Matthew Levering wisely rejects von Balthasar’s notion that Ezra-Nehemiah is “like a brook in the process of drying up”: “Why should the rebuilding of the temple and the renewal of obedience to the Torah, despite the diminishment of the splendor of the temple and the . . . . Continue Reading »
In a review of George Steiner’s latest book in the May 2 TLS, David Martin speculates on the connection between biblical exegesis and the development of intellectual toughness. For Jews and Scots, he says, “there are the intellectual resources built up by strenuous exercises, in . . . . Continue Reading »
Music is often considered the most mystical, ephemeral, ethereal of all arts. For some, music is for this reason the most perfect, the most purely artistic, of all arts. Maybe. But think: When Bach wants to “comment” (Calvin Stapert’s term) on the chorale “Wachet auf” . . . . Continue Reading »
The distribution of angelic appearances in Matthew is significant. Angels actually appear as characters in the story only in chapters 1-4 and 28. In total, there are seven uses of “angel” in passages that describe angels as characters (1:20, 24; 2:13, 19; 4:11; 28:2, 5; there is also . . . . Continue Reading »
When the fisherman in the dragnet parable (Matthew 13:47-50) pull the net to the beach, they “sat down” in order to gather the good fish and throw the bad away. Why sit? Comfort? I doubt it. Jesus is talking about the end of the age, when the Twelve, made fishers of men, will sit . . . . Continue Reading »
A few random thoughts on the parable of the treasure in the field (Matthew 13:44) 1) The kingdom is like a man-finding-hidden-treasure-who-buys-the-field. The hiddenness of the treasure is crucial. In His parables, Jesus reveals things hidden from before the foundation of the world (13:35). Jesus . . . . Continue Reading »
Stapert points out that in the same motet, Bach breaks off the last part of Isaiah 43:1 (du bist mein -you are mine) when the verse is first introduced. He saves is “until the point where he could introduce them as part of a brief dialogue during the chorale/fugue.” . . . . Continue Reading »
The second half of Bach’s motet “Furchte dich nicht” (“Fear you not”) consists of a Paul Gerhardt chorale, sung over a fugue drawn from Isaiah 43:1. The fugue repeats its subject - ich habe dich erloset, “I have you redeemed” - 33 times. The Redeemer is . . . . Continue Reading »
Victor Zuckerkandl contrasts post-polyphonic Western music with Gregorian chant. In both there are longer and shorter tones in a succession in time. But in “our music,” another layer is added: “the succession also gives rise to the metrical wave, whose uniform pulsation is . . . . Continue Reading »
Jesus’ parable of the treasure in the field looks straightforward: It’s about the value of the kingdom (Matthew 13:44). When we probe the behavior of the man in the parable, and the implied behavior of the seller, we find there are more intriguing things going on. Commentators commonly . . . . Continue Reading »
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