr/Siebeck, 1996), 1.529- 39; G. Q uispel, "Der gnostische Anthropos und die judische Tradition," _E1]b_ 22 (1953): 195- 234; idem, "Ezekiel 1:26 in Jewish Mysticism and Gnosis," VC 34 (1980): 1-13; A. Segal, _Two_ _Powers_ _in Heaven:_ _Early_ _Rabbinic Reports about Christianity_ _and_ _Gnosticism_ (SJLA, 25; Leiden: Brill, 1977), 108-15. 33. Commenting on 3 _En._ 4, Gaty Anderson suggests that if"we remove those layers of the tradition that are clearly secondary ... we are left with a story that is almost identical to the analog we have traced in the Adam and Eve literature." Anderson, "TI1e Exaltation of Adam and the Fall of Satan," 107. He further notes that the acclamation of Enoch as the "Youth" in _Sefer_ _Hel.H. A6A)'JIJiaeaa, _IlepcuiJcKaf! KopaHu'leCKaf! 3K3ezemuKa: TeKCIIlbl, nepe(WObl,_ _KO.M.MeHmapuu_ (C.-Tierep6ypr: Tie-rep6yprcKoe BocTOKOBeAeHHe, 2000). 74. Alexander, "3 En.och," 1.303. 75. MS New York JTS 8128. 76. P. Schafer, with M. Schluter and H. G. von Mutius, _Synopse zur_ _He/Jw!oth-Literatur_ (TSAJ, 2; Tubingen: Mohr/Siebeck, 1981), 164. 77. M. Cohen, _The_ _Shi'ur_ _Qomah:_ _Texts_ _and_ _Recensions_ (TSAJ, 9; Tubingen: Mohr/Siebeck, 1985), 162-64. 78. Cohen, _The_ _Shi'ur_ _Qomah:_ _Liturgy_ _and_ _Theurgy_ _in_ _Pre-Kabbalistic_ _Jewish_ _Mysticism,_ 134. 79. Slav. CJI)')f{RTe. Sokolov, "MaTepHaJihi 11 3aMeTKH no CTapHHHOH CJiaB5JHCKOH JIHTepaType," 17. 80. Slav. CJI)')I(611 aawe. Ibid. 81. Andersen, "2 Enoch," 1.132. 82. See Georgian LAE 14:1: "Then Michael came; he summoned all the troops of angels and told them, 'Bow down before the likeness and the image of the divinity.'" Latin LAE 14:1: "Having gone forth Michael called all the angels saying: 168 Notes to Satan and the Visionary 'Worship the image of the Lord God, just as the Lord God has commanded.'" A _Synopsis_ _of_ the _Books_ _of Adam_ _and_ _Eve,_ 16E. 83. T hus, in 2 En. 24 God invites the seer to the place next to him, closer than that of Gabriel, in order to share with him the information that remains hidden even from the angels. The shorter recension of 2 _En._ 24 puts even greater emphasis on the unique nature of this offer; in this recension God places the patriarch "to the left of himself, closer than Gabriel (Slav. EmnKe fc·mpFina)." Andersen, "2 Enoch," 1.143; Sokolov, "MarepHaJihi H 3aMeTKH no cTapHHHOH cnaBHHCKOif nHTepaType," 90 (Ms. B), 117 (Ms. U ). Crispin Fletcher-Louis writes that the fact that in 2 _Enoch_ the seer is seated next to God "suggests some contact with the rabbinic Enoch/Metatron tradition." Fletcher-Louis, _Lulre-Acts,_ 154. Michael Mach also suggests that this motif is closely connected with the Metatron imagery. He notes that "the exaltation to a rank higher than that of the angels as well as the seating at God's side have their parallels and considerable development in Enoch's/Metatron's transfonnation and enthronement as depicted in 3 _Enoch."_ M. Mach, "From Apocalypticism to Early Jewish Mysticism?" in _The_ _Encyclopedia_ _of Apocalypticism_ (3 vols.; ed. J. J. Collins; New York: Continuum, 1998), 1.229- 64 at 251. 