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Five Portraits of the Passion
In his writing, the Evangelist John gives special attention to the passion narrative. We should not even call it that because John emphasizes the glory more than the suffering. The hour has arrived; it is the moment when the Father glorifies the Son, and therefore, the Evangelist reveals God’s glory at the time of his death, at the very moment of his death. For John, this is the point when Jesus offers his life and fully reveals the life of God to humanity. We have already noted that the entire narrative is structured around five key moments.
The passion narrative begins and ends in a garden. Then, there is a moment of interrogation at Annas, and in the middle, seven scenes of questioning take place in Pilate’s praetorium. Ultimately, Pilate chooses to remain a friend of Caesar rather than of Jesus. He hands Jesus over to the Jews, who welcome him. This is the only time the word ‘welcome’ is used with Jews as subjects, but it is a tragic moment where they welcome him only to execute him. The scene shifts from the praetorium to Calvary. John does not describe this movement, which is the journey of the cross for us. He simply states that Jesus, carrying the cross, goes to a place called Skull, or Golgotha in Hebrew, where they crucify him.
Jesus is in the center, in an uncomfortable position, flanked by the other two on either side. The Evangelist highlights the location’s name and provides it in Aramaic. Interestingly, what we call ‘in Hebrew’ is now referred to as ‘Aramaic.’ Golgotha is the Aramaic word, meaning a rocky mountain shaped like a skull. Skull or Calvary in Latin means a bold head, representing a place that is isolated, with only remaining sticks—probably tree posts and branches used as sturdy supports to hang those condemned to crucifixion. This rocky area is stripped bare and called the ‘hill of the skull’—Golgotha or Calvary. Jesus carries the cross by himself.
Some translations omit the pronoun because it is unnecessary: ‘carrying the cross himself.’ It is a ‘dative’ of advantage. It is a brief narrative addition meant to emphasize that, for Jesus, the cross is not a tool of torture or the infamous scaffold but rather a throne, a trophy, and a symbol of victory. St. Thomas explains that Jesus carries the cross as a doctor carries a lampstand to place the lamp of his doctrine. The lamp of the cross, the doctrine of the cross, is presented as a sign of salvation.
John does not focus on the painful side or mention Jesus’s suffering; instead, he emphasizes the glorious aspect. He does not aim to depict a realistic view of Jesus’s suffering until death. Rather, his symbolic approach aims to reveal the theological significance behind this painful tragedy. Five scenes on Calvary can be seen as parallels.
The Evangelist repeatedly emphasizes five details: the writing, the tunic, the mother, the thirst, and water. Using these simple words, we can identify five scenes that highlight the climax of Christ’s passion—the first being the inscription on the Cross. John emphasizes this detail, mentioning that the title of condemnation was written in three languages: Hebrew, Greek, and Latin. This underscores the idea of universalism. Pilate wrote, “Jesus of Nazareth, the king of the Jews.” The phrase ‘the king of Jews’ might have contributed to his condemnation. He was sentenced to death because he claimed to be the king of the Jews. He wrote in Hebrew so the Jews could read it; in Latin, the language of the dominant Roman Empire; and in Greek, the common language understood by everyone. These three languages were chosen so that all would see that he was the king of the Jews. When the leaders saw this, they protested to Pilate, saying: ‘You have to write that he said he is the king of the Jews, not that he is.’
The nuance here is important. Pilate wrote that Jesus was king. On the other hand, the chief priests of the Jews wanted the reason for his death to be that he was called the king of the Jews. He declared himself to be the king of the Jews and was condemned because he was accused of falsehood. Pilate refused to change his statement and sternly said, “What I have written, I have written.” It may seem like a small detail in the whole story, but why does the Evangelist emphasize it? Because he wants to show the world that Jesus truly is the king. Pilate used the aorist tense when he wrote this—referring to a past action. Later, when he repeats the statement with the Jews, he uses the perfect tense, “what I have written, I have written,” which indicates an action begun in the past that still has effect today. John’s message is that what is written remains written; Jesus is truly king. Pilate recognized him, and now everyone can read it.
The second scene focuses on his tunic. The Synoptic Gospels say the soldiers divided the condemned man’s clothes, but only John mentions a difference. The clothes are divided, but the tunic is valuable. The soldiers recognized its worth because it was woven in one seamless piece from top to bottom. This detail is symbolic. John’s emphasis on Jesus’ tunic prompts us to consider its significance. This seamless, single-piece tunic was not torn apart by the soldiers. It may not be accurate to use the word ‘divide’ (since the original meaning is ‘break’; John uses the verb ‘skitzo’): to tear up, to divide. He should use the verb ‘schism’ – schisomén – meaning to tear up or divide. This is an important verb. From it comes the word schisma, meaning “division” or “breaking.” There was a schism among the Jews.
The net in the Sea of Tiberias did not tear, even though the catch was huge. Just like the net, the tunic symbolizes the Church’s unity. It represents the unity of humankind achieved through the death of Jesus. He already mentioned, commenting on Caiaphas’s statement, that Jesus must die to gather God’s scattered children. The fact that the soldiers did not tear or divide Jesus’s tunic but instead cast lots points to the deep unity that no one can break or destroy.
