3rd Sunday Easter

This Sunday’s Gospel introduces us to ghosts! (Lk 24: 35 – 48)

[The disciples] told what had happened on the road, and how Jesus had been made known to them in the breaking of the bread. While they were talking about this, Jesus himself stood among them and said to them, “Peace be with you.” They were startled and terrified and thought that they were seeing a ghost. (Lk 24: 37)

A rustle in the bushes, a creaking floorboard, the curtain blowing at the window on a wind-less night, and the anxiety that follows.

For as long as human beings have been self-aware, it seems they have also been aware of ghosts. The concept of ghosts, and ghost stories, dates far back into human history and has captivated and mystified the human race for generations.

Oresteia, a trilogy of Greek tragedies first performed in 458 BC.

Pliny the Younger the Roman lawyer recounted his famous ghost story around 100AD, proving that these chilling stories have been commonplace for at least two thousand years.

Shakespeare’s treatment of ghosts was used as a key storytelling tool, as can be seen in his revered play, Macbeth and the ghost of Banquo.

Ghosts appear also in Richard III, and of course Hamlet.

Referred to in the stage directions as ‘Ghost’, the ghost appears just three times in the play, acting as a catalyst for Prince Hamlet’s actions.

In 1843, Charles Dickens wrote what is probably the most famous ghost story of all time “A Christmas Carol”, which follows the journey of Ebeneezer Scrooge from miserly money-lender to a kind and loving man.

Told in five chapters, or ‘staves’ as Dickens called them, Scrooge is visited by four spirits on Christmas Eve, each of whom opens his mind to the world around him.

Divine Mercy Sunday

On national television (TV1), a programme titled “The Repair Shop” is being shown.

Each episode follows professional craftspeople from around the UK who restore family heirlooms with sentimental value for their owners.

Heirlooms are found mostly through social media, and their owners are not charged for the restorations.

One such tradesperson is Kirsty Ramsey. She is a renowned ceramics expert.

People who have brought their family treasures and valuables to Kirsty for repair are astounded that they cannot see the repair.

It is as if the object had never been broken.

“Kintsugi” is the Japanese art of putting broken pottery pieces back together with gold.

The process highlights cracks and repairs events in the life of an object, rather than allowing its service to end at the time of its damage or breakage.

Not only is there no attempt to hide the damage, but the repair is illuminated.

The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, knocks, and shattering to which ceramic ware is also subject.

Kintsugi is the general concept of highlighting or emphasizing imperfections.

It visualises mends and seams as additives, an area to celebrate or focus on rather than absence or missing pieces.

The Japanese artist Makoto Fujimara, notes “the kintsugi bowl is far more valuable than it was before it was broken.”

The Incredulity of Saint Thomas is a painting of the subject of the same name. It is one of the most famous paintings by the Italian Baroque master Caravaggio, c. 1601-1602. The painting is part of the collection of Sanssouci Palace, Potsdam, Germany.

The Sunday immediately after Easter is known as Divine Mercy Sunday; might this Sunday have a by-line, ‘Mended in Gold Sunday’?

At the heart of being redeemed in Christ is “being mended in gold”, and as a result being more valuable!

The painting recounts Thomas’s encounter with the wound of Christ. A powerful image I suggest of being “mended in gold”.

Easter Sunday

The common Western image of the Resurrection shows Christ as a triumphant yet singular figure.

This figure is surrounded by bright light, is sometimes semi-naked, and dressed in white.

If other humans are present at all, it is often as guards lying asleep by the tomb or in some way falling away from and shielding their eyes from the spectacle.

In Western Christian iconography, Christ is ‘going up’.

An example is a triptych painting of The Resurrection of Christ, which Peter Paul Rubens completed between 1611 and 1612 and is currently housed in the Cathedral of Our Lady in Antwerp.

The iconography of the Eastern (Orthodox) church has Christ ‘going down.’

The familiar Eastern icon of the anastasis shows Christ breaching the gates of hell, generally with two long, broken gates lying in the shape of a cross and a personified Hades or Satan lying conquered under his feet.

The key element in this icon is Christ firmly grasping Adam and Eve’s wrists and pulling them up toward him.

As Jesus is risen, so are those fundamental flaws that hold us bound.

The Resurrection of Jesus is not a singular event, and its sole focus is on the person of Jesus. Instead, it is an ‘us’ event, as we pray:

Dying you destroyed our death,
Rising you restored our life,
Lord Jesus, come in glory.

Palm Sunday

Murder on the Orient Express is a work of detective fiction by English writer Agatha Christie featuring the Belgian detective Hercule Poirot. The book was first published in January 1934.

There have been four film adaptations.

The 2017 screen adaptation featured such well-known names as Judi Dench, Kenneth Branagh and Johnny Depp.

The film begins with a young boy running helter-skelter through an awakening city. The boy carries a collection of chicken eggs for the chef to choose two.

The eggs are boiled and presented to Monsieur Hercules Poirot for his breakfast.

The young boy is not seen again, most of the film happening on a train. In the cast credits, he is simply named a ‘young boy. ‘

Like many others, known as ‘extras’ their presence is necessary for the film to be produced.

They are known as ‘uncredited’

When one reads the entire cast, one is faced with the fact that there at least 59 uncredited persons were in the cast!

They are necessary to the film, so necessary that nobody notices.

The illustration is of a mosaic of the entry of Jesus into Jerusalem. The mosaic is found in the Church of the Nativity in Bethlehem. Since 2013, Italian restorationists have been working in a mammoth effort to restore the mosaics present in the Church. Mosaics in the Church date back to the 4thC, AD.

Today, in our liturgy for Palm Sunday, I invite you to notice an ‘uncredited’ cast member – the donkey!

“Jesus found a young donkey and sat on it . . . .” (Jn. 12:14)

All four of the Gospels record the same event, (Lk. 19: 35, Mt. 21:7, Mk. 11:7).

It is not the first occasion Jesus has been on a donkey!

While there is no Scriptural evidence, I invite you to cast your mind back to those Christmas cards you send and receive each year.

Many include a portrait of Mary and Joseph making the journey to Bethlehem and Mary is sitting astride a donkey. And Mary is pregnant.

The Gospel of Matthew also tells the story of the Holy Family’s flight into Egypt (Mt. 2: 13- 23).

Again, without Scriptural evidence, artists throughout the generations have pictured this ‘flight’ with Mary and the newborn Jesus sitting on a donkey and being led by Joseph.

Uncredited and yet essential – the donkey!

The one who carries the Word made flesh!

As companions of Jesus, that is our call also – to be uncredited and yet essential carriers of the Word!