Friday, April 2, 2010

MY GOD, MY GOD, WHY HAVE YOU FORSAKEN ME?

 

Crucifixion (Corpus Hypercubus) 1954, by Salvador Dali

My God, my God, why have you forsaken me?
Why are you so far from helping me, from the words of my groaning?
O my God, I cry by day, but you do not answer;
and by night, but find no rest.
....

Yet it was you who took me from the womb;
you kept me safe on my mother’s breast.
On you I was cast from my birth,
and since my mother bore me you have been my God.
Do not be far from me,
for trouble is near
and there is no one to help.


(Psalm 22:1-2, 9-11)

In a wonderful essay at the Daily Episcopalian, Christopher Evans reminds us to connect the Incarnation (which is more than a pretty story!) to the Crucifixion. My heart leaped as I read, because I find that connection somewhat lacking in the present day liturgies. When Joseph and Mary took Jesus to the temple in Jerusalem for the purification ceremony, old Simeon had a word or two to say:

And the child’s father and mother were amazed at what was being said about him. Then Simeon blessed them and said to his mother Mary, ‘This child is destined for the falling and the rising of many in Israel, and to be a sign that will be opposed so that the inner thoughts of many will be revealed—and a sword will pierce your own soul too.’

(Luke 2:33-35)

In his essay, Evans says:

In working to correct an imbalance, it seems that now we want little to do with a pained and suffering God; with a God who nurses, shits, and bleeds; with a God who identifies with flesh, blood, and bone definitively. The Nativity, the Incarnation, is reduced to sweet manger scenes and gifts of sweets. The cross is an after thought to the joys of Easter. We want nothing of the Creator who, in J.S. Bach’s words for St. John’s Passion, dies.

But without this bodiliness, this fleshliness, the Resurrection becomes a ghostly thing.

That God came down, that God took upon God's own self the human form to become one of us, to live as we live, to struggle as we struggle, to love and take joy in human companionship, and, finally, to suffer and die, and to be raised up, flesh and blood, is the miracle of Christmas, and the miracle of Easter, and the miracle of our salvation.

As Evans says:

It is this fleshly God, Jesus Christ, who goes all the way for us that captures my heart and imagination, that makes utterly awesome the Resurrection, the Ascension, the Communion of Saints, the Creation, the Holy Communion.

Amen!

10 comments:

  1. I also recommend listening to the ABCs lectures on the Gospel of Mark and the Passion. A reflective way to spend Good Friday. Skip the video unless you did not see it in 2008 and scroll down to the lectures. Only 2 are up right now - the middle one has some tech difficulty. Click HERE

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  2. I love the Dali "crucifixion." It always has seemed to me that Christ is rising from the cross, straining against the things that hold him. I find it to be both Christ crucified and risen.

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  3. Thanks for the link, Ann. I don't have time to watch now, but I will later.

    Amelia, yours is a lovely insight about Dali's Crucifixion. I love it, too, and I've used the painting several times.

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  4. What beautiful imagery, Amelia. I will never look at it in the same way again.

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  5. There is no watching - it is a podcast.

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  6. Oops. I was in a rush. Podcast, then.

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  7. Dali's Crucifixion (Corpus Hypercubus) connects the Incarnation and the Crucifixion in a way that has been a continuing inspiration to me since I was introduced to it in college. The cross in this painting is an unfolded four dimensional hypercube (think about how the six square surfaces of a cube can be unfolded into a two dimensional cross shape; the cubes in Dali's cross can similarly be thought of as the "unfolded" three dimensional surfaces of a four dimensional hypercube). The implication, of course, is that Jesus is the "unfolding" into our world of space and time of the transcendent and timeless Word of God.

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  8. Bill, thank you.

    Jesus is the "unfolding" into our world of space and time of the transcendent and timeless Word of God.

    That's beautiful.

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  9. Ironic side note:
    this painting was a favorite of (of all possible people)--Ayn Rand. The technical aspects (such as the unfolding of the hypercube)apparently fascinated her. Although I'm not sure if she would have caught the parallel of Christ being the unfolding of God into the world.

    Christos vroskoe!

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  10. Think of it! Me and Ayn Rand!

    Christos vroskoe!

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