March 23: Of Silence, Suffering and the Savior
♫ Music:
Sunday, March 23—Day 19
Silently Bearing the Sin of the World
Surely our griefs He Himself bore, And our sorrows He carried; Yet we ourselves esteemed Him stricken, Smitten of God, and afflicted. But He was pierced through for our transgressions, He was crushed for our iniquities; The chastening for our well-being fell upon Him, and by His scourging we are healed. All of us like sheep have gone astray, each of us has turned to his own way; but the Lord has caused the iniquity of us all to fall on Him. He was oppressed and He was afflicted, yet He did not open His mouth; like a lamb that is led to slaughter, and like a sheep that is silent before its shearers, so He did not open His mouth.
Isaiah 53: 4-7
Of Silence, Suffering and the Savior
Injustice demands protest, shouts and cries. What else would one do when suffering harm or punishment one did not deserve? And of course, this makes the words of Isaiah 53:7 so remarkable:
He was oppressed, and he was afflicted, yet he opened not his mouth,
Like a lamb that is led to the slaughter,
And like a sheep that before its shearers is silent,
So he opened not his mouth.
I read this text and thought, “How could Jesus remain silent in the face of such outrageous injustice?” It did not just amaze me; it angered me. Why not speak up, if not for his own sake, at least for the sake of justice?
But of course, Jesus’ silence was not an ordinary silence. It was a silent, personal acceptance of his calling — an acceptance worked out with tears of anguish and drops of blood in the garden. It was not an easy silence. His was also a silence of respectful affirmation for the authority of Scripture. He saw these events in light of his personal calling from the Father, but also as the fulfillment of the prophetic voices recorded in the scriptures. Scriptures that he himself said had to be fulfilled down to the last jot and tittle. It was not an unreflective silence. And his was also a silence of self-determination.
The Gospel accounts of his trial overflow with angry people shouting angry things, and violent people doing violent things, and deceitful people doing deceitful things. Jesus’ silence is so out of place. It is loud! In the midst of all this shouting, Jesus demands attention by remaining silent. His silence unnerves the chief priests and disturbs Pilate more profoundly than any words. Jesus’ silence was a silence of eloquence and moral courage.
Being preoccupied with silence, I was startled by The Crowning. It brought me face to face with something more disturbing that Jesus’ silence: Jesus’ suffering. In this case, not cross, but the thorns; the senseless, mocking, crowning thorns. The gratuitous pain of uncontrolled soldiers lapsing into sadism, and drawing pleasure from the twisted work of their twisted crown. Why a crown of thorns?!
But more unnerving yet were the hands. So many, many hands. They couldn’t belong to just one person. Indeed, any reader of the Gospel accounts feels the many hands grabbing at Jesus during the trial. Like the Levitical image of laying hands on an animal before it is sacrificed, so many hands are laying hold of Jesus: betraying hands of Judas, denying hands of Peter, the angry hands of religious authorities, the dissembling hands of Pilate, the mean and mocking hands of soldiers, the mercenary hands of the false witnesses, the complicit hands of the crowd, and the cowardly hands of fleeing disciples.
So many, many, hands. And none of them clean — despite the protests of Pilate, none of them clean.
Perhaps a good Lenten exercise would be to contemplate this picture and ask, which hand is mine? The hand of denial — has my witness been silenced by cowardice? The hand of deceit — have I lied for gain or to save face? The hand of dissemblers — have I played with the truth and made a patchwork camouflage of half-truths to cover my failings and vices?
And once we have seen our own hands grasping thorns, we see our Savior. Imagine the hands that grasped the thorns, reaching out instead to touch the side of the Savior. Imagine reaching out, tentatively at first, to the flesh of gracious sacrifice. Imagine touching — and then feeling healing and grace instead of judgment and condemnation. Imagine a wound that heals your stripes. Imagine yourself drawn in close embraced by the Silent Sufferer.
