{"id":2937,"date":"2022-04-16T06:00:00","date_gmt":"2022-04-16T11:00:00","guid":{"rendered":"https:\/\/educationalrenaissance.com\/?p=2937"},"modified":"2022-04-16T16:19:29","modified_gmt":"2022-04-16T21:19:29","slug":"embrace-the-cross-an-easter-vigil-homily","status":"publish","type":"post","link":"https:\/\/educationalrenaissance.com\/2022\/04\/16\/embrace-the-cross-an-easter-vigil-homily\/","title":{"rendered":"Embrace the Cross: An Easter Vigil Homily"},"content":{"rendered":"\n

The beautiful and the grotesque, when considered together are the essence not only of our human existence, but of all created reality. In some ways, aesthetics is in the eye of the beholder. What one considers beautiful differs from what another would hold up as an example of beauty. We share with each other both the beautiful and the grotesque. \u201cCome here and see the beautiful sunset,\u201d one might say to a spouse. \u201cSmell this, has it gone bad?\u201d is yet another phrase shared between husband and wife.<\/p>\n\n\n\n

The Beautiful and the Grotesque<\/h2>\n\n\n\n

How do we value beauty? What does our evaluation of beauty tell us about nature of reality? And can we find beauty in the seemingly grotesque? The evaluation of beauty led Charles Dickens to eviscerate what was then a new art movement, the Pre-Raphaelite Brotherhood. The conventions of what beauty constituted had stagnated into rote forms, so said the small band of English artists who looked back on the early Renaissance masters \u2014 figures such as Leonardo, Brunelleschi and Michelangelo \u2014 as their inspiration. The humanistic impulse of the Pre-Raphaelites matched that of the early Renaissance painters, meaning there was a penchant for emotional expressionism and an attention to realistic detail. For Dickens, the break from accepted norms was too much to bear, something he calls \u201cthe lowest depths of what is mean, odious, repulsive, and revolting\u201d (Charles Dickens, \u201cOld Lamps for New Ones<\/a>,\u201d Household Words<\/em> 12 (1850), 12).<\/p>\n\n\n\n

Consider how Dickens describes one particular painting:<\/p>\n\n\n\n

\"Charles<\/figure><\/div>\n\n\n\n

\u201cYou behold the interior of a carpenter\u2019s shop. In the foreground of that carpenter\u2019s shop is a hideous, wry-necked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England. Two almost naked carpenters, master and journeyman, worthy companions of this agreeable female, are working at their trade; a boy, with some small flavor of humanity in him, is entering with a vessel of water; and nobody is paying any attention to a snuffy old woman who seems to have mistaken that shop for the tobacconist\u2019s next door, and to be hopelessly waiting at the counter to be served with half an ounce of her favourite mixture. Wherever it is possible to express ugliness of feature, limb, or attitude, you have it expressed. Such men as the carpenters might be undressed in any hospital where dirty drunkards, in a high state of varicose veins, are received. Their very toes have walked out of Saint Giles\u2019s.\u201d<\/p>Charles Dickens, \u201cOld Lamps for New Ones<\/a>,\u201d Household Words<\/em> 12 (1850), 12-13<\/cite><\/blockquote>\n\n\n\n

Now Dickens is known for his censure of industrial society, searching through the gritty streets of London for stories of genuine humanity. He can tend to exaggerate certain details and is given to biting sarcasm. So what shall we make of this particular painting he highlights for contempt? Christ in the House of His Parents<\/em> by John Everett Millais was exhibited at the Royal Academy in 1850, where Dickens first set eyes on the painting. In fact, it was Dickens\u2019s scathing review that put the Pre-Raphaelite Brotherhood on the map. Queen Victoria herself, in response to Dickens, requested a private viewing of the painting at Buckingham Palace. I can\u2019t help but be reminded of Pope\u2019s lines in \u201cAn Essay on Criticism:\u201d<\/p>\n\n\n\n

