Explainer

Creed

Easter

Resurrection

13 February 2024

10 min read

Beyond pancakes and chocolate: a sensory guide to Lent and Easter

It’s a time to discover the whole range of human experience and emotion.

Lianne Howard-Dace

Lianne Howard-Dace is a writer and trainer, with a background in church and community fundraising.

A boy concentrates hard as he holds one candle to another to light it.

A boy little a candle during a Mass in Greece.

Malcolm Lightbody on Unsplash.

In the dusk light, I could just see the order of service in my right hand and the candle in my left. As the clergy processed from the back of the Cathedral, the smell of frankincense proceeded them.

Light was passed from the fire pit at the back of the building, via the huge pillar of the Paschal candle at the front of the procession, to tapers taken to the end of each row of seats. Then, finally, it was passed from person to person, as each of us lit our candle from our neighbour’s. As a warm glow filled the huge room, I could now read the paper in front of me. Just in time to join in with the start of the singing.

It was the evening before Easter Sunday and I, along with 22 others, was going to be baptised that night. Having grown up in a non-religious family, I was not christened as a child. And so, aged 26, I made the choice for myself to draw a line in the sand of my life and commit to being a follower of Jesus.

I didn’t realise at the time, but the practice of being baptised at Easter goes right back to Jesus’ first followers in the early church. Of course, taking part in a ritual of rebirth on the day that Jesus came back from the dead makes a lot of sense, when you think about it. That service was the beginning of a new life for me in many ways, and also the beginning of a love for this kind of high-drama expression of church.

I love that there are so many different expressions of Christianity. Different ways of being together, of worshipping God and shaping the church gathering. Whilst I have tended to be part of churches that lean more towards contemporary music and less formality, I enjoy taking the odd excursion to other types of church. And for me, Easter is the perfect time to embrace more traditional – or “high church” - ways of worshipping.

The secular world has kept hold of a couple of the edible Lent and Easter traditions. Fair enough; I don’t need much convincing to eat pancakes or chocolate eggs either. But I’d say that topping and tailing this season with sweet treats, without the full spectrum of bitter, salty, sour and umami in between, is a missed opportunity.

Lent

Lent helps us to remember the 40 days and nights Jesus spent in the desert, when he was tested and tempted. It is a time to reflect, think about things in our lives which we want to change, perhaps even to ask God for forgiveness for. It is a time to dwell in God’s word through the Bible and to fast. That’s where the pancakes come in, to use up the sugary and fatty ingredients in the house so we aren’t tempted to eat them in Lent. Though nowadays you’re probably as likely to find people taking up a wholesome practice or habit in Lent, as you are to find them giving something up.

I’d argue that in the modern world we aren’t great at thinking about death and darkness. We try not to dwell on the things we might need forgiveness for. Instead, we supress them and pretend they don’t exist. We can move so far the other way that we fall into toxic-positivity; we deny the breadth of what it is to be a human in this world. That’s why the symbols and rituals of Lent and Easter can be so helpful. They give us containers in which to explore the whole range of human experience and emotion. They give us permission to enter into the depths of it all.

Ash Wednesday

So, after you’ve put the Jif lemon away from Shrove Tuesday, you might like to go to an Ash Wednesday service to mark the start of those 40 days of Lent. You’ll find this service in Roman Catholic churches as well many Anglican churches and some other protestant traditions. The culmination of the service will be the “imposition of ashes”, hence the name. The palm crosses from the previous year (more on that later) will have been burned and mixed with water to form an ashy paste.

Those present will be invited to come forward and have an ash cross marked on their forehead. As the priest does this, they will say to each person:

“Remember that you are dust, and to dust you shall return.”

I realise to some this may seem quite morbid, and possibly eccentric. But if you can suspend your inner cynic, you might find that there is something rather freeing about remembering that we are made from dust.

When the writers of Genesis, the opening book of the Bible, wrote those words centuries ago they didn’t know, as we do now, that the elements that make up each human were formed in supernovas. But they knew that we are intrinsically linked to God, one another, the earth and the universe. Remembering that I am dust puts things in perspective; I am only here for a short time and many of the things I expend energy worrying about are inconsequential. But it also hints at a miracle; I am a thinking, feeling being, made from pieces of billion-year-old stars.

Lent is time to ponder such mystery. As the season progresses, people may try to carve out more time than usual for spiritual practices like prayer and reading the Bible. If you give something up, you’ll likely find the discipline of sticking to it helps focus the mind. It brings you back to the things you want to contemplate. I think the hardest thing I ever gave up was coffee; I did a lot of thinking that Lent.

Palm Sunday

Churches tend to follow the story of Jesus’ last days on earth throughout their services in Lent. The last Sunday before Easter marks Jesus’ final arrival in Jerusalem before he was killed. We read in all four gospel accounts that Jesus, whose renown had spread by this time, entered the city to be greeted by huge cheering crowds. Many were said to be waving palms, which is why it’s become known as Palm Sunday. Many churches give out crosses made from palm fronds as a tangible symbol of the story.

Holy Saturday in fact represents where we spend much of our time in life. The in between. The messy middle.

