March 30: O Death, Where is Your Victory?
♫ Music:
Day 46 - Saturday, March 30
HOLY SATURDAY
Title: O DEATH, WHERE IS YOUR VICTORY?
Scripture: 1 Corinthians 15:42-57 (NKJV)
The body is sown in corruption, it is raised in incorruption. It is sown in dishonor, it is raised in glory. It is sown in weakness, it is raised in power. It is sown a natural body, it is raised a spiritual body. There is a natural body, and there is a spiritual body. And so it is written, “The first man Adam became a living being.” The last Adam became a life-giving spirit. However, the spiritual is not first, but the natural, and afterward the spiritual. The first man was of the earth, made of dust; the second Man is the Lord from heaven. As was the man of dust, so also are those who are made of dust; and as is the heavenly Man, so also are those who are heavenly. And as we have borne the image of the man of dust, we shall also bear the image of the heavenly Man. Now this I say, brethren, that flesh and blood cannot inherit the kingdom of God; nor does corruption inherit incorruption. Behold, I tell you a mystery: We shall not all sleep, but we shall all be changed— in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. So when this corruptible has put on incorruption, and this mortal has put on immortality, then shall be brought to pass the saying that is written: “Death is swallowed up in victory. “O Death, where is your sting? O Hades, where is your victory?” The sting of death is sin, and the strength of sin is the law. But thanks be to God, who gives us the victory through our Lord Jesus Christ.
Poetry & Poet:
“Holy Sonnet: Death Be Not Proud”
by John Donne
Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think'st thou dost overthrow
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou art slave to fate, chance, kings, and
desperate men,
And dost with poison, war, and sickness dwell,
And poppy or charms can make us sleep as well
And better than thy stroke; why swell'st thou then?
One short sleep past, we wake eternally
And death shall be no more; Death, thou shalt die.
O DEATH, WHERE IS YOUR VICTORY?
Donne’s “Death Be Not Proud” is engraved on a wooden plaque above the office of my undergraduate professor and mentor, Dr. Alina Beary. It is one of the many tributes and artifacts that was left to adorn her office after Alina’s sudden and unexpected death this past September. Losing Dr. Beary shook our honors college’s tight-knit community, especially those who were mentored by her; it also bloomed a painful reminder for me as I watched her kids embark on the experience of losing a parent, a road I traveled eight years ago when I lost my dad at age sixteen.
“Death is swallowed up in victory,” Paul proclaims. But, like the believers he was writing to, we can find this hard to believe.
In 1 Corinthians 15, the Apostle Paul addresses false doctrines and questions going around the Corinthian church about the resurrection of the dead; if it will happen, and how. The questions get technical, but perhaps beneath them, a deeper question lingers. I have seen my loved one die. How will they — how could they — come back?
On this Holy Saturday, as we sit between the crucifixion and Easter, I think too of the disciples. Even though Jesus had told them plainly that he would die and then rise from the dead, they did not understand what this meant (Mark 9:9-10, 31). I wonder, on that Holy Saturday, if any of them remembered the promise Jesus had given them. Rise from the dead? How could he?
It’s easy to scoff, but we might find ourselves asking the same questions. What does a promise of resurrection, hazy in its impossible glory and dissonance to the world we’re in, matter in the face of crushing pain in your chest, racking sobs at night, fear quickened by the smell of spring air, and the devastation of your dreams?
Resurrection can seem distant. But it matters more than we could ever dream.
Paul’s words show us that we are not just saved in spite of our suffering; we find Christ’s life in the depths of it. In our dying flesh, we bear the image of the first Adam, but by Jesus’ sacrifice, we will bear the image of the second Adam: the resurrected Christ. We are not undone by death, but our bodies, which are corruptible and mortal — that is, subject to sin and death — are sown like kernels of wheat to come back to life: life incorruptible and immortal. By bearing death itself in the flesh, Jesus allows us to put on the spiritual, incorruptible body like his, one equipped for eternity.
This is a profoundly hopeful truth. Like the triumphant tones in Handel's Messiah — meant to recall for listeners an operatic triumph song, and then later, a love duet — the poem above Alina's doorway is no half-hearted hope. Death, no longer “mighty and dreadful,” is a defeated enemy to be mocked, laughed at, soon to pass away into nothingness.
