Читать книгу Expositor's Bible: The Gospel of St Luke - Henry Burton, Henry Burton - Страница 3

Unlike modern church builders, St. Luke sets his chancel by the porch. No sooner have we passed through the vestibule of his Gospel than we find ourselves within a circle of harmonies. On the one side are Zacharias and Simeon, the one chanting his Benedictus, and the other his Nunc Dimittis. Facing them, as if in antiphon, are Elisabeth and Mary, the one singing her Beatitude, and the other her Magnificat; while overhead, in the frescoed and star-lighted sky, are vast multitudes of the heavenly host enriching the Advent music with their Glorias. What means this grand irruption of song? and why is St. Luke, the Gentile Evangelist, the only one who repeats to us these Hebrew psalms? At first it would seem as if their natural place would be as a prelude to St. Matthew's Gospel, which is the Gospel of the Hebrews. But strangely enough, St. Matthew passes them by in silence, just as he omits the two angelic visions. St. Matthew is evidently intent on one thing. Beginning a New Testament, as he is, he seems especially anxious that there shall be no rent or even seam between the Old and the New; and so, in his first pages, after giving us the genealogy, running the line of descent up to Abraham, he laces up the threads of his narrative with the broken-off threads of the old prophecies, so that the written Word may be a vestment of the Incarnate Word, which shall be "without seam, woven from the top throughout." And so really the Advent hymns would not have suited St. Matthew's purpose. Their ring would not have been in accord with the tone of his story; and had we found them in his first chapters, we should instinctively have felt that they were out of place, as if we saw a rose blossoming on a widespread oak.

St. Luke, however, is portraying the Son of man. Coming to redeem humanity, he shows how He was first born into that humanity, making His advent in a purely human fashion. And so the two conceptions form a fit beginning for his Gospel; while over the Divine Birth and Childhood he lingers reverently and long, paying it however, only the homage Heaven had paid it before. Then, too, was there not a touch of poetry about our Evangelist? Tradition has been almost unanimous in saying that he was a painter; and certainly in the grouping of his figures, and his careful play upon the lights and shadows, we can discover traces of his artistic skill, in word-painting at any rate. His was evidently a soul attuned to harmonies, quick to discern any accordant or discordant strains. Nor must we forget that St. Luke's mind is open to certain occult influences, whose presence we may indeed detect, but whose power we are not able to gauge. As we have already seen, it was the manifold narratives of anonymous writers that first moved him to take up the pen of the historian; and to those narratives we doubtless owe something of the peculiar cast and colouring of St. Luke's story. It is with the Nativity that tradition would be most likely to take liberties. The facts of the Advent, strange enough in themselves, would at the hands of rumour undergo a process of developing, like the magnified and somewhat grotesque shadows of himself the traveller casts on Alpine mists. It was doubtless owing to these enlargements and distortions of tradition that St. Luke was led to speak of the Advent so fully, going into the minutiæ of detail, and inserting, as is probable, from the Hebrew tone of these first two chapters, the account as given orally, or written, by some members of the Holy Family.

It must be admitted that to some inquiring and honest minds these Advent psalms have been a difficulty, an enigma, if not a stumbling-block. As the bells that summon to worship half-deafen the ear of the worshipper on a too near approach, or they become merely a confused and unmeaning noise if he climbs up into the belfry and watches the swing of their brazen lips, so this burst of music in our third Gospel has been too loud for certain sensitive ears. It has shaken somewhat the foundations of their faith. They think it gives an unreality, a certain mythical flavour, to the story, that these four pious people, who have always led a quiet, prosaic kind of life, should now suddenly break out into impromptu songs, and when these are ended lapse again into complete silence, like the century plant, which throws out a solitary blossom in the course of a hundred years. And so they come to regard these Hebrew psalms as an interpolation, an afterthought, thrown into the story for effect. But let us not forget that we are dealing now with Eastern mind, which is naturally vivacious, imaginative, and highly poetical. Even our colder tongue, in this glacial period of nineteenth-century civilization, is full of poetry. The language of common every-day life – to those who have ears to hear – is full of tropes, metaphors, and parables. Take up the commonest words of daily speech, and put them to your ear, and they will sing like shells from the sea. There are whole poems in them – epics, idylls, of every sort; and let our colder speech get among the sweet influences of religion, and like the iceberg adrift in the Gulf Stream, it loses its rigidity and frigidity at once, melting in liquid, rhythmic measures, throwing itself away in hymns and jubilates. The fact is, the world is full of music. As the Sage of Chelsea said, "See deep enough, and you see musically, the heart of Nature being everywhere music if you can only reach it." And it is so. You can touch nothing but there are harmonies slumbering within it, or itself is a stray note of some grander song. Dead wood from the forest, dead ore from the mine, dead tusks of the beast – these are the "base things" that strike our music; and only put a mind within them, and a living soul with a living touch before them, and you have songs and anthems without number.

