The Two Mirrors: An Allegory

crucifixion triptych rogier van der weyden

Once, long ago, our Noble Lord was hung upon a tree and died thereon. Strange to relate at certain seasons the tree and Him upon it are made present among us. At such times His lovers are mysteriously enabled to drink His blood as if it were wine and to eat His flesh as if it were bread gaining great strength thereby.

For the most part though our Noble Lord is hidden from our senses. During these times two great and rival companies re-enact His Passion for our benefit. These are the Dark Companions, who are always the most numerous, and the Companions of the Light, who are always led by a most wondrous sweet Lady.

The Dark Companions fully and perfectly reconstruct among us the instruments of our Lord’s death. They are the most perfect liars, they are filled with envy and spite, they are consumed with anger. Of sympathy they are naked but nonetheless they are well clad, covering themselves with mockery and cursing.With all this and much more besides they present the play “The 50 Dark Moments of our Lord’s Passion.” Always they receive the just reward for their performance.

Whenever the Dark Companions appear together assembled the Companions of the Light timidly run away. Presently though they are rallied by their womenfolk, and by one woman above all other women. Led by her they enter into the heart of our Lord’s Passion. They make present among us most perfect love, patience, grief at the evils men do and steadfast but tender endurance. Their play is “The 50 Moments of Light” It is not always obvious to human eyes but it is certain that they too receive the just reward for their performance….click here to read more

 

What is Man? Part One

Look into this mirror every day, O queen, spouse of Jesus Christ, And continually examine your face in it…. that mirror suspended upon the wood of the cross
St Clare of Assisi Fourth Letter to Blessed Agnes of Prague

… St Clare (like many of the women who have taught the universal Church) showed great wisdom when she suggested that it is Christ Crucified who reveals ourselves to ourselves most fully. He does so, I would suggest, in two ways: as He is in Himself we get a positive vision of what Man is or should be and through Him as He is situationally we can make inferences about Man.

One aspect of our Lord’s Passion is that it was voluntarily undertaken for the sake of liberating humans from bondage to corruption and death. We can infer from this that, since this liberation is offered to each human ever conceived, Man is loved with an extreme, self-sacrificial love. That is, every human person is the object of an infinite love. Further to that we may add that since it can be said of God that not only is He Love but He is also Reason (as mentioned in my post Why Be Moral?) this love is a rational love. Which means that it can be posited of Man that he is lovable. If we pair these things then one part of the answer to What is Man? becomes Man, individually and collectively, is loved and lovable from the moment of conception through to the moment of natural death and at every single point in between. If we accept this proposition then we must conclude that human life is a sacred thing just because it is human and for no other reason...click here to read more

Sound the Strepitus

An Obituary and Eulogistic Meditation of Yeshua bar Yahosef bar Yaqub

The Strepitus is the sudden loud clatter that symbolizes how the Earth convulsed at the physical death of the only begotten Son of our Lord.   In Matthew 27:46-53, when Christ gave up His spirit on the Crucifix, there was a tumultuous earthquake.   It is the jarring closing of a Tenebae Service, which is done in preparation for the Paschal Triduum.

Some churches have the Tenebrae on Spy Wednesday.  Others choose to extinguish the lights after celebrating the Last Supper on Maundy Thursday or even Great and Holy Friday.  Regardless of the time, it is a ritual that reminds us of how the Light of the World was briefly extinguished to fulfill scripture as an expiation for mankind’s sinfulness.

While it is difficult to watch Mel Gibson’s cinematic masterpiece The Passion of the Christ (2004) for its depiction of the savage brutality inflicted by the Roman overlords on a political prisoner who challenged the religious practices and expectations of the Jewish hierachy.   The teardrop from heaven is incredibly moving.

When Salvador Dali painted Christ of Saint John of the Cross (1951), Jesus was depicted without wounds on a Cross that floated above the Earth. Dali listened to the color of his dream that indicated that depicting the nails, blood and crown of thorns would mar the image.  Dali wanted the emphasize the Trinity with the positioning of Jesus hanging on the Cross to represent the nucleus of the atom.  Clearly, the cross hovering over the Earth shows the cosmic significance of the passion and death of our Lord Jesus Christ. In a modern manner, Dali celebrates Eastern Christian Church’s emphasis mystagogy of Jesus’ Divine Sacrifice by death on the cross.

But during a Tenebrae service, the faithful were reminded that unlike even in classical depictions of Golgatha (the place of the skull) where Jesus was crucified, the crosses of Calvary were not necessarily hung that high in the air.  Since those being executed had their feet nailed bound to prevent them from moving as they slowly suffocated on their crosses, they may have been only a couple of feet above the ground.

Such crosses would serve the Roman overlords as tangible examples of what happens to brigands, rabble rousers and revolutionaries. The low positioning would allow most passers-by to look into the eyes of the executed. This makes the taunts from the crowd and Jesus’ words of forgiveness all the more remarkable.

It is easy to gloss over how the expiation of mans’ sins required a blood sacrifice to seal the New Covenant. By cognitively sounding the Strepitus over Christ’s crucifixion, we may “Ecce homo”.

While some ears may find it as painful as the Stepitus, the Christ’s Passion has been told by Glenn Beck using a motif of Pink Floyd’s Dark Side of the Moon  (1973).  Whether we use pop parables, cinematic accounts, scriptural studies, communal worship or prayerful personal reflections, it is worthy to reflect on how God’s only begotten Son chose to be the suffering servant to right the relationship between God and mankind.
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