Good Friday and Ukraine: An Occasion for Praise?
Good Friday and Ukraine: An Occasion for Praise?
Certainly Good Friday is a lament. The psalm appointed for that day is a psalm of lament. “My God, my God, why have you forsaken me?” intones Psalm 22. Jesus quotes this psalm from the cross in the passion narratives of both Matthew and Mark. But why then does Psalm 22 go on to exclaim “Praise the Lord…. My praise is of him in the great assembly.” Psalms of lament are expressions of praise (Bernard Anderson). Praise is lament answered (Walter Brueggemann). Praise is confidence (hoping against hope) that the God who has “forsaken me” will nevertheless hear the cry of the poor and satisfy the hungry (Psalm 22).
As Russia began its large scale invasion of Ukraine on February 24, 2022, Yaakov Dov Bleich, the Chief Rabbi of Ukraine, invited Jews and Christians to pray Psalm 31, an individual lament (as is Psalm 22). This psalm according to Luke’s Gospel contains Jesus’ last words: “Into your hands I commend my spirit…”(v. 5). This psalm too in spite of cruel affliction: “Have mercy on me, O Lord, for I am in trouble;/ my eye is consumed with sorrow, and also my throat and my belly” (v. 9); turns to trust: “But as for me, I have trusted in you, O Lord./ I have said, ‘You are my God,” (v. 14) and “My times are in your hand;/ rescue me from the hand of my enemies, and from those who persecute me” (v. 15). By March 1, five days after the Rabbi’s call to prayer, the city of Kharkiv amidst fierce fighting was surrounded by Russian troops. And the Psalm continues astonishingly, “Praise be to the Lord, for he showed his wonderful love to me when I was in a besieged city” (v. 21, NIV). Ukraine’s Good Friday is an occasion for lament without question, and according to the psalms it may also be an occasion for trust and praise.
Praise shapes “pain into hope, and grief into possibility.”1. The Welsh poet Waldo Williams remarked that the purpose of praise is “to recreate an unblemished world.”2. This is a “world marked by justice, mercy, and peace.”3. Praise is not “transactional” though it is often seen that way – offering praise as a precondition to obtaining some benefit. In fact, it is a letting go. Brueggemann begins and ends his book Israel’s Praise with this assertion: “Praise articulates and embodies our capacity to yield, submit, and abandon ourselves in trust and gratitude to the One whose we are.”4. One sees this submission in praise and trust in the Rabbi’s recital of Psalm 31, “My times are in your hand.” At a deep level there seems to be a human need (Brueggemann calls it a vocation) to praise. The Syriac Christian, Jacob of Serugh (5th century) wrote: “The very pulse of my created being requires Your praise, and, as by its nature, it hastens to You to give praise.”5. The utterance of praise then according to Jacob is an essential quality of being human. If this is so we should see it across various cultures.
We find praise often expressed as poetry. There is Syriac praise poetry, African, Arabic, Celtic, the psalms and so forth. I hope the following brief survey will demonstrate this human need to praise and draw us more deeply into its meaning for our own Christian tradition, even on a Good Friday.
Syriac Praise Poetry
Let’s start with the Syriac tradition and its most famous poet/theologian, Saint Ephrem (4th century). Syriac is a dialect of Aramaic, the language that Jesus spoke. Language carries meanings and associations, and perhaps Syriac allows us to get closer to some of the thought patterns of Jesus.
Ephrem’s poem, “The Eucharistic Marriage Feast,” situates praise as an integral part of Christian life. Mary says to her son, “they have no wine.” And of her son she says, “Do whatever he tells you.” Praise places Jesus at the center around which everything else is oriented. Jars are filled with over 120 gallons of water that Jesus transforms into wine. It is an epiphany, revealing praise as a transformation from emptiness to superabundance. Praise is the way humans cope with the extraordinary and continuing magnitude of God’s love. 6. Ephrem begins his poem on the Eucharist with this reference to the wedding feast at Cana:
I have invited You, Lord, to a wedding feast of songs,
but the wine – the utterance of praise – at our feast has run out.
(You are) the guest who filled with good wine the jars;
fill my mouth with Your praise. 7.
In the daily prayer of the Episcopal Church there is the assurance that when God opens our lips, “our mouth shall proclaim your praise.”8.
Ephrem concludes his poem with paradox. Greek philosophy with its rather static categories had not yet arrived in Syria. This happenstance freed Ephrem to use paradox as a more dynamic and fluid way of doing theology.
It is right that humanity should acknowledge Your divinity,
it is right for the supernal beings to worship Your humanity;
the supernal beings were amazed to see how small You become,
and those below to see how exalted! 9.
The refrain finds praise grounded in truth:
Praise to You from everyone
who has perceived Your truth. 10.
Praise roots itself in truth, not deception or ingratitude.
