Friday, October 10, 2025

How to Read The Book of Job



Below is 

1) an introduction explaining about the interpretation of the Book of Job

2)a brief summery and paraphrase of the commentary that appeared before the book of Job in many Bibles

3) For the intrepid reader, a modernized truncated version of the commentary 

For the truly intrepid, you can read the whole thing in its original HERE and HERE.

Part I

The Book of Job has always been read in context. For example, it was traditionally accompanied by what has been called the “legend of Job,” in which superlative patience is indeed Job’s defining trait. The legend may even have come first, with the Book of Job (or at least its poetic diatribes) added later as an angry, satiric subversion. The story of the patient Job was strong enough to lead the early fifth-century commentator Theodore of Mopsuestia to argue against the canonicity of the Book of Job. He thought the now-scriptural account to be a slander on the name of a historical hero.

As Mark Lattimore explains:

The Testament of Job was among the texts removed from the Apocrypha by Pope Gelasius in the fifth century CE, but it evidently lived on: someone thought it important enough to produce the tenth-century copy that is the earliest surviving manuscript. It remains our fullest exposition of the legend of Job. Many of the details that set it apart from the canonical book are constants in the iconographic tradition of Job, from the royal status of Job and his friends to his experience with worms on a dung heap.*”

James Kugel describes four defining assumptions that shaped the early interpreters’ approach to Scripture:

  1. They assumed that the Bible was a fundamentally cryptic text—that is, when it said A, it often really meant B.

  2. They assumed that the Bible was a book of lessons directed to readers in their own day. It may seem to talk about the past, but it is not fundamentally history; it is instruction.

  3. They assumed that the Bible contained no contradictions or mistakes.

  4. Lastly, they believed that the entire Bible was divinely given, a book in which God speaks directly or through His prophets.

These assumptions are what “made the Bible the Bible.” They explain its enduring status, but also suggest why modern faith in clear, literal meaning has made interpretation more brittle. Approaching Scripture as “cryptic, relevant, perfect, and divinely granted” challenged readers to examine it closely. Every incongruity or repetition—the sort of thing modern readers might call a scribal error—was instead a clue. Meaning was hidden beneath the surface, and any question raised by Scripture had to be answered within Scripture itself, though not necessarily in the same place.

Later traditions changed this approach: the Reformation emphasized that the biblical text speaks unaided; the Enlightenment taught that we could set aside prejudice; Romanticism urged readers to empathize with the author; Fundamentalism treated meaning as literal and univocal; and the New Critics argued that every work of genius is a self-contained world of meaning.

The Alexandrian school, by contrast, focused on the multiple senses of Scripture. The “literal” or “historical” sense—what the words say—was only one layer. The “moral” sense provided models for conduct; the “allegorical” sense revealed Christ or the Church; and the “anagogical” sense disclosed the soul’s journey toward God. In this way, the historical meaning could be deepened—or even overturned.

Lattimore continues:

“The forms in which people encountered Scripture emphasized that it was part of a library of sacred books (biblia, from the Greek plural). Until very recently, it was thought impossible to read unaided. The Bible was never read in a linear way, one book after another, yet its organization remained significant and much discussed. For most of its history, encountering the biblical text on its own was nearly impossible. Scripture differed from merely human literature through its depth of meaning, which demanded elaborate commentary. Manuscripts and early printed editions were often surrounded by so many layers of commentary that the biblical words themselves seemed mere islands in a sea of marginal notes.”

A typical Bible would open Job with a double prologue by Jerome—one on the Septuagint, the other on the Hebrew text—followed by a second exposition, two prefaces by Nicholas de Lyra, and an anonymous addition. Then came the “Prothemata in Job,” based on Gregory the Great’s Moralia. Only after all this did the text itself begin, and even then, progress was slow: pages of commentary might analyze every word of “There was a man in the land of Uz whose name was Job” (1:1).

One manuscript page shows Job’s children feasting as a symbol of the heavenly banquet, supported by an image of Christ gathering the blessed in His mantle. The commentary explains that Job’s sons “are the holy ones who held feasts daily… so they could come to eternal joy and enjoy God forever.” That the children soon die during one of their feasts is beside the point; this is an image of heaven. The number of sons and daughters—seven and three—is what matters, as well as the fact that they feasted daily.

The commentary included in most Bibles was that of Gregory the Great. Gregory urged readers to “put aside the chaff of the history and feed on the grain of mysteries.” The literal sense was a husk concealing deeper truths. For instance, when Job scratches his sores with a potsherd (Job 2:8), Gregory sees at one level a broken shard of pottery with a sharp edge, reminding Job that he too is made of clay. At a deeper, allegorical level, Christ Himself is the one scraping, and also the potsherd—He has taken the “clay of our nature,” hardened by the fire of His Passion, to scrape away sin. Finally, at the moral level, the potsherd represents the severity with which we must examine ourselves, its edge reminding us of our mortality.

Though Gregory’s Moralia in Job is ostensibly about moral life, the allegorical sense is central. Christ’s Passion, not merely His teaching, enables moral transformation. For Gregory, Job is a prophet who prefigures Christ even in his suffering. Allegory is not just a way of reading texts, but a way of reading reality.

When Job curses the day of his birth (Job 3), Gregory insists that he condemns not God but the fallen world. Job cannot literally curse a day that no longer exists; instead, he symbolically longs for the end of mortal existence and the dawning of eternity. The apparent contradictions of the text are deliberate—signs pointing to deeper truths.

Later, Gregory interprets God’s speeches as unveiling the Church’s spiritual army, destined to triumph over Satan and Antichrist. Job learns that even his righteousness cannot save him alone: “What commonly slays a soul more fatally than consciousness of virtue?” For Gregory, the greatest danger is not suffering but tranquility. “Lucky,” he writes, “are those to whom God sends the wake-up call of suffering.” Prosperity may conceal spiritual peril; adversity may reveal divine favor.

This layered reading may seem puzzling to modern minds. After all, God Himself tells us in Job that the friends are wrong—yet Paul quotes Eliphaz approvingly (1 Corinthians 3:19). Gregory explains that, at the historical level, Job’s friends are genuine companions. Their words contain no error in themselves. But at the allegorical level, they represent heresy: those who mix truth and falsehood. A true friend in one sense can symbolize a false teacher in another.

To illustrate this inversion, Gregory recalls David’s sin against Uriah (2 Samuel 11). Historically, David’s act is vile and Uriah’s innocence pure. Allegorically, however, David represents Christ—the “Strong-handed One”—who unites the Law (Bathsheba) to Himself, while Uriah represents the Jewish people, faithful to the letter but blind to the spirit. What is foul in history becomes holy in mystery.

Gregory’s purpose in invoking such shocking reversals is to teach that the Book of Job operates in an “inverted world.” The historical is not to be trusted when it conflicts with the spiritual. Job’s wife, friends, and sufferings all symbolize the fallen human condition. Through suffering, Job “beheld the truth with the eye within” and discerned the darkness of his own humanity, leading him to repentance “in dust and ashes.”

