Satan at The Last Supper: Hours of Darkness and Light

The central figures present before the Sacrament for the Life of the World are Jesus on the eve of Sacrifice and Satan on the eve of battle to restore the darkness.

As I begin this eleventh Holy Week post behind These Stone Walls  all the world is thrust under a shroud of darkness. A highly contagious and pernicious coronavirus threatens an entire generation of the most vulnerable among us on a global scale. Many Catholics face Holy Week without the visible support and consolation of a faith community. Many of our older loved ones face it entirely alone, separated from social networks and in dread of an unknown future darkness.

A week or so before writing this, I became aware of a social media exchange between two well-meaning Catholics. One had posted a suggestion that a formula for “exorcized holy water” would repel this new viral threat. The other cautioned how very dangerous such advice could be for those who would substitute it for clear and reasoned clinical steps to protect ourselves and others. I take a middle view. All the medical advice for social distancing and prevention must be followed, but spiritual protection should not be overlooked. Satan may not be the cause of all this, but he is certainly capable of manipulating it for our hopelessness and spiritual demise.

This “down time” might be a good time to reassess where we are spiritually. A sort of “new age” culture has infiltrated our Church in the misinterpretations of the Second Vatican Council since the 1960s. There is a secularizing trend to reduce Jesus to the nice things He said in the Beatitudes and beyond to the exclusion of who He was and is, and what Jesus has done to overcome the darkest of our dark. In a recent post, I asked a somewhat overused question with its answer in the same title: “What Would Jesus Do? He Would Raise Up Lazarus — and Us.” Without that answer, faith is reduced to just a series of quotes.

By design or not I do not know, but the current darkness drew me in this holiest of weeks to a scene in the Gospel that is easy to miss. There are subtle differences in the Passion Narratives of the Gospels which actually lend credence to the accounts. They reflect the testimony of eye witnesses rather than scripts. One of these subtle variations involves the mysterious presence of Satan in the story of Holy Week.

This actually begins early in the Gospel of Luke (Ch. 4) in an account I wrote about in “To Azazel: The Fate of a Church That Wanders in the Desert.” Placed in Luke’s Gospel after the Baptism of Jesus and God’s revelation that Jesus is God’s “Beloved Son,” Jesus is led by the Spirit into the desert wilderness for forty days. He is subjected there to a series of temptations by the devil. In the end, unable to turn Jesus from his path to light, “the devil departed from him until an opportune time.” (Luke 4:13)

That opportune time comes later in Luke’s Gospel, in Chapter 22. There, just as preparations for the Passover are underway, the conspiracy to kill Jesus arises among the chief priests and scribes. They must do this in the dead of night for Jesus is surrounded by crowds in the light of day. They need someone who will reveal where Jesus goes to rest at night and how they can identify him in the darkness.

Remember, there is no artificial light. The dark of night in First Century Palestine is a blackness like no one today has ever seen. This will require someone who has been slyly and subtly groomed by Satan, someone lured by a lust for money. This is the opportune time awaited by the devil in the desert:

“Then Satan entered into Judas called Iscariot, who was of the number of the Twelve. He went away and conferred with the chief priests and the captains how he might betray him to them. And they were glad, and engaged to give him money. So he agreed and sought an opportunity to betray him to them in the absence of the multitude.”

— Luke 22:3-6

The Hour of Darkness

In Catholic tradition, the Passion Narrative from the Gospel of John is proclaimed on Good Friday. In that account, there is a striking difference in the chronology. Satan enters Judas, not in the preparations for Passover, but later the same day, shockingly at the Table of the Lord at the Last Supper on the eve of Passover:

“So when he dipped the morsel, Jesus gave it to Judas, the son of Simon Iscariot. Then, after the morsel, Satan entered into him. Jesus said to him, ‘What you are going to do, do quickly.’… So after receiving the morsel, he immediately went out, and it was night.”

— John 13:26-27, 30

Who could not be struck by those last few words, “and it was night”? They describe not only the time of day, but also the spiritual condition into which Judas has fallen. Judas and Satan are characters in this account from the Temptation of Jesus in the desert to the betrayal of Jesus in the hour of darkness. But darkness itself is also a character in this story. The word “darkness” appears 286 times in Sacred Scripture and “night” appears 365 times (which, ironically, is the exact number of nights in a year).

