O Filii et Filiae Feels

EmptyTomb2All Christian Feasts are strange–otherworldly. Perhaps no other Christian Feast is as odd as the Resurrection: we celebrate the murder of an innocent man for our sins, then Him rising from the dead and teleporting from His grave… with a super-upgraded body (it’s my theory that this strangeness of the Paschal Feast has largely prevented its commercialization by businesses, Hollywood, and government. Christmas, Halloween, St. Patrick’s Day, St. Valentine’s Day, Mardi Gras, and more, have their secularized forms… but Easter? Not so much except for the treats and stuffed animals. It just ain’t a money maker.)

Combine all that with this strangest of times in world history (the pandemic quarantine), and we’ll all need a shot of what I think is the greatest of Easter hymns: O Filii et Filiae (pronounced: oh-fee-lee-ee-et-fee-lee-aye).

  1. King’s College’s smashing rendition:
  2. An epic and meditative version by Patrick Lenk:
  3. The hymn in its natural habitat (for Holy Mass)!
  4. Beautiful contemporary rendition:

Finally, here are the lyrics; they speak (sing?) for themselves:

Alleluia, Alleluia, Alleluia. Alleluia, Alleluia, Alleluia.
O filii et filiae,

Rex caelestis, Rex gloriae

morte surrexit hodie.

R. Alleluia

Ye sons and daughters of the Lord,

the King of glory, King adored,

this day Himself from death restored.

R. Alleluia

Ex mane prima Sabbati

ad ostium monumenti

accesserunt discipuli.

R. Alleluia

All in the early morning gray

went holy women on their way,

to see the tomb where Jesus lay.

R. Alleluia

Et Maria Magdalene,

et Iacobi, et Salome

Venerunt corpus ungere

R. Alleluia

Of spices pure a precious store

in their pure hands these women bore,

to anoint the sacred Body o’er.

R. Alleluia

In albis sedens angelus

praedixit mulieribus:

In Galilaea est Dominus.

R. Alleluia

The straight’way one in white they see,

who saith, “seek the Lord: but He

is risen and gone to Galilee.”

R. Alleluia

Et Ioannes apostolus

cucurrit Petro citius,

monumento venit prius.

R. Alleluia

This they told Peter, told John;

who forthwith to the tomb are gone,

but Peter is outrun by John.

R. Alleluia

Discipulis astantibus,

in medio stetit Christus,

dicens: Pax vobis omnibus.

R. Alleluia

That self-same night, while out of fear

the doors where shut, their Lord most dear

to His Apostles did appear.

R. Alleluia

Ut intellexit Didymus

quia surrexerat Iesus,

remansit fere dubius.

R. Alleluia

But Thomas, when of this he heard,

was doubtful of his brethren’s word;

wherefore again there comes the Lord.

R. Alleluia

Vide Thoma, vide latus,

vide pedes, vide manus,

noli esse incredulus.

R. Alleluia

“Thomas, behold my side,” saith He;

“My hands, My feet, My body see,

and doubt not, but believe in Me.”

R. Alleluia

Quando Thomas vidit Christum,

pedes, manus, latus suum,

dixit: Tu es Deus meus.

R. Alleluia

When Thomas saw that wounded side,

the truth no longer he denied;

“Thou art my Lord and God!” he cried.

R. Alleluia

Beati qui non viderunt

et firmiter crediderunt;

vitam aeternam habebunt.

R. Alleluia

Oh, blest are they who have not seen

their Lord and yet believe in Him!

eternal life awaitheth them.

R. Alleluia

In hoc festo sanctissimo

sit laus et iubilatio:

benedicamus Domino.

R. Alleluia

Now let us praise the Lord most high,

and strive His name to magnify

on this great day, through earth and sky:

R. Alleluia

Ex quibus nos humillimas

devotas atque debitas

Deo dicamus gratias.

R. Alleluia

Whose mercy ever runneth o’er;

Whom men and Angel hosts adore;

to Him be glory evermore.

R. Alleluia

 

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Liturgy and Lethargy

Lethargy is the wrong word: it means weakness and lack of enthusiasm.
Lethargy is the right word: it means weakness and lack of enthusiasm.

Lethargy perfectly represents what I want to describe.

Many Masses in my life always left me confused, especially as I grew in love for the Lord and His Church. If Holy Mass is the most important prayer of Christians, if the Eucharist is truly Christ’s Body and Blood: true Food and true Drink, if this is true, then why have so many Masses been lame? Lethargy.

