Валерия Косякова – Apocalyptic Concepts in the Middle Ages (страница 4)
Isaiah also first introduces the image of the messiah as an ideal king, fulfilling an eschatological mission on earth, bringing about a wise kingdom of justice: "...
The last prophetic book, standing in a row of early monuments and replete with new eschatological images, is the Book of Joel, probably written between the two campaigns of Nebuchadnezzar against Jerusalem, in 600 BC. 8The book begins with a description of a natural disaster, albeit spontaneous, but widespread - a plague of locusts, but as the narrative progresses, the drama intensifies, unfolding into a tragedy of eschatological proportions: "
By the sixth century BC, the main motifs of Abrahamic eschatologies had taken shape: ideas of sin and redemption, images of universal catastrophes and disasters, a premonition of the day of God's wrath, the coming of the Messiah, the Last Judgment, and a future earthly paradise.
Apocalyptic sentiments peaked during the tragic period of the destruction of the Jerusalem Temple and the captivity of the Jews by Nebuchadnezzar. Jeremiah's prophecies foreshadowed the future deliverance of the Jewish people and the judgment of enemy nations, and the promise of a new covenant subsequently played a fundamental role in the development of Christianity (Jeremiah 31–34).
The period of the Babylonian captivity also includes the prophecy of a captive priest who, at the end of the sixth century BCE, wrote one of the most mysterious images of Scripture—the book of Ezekiel. The eschatological scenes he described are distinguished by impressive imagery and mystical details, such as a vision of the resurrection of the dead: "
Ezekiel develops the theme of eschatological war through the invasion of Gog and Magog—the forces of evil embodied in a universal catastrophe (Ezekiel 38). In European culture, Gog and Magog became bywords for discord and disaster, influencing the visual art of the Middle Ages. In the paintings of Hieronymus Bosch, the legend of the enemy people takes on a visual equivalent, and in Russian icons, the depiction of the dog-headed peoples testifies to an apocalyptic war, the ideas of which were embodied in Ivan the Terrible's Oprichnina.
After the sixth century BCE, the themes developed by the preceding prophets were echoed and developed in the books of Haggai, Zechariah, and Malachi. The latter added a new detail: God sent the prophet Elijah to earth with the mission of preparing the people for the Last Judgment (Malachi 4:5–6).
Eschatological imagery multiplied and was enriched in preaching. After the conquests of Alexander the Great, the influence of Greek culture extended far beyond the borders of the ancient city-states: the Hellenistic era introduced new literary forms for Jewish prophecies. A book written in the pseudepigraphic genre, attributed to the legendary ancient sage mentioned in Ezekiel, is the Book of Daniel ( second century BC, during the persecution of Antiochus ). Its classical influence is clearly evident: historical figures are encoded in symbolic images. For example, the nations that harmed Israel are described as apocalyptic beasts: the last beast (the Macedonian empire) has 10 horns, signifying the kingdoms of Alexander the Great's successors (10 being the number of the most important Diadochi—commanders and rulers after Alexander). The "Son of Man" is allegorically depicted as the Jewish people, and the Archangel Michael assumes the role of a formidable messiah. The resurrection of the dead itself becomes possible after the final battle between good and evil—during which evil will be fully revealed, a necessary condition for the ultimate victory of good. Furthermore, during the Hellenistic period, apocrypha were written that were not canonized by either Jewish or Christian tradition. They were read and copied, understood and interpreted: “The Testament of the Twelve Patriarchs” ( 1st century BC), “The Ascension of Moses” (presumably 1st century AD), “The Books of the Sibyls” (2nd century BC – 4th century AD), the most important of the apocrypha – “The Book of Enoch” (influenced early Christian literature, its vivid imagery describes the Last Judgment, at which the angels who rebelled and fell away from God will also be judged and punished – an idea subsequently developed in medieval literature ; presumably 3rd – 1st centuries BC).
The rapid development of apocalyptic literature in Jewish circles is linked to a number of cultural and historical events: the persecution of Jews by the Seleucids, Roman expansion, the Maccabean revolt, the Bar Kokhba revolt, and, most importantly, the destruction of the most sacred site—the Temple in Jerusalem. This era brought to the forefront of global attention not just new images and disasters, but also new heroes and the Christian religion.
The Apocalypse of Christ
The messianic preaching of Jesus of Nazareth dates back to the 20th–30th centuries CE, in which eschatology occupied a crucial place. Jesus is undoubtedly presented as an apocalyptic prophet, proclaiming the end of the world, repentance before the apocalyptic battle, and salvation by faith.
Christ's eschatological preaching, initially transmitted as an oral tradition, was recorded in the Gospels by the end of the first century. It's likely that many of Christ's sayings in the first century were perceived as prophecies about the end of the world: "
In the words of Christ on the eve of his arrest, inspired by the books of the prophets Zechariah, Daniel, Isaiah, and Ezekiel, an apocalyptic scenario emerges. This speech is presented in the Gospel of Mark and with variations in Matthew and Luke: “