Galatians 4:21-31
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| title = "Galatians 4:21–31" | ||||
| date = "2023-08-15" | ||||
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| 
 | ||||
| ### [Read the passage.](https://biblia.com/bible/esv/Galatians4.21-31) | ||||
| 
 | ||||
| This allegory between Hagar and Sarah is a little weird, because the law came | ||||
| through Moses who was a descendent of Isaac. But that's how allegories work; | ||||
| you can't take them too literally. So then, the slave woman has a son naturally | ||||
| who is born into slavery and the free woman has a son because of God's promise | ||||
| who grows up free. In the same way, Paul says, Mount Sinai where the law was | ||||
| given and the earthly Jerusalem where the temple was built represent those who | ||||
| are in bondage to sin which the law makes known to them. | ||||
| 
 | ||||
| Those who are in Christ, however, are represented by Sarah the free woman and | ||||
| the heavenly Jerusalem where God dwells. He cites [Isaiah | ||||
| 54:1](https://biblia.com/bible/esv/Isaiah54.1) to emphasize the better position | ||||
| of the children of the promise over the children of slavery. He continues to | ||||
| draw parallels from the story of Hagar and Sarah by showing how the children in | ||||
| bondage persecute the children of promise, just as Hagar did to Sarah after | ||||
| Ishmael was born. But just as Ishmael did not inherit his father's wealth, so | ||||
| too will those enslaved to sin not inherit the eternal life given to the the | ||||
| children of promise. | ||||
| 
 | ||||
| Again, we can't take the allegory too literally, or we would wonder how the | ||||
| Lord's blessing of Ishmael after he and his mother were cast out comes into | ||||
| play. It doesn't, and it shouldn't, because Paul ends the allegory before this | ||||
| event. Instead, he is making the point that those who believe in Christ and the | ||||
| free grace He has shown to us is in every way better than a slavish devotion to | ||||
| rituals and rules that do not have power to save. | ||||
| 
 | ||||
| * * * | ||||
| 
 | ||||
| You have skillfully orchestrated history for many purposes, in near and far | ||||
| contexts. | ||||
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