Putting the ‘Easter’ back into Easter eggs

At last, there is an Easter egg that actually tells you something about Easter.

I haven’t seen one yet; apparently, they are on sale in the main supermarket chains (apart from Asda). So I can only report the fact, and I can’t comment on either the theology/kerygma/catechesis presented on the packaging, or the quality of the chocolate! You can buy them online here.

Rosie Taylor reports:

Christian groups have won a victory in their campaign for shops to sell a religious Easter egg.

Nearly every major supermarket will for the first time this year stock the Real Easter Egg – the only one to mention Jesus on its packaging.

Customers and bishops have lobbied them for three years to stock the £3.99 egg.

They all turned the product away when it was launched in 2010, but Waitrose, Morrisons and the Co-op signed up to trial the eggs in 2011 and 2012.

Now Sainsbury’s and Tesco have joined them – a decision church leaders described as ‘a milestone’.

Asda is the only major chain not to stock the egg, the box of which explains the religious significance of Easter and contains an activity for children.

The Meaningful Chocolate Company expects to sell more than 200,000 of the religious eggs. Around 80 million Easter eggs are sold each year in the UK.

Sainsbury’s and Waitrose will stock just 12 eggs at a small numbers of stores. Tesco is the biggest stockist and will sell the eggs out of 450 of its largest stores.

And what’s the purpose of it all?

The box of the fairtrade chocolate egg explains the religious significance of Easter and contains an activity for children.

David Marshall, from the Meaningful Chocolate Company, said: ‘Our aim is to change the Easter egg market forever by making it more spiritual, more generous and more faithful.’

All profits from the egg will go to the charity.

Let me know if you have actually seen one, or even eaten one (but you can’t admit that before Easter morning…).

[Thanks to Julie for sending me the link on Facebook.]

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A meditation on the Resurrection

When I was searching for images of the Harrowing of Hell on Flickr on Saturday, I came across this other image from a fresco in a church in Chora in Istanbul, together with a beautiful meditation by Jim Forest.

Here is the meditation on the picture, from his book Praying with Icons, revised edition, Orbis Books 2008.

The Paschal icon most often painted by iconographers and most frequently found in Orthodox churches and homes is the Anastasis — Christ’s Descent into Hell. It is also the first Paschal icon to be displayed in the center of the church each year, for it is venerated on Great and Holy Saturday.

The Apostles’ Creed proclaims that, before rising from the dead, Christ “descended into hell.” This is what the icon shows us. Beneath his feet, falling into a pit of darkness, are the broken gates of hell, often shown as a cruciform platform upholding the Savior. “You have descended into the abyss of the earth, O Christ,” the Church sings at Pascha, “and have broken down the eternal doors which imprison those who are bound, and like Jonah after three days in the whale, You have risen from the tomb.”

The gates that seemed capable of imprisoning the dead throughout eternity are, through Christ’s death on the cross, reduced to ruins. All others who have died have come to the land of death as captives, but Christ — in a white or golden robe and surrounded by a mandorla, a symbol of glory and radiant truth — comes as conqueror and rescuer. (In some versions of the icon, there is a scroll in his left hand. When the inscription is shown, it reads, “The record of Adam is torn up, the power of darkness is shattered.”) Beneath the gates of hell, Satan is seen falling into his kingdom of night and disconnection.

The principal figures to the left and right of Christ being raised from their tombs are the parents of the human race, Adam and Eve, while behind them are gathered kings, prophets and the righteous of Israel, among them David and Solomon, Moses, Daniel, Zechariah and John the Baptist.

Second only to Christ in the icon are Adam and Eve, our mysterious original ancestors — so much like us! We live in a culture in which we’re encouraged to find others to blame (and maybe sue) for our troubles — parents, teachers, neighbors, pastors, doctors, spouses, Hollywood, the mass media, big business, the government. But self-justification by finger pointing is nothing new — Adam blamed Eve and Eve blamed the snake.

While not forgetting that there is truly much wrong with the structures we live in and thus much that we need to resist and reform in this world, a very different way of looking at things is to focus, first of all, on our own failings.

One of the tougher prayers in the Orthodox Church is the prayer we recite before receiving Communion. It begins, “I believe, O Lord, that you are truly the Christ, the Son of the living God, who came into the world to save sinners, of whom I am the first.”

Perhaps no historian will be tempted to list me among the all-time great sinners, but such a prayer challenges me to stop making myself look relatively good by comparing myself to people who impress me as being much worse — a nice method for finding myself not guilty by reason of comparative innocence.

If the failure of Adam and Eve in Paradise represents the primary catastrophe in human history, the event at the roots of time from which all alienation, division and cruelty has its source, surely this image of divine mercy toward them must be a source of consolation to everyone living in hope of God’s mercy. “Delivered from her chains,” comments an ancient Paschal hymn, “Eve cries out in her joy” — and so may we.

