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The Nature of the Beast: Literary Evidence for Animal Apocalypse(s) of Enoch
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This chapter proposes that the Animal Apocalypse as extant in Ethiopic manuscripts breaks into two separate works on literary grounds. Using tools traditionally associated with source-criticism, this chapter identifies a literary seam at 1 Enoch 89.55-58, as well as terminological and thematic differences between the two emergent works. The first work, which this chapter calls the ‘Vision of the Beasts’ (1 Enoch 85.1-89.58), provides an animalistic allegory of the history of Israel up until the destruction of the First Temple. The second work, which this chapter calls the ‘Apocalypse of the Birds’ (1 Enoch 89.59-90.42) introduces an internal structuring device of seventy shepherds structuring the narrative’s march to the eschaton, and recasts Israel’s antagonists as birds. This chapter acknowledges the limitations of a source-critical toolbox when applied to apocalyptic works, especially in light of the genre’s tendency towards repetition and often-limited manuscript bases. It is therefore proposed that any hypothesis of a literary seam should be tested against the material evidence, before being evaluated for soundness, as will be done in the next chapter.
Title: The Nature of the Beast: Literary Evidence for Animal Apocalypse(s) of Enoch
Description:
This chapter proposes that the Animal Apocalypse as extant in Ethiopic manuscripts breaks into two separate works on literary grounds.
Using tools traditionally associated with source-criticism, this chapter identifies a literary seam at 1 Enoch 89.
55-58, as well as terminological and thematic differences between the two emergent works.
The first work, which this chapter calls the ‘Vision of the Beasts’ (1 Enoch 85.
1-89.
58), provides an animalistic allegory of the history of Israel up until the destruction of the First Temple.
The second work, which this chapter calls the ‘Apocalypse of the Birds’ (1 Enoch 89.
59-90.
42) introduces an internal structuring device of seventy shepherds structuring the narrative’s march to the eschaton, and recasts Israel’s antagonists as birds.
This chapter acknowledges the limitations of a source-critical toolbox when applied to apocalyptic works, especially in light of the genre’s tendency towards repetition and often-limited manuscript bases.
It is therefore proposed that any hypothesis of a literary seam should be tested against the material evidence, before being evaluated for soundness, as will be done in the next chapter.
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