Prayer
Lord, thank-you for silent suffering that brings our hidden sins to light, and the harms of sin to naught, and that turns the hurts of sin to joy. We praise you for freely given costly grace! Amen.
Rick Langer, Professor of Biblical and Theological Studies
The Crowning (from the series Golgotha)
Bruce Herman, 1991
Pastel/mixed media on handmade Dutch cotton paper, 38" x 46"
Collection of Ed and Margaret Killeen
About the Artist and Art
Bruce Herman (b 1953) is a painter and educator living and working in Gloucester, Mass. Herman holds the Lothlórien Distinguished Chair in Fine Arts at Gordon College where has has taught and curated exhibitions since 1984. He completed both undergraduate and graduate fine arts degrees at Boston University College of Fine Arts with graduate work under Philip Guston and James Weeks; undergraduate work with David Aronson, Reed Kay, and Arthur Polonsky. His work has been shown internationally, including in England, Italy, Canada, and Israel. Herman’s art is featured in many public and private collections including the Vatican Museum of Modern Religious Art in Rome; The Cincinnati Museum of Fine Arts; DeCordova Museum in Lincoln, Massachusetts; the Hammer Museum, Grunwald Print Collection, Los Angeles; the Cape Ann Museum, and in many universities throughout the United States and Canada.
Website: http://www.bruceherman.com
About the Music (Piece 1)
Surely He Hath Borne our Griefs lyrics:
Surely, surely, He hath borne our griefs,
And carried our sorrows;
Yet we did esteem Him stricken,
Smitten of God, and afflicted.
But He was wounded for our transgressions,
He was bruised for our iniquities;
The chastisement of our peace was upon Him;
And with His stripes we are healed.
All we like sheep have gone astray;
We have turned every one to his own way;
And the Lord hath laid on Him
The iniquity of us all.
Surely, surely, He hath borne our griefs,
And carried our sorrows;
Yet we did esteem Him stricken,
Smitten of God, and afflicted.
But He was wounded for our transgressions,
He was bruised for our iniquities;
The chastisement of our peace was upon Him;
And with His stripes we are healed.
All we like sheep have gone astray;
We have turned every one to his own way;
And the Lord hath laid on Him
The iniquity of us all.
About the Composer
“Surely He Hath Borne our Griefs” was composed in 1741 by George Frideric Handel. It is a part of Handel’s famous Messiah, first performed in Dublin on 13 April 1742 and premiering in London nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. Handel originally established himself through his compositions of Italian opera. He turned to English oratorio in the 1730s, in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and very little direct speech. Instead, the text is an extended reflection on Jesus Christ as Messiah. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only "scene" taken from the Gospels. In Part II, Handel concentrates on the Passion and ends with the "Hallelujah" chorus. In Part III he covers the resurrection of the dead and Christ's glorification in Heaven. “Surely He Hath Borne our Griefs” is a chorus piece sung in Part II of the Messiah.
About the Music (Piece 2)
He Never Said a Mumblin’ Word lyrics:
They led him to Pilate's bar
Not a word, not a word, not a word
They led him to Pilate's bar
Not a word, not a word, not a word
They led him to Pilate's bar
But he never said a mumblin' word
Not a word, not a word, not a word
They all cried, "Crucify!"
Not a word, not a word, not a word
They all cried, "Crucify!"
Not a word, not a word, not a word
They all cried, "Crucify!"
But he never said a mumblin' word
Not a word, not a word, not a word
Not a word, not a word, not a word
We nailed him on to a tree
Not a word, not a word, not a word
We nailed him on to a tree
Not a word, not a word, not a word
We nailed him on to a tree
But he never said a mumblin' word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
Not a word, not a word, not a word
About the Performers
Welcome Wagon is a Gospel/indie pop band from Williamsburg, Brooklyn, New York. The group consists of Presbyterian minister Vito Aiuto and his wife, Monique. Their debut album, Welcome to the Welcome Wagon, was produced in 2008 by Sufjan Stevens.
http://welcometothewelcomewagon.com/