It is only after his conquest of hell that Christ returns to his despairing disciples. “When He had freed those who were bound from the beginning of time,” wrote Saint John of Damascus, “Christ returned from among the dead, having opened for us the way of resurrection.”

The icon of Christ’s Descent into Hell can be linked with our prayer not to live a fear-driven life. We live in what is often a terrifying world. Being fearful seems to be a reasonable state to be in — fear of violent crime, fear of terrorists, fear of job loss, fear of failure, fear of illness, fear for the well-being of people we love, fear of collapse of our pollution-burdened environment, fear of war, and finally fear of death. A great deal of what we see and hear seems to have no other function than to push us deeper into a state of dread. There were many elderly people who died in a heat wave in Chicago one summer simply because they didn’t dare leave their apartments in order to get to the air-conditioned shelters the city had provided. Anxious about being mugged, they died of fear.

We can easily get ourselves into a paralyzing state of fear that is truly hellish. The icon reminds us that Christ can enter not just some other hell but the particular hell we happen to be in, grab us by the hands, and lift us out of our tombs.

There is also a modern version of this image – less mystical, but where you can see the details more clearly. (For info about the picture see the Flickr site here).

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He goes to the very ends of the earth, to the outer darkness, into the shadow of death

We celebrated ‘Tenebrae’ this morning in the college chapel, which consisted of the Office of Readings for Holy Saturday, with an additional longer reading, combined with Morning Prayer.

Detail from the 12th century Byzantine mosaic of the Last Judgement in Santa Maria Assunta, Torcello. The photographer writes: 'I love the way in which keys are scattered around the broken doors of hell, as though there have been many unsuccessful attempts to open them previously'.

Many of you have probably seen the remarkable Second Reading for Holy Saturday before, about the Lord’s descent into hell. Just in case you haven’t, here it is. I don’t know the author, or anything about it’s background. It’s just entitled ‘a reading from an ancient homily for Holy Saturday’. If you do know anything else about it, please do post in the comment box.

What is happening? Today there is a great silence over the earth, a great silence, and stillness, a great silence because the King sleeps; the earth was in terror and was still, because God slept in the flesh and raised up those who were sleeping from the ages. God has died in the flesh, and the underworld has trembled.

Truly he goes to seek out our first parent like a lost sheep; he wishes to visit those who sit in darkness and in the shadow of death. He goes to free the prisoner Adam and his fellow-prisoner Eve from their pains, he who is God, and Adam’s son.

The Lord goes in to them holding his victorious weapon, his cross. When Adam, the first created man, sees him, he strikes his breast in terror and calls out to all: ‘My Lord be with you all.’ And Christ in reply says to Adam: ‘And with your spirit.’ And grasping his hand he raises him up, saying: ‘Awake, O sleeper, and arise from the dead, and Christ shall give you light.

‘I am your God, who for your sake became your son, who for you and your descendants now speak and command with authority those in prison: Come forth, and those in darkness: Have light, and those who sleep: Rise.

‘I command you: Awake, sleeper, I have not made you to be held a prisoner in the underworld. Arise from the dead; I am the life of the dead. Arise, O man, work of my hands, arise, you who were fashioned in my image. Rise, let us go hence; for you in me and I in you, together we are one undivided person.

‘For you, I your God became your son; for you, I the Master took on your form; that of slave; for you, I who am above the heavens came on earth and under the earth; for you, man, I became as a man without help, free among the dead; for you, who left a garden, I was handed over to Jews from a garden and crucified in a garden.

‘Look at the spittle on my face, which I received because of you, in order to restore you to that first divine inbreathing at creation. See the blows on my cheeks, which I accepted in order to refashion your distorted form to my own image.

‘See the scourging of my back, which I accepted in order to disperse the load of your sins which was laid upon your back. See my hands nailed to the tree for a good purpose, for you, who stretched out your hand to the tree for an evil one.

`I slept on the cross and a sword pierced my side, for you, who slept in paradise and brought forth Eve from your side. My side healed the pain of your side; my sleep will release you from your sleep in Hades; my sword has checked the sword which was turned against you.

‘But arise, let us go hence. The enemy brought you out of the land of paradise; I will reinstate you, no longer in paradise, but on the throne of heaven. I denied you the tree of life, which was a figure, but now I myself am united to you, I who am life. I posted the cherubim to guard you as they would slaves; now I make the cherubim worship you as they would God.

“The cherubim throne has been prepared, the bearers are ready and waiting, the bridal chamber is in order, the food is provided, the everlasting houses and rooms are in readiness; the treasures of good things have been opened; the kingdom of heaven has been prepared before the ages.”

