Human beings have, since prehistory, attempted to explain life as a journey. In a physical sense life is a journey from the helplessness we display at birth to the lifelessness of death. The physical nature of ‘the end’ is all too tangible. Science can probe it and concludes it is indeed journey’s end. Many world religions claim that this is not a final end, but there is something beyond our earthly voyage. The proposals vary from a hope of paradise to ideas of reincarnation. Orthodox Christianity testifies to an afterlife in terms of two poles: (i) bodily resurrection, and (ii) the New Heaven and New Earth.
The common experience of being frail beings together with diverse religious claims, contribute to a pervasive theme in culture, what I refer to here as the Journey Motif. It is found in a huge variety of cultural expressions such as novels, poems, cinema, everyday idioms and poetry. The examples I will use below will undoubtedly be culturally bound and limited by my experience and likes. Nevertheless, this will I trust be a helpful journey about journeys. Our destination is the Psalms and the blessing they are on the Life of Faith.
There are numerous idioms and sayings in the English language which make use of a journey motif. I am not suggesting that these phrases are thoroughgoing metaphysical reflections or conscious nods to religious expectation. The point is simply that our language is riddled with such turns of phrase which collectively hint at the bigger picture of the journey of life. On a daily basis we understand such language without any effort. This is the case even when it relates to a context which is not a journey. For example:
- “The business venture was going nowhere” means that the enterprise concerned is not successful, it is self-evident that it would not be expected to physically move.
- “Her career was really going places” might be true even if the career was based in the same physical location. The same person might be said to have a successful career path.
- “After years of study it was finally the home stretch”. Again the person concerned might have sat in lecture rooms, a library and their study but the idea of a journey ‘works’.
- “Despite having it all he had itchy feet”. We know that this is not some fungal infection but that someone is thinking about changing their circumstances. This might, or might not, be an actual journey.
- In times of crisis people often choose places to stay or new relationships that might otherwise be undesirable and we sagely note that they have settled for “any port in a storm”.
- Someone making hasty life choices might soon discover that the “wheels fall off”.
- Those who are more successful are often said to be ‘way ahead’ or ‘leading the way’.
George Harrsion’s Any Road, is a conscious reflection on the journey motif. In the song he has fun with the very idea that life as a journey is purposeful: ‘If you don’t know where you’re going any road will take you there’. Other popular songs portray relationships in the language of a journey. One example, among many, is Cyndi Lauper’s Time After Time:
Sometimes you picture me –
I’m walking too far ahead
You’re calling to me, I can’t hear
What you’ve said –
Then you say – go slow –
I fall behind –
The second hand unwinds
Some popular music goes further with the journey motif by means of the concept album. In a concept album a narrative unfolds. Sometimes the story can be difficult to discern with the artist/s storytelling in a manner which leads the listener unsure of the details. In other examples the story is portrayed with sustained intentionality and clarity. Such a narrative is told in Pink Floyd’s The Wall. There the entire life of the protagonist Pink is unfolded, from birth to death and then beyond. This work is a self-conscious reflection on the potential reality that lies behind the journey that is our lives. One of Pink Floyd’s latest works, The Endless River, reflects on the journey motif using mostly instrumental music. Rather poignantly the album which was released in 2014 uses work recorded prior to the death of band member Richard Wright in 2008, and it seems to consciously reflect on his absence. The album cover and the album title work to this end before the music is even encountered. It is almost as if they hope that there is an endless river but have little confidence in the possibility of life beyond death.
Many of the novels of the nineteenth century were also explorations of the journey of their hero or antihero through a large part of their life. The journey for Dickens is often one through social standing in Victorian society, such as Pip in Great Expectations and the eponymous and hapless hero of Oliver Twist. Such works typically see the end of the journey as settled existence in a place of social standing. Looking beyond life’s physical journey was the preserve of other types of art and later novels.