For their spiritual meaning, darkness and night are often used interchangeably. In St. John’s account of the betrayal by Judas, the fact that he “went out, and it was night” is highly symbolic. In the Hebrew Scriptures, our Old Testament, darkness was the element of chaos. The primeval abyss in the Genesis Creation story lay under chaos. God’s first act of creation was to dispel the darkness with the intrusion of light. “God separated the light from the darkness” (Genesis 1:4) which, in the view of Saint Augustine, was the moment Satan fell. In the Book of Job, God stores darkness in a chamber away from the path to light. God uses this imagery to challenge Job to know his place in spiritual relation to God:

“Have you, Job, commanded the dawn since your days began, and caused it to take hold of the skirts of the Earth for the wicked to be shaken out of it? … Do you know the way to the dwelling of light? Do you know the place of darkness?”

— Job 38:12,19

In the Book of Exodus, darkness is one of the plagues imposed upon Egypt. For the Prophet Amos (8:9) the supreme disaster is darkness at noon. In Isaiah (9:1) darkness implies defeat, captivity, oppression. It is the element of evil in which the wicked does its work (Ezekiel 8:12). It is the element of death, the grave, and the underworld (Job 10:21). In the Dead Sea Scrolls is a document called, “The Sons of Light and the Sons of Darkness.” In the great Messianic Proclamation of Isaiah (9:2): “The People who walked in darkness have seen a great light.”

In the New Testament, the metaphors of light and darkness deepen. In the Gospel of Matthew (8:12, 22:13) sinners shall be cast into the darkness. In the Gospel of Mark (13:24) is the catastrophic darkness of the eschatological judgment. The Gospel of John is filled with metaphors of darkness and light. Earlier in the Gospel of John, Jesus confronts those who plot against him as under the influence of darkness and Satan:

“If God were your Father, you would love me, for I proceeded and came forth from God. I came not of my own accord, but He sent me. Why do you not understand what I say? It is because you cannot bear to hear my word. You are of your father, the devil, and your will is to do your father’s desires. He was a murderer from the beginning, and has nothing to do with the truth because there is no truth in him. When he lies, he speaks according to his own nature, for he is a liar and the father of lies.”

— John 8:42-44

I once wrote about the person of Judas and the great mystery of his betrayal, his life, and his end in “Judas Iscariot: Who Prays for the Soul of the Betrayer?” At the Passover meal and the Table of the Lord, he dipped his morsel only to exit into the darkness. In the original story of the Passover in Exodus (13:15-18) God required the lives of the firstborn sons of Pharoah and all Egypt to deliver His people from bondage. Now, in the Hour of Darkness set in motion by Satan and Judas, God will exact from Himself that very same price, and for the very same reason.

The Hour of Light

Biblical Hebrew had no word for “hour,” nor was such a term used as a measure of time. In the Roman and Greek cultures of the New Testament, the day was divided into twelve units. The term “hour” in the New Testament does not signify a measure of time but rather an expectation of an event. The “Hour of Jesus” is prominent in the Gospel of John and also mentioned in the Synoptic Gospels. Jesus is cited in John as saying that His Hour has not yet come (7:30 and 8:20). When it does come, it is the Hour in which the Son of Man is glorified (John 12:23; 17:1).

In the Gospel of Luke (22:53), Jesus said something ominous to the chief priests and captains of the Temple who came, led by Judas (and Satan), to arrest Him: “When I was with you day after day in the Temple, you did not lay hands on me but this is your hour, and the power of darkness.”

In all of Salvation History there has never been an Hour of Darkness without an Hour of Light. In the Passion of the Christ the two were not subsequent to each other, but rather parallel, arising from the same event rooted in sacrifice. This was the ultimate thwarting of Satan’s “opportune time.” Jesus, through sacrifice, did not just defeat Satan’s plan, but used its Hour of Darkness to bring about the Hour of Light.

Amazingly, “Light” and “Darkness” each appear exactly 288 times in Sacred Scripture. It is especially difficult to separate the darkness from the light in the Passion Narratives of the Gospel. Both are necessary for our redemption. Without darkness there is no sacrifice or even a need for sacrifice.

The Hour of Light began, not at Calvary, but at the Institution of the Eucharist at The Last Supper, the Passover meal with Jesus and His Apostles. The Words of Institution of the Eucharist are remarkably alike in substance and form in each of the Synoptic Gospels and in St. Paul’s First letter to the Corinthians (11:23).

