Jesus Meets Simon on the Road Again

Jesus and the ii disciples On the Road to Emmaus, past Duccio, 1308–1311, Museo dell'Opera del Duomo, Siena

Co-ordinate to the Gospel of Luke, the road to Emmaus appearance is one of the early resurrection appearances of Jesus after his crucifixion and the discovery of the empty tomb.^{[1] [two] [3]} Both the meeting on the road to Emmaus and the subsequent supper at Emmaus, depicting the meal that Jesus had with 2 disciples after the run into on the route, have been popular subjects in art.

Biblical accounts [edit]

N. T. Wright considers the detailed narration of the Emmaus journey in Luke 24:13–35 as one of the all-time sketches of a biblical scene in the Gospel of Luke.^[4] Jan Lambrecht, citing D. P. Moessner, writes: "the Emmaus story is 1 of Luke's 'most exquisite literary achievements'."^[5] It describes the encounter on the road to Emmaus and the supper at Emmaus, and states that a disciple named Cleopas was walking towards Emmaus with another disciple when they met Jesus. They did not recognize him, and discussed their sadness at recent events with him. They persuaded him to come and eat with them, and at the repast they recognized him.

Theme [edit]

Although it may be said that its main subject is proving the resurrection by the advent of Jesus, this narrative seems not to say annihilation about proving the event. R. W. L. Moberly suggests that "the story is all-time understood every bit an exposition of the hermeneutical event of discernment, focussing specifically on the question, 'How does one discern the risen Christ?'"^[6] Alfred McBride says that the Emmaus narrative concerns "the evolution of the awareness of the two disciples, from despair over Christ'south death to faith in his resurrection". Used to perceive Christian spiritual growth, this narrative is considered equally a model for a Christians' ain journey to a deeper faith and as an instrument to aid others exercise the same journey.^[7]

Parallels [edit]

The Gospel of Marking sixteen:12–13 has a similar business relationship that describes the advent of Jesus to two disciples while they were walking in the land, at well-nigh the aforementioned time in the Gospel narrative,^[viii] although information technology does not name the disciples or the destination equally Emmaus:

Subsequently Jesus appeared in a different form to ii of them while they were walking in the country. These returned and reported information technology to the rest; only they did non believe them either.^[9]

Information technology has also been suggested that the Ethiopian eunuch story (Acts 8:26–40) is a "much discussed parallel" to the Emmaus narrative, since there are some recognizable similarities between the two.^[10] January Lambrecht says, "Each event culminates with a ritual, the breaking and distributing of bread at Emmaus and the baptism of the Ethiopian along the route. ... What remains as a common theme in both stories is the necessary hermeneutical connection between the Scriptures and the Jesus event. The Scriptures are to be interpreted in the calorie-free of 'the good news of Jesus' (Acts eight) and the Jesus events can simply exist understood in light of the Scriptures (Lk 24)."^[11]

Unnamed disciple [edit]

Many names have been proposed for the disciple who accompanied Cleopas. Among those who have been suggested: Simon/Symeon, according to several documents and manuscripts; Ammaon/Amaon, which may exist a spelling error for "Symeon", co-ordinate to Saint Ambrose; Nathanael, according to Saint Epiphanius's Panarion; Nicodemus, according to the Arabic Apocryphal Gospel of John; Luke the Evangelist, co-ordinate to the Volume of the Bee; Philip the Deacon; James, brother of Jesus; and Mary, the wife (or possibly daughter) of Clopas, who is considered the same person as Cleopas.^{[12] [13]}

John Gillman, in a Festschrift to Jan Lambrecht, writes that "Luke's failure to identify Cleophas' companion by either name or gender may well be a strategy of inviting the reader to identify implicitly with that person, and thus to make the journey as Cleophas' companion."^[14]

The journey to Emmaus [edit]

The two followers were walking along the road, heading to Emmaus, deep in solemn and serious discussion, when Jesus met them. They could non recognize Jesus and saw him as a stranger. In Homilies on the Gospels (Hom. 23), Gregory the Cracking says:

They did not, in fact, accept faith in him, nevertheless they were talking almost him. The Lord, therefore, appeared to them but did non show them a face they could recognize. In this style, the Lord enacted outwardly, before their physical eyes, what was going on in them inwardly, before the eyes of their hearts. For inwardly they simultaneously loved him and doubted him; therefore the Lord was outwardly nowadays to them, and at the same time did non reveal his identity. Since they were speaking about him, he showed them his presence, merely since they doubted him, he hid from them the appearance past which they could take recognized him.^[15]

Jesus let them tell about their anxieties and pains; he allow them grieve and mourn by expressing the root causes. Jesus emphatically listened to them, who poured out their crises and doubts, and used scriptures then that they could improve empathize "suffering and glory".^[16] During the journeying to Emmaus, according to Alfred McBride, Jesus patiently guided the two disciples "from hopelessness to celebration"^[7] and also intended to nourish the two disciples' organized religion to such an extent that they tin encounter "his real presence in the breaking of the bread".^[17]

