My second paradox is closely related to the first.
When the Son of Man is lifted up, he draws all to Himself [John 12: 32]. In John’s Gospel especially, it is the moment of Christ’s death on the Cross, His “lifting up,” that is the moment of Jesus’s glorification. Herein lies the paradox: how can glory emanate from the face that is hardly recognizable as human because of His wounds, His exhaustion, and the utterly shameful nature of death by Crucifixion?
While this paradox has been commented upon by many theologians, I first remember encountering a form of it in an essay by Cardinal Joseph Ratzinger, the future Pope Benedict XVI, in a book entitled On the Way to Jesus Christ. He observes, in the Liturgy of the Hours, two antiphons attached to the same Psalm 45 (44 in the Latin numbering) at Evening Prayer on Monday of Week Two. The Church has always taken this Psalm to refer to the marriage of Christ the Bridegroom and the Church His Bride. During the Second Week of Lent, the Church attaches to this Psalm the antiphon, “You are the fairest of the children of men and graciousness is poured upon your lips.” Jesus’s beauty is therefore emphasized, but especially the “inner beauty of his words,” as Cardinal Ratzinger puts it. He is the perfect man.
But this changes during Holy Week, when the antiphon is now a text taken from the prophet Isaiah: “He had neither beauty nor majesty, nothing to attract our eyes [Isaiah 53: 2].”
To make sense of this contrast, Ratzinger points out that it cannot be a contradiction, since both antiphons derive from the same Holy Spirit, who has spoken through the prophets. Invoking the English poet John Keats, he points out that the aphorism, “Beauty is truth and truth beauty” forces us to a critical evaluation of what we consider beautiful. We must accept that true beauty must somehow involve “wounds, pain, and even the obscure mystery of death and that this can only be found in accepting pain, not in ignoring it.”
Thus in the suffering Christ we see the beauty of our God accepting our pain in love, transforming it into life. We see a man, driven by a fervent love, freely willing to endure all manner of human violence and hatred in loving obedience to the Father. He loves His own to the very end and goes to any length to rescue us and to show us how lovable we are, even in our frequent unloveliness. That this is a kind of beauty can be inferred by its effects on us: it causes a kind of “compunction,” a breaking open of our hearts, often connected with tears, partly of joy, partly of pain.
Cardinal Ratzinger’s essay is primarily a reflection on Christian aesthetics, a topic to which he often returned in his occasional essays. He recognizes certain premonitions in Plato’s aesthetics (especially in the Phaedrus and Symposium), in the pagan philosopher’s belief that beauty wounds the beholder (which is to say, it causes a kind of compunction) and thus awakens in us a thirst for a deeper truth, something beyond superficial notions of beauty.
I would add that a similar premonition in the Greek pagan world can be found in the poets. As the great Alasdair MacIntyre observed, Homer’s Iliad demonstrates, subtly, how one can win a war by losing it. By this he means that the reader, in the end, tends to sympathize more with the vanquished Hector, even when his “appearance was so marred beyond human semblance [Isaiah 52: 14],” by the disgraceful treatment of his body by Achilles. There seems to be greater glory in the moral goodness and inner nobility of Hector than in the acknowledged excellence of Achilles. Why is this? We could speculate at length, but we see Hector dying for love of his city, versus Achilles fighting as a kind of hireling, a soldier of fortune. In the end, what redeems the character of Achilles, as is the case in all Greek tragedy, is our knowledge of his doomed mortality, not his perfections as a manly warrior.
[I note in passing that in this analysis, I part ways with important aspects of Nietzsche’s interpretation of Greek culture.]
What the pagans were not fully able to grasp (and indeed was anyone able to do it, except in prophecy by the Holy Spirit?) was that this inverted glory would be fully vindicated by God in the Incarnation, Death and Resurrection of God’s Son. The final beauty, for which the Christian hopes in the Iliad, is the vision of Hector and Achilles, like Saint Stephen and Saint Paul, reconciled by the death of Christ, and now, as friends, adoring the one, true God of us all. Until this final vision, all earthly beauty is provisional, existing in a tension between the intimation of God’s glory and the realism of human cruelty and suffering.