Psalm 6 as the First Penitential Psalm Today

This post will provide some examples of penitential commentary on Psalm 6 from the likes of Augustine, Cassiodorus, Denis the Carthusian, Luther and Calvin. In this way it introduces the reader to ancient readings and a facet of psalm interpretation which is unpopular today but was once immensely generative in doctrine, personal piety, Lenten practice, literature, and music. It also initiates an exploration of why such penitential readings of Psalms 6, 32, 38, 51, 102, 130 and 143 slowly waned in modernity.

The first of the group of psalms designated the Penitential Psalms, Psalm 6, poses two acute challenges to the interpreter. Firstly, it is very short and so provides rather limited contextual information. Secondly, much of the content is open ended as to where it fits on the spectrum from literal to figurative. Augustine (354–430), who is thought by some to have established the grouping of the seven psalms, is quick to connect God’s wrath in v.1 with the psalmist’s sin which is not directly mentioned in the psalm. Having done this, he interprets the psalm as referring to what might be termed soul sickness thus conflating the reference to ailments in the bones (v.2) with that concerning the disturbed soul (v.3):

Accordingly the next verse, and my soul is greatly perturbed, makes it clear that the language of bones does not refer to the bones of the body. And you, Lord, how long? Here, obviously, is a soul wrestling with its own diseases, but long untreated by the doctor, in order that it may be convinced how great are the evils into which it has launched itself by sinning.

Later interpreters might object to this singular focus on the soul on a number of grounds not least due to the potential for an anachronistic importing of Greek notions of the soul into the Hebrew text. This important matter will not delay us here but will be considered in a later post when we turn to another of the Penitential Psalms.

Like Augustine, Cassiodorus (c.485–c.585) sees the psalm as both penitential and concerned with spiritual sickness. Augustine and Cassiodorus both find support within the psalm for a penitential reading from the psalm’s superscription or heading. Issues regarding the Greek and Latin translation of the heading gave rise to a long tradition of what now seem very fanciful interpretations of this and many psalm headings. Here is the NRSV’s rendering of Psalm 6’s heading compared to that in the Latin Vulgate and its translation in Denis the Carthusian’s late medieval Commentary:

To the leader: with stringed instruments; according to The Sheminith. A Psalm of David.

In finem, in carminibus. Psalmus David. Pro octava.
Latin text from Denis the Carthusian

Unto the end, in verses, a Psalm for David, for the octave.
English translation of the Latin

Like many other ancient and medieval interpreters Augustine, Cassiodorus and Denis each make much of ‘the end; and the ‘octave’ to refer to the Day of the Lord and other eschatological motifs concerning judgement. For example, Augustine and then Cassiodorus argue that:

. . ., it is possible to understand the day of judgement as the eighth day, because immediately after the end of this age, once eternal life has been gained, the souls of the righteous will not be subject to the ebb and flow of time. Perhaps because all time revolves around a seven-day cycle, the time which will be subject to none of that changeableness has been called the eighth day.

For the octave denotes the Lord’s coming when the seven days of this age are at an end, and He comes to judge the world . . . That is why the penitent now introduced before us earnestly supplicates in the ordered divisions of his prayer that he may not be convicted for his deeds on the day of judgement.

Cassiodorus is the first extent source to present the traditional seven penitential psalms as a group. He was also a keen advocate as to their ongoing value:

Though we should apply our eager intelligence to all the psalms, since the greatest resources for living are sought from them, yet we ought to pay particular attention to the psalms of the penitents, for they are like suitable medicine prescribed for the human race.

Such exhortations about the value of the Penitential Psalms were taken very seriously by the medieval church. It is difficult to capture the magnitude of the importance that these seven psalms had for over a millennium. A snapshot of this rich reception can be found in a forthcoming Grove Booklet written by me and comprehensive assessment of their medieval ubiquity in a much larger study centred on Psalm 51 by Clare Costley King’oo. By the thirteenth century King David was central to readings of Psalm 6, and the other six Penitential Psalms. Arguably the most famous example is Dame Eleanor Hull’s Middle English c.1420 translation of an earlier French text (probably mid or late thirteenth century) on the seven Penitential Psalms. By this time David was understood as the model penitent. His adultery with Bathsheba and the murder of Uriah are alluded to in the heading of Psalm 51—the fourth of the seven Penitential Psalms—and this psalm was understood as David’s contrite words spoken to the prophet Nathan. All seven Penitential Psalms were read from this perspective facilitated by their being collecting together in Books of Hours and other devotional works on the seven like those of Dame Eleanor Hull. In short King David became the model penitent whose contrition and compunction all faithful Christians should aspire to follow. For example, we read in Hull’s commentary on Psalm 6 about the contemporary sinner:

. . . thinking and saying to himself, ‘I am young and hale and flourishing in my youth and prosperity in this world is mine. And God is meek and merciful and will mend me as he has done on previous occasions.’ I say to you truly that this man lies in his bed. But he rises not with his tears as David did every night. You should understand that such nights betoken deadly sin. For just as a man by night goes stumbling and knows not what he should hold onto but by some light coming upon him from the moon or some star, just so the reason of man goes stumbling into the pit of delight of the night of his sin wherein he lies asleep, lest the light of grace from above shows him the way of great repentance, as she had done to David who washes his bed with his tears every night, . . .

By the time of Denis the Carthusian (1402–1471), at the other end of the medieval period, the sacrament of penance had taken on great importance in church doctrine and practice. This sacramental practice is very much in evidence in Denis’ interpretation of Psalm 6 where he devotes a lot of space to the relationship between the necessity of internal contrition and the outward penitential actions of the penitent:

I have laboured in my groanings: that is, I am interiorly contrite of my sins, although I do not omit the exterior acts of penance and the works of satisfaction, but weeping, abstaining, persisting in holy vigils I prostrate myself . . .

. . . Also, this which is said—I laboured in my groanings—can be understood here to refer to the interior effort, for indeed the interior effort exceeds the exterior effort, just as the interior pain exceeds the exterior pain . . .

because the Lord has heard the voice of my weeping, that is, the interior affection, from which the voice and tears spring forth, and on account of which they declare themselves to be heard. For not clamor, but love, not the tears of the eyes, but contrition of the heart penetrates the heavens and enter into the ears of God.

The English Bishop and Cardinal, John Fisher (1469–1535) had similar concerns and focused on responding to the psalm as consequential for the age to come:

There are three different ways almighty God deals with sinners, according to the three different kinds of them. There are some sinners who continue in their wretchedness till they die, and those almighty God punishes in hell’s eternal pains, whose ministers are the devils. There are other sinners who have begun to be penitent before their death and to amend their lives, and these almighty God punishes in the pains of purgatory, which have an end and whose ministers are angels. Thirdly, there are still other sinners who, by grace in their life, have so punished themselves by penance for their offences that they have made sufficient repayment for them. And these almighty God accepts in his infinite mercy.

