Showing posts with label Devotions. Doctrine. Show all posts
Showing posts with label Devotions. Doctrine. Show all posts

Jul 14, 2010

Kisses sweeter than wine

It sounds like a line from a love-song and it is. You probably have it heard it somewhere, sometime. "Kisses Sweeter Than Wine" was first recorded by the Weavers in 1951 and later by Jimmie Rodgers, Eddy Arnold, Andy Williams, Jackson Browne and Waylon Jennings, among others. The chorus goes, "Uh, oh, she had kisses sweeter than wine."

The chorus of "This Magic Moment", another classic ballad, features a variation on the phrase. The singer recalls the first kiss with his beloved as being "sweeter than wine, softer than a summer's night." "This Magic Moment" was originally released by the Drifters in 1960 and later by Jay and the Americans, Diana Ross and Marvin Gaye, among others.


Who knows whether the writers of these American pop standards were consciously borrowing from the Bible, but it's hard not to hear an echo of the Song of Songs (also known as the Song of Solomon), verse 2: "Let him kiss me with the kisses of his mouth! For your love is better than wine." Verse 1 is the book's title: "The Song of Songs, which is Solomon's."

I opened our discussion of courtship and marriage for the youth with a meditation on the Song of Songs. Luz Maria got the idea for a series of such discussions after hearing rumors of many pregnant sixth-graders this year and learning that as of 2010, Venezuela has the highest rate of teenage pregnancies in Latin America, although teen pregnancies are increasing throughout the region.

The Song of Songs seemed appropriate to me, even though explaining its message in a simple manner posed a challenge. Franz Delitzsch, a German Lutheran scholar and theologian of Jewish descent, called it "the most obscure book in the Old Testament" and, in some ways it is. This is primarily because the Song of Songs is a lengthy poem consisting almost entirely of dialogue. The problem is that the text offers very few clues as to who is talking and when. It is as if the book of Job started right in with the debate over why the righteous suffer with no framing narrative about who Job was or what kind of predicament he was in, and with no phrases like, "Then Job said..." or "Then Elihu said..." or "Then the Lord spoke..." This has led to an abundance of speculation, much of it rather fanciful, about how many "voices" there are in the poem, who is speaking, and the details of the underlying narrative.
Capital from the Song of Solomon in Winchester...Image via Wikipedia
What is clear is that there are at least two speakers, a woman called "the Shulamite" (the Hebrew word appears in no other book of the Old Testament and might be a proper name) and a man, apparently King Solomon. The two express their feelings for each other over the course of a courtship, wedding and marriage, a relationship that is tested at every stage. Ultimately, however, the Song of Songs concludes with a triumphant reaffirmation of marital love and commitment (chapter 8, verses 5 to 7).

The Song of Songs is frankly sensual in its language. The writer is keenly attuned to colors, sounds, smells, textures and tastes. He (the first verse would indicate that Solomon himself wrote it) is deeply appreciative of the beauty of the human form as well as the corresponding beauties of nature and the landscapes of Palestine. Thus the Song of Songs may be read as an affirmation of the goodness of God's creation and of romantic love and marriage, and a corrective to the many Old Testament warnings against the temptations of the flesh.
But there is more to it than that. Since ancient times the Song of Songs has been interpreted a symbolic representation of the relationship between the Lord and His people. The traditional Jewish interpretation is that the Song of Songs is a picture of the history of Israel beginning with the Exodus, which is why to this day the Song of Songs is read in synagogues during Passover. Later Cbristian commentators would see the Shulamite as a symbol of the Church and her kingly bridegroom as Christ.

How is this connection made? The moral of the story in Song of Songs is that commitment plus fidelity equals a lasting relationship characterized by joy, contentment and complete trust in the beloved. This principle may not only be applied to the most intimate of human relationships, but also to relationship between God and His people. Hosea 2:16.20 makes this clear:

“And in that day, declares the LORD, you will call me ‘My Husband"...and I will betroth you to me forever. I will betroth you to me in righteousness and in justice, in steadfast love and in mercy. I will betroth you to me in faithfulness. And you shall know the LORD."

And again in Isaiah 54:5

"For your Maker is your husband, the LORD of hosts is His name; and the Holy One of Israel is your Redeemer, the God of the whole earth He is called."

