The Expositor's Bible: Ezra, Nehemiah, and EstherAdeney, Walter F. (Walter Frederic)
Religion
The Expositor's Bible: Ezra, Nehemiah, and Esther
Adeney, Walter F. (Walter Frederic)
Bible. Historical Books -- Commentaries
From this picture of the wilderness life we are led on to the conquest
of the Promised Land. The Israelites overthrow the kings east of the
Jordan, and take possession of their territories. Growing in numbers,
after a time they are enough to cross the Jordan, seize the land of
Canaan, and subdue the aboriginal inhabitants. Then we see them
settling down in their new home and inheriting the products of the
labours of their more civilised predecessors. All this is a further
proof of the favour of God. Yet again the dreadful scene of
ingratitude is repeated, and that in an aggravated form. A wild fury
of rebellion takes hold of the wicked people. They rise up against
their God, fling His Torah behind their backs, murder the prophets He
sends to warn them, and sink down into the greatest wickedness. The
head and front of their offence is the rejection of the sacred Torah.
The word Torah--law or instruction--must here be taken in its widest
sense to comprehend both the utterances of the prophets and the
tradition of the priests, although it is represented to the
contemporaries of Ezra by its crown and completion, the Pentateuch. In
this second act of heightened energy on both sides, while the
characters of the actors are developing with stronger features, we
have a third scene--forgiveness and deliverance from God.
Then the action moves more rapidly. It becomes almost confused. In
general terms, with a few swift strokes, the author sketches a
succession of similar movements--indeed he does little more than hint
at them. We cannot see how often the threefold process was repeated;
only we perceive that it always recurred in the same form. Yet the
very monotony deepens the impression of the whole drama--so madly
persistent was the backsliding habit of Israel, so grandly continuous
was the patient long-suffering of God. We lose all count of the
alternating scenes of light and darkness as we look at them down the
long vista of the ages. And yet it is not necessary that we should
assort them. The perspective may escape us; all the more must we feel
the force of the process which is characterised by so powerful a unity
of movement.
Public-domain text, read in full here on John Shaqi.
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