\"Alexander<\/figure><\/div>\n\n\n\n

\u201cBut you who seek to give and merit fame,<\/p>

And justly bear a critic’s noble name,<\/p>

Be sure your self and your own reach to know,<\/p>

How far your genius, taste, and learning go;<\/p>

Launch not beyond your depth, but be discreet,<\/p>

And mark that point where sense and dulness meet.\u201d<\/p>Alexander Pope, \u201cAn Essay on Criticism<\/a>\u201d<\/cite><\/blockquote>\n\n\n\n

The Millais, looked at afresh, has many qualities worthy of our consideration. Perhaps Dickens was too hasty in his judgment. (In fact time has been on the side of Millais.) The Christ figure, central in the painting, is garbed in all white. He holds up a hand that has been pierced. Why know not by what, but with the many sharp object and fragments of wood around the shop, one can only imagine cuts and nicks occur frequently in this space. Mary kneels down to kiss Jesus on the cheek, but it is hard to know whether the mother is comforting the child or the child comforting the mother, such is the ambiguous arrangement of their faces. The four figures encircling the scene of mother and child are all in some state of bowing. True, they are all bent over their work, but note how their eye lines all focus on the Christ child. The scene is unified by the earthy tones of the wood throughout the shop. The work bench, the door frame, and the lumber set aside is all rough. The bare feet of all the figures brush up against the wood shavings from the carpenter planing the wood upon his bench.<\/p>\n\n\n\n

\"\"\/
John Everett Millais, Christ in the House of His Parents<\/em> (1849-50) oil on canvas<\/figcaption><\/figure>\n\n\n\n

There is a rustic beauty in this scene. It is not the stylized beauty of aristocratic portraiture. Instead, we have a view into the domestic life of a carpentry shop. The real beauty comes in part from the masterful realism of Millais, but also in part from the theological insight Millais provides. Beginning with the cut on Jesus\u2019 hand, we are reminded that this child\u2019s journey will lead to pierced hands and feet. That same journey will see him bear the rough wood of the cross to the hill called Golgotha, the same kind of wood scattered around this carpentry shop. The wood and nails in the carpentry shop foretell the crucifixion of Christ. Outside the door of the shop, one sees two more theological reflections. One item is the rose bush beginning to bloom, which anticipates the crown of thorns. The other is pasture full of sheep, a reminder of the lamb who was slain.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Millais has provided a theological paradigm that enables us to consider the grotesque as something beautiful. The cross of wood is the epitome of the grotesque, being a torture device. Today we wear beautiful crosses around our necks. But this painting reminds us that there is pain, suffering and sadness associated with the cross. We would not be inclined to embrace a heavy beam of rough wood whose splinters would get under our skin. And yet that is exactly the call, to embrace the cross and follow him. A profound kind of beauty is found in the grotesque as we embrace that which the means of our salvation.<\/p>\n\n\n\n

Cruciform Christianity<\/h2>\n\n\n\n

Western Christianity, particularly in its North American iteration, has at times tended toward the triumphalistic. We live in light of the resurrection. We anticipate our future glory. We emphasize the \u201calready\u201d of God\u2019s heavenly kingdom more than the \u201cnot yet.\u201d This creates a framework for our perspectives on economics, politics and culture. I am mindful, though, of the centrality of the cross and the alternative perspective this brings.<\/p>\n\n\n\n

\n
\n

Paul embraced the cross wholeheartedly. He writes to the Galatians, \u201cfar be it from me to boast except in the cross of our Lord Jesus Christ, by which the world has been crucified to me, and I to the world\u201d (Gal. 6:14). Is Paul triumphalistic? Yes. But his boasting centers on the cross, which gives a very different kind of framework for viewing the world. How much would our perspectives on economics, politics and culture change if we were to view the world as dead to us and us dead to the world? Morbid, yes. And yet there is a beauty, profound and invigoration, that opens to us through this perspective.<\/p>\n\n\n\n