The world is gravely disordered, yet not hopelessly so. Prosperity can be a trap; friendship can conceal heresy. But by threshing out the “historical chaff,” believers can glimpse divine restoration. Even heretics, Gregory says, will ultimately be offered forgiveness, and the Jews, too, will return at the end of days. The sacrifices Job offers for his friends prefigure this reconciliation, and their gifts—sheep and earrings of gold—symbolize obedience, innocence, and humility.

For Gregory, allegory is not decorative poetry but revelation. It shows the true nature of a world where “the grandeur of God flames out, like shining from shook foil.” The Book of Job becomes a guide through suffering toward illumination: a testimony that saving knowledge can be gained only through trial, loneliness, and repentance.

It is not until Calvin that we encounter a reading of Job that resembles the modern approach.

In any case, here a summarized *paraphrase* of what appeared before The Book of Job in many Bibles:




PART II


Brief summary and paraphrase of the preface to the Moralia in Job by St Gregory used in Bibles to introduce Job.


1. On the fourfold sense of Scripture

The words of Holy Scripture are a river both shallow and deep — in which a lamb may walk and an elephant may swim. For it offers simple truths to the simple, yet lofty mysteries to the wise. Some books instruct by open teaching, others lift by hidden allegory; but in the book of blessed Job both are mingled together, so that while the plain words teach the history of patience, the hidden sense reveals the mysteries of the Redeemer.

In Holy Scripture there are four senses — historical, allegorical, moral, and anagogical. By history we learn what was done; by allegory, what is to be believed concerning Christ and His Church; by morality, what is to be done in our own life; and by anagogy, what is to be hoped for in the world to come.


2. The literal and mystical meaning in Job

The blessed Job, who is described as “a man of the land of Uz, simple and upright, fearing God and avoiding evil,” may be taken literally as a real man who endured many afflictions with patience. But in a higher sense he prefigures the Redeemer Himself, who, being made in the likeness of sinful flesh, was yet without sin.

When the devil smites Job’s substance, children, and body, it is a figure of the manifold sufferings of Christ — His disciples scattered, His members persecuted, His flesh wounded. Yet in all these things the devil, though he seems to prevail, is conquered; for even in afflicting he serves the purposes of God.


3. The triple sense to be applied

We must therefore read the book in three ways:

  1. Historically, as the account of a man tried and restored.

  2. Allegorically, as the mystery of Christ and His Church.

  3. Morally, as the example of how each believer may bear adversity.

For Scripture, like a field, yields many fruits: it teaches by history, enlightens by allegory, corrects by morality, and lifts the mind by anagogy.


4. The harmony of the Old and New Testaments

All that is written in the Old Testament finds its fulfillment in the New. The very facts that outwardly belong to the ancient fathers are inwardly figures of Christ. Thus Job’s patience foretells the Passion of our Redeemer; his wife tempting him prefigures the carnal synagogue; his friends disputing, the heretics who wound by false consolations; and his restoration at the end signifies the glory of the resurrection.


5. On Job’s country, name, and character

Job lived in the land of Uz — a name signifying “counsel” or “advice” — because the Church of the Gentiles, which he represents, was long without divine counsel until it received it through faith. His name Job is interpreted “mourning,” for the Redeemer in His passion wept for the dead world. He was called “simple and upright”: simple in intention, upright in action; for the Redeemer was simple in innocence and upright in restoring fallen humanity.


6. On Job’s wealth and household

The wealth and household of Job — his seven sons and three daughters — mystically signify the perfection of the Church: seven denoting spiritual gifts, three denoting faith, hope, and charity. His thousands of sheep and camels, oxen and asses, represent the diversity of the faithful — some contemplative, some active, some strong in preaching, some humble in labor.


7. On Satan’s accusation and God’s permission

The enemy said, “Does Job serve God for nothing?” He accused Job, but through Job he accused all the righteous, suggesting that none serve God freely. Yet God permitted him to tempt, not to destroy, for by the patient endurance of His servant He would confound the enemy. Thus was prefigured the temptation of Christ, whom Satan tempted in the wilderness, yet could not overcome.


8. On the losses of Job

Job lost his wealth and his children, yet said, “The Lord gave and the Lord has taken away; blessed be the name of the Lord.” Here he foreshadowed Christ, who in His Passion lost the companionship of His disciples and the people He had chosen, yet blessed the Father, saying, “Father, into Thy hands I commend my spirit.” The enemy took away outward blessings, but could not rob inward grace.


9. On Job’s bodily affliction

When Job was smitten with sore boils, his body represents the body of Christ suffering in His members, or the Church tormented by persecutions. He sat among ashes — for the humility of the Redeemer descended to the dust of death, and the Church, mourning her sins, sits in penitence.


10. On Job’s wife and friends

Job’s wife tempting him signifies the voice of carnal reason, which persuades to despair: “Curse God and die.” His friends represent false teachers, who under color of consolation utter pride and error. Yet even through their words truth may shine, for Scripture often mingles the sayings of the foolish to prove the wise.



11. On Job’s patience and perfection

Job’s patience is not merely passive endurance but an active contest. He is struck outwardly, yet he conquers within. By not sinning with his lips he silences the adversary. In him we see the victory of grace over temptation. Patience is not weakness but strength restrained; it is the power of love that conquers pain.


12. The dialogue as the image of the Church

When Job’s friends dispute with him, the scene represents the Church’s own debates through the ages. Within her communion there are both the wise and the mistaken, and truth is often refined by contradiction. God allows contention so that faith may be tested, just as gold is proved in fire.


13. The voice of God from the whirlwind

When the Lord answers Job from the whirlwind, He signifies the mystery of the Incarnation. For the divine Word came veiled in mortal flesh, speaking to humanity amid the tempest of its weakness. The same voice which shakes creation gives peace to the heart that listens.


14. On Job’s restoration

Job’s final restoration after trial prefigures the resurrection. His double possession signifies that the reward of the saints shall surpass their former state, for grace abounds where sin had reigned. His renewed offspring symbolize the new generations of the faithful born of the Church after the Passion of the Lord.


15. The moral pattern of Job’s life

In the moral sense, Job is every righteous soul. His losses are our temptations; his sores, our secret griefs; his friends, the false comforts of worldly wisdom. Yet when the mind keeps faith amid affliction, it becomes richer than before. For outward loss purifies inward love.


16. The triple order of interpretation

Each reader must choose the path suited to grace:

  • The literal, for beginners;

  • The moral, for those advancing;

  • The mystical, for the perfect.
    These are not three books but one revelation, rising like steps toward the vision of God.


17. The harmony of divine speech

Scripture never contradicts itself. What seems opposed on the surface unites at the summit. For one and the same Spirit breathes through all its writers. The rough places of the letter are smoothed by the charity of the interpreter.


18. Why Scripture speaks obscurely

The Lord has veiled His mysteries so that love might seek what the intellect cannot at once perceive. Hidden truth, when found, is sweeter; and the toil of searching purifies the heart. The divine Word is like a fountain covered by stone: it invites the humble to lift the weight and drink.


19. The necessity of contemplation and action

No one understands Job who is idle. As faith without works is dead, so study without obedience is vain. We must learn with the mind and practise with the life, joining Martha’s service to Mary’s contemplation. Then the wound of trial becomes the school of wisdom.


