Some of us come from traditions where you don’t ask questions of the text. If you ask questions, that means you are questioning God, and that’s not allowed. I want to expose you to the two typical ways this passage has been understood.
I offer here a history of preaching rhetoric with the hope of encouraging women whose calling is the pulpit. We will explore how women have proven their preaching authority and constructed their sermons across time.
Two years ago, I made friends with a woman in another state via social media. We communicated through Facebook and Instagram, and sometimes on Twitter. She was thoughtful, caring, and generous. She wrote about her children, her family, and the ways God was working in her life. She has several kids, and always seemed to be laughing about the ups and downs of raising a big family. I admired her, was maybe even a little jealous of her overflowing life.
I recently heard a sermon delivered by Dr. Peter T. Vogt, a professor of Old Testament at Bethel Seminary in Saint Paul, MN. In it, he shared some insights about the story of Naomi and Ruth. With his permission, I have summarized some of them here.
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.