MYHB - Cross - Culmination of revelation

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Cross - Culmination of revelation


If the history of mankind is seen as a stage [1], then one view of the cross being the culmination of revelation, is that the Old Testament tells how the stage is set in order for Jesus to die on the cross. There is a mushy preparation for mankind to be ready for it. The future end times is the last chapter concerning the end of the world. In this view, nothing in the Old Testament speaks of Christ, but only of things that the author and his immediate audience would know.

In this view the classic prophecy [2] of the virgin birth of Christ is reduced to a mere local event concerning the birth of a child to a young woman and is intended to indicate a time-frame, of about 9 months, of when the prophecy will occur. This view is held by many scholars and is taught in most Evangelical Seminaries, to some degree. This is the source of the long-running debate between them; the word translated 'virgin' should really be 'young woman', to specifically indicate that it did not speak of Jesus. It's a silly debate.
The most popular view among Christians is that within the history of mankind, small hints are dropped concerning the cross. These hints are inspired by God, and the author may or may not realize what he is saying about the cross. The prophecy of the virgin birth is celebrated at Christmas as speaking of his birth. In this view, the New Testament only refers to the Old Testament when it says it does.

History certainly does tell how the stage is set up for Jesus to die on the cross, but it tells more. There are small hints dropped concerning Christ and the cross, but it is more.

  1. De 28:37 And thou shalt become an astonishment, a proverb [parable], and a byword, among all nations whither the LORD shall lead thee.
  2. Isa 7:14 Therefore the Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel. [{shall call: or, thou, O virgin, shalt call }]
Symphony allegory

The Old Testament is more like a symphony. The literal-historical record speaks of building the stage, bringing the players together on stage, and sitting them in their assigned places. [1] John the baptist is the first violinist who prepares the way for the author/conductor. The first violin stands and tunes the orchestra as John proclaims "prepare the way of the lord." [2] The same texts that arrange the stage, are the score for the symphony to play.

As Jesus steps up, he calls the Orchestra and audience to attention. He is the incarnate Word who wrote the score before the foundations of the earth. [3] The introduction is short. Genesis 1 establishes the melody of the cross in six variations [4] followed by an intermission.

The first variation expresses the melody of the cross in the theme of Holiness and Love, law and and grace, as two competing characters in the priesthood of God. [5] It is played by solo soprano trumpet and bass. [6] The tension established on day one of creation will thread it's way through the whole performance as a dissonant duet, finally resolving in a harmony on the cross. [7]

The second variation introduces the instruments which will represent the tension established on the first day. [8] The brass will be be bold, obvious and loud, speaking to the flesh. It startles; it shouts; it demands attention like a misplaced pep band. It is the voice of the king waking the sleeping or distracted audience. When it speak loudly, and it always speaks loudly, it conceals the more subtle voices of the other sections.

The violas are quiet and peaceful; they play as one, never demanding, never seeking attention; yet are the foundational wall of sound which permit the other instruments to rise above as they each express the melody of the cross. [9]

At the cross, the voice of the brass will be brought down; muted, and blend with the violas as one voice. [10]

In the third variation, a hidden oboe is given the lead. It is a harsh voice of desolation and loneliness [11], it will be pervasive through the the score, like general revelation. It is the voice of the judge speaking of separation from God. It is like the swan honking amongst cooing doves.

The fourth variation of the melody is the first, but the trumpet is joined by all the brass and woodwinds [12]; The bass is joined by all the strings. [13] The tension expressed in the first is amplified in the fourth. It is as if the world has gone crazy. In the first, the tension was between two voices, and is now a raging war.

The fifth expression of the melody is an expansion of the second. but the roles are reversed. At first it sounds like a bigger version of the second with more instruments playing. During the course of variation, the instruments exchange their melodies. [14]

In the sixth variation, all the variations are walked together, each variation joining the main as one. There is an illusion of harmony [15], but something just isn't right. From time to time the oboe honks. The loneliness of the third variant is contrasted by the unity of the sixth, excepting the oboe. In the middle, there is solo oboe crying "Why hast thou forsaken me". A moment of silence. [16] Then the conductor is revealed to be the hidden oboist. [17] He plays the new song. The new song is passed from instrument to instrument. Each instrument joins the 'congregation' as it learns the new song. The new song is the old song, but now in harmony with the oboe. They all play together with the oboe in the lead. [18]

This is just a brief introduction. Each variation is given it's own movement.

In the first movement, the oboe moves the melody from trumpet to bass and back.

In the second, the oboe plays with each section.

The cry of the oboe is echoed by the rest of the orchestra in the third.

In the fourth, the oboe begins with one side and moves to the other.

In the fifth the oboe carries the melody from one side to the other.

The sixth is played out as stated above.

The introduction is short, and the role of the oboe is not made clear in it. In each movement, it's role becomes more clear.

  1. This is like the first view
  2. Mt 3:3 For this is he that was spoken of by the prophet Esaias, saying, The voice of one crying in the wilderness, Prepare ye the way of the Lord, make his paths straight.
  3. Joh 1:1 ¶ In the beginning was the Word, and the Word was with God, and the Word was God.
  4. Each day is a picture of the cross
  5. Holiness is represented by light; Love by dark
  6. Opposite ends of the instrumental voicing
  7. Laws against mixing things are all symbolic of not mixing Holiness and Love
  8. Now the brass represents the revelation of holiness in the waters above.
  9. The strings represent the revelation of Love. It is there from the beginning, but not noticed since it seems to be drowned out by the brass.
  10. The revelation of Holiness and Love is culminated on the cross.
  11. It is Christ in incarnation; God made flesh. The part is played by the children of Abraham who are represented by dust and sand by the sea.
  12. The lights are formed from light
  13. The lessor lights rule the night. There is a reminder of holiness even when concealed in his Love.
  14. The voices of God change their tunes. The king shouts of holiness, and the priest of obedience. The judge speaks of recompense while the prophet 68+speaks of judgement. The Passover lamb of God is brought into the house.
  15. The nations have joined to oppose God
  16. Christ is dead
  17. Perhaps he physically drops to the floor with the silence and now slowly rises
  18. The man has taught his bride and have become one flesh.

MYHB - Cross - Holiness and love meet

MYHB - Cross - Victory over the penalty and consequence of sin

MYHB - Cross - Victory over the power of sin

MYHB - Cross - The cross and the kingdom