84. On the Adamic background of the temptation narrative in Matthew and Luke, see J. A. Fitzmyer, _The_ _Gospel According_ to _Lul_ 4.10 (2006): 380-412; R. Bauckham, _The Face_ _of the_ _Dead._ _Studies_ _on_ _the Jewish_ _and_ _Christian_ _Apocalypses_ (NovTSup, 93; Leiden: Brill, 1998); H. E. Gaylord, "3 (Greek Apocalypse of) Baruch," in _The_ Old _Testament Pseudepigraplw_ (2 vols.; ed. ). H. Charlesworth; New York: Doubleday, 1983-85), 1.653-79; M. L Sokolov, "eHHKC B anoKpmpax o6 EHoxe H Bapyxe," in _Hoenzii c6opuuK cmameii_ _no_ _CJI06fiHOeeoeHuJO,_ _cocmaeJJeHHblU_ _u u300HHbn"i y 'leHuKaMu_ _B.H._ _JlaMaHCKozo_ (C.-fleTep6ypr:Tanorpa down." Alexander, "3 Enoch," 1.260. 41. See I En. 6:6: "And they were in all two hundred, and they came down on Ardis which is the summit of Mount Hennon." Kn ibb, _The_ _Ethiopic_ _Boo!<_ _of_ _Enoch,_ 2 .68. 42. Andersen, "2 Enoch," 1. 130. 43. The possibility that the aurhor of _3_ _Baruch_ was cognizant of the myth of the Watchers is supported also by d1e information fotmd in other parts of the book. According to Bauckham, the aumor of _3_ _Baruch_ indeed knew about the story of the Watchers. He suggests mat two groups of condemned angels in chapters 2 and 3 of _3_ _Bamch_ parallel two groups of Watchers in the second and fifth heaven from 2 En. 7 and 18. See Bauckham, "Early Jewish Visions of He ll," 3 72. 44. [ am indebted to Professor Michael Stone for this clarification. 45. See also 4Q504 8:4-6: "(. Adam,] our [fat]her, you fashioned in the image ~, f [your) glory [ ... ] [ .. . the brearh of life) you [b] lew inw his nostril, and 176 Notes to The Flooded Arboretums intelligence and knowledge [ ... ] [ .. . in the gard)en of Eden, which you had planted .... " _The_ _Dead Sea_ _Scrolls_ _Study_ _Edition,_ 1009. 46. Slav. IIoxoTh rpexoaHaro. Novakovic, "Otkrivene Varuhovo," 206. 4 7. Gaylord, "3 Baruch," 1.666. 48. _1_ En. 6:1- 2a: "And it came to pass, when the son of men had increased, that in those days there were born to them fa ir and beautiful daughters. And the angels, the sons of heaven, saw them and desired them." Knibb, _The_ _Ethiopic_ Book _of Enoch,_ 2.67. 49. Milik, _The_ _Books_ _of Enoch,_ 327. 50. _Midrash of ShemhaztJ.i and Azael_ 1-4: "When the generation of Enosh arose and practiced idolatry and when the generation of the flood arose and corrupted their actions, the Holy One-Blessed be He-was grieved that He had created man, as it is said, 'And God repented that he created man, and He grieved at heart.' Forthwith awse two angels, whose names were Shemhaza i and Azael, and said before Him: '0 Lord of the Lmiverse, did we not say unto Thee when Thou didst create Thy world, Do not create man?' The Holy One-Blessed be He-said to them: Then what shall become of the world?' They said before Him: 'We w iII suffice (Thee) instead of it.' He said: 'It is revealed and (welt) known to me that if peradventure you had lived in