Ever since learning that the Holy Sacrifice of the Mass is actually Jesus nailed on the Cross because of your sins, my sins, our sins—that Jesus teleports us to the original moment of His sacrifice—I cannot ignore the jarring clash between crucifixion and birthday-bash trying to show through at the same time. The energy and enthusiasm put into a party-style-Mass means “lethargy” is the wrong word. So much effort wasted on the wrong details.

But don’t take my word for it. Have a look yourself:

Step One: watch this excerpt of Jesus rescuing you and me from Satan and our sins, watch how He is lifted up for us to see what He does for us:

Step Two: watch how this Mass (from 2008) totally matches the theme of Christ’s crucifixion:

Step Three: this 2018 Mass (with German cardinals and bishops) also gets the point across:

And the point is (in case you didn’t catch my sarcasm): how did we get to this mess, instead of Mass? How do we have such a mess in theme? How did such liturgical abuse become a thing?

Mass never was about fun, entertainment, relevance, and needing to be cool or interesting. Sacrifice is never about those things.

Instead, sacrifice is a labor of love. Mass used to be (and can still be) solemn, reverent, powerful, deep, and intense:

Because Jesus is not partying it up on His Cross—He is dying because of my selfish and terrible choices to go to Hell. And I should not act nor expect this moment to be a birthday bash (or a tango dance-off).

And I’m not about to let this end with that tango video *shudder*. Instead, here’s an uplifting and helpful tip how we can start to reclaim our Lord’s Mass, with song and singing:


UPDATE 4/18/2020:

This CCP-virus (Covid-19) survivor is former EWTN President, Catholic-convert, and current spiritual director: Dan Burke. After beating the disease from the point of death, he has choice words about liturgical abuse and enemies of reverence. Hear what he has to say about why/how Jesus is desecrated today in our Church. His witness cuts me to the heart.

Netflix is Anti-Abortion

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So Netflix was threatening to boycott the State of Georgia for its pro-life laws. Netflix is worried that Georgia will abort abortion. Because of this boycott threat, many pro-lifers are boycotting Netflix.

But Netflix is a hypocrite. It’s not really serious about abortion rights. Because if it were, it wouldn’t be streaming pro-life movies like I Am Mother. That’s right, Netflix actually streams a very pro-life, very anti-abortion movie. If Netflix doesn’t realize its contradictory stance, then it’s either simply hypocritical, or incredibly ignorant of its own content, or it’s secretly anti-abortion. I’m not sure what they are, but here are the pro-life signs from their recent critically acclaimed hit film itself:

