The Book Of Lamech Of Cain

There are 2 different Books of Lamech available to Bible scholars. THE BOOK OF LAMECH OF CAIN has been hard to find until recently. Presented in novella form, Father Ichabod Sergeant and his translation team have been cleared by the Vatican to publish this antediluvian document. Written before the flood of Noah, THE BOOK OF LAMECH OF CAIN follows the antediluvian bloodline of Cain and presents answers to questions that have puzzled biblical scholars (such as the Mark of Cain, the Song of the Sword, and the history of Noah's wife, Naamah) for thousands of years. Editor, DEMMON has once again brought forward the dark and the ancient, as he did with Father Esau Martin with THE LOST BOOK OF KING OG

For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: And the Lord set a mark upon Cain, that whosoever found him should not kill him. What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: He caused the orb of the sun to shine on his account. Said R. Nehemiah to him: For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him.... Rab said: He gave him a dog. Abba Jose said: He made a horn grow out of him. Rab said: He made him an example to murderers. R. Hanin said: He made him an example to penitents. R. Levi said in the name of R. Simeon b. Lakish: He suspended judgment until the flood came and swept him away. After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: A Mark on Cain's Body, A Movement of Cain's Body, and A Blemish Associated with Cain's Body. Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: Oh father, you have killed something that resembles a man except it has a horn on its forehead!); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on Intentionally Distorted Interpretations of Cain's Mark and Cain's Mark and the Jews bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.

Collected and Translated by Montague Rhodes James. There are many ancient, lost books relating to the Bible and this work covers the ones that are most hard to find, dating between 100 BCE and 100 CE. In many cases we do not have the full works, but have various sections and fragments. The author, Montague James, used quotations found mostly in the works of the Greek Ante-Nicene Fathers like Origen, Hippolytus and Clement of Alexandria to piece together what we are missing. He also uses important lists compiled from Greek, Latin and other languages in order to reveal what we know of other missing books that would, in some cases, otherwise be unheard of. This important piece of scholarship should be part of anyone's library who is seriously researching lost and ancient texts.

These are the only writings of KING OG the Rephaim. The Rephaim being a Biblical race of Giants that Moses eventually had to eradicate in Numbers 21 of the Bible. Originally transcribed during a several hundred year swath in and around 1400 BCE, THE LOST BOOK OF KING OG is a controversial, heretical tome that reads like the Bible. In fact, it has been heavily speculated that the original architects of the Bible were on intimate terms with THE LOST BOOK OF KING OG, which explains instances of similarity in metaphor and verbiage. Previously, the only way to look into this particular pre-Biblical flood, Rephaim/Nephilim world of Giants was through THE BOOK OF ENOCH and other DEAD SEA SCROLLS. Author DEMMON has brought forward a previously lost, heretical book that features the only Aramaic to English translation of the remaining mostly-complete copy of THE BOOK OF KING OG the Rephaim. While not entirely complete, THE LOST BOOK OF KING OG offers the greatest comprehension yet of the antediluvian (PRE-FLOOD) and postdiluvian world, from the eyes and ears of the Rephaim. The Catholic suppression of this text has always been due to the fact that THE BOOK OF KING OG is a pagan book. The pagan/blasphemous aspects of the tome (a championing of the uncircumcised for example) make its "burial" by the Catholic Church completely logical. Soaked in Baal worship and child-sacrifice, it is no wonder that the book had been silenced. The Catholic argument that the decision to rid the earth of the text was "God-inspired," is in fact, spiritually sound. With Constantine's systematic destruction of non-Christian texts in and around 326 CE, and the following Gelasian Decree of the 5th century CE, knowledge and/or reproduction of Og's verses was rendered impossible. In fact, the Catholic Church originally posted the following words of anathema in regards to THE BOOK OF KING OG and other forbidden texts: "... and whatever disciples of heresy and of the heretics or schismatics, whose names we have scarcely preserved, have taught or compiled, we declare to be not merely rejected but excluded from the whole Roman catholic and apostolic church, and its authors and their adherents to be damned in the inextricable shackles of anathema for ever [sic]." THE BOOK OF KING OG is referenced by association throughout (relatively) recent history, perhaps most notably in the NEW HISTORY OF ECCLESIASTICAL WRITERS published in 1693. In this reference book, the BOOK OF KING OG is described as, "Forged by Jews and Hereticks both Fabulous and Erroneous." Written closely with Vatican translator FATHER MARTIN, THE LOST BOOK OF KING OG serves as a warning, a prophecy and an explanation as to why the Rephaim and Nephilim Giants no longer walk the face of the earth. The recent uncovering of the CASSIODORUS DONATION of 550 CE to the Catholic Church has revealed the most intact, albeit horribly preserved, copy of The BOOK OF KING OG yet. The CASSIODORUS text was used as the primary source material FATHER MARTIN used for his translation THE LOST BOOK OF KING OG. Providing information on a modern, unspeakable evil, THE LOST BOOK OF KING OG will make all who read it consider their religious beliefs and their conclusions about the giants of antiquity.