On the negative side, not only does the Old Testament condemn the sexual immorality and perversion of the pagan world, but idolatry in itself is considered adultery. Jeremiah 3:1 says this: "You have played the whore with many lovers; and would you return to me? declares the LORD."

Given this theme of fidelity, it might seem inconsistent to identify the Shulamite's suitor as Solomon, since the historical books of the Old Testament tell of the king's many wives and concubines, and his eventual fall into idolatry. But not if Solomon is seen in a prophetic fashion as prefiguring another son of David who would bring justice and mercy to His people. In fact, Solomon is portrayed as a messianic figure in 2 Samuel 7:12–17, Psalm 72 and also in Matthew 12:42.

In the New Testament, St. Paul writes to the church in Corinth in 2 Corinthians 11:2-3, "I feel a divine jealousy for you, for I betrothed you to one husband, to present you as a pure virgin to Christ. But I am afraid that as the serpent deceived Eve by his cunning, your thoughts will be led astray from a sincere and pure devotion to Christ."

And in Ephesians 5:22-32, "Wives, submit to your own husbands, as to the Lord.For the husband is the head of the wife even as Christ is the head of the church, his body, and is himself its Savior. Now as the church submits to Christ, so also wives should submit in everything to their husbands. Husbands, love your wives, as Christ loved the church and gave himself up for her,that he might sanctify her, having cleansed her by the washing of water with the word, so that he might present the church to himself in splendor, without spot or wrinkle or any such thing, that she might be holy and without blemish. In the same way husbands should love their wives as their own bodies. He who loves his wife loves himself. For no one ever hated his own flesh, but nourishes and cherishes it, just as Christ does the church, because we are members of his body. Therefore a man shall leave his father and mother and hold fast to his wife, and the two shall become one flesh. This mystery is profound, and I am saying that it refers to Christ and the church."

Finally in Revelation 19:7-9, there is the triumphant vision of Christ, the Lamb of God, His bride, the Church, and the eternal wedding-feast:

"Let us rejoice and exult and give him the glory, for the marriage of the Lamb has come, and his Bride has made herself ready...And the angel said to me, “Write this: Blessed are those who are invited to the marriage supper of the Lamb.” And he said to me, “These are the true words of God.”

In conveying these ideas to the youth, it helped to point out how the Song of Solomon was the source of words and images in some of their favorite songs. For example, Song of Songs 2.4 says, "He brought me to the banqueting house, and his banner over me was love," while in chapter 6, verse 3, we read, "I am my beloved's and my beloved is mine." One of the songs that the children and youth really like to sing is called "Su Bandera sobre mi es amor" (His banner over me is love) and the first stanza is "I am Christ's and Christ is mine; His banner over me is love."

Likewise, in Song of Songs 2:1 we read, "I am the rose of Sharon; I am the lily of the valley." So in the song, "Cristo es la Peña de Horeb" (Christ is the Rock of Horeb), the second stanza goes, "Cristo es el lirio del valle de los flores, la Rosa pura y blanca de Sarón."

After the opening meditation and prayer, Luz Maria led the group in a discussion of what physical changes they could expect as they entered adolescence. and how that might affect their emotional, intellectual and social development. She talked about some of the immediate consequences of early pregnancy and the risk of sexually transmitted diseases, as well as the long-term consequences of becoming sexually active too soon and outside the bounds of matrimony.

Luz Maria says that, based on the discussion so far, the youth have inadequate knowledge of basic facts of life, despite having an idea of what condoms and birth control pills are. However, their families have responded favorably and we will have at least one more session.
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Mar 25, 2010

Stations of the Cross

viacrucis02.jpg

Although we have a small group of people that have been baptized and confirmed as Lutherans, our mission actually serves a somewhat wider community. Because there are so few schools with any kind of Christian orientation here, some of the people who send their children to our preschool are devout Roman Catholics or Pentecostalists. The father of one of our little girls is the pastor of a Pentecostalist church, while two of our preschool teachers are Catholic (ideally, all of our teachers would be Lutheran, but Venezuelan law dictates that the preschool have a certain number of state-certified teachers and there are not that many state-certified Lutheran teachers here).

Of course we do not demand that faithful members of other churches join ours in order to send their children to our preschool. Attendance at our Sunday services is alway be invitation. Therefore, we strive to maintain a solidly Lutheran position in doctrine and practice while respecting the beliefs of those who subscribe to other confessions.

