March 14
:
The Feast of Dedication: More Interaction With the Pharisees

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Day 21 - Tuesday, March 14
Title: THE FEAST OF DEDICATION: MORE INTERACTION WITH THE PHARISEES
Scripture: John 10:22–42

Then came the dedication festival at Jerusalem. It was winter-time and Jesus was walking about inside the Temple in Solomon’s cloisters. So the Jews closed in on him and said, “How much longer are you going to keep us in suspense? If you really are Christ, tell us so straight out!”

“I have told you,” replied Jesus, “and you do not believe it. What I have done in my Father’s name is sufficient to prove my claim, but you do not believe because you are not my sheep. My sheep recognise my voice and I know who they are. They follow me and I give them eternal life. They will never die and no one can snatch them out of my hand. My Father, who has given them to me, is greater than all. And no one can tear anything out of the Father’s hand. I and the Father are One.”

Again the Jews reached for stones to stone him to death, but Jesus answered them, “I have shown you many good things from the Father—for which of these do you intend to stone me?”

“We’re not going to stone you for any good things,” replied the Jews, “but for blasphemy: because you, who are only a man, are making yourself out to be God.”

“Is it not written in your own Law,” replied Jesus, “‘I have said you are gods’? And if he called these men ‘gods’ to whom the word of God came (and the scripture cannot be broken), can you say to the one whom the Father has consecrated and sent into the world, ‘You are blaspheming’ because I said, ‘I am the Son of God’? If I fail to do what my Father does, then do not believe me. But if I do, even though you have no faith in me personally, then believe in the things that I do. Then you may come to know and realise that the Father is in me and I am in the Father.”

And again they tried to arrest him, but he moved out of their reach.

Then Jesus went off again across the Jordan to the place where John had first baptized and there he stayed. A great many people came to him, and said, “John never gave us any sign but all that he said about this man was true.”

And in that place many believed in him.

Poetry & Poet:
“The Voice of God”
by Mary Karr

Ninety percent of what’s wrong with you
could be cured with a hot bath,
says God from the bowels of the subway.
But we want magic, to win
the lottery we never bought a ticket for.
    (Tenderly, the monks chant, embrace
the suffering.) The voice of God does not pander,
    offers no five year plan, no long-term
solution, nary an edict. It is small & fond & local.
    Don’t look for your initials in the geese
honking overhead or to see thru the glass even
    darkly. It says the most obvious crap—
put down that gun, you need a sandwich.

THE FEAST OF DEDICATION: MORE INTERACTION WITH THE PHARISEES

Today’s passage ends at the Jordan River - a symbol of death and resurrection as we remember when Israel passed through. And it gives an explicit reminder of John the Baptist. The one who posed a question to Jesus that was quite similar to the one posed by the Pharisees in today’s passage. “Are you the one?” John asked from prison in Matthew 11. In confusion, frustration, grief, and doubt, we have likely each asked or will ask this question. 

Having identified and baptized Jesus, John’s confusion seems fairly obvious. The Messiah has come. John saw the Spirit descend. He heard the voice of God. Yet John is in prison, while miracle upon miracle occurs outside his walls. He trusts Jesus, but in the back of his mind perhaps he is thinking, “I could use a little encouragement.” Like the sheep that recognize Christ’s voice, John will listen for whatever response will come.

The Pharisees are confused and frustrated as well. Jesus is performing miracles all over. And he comes here to the dedication festival to do what? The festival celebrates the Maccabean Revolt that took place roughly 200 years earlier. The religious oppression the Israelites are facing in John 10 is eerily similar to the oppression that led up to the earlier revolt––a revolt that finally ignited after an idol was placed on the temple altar with a demand to sacrifice to it or die. The Pharisees are not mistaken in their perception of this similarity as a mere three years after Jesus’ death, Roman law would demand a statue of the emperor be placed on the altar and worshiped. “How much longer are you going to keep us in suspense?” they ask. Rise up if you are the Messiah! This is the time and the place to do it. Unlike John, the Pharisees can see acts of power, but they do not recognize the voice of Him who holds all power, and so have no desire to listen. 