The final prayer reads:

Almighty, ever-living God, whose Only-begotten Son descended to the realm of the dead, and rose from there to glory, grant that your faithful people, who were buried with him in baptism, may, by his resurrection, obtain eternal life. Through Christ our Lord. Amen.

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The Passion of Jesus

It’s the second year that the Wintershall team has staged the Passion of Jesus in Trafalgar Square on Good Friday. Last year I posted about how powerful it was to see this religious drama unfolding in the secular spaces of central London – the pigeons, the buses, Nelson’s Column towering above, Big Ben in the distance, and the narrative punctuated by the scream of police sirens every few minutes. This is exactly what Jerusalem must have been like in the madness of Holy Week two thousand years ago. Well, take out Nelson and the buses and Big Ben and the sirens…

The play was even better than last year. It wasn’t just the glorious weather – although that certainly helped; or the screen – which made a huge difference. It felt tighter, more focussed. I don’t know if the script had been changed, or if it was just because the staging area seemed more restricted, or because it was the second year.

One or two moments stood out for me. First, when Simon of Cyrene was pulled out of the crowd by the soldiers to carry Jesus’s cross (just like last year) his wife raced after him – I presume it was his wife, sitting beside him in the audience. Or maybe I just missed this last year.

She was terrified that her husband was being dragged into the violence and mayhem of the Jerusalem/London streets – which he was. She circled round the edge of the crowd, desperate to help her husband and spare him this ordeal, not knowing where it would end, terrified that he might be crucified himself if he arrived at the place of execution with the cross on his shoulders. It was a lovely touch.

It reminded me that Simon of Cyrene – and all the others involved – are not just ‘characters’ who exist in some kind of suspended biblical animation, they are people with relatives and friends and colleagues and neighbours. It made me think of the relatives of all those who have even been kidnapped, tortured, murdered and forgotten – those who perhaps live with the agony far longer than those who perpetuate the crime and even those who suffer it. The Gospel narrative is so much more than the people who are actually mentioned by name.

The second moment was unintentional. When Jesus first appeared after his resurrection, and spoke to Mary Magdalene, the audience started clapping! It was so not appropriate – it completely broke the dramatic spell – but at another level it was so beautiful, and so British! Jesus appears; the Son of God comes among us in all his glory; the Risen Saviour is in our midst. We’ve got to do something! We’d like to scream or weep or fall flat on our faces in worship and adoration. But we’re British, and we don’t do these things in public, and the only visible display of approval or mild emotion we are able to make around strangers is to clap, politely, as if we are applauding a boundary at Lord’s or a dull after-dinner speech. It was marvellous. Jesus Christ is risen from the dead – and we clapped!

Last year I wrote about Jesus’s exit at the end of the play:

And right at the end, after the Resurrection, Jesus stepped through the crowd in his white garments as the audience was applauding. He didn’t take a bow. He walked up towards the National Gallery, across the top of Leicester Square, and into the streets beyond. I followed him, while the post-production congratulations were taking place in the square behind us.

That image of Jesus turning the corner into Charing Cross Road is what made the whole play for me: the figure of Christ, walking into the madness of London; without the protection of a director, a cast, a script, an appreciative audience; fading into the blur of billboards and buses and taxis; an unknown man walking into the crowd…

This year, a similar thing happened, but because of the weather the crowd was thicker and in no mood to let Jesus go. When he got to the top of the steps in front of the National Gallery, as Archbishop Vincent was saying thank you to the organisers, dozens of people crowded round him – just happy to see him close up.

And what did they want? Photos! So there was Jesus, smiling for the cameras – holding a child who had been lifted up for him; then with his arms around some friends as they peered into the lens; then standing in the middle of a large group for the camera. He was happy and obliging; in no rush; with a huge grin on his face. Obviously enjoying the people, and enjoying their joy in meeting him.

At first I thought: the play is over, the spell is broken, and the actor is quite rightly taking his bow. But then I thought: No, this is still very real. If Jesus were walking through Trafalgar Square today, would we be taking photos? Of course we would! Or put it the other way round, if people had had cameras back then, ordinary people who loved him and were delighted to catch a glimpse of him, would Jesus have marched away with a frown on his face, telling them to take life more seriously and to let go of these worldly gadgets? I don’t think so. He was, above all, kind. He met people where they were. He loved the ordinary and sometimes stupid things that they loved – as long as they were without sin. He would have stopped for photos.

Seeing this actor smile for the cameras – a warm, genuine, affectionate smile – didn’t create any disjunction in my mind with the Jesus he had just been playing. Quite the opposite – it helped me realise something about the kindness and humanity of this Jesus, and made me wonder even more about what it would be like if he were to walk the streets today.

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