Both Denis and Fisher read the psalm penitentially in dialogue with late medieval sacramental praxis and doctrinal development. Luther (1483–1546) is also concerned about the fate of sinners. He tends to speak, however, less abstractly and mechanically, and more personally than either Denis or Fisher:

God’s strength and consolation are given to no one unless he asks for it from the bottom of his heart. But no one who has not been profoundly terrified and forsaken prays profoundly. He does not know what ails him, and he remains secure in the strength and consolation of another, his own or that of creatures. In order, therefore, that God might dispense His strength and consolation and communicate it to us, He withdraws all other consolation and makes the soul deeply sorrowful, crying and longing for His comfort. Thus all God’s chastisements are graciously designed to be a blessed comfort, although through weak and despairing hearts the foolish hinder and distort the design aimed at them, because they do not know that God hides and imparts His goodness and mercy under wrath and chastisement.

Calvin (1509–1564) writing a few years later than Luther commentates in a very different style. His approach seems much more like a modern commentary as he seeks a clear methodology to interpret the text in context before applying it. He still, however, sees the context as the life of David like many pre-critical interpreters. In the end his conclusions are often close to Augustine with who we began this journey:

David, being afflicted by the hand of God, acknowledges that he had provoked the Divine wrath by his sins, and therefore, in order to obtain relief, he prays for forgiveness. . . What the kind of chastisement was of which he speaks is uncertain. Those who restrict it to bodily disease do not adduce in support of their opinion any argument of sufficient weight.

Contemporary academic interpreters tend to avoid David as the subject of the psalms and look to the content of the psalm itself to provide context. In this way Goldingay, for example, argues that the psalm is not penitential but that the psalmist experiences God’s wrath in a manner akin to Job’s experience. For Goldingay the psalmist is not struggling with sin and God’s righteous punishment but is in the thick of lament in part because of the puzzle of why they are so afflicted by God. In closing his consideration of Psalm 6 he reflects on the whole:

All this can be brought to God without expressing either a correlative awareness of sin that needs confessing or a conviction about personal commitment that makes it possible to make a statement that trouble is undeserved.

In a similar way Charry explains Psalm 6’s context by noting that:

In Christian tradition, it is also often read as the first of the Psalter’s seven penitential psalms, yet no confession of sin and no plea for forgiveness are offered. Nothing indicates that the speaker understands his adversity to be punishment for sin, only that it has apparently been going on for some time. The speaker cries for healing, not forgiveness.

In appropriating Psalm 6 today, as functional Scripture, do we really have to choose between what was for a long time a dominant penitential reading and the modern rediscovery of biblical lament? I don’t think so. Whilst there are issues with some aspects of pre-critical interpretation both ancient and modern readings can cohere with the language of this psalm and inform our prayer. Intertextuality might be a dangerous tool in scientific exegesis but surely in a living textual faith there are interpretive connections and riches which legitimise using the words of this psalm as the basis for calling on God as a suffering sinner and/or struggling supplicant. A case can surely be made that a penitential prayer is just one specific subset of the complex lament that is central to the life of faith. These possibilities will be explored further when we turn to some of the other Penitential Psalms in future posts in 2022.

Many people of faith will at some point in the life of faith own the words of this psalm. As the Sidney Psalter expresses the opening verses we too might cry for a variety of reasons:

Lord, let not me, a worm, by thee be shent
While thou art in the heart of thy displeasure:
Ne let thy rage, of my due punishment
Become the measure.

 

References

  1. Verse numbers here follow that found in the majority of English translation, for example, the NIV and NRSV. Many of the sources cited here use verse numbering that follows the Latin and Greek texts.
  2. Augustine, Expositions of the Psalms, volume 1, Maria Boulding (translator), John E. Rotelle (ed.) (New City Press, 2000), p.106. In all quotations in this post the psalm text is shown in bold and italics but otherwise identical with the original source.
  3. Denis the Carthusian, Commentary on the Davidic Psalms, Volume 1, Andrew M. Greenwell (translator) (Arouca Press: 2000) p.113.
  4. Augustine, Expositions, p.104.
  5. Cassiodorus, Explanation of the Psalms, Volume 1, P. G. Walsh (translator) (Paulist Press, 1990), pp.89–90.
  6. Cassiodorus, Explanation, p.98.
  7. Mark J. Whiting, The Penitential Psalms Today: A Journey with Psalms 6, 32, 38, 51, 102, 130 and 143, Grove Books, forthcoming 2022 and Clare Costley King’oo, Misere Mei: The Penitential Psalms in Late Medieval and Early Modern England (University of Notre Dame Press, 2012).
  8. Alexandra Barratt (editor), The Seven Psalms: A Commentary on the Penitential Psalms Translated from French into English by Dame Eleanor Hull (Oxford University Press, 1995).
  9. Michael P. Kuczynski, Prophetic Song: The Psalms as Moral Discourse in Late Medieval England, (University of Pennsylvania Press, 1995), pp.81–119 and passim.
  10. Barratt, The Seven, p.16. My inexpert translation of the Middle English and one Latin phrase.
  11. Denis, Volume 1, p.117.
  12. Denis, Volume 1, pp.117–118.
  13. Denis, Volume 1, p.120.
  14. John Fisher, Exposition of the Seven Penitential Psalms, Anne Barbeau Gardiner (translator) (Ignatius Press, 1998), pp.9–10.
  15. Luther, Martin. Luther’s Works, Vol. 14: Selected Psalms III (Luther’s Works (Concordia)) (Kindle Locations 2613-2619). Concordia Publishing House. Kindle Edition.
  16. John Calvin, Psalms 1–35, James Anderson (Translator) (Calvin Translation Society, 1845) p.65.
  17. This is something of an oversimplification given the vexed question in the last two hundred years as to what the context of psalm is, with David’s life, temple cult, canonical context, being just some of the options.
  18. John Goldingay, Psalms Volume 1: Psalms 1–41 (Baker Academic, 2006), p.141.
  19. Ellen T. Charry, Psalms 1–50 (Brazos Press, 2015), p.27.
  20. Hannibal Hamlin et al. (editors), The Sidney Psalter: The Psalms of Sir Philip and Mary Sidney, (Oxford University Press, 2009), p.17.

Jesus and the Holy Innocents

Readings: Psalm 123; Mark 10:13–16; Matthew 2:1–20.

The Magi: Pursuing Wisdom
We don’t know much about the Magi. There are lots of theories and ideas— snippets of both fact and fiction. There may, or may not, have been three Wise Men—three gifts of gold, frankincense and myrrh do not necessarily imply three Magi. They were probably part of a social elite of scholars. Although their field of expertise would have ranged from the wisdom of philosophy, through the physics of astronomy to something akin to astrology. They were doing the same basic task as the wise sages of Israel who left us with the Books of Job, Proverbs and Ecclesiastes and ideas found in the Psalms and elsewhere in the First Testament.