Jesus answers the Pharisees by referring to his miraculous actions as “good things.” His language somehow shrinks these miracles down, lumping his non-miraculous encounters alongside them, reminding us of the deeply intimate and relational nature of his redemptive work. The work he does in sharing intellectual, political, and religious banter with a woman is the same work as giving sight to a blind man. As our poem describes, the works of God are indeed “small and fond and local” if we shift our perspective from the marvel of the miracles to the somehow subdued, personal nature of them. 

In both Matthew 11 and John 10 Jesus quotes the prophets. To John he quotes Isaiah 35, “The blind receive sight, the lame walk […] the dead are raised.” To the Pharisees he quotes Psalm 82, “I said you are gods.” A further look at this Psalm explains that the work of the Messiah is to, “Give justice to the weak and the fatherless; [...] rescue the weak and the needy.” To John He names his miracles and to the Pharisees He reveals his care. And in these two answers, we inexplicably link together the humble act of relational care and presence with the glory of the miraculous. 

The conclusion of these encounters bears similarity as well. John is not miraculously freed from prison, and Jesus will not raise an army from this temple. 

The reason for even posing these kinds of questions to Jesus (“Are you the one?”, “How much longer are you going to keep us in suspense?”) is that we experience circumstances that feel wildly out of order as though we and the world are falling apart. Like today’s art installation Neither from Nor Towards, the stones, like our lives, like the temple, are crashing down, dying. We pause during Lent to recognize this. By suspending the stones, time stands still, and we are forced to take pause. 

May we, for a moment, contemplate that these stones are being held as they fall.

The title for today’s art implies that we should not assume the stones are only falling. May we also contemplate that His great miracle will be to hold all our pieces in his care as He personally walks us through death and brings us back together in our fullness on the other side. Indeed, as He holds us, believe when He says that no one can tear anything out of the Father’s hand.

Prayer:
We come to you from our varied circumstances and ask “Are you the one?” in the desperate hope that you can be trusted to hold us in the midst of every death, big or small, that we experience. Hold us in our confusion, anger, and grief. Like the Pharisees, we feel the temptation to ask in demand, “How long will you keep us in suspense?” Keep us from being deaf to your voice. Give us a craving for your presence and care as you lead us as a shepherd to and through the waters.
Amen

Stacie Poston
Adjunct Instructor
Torrey Honors College
Biola University

For more information about the artwork, music, and poetry selected for this day, we have provided resources under the “About” tab located next to the “Devotional” tab

 

 

About the Translation of the Bible for the 2023 Lent Project: 
J.B. Phillips New Testament Translation of the Bible
J.B. Phillips
(1906-1982) was well-known within the Church of England for his commitment to making the message of truth relevant to today's world. Phillips' translation of the New Testament brings home the full force of the original message. The New Testament in Modern English was originally written for the benefit of Phillips' youth group; it was later published more widely in response to popular demand. The language is up-to-date and forceful, involving the reader in the dramatic events and powerful teaching of the New Testament. It brings home the message of Good News as it was first heard two thousand years ago.
https://www.biblegateway.com/versions/JB-Phillips-New-Testament

About the Artwork:
Neither From Nor Towards 
Cornelia Parker
1992
Bricks and wire
250 x 250 x 400 cm
Arts Council Collection
London, England
UK artist Cornelia Parker takes objects and gives them a new life, transforming them, sometimes by force, into novel forms that make them into something uniquely beautiful. In her installation entitled Neither From Nor Towards, Parker has taken weathered bricks she found on the remote shoreline of the white cliffs of Dover and floated them in midair on thin wires—allowing them to float and defy gravity. There is a strong sense of structure in the work: the pieces of brick are carefully graded by size, height, and position to form a unit rather than a collection of disparate floating bricks. The wires above them shimmer like rain reflected in the sun. As one walks around to view the work, the installation transforms and changes shape as it seems to both disintegrate and solidify, allowing the bricks to seemingly float free of each other. https://patricia1957.wordpress.com/2011/08/26/cornelia-parkers-neither-from-nor-towards-part-of-the-exhibition-falling-up-at-the-courtauld-gallery-22-08-11/