that (earthly) world, the evil inclination would have ruled you just as much as it rules over the sons of man, but you would be more stubborn than they.' They said before Him: 'Give us TI1y sanction and let us descend {and dwelt} among the creatures and then Thou shalt see how we shalt sanctify Thy name.' He said to them: 'Descend an.d dwell ye among them.' Forthwith the Holy One allowed the evil inclination to rule over d1em, as soon as they descended. When they beheld the daughters of man that they were beautiful, they began to corrupt themselves with them, as it is said, 'Wh en the sons of God saw the daughters of man, they could not restrain their inclination.' " Milik, _The_ Books _of Enoch,_ 3 2 7. 51. "And he said to Michael, 'Sound the trumpet for the angels to assemble and bow down to the work of my hands which I made.' And the angel Michael sounded the trumpet, and all the angels assembled, and all bowed down to Adam order by o rder. But Satanael did not bow down and said, To mud and dirt I will never bow down.' And he said, 'I will establish my throne above the douds and I wilt be like the highest.' Because of that, God cast him and his angels from his face just as the prophet said, 'These withdrew from his face, all who hate God and the glory of God.' And God commanded an angel to guard Paradise." Gaylord, "How Satanael Lost His ' -el,"' 305. 52. "Forthwith arose two angels, whose names were Shemhazai and Az.ael, and said before Him: '0 Lord of the universe, did we not say unto Thee when Thou didst create Thy world, Do not create man?'" M ilik, _The_ Books _of_ Enoch, 327. 53. Henning, "The Book of the G iants," 63. 54. Slav. BhCh I.IB'tT'h. Gaylord, "CnaBHHCKHH TeKCT TpeTheif KHHnl Bapyxa," 52. 55. Alexander, "3 Enoch," 1.260. 56. "For having walked in d1e stubbornness of their hearts the Watchers of the heaven fell; on account of it they were caught, for they did not heed the precepts of God. And their sons, whose height was like that of cedars and whose bodies were like mountains, fell." _The_ _Dead_ _Sea_ _Scrolls_ _Study_ _Edition,_ 555. Notes to The Flooded Arboretums 177 57. "outside ... and . .. left . . . read the dream we have seen. Thereupon Enoch thus ... and the trees that come out, those are the Egregoroi, and the giants that came out of the women. And ... over ... pulled out ... over .... "Henning, "The Book of the Giants," 66. 58. It is possible that _3 Bar._ 4:3 also attests to the traditions of the giants. The text says that Baruch's angelic guide showed him a serpent who "drinks one cubit of water from the sea every day, and it eats earth like grass." This description might allude to the appetites of the giants who were notorious for consuming everything a live on the surface of the earth. The _Book of_ _the_ _Watchers_ and the _Book_ _of Giants_ attest to the enormous appetites of the giants. T he _Midrash of Shemhami_ _and_ _A_ _zael_ h as it that "each of them eats daily a thousand camels, a thousand horses, a thousand oxen, and all kinds (of animals)." Milik, _The_ _Books_ _of_ _Erwch,_ 328. 