Did you ever notice how many things mentioned in the Tanakh (Old Testament) have an echo somewhere in the Apostolic Writings (New Testament)?
© Albert J. McCarn and The Barking Fox Blog, 2017. Permission to use and/or duplicate original material on The Barking Fox Blog is granted, provided that full and clear credit is given to Albert J. McCarn and The Barking Fox Blog with appropriate and specific direction to the original content.
מַּטּוֹת / מַסְעֵי
William Shakespeare has such as way with murder. With so many characters meeting violent death in his plays it would seem that he regarded murder as an essential part of good drama. Richard III is an excellent example. When my daughter studied the play in school, she and her fellow students kept a “body count” of the many characters who died over the course of Richard’s rise to power. Shakespeare’s preoccupation with murder may have been the product of the violent world in which he lived, and indeed England in the 16th century was a violent place, yet we need only look at the headlines of events in our own cities to realize that our world is no less violent than Shakespeare’s. If the Bard had no qualms about employing murder as a plot device, it was because his art imitated life. Richard III was a historical play based on events that shook the British Isles just one hundred years earlier. The play’s popularity derived in part from the horrendous nature of Richard’s quest for power, extending even to allegations that in 1483 he ordered the deaths of his two nephews, the 12-year-old King Edward V and his younger brother Richard, Duke of York. Their uncles’ guilt has never been proven, but it is plausible that he removed them so they would not stand in the way of his quest to seize the throne of their father, the late Edward IV.
Richard III is not the only Shakespearian villain to usurp a throne and seize the inheritance of a rightful heir. Two others that come to mind are MacBeth of Scotland and Claudius of Denmark. Although not historical plays, MacBeth and Hamlet have roots in actual events. The central action of MacBeth occurs when the warrior of that name murders King Duncan of Scotland. Duncan’s sons, fearing they will be blamed for the murder, flee the country, allowing Macbeth to take the throne. In Hamlet, we do not see the murder of Denmark’s king; when the play opens his brother Claudius has already seized the throne by killing him and marrying his queen. The plot follows Prince Hamlet as he learns the truth of his father’s death and his uncle’s guilt.
As was necessary for Richard III, MacBeth and Claudius must deal with the heirs to the murdered kings. MacBeth prepares to defend Scotland against the exiled princes Malcolm and Donalbain, and Claudius concocts a plot to have Hamlet killed in a duel by an opponent wielding a poisoned blade. In the end all three villains meet violent deaths. Richard and MacBeth fall in battle as their own countrymen rise in revolt against them, and Claudius is slain by Hamlet himself just before the young prince dies.
Shakespeare’s works have remained popular for over 400 years because they really do imitate life, even to a disturbing degree. In these plays we see that an inheritance is not secure even if there are sons ready to claim their fathers’ legacy. What worse things might the villains have done had there been no sons and heirs? Who would ensure that the bereaved family retained their place in the nation? That very question prompted the tribe of Manasseh to ask Moses for guarantees not only for their brethren who had no sons, but for the entire tribe’s legacy in the Promised Land.
One of the great depictions of American historical events is John Trumbull’s painting, Declaration of Independence, which hangs in the Rotunda of the United States Capitol. The scene captures the moment on June 28, 1776, when the five men who drafted the Declaration present their work to the Continental Congress. Of the 56 signers of the Declaration, 42 appear in Trumbull’s work, the others having died before he could obtain their images. The painting also depicts five men who did not sign, including Robert Livingston of New York. Livingston was one of the men who drafted the Declaration, but New York recalled him from the Congress before he could sign his work. In Trumbull’s painting Livingston appears in the center of the drafting committee, with Roger Sherman of Connecticut on his right and Thomas Jefferson of Virginia on his left. Americans may not remember the distinguished men from Connecticut and New York, but they do remember Jefferson and John Adams of Massachusetts, two future presidents. Jefferson and Adams embraced different visions of how to govern the infant American Republic, and even though they became political rivals, they remained friends until their deaths on the same day, July 4, 1826.
