An Examination of the Punishment Motif in the Book of the Watchers 10:4–8 in Light of Greek Myths

The Book of the Watchers (1 Enoch 1–38; BW) describes a series of punishments that God renders against Asael (10:4–8). Several scholars have tried to identify possible traditions that stand behind these punishments in light of Jewish and Greek literatures. However, Henryk Drawnel recently challenges such attempts, positing a Mesopotamian background. Although Drawnel has shown that interacting with Mesopotamian literatures has something to offer in grasping a fuller understanding of the mentioned passage, this article argues that Greek literatures are still valuable sources, potentially shedding further light on the design of the punishment motifs in BW. In order to demonstrate this supposition, I interact with the myths of Prometheus, Tantalus, and Teiresias. Ultimately, I suggest that scholars should be open to the possibility that various traditions, rather than a single tradition, stand behind the punitive descriptions in BW 10:4–8.

Making Sense of the Optical Punishment of the Watchers in Light of Ancient Ocular Theories

The Book of the Watchers (i.e., 1 Enoch 1–36) contains several punishments for the fallen Watchers’ crimes. Interestingly, one of the penalties is optical in nature – God forces the Watchers to observe the eradication of their beloved offspring (10:12; 12:6; 14:6). However, the text itself does not explain why God chose to inflict this form of penalty. The present article seeks to provide a satisfactory explanation in light of the ocular theories contemporaneous with the mentioned literature. This undertaking reveals that the Watchers’ particular offense – voyeurism (6:2) – is critical to understanding their optical sentence because the deities often employed visual penalties to punish improper amorous gazing. In this regard, the Book of the Watchers demonstrates a talionic correspondence between the Watchers’ voyeurism and God’s response to it. Ultimately, the ocular penalty depicts God as the righteous judge who renders fitting retributions to the criminal.

Painting 1 Enoch: Biblical Interpretation, Theology, and Artistic Practice

This article inaugurates a new approach to biblical interpretation that involves close collaboration on a particular text between a biblical interpreter (Philip Esler) and a practicing artist (Angus Pryor), culminating in the production of works of art that generate a new understanding of the text in question. This approach reflects the recent scholarly interest in how artists who paint biblical scenes are active interpreters of biblical texts. Here the text selected is 1 Enoch, while the artworks in question are four 2 x 2 meter paintings, in oil on canvas, that depict pivotal scenes from that text. The collaboration draws on Ethiopian tradition reflecting the scriptural status and widespread influence of 1 Enoch in Ethiopia and the fact that the complete text of the work was only preserved there until its rediscovery in modern times. The interpretative process includes a focus on the original meaning of 1 Enoch, which then influences the creation of artworks laden with theological meaning. This approach is equally available to interpreters more interested in the contemporary (rather than the historical) meaning of other biblical and extra-biblical texts where the connection with national traditions, if present, may be quite different.