+In the name of the Father and of the Son and of the Holy Ghost. Amen.
I sometimes check my old sermons to make certain I don’t repeat myself too much, and I’m glad I did earlier this week, because I nearly wrote a lot about something I covered last year—namely, why Christians should not put on Seders, Jewish ritual Passover suppers. Very briefly, then, it’s poor form for a culture to uncritically appropriate elements from another (especially if it’s the dominant culture doing the “appropriating”, and Christianity is still at least arguably nominally dominant here in the American Midwest). But more importantly, the meal Jesus and the disciples shared, while being either a Passover meal or a meal in preparation of the Passover, was not a Seder; it was not a ritualized meal such as those observed by Jews today. This is because Seders as such did not exist before the destruction of the temple nearly forty years later, and anyway the form now used is medieval rather than anything that would have been like what might have been used in the late First Century.
All that said, it is important to remember that the Last Supper took place in the context of Passover, and that all the mighty acts which our Lord did between Maundy Thursday and Easter Sunday recapitulate and transform what his Father had done for the children of Israel from their flight out of Egypt through the giving of the Law at Sinai and to the entry into the promised land. The three great days into which we have now entered are (in a sense both within and above history) the totality of the Israelites’ forty year sojourn abbreviated and perfected.
But tonight we are called to consider not the whole symphony but the first movement. You’ll hear two more of my sermons over the next three-and-a-half days, with one much better sermon, from Saint John Chrysostom, intercalated Saturday evening. So what of tonight specifically?
We have two great themes to consider, which Christ gives us in the Last Supper: the institution of the Eucharist and the New Commandment to love one another as symbolized in the washing of feet. In a few moments we will reenact the latter and its call to love through humble service, and our liturgy’s preface to the ritual, which I will then read, summarizes and contextualizes it sufficiently. Plus I’ve preached on it in previous years. So I want to briefly comment on the Sacrament.
Many of you have heard me blather on at length before in sermons and classes and casual conversation about Eucharistic theology in very technical terms: of substance and accidents; of validity in matter, minister, and intention; of transubstantiation and consubstantiation and receptionism, and memorialism. All those topics are worthy of godly conversation and I can hold forth at dinner on any of them if you want, but you may prefer to chat about things more amenable to digestion before the fast.
Tonight, simply consider how this meal is now our Passover. The Paschal lamb once sacrificed need not be bloodily sacrificed again. The violence, which comes into stark relief tomorrow night, was once for all. For flesh we have bread which does not scream before the slaughter. The doorposts of our souls are marked with the blood of the grape. Instead of huddling in the dining room eating quickly, now the door to the whole house is open and we may luxuriate in a spiritual repast.
I was struck by an image in a film I recently re-watched of (to return to that with which I began the sermon and my disclaimer notwithstanding) a Passover Seder. The film is called Uncut Gems, and I wanted to see it again because the director, Josh Safdie, recently received acclaim for his follow-up, Marty Supreme. Anyway, Uncut Gems is the most stressful movie I’ve ever seen, and even on a re-watch, knowing how it all unfolds, it was still remarkably harrowing. (This, as far as I am concerned, is a good thing—I’m not a big fan of “cozy fiction”—but your mileage may vary.) The protagonist of the movie, Howard Ratner (played by Adam Sandler in a surprisingly effective dramatic turn) is a crooked diamond dealer, adulterer, and inveterate gambler who owes money all over town and who keeps pushing his luck further and further. Safdie said that the movie is about how you can’t cheat God, and in the end that holds true for Howard Ratner. Despite being a despicable character, there is one scene which humanizes Ratner, and it takes place at the Seder. He is called on to read the section of the service which lists the plagues God visits on Egypt, and everyone spills a drop of wine onto his or her plate. He makes a little joke to his son when he gets to the final plague, the death of the firstborn, which makes it clear that for all his faults he loves his children, and this is enough to get the viewer to hope that he doesn’t get his just deserts. The spilling of the wine at each of the plagues is a reminder not to take unalloyed joy in the death of an enemy, even if they’ve held your people as slaves in Egypt for generations. It eventually makes the careful viewer interrogate his or her own reaction to the film as a whole and its ending, but I won’t spoil the details.
Take no joy in death and don’t think you can cheat God. This is good advice with almost no exception. Indeed there is only one exception. Tomorrow we join our Lady and the Beloved Disciple in sorrow at the death of our Lord, necessitated by our own sin. But at the Cross true joy is to be found, and even at the grave we now may sing a song of triumph. You cannot cheat God, but one person being God could cheat himself, not demanding all we owe him to be repaid by us. Tonight we need not pour out drops of wine, of the precious blood shed for us, because in the cup we share pure sorrow and joy are intermingled. In the new Passover sacrificed for us, we are called to keep the feast, for now it is the feast of our God’s final and total victory.
+In the name of the Father and of the Son and of the Holy Ghost. Amen.
