The Eucharist makes present the death and Resurrection of Jesus at each celebration, regardless of the occasion. So it is that we don’t even celebrate the birth of Jesus without celebrating his death as well. But in commemorating the Last Supper of Jesus, the Eucharist on Maundy Thursday is particularly close to the Passion, being the meal during which Jesus was suffering the anxiety he was soon to express at Gethsemane.
While reflecting on this matter, I came across a few lines on this very theme by Gerard Manley Hopkins, one of my favorite poets. They made up an epigraph of a chapter in Brian Zahnd’s new book The Wood Between the Worlds,” a powerful meditation on the Cross, Not only was I moved by the lines, but I was surprised to come across some lines by Hopkins that I didn’t recognize since I thought I had studied all of his poems multiple times. That little mystery was solved when I found out that it is an early work, one written while still a student at Oriel College in Oxford, and still an Anglican. So it is only included in the most complete collections of his works. I might have read it before without it registering, but the few lines singled out in Zahnd’s book really caught my attention, as I’ve said.
The poem is called “Barnfloor and Winepress” and it pulls together the Passion of Jesus and the Eucharist into an inextricable knot, making it most appropriate for Maundy Thursday. With wrenching, sometimes violent imagery embodied in hard sounds that put Hopkins, even in this early work, decades ahead of his time, the poem provides a powerful example of how the ugliness of Jesus’ crucifixion permanently affected the aesthetic possibilities in all of the fine arts as the ugliness is sublated in the moral beauty of Jesus’ self-sacrifice and his vindication in the Resurrection. The first stanza includes these lines that use the Eucharistic imagery of the making of bread:
Thou that on sin’s wages starvest,
Behold we have the joy in harvest:
For us was gather’d the first fruits,
For us was lifted from the roots,
Sheaved in cruel bands, bruised sore,
Scourged upon the threshing-floor;
Where the upper mill-stone roof’d His head,
At morn we found the heavenly Bread,
And, on a thousand altars laid,
Christ our Sacrifice is made!
And in the second stanza, lines using grape and wine imagery to the same effect:
Thou whose dry plot for moisture gapes,
We shout with them that tread the grapes:
For us the Vine was fenced with thorn,
Five ways the precious branches torn;
Terrible fruit was on the tree
In the acre of Gethsemane;
For us by Calvary’s distress
The wine was racked from the press;
Now in our altar-vessels stored
Is the sweet Vintage of our Lord.
We have in these powerful stanzas a kind of transubstantiation, not only of the Eucharistic elements that Hopkins was clearly believing in as a high-church Anglican, but a transubstantiation of the suffering of Christ into the Eucharistic elements. The violent human sacrifices throughout human history, both before Christ and after Christ up to the present day, are transmuted into the bloodless sacrifice on the altar. (The phrase “terrible fruit” reminds me of Billy Holiday’s “Strange Fruit.”) No wonder Brian Zahnd refers to this poem in a chapter that argues that the crucifixion of Jesus is the ultimate center of human history. Even while humans continue to commit the same old same old violence as we see most painfully in Ukraine and Gaza right now, God has transformed all of it for all time. Hopkins expresses this insight in poetry:
In Joseph’s garden they threw by
The riv’n Vine, leafless, lifeless, dry:
On Easter morn the Tree was forth,
In forty days reach’d heaven from earth;
Soon the whole world is overspread;
Ye weary, come into the shade.
And then the profoundest transubstantiation of all: the transubstantiation of us into partricipation in the divine nature, one not untouched by the sufferings of Christ supporting our own:
The field where He has planted us
Shall shake her fruit as Libanus,
When He has sheaved us in His sheaf,
When He has made us bear his leaf. –
We scarcely call that banquet food,
But even our Saviour’s and our blood,
We are so grafted on His wood.
Probably nothing is more painful than betrayal. My own personal experiences of feeling betrayed are, so far, much smaller than what I know others have suffered, but even the smallest doses of betrayal are unspeakably painful. The pain of betrayal is a pounding discord in the Gospel narratives of Jesus’ Last Supper and Paul’s own short narrative of it. This discord is particularly prominent to the point of being unbearable in John’s Gospel where it overshadows Jesus’ loving act of washing the disciples’s feet. Right after leading into the story with these sublime words: “Having loved his own who were in the world, he loved them to the end,” (Jn. 13: 1) John says: “The devil had already put it into the heart of Judas son of Simon Iscariot to betray him.” (Jn. 13: 2) When Judas leaves the supper, John says “And it was night,” (Jn. 13: 30), meaning “night” in all of its most ominous meanings. Right after Judas’s departure, Jesus gives his disciples his great “new” commandment: “Love one another. Just as I have loved you, you also should love one another.” (Jn. 13: 34)
As we draw near to Holy Week, the lections focus on Jesus’ anticipation of his Passion. Jesus’ famous response to the Greeks about the grain dying in the ground in order to bear fruit suggests a good deal of serenity on Jesus’ part. But one can imagine personifying a grain suddenly experiencing the pain of being ripped apart from within and panicking that it is dying before blossoming out into a new life beyond imagining. If somebody had quoted Jesus’ words to the grain before it happened, would the grain have been serene about what was to come? A brief reflection on our own nervous state about such an occurrence probably gives us the answer to that question.
Imaginary Visions of True Peace 