In this sin-filled world, death still stings. Our separation from those we love most aches deeply within us, reminding us how we long for perfect communion with others and with God. But we look forward to a glorious mystery: the dead will be raised imperishable, and we shall all be changed. And at that moment, death’s sting will finally forever be taken, and Christ’s victory find its consummation.
Prayer:
Good Father, whether we pray in peaceful spirits or through gritted teeth and tear-filled eyes, we proclaim––yes, even here, even in this, we have victory through our Lord Jesus Christ. Death, be not proud, for you are no longer our end, but simply the sowing of the perishable seed, which You, O Christ, will bring to fruit in life eternal. We believe we do not labor in vain.
Amen.
Grace Ducker
Alumna, Biola University & Torrey Honors College
Administrative Assistant
Office of the President
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 Art #1:
Resurrection of Christ
Hans Thoma
c. 1910
Color lithograph
Private Collection
This color lithographic print entitled The Resurrection of Christ was created by artist Hans Thoma and showcases his mastery in capturing profound spiritual themes. In the work, we witness the divine resurrection of Jesus Christ as he triumphantly rises from death's grip. Rays of light radiate from Jesus' body––illuminating the surrounding space and emphasizing his divinity. His levitating figure defies earthly limitations, signifying his ascent into heaven. The presence of a skeleton below serves as a stark contrast to the radiant figure of Christ, reminding us not only of our mortality but also the promise of eternal life through faith.
https://www.mediastorehouse.co.uk/fine-art-finder/artists/hans-thoma/resurrection-christ-illustration-festkalender-23208510.html
About the Artist #1:
Hans Thoma (1839–1924) was a German artist. He was trained in the basics of painting by a painter of clock faces. He entered the Karlsruhe Academy in 1859, where he studied under Johann Wilhelm Schirmer and Ludwig des Coudres—which had a major influence on his career. He subsequently studied and worked, with but indifferent success, in Dusseldorf, Paris, Italy, Munich, and Frankfurt, until his reputation became firmly established as the result of an exhibition of his paintings in Munich. In spite of his studies under various masters, his art was formed partly by his early impressions of the simple idyllic life of his native district and partly by his sympathy with the early German masters, particularly with Lucas Cranach the Elder. Thoma's artwork was favored by Nazis during the Third Reich (1933–1945).
https://en.wikipedia.org/wiki/Hans_Thoma
About the Art #2:
First Adam / Second Adam II
Grace Carol Bomer
14 x 19 in.
Giclee on rag paper
First Adam / Second Adam II by artist Grace Carol Bomer is a multilayered work full of complex meanings and biblical references. The words on the background blueprint read “Alternate Plan,” referring to God’s eternal plan of redemption. The naked figures have been appropriated from Reformation artist Lucas Cranach’s (1472–1553) painting Adam and Eve (1533). Fallen mankind is naked and alienated from each other and from God. But the second Adam’s covering robe flows through the waterfall, symbolizing the washing of the water of God’s word and mercy. A door on the original blueprint reads “major entrance.” It intersects the main figure’s neck. A crossbeam behind him and small symbols of the Lord’s Supper—a cup and a table—suggest restored communion.
About the Artist #2
Grace Carol Bomer was born in Alberta, Canada, in 1948, and pursued a career in teaching (B.A. in English and history secondary education from Dordt University in Iowa) before she became a professional painter. Her art career began after moving to Kansas, where she worked professionally as a painter (1976 to 1981), beginning her study of art and continuing her art degree pursuit at UNC Asheville in North Carolina (1981). She has also studied in Amsterdam, Italy, and Ukraine, and teaches workshops—including a workshop at Luxan Fine Art Academy in Shenyang, China (2006). With a degree in English, of course her work is inspired by words, but most importantly, it is inspired by the Word, which is powerful and eternally relevant. The metaphorical language of Scripture, poetry, and the classics inspire her “metaphorical abstractions.” She attempts to bring together the word/image dichotomy, which was truly brought together by Jesus, the incarnate Word of God and the image of God. The juxtaposition of image and text creates connections and metaphors that may not be predictable or seen immediately. And her use of the aesthetic language of parable, storytelling, and analogy stirs the imagination to consider the eternal drama of God’s grace and love for a broken and fallen world. She paints to make visible the invisible true story. She views her work as “a form of play rejoicing before the face of God” (Rookmaaker). This is reflected in the name of her studio, Soli Deo Gloria Studio, in Asheville’s popular River Arts District/Warehouse Studios #6. She has been the recipient of numerous awards and recognitions and solo and juried exhibitions nationally and internationally—most recently SESSION 05, an invitational exhibit at Galerie AZUR BERLIN (July–Aug. 2023), and Global City Babel, a solo show at the Connie A. Eastburn Gallery, Cairn University, Langhorne, PA (Sept–Dec 2021). Her work is included in many public, private, and corporate collections, including Mission Hospital; Wachovia Bank; Westinghouse; Center Art Gallery; Calvin University, Grand Rapids, MI; Concordia University, Irvine, CA; Forest Hill Church, Charlotte, NC; Historic Trinity Church, Detroit, MI; and many more.