There is a legend that Jefferson paid Trumbull to paint his foot on top of Adams’, but it is only a legend. The two men’s feet are close together in the picture, and as time and dirt wore away at the painting it came to appear that Jefferson’s foot was resting on Adams’. That is not the only oddity in Trumbull’s work. Like many works of art it is not entirely accurate, but is effective in capturing the spirit of the moment and of the age. So also is 1776, a musical play which humorously explores the events during that fateful summer of American independence. Howard DaSilva dominates the film version with his portrayal of Dr. Benjamin Franklin of Pennsylvania. If we are to believe the movie, independence was Adams’ idea, and the declaration was expressed in Jefferson’s words, but it was Franklin who brought it into being with his wisdom, wit, and ability to achieve consensus. 1776 embellishes the story with fictional dialogue, but it captures a number of famous quotes by the Founding Fathers, including Franklin’s immortal words: “If we do not hang together, we shall most assuredly hang separately!”
Dr. Franklin spoke a warning to a people facing the threat of political extinction before they could become a nation. Long before Franklin uttered his warning, Yeshua of Nazareth spoke the same truth to the people He had come to redeem from the threat of extinction by the enemy of their souls:
And knowing their thoughts Jesus said to them, “Any kingdom divided against itself is laid waste; and any city or house divided against itself will not stand. (Matthew 12:25 NASB; see also Mark 9:38-40; Luke 9:49-50, 11:16-23)
The great military leaders of World War II include nine who attained the highest rank awarded by the United States of America. Those five-star leaders are Generals of the Army George C. Marshall, Douglas MacArthur, Dwight D. Eisenhower, and Omar Bradley; Fleet Admirals William D. Leahy, Ernest King, Chester W. Nimitz, and William Halsey, Jr.; and General of the Air Force Henry H. Arnold. Each man accomplished great things for his nation, and all deserved the honors bestowed on them, yet some students of history would say there is a name missing from the list. Where is George S. Patton, Jr.?
Patton died too soon, losing his life as the result of an automobile accident in December 1945. Had he lived he might eventually have become a five-star general. Might, that is, had he been able to refrain from the controversy that followed him throughout his very public military career. By the time World War II erupted he had proven his worth at home and abroad, including combat operations in Mexico and France. Less than a year after the Japanese attack on Pearl Harbor, Patton commanded the only all-American force in Operation Torch, the Allied landings on North Africa in November 1942. His Western Task Force conducted the longest amphibious operation in history, sailing from Hampton Roads, Virginia, to the shores of French Morocco. From there he went on to a stunning series of battlefield successes in Tunisia, Sicily, France, and Germany.
Along with Patton’s skilled leadership came his shortcomings: a volatile temper, and a tendency to speak indiscreetly. Twice in Sicily he encountered soldiers suffering from battle fatigue; both times he slapped them and accused them of cowardice. For that he was reprimanded and kept from a field command for nearly a year. When he returned to combat in command of the Third Army, he engineered the breakout from the Normandy beachhead and raced across France at astonishing speed. December 1944 witnessed his greatest battlefield accomplishment: the relief of Bastogne at the height of the Battle of the Bulge. Patton’s troops remained on the offensive thereafter, advancing across Germany and into Czechoslovakia. After the war, as an occupation commander, he continued to generate controversy by retaining former Nazi Party members in positions of authority in the belief that they were best qualified to restore and run Germany’s shattered infrastructure. While he had good reason, Patton chose to defend his decision by saying that membership in the Nazi Party in Germany was no different than membership in the Democratic or Republican parties in the United States. His remarks came at the time when the heinous crimes of the Third Reich were becoming public knowledge. As a result, he was relieved of command of Third Army and assigned to the less prestigious post he occupied at the time of his death.