African Praise Poetry
Many had their first encounter with African praise poetry at President Barak Obama’s Inauguration ceremony in 2009 where Elizabeth Alexander read her poem, “Praise Song for the Day, Praise Song for Struggle.” I first became aware of African praise poetry in 2002 at a workshop on Creativity Through Writing and Storytelling with storyteller Jay O’Callahan who tells his tales all over the world. He first came upon the idea of praise poems when he was telling stories in Africa. Jay says that “if you give people a gift of praising themselves, it is a sacred act.”
In Lesotho boys were expected to compose their own lithoko (the word for praise poem that comes from the verb ho roka - “to praise”). “At one time almost every adult male Sotho was able to compose and chant his own lithoko…” 11. The poem is not self-congratulatory as though the poem was oriented about one’s self. Instead, the context in which the poem was composed would be one of proud traditional values, a love of the land, and an historically continuous community. Here is part of an initiate’s lithoko. Each initiate is given a new name that begins with the letter “L.” In this case the boy’s new name was Lefata. He makes me smile. I can just imagine a thirteen-year-old coming up with something like this!
Lefata, wander on and go down
To go and see how huts stand
To go and see dark-complexioned girls.
A dark-complexioned young man, I, Lefata
A young man with a beautiful voice
A young man to be called a chief
A young man to be given a shield.
Girls love him without knowing him
They go about breaking themselves into small pieces.12.
When we praise a person or ourselves in the context of the divine, each one is part of God’s good creation. The boy Lefata with a 13-year-old’s enthusiasm rises on the tide of his community and tradition none of which is removed from the divine. We praise the activity that leads to fulfillment of each person in all that they were created to be.
In the Episcopal Church at confirmation instead of composing a lithoko, the bishop prays that each confirmand may continue God’s forever, and daily increase in Holy Spirit until arrival in that everlasting kingdom.13. Each belongs to God with the space to stretch out and be all that God meant everyone to be. That prayer is very much in the tradition of praise. In O’Callahan’s words, at confirmation, the confirmands are being taught the meaning of praise for themselves and that is a sacred act.
Three weeks after the Rabbi’s prayer in Kharkiv, Russia, having already surrounded the city, though unable to capture it, resorted to destroying it. “Russia aims to demoralize the city’s inhabitants with overwhelming and indiscriminate firepower.” One resident concluded, “They want to destroy it all, they want to demoralize people.”14. A week prior Vera Lytovchenko, a concert violinist, began to play her violin in a basement bomb shelter. She said I want people to see that “Someone is alive and someone keeps hope and is optimistic.”15. That is an act of praise. She was teaching others to have praise for themselves, that they are God’s forever, and that lesson is a sacred act. No matter the incessant shelling and demoralization, we are alive when there is room, small as it may be, for praise in our hearts. Perhaps it is like finding a small, morning ember in ashes that had been banked over coals in the night.
Israel’s Praise Psalms
In addition to psalms of lament that express praise there are praise psalms proper such as Psalm 136. This psalm begins with an invocation that calls upon the community to praise. The divine Name is spoken. The God of Israel has an identity and may be addressed personally even though God is beyond our grasp and control.
Give thanks to the Lord, for he is good,
for his mercy endures forever.
Give thanks to the God of gods,
for his mercy endures forever.
Give thanks to the Lord of lords,
for his mercy endures forever.
This invocation includes the imperative to praise and the reason for it. Praise evokes a world in which God is active. So in historic situations where there was distress and God’s help was needed, God acted mercifully. This is the main portion of the psalm and the motive for the people’s praise. God’s sovereignty and majesty are seen in the story of God’s people.
God the Creator:
Who spread out the earth upon the waters,
for his mercy endures forever.
God the Deliverer:
Who struck down the first-born of Egypt,
for his mercy endures forever.
God the “Homemaker:”
And gave away their lands for an inheritance,
for his mercy endures forever.
The psalm concludes with a refrain in which the people are not self-congratulatory but remember their low estate, and God’s deliverance. God is to be praised for the sustenance given to all creatures: human and animal, plant and mineral. Creation is a continuing activity of sustaining God’s creatures. The psalm’s refrain seems to strike a universal note of praise at the end.
Give thanks to the God of heaven,
for his mercy endures forever.
It would seem there is an openness to God that embraces the whole cosmos and what can one do but praise. Esther de Waal quotes Thomas Merton who observed that, “In the Psalms we drink divine praise at its pure and stainless source, in all its primitive sincerity and perfection.” 16. One reason to refer to the primitive sincerity of the psalm’s praise is an aggression and occupation of another’s land that would be deemed unjust by today’s standards. Primitive sincerity also however brings us close in time to a people who saw God active and at the center of their understanding of life. That daily activity of God in the midst of whatever is happening is the basis of praise.