www.gracecarolbomer.com
About the Music: from the album The Messiah (Platinum Edition)
Music selections will play one after another.
Selection #1: 19 Messiah, Handel, HWV 56/Pt 3
—“Since by Man Came Death”
Selection #2: 20 Messiah, Handel, HWV 56/Pt 3
—“Behold, I Tell You a Mystery”
Selection #3: 21 Messiah, Handel, HWV 56/Pt 3
—“The Trumpet Shall Sound”
Selection #4: 22 Messiah, Handel, HWV 56/Pt 3
—“Then Shall Be Brought to Pass”
Selection #5: 23 Messiah, Handel, HWV 56/Pt 3
—“O Death Where is Thy Sting?”
Selection #6: 24 Messiah, Handel, HWV 56/Pt 3
—“But Thanks Be to God”
Lyrics for Selection #1:
19 Messiah HWV 56/Pt 3
—“Since by Man Came Death”
Since by man came death,
by man came also the
resurrection of the dead.
For as in Adam all die,
even so in Christ shall all be made alive.
(1 Corinthians 15:21–22)
Lyrics for Selection #2:
20 Messiah HWV 56/Pt 3
—“Behold, I Tell You a Mystery”
Behold, I tell you a mystery;
we shall not all sleep,
but we shall all be
changed in a moment,
in the twinkling of an eye,
at the last trumpet.
(1 Corinthians 15:51–52)
Lyrics for Selection #3:
21 Messiah HWV 56/Pt 3
—“The Trumpet Shall Sound”
The trumpet shall sound,
and the dead shall be
raised incorruptible,
and we shall be changed.
For this corruptible must
put on incorruption and
this mortal must put on immortality.
(1 Corinthians 15:52–53)
Lyrics for Selection #4:
22 Messiah HWV 56/Pt 3
—“Then Shall Be Brought to Pass”
Then shall be brought to pass
the saying that is written:
"Death is swallowed up in victory."
(1 Corinthians 15:54)
Lyrics for Selection #5:
23 Messiah HWV 56/Pt 3
—“O Death Where is Thy Sting?”
O death, where is thy sting?
O grave, where is thy victory?
The sting of death is sin,
and the strength of sin is the law.
(1 Corinthians 15:55–56)
Lyrics for Selection #6:
24 Messiah HWV 56/Pt 3
—“But Thanks Be to God”
But thanks be to God,
who giveth us the victory.
Through our Lord Jesus Christ.
(1 Corinthians 15:57)
About the Composer:
George Frederic Handel (1685–1759) was a German baroque composer who spent the bulk of his career in London and became well-known for his operas, oratorios, anthems, and organ concertos. He was strongly influenced by the great composers of the Italian baroque and the middle-German polyphonic choral tradition. Musicologist Winton Dean writes that his operas show that "Handel was not only a great composer; he was a dramatic genius of the first order.” Handel’s Messiah was first performed in Dublin, Ireland, in April 1742 and received its London premiere 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's Messiah has been described by the early-music scholar Richard Luckett as "a commentary on Jesus Christ's Nativity, Passion, Resurrection, and Ascension," beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven. The music for the Messiah was completed in only twenty-four days and Handel wrote the letters SDG—Soli Deo Gloria, “To God Alone the Glory”—at the end of the manuscript. In many parts of the world, it is accepted practice for the audience to stand when the “Hallelujah Chorus” is performed. The tradition is said to have originated with the first London performance of the Messiah, which was attended by King George II. As the first notes of the triumphant “Hallelujah Chorus” rang out, the king was so moved that he rose to his feet and remained standing until the end of the chorus, initiating a tradition that has lasted well over two centuries. Indeed, the “Hallelujah Chorus” is one of the most awe-inspiring pieces of music ever written.
