Christ and Israel’s Story
Comparative commentary by Susan Docherty
The author of Hebrews is particularly concerned to explain how faith in Jesus as saviour fits together with God’s self-revelation to Israel in the past. He declares that it is the same God who speaks through Jesus and in the Jewish Scriptures (1:1–2), and he situates his audience within the ongoing story of Israel. He therefore frequently quotes from Scripture, but his interpretation of it involves reshaping some of its major themes and imagery.
He opens chapter 3 by connecting Jesus to Moses, one of the most important figures in Judaism. He acknowledges Moses’s exemplary faithfulness, and his significant role in Israel’s history (v.5). Moses is called God’s ‘servant’ in the Scriptures (Numbers 12:7), a wholly positive and honorific designation. Here, however, this term is contrasted with the status of Jesus as God’s ‘son’ who rules over God’s house (Hebrews 3:6), so is even more glorious and exalted than the great Moses. This understanding of their relationship will endure in Christian theology and art. In both the text of Hebrews and the stained-glass window from Wales, Moses is presented not on his own terms or for his own sake, but as standing alongside Christ and ‘testify(ing) to the things that would be spoken later’ in Christ and the gospel (v.5).
The wilderness is the next scriptural image to be reinterpreted in light of the author’s faith in Jesus. He turns to the account given in Psalm 95 of the time spent there by the ancient Israelites on their journey from slavery in Egypt to Canaan, when they provoked the divine anger through their disobedience and lack of trust in God (Psalm 95:10–11; Hebrews 3:10–11). Their failure stands in stark contrast to Christ’s ability to faithfully withstand the temptations to abandon God’s will that he endured. Both in Briton Rivière’s painting of that temptation scene and in Hebrews, Christ now looms large against the backdrop of the wilderness, illuminating its dark depths and bringing hope that its dangers can be overcome: ‘we have one who in every respect has been tested as we are, yet without sin’ (4:15). As his followers make their way through the ‘wilderness’ of this earthly life towards the goal of their promised eternal inheritance, they are encouraged to look to Jesus rather than Moses for their inspiration and guide, ‘hold(ing) fast to our confession’ (v.14).
The Psalm’s closing line receives significant interpretative attention in these chapters: ‘[t]hey will not enter my rest’ (Psalm 95:11; Hebrews 3:18–4:11). Read literally and in context, ‘rest’ refers here to the promised land which many of the wandering Israelites, including Moses himself, did not reach (Deuteronomy 34:1–8).
The term has wider resonances, though, which are deliberately highlighted in this passage, since it evokes God’s ‘rest’ on the seventh day of creation (Genesis 2:2; Hebrews 4:3–5) which Jews recall every Sabbath. It is this weekly ritual of peace and contented repose which Jankel Adler captures so skilfully in his painting. The author of Hebrews draws also on Jewish traditions which presented the earthly Sabbath as a foretaste of the joyful experience of God’s presence which will be available to the righteous after death or at the end of time (Attridge 1989: 126–28). He can, therefore, argue that the ultimate meaning of the ‘rest’ promised by the psalm is neither the earthly land of Canaan, nor the weekly Sabbath observance, but God’s own heavenly ‘sabbath rest’ (Hebrews 4:9).
The original wilderness generation did not attain their ‘rest’, but this future state of bliss remains open to the followers of Jesus if they hold firm to their faith in Christ to the end (3:14).
References
Attridge, Harold W. 1989. The Epistle to the Hebrews. Hermeneia (Philadelphia: Fortress)