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fa0a4a4
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"Since my visit to the Hermitage, I had become more aware of the four figures, two women and two men, who stood around the luminous space where the father welcomed his returning son. Their way of looking leaves you wondering how they think or feel about what they are watching. These bystanders, or observers, allow for all sorts of interpretations. As I reflect on my own journey, I become more and more aware of how long I have played the role of observer. For years I had instructed students on the different aspects of the spiritual life, trying to help them see the importance of living it. But had I, myself, really ever dared to step into the center, kneel down, and let myself be held by a forgiving God? The simple fact of being able to express an opinion, to set up an argument, to defend a position, and to clarify a vision has given me, and gives me still, a sense of control. And, generally, I feel much safer in experiencing a sense of control over an undefinable situation than in taking the risk of letting that situation control me. Certainly there were many hours of prayer, many days and months of retreat, and countless conversations with spiritual directors, but I had never fully given up the role of bystander. Even though there has been in me a lifelong desire to be an insider looking out, I nevertheless kept choosing over and over again the position of the outsider looking in. Sometimes this looking-in was a curious looking-in, sometimes a jealous looking-in, sometimes an anxious looking-in, and, once in a while, even a loving looking-in. But giving up the somewhat safe position of the critical observer seemed like a great leap into totally unknown territory. I so much wanted to keep some control over my spiritual journey, to be able to predict at least a part of the outcome, that relinquishing the security of the observer for the vulnerability of the returning son seemed close to impossible. Teaching students, passing on the many explanations given over the centuries to the words and actions of Jesus, and showing them the many spiritual journeys that people have chosen in the past seemed very much like taking the position of one of the four figures surrounding the divine embrace. The two women standing behind the father at different distances the seated man staring into space and looking at no one in particular, and the tall man standing erect and looking critically at the event on the platform in front of him--they all represent different ways of not getting involved. There is indifference, curiosity, daydreaming, and attentive observation; there is staring, gazing, watching, and looking; there is standing in the background, leaning against an arch, sitting with arms crossed, and standing with hands gripping each other. Every one of these inner and outward postures are all too familiar with me. Some are more comfortable than others, but all of them are ways of not getting directly involved," (pp. 12-13)."
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prodigal-son
rembrandt
observer
outsider
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Henri J.M. Nouwen |
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As Father, the authority he claims for himself is the authority of compassion. That authority comes from letting the sins of his children pierce his heart. There is no lust, greed, anger, resentment, jealousy, or vengeance in his lost children that has not cause immense grief to his heart. The grief is so deep because the heart is so pure. From the deep inner place where love embraces all human grief, the Father reaches out to his children. The touch of his hands, radiating inner light, seeks only to heal. Here is the God I want to believe in: a Father who, from the beginning of creation, has stretched out his arms in merciful blessing, never forcing himself on anyone, but always waiting; never letting his arms drop down in despair, but always hoping that his children will return so that he can speak words of love to them and let his tired arms rest on their shoulders. His only desire is to bless. In Latin, to bless is benedicere, which means literally: saying good things. The Father wants to say, more with his touch than with his voice, good things of his children. He has no desire to punish them. They have always been punished excessively by their own inner or outer waywardness. The Father wants simply to let them know that the love they have searched for in such distorted ways has been, is, and always will be there for them. The Father wants to say, more with his hands than with his mouth: 'You are my Beloved, on you my favor rests.' He is the shepherd, 'feeding his flock, gathering lambs in his arms, holding them against his breast.' The true center of Rembrandt's painting is the hands of the father.
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god
love
rembrandt
father
sin
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Henri J.M. Nouwen |