Reformation Commentary on Scripture: Old Testament VII – Psalms 1-72

The reformers use restraint in their allegory.

Reformation Commentary on Scripture: Old Testament VII – Psalms 1-72

Editor: Herman J. Selderhuis

Publisher: IVP Academic (www.ivpress.com)

Pages: 561

In reading Old Testament VII: Psalms 1-72, the latest in the Reformation Commentary on Scripture series, I am immediately faced with how psalms should be interpreted. In the introduction, Editor Herman J. Selderhuis addresses what is meant by the “literal meaning of Scripture.” The definition has changed over time. “Today by the ‘literal meaning of Scripture’ we mean its meaning according to the constraints of grammar, history and literary method,” he writes (xlvi).

Jacques Lefevre d’Etaples, the author of an influential Psalter, saw a twofold meaning in the literal sense: the simple and the spiritual. He defined the simple like the literal sense is defined today. The grammatical, historical and literary aspects of the actual words of Scripture are the focus. The spiritual seeks understanding in light of the full form and content of Scripture. The two are distinguishable but inseparable. The simple is viewed as serving the spiritual, which has priority. This is the approach affirmed by the reformers. “Luther was particularly insistent that Scripture’s substance, Christ, is the interpretive key for all its words” (xlvii).

The reformers used this approach to evaluate the frequent use of allegory. When it did not conform to the rule of faith it was rejected. On the positive side, when it did not go beyond the bounds of Scripture it could “not only enrich doctrine but also console consciences” (xlviii).

Selderhuis goes on to discuss the spectrum of views that reformers had on this subject. Luther and his followers tended to quickly jump to the spiritual meaning, whereas on the opposite end, Calvin spent more time on grammatical and historical considerations before moving on to Christological or ecclesial interpretations.

Today it seems like modern commentators tend to focus more on the technical aspects and less on spiritual meanings. To some extent this is probably a reaction against the abuse of allegory in the past. This trend can lead to greater accuracy, but on the downside, modern commentaries may not be as strong when it comes to connecting the material to Christ and the Church.

That is definitely not a weakness of this volume or any others in this series. Every page is rich in meaning and application. Technical considerations are in the background. The emphasis is on the spiritual meaning of the psalms, which makes for excellent devotional reading, though it may be a bit wordy at times.

One distinctive that I appreciate is a theology of suffering. The doctrine of the reformers is cross-centered. We triumph in the same way as Christ through love and sacrifice. We should not think it strange if we are mistreated and experience trials. It is a comfort to know that this is not unusual. Our exaltation is not fully realized here.

In contrast, a theology of glory, might lead one to believe that pain and hardship are not normal. Taken to an extreme you approximate a health and wealth gospel, where it’s all about prospering now. Suffering is an anomaly, something to be avoided. It may even be seen as a sign of God’s disfavor.

The reformers might think it strange and alarming that such views could be seen as valid. In commenting on Psalm 5, Nikolaus Selnecker writes, “In this life, things generally go well for the wicked; they flutter about in great honor. They are powerful and rich; they also possess such names and titles that intimate that they are holy, pious and honorable people. The pious, however, and in fact the whole church of God, must suffer in this life and we are subject to crosses on every side. They must also continue to bear such names that intimate that they are unruly rebels and heretics among whom no peace or order can be maintained. Now this is painful. And it causes great offense and grieves the hearts and conscience of many pious, godfearing people and teachers. Against this, we must arm ourselves not only with the Word or with teaching with which we confront the godless, but also with somber, incessant prayer to God, that he would rule and protect his inheritance—that is, his church and believers—against false teachers, fanatical spirits and tyrants” (46). Such is the depth found in the reformers.

Each psalm is reproduced in the English Standard Version followed by a brief and helpful overview by the editor. The comments, which are drawn from different ancient writings, are grouped in sections under a verse or verses. Whether it is a verse or comment, each section has a heading that summarizes the content.

Unlike more technical commentaries, some verses, phrases and words are not specifically covered. Usually the commentator gives more of a general sense of a passage. Those looking for detailed exegesis of every verse will not find it here. 

As I have said about some of the past volumes in the series, this is worth reading just to get the comments of people like Luther and Calvin. Those from lesser or unknown reformers are just as valuable. I recommend all of these books. The perspectives here are unique, unlike what you find elsewhere today. 

