The Crucifixion ... a modern icon
We have reached the climax of Lent with Good Friday. Yet, for many, it is increasingly the case that Good Friday is just another holiday, a chance to begin a long weekend holiday at this time of the year. For others, it is just another hum-drum day that has lost meaning and significance, so much so that they may wonder why this Friday is called “Good.”
So, I am reminded of TS Eliot’s words in ‘East Coker’ (1943):
The chill ascends from feet to knees,
The fever sings in mental wires.
If to be warmed, then I must freeze
And quake in frigid purgatorial fires
Of which the flame is roses, and the smoke is briars.
The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood –
Again, in spite of that, we call this Friday good.
This day has influenced so many poets over the centuries, including George Herbert and his ‘Good Friday’:
Oh my chief good,
How shall I measure out thy blood?
How shall I count what thee befell,
And each grief tell?
Shall I thy woes
Number according to thy foes?
Or, since one star show’d thy first breath,
Shall all thy death?
Or shall each leaf,
Which falls in Autumn, score a grief?
Or cannot leaves, but fruit, be sign,
Of the true vine?
Then let each hour
Of my whole life one grief devour;
That thy distress through all may run,
And be my sun.
Or rather let
My several sins their sorrows get;
That, as each beast his cure doth know,
Each sin may so.
Since blood is fittest, Lord, to write
Thy sorrows in, and bloody fight;
My heart hath store; write there, where in
One box doth lie both ink and sin:
That when Sin spies so many foes,
Thy whips, thy nails, thy wounds, thy woes,
All come to lodge there, Sin may say,
No room for me, and fly away.
Sin being gone, O fill the place,
And keep possession with thy grace;
Lest sin take courage and return,
And all the writings blot or burn.
The Crucifixion ... an icon from Saint Catherine’s Monastery, Mount Sinai
Good Friday is a busy day for me this year, preaching at two services in Saint Patrick’s Cathedral, Dublin, in the morning and in the afternoon, and at a third service in Saint Mary’s Church, Maynooth, this evening.
With that much moving around today, my mind turned to ‘Good Friday, 1613, Riding Westward,’ by John Donne (1572-1631), which is my choice of a Poem for Lent on this Good Friday morning.
This 42-line poem, written almost 400 years ago, is regarded as one of the finest devotional poems of the English renaissance period. WH Auden provides testimony to how hard a time his students had in interpreting poems like ‘Good Friday, 1613,’ when he writes:
And nerves that steeled themselves to slaughter
Are shot to pieces by the shorter
Poems of Donne
This poem was written two years before John Donne’s ordination in 1615, and following Good Friday, 2 April 1613, when he made a journey on horseback from London westwards to Exeter. Donne’s brief title for the poem serves alone to reveal his shame and guilt at being on the road, instead of in church, on that particular Good Friday. The poem contains profound religious insights and a sincere expression of personal penance. The poem has a slightly jogging rhythm – a slightly irregular tetrameter, punctuated by largely end-stopped rhyming couplets. This intentional rhythm intentionally mimics the pace of the horse that Donne rode that day.
This poem is significant for what it tells us about the theology of a major English poet and for what it tells us about the spiritual psychology of that time. In 21 couplets, Donne writes an apologia for the faithless act on Good Friday that this poem recalls.
The poet gives five arguments, firstly blaming fallen Nature generally (lines 1-14). His riding, he says, follows the influence of the stars, which (from any observer’s perspective) move uniformly across the sky every night from east to west, from where Christ the Son of God took on humanity, from where he died on the cross at Golgotha. Secondly, citing the Bible, Donne explains that looking on God, face-to-face, is death to any creature (line 15-28). He averts his eyes because he dares not look. Thirdly, out of pity, Donne says he cannot bear to witness the sufferings of Christ’s mother, the Virgin Mary sufferings (lines 29-32). Fourthly, he affirms that he observes the sufferings of Christ and Mary in his mind’s eye, in “memory” (33-35), as he should. Finally, he explains that, by turning his back on Christ, he also submits himself to deserved “Corrections” (lines 35-40), to a scourging. The poem’s final couplet then moves all responsibility to a God who, if he punished Donne as he should, would discover that he, unashamed, willingly turning his face to his creator.
Donne begins with a metaphor “Let man’s soul be a sphere” (line 1). He likens the soul to a “heavenly” sphere – a moon or a planet – and the “intelligence” that moves this planet (line 2) is the soul’s devotion to God.
