Jesus Triumphant (Chronicles of the Nephilim Book 8)
Page 39
In the south are seven mountains of precious stones arranged in a perpendicular layout. The central mountain burns with fire day and night, and is called the “throne of God,” where God will come down at the final judgment. These elements suggest it is Mount Sinai (1En. 24-25).
In the west are “wintery winds” and the “great darkness,” where another mountain hosts “hollow places” for the souls of all the dead. The righteous are separated from the sinners, much like the chasm separates the righteous in Abraham’s Bosom from the sinners in the parable of Lazarus. (Luke 16:19-26; 1En. 17:6; 22:1-14).
In the east are “great beasts and birds” at the ends of the earth (1En. 33:1). Tartarus is further “beyond the edge of the earth,” where the earth meets to uphold the vault of heaven (1En. 18:10).[137] This is where the angels who sinned in Genesis 6 are kept imprisoned in gloomy darkness (2Pet. 2:4; 1Pet. 3:18-20). They are in deep pits or chasms that are like fiery pillars. (1En. 18:10-16).
There is much more detail that can be quite confusing to follow, so I have included an illustrated map with some of the major elements adapted from Bautch and my own reading of 1Enoch.
Can We Trust This Ancient Cosmology?
The ancient Biblical cosmic picture is a three-tiered universe with God’s throne above the waters of heaven, a solid dome above the flat disc earth, founded on pillars, surrounded by a circular sea, on top of a watery abyss, beneath which is the underworld of Sheol, where souls are trapped in waiting cells for a final judgment.[138]
A natural question arises while examining this ancient cosmology: If the Biblical writers were so “scientifically inaccurate” in their understanding of the universe, then why should we trust what they write about God, the afterlife, and judgment?
Some well-intentioned Evangelicals seek to maintain their particular definition of Biblical inerrancy by denying that the Bible contains this ancient Near Eastern cosmography. They try to explain it away as phenomenal language or poetic license. Phenomenal language is the act of describing what one sees subjectively from one’s perspective without further claiming objective reality. So when the writer says the sun stood still, or that the sun rises and sets within the solid dome of heaven, he is only describing his observation, not cosmic reality. The claim of observation from a personal frame of reference is certainly true as far as it goes. Of course the observer describes what they are observing. But the distinction between appearance and reality is an imposition of our alien modern understanding onto theirs. As Seely explains,
It is precisely because ancient peoples were scientifically naive that they did not distinguish between the appearance of the sky and their scientific concept of the sky. They had no reason to doubt what their eyes told them was true, namely, that the stars above them were fixed in a solid dome and that the sky literally touched the earth at the horizon. So, they equated appearance with reality and concluded that the sky must be a solid physical part of the universe just as much as the earth itself.[139]
If the ancients did not know the earth was a sphere in space, or that there was no underworld beneath their feet, they could not know that their observations of appearances were anything other than reality. It would be easy enough to relegate one or two examples of Scripture to the notion of phenomenal language, but when dozens of those phenomenal descriptions reflect the same complex integrated picture of the universe that Israel’s neighbors shared, and when that picture included many elements that were not phenomenally observable, such as the Abyss, Sheol, or the pillars of earth and heaven, it strains credulity to suggest these were merely phenomenal descriptions intentionally unrelated to reality. If it walks a like an ancient Near Eastern duck and talks like an ancient Near Eastern duck, then chances are they thought it was an ancient Near Eastern duck, not just the “appearance” of one having no reality.
It would be a mistake to claim that there is a single monolithic ancient Near Eastern cosmography.[140] There are varieties of stories with overlapping imagery, and some contradictory notions. But there are certainly enough commonalities to affirm a generic yet mysterious picture of the universe. And that picture in Scripture undeniably includes poetic language. The Hebrew culture was imaginative. They integrated poetry into everything, including their observational descriptions of nature. Thus a hymn of creation such as Psalm 19 tells of the heavens declaring God’s glory as if using speech, and then describes the operations of the sun in terms of a bridegroom in his chamber or a man running a race. Creative imagination is inescapable and ubiquitous.
And herein lies a potential solution for the dilemma of the scientific inaccuracy of the ancient cosmic geography in Scripture: The Israelite culture, being pre-scientific, thought more in terms of function and purpose than material structure. Even if their picture of the heavens and earth as a three-tiered geocentric cosmology, was scientifically “false” from our modern perspective, it nevertheless still accurately describes the teleological purpose and meaning of creation that they were intending to communicate.
Though there is no literal underworld beneath the earth with rivers of fire and souls trapped in mountains waiting for the judgment, it still communicates the truth, transcendent of that ancient culture yet revealed through it, that those who have died await a future resurrection and judgment before the living God. Jesus’ descent into that imagined underworld is a theological narrative explaining the transcendent truth that his death and resurrection paid the price for the sins of his people, and secured his victory over the spiritual powers who rule mankind, and from whom Christ has taken back his inheritance of the earth. Our modern worldview obsessed as it is with empirical science and human reason is so blinded to its own ignorance of transcendent reality and stunted imagination, that it amounts to idolatry, the limited, fallible human mind and senses as god.
Othmar Keel, one of the leading scholars on Ancient Near Eastern art has argued that even though modern depictions of the ancient worldview like the illustration of the three-tiered universe above are helpful, they are fundamentally flawed because they depict a “profane, lifeless, virtually closed mechanical system,” which reflects our own modern bias. To the ancient Near East “rather, the world was an entity open at every side. The powers which determine the world are of more interest to the ancient Near East than the structure of the cosmic system. A wide variety of diverse, uncoordinated notions regarding the cosmic structure were advanced from various points of departure.”[141]
John Walton has written recently of this ANE concern with powers over structure in direct relation to the creation story of Genesis. He argues that in the ancient world existence was understood more in terms of function within a god-created purposeful order than in terms of material status within a natural physical structure.[142] This is not to say that the physical world was denied or ignored, but rather that the priority and interests were different from our own. We should therefore be careful in judging their purpose-driven cosmography too strictly in light of our own material-driven cosmography. And in this sense, modern material descriptions of reality are more “false” than ancient pictures because they do not include the immaterial aspect of reality: Meaning and purpose.