https://en.wikipedia.org/wiki/Messiah_(Handel)
https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/
About the Librettist:
Charles Jennens (1700–1773) was a wealthy, reclusive English landowner and patron of the arts. Jennens attended Oxford University, where he formed his lifelong interest in music and literature and became a devout Anglican. As a friend of Handel, he helped author the libretti of several of his oratorios, most notably Messiah. Jennens' deep knowledge of the Bible and wide literary interest led him to prepare or contribute to libretti for Handel including Saul, L'Allegro, il Penseroso ed il Moderato, Messiah, Belshazzar, and possibly Israel in Egypt. It is also clear that, on occasion, Handel accepted Jennens' suggestions and improvements to his compositions. Their most famous collaboration is Jennens' libretto for Messiah, drawn entirely from the Bible. Musicologist Watkins Shaw describes it as "a meditation of our Lord as Messiah in Christian thought and belief” that "amounts to little short of a work of genius.”
https://en.wikipedia.org/wiki/Charles_Jennens
About the Performers:
London Philharmonic Orchestra (LPO) and the London Philharmonic Choir
The London Philharmonic Orchestra (LPO) is one of the world's finest symphony orchestras, balancing a long and distinguished history with a reputation as one of the UK's most adventurous and forward-looking orchestras. The orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Sir Georg Solti, Klaus Tennstedt, and Kurt Masur. The orchestra's current principal conductor is Vladimir Jurowski, who was appointed in 2007. The London Philharmonic Orchestra has been performing at Southbank Centre's Royal Festival Hall in London since it opened in 1951. Having long been embraced by the recording, broadcast, and film industries, the London Philharmonic Orchestra broadcasts regularly on TV and radio. They also work with the Hollywood and UK film industries and have been recording film soundtracks for over half a century.
https://www.lpo.org.uk/
The London Philharmonic Choir was founded in 1947 as the chorus for the London Philharmonic Orchestra. Working under conductors such as Boulez, Elder, Gardner, Gatti, Masur, Norrington, Rattle, Solti, Tennsted, and Welser-Möst, the choir has performed regularly with the LPO and other world-class orchestras at major venues and festivals throughout the years. From time to time the choir tours abroad—recently to Budapest, Paris, Lucerne, Rome, Athens, Spain, Germany, the Czech Republic, Poland, the Canary Islands, and further afield to Hong Kong, Kuala Lumpur, and Perth. In January 2004 they were invited to sing in the Vatican’s Papal Concert of Reconciliation. They have also built up an impressive discography throughout their history and continue to participate in recording for CD, radio, and television.
https://lpc.org.uk/about-the-choir/
About the Poetry and Poet:
John Donne (1572–1631) was an Anglican cleric and one of England’s most gifted and influential poets. Donne was so respected by his followers that they thought him “a king that ruled as he thought fit, the universal monarchy of wit.” Raised a Roman Catholic, Donne later converted to Anglicanism, though his sensibility, as indicated perhaps in his late Christian poetry, always seems to have remained with the Roman Catholic Church. Unable to find civil employment, Donne was eventually persuaded of his calling to the church and took Anglican orders in 1615. His work is distinguished by its emotional intensity and its capacity to deeply delve into the paradoxes of faith, human and divine love, and personal salvation. His works are noted for their strong, sensual style and contain a variety of forms, including sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs, satires, and sermons. His poetry is noted for its eloquent language, fusion of intellect and passion, and inventiveness of metaphor. In 1621, he was appointed the dean of St Paul's Cathedral in London and also served as a member of Parliament in 1601 and in 1614. After a resurgence in his popularity in the early twentieth century, Donne’s reputation as one of the greatest writers of English prose and poetry was established.
https://www.poetryfoundation.org/poets/john-donne
About the Devotion Writer:
Grace Ducker
Alumna, Biola University & Torrey Honors College
Administrative Assistant
Office of the President
Biola University
Grace is an alumna of Biola University and the Torrey Honors College, and currently works as an administrative assistant in the office of the university president. She loves to think, research, and write about how faith interacts with social issues, politics, suffering, and loss. She also cares deeply about the ways the profundity of the Christian life plays out in the simplicity of baking, gardening, and daily life with others, and takes joy in practicing this alongside her church, family, and friends.