The difference, of course, was they were not followers of the God of Abraham, Isaac and Jacob. That didn’t deter God from dealing with them by revelations in the heavens and in a dream. The tribute from foreign kings that they carried to Jesus is the smallest foretaste of the honour that will be paid to this same Jesus as God’s plans are fulfilled Psalm 2 hints at these and includes these words:

Therefore, you kings, be wise;
be warned, you rulers of the earth.
Serve the Lord with fear
and celebrate his rule with trembling.
Psalm 2:10–11, NIVUK

Like so many Bible narratives we must be cautious not to read too much into a text that seems intent on hiding many of the things we’d like to know. But with some certainty, both background knowledge about the Magi and what they do in this story indicates that they are pursuing wisdom. Following a star in a way that mashed astronomy and astrology, interpreting dreams in the quest for revelation.

The same God who inspired and spoke to the Magi would have us be wise. But the foundation of our pursuit of wisdom is the baby they first sought. We have a fuller revelation of Jesus Christ, the divine Logos, wisdom personified. Whatever we think of New Year’s resolutions we’d be wise to make Jesus Christ our foundation for 2022.

Herod: Pursuing Power
Herod, the so-called Great, is the villain of the piece. He provides an echo of the evil Pharaoh in the Exodus story who ordered the death of the Hebrew boys as the most callous of pre-emptive strikes to weaken a slave work force so they could not rebel. Like Pharaoh, Herod appears to balk at nothing in order to cling to power. He, like Pharaoh, was also obsessed with massive building projects, including renovating the temple in Jerusalem.

Though brought up a Jew, his father was an Edomite. He was happy to have power by colluding with the Romans. His singular concern in Matthew 2 is remaining a puppet ruler. His horrific decree to kill all male Jews, two-year old and under, is the bluntest and most unsavoury of pragmatic methods to remove a future king that might topple him from power. Such a callous act has all the hallmarks of the extremes that men—and they are usually men—will go to keep their power.

Our passage does not have a definitive answer to the horror that Herod unleashes. But it does relativise him brilliantly. Whilst men do everything to cling to power time moves inexorably on, as it does for us all. Our passage opened with Herod in power:

After Jesus was born in Bethlehem in Judea, during the time of King Herod, . . .
Matthew 2:1, NIVUK

But we read at the close of the passage:

After Herod died, . . .
Matthew 2:19, NIVUK

This dark episode makes the gospel shine even brighter and it reminds us that the Christmas story cannot be buried in sentimentality. This is a story of life in the face of death.

Joseph: Pursuing Obedience
The Bible says very little about Joseph. Nevertheless, he is absolutely central to this story. Unlike Herod’s singlemindedness, Joseph’s focus has the best of motivations: obedience to God. Joseph simply does what he is instructed to do by God. Through three dreams, and on two occasion, he ‘up-sticks’ and moves with Mary and Jesus. First the holy family move to Egypt as refugees fleeing murderous persecution. Some two years, or so, later they journey to Nazareth where Jesus then grew up.

Joseph’s obedience was not a slow one. There was no trying and testing other options. The story makes it very clear that Joseph acted as quickly as he possibly could to get Jesus out of harm’s way:

So he got up, took the child and his mother during the night and left for Egypt.
Matthew 2:13, NIVUK

We know far more about Herod than Joseph but the quiet good life of obedience to God is better in eternity than celebrity or political power ill-used for personal gain. George Eliot, in her novel Middlemarch, puts it like this:

The growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.

Eliot is reflecting on Enlightenment progress, but in God’s plans Joseph was instrumental for the even better reasons of faith, trust and obedience.

Where might faith, trust and obedience take us in 2022? We don’t know. Our unhistoric acts—in faith, trust and obedience—not only prevent things going ill but in God’s hands they can serve his purposes—the building of a kingdom not of human progress but God’s design in eternity. To quote a more dubious source than George Eliot:

“What we do in life echoes in eternity”.

Jesus and the Holy Innocents: Utter Dependence
So much for the Magi, Herod and Joseph, for not all the players in this story are active. Passive at the centre of this narrative is Jesus who can do nothing. He is humanly utterly dependent upon Mary and Joseph. This reality of Incarnation is captured acutely in Luci Shaw’s remarkable poem titled Kenosis. Note the title is a profoundly theological concept whilst the poem opens this in fully human fleshly terms:

In sleep his infant mouth works in and out.
He is so new, his silk skin has not yet
been roughed by plane and wooden beam
nor, so far, has he had to deal with human doubt.

He is in a dream of nipple found,
of blue-white milk, of curving skin
and, pulsing in his ear, the inner throb
of a warm heart’s repeated sound.

His only memories float from fluid space.
So new he has not pounded nails, hung a door
broken bread, felt rebuff, bent to the lash,
wept for the sad heart of the human race.

Poem: Kenosis by Luci Shaw
in Harvesting Fog (Pinyon Publishing, 2010) page 53

The other Jewish baby boys are passive too. They are also utterly dependent on human agency for protection. We don’t know the details—and I for one don’t want to—but we can imagine that some infants were protected by those around them but of course others were not.

In the midst of this horror, we can find a profound truth about the quality of being human. For we are all children, not utterly dependent upon human parents but dependent on God. We owe him our creation, our very breath and all that we can be in the future. Whilst he delegates us some power and authority, we remain under him. In the darkness of the story of the Holy Innocents this is no sentimental claim. This is a fact of life and death.

What do we do with this call to be childlike? This is the call of Jesus himself in Mark 10. It is the psalmist’s surrender recounted in Psalm 123. To be childlike is to empty ourselves, a pale echo of what Christ did. It is to denounce power. It is the only true wisdom. It is fearing God. It is the glance of a devoted servant to God face. It is, in short, about being holy.

Whether you are making, or have made, New Year’s resolutions, or they are not your thing, in 2022 let us all remember that we have a holy yet probably unhistoric part to play in God’s plans. Let us also remember the disturbing truth that no one becomes holy by accident.

 

Book Review: ‘The Lord Is My Shepherd: Psalm 23 for the Life of the Church’ by Richard S. Briggs

Richard S. Briggs, The Lord Is My Shepherd: Psalm 23 for the Life of the Church, Touchstone Texts, Baker Academic, 2001.

At the outset of this review, I am pleased to say that this is an engaging and delightfully readable book. Like all good guides Briggs ensures his company know precisely where they are at all times. Indeed, the whole enterprise is itself an echo of Psalm 23 as the reader is shepherded safely through Hebrew philology, metaphor, reception history, and theology.

Psalm 23 is arguably the Psalm of Psalms in the contemporary Western Church. Even to the unchurched its six verses are familiar from contexts as diverse as funeral liturgy to Howard Goodall’s setting of it as the theme tune for The Vicar of Dibley. As I was writing this review, it even had a round of its own in a seasonal episode of University Challenge! Such familiarity makes this psalm a fitting focus for this book which launches a new series examining touchstone biblical texts.