Holy Week

From Palm Sunday we enter into Holy Week, which runs right up to Easter, as the story intensifies. Many churches will have additional services during this week, which vary depending on the tradition of church and local habits. As a night owl, I am a big fan of compline, the night prayer service used in many monasteries and new-monastic communities. A couple of years ago I lived in an Anglican parish where they had compline every night during Holy Week. The compline liturgy – its format and typical pattern of words – helps me reflect and wind down at the end of the day. My delight in being able to take part in the service every day that week was only increased by the fact that several people each evening brought their dogs with them.

Maundy Thursday

The Thursday of Holy Week - referred to as Maundy Thursday - marks the last supper and Jesus’ arrest. The word maundy comes from the same root as the word mandate, because at the last supper Jesus gives a new mandate, or commandment to his disciples. He says “I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another. By this everyone will know that you are my disciples, if you have love for one another.”

One of the ways that Jesus expressed this love for his disciples at the last supper was to wash their feet. Constantly wearing sandals or bare feet in a sandy environment meant frequent foot washing was needed in first century Palestine. Usually those of lower standing would be the ones doing the washing, but Jesus flips this on its head. Despite being their rabbi – their teacher – Jesus is the one who ties a cloth round his waste to wash his followers’ feet in an act of service. Often this is re-enacted at a Maundy Thursday service, with the priest or leader washing the congregation’s feet. It is a way of trying to live out that new commandment, to love each other as Jesus has loved us.

A Maundy Thursday service often happens in the evening, when the last supper would’ve taken place. To acknowledge the sadness and indignity of Jesus’ betrayal by Judas and his unjust arrest, in many churches the congregation will strip the alter of all its decoration at the end of this service. There may then follow a silent vigil, where people are invited to stay into the night, keeping silent watch, as Jesus asked his disciples to keep watch as he prayed in the Garden of Gethsemane. The alter will remain bare and empty until Sunday.

Good Friday

That starkness suits the mood as we move into Good Friday, the day that marks Jesus’ execution on the cross. Of course, we have the benefit of knowing the redemption and renewal which is to come when Jesus comes back from the dead, but I expect that Jesus’ devastated followers would not have called it good at the time.

On Good Friday we sit in the pain of knowing that Jesus was taken by the authorities and violently killed. We come face to face with all the worst that human experience can entail. Hurt, anguish, desolation, loss. We do this not in spite of or in ignorance of the resurrection and joy to come. We don’t do it to be morbid, or to wallow in pain for the sake of it. We do it because sadness and grief are valid parts of the human experience. And, because being a follower of the God who became human and entered into our suffering, is to remember that he died.

Services taking place on Good Friday will vary according to the traditions of each church, but they will be reflective and sombre in nature. Some will simply hold space for people to sit and reflect on the magnitude of the day’s meaning. Others will hold services which take in the fourteen scenes which tell the story of Jesus’ death, known as “stations of the cross”. Some churches have artworks depicting these on their walls at all times, others will put something up for the occasion. People may move around each scene – from Jesus being condemned to death, to being laid in the tomb – taking time to reflect, read the bible and pray at each. It is a way of recreating a pilgrimage to the cross and entering into the story of Jesus.

Holy Saturday

The comes Holy Saturday, the day before Easter. But it is not practiced with the same excitement as Christmas Eve. The anticipation of Lent is different to the anticipation of Advent. Whilst the joy of Jesus being resurrected from the dead is arguably even greater than the joy of his birth, we must – like too often in life – pass through grief to get there. Even though we have the advantage over Jesus’ disciples of already knowing that Jesus will rise from the dead, Holy Saturday in fact represents where we spend much of our time in life. The in between. The messy middle. Knowing that painful Good Friday experiences happen in the world, whilst looking to the hope of renewal which Jesus promises.

Some churches, like the Cathedral I was baptised in, will carry out their Easter vigil late on Holy Saturday. Others will save that celebration of the resurrection until first light, beginning Easter Sunday with a dawn service that follows a similar pattern with fire and candles. Some churches will even eat together after the formal part of their time together is finished. I remember having to get up at 5am one year to cook the 50 sausages which were my contribution to the cooked breakfast we shared, though I did doze in the kitchen whilst they were in the oven.

Easter Sunday

Of course, the vast majority of churches will have their usual service slot on a Sunday. However many of these rituals they have marked in the lead up, each community will take time on Easter Sunday to celebrate. Because the tomb is not the end. When some of his women followers went to cleanse his body, Jesus was not there. He rose again. It is this promise of death being defeated which we remember and celebrate at Easter. From the depths of darkness, we emerge into light.

My favourite part of the Easter Sunday service is when the leader proclaims “He is risen,” and everyone responds with “He is risen indeed. Alleluia!” at the top of their lungs. Through the mystery of his death and resurrection, Jesus gives us certain hope that all people and all of creation will be renewed and reconciled to God in the fullness of time. And that’s worth shouting about.

Interview

Books

Creed

S&U interviews

9 February 2024

9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan.

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.”

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”

C.S. Lewis.

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ.

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”.

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”.

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.”

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith.

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.”

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.”

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.