Tag: god

  • Giving Birth to Jesus

    Giving Birth to Jesus

    One cannot overstate the importance of the birth of Christ – the Western world was profoundly affected by Christianity, which ascribes the utmost religious importance to the birth of God’s son. Mary, as we all know, conceived though the power of the Holy Spirit and gave birth to Christ in spite of being a virgin. We could almost mistakenly say that this divine birth appears in various works of the art, but the truth is that the birth itself is never portrayed. We only ever see Mary holding the newborn baby in her lap. I’m wondering, was the birth painful? Long? How did Mary cope with the contractions? In spite of extensive discussions on this divine birth – its religious, philosophical and artistic meaning – we know almost nothing about how Mary herself experienced it. Western culture got used to deliberating on the birth of Christ without paying any attention to the actual birth, to the point that it seems natural to discuss the birth of who many believe is God without asking how his mother felt.

    The experience of giving birth wasn’t always denied. In fact, at the heart of the Judea-Christian tradition lies a description of giving birth, in the story of Adam and Eve. After Eve made Adam eat the fruit of the Tree of Knowledge, God punished them and all humanity: “to the woman he said I will make you pain in childbearing very severe; with painful labor you will give birth to children … to Adam he said … by the sweat of your brown you will eat food until you return to the ground” (Genesis 3:16-19). And so, two related facts were implanted in western consciousness: the suffering of women at childbirth and the need to work to make a living. Some traditions that are the source for the Book of Genesis already existed in the tenth century B.C., and others came later – so for thousands of years, the western world internalized the pain of giving birth and accepted it as a fact to life, just like the need to work. To give birth is to experience a substantial torment; that’s the way of the world.

    So why is there no depiction of Mary’s pains while delivering Christ? By the time Christianity was born, the pains of giving birth were self-evident. The image of the Madonna had dramatically changed the attitude towards the birth. Since she had given life to the Son of God, she herself had a unique nature, essentially different from any other woman. As she was impregnated by God and not by man, Mary was holy, a woman who—unlike any other human being—does not carry the burden of the Original Sin. And thus a belief had been created that her giving birth to Jesus was painless.

    The New Testament provides two version of the holy birth. In Luke, it says “she gave birth to her firstborn, a son. She wrapped him in cloths and placed him in a manger, because there was no guest room available for them” (Luke 2:7). There are no anxieties, no contractions, no changing body – only giving birth, wrapping the baby, and putting him to sleep. Matthew’s version is different. “This is how the birth of Jesus the Messiah came about: His mother Mary was pledged to be married to Joseph, but before they came together, she was found to be pregnant through the Holy Spirit. Because Joseph her husband was faithful to the law, and yet did not want to expose her to public disgrace, he had in mind to divorce her quietly. But after he had considered this, an angel of the Lord appeared to him in a dream and said, “Joseph son of David, do not be afraid to take Mary home as your wife, because what is conceived in her is from the Holy Spirit. She will give birth to a son, and you are to give him the name Jesus, because he will save his people from their sins” (Matthew 1:18-21). Also here, there are no details of the physical process of giving birth.

    But generations of Christian theologians developed the notion that since Christ’s birth was divine, it was painless. Christian thinkers dealt with almost any aspect of the Madonna (Mariology is the theological study of Mary) – but since the Gospels don’t provide any details of the birth, gradually a doctrine of the painless birth came into being. Eventually, the very lack of suffering became the proof of Mary being impregnated through the Holy Spirit.

    There are various examples for this view. One well-known example is the protocols of the Roman Catholic Council of Trent, which took place in the sixteenth century. In this ecumenical council, the Roman Catholic Church rephrased its dogmas in the face of the growing Protestant movement. It promulgated a catechism which states “just as the rays of the sun penetrate without breaking or injuring in the least the solid substance of glass, so after a like but more exalted manner did Jesus Christ come forth from His mother’s womb without injury to her maternal virginity.” The Roman Catholic Church and the Orthodox Church held this view of the sacred birth. Protestants didn’t ascribe such theological important to Mary but have adopted her image as a virgin and a righteous person.

    Thus, two ‘types’ of birth were implanted in the common consciousness: a divine one, which isn’t a result of a sin and isn’t a punishment, and is a painless birth; and a human negative birth, which is both a result of a sin and involves much suffering. There is a sublime birth, adorned, a ‘role birth’ in contemporary terminology, and a birth that is better forgotten because it is an agonizing divine torture.

    Eventually, the Christian world completely repressed the simple feminine experience of giving birth – one that is painful but not because of a sin, it involves profound physical and emotional changes, and usually ends with profound joy. The mixture of accepting the pain of giving birth as a fact of life and ascribing such negative value to this suffering ended in an almost complete neglect of the normal feminine experience.

    Examining modern literature reveals that the number of birth descriptions is almost negligible compared to any other meaningful human experience. If we look at how many books have been written on love, sex, divorce, sickness, or death, we would have to reach the conclusion that birth has been almost fully repressed. But since we are so used to not reading about giving birth, we casually accept this as normal without questioning. How is it possible that such a deep and meaningful experience is missing from all forms of art?

