I preached this sermon on June 19, 2022 at Trinity Episcopal Church, Fort Wayne, IN. The lectionary text cited is Luke 8:26-39, in which Jesus heals a man possessed by many demons.
In 1899, the composer Jean Sibelius wrote a piece of music for a public concert in his native Finland, which at that time was under the control of the Russian Empire. Even if you are not that familiar with Sibelius or the history of that region, this particular music might still be recognizable to you—it is called Finlandia, and the main melody from it was used later for the hymn “Be Still My Soul,” as well as a few other anthems and folk songs. My grandma’s family was from Finland, so this piece of music was very special to me growing up. That melody is woven through my childhood memories.
If you’re curious, look up Finlandia and give it a listen; it’s only about 9 minutes long. And what is so interesting to me about the full symphonic piece is that it has two very distinct parts—the first two-thirds sounds nothing like that recognizable hymn. It is turbulent, tense, even militaristic at times—blaring horns, thundering drums, and mournful strings; it is the sound of a universe caught up in struggle and strife.
But then, somewhat jarringly, at about 6 minutes in, all of that tension swells and then trails off, like an unfinished thought. And only then, after the briefest pause, does that famous melody come in: sweet and wistful and full of hope, completely unlike everything that came before it, as if the world had suddenly become something new, fresh and tender and smiling, even through its tears. It was a melody that, for Sibelius, held the dream of freedom for a subjugated nation—the dream that one day they might live in dignity and freedom.
But as much as I love that song (like, really love it: the hymn’s name is tattooed on my arm) it’s that pause in the music that I want to reflect on this morning. The pause between the old music and the new melody. It is so easy to miss, but upon it everything hinges. It’s that pause that arrives when the past is gone, when what’s done is done, but in which the future has not yet revealed itself. The pause that asks a question: what now? What next? What note lies on the other side of this still and pregnant moment? Is it, indeed, a new song that we will hear? Or will it be just more of the same old tune?
You don’t have to be a musician to understand the significance of this pause. It shows up in life in many ways.
There’s the long and disorienting pause that the pandemic has imposed upon our common life, and the sense that in this very moment we are suspended, somehow, between what used to be and whatever will be.
There is that pause that stops us in our tracks—the one of stunned, sickening silence, as when we learn of yet another mass shooting—this week at an Episcopal Church in Alabama, with three of our sibilings in Christ murdered at a potluck.
There is the pause just before you answer the phone call that comes at 3AM, when you know intuitively that everything is about to change.
And there is the slow sort of pause when you wake up in the weak morning light, bleary eyed, when you feel like nothing has changed and never will.
And in each of these pauses, we ask ourselves: What now? What next?
It is just such a moment that we discover in this morning’s Gospel story, in which Jesus travels to the country of the Gerasenes and heals a man tormented by demons. The pause is easy to overlook, though, given the dramatic content and imagery of the story. Listen for it.
Then people came out to see what had happened, and when they came to Jesus, they found the man from whom the demons had gone sitting at the feet of Jesus, clothed and in his right mind. And they were afraid. Those who had seen it told them how the one who had been possessed by demons had been healed. Then all the people of the surrounding country of the Gerasenes asked Jesus to leave them; for they were seized with great fear.
Do you hear it there? Do you hear the pause? Right in between the healing of the demoniac and the people’s response. What if I told you that this is in fact the most important moment in the entire story?
For it is in that moment that the Gerasenes are faced with a choice. How will they respond to this new possibility embodied in their neighbor set free of his affliction? How will they respond to the wondrous power of this moment when God has acted decisively among them, when the parameters of what they know have been upended? We might ask: what song will they sing now that the old music—the music of pain and powerlessness—has been silenced?
We wait…and wonder…
But in this moment, they cannot hold onto the new melody that Jesus offers. It is too much for them. And so they ask him to leave. He might have demonstrated his power over the evil forces of the world, but it seems they have grown accustomed to those forces. They have made their uneasy peace with evil. They have, perhaps, accepted that some among us are simply destined to be lost to the wild places, to live among the tombs, to huddle naked in the shadows. They have accepted the idea that we are not all meant to live and flourish and stand upright. They have accepted that some suffering at the margins is bearable as long as we don’t have to see it or think about it too much.
In short, they have become, as people do, accustomed to the devil they know.
And whatever Jesus signifies, whatever healing he offers, whatever strange, heavenly music he embodies, it is too unfamiliar, too uncertain, too costly. They are seized with great fear. And when we are afraid, it is hard to learn how to sing a new song.
Those of us who have come to know Jesus as Lord and teacher and redeemer would probably like to see ourselves in this story as the man who has been healed, the one restored to himself, the one sent out to proclaim the good news of God’s power. And I pray to be that sort of person.
But if I am honest with myself, and if we are honest with ourselves, we are just as often more like the Gerasenes, not yet sure whether we can bear to dream that another world is indeed possible. Not yet sure that we actually believe that what Jesus promises is true, and that it is worth giving up what we know, what is comfortable, however broken and brutal it might be.
For it would be so much easier to accept that this is all there is. To accept that nothing will ever change, to accept that eking out some sense of our own personal safety, our own personal satisfaction is enough to hope for in this life— to capitulate to the old music, the tempest and the drumbeat, the weeping and the howling of those who make their home among the graves. It would be so much easier to let that song go on and on and pretend we don’t hear it.
But that is not what Jesus asks of us. In this moment when we pause, and ask what now? What next? He asks us to trust him. He asks us to follow him. And he asks us to listen to the inbreaking melody of heaven and to sing—to sing the new song. A song that is sweet, and wistful, and full of hope. A song that sounds nothing like that came before it. We don’t have to be good at it. We don’t have to hit every note perfectly. We just have to find the courage to try.
Because I don’t need to tell you that there are still people among us who are lost among the tombs, and they need a new song. There are people who are afraid to be themselves for fear of rejection or harm, and they need a new song. And God’s creation is worn and battered and exploited and it needs a new song. And the people for whom the Juneteenth holiday is still a promise unfullfilled, they need a new song. And so many people—so many of us—are tired and lonely and aching for something beautiful to hold onto, and we need a new song. We all need a new song. The song that says God is with us. The song that says love will always be more powerful than evil. The song that says that while our troubles may be legion, we will indeed be set free, because Jesus has come in our midst and he has taught us new music.
Can you hear it? Can you hear the new melody? It is right here among us.
And don’t be afraid.
And now, sing.