Arabic Praise Poetry
Given the “dividing wall” (Ephesians 2:14) separating Palestinians (both Christian and Muslim) in the occupied territories from Jews and Israeli Arabs in Israel is it possible that Jews and Muslims might both have their own poetry of praise? There is indeed Arab praise poetry. The poem that I will look at is “Ka’b ibn Zuhayr and the Mantle of the Prophet.” It is based on the pre-Islamic praise tradition and tells of Ka’b’s conversion to Islam in the 7th century. Praise in the Arab tradition is a process. There is a prelude that describes some loss or separation. Then there is the journey that is dangerous and ambiguous. It is a kind of in-between state, perhaps the crossing of some threshold. Finally, there is the praise of having arrived, a state of fulfillment.
Ka’b’s poem begins with a traditional motif of a departed, lost lover.
Su’ad has departed and today
my heart is sick,…
Alas! What a mistress, had she been true
to what she promised…
But she is a mistress
in whose blood are mixed
Calamity, mendacity,
inconstancy, and perfidy. 17.
The name Su’ad is related to the word for prosperity, good fortune and happiness. Allegorically, this is the loss of a tribal society that had stability though was false and unreliable.
Next comes the journey. The poet describes his camel, “the best of she-camels of noble breed and easy pace.” The poet is traveling to a land “Never to be reached but by a she-camel/huge and robust/That despite fatigue sustains/ her amble and her trot.” The camel is understood allegorically to be the poet’s own resolve in the face of almost unbearable loss. The final verse of this section reads: “Tearing her clothes from her breast/ with her bare hands,/ Her woolen shift ripped from her collarbone/ in shreds.” The relentless motion of the she-camel on this perilous journey is like a grieving mother fiercely tearing at her clothing over the loss of her first born.
The final and third section of the poem is the arrival/conversion of the poet in a praise of rebirth. To his former associates who were of no help, the poet cries: “Out of my way,/ you bastards!…” Tribal bonds are emphatically cut off. Then comes the possibility of a new, salvific relationship.
But from God’s Messenger
pardon is hoped.
Go easy, and let Him be your guide
who gave to you
The gift of the Qur’an in which
are warnings and discernment!
In this praise poem we have the movement from false hope to hope fulfilled, from misguidance to true discernment. Suzanne Stetkevych writes that here we have “the Islamic message of right guidance and divine might.” 18. Praise is a process of getting on the right path. The poem is an affirmation of Islamic faith and the fulfillment of one’s self in Allah/God through praise.
Celtic Praise Poetry
The final selection of praise poetry will be from the Celtic tradition. This poetry originated in “the cultic celebration of the pagan king by professional poets.” 19. In the following 13th century poem the author, most likely a cleric, wrote a praise poem to Christ the first five lines of which would have served well in a poem of praise to a king.
In the name of the Lord, mine to praise, of great praise,
I shall praise God, great the triumph of his love,
God who defended us, God who made us, God who saved us,
God our hope, perfect and honorable, beautiful his blessing.
We are in God’s power, God above, Trinity’s king. 20.
Like a king whose triumph is great, the poet praises God. We find in praise an asymmetry between the king and bard, or in this case, God and the poet. The human person is in God’s power. The poet participates in God’s beautiful blessing bringing salvation and joy and is moved to praise. God is the defender of the poet, as once the king protected the bard. There is an overflow of largesse in the perfect and honorable stature of Trinity’s king warranting praise.
The poem then goes on to pick up themes from the resurrection narrative of fear (terrible grief), companionship (the perfect rite) and new life (cosmic mending, paradise/salvation).
God proved himself our liberation by his suffering,
God came to be imprisoned in humility.
Wise Lord, who will free us by Judgment Day,
Who will lead us to the feast through his mercy and sanctity
In paradise, in pure release from the burden of sin,
Who will bring us salvation through penance and the five wounds.
Terrible grief, God defended us when he took on flesh.
Man would be lost if the perfect rite had not redeemed him.
Through the cross, blood-stained, came salvation to the world.
Christ, strong shepherd, his honor shall not fail.
It is not by domination that the victory is won but by suffering and love. Does the terrible grief refer to the cross or to the marginalized in their state of oppression? This is an incarnational story. God is present in having taken on flesh, and in the real presence of communion. The “perfect rite” of the Eucharist reorients Jesus’ followers and the poet. The poem begins: “In the name of the Lord” that would have for the poet Eucharistic connotations. The Eucharist gifts its participants with a worldview of cosmic mending with Christ at the center. What can one do but praise this Giver of mutuality and healing?
Conclusion
As I began with a Syriac writer let me end with Ephrem the Syrian (4th century) again making the case that praise is part of what it means to be alive. He says:
“While I live I will give praise, and not be as if I had no existence;
I will give praise during my lifetime, and will not be as someone
dead among the living.” 21.
