“Do not hold on to me, Mary, because I have not yet ascended to my Father.” It’s hard to imagine Jesus not hugging somebody. She’s so happy that I think she probably bends forward and tries to plant one right on his kisser. When Mary finally recognizes Jesus, she starts to embrace him. Our Lord, who resembles a pirate in the painting, is wearing a broad-brimmed hat and carries a shovel. In 1638, he painted the moment that Mary mistakes Jesus for a gardener. Rembrandt was so fascinated with the slippery details of this hide-and-seek Easter that he painted John’s version of the resurrection at least six different times. These little bits of peek-a-boo evidence: morsels of bread dropped along a path for a child lost in the woods-the on-and-off light of a firefly guiding the way. Both curiously return to their homes and go back to bed. “They’ve taken the Lord!” she breathlessly reports. We’re told that it was “still dark.” These runners surely looked like lightning bugs flitting through the trees-alive with hope, all three.īack and forth poor Mary runs.
His sons took great delight in running through the dark woods, waving their hands.Īll the main characters in John’s version of the first Easter are running as the narrative opens. One particular night the boys caught fireflies, pinched them in half and smeared their fingernails with the glow of the bugs. In “What Light Destroys,” the soldier fondly recalls a camping trip he once took with his four sons. In his collection of poems titled After the Lost War, Andrew Hudgins chronicles the life of a Confederate soldier during and just after the Civil War.
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