The Bible sets forth an ideal and calls the ideal woman an eshet-chayil, which is the Hebrew for a “virtuous woman” (KJV) or a “wife of noble character” (NIV). This Hebrew expression occurs only three times in the Old Testament, but a study of these three passages is likely to reveal what the Bible supports as an ideal of Christian womanhood.
Most evangelicals are accustomed to the Mary of icons with an emotionless face, the Mary of statues draped in a powder blue robe, and the Mary of piety who quietly and submissively obeys orders. And, if you are like me, you have been nurtured in a faith that, intentionally or not, ignores Mary.
Despite the positive reviews I had heard of The Nativity Story, I went to the movie prepared to be a critic. After all, I thought, it was my duty to see through the cinematic gimmicks and factual errors to produce a film review. Though I came to the film a bit cynically, I left feeling uplifted and moved.
This year, I have noticed Mary more than usual. One of the things I’ve seen is a very strong person who bucks her culture to be what God calls her to be. That resistance has a hidden cost that the Bible doesn’t record directly.
Luke 1:46–55 is both a beautiful hymn sung to glorify God and an interpretive puzzle. This text, widely known as the Magnificat, is one of several songs Luke uses at a crucial moment in the birth narratives in order for characters to explain the amazing ways in which God is moving. Luke includes it in his narrative to foreshadow the ministry of reversal Jesus will bring, first to Israel and eventually to all people. It is a praise hymn made up of a combination of OT allusions—more specifically, allusions to the Greek translation of the OT commonly referred as the Septuagint and abbreviated LXX. What follows is a study of the LXX allusions that combine to make up this praise hymn—allusions which have the cumulative effect of presenting Mary as a key character in the continuation of God’s OT promises and plan.