—SPOILER ALERT—

  1. The film presents a feminine-voiced robot as a mechanical mother tasked with raising a baby girl. In fact, every mother figure in this film is female/feminine. In our LGBTQRSTUV+ conscious culture, why is the mother presented as womanly and feminine? Why do advanced, super artificial-intelligence robots of the future use old-fashioned traditional family roles in its attempt to raise the perfect human? Hint: because that’s how humans are meant to be best nurtured.
  2. There’s no mistake that motherhood is the theme of the film (the title?). But notice the plot twist: Mother-Bot has been long terminating human girls when they failed to qualify for continued existence. Mother-Bot administers tests on her daughters, and only raises the current protagonist because she has been passing. When we find that other girls had been gestated, born, raised, tested, failed, and then incinerated, we sense the film wants us to feel horrified. The fact that we don’t know how many girls have been burned to bones alludes even more to the fact that we may perhaps never know how many girls have been aborted in our world (in China alone, its missing an estimated 30-50 million girls. Talk about an actual war-on-women).
  3. But back to the film: so what if Mother-Bot terminated some girls during gestation? So what if Mother-Bot discovered a mutation, or a disease, or some other condition the unborn baby had, and then deemed her unqualified for the perfect life (whatever perfect even means)? What difference is there between terminating the girl then or terminating later? The motive is the same: the girl is not good enough.
  4. Here we see a commentary on the rampant objectification of girls and women in our culture. If she isn’t beautiful enough, hot enough, smart enough, small enough, skinny enough, et cetera enough, then she’s not worth it. If she doesn’t make me happy enough, proud enough, successful enough, then she’s something I must destroy. I decide if her life is worth the work I need to put in. –Mother-Boti-am-mother-pictures-images-gallery-clean
  5. But why does the film try to make us sense this mentality is horrific? If abortion is a woman’s right (as Netflix claims), then why is Mother-Bot not just an everyday hero doing what every mother should be free to do? Sure, you can say it’s because the baby isn’t actually inside Mother-Bot, but Mother-Bot even says in the film that she is more than just one robot, she is all of them, and the entire gestation/nursery facility, by extension. She runs everything, so actually Daughter is very much inside Mother-Bot, using her resources, time, energy, and space. And that relates very much to the argument for abortion-after-birth that is getting popular among many politicians of a certain political party: John Rogers (AL), Governor Northam (VA), Del. Tran (VA). After all, born babies keep using their mother’s resources, time, energy, and space… for years and decades.
  6. So point made: real motherhood is not about killing one’s children. We see this argued for by Daughter when she is upset about her culled siblings. If termination wasn’t bad, why all the outrage and fear from Daughter? Remember, Daughter is human: she is the protagonist who represents us in the film, as fellow humans who are pro-life/dignity/children/parenthood. Mother is the cold, mechanical, utilitarian, false-motherhood antagonist who is pro-choice/abortion. The choice is easy: be like Daughter!
  7. If that’s not enough signs of the film’s pro-life message, consider how the myriad fetuses are addressed: they’re called brothers and sisters. Including the unborn embryos! Their not called “clumps of cells”, or “potential people”, or merely “products of conception”. They are already family members.i_am_mother_still
  8. Additionally, quite a few Catholic symbols appeared both prominently and subtly in I Am Mother. Obviously, the rosary (as our Blessed Mother’s prayer), and the Marian icons (in the shipping container where the woman lived), but also that Daughter becomes the mother-figure for her newborn brother. Daughter, in a sense, is the virgin mother of the baby boy. For any astute Catholic, that’s an obvious reference to the only real-life Virgin Mother. Sadly, where the film is going with all this religious motherhood imagery is still lost on me, so if you have any insights, I’d be glad to hear it.
  9. On a related note, there’s also the issue of manufacturing children and growing them in gestation machines (as opposed to to conceiving children and carrying them in their mothers’ wombs). I’ve been mulling on writing something about this topic for a while, so this is a sign for me to get it out. But before it gets written, please see #3-4 above for arguments closely relevant, and also my philosophy thesis discussing the humanity and absurd predicament of frozen embryonic children.

So there we have it. Signs strongly suggesting that Netflix is flip-floppy about its abortion advocacy. Sure, boycott a pro-life state, but don’t boycott a pro-life movie streaming from your own collection? Come on. Just come out and say it: Netflix is secretly anti-abortion (or at least conflicted).

 

Don’t Meddle with this Medal

CollectionIn 1830 France, our Blessed Mother went out of her way to design a medal for us earthlings. That’s right: there’s a medal in our Catholic Christian heritage that originated from Heaven–truly out of this world.

Popularly known as the Miraculous Medal, the Medal of the Immaculate Conception (Nov. 28th feastday) has the reputation of working wonders for those who live or seek a life of faith in Jesus Christ. Basically, the medal is a sign we can wear to remind us who our Mother is, what it means to be her children, and how to follow her Son–our Lord. I myself have worn the same Miraculous Medal for over five years now; I intend to wear it for the rest of my life. I’m sure I will eventually know how this sign of faith has helped me, but for now, let me share how it has truly been miraculous for these two sons who did not know her Son:

  1. A Jewish man who became an atheist has a crisis of meaning in his life. He meets a beautiful woman, knows intuitively that she is from Heaven, and asks if she has a favorite prayer. What she eventually admits is the very same prayer on the Miraculous Medal: O Mary, conceived without sin, pray for us who have recourse to thee. But don’t settle with my measly summary, have a listen for yourself!
  2. An ex-Satanic high wizard receives a Miraculous Medal and is pulled out of Satan’s slavery. The Blessed Virgin Mary recruits him to join her Son’s army instead. But like I said above, don’t take my summary as is; listen for yourself! And trust me, just have a listen…

So there! Two testimonies about why you don’t meddle with this Medal. It’s connection to the super-saint (Mary) means you should respect it, wear it, and pray it. In fact, it’s probably my most often used prayer, and I customize it most of the time, replacing the us with any specific names of persons I know who need her prayer and power. Example: O Mary, conceived without sin, please pray for Pope Francis who has recourse to thee.

head-logoAnd now allow me to introduce Rosa Mystica Medals, a small family business based in Atlanta, GA that salvages and recasts replicas of traditional medals so that we can enjoy them today (they definitely make medals like they used to!). Rosa Mystica was kind and generous enough to send me a sterling silver antique Miraculous Medal to review, and I must say that I am very impressed with the quality of the cast (made in Murica). Please visit their site and have a look at their extensive collection, and pray for their continued success!

