Tag Archives: mercy

Abolishing Sacrifice to Establish Mercy

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Jesus_cleansing_templeThe story of Jesus knocking over the tables in the temple and driving out the animals shakes us up but then we wonder what we should be all shook up about. Jesus’ act can be seen as the climax of repeated protests of the Hebrew prophets against the sacrificial cult in the temple. Jeremiah mocked his listeners who jabbered: “This is the temple of the Lord! The temple of the Lord! The temple of the Lord!”  (Jer. 7:4). Then there is God’s mocking question from Psalm 50 and repeated elsewhere: “Do you think I eat the meat of bulls and drink the blood of goats?” Amos proclaims God’s hatred of festivals. Most telling are the words of Hosea that Jesus quoted: “I desire steadfast love and not sacrifice, the knowledge of God rather than burnt offerings” (Hosea 6:6.) There is much debate as to whether the prophets wanted the abolition of the sacrificial cult or a reformation that would bring it in line with moral values. In driving out not only the money changers but also the animals about to be sacrificed, I think Jesus is doing a bit of guerrilla theater to prophecy the end of the temple cult, a prophecy fulfilled in 70 A.D. when the combined violence of militant Jew and the imperialistic Romans resulted in its destruction.

When asked to explain his actions, Jesus said: “Destroy this temple and in three days I will raise it up” (John 2:19) This literalist interpretation is promptly debunked by the evangelist when he says that Jesus was “speaking of the temple of his body” (John 2: 21). So much for biblical literalism. The implication that Jesus is replacing the temple with his risen body is a strong indication that he intended to abolish the sacrificial cult. What was wrong with the sacrificial cult? The quote from Psalm 69 “zeal for your house will consume me” shows us the problem if we note the context. Psalm 69 begins with “Save me O God for the waters have risen up to my neck.” The psalmist tells God that he is suffering the same reproach people level against God: “the insults of those who insult you have fallen on me.” This psalm is referred to as one of the “passion psalms” and has been interpreted as a prophecy of Christ. However, I don’t think the psalmist was gazing into a crystal ball and seeing Christ’s Passion; I think the psalmist was complaining about collective violence that was happening to him at the time. The number of persecution psalms and the fate of many prophets, suggests that the Gospels are revealing the human tendency to solve social conflicts by uniting against a victim which is precisely the outcome Jesus predicts when he explains his actions at the temple. T

he prophets consistently denounced the sacrifices made on the “high places,” pagan sacrifices to deities like Moloch who even required the sacrifice of their children. The sacrifice in the temple was more humane in that it was restricted to animals, but the practice derived from the notion that “god” was angry and would be appeased only by sacrifices. The prophets’ denunciations of the temple cult were consistently coupled with denunciations of social violence and injustice where the poor were sold for a pair of sandals as Amos complained. Although it is argued that the prophets thought the temple sacrifices were acceptable, maybe even laudable, if accompanied with righteous actions in the social sphere, but they seem to have a sneaky suspicion that the practice of sacrifice tends to encourage social injustice. The temple setup was, after all, a terrible financial burden on the poor. (I think Jesus was not edified but outraged over the widow who gave the last two coins she had to live on.) The logic of sacrifice was that some living being was always dispensable precisely as the victims of collective violence at the times of social crises were dispensable and their deaths “necessary.” Caiaphas stated the sacrificial logic baldly when he said that it was better “to have one man die for the people than to have the whole nation destroyed” (John 11:50) In modern times this sacrificial logic is expressed by the regretful term “collateral damage.” These considerations suggest that the prophets were convinced that something was fundamentally wrong with sacrificial rites.

Jesus, on the other hand, has a totally different, opposite logic; a logic that Paul says is foolishness to the rest of the world. In John 6, Jesus says that everybody the Father gives him will come to him and nobody who comes to him will be driven away. The parable of the lost sheep makes the same point that it is not the will of our Father in Heaven that even one of his “little ones” should be lost. Jesus believed this so strongly that he would accept death on the cross to make the point and, more important, return as the forgiving victim to gather all who will come to him so that none of us should be lost. The pagan deities wanted sacrifices made to them. The prophets kept trying to get it across to everybody that God pours out sacrificial love to all of us through creation and redemption and that God wants the mercy God gives us in return, not sacrifices .  Caiaphas was willing to sacrifice Jesus and anyone else who put a spoke in the wheel of the sacrificial logic. Jesus was willing to sacrifice himself rather than sacrifice any of us. That is why we do not slaughter bulls on this altar but pass around the bread and wine through which Jesus gives His very self to each one of us.

Proving Shylock Right—Or Wrong

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ShylockThe first thing that usually pops into anybody’s mind when Shakespeare’s The Merchant of Venice comes up is the cardboard stereotyped Jew Shylock. After Auschwitz, we cannot slip into enjoying this caricature the way earlier audiences might have if so inclined. On the contrary, we are apt to dismiss the play now that we realize how lethal such stereotyping can be. The second thing about the play that usually comes to mind is Portia’s set of three boxes where it is not the gold or silver covers that lead to her riches, but the unattractive lead cover. Appearances can be misleading and so perhaps it will be worth looking for what is beneath the ugly stereotyping.

It’s hard to find any gold under the ugly exterior of Shylock’s behavior, but it is equally hard to find any gold under the apparently more attractive exterior of Antonio’s behavior. Antonio is noble in that he is willing to give surety to a loan for his friend Bassanio, thus accepting the risk, but the way he treats Shylock is shameful. In one respect, Shylock is offering to do good to an enemy, but in another, he is hoping that the interest-free loan will lead to Antonio’s downfall by the extraction of a pound of flesh. It is important to realize that both men are mimetic doubles, rivals in the quest for increasing wealth for the sake of wealth.

