Isaiah 12:1a The Song of the Redeemed
The book of Isaiah (and the whole Bible really), reminds me of an epic piece of music. Like a long oratorio, opera, or a film score, it has repeated themes woven in and throughout the text.
In the same way that Wagner would use Leitmotifs to highlight characters, places, ideas, or plot elements, the Bible repeats phrases and concepts and pictures to communicate the revelation of God. You may not be familiar with Wagner and his operas, but modern composers working in film and television do this a lot. John Williams is especially known for this.
Isaiah does this in the imagery of his prophecies, poems, and songs. For example, in chapter 5 after “The Song of the Vineyard, we see six “Woes”. In chapter 27, we get another vineyard song, and again in chapters 28-35 we get another set of six woes. Chapters 13-27 are a series of 10 oracles and 5 visions, that occur in 3 repetitive cycles of 5. Or, perhaps more interestingly, when we see his calling in the second half of chapter 6, he is told he will proclaim a message that will not be heard.
“Go and tell this people: Keep listening, but do not perceive; keep looking, but do not understand.”
This is referred to in chapter 28 when he quotes his critics as saying his message is too childish and simple to be meaningful. But most impactfully, this “Leitmotif” is picked up by the New Testament writers and quoted in Matthew (13:13-15), Mark (4:12), Luke (8:10), John (12:40), Acts (28:25-28), and Romans (11:8)
Here, in chapter 12, Isaiah brings a major section of his message to a conclusion. In chapters 1-5 he provided a sort of prologue or overture (to continue the musical theme) to his work. We see the themes of God’s condemnation of the idolatry and misplaced trust of Israel and Judah. This first section ends with a beautifully composed poem/song. (Chapter 5)
In Chapter 6, he begins a historical, narrative portion of his prophetic text. In it we see Isaiah’s conversion, his calling, and his initial ministry. He condemns Israel and Judah for trusting worldly powers when they should trust God. God is going to punish the nation for this idolatry with destruction and exile. However, he will keep and save a remnant of the people for himself. And it is this section that is concluded here in this song of chapter 12.
In the opening line, the narrator of the poem (Isaiah) addresses an individual male. He declares “in that day”
(1) And You, sir, will say in that day:
(What is the “that day”? Isaiah is looking forward to the Messianic day when God will rule the world. I don’t want to dive too deep into eschatology, but I think we can apply the message of chapter 12 here to us no matter what eschatological view you hold to. In some sense at least, we are in the “already-not yet” experience of God’s Kingdom. At the very least we are in a trailer of coming attractions, and the church is a little picture of the Messianic Age. The song of Chapter 12 applies to our experience today, after the cross, after Easter.)
In the same way that Wagner would use Leitmotifs to highlight characters, places, ideas, or plot elements, the Bible repeats phrases and concepts and pictures to communicate the revelation of God. You may not be familiar with Wagner and his operas, but modern composers working in film and television do this a lot. John Williams is especially known for this.
Isaiah does this in the imagery of his prophecies, poems, and songs. For example, in chapter 5 after “The Song of the Vineyard, we see six “Woes”. In chapter 27, we get another vineyard song, and again in chapters 28-35 we get another set of six woes. Chapters 13-27 are a series of 10 oracles and 5 visions, that occur in 3 repetitive cycles of 5. Or, perhaps more interestingly, when we see his calling in the second half of chapter 6, he is told he will proclaim a message that will not be heard.
“Go and tell this people: Keep listening, but do not perceive; keep looking, but do not understand.”
This is referred to in chapter 28 when he quotes his critics as saying his message is too childish and simple to be meaningful. But most impactfully, this “Leitmotif” is picked up by the New Testament writers and quoted in Matthew (13:13-15), Mark (4:12), Luke (8:10), John (12:40), Acts (28:25-28), and Romans (11:8)
Here, in chapter 12, Isaiah brings a major section of his message to a conclusion. In chapters 1-5 he provided a sort of prologue or overture (to continue the musical theme) to his work. We see the themes of God’s condemnation of the idolatry and misplaced trust of Israel and Judah. This first section ends with a beautifully composed poem/song. (Chapter 5)
In Chapter 6, he begins a historical, narrative portion of his prophetic text. In it we see Isaiah’s conversion, his calling, and his initial ministry. He condemns Israel and Judah for trusting worldly powers when they should trust God. God is going to punish the nation for this idolatry with destruction and exile. However, he will keep and save a remnant of the people for himself. And it is this section that is concluded here in this song of chapter 12.
In the opening line, the narrator of the poem (Isaiah) addresses an individual male. He declares “in that day”
(1) And You, sir, will say in that day:
(What is the “that day”? Isaiah is looking forward to the Messianic day when God will rule the world. I don’t want to dive too deep into eschatology, but I think we can apply the message of chapter 12 here to us no matter what eschatological view you hold to. In some sense at least, we are in the “already-not yet” experience of God’s Kingdom. At the very least we are in a trailer of coming attractions, and the church is a little picture of the Messianic Age. The song of Chapter 12 applies to our experience today, after the cross, after Easter.)
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