Books with author Charles H. Caffin

The Book of Jubilees, sometimes called Lesser Genesis (Leptogenesis), is an ancient Jewish religious work of 50 chapters, considered canonical by the Ethiopian Orthodox Church as well as Beta Israel (Ethiopian Jews), where it is known as the Book of Division . Jubilees is considered one of the pseudepigrapha by Protestant, Roman Catholic, and Eastern Orthodox Churches.It was well known to Early Christians, as evidenced by the writings of Epiphanius, Justin Martyr, Origen, Diodorus of Tarsus, Isidore of Alexandria, Isidore of Seville, Eutychius of Alexandria, John Malalas, George Syncellus, and George Kedrenos. The book was the major canonical literature of the ancient Jewish community indicated by the dominance of the number of copies found amongst all that were originally collected the Dead Sea Scrolls. No complete Hebrew, Greek or Latin version is known to have survived.The Book of Jubilees claims to present "the history of the division of the days of the Law, of the events of the years, the year-weeks, and the jubilees of the world" as revealed to Moses (in addition to the Torah or "Instruction") by angels while he was on Mount Sinai for forty days and forty nights. The chronology given in Jubilees is based on multiples of seven; the jubilees are periods of 49 years, seven "year-weeks", into which all of time has been divided.

The Book of Jubileestranslated by R. H. CharlesThe Book of Jubilees, or, as it is sometimes called, The Little Genesis, purports to be a revelation given by God to Moses through the medium of an angel and contains a history, divided up into "jubilee periods" of 49 years, from creation to the coming of Moses. Although the actual narrative of events is only carried down to Moses's birth and early career, its author envisages the events of a later time and in particular certain events of special interest at the time he wrote, which was probably in the latter years of the 2nd century B.C. This work, though containing one or two passages of an apocalyptic character, is quite unlike the typical apocalypses. It is largely based upon the historical narratives in Genesis and Exodus, interspersed with legends and emphasizing certain legal practices (such as the strict observance of the Sabbath, circumcision, etc.). The author's main object is to inculcate a reform in the regulation of the calendar and festivals in place of the lunar calendar, which he condemns. He proposes to substitute a solar calendar consisting of 12 months and containing 364 days. The result of such a system is to make all festivals, except the Day of Atonement, fall on a Sunday--a radical idea for its day. With notes clarifying the translation, this is an important text for students of the origins of Christianity and Essene teachings.

CHAPTER ITHE STORY OF THE NATIONIN 1492 the Catholic Sovereigns, Ferdinand and Isabella, entered Granada in triumph. The last stronghold of Moorish dominion, undermined by the dissensions of Islam, fell before the united Christian kingdoms of Leon, Castile and Aragon. Spain became a united country and, in virtue of her protracted struggle of nearly eight hundred years against the infidel, stood forth as the acknowledged and self-conscious Champion of Catholicism. In the same year Columbus, under the patronage of the Catholic Sovereigns discovered the New World. This date, therefore, presents an epoch that completes the past and forms the starting point of a new era. Intimately associated with the subsequent national development and decline is the story of Spanish painting, but it owes most of its peculiar characteristics to the conditions that preceded the country's complete union.It is always interesting and usually illuminating topicture the historical background out of which the arts of a country have been gradually evolved. But in the case of Spanish painting it is essential. For the art of Spain was, bone and spirit, a part of the Spanish character, shaped and inspired as the latter had been by the racial, historical and geographical conditions out of which it was moulded. Without taking all this into account one cannot understand, much less appreciate sympathetically, the consistently individual character of this school of painting.• • •••••••In the first place one must realise the meaning of the fact that Spain is a mountainous country; not only separated from the rest of Europe, but divided against itself by precipitous barriers. They run in a general way from West to East: abrupt colossal walls of volcanic origin, with a grand sweep of bulk, jagged in sky-line and frequently piled with the chaotic debris of glacial moraines. These are the watersheds of rivers that refuse services to navigation; foaming to flood in the rainy season, shrinking in the drought to sluggish pools amid the rocky bed. They intersect tracts of country that vary from narrow valleys, where cultivation huddles in cherished pockets of soil, to broadly stretching vegas, tablelands and plains, from which by unremitting toil generous harvests may be obtained. Here the vistas are of magnificent extent, circling round one in far reaching sweeps of boldly undulating country, rimmed by nobly designed stretches of smoothly beveled foothills that form advance-posts of the ultimate barrier of the sierras.It is a little country, only three times the size of England, contracted within itself by natural restrictions, yet planned by nature on a big scale; one that affects the imagination, prompting even more than mountainous countries usually have done to independence, individualism and hardihood. It is a country that seems made for fighting; where a handful of resolute men could maintain themselves tenaciously against enormous odds. In the past they did it in actual warfare; to-day in the pacific fight which this hardy population perpetually keeps up against the extremes of climatic conditions. Though for the most part they still use the agricultural implements that Tubal Cain devised, they have inherited from the Roman and Moorish occupation a system of irrigation and of terracing that puts to shame the happy go lucky methods of farming in many countries which consider themselves superiorly enlightened. The necessary preoccupation with their immediate surroundings and the exclusion from outside influence, early made of this people a nation of individualists, realists and conservatives. So inbred did these qualities become that when the Spaniard mixed with the outer world, as he did particularly in his conquest of the Spanish Main and in his wars with Europe, it was but to become more fixed in his conservatism at home. When he borrowed from abroad, as in his art, it was but to shape and color the acquired impression to his...

