Act Two: Do You Love Me? – Good Friday 2017

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A homily offered by the Rev. Dr. C. Eric Funston on Good Friday, April 14, 2017, to the people of St. Paul’s Episcopal Church, Medina, Ohio, where Fr. Funston is rector.

(The lessons for the day are from the Revised Common Lectionary: Isaiah 52:13-53:12; Hebrews 10:16-25; Psalm 22; and St. John 18:1-19:42. These lessons can be read at The Lectionary Page.)

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On Palm Sunday, I suggested that we think of Holy Week and Easter as a three-act drama beginning with an Overture on Palm Sunday. Last night, we took part in the first act. The analogy of the Three Holy Days (or “Triduum”) to a play breaks down if we think of ourselves as the “audience.” We are not the audience.

The audience of worship is God. The one, holy, blessed, and glorious Trinity, Father, Son, and Holy Spirit, God is the audience. We, all of us, are the actors. We, all of us, are the cast.

So, here we are . . . . the second act . . . .

In the first act of the drama of redemption, Love tried to teach his lesson through bread and wine, through water and basin, through garden prayer, and through willing surrender to corrupt authority. The Body and Blood symbolically broken, the Body washing other bodies, the Blood sweated out in agonized prayer, these did not suffice and so, betrayed and exhausted, he surrendered. Whether or not he knew what would ultimately happen is irrelevant. He could do nothing else – if he were to remain faithful to his God, faithful to his values, faithful to his principles, faithful to his mission, he could do nothing else. And so now, in the second act, the incarnate Creator is prisoner to Destruction, now Life is condemned to death by Death.

In the beginning he had been tempted by riches, by power, by idolization; all these had been offered in the desert. Now how great the temptation must have been to simply give up! Poet Denise Levertov ponders this allure in her poem Salvator Mundi: Via Crucis

Maybe He looked indeed
much as Rembrandt envisioned Him
in those small heads that seem in fact
portraits of more than a model.
A dark, still young, very intelligent face,
A soul-mirror gaze of deep understanding, unjudging.
That face, in extremis, would have clenched its teeth
In a grimace not shown in even the great crucifixions.
The burden of humanness (I begin to see) exacted from Him
That He taste also the humiliation of dread,
cold sweat of wanting to let the whole thing go,
like any mortal hero out of his depth,
like anyone who has taken herself back.
The painters, even the greatest, don’t show how,
in the midnight Garden,
or staggering uphill under the weight of the Cross,
He went through with even the human longing
to simply cease, to not be.
Not torture of body,
not the hideous betrayals humans commit
nor the faithless weakness of friends, and surely
not the anticipation of death (not then, in agony’s grip)
was Incarnation’s heaviest weight,
but this sickened desire to renege,
to step back from what He, Who was God,
had promised Himself, and had entered
time and flesh to enact.
Sublime acceptance, to be absolute, had to have welled
up from those depths where purpose
drifted for mortal moments.
(In The Stream & the Sapphire: Selected poems on religious themes [New Directions Books: 1997])

In this second act of the drama of redemption, it is faith and will which prevail, the faith and will of Jesus who did not step back, who did not give in to the human longing to simply cease.

In this second act of the drama all that has gone before is recapitulated; all that we saw in yesterday’s first act, the supper in the upper room, the act of servanthood taught there, the agonized prayer in the garden, the willing surrender to unjust authority, and more. Not just yesterday’s first act, but all that has gone before from our first act of defiance in the first garden. Poet Ross Miller reminds us of that bond in his brief verse entitled Tau

That dreadful beam
that Jesu bore
knot made from pine
but ancient tree
that bore a bitter fruit

That pole on which it hung
he hung
knot made from pine
undying tree of life
that bears forever fruit

Take and eat – the Serpent cried
You shall not die
You shall be
like God
We bit
The Servant took those twisted words
held them on the knotted wood
Take and eat – the Servant cries
You shall not die
You shall be
like me
(Found in 2012 at Stations of the Cross (www.stations.org.nz) a no-longer-working site)

We shall be like him! It is here on the cross in this second act that the promise of the Incarnation, the guarantee of the Nativity is made good. Then we sang

Great little One! whose all-embracing birth
Lifts Earth to Heaven, stoops Heaven to Earth.
(In The Holy Nativity of Our Lord God: A Hymn Sung as by Shepherds, Richard Crashaw [1613-49])

Here on the cross, indeed, God “gathers up all things in Christ, things in heaven and things on earth.” (Eph. 1:10) And here on the cross, in an act of faithfulness and will, he died. Here on the cross, in this final fact of human existence, truly “God became man so that man might become a god.” (St. Athanasius, De Incarnatione)

But his death, we know, cannot be the end of the story. This is only the second act of a three-act drama. So his body must be taken down; it must be dealt with in the appropriate way.
Composer Jimmy Owens paints the picture in his cantata No Other Lamb:

They took Him down,
His poor dead body,
and prepared Him for His burial.

They took Him down,
His poor pale body
drained of life, ashen, and stained
with its own life-blood.

His healing hands, now pierced and still;
Serving hands, that broke five loaves
to feed five thousand;
Holy hands, often folded in fervent prayer;
Poor gentle hands, now pierced and still.

His poor torn feet, now bloodied and cold;
Feet that walked weary miles
to bring good news to broken hearts
Feet once washed in penitent’s tears;
Poor torn feet, now bloodied and cold.

His kingly head, made for a crown,
now crowned – with thorns.
His poor kingly head, crowned with thorns.

His gentle breast, now pierced by
spear-thrust, quiet and still;
His poor loving breast.

His piercing eyes, now dark and blind;
Eyes of compassion, warming the soul;
Fiery eyes, burning at sin;
Tender eyes, beckoning sinners;
His piercing eyes, now dark and blind.

His matchless voice, fountain of the Father’s
thoughts, stopped –
and stilled – to speak no more.
Silence now, where once had flowed
Wisdom and comfort, Spirit and life;
His matchless voice; stilled, to speak no more.

They took Him down,
His poor dead body,
and prepared Him for his burial.
(They Took Him Down in No Other Lamb [Lillenas Publishing Co.])

And so the second act comes to a close, the body is laid in a tomb and as the rock is rolled to seal it, the now-torn curtain descends. We are left in the darkness of our hearts to contemplate our place in this drama. With poet Luci Shaw we realize that we just may be Judas or Peter….

because we are all
betrayers, taking
silver and eating
body and blood and asking
(guilty) is it I and hearing
him say yes
it would be simple for us all
to rush out
and hang ourselves
but if we find grace
to cry and wait
after the voice of morning
has crowed in our ears
clearly enough
to break our hearts
he will be there
to ask each again
do you love me?
(Judas, Peter in A Widening Light: Poems of the Incarnation [Regent College Publishing, 1997])

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Father Funston is the rector of St. Paul’s Episcopal Church, Medina, Ohio.