Keep Breathing - Jody McBrayer

Strong comeback from a former Avalon member

Keep Breathing

Artist: Jody McBrayer (www.jodymcbrayer.com)

Label: StowTown Records

Length: 11 tracks/44 minutes

Keep Breathing by Jody McBrayer feels like a homecoming. In one sense it becomes that when he joins his former Avalon partner, Melissa Greene, on “God is in Control” (not the Twila Paris song). It’s a pleasure to hear these two blending and complementing their voices on a song that speaks to the times in which we live.

The opening “Good to be Home” is the sound of a prodigal returning. The lyrics and R&B/gospel styling are so warm. It’s a testimony of coming in from the cold. It’s emerging from a time of difficulty with a new song. Like much of this release, it worships Christ and celebrates being in the family of God.

Along with the title track and “He Gave Me More Love” these three songs especially appeal because of the soulful music. They are my favorites. They exude welcome. It’s like being greeted with a loving embrace.   

The programming and the guitar riff on “When We Look Back” are a look back toward one of Avalon’s most famous songs, “Testify to Love.” It’s a slower song but I hear echoes of the former’s majesty.

The pennywhistle on “With Each Borrowed Breath” gives it a Celtic feel. It’s a pensive reflection on one’s days. It’s one of several worshipful songs. They feel so appropriate on this release.  

Though well-written and performed, the style of the orchestrated “What it takes to be a Savior” is probably the least compelling. It follows the inspirational format one might associate with singers that start quietly and build toward a crescendo where they hit and hold the high notes. It’s not a bad song; you won’t find one on this release. It just doesn’t feel as fresh.

On the other hand, on this and the other tracks you hear a voice that is as strong as ever, regardless of the setting. McBrayer masters the material.

The inspirational style works best on the closing, “This is a Son,” which addresses the marginalized and outcasts of our society. It makes a startling identification at the end.

McBrayer was part of Avalon for nearly 12 years, until he left in 2007 due to a rare but manageable form of heart disease. His previous releases consist of This is Who I Am (2002) and an EP on iTunes, Christmastime (2015).

This is a strong comeback, one that will appeal to Avalon fans and anyone that appreciates faith-inspired music. Grace, the work of Christ and praise are three repeated themes. The gospel-oriented material alone makes this worthwhile. The weaker moments are when McBrayer drifts toward the orchestrated, but it doesn’t overshadow this effort.

New Testament Introduction (Fourth Edition) - Donald Guthrie

No serious scholar should be without this masterful analysis.

New Testament Introduction (Fourth Edition)

Author: Guthrie, Donald

Publisher: IVP Academic (www.ivpress.com)

Pages: 1161

Can there be a finer introduction to the New Testament? I don’t see how any other volume could exceed this exhaustive work. The fourth edition of New Testament Introduction by Donald Guthrie represents a lifetime of study and it’s now available in paperback, which makes it more affordable.

No Bible institute, college or university, and no theological library should be without it. It provides detailed analysis of the form and content of every book in the New Testament. Form and content are the key words. Like nothing else that I have read, it goes to great lengths to examine structure and theories of origin.   

It’s a scholar’s and academic’s dream. Extensive footnotes are found on every page. There is also a lengthy bibliography. The author’s command of the material is astonishing.

The one drawback is that it may be a little unintelligible and tedious for the non-academic. That’s not to discourage anyone from trying to read this, although it will be easier to consult, rather than read from beginning to end.

Unfortunately, many Christians will never go this deep, and that is a shame, because the material is important. It matters. It’s wrestling with the Scriptures on a different level, and in some instances the outcomes have had a negative impact.

More liberal thinkers call into question the history and reliability of the Scriptures. This is where the various theories of source and form criticisms come into play. There is no denying that this is difficult reading, but the competing arguments and analysis are useful in defending the faith. Fortunately, Guthrie is an evangelical, one committed to thoughtfully examining all the relevant data. We can learn from how he handles it.

Any pastor, theologian, scholar and serious Bible student can benefit from even a general knowledge of the material. On the other hand, they could easily dismiss the relevance, by imagining little in terms of return in pastoral ministries, which is a narrow, questionable view. This is an outstanding reference work that belongs on their shelf so that they can consult it if and when needed. Who knows what truth may be gleaned and what fruit it will bear?

There are subject and author indexes in the back, but no Scripture index. With so many references that might have been a difficult undertaking. Plus, each New Testament book is exhaustively covered in its own chapter. So if someone is studying a particular book, like The Epistle of James, they can easily turn to that section and learn about authorship, the addressees, date, purpose, literary form and style, and get a synopsis of the contents, plus find the many Scripture references pertaining to that section.