59. Ibid. 60. The associations of Noah with the plant abound, e.g., _1_ _En._ 10:16: "Destroy all wrong from the face of the earth .. .. And let the plant of righteousness and truth appear." Knibb, _The Ethiopic Book of Enoch,_ 2.90. For a survey of the evidences, see Reeves, _jewish Lore,_ 99- 100. 61. Scholars believe that 6Q8 li ne 2 also refers to the story of Noah and his three sons. 62. Milik, _The_ _Books_ _of Enoch,_ 328. 63. Gaylord, "3 Baruch," 1.666. 64. Ibid., 1.668. 65. _1_ En. 10:1-3: "And then the Most High, the Great an.d Holy One, spoke and sent A rsyalalyur to the son of Lamech, and said to him: Say co him in my name ' Hide yourself,' and reveal to him the end which is coming, for the whole earth will be destroyed, and a deluge is about to come on all the earth, and what is in it will be destroyed. And now teach him that he may escape, and (that) his offspring may survive for the whole earth." Knibb, _The_ _Ethiopic_ _Book of Enoch,_ 2.87. 66. Sarasael represents here the corruption of Sariel, the angelic name of the archangel Uriel also known in various traditions under the name of Phanue l. On t he Uriel/Sariel/Phanuel connection, see O rlov, "The Face as the Heavenly Counterpart of the Visionary in the Slavonic Ladder of Jacob," 2.59- 76. 67. Matthew Black observes that "the longer text of Sync. seems closer to an original." Black, _The_ _Book_ _of Enoch_ or _1 Enoch,_ 133. 68. Milik, _The Books_ _of Enoch,_ 161-62. 69. Black, _The Book_ _of Enoch_ _or 1_ _Enoch,_ 30. 70. P. A. Tiller, "The 'Eternal Planting' in the Dead Sea Scro lls," _DSD_ 4.3 (1997): 312- 35, esp. 317. See also S. Fujita, "The Metaphor of Plant in Jewish Literature of the lmertestamental Period," _}S}_ 7 (1976): 30-45. 71. J. C. VanderKam, _The_ _Book of jubilees_ (2 vols.; CSCO, 510-11, Scriptores Aethiopici, 87- 88; Leuven: Peeters, 1989) 2.43. 72. Garda Martinez, _Qumran ana_ _Apocalyptic,_ 1-44. 73. Even though the _Book_ _of Noah_ is not listed in the ancient catalogues of the apocryphal books, the wr itings attributed to Noah are mentioned in such early materials as the _Book of Jubilees_ _Uub_ _._ 10:13 and _]ub._ 21:10), the Genesis _Apocryplwn_ from Qumran, and the Greek fragment of the Levi document from Mount Athos. In addition to the titles of the lost _Book_ _of Noah,_ several fragmentary materials 178 Notes to The Flooded Arboretums associated with the early Noachic traditions have survived. Most researchers agree that some parts of the lost _Book of Noah_ "have been incorporated into _1_ _Enoch_ and _Jubilees_ and that some manuscripts of Qumran preserve some traces of it." Garda Martinez, _Qumran_ _and_ _Apocalyptic,_ 26. 