But to Eastern minds poetry was a sort of native language. Its inspiration was in the air. Their ordinary speech was ornate and efflorescent, throwing itself out in simile and hyperbole. It only needed some small excitement, and they fell naturally into the couplet form of utterance. Even to-day the children swing under the mulberry-trees to songs and choruses; hucksters extol their wares in measured verse; and the Bethany fruit-girl sings in the market, "O lady, take of our fruit, without money and without price: it is yours; take all that you will"! And so it need not surprise us, much less trouble us, that Simeon and Elisabeth, Zacharias and Mary, should each speak in measured cadences. Their speech blossomed with flowers of rhetoric, just as naturally as their hills were ablaze with daisies and anemones. Besides, they were now under the direct inspiration of the Holy Spirit. We read, "Elisabeth was filled with the Holy Ghost;" and again, Zacharias was "filled with the Holy Ghost;" Simeon "came in the Spirit into the Temple;" while Mary now seemed to live in one conscious, constant inspiration. It is said that "a poet is born, not made;" and if he be not thus "free-born" no "great sum," either of gold or toil, will ever pass him up within the favoured circle. And the same is true of the poet's creations. Sacred hymns are not the product of the unaided intellect. They do not come at the bidding of any human will. They are inspirations. There is the overshadowing of the Holy Spirit in their conception. The human mind, heart, and lips are but the instrument, a kind of Æolian lyre, played upon by the Higher Breath, which comes and goes – how, the singer himself can never tell; for

It was when "filled with the Spirit" that Bezaleel put into his gold and silver the thoughts of God; it was when the Spirit of God came upon him that Balaam took up his parable, putting into stately numbers Israel's forward march and endless victories. And so the sacred psalm is the highest type of inspiration; it is a voice from no earthly Parnassus, but from the Mount of God itself – the nearest approach to the celestial harmonies, the harmonies of that city whose very walls are poetry, and whose gates are praise.

And so, after all, it was but fitting and perfectly natural that the Gospel that Heaven had been so long time preparing should break upon the world amid the harmonies of music. Instead of apologizing for its presence, as if it were but an interlude improvised for the occasion, we should have noted and mourned its absence, as when one mourns for "the sound of a voice that is still." When the ark of God was brought up from Baale Judah it was encircled with one wide wreath of music, a travelling orchestra of harps and psalteries, castanets and cymbals; and as now that Ark of all the promises is borne across from the Old to the New Dispensation, as the promise becomes a fulfilment, and the hope a realization, shall there not be the voice of song and gladness? Our sense of the fitness of things expects it; Heaven's law of the harmonies demands it; and had there not been this burst of praise and song, we should have listened for the very stones to cry out, rebuking the strange silence. But the voice was not silent. The singers were there, in their places; and they sang, not because they would, but because they must. A heavenly pressure, a sweet constraint, was upon them. If Wealth lays down her tribute of gold, with frankincense and myrrh, Poetry weaves for the Holy Child her beautiful songs, and crowns Him with her fadeless amaranth; and so around the earthly cradle of the Lord, as around His heavenly throne, we have angelic songs, and "the voices of harpers, harping with their harps."