Despite generations of dispute over the nature of the atonement, Evangelicals of the past few centuries have largely agreed that the cross is central to our Christian faith. David Bebbington in his work Evangelicalism in Modern Britain<\/a><\/em> spells out the lines of dispute and debate:<\/p>\n<\/div>\n\n\n\n

\n

Learn more about Christian worldview training in the article Educating for a Christian Worldview in a Secular Age<\/a><\/strong><\/p>\n\n\n\n

\"\"\/<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\"\"<\/a><\/figure><\/div>\n\n\n\n

\u201cThe Evangelical ranks were riven in the eighteenth century by controversy between Methodists, who were Arminians, and most others, who were Calvinists. By the beginning of the nineteenth century, however, this debate was dying down. Most Evangelicals were content to adopt a \u2018moderate Calvinism\u2019 that in terms of practical pulpit instruction differed only slightly from the Methodist version of Arminianism.\u201d<\/p>David Bebbington, Evangelicalism in Modern Britain<\/em>, 16.<\/cite><\/blockquote>\n\n\n\n

I think this assessment of British Evangelicalism holds true broadly for North America as well, inasmuch as we have seen the rise of reformed Baptists and the like over the past few decades. What I find interesting about this historical perspective is that the cross itself is the point of commonality in different theological systems. It is where we come together in our Christian faith. By embracing the cross we draw closer together to one another.<\/p>\n\n\n\n

Much of the dispute and debate of our current moment in the West has little to do with theology as we see the pull of politics sweeping into matters of faith. It could be that in a post-Christian society, politics becomes the new religion, which means that we must be ever vigilant to keep the realms of politics and faith separate. Render unto Caesar what is Caesar\u2019s and to God what is God\u2019s. Here is where I think embracing the cross offers a solution to the hostile divide we have experienced in society. \u201cGreater love has no one than this, that someone lays down his life for his friends\u201d (John 15:13). How much impact could we have on society if this were our fundamental orientation? In the face of identity politics, we become the people who lay down our identity to embrace the cross and follow Jesus. For Christ to be our identity, though, is not an easy road. We are reminded of the raw lumber, full of splinters, that must be carried daily.<\/p>\n\n\n\n

The Cross and the Good Life<\/h2>\n\n\n\n

Embracing the cross implies the loss of our lives. But the deeper truth \u2013 what we might call the \u201cdeeper magic\u201d in the vein of Narnia \u2013 is that embracing the cross leads to a life of flourishing. Last year I reviewed Jonathan Pennington<\/a>\u2019s book Jesus the Great Philosopher<\/a><\/em> in which he compares Christian philosophy to alternative philosophical traditions, including Stoicism. I admit that Stoicism has its attractions. Yet all the attractions of Stoicism have their analogue in Christianity. In addition, Christianity answers the problem of sin through the cross of Christ. The Stoic<\/a> works to have a dignified death, whereas the Christian dies to self to have a right relationship with God. On the difference between Stoicism and Christianity, Pennington writes:<\/p>\n\n\n\n

\"\"<\/a><\/figure><\/div>\n\n\n\n

\u201cBut I believe there is a philosophy of the emotional life that is more comprehensive and effective than even the best of Stoicism \u2013 the Christian philosophy. And beyond practicality, the Christian philosophy also has the distinct advantage of being true \u2013 rooted in the historical and theological reality of the incarnation, life, death, resurrection and ascension of Jesus. It is a philosophy for the whole of life rooted in a metaphysic more comprehensive than Stoicism.\u201d<\/p>Jonathan Pennington, Jesus the Great Philosopher<\/em>, 122-123.<\/cite><\/blockquote>\n\n\n\n

