Month: July 2018

Below, an abridged translation from the third volume of
Karlheinz Deschner’s Kriminalgeschichte des Christentums.

 
The Jewish apocalyptic
The apocalyptic genre (from the Greek apokálypsis) plays an important role, a kind of transitional role from the Old to the New Testament, especially in the epoch that goes from the 3rd century BC to the 2nd century AD.
In the apocalyptic genre one can see a kind of Jewish eschatology, so to speak, an unofficial eschatology which extends to the cosmic: beyond the official national eschatology of the rabbis. Unlike the latter, the apocalyptic literature was universalistic. It encompassed Earth, heaven and hell. However, their followers carried rather an existence of secret meetings, similar to what happens today in many sects and their relations with the churches.
As stated above, the research sees in these writings a ‘link’ between the Old and New Testaments and assigns the apocalyptic genre an intermediate period between the two. This is all the more logical because the apocalyptic authors—Jews whose exact origin (Essenes, Pharisees) is difficult to establish—are falsifiers: people who did not write under their own names but with pseudonyms; who attribute their revelations of a primordial time, from the last hour, from the beyond, its mysterious manifestations of the future, of dreams, states of ecstasy (sometimes to heaven as, among others, Enoch and also the Christian apocalyptic writer John of Patmos) to ‘visions’ while the prophets are generally based on ‘auditions’. Often, the enlightened ones who have to illuminate us are accompanied by a revealing intermediary, an angelus interpres (exegete angel) who explains to the author what happened and, of course, to us.
Typical of this sort of prayer-ridden counterfeits is their dualistic concept of the world, deeply influenced by Iranian ideas, and their theory of the two eons, one temporary and the other eternal. Typical is that the seen events are about the end of times and the ‘pains of the Messiah’ are described as imminent. All this goes from horrible human and cosmic catastrophes (women stop giving birth, the earth becomes sterile, stars collide) to the Last Judgment and a messianic splendour painted full of fantasy. Of course, the sufferings of the wicked are included, which provided a strong consolation to the righteous, together with imperious warnings of penance and conversion.
The expectation of the proximity of the end is just as typical as the hope in the hereafter and there is determinism, since ‘God has everything planned’ (4 Ezra 6): the beginning and the end. ‘This world has been created by the Highest for many, but the future only for a few’ (4 Ezra 8, 1): a novel manifestation of his Summa Misericordiae (the sum of His mercy). It is also characteristic of these intermediate testamentaries that they introduce many mysterious figures (animals, clouds, mountains) and a complicated numerical symbolism: a religious coryphaeus of earlier times in the form of Adam, Enoch, Abraham, Ezra, Moses, Isaiah, Elijah, Daniel. Theirs is an occult writing known only by a group of the elect, but now God wants to spread it.
The imposters often represent their visions of history as prophecies, in future form. Naturally, writing generally many centuries after the events and having placed their omens on their lips, they predict everything with great precision.
Their readers are amazed. So predisposed, they believe everything that they prophesied for a distant future about the horrors of the end and its magnificence. This pia fraus (loving fraud), this ‘representation of history as a vaticinium ex eventu’ (Vielhauer), has distant Old Testament parallelisms in the Pentateuch itself (Gen 49, Num 23 et seq., Deut 33) but its authentic model is, perhaps, in the oracle sibylline literature of the Hellenistic-Roman era.
In addition to the biblical falsification of the book of Daniel that we have already seen, there is also the book of Baruch [left: Gustave Doré’s illustration], presumably written by Baruch ben Neriah: the scribe, companion and friend of the prophet Jeremiah.
‘Baruch’, who appears as a messenger of God and experiences a multitude of visions, claims to have written his own book in Babylon, after the destruction of Jerusalem. He also says he knows and means much more than the prophets; and still in 1931 the Lexikonfür Theologie und Kirche did not ‘see any reason to doubt the authorship of Baruch’.
Today there are very few who claim the authenticity for this work of the Old Testament (as well as the book of ‘Daniel’) insofar as it was written half a millennium after Baruch: the first part perhaps in the 1st century BC (the farthest moment), the second part probably in the middle of the 1st century AD.
The forgeries almost always emerged as an internal necessity of the apocalyptic genre. They were widely used by the Christians and became typical of them. The easy way was simply to believe in the ‘works’ of ancient authorities—those of the twelve patriarchs; Daniel and Enoch, whose authenticity already Origen doubted, as well as the ‘works’ of Abraham, Moses, Isaiah and Ezra; in total a list of twenty names—, as their ‘prophecies’ and ‘revelations’ were being ‘fulfilled’.

______ 卐 ______

Liked it? Take a second to support this site.

Below, an abridged translation from the third volume of
Karlheinz Deschner’s Kriminalgeschichte des Christentums.

