A sermon preached at Niles Discovery Church, Fremont, California,
on Sunday, January 7, 2018, by the Rev. Jeffrey Spencer.
Scriptures:  Matthew 2:13-23 and Psalm 137:1-6
Copyright © 2018 by Jeffrey S. Spencer

With today’s reading, we come to the end of the overture to Matthew’s gospel.  He’s been setting up the themes that will run through his gospel.  He’s set scenes and told stories to get us thinking about Jesus as the new David, as the promised Messiah, and as the fulfillment of prophecy.

In other places in his overture and here to today’s reading, he’s inviting us to think of Jesus as the new Moses.

If you read the beginning of Exodus, you’ll see that Moses was born at a time when Pharaoh (the Egyptian emperor) was seeking to kill all the newborn Hebrew boys, but through cunning and non-cooperation with the powers that be, Moses survived.  And when he grew up, Moses led his people out of Egyptian bondage into freedom.

Matthew tells us that in reaction to hearing the news of the birth of Jesus and interpreting that birth to be a threat to his rulership, Herod tries to have Jesus killed and ends up killing all the toddlers and infants in and around Bethlehem.  Jesus is born and threatened with death from Herod.  And when he grows up, Jesus will lead his people, us, out of bondage into freedom.

People have noted that this story of the slaughter of the innocents is in keeping with Herod’s suspicious (if not downright paranoid) character.  I think this points to Matthew writing a realistic story, but there is no archeological evidence that this is an historic event.  No, Matthew isn’t writing history; he’s introducing themes.  And one of the theme here is that Jesus is even greater than the great Moses.  Later in the gospel, for instance, we will read about Jesus going up on a mountain and sharing his beatitudes, evoking and supplanting Moses’ trip up the mountain to receive the ten commandments.

Marcus Borg and John Dominic Crossan point out one more Moses reference, but with a twist, that Matthew makes in this story:  “Escape for Moses is from Egypt, but for Jesus it is to Egypt.  The place of past doom and death for Moses had become the place of refuge and life for Jesus.”[1]

Another theme that plays out in this story in one I mentioned last week:  The Roman-appointed Herod seeks to kill Jesus in this story.  This theme of the principalities and powers seeking to kill Jesus will play again and again in the gospel.  And the theme will reach a climax when the Roman-appointed governor, Pilate, succeeds in killing Jesus.  Borg and Crossan put it this way:  “The clash between Jesus the Messiah and Caesar Augustus the emperor started right from the birth of Jesus.”[2]

“Though his [birth narrative overture] sounds the theme of fulfillment, its emotional tone is ominous.  Driven and dominated by Herod’s plot to kill Jesus, it is dark and foreboding.  It speaks of the murderous resistance of the rulers of this world to the coming of the kingdom of God.…  What is hoped for … is very different from the way things are and points forward to the conflict that will be engendered by Jesus’s public activity.…  Christmas brings joy and conflict.  It did so then, and it does so now.”[3]

To be sure, as a child I focused on the joy of Christmas.  My parents tried hard to hide the themes of conflict in the Christmas story, as (I suspect) their parents did for them.  It has been as an adult that I have become aware of the conflict Christmas brings, that Jesus brings.  Jesus upsets the social order – then and now.

We hide the conflict Christmas brings in the paintings we choose to see and in nativity scenes we set up in our living rooms.  We don’t want to see the conflict.  Can you imagine getting a Christmas card with “Scene of the massacre of the Innocents,” the image on your announcement folders, on it?

“Scène du massacre des Innocents,” by Léon Cogniet, 1824,

This must be one of the most haunting Christmas paintings ever.  “A terrified mother cowers in a darkened corner, muffling the cries of her small infant, while around her the chaos and horror of Herod’s slaughter of the children of Bethlehem rages.”[4]  Rather than painting the bloodshed, the artist focuses our attention on one person, a mother who fears she is about to lose her child.  Her arms envelop the child.  The mother’s feet are bare, as the child may be, revealing how vulnerable they are.  There is nowhere to run to.  She is cornered.

In the background, we see people fleeing.  A woman carries her children, one under each arm, rushing down the stairs, running for their lives.  A man – is he covering his eyes so he doesn’t have to witness the carnage, or is the trying to protect himself?  A soldier grabs a woman’s shoulder as she turns from him to move her baby further away.  And is that small figure in midair with only the wall as a background a baby being thrown to their death?

These figures are in the background and washed out, out of focus, drawing our attention to the woman cowering in the corner, to her face, as she looks out.  As she stares out – at us.  What is she saying to you?

This painting brings up a conflict I have with Matthew’s story.  I am grateful for the angel’s intervention in the story.  Three times, Matthew tells us, angels came to Joseph in dreams to tell him where he should be living.  First, there is a dream telling Joseph to take his family out of the country to escape Herod’s plot to kill Jesus.  Years later, an angel comes in a dream to let Joseph know that Herod the Great is dead and that they can return to their home country.  But when they return and find that one of Herod’s son is ruling much of the country, an angel advises Joseph in a third dream to move to Galilee and they settle in Nazareth.

How nice of the angels to make sure Jesus survives.  But what about the other families in Bethlehem?  What about the woman in the painting and her child?  Why do some people escape the mayhem in their own countries and find refuge in other countries, while other families remain and suffer?  And what about when the refuge they find is its own kind of hell?

On Christmas Eve, I talked about the Moria refugee camp on the Island of Lesbos in Greece.  Writing in The New York Times, Stephanie Saldaña describes the camp.  It is a space designed for 2,330 people.  More than 6,000 souls (over two-and-a-half times as many people as it was designed for) fleeing the world’s most violent conflicts – in Syria, Iraq, Afghanistan, Yemen and the Democratic Republic of Congo – are crowded into the space.