From a pastoral perspective, John Mossi writes that meditating upon the "Emmaus Pilgrimage" may help one when experiencing one'south own "nighttime nights". During such class of activeness, according to Mossi, one should realize that Jesus compassionately walks as a friend on one's own journey, empathetically listens one's sorrows and hesitations, and spends quality time accompanying one goes through the process of inner healing.^[18]

"Stay with usa" [edit]

Luke 24:28–29 states that Jesus stayed and had supper with the two disciples after the encounter on the route:

Every bit they approached the village to which they were going, Jesus acted as if he were going farther. Simply they urged him strongly, "Stay with us, for it is nearly evening; the day is almost over." And so he went in to stay with them.^[19]

The 2 disciples showed their openness and caring to the unknown stranger, who is Jesus, past inviting him to stay with them, to join in meal and companionship. January Lambrecht argues that such attitudes made Jesus able to alter them deeply: "By the offer of hospitality the Emmaus companions were able to transcend their self-concern, sadness, foolishness and slowness of heart, thus preparing them for the revelatory experience effectually the table where they were nourished."^[twenty]

Supper at Emmaus [edit]

At showtime, Jesus appears to Cleopas and i other disciple, but "their eyes were holden" then that they could non recognize him. Later, "in the breaking of bread" (Luke 24:xxx), "their eyes were opened" and they recognized him (Luke 24:31). B. P. Robinson argues that this means that the recognition occurred in the course of the meal,^[21] while Raymond Blacketer notes that "many, perchance even most, commentators, ancient and modern and in-between, have seen the revelation of Jesus' identity in the breaking of bread every bit having some kind of eucharistic referent or implication."^[22]

In his churchly letter Mane nobiscum Domine, John Paul II says that when the two disciples urged Jesus to stay with them, Jesus after responded by giving them a style to stay in him, by entering into "a profound communion with Jesus" through the "Sacrament of the Eucharist" (cf. John 15:4). Soon subsequently Jesus agreed to their asking to stay, according to the Pope, "Jesus' face would disappear, nevertheless the Master would 'stay' with them, hidden in the 'breaking of the bread' which had opened their eyes to recognize him. ... When minds are enlightened and hearts are enkindled, signs begin to 'speak'."^[23]

Return to Jerusalem [edit]

Luke 24:32 states that the two disciples' hearts were "burning" during their conversation with Jesus forth the style to Emmaus, especially when he explained the Scriptures. They have gone through "a journey symbolizing their change of hearts from 'sad' to 'burning'", and they immediately returned to Jerusalem to share their feel with other fellows (Luke 24:33).^[24]

Alfred McBride says that "enthusiasm flooded their whole being" when the 2 disciples accept "encounter[ed] the Risen Christ" in the supper at Emmaus. They sensed a must to share their happiness and the good news with another and so that they were willing to become through a long walk dorsum to Jerusalem.^[25] John Paul Ii argues that the 2 disciples realized "the duty to be a missionary" after "entering into communion with Christ" at the meal outcome, relates information technology with the dismissal at the stop of the Eucharistic Celebration.^[23]

In fine art [edit]

Both the see on the road and the ensuing supper accept been depicted in art, but the supper has received more attention. Medieval art tends to show a moment before Jesus is recognized; Christ wears a big floppy hat to help explain the initial lack of recognition by the disciples. This is oft a large pilgrim'south chapeau with badges or, rarely, a Jewish chapeau. Notwithstanding, the depiction of the supper has been a more popular theme, at least since the Renaissance, showing Jesus eating with the disciples. Ofttimes the moment of recognition is shown.

Rembrandt's 1648 depiction of the Supper builds on the etching that he did six years before, in which the disciple on the left had risen, hands clasped in prayer. In both depictions, the disciples are startled and in awe but not in fear. The retainer is oblivious to the theophanic moment taking place during the supper.^[26]

Caravaggio'southward painting in London and his painting in Milan were 6 years apart, and both imitate natural color very well, just both were criticized for lack of decorum. Caravaggio depicted Jesus without a beard, and the London painting shows fruits on the table that are out of flavour. Moreover, the inn keeper is shown serving with a lid.^[27]

Some other artists who take portrayed the Supper are Jacopo Bassano, Pontormo, Vittore Carpaccio, Philippe de Champaigne, Albrecht Dürer, Benedetto Gennari, Jacob Jordaens, Marco Marziale, Pedro Orrente, Tintoretto, Titian, Velázquez, and Paolo Veronese. The supper was also the subject area of i of Han van Meegeren's most successful Vermeer forgeries.

In literary art, the Emmaus theme is treated as early on equally the 12th century by Durham poet Laurentius in a semidramatic Latin verse form.^[28]

Gallery of art [edit]

• 

  Oratory in Novara, 15th century

• 

  Supper at Emmaus, 15th century

• 

• 

• 

In music [edit]

The gospel was the prescribed reading for Easter Mon in Lutheran Leipzig at Bach'due south time. He equanimous several church cantatas for the occasion, including the chorale cantata Bleib bei uns, denn es will Abend werden, BWV 6, in 1725.

Josef Rheinberger composed in 1855 a motet Abendlied on a verse from the gospel narration, "Bleib bei uns" (Bide with u.s.).

