Don’t expect to slide into the Kingdom of Heaven on someone else’s coattails. Messiah’s tzittzit, yes, but coattails, no.
© 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.
Thinking is hard. If it were not hard, then more people would do it.
In truth, all of us prefer to remain in our comfort zones, where familiar things surround us – including familiar answers to questions and familiar solutions to familiar problems. Most likely this preference for the familiar, the things we know and can deal with well enough, is a big reason few people take an active role in making the way for Messiah to come.
That last statement is bound to generate opposition. Those who view it from the Christian side (including Messianic and Hebrew Roots believers) will say that Yeshua of Nazareth (Jesus Christ) is the Messiah (Christ means Messiah, by the way), that he has come once, and that he will be coming back. Those who approach from the Jewish side say that Messiah is yet to come. The point of this article is not to address either perspective, but to consider something both have in common: the faithful expectation that Messiah Son of David is coming as King of Israel to rule the nations from Zion.
If we all have this common expectation, then it would be wise to consider what that future Messianic realm will look like. Maybe we should even consider what we have to do to make it happen.
This is where we run into the hard part. We have to think about it, and that is scary and uncomfortable. Those of us who have come from the Christian side have lived our lives expecting Messiah to return and fix everything. According to our expectations, there is no effort required on our part to bring him here; he just shows up one day according to some predetermined timetable God established from the beginning. To think, like our Jewish brethren, that we have responsibility for creating the conditions for Messiah’s coming (or return) requires a major paradigm shift. It means we must step out in faith and do things that we usually leave up to God alone.
But then, that is the consistent testimony of Scripture –
- Noah had to do things to secure the salvation of his family (such as think about how to follow the instructions God gave him to build that very large boat, and then actually do the work).
- Abraham had to do things to receive the promises God gave him (such as pack up and leave comfortable, civilized Mesopotamia, and go to a hostile foreign land – first in Syria, and then in Canaan).
- Moses had to do things to receive God’s instructions for the nation of Israel (such as walk to Egypt, then convince the elders of the people that God had spoken to him, and then seek an audience with Pharaoh – and that was only the beginning of the work he had to do!)
There are many more examples summarized in Hebrews 11. The people in that “Hall of Faith” chapter deserve praise not because they sat around waiting for God to move, but because they got up and did the moving themselves in response to God’s promises. As they moved, He provided direction, resources, help from others, and miraculous intervention when necessary. Yet would YHVH have done so if they had not invested their own blood, sweat, treasure, and intellectual effort?
Probably not. In fact, when God’s people sat around waiting for Him to move, He had to take extreme action just to get them off their backsides and into motion! We see that in the record of the apostles. Even though Yeshua had told them to be his witnesses in Jerusalem, Judea, Samaria, and to the ends of the earth, they were content to remain in Jerusalem until God raised up a man named Saul of Tarsus who forced them out (see Acts 8).
Which brings us to the dilemma of the present day. Are we really at the “end of the age”, when Messiah is about to show up? If so, what does that mean? More importantly, what are we to do about it? How do we prepare for Messiah’s reign in what will be a very real Kingdom centered in a very real place called Jerusalem? What will this Kingdom look like? How will it resemble what we know today in the modern nation-state system? How will it be different?
Here’s what is coming up on The Remnant Road on Hebrew Nation Radio for Monday, August 29:
The Remnant Road, with co-hosts Al McCarn and Daniel Holdings, is the Monday edition of the Hebrew Nation Morning Show. You can listen live at 11:00–1:00 EST, 8:00-10:00 PST at http://hebrewnationonline.com/, and on podcast at any time.
© Albert J. McCarn and The Barking Fox Blog, 2016. 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.
These illustrations are the gleanings of meditation on the Bible over the last year. Many of them made their first appearance on the ubiquitous Bible App, made available by the nice people at YouVersion. Hopefully they will provide some inspiration, or at least inspire some deeper investigation into the Word of God.
In March and April 2016, Al McCarn and Daniel Holdings co-hosted a series of discussions on End Times Prophecy on Hebrew Nation Radio. The forums for these discussions were The Remnant Road, the Monday edition of the Hebrew Nation Morning Show, and Prepare the Way, Daniel’s Wednesday evening podcast on current and prophetic events. Each guest on these programs brought a paradigm-shifting perspective on the End Times indicating not only that the people of YHVH are out of time, but that the events Christians and Jews have expected for millennia may be transpiring before our eyes in ways no one has yet expected. The links to the podcasts of each show are collected and presented here (grouped by topic rather than chronological order) in the hope that these discussions will be a help to those who have eyes to see and ears to hear in these Last Days.