As with all people it is impossible to separate Patton’s strengths from his weaknesses. Patton could “read” an enemy, understanding not only his opponent’s capabilities, but also his state of mind. That ability made him one of the greatest battlefield commanders of modern warfare. What kept him from true greatness was his inability to control himself – or, more accurately, what came out of his mouth. In that sense George Patton was very much like Balaam, a man who aspired to greatness, but whose inability to match his words with his deeds ensured that he would never attain it.
Is it possible to be a hero without paying a price? A hero is one who does something worthy of esteem on behalf of someone else, and that requires sacrifice. Sometimes it requires the sacrifice of a life, and sometimes merely the sacrifice of time and attention. Sometimes heroes save nations, and sometimes they save little children from tears of embarrassment, pain, or grief. Every act of salvation, no matter how small, entails a sacrifice that someone offers willingly. And that is what makes a hero.
We learn about heroes in The Karate Kid, a 1984 film starring Ralph Macchio as Daniel Larusso, a fatherless teenager very much in need of a hero. Daniel suffers a vicious beating by boys from a local martial arts school. He is saved by a humble janitor, Mr. Miyagi (played by Noriyuki “Pat” Morita), who drives off the attackers with a masterful display of karate skills. Before long Mr. Miyagi agrees to teach karate to Daniel. The instruction begins when Miyagi assigns Daniel a number of hard tasks. First he must wash and wax Miyagi’s antique automobiles, using special hand motions to “wax on” and “wax off”. Then he must sand the walkway around Miyagi’s house, paint the fence around the property, and finally paint the house itself. Each task features a specific set of hand motions. After days of arduous labor, Daniel complains that he has learned nothing about karate while working like a slave. Miyagi responds by having Daniel perform the hand motions for each task. He then throws punches and kicks at Daniel, demonstrating that “wax on, wax off”, “sand the floor”, “paint the fence”, and “paint the house” have trained the boy to defend against attacks from many angles. As he blocks Miyagi’s attacks, Daniel realizes the truth: his faithfulness in seemingly unconnected menial tasks has made him ready for further instruction and greater responsibility in the art of karate.
In time Daniel becomes competent at karate and confident in himself as Miyagi’s training transforms him from a self-absorbed braggart into a self-controlled warrior. In the concluding scenes he enters a martial arts tournament where he faces the boys who first attacked him. Each is a formidable opponent, yet while Daniel learned karate as a means of disciplining himself in service of others, they had learned it as a means to exalt themselves over the weak. They do not realize that the humble attitude Miyagi cultivated in Daniel has made him stronger and better able to withstand pain and suffering. Their combined efforts at wounding and weakening Daniel only help him discover deeper wells of strength which in the end bring him victory.
This is a life lesson few are willing to learn. Either we walk humbly in the confidence of our King, or we get eaten by our adversary. As the Apostle Peter says:
You younger men, likewise, be subject to your elders; and all of you, clothe yourselves with humility toward one another, for God is opposed to the proud, but gives grace to the humble. Therefore humble yourselves under the mighty hand of God, that He may exalt you at the proper time, casting all your anxiety on Him, because He cares for you. Be of sober spirit, be on the alert. Your adversary, the devil, prowls around like a roaring lion, seeking someone to devour. (I Peter 5:5-8 NASB)
At the distance of two hundred years the specter of Napoleon Bonaparte is no longer frightening. Now he is nothing more than a historical figure often depicted as a comic caricature of the man who once ruled most of Europe. In his lifetime he inspired admiration to the point of worship not only for his genius at the art of war, but for his genius at bringing responsible government out of the chaotic revolution of France. Yet his ambition pushed him beyond the limits of himself and of France, and in time he lost everything.
