Sermon 18th January 2015
Today, one of our Lay Readers, Adrian Parkhouse, continues our study of the Gospel of Luke. The reading is from Luke 7: 36-50
In the house of
Simon the Pharisee
“You gave me no oil
for my head, but she has put perfume on my feet. That is why I tell you, Simon that her sins,
many as they are, are forgiven: for she
has shown me so much love. But the man
who has little to be forgiven has only a little love to give.” vv. 46/7 (JB
Phillips trans.)
1. We have got a lot to
cover this morning and not much time so I want to start at least by taking
things at a fair lick.
First, our
text this morning is a painting by Moretto da Brescia. (see http://upload.wikimedia.org/wikipedia/commons/a/a7/Moretto_da_Brescia_-_Supper_in_the_House_of_Simon_Pharisee_-_WGA16229.jpg
). I learn from Wikipedia that the
painting hangs in the Church of Santa Maris in Calchera, a town just north of
the motorway from Milan to Venice. It
was painted between 1550 and 1554 by Il Moretto who by then was about my age. He was to die in 1554. It is said that he was a pious man who fasted
before undertaking a religious painting. The painting is entitled “Supper in
the House of Simon the Pharisee”. I will
describe the painting a little later but pass around a couple of copies now for
those who can an want to look at it
Second, the catch-up: we and the children are looking at the same
passages from Luke’s gospel: so they
like us have had the chance to consider the curious paradox that Jesus
consistently presents – the contradiction that marks him out as the one who at
the same time both attracts and repels.
So we saw him taking up the scriptures and reading a manifesto of
revolutionary theology from Isaiah to his home crowd who were simultaneously
bowled-over in wonder and scandalised by horror; and last week he attracted a crowd with his
teaching, so many they filled the house, so the crippled man had to be smuggled
through the roof; and the midst of this
rapturous acclamation he shocks by assuring the man of forgiveness. Attraction and repulsion: the power to shock, but to do so effectively.
2. Third, I want to
mention a couple of things that we won’t be looking at in any
detail. You see we could look at how
this passage, as a culmination of the events set in this chapter represents
Jesus working out that commitment to revolution – bringing healing to the sick, sharing
compassion with the desperate widow and now telling good news to this
prostitute in Simon’s house. We might
note the report back to John the Baptist on the progress of
implementation. We could explore the
“revolutionary view”. But we are not going to do that. But don’t forget it is in the background.
Or we could look at
this story of the forgiveness of the prostitute in the context both of that
compassion to the widow who faced economic ruin and, the start of the following
chapter, the naming of the women on whom Jesus has come to rely. We could look at how, in an obsessively male
culture, Jesus did more than he had to do to identify with women, to underline
equality. We could explore the “feminist
view”. But we are not going to do
that. But don’t forget it is in the
background.
3. Back to our text: Il Moretto’s painting. They say various things happen as you get
older: the classic example is that
policemen get younger. What I have noticed
is that, while others around (including those of you who I have known for
several decades) accrue wisdom, like rings on a tree, all I accrue is an
increasing awareness of how little I know and how much there is to know. How many times have I witnessed explanations
of Einstein’s theory “E=mc²”? Do I have
any idea what it is about? None. Worse asked to repeat it I am likely to say
it as “E= MC Hammer”; and worse still, I
don’t even know who MC Hammer is!
