The Parables of Enoch (1 Enoch 37–71) contain complex visionary ascent scenes that combine earlier Enochic images and themes with other authoritative traditions from the author’s habitus. The wisdom revealed in these visions aide the righteous in their present struggles and in their future salvation at the eschaton, and it also sociologically demarcates them from their contemporaries. The visionary, however, does not pass this knowledge on to the audience as a collection of theological propositions or a discursive presentation about God’s future actions and the fate of the cosmos. Rather, Enoch describes action in heaven that is filled with ritual and allusions to ritual, including angelic intercessory prayers, blessings, curses, praises, confessions of sins, petitionary prayers, oaths, judgment, and enthronement. The revelation is not an argument given to the visionary; it is performed. While ritual can serve a multitude of purposes, the heavenly rituals in the Parables especially exhibit the author’s concern for maintenance of an orderly universe by various beings properly fulfilling their roles. Further, ritual performance in the Parables sometimes marks, establishes or enacts the arrival of new movements in the divine (and historical) drama. Especially intriguing is the author’s notion that a correspondence exists between the heavenly actors and what humans do, whether righteous or wicked. The ritual action of righteous humans fits within the divine (“social”) order of the cosmos, while the wicked (especially the kings and the mighty) violate that order, partly in their failure to participate in correct ritual action, which is an affront to the authority of the Lord of Spirits. In this way, human actors seem to embody and perform divine realities/actions. Ritual theorists such as Pierre Bourdieu, Victor Turner, and Roy Rappaport provide valuable insight for such assessments of ritual performance.