This also covers in detail the differences and problems associated with the synoptic gospels. If you want to learn about the hypothetical document know as “Q,” you will find a wealth of information, along with the speculation around other supposed documents or oral traditions.  

Don’t expect commentary and application. This has more to do with technical aspects. Yet, it can have some use for sermon preparation, especially when covering an entire book, or even just a few messages drawn from a bible book.  

For those looking to add a New Testament introduction to a theological library, you can’t go wrong with this. It provides more than most people will ever use.

Rediscovering Jesus - David B. Capes, Rodney Reeves, and E. Randolph Richards

Let me know more of the true Christ; nothing less will do.

Rediscovering Jesus: An Introduction to Biblical, Religious and Cultural Perspectives on Christ

Authors: Capes, David B.; Reeves, Rodney; Richards, E. Randolph

Publisher: IVP Academic (www.ivpress.com)

Pages: 272

Rediscovering Jesus could be the most interesting and helpful book that you ever read about Christ. This is not a quest for the historic Jesus, though that has its place and there is a chapter about it. This has more to do with answering two questions posed by Jesus to his disciples, “Who do the crowds say that I am?” and “Who do you say that I am?”

You might think it pointless: I have answered these questions. The authors contend that there is more to Jesus than we can ever know. No one has him figured-out, but we can learn from each other.

Along the way, we must recognize the tendency to magnify aspects of his person that appeal to us and ignore or reject what we might not like. We might like to think that our view of Christ is biblical, but it can easily include outside elements. It can be a reflection of our limited knowledge, experience and even prejudice.

Rediscovering Jesus is divided into two parts: (1) portraits of Christ from the various New Testament books and writers and (2) views from outside the Bible. The latter consists of how he is seen by Gnostics, Muslims, Mormons, and Americans in general, those in search of the historical Jesus, and the images conveyed in the many movies about Christ. The authors could have easily added an interesting chapter about how Jesus is portrayed in song and hymns. As with the other subjects, the picture is not always accurate.

Even though the first part is engaging and insightful, I was even more intrigued by the examination of the unorthodox views in the second part, probably because the latter is less familiar. Even so, the material in the first section is well-organized and can serve as an excellent reference for studying New Testament depictions of Christ. Seeing the differences can be a revelation.

Each chapter in both sections contains three critical parts:

1.       What does the picture of Jesus look like?

2.       How is different?

3.       What if this was the only portrait of Christ?

For example, the authors ask, “Who does Mark say that Jesus is?” How does this differ from the Jesus of the other New Testament writers? In the cases of unorthodox portrayals, how do they differ from Scripture? Lastly, imagining that any one picture were the only one can have startling implications for worship and Christian practice.

They point out among many other things the widespread influence of Paul’s and John’s Jesus. “Paul tell us what Jesus did for us on the cross. John tells us that we need to be born again. So what do we talk about in our churches? We need to be born again (based on what Jesus did on the cross)” (255).

It may be obvious but worth stating, “We need a biblical Jesus” (256). One taken from the biblical texts but one that includes voices from the entire Bible.

Failure to do so can have serious consequences. You can see an extreme example in what critics refer to as ultra- or hyper-dispensationalism. This Jesus preached the gospel of the kingdom to the Jews. Therefore, in relation to living the Christian life Paul’s words are deemed more applicable than the words of Jesus. It was left to Paul to reveal the gospel of grace and provide instructions for the Church. Subtle divisions like this seem right but can get people off-course when working-out the implications.

It might have been helpful if the authors had addressed the progressive nature of revelation. Does Paul further the ideas contained in the gospels or is he bringing new revelation? In order to answer groups like the hyper-dispensationalists, we need to be able to show how it all fits together. To some extent this is covered in the conclusion, but more could be said. I would welcome another volume from the authors along these lines.

This study can lead to greater discernment. “Give me Jesus” might well become the cry of the heart. It means rejecting wrong ideas and images learned from others and/or gained by making Christ in our own image. 

Rediscovering Jesus can be a guide towards knowing Christ more fully. Our knowledge of him now will never be perfect, but we can grow in our relationship and understanding.

Inheritance - Audrey Assad

Audrey Assad, one of the foremost Catholic artists in our day, infuses ancient texts with a simplicity and wonder that makes them sound timeless.

