Candida Moss unravels a common misperception: that Christianity faced murderous government-sanctioned persecution for its first three centuries, a period in which “the blood of the martyrs” supplied seed for the growing church. Grounded in ten years of research on martyr traditions, Moss’s basic position will surprise few historians.
This Sunday of words and songs about sheep and shepherds has always challenged me. For most of my preaching life I’ve been in or near a city. Now I live in New York City, where as far as I know even the Sheep Meadow in Central Park has no sheep.
Yet here is an enduring image from Jesus, an image captured perhaps millions of times in our art, our songs, our stories.
I’ve always been challenged by the lectionary readings for this Sunday. Although both Psalm 23 and John refer to Jesus the Shepherd and us as sheep, I live in New York City, and as far as I can tell, even the Sheep Meadow in Central Park has no sheep. Yet we sing Psalm 23 each year on this Sunday and at countless other times in convalescent homes and at gravesides.
Visions, Prophecy, and Politics in the Book of Revelation
It’s the second movement of Leonard Bernstein’s choral work, Chichester Psalms. A boy soprano (or a countertenor), in the “role” of the shepherd boy, David, sings in Hebrew the opening verses of Psalm 23. He is accompanied–sparingly, fittingly–by the harp. The first several measures are tender but not tentative; filled with sentiment, but without sentimentality (this per Bernstein’s instructions). When the women’s voices take over the text at גַּם כִּי־אֵלֵךְ בְּגֵיא צַלְמָוֶת . . . (Yea, though I walk through the valley of the shadow of death . . .) there’s an ethereal echo-canon effect. This part of the movement, when executed well, is something sublime.