WITH A DEMONIAC BOY AND HIS FATHER (7 OF 15)
Great Interviews of Jesus (7 of 15)
With a Demoniac Boy and His Father
Clarece E. Macartney
Mark 9:25
The Bible is a book of tremendous contrasts. It begins
with chaos-"the earth was without form, and void; and
darkness was upon the face of the deep"; and then came
the dawning of the light, the emergence of the
firmament, the gathering together of the waters, and
the gathering together of the seas. There is the
contrast between moral, devout men like Enoch, who
walked with God, and other men so corrupt and full of
iniquity that it repented God that He had made man.
There is tremendous contrast, too, in personalities:
Jacob and Esau, Joshua and Achan, Samuel and Saul,
Elijah and Jezebel, Jesus and Herod, John and Judas,
Nero and St. Paul; and in the Apocalypse the Lamb of
God on His throne and the beast out of the abyss, the
New Jerusalem coming down from God out of heaven and
the lake of fire that burns forever and forever. But
here is the most overwhelming contrast of all: the
Mount of Transfiguration with its soft fleecy clouds
and its bright lights; the transfigured face of the
Son of Man; the voice that spoke out of the cloud; the
visitors in glory from the realms of the dead, Moses
and Elijah; the three wondering apostles, Peter and
James and John-and then, not far from the mount in the
plain below the taunting and disputing scribes, the
downcast and dejected apostles, the heartbroken,
anguish-stricken father, and the poor demoniac boy,
gnashing his teeth, foaming and wallowing in his
convulsions when the demon tore him, a terrible
epitome of the misery and woe and sorrow and
degradation of mankind.
Raphael's last painting and, some think, his greatest,
"The Transfiguration," which hangs in the Vatican
gallery, is an attempt to depict that contrast.
Floating in the heavens above is the form of the
Savior, with Moses on His left and Elijah on His
right. On the level below are the three ...
With a Demoniac Boy and His Father
Clarece E. Macartney
Mark 9:25
The Bible is a book of tremendous contrasts. It begins
with chaos-"the earth was without form, and void; and
darkness was upon the face of the deep"; and then came
the dawning of the light, the emergence of the
firmament, the gathering together of the waters, and
the gathering together of the seas. There is the
contrast between moral, devout men like Enoch, who
walked with God, and other men so corrupt and full of
iniquity that it repented God that He had made man.
There is tremendous contrast, too, in personalities:
Jacob and Esau, Joshua and Achan, Samuel and Saul,
Elijah and Jezebel, Jesus and Herod, John and Judas,
Nero and St. Paul; and in the Apocalypse the Lamb of
God on His throne and the beast out of the abyss, the
New Jerusalem coming down from God out of heaven and
the lake of fire that burns forever and forever. But
here is the most overwhelming contrast of all: the
Mount of Transfiguration with its soft fleecy clouds
and its bright lights; the transfigured face of the
Son of Man; the voice that spoke out of the cloud; the
visitors in glory from the realms of the dead, Moses
and Elijah; the three wondering apostles, Peter and
James and John-and then, not far from the mount in the
plain below the taunting and disputing scribes, the
downcast and dejected apostles, the heartbroken,
anguish-stricken father, and the poor demoniac boy,
gnashing his teeth, foaming and wallowing in his
convulsions when the demon tore him, a terrible
epitome of the misery and woe and sorrow and
degradation of mankind.
Raphael's last painting and, some think, his greatest,
"The Transfiguration," which hangs in the Vatican
gallery, is an attempt to depict that contrast.
Floating in the heavens above is the form of the
Savior, with Moses on His left and Elijah on His
right. On the level below are the three ...
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