Expositor's Bible: The Gospel of St Luke. Henry Burton

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СКАЧАТЬ – not, however, to analyze, but to listen to their song – we meet first with Elisabeth. This aged daughter of Aaron, and wife of Zacharias, as we have seen, resided somewhere in the hill-country of Judæa, in their quiet, childless home. Righteous, blameless, and devout, religion to her was no mere form; it was her life. The Temple services, with which she was closely associated, were to her no cold clatter of dead rites; they were realities, full of life and full of music, as her heart had caught their deeper meaning. But the Temple, while it attracted her thoughts and hopes, did not enclose them; its songs and services were to her but so many needles, swinging round on their marble pivot, and pointing beyond to the Living God, the God who dwelt not in temples made with hands, but who, then as now, inhabits the purified temple of the heart. Long past the time when motherly hopes were possible, the fretting had subsided, and her spirit had become, first acquiescent, then quiescent. But these hopes had been miraculously rekindled, as she slowly read the vision of the Temple from the writing-table of her dumb husband. The shadow of her dial had gone backward; and instead of its being evening, with gathering shadows and ever-lessening light, she found herself back in the glow of the morning, her whole life lifted to a higher level. She was to be the mother, if not of the Christ, yet of His forerunner. And so the Christ was near at hand, this was certain, and she had the secret prophecy and promise of His advent. And Elisabeth finds herself exalted – borne up, as it were, into Paradise, among visions and such swells of hosannas that she cannot utter them; they are too sweet and too deep for her shallow words. Was it not this, the storm of inward commotion, that drove her to hide herself for the five months? Heaven has come so near to her, such thoughts and visions fill her mind, that she cannot bear the intrusions and jars of earthly speech; and Elisabeth passes into a voluntary seclusion and silence, keeping strange company with the dumb and deaf Zacharias.

      At length the silence is broken by the unexpected appearance of her Nazareth relative. Mary, fresh from her hasty journey, "entered into the house of Zacharias and saluted Elisabeth." It is a singular expression, and evidently denotes that the visit of the Virgin was altogether unlooked for. There is no going out to meet the expected guest, as was common in Eastern hospitalities; there was even no welcome by the gate; but like an apparition, Mary passes within, and salutes the surprised Elisabeth, who returns the salutation, not, however, in any of the prescribed forms, but in a benediction of measured verse: —

      "Blessed art thou among women,

      And blessed is the fruit of thy womb!

      And whence is this to me,

      That the mother of my Lord should come unto me?

      For, behold, when the voice of thy salutation came into mine ears

      The babe leaped in my womb for joy.

      And blessed is she that believed,

      For there shall be a fulfilment of the things which have been spoken to her from the Lord."

