dual personalities

It is Good Friday and it is time to get serious.

Christmas has a large and colorful cast of characters including not only the three principals themselves, but the angel Gabriel, the innkeeper, the shepherds, the heavenly host, the three Wise Men, Herod, the star of Bethlehem, and even the animals kneeling in the straw. In one form or another we have seen them represented so often that we would recognize them anywhere. We know about the birth in all its detail as well as we know about the births of ourselves or our children, maybe more so. The manger is as familiar as home. We have made a major production of it, and as minor attractions we have added the carols, the tree, the presents, the cards. Santa Claus, Ebenezer Scrooge, and so on. With Easter it is entirely different.

The Gospels are far from clear as to just what happened. It began in the dark. The stone had been rolled aside. Matthew alone speaks of an earthquake. In the tomb there were two white-clad figures or possibly just one. Mary Magdalen seems to have gotten there before anybody else. There was a man she thought at first was the gardener. Perhaps Mary the mother of James was with her and another woman named Joanna. One account says Peter came too with one of the other disciples. Elsewhere the suggestion is that there were only the women and that the disciples, who were somewhere else, didn’t believe the women’s story when they heard it. There was the sound of people running, of voices. Matthew speaks of “fear and great joy.” Confusion was everywhere. There is no agreement even as to the role of Jesus himself. Did he appear at the tomb or only later? Where? To whom did he appear? What did he say? What did he do?

It is not a major production at all, and the minor attractions we have created around it — the bunnies and baskets and bonnets, the dyed eggs — have so little to do with what it’s all about that they neither add much nor subtract much. It’s not really even much of a story when you come right down to it, and that is of course the power of it. It doesn’t have the ring of great drama. It has the ring of truth. I f the Gospel writers had wanted to tell it in a way to convince the world that Jesus indeed rose from the dead, they would presumably have done it with all the skill and fanfare they could muster. Here there is no skill, no fanfare. They seem to be telling it simply the way it was. The narrative is as fragmented, shadowy, incomplete as life itself. When it comes to just what happened, there can be no certainty. That something unimaginable happened, there can be no doubt.

The symbol of Easter is the empty tomb. You can’t depict or domesticate emptiness. You can’t make it into pageants and string it with lights. It doesn’t move people to give presents to each other or sing old songs. It ebbs and flows all around us, the Eastertide. Even the great choruses of Handel’s Messiah sound a little like a handful of crickets chirping under the moon.

He rose. A few saw him briefly and talked to him. If it is true, there is nothing left to say. If it is not true, there is nothing left to say. For believers and unbelievers both, life has never been the same again. For some, neither has death. What is left now is the emptiness. There are those who, like Magdalen, will never stop searching it till they find his face.

~Frederick Buechner, originally published in Whistling in the Dark 

Hallelujah! Sure, we’ll get dressed up and go to church and cook a big brunch and set the table with the good china. But let’s just take a moment, shall we?

And this is interesting–C.S. Lewis admired this play by Dorothy Sayers so much that he re-read it every year during Holy Week. (He re-read things too.) I have never read it, but I think I will.

God was executed by people painfully like us, in a society very similar to our own…by a corrupt church, a timid politician, and a fickle proletariat led by professional agitators.

–Dorothy Sayers

Happy Easter. Christ is risen indeed.

(The painting is The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection by the Swiss artist Eugène Burnand, 1898.)