The generative nature of both Psalm 23 and its imagery is not only a central reason for its popularity it is also something of a problem for the guide—how can the journey be broken down into manageable steps? This challenge, and the way it is addressed, are explained in Chapter 1. Introduction: On Attending to Psalm 23. Much of the book comprises three longer central chapters which each examine one of three different, but intricately interconnected worlds: ‘behind’, ‘in’ and ‘in front of’ Psalm 23. This structure enables attention to the interpretive task without all the issues being brought to the fore at the same time. The subheadings of these three major chapters also reveal the logic of taking matters a step at a time as matters of background, exegesis and ministry are each explored in turn. This structure provides a sure path that avoids any risk of confusing detours.

In Chapter 2. The World behind Psalm 23 Briggs considers (i) what we can know about the author, (ii) who is speaking in the psalm, (iii) the relevance of shepherd imagery, and (iv) the significance of Psalm 23’s location in the Psalter. Briggs ably shows what we can know, and just as importantly what we cannot know, as he honestly establishes provisional answers. Chapter 3. The World in Psalm 23 is a verse-by-verse examination of the Hebrew text. Here Briggs is attentive to the full spectrum of his readers’ likely ability, and eagerness, to engage with the original language. By providing some optional sections and a short appendix there are effectively three ways to be guided through the psalm’s six verses depending on inclination and prior knowledge.

In Chapter 4. The World in Front of Psalm 23 Briggs moves to what he terms ministry—just how can this psalm can make a difference in the Church today? Having laid the necessary foundations in Chapters 2 and 3 this chapter examines four areas. As the connection of Psalm 23 to themes of rest, death, enemies and hope is examined, some key interlocuters contribute to what is a rich theological reflection. Walter Brueggemann, Jerome Creach, William Holladay, C. S. Lewis and Erich Zenger, for example, all help enliven the close of the journey. Indeed, so rich a table is prepared here that the reader is left in a quandary as to which overflowing cup might be taken to the congregation or small group. In fact, whilst Briggs does not specifically suggest it, I think this chapter—with support from elsewhere in the book— provides an excellent launch point for a four sermon series or fourfold set of teaching material.

The book closes with a wonderfully honest reflection on Hearing and Preaching Psalm 23 Today in the form of its fifth, and final, short chapter. This personal account somewhat paradoxically serves, as Briggs intends, to point firmally to this text in expectant anticipation that it can speak afresh today. The call—should we choose to accept it—is to do enough hard work that we can ‘get out of the way’ and enable others to hear the greatest shepherd of them all.

Jesus, Psalm 19 and Empty Words

The Sound of Silence
Jesus had something to say about empty words. We’ll get to these words a little a later after we’ve encountered some other words, as well as some silence. Simon and Garfunkel rereleased The Sound of Silence as a single some fifty-six years ago in September 1965 to some acclaim. Its previous release, in a different musical form, a couple of years earlier had not been a success. The song was written by Paul Simon and since 1965 there have been diverse opinions as to its meaning. Such ambiguity and polyvalence are often a good thing for a song or a poem’s popularity and therefore survival. This is, for example, probably part of the story behind the 150 biblical psalms which are most likely a small fraction of Israel’s hymnody.

I understand The Sound of Silence to be an expression of concern about the nature of modern society and culture. More specifically, that a clarity regarding underpinning principles, philosophy or truth is absent. There is instead just a resounding silence. This lack of words of value and words of veracity seems to fit with:

People talking without speaking
People hearing without listening

The singer of the song seems to know a potential antidote to this cultural malaise:

“Fools”, said I, “You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you”

But this wisdom is met as just another voice amid the competition, and these ‘words, like silent raindrops fell’. The song goes on to allude to the creation of new gods—the neon god they made—alluding perhaps to consumerism, materialism and marketing, symbolised by the observation that “The words of the prophets are written on the subway walls”.

Whether, or not, this is the meaning of The Sound of Silence, I find that any testament I make as to my faith is met by people ‘hearing without listening’ and perhaps to them my words, as ‘my truth’, are like me ‘talking without speaking’. In a world of cynicism about a guiding narrative all testimony to something bigger rings hollow or perhaps there is simply a communication failure. And so in this way the collective denial of universal truth means that ‘silence like a cancer grows’. Words as signifiers and pointers to something else evaporate if there is no possibility of belief in what they point to.

Creative Speaking and Speech
The Bible, when it can be heard, makes a very different claim right from the outset. Just a few verses in, and we find all creation being spoken into existence. And with such rhythm that words are celebrated as this unfolds. God even takes delight in naming things. Following on from such an opening, is it any surprise that Psalm 29 can make the more modest claim that God’s voice is like the loudest thunder? Although here, God’s voice is as destructive as it is creative in Genesis 1. It seems that this biblical deity can both create and destroy with his thunderous voice. Humankind echoes this potential for bipolar speech-acts as part of their reflection of God’s image. Our ability to both create and destroy with our words is part of what lies behind the empty words that Jesus refers in Matthew’s gospel (see below).

Psalm 19 also picks up where Genesis 1 leaves off. There the connection between creation and God’s speech is given a little twist. In verses 1–6 it is creation that does the talking, speaking of the God who spoke it into existence:

Day after day they pour forth speech;
  night after night they reveal knowledge.
They have no speech, they use no words;
  no sound is heard from them.
Yet their voice goes out into all the earth,
  their words to the ends of the world.
Psalm 19:2–4, NIVUK

These verses push the speech metaphor to breaking point. This is both ‘speech’ (v.2) and ‘not speech’ (v.3). This recognition that we are both dealing with a metaphor and stretching it to its limit is vitally important. We are dealing with poetic (but nevertheless true) ideas in all their richness. Neither Genesis 1 nor Psalm 19 provide literal accounts of creation being spoken into existence or creation testifying to its creator. We have something that is mysteriously difficult to pin down. We have language grappling with the undeniable reality of creation as observable fact—testifying in some sense to the creator. This is a testimony that can’t be otherwise, a worldview that accepts creation without creator makes no sense here. This is a working hypothesis that explains the universe in all its wonder and magnificence. This is no mechanistic account of the way things are, or the way things came to be. This is faith seeking understanding—a faith and an understanding that is more than two millennia old but we each should make afresh day-by-day.

Instruction
The second half of Psalm 19 deepens this poetic claim of metaphysical insight. Verses 7–11 complement creation’s testimony to the creator with reflection on the creator’s words. These words are precious and sustaining to creation and its creatures:

The decrees of the Lord are firm,
  and all of them are righteous.

They are more precious than gold,
  than much pure gold;
they are sweeter than honey,
  than honey from the honeycomb.
By them your servant is warned;
  in keeping them there is great reward.
Psalm 19:9b–11, NIVUK

Some scholars of the old form critical school see a tension between the first and second part of this psalm. But this is over-categorisation to the detriment of the richer poetry and synergy of its claims, all centred on speech. The creation and God’s instruction are twin pillars of order behind the space-time universe. They are each so very different and yet interwoven as the very fabric of reality.

