This will be the first of two blogs on Luke’s Nativity story. I’m looking here at how Luke tells the story more than its specific content. If you have a good modern translation, you will see that many of the verses are in a poetic structure.(1) That is, much of it looks like the Book of Psalms. It invites the reader to see that Luke intersperses the narration with “songs.”
In fact, the opening two chapters of Luke read like the Old Testament. Not only is Luke, as is Matthew, making the point that Jesus fulfills the Old Testament, in Luke it even sounds and feels like the Old Testament. We are taken back to the birth stories of Isaac, Esau and Jacob, the problematic Samson, and especially Samuel. Like Jeremiah, John and Jesus, were set apart by God from the womb. Zechariah and Elizabeth harken back to Abraham and Sarah, and to Manoah and his (unnamed) wife (Samson’s parents). Mary, especially in her song, reminds us of Hannah.
Like many modern musicals (Sound of Music and Les Misérables come to mind), Luke’s story is seen in a very real political setting. Herod is mentioned in Luke 1:5, and Augustus, along with one of his governors (Quirinius), in Luke 2:1-2. These are not benign world powers. The birth of John is set in Herod’s reign. John would be executed by Herod’s son, Antipas. Jesus’ birth is set in the Roman Empire’s power over the known world. Jesus would be crucified under Augustus’ stepson, Tiberius, through his governor/procurator, Pilate. The lyrics Luke uses intentionally employ words used by the Roman emperor cult. An inscription in a calendar found in Priene, in modern Turkey(2), celebrates the Good News (gospel) of Augustus’ birth. Augustus is called the Savior and God, who brings peace(3). Interestingly, this calendar inscription says that time would be reckoned from the birth of Augustus, with each new year beginning at that time. Luke includes those terms to describe Jesus and, in doing so, denies Rome’s claims about the triumph of worldly power.
How such power is marginalized by Luke is seen in those who sing. Much of the cast in this musical is from the very real realm of the spirit. Not only are there angelic soloists, but there is also a “choir of angels,” singing, as the veil between heaven and earth is lifted. Above all, the Holy Spirit directs and conducts this entire musical. These are not strange visitors from light years away, but an unseen reality that is always around us. The LORD of these Hosts from heaven has all authority and power, not Herod or Augustus. It is from these messengers (angels) that the terms falsely used by the emperor cult find their true meaning in this child, born to poor parents(4), and lying in a feeding trough.
Through the centuries, Christians have heard the music in Luke’s story, and they have blessed us with countless songs of His birth. Handel’s “For unto us a child is born,” still stirs our hearts and our voices, and with full voice, we sing that the government is on His shoulders. Amen!
Tim Kelley
(1)One of the best of these is The Holman Christian Standard Bible. https://www.biblegateway.com/passage/?search=Luke%201&version=HCSB
(2)https://earlywritings.com/forum/viewtopic.php?t=3255
(3)Also see Mark 1:1 “The beginning of the gospel of Jesus Christ, the Son of God.”
(4)The offering Mary and Joseph gave (two doves or pigeons) was an exception for the poor (Leviticus 12:7-8).