About the Artist: 
Cornelia Ann Parker,
OBE, RA, (b. 1956) is a British visual artist, known for her sculpture and installation art. She received her M.F.A. from Reading University, Berkshire, England, in 1982. Parker is currently honorary professor at the University of Manchester and honorary fellow of Queen Elizabeth Hall, Oxford. Parker is known for large-scale, often site-specific installations that ruminate on themes of destruction, transformation, consumerism, and the fragility of existence. Her engagement with the fragility of existence and the transformation of matter is exemplified in two key works: Dark Matter (1991), a  reconstruction of an exploded army shed that suspended the fragments as if suspending the explosion process in time, and Heart of Darkness, the formal arrangement of charred remains from a forest fire. In 1997 at the prestigious Turner Prize exhibition, Parker exhibited Mass (Colder Darker Matter, 1997) by suspending the charred remains of a Texas church that had been struck by lightning.
https://en.wikipedia.org/wiki/Cornelia_Parker

About the Music: “Loving Shepherd of Thy Sheep” from the album Be Thou My Vision

Lyrics: (note: music starts very quietly)
Loving Shepherd of thy sheep,
Keep thy lamb, in safety keep;
Nothing can thy power withstand, 
None can pluck me from thy hand.

I would bless thee every day,
Gladly all thy will obey,
Like thy blessed ones above,
Happy in thy perfect love.

Loving Shepherd, ever near,
Teach thy lamb thy voice to hear;
Suffer not my steps to stray
From the straight and narrow way.

Where thou leadest I would go,
Walking in thy steps below,
Till before my Father's throne,
I shall know as I am known.

About the Composer:
John Rutter (b. 1945) is an English composer, conductor, editor, arranger, and record producer, mainly of choral music. He studied music at Clare College, Cambridge. In 1981, Rutter founded his own choir, the Cambridge Singers, which he conducts and with which he has made many recordings of sacred choral repertoire, particularly under his own label, Collegium Records. From 1975 to 1979 he was the director of music at his alma mater, Clare College. Since 1979 he has divided his time between composition and conducting. Today his compositions, including such concert-length works as Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are performed around the world. His music has been featured in a number of British royal occasions, including the two most recent British royal weddings. In the UK, many hold him in high regard, as illustrated by the following quotation from a review in the London Evening Standard (2005): "For the infectiousness of his melodic invention and consummate craftsmanship, Rutter has few peers.” British broadcaster Sue Lawley referred to Rutter as "the most celebrated and successful composer of carols alive today."
https://johnrutter.com/
 

About the Performers: The Cambridge Singers with conductor John Rutter

The Cambridge Singers
are a mixed-voice chamber choir, formed in 1981 by their director John Rutter for the express purpose of making recordings. The nucleus of the group was originally provided by former members of the chapel choir of Clare College, Cambridge, where John Rutter was director of music from 1975 to 1979, and was later supplemented by former members of other collegiate choirs. The Cambridge Singers have been involved in the last four Fresh Aire albums of the Mannheim Steamroller band by composer Chip Davis, but they are primarily a classical choral group. The ensemble have recorded several highly acclaimed Christmas albums, including Christmas Day in the Morning, Christmas Night: Carols of the Nativity, Christmas Star, Christmas with the Cambridge Singers, and The Cambridge Singers Christmas Album.
https://en.wikipedia.org/wiki/Cambridge_Singers
https://www.singers.com/group/Cambridge-Singers/

About the Poetry and Poet: 
Mary Karr
(b. 1955) is an American poet, essayist, and memoirist from Texas. She rose to fame in 1995 with the publication of her bestselling memoir The Liars’ Club. She is the Jesse Truesdell Peck Professor of English Literature at Syracuse University in Lima, New York. Her memoir The Liars’ Club, which delves vividly into her deeply troubled childhood, was followed by two additional memoirs, Cherry and Lit: A Memoir, which details her “...journey from blackbelt sinner and lifelong agnostic to unlikely Catholic.” Karr won the 1989 Whiting Award for her poetry, was a Guggenheim Fellow in poetry in 2005, and has won Pushcart Prizes for both her poetry and essays. Her poems have appeared in major literary magazines such as Poetry, The New Yorker, and The Atlantic Monthly.
https://www.marykarr.com/

About Devotion Author:
Stacie Poston

Adjunct Instructor
Torrey Honors College
Biola University

Stacie Poston completed her graduate studies in biology, focusing on cell and molecular biology and immunology, before taking time to raise her family of four kids with her husband. She enjoys stepping onto Biola's campus to discuss great books and loves to see how God's hand is evident in all the big and small parts of life.

 

 

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