20. On divine and human speech

When God speaks, He enlightens; when man speaks rightly, it is God who speaks in him. Thus the author of the commentary must pray before he writes, lest his words be his own and not the Lord’s. To teach without prayer is to draw water from a dry well.


21. The humility required of interpreters

The deeper the mysteries, the humbler should be the expositor. Let him remember that even the greatest prophets saw only in part. Whoever exalts himself above Scripture falls beneath it; whoever bows beneath it is lifted up by it.


22. The usefulness of the literal sense

Some, loving allegory, despise the letter. But the literal sense is the foundation of all others; if it be removed, the spiritual building falls. Therefore first learn what the text says, then ascend to what it means. History leads us to mystery as the body bears the soul.


23. On allegory

In allegory the facts of the past reveal the mysteries of Christ. Egypt signifies the world; Israel, the faithful; Pharaoh, the devil; the Red Sea, baptism; the desert, temptation; the promised land, eternal life. So too, in Job, every circumstance speaks of the Redeemer’s passion and the Church’s pilgrimage.


24. On the moral sense

The moral sense applies the Scripture to ourselves. What Job endured outwardly we endure inwardly; what he overcame in body we must overcome in soul. The sores of the flesh are the vices of the heart; the scraping of the potsherd is the correction of repentance.


25. On the anagogical sense

The anagogical lifts us from earth to heaven, teaching what we are to hope for. Job’s final vision of God “with his eyes” prefigures the beatific vision promised to the pure in heart. Thus Scripture begins with conduct and ends in contemplation.


26. On the unity of Scripture and the Incarnate Word

All Scripture is one book, and that one book is Christ. Because He is the Word of God, every word of God speaks of Him. In Job wounded we see Christ suffering; in Job restored we see Christ glorified; in Job praying for his friends we see Christ interceding for His persecutors.


27. Why the righteous suffer

The good are often scourged in this life that they may be spared in the next. Their pain is medicine, not punishment. The wicked flourish because their reward is only here. Thus adversity is the sign of adoption; whom the Lord loves, He chastens.


28. On divine pedagogy

God teaches us as a physician, not as an enemy. He wounds to heal, troubles to teach. Job’s sores are the lessons of divine wisdom; each stripe reveals a virtue. The school of suffering is the mother of saints.


29. The end of all interpretation

The aim of every exposition is charity. Knowledge without love puffs up; love builds up. To know the words of Job is little; to imitate his patience is much; to love his Redeemer is all. When study ends in love, it fulfills both law and prophets.


30. Doxology and conclusion

Therefore, as we begin this work, we implore the same Lord who opened the mind of Job to open ours also, that He who spoke by the wounds of His servant may speak by the words of our weakness. To Him be glory who lives and reigns for ever.  Amen.

             


PART III

A modernized truncated version. 

📖 The Preface of Saint Gregory the Great to the Morals on the Book of Job

  1. There are some books of Holy Scripture which are written in a plain style, and others in a more obscure. The plain convey instruction to the simple; the obscure exercise the intellect of the wise. Some, by the mere sound of their words, soothe the ear of the flesh; others, by their mysterious depth, pierce the heart with fear. The one sort speak what is easily understood; the other, what must be searched out with labour. But the book of blessed Job is full of both. In it the history is clear, yet the meaning profound; the words are plain, yet the mysteries hidden.

  2. For, when it is related that this man, being just, was afflicted, the open history instructs us how the righteous should be exercised by adversity. But when the same Job is understood to represent the Redeemer, who, being made in the likeness of sinful flesh, yet was without sin, the allegory displays to us the mystery of His Passion. Thus, while the history teaches one thing and the allegory another, both together build us up in faith and patience.

  3. Yet it must be known that all Scripture, which is divinely inspired, while it relates certain things as done, declares others prophetically to be done, or figuratively represents others as to be done. For it records history, while it opens mystery; it narrates what is past, while it prefigures what is future. Hence it is rightly called a river both shallow and deep — in which a lamb may walk and an elephant may swim. For it is both plain and profound, simple in words yet marvellous in meaning.

  4. Therefore, in this sacred book, let the literal sense instruct, the allegorical uplift, and the moral guide. For, as there are three kinds of knowledge — history, allegory, and morals — so there are three ways by which the Scripture nourishes the soul. By the history, the mind is informed; by the allegory, it is illuminated; by the moral, it is instructed how to act.

  5. Hence also the Apostle Paul, writing to the Corinthians, says of the Law, All these things happened to them in figure; and they are written for our admonition, upon whom the ends of the world are come. For what was done outwardly in the ancient fathers is inwardly fulfilled in us. The same facts are both events in time and figures of truth.

  6. Thus Job, a man of the land of Uz, simple and upright, fearing God and eschewing evil, may be considered historically as one who truly lived and endured many sorrows with patience; but mystically he represents the person of the Redeemer. For as the Lord, though sinless, was tried by the temptations of the devil, so Job, though just, was afflicted by him. The devil smote Job’s goods, his children, and his body, but could not touch his soul; for the Redeemer likewise was scourged in the flesh, but His divine nature the enemy could not wound.

  7. Yet there is this difference: the Lord overcame temptation by His own power, Job by the grace of the Redeemer. For He who by His own strength conquered the tempter is the same who, by His grace, made Job victorious. Therefore, while Job’s patience is his own, the virtue of patience is from above.

  8. But let us see why the Lord permitted His servant to be tempted. It was that his virtue might be made manifest, that the testimony of his righteousness might confound the accuser. For the devil accused Job as serving God for reward, not for love. But by the loss of all things temporal he showed that he served God disinterestedly, saying, The Lord gave, and the Lord hath taken away: blessed be the name of the Lord.

  9. Herein the Church, too, is figured; for, as Job was afflicted outwardly and blessed inwardly, so the Church is outwardly oppressed and inwardly comforted. Her patience in tribulation proves her love; and by her sufferings she is conformed to her Head, who endured the Cross.

  10. Therefore, in expounding this book, we must always bear in mind that while it narrates one man’s trial, it proclaims the sufferings of the whole Body of Christ; that it speaks of a single person, yet mystically sets forth the one Mediator between God and men.

  1. Since then Holy Scripture, while it recounts past events, foretells also what is future, and discloses the mysteries of the present, it must needs be expounded in all these ways. For some passages are to be taken historically, others allegorically, others morally; that by history we may know what has been done, by allegory what we are to believe, by morals what we are to practise.

  2. Yet these three senses are not severed from one another, because the same sentence of Scripture, while it relates a fact, often contains a mystery and conveys instruction for life. Thus the same light, striking different mirrors, is reflected in many directions without being divided in itself.

  3. But there are certain passages in which the history alone must be attended to; others, where the moral alone is intended; others again, where the mystical only is designed. Yet frequently the same words embrace all these senses at once, as in that saying of Solomon, Go to the ant, thou sluggard; consider her ways, and be wise. For here the history teaches how the ant stores her food; the moral bids us imitate her forethought; and the allegory shows the Church, which in this present life gathers spiritual grain against the winter of judgment.