Art is one thing I
know very little about. However, it is
an area in which I feel comfortable with my ignorance because I have decided
that I know what I like. I don’t mind
whizzing through a gallery casting no more than a glance at its contents, but I
am very happy if one work causes me to stop short and tarry awhile, drinking in
its meaning to me. I would stop at Il
Moretto’s painting today – stop even if it were in a room filled with the many
other paintings of this scene. Why? Well let me describe it briefly: the painting is about 6x4ft and is painted as
if in a window with a round top, its curves echoed in the dim outline of the
darkened arches of the building in which they sit. There are 5 figures; 2 servants, one a boy
walking behind the main actors: we see
that the man servant carries a bowl of pears blushed pink; the boy’s red shirt calls our attention
almost to the centre of the picture and we follow his eyes as he looks over his
shoulder, his own attention rapt by the figure of Jesus. Two other figures sit at a table –the end we
see covered in a cream cloth; with
pewter plates with remains of fish-heads and bread. Behind the table is the smaller man, in a
dark overgarment and a cream head dress, its cloth being brought around under
his chin, below a full, if grizzled and greying beard. He, and it must be Simon, is silent looking
forward into the face of the central figure who is Jesus. Jesus wears a light almost brown-red gown
with a black throw over his left shoulder and perhaps a napkin cloth (on which
we can clearly see the blue hemming stitches) on his lap. He is sitting
slightly to the left of centre with his shoulders turned toward Simon, his head
turned towards him and his hands held out at his waist level (echoing a cross?),
his left hand resting with open palm on the table near to Simon and his right
being straight ahead of him, its fingers dropping down as if to indicate the
final figure at his feet. Jesus is not
speaking either. Perhaps he has just
said: I tell you, Simon that her sins, many as they are, are forgiven: for she has shown me so much love. He is silent, Simon is silent: they look into
each other’s faces.
The final figure is
the prostitute. She alone is dressed in
clothes that look more 16th Italian than Judean - a full sleeved,
pleated pale green dress with a covering over her legs ad a shawl. She is on her knees at the bottom right and
her body stretches across the bottom and down to the floor where she rest on
her elbow with her right hand holding her long – almost pre-Raphaelite – hair
close to her face and close to Jesus leg and her other hand touches Jesus bare
foot. We see the perfume bottle near
her.
We see her
face in profile. And her face is why
I have stopped here. None of the
other paintings – even another by Il Moretto of the same scene – shows a face
filled with such emotion. She is
serious; tears are not evident but her pallour
suggest they might have been. Does she
hear, has she heard, the conversation about her? I don’t think so. Does she understand what Jesus is saying to
Simon: that God’s forgiveness is equally
available to everyone – to the prostitute, the Pharisee the tax-collector, the
drunkard, the glutton, the outsider? I
don’t think so: in the painting her face
is wrapped up in her own experience of Jesus and her response.
4. We have spent a long
time on our text and it is time to move on but before we do may I suggest three
thoughts we might take with us. I want
to start with the prostitute and not Simon because it is her to whom we are
drawn in the painting.
·
The tears are important. Not least they are a difference between this
account and the stories told by Matthew and Mark which occur in the lead-up to
the Passion. Surprisingly to me,
commentators take different views why she cries. Some say they are tears of joy – having
realised her forgiveness. I don’t see
this: nor I think did Il Moretto. I see them as tears shed at a crisis and at
its resolution. It is very difficult to
face the truth about ourselves. It can
be distressing. Which is why we can put
it off, we can deny the necessity (“after all I am not a prostitute am I?” Hello, Simon the Pharisee!), we fear the
results (how would it change me?). The
attraction of Jesus is that he – and we as his church – offer the opportunity
to be truthful to ourselves: but it may
not easy. And it will happen again.
·
The confirmation of forgiveness is not the end
of the story. Jesus does not (as he does
to another woman in similar circumstances) say “sin no more” as they part, but
built into that final “Go in peace” is something more than a simple
farewell. Certainly it a prayer for
peace but a prayer too that she be part of the peacemaking. The forgiveness and the peacemaking are
inseparable – as inseparable as the forgiveness and the tears. The tears are the natural emotion: the working at peace is the natural
outworking, the natural reaction. To others
who observe us, it is evidence of the love we know.
·
And a final thought, concerning Simon. A Pharisee, a judgmental character, a man
fixed in his ways and his religion, the faith of his father. And yet … open to inviting the new Teacher to
supper and open to give a truthful answer to Jesus’ question. For him too a time to be shaken from the
comfort of his tradition? A chance to
challenge his narrow concept of God – to see him at work in everyone?
5. The obvious question – of the four listeners in the painting
who are you?
·
The busy servant whose eyes are focused on the
messy table
·
The innocent child hearing of the grace of God
for the first time
·
Simon:
faithful but challenged to expand his faith
·
The woman facing the truth about herself and the
love of God?
“Then he said to her, “your sins are
forgiven … Go in peace”.