    We might try to do some justice to Mary and imagine her giving birth in more human terms:

    The air in the barn was thick, full of the smell of animals. She needed plenty of blankets, it is cold in Bethlehem at the end of December. The midwife was completely unaware of the special nature of this delivery, she boiled water at the far end of the barn to clean Mary during and after the birth. Like most first births, it was very long. Mary sank into despair and cried bitterly, begging for help. Hours of pain blurred the hopeful expectation; at certain moments she didn’t know what she was doing there. As Jesus’s head finally appeared, she knew the suffering was close to being over. Jesus was pulled out of her body and made a cry that resembled a bleat. The midwife placed him on her naked body, covered with fluids and still attached to the umbilical cord. Mary hugged him, thrilled as she saw his eyes open for a split second and then close again. As the midwife took him away, Mary leaned back, heaving a quiet sigh. Through a hole at the top of the barn, she could see stars in the sky, gleaming in an unusual light.

  • When Facing God – Leonard Cohen

    [Originaly published on September 23rd 2016, two months before Leonard Cohen had passed away]

    On his eighty-second birthday, Leonard Cohen released, “You Want It Darker”—a somber reflective song on the perception of God and the inner world of the believer. Cohen is a Canadian Jew who leads a secular lifestyle. However, his entire body of work is related closely to Judaism. He often embeds biblical motifs in his songs, and some poems reflect a deep connection with Israel. He also incorporates Christian imagery in his songs.

    Now, at eighty-two, Cohen is contemplating death. After a long and successful career, he dares to look forward into the passage to “the other world.” This reflection on his mortality is really a dialogue with God. The feeling that death is close creates an affinity with the Almighty and makes Him a partner in conversation, although it is, of course, a monolog without answers.

    The lyrics consist of two fundamental elements: Cohen’s open and explicit accusations of God, and then his calling to God: I am ready, my Lord, “Hineni” (biblical Hebrew for: “Here I am.” Bible for Jews, Old Testament for Christians).

    In the first part, Cohen articulates a profound philosophical argument: God is the cause of endless suffering, and horrible crimes were committed in His name. However, this is not the statement of an atheist, a non-believer. He is not saying that ­­­if religion didn’t exist, the world would have been a better place. That he is having a conversation with God illustrates a belief in His existence.

    He then argues that God Himself has made human existence difficult and painful. “You want it darker,” he says to God time and again, suggesting that God does not want human life to be happy and fulfilling, but rather sad and agonizing. This argument, as paradoxical and anti-religious at it may appear, was also put forward by the great Christian writer, Fyodor Dostoevsky. A naïve believer may think that God is the source of all that is good, and that eventually, His power will overcome evil. But God himself is also the source of human misery. We came into this world not to rejoice, but to suffer. God made this happen; we “killed the flame.” Salvation cannot be found in this life, but only in another world. “It is written in the scripture,” he concludes; if you read the bible, you will see that God never promised worldly happiness.

    From this perspective, Cohen juxtaposes man and God. “If you are the dealer, I’m out of this game/If you are the healer, it means I’m broken and lame.” Because the omnipotent God is not the source of good, He is not an ideal one should strive to emulate. The provocative tone is clear: if You (God) are the emblem of good, I would rather be bad. If God is the source of so much evil, I would rather be on the side of the sinners and wrongdoers.

    However, as harsh and daring as these words directed to God, they are put in perspective by the other element of the song: “Hineni,” “I’m ready, my Lord.” Hineni denotes a highlighted presence, used either by God before proclaiming action, or by men who are approached by God. In the binding of Isaac, Abraham says to God, “Hineni.” When God appeared in Jacob’s dream, he quickly said, “Hineni.” Moses saw God in the burning bush and cried, “Hineni.” Samuel the prophet told God, “Hineni,” and so on. Facing an omnipotent God, biblical protagonists often said “Hineni” to denote full obedience, to demonstrate the negation of their own desires and thoughts when facing the Almighty.

    The magic of the song is the interweaving of two disparate states of mind: one is that of a bitter believer, asserting that the anticipation of divine help and love ended in utter disappointment: “A million candles burning for the help that never came,” or “… for the love that never came.” Another is that of a profound believer, one who lacks doubt and hostility, and anticipates his death, which he envisages in purely religious terms: to die is to be taken by God. The ambivalent state of mind is also reflected in the music: part modern and rhythmic, part Jewish cantorial singing. If we are to speculate which part is more substantial, the song ends with cantor Gideon Zelermyer and a synagogue choir singing.

    Perhaps future historians will examine this song to understand our era. They may conclude that, despite the very modern and secular appearance of western civilization, the religious past was still very much alive, in particular when people were facing questions of life and death.

    You Want It Darker / Leonard Cohen

    If you are the dealer, I’m out of the game

    If you are the healer, it means I’m broken and lame

    It thine is the glory then mine must be the shame

    You want it darker

    We kill the flame

    Magnified, sanctified, be the holy name

    Vilified, crucified, in the human frame

    A million candles burning for the help that never came

    You want it darker

    Hineni, hineni,

    I’m ready, my lord

    There’s a lover in the story

    But the story’s still the same

    There’s a lullaby for suffering

    And a paradox to blame

    But it’s written in the scriptures

    And it’s not some idle claim

    You want it darker

    We kill the flame

    They’re lining up the prisoners

    And the guards are taking aim

    I struggled with some demons

    They were middle class and tame

    I didn’t know I had permission to murder and to maim

    You want it darker

    Hineni, hineni

    I’m ready, my lord

    Magnified, sanctified, be the holy name

    Vilified, crucified, in the human frame

    A million candles burning for the love that never came

    You want it darker

    We kill the flame

    If you are the dealer, let me out of the game

    If you are the healer, I’m broken and lame

    If thine is the glory, mine must be shame

    You want it darker

    Hineni, hineni

    Hineni, hineni

    I’m ready, my lord

    [Cantor Gideon Zelermyer]

    Hineni

    Hineni, hineni

    Hineni