But even more basic than that, human observation of the universe is always changing, from Newtonian physics to Quantum physics to String Theory. That change is less a change of more precise instrumentation than it is a change of ideas. What we think we see is more affected by our philosophical presuppositions (and theories) than empirical scientists are willing to admit.
Biblical writers did not teach their cosmography as scientific doctrine revealed by God about the way the physical universe was materially structured, they assumed the popular cosmography to teach their doctrine about God’s purposes and meaning. To critique the cosmic model carrying the message is to miss the meaning altogether, which is the message. God’s throne may not be physically above us in waters held back by a solid firmament, but he truly does rule “over” us and is king and sustainer of creation in whateve
r model man uses to depict that creation. The phrase “every created thing which is in heaven and on the earth and under the earth” (Rev. 5:13) is equivalent in meaning to the modern concept of every particle and wave in every dimension of the Big Bang space-time continuum, as well as every person dead or alive.
The geocentric picture in Scripture is a depiction through man’s ancient perspective of God’s purpose and humankind’s significance. For a modern heliocentrist to attack that picture as falsifying the theology would be cultural imperialism. Reducing significance to physical location is simply a prejudice of material priority over spiritual purpose.
One of the humorous ironies of this debate is that if the history of science is any judge, a thousand years from now, scientists will no doubt consider our current paradigm with which we judge the ancients to be itself fatally flawed. This is not to reduce reality to relativism, but rather to illustrate that all claims of empirical knowledge contain an inescapable element of human fallibility and finitude. A proper response should be a bit more humility and a bit less hubris regarding the use of our own scientific models as standards in judging theological meaning or purpose.
For additional Biblical, historical and mythical research related to this novel, go to www.ChroniclesoftheNephilim.com under the menu listing, “Scholarly Research” or Click Here.
About the Author
Brian Godawa is the screenwriter for the award-winning feature film, To End All Wars, starring Kiefer Sutherland. It was awarded the Commander in Chief Medal of Service, Honor and Pride by the Veterans of Foreign Wars, won the first Heartland Film Festival by storm, and showcased the Cannes Film Festival Cinema for Peace.
He also co-wrote Alleged, starring Brian Dennehy as Clarence Darrow and Fred Thompson as William Jennings Bryan. He previously adapted to film the best-selling supernatural thriller novel The Visitation by author Frank Peretti for Ralph Winter (X-Men, Wolverine), and wrote and directed Wall of Separation, a PBS documentary, and Lines That Divide, a documentary on stem cell research.
Mr. Godawa’s scripts have won multiple awards in respected screenplay competitions, and his articles on movies and philosophy have been published around the world. He has traveled around the United States teaching on movies, worldviews, and culture to colleges, churches and community groups.
His book, Hollywood Worldviews: Watching Films with Wisdom and Discernment has been released in a revised edition from InterVarsity Press. His book Word Pictures: Knowing God Through Story and Imagination (IVP) addresses the power of image and story in the pages of the Bible to transform the Christian life.
Find out more about his other books, lecture tapes and dvds for sale at his website www.godawa.com.
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BOOKS BY BRIAN GODAWA
When Giants Were Upon the Earth: The Watchers, Nephilim, and the Biblical Cosmic War of the Seed
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The Appendices of the Chronicles of the Nephilim Together in One Book.
The bestselling Biblical fantasy novel series Chronicles of the Nephilim has opened a door for Christian imagination and theology like none other. But many have appreciated the appendices of each novel as much as the novels. In those appendices, author Brian Godawa shares the Biblical and ancient historical and mythical research that undergirds the fiction. Now all those appendices have been placed together in one book for those who want serious study of the topics of the Watchers, Nephilim, and the Biblical Cosmic War of the Seed.
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7) Gilgamesh and the Bible (from Gilgamesh Immortal)
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Hollywood Worldviews: Watching Films with Wisdom and Discernment
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With the sensibilities of an award-winning Hollywood screenwriter and the sensitivities of a thoughtful Christian, Brian Godawa guides us through the place of redemption in film, the "tricks of the trade" that screenwriters use to communicate their worldview through their stories, and the mental and spiritual discipline required for watching movies. Hollywood Worldviews helps us enter a dialogue with Hollywood that leads to a happier ending, one that keeps us aware of our culture and awake to our faith.
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In his refreshing and challenging book, Godawa helps you break free from the spiritual suffocation of heady faith. Without negating the importance of reason and doctrine, Godawa challenges you to move from understanding the Bible “literally” to “literarily” by exploring the poetry, parables and metaphors found in God's Word. Weaving historical insight, pop culture and personal narrative throughout, Godawa reveals the importance God places on imagination and creativity in the Scriptures, and provides a Biblical foundation for Christians to pursue image, beauty, wonder and mystery in t
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Word Pictures
Myth Became Fact: Storytelling, Imagination & Apologetics in the Bible
By Brian Godawa
A collection of essays by Brian Godawa about storytelling, imagination, apologetics and the Bible. Some of them have appeared in the novel series, Chronicles of the Nephilim and some have been published in various magazines or journals.
The Christian reader will gain inspiration from these insights to use more imagination in their own approach to defending the faith and glorifying God.