The preschool will be closed for Holy Week, therefore we are using this week to teach the preschool children that Holy Week means something other than vacation time. One of our teachers, Yosaira, had approached me with her huge family Bible. It was a "Catholic" Bible, including the "deuterocanonical" books in its Old Testament and some beautiful color-plate illustrations of the traditional Stations of the Cross. Yosaira thought perhaps we could scan the illustrations and use them to teach the children about the events of Good Friday.

The Stations of the Cross were first mentioned in writings from the fifth and sixth centuries as a series of numbered stops for pilgrims to meditate and pray while retracing the Via Dolorosa, or Christ's path from the Garden of Gethsemane to Golgotha, in Jerusalem. Supposedly these were places where Jesus paused on His way to the Cross, except for the last four which involve Him actually being nailed to the cross, dying, and being taken down and laid in the tomb. Eventually a list of 14 "stations" became the accepted norm and every year to this day hundreds of Christian pilgrims to Jerusalem follow this pattern in following the Via Dolorosa.

Colonia TovarSomewhat later, since relatively few people had the time or money to travel to Jerusalem, it became a devotional practice to recreate the path to the Cross with paintings or crosses along a circumscribed route in a church or elsewhere. For example, in Colonia Tovar, a German-Catholic enclave in the mountains north of Caracas, the main street of the town is marked with crosses representing the Stations of the Cross as it winds down to its end at St. Martin of Tours Church.

The imagery of the Stations of the Cross have provided inspiration for Christian art for centuries. Not only paintings and sculpture, but also Christian theater, as the European "Passion Play" tradition incorporates dramatizations of the various stations. This includes Mel Gibson's movie, "The Passion of the Christ," which is essentially a Passion Play on film (see postscript on Passion Plays).

However, there is a problem with the traditional Stations of the Cross: Not all of them are really part of any of the New Testament narratives. The traditional 14 Stations of the Cross are as follows:

  1. Jesus is condemned to death
  2. Jesus is given his cross
  3. Jesus falls the first time
  4. Jesus meets His mother
  5. Simon of Cyrene carries the cross
  6. St. Veronica wipes the face of Jesus
  7. Jesus falls the second time
  8. Jesus meets the daughters of Jerusalem
  9. Jesus falls the third time
  10. Jesus is stripped of His garments
  11. Jesus is nailed to the cross
  12. Jesus dies on the cross
  13. Jesus' body is removed from the cross
  14. Jesus is laid in the tomb and covered in incense
Only eight of these stations have clear Scriptural foundation. Numbers 3, 4, 6, 7 and 9 do not and the traditional representation of Jesus' body being placed in His mother's arms as it is lowered from the cross in number 13 is an embellishment of the New Testament story. The Roman Catholic Church today recognizes this and, as I pointed out to Yosaira, in 1991 Pope John Paul II approved an alternative form of the Stations of the Cross that is completely consistent with the Scriptures. This form also was approved by Benedict XVI in 2007. This is the new pattern:




  1. Jesus in the Garden of Gethsemane
  2. Jesus is betrayed by Judas and arrested
  3. Jesus is condemned by the Sanhedrin
  4. Jesus is denied by Peter
  5. Jesus is judged by Pilate
  6. Jesus is scourged and crowned with thorns
  7. Jesus takes up His cross
  8. Jesus is helped by Simon to carry His cross
  9. Jesus meets the women of Jerusalem
  10. Jesus is crucified
  11. Jesus promises His kingdom to the repentant thief
  12. Jesus entrusts Mary and John to each other
  13. Jesus dies on the cross
  14. Jesus is laid in the tomb
  15. Jesus rises from the dead on the third day

I told Yosaira I would have no problem with using this form of the Stations of the Cross. We used most of the pictures from her Bible and I filled in the gaps with graphics from the Wisconsin Synod Web site.

There is another problem with the Roman Catholic interpretation of the Stations of the Cross and that is this form of devotion still is considered an "act of reparation" or, in essence, a meritorious work.

