In Thumbprints in the Clay, Luci Shaw shared that fully one-third of the Bible is written in poetic form, yet we read it like an auto repair manual. In our desire to “get it right,” we read each line with mechanical precision, but we fail to notice the musical staff dwelling nearby. There is no doubt that God’s blueprints for creation were precise and logical, but I wonder how many of us, while considering God’s precision exclude beauty, consciously or subconsciously. For example, we attempt to wrestle Genesis 1 into submission, seeking to prove our preferred understanding of how God created, rather than wondering in amazement that He created. We fail to feel the rhythm.
Eugene Peterson wrote in Christ Plays in Ten Thousand Places, “There are two sets of three days each of creation activity. The first set of three gives form to the pre-creation chaos of [Genesis 1:2]; the second set of three fills the pre-creation emptiness…There is another interesting rhythmic variation. The third day of each three-day set comprises a double creation. So the cadence becomes: 1-2-3/3, 4-5-6/6…When we speak this text aloud, or listen to it being spoken, the text gets inside us. We enter the rhythms of creation time and find that we are internalizing a creation sense of orderliness and connectedness and resonance that is very much like what we get from music.”
As I think about God’s creation, I find myself wondering if God sang the world into creation. Words, yes, but music too. CS Lewis must have wondered this as well; in the sixth book of the Narnia series, The Magician’s Nephew, Aslan sings creation into being.
Christianity is not merely cognitive, but carditive; not merely brain, but heart. As we read the revealed word, we would do well to also pay attention to its rhythms.
And to our own.