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Mary Points the Way

the-nun-movie-posterToday, for the Feast of Mother Mary’s birthday (every September 8th!), I decided to take a break and celebrate with a show: The Nun (a prequel to the excellent Conjuring movies). Though I had high expectations for the film, and was disappointed, it did leave me with enough surprises to merit a review! Here’s what’s worth sharing:

—SPOILER ALERT—

  1. The Nun is Marian… very Mary focused! Throughout the film, we hear the Ave Maria (Hail Mary) prayer in LATIN, almost constantly! And not only are the characters praying Rosaries to fight off evil, a statue of our Blessed Mother actually (and literally) points the way to Jesus. So, I was very happily surprised to see the Divine timing here (today is Mary’s birthday, after all).
  2. And the Divine timing continues: during the last month, the scandal in the Catholic Church has been rising to terrible heights. We see in our present time that hell has hijacked our priests, bishops, and perhaps even our Pope. We see Satan has taken on the look of our ordained servants of Christ and His Church, and have corrupted the image of the holy priesthood. We see in this movie the same: a demon has disguised itself as a deformed nun, using the distortion to terrorize us. May we not let this deception of Satan continue!
  3. 5b9148b872977-imageLastly, the film started drawing some tears from me when the lead character–Sister Irene–decides to profess her final vows amidst terrible evil attacking her. You would think that any sane woman would flee if she knew that the closer she drew to Christ, the more Satan would attack her. But not so for Sister Irene: she knows the truth that Satan would keep attacking anyway, and that her love for Christ was worth the onslaught.
  4. Which leads to Sister Irene being a bride of Christ “worthy of carrying something so sacred” as the Precious Blood of Jesus. Here, the priest in the film surrenders the care of the holy relic of Christ’s Blood to Sister Irene. And of course, she knows how to use this relic, and isn’t afraid to! But even how exactly she uses Christ’s Blood to defeat the demon is insightful:
  5. She puts the Precious Blood into her mouth (as in receiving Holy Communion). By doing so, this allows her to ambush the demon with the secret weapon. The symbolism shouldn’t escape us: when we receive the Eucharist worthily, we all become bearers of the secret weapon against hell.

So, the Nun was an overall surprise for me, especially during the current crisis in our Church. The movie could have easily taken advantage of the evil events plaguing us today, but decides to show us a Church with good nuns and priests who are doing their job following Jesus: caring for souls and fending off the true wolves in wool.e2842e035b9195c11199d2-31682311_

Note: see here for another positive review.

 

Our Lady of La Vang

I am the most brutal critic of cheesy Christian art.

We are beautiful. The angels and saints are beautiful. Our Lady is beautiful. Our Lord is beautiful. All because God is beauty itself.

So when I see a piece of art that fails to capture at least 1% of that true and infinite beauty, I get into a fury. My soul aches at the injustice. I have seen countless statues worth smashing, paintings worth torching, icons worth dissolving in acid, and songs never worth listening to again. You could say I’m almost an iconoclastic heretic…

Except I cherish the truly beautiful images of our Faith. And Beauty should do just that: draw us away from heresy.

With that said, let me feature a work worthy of Our Lady of La Vang (aka: Our Lady of Vietnam), one that captures the seriousness and royalty of Mary as Christ’s (and our) Queen Mother, one that shows the sweet Child Jesus as exactly that: sweet. This one masterpiece finally cancels out the tons of horrid images of Our Lady of La Vang that I have suffered through (of which I will spare you from).

OLLaVang

Drawing by Tracy L. Christianson, prints available from PortraitsOfSaints.com

The little statue in the photo is a decent sculpture of Our Lady of La Vang, and I am so grateful to the artists who have given their talents to doing some justice for the beauty of our Lord and Lady. Please support Tracy in her ongoing work by ordering your own prints, by praying for her, and all these artists who have shared their work here on HolySmack.

Oh Mary, conceived without sin, please pray for all your artists, for they have recourse to thee. Amen.

Music for an Intense Lent

Are you a Christian? Are you a Catholic? Stop settling for weak Lents. Make your Lent intense with these choral and chant tracks (or with these movies). Listen with the volume nice and high, and you’ll see what I mean:

This first track is a choral piece I discovered a few years ago, and its ability to creep is unequaled. For the majority of the piece, the choir is only singing one word: crucifixus… crucifixus… crucifixus… (The Crucified… Crucified… Crucified…) and the effect is stunning.

