“Glory Glory / Psalm 19” by Daniel Berrigan
The heavens bespeak the glory of God. The firmament ablaze, a text of his works. Dawn whispers to sunset. Dark to dark the word passes: glory glory. All in a great silence, no tongue’s clamor— yet the web of the world trembles conscious, as of great winds passing. The bridegroom’s tent is raised, a cry goes up: He comes! a radiant sun rejoicing, presiding, his wedding day. From end to end of the universe his progress. No creature, no least being but catches fire from him.
This paraphrase of Psalm 19:1–6 by Daniel Berrigan is from Uncommon Prayer: A Book of Psalms (University of Michigan Press, 1978; Orbis, 1998). Used by permission of the Daniel Berrigan Literary Trust. www.danielberrigan.org
The first section of Psalm 19 is about how the natural world declares the glories of its Maker. The night sky, the psalmist describes, is like a tent that spreads its cover over the sun, parting open every morning to release it on the world. The sun is compared to a bright-eyed, handsome, and happy bridegroom emerging from his chamber, and to a vigorous runner who tracks a massive course.
I like to read Psalm 19:1–6 for Advent, especially the poet-priest Fr. Daniel Berrigan’s paraphrase of it, as his use of he/him/his pronouns instead of it/its draws out a Christological connection I hadn’t seen before in this text, made even more pronounced by the apocalyptic tone Berrigan adopts and the sense of excitement he conveys. The poem can, of course, be read as simply the glorious waking of a day, as the psalmist intended. But there’s another layer I want to explore: signs in the heavens, and the coming of Christ.
In the Christian tradition, Jesus is compared to both a sun and a bridegroom, and he, too, like the skies, “bespeak[s] the glory of God.” “Oriens”—Dawn or Dayspring—is one of the traditional titles of Christ, typically invoked in liturgies on December 21 as part of the O Antiphons cycle. From the Church of England’s Common Worship: “O Morning Star, splendor of light eternal and sun of righteousness: come and enlighten those who dwell in darkness and the shadow of death” (cf. Luke 1:78–79; John 8:12; Mal. 4:2). The coming of Jesus—in Bethlehem, in human hearts, and on the last day—illuminates and sets ablaze, revealing who God is and who we ourselves most truly are and exciting the world, flinging abroad the divine light.
As for the bridegroom, Jesus uses this metaphor for himself in his parable of the ten bridesmaids (Matt. 25), as God does in Isaiah 62:5, and indeed one of the major motifs in the book of Revelation is a wedding between Christ and his people. Christ will return to us, scripture suggests, like a husband coming to bring home his new bride.
One of the antiphons for First Vespers of Christmas, I’ve just learned, sung the evening of December 24, connects the bridegroom of Psalm 19 with Jesus. Cum ortus fuerit sol de caelo, the church chants, videbitis Regem regum procedentem a Patre, tanquam sponsum de thalamo suo. (“When the sun shall have risen in the heavens, ye shall see the King of kings coming from the Father, as a Bridegroom from his bride-chamber.”)
Artist Tanja Butler further extends Psalm 19’s fittingness for Advent by drawing the passage into conversation with Revelation 12:1–6. This section of John’s Apocalypse introduces us to “a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars”; she gives birth to a baby boy “who is to rule all the nations” but whom a great dragon seeks to devour. In most Christian interpretations, this Woman of the Apocalypse is associated with the Virgin Mary, and there’s a robust iconographic tradition in this vein.
Butler innovates on that tradition with her mixed-media work Woman Clothed with the Sun by showing the infant Jesus busting out of his mother’s womb like the strong athlete of Psalm 19:5. (Ready. Set. Go!) He has a race to run, a mission to fulfill. He is also shown as the sun that clothes his mother and that emerges from a dark (uterine) tent. He is the source and center point of the explosive rays of colorful light in the painting.
In an ArtWay profile, Butler describes her piece as follows:
Mary is represented with the unborn Christ, Light of the World, ready to “come forth from his pavilion, like a champion rejoicing to run his course” (Psalm 19:5). She holds a ladder, referencing both Jacob’s vision and the cross, the ladder of ascent between earth and heaven.
This is a cosmic birth necessitated by a cosmic struggle that will resolve in a cosmic victory: the reunion of God and humanity.
Daniel Joseph Berrigan, SJ, (1921–2016) was an American Jesuit priest, peace activist, award-winning poet, and professor of theology and biblical studies. Through his writings and public witness, he endorsed a consistent life ethic, opposing war, nuclear armament, abortion, capital punishment, and the causes of poverty in the name of Jesus Christ and his holy gospel. Fr. Berrigan, along with his brother Philip, was one of the Catonsville Nine, imprisoned in 1968 for destroying draft files in a protest against the Vietnam War. Later, he spent much of the eighties ministering to AIDS patients in New York City. He is the author of some fifty books.
Tanja Butler (born 1955) is a painter and liturgical artist based in the Albany, New York, area. Her subjects are devotional in character, and her sources of inspiration include Byzantine icons, medieval art, and folk art. Her work is included in the collections of the Vatican Museums, the Hammer Museum in Los Angeles, the Portland Museum of Art in Maine, and the Boston Public Library. “My aim is to develop imagery that has the simplicity and clarity of a child-like vision,” she says, “required, we’re told, if we are to see the kingdom of God.”
Art & Theology 