74. _Jub._ lO:llb-14 "All of the evil ones who were savage we tied up in the place of judgement, wh ile we left a tenth of them to exercise power on the earth before the satan. We told Noah all the medicines for their diseases wi th their deceptions so that he could cure (them) by means of the earth's plants. Noah wrote down in a book everything (just) as we had taught him regarding all the kinds of medicine, and the evil spiri ts were precluded from pursuing Noah's children. He gave a ll the books that he had wr itten to his oldest son Shem because he loved him much more than a ll his sons." YanderKam, _The_ _Book of Jubilees,_ 2.60. 75. The analysis demonstrates that, among the Jewish and Manichean materials associated with the _Book of_ Giants, the _Midrash Shemhazai and_ _Azael_ shows the closest proximity to the garden traditions folmd in 3 _Bar._ 4. 76. Daniel Harlow noted that the author of 3 _Bar._ 4 "put the Watchers' myth on its head." Harlow, _The_ _G1·eek_ _Apocalypse_ _of Baruch,_ 59. 77. 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Atlanta: Scholars, 1987. # **Index** Aaron, 28, 57, 64, 140, 148 Abe l, 2 Abih u, 46 Abraham, 2, 4, 6, 8, 13- 14, 16-18, 20- 21, 25, 27- 31, 36-49, 55, 64- 68, 79- 81, 132- 133, 135- 136, 141- 143, 147- 149, 154, 170 as fighter against idols, 31 as goat for YHWH, 38- 39, 147- 148 Aher, 172 Angel of Darkness, 13- 14, 147, 154 Angel of the Lord, 65, 166 angelic opposition, 100, 176 angelic veneration, 8, 90-92, 98, 100- 101, 104-106, 110-112, 162- 163, 171 _angelus_ _inrerpres,_ 8, 28, 49, 109, 114, 119 Ararat, 123 arboreal metaphors, 21- 22, 63, 117, 122 Ard is, 164, 175 Ark, 115, 121- 123, 153 Asael/Azazel, 4, 6- 7, 11- 12, 14-25, 29, as priest, 29, 44-48, 55, 64-67, 147-149, 155 as seer, 4, 20-21, 25, 27, 68, 132 his corruption, 55, 81 his garment 8, 38, 55, 64-67, 80 abyss, 20-21, 38, 99 Acherusian, Lake, 151 Adam, 2, 4-6, 21, 23, 25, 50-51, 54, 57' 63, 66, 68- 73, 76, 86- 87' 91-92, 110-111, 113-115, 119 35-46, 48- 55, 66-68, 76-79, 97' 99, 129- 159, 167 120, 123, 125, 130, 139, 149- 153, 156-158, 160-163, 165, 171- 172, 175-176 as priest, 57, 152 creation of, 51, 110, 152, 161, 165 his anointing, 63 his burial, 63, 151 his exaltation, 5, 53, 86- 87, 91-92, 11 1 his garment, 50, 57, 71, 130, as cosmic scapegoat, 7, 35- 38, 43-46 as "burning coal," 19, 136 as fallen priest, 29, 142 as impure bird, 18, 3 7, 68, 79 as leader of the fallen angels, 6, 8, 16, 79 as revealer of secrets, 79 as "rider," 11, 76- 77 his demotion, 55, 66 h is garment of darkness, 78- 79 his heavenly garment, 6, 48-55 his inheritance, 13- 15 his _kavod,_ 4, 11-12, 20-25 his lot, 38-42 149-153 his veneration, 90-92, 98, 100- 101, h is theophany, 4, 18, 20- 25 h is theriomorphism, 77-78 104- 106, 110-112, 162- 163, 171 aeon of light, 1-2 197 198 Index ascent to heaven, 56, 59, 61, 66, 86, 109, 141- 142, 165 atonement, 15, 33- 34, 37, 44, 55, 59, 146, 159 Azza, 91, 100-101, 163, 167 Balaam, 166 Bar-Eshath, 31 Baruch, 113-114, 120 Belial, 14, 40, 131, 134, 136, 147 Bogomils, 26, 144 Cherubim, 7, 23- 25, 53, 61, 70, 138- 139, 156 their union in the Holy of Holies, 24-25 Christ, 106 Dan, 162, 170 David, 127 Dreams, 115- 117, 121- 122, 128, 177 Dualism, 12- 13, 26, 133, 144, 154 Dudael, 36, 77, 167 156-158, 160-161, 163, 165-166, 173 _evil_ inclination, 119- 120, 176 Face, Divine, 31, 57, 79, 91, 93, 104, 109, 110, 112, 143. 