Turning now to the four Gospel-psalmists – not, however, to analyze, but to listen to their song – we meet first with Elisabeth. This aged daughter of Aaron, and wife of Zacharias, as we have seen, resided somewhere in the hill-country of Judæa, in their quiet, childless home. Righteous, blameless, and devout, religion to her was no mere form; it was her life. The Temple services, with which she was closely associated, were to her no cold clatter of dead rites; they were realities, full of life and full of music, as her heart had caught their deeper meaning. But the Temple, while it attracted her thoughts and hopes, did not enclose them; its songs and services were to her but so many needles, swinging round on their marble pivot, and pointing beyond to the Living God, the God who dwelt not in temples made with hands, but who, then as now, inhabits the purified temple of the heart. Long past the time when motherly hopes were possible, the fretting had subsided, and her spirit had become, first acquiescent, then quiescent. But these hopes had been miraculously rekindled, as she slowly read the vision of the Temple from the writing-table of her dumb husband. The shadow of her dial had gone backward; and instead of its being evening, with gathering shadows and ever-lessening light, she found herself back in the glow of the morning, her whole life lifted to a higher level. She was to be the mother, if not of the Christ, yet of His forerunner. And so the Christ was near at hand, this was certain, and she had the secret prophecy and promise of His advent. And Elisabeth finds herself exalted – borne up, as it were, into Paradise, among visions and such swells of hosannas that she cannot utter them; they are too sweet and too deep for her shallow words. Was it not this, the storm of inward commotion, that drove her to hide herself for the five months? Heaven has come so near to her, such thoughts and visions fill her mind, that she cannot bear the intrusions and jars of earthly speech; and Elisabeth passes into a voluntary seclusion and silence, keeping strange company with the dumb and deaf Zacharias.

At length the silence is broken by the unexpected appearance of her Nazareth relative. Mary, fresh from her hasty journey, "entered into the house of Zacharias and saluted Elisabeth." It is a singular expression, and evidently denotes that the visit of the Virgin was altogether unlooked for. There is no going out to meet the expected guest, as was common in Eastern hospitalities; there was even no welcome by the gate; but like an apparition, Mary passes within, and salutes the surprised Elisabeth, who returns the salutation, not, however, in any of the prescribed forms, but in a benediction of measured verse: —

The whole canticle – and it is Hebrew poetry, as its parallelisms and strophes plainly show – is one apostrophe to the Virgin. Striking the key-note in its "Blessed art thou," the "thou" moves on, distinct and clear, amid all variations, to the end, reaching its climax in its central phrase, "The mother of my Lord." As one hails the morning star, not so much for its own light as for its promise of the greater light, the dayspring that is behind it, so Elisabeth salutes the morning star of the new dawn, at the same time paying homage to the Sun, whose near approach the star heralds. And why is Mary so blessed among women? Why should Elisabeth, forgetting the dignity of years, bow so deferentially before her youthful relative, crowning her with a song? Who has informed her of the later revelation at Nazareth? It is not necessary to suppose that Elisabeth, in her seclusion, had received any corroborative vision, or even that she had been supernaturally enlightened. Had she not the message the angel delivered to Zacharias? and was not that enough? Her son was to be the Christ's forerunner, going, as the angel said, before the face of "the Lord." Three times had the angel designated the Coming One as "the Lord," and this was the word she had carried with her into her seclusion. What it meant she did not fully understand; but she knew this, that it was He of whom Moses and the prophets had written, the Shiloh, the Wonderful; and as she put together the detached Scriptures, adding, doubtless, some guesses of her own, the Christ grew as a conception of her mind and the desire of her heart into such colossal proportions that even her own offspring was dwarfed in comparison, and the thoughts of her own maternity became, in the rush of greater thoughts, only as the stray eddies of the stream. That such was the drift of her thoughts during the five quiet months is evident; for now, taught of the Holy Ghost that her kinswoman is to be the mother of the expected One, she greets the unborn Christ with her lesser Benedictus. Like the old painters, she puts her aureole of song around the mother's head, but it is easy to see that the mother's honours are but the far-off reflections from the Child. Is Mary blessed among women? it is not because of any wealth of native grace, but because of the fruit of her womb. Does Elisabeth throw herself right back in the shade, asking almost abjectly, "Whence is this to me?" it is because, like the centurion, she feels herself unworthy that even the unborn "Lord" should come under her roof. And so, while this song is really an ode to the Virgin, it is virtually Elisabeth's salute of the Christ who is to be, a salute in which her own offspring takes part, for she speaks of his "leaping" in her womb, as if he were a participant in her joy, interpreting its movements as a sort of "Hail, Master!" The canticle thus becomes invested with a higher significance. Its words say much, but suggest more. It carries our thought out from the seen to the unseen, from the mother to the Holy Child, and Elisabeth's song thus becomes the earliest "Hosannah to the Son of David," the first prelude to the unceasing anthems that are to follow.