  4. Hence it is that Divine Scripture, while it utters things humble, lifts up the soul by hidden meanings; and while it describes earthly works, it opens heavenly mysteries. The literal sense presents the shell; the allegory discloses the kernel; the moral applies the fruit to nourishment.

  5. It must be observed also that the same words, when understood in diverse ways, yield not contrary but harmonious meanings. For as the strings of a harp, though struck in different notes, produce one melody, so the several senses of Scripture, distinct yet concordant, sound forth one praise of God.

  6. Wherefore, in this book, we must diligently attend to each sense. Historically, Job is described as afflicted that we may learn patience; allegorically, he prefigures the Redeemer; morally, he instructs every just man how to bear adversity. In all alike, the Spirit of God breathes one truth under many forms.

  7. But because the mysteries of God are hidden from the proud and revealed to the humble, the more obscure any passage is, the more reverently must it be sought. For obscurity is not the fault of Scripture, but the safeguard of its majesty. It veils the divine light, as clouds veil the sun, that our weak eyes may not be blinded but gradually enlightened.

  8. Hence the Lord says by Isaiah, I will give thee the treasures of darkness, and hidden riches of secret places. For the more the words of God are dark to us, the more precious they are when understood; and what is found with labour is held with love. Therefore let no one complain that the words of Job are obscure, for by this very obscurity they train the soul to humility and to faith.

  9. For often the mind, by meditation on difficult things, is lifted above itself, and in seeking to comprehend what is beyond, learns to adore what it cannot comprehend. Thus the obscurity of Scripture is itself a kind of teaching: it leads us from curiosity to reverence.

  10. Moreover, in divine things the way to understanding is through obedience. For he who will learn the mysteries of God must first practise His commandments. The knowledge of the truth is given to those who live it. Therefore it is written, They that do the will of God shall know of the doctrine. And again, If any man will do His will, he shall know whether the doctrine be of God. So, the more one is humble and obedient, the clearer light he receives from the words of God.

  1. Let every expositor therefore remember that when he opens the Scriptures he enters the courts of heaven. There the voices of the prophets and apostles resound; there the very speech of the Lord is heard. If then he would not speak folly in so great a presence, let him first cleanse his heart by humility, and then presume to utter what he understands. For no one can safely teach what he has not first learned in prayer.

  2. Some, delighting in the splendour of eloquence, desire rather to be admired than to edify. But the Word of God seeks not ornament of style, but purity of affection. The preacher should aim, not that his hearer may praise his speech, but that he may mourn for his sins. Therefore Paul, though learned, said, My speech and my preaching was not with enticing words of man’s wisdom, but in demonstration of the Spirit and of power.

  3. Hence it often happens that one who cannot speak elegantly moves hearts more effectually than he who adorns his words; because the latter strives to please, the former to profit. The power of the Word lies not in the beauty of language, but in the virtue of the truth. A humble sentence, spoken with charity, pierces more deeply than a subtle argument uttered with pride.

  4. Yet though eloquence is not to be sought, it may be used if it be given; but let it serve, not rule. Let it be as a servant in the house, not as mistress of the household; that by it the hearer may be led to love, not the preacher, but the Word of God.

  5. Let no one think that he understands the Scriptures because he can speak of them; for the true understanding lies in doing them. He knows the Word who keeps it. Hence the Lord says, He that hath My commandments and keepeth them, he it is that loveth Me. Knowledge without obedience is like a tree without fruit: fair in leaves, barren in substance.

  6. When the righteous are scourged, let them remember that Job was scourged; when they are exalted, let them remember that Job was exalted. For in his story both prosperity and adversity are displayed, that in whatever state we are, we may find example for our own. The prosperity of Job teaches us to use the world without cleaving to it; his adversity, to bear the world without despairing.

  7. For God disciplines those whom He loves; He afflicts that He may instruct. Therefore, when the hand of the Lord is heavy upon us, let us not murmur, but reflect that by stripes He cures our wounds. The physician cuts that he may heal; the husbandman prunes that he may cause fruit. So the Lord wounds to save, humbles to raise, kills to make alive.

  8. In the example of Job, then, the life of the righteous is mirrored. For every just man, when smitten by calamity, becomes as Job; he loses what he had, yet keeps himself; he is stripped of outward things, yet inwardly is enriched; he laments, yet blesses; he is silent under wrong, yet prays for the wrongdoers. Thus in him patience is crowned, pride is slain, and the adversary confounded.

  9. The end of all interpretation is charity; for the Scripture was written that we might love God and our neighbour. Whatever knowledge does not kindle love is barren. Let him therefore who studies Job learn patience, humility, and compassion. For to understand the sufferings of Job is to imitate his virtues.

  10. And now, having said these things by way of introduction, we commit the work to the mercy of Almighty God, who by His own Spirit has deigned to inspire both the words of Scripture and the desire of interpreting them. May He open our understanding, that what is obscure may be made clear; may He grant that the same Spirit who spake by Job may speak by us; and that, as we set forth the example of his patience, we ourselves may be made partakers of his reward. To Him be glory for ever and ever. Amen.









Saturday, September 13, 2025

The Mother’s Smile, Called into Being




       

DaVinci, so rare to see Mary smiling, reminded me of Von Balthasar's remarkable insight :

The infant is brought to consciousness of himself only by love, by the smile of his mother. In that encounter, the horizon of all unlimited being opens itself to him, revealing four things to him: (1) that he is one in love with the mother, even in being other than his mother, therefore all being is one; (2) that that love is good, therefore all Being is good; (3) that that love is true, therefore all Being is true; and (4) that that love evokes joy, therefore all Being is beautiful.

He has another similar quote from Love Alone is Credible :

"After a mother has smiled at her child for many days and weeks, she finally receives her child’s smile in response. She has awakened love in the heart of her child, and as the child awakens to love, it also awakens to knowledge: the initially empty-­‐sense impressions gather meaningfully around the core of the Thou. Knowledge (with its whole complex of intuition and concept) comes into play, because the play of love has already begun beforehand, initiated by the mother, the transcendent.”

John Macmurray, in the opening chapter of his Persons in Relation argues that the fundamental unit of existence and identity is not, “I,” but “you and I.” To be is to be in communion.

Macmurray writes: “The first knowledge, then, is knowledge of the personal Other—the Other with whom I am in communication, who responds to my cry and cares for me. This is the starting-point of all knowledge and is presupposed at every stage of its subsequent development…The knowledge of the Other is the absolute presupposition of all knowledge.”

All of human knowing, which I was laboring to expound, comes to be in the gaze of the loving other. All knowing has the interpersonal as its fundamental tenor. Knower and yet to be known are person-like.

The mother’s smile isn’t just epistemically formative; it forms us ontologically—in our very being.

                                                     

D.C. Schindler in his essay, “Surprised by Truth” also begins with a memorable claim of Hans Urs von Balthasar’s:

“The little child awakens to self-consciousness through being addressed by the love of his mother.”

Schindler elaborates: “The personal gesture that the mother addresses to the child is what gives rise to his capacity to respond in kind.”