The sacrificial nature of the Words of Institution and their intent at bringing about communion with God are most prominent in the oldest to come into written form, that of Saint Paul:

“For I received from the Lord what I also delivered to you, that the Lord Jesus, on the night when he was betrayed took bread, and when he had given thanks he broke it, and said, ‘This is my body which is for you. Do this in remembrance of me.’ In the same way also the chalice, after supper, saying, ‘This chalice is the new covenant in my blood. Do this, as often as you drink it, in remembrance of me.’ For as often as you eat this bread and drink the chalice, you proclaim the Lord’s death until he comes.”

— 1 Corinthians 11:23-26

The enormity of this gift, the beginning of the Hour of Light, comes in the midst of words like “betrayal” and “death.” It is most interesting that the Gospel of John, which has Satan enter Judas at the Passover Table of the Lord, has no words for the formula of Institution of the Eucharist. But John clearly knows of it. The Gospel of John presents a clear theological allusion to the Eucharistic Feast in John 6:47-51:

“Truly, Truly I say to you, he who believes has eternal life. I am the bread of life. Your fathers ate manna in the desert and they died. This is the bread which comes down from heaven, that a man may eat of it and not die. I am the living bread which came down from heaven; if anyone eats this bread he will live for ever; and the bread which I shall give for the life of the world is my flesh.”

— John 6:47-51

The term “will live forever” appears only three times in all of Sacred Scripture: twice in the above passage from John, and once in the Septuagint, the Greek translation of the Hebrew Scriptures in Genesis 3:22. There, God expels Adam and Eve from Eden for attempting to be like God. It is a preventive measure in Genesis “lest they eat from the Tree of Life and live forever.” For John’s Gospel, what was denied to Adam is now freely given through the Sacrifice of Christ.

It is somewhat of a mystery why the Gospel of John places so beautifully his account of the Institution of the Eucharist there in Chapter 6 just after Jesus miraculously feeds the multitude with a few loaves of bread and a few fish, and then omits the actual Words of Institution from the Passover meal, the setting for The Last Supper in each of the other Gospels and in Saint Paul’s account.

Perhaps, on a most basic level, the Apostle John, beloved of the Lord, could not bring himself to include these words of sacrifice with Satan having just left the room. At a more likely level, John implies the Eucharist theologically through the entire text of his Gospel. In the end, after a theological and prayerful discourse at table, Jesus prays for the Church:

“When Jesus had spoken these words, he lifted up his eyes to heaven and said, ‘Father, the hour has come; glorify your Son that the Son may glorify you, since you have given him power over all flesh, to give eternal life to all whom you have given him. And this is eternal life, that they know you, the only true God, and Jesus Christ whom you have sent.”

— John 17:1-3

Now Comes the Hour of the Son of God, The Cross stood only for darkness and death until souls were illumined by the Cross of Christ. From the Table of the Lord, the lights stayed on in the Sanctuary Lamp of the Soul.

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Note from Father Gordon MacRae: Take a time out from anxiety and isolation this Holy Week by spending time in the Hour of Light with these related posts from Beyond These Stone Walls:

A Personal Holy Week Retreat at Beyond These Stone Walls

Waking Up in the Garden of Gethsemane

The Chief Priests Answered, ‘We Have No King But Caesar’

Dismas, Crucified to the Right: Paradise Lost and Found

Mary Magdalene: Faith, Courage, and an Empty Tomb

Behold the Man, as Pilate Washes His Hands

“Ecce Homo!” An 1871 painting of Christ before Pilate by Antonio Ciseri depicts a moment woven into the fabric of salvation history, and into our very souls.

“So when Pilate saw that he was gaining nothing, but rather that a riot was beginning, he took water and washed his hands before the crowd saying, ‘I am innocent of this righteous man’s blood.’”

— Matthew 27: 24

A now well known Wall Street Journal  article, “The Trials of Father MacRae” by Dorothy Rabinowitz (May 10, 2013) had a photograph of me — with hair, no less — being led in chains from my 1994 trial. When I saw that photo, I was drawn back to a vivid scene that I wrote about during Holy Week two years ago in “Dismas, Crucified to the Right: Paradise Lost and Found.” My Holy Week post began with the scene depicted in that photo and all that was to follow on the day I was sent to prison. It was the Feast of Saint Padre Pio, September 23, 1994, but as I stood before Judge Arthur Brennan to hear my condemnation, I was oblivious to that fact.