It will be observed that in the last line the song drops out of the first and the second personals into the third. It is no longer the frequent "thy," "thou," "my," but "she: " "Happy is she that believed." Why is this change? Why does she not end as she began – "Happy art thou who hast believed"? Simply because she is no longer speaking of Mary alone. She puts herself as well within this beatitude, and at the same time states a general law, how faith ripens into a harvest of blessedness. The last line thus becomes the "Amen" of the song. It reaches up among the eternal "Verilies," and sets them ringing. It speaks of the Divine faithfulness, out of which and within which human faith grows as an acorn within its cup. And who could have better right to sing of the blessedness of faith, and to introduce this New Testament grace – not unknown in the Old Testament, but unnamed – as she who was herself such an exemplification of her theme? How calmly her own heart reposed on the Divine word! How before her far-seeing and foreseeing vision valleys were exalted, mountains and hills made low, that the way of the Lord might appear! Elisabeth sees the unseen Christ, lays before Him the tribute of her song, the treasures of her affection and devotion; even before the Magi had saluted the Child-King, Elisabeth's heart had gone out to meet Him with her hosannas, and her lips had greeted Him "My Lord." Elisabeth is thus the first singer of the New Dispensation; and though her song is more a bud of poetry than the ripe, blossomed flower, enfolding rather than unfolding its hidden beauties, it pours out a fragrance sweeter than spikenard on the feet of the Coming One, while it throws around Him the purple of new royalties.

Turning now to the song of Mary, our Magnificat, we come to poetry of a higher order. Elisabeth's introit was evidently spoken under intense feeling; it was the music of the storm; for "she lifted up her voice with a loud cry." Mary's song, on the other hand, is calm, the hymn of the "quiet resting-place." There is no unnatural excitement now, no inward perturbation, half mental and half physical. Mary was perfectly self-possessed, as if the spell of some Divine "peace" were upon her soul; and as Elisabeth's "loud cry" ceased, Mary "said" – so it reads – her response. But if the voice was lower, the thought was higher, more majestic in its sweep. Elisabeth's song was on the lower heights. "The mother of my Lord," this was its starting-place, and the centre around which its circles were described; and though its wings beat now and again against the infinities, it does not attempt to explore them, but returns timidly to its nest. But Elisabeth's loftiest reach is Mary's starting-point; her song begins where the song of Elisabeth ends. Striking her key-note in the first line, "The Lord," this is her one thought, the Alpha and Omega of her psalm. We call it the Magnificat; it is a Te Deum, full of suggested doxologies. Beginning with the personal, as she is almost compelled to do by the intense personality of Elizabeth's song, Mary hastes to gather up the eulogies bestowed upon herself, and to bear them forward to Him who merits all praise, as He is the Source of all blessing. Her soul "magnifies the Lord," not that she, by any weak words of hers, can add to His greatness, which is infinite, but even she may give the Lord a wider place within her thoughts and heart; and whoever is silent, her song shall make "the voice of His praise to be heard." Her spirit "hath rejoiced in God her Saviour," and why? Has He not looked down on her low estate, and done great things for her? "The bondmaid of the Lord," as she a second time calls herself, glorying in her bonds, such is her promotion and exaltation that all generations shall call her blessed. Then, with a beautiful effacement of self, which henceforth is not even to be a mote playing in the sunshine, she sings of Jehovah – His holiness, His might, His mercy, His faithfulness.