CHAPTER ITHE END OF THE OLD 'ON the 25th of October, 1555, Charles V abdi-I cated the imperial crown, ceding Spain and the Netherlands to his favorite son, Philip II. The ;vent proved to be the prologue of a drama, which in ts immediate aspects involved the decay of Spain and he growth of Holland, but in its wider significance was o be the beginning of a new era.For the modern world dates from the seventeenth cen-ury, and its pioneers were the Hollanders of that period. Practically everything that we recognize to-day as char-Lcteristic of the modern spirit in politics, religion, sci-ince, society, industry, commerce, and art has its prototype amid that sturdy people; being either the lause or the product of their struggle for independence md their self-development. Nor, in paying honor to the Dutch, need we attempt to suggest that they were the nventors of these characteristics. Most of the latter v^ere, so to say, in the air. In the progress of things theyTHE STORY OF DUTCH PAINTINGhad been evolved. But our debt to the Hollanders is that they attracted them and gave them practical application, and thus set the world upon a definite path of new progress. It is particularly with the newness of their art that we are here concerned, but we will try to study it in its relation to the material and mental environment of the nation itself, of whose newness it was so immediate a product and so manifest an expression.For it is in this way that the art of every country may be studied with most interest and profit. Although there will appear from time to time certain individual artists, whose genius cannot be satisfactorily correlated to its environment, but will indeed, as in the case of Rembrandt's, seem to be actually contradictory to it, yet even they can be more fully comprehended through the very contrast that they offer to the mass of their contemporaries, whose relation to their environment is readily discernible. Apropos of this customary connection between the artist and the spirit of his time, may be quoted that phrase of Richard Wagner's, that all great art is produced in response to a common and collective need on the part of the community. It may serve as an excellent touchstone for testing the quahty of this new Dutch art which we are to study, so let us for a moment examine its face value, leaving the fuller application of its meaning to all the subsequent pages of this book.In Wagner's mind great art, as he conceived it, stood out in clear contrast against a background of less art, of art which is produced in response to some more restricted impulse than that of a conmion and collective need of the people; for example, in catering to the whims of fashion.luch was the major part of the art of France produced 1 the last days before the Revolution. The great mass f the people were too abased by ill rule and exactions to ave any consciousness but that of hunger, any common oUective need but to fill their bellies. The only articu-ite demand to reach the artists was from the ephemeral w'arm of courtiers, sycophants, and, as we should say D-day, "grafters," who buzzed in splendor and profli-acy at court. For a moment the glamour of this life in-pired a great artist, Watteau, who, however, it is to be oted, was a foreigner. What he himself was he owed to •"landers. To him the glamour of the French court was ut a pageant, a spectacle passing before his eyes, leav-ig his heart and conscience untouched. When, however, rtists of French birth, reared in the home environment, ollowed in his steps, they revealed nothing of Watteau's iealistic detachment from the grossness of the theme, ut became purveyors to the shallow profligacy of their latrons. And to this day Van Loo, Boucher, and Fra-:onard have no place with other old masters in the hearts f the people; they are still the favorites of fashion. Nor ras it until the upheaval of the Revolution had precipi-ated the gathering consciousness of a common and ...