Had that photo a more panoramic view, you would see two men shuffling in chains ahead of me toward a prison-bound van. They had the misfortune of being surrounded by clicking cameras aimed at me, and reporters jockeying for position to capture the moment to feed “Our Catholic Tabloid Frenzy About Fallen Priests.” That short walk to the prison van seemed so very long. Despite his own chains, one of the two convicts ahead of me joined the small crowd in mockery of me. The other chastised him in my defense.

Writing from prison 18 years later, in Holy Week 2012, I could not help but remember some irony in that scene as I contemplated the fact of “Dismas, Crucified to the Right.” That post ended with the brief exchange between Christ and Dismas from their respective crosses, and the promise of Paradise on the horizon in response to the plea of Dismas: “Remember me when you come into your kingdom.” This conversation from the cross has some surprising meaning beneath its surface. That post might be worth a Good Friday visit this year.

But before the declaration to Dismas from the Crucified Christ — “Today, you will be with me in Paradise” (Luke 23:43) — salvation history required a much more ominous declaration. It was that of Pontius Pilate who washed his hands of any responsibility for the Roman execution of the Christ.

Two weeks ago, in “What if the Prodigal Son Had No Father to Return To?”, I wrote of my fascination with etymology, the origins of words and their meanings. There is also a traceable origin for many oft-used phrases such as “I wash my hands of it.” That well-known phrase came down to us through the centuries to renounce responsibility for any number of the injustices incurred by others. The phrase is a direct allusion to the words and actions of Pontius Pilate from the Gospel of Saint Matthew (27: 24).

Before Pilate stood an innocent man, Jesus of Nazareth, about to be whipped and beaten, then crowned with thorns in mockery of his kingship. Pilate had no real fear of the crowd. He had no reason to appease them. No amount of hand washing can cleanse from history the stain that Pilate tried to remove from himself by this symbolic washing of his hands.

This scene became the First Station of the Cross. At the Shrine of Lourdes the scene includes a boy standing behind Pilate with a bowl of water to wash away Pilate’s guilt. My friend, Father George David Byers sent me a photo of it, and a post he once wrote after a pilgrimage to Lourdes:

“Some of you may be familiar with ‘The High Stations’ up on the mountain behind the grotto in Lourdes, France. The larger-than-life bronze statues made vivid the intensity of the injustice that is occurring. In the First Station, Jesus, guarded by Roman soldiers, is depicted as being condemned to death by Pontius Pilate who is about to wash his hands of this unjust judgment. A boy stands at the ready with a bowl and a pitcher of water so as to wash away the guilt from the hands of Pilate . . . Some years ago a terrorist group set off a bomb in front of this scene. The bronze statue of Pontius Pilate was destroyed . . . The water boy is still there, eager to wash our hands of guilt, though such forgiveness is only given from the Cross.”

The Writing on the Wall

As that van left me behind these stone walls that day over thirty years ago, the other two prisoners with me were sent off to the usual Receiving Unit, but something more special awaited me. I was taken to begin a three-month stay in solitary confinement. Every surface of the cell I was in bore the madness of previous occupants. Every square inch of its walls was completely covered in penciled graffiti. At first, it repulsed me. Then, after unending days with nothing to contemplate but my plight and those walls, I began to read. I read every scribbled thought, every scrawled expletive, every plea for mercy and deliverance. I read them a hundred times over before I emerged from that tomb three months later, still sane. Or so I thought.

When I read “On the Day of Padre Pio, My Best Friend Was Stigmatized,” Pornchai Maximilian Moontri’s guest post from Thailand, I wondered how he endured solitary confinement that stretched for year upon year. “Today as I look back,” he wrote, “I see that even then in the darkness of solitary confinement, Christ was calling me out of the dark.” It’s an ironic image because one of the most maddening things about solitary confinement is that it’s never dark. Intense overhead lights are on 24/7.

The darkness of solitary confinement he described is only on the inside, the inside of a mind and soul, and it’s a pitch blackness that defies description. My psyche was wounded, at best, after three months. I cannot describe how Pornchai endured this for many years. But he did, and no doubt those who brought it about have since washed their hands of it.