In the face of God, the creator, whose creation points to him as a cosmic signpost and the claim that he has provided instruction for us, the psalmist is all too aware of their frailty (vv.12–13) and asks:

May these words of my mouth and this meditation of my heart
  be pleasing in your sight,
  Lord, my Rock and my Redeemer.
Psalm 19:14, NIVUK

Empty Words?
Such a laudable response to God seems worlds away from these sober words of Jesus:

‘. . . But I tell you that everyone will have to give account on the day of judgment for every empty word they have spoken. For by your words you will be acquitted, and by your words you will be condemned.’
Matthew 12:36–37, NIVUK

Before we rush confidently to celebrate the merciful possibility of acquittal we would do well to pause. We all know that our words can be creative and life giving as we echo a microcosm of God’s creative capacity. It is equally clear just how destructive our words can be. Even our empty words can cause real harm and destruction. Being human means experiencing time-and-again, directly and indirectly, both the life-giving and destructive potential of words. Words after all are not heard in a vacuum. They arise from our heart (Matthew 12:35) and they signify the state of our innermost being.

How might we avoid empty words? How might we not be silent when we should speak? Whilst we can try harder, and this might not be a bad thing, it’s not the answer. Rather, the hope we have is not only to look to Jesus Christ, the Word, to acquit us, but to also to transform us. What if praying such Scriptures as those above could work such a miracle?

May these words of my mouth and this meditation of my heart
  be pleasing in your sight,
  Lord, my Rock and my Redeemer.
Psalm 19:14, NIVUK

 

 

Ephesians 6:18 and Psalm 1—Prayer as the Church’s Banquet

This post is a reflection on prayer with references to Ephesians 6:18, Psalm 1 and George Herbert’s poem Prayer (1). All three are shown below for convenience.

And pray in the Spirit on all occasions with all kinds of prayers and requests. With this in mind, be alert and always keep on praying for all the Lord’s people.
Ephesians 6:18, NIVUK

Blessed is the one
    who does not walk in step with the wicked
or stand in the way that sinners take
    or sit in the company of mockers,
but whose delight is in the law of the Lord,
    and who meditates on his law day and night.
That person is like a tree planted by streams of water,
    which yields its fruit in season
and whose leaf does not wither –
    whatever they do prospers.

Not so the wicked!
    They are like chaff
     that the wind blows away.
Therefore the wicked will not stand in the judgment,
    nor sinners in the assembly of the righteous.

For the Lord watches over the way of the righteous,
    but the way of the wicked leads to destruction.
Psalm 1, NIVUK

Prayer (1)

PRAYER the church’s banquet, angel’s age,
    God’s breath in man returning to his birth,
    The soul in paraphrase, heart in pilgrimage,
The Christian plummet sounding heav’n and earth
Engine against th’ Almighty, sinner’s tow’r,
    Reversed thunder, Christ-side-piercing spear,
    The six-days world transposing in an hour,
A kind of tune, which all things hear and fear;
Softness, and peace, and joy, and love, and bliss,
    Exalted manna, gladness of the best,
    Heaven in ordinary, man well drest,
The milky way, the bird of Paradise,
    Church-bells beyond the stars heard, the soul’s blood,
    The land of spices; something understood.
George Herbert (1593–1633)

The Problem of Prayer
Prayer can sometimes seem to be something of a problem. We can easily adopt a variety of negative views of prayer. We sometimes feel that we spend too little time praying. On other occasions, if we’re frank, we go through the motions. Sometimes it’s as if our prayers fizzle out a few metres above our heads and never make it to God’s ear.

And yet we all, I hope, have had experiences of joy, a closeness to God, a feeling of connection with our almighty creator. We all have had prayers that were answered. As frail humans we are good at remembering the challenges rather than the positives of prayer. It’s not even necessarily our sinfulness that’s the problem with prayer. Everything worthwhile in the here and now requires discipline—plain old hard work.

Being good at a sport requires diligence day-after-day, for the fleeting joy of success and victory. Being close to someone in a relationship requires self-giving love over months and years. All made worthwhile for the contentment of closeness that is often rather more fleeting. You can’t win a race after prolonged idleness. A relationship withers without day-by-day effort. You can’t conjure God at the other end of the prayer phone or experience religious bliss at the press of a button.

It’s a fact that prayer requires effort. It’s also the case that we can benefit from a rethink about prayer. A refresher as to its riches and richness can spur us to invest more in this, the lifeblood of our soul. The images we’re going to meet are just three of the twenty-seven used in the poem by George Herbert titled Prayer (1). The twenty-seven are almost certainly twenty-six—one for each letter of the alphabet, an A to Z—plus one as a summary: ‘something understood’.

The Church’s Banquet
Prayer is the Church’s banquet. This might sound a long way from some of our experiences of prayer but let’s run with this and see where we get to. Paul urges us to pray in the Spirit on all occasions. Does this mean something like speaking in tongues and prophecy, gifts that Paul speaks of elsewhere? Well, there are times when this is Paul’s subject. But ‘all occasions’ here puts the onus on us not the Holy Spirit—this is a reminder that we can pray in the spirit or in the flesh. This is the polar choice in all actions that Paul explains in Romans 8.

The choice between praying in the spirit, or in the flesh, echoes the stark choice described in Psalm 1—there we are have the path of the righteous contrasted with the road of the wicked. The earlier verses of Ephesians 6 remind us, lest we forget—that we are righteous. This is only possible as we put on the breastplate of righteousness. In other words, putting on nothing less than Christ. In this we are owning as a reality the image that we, the Church, are Christ’s body.

Psalm 1 reminds us that there is wisdom in avoiding sitting with mockers. In contrast the assembly of the righteous—the gathered body of Christ—is the place to be.

Praying as God’s gathered people is easily taken for granted. But as we seek something heavenly here on earth, and ask our Father in heaven for our daily bread in the way that Jesus taught us, this is a foretaste of the heavenly banquet promised in the gospels—the wedding feast of the Lamb described in the Book of Revelation:

Then I heard what sounded like a great multitude, like the roar of rushing waters and like loud peals of thunder, shouting:

‘Hallelujah!
For our Lord God Almighty reigns.
Let us rejoice and be glad
and give him glory!
For the wedding of the Lamb has come,
and his bride has made herself ready.
Fine linen, bright and clean,
was given her to wear.’
Revelation 19:6–8, NIVUK

Paul’s ‘all kinds of prayer and requests’ are course-after-course of prayer. How often do our prayers seem more like hasty serving of tinned fruit than the rich banquet they could be? Why do we jump straight to the requests, which is dessert, before the four previous courses? Let’s breathe, slowdown, and note this is a banquet.