This affirms that the soul’s conditions of possibility are not fixed prior to and thus independent of the (receptive) encounter with what is other than consciousness, but instead occurs in the encounter. They arise, as it were, not wholly from below [or within] but as a gift from above, which, precisely because of its generosity, creates the space for the ‘from below’ capacity to receive it.

In other words, because the mother’s smile is a gesture of love that ‘welcomes’ the other, her child, it does not impose itself as an opaque and indeed violent demand, but as an enabling invitation.

Schindler quotes Balthasar again: “the child responds to a directive that cannot in any way have come from within its own self … The entire paradise of reality that unfolds around the ‘I’ stands there as an incomprehensible miracle: it is not thanks to the gracious favor of the ‘I’ that space and the world exist, but thanks to the gracious favor of the ‘Thou.’”

The mother’s gesture of generous, self-giving, welcome, is a personal address, and can only be responded to in kind—with the baby’s returned smile. With this the newborn launches beyond himself ecstatically into communion with his world.

Balthasar argues in effect that you can gauge the relative defectiveness of this or that religious form as it falls short of the originary person-forming gesture of the mother in her smile. Any human being the world over, any human being who survives and engages life intelligently, that is, has been the ontologically constituting recipient of their mother’s smile.

There is a second principle Schindler draws from Balthasar: the mother’s smile is a Gestalt. It is a deeply integrated, and integrating, pattern. And this pattern is the mother’s beauty.

“When the other smiles at her child, she is in fact presenting him with a Gestalt in which she makes her person accessible to him as a loving gift. The gesture is not simply an opaque picture, which can adequately be read as it were ‘off the surface.’ Instead, the whole has a meaning because of ‘something’ that is both not any particular part of what she shows him and at the same time transparently present everywhere within it, namely, herself, i.e., her freedom. This freedom is what makes the smile radiant, or in other words genuinely beautiful.”

                                                                

Now, the philosopher Theodore Adorno locates a foundational stratum of being in some pre-linguistic bodily ‘knowledge’ to which women (like birds, like Sirens) have privileged access.

This mysterious force of nature – the hypnotic effects associated mythically with the singing of the Sirens, would become important to Adorno’s argument as, in collaboration with Max Horkheimer, he subsequently developed it, in Dialectic of Enlightenment: the Sirens who, as Barbara Engh points out, are described as half woman, half bird.

Adorno sees Odysseus’s encounter with them as standing for that fateful moment which marks the way (male) logos would learn to resist the blandishments of (female) pathos – if only by stopping up the ears and immobilising the body

                                                                  

In fact, in Adorno’s account, female voices cannot even truly be recorded !

This is because they need the physical presence of their originating bodies, whereas the male voice – quintessentially for him that of Caruso – works precisely because here voice is identical with self, with logos we might say.

Love is necessary first, before beauty can be seen, for love is that essential "mood" that intends the world as beauty and can so receive it.

As I've argued HERE only once the senses are “rendered rational” by ascetic education is the "ontologically erotic" gaze, which loves and desires being, able to receive creation as gift within the vision of love.

Without the gaze of love - positive regard - one is scarcely a person, but feels only a deformed individual, ever struggling to achieve a place in the world.

                                                         

So, encompassed by the finite world of death and decay, is there another way to “see” the world ? David Bentley Hart says this;

“What one sees, and the “more” that one sees within what one sees, is always determined by prior intentions (both simple eidetic intentions and hermeneutically richer linguistic and cultural prejudices), and no mood escapes this necessity.

The “ontologically erotic” gaze that loves and desires being is more attentive to what constitutes or “en-acts” the seen than is an anxious awareness of the nothingness that shyly hides itself behind the seen; love sees each thing’s fortuity, its mystery, its constancy within a “transfinite” unity, its immediate particularity, its radiant inherence within its own “essence,” its intelligibility, and its way of holding together in itself the diversity of its transcendental aspects as a realized unity amid, and in unity with, multiplicity and change. 

                                                          

The gaze of love seeks the being of things in the abiding source in which they participate; it is a way of seeing that is acquainted with moments of enchantment, which awaken it, however briefly, to a recognition of the persistence of being’s peaceful and sustaining light (utterly unlike either the violence of time and nature or the stillness of an ultimate ground) and of this light’s “gratuitous necessity”; and these moments, however fleeting or imperfect, compel thought to risk a conjecture toward the infinite.

This gaze of love, that is to say, sees being as an infinite font of manifestation, showing itself in the existence and essences of things, kenotically allowing (and so without alienation from its own diffusive goodness) the arrival in itself of what is, in itself, nothing: the pure ontic ecstasy of contingent existence."

Tuesday, August 19, 2025

Jeremiah: Pain and Promise


         


Kathleen M. O’Connor has written a remarkable book, Jeremiah: Pain and Promise. Often I find trauma victims lives eerily similar to the prophets and Christ, victims of terrible injustice, betrayed by loved ones, given pat answers by religious leaders either too numb to hear their voice crying out or so dogmatically strait jacked they will not listen, and the book of Jeremiah is a fine example of a broken man stumbling through a horror-strewn catastrophe struggling to understand his God.

The following are some quotes from her book:

Jeremiah is not a hero of epic proportions. He is an anguished man, a kind of anti-hero, wounded, isolated, and broken like the people of Judah in the grip of catastrophe. Pain and suffering dominate his life…

Everybody is out to get Jeremiah for his dread-filled preaching, including kings, other prophets, priests, the people, and even his family and friends.

…the particular afflictions heaped upon Jeremiah by his people are not solely about him; they are a mosaic of the cataclysm. They incorporate the sufferings of the very people who reject him. In complex ways, Jeremiah’s biography is a work of social repair for rebuilding the community. His prophetic call, prophetic sign acts, and stories of his captivities create a prism through which to see the disaster, explain it, and survive it.”

His commission alienates him and isolates him from his people….his suffering is emblematic of the suffering of the very people who refuse to listen to this message.”

…..he breaks a jug in front of witnesses (19:1–15); he wears an iron yoke of captivity about his neck (chaps. 27–28); and in a more hopeful direction, he buys a field while invasion is occurring (32:1–25)

Jeremiah’s personal life itself becomes the sign. Rather than performing acts, God commands that he refrain from them. He may not “marry [nor] have sons and daughters in this place” (16:1–4, v.2), and he may not attend social gatherings.

In a culture built around community, he must remain alone without a wife, family, or friends, a situation he laments bitterly:

I have not sat in the circles of merry makers.… I have sat alone because of your hand upon me” (15:17).

From this prophet, God demands everything. He is to live without people, bereft of love and of human companionship, but these demands are very odd in the Old Testament because they overturn biblical confidence in the blessings of family and community.

To avoid marriage is to fail to keep the first biblical commandment to “be fruitful and multiply” (Gen 1:28). Such is the high cost of a prophetic vocation where life and message become indistinguishable, where, as Fretheim puts it, Jeremiah’s life “is an embodied word of God.”

The prophet’s lonely condition dramatizes God’s banishment of the “voice of mirth and the voice of gladness, the voice of the bridegroom or the voice of the bride” (16:9).18

In his most intimate life, Jeremiah personifies social rupture and communal erosion that consumes Judah.