 
Other forgeries in the Old Testament
Something analogous to the Pentateuch can be said about what the Holy Scriptures endorse regarding David and his son Solomon. Both had to live, reign and write around the year 1,000, but their alleged works are usually several more recent centuries.
The Jewish and Christian tradition of the Bible attributes to King David the entire Psalter and the book of Psalms, in total 150 psalms. In all likelihood, not a single one comes from him. However, according to the Bible, David has written them.
Under the slogan of ‘David as a singer’, the treatise Sachkunde zur Biblischen Geschichte (Expertise on Biblical History) describes in a relatively neat way the ‘harp player’ of that time. This implies real authorship in equal measure to M.A. Beek’s claim that tradition, which introduces David into history as a poet of psalms, has ‘surely a historical background’. But Beek said a few lines before that ‘outside of the Bible we do not know any text that sheds light on the reign of David or that merely cites his name’. This reminds us of Beek’s historical Moses! Of David, he says: ‘David played a stringed instrument that could be called more a lyre than a harp. The illustration of such a lyre appears in a container manufactured around 1000 BC’. If around the year 1000 there was a lyre that could be represented, why could not David have it, play it and also—among his raids, slaughters and actions related to the cutting of foreskins and roasting in ovens—have written the biblical book? The conclusion seems almost obligatory, especially since David really appears in the Old Testament as a poet and musician, specifically in the two books of his contemporary, the prophet and judge Samuel, an eyewitness and at the same time an auricular witness.
Anyway, as the research points out, the books ‘of Samuel’ appeared from a hundred to four hundred years after the death of Samuel, just as many of the ‘David’ psalms did not appear until the time of the second temple (after 516 BC): more than half a millennium after the death of David! The collected psalms had been constantly edited and elaborated. The selection of compilations may have lasted until the 2nd century BC. It is not excluded that incorporations were still made in the 1st century after Christ. Curiously, a radically different interpretation of the celestial chords of the royal court around the year 1000 BC is considered three thousand years later, and not without a solid base in the biblical text, by German poets such as Rilke and company who said that it is nothing but sexualisation. One of these poets unabashedly states that it was David’s ‘butt’, rather than his music, that ‘relieved’ King Saul.
Just as David, the ‘bloodthirsty dog’ became the ‘kind psalmist’, his son (begotten by Bathsheba, whose husband David had killed), the ‘wise king Solomon’ has become famous as the creator of religious songs. But it is totally unprovable if Solomon ever developed literary activity.
(Note of the editor: As in all art that Christian painters have produced throughout the centuries, in this engraving of Judgement of Solomon by Gustave Doré the characters have been completely Aryanised. If machines to see the past could be invented, white nationalists would be shocked to see the Semitic physiognomy of the main characters of the Bible, if they even existed.)
 
What is certain, on the contrary, is that by means of a coup d’état, allied with his mother, the priest Zadok, the prophet Nathan and the general Benaiah, Solomon seized the throne; that he executed part of his adversaries, banished others; that he demanded from his subjects very high taxes and forced provision of work, which led to a growing dissatisfaction and a general decline while, according to the Bible, it was to satisfy 700 principal wives and 300 concubines. This scenario does not allow us to deduce precisely a great literary production. But the Sacred Scriptures award him three books: Book of Proverbs, the Ecclesiastes and the Song of Songs. ‘I believe that for the most part, this is a premeditated deception and that it was also in its day’ (S.B. Frost).
The author of Solomon’s Ecclesiastes (in Hebrew Kohelet) expressly claims that the book is ‘the words of the preacher, the son of David, the king of Jerusalem’. It used to be generally considered that Solomon was its author and for that reason alone the work became part of the Bible. But the real author is not known, nor his name, nor when he lived. The truth is only that, as H. Grotius first put it clearly in 1644, Solomon did not write it, to whom the first verse intends to attribute.
By language, spirit, and reticence it seems more like a work that emerged in the 3rd century BC, from the Stoic and epicurean philosophy: the influences of the environment and the Hellenistic period. There is no other book of the Bible that is so non-conformist, so fatalistic; that invokes so insistently the vanity of the earth: ‘vanity of vanities and all is vanity’; wealth, wisdom, everything ‘under the Sun’, a book that never ceases to lament the brevity of life and disappointments, in which God himself stands hazy on his throne in the distance. It is therefore not strange that several times it has been modified, or that its canonicity was not definitively established until 96 AD.
An impressive Jewish fabrication, in any case, is the Song of Songs, which knows no resurrection and in whose last verses I always feel (uselessly) alluded: ‘And above all, my son, beware then, in the make books there is no end and much study exhaust the body’. Ergo: ‘Enjoy life with your wife, whom you love, because with the dead towards whom you go there is neither thought nor knowledge’.
Let no one say that there is nothing worth reading in the Bible!
After the writing of the books of the kings, ‘Solomon’ also wrote three thousand sentences and one thousand five—according to other sources five thousand—songs: of the trees, from the cedar of Lebanon to the hyssop that grows from the wall. He also wrote of the animals of the earth, of the birds, of the worms and of the fish. The book of Proverbs was attributed to Solomon for a long time. Chapters 1 to 9 are now included in the Bible. But in reality, the structure of the book betrays various authors who wrote it in different times: chapters 1 to 9, for example, were written after the 5th century. In total, the appearance of sentences extends throughout the entire Old Testament era, and the final compilation may have been produced around 200 BC.
Also, the Wisdom of Solomon, admired by the early Christians, was considered his work, especially because the author is expressly named Solomon and chosen as king of the people of God. It was considered a prophetic and inspired book. Clement of Alexandria, Origen, Tertullian and St. Hippolytus attest to its canonicity, as does St. Cyprian who cites him repeatedly as Holy Scripture. Most old exegetes believe it. And although a man like Jerome was more critical he continued to admit it as official reading. At any event, the book continues in the Bible of the Papal Church.
But in reality the Wisdom of Solomon is almost a millennium more recent than Solomon, the original language of the forgery was classical Greek; the author—many critics admit two—lived in Egypt, probably in the Hellenistic city of the wise, Alexandria, and wrote his work, which puts on the lips of the (presumably) wisest of the Israelites, in the 1st century before or after Christ.
The influence of this forgery has been enormous.

______ 卐 ______

Liked it? Take a second to support this site.