Therefore, how about an appetiser of praise? What about a main course of adoration? What about a salad of thanksgiving? What about a cheese board of confession? Then we get to dessert: our requests and petitions.

Exalted Manna
Prayer is exalted manna. In John 6 we find Jesus saying:

“. . . I am the bread of life. Your ancestors ate the manna in the wilderness, yet they died. But here is the bread that comes down from heaven, which anyone may eat and not die. I am the living bread that came down from heaven. Whoever eats this bread will live for ever. This bread is my flesh, which I will give for the life of the world.”

In the wilderness the Lord’s people had to trust God daily for their bread. Each day just enough manna was given to sustain them. Whilst we don’t live in a physical desert, in spiritual terms we in are in a wilderness. As Michael Card puts it in his song, In the Wilderness:

Groaning and growing
Amidst the desert days
The windy winter wilderness
Can blow the self away

In the wilderness
In the wilderness
He calls His sons and daughters
To the wilderness

When we look to God for our daily bread, in prayer, it is wise to remember that everyday we need both a physical meal and a spiritual one. We need Christ, our living bread come down from heaven daily.

In remembering Christ when we share bread and wine, we re-member—we join afresh as one. This is a way in which we, as Paul instructs us, ‘always keep on praying for all the Lord’s people’, we go beyond prayer to the physical enactment of a remarkable truth. We are all joined as one body through Christ.

The Land of Spices
The Spice Islands are in a remote part of Indonesia. For centuries Europeans did not know where nutmeg came from just that it came a long way along trade routes from the Far East. In the 16th Century, sailors from multiple nations died in the spice race to find the origin of nutmeg and other exotic spices. The Portuguese got there first, and then the English and Dutch muscled them out. According to the diaries of 16th century sailors and traders they could smell the spice islands before they saw them.

In a sense prayer is the land of spices in that, at its best, we feel a connection with Christ. That sense of peace, that passes all understanding. The still voice of God. Only the poetic can attempt to grasp something of this mystery. Sometimes it’s as if we are for a moment on the verge of heaven. We can almost taste it. We can almost smell it.

‘Praying in the Spirit on all occasions, with kinds of prayer and requests’, can make us feel close to God. We need to heed Paul’s call to alertness. This is the same call ‘to stand’ that the armour of God, in the previous verses, addresses. It’s the same message of readiness and preparedness for the coming Kingdom found in so many of Jesus’ parables.

Our prayer might often be about asking, but its real blessing is simply relationship with God through Christ. This relationship is for us as individuals and especially for us together. It’s our way of re-membering—our connecting to Christ, our head, in whom we have salvation. Such fruit arises through Christ. Elsewhere (2 Corinthians 2:14–16) when we read Paul we might imagine that fruit is like nutmeg:

But thanks be to God, who always leads us as captives in Christ’s triumphal procession and uses us to spread the aroma of the knowledge of him everywhere. For we are to God the pleasing aroma of Christ among those who are being saved and those who are perishing. To the one we are an aroma that brings death; to the other, an aroma that brings life. And who is equal to such a task?

It can only be done in the Spirit, in Christ. And so:

. . . pray in the Spirit on all occasions with all kinds of prayers and requests. With this in mind, be alert and always keep on praying

Cohen’s ‘If It Be Your Will’: Song, Prayer, Psalm

Leonard Cohen described If It Be Your Will ‘as more of a prayer’ than a song during his introduction to its performance by the Webb Sisters and Neil Larson. Here I suggest that it is not only a prayer but more specifically a psalm.

Even the title is highly suggestive of a key feature of psalmody—an absolute trust in God. As the song unfolds this trust, we see that this commitment to God is founded in a creature-Creator relationship, as the singer’s finitude is sublimely conveyed:

If it be your will, that I speak no more
And my voice be still, as it was before

The frailty of the singer is in little doubt given their own metaphorical claim to be a ‘broken hill’. Is it pushing our reflection too far to imagine this as an oblique reference and contrast to the ‘holy hill’ (Psalm 2:6; 3:4; 15:1; 24:3; 43:3 and 78:54) of the Psalter? Beyond the trust and frailty, we also have a subtle undertone of accusation. For all the trust implicit and explicit in the biblical psalms the psalmist is not slow in challenging Yahweh. Here, likewise, Cohen questions with the very refrain, ‘If it be your will’. This is no fatalistic trust in the deity but a relationship and commitment-based questioning:

If it be your will, that a voice be true

Of course, poetry has an immense capacity for polyvalence and here there is a welcome poignant ambiguity. Undoubtedly other readings are possible. We are on firm ground when we note that some of the language of this song is undoubtedly redolent of the Psalms. For example, we cannot miss the allusion to Psalm 98:8:

Let the rivers fill, let the hills rejoice

The specific focus of this prayer, mercy, is also a key aspect of the biblical psalms. Cohen’s psalm is, like many of its Hebrew progenitors, a plea for mercy:

If it be your will, if there is a choice
Let your mercy spill
On all these burning hearts in Hell
If it be your will, to make us well

Interestingly here in Cohen’s work the call for mercy is for others, and not for himself. Of the 29 calls for mercy, I can find in the Psalter, all but four (Psalm 79:8; 106:46; 123:2 and 3) are prayers prayed by the psalmist for his own deliverance, like that most famously found in Psalm 51:

Have mercy on me, O God, according to your unfailing love
Psalm 51:1a, NRSV

The poetic plea also challenges the conventional notion of hell. It appears that Cohen sees many in this world in need of a deliverance from an all too tangible place of suffering. This adds to the difficulty in pinning down the polarities of trust and challenge—perhaps, like in the Psalter and throughout the Hebrew Bible, these are not polarities at all but concomitant in the God-given grace of a relationship between creature and Creator.

On another occasion when he performed this song, Cohen refers to humanity as ‘creatures of a higher order’. He is, however, under no illusion about the source of the suffering of those in earthly hell. For Cohen, just as we creatures reflect something of our Creator in our ‘rags of light’ so these same clothes make us ‘dressed to kill’ in the worst sense.

Cohen’s poem stands in the firmest of biblical traditions—there is profound questioning here as well as ultimately a willingness to surrender in trust—a response that reflects the creature-Creator relationship. Both Job and Jesus have gone before on this precarious path as illustrated here as we close with three parallel statements:

See, I am of small account; what shall I answer you?
I lay my hand on my mouth.
Job 40:4, NRSV

“My Father, if it is possible, let this cup pass from Me;
yet not as I will, but as You will.”
Matthew 26:39b, NRSV

If it be your will, that I speak no more;
And my voice be still, as it was before.
I will speak no more, I shall abide until;
I am spoken for, if it be your will.
If It Be Your Will, Leonard Cohen

George Herbert and the Psalms

Regular readers of this blog will probably be aware that the penitential psalms (Psalms 6, 32, 38, 51, 102, 130 and 143) have featured prominently here over the past year, or so. This is because of an ongoing project on these psalms. As I have spent time with these seven psalms I have become increasingly surprised at their generative potential in literature, liturgy, poetry, music, politics, and preaching. George Herbert (1593–1633) was an Anglican poet-priest and contributed, in his short life, to most of the aforementioned arenas. The Psalter appears to have been a major source of inspiration. More specifically, the language of the penitential psalms, and the traditional penitential lens through which they are read, seems to lie behind much of his work too.