164, 173, 176 Flood, 115- 11 7, 120-124, 161, 176 Hahyah/Hiyya, 115-118, 122, 174 _Hayyot,_ 102, 139 heavenly counterpart, 3, 61, 128, 171 Hell, 19-20, 98, 108, 136 Hermon, Mount, 64, 85, 89, 94, 119, Gabriel, archangel, 52, 63, 98, 108, 114, 118-120, 151, 168, 175 Gadre' el, 166 Garden of Eden, 6, 21-23, 50, 56-57, 66, 68, 87, 108, 113, 121, 124, 150, 152, 160-161, 176 as the Holy of Holies, 56-57, 152 garments of skin, 50-52, 62, 71- 72, 152 garments of light, 51-52, 63, 72, 155 G iants, 37, 85, 88, 93-94, 113, ll5- 117, ll9, 121- 122, 124, 145, 161-164, 177-178 Golden Calf, 31- 33, 46, 144 Elijah, 31, 108, 142- 143 _Endzeic,_ 1-2, 4, 127 Enoch, 1-3, 5, 37- 38, 50, 60-64, 67, 78, 87-92, 94-96, 98-104, 109, 162, 164, 175 _hieros_ _gamos,_ 25 113, 116, 119, 129, 147, 154, 161 as celestial choirmaster, 101-104 as cosmic dam, 124 as priest, 5, 38, 61-62 as second Adam, 87 his anointing, 63 his heavenly counterpart, 3 his luminosity, 50, 62-63 his metamorphosis, 50 his veneration, 90-92, 162 Enosh, 101, 121, 176 eschatology, 1- 5, 7, 11, 13- 18, 36, High Priest, 8, 28- 29, 33- 34, 39, 42-44, 47-48, 57-60, 62, 65, 80, 103, 138, 140, 146-148, 153-154 his garments, 57- 58, 62, 65, 140, 153 Hiwwa, 116, 122 Holy of Holies, 4, 6-8, 19, 24-26, 33- 34, 38- 39, 48, 55-61, 66, 138, 146, 149, 153-154 Horeb, Mount, 29, 30, 34, 108, 142, 143, 170 39-40, 48, 50, 53, 56, 59-60, 63, 96, 127, 144, 147, 151, 160 Eve, 4, 6-7, 21- 22, 25, 51- 52, 57, 68, 70-75, 86-87, 113-115, 119-120, 123, 125, 130, 137, 139, 149-150, idolatty, 31- 32, 34-35, 144, 176 idols, 18, 20, 28, 31, 46 Image, Divine, 51, 72- 74, 110-111, 167- 168, 172, 175 inheritance, 13, 15-16, 33, 45, 134, 136 Isaac, 36, 170 Index 199 Ishtar, 155 Jacob, 2-3, 128, 170 his h eavenly counterpart, 3, 128 his image, 128 Jared, 88, 100 Jesus, 2, 8, 106-108, 112, 127, 171 Jordan, River, 156 Joseph, 2 Joshua, 64-65 _Kavod,_ 4, 7, 11-12, 20, 26, 33, 104, 110-112 Korah, 28 Lamech, 123, 177 Levi, 28, 62-63, 65 his priestly garment, 62-63, 65 Leviathan, 21, 149 lots, 12-17, 27, 29, 35, 38-42, 129, 134- 136, 142, 144, 147 Lubar, Mount, 123 Name, Divine, 28, 34, 42, 102-103, 105, 140, 154- 155 Nar iman, 116 Nephilim, 170 Noah, 2, 36, 56, 115, 117, 121- 125, 153, 161, 171, 177-178 as angelomorphic being, 78 as "plant," 117, 121- 122 oath, 89, 94, 164 oil, 30, 52, 62-64, 72, 142 Other Side, 81, 144 _Pargod,_ 110, 171 _paroket,_ 171 Phanuel, 98, 173, 177 Prince of Lights, 13-14, 147, 154 protology, 1-2, 4-5, 20- 23, 25, 50, 56, 62-64, 68, 73, 77' 86-87' 92, 96, Melchire~a<, 14, 40 Melchizedek, 14-15, 40, 108, 134, 147 _menorah,_ 62 Metatron, 23, 100, 102- 103, 110, 147, 100, 106, 109, 127, 130, 152 Protoplasts, 2, 4-6, 21, 23, 25, 50- 51, 54, 57, 63, 66, 68- 73, 76, 86- 87, 91-92, 110-115, 119-120, 123, 125, 130, 139, 149-153, 156-158, 160-163, 165, 171- 172, 175- 176 as "lower cherubim," 25 entwined, 4, 21, 139 their