He gave Noah and his sons a sign that there would not again be a flood on the earth. He put his bow in the clouds as a sign of the eternal covenant that there would not henceforth be floodwaters on the earth for the purpose of destroying it throughout all the days of the earth.
Jubilees (also known as Lesser Genesis, Leptogenesis, or the Book of Division) is canonical scripture for the Ethiopian Orthodox Tewahedo Church and Eritrean Orthodox Tewahedo Church. The only complete copies of Jubilees are available in Ge’ez (Classical Ethiopic), here used with permission by the Bible Society of Ethiopia.
The Hebrew, Greek, Ge’ez, and Latin that are translated as “covenant” in English are translated in a variety of ways. Here are some (back-) translations:
Natügu: nzesz’tikr drtwr: “oneness of mind” (source: Brenda Boerger in Beerle-Moor / Voinov, p. 164)
Tagalog: tipan: mutual promising on the part of two persons agreeing to do something (also has a romantic touch and denotes something secretive) (source: G. Henry Waterman in The Bible Translator 1960, p. 24ff. )
Tagbanwa: “initiated-agreement” (source: Tagbanwa Back Translation)
Cherokee: “that which is told” (source: Bender / Belt 2025, p. 16)
Guhu-Samane: “The concept [in Mark 14:24 and Matthew 16:28] is not easy, but the ritual freeing of a fruit and nut preserve does afford some reference. Thus, ‘As they were drinking he said to them, ‘On behalf of many this poro provision [poro is the traditional religion] of my blood is released.’ (…) God is here seen as the great benefactor and man the grateful recipient.” (Source: Ernest Richert in The Bible Translator, 1965, p. 81ff. )
Chichewa: pangano. This word can also be translated as a contract, agreement, or a treaty between two parties. In Chewa culture, two people or groups enter into an agreement to help each other in times of need. When entering into an agreement, parties look at the mutual benefits which will be gained. The agreement terms are mostly kept as a secret between the parties and the witnesses involved. (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
Law (2013, p. 95) writes about how the Ancient GreekSeptuagint‘s translation of the Hebrew berith was used by the New Testament writers as a bridge between the Old and New Testaments (click or tap here to read more):
“Right from the start we witness the influence of the Septuagint on the earliest expressions of the Christian faith. In the New Testament, Jesus speaks of his blood being a kaine diatheke, a ‘new covenant.’ The covenant is elucidated in Hebrews 8:8-12 and other texts, but it was preserved in the words of Jesus with this language in Luke 22:20 when at the Last Supper Jesus said, ‘This cup that is poured out for you is the new covenant in my blood. Jesus’s blood was to provide the grounds for the ‘new covenant,’ in contrast to the old one his disciples knew from the Jewish scriptures (e.g., Jeremiah 31:31-34). Thus, the earliest Christians accepted the Jewish Scriptures as prophecies about Jesus and in time began to call the collection the ‘Old Testament’ and the writings about Jesus and early Christianity the ‘New Testament,’ since ‘testament’ was another word for ‘covenant.’ The covenant promises of God (berith in Hebrew) were translated in the Septuagint with the word diatheke. In classical Greek diatheke had meant ‘last will, testament,’ but in the Septuagint it is the chosen equivalent for God’s covenant with his people. The author of Hebrews plays on the double meaning, and when Luke records Jesus’ announcement at the Last Supper that his blood was instituting a ‘new covenant,’ or a ‘new testament,’ he is using the language in an explicit contrast with the old covenant, found in the Jewish scriptures. Soon, the writings that would eventually be chosen to make up the texts about the life and teachings of Jesus and the earliest expression of the Christian faith would be called the New Testament. This very distinction between the Old and New Testaments is based on the Septuagint’s language.”
The Greek, Hebrew and Ge’ez that is typically translated as “eternity,” “forever,” or “forever and ever” in English are translated in Mairasi as “mashed out infinitely.” Lloyd Peckham explains: “Bark cloth required pounding. It got longer and wider as it got pounded. Similarly, life gets pounded or mashed to lengthen it into infinity. Tubers also get mashed into the standard way of serving the staple food, like the fufu of Uganda, or like poi of Hawaii. It spreads out into infinity.” (Source: Lloyd Peckham)
In Lisu the phrase “forever and ever” is translated as ꓕꓲꓽ ꓞꓲꓼ ꓕꓲ ꓑ — thi tsi thi pa, verbatim translated as “one – lifetime – one – world.” This construction follows a traditional four-couplet construct in oral Lisu poetry that is usually in the form ABAC or ABCB. (Source: Arrington 2020, p. 57f.)
In Makonde it is often translated as navyaka or “years and years.” (Source: Pioneer Bible Translators, project-specific notes in Paratext)
The Hebrew, Ge’ez, Latin, and Greek that is translated as “flood” in English is translated in the German Luther Bible as Sintflut and the influential Dutch Bibles Statenvertaling and Nieuwe Vertaling as zondvloed. Both terms originally mean “great / permanent flood” but have folk-etymologically been reinterpreted as “sin flood” (“sin” in Dutch is zonde and in German Sünde).
Today these terms are used in either language figuratively as well (“a lot of water” or “a lot”). (Source: Jost Zetzsche)
The following is a stained glass window depicting Noah by Endre Odon Hevezi and Gyula Bajo from 1965 for the Debre Libanos Monastery, Oromia, Ethiopia:
Photo by Timothy A. Gonsalves, hosted by Wikimedia Commons under a Creative Commons Attribution-Share Alike 4.0 International license
Stained glass is not just highly decorative, it’s a medium which has been used to express important religious messages for centuries. Literacy was not widespread in the medieval and Renaissance periods and the Church used stained glass and other artworks to teach the central beliefs of Christianity. In Gothic churches, the windows were filled with extensive narrative scenes in stained glass — like huge and colorful picture storybooks — in which worshipers could ‘read’ the stories of Christ and the saints and learn what was required for their religious salvation. (Source: Victoria and Albert Museum )
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