A devout Anglican, Jennens wrote “Messiah” in part to battle the deists of his age, who posited a distant God but not a Savior. As rationalists, they put no stock in things of faith like resurrection from the dead. “ ‘Messiah,’ with its insistence on God’s free . . . gift of his Son, on the historical fact of the Incarnation and the supernatural fact of Redemption, was an assertion of everything that the Deists sought to deny,” writes Richard Luckett in his 1992 book, Handel’s Messiah: A Celebration.
Ault closes her column with a tribute to the witness the final part that this libretto offers to the promise of the Resurrection:
But besides testifying to facts that require faith, “Messiah” also bears witness to a hope that results from that faith. The feeling is personal: “I know that my Redeemer liveth,” sings the soprano in one of the work’s sweetest solos, “yet in my flesh shall I see God.”
It is also unassailable. Easter seals the promise of eternal life, revealed at Christmas but unfulfilled except through death and resurrection. Thus, quoting the apostle Paul, “Messiah” can say what is ours to proclaim as well: “O death, where is thy sting? Oh grave, where is thy victory?”
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