two different moments within a seamless narrative, two distinct eschatological horizons, one enclosed within the other. In this way of seeing the matter, one set of images marks the furthest limit of the immanent course of history, and the division therein—right at the threshold between this age and the “Age to come” (‘olam ha-ba, in Hebrew)—between those who have surrendered to God’s love and those who have not; and the other set refers to that final horizon of all horizons, “beyond all ages,” where even those who have traveled as far from God as it is possible to go, through every possible
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