The American southern gospel music group The Emmaus Road Quartet takes their name from the Biblical account. They also recorded a song entitled "On The Road to Emmaus" in 2019, in which the lyrics espouse a want to walk with a risen Jesus Christ and be taught the scriptures past him.

Jungian perspective [edit]

Carl Jung regarded the road to Emmaus appearance as an case of the mythological the common dream theme of the magical traveling companion. ^{[29] [ page needed ]}

See also [edit]

• Chronology of Jesus
• Emmaus-Nicopolis
• Gospel harmony
• Life of Jesus in the New Attestation
• List of dining events
• Resurrection appearance of Jesus
• Resurrection of Jesus

Notes [edit]

1. ^ Craddock 1991, p. 284
2. ^ Phillips 2005, pp. 297–230
3. ^ Luke 24
4. ^ Wright 2004, p. 292
5. ^ Lambrecht 2002, p. 179
6. ^ Moberly 2000, p. 46
7. ^ ^{a b} McBride 1992, p. 210
8. ^ The Cosmic Comparative New Attestation 2006, p. 589
9. ^ Mark 16:12–13 (NIV)
10. ^ Lambrecht 2002, p. 169
11. ^ Lambrecht 2002, p. 170
12. ^ Metzger 1980, pp. 40–41
13. ^ Thiede 2006, pp. 94–96
14. ^ Lambrecht 2002, p. 184
15. ^ Gregory I, p. 55
16. ^ Wicks 2000, p. 154
17. ^ McBride 1992, p. 132
18. ^ Wicks 2000, pp. 154–155
19. ^ Luke 24:28–29 (NIV)
20. ^ Lambrecht 2002, p. 185
21. ^ Robinson 1984, p. 484
22. ^ Blacketer 2003, p. 323
23. ^ ^{a b} John Paul Two (7 October 2004). "Mane nobiscum Domine". Libreria Editrice Vaticana.
24. ^ Lambrecht 2002, p. 183
25. ^ McBride 1992, p. 214
26. ^ Durham 2004, p. 144
27. ^ Apostolos-Cappadona 1995, p. 64
28. ^ Kindermann 1968, pp. 79–100
29. ^ Jung, C.G. (1968), Psychology and Alchemy, Collected Works, Book 12, Princeton, Due north.J.: Princeton University Press. ISBN 0-691-01831-vi

References [edit]

• Apostolos-Cappadona, Diane (1995). Art, Creativity, and the Sacred: an anthology in religion and art. ISBN0-8264-0829-Ten.
• Bivin, David N. (2017). "A Farewell to the Emmaus Road".
• Blacketer, Raymond A. (2003). "Word and Sacrament on the Route to Emmaus: Homiletical Reflections on Luke 24:thirteen-35". Calvin Theological Journal. 38.
• Craddock, Fred B. (1991). Luke. ISBN0-8042-3123-0.
• Durham, John I. (2004). The Biblical Rembrandt. ISBN0-86554-886-ii.
• Gregory I, Pope (2001). "Homily 23". Reading the Gospels with Gregory the Great: Homilies on the Gospels, 21-26. Translated past Santha Bhattacharji. St Bede's Publications. ISBN9781879007444.
• Hall, James (1983). A History of Ideas and Images in Italian Art. London: John Murray. ISBN0-7195-3971-4.
• Hoeller, Stephan A. (2002). Gnosticism: new light on the ancient tradition of inner knowing. Quest Books. ISBN978-0-8356-0816-ix.
• Lambrecht, January (2002). Reimund Bieringer; Veronica Koperski; B. Lataire (eds.). Resurrection in the New Testament: Festschrift J. Lambrecht. Leuven University Press. ISBN9789042912144.
• Kindermann, Udo (1968). "Das Emmausgedicht des Laurentius von Durham". Mittellateinisches Jahrbuch. 5.
• McBride, Alfred (1992). The Human Face of Jesus: Luke. Our Dominicus Visitor. ISBN9780879733582.
• Metzger, Bruce M. (1980). New Attestation Studies: Philological, Versional, and Patristic, Volume ten. Brill. ISBN9789004061637.
• Moberly, R.West.L. (2000). The Bible, Theology, and Faith: A Study of Abraham and Jesus. Cambridge University Press. ISBN9780521786461.
• Phillips, John (2005). Exploring the Gospel of Luke: an expository commentary. ISBN0-8254-3377-0.
• Robinson, B.P. (1984). "The Identify of the Emmaus Story in Luke-Acts". New Attestation Studies. xxx (four): 481–497. doi:10.1017/S0028688500013199.
• The Cosmic Comparative New Attestation. Oxford University Press. 2006. ISBN0-xix-528299-X.
• Thiede, Carsten Peter (2006). The Emmaus Mystery: Discovering Show for the Risen Christ. A&C Black. ISBN9780826480675.
• Wicks, Robert J., ed. (2000). Handbook of Spirituality for Ministers, Volume two. Paulist Press. ISBN9780809139712.
• Wright, N.T. (2004). Luke for Everyone. Westminster John Knox Press. ISBN0-664-22784-eight.

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Source: https://en.wikipedia.org/wiki/Road_to_Emmaus_appearance

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