The poet compares the devotion of the human soul to the force of gravity on a planet moving around the sun. The gravity of the larger body keeps the planets in orbit; therefore the devotion of humans to God keeps them on the right path. But, like planets in orbit, we can be distracted by things other than their devotion, and those distractions will lead them away from God:
And as the other spheres, by being grown
Subject to foreign motions, lose their own. (lines 3-4).
On this Good Friday, while the poet is travelling to the west, his thoughts are in the east, towards Jerusalem, where Christ died. He is travelling when he ought to be praying, and so the west-east dichotomy is both literal and metaphorical.
Donne, who was fond of paradoxes, contrasts how he is looking towards where the sun sets, but Christ, by rising from the dead, made life eternal (lines 12-13).
He finishes this metaphor by averring that sin would have “benighted” all humanity had not Christ died for our redemption (line 14). After this, however, Donne is more concerned in the remainder of the poem more with the idea of looking toward.
In lines 15-24, he says he is glad that he did not have to look on Christ’s death on a cross because he could not have borne it. Donne shows how hard it must have been for anyone to have witnessed the Crucifixion, for Christ is God, and as he recalls in line 17, in the Exodus story God warns Moses that no-one could see God’s face and live (Exodus 33: 20). But the poet knows that in Christ God was clothed in “flesh” and therefore could have been seen safely by people in his own lifetime (line 27).
The poet is deeply impressed with spiritual anguish at imagining the Saviour on the cross.
In line 21, he alludes to the prophecy of Zechariah: “And I will pour out a spirit of compassion and supplication on the house of David and the inhabitants of Jerusalem, so that, when they look on the one whom they have pierced, they shall mourn for him, as one mourns for an only child, and weep bitterly over him, as one weeps over a firstborn” (Zechariah 12: 10).
In the Fourth Gospel, Christ’s crucifixion is seen as fulfilling this prophecy: “Instead, one of the soldiers pierced his side with a spear, and at once blood and water came out ... These things occurred so that the scripture might be fulfilled ... And again another passage of scripture says, ‘They will look on the one whom they have pierced.’.” (John19: 34-37).
Near the end of the poem, he is thankful that he could not have seen the horrors of the crucifixion: “Though these things, as I ride be from mine eye.” He reflects that these things are in his memory, and through that he can look towards God, and God can look towards him (line 33).
This final idea of “looking” is very important to Donne, for he ends the poem by saying that
I turn my back to thee, but to receive
He turns his back to God to be whipped and “corrected” of his faults (lines 37-38). He implores God to “Burn off my rusts, and my deformity” so that he can be made more in the likeness of Christ (line 40). Only when he is cleansed and corrected in this way may he then “turn his face” to God (line 42).
The Crucixion ... an icon from Balamand Monastery, near Tripoli in Lebanon
Good Friday, 1613, Riding Westward, by John Donne
Let man’s soul be a sphere, and then, in this,
Th’ intelligence that moves, devotion is;
And as the other spheres, by being grown
Subject to foreign motion, lose their own,
And being by others hurried every day,
Scarce in a year their natural form obey;
Pleasure or business, so, our souls admit
For their first mover, and are whirl’d by it.
Hence is’t, that I am carried towards the west,
This day, when my soul’s form bends to the East.
There I should see a Sun by rising set,
And by that setting endless day beget.
But that Christ on His cross did rise and fall,
Sin had eternally benighted all.
Yet dare I almost be glad, I do not see
That spectacle of too much weight for me.
Who sees God’s face, that is self-life, must die;
What a death were it then to see God die?
It made His own lieutenant, Nature, shrink,
It made His footstool crack, and the sun wink.
Could I behold those hands, which span the poles
And tune all spheres at once, pierced with those holes?
Could I behold that endless height, which is
Zenith to us and our antipodes,
Humbled below us? or that blood, which is
The seat of all our soul’s, if not of His,
Made dirt of dust, or that flesh which was worn
By God for His apparel, ragg’d and torn?
If on these things I durst not look, durst I
On His distressed Mother cast mine eye,
Who was God’s partner here, and furnish’d thus
Half of that sacrifice which ransom’d us?
Though these things as I ride be from mine eye,
They’re present yet unto my memory,
For that looks towards them; and Thou look’st towards me,
O Saviour, as Thou hang’st upon the tree.
I turn my back to thee but to receive
Corrections till Thy mercies bid Thee leave.
O think me worth Thine anger, punish me,
Burn off my rust, and my deformity;
Restore Thine image, so much, by Thy grace,
That Thou mayst know me, and I’ll turn my face.
Canon Patrick Comerford is Lecturer in Anglicanism and Liturgy, the Church of Ireland Theological Institute, and a canon of Christ Church Cathedral, Dublin.
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