Mary's song, both in its tone and language, belongs to the Old Dispensation. Thoroughly Hebraic, and all inlaid with Old Testament quotations, it is the swan-song of Hebraism. There is not a single phrase, perhaps not a single word, that bears a distinctive Christian stamp; for the "Saviour" of the first strophe is the "Saviour" of the Old Testament, and not of the New, with a national rather than an evangelical meaning. The heart of the singer is turned to the past rather than to the future. Indeed, with the solitary exception, how all generations shall call her blessed, there is no passing glimpse into the future. Instead of speaking of the Expected One, and blessing "the fruit of her womb," her song does not even mention Him. She tells how the Lord hath done great things for her, but what those "great things" are she does not say; she might, as far as her own song tells us, be simply a later Miriam, singing of some family or personal deliverance, a salvation which was one of a thousand. A true daughter of Israel, she dwells among her own people, and her very broadest vision sees in her offspring no world-wide blessing, only a Deliverer for Israel, His servant. Does she speak of mercy? it is not that wider mercy that like a sea laves every shore, bearing on its still bosom a redeemed humanity; it is the narrower mercy "toward Abraham and his seed for ever." Mary recognizes the unity of the Godhead, but she does not recognize the unity, the brotherhood of man. Her thought goes back to "our fathers," but there it halts; the shrunken sinew of Hebrew thought could not cross the prior centuries, to find the world's common father in Paradise. But in saying this we do not depreciate Mary's song. It is, and ever will be, the Magnificat, great in its theme, and great in its conception. Following the flight of Hannah's song, and making use of its wings at times, it soars far above, and sweeps far beyond its original. Not even David sings of Jehovah in more exalted strains. The holiness of God, the might supreme above all powers, the faithfulness that cannot forget, and that never fails to fulfil, the Divine choice and exaltation of the lowly – these four chief chords of the Hebrew Psalter Mary strikes with a touch that is sweet as it is clear.

Mary sang of God; she did not sing of the Christ. Indeed, how could she? The Christ to be was part of her own life, part of herself; how could she sing His praise without an appearance of egotism and self-gratulation? There are times when silence is more eloquent than speech; and Mary's silence about the Christ was but the silence of the winged cherubim, as they bend over the ark, beholding and feeling a mystery they can neither know nor tell. It was the hush inspired by a near and glorious presence. And so the Magnificat, while it tells us nothing of the Christ, swings our thoughts around towards Him, sets us listening for His advent; and Mary's silence is but the setting for the Incarnate WORD.

The song of Zacharias follows that of Mary, not only in the order of time, but also in its sequence of thought. It forms a natural postlude to the Magnificat, while both are but different parts of one song, this earliest "Messiah." It is something remarkable that our first three Christian hymns should have their birth in the same nameless city of Judah, in the same house, and probably in the same chamber; for the room, which now is filled with the priest's relatives, and where Zacharias breaks the long silence with his prophetic Benedictus, is doubtless the same room where Elisabeth chanted her greeting, and Mary sang her Magnificat. The song of Mary circled about the throne of Jehovah, nor could she leave that throne, even to tell the great things the Lord had done for her. Zacharias, coming down from his mount of vision and of silence, gives us a wider outlook into the Divine purpose. He sings of the "salvation" of the Lord; and salvation, as it is the key-note of the heavenly song, is the key-note of the Benedictus. Does he bless the Lord, the God of Israel? it is because He has "visited" (or looked upon) "His people, and wrought redemption for" them; it is because He has provided an abundant salvation, or a "horn of salvation," as he calls it. Has God remembered His covenant, "the oath He sware unto Abraham"? has He "shown mercy towards their fathers"? that mercy and faithfulness are seen in this wonderful salvation – a salvation "from their enemies," and "from the hand of all that hate" them. Is his child to be "the prophet of the Most High," going "before the face of the Lord," and making "ready His ways"? it is that he may "give knowledge of" this "salvation," in "the remission of sins." Then the psalm ends, falling back on its key-note; for who are they who "sit in darkness and the shadow of death," but a people lost? And who is the Day-spring who visits them from on high, who shines upon their darkness, turning it into day, and guiding their lost feet into the way of peace, but the Redeemer, the Saviour, whose name is "Wonderful"? And so the Benedictus, while retaining the form and the very language of the Old, breathes the spirit of the New Dispensation. It is a fragrant breeze, blowing off from the shores of a new, and now near world, a world already seen and possessed by Zacharias in the anticipations of faith. The Saviour whose advent the inspired priest proclaims is no mere national deliverer, driving back those eagles of Rome, and rebuilding the throne of his father David. He might be all that – for even prophetic vision had not sweep of the whole horizon; it only saw the little segment of the circle that was Divinely illumined – but to Zacharias He was more, a great deal more. He was a Redeemer as well as Deliverer; and a "redemption" – for it was a Temple word – meant a price laid down, something given. The salvation of which Zacharias speaks is not simply a deliverance from our political enemies, and from the hand of all that hate us. It was a salvation higher, broader, deeper than that, a "salvation" that reached to the profound depths of the human soul, and that sounded its jubilee there, in the remission of sin and deliverance from sin. Sin was the enemy to be vanquished and destroyed, and the shadow of death was but the shadow of sin. And Zacharias sings of this great redemption that leads to salvation, while the salvation leads into the Divine peace, to "holiness and righteousness," and a service that is "without fear."