This next track is also a choral piece on the Crucifixion, by Antonio Lotti from the 17th Century. This piece is from his larger work on the Nicene Creed, but it stands alone incredibly well as a meditation on Christ’s crucifixion.

Here is Parce Domine, a chant of longing for God’s mercy, recalling the complete and profound repentance of Nineveh at the [reluctant] preaching of Jonah from the Old Testament. Lyrics, both Latin and English here, and an updated version here that is worth your ears, and don’t miss this polyphonic version!

The Dies Irae is not specifically a Lenten chant, but for funerals and for All Souls’ Day. Yet, it seems mighty appropriate, reminding us that death and judgment is our destiny, but our death can be transformed to eternal life if we surrender our life to Christ. Don’t miss this neat little documentary on this timeless piece, which has appeared in many famed movies to date! The epic lyrics here.

This last piece is the Gregorian chant of the Stabat Mater Dolorosa (The Standing Mother of Sorrows), the scene when Mary suffered and stood before Jesus nailed on the cross. The Latin/English lyrics can be found here, and a video with the proper notation is here, but presented is my favorite chanted rendition:

So there you have them, three of my favorite tracks for contemplating what Lent is meant to be. I hope these help, and maybe become your faves, too.

Forgiveness is For Giving (not withholding)

Hello! This post is unlike anything I’ve shared before: it’s an actual academic exegesis I wrote for my Synoptics class. You know how I sound when I write casually, now hear how I sound as a wannabe-scholar… (I promise, there are some really amazing things I learned and want to share with you!) The paper is based on one of my favorite verses in all Scripture, Luke 7:47: Therefore I tell you, her sins, which are many, are forgiven, for she loved much; but he who is forgiven little, loves little.

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Luke 7:41-50 (RSV)

[41] “A certain creditor had two debtors; one owed five hundred denarii, and the other fifty. [42] When they could not pay, he forgave them both. Now which of them will love him more?” [43] Simon answered, “The one, I suppose, to whom he forgave more.” And he said to him, “You have judged rightly.” [44] Then turning toward the woman he said to Simon, “Do you see this woman? I entered your house, you gave me no water for my feet, but she has wet my feet with her tears and wiped them with her hair. [45] You gave me no kiss, but from the time I came in she has not ceased to kiss my feet. [46] You did not anoint my head with oil, but she has anointed my feet with ointment. [47] Therefore I tell you, her sins, which are many, are forgiven, for she loved much; but he who is forgiven little, loves little.”  [48] And he said to her, “Your sins are forgiven.” [49] Then those who were at table with him began to say among themselves, “Who is this, who even forgives sins?” [50] And he said to the woman, “Your faith has saved you; go in peace.”

Introduction:

Ideally, the entirety of Luke 7:36-50, known as “A Sinful Woman Forgiven,” would be explored and discussed. However, the confines of this essay restrict us to an abridged reading covering only v.41-50, which exudes yet a great deal of wealth for faith that seeks understanding. The scene opens with Simon the Pharisee inviting Jesus to dine with him, which our Lord accepts. At table, a seemingly notorious woman approaches the Lord and begins to do him homage in the presence of Simon and others at table. Seeing this, Simon secretly criticizes Jesus for allowing this woman to even touch him, “for she is a sinner,” at which point, Jesus addresses a parable and lesson to Simon, and to us as well.

The Parable and the Pardon:

To help understand this parable in Luke 7, we must know the value of a denarius. In New Testament times, a sole denarius was a standard day’s wage,[1] and so in Jesus’ brief parable, one debtor owes fifty days’ worth of wages, whereas the other owes 500 days’ worth. Because the creditor cancels both debts, the difference between the debtors, with one owing a far larger amount, is important for grasping the message Jesus seeks to impart. Firstly, that the debtors cannot repay their debts, though the amounts owed would normally be repayable (unlike the debt owed by the unforgiving servant from Matthew 18:21-35), shows that perhaps unforeseen problems (e.g., debilitating injuries or disease) have arisen and made the debtors incapable of repayment. Allegorically, our debilitation is the sin of Adam, as well as all subsequent personal sin. Some bear greater sin than others, but all remain debilitated by Original Sin until Baptism, and then debilitated again with each following grave sin committed. Thus, sin is not merely debt but debilitation also.

