It seems our lives involve a continuous repetition of that trek to
Emmaus. Disappointed, our best hopes dashed, we very often plod glumly along.
So self-absorbed, we often forget that Jesus is right beside us. He notices our
sadness and inquires, “What are you going over in your heads? What’s the
matter?” We are astonished. Doesn’t Jesus see? Everything’s falling apart. Our
best hopes for success, accomplishment, happiness, health, holiness are all
over. It wasn’t supposed to be like this. Then he explains. But how hard it is for us to understand that the Cross always precedes the Resurrection. We
must normalize the cross for one another, not as sad resignation but
faith-filled acknowledgement of the reality of suffering as graced gateway to
intimacy with the resurrected Lord Jesus. And so, he reminds us again, “How slow you are to understand.
It’s supposed to be hard. The cross happens, but it's no longer a dead end."
This was, after all, always
the goal of his Incarnation - to share unreservedly in our sorrow, and so to rescue us
from unending death and fear. His coming down to us in Mary’s virgin womb
reaches its culmination on the cross, for there he reveals the unimaginable
breadth of God’s boundless compassion. Jesus allows himself to suffer because
he can do no less. And it is there in this very weakness, the weakness of love,
that he reveals the sublimity of his divinity. On the cross God is most
truly God. His power is made perfect in his weakness, and his power can reveal
itself only in our weakness. And now battered as we are - fearful, confused and
hurting – perhaps we can recognize our own weakness and our desperate need for him more than ever. Perhaps now at last we will recognize him in the broken bread that he is, in the broken bread that we are. Doubtless an unexpected grace is being offered to us.
Michelangelo Merisi da Caravaggio, The Supper at Emmaus, 1601, oil and tempera on canvas, 141 x 196.2 cm. The National Gallery, London.
Michelangelo Merisi da Caravaggio, The Supper at Emmaus, 1601, oil and tempera on canvas, 141 x 196.2 cm. The National Gallery, London.