By R. Barbara Gitenstein
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Extra resources for Apocalyptic messianism and contemporary Jewish-American poetry
17 Apocalyptic, then, explains God's hand in history. According to Mr. Frost, the apocalyptic protests;18 it protests against the political, social, moral, and spiritual situation of being in exile. Clearly identified with the loss of place, the loss of power, and the loss of self-determination for the Jewish people, the apocalyptic speaks for an exile group threatened by the powerful and irrational forces of the material world, but it speaks in a highly symbolic fashion that can be understood only by the initiates, even as it reveals the secrets of the universe, God, and their own mission.
Its melting pot theory, so precious to the majority in American culture, as expressed by someone Page 4 inspired to admit her Jewishness by a Christian novel, was a most appropriate inscription for that French gift, Miss Liberty, that stands in the New York harbor. The early poetry is highly conventional and only belatedly Jewish. The poets of the second major historical era, the Modernists and Experimentalists, were quite scholarly and intellectual, and, for the most part, seekers for the universal in art.
And his kingdom that which shall not be destroyed. 30 This passage presents the Jewish relationship of God to a clearly human Messiah. All powers, direct gifts of God, are eternal and indestructible. In the later passage, Know therefore and discern, that from the going forth of the word to restore and to build Jerusalem unto one anointed, a prince, shall be seven weeks; and for threescore and two weeks, it shall be built again, with broad place and moat, but in troublous times. And after the threescore and two weeks shall an anointed one be cut off, and be no more; and the people of a prince that shall come shall destroy the city and the sanctuary; but his end shall be with a flood; and unto the end of the war desolations are determined.