fall, 6, 23, 86-87, 119-120, 168, 172 as celestial choirmaster, 102- 103 as prince of the Presence, 23 as prince over all princes, 102 as Youth, 100, 102-103 Methuselah, 152 Michae l, archangel, 52, 62-64, 98, 110, 123, 158, 160-161 their garments, 50-53, 57, 71, 130, 149, 150-153 their nakedness, 51, 173 psychopomp, 8, 85, 108, 109 R. Aibu, 172 R. Eliazar, 138 R. Isaac, 76, 138 R. Isaac b. Jacob ha-Kohen, 107 114, 118-120, 151, 167- 168, 173, 175-176 Moses, 1-3, 30-34, 57, 64, 78, 108 110, 127, 142- 143, 170- 171 as angelomophic being, 78 his heavenly counterpart, 3 mythologies of evil, 7, 87, 90, 96-98, R. Ishmael, 23, 37, 100, 110 R. Jose, 138 R. Judah, 76 R. Kattina, 24 100-101 Nadab, 46 Nahor, 29, 46 as priest, 29 R. Levi, 151 R. Meir, 52 R. Pinchas b. ]air, 138 R. Simeon, 76, 138, 140 200 Index R. Simeon b. Gamaliel, 32 R. Simeon b. Menasya, 151 Raphael, archangel, 36, 77, 98-99, 114, 118-120, 167, 175 Resh Lakish, 24, 151 Samael, 76, 107, 124, 144, 147, 175 Sarasael, 115, 123, 177 Sariel, 123, 177 Satan/Saranael/Satanail, 5, 7- 8, 3 7, 53- 54, 65, 69- 76, 79, 85- 99, 106-115, 118-120, 124, 129, 139, 156- 160, 165- 166, 173, 176, 178 as angel, 69- 71, 165 as _angelus_ _interpres,_ 8, 108-109 as beast, 71- 73 as cherub, 70 as gardener, 119 as leader of the fallen angels, 96-98 as prince, 85, 88-90, 92-93, 97, 107, Sinai, Mount, 1, 29-31, 33-34, 57, 108, 143, 171 "sinful desire," 113- 114, 118- 119 Solomon, 127 Son of Man, 3, 98, 166 symmetry, 1-4, 12, 17, 23, 53, 127, 129 transforma tional mys ticism, 67, 71-72, 112, 155 Tree of Life, 4, 22-23, 62-63, 66, 137 Tree of the Knowledge of Good and Evil, 21, 23-25, 77 "two powers," 11, 133, 172 Temple, 5, 24, 28, 34, 48, 61, 66, 108-110, 140-141, 149, 152, 155, 171 Terah, 18, 29, 46, 49, 142, 147 as priest, 29, 46, 142 three watchers, 100-101, 167 Throne Room, 19, 25, 28, 39, 47, 56, 61, 64, 66, 68, 70 Tigris, River, 70-71, 156 Torah, 29- 30, 33- 34, 52 119, 139, 162 as psychopomp, 8, 109 as "rider," 76 as serpent, 7 4-77 his demotion, 69 his ga rment of glory, 54, 156 his invisibility, 74-75, 157 sa tans, 97, 166 scapegoat, 5-7, 35-38, 40, 42-46, 48, 55, 60, 66, 77- 78, 80-81, 144, 146, 154-155, 159 Seraphim, 102-103, 139 Serpent, 11, 21, 25, 50, 68- 72, 74- 77, 114, 124, 130, 137, 139, 147, 151, 155- 158, 160-161, 173, 177- 178 as androgyne, 71 as camel, 76-77 as lyre, 72, 75- 76 his glorious garment, 50, 130, 151 Seth, 2, 72-74, 152, 157 _Shavuot,_ 29- 30 _Shehhinah,_ 23, 103, 121, 143 Shem, 36, 178 ShemU1azah/Shemhazai, 85- 86, 100, U riel, archangel, 109, 114, 118-120, 173, 175, 177 _Urzeit,_ 1- 2, 4, 127 Uzza, 91, 100-101, 163, 167, 175 Voice, Divine, 18-19, 132, 136, 161 Vrevoil, 109 Watchers, 2, 5-6, 8, 36-37, 60, 78, 85- 105, 109- 113, 116-117, 119- 120, 122, 124, 145, 148-149, 153, 160-162, 164, 166-167, 175- 178 as gardeners, 117 as stars, 78 as trees, 116 their oath, 89, 94, 164 their petition, 89, 162 Yahoel, 6, 11, 13, 16-17, 27-30, 37, 39- 40, 43- 44, 46- 48, 79-80, 142, 148- 149, 154 115, 175 _Shi