Category Archives: Bible Study

Daughters of God

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At left, Mercy and Truth as women, veiled with wimples, labelled MISERICORD and VERITE, stand facing, grasping each others hands. At right, two women kiss, Justice, wearing hat, holding sword with right hand, and Mercy, wearing hat, and holding casket with both hands. They flank Gabriel, back-turned, raising scepter with left hand, kneeling, looking up toward Trinity in arc of Heaven. (Book of hours (Ms. Pierpont Morgan Library. M.73) (Paris, France, ca. 1475.)

“Mercy and truth have met together; righteousness and peace have kissed each other. Truth shall spring up from the earth, and righteousness shall look down from heaven.” (Psalm 85:10-11)

These four virtues–mercy, truth, righteousness, and peace–are often referred to as “the four daughters of God.” The virtues come to be seen as personifications, four celestial women, similar to angels or archangels. The most important contributors to the development and circulation of the motif were the twelfth-century monks Hugh of St Victor and Bernard of Clairvaux. (Christian thought might have have been inspired by an earlier eleventh-century Jewish Midrash, in which Truth, Justice, Mercy and Peace were the four standards of the Throne of God.)

The four daughters might sometimes be thought to be gathered around Christ on the Cross as they–all four–are manifest in differing ways by the Crucifixion and Resurrection of Christ. The verse, “Truth shall spring up from the earth and righteousness … look down from heaven” might also be associated with the Nativity of Christ and his–Truth’s–springing up on the earth and being laid in a manger while Righteousness–the other persons of the Holy Trinity–look down on the scene in Bethlehem. The association of the four daughters with the Incarnation is underscored because they also appear in two sermons by St. Guerric of Igny on Luke 2 “for February 2:

“In this gathering [of the Virgin Mary, Christ, St. Joseph with SS. Simeon and Anna] finally mercy and truth have met … the merciful redemption of Jesus and the truthful witness of the old man and woman. In this meeting, justice and peace kissed when the justice of the devout old man and woman and the peace of him who reconciles the world were united in the kiss of their affections and in spiritual joy.” (Sermon 16.6)

“Rightly then are compassion and truth or faith joined together, since in all our ways–unless compassion and truth meet–it is to be feared that sins will be increased rather than purified…. [There is no forgiveness] if compassion is lacking faith or faith, compassion.” (Sermon 18.5)

The motif of the four daughters of God was influential in European thought. In 1274-76, Magnus VI of Norway introduced the first “national” law-code for Norway and makes prominent use of the allegorical four daughters of God: Mercy, Truth, Justice, and Peace. These daughters have the important role of expressing the idea—which was innovative in the Norwegian legal system at the time—of equality before the law.

The motif changed and developed in later medieval literature, but the usual form was a debate between the daughters (sometimes in the presence of God):

about the wisdom of creating humanity and about the propriety of strict justice or mercy for the fallen human race. Justice and Truth appear for the prosecution, representing the old Law, while Mercy speaks for the defense, and Peace presides over their reconciliation when Mercy prevails. *Michael Murphy, ‘Four Daughters of God’, in A Dictionary of Biblical Tradition in English Literature, ed. by David Lyle Jeffrey (Grand Rapids, MI: Eerdmans, 1992), pp. 290-91. )

This psalm is also often suggested in traditional prayer books as a preparation for receiving Holy Communion. The communicant prepares to join the fellowship of the daughters of God by receiving the Body and Blood of Christ.

St. Francis Takes Refuge in the Cleft

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St. Francis, with the wounds of the stigmata visible on his hands and foot, kisses the foot of Christ on the Cross in this detail from a 13th century image in the Arezzo basilica of St. Francis.

St. Francis of Assisi is known for many things. Several episodes in his life have become part of popular culture, some still associated with his name while his connection to others has been forgotten: how many remember that the Christmas manger scene–the creche–was “invented” by St. Francis in 1223?

