The ever-present providence of God, the possible safety of the nation, even when in captivity, the preservation of every servant of God who turns to the Lord in his chastisement, the exhibition of penitence as the way of deliverance, are the purposes for which the miracle was wrought and told. Flippant sarcasms are cheap. A devout insight yields a worthy meaning. Jesus Christ employed this incident as a symbol of His Death and Resurrection. That use of it seems hard to reconcile with any view but that the story is true. But it does not seem necessary to suppose that our Lord regarded it as an intended type, or to seek to find in Jonah's history further typical prophecy of Him. The salient point of comparison is simply the three days' entombment; and it is rather an illustrative analogy than an intentional prophecy. The subsequent action of the Prophet in Nineveh, and the effect of it, were true types of the preaching of the Gospel by the risen Lord, through His servants, to the Gentiles, and of their hearing the Word. But it requires considerable violence in manipulation to force the bestowing of Jonah, for safety and escape from death, in the fish's maw, into a proper prophecy of the transcendent fact of the Resurrection.
'They that observe lying vanities forsake their own mercy.'--JONAH 11. 8.
Jonah's refusal to obey the divine command to go to Nineveh and cry against it is best taken, not as prosaic history, but as a poetical representation of Israel's failure to obey the divine call of witnessing for God. In like manner, his being cast into the sea and swallowed by the great fish, is a poetic reproduction, for homiletical purposes, of Israel's sufferings at the hands of the heathen whom it had failed to warn. The song which is put into Jonah's mouth when in the fish's belly, of which our text is a fragment, represents the result on the part of the nation of these hard experiences. 'Lying vanities' mean idols, and 'their own mercy' means God. The text is a brief, pregnant utterance of the great truth which had been forced home to Israel by sufferings and exile, that to turn from Jehovah to false gods was to turn from the sure source of tender care to lies and emptiness. That is but one case of the wider truth that an ungodly life is the acme of stupidity, a tragic mistake, as well as a great sin.
In confirmation and enforcement of our text we may consider:--
I. The illusory vanity of the objects pursued.
The Old Testament tone of reference to idols is one of bitter contempt. Its rigid monotheism was intensified and embittered by the universal prevalence of idolatry; and there is a certain hardness in its tone in reference to the gods of the nations round about, which has little room for pity, and finds expression in such names as those of our text--'vanities,' 'lies,' 'nothingness,' and the like. To the Jew, encompassed on all sides by idol-worshippers, the alternative was vehement indignation or entire surrender. The Mohammedan in British India exhibits much the same attitude to Vishnu and Siva as the Jew did to Baal and Ashtoreth. It is easy to be tolerant of dead gods, but it becomes treason to Jehovah to parley with them when they are alive.
But the point which we desire to insist upon here is somewhat wider than the vanity of idols. It is the emptiness of all objects of human pursuit apart from God. These last three words need to be made very prominent; for in itself 'every creature of God is good,' and the emptiness does not inhere in themselves, but first appears when they are set in His place. He, and only He, can, and does, satisfy the whole nature--is authority for the will, peace for the conscience, love for the heart, light for the understanding, rest for all seeking. He, and He alone, can fill the past with the light in which is no regret, the present with a satisfaction rounded and complete, the future with a hope certain as experience, to which we shall ever approximate, and which we can never exhaust and outgrow. Any, or all, the other objects of human endeavour may be won, and yet we may be miserable. The inadequacy of all these ought to be pressed home upon us more than it is, not only by their limitations whilst they last, but by the transiency of them all. 'The fashion of this world passeth away,' as the Apostle John puts it, in a forcible expression which likens all this frame of things to a panorama being unwound from one roller and on to another. The painted screen is but paint at the best, and is in perpetual motion, which is not arrested by the vain clutches of hands that would fain stop the irresistible and tragic gliding past.