Our Lord then says a peculiar thing in mentioning love with his question in v. 42, the original Greek of which is agapēsei (ἀγαπήσει) and means a love more nuanced toward willingness and commitment.[2] This is strange, for the business relationship between debtors and creditors usually do not involve love of any real sort, much less agapic love. Appreciation, gratitude and further indebtedness would be more fitting, but here actually lies the potential for love: the creditor in cancelling debt acts not only generously, but acts charitably,[3] acts as a benefactor who need not do such a thing out of lawfulness, but out of lavishness, out of love. Justice calls for the repayment of debt, but love becomes possible when a great debt is given, or rather, is forgiven as a gift to the debtor,[4] a gift of such immense cost that its giving transforms any stranger into a benefactor, into a lover, and any stranger into a beneficiary, into a beloved, for such great love moves the beloved to love freely in return. Thus, our Lord brings love into the parable of debt to reveal that the relationship is not one of economic basis, but of intimacy. He is priming Simon to “reconsider the meaning of [the sinful] woman’s actions – not the repayment of a debt, as though she were a slave girl or prostitute, but an expression of love that flows from the freedom of having all debts cancelled.”[5]

Indeed Simon understands, for Jesus responds that he “judged rightly” with his answer, but then Jesus does another peculiar thing. The Lord, while having turned to face the woman, asks Simon in v. 44, “Do you see this woman?” Jesus here is addressing Simon, but is looking at the woman, and doing so implies that Simon, though he sees the woman, does not truly see her. In asking Simon from this posture and gesture, Jesus invites Simon to “adopt Jesus’ own view of matters concerning this woman,” to see her as he sees her, to stand in his place and look upon her, to “no longer viewing her as [merely] a ‘sinner’ but as one who loves extravagantly.”[6]

Jesus’ address to Simon is also toward us, for we also should imitate the Lord in seeing others not as mere sinners, but as beloved siblings in Christ. Furthermore, the Lord is calling us to also love him and neighbor extravagantly, as the woman loves. From vv. 44-46, Luke’s comparison of Simon’s lack of bare minimum hospitality with the woman’s overwhelming hospitality is also an allegory: Jesus is the divine guest to the household of man. He visits not for merely his enjoyment or sake, but exclusively for ours, and is yet met not only with inhospitality, but even with open hostility from his host.[7] The allegory continues as Luke reveals the woman expresses love with prodigality similar to that of the prodigal father from Luke 15. Her experience of the Lord’s mercy and love moves her to go beyond basic hospitality that society calls Simon to provide, and so Luke compares in vv. 44-46 the coldness of Simon with the woman’s affections, presented here as a table for emphasis, reproduced from Brendan Byrne’s text:[8]

SIMON

I entered your house, you gave me no water for my feet,

You gave me no kiss,

You did not anoint my head with oil,

THE WOMAN

but she has wet my feet with her tears and wiped them with her hair.

but from the time I came in she has not ceased to kiss my feet.

but she has anointed my feet with ointment.

With the case of Simon, as the host he should have extended courtesies to Jesus, and that would have been socially enough. Yet, the woman not only extends the courtesies, but humbles herself before the Lord in ways that would have been inconceivable for Simon to have done. Simon should have provided water for Jesus to wash on his own, should have welcomed the Teacher with a kiss and anointed his head, yet the woman not only gives water, but gives water drawn from her tears of love, and dries the Lord’s feet with her own hair, which is seen in New Testament times as a woman’s pride and glory. Moreover, the woman, like the centurion from just prior in Luke 7:6, does not consider herself worthy to kiss the Lord on his divine face, but only on his feet, and does not even dare anoint the Lord on his crown, but reaches for his feet alone. Her humility in act and her extravagance in provision show her gratitude and reflect the forgiveness she has experienced from Jesus. To forgive and seek forgiveness is an act of humility and extravagance both for the penitent and the person offended: humility because pride prohibits repentance from the sinner and prohibits mercy from the one sinned against, and extravagance because parsimony restricts atonement by the sinner and restricts charity by the one wounded.[9] The allegory deepens here and finds completion in v. 47, but before continuing, the term kiss deserves special discussion.