Pompous people lend themselves so readily to ridicule. Unconsciously, of course. By their very nature they would not stoop to the indignity of common humor since it punctures the mirage of superior respectability they strive to maintain. That is precisely what makes it so easy (and so much fun) to lampoon such persons – albeit usually without their knowledge since they generally are the ones who wield power. Whether it is the official in high office, the wealthy heir, or the elderly matron, such people disapprove of anything or anyone that upsets their self-imposed definition of what is right and proper. Such definitions tend to be myopic at best, as well as inflexible, brittle, and hilariously easy to dispel. Doing so brings amusement and some measure of relief to the oppressed even though it likely will not result in appreciable change, or perhaps even notice by the butt of the joke.
Which explains why the operas of W.S. Gilbert and Sir Arthur Sullivan are still appealing. The best of their works feature masterful caricatures of England’s increasingly ossified Victorian society of the late 19th century. Perhaps the best of the best is The Mikado, a farce set in Imperial Japan, but featuring decidedly English characters and situations. This is apparent from the opening scene when a chorus of Japanese gentlemen strut haughtily about the stage singing of their lofty status. We soon learn that Ko-Ko, the Lord High Executioner of the town of Titipu, has a dilemma: the Mikado, Japan’s emperor, has decreed that since there has been no execution of a criminal in Titipu for quite some time, an execution must take place within a month. It just so happens that Ko-Ko is himself a condemned criminal on reprieve from execution and is next in line for the chopping block. He is “consoled” by two noblemen, Pooh-Bah and Pish-Tush. Pooh-Bah explains that his family pride calls on him to take Ko-Ko’s place, but his desire for self-preservation prevents him from doing so. Pish-Tush takes a different approach with this empathetic offering:
I heard one day a gentleman say
That criminals who are cut in two
Can hardly feel the fatal steel,
And so are slain, are slain without much pain.
If this is true, it’s jolly for you,
Your courage screw to bid us adieu.
Ko-Ko is not amused with either man’s offering, which leads Pish-Tush to confess the truth:
And go and show
Both friend and foe how much you dare.
I’m quite aware it’s your affair.
Yet I declare I’d take your share,
But I don’t much care.
That is not unlike the lamentable comfort of Job’s friend Eliphaz:
Remember now, who ever perished being innocent? Or where were the upright destroyed? According to what I have seen, those who plow iniquity and those who sow trouble harvest it. (Job 4:7-8 NASB)
The Barking Fox just completed the annual Torah Cycle and is ready to embark on another year of Bible commentary. Rather than embark on another systematic journey through the Torah and Haftarah, in this Hebrew year 5776 Fox Bytes will focus on selected books and topics, starting with the book of Job.
A sad commentary on human nature is that people who stand for what is right rarely are the people with whom one would prefer to be seen in public. We may honor such saintly persons as Mother Theresa, Billy Graham, or William Wilberforce, but we do not want to be close friends with them – or at least not let such relationships be known. Our preference is to hang out with “good old boys”, friends who like the things we like, sympathize with our problems, and make us feel better about ourselves without actually causing us to change. That, of course, is the problem with those saintly people: they uphold high standards of right living which make us feel uncomfortable. It does not matter how blessed they appear to be, or the peace they seem to enjoy in any situation, or that they give the authorities no cause for alarm. The truth is that they are righteous, and their righteousness interferes with our desire to live comfortably and indulge whatever pleasure seems good.
Shakespeare understood this fact of human nature. He made use of it in his masterful manipulation of the Roman public through Marc Antony’s speech in Julius Caesar. Caesar’s assassins justify their murderous act by saying the great man was ambitious and that his ambition would have been the death of Roman freedom. Antony seems to agree, saying “The evil that men do lives after them; the good is oft interred with their bones”, a statement that indicates whatever good Caesar would have done has died with him. Then he turns the tables, calling the assassins honorable men – good men whom the good citizens of Rome should trust, and with whom they should be glad to associate. Yet their honorable good pales in comparison to Caesar’s selfless ambition: an ambition that enriched Rome through his military service, that wept for Rome’s poor, and that refused a kingly crown thrice offered. In other words, any honor that may have accrued to Caesar’s assassins was as nothing compared to the great man’s righteousness in life and legacy in death.
We learn through Shakespeare’s theatrical Marc Antony a truth written centuries earlier to a real Roman audience by a man who also understood something about human nature:
For one will hardly die for a righteous man; though perhaps for the good man someone would dare even to die. (Romans 5:7 NASB)
The one element of Steven Spielberg’s movies which has remained just beneath my consciousness for nearly thirty years is not his stunning cinematography or compelling drama. It is a song; a simple Welsh melody which carries us through Empire of the Sun. We first hear Suo Gân (Lullaby) as the movie opens. British choir boys sing it in church in the compound reserved for foreigners living in Shanghai. The soloist is Jamie (Christian Bale), a boy of about 10. He is British by birth, but he has never set foot on his parents’ homeland. Jamie’s family live as privileged foreigners have lived ever since China capitulated in the First Opium War a century before. They take no notice of the Chinese except where their own wants and needs are concerned. Jamie, a son of privilege, knows no other way than to lord it over the natives beneath his station.