Book Description: "The Book of Jubilees, probably written in the 2nd century B.C., is an account of the Biblical history of the world from creation to Moses. It is divided into periods ('Jubilees') of 49 years. For the most part the narrative follows the familiar account in Genesis, but with some additional details such as the names of Adam and Eve's daughters, and an active role for a demonic entity called 'Mastema'. The anonymous author had a preoccupation with calendar reform, and uses Jubilees as a platform for proposing a solar calendar of 364 days and 12 months; this would have been a radical departure from the Jewish Calendar, which is lunar-based. There are also a couple of messianic, apocalyptic passages, although quite a bit less than the Book of Enoch. The only complete version of Jubilees is in Ethiopian, although large fragments in Greek, Latin and Syriac are also known. It is believed that it was originally written in Hebrew. If at times one gets the impression that you are reading a first draft of Genesis, you are in good company. R.H. Charles, the translator, a distinguished academic Biblical scholar, concluded that Jubilees was a version of the Pentateuch, written in Hebrew, parts of which later became incorporated into the earliest Greek version of the Jewish Bible, the Septuagint." (Quote from sacred-texts.com)Table of Contents: Publisher's Preface; Editors' Preface; Introduction; Prologue; God's Revelation To Moses On Mount Sinai; God Commands The Angel To Write (i. 27-29); The Angel Dictates To Moses The PrimÆval History: The Creation Of The World And Institution Of The Sabbath (ii. 1-33; Cf. Gen. I.-ii. 3); Paradise And The Fall (iii. 1-35; Cf. Gen. ii. 4-iii.); Cain And Abel (iv. 1-12; Cf. Gen. iv.); The Patriarchs From Adam To Noah (cf. Gen. V.); Life Of Enoch; Death Of Adam And Gain (iv. 13-33); The Fall Of The Angels And Their Punishment; The Deluge Foretold (v. 1-20; Cf. Gen. vi. 1-12); The Building Of The Ark; The Flood (v. 21-32; Cf. Gen. vi. 13-viii. 19); Noah's Sacrifice; God's Covenant With Him (cf. Gen. viii. 20-ix. 17). Instructions To Moses About Eating Of Blood, The Feast Of Weeks, Etc., And Division Of The Year (vi. 1-38); Noah Offers Sacrifice; The Cursing Of Canaan (cf. Gen. ix. 20-28): Noah's Sons And Grandsons (cf. Gen. X.) And Their Cities. Noah's Admonitions (vii. 1-39); Genealogy Of The Descendants Of Shem: Noah And His Sons Divide The Earth (viii. 1-30; Cf. Gen. X.); Subdivision Of The Three Portions Amongst The Grandchildren: Oath Taken By Noah's Sons (ix. 1-15; Cf. Gen. X. Partly); Noah's Sons Led Astray By Evil Spirits; Noah's Prayer; MastÊmÂ; Death Of Noah (x. 1-17; Cf. Gen. ix. 28); The Tower Of Babel And The Confusion Of Tongues (x. 18-27; Cf. Gen. xi. 1-9); The Children Of Noah Enter Their Districts Canaan Seizes Palestine Wrongfully; Madai Receives Media (x. 28-36); The History Of The Patriarchs From Reu To Abraham (cf. Gen. xi, 20-30); The Corruption Of The Human Race (xi. 1-15); Abram's Knowledge Of God And Wonderful Deeds (xi. 16-24); Abram Seeks To Convert Terah From Idolatry; The Family Of Terah (cf. Gen. xi. 27-30). Abram Burns The Idols. Death Of Haran (cf. Gen. xi. 28) (xii. 1-14); The Family Of Terah In Haran; Abram's Experiences There; His Journey To Canaan (xii. 15-31; Cf. Gen. xi, 31-xii. 3); Abram With Lot In Canaan And Egypt (cf. Gen. xii. 4-20). Abram Separates From Lot (cf. Gen. xiii. 11-18) (xiii. 1-21); The Campaign Of Chedorlaomer (xiii. 22-29; Cf. Gen. xiv.); God's Covenant With Abram (xiv. 1-20; Cf. Gen. xv.); The Birth Of Ishmael (xiv. 21-24; Cf. Gen. xvi. 1-4. 11); The Feast Of First-fruits Circumcision Instituted. The Promise Of Isaac's Birth. Circumcision Ordained For All Israel (xv. 1-34; Cf. Gen. xvii.); Angelic visitation Of Abraham In Hebron; Promise Of Isaac's Birth Repeated. The Destruction Of Sodom And Lot's Deliverance (xvi. 1-9; Cf. Gen. xviii.-xix.); Abraham At Beersheba. Birth And Circum

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The Book of Jubilees, probably written in the 2nd century B.C.E., is an account of the Biblical history of the world from creation to Moses. It is divided into periods ('Jubilees') of 49 years. For the most part the narrative follows the familiar account in Genesis, but with some additional details such as the names of Adam and Eve's daughters, and an active role for a demonic entity called 'Mastema'. The anonymous author had a preoccupation with calendar reform, and uses Jubilees as a platform for proposing a solar calendar of 364 days and 12 months; this would have been a radical departure from the Jewish Calendar, which is lunar-based. There are also a couple of messianic, apocalyptic passages, although quite a bit less than the Book of Enoch. The only complete version of Jubilees is in Ethiopian, although large fragments in Greek, Latin and Syriac are also known. It is believed that it was originally written in Hebrew. If at times one gets the impression that you are reading a first draft of Genesis, you are in good company. R.H. Charles, the translator, a distinguished academic Biblical scholar, concluded that Jubilees was a version of the Pentateuch, written in Hebrew, parts of which later became incorporated into the earliest Greek version of the Jewish Bible, the Septuagint.