The Day the Revolution Began: Reconsidering the Meaning of Jesus's Crucifixion

by N.T. Wright

When Georg Frideric Handel set scripture passages to music in his oratorio Messiah, this text from Revelation was used in his “Hallelujah Chorus,” a powerful celebration of the kingdom of God on earth as in heaven. But my point is not just this chorus itself. What matters even more is where the chorus comes in the work as a whole. The selection and arrangement of texts were not random. The oratorio divides into three parts: first, the hope for the Messiah, and his birth and public career; second, his death and resurrection and the worldwide preaching of the gospel; third, the resurrection of the dead and the joy of the new creation. The “Hallelujah Chorus” celebrates the fact that the true God now reigns over the whole world, so that their kingdoms have become his; and it is placed not at the end of the third and final part, but at the end of the second part. This reflects closely the view of mission held by many in the seventeenth and eighteenth centuries (the first performance of Messiah was in 1742). First would come the worldwide kingdom, achieved through the preaching of the gospel; then, and only then, the final resurrection. The aim of “mission” was therefore then to bring the nations into submission to God the Creator and to his Son, Jesus the Messiah. That is, after all, what Psalm 2 had indicated as the divine purpose. And Psalm 2, speaking of the dramatic divine victory over all enemies, was the text set immediately before the “Hallelujah Chorus.” It was quite c...