One life expresses many. Jeremiah lives in social isolation just like other disaster victims. His own alienated body is an icon of the community’s alienation.

Painful though it surely is, Jeremiah’s captivity is neither permanent nor death-dealing. It ends, as do all stories about his incarcerations, with his surprising survival. His multiple miraculous escapes act out a promise sprinkled in various forms across the book’s second half: “You will gain your life as booty of war.”

The promise of life as booty made to several characters is ironic. To gain your life as “booty of war” means that your life is all you have at war’s end. 

You acquire neither treasure, slaves, women for your harem, nor honor and glory in battle. You live. You survive. That is it. After every catastrophe, people, stunned by their losses, express their dismay in similar terms: “All we have is our lives!”

          


“Jeremiah does not explain suffering in any satisfactory way, at least to me (no biblical book does), but the book pledges that God will make a future and points the way toward it. Jeremiah’s literary artistry is a mode of survival, an expression of hope, even when the words themselves are hopeless.

Trauma and disaster destroy or at least undermine trust in God, other people, and the world. Trauma and disaster can leave people feeling betrayed and God-forsaken.

Beliefs and traditions, what Louis Stulman might call the society’s “symbolic tapestry,”those interlocking ideas and institutions that once secured them firmly on the earth and kept them grounded in daily life and communal identity—these no longer seem reliable. After all, God did not protect them, nor did prayer comfort them, nor is worship any longer possible because the gods of chaos rule the cosmos. No longer is there a stable, secure foundation upon which to stand.

To protect themselves from memories of violence, people “turn off” in an emotional and spiritual deadening. Amid such destruction of life, trust in God, the world, and other people becomes unsupportable.

Kai Erikson puts it this way: survivors of disaster “can be said to experience not only a changed sense of self and a changed way of relating to others but a changed worldview.”

Like a solar eclipse blotting out the sun, calamity blots out God because death and destruction obscure any sense of God’s protective and faithful presence.

It not only reflects the interpretive chaos that follows disasters, when meaning collapses and formerly reliable beliefs turn to dust. Jeremiah’s literary turmoil is also an invitation to the audience to become meaning-makers, transforming them from being passive victims of disaster into active interpreters of their world.

Liturgical language is action language. It coaxes people reduced to passivity by traumatic disruptions to move back together in a common effort.

Liturgies are public events that require people to gather, to use gestures and speech in an embodied enactment of a new relationship with God.

They provide patterned forms of praying and create a sense of order. They offer language to heal “ruptures in the cultural system of knowing” and promote cultural continuity by evoking prayers of the past.

“They piece together the traditions,” retrieving, reclaiming, reassembling them to make meaning in the present.

Rituals draw people back to one another from isolating pain and severed bonds that follow disaster. They stir people to life, require exertion and participation, and serve as an antidote to victimhood and helplessness.

One way Jeremiah describes what happened with the destruction of Israel is of Israel as an adulterous wife.

God’s broken household helps because it finds words for the disaster, simplifies its causes, creates a miniature version of a monstrous reality, and thins it down to approachable segments of pain. Jeremiah’s family tells the truth sideways, at a slant, and conveys the nation’s suffering more fully than any straight historical report could possibly do.

Attending to it, readers can find shadows of their own broken lives in a poetic world that is both alike and different from their experiences.

The household drama is looking for a way to speak of God when God has utterly failed them, when divine protection has disappeared. Through it survivors of disaster learn what they cannot see. They cannot see that God has been with them all along, sad and disturbed, angry and frustrated through the entire ordeal.

They cannot see that God is hurt and longs for them with the love of a husband who yearns for his beloved spouse and wants to be a father to the children. They cannot see that God is wrenched apart by this breakup and burns with loving desire for them.”

When Jeremiah places responsibility upon the people of Judah for the nation’s collapse, he helps them survive because he finds cause and effect in a world that has come unhinged. When he says God is not to blame but you are, he makes God a victim and puts readers on God’s side for God is brokenhearted and feels bereft.

But perhaps even more important and more surprising, when he places responsibility upon the people, he gives people a sense of control.

It is only one of many explanations of the disaster in Jeremiah…

Jeremiah’s poetry is not predictive of future calamity nor is it simply an historical record of past calamity. It is a potent agent of change. It acts upon the world by creating vital, explosive speech that both reveals and heals wounds.

                    


Interpreting to Survive

“To interpret disaster means to generate new ways of seeing the past and to create language to speak about the unspeakable.

Interpreters have to search for ways to assimilate overwhelming experience into a comprehensive narrative, into a story that brings the violence into the stream of life rather than leaving it as an unassimilated anomaly, as an incomprehensible disruption.

Survivors of disaster can detoxify fractured memories of violence when they integrate them into a larger world of meaning, when they reframe them.

Although such interpretive processes may not destroy raging ghosts of the past, they can gradually deprive them of their power.

Interpretation can begin to heal horrible memories when it expresses them in terms similar enough to the violence to activate the past yet incompatible enough to change it.

…Jeremiah shifts the spotlight of blame again, this time onto God. “Then I said, ‘Ah, Lord God, how you have utterly deceived this people, saying, “It will be well with you,” even while the sword is at the throat’ ” (4:10)

Typical of interpretations after disaster, conflicts emerge here full-throttle. Leaders failed; God failed. It is God’s fault; it is our fault; it is everybody’s fault. There is no resolution, no single cause, only complex distribution of responsibility.

The poem “uncreates” the world as it reverses the work of God completed during the seven days of creation (Gen 1:1–2:4a). In the first chapter of Genesis, God says, “Let there be light,” let there be birds and beasts, let there be humans, and that divine word turns “waste and void” (tohu wabohu, Gen 1:2) into light and life.

In Jeremiah’s poem, the opposite happens. Like a film played in reverse, elements of the world disappear one by one until chaos returns:


I looked to the earth and, behold, waste and void and to the heavens and there was no light.


I looked to the mountains and, behold, quaking and all the hills were shaking.


I looked and, behold, there was no human and all the birds of the heavens had fled.


I looked and, behold, the fruited plain of the wilderness and all the cities were in ruins before YHWH, before his hot anger

(Jer 4:23–26, ).

And God’s word is still the active agent, but now it “uncreates” the world, “for I have spoken” (4:28).

Even as Jeremiah’s poem unravels the first story of creation, it manufactures a strange continuity with it by translating violent memories into the familiar terms of Judah’s sacred story. It reverses Genesis’ steady march toward lush abundance and harmonious goodness and turns it into a nightmare of terror. The world empties of creatures, cities, and human culture. Birds flee, desert returns, life disappears in the deathly stillness after battle.

Love turns to horror in a further blending of battlefield and household. God commands the Daughter of Zion: “Lift up your eyes and see those who come from the north” (13:20). When she wants to know why, the answer is clear. “It is for the greatness of your iniquity that your skirts are lifted up and you are violated” (13:22).

The “lifting of skirts” is probably euphemistic speech for rape, but the parallel clause, “you are violated,” makes rape certain. The poem leaves the violator unnamed in verse 22 but reveals his identity later: “I myself will strip off your skirts over your face” (13:25–26, my translation). God rapes her; Judah is destroyed.