Inheritance

Artist: Audrey Assad (www.audreyassad.com)

Label: Fortunate Fall Records

Length: 11 songs/42 minutes

On Inheritance, Audrey Assad, one of the foremost Catholic artists in our day, infuses ancient texts with a simplicity and wonder that makes them sound timeless. Initially, as I thought how to describe it, words failed me. This production is an amalgamation of styles that varies from track to track.

The percussion and layered keyboards bear some resemblance to Celtic music, though you won’t find any flutes, pennywhistles or pipes. Piano, violin, cello and programming combine at times to create something ethereal.

The promotion for the release uses the word “cinematic.” Not a bad description for music that could serve as a soundtrack for something epic. At other moments, it’s little more than a fragile yet confident voice singing over piano and woodwinds.

One of the surprises is “Even unto Death,” which I mistook for an ancient song that I had never heard. Assad wrote this stirring, challenging ode to modern-day martyrs, especially those in the Middle East, with fellow Catholic Matt Maher, who sings on it.

Assad’s connection to the Middle East is more than a song. She is the daughter of a Syrian refuge.

“New Every Morning” is another outstanding composition by Assad and Maher. The rest are classics, with the exception of “Jesus’ Blood Never Failed Me Yet,” which is a more recent composition.

“New Every Morning” is a little like the beauty of the first day enshrined in song. Like the Spirit hovering over the face of the deep, Assad’s voice gently floats over piano notes as she sings first of Creation, then Adam and Eve’s transgression, and lastly the Word made flesh, which makes the promise of new mercies every morning secure. This is a gorgeous track that grows in intensity.

One of the most remarkable transformations is “Oh, The Deep, Deep Love of Jesus.” If the traditional melody has a sense of foreboding, coupling this with the music associated with “Morning Has Broken” is like lifting this from the chill of winter into the warmth of spring. It gives it a different feel. Fernando Ortega, one of my favorites, duets on it. His involvement is such an appropriate choice, given the sound of his voice and his history with hymns.

Another transformation takes place on “How Can I Keep from Singing.” It uses roots rock elements, layered keyboards and shimmering guitar to convey peace. Remakes don’t get much better.

Even in the more sparse moments like “It is Well with My Soul” and “Abide with Me” there is fullness. The former includes a small congregation of voices echoing the famous chorus. The winsomeness heard in both is due in large part to Assad’s singing. She effortlessly slips in and out of falsetto. I’m not that familiar with the rest of her work, but I can’t imagine her vocals being any more beautiful than what you find here. She could have sung each track with just piano accompaniment, and I would be applauding, but the various textures add richness. This is how to do hymns.

I’ve been collecting recordings like this for years, and this is without a doubt, one of the better ones. It has a transcendent quality; it’s worshipful and artistic; spiritual but earthy. I would welcome more along this line, but I’m interested in whatever she might do in the future. This is an artist to follow even as she continues to follow Christ.  

Laudato Si’: On Care for Our Common Home - Pope Francis

In the spirit of his namesake, Francis sees the interrelatedness of all things.

Laudato Si’: On Care for Our Common Home

Author: Pope Francis

Publisher: The Word Among Us Press (www.wau.org)

Pages: 189

I will never forget seeing my friend, who was the pastor of the church that I attended at the time, throw a wrapper on the floor of the New York City hotel room that we were sharing. It was many years ago, so maybe his attitude has changed, but back then he justified it by explaining that a maid would retrieve whatever he discarded. Rather than use the nearby trash can, he enjoyed the momentary freedom of not having to pick up after himself.

It’s a little like going into a retail store to try on clothes and then throwing the ones you don’t want on the floor. You know that someone is paid to pick them up.

It doesn’t take that much effort to put something back or place it where it belongs. It is a courtesy to others and shows that we care about the space that we share with other people.

I wonder if an attitude similar to my friend’s colors the thinking of some Christians. Since Christ is returning soon, what happens to the planet doesn’t matter that much. The world as we know it will be remade or become new. Besides, what difference can one person make?

Thankfully, Pope Francis in Laudato Si’: On Care of Our Common Home does not entertain this kind of mentality. The title is somewhat telling. His appeal is to all because God gave the marvelous resources on this planet to all the inhabitants. Francis rightly sees the interrelatedness of all things. We are not isolated. Pollution of any sort impacts others.  

Christians in particular have a responsibility to be wise stewards, not just as a matter of faithfulness to God, but for the benefit of all creatures. How can we let ignorance, indifference or disregard become a stumbling block to our neighbor? What kind of witness do we leave when our actions burden others?