This short post is an encouragement to reflect on one poem and one poetic verse from Herbert’s pen which both respond to the Psalms. The aim is primarily to celebrate his poetry, albeit in just 83 words, on the day he is remembered in the liturgy. A second aim is a nod to the profoundly generative spirit of the psalms that has provided us with such a cloud of witnesses—an unceasing testimony of praise to celebrate and perpetuate that already found in the two testaments.

At the risk of straying from delight to dissection I will say a little about Herbert’s two pieces of verse. The first, Bitter-sweet, captures the life of faith and its two poles of complaint and praise. Whilst scholars have spilt much ink over such matters none can match this short poem’s sublime portrait of psalm-like trust. It is a sublime microcosm of the Psalter in both form and content.

Bitter-sweet.
Ah my deare angrie Lord,
Since thou dost love, yet strike;
Cast down, yet help afford;
Sure I will do the like.

I will complain, yet praise;
I will bewail, approve:
And all my sowre-sweet dayes
I will lament, and love.

The second piece, the first of some thirteen verses, grasps the gasps of the penitential psalmist. Though as short as the above, it is redolent with the seven psalms. We find the metaphorical travails of the penitent (Pss. 6:7; 32:3; 38:7; 51:8), their sense of distance from God (38:9; 102:2; 130:5–6; 143:7), and their all-encompassing day and night waiting for the living God of the penitential psalms (Pss. 6:6; 32:4; 130:6).

Home.
Come Lord, my head doth burn, my heart is sick,
While thou dost ever, ever stay:
Thy long deferrings wound me to the quick,
My spirit gaspeth night and day.
O show thy self to me,
Or take me up to thee!

Perhaps the choice of the 27th February to celebrate Herbert and his place in the season of Lent (most years at least) is a fitting one?

Malcolm Guite’s ‘David’s Crown’: A Review

Malcolm Guite, David’s Crown: Sounding the Psalms, Norwich: Canterbury Press, 2021

Malcolm Guite conceived and wrote this book during the earliest months of the pandemic. There is an irony in this origin, for corona, a word that had eluded most of us until a year ago, can refer to a crown or coronet of poems. These 150 poems are a collection—one poem per psalm. They also combine to form a single poem. A 2,250-line epic which is greater than the sum of its parts. It is a majestic response to the biblical Psalter, the original Davidic corona.

 

The Psalter comprises poems of very different lengths. The longest, Psalm 119, is around 200 times longer that the shortest, Psalm 117. Here in David’s Crown Guite adopts a poetic convention such that each poem is the same length and of the same form. In honour of the canonical crown each of his responses has fifteen lines, a nod to the 150 psalms. He also adopts another convention in following John Donne who linked seven poems, each adopting as its first line the last one of the previous poem. This is more than a clever and arbitrary stylistic whim. This convention celebrates another feature of the Psalter, the pairing of each psalm with its neighbours. The resulting concatenation within the Psalter is achieved in more complex ways than in Guite’s response—it includes various devices such as keywords pairs, repeated phrases, alternating patterns of day and night, matching interests and/or theological progression. As Paula Gooder reminds us in the introduction to David’s Crown, the Psalms also have a narrative that ties and binds them together. This can be seen as a journey of petition down to, and through, the low of Psalm 88, followed by a gentling rising path of praise. This culminates with Psalm 150’s unabandoned doxology.

The story within the Psalter is also the narrative of the Davidic kings and God’s kingship. Guite’s response reveals this story with a thoroughgoing Christian reading—this might be David’s Crown but in the 150 episodes we find Christ eclipsing David. This interpretive lens is, of course, that made by the Second Testament and many of the Church Fathers, including most notably Augustine and his interpretive paradigm of the total Christ (totus Christus). As Guite puts it, his work forms ‘a chaplet of praise to garland the head of the one who wore the Corona Spinea, the crown of thorns for us, and who has suffered with us through the corona pandemic [p.xv].’

So far, so good, this collection has a form that both echoes the 150 psalms it celebrates and has a coherent and insightful form. Is the execution as good as the conception? In short, the answer is a resounding yes. Each response is a delight in its own right. Doubtless readers will have different favourites. I particularly enjoyed the reflection on Psalm 39 because of its playful allusion to Leonard Cohen’s famous proverb about light and cracks. The response to Psalm 118, despite its brevity before its subject, works with many of the ideas and words found there in a beautiful fresh way. The 125th meditation is poignant, it is a prayer dedicating the collection as a thanksgiving offering. If each poem is a delight, then the whole can only be described as sublime. The single-minded form does not wear thin but rather provides a sort of theological and Christological perpetual motion—one reaches the end only to find that the last line of Psalm 150 provides the opening to the collection.

Guite explains that this is a response to the Coverdale version of the Psalms from the Book of Common Prayer. This is evident in the Latin headings to each poem and frequently in the language of the compositions. Nevertheless, is very much a contemporary poetry collection, it just knows how to cherish light from the past. There are allusions, both explicit and implicit, to the likes of John Donne, Julian of Norwich, John Bunyan, William Blake, Gregorio Allegri and Robert Alter. This peppering of imbibers and interpreters reminds us that behind these poems lie not just the ancient Psalms themselves but an age of their inspirational legacy—more profoundly still we perceive the Spirit breathing across some three millennia.

If you love the Psalter and enjoy poetry you will cherish David’s Crown:

So come and bring him all your nights and days,
And come into his courts with joyful song,
Come to the place where every breath is praise [p.150].

 

 

 

The Gospel of Eve: A Novel by Rachel Mann

Rachel Mann, The Gospel of Eve, Darton, Longman and Todd, 2020

I was fortunate enough to receive a review copy of The Gospel of Eve. It is set in Littlemore Theological College, a fictional Anglican seminary just outside Oxford. The story takes place in the late 1990s, but it is narrated by Catherine Bolton in the present. Kitty, as she is known by her friends, joined Littlemore after completing a PhD in Medieval History at the University of Lancaster. The story concerns the first few months of Kitty’s time at the college and her relationship with five fellow ordinands, including the almost titular Evie. The apparent suicide of Evie is revealed in the first line of the prologue. Right from the outset the reader knows that her death not only drives the narrative but that this terrible event has ongoing consequences for Kitty.