The fact that God’s rape of Zion is outrageous, unbearable, and unspeakable is surely the point of the imagery. To be invaded by another country, to be victims of attack, occupation, and dislocation is outrageous, unbearable, and unspeakable. God’s rape of Wife Judah tells the people’s story and brings to speech the horror and harm of Babylonian assaults. Rape is a language for telling Judah’s memories and its experience of God.

Rape makes an apt language for invasion because it “reproduce(s) the difficulty of the world itself.

Jeremiah’s portrait of a punishing, raping God is a culturally potent conception that begins the work of interpretation, of uttering the unutterable, of making sense of the senseless. It is, like all portraits of the divine, a partial, provisional effort. It offers one way, among many in Jeremiah, to integrate the disaster into the long stream of the nation’s existence”

Jeremiah’s violent, raping God is “momentary” because it is not Jeremiah’s only word about God but one of many, none of which are final. The war poetry, like the rest of the book, characterizes God in complex, conflicting ways. They are momentary glimpses, provisional, partial attempts to say what cannot ever be fully said but which stave off chaos for the moment.

Rather than stripping away disaster’s horrors, they translate them into symbolic dramas. Paradoxically, these poetic worlds of war and marriage depict horror and mute it at the same time. By reconstructing memories of invasion in imaginative space, they invent other ways to speak of it.

They revise a vocabulary of experience and build common language to name what has happened, to give it shape, and to revisit it emotionally and spiritually.

The literary creativity of the war poems brings the community into its own fragmented memories of a world unhinged and makes collective experience conscious and public. In them, survivors can recognize both what they have lost and what they have endured and survived.

To remember is to tell stories, to build identity, to get through life; it is a moral practice that reconstitutes reality.

It is this poetic world itself that creates continuity in Israel’s narrative memory, its traditional story, and gives language to people whose memories have made them mute.

The war poems give little hope for a reconstituted life.  Instead, they enact the breakdown of the culture and offer language to tell it.

They guide victims into the dark terrors of their fractured memories of violence, requiring them to process the war in bits and pieces, slowly, in small exposures. They relive Babylonian assaults in a controlled fashion, in a world apart from their own, in cosmic space.

By contrast to ancient Israel, modern western culture is “ritually adrift, bereft of custom, symbol, metaphor, and meaningful liturgy or language,” according to funeral director and writer Thomas Lynch”

God also mourns in this poetic dialogue among sad and frightened voices as they express abandonment and despair.

But a weeping God, like an angry one, arises from human experience to name the One beyond every name. Half a century ago, Rabbi Abraham Heschel rightly insisted that “the God of Israel is not a Greek deity of stoic power and unchangeableness but a fluid being filled with pathos and emotionally engaged in the life of the people.


                                      


SURVIVE BY PRAYING

"Even as Jeremiah speaks to God accusingly, even as they verge toward hopelessness, they adhere to God with fierce insistence.

Without complaint there are no prayers of lament. Laments argue, protest, whine, and mewl; they berate God even as the one praying holds fast to God like a lover in a life-altering quarrel. Laments compose a poetic forum in which to express fury at the deep fissures of the world and the ways God fails to care for it. These qualities make laments ready-made prayers for victims of trauma and disaster.”

Between the complaint and the expression of hope lies a gap, an abrupt switch as the ones speaking seem to reverse completely their grasp of reality, as if voicing the complaint makes room for something new to break in.

They convey in the most vulnerable terms a grasping for faith and a desperate clutching toward God despite massive discontent with God’s treatment of the world. And because in them Jeremiah insists on his innocence and refuses to see himself as the cause of his suffering, they too participate in the book’s rhetoric of responsibility, ultimately turning blame onto God.

….the confessions blame God. God has failed, betrayed, turned away, left the prophet to suffer. In these prayers God is responsible.

Although his prophetic calling has made him truly miserable, he has never wavered.

And it is precisely this fidelity to his vocation that causes Jeremiah’s hopeless anguish. It is fidelity to that word that creates enemies who want to “cut him off from the land of the living” (11:19). His adversaries taunt him and scheme against him to silence him. They persecute him “like a lamb led to the slaughter” (11:19)

“Why has my pain become endless, my wound incurable, refusing to be healed?” (15:17). In the midst of this overwhelming suffering, his prophetic fidelity turns out to be useless; God has abandoned him anyway.”

Jeremiah’s confessions ultimately resist the God-defending theology of much of the book. They provide another voice, another claim about the disaster. To the implied question, “Why did this happen?” the confessions reply: God is at fault. Whatever else his laments do, they challenge the book’s theodicy and its twin, the rhetoric of human responsibility.

Like all speech about God, biblical words are products of their culture; they are provisional, partial, and incomplete. They stutter and stammer to say that which cannot be fully said.

In the confessions, Jeremiah turns from an adamant God-defender to a passionate God-resister.

The prophet bemoans God’s complicity with his enemies’ treachery. The responsible party behind them, feuling and encouraging them, is God who is not just and not on the side of the good.

He begs for explanation: “Why does the way of the wicked prosper and all those who commit treachery flourish?” (12:1).

The wicked prosper because God favors them; they flourish because God nourishes them; they do evil because God enables them. God may claim to be just, and ancient tradition may claim that God is just, but the facts speak to the contrary. Jeremiah demands proof of divine justice in his own wretched life, and that proof will appear only when God separates the wicked from the innocent “like sheep for the slaughter” (12:3).

When he prays, Jeremiah accuses God of outright injustice. But here is his most fundamental complaint: God is a traitor and false friend who has forsaken him. “Truly, you are to me like a deceitful spring, like waters that fail” (15:18)

A God who is like a dried-up spring is worse than an enemy because divine pretenses disguise divine infidelity. A deceitful spring of a God cannot be trusted. A dried up river bed of a God is dangerous to life and not a “fountain of living waters” (4:13). An evaporated life-source of a God is a deceit, a treachery, and a death-blow.

In his last confession (20:7–13), Jeremiah’s accusations against God reach a pinnacle of abrasive speech. “O YHWH you have seduced me and I was seduced. You have raped me and you have prevailed” (20:7).18 Interpreters often shrink from the brutality of Jeremiah’s sexual language,”

Like the biographical stories about Jeremiah, his confessions trace the contours of open wounds of his people, draw the shapes of their suffering, and center on the invisible loss of faith and meaning. Jeremiah’s assault on the divine Judge looms over a nation that has watched Babylon flourish and wonders why.

The confessions provide language for disaster victims to complain about all that is unendurable. Attacked, defenseless, and mortally threatened…

He is isolated and alone; even his family and kinfolk turn against him (11:21–23; 12:6). His wound is incurable, refusing to be healed (15:18; 8:22, Eng.; 10:19; 14:20). And like his people, he too needs to be saved and healed (17:14–16; 18:20b).

People can identify with him because he suffers from the same festering wounds that afflict them. His profound misgivings about God portray a kindred soul who mirrors their suspicion, skepticism, and outrage. And because the confessions take the traditional form of lament, they have the capacity to bring the people together in communal worship and gather them again as a praying people.

