Voiceover Voice:
It reminds us that these texts have multiple realities.
Helena Martin:
This is Chapter, Verse, and Season: a lectionary podcast from Yale Bible Study. Join us each week as two Yale Divinity School professors look at an upcoming text from the Revised Common Lectionary.
This episode, we have Felicity Harley-McGowan, Research Associate and Lecturer, and Bruce Gordon, Titus Street Professor of Ecclesiastical History. They’re discussing Isaiah 53:4-12, which is appointed for Track 1 of the Twenty-Second Sunday after Pentecost, Proper 24, in Year B. Here’s the text.
[Isaiah 53:4-12]
Surely he has borne our infirmities and carried our diseases, yet we accounted him stricken, struck down by God, and afflicted. But he was wounded for our transgressions, crushed for our iniquities; upon him was the punishment that made us whole, and by his bruises we are healed. All we like sheep have gone astray; we have all turned to our own way, and the Lord has laid on him the iniquity of us all. He was oppressed, and he was afflicted, yet he did not open his mouth; like a lamb that is led to the slaughter and like a sheep that before its shearers is silent, so he did not open his mouth. By a perversion of justice he was taken away. Who could have imagined his future? For he was cut off from the land of the living, stricken for the transgression of my people. They made his grave with the wicked and his tomb with the rich, although he had done no violence, and there was no deceit in his mouth. Yet it was the will of the Lord to crush him with affliction. When you make his life an offering for sin, he shall see his offspring and shall prolong his days; through him the will of the Lord shall prosper. Out of his anguish he shall see; he shall find satisfaction through his knowledge. The righteous one, my servant, shall make many righteous, and he shall bear their iniquities. Therefore I will allot him a portion with the great, and he shall divide the spoil with the strong, because he poured out himself to death and was numbered with the transgressors, yet he bore the sin of many and made intercession for the transgressors.
Felicity Harley-McGowan:
It seems very difficult in reading this text if we’re so familiar with hearing it read in association with the crucifixion, for example, or the celebration of Easter. It’s very difficult to move the image of Jesus out of our mind as we work through this text. I think particularly this language around grief and sorrow, wounded for our transgressions, almost immediately, speaking personally because of my own Christian upbringing and familiarity with the sorts of visual traditions that emerge across the medieval period associating the wounded body of Jesus directly with this kind of language. It’s just very difficult to move that out of my head. I don’t if that’s your experience, Bruce.
Bruce Gordon:
So much of the language of Isaiah 53 is being adopted into the Christian tradition and our very stories of Jesus. One can look at so many different lines here, but the association with the sheep, he was oppressed and afflicted, yet he did not open his mouth, which is the silence of Christ is central to the Christian story. The suffering, but also the kind of problematic questions of, was Jesus punished by God? Which Christians wrestle with and disagree about. And this very harsh language that we find in the prophet here of punishment, crushed for our iniquities, the punishment that brought us peace was on him, and by his wounds we are healed. It’s hard not to hear sort of Handel and Bach and these, you know, extraordinary pieces of music. But it’s also hard not to hear the traditional Christian language of the suffering of Christ, of the crucified Christ, because it’s taken so much of its language from the Hebrew Bible. And so, it’s no coincidence that we find it here because that’s where that was their scriptures.
Felicity Harley-McGowan:
Exactly, exactly. And it’s also true though that at some point this emphasis on suffering and underscoring that through visual representation gained its own momentum. So, for many centuries there was almost a lack of traction, if you like, or this apprehension or lack of knowledge about how to tackle this Christological question of which of the natures suffered on the cross. Was it divine or the human? How to negotiate that visually. For many centuries through till the 8th or 9th century, we do not have any representations of Jesus on the cross with his eyes closed. Some people regard as one way of getting around the theological questions of which of the natures suffered. So that he’s shown on the cross with wounds and experiencing the sort of social isolation of, if you like, through this form of execution in the Roman Empire. But with the eyes open indicating or with some nod to the fact that this happened and yet the divine nature didn’t suffer. Once there was a reconciling to this, if you like, and eyes were closed,
Jesus was then increasingly shown wearing less and less clothing on the cross such that the body became its own complete canvas to explore just the kind of suffering that is specified here. Then it was open slather, if you like, to align the sorts of imagery we see in this text with the imagination of what Christ himself offered. So, it’s kind of chicken and an egg situation. And yet we have to, I think, work a little hard to step out of that situation and then return to this text and think a little more concretely about what do we know about the historical context out of which this is coming? What are some of the messages inherent with this text? And not to cut off any potential connections that might help Christians think about Christ, obviously.
Bruce Gordon:
Yes. Yes. I mean, it’s not at all surprising that Christians would read this text as a prophecy of Christ.
Felicity Harley-McGowan:
No.
Bruce Gordon:
They of course believe that Christ is present in scripture. And so that’s their central conviction and the words of the prophet here give them a story of Christ. But I agree with you, and I think, you know, we only have to go to Christmas Eve services around the world and almost all of them will begin with a reading from the prophet Isaiah.
Felicity Harley-McGowan:
Yes.
Bruce Gordon:
And that’s how we’ve been telling this story for a very long time. But I think we are also deeply enriched, as you were saying, by understanding the text on its own terms. And clearly the person writing this text, and I know Isaiah is a complicated text, but I’m pretty certain, did not think they were talking about Jesus when they wrote this. Whether future generations could read that into the text is another matter. And we benefit enormously by saying, well, in the context of this author, how do we read this text? And we can put that in dialogue. Christians can put that in dialogue with other ways of reading it. But it seems to me that that dialogue is deepening and enhances our belief that scripture cannot simply be reduced to one interpretation. There’s many things happening.
Felicity Harley-McGowan:
That’s right. And I think in doing that, this isn’t just a recognition for intellectual purposes to say, oh, there’s a broader historical context and we should look at it.
Bruce Gordon:
Sure. Sure.
Felicity Harley-McGowan:
But that in actual fact that the process of doing that helps us within our faith context, I think, think more broadly about what it means to think about sickness and the socialized isolation that it causes and other global contexts that might fruitfully be brought into conversation with this, such that the text is speaking to a human condition that has particular resonance for us through the story of Jesus and what his life is about. But also, what we, therefore, as followers of Christ, can do with some of that knowledge.
Bruce Gordon:
Yes. And, you know, how it deepens our faith to think about the person in this text could be the whole of Israel.
Felicity Harley-McGowan:
Yes.
Bruce Gordon:
The person in this text could be a particular person that the author has in mind. For Christians, it has another spiritual meaning. All of these are realities, and we grow by thinking about them as a whole, I would say.
Helena Martin:
Thanks for listening; we’re so glad you’re here. We’re here very week with new episodes to help shape your preaching, teaching, and reflection.
Chapter, Verse, and Season is a production of the Center for Continuing Education at Yale Divinity School. It’s produced by: Creator and Managing Editor, Joel Baden; Production Manager, Kelly Morrissey; Associate Producer, Aidan Stoddart; and I’m your Host and Executive Producer, Helena Martin. And our theme music is by Calvin Linderman.
We’ll be back with another conversation from Chapter, Verse, and Season.