We have a picture passed on through the years of a bitter Napoleon who blames everyone but himself for his setbacks. That is the picture C.S. Lewis invokes in his description of Napoleon in hell in his classic work, The Great Divorce. A similar picture appears in Waterloo, the 1970 movie about Napoleon’s final battle starring Rod Steiger as the Emperor. In the midst of the battle, illness overcomes Napoleon and compels him to leave the field briefly. During that time Marshal Michel Ney (played by Dan O’Herlihy), Napoleon’s trusted subordinate, orders the French cavalry to attack when he believes the enemy is retreating. What he does not realize is that the Duke of Wellington (played by Christopher Plummer) has ordered his infantry to shift their position to the other side of the hill they occupied. As the French cavalry charge, the British infantry form squares, a tactic designed for defense against cavalry. In charge after charge, the French horsemen expend their lives to little effect, eventually crippling that arm of Napoleon’s force and contributing significantly to his ultimate defeat. In the movie, Napoleon returns to the field just as Ney is leading the charge. In rage and dismay he says,
What’s he doing? What’s Ney doing? What’s happening? Can’t I leave the field for a minute? What’s he doing there? How can a man go forward with the cavalry without infantry support? What’s the matter with you?
To the military mind this outburst is perfectly understandable. Napoleon the general trained his men well and expected them to act not only with initiative, but also according to his commands and within the parameters of good order and discipline. It is no surprise that he became angry at learning that a trusted and experienced subordinate acted impetuously, violating a cardinal principle of war and endangering the entire army. It is the same reason our God becomes very angry when His people disregard the good order, discipline, and sound judgment He expects of them.
One of the compelling images I recall from childhood is the opening scene of Branded. This Western TV drama starred Chuck Connors as a United States Army officer unjustly charged with cowardice. Week after week the series opened with Jason McCord, Connors’ character, being drummed out of the service at a remote post in the American West. As the garrison assembles, McCord is marched to the front and center of the formation, where his commander removes from him every vestige of his connection with the Army – his hat, rank insignia, and even the buttons on his coat. Last of all the commander removes McCord’s sword from its sheath, breaks it over his knee, and tosses the broken hilt out of the fort’s gate. The shamed officer then walks out of the fort as the doors close behind him. Now on his own, branded for life with the mark of a coward, he must find a way to clear his name.
What if someone had exonerated Jason McCord? Such things have happened before. There is provision in the law to excuse an offender, either when the accusation is proven unjust, or when a duly constituted authority bestows clemency in an act of mercy. The law, however, remains in effect. Should another man, or even the same man, desert his post in an act of cowardice, he would be guilty of the same offence. Even if the entire United States Army deserted, requiring the President to recruit an entirely new force, the deserters would still be guilty according to the statutes and regulations governing the military service. And should the law change somehow, perhaps refining the definition of cowardice and clarifying the penalties, the law would still be in effect, and those subject to it would be wise to learn the changes lest they find themselves inadvertently in error.
How interesting that such a principal gleaned from a 1960s TV Western is actually a principal of the Word of God. While some may argue that the Law of God has no application at all in an age when Messiah Yeshua has won forgiveness for all who believe on Him, in actuality His work of redemption secured a prophesied change in the Law, not its abolition.
How much of a resemblance is there between Joseph and Yeshua (Jesus)? What in Joseph’s life prefigures the things we learn about Messiah Yeshua from scripture? Pete Rambo at natsab answers those questions with a three-in-one offering from his previous blog posts. After reading “Yeshua as pictured in Joseph” you will see how Yeshua fulfilled the role of Moshiach ben Yosef (Messiah son of Joseph), and get a taste of how He will fulfill the role of Moshiach ben David (Messiah son of David) at His return.
© Albert J. McCarn and The Barking Fox Blog, 2014. Permission to use and/or duplicate original material on The Barking Fox Blog is granted, provided that full and clear credit is given to Albert J. McCarn and The Barking Fox Blog with appropriate and specific direction to the original content.
Many here know that the Joseph portions are my very ‘favoritest’ of all the portions. Here for this week and the next two are posts from last year:
Enjoy and share any new thoughts you may have…