Lenten Quiet Day 2016, Address #1
This is the first of three addresses that Fr. David Curry presented at the 2016 Lenten Quiet Day on 12 March 2016. The second is posted here and the third here. Audio files will be posted in the next day or two.
Into the Hands of the Father
The Prodigal Son: Rembrandt’s Painting and Henri Nouwen’s Reflections
Lenten Quiet Day sponsored by the PBSC NS/PEI
Saturday, March 12th, 2016
(Fr. David Curry)
Address # 1
Maggie Ferguson’s article “How to Have a Good Death” in the Economist journal Intelligent Life canvasses the various aspects of contemporary culture about approaches to death and dying. Among those is a story told by Jane Millard, a canon in the Church of Scotland, about a woman who was dying.
She was very afraid of dying. “I don’t want to die. Him upstairs will get a big stick and shout at me, tell me to go to hell. I’m frightened. I don’t want to be shouted at.”
And I hugged her, bereft of anything theological to say that sounded real, and she snuggled in.
“Talk to me,” she whimpered.
“There was a man who had two sons…” and I told her the story of the prodigal son and loving father.
“Will you be with me when I die? Be sure and tell me that story”
So I did, about an hour ago, now we are waiting for the undertakers.
Such is the power of the parable of the prodigal son in the Lenten journey of our lives into the hands of the Father. For Lent merely concentrates for us into the span of forty days the whole meaning of the Christian pilgrimage which is about our homecoming, about our being gathered into the hands of the Father. Nowhere is that story better depicted in art, perhaps, than in Rembrandt’s great painting, The Return of the Prodigal Son, the inspiration for Henri Nouwen’s thoughtful and reflective meditation on the parable. The painting hangs in the Hermitage in what was known then and is known now as St. Petersburg having been acquired by Catherine the Great in 1776, some one hundred and eight or nine years after Rembrandt painted what was probably his last painting before his death in 1669.
Rembrandt’s painting captures that intense and intimate moment of the son’s return to his father. It is the homecoming of the son. A powerful moment, it both conceals and reveals the larger story. As found in the 15th chapter of St. Luke’s Gospel, this parable is the third of three parables that are all about redemption, about being lost and then being found: the parable of the lost sheep, the parable of the lost coin, and the parable of the lost son, the prodigal son. If we were to imagine these parables as being depicted in art, they would form a triptych, such as are found on many altars in Europe; in short, three panels with the two side panels framing the central panel. That central panel, it seems to me, would have to be a depiction of the prodigal son. It is the most intense, the most dynamic and the most compelling of the three parables. The homecoming of the Son to the Father is the very nature of the Christian pilgrimage, the journey of the soul to God, we might say. The wonder of the painting is the miracle of the parable. We have a God and Father to whom we may return. The painting captures the deep compassion of the Father for the wayward son. The truth of our humanity is ultimately to be found in the embrace of the Father’s love, no matter how far and wide we have strayed. Ultimately, we live in the total and unconditional love of the Father.