... too mourns Jerusalem and will ask God’s forgiveness for those “who know not what they are doing.” Compassion swells into tears, and the heart swells with it, for lament is always accompanied by hope in the scriptures, and especially here. The resurrection overtones of Mt. of Olives is seen in the 150,000 graves that permeate the hill. The mountain has been used as a cemetery for over 3000 years. Caves that contain the “saints” of the Jewish people expect one day to be resurrected when Messiah ...
... Brighton Chapel on Coney Island, the recreational area for New York City. Sunday school superintendent Charles Over- ton thought quickly on how to fill the void. He decided to turn the American flag into an object lesson. Using the colors of the American flag, Overton said the Christian flag should have white for purity, innocence, and peace. The flag’s blue panel should symbolize faith, trust, and sincerity. The flag would have a red cross to remind us of our Savior’s sacrifice. Whenever we look to the ...
... Yahweh not made a difference for the congregation, they would have experienced death by drowning. Although the attackers are men, their flaring anger elicits images of “chaos.” Their rage is like raging waters, unpredictable and out of control. This imagery also has overtones of the underworld. In the Psalms, Sheol has its “torrents” and “snares” (cf. v. 7) that threaten to overwhelm (18:4–5). Death and the grave are likened to a cistern (69:2; 88:3–7, 16–17) whose waters may “swallow ...
... enosh). See the sidebar “What Is Mankind?” In early Judaism, “son of man” (8:4; NIV: “human beings”) became a messianic title, but here it is probably a synonym of “mankind.” The writer to the Hebrews likely heard the messianic overtone in this phrase, amplified through the megaphone of Jewish interpretation (Heb. 2:6–8). So we may again appeal to Calvin’s hermeneutical principle above (see “Additional Insights: Messianic Psalms,” which follows this unit). 8:5 angels. The Hebrew is ...
... to be contemplating the vastness of the landscape. It’s a strange feeling looking at this painting, as though one has stepped into the mystery of the unknown. One sees, and yet one does not fully know. I imagine that Friedrich’s paintings with their religious overtones speak to our realization that when we contemplate God, God’s creation, and the vastness of God’s truth, it is more than we can bear. That seems in fact to be what Jesus is explaining to his disciples in our scripture for today, as he ...