The ark of Israel was borne by four of the sons of Kohath; and here this ark of song and prophecy is borne of four sweet singers, the sexes dividing the honours equally. We have listened to the songs of three, and have seen how they follow each other in a regular, rhythmic succession, the thought moving forward and outward in ever-widening circles. Where is the fourth? and what is the burden of his song? It is heard within the precincts of the Temple, as the parents bring the Child Jesus, to introduce Him to the visible sanctities of religion, and to consecrate Him to the Lord. It is the Nunc Dimittis of the aged Simeon. He too sings of "salvation," "Thy salvation" as he calls it. It is the "consolation of Israel" he has looked for so ardently and so long, and which the Holy Ghost had assured him he should behold before his promotion to the higher temple. But the vision of Simeon was wider than that of Zacharias, as that in turn was wider and clearer than the vision of Mary. Zacharias saw the spiritual nature of this near salvation, and he described it in words singularly deep and accurate; but its breadth he did not seem to realize. The theocracy was the atmosphere in which he lived and moved; and even his vision was theocratic, and so somewhat narrow. His Benedictus was for the "God of Israel," and the "redemption" he sang was "for His people." The "horn of salvation" is "for us;" and all through his psalm these first personal pronouns are frequent and emphatic, as if he would still insulate this favoured people, and give them a monopoly even of "redemption." The aged Simeon, however, stands on a higher Pisgah. His is the nearer and the clearer vision. Standing as he does in the Court of the Gentiles, and holding in his arms the Infant Christ, "the Lord's Christ," he sees in Him a Saviour for humanity, "the Lamb of God, who taketh away the sin of the world." Still, as ever, "the glory of God's people Israel," but likewise "a light for the unveiling of the Gentiles." Like the sentry who keeps watch through the night till the sunrise, Simeon has been watching and longing for the Day-spring from on high, reading from the stars of promise the wearing of the night, and with the music of fond hopes "keeping his heart awake till dawn of morn." Now at length the consummation, which is the consolation, comes. Simeon sees in the Child Jesus the world's hope and Light, a salvation "prepared before the face of all people." And seeing this, he sees all he desires. Earth can give no brighter vision, no deeper joy, and all his request is —

And so the four psalms of the Gospels form in reality but one song, the notes rising higher and still higher, until they reach the very pinnacle of the new temple – God's purpose and plan of redemption; that temple whose altar is a cross, and whose Victim is "the Lamb slain from the foundation of the world;" that temple where courts and dividing-lines all disappear; where the Holiest of all lies open to a redeemed humanity, and Jews and Gentiles, bond and free, old and young, are alike "kings and priests unto God." And so the Gospel psalms throw back, as it were, in a thousand echoes, the Glorias of the Advent angels, as they sing —

And what is this but earth's prelude or rehearsal for the heavenly song, as all nations, and kindreds, and peoples, and tongues, falling down before the Lamb in the midst of the throne, sing, "Salvation unto our God, which sitteth upon the throne, and unto the Lamb"?