Reading: All of the first chapter of Luke’s Gospel. 

 

How many of you have seen Wicked?… 

I’m sure it’s not a new thought, but it occurred to me for the first time this year that the first chapter and a half of Luke’s Gospel is a musical. People keep pausing the action and bursting into song, to reflect on the significance of what’s happening and to express what they’re feeling. [10AM: And the Bystanders in the story are kind of like the chorus in a musical, reacting to what’s going on with the main characters!] 

Let’s look at the musical songs First and most familiar, there’s the Magnificat, Mary’s song of fierce hope. You could describe it as what musical theater people call an “I Want” song! John Kenrick, a scholar of musical theater, explains: “The main “I Want” Song comes early in the first act, with one or more of the main characters singing about the key motivating desire that will propel everyone (including the audience) through the remainder of the show.” Yep, that’s the Magnificat! 

Then there’s Zechariah’s prophetic song on the birth of his late-in-life son – called the Benedictus, Latin for the first word, Blessed. Part of the beauty of the Benedictus is the way it ties the very specific and human joy at the birth of a much-wanted child to big cosmic themes and possibilities. That’s great songwriting! 

If we continued on into chapter 2, there’s the song of the angels: “‘Glory to God in the highest heaven, and on earth peace among those whom God favours!” It’s much shorter than the others, but still unmistakably a musical number!

And then when Jesus is eight days old, his parents take him to the Temple to make a thank-offering to God for his safe birth, and there they meet Simeon – an old man who is righteous and devout, looking forward to the consolation of Israel. God has told Simeon that he will not die until he sees God’s Messiah, the one sent to save God’s people. When Simeon sees the newborn baby Jesus, he takes him in his arms and says – or sings! – words that are familiar to folks who say Compline often: 

“O God, you now have set your servant free 

to go in peace as you have promised;

For these eyes of mine have seen the Savior, 

whom you have prepared for all the world to see:

A Light to enlighten the nations, 

and the glory of your people Israel.”

This song of faith is known as the Nunc Dimittis – from the Latin for “Now dismiss.” 

These three poems or songs have been recognized as beautiful texts of faith for a long long time, and have been used in worship apart from their narrative context here in Luke’s Gospel. The Magnificat, the Benedictus, the Nunc Dimittis, each have their own place and life and voice in the prayers of the church over the millennia. That’s partly why I think it’s valuable, once in a while, to read through Luke’s narrative and remind ourselves where they come from. These are texts that speak far beyond their place in this story, but they should also point us back towards this story! 

Where did the songs come from? I’m certain there’s been plenty of scholarly debate about this. They certainly don’t come out of nowhere; they draw on patterns and images from the Psalms and other Old Testament songs of faith. But they aren’t just quoting those sources. They are new compositions. They are, in fact, early Christian hymns, likely used in worship. But did Luke compose them – or collect them, transcribing songs that were already being sung in the early church communities? 

Here’s what Luke says about his sources and his process, in the first few verses of his Gospel: “Many people have already applied themselves to the task of compiling an account of the events that have been fulfilled among us. They used what the original eyewitnesses and servants of the word handed down to us. Now, after having investigated everything carefully from the beginning, I have also decided to write a carefully ordered account…” 

So, Luke tells us that he’s done some research! He’s writing his version of the Gospel of Jesus Christ on the basis of as many sources as he can find. But he’s also clearly not just stitching things together; he’s an artful writer with his own understanding of Jesus’ life and mission. 

So, maybe these songs of faith were already in use, perhaps even passed down from their original sources – Mary, Zechariah, Simeon. Or maybe Luke felt like the story needed some poetry. Or maybe Luke gathered bits of early hymns and filled them out into the beautiful texts we receive. 

It’s interesting to think about, but I don’t find that my faith, or my appreciation of these songs, gets hung up on these questions… partly because what Luke offers us in these first two chapters makes such a beautiful whole. Whether he composed, collected, or some of each, he did an amazing job. 

Why the musical numbers? What do they do? It’s a question for any musical, not just the Gospel of Luke. In listening to people talking about Wicked, I’ve been reminded that some people really don’t like musicals. They find the singing and dancing an annoying interruption. Why tell a story this way? I’m sure there are experts with a lot to say on this subject! And there are people in this congregation who know much more about musicals than I do! I’d love to hear your thoughts, later. 

It seems to me that the songs do at least three things. One, they invite us to pause at significant events or moments, and just dwell with them a little bit more instead of rushing onward. Two, they give us a window into the characters’ inner lives and feelings. Biblical narrative often doesn’t offer us that kind of inner view or insight, which is one of the reasons these songs are so special and lovely. Three, music adds an additional channel, besides the words themselves, to communicate emotion. I wish we could know how these holy songs were sung, two thousand years ago! 

Luke chapter 1 is a musical. So instead of just being told that Mary is confused and a little scared, we get the Magnificat, which tells us so much about how she’s thinking and feeling about this surprising pregnancy. “Look! From now on, everyone will consider me highly favored, because the Mighty One has done great things for me! God has cast down the mighty from their thrones!” “Something has changed within me, something is not the same; I’m through with playing by the rules of someone else’s game!”  

There’s one more question I think is interesting: Why do the songs stop? After the Nunc Dimittis, the Gospel of Luke stops having a musical number every thirty verses. It’s kind of a shame! I don’t know the answer to this; nobody living does. But I have one observation. All of the Gospels are weighted towards Jesus’ death and resurrection. That’s a tremendously important part of the Gospel story, and once Jesus starts his public ministry at the age of around thirty, many moments and interactions point or push him towards the cross. Luke’s playful, joyful origin story for Jesus helps us pause on how it all began, and the meanings and hopes that surrounded him from birth. The songs add depth and energy and weight to the beginning of Luke’s Gospel, thereby giving us a more complete and powerful story overall. 

Thanks again to our readers! Maybe next time we should have you SING the songs!…