About the time that Gideon of Manasseh delivered Israel from oppression of the Midianites and Amalekites (Judges 6:1-8:35), a war of (literally) epic proportions took place on the northwest coast of what is now Turkey. The Trojan War really did happen, but the conflict was already wrapped in myth and legend when a Greek poet known only as Homer published The Iliad sometime around 750 BCE, four centuries after the war’s generally accepted dates of 1194-1184 BCE. Homer’s epic inspired a number of classical works telling the tales of the Greeks and Trojans, including a sequel published in Latin seven hundred years later. When the Roman poet Virgil wrote The Aeneid, he probably had a political agenda in mind. His story is that of Aeneas, a Trojan hero of the royal family who escaped the destruction of the city and led a band of refugees in a journey that eventually resulted in their settlement at the mouth of the Tiber River in Italy. There they became part of the story of Rome, a city which began as a colony of Alba Longa, the capital of the new kingdom Aeneas and his descendants founded. Thus Rome could trace its origins at least in part to Troy. More importantly, the family of Julius Caesar traced its genealogy to Aeneas, giving it a claim to royalty that helped Caesar’s nephew Octavian consolidate his power as Caesar Augustus. Whether true or not, Virgil’s epic, written early in Augustus’ long reign, cemented the link of the Caesars with Aeneas and Troy in the minds of Romans, making it one of the most successful pieces of literary propaganda ever published.
Even if the Caesar’s claims were falsified, and even if Aeneas never existed outside of classical literature, his tale is an illustration of the remnant: those who remain. Whether it is Ishmael surviving to tell the story of Captain Ahab and Moby Dick, or Job’s servants fleeing disaster to report to him (Job 1:13-22), fact and fiction throughout the human experience have featured a fortunate few who escape. The remnant has the task of carrying the memory of those who went before, of rebuilding what they lost, and of achieving their ultimate destiny. These remnant tales would have little impact on us if they were not a common feature in reality. The remnant is a continuous reminder in Scripture that God’s judgment is tempered with mercy in the expectation that a people will at last be able to step into the fullness of the promises YHVH has spoken from beginning of time.
Who invented the concept of the “Evil Twin”? This is not just a literary device. It is a byword, a running gag, a recurring theme in everyday life. When someone does something ridiculous, for example, they say, “That wasn’t me; it was my evil twin.” The motif of the twin, or double, stepping into the role of someone else provides endless possibilities for comedy or tragedy based on mistaken identity. But where did this idea get started? Perhaps, like so many other things, the answer is in the Bible:
And not only this, but there was Rebekah also, when she had conceived twins by one man, our father Isaac; for though the twins were not yet born and had not done anything good or bad, so that God’s purpose according to His choice would stand, not because of works but because of Him who calls, it was said to her, “The older will serve the younger.” Just as it is written, “Jacob I loved, but Esau I hated.” (Romans 9:10-13 NASB)
J.R.R. Tolkien’s works had secured for him a lasting place among the giants of English literature long before Peter Jackson ever brought The Lord of the Rings to the big screen. Middle Earth, with its Elves, Men, Dwarves, Hobbits, Orcs, and Wizards, serves as the backdrop for a profound tale about our humanness – what it means, and what we would like it to mean. We would like to see ourselves, for example, as high and noble, like the Elves or the Men of Gondor. Tolkien expresses this nobility in many subplots, not the least being the saga of the Stewards of Gondor. We learn about them from Faramir, son of Denethor, the current Steward:
We of my house are not of the line of [King] Elendil, though the blood of Númenor is in us. For we reckon back our line to Mardil, the good steward, who ruled in the king’s stead when he went away to war. And that was King Eärnur, last of the line of Anárion, and childless, and he came never back. And the stewards have governed the city since that day, though it was many generations of Men ago. (The Two Towers, Book IV, “The Window On the West”)
Faramir relates how his older brother, Boromir, could not understand why his father had not claimed the throne. He had asked, “How many hundreds of years needs it to make a steward a king, if the king returns not?” To this his father replied, “Few years, maybe, in other places of less royalty . . . In Gondor ten thousand years would not suffice.”
It is here that we must question Tolkien’s grasp on reality. He describes a degree of nobility and selfless honor that transcends generations. It is remarkable for one person to lay aside his or her own interests to guard a place of higher power, wealth, and prestige for someone else. How could such selflessness be passed down from one generation to the next, knowing that at some point the supreme authority would have to be handed over to someone else?
And yet that is exactly what our God expects His people to do.
It is quite possible that the greatest literary accomplishment of the year 1844 was the publication of The Three Musketeers. The swashbuckling adventures of Athos, Porthos, Aramis, and D’Artagnan penned by Alexandre Dumas have delighted readers and audiences ever since, inspiring dozens of stage and film adaptations. Not quite so popular is the trilogy Dumas published as a sequel, which concluded with The Man In The Iron Mask. The story has been told in film, with such notables as Richard Chamberlain and Leonardo DiCaprio in the title role, but it does not come close in popularity to its predecessor. Perhaps the subject matter is the cause. The tale concerns a man sentenced to life in prison behind a mask so that no one may know his identity. Dumas based his novel on an intriguing footnote of French history, but with much literary license. The mysterious man in Dumas’ story was Philippe, twin brother of King Louis XIV of France. As the king’s identical twin his very existence posed a threat to Louis. Therefore he was doomed by royal decree to live out his life anonymously behind a mask. This Baroque version of identity theft constitutes a fate worse than death. Not only is the man denied his rights as a member of the royal house, his very personhood is stripped from him, so that in time even he forgets who he is. No wonder The Man In The Iron Mask is so disturbing; this prince of the royal house suffers a fate none of us would ever wish to share.
And yet most Christians and Jews labor under precisely such an identity disability. We have all forgotten who we really are.