Emotions are a significant part of life. Pennington\u2019s claim is that whereas Stoicism promotes detachment from emotions, Christianity views emotions as controllable. His view is that Christianity as a life philosophy \u201crecommends a measured and intentional detachment from the world and its circumstances for the sake of living a tranquil life\u201d (114). To put it another way, our emotions are plugged into a higher reality and in this framework emotions are good and valuable. This higher reality is connected to the cross. To embrace the cross is to direct our passions toward something visceral that is both tragic and triumphant at the same time.<\/p>\n\n\n\n

One of the mantras of the Stoic philosophy is memento mori<\/em>. It means \u201cremember that you will die.\u201d The Stoic takes on a mindset that life is short and meaning is derived from fully embracing the present moment. There is real power in this kind of mindset because it snaps into focus what is meaningful from what is trivial. However, a more profound mantra for the Christian comes from Paul: memento mortui<\/em>. True, this is a bit manufactured from the Vulgate. In Colossians Paul exhorts his audience to \u201cset their minds on things above, not on things that are on earth\u201d (Col. 3:2). Then he reminds his congregation that \u201cyou have died, and your life is hidden with Christ in God\u201d (3:3). The Vulgate translates the Greek (\u1f00\u03c0\u03b5\u03b8\u03ac\u03bd\u03b5\u03c4\u03b5 \u03b3\u1f70\u03c1) with mortui enim estis<\/em>, both meaning \u201cfor you have died.\u201d As Christians, our philosophy is not based on a view of our own future death, but a remembrance of our death with Christ on the cross followed by our new life in Christ in the resurrection. Thus, our mantra can truly be memento mortui<\/em>, \u201cremember you have died.\u201d Being hidden in Christ takes us to Galatians 2:20, \u201cIt is no longer I who live, but Christ who lives in me. And the life I now live in the flesh I live by faith in the Son of God, who loved me and gave himself for me.\u201d When we embrace the cross of Christ, making it our own, we follow in the footsteps of Christ in the ways that Paul advises the churches under his care.<\/p>\n\n\n\n

The Beauty of the Cross<\/h2>\n\n\n\n

There are many ways in which the cross, a tool of torture, is beautiful to those who embrace it. To begin with, the cross is the place where our atonement was accomplished. Repeatedly Jesus told his disciples that he would be delivered up, killed and then rise again in three days (Mark 8:31, 9:31, 10:33 and parallels). His life and teachings were crucially oriented toward this objective, to offer himself as a sacrifice for our sins. There is something beautiful in the act of sacrifice, especially as the crucifixion of Christ is the most profound expression of God\u2019s love for us.<\/p>\n\n\n\n

\"Titian,
Titian, Christ Carrying the Cross<\/em> (ca. 1565) oil on canvas<\/figcaption><\/figure><\/div>\n\n\n\n
\n
\n

I find in the cross another aspect of beauty, which is intermingled with the grotesque: the mortification of the flesh. We are called as followers of Christ to \u201cput to death the deeds of the body\u201d (Rom. 8:13) such as immorality, evil desires, covetousness, etc. (Col. 3:5). The cross is emblematic of this, with Christ laying down his life and inviting us to follow him in this manner. If we are to be his disciples, we are to deny ourselves, take up our cross and follow him (Matt. 16:24). There is something freeing in this radical discipleship. We confront the worst parts of ourselves and in so doing we see ourselves transformed into the image of Christ.<\/p>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
\n

Read more about discipleship in the article, Christ Our Habitation<\/a><\/strong>.<\/p>\n\n\n\n

\"woman<\/a><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Finally, the beauty of the cross is found in they way the cross serves as a beacon to all believers. In many, and perhaps most, of our churches, there is a cross raised up usually at a focal point such as the altar. The act of entering church moves us closer to the cross. I am reminded of the hymn Lift High the Cross<\/em>, which speaks about how the Lord, \u201conce lifted on the glorious Tree, As Thou hast promised, draw men unto Thee.\u201d The cross becomes the gathering point for believers. When we embrace the cross, we share in an ingathering of the saved, in the knowledge that this splintered wood is where our sins were forgiven.<\/p>\n\n\n\n