They provide a way to pray that gathers in the afflicted, draws them back from social isolation, articulates doubt, and shows how it is possible to cling relentlessly to God in the wreckage of their world.”

Even if only for a moment, he does turn to God with renewed trust and confidence. The final confession (20:7–13) concludes with a startling change in outlook that seems utterly contradictory of his previous discontents. “Sing to YHWH, praise YHWH, for he has rescued the life of the needy from the hands of evildoers,” Jeremiah urges (20:13). After all his churning spiritual turmoil, he asserts without explanation, without preparation, that the “Lord is with me as a Mighty Warrior.” Perhaps it is the capacity of laments to bring unspeakable suffering into the light that expands the heart and makes room for hope to emerge across the gap of emptiness.

                        


"Like the stories of his captivity, the trajectory of Jeremiah’s confessions is toward survival. Following the form of lament, his accusations against God are, for the moment, absorbed in praise, and relationship with God again seems sure. So it might be for Judah. Yet Jeremiah’s confidence recedes quickly. He brings readers abruptly back to reality by cursing his birth (20:14–18, cf. Job 3). He would rather have been aborted in the womb than to have lived through this destruction. “Why did I come forth to see trouble and grief to end my days in shame?” (20:18). The reality surrounding Jeremiah and his readers remains a world of cursing, where life is filled with “toil and sorrow” and days are spent “in shame” (20:18). Jeremiah’s quick reversal from confidence in God to cursing reflects how fragile and elusive faith can be on the other side of catastrophe.”

….the confessions model how relationship with God might come back to life after disaster.

His words honor suffering in its many bitter dimensions and give voice to the mute pain of destroyed faith. They reflect back to victims their own spiritual and theological quagmire.

The confessions offer words and actions for spiritual survival of the nation by showing them how to pray in the thick of the theological devastation that accompanies disaster.

Here is what to do in the pit of hopelessness: cling to God, even when God has slipped away. Yell at the top of your collective lungs. Hold tightly, mercilessly, and with every ounce of strength, shout and scream at the deity. Tell the truth, voice rage and despair right to the face of the “Just Judge.” Hold nothing back. Complain, protest, resist. Reclaim experiences of misery and pain, see them and name them before God.

“Give God an account” and approach God “like a prince,” to return to the words of that other God resister (Job 31:37). Communicate all that is shattered, despair-creating, and spirit-defeating.

Lay it out so you can see it yourselves and can see each other in this deep, unending wound. God is hidden there in that space.

Turning to the disappeared God is how to survive disaster. Public, communal worship can revivify life with the God of their past.

Jeremiah’s confessions give shape and words with which to do this, not by wholesale invention but by reinvention, by retrieving and retooling traditional liturgical prayers of lament.

The sermon cares most about the invisible world of faith obliterated by disaster, the shared loss of confidence in the temple, the prophet, and in God.

…the point of the sermon is that Sabbath-breaking behavior reveals profoundly distorted relationships.

….Sabbath observance “is essential to the maintenance of the cosmos. As long as the Sabbath is sanctified, the community maintains some measure of blessing, protection, and order. Violation jeopardizes the social symbolic order of the world.”

The destructive swath of disasters includes the less visible world of meaning. They destroy faith and trust. They unravel the tapestry of beauty and sense that secured the world. Chaos prevails.

                             


It is a profound paradox that when there is no way forward, when the future is cut off and death is winning, hope can appear unexpectedly, and the universe expands in unthinkable ways.

After disaster, hope emerges slowly, if at all. First, it needs space in which to take root, a fallowing of the land, a turning of the soil to aerate and open it. Before hope can appear, survivors of disaster have to find language to tell of it; they have to grieve accumulations of loss and begin to place the catastrophe into larger frames of meaning. Hope arrives in stops and starts, risings and fallings, in painful switchbacks between despair and trust.

Hope in Jeremiah is not optimism but unbidden, unexpected revelation of divine love.

….readers are simply not prepared for the explosive beauty of the “little book of consolation.” These brief chapters of hope are a tour de force that sweeps aside the general bleakness of most of the book.

Jeremiah’s words of comfort in these chapters disrupt the harsh, clamped-down life of people who live in the persistent grip of trauma and disaster. Hope’s abrupt appearance wakes them up to visions of an alternative world. That world is utopian; it exists only as a promise, as a call to bring the people back to life.

Those usually judged least suited for leadership—the feeble and the vulnerable, the lowly and the wounded—will become the center of new life.10 The ones whom God calls home in this poetry are the same ones who cried out in panic, had no peace, lived in distress, and endured terrors (30:5–7). They are the ones freed from bondage, whose hurt is incurable. They are without medicine, without healing; plundered and preyed upon, they cry out in endless pain (30:12–17). They are the victims of disaster.

The survivors returning to Zion will form a procession of the forgotten, the disabled, and the vulnerable. Although they are the lowest in the society, they will be the beating heart of the restored community. The blind and the lame are physically different, weak, deemed deficient in the ancient world, stigmatized, and perhaps despised.

Pregnant women are of low public stature and holders of little political power, but together these people have the astonishing capacity to give birth to new life. For a nation seemingly doomed to extinction at the hands of Babylon, the vulnerable and broken themselves will become the promised bearers of its future, a future of unimaginable reversals. The whole people, once afflicted, despised, and broken, will live together in safety, merriment, and thanksgiving (30:18–20).

When the scroll of consolation reconvenes God’s broken family, there are no requirements and no demands placed upon its members, only announcements of divine love: “I have loved you with an everlasting love, therefore I have continued my faithfulness to you (31:3b)

What is new about it is the manner of speaking about it as a deeper, more intimate, more egalitarian union. The new covenant resembles a miraculously revivified marriage, begun again after conflict, infidelity, and a long, painful struggle. This time, “I will put my law within them and write it on their hearts.” God recommits the divine self to them and announces their transformation in which the law will be part of them, internal to their beings.

No longer will the covenant exist only on tablets of stone and require obedience to external rule. The law will be something they live and breathe, it will take up residence within their very beings. They will no longer have to teach one another about God or say to one another, “know the Lord.” Soon “they shall know me, from the least of them to the greatest, says the Lord for I will forgive their sins” (31:34).”

The future is an act of God, beyond the capacity of human beings to bring it forth.

Jeremiah’s vision disrupts the inertia of the present time26 And portrays God as the interrupting energy at heart of the world, the enacting agent of return, and the designer of a society led inexplicably by the weak and vulnerable…

The book of Jeremiah has no proper ending, no resolution, no summing up of interpretations, and it has no set of agreements about how to go forward. It simply stops.”

Brueggemann describes the book as having an “ending that does not end” precisely because it plunges into “unreadable lived experience.”The searing pain it portrays does not end but lingers as turbulent presences for generations. By refusing closure, the three endings continue the work of survival that gave rise to the book in first place.

Jeremiah’s portrait of God in its many dimensions stammers toward the unsayable. God receives many names, many characteristics in this book, yet none can satisfy, none can fully convey the experience of the divine. Jeremiah’s God is the living God.