In Shylock’s famous speech, when he is taken to task for his vengeful terms, he insists he is exactly the same kind of man as any of his Gentile rivals:  “If you prick us, do we not bleed?” Which is what would happen to Antonio if a pound of flesh is cut out of him. “If you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that.” Shylock’s detractors are trying to distinguish themselves from Shylock because they are merciful, but mercy is conspicuously lacking in their treatment of Shylock.

Meanwhile, Bassanio is often thought to have proven himself wise by choosing the lead casket, which wins him the hand of Portia in marriage. The speech he makes before making the choice, however, shows that he is not wise by cunning and calculating in his own desire for wealth. “Thus ornament is but the guiled shore/To a most dangerous sea.” Bassanio is so used to disseminating that dissemination is what he expects of Portia. And he is right.

The famous trial scene features Portia’s famous praise of mercy: “The quality of mercy is not strain’d,/It droppeth as the gentle rain from heaven.” This is as golden a speech as any in Shakespeare. But—mercy is—again!—lacking in dealing with Shylock. By the end of the trial, he has lost his wealth, his livelihood and his religion. Portia’s words seem to echo Ecclesiasticus 35:20: “Mercy is seasonable in the time of affliction as clouds of rain in the time of drought.”  But her actions belie the beautiful words, thus proving Shylock right when he says that when wronged, Christians revenge—just like Shylock. Unfortunately, we have a golden casket with nothing rich inside. The words, however, really are golden and invite any of us who rejoice in Shylock’s downfall to open our hearts to accept this gift from heaven.

A Miserable Gospel

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sideAltarsIcons1Victor Hugo had turned away from the Catholic Church because of its indifference to the poor when he wrote Les Miserables and the book was condemned by the Church when it was published. Yet the novel is deeply imbued with the Gospel and some Church figures are strong witnesses to it. Go figure. Better yet, go see the movie of the musical if you haven’t already.

Jean Valjean, rejected by all as an ex-con, is invited to eat and sleep in the bishop’s house, but still embittered and desperate, he runs off with a silver plate. When brought back by the police, the bishop says the plate was a gift and orders the police to release him. The bishop presents this act of mercy to JV as a challenge to make the most of his second chance at life. The self-sacrifices required of JV to live up to this challenge make it clear that the forgiven life is far from easy or soft. Meanwhile, the police officer Javert, deeply scandalized by the bishop’s forgiveness, makes a career of tracking down the criminal in the name of justice.

A successful factor owner under an assumed name, JV inadvertently fails to protect his employee Fantine from being driven out by her co-workers and corrupt foreman when it is discovered she is an unwed mother. To atone for this, he takes responsibility for Fantine’s daughter while Fantine is dying. This entails bargaining with the venal Thénardiers to take the girl Cosette away to a better life. With JV’s past exposed by Javert, JV and Cosette escape to a convent that gives them sanctuary.

During the 1832 uprising in Parish, two mimetic triangles form around the grownup Cosette when she and Marius, a rich young man turned student revolutionary, fall in love. JV fears losing his daughter and at first hopes the street violence will lead to the young man’s death. But JV quickly realized he must put his daughter’s interests first and he then sees in Marius the son he might have had.  More complex is the triangle of the two lovers with Eponine, oldest daughter of the Thenardiers. Having fallen in love with Marius only to be politely turned away, Eponine protects Cosette and JV from a police raid led by Javert and her father but encourages Marius to join his fellow students in the revolt with the hope she and Marius will be killed. When fatally wounded by a bullet intended for Marius, she repents and tells Marius where he can find Cosette. Renouncing mimetic rivalry is shown to be possible, but costly.

Meanwhile, Javert infiltrates the rebels, is exposed by the street urchin Gavroche (a castoff son of the Thenardiers), sentenced to be killed, then handed over to JV who has joined the rebels to save Marius if he can. With the chance to exact his revenge, JV frees Javert, doing for the self-righteous officer what the bishop had done for him so many years ago. When, after the tragic street battle, JV drags the wounded Marius through the sewers of Paris (a Christ-like descent into hell if there ever was one) Javert ambushes him but can’t bring himself to arrest the convict. Totally disoriented by the prodigal forgiveness offered him, the legalist representative of the law throws himself into the Seine, a tragic demonstration that forgiving love is a tough challenge.

The musical strengthens the Gospel theme considerably in comparison with the book. The streamlining of the convoluted plot of the book puts the law/grace and revenge/mercy dichotomies front and center. The vulnerability of women and children to personal (the Thenardiers) and institutionalized (Javert) violence is stressed through Fantine, Cosette, and Gauvrache. Javert sings a song that betrays his warped mirror-imaging of the Gospel: declaring JV to be “fallen from God/fallen from grace” he reveals himself as a man so fallen. Musically, the singing of JV, Marius, and Cosette (especially as a child) is very soft while Javert is loud and assertive and the Thénardiers boisterous. (Strength in weakness.)  In the finale, JV dies and is brought by Fantine and the good bishop to a heavenly barricade turned into a heavenly chorus of revolutionaries who sing, in a song filled with biblical allusions: “Somewhere beyond the barricade/is there a world you long to see?”

A miserable, offensive Gospel if there ever was one.