Change comes quickly when the Japanese attack. China and Japan have been at war for years, but Shanghai is undisturbed until December 8, 1941. As America’s Pacific Fleet burns in Pearl Harbor, Japan’s legions occupy Shanghai. Jamie’s family flees, but in the confusion he is separated from his parents and left to fend for himself, eventually landing in an internment camp adjacent to a Japanese airfield.
By 1945 he is no longer Jamie, but Jim, a rough lad learning to survive among the mixed multitude in captivity. Jim can hold his own, having grown accustomed to lying, stealing, cheating, and other mischief. His innocence dies bit by bit, not only through the tribulations of war, but through betrayal by men he trusts. Yet Suo Gân remains with him. One morning he awakens to see Japanese aviators participating in the ceremony of the kamikaze. Jim comes to attention, salutes, and sings the lullaby in tribute to these men who will soon die in the service of their Emperor. Their deaths come more quickly than expected. At that instant, American P-51 Mustangs, the “Cadillac of the sky”, attack, rapidly transforming the airfield into a smoking ruin. In their wake Jim pauses to consider the dreadful price he has paid to survive. With despair he confesses, “I can’t remember what my parents look like.”
At war’s end Jim finds himself in an orphanage among children awaiting reunion with their parents. Tears of joy flow, but he stands in shocked silence. His father passes by, not recognizing the hardened youth as the beloved, if rebellious, child he knew. It is his mother who sees him, first as the Jamie she loved, then as the Jim she does not know how to love, and finally as a young man with gaping wounds in his soul who desperately needs the healing that only a parent’s love can bring. He looks into her face and four years of pain and death wash away in peace beyond hope – the peace promised in the strains of Suo Gân.
All Jim can remember is the song, but it is enough to set him on the path of healing and reconciliation. So it is with the exiled, destitute people of YHVH. He also gave a song to them – a song that would carry them through time to peace beyond hope:
Then it shall come about, when many evils and troubles have come upon them, that this song will testify before them as a witness (for it shall not be forgotten from the lips of their descendants); for I know their intent which they are developing today, before I have brought them into the land which I swore. (Deuteronomy 31:21 NASB)
Isaac Asimov could have written I, Robot without Karel Čapek’s help, but he would have needed a different word for the artificial life forms featured in his writing. Asimov’s robot stories shifted the paradigms of science fiction by exploring the unintended consequences of creating something smarter and stronger than a human, but without a human’s ethical configuration. For over half a century he probed dark and difficult territory, asking questions and spinning scenarios that remain disturbingly applicable to our present reality. Yet Asimov neither invented the word “robot”, nor initiated the inquiry into the potential nemesis of unbridled technological innovation.
Bad things happen when man plays the role of God, as Mary Shelley demonstrated in 1818 with her first novel, Frankenstein; or, the Modern Prometheus. Shelley brought the question into the modern era, but it was Karel Čapek who mechanized it. Čapek’s play R.U.R. (Rossumovi univerzální roboti; Rossum’s Universal Robots) was a success from its first performance in 1920. The play introduced international audiences to the Czech word robota, meaning hard work, a word rendered into English as robot. The play is not a comedy; in Čapek’s imaginary world the robots are manufactured life forms designed to assist humans, but eventually they rebel and extinguish all human life.
Čapek revived this scenario in War with the Newts, a novel published in 1936 as satire on the hypocritically self-serving international system which enabled Nazi Germany’s dismemberment of Czechoslovakia two years later. It is a humorously dark tale about a race of sentient amphibian creatures discovered in the waters of Indonesia. The newts prove to be swift learners and adept at a multitude of tasks, making them ideal candidates for exploitation not only as workers, but also as undersea warriors. In time the newts, like the robots, rebel, destroying the dry land and turning it into shallow waters suitable for their environmental needs. The nations of the earth find themselves in a war for survival against a global amphibian army. It is a war humanity will not win, but Čapek reveals that the victorious newts will turn on themselves and become the instruments of their own destruction, leaving a remnant of mankind to rebuild the planet.
It is frightful to contemplate the end of one’s world, particularly when the end is justly deserved. Asimov, Shelley, and Čapek relate scenarios of judgment resulting from mankind’s own selfish shortsightedness – playing God, if you will. The element of terror they invoke lurks in the revelation that the instruments of judgment are the works of our own hands. As usual, art imitates life. YHVH renders judgment on those who disregard His standard of righteousness and set up standards of their own – playing God, if you will. Judgment brings a sentence of destruction and death, which is terrifying enough. What makes it more chilling is to learn the name of the one who will bring about the anticipated death and destruction. About 35 centuries ago, the doomed Canaanite civilization experienced that very thing shortly after Moses spoke these words:
It is the Lord your God who will cross ahead of you; He will destroy these nations before you, and you shall dispossess them. Joshua is the one who will cross ahead of you, just as the Lord has spoken. (Deuteronomy 31:3 NASB)
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.