Some works of literature capture a journey motif very literally. The two best known works of J. R. R. Tolkien do this. The Hobbit which tells of the adventures of the Halfling Bilbo Baggins is even subtitled There and Back Again. Bilbo is fortunate enough to benefit from his adventurous journey and arrive home, changed for the better. In The Lord of the Rings Bilbo’s adopted nephew Frodo departs on his own dramatic adventures and eventually returns home. For Frodo, however, things are not better back home. Frodo has to leave his life in his homeland of The Shire and journey over the sea prematurely to the blessed lands.
Tolkien’s work is rich with the journey motif often with a poignant depth behind it, redolent with transcendent mystery. See my earlier post on Tolkien’s poem The Road Goes Ever On which is found in both of his Hobbit-centred works. The same motif, with the same haunting depth, is found in a poem, Bilbo’s Last Song, which Tolkien gave to his secretary, Joy Hill, in 1966. This is beautifully captured in the BBCs 1981 radio adaption of The Lord of the Rings, in which the now ancient Bilbo sings the song as he and Frodo depart Middle-Earth with a number of other key protagonists from the War of the Ring. Here is the middle of three verses:
Farewell, friends! The sails are set,
the wind is east, the moorings fret.
Shadows long before me lie,
beneath the ever-bending sky,
but islands lie behind the Sun
that I shall raise ere all is done;
lands there are to west of West,
where night is quiet and sleep is rest.
Such language undoubtedly echoes Tolkien’s Catholic faith. This is one of the reasons why his writing has a mythical authenticity so often absent from work of the same Fantasy genre. Much post-Tolkien Fantasy literature has a central story which is defined, like Tolkien’s famous works, around a journey motif. Very often these fail to live up to anything like Tolkien because there is no conscious depth behind the motif.
Epic poetry from the ancient world was very often themed around journeys. In many cases reality was explored as gods enter the story or mysterious objects are collected from uncharted parts of the world. More modest modern poetry also makes significant use of the journey motif. Perhaps the most famous example is Robert Frost’s famous poem The Road Not Taken. Here is just one verse:
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Interestingly Frost’s poem is often misunderstood with readers making more of it than Frost ever intended. Frost wrote the poem to suggest that indecision in life was undesirable. So ingrained, however, is the journey motif that this poem has been invested with religious and metaphysical freight by many readers.
The journey motif has arguably proven even more dominant in cinema than in literature. There is a whole genre of film known as the Road Movie. There are numerous examples, Thelma and Louise is arguably one of the most well-known. A Road Movie of this type is typically one where the protagonists go on a journey which removes them from their ordinary life. There is an expectation that if they survive they will return to life as changed people.
There are other films in which the journey motif takes on greater scale because the journey is central to understanding something bigger than the protagonists’ lives. Such films have been produced for years but there has been a recent spate, for example: The Road (2009), The Book of Eli (2010), The Maze Runner (2014) and Mad Max: Fury Road (2015).
All these examples are what can be termed post-apocalyptic in that we see the aftermath of a disaster which has destroyed the world and human society as we know it. The story generally revolves around understanding some aspect of the disaster or how humankind can respond in some new dynamic way.
The Bible is full of examples of what I have called the journey motif. The most important is the reference in both testaments to ‘the way’. Proverbs captures it so:
I have taught you the way of wisdom; I have led you in the paths of uprightness.
There are other similar references in the Wisdom books and many Psalms (see below) which have a wisdom theme. In the New Testament ‘the Way’ takes on new depth of meaning. In the gospels, first as Jesus is anticipated to be part of its redefinition and then because he goes even further and redefines it around himself:
The voice of one crying out in the wilderness: ‘Prepare the way of the Lord, make his paths straight’
Jesus said to him, “I am the way, and the truth, and the life. No one comes to the Father except through me.
In the book of Acts we find that the Jewish renewal movement that became Christianity is frequently labelled as ‘the Way’. For example:
About that time no little disturbance broke out concerning the Way.