For me, once out of solitary confinement, the writing on the walls took on new meaning. In “Angelic Justice: St Michael the Archangel and the Scales of Hesed,” I described a section of each cell wall where prisoners are allowed to post the images that give meaning and hope to their lives. One wall in each cell contains two painted rectangles, each barely more than two by four feet, and posted within them are the sole remnant of any individualism in prison. You can learn a lot about a man from that finite space on his wall.

When I was moved into this cell, Pornchai’s wall was empty, and mine remained empty as well. Once this blog began in 2009, however, readers began to transform our wall without realizing it. Images sent to me made their way onto the wall, and some of the really nice ones somehow mysteriously migrated over to Pornchai’s wall. A very nice Saint Michael icon spread its wings and flew over to his side one day. That now famous photo of Pope Francis with a lamb placed on his shoulders is on Pornchai’s wall, and when I asked him how my Saint Padre Pio icon managed to get over there, he muttered something about bilocation.

Ecce Homo!

One powerful image, however, has never left its designated spot in the very center of my wall. It’s a five-by-seven inch card bearing the 1871 painting, “Ecce Homo!” — “Behold the Man!” — by the Swiss-born Italian artist, Antonio Ciseri. It was sent to me by a reader during Holy Week a few years ago. The haunting image went quickly onto my cell wall where it has remained since. The Ciseri painting depicts a scene that both draws me in and repels me at the same time.

On one dark day in prison, I decided to take it down from my wall because it troubles me. But I could not, and it took some time to figure out why. This scene of Christ before Pilate captures an event described vividly in the Gospel of Saint John (19:1-5). Pilate, unable to reason with the crowd has Jesus taken behind the scenes to be stripped and scourged, a mocking crown of thorns thrust upon his head. The image makes me not want to look, but then once I do look, I have a hard time looking away.

When he is returned to Pilate, as the scene depicts, the hands of Christ are bound behind his back, a scarlet garment in further mockery of his kingship is stripped from him down to his waist. His eyes are cast to the floor as Pilate, in fine white robes, gestures to Christ with his left hand to incite the crowd into a final decision that he has the power to overrule, but won’t. “Behold the Man!” Pilate shouts in a last vain gesture that perhaps this beating and public humiliation might be enough for them. It isn’t.

I don’t want to look, and I can’t look away because I once stood in that spot, half naked before Pilate in a trial-by-mob. On that day when I arrived in prison, before I was thrown into solitary confinement for three months, I was unceremoniously doused with a delousing agent, and then forced to stand naked while surrounded by men in riot gear, Pilate’s guards mocking not so much what they thought was my crime, but my priesthood. They pointed at me and laughed, invited me to give them an excuse for my own scourging, and then finally, when the mob was appeased, they left me in the tomb they prepared, the tomb of solitary confinement. Many would today deny that such a scene ever took place, but it did. It was thirty years ago. Most are gone now, collecting state pensions for their years of public service, having long since washed their hands of all that ever happened in prison.

Behold the Man!

I don’t tell this story because I equate myself with Christ. It’s just the opposite. In each Holy Week post I’ve written, I find that I am some other character in this scene. I’ve been “Simon of Cyrene, Compelled to Carry the Cross.” I’ve been “Dismas, Crucified to the Right.” I tell this story first because it’s the truth, and second because having lived it, I today look upon that scene of Christ before Pilate on my wall, and I see it differently than most of you might. I relate to it perhaps a bit more than I would had I myself never stood before Pilate.

Having stared for three years at this scene fixed upon my cell wall, words cannot describe the sheer force of awe and irony I felt when someone sent me an October 2013 article by Carlos Caso-Rosendi written and published in Buenos Aires, Argentina, the home town of Pope Francis. The article was entitled, “Behold the Man!” and it was about my trial and imprisonment. Having no idea whatsoever of the images upon my cell wall, Carlos Caso-Rosendi’s article began with this very same image: Antonio Ciseri’s 1871 painting, “Ecce Homo!” TSW reader, Bea Pires, printed Carlos’ article and sent it to Pope Francis.

I read the above paragraphs to Pornchai-Maximilian about the power of this scene on my wall. He agrees that he, too, finds this image over on my side of this cell to be vaguely troubling and disconcerting, and for the same reasons I do. He has also lived the humiliation the scene depicts, and because of that he relates to the scene as I do, with both reverence and revulsion. “That’s why it stay on your wall,” he said, “and never found its way over to mine!”

Aha! A confession!

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Note from the Editor: Please visit our Holy Week Posts Page.