Storms and giants. Giants and storms. The Hebrew Bible reading and the gospel reading together cause deep resonance some two and three thousand years after they occurred. And here we are, on a lovely Sunday morning in California, replete with images of storms and giants.
Now I have never faced a Goliath in my life: a real life, gargantuan person who was clearly out to do me harm. And, similarly, the times I have been on any sort of water craft have been peaceful, calm affairs without the stress and angst of a storm raging about me. (Okay, the time I did go water-skiing was not so calm, but it was a beautiful day.) But certainly, looking at these passages as metaphors, we each have faced our share of giants and storms in our lives. Each of us has stood toe-to-toe with our own personal Goliaths. Each of us has been buffeted and tossed helplessly about while we cling as best we can to whatever sense of reality we can grasp.
The reactions of the actors within these stories are worth investigating. I think that keeping an eye on David and on the disciples might be instructive. Both react differently to the particular stress they face. Both come out okay...eventually. And it might be useful to use the lens of art history to view these stories.
At the start of the Renaissance, that amazing period of time in history when humanity got its act together in some respects and dusted off the bleakest times of the dark ages, artists were finally seen as something more than craftspeople. Prior to this period, art adorned and the creators of art weren’t necessarily known entities; we don’t really have the names of many of the artists prior to the renaissance.
In the midst of this change comes Donatello, who, early in the renaissance, created some stunning works of art, including the first nude free-standing statue in a very long time. Statues, prior to this for several centuries, had been part of architectural features, not items to be viewed from all sides. And what was the subject of this first of its kind statue? None other than one of our heroes from the readings this morning, David.
Now, most of you probably know much better the famous other sculpture of David. But let’s look at this earlier take on the subject, which precedes Michelangelo’s version by about 70 years and is also found in Florence, Italy.
Donatello chose to cast his David in bronze, perhaps a reference to the armor of Saul’s which David didn’t wear or the obviously really heavy, impressive, and clearly useless armor that Goliath did wear. This David is not terribly large--true to the scripture, David is small, as is the statue itself.
We find David here at the point of having just killed Goliath. We see Goliath’s sword in David’s hand and there at David’s feet is the freshly decapitated head of Goliath, still wearing his less than helpful helmet. David’s face is calm repose, almost blank. This is still the early renaissance--emotion did not yet play a large role perhaps. But in that face, we see a David who is self-assured and certain. It seems like David has his eyes cast down; in humility perhaps, but also maybe regarding the spoils of his victory.
So, some 70 years later, one of the greatest artists who ever lived, took on the same subject, but with a very different approach, with a different medium, having a different result. Michelangelo took about three years to turn an enormous block of marble into the David who knew what he was about to do but had not yet done.
This David stands ready; facing his Goliath with assuredness and certainty. Against all the warnings of his own countrypeople and the derision of the opposing army, especially Goliath, David comes to face the foe who would enslave God ‘s people.
In his right hand, he holds a stone, visible only from behind. This hand is strong though and prepared; the veins are showing and the grip on his stone is tight. The right hand is prepared and ready to spring into action.
David’s face and left hand are different though. This face, in comparison to the face of Donatello’s David we just saw, is filled with emotion and confidence. David knows here that he is facing one of the biggest foes, at least physically, that he will ever face. The left hand is up at his shoulder, holding the slingshot waiting for its stone. You can’t quite see it here, but this hand is smooth; no bulging veins. The grip is loose yet
ready.Finally we turn to the painting that is on the bulletin cover: Rembrandt’s Christ in the Storm on the Lake of Galilee, painted about 120 years after Michelangelo was working on his David. The boat, if you’ll notice is barely visible heightening the sense of urgency; in the midst of this raging storm, there is little support for the terrified band of disciples. With waves that big and the wind obviously howling all around them, I’m not sure I don’t blame them their lack of nerve for which Jesus chastised them.
And there, at the center of all those frightened disciples, sits Jesus. You really have to look for him in the midst of all that’s going on. But he is the calm, the eye of the storm, so to speak. We peer into the situation through this painting in that moment just after Jesus has been awakened from his sleep and just before he calms the waters. The astonishment of the disciples which we heard about in the reading after he calmed the store has not yet replaced the fear and terror.
As we deal with the giants and storms of our lives, we can make choices: we can remove all the armor that surrounds us yet weighs us down, the armor that our culture insists we put up. We can strip ourselves of our defenses and face them with the certainty and knowledge that God stands with us. We can strive to listen for those simple words “peace, be still” and know that the storm will truly eventually end. We can rest assured that victory is ours, no matter the outcome of our struggles and that we are God’s people, in the midst of facing our giants and storms.
© 21 June 2009, Gerry Brague
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