In a sense, Dickens was correct to comment upon the grotesque in Millais\u2019s painting of the boy Jesus in carpenter\u2019s workshop. Yet, beauty is often intermingled with the grotesque. The Millais shows us this dichotomy and in this way serves as an apt meditation on the very tactile nature of what it means for Jesus to suffer on the cross for our sins as well as for us to bear our cross daily. My hope is that during this Eastertide, we may have a renewed sense of how our embrace of the cross places us at the intersection of the grotesque and the beautiful.<\/p>\n\n\n\n

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\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
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\"\"<\/a><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The beautiful and the grotesque, when considered together are the essence not only of our human existence, but of all created reality. In some ways, aesthetics is in the eye of the beholder. What one considers beautiful differs from what another would hold up as an example of beauty. 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Lewis, two favorites in the classical education renewal movement, offered different, but related, educational solutions to respond to emotive and misleading\u2026","rel":"","context":"In "Classical Tradition"","block_context":{"text":"Classical Tradition","link":"https:\/\/educationalrenaissance.com\/category\/classical-tradition\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/02\/desert-fountain-2-scaled.jpeg?fit=1200%2C745&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/02\/desert-fountain-2-scaled.jpeg?fit=1200%2C745&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/02\/desert-fountain-2-scaled.jpeg?fit=1200%2C745&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/02\/desert-fountain-2-scaled.jpeg?fit=1200%2C745&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/02\/desert-fountain-2-scaled.jpeg?fit=1200%2C745&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":967,"url":"https:\/\/educationalrenaissance.com\/2020\/03\/07\/charlotte-mason-and-the-liberal-arts-tradition-part-2-educating-the-whole-person\/","url_meta":{"origin":2937,"position":2},"title":"Charlotte Mason and the Liberal Arts Tradition, Part 2: Educating the Whole Person","author":"Kolby Atchison","date":"March 7, 2020","format":false,"excerpt":"What has Charlotte Mason to do with classical education? 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In contrast to knowledge acquisition or skills mastery, growing virtue in our students is about strengthening their internal moral structure. It is fundamentally a project of formation, changing a person for the good in pursuit\u2026","rel":"","context":"In "Classical Tradition"","block_context":{"text":"Classical Tradition","link":"https:\/\/educationalrenaissance.com\/category\/classical-tradition\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2023\/01\/city-of-god.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2023\/01\/city-of-god.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2023\/01\/city-of-god.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2023\/01\/city-of-god.jpeg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":2171,"url":"https:\/\/educationalrenaissance.com\/2021\/07\/10\/apprenticeship-in-the-arts-traditions-and-divisions\/","url_meta":{"origin":2937,"position":5},"title":"Apprenticeship in the Arts, Part 1: Traditions and Divisions","author":"Jason Barney","date":"July 10, 2021","format":false,"excerpt":"The previous two articles have paved the way both for our discussion of Aristotle\u2019s intellectual virtue of techne, artistry or craftsmanship, as well as the intellectual virtue of phronesis, practical wisdom or prudence. In a strict sense, the analogy between artistry and morality is aside from our central argument, which\u2026","rel":"","context":"In "Classical Tradition"","block_context":{"text":"Classical Tradition","link":"https:\/\/educationalrenaissance.com\/category\/classical-tradition\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/07\/Apprenticeship.jpg?fit=537%2C358&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/07\/Apprenticeship.jpg?fit=537%2C358&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/07\/Apprenticeship.jpg?fit=537%2C358&ssl=1&resize=525%2C300 1.5x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2937","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/comments?post=2937"}],"version-history":[{"count":3,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2937\/revisions"}],"predecessor-version":[{"id":2948,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2937\/revisions\/2948"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/media\/2938"}],"wp:attachment":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/media?parent=2937"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/categories?post=2937"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/tags?post=2937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}