“The scene is grim:  piles of trash, barbed wire, children wailing, rows of cheap summer tents with entire families crammed inside and fights regularly breaking out on the camp’s periphery.  The stench is overwhelming.…

“Moria opened as a ‘hot spot,’ or refugee processing center, in 2015, a year in which more than a million refugees streamed into Europe.  Lay the blame for the squalid conditions in the camp on the 2016 European Union-Turkey agreement, struck to discourage refugees from taking the sea route to Europe.  Those who arrive on the Greek islands now must wait to be processed by the European Union before proceeding to the mainland.  The wait can be months, with no guarantee that requests for asylum will be granted.  The combination of waiting, uncertainty, overcrowding and unlivable conditions has created what appears to be an intentional epidemic of despair, meant to dissuade refugees from seeing Europe as a haven.…”[5]

While we may call Jesus Emmanuel, God with us, the Prince of Peace, we forget that his other titles, like King of kings and Lord of lords, carry with them the seeds of conflict.  And even though we call his family “Holy,” we forget that other titles are just as appropriate:  Impoverished.  Peasants.  Homeless (according to Luke’s version of the Christmas story).  Refugees (according to Matthew’s version of the story).

Back in September, Diana Butler Bass wrote an amazing Twitter thread about refugees and immigrants:  “The whole biblical tradition is about immigration, about the movement of people from one home to another.  Adam and Eve leave Eden and have to make home and family in a place they never intended.  The first story of the Bible is a story of exile and finding home.  And so it continues.

“Noah and his family flee the flood, survive, and build a new home.

“God calls Abraham and Sarah out from their home.  The founder of the three great faiths left Ur to find a home with God.  In this story, hospitality emerges as the most important virtue of faith.  Welcoming the stranger is like welcoming God.  Judaism, Christianity, and Islam teach that human beings are all wanderers, exiles and aliens.  Thus, we welcome as we dream of being welcomed.

“Jacob was an exile who returned to reconcile with his brother.

“Joseph went unwillingly to Egypt, eventually leading God’s people to a rich and abundant land.

“In Egypt, the Hebrew immigrants prospered.  But they were so successful that they scared Pharaoh and he made them slaves.  Moses set them free and led them back to the land of Israel.  Exiles back to their home.

“The history following was one of constant movement, of settlement, exile, immigration, return.

“The New Testament opens with two stories of movement.  Mary and Joseph must leave their town and register in a government census [as Luke tells the story].  Thus, Jesus was born away from home.  [And Matthew tells us that,] as a result of a prophecy, Herod seeks to kill [Jesus].  Mary, Joseph, and baby flee to Egypt to escape, not to return for years.

“Jesus first instruction to his disciples is not ‘believe in me.’  But it is ‘Follow me.’  Because faith is a life of being an immigrant, homeless to find a home in God.  And that’s exactly how the early church lived.  They left Jerusalem and went to Judea and out into the whole Roman world.

“The Bible is a document of immigrants, itinerants, exiles, strangers, and sojourners of all sorts.  And that’s why we are all Dreamers.  We dream of being settled in grace, in the love and full embrace of God.  We dream of a world where all exiles find home, where all strangers rest in peace, comfort, and joy.  We dream of the time where we all plant vine and fig tree, where milk and honey flow.  We dream of no boundaries that create war and division.  We dream of swords beaten into plowshares.  We dream God’s dream.

“If you are in the family of biblical faith, you are a dreamer.  Like Adam, Eve, Abraham, Sarah, Hagar, the patriarchs, matriarchs, prophets, followers, disciples, and lovers of God through time.  A vast human family of exiles [and refugees], seeking and finding, offering hospitality, and caring for all on the journey.  Keep dreaming.  Always.  For it is a biblical dream, one that is the very center of the human drama of creation, redemption, and joy.

“And hospitality, being both guests and hosts, must be practiced that this dream manifests in the world.  Without hospitality – welcoming the stranger – movement of peoples results in colonization, exclusion, and violence.  The Biblical dream turns to nightmare without that practice of welcome, of sharing table, of food and gifts.

“So, dream.  Live graciously as sojourner and live generously as citizen.  Practice hospitality.  Love one another.”[6]

Amen.

____________

Questions for Reflection:

  • What is the woman in Léon Cogniet’s painting saying to you?
  • In what ways are you a refugee?
  • In what ways can you offer hospitality to the displaced?
  • What part of God’s dream are you called to make real?

____________

[1] Marcus Borg and John Dominic Crossan, The First Christmas (New York: HarperOne, 2007), 145.

[2] Ibid, 138.

[3] First Christmas quoted by The Marcus J. Borg Foundation Facebook page, https://www.facebook.com/MarcusJBorgFoundation/posts/1617274701663960, posted and accessed 28 December 2017).

[4] Michael Frost, “Is this the greatest Christmas painting of all time?” Mike Frost, http://mikefrost.net/greatest-christmas-painting-time/ (posted 22 December 2017; accessed 2 January 2018).

[5] Stephanie Saldaña, “Where Jesus Would Spend Christmas,” The New York Times, https://www.nytimes.com/2017/12/22/opinion/christmas-jesus-refugee-crisis.html (posted 22 December 2017; accessed 23 December 2017).

[6] Diana Butler Bass, Twitter, https://twitter.com/dianabutlerbass (posted and accessed 7 September 2017); I have done some minor editing, for instance, adding Oxford commas, changing ampersands to the word “and,” and changing all-caps words into italics.

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