CATHOLIC ENCYCLOPEDIA: Reparation
"Reparation is a theological concept closely connected with those of atonement and satisfaction, and thus belonging to some of the deepest mysteries of the Christian Faith. It is the teaching of that Faith that man is a creature who has fallen from an original state of justice in which he was created, and that through the Incarnation, Passion, and Death of the Son of God, he has been redeemed and restored again in a certain degree to the original condition. Although God might have condoned men's offences gratuitously if He had chosen to do so, yet in His Providence He did not do this; He judged it better to demand satisfaction for the injuries which man had done Him. It is better for man's education that wrong doing on his part should entail the necessity of making satisfaction. This satisfaction was made adequately to God by the Sufferings, Passion, and Death of Jesus Christ, made Man for us. By voluntary submission to His Passion and Death on the Cross, Jesus Christ atoned for our disobedience and sin. He thus made reparation to the offended majesty of God for the outrages which the Creator so constantly suffers at the hands of His creatures. We are restored to grace through the merits of Christ's Death, and that grace enables us to add our prayers, labours, and trials to those of Our Lord "and fill up those things that are wanting of the sufferings of Christ" (Colossians 1:24). We can thus make some sort of reparation to the justice of God for our own offences against Him, and by virtue of the Communion of the Saints, the oneness and solidarity of the mystical Body of Christ, we can also make satisfaction and reparation for the sins of others."
Certainly Colossians 1:24 read in context does not support the above assertions. Paul writes in Colossians of the redemptive work of Christ as being sufficient to atone for all the sins of all men. In verse 24, he says that he is able to endure "the sufferings of Christ", that is, the difficulties that he, as a preacher of the Word, experiences above and beyond the normal problems of life for the sake of Christ, as being something that will benefit Christ's body, the Church. If he, Paul, is able to endure these sufferings, then perhaps the Church will be spared some suffering for the sake of Christ. But as in baptism Christians share in the resurrection of Christ, they also will share some of the same sufferings as Christ (persecution and rejection by the world). In no sense, however, do our sufferings add anything, or need to add anything, to the price Christ paid for our sins on the cross.

I addressed this issue in an introductory talk to parents and children on Monday and again in my presentation of the pictures on Wednesday, saying that our worship and praise during Holy Week were not required of us to earn His love and favor, but rather were our response to what Jesus did for us on the cross. Through His suffering and death on the cross He paid the full price for our sins and that therefore we are justified before God through faith in Him, not through any of our works. Therefore, the Stations of the Cross ares simply a tool for us to remember and appreciate Christ's sacrifice for us.

No preschool next week, but our Holy Week schedule includes services on Palm Sunday, Good Friday and Easter Sunday.
Guido Della Vecchia, Luz Maria and Aunt Susan in the Spearfish Amphitheater

Postscript on Passion Plays


When Luz Maria and I visited my family in South Dakota in 2006, we stopped at the Spearfish Amphitheater in Spearfish, S.D., which for nearly 70 years was the main venue for the Black Hills Passion Play. The Black Hills Passion Play was presented on a 350-foot outdoor stage with seating for 6,000 people. Performances were Tuesdays, Thursdays and Sundays during the summer months.

In 1932 a troupe of Passion Players from Lünen, Germany, where a Passion Play had been presented since 1242, began touring the United States. One of them was Josef Meier,
a seventh-generation Passion Player. Their script was in German, which meant their engagements were limited to theaters and churches frequented by German-speaking immigrants. Because of political and economic conditions in Germany, Meier decided to stay in the United States. He had the script translated into English, hired American actors to replace the German cast, and while touring various towns, began looking for a permanent home for his Passion Play.
Luz Maria in the Black Hills Passion Play Museum
Spearfish was chosen in part because of the site's excellent natural acoustics. The amphitheater was built in 1939. During its heyday, the Black Hills Passion Play company not only made special appearances throughout the United States and Canada, but in 1953 established a winter home in Lake Wales, Florida, where the play was presented until 1998.

There were no performances scheduled for the winter of 2006, but Luz Maria and I were given a personal tour of the Black Hills Passion Play Museum by Guido Della Vecchia, husband of Johanna Meier, Josef's daughter. Guido spoke Italian while Luz Maria spoke Spanish, and they were able to communicate to a limited extent.

So I was saddened to learn that the Black Hills Passion Play gave its final performance in 2008. For me, the Passion Play was always part of the Black Hills, just like Mount Rushmore, the Crazy Horse monument and the Needles. I understand the museum is still open.







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