The preacher in most Anglican traditions works under strict time constraints: what one has to offer must be given in just a few minutes. When anything of substance gets said in such a brief compass, it is a great blessing. Also: when a sermon of any length works from poems or stories in ways that are richly theological and deeply biblical, that too is a great blessing. And when a single briefly sermon uses literature imaginatively, unexpectedly, and profoundly … Well. The following homily was preached a few days ago by Jessica Martin, residentiary canon at Ely Cathedral. I am posting it here with her permission. 

Southern Cathedrals Festival Eucharist: Feast of Mary Magdalene, 22nd July 2017

1st lesson:  2 Cor. 5.14-17 

Gospel: John 20.1-2,11-18

But Mary stood weeping outside the tomb. Jn.20.11 

May I speak in the name of God, Father, Son and Holy Spirit.  Amen.

She turned her eyes towards him for the first time… — & he was looking at her with all the Power & Keenness, which she beleived no other eyes than his, possessed…. — It was a silent, but a very powerful Dialogue; — on his side, Supplication, on her’s acceptance . — Still, a little nearer  — and a hand taken and pressed — [and her name, spoken] — bursting forth in the fullness of exquisite feeling — and all Suspense & Indecision were over. — They were re-united.   They were restored to all that had been lost.

Only — it wasn’t like that, quite, — was it? Perfect happiness, the same writer observed, even in memory, is not common.  Yet how the soul yearns for that moment, for the overplus of bliss that comes when you turn, blinded by tears, and your beloved that you thought lost for ever is there before you speaking your name, and you say, ‘How could it ever have been otherwise?  My life has been a dream until now. How was it that I did not know that you were there all the time?’

The dying woman who, in Winchester, in the relentlessly rainy spring of 1817, wrote that scene of fulfilment beyond loss, was of course Jane Austen.  We mark the bicentenary of her death this year at the time and place of her dying. Some among you will recognise the encounter as being from the close of her last novel Persuasion, but some will not know it — because she discarded the draft. She was unhappy with the ending she had written and replaced it instead with one of more indirection, where a letter stands in for the ‘silent, but very powerful Dialogue’ and the fulfilment of the plot upon words only overheard. Neither touch, nor voice is retained in the moment of reconciliation as it went to press, months after Jane Austen herself was dead and buried. The body was absent. Clear-eyed and unsparing to the last, she would not allow herself even the dream of so impossible a meeting. The most she would allow us to see of immediate, passionate felicity was the sensation of an ‘overpowering happiness’ in solitude as her character, Anne Elliott, read to herself words of love.

Yet the prospect of fulfilment beyond absolute loss stands like a promise and we cannot look away. The novel, a literary form which has dominated our cultural imaginations for the two-and-a-half centuries since Austen’s lifetime, offers that fulfilment in terms of marriage.  On the last pages of novel after novel, the apparently impossible union — whether for emotional, or family, or even more often economic reasons — proves miraculously possible after all.  Jane Eyre and Mr Rochester. Anne Elliott and Captain Wentworth.

The marriage plot’s satisfactions are so potent that readers across those centuries have been outraged when, exceptionally, such human fulfilment is withheld by the author — by Charlotte Bronte in Villette, for example, where the marriage between M. Heger and Lucy Snowe is frustrated by a probably-fatal storm at sea, or in Anthony Trollope’s The Small House at Allington, where Lily’s constancy to her Adolphus survives her discovery that he is selfish and shallow, and brings her to remain single even though she is passionately loved by another decent man she will never accept. In making that choice to be single, Lily allows herself to subsist beyond the fleeting moment of fulfilled desire, beyond that vision of youth and beauty and pleasure, into tiredness, old age and mortality. She stops being a cipher of promise and becomes fully human. Marriage can only be guaranteed to be absolute fulfilment if you stop time on the wedding day.

So it is that marriage is only ever a metaphor — though a powerful one — for fulfilment, pointing beyond itself to a love which is both more elusive and more durable. When Mary stands weeping in the garden she is more like the single Jane, dying in discomfort during a rain-filled summer on the three chairs she allowed herself in order to leave the sofa for her grandmother to lie upon, alone in the contemplation of her mortality and keeping others at a distance with stoical letter-writing. Anne Elliott and Captain Wentworth are pleasant fantasies, not part of the realities of life. It is death, not love, which beckons at the end of the long vista of patient endurance.

That, at any rate, is the human point of view.

But — from now on, we regard no one from a human point of view. We cannot avoid being the one who stands weeping outside the tomb; Christ has died for all; therefore all have died. Mary Magdalene, associated traditionally with all the betrayals and bad faith that go with an over-reliance upon human desire, yearns beyond it to a love which seems extinguished by death. She stands by a tomb puzzlingly empty yet peopled by angels who ask the crazy question, ‘Why are you weeping?’ For Mary, the absence of the beloved body, marred by death and empty of its spirit, is not a sign of resurrection but a final cruelty. She had hoped to care for that body, to wrap it in linen and honour it with spices — not because it would do any good, but because love is like that. ‘They have taken away my Lord and I do not know where they have laid him’.  She has been cheated of any direct encounter, and cannot hope even for a love-letter.

But then she turns around. She turns away from the tomb, and towards a living presence she cannot as yet name, and which has not as yet named her. This is, for a moment, a ‘silent, but very powerful Dialogue’. The person before her asks her the same question as the angels; she gives him the same answer; nothing new has yet happened. The point of recognition is when he calls her by name — and all Suspense & Indecision were over. They were reunited. They were restored to all that had been lost.

Yet this Now, this joy, is also ‘not yet’.  It is not only fulfilment — it is promise, it is something still happening and still growing.  ‘Do not hold on to me’, says the risen Jesus, ‘…go to my brothers and say to them, I am ascending to my Father and your Father, to my God and your God.’  And Mary  Magdalene becomes transformed from weeping woman to messenger and witness: she went and announced to the disciples, ‘I have seen the Lord’.  If anyone is in Christ, there is a new creation; everything old has passed away; see, everything has become new!

In our human point of view, we cannot avoid standing with Mary. Loss is real, and death is the certain vista for every life, the standing condition for every hope.  But look at your life carefully. Study the tomb by which you mourn and wonder why it is empty, full not of corruption but of animated light which asks you the question, why are you weeping? Someone in your life is standing behind you, waiting for you to turn.  When you look away from the tomb and towards the presence, what might happen next?  What could happen? On his side, Supplication, on her’s acceptance.  Somebody is speaking your name.  And you think, amazed: How could it ever have been otherwise?  My life has been a dream until now. How was it that I did not know that you were there all the time?

Amen.