The third scene depicts the mother and the disciple at the foot of the cross. We should avoid using proper names. We shouldn’t say there was John and Mary. We need to adopt the language of the Evangelist. If he hasn’t used proper names, there is a reason for that. Even if we don’t understand that reason, we should at least accept his narrative style. The mother is at the foot of the cross, and Jesus refers to her as a ‘woman.’
We should revisit the beginning; the first sign happened at Cana in the presence of Jesus’ mother. To her, Jesus called her ‘woman.’ This scene is repeated again at the foot of the cross. This is a symbolic detail that an attentive reader must notice. What was a sign at Cana was an expected prophetic sign; at the cross, it is fulfilled. The mother symbolizes faithful Israel, the people of the covenant. The beloved disciple symbolizes the people to be born. This reflects the new reality of Christ’s disciples. The mother appears first, and the disciples follow. The mother preceded Jesus; the disciples will carry on His work. Jesus separates the relationship between the mother and the disciple. He is the one who unites, makes peace, and brings the two together.
‘Woman, behold, your son.’ Then he said to the disciple, ‘Behold, your mother.’ From that moment, from that hour, the decisive hour, the disciple took the mother ‘in sua,’ as the Latin says, εἰς τὰ ἴδια – eis ta ídia in Greek – meaning ‘into his own.’ We must translate this as: ‘among his belongings.’ It’s not appropriate to say ‘things,’ so we need to use specific terms, such as ‘treasure’ or ‘good’. The disciple took the mother among his goods. The mother is entrusted to the disciple, who welcomes her into his house. There is much more than just entrusting the mother’s care to the disciple.
It was only in the 12th century that we started to talk about Mary’s spiritual motherhood. The traditional interpretation of this scene connects the Old Testament with the New Testament. Faithful Israel is welcomed into the treasures of the disciples of the new Christian community. A relationship is formed that creates unity. We are at the center of the five scenes on Calvary. After the symbolism of the tunic, the relationship between the mother and the disciple, from the top of the cross, Christ establishes unity. He fulfills the plan of gathering God’s children to form the people of the saved.
The fourth scene, right after entrusting the mother to the disciple, focuses on Jesus’ thirst. Jesus states, “I thirst”—a craving for water. Is this merely a physical need? We’ve already learned to see a deeper meaning in John. Like with the Samaritan woman, Jesus’ thirst symbolizes his desire to fulfill God’s plan. They gave him vinegar to drink—a sponge with hyssop. Hyssop, which can contain marjoram or oregano, isn’t used with a rod or cane but is ground up and added to food to enhance flavor. The reference to hyssop alludes to Israel’s symbol of purification: “Cleanse me with hyssop, and I shall be clean” (Ps 51:9). In some translations, ‘hyssop’ is rendered as ‘cane’ or ‘rod.’
It is a symbolic detail. Jesus did not want to drink just anything; he aimed to fulfill God’s plans. After taking the vinegar, Jesus said: ‘Τετέλεσται’ – ‘tetelestai’ – the Greek text of John simply shows this verb form. It is the perfect tense of the verb ‘teleo,’ from which comes ‘telos’ – the end. After loving his own in the world, he loved them ‘eis telos’ until the end (until the arrival of the end) to finish his work. The last word Jesus speaks is “it is finished.” The story isn’t over; he completed the project, achieved God’s plan, and reached the end. I want to reach the end: “And bowing his head, he handed over the spirit.”
This is a very important phrase. In Greek, the verb ‘παρέδωκεν – ‘paredoken’ is used; it represents the act of tradition. In Latin, it is accurately translated as ‘tradidit spiritum.’ Jesus is transferring the Holy Spirit. It does not mean to die, but to transfer the Holy Spirit to humanity. This is the offering of God’s life. Jesus reveals Himself not just by teaching God’s doctrines but also by sharing God’s life, and at this crucial moment, He gives up His life by offering the Holy Spirit.
The fifth scene is what the eyewitness, the beloved disciple and the author of the narration, saw with his own eyes. One soldier pierced Jesus’ side, and blood and water flowed out. The water from Jesus’ side symbolizes the Holy Spirit. He promised to give living water, and streams of living water will flow from his side. Now, that promise is fulfilled. The blood represents Jesus’ life; the water is the Holy Spirit. Jesus’ life is closely connected to the Holy Spirit, and from Jesus, the new temple flows streams that give life to humanity.
That is why the Evangelist steps in at this moment and emphasizes the importance of his testimony. “An eyewitness has testified, and his testimony is true; he knows that he is speaking the truth so that you also may come to believe.” Here, he adds two biblical quotes that he remembers: as with the paschal lamb, so with Jesus, his legs were not broken. Jesus on the cross is the true Lamb of God who takes away the sins of the world. The other phrase is from the prophet Zechariah: ‘They will look at the one they have pierced.’ Jesus is pierced on the cross. The spectators of the passion, the readers, those who closely observe Jesus, glorified on the cross, seated on the royal throne, the authentic king, look at the pierced one. It is the moment when the Holy Spirit flows.
The final scene of the Passion narrative takes place in a garden, and it is the burial that connects back to the beginning of the story. Jesus’ arrest occurs in a garden, and similarly, the burial also happens in a garden.