What surprises me is the Pope’s knowledge on this wide-ranging subject. One would expect him to be knowledgeable on theological matters. Who knew he would have such a broad grasp of ecology?

Then again, seen rightly, the Christian life is not confined to what one might consider religious matters. The life of Christ in a person is meant to transform our relationship to everything. How we relate to every aspect of our environment is a spiritual thing. It’s why the late Rich Mullins, a musician who could be philosophical, could say that making your bed can be a spiritual thing. Surely, it must be what drives Bono, another musician and activist, to advocate for the least of these.

I’m glad this book avoids contentious debate about global warming and other concerns. It does not predominantly use scientific arguments. Its appeal is from Scripture and godly wisdom. It is a rational outworking of the life of faith in relation to everything else. As a Christian I want to make the world a better place.

This discourse is like a framework from which all can navigate. One thing I applaud Catholics for is their comprehensive theology on different subjects. For example, Pope John Paul II presented a detailed theology of the body. It’s not that I agree with all Catholic teaching, but I admire the fully-developed thought. Catholics would seem to have a deep well from which to draw on a number of subjects.

Building on that foundation, Francis has provided a rich theology of the environment in concise form. Along the way it touches on so many subjects: sociology, business, education, lines of action, and consumerism to name a few in addition to the ones already mentioned.

Francis follows the advice of C. H. Spurgeon, the famous London preacher: “No matter what good truths you have to teach, no one will thank you if you do not speak kindly.” His words are gracious as he seeks a balance between competing interests.

In my small area of the world, homelessness has become an ongoing problem with no solution in sight. As I read this book, I thought that if I was on the City Council I might use it as a resource. It would help me to think through some of the issues. Even further, I thought each of the City Council members might benefit from reading this for its humane approach to the many problems of our day. It would not provide specific solutions but it might lead to going in directions that are workable and considerate.

One of the old divines, A. B. Simpson, wrote, “‘Be courteous,’ is one of the commands of the Holy Ghost.” We would do well to remember that and to tread softly during our time here.  

The Master Musician - John Michael Talbot

Our life in God illustrated through the crafting and playing of an instrument

The Master Musician: Meditations on Jesus

Author: John Michael Talbot

Publisher: InterVarsity Press (Originally published by Zondervan - 1992)

Pages: 95

Of all that John Michael Talbot has written, The Master Musician draws more from his experience and education in music more than any other work. It makes me want to listen again to this master musician, whose careful craftsmanship is evident in his many albums.

Don’t get me wrong. This is not primarily about music. It’s more of a means to illustrate our life in God. It’s a book that few, if any, other than Talbot could write. His command of the subject, coupled with his devotional life, and simple, concise wording makes it unique.

He summarizes it as follows: “The work is divided into three main sections: God’s grace, our human response and life in the church. The first is likened unto the crafting of a fine guitar by the Master Musician. The second, into our learning how to play under the Master’s instruction. The third, unto learning how to play with others in the symphony orchestra or band” (5).

Like Jesus, and the apostle Paul in 1 Corinthians 15, Talbot continually follows a principle found in Scripture; first the natural, then the spiritual. The craftsman’s choice of wood for a guitar is but one of many examples: “Some knots are permissible and even desirable. Some craftsman and musicians think that knots add character to the instrument. Knots keep it from appearing artificial and sterile, more like a plastic computerized copy of the real thing. The same is true of our lives. Many of us still have knots in our lives. We are far from perfect. Perfection is not required—only the willingness to submit to the hand of the Master. He and he alone will craft us into a thing of beauty. He even uses the things that the world considers flawed to bring forth his perfection” (11-12). This kind of gentle wisdom is found on every page.

This use of symbolism is primary, but its repeated use may be tiring to some readers. It’s also quite basic, but I believe in the power of fundamental truths; not just expressed but lived-out. Perhaps that’s why this is termed a “meditation.” It can be read quickly, but that is obviously not the author’s intent. It’s only when I started to read this again that I more fully appreciated these life-changing, foundational thoughts.

I also enjoyed asides like the following: “Music is everywhere—in the home, the car, the office and the high-rise elevator. It is even in the church. Yet there seems so little real and lasting beauty in any of it … so little to uplift the soul. It has reflected the chaos and inhumanity of our culture well, but it has done little to change our culture for the better. The music of our modern world is little or nothing like the music of the Master” (23).

I appreciate John Michael Talbot because he not only recognizes where we are as a culture, but in his own way is changing it for the better. His many songs and even his writings are a reflection of the music of the Master.