Of the four Gospels, only the Synoptic Gospels employ the term kiss, and of the Synoptics, Luke makes most use of the term. All three Evangelists present Judas betraying Jesus with a kiss, but only Luke presents kisses elsewhere in different pericopes: once in the parable of the prodigal, and thrice here regarding the repentant woman. The appearances of kisses is telling in Luke, since his first kiss is here in Luke 7, bestowed on the Lord by a sinner on behalf of repentant sinners, and the next kiss is that of God (through the person of the prodigal father) upon repentant sinners in Luke 15’s parable. Luke’s final kiss is Judas’. One can then read that Luke’s intent is much like how he closes some of his pericopes with open endings: what will we choose next? Will we join the celebration of the younger brother’s repentance and safe return, or stay in the darkness of resentment? Will we let the last kiss upon our Lord be that of betrayal, or will we kiss him again with love and gratitude from his forgiving us?

And therein lies the conclusion of the allegory, for in v. 47, not only has the woman shown great love to the Lord for his having forgiven her,[10] but Jesus has also forgiven us our many sins and we, as the character of Simon, have yet to show the Lord such love and gratitude. We have not been forgiven little, for we have even been forgiven for crucifying the Son of God with our sins, but then why do we love so little? And why do we love not only the Lord so little, but also our brothers and sisters who are no worse than we? In fact, we who come after the Lord’s Passion, Death, Resurrection and Ascension have far more to be thankful for compared to the repentant woman, and so we also are far guiltier since we have in malice sinned against the greater gift of the Lord’s full revelation. Thus, we should in repentance and reconciliation, through the sacrament of penance, express even more love than the woman here, for we have been forgiven far more.[11]

The Lord then declares to the woman: “Your sins are forgiven,” something that at this point is already obviously clear to the woman. Rather, Luke here suggests Jesus not as addressing the woman alone, but to Simon and his tablemates who were questioning the situation, and not merely to Simon and the others, but to us readers also. Jesus here is not assuring the woman of his forgiveness (for such had been done), but is declaring to Simon and the onlookers that the woman is now reconciled with God and with God’s people and should be treated and related to as such by the community,[12] and not as a “woman of the city, who was a sinner” (v. 37). The others at table, however, are not concerned about this restoration of a lost sheep into the fold, but rather turn to critique Jesus in v. 49 with words that hearken back to Luke 5:21, when Jesus earlier forgave the sins of the paralytic. How important it is for us not to follow in such critique, which may tempt us when we ourselves are grievously wounded and do not desire our offender to be reconciled with us or with Heaven. To prevent such further resentment toward a forgiven sinner, Jesus reemphasizes in v. 50 that indeed the woman’s faith has saved her and she is free to go in peace. Here, faith is not to be misunderstood as the instrument of her forgiveness, for the Lord alone forgives, but as the requirement to even seeking repentance in the first place. Faith is necessarily bound to metanoia, for “those who reject faith reject the everlasting life that Christ offers to the world.”[13] Lastly, the peace Jesus mentions in v. 50 is not limited to the woman’s personal and “‘spiritual’ well-being… but speaks of a restoration … to the full social intercourse from which she has been excluded.”[14] The woman was once lost but has now been found.

Conclusion:

Luke closes this pericope with an open ending, as mentioned earlier regarding the kisses found in the evangelist’s Gospel. Such endings challenge readers to imagine what Simon and the others at table will do, and ultimately what readers themselves will do. Will we love much since we have been forgiven much? Will we love the Lord extravagantly, fearlessly and without shame before others who may judge us as sinful and untouchable, perhaps even as unforgiveable? Will we ourselves in turn forgive others much since we ourselves have been forgiven infinitely more?

[1] Hahn, Scott, ed., Catholic Bible Dictionary, (New York: Doubleday, 2009), 211.

[2] Catholic Bible Dictionary, 553.

[3] The word forgave in vv. 42-43 is from the Greek charizomai and connotes “by way of gift,” as in charity. See: Johnson: 127, note #42.

[4] Johnson, Luke Timothy, The Gospel of Luke, (Collegeville, Minnesota: Liturgical Press, 1991), 127.

[5] Joel B. Green, Gospel of Luke, 312.

[6] Green, Joel B., The Gospel of Luke, (Grand Rapids, Michigan: William B. Eerdmans Publishing, 1997), 312.

[7] Byrne, Brendan, The Hospitality of God, (Collegeville, Minnesota: Liturgical Press, 2015), 88.

[8] Ibid., 87.

[9] The parable of the Prodigal Son and Father in Lk. 15 further elaborates this nature of forgiveness.

[10] Johnson, Luke Timothy, The Gospel of Luke , 128. The woman’s love is the effect of the Lord’s forgiveness, not the cause of the Lord’s forgiveness, as can be misread in various translations. The preceding parable in vv. 41-43 also requires such a reading in v.47.