The Bible takes the pervasive journey motif and makes some very clear claims as to how the idea coheres with the reality centred on the God of Israel and the Risen Christ. In short ‘the Way’ is what we call a faithful life lived before God. In the Hebrew Bible this way is followed in obedience to the Torah; a wise response to Yahweh’s instruction. In this manner those following the way are the righteousness. In the New Testament these ideas remain but are transfigured as a result of the self-revelation of Yahweh as the Father of our Lord Jesus Christ.
The overall biblical testimony is that this life that we experience now is a journey; what is helpfully termed the Life of Faith. Its actual goal lies beyond what we can see, or test, here and now. The journey continues after death with the resurrection of God’s people. Those found in Christ will be given new bodies and made whole. Their dwelling will be with God in the New Heaven and the New Earth. The Psalms are no exception to this overarching metanarrative. As they are part way through the trajectory of understanding of the Way it is anachronistic to read the New Testament back into them to hastily. So, for example, Zion is the language of dwelling with God and the destination beyond physical death, but we should be slow to eclipse its broader significance and role as a key aspect of First Testament faith.
The importance of the language of journey is central to the Psalter. It is there at the very outset in a verse which rounds off a series of rich metaphors describing the ‘two ways’:
For the Lord watches over the way of the righteous,
but the way of the wicked will perish.
It is mentioned again in Psalm 2:12 as a reminder that at the outset of the Psalter following ‘the way’ is a key theme. The Way, and other journey language, occur frequently throughout the Psalter, so for example:
- The idea of a way, or the ways, is found in 5:8; 10:5; 17:4; 18:21,30,32; 25:4; 25:9,12; 27:11; 32:8; 35:6; 36:4; 37:5,7,23,34 and 39:1 in Book I alone.
- The idea of a journey along a path is seen in 1:1; 16:11; 17:5; 23:2; 25:4; 25:10 and 27:11 in Book I. It appears essentially as a synonym for the idea of a way or ways.
In some cases the idea seems to be part of intentional design of the Psalms. Psalm 25, for example, brings together a number of questions and themes raised earlier in the Psalms (see 15:1,2 and 24:3,4):
Who are they that fear the Lord?
He will teach them the way that they should choose.
Psalm 119, which occupies such a massive place in Book V and within the Book as a whole, makes frequent reference to the journey motif as can be seen by the frequency of some related words (in NRSV) in the Table below.
|Way/s||1, 14, 15, 26, 29, 33, 37, 59, 104, 128, 168|
|Walk||1, 3, 45|
|Astray/stray||10, 67, 176|
|Feet||59, 101, 105|
|(journey’s) End||33, 87, 112|
The Psalter also has a number of psalms that are best understood as psalms of pilgrimage. Most obviously psalm 84 and the Psalms of Ascents (120-134). They, along with others, are likely to have been used during pilgrimage to the Jerusalem during the various Jewish festivals. The Psalms of Ascents are explored in a couple of previous posts.
In the time of the Jewish diaspora, when the Psalms were finally edited to make the Psalter, pilgrimage was very often no longer an option. The Psalter was edited to take on some aspects of the dynamic of pilgrimage. In the same way, for us today, the Psalter can be seen to take on a special place in the Life of Faith. Through its incorporation of pilgrimage psalms, the prominence of the Psalms of Ascents, the on-going language incorporating the journey motif and its carefully crafted journey from, obedience and petition, to the final crescendo of praise, we have a book to carry with us on the Life of Faith. Over two millennia Christians have used the Psalter ‘on the road’ in diverse ways. I would not want to be prescriptive about exactly how we use it. The general point is, however, clear, we must ensure that we are intentional about our use of this gift that God has given us for the Way. As the psalmist knows from the outset of the journey we should be delighting in this instruction and meditating on these words (1:2). The result of this practice is that our life’s journey will crystallise into a remarkably static blessing:
They are like trees
planted by streams of water,
which yield their fruit in its season,
and their leaves do not wither.
In all that they do, they prosper.