“For in the day of trouble he [the Lord] shall keep me safe in his shelter; he shall hide me in the secrecy of his dwelling, and set me high upon a rock.” (Psalm 27:7)

As I was reading the psalms last week, I was reminded of another incident in St. Francis’ life. In the autumn of 1224 (the year after he organized the first creche), St. Francis received the stigmata (meaning “brand” or “mark”)–the five wounds of Christ–although this was not generally known until after his death in 1226. The stigmata is commonly referred to as “the wounds of love” described by the bride in the Song of Songs 2:5. The groom then tells the bride, “Come, my dove, in the cleft of the rock…” (Song of Songs 2:13-14).

We are told by St. Gregory of Nyssa that this cleft “is the sublime message of the Gospel” and the person who loves God is not coerced to take refuge in the Gospel but must freely choose to love God and the Good News; St. Gregory points out that King David “realized that of all the things he had done, only those were pleasing to God that were done freely, and so he vows that he will freely offer sacrifice. And this is the spirit of every holy man of God, not to be led by necessity.” What is coerced is not love. Love must be freely given and freely received. Taking refuge in the rock is to freely give oneself to God and to be freely received by God.

The psalm refers to this same idea: the Lord will protect his friend, his beloved from danger by sheltering the beloved in the “secrecy of his dwelling,” the cleft “high upon the rock.” Readers–such as Augustine of Hippo–understood this psalm to promise freedom from sin to the beloved of God; the one who loves God would be kept safe from the danger of damnation even if slain by enemies.

Medieval poets often identified the “cleft in the rock” mentioned by the Song and the psalms with the wounds of Christ, especially the wound in Christ’s side made by the spear. Early Christian authors, such as St. Methodius of Olympus, preached that “Christ slept in the ecstasy of his Passion and the Church–his bride–was brought forth from the wound in his side just as Eve was brought forth from the wound in the side of Adam.”

The stigmata was the seal of St. Francis’ love for God and God’s love for Francis. It was in the refuge of this love that Francis found the safety to love the world which was in such need.

“I Sleep, But My Heart Wakes”

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The Queen of Sheba before King Solomon (1649-1647)
Pauwels Casteels / Public domain
King Solomon is traditionally considered the author of the Song of Songs, Proverbs, and Ecclesiastes.

“I sleep, but my heart is awake” (Song of Songs 5:2) is one of the most interesting verses for the Patristic tradition and the tradition of the prayer of the Church. This is generally understood to be the sleep of the physical senses while the spiritual senses are active and aware; often, this verse was cited in connection with visions or dreams in which a person had a direct experience of God while otherwise incapacitated.

Jacob, in the Old Testament, dreamed that he saw the Lord atop a ladder that reached from earth to heaven; the angels were ascending and descending the rungs of the ladder. Solomon himself was visited by God in a dream and given the choice of selecting which divine gift he preferred; he famously asked for wisdom. The apostle Peter, in the Book of Acts, thought he was dreaming when an angel came and helped him escape from prison. The prophet Joel promised that authentic encounters with God in dreams would happen when the Messiah arrived.

A direct experience of God, either awake or asleep, is often considered a sign that the person has reached the third stage of spiritual growth. These stages—purification, illumination, purification—often overlap and retract while still going forward. They are never linear and self-contained. No one is ever finished with purification before beginning illumination or experiencing moments of perfection. These moments of purification can be spurs to continue the work of purification or illumination.

“For many of [the Church fathers], the Song of Songs should be viewed as the last part of a trilogy written by Solomon, whose first and second parts were Proverbs and Ecclesiastes. Consistently with the tripartite ascent of the soul – or the Church – towards God that we find in the ascetic theological tradition of the Church, which consisted of the stages of purification-illumination-perfection (or union with God), these three books represented precisely this triad: Proverbs was seen as a work that represented moral purification, while Ecclesiastes reflected on the vanity of the transient world and thus was seen as a work of illumination through the contemplation of the world. The Song of Songs therefore, coincides with the third and final stage of the ascent of the soul or the Church towards God, and its symbolism of the union between the man and the woman symbolize the union with God.” (A. Andreopoulos, “The Song of Songs: The Asceticism of Love“)