This review will not give away anything further concerning the plot—this is vital, as one of the delights of this novel is that as it unfolds the reader must continually adjust their assessment of where the narrative will take them. The Gospel of Eve is beautifully written. College life and the broader context of Oxford are both captured with engaging effortlessness. It is a small detail—and difficult to explain—but Mann has a real gift for naming characters, contributing to the ease with which the minor players crystallise in their respective roles. The main characters are thoroughly three-dimensional in their complexity. There is not so much character development, as a chapter-by-chapter revelation of who they are. All of this works to make the central, and it must be said remarkable, plot development credible.

So much for the form, what of the content? Whilst this is certainly a novel that can just be read as an engaging page-turner it offers rather more than this. Barely below the surface lie the serious challenges posed by human frailty, all brought to life in what can only be described as a rich intertextuality. There are literary connections to theology, Church history, famous literary Oxfordians, and Dostoevsky. The religious literature of the Middle Ages occupies pride of place, and it functions on a number of levels. The three parts of the book each open with a short quote from medieval literature, and we soon realise that the frequent mention of the likes of Piers Plowman, Margery Kempe and Chaucer are not just incidental details of Kitty’s life. The love of literature is felt profoundly throughout, only to intensify in the story’s denouement. The most impressive aspect of this prevalent intertextuality is that there is no artifice only effortless flowing prose.

If the intertextual insights cast light it is all too often on the darkness of human aspiration and desire. All the characters in the story have embarked on laudable quests. For Kitty and her friends this is the wish to become closer to God and to minister to others. Indeed, at times, they come across as set apart from the rest of the college in their priestly calling. In the case of Professor Albertus Loewe, a donnish key influence on the six ordinands, his task is the formation of the next generation of clergy which includes the inculcation of a love of religious literature. Yet, we find that these positive pursuits are all, without exception, tainted in very different ways by the hardening of virtue with human obsession. This novel offers no simple answers to the human condition. What good novel does? Instead the reader has to decide for themselves what to make of the rich interplay between the story of the first Eve, the fate of Evie, and the lives of so many other Eves.

 

Children and Heirs of God

A reflection on Psalm 148, Luke 2:36–40 and Galatians 4:4–7.

Anna the daughter of Phanuel makes the briefest of appearances in the Bible, in what we call the Christmas story. Only here in Luke’s gospel do we meet her and get the briefest insight into who she is. One of the remarkable things we find out, in this small window on the life of a widow, is that she lived in lockdown.

For us lockdown has mostly, perhaps entirely, negative connotations. Being stuck largely within the confines of a single building with all the freedoms we normally taken for granted removed is painfully restrictive. Unlike us, Anna chose lockdown. Perhaps her humble circumstances as a widow helped her make the choice. Perhaps she just wanted a life of devotion to the living God of Israel.

Her confines were larger than ours—the parts of the temple complex she was allowed in were a lot bigger than a typical modern house and garden. Nevertheless, choosing such confinement seems odd to us. In church history others have followed Anna’s lead. There have been countless individuals and communities who have renounced normality, if there is such a thing. Many have chosen lockdown, or confinement in one place.

Julian of Norwich is possibly the most famous example. She lived in a single room within a Parish church (now St. Julian’s Church) for more than 20 years, until her death around 1416. She was what is known as an anchorite —someone so anchored to Christ that they choose to anchor themselves to a single place as an act of extreme devotion. So serious was this act of confinement in the Middle Ages that Julian had the last rites read for her before being ‘locked down’—she was literally dead to her old life. Like Anna her experience was not total self-isolation, for both Julian and Anna were judged prophets—they had a ministry to others.

After nine months of the Hokey Cokey (or Hokey Pokey) of lockdowns—national and local—we probably don’t have the metal bandwidth to consider such confinement as a choice. But for Anna, and Julian, this was the exact point of their lockdown. It was not just a life choice but was the way they felt best able to honour the living God. We perhaps dismiss the likes of Anna, before giving serious thought to their singular commitment to recognise the worship of God in Christ as a priority that eclipses all others.

Many Christian confessions describe the purpose of humanity as the unceasing praise of the living God through Christ. For example, the Shorter Catechism of the Westminster Confession of Faith opens with the assertion that:

Man’s chief end is to glorify God, and to enjoy him for ever.

This sits well with the singular abandoned praise of Psalm 148. It chimes with the choice of Anna to live in the Temple grounds. It fits with the brave decision of countless men and women who have renounced everything for Christ.

Putting the words in a more modern vain:

Humankind’s chief end is to glorify God, and to enjoy him for ever.

This is certainly where things started in Eden and where they end in the Book of Revelation. In living in between, most of us don’t adopt the singlemindedness of Anna. She gave up distractions, whereas we have more than ever. And clearly this cannot be the normal call for all of us who know Jesus as saviour and lord. We would, however, do well to be inspired by Anna’s commitment and we should head the remarkable insight she is given about Jesus as the basis for the redemption of Jerusalem. Her insight might at first sound parochial—the redemption of the city, the place of her lockdown—but she perceived the bigger picture. For this child opens the way to the heavenly city, the New Jerusalem, the New Heaven and the New Earth. This will be a place for day and night worship for all. Where there will be no more distraction from our primary calling.

Anna understood that the fullness of time had come. She understood that the child, Jesus, born of a woman and under the law was a gateway to redemption. Paul, writing from the other side of cross and resurrection explains this further: We are, in Christ, made children of God. Of course, we were originally made as God’s children, but we need to be adopted once again because of our waywardness and distraction. In the new relationship found through Jesus Christ we are restored to our original relationship with the Father. Our Father can once again look upon us with delight, as our opposition to him, that comes all too easily, is taken from us in Christ.

Contrary to what you might have heard, Abba is not Aramaic for Daddy. The word is far richer than this. It has all the intimacy of Daddy but at the same time the recognition of absolute Fatherly authority. This richer meaning of the word Abba is the heart of the gospel. It is the four-letter appellation for God that captures the mystery of the creator God in all his majesty and glory who has nevertheless adopted us in a father-child relationship.

We don’t tend to enjoy having authorities over us. We might well feel we are slaves to our government’s laws, restrictions, and guidance, to the point where for the first time we think consciously on a daily basis about such matters.

Such slavery, if that’s what it is, pales into insignificance before the slavery that is the human condition. Without Jesus Christ, and our newfound adoption, we would be slaves to sin and slaves to death. Whilst we still sin, and we will die, we are now slaves to neither. Neither sin nor death bars us from an eternity with Abba Father. We know Christ crucified, who put an end to the slavery of both sin and death. We have seen Christ resurrected as the promise of this reality.

As Galatians 4:7 says:

So you are no longer a slave but a child, and if a child then also an heir, through God. [NRSV]

What did Anna inherit? What did Julian of Norwich inherit? What have we inherited? The same things as one another! Namely the steadfast hope of an eternity with our Father. We should rejoice here and now. We should avoid being distracted from both worshipping him and acknowledging his lordship. And yet our present reality pales before that day of glory when the one born of a woman, and born under the law, returns in splendour. God’s firstborn enables us all to be children and heirs.