If there is life on Good Friday and indeed in Ukraine then there is praise. Lament, sorrowful as it is, is not the giving up of hope. Rather lament progresses into praise as an answer to its cry of loss. The three Marys at the cross are rooted in an abiding love. The Kharkiv Rabbi and Concert Violinist in the bomb shelter are instances of praise. And there are many who amid the ashes and night of bombardment find the small ember of praise alive and giving life. God is great enough to uphold one’s trust and powerful enough to make a way out of no way. Praise yields to the One whose compassion is greater than loss and death. This is what it means to be alive. The pulse of our created being beats to the rhythm of praise.
This is no insular insight but is found in cultures and religions throughout the world. Praise is our human response to the effusion of God’s love. For instance, where a case of wine might do, 120 gallons are provided. There is an overabundance. Luminous love reveals an inherent dignity to each one. Praise of oneself is not self-congratulatory, but finds its basis and truth in God, and so is sacred. When reduced to thirst and injury God can be called on. Again in the praise psalm 136, It is the Lord of Lords “who remembered us in our low estate, for his mercy endures for ever” (v.23). God denounces injustice and is active in steadfast love. The journey is dangerous, from the terrible grief of loss to new life and rebirth. Praise gets us on the right path. We make this journey as lowly as God is mighty. Yet the mighty God became small, to be our fellow-sufferer, in order also to be our liberator through limitless compassion. When one encounters praise in different cultures one finds this breadth of meaning. In fact, praise seems so inherent in each place that without it one could scarcely be called human.
Notes
The translation of psalms is from The Book of Common Prayer unless otherwise indicated.
Other scripture translations are from the New Revised Standard Version of the Bible.
- Brueggemann, Walter; Israel’s Praise: Doxology against Idolatry and Ideology; Philadelphia: Fortress Press, 1988; p. 136.
- Allchin, A. M.; Praise Above All: Discovering the Welsh Tradition; Cardiff: University of Wales Press, 1991; p. 3.
- Brueggemann, Op. cit., p. 160
- Ibid., pp. 1 and 160.
- Hansbury, Mary, editor; The Prayers of Jacob of Serugh; Oxford: SLG Press, Convent of the Incarnation Fairacres, 2015, p. 6.
- Ford, David F. And Hardy, Daniel W.; Living in Praise:: Worshipping and Knowing God; Grand Rapids, Michigan: Baker Academic, 2005; p. 2. In a later book, Ford concludes: “God is a self-distributing God continually overflowing in love through the Holy Spirit.” (Ford, David F.; The Shape of Living: Spiritual Directions for Everyday Life; Grand Rapids, Michigan: Baker Books, 1999; p. 194.
- Brock, Sebastian P., and Kiraz, George A., translators and editors; Ephrem the Syrian: Select Poems; Provo, Utah: Brigham Young University Press, 2009; p. 217.
- The Book of Common Prayer and Administration of the Sacraments and Other Rites and Ceremonies of the Church, According to the use of The Episcopal Church; New York: The Seabury Press, 1979; p. 80.
- Brock and Kiraz, Op. Cit., p. 221
- Ibid., p. 217
- Damage, M. And Sanders, P. B., editors and translators; Lithoko: Sotho Praise-Poems; Oxford: Clarendon Press, 1974; p. 22.
- Gleason, Judith; Leaf and Bone: African Praise-Poems; New York: Penguin Books, 1994; p. 19.
- The Book of Common Prayer; Op. cit., p. 418.
- McCann, Allison, Gamio, Lazaro Lu Denise, and Robles, Pablo; “Russia is Destroying Kharkiv: Residents describe what has been lost after three weeks of attacks;” The New York Times, March 17 (Accessed March 18).
- Santalucia, Pablo; “Sheltering from bombs, Ukraine’s ‘cellar violinist’ plays to lift spirits;” PBS NewsHour; Rome, Italy: Associated Press, March 9, 2022 (Accessed March 18).
- de Waal, Esther; The Celtic Way of Prayer:: The Recovery of the Religious Imagination; London Hodder & Stoughton, 1996; p. 182.
- Stetkevych, Suzanne Pinckney; The Mantle Odes: Arabic Praise Poems to the Prophet Muhammad; Bloomington: Indiana University Press, 2010; p. 27-49.
- Ibid., p. 57.
- de Waal, Esther; Op. cit., p. 168
- Davies, Oliver; Celtic Christianity in Early Medieval Wales; Cardiff: University of Wales Press, 1996; pp. 52-3. I follow Davies in his interpretation of this poem.
- Brock, The Luminous Eye: The Spiritual World Vision of Saint Ephrem; Kalamazoo: Cistercian Publications, 1992; p. 45