A “winkingly blasphemous retelling of the Old Testament” by the Nobel Prize-winning author of The Gospel According the Jesus Christ (The New Yorker). In José Saramago final novel, he daringly reimagines the characters and narratives of the Old Testament. Placing the despised murderer Cain in the role of protagonist, this epic tale ranges from the Garden of Eden, when God realizes he has forgotten to give Adam and Eve the gift of speech, to the moment when Noah’s Ark lands on the dry peak of Ararat. Condemned to wander forever after he kills his brother Abel, Cain makes his way through the world in the company of a personable donkey. He is a witness to and participant in the stories of Isaac and Abraham, the destruction of the Tower of Babel, Moses and the golden calf, and the trials of Job. Again and again, Cain encounters a God whose actions seem callous, cruel, and unjust. He confronts Him, he argues with Him. “And one thing we know for certain,” Saramago writes, “is that they continued to argue and are arguing still.” "Cain's vagabond journey builds to a stunning climax that, like the book itself, is a fitting capstone to a remarkable career."—Publishers Weekly, starred review This ebook includes a sample chapter of Jose Saramago’s Blindness.

THE KING OF BABYLON, POSSESSED IN A FOREST- In 631 BC, Ashurbanipal, the ancient king of Assyria and thereby king of the ancient world, died. - Ashurbanipal's kingdom fell to warring factions shortly after his death. - The town with the very first library in history, Nineveh, was sacked in 612 BC and razed to the ground. King Cyaxares of the Medes did most of the sacking while waiting for his ally, King Nabopolassar, the Chaldean King of Babylon, to assist in warfare. When King Nabopolassar and his armies arrived on the battlefield, the recently murdered King Sinsharishkun's palace was smoldering in the center of the burning city of Nineveh. Right then and there, King Cyaxares and King Nabopolassar pledged their loyalty to each other. They sealed this treaty by pledging their children in marriage. Nebuchadnezzar II, the son of Nabopolassar then married Amytis, Cyaxares' illegitimate daughter. The end of the battle with Assyria and the beginning of the marriage of Nebuchadnezzar and Amytis is the era where these translated tablets take place. What the Tablets have to say about King Nebuchadnezzar II and his bout with madness not only coincides with the Biblical tale, but adds insight, for King Nebuchadnezzar II was a devout servant of the god MARDUK.What is contained in these pages is not only horrifying, but groundbreaking. There are details in this book that shine a new, secular light on many stories we have heard before from a Biblical perspective.The translation duties required of me to make this book available to you have taxed me in ways that I didn't know were possible.Humbly Yours, Father Umberto Cliff, April/2020 - Edinburg

For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: "And the Lord set a mark upon Cain, that whosoever found him should not kill him." What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: "He caused the orb of the sun to shine on his account." Said R. Nehemiah to him: "For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him...." Rab said: "He gave him a dog." Abba Jose said: "He made a horn grow out of him." Rab said: "He made him an example to murderers." R. Hanin said: "He made him an example to penitents." R. Levi said in the name of R. Simeon b. Lakish: "He suspended judgment until the flood came and swept him away." After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: "A Mark on Cain's Body," "A Movement of Cain's Body," and "A Blemish Associated with Cain's Body." Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - "Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold" - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: "Oh father, you have killed something that resembles a man except it has a horn on its forehead!"); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on "Intentionally Distorted Interpretations of Cain's Mark" and "Cain's Mark and the Jews" bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.

interpretation of stone tablets - the Language Tablet