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According to Gerhard von Rad, Old Testament scholar, Lutheran theologian and University of Heidelberg professor, who applied form criticism as a supplement to the documentary hypothesis of the Hebrew Bible, the snake in the Eden's narrative was more an expedient to represent the impulse to temptation of mankind (that is, disobeying God's law ...
Constantine felt that Licinius was an agent of Satan, and associated him with the serpent described in the Book of Revelation . [4] After the victory, Constantine commissioned a depiction of himself and his sons slaying Licinius represented as a serpent - a symbolism borrowed from the Christian teachings on the Archangel to whom he attributed ...
Satan instead, fell after tempting Eve in the Garden of Eden. [51] Satan was being used as a proper name in the apocryphal Jewish writings such as the Book of Jubilees 10:11; 23:29; 50:5, the Testament of Job, and The Assumption of Moses which are contemporary to the writing of the New Testament. [52]
The title of satan is also applied to him in the midrash Pirkei De-Rabbi Eliezer, where he is the chief of the fallen angels, [7]: 257–60 and a twelve-winged seraph. [14] According to the text, Samael opposed the creation of Adam and descended to Earth to tempt him into evil.
The rabbis usually interpreted the word satan lacking the article ha-as it is used in the Tanakh as referring strictly to human adversaries. [56] Nonetheless, the word satan has occasionally been metaphorically applied to evil influences, [57] such as the Jewish exegesis of the yetzer hara ("evil inclination") mentioned in Genesis 6:5.
In the biblical Books of Kings (2 Kings 18:4; written c. 550 BC), the Nehushtan (/ n ə ˈ h ʊ ʃ t ə n /; Hebrew: נְחֻשְׁתָּן, romanized: Nəḥuštān [nəħuʃtaːn]) is the bronze image of a serpent on a pole.
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The painting represents the allegorical victory of Christianity over Death (depicted as a skull) and Sin (depicted as a snake). It was formerly thought to have been painted around 1615, but more recent stylistic comparisons with similar Rubens works have indicated that it was more likely to have been painted slightly later, i.e. around 1618.