      The whole canticle – and it is Hebrew poetry, as its parallelisms and strophes plainly show – is one apostrophe to the Virgin. Striking the key-note in its "Blessed art thou," the "thou" moves on, distinct and clear, amid all variations, to the end, reaching its climax in its central phrase, "The mother of my Lord." As one hails the morning star, not so much for its own light as for its promise of the greater light, the dayspring that is behind it, so Elisabeth salutes the morning star of the new dawn, at the same time paying homage to the Sun, whose near approach the star heralds. And why is Mary so blessed among women? Why should Elisabeth, forgetting the dignity of years, bow so deferentially before her youthful relative, crowning her with a song? Who has informed her of the later revelation at Nazareth? It is not necessary to suppose that Elisabeth, in her seclusion, had received any corroborative vision, or even that she had been supernaturally enlightened. Had she not the message the angel delivered to Zacharias? and was not that enough? Her son was to be the Christ's forerunner, going, as the angel said, before the face of "the Lord." Three times had the angel designated the Coming One as "the Lord," and this was the word she had carried with her into her seclusion. What it meant she did not fully understand; but she knew this, that it was He of whom Moses and the prophets had written, the Shiloh, the Wonderful; and as she put together the detached Scriptures, adding, doubtless, some guesses of her own, the Christ grew as a conception of her mind and the desire of her heart into such colossal proportions that even her own offspring was dwarfed in comparison, and the thoughts of her own maternity became, in the rush of greater thoughts, only as the stray eddies of the stream. That such was the drift of her thoughts during the five quiet months is evident; for now, taught of the Holy Ghost that her kinswoman is to be the mother of the expected One, she greets the unborn Christ with her lesser Benedictus. Like the old painters, she puts her aureole of song around the mother's head, but it is easy to see that the mother's honours are but the far-off reflections from the Child. Is Mary blessed among women? it is not because of any wealth of native grace, but because of the fruit of her womb. Does Elisabeth throw herself right back in the shade, asking almost abjectly, "Whence is this to me?" it is because, like the centurion, she feels herself unworthy that even the unborn "Lord" should come under her roof. And so, while this song is really an ode to the Virgin, it is virtually Elisabeth's salute of the Christ who is to be, a salute in which her own offspring takes part, for she speaks of his "leaping" in her womb, as if he were a participant in her joy, interpreting its movements as a sort of "Hail, Master!" The canticle thus becomes invested with a higher significance. Its words say much, but suggest more. It carries our thought out from the seen to the unseen, from the mother to the Holy Child, and Elisabeth's song thus becomes the earliest "Hosannah to the Son of David," the first prelude to the unceasing anthems that are to follow.

      It will be observed that in the last line the song drops out of the first and the second personals into the third. It is no longer the frequent "thy," "thou," "my," but "she: " "Happy is she that believed." Why is this change? Why does she not end as she began – "Happy art thou who hast believed"? Simply because she is no longer speaking of Mary alone. She puts herself as well within this beatitude, and at the same time states a general law, how faith ripens into a harvest of blessedness. The last line thus becomes the "Amen" of the song. It reaches up among the eternal "Verilies," and sets them ringing. It speaks of the Divine faithfulness, out of which and within which human faith grows as an acorn within its cup. And who could have better right to sing of the blessedness of faith, and to introduce this New Testament grace – not unknown in the Old Testament, but unnamed – as she who was herself such an exemplification of her theme? How calmly her own heart reposed on the Divine word! How before her far-seeing and foreseeing vision valleys were exalted, mountains and hills made low, that the way of the Lord might appear! Elisabeth sees the unseen Christ, lays before Him the tribute of her song, the treasures of her affection and devotion; even before the Magi had saluted the Child-King, Elisabeth's heart had gone out to meet Him with her hosannas, and her lips had greeted Him "My Lord." Elisabeth is thus the first singer of the New Dispensation; and though her song is more a bud of poetry than the ripe, blossomed flower, enfolding rather than unfolding its hidden beauties, it pours out a fragrance sweeter than spikenard on the feet of the Coming One, while it throws around Him the purple of new royalties.

      Turning now to the song of Mary, our Magnificat, we come to poetry of a higher order. Elisabeth's introit was evidently spoken under intense feeling; it was the music of the storm; for "she lifted up her voice with a loud cry." Mary's song, on the other hand, is calm, the hymn of the "quiet resting-place." There is no unnatural excitement now, no inward perturbation, half mental and half physical. Mary was perfectly self-possessed, as if the spell of some Divine "peace" were upon her soul; and as Elisabeth's "loud cry" ceased, Mary "said" – so it reads – her response. But if the voice was lower, the thought was higher, more majestic in its sweep. Elisabeth's song was on the lower heights. "The mother of my Lord," this was its starting-place, and the centre around which its circles were described; and though its wings beat now and again against the infinities, it does not attempt to explore them, but returns timidly to its nest. But Elisabeth's loftiest reach is Mary's starting-point; her song begins where the song of Elisabeth ends. Striking her key-note in the first line, "The Lord," this is her one thought, the Alpha and Omega of her psalm. We call it the Magnificat; it is a Te Deum, full of suggested doxologies. Beginning with the personal, as she is almost СКАЧАТЬ