[11] Thomas Aquinas, Summa theologiae, II-II, q. 72, a. 11.

[12] Green, Joel B., The Gospel of Luke, 314.

[13] Catholic Bible Dictionary, 764.

[14] Green, Joel B., The Gospel of Luke, 314.

Sacred Heart of Jesus

Let me tell you the tale behind this latest Holy Smack card:

As with all of the cards, I wait for the Holy Spirit to prompt me and provide me with art and prayer to pair together into a holy card. Without the Spirit’s guidance, I do nothing. One thing that being a former seminarian has taught me is to be obedient to God’s will. And when we obey His will, amazing things happen that we could never have imagined.

With this card, I was searching for images of our Lord’s Sacred Heart. I had been on the lookout for many months, but nothing came up that rendered me speechless, until I stumbled on this blog and saw this piece. As soon as I saw Him and His heart, I knew this was the image I was always meant to find, and meant to find at that specific moment in time.

At that point, I had been going through a severe struggle in my life. Someone precious to me had been suffering in spirit and body, and like anyone who ever loved, when one’s beloved is in sorrow, one is in mourning also. Yet, when I saw this image of our Lord, the power of His light cut into my darkness. I had to find out more about the artist.

It turns out, the beaming Sacred Heart of Jesus here is a freak “accident” of flash photography! The image is a photo taken by a priest, and the blast of holy light is only a reflection of the camera’s flash. The shot was perfect, and so the priest posted it on his blog, and that’s where the digital paper trail ends, for after contacting Father, I was informed the artist is unknown, and perhaps even deceased.

And for the next four months, I deliberated and waited, I searched and listened. I found a prayer and I finished the entire card’s design, yet I still hesitated. Something was not yet in place. And then my friend shared with me more tragedy.

It was then I knew the time had come to print. The card was meant for her all along. The Lord was meant for her, His Sacred Heart was for her, the humble prayer was for her. And the card is the first to be dedicated to anyone.

Please pray for her.

Thank you, and if you happen to know the artist of the image, please do inform me so I can seek her or his forgiveness for using the image without permission.

—Updated June 8, 2018: Solemnity of the Sacred Heart of Jesus…

In honor of today’s feast, I have re-designed the prayer card (images updated below) and will be stocking up on them! Please continue praying for all to know the love of our Lord.

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Note: as with all of my cards, please know I would be honored to share them with you for free and that any donation would be appreciated to support the continued ministry.

My First Rorate Mass

This morning was my very first Rorate Caeli Mass (please click link for stunning photos), a unique votive Mass for Mary starting in the dark of night’s end and ending at dawn, presenting for us how we are to wait for the true Light of the world (the whole point of Advent).

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(Photo Credit: John Cosmas)

The entirety of the liturgy is in candlelight. The shadows of the saints adorn the vaulted ceilings and walls. The altar shimmers in the firelight. The pews and handmissals glow under the candles. Everyone has their own little censer of wax, wick and fire.

Yet the moment that moved me most was the very end, at the Last Gospel (John 1: 1-14), the same Gospel read at the end of each Tridentine Mass. But today, as I was listening to the priest read the holy words, as I was wandering lost in the Latin and in the silence, waiting in the darkness of daybreak, waiting with a church full of people, waiting with my dwindling candlestick succumbing to the dark, waiting… waiting to genuflect at the very moment THE WORD WAS MADE FLESH.

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And then I understood. God Himself came down from Heaven and hit the ground. He covered Himself in the dust of earth, clothed Himself in the mortality of man, smothered Himself in our fallen nature. Touchdown: the Lord touched the ground, touched Creation and began His reclamation. He wore our worn world, but adorned you and me with Himself, with Divinity. And the least we could do was genuflect when we remember He did all this to be with us (Emmanuel), and for us to be with Him.

The world waited for the moment THE WORD WAS MADE FLESH. And the girl the world waited for, and for her yes. The pathetic candlelights waiting for the sun. The blind and those in darkness waiting to wake. Hopeless and helpless sinners waiting for more to life, waiting for a way to become saints. All of us waiting for a way to Heaven.

Let’s stop waiting.

Because it’s all been accomplished. All that’s left to be done is for you and me to decide: will we say yes, too?

Merry soon Christmas.

*All this meaning in the simple gesture of genuflecting…

**More awesome photos of Rorate Masses around the country.

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